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SIERRA ARTEMIS ////////////////////////////////////////////////////////// Department of Architecture, University of Thessaly, Greece

STUDENT PORTFOLIO

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Sierra ArtemisStudent of Architecture08 | 02 | 1988, Athens

Harilaοu Zikοu 12-14 , 12132 , Athens, Greece

t (+30) 210 57 49 827 m (+30) 697 97 31 970

art_sier@hotmail.com

i

Department of Architecture, University of Thessaly, Greece (2005- today)

Erasmus - Escuela Técnica Superior de Arquitectura y Geodesia, Alcalá de Henares, Madrid (2008–2009)

STUDIES

AWARDS & SCHOLARSHIPS

Award and distinction of excel-lence for the academic year 2006-2007 from the Institute of State Scholarships

Award and distinction of excel-lence for the academic year 2007-2008 from the Institute of State Scholarships

LANGUAGES

Mother Language: GreekOther: English , French , Spanish 2001 / Certificate of Profi-ciency in Enlish, University of Cambridge

2002 / Certificate of Profi-ciency in Enlish, University of Michigan

2003 / Diplome D’ Études en Langue Francaise (Delf – A1, A2, A3, A4)

2010 / Diploma de Español como Lengua Extranjera (Niv-el C2), Instituto Cervantes

PRACTICAL EXPERIENCE

Simoni Karouba & Associates Architectural Office, Athens (April-May 2011 & July 2009)

PARTICIPATION IN ARCHI-TECTURAL WORKSHOPS

Tangle Pockets by Iordanis Styl-idis, April 2010, Tuskany, Italy

Interactive Landscapes and ar-chitecture by Dimitris Polixro-nopoulos, July 2010, Thasos Is-land, Greece

CONTENTS / PROJECTS

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010203040506070809101111 10 09 08 07 06 05 04 03 02 01

In terms of spatial structure, the interaction between spatial units create intermediate areas with certain char-acteristics. In this research theme, these boundary areas where the body proceeds have the intention to :

- join the two parts, - prepare the entrance,- guide the motion to another space level, - distribute the motions along an axis, or- expand the influence of the one unit against another.

The role of the intermediate space is being analyzed through theoretical references, diagrams and examples, all of which condense the characteristics and the prop-erties of each case. This research project could be used as a palette of the basic management principles for the intermediate transitional spaces, in order to develop the creative synthetical process.

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* http://issuu.com/artemis.sierra/docs/protheseis (in Greek)

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0102030405060708091011

Ιn a weak, empty structure, where a stair leads to the ter-race, a spring-board is placed. After the ascent comes the fall. An inevitable and pre-agreed fall between a suicide and the operator of a receiver. The fall is restrained by a net and this is the entrance. The parasitic relationship has double direction from the beginning. The suicide is defined as parasite as he will be received by the opera-tor. Τhe operator is also defined as parasite as he will ma-nipulate the suicide. The relation begins with a contract. The one that arrests does not touch but handles. The ar-rested actually grants himself. He is allowed to demand but he cannot see outside as he is cut off and observed only by the operator. The operator mostly observes and listens. Sometimes he speaks. He offers and controls. He is responsible for the light, the tube of food supply and the exit.

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* The script is written only in Grrek and is not finished yet

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The play script refers to relations of control and author-ity inside an asylum. The questionable behavior of the main characters is open to various interpretations. Also, there is an intense indefinite sense of threat as the whole system is breaking down.

In this approach, this break down is seen as a general leak of the System and as the unbearable heat causes sweat inside “the hothouse”, the scenery uses perfo-rated surfaces and metal tubes (sound of leaking water). The threat is expressed through the existance of a wall, made of many similar parts, which decreases the space as it moves forward during the scenes (diagramm on the right).

In a few words, the proposed scenery consists of doors, stairs and a wall. In this way, the limits of the container cannot be defined in none of the three dimensions; hori-zontal motion for entrance/exit from the doors, com-pression of the depth because of the motion of the back wall, vertical motion at the stairs.

*http://issuu.com/artemis.sierra/docs/hothouse (in Greek)

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SID

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OP a wooden trace | I lift up the ground and I tuck in |

ground slightly damp | shadow | tempreture lower than the external | above me someone is running towards the tree | a soft cover of pinetree leaves | smell of grass and soil | I count the olive trees of the opposite slope

a construction that tangles with the ground | nest_hide-out_refuge | a pocket inside the slope | open: full over-look | closed: full isolation | protection from the sun or the rain | possibly neighbours around

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The approach starts with the sight. The distance does not lessen unless you submerge. The mass of water has been interrupted by abodes/wells which are slightly connected with a network of floating platforms. The ex-desiccated lake starts gradually to fill up. The public space follows the seasonal change of the water level and distributes the motions towards the residences.

The Wells have been dispersed taking into consideration the motions inside the settlement and the minimum distance between two residences. In each bottom you find air , a yard, a farm, a way to live in the open with-out seeing outside. In order to entrer you have to realize a second graduated submersion. During the periods of maximum water level, the terraces are incorporated in the public space.

The landscape of the lake needs to be hiden. It expresses itself better after the isolation. It is redefined when is been exiled from the habit. The relation with the land-scape gets stronger because the landscape is sometimes absent.

in c

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The lighthouse in the port of Volos is situated in the end of a long mole (1km). This project consists of the formation of the lighthouse’s concrete base,concerning the relation with the water, and the addition of a wooden structure / ramp where the visitor has an en-tire view of the port. A place to rest before returning to the city.

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ICA

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N The project consists of two parts: a wooden tower with a steel circulation core, which provides access to the animals and the observation decks, and a concrete semi-buried base, accessible through a long ramp, that hosts the entrance, administration, culture and the rest of the services.

Instead of creating a succession of cages and simulat-ing the natural environment the project aspires to cre-ate an open infrastructure that will be conquered by the animals themselves. Only compatible species will be al-lowed in this vertical ecosystem. The human circulation is restricted in the steel-glass core, in contradiction to wandering in a zoo. It’s the people that are confined so as not to interfere with the animals and thus to be able to observe them in their natural environment.

As far as the circle of life of the building is concerned, the wooden part of the tower will eventually be recycled and turned into “natural” grassland. The animals will then return to the Reserve and the rest will remain unclothed looking towards the city and the sea, converted into a lonely landmark of another unsuccessful attempt to en-close nature.

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in c

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te Τhe design of this Olympic Fencing Hall is based on the lineal transfers and the fencing mask. The lineal part of the entrance is responsible for the distribution of the mo-tions through the stairs. The arena is approached from the two upper levels. Underneath the rows of seats, mostly at the ground floor, there are other facilities such as restaurant-cafe, info points, wc, shops, warmup erea, exposition rooms, doctor´s office, dressing rooms, etc. Τhis part of the ground floor can be used independently, even when the rest of the building is not in use, in order to maintain its urban character and not to be abandonned after the Olympics.

River Manzanares, Madrid

General Top View

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The instalation is placed inside the Caixaforum in Ma-drid, constructed by the architects Herzog & De Meuron. Inspired from the reflective surfaces inside the building and the way that the external daylight goes through the perforated upper part, this instalation uses the light in order to give a calidoscopical experience of space.

The installation consists of a framework with white LED lights, one perforated surface in front of the framework and the rest surfaces of the room which should be reflec-tive and dark. The lights are moving up and down con-tinuously, sending rays of light that scan the room con-stantly and which seem to be extended in each reflective surface. The visitors are pushed into an optical, spatial and chronical experience.

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in c

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te The project is a hotel unit for alternative tourism in a site where recent excavations revealed important ancient ruins leaving a big seccion on the hill. Main purpose of the composition was the restoration of the abused land-scape without erasing the traces of the excavation. The stratigraphy of the ground and the findings have been used as exhibited elements.

The entrance can be approached only by the sea. A large corridor, used for the exposition of the findings, passes through the hill and leads to the hotel´s shared areas : workspaces, amfitheatre, restaurant, toillets, little gar-den, rooms for multiple uses.

Lengthwise of the corridor are located 20 rooms. All rooms have an open atrium (which can be closed in win-ter) and a closed part for the beds and the bathroom, where the stratigrapfy of the ground can be seen.

The workspaces are situated in front of the big seccion in a small distance from the archeological findings. They consist of individual desks distributed in 3 levels, always looking towards the cut. The facilities include library, wireless internet and computers, laboratories for studies and information concerning the soil.

From above, one can see the holes left for ventilation and lighting lengthwise of the corridor, above the rooms and above some parts of the public areas. These holes are converted into landscape elements.

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ra The floors are formed after multiple combinations of three versions of one single module.

The lower levels have public use: restaurant, cafe, vid-eoclub, offices, etc. The outdoor areas instead of being private they are used as common areas for the people liv-ing inside the block. This shared areas bring the residents together in order to restore the week personal relation-ships inside the neighbour.

By wandering around the atriums different corners of the building are revealed. Green public spaces are mixed with semi-public yards while the motions between the floors are mixed with the motions throughout the whole block.

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module 45m2 with entresol 12m2yellow surfaces module´s forecourtor common area shared between neighbours

module 50m2 of Γ shape with small part of 6m2used either as entrance or place for bed, bath-room or office

module 45m2 with 3 levelsentrance from one of the big sides

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0102030405060708091011 WEB LINKS

http://issuu.com/artemis.sierra

http://www.flickr.com/photos/artsierra

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/ / / / / / /////////////////////////////////////////////////////////////// SIERRA ARTEMIS ////////////////////////////////////////////////////////////////////// STUDENT PORTFOLIO