z a c h a r o u l a
p a p a g e o r g i o u
A R C I T E C T U R E
P O R T F O L I O
competitions:
01_ M.Art2013 market for arts and crafts open ideas Architectural competition (Zacharoula Papageorgiou & Christina Papavasileiou) September- December 2013
02_ Recreation of freedom square in Thessaloniki International architectural competition (Zacharoula Papageorgiou & Christina Papavasileiou) March - April 2013
academic projects:
03_ Landscape intervention around an old textile factory in Piraeus and proposal for its adaptive reuse Diploma project (Zacharoula Papageorgiou & Christina Papavasileiou) Academic year 2011-2012
04_ Workplace in Plaka for students in fine arts
Synthesis & architectural design 6 (Zacharoula Papageorgiou & Anastasia Koutoumanou) Academic year 2008-2009
05_ Lecture
ÂŤRuins. A different point of viewÂť Academic year 2010-2011 . . . . . . . . . . . . . . . . . . . .
06_ Photography 2010 - 2013
07_ Sketches and drawings 08_ Architecture workshops for children 2011-2013
01_
Μ.Αrt2013 market for arts and crafts
open ideas architectural competition September- December 2013
b ackgroun d _ Urban markets are commercial areas deeply integrated into the culture and tradition of the towns and cities, they are characterized by economical prices, personalized attention and nearness to customers. They are also a significant boost to economic and social development of their urban environment; they promote revitalization and renewal and contribute to sustainable development and improve the quality of life of the local community.
Nowadays traditional markets are in decline and this shopping formula shows progressive abandonment. New consumer habits produced by our present society and the obsoleteness of markets structures and facilities compared with modern trends of commercial distribution are provoking a change of preferences from markets to more modern retail formulas like supermarkets or malls. We belong to a globalized world, saturated with industrialized products that reach every corner of the world because of economies of scale driven by international commerce. A single producer using traditional craft methods cannot compete in these markets based on costs, marketing and distribution capacity. However, there is a demand and a competitive advantage for craftwork and its originality in certain sectors.
Therefore,
there
is
a
need
for
craft
workers/artists
in
contrast
to
glob-
al markets to develop a concept of local commerce based on the added value and singularity that handwork means. To nurture this it is necessary to have efficient flexible commercial areas. l o c a t i o n _ unspecified vacuitie s in a de nse ly
popula te d c ity
Contrary
we
to
the
decentralized
huge
malls,
return
to
the
city
network
in
or-
der to unfold our concept for an urban local market. Our attempt is to take advantage of the unbuilt sites as well as disorganized gaps and common yards into the building blocks. The intervention is like an injection in the inactive space among the plurality of structures and uses.
c o n c e p t_ We propose an urban market which experiments a different relation with the city. Workshops and market go up, above the ground leaving open public space at the level zero. A place available to ephemeral uses that encourage gathering and social interaction. The market itself con-
f o r m a nd stru ctu re_ A framework, a metallic structure, integrates the separated units. This framework readjust its elements and shape in order to be adaptive to different fields and urban contexts. The structure is stalled variously : penetrate in a block, occupy empty fields, complete a faรงade, climb party walls, exploit tiny gaps in the urban network. The irregularity and diversity of the composition reinforces the flexibility of the structure. In this way the program does not fulfill itself in a single structure, but in series of dispersed parts in the grater area, giving the impression that it can be continuously evolved in any direction through the city. The boxes fasten on the framework. Access is available through staircases and elevators and a system of light grates that form corridors and open spaces, suitable for meetings, exhibitions and open-air market.
A mishmash of little screens, one above the other, creates a scenery of different actions and shapes, a blend of materials and colors that raise a theatrical atmosphere, and call the passerby to interact.
\
Every unit refers to a single worker or artist, providing a space for independency and concentration. The transparency at the face of each box presents tracks of the individual work to the public eye.
The space inside the field is given to the public, urging people cross the first framework at the basis of the structure and explore the place, have a rest or visit the marketplace upstairs. In other words, the ground level becomes part of the city, enlivening the surrounding area. Indoor communal facilities are sited to the ground floor into the framework. Glass and metallic blings cover these places. A simple equipment of tables and seats, installed outdoors, is here for anyone who wants to use it. Guests or handcrafters, can make their meetings, have a break or work collectively, reinforcing their relations. Occasionally, this space transforms to an open air marketplace, giving another opportunity for connection, interchange and common work Each box is constructed from light recyclable materials. Its size depends on the field, the needs of each program and its user’s demands. Some modules can obtain a second floor. The space inside the box is united and includes a sales stall next to the working place in order the customer to have a direct contact with the craftsmen and the manufacturing process. .
The equipment is austere. A big structure of storage shelves runs one side of the box and forms workbenches. Secondary facilities, closets and toilet, well protected behind the selves-wall, complete the workshop.
02_
Recreation of freedom square in Thessaloniki
international architectural competition March - April 2013
Freedom square’s unique relation with the sea stood the base to recreate it as an entrance from the sea, back to the city, either from a ship travel or a long offshore walk. Our intention was to reform it as a transitional space between two distinct spatial conditions.
c onc e pt_ The proposal has to do with the immersion of a substantial part of the square in an attempt to straighten the transitivity of the space. A rather introvert square is created, a form of embracement, where the visitor founds himself in a quiet, inner, overgrown place, to rest, walk around or cross it and get back to the urban space. Big ramps facilitate the access. The new synthesis consists of a wall structure that implies the entrance, gives directions and arranges the space inside and around it. When getting inside, it constrains
The proposal brings to light the historical wall of Thessaloniki that lies beneath the square and completes the patchwork of the ancient troves that lie scattered in the urban net. Finally the upper level of the square, bridges the city center with the part of the old market and Ladadika restrict, through a passage, so as to enliven the greater area. Added trees and bushes integrate the synthesis. All the existing high trees are maintained. The new ones are chosen with the criteria of change (color, leaves and shape) depending on the season, so that the square subjects a transformation through the year and offers variable qualities of space.
03_
Landscape intervention around an old textile factory in Piraeus and proposal for its adaptive reuse diploma project academic year 2011-2012
This project studies the case of an old factory in abeyance, suggesting a way to rewrite its terms in the urban space. The factory at issue is Retsina’s old textile mill, situated in the old industrial zone of Piraeus. It appears rather introvert today, keeping out of the eye its inner condition. b r i e f h istory_ The factory was founded in 1871 and functioned more than 100 years. Inside it worked hundred of people, women men and children that came from all districts of Piraeus. At the same time, its owners were a part of a powerful economical and political elite of Piraeus.
The industry financially collapsed in 80ies due to bank loans and difficulties to handle them. This
fact
ters
of
finally empty
leaded area
the
and
factory ruined
to
end
buildings
its is
function.
factory’s
23.000 current
square insecure
mestate.
concept_ Getting
inside
and
exploring
the
place,
we
approached
the
space
as
a
dynamic
enti-
ty of different structures with former functional bounds and not as a blend of irrelevant units.
The diversity of the succedent constructions, as well as the spatial discontinuity due to recent damages, had caused a varied and uncertain result. This situation became the reason for a new intervention able to reveal the value of the old factory and integrate it to the contemporary city. Keeping in mind its former history, we intended
to
redefine
its
present
role.
Retsina’s empty buildings will accept new activities able to keep them open and alive, most of the day, welcoming people of the neighborhood and the greater area. Two basic functions will compose its new character. Cultural activities and second hand market will fill the old buildings as well as find place in the new constructions.
A circular outdoor theater will be the new spatial and functional core. The main internal street will be osculated on this core. Through the activation of empty shells and redraw of its elements this street will get a new significance. Our purpose is this axis to behave as a backbone on which will be hold all former fragments.
f or m and s t r uc t ure _ The new synthesis mainly expressed by concrete walls, will orientate the visitor suggesting a variety of different routes and views. The new structure appears in a certain distance next to the existing, in a way to straighten the present unspecific space.
04_
Workplace in Plaka for students in fine arts synthesis & architectural design 6 academic year 2008-2009
In this project we were asked to design a new work place for artists, researchers and students in fine Arts. The site was located at Plaka area in Athens.
This fact gave a special emphasis on the issue of architectural integration. Plaka is a residential district with a particular urban and architectural importance for Athens. In this area there are monuments from many different historical periods. At the same time, this area is alive and follows cities’ contemporary rhythms.
concept_ Taking into consideration area’s special history and form, I sought for a design
idea compatible with the area and in the same time able to restore and renew its sense of place.
The pro-
posed building is divided into two sections of laboratories. Both sections will fill the empty faces of the site. Laboratories at the main face are placed over the main hall which is considered as the building’s core.
Building’s hall is located under the ground at level -2.30m and is visible from the street level. The site has two open faces and this fact is taken into account. After passing the main entrance you can access a small atrium, continue your walk , climb some stairs and get out of the site from the back secondary entrance. This functional feature and laboratories’ material transparency create an extrovert and social sense . A concrete surface with pinholes forms the main side of the structure. Its simple structure equilibrate next to adjacent neoclassical facades.
05_
«Ruins. A different point of view» Lecture academic year 2010-2011
su m m a ry_ In their incomplete form, old buildings, are suggesting us a different aspect. According to Giorgio Grassi, ruined constructions can help us recognize their inner value: their availability, due to the fact that they have, once again, an unspecific existence. Analyzing the architecture and history of two old ruined factories, at area Leyka at Piraeus, I ‘m trying to find the different needs which inhere in each building and determine the way to be reused. Some constructions are able to recreate a new place in the city. On the other hand, I meet ruins which have to stay untouched in order to protect their unique meanings and forms. Analyzing their contemporary form, appear questions about their relation, their purpose, and their future in the city. My purpose is not to find out a specific way of architectural reuse, but find and read these unique signs which determine their contemporary bounds with city’s identity.
06_
photography
2010-2013
07_
sketches & drawings
08_
Architecture workshops for children 2011-2013
Architecture workshops for children are courses that were organized in order students to come in contact with introductory concepts of Architecture and space configuration. The target was the approach of a process that can allow children to transition from the expression of an abstract idea to the creation of a simple construction which -with a little imagination- can encounter in the real world. Students use a variation of materials with different and unique qualities that give them a hint about the form that could better support.
Students
use their hands, imagination and speech but ultimately will judge by instinct if their construction is beautiful, and that is‌ if they like their own construction. Cooperation, teamwork and personal expression -open to constructive criticism and discussion- are always important for each lesson. A basic idea is always given in the beginning of each lesson in order to set a guideline. This rule does often stick out or is creatively twisted.
z a c h a r o u l a
p a p a g e o r g i o u
A R C I T E C T U R E
P O R T F O L I O