BAKAVOU VASILIKI
SHAPING THE FUTURE OF THE DOMESTIC
Bakavou Vasiliki is an Architect in Northen Greece. Her work is the perfect combination between Architecture and Illustration. Through a series of intricate patterns and fun objects, the spaces created come to life in various interesting ways.
For this interview, Bakavou Vasiliki will be talking about her illustrations, her views on Architecture and more!
In a few words, describe yourself and your work (both in illustrations and architecture).
My name is Bakavou Vasiliki. I was born and raised in Thessaloniki in north Greece. I studied Architecture at Democritus University of Thrace and I received my master in Architectural Design at University of Thessaly. Currently, I am working as an architect at a company focusing on store renovation projects. As for my graphic skills, I am a self taught artist. I love Illustration and I get involved in different graphic design projects. I like to think my work as playful and relaxed and If there is one word I’d like to describe my drawings is arch_candies. Until now I enjoy the split between architecture and illustration.
You have a very unique way of illustrating Architecture; it is very simple yet playful. Although you fill your images with entourage and patterns, the architecture always seems to be the main focus. That is one of the hardest things to do! How would you define your drawing style and how has it evolved throughout the years?
Jony Ive says that it is extremely complicated to produce something that feels extremely simple. My drawing style has a more conceptual basis than an artistic one. I truly believe that architecture representation is not about a simple description of a future space but it should be a portrayal of the atmosphere of each space. So most of the times I design using architectural drawing tools like sections, maps, isometric drawings to illustrate the whole project on a technical way as they are very analytical. Then, I add details which give character to the space and allow an idea to exist beyond the limited space of my image. Eventually, bringing together different qualities, the whole work becomes visually layered and the real co-exists with the Imaginary.
“the real co-exists with the Imaginary”
How does the room’s program influence your images and type/amount of entourage you use?
Each of my images is a part of a general research of domestic space. Room's program is the starting point in order to explain the spatial concept of each drawing and to choose the suitable details for the internal poetry. However, as an architect, I always design the space but I don' t live in it, so I like to give space for the unknown in my work. I prefer not to define everything but let the viewer figure it and come to their own conclusions.
“I like to give space for the unknown ”
Does ‘giving space to the unknown’ shape the essence of the architecture? Or are these elements added afterwards with the choice of entourage?
Space is void and this emptiness is its essence, which makes a building or a landscape useful. However, space is inherently formless. Its visual form, quality of light, dimensions and scale depend totally on its boundaries as defined by elements of form. Architects usually design the form of the elements which establish these voids so that they accommodate human needs, dictated by the programs. I think that this complex system shape the essence of the architecture.
Where do you get inspiration from? Does the design of the Architecture influence the graphic style of your images, or does it vary on a project by project basis? For instance, would you use the same graphic style to represent a single-family house, as well as a master plan?
In general, I would say that I have different sources of references for each project from fine arts to photography and cinematography, trying new ideas and not to repeating the same moments. Each image implies a concept and the choice of the suitable graphic style is a crucial decision to communicate better the idea behind it. However, I always try to keep a common language through my work such as monochromatic palette, line drawing and geometrical patterns.
Do you think growing up in Greece has impacted your work somehow? Are there any unique characteristics of Greek architecture, or lifestyle, that is represented in your drawings? If so, would you give us an example?
Nowadays, Greece suffers from recession. Many Greek cities possess high density abandoned urban stock, manifesting deterioration of a modern building environment, at the same time making evident the traces of its past. A good way to revive the housing stock is to transform and recreate existing abandoned buildings. That was the starting point for my domestic experiments. Small and flexible spaces that can parasite in bigger forms or spaces. Moreover, Greek lifestyle and environment are always present in my images. For example the TERRACE HOME, which is a spatial incarnation of the ephemeral, depicts living condition on a building terrace which is really familiar snapshot for the Greek environment especially during the summer .
Who or what influences you graphically?
I drew my references through different kinds of graphic inspiration like the detailed axonometric drawings of Atelier Bow Wow, the playful collage work of Dogma, Fala Atelier, Office KGDVS and finally -and the most important- the atmosphere in the work of Edward Hopper and Jack Vettriano. I love that their paintings create a feeling of a mystic world that speaks itself. Needless to say, that for daily inspirations I constantly search for attractive drawings through architectural, artistic blogs and sites, or Pinterest to be kept up with current architectural representation and simultaneously, is really interesting to see the work of young architects.
Could you talk about the process to create one of your images? What tools do you use? Do you use a 3D software?
First it’s the lines, then the details, then the atmosphere...I usually start by imagining a storyboard that will define the final goal of the image. Then, I sketch the basic idea in pencil and take over to Illustrator or Autocad to define the lines. In the end, I add the details such as objects, plants, patterns or colour, which is the fun part of the process. It’s all a matter of moods and atmospheres that each of my illustrations will try to evoke. It sounds a little bit inordinate when I say it , but when I’m doing a drawing I get lost in it.
What are you currently working on?
I keep trying to enrich my personal project of domestic atlas with oneiric spaces that I wish existed.
What are the characteristics of some of these spaces? What do you define as oneiric spaces?
Oneiric comes from the Greek word oneiros, meaning a dream. The adjective oneiric is often used in film theory to describe the dream-like elements of a movie. In my work oneiric space is a place where everyone can use according to someone's interests and needs. For example, HOME YARD image depicts the various living conditions that are spread over a garden full of trees and plants. However, a sculptor can think of this space full of sculptures or art, and a bicycle lover can imagine this space as a garage for wheels and tools instead of plants and trees. It is a place where there is no limit, where someone can enjoy infinite choices of use.
What advice would you give to young designers?
As I’m just starting my architecture journey, I don’t really know anything besides the usual advices. However, my personal story taught me three things: do drawings on a day-to-day basis, have fun with your work challenging yourself and the most important have patience and understanding that growing up at a slower pace is good.
“Have patience and understanding that growing up at a slower pace is Good.”
Bakavou Vasiliki, thank you for taking the time to interview with Arch-Vizz and show us your work!
You can find more about Bakavou Vasiliki's on her instagram page @vicky__bak and at Koozarch, Archdaily and Amal Lective.
Interview & Images Courtesy: Bakavou Vasiliki
Interviewer: Stefani Fachini