20120904
TEMPEST: a theatre for the Aegean Archipelago
National Technical University of Athens-School of Architecture
Thesis Project, Summer Semester 2012
Students: Stenou Aliki, Triantafyllidis Theoklitos
Professors: Papalexopoulos D., Gyparakis G., Gyftopoulos S., Mazarakos T.
We rely on the belief that the Aegean Sea is a dispersed city to which we offer a communication channel, a cultural bridge, a ship - theater.
The sea becomes our site, the waves and the iron our environment. The superstructure, the decks and the holds our alternative spaces. We take the structure of the hull as starting point, we translate it into architectural space and manage to offer to the director a flexible theatrical tool.
Our central design procedure is the removal of all decks and walls from the superstructure which was previously fragmented. Thus, we create a huge void in the 'body' of the vessel in which we introduce the theater. We keep only the outer plates of the superstructure and support them with a dense system of metal frames, keeping the rhythm of the ship's hold frames and extending it to the whole theater. Then we focus on the light and by further perforating the shell we let the light enter dynamically. We now put the public under the starry sky, followed by the escort of the summer chill, the saltiness, the motion of the sea and the metal sounds. And even inside a shell full of memories which are silently revealed by the traces on the walls and the exposed smokestacks.
for the complete presentation, references, bibliography and credits please goto: http://issuu.com/theotrian/docs/tempest_eng
for the complete presentation, references, bibliography and credits please goto: http://issuu.com/theotrian/docs/tempest_eng
Τρικυμία: ένα θέατρο για το Αιγαίο
Ε.Μ.Π. Σχολή Αρχιτεκτόνων ΜηχανικώνΔιπλωματική Εργασία Εαρινό Εξάμηνο 2012
Σπουδαστές: Στενού Αλίκη, Τριανταφυλλίδης Θεόκλητος
Επιβλέποντες: Παπαλεξόπουλος Δημήτρης, Γυπαράκης Γεώργιος, Γυφτόπουλος Σταύρος, Μαζαράκος Θωμάς
Στηριζόμαστε στην θεώρηση του Αιγαίου ως μία διάσπαρτη πόλη και σε αυτή προσφέρουμε ένα δίαυλο επικοινωνίας, μία πολιτιστική γέφυρα, ένα πλοίο - θέατρο.
Η θάλασσα γίνεται ο τόπος μας, o κυματισμός, το σίδερο, το φως και ο θαλασσινός αέρας το περιβάλλον μας. Η υπερκατασκευή, τα καταστρώματα και τα αμπάρια οι εναλλακτικές δυνατότητές μας. Παίρνουμε ως αφετηρία το ρυθμό που μας υπαγορεύει η ναυπηγική, τον μεταφράζουμε σε αρχιτεκτονική και εναποθέτουμε στα χέρια του σκηνοθέτη ένα ευέλικτο εργαλείο.
Κεντρική συνθετική διαδικασία αποτελεί η αφαίρεση της μάζας των καταστρωμάτων και των τοίχων από το σώμα της υπερκατασκευής που πριν το κατακερμάτιζαν. Δημιουργούμε ένα τεράστιο κενό στα 'σωθικά' του πλοίου στο οποίο εισάγουμε το θέατρο. Κρατάμε μονάχα τις εξωτερικές λαμαρίνες και τις ενισχύουμε με ένα πυκνό σύστημα μεταλλικών πλαισίων, που προεκτείνουν τη λογική του σκαριού σε όλο το θέατρο. Εστιάζουμε στο φως και διατρυπόντας το κέλυφος, το αφήνουμε να μπει ορμητικά στο χώρο. Τοποθετούμε το κοινό κάτω από τον έναστρο ουρανό υπό τη συνοδεία της καλοκαιρινής ψύχρας, της αλμύρας και των μεταλλικών ήχων. Και μάλιστα μέσα σ' ένα κέλυφος γεμάτο μνήμες τις οποίες μαρτυρούν τα ίχνη των ξεριζομένων τοίχων στις λαμαρίνες και τα απογυμνωμένα φουγάρα.
http://issuu.com/theotrian/docs/tempest
20120830
Lost in the Line by Léopold Lambert
Lost in the Line is a graphic novel created by Léopold Lambert in Pratt Institute Graduate School of Architecture (2010), published in the book Weaponized Architecture
20120726
Liangi Ifigeneia_ Athens Primary School
Ifigeneias' project is now complete and has already won her awards and prizes. Take a tour in Athens of 2013 in magic realism...
liangifi.blogspot.gr
"In Athens 2013, a primary school inhabited by 300 students
has formed its own ways of ruling one of the most devastated
neighbourhoods of the city, and is about to expand its boundaries
in the following years. The school’s architectural rules
demand obligatory cooperation between the neighbourhood’s
inhabitants for the production of a jam made from oranges found
on neratzies, trees that grow throughout the city and that can
withstand its pollution.
Obligatory cooperation is applied equally to each of the twelve
political teams formed within the school. Motivation for the
school’s rules to be obeyed comes from the potential unlocking
of closed playgrounds, guarded by the giant tree-man. These
playgrounds are supported by the columns of the National Bank of
Greece, which now make watermelon ice cream.
Allegory is researched as a tool for an anti-propagandistic
approach to socio-political criticism in uncertain times, and is
designed through a porous, ruinous and magic realist approach.
The notion of porosity is expressed in the unstructured boundaries
between the private and public realm, while the ruin is seen as an
essential fragment for the appropriation of the present. In order
to design for a city in crisis, I am using a magic realist narrative:
this is not a detailed projection of the future, but a socio-political
poetic critique of the present, forming potential ways of dealing
with it through possible but improbable realities."
liangifi.blogspot.gr
has formed its own ways of ruling one of the most devastated
neighbourhoods of the city, and is about to expand its boundaries
in the following years. The school’s architectural rules
demand obligatory cooperation between the neighbourhood’s
inhabitants for the production of a jam made from oranges found
on neratzies, trees that grow throughout the city and that can
withstand its pollution.
Obligatory cooperation is applied equally to each of the twelve
political teams formed within the school. Motivation for the
school’s rules to be obeyed comes from the potential unlocking
of closed playgrounds, guarded by the giant tree-man. These
playgrounds are supported by the columns of the National Bank of
Greece, which now make watermelon ice cream.
Allegory is researched as a tool for an anti-propagandistic
approach to socio-political criticism in uncertain times, and is
designed through a porous, ruinous and magic realist approach.
The notion of porosity is expressed in the unstructured boundaries
between the private and public realm, while the ruin is seen as an
essential fragment for the appropriation of the present. In order
to design for a city in crisis, I am using a magic realist narrative:
this is not a detailed projection of the future, but a socio-political
poetic critique of the present, forming potential ways of dealing
with it through possible but improbable realities."
From Ifigeneias' Blog
interiorsjournal_the batman issue
20120527
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