Work sample portfolio. Ioanna Thanou. 2016

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table of CONTENTS. 02

Resume

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Graduation project, [in progress].

A ROOM FOR REST; and other physical states we have unlearned.

12

Thesis project, 2015.

BODY, WITHDRAWING. The ‘cure’ for fatigue by means of modern architecture.

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A site specific performance on a ship, role: choreographer. ‘Inner Movers’ project, Feb.-April 2016.

Transitions with fettles. Bodily quests for survivors on a ship.

20

Space / Place / Identity. Kenyon College, Ohio and American College of Greece, esta- blish connections between dance students in disparate places, 2015.

Inbedia: An international duet.

26

“Architecture meets Robotics”, Interactive Hotels, Customizable Experiences.

Symposium, Design Marathon and Master Class, Ariel University, Israel, 2015.

The case study: David InterContinental, Tel Aviv.

28

Graphic Design Competition. Poster for the band ‘The Horrors’ U.S.Tour, 2014.

Open your eyes, Creature.

30 “Visitors’ Centre of SNFCC” Student Competition, 2013.

Stavros Niarchos Foundation, Cultural Center Construction Site.

34

UrbanScaping.

The Music Hall: Chiseled tunefulness.

The entwined landscape : Mediterranean diversities.

44

Transformable Architecture / Extreme Conditions, 2013.

48

“RETHINK Athens” International Architecture Competition, 2012.

TOP-DOWN [Short-listed project].

to Plant the Sky.

004

50

Social Housing in the historic center of Rethymno, Greece, 2013.

Dwelling around the well.

54

Urban analysis & design in the northen district of Chania.

To form the mental map.

56

The Value of Garbage

Trash, Lamp, Swing,

Wave imprints and the new place of waste.

64

Eco-Redux: International Design and Fabrication Workshop, 2011.

Design remedies for a dying planet.

66

Apartments’ building, Chania, Greece, 2011.

Compress to Express.

01

Ioanna Thanou

Resume

Birth date: 1990.05.19 Nationality: Greek Email: i.thanou@acg.edu Address: 13, Gravias St., Ag. Paraskevi, Athens.

Education: Architecture (T.U.C.): Currently a student at the Technical University of Crete, Architectural Engineering Department (graduation year).

Dance and Movement Studies (Deree): Currently a student at the American College of Greece, ‘Dance and Movement Studies’ (Scholar of Stavros Niarchos Foundation).

Working experience: Εxternal freelancer at the Fetrix S.A. company, in the field of design, planning and construction of exhibition booths, 2014.

Languages & Skills: English ( Proficiency level, American College of Greece School Certificate & Cambridge Lower) French (B2 level) Greek (native language) Microsoft Office package (experienced) CAD / Vector / Bitmap / 3D applications: - Rhino3D (experienced)

Grasshoper (average) - Autodesk Autocad (proficient) - Autodesk Maya (experienced)

Rendering: Mental ray - Adobe Suite

Adobe Photoshop (proficient)

Adobe Illustrator (experienced)

Adobe Indesign (experienced)

Adobe Premiere (intermediate) Knowledge of Digital Graphic Design. / Skilled with analogue media.

02

Achievements & Participations: Participation in ‘Inner Movers’, a multimedia educational platform for video dance practices and site specific performance; funded by the stART program of the Robert Bosch Stiftung, February-April 2016.

Participation as a choreographer in the site specific performance on a ship

in the island of Salamina, April 2016.

Participation as a camera operator in video dance project, April 2016.

“Social Skills Workshop”. The quality standards, methodology and tools of recording and evaluating social skills have been developed by partners including Danmarks Paedagogiske Universitetsskole, AARHUS University and GIB – Society for Innovation Research and Consulting, 2016.

Contribution as performer in the exhibition “Mediterranean bodies”, part of “The Underwater Heart of the Mediterranean”, a cultural educational and community project supported by the European Union Creative Europe, Horizon 2020 Program.

“SPACE / PLACE / IDENTITY”, Ohio-Greece, 2015.

Kenyon College, Ohio and American College of Greece, establish connections between dance students in disparate places.

Scholarship from Stavros Niarchos Foundation for parallel studies in ‘Dance and Movement Studies’ at the American College of Greece, Fall 2015.

“Architecture meets Robotics”, Ariel University, Israel, 2015.

Interactive Hotels- Customizable Experiences Symposium, Design Marathon and Master Class.

“Visitors’ Centre of SNFCC” Student Competition, 2013.

In collaboration with co-student.

“RETHINK Athens” International Architecture Competition, 2012.

In association with Ctrl_Space LAB architects and other students.

Ranked among the first twenty propositions.

“The Value of Garbage”, C.A.M. (Mediterranean Centre of Architecture) 2011.

Studies on the reuse of garbage and found objects in an urban context.

“EcoRedux 02: Design Manuals for a Dying Planet”, exhibition, Design Hub

03

of Barcelona, Spain, March 10, 2011 - May 22, 2011.

“Eco Redux. La mostra curata da Lydia Kallipoliti guarda indietro di cinquant’anni(The exhibition curated by Lydia Kallipoliti looks back 50 years).”, Domus, issue: 946, April 2011, p.10.

“Eco Redux”, T.U.C., International Design and Fabrication Workshop, 2010.

Activities & Other: Movement practitioner (complementary resume available)

dance techniques yoga yiquan

climbing

participation in seminars and workshops with international distinguished

artists as part of my journey to explore various techniques and disciplines

(complementary resume available).

Theater (member of the theater team of Athens School of Fine Arts) Photography Filmmaking Music (piano player, working as a dj from 2011) Literature Movies Drawing/collage Been to: U.S.A. (New York, Las Vegas, Los Angeles), U.K. (London, Bath, Strattford), France (Paris), Germany (Berlin, Munich), Turkey (Istanbul), Israel (Tel Aviv, Jerusalem)

04

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Graduation project [ IN PROGRESS ] A ROOM FOR REST; and other physical states we have unlearned.

A research on the ‘room’ and ‘rest’.

What comprises a room? What comprises rest?

‘The room is the beginning of architecture.’ Louis I.Kahn, The Making of a Room.

A room for rest addresses practical questions and rehabilitate misconceptions about what rest is.

There are three axis of influence : >science/ physiology, psychology >art >lived experience It is not limited to scientific analysis and data. By means of art, either a painting of 15th century or a 21st century installation, examples which implement the need for corporeality, motivate the engagement of the body, or show the body in positions and movements not standarised, are chosen as case studies for re-adaptation..

What is the a need a room for rest?

Experimenting with design processes: A sequence of rehearsals followed by a series of digital modifications over them, establish a multimedia approach.

I.e. an interplay between body techniques and design techniques. body transformed by design and design transformed by bodily reconfigurations.

An overtone in the everydayness of space. autopilot mode vs potential space.

06

REHEARSAL #1 PROPS MY BODY IN A BLACK BOX MY GREY JACKET MY CAMERA OBJECTS FOUND ON SPOT Observations on forms.

How the ‘scene’ changes Relations of bodily parts.

How do we use ordinary objects?

Putting myself in the position of both researcher and point of research, behaviour, bodily states.

07

afterREHEARSAL. ‘Swallowing space’

Successice views in a black box, while gradually ‘gets eaten’ by the moving body.

Images taken from a timelapse video, added one over the other, overlap, showcasing that the body may have a dynamic and ever-evolving relation with space.

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Bodies dwelling the room.

FLEXIBLE, INTIMATE, IMPOSING or UNEXPECTED both SPACE AND BODY.

e comfort zone.

pu tti ng

ou to ft h

An open room/archive/file to be filled in with speculated positions for rest.

“a room is not a room without natural light.” L.Kahn

irr egular bodily positions.

diversify

roommates

ma te tac rial ti wei lity g vol ht u den me sity as v aria size ble s.

the inhabitant moves and gives use to the objects depending everytime how their properties serve him/her

Garden historian Gunter Nitschke for a Zen garden: “I consider it to be an abstract composition of “natural” objects in space, a composition whose function is to incite meditation.”

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3D scanning body positions ex.1 ’power position’ version.

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first rough models /// next stage /// put in space, and contribute to the design process of the room 3d printing as models.

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BODY, WITHDRAWING.

The ‘cure’ for fatigue by means of modern architecture.

Contemporary philosophers, sociologists of the body and anthropologists have observed and claimed that modern Western society is typified by a certain ‘disembodied’ style fo life. Where lie the deep causes of an unstable relation of man with his body, and his surroundings, which are modified in accordance to the first?

The history of body in West world is one of controversial thought and consideration. Many characterisations have been given to it in different periods. In the late 19th century the prevailing ‘bodily presence’ is this of the ‘fatigued body’.

Modernism’s attempts to intervene and control the body, are related to the desire to rest it. During this process several misconceptions established concerning how man and his body could rest. Most of them eventually led to passivity.

Man-made artificial environments, constant and constantly emerging, become essential agents, which promote means and places for rest. How the latter are embedded in the architectural, designed environments? How gradually they estranged man from his body?

This study delves into how the modern sense of space tried to promote the ‘restful body’, and how the postmodern sense of space led to its withdrawal. Here, it is being elaborated the expression of the latter, since the body is not neglected; to the opposite, mankind is intensively preoccupied with it and its restfulness. Which is the impact on the mobility and sensorial and perceptive capability of the current physical body? These days, body is restful?

‘Architectural spaces are not just lifeless frames for our activities. They guide, choreograph and stimulate actions, interests and moods, or, in the negative case, they stifle

’

them. Juhani Pallasmaa.

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‘It is my body made luminous, purified,

virtuous, agile, mobile, war, fresh...

It is my body made smooth, neutered, rounded like a soap bubble...

My body, by virtue of these utopias, has disappeared... .. have blown out its heaviness, its ugliness, and have given it back to me, dazzling and perpetual...

Until the day that a toothache crazes in the back of my mouth. And then, I cease to be light, impoderable, et cetera. I become thing . . . fantastic and ruminated archi-

’

tecture.

Michel Foucault, Le corps utopique (1966).

Contents 001 Intoduction 006 The fatigued body, ‘paranoia somatica’.

1.1 ‘Exhaustion or ascention’ ; Fatigue: an illness of will and the prevailing symbol of

neurasthenia.

1.2 Mechanization: man apes the never-fatigued machine.

1.3 Imposed and artificial rythms of life: early ‘pacemakers’.

1.4 Fatigue: the physical resistance and the threshold of human limits.

017 The modern plan to rest the body.

2.1 The reformation of sanatorium from a drear asylum to a model for the modern world.

The example of Otto Wagner: Steinhof and places farway the social.

2.2 Modern architects design for the fatigued body.

Hygiene manual for a restful body.

‘Dead’ Rooms and ‘Sealed’ spaces: the artificial, isolated spaces provide rest.

2.3 Technologies of Mobility: modern, comfortable and passive transfer.

When rest gradually was identified with passivity.

2.4 The absolute rest: IMMOBILITY.

Animate architecture, inanimate bodies: Manzak, the electric tomatoe and the

portable bath.

Takis Zenetos: ‘From the same place we communicate with the whole world or universe’.

Zero shifting (0) , Zero resistance (0).

The fate of the ‘well-rested’ body.

076 Cyberspace : rest led to withdrawal.

The dream of virtual mobility.

The dream of technological embodiment.

The dream of leaving the body.

‘Away from the cyber-dream: the ‘restful’ body is an ‘handicapped’ body.

The withDrawing Room.

098 Today, “I’ m a cyborg but that’ s OK”.

In between fatigue and psychosis (‘paranoia somatica’ re-appears), rest and action,

virtuality and materiality.

13

‘Does the body exist at all, in any but the most mundane

’

sense? Its role has been steadily diminished, so that it seems little more than a ghostly shadow...

J.G. Ballard

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‘the theme of bodily absences is of high cultural significance.’ Drew

Leder.

15

Transitions with fettles. Bodily que

A site specific performance on a ship, role: choreographer. ‘Inner Movers’ project, Feb.-Apr

‘INNER MOVE RS’ project , Feb A unique mu ltimedia ed ucati Greece for video dance prac specific pe rformance.

It sets up an exchange betwe interested in video, f ilmmak and movemen t with prof ession

The themes of SOCIAL M OBILITY

FORCED MOBI LITY and

MOBILITY OF FANTASY

16

useful links http://innermovers.weebly.com/ https://www.youtube.com/watch?v=3rwgh4jpgtc https://www.youtube.com/watch?v=s3hqB2Y19cA https://www.youtube.com/watch?v=C2f4Y-yzoc8

ests for survivors on a ship.

ril 2016.

bruary-Apri

l 2016.

ional platf orm in ctices and site

een young p eople king, perfo rmance nals of the field.

and th as a symbol the ship – bo ing the e- incorporat ac sp al ic ys ph isonideas of empr contradicting dom. ment and free

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The performance took place on a ship at a greek island, Salamina, near Athens, on the 15th of April 2016.

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SPACE / PLACE / IDENTITY

Kenyon College, Ohio and American College of Greece, establish connections between dance students in disparate places.

INBEDIA: An i nternational duet.

A study on cyberspace, insomnia and the place of bed.

Gambier, Ohio, GMT-5 Athens, Greece, GMT+2 Two virtual partners, never met physically create a recorded dance duet.

This project finds and motivates inspiration where the obstacles appeared -mainly physical and practical . The time difference established an asynchronous communication, in which both parts should be engaged, otherwise the project would fail. For instance, when Laura was rehearsing and sharing her ideas, I was sleeping. So, we ended up with a ‘telecommunication’, which we kept tightly as a core concept to the project.

Thousands people nowadays suffer from insomnia. Hypertension, nervousness, ‘fear -terror even’.

how the identity is informed by place?

Bed as a furniture, as an architectural space, as a container for dreams, thoughts, emotions, as a metaphor.

‘The bed is the individual space par excellence, the elementary space of the body’ Georges Perec. ‘bed is now a site of action. To lie down is not to rest, but to move’ Beatriz Colomina.

‘Bed is the place where unformulated dangers threaten But is also the space of dreams . . .’ Georges Perec.

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useful links: https://vimeo.com/153823840

the ‘transatlantic’ bed, a screengrab from the dance video.

‘Networked electronic technologies have removed any limit to what can be

’

done in bed.

Beatriz Colomina.

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00:00:08:00

L: For a long time I went to bed in dancing...

I: For Survival, I carried sugar lumps, I went and stole from the kitchen.

00:00:19:00

L: Hey you, Ioanna ?

00:00:22:00

I: Hush Laura... too early..

00:00:24:00

L: Ioanna, can you hear me?

00:00:29:00

L: Ioanna?

00:00:37:00

I: Laura ~ I can hear you, but...

00:01:06:00

I: your voice is eerie..

00:01:09:00

L: I can’t sleep tonight.

00:01:27:00

I: oh.. just try a little bit Laura...

00:01:35:00

I:...and relax!

00:01:43:00

L: I CANNOT!

00:02:20:00

L: Fear -terror even- is always present,

00:02:30:00

L: despite the protection of the blankets and pillow...

00:02:43:00

I: Bed is the place where unformulated dangers threaten,

00:03:36:00

I: But is also the space of dreams . . .

00:04:03:00

I: I travelled a great deal at the bottom of my bed.

00:04:30:00

L: I think, I am in a dream .. .

00:04:45:00

L: I’m swimming!

00:04:48:00

I: I’ m swimming too!w

00:04:53:00

L: Ioanna! The bed became a lifeboat on the raging ocean :o

00:05:24:00

I: I like my bed. I like to stretch out on my bed.

I would gladly devote the major part of my time to this were I not so often prevented by supposedly more urgent occupations.

00:05:31:00

L: I like my bed. I like to hide under my bed...

00:05:42:00

L: climbing on it... and then hiding again...

00:06:03:00

L: I think i ‘ m falling asleep I: I think i’m waking up

00:06:33:00

I: Good night Laura.

00:06:35:00

L: Good morning Ioanna.

a CYBERDIALOGUE in between dreaming and insomnia.

Text inspired by Georges’ Perec Pieces of Spaces and other pieces.

‘What Laura sees?’

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ARCHITECTURE MEETS ROBOTICS Interactive Hotels, Customizable Experiences.

Symposium, Design Marathon and Master Class, Ariel University, Israel, 2015.

Case study David InterContinental, Tel Aviv.

The Lobby :

topographies emerging from the floor and the ceiling in relation to intended activities, but also personalized needs.

sensponsive’ ceiling emerging layers

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the variant cavities provide moments of privacy, at will, or, accordingly, openness and a more public sense.

variant materiality colours textures 27

Open your eyes, Creature.

As the brief for the design of this poster called for elements associated with galaxies, space, and other astronomical objects I decided to create this illustration as the main visual element of the poster.

The connotation of the words “horror”, “luminous”, “space” played an influential part in the creative process, but at the same time the design aimed to exceed the boundaries of a descriptive basic visual.

A nameless creature, a lone survivor, divested from every protection, shelters a galactic system. Its skull constitutes the spacecase.

This spacecase opens and sends off satellites-eyes, which help this creature to see. But these eyes, at that moment, are also transformed into loudspeakers who emit sounds of inner explosions.

Graphic Design Competition. Poster for the band ‘The Horrors’ U.S.Tour, 2014.

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boxes: they are strictly opaque. their interior contains all the functions that support the pavillion, applying maximum compactness. One can perceive them either as rooms, staircases or furniture, a situationist manifoldness of possibilities. shells: they are the main public space of the pavillion as well as the counterparts of the boxes. their transparency facilitates an extrovert exhibition, implies a straightforward relationship with open space and satisfies the curiosity of a visitor towards the “work-in-progress” phenomenon, be that a public event, an exhibition or a lecture.

grid: it defines a sub - environment in which the pavillion exists. one can perceive it as a spectral greater structure whose construction is in progress, or even as an infrastructure. cover: Apart from sheltering the pavillion, the cover activates previously undefined functions [box - staircase and grid]. It also acts as a suspended podium, from which a visitor has framed views of the construction site as well as a 360 perspective of the environment, describing the existing and the future dialogue between the Cultural Center and its wider environment.

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Stavros Niarchos Foundation Cultural Center Construction Site “Visitors’ Centre of SNFCC” Student Competition.

conversion:

from exhibition room 5 7

to lecture room 4 6

3

2

1 1

1 storage 2 kitchen 3 W.C. 4 exhibition 5 information 6 seats 7 lecture& projection room

section[s] b’-b [versions based on box conversion]

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The doors, with rotating mechanisms, open freely and function also as showcases.

section c’-c 32

section a’-a

The box transformed into an exhibition room.

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historical content decision making.

The Music Hall: Chiseled tunefulness

site of intervention: moat and embankments.

urban sprawl

34

principle construction details.

old town

While visitors are walking through, the sounds from the main hall are audible and diffused, awakening muffled senses.

The distorted, segregating glass-wall describes vague silhouettes and insulates sonic waves.

medieval fortifications

new city center the ‘bulwark-grip’ sparsely appended outlet for the ‘chiseled’ interior.

the extracted ‘chiseled’ space of the Music Hall.

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36

atrium

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As part of the west wall of the city’s medieval fortifications, the Music Hall becomes and integral par

Local citizens, as well as tourists, are encouraged to incorporate the ‘cave’ into their daily walks an

stimuli when one is outside the Hall. When inside the cave, one experiences a new isolated SENSOR

38

rt of the history of Chania. It is formed as a CAVE, stretching from the centre of the city to the sea front.

nd urban routes, through a number of points of interest. These points emerge as faint visuals or sonic

RIAL ENVIRONMENT.

39

The entwined landscape : Mediterranean diversities.

This park, as parallel to the Music Hall intervention, contributes to span a bridge from the urbanscape of the city’s center to the maritime site of the seafront.

In between, the pathways are enriched with a net of alternating landscapes, images, textures and scents of Mediterranea, showcasing the diversity of mediterranian flora..

Vineyards, followed by olive groves and barleys, have just left behind high pines who previously welcome the citizen/tourist providing him/her shelter and soundproof from the city’s backround noise and introduced him/her to a lived multisensorial experience.

Variant heights of vegetation, as well as densities and types of pathways, changing from the more linear to the more angular, offer ground for multiple activities and emotions.

Coastal trees, carrying the sense of salt and wind, sign In the embankments’ level, low vegetation, mainly herbs and aromatic plants, allow for an alternative ubran walk, where the whole town can be viewed.

Finally, glasshouses are attached perimetrically, to the moat’s borders, where cultivated traditional products of Cretan earth and welcome citizen to grow theis own 40 products.

20

50

100

150

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Type: pines, high vegetation, city level, urban site.

Type: vineyard, medium vegetation, moat level, rural/agricultural site.

Type: herbs, aromatic plants, low vegetation, embankment level, urban site.

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Type: olive grove, medium vegetation, moat level, rural/agricultural site.

Type: barleys, medium vegetation, moat level, rural/agricultural site.

Type: coastal trees, seafront, maritime site.

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transformable architecture

extreme conditions

climat cold zone tempered subtropic

basic

TO PLANT THE SKY

tropic

subtro

tempered

cold zo

flora ecosystem simulation

the _ pre

via a balloon - suspended vessel, travelling around the world in order to collect and cultivate the most important pieces of vegetation, in every climatic zone of the planet earth.

44

te zones

zone zone

stations al zone

opic zone

d zone

one

e[E]vent project _

or the Proleptic Environmental Emulator Vessel ENTity

45

(1)

(2)

(3)

(4)

(5)

46

section

balloon

hydroponics

a subset of hydroculture and a method of growing plants using mineral nutrient solutions, in water

hydroponic tubes

Fabricated with flexible and durable materials, these tubes can isolate a specific climate within them, prividing hydroponic shelfs and change their thickness at will.

plan

fluctuation

longitudinal section

47

TOP-DOWN: “Rethink Athens” International Architecture Competition 2012 Short-listed project, Athens 2012.

The proposal puts forward a relative multi-layered strategy shortly described as “revisiting the architectural typology of the arcade”.

These local structures are invested with a thin wire-frame system which can either allow air to circulate or be covered with plants or zero-energy media walls. These frames provide with the possibility for a more intimate set of urban rooms, spaces within the more metropolitan space of the shed and they are followed by yet a third level of intervention which is more linked to the ground per se.

48

The overall concept of the arcade is broken down into a series of layers, adaptive to difference conditions.

Starting from the top, the first element is a ubiquitous bio-climatic shed covering the street space. It may be filled by a layer of local and enduring creeping plants offering a variety of effects ranging from filtering the air and the light, shadowing and cooling, to creating a new green landscape flowing at the center of the metropolis.

The transition between this big scale supra-structure and the ground is taking place with the mediation of a second layer comprised of framed structures relating on one hand to the flows of the tram, bicycles and people and, on the other, to the existing arcades.

mapping

and

reforming

the

urban

passages.

49

SOCIAL HOUSING in the historic center of Rethymno, Greece.

Dwelling around the well.

50

successive plans, beginning from the highest level and ending up to the lowest, where is accumulated and organised the public life.

51

2 3

5

6 1

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4

Configuration and ‘formulation’ of the public function in the lowest level

an underground public library(1).

a market which acco

modates flower-mar ket(2),

a shop with traditional

Cretan products(3)

a tourists’ office(4)

a beverages/juice bar(5)

a bakery(6) all orientated and addressing the central square.

Planning and distribution of dwellings in circumferential to the square islets.

Segragation of semi-private with private, via intermediate gardens.

This district was chosen as situated alongside the medieval historic center of Rethymno.

Sculpting an urban scape by means of staircase/steps, as well as accesses and passages from and to different levels.

Maintaining traditional elements such as materials, construction techniques and forms and scale This complex introduces as well, the rest citizens of the area by means of two main staircases, diagonically situated, the one extension of the other and passing by the square.

53

URBAN ANALYSIS&DESIGN in the northen district of Chania.

>

> SQUARE

PUBLIC MARKET

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URBAN PASSAGE

center of Chania social and urban content analysis, radius 800m. site of intervention (old military camp)

(1)

types and splicings.

-sABRU Nffffff

COMMERCIAL WALK

gree n

and pe de st ri an s

ONLY!

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THE VALUE OF GARBAGE Studies on the reuse of garbage and found objects in an urban context.

how, through an investigation about waste, strategies of valuation can be organized today? In this process of valuation, is it possible to talk about the product in a way that shows that even the value of waste turns into a fantasmatic waste of precious material?

56

57

at the Landfill documentation and collection.

58

59

Trash, Lamp,

as

metaphors :

fire

Trash, Lamp,

components

Swing,

Swing,

water

air

, all found at the landfill ‘X.Y.T.A.’, Chania, Greece..

60

61

WAVE IMPRINTS

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and the new place of waste.

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ECO-REDUX design remedies for dying planet.

International Design and Fabrication Workshop. the interpretation

the components the BacteriaBRICK project presents architecture with the opportunity to create a new world literally and metaphorically by re-using the wreckage of the old one, as well as the achievements of biotechnology.

the manufacturing process

1. Create the mold and cover it with silicon leaves

2. Fill it up with building debris, dust and PET.

3. Pour the bacteria over the mix and let it harden.

4. Remove the mold. The silicone leaves stay attached to the surface of the brick.

the process can take place on-site, in places where human or natural intervention has brought destruction.

64

useful links https://sites.google.com/site/ecoredux02archtuc/dhub-exhibition/room-2 http://www.ecoredux.com/exhibit_Barcelona_012.html http://www.ecoredux.com/info_exhibit.html

PROJECT DESCRIPTION: The project uses the idea of the common brick in order to utilize that useless, non-recyclable material from destroyed buildings, like sand, cement, concrete, natural and artificial aggregates, and so on. Recycled polyethylene terephthalete (PET), or in other words what is left from the huge amount of plastic bottles, is liquefied in order to encase the building debris parts in a block matrix and bind them together. The last component used for the design of the brick is purple bacteria, selected for their ability to capture the toxic dust as well as for the products of their metabolism which can reinforce the tensile properties of the produced brick. Moreover, the selected bacteria are phototrophic and produce energy through photosynthesis. This property implies a capacity that can be further researched in order to produce building parts that will be able to act as independent energy suppliers. In addition, the achievements of recombined DNA technology can be applied in the future to produce a range of bacteria with improved properties that could be used in material technology. In the end, what this project promotes is something more than the object itself; it is the methodology that describes the mechanism inside it. The project presents architecture with the opportunity to create a new world literally and metaphorically by re-using the wreckage of the old one, as well as the achievements of biotechnology. It describes a process that can take place on-site in places where human or natural intervention has brought destruction.

REFERENCED PROJECT IN THE ECOREDUX ARCHIVE: No 80 | RECYCLING BUILDING COMPONENTS (1972)

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APARTMENTS' BUILDING. This project encourages the idea of neighbourhood, where alienation dominates.

In this certain district of Chania, Greece, which maintains elements of a more traditional urbanity, such as the more modest scale of the buildings and streets and the sense of locality and belonging, this project tends to be part of this neighbourhood, when at the same time connect the dwellers.

A local market is situated on the groundfloor and becomes a 'crosspath'. The public function is 'compressed', engaging

66

>

>

>

>

dweelers in regular meetings.

+ 12.80

+ 9.60

+ 3.20

+ 0.00

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70

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