ON/OFF presents a Public Tragedy – in eight parts. Taking over a series bus-stops along a typical Athens bus route, we stage a sequence of scenes from our tragedy. We take culture out of its sanctified institutions and into the space of everyday-life. Advertisement lighting is repurposed as a silhouette creator, and the bus-stop claimed temporarily as a place of cultural expression. The performances can be watched as stand-alone pieces or followed for the entire play. Public Tragedy explores the political potential of performance as a direct, ad-hoc means of debate.

The open source public space devices is a potential kit of resources and knowledge shared by communities and urban practitioners already involved in shaping and redesigning public spaces.

This research and development is focused on conditions where culture of sharing could democratize the production and transformation of public spaces in spaces of commons.

The aim is to integrate within co-design, making and prototype of devices, an exploration of what public spaces mean for european people.

The outputs are going to be a replicable methodology, a situated research in different scenarios and an initial kit of open source public space devices.

The research undertaken to develop this idea was supported by the European Cultural Foundation.

Making Stories is a participatory collaboration between young designers and computer scientists who challenge the short lifespan of daily objects, technologies and materials. They work with broken, seemingly useless, things, repairing them or creating new objects, which present alternatives to the current economic model characterized by mass-production and -consumption. The stories ‘behind’ the objects are recorded to reveal the multiple meanings and memories that things carry. These stories, told by owners and users of the objects, are manifestos of the growing consciousness among ordinary people that repairing and re-making objects are viable alternatives to buying and producing.

ParaSol is a datascape, a 3 dimensional diagram showing the annual energy production of AKTINA*. It constitutes a playful structure, resembling a “huge linear hat” (84 pieces, 50×450 cm). Across its length, ParaSol gives information about energy production during one year period, while its width shows the amount of electric power produced during a day. The artwork combines digital with manual production (design & fabrication / assembling) and points towards the notion of digital craftsmanship. For its fabrication, open hardware 3d printers have been employed, both in Athens and Rotterdam, in collaboration with EEL/LAK (GFOSS) and FabLab Athens.

The Jugaad Workshop has been hosted in Museum of Arte Útil exhibition at Van Abbemuseum in Eindhoven on 2nd February 2014. Jugaad is a Hindi-Urdu term used to describe a quick, alternative way of solving or fixing a problem through improvisation due to the lack of available resources, considered as a low-cost design methodology. We used the Arte Útil platform to engage and share quick open methods to solve daily issues, which can be quite humorous. During the workshop we re-enacted three Jugaad examples. A portable knife sharpener on a bicycle, an alternative way for cutting onions without tears and how to make mocha coffee without a stove.

Somewhere between a home-video and a postmodern documentary this film is composed entirely of user uploaded videos. Arte Povera, POV documentary, cinéma vérité, perhaps a portrait of a generation: Joe catalogues and preserves. Who is Joe? Or, more accurately, what the hell is water?

Raumprobe Athens is proposed as a research installation that focuses on the possibilities of architecture to produce 1:1 scale models; spaces that even if they are proposed in the correct size are still models; they are not organized as final productions but as test environments at a city scale or as not sufficient places; the produced mockups are programmatically built in order to control and preview easily non-existing environments. Temporary constructions will create public interventions such as pedestrian streets, bicycle lanes or temporary parking lots, as well as changes in the use of public and private urban spaces. Every mockup constructs thoroughly in precise dimensions the exact version of a different possible fake but possible and visible character of the city. The “provisory final” impression of mockups is here used in order that quick impressions are formed at an urban scale.

The “Parasitic City Creator” is an open source platform, which collects and provides the necessary information and knowledge about the composition of new kind of spatial typologies of living, in the Greek urban landscape.

Based on a triptych vocabulary—site, usage, material—the whole knowledge is organized by a volunteer team of architects, engineers, urban planners, in a manual form, in which each individual person can refer. Choosing the type of space and materials, the individual or even community follows the composition directions of the proposed construction.

The whole knowledge and information of this Platform is constantly updated through a process of dialogue and feed-back between scientists and citizens.

In July 2014, the AA Visiting School Slovenia, a three week design-build-make, experimental, teaching and research programme, part of Architectural Association School of Architecture in London, explored nanotouristic strategies in relation to the building and institution of Cultural Centre of European Space Technologies (KSEVT), which generates 25.000 visitors per year, and Vitanje, the town of 600 inhabitants.

The work focused on the concept of experience tourism, engaging in projects, from site-specific micro interventions at a 1:1 scale to holistic strategies for existing context. Adapting to their specific setting, the projects materialized in actions and structures that are temporary or permanent, creating a comprehensible, tangible and novel experience of tourism. Within the contemporary economic realities, the workshop aimed for small and smart solutions that relied on local resources and innovative design to create participatory interaction between the visitors, the building and institution of KSEVT and the community of Vitanje.

Athens is, many times, considered as the apotheosis of urban informality. An urban sprawl created by the repeatedly production of the polykatoikia dwelling model. This ongoing Diploma Project proposes new forms of urbanity capable to turnaround the pictorially iconic urban landscape of contemporary Greek cities and in particular the cityscape of Athens. The foresaid main concern of the project formulates by creating new collective experiences, formal and informal activities and forms of urbanity through conceptual design, programmatic evolutionary studies (both addressed in tandem) of alternative functions, structures and geometries placed as a suffix on the top of the existing sprawl.

Creating spaces to be inhabited by people who never had the chance to experience the magic of architecture. It is all about what architecture can be through materiality and imagination by translating human stories into spaces. Something ephemeral but at the same time permanent and long lasting: an archive of human stories where the untold becomes architecture and everyday problems are a fragment of creation. Located in a dense council estate in Caledonian Road, London.

Cricket Shade is an optimized system based on Hypercrafting, that reorganizes open public space, through shaded passages and open air markets. Fascinated by the ‘in between’ urban life, I am designing an installation that provides shading qualities and the infrastructure to maintain the concept of living in a semi-private/semi-public space in the street level.

Hypercrafting actuates new urban interventions by bringing together 3D printing technologies with local craftsmanship. It is an architectural approach devoted to locality, allowing adaptation according to locals’ needs, expansion or disassembled and reassembled in other in another site.

The HELIX Centre (HELIX stands for Healthcare Innovation Exchange) a joint initiative between the Royal College of Art (RCA) and Imperial College London (ICL) will focus on cost-effective, high-impact, design‐led initiatives that can transform healthcare both in developed and developing health systems. The unique design, part of the RCA Live Projects, programme, designed by MA Architecture students is founded on the belief that the architects’ future authorship resides in the design and patents of components that are easily transported and assembled by unskilled communities. Accepting one day all buildings will be kit-build made in community workshops and assembled by community needs.

Densifications and dilutions of an hexagonal grid intimate relationships between users and public space. Overall gesture attempts to reread urban environment, by emphasizing on hidden potential of urban densities. It enhances the notion of neighborhood, through manipulations of intimacy. Urban and neighborhood life is downloaded on the street, uncovering boundaries of a new public, urban space. Habits and personal itineraries are interwoven with public uses all along the city fabric, setting new paces and meanings for the city.

We developed the concept of nanotouristic agency with specific INFORMAL and PERSONALISED approach to tourism. It is called Rajzefiber—which means the anxiety before travel (“Travel nerves, Travel fever”) and was derived from the German word Reisefieber that was commonly used between Slovenian people, especially those living near the Austrian border, such as the inhabitant of the city of Maribor.

The project was developed as extremely SITE SPECIFIC—not only in terms of experiencing the local environment, but also as a reaction towards many problems that the city of Maribor is facing. It is a kind of URBAN CATALYST, by which we could inhabit unused and empty spaces of the city, promote small economies and give people a professional recognition and a possibility to work (SOCIAL aspect).

Rajzefiber Biro was strategically established in an abandoned shop within the old city centre. Collectively self-renovated project space operates as a multipurpose place for exchange, performance, education and production. It provides and produces co-creative memorabilia ART-FACTS, made by most special local artists and craftsmen, redefining the souvenirs. It is a melting pot, a platform that constantly researches and follows the needs of co-creators of touristic/cultural/artistic activities. It avoids formality and provides collects endless all-sensual local experience of Maribor.

Rajzefiber Biro was part of research theme nanotourism, a creative critique to the current downsides of conventional tourism, as a participatory, locally oriented, bottom-up alternative nanotourism, mentored by Aljoša Dekleva in Tina Gregorič. Nanotourism has been awarded with the exhibition’s highest honour the Best Collaboration Award by the BIO50 jury (Konstantin Grcic, Saša J. Maechtig, Alice Rawsthorn).

DIY practices, making their way from the 70’s to Ikea leaflets, have always been a way to experience creative moments and instantaneous illusions of autonomy. But what happens when the prescription and constructional materials of information are standardised into 30×50 cm boxes available for all?

The Reality Construction Toolbox is a piece of furniture that consists of 12 drawer-standardised pieces of information. The only thing that you have to do is to open the right drawer and begin your own info war. As the media grow they are being more and more involved in the creation and perception of reality. So, in a situation where limits between information and reality, screen and real life are blurring you can, by creating your very own info, turn yourself from a simple viewer into a producer of reality (a contemporary kind of God).

The concept of this project is to create a modern monument of new culture that will raise more social consciousness about the amount of waste we produce as a society. Filled up with our trash-bags, the tower never looks the same. It may be full or empty, yellow or blue. Every single day, even every single hour, it will be unique, depending on the different trash-bags that will be accumulated in it, their various colors and positions. By making visible the hidden parameter of the actual amount of garbage that we make, it challenges us to think towards a new culture of living. Constructed by the public, it will be a whole new experience, in constant interaction with the people. It will be defined by them, and it will define them as well.

Coming soon to your neighborhood!

Nanotourism is a new, constructed term describing a creative critique to the current environmental, social and economic downsides of conventional tourism, as a participatory, locally oriented, bottom-up alternative.

The term was established within BIO50—24th Biennial of Design, Ljubljana, Slovenia, which included projects from Slovenia, Croatia and Poland. Nanotourism was awarded with the BIO50 highest honour the Best Collaboration Award.

Nanotourism: Routine Revolution is developed to explore our own neighborhoud and to find the extraordinary in the everyday. We’ve chosen typical housing estate (60s.) in Kraków (Poland) and decided to organize several meetings, walks and workshops with inhabitants. In exchange we got stories about surrounding from residents perspective—they describe contexts and histories. together, we created illustrated story about the place. We’ve been interviewing locals to learn the history and to collect private memories about the place. Using original photographs and stories, we’ve prepared the series of collages that are a sum of reminiscences, a representation of their common memory. One of them, chosen by residents, became a postcard promoting the place.

NANOTOURISM IN THE HOUSING ESTATE is an instrument of change. It can turn places passed by every day into places with a special meaning. Nanotourism in a place of residence is an infiltration, entering into and deep recognition, macrojourney (requiring arrangements, engagement, sacrifices) into ‘nanosphere’ that is a great journey into closest neighborhoud. Forget about tourist information—it’s important to gather all necessary information about particular place on your own, carefully investigating, asking, checking out, and talking. All necessary elements are time, patience and attention.

From conventional tourism we take up elements derived from:

– desire to experience something new, adventurous, to forget about everyday life;
– desire to explore particular place—its history, culture, architecture, language, cuisine, etc.;
– habits of a tourist—walking, taking photos, sending postcards

Cities, competing for tourists, try to put forward its distinctive characteristics: history, monuments, local dialect, folklore—turning them into products. Nanotourism denies colonialism. It rests on participation of outsiders and residents—both groups being nanoturists. residents explore history of their surroundings, refresh memories, find old photographs. Outsiders investigate place—its context, history, specificity. Both attempt to get to know the place better—achieving similar goal, but taking different directions.

WE ARE VARENYE ORGANISM, A LIVING FACTORY OF CREATIVE EXPERIMENTS. There are nine of us, but sometimes it can be 15 or even 35. We are inventors, artist, designers, architects and producers. We work to develop more abstract way of thinking and to make human a creator instead of a consumer. One of our favourite themes is creating huge toys and playful training machines, turning cities into futuristic art gyms.

Our inspiration is an ARCHITECTURE from ANOTHERPLACE, ANOTHERTIME, OTHERPEOPLE. Back THERE between old rivers and mountains, in forgotten villages in Greece, in Yemen, In Iran or far in New Mexico… along the equator. Back THEN that the most obvious material of the landscape, the EARTH that we are walking on, was moulded to produce houses, palaces, castles… Back to DIFFERENT SOCIAL RELATIONSHIPS where the only social superpower was the ALLTOGETHER… to build the house for the neighbour and then to celebrate.

Our visit to Korestia, adobe earth villages in northeast Greece, and our own involvement with the material by producing experimentally a series of mud-bricks gave us the motivation to research this old building technique and try to PLACE this KNOWLEDGE in the city. Our UTOPIA is called EARTHLAB and is an outdoor laboratory briquette production with the participation of city residents. The SHARED EXPERIENCE and the MANUAL CHARACTER of the workshop are the most important elements of the design idea that create the possibility of short, temporal moments of ENTHOUSIASM and HAPINESS. The participatory process enables the ability of citizens to intervene dynamically in through the stages of the production line that turns the soil into structural unit, and this unit in urban landscapes.

Politics is agonism through separation and confrontation. The very condition of architectural form is to separate and be separated. Through its act of separation and being separated, architecture reveals at once the essence of the city as the composition of separate parts, as an assembly.

The project proposes the dis-assemblage theory as an architectural tool for the understanding of the city.

An urban, post-crisis landscape was chosen as a case study.

“After the disaster, the inhabitants of Iphimedea city didn’t manage to salvage any of their personal belongings except their personal sack. Life in this new and always ephemeral city doesn’t begin easily; in order to sit, to eat, to associate, you have to step on, to hang and get hanged, and to swing. The city waits the new inhabitants, with its metal feet rising in distance from the ground, entangled. And when they finally get here, the steps are specific, nearly ritual: each one unfolds his sack in order to open the textile, he applies the hooks in the slits, he climbs the rope ladder, he hangs the hooks on the rope grid, he enters the curve of the textile and he swings.”

Inspired by Italo Calvino’s narrative “Le Citta Invisibili”

The ephemeral shelter consists of a resistant textile of specific dimensions, which is a foldable backpack. Each user based on the need for accommodation unfolds the backpack and creates the personal shelter, adapting it to the receptors found in the physical or constructed environment. This ephemeral shelter idea can be developed in extreme and emergency conditions by creating a new collective habitation.

The Bottle Wasps Trap is an idea, a solution and an act at the same time. It’s a conceptual project about the mutation of a bottle to something else. Something new, innovative, anonymous. It explores how a single object acquires new use, properties and value through an ad-hoc change of form.

The bottle wasps trap, as an adhocratic synthesis, it’s an exemplary emergent solution to a problem. How emergent is the way we face everyday life? Is socialization our liquid attractor? Are we spiralling to our own wasps traps? If we could place ourselves, can we tell: Are we the bottle or the wasp?

Undevelop-West Urban Correction (W.U.C.) is an ironic photo-realistic hypothesis, in terms of real excess! Advertising the myth of the past DIY Greek situation.* Taking advantage of the current society’s fury: to punish the responsible society part for the crisis, once again they have the opportunity to return their illegal profits, investing in the Greek city’s dead body and create their final sanctuary, as a correction environment, seeking for their catharsis…

* The local “Avant-garde” had an amazing benefit against the major of the population: being the ones who decide, vote to create and finally ignore any kind of law, they had the chance to earn and enjoy, creating their closed-source code of life!

Periptero is a small kiosk that represents micro scale commerce. As an architectural class in itself these objects are part of the urban landscape. Our project wants to transform one of the many abandoned periptero’s in Athens into a social hub.

The periptero will be hosting a mini library with subjects like economy, art, technology, politics, design and architecture. We want to invite speakers like artists, engineers, architects, politicians, etc., to give a public presentation or lecture.

The project wants to challenge the notion of the neutrality of public space and literally wants to occupy the street.

A project for Warsaw, Poland.
Utopic vision is resolving two urgent problems of Warsaw today. Using green checkered tablecloth, we aim to cover a setback in efforts of local authorities to create a new building of the Museum of Modern Art. We split equal parts of allotments inviting artists for residency projects and in the basements of their residences we organize exhibitions. We organize seasonal attractions. Instead of entering with art into public spac,
we enter with the public space into art.

Ironic play with the legacy of the communist system (#grid, #symmetry, #cooperation, #social) through confrontation with art (#freedom, #individualism, #transformation, #polemics). Instead of burring the past we propose to turn the imperfect and peculiar remains of the communist Poland into our national strength, testimony and a World wide sensation.

This green micro-lab of art is our voice in a current dispute about the future of allotments. Not only it redefines of the phrase “museum” but also attempts to introduce vibrant green space in the city center of Warsaw.

Poker Invitation is an occasion and a critical tool for setting parametric-dialogue as a means for understanding the dominance and crisis in the metropolis. Virtuosity in recognizing the marks of the city is an essential part for developing the tactics in playing the cards dealt, since ‘strategy’ is revealed as a closed-system paradigm during dealing the cards.

The project is developed in two distinct though complementary parts: A deck of cards on the back of which is applied the aerial photo of the center of Athens cut to pieces defining the cards as ‘marked’ and repetitive poker games with this deck provoking a discourse possibility.

An algorithmical wandering musical playscape.
The objective of this design project, is the establishment of game/play inside the city, for it to function as a break of time and space, for the dwellers of the urban landscape. Playing is a free of charge, free of time, free of space, unlimited probability and ability of every species. The existence of it inside the regimented urban grid amplifies its importance and the effect of its function. We place our playscape on the road —on a carefully selected road inside the city. For this choice to be made an algorithm of logical steps was constructed. Steps that ask questions about the existence of hot spots of educational and cultural activity, road directionality, noise, building heights and other unique elements of street.

Inspired by an old original object use—the tyre hung from a tree by a rope being transformed into a swing, to serve the need and necessity of playing—I transform an elastic tyre into a seat, keeping the same playful attitude.

By using natural linen line I create spokes, which refer to the original body of the tyre, the wheel, functioning at the same time as a chair. The primordial properties of the fabric—elasticity, luster—as well as it’s original design pass to the new object, giving it suspension, tactility and an authentic effect.

Studio Superfluo and Sustainable Making are presenting a project where to build a structure through wasted material reuse. The purpose of the performance is to demonstrate the possibility to start production lines alternative to the current ones to decrease the exploitation of raw materials and resources, proving that even the rubbish is a usable resource. All the materials will be found in the place of construction. Through crafting and permaculture will be created a living space, in order to create an independent structure where to sleep, to cook and to wash. An example of how to handfully satisfy our needs.

Archstudies.gr is a non-profit online, open platform for collecting, publishing and archiving projects and ideas in architecture, design and visual arts. The gathered work is presented as a common library available to and addressing a wider community, beyond the narrow circle of architects and designers, thus aiming at motivating people to participate in the design and construction of the urban environment, the built world, the design industry and the art scene. Our aim is to create an open dialogue within a diverse network of students, scholars, professors and society so that everyone realizes his/her role and responsibility for the configuration of the structured and the natural environment.

Archstudies.gr was launched at the end of 2011 by a group of architecture students and has grown rapidly ever since.

L.S.P. stands for Lunch Street Party, an urban action that uses the ritual of a lunch in order to activate the public space. This repeatable action based on the concept of: “bring your food and lets all eat together” inhabits the public spaces of Athens since 2010 and takes place each time in a different neighborhood. Setting up this public event we find ourselves always in need of tables for the participants to leave their food, so that everybody can access it. The tables so far were the biggest burden of the whole set up, since we always had to use cars in order to transport them and a storage in order to keep them till the next time.

The L.S.P. modular table is formed by metal equilateral triangles of 1 meter on each side and 8 mm thick, in order to be easily constructed and transported on foot or by bike and also easily stored occupying a small space. The triangles connected with plastic tie wraps, can form a variation of tables producing a different spatial relation on each public space, depending always on the number of the participants. This easily assembled and disassembled structure aims to amplify the idea of participation. On a basic structure of triangles provided by the LSP team every participant can bring and add on his\her part by bringing four triangles that form a stable component. Instructions, in form of a video tutorial, on how to construct the triangles can be found in lunchstreetparty.blogspot.com.

AdhocKracy Frogs 1.0 demo BETA is an interactive projection mapping installation. Using openKinect, processing, and VPT7 (open source projection mapping software), it tries to re-establish communication in a multiuser system, without the restricting boarders of hierarchy.

In a chaotic complex system, an ad-hoc situation is a scapegoat to order from disorder. We may live in a very different and much complex world, but without the ancient Greeks we wouldn’t even have the words to talk about many of the things we care most about. Take politics for example: apart from the word itself (from polis, meaning city-state or community) many of the other basic political terms in our everyday vocabulary are borrowed from the ancient Greek society systems: monarchy, aristocracy, tyranny, oligarchy and—of course—democracy aka, the #powerofthepeople. Greece was a collection of some 1500 separate communities scattered round the Mediterranean and Black Sea shores “like frogs around a pond”.

In this interactive installation the aim is to cooperate, with a frog as an avatar, in order to construct the image projected on the fractalized box.

What’s in a word? The ballot box is useless if it can not be interactive for everyone.

Dissolutions is a “click-to-move-ahead” video on the relationship between ourselves and an art container, an extension from public to inner private and the consequent loosing of self.

Making Together: from Expert Contribution, to Local Appropriation
The proposed shelter focuses on the collaboration between local population of slum settlements and building experts in order to improve living conditions in these urban environments. The design is based on a concrete core supporting a wooden structure, responding to fast and sustainable construction. The concrete core is a prefabricated box accommodating the kitchen and bathroom infrastructure, supplied by a local manufacturer. The living spaces evolve around that, situated within the wooden structure. The non-expert dwellers participate actively in that phase, guided by experts and gaining in experience and knowledge leading to more resilient communities.

Modern cities reflect the randomness whereby the current social relations in urban space are structured. The concept of “neighborhood” is becoming less distinct. Public space either becomes lifeless or commercialized. Today, the purpose and the manner of urban planning needs to be investigated.

Urban Transformation is the proposal of an integrated urban redevelopment. The aim is to produce a sequence of realistic and localized interventions in urban space of “neighborhood” level, to improve living conditions. The proposal partly consists of a “modular” of intervention that could be applied to equivalent deprived areas within big cities.

Charlois Wine is a legend we have been cultivating for years!

Since 2009 in the Kas of Ot-je, our vines grow luxurious and ruggedly in order to resist the cold Dutch winters. The terrain’s special composition of sand, soil, construction debris and floor paved with concrete tiles, filters the just right amount of water and minerals to produce an extraordinary and harmonic taste.

A city-wide community of wine lovers contributes their skills and love to all wine making steps: the grapes are harvested by hand, crushed by feet and pressed manually, before they start fermenting. Each year an artist is chosen to design a special edition bottle for red and white wine and for the grappa. These bottles are auctioned during the presentation of the Charlois Wine, sustaining the continuation of the project.

The Institute of Applied Autonomy is an ongoing project at the Bartlett School of Architecture, UCL, in London.

A seemless process of internal colonisation of entire societies is underway with cities claiming the set from panoptic prisons. On the outskirts of the post-political city, the Institute of Applied Autonomy is a space of study, research and decisive action. Standing on historically charged ground, it operates as an island of dissent in the New York archipelago of state violence. An autonomous unit, in terms of production of energy, food, and ideas, working for the de-colonisation of the political imaginary as a means to social progress and equality for the city of New York and elsewhere. Informational micro-weaponry and insurgent imagery is deployed in opposition to the arms and prisons of global hegemony. The institute calls all New Yorkers to join our mission and engage their bodies and intellect towards the construction of a sovereign, Nasdaq-free New York.

Sous les pavés, la plage!

Twitter has been used as real time source for various public health applications. This amount of unsorted data, lead us to the idea of creating a real time application that tracks and visualizes flu symptoms. Flutrack platform gathers flu related tweets from the entire world, with searching tag, words that are influenza synonyms and flu symptoms.

Stelling-bank is a prototype for a modular urban catalyst. The first of it’s kind is located in North Rotterdam and includes a seating area with 4 microgardens, a small greenhouse , a compost bin and a rainwater harvesting system. The idea is based on community building between local residents and experts in order to put into test scenarios and ideas for a more resilient city.

A shelf support consisting of a combination of cut-offs from L-profile and U-profile. One screw both hangs and clamps the shelf. Any chosen size of profiles can accommodate a range of shelf thicknesses. Easily produced with even the simplest saw and drill.

inSpiral is a living cell in the urban landscape, that encourages outdoor play and sociability.

When we want to go out and have fun with our children, we usually visit a playground, let them play and sit on a bench, usually doing nothing worth mentioning. inSpiral reverses our old ways, by prompting our children to lead us in the core of action, and get involved. In the center, the cultivation of a garden encourages team work, so we become active members of our small community.

inSpiral transforms public space into fun space.
Due to its compact design and minimum dimensions, it does not require the space needed for a conventional playground and can be placed in parks or squares. Elements of natural playgrounds are merged in a free-form structure.Children can climb, slide and hide in a more challenging way, that develops their physical and mental skills.

inSpiral becomes our small shelter, while our children create a positive energy shield around us.

.cdf (crumple-digitize-fabricate) belongs to the genealogy of small scale DIY design-build experiments that define the state of the art in digital fabrication.

.cdf displays how a 60 seconds gesture of prehension (the human grasp) can become an object of environmental ornament that produces affects and resonance. The spontaneity of crumpling paper is counterpoised with procedures of morphogenetic experiments that establish a continuum between material behavior, digital modelling and fabrication.

.cdf can be exhibited as a creativity empowering process and as an artefact; a porous screen that orchestrates a space consisting of featherweight materiality and a ‘comorebi’ texture of light filtered by foliage.

.cdf has been developed by Sophia Vyzoviti (faculty) and Panagiotis Tsiftsoglou (student), within the Folding Architecture Laboratory Department of Architecture, University of Thessaly

Athens Vision proposes the regeneration of 93 hectares in Votanikos, Athens into an urban park, which combines green areas and promenades, plots for cultivation and cultural spaces with residential high rise buildings and office towers. It consists a prototype typology designed as a solution to the limited green areas and the dense urban fabric of Athens, thus the proposed case could be applied to various neighborhoods of Athens, transferring the horizontal heavily built network into the vertical axis, through tall and high rise buildings, providing incredible views and extended green spaces with high quality at the ground level for the local communities.

HipoTesis, Experimental Digital Magazine, in its last issue explores the architectural project from an insider’s critical point of view. Its Call for Cad-Blocks incites the critical gaze upon commonly used stereotypes reproduced in architectural drawings. In addition, as a result of this “Call for Blocks”, a digital archive of non-stereotypical blocks is being created and shared out to the architectural community. The project is being presented as a 36 pages booklet entitled Blocks Factory that includes 15 CAD drawings with their corresponding comments (CAD drawings + texts) according to HipoTesis editorial project.

Fabric Building is a city-pocket innovation project that aims to temporarily alter the city’s landscape, by using and reacting to existing facades that are abandoned and left to physical erosion. Targeting areas in Athens that have aging building stock, the project includes upcycling of existing building methods such as gabion walls.

The local community is being called to participate by offering recyclable materials (such as used clothes). The re-use of gabions under a different filling content will create innovative facades in front of the abandoned old ones, and will eventually transform the urban experience and lead its occupants to rediscovering their everyday surroundings.

This way of urban activism will challenge us to various questions such as: are the cities we have the cities we need? At the same time, by creating spaces in the city that nurture social interaction, we add a touch of magic to mundane places and situations.

Fabric Building is a project by ATH100% inspired and made in the city of Athens.

Considering the dynamics, a game can acquire as a symbol of culture bringing targeted messages and intentions, it could, properly configured, act as a mechanism of perceiving, critiquing and changing society.

Initially, through research and empirical study on different games, relevant bibliography on how societies operate and grow and through exploring different forms of utopian models (realized or not), we detect and collect concepts that need editing and elaboration to be properly integrated in the process later on and eventually in the game, which is the final product of this work.

The aforementioned concepts and intentions are densily incorporated in each specific part of the game: the seven units/roles, the aim of the players (to cooperate and collectively win the game), the rules and the three operating scenarios (simple brick-building, story-based game, diy unit and role creation).

OTU (igbo language) = one, union, group, comitee, single, team, member, society.

Duga is digesting a series of coincidences that controlled the construct while deform—thus making the way that the parts recount its overall presence elliptical.

Duga belongs to the family of migratory tree / house / radar. Duga thrives in areas around the border of causality, randomness and arbitrariness. Duga migrates to come back to where it was originally located. Duga does not swivel.

Duga is a structure made from wood, wheels, plexiglass, fluorescent lamp, fans, slide projectors and two overlapping images (projections) of woodpeckers.

Dimensions: 42x70x176 cm.

Surfology is a DIY shelter.

The project indicates a dynamic way of expanding from a flat surface into a fabricated system. The whole system shows different situations of density, which forms various spaces inside and outside. This dynamic system includes components, skins and structures.The project started with an investigation into topological surfaces, how different modules could function both as surface and structure. Finally, the prototype was fabricated as a multi component system, consisted of modules that can adapt (move, rotate, change colour, etc.) by using real time information provided by sensors. The specific component, (square 70×70 cm) was chosen due to its expendability, control points, modularity, and the ability to create volume.The exhibition prototype was in scale 1:1 (2.1×1.4 m)

Micro-Architectures and Other Spatial Manifestos is a ongoing collaborative project aiming a direct action in the everyday public spaces. Proposing the collective construction of open-program structures, the “micro-architectures” are devices intend to generate and potentialize new relations between people and the city.

The first designs where made public availabe online under creative commons license, and a collective mapping platform aimed to locate and collect resources for the construction of the devices was created.

In November 2014 the first device was built and temporarily installed at the main seaside promenade of Florianópolis, Brazil.

hack[PUBLIC SPACE] is a reaction against an urban context created by countless power forces. We develop our discourse around three elements—money, time and space—to suggest an empowering engine, a way to take control, or simply a survival strategy. We propose to create a currency associated with time, a mediating digital platform and physical infrastructures supporting the productive activities. Someone’s time is counted by the digital system linked to the physical platforms which compose a complex system spread throughout the city.

TOOLS! focuses on the self construction of tools/machines/processes, to solve primary needs such as energy and food supply. The idea is to focus on the small productive centres inside the city of Athens, which as many other cities in the south of Europe, has radically changed its social and economical structure. During this transformation several realities such as carpenter, ironsmith, electricians, plumber etc. who actively work inside the city and as part of the city didn’t really change their fields, they are still working on maintenance or repair.

The aim of the project is to propose a set of workshops to try to apply this research, to study, build tools and prototype of machines using hydraulic systems, electrical devices, or mechanisms, wooden or metal structures, etc all what is possible to solve primary needs in the city by the citizens, which is at the same time archetypical but also a contemporary issue. The research can be done directly inside some of those laboratories, together with a group of students, researchers, designers, thinkers focusing on new form of products, new micro-economies, new devices easy to build, open and replicable.

The first step of this research started with a workshop named Earthworks which have been part of the the exhibition GLOBAL TOOLS 1973-1975: TOWARDS AN ECOLOGY OF DESIGN curated by Silvia Franceschini and Valerio Borgonuovo, 11 March–11 April 2014, Salt Beyoğlu, Istanbul.

officina GISTO is a research project mixing theory and practice through workshops and projects, facing the field of self-production and machine/tool. The project is based on the pedagogical experimental research carried out by the Global Tools group between the collaborative approach and the open-source.

With a wire coat hanger as a starting point, Angellight is a candle holder inspired by the immaterial and bright spirit of an angel, adding meaning to an everyday decorative object, easily made at home in seven steps.

Materials: wire coat hanger, reseau candle

There are numerous road shrines in Greece known as iconostasia, scattered in various locations in commemoration of those that have lost their lives due to a road accident near that particular geographical coordinate.

Several of these shrines maintain curated by relatives of the deceased, whether by lighting candles or placing flowers. Many others, though, remain neglected and near destruction.

The goal of the Holy Hacking project is to convert these spaces into a drop spot where emergency goods such as first aid, food and clothing can be made available for the homeless and those in need via an ad hoc compartment while, at the same time, acclaiming those commemorated by the shrine. Each of these shrines will bear a designated color tag to identify what it carries.

This can be achieved in two ways. The shrine owner can either make the necessary arrangements to host an emergency kit or by them allowing a member of the Holy Hacking community to intervene.

There can be a website where one can volunteer with the following:

– Contribution to the geographical mapping of shrines in their nearby area.

– Adopt a shrine to make necessary conversions.

– Post their design for DYI conversion or newly built shrine.

A workshop will also be set up in the effort of informing and involving the community in the Holy Hacking project.

Right now ex-industrial cities, that were developed around important factories, are facing the big issue of new identity reshaping. A huge heritage is conserved in this realities and it is not always profitably managed in order to preserve and communicate the memories related to it. On the other hand, traditional museums and archives are nowadays facing renovation processes, which include the attempt to expand their boundaries in the through digital and virtual means, maintaining the same physical structures. The Virtual Museum wants to give a practical support to solve these problems, enhancing the development processes of cities, archives and museums. An open, flexible, dynamic web platform was designed. The Virtual Museum allows one to surf in the data flow of urban statements, uploaded in the server not only by formal institutions, but also by normal users. This bottom-up approach is an useful instrument not only to increase traditional archive boundaries, but also to create a strongly interconnected community within the users. Even if the input is a chaotic memories tangle, the output is a structured collection of documents, which are organized in layers and geolocalized in the shared city. In this way, the memories leave signs in the city, which can be discovered by the people taking advantage of a serendipity process. The platform was conceived to respond to the necessities of the city of Ivrea (Italy) and Huneodoara (Romania), taken as case study cities for the project. This two cities share the same ex-industrial essence, but for historical, social and economical causes they are deeply different. This is the reason why the model was set on these two realities, its structure is adaptable and it could be extended, with the possible future collaboration of external institutions such as the UNESCO, to all the post-industrial realities of the world.

The title refers to “Profanations” by G. Agamben. This video is a short documentation from a small group of urban explorers, acting all around Greece since 2011.

Urban exploration, also referred as infiltration, is the act of entering and exploring abandoned places, ruins or uninhabited sites. Following Agamben’s book, the word “profanity” is used here as a political statement, referring to the practice of reappropriation of such places.

It could be seen as an act of resistance to every form of “separation” produced by urbanization e.g. formal vs. informal. In one hand, contemporary networks of power and consumption interweave to produce an urgent political modality, while on the other hand the informal practices and especially urban exploration seeks to disrupt the established patterns of regularity. In this way, the excluded spaces are reestablished to the common consciousness and redefined as potentially public spaces.

The project Profanations2 attempts to introduce the audience to the practice of urban exploration by giving content and visibility to this uncanny process.

A Project about gentrification and alternative lifestyle
A consideration on an everyday gesture: inhabiting. How do we affect the landscape and the environment justi with the simple action of living? How can little gestures signify something in the macrosystem-world? What would happen if there would be more conscience in inhabiting, as in many other small aspects of everyday life?

I took as case studies some communities in Berlin in which various and different people live in low-cost and zero-impact situations, in countertrend with the construction boom and the rising price of rents.

Cyprus has been since 1963 marked with a green line by the British, to separate the island into two parts. Since the Turkish invasion in 1974, the 30% of the island has been occupied.

The wall lamp purely has an inspiration this green line. The green line is substituted with a green wire, and rather than hiding it, it becomes a crucial part of the overall design language of the lamp. The green wire divides the wall lamp, in two parts, in a 70% and a 30% of its surface accordingly. The lamp is made of solid oak wood and veneer. The wall lamp is characterised by its materialistic simplicity. When lit, the characteristics of the material become visible, as the grains of the oak veneer “stand out”. Moreover the part where the green wire “divides” the wall lamp does not lit when the lamp is switched on, to indicate that this part resembles the “dead” zone that currently divides the island.

Materials: Solid oak wood and veneer.

Particularly interested through his research in exploring the bipolar concept of digital/physical, Antonis Kiourktsis designed software that is inspired by the human movement. After tracing the motion of a long jumper, based on a number of key points on the human body he created a system that is mapping the movement in space and time. He used this framework to design a series of bridges with a simple tool that performs a random selection of these key points in order to execute the mapping process. This digital tool is able to generate variations of forms with the same movement. It is a way of defining structure without control over the details. The idea was explored in music by American composer John Cage, who originally defined indeterminacy as “the ability of a piece to be performed in substantially different ways.” (Pritchett, James. 1993. The Music of John Cage. Music in the 20th Century. Cambridge, New York, Melbourne: Cambridge University Press.)

Koinosporos is “the social expression of the common”. Commons are not only the common resources but also the relationships that human relation and interaction create. Our intention gives life to Volos city “crossroad” and improves human relations, communication and socialization through land cultivation and collective activities. Two human characters appear on the proposal, the farmer and the player (homo ludens, term of Johan Huizinga). The farmer is associated with the cultivation of crops and plants and the player is associated through collective activities such as workshops, outdoor markets, common kitchen and open air cinema. The ephemeral activities organized by the residents and the image of the “crossroad” changes over time depending on weekly calendars.

Alpha Kitchen is a cooking bench designed for the Impact HUB Athens, with the requirement “the furniture has to able to be reformed for future needs”. In order to follow a constant dimensional framework, the furniture has been designed on the principle of OS grid. The contraction consists of five steel modules and multi-sided wooden surfaces assembled for disassembling, that way the same materials use can be reused in a future upgrade.

Materials: Birch plywood, Steel & Stainless steel.

AbsoleM-plifier is a wearable nargileh, introduced as an alternative way to engage to landscape. AbsoleM-plifier is the outcome of a series of experiments on DIY smoking devices, constructed by “minor media” as urine collectors, PVC tubes and hydraulic valves. The nargileh was designed for the immediate use of “natural inputs” from any site. The garment allows the user to collect water from local water basins, filter it, use it or store it. The water is then used to smoke local herbs. Experiencing a site through visual perception is now replaced by the gesture of meeting a place through collecting and editing its sources-inhaling it.

Your city lab is an application that allows residents of a community to express ideas on changing their neighborhood. It will focus on areas of Athens which the user can edit using specific design tools. During this process he/she will encounter various planning questions and will be guided through a decision-making procedure.

The overall process aims to raise awareness, to educate on basic planning principles and to involve the user in participatory methods. AFH Athens will act as the main moderator of this initiative through public discussions and interactive workshops with local, aiming to a fruitful cooperation with the respective authorities.

This comic paints an urban strategy through a DIY conceptual architecture methodology.

Cardboard tube is a recyclable, transportable, light element, easily combined in numerous alternative ways in order to form a structure. A geometrical direction of hexagonal bricks is addressed as a tool-object for the revitalization of decayed/remained components of the urban tissue through the creation of unofficial commons. No incumbent structure is drawn due to the large number of possible alternations given by the geometry of the bricks. Additionally, the proposal expresses a metropolitan approach for the collection of the generative material from recycling places, shops, schools et al, contemplating the energetic participation of urban dwellers to the creation of this new form of communal urbanity.

Daily-use products sustain humans’ constant displacements and the perpetual powers of chronos as a projection of decay that matures and transforms objects through damage and destruction.

The current venture is a superimposition and compression of times’ churns. Via an anatomy of the accident-force, “clumsiness”, “mal-use” and breakage become a creative dialogue which illustrates our personal story with the object. The evident trace of the repair recites the time-user influence over the precision of the mass-industrialized, over-duplicated products. Handmade flawlessness supplants machinery production committed to global design aesthetics. Embracing the damage, the “new” object is reassembled following the owners’ aesthetics.

* ΙΚΕΑ “Dinera” set pieces reassembled by epoxy resin

The aim of the water tank project is to present a new kind of coexistence of work, habitation and entertainment. The concept redefines the existence of water in the area of Athens creating a water tank on the roof top and a canopy which transforms the terrace into an animation park providing sport facilities. The water tank located on 40m height, accessible by all is straightened with the horizon. The fluidity of water, with the boats and tubes floating on it and dancing like a nautical ballet, is registered as a counterpoint to the stability of the whole building inside the urban fabric.

The Box of Lost Human Sensation is a contemplation on the state of the modern man who is overwhelmed by the multiplicity of choices presented to him and the responsibilities that come with them. Often we are unable to commit and therefore find ourselves drifting beneath the tide of our own desires.

What if all we needed to commit to was a box that we could live in and take with us wherever we go. Would this give us more freedom to pursue what really matters or would it be a burden?

Assembled in less than ten minutes from five interlocking prefabricated pieces, the Box of Lost Human Sensation can accommodate up to two people but can easily connect with other Boxes in a modular manner and create an endlessly growing community of Human Sensation.

AR is a tour in a virtual space. A wandering in a view of reality and also the effort for a passage to be found to a better, an improved version of it. An experiential observation of some aspects of social and political reality, a critic and stochastic look on them. At this point, irony and sarcasm inside a dreamy atmosphere, comes to shed a light on phenomena such as power, control and ways they are applied. The antipodes in the forementioned events are wanted throughout the project in the form of “passages to next levels”, versions of concepts such as culture, expression and freedom.

An interactive multi user video game without winner—and without losers.
Each player, personified by a virtual figure, is perceptible by the other figures swaying around him/her. These do not differ substantially from each other, either in motion, or in form or in behavior or in the way they speak; they all form together a community in form of a “cloud”. There is room for everybody. Each one has its own motion, impacting a small number of neighboring individuals; the overall shape of the group remains nevertheless more or less stable. Moving around results into a rich—and each time unique—experience in an environment that changes remaining essential the same…

AUDO is a team of architects aiming to reinvent the concept of collaboration, creativity and practice in the field of architecture in Greece of crisis.

Three architectural offices from different starting points and different perspectives on the practice, with various disparate skills, long or short history, define a new collective platform of performance, bringing together projects and thoughts nonhierarchical but context based. The idea is the projects to interact, to form new connections and to construct a new field of operation in the discipline, characterized by plurality, variation and flexibility.

As soon as the projects enter the platform, their autonomy and their authorship become less important than the power of possibilities among their connections and correlations. The user of the platform is wondering in an extended area of materiality, discourse and concepts around and about architecture, finding multiple ways to associate with.

The AUDO project aims to expansion. The insertion of other disciplines in the platform increases flexibility and arouses the becoming of a virtual community constantly evolving. Architecture strengthens in the name of reciprocity and creativity.

Architettura per la campagna is a design workshop in the south of Italy to design visionary and essential architectures in the country, restoring the balance between man and nature. Four days to build some simple structures closely connected with nature, animals and agriculture. An horizontal lab, with no distinction between teachers and students.

We conceived, designed and built structures in relation with land, animals, agriculture using basic tools (hammers, saws, nails, ropes) and material (wood, straw) recovered in the surrounding lands; the use of computers and common technologies has been strongly discouraged. No project has been established before the workshop: every action is born from a meditation on the relationship between man and landscape, skills were shared by each participant, inputs provided by the intervention of veterinarians, agronomists and farmers.

Architettura per la campagna is a project by Anna Paola Buonanno and Piergiorgio Italiano (from Outer Space) with Flavia Andolfi, Federico Archidiacono, Edda Bracchi, Fabio Cappello, Lorenzo D’Apuzzo, Luigi De Feo, Anna Linda De Rosa, Enrico Forestieri, Walter Giovanniello, Alessandro Gnocchi, Emilio Lonardo, Liviano Marella, Matteo Nativo, Michele Pandolfelli, Eleonora Picariello, Domenico Rescigno, Rossella Siani, Federica Vita.

In collaboration with Terranova agriturismo, Gaia Conserva società semplice, REAL falegnameria, with the support of Ordine degli Architetti della Provincia di Avellino and Legambiente, Solofra.

Matter Loci x Matter Globalis is a fashion lab, a traveling exhibition and a living archive. The material research is conducted based on where the lab is: the place and its resources. Through an open call local makers are invited to produce a series of garments that research and present local resources—in term of materials, creativity and production. This alternative approach to the contemporary fashion system aims to rediscover resources of a particular place. The archive represents both products and the processes involved in their realization. Matter Loci x Matter Globalis aims to generate new perspectives and real alternatives to the delocalized, contemporary system of fashion production and consumption.

#HacerPlaza (or #GatherTheSquare) is a project led by Displacements, as part of its Society for the Exploration of the Spatial Commons, in collaboration with Medialab-Prado in Madrid. It seeks to give value and visibility, through maps and models, to the nonepical in the production of a common world. The gathering of the square depends not only on singular political events (like occupations or demonstrations) but on everyday interwoven performances and minutiae threaded through the ceaseless invention and production of new forms of spatial, political and affective organizations with (and within) the urban fabric.

DIY | Whoʼs the designer is a visual essay of the subliminal collective creative conscience showcased through a series of spontaneous, DIY objects, created by non-design professionals, who at a lack of resources, creatively subvert existing objects to solve problems and overcome design weaknesses.

This series of images examine how people make use of available materials, their properties and their unexpected combinations to “design” new objects. The photos portray these objects in their natural setting providing an unusual perspective of the day-to-day life in different geographies around the world. These snapshots project humour, irony, emotion and semiological references to the spectator and are open solutions up for grabs for anyone to adapt.

Fixture is an apparatus that can be installed inside buildings in order to provide immediate settlement. In cities like Athens, where the center is in a state of deteriorating living conditions, city blocks are gradually abandoned. The vacated and decaying buildings result in a further decline of public space, and lack of necessary funds to rejuvenate the area lead in a deadlock.

Fixture was designed to provide the minimum living conditions, when there is a need for a drastic, low cost intervention, for the stimulation of the most primary inhabitation. It was installed in an old warehouse in Athens’ historic center, turning a space deprived of hygienic and culinary facilities into a temporary living cell. The design was informed by the necessity to be installed by non specialists, without any tools, as well as to be easily transported by a single individual. The research was focused on modifying conventional mechanisms of low-tech technology. Fixture consists of two structural sections: the pole and the rings. The pole contains systems of water and electricity supply. It is divided in five aluminum parts that are assembled together in order to reach up to 4.10 meters in height and be fixed between floor and ceiling. The rings, which can perform rotational and vertical movement, are made of styrofoam and fiberglass for a rigid and lightweight construction. All rings bear various fitments and appliances: a toilet, a sink, an electric hotplate, a fridge and a shower. The user defines the combination of the available equipment and fixture’s installation is completed when it is connected to water and electricity supply networks.

Acting as a “social anthropologist”, Efi Savvides collects seeds and plants from the countries of origin of economic migrants. They go as far as offering the artist the containers in which these “exotic” plants were planted. Thus, a new rhizomatic field is created, which is the result of an internal and complex interplay between the human and the natural environment. This peculiar “garden” constitutes a closed system which could be used as a tool for understanding larger systems of global interest. The “secret life” of these plants contains structures of control and power, memory and identity, history and experience. (Y. Toumazis)

In Ljubljana there are many unfinished construction sites due to the bankruptcy of contractors and developers who didn’t survive the economic crisis leaving large craters in the urban fabric. These sites are circumferenced according to Slovenian law by metal fences and so have become forgotten places in the city.

Spatial probes is a design methodology for reclaiming these sites by probing new functions through building prototypes made of as-found, low-cost and readily available materials. These are used to generate feedback from local residents in order to come up with a contextualized and realistic proposal which can be built through a process of self-organisation.

Spatial Probes was initiated during the BIO50, 24th Biennial of Design in Ljubljana, Slovenia, and is developed by Dirk Osinga and Lukas Wegwerth.

In Noordgesig, a Soweto neighborhood, we the students and schoolchildren of Noordgesig Primary School created two vegetable gardens. The project was inspired by the idea that children can be at the heart of food awareness: they can teach their parents how to garden. In this example of participatory practice, the community was empowered to develop the project after we initiators left Soweto.

The project comprises of two garden plots on school grounds, cultivated with the schoolchildren and with the advice from a local urban farmer Jeffrey Hughes. This initiative was the first step in a chain of events towards changing the culture of living in Noordgesig, where unemployment is reported to be at 85%. The slow process to attain community’s food security started with schoolchildren cultivating vegetables. Parents followed with cultivating food in their house yards. Finally, residents desire an urban farm where they will sell their vegetables. They put up posters saying “Grow it! Share it! Eat it! Sell it!”.

Tabrio is a coffee table equipped with a roll up mechanism of stain repellent film for carefree dining with friends. It is made in Greece of birch plywood with various veneer coatings. As an easy to assemble, flat-pack furniture, it helps to reduce carbon dioxide emissions during transportation.

OPEN OBJECTS is an ongoing design and research project which investigates mechanisms of self-organisation, open systems and the possibilities of readily available technologies, in order to test new models of collaboration between the designer and the user.

OPEN OBJECTS chair one consists of a kit of seven parts including two different backrests which can be easily assembled in numerous ways, creating each time a slightly different chair with the same parts. Chair one is also designed for re-use and and offers the possibility to be transformed into a different types of furniture.

OPEN OBJECTS is a collaboration between architect Dirk Osinga and designer Lotte de Raadt.

The DigiLog is an analog floor inspired by the digital and the chaotic which exudes a sweet sensation.

The digital is the great tool we were given by the golden age before the crisis. Computers are now everywhere, and their ‘brain’, if one knows how to use it properly, can work miracles -solve time consuming and incredibly complex geometric equations in a matter of seconds.

The analog is what has always been there although we have neglected it, dazzled by the rapid evolution of the new digital world. It is closer to human nature, more readily understood, more tangible and hence sweeter.

The digital is the brain, and the analog is emotion. The pattern is DIGItal and the wood is anaLOG.

What services could NYC street vendors provide in 2035? The Extrapolation Factory was invited by NurtureArt to lead a five week short course on futures studies with students at Public School 147 in the spring of 2014. The students were challenged to imagine new mobile services that could change social scenarios in their neighborhood over the next 20–25 years.

Following a discussion and lecture on the evolution of mobile services, the students began their futuring process by generating a list of ideas and issues that they deemed interesting, important or exciting. Their list covered themes such as social media, pop culture, gender, food, and health. The students bisociated ideas on their list with four domains that may play significant roles in the future (climate, language, insects and robots) to generate concepts for their mobile services. After sketching several iterations on their ideas, the students’ final concepts were actualized as scale models, which were shown in the exhibition ‘Multiplicity’ at Invisible Exports gallery.

Money Back Lunch takes advantage of large department store’s returns policy to temporarily borrow equipment for events, exhibitions and social occasions. The group collaborated on this idea in Bratislava where we cooked a meal for 20 people. We bought €300 of kitchen utensils and eight freshly purchased outfits. In an afternoon we unpacked, cooked, ate, cleaned and repackaged, and returned the equipment to the store with full refunds. This system operates without designing or making new products, while reprogramming consumption as borrowing.

The Social City Toolkit is a platform for developing geo-positional media that expose—through sonification—layers, cross-linkages and fissures between the social lives of online dwellers and the interactions that take place in situated urban space. It comprises a set of reflections, tools, prototypes and explorations. Initiated at the Research unit of the Copenhagen Institute of Interaction Design, it’s been further developed through assemblages, iterations and collaborations, for a workshop in Monterrey, interventions in Istanbul and Cairo, a performance in Rome. As it stands, the toolkit is open to further enquiry.

The cobbles we walk on are part of the Albaicín and the Alhambra’s inherited landscape. The renovation that this pavement requires must underline the value of these materials, instead of disregarding them. An ethical as well as aesthetic approach involves their reuse: cobbles that are already here, stones that are millions of years old.

Together with the Neighborhood Association Bajo Albayzín, we are voluntarily elaborating an independent project and presenting it to institutions, media and in forums. Our work highlights this pavement, which exemplifies the relationship that humankind can establish with its environment. The first steps have been taken.

One Billion Times is an attempt to create a unique representation of time and space.

The project consists of a device ( D ) that continuously captures photos of a target landscape ( T ) and a screen ( R ) that displays an animated picture. Each pixel of the resulting image has an RGB value updated in real time defined by calculating the average of all the previous RGB values of that pixel.

The inspiration behind the project is the obsessive desire to synthesise the story of the world and reduce it to one word, one image, one thought…

In this way, One Billion Times paradoxically pretends to reproduce by digital visual media the ability of human brain to summarise and to see the big picture of things.

Nanotourism is a new, constructed term describing a creative critique to the current environmental, social and economic aspects of tourism Nanotourism is a site specific, participatory, locally oriented, bottom-up alternative. It operates as a tool to stimulate interaction between provider and user by co-creation or exchange of knowledge. Nanotourism is not about scale; it enables experiences from the bottom-up, using local resources. Nanotourism is beyond tourism; it is an attitude to improve specific everyday environments and to open up new local economies.

Nanotourism was initiated by Aljoša Dekleva and Tina Gregorič and was established within BIO 50 24th Biennial of Design, Ljubljana, Slovenia curated by Jan Boelen and in Architectural Association Visiting School Slovenia. What is the challenge of nanotourism? How can nanotourism improve the world? These initial questions activated the systematic research process of defining nanotourism: by finding and learning from existing examples and by identifying new potentials of nanotourism on several sites in the region and creating new experiences though a set of case studies by international team of experts, designers and architects.

Driven by Participatory Action Research principles they offer open source models of nanotourism establishing new local economies and offering visitors and locals to deepen their knowledge, experience and understanding of the world.

Nanotourism was awarded with the BIO50 highest honour the Best Collaboration Award by the BIO50 jury (Konstantin Grcic, Saša J. Maechtig, Alice Rawsthorn).

www.nanotourism.org is an open research platform to share, promote and grow nanotourism as a new collective awareness.

We invite you to get involved, participate and become a nanotourist everywhere—even in your own city, town, street or home!

BIO50}hotel was a temporary, participatory exhibition hotel established at MAO – Museum of Architecture and Design of Ljubljana during BIO50—24th Biennial of Design. As part of the research theme nanotourism BIO50}hotel critically challenged the tourism connected to BIO50, actively interfering with its curatorial approach.

Guests were hosted in the museum free of charge and asked to contribute to the Biennial in return by actively participating in BIO50 events or by suggesting their own lectures, exhibitions and workshops among others. Furthermore, they take part in a 1:1 action by organizing their accommodation, repositioning, using and testing the exhibited items to confront the generic hotel room setup.

BIO50}hotel was challenging the museum as underused cultural infrastructure beyond its primary activity and time frame by proposing alternative uses during its usual closure.

During the 95 days of the exhibition BIO50}hotel hosted a broad variety of participants (designers, artists, researchers, scholars, craftsmen, chefs, journalists, musicians…) from 8 countries as well as locals, who contributed to the cultural discussion within BIO50, producing 7 site-specific projects, 4 exhibitions, 3 workshops, 2 lectures, 6 public presentations and several spatial settings.

exhibition}hotel is a flexible model which is shaped within the contents of a specific hosting cultural environment.

BIO50}hotel was its first configuration, how would it be an ADHOCRACYATHENS}hotel?

BIO50}hotel was part of research theme nanotourism, a creative critique to the current downsides of conventional tourism, as a participatory, locally oriented, bottom-up alternative nanotourism, mentored by Aljoša Dekleva in Tina Gregorič. Nanotourism has been awarded with the exhibition’s highest honour the Best Collaboration Award by the BIO50 jury (Konstantin Grcic, Saša J. Maechtig, Alice Rawsthorn).

Paper Playscapes is an on-going project initiated by Artemis Papageorgiou and Gabriella Mastrangelo. It was commissioned by the Victoria & Albert Digital Programmes to take part at the Elephant & Castle Mini Maker Faire in London 2014. Its’ offspring LumiChairs is a game designed for the purpose of the commission. Next, it will take place as Publicscapes, a workshop exploring participatory design in public space as part of #AddNoise, a side project of Athens Video Art Festival which will be hosted at Traces of Commerce in February 2015.

Paper Playscapes is a landscape in the making, a participatory space for dwelling together for a few moments, in order to learn, make and play. Its represents a landscape-in-movement, one made and played collaboratively by the designers and the visitors. We invite people to participate in the creative process by adding their personal and collective imprint in space. The blueprint is a module, the truncated tetrahedron, made out of cardboard. By embedding paper electronics, hand-drawn circuits and a simple interaction we create a cell that propagates in space to shape a spontaneous, responsive structure that lights up when approached. The game designed for the installation, LumiChairs, adds more light, play and interaction in the space.

«The future is already here, it’s just not evenly distributed» —William Gibson

In a world in which technology is advancing in rhythms faster than the pace of humanity to grasp it, we all live under the illusion that we are constantly connected and together. Reports have shown that even though we are constantly “online”, we are able to communicate but the physical presence is absent.

Humans are by nature social beings and therefore our need to constantly be connected helped develop software and technologies in order to correspond and satisfy this human need. But at the same time the need for physical connection is absent making depression one of the highest rated mental diseases in the western world. The body reacts to that by construction, as the human biology corresponds hormonally to loneliness.

This project focuses within this path and speculates a society in which technology will take over and physical connection will be absent. A collection of wearable objects act as substitute to the lack of hormones responsible for human happiness. While the body is unable to release oxytocin (hormone responsible for happiness) and the levels of cortisol (stress hormone) are raised, this collection helps stabilize the hormones into normal levels for the user to hack into the state of loneliness.

But the question asked is, is society ready to be drugged constantly with any possible side effects, in order for technology to prevail?

Picture: Object 01

Materials: glass, silicon, acrylic, oxytocin

The Parthenon of Athens: a synonym of the Athenian Acropolis, of Greece, of Democracy, of Power, of Tourism and many more. We have been bombarded with many versions of the Parthenon: fridge magnets, ceramic miniatures, postal cards…

Parthenon—The Taste of Greece gives the public the opportunity to experience the ultimate act of love towards the monument—that is to consume it. The Parthenon comes in a variety of flavours: pineapple, forrest fruits, cherry, orange—plus, even more Parthenon-shaped desserts are on the way!

Do you love Greece? Here is your chance! EAT IT!

Microurbanism and Water in Metropolis is opening important community issues, such as the right to water and the prevention of violence in the public space by promoting the participation of residents in local scale in Santa Maria la Ribera, Mexico City.

Mexico City, a megapolis with twenty millions of inhabitants, built on a lake with many water tributaries, is now faced with the problem of water distribution. This is a mirror of issues for the access to water in all urban centres in the future. The project allows long-term recuperation of community with the participation of local partners.

Fictional Collective consists of an international body of creative practitioners. A roving cultural system in which individuals are confronted with continuous negotiation and exchange, a didactic environment without the imposition of an institution. Founded in Eindhoven in 2014, FC works as a strategic agency to engage and confront design implications in specific geographical contexts. It is inevitably creating an “institution” without the traditional boundaries of the word, creating a space without place, which is based on the identity of people who take part. Through discursive creative media and formats, FC generates new perspectives, critical dialogues and tangible outcomes (exhibition, workshops, seminars, interventions).

The author was inspired by the scarcity of food we have created by replacing gardens with concrete walls. People no longer have contact with the source of food. Food has become a product to buy.

Netherlands is known for having front façade garden law (geveltuin). It allows the citizens to create a 30 cm wide and 8 meters long garden on the exterior of their wall. What would happen if we started to plant vegetables and fruits in these front gardens?

By taking advantage of the geveltuin law, building walls have been transformed into vertical gardens providing the citizens of a city with additional source of food.

The focus of the project is a system where the whole city can benefit from gardening walls, where citizens have become harvesters. Within this gardening system elderly people are integrated by helping to take care over the gardens. Also schoolchildren join the gardeners once every season to help maintain the gardens. This is how children learn that vegetables don’t come from supermarkets but from gardens. Imagine a city where every house has a garden on its walls.

‘The Harder They Come’, 2014: An edition of three swivel stools

Materials: Reinforced steel bars, Aegean marble pebbles

The swivel stools consist of a tripod base made of powder coated reinforced steel bars, while large marble pebbles have been used for the adjustable height seat. The materials of choice are quite obvious in regards to our studio’s origin and reference sources:

Rebars are the ubiquitous element of Greek concrete-framed homes.

They stand gnarled as they await for another storey to be bonded onto them for the next family generation to inhabit. Amidst the Greek economic meltdown, they dominate the urban landscape as many buildings remain unfinished due to lack of funds.

Marble in all its forms is the quintessential Greek material of choice, finding its way in DIY workshops and museums alike. It is often agreed among Greek craftsmen that it is easier to get things done in marble, rather than say in wood or any other material.

The pebble ‘seats’ literally appeared before our eyes while holidaying on the picturesque beach resort of Damouchari in eastern Pelion. The beach is fully covered in these flat and rounded marble slabs, smoothed out by the waves’ endless churning over the years. Rumour has it that the pebbles are remnants of an antique marble quarry that got discarded into the sea, off the cliffs nearby.
Wanting to reproduce that beach life feeling while indoors, the idea of using them intact for the seat of our upcoming stools came naturally.

The visual language we wished to recreate was that of of the mundane, improptu self assembled objects, found all over Greece, from remote mountainous villages and island motels to working class Athenian homes.

Dimensions:
Height: 48 cm (min) to 69 cm (max)
Width: 39 cm

Bottom-Up Building is a concept that requires minimal initial structural & financial investment, yet allows for maximum future development. The structure grows from the ground-up, continuously changing, enhanced by the residents expression.

Based around a jack & structural ladders system that facilitate the houses to be lifted, which creates a new ground plane to be developed as required. Existing residents above are guaranteed a comfortable environment despite future development.

Bottom-Up Building not only allows self-build, but many forms of future growth, the programming underneath can change with time. The evolving appearance reflects that it is made up out of a growing community.

Ongoing project about exploratory walks with imprecise destinations, through urban environment. A collection of places that are off the map, an invitation to discover a different town.

The idea challenges the traditional tourist map and offers the insight of the creator’s own experience. It is a very personal item since it’s made out of a collection of adventures someone else had. The first map in the series is an invitation for a walk in Brașov.

Printed scarf, 60×60 cm

Diamond and graphite are both made from carbon.

A tiny variation in the crystal structure is the only difference.

Do you value more what you see or what you know?

A piece of graphite is not a diamond, even if it takes its shape.

Or perhaps it is?

Many times a perfectly good household machine must be abandoned because a single but crucial piece has broken. It can take months to order this piece and often the product is no longer available at all.

Using open source 3D printing, our project aims to teach the skills of peer production to former problematic drug users who are members of a rehabilitation cooperative that repairs broken appliances, cars, and other consumer objects that might have otherwise gone to the landfill. They then sell these items to sustain their cooperative, while also providing Athenians with affordable and reliable second hand goods.

This work represents an in situ exploration of existing social and vegetational geographies within an urban neighbourhood of the Fužine area, Ljubljana (Slovenia). Our journey began by meeting every Friday morning, cycling to the Fužine neighbourhood, to forage in the urban wilds. The field-trips gradually evolved and expanded from picking up material resources such as edible wild plants to collecting situated knowledges through walking, talking to people we met and organising workshops.

Herbarium is preserving such findings by introducing contemporary tools and activities for local co-existence such as a local map of edible landscapes, alternative food labelling system, collective foraging economies, edible currencies and curiosity interviews.

Three stores, which bankrupted due to the crisis. (A bike store, a mini market, and a tool shop). Plus a small unrented apartment. The brand new merchandise of the above businesses, which remains on the shelves without any capacity to follow any channel towards consumption, is delivered to the creators. As free raw material and inspiration stimulus. Thus a large series of floor lamps is materialized in the workshop-apartment with only ten basic hand tools for their assembly.

The construction of each object is performed by 2-3 people, while the ideas stem from a wider group of friends and acquaintances that communicate through social networks. Each member of this expanded group contributes a small amount in order to materialize his idea or to “adopt” an existing one, which comes to his possession after completion.

Pleasure Box gives users a choice to disconnect—to separate from mobile devices, creating temporary relief from the oversaturation of digital mass culture. It is comprised of 12 timed lock-boxes. Each timer’s duration varies—some unlock quickly and others much slower. By locking smartphones and other devices inside Pleasure Box, users are detached, left to ponder other pleasures. Meanwhile, smartphones are meant to capture video while locked inside. Here the object leads a secret life, having experiences that its user cannot. Each compartment is a new kind of architectural site, one in which the audience is the device and representations are produced not for human perception, but for the object.

Using video displays and scaled physical constructs, the interiority of the box is subverted, and smartphones are transported to new worlds and realities, scaled down to the object, and demonstrated by the videos taken by the users’ smartphones. Today we experience much of the world through our devices. We use them to document our lives, referring back to our histories by replaying videos and photographs, often seeking experiences just to document them. In this case, the device records these experiences without us, but in the end we consume them in just the same way.

Exhibited at the University of Michigan’s Taubman College as the 2013-14 Muschenheim Fellow.

Space seed is digital afterlife management system that transfer our digital life to organic from, in order to complete our emerging property and it’s continuation.

Space seed is a sophisticate apparatus that designing towards the future, it will concentrate your digital-afterlife identity (digitalised memories and thoughts), significant elements from your biological identity into a genetically-engineered and radiation-resistant bacteria. Protected by the well engineered capsule, this seed is intended to travel through space towards a target planet or asteroid.

Following the landing of the space discovery robot, the seed spreading from low-planetary orbit into the ground. The shining bioluminescence wing of the seed can slowly fall from the dark sky, bringing your digital afterlife to the planet and be remain as a part of the human civilisation memory.

It will patiently wait for the best environment condition of germination and wake up as an organic life, and continue flourish the planet surface with your digitalised afterlife remain.

The new circle of panspermia had finished it’s reverse engineering process, and patiently waiting for our future planetary descendant to discover it’s origin.

Hom(m)less is an allegoric object and a data-driven construction.

The movable parts of the DIY interactive prototype are controlled by an Arduino microcontroller and two servo motors. The construction is being customized in real-time according to the data input retrieved from online open data resources.

The public building indignant because of its misuse, decides to transform itself, in order to cover the real public common needs. Homeless people’s figures have increased considerably during the last years in Athens, while a large amount of pubic buildings remain closed and abandoned.

The ratio of abandoned public buildings to the approximate number of homeless people is mapped to the rotation angle of the ceiling of the construction. According to this data the ceiling rotates towards the exterior of the building, thus covering the homeless people’s need for shelter.

This is a collage of images sent to the Moon and back as radio waves as part of the Global Mail Art project ‘OPTICKS’, by media artist Daniela de Paulis.

Millions have moved to cities from the countryside. The city is an addictive machine from which there is no escape. While trying to focus on the screen Wijnsma started digitising a 484 m2 garden in the woods of the north-east Netherlands using a flatbed scanner. ↻ [refresh] is a continuously updated 1:1 garden preservation for the screen creating online space to share, print and refresh!

MOTO is a social engagement project that seeks to connect community with under-used public space.

The project was developed in response to the groups observation of under used open space within post war housing estates. Activity was concentrated in particular areas and behaviour was dictated by the physical nature of the area. Social, cultural and productive activity happened behind closed doors, whether they be the closed doors of the home or the community centre.

Our aim was to develop an object that:

1. created collaboration between agency and community
2. provided a means to test activity, enterprise and amenity for an individual or group within the community
3. offered a blank canvas to be adapted, developed and enhanced by a community
4. supported and enhanced existing activity
5. inspired new activity
6. brought social, cultural and productive activity into the visible, public realm
7. could be developed by the users over time in a manner that was appropriate and relevant to themselves and their community
8. helped make living affordable

MOTO is a project delivered as part of the Affordable Living group within BIO 50. It has been developed, designed and delivered by Mika Cimolini, Uroš Babnik, Aleš Ogorevc, Lee Ivett and Adrian Friend.

The proposed work is an urban-economic model that aims to dismantle portions of the built environment and reconstruct communities based organic urban growth and real economics. Contrary to traditional investor driven development, the model organizes homeowners in a cooperative structure as majority owners of a portfolio of new commercial, income-generating properties as well as full owners of new homes. The model aims to grow a city in more balanced fashion, less dependent on cars while empowering local residents financially instead of gentrifying neighborhoods. It could be applied to a variety of urban settings for different reasons either to create a better urban environment in unplanned communities in emerging countries or to reconfigure the suburban fabric in more Western economies.

“Light Catcher” is a dialogue between sound and light. The installation is composed of numerous optical fibres that illuminate. Sound is driving the light, light is generating the space. An electric spark is igniting the reaction. Light is entrapped inside the optical fibres, reacting only to sound stimulus. Acting like a catcher, the installation absorbs and emits light. This results an emergent dance of light from the fibres and the reflecting floor. The white light dominates the installation but shades of other colors exist to highlight an audio event, like the sounding French horn playing a minor second interval. The visitor is invited walk around the installation and explore the different perspectives.

Installation. Optical fibres, LEDs, Raspberry Pi and custom software.

The «ergoskopio» project is a platform of cooperation between the inhabitants of the city of Thessalonica. It is a pop-up space that lives periodically in the city as much as on the internet. On internet it becomes the room of planning an idea, and the kiosk is the space where it’s application evolves.

The first component is the website – a map which records all the ‘rooms’ of ergoskopio and stores information of the nearby areas of the city, including commercial premises in operation and empty stores, and also marks social actions that take place in the public space.

The second component is the physical space, a kiosk that constitutes the site for interaction of an idea with the neighborhood and the city. Each kiosk of ergoskopio, is part of the network of “rooms” with the same typology. The “rooms” are periodical spaces in the city which can be used by the residents for social, commercial and cultural purposes.

Altogether, Ergoskopio is a platform that functions as an incubator for hybrid events, namely, creates patterns ‘online to offline’. One might say that the map and the kiosk are organically tied structures since the one means the presence / absence of the other.

Conventional patterns according to which EMANCIPATION PROCESSES, and leaving parents’ house, where perceived as a linear itinerary that concluded, unambiguously, with the STRENGTHENING of PERSONAL AUTONOMY, are no longer a suitable paradigm to endow with legitimacy PERSONAL CHOICES made by anyone on the constitution of his/her PERSONAL BIOGRAPHY.

HOME BACK HOME is a de-emancipation agency that proposes to act accordingly to this PARADIGM SHIFT not viewing it as a failure but as an OPPORTUNITY that allows fostering a destandardisation of emancipation processes through analysis, monitoring, treatment and prototyping of housing situations generated by the coming back home journey.

«The Right to the city», as define by Lefebvre, is more than a right of individual or collective access at the resources that it saves and protects, it’s a right to change and reinvent the city. The cases of loss of the right to the city occur also during the design mode of the public spaces, today monopolized by the neo-liberal market interests and by the State bureaucracy. In our cities we witness the growth of radical islands, enclave of different codes and ethics, fragments resistant to the managements dynamics, control and hierarchization of contemporary metropolis. Nowadays these landscapes are seen as places of hardship and decay.

Radical Island Urban Movement wants to create a conscience of this radical and rebel spirit, in order to preserve it and to learn to look at this places in a different way, as shelters for diversity, giving value to these manifestations of resistance. It is a movement whose aim is to preserve the gaps where the Right to the City, nowadays always more threatened, is kept and protected.

Our project began by seeing ourselves as advocates [for society], then architects. Working within this framework we have proposed a number of interventions with a set of layered spatial definitions with the university as an ‘anchor’ between actors in the city.

This will be achieved through establishing an online commons interface including a vacancy atlas to identify dead spaces, with a toolkit providing an open-source ‘kit of parts’ for the appropriation of these spaces.

The interface aims to make knowledge that would previously not be accessible, available to the public. Supporting and activating the community through the encouragement of co-operative initiativs, promoting a democratic and inclusive city.

The “Constitutional Stronghold for Dummies” is an allegorical, step by step learning manual for conducting sociopolitical urban protests. The chapters of this guide include instructions like the methodical organization of a protest and how to deal with a potential evolution of a protest into a revolt.

In such a scenario, the “Constitutional Stronghold” is proposed: an ephemeral structure informed by the logic of contemporary open source and DIY practices. This particular fortress is constructed by the protesters themselves, out of the very same materials used in conducting the protest, as proposed by the guide. Modular in nature, the structure’s final composition depends on the special protester’s needs and the specific site where the structure is installed.

Το Fun Palace είναι το πιο γνωστό έργο του Cedric Price. Ανεξαρτήτως του χαρακτηρισμού του (γιγαντιαίο παιχνίδι ή μετατρεπόμενη μηχανή μεγέθους κτιρίου), το ενδιαφέρον του έργου έγκειται στη ριζοσπαστική εξάρτησή του από τη δομή και την τεχνολογία, με μια παραδειγματική επεξήγηση των εννοιών της βασισμένης στο χρόνο και προβλεπτικής αρχιτεκτονικής. Με το Fun Palace, ο Πράις έθιξε κοινωνικά και πολιτικά ζητήματα που υπερβαίνουν κατά πολύ τα τυπικά όρια της αρχιτεκτονικής. Η περίφημη διάλεξή του, με τίτλο «Η τεχνολογία είναι η απάντηση, αλλά ποια είναι η ερώτηση;», αναπαράγεται δημόσια εδώ, για πρώτη φορά στην ιστορία. Όπως και ο Πράις, έτσι κι εμείς σας προτείνουμε να εξερευνήσετε αυτό το μέρος ως ένα μέσο απόλαυσης και αναψυχής.

The Identity was created for the event called ‘DEMO. Exploring new processes of creating’ and was pitched as ‘a space for trial’. Which allowed and gave emphasis not only on the final product, but on the process of creating and producing an experimental graphic identity.

A flexible system was designed based on a modular typeface that combined both analog and digital practices as a structure for the identity of the event. This permitted a wide range of typefaces that could use both high and low tech applications in the creation and production of graphic media. These ‘demos’ then showed the result of using the various technologies such as 3D printing, collage, risograph, and traditional CMYK printing.

The process and result of applying this structure for DEMO combined several methods. First the typeface was created digitally and then imprinted using CMYK printing. Additionally, the same digital typeface, was transformed into movable type using 3D printing which was then used to print using letterpress.

All of the results and end products were used for the event in different mediums, even if they contained ‘errors’, so as to show the experimental process in creating the identity for DEMO.

The “Anti-Factory” focuses in the re-industrialization of past-industrial cities by creating effective industrious ecologies within the urban web, as well as reverting the negative image associated with factories; by dealing with the existing socio-political crisis and relieving the working class from poor work conditions provided by traditional factories.

The scheme is a micro-cidery that parasites itself onto an existing brewery in Cieszyn, Poland; extracting from it both material and immaterial resources for its own benefit.

The project attempts to repair the urban fabric; reconnecting the people with the production processes by enhancing cooperative behaviour and strengthening solidarity between workers and citizens.

Concepts regarding the provinces and that of provincial landscape always have a double meaning and message, which are not only applicable to the Hellenic territory but also to the environment in general.

This work is orientated towards the significance of the “splits” that demonstrate how starkly rural areas flirt simultaneously both with nature and with urban reconstruction.

It consists of an undulate metal sheet usually used in roofs so as to avoid water escapes and a fountain pump which most appears either in public squares or in kitsch house gardens. The above installation creates a paradox image as well as a sound, the sound of the rain.

Blight is defined as “something that frustrates hopes or something that impairs and destroys”; “a deteriorated condition”. When homes are abandoned in a community, it leads to an escalation in criminal activity, decrease in property values, and degradation of the very fiber of the community. Residents lose pride in their neighborhoods as they enter a cycle of decline.

The Vacant Home Tour organized by the residents aims at replacing current perspectives on vacant and abandoned homes with a new one, by showcasing the rich histories contained within each building in order to inspire hope for the future and potential of these neighborhoods.

Project that started “Revitalizing Abandoned Rural Schools Project” on April 2012 to create a potential gain out of the rural schools which are abandoned for at least 10 years because of the transportational education system. Although expressed of thousands, these empty schools constitute a huge stock of buildings that are unused, few of them were refunctioned. We, as young architects, academicians and architecture students, are looking for ways to revalue this stock of buildings and create a benefit to their locations. Ongoing projects consist of schools spread across the cities of Turkey, in Ordu, Izmir, Erzincan, Konya, Edirne, Mugla and Diyarbakir.

The Other Market is a platform, materialized in a series of carts and stalls, to trade products and services without money, using dialogue as a currency. The carts and stalls are made embracing the aesthetics of informality, aiming to create a contrast with over-planned and over-designed societies; this is also the main aspect to trigger dialogues on the streets. The Other Market affirms the public space as a place for participation and contestation, in contrast with the de-politicized public space that people in power want our cities to have.

Blurring copyrighted works of art in Google Art Project.
+1000 elements

Emerging soundscapes from visual forms.

“Ichographs” is an audio artwork that uses visual forms as a starting point in order to create various sonic environments. The image is decomposed in the basic colors that have created it. Every color is a sonic frequency. A total 600 sine wave sound generators are recreating the image in the audio domain. Taking as a starting point 9 famous paintings (and one imitation) we are experiencing unique sound colors and textures coming out of each one. Caravaggio’s dramatic use of light is transformed into a passage from single tone into frequency intensity. The sound is following the complexity of colors and patterns of Pollock’s drip technique and the reflections of light on the surface of Monet’s water lily pool are producing a multicolor drone.

Tenia Simbionte is a collaborative artistic project and a pseudonym for a cultural reality with all its problems.

It harvests exhibition catalogues from museums and transforms them by including it´s own work of art, taking care of the layout, the font and style, as well as the composition, colors and images. During the exhibition period Tenia returns its parasite to its original stand.

Uses camouflage to become critical with the institution: with the museum, the art market, with artists, with the authority of the work, with context, with the curator, with the viewer, with art itself.

It is appropriationist, but never establishes a destructive relationship with the host, it rather engages in a “I win you win” relationship with it, adding creative input at the time of taking advantage ot it.

*File_món* is a series of images generated on the computer desktop through the distribution of icons and files arranged over images, which are downloaded from the internet and set as wallpaper. The computer screen is used as a canvas for a critical collage. It appraises the potential of creating new images on the computer without using any image authoring software.

File_painting is an open source application that mimics the computer desktop and modify the screen surface by additive techniques.

Tapebook is an exercise in media archaelogy. It involves the conversion of data which are extracted from social networks into audio documents. They are recorded on cassettes.
Tapebook takes the information directly from the GUI, alters the rhizomatic (root-likes) structure of the hypertext and converts it into linear sequence of sounds.

A scale construction converted into a mobile unit presented as an archive – activities generator. The design is based on a modernist house whose destruction has been the result of a real estate speculation process. The Mobile Unit of the Landscape is the reference point from which multiple activities with citizenship (local organizations and schools) are being developed to discuss and reflect on issues related to landscape, culture, heritage, urban transformation, architecture and art in the local context of the city of Manresa and its surroundings.

Kinetic sculpture, Mixed media
Crank rod, metal, feathers
Variable dimensions, 2011

The Platform Project 2014 is a collaborative broadsheet by twenty-two SVA Summer Design Writing and Research Intensive participants, produced under the direction of Mimi Zeiger and designed by Neil Donnelly.

#platform is both a means of production and a place to take a stand, as applications like Twitter served to galvanize and broadcast the missions of OWS and the Arab Spring. Closer to home, the hashtag #FolkMoMA galvanized the debate around the demolition of the American Folk Art Museum.

Over the course of two weeks students used Twitter to document, research, and critique four contested sites in New York City: MoMA/American Folk Art Museum, Penn Station/Madison Square Garden, Domino Sugar Factory, Brooklyn, and the New York State Pavilion, Queens.

By bridging between print and digital, Platform Project embraces the technologies of the social web without abandoning the potential of the physical object. The Platform Project concluded with a live reading of curated tweets, transforming the digital word into a powerful spoken performance.

(διαδραστικό γλυπτό, ηχητική εγκατάσταση, 40x30x25 cm)
Το έργο έχει μία οργανική φόρμα και πάνω στην επιφάνεια του υπάρχουν τοποθετημένοι 4 αισθητήρες φωτός. Ο θεατής μπορεί είτε να αγγίξει το γλυπτό με τα χέρια του είτε με έναν φακό να το φωτίζει. Οι υψηλότερες και χαμηλότερες τιμές στα φωτοκύτταρα δημιουργούν αντίστοιχη αυξομείωση της έντασης του ήχου, καθώς και την αίσθηση της κίνησης, μιας και το κάθε φωτοκύτταρο αντιστοιχεί σε διαφορετικό ηχείο. Το έργο έγινε τον Ιούνιο του 2014 στο πλαίσιο του Ελληνο-γαλικού Μεταπτυχιακού “Art Virtual Reality and Multiuser Systems of Artistic Expression” ΑΣΚΤ—Paris8.

(Interactive Sound Sculpture, 40x30x25 cm)

βίντεο(.mov) με ήχο, 4:3

διάρκεια: 3’43’’

Κοιτάζω ψηλά: ουρανός, ορίζοντας, ταράτσες, σίδερα: ΑΝΑΜΟΝΕΣ- μάρτυρες του ανεξέλεγκτου οικοδομικού οργασμού και της ανθρώπινης απληστίας.

Η αναμονή στην καθημερινότητά μας: ατέρμονη, παθητική, ουτοπική…ως απεικόνιση της ματαιότητας της ανθρώπινης ζωής.

Η Συμμετοχική Τέχνη ως απάντηση στην Αναμονή: ο καλλιτέχνης και ο θεατής γίνονται ένα για να «χτίσουν» με το δικό τους τρόπο το τελείωμα των κτιρίων.

Η τέχνη επανακαθορίζει το ρόλο της για την κοινωνία, τον πολιτισμό, την οικονομία: το έργο τέχνης δραπετεύει απ’ τις γκαλερί και τα σαλόνια, βρίσκει «στέγη» στις ταράτσες.

Ο άνθρωπος αναθεωρεί τις αξίες του: η κοινωνία ενεργοποιείται και συν-δημιουργεί ανακόπτοντας την ανεξέλεγκτη βιομηχανική παραγωγή.

O βηματισμός/η φωνή του θεατή διαδρά με την εγκατάσταση μονοκάναλης βιντεοπροβολής με back projection σε κάθετο τελαρωμένο καμβά. Ο “μηχανισμός” παραγωγής της εγκατάστασης αποτελείται από προβολέα συνδεδεμένο με φορητό υπολογιστή, παραλληλόγραμμη λεκάνη με νερό, στερεωμένο τριγωνικό κάτοπτρο 45 μοιρών, δύο ηχεία, κάθετο καμβά και ένα βυθισμένο στο νερό, στεγανοποιημένο χωνί μεγαφώνου ρυθμισμένο σε χαμηλές συχνότητες Hz. Μέσω της κίνησης/φωνής του θεατή, το μεγάφωνο μετατρέπει τον ήχο σε “κυματισμό” της εικόνας προβολής. Προτεινόμενα μέσα προγραμματισμού της εγκατάστασης είναι το arduino ή αυτοσχέδια κατασκευή που θα ενισχύει τον ήχο με μικρόφωνο.

Το γούρι για τη χρονιά που “σβήνει” σε λίγες μέρες.