4.

ai 2 7/1/2016 6:08:22 μμ

ARCHITECTURE PORTFOLIO
IASON GIRAUD
NATIONAL TECHNICAL UNIVERSITY OF ATHENS_ SCHOOL OF ARCHITECTURE

ARCHITECT MSc NTUA

iason.giraud@gmail.com
+306944647134
Content_ ARCHITECTURAL PORTFOLIO IASON GIRAUD

•Fabrication
•Robotic fabrication
•Laser Cutter
Project 1_ THE SHIFT FROM PROGRAMMING COMPUTERS TO PROGRAMMING MATTER •3d Printer
Post Graduate Research Thesis_NTUA

Project 2_ MESH AGGREGATIONS

•Urban Design
Post Graduate Research Project_NTUA
•Public Building
Project 3_ CITY MUSEUM_ CASE STUDY ATHENS
Undergraduate Diploma Project_NTUA •Exhibition

•Landscape
Project 4_ TRANSATTICA EXPRESS
Post Graduate Workshop CODE-ATHENS, NTUA-ETH

Project 5_ CREATING AN URBAN SPINAL CORD

Post Graduate Workshop NTUA-PARIS DE MALAQUAI
•Research
Project 6_ HORROR VACUI •Synthesis
Post Graduate Workshop NTUA- AA | AA VISITING SCHOOL 2O13
•Architectural Theory
Project 7_ REVIVING THE ATHENIAN AGORA
Professional Project

Project 8_ INSTALLATION- CONCERT VENUE

Professional Project_ Competition

Project 9_ LIGHT HOUSE ART HOTEL

Professional Project_ Competition

Project 10_ CUSTOM 3D PRINTER: THE MATTER COMPILER •Undergraduate

Personal Project
•PostGraduate
Project 11_ URBAN DESIGN •Personal
Undergraduate Project NTUA
•Professional
Project 12_BENDING PATTERNS
•Workshop
ASSISTANT IN FABRICATION LAB | POST GRADUATE| GREECE
•Competition
Project 13_ ROBOTIC LIGHT-SCULPURES
POSTGRADUATE RESEARCH PROGRAM OTF | IAAC | BARCELONA

Project 14_ EXPLORING PERFORMATIVE WALL DESIGNS

IMPLEMENTING HEAT SINK AND HEAT SPREAD CONCEPTS INTO PER-
FORMATIVE WALL DESIGNS
POST GRADUATE RESEARCH THESIS NOV 2O15
IN NTUA | GREECE
THE SHIFT FROM PROGRAMMING COMPUTERS TO
PROGRAMMING MATTER
THE CONVERGENCE OF COMPUTATION, FABRICATION, MATERIALITY AND MOR-
PHOSPACES THEORY, INTO A NEW PARADIGM OF ARCHITECTURAL THOUGHT
AND INNOVATION
Thesis abstruct
Dspace link: ing. This requires, as Achim Menges states the transition from
https://dspace.lib.ntua.gr/dspace2/handle/123456789/41760 job-specific fabrication machines, to more generic machines.
The transition from programming computers to program-
ming matter, involves a research course that can be subdivid-
ed into 3 basic sections:
Α mapping process of the paradigm shift, an analysis of
the convergence and homogenization of fabrication and com-
putation practices and a presentation of the new tools that
emerge from this paradigm shift.
This new architectural concept proposes that matter and
form are free to emerge from interactions between different
agents, or as Deleuze states “tease out a form out of an ac-
tive material. The outcome of this process involves an archi-
tectural practice that integrates in its core both the idea of
materiality and the exploration of architectural form through
fabrication processes.
Therefore, one may understand that the final realization
of form and function involve endogenous organizational rules,
as they derive from the material properties, material behavior,
material performance and computation and the interactive
processes between the material and the natural environment.
The research thesis is divided into four distinct chapters:
-The transition from Analog to Digital, where selected
writings of Greg Lynn, Michael Weinstock, Manuel DeLanda
and D’ Arcy Thomson are examined. The basic concept that is
beginning to emerge concerns the shift from the design of a
single polished object towards process and platform design.
-The transition from Digital To Robotics, where the con-
stantly evolving relationship between architect and robotic
arm is analyzed, as together they form a paradigm, where man
and machine work and create in unison. Also, the gap that ex-
ists between designing and making in architectural practice is
beginning to bridge itself. This concept involves a totally new
approach in architectural practice, where the processes of de-
sign already include in their midsts the processes of fabricat-
PROFESSORS: DIMITRIS PAPALEXOPOULOS PRIVATE PROJECT- RESEARCH NUM.01
ATHENA STAVRIDOU
Throughout the time frame of the last 3 decades, we can identify a constant brain storming and different
shifts in interest that take place in the midst of architectural practice. In more detail, nowadays, architectural
thinking is in the process of passing through various paradigm shifts and epistemic changes that change the
way architects think and how they understand architecture.
3d printing, reactive blueprints and begin to approach the
philosophy behind the idea of the matter Compiler, as Jordan
-The transition from scripting cultures towards material Brandt explains, where the design is based on two key princi-
cultures. As design via the use of coding is becoming more ples, minimum material, maximum performance. This can be
and more usual, Dimitris Papalexopoulos observes the emer- achieved by focusing more on performance rather the form
gence of Digital Design Commons, that start to bridge the of things.
gap towards fabrication that leads to the establishment of Fa- On a whole, the most critical conclusion, is that based
bLabs around the world. This fact implies that the notion of on the idea of Digital Regionalism, as proposed by Dimitris
locus or regionalism is beginning to deconstruct, as design in Papalexopoulos, a new state of regionalism is beginning to
the form of a script, and the site of application can be viewed emerge. In more detail,the new architectural paradigm, aug-
as two totally distinct spatial entities. ment the Digital characterization:
Therefore the notion of regionalism or locus, is decon- -The transition from network thinking to agency thinking
structed and augmented anew. Transcending the original -The distinction between design locus and fabrication lo-
geographical definition and immersing it self in the midsts of cus
“design locus” and “fabrication locus”. Therefore, one may
- The introduction of tools that come from the field of evo-
observe a steady shift from scripting cultures towards mate-
lutionarry biology
rial cultures. Based on this statement, we can see the transi-
tion of scripting principles (performative scripting, exploratory - The possibility of new generic fabrication robots, that
scripting, etc), as proposed by Mark Burry, into fabrication can be used in situ.
and materiality, as described by Koher and Grammazio, via - The transition from linguistic models of defining archi-
the introduction of the notion of “Digital Materiality”. tecture, towards mathematical, topological and materialistic
Hence, a new corpus of research is emerging where models.
computation, fabrication and materiality consist a connected Hence, the new Paradigm acts as a platform, towards a
system based in the idea of performance and interactivity by new kind of regionalism, a Fabricated Regionalism, where a
applying the notion of agencies on architecture new view and means of thinking and addressing the problem
-The establishment of new design tools. Tools that they of constructing the algorithmically defined form is proposed.
originate from the fields of evolutionary biology, computer Therefore, the convergence of a generic fabrication robot and
sciences and architecture and they involve the use of design the architect, shapes a “form-generating agent” part human,
spaces in architecture and more specifically the use of mor- part machine, integrating both human logic, machine logic in
order to achieve performative logic.
phospaces. In morphospace and design space theory every
possible solution to a design problem can be mapped and cat- This newly established performative logic has the means
egorized into two broad categories: theoretical morphospaces and theoretical background to address both design and con-
and empirical morphospaces, based on the ability of the prob- struction problems for diverse environments, as it has the
lem to be fabricated. ability to interact with all type of locuses, design, fabrication,
These tools on a general comment are the key for ar- topological, linguistic and metaphysical, which all of them
chitectural research to access the possibilities of close loop form the essence of architecture.
POST GRADUATE RESEARCH PROJECT NOV 2O15 PROFESSORS: DIMITRIS PAPALEXOPOULOS PRIVATE PROJECT- RESEARCH NUM.02
IN NTUA | GREECE ATHENA STAVRIDOU
TUTOR: PAVLOS BAKAGIANNIS

RESEACH PROJECT: MESH AGGREGATIONS

RESEARCH ON DESIGN SPACE EXPLORATION AND 3D PRINTING FABRICATION
ON MESH GROWTH BASED GEOMETRIES

01.3D printed Single Shell Growth

models (prusa i2)
02.Double shell mesh aggregation
(Cocoon & exoskeleton)
03.1000 iterations mesh aggrega-
tion
04.Research Parameters and ob-
jectives
05.Seed Growth geometry
06.Environmental Parameters
07.Design Space Optimization
08.Agent System used in the
growth process
09.Outer Shell characteristics
10.Algorithmic Workflow
11.3D printing evaluation, Particle
System Evaluation
12.3D printing evaluation, FE anal-
ysis
13.Design Space visualization
14.Concept of Fabricated Region-
alism process can be integrated as parameters along the The state space of this project is the script-
15. 2 material and double shell
The project Mesh Aggregations is part of
the Thesis project “The Shift from program- algorithmic sequence (machinic morphospace). ing of an algorithm for the creation of double shell
3d prints (Cube X and Dimension
Elite) ming computers to programming matter, in or- On the same time the intent of the designer is also mesh agregation morphologies, which can be 3d
der to implement tools and concepts that were transcribed along the process as certain optimiza- printed without the need of primary supports.
proposed and analyzed during the theoretical tion steps relate to the desired end result (Design Therefore, constains set by the machine, are the
01. 02. 03.
research phase. Key goal of the project is to Agency). Hence, this process describes an explor- span of the branches (45 degrees angle) and a
address the new state of architectural thought, atory scripting process. clean mesh geometry.
04.
were fabrication, computation, materiality and
tools such as design spaces and morphospac- It is crucial to state that the structuring of the Apart from the creation of the main algorithm
es form a new corpus of applied research and a algorithm includes certain “paths of decision”, this which consists the theoretical morphospace, that
05. 10. new architectural paradigm. decisional routes, involve boolean logic (true or is every possible geometric form, through simu-
false), as well wiched logic (good or bad). In both lation and evaluation, we identify the space of the
06.
The choice of mesh growth geometries was cases, every decision taken was based on perfor- geometricaly possible region, the empirical mor-
07. 08. 09. based in the fact that growth mechanics applied mative and not traditional aesthetic characteristics. phospace. Key design decisions, define the perfor-
to a mesh,can lead to a very diverse and rich De- mative machinic morphospace, which includes all
sign Space exploration while on the same time, Therefore, one may state that in problems the geometries that are both performative and can
they allow multiple stages of optimization to both where the final form, is (partially) unknown, but be 3d printed given the above criteria.
11. 13. 14. 15.
the algorithm and the fabrication process. This there is a given state space, it’s becoming clear that
relates to the fact stated in the research thesis, when there is no control over form, architects must
12. that design and fabrication parameters stated have control over the state of the problem.
by the specific fabrication tools used during the
SEED OBJECT ALGORITHMIC WORKFLOW

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SOLAR ANALYSIS
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Solar analysis of the forming geometry is ap-
plied in order to evaluate the faces.

DESIGN SPACE OPTIMIZATION AGENT LOCATIONS DOUBLE SHELL GEOMETRY

Design Space optimization is applied by se-
lecting positive and of high insolation fac-
es. This process makes the algorithm run
smoother and inserts a fabrication parame-
ter, as due to 3d printer mechanics, negative
faces must be excluded.
The Growth expansion is based on 3 rules:
An outer shell is added that follows the original geometry. the
-Solar rule, where based on a solar agent, the preliminary growth starts to expand
goal is to print both geometries in the same time withe differ-
towards the sun.
ent types of surface analysis and optimization.
-Barycentric rule, where based on a barycentric agent, branches are being added in
order to keep the center of gravity stable.
-Random Branching, where in high number of loops, random branching is applied
in order to provide some randomness.
PARTICLE SYSTEM EVALUATION
Prior to 3d printing, an evaluation of the
mesh geometry is being done by applying a
constant flow of particles with Kangaroo and
Nudibranch plugins, in order to identify hing-
es or faults in the surface of the mesh. A sta-
ble flow, is translated to a stable >45 degrees
angle that is a parameter for no support 3d
printing.
FINITE ELEMENTS ANALYSIS
In addition a finite elements analysis is being
applied with milipede, in order to identify, the
most likely regions, where the stresses are
high. This, after reviewing the final 3d prints,
is related to material resolution error during
the print but not collapse of the model.
DESIGN SPACE EXPLORATION
Structuring parameter for the Design Space is
the number of generations, up until the max
number of 600 iterations. After trial and error
and constant feedback between machine and
algorithm, the machinic morphospace is iden-
tified at approximately 150-250 iteration, were
the basic branching has begun to emerge and
the branch width is within acceptable boundar-
ies within the 3d printers limitations.
FABRICATED REGIONALISM 3D printed models
As discussed during the final Thesis, the integration into one
platform of Material constrains, Fabrication machine con-
strains, the Design Agency of the Architect, the Environmen-
tal criteria and the algorithmic process itself, gives rise to a
new kind of regionalism, where the design locus and the fab-
rication locus can vary.
This concept is illustrated above, as the algorithmic process
remains the same, the outcome of the growth geometries in
zero G gravity is highly different in comparison to a growth
fabricated on Mars Acidalia Planitia, as the algorithm is
adapting to highly different environmental conditions.
Hence, the only real constrain in this new kind of regionalism
is the constrains applied by the generic fabrication bot as it
has to be in situ and be able to use materials from the site it
self.
UNDERGRADUATE DIPLOMA THESIS DEC 2O11 PROFESSORS: TASIS PAPAIOANOU GROUP PROJECT WITH DANAE IWANNIDI NUM.03
NTUA| GREECE DIMITRIS PAPALEXOPOULOS

DIPLOMA THESIS: CITY MUSEUM_ CASE STUDY ATHENS

A Platform for city museums generation, and a case study based on the GRID OF ARCHAEOLOGICAL SITES
city of Athens

MUSEUM MAP
01. Project concept and theoretical CONTEMPORARY CITY
«The word «deposit» refers to
background something that is hidden and must
NATURAL LANSCAPE
02. city museum_ generator plat- come into the light and with its
form
The concept of the city museum, is based on the drastic revelation, comes its exploitation.»
03. master plan and architectural changes in the museology studies that took place after 1968. MAIN TRANSIT ROUTES Umberto ECO
concept The most important change is that the concept of the museum
04,.05. Central museum of the city in general stops being conceived as a guardian of the past and «The cultural deposit of a city is
of Athens complex, multilayed, historical, and
a storage of artefacts and starts being perceived as a cultural BYZANTINE ATHENS
contemporary. It can be sensed, it
06. Sattelite museum at Akadimia
Platonos
center that works in unison with the city and its inhabitants. key exists as a memory, it has material
and ematerial substance.»
07. Sattelite museum at Mets junction in this change was the establishment of the theory of D. Konstatios
“New Museology “. Main supporter and founder of this concept is
ROMAN ATHENS
01. the French museum expert and first general secretary of ICOM
George- HEnri Riviere.
The concept of the New Museology proposes that the mu- ANCIENT ATHENS
seum consists of a narrative and the museum exhibition is a
02. statement, one approach of many of the various stories that the
artefacs produce.
Furthermore, the concept of the new Museology proposes a
new approach between the museum and the public space, the
environment and the inhabitants of the urban lanscape in gen-
03. eral.
a) The interest is centered outwards (urban dweller, social
fabric, visitor) in order to add context to the interior (exhibitions,
collections and the building it self) 3 scales
sca
of the cultural deposit
04. b) The diverse social groups and their characteristics are set
into scope stating the close connection between the museum and
the place it resides MUSEUM
MUS CITY
c) The ability to exhibit and to transform them into museum urban scale
s area
05. artefacts common artefacts and non material artefacts. building scale
buildin buiding

exhibition scale artefact

06.
: > collection >personnel > visitors
{ }
MUSEUM building specialized social infrastructure
CITY human factor CITY MUSEUM
07. CITY locus
MUSEUM
: > cultural
heritage >
memory
> inhabitants cultural deposit
CONCEPT FOR CITY MUSEUM GENERATION CITY MUSEUM GENERATION_CASE STUDY ATHENS (TYPE C)
CITY Α

- city with rich heritage

- character: not degraded
- historic center: living part of the city
City and the in
- cultural deposit present and in unison with
situ cultural
the city
deposit
This city has no need for a city museum, it
can be sensed and experience with out the
need of an architectural installation
ΠΟΛΗ Α

EXISTING FUTURE
Volume of cultural
CITY Β deposit that can be
- city with rich heritage exploited into exhi-
- character: slightly degraded in specific ar- bitions
eas
this city has a good overlay to work on where
the cultural heritage and the cultural deposit
can be experienced, however due to overex-
ploitation in certain areas this experience
needs to be augmented with in situ small Volumetric division
scale punctuations of total m2 of mu-
∆ ∆ ∆ ∆
seum space need-
∆ ∆ ed into central
Μ ∆ ∆
museum building
and satellites
CITY C ∆ ∆ ∆ ∆

- city with fragmented heritage and cultural

deposit
- character: degraded in specific areas with
distinct cultural “blind spots”
This city needs both a central city museum
and small in situ punctuations in order to
Placement into
reestablish its narrative and augment the
the appropriate
narrative of the cultural “blind spots”
areas, after eval-
uation through-
out the city

CITY D
- city with totally fragmented cultural heri-
tage and historic narrative
- character: heavily degraded throughout the
city.
The narrative of this city is totally destroyed. Final layout of
There is no point of in situ punctuation as central museum
both memory and artefacts are not present. building and sat-
Only a central city museum is necessary in ellites
order to establish a generic narrative of the
city.
GENERAL ARCHITECTURAL BUILDING CONCEPT| MASTERPLAN

recognizable outer shell

exterior vertical branding identity
connection

activities % “all seeing” interior

movement layout

exhibition
%

variat
ions

ΔΗ
ΜΟ
ΣΙΟ
ΣΗ
ΜΑ

SATELLITE POSITION

CENTRAL BUILDING

IMPORTANT LANDMARKS
 Central Museum for the City of Athens
Β

Α Α

BAR- RESTAU-
8 RANT
200 m2

7
LIBRARY
850 m2

OFFICES FOR
THE WHOLE
5 MUSEUM GRID
450 m2

PERMANENT
3 EXHIBITIONS
1100 m2

TEMPORARY
1 EXHIBITIONS
550 m2

0 RECEPTION
350 m2

-1 BASEMENT
750 m2
Satellite museum at Akadimia Platonos

‘
€ €

Ž Ž
Satellite museum at Mets

ΑΡΔ
ΗΤΤ
ΟΥ
POST GRADUATE WORKSHOP
CODE-ATHENS, NTUA-ETH| GREECE
WORKSHOP PROJECT: TRANSATTICA EXPRESS
RAIL& CITY
JOINT SEMINAR WEEK RAILWAY AND CITY DEVELOPMENT IN ATHENS
01.Project Concept and description
02. Exploded axonometric of the
urban train stations in relation to
the urban fabric
03. Plan and section of the urban
train stations
04. General Masterplan of Attica
and the Athenian Riviera with key
characteristics of the Transattica
Express
01. 02. 03.
04.
JUN 2O15 COACH: ANITA GRAMS GROUP PROJECT- WORKSHOP NUM.04
PROFESSORS: BERND SCHOLL
KONSTANTINOS MORAITIS
VASSILIS PAPPAS
The primary task of this assignment is the general upgrade of the
rail axis from Piraeus to SKA, while giving major interest on the Lar-
issis station area and implementing a bottom up approach. Thus, the
team’s main question is “for whom are we planning”?
In a country where the urban mobility culture is not developed as it
is in many European cities, the main key to the problem would be a
change in the perception and in the imaginary of the use of public
transport. The train and urban mobility culture could be improved, if
a positive image for the train and tram as means could be introduced
in a broader scale, as well as an overall densification of the network
and an introduction of intermodal stations.
The team decided to zoom out and focus on the territory at hand;
Attica, which is the region of the agglomeration of Athens, and with-
holds the major ports of entrance in Greece (Piraeus port and the
El. Venizelos airport). The Attica’s main characteristics incorporates
a unique landscape. Its topography of the 4 prevailing mountains,
its natural territory , and the local indigenous cultivating cultures
reveal a territory rich in history and potential. The coastal zone of
Attica is of course one of the main assets and one of possible areas
that could trigger investments in Greece.
Nevertheless, Attica remains for most people, both local residents
and visitors, a terra incognita. What if the rail could reveal this “to-
pos” and turn the spaces into places? What if we could introduce the
“Transattica Express” as a new rail system for Attica?
The new line could be a tool of regional developments, proposing
alternative touristic offers, such as sport, cultural or gastronomic
tourism, and a boost for the Attican transportational system, by bal-
ancing and decongesting the “egocentric” territory of Athens.
The introduction of small urban stations are a sign of mobility cul-
ture. Their design expresses a generic shape, a genotype that adapts
to various field conditions with very distinct visual characteristics.
These characteristics introduce a brand identity for the train in Atti-
ca making the design and the idea surrounding the mobility culture
more communicable and palpable for the intended audience .
The existing lines would be extended to reach Sounion and Laurion
and serve for the Transattica Express as a mean for a greater expe-
rience of the overall “Attica Riviera”.
Enjoy your trip!!
POST GRADUATE WORKSHOP FEB2O13 PROFESSORS: KON. MORAITIS GROUP PROJECT- WORKSHOP NUM.05
NTUA-PARIS DE MALAQUAI| GREECE

WORKSHOP PROJECT: CREATING AN URBAN SPINAL CORD

URBAN PUNCTUATION IN THE LARISSIS STATION AREA OF ATHENS

Larisis station, at the time of the workshop, was

01.Project description
02.Project’s main concept
03.Larisis station area_ analysis
04.Spatian organization using con-
struction materials
05. urban boxes variations
06. urban boxes variation as a
shelter
07. spatial organization using in
situ construction materials_ urban
gardens
08 & 09. urban walkaways and
square in the slopes of the railways
and in the tunnel terrace
a vast brown- field. Due to the economic auster-
ity, the expansion of the central station halted
awaiting new sponsors for the project. At this
state, the station was a urban barrier. Through-
out the landscape, vast amounts of construction
materials await to be used.
Our proposal is based on activating this in be-
tween space. The idea is based on proposing
small low cost and temporary measures with
materials that are found on site in order to cre-
ate a public space that can be utilized by the city
inhabitants.
Hence, small urban boxes are proposed in or-
der to accommodate various uses, depending on
needs. Also construction material, such as con-
crete tubes are used to create temporary (or not)
urban gardens to add greenery into the concrete
urban landscape.

01. 03.

02.

04. 06. 08.

05. 07.
09.
POST GRADUATE WORKSHOP
NTUA- AA | GREECE
WORKSHOP PROJECT: HORROR VACUI
AA VISITING SCHOOL 2013_ CHIPHER CITY
Deconstructed
(negative voronoϊ)
installation
01.Deconstructing the sur-
faces and creating the void
02.Project Description
03.Vortex and void concepts
04. 1:1 model of the installa-
tion, operating at the work-
shop exhibition, at NTUA
05.The expansion mechanism
of the newly formed organ-
ism as it evolves and expands
within its surroundings.
06. testing-simulation and
fabricating, between various
platforms (arduino, process-
ing, scale model, material
properties and grasshopper)
01. 03.
02.
04. 06.
05.
ΜΑΥ 2O13 PROFESSORS: DIMITRIS PAPALEXOPOULOS GROUP PROJECT- WORKSHOP NUM.06
ALEXANDROS KALEGIAS
ELIF ARDIN
GUEST REVIEWER: MICHAEL WEINSTOCK
Strings connect the opposite voids forming vortexes within
// The installation becomes 3-dimensional. The notion of them. The contraction and expansion of the vortexes create
the void is emphasized the expected respiration effect
negative voronoϊ wall
The project’s main idea is the creation of an interactive surface- installation, that suc-
cessfully transcribes the feeling of anxiety when in proximity of the void. As the voronoi
frames were given by the workshop, The team’s idea was to use the voronoi irregular hole
geometry to create anxiety when in proximity of voronoi holes.
Therefore, the geometry was given width, with two voronoi surfaces and the space in
between. The void between the two surfaces was covered with lycra elastic textile, which
through a system of pulleys and wiring the occuluses, that formed due to the twisted
knitting of the installation, had the ability to expand and contract. With proximity sensors
and a system of motors, the installation started becoming alive. Using a sin equation,
for smooth motor movement, the newly emerged organism, started breathing normally
under normal circumstances. When someone came to close proximity of the organism,
the feeling of anxiety takes hold, as the breathing gradually becomes irregular and rapid.
Hence, the installation becomes alive and aware of its surroundings. By deconstructing
the rectangular frame of starting geometry and placing voronoi frames to the ground the
organism begins to adapt and grow in relation to its surroundings, being constantly anx-
ious of any trespassers that come in close proximity. //textile “bubbles” fill the voids resulting
a respiration effect
 FABRICATION PROCESS -TESTING- SIMULATION

the organism begins to expand and adapt to its

surroundings
PROFESSIONAL WORK | GREECE JAN 2O12- JAN 2013 WITH CHRISTINA PAPADIMITRIOU REALIZED PROJECT NUM.07

REVIVING THE ATHENIAN AGORA

MUSEOLOGICAL PROPOSAL FOR THE NEW PERMANENT
EXHIBITION AT THE 1st FLOOR OF THE STOA OF ATTALOS,
IN THE ANCIENT AGORA OF ATHENS

The project was funded and realized by the American

School of Classical Studies and the Ministry of Culture and
Tourism (A’ EPKA)

01.On site photos after project

completion
02. Section A of the exhibition, with The exhibition consists of a collection of ancient sculp-
the glass wall in the background tures mostly from the Roman and Helenistic period. As
03. Project description most of them are mainly head figures, the exhibition
04. exploded axonometric of sec-
tion A
idea was based in the recreation of the urban space of
05. construction details of railing the ancient Agora of Athens. The challenge of the proj-
and figure stands ect was the merging of a modern and contemporary ex-
06. overall plan and view of the hibition, with the restored ancient building of the Stoa
exhibition of Attalos.
07. rendered views prior to con-
Visitors and figures alike engage in a dialog, as one
struction
walks through the exhibition. This effect is being gen-
erated by treating the statues and figures as living and
acting persons. Therefore, the figure stands are in vari-
able heights but in the range of a height of an average
person. Furthermore, the orientation of the statues
varies, in order for the exhibition to be experienced in a
01. non linear fashion. The visitors are able to walk around
the exhibition as if walking among people in a crowd,
02. 03. engaging in conversation.
The exhibition is divided into five sections depending of
the era of the sculptures being presented. Each section
consists of a rail that organizes the figures and a slight-
04. 05. 07. ly elevated surface were the “crowd” of figures is orga-
nized. On the background of the exhibition, a new glass
06. facade was installed in order to separate the offices of
the American school of classical Studies, as well as to
provide a neutral background for the exhibition.
 01.cast concrete columns approximating rock

02.cast flooring

03. double metal frames with inte-

grated support

04.pre-fabricated concrete
support structure

05. limestone piece with

integrated rail
INSTALLATION PROJECT| GREECE JAN 2O12- JAN 2013 GROUP PROJECT REALIZED PROJECT NUM.08

INSTALLATION- CONCERT VENUE

P-PUBLIC ART AND PUBLIC EVENT IN
CHANIA, CRETE, GREECE 2013

Days of June...
The summer sun is blinding and the heat is unbearable.
An oasis peeking in bastion of Mocenigo. The shade of trees is
calling you to lay down your burdens.
At the boundaries between the city and the sea, the bastion of
Mocenigo rises. The days when it was used for protection from
pirates are long gone, but nowadays, it offers a small green par-
adise unchanged by time. So far, the visitors are reluctant to
approach, as the public space of Chania offer elsewhere more
flamboyant and flashy experiences...
01.On site photos during a concert But we want you to come here and approach Bastion Mocenigo.
02, 03 On site photos during the
To experience the city from the outskirts while in the same time
day, on the backround the city of
Chania is showing being enclosed by the old city walls. Hovering above it while being
04. Concept sketch with variable inside. To realize that this observatory used in medival times for
height curtain walls enemy ships spotting, now can be used in contrary for cityscape
05. On site photos during the day, spotting. Ancient pirates, myths, here your imagination can travel
on the background the city of Cha-
along with the Sea, Simbad and Andromeda.
nia is showing
06. Concept sketch The dancing ribbons concept uses the sea breeze to create a wel-
07. Project description coming motion to attract visitors and travelers into their mists.
The sound of the chimes that are hanging from them is the call-
ing tune that makes the visitors realize that something is hap-
pening here. The bastion has transformed into the staging place
for a colorful festival.
01. 02. 03. All you need to do is to pull aside 3-4 ribbons in order to enter the
stage. An intangible bulwark erected with coloured nets between
07. 04.
the trees expanding towards the sky. At the same time, ribbons
05. 06.
hanging from their arms, signaling the gates to get into the story
and decide whether you will eventually be Sinbad or Andromeda...
ARCHITECTURAL COMPETITION | FEB 2016 GROUP PROJECT ELENI MATZIOU NUM.09
SYRACUSE, ITALY SOFIA MICHOPOULOU
ALEXANDROS VENETSANOS

LIGHT HOUSE ART HOTEL

ARCHITECTURAL COMPETITION
RESULTS TO BE ANNOUNCED
ON 2nd OF MAY

The Lighthouse Art Hotel offers a variety of rooms for accommodation

and artistic activities, embedded in a wild coastal landscape. The main
objective is to cultivate sensitivity, inspire artistic creativity, deepen co-
operation experiences, contribute to the enjoyment of art and Joie de
Vivre.
Designed for globetrotters, the hotel is a place to enjoy diversity, offer-
ing a wide range of services for recreation, wellness and culture com-
bined with modern workplace infrastructures.
At the same time the hotel acts as a cultural centre for artistic activities
and exhibitions and also as a starting point for excursions to archaeo-
logical sites and natural landscapes in the surrounding area.
The original design specifications were inspired by the lighthouse, fo-
cusing especially on its location.
Following the principles of bioclimatic design, a function dependent ar-
rangement of facilities was chosen, utilizing the advantages of passive
heating, cross ventilation cooling by evaporation and flexible louver sys-
tems.
Wave energy is utilized for the recirculation of the water inside the pools
while no energy consuming filtering mechanism is required.
The conceptual design recognizes three discrete zones
of site’s ground surface (vegetation dominated, rocky and
seashore) and attempts the interaction among them.
The buildings are organized in these zones having the spir-
it of a wide theatrical scenery with numerous courtyards,
passageways, balconies, piers between land and sea.
Hotel facilities and recreational areas retain an axial ac-
cess to the historic lighthouse tower, which dominates in
the centre as a monument.
Clusters are interconnected through a variety of transition-
al areas establishing a network of barrier-free routes like
elevated pathways on rooftops, coastal paths and smooth
transitions to the sea level accessible also by the mo-
tion-impaired.
Accommodation and leisure facilities are unfolded along
the coastal zone, while insetting outdoor exhibition areas,
create a variety of different impressions.
A coastal path network with different points of interest as-
sociated with the peculiarities of topographic relief, links
visually the visitor with the lighthouse, the building clus-
ters, the courtyards, the water cavities, the rock slopes and
the sea.
A bow of plantations isolates the lighthouse area from the
sport infrastructures, work and conference facilities.
Scattered rocky cavities retaining water are integrated in
a water-chamber system of swimming pools and artificial
waterfalls, to maximize the evaporative cooling of the area
during the summer.
A boat lift inspired by the crane mechanisms of Archime-
des who was an ancient engineer from Syracuse gives the
opportunity to the visitors to approach the lighthouse hotel
from the sea.
A floating platform acts as a mooring terminal for both
small boats and exclusive yachts while it houses a bar in
the middle of the sea.
Current situation
-endemic vegetation,
-rocky coast
-sea
-axial access to the
lighthouse tower

Concept diagram
-elevated promenade
on rooftops
- coastal promenade
- passages
-necklace of greenery

- Greenary
-Pedestrian routes
- Buildings
-Water chamber
system
ASSISTANT PROFFESSOR IN FABRICATION JAN 2O16 COLLABORATION: MARILENA GEORGANTZI PRIVATE PROJECT- RESEARCH NUM.10
LAB | POST GRADUATE| GREECE

CUSTOM 3D PRINTER: THE MATTER COMPILER

PRUSA I3 CUSTOM ITERATION

01.Exploded axonometric of all

acrylic parts of “The Matter Com-
piler”
02. Parts optimized for laser cut-
ting
03.Project description
04.1rd model of original prusa i3
frame (zund cutter)
05.2nd model of modified frame
(zund cutter)
06. Joint optimization for laser cut-
ter (X380)
07. Printing of PLA part on a pru-
sa i2
08.General view of the completed
frame with installed parts
09. retro style panel with LED indi-
cator for bed heating, switches for
extruder lights and print fan switch
on/off
10.custom design of the extruder
carriage with new and parts from
thingieverse
11.Completed extruder carriage
with arduino uno controlled light-
ing

01. 02.

03. The project goal was to redesign a closed frame prusa i3 iteration in order
to reach the quality of a high grade desktop 3d printer currently in the market.
First stage of the design was different models of the frame using paper in
order to establish the frame.
04. 05. 10.
The second stage consisted of the selection of the type of joints that would
06. 08. be used in the box frame. Hence, in order to achieve fast and easy assembly, all
parts were jointed with standard zip shape joints and the tightening was done by
07. 09. 11.
interconnected 8mm rods.
Prior to the final cutting of the acrylic frames, with a laser cutter, a precision
measurement of different widths, in increments of 0.1mm were tested in order
to optimize the fabrication procedure according to the laser beam, in order to
achieve perfect fits. The result was a very rigid, vibration free frame, all en-
closed with acrylic window frames, which protect the model during the printing
process from room air drafts, while keeping the noise level from print fans to a
minimum. In order to achieve vibration absorption, rubber washers were used.
The extruder is based on a standard bowden setup. the hotend carriage,
is designed to be able to support up to two E3D hotends (one for standard ex-
trusion and one for solvable support material and an inductive sensor for bed
leveling.
The electronics are based on the standard arduino mega/ RAMPS 1.4 with
marlin firmware. A second arudino uno was introduced for lighing upgrades
with buttons and sensors
UNDERGRADUATE URBAN DESIGN 2O08-09 PROFESSORS: G HAIDOPOYLOS GROUP PROJECT NUM.11
PROJECT AT NTUA | GREECE

URBAN DESIGN
OF THE WIDER REGION OF KARAISKAKI STADIUM AND CHROPI FACTORY

The area is defined by Peiraios street and the the central train
line connecting Peireus and Kifissia.
The planning includes: 10.000 m2 of housing, 5.000 m2 of pub-
lic services in including schools, markets, workshops and seasonal
gardens.

01.Sketches of the idea

02. Early concepts of masterplan
variations
03.sketches of walkways inside the
housing areas
04.early concept of the housing
area
05.Section (karaiskaki stadium in
the rear)
06. Birds eye view of the model
07.08. Birds eye view of the central
quare with public market and the
housing area
09. workshops area
10.General masterplan

02.
01. 03. 04.

05.

06. 10.
07.
08.
09.
 ΤΣΙΡΟΠΟΥΛΟΥ

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.Δ
ΙΑ
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Υ
Σ
ΝΟ
ΟΥ

ΖΩ
ΝΙ

ΑΙ
ΔΙ

Μ
ΑΙ

ΛΑΜΨΑΚΟΥ

ΣΚ
ΥΛ
ΙΤ
ΣΗ

ΒΕ
ΜΑΔΥΤΟΥ

ΙΚ
Ο
Υ
ΛΑ
Μ
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ΟΜ

ΡΟ
ΗΡ

Υ
Υ ΙΔ
ΜΕΓ. ΑΛΕΞΑΝΔΡΟ ΟΥ
ΑΝΔΡΟΥ ΣΚ
ΜΕΓ. ΑΛΕΞ ΥΛ
ΙΤ
ΣΗ

Η
ΜΟΥΛ
ΚΟΥΡ

ΕΛΑ
ΤΖΑΒ
ΠΑΝΟ

ΜΑΤΡ
ΩΖΟΥ
ΥΡΓΙ
ΔΙΟΒ

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ΟΥΡΝ
ΙΩΤΟ
Υ
ASSISTANT IN FABRICATION LAB | POST JAN 2016 PERSONAL EXPERIMENTATION NUM.12
GRADUATE| GREECE

BENDING PATTERNS
BENDING PATTERN EXPLORATIONS FOR PLYWOOD

The primary concept for these patterns was based on a similar study published by VAHA,
where the patterns where tested in ~3mm mdf wood board.
In the revised experimentation, we used 2mm plywood and a laser cutter. Only physical simu-
lations where used.
Key conclusions: The amount of curvature was based on the orientation of the stress lines of
the wood in relation to the laser cutted pattern and the sharpness of the corners of the pattern it
self, more sharp corners means that these points will accumulate all stress forces, therefore, all
patterns that incorporated circular corners or circular openings showed higher tolerance to bend-
ing (single and double curvature) as the stress forces would flow around the circular openings
therefore minimizing the accumulation of forces in one specific point (90 degree corner)
POSTGRADUATE RESEARCH PROGRAM OTF | NOV 2016 PERSONAL EXPERIMENTATION NUM.13
IAAC | BARCELONA

ROBOTIC LIGHT-SCULPTURES
Exploring the relation between geometry and photography through the
use of an industrial robotic arm

The key goal of these experiments was to familiarize with the

concept of transforming the preprogrammed path of a robotic arm
into geometry and shape through the lens of a photographic cam-
era
With this in mind, a simple geometrical shape was created
with grasshopper, where the simulation of the toolpath of the ro-
botic arm was programmed.
Secondly, a simple light was installed as an effector onto the
robot, where through the code, we had the ability to turn on and off
Finally, a standard photography camera was used, in long ex-
posure timelapse mode, in order to capture the whole script and
later combine all the photos into one final outcome.
POSTGRADUATE RESEARCH PROGRAM SEPT 2016-ongoing TUTORS: ALEXANDRE DUBOR RESEARCHER: IASON GIRAUD NUM.14
OTF | IAAC | BARCELONA (5 March) EDOUARD CABAY
SC. ADVISOR: ARETI MARKOPOULOU

EXPLORING PERFORMATIVE WALL DESIGNS

IMPLEMENTING HEAT SINK AND HEAT SPREAD
CONCEPTS INTO PERFORMATIVE WALL DESIGNS

The goal of this project is to incorporate performative characteristics from the field of elec-
tronic chip technology, into a performative wall design concept.
A heat sink is a passive heat exchanger that transfers the heat generated by an electronic
or a mechanical device to a fluid medium, often air or a liquid coolant, where it is dissipated
away from the device, thereby allowing regulation of the device’s temperature at optimal levels.
A heat sink is designed to maximize its surface area in contact with the cooling medium
surrounding it, such as the air. Air velocity, choice of material, protrusion design and surface
treatment are factors that affect the performance of a heat sink

Heat Spreader

Heat Sink

Perforation Pattern

0.5
5m 5m
0.7
 Heat Spreader
_Param 1: Heat Spreder Height
_Param 2: Occulus height
_Param 3: Columns Width

Heat Sink
_Param 1: (N) of Vertical Louvers
_Param 2: Width of Louvers
_Param 3: Depth of Louvers
_Param 4: Curvature of Louv

Inner Wall
_Param 1: Height of inner Wall
_Param 2: (%) of perforation

Itteration 1 Itteration 2

Itteration 3 Itteration 4

Itteration 6
Itteration 5