portFolio

_p o r t Folio

Veatriki More

I am deeply intrigued by the relationship between space and human interaction.

Spaces that allow dramaturgies of urban sociability.

People that produce space through their activity.

Performing and relational spaces.

I am passionately looking for the commonalities and the differences between the stable nature of architecture and the fragile, ephemeral character of scenography.

I am looking forward to learn more; willing to work hard and take part in every phase of designing processes in order to broaden my horizons and develop my skills.

Contents

diploma thesis

research project

industrial design

scenography project

urban design

architecture& landscape contest

architectural design

model making

props making

Walking along the defense lines | Re-activation of the Western Venetian moat of Chania

_Diploma Thesis

_July 2016 _supervisors| Gyftopoulos Stavros Stavrides Stavros

_ cultural HERITAGE

1538

The Western moat is part of the VENETIAN FORTIFICATIONS of the Old City of Chania, built between 1538 and 1645 in order to adress impending Turkish intervention. It is a hard edge between the historical center and the contemporary city, but today it is an awkward void in the urban fabric. The deprived area has hosted at times different kinds of uses, most of which have been ephemeral.

However, it is not used as a public space in all its dynamic, while its historical value is not highlighted in any kind of way. The residents fail to intergrate the moat in the mental image that hey have for the city. How should one approach a place like the Western moat, when the monument is the void itself, when the edge has lost its primary reason for existence? The concern about the management of such a spacial entity in the city has been the cause around which the elaboration of this project has been constructed.

1538-~1600

~1600-1615

_a(nother) VOID space in the urban tissue

squares parks appropriation

_ War architecture | The BASTION SYSTEM of fortifications

indicative sections of the moat without the intervention

“fronte bastionato� defensive lines

curtain wall

-------

ficante

-------

radente

_ city EDGE, boundary, border -promotion of the monument through activation of the void -historical place & public space -preservation of the structure & respect for the fortification wall -embracing a new character-placement of uses residence district historical centre commercial district

_p rop o s a l m a s t e r p l a n

temporary exhibitions

observatory open air cinema

open air reading space library

cafĂŠ

permanent exhibition + info point

D rifting as a means of reading and re-defining urban space

flânerie | dÊrive | mis-guides

_research project

_collaborator| Michail Nafsika

_March 2014

_presentation at P_Public festival of urbanism, June 2014

Since the complexity of the political and social structures began to shape the city as we understand it today , the users of the urban space forget to experience it . They tend to cross the public space as if they have to hastily pass through a “remnant�, through what remains when the places in which important functions take place, are abstracted from the urban totality. Thus, the importance of wandering arises, as a voluntary reading of the urban reality, shaping the urban experiences and eventually redefining the mental images that occure.

Since 19th century until today, the approach of wandering as a process of perceiving the city, and not only, has preoccupied many artists and theorists, with a special interest lying in three cases .

In 1860, Charles Baudelaire introduced the portrait of the flâneur who wandered in the metropolis of the Second Empire Paris .

A century later, the Situationist International was founded in the Modern Paris, who developed the Theory of Derive under the context of their vision for a utopian society.

Today, Wrights & Sites, a group of walking artists, based in Exeter, suggest alternative walking strategies.

All three cases are based on a speculation and a critical view concerning the question of time and its management within the urban life . Play, as an innate need, appears in all three examples, however , the approaches differ in nature and scale . Drifting for Baudelaire, is a personal source of inspiration for art production, the Situationist International aims to art’s realization in life through a radical change of society , while W&S distinguish art from real life and share it.

Drifting as a means of reading and redefining urban space contributes to the understanding of it and is a condition to live it better in time. Architecture and urban design should encourage a dialogue between the city and its users by providing the appropriate conditions that will touch off an improvised multileveled urban experience, while the users themselves should not conceive walking as a prosaic movement.

Barbican Box 2017 Box and Learning Resource Design

_Industrial Design|

_Toneelgroep Amsterdam

_portable box for educational purposes related to theatre making

_concept / in collaboration with| Ramรณn Huijbrechts

_Barbican Box is a creative education program for schools and colleges, ran in a range of art forms: theatre, music and visual arts.

Each year, Barbican Guildhall Creative Learning commission a world class Theatre Company to design and curate the Barbican Box, providing an artistic starting point from which teachers and students devise their own piece of theatre. The artistic partner for Barbican Box 2017 is Toneelgroep Amsterdam.

The Box is composed by 4 smaller boxes and a cap. It can be assembled 2 ways: 1 - one box on top of the other [pile it up!]

2 - puzzle - like [piece together the bottom sides to see the plan of the stage!]

_The design of the Box’s assembiling parts follows a simple principal : The capability to be produced fast and easy through Laser or/and CNC cutting.

2x

2x

1.

A

B

C

*

D

1

2

RZ

R oberto Z ucco

by Bernard-Marie Koltès

_scenography project _February 2012 _collaborator| Konidi Amalia-Maria

the play

Roberto Zucco is a play based on the life of the Italian serial killer Roberto Succo (1962-88).

Although RZ is the main character of the homonym play, the plot follows a series of events that happen alongside in his life and the life of a teenage girl, raped and abandoned by him. On the one hand, there is a sequence of unreasonable murders and interesting encounters, revealing RZ’s social invisibility, as well as the state of his lonely psychopathic mind. On the other hand, the teenage girl, in love with her rapist, goes through the experience of a quite cruel, metaphorical, coming of age and ends up delivering his name to the police in a desperate struggle to find him.

Her action, ironically being an accidental abuse of power on her quaintly beloved one, leads to his arrest which is ultimately followed by RZ’s suicide; quite a dramatic one: he falls off the roof, simulating the death of his father.

From a certain point of view, the story is about a subversive character who clashes with all social contracts. The absurdity of his destructive actions and any kind of social reaction to them, aim to bring up questions about the human behaviour and society’s general lack of interest.

concept Considering the strength of the situations taking place, priority is given to WHAT happens rather than WHERE it happens. The main goal of this scenographic approach is to carry forward the theatrical action in order to retain the audience’s focus on the facts irrespective of the locus. The feelings that remain from this narrative are dissatisfaction, surprise and wonder. Thus, the basic concept of this project is to place the plot in a surrealistic, dystopian environment, equivalent to the absurd existence and decaying lifestyle of RZ.

The realization of this idea is carried out by a system of suspended rocks, hanged in successively superimposed layers. The stretched ropes that hold the rocks operate as vertical axes in the stage space. Placed sparsely and densely in places, they create various spatial entities on stage that serve the need of different spatial relationships in each scene of the play.

[For example, in the scene where RZ hides under a table to avoid the parents of the teenage girl, we keep the fact that he is out of the parents’ field of vision, thus in a different spatial entity. There is no need of a table. All we need is a legible organisation of space.]

For safety reasons, a wire is incorporated inside every rope, connected to a mechanism with a grommet in order to control the stones while descending. This “controlled throwing� is supposed to take place in every change of scene. Everytime a scene ends, the lights go out, the audience listens to the mechanism rolling over, then the lights go on and new rocks have appeared suspending over the stage, approaching more and more the people watching the play. The stage is almost empty at first, but while the crimes are pilling up, more and more rocks fill the theatrical space; they get closer and closer to the audience as the life of RZ is reaching its end.

the stage The stage where the play is supposed to take place is the Greek Art Theatre Karolos Koun. It was considered the most appropriate to host this specific play mainly because of its structure which underlines the desired effect of verticality. Another factor that contributed to this choice is the small size of the stage, considering the fact that most scenes are held by few actors at a time. A larger space could cause “spreading out” of the theatrical action.

In order to complete the dystopia effect, the floor and the wall in the background of the stage are supposed to be covered in a black, rough material, a “dirt” reference .

“Roberto Zucco.

I’ll never forget this name.

Hide under the table; someone’s coming.”

© Hanne Nijhuis

Mud Drawings

on Glass Panels

for the stage set of “The things that pass” _ production by Toneelgroep Amsterdam ( “De DIngen Die Voorbijgaan” - participation in the Ruhrtriennale Festival of Arts, Gladbeck) _props making _September 2016 _scenographer, light design| Jan Versweyveld assistant scenographer| Bart Van Merode, Ramón Huijbrechts

A Gliding Square in the centre of Athens

_Urban Design|

_4th year studio

Rethinking Public Space in Athens

_collaborators| Alexandridi Myrsini Kriemadi Sotiria

the site Varvakios Square is located in the core of the historical centre of Athens, opposite to the Varvakios Market which is the biggest meat market in the centre of the city. Articulated between two of the most crowded and popular squares [Omonoia and Monastiraki] Varvakios Square constitutes an open urban space with lots of opportunities and a great dynamic.

The current use of the square seems to be problematic. The main reason is absence of continuity between the street and the main space of the square, which is at a higher level than the road. Lack of visual contact disinclines people to either walk through it or sit and relax. Our proposal is focusing on this problematic issue and aims to create a new situation where this non-functional space of the urban tissue will be re-used in new terms.

concept

In order to restore the continuity factor, the new space is designed on the level of the street. At the same time, in order to protect the space from the dowtown traffic, we create a smooth filter by using a number of vertical street lights and lines of vegetation on the two sides/entrances of the square. We form a colourful garden in the centre of Athens where people can relax, eat, play and enjoy the greek weather. The whole is organised by a system of linear elements of different length and width. These elements transform from vegetation to water or benches. The main idea is completed by an independant market made of wooden elements that are able to slide on rails embedded on the ground of the square and open or close according to the needs of the users.

section

plan

the markets

Lineyards Landscape, Architecture&Wine

arquideas_International Student Competition| _design of a winery _among the 10 finalists

_May 2012 _collaborator| Alexandridi Myrsini

Location | Rioja The plot is part of a vineyard canvas and it has beautiful scenery to the mountain.

Major priority was to avoid interfering in a harsh way in the existent landscape.

_Idea & Concept The linear planting of the vines was the main source of inspiration. The linearity is expressed on the slender proportions of the buildings which stand on a path network able to integrate smoothly into the alignments of the landscape. The paths seem to slot the vineyards while they are actually abiding to the layout of the scenery.

Every function is assigned to its own volume. The winery is located on the main axis of the circulation network.

The material of the buildings -colored concrete- serves the main goal of harmonizing with the natural environment.

The basic element of the synthesis is the fact that it offers the opportunity to walk among the vineyards and get in touch with the nature.

double rooms quadruple rooms

exhibition area reception

restaurant/cafeteria

winery

prism + path

the main entrance of the winery lower from the main path - starting point of a “ritualistic� experience in the world of wine

relaxation&wellness area disintegration of volumes in order to harmonize with the existent built environment of Rioja

reception

quadruple | double room

restaurant / cafeteria

relaxation & wellness area winery

elevation

section

Municipal Library and Cultural&Learning Support Centre Ano Kipseli, Athens

_Architectural Design| Public Building of Multiple Uses

_4th year studio _collaborators| Antoniadis Ramin Barmpalia Eleni-Maria

the site The given plot is located in Ano Kipseli, a pretty densely populated area of Athens which belongs to the main sector of the city. Adjacent to Attico Park and close to the peripheral road, it has a relief with great altitude with the maximum difference reaching the number of 12 meters. In the northeastern border we find a green area [a], in the west a public staircase that separates the plot from the nearby school [b], while the vehiclesare able to access the plot only by the road which is tangencial to the southwest border of the plot.

.a

schools

b

a

.b

basic intentions

In order to give space to outdoor activities and let the green zone in the upper side of the plot be develloped, we choose to put the main volumes of the building at the lateral sides of the plot. The open space between the two volumes incorporates the vertical movements from the park to the city creating zones with various qualities and uses [e.g. an outdoor theatre, green planted zones, walls for painting etc]. Thus, the existing staircase is substituted by a designed movement that connects the park, the entrance of the library and the school with the learning support centre, as well as the road at the lower level.

longitudinal section

part of the 4th level plan

_building programme

Entrance.................................................100m2 Reading areas and bookshelves...........300m2 Areas of learning support......................120m2 Children’s creative space........................85m2 Room of multiple uses...........................180m2 Bookstore.................................................20m2 Cafeteria...................................................40m2 Administration..........................................45m2 Utility rooms.............................................80m2 Other areas [wc, parking,technological and engineering support]

reading areas & bookshelves reading areas & bookshelves children’s creative space

bookstore main entrance & cafeteria

learning support area of technological support of the building

area of technological support of the building

structural analysis

sketches of details

structural section

sketch of glass frame detail

structural section

_piano model based on a Yamaha C6, scale 1:20

_model making for stage design purposes _autumn 2016 _TGA internship