Katerina Efraimoglou I Architecture Portfolio

AIKATERINI EFRAIMOGLOU GRADUATE ARCHITECTURE PORTFOLIO 2004 - 2015

Kunstakademiets Arkitektskole: Insitute of Architecture & Technology DUTH: School of Architectural Engineering EASA: European Architecture Student Assembly

Aikaterini Efraimoglou

Nationality: Greek Age: 29 DOB: 13/10/1986, Thessaloniki

w: http://issuu.com/katerinaefraimoglou e: katerina.efraimoglou@gmail.com p: +45 52 39 52 65

EDUCATION 2013-2015 2004-2012

1998-2004 2015

WORK EXPERIENCE

KADK, Kunstakademiets Arkitektskole Institute of Architecture & Technology MAA Architecture

DUTH, Democritus University of Thrace Diploma in Architectural Engineering

American College of Thessaloniki, Greece

07/14 - 08/15 09/12 - 08/13 Nov. 2012

AWARDS

MAA Thesis Project drawings shortlisted for ‘PETER COOK’S DRAWING AWARD’

01-07 2012

09/11 - 06/12

SELECTED COMPETITION

2015

2014 2012 2010

‘Gourmet Street Food Berlin Competition’ AC-CA, International Architectural Competition MAA Thesis Project exhibited at ‘The Arctic’ Exhibition, Hong Kong

Iceland Expedition & Fieldwork exhibited at ‘The Arctic’ Exhibition, Copenhagen, KADK 4th Year Project exhibited at the ‘Industrial Heritage of Greece’ Exhibition, Athens BA Diploma Project published in ‘Greek architects’

Office 25 Architects_ Thessaloniki Intern Architect Open House_ Thessaloniki Volunteer/ Architect - guide

Karanikolas Studio_ Thessaloniki Model builder DUTH, School of Architecture Research Assitant S0FTWARE PROFICIENCY

SELECTED PUBLICATION / EXHIBITION

2015

EASA_ Malta & EASA_ Bulgaria Workshop/ Participant

Rhino 3D + VRay Artlantis ArchiCAD AutoCAD Revit Architecture Adobe Creative Suite Logic Pro LANGUAGES

Greek: English: German: Danish: Spanish:

Native Advanced Level B2 Dansk Modul 2 Basic

Cover image: drawing from ‘Knitting Iceland’, Master thesis project at KADK

for a full list of publication and exhibition, please visit: http://issuu.com/katerinaefraimoglou

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01 GOURMET STREET FOOD BERLIN COMPETITION [2015]

[ AC - CA] Architectural Competition Concours d’Architecture The temporary Gourmet Street Food structure aims to an exciting and unique experience for Berlin’s

food lovers. Strategically located in Alexanderplatz, it does not only respond to the specific function of

preparing and serving food, but it also contributes to the creation of a new topology, a place of social osmosis, embracing the principles of flexibility and mobility.

The main concept of the design is an orthogonal unfolding’ space that serves different zones for people who want to engage to a new gourmet experience. The space is subdivided in two different areas, a preparing and serving area as well as a lounge area. These two zones can be either rotated or totally aligned to each other. When they are rotated they create an in between urban space that blends

in with the context and attracts public life. Regarding the materials chosen, they reflect a light and

sustainable structure, as well as our vision for a vivid and welcoming space situated in the heart of the city. Wood and metal are the two main materials chosen. More specifically, the outer walls are made out of oxidated copper panels, and the inner surfaces out of larch, aiming to create a warm and inviting atmosphere, as well as to refer to Berlin’s unique industrial character.

View of the Pavilion on a synny day in Alexanderplatz

PLAN

SOUTH ELEVATION

CROSS SECTION

View of the Pavilion from the Valleta Ditch in the rocky Context

02 ROPE PAVILION [2015]

EASA WORKSHOP Tutors: Delphine Lev, Rémi Buscot, Willem Coenen

PARTICIPANTS:

Monica Lelieveld, Sara Lahic, Shirin Hady, Miglė Paužaitė, Nicola Romagnoli, Ivan Vratnica, Ciara Geary, Marco Noli, Ivo Popov, Marcela Ostroški, Dimitar Stoynev, Zak Pulis, Мартин Вандов, Tijana Devura, Lucia Kanderova The aim of this workshop is to build a pavilion in connection with the past and the story of Malta; the marine environment. Giving a new vision on materials and form, this pavilion would reinterpretate the sail form with old rope from boats. Simple forms that would float with the wind. Linking present and past, the reuse of rope that has already travelled on the sea would give it a second life by exposing it

as a memorial of the sailing culture. Having these different ropes and linking them together into one pavilion. People from all over the world would connect by linking these ropes and structure together.

Working with rope structures is always about tension, knots and connections just like human relationships. As on a boat the knots technique would be very important, the use of simple gesture and knots would be the final detail to connect it with the sailing story.

Left: Adjusting the ropes Right: Detail

View from inside ‘the BAR’ inhabiting the circular knitting Machine

03a KNITTING ICELAND [2015]

MASTER THESIS Tutors: Marianne Hansen

A CONVERGENCE OF ICELANDIC CRAFT, WOOL INDUSTRY & TECHNOLOGY

This project, called ‘Knitting Iceland’, challenges the idea of merging three different programmatic

themes together; the themes of fabrication, research and habitation, within the programmatics of a hybrid building, in a small Icelandic town, Vik.

This thesis explores and challenges the way wool can be utilized as an innovative material in architecture in both a creative and sustainable approach, by exploring material boundaries

and suggesting new formal & spatial languages, that can enrich our built nvironment and living

experience. How can we challenge the defined perception we have of the architectural elements, each

having different functions, serving different needs, having their own space, by bringing together an interior to an exterior space, a furniture to a wall, the soft world of wool to architecture? In that sense,

considering that the building envelope is comparable to clothing for people, the aim of the project is not to manifest itself through the use of wool as purely design architectural or insulation material

component separated the one to the other. It is the aim of the project though, to explore these ideas, seeking for their interendependencies, that can challenge a more resilient, behavioural and atmospheric architecture, through an holistic design approach.

View of the hanging woolen ‘COCOONS’

-10- NOITCES SSORC

002:SECTION 1 ELACS CROSS -01-

THE MAIN PRODUCTION LINE - ground floor & the ramp which serves as the ‘director’ of the visitors’ route through the building

Key section across the building, showing diverse activities happening on different levels. Entering

with the spiral ramp, first thing the visitors face is

the big circular machine; the inhabited machine.

Around it, on ground level, workers are processing

the wool, while on the level above, visitors have an

overview of the production through the big void.

The hostel rooms and hanging Cocoons, seperated from the fabrication line, allow visitors to have an overview

of

the

production

from

above,

offering at the same time a unique experience of the warm world of wool.

CROSS SECTION

* red colour symbolizes wool

LONG SECTION

SOUTH WEST ELEVATION

GROUND FLOOR PLAN

Left: View of ‘the Restaurant’ - eating under a canopy of spinning Wool Right: The public route - visitors getting engaged to the knitting & sewing process

03b WEAVING INSULATION SHELTER [2015]

DEPLOYABLE STRUCTURE Tutors: Jacob Knudsen, Thomas Chevalier Bøjstrup, Marianne Hansen, David Garcia https://vimeo.com/121395878

The ‘Weaving Insulation Shelter’ is a device that tests the temperature, as well as the material

performance of wool on various personal weaving experiments. Different material compositions and weaving pattern explorations challenge the insulating and spatial ‘behaviour’ of wool, under Iceland’s

harsh climatic conditions; cold, wind and rain. Taken to Iceland, the device becomes my ‘weaving’ loom, laid as test bed for all these tests, which later informed my thesis.

A wooden structure was the base, where these experiments were tested on. A deployable structure,

based on the ‘scissors’ logic was made out of 21 plywood sticks screwed together, [9 mm depth.

1.5 cm width, 1,80 m height], able to be displayed in a wide phasma of positions, adressing to the

different climatic conditions of Iceland; rain, wind, sun. A stretching white cloth ‘controls’ the sheter’s temperature, and allows for the insulation measurements of the woven facades.

Final device scale 1:1

Device prototype scale 1:3

Early stage conceptual drawing

04 SPACE IN PERFORMANCE [2014] THE IDEA OF THE THEATRE AS A NON-FIXED ENTITY FIRST YEAR MAA PROJECT Tutors: Marianne Hansen

THE THEAT-ER:

This project seeks to explore the nature of the stage and its relation to the audience, as well as the relationship between the ‘real’ space of the theater, and the ‘fictional’ spaces that are evoked.

This theatre nvestigates architecture as an art of situation; not as form but as an experience of juxta-

posed performances, fictional narratives, improvisation, and real situations. The idea of the theatre

as an experience is tested through five different performance spaces, with different characteristics, size and typology, strictly depending to each other; almost like a an ethereal, yet largely structured choreography, both in terms of space and time .

Istanbul’s old city wall lays the ground for critical and perhaps paradox considerations of these spa-

tial and behavioral relationships. The great double Theodosian Wall becames the datum for these explorations by using the city and the landscape either as the backdrop or as the scene for such

experiences, whereas the second wall of the proposal plays the role of the ‘Master’, by collecting and .

distributing the several particularities through different routes.

‘‘Welcome to the 120 minute theatrical play, unfolded through five different theatrical narratives along the Wall, as shown in the section below.’

I. the deep & round II. the long & narrow III. the sunken IV. the kinetic’ V. the panopticon The 20-minute break is part of the play; the same way as overheard discussions, café conversations and an awareness of being seen as others promenade are situations we all ritually encounter in the daily ‘theater’ of life.’’

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IV

BREAK of 20 minutes

I am introducing a ‘circular’ deep space, a long dark and narrow one, the ‘silent’ the amphitheatrical and the ‘panopticon’ space, where a 120’- minute theatrical play is going to be performed, aiming to engage spectators differently in each case. In-between spaces, as well as the 20-minute break are highly considered as part of the play; In the same way as wandering in space, overheard discussions, café conversations, some times the sky framed, and an awareness of being seen as one watches others promenade, are behaviors we all rit-

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Unfloding section through the five different narratives of the play

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ACT - No I THE DEEP & ROUND SPACE - entering from the city & the suspendable theatrical stage within the circular Wall tower

ACT - No II THE LONG & NARROW SPACE & the ‘theatrical’ presence of the kinetics of the Machinery

05 Co.NCRETE [2014]

EASA WORKSHOP Tutors: Rosina Shatarova, Elina Hadzhieva http://www.hashtarch.com/#!co/cf8

PARTICIPANTS:

Jorgen Tellefsen Relling, Matthew Gatt, Sean Albert Mayl, Zoe Mizzi, Erold Wunderlich, Andres Martinez, Luiza Hoxla, Learta Stavileci, Idunn Sanden, Antonia Asturiz, Mihail Svetenco

Co. WORKSHOP CHALLENGES THE CONCEPT OF: Co.NCRETE: The workshop is an experiment consisting of individually designed pieces made of fabric formed concrete.

Co.LLABORATION: Each participant built its own unique piece, which would later became a symbiotical part of an entire connected structure.

Co.NTEXT: The structure itself represented a stairway-like extension of the dead-end “Tunel” street, leading towards the alienated from the town of Veliko Tarnovo river Yantra.

Left: Working on the mould Right: Concrete castings

06 TECHNICAL HIGH SCHOOL [2012]

BACHELOR THESIS Tutors: Theoni Xanthi, Giorgos Aggelos, Dimitris Loukopoulos

AN OPEN SCHOOL FOR THE CITY OF XANTHI, GREECE

This techical school challenges the idea of an ‘open’ school; a school that aims to become a symbol

for the community, that will better adress to its needs. The school library, the workshop spaces & the amphitheatre, they all play an important role to the school’s character.

Primar characteristic of the school is flexibility, so as the students can adjust effectively to the contemporary educational needs. Another important aspect is the fact that school is able to combine

general education with technical support, thus enabling the students to develop their skills, initia-

tives, creativity and critical thinking. At the same time, it offers a wide range of technical training with

solid foundations for further scientific development. Lastly, the schoolyard becomes the focal point of the spatial layout and students’ social life, allowing for communication, both inward and outward, alternative modes of movement, as well as a sense of intimacy and security.

View from the atrium

View from the school yard

-4.0 GROUND FLOOR PLAN

SECTION -01-

SECTION -02-

07 VIDEO - ART WORKSHOPS & EXHIBITION SPACE [2009]

5TH YEAR BACHELOR PROJECT Tutors: Polyxeni Mantzou

This project deals with the design of workshop spaces, annual accomodation and exhibition spaces

for video artists. The latter is semipermanent and flexible. All the public spaces are situated on the

underground and ground level, whereas the accomodation on the upper level. Regarding the site, it is an old quarry under the Roman Walls of Thessaloniki in Greece.

The rocky landscape is handled with great care. Excavation is used only for the creation of the public space, as well as for the concrete and stone walls which support the otherwise light metal structure.

Metal beams that form a two - storey metal grid are used for the exhibition area allowing for the 3-dimensional movement of the panels.

Perspective cross section

View from the public path & the staircase leading to the accomodation

Perspective long section

Painting with temperas; anasynthesis

08 ANALYSIS - ABSTRACTION - RECOMPOSITION [2008] STUDY ON ‘THE LETTER’ - Y. Tsarouxis Painting Pencil sketches & colour studies This is a personal investigation, a research by design analysis of a specific painting of a greek

artist, Yiannis Tsarouxis. The aim was to analyze and symplify the original structure, based

on personal interpretation, through studies on light, shadows and forms. A series of sketches was the methodology followed that would gradually lead me to the final step;

the anasynthesis. This process was particularly important for me, as I was trying to explore my aesthetics and practise my comprehensive skills.

Study case: ‘The letter’ painting [1984]

Pencil Sketches