P L Y D I A K A L L I P O L I T I

Architect|Engineer|Writer Assistant Professor Adj. The Cooper Union + Columbia University

o r t f o l i o

PSTATEMENTIn the history of ideas, discourses get recycled.

Concepts emerge as allegedly new, though ideas undergo long journeys of migration from one epistemological field to another.

This portfolio represents a body of work where the developmental model of material, conceptual and cultural recycling

is considered inherent to design practice.

At present, in a world that has suffered severe loss of natural resources, economic and political stability, architecture can neither be

solely directed to the ethics of the world's salvation nor to hopes for formal inventions. Rather, it needs be upraised as a

psycho-spatial or mental position, fueling a reality of change, motion and action. This position differs from utopia in that it does not

explicitly seek to be right; it recognizes crisis -noise, pollution, waste, economic default- as generative potential for design.

The Greek word parthenogenesis means virgin birth and implies a state of mental excess, where the mind momentarily generates

pure ideas, unprecedented and unmixed with anything extant in the physical world.

This portfolio is based conceptually on the counterpart of this notion; it substantiates a design post-praxis,

which emerges as a germinal creative drive, through the desire for transformation of existing information, concepts and

physical resources. If we assume that nothing emerges 'out of zero', a post-praxis aims to retain and recycle the energy

induced in creative systems and exploit the accumulative effect of knowledge and materiality.

Public outlets

Wi-FiWi-Fi

Wi-Fi

+Zoom

+ -–

05

12

34

56

78

910

1112

1314

1516

1718

192

02

12

22

324

25

26

27

28

29

30

31

32

33

34

35

36

01

EC

O R

ED

UX

the

EN

VIR

OB

UB

BL

E

s o

f t

D

OT

S

D R

O S

S

02

FE

LT

Va

cu

um

W

all

03

04

10

1

do

me

sti

c

in

fle

cti

on

s

SO

UN

D

PO

UR

06

C R

Y S

T A

L

Sh

elt

er

07

tra

ve

lers

’ h

om

e

08

09

FE

CU

ND

Vo

ids

13

11

12

WIN

DO

WA

LL

A

B

D

SP

AC

E C

AB

IN

BA

TH

RO

OM

S

[K]A

RV

ED

CL

OS

ET

S

CL

IP/S

TA

MP

/FO

LD

14

15

cri

tic

al

bu

bb

lin

g

[en] c

o d

i n

g w

a v e s

is an online archive of ecological material experiments in the 1960s and 1970s

the archive is reused as a historical resource to generate new projects for new sustainable strategies in design disciplines

Ecoredux is also an exhibition installation displayed in Athens, New York and Barcelona

www.ecoredux.com

credits: Kallipoliti Principal Researcher | Curator | DesignerCOLLABORATORS: Alicia Imperiale, Anna Pla Catalaassistants: Amie Shao, Lydia Xynogala

Lydia

i01PROJECT: >> Online research and design database

Awarded a Silver Medal for EnvironmentalAwareness at the W3 International Digital Design Awards and an Honor at the 14th International Webby Awards

>> Exhibition at the Byzantine Museum of Athens (Greece), Columbia University& the Cooper Union in New York and the Design Hub (D-Hub) in Barcelona

>> Book| Special Issue of ArchitecturalDesign magazine (AD) published by Wiley & Sons in 2011.

www.ecoredux.com

E c o R e d u x

E c o R e d u x1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100

design remedies for a dying planet

A R C H I V E

GENEALOGIES

GENEALOGIES synthesize the experiments enlisted in the archive, in groups organized by material

technique. Techniques range from “soft”, based on the transformation of substances and biological

change, to “hard,” based on the assembly of components that are reused and transferred to different

contexts. The scope of the GENEALOGIES section is to visually reconstruct the ARCHIVE's database.

EcoRedux assembes an unexplored genealogy of ecological material

experiments that nderground architectural groups conducted in the

1960s and 1970s. The research project documents a larger

disciplinary transformation and an experimental mindset in the finale

of the 1960s , reporting the displacement of 'building' as the main

product of architectural design. All imaginable provisional structures

and small-scale strategies – pneumatics from used parachutes,

hand-made domes from discarded materials, electronic-lawn carpets,

pills, capsules and self-sufficient systems, garbage houses, foam

shelters-- became part of a new equation that reflected the intense

sociopolitical concerns of the time and the collective fantasizing

about how new technologies can become remedial tools to save

the planet.

Parallel to the presentation of a historical archive that maps visually

and verbally the trajectory of small-scale ecological strategies,

EcoRedux explores the remarkable contemporary resurgence of

ecological strategies in architectural imagination: it features new

interpretations and ecological strategies of the historical material

in the form of diagrams, drawings, animations, interviews with the

architects, computer codes, cookbooks and instruction manuals.

Overall, EcoRedux seeks tentative connections with an “elastic”

understanding of “ecology,” in a time where the term addressed

not only “new naturalism” and techno-scientific standards, but also

systems theory: a recirculatory understanding of the world and

its resources.

Exhibition Installation at the Design Hub (Dhub) | Barcelona 2011

Exhibition Installation at the Byzantine Museum of Athens, Greece

Exhibition Installation at Columbia University

Exhibition Installation at the Byzantine Museum of Athens, Greece

Exhibition Installation at Columbia University, New York

Exhibition Installation at the Design Hub, Barcelona

Exhibition Installation at Columbia University, New YorkExhibition Installation at the Design Hub, Barcelona

FELTVACUUM WALL

credits: Lydia Kallipoliti & Alexandros Tsamis

i02PROJECT: Research & Design project

>> Exhibited at the 3rd Beijing Bienalle,China (2008) | the Design Hub (D-Hub)Barcelona (2011)

>> Published in Pidgin magazine (2008)|Architectural Design (AD) magazine (2011)

FELTVACUUM WALL

Felt Vacuum Wall is a cleaning device embedded in the structure of an exterior

envelope component. The scope of this research is to reevaluate the function of large

exterior surfaces in polluted cities and augment their environmental performance

by collecting dust. Floating dust particles are collected onto the wall

purifying the air. The surface then, by polluting itself, attains

a positive, productive role for the global atmosphere.

Felt Vacuum Wall primarily consists of two translucent façade layers,

which enclose a folded surface of felt.

The felt layer can unfold outwards, through designed apertures of

the facade, in both directions. A special mechanism of pneumatic

cysts is embedded in the felt in order to regulate the unfolding.

The piezoelectric cables are attached in the exterior layer of the

envelope, generating the electric current. When triggered, the felt

vacuums the dust and converges into a thicker, denser material in

time. The material changes drastically in time; having an impact in

the façade of the building it was attached to. Eventually, the felt

layer can be removed and serve as a moisture barricade in the

construction of building foundations.

Time

purification

0%

25%

50%

75%

100%

+

+

+

+

one month

Time

0%

25%

50%

75%

100%

+

+

+

+

three months

purification

Time

0%

25%

50%

75%

100%

+

+

+

+

one year

purification

u n f o l d i n g i n s u l a t i o n

04

Reversal of skin to makefurniture

Reuse of new thicker feltfor ground insulation

05

Electric field producedby piezoelectric material

Dust particles attractedtowards the felt pockets

Second skin created by theaccumulation of particles

030201 04 05air purifier01 02 03 04 05

Pvdf Piezoelectric cable

Structural frame

First layer of lcp electric insulator

Second layer of eletrostatic polymerthat converts the electric current into anelectrostatic field

Felt with integrated pneumatic bubbles

Second layer of eletrostatic polymerthat converts the electric current into anelectrostatic field

Structural frame

First layer of lcp electric insulator

D R O S S re-genesis of diverse matter | a design post-praxis

credits: Kallipoliti Lydia

PROJECT: Research & Design projectSMArchS Thesis MIT

>> Awarded the Marvin Goody Award forthe creative use of materials | Selected “Best Design Research” at the ACSA conference at the University of BritishColumbia in Vancouver| Presented at theAnnual ACSA Meeting in Chicago (2005)

>> Published in Architectural Design (AD)magazine (2011)| Routledge’s bookUrbanism Reader (2008)| Thresholdsmagazine (2005) | Vima Greek newspaper (2009)

>> Dross is an upcoming book by LAPPublishers (2012)

D R O S S03 i

The word dross refers to matter that is foreign, worn out

and impure, such as the scum formed by oxidation at the surface

of molten metals. Based on a perception of material impurity, this

thesis encompasses the generative potential of obsolete objects

and spaces, or in other words waste material that is displaced

culturally or functionally from its previous identity.

The cultural fabric for this research involves the material

ramifications of technological evolutions in communications,

in terms of unparalleled waste production of defunct apparatuses.

As rapid growth rates in technology have shifted our

consumption modes, immense amounts of 'techno-junk' are being

produced, not only in the size of objects (defunct computers),

but also in the size of rooms (oil tanks, air-conditioning tubes,

containers etc.) and buildings ('brownfields', abandoned landscapes).

This research engages 'obsolete matter' in various scales of

reference, or 'techno-excrements' as an emerging city-born condition,

derivative of the urban system ' s internal erosion.

Circuitboard

o b j e c t b u i l d i n g

Helmet Bike lid Part of buildingWater tank

01 02 03 07

r o o m

Plastic containerPlastic container

04

Party/Blind Wall

05 06

S e l e c t i o n of obsolete objects, spaces & building parts MATRIX >>

01 02 03 07

Plastic containerCircuitboard Helmet Bike lid

04 05

Water tank

06

Party/Blind Wall Part of building

01

02

03

04

05

selection of objects

molding processes

In order to test the methodological operations, I have created a matrix of objects escalating in scale. The items of this matrix are a circuitboard, a helmet, a plastic container, a bikelid, a watertank, a partition wall and a building part. In the selection of objects, a number of parameters were considered, ranging from the textural and formal complexity of the obsolete objects, disposability difficulties and other factors.

[ m o l d i n g ] h e l m e t _ ‘ what does a helmet want to be?’

[ ]Design exploration >>

01

02

03

04

05

01

02

03

04

05

[ ]Design exploration >> [ m o l d i n g ] c i r c u i t b o a r d

Each object of the matrix ran through different digital molding processes, escalating in complexity and varying the relationship between the cast and the mold. Consequently, the objects themselves along with the by-products that emerge from the molding operations will be used in design experiments, each in a different site and location. In this sense, the matrix plays the role of a generating device for new material, new images and new concepts. Each obsolete object delivers several by-products that can be directly used in new assemblages.

Ge

ne

ratio

n b

y p

rod

uct

-2

Ge

ne

ratio

n b

y p

rod

uct

-3

[ ][ ]

Ge

ne

ratio

n b

y p

rod

uct

-5

Ge

ne

ratio

n b

y p

rod

uct

-1

Ge

ne

ratio

n b

y p

rod

uct

-2

Ge

ne

ratio

n b

y p

rod

uct

-3

Ge

ne

ratio

n b

y p

rod

uct

-4

structural system weak areas helmet distributionsurface guidelinesdrilling

[a]

[b]

[c]

credits: Lydia

ASSISTANTS:

Kallipoliti,

Anna Pla Catalá, Michael Young,Kostis Oungrinis, Marianthi Liapi

Georgios Andresakis, Yiannis Apostolopoulos, Tzeny Gorantonaki , Eirini Kalogeropoulou, Michalis Kantarzis, Despina Linaraki, Ioannis Liofagos, Dimitris Mairopoulos, Evangelos Alexandros Maistralis, Anna Neratzouli , Iasonas Paterakis, Eleni Roupa, Aggeliki Terezaki, Alma Tralo, Vassilis Tsesmetzis, Dimitris Vaimakis, Anna-Maria Moschouti-Vermer, Georgia Voradaki.

PROJECT:Design & Fabrication Installation

>> Exhibited at the Design Hub (D-Hub)Barcelona (2011)

>> Reviewed online by Cyan magazine,SuckerPunch Daily, Domus Online and Archisearch

>> Published in SlamLab magazine (2011)

THE ENVIROBUBBLE CLEAN AIR PODS REDUX04 i

In 1972, the underground architecture group Antfarm created a

pneumatic envelope at the University of California at Berkeley

envisioned as a “Clean Air Pod,” where people could breathe safely

sealed off from the air pollution outside. The Clean Air Pod (CAP)

would screen out deadly pollutants and protect the people enveloped

in the bubble.

Revisiting this project, this installation raises issues on air quality still

eminent today, though questioning at the same time if the air we

breathe indoors is more hazardous than the air we breathe outdoors.

“The envirobubble” seeks to expand awareness from outdoor to indoor

air quality and alert visitors as to the breathable air in heavily sealed

air conditioned buildings, with high degrees of condensation.

“The envirobubble” presents four types of air pods as purifying

machines. Each cluster of air pods performs and visualizes a

purification process focusing on different types of pollutants: A) Dust

(particulate inorganic matter) B) Moisture (humidity levels) D) Gas

(toxic off-gas emissions E) CO2 (plant respiration). By opening up a

perspective on the development of indoor air quality as an

architectural design problem, rather than an engineering problem, the

aim is to initiate a vital reassessment of environmental control in

design terminology.

Gas Pod

Indoors, we daily inhale colorless and odorless toxic gases produced from daily

activities. VOCs, is a group of volatile organic compounds, carbon based chemicals

that evaporate as off-gases from certain solids and liquids at room temperature.

They pervade our indoor air with concentrations that can be two to ten times greater

in comparison to outdoor air. VOCs have potentially damaging health effects, like

eye, nose and throat irritation, respiratory tract irritation, headaches, nausea,

allergic skin reactions, fatigue, dizziness, visual disorders, and memory impairment,

among other symptoms. There are numerous kinds of volatile organic compounds

produced and used in manufacturing products. The Gas Pod is a serial filtering

system which procedurally cleans air from the first pod onwards, unti l clean air is

emitted to the room. The gas pod is envis ioned as a prototype for a building system

that fi lters air and prevents the intrusion of biological life indoors, while at the

same time creates a series of overlapping layers with various degrees of

transparency and opacity for the exterior envelope.

Moisture Pod

The moisture pod harvests water vapor (humidity) from the air and collects it in

pneumatic tanks for further alternative use. Matrices of interconnecting tubes

“farm” water vapor, via temperature change accommodated in the matrix, and

distribute droplets of water in plastic pods. The tubes are located according to the

process of vapor distillation. . In the lower part of the pod, moisture is reaching two

vessels and is then recirculated for other programs. The moisture pod is envisioned

as a prototype for a building system that dehumidifies the air, improving indoor air

quality, while at the same time collects water to be recycled for irrigating plants or

for secondary household water systems. Dust Pod

Dust is an assemblage of particulate matter ubiquitous in the air and a leading

pollutant in indoor air quality. In the domestic scale, it contains small amounts of

human and animal hairs and shed skin particles, plant pollen, texti le and paper

fibers, soil minerals from outdoor soil, and other matter found in the local

environment. The Dust Pod is an electrical dust collector, which ionizes dust

particles and collects them on a net of strings that in time grow into a surface.

Ionization is conducted via copper wire to which high voltage is applied. The Dust

Pod is envisioned as a prototype for a building system that purifies the air from

particulate matter, while at the same time collects dust to create insulating felt

surfaces for other uses.

CO2 Pod

The CO2 Pod uses plant l ife as a purification system for the atmosphere. Through

photosynthesis, and more specifically through respiration, plants absorb CO2,

exhaled by humans, and return oxygen. Human respiration and plant respiration

work supplementary. This continuous cycle l inks the breathing mechanisms of two

species. The CO2 Pod is a moving, breathing "lung" that regulates the respiration

percentage of carbon dioxide through the expansion and contraction of plant life

surface area. A series of pneumatically controlled pods embedded in the plants

modulate the inflation and deflation of plant surface area in response to different

times within a day. CO2 is exhaled into the pod and absorbed by the respiring "plant

lung." In return, the air pod exhales back, emitting oxygen to the room.

CO POD2

MOISTURE POD

BUS STOPS05

BIKE STORAGE

06 CAR PARKING

07

PUBLIC WC08

INFO KIOSKS09

CAFÉ10

SUBWAY EXITS11

OCCUPANCIES

BRIDGE12

2028

PEDESTRIAN - BIKE CROSSING

GREEN BIKE BUFFER ZONES

MID STREETCROSSING

05

10

05

07

12

11

09

08

11

11

06

9TH STREET

4TH

AV

EN

UE

A

TRANSITIONS

C

REDUCED CARSPEED ZONES

B D

PEDESTRIAN PATHWAYS01

GREEN SPACES02

CAR ZONES

BICYCLE ZONES03

04

design credits: MLydia Kallipoliti & Aurel von Richthofen (KARV)

CONSULTANTS: Fred James, Matt Cunningham, Maria Aiolova

itchell Joachim (Terreform One)

PROJECT: Design project | Competition entry

>> Exhibited at the Pratt Institute Galleryin New York (2010)

>> Reviewed online @ inhabitat.com |ecofriend.com | stylepark.com

SOFT DOTS i05

Soft DOTS is a radical strategy for rethinking the crossroad

by “injecting” a system of intelligent environmental

elements -“smart dots”- that can spread out from the core

to the periphery, reorganizing the streetscape. The design

scheme is a critique of the hard boundaries that the

automobile inflicts to the function of the streetscape,

where people are forced to move around rigid, clanking,

cumbersome barriers and often dangerous metal capsules

– cars, trains, elevators, escalators. We propose cities that

are softer, gentler, and more sensual: the future street to

be a soft, gradient field: a “pixelated” urban landscape of

distributed functions, with no hard borders between

different street occupancies.

sound s p i l l

isound s p i l l06

This project is an environmental-sound park. Pod devices,

filter and purify the air, while being used simultaneously as musical

instruments. The sound context of the site and the sound emission

of different musical instruments in orchestras were used as analytical tools

to develop a system of distributing sound in specific programmatic locations.

A topography below ground level was used as a concert space. Above, visitors

can drift freely on the artificial re-engineered terrain listening to the sound

emissions below them.

Two algorithmic design processes were used in this project. The first script responded to the site and its soundscape,

resulting in a new redistributed topography of the ground, providing entrances and paths to the space underground

concert hall. The second script responded to the formation of a digitally sculpted volume based on sound analysis of

the orchestral space. The concert hall space emerged from a process of excavating a cubic digital matrix.

The code was set up in order to evaluate sound quality at different coordinates of the digital matrix, based on sound

transmission of each instrument in the orchestra. Sound particles, emitted from the instruments, registered

different values when passing through the points - voxels of the digital matrix- based on the amplification

and reverberation capacity of each instrument.

credits:Lydia Kallipoliti & Saeed Arida

PROJECT: Design project | Competition entry

01 Digital orchestra space + instruments position

violin

Cello

viola

Double Basses

S t r i n g S e c t i o n

Harp

6

4

3

2

7

Oboe

Flute

English Horn

Contra basson

Clarinet

Basson

Bass Clarinet

B r a s s S e c t i o n

Trumpet

Trombone

French Horn

W o o d w i n d S e c t i o n

Timpanis

P e r c u s s i o n S e c t i o n

2

5

4

3

4

3

3

2

3

2

3

instrument analysis

s o u n d r e f l e c t i o n

s o u n d d e g r a d a t i o n

d e

g r

a d

a t

i o n

m u

l t i

- v

o c

a l

i t y

parameters evaluated in cell data distribution03

02

Timpanis Vibraphone

XylophoneTubular Bells

Tuba

Trumpet

Trombone

French Horn

Piccolo

Oboe

Flute

English Horn

Double basson

Clarinet

Basson

Bass Clarinet

violin

violin

Cello

S o u n d a n a l y s i s

Threshold A >> best seats Threshold B >> second best seats

eliminate

d

Threshold C >> less valued seats

eliminate

d

Threshold D

04Cell evaluation derived from data

auditorium volume

site l i n e s site s o u n d s

channels emitting sound to the landscape

train sound

+ s i t e a n a l y s i s

05 Interpretation of data

CRYSTAL TUNNEL

credits: Lydia Kallipoliti & Alexandros Tsamis

07PROJECT: Research & Design project

>> Presented at the 2nd InternationalArchitecture and Technology Conference on “Transparent Materials”, AristotleUniversity of Thessaloniki, Greece (2006)|First International Conference of Critical Digital, Harvard GraduateSchool of Design (2008)

>> Published in 306090 magazine (2007) | The Proceedings of “What Matters?” First International Conference of Critical Digital, Harvard GraduateSchool of Design(2008)

CRYSTAL TUNNEL iCrystal Tunnel is a semi- transparent composite enclosure that negotiates

the relationship between interior and exterior in the urban environment.

Found recycled glass pieces are instrumentally combined with

tailor-customized photovoltaic cells and manufactured electrochromic

glass pieces to create a thick and dense crystalline envelope

extending in all three directions. The scavenged glass pieces are

positioned on a new armature among the solar-powered cells and

the electrically charged electrochromic materials according to the

specific formal and material properties -- transparency and reflection

qualities- of each piece. The new composite enclosure becomes

a mosaic that negotiates the relationship between exterior and

interior space in the city. The transparency of the exterior envelope

locally changes according to the input of solar energy and the location of the user.

The recycled glass pieces, the photovoltaic cells- which convert solar

power to electrical current- and the electrochromic materials -which

change from clear to translucent according electrical charge-

synthesize a thick composite exterior envelope which locally changes

thus revealing to the user different fragmented views of urban space.

Crystal Shelter necessitates an enhanced degree of tactile and

optical engagement from the user, who is urged to discover new

ways of spatial occupation and senses of viewing through multiple

mosaic layers of glass.

The variable, non-homogenous material allocation in the envelope

emerges from precise rules and constraints that relate

to a number of parameters including solar power input, possibilities

for programmatic occupation, structure and vision.

Parameter 1:

If the angle between the occurring components and the

horizontal plane is 23 degrees or more, then the process of cataclisis

initiates: The highest point of each triangular component, in relevance to

the z-axis, attains the z coordinate of the lowest point in that same axis.

This rule becomes a programmatic agent: the areas where cataclisis does

not occur remain smooth visual openings, while the areas where

cataclisis occurs attain a three dimensional stepped texture, which can

be occupied as stairs and as a sitting area.

:: Cataclisis

The scope is to adjust locally the structural capacity of the surface by changing a series of parameters such as the thickness of the surface, the density of the frame that articulates it and the diameter of the frame's members. >> Local Variation of surface thickness: Based on the variability and directionality of the bent over components, the surface attains a diversified thickness with additional support members that transform locally its thin skin to a thick structural space frame. >> Local Subdivision of surface components: This function measures the surface area of each component and utilizes it in order to subdivide each component into smaller pieces. >> Local variation of frame members' diameters: In order to enhance the structural stability of the surface, the lengthier members attain a bigger cross section and the shorter ones attain smaller ones.

>> Local diversification of material transparency: The scope of this operator is to relate the material distribution along the surface with external environmental conditions. For this reason, the surrounding buildings and particular points of interest are considered as attractors, towards which vision, mediated by the surface, should be directed. Overall, the more directly a component faces the external source, the more transparent it becomes. The effect of this technique is to focus visually in particular locations of the external environment, changing from opaque to transparent. In this way, panels with varied material transparency were distributed in a non-homogeneous manner.

Parameter 2:

Parameter 3:

Structure Intensities

Environment Operations

YZ

A’ [ x,y,z’ ]

c [ x’’,y’’,z’’ ]

B [ x’,y’,z’ ]

A [ x,y,z ]

X

YZ

A’ [ x,y,z’ ]

c [ x’’,y’’,z’’ ]

B [ x’,y’,z’ ]

A [ x,y,z ]

X

YZ

A’ [ x,y,z’ ]

c [ x’’,y’’,z’’ ]

B [ x’,y’,z’ ]

A [ x,y,z ]

X

See through the space

horizontal transparency

Ver

tica

l visu

al b

arrier

Variable transparencies dependent on cataclisis _ perceptual differentiations

X

YAB

φ

φ

φIf φ> 23,then cataclisis occurs

YZ A [ x,y,z ]

B [ x’,y’,z’ ]

c [ x’’,y’’,z’’ ]

X

Variable density of structural skeleton

min

max

30%

Subdivision 1 > diamonds into triangles

Subdivision 2 > triangles into subtriangles

60% Xm

YmZm

Wm

min= 0.1m

max= 12,6m

0.1-2m

2 - 4 m

4 - 6 m

6 - 8 m

8 - 10 m

10-12.6 m

X

YZ

External source of interest

ω

0 10 20 30 40 50 60 70 80 90

>> 7 degrees

0 10 20 30 40 50 60 70 80 90 100 Space-frame allocation

P1

P3

P4 P2

P5

P6

dir 1

dir 2

P3

P

Pm

0 10 20 30 40 50 60 70 80 90 01 02 03

>> transparency>> subdivision

>> connectivity

>> transparency>> subdivision

0 10 20 30 40 50 60 70 80 90

Grafted structural systems

0 10 20 30 40 50 60 70 80 90 100 Space-frame allocation

P1

P

P4 P2

P5

P6

Pm

Pm

Pm

PmPm

P1

P

P4 P2

P5

P6

Pm

Pm

Pm

PmPm

0 10 20 30 40 50 60 70 80 90 01 02 03

>> transparency>> subdivision >> transparency>> subdivision >> transparency>> subdivision

P1

P3

P4 P2

P5

P6

P1

P3

P4 P2

P5

P6

dir 1

dir 2

>> transparency>> subdivision

>> degrees >> connectivity

Grafted structural systems

0 10 20 30 40 50 60 70 80 90

>> degrees >> 13 degrees >> connectivity

Cataclisis_ determining openings along the surface

0 10 20 30 40 50 60 70 80 90 01 02 03

Space-frame allocation0 10 20 30 40 50 60 70 80 90 100

0 10 20 30 40 50 60 70 80 90

Grafted structural systems

0 10 20 30 40 50 60 70 80 90 100 Space-frame allocation

0 10 20 30 40 50 60 70 80 90 01 02 03

>> 19 degrees

>> transparency>> subdivision

>> connectivity

>> transparency>> subdivision

0 10 20 30 40 50 60 70 80 90

Grafted structural systems

0 10 20 30 40 50 60 70 80 90 100 Space-frame allocation

0 10 20 30 40 50 60 70 80 90 01 02 03

>> 27 degrees

>> transparency>> subdivision

>> connectivity

>> transparency>> subdivision

0 10 20 30 40 50 60 70 80 90

Grafted structural systems

0 10 20 30 40 50 60 70 80 90 100 Space-frame allocation

0 10 20 30 40 50 60 70 80 90 01 02 03

>> 35

>> transparency>> subdivision

>> degrees >> connectivity

>> transparency>> subdivision

P1

P

P4 P2

P5

P6

Pm

Pm

Pm

PmPm

P1

P

P4 P2

P5

P6

Pm

Pm

Pm

PmPm

Variable subdivision of structural skeleton Structure Intensities

0 10 20 30 40 50 60 70 80 90 100

19 >> degrees0 10 20 30 40 50 60 70 80 90

Ok >> connectivity

surface frame subdivision

30% >> Subdivision 1 60% >>Subdivision 2

0 10 20 30 40 50 60 70 80 90

% max

% max

0 10 20 30 40 50 60 70 80 90 100

19 >> degrees0 10 20 30 40 50 60 70 80 90

Ok >> connectivity

surface frame subdivision

40% >> Subdivision 1 55% >>Subdivision 2

0 10 20 30 40 50 60 70 80 90

% max

% max

0 10 20 30 40 50 60 70 80 90 100

19 >> degrees0 10 20 30 40 50 60 70 80 90

Ok >> connectivity

surface frame subdivision

37% >> Subdivision 1 57% >>Subdivision 2

0 10 20 30 40 50 60 70 80 90

% max

% max

Exterior point

Normal vector

W

0 10 20 30 40 50 60 70 80 90 100

19 >> degrees0 10 20 30 40 50 60 70 80 90

Ok >> connectivity surface frame subdivision

37% >> Subdivision 1 57% >>Subdivision 2

01 >> transparency

0 10 20 30 40 50 60 70 80 90

Exterior point

Normal vector

W

0 10 20 30 40 50 60 70 80 90 100

19 >> degrees0 10 20 30 40 50 60 70 80 90

Ok >> connectivity surface frame subdivision

37% >> Subdivision 1 57% >>Subdivision 2

02 >> transparency

0 10 20 30 40 50 60 70 80 90

Exterior point

Normal vector

W

0 10 20 30 40 50 60 70 80 90 100

19 >> degrees0 10 20 30 40 50 60 70 80 90

Ok >> connectivity surface frame subdivision

37% >> Subdivision 1 57% >>Subdivision 2

03 >> transparency

0 10 20 30 40 50 60 70 80 90

Variable material distributions according to external points of focus/view Environment Operations

External source of interest

[ t r

a v

e l l e

r s

’ h

o m

e ]

credits:Lydia Kallipoliti & Alexandros Tsamis

PROJECT: Research & Design project | Diploma Project AUTh

>> Exhibited at the Bienal Miami +Beach (2001)|5th National Exhibition of Architectural Work in Greece, Patras(2006) |Thessaloniki Cultural Center(2005)

>> Published in Architecture in Greece (2002)|Structures (2002) | Greek Architects’ Association Journal (2003)

>> Reviewed in newspapers: “E” inset journal in Eleftherotypia Sunday Edition (2001)| Agelioforos Newspaper (2001)|Close Up magazine (2002)

TRAVELERS’ HOME i08The excavation of the subway in Athens brought

to light a set of urban voids with dual qualities:

spaces which serve as exits of tube stations, but

are simultaneously gaps in the city fabric,

residual parts of city blocks. Although these

locations are dispersed in city, yet they are

connected through the subway. This project is a

network of spaces linked via underground travel

as a system. The proposal consists of a series of

semi-built spaces –interfaces— above the

subway stations or ventilation wells and a

number of mobile units that travel though the

subway and exchange between the different

locations. Each point of the network becomes

“less or more occupied” responding to the city's

needs, in reflection of the temporal occupation

of public space. Because of the finite number of

mobile units throughout the city, as one site

becomes less occupied, another becomes

more occupied altering the internal structure of

the system, like “connecting vessels.”

Extracted from the static urban framework, the

units represent of a “room,” which travels in the

city in order to be plugged-in at the specific

locations of the “interfaces”. The interfaces

derive meaning from the particular context of

each location, whereas the mobile units mirror

the identical, and generic repetition of boxes in

urban space.

09

m

m

LINE 2

LINE 1

0504 03

0801

10 02

06

07

Ventilation wells

Metro exits

Station Ampelokipi

0.00 0.00+1.50 -1.10

-1.10

0.00

0.00

0.00

-1.40

+2.40 +1.10 -0.50 0.00

-1.10

Section a-a

2.004.00

8.00 mP l a n // scale:

Ventilation Well Ermou-Arionos

-4.60

0.00

+3.50

+7.00

+10.50

+14.00

+1.20

+4.70

+8.20

Section of well 01

Section of well 032.004.00m

8.00mScale:

Station Monastiraki

“ m

obile

pla

za ”

[ f e c u n d Voids ]

i09 [ f e c u n d Voids ]

Design Project| Competition Entry

>> Awarded an Honorable Mention in the International Architectural Competition for the “Design of Ephemeral Structures for the Athens Olympics 2004”

>> Exhibited in the Royal Academy of British Architects (RIBA, 2003)| The Bienalle ofYoung Greek Architects (2004)| FondationHellenique Paris (2004)| The Byzantine Museumof Athens (2004)

>>Published in Thresholds journal (2005)

CREDITS: Lydia Kallipoliti, Alexandros Tsamis, Ioannis Zavoleas, John Fernandez, Alexandra Sinisterra

Project:

In Athens, the subway's excavation process has revealed

the presence of “other” cities, below the contemporary level.

Based on the historic palimpsest, this project aims to create an

active receptive evolution of the palimpsest; a registration device

of activities that emerge in the urban context.

are vertical inhabitable wall borders that integrate

‘seeds' of urban activity in their structure. A 'seed' is defined as a

pneumatic ring, placed in the floor components of the structure,

which can be activated (inflated) by the visitor. The visitor's activity

causes the structure to “impregnate” and transform in two ways;

change of mass due to the inflation and change of texture (color)

due to temperature shifts in the interior. The changes are registered

on the epidermis of the structure, which conveys to the urban

environment the levels of interior ephemeral occupation by visitors.

The structures are placed at the borderlines of urban voids,

related to the subway's stations. An emergent urban network is

generated, which in correlation to the existing one, offers an

alternate navigation system for the city.

'Fecund voids'

05

reus

e

time sequence >> 01

chas

sis

02

dist

ribu

tion

04

seed

inflat

able

surf

ace

03

inflatable pod

The

rmo

cro

mic

va

ria

tio

ns

ma

ss v

ari

ati

on

s

dormant

semi-activated

fully-activated

Case study 01domestic inf[l]ections

i10 [ f e c u n d Voids ]

Design & Research Project

>> Exhibited in the 5th National Exhibition of ArchitecturalWork in Greece, Patras (2006) >> Presented at the Non-Standard Praxis International Conference on Digital Media, MIT, Cambridge, (2005)

CREDITS: Lydia Kallipoliti, Alexandros Tsamis

Project:

The project concerned the design of an infrastructure fortourism in the slams of Valparaiso, Chile. Within the cultural framework of the squatter settlements, the tourist is a foreigner, whose “alien” presence questions the rules of the local community. However, the tourist desires to be part of the city and to appropriate the inhabitant's space. In this sense, there is a programmatic battle for territory between the tourist and the inhabitant. The proposal becomes a dispersed hotel of planned “inflections” inside the private space -the houses of the inhabitants.Therefore, the hotel is consisted of standard programmatic uses (breakfast, rooms, lobby, lounge, etc.) which are distributed in different parts of the city and tied to its existing built infrastructure.

The hotel’s program is based on a policy of trade .

The sites of this networked system are parts of the inhabitant'shouses, willing to negotiate their space in exchange of economicbenefits. Walls made of aluminum panels randomly dispersedthroughout the urban fabric, function as hosts or sites forintervention. Within the width of each wall, a minimum space isinserted, the room of the hotel. Wrapped around the core roomunit, different layers of skin are articulated according tosite parameters and in response to each inhabitant's degreeof space provision. In this way, shared spaces are created,where scales of public and private vary along the borderlines ofthe inhabitant and the tourist. The hotel becomes a series ofspaces, different in each site, that reflect relationships of territorial battle.

Layer 1inserted room trade space mimetic skin

Layer 2 Layer 3

Layer 1 Layer 2

Inhabitant’s space Skin 1:

Prefabricated roomTourist’s space

Corroded Wall

Skin 2:Communal Space forTourist & Inhabitant_Defined by local facilities

Skin 1:Access/Circulation

Exterior

adjustment of the interior cell to local domestic conditions _emergence of communal space shared by tourist and inhabitant

A room is inserted within the width of a wall. The surrounding space locally adjusts around the room, creating a series of communal and access spaces

FRONT parameters| PLANAR geometry

REAR parameters|INTERPLANAR geometry

interior layer

intermediate layer

interior layer

intermediate layer

WindoWallfrom e d g e to gradient

i11 iWindoWall

Design & Research Project

>> Exhibited in the Bienalle ofYoung Greek Architects, Athens 2005

>> Published in the Journal of ArchitecturalEducation (2005) | The Proceedings of “What Matters?” First International Conference of Critical Digital, Harvard GraduateSchool of Design(2008)

>> Presented at the 2nd InternationalArchitecture and Technology Conference on “Transparent Materials”, AristotleUniversity of Thessaloniki, Greece (2006)|First International Conference of Critical Digital, Harvard GraduateSchool of Design (2008)

CREDITS: Lydia Kallipoliti, Alexandros Tsamis, Anas Alfaris

Project: Composite materials combine two or more materials properties

within a single body, yielding a performance that is different that

the summation of the properties of each constituent. Given this

intrinsic property of composite materials, the intention of this

research is to develop composite building elements that

combine windows and walls by bringing together different

performative attributes in local areas of one body.

The proposed exterior envelope component is a combination of

thermoplastic polymers and investigates modes of redefining the

notions of a window and a wall.

The project aims to investigate mouding techniques, or

techniques of “non-assembly” for fabricating exterior building

skins. Methodologically, we developed physical techniques

(through casting) after virtually testing material properties in

the CES computer program, which is a material science

software. The new components achieve gradient areas of

transparency and opacity in a single component, the WindoWall.

The concept was to substitute the joint, as a third piece of

assembling two pieces, with an area of gradient transition

in a singular surface. The main benefit by incorporating different

properties within the same gradient surface-element is the

elimination of multiple joints and therefore the reduction of

excessive use of building materials.

polymeric matrices

thermoplastic p o l y m e r s

thermosettingp o l y m e r s

reinforcement

fibres

naturalf ibres

c o r ematerials

01. Polyester02. Epoxy03. Vinylester04. BMI05. Polyimide

01. Polypropylene02. PEEK03. Polysulfone

syntheticf i b r e s

01. wood02. sisal03. jute04. Flax

01. glass02. aramid03. Carbon

01. PVC02. Polystyrene03.Polyourethane

honeycomb

01. Paper02. Polymerl03.Aluminum

balsa

polymer f o a m s

tens

ile s

tres

s

strain

fibre

resin

composite

P o l y m e r composites

Pmma // air cavity for thermal capacity

+ pi

+ steel mesh reinforcement + phase change capsules

+ lcd

01 SECTIONS02 03

SU

MM

ER

WIN

TER

SU

MM

ER

WIN

TER

SU

MM

ER

WIN

TER

In the exterior envelope assembly we are proposing, the following materials will be combined as a composite:

A. Exterior skin: LCP-Glass Filled (Polyester Liquid Crystal)Polymer type: Thermoplastic Reinforcement : Glass Fiber

> High Thermal resistance (low conductivity)> Very low water permeability, therefore works as a Vapor Barrier system> High environmental resistance (Wear, UV ..etc)

B. Transparent Surface: PMMA-Unfilled (Polymethylmethacrylate)Polymer type: Thermoplastic Reinforcement : none

> High Thermal resistance (low conductivity).> Air Gap to enhance thermal resistance.

C. Interior Skin: PI-40%Graphite (Polyimide)Polymer type: Thermoplastic Reinforcement : Graphite

> Contains pockets that carry phase change materials capsules. > To make use of the PMC the interior skin has high conductivity. > In addition, in areas where capsules are located the thickness of the interior surface is its minimum

D. Reinforcement

> A possible steel mesh reinforcement is located in the interior layer.> An extra reinforcement (Main) is added to strengthen the mesh around the transparent areas. > This reinforcement is dependent on two parameters in the x, and z axes.

E. PCM

> Phase change materials (PCMs) are "latent" thermal storage materials. > They use chemical bonds to store and release heat. The thermal energy transfer occurs when a material changes from a solid to a liquid, or from a liquid to a solid. > They store 5 to 14 times more heat per unit volume than sensible storage materials such as water, masonry, or rock.

MATERIAL TECHNIQUES

DIGITAL TECHNIQUES

D E S I G N T E C H N I C A L D A T A

mold it deviceIn order to fabricate the WindoWall components,

we manufactured a flexible molding machine, which is able to

reconfigure its shape in order to facilitate the production of

physical variation on a single object. The machine addresses

information transfer from a virtual model to a corresponding

physical one and achieves direct communication between

digital data and fabrication.

In order to achieve this goal, a malleable silicon surface,

attached to stepper-motor driven pistons, acts as a

transformable platform that enables diverse configurations.

Using Rhinoceros as the interface platform, data from a

designed ‘nurb’ surface passes on through a serial port,

to a PIC chip, which then drives the individual motors-pistons

into their corresponding position. Once the device attains the

position that approximates the digital surface, one can use

it as a mold.

Digitally fabricated silicon joints

Cent

er jo

int

Corn

er jo

int

Edge

join

t

1d 1c 1b 1a

1d 1c 1b 1a

2d 2c 2b 2a

2d 2c 2b 2a

3d 3c 3b 3a

3d 3c 3b 3a

4d 4c 4b 4a

4d 4c 4b 4a

BATHROOMSSPACE CABIN

PROJECT:

SPACE CABIN BATHROOMS12

A

B

D

i

Architectural and Construction Project

>> Constructed at 580 Park Avenue,Manhattan, New York (2008)

>> Exhibited at Domicatec Exhibition of Architectural Work, Athens (2009)

>> Shortlisted in the architectural competitionof Domes magazine| Published in Domes (2009)

credits:Lydia Kallipoliti & Aurel von Richthofen (KARV)

580 Park Avenue is an architectural and construction project for

the gut renovation of two private residences. The apartments

are located on the 10th floor of a prewar landmark building on

580 Park Avenue in Manhattan, New York City.

Because of a number of limitations and building regulations in

NYC landmark buildings, the wet spaces of the apartments could

neither be expanded in size, nor altered in layout. This building

regulation, called “wet over dry” directed the design of all wet

spaces. The bathrooms were conceived as “space cabins”,

like the wet spaces of airplanes, trains and ships. The layout of

the cabin bathroom suggests a multi-functional wet space in a

clearly defined minimum space, where different functions,

plumbing systems and storage spaces can be integrated in a

unified construction. Therefore the bathroom furniture were

designed digitally as integrated, variable surfaces consisted

different parts and pieces.

D

Fro

ste

d g

lass

sl

idin

g d

oo

r

SH

OW

ER

VA

NIT

Y

R I S E R

i[K]ARVED SURFACES13

PROJECT:

Architectural and Construction Project

>> Constructed at 580 Park Avenue,Manhattan, New York (2008)

>> Exhibited at Domicatec Exhibition of Architectural Work, Athens (2009)

>> Shortlisted in the architectural competitionof Domes magazine| Published in Domes (2009)

credits:Lydia Kallipoliti & Aurel von Richthofen (KARV)

In this renovation the only material used was wood.

Wood was processed and carved and cut in specific

dimensions with CNC milling machines through the

use of digital fabrication techniques. The aim was to

bridge conventional construction methods with

digital tools, while also to use common materials,

which may attain a new form and function.

In this renovation the only material used was wood.

Wood was processed and carved and cut in specific

dimensions with CNC milling machines through the

use of digital fabrication techniques. The aim was to

bridge conventional construction methods with

digital tools, while also to use common materials,

which may attain a new form and function.

CLIP/STAMP/FOLD14 iProject:

Research and Curatorial Project

Design of Exhibition Installation

>> Exhibited at the Storefront for

Art and Architecture in New York|

The Canadian Center for Architecture,

CCA in Montreal| The Architectural

Association in London| The Norwegian

Centre for Design and Architecture:

Norsk Form in Oslo| The Disseny Hub

In Barcelona | The Contemporary Art

Gallery in Vancouver.

>> Clip/Stamp/Fold was published as a book

by ACTAR Press in (2010)

Curatorial & Research Credits:

Beatriz Colomina (Head) with Craig Buckley,

Anthony Fontenot, Urtzi Grau, Lisa Hsieh,

Alicia Imperiale, Lydia Kallipoliti, Olympia Kazi,

Daniel Lopez-Perez, and Irene Sunwoo.

Installation design Credits:

Urtzi Grau, Lydia Kallipoliti, Daniel Lopez-Perez

In the exhibition, the terms “little” and “magazine” are not

taken at face value. In addition to short-lived, self-published

magazines, Clip, Stamp, Fold includes manifestoes, pamphlets,

building instruction manuals, as well as professional magazines

that experienced “moments of littleness,” influenced by the

graphics and intellectual concerns of little magazines. The

exhibition charts the temporal progression and transformation

of the phenomenon of little magazines through the design of

their covers. Several different exhibition guides will be available

to visitors. Organized around different themes, the guides offer

multiple lenses for reading and navigating the collection of

documents. The exhibition also takes stock of different magazine

forms and how they were put together, introducing rare originals

from private collections and providing facsimiles accessible to

the public. These displays will be complemented by a selection of

interviews with editors and designers of these publications.

If the little magazines of the 1960s and 1970s were the engine

of an intensely creative period of architectural design, they also

provided a space for architectural theory to flourish and an arena

for critical discussion of the role of politics and new technologies

in architecture. With their dissemination, these innovative and

energetic documents also established a global network of

exchange amongst architectural students, avant-garde architects

and theorists, as well as a means to situate themselves within

the historical context of architectural publishing of progressive

thought and design. An implicit aim of the exhibition, then, is to

invite reflection on contemporary uses of media in architecture,

and how these fi t into a broader historical context. Assembling

all these remarkable documents for the first time offers a unique

view of a key period of architectural innovation and challenges

today’s architects to provoke a similar intensity.

CLIP/STAMP/FOLD:

The Radical Architecture of Little

Magazines, 196x to 197x

has been a collaborative effort

by a team of Ph.D. candidates in the School of Architecture at

Princeton University led by Professor Beatriz Colomina and is the

outcome of two years of seminars, interviews, and visits with the

editors, architects and theorists who produced the magazines.

The research team includes Craig Buckley, Anthony Fontenot,

Urtzi Grau, Lisa Hsieh, Alicia Imperiale, Lydia Kallipoliti, Olympia

Kazi, Daniel Lopez-Perez, and Irene Sunwoo. The installation

was designed by Urtzi Grau, Daniel Lopez-Perez and

Lydia Kallipoliti

.

In recent years, there has been a wide-ranging resurgence

of international interest in the architecture of the 1960s and

1970s. Yet the role of the many experimental publications that

were the engine of that intensely creative period has been largely

neglected. The exhibition Clip, Stamp, Fold: The Architecture

of Little Magazines, 196x – 197x tracks the critical function

of the little magazine in architecture during these years, when a

remarkable outburst of publications disseminated and catalyzed

a range of experimental practices. Coined in the early twentieth

century to designate progressive literary journals, the term “little

magazine” was remobilized during the 1960s to grapple with

the contemporary proliferation of independent architectural

periodicals that appeared in response to the political, social, and

artistic changes of the period. Clip, Stamp, Fold investigates

how an internationally diverse group of architectural little

magazines informed the development of postwar architectural

culture.

35.20

38.1

8

127.41

105.75

121.66

32.66

199.87

27.1

4

37.18

19

77

19

76

19

75

19

74

19

73

19

72

19

71

19

70

19

69

19

68

19

67

19

66

19

64

19

63

19

62

19

65

ORIGINALS + SOUND

TIMELINE

WALLPAPER

Audio 1[Oppositions_ Eisenman, Vidler]

Audio 2[Italian Radicals]

Audio 3[Austrians_Holein,Feuerstein]

Audio 5[Japan_ Architext]

Audio 4[ London: Peter Cook, Murray,]AUDIO

11 TIMELINE

12 WALLPAPER

13 BUBBLES

14 SOUND SYSTEM

15 PRINTED MATTER

critical bubbling..|||.....|||||||||||//|..--__

CRITICAL BUBBLING15 i

B2

b1

B1

bubbles

18.00

24.00

module 1 ||||||.../////---_|;;_’||||

module 2........||||||||||||//////[[[......

module 3|||||\\\\\///>>...}\||..-----__

PROJECT:

Design and Fabrication of Architectural Costume

>> Awarded 1st Prize in Domus magazine’s“People’s Choice” competition for Storefront’sarchitectural costume Halloween event on“Critical Banality” (2011)

>> Published in Domus’ online magazine (2011)

credits:Lydia Kallipoliti, Laia Celma, Chrysokona Mavrou

This was an architectural costume fabricated for the

Critical Halloween costume party organized by the

Storefront for Art and Architecture in New York.

Based on te tradition of Haus-Rucker-Co, the concept

was to envelop the architect’s head in a self-enclosed

environment insulated from its surroundings.

The costume was fabricated for a trio meandering the

event in tandem with a cloud hovering above the heads

of the collaborative team. The critical bubbling cloud

costume referenced not only the legacy of domed structures

but also the idea of self-sufficient environments as a

representation of the architect’s mindset.

B2

b1

B1

B2

b1

B1

B2

b1

B1

B2b1

B1

B2

b1

B1 B

2

b1

B1

person|structure 01

person|structure 02

person|structure 03