ARCHITECTURE∞ƒÃπΔ∂∫Δ√¡π∫∏

2001-2004

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ARISTOTLE UNIVERSITY OF THESSALONIKIFACULTY OF TECHNOLOGYSCHOOL OF ARCHITECTURE

ARCHITECTURE 2001-2004DIPLOMA PROJECTSACADEMIC YEARS 2001-2002, 2002-2003 & 2003-2004

EditorsFANI VAVILIARIS PRODROMIDIS

ISBN 978-960-456-168-1

© EΉfiÛÂȘ Z‹ÙË, £ÂÛÛ·ÏÔÓ›ÎË 2009© Publications Ziti, Thessaloniki 2009

A·ÁÔÚ‡ÂÙ·È Ë ·Ó·Ù‡ˆÛË, ·Ó··Ú·ÁˆÁ‹ ‹ Ì ÔÔÈÔ‰‹ÔÙ ÙÚfiÔ ¯ÚË-ÛÈÌÔÔ›ËÛË Ì¤ÚÔ˘˜ ‹ ÙÔ˘ Û˘ÓfiÏÔ˘ ÙˆÓ ÎÂÈ̤ӈÓ, ۯ‰›ˆÓ Î·È ÊˆÙÔÁÚ·-ÊÈÒÓ Ô˘ ÂÚȤ¯ÔÓÙ·È ÛÙÔ ‚È‚Ï›Ô ¯ˆÚ›˜ ÚÔËÁÔ‡ÌÂÓË ¿‰ÂÈ· ÙÔ˘ TÌ‹Ì·ÙÔ˜AÚ¯ÈÙÂÎÙfiÓˆÓ.

All rights reserved. No part of this publication may be reproduced ortransmitted in any form or by any means –electronic, mechanical,photocopying, or otherwise– without prior written permition of the School ofArchitecture.

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A R I S TOT L E U N I V E R S I T Y O F T H E S S A L O N I K IFACULTY OF ENGINEERING. SCHOOL OF ARCHITECTURE

5

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∏ ÂÎfiÓËÛË Ù˘ ¢Èψ̷ÙÈ΋˜ ∂ÚÁ·Û›·˜ ·ÔÙÂÏ› ›Ûˆ˜ ÙÔ ÛËÌ·-ÓÙÈÎfiÙÂÚÔ ÁÂÁÔÓfi˜, ÙÔ ÂÈÛÙ¤Á·ÛÌ·, ÙˆÓ ·Ú¯ÈÙÂÎÙÔÓÈÎÒÓ ÛÔ˘-‰ÒÓ, ÁÈ’ ·˘Ùfi Î·È Ë Î·ıȤڈÛË ¤ÛÙˆ Î·È Ù˘ Û˘ÓÔÙÈ΋˜ ‰ËÌÔÛ›Â˘-Û‹˜ ÙÔ˘˜ ‰ÈηÈÒÓÂÈ ÙȘ ÚÔÛ¿ıÂȘ Ô˘ Á›ÓÔÓÙ·È Û’ ·˘Ù‹Ó ÙËÓ Î·-Ù‡ı˘ÓÛË Î·È ÏÂÈÙÔ˘ÚÁ› Û˘ÌÏËڈ̷ÙÈο ÛÙË ‰È·‰Èηۛ· Ù˘ ‰È-‰·Ûηϛ·˜ Î·È Ù˘ ¤Ú¢ӷ˜. ªÔÚ› Ó· ÂÎÏËÊı› fi¯È ÌfiÓÔ ˆ˜ ̤-ÛÔ ‰ËÌÔÛÈÔÔ›ËÛ˘ Î·È ÚÔ‚ÔÏ‹˜ Ù˘ ‰Ô˘ÏÂÈ¿˜, ·ÙÔÌÈο ÙˆÓ ÊÔÈ-ÙËÙÒÓ Î·È ÙˆÓ ‰È‰·ÛÎfiÓÙˆÓ Î·ıÒ˜ Î·È Û˘ÏÏÔÁÈο ÙÔ˘ ΔÌ‹Ì·ÙÔ˜,·ÏÏ¿ Î·È ˆ˜ ·ÊÔÚÌ‹ ÁÈ· ¢ڇÙÂÚÔ ÚÔ‚ÏËÌ·ÙÈÛÌfi Î·È ‰È¿ÏÔÁÔ.

¶ÈÛÙ‡ˆ fiÙÈ Ë ·ÚÔ‡Û· ¤Î‰ÔÛË ·ÚÔ˘ÛÈ¿˙ÂÈ ·ÎfiÌ· ÈÔ Û˘-ÛÙËÌ·ÙÈο ÙÔ ·ÔÙ¤ÏÂÛÌ· ·˘Ù‹˜ Ù˘ ‰È·‰Èηۛ·˜ Î·È ÛÙÔ˘˜ Û˘-Ó·‰¤ÏÊÔ˘˜ Ô˘ ›¯·Ó ÙËÓ Â˘ı‡ÓË Î·È ÙËÓ ÂÈ̤ÏÂÈ· ÔÊ›ÏÔ˘ÌÂÙÔ˘Ï¿¯ÈÛÙÔÓ ÙȘ ¢¯·ÚÈÛٛ˜ Ì·˜.

∫·ıËÁ‹ÙÚÈ· ∑ˆ‹ ∫·Ú·Ì¿ÓÔ˘¶Úfi‰ÚÔ˜ ÙÔ˘ ΔÌ‹Ì·ÙÔ˜ ∞Ú¯ÈÙÂÎÙfiÓˆÓ

∞η‰. ∂ÙÒÓ 2001-2005

PREFACE

The elaboration of a diploma project constitutes the culminationand in a sense the main event of architectural studies. This in a wayis justified through the introduction of its synoptical publicationwhich rewards the students’ efforts and is complimentary towardteaching and research procedures. This effort is not only perceivedas a means of publicizing and promoting one’s work –the stu-dent’s, the tutor’s, the Department’s as a whole– but also as astarting point for a broader dialogue on architecture.

I therefore believe that this present publication presents moresystematically the end result of this process and puts me in thedelightful position to thank the colleagues that were responsiblefor its redaction.

Professor Zoe KaramanouChairman of the School of Architecture of A.U.Th.

Academic Years 2001-2005

¶ƒ√§√°√™ ÙÔ˘ ¶ÚÔ¤‰ÚÔ˘ ÙÔ˘ ΔÌ‹Ì·ÙÔ˜

Œ¯ˆ ÙË ¯·Ú¿ Ó· ÚÔÏÔÁ›Ûˆ ÙÔ Ù‡¯Ô˜ ÙˆÓ ‰Èψ̷ÙÈÎÒÓ ÂÚÁ·-ÛÈÒÓ ÙÔ˘ ÙÌ‹Ì·Ùfi˜ Ì·˜ Ù˘ ÂÚÈfi‰Ô˘ 2001-2004, ÙÔ ÔÔ›Ô ÂΉ›-‰ÂÙ·È ¤ÛÙˆ Î·È ÌÂÙ¿ ·fi ηı˘ÛÙ¤ÚËÛË Î¿ÔÈˆÓ ÂÙÒÓ.

∏ Û˘ÁΤÓÙÚˆÛË ÙˆÓ ÂÚÁ·ÛÈÒÓ ·˘ÙÒÓ Ô˘ ·ÔÙÂÏÔ‡Ó Î·Ù¿Î¿ÔÈÔ ÙÚfiÔ ÙËÓ ÂÈÙÔÌ‹ ÙˆÓ ÛÔ˘‰ÒÓ ÙˆÓ ÊÔÈÙËÙÒÓ Ì·˜ ‰Ë-ÌÈÔ˘ÚÁ› ¤Ó· ÔχÙÈÌÔ ·Ú¯Â›Ô ·Ó·ÊÔÚ¿˜. ™ÙȘ ÚÔÙ¿ÛÂȘ Ô˘Û˘ÁÎÂÓÙÚÒıËÎ·Ó Â‰Ò ·ÓÙ·Ó·ÎÏÒÓÙ·È ÔÈ ÁÓÒÛÂȘ Î·È ÔÈ ÚÔÔÙÈ-Τ˜ Ô˘ ·ÔÎÙ‹ıËÎ·Ó ÌÂÙ¿ ·fi ¤ÓÙ ¤ÙË ÌÂϤÙ˘ ÛÂ Û˘ÓÂÚÁ·-Û›· Ì ÙÔ ‰È‰·ÎÙÈÎfi ÚÔÛˆÈÎfi Î·È È‰È·›ÙÂÚ· Ì ÙÔ˘˜ ÂȂϤÔ-ÓÙ˜ ÙˆÓ ÂÚÁ·ÛÈÒÓ ·˘ÙÒÓ.

¶·Ú¿ ÙȘ ‰˘ÛÎÔϛ˜ Î·È Ù· ÚÔ‚Ï‹Ì·Ù· Ô˘ ·ÓÙÈÌÂÙˆ›˙ÂÈ Û‹-ÌÂÚ· Ë ·È‰Â›·, ÎÚ›ÓÔÓÙ·˜ ·fi ÙÔ Â›Â‰Ô ÙˆÓ ÂÚÈÛÛfiÙÂÚˆÓ ‰È-ψ̷ÙÈÎÒÓ ÂÚÁ·ÛÈÒÓ, ÙÔ ÙÌ‹Ì· ∞Ú¯ÈÙÂÎÙfiÓˆÓ ‰ËÌÈÔ˘ÚÁ› ¤Ó·ÂÎ·È‰Â˘ÙÈÎfi Ï·›ÛÈÔ Ô˘ ·Ú¤¯ÂÈ ÛÙÔ˘˜ ÂÈÌÂÏ›˜ ÊÔÈÙËÙ¤˜ ‰˘-Ó·ÙfiÙËÙ˜ ¿ÚÈÛÙ˘ ÂÈÛÙËÌÔÓÈ΋˜ Î·È Û˘ÓıÂÙÈ΋˜ ·È‰Â›·˜. ∞˘Ùfi·Ô‰ÂÈÎÓ‡ÂÙ·È Î·È ·fi ÙȘ ÛËÌ·ÓÙÈΤ˜ ‰ÈÂıÓ›˜ ‰È·ÎÚ›ÛÂȘ Ô˘‰fiıËÎ·Ó Û ÂÚÁ·Û›Â˜ ÊÔÈÙËÙÒÓ ÙÔ˘ ÙÌ‹Ì·Ùfi˜ Ì·˜ (Biennale μÂ-ÓÂÙ›·˜ 2006, Biennale μ·ÚÎÂÏÒÓ˘ 2008, Virtual Expo π‰Ú‡Ì·ÙÔ˜Romualdo Del Bianco, μÂÓÂÙ›· 2008). ∏ Âη›‰Â˘ÛË ÛÙÔ ÙÌ‹Ì·∞Ú¯ÈÙÂÎÙfiÓˆÓ ‰ÂÓ ¤¯ÂÈ ·Ï¿ ÙË ÌÔÚÊ‹ ÌÈ·˜ ·ÁÁÂÏÌ·ÙÈ΋˜ η-Ù¿ÚÙÈÛ˘, ·ÏÏ¿ ÂÈÙÚ¤ÂÈ, ηٿ ÙËÓ ¿Ô„‹ ÌÔ˘, ÙË ‰È·ÌfiÚʈÛËÌÈ·˜ ÎÚÈÙÈ΋˜ ÛÙ¿Û˘ ·¤Ó·ÓÙÈ ÛÙȘ ‰È·ÚÎÒ˜ ÌÂÙ·‚·ÏÏfiÌÂÓ˜·Ú·Ì¤ÙÚÔ˘˜ ÙˆÓ ÚÔ‚ÏËÌ¿ÙˆÓ Û¯Â‰È·ÛÌÔ‡ ÙÔ˘ ¯ÒÚÔ˘ Ô˘ÔÊ›ÏÔ˘Ó Ó· Û˘Ó‰˘¿˙Ô˘Ó ·ÚÌÔÓÈο Ù¤¯ÓË Î·È Î·Ù·Û΢‹.

ªÂ ÙËÓ Â˘Î·ÈÚ›· ÂÎÊÚ¿˙ˆ ÙȘ ȉȷ›ÙÂÚ˜ ¢¯·ÚÈÛٛ˜ ÌÔ˘ ÛÙËÓÂÈÙÚÔ‹ ÙˆÓ ‰Èψ̷ÙÈÎÒÓ ÂÚÁ·ÛÈÒÓ Ë ÔÔ›· ÂÈÌÂÏ‹ıËΠÙËӤΉÔÛË.

∫·ıËÁËÙ‹˜ ¡›ÎÔ˜ ∫·ÏÔÁ‹ÚÔ˘

¶Úfi‰ÚÔ˜ ÙÔ˘ ΔÌ‹Ì·ÙÔ˜ ∞Ú¯ÈÙÂÎÙfiÓˆÓ ∞.¶.£.∞η‰ËÌ·˚ÎÒÓ ∂ÙÒÓ 2005-2009

PREFACE by the Department’s President

I have the joy to introduce the edition that contains the diplomaprojects of 2001-2004, although published with a slight delay.

The gathering of these diploma projects consists the epitomeof the students’ work and constitutes a valuable referencearchive. The student projects gathered here reflect the knowl-edge and the potential gained through the course of a 5-yearacademic program with the valuable aid of the teaching staff andespecially the students’ supervisors.

In spite of the problems and the difficulties surrounding edu-cation today, and judging by the level of most projects in thispublication, the Architecture Department creates an academicframe that offers diligent students the potential of excellent sci-entific and compositional literacy. This is proven through the In-ternational Distinctions awarded to our Department’s student pro-jects (2006 Venice Biennale, 2008 Barcelona Biennale, The 2008Romualdo Del Blanco Virtual Expo in Venice). So the studies inthe Architecture Department act not only as vocational training forthe students but also, in my opinion, as a formation of a person-al critical stance toward the everchanging parameters of theproblems encountered in designing and forming space that needto be treated through a harmonious equilibrium between art andconstruction.

Finally I would also like to thank the Diploma Committee forgathering this material and curating its publication.

Professor Nikos Kalogirou

President of the Architecture Department of A.U.Th.Academic Years 2005-2009

7

™HMEIøMA °IA THN EK¢O™H

√È ¢Èψ̷ÙÈΤ˜ ∂ÚÁ·Û›Â˜ ·ÔÙÂÏÔ‡Ó ÁÈ· ÙÔ˘˜ ÊÔÈÙËÙ¤˜ ÙËÓ Î·-Ù·ÎÏ›‰· Ù˘ Âη›‰Â˘Û‹˜ ÙÔ˘˜, ηıÒ˜ ÙÔ˘˜ ‰›ÓÂÙ·È Ë Â˘Î·ÈÚ›· Ó·ÌÂÏÂÙ‹ÛÔ˘Ó Î·È Ó· ·ÚÔ˘ÛÈ¿ÛÔ˘Ó ÙÔ ÈÔ ÔÏÔÎÏËڈ̤ÓÔ Î·È Ì ÙËÌÂÁ·Ï‡ÙÂÚË ÂÌ‚¿ı˘ÓÛË ı¤Ì·, ÙˆÓ ·Ú¯ÈÙÂÎÙÔÓÈÎÒÓ ÛÔ˘‰ÒÓ ÙÔ˘˜.∂›Ó·È Ù·˘Ùfi¯ÚÔÓ·, Ë Î·Ù¿ÏËÍË ÌÈ·˜ ÂÚ¢ÓËÙÈ΋˜ ÚÔÛ¿ıÂÈ·˜ ÛÙËıˆÚËÙÈ΋ Î·È Ú·ÎÙÈ΋ ÚÔÛ¤ÁÁÈÛË Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜.

∞ÏÏ¿ Î·È ÁÈ· ÙÔ ΔÌ‹Ì· ∞Ú¯ÈÙÂÎÙfiÓˆÓ, οı ̄ ÚfiÓÔ ÔÈ ÙÚÂȘ ÂÚ›Ô-‰ÔÈÙ˘ ·ÚÔ˘Û›·Û˘ ÙˆÓ ÂÚÁ·ÛÈÒÓ ·˘ÙÒÓ, ·ÔÙÂÏÔ‡Ó ¤Ó· ÎÔÚ˘Ê·›ÔÁÂÁÔÓfi˜ ηıÒ˜ "ÈÛÙÔÔÈ›ٷÈ" Û˘ÓÔÏÈο ÙÔ ·ÔÙ¤ÏÂÛÌ· Ù˘ ÂÎ-·È‰Â˘ÙÈ΋˜ ‰È·‰Èηۛ·˜. °È' ·˘Ùfi Î·È Ë ‰ËÌfiÛÈ· ·ÚÔ˘Û›·ÛË ÙˆÓ‰Èψ̷ÙÈÎÒÓ ÂÚÁ·ÛÈÒÓ ·ÔÙÂÏ› ‰›Ô ÁfiÓÈÌ˘ Û˘˙‹ÙËÛ˘ ηÈÚÔ‚ÏËÌ·ÙÈÛÌÔ‡, ÁÈ· ÙÔ˘˜ ‰È‰¿ÛÎÔÓÙ˜ Î·È ÙÔ˘˜ ‰È‰·ÛÎfiÌÂÓÔ˘˜.

√È ÊÔÈÙËÙ¤˜ ÂÎÔÓÔ‡Ó ÙȘ ‰Èψ̷ÙÈΤ˜ ÂÚÁ·Û›Â˜ ÙÔ˘˜ ›Ù ·ÙÔ-ÌÈο, ›Ù Û ÔÏÈÁÔÌÂÏ›˜ ÔÌ¿‰Â˜, ÁÈ· ‰È¿ÛÙËÌ· Ô˘ ˘ÂÚ‚·›ÓÂÈÙÔ˘˜ ¤ÍÈ Ì‹Ó˜. ∏ ›‚ÏÂ„Ë Á›ÓÂÙ·È ·fi ¤Ó·Ó ‹ Î·È ÂÚÈÛÛfiÙÂ-ÚÔ˘˜ ‰È‰¿ÛÎÔÓÙ˜. ∏ ·ÚÔ˘Û›·ÛË ÙˆÓ ‰Èψ̷ÙÈÎÒÓ Á›ÓÂÙ·È ‰Ë-ÌfiÛÈ·, ÎÚ›ÓÂÙ·È Î·È ‚·ıÌÔÏÔÁÂ›Ù·È ·fi ÂÈÙÚÔ‹ ‰È‰·ÛÎfiÓÙˆÓ.

∏ ÂÈÏÔÁ‹ ÙÔ˘ ı¤Ì·ÙÔ˜ Î·È ÁÂÓÈο Ë ‰È·‰Èηۛ· ÚÔÛ¤ÁÁÈÛ˘, Û˘-Ó·ÔÊ·Û›˙ÂÙ·È Î·È Û˘Ó‰È·ÌÔÚÊÒÓÂÙ·È ·fi ÙÔ˘˜ ‰È‰¿ÛÎÔÓÙ˜ ηÈÙÔ˘˜ ‰È‰·ÛÎfiÌÂÓÔ˘˜. ΔÔ ıÂÌ·ÙÈÎfi ‰›Ô ÙˆÓ ‰Èψ̷ÙÈÎÒÓ Î·Ï‡-ÙÂÈ ¤Ó· ÌÂÁ¿ÏÔ Â‡ÚÔ˜ ıÂÌ¿ÙˆÓ Ô˘ ÂÚÈÏ·Ì‚¿ÓÂÈ fiϘ ÙȘ Îϛ̷-Θ ÙÔ˘ ۯ‰ȷÛÌÔ‡ ·fi ÙËÓ ÔÏÂÔ‰ÔÌÈ΋-¯ˆÚÔÙ·ÍÈ΋ ̤¯ÚÈ ÙËÓÎϛ̷η ÙÔ˘ ‚ÈÔÌ˯·ÓÈÎÔ‡ ·ÓÙÈÎÂÈ̤ÓÔ˘. ∏ ÏÂÈÔÓfiÙËÙ· ÙˆÓ ÂÚÁ·-ÛÈÒÓ ÂÈÎÂÓÙÚÒÓÂÙ·È ÛÙË Îϛ̷η ÙÔ˘ ·Ú¯ÈÙÂÎÙÔÓÈÎÔ‡ Î·È ·ÛÙÈÎԇۯ‰ȷÛÌÔ‡. ∏ ıÂÌ·ÙÔÏÔÁ›· ÙˆÓ ‰Èψ̷ÙÈÎÒÓ Û˘¯Ó¿ ·Ó‹ÎÂÈ ÛÙÔ›‰ÈÔ ıÂÌ·ÙÈÎfi ‰›Ô Ì ÙËÓ ÂÚ¢ÓËÙÈ΋ ÂÚÁ·Û›·, Ì ÙËÓ ÔÔ›· Ô ÊÔÈ-ÙËÙ‹˜ ÂÈÛ¿ÁÂÙ·È ÛÙÔ ıˆÚËÙÈÎfi ‹ ÈÛÙÔÚÈÎfi Ï·›ÛÈÔ ÙÔ˘ ı¤Ì·ÙÔ˜.

√È ‰Èψ̷ÙÈΤ˜ ÂÚÁ·Û›Â˜ ‰ÂÓ Û˘ÁÎÚÔÙÔ‡Ó ÌÈ· ÂÓÈ·›· Î·È ÔÌÔÈÔ-ÁÂÓ‹ ·ÓÙ›ÏË„Ë ÁÈ· ÙËÓ ∞Ú¯ÈÙÂÎÙÔÓÈ΋. ∞ÓÙÈηÙÔÙÚ›˙Ô˘Ó ÙȘ Ù¿-ÛÂȘ, ÙȘ ÂÈÚÚÔ¤˜, Ù· ÂӉȷʤÚÔÓÙ·, ÙÔ˘˜ ‰È¿ÊÔÚÔ˘˜ ȉÂÔÏÔÁÈ-ÎÔ‡˜ ÚÔÛ·Ó·ÙÔÏÈÛÌÔ‡˜ Î·È ÚÔÛÂÁÁ›ÛÂȘ ÛÙ· ˙ËÙ‹Ì·Ù· ÙÔ˘·Ú¯ÈÙÂÎÙÔÓÈÎÔ‡ ۯ‰ȷÛÌÔ‡, ÙfiÛÔ ÙˆÓ ÊÔÈÙËÙÒÓ fiÛÔ Î·È ÙˆÓ ‰È-‰·ÛÎfiÓÙˆÓ Î·È ·Ó·‰ÂÈÎÓ‡Ô˘Ó ÙËÓ Ú·ÁÌ·ÙÈ΋ ÂÎ·È‰Â˘ÙÈ΋ ÂÈ-ÎfiÓ· ÙÔ˘ ΔÌ‹Ì·ÙÔ˜ ∞Ú¯ÈÙÂÎÙfiÓˆÓ ÙÔ˘ ∞.¶.£.

™ÙÔÓ ÙfiÌÔ ·˘Ùfi ·ÚÔ˘ÛÈ¿˙ÔÓÙ·È ¢Èψ̷ÙÈΤ˜ ∂ÚÁ·Û›Â˜ Ô˘ÂÎÔÓ‹ıËÎ·Ó ·fi ÊÔÈÙËÙ¤˜/-ÙÚȘ ηٿ ÙÔ ·Î·‰ËÌ·˚Îfi ¤ÙÔ˜2004-05 Î·È Û˘ÁÎÂÓÙÚÒıËÎ·Ó ÌÂÙ¿ ·fi ·ÓÂÈÏÏË̤Ó˜ ÂȉÔ-ÔÈ‹ÛÂȘ ÛÙÔ˘˜ Û˘Ó·‰¤ÏÊÔ˘˜. Δ˘¯fiÓ ÂÚÁ·Û›Â˜ ÔÈ Ôԛ˜ ÁÈ· ‰È¿-ÊÔÚÔ˘˜ ÏfiÁÔ˘˜ ‰ÂÓ ·ÂÛÙ¿ÏËÛ·Ó Î·È ·ÔÛÙ·ÏÔ‡Ó ÛÙÔ Ì¤ÏÏÔÓ,ı· ‰ËÌÔÛÈ¢ıÔ‡Ó ÛÂ Û˘ÌÏËڈ̷ÙÈÎfi Ù‡¯Ô˜.

º·Ó‹ μ·‚‡ÏËÕÚ˘ ¶ÚÔ‰ÚÔÌ›‰Ë˜

ΔÌ‹Ì· ∞Ú¯ÈÙÂÎÙfiÓˆÓ ∞.¶.£.

EDITORIAL NOTE

Diploma projects are the result of each student’s educational jour-ney toward their degree, because they offer them the opportunity topresent the most comprehensive and in-depth work of their archi-tectural studies. It is simultaneously the culmination of a researcheffort in a theoretical and practical approach to architecture.

At the same time though, the three presentation periods of thediploma projects throughout the year act as the Architecture De-partment’s main event that, in a way, certifies the end result of theeducational process. That is why the public presentation of diplomawork is an area of fruitful discussion and reflection for teachers andlearners alike.

Students prepare their dissertations individually or in small groupsfor a period of six months to a year. Supervision of the projects isconducted by one or more teachers. The presentation is publicand is judged by a committee of teachers. The themes of the pro-jects cover a wide range of issues that include all scales of design–from urban planning to the scale of industrial purpose. The major-ity of the projects focuses on architectural and urban design. Thetopic is often of a similar theme to the research work, through whichthe student is introduced to the theoretical or historical context ofthe subject matter.

The diploma projects do not constitute a uniform and homoge-neous view of architecture, since they reflect the trends, influences,interests, ideological orientations and approaches of the studentsand teachers. Nevertheless, they highlight the true face of the Ar-chitecture Department of the Aristotle University of Thessaloniki.

The Diploma Projects included in this volume are those presentedduring the 2004-05 academic year and collected until the present.

With no selection procedure what so ever, all projects are includedthat have provided the essential information in order to present thestudents’ work and proposals in a direct and concise manner.

Fani VaviliAris Prodromidis

Faculty of Architecture, A.U.Th.

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Athanasopoulou Panagiota PROPOSAL FOR THE REUSE OF A MANSIONAT SPETSES ISLAND AS A LIBRARYSupervisors: Z. Karamanou, K. Tsoukala

Alexaki Lydia, Zervos Yiannis, Papanikolaou Archontia TZIVRE SILK WORKSHOP AT SOUFLI Supervisor: M. Nomikos

Karakosta Persefoni-Natalia XANTHI: NEW INTERURBAN BUS STATIONIN PRESERVED TOBACCO WAREHOUSE SHELL Supervisor: M. Nomikos

Katselou Konstantia REFUGEE’S SETLEMENT ON ALEXANDRA’S AVENUEOF ATHENS: RESTORATION AND REUSE Supervisors: M. Nomikos, A. Giakoumakatos

Martiadou Georgia K. FILIPPOU’S BLOCK OF FLATS AT 40 V. OLGAS STREETAND ADJ∞CENT BUILDINGS: RESTORATION-REUSE Supervisor: Em. Stefanidou

Mparmpas Konstantinos, Tsaggalas Evaggelos LARISA’S FORTRESS. THE BEZESTEN AND ITS MANIPULATION Supervisor: Em. Stefanidou

Pilitsi Anastasia, Sioziou Efthymia REHABILITATION AND REUSEOF THE CENTRAL FOOD ARCADE Supervisor: M. Nomikos

Industrial Design

Vlastaridou Anthoula DESIGNING FOUR OBJECTS Supervisor: A. Prodromides

Mavroudis Theodosios AUDI COUPE S1: 32 YEARS LATER… Supervisor: K. Varotsos

¶ÂÚȯfiÌÂÓ·

∞ÔηٿÛÙ·ÛË - ∂·Ó¿¯ÚËÛË

Contents

Restoration - Rehabilitation

∞ı·Ó·ÛÔÔ‡ÏÔ˘ ¶·Ó·ÁÈÒÙ· ¶ƒ√Δ∞™∏ ∂¶∞¡∞Ã∏™∏™

™¶∂Δ™πøΔπ∫√À ∞ƒÃ√¡Δπ∫√À ø™ μπμ§π√£∏∫∏ ∂È‚Ï¤Ô˘Û˜: ∑. ∫·Ú·Ì¿ÓÔ˘, ∫. ΔÛÔ˘Î·Ï¿

∞ÏÂÍ¿ÎË §˘‰›·, ∑ÂÚ‚fi˜ °È¿ÓÓ˘, ¶··ÓÈÎÔÏ¿Ô˘ ∞Ú¯ÔÓÙ›· ª∂Δ∞•√Àƒ°∂π√ Δ∑πμƒ∂ ™Δ√ ™√Àº§π

∂ȂϤˆÓ: ª. ¡ÔÌÈÎfi˜

∫·Ú·ÎÒÛÙ· ¶ÂÚÛÂÊfiÓË-¡·Ù·Ï›· •∞¡£∏: ¡∂√™ ™Δ∞£ª√™ À¶∂ƒ∞™Δπ∫ø¡ §∂øº√ƒ∂πø¡

™∂ ¢π∞Δ∏ƒ∏Δ∂√ ∫∂§Àº√™ ∫∞¶¡∞¶√£∏∫∏™ ∂ȂϤˆÓ: ª. ¡ÔÌÈÎfi˜

∫·ÙÛ¤ÏÔ˘ ∫ˆÓÛÙ·ÓÙ›· √ ¶ƒ√™ºÀ°π∫√™ √π∫π™ª√™ Δ∏™ §∂øº√ƒ√À ∞§∂•∞¡¢ƒ∞™

™Δ∏¡ ∞£∏¡∞: ∞¶√∫∞Δ∞™Δ∞™∏ ∫∞π ∂¶∞¡∞Ã∏™∏ EȂϤÔÓÙ˜: ª. ¡ÔÌÈÎfi˜, ∞. °È·ÎÔ˘Ì·Î¿ÙÔ˜

ª·ÚÙÈ¿‰Ô˘ °ÂˆÚÁ›· ∏ ¶√§À∫∞Δ√π∫π∞ Δ√À ∫. ºπ§π¶¶√À ™Δ∏¡ √¢√ μ. √§°∞™ 40

∫∞π Δ∞ °∂πΔ√¡π∫∞ Δ√À ∫Δπƒπ∞: ∞¶√∫∞Δ∞™Δ∞™∏-∂¶∞¡∞Ã∏™∏ ∂È‚Ï¤Ô˘Û·: ∞ÈÌ. ™ÙÂÊ·Ó›‰Ô˘

ª¿ÚÌ·˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˜, ΔÛ·ÁÁ·Ï¿˜ ∂˘¿ÁÁÂÏÔ˜ ºƒ√Àƒπ√ §∞ƒπ™∞™. Δ√ ª¶∂∑∂™Δ∂¡π ∫∞π ∏ ∞•π√¶√π∏™∏ Δ√À

∂È‚Ï¤Ô˘Û·: ∞ÈÌ. ™ÙÂÊ·Ó›‰Ô˘

¶ËÏ›ÙÛË ∞Ó·ÛÙ·Û›·, ™ÈÒ˙ÈÔ˘ ∂˘ı˘Ì›· ∞¶√∫∞Δ∞™Δ∞™∏ & ∂¶∞¡∞Ã∏™∏

Δ∏™ ∫∂¡Δƒπ∫∏™ ™Δ√∞™ Δƒ√ºπªø¡ ∂ȂϤˆÓ: ª. ¡ÔÌÈÎfi˜

™¯Â‰È·ÛÌfi˜ ∞ÓÙÈÎÂ̤ӈÓ

μÏ·ÛÙ·Ú›‰Ô˘ ∞ÓıԇϷ ™Ã∂¢π∞∑√¡Δ∞™ Δ∂™™∂ƒ∞ ∞¡Δπ∫∂πª∂¡∞

∂ȂϤˆÓ: ∞. ¶ÚÔ‰ÚÔÌ›‰Ë˜

ª·˘ÚÔ˘‰‹˜ £ÂÔ‰fiÛÈÔ˜ ¶. ∞UDI COUPE S1: 32 Ã√¡π∞ ª∂Δ∞…

∂ȂϤˆÓ: ∫. μ·ÚÒÙÛÔ˜

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Soueref Matthaios 3 OBJECTS Supervisor: A. Prodromidis

Public Buildings - Public Space

Anagnostidis AntonisMULTIMEDIA LIBRARYINSIDE THE THESSALONIKI INTERNATIONAL FAIR SPACESupervisor: A. Didaskalou

Venaki Maria NEW MUNICIPAL LIBRARY OF CHANIASupervisor: A. Lada

Georgaki Chrysa, Mpouraza ChrysanthiMOTOR STATION AT YLIKI LAKE Supervisor: A. Kotsiopoulos

Dimas Konstantinos, Ntourlias Emmanouil NEW BUILDING FOR THE NATIONAL LIBRARY IN ATHENS Supervisors: A. Kotsiopoulos, M. Papanikolaou, R. Sakellaridou

Themelis Dimitris, Themelis Michalis ERT3 TELEVISION AND RADIO MANSION Supervisor: G. Zoidis

Theodoridou Asimina-Eleni, Mylona MariaALEXANDROUPOLIS’ AIRPORT Supervisor: A. Kotsiopoulos

Iordanidou Ioanna, Papadopoulou Antigoni,Sidopoulos Gregoris ALEXANDROUPOLI AIRPORTSupervisor: Z. Karamanou

Kantidaki Anastasia, Kosmadakis Nestoras VASILEOS IRAKLIOU 31 Supervisor: A. Alexopoulou

Kofidis Ilias MARINE STATION AT THE NEW TERMINALOF "MACEDONIA" AIRPORT Supervisor: A. Mazis

Bozini Alexandra, Ioakeimidou Panagiota NEW TOWN HALL FOR MENEMENI Supervisors: A.M. Kotsiopoulos, R. Sakellaridou

Nanou Eleni MUNICIPAL COMPLEX IN ST. YIANNAKIS OF SAMOS Supervisor: K. Economou

™Ô˘¤ÚÂÊ ª·Ùı·›Ô˜ Δƒπ∞ ∞¡Δπ∫∂πª∂¡∞

∂ȂϤˆÓ: ∞. ¶ÚÔ‰ÚÔÌ›‰Ë˜

¢ËÌfiÛÈ· ∫Ù›ÚÈ· - ¢ËÌfiÛÈÔÈ ÃÒÚÔÈ

∞Ó·ÁÓˆÛÙ›‰Ë˜ ∞ÓÙÒÓ˘ μπμ§π√£∏∫∏ ¶√§Àª∂™ø¡

™Δ√ Ãøƒ√ Δ∏™ ¢.∂.£. ∂ȂϤˆÓ: ∞. ¢È‰·ÛοÏÔ˘

μÂÓ¿ÎË ª·Ú›· ¡∂∞ ¢∏ª√Δπ∫∏ μπμ§π√£∏∫∏ Ã∞¡πø¡

∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

°ÂˆÚÁ¿ÎË ÃÚ‡Û·, ªÔ˘Ú·˙¿ ÃÚ˘Û¿ÓıË ™Δ∞£ª√™ ∂•À¶∏ƒ∂Δ∏™∏™ ∞ÀΔ√∫π¡∏Δø¡ ™Δ∏ §πª¡∏ À§π∫∏

∂ȂϤˆÓ: ∞. ∫ˆÙÛÈfiÔ˘ÏÔ˜

¢‹Ì·˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˜, ¡ÙÔ‡ÚÏÈ·˜ ∂ÌÌ·ÓÔ˘‹Ï ¡∂√ ∫Δπƒπ√ Δ∏™ ∂£¡π∫∏™ μπμ§π√£∏∫∏™ ™Δ∏¡ ∞£∏¡∞

∂ȂϤÔÓÙ˜: ∞. ∫ˆÙÛÈfiÔ˘ÏÔ˜, ª. ¶··ÓÈÎÔÏ¿Ô˘, ƒ. ™·ÎÂÏÏ·Ú›‰Ô˘

£¤ÌÂÏ˘ ¢ËÌ‹ÙÚ˘, £¤ÌÂÏ˘ ªÈ¯¿Ï˘ ƒ∞¢π√-Δ∏§∂√¶Δπ∫√ ª∂°∞ƒ√ ∂ƒΔ-3

∂ȂϤˆÓ: °. ∑ˆ›‰Ë˜

£ÂÔ‰ˆÚ›‰Ô˘ ∞ÛË̛ӷ-∂ϤÓË, ª˘ÏˆÓ¿ ª·Ú›· ∞∂ƒ√§πª∂¡∞™ ∞§∂•∞¡¢ƒ√À¶√§∏™

∂ȂϤˆÓ: ∞. ∫ˆÙÛÈfiÔ˘ÏÔ˜

πÔÚ‰·Ó›‰Ô˘ πˆ¿ÓÓ·, ¶··‰ÔÔ‡ÏÔ˘ ∞ÓÙÈÁfiÓË,™È‰fiÔ˘ÏÔ˜ °ÚËÁfiÚ˘

∞∂ƒ√§πª∂¡∞™ ∞§∂•∞¡¢ƒ√À¶√§∏™ ∂ȂϤˆÓ: ∑. ∫·Ú·Ì¿ÓÔ˘

∫·ÓÙȉ¿ÎË ∞Ó·ÛÙ·Û›·, ∫ÔÛÌ·‰¿Î˘ ¡¤ÛÙÔÚ·˜ μ∞™π§∂ø™ ∏ƒ∞∫§∂π√À 31 ∂È‚Ï¤Ô˘Û·: ∞. ∞ÏÂÍÔÔ‡ÏÔ˘

∫ÔÊ›‰Ë˜ ∏Ï›·˜ ∞∫Δ√¶§√π∫√™ ™Δ∞£ª√™ ™Δ√¡ ¡∂√ ∞∂ƒ√™Δ∞£ª√

Δ√À ∞∂ƒ√¢ƒ√ªπ√À ‘ª∞∫∂¢√¡π∞’ ∂ȂϤˆÓ: ∞. ª¿˙˘

ªÔ˙›ÓË ∞ÏÂÍ¿Ó‰Ú·, πˆ·ÎÂÈÌ›‰Ô˘ ¶·Ó·ÁÈÒÙ· ¡∂√ ¢∏ª∞ƒÃπ∞∫√ ∫Δπƒπ√ Δ√À ¢∏ª√À ª∂¡∂ª∂¡∏™

∂ȂϤÔÓÙ˜: ∞.ª. ∫ˆÙÛÈfiÔ˘ÏÔ˜, ƒ. ™·ÎÂÏÏ·Ú›‰Ô˘

¡¿ÓÔ˘ ∂ϤÓË ¢∏ª√Δπ∫√ ™À°∫ƒ√Δ∏ª∞ ™Δ√¡ ∞´ °π∞¡¡∞∫∏ ™∞ª√À

∂ȂϤˆÓ: ∫. √ÈÎÔÓfiÌÔ˘

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¡ÈÎÔϷοÎË ™Ù¤ÏÏ·, £ÂÔ‰ˆÚ›‰Ë˜ ∞Ó‰Ú¤·˜ ‘MULTIPLEX’ ¢∏ª√™π√™ Ãøƒ√™

∂ȂϤÔÓÙ˜: ∞. §·‰¿, §. ¶··‰fiÔ˘ÏÔ˜

¶·ÁοÏÔ˘ ª·Ú›·, ΔfiÁÈ· ∞ÁÁÂÏÈ΋ ™Ã∂¢π∞∑√¡Δ∞™ ª∂ °¡øª√¡∞ Δ√ Δ∞•π¢π

–À¶∂ƒ∞™Δπ∫√™ ™Δ∞£ª√™ §∂øº√ƒ∂πø¡ ∫∞π Δƒ∂¡ø¡ ∂ȂϤˆÓ: ¡. ΔÛÈӛη˜

ÃÔ˘˙Ô‡Ú˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ™Δ∞£ª√™ ∂•À¶∏ƒ∂Δ∏™∏™ Δ∞•π¢πøΔø¡

™Δ√¡ ∞ÀΔ√∫π¡∏Δ√¢ƒ√ª√ ¶.∞.£.∂. ∂ȂϤˆÓ: ¡. ΔÛÈӛη˜

∫Ù›ÚÈ· ÀÁ›·˜ Î·È ¶ÚfiÓÔÈ·˜

∞ÚÓ¿ÎË ∂ϤÓË ¶∞π¢π∫√ ∫∂¡Δƒ√

∂È‚Ï¤Ô˘Û·: ∫. ΔÛÔ˘Î·Ï¿

πˆ·ÓÓ›‰Ë˜ ¶·ÓÙÂÏ‹̈Ó,∫·‚Ô˘Ú›‰Ô˘ °ÂˆÚÁ›·, ÃÚËÛٷοÎË ∫·ÙÂÚ›Ó·

°∂ƒ¡ø¡Δ∞™… ª√¡∞¢∞ ºƒ√¡Δπ¢∞™ ∫∞π ¶∂ƒπ£∞§æ∏™∏§π∫πøª∂¡ø¡ ™Δ∏ ¡. ª∞¢ÀΔ√ £∂™™∞§√¡π∫∏™

∂È‚Ï¤Ô˘Û·: º. μ·‚‡ÏË

∫¿Ú˘ ∂˘¿ÁÁÂÏÔ˜, ™ÙÂÊ·Ó›‰Ô˘ ª·Ú›· ∞ƒÃπΔ∂∫Δ√¡π∫∏ Δ∏™ £∂√ª∏¡π∞™, Δ∏™ ª∂Δ∞¡∞™Δ∂À™∏™,

Δ∏™ ¶ƒ√™øƒπ¡∏™ ∫∞Δ∞§À™∏™ – ªπ∞ ¶ƒ√Δ∞™∏ ∂È‚Ï¤Ô˘Û·: £.-º. ΔfiÛη

∫Ï¿‰Ô˘ ∂ϤÓË, ¶·Ù¤ ∞ÚÈ¿‰ÓË ∂¶∂∫Δ∞™∏ & ∂∫™À°Ãƒ√¡π™ª√™

™π™ª∞¡√°§∂π√À ¡√™√∫√ª∂π√À ∫√ª√Δ∏¡∏™ ∂ȂϤˆÓ: ∂. ∫¿ÛÙÚÔ

ÃÚÈÛÙ¿Ó˘ ™Ù¤ÏÈÔ˜ ª√¡∞¢∞ ¶ƒøΔ√μ∞£ªπ∞™ ºƒ√¡Δπ¢∞™ À°∂π∞™

™Δ√ ¢∏ª√ Δƒπ∞¡¢ƒπ∞™ ™Δ∏ £∂™™∞§√¡π∫∏ ∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

ÃÒÚÔÈ ¶ÔÏÈÙÈÛÌÔ‡ / ªÔ˘Û›·

∞ÓÙˆÓ¿ÎÔ˘ μ·ÛÈÏÈ΋, ª¿ÓÔ˘ ∂ϤÓË ™Δ∞ á∞ƒπ∞ ∂∫∂π¡ø¡ ¶√À ¶∂ƒ∞™∞¡ (...)

¶∞¡ø ∞¶’ Δ√ ¡∂ƒ√ ∂ȂϤˆÓ: ¡. ΔÛÈӛη˜

μ·Î·Ó¿ ª·Ú›·, ∫ˆÓÛÙ·ÓÙÈÓ›‰Ë˜ ÃÚ›ÛÙÔ˜ Ãøƒ√π ¶√§πΔπ™ª√À ™Δ∏¡ ¶∞º√

∂È‚Ï¤Ô˘Û·: º. μ·‚‡ÏË

Nikolakaki Stella, Theodoridis Andreas‘MULTIPLEX’ PUBLIC SPACE Supervisors: A. Lada, L. Papadopoulos

Pagkalou Maria, Togia Aggeliki DESIGNING WITH THE JOURNEY AS A CRITERION–INTERCITY BUS AND TRAIN STATION Supervisor: N. Tsinikas

Chouzouris Konstantinos MOTOR STATIONAT P.A.TH.E. HIGHWAY Supervisor: N. Tsinikas

Buildings for Health and Welfare

Arnaki Eleni CHILDREN’S CENTER Supervisor: K. Tsoukala

Ioannidis Panteleimon,Kavouridou Georgia, Christakaki Katerina GROWING OLD… SENIOR CITIZENS’ CAREAND NURSING UNIT AT N. MADITOS OF THESSALONIKI Supervisor: F. Vavili

Karis Evaggelos, Stefanidou Maria ARCHITECTURE FOR DISASTER, IMMIGRATIONAND TEMPORARY ACCOMMODATION – PROPOSAL Supervisor: Th. F. Tosca

Kladou Eleni, Pate Ariadni EXTENSION AND MODERNISATIONOF KOMOTINI’S SISMANOGLIO HOSPITAL Supervisor: E. Kastro

Christanis Stelios MEDICAL CENTRE IN THE MUNICIPALITYOF TRIANDRIA, THESSALONIKI Supervisor: A. Lada

Spaces for Culture / Museums

Antonakou Vasiliki, Manou Eleni ON THE FOOTPRINTS OF THOSE WHO HAVE PASSED (…)ABOVE WATERSupervisor: N. Tsinikas

Vakana Maria, Konstantinides Christos CULTURAL SPACES AT PAFOS Supervisor: F. Vavili

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°ÈÔ˘‚·Ó¿ÎË ∞‰·Ì·ÓÙ›·, ¶ÂÚÂÚ›‰Ô˘ ∂ÚÈʇÏË ∫∂¡Δƒ√ ∫∞§§πΔ∂áπ∫ø¡ ¢ƒ∞™Δ∏ƒπ√Δ∏Δø¡

™Δ√ ƒøª∞¡√À §∏ª¡√À ∂ȂϤˆÓ: ∫. √ÈÎÔÓfiÌÔ˘, ™‡Ì‚Ô˘ÏÔ˜ ·′ Ê¿Û˘: °. ∫ÔÓÙ·Í¿Î˘

¢·ÓÂÏ¿ÎË ∫·ÙÂÚ›Ó·, Δ‡ÏÈÔ˘ √˘Ú·Ó›· «∫π∫ø¡ø¡ ª∂§∞£ƒ√¡»∂ȂϤˆÓ: °. ¶··ÎÒÛÙ·˜

¢ÚfiÛÔ˘ ∂ϛӷ, ∫·ÓÙȉ¿Î˘ ¡ÈÎËÊfiÚÔ˜ ª√À™∂π√ °π∞ Δ∏ ™À§§√°∏ °. ∫ø™Δ∞∫∏

™Δ√ ∫∂¡Δƒ√ Δ∏™ £∂™™∞§√¡π∫∏™ ∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

∑·ÁÔÚ›ÛÈÔ˜ ∞ı·Ó¿ÛÈÔ˜ JAMES TURRELL: ªπ∞ ∂°∫∞Δ∞™Δ∞™∏ ™Δ∏ £∂™™∞§√¡π∫∏

∂ȂϤˆÓ: ¢. ∫Ú·ÓÈÒÙ˘

∑·Ì¿ÓË ∂˘Ú·Í›·, ∫Ô˘ÁÈÔ˘ÌÙ˙fiÁÏÔ˘ ∞ÁÁÂÏÈ΋ √π ª√À™∂™ ø™ ª√À™∂π√

∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

πˆ·ÎÂÈÌ›‰Ë˜ √˘Ì‚¤ÚÙÔ˜, ÷Ù˙‹ ª·Á‰·ÏËÓ‹ ™Δπ™ ¶∞ƒÀº∂™ Δ√À √ƒ√À™: ¶ƒ√Δ∞™∏ ¢π∞ª√ƒºø™∏™

Δ∏™ ¶∂ƒπ√Ã∏™ °Àƒø ∞¶√ Δ∏ ª√¡∏ ∑À°√À ∂È‚Ï¤Ô˘Û·: ∞. ∞ÏÂÍÔÔ‡ÏÔ˘

πˆ¿ÓÓÔ˘ πˆ¿ÓÓ·, ƒËÁÔÔ‡ÏÔ˘ ŸÏÁ· ∂¶Δ∞-7

∂ȂϤˆÓ: °. ¶··ÎÒÛÙ·˜

∫·˙ԇη˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ¶√§πΔπ™ªπ∫∂™ ∂°∫∞Δ∞™Δ∞™∂π™

™Δ∏¡ ¶∂ƒπ√Ã∏ °ÀºΔ√∫∞ª¶√À-∑∞°√ƒπ√À ∂ȂϤˆÓ: ¡. ∫·ÏÔÁ‹ÚÔ˘

∫·ÏÏÈ¿ÓÔ˘ ∑ˆ‹, ªËÏÈ·Ú¿ ¢¿ÊÓË, ¶··‰ÔÔ‡ÏÔ˘ ∞ıËÓ¿ ∫∞π(∂)¡√ - Δ√ªπ∞ ™Δ√ Δ√¶π√ Δ√À £√ƒπ∫√À.

∂¡∞ ª√À™∂π√ ¶∞¡ø ™Δ∏¡ ¶√§∏ Δø¡ ™Δ√ø¡ ∂ȂϤÔÓÙ˜: §. ¶··‰fiÔ˘ÏÔ˜, ™. ¶··ÛˆÙËÚ›Ô˘

∫˘ÚÈ·ÎfiÔ˘ÏÔ˜ ¡›ÎÔ˜, ™Î˘Ï·Î¿Î˘ ™Ù¤Ê·ÓÔ˜ ¶ƒ√ΔÀ¶√ ∫∂¡Δƒ√ ∂π∫√¡π∫∏™ ¶ƒ∞°ª∞Δπ∫√Δ∏Δ∞™

∂ȂϤˆÓ: ∂Ì. Δ˙Âο΢

ªÏ¿Ù˙· ∂ϤÓË, ¶··ÌȯÂÏ¿ÎË ¶ÔÏ˘Í¤ÓË ∫∂¡Δƒ√ À¶√™Δ∏ƒπ•∏™ ¶√§πΔπ™Δπ∫ø¡ ¢ƒ∞™Δ∏ƒπ√Δ∏Δø¡

∫√¡Δ∞ ™Δ√ ∫∞™Δƒ√ Δ√À ƒ∂£Àª¡√À ∂È‚Ï¤Ô˘Û·: ™. §ÂÊ¿ÎË

ªfiÌ· ™Ù˘ÏÈ·Ó‹ ¶∞πáπ¢πø¡ ª√À™∂π√

∂È‚Ï¤Ô˘Û·: ∫. ΔÛÔ˘Î·Ï¿, ™‡Ì‚Ô˘ÏÔ˜: ª. μÔÁÈ·Ù˙¿ÎË

Giouvanaki Adamantia, Perperidou Erifyli ARTISTIC ACTIVITIES’ CENTER AT ROMANOUOF LIMNOS ISLAND Supervisor: K. Economou, A′ phase advisor: G. Kontaxakis

Danelaki Katerina, Tyliou Ourania KIKONON MELATHRON (KIKONIAN MANSION) Supervisor: G. Papakostas

Drosou Elina, Kantidakis Nikiforos MUSEUM FOR G. KOSTAKI’S COLLECTIONIN THE CENTER OF THESSALONIKI Supervisor: A. Lada

Zagorisios Athanasios JAMES TURRELL: AN INSTALLATION IN THESSALONIKI Supervisor: D. Kraniotis

Zamani Efpraxia, Kougioumtzoglou Aggeliki THE MUSES AS MUSEUM Supervisor: A. Lada

Ioakimidis Oumvertos, Chatzi Magdalini AT THE MOUNTAIN’S FOOTHILL: DEVELOPMENT PROPOSALFOR THE AREA AROUND ZYGOS MONASTERY Supervisor: A. Alexopoulou

πoannou Ioanna, Rigopoulou Olga SEVEN-7 Supervisor: G. Papakostas

Kazoukas Konstantinos CULTURAL FACILITIESAT THE AREA OF GYFTOKAMPOS-ZAGORI Supervisor: N. Kalogirou

Kallianou Zoe, Miliara Dafni, Papadopoulou Athina INNOVATION AT THE THORIKOS LANDSCAPE.A MUSEUM ON TOP OF THE CITY OF ARCADES Supervisors: L. Papadopoulos, S. Papasotiriou

Kiriakopoulos Nikos, Skilakakis Stefanos VIRTUAL REALITY CENTRE Supervisor: Em. Tzekakis

Mplatza Eleni, Papamichelaki Polyxeni CULTURAL ACTIVITIES’ SUPPORT CENTERCLOSE TO RETHYMNO FORTRESS Supervisor: S. Lefaki

Mpompa Styliani GAME MUSEUM Supervisor: K. Tsoukala, Advisor: M. Vogiatzaki

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¶·Û¯¿ÏË ∞Ó·ÛÙ·Û›· ¡∂ª∂™™√™: Ãøƒ√π ∞¡∞æÀÃ∏™ & ¶√§πΔπ™ª√À

™Δ∏ §∂ª∂™√ ∫À¶ƒ√À ∂ȂϤˆÓ: ™. ∑·ÊÂÈÚfiÔ˘ÏÔ˜

¶È›ÓË ™Ù˘ÏÈ·Ó‹ π¢πøΔπ∫∏ °∫∞§∂ƒπ

∂ȂϤˆÓ: ¡. ∫·ÏÔÁ‹ÚÔ˘

™Ù·ı¿ÎË ŒÏÏË μ·Ú‚¿Ú· ∂π™ ∞¡∞∑∏Δ∏™∏ Δ√À £∂π√À…

(∂¡∞ ¶∂ƒπ¶Δ∂ƒ√ °π∞ Δ∏¡ £ƒ∏™∫∂π∞) ∂ȂϤˆÓ: ∞. ¢È‰·ÛοÏÔ˘

ΔÛÈÌÔ‡ÚË ª·Ú›· √ƒπ√- ºø™- ª¡∏ª∏: ªπ∞ ¶ƒ√√¶Δπ∫∏ °π∞ Δ√ "ª√À™∂π√"

∞ƒÃ∞π∞ ∞°√ƒ∞ £∂™™∞§√¡π∫∏™ ∂ȂϤˆÓ: ¶. ª·ÚÙÈÓ›‰Ë˜, ™‡Ì‚Ô˘ÏÔ˜: ƒ. ™·ÎÂÏÏ·Ú›‰Ô˘

÷ÚÈÛ›Ô˘ ÃÚÈÛÙ›Ó· ª√À™∂π√ ª√¡Δ∂ƒ¡∞™ Δ∂á∏™-

º√πΔ∏Δπ∫√™ •∂¡ø¡∞™ ™Δ∏¡ ¶§∞Δ∂π∞ ∫∞Δ√À¡∏, §∞¢∞¢π∫∞ ∂È‚Ï¤Ô˘Û·: Ã. ™·¯·Ó¿

∂Î·È‰Â˘ÙÈο ∫Ù›ÚÈ·

∞ÓÙˆÓ›Ô˘ ∞ϤͷӉÚÔ˜, ™Î·Ó‰¿ÏË ÃÚÈÛÙ›Ó· ™Ã√§∂π√ ¡∂∞™ ∂§§∏¡π∫∏™ °§ø™™∞™:

Ãøƒ√π ∂∫¶∞π¢∂À™∏™ & ºπ§√•∂¡π∞™ ∂ȂϤˆÓ: ∂. ∫¿ÛÙÚÔ

°ÎÔ˘ÛÈ¿ÎË ∞ı·Ó·Û›·, ¶ÔÓÙÈοÎË ¢¤ÛÔÈÓ· º√πΔ∏Δπ∫√ ∫∂¡Δƒ√ ¢π∞¶∞¡∂¶π™Δ∏ªπ∞∫ø¡ ™À¡∂ƒ°∞™πø¡

∂È‚Ï¤Ô˘Û·: ª. μÔÁÈ·Ù˙¿ÎË

∂˘ı˘Ì›Ô˘ ∫ˆÓÛÙ·ÓÙ›Ó·, ∫·Ú·Ï‹ πˆ¿ÓÓ· ∫Δπƒπ∞∫√ ™À°∫ƒ√Δ∏ª∞: ™Ã√§∏ ª∂Δ∞§§∂π√§√°ø¡

∫∞π º√πΔ∏Δπ∫√π •∂¡ø¡∂™ ™Δ∏¡ πΔ∂∞ ∂È‚Ï¤Ô˘Û·: ∞. ∞ÏÂÍÔÔ‡ÏÔ˘

∫·ÌÔ˘Ú¿ÎË μ·ÛÈÏÈ΋, ªÂÏfiÁÈ· °ÂˆÚÁ›· ¢∏ª√Δπ∫√ ™Ã√§∂π√ ∫∞π ¡∏¶π∞°ø°∂π√ ™Δ∏ º∞§∞¡∏ §∞ƒπ™∞™

∂ȂϤˆÓ: ∫. √ÈÎÔÓfiÌÔ˘

∫Ô˘‚fiÔ˘ÏÔ˜ ™ˆÙ‹Ú˘, ¶··‰¿Î˘ °ÈÒÚÁÔ˜ ™Ã√§∏ ∞ƒÃπΔ∂∫Δ√¡π∫∏™ ™Δ∞ Ã∞¡π∞

∂È‚Ï¤Ô˘Û·: ƒ. ™·ÎÂÏÏ·Ú›‰Ô˘

ª·Î¿ÏÌ·ÛË ª˘ÚÙÒ, ºÈÚÙÈÓ›‰Ô˘ ƒ¤Ó· ∫∂¡Δƒ√ ∞ƒÃπΔ∂∫Δ√¡π∫∏™ £∂™™∞§√¡π∫∏™

™Δ∏ ¢ÀΔπ∫∏ ∂π™√¢√ ∂È‚Ï¤Ô˘Û·: ™. ¶··ÛˆÙËÚ›Ô˘, ™‡Ì‚Ô˘ÏÔ˜: ¢. ºÚ¿ÁÎÔ˜

Paschali Anastasia NEMESSOS: SPACES FOR CULTURE AND RECREATIONAT LEMESOS OF CYPRUS Supervisor: S. Zafiropoulos

Pipini Styliani PRIVATE GALLERY Supervisor: N. Kalogirou

Stathaki Elli VarvaraTHE QUEST FOR THE DIVINE…(A KIOSK FOR RELIGION) Supervisor: A. Didaskalou

Tsimpouri Maria BORDER-LIGHT-MEMORY: A PERSPECTIVEFOR THE “MUSEUM” IN THESSALONIKI’S ANCIENT MARKET Supervisor: P. Martinides, Advisor: R. Sakellaridou

Charisiou Christina MUSEUM OF CONTEMPORARY ART-STUDENTS’ GUESTHOUSE AT KATOUNI SQUARE, LADADIKA Supervisor: Ch. Sachana

Educational Buildings

Antoniou Alexandros, Skandali Christina SCHOOL OF MODERN GREEK LANGUAGE:EDUCATION AND ACCOMODATION SPACES Supervisor: E. Kastro

Gousiaki Athanasia, Pontikaki Despoina STUDENT CENTRE FOR INTERUNIVERSITARIAL COOPERATIONSupervisor: M. Vogiatzaki

Efthymiou Konstantina, Karali Ioanna BUILDING COMPLEX: SCHOOL OF MINERALOGYAND STUDENT DORMITORIES AT ITEA Supervisor: A. Alexopoulou

Kampouraki Vasiliki, Mpelogia Georgia PRIMARY AND NURSERY SCHOOL AT FALANI OF LARISA Supervisor: K. Economou

Kouvopoulos Sotiris, Papadakis Giorgos SCHOOL OF ARCHITECTURE AT CHANIA Supervisor: R. Sakellaridou

Bakalbasi Mirto, Firtinidou Rena THE THESSALONIKI ARCHITECTURE CENTRE AT THE CITY’S WESTERN ENTRANCE Supervisor: S. Papasotiriou, Advisor: D. Frangos

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ª¿ÙÛÔ˘ ∂ÏÈÛ¿‚ÂÙ, ¶·¿ ∞ÁÁÂÏÈ΋ ª∂Δ∞ ª∂™ø ∂∫¶∞π¢∂À™∏™ – ™Ã√§∏ ¢∏ª√™π√°ƒ∞ºπ∞™& ª∂™ø¡ ª∞∑π∫∏™ ∂¶π∫√π¡ø¡π∞™ ™Δ∏ £∂™™∞§√¡π∫H

∂È‚Ï¤Ô˘Û·: ƒ. ™·ÎÂÏÏ·Ú›‰Ô˘

¶·Ó·ÁȈٛ‰Ô˘ ¡ÈÎÔϤٷ ∫∂¡Δƒ√ ∂π∫∞™Δπ∫ø¡ Δ∂áø¡ ™Δ∏¡ ∞™¶ƒ√μ∞§Δ∞

∂ȂϤˆÓ: ™. ∑·ÊÂÈÚfiÔ˘ÏÔ˜

™ÙÂÊ·Ó¿ÎË ª·Ú›· ¢π∂£¡∂™ ∫∂¡Δƒ√ ∞ƒπ™Δ√Δ∂§π∫ø¡ ∂ƒ∂À¡ø¡

∂È‚Ï¤Ô˘Û·: ™. ¶··ÛˆÙËÚ›Ô˘, ™‡Ì‚Ô˘ÏÔ˜: ∫. ™ÈÛÌ·Ó›‰Ë˜

∂ÁηٷÛÙ¿ÛÂȘ ΔÔ˘ÚÈÛÌÔ‡ Î·È ∞Ó·„˘¯‹˜

∞‰¿ÌÔ˘ ÃÚ˘ÛԇϷ μ·ÏÂÓÙ›ÓË ∞¶√∫∞Δ∞™Δ∞™∏ ∫∞π ∂¶∂∫Δ∞™∏

Δ√À •∂¡π∞ ∫∞§∞ª¶∞∫∞™ ∂ȂϤˆÓ: ª. ¡ÔÌÈÎfi˜

∞ÚÌ¿Ô˘ ∂ÚÌÔÊ›ÏË •∂¡√¢√Ã∂π∞∫√ ™À°∫ƒ√Δ∏ª∞ ™Δ∏ ¢ÀΔπ∫∏ £∂™™∞§√¡π∫∏

∂È‚Ï¤Ô˘Û·: ™. ¶··ÛˆÙËÚ›Ô˘

μ·Ï·Û¿Î˘ πˆ¿ÓÓ˘, ∑·¯¿ÚÔ˜ ¶·Ó·ÁÈÒÙ˘ ¢π∞ª√ƒºø™∏ Δ∏™ ¶∞ƒ∞§π∞∫∏™ ∑ø¡∏™

Δ∏™ μ∂ƒπ∞™ ∫∞§§π∫ƒ∞Δ∂π∞™ ∂ȂϤˆÓ: °. ¶··Ì›¯Ô˜

°·‚·Ï¿˜ ∞ÓÙÒÓ˘ ∞ªºπ∞§√™: ¶√§√™ ∞¡∞æÀÃ∏™ ∫∞π ∂¶π™Δ∏ªø¡

™Δ√ ∂§§∏¡π∫√ ∂ȂϤˆÓ: °. ∑ˆ›‰Ë˜

°ÎÔ˘ÓÙ¿ÓÙÛ˘ ∞ϤͷӉÚÔ˜, ƒËÁfiÔ˘ÏÔ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ª∞ƒπ¡∞ ™Δ√ ¶∞§π√Àƒπ

∂È‚Ï¤Ô˘Û·: ∞. ∞ÏÂÍÔÔ‡ÏÔ˘

¢‹ÌÔ˘ ∞ÁÁÂÏÈ΋, ª·˙·›Ô˘ ¡·Ù·Ï›·, ™›Áη ∞ıËÓ¿ •∂¡√¢√Ã∂π∞∫√ ™À°∫ƒ√Δ∏ª∞ ∫∞π À¢ƒ√£∂ƒ∞¶∂ÀΔ∏ƒπ√

™Δ√ ∫∞ƒ¶∂¡∏™π ∂ȂϤˆÓ: ∫. √ÈÎÔÓfiÌÔ˘

∫·Ú·ÁÎÔ‡ÓË ∞ıËÓ¿ Mπ∫ƒ∏ •∂¡√¢√Ã∂π∞∫∏ ª√¡∞¢∞

™Δ∏¡ ¶∂ƒ∞π∞ £∂™™∞§√¡π∫∏™ ∂È‚Ï¤Ô˘Û·: Δ. ∞Ó‰Ú¿‰Ô˘

Batsou Elisabeth, Papa Angeliki TRANS THROUGH EDUCATION –SCHOOL OF JOURNALISM & MASS MEDIA IN THESSALONIKI Supervisor: R. Sakellaridou

Panagiotidou Nikoleta ARTS CENTER AT ASPROVALTA Supervisor: S. Zafiropoulos

Stefanaki Maria INTERNATIONAL CENTER FOR ARISTOTELIAN STUDIESSupervisor: S. Papasotiriou, Advisor: K. Sismanides

Tourism and Leisure Facilities

Adamou Chrysoula Valentini RESTORATION AND EXTENSIONOF KALAMPAKA’S XENIA HOTEL Supervisor: M. Nomikos

Armaou ErmofiliHOTEL COMPLEX AT WESTERN THESSALONIKI Supervisor: S. Papasotiriou

Valasakis Ioannis, Zacharos PanagiotisVERIAS’ COASTALZONE DESIGN Supervisor: G. Papamichos

Gavalas AntonisAMFIALOS: SCIENCE AND RECREATION POLEAT THE ELLINIKO AREA Supervisor: G. Zoidis

Gkountatsis Alexandros, Rigopoulos KonstantinosMARINA AT PALIOURISupervisor: A. Alexopoulou

Dimou Aggeliki, Mpazeou Natalia, Sigka AthenaHOTEL COMPLEX AND HYDROTHERAPY CENTERAT KARPENISISupervisor: K. Ekonomou

Karagkouni AthinaSMALL HOTELAT PEREA OF THESSALONIKISupervisor: T. Andreadou

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∫·Ú‰ÔÔ‡ÏÔ˘ ¢¤ÛÔÈÓ· μ√§Δ∞ ™Δ√¡ ∞•π√: ¶∞ƒ∫√ & ∫ø¶∏§∞Δπ∫√ ∫∂¡Δƒ√

¢π¶§∞ ™Δ√ ¶√Δ∞ªπ ∂È‚Ï¤Ô˘Û·: º. μ·‚‡ÏË

∫ÔÙ›ÓË μ·ÛÈÏÈ΋ ™Δ∞ «∫∞§∞∫∞£√Àª∂¡∞» ª∂™√§√°°π√À

∂ȂϤÔÓÙ˜: ™. ¶··ÛˆÙËÚ›Ô˘, ¢. ºÚ¿ÁÎÔ˜

∫Ô˘Ì·ÚÈ·ÓÔ‡ ¡›ÎË ∂¡À¢ƒπ√ ™Δ√ ∞°°∂§√Ãøƒπ £∂™™∞§√¡π∫∏™

∂ȂϤˆÓ: ¡. ΔÛÈӛη˜

∫Ô˘Ù‹˜ ∏Ï›·˜ ∞°ƒ√Δ√Àƒπ™ª√™ ™Δ√ ª∞Àƒ√§π£∞ƒπ ºø∫π¢√™

∂È‚Ï¤Ô˘Û·: º. μ·‚‡ÏË

∫ˆÙ¿ÎË ¡·Ù·Ï›·, §ÂÁ¿Î˘ ∞ÓÙÒÓ˘ ∫∞Δ∞¢ÀΔπ∫√ KENΔƒ√ ™Δ√¡ ∞°π√ ¶ƒ√∫√¶∏ ¡∞•√À

∂ȂϤˆÓ: ∞.ª. ∫ˆÙÛÈfiÔ˘ÏÔ˜

M·ÌÔ˘Ï¿ÎË ŒÏÂÓ·, K˘‰ˆÓ¿Î˘ ÷ڿϷÌÔ˜ ∂¶∞¡∞Ã∏™∏ ∫∞π ∞¡∞™Ã∂¢π∞™ª√™

Δ√À ¶ƒø∏¡ •∂¡√¢√Ã∂π√À •∂¡π∞ ™Δ√ ∏ƒ∞∫§∂π√ ∫ƒ∏Δ∏™ ∂ȂϤÔÓÙ˜: Ã. ™·¯·Ó¿, ª. ¡ÔÌÈÎfi˜

ª¿Ù· ¡¿ÓÙÈ· Δ√Àƒπ™Δπ∫√ ∫∂¡Δƒ√ “∂À∂•π∞”

∂È‚Ï¤Ô˘Û·: º. μ·‚‡ÏË

¶·˚¿Ë ∞ÁÁÂÏÈ΋, ΔÛÈÔÔ‡ÏÔ˘ ÷̷˚‰‹ ¶∞π¢√Ãøƒ∞

∂È‚Ï¤Ô˘Û·: ∫. ΔÛÔ˘Î·Ï¿, ™‡Ì‚Ô˘ÏÔ˜: ∞.ª. ∫ˆÙÛÈfiÔ˘ÏÔ˜

¶··ÛÙÚ·Ù‹ ∂ÏÈÛ¿‚ÂÙ, ¶¤ÏÏÈÔ˘ ∞Ó‰ÚÔÓ›ÎË ∞¡∞¶§∞™∏ Δ∏™ ¶§∞∑ ∞ƒ∂Δ™√À™

∂È‚Ï¤Ô˘Û·: Ã. ™·¯·Ó¿

¶·Ù¤ÏË ∫·ÙÂÚ›Ó·, ∑ˆÁÚ¿ÊÔ˘ ª·ÚÈ¿ÓıË ¶∞°√¢ƒ√ªπ√: ∞£§∏™∏ - æÀÃ∞°ø°π∞

∂ȂϤˆÓ: ™. ∑·ÊÂÈÚfiÔ˘ÏÔ˜

ΔËÏχÚÔ˘ ª·Ú›· ¶§øΔ∏ ∫∞Δ∞™∫∂À∏ ™Δ√ £∂ƒª∞´∫√ ∫√§¶√

∂ȂϤÔÓÙ˜: ∞. ª·ÓÔ‡ÛË, ∂. Δ˙Âο΢, ™‡Ì‚Ô˘ÏÔ˜: ¢. ∞ÁÁÂÏ›‰Ë˜

º·Î·Ï‹˜ ÃÚ‹ÛÙÔ˜, ªËÙÛ¿Î˘ ∂˘¿ÁÁÂÏÔ˜ NON-AQUARIUM

∂È‚Ï¤Ô˘Û·: Δ. ∞Ó‰Ú¿‰Ô˘

÷ÏÈ¿˙Ë °ÈÒÙ· •∂¡√¢√Ã∂π√ ™Δπ™ ∞°ƒπ√§∂À∫∂™ ¶∏§π√À

∂ȂϤˆÓ: ∫. ∂. √ÈÎÔÓfiÌÔ˘

Kardopoulou Despina STROLL AT AXIOS: PARK AND ROWING CLUBNEXT TO THE RIVER Supervisor: F. Vavili

Kotini Vasiliki JUST LIKE THAT IN MESOLOGGI Supervisors: S. Papasotiriou, D. Fraggos

Koumarianou Niki AQUARIUM AT AGGELOCHORI OF THESSALONIKI Supervisor: N. Tsinikas

Koutis Ilias AGRO-TOURISM AT FOKIDA’S MAVROLITHARI Supervisor: F. Vavili

Kotaki Natalia, Legakis Antonis DIVING CENTER AT ST. PROKOPIS OF NAXOS Supervisor: A. Kotsiopoulos

Mamoulaki Elena, Kidonakis Charalampos REDESIGN AND REUSE OF THE FORMER XENIA HOTELIN IRAKLION, CRETESupervisors: Ch. Sachana, M. Nomikos

Mpata Nantia ‘WELFARE’ TOURIST CENTER Supervisor: F. Vavili

Paipai Aggeliki, Tsiopoulou Chamaidi CHILDRENLAND Supervisor: K. Tsoukala, Advisor: A.M. Kotsiopoulos

Papastrati Elisavet, Pelliou Androniki ARETSOU BEACH DEVELOPMENT Supervisor: Ch. Sachana

Pateli Katerina, Zografou Marianthi ICE-RING: EXERCISE - RECREATION Supervisor: S. Zafiropoulos

Tillirou Maria FLOATING CONSTRUCTION IN THE THERMAIKOS BAYSupervisors: A. Manousi, E. Tzekakis, Advisor: D. Aggelidis

Fakalis Christos, Mitsakis Evaggelos NON-AQUARIUM Supervisor: T. Andreadou

Chaliazi Giota HOTEL AT AGRIOLEFKES OF PELION Supervisor: K. Economou

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∞ÛÙÈÎfi˜ ™¯Â‰È·ÛÌfi˜ / ΔÔ›Ô

∞Ú·Ì·Ù˙¿ÎË μ·ÛÈÏÈ΋, ™ÎÔ‡Ú· ª·ÓÙÒ EXPO 2008

∂ȂϤÔÓÙ˜: ∞.ª. ∫ˆÙÛÈfiÔ˘ÏÔ˜, ƒ. ™·ÎÂÏÏ·Ú›‰Ô˘

∞ÚÁ˘ÚÔÔ‡ÏÔ˘ ÃÚÈÛÙ›Ó·,ª·˘Ú›‰Ô˘ ∞Ó·ÛÙ·Û›·, ÷Ù˙Ë·‚Ú·Ì›‰Ô˘ ª·Ú›·

¡∏™π¢∞ ∫∞¡∞ƒ∞ ™Δ∏¡ •∞¡£∏. ∞™Δπ∫∏ ∞¡∞¶§∞™∏ ∂È‚Ï¤Ô˘Û˜: ª. ∞Ó·ÓÈ¿‰Ô˘, ∞. °ÂÚfiÏ˘ÌÔ˘, ∫. ∫·˘ÎԇϷ

∞ÚÙfiÔ˘ÏÔ˜ °ÂÒÚÁÈÔ˜, π·ÎÒ‚Ô˘ ¶fiË, ∫ˆÛÙ·ÓÙfiÁÏÔ˘ ª·Ú›· U-BAHN STATION, BERLIN:

™∂ ªπ∞ ª∞∫ƒÀ∞ ∞¶√ Δ∏¡ π™√ƒƒ√¶π∞ ∫∞Δ∞™Δ∞™∏ ∂È‚Ï¤Ô˘Û·: μ. ΔÂÓÙÔοÏË

μ·ÁÈ·ÓÓ‹ √Ï˘Ì›·, ∑ÈÒÁ· ÃÚÈÛÙÈ¿Ó· IN-BETWEEN: ¢π∂ƒ∂À¡∏™∏ Δø¡ Ãøƒø¡

∂¡√™ ¡∂√À ∞™Δπ∫√À Δ√¶π√À ∂ȂϤˆÓ: °. ¶··ÎÒÛÙ·˜

μ·˚˙›‰Ô˘ ª¿Úı· INTER CITY FRACTALS:

™Ã∂¢π∞™Δπ∫∂™ ∫π¡∏™∂π™ ™Δ√ ª∂Δ∞πêπ√ Δ∏™ ∫π¡∏™∏™ ∂ȂϤÔÓÙ˜: ∞. §·‰¿, §. ¶··‰fiÔ˘ÏÔ˜

μ·ÛÈÏÂÈ¿‰Ë˜ °È¿ÓÓ˘, ¶··ÛˆÙËÚ›Ô˘ ∂˘ı˘Ì›· Δ√ ∫∞™Δƒ√ Δ∏™ ∫√ª√Δ∏¡∏™:

∫∂¡√ Δ∂Δƒ∞°ø¡√ ™∂ ∞™Δπ∫√ º√¡Δ√∂ȂϤÔÓÙ˜: ∞. ∞ÏÂÍÔÔ‡ÏÔ˘, °. ∫·Ú·‰¤‰Ô˜

μÔÛÓÈ¿ÎÔ˘ ¶·Ó·ÁÈÒÙ·, ™Î·ÚÏ¿ÙÔ˘ ¶·Ó·ÁÈÒÙ· ¶√§∏™ ∞¶√™¶∞™ª∞Δ∞∂ȂϤˆÓ: ∫. ™˘ÚȉˆÓ›‰Ë˜

°·‚Ú¿ X·Ú¿ μπ√ª∏Ã∞¡π∫√ ™À°∫ƒ√Δ∏ª∞ «Àº∞¡∂Δ» - ∞™Δπ∫√™ π™Δ√™:

¢π∂ƒ∂À¡ø¡Δ∞™ Δ∏¡ ∂¶∞¡∞™À¡¢∂™∏∂È‚Ï¤Ô˘Û·: μ. ΔÂÓÙÔοÏË

°ÂÌÂÓÂÙ˙‹ °ÂˆÚÁ›·, ºÈÏÈ›‰Ô˘ ¢‹ÌËÙÚ· ™Ã∂¢π∞∑√¡Δ∞™ ∞¶√ Δ√ ∫∂¡Δƒ√ ™Δ√ ∞∫ƒ√,

¶∞¡ø ∞¶√ Δ∞ ™Δƒøª∞Δ∞ Δ√À Ã√¡√À…∂ȂϤÔÓÙ˜: ¡. ¶··Ì›¯Ô˜, μ. ÷ÛÙ¿ÔÁÏÔ˘

°ÂÚ·Û›ÌÔ˘ ÕÓÓ·, ΔÛÈÚÏÈ¿ÁÎÔ˘ ŒÏÏË Δ√ ∞¡∞Δ√§π∫√ «ƒ∏°ª∞»

∂È‚Ï¤Ô˘Û·: ª. ∞Ó·ÓÈ¿‰Ô˘-Δ˙ÈÌÔÔ‡ÏÔ˘

°È·ÓÓ·ÎfiÔ˘ÏÔ˜ ¡›ÎÔ˜, ∫·Ú·‰‹ÌÔ˘ ∞ÊÂÓÙ›· ∞¡∞¶§∞™∏ Δ√À ∫∂¡Δƒπ∫√À ªø§√À ¶∞Δƒø¡

– ∏ ∂¶∞¡∂¡ø™∏ Δ∏™ ¶√§∏™ ª∂ Δ∏¡ £∞§∞™™∞∂ȂϤˆÓ: ¡. ∫·ÏÔÁ‹ÚÔ˘

Urban Landscape Design

Arabatzaki Vasiliki, Skoura MantoEXPO 2008 Supervisors: A.M. Kotsiopoulos, R. Sakellaridou

Argyropoulou Christina,Mavridou Anastasia, Chatziavramidou Maria KANARA QUARTER AT XANTHI. URBAN REDEVELOPMENT Supervisors: M. Ananiadou, A. Gerolumpou, K. Kafkoula

Artopoulos Georgios, Iakovou Popi, Kostantoglou Maria U-BAHN STATION, BERLIN:IN AN OFF-BALANCE SITUATION Supervisor: V. Tentokali

Bagianni Olympia, Zioga Christiana IN-BETWEEN: INVESTIGATING SPACESOF A NEW URBAN LANDSCAPE Supervisor: G. Papakostas

Vaitzidou Martha INTER CITY FRACTALS:DESIGN MOVEMENTS ON THE EDGE OF MOTION Supervisors: A. Lada, L. Papadopoulos

Vasiliadis Giannis, Papasotiriou Efthimia KOMOTINI’S CASTLE:TRIANGULAR VOID IN URBAN BACKGROUND Supervisors: A. Alexopoulou, G. Karadedos

Vosniakou Panagiota, Skarlatou Panagiota CITY EXCERPTSSupervisor: C. Spiridonidis

Gavra Chara INDUSTRIAL COMPLEX ‘IFANET’ - URBAN TISSUE:INVESTIGATING RECONNECTIONSupervisor: V. Tentokali

Gemenetzi Georgia, Filippidou Dimitra DESIGNING FROM THE CENTER TO THE EDGE,ABOVE TIME LAYERSSupervisors: G. Papamichos, V. Chastaoglou

Gerasimou Anna, Tsirliagkou Elli THE EASTERN ‘FAULT’Supervisor: M. Ananiadou-Tzimopoulou

Giannakopoulos Nikos, Karadimou Afentia REHABILITATION OF THE CENTRAL PIER OF PATRAS– REUNITING THE CITY WITH THE SEASupervisor: N. Kalogirou

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°È·ÓÓÈÔ‡ °. ª·Ú›·-∞ÁÁÂÏÈ΋ ∫ƒ∏Δπ∫∞ ƒ√¢√À:

¶ƒ√Δ∞™∏ ∞•π√¶√π∏™∏™ Δ∏™ ¶∞ƒ∞§π∞∫∏™ ∑ø¡∏™∂ȂϤˆÓ: °. ∑ˆ›‰Ë˜

°Ô˘Ú‰Ô‡Î˘ ¢ËÌ‹ÙÚ˘,¶·ÓÙ·˙‹ M·Á‰·ÏËÓ‹-EϤÓË, TÚ˘ÊˆÓ›‰Ô˘ K·ÙÂÚ›Ó·

¶ΔÀÃø¡√¡Δ∞™ Δ∏¡ ¶∂ƒπº∂ƒ∂π∞EÈ‚Ï¤Ô˘Û·: B. TÂÓÙÔοÏË

°ÚËÁÔÚÈ¿‰Ô˘ £¿ÏÂÈ·, ¶··‰¿ÎË ∂˘·ÁÁÂÏ›· ∂À∞°°∂§π™Δƒπ∞ – ∏ ∞¡∞πƒ∂™∏ Δ√À ∞¶√∫§∂π™ª√À

∂È‚Ï¤Ô˘Û·: ∞. ∞ÏÂÍÔÔ‡ÏÔ˘

¢·Ï·ÌÔ‡Ú·˜ £ˆÌ¿˜, ∫Ô˘‚¿ÎË £ÂÔÊ·ÓÒ ¡∞√À™∞ 2002 207 02

∂ȂϤÔÓÙ˜: ∞. §·‰¿, °. ¶··ÎÒÛÙ·˜

¢ËÌËÙÚÈ¿‰Ô˘ ™Ù¤ÏÏ· Δ√Àƒπ™Δπ∫√™ √π∫π™ª√™ ™Δ∏ ¡. ¶√Δπ¢∞π∞ Ã∞§∫π¢π∫∏™

∂ȂϤˆÓ: ¡. ∫·ÏÔÁ‹ÚÔ˘

∂˘ÊÚ·ÈÌ›‰Ë˜ °ÂÒÚÁÈÔ˜, §È¿ÓÙË ∂ϤÓË ∞ƒÃ∞π∞ ª∂™™∏¡∏: ∞¡∞¶§∞™∏ Δ∏™ ¶∂ƒπ√Ã∏™

– ¢∏ªπ√Àƒ°π∞ ∞ƒÃ∞π√§√°π∫√À ¶∞ƒ∫√À ∫∞π ª√À™∂π√À∂ȂϤÔÓÙ˜: ª. ∞Ó·ÓÈ¿‰Ô˘-Δ˙ËÌÔÔ‡ÏÔ˘, ™. ∑·ÊÂÈÚfiÔ˘ÏÔ˜

∑ËÛÈÌfiÔ˘ÏÔ˜ ¢ËÌ‹ÙÚÈÔ˜-ÿÊÈÙÔ˜ ∏ °∂øª∂Δƒπ∞ ø™ ∫∂¡Δƒπ∫∏ ™À¡£∂Δπ∫∏ À¶√£∂™∏

∂ȂϤˆÓ: §. ¶··‰fiÔ˘ÏÔ˜

∫¿ÙÛÈÔ˘ ™Ô˘ÏÙ¿Ó·, §›ÌÔ˘ ∂ÈÚ‹ÓË ∞¡∞™Ã∂¢π∞™ª√™ √π∫π™Δπ∫√À ™À¡√§√À

∂¡Δ√™ Δø¡ Δ∂πÃø¡ Δ∏™ ∞∫ƒ√¶√§∏™ £∂™™∞§√¡π∫∏™∂È‚Ï¤Ô˘Û·: ∂. ∞Ó‰Ú·‰¿ÎË-ÃÚÔÓ¿ÎË

∫¯·ÁÈfiÁÏÔ˘ ª·Ú›·, ¶¤ÙÛÈÔ˘ ∫·ÙÂÚ›Ó· EUROPAN 7 ™Δ∏¡ ¶À§∞π∞

∂È‚Ï¤Ô˘Û˜: ∂. ∞Ó‰Ú·‰¿ÎË, ∫. ∫·˘ÎԇϷ

∫˘ÚȷΛ‰Ô˘ ∞ÊÚÔ‰›ÙË, ¡›Î· ∫·ÙÂÚ›Ó·, ¶··‰ÔÔ‡ÏÔ˘ πˆ¿ÓÓ· ¶∂ƒπ-SILO-°∏ ªÀ§√π ª∂§π™™∞ƒ∏

∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

§È¿Ë ª·ÚÈ¿ÓıË, Δ·Ù¿ÚË ª·ÚÈ¿ÓıË, ÃÚ˘Ûfi˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ø™ªø™∏ – ªπ∞ ¢π∞¢π∫∞™π∞ ∞™Δπ∫∏™ ∂•π™√ƒƒ√¶∏™∏™

∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

ª¿ÓÈ· ª·Ú›Ó·-∂ϤÓË ∞¡∞¶§∞™∏ Δ∏™ ¶∂ƒπ√Ã∏™ §√ÀΔƒø¡ À¶∞Δ∏™

∂È‚Ï¤Ô˘Û·: ∞. °ÂÚÔχÌÔ˘

ª·Î¿ÏË μ·ÛÈÏÈ΋, Δ˙ԇ̷ ∞ÁÓ‹, ΔÛÔ˘ÚԇϷ ∂˘‰ÔΛ· ∞¡∞¢π¶§ø¡√¡Δ∞™ Δ∞ √ƒπ∞: ∂¶∂ªμ∞™∏ ™Δ∏ ¢.∂.£.

∂ȂϤˆÓ: §. ¶··‰fiÔ˘ÏÔ˜

Gianniou G. Maria-Aggeliki RHODES’ ‘KRITIKA’:DEVELOPMENT PLAN OF THE COAST LINESupervisor: G. Zoidis

Gourdoukis Dimitris,Pantazi Magdalini-Eleni, Tryfonidou Katerina FOLDING THE OUTSKIRTSSupervisor: V. Tentokali

Gregoriadou Thaleia, Papadaki Evangelia EVANGELISTRIA – THE NEGATION OF EXCLUSIONSupervisor: A. Alexopoulou

Dalampouras Thomas, Kouvaki Theofano NAOUSSA 2002 207 02Supervisors: A. Lada, G. Papakostas

Dimitriadou Stella TOURIST RESORT IN NEW POTIDAIA, HALKIDIKISupervisor: N. Kalogirou

Efraimidis Georgios, Lianti Eleni ANCIENT MESSINI: REGENERATION OF THE AREA– CREATION OF AN ARCHAEOLOGICAL MUSEUM AND PARKSupervisors: M. Ananiadou-Tzimopoulou, S. Zafiropoulos

Zisimopoulos Dimitrios-Ifitos GEOMETRY AS THE MAIN SYNTHETIC HYPOTHESISSupervisor: L. Papadopoulos

Katsiou Soultana, Limou Irini REDESIGN OF THE HOUSING COMPLEXWITHIN THE WALLS OF THESSALONIKI’S ACROPOLISSupervisor: E. Andreadaki-Chronaki

Kechagioglou Maria, Petsiou Katerina EUROPAN 7 AT PYLEASupervisors: E. Andreadaki, K. Kafkoula

Kiriakidou Afroditi, Nika Katerina, Papadopoulou Ioanna CONTEMPLATING THE SILOS OF THE MELISSARI MILLSSupervisor: A. Lada

Liapi Marianthi, Tatari Marianthi, Chrysos Constantinos OSMOSIS – AN URBAN STABILITY PROCESSSupervisor: ∞. Lada

Mania Marina-Eleni REDESIGN OF THE AREA OF IPATI’S THERMAL SPRINGSSupervisor: A. Gerolympou

Mpakali Vasiliki, Tzouma Agni, Tsouroula Evdokia FOLDING BOUNDARIES: INTERVENTION AT THE T.I.F.Supervisor: L. Papadopoulos

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ª¤ÙÛË ª·Ú›·, ™˘Ìˆӛ‰Ô˘ ™Ù¤ÏÏ· ∂¶∞¡∞™Ã∂¢π∞™ª√™ TOY ∂ƒ°∞Δπ∫√À √π∫π™ª√À ‘∞π °π∞¡¡∏™’

™Δ∏¡ ∫∞§∞ª∞ƒπ∞∂È‚Ï¤Ô˘Û·: ™. ¶··ÛˆÙËÚ›Ô˘, ™‡Ì‚Ô˘ÏÔ˜: ∂. ∞Ó‰Ú·‰¿ÎË

¡Ùfi‚ÚÔ˜ μ·Û›Ï˘, ™Ù›ÚÔ˘ ∂ÈÚ‹ÓË ¶§√∏°∏™∏ ™Δ√ ∫∂¡√: Ã∞ƒΔ√°ƒ∞ºø¡Δ∞™ Δ∏ ¢π∞º√ƒ∞

∂È‚Ï¤Ô˘Û·: μ. ΔÂÓÙÔοÏË

•˘ÔχÙÔ˘ ∞ÓÙˆÓ›·, ΔÚÈÁˆÓ¿ÎË ºˆÙÂÈÓ‹ ¶∂ƒπ √ƒπø¡: ∂¶∞¡∞™Ã∂¢π∞™ª√™ Δ∏™ ¶∂ƒπ√Ã∏™

μÀƒ™√¢∂æ∂πø¡ £∂™™∞§√¡π∫∏™∂ȂϤÔÓÙ˜: §. ¶··‰fiÔ˘ÏÔ˜, ∫. ∫·˘ÎԇϷ

√ÈÎÔÓÔÌÔÔ‡ÏÔ˘ ∂ϤÓË, ƒfi˙Ë ∞Ó·ÛÙ·Û›· ™Ã∂¢π∞∑√¡Δ∞™ ™Δ√ √ƒπ√ Δ∏™ ™Δ∂ƒπ∞™

∂ȂϤˆÓ: ∫. ∂. √ÈÎÔÓfiÌÔ˘

¶··¤ÙÚÔ˘ º›ÏÈÔ˜, ª¿ÓÙÛÈÔ˘ ∞ÓÙÈÁfiÓË ∞π °π∞¡¡∏™ ¡π∫∏Δ∏™: ¢π∞ª√ƒºø™∏ Δ√¶π√À

∂È‚Ï¤Ô˘Û·: ª. ∞Ó·ÓÈ¿‰Ô˘-Δ˙ËÌÔÔ‡ÏÔ˘

ΔÚÈ·ÓÙ·Ê˘ÏÏ›‰Ô˘ ∂˘ÁÂÓ›· ¶ƒ√Δ∞™∏ ∞¡∞¶§∞™∏™ √ƒπ√À ∫∞Δ√π∫π∞™

¡∂∞™ ¶∞ƒ∞§π∞™∂È‚Ï¤Ô˘Û·: Ã. ™·¯·Ó¿

ΔÚÈ·ÓٷʇÏÏÔ˘ ∂˘·ÁÁÂÏ›· ∞¡∞™Δ√§∏ Δ∏™ ¢π∞πƒ∂™∏™:

∏ ∞¡∞∑∏Δ∏™∏ Δ√À ∂¡¢π∞ª∂™√À Ãøƒ√À∂È‚Ï¤Ô˘Û·: μ. ΔÂÓÙÔοÏË

ΔÔ˘ÏÔ‡ÌË ŸÏÁ· ¢π∞μ∞∑√¡Δ∞™ Δ∏¡ ¶∂ƒπº∂ƒ∂π∞ ™∂ ∞¡∞∑∏Δ∏™∏ ™À™Δ∏ª∞Δ√™

∂È‚Ï¤Ô˘Û·: μ. ΔÂÓÙÔοÏË

ΔÛÈÓ¿Ú˘ ¶¿ÓÔ˜ ¢π∞¢ƒ√ª∂™ ™Δ∏ §πª¡∏ Δ∏™ ∫∞™Δ√ƒπ∞™

∂ȂϤÔÓÙ˜: ∞. §·‰¿, °. ¶··ÎÒÛÙ·˜

ΔÛÈÙÛ›Ú˘ £·Ó¿Û˘ ∞¡∞¶§∞™∏ ¶∂ƒπ√Ã∏™ ∞ƒª√À,

¢∏ª√À ¶∂ƒ∞ª∞Δ√™∂È‚Ï¤Ô˘Û·: ª. ∞Ó·ÓÈ¿‰Ô˘-Δ˙ËÌÔÔ‡ÏÔ˘

º·ÓÙ›‰Ô˘ ∂Ï¢ıÂÚ›·, ÷Ù˙ËÌ·ÓÒÏË ∞ÛË̛ӷ ¶∞ƒ∞§§∏§∞ ™Δπ™ °ƒ∞ªª∂™.

Δ√ ¶ƒ∞°ª∞Δπ∫√ ∫∞π Δ√ ™Àªμ√§π∫√∂È‚Ï¤Ô˘Û·: μ. ÷ÛÙ¿ÔÁÏÔ˘

º˘ÙÔ‡ÛË πˆ¿ÓÓ· ∂¶∂ªμ∞™∏ ™∂ ¶∞§π√ μÀƒ™√¢∂æ∂π√ Δ∏™ Ãπ√À

- ∂π™∞°ø°∏ ¡∂√À ™À™Δ∏ª∞Δ√™∂È‚Ï¤Ô˘Û·: μ. ΔÂÓÙÔοÏË

Mpetsi Maria, Symeonidou Stella REDESIGN OF WORKERS’ HOUSING COMPLEXAT ‘AI GIANNIS’ OF KALAMARIASupervisor: S. Papasotiriou, Advisor: E. Andreadaki

Dovros Vasilis, Stirou Irini NAVIGATING THE VOID: MAPPING THE DIFFERENCESupervisor: V. Tentokali

Xypolytou Antonia, Trigonaki Fotini ABOUT LIMITS: REDESIGN OF THE TANNERY AREAOF THESSALONIKISupervisors: L. Papadopoulos, K. Kafkoula

Economopoulou Eleni, Rozi Anastasia DESIGNING AT THE LAND BORDERSupervisor: K. E. Economou

Papapetrou Filippos, Mantsiou Antigoni ST YIANNIS OF NIKITI: LANDSCAPE DESIGN Supervisor: M. Ananiadou-Tzimopoulou

Triantafillidou Evgenia REDESIGN PROPOSAL FOR THE HOUSING BORDERAT THE COASTAL ZONESupervisor: Ch. Sachana

Triantafillou Evangelia REPRIEVING THE DIVIDE:THE QUEST FOR THE IN-BETWEEN SPACESupervisor: V. Tentokali

Touloumi Olga READING THE OUTSKIRTS IN QUEST FOR A SYSTEMSupervisor: V. Tentokali

Tsinaris Panos JOURNEYS ON THE LAKE OF KASTORIASupervisors: A. Lada, G. Papakostas

Tsitsiris Thanasis REGENERATION OF THE ARMOS AREAIN THE MUNICIPALITY OF PERAMASupervisor: M. Ananiadou-Tzimopoulou

Fantidou Eleftheria, Chatzimanoli Asimina PARALLEL TO THE LINES.THE PRAGMATIC AND THE SYMBOLICSupervisor: V. Chastaoglou

Fitousi Ioanna INTERVENING INTO AN OLD TANNERY IN CHIOS- INTRODUCTION OF A NEW SYSTEMSupervisor: V. Tentokali

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÷Ù˙ËÙ۷ΛÚ˘ ¶·Ó·ÁÈÒÙ˘ ∂¡∞ Ãøƒπ∫√ ™À™Δ∏ª∞ ∫π¡∏™∏™ °π∞ Δ∏ £∂™™∞§√¡π∫∏

∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

ÈÚÔÙ·ÍÈÎfi˜ ™¯Â‰È·ÛÌfi˜ / ¶ÔÏÂÔ‰ÔÌ›·

∞Ó·ÛÙ·ÛÈ¿‰Ë˜ £ÂÔÊ¿Ó˘ ™Ã∂¢π∞∑√¡Δ∞™ ª∂Δ∞ Δ∏¡ ∫∞Δ∞™Δƒ√º∏.

ªπ∞ (∞¡∞)£∂øƒ∏™∏ Δ∏™ ¶√§∏™∂ȂϤÔÓÙ˜: ¡. ∫·ÏÔÁ‹ÚÔ˘, ¢. ºÚ¿ÁÎÔ˜

∑Ô˘ÚÓ·Ù˙‹ ª·Ú›Ó·, ªËÙÏÈ¿Áη ¡Ù›Ó· ¶√§∂√¢√ªπ∫∏ ∂¶∂ªμ∞™∏ ™Δ√ ™Δƒ∞Δ√¶∂¢√ ¶∞¶∞§√À∫∞

™Δπ™ ™∂ƒƒ∂™∂ȂϤÔÓÙ˜: ¶. ™Ù·ı·ÎfiÔ˘ÏÔ˜, ∞.º. §·ÁfiÔ˘ÏÔ˜

∫·Ú¿Ì·ÏË ¶·Ú·Û΢‹ ¶∞ªμøΔπ¢∞. ∞¡∞¶§∞™∏ §πª¡∞π√À √ƒπ√À

∂È‚Ï¤Ô˘Û·: Δ. ∞Ó‰Ú¿‰Ô˘

ªÈ¯·Ï¿ÎË Δ۷̛η ª∂™∞πø¡π∫∏ ¶√§∏ ƒ√¢√À, π™Δ√ƒπ∫∏ ∫∞π ¶√§∂√¢√ªπ∫∏∂•∂§π•∏. ∞¡∞μ∞£ªπ™∏ Δ∏™ ¶ƒø∏¡ ∂μƒ∞´∫∏™ ™À¡√π∫π∞™

∂ȂϤˆÓ: ∞. ∞Ó·ÛÙ·ÛÈ¿‰Ë˜

ª·Ï¿Û˘ ∂˘Á¤ÓÈÔ˜, ªÔ‡ÙÔ˘Ú· ∫·ÙÂÚ›Ó· ™Ã∂¢π√ Ãøƒπ∫∏™ ∞¡∞¶ΔÀ•∏™ ™∂ ªπ∫ƒ∏ ∞°ƒ√Δπ∫∏ ∂¡√Δ∏Δ∞

- ∑∂ƒμ√Ãøƒπ∞ Ã∞§∫π¢π∫∏™∂È‚Ï¤Ô˘Û·: ∂. ∞Ó‰ÚÈÎÔÔ‡ÏÔ˘

¶··ÁˆÚÁ›Ô˘ ∂ÈÚ‹ÓË-ÃÚ˘ÛÔ‚·Ï¿ÓÙÔ˘ ¶ƒ√√¶Δπ∫∂™ ∞¡∞¶ΔÀ•∏™ Δø¡ √π∫π™ªø¡ Δ∏™ ∫√π§∞¢∞™

Δ√À ∫∞ƒ¶∂¡∏™πøΔ∏ ™Δ√ ¡√ª√ ∂ÀƒÀΔ∞¡π∞™∂ȂϤÔÓÙ˜: ∂. ∞Ó‰ÚÈÎÔÔ‡ÏÔ˘, ¡. ¶··Ì›¯Ô˜

¶··‰ÔÔ‡ÏÔ˘ μ·ÛÈÏÈ΋, ÃÚËÛÙ›‰Ô˘ ÃÚ˘Û¿ÓıË Ãøƒ√Δ∞•π∫∏ ∞¡∞§À™∏ & √π∫π™Δπ∫∏ ¢π∞ƒ£ƒø™∏

Δ√À ¡. Ã∞§∫π¢π∫∏™∂ȂϤˆÓ: ∞.-º. §·ÁfiÔ˘ÏÔ˜

™Ê·ÎÈ·Ó¿ÎË ∂ÈÚ‹ÓË ¢π∫ΔÀ√ ∂¡∞§§∞∫Δπ∫√À Δ√Àƒπ™ª√À

™Δ√À™ √∫Δø ∂ƒ∏ªøª∂¡√À™ ∫∞π ∏ªπ∂ƒ∏ªøª∂¡√À™√π∫π™ª√À™ Δ√À ¢∏ª√À ∑∞ƒ√À

∂ȂϤˆÓ: ¡. ¶··Ì›¯Ô˜

Δ۷ηÏÒ˙Ô˘ °ÂˆÚÁ›· ¶ƒ√√¶Δπ∫∂™ ∞¡A¶ΔÀ•∏™ Δ√À ¢∏ª√À √π¡πA¢ø¡

™Δ√ ¡√ª√ ∞πΔø§√∞∫∞ƒ¡∞¡π∞™∂È‚Ï¤Ô˘Û·: ¶. ¶··‰ÔÔ‡ÏÔ˘-™˘Ìˆӛ‰Ô˘

Chatzitsakiris Panagiotis A CHORAL MOTION SYSTEM FOR THESSALONIKISupervisor: A. Lada

Urban Regional Planning

Anastasiadis FanisDESIGNING THE DAY AFTER.A RE-VISION OF THE CITYSupervisors: N. Kalogirou, D. Frangos

Zournatzi Marina, Mitliagka Ntina URBAN INTERVENTION AT PAPALOUKA’S MILITARY CAMPIN THE CITY OF SERRESSupervisors: P. Stathakopoulos, A.F. Lagopoulos

Karampali Paraskevi PAMVOTIDA. REGENERATION OF THE LAKE BORDERSupervisor: T. Andreadou

Michalaki Tsampika RHODES MEDIEVAL CITY, HISTORIC AND URBAN EVOLUTION.ENHANCEMENT OF THE FORMER JEWISH QUARTERSupervisor: A. Anastasiadis

Balasis Evgenios, Boutoura Katerina SPATIAL DEVELOPMENT FOR A SMALL AGRICULTURALREGION - ZERVOCHORIA OF CHALKIDIKISupervisor: E. Andrikopoulou

Papageorgiou Irini-Chrysovalantou DEVELOPMENT PERSPECTIVES FOR THE SETTLEMENTSOF KARPENISIOTIS VALLEY IN PERFECTURE OF EVRITANIASupervisors: E. Andrikopoulou, N. Papamichos

Papadopoulou Vasiliki, Christidou Chrysanthi SPATIAL ANALYSIS & RESIDENTIAL STRUCTURE OF THE DEPT. OF CHALKIDIKISupervisor: A.-F. Lagopoulos

Sfakianaki Irini ALTERNATIVE TOURISM NETWORK IN THE 8 DESERTEDAND SEMI-DESERTED SETTLEMENTSOF THE MUNICIPALITY OF ZAROUSupervisor: N. Papamichos

Tsakalozou Georgia PROSPECTS OF DEVELOPMENT THE MUNICIPALITY OFINIADES IN THE ETOLOAKARNANIA PREFECTURESupervisor: P. Papadopoulou-Simeonidou

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÷Ù˙Ë·ÓÙˆÓ›Ô˘ ¢‹ÌËÙÚ· ¶√§∂√¢√ªπ∫∏ ∂¶∂ªμ∞™∏ / ∞™Δπ∫√™ ™Ã∂¢π∞™ª√™

¶∂ƒπ√Ã∏™ ∫∂¡Δƒ√À £∂™™∞§√¡π∫∏™∂ȂϤÔÓÙ˜: ∞. §·ÁfiÔ˘ÏÔ˜, ¶. ™Ù·ı·ÎfiÔ˘ÏÔ˜

∂ÁηٷÛÙ¿ÛÂȘ ¶·Ú·ÁˆÁ‹˜

∞Ï·Ù˙fiÁÏÔ˘ ∞ı·Ó¿ÛÈÔ˜, ™·‚‚·Ó¿ÎË ∞ÈηÙÂÚ›ÓË √π¡√¶√π∂π√ ∫∞π ¢π∞¢ƒ√ª∂™ ™Δ√ °π∞¡¡∞∫√Ãøƒπ ¡∞√À™∞™

∂ȂϤˆÓ: ¡. ∫·ÏÔÁ‹ÚÔ˘, ™‡Ì‚Ô˘ÏÔ˜: °. ªÔ˘Ù¿Ú˘

§È¿ÁÎË °ÂˆÚÁ›· √π¡√¶√ππ∞ ª∞ƒ∫√: ∞¡∞™Ã∂¢π∞™ª√™ ∫∞π ∂¶∂∫Δ∞™∂π™

∂È‚Ï¤Ô˘Û·: ™. ¶··ÛˆÙËÚ›Ô˘

ª›ÚË ª·ÚÈ¿ÓÓ· √π¡√¶√π∂π√ ∞ª¶∂§√Àƒ°π∫√À ™À¡∂Δ∞πƒπ™ª√À ¶∞π∞¡π∞™

∂È‚Ï¤Ô˘Û·: º. μ·‚‡ÏË

ª·Ó٤η ª·Ú›Ó·-∞ÛË̛ӷ ∫∂¡Δƒ√ Δ∂§π∫ø¡ ¶ƒ√´√¡Δø¡ ¶√π√Δ∏Δ∞™ ™πΔ√À

™Δ√ ∫Δπƒπ∞∫√ ™À°∫ƒ√Δ∏ª∞ Δø¡ ªÀ§ø¡ ª∞Δ™√¶√À§√À∂ȂϤˆÓ: ¢. ∫Ú·ÓÈÒÙ˘

∞Ú¯ÈÙÂÎÙÔÓÈΤ˜ / ∂ÈηÛÙÈΤ˜ ∂ÁηٷÛÙ¿ÛÂȘ

∞‰·ÌÔÔ‡ÏÔ˘ ÃÚÈÛÙ›Ó· ∫∂∫§∂π™ª∂¡ø¡ Δø¡ £Àƒø¡

∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

∫·Ú·¯¿ÏÈÔ˘ ∂‡Ë STORY_BAU:

∞¶√ ªπ∞ π™Δ√ƒπ∞ ™∂ ªπ∞ ¢√ª∏ ∫∞π ∞¡Δπ™Δƒ√º∞∂ȂϤˆÓ: ¡. ΔÛÈӛη˜

¶··‰ËÌËÙÚ›Ô˘ EϤÓË, TÛ›ÊÙË ™ÙÂϛӷ + ∞π™£∏™∏

EȂϤÔÓÙ˜: A. §·‰¿, A. B¤ÙÙ·˜

™¯Â‰È·ÛÌfi˜ ∫·ÙÔÈÎÈÒÓ

∞‰·ÌfiÔ˘ÏÔ˜ °È¿ÓÓ˘, ΔÛÈÌÈÚ›‰Ë˜ ¶·Ó·ÁÈÒÙ˘ ∫∞Δ√π∫π∞ ™Δ∏¡ ∂§§∏¡π∫∏ ∂ƒπ√Àƒ°π∞

∂ȂϤˆÓ: ¢. ∫Ú·ÓÈÒÙ˘

∫·Ú·ÁÎÔ‡ÓË ∂ϤÓËΔƒπ∞ ™¶πΔπ∞

∂È‚Ï¤Ô˘Û·: Ã. ™·¯·Ó¿, ™‡Ì‚Ô˘ÏÔ˜: ¡. ÃÚ˘ÛÔÌ·ÏÏ›‰Ô˘

Chatziantoniou Dimitra URBAN PLANNING INTERVENTION/URBAN DESIGNIN A CENTRAL DISTRICT OF THESSALONIKISupervisors: A. Lagopoulos, P. Stathakopoulos

Industrial Buildings

Alatzoglou Athanasios, Savvanaki Ekaterini WINERY AND PATHS AT GIANNAKOCHORI NAOUSSASupervisor: N. Kalogirou, Advisor: G. Mpoutaris

Liagki Georgia MARKO WINERY: REDESIGN AND EXPANSIONSupervisor: S. Papasotiriou

Mpiri Marianna THE WINERY OF PEANIA’S VINICULTURAL CO-OPERATIVESupervisor: F. Vavili

Banteka Marina-Asimina CENTRE FOR WHEAT FINAL PRODUCTSIN THE MATSOPOULOU MILLS BUILDING COMPLEXSupervisor: D. Kraniotis

Tourism and Leisure Facilities

Adamopoulou Christina CLOSED DOORS Supervisor: A. Lada

Karachaliou Evi STORY_BAU:FROM A STORY TO A STRUCTURE AND VICE VERSASupervisor: N. Tsinikas

Papadimitriou Eleni, Tsifti Stelina +SENSESupervisors: A. Lada, A. Vettas

Housing Design

Adamopoulos Giannis, Tsimpiridis Panagiotis RESIDENCE AT GREEK WOOL INDUSTRYSupervisor: D. Kraniotis

Karagouni Eleni3 HOUSESSupervisor: Ch. Sachana, Consultant: N. Chrisomallidou

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∫Ï‹Ì˘ °ÈÒÚÁÔ˜ ™À°∫ƒ√Δ∏ª∞ ¶∞ƒ∞£∂ƒπ™Δπ∫ø¡ ∫∞Δ√π∫πø¡

™Δ∏¡ ¶∂ƒπ√Ã∏ ∞°ƒπ∞™ μ√§√À∂ȂϤˆÓ: ¡. ∫·ÏÔÁ‹ÚÔ˘

ªfiÓÙË ∞Ó‰ÚÔÓ›ÎË ∞¡∞¶§∞™∏ ∫∞π ª∂Δ∞™Ã∏ª∞Δπ™ª√™

∂ƒ°∞Δπ∫ø¡ ∫∞Δ√π∫πø¡∂È‚Ï¤Ô˘Û·: ÃÚ. ™·¯·Ó¿

¶ÂÙÚ›‰Ô˘ ∑ˆ‹, ΔÛÔ˘Î·Ï¿˜ £ˆÌ¿˜ ∂ƒ°∞Δπ∫∂™ ∫∞Δ√π∫π∂™: ¶ƒ√Δ∞™∏ √π∫π™ª√À ™Δ∏ §∞ƒπ™∞

∂È‚Ï¤Ô˘Û·: ÃÚ. ™·¯·Ó¿

™ÂÏÈ·Ó›ÙË ∂˘‰ÔΛ·, ÃÂÚÈ·Ó›‰Ô˘ ∂ϛӷ ∞¡∞∫Δø¡Δ∞™ Δ√ ∫∂¡Δƒ√: ∂ƒ°∞Δπ∫∂™ ∫∞Δ√π∫π∂™

™Δ√ π™Δ√ƒπ∫√ ∫∂¡Δƒ√ Δ∏™ £∂™™∞§√¡π∫∏™∂ȂϤˆÓ: ∫. √ÈÎÔÓfiÌÔ˘

Klimis Giorgos COMPLEX OF SUMMER HOUSESAT AGRIA OF VOLOSSupervisor: N. Kalogirou

Mponti Androniki REDESIGN AND TRANSFORMATIONOF LABOR HOUSING COMPLEXSupervisor: Ch. Sachana

Petridou Zoi, Tsoukalas Thomas LABOR HOUSING COMPLEX IN LARISASupervisor: Ch. Sachana

Selianiti Evdokia, Cherianidou Elina RECLAIMING THE TOWN CENTER: LABOR HOUSINGIN THE HISTORIC CENTER OF THESSALONIKISupervisor: K. Economou

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¢π¶§øª∞Δπ∫∂™ ∂ƒ°∞™π∂™D I P L O M A P R O J E C T S

12μÂÓ¿ÎË ª·Ú›·

¡∂∞ ¢∏ª√Δπ∫∏ μπμ§π√£∏∫∏ Ã∞¡πø¡

∂È‚Ï¤Ô˘Û·: ∞. §·‰¿

Venaki Maria

NEW MUNICIPAL LIBRARY OF CHANIA

Supervisor: A. Lada

∏·ÚÔ‡Û· ‰Èψ̷ÙÈ΋ ÂÚÁ·Û›· Â›Ó·È ÌÈ· ÚfiÙ·ÛË ÁÈ· ÙËÓ ‰ËÌÈÔ˘ÚÁ›· ÌÈ·˜ Ó¤·˜ÛÙ¤Á˘ ÁÈ· ÙËÓ ˘ÊÈÛÙ¿ÌÂÓË ‰ËÌÔÙÈ΋ ‚È‚ÏÈÔı‹ÎË Ã·Ó›ˆÓ, ÌÈ· ·fi ÙȘ ÔÈÔ ÛË-

Ì·ÓÙÈΤ˜ ·گȷΤ˜ ‚È‚ÏÈÔı‹Î˜ Ù˘ ∂ÏÏ¿‰·˜, ¯ÒÚÔ˜ ÊÈÏÔÍÂÓ›·˜ Ù˘ ÚÔÛˆÈ΋˜Û˘ÏÏÔÁ‹˜ ÙÔ˘ ∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘.

∏ ÚÔÙÂÈÓfiÌÂÓË ı¤ÛË –Ô Ó˘Ó ÛÙ·ıÌfi˜ ˘ÂÚ·ÛÙÈÎÒÓ ÏˆÊÔÚ›ˆÓ Ù˘ fiÏ˘ ÙˆÓ Ã·-Ó›ˆÓ, ·ÚfiÏÔ Ô˘ ‰È·‚¿˙ÂÙ·È ˆ˜ ¤Ó· Ù˘ÈÎfi ÔÈÎÔ‰ÔÌÈÎfi ÙÂÙÚ¿ÁˆÓÔ ÏfiÁÔ ÙˆÓ ‰˘Ô·ÓÙȉȷÌÂÙÚÈο ¢ÚÈÛÎÔÌ¤ÓˆÓ ·ÔÙÌ‹ÛÂˆÓ ·ÚÔ˘ÛÈ¿˙ÂÈ Î¿ÔȘ ȉȷÈÙÂÚfiÙËÙ˜.¶ÚfiÎÂÈÙ·È ÁÈ· ‰˘Ô ÍÂÓԉԯ›· ÙˆÓ ÂÙ¿ Î·È Ï¤ÔÓ ÔÚfiʈÓ.

ΔÔ ÎÙ›ÚÈÔ Ô˘ÛÈ·ÛÙÈο Ù˘Ï›ÁÂÈ Ù· ‰˘Ô ÍÂÓԉԯ›· ÂÓÒ ÚÔԉ¢ÙÈο ¯¿ÓÂÈ Û fiÁÎÔ Î·È‡„Ô˜ ÒÛÙ ӷ Î·Ï˘Êı› ̤ÚÔ˜ Ù˘ Ù˘ÊÏ‹˜ ÌÂÛÔÙÔȯ›·˜, Ó· ÌÂÙÚÈ·ÛÙ› Ë ¤ÓÙ·ÛË ÙË˜Î·È Ù¤ÏÔ˜ Ó· ‰È·ÌÔÚʈı› ÌÈ· ›ÛÔ‰Ô˜-¤Ú·ÛÌ· ÁÈ· ¤Ó·Ó ÂÛˆÙÂÚÈÎfi ˘·›ıÚÈÔ ¯ÒÚÔÚ·Û›ÓÔ˘ Î·È ÌÈ· Ï·Ù›· ·ÊÈÂڈ̤ÓË ÛÙÔ˘˜ ¢ÂÚÁ¤Ù˜ Î·È È‰Ú˘Ù¤˜ Ù˘ ‚È‚ÏÈÔı‹Î˘.

ΔÔ Û¯‹Ì· Ô˘ ÚÔ·ÙÂÈ ÔÌÔÈ¿˙ÂÈ Ì ¤Ó· ÂÏ·Ù˘Ṳ̂ÓÔ ‘∑’, ÙÔ ÔÔ›Ô Â›Ó·È ÚÔÛ·-Ó·ÙÔÏÈṲ̂ÓÔ Ó· ÂÊ¿ÙÂÙ·È Ù˘ ÔÚ›·˜ ·fi ÙËÓ Ô‰fi À„ËÏ·ÓÙÒÓ ÛÙËÓ Ô‰fi πˆÓ›·˜. ∏Ô‰fi˜ ∫·ÛÙÂÏ›Ô˘ ÏfiÁÔ Ù˘ ÛÔ˘‰·ÈfiÙËÙ·˜ Ù˘ ÁÈ· ÙËÓ ˙ˆ‹ Ù˘ fiÏ˘ Â›Ó·È ·Ó·ÌÂ-ÓfiÌÂÓÔ, Ê˘ÛÈÎfi ÛËÌÂ›Ô ÂÈÛfi‰Ô˘ ÛÙËÓ ‚È‚ÏÈÔı‹ÎË ·ÏÏ¿ Î·È ÛÙÔÓ ‰È·ÌÔÚÊÔ‡ÌÂÓÔÂÛˆÙÂÚÈÎfi ˘·›ıÚÈÔ ¯ÒÚÔ.

ΔÔ ÎÙ›ÚÈÔ Î·ı’ ·˘Ùfi ÌÔÚ› Ó· ‰È·ÈÚÂı› Û 4 ÂÓfiÙËÙ˜ fiÛÔ ·Ó·ÊÔÚ¿ ÙËÓ ÏÂÈÙÔ˘Ú-Á›· ÙÔ˘˜ Î·È ÙËÓ ‰È·ÎÚÈÙ‹ ‰È¿ÚıÚˆÛË ÙÔ˘˜.∞. ∫‡ÚÈ· οıÂÙË ÂÈÎÔÈÓˆÓ›·-‰ÈÔ›ÎËÛË-˘ËÚÂۛ˜ ÁÈ· ÙÔ ÎÔÈÓfi (ηٷÛÙ‹Ì·Ù·, Cafe,

ÎÙÏ)μ. μÈ‚ÏÈÔı‹ÎË Î·È ·›ıÔ˘Û· ÔÏ˘Ì¤ÛˆÓ-¤ÓÙ˘Ô˜ Ù‡Ô˜. ª¤ÙˆÔ ÛÙËÓ Ô‰fi ∫·ÛÙÂÏ›Ô˘°. ∫˘Ú›ˆ˜ ‚È‚ÏÈÔı‹ÎË Î·Ù¿ Ì‹ÎÔ˜ ÙÔ˘ ¿ÍÔÓ· μÔÚÚ¿˜-¡fiÙÔ˜ Ì ٷ ·Ó·ÁÓˆÛÙ‹ÚÈ·

ÚÔÛ·Ó·ÙÔÏÈṲ̂ӷ ÛÙËÓ ‰‡ÛË¢. ¶·È‰È΋ ‚È‚ÏÈÔı‹ÎË Î·Ù¿ Ì‹ÎÔ˜ ÙÔ˘ ¿ÍÔÓ· ·Ó·ÙÔÏ‹-‰‡ÛË

™Â Â›Â‰Ô ˘·›ıÚÈˆÓ ‰È·ÌÔÚÊÒÛˆÓ, ¤Ó·˜ ÛˆÚfi˜ ·fi ¤ÙÚ˜-ϤÍÂȘ-‚È‚Ï›· Û¯Ë-Ì·Ù›˙ÂÙ·È ÂȘ ÙÔ Ì¤ÛÔ Ù˘ Û‡ÓıÂÛ˘ ÙÔ˘ ˘·›ıÚÈÔ˘ ¯ÒÚÔ˘. ™ÙÔ ÂÛˆÙÂÚÈÎfi ·˘Ù‹˜ Ù˘ηٷÛ΢‹˜ ÊÈÏÔÍÂÓÂ›Ù·È Ë Û˘ÏÏÔÁ‹ ÙÔ˘ ∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘.

∫·Ù¿ ÙËÓ ‰È¿ÚÎÂÈ· Ù˘ Ë̤ڷ˜, Ô ÛˆÚfi˜ ·˘Ùfi˜ ·fi ¤ÙÚ˜ ÛÙÚ¤ÊÂÈ ÙËÓ ÚÔÛÔ¯‹ÙÔ˘ ÂÈÛΤÙË ÛÙÔ ÂÛˆÙÂÚÈÎfi, Ó· ·Ó·Û‡ÚÂÈ ÙÈ Â›Ó·È ÎÚ˘Ì̤ÓÔ Î¿Ùˆ ·fi ÙȘ ¤ÙÚ˜.

∫·Ù¿ ÙËÓ ‰È¿ÚÎÂÈ· Ù˘ Ó‡¯Ù·˜ Ë ‰ÔÌ‹ Ù˘ ηٷÛ΢‹˜ ·˘Ù‹˜ ·ÔηχÙÂÙ·È. ª¤Û··fi ÙȘ Û¯ÈṲ̂˜ Ô˘ ÚÔ·ÙÔ˘Ó ·fi ÙÔ ÂχıÂÚÔ ·ÚÌÔÏfiÁËÌ· ÙˆÓ ÂÙÚÒÓ Î·È ÙˆÓϤÍÂˆÓ Êˆ˜ ·ÎÙÈÓÔ‚ÔÏ›ٷÈ.

The present project consists of a proposal for the creation of a new house for theexistent municipal library of the city of Chania, one of the most important provin-

cial libraries in Greece, which accommodates Eleftherios Venizelos’ personal col-lection.

The location proposed –the present interurban bus station, of the city of Chania, al-though being conceived as a typical urban block, is distinctive because of two vis-à-vis severances. Two hotels of more than seven floors each, are placed there.

The building actually folds the two existing hotels while gradually loses volume andheight, so as part of the solid common wall is covered, its tension is abated, and fi-nally an entrance-passage to an internal open-air green space, and a square devot-ed to the founders and benefactors of the library is formed.

The emerging shape looks like a wide ‘Z’, which is oriented so as to abort the routefrom Ypsilanton street to Ionias street. Kasteliou street due to its importance for thecity’s life, is as expected the natural point of entering to the library and the internalopen-air space.

The building itself can be divided in 4 units, concerning their function, and their dis-tinct structure.

a. Main vertical contact-administration-services for the public (stores, cafes etc.)

b. Library and multimedia-printed press room. Face to Kasteliou street

c. Main library along North-South axis, with the reading rooms oriented to thewest

d. Juvenile library along East-West axis

As for the open-air space formation, a huddle of stones-words-books is formed inthe middle of the open-air space synthesis. Eleftherios Venizelos’ collection ishoused inside this construction.

During the day, this huddle of stones attracts the attention of the visitor to the in-ternal, to discover what is hidden under the stones.

During the night the construction’s structure is revealed. Through the slots arisingfrom the free pointing of stones and words light irradiates.

ºˆÙÔÚ·ÏÈÛÙÈ΋·ÂÈÎfiÓÈÛË Ù˘ ÂÈÛfi‰Ô˘.

Photorealisticrepresentation of the entrance.

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ΔÔÌ‹ ηٿ Ì‹ÎÔ˜ Ù˘ ·ÚÈ·˜ ‚È‚ÏÈÔı‹Î˘.Cross section along the main library.

¶ÚfiÏ·ÛÌ· ÚfiÙ·Û˘.Proposal model.

¶ÚfiÏ·ÛÌ· ÚfiÙ·Û˘.Proposal model.

¶ÚfiÏ·ÛÌ· ÚfiÙ·Û˘.Proposal model.

∫¿ÙÔ„Ë ÈÛÔÁ›Ԣ.∞ÁÁÏÈ΋ ÏÂ˙¿ÓÙ·.

∫¿ÙÔ„Ë ‚′ ÔÚfiÊÔ˘.∞ÁÁÏÈ΋ ÏÂ˙¿ÓÙ·.

∫¿ÙÔ„Ë ·′ ÔÚfiÊÔ˘.Ground plan of 1st floor.

∫¿ÙÔ„Ë Á′ ÔÚfiÊÔ˘.Ground plan of 3rd floor.

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55ª¿ÙÛÔ˘ ∂ÏÈÛ¿‚ÂÙ, ¶·¿ ∞ÁÁÂÏÈ΋ª∂Δ∞ ª∂™ø ∂∫¶∞π¢∂À™∏™ – ™Ã√§∏ ¢∏ª√™π√°ƒ∞ºπ∞™& ª∂™ø¡ ª∞∑π∫∏™ ∂¶π∫√π¡ø¡π∞™ ™Δ∏ £∂™™∞§√¡π∫H∂È‚Ï¤Ô˘Û·: ƒ. ™·ÎÂÏÏ·Ú›‰Ô˘

Batsou Elisabeth, Papa AngelikiTRANS THROUGH EDUCATION– SCHOOL OF JOURNALISM & MASS MEDIA IN THESSALONIKISupervisor: R. Sakellaridou

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∞›ıÚÈÔ.Atrium.

μÈ‚ÏÈÔı‹ÎË.Library.

√ۯ‰ȷÛÌfi˜ Ù˘ Û¯ÔÏ‹˜ ‚·Û›˙ÂÙ·È ÛÙË ‰ÈÂÚ‡ÓËÛË Ù˘ ¤ÓÓÔÈ·˜ ÙÔ˘ ÔÚ›Ô˘ ÛÂÛ˘Ó‰˘·ÛÌfi Ì ÙÔ ÂÚȯfiÌÂÓÔ ÙˆÓ ÛÔ˘‰ÒÓ Î·È ÙÔÓ ÙfiÔ ÛÙÔÓ ÔÔ›Ô ÂÓÙ¿Û-

ÛÂÙ·È. ÈÚÔıÂÙÂ›Ù·È ÛÙË ¢˘ÙÈ΋ ›ÛÔ‰Ô £ÂÛÛ·ÏÔӛ΢, Û ̛· ˘fi ÂͤÏÈÍË ÂÚÈÔ¯‹,Ù˘ ÔÔ›·˜ ÙÔ ÌÂÙ·Û¯ËÌ·ÙÈ˙fiÌÂÓÔ ÙÔ›Ô Ì ÙȘ ·ÔÛ·ÛÌ·ÙÈΤ˜ ÂÈÎfiÓ˜ ·ÔÙÂÏÔ‡ÓÛËÌ·ÓÙÈ΋ ÂÈÚÚÔ‹. ΔÔ ÎÙÈÚÈÔÏÔÁÈÎfi ÚfiÁÚ·ÌÌ· Û¯ÂÙ›˙ÂÙ·È Ì ÙËÓ ¤ÓÓÔÈ· ÙÔ˘ “ÂÓ-‰È¿ÌÂÛÔ˘”- ÌÂÙ·‚·ÙÈÎÔ‡ ¯ÒÚÔ˘ ·›˙ÔÓÙ·˜ Ì ÙËÓ ·ÏÏËÏԉțۉ˘ÛË ÙˆÓ ÏÂÈÙÔ˘ÚÁÈÒÓ.

∏ Û¯ÔÏ‹ ÔÚ›˙ÂÙ·È ·fi ‰‡Ô ËÌȉȷʷÓ›˜ ÔıfiÓ˜ Ô˘ ‰È·ÛÒÓÙ·È Û ÂÈÊ¿ÓÂȘ ÊÈÏ-ÙÚ¿ÚÔÓÙ·˜ ÙȘ ÌÂÙ·‚¿ÛÂȘ.

ŒÓ· Ù˘¯ˆÙfi Â›Â‰Ô ‰ËÌÈÔ˘ÚÁ› ÌÈ· ˘ÂÚ˘„ˆÌ¤ÓË Â›ÛÔ‰Ô, “ÙÚ˘¿” ÙËÓ fi„Ë Î·ÈηıÒ˜ ÍÂÙ˘Ï›ÁÂÙ·È ·Ú·Ï·Ì‚¿ÓÂÈ ÙȘ ÈÔ ‰ËÌfiÛȘ ÏÂÈÙÔ˘ÚÁ›Â˜. √ıfiÓ˜ ÚÔ‚ÔÏ‹˜ÛÙÔ Â›Â‰Ô ÙÔ˘ Â˙Ô‰ÚÔÌ›Ô˘ ηÏÔ‡Ó ÙÔ˘˜ ÂÚ·ÛÙÈÎÔ‡˜.

√È ¯ÒÚÔÈ ‰È‰·Ûηϛ·˜ Î·È ‰ËÌÈÔ˘ÚÁ›·˜ ·ÔÙÂÏÔ‡Ó ¤Ó· Û˘Ó¯¤˜ ·È¯Ó›‰È ·ÓÔÈÎÙÔ‡ ηÈÎÏÂÈÛÙÔ‡. Δ· Û˘Ì·Á‹ studio ÂÓ·ÏÏ¿ÛÛÔÓÙ·È Ì ÙȘ ËÌȉȷʷÓ›˜ ·›ıÔ˘Û˜ Î·È ÙÔ˘˜ËÌÈ˘·›ıÚÈÔ˘˜ ¯ÒÚÔ˘˜ ΢ÎÏÔÊÔÚ›·˜ Û ¤Ó· ηӿÏÈ Û˘Ó¯ԇ˜ ÂÈÎÔÈÓˆÓ›·˜.

ª¤Ûˆ Ù˘ ¤ÎıÂÛ˘ ‰ËÌÈÔ˘ÚÁÂ›Ù·È ¤Ó·˜ ‰›·˘ÏÔ˜ ÂÈÎÔÈÓˆÓ›·˜ Ì ÙÔ ÎÔÈÓfi. √ ÂÎıÂ-ÛÈ·Îfi˜ ¯ÒÚÔ˜ ·ÔÙÂÏ› ÌÈ· ËÌȉȷʷӋ ÂÚÈÌÂÙÚÈ΋ ‰È·‰ÚÔÌ‹. √ ÂÈÛΤÙ˘, ̤ۈÙ˘ ‰È·Ê¿ÓÂÈ·˜ ÙÔ˘ ¯ÒÚÔ˘ Î·È Ù˘ ÂÚ›ÔÙ˘ ı¤Û˘ ÙÔ˘ ·ÔÙÂÏ› Ù·˘Ùfi¯ÚÔÓ· ÙÔı·ً Î·È ÙÔ ¤ÎıÂÌ·.

¢‡Ô ÎÙ›ÚÈ·, ÙÔ ¤Ó· ̤۷ ÛÙÔ ¿ÏÏÔ, ·›˙ÔÓÙ·˜ Ì ÙËÓ ÔÙÈ΋ ·ʋ-ÂÈÎfiÓ·, ÙȘ Û¯¤-ÛÂȘ ‰ËÌfiÛÈÔ˘ Î·È È‰ÈˆÙÈÎÔ‡ Î·È Ù· fiÚÈ· ·ÓÔȯÙÔ‡-ÎÏÂÈÛÙÔ‡ ÌÂÙ·ÊÚ¿˙Ô˘Ó ÛÙ· ‰ÔÌÈ-ο ÙÔ˘˜ ÛÙÔȯ›· ÙËÓ ¤ÓÓÔÈ· Ù˘ ‰È·ÓÙ›‰Ú·Û˘. ∂ÛˆÛÙÚÂÊ‹˜ ‹ Â͈ÛÙÚÂÊ‹˜, Ë Û¯Ô-Ï‹ ‰›ÓÂÈ ÙË ‰˘Ó·ÙfiÙËÙ· Ù˘ ÂÈÏÔÁ‹˜ ÛÙÔ ¯Ú‹ÛÙË. ªÂÙ·ÊÚ¿˙ÂÈ ÙËÓ È‰¤· Ù˘ ÂÈÎÔÈ-ÓˆÓ›·˜, ÂÓÒ Û˘Á¯ÚfiÓˆ˜ ·Ô‰ÂÈÎÓ‡ÂÈ ÙË ÛËÌ·Û›· Ù˘ ȉȈÙÈÎfiÙËÙ·˜ ̤۷ ·fi ÙËÓÂÎ·È‰Â˘ÙÈ΋ ‰È·‰Èηۛ·.

The design of the school of journalism is based on the investigation of the con-cept of the limit in combination with the study contents and the place it is lo-

cated. The site is in the western entrance of Thessaloniki in an evolutionary area witha transforming and fragmented landscape acting as heavy influences. The buildingp[rogram is connected with the concept of the inbetween-a transitional spacespaces that plays with the counter-penetration of the uses.

The school is defined by two semi-translucent screens that are divided into surfacesthat filter the transitions.

A ribbed level creates an elevated entrance, piercing the façade and as it unfolds itreceives the more public uses. Screens on the sidewalk level act as welcomingsigns for the pedestrians.

The classes are a constant play between open and closed. The compact studios al-ternate with the semi translucent halls and the semi-hypaethral spaces in a channelof constant communication.

Through the exhibition hall a channel of communication with the public is formedwhile its organization is a semi translucent perimetric route. Because of the translu-cency of the space and its position the visitor is the exhibit and the spectator at thesame time.

Two buildings one into the other, toy with visual conyact-the image, the realtions be-tween public and private, open and closed, elements that are translated in the struc-ture through the concept of intereaction. Introvert or extrovert, the school gives theuser the freedom of choice. It translates the idea of communication while proving thesignificance of privacy through the educational procedure.

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ΔÔÔÁÚ·ÊÈÎfi ‰È¿ÁÚ·ÌÌ·.Siteplan.

∂ÎıÂÛÈ·Îfi˜ ¯ÒÚÔ˜.Exhibition space.

‘¶Ï·ÙÊfiÚÌ·’ ÂÈÛfi‰Ô˘.Entry platform.

∂Ó‰ÂÈÎÙÈ΋ ÙÔÌ‹ Î·È fi„ÂȘ.Section and elevation.

85°·‚Ú¿ X·Ú¿μπ√ª∏Ã∞¡π∫√ ™À°∫ƒ√Δ∏ª∞ «Àº∞¡∂Δ» - ∞™Δπ∫√™ π™Δ√™:¢π∂ƒ∂À¡ø¡Δ∞™ Δ∏¡ ∂¶∞¡∞™À¡¢∂™∏∂È‚Ï¤Ô˘Û·: μ. ΔÂÓÙÔοÏË

Gavra CharaINDUSTRIAL COMPLEX “IFANET” - URBAN TISSUE:INVESTIGATING RECONNECTIONSupervisor: V. Tentokali

∏ ·Ó¿ÁÓˆÛË Ù˘ fiÏ˘ªÂ ‚¿ÛË ÙËÓ ·ÓÙ›ÏË„Ë Ù˘ fiÏ˘ ˆ˜ Ì›· ˘¤ÚıÂÛË ÈÛÙÔÚÈÎÒÓ ÙfiˆÓ ̤۷ ÛÙÔ ¯Úfi-ÓÔ, fiÔ˘ Ë ÎÙÈṲ̂ÓË ˘ÂÚÏËÚfiÙËÙ¿ Ù˘ ¤¯ÂÈ Î·Ï‡„ÂÈ Ù· ›¯ÓË ÙÔ˘ ·ÚÂÏıfiÓÙÔ˜, ËÂÚÁ·Û›· Ú·ÁÌ·Ù‡ÂÙ·È ÙÔ ÎÂÓfi ˆ˜ ÙË ÌÔÓ·‰È΋ Û˘Óı‹ÎË ·Ó¿ÁÓˆÛ˘ ÙÔ˘ ·Ï›Ì„Ë-ÛÙÔ˘. ∏ Û˘ÓıÂÙÈ΋ ÚfiÙ·ÛË ÚÔ·ÙÂÈ ·fi ÙË ÌÂϤÙË ÙˆÓ ÛÙ·‰›ˆÓ ÂͤÏÈ͢ ÙÔ˘ Ùfi-Ô˘, fiÔ˘ Û˘Ó˘Ê·›ÓÔÓÙ·È Ô ·ÛÙÈÎfi˜ ÈÛÙfi˜, ÙÔ Ú¤Ì· ∫ˆÓÛÙ·ÓÙÈÓ›‰Ë Î·È ÙÔ ‚ÈÔÌ˯·ÓÈÎfiÛ˘ÁÎÚfiÙËÌ· Àº∞¡∂Δ. √È ÔÏϷϤ˜ ÈÛÙÔÚÈΤ˜ ÂÁÁڷʤ˜ ÙÔ˘ ·ÛÙÈÎÔ‡ ·Ï›Ì„ËÛÙÔ˘·Ô‰ÔÌÔ‡ÓÙ·È Î·È ÓÔËÌ·ÙÔ‰ÔÙÔ‡Ó ÂÎ Ó¤Ô˘ ÙÔÓ Û˘ÁÎÂÎÚÈ̤ÓÔ ¯ÒÚÔ ‰È·ÊˆÚ¿˜ ÛÙÔÓÛËÌÂÚÈÓfi ·ÛÙÈÎfi ÈÛÙfi.

∏ ·Ó¿ÁÓˆÛË ÙÔ˘ ÙfiÔ˘∏ ·Ó¿Ï˘ÛË ÙˆÓ ‰È·‰Ô¯ÈÎÒÓ ÛÙ·‰›ˆÓ ÂͤÏÈ͢ ÙÔ˘ ÙfiÔ˘ (1900-2004) ·ÔηχÙÂȉڷ̷ÙÈΤ˜ ·ÏÏ·Á¤˜, Ô˘ Ô‰‹ÁËÛ·Ó ·ÊãÂÓfi˜ ÛÙËÓ ÔÚÁ·ÓˆÌ¤ÓË Û blocks ˘ÂÚ΢-ÚÈ·Ú¯›· ÙÔ˘ Ï‹ÚÔ˘˜, ·ÊãÂÙ¤ÚÔ˘ ÛÙÔÓ Î·Ù·ÎÂÚÌ·ÙÈÛÌfi Î·È ÙËÓ ·ÔÎÔ‹ ÙÔ˘ ȉȈÙÈÎÔ‡·fi ÙÔ ‰ËÌfiÛÈÔ ÎÂÓfi Î·È ÙËÓ ÌÂÙ·ÙÚÔ‹ ÙÔ˘ Û ˘ÔÏÂÈÌÌ·ÙÈÎfi ¯ÒÚÔ (·Î¿Ï˘ÙÔ˜). ΔÔڤ̷ ·ÓÙÈÌÂÙˆ›˙ÂÙ·È Â›Û˘ ˆ˜ ˘ÔÏÂÈÌÌ·ÙÈÎfi ÎÂÓfi, ·ÔÙÂÏÒÓÙ·˜ ϤÔÓ, ·ÚÌfi·Û˘Ó¤¯ÂÈ·˜ ÛÙËÓ ‘ÔÌ·Ï‹’ ÂͤÏÈÍË ÙÔ˘ ·ÛÙÈÎÔ‡ ÈÛÙÔ‡. Δ¤ÏÔ˜, ÔÈ ‰È·‰Ô¯ÈÎÔ› ÌÂÙ·Û¯Ë-Ì·ÙÈÛÌÔ› ÙÔ˘ ‚ÈÔÌ˯·ÓÈÎÔ‡ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜ (1905-1964) Ô‰‹ÁËÛ·Ó ÛÙË ÛÙ·‰È·Î‹ Û˘-ÁÎÚfiÙËÛË ÂÓÈ·›Ô˘ ÎÂÓÙÚÈÎÔ‡ fiÁÎÔ˘ (ÂÙÂÚÔÁÂÓ‹˜ ‘ÂÓ ˘ÓÒÛÂÈ’) Ì ٷ˘Ùfi¯ÚÔÓË ·Ô-ÎÔ‹ ÙˆÓ ¿ÎÚˆÓ (˘ÔÏÂÈÌÌ·ÙÈÎÔ› ¯ÒÚÔÈ), ÚÔÛÔÌÔÈ¿˙ÔÓÙ·˜ ÛÙË ‰ÔÌ‹ ÙˆÓ blocks, ÌÂÙÔÓ ‘·Î¿Ï˘ÙÔ’ Ó· ·ÚıÚÒÓÂÙ·È ·fi ÙÔÓ ¯ÒÚÔ Ô˘ ÛÙÂÁ¿˙ÂÈ Ë Ô‰ÔÓوً ÔÚÔÊ‹.

∏ Û˘ÓıÂÙÈ΋ ÚfiÙ·Ûˢ‰Ô̤Ó˘ Ù˘ ‰È·Ú΋˜ ·ÓÔÚÁ¿ÓˆÛ˘ Ù˘ fiÏ˘, “‰ÈÂÚ¢ÓÒÓÙ·˜ ÙËÓ Â·Ó·-Û‡Ó‰ÂÛË Ù˘ Àº∞¡∂Δ Î·È ÙÔ˘ ·ÛÙÈÎÔ‡ ÈÛÙÔ‡” ÛÙfi¯Ô ·ÔÙ¤ÏÂÛÂ Ë ‰ËÌÈÔ˘ÚÁ›·, ΢-ÚÈÔÏÂÎÙÈο Î·È ÌÂÙ·ÊÔÚÈο, ÂÓfi˜ ϤÁÌ·ÙÔ˜ ¤ÓÙ·Í˘ Î·È ·ÏÏËÏ›‰Ú·Û˘ Ì ·Ó·-ÌÔÓ¤˜ ÁÈ· ÌÂÙÂͤÏÈÍË.

∏ ÚfiÙ·ÛË ‚·Û›˙ÂÙ·È ÛÙËÓ È‰¤· ÂÓfi˜ ϤÁÌ·ÙÔ˜ ÁÚ·ÌÌÈÎÒÓ ÎÂÓÒÓ. ÈÚÈΤ˜ Û¯¤ÛÂȘfiˆ˜ Ë ˘¤ÚıÂÛË, Ë ÂÍfiÚ˘ÍË, Ë ·ÔÎfiÏÏËÛË, Ô ·ÚÌfi˜, Ë ‰È¿ÙÚËÛË, Ë ¿ÚıÚˆÛËÂÓÂÚÁÔÔÈÔ‡ÓÙ·È ÁÈ· ÙËÓ ‡Ê·ÓÛË ÙÔ˘ ϤÁÌ·ÙÔ˜ Ì ÙÔÓ ‰·ÓÂÈÛÌfi ηÓfiÓˆÓ ·fi ÙËÓÎÔÙÔÚ·ÙÈ΋, fiˆ˜ Ë ‘Ú·Ê‹’, ÙÔ ‘͋ψ̷’, ÙÔ ‘ÎÔÊÙfi’ Î·È Ë ‘ÛÙ·˘ÚÔ‚ÂÏÔÓÈ¿’. ΔÔϤÁÌ·, ·ÊãÂÓfi˜ ‰È·ÂÚÓ¿ ÙÔ ‚ÈÔÌ˯·ÓÈÎfi Û˘ÁÎÚfiÙËÌ· Î·È ÙÔ Ú¤Ì· Û˘Ó‰¤ÔÓÙ¿˜ Ù·Ì ÙÔ˘˜ ·Î·Ï‡ÙÔ˘˜ ÙˆÓ Á‡Úˆ blocks (ÂÓÔÔ›ËÛË È‰ÈˆÙÈÎÔ‡ ÎÂÓÔ‡), ·Êã ÂÙ¤ÚÔ˘ Û˘-Ó˘Ê·›ÓÂÙ·È Ì ÙËÓ ÂÈÛ·ÁˆÁ‹ Û˘ÛÙ‹Ì·ÙÔ˜ ÂÈÊ·ÓÂÈÒÓ Î·È ÙËÓ ·Ê·›ÚÂÛË Û ÛËÌ›·ÙÔ˘ ˘¿Ú¯ÔÓÙÔ˜ ÊÏÔÈÔ‡ ÛÙȘ ÙÚÂȘ ÛÙ¿ı̘ ÙÔ˘ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜. √ ¯ÂÈÚÈÛÌfi˜ ·˘Ùfi˜ÛÙԯ‡ÂÈ ÛÙË ÌÂÙ·ÙÚÔ‹ ÙÔ˘ ڤ̷ÙÔ˜ ·fi ·ÚÌfi ·Û˘Ó¤¯ÂÈ·˜ Û ÛÙÔÈ¯Â›Ô Û˘Ó¤ÓˆÛ˘ÙÔ˘ ·ÛÙÈÎÔ‡ ÈÛÙÔ‡, ÙËÓ ·ÔÛÙ·ıÂÚÔÔ›ËÛË Ù˘ ÈÂÚ·Ú¯›·˜ ΤÓÙÚÔ-ÂÚÈʤÚÂÈ·, ˘Ô-ÏÂÈÌÌ·ÙÈÎfi˜ ¯ÒÚÔ˜ Î·È ÙË Ì¤ÁÈÛÙË ÂÓÂÚÁÔÔ›ËÛË ÙÔ˘ ÙfiÔ˘.

Reading the city

Based on the perception that the city is an overlapping historical space in time,where built over-completeness has covered past trails, the project treats the void asthe unique condition to read the palimpsest. The synthetic proposal arises by thestudy of the space evolution phases, where urban tissue, Konstantinides’ streamand industrial complex IFANET are interlaced. Multiple historic inscriptions of urbanpalimpsest are deconstructed and signify again the particular space in the contem-porary urban tissue.

Reading the landscape

The analysis of the successive space evolution stages (1900-2004) reveals dra-matic changes, which led to the organized in blocks super-dominant solid, and tothe segmented and segregated (between private and public) void and its trans-formation to residual space (unbuilt). The stream is confronted as a residual voidas well, comprising a discontinuity joint in the ‘smooth’ evolution of the urban tis-sue. Finally, the industrial complex’s successive transformations (1905-1964) ledto the gradual composition of a compact centralised volume (‘hypnotized’ het-erogeneity) with a simultaneous removal of the edges (residual space), emulatingthe blocks structure, with the ‘unbuilt’ to be articulated by the space covered bythe cogged roof.

The synthetic proposal

Considering the city’s constant redevelopment, “investigating IFANET’s reconnec-tion with the urban tissue” the objective was the literal and metaphorical creation ofan incorporation and interaction network with evolution expectancy.

The proposal relies on the concept of a void consisting of linear voids. Spatial rela-tions, such as overlapping, quarrying, detachment, joint, conservation, articulation,are activated to weave the network by borrowing terms from tailoring, such as‘stitch’, ‘unstitch’, ‘short’ and ‘cross stitch’. The network, on the one hand crossesthe industrial complex and the stream connecting them with the unbuilt spaces ofsurrounding blocks (unification of private void), and on the other hand it is inter-weaved with the introduction of a surface system and the spot subtraction of exist-ing skin at the three levels of the complex. This manipulation aims at the streamtransformation from discontinuity joint to urban tissue’s conjunction element, thedestabilization of the hierarchy center-periphery, residual space and the space’smaximum activation.

ª·Î¤Ù· ÚfiÙ·Û˘.Proposal model.

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ª·Î¤Ù· ÚfiÙ·Û˘.Proposal model.

∫¿ÙÔ„Ë ¿Óˆ ÛÙ¿ıÌ˘.Upper level plan.

∫¿ÙÔ„Ë Î¿Ùˆ ÛÙ¿ıÌ˘.Lower level plan.

193

101ª·Î¿ÏË μ·ÛÈÏÈ΋, Δ˙ԇ̷ ∞ÁÓ‹, ΔÛÔ˘ÚԇϷ ∂˘‰ÔΛ·

∞¡∞¢π¶§ø¡√¡Δ∞™ Δ∞ √ƒπ∞: ∂¶∂ªμ∞™∏ ™Δ∏ ¢.∂.£.

∂ȂϤˆÓ: §. ¶··‰fiÔ˘ÏÔ˜

Mpakali Vasiliki, Tzouma Agni, Tsouroula Evdokia

FOLDING BOUNDARIES: INTERVENTION AT THE T.I.F.

Supervisor: L. Papadopoulos

μ·ÛÈ΋ ۯ‰ȷÛÙÈ΋ ·Ú¯‹ Ù˘ ÌÂϤÙ˘ Â›Ó·È Ë Âȉ›ˆÍË Ù˘ Û˘Ó¤¯ÂÈ·˜ ·Ó¿ÌÂÛ·Û ‰ÔÌË̤ÓÔ-·‰fiÌËÙÔ, ȉȈÙÈÎfi-‰ËÌfiÛÈÔ. ∂ÈϤÔÓ, Ë ‰È¿ÚıÚˆÛË ÙˆÓ ÎÈÓ‹ÛˆÓ

Î·È ÙˆÓ ¯Ú‹ÛÂˆÓ Î·Ù¿ Ì‹ÎÔ˜ ÂÓfi˜ ÂÓÈ·›Ô˘ ÊÔÚ¤·. °È· Ó· ÂÈÙ¢¯ı› ·˘Ùfi ¯ÚËÛÈÌÔ-ÔÈ‹ıËÎ·Ó Ù· ÁˆÌÂÙÚÈο ¯·Ú·ÎÙËÚÈÛÙÈο Ù˘ ÎÔÚ‰¤Ï·˜ Moebius, Ë ÔÔ›· ·Ú·-Ï·Ì‚¿ÓÂÈ Ù· ¯·Ú·ÎÙËÚÈÛÙÈο ÙÔ˘ ÙfiÔ˘ ¤̂·Û˘ Î·È Ì ηٿÏÏËϘ ·Ó·‰ÈÏÒÛÂÈ˜Î·È Ù˘¯ÒÛÂȘ, ÌÂÙ·Û¯ËÌ·Ù›˙ÂÙ·È ÛÙÔÓ ÂÓÈ·›Ô ÊÔÚ¤· ¿Óˆ ÛÙÔÓ ÔÔ›Ô ‰È·ÚıÚÒÓÔ-ÓÙ·È fiϘ ÔÈ ‰Ú·ÛÙËÚÈfiÙËÙ˜ Û ÌÈ· Û˘Ó¯‹ ΛÓËÛË.

ªÂ ÙÔÓ ÙÚfiÔ ·˘Ùfi, Ë ÔÚÁ¿ÓˆÛË ÙÔ˘ ¯ÒÚÔ˘ ‰Â ÛÙËÚ›˙ÂÙ·È Û ÌÈ· ηٷÎfiÚ˘ÊË ÈÂ-Ú·Ú¯È΋ ‰ÔÌ‹ ·ÏÏ¿ Û ¤Ó· ¢¤ÏÈÎÙÔ ‰›ÎÙ˘Ô ‰Ú¿ÛÂˆÓ Î·È ÎÈÓ‹ÛˆÓ. Δ· ÎÙ›ÚÈ·, Ù· ·ÓÙÈ-ΛÌÂÓ· Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜, ‰Â ıˆÚÔ‡ÓÙ·È ˆ˜ ÂχıÂÚ· ÁˆÌÂÙÚÈο ÛÒÌ·Ù· Ô˘·ÔÙ›ıÂÓÙ·È Â› ÙÔ˘ ‰¿ÊÔ˘˜, ·ÏÏ¿ ˆ˜ ÌÔÚʤ˜ Ô˘ ÂÍÂÏ›ÛÛÔ˘Ó ÙË ÁˆÌÂÙÚ›· Ù˘ÂȉÂÚÌ›‰·˜ Ù˘ Á˘, ˆ˜ Û˘Ó¯›˜ ÂÈÊ¿ÓÂȘ Ô˘ ÂΉÈÏÒÓÔÓÙ·È ·fi ÙÔ ¤‰·ÊÔ˜ ηÈÌÔÚ›, ÂÓ ‰˘Ó¿ÌÂÈ, Ó· ÂÎÏËÊıÔ‡Ó ˆ˜ ÙÌ‹Ì·Ù· ÙÔ˘ Ê˘ÛÈÎÔ‡ ÙÔ›Ô˘. ŒÙÛÈ ÔÈ ‰Ú¿ÛÂȘ,Ô˘ ÂÚÈÏ·Ì‚¿ÓÂÈ Ô ¯ÒÚÔ˜ ·˘Ùfi˜, ÌϤÎÔÓÙ·È Ì ·˘Ù¤˜ Ô˘ ·Ó·Ù‡ÛÛÔÓÙ·È ÛÙÔ¯ÒÚÔ Ù˘ fiÏ˘. ΔÔ Â›Â‰Ô Ù˘ fiÏ˘ ̤ۈ ÙÔ˘ ۯ‰ȷÛÌÔ‡ ÌÂÙ·ÙÚ¤ÂÙ·È Û ¯Ò-ÚÔ ÙÔ˘ ÎÙÈÚ›Ô˘, Ô˘ ÂÎÙ˘Ï›ÛÛÂÙ·È Û ·Ú·¿Óˆ ·fi ¤Ó· ›‰·, Ú¢ÛÙÔÔÈÒÓÙ·˜ÔÔÈÔ‰‹ÔÙ ıÂÛÌÔÔÈË̤ÓÔ fiÚÈÔ. ¶ÚfiÎÂÈÙ·È ÁÈ· ÌÈ· ¯ˆÚÈ΋ ‰È¿Ù·ÍË, Ë ÔÔ›· ÂÎÌÂ-Ù·ÏχÂÙ·È ÙÔÓ ÎÂÓfi ¯ÒÚÔ ÁÈ· Ó· ÙÔÓ ÌÂÙ·ÙÚ¤„ÂÈ Û ÂÓÂÚÁfi ÙfiÔ ÂχıÂÚˆÓ ‰Ú¿-ÛˆÓ. ¢ËÌÈÔ˘ÚÁ› ¤Ó·Ó «ÂӉȿÌÂÛÔ» ¯ÒÚÔ, ÌË ıÂÛÌÔıÂÙË̤ÓÔ, fiÔ˘ ·ÔʇÁÂÙ·È ËÂÈ‚ÔÏ‹ ÚÔÙ‡ˆÓ ‰È·¯ˆÚÈÛÌÔ‡ Î·È Ù˘ÔÔ›ËÛ˘ ÙÔ˘ ¯ÒÚÔ˘ Î·È ÙˆÓ ÎÔÈÓˆÓÈÎÒÓ ‰Ú·-ÛÙËÚÈÔÙ‹ÙˆÓ Î·È Û˘ÌÂÚÈÊÔÚÒÓ.

The basic design principle of this project is the aspiration of continuity betweenbuilt-unbuilt, public-private space. Furthermore, the motions and functions de-

velopment along a unified structure. In order to succeed that, the geometric featuresof Moebius strip where used, which receives the features of the intervention areaand through proper folds and pleats, it is transformed to a unified structure whichcarries all activities in a continuous motion.

In that way, space development is not based on any vertical hierarchic frameworkbut on a flexible network of actions and motions. The buildings, architectural ob-jects, are not perceived as free geometric bodies deposited on the ground, but asforms which evolve the geometry of ground skin, as continuous surfaces whicharise by the ground and may potentially be taken for parts of natural landscape. Thusactions included in this space, are involved with the actions developed in the city.Through the design procedure, the city level is transformed into space of the build-ing, which is evolved in more than one levels, liquefying any instituted boundary. Itis a spatial layout, which manipulates open space to transform it to active place offree actions. An “in-between” space is formed, not instituted, where there is no en-forcement of segregation and standardization patterns concerning space and socialactivities and behaviors.

Ÿ„ÂȘ.Elevations.

¢È·‰Èηۛ· ·Ó·‰›ÏˆÛ˘ Ì›·˜ ÂÈÊ¿ÓÂÈ·˜ Û ÎÔÚ‰¤Ï· Moebius.Folding procedure of a surface into Moebius strip.

224

∞ÂÈÎfiÓÈÛË Â¤Ì‚·Û˘.Intervention representation.

∫¿ÙÔ„Ë.Ground plan.

ΔÚÈۉȿÛÙ·ÙË ¿Ô„Ë Ù˘ ¤̂·Û˘.Intervention 3d rendering.

225

Michalaki TsampikaRHODES MEDIEVAL CITY, HISTORIC AND URBAN EVOLUTION.ENHANCEMENT OF THE FORMER JEWISH QUARTERSupervisor: A. Anastasiadis

258

118ªÈ¯·Ï¿ÎË Δ۷̛ηª∂™∞πø¡π∫∏ ¶√§∏ ƒ√¢√À, π™Δ√ƒπ∫∏ ∫∞π ¶√§∂√¢√ªπ∫∏ ∂•∂§π•∏.∞¡∞μ∞£ªπ™∏ Δ∏™ ¶ƒø∏¡ ∂μƒ∞´∫∏™ ™À¡√π∫π∞™∂ȂϤˆÓ: ∞. ∞Ó·ÛÙ·ÛÈ¿‰Ë˜

∏ªÂ۷ȈÓÈ΋ fiÏË Ù˘ ƒfi‰Ô˘ ·ÔÙÂÏ› ¤Ó· ÌÓËÌÂÈ·Îfi ·Ú¯ÈÙÂÎÙÔÓÈÎfi Û‡ÓÔÏÔ·ÁÎfiÛÌÈ·˜ ÈÛÙÔÚÈ΋˜ ÛËÌ·Û›·˜. ∫·Ù·Ï·Ì‚¿ÓÂÈ ÙÔ ÎÂÓÙÚÈÎfi ÙÌ‹Ì· Ù˘ Û‡Á¯ÚÔ-

Ó˘ fiÏ˘, ÔÚÈÔıÂÙÂ›Ù·È ·fi ÙȘ ÌÂ۷ȈÓÈΤ˜ Ô¯˘ÚÒÛÂȘ Î·È Â›Ó·È ÎËÚ˘Á̤ÓÔ ÈÛÙÔ-ÚÈÎfi ÌÓËÌÂ›Ô ÙÔ 1960 ·fi ÙÔ ÀÔ˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡, ÂÓÒ ÙÔ 1988 ÂÓÙ¿¯ıËΠÛÙÔÓηٿÏÔÁÔ ÙˆÓ ÌÓËÌ›ˆÓ Ù˘ ·ÁÎfiÛÌÈ·˜ ÔÏÈÙÈÛÙÈ΋˜ ÎÏËÚÔÓÔÌÈ¿˜ Ù˘ UNESCO. ∏¤ÎÙ·Û‹ Ù˘ Â›Ó·È 39,8 ÂÎÙ¿ÚÈ·, ÂÓÒ Ì·˙› Ì ٷ Ù›¯Ë ÊÙ¿ÓÂÈ Ù· 57,25 ÂÎÙ¿ÚÈ·. √ ÏË-ı˘ÛÌfi˜ Ù˘ fiÏ˘ Û˘Ó¯Ҙ ÌÂÈÒÓÂÙ·È Î·È Ù· ÚÔ‚Ï‹Ì·Ù· Û˘ÛÛˆÚ‡ÔÓÙ·È Î·È ÚÔ-ηÏÔ‡Ó ¿ıÏȘ Û˘Óı‹Î˜ ‰È·‚›ˆÛ˘ Î·È ÛÙ·‰È·Î‹ ˘Ô‚¿ıÌÈÛË ÙÔ˘ ÎÂχÊÔ˘˜ Ù˘ fi-Ï˘. ∞ÓÙÈΛÌÂÓÔ Ù˘ ‰Èψ̷ÙÈ΋˜ ·˘Ù‹˜ ÂÚÁ·Û›·˜, Â›Ó·È Ë ÌÂϤÙË Ù˘ ÈÛÙÔÚÈ΋˜Î·È ÔÏÂÔ‰ÔÌÈ΋˜ ÂͤÏÈ͢ Ù˘ fiÏ˘, Ô ÂÓÙÔÈÛÌfi˜ ÙˆÓ ÛËÌÂÚÈÓÒÓ ÚÔ‚ÏËÌ¿ÙˆÓÎ·È Ë ‰È·Ù‡ˆÛË ÚÔÙ¿ÛÂˆÓ Ì ÛÙfi¯Ô ÙË ‰È·Ù‹ÚËÛË, ÙËÓ Â͢Á›·ÓÛË Î·È ÙËÓ ·Ó¿‰ÂÈ-ÍË Ù˘ ÂÚÈÔ¯‹˜ Ù˘ ÚÒËÓ ∂‚Ú·˚΋˜ Û˘ÓÔÈΛ·˜, Ô˘ ηٷϿ̂·Ó ÙÔ ÓÔÙÈÔ·Ó·ÙÔ-ÏÈÎfi ÙÌ‹Ì· ÙÔ˘ ÙÂȯÈṲ̂ÓÔ˘ ÔÈÎÈÛÌÔ‡. ∏ ÂÚÈÔ¯‹ ·ÚÔ˘ÛÈ¿˙ÂÈ ÂӉȷʤÚÔÓ ÙfiÛÔ ÁÈ·Ù· ·Ú¯ÈÙÂÎÙÔÓ‹Ì·Ù¿ Ù˘, fiÛÔ Î·È ÁÈ· Ù· ·ÏÔ‡ÛÙÂÚ· Î·È Ù·ÂÈÓfiÙÂÚ· ÎÙ›ÚÈ· (ÎÙ›ÚÈ·Û˘Óԉ›·˜), Ô˘ fiÏ· Ì·˙› ‰ËÌÈÔ˘ÚÁÔ‡Ó ¤Ó· ÔÏÂÔ‰ÔÌÈÎfi Û‡ÓÔÏÔ ÌÔÓ·‰ÈÎfi.

Rhodes medieval city constitutes a monumental architectural complex of inter-national historic significance. It occupies the central part of the contemporary

city, its borders are defined by the medieval fortification, and it is listed by the Min-istry of Culture as a historic monument since 1960, while in 1988 it was inscribedon UNESCO’s World Heritage List. It’s extended on 39,8ha, while including the for-tifications the area is 57,25ha. The population of the city continuously diminishesand the problems are accumulated evoking abject living conditions and gradualdegradation of the city shell. This project attempts to study the historic and urbanevolution of the city, to identify the problems afflicting it today, and set out a pro-posal aiming at the conservation, the clearance and the enhancement of the formerJewish quarter located at the SE part of the walled town. The area is full of interestbecause of the outstanding buildings as well as the more humble ones, since to-gether comprise a unique urban complex.

πÙ·ÏÈ΋ ·ÂÚÔʈÙÔÁÚ·Ê›· Ù˘ ÌÂ۷ȈÓÈ΋˜ fiÏ˘.Italian aerial photograph of the medieval city.

πÔ‰¿ÌÂÈÔ Û‡ÛÙËÌ·.Rectangular urban system.

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¶ÚfiÙ·ÛË ·Ó·‚¿ıÌÈÛ˘.Enhancement proposal.

∫·Ù¿ÛÙ·ÛË ÎÙÈÚ›ˆÓ.Buildings’ condition.

∫ÙÈṲ̂ÓÔ - ¿ÎÙÈÛÙÔ.Built - unbuilt.

ª·Î¤Ù· Ù˘ ÂÚÈÔ¯‹˜ ÌÂϤÙ˘.Model of the study site.

∑ÒÓ˜ ÚÔÛÙ·Û›·˜.Protection zones.

ÃÚ‹ÛÂȘ Á˘.Land uses.

131¶··‰ËÌËÙÚ›Ô˘ EϤÓË, TÛ›ÊÙË ™ÙÂϛӷ

+ ∞π™£∏™∏

EȂϤÔÓÙ˜: A. §·‰¿, A. B¤ÙÙ·˜

Papadimitriou Eleni, Tsifti Stelina

+SENSE

Supervisors: A. Lada, A. Vettas

∏‰Èψ̷ÙÈ΋ ·˘Ù‹ ÂÚÁ·Û›· ·Ó·Ê¤ÚÂÙ·È ÛÙÔ Û¯Â‰È·ÛÌfi ÂÛˆÙÂÚÈÎÒÓ ¯ÒÚˆÓ, Ô˘¤¯Ô˘Ó ˆ˜ ÛÙfi¯Ô Ó· ·ÏÏËÏÂȉڿÛÔ˘Ó Ì ÙÔÓ ÂÈÛΤÙË, ÂÓÙ›ÓÔÓÙ·˜ Ù· ÂÚÂı›-

ÛÌ·Ù· ÙˆÓ ·ÈÛı‹ÛÂˆÓ ÙÔ˘: Ù˘ ·Ê‹˜, Ù˘ ·ÎÔ‹˜, Ù˘ fiÛÊÚËÛ˘.

∞ÒÙÂÚÔ˜ ÛÎÔfi˜ Ù˘ ÂÚÁ·Û›·˜ ·˘Ù‹˜ ‹Ù·Ó Ô ÂÈÚ·Ì·ÙÈÛÌfi˜ ÛÙÔÓ Û¯Â‰È·ÛÌfi ¯Ò-ÚˆÓ, fiÔ˘ Ë ‰ÔÌ‹ ÙÔ˘˜ ÛÙËÚ›˙ÂÙ·È fi¯È Û ÔÙÈο ÂÚÂı›ÛÌ·Ù· ·ÏÏ¿ ÛÙËÓ ·ÓÙ›ÏË„Ë ÙÔ˘¯ÒÚÔ˘ Ì fiÏÔ ÙÔ ÛÒÌ·. ∏ ÂÚÁ·Û›· ·ÔÙÂÏÂ›Ù·È ·fi 6 ÌÔÓ¿‰Â˜ 2 ÁÈ· οı ·›ÛıËÛË.∫¿ı ÌÔÓ¿‰· ‰Ô˘Ï‡ÂÈ Ì ΢ڛ·Ú¯Ë Ì›· ·›ÛıËÛË Î·È ÌÂÏÂÙÒÓÙ·˜ Ì›· ¯ˆÚÈ΋ ¤ÓÓÔÈ·fiˆ˜: ÎÂÓfi-Ï‹Ú˜, ÌÂÙ¿‚·ÛË Î·ı’ ‡„Ô˜, ›‰Ô.

√ ¯ÒÚÔ˜ Â›Ó·È ·‰Ú·Ó‹˜ Î·È ÂÓÂÚÁÔÔÈÂ›Ù·È Ì ÙËÓ ·ÚÔ˘Û›· ÙÔ˘ ÂÈÛΤÙË. √ ¿Ó-ıÚˆÔ˜ ‰ËÌÈÔ˘ÚÁ› ÙÔ ÎÂÓfi, ÚÔηÏ› ‹¯Ô˘˜, Ì˘Úˆ‰È¤˜.

ªÔ˘ÛÈÎfi ÎÔ˘Ù› (·ÎÔ‹-›‰Ô): ÌÂÙ·ÏÏÈÎÔ› ·ÏÈÓ‰ÚÔÈ ÛÙË ÛÂÈÚ¿ Ô˘ ÂÚÈÛÙÚ¤ÊÔÓÙ·ÈÌ ÙËÓ Î›ÓËÛË ÙÔ˘ ÂÈÛΤÙË. ªÈÎÚ¤˜ ÂÍÔ¯¤˜ Ù·Ï·ÓÙÒÓÔ˘Ó ÌÂÙ·ÏÏÈÎfi ¯Ù¤ÓÈ ÚÔη-ÏÒÓÙ·˜ ‰È·ÊÔÚÂÙÈΤ˜ Û˘¯ÓfiÙËÙ˜ ‹¯Ô˘.

™Î¿Ï· (fiÛÊÚËÛË-ÌÂÙ¿‚·ÛË): ÛοϷ Ì ‰ÈÏfi Ú›¯ÙÈ Î·È ¿ÙËÌ·. ΔÔ ÌÈÛfi Ûηϛ ˘Ô-¯ˆÚ› Ì ÙÔ ‚¿ÚÔ˜ ÙÔ˘ ÂÈÛΤÙË ‰È·ÌÔÚÊÒÓÔÓÙ·˜ ÌÈ· ηÓÔÓÈ΋ ÛοϷ, Ù·˘Ùfi¯ÚÔ-Ó· fï˜ ÙÔ Ûηϛ ·˘Ùfi ¤¯ÂÈ Û¯¿Ú· ÁÈ· ÂÈÊ¿ÓÂÈ· ÂÈÙÚ¤ÔÓÙ·˜ ¤ÙÛÈ ÙËÓ ¤ÍÔ‰Ô˘‰Ú·ÙÌÒÓ ÂÌÏÔ˘ÙÈÛÌ¤ÓˆÓ Ì ·Èı¤ÚÈ· ¤Ï·È·.

™ÎÔ˘Ï‹ÎÈ (·Ê‹-ÎÂÓfi Ï‹Ú˜): ÊÔ˘ÛΈÙÔ› fiÁÎÔÈ ·fi Ï·ÛÙÈÎfi ‰È·ÌÔÚÊÒÓÔ˘Ó ÌÈ·ÛÙÂÓ‹ ÔÚ›·. √ ÂÈÛΤÙ˘ Ì ÙÔ ÛÒÌ· ÙÔ˘ Ȥ˙ÂÈ Ù· ÙÔȯÒÌ·Ù· Î·È ‰È·ÌÔÚÊÒÓÂÈÙÔÓ ÎÂÓfi ¯ÒÚÔ ÒÛÙ ӷ ÔÏÔÎÏËÚÒÛÂÈ ÙËÓ ÔÚ›·.

º˘ÛÔ‡Ó· (fiÛÊÚËÛË-›‰Ô): ‰È·¯ˆÚÈÛÙÈο ›‰· Ô˘ ÌÈÌÔ‡ÓÙ·È Ê˘ÛÔ‡Ó˜ ‰È·-ÌÔÚÊÒÓÔ˘Ó Ì›· ÔÚ›· Ì ÂÚ¿ÛÌ·Ù·. √ ÂÈÛΤÙ˘ Ú¤ÂÈ Ó· ȤÛÂÈ Ù· ‰È·¯ˆÚÈ-ÛÙÈο fiÔ˘ Ì·˙Â‡Ô˘Ó Î·È ÏfiÁˆ ›ÂÛ˘ ·ÂÏ¢ıÂÚÒÓÂÙ·È ·¤Ú·˜ ÂÌÏÔ˘ÙÈṲ̂ÓÔ˜ Ì·ڈ̷ÙÈΤ˜ Ô˘Û›Â˜.

ΔÛÔ˘Ï‹ıÚ· (·Ê‹-ÌÂÙ¿‚·ÛË): ΢ÎÏÈ΋ ÙÛÔ˘Ï‹ıÚ· fiÔ˘ ÙÔ Â›Â‰Ô Î‡ÏÈÛ˘ ¤¯ÂÈ ÙÂ-Ì·¯ÈÛÙ›. Δ· ÌÈÛ¿ ÙÌ‹Ì·Ù· Ù˘ ÂÈÊ¿ÓÂÈ·˜ Â›Ó·È ·Ó·ÛËΈ̤ӷ Î·È Û˘ÁÎÚ·ÙË̤ӷ ÌÂÂÏ·ÛÙÈÎÔ‡˜ ÈÌ¿ÓÙ˜ Ì ٷ ÛÙ·ıÂÚ¿. √ ÂÈÛΤÙ˘ ηıÒ˜ Î˘Ï¿ ÛÚÒ¯ÓÂÈ Ù· ÙÌ‹Ì·-Ù· ·˘Ù¿ ·ӷʤÚÔÓÙ·˜ Ù· Ì ÙÔ ÛÒÌ· ÙÔ˘ ÛÙËÓ ·Ú¯È΋ ÙÔ˘˜ ı¤ÛË.

™ˆÏ‹Ó˜ (·ÎÔ‹-ÎÂÓfi Ï‹Ú˜): ۈϋÓ˜ ÎÏÈ̷Έ̤ÓÔ˘ Ì‹ÎÔ˘˜ ·Ó·ÚÙÒÓÙ·È ·fi ÙËÓÔÚÔÊ‹. √ ÂÈÛΤÙ˘ ÂÚÓÒÓÙ·˜ ·Ó¿ÌÂÛ· ·fi ÙÔ ÛÙÂÓfi ¤Ú·ÛÌ· Ô˘ ·Ê‹ÓÔ˘ÓÚÔηÏ› ÙËÓ Ù·Ï¿ÓÙ¢ÛË ÙÔ˘˜ Î·È Û˘ÓÂÒ˜ Ù˘ ÎÚÔ‡Û˘ ÙÔ˘˜, Ì ·ÔÙ¤ÏÂÛÌ· ÙËÓ·Ú·ÁˆÁ‹ Ï‹ıÔ˘˜ ‹¯ˆÓ.

This project is about the interior design of interactive spaces, aimed on enhanc-ing their senses: touch, hearing, smell.

The goal was also to design spaces that are not perceived through looking butthrough the perception of space through the whole body. It consists of 6 units (2 forevery sense). Every unit functions with a dominant sense and the study of a spatialmeaning like: void-solid, transition through height, level.

The space is inactive until a person enters it. The visitor creates the void, makessounds and smells.

Music box (hearing-level): metal cylinders placed in a line that turn with the presenceof the visitor. Small extrusions oscillate a metal comb creating various sound fre-quencies.

Staircase (smell-transition): a staircase with double sized steps. The half of the stepretreats with the weight of the visitor turning it into a normal staircase while releas-ing vapors enriched with essential oils through a grate.

Worm (touch-void solid): inflated volumes of plastic form a narrow route. The vis-itor pushes the inflated wallings with his body and forms the void in order to passthrough.

Blowtube (smell-level): dividing levels that mimic blowtubes form a route with pas-sages. The visitor has to press the divides that retract in order to release aromaticessences.

Slide (touch-void-solid): circular slide where the sliding level is fragmented. Half ofthe parts of the surface are elevated and supported with elastic bands from the sta-ble ones. The visitor rolls and pushes these parts re-placing them in their initial po-sition with his body.

Tubes (hearing-void-solid): tubes of scaling length suspended from the ceiling.The visitor passes through the narrow passage the tubes form, creating their oscil-lation and their eventual collision, thus creating the production of multiple sounds.

ºˆÙÔÚ·ÏÈÛÙÈ΋ ·ÂÈÎfiÓÈÛË “·ÎÔ‹”.Photorealistic representation: Hearing.

ºˆÙÔÚ·ÏÈÛÙÈ΋ ·ÂÈÎfiÓÈÛË “fiÛÊÚËÛË”.Photorealistic representation: Smell.

ºˆÙÔÚ·ÏÈÛÙÈ΋ ·ÂÈÎfiÓÈÛË “·Ê‹”.Photorealistic representation: Touch.

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ºˆÙÔÚ·ÏÈÛÙÈ΋ ·ÂÈÎfiÓÈÛË “fiÛÊÚËÛË”.Photorealistic representation: Smell.

ºˆÙÔÚ·ÏÈÛÙÈ΋ ·ÂÈÎfiÓÈÛË “·Ê‹”.Photorealistic representation: Touch.

¢È·‰Ú·ÛÙÈ΋ ̷Τٷ ÎÏ. 1:1“ÌÔ˘ÛÈÎfi ÎÔ˘Ù›”.Interactive model 1:1 Music Box.

ºˆÙÔÚ·ÏÈÛÙÈ΋ ·ÂÈÎfiÓÈÛË“ÛοϷ”.Photorealistic representation:Staircase.

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