Athens University of Business and Economics Expansion
Phoebus Panigyrakis, graduation project thesis.
University of Patras, 2014.
House of Fairytales
This nostalgic world, normally referring to children and joyful games, is also the world that everyone aspires to return to. Envisioning a future museum of fairytales departing from the life and work of H. C. Andersen, is a heartwarming metaphor of bringing him back to life, providing a home for his fairytales and along with it, welcoming the present and the future of Odense and the Danish people. The foremost concern, was to provide the city with an open-air location which will introduces visitors and passersby to the magical experience of Andersen’s world. Dealing with the problem of the massive program, a solution was found that kept the addition underground. The garden created on grade is of the largest possible area that could be offered to the city. It claims a pivotal role in urban life for the new museum. It is crucial for a museum dealing with fairytales, that children be invited to play and give life to it. The courtyard was conceived as the heart of the museum, being the viewing point of the exhibition room enfilade and also, the focal point of the entire landscaping.
In architectural terms, what is being argued in the proposal is the relation between the concealment and the exposure of the architectural elements, the equivalent with the ups and downs of every fascinating literature persona. In order to respond to the city;s need of a central public space we propose a field, where architectural and landscape elements merge together. Architectural archetypes make themselves apparent and then hidden, mainly in the form of the white, cubic entrance, the rectanglular courtyard and in a more scenographic way, in the pitch-roofed house-like theatre, which claims the name of the “house of fairytales” and the role of the icon. Since, fairytales are perceived through an act of narration and intimate human contact, the theatre literally becomes a ‘house of fairytales’. Nevertheless, the leading role is given to the public space, for architecture is considered here as the “theatre” where social life takes place and does not always depend on its own theatrallity.
Koum Kapi Redevelopment
National Architectural Competition for the redevelopment of the Koum-Kapi area in the city of Chania.
2nd Redemption Prize (5th place)
National Architectural Competition for the design of Katehaki Square in the city of Chania, Greece
Patch den Haag
Public Building Design Studio
Dimitrios Gerardus Andrinopoulos
TU Delft 2016
The Hague is an incomplete city. Well, at first glance, it’s all there. History, riches, loyalty, internationality and glory. Even architecturally speaking, one can find anything imaginable. An impressive business distrrict skyline, cute traditional little houses, glorious palaces and parks. It even has a beach! But The Hague still lacks something. While walking through the cardinal section, all places one passes through are pleasing, but there is also a surreal, maladjusted cloud hovering over it, and it also has a name, and the name is irregularity. The Hague lacks transition. The shift between sceneries, although fascinating at first, prevents the city from creating the most important network of them all: The imaginary one. The one that makes people believe they are part of a choreographed continuum. The feeling of certainty, or that every single thing leads to another. The Hague is not a choreography. The Hague is a chaos.
The Embassy is the most characteristic entity of the Hague. the city is in essence an embassy of embassies, a thematic park. Thus, the notion of security is present in most of the city’s streets.
The site of the intervention is located on the back side of the Hague’s most commercial road: The Grote Markt, an area always full of public life. The aforementioned life, however, dedicates itself only in one direction, the one of Grote Markt, and whenever someone choses to stray from that path he instantly becomes lost.
Surprisingly enough, the cardinal section of the Hague of this studio is perpendicular to that axis, and walking it revealed a lot of hidden qualities and characters people do not get to experience every day. Walking on this cardinal section, one realizes that the transitions between parts of the city with completely different character is rather abrupt. During the introduction workshop of the studio, we tried to record this sudden shift in the city’s character through various means. As a result, we managed to divide the Hague into zones which were sharply defined. From the suburb lke scenery of Den Haag HS, one can walk through Chinatown to the Grote Markt where he can experience the immense flow of people shopping, and then off to the silent, mystical embassy zone. After that, and following the huge forest area, one arrives to the area of Scheveningen, and ultimately, the beach.
The city’s fragmented character could be easily recorded by a drawing of the site’s block’s facades. Unfolding these facades, a very acanonical situation is revealed. The block consists of the glorious De Bijenkorf building, a brutalistic-like building hosting commercial uses and offices, and a surprising void in its southern edge.
Patch den Haag aims to correspond to the blatant discontinuity of the block not by filling the empty space, but by changing the direction of it..
Patch den Haag redefines the existing block and creates a new facade for its new boundaries. It does not conceal the colourless existing building, but it uses it to construct reference. Patch den Haag is a new facade upon which the old one is projected.
This project aims to provide the city with more than one dimensional orientation. This building stands against the compromising existing building, but also respects the city’s memory of it. It is not deleted, but put on display through a prism. This prism is Patch den Haag.
Patch den Haag expands itself in minimum width across the back facade of the block. Linearity translates into unity of the new block, while transparency into reference of the old block. This project aims to satisfy the Hague wanderer’s need for orientation and continuity.
Patch den Haag extends its entrance to the westernmost part of the site, causing a dialogue with the de Bijenkorf back facade which does not correspond to its front one at all. But the eastern building’s behind part of the its continuous facade is where Patch den Haag expands in volume, where it becomes its essence, a prism.
The notion of security is attacked through two entities:
The first one is the ramp entrance, which makes control over the representative section of the first floor easier, while also securing it. The ground floor therefore remains for completely public uses.
The second one is the shell, which doesn’t only filter the image of the existing facade, it also obstructs open vision to the office and residential spaces of the building.
The building incorporates the block’s eastern building’s existing south facade, occupying occupying around 800m2 of it that are to be relocated. The facade itself is retained and used for internal organization of the plans, as well as being slightly visible to the outside.
The shell consists of 4mx2m lightweight aluminium surfaces used commonly as outdoor flooring. The facade has its own load bearing structure that is connected to the slabs through the vertical channels that run from slab to slab, spanning at most 4.4m. The horizontal channels act as spacers to achieve the facade’s structure rigidity, as well as incorporate water circulation and support the aluminium planes further.
One can either enter the building through its public realm, the ground floor entrance, or, if having business with the embassy, directly ascend to it through the ramp that extends to the west. the second and third floors are the more private office spaces, where workers can gaze outside without being visible to the city, due to the perforation on the outer skin’s small dimensions. The third floor features an inclined slab that follows the shell’s orientation, providing top anchor points for its vertical channels, while also using the extra space to incorporate a green inclined roof open to the public above, and the embassy’s conference and ceremony hall below, featuring a high ceiling.
On the western side of the fourth floor, the ambassador’s residence is located. It is accessible only through the western core of the building, and includes a security guard office directly outside it.
The ramp provides a general circulation flow that helps this public building solve some security issues. Security spots are located outside each of the cores, and at the end of the ramp. Therefore, complete filtering of the upper floors’ access occurs.
In the basement, underneath the raised cafeteria’s slab, a hidden ramp leads to the emergency room, making it easily and quickly accessible and possibly evacuated.
On the western building, which only consists of one floor, a security outpost as well as the public library are located, along with the archive rooms that are embedded to the de Bijenkorf building. The roof of the building is also an inclined green roof, offeringa small and quiet break for the passer’s by of the Hague.
The building’s structural as well as energy principles are very simple. The load is supported by two grids of columns, a third one existing to support the ramp and the slab edge. The concrete columns, 500mm in diameter, can bear over 550m2 of tribunary area, and the max span of them is 6 meters, which will be bridged by a rigid concrete slab over a metallic fluted deck.
The facade structure is pinned onto the concrete slabs on every floor through the vertical channel, which also conceals the gutter. Water can run through the vertical channels and the gutters that are attached on the back side of the horizontal ones.
Nowadays a visit to the Corinthian Isthmos lasts hardly two minutes only in order to snap a picture for most of the passers by, amongst dangerous running cars. The primal intention of our project is to prolong this visit, make it safer, more exciting and the ain attraction of a greater development. We create a new Billboard, a new identity for the Isthmos, in order for it to place itself amongst the most magnificent man-made monuments.
The subject of the sixth semester design studio was the creation of a Museum of Commerce for the city of Patras in the Peloponnese, Greece. Patras was well known for it’s raisin production, exporting the product throughout the world, a major consumer being Victorian England. During the ninetinth century the veryport of the city became known as the ‘Raisin Harbour’. Patras was also producing one of the finest wine collections in the 1850s, making the city almost grape dependant. However, the cost of production increased at the end of the century making the city less competitive. This caused the commerce to decline and slowly cease to exist. Nowadays, Patras main resource is it’s University, which brings thousands of students to the city, giving it wealth, life and growth.
The project is based on the idea of a hybrid museum-research center-demonstration building for the University of Patras. The project consists of two linear buildings, housing the research facility and the demonstration area respectively and one crowning element housesing the museum of commercial activity. Between the two linear buildings ample public space in the form of a strip is included connecting the city to the waterfront. The crowning element, is used so as to create a gate and a frame for the background landscape, and enhance the physical and symbolic transparency of the building.
The concept draws upon traditional commercial streets and covered markets around the Mediterranean modulated by a promenade architectural connecting the various components of the program.
‘Social’ is interpreted as ‘living in companionship’ with a few or many others. This characterizes our vision of the housing of the future. In Finland, the country’s rich natural environment has to be preserved in the advent of a metropolitan future, with an eye to architecture as an important component of contemporary Finnish culture and means for social coherence.
With regards to the imminent population growth developers and architects are urged to create immense structures that will house this growth. Towers and huge blocks will crowd any possible contemporary Finnish ‘Capriccio’ painting in the manner of Canaletto, where density overwelming or merely ignoring human presence. In this un-imagined city we would like to secure a void were human society may take place in a context of relaxation in moments when people can feel detached from the future metropolis. A circular scheme is proposed so as to form a threshold for the conservation of nature and social activity. Lifted from the ground so as to create an urban limit it allows for flows underneath.
To intensify this possibility METEORA is supported by only a few pillars, half of which are inserted into retrofitted buildingsalso serving as access points to the hovering disk. The interior circulation is that of a continuous gallery framing diverse views of the city ‘beyond’ and the nature ‘within’. The two elements come into contact on the facades in the form of glass and wood.
The project is an extension of the university campus of the National Technical University of Athens, capital of Greece. The main objective is to design a complex that coexists with the forest that surrounds the campus and to sustain the atmosphere of a green campus even though the area is gradually being urbanized in a fast pace.
Programmatic Needs and Building Volumes The architecture school has long been proposed to join the other polytechnic schools in the Zografou campus but is still residing in the old neoclassical building of the university in the centre of the city with great needs of space and delight. The project allowed us to place large programmatic volumes in service of the university with the architecture school taking the foreground, as the highest building of them all. The brief's proposed volumes of 66m x 66m x 18m were distributed regarding the nearby context and the real programmatic needs of the surrounding departments. Building in big height aims for the protection of a number of pine trees that occupies the place today and compose the image of a forest that we need to preserve and promote. The existing library of the National University and the School of Constructional Engineering are adjacent to this specific plot, that offers ground for a supposed expansion of theirs. The new library and the new school of constructional engineering opposite the old buildings along with the positioning of the architecture school centrally located are completed by the auditorium and lecture hall building that is submerged into the ground in order to provide its roof as a main entrance for the rest of the campus area.
Main Objective We propose to make the central space the campus’ new spotlight. The open ground as a sort of a glade, will tell the city’s tales and stories of nature and water by letting their interaction shape a variety of mid-urban experiences. A circular promenade that links that four buildings offers views from a higher ground, in between the trees' foliage.
Atmosphere The buildings form a triangulised base with highly reflective glass that homogenizes the lobbies of the ground floors with the surrounding greenery. The towers on the other hand, are dressed in an aluminum grid of shades that gives the impression of a shadowed forest.
Settled in one of the greenest sites of the campus, the complex re-produces the relationship between the urban and natural environment of Athens and its environs.