Kimon Louizis
Lili Louizi
2021 Jungle Office in Thessaloniki, Greece
2020 MaMA house in Peraia Thessaloniki, Greece
2019 Flex / Living micro(multi)space in Thessaloniki, Greece - commision
2019 redesign AUTH pavillion in Thessaloniki, Greece - invited competition
2018 Modern | Rustic apartment in Thessaloniki, Greece - commision
2018 Y private residence in Chalkidiki, Greece - commision
2017 Cave Lagoon in Thessaloniki, Greece - commision
2017 TETRIS apartment in Thessaloniki, Greece - commision
2016 branding proposal for Watt+Volt energy provider, Greece - invited competition
2015 housing complex in Molewa, China - competition MIPIM FUTURE PROJECT AWARD - WAF FINALIST
2015 middle roof – Bamiyan cultural centre, Afghanistan - competition
2015 MH17 Memorial + Park in Amsterdam, Holland - competition SHORTLISTED
2014 parking (no packing) in Limassol, Cyprus - proposal
2013 ágora – a social cultural center in Reinosa, Spain - competition
2013 rethinking DIM 's bag store showcase in Thessaloniki, Greece - proposal
2013 the ring – landmark at the waterfront of Thessaloniki, Greece - competition
2012 cultural center / hall of Morphou in Nicosia, Cyprus - competition
2011 urban house in Nicosia, Cyprus - proposal
2009 new art center / building theatre in Sundsvall, Sweden - competition
2008 :output foundation grand prix in Amsterdam, Holland - competition
2008 I. Chernickov museum – gallery of architecture in Moscow, Russia - competition SHORTLISTED
The building is broken up in two parts: the "shell" and the "embryo". The "shell" represents the architectural recreation of a wave. Visitors will be attracted by the outline of the building which changes shape continuously according to the movement of both the visitors and the sun, creating powerful emotions even from a distance.
The "embryo", a non-completed arcitectural form, floats at different heights underlining the free flowing form of the external shell. Visitors can freely move on it, they can be isolated when needed (cinema and lecture hall, library, workshops, under sea level observatory, etc.), or they can watch the exhibition area through different frames. The exhibition area is defined as absence of building spreads to all three dimensions, occupying the mid-section between the embryo and the shell, providing maximum flexibility for the exhibitions and installations.
Architecture is consistently evolving as is the building… The sea, as one with nature being the dominating element, affects and corrodes the structure. Someday the museum will cease to exist, giving way to a monument -sculpture for the Russian pioneer architect Iakov Chernikov…
Basic intent of the architecture proposed is to create a cradle of cultural inheritance sufficient to keep the memory of Morphou , because only through remembrance possible developments can de gestated.
The green line, this strict boundary, is what separates the location of the new town hall from his "native" site. The "green" line is also the boundary between the free- inbuilt and the "occupied" - built space. That boundary - border is recognized and converts to a geometric- architectural form, a "wall". At this point, the communicating added value of architecture is being activated, the "wall" is transformed into a means of storytelling and reading history of Morphou from the users. And of course the orange tree, one of the main features of this notorious town, is located at the entrance of the building, the primary element of the synthesis of the atrium – exhibition space.
The "order" will eventually be restored. The sons of Morphou will return to their home lands and then the building will have no reason to exist, architectural space will be freed... But the wall will remain and it will be transformed from a building which preserves historical memory to a monument of Morphou’s refugee period. Until then... we’ll always watch Morphou from afar...
The competition between cities nowdays is characterized by their attractiveness as a tourist place of modern consumer societies. Basic intention of the proposal is the creation of a emblematic landmark upon the old town of Sundsvall ( a unique silhouette, which can be recognized by a highway or even from a aircraft which is flying over the city) which will welcome and attract visitors to the city to consume art, while simultaneously activate and enrich the life of the city.
In a historical environment, like the one that exists in Sundsvall’s old town, it is of great importance that this unique character will be preserved untouched. A big part of the building is subterranean, while for the form of the rest of the building has been chosen a primal, pure architectural figure has been chosen, a figure which no trick of perspective can alter its appearance, a immaculate sphere. The whole site will be transformed into a “koilon” (the primary element of ancient theatres), with the sphere being the dominating element.
The sphere includes two main auditoriums. Its appearance is conceived as a theatre, fluctuating between reality and illusion. The outer skin of the sphere is covered with polished stainless steel and reflect the commotion of the plaza and the old town in general, strengthening the image of the sphere “burning out” into the sky.
The whole building undoubtedly constitutes a jewel upon the old town of Sundsvall.
What is Thessaloniki for you…
for us it’s… her images,
The illuminated Byzantine walls just before dark, the colorful sunsets, the cranes in the harbor area, the drama that offers the dense fog, the rides and the love affairs at the seafront, the White Tower, Thermaikos Gulf… and in the background the Mt Olympus. The need for a detached place of privileged viewing of all these images – to get to know the city from a new perspective. A place that will provide itself as a new image for the city ... an urban sculpture. An image, not static, but constantly changing depending on the viewing angle, the waves of the sea, the light of day, the time of the year…
the story and her people,
624 stairs - fractals, constitute a set of circular path of this new urban place, without beginning, without ending, in a proposition of geometric representation of unity and endless journey through time. 624 sponsorships of worldwide Thessalonians that engrave the historical and future development of the city through her major events and her important people. The course of the city in time…
the life and her happenings,
It is intended to serve as a as a platform for hosting cultural events, whether as a necessary backdrop to celebrate national anniversaries, as a source of inspiration for artistic activities, or just a place for meditation for every citizen.
The particular characteristics of the study’ s location was the adjacency with the ancient vuzantium wall of the city, the outstanding view towards the city of Thessaloniki and the gulf of thermaikos.
An attempt to transfer in contemporary terms the primordial ways of habitat, surfaces chiseled, spaces sculptured, window-incision appear in order to foster functions of every day life.
Timeless geometrical characteristics as well as materials which can be observed in the traditional architecture of Cyprus (double room with an arch , garden / yard as a natural extension of the interior space , stubbles ) were recognized and consequently implemented in the architectural design, constructively misinterpreted in the contemporary era. The use of light as a constantly alternating and continuously changing medium of emphasizing architectural details.
Showcase > space mainly in front of the store that has glass-front and its purpose is the exhibition of merchandise
Furniture > name of utilitarian objects (usually mobiles) used mainly indoors, homes, offices, shops
The showcase is occupied entirely by products (the shop is isolated), it is becoming part of the live of urban space. An urban furniture.
Studying the objectives and intentions of the architectural competition Centro Sociocultural en Reinosa an ancient Greek word came to our mind: agora ..!
In ancient Greece it was a public open space used for assembly and transaction that hosted trade in central courtyard, discussions on political developments and common affairs, philosophical dialogues etc. The creation of a vivid open space in the city that invites residents to '' consume ...'' to'' consume'' art / culture where once consumed goods.
The remaining morphological features Mercado, walls, remain unchanged and become a space for expression and dialogue of young people in the area, graffiti walls. The results of a fire in a building,'' undefined geometric surfaces positioned randomly'', combined with the requirement of incline of 25 percent on roofs acquire geometric-architectural features and formats the building.
At night the building is transformed into a unique visual experience, using indirect reflected light and settings which allow changes in the illumination, depending on the time of year and the events held in the square.
Imagine a parking far away from a giant set of concrete shelves and ‘’packing’’ of cars.
Four moving concrete slabs resembling the decks of a yacht, static load carrier of the building which refers to tree shapes and an interior atrium flooded with natural light and palm trees, reshape the urban fabric of the city and make car parking an experience worth remembering.
Memory, the creation of a space that overcomes literal barriers of geometry, a space equipped with stimulus, designed to trigger memory recall. Initial inspiration originated by the tip of the airplane wings which was translated through a series of development stages into the final composition. The wing became a monumental space that cuts the island in two with all names of the victims engraved on the inside. The experience of the monument escalates with controlled access of sunlight and the sound of water from underneath. The geometry of the landscape relates to a natural flow which determines movement and stance of the visitors. The exterior creates shells to accommodate necessary facilities and buildings. The natural habitat comes as a reminder of how vulnerable the human essence is. Creating a dialog between the monument and the river the landscape allows the tide to flood and reshape it.
The new building should include the spirit of the cultures that shaped the essence of Bamiyan. The Macedonian distant past, the silk road and the connection to the Buddhist and Hindu culture, along with its Islamic past and present should blend and become keystones to support a bright future. In this project, several elements of this shared heritage have been used. Architectural forms or artifacts, symbols, letters and imagery in obvious or subtler forms and expressions.
unifying elements
Middle roof / The building is mostly underground, in order to become a part of the ’’middle roof’’. The dome is the only construction above ground level as the visitor enters the site and it is actually part of the landscape. The Bamiyan Cultural Centre blends with the landscape rather than trying to dominate it. In that way, the relationship between the new, the old and the landscape is restored.
Buddha cliff mapping / The carved caves on the solid rock produces a pattern that becomes the floor plan of the building. The cave mapping turns into small and big atriums, skylights and gardens, shaping the building’s layout and determining the functions.
The dome / It is a form that has been used in Buddhist, Hindu, Islamic, as well as late Hellenistic mundane architecture. It is the unifying architectural element of Bamiyan multicultural heritage. It is the central point of the synthesis, both spatially and conceptually. Natural light is diffused through a hole on the top of the dome and along with carved symbols of past and present cultures on its surface, create a pneumatic space that introduces the visitor to the spirit of the place.
Landscape into social space / The dome is a dune. Green areas, amphitheaters and concrete benches acquire a social meaning. They become vessels of social activity, events and aspire to reinforce the community, as well as host visitors from the outside. Finally landscaping becomes a social topography.
The strategy is to develop plans that could create a harmonious co-existence between urban life and nature, preserve culture and encourage social interactions. Buildings are conceived as vessels where life can grow and flourish.
The landscape is designed to be ecologically responsive in relation to water conservation and retention and to carbon dioxide absorption. Public areas between buildings are meant to be places where all residents of the block will feel welcome and relaxed. Many private spaces are designed by means of small green areas partially secluded. Flower and open water ponds are interspersed through the site to provide a connection to nature throughout.
The glass covered atriums – corridors add to the overall site places for communication restness and social interactions among the residents. Architecture is a great amalgam of elements that must work together (structure, technical installations, economy, passive and active systems etc.) towards a constructive global act, without forgetting to capture not only the outer appearance but its inner essence as well as its energy life force and spirit.
An attempt to capture electric currents in architectural terms: their geometrical aspects, colour palette as well as semiological meaning. A prototypical architectural proposal that, among others, utilizes innovative materials that reflect the quality and the essence of the brand and boosts its potential impact and outreach.
Everyday spaces in direct relation with the natural environment that engage not only the vision but rather all human senses as an entity. Sheds and light structures interrupted by the physical presence of trees and white irregular surfaces that disrupt the building's mass, offering the desired privacy while integrating the building to the naturally inclined topography.