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The Value of Garbage
A4: Cutting _ Folding _ Joining
Vocabulary of contemporary processes in architectural design
The depth and the surface
2007 Contents | 3
A4: Cutting _ Folding _ Joining
Indicative application at Eleftheriaâ€™ s square and study of urban equipment application in scale 1:1 Official translation: A4 Groove, Folding, Connection. Example of implementation in Eleftherias square Location: Volos, Greece Degree Thesis _ September 2010 In collaboration with Panagiota Pavlou Mentoring tutor: Evelyn Gavrilou
Our diplomatic project concerns a design procedure which is based on repetition and variation. The procedure we have followed, has as its starting point, a surface of A4 sized paper. Paper is a flexible material which, aside from being folded, offers the possibilities of being curved without being deteriorated and of being cut while remaining a single surface.
We designed a pattern on the paper and we continued by cutting along the lines of the pattern in such a way, in which the surface remains single. The surface is divided into horizontal strips which remain conjoined in some small parts. The form of the surface differentiates by removing, with displacement or rotation, the small parts of each strip. Any movement affects the whole of the surface, as all of the strips are conjoined in some parts and interact with each other. The surface is being stabilized in different forms by connecting the small parts of the strips with each other. According to which parts are connected with each other, different forms appear from the system. The rules followed by the system are not restrictive. They have a range of flexibility. This is why every new application of the rules can produce a different result. According to where the strips are cut and how they are removed, the form appearing differentiates. This happens because of the flexibility of paper, which presents in its form, every different movement and influence as curvature. With each movement, the surface of paper gets an entirely new form.
3 6 | A4: Cutting _ Folding _ Joining
1. design of pattern on A4 2. conjoining parts of the strips 3. cutting of the surface 4. folding of the strips 5. way of joining parts processing of the surface of A4 sized paper
It is characteristic that the system we have created hasn’t got specific scale. It acquires scale according to the location it is placed in and its function. While searching for the restrictions we will apply to the system, we focused on the city of Volos. We indicatively chose two different locations, Eleftheria’s square and the pier. We chose these two locations, to examine the difference of the adaption of the system in different scales and programs. Its location is related to different needs and functions. It is necessary that the system can be adapted to different scales and uses, so that it can serve different needs. To make our system more adaptable, we redefined some rules. First, we evaluated the proportions and the rhythm of the pattern. Despite of the possibility of scale changing, we created the possibility of changing the proportions of the surface, so that the surface gets more adaptable. By changing scale and proportions, the system becomes more flexible, so that it can serve different uses and be adapted in space.
1. stretching possibilities of the A4 surface 2. placement of surfaces on Eleftheria’s square map of Volos
3. placement of surfaces on the pier A4: Cutting _ Folding _ Joining | 7
redesign of the parking area of the pier 8 | A4: Cutting _ Folding _ Joining
pattern of the square flooring
waste baskets lights other objects (benches, ramps, shelter)
placement of objects of urban equipment
redesign of Eleftheriaâ€™s square A4: Cutting _ Folding _ Joining | 9
We, however, chose to concentrate on Eleftheriaâ€™ s square and to focus on a smaller scale, resulting in the construction of objects of urban equipment. In order to redesign Eleftheriaâ€™ s square we took into consideration the position of the site and its uses. Human dimensions
We aimed to redesign the square so that it offers alternative choices concerning human action. We noted down some actions which are related to the movement and the attitude of a person in the city. We related these actions with restrictions that refer to space, so that people can perform them. We included these constraints as a parameter in the design of the objects. We examine, based on these constraints, how the curved forms, produced by the process of A4, can function in the human scale and serve human action.
Restrictions of the space
design of the objects of urban equipment 10 | A4: Cutting _ Folding _ Joining
views of waste basket
Our aim was to produce forms which incorporate different functions and, at the same time, enable alternative uses for humans. By focusing more on the objects of the square, our project ends in the construction of two objects of urban equipment in large scale.
sections of bench A4: Cutting _ Folding _ Joining | 11
Vocabulary of contemporary processes in architectural design Special Research Topic _ October 2009 In collaboration with Panagiota Pavlou Supervisors: Apostolos Kalfopoulos, Spyros I. Papadimitriou
The change in the way of thought, from the final form into the process of production of architectural forms, involves the change of the perception of certain basic significances of architecture and the import of certain factors in the design. In this research, there is made an attempt to define and amplify these significances and factors with the way that are incorporated in the contemporary processes. These significances concern either energies and factors that are included and impel the process of production of forms, or rules and beginnings according to which these forms are organized and emerge through the process. The differentiation, the forces, the repetition, the change, the behavior and the time activate the processes, while the algorithm, the geometry, the diagram, the multiplicity, the model, the system and the typology constitute the principles according to which the forms emerge. The bibliography led us to the selection of the particular significances, which we consider that sufficiently describe the contemporary process of production of forms without important lacks. Consciously, we are not making extensive reference to tools and techniques, but only to a different way of thinking. Determining these significances through the way that are used in the contemporary process of architectural design, we investigate whether and how this process manages to reveal the difference and to produce new forms. How the contemporary processes do answer in the search for the â€œnewâ€?? 12 |
The transit from the study of an object form to the process, through which a form produced, expands the potentials of architectural form production. The study of object in terms of their final form leads us to static and predictable results. The process depicts a developing transformation from abstraction to material or virtual representation. We do not have the production of a specific result, but a field of virtual forms through a designing process.
The prototypes used in the process of the design of an architectural project are not objects to copy or imitate their forms. The prototypes are studied in terms of the rules of their form shaping. These rules alter and differentiate within the process with the result of different forms to arise from the same prototype. These forms are not reducible to the initial prototype.
The different concept of notions that are mentioned in the text of this research assignment deals with the contemporary processes of architectural design and the changes within the framework of which forms are produced.
Forms are systems that consist of multiple parts which are connected with one another and operate as a whole. The system does not remain stable and static. It is dynamic, which means it is constantly altered and transformed as time goes by. Contemporary processes incorporate complicate systems with complex forms. These systems are described with the concept of multiplicity. Multiplicity is an assembly of heterogeneous elements which are organized and operate as a whole. The secondary aspects interact with one another and develop multiple relationships.
The concept of time, as a constant flow, evokes the view that any space is active. Space is ruled by multiple forces which act and cause transformations to the object that exist in it. In addition to this, the transformation results both from the interaction of the forces and relationships that are developed within the form structure. The forms alter and differentiate according to the interactions of the forces. This process is constant and repetitive. It is a process of repetition which incorporates the difference. Through this evolutionary process, a series of virtual forms, that might appear is implied. The forms which arise are not predictable in advance. The forms are shaped through the interactions and the relationships that are developed in their structure. However, the forms in an active field of forces, interact with their environment as well â€“ through these interactions, a behavior is formed, which later on, influences both the environment and the adjacent forms. The interactions and the relationships that shape a form can be defined as rules of form shaping. The rules, according to which a form is shaped, can be described with an algorithm. By changing the algorithm, the form is changing. The algorithm can be evolutionary, that is, it can occur in a total of possible results.
14 | Vocabulary of contemporary processes in architectural design
A system does not describe a specific form, but a total of virtual forms that can receive the same program. Typology is not a type of building classification according to their functions. It consists of organizational principles which we can multiply and modify during the design process. New and different forms are produced through the variation of the organizational principles. The relationships and interactions of form elements can be represented with a diagram. The diagram incorporates a total of potentials and virtual transformations of relationships and forces that develop among the secondary elements. It is a dynamic and productive tool of â€œvirtualâ€?. The diagram is an abstract representation of all the virtual forms which are likely to appear. It includes all the possible changes and transformations that a form undergoes. With the use of alternative geometry, such as topology, it is possible to describe complex forms and their transformations in space and time.
1. An apartment complex that uses stochastic search to determine the location of its units 4
2. Embryological Houses, 1997-2002 (unrealized), Greg Lynn 3. International Port Terminal, Yokohama, 1996-2002, FOA 4. Church of the Year 2000, Rome, Italy, 1996, Peter Eisenan 5. Blobwall, 2007, Greg Lynn 6. Hydrogen House, Schwechat, Austria, 1996-1999, Greg Lynn
7. Soft Office, Stratford-upon-Avon, UK, 2001-2002, NOX 8. REptile, Haku Japanese Restaurant, New York, 2005, Evan Douglis Studio 9. BMW Event + Delivery Center, Munich, Germany, 2001, Reiser + Umemoto 10. Phylogram (classification of the work of FOA during the period 1993-2003) 11. PS1 MoMa_Warm Up_â€œSURâ€?, New York, 2005, Bryan Flaig, Mark Nagis
examles of contemporary architectural projects
Vocabulary of contemporary processes in architectural design | 15
University Square Location: Volos, Greece Special Composition III _ 7th Semester: 2009 In collaboration with Christina Nikitaki Supervisors: Theoklis Kanarelis, Konstantinos Manolidis
The basic idea for the design of the square was supported in the combination of the regular system of Dimitriados street and the irregular one of Ermou street that are in conflict and the section of these two systems create the alteration of the material of the square (removal, fracture, inclinations).
The grooves of the square resulted from the already existing pavings of pavements along Dimitriados street and Ermou street. From the first road, there were created parallel grooves, while from the second diagonal. Is, thus, created a whole system of intersecting axes.
initial idea 18 | University square
P. MELA STREET
In places where this system densifies, there are enclosed areas in which the material is removed, revealing another material. The square is paved by two basic materials of different textures. The cement, that is smoother and the stone that is rough and unrefined. In areas where the cement is removed, two natural materials appear, the water and the earth. DIMITRIADOS STREET
Certain sections of the square are inclined. This happens either for the smoother connection of the paving with the natural materials that are found beneath, or because of the insertion of vertical elements (low walls) in four diagonals axes. On these low walls there are anchored horizontal elements that function as seats. In addition, the cement creates fluctuation in two areas of the square. University square | 19
20 | University square
Thermal baths Location: Thermopyles, Greece Architectural Composition VII _ 9th Semester: 2008 In collaboration with Christina Nikitaki Supervisor: Kostis Panigyris
The project concerns the designing of thermal baths and accommodation facilities - hostels in a pit in the region of Thermopyles. Central synthetic idea existed the designing of a horizontal slab with holes which would entertain the spaces of baths and vertical slab with corresponding holes that will entertain the spaces of staying.
initial approach 24 | Thermal baths
diagram of volumes
baths relaxation area massage rooms gym cosmetics - service rooms administration areas reception changing rooms - wc first aid room
diagram of uses
The holes of the horizontal slab constitute projections of the holes of the vertical slab and were decided on experimentation. These holes constitute either gaps or pools. The blocks of the closed spaces of services (reception, lockers room, baths, massage, sauna, gym, first aid, etc.) hover under the slab and they are placed next to holes in order their required insolation to be achieved. Furthermore, except for the initial holes of the slab, there were added atriums with stairs facilitating the movement in the space and additional openings.
level +0.00 plan Thermal baths | 25
entrance of accommondation area
entrance from the parking area (level -10.00) staircases going up from the ground to +0.00 staircases going down from +0.00 to the interior of the buildings
staircases going up 1 level from the ground
internal staircase entrance from level +0.00
diagram of holes
soil mud stone water built
diagram of ground
The slabs are at some distance from the ground of the pit. The horizontal slab is based on the ground either by means of entire spaces or by single walls when the spaces do not reach the ground. The entry can be made either from the level of the slab or from the level of the ground of the pit. The ground of the pit has been formed with natural materials, as soil, mud, stone and water, and offers additional services of baths. 26 | Thermal baths
level -1.50 plan
section D - D
section E - E
section F - F
right view Thermal baths | 27
28 | Thermal baths
Television station Location: Volos, Greece Architectural Composition V _ 7th Semester: 2008 In collaboration with Panagiota Pavlou Supervisor: Apostolos Kalfopoulos
The project concerns the designing of a television station with specific thematic core in the city of Volos. The challenge was the design of a television station, which interacts with the city and its residents. The thematic core chosen was related to sport, and specifically the use of bicycles, which are used as a main means of transport to a large extent in the city of Volos.
Important role in the formation of the building played the construction of a model that was made in the frames of the first exercise of the laboratory. This model was constituted by an element in repetition and it could be differentiated while producing different forms according to certain rules.
32 | Television station
For the designing of the station, our basic intention was to make it possible for the entire building to function as a large open plateau, and above all, anybody to be able to move by bicycle all over the building. Therefore, the building is constituted by closed spaces (office spaces, control, montage, post production, etc.), which are connected with each other by corridors and ramps where the bicycle can be moved. The corridors and ramps remain open to the public all day long. The ramps are more or less inclined and they are coated with different materials (earth, gravel, tartan), creating routes of greater or less difficulty, that run the entire building.
routes of graded difficulty Television station | 33
gravel concrete tartan soil water
material diagrams level +9.90 34 | Television station
routes of different materials
sections Television station | 35
36 | Television station
Exhibition pavilion Location: Thessaloniki, Greece Special Composition V _ 9th Semester: 2008 In collaboration with Christina Nikitaki, Minos Spyridakis Supervisor: Giorgos Triantafyllidis
The pavilion is located next to the archaeological site on Navarinou Street in Thessaloniki. It is to accommodate exhibitions that are related to the film festival hosted in the city every year and other periodical exhibitions, per intervals.
Initial decision was to place the pavilion at the back part of the site with a view to the archaeological site and Navarinou Street. Our intention was to create a walk through the construction, during which the exhibits would be cited, while simultaneously creating a strong relation to archaeological site.
40 | Exhibition pavilion
section D - D
front view Exhibition pavilion | 41
The proposal constitutes an elongated structure, which is extended in some parts over the archaeological site. Specifically, the structure consists of a metal construction on one side hooked to the wall which surrounds it. The whole structure is enclosed in glass, inside and at a distance from the metal construction. In the interior, there are positioned panels of different orientation and height. A way through ramps runs the length of the exhibition. In the places where the construction is extended over the archaeological site, spaces are created where someone can stand above it, sit, relax and enjoy the views. 42 | Exhibition pavilion
The depth and the surface Study of new shell Location: Volos, Greece Special Composition IV _ 8th Semester: 2007 In collaboration with Christina Nikitaki Supervisors: Konstantinos Manolidis, Kostis Panigyris
The objective of the project had been the designing of a new shell in a currently abandoned building which is located on Sekeri Street in Volos. The original intent was to design a closed shell, which would allow the view towards the interior and the transit of light from very small apertures.
After experimentation, the work led to a construction from wooden elements of width of 30cm, thickness 1.5cm and length ranging from 1.5m to 3m. The elements are placed in apposition, in order to cover the entire perimeter of the building. Some of these elements are rotated by 10 degrees creating small or, with their combination, larger openings. In this way, there is a limited and fragmentary view of the interior from the passersby. While at the same time, the natural light creates a special sense and a game in the interior of the building.
detail of plan
detail of view 46 | The depth and the surface
The depth and the surface | 47
The Value of Garbage Location: KAM, Chania, Crete, Greece Workshop: 16-26 August 2011
Because Greece is at the forefront of the economic crisis but also because a worldwide interest in waste management has been developed, we tried to think as deeply as possible of the waste and their use in architecture. Under the thematic of this year’s workshop, we worked on two adjacent but different aspects.
In collaboration with Dimitra Tsiami, Evaggelia Mitsiou
In collaboration with Andreas Alygizos, Kristel Makri, Giannis Mamounas, Evaggelia Mitsiou, Dimitra Tsiami, Maria Vergopoulou
The first part of the workshop began with a visit to the landfill of Chania where we collected material from the bulky waste of the recycling. We were enabled to choose what we were interested in, having as a first project to build a small seat by this material, proposing strange design proposals.
The second part of the workshop concerns interventions in the Eastern side of the walls of the city of Chania. That side was chosen because it is, one would say, an “urban trash.” It is a space that is both centrally, between Kum Kapi and the old harbor, and dominated by an urban embarrassment. Thus, we tried with the waste material to reverse the logic of this “town waste” with small batzet, inventive solutions and investigations related to specialty programs that propose to reintroduce this part of the city to the active fabric of the center.
We named our chair, constructed by metal objects, “varoulko”. [varoulko (gr βαρούλκο) = winch] 48 |
Our proposal concerns a transitional space which includes the level of the Venetian bastion where there are two arbitrary houses, and the level of a parking area which is located behind the Venetian shipyards. The intervention strategy involves the design of different levels - platforms, creating a new walk that highlights the qualities of the architectural structure of the existing arbitrary. Based on the information of scale, materials and textures encountered in the area, we synthesize a new path pattern following the logic of addition and organic growth.
workshop part 1 50 | The Value of Garbage
workshop part 2 The Value of Garbage | 51
Station 20 Location: Sofia, Bulgary International competition: 2011 In collaboration with Christina Nikitaki, Panagiota Pavlou, Simos Antoniadis
The basic concept relies on the primary idea of folding â€“ of pleat; the creation of a system that unfolds itself between the two main arteries surrounding the metro station site. The two main entrances of the station are situated on the two ends of the low speed road that crosses over the site. Another two secondary entrances (situated vertically to the main ones, near the low speed road) serve the communication between the entrance hall and the pedestrian zone. Nearby those entrances we can find bus stops, connecting the metro lines to the means of transport.
During the design of the pedestrian zone the characteristics of the surrounding area were taken into consideration. The area is not highly developed and is not well connected to the main urban fabric. Therefore, the suggestion includes the gentrification of the area through light intervention. The diversity and variety of the materials used (wood, concrete, pebble, low vegetation, trees, water), practically form the pedestrian zone. The various functions are situated into the borders of orthonormal shaped areas, connecting with each other through more uneven shapes. The ensemble of those shaped areas connect through a pattern traced all over the floor. Those traces stop where the site ends , nonetheless, this formation could be extended furthermore (over the limits of the site, if necessary in the future). The alternation of the materials along the pedestrian zone create the circumstances for a pleasant walk. | 53
mobility/accessibility pedestrian access low speed limit (car,bus) high speed limit (car,bus) bus stop metro (entrance-exit)
54 | Station 20
master΄s office security room
coffee - snack bar
ticket office To Center press store
room for MDF
room for KPS
EXIT STAFF ONLY
The system was designed based on the sequence of the passenger’s movement throughout the metro station. The system consists of two alternatively repeated elements, of different material: metal, and blurry/foggy glass, that compose a kind of ‘Π’ shaped units, put one after another, creating a queue that gives –both inside and outside- the impression of an unfolding pleat . The alternation of these elements creates a complex entity which transforms and adapts according to the required needs. In addition, this system adapts in order to include and involve the staircase and give the impression of inflow and outflow from and to the metro station. EXIT
entrance hall plan
1. To Center
1. To Airport
technical 1 technical 2
The required space for the metro staff is located at a decisive point (at the center of the station) in order for the staff to be able to serve the passengers and control the area at the same time. The entrance to the platforms takes place in one side and the exit in the other. This way , overcrowding is avoided in case of congestive movement of passengers. In a certain point platform zone plan the system interrupts to create the main entrance intersection hall and continues again for the other entrance hall facilities -commercial stores- whose functions relate to the characteristics of the area (few residences, many office buildings). EXIT
technical 4 HVAC
Part of the wall that is formatted, continues all the way down to the platform zone, to attach and connect -aesthetically and conceivably- the two levels. The connection is optically obvious only where the real connection takes place; when taking the stairs. The design of the waiting seats on the platform zone also refers to the pleat. Station 20 | 55
56 | Station 20