Type: Thesis Project_Floating Infrastructure/theatre
Location: Cyclades Islands, Aegean Sea
Collaboration:Stenou Aliki, Triantafyllidis Theoklitos
Host: NTUA School of Architecture
Year: 2011-2012
We rely on the belief that the Aegean Sea is a dispersed city to which we offer a
communication channel, a cultural bridge, a ship - theater.
The sea becomes our site, the waves and the iron our environment. The
superstructure, the decks and the holds our alternative spaces. We take the
structure of the hull as starting point, we translate it into architectural space
and manage to offer to the director a flexible theatrical tool.
Our central design procedure is the removal of all decks and walls from the
superstructure which was previously fragmented. Thus, we create a huge void
in the ‘body’ of the vessel in which we introduce the theater. We keep only the
outer plates of the superstructure and support them with a dense system of
metal frames, keeping the rhythm of the ship’s hold frames and extending it
to the whole theater. Then we focus on the light and by further perforating the
shell we let the light enter dynamically. We now put the public under the starry
sky, followed by the escort of the summer chill, the saltiness, the motion of the
sea and the metal sounds. And even inside a shell full of memories which are
silently revealed by the traces on the walls and the exposed smokestacks.
Location: Cyclades Islands, Aegean Sea
Collaboration:Stenou Aliki, Triantafyllidis Theoklitos
Host: NTUA School of Architecture
Year: 2011-2012
communication channel, a cultural bridge, a ship - theater.
The sea becomes our site, the waves and the iron our environment. The
superstructure, the decks and the holds our alternative spaces. We take the
structure of the hull as starting point, we translate it into architectural space
and manage to offer to the director a flexible theatrical tool.
Our central design procedure is the removal of all decks and walls from the
superstructure which was previously fragmented. Thus, we create a huge void
in the ‘body’ of the vessel in which we introduce the theater. We keep only the
outer plates of the superstructure and support them with a dense system of
metal frames, keeping the rhythm of the ship’s hold frames and extending it
to the whole theater. Then we focus on the light and by further perforating the
shell we let the light enter dynamically. We now put the public under the starry
sky, followed by the escort of the summer chill, the saltiness, the motion of the
sea and the metal sounds. And even inside a shell full of memories which are
silently revealed by the traces on the walls and the exposed smokestacks.
