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architectural portfolio Katerina Karagiannakidou


topographical practices, Istanbul 2016


Name. Karagiannakidou Samsarelou Aikaterini Birth. 31/07/1992 Address. Ippokratous 110, Athens Tel. +30 6977088140 E-mail. kakaragiannakidou@gmail.com Ιnstagram. kat_krg Issuu. katerinakaragiannakidou Katerina was born in 1992, in Thessaloniki, Greece. She studied Architecture at the Aristotle University of Thessaloniki. Her interests cover all the aspects of architecture and design, mostly in the field of reuse and restoration of buildings. She is enthousiastic about any type of architectural representation. She spends her free time designing or crafting anything, or strolling around the city mumbling nostalgic songs.


C U R R I C U L U M V I TA E EDUCATION 2018

Diploma in Architecture Aristotle University of Thessaloniki, Greece [300ECTS - M.Arch equivalent] [GPA: Excellent] graduation July 2018

2015-2016 Erasmus Istanbul Technical University 2010

High School Diploma Experimental School of Aristotle University of Thessaloniki [GPA: Very Good]

WORKSHOPS/EXPERIENCE 2012-2018 International PelionFestival photographer, graphic designer & secretary 5/2016

Bellastock Istanbul, theme: playground

fall 2015

workshop “Sarajevo 2030” collaboration of Istanbul Technical University & University of Sarajevo

5/2015

workshop “Reformations: geometrical laws of visual illusion”, Experimental School of Thessaloniki

7/2014

workshop Boathouse - European Architecture Students Assembly (EASA)

7/2013

Archaeological excavations in Mycenae Responsible of archaeological illustrations

11/2012 & Volunteer guide 10/2013 at the Open House Thessaloniki


SKILLS TRADITIONAL

DIGITAL (level)

Autocad Rhinoceros Sketch Up

handsketching hand drawing technical drawing

Cinema 4D Vray

model making

Photoshop Lightroom InDesign Illustrator Laser Cutting

LANGUAGES Greek English Spanish

EXTRACURRICUL AR ACTIVITIES 2010 - present: Photography - Digital & Analog [selftaught] 2016 - present: Sewing / Fashion Design [selftaught]


natural carbon on stone, Pelion 2018

This portfolio is a collection of projects submitted in the Aristotle University, Istanbul Technical University, or personal works. It is a representative collection of my concerns and skills gained over the past years while exploring the architectural way of living.


TABLE OF CONTENTS

Project Title

Page No

From Ritual to Secular Performance: Villers Abbey Drama School

6

The Phenomenon of the Reuse of Churches

16

Landscape Design in Thessaloniki

18

Small Hotel Complex in Kalamaria

22

Balat: Signs of Abandonment and Dereliction

26

Restoration of Foroglou passage

30

Studies in Pelion Mountain’s Traditional Architecture

34

Bonus: Photography

40


From Ritual to Secular Performance: Villers Abbey Drama School Diploma Design Thesis, Aristotle University Supervisor: Lefaki Styliani Year: 2018

The design proposal thesis concerns the reuse of the Villiers Abbey in Belgium and is the output of research procedures, criticism, decisionmaking, adoption of design and operation objectives. It is considered as a monument of high aesthetics with symbolic and historical value. No complete rehabilitation program has been implemented and as a result it is characterized by confusion. Spatially, there is a lack of links between the main complex and the additions and lack of an applied master plan for organizing the site for the visitor or the user. Today it is an archaeological site where many cultural activities (mainly theatrical performances) are taking place. Its management looks undecided and the footfall is very low. The design principles refer to the planning of connections and the new boundaries of the complex, the restoration of centrality through vital movements, the de-escalation of chaotic spatial sets and the introduction of expansion spaces. The finding and emphasis of typological features aimed at the weighing of new uses, the creation of a complete narrative experience of the monument and the placement of a new permanent life within it were important aspects. The design without decoration but with creative functionality was a priority in the design procedure, as well as the intention to diversify the new construction phase through new materials for the clear separation from the previous ones. The proposal is determined by constructions that are structurally independent to maintain the integrity of historic structures, located at a safe distance from the existing structures, and in cases where the existing shell has a ceiling, new frames are placed. Starting from the relationship of the religious function with the theatrical performance and from the historical presence of the theater to the monastery, it is proposed to install a dramatic school with 4 theaters inside and outside the complex. The new features in the coherent complex constitute an effort to interpret the monastery’s symbolism (public purposes), while the private ones are placed in the eastern addition. There is a space of hospitality and a kitchen-living room in the western addition (former brewery). During its history as a ruin, the question that arises is whether a restored ruin is considered as an original ruin. The answer that emerges from the proposed intervention plan is that it is not a product of restoration but an output of a new habitation of the monument, while respecting its symbolism and history.

8


the valley

the river

the area

the area of each wing

corpus - spiritus - animus

the parts of the complex

the central complex and the additions

concept diagram

the new centres

the new centres

the built possibilities

the new functions

functions diagram

functions diagram

plan evaluation

green areas

private - public spaces

9


from ritual to secular performance: Villers Abbey drama school

10


from ritual to secular performance: Villers Abbey drama school

11


from ritual to secular performance: Villers Abbey drama school

physical model

physical model

physical model

12


from ritual to secular performance: Villers Abbey drama school

masterplan

13


from ritual to secular performance: Villers Abbey drama school

THE BR IDGE

design evolution

+10.95m

+8.10m

+5.05m

+3.10m

+0.20m

0

10m

south facade

+10.95m

+10.95m

+8.10m

+8.10m

+5.05m

+5.05m

+3.55m

+3.10m

+0.20m

+0.20m

0

10m

west facade

physical model

14


from ritual to secular performance: Villers Abbey drama school

THE CHURCH

design evolution

+26.20m

+24.00m

+18.10m

+15.20m

+11.50m

+9.80m

+2.50m

+0.20m

0

10m

axonometric section

physical model

15


from ritual to secular performance: Villers Abbey drama school

THE OPEN AIR THEATRE

design evolution

±0.00

-4.00m

-6.00m

0

section

10m

-4.00m

-7.20m -7.20m

-7.20m

-4.00m

-4.00m

0

plan

10m

physical model

16


from ritual to secular performance: Villers Abbey drama school

THE BAR-RESTAURANT

31.5

31.5

31.5

serial sections

+7.20m

+3.70m

+0.20m

15.0

15.0

0

15.0

10m

ground floor, first & second floor plan

physical model

17


the Phenomenon of the Reuse of Churches Diploma Research Thesis, Aristotle University Supervisor: Lefaki Styliani Year: 2017

This research work focused on the reuse of churches as an existing practice in Western Europe during the 20th and 21st century. The abandonment of a large number of churches due to the distancing of society from religion served as a starting point. The issue was addressed comprehensively by looking into the phenomenon of secularisation, the value of religious buildings and finally the practice of reusing a church is studied, taking into consideration all necessary restrictions. In times of religious indifference, churches have lost their utility and are either abandoned or transformed into ‘exhibition spaces’. Α significant number of churches have been partly transformed into museums and as places of collective memory they attract people who do not seek God, but rather history or art. Consequently, the buildings are not actively used, but rather self-referentially exhibited. A new use of a church can breathe new life into the building and attract an audience to ‘inhabit’ it in a new way. In order for this attempt to be implemented, restrictions are set. As for the selection of the new use, the first criterion is maintaining the public character and avoiding gentrification, boutiquefication and museumization (preferred uses in descending order: social centre, charity operations, political operations, entertainment, trade, residence). As for the constructional restrictions, any intervention should respect the image of the building. Therefore, changes in the exterior should be avoided while maintaining interior characteristics (free plan, great height, openings, decoration), and any new construction should be based on existing structures. Having studied five examples of reused churches, it was tried to cover a broad spectrum of cases: it was realized that for the attempt to be successful, there is no need for extreme intervention on the building (there could even be zero intervention) and that a correct selection of use, combined with smart and flexible architectural design can produce high-standards work. It is also observed that when the selection of use is not consistent with the symbolism of the building, regardless of how meticulous the design is, the outcome is defective. The conclusion that came out of this process is that an incorrect selection of use combined with architectural ‘insensitivity’ can have devastating results. In conclusion, every case is special. The selection of use is indeed the starting point, but it is the interventions that will either showcase or undermine the whole attempt. Provided that the restrictions set above are respected, the building will stand the test of time and participate in the everyday life of society while the society itself will find the ‘shells’ that meet its operational needs. 18


19


Landscape Design in Evangelistria Design Studio, Aristotle University Supervisors: Tratsela Maria, Papakostas Georgios, Kalara Konstantina

Collaborators: Ampatsidou Aliki, Katsanoula Theofano Year: 2015

The topic of the workshop concerns landscape design of the stream in Evangelistria, Thessaloniki. The design proposal was based on a thorough analysis of the current situation in the broader region and the stream, analyzing the qualitative characteristics (relief, illegal buildings, limits). The component idea was based on the opposing status of the area of study (vacant/complete, up/down, hard/soft). The marginal borders separated the contrasts with a great deviation in some parts of the land. In most parts they were separated with medium borders, resulting in a mixture of contradictory situations. The final proposal is a combination of the opposing concepts with the creation of connections in order for the needs to be addressed at local level. More specifically, the proposal includes an amphitheater in the natural gradient in contrast with the dense vegetation (vacant, complete). The basic axis of movement in the region, which is branched by stairs, is accessible by all groups. The sense of smooth transition is boosted with the introduction of an open market in levels on the ramp (up, down). Hard and soft materials are used in combination (for example, near the rocks a sand pit is placed, hard floor materials are sinked into the natural soil). Τhe diffusion of the natural element to the uncovered areas of nearby blocks and the covering of roads with new materials, leads to homogenizing the natural and artificial element as well as reducing the nuisance coming from nearby roads. The whole intervention is realized while respecting the natural element. More specifically, by registering the tree species and detecting spontaneous vegetation, the new planting corresponds to the landscape and the liquid element is restored, while maintaining its initial course.

20


analysis map

conceptual zoning

21


landscape design in Evangelistria

A

B

B

A

section & site plan

22


landscape design in Evangelistria

section A-A

section B-B

view

23


Small Hotel Complex in Kalamaria Design Studio, Aristotle University Supervisor: Castro Eduardos Collaborator: Chrysanthi Karakassi Year: 2014

The proposal for the designing of a small hotel in Kalamaria, Thessaloniki was based on the given land, on the emphasis of the close link to the sea (beach-front) and on its use by different groups of residents. Τhe basic elongated engraving constitutes the central route, under which the tourist residence operates. The public character of the facilities follows a descending course from the entrance (café-bar, restaurant, library) to its end (quay and vessel berthing marina). The proposal creates a settlement with public and private operations, squares and free use of the beachfront. It is harmonized with the mixed use of the area (homes, tertiary sector operations). Volumes in the west side of the path are placed on the water and in the east they are kept to the underground with a leaning accessible walkable terrace, which constitutes the border between the natural-man-made sea border and the intense incline of ground-flat ground. The marina is the end of the Krini seaside route with an unimpeded view of the sea and the horizon, forming a proposal that manages to ‘bridge’ opposing concepts.

24


site plan

facade

physical model

25


small hotel complex in Kalamaria

plan

26


small hotel complex in Kalamaria

perspective section

details

27


Balat : Signs of Abandonement and Dereliction Research Studio, Istanbul Technical University Supervisor: Aslıhan Şenel Collaborator: Eva Theodorakoglou Year: 2016

Istanbul has already experienced plenty of gentrification projects that follow the same mechanisms each time –the first step is always taking advantage of the abandoned buildings. Fener-Balat rehabilitation program is currently running, and the aim of it is to serve all necessary conditions of gentrification. It would be performed by retaining the facades; reconstructing the buildings and changing the social structure into upper class. At the moment of the record, local users were trying to resist the project, however more organizations are needed for relinquishment. In this research, there was an effort to record the signs of abandonment of a part of the site. To get familiar with the research site, in the beginning the land uses of the buildings in Murselpasa street were documented, observing that the majority of them are not inhabited anymore. To explore the issue of abandonment, the buildings facades were drawn on the concept of layers. On the first layer the facades of the buildings and the ruins of the historic wall on the street were captured. On the second one, the materiality of the constructions was documented, while on the third one the signs of abandonement and dereliction, as well as some construction barriers were added. Moreover, on the fourth layer the additional signs that depict life conditions (labels, hanging laundries, etc) were drawn. Finally, on the last layer the planting background (trees and shrubs) was added. This work is just an instant capture of the abandonment scene through time. There is no doubt that this “threshold condition” is going to alter in the near future, and the next façade of this street will be totally unrecognizable. In conclusion, this work is a comment on the ephemeral city and on the powers that transform it.

28


Murselpasa street facade

29


Balat: signs of abandonement and dereliction

layer 1: buildings shapes

layer 2: signs of materiality

layer 3: signs of abandonement and dereliction

layer 4: signs of life

layer 5: signs of nature

layer combination

30


Balat: signs of abandonement and dereliction

layer 1: buildings shapes

layer 2: signs of materiality

layer 3: signs of abandonement and dereliction

layer 4: signs of life

layer 5: signs of nature

layer combination

31


Restoration of Foroglou Passage Design Studio, Aristotle University Supervisor: Lefaki Styliani Year: 2016

Τhe topic of this workshop concerns the reuse and restoration of the Foroglou passage. It is located at the center of Thessaloniki and its construction dates back to the end of the 19th century. Having analysed the historical elements of the building and the region, the typology and morphology of the building, its construction and pathology, the results of its misuse and abandonment as well as the existence of eclectic morphologic elements were brought to light. The proposal considers the building as a monument and has as a principle the respect of its value. It supports the removal of worthless elements deriving from later interventions and restores the basic typologic and morphologic elements of the Gallery. It suggests its reuse as a library (basement), study hall (1st floor) and canteen (ground floor), thus animating the building and differentiating it from neighbouring places of entertainment. Aiming to restore the qualitative characteristics (lighting and ventilation of the central part through the roof, visual contact through the patio) and to serve the new operation, crucial interventions are suggested. Restoring the steel structured and glass filled roof, moving the stairs to the initial position and installing elevators are steps towards this goal. The construction of a retiled clostra wall on the terrace boosts dialogue with the higher buildings around. The back walls are demolished and the new border is created behind and calls to mind the unconsidered interventions of the past. A small backyard is created and is connected to the flat roof with metal stairs. The initial frames, floors, railing and sculptural details, which characterize the typology of the building, are conserved and showcased.

32


η ογκοπλασία του κτηρίου πριν το 1917 ονομε αξογκοπλασία ια η τρι έρε κο ομ πτ ύ λε ια αξονομετ ε ρ έ ρικ ομ ού τ π λε η ογκοπλασία

του κτηρίου πριν το 1917

του κτηρίου πριν το 1917

ια αξονομετ έρε ρικ ομ ού πτ λε

λεπτομέρεια κάτοψης

κ 0ε

ιθος 20εκ x 2 τόλ 0ε εν κx ιμ 1 τσ ιθος 20εκ x 2 τόλ 0εκτήριο ν το ε κx ιμ σ 1 τ

λεπτομέρεια κάτοψης εια όψης

μέρ “ακρωτηριάστηκε” το το 1917

κ 0ε

π λε

ια όψης έρε λεπτομέρεια κάτοψης

ομ το κτήριο “ακρωτηριάστηκε” το πτ 1917

ιθος 20εκ x 2 τόλ 0ε εν κx ιμ 1 τσ

λε

κ 0ε

ια το κτήριο “ακρωτηριάστηκε” τοομ1917 έρε

πτ λε

η υποχώρηση του πίσω τοίχου => περαιτέρω συμβολισμός κοπής η υποχώρηση του πίσω τοίχου => περαιτέρω συμβολισμός κοπής η υποχώρηση του πίσω τοίχου => περαιτέρω συμβολισμός κοπής

η ογκοπλασία του κτηρίου πριν το 1917

το κτήριο “ακρωτηριάστηκε” το 1917

ιθος 20εκ x 2 τόλ 0ε εν κx ιμ 1 τσ

κ 0ε

ια αξονομετ έρε ρικ ομ ού πτ λε

ια όψης έρε ομ πτ λε

λεπτομέρεια κάτοψης

η υποχώρηση του πίσω τοίχου => περαιτέρω συμβολισμός κοπής

development of the front & back facade design idea

33

όψης


restoration of Foroglou passage

A B

ΑΝΑΓΝΩΣΤΗΡΙΟ ΚΑΘΙΣΤΙΚΟ

ΚΑΘΙΣΤΙΚΟ

Γ

Γ

±0.00

ΚΑΘΙΣΤΙΚΟ ΚΑΦΕ-ΜΠΑΡ

ΚΟΥΖΙΝΑ

A

B

0

1m

2m

4m

groundfloor plan

+11.77

+8.67

+4.68

±0.00

-2.70

0

section

34

1m

2m

4m


restoration of Foroglou passage

0

axonometric view of the passage

35

.5m

1m

2m


Studies in Pelion mountain’s traditional architecture Research Studios, Aristotle University & Personal Work Supervisors: Dousi Maria, Nomikos Michael, Arakadaki Maria Year: 2010 - 2018

The traditional Greek architecture is characterized by quality standards which resemble the neighbouring regions of the Mediterranean and the Balkans. This chapter presents studies of the Pelion Architecture, which is a typical example. The material included is either part of working papers produced in the department of History of Architecture, History of Art, Architectural Morphology and Restoration in the Aristotle University of Thessaloniki, or product of personal study. Confidence in tradition is confirmed when observing every aspect of the traditional architecture, where all design and construction choices are well-argued. Due to the use of natural local material (stone from local quarries, wood from forests), the low height of buildings and the construction in the natural gradient, the Pelion settlements appear to be completely harmonized with the surrounding environment. In every building, the choice of materials, orientation and openings is designed to serve the so-called bioclimatic design, offering conditions that meet high standards. Moreover, the sensitivity in constructional and ornamental details are indicative of the value of each and every element for the final result (eg. floor frames, sophisticated wooden roofs). Additionally, another interesting fact is the constructional similarity between the secular and religious architecture, since they were constructed with the same materials. In Pelion, one can see churches that are not large in size but have outstanding paintings or woodcraft and have been constructed in breathtaking locations. In conclusion, observations of the current status quo can have a fruitful outcome. On the one hand, they allow a comparison between traditional and contemporary architecture. On the other hand, understanding the quality standards of traditional architecture can turn them into tools to be used in contemporary design. Last but not least, the observations can provide the knowledge to properly conserve and restore existing buildings.

36


axonometric drawing of a typical house in Pelion mountain

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studies in Pelion mountain’s traditional architecture

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studies in Pelion mountain’s traditional architecture

39


studies in Pelion mountain’s traditional architecture

σχιστόπλακα Πηλίου λάσπη ξύλινες σανίδες (.2m x .02m) στεγόξυλο

0

0

1m

2m

0.1m

0.2m

0.4m

4m

+10.70

+8.80

+5.80 ορθοστάτης

λιθοδομή ισογείου

ξυλοδεσιές κλάπες

+2.80

±0.00 0

0

0.5m

0.5m

1m

2m

2m

1m

επίχρισμα

κενό για αερισμό ξύλου ξύλα πατώματος

0

.25m

.5m

1m

πατόξυλο ξύλα οροφής

ξύλα πατώματος πατόξυλο ξύλα οροφής

πηχάκι κάλυψης 0

0

.1cm .2cm

.4cm

40

0.1m

0.2m

0.4m

0

.25m

.5m

1m


studies in Pelion mountain’s traditional architecture

0 1cm 2cm 4cm

0 10cm20cm

κάσα

40cm

εξωτερική μαρμαροεπένδυση

κονίαμα

φυλλοδόχος εκτομή

μπαρτουέλλα εσωτερικό επίχρισμα

αρμοκάλυπτρο

0

5cm

10cm

20cm

πρεβάζι

κάσα

καβαλίκι

0 1cm 2cm 4cm

0 1cm 2cm 4cm

πορταδέλα

0

10cm 20cm

40cm

41


Bonus: Photography Personal Work Year: 2010-2018

42


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B O N U S

44


B O N U S

45


Thank you. Don’t hesitate to contact me for any questions, proposals or comments. I would be glad to hear from you. Tel. +30 6977088140 E-mail. kakaragiannakidou@gmail.com Ιnstagram. kat_krg Issuu. katerinakaragiannakidou

September 2018

Karagiannakidou Katerina - architectural portfolio  

This portfolio is a collection of projects submitted in the Aristotle University, Istanbul Technical University, or personal works. It is a...

Karagiannakidou Katerina - architectural portfolio  

This portfolio is a collection of projects submitted in the Aristotle University, Istanbul Technical University, or personal works. It is a...

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