.
ELENA STAMOULI ARCHITECT
URBANIST
“You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and tthen use that knowledge along with contemporary thinking to interpret what you see.�
Tadao Ando
ELENA STAMOULI B. A. T. E.
.
ARCHITECT . URBANIST
26.01.1988 35, Proffessorslingan Str, STOCKHOLM +47738729943 / +306936649546 elenarchit@gmail.com
EDUCATION 2016
KTH.ROYAL INSTITUTE OF TECHNOLOGY – STOCKHOLM MSc. Masters in Urbanism
2010-12
WELSH SCHOOL OF ARCHITECTURE – CARDIFF UNIVERSITY March. Master of Architecture
2006-09
WELSH SCHOOL OF ARCHITECTURE – CARDIFF UNIVERSITY BSc. Bachelor of Science in Architecture
2000-05
ARSAKEIO/TOSITSEIA SCHOOLS - ATHENS A’ Arsakeio High School
SCHOLARSHIPS 2015-16
PROPONDIS FOUNDATION STUDIES SCHOLARSHIP – ATHENS
WORK EXPERIENCE 2013-15
TERRARCH_BAKALIDOU KLEOPATRA TECHNICAL ARCHITECTURAL BUREAU Architectural design Interior design Urban control, evaluation and design outlines Property valuations Planning permits
2012-13
AETER ARCHITECTS_HARRY BOUGADELIS + ASSOCIATES Architectural + Urban planning and design competitions
2009-10
STUDIO 75_STEFANOS PANTOS KIKKOS + ASSOCIATES Architectural design Planning permits
2005-06
RKITEKTS_EPAMINONDAS DASKALAKIS + ASSOCIATES Architectural Workshop [ecoweek.gr]
LANGUAGES
DIGITAL SKILLS Autocad_Archicad Rhinoceros _ Ecotect_Sketchup/Vray_Revit Adobe Photoshop_InDesign Microsoft Office Windows _ Macintosh
GREEK ENGLISH FRENCH SPANISH SWEDISH
native speaker professient user [C2] advanced user [C1] intermediate user [B1] beginner
PARTICIPATIONS JAN. 2016
URBAN THINK TANK [UTT] . ETH.ZURICH + KTH. ROYAL INSTITUTE OF TECHNOLOGY International placemaking project for the reactivation of Grønland area in Oslo,Norway. The project was presented in the Municipality of Oslo. Study on sites of informal urban settlements in Morroco
APR. 2016
RE_KYIV . LOST PLACES INTERNATIONAL IDEAS COMPETITION [Winning Proposal] Collaboration with Anastasiia Borondienko
NOV. 2015
ARKEN ARKITEKTER + KTH. ROYAL INSTITUTE OF TECHNOLOGY Urban planning and design project for the new vacant area due to the train going underground in Sundbyberg, Stockholm.
OCT. 2015
STIPO + HANS KARSSENBERG Three days workshop on urban analysis of public spaces of Stockholm according to “the city at the Eye level” strategy
SEP. 2015
AQ ARKITEKTER + KTH. ROYAL INSTITUTE OF TECHNOLOGY Nordic study trip and project on the urban development of the industrial landscape in Norrköping, Sweden
NOV. 2014
ARGO MUSEUM_ARCHITECTURAL COMPETITION [First Honorable Mention] Collaboration with the architects Fotis Zapantiotis and Katerina Daskalaki
FEB. 2013
RETHINK ATHENS_EUROPEAN ARCHITECTURAL COMPETITION [Second Runner Up] AETER Architects
DEC. 2013
MUSEUM OF UNDERWATER ANTIQUITIES ON PIRAEUS PORT ICOMPETITION [Second Honorable Mention] AETER Architects
SEP. 2011
ILLINOIS SCHOOL OF ARCHITECTURE [UNIVERSITY OF ILLINOIS] Two weeks students exchange program
SEP. 2010
ECOWEEK [Habits change - Climate change] International Conference and Workshops for young Architects
MAR. 2010
ATHENS BENCHMARK International Architectural Competition for the new bench of Athens Collaboration with Mariada Stamouli
PUBLICATIONS Haas,Tigran and Farell,Kyle (editors), 2015, Challenges for Metropolitan Urban Regions: The future of places, Visual Translation of the social crisis in the urban fabric, [Universitetsservice Publications] Montes,Jaime and Haas,Tigran and (editors), 2016 Urban Spaces of the city, A melody of spaces; a new urban core for Sundbyberg, [KTH-Royal Institute of Technology]
INTERESTS - Creator of “Seduki” - Art creations based mainly on concrete - Handicraft teacher in childrens’ summer camp - Set design and theatrical scenography in small independent productions - Travelling . Sailing . Photography . Camping
INDEX
SUNDBYBERG A MELODY OF SPACES . A NEW URBAN CORE ADVANCED URBANISM STUDIO . 2016 This design proposal shows how the city center of Sundbyberg, from the new station area towards Marabou Parken, could be transformed when the existing railway is buried underground. Currently a strong physical barrier of Sundbyberg’s urban fabric, the existing railway offers good regional connections within the Stockholm Metropolitan Region and is a catalyst for urban life in the quickly growing municipality of Sundbyberg. During the design process we focused on improving the spatial quality of the city center of Sundbyberg through reclaiming it’s role in the whole city and region, using the reversed framework of Koolhaas’ Extra Large, Large, Medium, Small and Extra Small (XL, L, M, S, XS). By reversing Koolhaas’ concept and adding an extra scale we wanted to show that good urbanism consists of more than one design proposal, arranged according to scale and interacting with each other. Entitled “A Melody of Spaces”, our project gave top priority to integrate new public spaces into the existing urban fabric of Sundbyberg through the rhythm of space. Thereby, relating to the city’s historical past (Sundbyberg exists because of its railway) and the observation of its vivid urban life that is created through the movement of the train throughout its core, we introduced a narrative in the form of a song that illuminates the melody of spaces. Being embedded in the cultural history and identity of Sundbyberg’s municipality the concept of a melody of spaces will reimagine the identity of Sundbyberg and its new built environment. In our design proposal the melody of Sundbyberg commences at the new train station and has its finale at Marabou Parken. This concept also allowed us to reconnect both north and south through improving visual links and the stimulation of urban life. During the process we challenged the current status quo of city building by reversing the traditional order of placing buildings first and then working with the spaces in between. In contrast, our proposal first reconsidered how future urban life could develop itself and how this could affect the use of public spaces and buildings. By doing this we celebrated a rhythmic urban fabric with unique variations of qualitative public rooms, also being diversified through narrow-wide-narrow variations of sight lines and spaces narrowing down and opening up.
a sequence of different urban rooms, from open squares to pocket parks
challenges
aims
THE TOOLBOX
A sequence of different spatial qualities .Different urban rooms with different functions; small pocket squares and big public spaces are parts of a unified “carpet”.
NEW TRAM LINE
FOOD POCKET SQUARE
SECTION BB
MULTI-FUNCTIONALITY
The plan is composed of three pieces, which are connected with each other through the melody of spaces: the station, the pocket parks and the cultural center. Each is developed with its own character and identity in the context of the new urban fabric and its relation to history. The three areas are ‘stitched’ together through bike lanes, good pedestrian connectivity and a new tramline.
TIMELINE
2010
2016
2008
2000
1998
939.000 Marrakesh bombing at Jemaa el-Fnaa
1980
Morocco gained the independence
1960
1940
1920
1900
1854
1800
1654
1400
1299
1200 completed - the largest mosque located in the southwest medina quarter
Koutoubia Mosque was
00
3.0
82
0 .54
928.850
Jemaa el-Fnaa bec - UNESCO Masterpiece of the Oral and Intangible Heritage of Humanity
745
C
as
ab
the first map of Marrakesh was drawn by Ibu Battuta
la
nc
a
to
M
ar
ra
ke
sh
ra i co lwa m y pl wa et s ed
French colonization
the city founded by Abu Bakr ibn Umar
1000
1959
0
.20
149
2016
2011
2004
1996
1956
1936
1912
1900
1350
1158
1062
Bahia Palace
Agdal Gardens were created
MOROCCO STUDY OF MORROCON SPACES + MORPHOLOGIES INTERNATIONAL PLACEMAKING STUDIO [PHASE 1] . 2016 KTH + ETH.ZURICH + URBAN THINK TANK The purpose of this first phase of UTT project was to study informality in Moroccan public spaces. Jemaa el Fna is the main public square in Marrakech medina and in order to grasp the sense of place we visited and studied on site. Making a story and getting to possible and exciting conclusions was part of the brief . Covered and uncovered spaces in the Moroccan market was a story that I wanted to tell. Umbrellas, plastic membranes, trees, fabric are just few of all this elements that are on top of your head when you walk in the streets of Marrakech, Casablanca or Fez. The way to tell the story was to record a video by showing only upwards and aknowledging the powerful morphology of the place. Part of the story was also the mobility. Mobility and coverage. Food tracks, kiosks and trade points were present in every corner, in every alley. But how can we translate findings from the Moroccan context into a more formal European context? What can we learn? What can we leave and and what can we keep? That will be the next step. Trying to compare Marrakech to Oslo. Is this comparison even valid? I start from researching on the history and making the timeline of each city. Afterwards, I try to focus of the present identity of each place and start working on the “now” and “tomorrow”.
[UN]COVERED SPACES IN MOROCCAN CITIES
MOBILITY + MARKET
OSLO AGORA . LAYRING THE VOID OF GRøNLAND INTERNATIONAL PLACEMAKING STUDIO [PHASE 2] . 2016 KTH + ETH.ZURICH + URBAN THINK TANK The main intention of this placemaking studio is to reactivate the area of Grønland, by starting from an under the bridge space. Gronlandtorg used to be the biggest and most famous market space of Oslo. The site was rebuilt several times and the only part that kept the memory of the market alive was a flea market that up to one year ago used to take place under the bridge. A neglected and forgotten part of the city with a multiethnic character screams for attention without however losing its identity that distinguishes it from the rest of Oslo. The Agora project is part of a wider idea-proposal of creating the Motherland, where the heart of the real Oslo would beat. The concept behind this particular proposal is to link two of the main market streets of Grønland by reintroducing the Agora which would act as a holistic open public space where all sorts of activities could take place.
the evolution of Grønland Torg through time
movement
concentration of people
combinations
of
different-
patterns and colours form a carpet which unites visually and spatialy differnt exterior rooms
BRING COLOUR + LIFE BACK TO GRøNLAND
+
=
from passing by..
..to staying
AGORA PLAN
ZONES
UNITS
mobile units could accomodate all different functions and activities
MODEL MAKING From the beginninng of this project we were working on an 1:2500 working model. The purpose of working all together in a big 3D scale was to brainstorm on different strategies and approaches by testing them straight away. The model was refined on a later stage and was transported to the Municipality of Oslo, where alongside with Alfredo Brillemburg [UTT] and the Snask team[City Branding], the Motherland project was presented.
The proposal for the reactivation of Grønland was presented to Oslo Municipality
NORRKรถPING URBAN DEVELOPMENT IN AN INDUSTRIAL LANDSCAPE NORDIC STUDIO . 2015 KTH The strategy for this project was based on the problematic issues that have arisen from the area analysis. When you move from the city centre to the north, you cross two bridges that connect the Strรถmsholmen island to thewaterfront promenades, and you automatically turn left, ignoring what is on your right side. The old entrance of the city, the site of the Gamla Tullhuset, has not anymore the old power that used to have back in the 1850, when this buiding and the area in front of it were full of life and actoivities. Boats were unloading their goods and people of Nรถrrkoping were walking down to the harbour to buy fish and commute with their friends. This is a memory that could be awaken and repurpose one of the most significant parts of the city, which can take back its place to the map.
A new link can be introduced and a new destination can be set.
SWOT ANALYSIS
- good quality public spaces - water element - rich industrial heritage - city centre
- uneven distribution of public spaces - after the bridge area is neglected and unfriendly
- improve public spaces and create destinations - urban regeneration - new east to west links
- unfriendly redesing of existing public spaces or industrial areas [no mixed use, big housing developments. no green areas..]
1
2
3
4
5
CARDIFF HEALING LANDSCAPE . THERAPEUTIC ARCHITECTURE ARCHITECTURE MASTER THESIS . 2012 WELSH SCHOOL OF ARCHITECTURE
[ the working area; Welsh Valleys, of this thesis was predecided from the WSA ] Therapy (in greek:θεραπεία/therapia), or treatment, is the attempted remediation of a health problem, usually following a diagnosis. “Mental healing” emphasizes the interpenetration of what are usually called”mind” and “body” and makes use of the power of thought to affect the body. It is proven that nature can be extremely therapeutic and help a patient to get well faster, no matter its problem. Even when the issue is physical, the cure starts from within , therefore the patient has to be calm and be in an environment where he/she can find himself . Trees, flowers, hills,sunlight,earth and water can create an ideal environment for people who seek therapy. “As my bed neared the windows, suddenly I beheld the mountains, I was actually seeing them at last ! The impact of their size and color under the bright october sun knocked the chip right off my shoulder. I cried out in surprise and delight...it seemed almost too good to be true that I could lie here and look at all this wonder and beauty just as long as I likes” [The Sanatorium Landscape] The natural beauty of the Welsh Valleys is impeccable and could be more than therapeutic. Despite its great landscape the area of theValleys is a place with severe social and financial issues. It needs a new element that could offer aspiration, inspiration , workplaces and income for the future, something that would place the Valleys back to the map. An alternative medicine institute of mental and physical recovery could be a place of treatment of open wounds, both physical and mental. Gustav Brehmer, founder of the Gorbersdorf Snatorium and had said that “the forest and mountains were a refuge from the physical and moral evils of the town”. An architectural design that celebrates sunlight, topography, and water in order to create a place of cure and medical research is my goal.
MAIN ENTRANCE
A site with intense topography, beautiful nature and close to water source like a lake or a river was the place that I was looking for therefore the project is in Pontsticil reservoir right next to the boundaries of Merthyr with the national park of Brecons Beacon. The area around the site is a dense forest that goes down to the edge of the water. My intension is to create a journey that starts the moment that the patient or the visitor enters Pontsticil and ends inside the forest on the other side of the reservoir.A journey, a promenade that penetrates the landscape is the primer element of the design. Two heavy concrete walls create a path between them that brings people from the water level to the top of the hill.
FLOWER PATH FROM BOTANICAL GARDEN TOWARDS WORKSHOPS
A JOURNEY THROUGH NATURAL LANDSCAPE TO CONTEMPLATION AND THERAPY
a journey through natural landscape to contemplation and therapy.
[the landscape itself is truly theapeutic but architecture can really empower its qualities]
right opposite the living units the visitor can see the caferesaturant of the health comple
this is the point where the visitor enters the building and starts his/her journey towars the therapy / alongside his/her journey there are numerous possibities of movement , even if the route between the two walls looks very strict
living units
library
main entrance
right opposite the libary the visitor sees the botanical garden, the laboratories and the alternative medicine pharmacy
th
thermal water tem all kinds o kinds of issues
long section [original scale 1:50]
e to contemplation and therapy.
architecture can really empower its qualities] this is the ďŹ nal stop of the journey and the main space of contemplation / ower baths are very popular to India and are famous for calming and therapeuting mind and soul
right opposite the living units the visitor can see the caferesaturant of the health comple
living units
ower tower
library
ht opposite the libary the visisees the botanical garden, the oratories and the alternative dicine pharmacy
thermal baths
thermal baths have different water temperature and address to all kinds of people with different kinds of mental and physical issues
the main entrance
the botanical garden
THERMAL BATHS
LIGHTING STUDY working lighting models of the flower tower and the long corridors were tested in Heliodome room, in order to test the lighting quality in the interior of these spaces.
FINAL MODEL
ďŹ nal model [scale 1:500]
VENICE FLOATING ART CENTRE IN VENICE BArch FINAL PROJECT . 2010 WELSH SCHOOL OF ARCHITECTURE
Venice is a very unique urban part of Italy. It consists of different pieces of land floating in green waters. Aplace that is as unique as its long history. The urban morphology takes you back in time when details used to matter. Everything seems to be part of a different system, people are different,open to strangers but with a sense of control of their surroundings. Darkness and light.open plazzas, narrow alleys between Venetian houses and baroque churches, solid ground and dirty water, big contrasts in a city that seems isolated from the rest of italy every element right next to the water takes an undiscribable power that makes the grand canal one of the most significant parts of Venice and sometimes they do not. The plan looks like a puzzle almost every piece has its match, every element has its pair somewhere. Vessels in my design look like fragments, pieces that look like they are extracted of a bigger piece. The fact that the project is about a floating device drives me to the thought of creating something that really floats in form as well. Baroque architecture influenced my design in a way that there are big contrasts of spaces,narrow corridors with big free planned spaces. Dark spaces reflect the character of the city that has a dark and mustyrious side. Apath from the land to the sky, from the solid to the void. Narrow paths with surprising ends. Expose the structure, reveal everything.
VESSELS’ ALTERNATIVE CONNECTIONS
PHYSICAL MODEL
FORM MAKING
A FLOATING SCULPTURE WHICH ALSO ACTS AS A CITY OBSERVATORY
STEEL FRAME
CHICAGO A LITTLE PIECE OF HEAVEN
DESIGN CHARETTE ON SITE . 2012 ILINOIS INSTITUTE OF TECHNOLOGY + WELSH SCHOOL OF ARCHITECTURE At the beginning of my 4th year in WSA, RIBA decided to dispatch 11 students to Chicago. Our trip was linked to previous discussions between the Illinois Institute of Technology and our own School about the post-industrial landscape, and this shared interest, alongside the obvious architectural draw on Chicago itself, structured our visit. Over the course of this trip, and with the help of tutors at the two schools, we attempted to get under the skin of the city and its architecture, to step beyond our initial naive impressions, and discover what made it(and us) tick. All of us, the 11 students including me, formed our personal responces to this in the from of rapid dsign charettes focusing on elemements of the city that captured our attention and imagination.
Cinema is an integral piece of the city of Chicago. The city has generous green spaces and a magnificent promenade right between the park and the water. It is a great place to walk or cycle ;sailing boats wait for their owners to take them out in the open water, children play and enjoy themselves in an environment that you do not expect to see on the eastern edge of a mitropolis like Chicago. Is there a better combination than watching a great old movie on an open air cinema in a place like this? The idea is to have a movie screen which can rotate and frame different parts of the city.In this way the background behind it would either be the old American city with its massive skyscrapers or the peaceful waterfront. Poufs could be provided for people who do not want to sit on the ground, although this might be the best way to watch a movie outside!
PIRAEUS
UNDERWATER ANTIQUITIES MUSEUM IN INDUSTRIAL SILO + CULTURAL COAST
INTERNATIONAL ARCHITECTURAL COMPETITION . 2013 The proposal for the Piraeus Museum of Underwater Antiquities was divided in two elements based on the notion of ‘Viollet-le-Duc’: the negative element being the void, whilst the positive being the vertical and horizontal elements that define a space (walls and slabs). The link between these two elements, which defines the unity of the space is man. Therefore, the architectural space cannot be applied without the presence of man. More images and architects’ description after the break. The change of use of the industrial Silo building into a Museum of Underwater Antiquities posed two parametric challenges. On the one hand, we had to create a functional architectural space for the public and on the other hand, to showcase the industrial functionality of the building towards the observer. Thus we engaged with contemporary and open-minded archaeologists. As ‘architects’, we had to change the building’s scale, reducing it from the size of the ‘machine’ to the size of ‘man’, without betraying the machine since as ‘archaeologists’ it was our duty to expose and highlight it in all its mechanical glory..
The deep incision which we applied through the centre of the building was the optimum solution in solving these two challenges. It exposes the Silo’s industrial functionality whilst providing it with an architectural identity. This application resulted in the creation of a large central space which invites one to the reach the ‘heart’ of this building’s industrial architectural identity; an atrium; a deep fissure; the sea bed? This interpretation has an imminent impact on the visitor, on their sensitivity and their fears, their unconsciousness and their logic thought process, causing them to send out their own ‘signals’ that are activated by the building.
KYIV RE_KYIV . LOST PLACES INTERNATIONAL IDEAS COMPETITION . 2016 International ideas contest RE_Kyiv, Lost Places, emerges as the result of a workshop n´UNDO led in Kyiv as part of CANactions Urban School educational program. During this time, following n´UNDO principles and through the analysis of several different locations with the participants, some common problems appear as part of the city. The competition aims to be a meeting point for detection, analysis, participation and reception of ideas, for the improvement of the urban environment and public space of the city. The contest believes that making problems visible through participatory maps is the best way to engage citizens and professionals in the production of the city. Podil is a historical district in Kyiv, an ancient artisans area washed by Dnipro river. Narrow streets with small buildings, courtyards, churches of different architectural eras and religions are the features of this area. Rybalskyi island is a peninsula covering about 100 hectares; it is limited by Dnipro river and a harbor, which was arranged for the needs of Kyiv port. Rybalskyi cable-stayed bridge a bridge across the harbor of the Dnipro river, provides a link between Podil and Rybalskyi island. Has a length of 470 m, and a width of 10 m. This proposal is based on the idea of transforming the bridge, which at the moment touches only the one side of the land, into a viewing platform from which the visitor-user can view the industrial and historical urban landscape.
bridge of visions the place where the cityscape becomes an exhibition
THE CITY AS AN EXHIBIT the industry of culture
...the bridge doesn’t take you to the place. It is the PLACE!
elena stamouli anastasiia borodiienko
THE CITY AS AN EXHIBIT 1 HISTORICAL PODIL
2 THE INDUSTRY OF CULTURE
3 RYBALSKYI BRIDGE
Podil - the city’s downtown - is one of the most illustrative example of the robust organisation of traditional urban life which has been already proving its success for the centuries. Thanks to its traditional urban qualities of smallscale urban blocks and narrow streets, the area is a historical landmark of town planning and recently it has become an attractive place for social and cultural activities to happen. The main Promenade with greenary Verhniy i Nyzhniy Val - goes through the neighbourhood towards the waterfront and ends up with the Rybalskiy bridge.
Kyiv is the city of absurd phenomena - having in its disposal vast range of waterfronts and natural sources, most all of them are neglected as public spaces. The embankments usually have no access to the river and are occupied either with heavy traffic along the waterfront or dilapidated industrial buildings. The space under the bridge has an advantage of beeing sheltered place, protecting the users from the unpleasant weather conditions. Thus, merely by introducing low-cost temporary structures , the space has a potential be turned into a place for cultural events.
Rybalskyi bridge due to its architectural design and construction has become a very important monument of the 60’s. It is the world’s first cable-stayed bridge based on a reinforced concrete beam of stiffness. Despite the neglected conditions and the fact that the bridge was partly dismantle, we consider it as a unique public space, which instead of linking two opposite banks, becomes a destination, providing a stunning view over the city of Kyiv with its distinctive natural sources and cityscape created by different urban qualities.
4 RYBALSKYI PENINSULA The peninsula is now a predominantly industrial area with the small abandoned park on the waterfront. There have been many ambitious discussions about the future development of the peninsula. Fortunately, the idea of tremendous development of so-called Kyiv-City administrative district was replaced with the strategy for creating low-rise mixed-used urban structure, traditional for the urban fabric of Podil..
ATHENS RETHINK TOWARDS A NEW CITY CENTRE EUROPEAN ARCHITECTURAL COMPETITION . 2012 The City of Athens’ historic triangle is delimited on its northern edge by Panepistimiou Street. A continuous 2% downward slope along the street’s 1km stretch between Syntagma and Omonoia Squares serves the city’s most beautiful buildings such as the National Academy of Athens and the National Library which define the history of the capital. Designed to be one of the most important urban axes in the beginning of the 19th century, Panepistimiou was transformed into one of the busiest vehicular traffic axes of the city, a situation that remains today. Vehicular traffic dominates the Panepistimiou experience for all who use it. Motorists are enclosed in a tense vehicular corridor, the dense traffic and fast speeds disabling them from a visual experience of the surrounding landscape. Pedestrians are submerged in the subsequent emissions and noise, unable to truly experience the street’s beautiful buildings and sights. Athenians recognize the value of Panepistimiou Street but ultimately avoid it as they are isolated from existing public spaces like the Trilogy, Justice Square and Omonoia Square. The city’s automobile-centric urban strategy creates this disconnect, and results in Panepistimiou lacking the urban anchors, equipment and sufficient vegetation necessary for pedestrian attraction. Urban anchor The linear form of Panepistimiou Street and its continuous downward slope towards Omonoia Square create a high velocity urban corridor void of anchors or rest. By structuring the street space into a series of terraces, expressive belvederes define individual urban spaces along this perpetual slope. These spaces slow down the spectator and encourage him to interact with the city, its buildings and functions. Each terrace strengthens a connection to this portion of the city, reminding locals of its significance while introducing visitors to beautiful new spaces, teaching them that Athens it more than just the Acropolis.
Urban Vector Terraced belvederes following the street’s slope will organize it into specific zones corresponding with adjacent buildings, streets and neighborhoods and define usable areas for leisure, play, entertainment, cultural activities and markets. Program element ideas are derived from adjacent vertical street names which represent Greek history, with design elements complimenting specific program. The belvederes occupy the center of the street with specific edge treatment and heights depending on their length and program. The adjacent hardscape on either side retains the street’s original downward slope for pedestrian paths, tram lines, bicycle lanes and service vehicles.
design strategies
PHYSICAL MODEL [BELVEDERES AND OMONOIA SQUARE AT THE END]
THE BIKE CITY - 28is OKTOVRIOU AVENUE
e
Omonoia square Our proposition keeps the vectorial
orial character which which Omonoia alreadyalready has character Omonoia proposition keeps the vectorial character , it propelsOur bicycles. Simultaneously , it ac- which Omonoia already has has but instead of the automobiles, but instead of the automobiles, it propels bicycles. Simultaneously , it acitand propels bicycles. SimultaneousEarthwaorks pine trees periphery and pine trees in the periphery quires the character ofina the place.Earthwaorks lysquare , itan acquires the character of a isolates thecreate from the noisy urban forest hill that environisolates the square from the noisy environ-
place.Earthwaorks and pine trees ment. in green the periphery create an urban This filter creates anarround interiority which quides the public arround the riority whichforest quides public the hilltothe that isolates the square new atrium the underground metro station with provision of a falling d metro station with provision a afalling fromfeature thethat noisy environment. water functionsof like natural filter screen. The square’s inner e a naturalspace filter screen. The creates square’s inner This green inteoffers largefilter seating areas ofan public lawn which one can use for various activities. riority which public of public lawn which one quides can usethe for variarround the new atrium to the underground metro station with provision of a falling water feature that functions like a natural filter screen.
THE GARDENS - VAS.SOFIAS AVENUE
----------------------
THE PARLIAMENT
VOLOS A MUSEUM FOR THE MYTHICAL SHIP “ARGO” EUROPEAN ARCHITECTURAL COMPETITION . 2013 The new Museum is addressed to the society and its visitors as a space of intelligence, mind and imagination of the visitor, as a way of transitional entry to time and space of the Legend and the journey of Argo and its allegories. Two etchings-systems, one stable and one more mobile “hold” the new Museum. The stable system abides to the geometries of the existing site (plot), and it mainly contains supporting spaces of the Museum. The mobile system is defined by its “twist“ and contains the extrovert exhibition spaces. This turn of the volume indicates the endless journey of the Argo. These two different systems – parts of the Museum are linked with the atrium. Basic element of the main concept and structure of the Museum is the unfolding of a vertical route, which starts on the outdoor space of the main entrance in order to connect with the main body of the building and introduce an upward “journey” to the visitor. Argo is slowly revealed with the gait of the visitor. This gradual approaching is achieved by the endless vertical movement around the boat. This continuous route around the centrally located Argo, distributes all individual exhibition spaces around the main exhibit. Four interrelated themes are presented in the Museum: Place, History, Legend and new Argo - the human knowledge and the exploration of the unknown. Applications of modern multimedia are part of the goals’ framework of the Museum in order to project the cultural heritage through new technologies. An extensive water surface on which Argo flows and the simultaneous immersion of the space transforms the surface into our own “container” of social life. The movement can be read backwards since the beginning and the end match. The Museum acts as the starting point for the development of the wider urban area with the possible creation of green spaces, theme parks, recreation spaces and educational or cultural institutions.
ROOF PLAN
sections
sections MAIN ENTRANCE
Both concrete and wood, as dominant materials, and all the rest that cover the Museum, are basic, simple and local. Water is the natural socket of the Argo and reflector of the sky which braces the inside with the outside and up with down.
IDEAS IN PROCESS
ground floor plan
first floor plan
The gradation of the light, from the semi light, which dominate in the perimeters’ areas away from the center, to the bright space of the main exhibit – in combination with the upwards exhibition route – defines the rhythm and the alterations of the visitor’s promenade, the phases and the climax of the journey.
the “Argo” space
sections
HYDRA
PRIVATE RESIDENCE + GARDENS IN HYDRA ISLAND ARCHITECTURAL + LANDSCAPE DESIGN . 2014 TERRARCH Stone windmills, some in ruins, dot the hillsides, and the town and surrounding villages are home to more than 350 churches and chapels. Hydra’s status as a national historic landmark protects its unique and beautiful architecture. Any new buildings must stay in keeping with the island’s historic architectural style, using authentic colors and maintaining the traditional Hydriot character. As a result, no modern building developments (highrise apartments, hotel complexes) can spoil Hydra’s traditional atmosphere. Hydra’s architecture, which includes simple houses as well as grand manors, is unique to the island. Hydra’s regular houses are generally tall, narrow two-story structures built into the hillsides and surrounded by walled courtyards. The older houses are generally constructed of whitewashed stone, with tiled roofs. Most also have cisterns for collecting rainwater and marble drinking fountains. The custom of whitewashing the gray stone houses and cobblestone streets with lime developed in the nineteenth century as a sanitary measure to prevent the spread of disease. This architectural and landscape project was comissionided by an old family of Hydra, in order to design the new two storeys guest house and the exterior space between the existing house and the new part. The design followed very closely the traditional architecture of the island and went throught the Archaeological Committee of the Ministry of Culture.
3.72
21.32 9.81
A
3.61
OA=25.05
14.78
1.30
O
4.00
5.18
4 0.6 =1
6.21
H.Χ.
4.68
17.57
10.89
5
3.70
13.55
ΚΤΙΡΙΟ A
10.97
AB
7.63
.82 OΞ=7
5.06
4.00
N
9.8
0
0
9.73
NΞ=7.50
17.64
3.5
=3.4
Δ
2.13
12.58
Ξ 5.92
6.77
BΓ= 0.86
B Γ ΓΔ
5.90
6.8 5
4.2
13.04
2.95
11.26
11.45
ΔE
4.56
9
13.90
Ο
H.Χ.
14.10
1.63
=14
.47
11.94
1 9.44
2
.49 EZ
=1
9.54
10.42
E
7.01
ZH
H
=1
Θ
.55
.22
8.41
ΗΘ =1
Z
8.53
10.45
MN=23.01
7.88
8.64
7.08 6.40
5.64
4.96
6.38
7.48
5.61
6.97
Δ
6.57
3.44
Ο Σ
ΘΙ=16
8.10
6.73
8.50
ΚΤΙΡΙΟ B
M
3.35
.61
6.12 3.40
3.07
2
=5.9
4.45
9.07
ΛM
3.30
Λ ταράτσα
0.09
5.30
0.32
8.40
IK=15 12.85
.42
Δ
Η Δ
.17
=13
2.50
KΛ
5.10
I
6.06
MASTERPLAN
2.02
K
1.26
ΕΡΓΟ
ΕΡΓΟ
ΘΕΣ
ΤΙΤΛ
ΥΠΟΜΝΗΜΑ ΣΥΝ/ΝΕΣ ΟΡΙΩΝ ΟΙΚΟΠΕΔΟΥ α/α
Χ
Υ
ΣΥΝ/ΝΕΣ ΟΡΙΩΝ ΟΙΚΟΠΕΔΟΥ α/α
Χ
Υ
A
974.957
2024.634
I
980.193
1988.695
B
968.356
2016.275
K
995.271
1985.400
2015.494
Λ
1007.221
1990.972
2014.095
M
1012.467
1993.727
2007.942
N
1009.049
2016.504
Γ
967.993
Δ
971.099
E
984.215
Z
983.474
2006.652
Ξ
1001.558
2016.904
H
984.828
2005.898
O
1000.025
2024.578
Θ
984.251
2004.820
A
ΜΕΛ
ΚΟΡΥΦΕΣ ΙΔΙΟΚΤΗΣΙΑΣ
ΗΜΕ
OΡΙΑ ΙΔΙΟΚΤΗΣΙΑΣ ΔΕΝΤΡΑ
ΣΦΡ
ΚΟΛΩΝΑ ΔΕΗ
ΚΟΛΩΝΑ ΟΤΕ
ΦΩΤΟΓΡΑΦΙΕΣ
Local plants, which have high endurance to the Mediterranean climate, were used in the landscape design.
wood
concrete
local tiles
ELEVATIONS
4
1 +9.07
+7.50
2
+6.40
5
+5.30
3 4 +3.40
+3.30
+2.50
6 5
ΒΟΡΕΙΑ ΟΨΗ
4
1 +9.07
Ε +9.07
2 +7.50 +6.40
1
1
+7.50 +9.07
Ε
5
+7.50
2
+5.30
4
3 4
4
+3.30
Θ +3.40
2
+2.50
+3.95
6
ΤΙ
5
Μ +1.26
ΒΟΡΕΙΑ ΟΨΗ +0.32
Η
1
+9.07
Σ
ΑΝΑΤΟΛΙΚΗ ΟΨΗ
ΕΡ +7.50
1
NOTΙΑ ΟΨΗ
+9.07
ΕΡ
2
ΕΡ
4
+7.50
ΕΡ
4
1 +3.95
+9.07
Θ
4 2
+7.50 +7.10
ΤΙ Θ
+1.26
2 +0.32
Μ +5.30
ΤΙΤ
3
ΑΝΑΤΟΛΙΚΗ ΟΨΗ
Η
+3.50 +3.30
Μ ΣΦ
+3.40
6
5 NOTΙΑ ΟΨΗ
ΗΜ ΕΡ
ΣΦ ΕΡ
4
1 +9.07
ΔΥΤΙΚΗ ΟΨΗ
+7.50 +7.10
Θ
2
+5.30
ΤΙ
3 +3.50 +3.30
Μ
+3.40
6
5
Η
ΣΦ
ΔΥΤΙΚΗ ΟΨΗ
+9.07
+7.50 0.30
0.30 0.50
0.50
8.10
+6.45
4.00
+6.40
0.30
+5.30
+3.50
0.90
0.20
+2.60
+2.50
SECTION TOMH AAAA ΕΡΓΟΔΟΤΗΣ
AΝΑΣΤ.
+9.07
ΕΡΓΟ
ΑΝΑΘΕΩΡ ΓΙΑ ΕΣΩΤΕΡ ΟΨΕΙΣ ΤΟΥ
+7.50 0.30
0.30 0.50
0.50 8.50
4.00
ΘΕΣΗ
ΟΙΚΙΣΜΟΣ
1.00
+4.50
+3.40
ΤΙΤΛΟΣ ΣΧΕΔΙΟΥ
+3.50 0.20
+3.40
2.40
0.30
ΜΕΛΕΤΗΤΕΣ
TOMH AA KTIΡΙ
ΕΛΕΝΑ ΣΤΑΜΟΥΛΗ
ΚΛΕΟΠΑΤΡΑ ΜΠΑΚΑ
ΗΜΕΡΟΜΗΝΙΑ ΜΑΙΟΣ 2014
+1.26
ΣΦΡΑΓΙΔΕΣ
TOMH BB
ATHENS CHANGE OF USE AND FACADES OF COMMERCIAL COMPLEX ARCHITECTURAL DESIGN . 2015 [ IN PROGRESS]
TERRARCH The task in this project was to transform a part of an existing retail building complex into a new commercial store, by demolishing internal parts, introducing new buildings elements and upgrading all four facades. The existing structure was left unmaintened for more than seven years. Floor In order a part of the building, and more specifically the First basement and the First floor, to be transformed into a new store space of an overall area 6.700m in 3 levels, (-1, 0, +1) some main strategies should be followed. 1. Change of use of the First basement from Parking space into Retail and Storage spaces with maintaining internal atrium. 2. Conversion of the Ground floor into Retail space with a repeal of the existing Pilotis. 3. Repeal of the Second floor by demolishing its floor and integrating its volume to the volume of the First floor. 4. Transport and binding of parking spaces of the First basement in an underlying basement. In order to move on to the actual impelmentationof works the steps that should be followed apart from the design are: •Issuing a building Permit that includes all the above actions and all those extra ones needed, in order the building to be legitimate as a whole. • Approval of the Council of Architecture • Approval of Environmental Assessment and Evaluation
GROUND FLOOR PLAN
FIRST FLOOR PLAN
SECOND FLOOR PLAN
ΥΠΟΜΝΗΜΑ ΣΥΜ 2.
ΥΛΙΚΑ ΣΕ ΟΨΗ
1.
1
2.
2
ΑΡΜΟΣ ΠΡΟΚΑΤΑΣΚΕΥΑΣΜΕ
3.
3
ΚΟΥΦΩΜΑΤΑ ΑΛΟΥΜΙΝΙΟΥ
4.
4
ΜΕΤΑΛΛΙΚΟ ΠΛΕΓΜΑ
5.
5
ΞΥΛΙΝΗ ΕΠΕΝΔΥΣΗ
6.
6
ΠΕΡΣΙΔΕΣ ΞΥΛΟΥ Η΄ΑΛΟΥΜΙΝ
7.
7
ΥΑΛΟΠΙΝΑΚΕΣ SECURIT ΦΘΟ
7α
ΜΕΤΑΛΛΙΚΟ ΚΙΓΚΛΙΔΩΜΑ ΕΠ
ΠΛΑΚΑ ΠΑΧΟΥΣ 5 ΕΚΑΤ. ΠΡΟ
ΑΝΑΡΤΗΜΕΝΗ ΑΠΟ ΜΕΤΑΛΛ
7α.
7a
9
9
8.
8
9.
9
ΕΠΙΧΡΙΣΜΑ ΜΕΤΑΛΛΙΚΑ ΠΑΝΕΛΛΑ ΑΠΟ
10.
10
ΓΥΑΛΙΝΟ ΚΙΓΚΛΙΔΩΜΑ
11.
11
ΠΛΑΚΕΣ ΑΠΟ ΓΡΑΝΙΤΗ
12.
12
ΕΜΦΑΝΗ ΣΤΟΙΧΕΙΑ ΦΕΡΟΝΤΟ
9
4
5
33.00
5
9
7.45
6 4
8
ΠΡΟΣΘΗΚΗ ΣΕ Υ ΜΕ ΑΛΛΑΓ & ΕΣΩΤΕΡΙΚΩΝ
5
4.00 7
3 12
ΘΕΣΗ ΑΚΙΝΗΤΟΥ :
ΕΡΓΟΔΟΤΗΣ :
ΔΑΚΩΝ ΤΕΧΝΙΚΗ Κ ΑΡΧΙΤΕΚΤOΝΙΚΑ :
3.35
8.00
3.50
ΕΜΜΑΝΟΥΗΛ ΕΜΜΑΝΟΥΗΛ
0.83
4.00
6.30
3.50
3.50
8.00
ΣΠΥΡΙΔΩΝ ΤΣΑ
3.35
ΑΘΑΝΑΣΙΟΣ ΜΠ
ΜΗΧΑΝΟΛΟΓΙΚΑ :
ΑΡΧΙΤΕΚΤΟΝΙΚΑ
A
Γ
B
Δ
Ζ
Ε
Δ'
Ι
Θ
Η
-
ΟΡΙΣΤΙΚ
Κ
NORTH ELEVATION ΣΦΡΑΓΙΔΑ - ΥΠΟΓΡΑΦΗ
ΥΠΟΜΝΗΜΑ ΣΥΜΒΟΛΩΝ-Υ 2.
ΥΛΙΚΑ ΣΕ ΟΨΗ
1.
1
2.
2
ΑΡΜΟΣ ΠΡΟΚΑΤΑΣΚΕΥΑΣΜΕΝΗΣ ΠΛΑΚΑΣ
3.
3
ΚΟΥΦΩΜΑΤΑ ΑΛΟΥΜΙΝΙΟΥ ΜΕ ΔΙΠΛΟΥΣ ΥΑΛΟΠ
4.
4
ΜΕΤΑΛΛΙΚΟ ΠΛΕΓΜΑ
ΠΛΑΚΑ ΠΑΧΟΥΣ 5 ΕΚΑΤ. ΠΡΟΚΑΤΑΣΚΕΥΑΣΜΕΝΟΥ
ΑΝΑΡΤΗΜΕΝΗ ΑΠΟ ΜΕΤΑΛΛΙΚΟ ΣΚΕΛΕΤΟ
5. 6. 7. 7α. 8.
5
ΞΥΛΙΝΗ ΕΠΕΝΔΥΣΗ
6
ΠΕΡΣΙΔΕΣ ΞΥΛΟΥ Η΄ΑΛΟΥΜΙΝΙΟΥ ΣΤΗΡΙΖΟΜΕΝΕΣ
7
ΥΑΛΟΠΙΝΑΚΕΣ SECURIT ΦΘΟΡΙΟΜΕΝΟΙ - ΣΥΣΤΗΜ
7α
ΜΕΤΑΛΛΙΚΟ ΚΙΓΚΛΙΔΩΜΑ ΕΠΙ ΣΤΗΘΑΙΟΥ
8
ΕΠΙΧΡΙΣΜΑ
9.
9
10.
10
ΓΥΑΛΙΝΟ ΚΙΓΚΛΙΔΩΜΑ
11.
11
ΠΛΑΚΕΣ ΑΠΟ ΓΡΑΝΙΤΗ
12.
12
ΕΜΦΑΝΗ ΣΤΟΙΧΕΙΑ ΦΕΡΟΝΤΟΣ ΟΡΓΑΝΙΣΜΟΥ
ΜΕΤΑΛΛΙΚΑ ΠΑΝΕΛΛΑ ΑΠΟ ΤΙΤΑΝΙΟΥΧΟ ΨΕΥΔΑ
7a
8
3
6
1 2 8
1
7α
2
8
3
ΠΡΟΣΘΗΚΗ ΣΕ ΥΦΙΣΤΑΜΕ ΜΕ ΑΛΛΑΓΗ ΧΡΗΣ & ΕΣΩΤΕΡΙΚΩΝ ΔΙΑΡΡΥ ΘΕΣΗ ΑΚΙΝΗΤΟΥ :
ΕΡΓΟΔΟΤΗΣ :
8
ΔΑΚΩΝ ΤΕΧΝΙΚΗ ΚΑΙ ΑΝΑΠΤΥ
7α 3
7α
7
8
12
ΑΡΧΙΤΕΚΤOΝΙΚΑ :
ΕΜΜΑΝΟΥΗΛ ΠΑΠΑΤΖΑΝΑΚΗΣ
ΕΜΜΑΝΟΥΗΛ ΠΑΠΑΤΖΑΝΑΚΗΣ ΣΠΥΡΙΔΩΝ ΤΣΑΚΙΡΗΣ
12
ΑΘΑΝΑΣΙΟΣ ΜΠΑΦΑΣ
ΜΗΧΑΝΟΛΟΓΙΚΑ :
3
3
ΑΡΧΙΤΕΚΤΟΝΙΚΑ
7.60
7.60
7.60
7.60
7.60
7.60
0.57
7.60
-
ΟΡΙΣΤΙΚΗ ΜΕΛΕ
7.60 ΣΦΡΑΓΙΔΑ - ΥΠΟΓΡΑΦΗ
9
8
7
5
6
3'
4
3
2
1
EAST ELEVATION
8
8
3 7α
2 1
3 7α
ΕΡΓΟ :
6 1 1
2
2
ΘΕΣΗ ΑΚΙΝΗΤΟΥ :
3 ΕΡΓΟΔΟΤΗΣ :
ΔΑΚΩΝ ΤΕΧΝΙΚΗ ΚΑΙ ΑΝΑΠΤΥ ΑΡΧΙΤΕΚΤOΝΙΚΑ :
12
ΕΜΜΑΝΟΥΗΛ ΠΑΠΑΤΖΑΝΑΚΗΣ
12
ΕΜΜΑΝΟΥΗΛ ΠΑΠΑΤΖΑΝΑΚΗΣ ΣΠΥΡΙΔΩΝ ΤΣΑΚΙΡΗΣ ΑΘΑΝΑΣΙΟΣ ΜΠΑΦΑΣ
ΜΗΧΑΝΟΛΟΓΙΚΑ :
11
ΑΡΧΙΤΕΚΤΟΝΙΚΑ
14.08 16.45
7.60
7.60
0.57
7.60
7.60
7.60
7.60
7.60
7.60
7.60
ΘΕΜΑ:
7.60 ΣΦΡΑΓΙΔΑ - ΥΠΟΓΡΑΦΗ
1
2
3
3'
4
5
6
7
WEST ELEVATION
8
9
10
11
-
ΟΡΙΣΤΙΚΗ ΜΕΛΕ
MAIN ENTANCE - NIGHT VIEW
SOUTH-WEST ELEVATION
ATHENS PRIVATE RESIDENCE
ARCHITECTURAL DESIGN . 2015 [IN PROGRESS]
The biggest challenge of this project was and still is, since the architectural composition is still in process, the big height difference of the plot. there is almost a two meter difference from the street level [front facade] to the south side which will be the back garden of the house. Volumes are simple and clean. One of the main intensions was to create a house which allows the light to penetrate its spaces. A house that would be a home to the family and would bring together its members to the interior and exterior communal spaces. There are already cherry and pine trees on the south side where the garden and wooden terrace will be, offering a secret piece of nature heaven. After trying almost ten different solutiona and compositions, the architectural design seems to get to its end, if that is ever possible, since at this point spaces work well together and the height difference is working in favour of the design.
IDEAS PROCESS + DIGITAL MODEL MAKING
BASEMENT FLOOR PLAN
GROUND FLOOR PLAN
FIRST FLOOR PLAN
SEDUKI Seduki is a showcase of my small art projects that I assign to myself. Bigger and smaller art pieces made of any kind of material; paper,concrete, stone, paper,wood. A series of my personal moments in the city captured in objects.
THANK YOU
ANY ADDITIONAL INFORMATION ON THE SAMPLES OF MY WORK PRESENTED IN THIS PORTFOLIO ARE AVAILABLE UPON REQUEST