Interior Architecture Portfolio

2015 - 19

Interior Architecture Iosifidis Dimitris

IOS I F I DI S DI M I T RIOS 2 3 / 08 / 1992 +3069465047 81 j i m.i os@hotmai l.com

Pi raeus, Greece

EDUCAT IO N

SOF T WARE SKILLS

2015 -19 Ba c h elo r of A r ts (Honou r s) De gree i n

I n ter i o r A rch ite c tu r e , M id d l e sex Universi ty

Autocad 3D Studi o Max Rhi noceros 3D

LANGUAGE S

SketchUp + plugi ns

Greek

Vray for

E n g lish

+ SketchUp + Rhi noceros 3D Dimitris Ios ifidis

D imitris Iosifidis

+ 3D Studi o Max Lumi on

ios ifidis .dimitris

D imitris Iosifidis

Dimitris Ios ifidis

D imitris Iosifidis

PER SO NAL S KIL LS & IN TE R ESTS S ke tc h in g - M e a su rme nt - P h otog r a p hy - Fast Learner Tr a vellin g - Comp u te r Sc ie nc e - Extreme Sports

Twi nmoti on Photoshop InDesi gn Illustrator Premi ere Li ghtroom Ms Offi ce

P ROF E S S IONAL E XP ERI ENC E 03 - 2019/10 - 2019

04 - 2018

02 - 2018/06 - 2018

01 - 2018

08 - 2017/05 - 2018

A g g elos Doumeni s / Archi tecture Offi ce P ra cti ce Work Ove rproof Bar C afe Restaurant 3 d Vi suali zati ons & C onstructi on Detai ls A r chi 4m / Archi tecture Offi ce P ra cti ce Work Pa r o s Paradi so Hotel 3 d Vi suali zati ons Kornel Ex po / Pavi li on Desi gn Offi ce 3 d Vi suali zati ons & C onstructi on Detai ls

09 - 2017

Komvos C ompany 3 d Vi suali zati ons & C onstructi on Detai ls

04 - 2017

Ka ts aros Photography 3 d Vi suali zati ons

03 - 2017

A na mar Hotel 3 d Vi suali zati ons

01 - 2017

2010- 2017

Le B lanc Showroom 3 d Vi suali zati ons & C onstructi on Detai ls I osifi di s Bros S.A. / Retai l Shop Se l l er & Warehouse Management

WOR K S HO P S 2017

M a ke Your Own C anvas A k to Art & Desi gn C ollege / Asset Offi ce Interi ors

2017

M od ern Islami c & Greek Desi gn Appli cati ons A k to Art & Desi gn C ollege / Universi ty of Sharj ah

2017

A A Athens Vi si ti ng School A k to Art & Desi gn C ollege / Archi tectural Associ atio n

COM P E TI TIO N S 2017

M a ke Your Own C anvas [ 1st Pri ze ] A k to Art & Desi gn C ollege & Asset Offi ce Interi ors

2018

I b iza Arti st House reT H! NKING - Archi tecture C ompeti ti ons / Spai n

2018

I nHAUS LAB – Desi gn Your Modular House Ca sas i n Houses / Spai n

06-19 Piraeus Tower Type: Thesis Project

28-33 Climbing Shelter Type: Academic

20-27 Orbit Space Center Type: Academic

42-49 Keranis Campus Type: Academic

50-55 Komvos Pavilion Type: Work

34-41 Rectangle Blocks Type: Competition

PHOTOGRAPHY

pg. 56

Type: Thesis Project

Theme: Complex

Area: Greece, Piraeus

Size: 70.000 sqm

PIRAEUS TOWER

For decades the tower of Piraeus or “the Sleeping Giant“ has remained unused and unexploited.

The choice of the tower for reusing combines a lot of thoughts in order to give a new “breath“ to a “dead“ place in the city center, which is still unforbidden for transient people because of its bad reputation. A ghost building in the center of the city, which cannot be unobserved because of its dimensions still remains unexploited 47 years after its construction framework.

The unique intervention during this half century was to cover the exterior parts with glass surfaces in 1983 in order not to look abandoned.

Its location is specially privileged as it is in the city center near the port with direct access to the building by the public transportations means. Its architectural typology was among the most important buildings at that time because of its construction and its uniqueness of buildings-towers in Athens and in the whole of Greece. The tower of Piraeus is the trademark for its citizens and seamen, a modern lighthouse for the Athenian exemplar which could have helped with the growing of the port, if it had been used from the beginning of its construction.

06

Train Station 500 km. - 3 min.

Municipal Theater 300 km. - 2 min.

Castella Hill 1 km. - 8 min.

90m.

O.L.P. Piraeus 800 m. - 5 min.

Mikrolimano 1,5 km. - 10 min.

Zea Marina 950 km. - 7 min.

L O C AT I O N The tower of Piraeus is situated in the center of the town on Akti Poseidonos and Miaouli Street, an important junction between the incoming and outgoing from the port, with optical evasions from almost all sides of Piraeus.

Although its location is central, with direct connection to the public transportations means, it hasn't succeeded, 50 years after its construction framework, to be deployed from public or private organizations, in order to show the importance of the region but also the dynamic of the building.

08

60m.

30m.

AS IT WAS IMPORTANT TO ADD NEW CONCEPT ON THE PROJECT JUST BECAUSE I DID NOT HAVE BEFORE I STARTED THINK IT AS A GREEN CITY WAS SOMETHING THAT GAVE ME THE OPORTUNITY TO RETHING THE HOLE IDEA AS NEW WAY OF THINK 10

Front Section

CONC The basic idea to transform the tower of Piraeus into a vertical green city is the result of a lot of thought and research during my study. The first building idea was the realization of a place which could solve the basic needs of the city and its citizens. Its location quite in the center of the administrative region of Attica, in the center of Piraeus and near the port worked as a core which could put together all basic needs of a town in a vertical building.

The addition of Green Architecture got into the plan of the need of increasing the green in Piraeus as the towers large area. The introduction of sea water inside the tower was necessary as the tower is in front of the sea and it gives the feeling of dependence between tower and water. Finally the function of reflection of the surfaces works as a connection between city and sea.

New Facade

Urban Anarchy

12

CEPT

ti At

ae Pir

ca

us

Colour Pallete

nt Ce

er Water

Water Reflection

Tow

er

Skin

Wave Diagram

Concrete

Wood

Wavy Reflective Facade

Lighthouse: Symbolic Meaning Green City

The current state of the towe r

2

1

N ew e l eva to r s systems of the building

The indroduction of water.

4

3

Cutting parts of the floors in order to add light and closing parts of the facade

The old “Clock“ a n d a n ew b a l cony

6

5

Hotel Rooms Scattering

The main facade o f t h e towe r

14

8

7

The introduction of green a r y i n a l l ove r the building

User

C i rc u l at i o n

Open Space

H o t e l Ta r g e t G r o u p

Accommodation

Retail Shops User Activities

Public Space

Wo r k i n g S p a c e

Wo r k i n g A c t i v i t i e s

16%

12%

15%

Public Space

Private Space

Parking Space

13%

26%

16%

Retail Space

Accommodation

Plant Areas

CONSTRUCTION DETAILS

1

Aluminium Reflective Surface

2 Glass Elevator

3 White Metal Surface 4 Investment in the existing materials

5 White Metal Surface

6 Liquid Element: Water

1

16

2

3

4

5

6

Facade Detail

Plan View

Section

Axonometric

The stages of the facade through the daylight Stage 1 Morning Hours

Stage 2 Noon Hours

Stage 3 Afternoon Hours

[ Ground Floor View ]

[ First Floor Church View ]

[ Reception Desk View ]

Size: 765 sqm Area: France, Paris Theme: Exhibition Center Type: Academic

O R B I T S PAC E C E N T E R Located in the city center of Paris to showcase Iris Van Herpen's new collection at fashion design week which takes place in the city, Orbit Space Center is a project inspired by the fashion designer's work. Iris has a special relationship with architecture, where the morphology of her clothes is mostly inspired by buildings and the methodology of the architects. Orbit Space Center does just the opposite and comes to impart aesthetics of fashion and human form into a building that will house a collection. The overall aesthetics of the pavilion show a futuristic aspect of our world, just like Capriole couture expresses.

20

Based on the 2011 couture: Capriole, Orbit Space Center combines general ideas and design perceptions about Iris collection.

Because fashion is solely about the human factor and is essentially intended for humans, a central element in design is the human body. Taking the female torso and combining it with curves from her dresses, such as Cymatics, the design takes the form of a wavy torso. In this collection, Iris was inspired by the sense of free fall and how the body is affected during this time. The final performance of the drawings, however, is reminiscent of the deformation of the body and how much it changes in the fall.

The distortion of reality with the use of mirror texture, is not only influenced by the concept of the wave as well as how much Iris has managed to repel the concept of clothing design, but also how it has influenced the public opinion with her design style. A contrast between the Capriole couture through other collections in fashion week, creates an inspiration for a contrast building in the city of Paris.

22

24

Ar e cD Tr iom ph e 3 km

Grand Palais 1.6 km

Eiff

el T owe r2 km

uv Lo

re

Mu

m seu

1.3

km

tr Cen

om eP

b

u ido

2.4

km

No tre Dam 2 km

N

Inside the booth there will be an interaction between the models and the people around it. The intense illumination in the dark interior space of the pavilion with the contrast of purple and orange color, contrasting the reflection and distortion of the models from the curved surfaces of the building creates an aesthetic of a spacecraft with a futurist approach. The color choices were made because of the particular look of the clothes as their shades tend to be black and nude. With this contrast, the clothes will take on another dimension. Finally, the outdoor giant projector will feature the couture and will also be used as a different cinema format.

26

Type: Academic

Theme: Residential

Area: Norway, Jostedalsbreen

Size: 90 sqm

CLIMBING SHELTER The objective of the project is to design a small shelter for a hobbyist to climb and hike in the mountains, especially in snowy landscapes. The user’s hobby has been subdivided into three basic concepts that express it, and through these concepts has been created the first morphology of the shelter. Freedom, adventure and danger are the three meanings of the combination of climbing and hiking. The vertical shape of the building derives mainly from the concept of danger because it is the only way of the user to move from one room to another. The concept of freedom is conveyed through the view enjoyed by the user, while the adventure, with the whole tour of the shelter, as well as how it is been approached.

28

Much of the design of the Climbing Shelter enriches the user’s journey and experience throughout the interior. Trying to create a form for the three concepts, especially danger, there were a lot of types of shapes and thoughts that could be expressed. The final design is a combination of different approaches seeking the best expression of these concepts. The vertical approach was the base for the design process while the three meanings were trying to complete the overall idea.

The shelter is divided in four parts, with every space having its own use. On the first floor, which is the entrance of the house, is the kitchen, the second floor is the bathroom that had to be in the middle of the kitchen and bedroom. The bedroom is on the third floor and on the fourth floor is an observatory where the user can manage his destinations and trips.

Separation

30

Cube Rooms

Verticality

Norway J ostedalsbreen National Park 6 hours from Oslo

Climbing Wall

Final Design 4th Floor Observatory

3rd Floor Bedroom

2nd Floor Bathroom

1st Floor Kitchen

4 cubes same view in all rooms vertical aproach rooms separation

-

[ Side View Section ] 1 - Kitchen 2 - Bathroom 3 - Bedroom 4 - Observatory

32

[ Bedroom Rendering view ]

[ Kitchen Rendering view ]

Type: Competition Theme: Resedential Area: Malaga, Spain Size: 325 sqm

R E C TA N G L E B LO C K S The "rectangle blocks" project is a composition of cuboid volumes that form a fully equipped house. The concept of the design is based on three architectural principles: 1) the ease of construction, 2) the user-friendliness & 3) the functionality.

The main design intent is the formation of sleek volumes that determine the various uses in the interior space. On the ground level, the first volume consists of the communal areas; a kitchen and a living area. The second volume consists of a master bedroom, a shared WC and a garage. The first floor has two master bedrooms and a library.

From the exterior to the interior, the design follows a minimalistic simplicity with earthy tones and a few strokes of color to create contrast.

34

36 38

38

[ Master Bedroom Rendering ]

CONCEPT The construction of the cuboid volumes is achieved by five metal supports that secure the interconnection of the structure. This process makes the assembly of each volume easier, faster and rather durable.

The design of the interiors remains minimal with clear and bright surfaces. The building plan was determined by the intention to cover all the basic needs of a modern house.

Another important factor in the design process was the direction of the sun and the heat produced during the sunset. The direction of the openings of the house and the sunlight coming from the north and south side manage to keep the interior temperature stable.

40

FORM CONCEPT

[ Kitchen Rendering ]

Flat Plan

Separation

More Space

More Privacy

Type: Academic

Theme: University

Area: Greece, Piraeus

Size: 55 sqm

KERANIS CA M P US The building of Keranis is a flagship building for the city of Piraeus that has remained unused for years after the closure of the tobacco industry. As subject of the work, they gave us this building with a new use, the installation of a part of the University of Piraeus, fully equipped and with student residences. The goal was to install an installation that would be scattered throughout the building and to be used by students. That is to say, it is not only for decorative purposes but useful too. The design should be influenced by the combination of the university and the tobacco industry.

42

Plan

Lobby

Red Space

Blue Space

Autrium / Section

Building

44

3

1

2

Keranis

N 37,56,56.7,N 23,39,10.8,E

LO C AT I O N Keranis building is located at Athinon 39 Street in Piraeus, close to the center of the town and the central port of Greece. It can easily be accessed by transport means. The area around the building is quite underdeveloped and needs immediate action to be rejuvenated again. The location of the building played a major role in the design process and it was an influence for the concept.

The spot of the building, with the University, the port of Piraeus and the center of Athens, form a triangle. From this union of points, creating a triangle, was formed the idea for the installation to be installed inside the building 1

Port

2

Piraeus Univercity

3

Athens

46

Interactivity

1 - Projection 2 - Corridor 3 - Air Bench Team Work

Creativity

CO N C E P T The concept of the project combines lots of ideas and inspirations throughout the progress and research.

Apart from the three dimensional triangle shape that was inspired from the location of the building, there were also a specific reason about the two colours that had been used.

Both Keranis Company and the University of Piraeus have red and blue colours in their logos and posters and also in some advertisements. These two colours where used to design some spaces with a colour meaning. Red for spaces that needed to be energetic and in motion, such as labs. The blue colour being placed in spaces for relaxation and calmness.

The installations were placed all over the building, with the most important spots being the entrance and the atrium. The atrium of the building was an area that had the biggest prospect of adding an installation because of the large free space. The triangles there are used as a projection for a better view inside the building, a spot to sit and relax and also a corridor if there is a lot of junction through the halls.

Lobby Plan View

iNTERIOR space The installation was placed in various areas of the interior of the Keranis Campus with the central point being the entrance and reception of the building, precisely to give the impression of using the triangle from the outset.

However, in addition to the triangle installation, red and blue are also used in the interior. In the living room, located on the side of the student halls, the blue space was placed there so that the students could relax and rest in their spare time.

48

Type: Work

Theme: Pavilion

Area: Global

Size: 55 sqm

K O M V O S P AV I L I O N

When I was commissioned to design the pavilion for Komvos Home company, there where a lot of instructions and design requirements to be solved in a short amount of time. The company sells fabrics and linen for hotel equipment and these are what they wanted to promote through this exhibition.

Designing a pavilion requires some implementations so that it can solve problems of optical views while the people passing by from the halls or by entering in the space. The first noticeable problem was the direction of the pavilion which did not gave it the possibility to be shown from a good perspective. Another major factor of the design process was to show the ability of the company’s products to be the first image of the construction.

50

PAC K AG I N G x 6 pieces

52

x 1 piece

x 1 piece

x 3 pieces

CO N C E P T The promotion of the company’s products was the first and basic idea for the design of the pavilion. This was accomplished by designing shelves that are reminiscent of the fabric production process and covering them with cotton fabric. This design process had the prospect to be touched by visitors so that they could feel the quality of the material and understand only from the look that this company is selling white linen.

The shelf morphology was designed in such a way that the pavilion could be easily packed and stored in a warehouse for later use. Creating a modular pavilion for ease and fast placement, it gave the potential to be expanded or reduced depending on the space they would have allocated to the company for each participation in its exhibition. The entire pavilion is stored in a container so that it can be transferred depending on which exhibition the company will attend.

- Global Pavilion - Transferable - Easy to assemble - Expandable

0,03

ΡΑΦΙΑ & ΤΕΛΑΡΑ

ΠΛΑΤΗ ΞΥΛΙΝΗ

ΡΑΦΙΑ

0,03

2,6 2,2

1,33 ΡΑΦΙΑ & ΤΕΛΑΡΑ

ΠΛΑΤΗ ΞΥΛΙΝΗ

ΡΑΦΙΑ

2,6

1,01

2,2

1,33

1,01

ΤΟΙΧΟΣ - ΠΛΑΤΗ ΓΥΨΟΣΑΝΙΔΑΣ

ΜΕΤΑΛΛΙΚΕΣ ΡΑΓΕΣ ΦΩΤΙΣΜΟΥ ΤΡΙΩΝ ΣΠΟΤ (DAYLIGHT)

ΕΝΔΕΙΞΗ ΦΩΤΙΣΜΟΥ

ΞΥΛΙΝΑ ΔΟΚΑΡΙΑ ΣΤΗΡΙΞΗΣ ΦΩΤΙΣΤΙΚΩΝ

0,47 0,42

ΤΟΜΗ ΒΒ' 1/25 ΕΝΔΕΙΞΗ ΣΤΑΘΜΩΝ & ΛΕΙΤΟΥΡΓΙΑ ΡΑΦΙΩΝ

0,51- ΠΛΑΤΗ ΓΥΨΟΣΑΝΙΔΑΣ 0,51 ΤΟΙΧΟΣ

0,51 ΜΕΤΑΛΛΙΚΕΣ ΡΑΓΕΣ ΦΩΤΙΣΜΟΥ ΤΡΙΩΝ ΣΠΟΤ (DAYLIGHT)

ΕΝΔΕΙΞΗ ΦΩΤΙΣΜΟΥ

ΞΥΛΙΝΑ ΔΟΚΑΡΙΑ ΣΤΗΡΙΞΗΣ ΦΩΤΙΣΤΙΚΩΝ

0,47 ΤΟΜΗ ΒΒ' 1/25 ΕΝΔΕΙΞΗ ΣΤΑΘΜΩΝ & ΛΕΙΤΟΥΡΓΙΑ ΡΑΦΙΩΝ

0,03

0,42

0,42

0,03

ΡΑΦΙ

3,05

0,42 ΡΑΦΙ 0,51

0,47

0,42

0,42

0,03

0,42

0,51

0,47

0,51

ΡΑΦΙ

0,03

0,42

0,42

0,42

0,03

ΡΑΦΙ

3,05

0,42

0,02

ΡΑΦΙ

0,42

0,03

ΡΑΦΙ

0,42

ΓΩΝΙΕΣ

ΛΕΠΤΟΜΕΡΕΙΑ

ΜΙΣΟΙ ΠΗΧΕΣ

*

ΠΗΧΕΣ

* *

0,42

Η ΤΟΠΟΘΕΤΗΣΗ ΤΩΝ ΤΕΜΑΧΙΩΝ ΓΙΝΕΤΑΙ ΩΣ ΕΞΗΣ: ΑΠΟ ΓΩΝΙΑ ΣΕ ΠΗΧΗ -> ΑΠΟ ΠΗΧΗ ΣΕ ΓΩΝΙΑ -> ΑΠΟ ΓΩΝΙΑ ΣΕ ΓΩΝΙΑ Κ.Ο.Κ.

0,02 (ΚΑΙ ΑΝΤΙΣΤΡΟΦΑ)

ΟΨΗ BB' 1/25 ΕΝΔΕΙΞΗ ΤΟΠΟΘΕΤΗΣΗΣ ΓΩΝΙΩΝ & ΠΗΧΩΝ

ΕΞΑΙΡΕΙΤΑΙ Η ΠΕΡΙΠΤΩΣΗ ΠΟΥ ΤΟΠΟΘΕΤΕΙΤΑΙ ΡΑΦΙ

ΠΗΧΕΣ, ΜΙΣΟΙ ΠΗΧΕΣ & ΓΩΝΙΕΣ ΕΙΝΑΙ ΔΙΑΦΟΡΕΤΙΚΩΝ ΔΙΑΣΤΑΣΕΩΝ ΓΩΝΙΕΣ ΑΝΑΛΥΤΙΚΗ ΑΝΑΦΟΡΑ ΣΕ ΔΙΑΣΤΑΣΕΙΣ & ΤΕΜΑΧΙΑ

ΛΕΠΤΟΜΕΡΕΙΑ Η ΤΟΠΟΘΕΤΗΣΗ ΤΩΝ ΤΕΜΑΧΙΩΝ ΓΙΝΕΤΑΙ ΩΣ ΕΞΗΣ: ΑΠΟ ΓΩΝΙΑ ΣΕ ΠΗΧΗ -> ΑΠΟ ΠΗΧΗ ΣΕ ΓΩΝΙΑ -> ΑΠΟ ΓΩΝΙΑ ΣΕ ΓΩΝΙΑ Κ.Ο.Κ. (ΚΑΙ ΑΝΤΙΣΤΡΟΦΑ)

ΜΙΣΟΙ ΠΗΧΕΣ

*

ΠΗΧΕΣ

ΟΨΗ BB' 1/25 ΕΝΔΕΙΞΗ ΤΟΠΟΘΕΤΗΣ ΓΩΝΙΩΝ & ΠΗΧΩΝ

ΕΞΑΙΡΕΙΤΑΙ Η ΠΕΡΙΠΤΩΣΗ ΠΟΥ ΤΟΠΟΘΕΤΕΙΤΑΙ ΡΑΦΙ

ΤΟΠΟΘΕΤΗΣΗ ΤΕΛΑΡΩΝ ΣΤΗΝ ΟΨΗ BB'

* *

ΜΠΡΟΣΤΙΝΗ ΟΨΗ ΡΑΦΙΩΝ

ΠΗΧΕΣ, ΜΙΣΟΙ ΠΗΧΕΣ & ΓΩΝΙΕΣ ΕΙΝΑΙ ΔΙΑΦΟΡΕΤΙΚΩΝ ΔΙΑΣΤΑΣΕΩΝ

DΑΝΑΛΥΤΙΚΗ D D D D D D D D ΑΝΑΦΟΡΑ ΣΕ ΔΙΑΣΤΑΣΕΙΣ & ΤΕΜΑΧΙΑ D

C

C

C

D

C

D

C

C B

B

B C B

B

Α

B

Α

B

Α

B

Α

Α

Α

Α

Α

Α

Α

0,465

ΤΥΠΟΣ A

C B

B

0,02

0,516

ΤΥΠΟΣ B

B

0,02

0,58

ΤΥΠΟΣ C

0,02

0,653

ΤΥΠΟΣ D

0,02

0,5

0,5

CO N S T UC T I O N

0,5 0,02 0,02 0,02

0,02

ΤΥΠΟΣ ΤΕΛΑΡΟΥ Α

ΤΥΠΟΣ ΤΕΛΑΡΟΥ B

ΤΕΜΑΧΙΑ : 10

ΤΕΜΑΧΙΑ : 11

0,653

0,58

0,516

0,465

0,02

The design of the pavilion required a specific attention and detail process to be implemented exactly how it was designed.

There were a lot of different types of objects and pieces to be assembled together at the placement time in the exhibition. That is why every piece had its own numbering to be easily spotted and placed in the exact point.

Another major role of the design process was the time speed and it was finally achieved with the modular parts.

This allowed the pavilion to be implemented faster than almost every other pavilion.

0,02

0,5

0,02

0,02

ΤΥΠΟΣ ΤΕΛΑΡΟΥ C

ΤΥΠΟΣ ΤΕΛΑΡΟΥ D

ΤΕΜΑΧΙΑ : 8

ΤΕΜΑΧΙΑ : 12

0,5

0,5 0,5 0,5

0,03

0,03 *

0,653

0,58

0,516

0,465

0,03

0,03

ΤΑ ΚΕΝΑ (ΟΨΗ BB') ΑΝΤΙΠΡΟΣΩΠΕΥΟΥΝ ΡΑΦΙΑ

ΛΕΠΤΟΜΕΡΕΙΑ ΚΑΤΑΣΚΕΥΗΣ 1/2 ΣΕΙΡΑ ΤΟΠΟΘΕΤΗΣΗΣ ΚΟΜΜΑΤΙΩΝ ΓΩΝΙΑ

VELCRO (ΘΥΛΙΚΟ - ΑΡΣΕΝΙΚΟ)

ΣΤΗΛΗ ΣΤΗΡΙΞΗΣ

ΤΕΛΑΡΟ

ΠΗΧΗΣ (30εκ.)

VELCRO (ΘΥΛΙΚΟ - ΑΡΣΕΝΙΚΟ)

54

ΒΙΔΑ 5.5εκ.

0,03

ΡΑ ΛΑ ΤΕ

ΡΑΦΙΑ & ΤΕΛΑΡΑ

ΠΛΑΤΗ ΞΥΛΙΝΗ 0,03

2,6 ΡΑ ΛΑ ΤΕ

1,78

ΡΑΦΙΑ

ΡΑΦΙΑ & ΤΕΛΑΡΑ

0,91 ΡΑΦΙΑ & ΤΕΛΑΡΑ

ΠΛΑΤΗ ΞΥΛΙΝΗ

1,52

2,6 ΡΑΦΙΑ

1,78 ΡΑΦΙΑ & ΤΕΛΑΡΑ

0,91 1,52

0,47

ΤΟΙΧΟΣ - ΠΛΑΤΗ ΓΥΨΟΣΑΝΙΔΑΣ

ΜΕΤΑΛΛΙΚΕΣ ΡΑΓΕΣ ΦΩΤΙΣΜΟΥ ΤΡΙΩΝ ΣΠΟΤ (DAYLIGHT)

ΕΝΔΕΙΞΗ ΦΩΤΙΣΜΟΥ

ΞΥΛΙΝΑ ΔΟΚΑΡΙΑ ΣΤΗΡΙΞΗΣ ΦΩΤΙΣΤΙΚΩΝ

ΤΟΙΧΟΣ - ΠΛΑΤΗ ΓΥΨΟΣΑΝΙΔΑΣ

ΜΕΤΑΛΛΙΚΕΣ ΡΑΓΕΣ ΦΩΤΙΣΜΟΥ ΤΡΙΩΝ ΣΠΟΤ (DAYLIGHT)

ΕΝΔΕΙΞΗ ΦΩΤΙΣΜΟΥ

ΞΥΛΙΝΑ ΔΟΚΑΡΙΑ ΣΤΗΡΙΞΗΣ ΦΩΤΙΣΤΙΚΩΝ

ΤΟΜΗ AA' 1/25 ΕΝΔΕΙΞΗ ΣΤΑΘΜΩΝ & ΛΕΙΤΟΥΡΓΙΑ ΡΑΦΙΩΝ

Pavilion

ΤΟΜΗ AA' 1/25 ΕΝΔΕΙΞΗ ΣΤΑΘΜΩΝ & ΛΕΙΤΟΥΡΓΙΑ ΡΑΦΙΩΝ

0,51

0,51

0,47

Look 0,42

0,03

ΡΑΦΙ

0,47

0,51

0,47

0,51

0,51

People

0,47

3,05

0,42

0,42

0,03

ΡΑΦΙ

0,42

0,42

ΡΑΦΙ

ΡΑΦΙ

0,42

0,03

ΡΑΦΙ

0,42

3,05

0,42

0,03

0,42

ΡΑΦΙ

0,42 0,02

ΡΑΦΙ

ΛΕΠΤΟΜΕΡΕΙΑ

0,42

Η ΤΟΠΟΘΕΤΗΣΗ ΤΩΝ ΤΕΜΑΧΙΩΝ ΓΙΝΕΤΑΙ ΩΣ ΕΞΗΣ: ΑΠΟ ΓΩΝΙΑ ΣΕ ΠΗΧΗ -> ΑΠΟ ΠΗΧΗ ΣΕ ΓΩΝΙΑ -> ΑΠΟ ΓΩΝΙΑ ΣΕ ΓΩΝΙΑ Κ.Ο.Κ. (ΚΑΙ ΑΝΤΙΣΤΡΟΦΑ)

0,02 ΜΙΣΟΙ ΠΗΧΕΣ ΓΩΝΙΕΣ

ΟΨΗ ΑΑ' 1/25 ΕΝΔΕΙΞΗ ΤΟΠΟΘΕΤΗΣΗΣ ΓΩΝΙΩΝ & ΠΗΧΩΝ

ΛΕΠΤΟΜΕΡΕΙΑ

*

ΠΗΧΕΣ

* *

ΡΑΦΙ

ΡΑΦΙ

0,42

ΓΩΝΙΕΣ

3,05 ΡΑΦΙ

ΡΑΦΙ

0,03

0,42

0,02

0,47

ΡΑΦΙ

0,03

0,42

0,42

0,51

ΕΞΑΙΡΕΙΤΑΙ Η ΠΕΡΙΠΤΩΣΗ ΠΟΥ ΤΟΠΟΘΕΤΕΙΤΑΙ ΡΑΦΙ

Η ΤΟΠΟΘΕΤΗΣΗ ΤΩΝ ΤΕΜΑΧΙΩΝ ΓΙΝΕΤΑΙ ΩΣ ΕΞΗΣ: ΑΠΟ ΓΩΝΙΑ ΣΕ ΠΗΧΗ -> ΑΠΟ ΠΗΧΗ ΣΕ ΓΩΝΙΑ -> ΑΠΟ ΓΩΝΙΑ ΣΕ ΓΩΝΙΑ Κ.Ο.Κ. (ΚΑΙ ΑΝΤΙΣΤΡΟΦΑ)

ΜΙΣΟΙ ΠΗΧΕΣ

ΟΨΗ ΑΑ' 1/25 ΕΝΔΕΙΞΗ ΤΟΠΟΘΕΤΗΣΗΣ ΓΩΝΙΩΝ & ΠΗΧΩΝ

* ΕΞΑΙΡΕΙΤΑΙ Η ΠΕΡΙΠΤΩΣΗ ΠΟΥ ΤΟΠΟΘΕΤΕΙΤΑΙ ΡΑΦΙ ΛΕΠΤΟΜΕΡΕΙΑ

ΠΗΧΕΣ ΓΩΝΙΕΣ

ΠΗΧΕΣ, ΜΙΣΟΙ ΠΗΧΕΣ & ΓΩΝΙΕΣ ΕΙΝΑΙ ΔΙΑΦΟΡΕΤΙΚΩΝ ΔΙΑΣΤΑΣΕΩΝ ΑΝΑΛΥΤΙΚΗ ΑΝΑΦΟΡΑ ΣΕ ΔΙΑΣΤΑΣΕΙΣ & ΤΕΜΑΧΙΑ * *

Η ΤΟΠΟΘΕΤΗΣΗ ΤΩΝ ΤΕΜΑΧΙΩΝ ΓΙΝΕΤΑΙ ΩΣ ΕΞΗΣ: ΑΠΟ ΓΩΝΙΑ ΣΕ ΠΗΧΗ -> ΑΠΟ ΠΗΧΗ ΣΕ ΓΩΝΙΑ -> ΑΠΟ ΓΩΝΙΑ ΣΕ ΓΩΝΙΑ Κ.Ο.Κ. ΜΙΣΟΙ ΠΗΧΕΣ ΠΗΧΕΣ, ΜΙΣΟΙ ΠΗΧΕΣ & ΓΩΝΙΕΣ ΕΙΝΑΙ ΔΙΑΦΟΡΕΤΙΚΩΝ ΔΙΑΣΤΑΣΕΩΝ (ΚΑΙ ΑΝΤΙΣΤΡΟΦΑ) ΑΝΑΛΥΤΙΚΗ ΑΝΑΦΟΡΑ ΣΕ ΔΙΑΣΤΑΣΕΙΣ & ΤΕΜΑΧΙΑ * ΕΞΑΙΡΕΙΤΑΙ Η ΠΕΡΙΠΤΩΣΗ ΠΟΥ ΤΟΠΟΘΕΤΕΙΤΑΙ ΡΑΦΙ ΠΗΧΕΣ

* *

ΠΗΧΕΣ, ΜΙΣΟΙ ΠΗΧΕΣ & ΓΩΝΙΕΣ ΕΙΝΑΙ ΔΙΑΦΟΡΕΤΙΚΩΝ ΔΙΑΣΤΑΣΕΩΝ ΑΝΑΛΥΤΙΚΗ ΑΝΑΦΟΡΑ ΣΕ ΔΙΑΣΤΑΣΕΙΣ & ΤΕΜΑΧΙΑ

ΟΨΗ ΑΑ' 1/25 ΕΝΔΕΙΞΗ ΤΟΠΟΘΕΤΗΣΗΣ ΓΩΝΙΩΝ & ΠΗΧΩΝ

Height Measure

ΤΟΠΟΘΕΤΗΣΗ ΤΕΛΑΡΩΝ ΣΤΗΝ ΟΨΗ ΑΑ'

D

D

C

D

C

D

D

D

D C

C B

D

D

D

D

D

C

D

C

C

C B

C B

B

Α

B

Α

B

Α

Α

Α

Α

B

B

Α

Α

D

D

D

C C

C

C

B

B Α Α

D

Α

ΜΠΡΟΣΤΙΝΗ ΟΨΗ ΡΑΦΙΩΝ

D D

C

D C

C B

C

C

C

B

0,465

ΤΥΠΟΣ A

B

B

0,02

0,516

ΤΥΠΟΣ B

0,02

0,58

Α

B

Α

B

Α

Α

Α

Α

Α

Α

0,02

ΤΥΠΟΣ C

0,653

ΤΥΠΟΣ D

0,02

0,5

0,5 0,5

0,02

0,5

0,02 0,02

0,02

0,02

0,02

ΤΥΠΟΣ ΤΕΛΑΡΟΥ Α

ΤΥΠΟΣ ΤΕΛΑΡΟΥ B

ΤΕΜΑΧΙΑ : 19

ΤΕΜΑΧΙΑ : 14

0,653

0,58

0,516

0,465

0,02

0,02

ΤΥΠΟΣ ΤΕΛΑΡΟΥ C

ΤΥΠΟΣ ΤΕΛΑΡΟΥ D

ΤΕΜΑΧΙΑ : 16

ΤΕΜΑΧΙΑ : 20

0,5

0,5 0,5 0,5

0,03 *

0,653

0,58

0,516

0,465

0,03

0,03

0,03

ΤΑ ΚΕΝΑ (ΟΨΗ ΑΑ') ΑΝΤΙΠΡΟΣΩΠΕΥΟΥΝ ΡΑΦΙΑ

ΠΗΧΑΚΙΑ ΣΤΗΡΙΞΗΣ

ΠΗΧΑΚΙΑ 0,04 ΣΤΗΡΙΞΗΣ

0,5

0,07

0,42

People Interaction

0,04 ΣΤΗΛΕΣ ΣΤΗΡΙΞΗΣ 0,5 0,5 0,07 0,42

0,42

0,42

ΤΟΙΧΟΣΣΤΗΡΙΞΗΣ - ΠΛΑΤΗ ΣΤΗΛΕΣ

ΤΟΙΧΟΣ - ΠΛΑΤΗ

0,04 0,5

0,5 0,42

0,42

0,04 0,07

ΣΤΗΛΕΣ ΣΤΗΡΙΞΗΣ 0,5

0,84 0,42

0,42 0,84

0,42

0,42

ΤΕΛΑΡΟ

0,42

0,42

ΤΕΛΑΡΟ

0,42

0,84 0,42

0,42 0,84

3,1

0,42 0,3

0,42

0,42

0,42

0,42

ΤΕΛΑΡΟ 0,42

0,42

0,84 0,42

ΓΩΝΙΕΣ

0,2 0,42

ΓΩΝΙΕΣ

3,1

0,42

0,42

0,42 0,4

0,84

3,05 0,42

0,42

0,42

0,42

0,42

0,4

3,1

3,1

0,3

0,84

0,3

0,42

0,2

0,84 0,42

0,05

0,5

0,3

0,84

0,42

0,84

3,05 0,42

0,84 ΤΕΛΑΡΟ

0,5

0,4

0,84

3,05

3,05

ΤΟΙΧΟΣ - ΠΛΑΤΗ

0,42

0,42

0,42

0,42 0,4

ΤΟΙΧΟΣΣΤΗΡΙΞΗΣ - ΠΛΑΤΗ ΣΤΗΛΕΣ

0,07

0,42

0,42

0,42

0,05

ΣΤΗΛΕΣ ΣΤΗΛΕΣ * ΟΙ ΣΤΗΛΕΣ ΤΟΠΟΘΕΤΟΥΝΤΑΙ * ΟΙ ΣΤΗΝ ΣΤΗΛΕΣ ΠΛΑΤΗ ΤΟΠΟΘΕΤΟΥΝΤΑΙ - ΤΟΙΧΟ ΣΤΗΝ ΠΛΑΤΗ - ΤΟΙΧΟ * Η ΑΠΟΣΤΑΣΗ ΜΕΤΑΞΥ ΤΟΥΣ * ΗΕΙΝΑΙ ΑΠΟΣΤΑΣΗ 51εκ. ΕΚΤΟΣ ΜΕΤΑΞΥ ΤΗΣ ΤΟΥΣ ΠΡΩΤΗΣ ΕΙΝΑΙ&51εκ. ΤΗΣ ΕΚΤΟΣ ΤΕΛΕΥΤΑΙΑΣ ΤΗΣ ΠΡΩΤΗΣ -> 47εκ. & ΤΗΣ ΤΕΛΕΥΤΑΙΑΣ -> 47εκ.

0,42

0,42

0,42 0,2

0,05

0,2

0,05

ΚΑΤΑΣΚΕΥΑΣΤΙΚΗ ΛΕΠΤΟΜΕΡΕΙΑ ΚΑΤΑΣΚΕΥΑΣΤΙΚΗ ΛΕΠΤΟΜΕΡΕΙΑ ΡΑΦΙΩΝ & ΕΠΕΝΔΥΣΗΣ ΠΛΑΤΗΣ ΡΑΦΙΩΝ & ΕΠΕΝΔΥΣΗΣ ΠΛΑΤΗΣ

ΤΕΛΑΡΑ & ΓΩΝΙΕΣ ΤΕΛΑΡΑ & ΓΩΝΙΕΣ ΑΝΑΛΥΤΙΚΗ ΑΝΑΦΟΡΑ ΔΙΑΣΤΑΣΕΩΝ & ΤΟΠΟΘΕΤΗΣΗΣ * ΑΝΑΛΥΤΙΚΗ ΑΝΑΦΟΡΑ *ΔΙΑΣΤΑΣΕΩΝ & ΤΟΠΟΘΕΤΗΣΗΣ

People Interaction