The Theatre and the Bay – A proposal for the Greek Coast

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The Theatre and the Bay – A proposal for the Greek coast

Panagiotis Demiris 

The land was reflected in the bay and in the form of a reversed theatre, it poured itself back into the water.
The project deals with the destructive forces of tourism in Greece and proposes a sustainable alternative in the area of the Saronic Gulf. It is an enclosed geographical area of extreme historical significance, exceptional landscapes and ecosystems, however, a large number of unsystematic layouts of public and private use have fragmented its coastline.
A path is drawn throughout the Gulf’s 480 km coastline, securing the last communal frontier: the last 50 metres before the land meets the sea. It expands and recedes like a tide due to its dry stone walls that allow its constant modification in case the belt of 50 meters increases – precisely the goal of the project. Furthermore, a series of steps lead from the path to the sea on the coastline’s inaccessible and rocky terrains. Drawing people away from the commercial parts of the shoreline, the steps slowly rid them of their invasive human practices, allowing the natural cycles of sedimentation to return and the land to pour itself back into the water.


Who influences you graphically?

The Analogous Map (the theatre and the bay) was originally intended to be a coloured painting, and the Baetine map as well as the Vitruvian ‘ideal city’ were definitely a major influence.
The flat axonometric drawing was inspired by the typological illustrations of Greek antiquities produced by various
scholars that travelled to Greece in the 1700-1800s, such as William Wilkins.
In the images I tried to capture a certain simplicity and quality of light reminiscent of the Greek landscape, which was also the main driving force behind the whole project.

How does the use of a monochromatic palette for the line drawings influence the way the image is perceived? How and to what extent would the use of colour change and affect the drawing?
I felt that the simplicity of a monochromatic line drawing would match the transparency of the project.

Architectural drawings and images should, after all, be able to get an idea across – perhaps with the help of a verbal or written argument. I feel that the use of colour purely for aesthetic purposes is problematic in architectural drawings as it can get in the way of communicating an idea.

It is common for students at the AA to use their home country as site the last year of their studies, why do you think this is?

It is indeed. Most of us are expats here at the AA which in a sense makes us representatives of our home countries. Ultimately, it seems to me that this just shows how the connection between oneself and his/her country is something
almost tangible.

What is the effect and purpose of the square format and white frame? How do these influence the image?
Their use is an unassailable characteristic of the Diploma 14 unit of the AA. I found that the square format helped me in choosing the appropriate point of view for the images, while the white frame helped the drawings to sit side by side. These characteristics also allowed me to limit the total number of images to an essential body for a clear communication of the project.

Are there any parameters when thinking about how you wanted to frame specific views?

The goal was to not illustrate the project as a whole, but to trigger curiosity and evoke the feeling of the Greek landscape. The images tell a specific story which is accompanied by the verbal presentation of the project.
In the end, it all goes back to the concept of keeping the graphic language straightforward in order to communicate ideas as clearly as possible.



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