University Portfolio Spyros Tzinieris - Architect

portfolio of
Spyros Tzinieris
Five-year diploma in Architecture Studies

University of Patras, School of Architecture
Applying for
Graduate School of Design - Sustainable Design
Harvard University
Spyros Tzinieris
Five-year diploma in Architecture Studies
University of Patras, School of Architecture
Applying for
Graduate School of Design - Sustainable Design
Harvard University
I N D E X
form & function architectural form the feel of materials lifestyle & advertising
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Spyros Tzinieris
E A R LY S K E T C H E S CONCERT ARE A SEA HOUSE A PA R T M E N T E L E M E N TA RY SC H O O L MUSEUM OF PL ASTIC A DV E R T I S E M E N T A N D

B LO C K F O R NAUT I CAL SURGE RY CLI N I C PA C K A G E D E S I G N O F
E L D E R LY ART & A DOOR HANDLE
PEOPLE TRADITION
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sustainable design intuitive design RESEARCH PROJECT DEGREE THESIS
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TRADITIONAL METHOD PROPOSED METHOD
HC
CO
HC
FILTER
COOLING + VENTILATION
HC
ON HC
CO ILATI
VENT
CO
CO HC
HC
CO
CO COOLING
HEAT EXCHANGERS
Spyros Tzinieris
B I O C L I M AT I C A LC I T Y M A R I N A A PL AC E O F ARCHITECTURE, S PA C E P O R T I N
AIR EXHIBITS- HUMANS AND MODERN NE W ME XI CO
COND ITION I NG OBJECTS- T E C H N O L O G Y: S E E K I N G
SYSTEM EXPERIENCES F O R T H E LO S T S E N S E S
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E A R LY S K E T C H E S
Inventing
Through the constant interaction with vehicles the need to learn the
principles of their function was maximized.
The understanding was accomplished with the reproduction of
schematic sections and sketches.
Gradually the need to create better mechanical devices lead to a
variety of inventions drawn on paper.
Automatic Braking and Suspension pressure
At the very beginning the inventions defined the form.
distribution system
Later on, challenges were created so that the inventions could serve Allows ideal braking, dynamic distribution of brak-
the harmony of form. ing pressure between the two axles and automatic
suspension stiffness control.
Finally the knowledge of the mechanical aspect of vehicles let the
design be liberated and created new forms which would function
perfect.
Understanding Inventing
High Performance,
single seater vehicle
1. Schematic section
2. Steering wheel and
dashboard
Spyros Tzinieris --------- PERSONAL PROJECT
3. Electronic Interface
4. Diagrams of the en-
1. gine‘s power output in
different driving modes
Section of a variable length Schematic section of a mo-

intake manifold torcycle’s braking device
2. 3. 4.
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Creation
n
atio
Cre
Participation in competition
of the Greek automotive
magazine “4 ΤΡΟΧΟΙ”
5 - meter Multi Purpose Vehicle
(MPV)
The side curve goes lower

than the glass in order to
make the finish of the car
optically smoother.
Creation
Spyros Tzinieris --------- PERSONAL PROJECT

Multi-part storage room
door
Modern option of the classic

Alfa Romeo Spider
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D I S C O V E R I N G B A S I C E L E M E N T S O F A R C H I T E C T U R E
Creating a Concert Area out of Russian Avant-garde paint- Seaside house at Rio, Patras
ings.
Combining basic geometric forms and playing with positive/ negative
The first attempt on architectural composition in order to discover ele- forms by the seaside.
ments such us geometry, scale, form, boundary, transparency, light/
shadow, movement/ halt.
Tension is used as a way of vibrating and guiding visitors by creating
dynamic shapes and playing with perspective.
Spyros Tzinieris --------- ACADEMIC PROJECTS
PROJECT
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Apartment block for elderly people at Rio, Patras
Moving away from basic geometry forms to free form organic ones
and learning about psychology of space.
Spyros Tzinieris --------- ACADEMIC PROJECTS

PROJECT
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D I S C O V E R I N G B A S I C E L E M E N T S O F A R C H I T E C T U R E
Elementary school at Patras

(Building design in collaboration with Tatiana Dimou --------- con-
cept, sketches, 3d design, technical drawings and presentation
Interior details and urban design ARE NOT collaborative works)
A school is the extension of a house and the place that is safe for chil-
dren and a source of inspiration and happiness for them.
Children are taught to stay away from sharp objects, so the basic form
was not intended to have sharp edges but rather a composition of
well recognized toy-like forms.
The design of the school with the shallow strip of water takes advan-
tage of the area’s winds to cool the courtyard of the school through
evaporation cooling.
The flooded with natural light interior makes the colored walls more
vibrant.
The intention was to compose a school which interacts with the high
school of the neighborhood and both act as lighthouses of knowl-
edge inside the city.
Spyros Tzinieris --------- ACADEMIC PROJECT
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M A T E R I A L S & H U M A N S E N S E S
Museum of Nautical Art & Tradition at Galaxidi

How does it feel to have the sea as your second nature? In a quiet
village with tradition on building wooden boats and homeland of im-
portant captains a museum which would set off all the above was to
be composed.
The experience of the visitor rather than the form of the building was
the priority during the design process. The form of a boat’s shell at-
tracts the visitor to enter the building but after that the sense of seeing
is dimmed down and these of hearing, smelling and feeling are stimu-
lated in order to make the visitor enter the world of a mariner.
He walks on a pier in order to see old types of boats, knots and con-
struction techniques. Through the use of high technology interactive
systems experiences the important battles that were given at the
Western Greece through the centuries.
Natural materials and high technology are combined to stimulate the
downgraded senses of the visitors.
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F U T U R I S M , L I F E S T Y L E , A D V E R T I S I N G
Plastic Surgery Clinic in 2100

(In collaboration with Tareq Hassan -------- concept, sketches,
basic 3d design, graphics and presentation)
The subject was to create a futuristic project of the year 2100. It in-
volved the creation of a firm, the logo and the building.
A Plastic Surgery Clinic was chosen in order to get to know commer-
cial meanings such as advertising and lifestyle.
operations areas
The building was chosen to be positioned near the first hospital that
was specialized in plastic surgery operations in New York.
The architecture is characterized of great symbolism: the effort of
mankind to diminish the consequences of age, the loneliness in which
the loss of human interaction leads to, the consumerization of health
issues.
presentation area
In an anti-gravity environment the customer sits on an a pod which entrance exit
uplifts the patient to take him higher to an area in which he will be-
come a better person. The pod transforms and takes whichever form
is necessary for each operation. The operators are robots as well as
nanorobots and recovery time does not exist.
The spherical shape of the building reflects the cosmos and the ability
of completing unlimited orbits inside of it eternally - whatsoever long
man intends to live ...
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GENETIC CHECK & CONTROL
ADULTNESS
Circle Of Life
DEATH
BIRTH
ORGAN’S OPERATION
GENETIC CHECK & CONTROL
GROUND FLOOR UPPER FLOOR

SECTION A-A SECTION B-B
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Advertisement and package design of a door handle

The intension of the door handle’s design was to create an object
which although at first sight would look as if it was constructed by a
machine, if seen more carefully one could discover sculptive qualities
which would transform the character of the whole object.
The need for customization is satisfied by making different color com-
binations of the two parts.
A paradox phrase at the advertisement makes the reader find what
hides underneath this meaning just like the object’s hidden qualities.
The rest of the advertisement passes the information to the reader by
keeping the aesthetics and simplicity of the object.
In the end the package’s multiple cardboard layers protect the door
handle, rises the object to prominence and vibrates the buyer’s sense
of movement. It gives the object a functional dimension in the way of
the sight of a wing’s aerodynamic streamlines.
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S U S T A I N A B L E D E S I G N 8 5
1. SHALLOW WATER RESERVOIR

6
2. VENTURI TUBE 4
P1, V1
Bioclimatic air conditioning system for typical apartment building P2, V2
3. RADIATOR
A1 < A2 4. HEAT EXCHANGER
The system that is presented was designed with starting points the in- t1 t2
t2 < t1
5. PUMP
V2 > V1
ability to apply bioclimatic methods on buildings in air polluted urban P2 < P1 6. LOW PRESSURE GENERATION FLAP
centers as well as the rise in the cities’ temperature caused by the A2 7. 2-STAGE-PITCH FAN
5
unpredesigned way in which air conditioning units emit heat. 8. SOLAR PANEL 3 1
A1
2 Λ1
The system in question was designed on the example of a typical five- SECTION
storey apartment building that has the worst conditions of bioclimatic
design. 1
By using the thermodynamics around the building the interior spaces 3 3
of the building cool during the summer and become warm during 3
winter. 2 2
2
Λ2
Λ1
Λ2
B
GROUND FLOOR PLAN
Common cooling method
2
O ΙΟ
Τ
Η
2
RO Α
1
ΗΚ
M
.2
Μ
ΤΙΟ
BE ΔΩ
.C
ΠΟ
Α
W
Traditional Cooling Method Proposed Method
Ο
Μ
D
Α
Ν
M
Ω
ΥΠ
Δ
O
Ο
RO
Ν
ΥΠ
D
BE
3 3
O ΑΤΙΟ
.1
RO Μ
M
.C
D Ω
BE ΟΔ
W
• COOLING IS SEPARATED FROM VENTILATION
Ν
Ο
ΥΠ
M
ΤΙΚ
O
ΙΣ
RO
Θ
ΚΑ
G
IN
LIV
• 2 CHANNELS OF AIR ARE CREATED:
Α
ΙΝ
N
ΥΖ
HE
ΚΟ
C
KIT
ΝΟx
HC
CO
THE FORMER IS THE OPERATING POWER
then HC

THE LATTER BRINGS IN CLEANED AIR 4 7
HE Α
C ΙΝ
N
KIT ΥΖ
ΝΟx
ΚΟ
TION
RO Ο
M
ΤΙΚ
O
ΙΣ
Θ
ΚΑ
G
IN
B
3 3
LIV
O ΑΤΙΟ
.1
RO Μ
M
.C
D Ω
BE ΟΔ
W
Ν
FILTER
COOLING + VENTILA
ΥΠ
4
1
ΤΙΟ
Α
2
Μ
CO
O ΙΟ
M
Ω
Τ
Η
2
RO Α
Δ
ΗΚ
M
Μ
Ο
.2
RO
BE ΔΩ
Ν
.C
4
ΥΠ
ΠΟ
W
BE
Ο
D
Α
Ν
ΥΠ
HC ΝΟx
ON FIRST FLOOR PLAN
TILATI HC
CO
VEN
HC CO BENEFITS:
CO
• MINIMUM ENERGY CONSUMPTION
CO HC
HC
HC • NO USE OF FREON OR OTHER ENVIRONMENTAL - HARMFUL CHEMICALS ARE USED
ΝΟx
ΝΟx CO • OUTPUT IS INDEPENDENT OF LOAD IMPOSED ON SYSTEM
CO
• THE ONLY BY-PRODUCT IS HEAT, WHICH IS NOT ENCAGED IN THE CITY
CO ΝΟx COOLING ΝΟx
ΝΟx HC
now
HEAT EXCHANGERS
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Alsity Marina, Agios Kosmas, Athens.

1st prize in International Design Competition
(Member of design team of architecture practices: Divercity,
Maria Kokkinou + Andreas Kourkoulas, Antonia Panou, EDAW/
AECOM -------- concept proposals and 3d design)
The main aim of the proposal was the transformation of a “dead of
life” marina into a vital retail space and also the expansion of the city
towards the sea. The accomplishment of that goal was mainly based
on three factors: Form, Space, Uses.
Spyros Tzinieris --------- OFFICE - RELATED PROJECT
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Spyros Tzinieris --------- OFFICE - RELATED PROJECT

T O WA R D S A M O R E I N T U I T I V E A R C H I T E C T U R E
A place of exhibits- objects- experiences

(In collaboration with Tareq Hassan -------- concept, sketches,
technical drawings, graphics and presentation)
The space between two buildings of the School of Architecture in Pa-
tras, Greece, devided into smaller areas, would become the canvas
of ten teams of students in order to create a place of exhibitions, tem-
porary constructions and interaction.
The area of the composition was the entrance to the space. In a year
of tension on educational issues in Greece, where many different
opinions and beliefs were colliding the intention was to create an ar-
rangement of structures which would reveal the true relation between
university and students.
Rotating panel structures determine the sense of boundary to the
place, modify the student’s appropriation of space and the introver-
sion of it, depending the processes that take place on the spot. The
panels become the poles of the student’s expression, not in a preas-
signed way but in a more extreme expression which includes even
vandalism.
Senses to activate
Eyesight
Hearing
Smell
Touch
Taste
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R E S E A R C H P R OJ E C T
Architecture, humans and modern technology: seeking for

the lost senses
The progress that has taken place in the field of modern technolo-
gy, especially in the field of informatics and telecommunications has
changed people’s way of living and has opened a new field for dis-
cussions for the architects. His ability to be present, virtually, at different
places at the same time, has changed the meanings of space and
time. The communication and the transmission of information is firstly
completed through image and secondly through sound. The struc-
tured space all of a sudden seems to be redundant since its existence
is not required in order to cover some of the human functions such as
informing and communicating. Only a screen is required which will
provide the necessary information through image.
Because of man’s impotence to edit this huge amount of informa-
tion transmitted to him in no time, the instant persuasion of the trans-
mitted information is now required. The instant and more and more
often contact with virtual spaces in everyday life exercises a strong
influence on the concept of the real space. The demand for instant
persuasion has been transferred to the real world, seeking for images
similar to those presented to the virtual one.
Modern architecture exploiting this search, believes that offering im-
ages of this kind, through complicated figures and colors, managing
to transmit simultaneous messages in a few seconds, such as those of
the commercial spots, fulfils itself.
The architect using technology to conceive, design and realize his
ideas contributes to the creation of the above phenomenon. By
excluding man’s other senses from these procedures degrades the
worth of human experience in architecture.
But architecture addresses the man with his bodily and his spiritual sub-
stance as well . Its role is to push man to live in the space and the time,
through all his senses experiences which will provoke both mind and
body. With the help of modern technology architecture can extend
its virtual members into the virtual world and help man to rediscover
his lost senses and experiences.
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T H E S I S
Spaceport in New Mexico

The aim of this thesis is to create architectural space not to substi-
tute but to enrich an experience, and when this is done, to have this
space enriched by the experience- to create, according to Alto, not
the entrance but the act of entering- in a way, though, by which man
should translate architecture by intuition rather through the excitation
of a significant ability of perception, which has been degraded by
our modern way of life, mainly due to the bombardment of impressive
pictures.
As subject of my thesis I have not looked simply for a building but
mainly for an experience:
A. Which should be significant and new to man
B. One that become the cause for man to raise questions so much
about the world surrounding him as about his own existence.
C. By using state of the art technology
D. Focusing on the essence, not on the superfluous
The X-Prize Cup initiated by Peter Diamantis, is a series of challeng-
es aiming at encouraging the innovation and inventiveness of non-
governmental groups to the advantage of humanity, in the areas of
education, exploration, energy and environment. It was created on
the basis of the Orteig Prize model for the first non-stop flight from New
York to Paris in 1919.
The first prize which was awarded in 2004, had to do with the achieve-
ment of the first sub-orbital flight in an aircraft created exclusively by
private enterprise. The condition was that it should reach the altitude
of 100 kilometers (a theoretical boundary of space) twice within two

weeks carrying an equivalent payload of three passengers. It is quite
obvious that the aim was to make space flights available to the public
at large.
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The aircraft which won this prize was Space Ship One in combination
with the Mother Aircraft White Knight, a craft extremely simple in con-
struction, designed so as to using state of the art technology.
The stages of the flight are the following
1. The SS gets suspended under the belly of the mother craft, the cabin
of which is the same as the former and as for the thrust it uses powerful
jet engines.
2. After one hour’s flight at an altitude of 15 km. (44,000 ft.) the SS1 is
Courtesy of Scale Composites, LLC

detached. The handling of the control surfaces is done not by com-
plex hydraulic systems but by steel cables.
3. After a 6 seconds’ free fall, there fires an engine which is very simple
in its construction and uses caoutchouc as fuel.
4. It starts a vertical flight for 87 seconds at 2g. acceleration.
5. At the altitude of 61 km ( 200,000 ft )the engine stops working, and
due to inertia, the small density of air and the reduced gravity, it con-
tinues flying upwards for 50 kilometers. At this point the wings start fold-
ing up.
6. At the altitude of 110 km (370,000 ft.) it reaches the highest point
and then it stays there for about 5 minutes at zero gravity (state of
weightlessness) atmosphere.
7. Re-entry into the atmosphere starts. The folded up wings allows it to
maintain stability. At this stage the pilot feels 6 times heavier due to
deceleration offered by the presence of atmospheric air.
8. The wing returns to its original configuration and the craft starts glid-
ing 10 minutes after the mother craft gets detached.

9. 15 minutes later, the landing gear is dropped by force of springs
instead of hydraulic action, and the vehicle lands. It is impressive that
there is no nose wheel but only a metallic blade.
Flights for the public will start in late 2010 and will be done with a new
craft which will constitute an improvement to the SS1, the SS2, the ba-
sic difference of which will be its size, 50% bigger, so that it will be able
to accommodate 6 passengers besides the pilots. There will be seats
for the passengers the angle of which will be automatically modified
to endure the forces which are at occasion exercised on their bodies.
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T H E S I S
Though it may seem that it is simply a flight to outer space, it is really

a superficial approach to the enterprise. In reality it is an experience,
much different from those man lives on the surface of the earth. He
lives the experience of his transport to an environment which is inhos-
pitable to life, where the laws of nature as he knew them do not ap-
ply, such as the law of gravity. From up there he sees where he lives
and also the cosmos which surrounds it. He has the possibility to see
the wider picture of the world not as a simple projection but also to
feel for himself that he is in the wider world and looks at it, even for a
few minutes (for 5 minutes to be exact).
In essence the whole flight is, at first, a victory of man over the laws of
nature, which becomes feasible through man’s achievements; then,
the passenger enjoys the absence of those laws, but then, again he is
carried away by them since he has to come back there, because it
is those laws that afford him what is necessary for his survival and the
development of life.
Before his departure the passenger prepares for this “victory” and its
culmination, and after his return he will find himself in an environment
which will cause his deep appreciation of this Earth, but will also excite
the desire of exploration.
So far, flights start from an airport of Civil Aviation in New Mexico. Now,
however, a new project is being developed especially for this kind
of flights some way to the south. The 350 about days of sunshine, the
higher altitude and the absence of civil flights over it (which fact is
due to the nearby area of rocket tests) make this place ideal for the
development of the necessary facilities.
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PRINCIPLES OF DESIGN
The experience must not be substituted by architecture, but simulta-
neously the two must complete each other. This place must not be
reminiscent of a typical airport in any way, because automatically
it will refer to an ordinary airport, which is not the case. It is a place
where the visitor will have a new experience, an adventure, some-
thing like the flights of the 1910’s, where people ran to perfunctory
airstrips to see the people who could fly.
Although the culmination of the experience is significant, still it is not
a self-aim, and this is why the emphasis is laid on all the phases of the
trip.
There are 3 different ways of feeling the experience:
The 1st is that of the “space tourist” who will live it, feel it.
The 2nd is the one of the other passengers who will board the mother
craft and will watch the event from up there.
The 3rd is the one of the visitors of the ground facilities.
THE AIM IS THAT THE FOLLOWING MUST BE EXPRESSED

• Preparation for the experience on the basis of how it is done for
each of the groups mentioned above.
• With common paths at first, separating later, and then again com-
mon at the end.
• Man’s victory on the worldly natural laws and finally yielding to them.

• Simplicity of structure, peak use of technical knowledge, use of
technology only where it is needed, and exploitation of the natural
environment.
• Position of hangars and repair installations away from the areas for
passenger and visitors.
• Due to frequent renewal of flight equipment, design of forms which
do not refer to forms of aircraft, but only to fundamental characteris-
tics of space flights.
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T H E S I S
Paths
When the visitor arrives in his car he realizes that he is at an out-of-the-
way but very significant place. It is the place from which one goes into
space. It is one of the few passes on earth. All the paths have a se-
quence even if the protagonist of the experience uses various means
of movement. The paths are so designed for anyone whether they
move on foot, or use a car, a craft or other auxiliary means of trans-
port. The buildings and the formulation of the surrounding land are
enveloped in a mystery so that when one sees them they look unique,
enigmatic but at the same primordial.
The parking lot is a strip which dives below the level of the land; here
people get off their vehicles and walk along an underground strip. Common for all
The underground structures in the warm and dry climate of the desert
For passengers, friends and relatives
provide in the simplest way comfortable conditions of temperature.
For passengers of SpaceShipTwo
There is a transition from the dazzling light to the shade and the flow of
the cars and those of the pedestrians complete each other showing For passengers of MotherShipTwo
a continuous flow.
For friends and relatives
At this place everything moves on the same direction to show the For visitors
common origin of the people who will have the experience of the
flight into space and those who will watch it. On entering this corridor Nodal points of path
on foot the walls give the impression that a tunnel has been bored.
Light, however, comes in through the one side not directly but by re-
flection from the walls throughout the day all the year round. The visi-
tor, thus, feels that he is really underground, inside the ground. Further,
in order that the visitor should not be able to see the end of the cor-
ridor, the course is not straight but starts with various curves and only
at the end it becomes straight.
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Approaching the entrance we must wonder about the meaning of
entering such a place.
1. First of all one expects answers and information about this place,
where the buildings are, the flying machines, how the flight will be con-
ducted, etc. Expecting that the entrance should be at a higher level,
the path leads lower into a dark corridor, with the roof getting lower
and the materials becoming harder. By the strangeness of the path is
attempted to intensify one’s amazement and impatience about what
is to come next. The decrease of the dimensions helps in creating the
feeling of restriction of the space available, the use of harder materials
helps in subconsciously producing a more intense feeling of change
through the echo of the footsteps.
2. Then it is a transition place. It is, as it was stated above, the way into
space. At this place man is in a condition nearer to the sky, to space,
to the cosmos. His attention is turned there.
As the corridor gets straight gradually becoming darker, there appears
at the end of it a strong light. It is a circular room roofed with semi-
transparent glass and a hole in the middle. On entering this room the
body is “decompressed”. The upper part of the room lets the sun shine
freely in, and the previous experience which was somewhat depress-
ing makes everyone look upwards towards the sky, exactly where the
attention should be turned. The light makes the room familiar, even
friendly, contrary to the mystery of the corridor before.
The second thing one will notice is a bright circle created by the sun-
beams getting through this hole in the roof. Thus, a sun dial is created
by placing a frame on the floor on a rail which shows how soon the
next space flight will be made. When the time of the flight approach-
es, the circle of light will approach the panel and finally it will get into

it. This is an effort to attract the attention of the visitors only to the
event taking place without the use of the screen and the information
to be projected.
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The movement continues in a path tangent to the circular room. The
answers one would have expected have not been given yet. The cor-
ridor moves slightly upwards and certainly one would expect to get
to the land’s surface. This path is not a random spiral movement. Just
like the craft of the Space mission ‘Galileo’ which had to approach
bodies of great gravity in order to increase speed so the paths fol-
lowed by the travellers pass by places of special significance so that
the dynamic of the experience be produced. The first circular room
is of great importance because it is there where the first step is taken:
Man in his thought gets “detached” from the ground and turns his at-
tention to the universe.
Then, paths are separated:
1. Into the one where the passengers, relatives, friends and acquain-
tances go, to see them off and keeps the curve of the forms.
2. Into the other, where the visitors go.
The path of the passengers and their familiar people keeps going up-
wards, and while it seems to become level, again it becomes curved
showing them that something important is imminent. What they are
heading for is the room where they say “good-bye” to their friends and
relatives. All these people have been moving together to this point in
order to share the tension and the mystery which the passenger-to-
be will experience during his flight into space. The fact that this room
exists and the passenger follows this course underlines the experience
which will follow. The “force”, the desire- the importance of every ex-
perience is depicted as the dynamic of each course.
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The relatives and friends who will stay back on the ground ‘are at-
tracted’ by the good-bye room more than the rest. In a course paral-
lel to the one they followed upwards, they are led to where the visitors
go too.
Relatives, friends and visitors who will ride in the mother vessel having
less ‘force’ are influenced less by this room.
Finally, The course of the passengers who will travel into space are in-
fluenced little, having the greater dynamic for what will follow.

The two last groups come to light but they are still below the horizon.
Also, both follow different upward paths.
The passengers of the mother vessel follow a path which is not por-
trayed so strictly on the ground and leads to the hangar of the mother
vessel. Its shape shows the characteristics of the craft which they are
going to board. Gravity is shown on it but there is a tendency of take-
off.
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T H E S I S
The passengers of the SS1, now, follow another path much more strict-
ly depicted on the ground leading to the building of preparation.
In the building of preparation the passengers as briefed for the last
time about the flight and are given the suitable uniform. It is a sym-
bolism, however, to put it on not in a dressing room, but out in the
desert. This is done to produce some embarrassment by standing na-
ked against nature and then feels secure again in his uniform. With his
achievements, man feels that he can overcome nature’s restrictions
which he often regards as obstacles.
Then, he continues in a slightly curved path. A vehicle moving on rails
is used with a wall steadily on its right. This is broken at intervals and
the passenger turns his attention to these gaps. The path starts curv-
ing more and the gaps become wider. At its end the hangar with the
craft appear.
The rail- vehicle stops and the passenger walks along another path.
The sharp angles of the hangar remind of the sharp wings necessary
for supersonic flight and the effect of gravity is not depicted on it.
After all the passengers have boarded, the craft follows the continua-
tion of the path- which the passengers had walked along- on its way
to the runway.
All the courses are designed for man, the means he uses changes,
though. So the runway constitutes a continuation of the course he
covered on foot.
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During the take-off and the landing the passengers are able to see
what the place they had walked on looks like. Knowledge of the ar-
chitectural space gives the passengers added dynamic to the flight.
When they land they disembark at a different point from the one
they boarded the ship. The shape of the hangar of arrival manifests
the presence of gravity which has its two ends bending towards the
ground.
The visitors will be able to see the procedures of landing at a distance
so that the passengers are not distracted from their own experience.
As it was mentioned above on his return man finally yields to the laws
of nature. The procedures before take-off (when man is left naked
with only his achievements to make his secure) was done to make him
feel like a small god since the flight was to follow. However, he is now
back to earth because it is only here where he can survive. The feeling
of the small god is followed by a feeling of humbleness which must be
converted into thankfulness for his environment, which with its limita-
tions secures the necessary conditions for him to live and prosper.
A downward movement follows, the morphology of which is exactly
the opposite to what he walked along on his way to the building of
preparation and that because the relationship and the contrast of the
two places must be obvious.
On one hand the ascent and on the other the descent, in a space
where all the passengers in whatever way they experienced the event
of this flight, will appreciate the value of the environment of the earth
which secures the two essential components of life: water and air.
People can sit in or around this pond and have what is necessary (e.g.
food, drink, etc.). Round the pond there are changing rooms and in

along an underground passage they may get out to the visitors’ area
and join them just as they were together before when they came.
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T H E S I S
The visitor’s movement from the time they separate after the circu-
lar room gets straight and changes into a more technical form all;
the buildings which have to do with the visitors differ scientifically and
have more geomatrical forms so that the distinction between those
that refer to the ground and those that refer to the flight should be
striking.
Contrary to the case of the passengers, when the surrounding should
not substitute the experience, the visitors are favored with a presenta-
tion of the most representative characteristics of the flight into space.
1. The dramatic ascent.
2. The tranquility one feels when one arrives in space and the ability to
see the earth as a part of the universe.
3. The intense descent.
4. The gliding leg inside the atmosphere , and finally,
5. The return to the ground.
The corridor along which they walk is at first rectangular, then it be-
comes elliptic and the tension of the real ascent through the atmo-
sphere is depicted on the walls along the course with the intensity of
the light gradually the elliptic diatom becomes circular expressing the
move away from the gravity field and the absence of vibrations.
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This corridor ends up at the interior of a sphere as if the visitors are
poured into it. The walk on a surface which is not level, but sloping to
one side. On the dome the picture of the universe is projected just as
it looks at the peak of the flight. Awe and calm are present but the
inclination of the floor invites the flow of movement towards the exit.
Then, the descent follows with the circular diatom gradually becom-
ing elliptic. Towards the end the draught course the straight line be-
comes curved freely as if it floats in the air expressing thus the gliding
part of the flight before the craft touches ground again.
Now for the first time after his entry, the visitor steps on the earth’s sur-
face again, and realizes the world surrounding him gradually getting
the answers he needed. Having a free view of the three hangars he
can watch the flight even from this position.

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T H E S I S
Underground are all the facilities in the service of the visitors compris-
ing restaurants, souvenir shops, etc. The reasons why the view to the
runway and more generally to the flight is abstracted are:
1. That the visitor should be focused on the experience as completely
as possible.
2. That the temperature of the room be kept at low levels.
In the murky interior there takes place a show of the central experience
of these flights. However, co- centrally and outside, the roofed place
where the visitors watch the precise event of the flight into space.
The exit will be done from the underground area of the visitors, follow-
ing a roofed path on the level of the ground so that when they have
finished their visit they have got all the answers about the place they
had been to. The roofing is distinguished from the ground by color due
to the photo-voltaic elements.
This last path leads them to the parking lot. After they have boarded
their cars, which were waiting underground, the visitors follow a road
where they reverse course and gradually return to ground level driving
in the opposite direction to that of their entry.
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BIOCLIMATIC ARRANGEMENTS
From the bio-climatic point of view the hot, dry climate of the desert
favours cooling with evaporation. A pond of 10 cm. deep in shadow
cools the hot air which enters the building and so cools it. The prevail-
ing winds are led through underground canals to get cool and then
they are driven into the structures. They are also used in producing
vacuum conditions in arrangements of double shell where the phe-
nomenon of solar chimney is used. Finally the use of photo-voltaic
units produce at least a part of the electric energy required. The most
important means of protection from the extreme heat, however, the
underground constructions, since the temperature in places lying 1.5
m. below ground level is relatively stable.

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T H E S I S
On leaving all the enigmatic forms which appeared at first, were re-
vealed through an architectural synthesis the aim of which is to pres-
ent but, mainly, to enrich a really unique experience.
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University Portfolio Spyros Tzinieris - Architect

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p.6 p.10 p.10 p.11 p.12 p.16 p.20 p.22

E A R LY S K E T C H E S CONCERT ARE A SEA HOUSE A PA R T M E N T E L E M E N TA RY SC H O O L MUSEUM OF PL ASTIC A DV E R T I S E M E N T A N D

p.23 p.24 p.28 p.32 p.36

TRADITIONAL METHOD PROPOSED METHOD

Section of a variable length Schematic section of a mo-

The side curve goes lower

Spyros Tzinieris --------- PERSONAL PROJECT

Modern option of the classic

Spyros Tzinieris --------- ACADEMIC PROJECTS

Elementary school at Patras

Spyros Tzinieris --------- ACADEMIC PROJECT

Museum of Nautical Art & Tradition at Galaxidi

Spyros Tzinieris --------- ACADEMIC PROJECT

Plastic Surgery Clinic in 2100

GROUND FLOOR UPPER FLOOR

Spyros Tzinieris --------- ACADEMIC PROJECT

Advertisement and package design of a door handle

1. SHALLOW WATER RESERVOIR

By using the thermodynamics around the building the interior spaces 3 3

Common cooling method

Spyros Tzinieris --------- ACADEMIC PROJECT

Alsity Marina, Agios Kosmas, Athens.

Spyros Tzinieris --------- OFFICE - RELATED PROJECT

A place of exhibits- objects- experiences

Spyros Tzinieris --------- ACADEMIC PROJECT

Architecture, humans and modern technology: seeking for

Spyros Tzinieris --------- ACADEMIC PROJECT

Spaceport in New Mexico

of 100 kilometers (a theoretical boundary of space) twice within two

Courtesy of Scale Composites, LLC

Spyros Tzinieris --------- ACADEMIC PROJECT

Though it may seem that it is simply a flight to outer space, it is really

THE AIM IS THAT THE FOLLOWING MUST BE EXPRESSED

Spyros Tzinieris --------- ACADEMIC PROJECT

Spyros Tzinieris --------- ACADEMIC PROJECT

Spyros Tzinieris --------- ACADEMIC PROJECT

Spyros Tzinieris --------- ACADEMIC PROJECT

Spyros Tzinieris --------- ACADEMIC PROJECT

Spyros Tzinieris --------- ACADEMIC PROJECT

Spyros Tzinieris --------- ACADEMIC PROJECT

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