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Portfolio

ANDREAS THEODORIDIS Dipl.Architect.engineer.


www.207x207.net / architecture network

copyright 2011


08 monoline

05 x-small 02 plug ‘n stay

06 dancing hangers 03 marble skin

04 exhibit A 01 gsapp-global networking 2012

2011

2010

07 L block 2009


09 house with a view

12 soft space 11 d.i.y. office

14 raw matter

13 sliced walls 15 multiplex ps

10 behind the glass 2008

2007

2006

2005

2004

2003

2002


gsapp


01 gsapp-global networking columbia university studio X in Thessaloniki

T e r r a i n c o g n i t a | Eco-tales for Thessaloniki’s sealine Directed by: Lydia Kallipoliti, Assistant Professor Adjunct at Columbia University and The Cooper Union. Collaborators:Niki Andreadou and Manolis Tzekakis, Professors at the Aristotle University of Thessaloniki, Yota Adilenidou, tutor at the Architectural Association in London, and Andreas Theodoridis, principal of 207×207 architects in Greece.

date: 2011

Columbia University, Graduate School of Architecture Planning and Preservation, GSAPP,organizedasummerworkshopincollaborationwiththeAristotleUniversityof Thessaloniki, Greece. This workshop was structured as a speculative research and design project that explores the convergence of technology and nature in the outskirts of cities, seeking to definenewwaysoflifeandculturethatmightemergefromthisconvergence.Theexploration would be carried out by researching the natural resources, proliferation of wild life and organic growth, as well as the existing minimum impact vernacular structures in the seashore of Axios’ river delta adjacent to Thessaloniki’s harbor. The area contiguous to Thessaloniki’s main port spaning to Palaioxori is

tentatively entitled terra incognita; it is an ecologically affluent region, unique in

itsgeomorphologicformationandvernacularconstructionphysiognomyincloseproximitytotheurbancenter.However,undertheassumption that an area of such natural wealth should be preserved “as is”, the territory


01.augmentedterritories Alexandros Charidis, Stephen Chou, Theodoros Kyttas, Eliza Montgomery,AnnaObraztsova, Vasilis Papakonstantinou

twoteamsofstudentsworkedononeproposaleach 02. city of mussles Students: Elena Boutsivari, Michael Georgopoulos, Jaclyn Jung, Periklis Kyriakidis, Aaron Mark, VasilikiMaria Plavou


islargelyabandonedandforgotten.Themainpremiseoftheworkshopistoprojectnewecologicalwaysofaccommodatinghabitatsforwildlife,todesigninfrastructure thatoptimizesthemanagementofnaturalresourcesaswellastointegratehumanlifeandcultureinasymbioticrelationshipwiththenaturalterritorybyinventingsustainable structures of minimum impact, closely linked in terms of construction logic to the existing structures. Bydesigninghabitatsforwildlife,sustainableinfrastructurefortheoptimumredistributionandcleansingofwater,substructuresthatharnesswindandsunlight producing electricity, it is possible to create a natural park for the study and observation of ecological life, as well as for the engagement of the citizens with nature and byextensionwithfarming,foodandenergyproductionpossibilitiesintheurbansphere.Thisecologicalhubisenvisionedasanewpoleofcultural,economicandsustainable growth for the city of Thessaloniki, as an ecological territory that might revitalize the city itself by offering a center of culture, food and energy production. Keytothedevelopmentofideaswouldbetheconceptof“minimumfootprint�byofferinglightweightautonomousinfrastructurethatreturnsenergytothecity through the reuse of natural resources: water, wind and solar power. Seasonal change, the passage from summer to fall, winter and spring, will constitute a significant factor for the development of proposals. In the tumultuous conditions of global warming, the climate ofThessaloniki still exemplifies the normative passage of all seasons,incontradictionwithothergeographicalregionswheretheweatherchangeserratically.Theproposalwillbedevelopedinmindtofunctionindifferentwaysinall seasons and potentially programmatically linked to the seasonal passage. Methodologically,weworked in different scalesbyzoominginandoutoftheterritorydevelopingproposalsasorganizationalstrategiesinalargerscale,zooming intoarchitecturalproposalsinspecificlocationsandzoomingevenmoretotheidentificationsofmaterialsandlow-costfabricationstrategiesforspecificinstallations. Similarly to working in three different scales of development, we would also develop in the proposals in different stages in time. In other words, there would be a set of proposals that can potentially be developed in a first stage in two years, five years and ten years. (text from http://gsappstudioxthessaloniki.wordpress.com/gsapp-global-networking/)


01. augmented territories


01.

The landscapes of river deltas are constantlybeingtransformedthroughsystems of water and matter redistribution. In our investigations, algae was identified as a lifeformwhosegrowthcorrespondstothe confluence of different matters and water bodies, while its distribution is influenced by topographic formations and water flows. Our intervention seeks to exploit algae cultivation and biofuel production processes, and propose new materialities that produce alternative landscapes, and provide opportunities for new programs and habitation.


01.


01.


This new approach to theThermaikos Gulf allows for the connection of four mussel islands through the creation and bridging of two aquatic paths, thus extending the lively environment ofThessaloniki to the delta of the River Axios.The urban route of the Eastern coast provides access to the islands located along the eco-tourist path of the Western shore, which act as four poles of diversity and productivity. Each islandfunctionsasmusselcultivation,providingopportunitiesforculture,education and industry as well as a new public space for leisure activities.The annual calendar of events follows the life cycle of the mussels and culminates with Mussel Fest, the harvesting and feasting of the mussels in November. Furthermore, the islands are agentsofde-pollutionandenvironmentalcleanup,aimedatincreasingtheawareness of the battered conditions of the Axios River. Small filtration pods migrate to different aggregations to act as filters, break walls, or for event awareness.

02. city of mussles


02.


02.


plug ‘n stay


02 plug ‘n stay project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki + Konstantinos Mouzakis

date: 2011

Thewideuseofportablecomputerscombinedwiththeneedforfree Wi-Fi access, as well as the widespread use of the bicycle as means of transport creates a new view of the needs within the urban public space.

Plug ‘n Stay is a piece of “urban furniture” that tries to

meet these changing needs. It is an articulated system that comprisesoftwo types of units made of reinforced concrete and

a group of accessories that adapt on them in specially made docks.

Each unit can be used either as a sitting surface (when a wooden cover is adapted to the concrete), as a flower-pot (when the concrete unit is filled with soil) or as an info-point through the map that is attached on the seat.The seats can be lifted offering temporary storage. The units also have sockets that allow a range of accessories to be attached, such as back-seats that are also bicyle-docks, ashtrays … Every seating area can be differentiated according to the number, the type, the sequence and the arrangement of the units, thus offering a series of possibilities and meeting the different spatial needs in a very economical and eco-friendly way.


marble skin


03 marble skin project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2010 under construcion

This project was the result of a competion in 2009. Wewereaskedbytheembassy of Kuwaittoremodelthefacades of their building.There was an extra level added to it and the facades were in bad condition.

The requirements that the embassy posed had to do with the use of marble, two specific types of marble that they had already chosen, and the creation of“clean�surfaces. The project is scheduled to finish before the summer of 2012.


After assessing the building we focused of the following

problematic areas: 1.Asecondlevelhasbeenaddedwhichneedstobeincorporated with the pre-existing building 2.There is no correalation among the different openings of the building. 3. The entrance way is not well defined. 4. The building is not well lit in the night time. pre-existing condition of the embassy building

Proposal Concept:

The concept for this building if based of the

qualities of the marble and the fact that itrequiresstaightverticalalignmentsbe-

tween the different levels. Sincetherewasnosuchcorrelation,wedecided to design it through the use of the marble in

different layers.

Thesecond partoftheideawasthelightdesign. Thebuildingneededtobeobviousatnight.This wasachievedthroughtheindentationsthat were created from the layering of the marble facades. The third element was the use of the

ara-

besquemotifthatwasthebasisfordesigning the “fence� of the embassy.

current condition of the embassy building


A marble “skin” is placed on the outside of the existing building hiding all the extruding elements including the balconies. The new building is a“clean”volume that imposes with its“weight”on its surroundings. the “skin” is comprised of marble tiles

of the same size . These tiles have the

minimum possible gaps between them - they have chamfered edges so that the “back is never visible. In this way they create a homogeneous surface. Inordertoavoidanentirelyregularconfiguration, the new facade has an “irregu-

lar” organization, grouping the tiles together.

Thesegroupsarecreatedthrough the organization of larger gaps between the tiles.


an arabesque motif was designed with a strict geometrical repetition. It became the “enclosure” for the embassy’s grounds. theorganizationofthe tileswasaprocess having many alternatives. The building method was always a major priority.


drawing of the main facadestructural

drawing of the main facade architectural

A metal frame was designed to hold up the new facade. Theindentations aroundtheopeningscre-

atethevertical alignmentsandthelarge

gaps add the necessary irregularity.


the arabesque motif that was designed for the “fence�


The ligting design enhances the geometry of the facade. It is not yet finished, the big gaps between the tiles will be lit by LED tape.


exhibit A


04 exhibit A project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki + Konstantinos Chrysos-Marianthy Tatari

date: 2010

During a yearly exhibition for architectural materials we designed a spacethatwouldpromotetheworkofyounggreekarchitectswithin the exhibition space of a particular company. Both the products of the company and the work of the architects was to be showcased in a continuous flowing space.


x-small


05 x-small project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2010

The client wanted to create a cafe and bar in a very small corner shop. The surface area of the space at hand was about 13 m2 with an additional basement that would house a small kitchen and bathroom.

In those 13 m2 we had to create a comfortable, conceptual and highly practical space with a very low budget. Theprimaryelementofthisprojectwasthedesignofanewfacade thatwouldbeabletoaccomodatetheuseoftheextremelysmallexterior space that was available to the owner.This exterior space would be the main sitting area as the interior was very small.


The new facade would be multifunctional, opening up the interior and at the same time serving as usable surface for sitting and serving.

A metal frame was designed incorporating

fixedwindows,verticallyslidingwindow,aswellas unfolding wooden surfaces. An old fashioned mechanism of weights and pullies was devised that made possible this “work-

ing facade�.


open

closing

closed


The cafe is only seen from the road

“diagonally”. This

lead to the positioning of the name also in a “diagonal” way.


The budget was kept low through the use of OSB wood as the basic material.


dancing hangers


06 dancing hangers project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2009

Castor Group is a company that imports fashion clothing and accessories.Their company is located on the fourth floor of a shoping mall. Theyhaveconstantneesforrearrangingtheirshowrommsandoffices so as to meet their ever changing needs. We were asked to convert office space into showroom space. The concept was the incorporation of the mall’s atrium into the design and the creation of slanting forms that would be visible through the atrium’s glass paneling. The main idea was the combination of glass, light and the

surface of the ceiling using a system of slanting “columns” as a catalyst.


the columns seem like they are spinningaroundtheircentralaxis.

They work in pairs creating a balance and supporting the hanging-rail.


The pairs of columns have an ef-

fect when they reach the ceiling, pushing it in and creating partofthelightingsystem.


L block


07 L block project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2009

In a famous suburb of Chania, we were asked by a contractor to designanappartmentbuildingthatwouldhaveavarietionofappartment sizes. The site had a view of the sea and that was our primary objective, to maximize the view from all appartments. Theotherissuewastotrytomoveawayfromthesterotypeof

repeated floor plans for the different levels of the building. Theideawastocombinesplit-levelappartmentswithsinglelevelappartments, thus creating L shaped spaces both in section

and in plan.


plans of the L shaped appartemnets

second floor plan layout

third floor plan layout


monoline


08 monoline project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2009

Castor Group is a company that imports fashion clothing and accessories.Their company is located on the fourth floor of a shoping mall. Theyhaveconstantneesforrearrangingtheirshowrommsandoffices so as to meet their ever changing needs. Wewereaskedtoremodeloneoftheirshowroomsthatwouldhousea new collection. The concept was the use of a single line to accomodate

the needs for maximum hanging area and the ligting system.


house with a view


09 house with a view project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2008-2009

In a suburb of Chania, right next to the sea, with a view of the entire harbor, we were asked to design a house for a family with one child. The brief included a 40 m2 office space, a guest room and potentially a swimming pool.

Thebasicconceptforthishousewasthemaximization of the site’s unique asset, the view. The goal was to design

exterior and interior spaces in such a way that this quality would be enhanced. So the existing inclination of the site was utilized so as to “raise”the exterior open spaces and the main living areas. This had a dual effect. On the one hand it indeed maximized the view from the entirepropertyandontheotheritdevidedthehouseintotwodistinct parts, thus increasing privacy.


The office became a separate element whose roof is a part of the overall exterior space of the property, a terrace-like extension of the interior living spaces. On the same level we place the daughter’s master bedroom that has a separate connection to the exterior, as well as a guest bedroom and several utilities. The level of the terrace/exterior open space is the level of the main living areas. This is where the main entrance of the house is located and it is one

continuous space from the inside to the outside.

The top level is were the main master bedroom is located and it is completely private from the rest of the house. The house is also devided vertically with an atrium

that houses the staircase. Thisatriumdevides

the living area in terms of privacy and creates a transition to the double-heighted living room.


guest bed.

master bed. 2

plan-level 0

living area

office

plan-level 01


master bed. 1

section A-A

plan-level 02

section B-B


behind the glass


10 behind the glass project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2008

Mariangela is a company that imports fashion clothing and accessories. They are the main dealers for labels such as Sonia Fortuna, Illaria Nistri, Iodice and more.Their headquarters are inThessaloniki, but they recently purchased a 700 m2 building in Athens in order to house their Athens-branch. Wewereaskedbythecompanytocompletethebuilding,which

was only finished up to a point, and convert it into showroom

and office space.

The key issues that had to be addressed were: 1.Creating an environment that would match and promote the clothes. 2.Creatingasmuchhangingareaaspossible,giventhehugeamount of clothes to be displayed.

3.Creatingdistinctspacesforthedifferentcompanies,

without reducing the natural light 4. allowing for flexibility among the different showroom areas. 5.Reorganizing the faรงade so that it is visible and noticeable from the high way that in right in front and creating a proper entrance for the company.


facade of previous condition

plan of previous condition

Theconceptforthisprojectwasfundamentallytobringthe

lightthedeepestpossiblewithoutcompromisingthe privacy of each showroom. The fact the the building was almost finished and the utilities were already in place posed restrictions in the organization

of the plan. The result of a diagonal division between thefrontshowroomsandthebackshowroomsandtheuseof

semi transparent glass to divide the spaces. The resulting effect was enhansement of the“shadows� of the arrayed clothes. plan of proposal

The facade was not something we were allowed to alter in a major way. Our choice was again the use of light - artificial light this time - in order to make the building visible at night.


new facade

The facade was not something we were allowed to alter in a major way. Our choice was again the use of light - artificial light this time - in order to make the building visible at night.


d.i.y. office


11 d.i.y. office project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki date: 2008

Designingourownofficebecameaprojectthatwouldbedesigned

and manufactured entirely by us...and friends.

Fromthecleaningofthepre-existingwarehousetotheconstruction of the furniture it was a d.i.y. endeavour.


The office was previously storage space/garage. There was everything from a car to a telephone pole. All this was removed and the entire space remodeled. We used this as an experiment in con-

struction techniques and materials. We tried to use everything ourselves and learn in the process.


The car was replace by an old VESPA . The cement floorbecameindustrialflooring,theentranceramp became a set of steps and a huge metal-frame

destkwassethangingfromtheconcreteceiling. The rest of the furniture was recycled and remodeled pieces that we found in various locations.


soft space


12 soft space project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2008

Castor Group is a company that imports fashion clothing and accessories. They are the main dealers for labels such as Marella, LaltraModa, Compagnia Italiana, A-Style, Full Circle, Scunk Funk Buffalo, Wonderbra and more. Their headquarters are on the fourth floor of a shopping mall called Ionia Centre in Nea Ionia, Athens. We were asked by the company to convert two of the shops in the basement of the shopping mall into showroom–space for potentially up to five different labels.

The space had to be flexible enough to accommodate the different needs of each label and at the same time be able to acquire different spatial arrangements.

The companies that would be on display there were A-Style, Buffalo, Minus-Ung, Full Circle and Scunk Funk. These companies promote a more street and urban fashion. This prompted us to create a more industrial environment using industrial flooring and raw metal.

Theconceptforthisprojectwasbasedonthenotionof the“limit”and the way one“interfaces”with space in a more “flexible” manner in three aspects.


Thetwospaces thatweweregivenwerepreviouslyretailshops, butwereatthe time used as storage space for the company.The central elevator was the only direct connection to the fourth floor where the rest of the company was based.

space for renovation 02

public space

escalators

interior of space for renovation 02

space for renovation 01

atrium central elevator

space for renovation

01

01. The first aspect of the “limit” had to do with the creation of a literarily flexible space

public space space for renovation

02

withmalleablelimitsthatwouldbeableto meet the changing needs of each collection.

This was attempted through the use of an in-

novativewall-systemcalledsoftwall–

existing plan

akindofbendable,foldableandmovablefabric “wall”.


proposal plans

basement public space

“dark” corridor showroom entrances

concealed linting “windows”

configuration 01 maximum separation

configuration 02 reducing separation

configuration 03 reducing separation

configuration 04 rminimumseparation projection of 30cm height base section of 180cm height wall permanent hanging rack mobile hanging rack


interchangeable docking positions

rack -module suspension-rod

plan of the ceiling with the addition of the grid forthemodularsuspensionsystemfortheracks rack module


This system was coupled with

a system of changeable hanging racks. This was a modular suspension system that allowed the

rack modules to change locationsrelativelyeasy.Itcomprised of a grid that was attached to the ceilingbearingdockingpositions fortherack-modulesuspensionrods.When needed, the module couldbedetachedanddockedto a new position. The furniture also had to be flexible.We thus designed desks that could be divided when neededandwheeledtonewpositions.

02. The second element was

theneedtounifythecompany offices and other showrooms that were on the fourth floor with this newshowroomspace inthe basementandtheneedtodifferenti-

ate the entrance to this space from the retail shops next to it. The response to this need was

to expand the space that was initially given to us in order to incorporate part of the public space of the basement, including the central elevator. We thus created a distinct entrance and a direct connection to the fourth floor via the elevator.


03. The third aspect of the“limit”had to do with the distinction between the inside and the outside.

The space we had to design was in the basement without any direct access to the outside and to natural lighting. Ourresponsewasthecreationofthe illusion of exteriority and natural lighting through a series of glass panels that act as lighting fixtures and turn the solid walls into a “softer” spatial limit.


sliced walls


13 sliced walls project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki

date: 2007

Castor Group is a company that imports fashion clothing and accessories. They are the main dealers for labels such as Marella, LaltraModa, Compagnia Italiana, A-Style, Full Circle, Scunk Fumk, Buffalo, Wonderbra and more. Their headquarters are on the fourth floor of a shopping mall called Ionia Centre in Nea Ionia, Athens. We were

askedbythecompanytoredesigntheentrancetotheir offices and showrooms and two of their showrooms: one for and the other for LaltraModa. The project had to be viewed as a whole as all the spaces at hand were adjacent to each other.The existing spatial configuration consisted of a large toilet space outside the company’s entrance, the entrance withthereceptiondeskandonebigshowroomofabout230m²,which was previously used for Marella.This entire space had to be reconfiguredwithoutblockingtheuseofthecompanysothattherewouldbe two distinct showrooms. The bigger one was to be used for Marella and it had to fit the same amount of clothes that the previous one did.


initial given space that would be divided into two separete showrooms overall plan of the 4th floor headquartersofCastorgorup

The key issues that had to be addressed in the designofthe showroomforMarellawere: 1. Redesigning the general organization of the spaces at hand so that we are able to

maximize the capacity for clothes. 2. Bringing natural light into the show-

rooms which was completely blocked in the previous arrangement.

proposal for the Marella showroom


Theneedformaximazingcapacityandpracticalityledtoacurviliniar organization of the space with“islands”that follow the flow of movement allowing for an easier manipulation of the clothes. The same need led to the concept of a “layered” system of organization of all the vertical elements, including the actual surrounding walls. This system provided a single gesture that would address all the practical issues, i.e. surface space for accessories, the hanging rack and a background for the accentuation of the clothes Thisprojectwasthetestinggroundfortwothings.Ontheonehand we took the use of plaster board to an extreme curvilinear condition and on the other we used a new material called extenzo – a kind of expandable plastic ceiling – in a way that it was never used before in Greece.


surface for accessories

surface for accessories hanging rack

surface for accessories


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raw matter


14 raw matter project architects:

207x207 arc h i te c t s

Andreas Theodoridis-Stella NIkolakaki + Lena Chatzitzani and Kostas Kiriakou

date: 2005

The architectural office of Chatzitzani and Kostas Kiriakou worked with2207x207 architectsforthe designoftheirnew office space

in Chania. The site was a very long and narrow piece of land with

an old abandoned house on it with access facades to the roads on the two narrow sides.The requirements were to create open plan office spaces and a small apartment.


Thekeyissuesthathadtobeaddressedwere: 1.Taking advantage of the view towards

the sea

2. Taking advantage the dual access to the roads 3. Making an interesting architectural space that is both welcoming and “complex�.


plan-level 04 terrace

plan-level 03

plan-level 02

plan-level 01 0

3


Thetestinggroundforthisprojectwastheuseofexposedconcretein

suchawaythatitwouldblendwiththediverseenvironment ot the old and new city of Chania.


15 multiplex public space diploma project by:

Andreas Theodoridis-Stella NIkolakaki

supervised by:

ARGET

Discovering the potential of public space within the present urban fabric (in Greek cities). DEFINITION Space is that space within the city where people form their social identity and realize their role as members of an urban community. It is the main space of actual (asopposedtovirtual)communicationthroughinteractionandinformationand, therefore,themaingroundforcontradictionandconflict–fundamentalelements of a democratic urban condition. Public space is the connecting fabric of the city, linking all of its components through a continuous, freely accessible network. It provides alterations between movement and speed that serve as the filter through which an individual realizes and understands the city. REALITY

Prof. Lois Papadopoulos-Prof. Sassa Lada Aristotle University of Thessaloniki date: 2002

The above definition of public space does not entirely apply to the reality of the Greek city and more specifically Thessaloniki. Everything has become a channel of movement. The qualities of the public squarehavebeenadoptedbyprivatelyownedspaces,distortingthemthrougha consumer forming policy. Publicspaceisnotthelinkamongthecity’scomponents,buthasbeenreduced to one of its fragments. It’s part of the group of fragments that αre juxtaposed without any interconnecting relations. POSITION

Discovering and defining the underlying qualities of urban spaces and activating them as public space, may be the way to

respond adequately to the current needs of the modern city.The interrelation betweenmoving-stoppingandfast-slow,thecreationofsituationsthatpromote communicationthroughinteractionandinformation (limitingthenewkindof socially excluded individuals) and, on another level, the interweaving of the


section 1

plans of proposal

section 2


different kinds of functions that produce public space are the main areas of research. These functions are commerce, leisure and public services. This research starts from the analysis of the existing public spaces in Thessaloniki and the definition of their structure and goes on to redefine them with new criteria.

section 3

Apart from the road system, the basic public spaces in the city are three pedestrian axis that encompass broader areas-squares (”Αristotelous” and “Gounari”). Their structure is similar. The key word is axis. Their linearity is their fundamental characteristic. They consist of parallel and symmetrical strips of movement and vegetation and they are all monumental-they start or end at one of the city’s monuments.Thesemonumentsdonotactuallytakepartinthefunction of these spaces as public.They merely provide the background and remain inert. Another characteristic is that these spaces are exclusively on ground level. This is actually a general feature of any Greekcity.Anythingthatisconsideredpublicremainsongroundlevel (0 – +5). Finally, there is an apparent lack of stopping- areas. The occasional bench does not count as a means of altering the character of these areas. It’s superficial because it’s an addition, not a structural element. ASSESSMENT Themalfunctionoftheabovepublicspacesisobviouswhenviewing their characteristics as described above after the analysis of the meaning of public space. People move through these“squares”in the same way they move in

section 4

the street, fast. There is no variation of speed, which is es-


sential inorder tounderstandandlinkthefragments ofthemoderncity.Moving becomes the goal.There is no room for interaction and, as a result, communication.

themalfunctionof theexistingpublicspaces.The kind ofplace needed willhave tobeabletoabsorbthesetransformationsandsatisfytheneedsthatderivefrom them.

Another problem is the restriction of all public activities on ground

“Post urban space is determined by pockets of emptiness and shallowness. In between the developed sites of the urbanized landscape, we find undefined re-

level. This fact obstructs the interlocking of the different functions which is

PROPOSAL

sidual spaces, non-sites, urban voids”. These residual spaces are the result of the urbanization process and the expansion of the city that characterized the built as positive and the void as negative. They are the in between of the fragments of the city.These cracks and margins seem to be the perfect receptors for today’s real publicspace. they are the result of the urban evolution and can serve

The target is to discover the hidden layers of the actual city and find a way to activate their potential through a dynamic form of public space, focusing on making it a place of communication, a place o

absence of intentions.The void is the absence of architecture. Thevoidisthedomainofunfulfilledpromisesandunlimitedopportunity”.

necessary for the production of a public space that provides variations of spatial conditions.Furthermore,thefactthatthesepublicspacesformanurbancentrality does not suit the way that cities have started to function.

coherence, a place folded together with the city - the city together.

The key word is folding. One way to achieve this is to disperse public areas/ spaces throughout the entire city, replacing the present centrality with a network.Νetworksandhubsareconceptsthathavecometodominateourvocabulary, our way of thinking, the way we organize our lives and our cities. Centers are not needed anymore. This means that it’s not enough to re-design the existing public spaces. Redesigning does not revoke their centrality.What is needed is the creation of new public spaces in terms of where and how. Determining where is based on two parameters. The first parameter has to do with the the concept of the network and the constitution of the urban fabric.The kind of place needed is one that can be found everywhere in the city, so that it can function as part of a connecting network. The second parameter has to do with the transformation of the urban fabric and the lifestyle, which have led to

as the starting point for the post urban evolution. “The void points to the

These non-places are the gaps between buildings, the nonbuildable sites, the blind sides of buildings, roof-tops and terraces that changed characteristics through the changes in the adjacent buildings. PLACE A group of places like the ones described above is found at the old city center, at the block where the central food market has been for the past 70 years. The old citycenterwasburnedin1917andwasredesignedbytheFrenchurbanplanner, E. Hebrard. The first construction period ends in 1937. the central food market and some other buildings are from that period.The second construction period reaches 1957. during this time there was an expansion of the food market and a creation of an almost identical in structure building next to it, which became a meat market. After 1957 the rest of the block was completed and reached its


present form. The fact that the block was not the result of a single original plan and program and the fact that it was constructed throughout the 20th century resulted in a gathering of different architectural styles and a creation of a group of completely promiscuous elements. The relations among these elements were not planned, they are accidental. Yet,theentireblockseemsasahomogeneousenvironment.Thelack of planned relations among the different elements resulted in the creation voids , of places that were not intended to exist. configurations of the folding loop formation

Themarketsarebasicallytwoshellsthathousesmallerconstructions used as separate shops. They run through the entire block, having entrances on the north and the south side, as well as on the west. Around them there are tall buildings. The result is the impression of an enclosed area on top of the markets in the form of a atrium. Proposing the creation of a public space in this particular block on the one hand is due to the existence of such places without intention and on the other it’s due to the functions that presently exist there. InThessaloniki the public squares were traditionally associated with the “Bazaars�, the market-places. some of these market-places still exist, but they are on the verge of extinction. They are gradually being replaced by the big multiplex shopping centers that are being created outside the city.These complexes are replacing not only the markets, but the public space that goes with them. They create the new, controlled and strictly private public space. So, choosing to create a new form of public space at

a traditional city market comes as a response to this situation. This new space is activated through the market and in


original market structure

stripstructure

return, it will keep the market active. The variety of stimuli inside the market, the leisure activities (bars, restaurants, coffee shops), the commerce and the public services that coexist in the same block create an environment with the right dynamics for the formation of a new kind of public space. The interaction of all these elements with a public space adjusted to the new demandsoninformation,technology,communicationandtimewill create the counter for the multiplex shopping centers and their private“public space”. it will be a truly complex/multplex place where theconceptoffolding/weavingandthevariationsofthemovementof people will be fundamental characteristics. Thepurposeistocreateacoherentspacewhereoldandnewwillexist asdistinguishableelementsofanewstructure.Thisstructurederives from the structure of the block and the surrounding area, but uses a new vocabulary. It subverts the existing rule and sets a new one. ANALYSIS OF THE BLOCK-RULE

strip structure + interior units

Thestructureoftheentireblockischaracterizedbyanormality,which is common for the center of the surrounding area. It is orthogonal in plan and it is formed of orthogonal volumes of different sizes on the east and west side, which are all covered with oblique surfaces (roofs). These volumes are adjacent to one another enfolding the centralspace. this spaceis occupiedby thetwo marketsthat connect thesouthandthenorthsideoftheblock.Averyimportantcharacteristics is a “slit” which separates the two markets. Themarketshaveanalmostidenticalstructure.Theyareshellshaving the same structural system (concrete columns and beams).they are bothcoveredwithobliquesurfacesindifferentheights,symmetrical to a central axis.Their difference is that the newer meat market has a


concrete roof and two taller orthogonal buildings at its two sides. These two shells have galleries that run through them, giving access tothesmallerandstructurallyseparateshopsinside,andconnecting the two parallel streets on the north and the south side of the block. These galleries are in-between spaces. The concept of in-between is a fundamental characteristic of the area. The transition from in to out is not always clear. But, all this goesforthegroundlevel.Upanddownisalwaysclearlydistinguished. Furthermore, the galleries and the separate shops inside, as well as the roofs and the“slitâ€?between the buildings are all parallel and symmetrical accentuating the direction that they define.This direction dominates throughout the block. NEW RULE- SUBVERSION- PROPOSAL The different elements within the new system are more intensely interwoven . There are more in-between spaces. There is not justthetransitionbetweeninandoutbutalsothetransitionbetween upanddown.Thisnewsystemismulti-dimentional,multi-plex,complex.The structure that will create-and be created by- this reference systemandatthesametimehelpfoldtogetheralltheelementsofthe block is the fold. Theconceptofthefoldismulti-dimentional.Itisboththeprocessand the result of a transformation.The folded surfaces declare an action in process, introducing to the creative process the factor of time. Time is the fundamental factor of the urban transformations. The other important characteristic Îżf the fold is that it folds to-

gether different elements into a unified and continuous


mixture, which is constantly evolving, transforming itself, while letting them be discrete entities. In other words, the present situation and its unique qualities will not be lost, but will exist as an autonomous element within a new continuous, pliant reality. Furthermore, the fold helps create new in-between spaces, as it is an in-between space itself. It is self- transforming during is course, creating new characteristics for itself and forming receptors for defferent quality spaces, it becomes from floor to roof and vice-versa, it is both floor and roof, or otbecomesacompletelynewshell,enfoldingthepresentfunctionsofthesiteandsomenewones thatareadded.Duringthisprocessweputinusethe3-dimetionalspaceandsubverttherelationof public space to ground level. From another point of view the concept of the fold derives from the site itself.The roofs of the markets and folded surfaces. So , it is the structure that already exists that serves as the starting point for thecreationof anewstructure. A structurethat subvertsthe normalityofthe present condition usinganorhtologicalmethod,interconnectingtheexistingelementswiththeonesthatareadded. This method id directly related to the structure of the site ( the block).The dominant direction that exists in the structure of the two markets defines the basis for the new structure.The parallel strips of the galleries and the shops in the markets and the“slit”between them are interwoven with the

parallel strips of the proposal with an angle of 90 degrees.The difference is that the new strips are folded surfaces that create paths of movement and enclosed apaces all in one gesture.

The 90 degree angle also has to do with the fact that it creates a direct realation with one of the basic public axis of the city (”αristotelous”).This axis is also parallel to the dominant direction inside the markets.The new strips, vertical to theis direction, serve as a means of a multi-level connection between the “old” and traditional public space and the “new” one. The choice of the strip derives directly from both the structure of the markets and the structure of the existing public space of the city: the axis/road.

The second element of the new structure that subverts the existing rule has to do with the separate constructions that exist inside the markets and serv


as food-shops.These “volumes” have and independent structural system and are merely

enclosed within the shells of the markets, one next to the other (”parataxis”). The wish to create a flexible space that could also be used for other purposes ( besides the existing) leads to the replacementoftheseconstructionswithnewmovableonesthatcanbedismantledandstored.The size and structure of these new units is identical to the old ones.They are orthogonal, their frame is distinguishable form their walls and their front side folds, so that the inside is one with the outside. What is different is the materials and the fact that they can be moved and be dismantled. Therelation between the strips and these new units of space insidethemarketshas to do with the vertical movements of these units.The strips create loops that serve as pockets for the new units. In this way the market can function on another level besides ground level.

The structure of this new public space is formed out of three elements: the existing shell of the markets, the units of space and the folded strips that “tie” them together. These three elements are all formed from a visible frame and a “skin”. The skin takes its form almost always from the form of the frame.The three elements interact creating in-between, alternative spaces and are combined with the “slit”, enfolding it within the whole.

The characteristic of the slit that makes it essential to the whole project is the fact that it penetrates the whole, giving access to the two parallel streets from within the new space. it therefore provides a direct connection to the“street”. The transition from one side o the other though this passage can serve as a filter.The objective is for anyone that chooses to go through this passage to be able to obtain any wanted information. In other words it is going to be an information channel, while allowing a quick passage through the new public space.

Alternate velocitiesisoneoftheobjectives.Alterationsofstoppingandmovingwithinaunified and continuous system and the accentuation of all senses.The markets are rich in sound, images and smells, as all oriental markets are.The strips fold into this space creating conditions ideal


for the perception of all these stimuli. At the same time they create spaces thathostfunctions thatfocus onthedifferent sencesand the differentcommunicationcodesthatderivefromthem.Thetransition fromstoppingandmovinghavingasanobjectivetoaccentuatethe senses and therefore the means of communication is what this new public space aims to achieve. More specifically, we create spaces for video and cinema projections, a book-exchange shop, a press-stand and a post office. At the same time there is a change of functions in one of the newer market buildings. The building that is on its south side becomes a dormitory for ERASMUS-students and the functions it holds presently are transfered to the building on the north side.This building changes dramatically internally.The new public space penetrates inside it. It becomes a continuous space with folded surfaces as walls. The other change that occurs is the complete replacement of the western entrance to the old market. This entrance was a gallery between tall buildings. Now the entrance is formed out of the fold of one of the strips that encloses the shops that existed there before and creates space for new ones on a lower level. This particular strip has a very important role, since it is the one that connects the old public axis with the new public space and at the same time provides a double entrance to this public space. Ιn essenceitrunsthroughtheentireblockdoingexactlythesamething as the “slit”, vertically to the “slit”. The connection with the old public space is done through a publicservice-building that currently exists there. This public building is altered minutely at its ground floor (the floor that is mainly φορ public use), connecting itself to the whole system of strips – to the public space that surrounds it.


The result is a public space where all the functionsarefoldedtogetherandnotjuxtaposed.Itis a new multi-plex public space.


www.207x207.net / architecture network

copyright 2011

Portfolio 207x207 architecture network  

Projects Portfolio 207x207 architecture network / theodoridis andreas / stella nikolakaki

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