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O PORTFOLIO

Marietta Pagk alou

‘07


PART I graduate work

PART II postgraduate work

CONTACT : Marietta Pagkalou marietpagkal@yahoo.com U.S.A. 480.299.0664 Greece +30.6972554898


PART I

Random projects from the period of the graduate studies at School of Architecture, Aristotle University of Thessaloniki, 1999 - 2006.


1

January 2007

22

metamorphosis

passage February 2007

3

2007, Taliesin

The projects shown in this portfolio are 4 selected postgraduate projects from the period of the current year.

studio project III

studio project II

studio project I

charrette / master planning

desert pavilion

adaptive reuse

PART II

May 2007

7

September 2007


This project involves the schematic design of a Taliesin West Reception Pavilion. The pavilion is an

introduction to taliesin west and is located on the access road outside the main gate, in the Sonoran desert of Scottsdale, Arizona. The Frank Lloyd Wright Foundation wants to accommodate the tourist traffic throughout the year. In the winter, this major tourist attraction creates the need of waiting and an overflow parking area. In the summer, the tourists who arrive need an inviting pavilion where they can be informed about the summer schedule.

deser t welcome center, Taliesin west 1 2 gift shop_ 3 exhibit area / waiting area _ 4 office area_ 5 office storage_ 6 general storage_ 7 mechanical_ 8 janitor’s closet_ 9 lobby / reception desk_ restrooms_

The form of the building follows the quality of the views, accenting the view to the desert and mountains, and framing the view to the area which is opposite to the road.

desert garden outdoor exhibit area

desert pavilion

The concept is an interaction of separate pavilions and a central open space.

4 3 2

studio project l

DESERT PAVILION

outdoor exhibit area

9 8

1 7

6

5

1


‘‘...the

transformation

Pittsfield, three

faculty

team

in

100,000 master

of

Massachushetts, architects,

February square

planning

Berkshires’’

2007.

feet a

of

the

Silk five

collaborating Over

a

existing

‘‘Creative

_sixty-five

A.H.Rice

engaged

with

period mill

Village

live/work

Mill,

built

Taliesin a of

homes

1877

four-member

client days,

the

was

studied

Heart

designed

for

of

The vision of the clients is

‘‘...to create mixed-use, mixed-income communities in existing urban neighborhoods where we can live in vibrant, alive communities, and prosper...’’ This project is indended to create a community where creative people will live their everyday life, search for new ideas of creative art, make welcome the visitors from all over the world. Based on the character of this

in and

three-and-a-half

structure

in

in

apprentices

for

the

creative

the project defines areas of defferent level of privacy in order to let the future haspace of live and work,

people looking for a strong sense of community...’’clients’statement

bitants of this ‘‘village’’ to choose when they want to offer time to the community, to the visitors and when they want to spend time for themselves. The process of the design follows the idea of the transition between different levels of privacy: The level I of the ‘‘village’’ promotes a circulation through the most public + less public spaces. The level II of the ‘‘village’’ promotes a circulation through the less private + most private spaces. On the north part of the north-south access, there is the main entrance, the most public entrance into the ‘‘village’’ which attract people from the downtown and the highway. Its definition is developed: by a void space of outdoor areas along the north limits of the site + by the view of a new building which creates a gate to the ‘‘village’’.

Through the site l develop 2 axes which provide access into the site, accomodating people and occasionally cars. The northsouth access attracts people from the downtown and the highway, to the south side of this site which is a residential area. The east-west access goes from a residential area to an educational and residential area.

The area of this project is characterized by low scale mountains to the north and northwest. The site of the project is near to the downtown and is surrounded by: a highway, a school and a parking area, and residential areas. 5

LEVEL II : LESS PRIVATE >>> MOST PRIVATE 4

3

adaptive reuse

3

charrette

ADAPTIVE REUSE

LEVEL I : MOST PUBLIC >>> LESS PUBLIC

existing mill structures

The north elevation of the existing mill structure is characterized by vertical lines proposal new buildings

in repetition. Based on this element of the existing structure l devised a

system

unit

which directs the design of the

master plan of this project.

2


passage

In the 35 acres of this land, there is a national scenic byway, known as the Turquoise Trail. This is the main access through the site, from the high way to

the secondary road. South of the site there are rocks which form straight strong lines in the landscape. These rocks are admirable geological formations, known as the

Garden of the Gods.

the passage from the native Americas to the young artists, I develop In reference to

a straight passage which intersects the

lo

direction of the rocks, celebrating and

fts

Turquoise Trail. Its direction copies the

emphasizing them.

2

Through a passage, this project creates between the ancient pueblo indians

+

the young modern 3

artists.

In New Mexico, 40 miles south of Santa Fe, 2 artists, Warren Cullar and Kevin Box, are collaborating to establish a gallery, two studios, a few lofts and a house for themselves. During the winter the 2 artists and several apprentices will in this site and their artwork will be selected for exhibition and sold during the summer season. During the summer, visitors will have the opportunity either to rent a loft or stay in the camping area. A percentage of the income will contribute to funding the residential program through this art-center’s non-profit entity.

work

4

live and

Throughout the studio project, l focused on the schematic design of the lofts and as a team, we developed the exhibition in Santa Fe, New Mexico.

studio project II

an intersection

passage

6 . 8 . 07 Newspaper Article : Local news, Santa Fe, New Mexico.

3


6 studio lofts, 350-700 sq.ft. with

Through a passage , this project refers an

indoor and outdoor

intersection

workplaces.

1.000

common area for library, com-

sq.ft.

between the ancient pueblo indians and the young modern artists.

munity kitchen, sitting area and laundry.

At the beginning of the passage, the area of studio lofts is intended to evoke a connection between cultures + seasons through visual experience. It is a place of 1

reflection + experience where the 4

visitors and the artists will become

2

part of the history of this site.

3 5

1 : living area

Each pier defines the particulary character of each studio loft: different art instalation different color different element: water / fire

2 : working area 3 : bathroom 4 : to bedroom 2

2

3

View through openings / contrast between light + shadow >>The entrance of each loft is a contemporary expression for an older experience..

5 : parking

south-west view

fireplace option

studio lofts

1

Ruins of the Pueblo Indians buildings. >>The wall of each loft reinterprets the Pueblo adobe finish with ashlar masonry..

passage

1, 3

4

4


Victor Sidy, dean Frank Henry, professor of architecture Aris Georgiou, professor of graphic design Brian Maxwell, construction faculty students : Marietta Pagkalou, design concept / drawings

studio gallery

Marsha Fader, design concept / prospectus AdaRose Williams, prospectus

1. reception 2. outdoor exhibition space 3. indoor exhibition space 4. artist studio 5. ADA restrooms 6. serving kitchen 7. outdoor amphitheatre 8. mechanical rooms 9. shipping and storage 10. ADA parking 11. water features

4

4

2

Christian Butler, site analusis / model Nick Mancusi, site analusis / model Thai Blackburn, site analusis / booth installation 3

2

team work

25 May 2007, presentation & exhibition Allan Houser Sculpture Garden, Santa Fe, New Mexico http://orbitalmonkeys.net/santafe/ http://w w w.gardenofthegodsinternational.blogspot.com/

exhibition SantaFe

passage

A successful group effort gave us the valuable experience of collaboration in a team spirit.

5


The schematic design of a center

metamorphosis

The urban design metamorphosis is now

for cosmetic medicine on the

Thessaloniki

island of Crete, in Greece is the third studio project at Taliesin. This project is for my brother and his wife, Vasilis and Ersi. Vasilis is plastic surgeon, Ersi is dermatologist and their vision is to create a space which will introduce and establish the enchantment of human body’s care in Crete.

Athina

Criti

airport port

ocurring at seaside area of the city. This represents an important opportunity for architecture to create and reflect the future character of this city. This project refers to the metamorphosis that is a metaphor for the exciting redevelopment that is now taking place in city.

downtown current redevelopment seaside area site of metamOrphosis

1-4 The most dramatic change of this city is that it has stopped to ingore the existence of the sea! Many big, abandoned buildings used to block the view to the sea. But nowadays, all these buildings are blasted and the city welcomes the sea.

Heraklion is the largest city in Crete, with 140.000 inhabitants (as of 2005) It is currently experiencing its own urban design metamorphosis. Over the last 4 years, the entire city has undergone noticeable changes. The olympic games in Greece at 2004 was the reason for the beggining of the city’s redevelopment.

urban design metamorphosis metamorphosis,

a center for cosmetic medicine

1

port

most of the roads have been paved, new public spaces, plazas have been created and the city has begun to peserve and renovate many of its historically significant buildings.

2 downtown 4

3 4

Although the process of creating drawing is a great way to explore one’s thoughts about the design, it is only a reprensentation of a project and a tool for communication. However, it too often directs the design. Through the process of this project, l consciously tried to think without the limits or illusion of any media and to focus, examine the conceptual and theoretical process of design.

airport

Heraklion 3

2

1

studio project lll

In downtown area of the city,

metamorphosis

metamorphosis

7


The harmonic proportions, derived from the

golden section,

create a

pleasurable visual experience and promote positive feelings. The history of art, music, poetry and architecture points to us the enchantment of the golden section’s proportions. History provides exciting architectural examples of spaces that are based on harmonic proportions.

the volume of indoor spaces has the clear numbers of the golden sections proportions,, for example, each of the surgery spaces has 26’x16’x10’ inside volume..

How the golden

?

This site of sun and wind challenges this project to welcome all that beauty and nature have to offer.

Why is it pleasant to the eye? In order to explore the formation of harmonic proportions and to reinforce the goal of the metamOrphosis, the design follows a system which creates golden sections proportions. A fundamental start of any system is the Fibonacci series: 0,1,1,2,3,5,8,13,21,34,55,,, the resulting form from these numbers, can be used to create a series of golden section rectangles. So this system is the foundation of the design and directs plans and elevations.

But which series should l use? Which size of volume promote the comfortable of each function? How can l get a number which will define my proportional measure? Can the meaning of metamorphosis give me any number?

right?

mediterranean climate:

mild + rainy winters, relatively warm + dry summers and, generally, extended periods of sunshine throughout most of the year.

The sea + sky + mountains offer beautiful and relaxing views, which can play an important role in every phase of

metamorphosis: preparation, action, healing.

north view A continuous wall blocks the view and the noise of the

sections proportions contribute to the design process

Why this solution seems to be the

Greece, which is situated in southeastern Europe, has a typical

road. Its straight form creates a facade to the road until the point where a 30 degree angle breaks its line. The entrance appears the wall directs and allows the views to the sea.

looking its culture and l go back to its history. Considering the meaning of metamorphosis for our island- Crete, l’ m

One of the most strong elements of its culture is the traditional music. Reunions and gatherings with traditional instruments, dancing and celebrations are very common in cretan way of life in the present time.

welcoming the wind and the views, the 3 masses rise 10’ high from the ground level

the flow of cars + people circulation

the wall provides privacy, isolation from the road

surfaces of the ground level

sand

The music-dancing heritage of Crete started since Minoans times and have been developed by influences of long-lasting historic adventures of the island. This culture element was the expression and encouragement in war conditions. grass

7

present times

metamorphosis

and find the balance of the human body.

7 Generaly, there are about 24 traditional dancing and some of them are known only locally. Each music and dancing reference to the history of Crete and a lot of the songs usually describe the natural elements of the island. This combination created a musical experience which filled the people with annimation and contribute not only to the preparation of each fight, but also to the celebration during war conditions. The cretan traditional music has mainly the rythm of 2/4 or 4/4, like ‘‘pentozali’’. Pentozali (pento=five, zali=steps) refenrences to the fifth opportunity-hope of liberation from Turks. The dancing has 10 steps, in memory of the beginning of a revolution at 10th october of 1769 and the music has 12 musical expressions ( turns- themes ) in honor of the 12 generator men of this revolution. Cretans started to dance pentozali in order to share and sing out their vision of freedom. In this way, I can see that the traditional music has a very sensitive expressive role to the metamorphosis of the island from war-hitten space to a free island. So, from the musical rythm, 2/4 or 4/4 l can generate series like: 0,2,2,4,6,10,16,2 6,42,68,110,,, and now l have the numbers and l can start the design process,,

concept

harmonic proportions

proportional measure

plastic surgery

In the area of , metamorphosis refers to a transformation which is based on a proportional measure. The ideal goal of this science is to create

concept

metamorphosis

Based on the series: 0, 2, 2, 4, 6, 10, 16, 26, 42, 68, 110 ... l design series of golden section rectangles.

minoan times

gravel

8


10, 16, 26, 42, 68, 110 ...

: 0, 2, 2, 4, 6, 10, 16, 26, 42, 68, 110 ...

: 0, 2, 2, 4, 6, 10, 16, 26, 42, 68, 110 ...

: 0, 2, 2, 4, 6, 10, 16, 26, 42, 68, 110 ...

0, 16, 26, 42, 68, 110 ...


drawings

the different steps of metamorphosis : preparation >> action >> healing

section

level I

The entrance

level II

reception

level III

waiting area

level I The continuous wall

defines the privacy area of the site. The nothwestern part of the wall has a marked distance from the building, but the southeastern part penetrates it.

storage / bathroom

surgery spaces

At the entrance there is a reception and one of the 3 direct vertical connections -elevators-

lobby / storage

healing spaces

P

level II

P P

The sequence of the circulation

P P P

drawings

at level II, reflects a transportation through the stages of any metamorphosis. First stage is the preparation in the waiting areas, second stage is the doctors actions in their space and the third final stage is the healing process. Each transition through the different stages of metamorphosis lasts long time, promotes changes to conditions.

healing spaces

metamorphosis

Having two openings for cars, the wall accommodates mainly the circulation into the place and offers outdoor resting areas.

P

9 west elevation


10

model

metamorphosis


portfolio  

portfolio of my work at Taliesin

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