Since an early age, I have held a strong interest in emerging technologies and computers, recognizing the vast possibilities they bring to humanity. As a result, I pursued training in various programming languages such as Basic, Fortran, Pascal, C, and C++, which provided me with the ability to utilize computers as practical tools and specialize in their application within the architecture and technology domain.
During my studies at the University of Civil Engineering, I undertook a significant project for my dissertation. It involved developing software that employed the finite element method to perform static analysis on buildings and structures. This undertaking not only helped me gain a comprehensive understanding of electronic systems and construction principles but also allowed me to cultivate essential skills for architecture.
My exploration of optimizing computer systems in architectural design and practice eventually led me to the realm of parametric design. This approach offers solutions for intricate shapes and precise modeling through digital techniques. To support these endeavors, I embraced tools such as Rhino and Grasshopper, along with their extensions, encompassing real-time static analysis, form finding, digital input, C# programming, case studies, Kangaroo, and Galapagos. Proficiency in programming languages enabled me to adapt these tools to align with my unique architectural thought process.
As a result of my long-term engagement with digital tools and their integration into architecture, I have come to appreciate the need for guidance in managing vast amounts of data and designing advanced and sophisticated architectural forms and systems. This requirement has become increasingly crucial in an era defined by adaptation and necessity.
In both architectural work and education, technology serves as a valuable and progressively indispensable tool. However, it also presents the challenge of striking a balance to prevent the manipulation of human thought.
In addition to my academic pursuits and professional endeavors, my extensive background in dance studies and choreography has profoundly influenced my way of thinking and designing. In 1998, I embarked on dance lessons in Patras, where I immersed myself in various styles including ballet, jazz, modern, and contemporary dance. Over the years, I successfully completed examinations and obtained the following diplomas from ISTD: Ballet Grade 5, Jazz: Bronze, Silver, Gold, Modern: Grade 5, Intermediate, and Advance 1.
To further expand my dance skills, I actively participated in dance seminars. In 2004, I attended a seminar as part of the Kalamata Dance Festival, led by Keren Levi. Subsequently, in 2005, Jeremy Nelson conducted a seminar during the same festival, and in 2006, David Zambrano took the lead. I further enriched my knowledge and technique through seminars in Vienna in 2007, featuring Bruce Taylor, Frey Faust, and Marjory Smarth. In 2008, I attended workshops with Haris Mantafounis and Dorothea Kalethrianou in Patras.
During my dance journey, I had the privilege of being a member of the contemporary dance group called “TEMPORARY COMPOSITION.” Together, we participated in performances held in Athens and Patras, showcasing our artistic expressions. Additionally, I contributed to various dance performances in Patras schools and had the opportunity to engage in scenography with the OROCHORO dance group for their production “NIMA” at the Apollon Patras Theater, which was co-produced with DIPETHE PATRAS.
Through my dance studies and experiences in choreography, I have developed a unique perspective that greatly influences my approach to thinking and design. The interplay between movement, space, and artistic expression has shaped my creative mindset and enhances my ability to envision and create in the field of architecture.
Dance provides a unique opportunity to gain a deep understanding of the human body’s movement and its relationship with space. Over time, this experience has greatly contributed to my comprehension of movement within architectural contexts and the importance of considering it when designing spaces and facilitating interactions with diverse users.
The study of walking patterns, the texture of morphological flows, the interplay between empty and solid spaces in the interaction between the body and the building, as well as the adaptability of movement to various external factors, has been a profound area of exploration for me. I believe these elements to be crucial for developing a holistic understanding of architecture as an entity.
Walking paths and morphological flows possess a shared texture and embody a similar underlying principle. The voids created by bodily movement essentially define the completeness of a building. Just as a dance conveys a particular mood, any building can be described as a choreography of its constituent parts. Every aspect of spatial arrangement holds the potential for movement and animation. With this perspective, I continually strive to imbue the immovable elements with mobility, transforming the building’s skeletal structure into a proposition for motion. In essence, architecture becomes akin to dance—an art form that transcends mere physicality.
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