text in EN, GR The diploma thesis of Heidi Kaproulia entitled “Reactivations : an amphibious installation in Eleysis gulf” was presented in June 2018 at the Department of Architecture of University of Thessaly and was supervised by Professor Zissis Kotionis. -text by the author How can we treat the sea as a new topography? This master thesis, through the exploration of the current state of the gulf of Elefsis, attempts, through hypotheses, appeals and actions, to reactivate part of the total activity and productivity of the area of the gulf, through the installation of multiple structures on the sea. The footprint of human activity on earth has mostly been seen during the last century. The Anthropocene era marks the end of the Holocene era, and human became a considerable geological factor. Both land and marine environments have been strongly influenced by human intervention. Water is familiar to man before it was born, but its deviation from nature has shaped his fear against it. We tend to believe that all the seas are similar to those of our summer memories, lush and shady, under the sun. But according to Bachelard, almost every sea is violent, and for those who cross it and choose to live nearby, life is a continuous struggle. The gulf of Elefsis, which is examined in this thesis, could be considered as a violent sea. The industrial zone created on the adjacent front of the bay, was developed on top of the antiquities and next to the dwellings. The pollution of the environment was so enormous that led to the perception of a sea that does not create intimacy and constantly becomes a field of controversy. This thesis attempts to identify problematic situations in the Gulf, to make a number of assumptions and appeals of the above, thus ending certain actions that led to the design of the installation. Namely, the problematics are: The huge number of shipwrecks in the bay, the decommissioned ships, the closed seafront of the city of Elefsis, the possibility of sea level rise in cities like Elefsis and Aspropirgos, as well as the pollution of the gulf. The assumptions and appeals respectively are: Wreck diving and creation of artificial reefs, accessibility and visibility of decommissioned ships, dispersal of the beach, transfer of public uses that will be affected by sea level rise, as well as floating crops and floating photovoltaics. Through a floating installation, the reactivation of the overall activity and productivity of the gulf is attempted. This allows the inhabitants to return and enjoy the marine life of the area and to exploit the sea for their benefit through alternative ways of producing food, energy and tourism. In addition, the visitor is given the opportunity to experience a sea different from the typical idyllic mediterranean image he has in mind, to interpret and become a part of it. These structures were designed with the logic of the module, that is multiplied in order to be variable in use and also to receive different artificial soils, depending on the area’s need. They are located either at locations where many kinds of problems are encountered in an attempt to overturn them, either at historical, architectural and naval points of interest, or near areas which will propably be affected from rising sea levels in the years to come. The overall approach focuses on the user’s immediate contact with water during his stay at the artificial ground, in order to confront the strong enforcement that water creates when it encircles an urban use from all its’ sides and separates it from the steady land. Facts & Credits Project title Reactivations : an amphibious installation in Eleysis gulf Student Heidi Kaproulia Date June 2018 Course Diploma thesis Supervisor Zissis Kotionis Institution University of Thessaly, Department of Architecture Η διπλωματική εργασία της Χάιδως Καπρούλια με τίτλο ‘Επανενεργοποιήσεις : μια αμφίβια εγκατάσταση στον κόλπο της Ελευσίνας’ παρουσιάστηκε τον Ιούνιο του 2018 στο Τμήμα Αρχιτεκτόνων Μηχανικών του Πανεπιστημίου Θεσσαλίας με επιβλέποντα καθηγητή τον Ζήση Κοτιώνη. -κείμενο της δημιουργού Πώς μπορούμε να αντιμετωπίσουμε τη θάλασσα ως μία νέα τοπογραφία; Η παρούσα διπλωματική εργασία, μέσα από τη διερεύνηση της τωρινής κατάστασης του κόλπου της Ελευσίνας, επιχειρεί, μέσα από υποθέσεις, αναιρέσεις και ενεργήματα, να επανενεργοποιήσει μέρος της συνολικής δραστηριότητας και της παραγωγικότητας του κόλπου, μέσα από την εγκατάσταση πολλαπλών δράσεων πάνω στη θάλασσα. Οι συγκεκριμένες δράσεις έχουν στόχο, τόσο να κάνουν τους κατοίκους να επιστρέψουν στο εδώ και πολλά χρόνια επιβαρυμένο θαλάσσιο οικόπεδο της περιοχής, όσο και να εκμεταλλευτούν τη θάλασσα προς όφελός τους, μέσα από εναλλακτικούς τρόπους παραγωγής τροφής, ενέργειας και τουρισμού. Οι κατασκευές σχεδιάστηκαν με τη λογική της μονάδας που πολλαπλασιάζεται έτσι ώστε να έχουν μεταβλητή χρήση αλλά και να παραλαμβάνουν διαφορετικά τεχνητά εδάφη ανάλογα με την εκάστοτε ανάγκη της περιοχής. Η τοποθέτηση των κατασκευών γίνεται σε σημεία στα οποία εντοπίζονται πολλών ειδών προβλήματα, σε μία προσπάθεια αναίρεσής τους, είτε σε σημεία ιστορικού, αρχιτεκτονικού και ναυτικού ενδιαφέροντος ή κοντά σε περιοχές στις οποίες εκτιμάται ότι θα πλημμυρίσουν εξαιτίας της ανόδου της στάθμης της θάλασσας τα επόμενα χρόνια. Η συνολική προσέγγιση, εστιάζει στην όσο πιο άμεση επαφή του χρήστη με το νερό, κατά την παραμονή του στις κατασκευές. Σκοπός της εγκατάστασης είναι ο χρήστης να έρθει αντιμέτωπος με την αίσθηση που απορρεέι από την ισχυρή επιβολή του νερού, όταν αυτό περικυκλώνει μία αστική χρήση από όλες τις πλευρές και τη διαχωρίζει από τη στέρεη γη. Στοιχεία έργου Τίτλος εργασίας Επανενεργοποιήσεις : μια αμφίβια εγκατάσταση στον κόλπο της Ελευσίνας Φοιτήτρια Χάιδω Καπρούλια Ημερομηνία Ιούνιος 2018 Μάθημα Διπλωματική εργασία Επιβλέπων καθηγητής Ζήσης Κοτιώνης Σχολή Πανεπιστήμιο Θεσσαλίας, Τμήμα Αρχιτεκτόνων Μηχανικών browse through student projects on Archisearch here! – δείτε περισσότερες εργασίες φοιτητών εδώ! READ ALSO: Zephyr | Master Thesis by Stavros Mavrakis

Visit the post for more.

My wife got me the 1970 and '71 NYAD Annuals for Christmas and that lead me to ask Murray Tinkelman to clarify a few things about trends in illustration and graphic design at the time. Earlier this week Murray explained how Pushpin Studios influenced the industry during that period. Then we discussed how Herb Lubalin and other designers put greater emphasis on typography as a key component of the early '70s design aesthetic. Today we discuss the emergence of a "new reality" in illustration in the same time period... ~ Leif Peng LP: This series of ads I posted in yesterday's part of the discussion, the ads for the Audi Fox, those were done by two artists named Don Wheland and Jerry Cosgrove. These ads were art directed by a guy named Helmut Krone... have you ever heard of him? MT: Yes I have. As a matter of fact my high school illustration teacher was a dear friend of Helmut Krone (Murray chuckles) and in 1951, when I graduated high school, my teacher told me to look him up, show him my portfolio. Here I am, like, a seventeen-year-old kid (he chuckles again) making an appointment with Helmut Krone. He was a huge figure in art direction. LP: Well, when I look at that series of ads - of course, they're all absolutely brilliantly designed - I see a couple of interesting things that really epitomize (for me anyway) the look of the '70s: one, that really prominent use of typography... MT: Right... LP: ... the other is that very realistic art treatment. LP: This morning I sent you an email with a bunch of images attached by different illustrators from the early '70s. (Below, Bill Nelson, 1976) (Below, Jerome Podwil, 1973) (Below, Alex Gnidziejko, 1974) (Below, Doug Johnson, 1972) (Below, Roy Carruthers, 1972) LP: There seems to have emerged at that time, a return to realism, but it isn't the kind of painterly realism that illustrators used in the '50s, or the kind of high-energy, 'action-y' realism you saw illustrators using in the '60s, with textured gessoed board and streaky acrylic washes. This is a realism that seems very... precise... very controlled. MT: I'm looking at the list again... Jerome Podwil, Roy Carruthers, Doug Johnson, Bill Nelson - really talented people you've got here on the list. It IS the '70s and I could easily use these examples and construct a lecture about illustration in the '70s. But the thing is, this could be likened to the story of the blind men and the elephant - you know that story? LP: Yeah, absolutely. MT: You can find what you want to find or you can hone in on a characteristic and it might take on more significance -- (Below, Roy Carruthers, 1974) LP: Yeah, I do get what you're saying. This niche we're discussing isn't all-encompassing of the '70s; it's just one aspect of what was happening. MT: Right. To me the '70s has a look that was actually three different looks: precision was certainly one of them, but you also had the rediscovery of the airbrush and that whole west coast movement by people like Charles White III and some other really brilliant airbrush people. (Below, Charles White III, 1972) MT: And then another really very strong style of that time was the montage, which was initially most prominently used in things like movie posters where they'd give you the whole movie in one picture. And there was a very strong convention about how to do montages. (Below, Bob Peak, Camelot movie poster art, 1967) MT: The other look of the '70s was a kind of rediscovery of surrealism. (Below, Robert Giusti, 1972) MT: So you had people like Bob Giusti, Roy Carruthers, Gil Stone and many other really good artists doing their version of 'neo-surrealism'. (Below, Gil Stone, 1973) MT: Incidentally, Gil Stone was a friend of mine and I always said he was the result of a shotgun marriage between Magritte and Giacometti. (We chuckle) (Below, Gil Stone, year and publication unknown) MT: Gil got a scholarship out of art school and went to Florence. And I think - and this is just my opinion - but, his elongated style? I think that came from his trip to Florence where he was working with the Mannerists, who elongated everything. When you see a slide of a Mannerist painting next to a Gil Stone, you see that relationship so strongly. (Above and below, Gil Stone, year and publication unknown) MT: So anyway, those three 'looks' really equal the '70s, for my money. And then there's another sort of ironic twist: Mark English, Bob Peak - they were not really as prominent as they'd been the previous decade, but they were working that montage routine very, very well. (Below, Mark English, Redbook magazine, November 1972) MT: Nobody ever did montage better than Mark English. I think he was the best montage person, ever. (Below, Mark English, year unknown) MT: Did I just muddy the waters there? LP: No, not at all. In fact, I think you've helped clarify a few things for me and that's why I appreciate getting your thoughts on this. Because the thing is, despite the fact that your work is linear and more typically black and white, I connect you to this 1970s look as well; this idea of precision and realism (or surrealism to a certain degree). You know, I was looking through your book again this morning, and looking at the kind of pieces you were doing for the New York Times Op-Ed section. (Below, Murray Tinkelman, NY Times Op-Ed page, 1972) LP: You made a transition from your 1960s John Alcorn-influenced style, which was a cartoonier style, to a more realistic look at that same early '70s time period that I see in all these pieces, whether they're done in airbrush, or paint brush. The thing that is entirely absent in all of this work is the looseness, the sort of wild abandon, the splashing of paint that happened a decade or so earlier as a result of, I don't know - the influence of Abstract Expressionism, maybe? So my question, I guess, is what compelled all of you guys to undertake this return to realism, to a very precise sort of realism, in the early 1970s? MT: That is a great question and I'm not sure my answer is going to fit neatly into it. When I started with the decorative style it started with Lorraine Fox and then moved up through the Pushpin people - and I loved it and I still do - but my change to the more realistic was not an aesthetic choice. It was a subject matter choice. There came a point, I guess it was around 1970, when I became less interested in technique, in style and in art, if you will, and I became much more interested in subject matter. (Below, Murray Tinkelman, from 'Alistare Owl' by Herbert A Kenny, 1972) MT: I was, like everybody else, very enthusiastic about materials: "Let's paint it with chicken fat on waxed paper and bake it in the oven." (laughter) But very quickly, around 1970, I became less interested in how I did it and much more interested in what I did. So current news topics... the op-ed pieces... I just felt, personally - and it was very personal - that it was more appropriate to draw these visuals in a more realistic way. (Below, Murray Tinkelman, NY Times Op-Ed page, 1974) MT: So the pen-and-ink crosshatch became a good vocabulary to describe the subject that I was dealing with. If we're talking about world hunger, for instance, the style of Lorraine Fox or John Alcorn really doesn't make much sense, does it? LP: No it doesn't. LP: So tell me if I'm completely off base about this; if the '60s saw the emergence of this wide variety of decorative stylized work that didn't really even reference the realism of the '50s, do you think that the '70s saw the beginning of an emphasis on 'concept'? MT: Oh yes. LP: Ok. Because I'm looking at all these illustrations for magazine covers and articles on a variety of social and political issues... (Below, Roy Carruthers, early 1970s) ... and I'm seeing a variety of techniques, all of which reference a kind of realism or surrealism... (Below, Jerome Podwil, 1973) ... but what I'm really looking at, what I'm really seeing now that you've pointed it out, is concept. Conceptual illustration. (Below, Alex Gnidziejko, year unknown) MT: Yes. the term 'conceptual illustration' has always amused me in a way. Because 'conceptual art' in the gallery world was completely different than what art directors would call conceptual illustration. In the gallery world, conceptual art would be covering a gallery floor with two inches of dirt. And that was the show. And what the illustration word considered conceptual art was "How many ways can we rip off a Magritte." (Leif laughs) And you can quote me on that because, really, that's it. (Below, Robert Giusti, early 1970s) LP: Well, sure, I mean look at the example I sent you by Robert Giusti; the Time magazine cover... in a different time and place, no one would doubt that Magritte might have done that piece. MT: Exactly. And by the way, Bob Giusti is a very nice person and very accessible. I just had him as a guest speaker for my Hartford group last summer. Really a dear, sweet guy - if you ever want to speak to him... LP: Sure! I'll tuck that away until you prod me a little more about it. MT: (chuckles) Ok. LP: Now, with the decline in illustration for advertising purposes, it seems to me that what emerged in it's place is a lot more of an emphasis on using illustration for these op-ed and socio-political issues. Is that something you would agree with? MT: Yes. Sure. LP: Ok. So do you think that's why we see so much of this kind of work being done at the time by a whole variety of artists? Was that basically where you guys could get the work, because I presume there just wasn't nearly as much work available in advertising. MT: That's true. And the advertising was being done by illustrators that came from more traditional roots. Somebody like Bob Peak evolved through the style, the look, the approach of traditional illustration. For example; Austin Briggs. You don't have to stretch that far to go from Austin Briggs to Bob Peak, or Austin Briggs to Bernie Fuchs. Bernie's breakthroughs were in technique, in style, in quality... but not in any kind of conceptual way. (Below, Bernie Fuchs advertising art, 1982) LP: Right. So then returning to the group of illustrators we've been discussing, you see the sort of common theme I'm talking about? I again, I feel you need to be included in that. MT: Yeah, I think I fit there. * Murray Tinkelman has won Gold Medals from The Society of Illustrators, The New York Art Directors Club and The Society of Publication Designers. He has over 200 Awards of Merit from The Society of Illustrators. Murray is the director of Hartford Art School’s limited-residency Master of Fine Arts in Illustration program. * Many thanks to Tony Gleeson for providing the scans of the Audi Fox ad series and many other scans in today's post, and to Matt Dicke for the use of his Bernie Fuchs scan.

Ashley Blanton is an Asheville, North Carolina-based artist who creates mixed media works on paper that depict psychological landscapes and the liminal spaces between internal and external experiences. Ashley is inspired by natural cycles — growth and decay, descent and emergence, isolation and connection — and how these processes are mirrored within transformative human experiences of trauma, loss, grief, and healing.

Learn how a mood board can help you kickstart your small business brand and why it is a crucial step to keep your branding on track. Follow our step by step tutorial to easily create your own mood board in Canva or Illustrator, with helpful tips for finding the right images, collating them together,

The modern atrium is a key aspect of the building for light and ventilation, but the spatial character is dictated by the project’s size and function, aiming at different kinds of interactions. Here are our top picks, across various scales and typologies, of atriums that inspire:...

Alexis Christodoulou started his journey as a 3D artist when he first became interested in rendering. Taking it as just a hobby, he taught himself 3D

I love maps and I don’t mean the boring Google map or those you seen in geography textbook. Artistic, unusual, colourful maps are what I am going to showcase in this post.

Printed on 310gsm Giclée Hahnemühle German Etching 30x45 cm (12x18 inches) is a limited edition of 100 40x60 cm (16x24 inches) is a limited edition of 50 50x75 cm (20x30 inches) is a limited edition of 25 For all limited editions a certificate of authenticity is included

Other questions I received this week concerned the sculpting medium we use for our projects. There are many on the market. We use Abracadabra Sculpt. It is a two part epoxy putty (much the same consistency as plasticene I used as a kid). www.abracadabrasigns.com/smooth_and_sculpt/home It is mixed in equal quantities and then sculpted. Once it cures it is rock hard and durable! The sculpt is sold in kits in various sizes from two pounds to a hundred pounds (two five gallon buckets). The more you buy the less expensive it is per pound. We use a fair amount of it in our shop, so we buy it in one or two thousand pound lots (ten - twenty 100 lb kits) at a time. Is it expensive... I don't think so. A few dollars of sculpt will do many times that in sign work, making it a worthwhile expense! I put a thin coat over the mesh, and then allow it to cure. The next day the sculpting layer is done. For the tree bark I pressed on a layer of sculpt, then using crumpled heavy duty tinfoil I pressed in the bark texture. Lastly I used a sharpened stick to draw in the lines. A hint here would to to wet the tools or sculpt with water to prevent your tools from sticking. The last question we fielded this week concerned our paints. We use100 percent acrylic paints in our shop - all hand brushed. We tend to put the colors on nice and bright, then tone them down with glazes. We mix our own glazes using a clear base (without tint). We mix this clear base with the acrylic paints we have on hand at a ratio of 50% clear to 50% paint and then add a teen bit of water to make it flow. We slop this on and then wipe it down with a soft shop rage to remove the glaze from the higher areas, leaving it in the crevices and dips. We like to work from dark to light adding as many layers of transparent glaze as we need - generally two - five coats of color. The brighter the base coats the more vibrant the piece will be when it is done. Below is a picture of the horse sign with the base coats on. It's just too much as it is now. In a day or two it will look great as the other colors are layered on. Stay tuned... -dan

[ ΤΟ portfolio ΜΑΣ ] Μερικά από τα έργα μας

NY | GA | Libra | @spiritcollages

Emil Otto Hoppé :: A Back View, 1932

Learn about Camp Adventure and the Forest Tower, the observation tower amongst the trees in the Danish forest. Danish architecture firm EFFEKT explains how they built it.