Critical Architecture – Critical Regionalism

Critical PracticeCritical PracticeAlexandros PostekkisAlexandros Postekkis

Arch_512 Fall 2014 Eleonore Zippelius MA Architecture University of NicosiaArch_512 Fall 2014 Eleonore Zippelius MA Architecture University of Nicosia

Table of ContentsTable of Contents

Course DescriptionCourse Description ....................................................................................................................... 2

Assignment 1 _ Project descriptionAssignment 1 _ Project description .............................................................................................. 3

1.1 _ The evolution of critical architectural practice 1.1 _ The evolution of critical architectural practice ..................................................... 4 1. Defi nitions 2. The Critical Project 3. Criticism of the Critical Project 4. Paradoxes by George Baird 5. Conclusion References

Assignment 2 _ Cross and Interdisciplinary Design: A Critical Approach to ArchitectureAssignment 2 _ Cross and Interdisciplinary Design: A Critical Approach to Architecture ....... 11 Project Description 2.1 _ Description and analysis of a cross- or interdisciplinary project in architecture 2.1 _ Description and analysis of a cross- or interdisciplinary project in architecture or interior design _ Olympic House and Park or interior design _ Olympic House and Park ................................................... 12 1. Concept 2. Main Idea 3. Synthesis 4. Park References

2.2 _ Evaluation of a cross- or interdisciplinary project in architecture or interior 2.2 _ Evaluation of a cross- or interdisciplinary project in architecture or interior design _ Olympic House and Park a landmark of Regional Resistance design _ Olympic House and Park a landmark of Regional Resistance .......... 21 Project Description 1. Introduction 2. The Seven points of Critical Regionalism 2.1 Point 1 2.2 Point 2 2.3 Point 3 2.4 Point 4 2.5 Point 5 2.6 Point 6 2.7 Point 7 3. Program divergence References

List of illustrations List of illustrations ........................................................................................................................ 37

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The course provides an activity-based learning framework that is characterized by a research oriented approach. The research project is divided into three segments:

- First- First, a meta-discursive discussion of critical theory, post-critical theory and critical architecture that showcases the evolution of the various positions in form of critical summaries and provides a knowledge base for further investigations.

- Second- Second, a deepening and expanding of domain-centered knowledge and an investigation of potential modes of criticality through a discussion of aspects that are emerging in a contemporary context in form of an academic essay.

- Third- Third, an application of the acquired knowledge on the fi eld of architectural practice and its transformation into new knowledge through case studies.

At the endAt the end of the course, students will present a complex and mature theoretical research project presented in form of a booklet that comprises and relates all three segments and consists of theoretical research compared to practice.

Assignments are paired with lectures, readings, seminars and discussions that provide a co-operative framework within which individual critical thinking is fostered. Information and subjects provided by the lecturer are considered as a catalyst to kick-start student centered research and expand critical thinking beyond existing, domain-specifi c knowledge.

CourseCourseDescriptionDescription

Course: Critical PracticeCritical PracticeTutor: Eleonore ZippeliusEleonore ZippeliusSemester: Fall 2014Fall 2014Master in ArchitectureMaster in ArchitectureUniversity of NicosiaUniversity of Nicosia

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Assignment 1 _ Project DescriptionAssignment 1 _ Project Description

We have started with an introduction to critical and post-critical theory, its relation to architectural practice and its infl uence on contemporary positions in architectural debate.

The lecture provides a general information base that will be discussed in class and where possible directions of expanding knowledge will be identifi ed.

Deliverables Deliverables

Students are expected to apply an inquiry-based approach to learning and knowledge production. The task will be to write a critical, meta-discursive summary of the evolution of critical practice by broadening information provided and discussed in class.

Students are expected to present an academically sound essay of 1000 to 1500 words that demonstrates knowledge of the various concepts and their values. As such it is intended to function as a base for and introduction to the second assignment where those positions are evaluated in relation to their relevance and validity and further expanded into relevant architectural context.

What is critical theory, post-What is critical theory, post-critical theory and critical critical theory and critical architecture or practice? architecture or practice?

How are these positions How are these positions related to each other ?related to each other ?

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1.1 _ The Evolution of Critical architectural practice 1.1 _ The Evolution of Critical architectural practice

1. Defi nitions1. Defi nitions

Through the article “Criticality and Its Discontents” by George Baird and in combination with supporting literature on the topic, the author of this paper aims to give a brief explanatory break down in regard to the chronological order and development of several movements of critical thoughts and practices in architecture.

Due to the complexity of the topic and in order for the reader to have a clear understanding of the selected literature some basic terms must be explained in advance.

Critical Practice then, stands between both, theory and practice or performance, and is understood as a reaction to the existing status of architectural practice and theory that are commonly rather understood as separate parts and looks into the possibility to develop a practice that through its performance can be seen as criticism.

There are fourfour important terms - critical, criticism, practice and

critical practice - that will be engaged in this paper. The term CriticalCritical is defi ned as involving criticism, judgment or evaluation through several

references or readings. Criticism Criticism that is related to critical is understood as the act of criticizing or commenting on an article. Both terms seem to

relate to a rather theoretical context in contrast to PracticePractice, the defi nition of which is performing a profession and is considered as a performative act.

A conference though was organized

by Jane Rendell and Jonathan Hill Jane Rendell and Jonathan Hill at Bartlett School of Architecture, back in November 2004, discussing the terms of de-sign and criticism. They conclude that the term design and criticality should be divided were design should involve in the buildings productions and criticism should take place as writing about performed architecture (Rendell, 2007). Nevertheless ‘Critical Architecture aims to bridge the two terms in an interdisciplinary context were both of them could act as a practice. In order to understand in depth the discussion about the debate, one should follow further the development of Critical Project and how it reach up to today.

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2. The Critical Project2. The Critical Project

The term Critical Architecture fi rst appeared in 1984 in

the text “Critical Architecture: “Critical Architecture: Between Culture and Form”Between Culture and Form” by Michael Hays. Hays argued that we must reject the choice between cultural dependence and formal autonomy, and supported that architecture should be critical by culture through language and form and resist to strong economic dominants (Baird, 2004).

Along with Peter Eisenman, Hays developed the concepts of ‘resistance’ and ‘negation’ based on theories formulated by the historian and critique Tafuri who was demanding to be resistant to a society of consumerism. According to him these concepts were best showcased in Mies van de Rohe’s Seagram building and its building skin as a ‘refusal’ to make a compromise with the architectural fashion of that time.

Eisenman Eisenman concluded that being critical it’s not so much defi ned by the architectural result but rather by the process of generating it. The discipline of architecture is understood as an autonomous discipline that is not related to any context in order to be a critique (Baird, 2004).

Fig. 1 Seagram Building

Fig. 2 Diagrams of transformation of House IV, 1971

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Fig. 3 “Soft Sell” (1993) is a video installation

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2. The Critical Project2. The Critical Project

The work of Diller & Scofi do Diller & Scofi do was used to support the position of resistance of Hays, The architects have their own unique way of embodying Hays concepts of resistance in their work of museum and gallery installations rather than buildings.

This was clearly displayed at the New York Whitney museum when Hays became its curator and curated his fi rst exhibition with these installations of (Baird, 2004).

Their installations becoming resistant towards fashion and consumerism. One of their remarkable installation was the

“Soft Cell”“Soft Cell” at 42nd Street back in 1993, a street that was described as marketplace but with a different kind of product currency through the years. Begun as a high society place, transformed then to cabaret halls, movie theaters and end up to commercial sex place.

Their video installation in an abandon porn theater project a set of female projected to passing criticize the society and consumerism and how sexism and product can become part of our life as inhabited in a place.


Somol and WhitingSomol and Whiting published a text “Notes around the “Notes around the Doppler Effect and Other Moods of Modernism”Doppler Effect and Other Moods of Modernism” in which they formulated their critique on the critical project of Hays and Eisenman. They demanded a shift from the critical project that they described as indexical, indexical, dialectical and hot representation to a projective practice which dialectical and hot representation to a projective practice which for them is in contrast diagrammatic, atmospheric and coolfor them is in contrast diagrammatic, atmospheric and cool (Somol et al 2002).

In order to explain their arguments, they assimilate hot (Critical) hot (Critical) and and cool (post critical)cool (post critical) with the 2 actors Robert Mitchum De Niro as with the 2 actors Robert Mitchum De Niro as acting performances.acting performances. Were for cool mean ‘relaxed and easy’ and for hot means complicate and diffi cult resulting resistance.

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3. 3. Criticism of the Critical ProjectCriticism of the Critical Project

In contrast to the critical project Rem Koolhaas Rem Koolhaas position has been used to stress the weakness of it. He recognized and stated that architecture cannot architecture cannot always be criticalalways be critical. Since an architectural project is involved in economic, cultural, political and logistical concerns it needs to refl ect a certain context and must be described as an uncritical emphatic engagement which creates diffi culties in staying objective and autonomous and formulating a substantial independent critique.

Fig. 4 House in Bordeaux, 1998

In addition, Koolhaas states that architectural effi cacy might be limited through ‘criticality’, and if so, then must yield to effi cacy. Architecture must be effi cient Architecture must be effi cient and force and effect should be the prevailing parameters rather than autonomy and process as demanded by Eisenman (Baird, 2004).


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3. 3. Criticism of the Critical ProjectCriticism of the Critical Project

Stan AllenStan Allen, like Speaks, suggested to “go beyond avant-“go beyond avant-garde model by using popular garde model by using popular culture and the creativity of culture and the creativity of the market place”the market place”. In order to support his argument, Allen engaged both texts of Speaks and Somol and Whiting (Baird, 2004).

The argument was similarly to the predecessors of post critical stand and calls for engagement of the popular culture and the design that derive from business.

Silvia LavinSilvia Lavin joined the discussion in adding that we need to appreciate and take into consideration the ‘provisional ‘provisional and ephemeral, in a world that and ephemeral, in a world that is dominated by Modernism’ is dominated by Modernism’ which she described as ‘fi xed and durable’(Baird, 2004). This kind of thinking could provide a liberation and generate a new design era.

The same year Michael SpeaksMichael Speaks published

the article “Design Intelligence and the “Design Intelligence and the New Economy”New Economy” in A+U, where he argued that the visionary ideas of avant-garde architecture stay undeveloped because they are disabled by their dedicated, decisive negativity and need to be replaced with design intelligence that is based on open source design, a decentralized model of design production.

He supported a model of a new alternative, integrating architecture that is based on business business management practicesmanagement practices. (Speaks, 2002).


4. 4. Paradoxes by George BairdParadoxes by George Baird

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BairdBaird identifi ed several paradoxes that he elaborated and which will be shortly described similar to the post-critical position, the historian and theoretician Tafuri, on who`s theory the critical project was based, also criticizes the avant-garde architecture which, according to him, is ‘obsolete and ‘obsolete and irrelevant’ irrelevant’ and , instead, admires non-avant-gardist architects (Baird, 2004).

He also promotes a new architectural form on the new architectural form on the plane of the entire urban entityplane of the entire urban entity that leads to an urban transformation and is, in contrast to Eisenman and Hays, rather context oriented. Nevertheless Tafuri engaged also to the idea of projection and pragmatics in relation to programs which was argued by the post-critical debate concerning instrumentality as projection, performativity and pragmatics.

HickeyHickey was used to advocate the post-critical project and to support their arguments by borrowing the terms hot and cool hot and cool performanceperformance which he used to compare two actors and their acting style. On the other hand he also stands for resistance when he asks how smooth can it get and still resist rationalization.

In one of his lecture he compared the two American cities Santa Fe and Las Vegas and argued that he preferred Las Vegas since he favors ‘the real fake to the fake real’ (Baird, 2004). A conscious choice of Hickey that tries to highlight the importance of honesty, even in fake, decorative architecture as a point of criticality rather a fake camoufl age architecture that detunes the broader culture.

5. 5. ConclusionConclusion

References References

BairdBaird concludes that the essence of the discussion is not yet revealed because the discussion, according to him, is still rather the discussion, according to him, is still rather at the beginning than the end.at the beginning than the end. There are still many things which need to be clarifi ed and be discussed He is curious to see how the post critical project will practically implement its still theoretical positions and if this will be the start of a new era of transformation.

This new era of “projective architecture” needs to be tested and supported by theory in order to not become “merely pragmatic” (Baird, 2004). He calls for a universal understanding of the role of architecture, and the act of criticism as a constructive dialog that is enriching the cultural horizon.

1. 1. Rendell, J., 2007 Introduction: Critical Architecture. In Rendell, J., Hill J., Fraser M., Dorrian M.(2007) Critical Architecture. London: Routledge. , pp.1-8

2.2. Baird, G., (2004) Criticality and its discontents. Harvard Design magazine 21, pp.16-21

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2.2. _ Cross and Interdisciplinary Design: A Critical Approach to Architecture _ Cross and Interdisciplinary Design: A Critical Approach to Architecture

Architecture and interior designArchitecture and interior design are subjects that include his-tory, theory, criticism and design as well as urban, technological, social and professional studies. As such, they embrace knowledge, understanding and modes of operation particular to a number of disciplines ranging from the sciences to the arts and humanities. Defi ned in this way, they can be de-scribed as multidisciplinary subjects.

Cross- and interdisciplinaryCross- and interdisciplinary research calls into question the ideolog-ical apparatus that structures the terms and methods in order to question dominant processes that seek to control intellectual and creative production instead, it generates new resistant forms and modes of knowledge and un-derstanding.

So architecture and interior design are multidisciplinary subjects,So architecture and interior design are multidisciplinary subjects,which can operate in cross- and interdisciplinary ways.which can operate in cross- and interdisciplinary ways.

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Assignment 2.1 _ Project Description Assignment 2.1 _ Project Description

Analysis of a cross- or interdisciplinary project in architecture or interior designAnalysis of a cross- or interdisciplinary project in architecture or interior design

Students are expected to choose an architectural or interior design project that operates in a cross- or interdisciplinarycross- or interdisciplinary way and to analyze and describe it along the following parameters:

- disciplines involved - disciplines involved - disciplinary input - disciplinary input - cross- or interdisciplinary output - cross- or interdisciplinary output

Deliverables:Deliverables:

Students are expected to apply an inquiry-based approach to learning and knowledge production. The task will be to produce a study that is delivered as written and visual information via a power-point presentation (presented in class) and an academic essay of 1000 to 1500 words that demonstrate knowledge of the subjects of critical architecture and interior design and cross- and interdisciplinary and their application in practice.

Olympic House and ParkOlympic House and Park

Architects: ARMON Space ArchitectureARMON Space ArchitectureEleftheria Sergidou & Vassilis PasiourtidisEleftheria Sergidou & Vassilis Pasiourtidis

Location: Nicosia, CyprusNicosia, CyprusProject Completion: 20062006

Project Area: 10.604 sq.m.10.604 sq.m.

2. _ Cross and Interdisciplinary Design: A Critical Approach to Architecture 2.12.1_ _ Analysis of a cross- or interdisciplinary project in architecture or interior designAnalysis of a cross- or interdisciplinary project in architecture or interior design

Fig. 5 Olympic House and Park © ARMON

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The conceptual goal of the Olympic House and Park is to achieve a holistic approach that incorporates the importance of the Olympic Movement in terms of its idea and spirit and transfers it into an architectural composition. The following three key parameters were identifi ed and hence used to inform and form the concept of the proposal (CY ARCH, 2013):

1.1. The Universal dimension of culture and spread of the ancient The Universal dimension of culture and spread of the ancient spirit of Olympism translated in concepts such as fraternity, fair spirit of Olympism translated in concepts such as fraternity, fair play and world peace. play and world peace.

2.2. The Historical dimension of the preservation and revival of the The Historical dimension of the preservation and revival of the ancient institution. ancient institution.

3.3. The athletic dimension that pursues training of “body and spirit” The athletic dimension that pursues training of “body and spirit” in equal measure as an essential human activity. in equal measure as an essential human activity.

In addition, the transition from the “one to the total”“one to the total” and from the “ancient to the modern”“ancient to the modern” was achieved through an architectural translation in space through intermediate voids in the building structure in plan and section. The design of the ground level refers to the co-identity of “body and spirit”“body and spirit” that is refl ected in the build and un-build spaces or solid and void.

2.12.1_ _ Analysis of a cross- or interdisciplinary project in architecture or interior designAnalysis of a cross- or interdisciplinary project in architecture or interior design

1. 1. ConceptConcept

Fig. 6 Diagram of void penetration © ARMON

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2.1_ Analysis of a cross- or interdisciplinary project in architecture or interior design 2.12.1_ _ Analysis of a cross- or interdisciplinary project in architecture or interior designAnalysis of a cross- or interdisciplinary project in architecture or interior design

2. Main 2. Main ideaidea

Fig. 7 Diagram: Relationship between city, workspace and central courtyard © ARMON

Fig. 8 View to the city of Nicosia © ARMON

The arrangement of the plan aims to express the parameter of universality, comradeship and cooperationuniversality, comradeship and cooperation resulting in the creation of the imagery of an ancient Greek stadium that references back to the Greek architectural history. Greek architectural history.

The building is developed around a central void which opens to the city, inviting the “outer” to enter and allow the “inside” to be viewed. inviting the “outer” to enter and allow the “inside” to be viewed. Therefore a visual bridge is created between the building and the city, and among the offi ce spaces (CY ARCH, 2013).

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2. Main 2. Main ideaidea

The transition from “Ancient to Modern” was “Ancient to Modern” was achieved in sectionachieved in section by elevating the building from the ground and creating a void on the ground fl oor level. The in-between void turns into a route where installations and exhibits are showcased to the public and together with the entrance, reception area and the multi-use space form an educational space that informs on the ancient and modern history of the Olympic institution (CY ARCH, 2013).

The building and the park are not interfering with each other, but coexist in a harmonious balance. The concept developed from the solid penetrating the void space of the “stadium” and surrounding the un-built and the un-built or void penetrating the center of the built and excavating the solid which is fi nally expressed in the entrance and reception area that are both incorporated in the ground fl oor level. This co-penetration and coexistence of solid and void, building and park, is translating the need for the coexistence of “material coexistence of “material and spirit” and “body and spirit” and “body exercise and spirit”exercise and spirit” (CY ARCH, 2013).

Fig. 9 Exhibition Space © ARMON

Fig. 10 Diagram: The Bridging Void © ARMON

Fig. 11 Void and Solid subtracted

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3. Synthesis3. Synthesis

Fig. 12 Diagram of circulation and function

The building is organized in three sections:The building is organized in three sections:

1. The 2nd fl oor containing 19 small and 3 large federations.1. The 2nd fl oor containing 19 small and 3 large federations. 2. The 1st fl oor containing 10 medium and 3 large federations. 2. The 1st fl oor containing 10 medium and 3 large federations. 3. The central Void (ground, 1st, 2nd fl oor) where services are 3. The central Void (ground, 1st, 2nd fl oor) where services are arranged vertically on both wings, and which divides the patio arranged vertically on both wings, and which divides the patio into two areas: into two areas: a. The covered patiocovered patio which is part of the park. b. The indoor / outdoor patio indoor / outdoor patio which is part of the building.

The main accessThe main access to the building is provided from the park, located centrally between the two wings and , through the central void, while a second entrance is accessible directly from the road and reaches the reception area perpendicular. One major function of the central void is the visual accessvisual access to the offi ces of the sport federations on the upper fl oors from the ground level as well between the offi ces that is thought to express and create a spirit of cooperation between the federations.

Another major function of the central void on the ground fl oor is to provide aggregation aggregation of spacesof spaces that can host events, exhibitions, etc. The entire central ground fl oor is developed as a sequence of spaces from the park through the covered atrium to the entrance-reception area and the multi-functional hall.(ARMON,2010). Fig. 13 Central Void - Garden © ARMON

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3. Synthesis3. Synthesis

Fig. 15 External corridor © ARMON

Fig. 16 Internal Void - Entrance © ARMON

Fig. 17 West facade © ARMON

Fig. 14 South end of building © ARMON

The Cyprus Olympic The Cyprus Olympic CommitteeCommittee is hierarchically placed on the highest levelhighest level, at the South end of the building, and directed towards the new stadium of Nicosia.

The access to the offi ces of the offi ces of the federations,federations, that are located on the upper fl oors of the two building wings, is provided through external galleries that face the urban environment. As a result the offi ce spaces are directed towards the directed towards the insideinside, facing the patio, allowing people who work in those offi ces to communicate with each other and turning them into observers of the events that are supposed to take place on the ground fl oor.

From the point of view of visitors that are entering the building this orientation allows to see, read and see, read and observe the federations offi ces observe the federations offi ces as a parade of the various sports as a parade of the various sports that are promotedthat are promoted.

The outer peripheral movement The outer peripheral movement between the offi ces is a main feature of the building facade providing a sense of inhabitation, and liveliness, as an attempt to reference the devotion to sports(ARMON,2010).

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The parkThe park is formed as a contemporary urban park, which plays an educational role in gaining experience and knowledge and is part of an entire network. As the user passes through , he experiences the space as a combination of three basic open spaces:

1.The Square which is extended 1.The Square which is extended above the underground parking. above the underground parking.

2.The Park surrounding the building 2.The Park surrounding the building that is splitted into: that is splitted into:

(i)(i) The thematic gardens, where each segment is developed according to a theme in relation to a sport.

(ii)(ii) The seasonal and wet gardens, where each segment corresponds to a seasonal vegetation combined with a work of art.

(iii)(iii) The grove, the outdoor event space and the playground.


4. The Park4. The Park

Fig. 19 Underground parking © ARMON

Fig. 20 Park: Grove and playground © ARMON

Fig. 18 Diagram: 3 types of green

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Fig. 21 Central Garden - Patio - Multimedia © ARMON

3. The Central Garden 3. The Central Garden Located in the covered covered patiopatio and is the heart of the park design . It is conceptualized as a “multimedia garden”“multimedia garden” using various media. Large screens or video Large screens or video wallswalls are supposed to broadcast timely international sporting events, along with audiovisual presentations of the history of the Olympic competitions etc.

The ground fl oor is covered with artifi cial grass to cite and form the atmosphere of a stadium.

The conceptual ideaThe conceptual idea of the media garden is derived from the observation of the landscape of contemporary sporting events, which is using newest technology using newest technology and communication and media systems, in contrast to ancient times where the sport was exclusively informed by nature.

As a result the central theme garden of the Olympic House and Park is the pivotal point of past and pivotal point of past and future future and exterior and interior spaces. (ARMON,2010).

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References References

Fig. 22 View from the Highway © ARMON

The surrounding The surrounding parkpark that is facing the highway, is enclosed by a wall, which acts as a solid baseacts as a solid base that allows the building to project its impressive appearance, refl ecting the importance and history of the Olympic institution (ARMON,2010).

1.1. CY ARCH, NOA, 2013, Olympic House and Park in Nicosia. [Online] Available from: http:// www.cy-arch.com/olimpiako-megaro-kai-parko-sti-lefkosia [Accessed: 16 November 2014]

2.2. ARMON CHOROS ARCHITEKTONIKIS, 2010, Olympic House and Park. [Online] 14 January 2010. Available from: http://armon-architects.blogspot.com/2010/01/olympic-house-and- park.html [Accessed: 2 December 2014]

3.3. PASOURTIDIS, V.,2014, Olympic House and Park Description. [Email]. Message to: Pasiourtidis, V. 10 December 2014

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2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design

Assignment 2.2 _ Project Description Assignment 2.2 _ Project Description

The previous descriptionThe previous description and analysis will be carried on by a critical evaluation of the chosen project with respect to its validity as a critical approach to architecture or interior design.

Research questions to be investigated are:Research questions to be investigated are: - is the project a critical approach to architecture or interior design?- is the project a critical approach to architecture or interior design? - which criteria are applied for the evaluation of criticality? - which criteria are applied for the evaluation of criticality? - how does the project fulfi ll those criteria? - how does the project fulfi ll those criteria?

As a term associated with a desire to produce political critique, interdisciplinary research calls into question the ideological apparatus that structures the terms and

methods of specifi c disciplinary practices…. The aim of such work is to question dominant processes that seek to control intellectual and creative production, and

instead generate new resistant forms and modes of knowledge and understanding.J. Rendell (2004) Introduction: Critical architecture: between criticism and design

Deliverables:Deliverables:Students are expected to further develop the inquiry of assignment 2.1. The task will be to produce a study that is delivered as written and visual information via a power-point presentation and an academic essay of 1000 to 1500 words that demonstrate knowledge of the subjects of critical architecture and interior design and cross- and interdisciplinarity and their application in practice.

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Olympic House and Park a landmark of Regional ResistanceOlympic House and Park a landmark of Regional Resistance

“It [critical architecture] does not refl ect a desire to work to existing “It [critical architecture] does not refl ect a desire to work to existing standards, rather it is the kind of transformative activity that standards, rather it is the kind of transformative activity that

intellectual and creative life requires to critique and question such intellectual and creative life requires to critique and question such ‘norms’.” (Rendell, 2007).‘norms’.” (Rendell, 2007).

Few decades ago young architects were confronted with an uncontrollable wave of modernism that overshadowed all the overshadowed all the values of region and culturevalues of region and culture, in an attempt to achieve a global architecture. As these people felt the risk of local and cultural elimination they tried to react and raise awareness through their work, thus creating the nowadays well known movement of Critical Critical Regionalism.Regionalism.

Noteworthy projects were promoted as symbolic answers of resistance in response to the globalized nature of the International Style. Critical regionalism was essential in order to address the address the lack of local reference to integrate lack of local reference to integrate the design of vernacular traditional the design of vernacular traditional elementselements that refer to the local character of the area and to integrate the building in its broader local environment.

Modern architecture introduced masterpieces of buildings, which, though, they were excellent in function and design, had no reference to their local

environment. This resulted in the alienation of the buildingalienation of the building from its users and cultural background. The building, in most cases, was a stranger, a traveler within the stranger, a traveler within the selected environment and it was selected environment and it was falsely assumed thatfalsely assumed that it could be placed arbitrarily in any part of the world where it would have the ability to function in exactly the same way. In addition, those buildings, that did not take into consideration the environment and climate, resulted to be dysfunctional and had dysfunctional and had a high energy consumptiona high energy consumption in order to provide comfort to their users. Critical regionalism Critical regionalism aims to balance, and reduce the gap between the vernacular, traditional vernacular, traditional architecture and the contemporary, architecture and the contemporary, technologically advanced, global technologically advanced, global architecture. architecture. Through studying the past and the identity of a place, designers identify the most important elements and integrate them in their contemporary designs. The result is entirely positive since the re-integration of a regional character is introduced once again, bringing a new revolution in contemporary architecture.

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Olympic House and Park a landmark of Regional ResistanceOlympic House and Park a landmark of Regional Resistance

In critical regionalism In critical regionalism knowledge from the past informs the technology of the future allowing critical regionalism to resist, in an attempt to reform resist, in an attempt to reform the local identity as a genuine the local identity as a genuine development of history. development of history. Local materials are reintroduced but applied in form of a modern aesthetic.

The design of buildings is related to the topography considering views, green, nature, and green, nature, and other natural elements enriching the other natural elements enriching the user experience.user experience. Design that takes into account local climate results in a more effi cient use of natural light and ventilation, and fi nally in a lower energy consumption. The creation of atriums or interior enclosed courtyards are referencing vernacular architecture, and enriching the spatial experience.

The Olympic HouseThe Olympic House and Parkand Park were selected for this study due to the multiple aspects that differentiate it from the majority of public buildings on the island of Cyprus. It’s a result of an architectural competition, and yet does confront nowadays ‘fashionable architecture’. The architects intelligently incorporated regional values accompanied by contemporary aspects contemporary aspects of architecture formulating of architecture formulating workspace and public space as workspace and public space as one. one. This was achieved through architectural gestures that rely on vernacular architecture and integrate historical concepts of courtyard. In order to understand and evaluate the building of being critical, Kenneth Frampton’s Seven Kenneth Frampton’s Seven Points of Critical Regionalism Points of Critical Regionalism were chosen to question whether were chosen to question whether the building resists and critiques the building resists and critiques existing ‘norms’. existing ‘norms’.

Fig. 23 Street View © Solomou Charis

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FramptonFrampton P.1 P.1

Fig. 24 Diagram: Reference of ancient Olympic Stadium

“Critical Regionalism has to be understood as a marginal practice, one which, “Critical Regionalism has to be understood as a marginal practice, one which, while it is critical of modernization, nonetheless still refuses to abandon the while it is critical of modernization, nonetheless still refuses to abandon the emancipatory and progressive aspects of the modern architectural legacy.”emancipatory and progressive aspects of the modern architectural legacy.” (Frampton, 1992,p. 327). Critical regionalism as a practice overcomes contemporary architecture by introducing elements of cultural heritageintroducing elements of cultural heritage. This has the effect of distancing from and resistdistancing from and resist the so called International Style that was applied in the early years of modernism treating the building as a living machine with no local reference. In the case of the Olympic House and Park, the central idea was to tie the past with the futuretie the past with the future. Since the building was dedicated to sports and the Olympic Games the architects try to achieve the transition from transition from the ancient to the modernthe ancient to the modern by elevating the building and creating a ground void to be used as a communal space (CY ARCH, 2013). The sense of an The sense of an ancient Olympic stadiumancient Olympic stadium is achieved by referencing back to the ancient is achieved by referencing back to the ancient tradition and heritage thus making a scenographic reference that relates to tradition and heritage thus making a scenographic reference that relates to the users` experience.the users` experience.

The concept of the Olympic House also does conceptually integrate an internal courtyardinternal courtyard that is a signifi cant element of traditional architecture as in the case of courtyard houses. Therefore the Olympic House does resist resist to modernizationto modernization but at the same time transforms these traditional forms into a contemporary design that incorporates the progressive aspects of contemporary architecture. This becomes obvious in the overall aesthetic of the building and the materiality, the use of contemporary building material, materiality, the use of contemporary building material, such as fair face concrete, wood and metal frame works. such as fair face concrete, wood and metal frame works.

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Fig. 25 Diagram: Void toward the city

“Critical Regionalism manifests itself as a consciously bounded architecture, “Critical Regionalism manifests itself as a consciously bounded architecture, one which rather than emphasizing the building as a free-standing object one which rather than emphasizing the building as a free-standing object places the stress on the territory to be established by the structure erected places the stress on the territory to be established by the structure erected on the site on the site (Frampton, 1992,p. 327). Buildings should be fi tted into their environment and fi guratively transfer the forces fi guratively transfer the forces to the ground.to the ground. Not as random objects, but as structures that communicate with the wider environment and defi ne their presence there. The architectsThe architects of the Olympic House created a gesture towards the city by elevating part of the building as a free standing

form and excavating the building mass in form of a `U` that opens `U` that opens up towards the main city up towards the main city entrance.entrance. This gesture intends to create an exposed space on the ground level and a gap or gap or voidvoid that generates an in-between that generates an in-between space between public and private space between public and private and expands inside the building and expands inside the building penetrating it as a wormhole that penetrating it as a wormhole that joins the interior and the city joins the interior and the city environment .environment .

The design manages to give a unique experience to the user, allowing the building’s physical limits to be conceived from outsidephysical limits to be conceived from outside. As the user approaches from the street, he perceives the physical limits of the building, but at the same time the porousness of the ground fl oor sucks him in entering the void and, experiencing the inner core of the building without experiencing the inner core of the building without yet having entered it.yet having entered it. This intention was also clearly stated by the architects: “This interpenetration and co-existence of built and un-built, of edifi ce and “This interpenetration and co-existence of built and un-built, of edifi ce and park, on an equal footing, expresses the need for material and spiritual to park, on an equal footing, expresses the need for material and spiritual to coexist: training for body and spirit.”coexist: training for body and spirit.” (ARMON,2010)

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Fig. 26 Vertical louver system © Solomou Charis

Fig. 27 ‘Soft’ porous metal structure © Solomou Charis

“Critical Regionalism favors the realization of architecture as a tectonic fact “Critical Regionalism favors the realization of architecture as a tectonic fact rather than the reduction of the built environment to a series of ill-assorted rather than the reduction of the built environment to a series of ill-assorted scenographic episodesscenographic episodes (Frampton, 1992,p. 327).

Critical regionalism focuses on the construction of a building, and its conversion into a series of scenographic scenes.conversion into a series of scenographic scenes. The structure is a major component of the spatial experiencespatial experience, and has a signifi cant role in the shaping of spatial aesthetics.

The construction of the Olympic House is an integral part of the aesthetic and the spatial experience. The architects consciously choose to expose several parts of the construction frame, allowing the user’s eye to read the construction and involving the user in a dialogue of dialogue of understanding the vertical and understanding the vertical and horizontal forces.horizontal forces. Simultaneously, construction elements together with other important building components are generating the scenographic imagescenographic image, staged , staged intelligently by the designers of the intelligently by the designers of the project and leading the users to project and leading the users to explore the space in a serial vision, explore the space in a serial vision, a well planned series of experiences a well planned series of experiences and discoveries while walking.and discoveries while walking. (CY ARCH, 2013).

The architects superimposed superimposed parallel layers of the building parallel layers of the building envelopenvelop. A single look at the building’s facade reveals the soft soft and hard layersand hard layers that dress the concrete framework. The ‘soft’ porous metal structure carries the external circulation and the louver system and reveals a second layer behind which is the actual building skin either in form of the wooden dress or the ‘hard’ fair face concrete wall, Both, soft and hard surfaces are Both, soft and hard surfaces are building a synthesis that provides a building a synthesis that provides a unique three dimensional image.unique three dimensional image.

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FramptonFrampton P.4 P.4“Critical Regionalism is regional to the degree that it invariably stresses “Critical Regionalism is regional to the degree that it invariably stresses certain site-specifi c factors, ranging from the topography, considered as a certain site-specifi c factors, ranging from the topography, considered as a three-dimensional matrix into which the structure is fi tted, to the varying three-dimensional matrix into which the structure is fi tted, to the varying play of local light across the structureplay of local light across the structure (Frampton, 1992,p. 327).

The successful integration of a building into its environment depends also on the successful adaptation to the local climateadaptation to the local climate and the use of various natural resources so that nature and building are merging. Kenneth Frampton cites as an example the use of natural light not only for the illumination of the interior but also for highlighting the form and function. The illumination of the interior but also for highlighting the form and function. The light itself has an important role in the light itself has an important role in the spatial and qualitative experience spatial and qualitative experience of the building.of the building.

The Olympic House was designed with sensitivity setting priority to the use of natural lightuse of natural light for both interior illumination and to highlight the architecture of the building. Adjustable louvers have been installed around the vertical outer skin of the building creating a double envelop which has the ability double envelop which has the ability to regulate solar radiation, natural to regulate solar radiation, natural light and air light and air (ARMON,2010).

In addition the function of this second skin, which opens or closes to accept or absorb more light, reveals the inner layer of the inner layer of the buildingbuilding, the hard concrete shell behind it, as the light penetrates the light penetrates the open louvers and creates changing open louvers and creates changing patterns of shade. patterns of shade.

Fig. 28 Bioclimatic aspects © Solomou Charis

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In parallel, the central central outdoor patiooutdoor patio is enclosed and regulated by horizontal blinds, protecting the space from rain and rotecting the space from rain and unwanted radiation and, vice versa, unwanted radiation and, vice versa, giving the space a fl exible and giving the space a fl exible and adaptable use throughout the day adaptable use throughout the day or seasons.or seasons. The natural light that penetrates the double height interior patio creates a warm and bright atmosphere within the internal core of the building, highlighting the highlighting the space as the heart of the whole space as the heart of the whole network.network.

Concerning the topography the building is situated on an elevated exposed position that takes into consideration the visual visual experienceexperience. As the user enters the central void from the street at his left, he perceives a unique framed scenery towards the forest framed scenery towards the forest of Athalassaof Athalassa and beyond as an experience of being integrated into a miniature piece of nature (ARMON,2010). And in the moment a user exits the central patio he has exits the central patio he has a directed view towards the city a directed view towards the city and the high rise buildings in the and the high rise buildings in the background while getting ready to background while getting ready to be part of it once again.be part of it once again.

Fig. 29 Louver system - South facade © Solomou Charis

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FramptonFrampton P.5 P.5“Critical Regionalism emphasizes the tactile as much as the visual. It is “Critical Regionalism emphasizes the tactile as much as the visual. It is aware that the environment can be experienced in terms other than sight aware that the environment can be experienced in terms other than sight alonealone (Frampton, 1992,p. 327).

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The design of the building also involves the connection of natural elementsnatural elements that surround the building enriching the spatial experience by enabling the enabling the human senseshuman senses. The senses are activated by the spatial experience of natural elements such as light, light, moisture, materiality, smells and moisture, materiality, smells and more. more.

The aim is to provide a unique experience by engaging engaging the building with natural the building with natural elementselements, in order to enable the user to absorb such quality of local data and experiences. This allows the user to recall images recall images from his from his memorymemory that are related that are related to sensual experiences of natural to sensual experiences of natural elements. elements. This creates a positive contrast to the contemporary life in a world where information is mostly taken from digital media excluding any human interaction with genuine data.

At the Olympic House the user is exposed to a range range of of sensory experiencessensory experiences that that successfully combine and activate successfully combine and activate the human senses.the human senses. Straight contact with a variety of natural or manmade natural or manmade materialsmaterials such as fair face such as fair face concrete, wood, metal, glass or concrete, wood, metal, glass or water activate the sense of touch water activate the sense of touch in relation to texture, temperature in relation to texture, temperature and humidity. and humidity. Different routes routes through the gardensthrough the gardens ,created on the ground floor, activate the sense of touch, smell, hearing and touch, smell, hearing and in some moments taste. in some moments taste.

The contrast of hard contrast of hard and soft floorsand soft floors and the switching of gait due to downhill passages together with the crossing of covered and uncoveredcovered and uncovered, or enclosed and open spacesenclosed and open spaces create not only a rich backdrop, but also engage the user with the carefully staged, aesthetic environment of the building (ARMON,2010).



Fig. 30 Sensory Diagrams © ARMON

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FramptonFrampton P.6 P.6“Critical Regionalism will endeavour to cultivate a contemporary place “Critical Regionalism will endeavour to cultivate a contemporary place oriented culture without becoming unduly her¬metic, either at the level of oriented culture without becoming unduly her¬metic, either at the level of formal reference or at the level of technology formal reference or at the level of technology (Frampton, 1992,p. 327).

Critical Regionalism is trying to discreetly host traditional traditional aspects without being hermeticaspects without being hermetic, while using elements of contemporary architecture, in a balanced manner. Just copying elements from the past would not provide any meaning, since it would just be a repetition without any relevance. In contrast, critical regionalism aspires a thorough investigation of architectural, cultural tradition and evolution including vernacular architecture, and its vernacular architecture, and its further development towards further development towards a successful combination a successful combination of contemporary and traditional elements of architectural form, space and materials.

The Olympic House successfully incorporates Cypriot Cypriot traditional architectural traditional architectural elementselements that are further translated into contemporary architecture. Although the building stands for a contemporary approach to architecture and design, a closer look reveals elements that are reminiscent of regional cultural reminiscent of regional cultural heritage.heritage. The architects applied tested tested elements of courtyardelements of courtyard and louvers for the creation of spatial relationships and climate adaptationclimate adaptation but used a modern aesthetic and earth quake resistant construction, a steel structure, a concrete skin, an aluminum louver system for sun protection, and other technological features.

Fig. 31 View to the Central Yard © ARMON

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The buildingThe building genotype genotype, the relationship between the inside and the outside, the covered and the uncovered, is revealed in plan as an enclosed courtyard that refers back to the old traditional Cypriot old traditional Cypriot househouse, as a space of gathering space of gathering and workspace that is incorporated and workspace that is incorporated in a contemporary public building in a contemporary public building (DEMI, 1997).

The yardThe yard that is open to three sides on the ground fl oor level and open on one side on the higher levels is developed into a public open space that mediates mediates between the public space of between the public space of the street and the publicly the street and the publicly accessible interior of the accessible interior of the building.building. (CY ARCH, 2013). A semitransparent enclosure towards the east provides intimacy without barricading the view towards barricading the view towards the city. the city.

Fig. 32 Cyprus Traditional courtyard

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FramptonFrampton P.7 P.7“Critical Regionalism tends to fl ourish in those cultural interstices which in “Critical Regionalism tends to fl ourish in those cultural interstices which in one way or another are able to escape the optimizing thrust of universal one way or another are able to escape the optimizing thrust of universal civilization civilization (Frampton, 1992,p. 327). Critical regionalism thrives in an environment dominated by the International style, where it tries to resist the dominant ordertries to resist the dominant order. The main diffi culty is the integration of the building in an environment that is characterized by architecture that aims to be international and multinational, and is not responsive if not hostile to its environment.not responsive if not hostile to its environment.

The location of the Olympic House in an urban area of public buildings which have been designed according to the International Style designed according to the International Style or architectural fashions highlightsor architectural fashions highlights. Its discreet and context sensitive but distinct a composition affi liatecomposition affi liate to the movement of critical regionalism. It is thought to become an attraction to the public due to its use and permeability on the ground fl oor level.

Its friendly gesture towards the urban environment invites the public invites the public to a journey of experience of a place that private uses are part of and hosted to a journey of experience of a place that private uses are part of and hosted discreetly on the upper fl oors.discreetly on the upper fl oors. This stands in contrast to the neighboring publicly accessible buildings of ANAD, AHK and the Hellenic Bank which provide a hermetic perception in terms of scale, form, use, and limited scale, form, use, and limited permeabilitypermeability. This results in an alienation of these buildings since the only interaction between the buildings and the users are visual, in contrast to the Olympic House that allows people to engage and experience the context of allows people to engage and experience the context of the ground fl oor. the ground fl oor.

Fig. 33 Depth of Interaction

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Program Diverse Program Diverse

Architecture is to some degree subjective, formulates an intention subjective, formulates an intention or gesture that - needs to be proven by its actual useor gesture that - needs to be proven by its actual use. The fi nal say have the users on whether a building is successful or notsuccessful or not. It is diffi cult to predict the fi nal behaviorpredict the fi nal behavior of the users of a building, especially when it is dedicated to public use and not to a manageable amount of private users where behavior is easier to be foreseen.

In the case of the evaluated building, many parameters were analyzed and architectural measurements introduced to support the objectives and principles of the design concept. The central The central internal courtyard successfully internal courtyard successfully promotes the collective spirit of the promotes the collective spirit of the Olympic games and bridges private Olympic games and bridges private and public exhibition space. and public exhibition space.

Nevertheless the the central central void void is not hosting such a large is not hosting such a large number of peoplenumber of people from around the

area since the building is located at the edge of a residential area and, despite its dominant visual location and presence, only accessible accessible through the urban through the urban “backdoor”“backdoor”, hidden in an urban area that is diffi cult to be accessed. Some users even complain about the permeability of the ground fl oor since the entrance of the communal communal space is oriented to the courtyard space is oriented to the courtyard in the north and not very visible to in the north and not very visible to the public that arrives by car on the the public that arrives by car on the street. street.

Fig. 34 Entrance from the city ‘back door’ © ARMON

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Program Diverse Program Diverse

In addition, the exhibition space, which is located in the central void, was designed to host large screens that would broadcast large screens that would broadcast important events of Olympismimportant events of Olympism that could support an interaction support an interaction of usersof users . Instead, several fi xed Instead, several fi xed

The Olympic House aims to develop a culture of public culture of public education and interactioneducation and interaction in an urban space that is surrounded by impersonal buildings that shape a colorless neighborhood. But But it takes more than a color to shape a rainbowit takes more than a color to shape a rainbow and as the Olympic House stands and calls for people to participate, the rest of the public buildings stand as impervious walls which results in the building becoming just one outstanding appearance becoming just one outstanding appearance among the othersamong the others, and not be respected and used as a building building dedicated to the public. dedicated to the public.

Fig. 35 Proposal - Execution © ARMON

installations were placed around the installations were placed around the central voidcentral void, which rather literally promote the Olympic idea. As time passes, these installations are installations are decaying and become boringdecaying and become boring or even unwanted as neutral objects or even unwanted as neutral objects that do not allow for interaction. that do not allow for interaction.

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2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design

ReferencesReferences

1.1. FRAMPTON K., 1992. Modern Architecture, A critical History. London: Thames and Hudson

2.2. Rendell J., Hill J.,Fraser M. Dorrian M. eds.2007 Critical Architecture. London: Routledge.

3.3. DEMI D., 1997. The Walled City of Nicosia: Typology Study. Nicosia: UNDP United Nations

Development Program.

4.4. CY ARCH, NOA, 2013, Olympic House and Park in Nicosia. [Online] Available from: http:// www.cy-arch.com/olimpiako-megaro-kai-parko-sti-lefkosia [Accessed: 16 November 2014]

5.5. ARMON CHOROS ARCHITEKTONIKIS, 2010, Olympic House and Park. [Online] 14 January 2010. Available from: http://armon-architects.blogspot.com/2010/01/olympic-house-and- park.html [Accessed: 2 December 2014]

6.6. PASOURTIDIS, V.,2014, Olympic House and Park Description. [Email]. Message to: Pasiourtidis, V. 10 December 2014

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2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design

1.1. Seagram Building (2008) [Poster] At: http://commons.wikimedia.org/wiki/ File:Seagram Building-NewYork-3.jpg (Accessed on 05.01.15)

2.2. Diagrams of transformation of House IV (2011) At: http://www.archdaily. com/129875/5-projects-interview-5-alexander-maymind (Accessed on 05.01.15)

3.3... Soft Sell (2003) [Poster] At: http://www.arcspace.com/exhibitions/ unsorted/the- aberrant-architectures-of-diller--scofi dio/ (Accessed on 05.01.15)

4. 4. House in Bordeaux (2013) At: http://themodernhouseblog.net/2013/04/10/house-of-the- week-rem-koolhaas-maison-a-bordeaux (Accessed on 05.01.15)

5.5. Olympic House and Park (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)

6.6. Diagram of void penetration (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)

7.7. Diagram: Relationship between city, workspace and central courtyard (2010) At: http:// armon-architects.blogspot.com/2010/01/olympic-house-and-park.html (Accessed on 10.11.14)

8.8. View to the city of Nicosia (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)9.9. Exhibition Space (2010) At: http://armon-architects.blogspot.com/2010/01/olympic- house-and-park.html (Accessed on 10.11.14)

10.10. Diagram: The Bridging Void (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)

11.11. Void and Solid subtracted (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)

12.12. Diagram of circulation and function (2010) At: http://armon-architects.blogspot. com/2010/01/olympic-house-and-park.html (Accessed on 10.11.14)

13.13. Central Void – Garden (2010) At: http://armon-architects.blogspot.com/2010/01/olympic- house-and-park.html (Accessed on 10.11.14)

14.14. South end of building (2010) At: http://armon-architects.blogspot.com/2010/01/olympic- house-and-park.html (Accessed on 10.11.14)

15.15. External corridor (2010) At: http://armon-architects.blogspot.com/2010/01/olympic-house- and-park.html (Accessed on 10.11.14)

16.16. Internal Void – Entrance (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)

17.17. West façade (2010) At: http://armon-architects.blogspot.com/2010/01/olympic-house- and-park.html (Accessed on 10.11.14)

18.18. Diagram: 3 types of green (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)


Figures: Figures:

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2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior design2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior designList of illustrationsList of illustrations

19. 19. Underground parking (2010) At: http://armon-architects.blogspot.com/2010/01/olympic- house-and-park.html (Accessed on 10.11.14)

20.20. Park: Grove and playground (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)

21.21. Central Garden - Patio – Multimedia (2010) At: http://armon-architects.blogspot. com/2010/01/olympic-house-and-park.html (Accessed on 10.11.14)

22.22. View from the Highway (2010) At: http://armon-architects.blogspot.com/2010/01/olympic- house-and-park.html (Accessed on 10.11.14)

23.23. Street View (2013) http://www.cy-arch.com/olimpiako-megaro-kai-parko-sti-lefkosia (Accessed on 05.11.14)

24.24. Diagram: Reference of ancient Olympic Stadium Left Pic: (2013) http://www.cy-arch. com/olimpiako-megaro-kai-parko-sti-lefkosia (Accessed on 05.11.14) Right Pic: http:// imgarcade.com/1/ancient-greek-olympics-stadium (Accessed on 06.01.15)

25.25. Diagram: Void toward the city (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)

26.26. Vertical louver system (2013) http://www.cy-arch.com/olimpiako-megaro-kai-parko-sti- lefkosia (Accessed on 05.11.14)

27.27. Soft’ porous metal structure (2013) http://www.cy-arch.com/olimpiako-megaro-kai-parko- sti-lefkosia (Accessed on 05.11.14)

28.28. Bioclimatic aspects (2013) http://www.cy-arch.com/olimpiako-megaro-kai-parko-sti- lefkosia (Accessed on 05.11.14)

29.29. Louver system - South façade (2013) http://www.cy-arch.com/olimpiako-megaro-kai- parko-sti-lefkosia (Accessed on 05.11.14)

30.30. Sensory Diagrams (2010) At: http://armon-architects.blogspot.com/2010/01/olympic- house-and-park.html (Accessed on 10.11.14)

31.31. View to the Central Yard (2010) At: http://armon-architects.blogspot.com/2010/01/ olympic-house-and-park.html (Accessed on 10.11.14)

32.32. Danilo, Demi (1997) Cyprus Traditional courtyard [Collage] In Danilo,D. The Walled City of Nicosia, Typology study, Nicosia: UNDP United Nations Development Program.

33.33. Depth of Interaction (2014) At: https://www.google.com/maps (Accessed on 29.12.14)

34.34. Entrance from the city ‘back door’ (2010) At: http://armon-architects.blogspot. com/2010/01/olympic-house-and-park.html (Accessed on 10.11.14)

35.35. Proposal – Execution (2010) At: http://armon-architects.blogspot.com/2010/01/olympic- house-and-park.html (Accessed on 10.11.14)

Figures: Figures:


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2.22.2_ _ Evaluation of a cross- or interdisciplinary project in architecture or interior designEvaluation of a cross- or interdisciplinary project in architecture or interior designList of illustrationsList of illustrations

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Critical Architecture – Critical Regionalism

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