Aikaterini Chelioudaki-Vardi Portfolio 2015

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Universidad de Valencia, SpainOctober 2005- February 2006Superior Technical School of Engineering Exchange Student (Erasmus Program)

National Technical University of Athens, Greece September 2003- October 2008 Diploma in the Faculty of Mining and Metallur-gical Engineering (Field of Study/Environmental Engineering and Geo-Environment) (300 Credits - Graduation grade: 7,38/10)

Arts Center PLAKAS, Athens, GreecePrivate School of Drawing and Architectural De-sign: Academic years 2001-2002, 2002-2003

4th High School of Chaidari, Athens, Greece September 2000- June 2003 (Graduation grade: 17,1/20)

Universidade do Porto, FAUP, Portugal September 2013-July 2014

Exchange Student in Architecture (Erasmus)

cole polytechnique fdrale de Lausanne EPFL

September 2010- August 2013ENAC / School of Architecture, Civil and

Environmental Engineering / Architecture

University of Ioannina, GreeceOctober 2008- July 2010 paused

Fine art and Art Sciences Department (History and Theory of Art)

Workshop of design TSIGRIS, GreecePrivate school of Drawing and Painting

Academic years 2008-2009, 2009-2010

Greek: Native LanguageEnglish: Advanced LevelFrench: Advanced LevelSpanish: Level B2Portuguese: BeginnerGerman: Beginner

AutocadVectorworks 3D Studio MaxVue 6 xStream (3D)RhinocerosSketch upIn DesignIllustratorPhotoshopPremiere

eduCAtion

informAtiCskills

lAnguAges

AikAterini ChelioudAki-VArdi

Nationality: GreekDate of birth: 27th of December 1985Working

exPerienCe

Athens Concert Hall, Greece

September 2006 June 2007

Working in the Section of Usherettes (evening

part time job)

ScienceVisuals (PSE-C EPFL) Lausanne

October 2010 July 2011

drawings/storyboards for virtual projects

The creation of photorealistic three-dimensional representation of the proposed projects for underground biological cleaning and restoration of the quarry 1st of May 2009 20th of July 2009 Employer: Prof. D.Kaliampakos

Use of the residues of Bauxite in the Iron Industry () 1st of Decemaber 2007- 28th of February 2008Employer: Prof. I. Paspaliaris and Prof. A. Xenidis

ACAdemiC Works for the nAtionAl teChniCAl uniVersity of Athens, greeCe

in sWitzerlAnd

other PArt time Works, greeCe

Ranch K. Skouras S.A., Greece

June 2006,August 2006, July 2007

Artistic strain scenography

Hellenic Telecommunications Organization OTE, Greece

July 2009 July 2010Office tasks (morning part

time job)

The Great Escape, LausanneMarch 2011 July 2013 Service for the restaurant and bar (part time job)

FRARFrei-Rezakhanlou ArchitectesLausanne1st of September 2014 - presentInternship of Architecture for the EPFL

e-mail adress: [email protected]

[email protected]

Edificao Habitacional e Espaos pblicos e privados Forma urbana e edificao residencial : Plano e Projecto

Professor: Luis Soares CarneiroProject III, 6th semester, FAUPPorto 2014

The currnet area is located in Porto, Portugal. At first, for this project we had to make an urban proposal. The next step was to develop a certain building (by our choice) in bigger scales. The final work consists of the urban plan of the area in scale 1:500, the selected ar-ea-building for further development in scale 1:200 and 1:100, one appartment of the build-ing in scale 1:50 and then the necessary details of construction in scale 1:20 and 1:10 (draw-ings and models)

Up left: Francos, Porto, PortugalUp right: Model of the building in scale 1:100Down: Model of Francos with urban proposal in scale 1:500

Building in frAnCos

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Rua dos alunos da FAUP



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Plan de la region en 1/1000

Edifcio Habitaciona

+79.00 m

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Edifcio Habitaciona

Aikaterini Chelioudaki-Vardi / FAUP 2013-2014 / Project 3 / Prof. Luis Soares Carneiro Habitacional Plurifamiliar: Desenho e Construo"


+79.00 m

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+79.00 m

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Plan du niveau d'entre en 1/100


Aikaterini Chelioudaki-Vardi / FAUP 2013-2014 / Project 3 / Prof. Luis Soares Carneiro / 3 Fase do 2 Trabalho "Edifcio Habitacional Plurifamiliar: Desenho e Construo"

Edifcio Habitacional Plurifamiliar: Desenho e Construo

Floor plan of the selected building

Plan du niveau de parking en 1/100

Trabalho "Edifcio

Coupe A-A' en 1/100


South section

Plan du niveau de parking en 1/100

Trabalho "Edifcio

Coupe A-A' en 1/100


Model in scale 1:100


Plan , sections and elevationof the apartment

Model in scale 1:50

Social HousingProfessor: Luis Soares Carneiro

Projecto III, 5th semester (ERASMUS), FAUPPorto 2013

In this exercise we had to create a block building that serves for multifamily housing. The shape of the building had to be like L where the one edge is supposedly connected with an other building and the

other edge is free of view. We didnt have any precise location or constrains for the ground. We also had to choose among different kinds of acceses: the galleries , the multiple vertical accesses and the direct acceses. The following project is develloped with the use

of direct accesses. Then, we had to choose a part of the project and develop it in scale 1:50 drawings and model. The main issues were the internal organization, the repetition and distribution of spaces even if we werent working on a specific urban context.

Section A-A'

Ground level

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Section B-B'Section A-A'

Ground level

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2nd level

Ground level 1st level2nd level

The drawings and the models original scale is 1:50

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Section A-A'

Ground level

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Section B-B'Section A-A'

Ground level

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Section A-A Section B-B Section C-C

Section D-D Elevation

The drawings and the models original scale is 1:50

The area of intervention for this project was the Botanical Garden in Porto. Without dis-turbing the trees and using the Casa Salabert as additional stable element, we repet-ed the pre-existent greenhouses in parallel direction so to have the Greenhouse Learn-ing Center with an extra cubic building positioned close to the entrance of the garden.The materiality of the buildings completes the idea of the easy transition between the open and closed spaces. The glass reinforce the impression of a united space in order to give the same im-portance to the interior and the exterior. Also, in the inside all the area is united as one and all spaces are connected. The transparency is an important element for the nature of this project. We can easily observe the effects by the changing of light during the day and night because of glasss permeability to our gaze from every part of the Learning Center. Porto is a very rainy city, in the inside of the Greenhouse learning center we can perceive all the changes of the weath-er as it was open air, there is also protection from the agressive light that unfolds from the roofs and control of the temperature in the interior. The cubic building is the cafeteria and is the tallest building of the complex, from the upper floor we can profit the view of the total garden.

Greenhouse Learning Centerwith Jacinta Rodrigues and Nikos Sofos

for the class Projecto de Arcitectura Assistido por computador - CAAD I & II FAUP PortoProfessors : Bruno Miguel da Silva Carvalho Moreira, Pedro Leo Ramos Ferreira NetoAcademic year 2013-2014

At left : our poster for the final deliveryOn the bottom : the model in volumesNext page : 3d renderings, parts of a video also for the final delivery

NAllgories (les logements des artistes)

Lugano (Capo San Martino) , chelle 1:20000

Photo de la maquette , chelle 1:500

Photo de la maquette , chelle 1:50

Plan de situation , chelle 1:1000

LIEU DE CREATION la recherche dun endroit o setablir

Aikaterini Chelioudaki-Vardi

EPFL - ENACThorie et critique du projet BA3/BA4Atelier: Prof. Sandra GiraudiAssistants: Francis Blouin, Csaba Tarsoly

Anne acadmique 2012/13 - Semestre IICritiques finales 29/30 Mai 2013

A la fin de la ville, l o il y a toujours de l'eau, dans une petite baie cache dans la nature locale, une'' grande maison'' est extrud par la roche. Il y a une famille de 24 artistes qui y vivent. Ils dorment au dessus d l'eau, mais ils ne peuvent pas le toucher. Il s'agit d'un btiment de plus de 20 mtres, o ils ont toujours descendre. L'impression est inverse, nous ne percevons plus la premire du dernier niveau, si le dbut est la fin, qu'il s'agisse de laroche ou l'eau. Une allgorie.

AllgoriesLIEU DE CREATION la recherche dun endroit ou stablir

EPFL-ENAC BA3/BA4Atelier: Sandra GiraudiAssistants: Francis Blouin, Csaba Tarsoly

Lausanne, 2013-2014

At the lake of Lugano in Switzerland there is a cape called Capo San Martino. That was the area of the interpratation of this annual project.

In the first semesters approach we had to make a theater for the team of Finzi Pasca where the several type of artists work daily for several hours. During the

second semester we had to make their residences for the period that they live there which is not a permanent location for the nature of their work. So , considering that the team is wondering around the world and comes only for 6months back to Lugano,

we needed to create for them the most suitable spaces with certain caracteristics.The basic decision for my personnal project was to create the place of the work next to the earth/land , that means that I put the theater in the gorund behind the cape, In the opposite way, for their residences I decided to put them next to the water in a small bay down to the lake. The two buidings are separated but connected with a

small road that becomes a tunnel in the cape that leads to the theater.

La roche qui compose Capo San Martino est la base qui constitue le projet thtral. Le minral de la roche a deux rles. Concrtement, il donne la forme du thtre

dans la terre creuse. La crystallographie/structure du minral est utilis en plus comme allgorie pour crer la structure et couverture du projet.

L'espace du thtre qui se dveloppe dans la roche est un espace extrieur. Les trois cots de la scne touchent la roche et la faade (comme lment rajout) est

la cot des spectateurs.

''Ce que nous voyons le plus souvent au thtre, c'est un personnage encadr com-me un portrait et prisonnier d'un dcor ferm de trois cots. C'est ce qu'on nomme

l'illusion thtral.''Peter Brook, L'espace Vide

Un espace extrieur l'intrieur

Up:The lake of Lugano in SwitzerlandDowm: Capo San Martino

A la fin de la ville, l o il y a toujours de l'eau, dans une petite baie cache dans la nature locale, une'' grande maison'' est extrud par la roche. Il y a une famille de 24 artistes qui y vivent. Ils dorment au dessus d l'eau, mais ils ne peuvent pas le toucher. Il s'agit d'un btiment de plus de 20 mtres, o ils ont toujours descendre. L'im-pression est inverse, nous ne percevons plus la premire du dernier niveau, si ledbut est la fin, qu'il s'agisse de la roche ou l'eau. Une allgorie.

Les logements des artistes

Modle 3D du site

Maquette l'echelle 1:200

En definissant la forme - les lignes directrices

Le lac

La rue

La pente du terrain

Les lignes qui suivent les batments existants

Elvation , chelle 1:500

La disposition des espaces

Circulation

Les chambres

Espaces communs

Plan de situation , chelle 1:500

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LIEU DE CREATION la recherche dun endroit o setablir


EPFL - ENACThorie et critique du projet BA3/BA4Atelier: Prof. Sandra GiraudiAssistants: Francis Blouin, Csaba Tarsoly

Anne acadmique 2012/13 - Semestre IICritiques finales 29/30 Mai 2013

N N

Plan de situation , chelle 1:200 Plan niveau 5 (289.5m) , chelle 1:200

287.5m 287.5m

291m

275.5m 275.5m

271.5m 271.5m

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Plan niveau 4 (286m) , chelle 1:200 Plan niveau 3 (282.5m) , chelle 1:200

Plan niveau 2 (279m) , chelle 1:200 Plan niveau 1 (276.5m) , chelle 1:200 Plan niveau 0 (273m) , chelle 1:200

271.5m271.5m271.5m

271.5m 271.5m

275.5m 275.5m

275.5m275.5m

284.3m 281.1m

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Coupe A-A' , chelle 1:200 Coupe B-B' , chelle 1:200

Coupe C-C' , chelle 1:200

Coupe D-D' , chelle 1:200 Coupe E-E' , chelle 1:200

Elevation , chelle 1:200

291m

287.5m

284.3m

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277.9m

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291m

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3D renders of the residence in the lake.

This project consists of two parts. One of them is a recycling center and the other one is a residence for the people that work in the center.The main concept of the project is that both parts, function in opposite way according to lighting, gravity, di-rection (negative - positive). The recycling center is built in the ground while the residence is supported only by a column of the matrix (almost in the air). Their shapes are the same but in opposite direc-tions, which gives them different qualities of light.

In this small recycling center we concentrate and compress all the materials that comes out of the buildings of the matrix and later we extract them from it; there is also a unit for "water treatment". The water of the matrix ends up through the tubes, into the big tank in the recycling center.

The residence is above the recycling center and its construction is based on beams. These beams (as rays) are added and connected in the basic column (element of the matrix) and they support separate-ly the floor and the ceiling. In between these two levels, is consisted a space for living.

Recycling center vs Residence

Villes archipels

Developing a personal project through a studio project at a vertical matrice (common - public - private programs)

EPFL - ALICEProfessor : Dieter Dietz

Studio : Alexander Noel

1st year project - 2nd semesterLausanne 2011

On the next page :Photo of the matrice of the Studio Noelincluding all the projects of the studentsin black and white.My personal project is located on the bottom left corner of the matrice.

AA'

A"

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A'A'A'A'

the tube drives the water of the matrice into the tank underground

exit of the water of the matrice

tank (underground) that collects the water

earth

air

space

piece removal

extraction

positivenegative

Water treatmenth b d hth t b d i th

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collection of solid materials(paper, carton, glass, pet, aluminum)

area of waste treatment

elevator for the trasnport of the materials out of the matrice

tank for the concentration and recycling of the water

tubes that drive the waste of the matrice into the recycling center

Flow chart : -concentration of different materials in five buckets-separation of materials-compression of materials-collection of compressed materials -extraction of the matrix

PLAN EN COUPE B-B' (recycling center level) 1:200

Opposite directions

residence in the air

center in the ground

Development of the personal project of the matrice

The drawings and the models were made in scale 1:100

Lumire Creuse - Espace Creuxwith Elea Dubochet

Professor : Dieter Dietz Studio: Patricia Guaita

Project-exercises of the 1st semester in EPFL

Lausanne 2010

In this exercise experimented with the characteristics of light and itsability to reveal the materiality. Also we observed and studied the characterisitics of the full-empty space that was transformed while the opaque material was perforated. Following, we developped our first architectural project working this time with the concept of scale, thick-ness and proportions. Also it was important to consider for the first time the constraint of the vertical movement.

On the left : The four screens created for the first part of the exercise.On the right : The pictureswere taken in order to observe the reaction of light while injected through the opaque of the material of the four screens in composition.

The final model

Three floor plans

Photos from the interior of the model - light injections

Model and drawings were made in scale 1:100

The Red PlatformSupervisor professor: Susana Maria Clemente dos Santos PiteiraSemester project of the course Arte e espao of U.PortoAcademic year 2013-2014

This work consists of a wooden platform located in the gardens of the School of Fine Arts of Porto.

Walking around in the gardens of the Fine Art School of Porto , the spectator deals with the view of picturesque nature of the brown soil, of the high trees, of the organic elements, the leaves, the stones, numerous pieces of sculpture and all that surrounded by the buildings of the School of the Fine Arts. It is important to mention that the height of the trees is bigger than these of the buildings. The purpose of the present project is to create a wooden platform that its character is to be disposed among the trees of the garden, placed in a different height than that of the ground level, in order to create the additional choice to the spectator to wander around it and to observe the garden from a higher level.

The object is positioned in the external space of the faculty so its connection with the nature and the weather conditions is direct. The material of the installation is pieces of wood with a thick-ness no less than 15cm. Its structure/construction is similar enough to those of tree houses as long as it has to be supported well in order to carry its weight and that one of the people walk-ing on it. It demands mostly a constructive process of work close enough to architectural projects. My intention was to create an object with both architectural and artistic character, like a hybrid that comes from two different approaches.

The final form is like a deformed . The choice of the red colour for the platform is for the obvious reason to provoke a contrast in the green garden; like that the object gets more strength and gains its space in the gardens. The height of the platform is two meters above the ground level and its width is three meters. Its total length is 44meters. One of the edges is supported in the walls of the garden and the other one fades until the ground also close to the walls of the school. The moments where the platform meets the trees, there are holes created on the wood around the trees. There is also extra support of pieces of wood on the trees. The whole installation is positioned in the most southern part of the gar-dens of fine arts next to the Pavilho de Tecnologias.

The main objective of this installation is to create an additional level. When someone finds itself in the gardens and if he turns up his head to observe the trees, the image that some-body faces is pure nature in its all organic form. Creating this additional level is like permit-ting to somebody to regroup the information received by his eyes. In other terms, the plat-form creates a vertical division of the space, as long as the areas where the human eye can focus around the platform are clearer.

My intention with this image is to show that with the introduction of the platform, there are more rich perspectives to explore in the verticality of the trees, and the information becomes more coherent for the visitor, as long as he has to observe certain groups of elements.

1st level of vision is the ground level until the 2meters where the platform starts2nd level of vision between 2m-4m over the ground level, where is the area that people can walk on the platform3rd level of vision is everything above the 4m where is the greenest part of the trees. At the same time as an object creates a big contrast with its colour (red vs green trees) and with its form (definite angles and pure geometrical form vs organic shapes of nature).

To arrive to this result there is a whole process of construction and implantation. In this point I have to mention that the position of the platform doesnt affect any other sculpture of the garden because it will be installed in the most southern area of the garden where there are not yet any other projects. About its construction it should be an extensive re-search about the strength of the trees that the platform surrounds, because some of them will be used as basic branches of support in certain areas of the platform.

Ths is a 4 pieces sample of a big amount of drawings that were created through workshops and classes in a period of two years. These studies were basicaly in charcoal and acrylic colors. The pur-

pose of this works was to learn how to represent the volumes only perceived by light and shadow. The subjects were mostly pieces of sculpture (usually copies in plaster of original statues or pieces

of sculptural work of students of the Fine Art school of Athens), also synthesis of objects-dead na-ture and human models. Here, these four drawings are studies in charcoal, representation of a plastic

doll , representation of Socrates, representationf of Hermes and a human portrait.The places of work were the:

Arts Center PLAKASWorkshop of design TSIGRIS

Workshop of design SARASITIS

Studies in charcoalDrawing classes 2008-2010

Athens, Greece

When the child was a childIt walked with its arms swinging,

wanted the brook to be a river, the river to be a torrent, and this puddle to be the sea. to be the sea.

When the child was a child, it didnt know that it was a child

When the child was a child, everything was soulful, it had no opinion about anything, and all souls were one. had no habits,

it often sat cross-legged, and made no faces it often sat cross-legged, and made no faces took off running, when photographed.

had a cowlick in its hair,

Song of Childhood By Peter Handke (from the film Wings of desire)

When the child was a child, It was the time for these questions:

Why am I me, and why not you? Why am I here, and why not there?

When did time begin,

and where does space end? Is life under the sun not just a dream? just a dream? Is what I see and hear and smell not just an illusion of a world before the world? Given the facts of evil and people. does evil really exist?

How can it be that I, who I am,

didnt exist will no longer be before I came to be, and that, someday, I, who I am, who I am?

When the child was a child, It choked on spinach,

on peas, and eats all of those now, on rice pudding, and on steamed cauliflower, and not just because it has to. on rice pudding, and on steamed cauliflower, and not just because it has to.

When the child was a child, it awoke once in a strange bed,

and now does so again and again...

and now only a few do, by sheer luck.

Many people, then, seemed beautiful,

It had visualized a clear image of Paradise,

and now can at most guess,

could not conceive of nothingness, and shudders today at the thought

When the child was a child, It played with enthusiasm, and, now, has just as much excitement as then, but only when it concerns its work.

When the child was a child, When the child was a child, It was enough for it to eat an apple, bread, And so it is even now.

When the child was a child, Berries filled its hand as only berries do, and do even now, and do even now, Fresh walnuts made its tongue raw, and do even now,

It had, on every mountaintop, the longing for a higher mountain yet, and in every city, the longing for an even greater city, and that is still so,

It awaited the first snow, And waits that way even now. When the child was a child, It threw a stick like a lance against a tree, And it quivers there still today.

to be continued...

storyboard of Wim Wenders film Wing of desire


It reached for cherries in topmost branches of trees with an elation it still has today,

It has a shyness in front of strangers, and has that even now...

Graphic interpretationof Wim Wenderss film Der Himmel ber Berlinthrough Peter Handkes poem Lied Vom Kindsein

Supervisor professor: Pedro Francisco Fernandes da Silva MaiaSemester project of the course Prticas do Desenho of U.PortoAcademic year 2013-2014

This work held within the semester course Prticas do Desenho of the School of Fine Arts of the University of Porto and its main subject was to represent Wim Wenders film in a storyboard. The storyboard as a re-sult of the semester project, is used here in an alternative way, as long as it is not a tool in order to make the representation of the film before his shooting, but here it is a graphic interpretation/ illustration of a few scenes chosen as resume of my personal impression left after Ive seen the film.

The film chosen for the semester project, is Der Himmel ber Berlin (original title) written and directed by Wim Wenders. Its English title is Wings of De-sire. It is also Peter Handke who co-writed the screenplay with the director and whose poem Song of Childhood (Lied Vom Kindsein the original title) is used in this work as text for the final presentation of the storyboard and it was also an important part of the screenplay of the film.

It is really important to mention, that the director had chosen to represent a part of the movie in a black-and-white version and the other part in colour. The scenes in black-and-white are the ones that are seen through the eyes of the angels and the ones in colour are seen through human eyes. This changing of the perception of the vision between human-and-not human comes to be a characteristic element of this film. Personally I intended to use for my project this same approach in order to express as well the transition between the different moments that the angel was observing in this spiritual existence and the life that started after its falling.

The delivered work was: -the five collages in carton-an envelope with the printed frames of the film and sketches-a notebook with sketches and notes (English and Greek)-the printed collages in colour with the text, trussed like a brochure in A3 pages-the printed collages by the black-and-white printer

Development of a Virtual Reality EnvironmentMinting the Attica Tetradrachm in Ancient Lavrio.

February-October 2008

NTUA Diploma Thesis : School of Mining and Metallurgy Engineering /Environmental Engineering and Geo-Environment

Supervisor Professor: Dimitris Kaliampakos

This work was the creation of a Video Documentary / Animation Short, that shows all these procedures that were carried out in ancient Lavrio in order to produce silver. All

these pictures were attributed by models and by virtual representations in order to fullfil the applications of CVR (Cultural Virtual Reality) and they have been constructed based on sources that describe the way and the place, as they have been imagined by industry

experts and by archaeologists, who worked at times with the ancient Lavrio. .

The 3d video (18 minutes) was the main part of this thesis and in order to meet the re-quirements of a "short film - documentary (even if it's animation), it must contain key ingredients (Creation of an imaginary story based on information given to The Ancient

Laurion and generally at that time considered / Script / narration / Film Direction / Con-struction of scenes and shots / modelling and virtual environment as long as there aren't

any real places and actors / Editing / Sound)

Through the shots and the scenes of the video, everything that is running are not re-alistic places and objects, but only three-dimensional models and virtual environments

designed on the computer. Each plan consists of different virtual environment and mod-els, which corresponds to a separate and unique file. This means that the number of the plans of the video, is the same number of the records/files. These records belong to the software used in order to shape these spaces (3D Studio Max 8 / Vue 6 xStream 32bit /

Poser 6 / Real Flow).

For the audio they were used "sounds effects" and a recorded "speakage" (in the same way that happens in films) and the editing was done with the "Adobe Premiere" for the

treatment and the final configuration of the Video.

A few photos...Taken in Greece, Switzerland, Portugal and ItalyBetween 2008-2013

Jewellery exhibitionBy

Aikaterini Chelioudaki-VardiandDafni Retzepi

atZinema, Lausanne Switzerland

March 2013

Photo at left taken by Csaba Tarsoly Photos above and at right taken by Antigoni Papantoni

Our poster:The original poster

was cut into 64 pieces, that where used as

the invitations for the event.

The End

01. TEST francos periexomena02. portfolio housing03. greenhouse learning center04. portfolio lugano05..project noel06.project patricia07.red platform08.sxedia storyboard09. diplwmatikh k photos10. ekthesoula11.the end OK

Documents

Aikaterini Chelioudaki-Vardi Portfolio 2015