University Portfolio Spyros Tzinieris - Architect

8/13/2019 University Portfolio Spyros Tzinieris - Architect

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portfolio of

Spyros Tzinieris

Five-year diploma in Architecture Studies

University of Patras, School of Architecture

Applying for

Graduate School of Design - Sustainable DesignHarvard University


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Spyros Tzinieris

Five-year diploma in Architecture Studies

University of Patras, School of Architecture

Applying for

Graduate School of Design - Sustainable DesignHarvard University


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SpyrosTzinieris

form & function architectural form the feel of materials lifestyle & advertising

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I N D E X

p.6 p.11 p.12p.10 p.10 p.22p.20p.16

CO N CERT A REAEA RLY SKETCHES

S EA HO US E A PAR TM EN TBLOCK FOR

ELDERLYPEO PLE

ELEMEN TA RY SCHO O L MUSEUM O FNAUTICAL

ART &T R A D I T I O N

PLA ST ICSURGERY CL IN IC

A DVERT I SEMEN T A N DPACKAGE DESIGN OF

A DO O R HA N DLE


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sustainable design intuitive design RESEARCH PROJECT DEGREE THESIS

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HC

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T R A D IT I O N AL M E T HO D P R O P OS E D M ET H O D

COOLI

NG+VENTIL

ATION

VEN T I L A T

ION

COOLING

F ILTER

HEAT EXCHANGERS

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B IO CL IMA TICAIR

CO N DI T IO N IN GSYSTEM

A PLACE OFEXHIB I TS -O BJ ECTS-

EXPERIEN CES


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SpyrosTzinieris---------PER

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Section of a variable length

intake manifold

Schematic section of a mo-

torcycles braking device

Understanding

Automatic Braking and Suspension pressure

distribution system

Allows ideal braking, dynamic distribution of brak-ing pressure between the two axles and automaticsuspension stiffness control.

1.

2. 3. 4.

Inventing

Inventing

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High Performance,

single seater vehicle

1. Schematic section

2. Steering wheel anddashboard

3. Electronic Interface

4. Diagrams of the en-gines power output indifferent driving modes

E A R L Y S K E T C H E S

Through the constant interaction with vehicles the need to learn the

principles of their function was maximized.

The understanding was accomplished with the reproduction of

schematic sections and sketches.

Gradually the need to create better mechanical devices lead to avariety of inventions drawn on paper.

At the very beginning the inventions dened the form.

Later on, challenges were created so that the inventions cou ld serve

the harmony of form.

Finally the knowledge of the mechanical aspect of vehicles let the

design be liberated and created new forms which would function

perfect.


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SONALPROJECT

Crea

tion

Creation

Modern option of the classic

Alfa Romeo Spider

Creation

Participation in competition

of the Greek automotive

magazine 4

5 - meter Multi Purpose Vehicle(MPV)

The side curve goes lowerthan the glass in order tomake the nish of the caroptically smoother.

Multi-part storage roomdoor

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SpyrosTzinieris---------ACADEMICPROJECT

SpyrosTzinieris---------ACADEMICPROJECTS

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Seaside house at Rio, Patras

Combining basic geometric forms and playing with positive/ negative

forms by the seaside.

Creating a Concert Area out of Russian Avant-garde paint-ings.

The rst attempt on architectural composition in order to discover ele-

ments such us geometry, scale, form, boundary, transparency, light/

shadow, movement/ halt.Tension is used as a way of vibrating and guiding visitors by creating

dynamic shapes and playing with perspective.

D I S C O V E R I N G B A S I C E L E M E N T S O F A R C H I T E C T U R E


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ADEMICPROJECTS

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Apartment block for elderly people at Rio, Patras

Moving away from basic geometry forms to free form organic ones

and learning about psychology of space.


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Elementary school at Patras

(Building design in collaboration with Tatiana Dimou--------- con-cept, sketches, 3d design, technical drawings and presentation

Interior details and urban designARE NOT collaborative works)

A school is the extension of a house and the place that is safe for chil-

dren and a source of inspiration and happiness for them.

Children are taught to stay away from sharp objects, so the basic form

was not intended to have sharp edges but rather a composition of

well recognized toy-like forms.

The design of the school with the shallow strip of water takes advan-

tage of the areas winds to cool the courtyard of the school through

evaporation cooling.

The ooded with natural light interior makes the colored walls more

vibrant.

The intention was to compose a school which interacts with the high

school of the neighborhood and both act as lighthouses of knowl-

edge inside the city.

D I S C O V E R I N G B A S I C E L E M E N T S O F A R C H I T E C T U R E


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Museum of Nautical Art & Tradition at Galaxidi

How does it feel to have the sea as your second nature? In a quiet

village with tradition on building wooden boats and homeland of im-

portant captains a museum which would set off all the above was to

be composed.The experience of the visitor rather than the form of the building was

the priority during the design process. The form of a boats shell at-

tracts the visitor to enter the building but after that the sense of seeing

is dimmed down and these of hearing, smelling and feeling are stimu-

lated in order to make the visitor enter the world of a mariner.

He walks on a pier in order to see old types of boats, knots and con-

struction techniques. Through the use of high technology interactive

systems experiences the important battles that were given at the

Western Greece through the centuries.

Natural materials and high technology are combined to stimulate the

downgraded senses of the visitors.

M A T E R I A L S & H U M A N S E N S E S


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entrance exitpresentation area

operations areas

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Plastic Surgery Clinic in 2100

(In collaboration with Tareq Hassan -------- concept, sketches,basic 3d design, graphics and presentation)

The subject was to create a futuristic project of the year 2100. It in-

volved the creation of a rm, the logo and the building.

A Plastic Surgery Clinic was chosen in order to get to know commer-

cial meanings such as advertising and lifestyle.

The building was chosen to be positioned near the rst hospital that

was specialized in plastic surgery operations in New York.

The architecture is characterized of great symbolism: the effort of

mankind to diminish the consequences of age, the loneliness in which

the loss of human interaction leads to, the consumerization of health

issues.

In an anti-gravity environment the customer sits on an a pod which

uplifts the patient to take him higher to an area in which he will be-

come a better person. The pod transforms and takes whichever form

is necessary for each operation. The operators are robots as well as

nanorobots and recovery time does not exist.

The spherical shape of the building reects the cosmos and the ability

of completing unlimited orbits inside of it eternally - whatsoever long

man intends to live ...

F U T U R I S M , L I F E S T Y L E , A D V E R T I S I N G


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GROUND FLOOR

SECTION A-A SECTION B-B

UPPER FLOOR


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Advertisement and package design of a door handle

The intension of the door handles design was to create an object

which although at rst sight would look as if it was constructed by a

machine, if seen more carefully one could discover sculptive qualities

which would transform the character of the whole object.

The need for customization is satised by making different color com-

binations of the two parts.

A paradox phrase at the advertisement makes the reader nd what

hides underneath this meaning just like the objects hidden qualities.

The rest of the advertisement passes the information to the reader by

keeping the aesthetics and simplicity of the object.

In the end the packages multiple cardboard layers protect the door

handle, rises the object to prominence and vibrates the buyers sense

of movement. It gives the object a functional dimension in the way of

the sight of a wings aerodynamic streamlines.


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then

now

Traditional Cooling Method

Common cooling method

Proposed Method

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C O O L I N

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V E N T I L A T I O N

VENTIL

ATION

COOLING

FILTER

HEAT EXCHANGERS

COOLING IS SEPARATED FROM VENTILATION

2 CHANNELS OF AIR ARE CREATED:

THE FORMER IS THE OPERATING POWER

THE LATTER BRINGS IN CLEANED AIR

P1,V1P2, V2

t2 < t1

V2 > V1

P2 < P1

A1 < A

A1

A2

t1 t2

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FIRST FLOOR PLAN

GROUND FLOOR PLAN

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W.C.1

W.C.2

BEDR

OOM

1BEDR

OOM

2

BEDR

OOM3

LIVINGRO

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KITC

HEN

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BEDR

OOM

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W.C.2

BEDR

OOM

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W.C.1

BEDR

OOM

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KITCHEN

LIVINGRO

OM

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1. SHALLOW WATER RESERVOIR

2. VENTURI TUBE

3. RADIATOR

4. HEAT EXCHANGER

5. PUMP

6. LOW PRESSURE GENERATION FLAP

7. 2-STAGE-PITCH FAN

8. SOLAR PANEL

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SECTION

B

B

BENEFITS:

MINIMUM ENERGY CONSUMPTION

NO USE OF FREON OR OTHER ENVIRONMENTAL - HARMFUL CHEMICALS ARE USED

OUTPUT IS INDEPENDENT OF LOAD IMPOSED ON SYSTEM

THE ONLY BY-PRODUCT IS HEAT, WHICH IS NOT ENCAGED IN THE CITY

S U S T A I N A B L E D E S I G N

Bioclimatic air conditioning system for typical apartment building

The system that is presented was designed with starting points the in-

ability to apply bioclimatic methods on buildings in air polluted urban

centers as well as the rise in the cities temperature caused by the

unpredesigned way in which air conditioning units emit heat.

The system in question was designed on the example of a typical ve-

storey apartment building that has the worst conditions of bioclimatic

design.

By using the thermodynamics around the building the interior spaces

of the building cool during the summer and become warm during

winter.


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FICE-RELATEDPROJECT

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Alsity Marina, Agios Kosmas, Athens.

1st prize in International Design Competition

(Member of design team of architecture practices: Divercity,Maria Kokkinou + Andreas Kourkoulas, Antonia Panou, EDAW/

AECOM -------- concept proposals and 3d design)

The main aim of the proposal was the transformation of a dead of

life marina into a vital retail space and also the expansion of the city

towards the sea. The accomplishment of that goal was mainly based

on three factors: Form, Space, Uses.



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T O W A R D S A M O R E I N T U I T I V E A R C H I T E C T U R E

A place of exhibits- objects- experiences

(In collaboration with Tareq Hassan -------- concept, sketches,technical drawings, graphics and presentation)

The space between two buildings of the School of Architecture in Pa-

tras, Greece, devided into smaller areas, would become the canvasof ten teams of students in order to create a place of exhibitions, tem-

porary constructions and interaction.

The area of the composition was the entrance to the space. In a year

of tension on educational issues in Greece, where many different

opinions and beliefs were colliding the intention was to create an ar-

rangement of structures which would reveal the true relation between

university and students.

Rotating panel structures determine the sense of boundary to the

place, modify the students appropriation of space and the introver-

sion of it, depending the processes that take place on the spot. The

panels become the poles of the students expression, not in a preas-

signed way but in a more extreme expression which includes even

vandalism.

Eyesight

Hearing

Smell

Touch

Taste

Senses to activate


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R E S E A R C H P R O J E C T

Architecture, humans and modern technology: seeking forthe lost senses

The progress that has taken place in the eld of modern technolo-

gy, especially in the eld of informatics and telecommunications has

changed peoples way of living and has opened a new eld for dis-

cussions for the architects. His ability to be present, virtually, at different

places at the same time, has changed the meanings of space and

time. The communication and the transmission of information is rstly

completed through image and secondly through sound. The struc-

tured space all of a sudden seems to be redundant since its existence

is not required in order to cover some of the human functions such as

informing and communicating. Only a screen is required which will

provide the necessary information through image.

Because of mans impotence to edit this huge amount of informa-

tion transmitted to him in no time, the instant persuasion of the trans-

mitted information is now required. The instant and more and more

often contact with virtual spaces in everyday life exercises a strong

inuence on the concept of the real space. The demand for instant

persuasion has been transferred to the real world, seeking for images

similar to those presented to the virtual one.

Modern architecture exploiting this search, believes that offering im-

ages of this kind, through complicated gures and colors, managing

to transmit simultaneous messages in a few seconds, such as those of

the commercial spots, fulls itself.

The architect using technology to conceive, design and realize his

ideas contributes to the creation of the above phenomenon. By

excluding mans other senses from these procedures degrades the

worth of human experience in architecture.

But architecture addresses the man with his bodily and his spi ritual sub-

stance as well . Its role is to push man to live in the space and the time,

through all his senses experiences which will provoke both mind and

body. With the help of modern technology architecture can extend

its virtual members into the virtual world and help man to rediscover

his lost senses and experiences.


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T H E S I S

Spaceport in New Mexico

The aim of this thesis is to create architectural space not to substi-

tute but to enrich an experience, and when this is done, to have this

space enriched by the experience- to create, according to Alto, not

the entrance but the act of entering- in a way, though, by which man

should translate architecture by intuition rather through the excitation

of a signicant ability of perception, which has been degraded by

our modern way of life, mainly due to the bombardment of impressive

pictures.

As subject of my thesis I have not looked simply for a building but

mainly for an experience:

A. Which should be signicant and new to man

B. One that become the cause for man to raise questions so much

about the world surrounding him as about his own existence.

C. By using state of the art technology

D. Focusing on the essence, not on the superuous

The X-Prize Cup initiated by Peter Diamantis, is a series of challeng-es aiming at encouraging the innovation and inventiveness of non-

governmental groups to the advantage of humanity, in the areas of

education, exploration, energy and environment. It was created on

the basis of the Orteig Prize model for the rst non-stop ight from New

York to Paris in 1919.

The rst prize which was awarded in 2004, had to do with the achieve-

ment of the rst sub-orbital ight in an aircraft created exclusively by

private enterprise. The condition was that it should reach the altitude

of 100 kilometers (a theoretical boundary of space) twice within two

weeks carrying an equivalent payload of three passengers. It is quite

obvious that the aim was to make space ights available to the public

at large.


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The aircraft which won this prize was Space Ship One in combination

with the Mother Aircraft White Knight, a craft extremely simple in con-

struction, designed so as to using state of the art technology.

The stages of the ight are the following

1. The SS gets suspended under the belly of the mothe r craft, the cabinof which is the same as the former and as for the thrust it uses powerful

jet engines.

2. After one hours ight at an altitude of 15 km. (44,000 ft.) the SS1 is

detached. The handling of the control surfaces is done not by com-

plex hydraulic systems but by steel cables.

3. After a 6 seconds free fall, there res an engine which is very simple

in its construction and uses caoutchouc as fuel.

4. It starts a vertical ight for 87 seconds at 2g. acceleration.

5. At the altitude of 61 km ( 200,000 ft )the engine stops working, and

due to inertia, the small density of air and the reduced gravity, it con-

tinues ying upwards for 50 kilometers. At this point the wings start fold-

ing up.

6. At the altitude of 110 km (370,000 ft.) it reaches the highest pointand then it stays there for about 5 minutes at zero gravity (state of

weightlessness) atmosphere.

7. Re-entry into the atmosphere starts. The folded up wings allows it to

maintain stability. At this stage the pilot feels 6 times heavier due to

deceleration offered by the presence of atmospheric air.

8. The wing returns to its original conguration and the craft starts glid-

ing 10 minutes after the mother craft gets detached.

9. 15 minutes later, the landing gear is dropped by force of springs

instead of hydraulic action, and the vehicle lands. It is impressive that

there is no nose wheel but only a metallic blade.

Flights for the public will start in late 2010and will be done with a new

craft which will constitute an improvement to the SS1, the SS2, the ba-

sic difference of which will be its size, 50% bigger, so that it will be ableto accommodate 6 passengers besides the pilots. There will be seats

for the passengers the angle of which will be automatically modied

to endure the forces which are at occasion exercised on their bodies.


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T H E S I S

Though it may seem that it is simply a ight to outer space, it is really

a supercial approach to the enterprise. In reality it is an experience,

much different from those man lives on the surface of the earth. He

lives the experience of his transport to an environment which is inhos-

pitable to life, where the laws of nature as he knew them do not ap-

ply, such as the law of gravity. From up there he sees where he livesand also the cosmos which surrounds it. He has the possibility to see

the wider picture of the world not as a simple projection but also to

feel for himself that he is in the wider world and looks at it, even for a

few minutes (for 5 minutes to be exact).

In essence the whole ight is, at rst, a victory of man over the laws of

nature, which becomes feasible through mans achievements; then,

the passenger enjoys the absence of those laws, but then, again he is

carried away by them since he has to come back there, because it

is those laws that afford him what is necessary for his survival and the

development of life.

Before his departure the passenger prepares for this victory and its

culmination, and after his return he will nd himself in an environment

which will cause his deep appreciation of this Earth, but will also excite

the desire of exploration.

So far, ights start from an airport of Civil Aviation in New Mexico. Now,

however, a new project is being developed especially for this kind

of ights some way to the south. The 350 about days of sunshine, the

higher altitude and the absence of civil ights over it (which fact is

due to the nearby area of rocket tests) make this place ideal for the

development of the necessary facilities.


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PRINCIPLES OF DESIGN

The experience must not be substituted by architecture, but simulta-

neously the two must complete each other. This place must not be

reminiscent of a typical airport in any way, because automatically

it will refer to an ordinary airport, which is not the case. It is a place

where the visitor will have a new experience, an adventure, some-thing like the ights of the 1910s, where people ran to perfunctory

airstrips to see the people who could y.

Although the culmination of the experience is signicant, still it is not

a self-aim, and this is why the emphasis is laid on all the phases of the

trip.

There are 3 different ways of feeling the experience:

The 1st is that of the space tourist who will live it, feel it.

The 2nd is the one of the other passengers who will board the mother

craft and will watch the event from up there.

The 3rd is the one of the visitors of the ground facilities.

THE AIM IS THAT THE FOLLOWING MUST BE EXPRESSED

Preparation for the experience on the basis of how it is done for

each of the groups mentioned above.

With common paths at rst, separating later, and then again com-

mon at the end.

Mans victory on the worldly natural laws and nally yielding to them.

Simplicity of structure, peak use of technical knowledge, use of

technology only where it is needed, and exploitation of the natural

environment.

Position of hangars and repair installations away from the areas for

passenger and visitors.

Due to frequent renewal of ight equipment, design of forms whichdo not refer to forms of aircraft, but only to fundamental characteris-

tics of space ights.


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Common for all

For passengers, friends and relatives

For passengers of SpaceShipTwo

For passengers of MotherShipTwo

For friends and relatives

For visitors

Nodal points of path

T H E S I S

Paths

When the visitor arrives in his car he realizes that he is at an out-of-the-

way but very signicant place. It is the place from which one goes into

space. It is one of the few passes on earth. All the paths have a se-

quence even if the protagonist of the experience uses various means

of movement. The paths are so designed for anyone whether theymove on foot, or use a car, a craft or other auxiliary means of trans-

port. The buildings and the formulation of the surrounding land are

enveloped in a mystery so that when one sees them they look unique,

enigmatic but at the same primordial.

The parking lot is a strip which dives below the level of the land; here

people get off their vehicles and walk along an underground strip.

The underground structures in the warm and dry climate of the desert

provide in the simplest way comfortable conditions of temperature.

There is a transition from the dazzling light to the shade and the ow of

the cars and those of the pedestrians complete each other showing

a continuous ow.

At this place everything moves on the same direction to show the

common origin of the people who will have the experience of the

ight into space and those who will watch it. On entering this corridoron foot the walls give the impression that a tunnel has been bored.

Light, however, comes in through the one side not directly but by re-

ection from the walls throughout the day all the year round. The visi-

tor, thus, feels that he is really underground, inside the ground. Further,

in order that the visitor should not be able to see the end of the cor-

ridor, the course is not straight but starts with various curves and only

at the end it becomes straight.


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Approaching the entrance we must wonder about the meaning of

entering such a place.

1. First of all one expects answers and information about this place,

where the buildings are, the ying machines, how the ight will be con-

ducted, etc. Expecting that the entrance should be at a higher level,

the path leads lower into a dark corridor, with the roof getting lowerand the materials becoming harder. By the strangeness of the path is

attempted to intensify ones amazement and impatience about what

is to come next. The decrease of the dimensions helps in creating the

feeling of restriction of the space available, the use of harder materials

helps in subconsciously producing a more intense feeling of change

through the echo of the footsteps.

2. Then it is a transition place. It is, as it was stated above, t he way into

space. At this place man is in a condition nearer to the sky, to space,

to the cosmos. His attention is turned there.

As the corridor gets straight gradually becoming darker, there appears

at the end of it a strong light. It is a circular room roofed with semi-

transparent glass and a hole in the middle. On entering this room the

body is decompressed. The upper part of the room lets the sun shine

freely in, and the previous experience which was somewhat depress-ing makes everyone look upwards towards the sky, exactly where the

attention should be turned. The light makes the room familiar, even

friendly, contrary to the mystery of the corridor before.

The second thing one will notice is a bright circle created by the sun-

beams getting through this hole in the roof. Thus, a sun dial is created

by placing a frame on the oor on a rail which shows how soon the

next space ight will be made. When the time of the ight approach-

es, the circle of light will approach the panel and nally it will get into

it. This is an effort to attract the attention of the visitors only to the

event taking place without the use of the screen and the information

to be projected.


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The movement continues in a path tangent to the circular room. The

answers one would have expected have not been given yet. The co r-

ridor moves slightly upwards and certainly one would expect to get

to the lands surface. This path is not a random spiral movement. Just

like the craft of the Space mission Galileo which had to approach

bodies of great gravity in order to increase speed so the paths fol-

lowed by the travellers pass by places of special signicance so that

the dynamic of the experience be produced. The rst circular room

is of great importance because it is there where the rst step is taken:

Man in his thought gets detached from the ground and turns his at-

tention to the universe.

Then, paths are separated:

1. Into the one where the passengers, relatives, friends and acquain-

tances go, to see them off and keeps the curve of the forms.

2. Into the other, where the visitors go.

The path of the passengers and their familiar people keeps going up-

wards, and while it seems to become level, again it becomes curved

showing them that something important is imminent. What they are

heading for is the room where they say good-bye to their friends and

relatives. All these people have been moving together to this point inorder to share the tension and the mystery which the passenger-to-

be will experience during his ight into space. The fact that this room

exists and the passenger follows this course underlines the experience

which will follow. The force, the desire- the importance of every ex-

perience is depicted as the dynamic of each course.


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The relatives and friends who will stay back on the ground are at-

tracted by the good-bye room more than the rest. In a course paral-

lel to the one they fol lowed upwards, they are led to where the visitors

go too.

Relatives, friends and visitors who will ride in the mother vessel having

less force are inuenced less by this room.

Finally, The course of the passengers who will travel into space are in-

uenced little, having the greater dynamic for what will follow.

The two last groups come to light but they are still below the horizon.

Also, both follow different upward paths.

The passengers of the mother vessel follow a path which is not por-

trayed so strictly on the ground and leads to the hangar of the mother

vessel. Its shape shows the characteristics of the craft which they are

going to board. Gravity is shown on it but there is a tendency of take-off.


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T H E S I S

The passengers of the SS1, now, follow another path much more strict-

ly depicted on the ground leading to the building of preparation.

In the building of preparation the passengers as briefed for the last

time about the ight and are given the suitable uniform. It is a sym-

bolism, however, to put it on not in a dressing room, but out in the

desert. This is done to produce some embarrassment by standing na-ked against nature and then feels secure again in his uniform. With his

achievements, man feels that he can overcome natures restrictions

which he often regards as obstacles.

Then, he continues in a slightly curved path. A vehicle moving on rails

is used with a wall steadily on its right. This is broken at intervals and

the passenger turns his attention to these gaps. The path starts curv-

ing more and the gaps become wider. At its end the hangar with the

craft appear.

The rail- vehicle stops and the passenger walks along another path.

The sharp angles of the hangar remind of the sharp wings necessary

for supersonic ight and the effect of gravity is not depicted on it.

After all the passengers have boarded, the craft follows the continua-

tion of the path- which the passengers had walked along- on its way

to the runway.

All the courses are designed for man, the means he uses changes,

though. So the runway constitutes a continuation of the course he

covered on foot.


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During the take-off and the landing the passengers are able to see

what the place they had walked on looks like. Knowledge of the ar-

chitectural space gives the passengers added dynamic to the ight.

When they land they disembark at a different point from the one

they boarded the ship. The shape of the hangar of arrival manifests

the presence of gravity which has its two ends bending towards theground.

The visitors will be able to see the procedures of landing at a distance

so that the passengers are not distracted from their own experience.

As it was mentioned above on his return man nally yields to the laws

of nature. The procedures before take-off (when man is left naked

with only his achievements to make his secure) was done to make him

feel like a small god since the ight was to follow. However, he is now

back to earth because it is only here where he can survive. The feeling

of the small god is followed by a feeling of humbleness which must be

converted into thankfulness for his environment, which with its limita-

tions secures the necessary conditions for him to live and prosper.

A downward movement follows, the morphology of which is exactly

the opposite to what he walked along on his way to the building of

preparation and that because the relationship and the contrast of thetwo places must be obvious.

On one hand the ascent and on the other the descent, in a space

where all the passengers in whatever way they experienced the event

of this ight, will appreciate the value of the environment of the earth

which secures the two essential components of life: water and air.

People can sit in or around this pond and have what is necessary (e.g.

food, drink, etc.). Round the pond there are changing rooms and in

along an underground passage they may get out to the visitors area

and join them just as they were together before when they came.


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The visitors movement from the time they separate after the circu-

lar room gets straight and changes into a more technical form all;

the buildings which have to do with the visitors differ scientically and

have more geomatrical forms so that the distinction between those

that refer to the ground and those that refer to the ight should be

striking.

Contrary to the case of the passengers, when the surrounding should

not substitute the experience, the visitors are favored with a presenta-

tion of the most representative characteristics of the ight into space.

1. The dramatic ascent.

2. The tranquility one feels when one arrives in space and the ability to

see the earth as a part of the universe.

3. The intense descent.

4. The gliding leg inside the atmosphere , and nally,

5. The return to the ground.

The corridor along which they walk is at rst rectangular, then it be-

comes elliptic and the tension of the real ascent through the atmo-

sphere is depicted on the walls along the course with the intensity ofthe light gradually the elliptic diatom becomes circular expressing the

move away from the gravity eld and the absence of vibrations.

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T H E S I S


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This corridor ends up at the interior of a sphere as if the visitors are

poured into it. The walk on a surface which is not level, but sloping to

one side. On the dome the picture of the universe is projected just as

it looks at the peak of the ight. Awe and calm are present but the

inclination of the oor invites the ow of movement towards the exit.

Then, the descent follows with the circular diatom gradually becom-ing elliptic. Towards the end the draught course the straight line be-

comes curved freely as if it oats in the air expressing thus the gliding

part of the ight before the craft touches ground again.

Now for the rst time after his entry, the visitor steps on the earths sur-

face again, and realizes the world surrounding him gradually getting

the answers he needed. Having a free view of the three hangars he

can watch the ight even from this position.

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Underground are all the facilities in the service of the visitors compris-

ing restaurants, souvenir shops, etc. The reasons why the view to the

runway and more generally to the ight is abstracted are:

1. That the visitor should be focused on the experience as completely

as possible.

2. That the temperature of the room be kept at low levels.

In the murky interior there takes place a show of the central experience

of these ights. However, co- centrally and outside, the roofed place

where the visitors watch the precise event of the ight into space.

The exit will be done from the underground area of the visitors, follow-

ing a roofed path on the level of the ground so that when they have

nished their visit they have got all the answers about the place they

had been to. The roong is distinguished from the ground by color due

to the photo-voltaic elements.

This last path leads them to the parking lot. After they have boarded

their cars, which were waiting underground, the visitors follow a road

where they reverse course and gradually return to ground level driving

in the opposite direction to that of their entry.

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BIOCLIMATIC ARRANGEMENTS

From the bio-climatic point of view the hot, dry climate of the desert

favours cooling with evaporation. A pond of 10 cm. deep in shadow

cools the hot air which enters the building and so cools it. The prevail-

ing winds are led through underground canals to get cool and then

they are driven into the structures. They are also used in producingvacuum conditions in arrangements of double shell where the phe-

nomenon of solar chimney is used. Finally the use of photo-voltaic

units produce at least a part of the electric energy required. The most

important means of protection from the extreme heat, however, the

underground constructions, since the temperature in places lying 1.5

m. below ground level is relatively stable.


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On leaving all the enigmatic forms which appeared at rst, were re-

vealed through an architectural synthesis the aim of which is to pres-

ent but, mainly, to enrich a really unique experience.

T H E S I S


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University Portfolio Spyros Tzinieris - Architect

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Transcript of University Portfolio Spyros Tzinieris - Architect