Stefanos Ziras

CV
and

Selected Projects
Stefanos Ziras Thisseos 4 and Lydias, Chalandri, 15232, Athens, Greece
0030 6948036881
Architect / Intermedia Artist stefanos@stefanosziras.net
stefanosziras@gmail.com
stefanosziras.net

Short bio
Stefanos Ziras is an Architect and Intermedia artist based in Athens, Greece making work on the
aesthetics of Kitsch, the Post Digital Age, religion; and Mythogoly. He has collaborated with architects
and artists from Greece, Canada, Italy, Turkey and the USA, he has participated in international archi-
tectural competitions and some of his projects have been presented at the twenty-fifth International
Union of Architects World Congress (Durban 2014). His works have been awarded by the Technical
Chamber of Greece (TEE) and have been presented in international publications and electronic jour-
nals (Magenta Magazine, Art in America, Superarchitects). He is a collaborator of the architectural
firm X-Atelier and on the jury of the final presentations of the design workshop held at the new
Benaki Museum. He has been project manager for international competitions for RMJM Global Archi-
tects. He is a collaborator and Exhibition Designer for the Contemporary Greek Art Institute (ISET) pre-
senting exhibitions at the International Contemporary Art Fair, Art Athina and the Biennale of Athens.
He is the Architect of the Greek Pavilion of the 56th Venice Biennale, presenting the work of Maria
Papadimitriou Why look at Animals AGRIMIKA. His latest exhibitions include Flesh Marble Leaf and
Twig, Toronto,2015 (featured in Art in America) / Local History Room, AKA Artist Run Centre, Canada,
2015 / Open Archive-Omonoia, ISET, Athens Bienalle, Athens, 2015 / CoolGardens, Resting on a Hill
waiting for a sunny day, Winnipeg, Canada, 2016.

DOB: 14 February 1987

Athens , Greece
STEFANOS
STEFANOS ZIRAS
ZIRAS
Competitions
ARCHITECT / INTERMEDIA ARTIST
ARCHITECT / INTERMEDIA ARTIST Ever-Changing TV Room, Room 18 competition, 33rd place(Shortlisted)
Address: Thisseos 4 and Lidias, 15232, Athens, Greece Room With A View, LSH Competition
Address: Thisseos 4 and Lidias, 15232,
email: stefanos@stefanosziras.net, Athens, Greece
stefanosziras@gmail.com Of Hands and Nature, Tapio Wirkkala Rut Bryk Foundation, EMMA Espoo Museum of Modern Art Finland
email: stefanos@stefanosziras.net,
Website: stefanosziras.net stefanosziras@gmail.com
I Dream of Caves, Re-Ball Competition, Washington, DC
Website: stefanosziras.net
Mobile: +30
+30 6943780079
6948036881
Mobile:
Landline:+30
+306943780079
2106813111 Reclaiming the Landscape, Pennabilli, Italy (shortlisted)
Landline: +30 14
Date of Birth: 2106813111
February 1987, Athens, Greece Tiny Homes, Chicago IL, USA_(shortlisted)
Date of Birth: 14 February 1987, Athens, Greece CoolGardens, Resting on a hill waiting for a sunny day, Winnipeg, Canada (Shortlisted)
Batikent International Competition, RMJM Architects, (Won)
KKEKMECE Competition for MAR YAPI
Education
Education Balkaniki National Competition
International Competition for the design proposal of a scyscraper facade in Tokyo
Postgraduate Specialization Diploma (PSD), in Architectural Design, UTH 2014- Yerevan Hotel International competition.
Postgraduate Specialization Diploma (PSD), in Architectural Design, UTH 2014-
Postgraduate Diploma in Architecture (RIBA part 2) from the University 2009-2011
Postgraduate
of East LondonDiploma in Architecture
Architecture (RIBA
Department, part
with 2) from the University
Honors 2009-2011
of East London Architecture Department, with Honors Publications
Bachelors in Architecture (BA HONS) from the University of Lincoln with 2005-2008
Bachelors in Architecture (BA HONS) from the University of Lincoln with 2005-2008
Honors (RIBA part 1) Flesh Marble Leaf and Twig, 8eleven Gallery publications (Toronto, London, Athens)
Honors (RIBA part 1)
Graduation from the Moraitis Private School in Athens_Greece with Honors 2004 , , ,
Graduation from the Moraitis Private School in Athens_Greece with Honors 2004 .
MC Redux, Virtual Temple
Professional Experience Art In America, November issue 2015, page 168
Professional Experience
Magenta Magazine, November 2015
Michaelidis and Partners, Architect, Visualizer, 3D Scan Specialist, 3D Animation July 2016- April 2017
Space Oddity Studio, Co-founder 2014-today AGRIMIKA Why look at Animals?, Catalogue of the Greek pavilion for the 56th Venice Biennale, page 180-181
Space Oddity Studio, Co-founder 2014-today , 2015
RMJM Global Architects, Freelance Collaborator, Presentation Advisor. 2015-2016
RMJM Global Architects, Freelance Collaborator, Presentation Advisor. 2015-2016 Super Architects, superarchitects.com, Interview, 2014
Contemporary Greek Art Institute, Collaborating Architect, Exhibition Designer 2015-2016
Contemporary Greek Art Institute, Collaborating Architect, Exhibition Designer 2015-2016 Catalogue of the Greek Pavilion of the 2014 International Union of Architects World Congress, 2014
Ministry of Culture, Greece, Architect of the Greek Pavilion for the 2015 Venice Biennale 2015
Ministry of Culture, Greece, Architect of the Greek Pavilion for the 2015 Venice Biennale 2015
X-Atelier, collaboration for the design of the Orizon Flagship Store
X-Atelier, collaboration for the design of the Orizon Flagship Store
2015
2015 Awards / Grants
RMJM Global Architects, Istanbul, Turkey 2013-2014
RMJM Global Architects, Istanbul, Turkey 2013-2014
Tsoulos Associates, Architect, project management, Athens_Greece 2008-2010 The Awesome Foundation Grant, 2016
Tsoulos Associates, Architect, project management, Athens_Greece 2008-2010
Technical Chamber of Greece (TEE) Award for the Project Depositorium

Exhibitions / Festivals / Biennale

Exhibitions / Festivals / Biennale Teaching Experience / Lectures
Room 18, Ever-Changing TV Room, New Benaki Museum (Athens, Greece) 2016
Room 18, Ever-Changing TV Room, New Benaki Museum (Athens, Greece) 2016 Mapping the Flowers, A survival Kit for a society in Crisis, Beton 7 Gallery, May 2016
Flesh Marble Leaf and Twig, Publication, Toronto Art Book Fair (Toronto, Canada) 2016
Flesh Marble Leaf and Twig, Publication, Toronto Art Book Fair (Toronto, Canada) 2016 Maker Movement and a 3D Printer, @ the 3D printing Workshop, Stavros Niarchos Foundation, 2016
Towards a New...Something, ARO Gallery (London, UK) 2016
Towards a New...Something, ARO Gallery (London, UK) 2016
Post Digital Kitsch, Athens Digital Arts Festival (Athens) 2016 Post-Digital Kitsch, X_Atelier Advanced Architectural Design Workshop, with Kostis Velonis, Georgia Mavragani,
Post Digital Kitsch, Athens Digital Arts Festival (Athens) 2016
A Call to Arms, Curated Space Babel, Outsider Art Fair (New York City, NY) 2016
A Call to Arms, Curated Space Babel, Outsider Art Fair (New York City, NY) 2016 Iris Likourioti. 2015
Local History Room, AKA Artist Run Centre (Saskatoon, Canada) 2015
Local History Room, AKA Artist Run Centre (Saskatoon, Canada) 2015 Invited lecturer and jury for X-Atelier workshops in Athens, the ew Benaki Museum, 2014-today
Flesh Marble Leaf and Twig, 8eleven Gallery (Toronto, Canada) 2015
Flesh Marble Leaf and Twig, 8eleven Gallery (Toronto, Canada) 2015
Virtual Temple, MC Redux (Thessaloniki) 2015 Teaching assistant, University of Palermo, Buenos Aires, Argentina, 2014
Virtual Temple, MC Redux (Thessaloniki) 2015
Greek Pavilion for 56th Venice Biennale, ARIMIKA, 3d visualizations at the Pavilion (Venice, Italy) 2015
Greek Pavilion for 56th Venice Biennale, ARIMIKA, 3d visualizations at the Pavilion (Venice, Italy) 2015 Teaching Assistant at the Sweet X|Architecture: Advanced Design Workshop at the New Benaki Museum instruct-
Babel Fragments, Modes of Estrangement, video installation, TAF (Athens) 2015
Babel Fragments, Modes of Estrangement, video installation, TAF (Athens) 2015 ed by X|Atelier (Erick Carcamo, Nefeli Chatzimina). 2014-2015
Default Festival, Modes of Estrangement, video installation (Volos, Greece) 2015
Default Festival, Modes of Estrangement, video installation (Volos, Greece) 2015
Open Archive, Art Athina (Athens, Greece) 2015
Open Archive, Art Athina (Athens, Greece) 2015
Slauterhouse Monument, Light installation (Chania, Greece)
Slauterhouse Monument, Light installation (Chania, Greece)
2014
2014 Software Skills
Depositorium, Greek Pavilion, Architecture World Congress (Durban) 2014
Depositorium, Greek Pavilion, Architecture World Congress (Durban) 2014
Copy Left Copy Right Original Copies (Athens, Volos, Thessaloniki) 20142015
Copy Left Copy Right Original Copies (Athens, Volos, Thessaloniki)
Novus Civis, Percormance, Digital Instalation, (Volos, Athens)
20142015
2014 Photoshop, Illustrator, Indesign, After Effects, Premiere Pro, (Adobe CC, CS6)
Novus Civis, Percormance, Digital Instalation, (Volos, Athens) 2014 Autocad, Vectorworks, Rhinoceros, Maya, Cinema 4D, Sketchup, Zbrush, Geomagic, Unity, Photoscan, Scene
HANDS, MON3Y.US | *MON3Y as an ERROR, curated by Vasily Zaitsev ( June, www) 2014-today
HANDS, MON3Y.US | *MON3Y as an ERROR, curated by Vasily Zaitsev ( June, www)
Urban Biotopologies, X|A Sweet Architecture Workshop exhibition, New Benaki Museum
2014-today
2014-2015 Vray, Maxwell, Mental Ray, Grasshopper
Urban Biotopologies, X|A Sweet Architecture Workshop exhibition, New Benaki Museum 2014-2015
selected projects
Below you will find examples of my work in no particular order

Please visit stefanosziras.net to view more of my projects

Agrimik. Why Look at Animals?

Greek Pavillion, 56th Venice Biennale

Artist: Maria Papadimitriou

Curators: Gaby Scardi, Alexios Papazaxarias

Architect, Digital Design: Stefanos Ziras

Maria Papadimitrious installation, Why Look at Animals

? AGRIMIK is a shop, a vestige of the past that sells
animal hides and leather, transferred from the central
Greek city of Volos, where it operates. This presenta-
tion of the relationship of humans to animals sparks
series of concerns ranging from politics and history to
economics and traditions, ethics and aesthetics, fear of
the foreign and the incomprehensible, and our profound
anthropocentrism that allows us to define ourselves as
non-wild, different from all other animals.

The AGRIMIK of Papadimitrious concern, along with

the shop in Volos, are those animals that tenacious-
ly resist domestication. They coexist with humans in
a condition where the roles of prey and predator are
constantly switchingbut the human hunter usually
prevails with the animal prey as a trophy. Nonetheless,
these are the animals that feature in most foundational
cosmologies and mythologies.

The little shop in Volos is an objet trouv resituated

inside the Greek pavilion. The reality of the shop is the
expression and documentation of the unique personal-
ity of its owner, who has witnessed a great part of the
history of modern Greece and kept a critical attitude
towards it. The AGRIMIK shop appearing unchanged by
time and place, is analogous to the surrounding space of
the neoclassical pavilion, also left unaltered.

The pavilion creates the context that charges and

reveals this spatial objet trouv.In the ruined land-
scape of the Greek pavilion, the non-domesticate-able
animalsthe agrimikbecome the vehicle for a con-
temporary allegory of the dispossesed, and attempts
to galvanize our instinctive resistance to the decadence
that surrounds us.

concept visualization
installation views
 Plan / Level 1

Plan / Level 2

Construction drawings of the Pavillion

Laboratory Antigone

Onassis Cultural Center, New York, 2016

Artist: Maria Papadimitriou

Exhibition Design: Stefanos Ziras

Ever Changing TV Room
Room 18 Competition
Exhibited at the New Benaki Museum

Shortlisted

Stefanos Ziras, Eleni Papadimitriou

Room Elevation
Byzantine
Monastery in
Klokova
Visualizations/drawings: Stefanos Ziras

Comissioned by the Byzantine Museum

Of Nature and Hands

an alternative intro

The first Chamber, instead of giving direct information on Tapio

and Ruts work, presents a contemporary interpretation of their work by
young digitartists through videos and gifs, in correspodance to their inter-
c1 digital showcase c8 palette est in and the ability to adapt to new technologies. At the same time we
c2 living room c9 studio
aim to engage youngsters highlighting the timeless design principles and
c3 light corridor c10 workshop
c4 sacred room c11 symposium aesthetics that their work carries by being open to reinventions. Forming
c5 storage c12 kitchen a dialogue between Tapio and Ruts work with the new generation of
c6 pipes c13 amphitheatre creators we want to investigate the transition of the design process from
c7 projections c14 hearth the 20th century to the 21st as the techniques, methodologies, technolo-
gies and aesthetics have completely changed. As the visitor approaches
the main space he passes through a narrow entrance,a threshold that
symbolizes the transition from the museum to the domestic environment.

Living Room
c1 The first Chamber is the Living Room, where the visitor finds
himself in a cozy space. Its the first introduction with the hosts (Tapio
and Rut) ; Ruts ceramics, Tapios chairs, a coffee table, lamps and bottles
of Vodka. A big sofa invites him to sit down and take the time to have a
closer look at the tables details. From the myriads of objects they both
made the particular items were selected as archetypes from different
c9 categories, aesthetics and typologies. The visitor has an overview of
their work, noticing how great design responds to the same problems via
c10 different means, techniques and aesthetics. Wanting to add another layer,
we overlay the complimentary furniture of the living room with a pattern
found in a picture the couple took in Mexico that at the same time is a
common pattern of Finnish rugs. We underpin thus the double (local and
global) character of their work. They were inspired by things easily found
in different places of the world or nature, inserted in everyones house all
over Europe.
The visitors explore the different style of each Chamber in a
treasure hunting manner. What is more, an abudance of pots with plants
from Finnish nature will make them feel like home. On the exterior of this
c2 Chamber, projections of images found on the internet will trigger a sense
c3 of familiarity by demonstrating how Tapio and Ruts work is already part
of the visitors daily lives. We engage the digital archive with the physical
one. Additional projections of commercials reveal the connection of the
artworks with the market.
c11

c14
c8
c13

c12

c7 c6 c5 c4

2
Flesh Marble Leaf and Twig

8eleven gallery, Toronto, 2015

Works by the duo Stefanos Ziras and Eleni Papadimi-

triou were shown next to sculptures by Toronto artist
Derek Liddington, all of which sought the ephemeral
amid the monumental.

Ziras and Papadimitriou covered 8elevens walls with a

collage of archival material concerning Athenss gar-
dens, squares and statues. There were a few texts,
reproduced in their original Greek, but most of the doc-
uments were visual. An early 20th-century photograph
of Syntagma Square was unlike any seen in recent
news coverage; there wasnt a single person on the
parliament buildings steps. A monument to politician
and poet Alexandros Panagoulis, who was tortured for
defying the military junta that ruled Greece in the 1960s
and 70s, appeared at multiple stages of completion.
The last image showed it beneath a plastic sheet that
resembled both a swirling cape and a prisoners hood.
On a shelf near photos of reconstructed ancient stat-
uesa somber Hermes resting and a hesitant-looking
wrestlerZiras and Papadimitriou placed a nondescript
chunk of marble. One imagines the artists sifting out
bygone moments from the ossuary of Athenss past, the
traces that are buried beneath every landmark.

Ziras and Papadimitriou also repurposed a couple of

video fragmentsone records the genesis of sculptor
Costas Varotsoss Dromeas, 1994, a 40-foot-tall running
figure with uneven planes of glass and iron simulating
the blur of rapid movementbut these pieces ended up
in awkward parts of the gallery, serving mostly as brief
distractions.

Art in America Magazine, November 2015

Original Copies

Volos, Athens, Thessaloniki, 2014

Curated by: K&K Architects

Exhibition Design: Stefanos Zras
Local History Room

AKA Artist Run

Saskatoon, 2015

Commisioned by AKA Artist Run Centre

Stefanos Ziras, Eleni Papadimitriou, Derek Liddington

Together Liddington, Papadimitriou & Ziras practices

connect through the idea of the monument. Through
his early research into his upcoming exhibition at AKA,
It wasnt until we closed our eyes that we could final-
ly see what was there all along, Liddington sourced
an early image from the Saskatoon Public Library of a
protest against a public monument and incorporated
this local history into his considerations of the meaning
behind representation and the ambiguous nature of
memory.

Papadimitriou & Ziras images are looking to connect

and manipulate objects to create a new visual memory Local History Room, Billboard
through the photograph (public) as well as a personal
memory (private). Similarly, Liddington identifies a simi-
larity in photos of a sculpture of his son created through
memory. Together the artists explore personal memory
and shared memory within a public space that is foreign
to each of them.
The objects depicted in Papadimitriou & Ziras imag-
es are part of a national narrative, not of the official,
established construct, but items of a collective memory.
They constitute monuments of everyday encounters,
souvenirs of the state of things. The relation of the
body and objects is seen through an ambiguous close
up image, a detail of the two, in an effort to remove any
mnemonic familiarity of the viewer towards the nature
of the object or the topography of the body. The close
up records untraceable parts merely agents of a now
personal memory.
In combination we see images depicting a sculpture
Liddington created of his son from memory. The staid
clay stands in what seems to be a contrast with imag-
es of the fleshy body, but in its subject matter reveals
a similar personal, private and potentially vulnerable
state. Papadimitriou & Ziras depictions of the body
come under pressure it ripples, twists, folds, stretches,
connecting it to the malleable visual nature of clay in
Liddingtons work.
Open Archive:
Public Art From the Center of Athens

Art Athina, 2015

Commisioned by ISET

Curator: Panos Giannikopoulos

Exhibition Design, Research: Stefanos Ziras, Eleni Papadimitriou

With the belief that an archive should not be a closed

shelled preservation of the past, but a living organism
that develops and participates towards the fermenta-
tion of the present, iset utilizes its archival material, or-
ganizing exhibitions, events, actions and open lectures
in cooperation by artists, art historians and theorists. At
the same time, the promotion, distribution and publi-
cation of relevant studies is supported. The digitized
archival material of iset is in part accessible online from
the Digital Platform of the Institute, while full access to
the central database is possible from the reading hall.

The exhibition Open Archive: Public art paradigms from

the center of Athens, using the Institute archives as a
starting point focuses on public art projects which were
developed on the axis of Omonia-Panepistimiou-Sydag-
ma. In addition to delineated monumental/sculptural
works, the exhibition also presents ephemeral proj-
ects and performances, as well as actions in the public
space not related to institutional interventions. One of
the aims of the exhibition is to describe the historical
context for the material of these actions, which usually
disappears with the passage of time. Thus, the report
seeks to map the creative process and the public de-
bate around the installation of sculptures as well as the
results of competitions aiming to alter the urban fabric.
The installation of the material stays clear of stable
narratives, while creating a pluralistic field of readings.
It tries to showcase the complexity of the archive, to lift
strict temporal and spatial boundaries and to reinstate it
to the present day.
Open Archive-Omonoia

Athens Biennale, 2015

Commisioned by ISET

Curator: Panos Giannikopoulos

Exhibition Design, Research: Stefanos Ziras, Eleni Papadimitriou

The Contemporary Greek Art Institute (iset) displayed

an archive of artworks installed or proposed for the
Omonoia district, along with Georgia Sagris video The
New Kind (2003), documenting the artist struggling to
move across the pavement with her hands and feet
bound

Frieze Magazine
Tombs in Marathonas
Drawings : Stefanos Ziras

Commissioned by the municipality of Marathonas

MC Redux
Virtual Temple

Thessaloniki, 2014

Curated by: K&K Architects

Exhibition Design: Stefanos Ziras
ANCIENT DOUBLE TOMB IN MESSOLOGI,
GREECE
VISUALIZATIONS AND DRAWINGS: STEFANOS ZIRAS

Commisioned by the Archaeological department of Messologi

 -

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T12:
PRIMORDIAL

Tiny Homes Competition

Chicago IL, 2016

Stefanos Ziras, Eleni Papadimitriou

Primordial is a proposal for the creation of a small

scale community that provides temporary, yet comfort-
able homes for the homeless youth of the city of Chica-
go. It is sanctuary for young adults that were forced to
deal with the harsh side of life too early in their lives.
The individual units are arranged on the site in a way so
as to create a whole where the parts although identical
and connected in terms of structure achieve differentia-
tion, individuality and an effortless liveliness that pro-
vokes a sense of belonging.
The adjoining units, some placed on small hills breaking
the monotony of the flat landscape, create small neigh-
borhoods with paved courtyards where inhabitants can
gather. The primordial nature of this projects derives
from the fundamental need to find shelter and be part
of a community. The shape of the units is the shape
children draw when wanting to depict home; it is arche-
typical, it is basically the symbol of home and therefore
resonates in our memory. It gives comfort through its
familiarity and stands for our need to have a safe, warm
place to return to and a close knit community of friends
to offer support. The materials underline this statement
while creating an ambient, homey atmosphere bathed
in diffused light.
Although Primordial gravitates around a solid inner
center, an inward movement to build a safe place the
fine eye can notice the use of brick and the low wall an-
notating the openness towards the surrounding neigh-
borhood and the heritage of the area.
Room With
A View
LSH Competition

Syracuses, 2016
Stefanos Ziras, Eleni Papadimitriou
 Renovation and small
scale extension @ STEFANOS ZIRAS
thisseos 4 and lidias,

house in Chalandri,
chalandri, athens

stefanosziras.net
stefanos@stefanosziras.net

Athens
+306943780079

1/50
-

construction in progress
1.06
2.35

2.20

2.20
0.75

0.75

0.80
2.20
/
140,4

/
69,6

1.00
2.20

 STEFANOS ZIRAS
thisseos 4 and lidias,
chalandri, athens

stefanosziras.net
stefanos@stefanosziras.net

+306943780079

1/50
E WC

1.45
2.12
(10cm)

0.72
2.35
0.90
2.12

2.12
0.70
1.10
2.10

1.45
2.12

2. 12
2. 12
0.85
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2. 12
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23,5 TM
le chat a saut dans le jardin
Resting on a hill waiting for a
sunny day

Winnipeg, Canada, 2016

Garden Installation

Stefanos Ziras, Eleni Papadimitriou

Construction will begin on June 2016

Resting on a hill waiting for a sunny day intends to give

the local community a fun and playful leisure place, remi-
niscent of those summer days spent laying on the ground
under the shade of a tree with the cool summer breeze. It
is an ode to idleness and the simple pleasures of life. The
industrial past of the area dictates the use of simple mate-
rials like the ones already found on site, used in an elegant
and efficient way. Gravel, wood, fabrics and plants are
used to redefine the landscape. Plain forms are enriched
by vibrant colours, small islands emerging from the
ground and pots with aromatic plants while the wind gen-
tly rotates the shading devices giving motion to the fabric.
Everyone is invited to rest on the hills, lay down and stare
at the sky, read a book or draw the curtain to take a nap.
10

Batikent
was an International compe-
tition for the design and
construction of a multi-use
RMJM building complex consist-
Depositorium ing of 60% residential and
40% retail and office spaces.
The Heterotopic Oscillation of a City With a total of 1.5 million
square meters, the batikent
project is an example of the
Volos, 2013
large scale urban inter-
Exhibited at the Greek pavilion of the 2014 International Union of ventions that the future is
Architects World Congress, Architecture Otherwhere demanding.
Inspired by the hills of
Ankara the design is re-
In this New Age, cities are expanding and slowly de- spectfull of the sites to-
vouring the landscape that surrounds them. The need pography and creates a new
for further development and expansion seems to be
a given in todays society, however we must propose topological identity for the
a new system which might be a great design solution area
to these environmental, social, and urban issues. If we
want to protect our landscape, we must set an [outer]
boundary for the new city
In this scenario the boundary itself becomes a build-
ing, a city, a society, that encapsulates the existing and
reforms it by limiting it. The Depositorium is one such
boundary that has topological significance for the city
of Volos. It surrounds the city with an ever-expanding
structural network on which one can deposit his identity
by creating space in which to live, or by contributing to
the society that is born there.

Deriving from memories and history, the Depositori-

um becomes a metaphorical center of labor, industry,
culture and progress. For years, Volos had a prospering
naval industry and it is on this industry that the Depos-
ritorium is based on. By creating a shipyard on land we
strive to give life back to an otherwise forgotten history.
This landmark has an expanding capacity of 50,000 resi-
dents many of which work on the shipyard while others
contribute to the society in other ways.
At one point during an endless cycle of labor and re-
birth, the ship becomes the symbol of the societys
achievements in industry and culture. Once a ship is
completed and begins its journey, it will take with it
memories and parts of the culture that created it, in an
effort to spread those ideals to other parts of the world.
First and foremost, the Depositorium is a new society
and a new way of imagining the city of tomorrow, a
heterotopian vision of a new model of habitation and
social structure.

Superarchitects.com
12
 VARIATIONS OF LANSCAPE
STRATEGY (RELATED TO USE)
14

FLIPING OF THE LANDSCAPE (TOWER/OFFICES) LIFTING THE LANDSCAPE (RESIDENTIAL)

ROTATING THE LANDSCAPE (RETAIL)
I DREAM OF CAVES

Washington DC, 2016

Books like Journey to the center of the earth have been exciting
our imaginations for decades, describing fantastical scenes of un-
derground worlds, adventures and unique experiences that we all
would like to have as kids and even as adults.
This installation is an attempt to create such a scene in the center
of Washington D.C just a few feet below ground level.
Taking inspiration from natural formations seen in caves the
installation embraces the unique nature of the site in the DuPont
underground.
Thousands of the translucent, soft balls, which are the star of the
show, are strung and hung from the ceiling of the underground
passage creating shapes reminiscent of stalactites which are
constantly swinging and moving ever so slightly. This movement
is caused by the wind coming from the entrances or the people
themselves who are coming in contact with the installation.
Colored lights positioned on the walls of the passage and behind
the vertically hanging balls enhance the otherworldly feel of the
space, the light is diffused by the translucent balls and scattered in
unexpected ways around the walls, floor and the installation itself.
It is not just a passage way, it is a place to sit, rest, play and relax
before you return to the ground level.
A sound system hidden behind the installation will further en-
hance the experience offered to the visitors by capturing the
sounds they produce and playing them back altered as if they
were in a cave.
The people that are brave enough to stray from the main installa-
tion area will be rewarded by discovering hidden swings and seats
which they can safely use since they are safely attached to the
ceiling with steel wires and covered with hundreds of soft balls.
Although the proposed installation does not use the entire number
of available balls or the entirety of the site, it is designed in such a
way that it can be easily expanded with minimal extra cost.
16
KKEKMECE
RMJM
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Depositorium

The Heterotopic Oscillation of a City

Volos, 2013

Exhibited at the Greek pavilion of the 2014 International Union of

Architects World Congress, Architecture Otherwhere

In this New Age, cities are expanding and slowly de-

vouring the landscape that surrounds them. The need
for further development and expansion seems to be
a given in todays society, however we must propose
a new system which might be a great design solution
to these environmental, social, and urban issues. If we
want to protect our landscape, we must set an [outer]
boundary for the new city
In this scenario the boundary itself becomes a build-
ing, a city, a society, that encapsulates the existing and
reforms it by limiting it. The Depositorium is one such
boundary that has topological significance for the city
of Volos. It surrounds the city with an ever-expanding
structural network on which one can deposit his identity
by creating space in which to live, or by contributing to
the society that is born there.

Deriving from memories and history, the Depositori-

um becomes a metaphorical center of labor, industry,
culture and progress. For years, Volos had a prospering
naval industry and it is on this industry that the Depos-
ritorium is based on. By creating a shipyard on land we
strive to give life back to an otherwise forgotten history.
This landmark has an expanding capacity of 50,000 resi-
dents many of which work on the shipyard while others
contribute to the society in other ways.
At one point during an endless cycle of labor and re-
birth, the ship becomes the symbol of the societys
achievements in industry and culture. Once a ship is
completed and begins its journey, it will take with it
memories and parts of the culture that created it, in an
effort to spread those ideals to other parts of the world.
First and foremost, the Depositorium is a new society
and a new way of imagining the city of tomorrow, a
heterotopian vision of a new model of habitation and
social structure.

Superarchitects.com
 Towards a New Eroticism of Space
Volos, 2013
Stefanos Ziras and Anait Karaoglanian
The issue, really, is the absence of erotic space. It
forces us to ask: what do our spaces reflect about
our treatment of sexuality and what does this say
about our society?
French philosopher, Michel Foucault, used the
term Heterotopia to describe spaces of otherness,
spaces that are neither here nor there, spaces that
are simultaneously physical and mental, where
according to Foucault, the imaginary obtains a
material quality and while borrowing the three-di-
mensional public space for its embodiment, essen-
tially it is realized elsewhere .
Foucault speaks of several types of heterotopias
but a basic characteristic of a Heterotopia is that,
with the passing of time it preserves unaltered its
dynamic function, even if it changes form. Orga-
nized societies, although trying to avoid Heteroto-
pias for fear that their explicit, defined structures
may be shaken, succeed only in transmuting their
form. Foucault characteristically states that the
anguish of our times is more about space than
about time. In the heterotopian reality of an erotic
space, a public orgy, time would triumph over
space through its relativity during the act of sex,
the pleasure and ecstasy that come with it taking
the role
of a shaping force.
In the Heterotopian universe of sexual exploration
and liberation, the venues that entertain it are not
recognized by organized society and its institu-
tions, although they are its product and, ironically
enough, constitute a fundamental ingredient of
its normal function. They are seen as inimical and
placed outside its basic urban planning, they are
ethically condemned by its majority, even though
the latter never ceases to interact with the sexual
Heterotopia, directly or indirectly, openly or se-
cretly, over ground or und erground, literally or in
fancy.
In the venues that host the Heterotopia of sex we
meet the human content of a confinement im-
posed by the hypocrisy of the society upon some
of its members, regarded as carcinomas in its sup-
posedly healthy body. Modern heterotopian sites
relate more to enclosing some form of deviation
rather than marking a
stage in life. Oscillating on that which civilization
ostracizes, one seeks to rebuild and reinvent the
Heterotopia of deviation, readable only as it hap-
pens in a particular place and time, with an explicit
and absolute priority of want over must. There,
the condemned sexuality is simultaneously pro-
tected and concealed on the one hand, free and
imprisoned on the other.
The absence of colors, a signified of film noir style
sexual atmosphere, combined with dreamy light-
ing, accentuate a Heterotopia haunted by fancy.
These images compose a suggestion of self-form-
ing, an active and dynamic resistance to any
attempt of imposing pre-determined prejudices
and stereotypes, as well as a ticket to the journey
down the inward abyss, where dwells the Mino-
taur of each one of us. It remains to
behold him and to recognize him, so that even if
we decide to kill him within us - since we have
seen his tragic face - we can accept him, in under-
standing and mercy to those who need to keep
him alive.
We evoke the ambiguity of this place, its pleasures
and secrets: the ephemeral, the ghostly landscape
of damnable pleasures. We playfully open up the
dividing walls as diverse laboratories of sensations
against what we see as respectable, inoffensive
bourgeoisie sensibilities. The spiraling ramp be-
comes a method for loosening inhibitions, reveal-
ing both the shadowy and bright secrets that can
be found behind the doors
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Man-Air Offices
138
78

Yerevan Competition
144

Oxygen Bar
148
Strair City

Volos, 2013

Student Housing
Urban Biotopologies
The New Benaki Museum
Athens, 2013
Presented as part of the 2013 XA Architecture
summer workshop.
Slaughterhouse
Monument

Chania, Crete 2014

Public light Installation

Installation View
concept visualization