all images , paintings, photos, designs contained in the portfolio are personal work unless otherwise noted.
Komar Brands Global Headquarters (2016) location _ Jersey City, NJ collaborators _ studios architecture NY status _ completed
10 - 15
Dropbox Offices New York (2014) location _ Manhattan, New York collaborators _ studios architecture NY status _ completed
Residential Syros two summer residences (2013)
location _ Syros , Greece collaborators _ block722 architects+ collaborators _ block722 architects+ (Sotirios Tsergas, Katja Margaritoglou, Meledaki Eleni, Felekou Theodora) status _ completed
p. 16 - 21
Residential Skiathos double residences house (2011) location _ Skiathos , Greece collaborators _ block722 architects+ (Sotirios Tsergas, Katja Margaritoglou, Meledaki Eleni, Felekou Theodora) status _ in progress
p. 22 - 25
Hotel aqua bay hotel (2013) location _ Zakinthos , Greece collaborators _ block722 architects + (Sotirios Tsergas, Katja Margaritoglou,Felekou Theodora) status _ completed
26 - 29
30 - 33
Residential residence renovation (2013) location _ Kavouri, Athens , Greece collaborators _ block722 architects + (Sotirios Tsergas, Katja Margaritoglou, Felekou Theodora) status _ completed
Retail Grigio store concept (2012) location _ Salonika , Greece collaborators _ block722 architects + (Sotirios Tsergas, Katja Margaritoglou, Felekou Theodora) status _ completed
p. 34 - 39
Design Thesis new archaeological museum of Argos (2011) location _ Argos City, Greece supervisor _ Panos Dragonas published in the journal of the department of architecture , a610, department of Patras, Gr, issue 06
Research Thesis the cinematic promenade of Dimitris Pikionis (2010) supervisor _ Panos Dragonas
Beton Hala Waterfront Centre international architectural competition beton hala waterfront centre (2011) location _ Belgrade , Serbia team _ Patronis Christos, Patronis Yannis, Lazaridou Gianna, Patsaki Pinelopi, Felekou Theodora, Koligliati Konstantina, Lekkas Georgios
p. 42 - 49
p. 50 - 53
p. 54 - 59
Advanced design studio museum of Surrealism in Seoul (2013) location _ Seoul , South Korea team_ Konstantina Koligliati , Jiannan Jiang, Biqi Zhang supervisor _ Francois Roche_new territories, Penn Design
5 p. 60 - 65
team_ Konstantina Koligliati , Chang Heo, Hoju Chung instructor _ Ferda Kolatan, Penn Design
p. 66 - 71
Mathematics of tilling vaultscape (2014) team_ Konstantina Koligliati , Hoju Chung instructor _ Joshua Freese, Josh Dannenberg, Penn Design
p. 72 - 75
Design Finesse contemporary vaulting design (2014)
House of Hungarian music international architectural competition (2014) location_ Budapest, Hungary team_ Konstantina Koligliati , IbaĂąez Kim studio
p. 76 - 83
Crownpoint landscape/architecture collaborative studio (2014) location_ Crownpoint, New Mexico team_ Konstantina Koligliati , Jiamin Jiang instructors _ Laurie Olin, Tony Atkin, Penn Design
p. 86 - 95
Komar Brands Global Headquarters Jersey City, NJ (2016) Komar Brands, a global organization that focuses on the design, marketing, sourcing, and distribution of numerous clothing brands, recently relocated their global headquarters from 16 East 34th Street in Manhattan to 90 Hudson Street in Jersey City, New Jersey. Their new offices are better equipped to facilitate the collaborative culture the company has developed by offering spaces that support the companyâ€™s work. The new location of the offices in Jersey City offers high and extensive amounts of light. Keeping offices and meeting rooms on the interior allowed us to design an open plan work area that draws light deep into the building. Workspaces offer extensive amounts of storage for each employee and teams, keeping the space neat and inviting for clients. Meeting rooms were added throughout the work area, both in open areas adjacent to workstations and in enclosed meeting rooms. Breakout areas offer space for on the fly meetings, design rooms offer ample pin up space during the curation of catalogs and other publications, and enclosed meeting rooms offer space to host clients and buyers.
01. 7th floor plan 02. break out meeting area 03. executive waiting area
04. stairs 05. pantry
Dropbox Offices NY (2014) Occupying a single floor of this landmarked 1903 building, Dropbox’s new offices emphasize community spaces while providing a flexible, casual workplace. STUDIOS created an office where people can interact and share ideas easily and quickly. The work area is completely open, allowing workers to see each other and interact spontaneously. The openness is balanced with a series of enclosed conference rooms for private meetings, phone calls, etc, but even these have clear glass fronts to allow views in. Throughout the office, a variety of seating options, from bar-height tables and stools to couches, give workers a variety of places to work. Dimmed overhead lighting, with flexible task lighting throughout, makes the space feel even less “office-like.” The space, which is long and narrow, is organized around a central “spine” of existing columns, which were painted charcoal. Special areas, such as the reception desk, pantry, and conference rooms are arranged along the spine, giving a sequential order to the space as you walk through. In the center of the space is the cafe/pantry with an adjacent multipurpose room. The cafe provides a central location for lunch, informal meetings, and all-hands gatherings.
Dropbox Offices( NYC). All Photos: ©2015 Bilyana Dimitrova
Dropbox Offices( NYC). All Photos: ©2015 Bilyana Dimitrova
02 Dropbox Offices( NYC). All Photos: ©2015 Bilyana Dimitrova
05 Dropbox Offices( NYC). All Photos: ©2015 Bilyana Dimitrova
06 Dropbox Offices( NYC). All Photos: ©2015 Bilyana Dimitrova
Dropbox Offices( NYC). All Photos: ©2015 Bilyana Dimitrova
01. lounge 02. conference rooms 03. lounge 04. cafe 05. lounge 06. communal table
Dropbox Offices( NYC). All Photos: Â©2015 Bilyana Dimitrova
01. floor plan 02. cafe 03. reception
Two summer residences, Syros (2013) Occupying a single floor of this landmarked 1903 building, Dropbox’s new offices emphasize community spaces while providing a flexible, casual workplace. STUDIOS created an office where people can interact and share ideas easily and quickly. The work area is completely open, allowing workers to see each other and interact spontaneously. The openness is balanced with a series of enclosed conference rooms for private meetings, phone calls, etc, but even these have clear glass fronts to allow views in. Throughout the office, a variety of seating options, from bar-height tables and stools to couches, give workers a variety of places to work. Dimmed overhead lighting, with flexible task lighting throughout, makes the space feel even less “office-like.” The space, which is long and narrow, is organized around a central “spine” of existing columns, which were painted charcoal. Special areas, such as the reception desk, pantry, and conference rooms are arranged along the spine, giving a sequential order to the space as you walk through. In the center of the space is the cafe/pantry with an adjacent multipurpose room. The cafe provides a central location for lunch, informal meetings, and all-hands gatherings.
01. plan 02. section
03.bathroom 04.exterior view 05. exterior landscape 06. pantry
01. plan 02. section
03.exterior view 04. rooftop view 05. exterior landscape 06. kidâ€™s bedroom
Skiathos Double Residences (2011) The site is located in a steep, densely planted slope on the island of Skiathos. The owners main desire was the creation of two housing units, coexisting and maintaining the family membersâ€™ individualities. The site limitations prevented the creation of two entirely independent units, so a common composition was in order. The main idea was the creation of two neighboring volumes, separated in their main body but connected in their entrance. The housing volumes follow the steep slope, evolve in different orientations and amply allow the light to enter the inside through vast openings. The ground floor begins at ground level and eventually follows the footprint of the upper floor, opening to the view through uneven terraces and pools. The ground floor walls are stretched to the siteâ€™s limits and clad in stone, thus disappearing in the natural environment.In both residences, the upper levels host the familyâ€™s private space whereas common spaces and living rooms occupy the ground floor levels.
01. exterior renderings 02. physical model 03. section
01. plan 02. section
Aqua Bay Hotel (2013) The design the space and landscaping of a 5* hotel in Zakynthos, Greece, is focused on the idea of extending the vacation space inside the living areas. The main concept of the common areas focuses on a game between the various lobby functions, creating separate areas programmatically that are visually unified at the same time. The lobby is thus visually broken down and readjusted in the scale of a house, including a living room, a “dining area” around which interaction is enhanced, a library, a study. The bar is also visible from the hotel’s restaurant, further extending the impression of continuous yet distinct spaces. The lounge and restaurant areas offer gracious views of the green landscape. The landscaping and exterior of the hotel are dominated by the hotel’s roofs. The various wings’ roofs are unified into one, spanning across the building and extending to the outside, reminiscent of the intense topography of the area. The in-between space offers patio and water areas that follow the slope and create diverse promenades.
01. 02. 03. zinc roof detail 04. 05. main bar section 06. ground floor plan
01. exterior pools and patios 02. typical room partition 03. custom wardrobe design 04. hotel lobby 05. reception desk
Residence Renovation in Kavouri (2013)
01. first floor plan 02. 03. bathroom sections
01. ground floor plan 02. second floor plan
01. bathroom details 02. office entrance 03. fireplace in living room 04. master bedroom personal storage place
Grigio Concept Store and Cafe’ (2012) The main design purpose is the creation of a multifunctional space that will offer a completely unique shopping experience. The boundaries of the inside and outside are constantly blurred with the presence of plants, swings, outdoor lighting and doors in the inside space. The store is characterized by the presence of green vegetation and natural light. For this reason a six meter glass facade is built that lets the view to the patio at the back of the building unhindered. An open green space is created at the back that houses the function of the cafe during the summer months. The raised area of the café and the planted outdoor patio function as a window inside the store, allowing the ample vegetation and the natural light to dominate.
All elements inside the new grigio store are designed from scratch, using objects and images in unexpected ways. Doors become tables, wooden frames surround hangers, weathervanes navigate the view to the cafe. The walls, stripped of any old and unnecessary material are left bare and roughly painted white. All ventilation and heating pipes are unhidden, enhancing the industrial and raw look of the inside. The use of trompe-l’oeil prints on the walls and fitting room curtains creates unexpected views. A new type of indoor space is created – a passageway space from the street to the back where the shopping and socializing experiences are constantly intertwined.
01. ground floor plan 02. section
01. 02. 03. custom partitions, hangers, objects 04. iron&glass facade 05. 06. wall prints 07. 08. 09. pillow trimmings and fitting room curtain patterns 10.weathervane hanger
new archaelogical museum of Argos (2011)
The township of Argos - Mycenae is the largest city of the prefecture of Argolida. It has an area of 857 acres, 32% of the entire county and a total population of 48,188 inhabitants, 26% of the total population of the county. It is the oldest continuously inhabited city in Europe. The site of the new archaeological museum, an area of 10,356 m2, is in the immediate vicinity of an integrated set of archaeological sites. The set includes: the ancient theatre of Argos, with a capacity of 20,000, one of the largest in Greece with the unique characteristic of being entirely carved in rock, the theatre with the linear seats, the ancient Odeon, the Serapeion, the Asklipion, the baths, the north gallery and the theatre market, the Heroes Garden, the pillared hall, the ancient market, the street stage, the south arcade and the arena, the dome and the nymphaeum market, the marketâ€™s pipelines and the square nymphaeum.
Crucial to the design process is the site excavation so that the first level, the level of the employees falls 6m below the street level thus integrating the new archaeological museum in the nearby archaeological sites.
â€Ś. the basic alignments of the site and the adjoining streets are recognizedâ€Ś.
â€Ś. the lines are used during the design process, creating an embrace towards the archaeological sitesâ€Ś.
â€Ś a master exhibition volume with sloping sides is created that integrates the design of all alignments and keeps its design strength in all floors. In contrast, the adjacent volumes vary depending on their use and their relationship with the main volume and the city.
The layout of the ground level (-6m) includes mostly storage and maintenance space. The glass facade of the volume of the basement to the trench allows direct viewing of the maintenance procedures of the exhibits from the visitors strolling along the yard while the placement of warehouses in the most remote part of the floor plan protects the exhibits and shelters them from the natural lighting and ventilation. The layout of the street level (+0m) includes the main entrance of the museum, administration spaces and areas open to the public, such as exhibition spaces, the auditorium, the museum shop. The museum entrance is marked by a glass volume so as to be distinct by all the other solid volumes. The administration volume, having two separate entrances, remains independent from the publicly accessible areas. This differentiation is achieved with the use of a different design language, as the orthonormal plan of the administration is following the grid of the city. The museum courtyards create a sloping path with diverse plantings in various elevations. The external staircase access from the top of the sloping path of the street level to the level of the trench leads to an olive tree, a tree strongly related with the Greek landscape and history.
The layout of the floor level (+4m) includes the space of temporary exhibitions, the projection space and the cafe of the museum. The green roof on top of the administration volume serves as an extension to the cafe. The roof’s design follows the sloping path’s and plantation’s alignment in the courtyard of the museum. The continuous strip of motion leads the visitor from level +0 to level +4 through an external staircase. Internally, a ramp, a staircase and an elevator core serve the connection between ground and first floors. The floor’s edge becomes as a balcony for viewing the gallery of sculptures and the movement of the visitors along the ramp. An opening in the plate allows visual contact with the museum shop at the entrance level. The material chosen for the main volume is small bricks used widely in the Roman period. The remaining volumes are composed of slabs containing red clay in their composition so as to achieve a smooth chromatic relation between the museum and the surrounding archaeological sites.
visitor service areas exhibition spaces spaces of cultural events & educational programs conservation laboratories laboratories servicing galleries & building maintenance security archaeological findings warehouses warehouses of exhibition spaces, offices & facilities administration & staff areas technical facilities
02. exploded diagrams
Research Thesis the cinematic promenade of Dimitris Pikionis (2010) Within this research is being studied the promenade as architecturally designed space and the human senses as means of understanding the space with special emphasis on those of sight and kinesthesia. The research focuses on the analysis of landscaping of promenade around the archaeological site of the Acropolis by the Greek architect Dimitris Pikionis and aims to examine the landscaping projects around the Acropolis and Philopappou hill for the experience that offer to their visitors. This research focuses on the study of visual and physical experience that these landscapes offer to the man. The research methodology followed in order to study the experience of the promenade of Pikionis,is based on the basic elements of perception of space and two important texts, one of the architect Constantinos Doxiadis entitled “Architectural space in ancient Greece” and the other of Russian director Sergei M.Eisenstein entitled “Montage and architecture”. The analysis concludes with a study of few projects of Pikionis, the testimony of his student and architect Dimitris Antonakaki and on-site visit and analysis of these landscapes. The first chapter refers to the definitions of promenade (architectural promenade, walk, cinematic promenade) as presented and differentiated in architecture. The second chapter deals with the five basic human senses (sight, hearing, touch, smell, taste), the sense of kinesthesia and their presence in architecture. The human senses initially interpreted in the perspective of psychology and later under the viewpoint of architecture. There is an extensive reference to the way the human senses influence the way that man perceive the space that surrounds him, and the factors that contribute to the differentiation of human perception. The third chapter presents the theory of Constantinos Doxiadis with title “the harmony and beauty of ancient architecture” which refers to the visual mappings of the acropolis and the way that they affected the layout of buildings as well as their general orientation in space.
The fifth chapter presents the origins of the work of Dimitris Pikionis and a description of the landscape of Philopappou Hill, the hill of the Acropolis and the entrance of Herodion. There is a detailed reference to the elements that make up the landscape, including materials and plantings in the area with references to interest of Pikioni for the Attic landscape and its relationship to architecture. This description is based on a personal site visit and record of data, as well as descriptions of other scholars. The final chapter discusses the visual and physical experience of the promenade of Pikionis. This analysis includes the testimony of Dimitri Antonakakis. In the same chapter there is a description of places in the landscaping of Dimitri Pikioni which seems to have followed and implemented the optical alignments of the theory of Doxiadis. Within this reference are set out drawings and construction details of the architect Dimitri Antonakaki who worked as an architectural student at the side of his teacher, during the completion of the project . For a complete understanding of this study also there are listed a series of photographs that depict these areas as well as their optical alignments. Then in this chapter, following the same method of analysis to the one of Sergei Eisenstein for the acropolis, the promenade of Filopappos and Acropolis are analyzed as a cinematic experience. The promenade is presented as a sequence of basic shots that the visitor meets in his path. At the end of the research, there is a summary of all the aspects of visual and physical experience that the promenade of Pikionis offers to the moving observer, by recognizing the special character of this project that goes beyond a strictly predetermined cinematic experience and raises to a complex spatial experience in which the sense of sight coexist with the kinesthesia.
The fourth chapter describes the relationship between cinema and architecture, with particular reference to the concepts of the shot and editing. This chapter analyzes the theory of Russian director Sergei M.Eisenste concerning the relationship of architecture and editing as well as his references in the Acropolis of Athens as the first paradigm of editing in history. Furthermore, there is a description of the notion of the cinematic promenade and its application in the Villette park by Bernard Tschumi.
optical alignments based on golden ratio
Acropolis view with optical alignments based on theory of Sergei Einstein
Beton Hala Waterfront Competition (2011)
The New Waterfront Center and the restored Beton Hala building dominate the concept of the waterfront revitalization. The Waterfront Center, a sailing sheet, graciously stretches and shelters, residing humbly by the magnificent Kalemegdan topography. The Beton Hala is revealed by all sides. A rooftop slab enhances its importance and transparent architecture, also providing shading during the summer. The in between space that remains after the water ‘’evaporation’’ is shaped as the synthesis of differend sand fills and artificial water ponds. This new water landscape will act as a linking urban magnet between these two new urban elements. A new ‘’elevated piazza’’ is formed to override the road circulation. A new, safe pedestrian course is thus formed, truly connecting the Sava riverfront, the existing Beton Hala and the Belgrade Fortress/ Kalemegdan Park.
between the Beton Hala and the Fortress exists a major void...
... a reverse transformation begins: a theoretical flooding occurs, cleansing the existing industrial environment...
... then an abstract drainage and evaporation remove the remaining water, creating thus a new undulating topography.
commercial circulation cores exhibition space/galleries
01. ground floor plan
02. site plan
01. basement plan 02. section
01. diagrammatic sections
Catharsis Museum of Surrealism in Seoul
Catharsis (from the Greek katharsis meaning “purification” or “cleansing”) is the purification and purgation of emotions—especially pity and fear— through art or any extreme change in emotion that results in renewal and restoration.It is a metaphor originally used by Aristotle in the Poetics to describe the effects of tragedy on the spectator.
+3.00 +2.60 +1.20 +0.80 +0.40 +0.00
limitation of Possibility Niddles in the Darkness
In the ambicuous boundary of South Korea and North Korea, lines becomes vague. Possibilty of the limitation exists in such sensative area. Trying to find the limited possibility of in such area to form into something liquid and glass, a bunch of niddles are working on the sands. 60
Mudflat stretches for miles. Wind caressing the face of sands again and again, and the tide takes away some and leaves its own print on the mudflat. A secret creature is sleeping under the sands, recording the movement of sands and tides. A bunch of needles are dancing freely on the back of the creature. Sands become transparent, moving, dancing in the air, escaping capture of constrain. Like any substance in the world, when darkness is here, the needles begin to work, as a crab,avoiding the water, carefully to create the most beautiful invisible construction underground. In those untouchable darkness in the sands, layer by layer, with the power of fare, transforming those particles into incredible shining glassy but also rough substances. Those glassy niddle-like particles burrying underground are crying and shouting to gather the attention of the people from North and South. With the tide going back and forth, water crushing the shore, those particles are burried years and years in the darkness, forgetten by the people.
+3.00 +2.60 +1.20 +0.80 +0.40 +0.00
+3.00 +2.60 +1.20 +0.80 +0.40 +0.00
+3.00 +2.60 +1.20 +0.80 +0.40 +0.00
... After years of waiting, tides go and back, wind caress the lips of creature. Water washes away the dirtyness and the creature begins to wake, opening its eyes, curiously looking around. Something forgotten long time ago jumps into people’s sight. “See, what is that?” shinning in the air attracting people’s attention. What are found are mountain-like sticks all over around the sands, showing off its own existing in the word, the limited of possibility. What is left in the world is proof of such limited possibility of existing in the boundary.
+3.00 +2.60 +1.20 +0.80 +0.40 +0.00
erotion of sediment by tidal action
The experiment’s process includes the use of syringes and glue in order to stimulate the maschine’s operation and the vertical movement of it’s needles inside the sandy ground of the Korean mudflats.
machine steps CO2 emissions
62 stepper motor height / rotation/distance adjacement
distance / rotation adjacement scissors
possible needle positioning
The computational research is based on three systems. Machine self-rotation system, trajector computation study and form generation system. These 3 systems are studied seperately, by creating a logical system and finally combined with each other in order to produce complexity and differentiantion. Machine self-ratation system is based on the relationship between spiking machine and broom, which is like the relationship of sun and planet thatâ€™s why it follows a circle-shape route. In this system, it is tested different number and
num:20 rotation angle:30 min:100
angle of rotation.
num:50 rotation angle:30 min:100
num:100 rotation angle:30 min:100
num:30 rotation angle:100 min:100
num:20 rotation angle:30 min:100
num:10 rotation angle:30 min:40
num:100 rotation angle:30 min:60
num:50 rotation angle:30 min:40
system 1 : machine self-rotation study system 2 : trajectory computation study
As for the whole trajector, machine moves on the sand like a crab. It moves straightly with a little angle rotation, and every five steps, changes direction. In this system, it was tested different rotation angles and steering angles in order to give the best combination.
various steps jitter angle (-15,15) one way/no return no attractor
various steps jitter angle (-15,15) one way/one return no attractor
various steps jitter angle (-15,15)/ (-30,30) five steps return no attractor
500 steps/60 returns
500 steps/90 return/jitter(-30,30)
For the third system of form generation , the spiking machine moving on the mudflats and leave its foormarks in the mud. So the third system is based on the pattern of machine itself, and create triangleshape volumes.
A system of attractors was created in order to control the movement of the trajector in the mudflats by avoiding the areas with water. The crab-moving trajector interacts with the attractors by changing direction. Different rotation angles were tested.
System 2 Further Study System 1 & System 2 Trajector with machine self-rotation study
System 2 & System 3 Form Generation with Movement Trajector study
Design Finesse (2014) vaulting systems
Analysis St. Hugh’s Choir 1192-1239 Lincoln Cathedral, Lincolnshire, England
Regarding the geometry, the span of the bay S (11.65 m) is double the rise of an equilateral trianglegenerated by the width W (6.4 m). This system created a more oblong vault that is probably moresuitable to the wide transverse span. A lot has been said about how the twisted geometries break the regular bay rhythm and the reversal of the convergence of the ribs from the keystone(s) to the springings can be seen more as a mannerism. The transverse vaults have however been attached to a hybrid clerestory window made of lancets, which appears as a conservative attempt to transparency, an evidence of the rather Norman traditions that still blended the design in Lincoln These windows have a large area and force the transverse vaults to stand on stilted spandrels in order to avoid narrow pointed arches and blocking of daylight. These areas however arerelatively wide and create deep compartments. Later, the tierceron vaults controlled better the transverse barrel vault profile, which is probably the result of the better construction quality due to the presence of closer spaced ribs. 1. Vaulting Type Analysis
2. Structural Analysis
A. Lincoln Cathedral Plan
A. Cross Vault
B. Unique Cross Vault
B. Unique Cross Vault _Type B
3. Initial Transformation The vault’s initial design was expanded upon by manipulating the configuration of the ribs on the vault. By rotating the main horizontal rib within the limits of the registered rectangle, while maintaining three intersection points with the other ribs in the vault, iterations were generated through variation of the angle of rotation. (examples transformation 1,2,3)
Methodology Golden Ratio Deformation
1. Deformation according to Golden Ratio
a+b Ď† = = 1.618 a
2. Unit Elevation
The deformation of the initial vault is based on the rules of golden ratio. The sides of the vaults are divided according to the golden ratio, so that the configuration expands beyond the original rectagular shape. The same procedure is followed in the z-axis in order to create a differiation in the skyline of the vaulting system. Furthermore the rules of the golden ration are followed for the joining parts between the vaults.
Fabrication Digital Model
03 01. section 02. 03. elevations
Fabrication Multi-Layered Moulding System
1. Moulding System
A. Unit Separation B. Mould Formation C. Concrete Casting D. Concrete Curing E. Assembly
D. 2. Fabrication Process
Fabrication Physical Model
Vaultscape (2014) Mathematics of tilling contemporary vaulting design Vaultscape is configured by series of deformation of the original vault in Lincoln Cathedral. Basic rule of the deformation is moving the vertices of the vault so that the deformedvault may sustain its structural stability. There are 3 different factors that deform the vault within the 2 dimensions. Rotational factor, Overall ratio factor and Distance factor. Each vault may deform itself through changes of these factors. In addition, there is attractor that deforms the flow entrirely and breaks the bounding square. Therefore, the vaultscape no longer stays within the boundary of classical vault, rather moves much more fluidly along the flow. By deforming the landing ground of the vaultscape, vaultscape also changes its feature again and automatically adjust itself to the uneven ground as well.
A. Original Vaulting System
B. Moving Points
A. Original Vaulting System B. Moving Points C. 2D Deformation D. 3D Deformation
Unit Vault 3x3 Array
C. 2D Deformation Deformation 2
fixed point adjustable point variable point (X,Y,Z) variable point (x,y,z)
angle 1-a a d rotational factor overall ratio factor distance ratio factor
deformation 1 boundary deformation
Deformation 1 with attractors 1
Spacing V Factor
Deformation 2 with attractors and UV factors
D. 3D Deformation
Spacing U Factor
01. plan 02. section 03.04. elevations
House of Hungarian Music (2014)
The House for Hungarian Music is a new building which fulfills a unique requirement for Budapest and its musical heritage. The building is an edifice to house interactive displays and classrooms but also to forecast and pronounce the legacy of music in Hungary and beyond. From Liszt to Ligeti, the history of music from Hungarian composers ranges from classical to new media and electronic. Like the Philips Pavilion by Le Corbusier in Expo 1958, or the new musical notational diagrams of Stockhausen or Cage, we look to an architecture that is composed and designed by new methodologies. If GyĂśrgy SĂĄndor Ligeti could revision a methodology of musical drawing that radicalizes its own means of representation, what is a House for Hungarian Music that surpasses its own limitations of material, composition and promenade. This would be a collection of objects in motion â€“ its small changes create a dynamic environment where the nature of a singular understanding or experience is negated for a stronger position of music in flux.
This project is composed of three enigmatic moving boxes that support the primary programmatic divisions of the project:
1. Permanent Collections 2. Temporary Installations and Exhibits, and 3. Laboratory for classrooms and performance space.
Each Music Box or vessel contains the exhibition spaces and their services within a protective, monolithic block. The circulation spaces and offices are distributed in the open space among the vessels and the raised, artificial ground. The structural system for each vessel is a rigid, independent frame. The open spaces and services are slabs that are spanning between them. Music Box 1 is an angular polyhedron that houses the temporary interactive exhibitions. Its pieces radiates from its centre with a vertical tower that moves up to 40m in a strong geometric motion to carry air as well as sound. It is seen to be a speaker or beacon to the community and the park with its interactive lighting and sound.
Music Box 2 contains the permanent collection showcasing the strong history of Hungarian music. The spaces are designed to be geometrically neutral and secondary to the displays.
Music Box 3 is the future of Hungarian music: it is a laboratory and classroom space in the training of the next generation of composers and musicians. Spaces for impromptu and experimental performance and spaces of learning are found here.
wind speed graph
relative humidity graph
01. movement diagram 02. existing plantation 03.proposalâ€™s plantation
dry bulb temp graph
energy and water concept
MUSIC BOX 2
CONVECTION COOLING / STACK EFFECT MUSIC BOX 3
MUSIC BOX 1
THERMAL MASS ELEVATED GROUND
THERMAL MASS / GEOTHERMAL COOLING
03 Konstantina Koligliati
01. basement 02. level 1 03. level 2 04. level 3 05. level 4 05. level 5
ground level plan
CLOAK ROOM CATERING
PERMANENT EXHIBITION PERMANENT EXHIBITION PERMANENT EXHIBITION
MULTI MEDIA ROOM
ARTIFACT / GOODS DOCK
INFO / TICKETING AUDIO GUIDE
Crownpoint / New Mexico (2014) landscape/architecture collaborative studio
Studying the living conditions in the Crownpoint, a town of New Mexico with 2360 American Indians residents and the programmatic typologies of the main city, we recognized as basic problems of the strong dispersion, the lack of connections within the main grid as well as the poor water management. Connection and water management are guiding elements of the analysis and the design process. The new grid is developed around the existing Navajo technical college and aims to connect the college and the new residential area with a tribal park which includes natural fields, walking paths, and a commercial tribal center. The residential area includes 100 residences which are placed at the edge of the cliff and use the natural incline in order to guide the raining water into the water reservoir and to the agricultural fields at the bottom of the cliff. The orientation of the residences and the incline of their roofs changes depending on the natural lighting and the direction of the water streams.
routes residence cluster residence cluster Crownpoint high school Navajo techical college residence cluster
85 main axis
commercial/ educational spots
virgin land/ bushes/trees
01. exploded landscpare diagram 02. section
plant material soil material moisturer retention layer drainage boar protective membrane waterproof membrane
check dam garden
check dam g
_contact info Koligliati Konstantina BSc, MSc architecture, University of Patras, Greece MArch II Post Professional Degree (PPD), Penn design school, University of Pennsylvania email@example.com / +1(215) 479 4977
Published on Mar 14, 2018