Architectural competition entry
“Circle is a plane figure bounded by one curved line, and such that all straight lines drawn from a certain point within it to the bounding line, are equal. The bounding line is called circumference and the point, its center”. (Elements, Book 1, definition 15-18) Euclid
The CIRCLE describes a certain geometric element, with all its assets, but also helps us talk about our recent proposal on the architectural ideas competition for the center of cremation in Patras. Within our project’s case, the circle contains a set of physical elements relating to functional, as well as symbolic aspects of the brief. The imposed circular periphery defines continuities and discontinuities within this shceme, by pentrating and receiving, differtiating and enforcing a process of constructed architectural identity.
The HALF OPEN DOOR is the visitors’ entrance to the main ceremonial hall. It is a revolving vertical surface, which is composed by inter-religious reference, aiming at a lasting opening of the interior to the outside and stages of revealing a path from the central square to the luminous niche in the main ceremony hall.
The LUMINOUS NICHE is the place where the cadaver is rests in the main ceremonial hall. It is a hemispheric recess in the southern part of the room that is penetrated by natural light (during the day) and emits artificial light (during the night) through a structural perforation grid. This perforation protrudes to and is projected on the glossy floor of the interior and on the geometric surface of the marble garden, with different intensity, body and density.
The MARBLE GARDEN is organized as a sequence of open and semi-open entities, accessible and non-accessible spaces within the circular periphery. It is a set of burial (taphe) infrastructure and memorial sites that organize the public space of the complex. Different types of burial infrastructure (niches, wells, shells and plates) are dispersed in the contents of the circular surface, falling on organizational axes of movement and inserted straight lines of discontinuities and discontinuities.
Anastasios Tellios, Despoina Zavraka
Artemis Valiraki, Pinelopi Gardika, Eirini Parthenidou, Christina Stathakopoulou, Stavriani Theologi, Giannis Zacharis, Evgnosia Mentesidou, Eleftherios Venizelos, Kyriaki Mprougazi