Contemporary Caryatids: Dialectis

A thriving Greek female architectural community has evolved during the last 8 years in New York with a significant presence in the American Academia and the New York Architectural Practice and a constantly active architectural community in Greece shows how creativity survives through periods of economical austerity.
The project's intention is to celebrate Greek women in architecture and design that live in New York or in Greece. 
The installation will consist of 20 "Caryatids", 20 columns conceived as temporary structures that will reflect each creator's idea on the female side of architecture and design. The "Contemporary Caryatids - Dialectics" exhibition aspires to trigger off a dialogue among the temporary structures and the audience.

The discourse of women in architecture and design has been globally addressed through various exhibitions amongst significant institutions such as the MoMA and the AIA.  The proposed exhibition showcases an installation of 20 vertical temporary structures and focuses on a case study that consists of the presence of Greek female architects and designers practicing in New York in a dialogue with their counterparts that live and create in Greece.
More specifically, we aspire this to be a case study of a Greek female architectural population that is globally mobile and a significant part of which chooses New York as their professional base. Caryatids, a group of women in Ancient Greece, performing "team-work", as well as literally carrying the temple structure will be the serve as the metaphor for the exhibition in New York, a global city with a radiance similar to that of Athens in the antiquity.
A group of contemporary structures will be conceptually perceived, designed and constructed by women in architecture and design and with the aim of being in front of an audience. The number of the columns is intended to be an even number (20) as a reference to the ancient circular peristyles. The exhibited elements will not depict the female form as traditionally shown throughout the history of art since antiquity, but instead will function as bearers of the design perception of a new generation of female designers. The above mentioned dialectic challenges how women grow their design perception in these two geographically, politically and economically different locations and how these two perceptions are depicted on constructed design elements.