A Built Mythology
The current project aims to compose an architectural narration in which human, as a multi-sensory system, intervenes and reshapes the already existing environment of division and confliction, by re-examining the space and its qualities. As a context of investigation the buffer zone of Nicosia in Cyprus is used. The project is divided in two phases: At first, it is attempted to “read” and analyze the space of the boundary, following a symbolic and clearly conjectural architectural perspective. Through this process, a thought, an idea, will gradually begin to form and unravel. At a second phase, architecture is invited to take this idea and transform it into tangible and visible space.
Refusing to accept its given definition, the demarcating line becomes, from a symbol of separation and hatred, a vital, complex and multisense field of crossroads and paths. In an intermediate state, the boundary oscillates between tangible and intangible elements; it opens up to the Past and Future, the Here and There, the Inside and Outside. Hence, in our case, the approach that is being proposed concerns the crossroads, the meetings, the joining of people. It talks about a truth that emerges from a new horizon: It traverses through barriers, revealing the corrosiveness of obligatory separating lines; it illuminates space, time, mistakes, ghosts and acts of people.
Finally a thought takes shape and starts to appear in time, it becomes tangible in real space and time; An installation with conceptual content, for a common ground and a universal balance. Through an enlarged sculptural gesture in space, a story is unraveled revealing functions of memory, of insertion and exposure, of spatial and chronical experiences, allegories and myths. It undermines “origins” and “destinies”, it erases boundaries and limits, it opens up horizons and lightens mistakes. It brings people together…
Who influences you graphically?
Throughout time and mainly throughout my architectural studies I received a vast range of knowledge, from various fields of arts and from life itself that fed my imagination. From the radical utopias of Lebbeus Woods to the beautifully esthetic snapshots of Andrei Tarkovsky, and Calvino’s Invisible Cities, pieces of thought, and various stimuli have contributed to the formation of a personal style which constantly is subjected to transformations. This way of thinking is precisely what dictates a notion, a sense, a place and cognition of the world and its tangible and intangible things.
To what extent do you agree with the notion: The Medium is the Message? How does your format influence the way the project is perceived? How would a different medium as that of film or a book have the potential to reinforce the narrative aspect of the proposal?
Indeed, the Medium is the great instrument that eternalizes an inner thought by transforming it into a common, known language to other people. The Medium “purifies” us by bringing us closer to the truth. Besides, isn’t this the purpose of art? Therefore, it is obvious though, that just determining the Medium is not enough: the spectator must “unravel” all layers of each Medium in order to reveal the Message.
The format plays a vital role to the way my project is conceived and perceived. I adopted a linear narrative in my project through which a new truth is being formed and revealed in the horizon. I consider architecture as the Medium that enables me to reflect and materialize my ideas. As an art of communication, architecture narrates a story, or allows a story to be told, through its own materials.
Every medium has its own tools and means by which a thought is implemented in the real time and space. Different mediums as that of literature or film, could give a different potential to the proposal. It would be very interesting to examine the way by which other fields, such as those of literature and film, could enrich the architectural creation and enhance the spatial narration.
You generally position each image and text centrally, why so?
In my work the text and the design are equal tools, serving a common purpose: both the image and the sentence seek to formulate an inner sentimental landscape. As unique artefacts that are exposed to the wall of an exhibition, each image and text are positioned centrally, striving to communicate their cultural meanings to their viewers. Each and every panel, alone and on the whole, weave a linear path, through which a story is unraveled revealing a hidden message. They indicate a path towards the experience of emotion.
What is the effect and purpose of the use of texture? How does it shape the atmospheric qualities you want to convey?
In the present project every element – line, surface, volume – is conveyed in a mythological place, giving at the same time a sense of spatial drama, and mystery. It acquires the texture, the weight, the density of the rock. Everything seems to be a moment frozen in time and space from which we can observe the present, the here and now. As the narration is unfolding, we start perceiving rock more like a porous rather than impermeable matter. As it is unfolded and exposed, secret openings are being revealed, giving us a sense adventure. Stone is being carved until we are guided to its “core”, where its secret hides…
What is your work process in terms of programs used?
Programs differ depending on the project that I am working on. Usually, I use sketching for the beginning of every project as it enables me to expand my initial thoughts to the paper, spontaneously and easily. Then, the produced stuff is transferred to 3D modeling programs (3DS max, Rhinoceros, SketchUp).The final touch is done using Photoshop.