ΜΕΡΟΣ ΔΕΥΤΕΡΟ PART TWO
ΜΕΡΟΣ ΔΕΥΤΕΡΟ PART TWO
∏ ¤Î‰ÔÛË ·˘Ù‹ ۯ‰ȿÛÙËΠÛÙÔ ∞Ú¯ÈÙÂÎÙÔÓÈÎfi
Δhis publication is designed by Giorgos Triantafyl-
°Ú·ÊÂ›Ô °ÈÒÚÁÔ˜ ΔÚÈ·ÓٷʇÏÏÔ˘ & ™˘ÓÂÚÁ¿Ù˜ ηÈ
lou & Partners Architectural Bureau and accompa-
Û˘Óԉ‡ÂÈ ÙËÓ ŒÎıÂÛË ÛÙÔ μ˘˙·ÓÙÈÓfi Î·È ÃÚÈÛÙÈ·ÓÈÎfi
nies the exhibition in the Byzantine and Christian
ªÔ˘ÛÂ›Ô (19 ∞ÚÈÏ›Ô˘-5 ™ÂÙÂÌ‚Ú›Ô˘ 2010)
Museum (19 April – 5 September 2010)
™˘ÓÙÔÓÈÛÌfi˜ ¤Î‰ÔÛ˘: ∫ÒÛÙ·˜ ∞‰¿Ì
Production coordination: Kostas Adam
∫·ÏÏÈÙ¯ÓÈ΋ ÂÈ̤ÏÂÈ· ¤Î‰ÔÛ˘:
Art Direction: Giorgos Triantafyllou
°ÈÒÚÁÔ˜ ΔÚÈ·ÓٷʇÏÏÔ˘ Lay out: °ÈÒÚÁÔ˜ ΔÚÈ·ÓٷʇÏÏÔ˘, §¤·Ó‰ÚÔ˜ ∫·ÙÛÔ‡Ú˘, ÕÓÓË Ã·ÏÈÎÈ¿ ªÂÙ¿ÊÚ·ÛË ÎÂÈ̤ӈÓ: ¶·ÓÙÂÏ‹˜ π·ÙÚÔ˘‰¿Î˘ www.iatroudakis.gr/cad.
Lay out: Giorgos Triantafyllou, Leandros Katsouris, Anni Halikia Translation into English: Pantelis Iatroudakis www.iatroudakis.gr/cad.
¢ËÌ‹ÙÚ˘ ºÈÏÈ›‰Ë˜
Text editing: Dimitris Philippidis
™¯Â‰È·ÛÌfi˜ Â͈ʇÏÏÔ˘: §¤·Ó‰ÚÔ˜ ∫·ÙÛÔ‡Ú˘
Cover design: Leandros Katsouris
°Ú·ÌÌ·ÙÂȷ΋ ÀÔÛÙ‹ÚÈÍË-∞Ó·˙‹ÙËÛË ·Ú¯Â›ˆÓ:
Administrative Support-Archives:
§Ô‡Û˘ ΔÚÈ·ÓٷʇÏÏÔ˘
Lucy Triantafyllou
∂È̤ÏÂÈ· ºˆÙÔÁÚ·ÊÈÎÔ‡ ˘ÏÈÎÔ‡: ∫ÒÛÙ·˜ ∞‰¿Ì,
Processing of Photographs: Costas Adam,
∫ˆÛÙ‹˜ ∞ÓÙˆÓÈ¿‰Ë˜, °ÈÒÚÁÔ˜ ΔÚÈ·ÓٷʇÏÏÔ˘
Costis Antoniadis, Giorgos Triantafyllou
¶·Ú·ÁˆÁ‹: ∫. ∞¢∞ª ∂ΉÔÙÈ΋
Production : K. ADAM publishers
∞ı‹Ó· ∞Ú›ÏÈÔ˜ 2010
Athens April 2010 2nd Edition July 2010 ISBN 978-960-6689-46-8
∂È̤ÏÂÈ· ÂÏÏËÓÈÎÒÓ Î·È ·ÁÁÏÈÎÒÓ ÎÂÈ̤ӈÓ:
B’ ŒÎ‰ÔÛË πÔ‡ÏÈÔ˜ 2010 ISBN 978-960-6689-46-8 Copyright © 2010 ÁÈ· ÙÔ ÊˆÙÔÁÚ·ÊÈÎfi ˘ÏÈÎfi, Ù· Û¯¤‰È·, ÛΛÙÛ· Î·È Ù· ΛÌÂÓ·: °ÈÒÚÁÔ˜ ΔÚÈ·ÓٷʇÏÏÔ˘ ∫·Úη‚›ÙÛ· 4, æ˘¯ÈÎfi, ∞ı‹Ó· 15452 ÙËÏ.+30 6944 30 55 12 email: info@triantafyllou.eu ¶ËÁ¤˜ ÂÈÎfiÓˆÓ. OÈ ËÁ¤˜ ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓ ·Ó·ÁÚ¿ÊÔÓÙ·˜ ÛÙÔ Ù¤ÏÔ˜ ÙÔ˘ ‚È‚Ï›Ô˘. ∞Ó Î·È Î·Ù·‚Ï‹ıËΠοı ÚÔÛ¿ıÂÈ· Ó· ÂÓÙÔÈÛÙ› οı οÙÔ¯Ô˜ ÓÂ˘Ì·ÙÈÎÒÓ ‰ÈηȈ̿وÓ, Ô Û˘ÁÁڷʤ·˜ ˙ËÙ¿ÂÈ ÚÔηٷ‚ÔÏÈ-
Copyright © 2010 for the photos, sketches, texts: Giorgos Triantafyllou, 4 Karkavitsa str., Psychico, Athens 154 52 Greece. mobile: +30 6944 30 55 12 email: info@triantafyllou.eu Picture sources and credits While every effort has been made to trace all copyright holders, the author would like to apologize in advance for any that may have been inadvertently overlooked.
ο Û˘ÁÓÒÌË ÁÈ· ÔÙȉ‹ÔÙÂ, ·ı¤ÏËÙ·, ·Ú¿‚Ï„Â. ∞·ÁÔÚ‡ÂÙ·È Ë ÔÏÈ΋ ‹ ÌÂÚÈ΋ ·Ó·Ù‡ˆÛË, ·Ó·‰ËÌÔÛ›Â˘ÛË ‹ ·Ó··Ú·ÁˆÁ‹ ÙÔ˘ ÎÂÈ̤ÓÔ˘ ‹ Ù˘ ÂÈÎÔÓÔÁÚ¿ÊËÛ˘ ÙÔ˘ ‚È‚Ï›Ô˘ ¯ˆÚ›˜ ÙËÓ ¤ÁÁÚ·ÊË ¿‰ÂÈ· ÙÔ˘ Û˘ÁÁڷʤ·.
No part of the text or illustrations of this book may be reproduced or transmitted in any form or by any means without permission in writting from the writer
ªÂ ÙËÓ Â˘ÁÂÓÈ΋ ˘ÔÛÙ‹ÚÈÍË
ΜΕΡΟΣ ΔΕΥΤΕΡΟ PART TWO
197 ÕÁÚ·Ê· 25-12-2005
197 Agrafa 25-12-2005
ΤΑ ΞΥΛΙΝΑ OF TIMBER
198, 199 BfiÚÂÈ· ∂‡‚ÔÈ·, ¢¿ÊÓË, 29-04-2005
140
198, 199 North Euboea, Dafni, 29-04-2005
141
200 BfiÚÂÈ· ∂‡‚ÔÈ·, ∫‹ÚÈÓıÔ˜, 05-05-2005 200 North Euboea, Kyrinthos, 05-05-2005
201 BfiÚÂÈ· ∂‡‚ÔÈ·, ∞Á.∞ÓÓ· 16-08-2005 201 North Euboea, Ag. Anna 16-08-2005
202 £ÂÛÛ·ÏÔÓ›ÎË, §›ÌÓË μfiÏ‚Ë, 05-11-2005 202 Thessaloniki, Volvi Lake, 05-11-2005
203 μfiÚÂÈ· ∂‡‚ÔÈ·, ∫‹ÚÈÓıÔ˜, 05-05-2005 203 North Euboea, Kyrinthos, 05-05-2005
204, 205 μfiÚÂÈ· ∂‡‚ÔÈ·, ªÂÙfi¯È, 06-05-2005
146
204, 205 North Euboea, Metochi, 06-05-2005
206, 207 ∫·Ú‰›ÙÛ·, ¶Úfi‰ÚÔÌÔ˜, 29-09-2005 206, 207 Karditsa, Prodromos, 29-09-2005
208, 209 ªÂÙ¤ˆÚ·, 30-09-2005 208, 209 Meteora, 30-09-2005
210, 211 ªÂÙ¤ˆÚ·, 30-09-2005 210,211 Meteora, 30-09-2005
212, 213 ªÂÙ¤ˆÚ·, 30-09-2005 212, 213 Meteora, 30-09-2005
214 ∞ÈÙÔψηÚÓ·Ó›·, §›ÌÓË ∞̂ڷΛ·, 21-10-2005 214 Aitolokarnania, Amvrakia Lake, 21-10-2005
215, 216 MÂÙ¤ˆÚ·, 30-09-2005 215, 216 Meteora, 30-09-2005
217, 218 MÂÙ¤ˆÚ·, 30-09-2005 217, 218 Meteora, 30-09-2005
219 ∏ÁÔ˘ÌÂÓ›ÙÛ·, 01-05-2007 219 Igoumenitsa, 01-05-2007
ΤΑ ΠΕΤΡΙΝΑ OF STONE
220, 221 Δ‹ÓÔ˜, ∫¿ÌÔ˜, 25-08-2005 220, 221 Tinos island, Kambos, 25-08-2005
164
222 Δ‹ÓÔ˜, §È‚¿‰·, 25-08-2005 222 Tinos island, Livada, 25-08-2005
223 Δ‹ÓÔ˜, ™¿ÓÙ· ª·ÚÁ·Ú›Ù·, 25-08-2005 223 Tinos island, Santa Margarita, 25-08-2005
224, 225 £ÂÛÛ·ÏÔÓ›ÎË, §›ÌÓË μfiÏ‚Ë, 05-11-2005
168
224, 225 Thessaloniki, Volvi lake, 05-11-2005
169
226 ™ÙÔ ‰ÚfiÌÔ ÚÔ˜ ÙËÓ ∞Ú¿¯Ô‚·, 18-06-2007
170
226 In the way to Arahova, 18-06-2007
227 ¶Ú¤‚Â˙·, ¶·Ó·ÁÈ¿, 02-10-2005
227 Preveza, Panagia, 02-10-2005
228 ¢ÔÌÔÎfi˜, ∞ÁÚ·›‰· 29-09-2005
228 Domokos, Agrapida 29-09-2005
229 £ÂÛÛ·ÏÔÓ›ÎË, §›ÌÓË μfiÏ‚Ë, 05-11-2005
229 Thessaloniki, Volvi lake, 05-11-2005
ΤΑ ΠΛΕKΤΑ WOVEN
176 230 £ÂÛÛ·ÏÔÓ›ÎË, §›ÌÓË μfiÏ‚Ë, 05-11-2005
230 Thessaloniki, Volvi lake, 05-11-2005
231, 232 £ÂÛÛ·ÏÔÓ›ÎË, §›ÌÓË μfiÏ‚Ë, 05-11-2005 231, 232 Thessaloniki, Volvi lake, 05-11-2005
233, 234 §È‚·‰ÂÈ¿ 01-07-2005
180
233, 234 Livadia 01-07-2005
235, 236 μfiÚÂÈ· ∂‡‚ÔÈ·, ¢·ÌÈ¿, 03-05-2005 235, 236 North Euboea, Damia, 03-05-2005
237, 238 μfiÚÂÈ· ∂‡‚ÔÈ·, ¶·¿‰Â˜, 03-05-2005 237, 238 North Euboea, Papades, 03-05-2005
239, 240 £ÂÛÛ·ÏÔÓ›ÎË, §›ÌÓË μfiÏ‚Ë, 27-01-2005 239, 240 Thessaloniki, Volvi lake, 27-01-2005
186
187
241, 242 £ÂÛÛ·ÏÔÓ›ÎË, §›ÌÓË μfiÏ‚Ë, 27-01-2005 241, 242 Thessaloniki, Volvi lake, 27-01-2005
243, 244 μfiÚÂÈ· ∂‡‚ÔÈ·, ∑ˆÔ‰fi¯Ô˜ ¶ËÁ‹, 06-05-2005
190
243, 244 North Euboea, Z. Pigi, 06-05-2005
191
245, 246 BfiÚÂÈ· ∂‡‚ÔÈ·, ¢·ÌÈ¿, 03-05-2005 245, 246 North Euboea, Damia 03-05-2005
192
193
247 ∫·Ú‰›ÙÛ·, ¶Úfi‰ÚÔÌÔ˜, 09-09-2005
247 Karditsa, Prodromos, 09-09-2005
ΤΑ ΣΥΜΜΙΚΤΑ ΜISCELLANEOUS
248, 249 ∫·ÚÂÓ‹ÛÈ, ÕÁÚ·Ê·, 25-12-2004 248, 249 Karpenisi, Agrafa, 25-12-2004
196
197
250, 251 μfiÚÂÈ· ∂‡‚ÔÈ·, ¢·ÊÓÔ‡Û· 09-04-2007 250, 251 North Euboea, Dafnousa 09-04-2007
198
199
252, 253 μfiÚÂÈ· ∂‡‚ÔÈ·, ¢·ÊÓÔ‡Û· 09-04-2007 252, 253 North Euboea, Dafnousa 09-04-2007
200
202
254 ıÂÚÌԇϘ 16-11-2005
254 Thermopyles 16-11-2005
255, 256 μfiÚÂÈ· ∂‡‚ÔÈ·, ™·ı¿ÚÈ 06-05-2005 255, 256 North Euboea, Spathari 06-05-2005
204
205
206
257, 258, 259 μfiÚÂÈ· ∂‡‚ÔÈ·, ∫‹ÚÈÓıÔ˜ 06-06-2005 257, 258, 259 North Euboea, Kirinthos 06-06-2005
260, 261 μfiÚÂÈ· ∂‡‚ÔÈ·, ∫‹ÚÈÓıÔ˜ 16-08-2005 260, 261 North Euboea, Kirinthos 16-08-2005
262, 263, 264, 265, 266, 267 ¶Ú¤Û˜ 26-03-2005 262
262, 263, 264, 265, 266, 267 Prespes 26-03-2005
263
264
265
266
267
268 μfiÚÂÈ· ∂‡‚ÔÈ·, ¶·¿‰Â˜,ΔÛÔ˘Áοӷ, 18-08-2005
268 North Euboea, Papades, Tsougana area, 18-08-2005
ΤΑ ΕΣΩΤΕΡΙΚΑ INTERIORS
269 μfiÚÂÈ· ∂‡‚ÔÈ·, ¶·¿‰Â˜, ΔÛÔ˘Áηӿ, 18-08-2005 268 North Euboea, Papades, Tsougana area, 18-08-2005
218
270 μfiÚÂÈ· ∂‡‚ÔÈ·, ¶·¿‰Â˜, ªÂÏ›ÛÛÈ, 18-08-2005 270 North Euboea, Papades, Melissi area, 18-08-2005
219
220
271, 272 ªÂÙ¤ˆÚ·, ∞Ó·ÙÔÏÈ΋ ÏÂ˘Ú¿, 30-09-2005 271, 272 Meteora, East side, 30-09-2005
221
274 ªÂÙ¤ˆÚ·, μfiÚÂÈ· ÏÂ˘Ú¿, 30-09-2005 274 Meteora, North side, 30-09-2005 273 μfiÚÂÈ· ∂‡‚ÔÈ·, ∫ÂÚ·ÛÈ¿, 18-05-2005 273 North Euboea, Kerasia, 18-05-2005
223
275 ºıÈÒÙȉ·, ¢ÔÌÔÎfi˜, OÌ‚Úȷ΋, 06-11-2007
275 Fthiotida, Domokos, Omvriaki area, 06-11-2007
ΕΝΤΑΞΗ ΣΤΟ ΤΟΠΙΟ LANDSCAPE INTERGRATION
276 μfiÚÂÈ· ∂‡‚ÔÈ·, ∫‡ÚÈÓıÔ˜, 06-05-2007 276 North Euboea, Kyrinthos, 06-05-2007
277 μfiÚÂÈ· ∂‡‚ÔÈ·, ¢¿ÊÓË, ª·‰·ÓÈο, 06-11-2007 277 North Euboea, Dafni, Madanika area, 06-11-2007
278 ∞ÈÙÔψ·Î·ÚÓ·Ó›·, ∞̂ڷΛ· Ï›ÌÓË, 02-10-2005 278 Aitolokarnania, Amvrakia lake, 02-10-2005
279 μfiÚÂÈ· ∂‡‚ÔÈ·, ∑ˆÔ‰fi¯Ô˜ ¶ËÁ‹, 06-05-2005 279 North Euboea, Z. Pigi., 06-05-2005
280 ªÂÙ¤ˆÚ·, ∞Ó·ÙÔÏÈ΋ ÏÂ˘Ú¿, 30-09-2005
230
280 Meteora, East side, 30-09-2005
281 ∞Ó·ÙÔÏÈ΋ ¶ÂÏÔfiÓÓËÛÔ˜, ∞ÚÁÔÏ›‰·, 22-10-2005 281 East Peloponisos, Argolida, 22-10-2005
282, 283 Δ‹ÓÔ˜, ÚÔ˜ ÙËÓ ™¿ÓÙ· ª·ÚÁ·Ú›Ù·, 06-08-2007 282, 283 Tinos island, to Santa Margarita, 06-08-2007
284 Δ‹ÓÔ˜, μˆÏ¿Í 25-08-2005 284 Tinos island, Volax, 25-08-2005
285 §¤Û‚Ô˜, ∞Á›· ¶·Ú·Û΢‹, 17-02-2008 285 Lesvos island, Agia Paraskevi, 17-02-2008
286 Δ‹ÓÔ˜, ∫¿ÌÔ˜, 06-08-2007 286 Tinos island, Kambos, 06-08-2007
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ΕΠΙΛΟΓΟΣ EPILOGUE
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thoughts for the future...
ÛΤ„ÂȘ ÁÈ· ÙÔ Ì¤ÏÏÔÓ...
∏
·Ú¯ÈÙÂÎÙÔÓÈ΋
·Ú¯ÂÙ‡ˆÓ,
·˘ÙÒÓ
·Ó·ÌÊ›‚ÔÏ·
ÙˆÓ Ì·˜
˘Ô‰ÂÈÎÓ‡ÂÈ Û‹ÌÂÚ· Ӥ˜ ·Ó·˙ËÙ‹ÛÂȘ. ª·˜ ηÙ¢ı‡ÓÂÈ, Ì ¤Ó· ‰È·ÊÔÚÂÙÈÎfi ÙÚfiÔ, Û ۇÁ¯ÚÔÓ˜ Î·È ·ÓıÚÒÈÓ˜, ÔÈÎÔÏÔÁÈΤ˜
ηÈ
‚ÈÔÎÏÈÌ·ÙÈΤ˜
ÚÔÛÂÁÁ›ÛÂȘ. ∂ȉÈο, ÁÈ· ÙËÓ ∂ÏÏ¿‰·, ¤¯Ô˘Ó ‹‰Ë ‰È·ÎÚÈÙÈο ·ÓÔȯı› ‰ÚfiÌÔÈ ÚÔ˜ ÌÈ· Ó¤· ·Ú¯ÈÙÂÎÙÔÓÈ΋. ªÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ Ô˘ ÔÊ›ÏÂÈ Ó· ÍÂÂÚ¿ÛÂÈ Î¿ı ÁÚ·ÊÈÎfiÙËÙ· Î·È Ó· ÚÔÂÙÔÈÌ¿ÛÂÈ ÚÔÛÂÎÙÈο Î·È Ì ¢·ÈÛıËÛ›· ÙËÓ ¤ÓÙ·ÍË Ù˘ Ó¤·˜ Ù¯ÓÔÏÔÁ›·˜ Î·È ÙˆÓ ËÁÒÓ Ú¿ÛÈÓ˘ ÂÓ¤ÚÁÂÈ·˜ ÁÈ·Ù›: "Ë Ù¯ÓÔÏÔÁ›· fiÛÔ ÈÔ Î·Ï·›ÛıËÙË Â›Ó·È ı· ÔÌÔÚÊ·›ÓÂÈ ÙÔ ÂÚÈ‚¿ÏÏÔÓ Î·È ı· ÂÍ¢ÌÂÓ›˙ÂÈ ÙȘ „˘¯¤˜ Î·È Ù· ¤ÓÛÙÈÎÙ¿ Ì·˜". (∫. ∆ÛfiÎÏ˘) ™ÙÔÓ ÙfiÔ Ì·˜ ̤¯ÚÈ Û‹ÌÂÚ· ÔÈ Ó¤Â˜ Ù¯ÓÔÏÔÁ›Â˜ Û˘Ó‹ıˆ˜ ‚È¿˙Ô˘Ó ÙÔ Ê˘ÛÈÎfi Î·È ÙÔ ‰ÔÌË̤ÓÔ ÂÚÈ‚¿ÏÏÔÓ. OÈ Î¿ı ›‰Ô˘˜ ÎÂÚ·›Â˜, ÔÈ ËÏÈ·ÎÔ› ıÂÚÌÔۛʈÓ˜,
ÔÈ
ÎÏÈÌ·ÙÈÛÙÈΤ˜
ÂÁηٷÛÙ¿ÛÂȘ Î·È Ù· ÛΛ·ÛÙÚ· ÙÔ ¤¯Ô˘Ó ÙÚ·˘Ì·Ù›ÛÂÈ ·Ó·ÓfiÚıˆÙ·. ∂›Ó·È ÚÔÊ·Ó¤˜ fiÙÈ Ë ¤ÓÙ·ÍË Ù˘ Ó¤·˜ Ù¯ÓÔÏÔÁ›·˜ Ú¤ÂÈ Ó· ˘ÏÔÔÈËı› Ì ÂÚ›ÛÎÂ„Ë Î·È ÊÂȉÒ. ¶Ú¤ÂÈ Ó· Ô‰ËÁ‹ÛÂÈ
ÛÙË
Ì›ˆÛË
Ù˘
Doubtlessly, the architecture of these archetypes suggests new kinds of research. It leads us, in a different way, toward contemporary and human, ecological and bioclimatic approaches. In Greece in particular new paths have been opened discreetly toward a new architecture. One which has to bypass any picturesqueness and which will carefully and with sensitivity prepare the introduction of new technology and the sources of green energy, since, "technology, as much as it can be elegant will enhance the environment and will calm our souls and our instincts" (Kostas Tsoklis). In our country the introduction of new technologies has habitually violated the natural and the built environment. All shorts of antennas, solar heaters, air-conditioning units and shades have wounded it irremediably. It is obvious that the new technology should be applied carefully and sparingly. It should lead to the reduction of energy consumption rather to the coverup for incontrollable waste.
243
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∞˜ Û˘Óı¤ÛÔ˘Ì ÏÔÈfiÓ ÌÈ· Ó¤· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ·ÍÈÔÔÈÒÓÙ·˜ ÙȘ ηٷÎÙ‹ÛÂȘ Ù˘ Ù¯ÓÔÏÔÁ›·˜: T· ʈÙÔ‚ÔÏÙ·˚ο TȘ ·ÓÂÌÔÁÂÓÓ‹ÙÚȘ TÔ˘˜ ηٷÎfiÚ˘ÊÔ˘˜ ΋Ԣ˜ T· Ê˘ÙÂ̤ӷ ‰ÒÌ·Ù· T· ÛΛ·ÛÙÚ· TË Û‡ÓıÂÙË Í˘Ï›· TȘ ÔÈÎÔÏÔÁÈΤ˜ ÌÔÓÒÛÂȘ TÔ ‚ÈÔÎÏÈÌ·ÙÈÎfi ۯ‰ȷÛÌfi TÔ ÊˆÙÈÛÌfi Ì Leds ∂ÓÒ ·Ú¿ÏÏËÏ· ı· ÛÙÔ¯Â‡Ô˘Ì ÛÙË Ì›ˆÛË ÙÔ˘ CO2. ∞˜ ÎÙ›ÛÔ˘Ì Ì ٷ Ê˘ÛÈο ˘ÏÈο Î·È ÙÔ˘˜ ·Ú¯ÈÙÂÎÙÔÓÈÎÔ‡˜ ¯ÂÈÚÈÛÌÔ‡˜ ÙˆÓ ·Ú¯ÂÙ‡ˆÓ Ô˘ ›Ûˆ ·fi ÙËÓ ·ÏfiÙËÙ¿ ÙÔ˘˜ ÎÚ‡‚Ô˘Ó ÌÈ· ÌÔÓ·‰È΋ ÂȉÂÍÈfiÙËÙ· Î·È ÛÔÊ›·.
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Let us then visualize a new architecture by exploiting the accomplishments of technology: Photovoltaic cells Air turbines Vertical gardens Planted terraces Shading devices Synthetic wood Ecological insulation systems Bioclimatic design Lighting with Leds While we strife for the reduction of CO2. Let us build with natural materials and with the architectural handling of the archetypes which, behind their simplicity, hide a unique dexterity and wisdom. 247
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5.
6.
3.
ÕÏψÛÙÂ, ÌÈ· Ú·ÁÌ·ÙÈο ¤ÓÙÔÓ· ·Ó·Ù˘ÛÛfiÌÂÓË ‰˘Ó·ÌÈ΋ ¤¯ÂÈ ÂÌÊ·ÓÈÛÙ› Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ· Û ÔÏfiÎÏËÚÔ ÙÔÓ ÎfiÛÌÔ, Û ·ÓÙ›ıÂÛË Ì ٷ ÙÂÚ¿ÛÙÈ·˜ Îϛ̷η˜ Û˘ÁÎÚÔÙ‹Ì·Ù· ηÙÔÈÎÈÒÓ. ªÈ· Ù¿ÛË, ›Ûˆ˜ ÌÈ· ·ÓÙ›ÛÙ·ÛË,Ô˘ ÂÎÊÚ¿˙ÂÙ·È Ì ÙÔÓ Â˘·›ÛıËÙÔ Û¯Â‰È·ÛÌfi Î·È ÙË ‰È·ÚÎÒ˜ ·˘Í·ÓfiÌÂÓË ·Ú·ÁˆÁ‹ Û‡Á¯ÚÔÓˆÓ ÌÈÎÚÒÓ ÔÈËÙÈÎÒÓ Î·Ù·Ï˘Ì¿ÙˆÓ, Ô˘ Ê·›ÓÂÙ·È fiÙÈ ¤Ú¯ÔÓÙ·È Ó· ηχ„Ô˘Ó ·Ó¿ÁΘ Ó¤ˆÓ ·ÓıÚÒˆÓ. ∆ˆÓ ·ÓıÚÒˆÓ Ô˘ ‰ÂÓ ÌÔÚÔ‡Ó Î·È ‰ÂÓ ı¤ÏÔ˘Ó ›Ûˆ˜ Ó· ÔÓÂÈÚ¢ÙÔ‡Ó ÙË ˙ˆ‹ ÙÔ˘˜ Û ·ÚfiÛˆ· Î·È Û˘¯Ó¿ ÂÈıÂÙÈο Û˘ÁÎÚÔÙ‹Ì·Ù· ‹ ÔÏ˘ÙÂÏ›˜ ·‡ÏÂȘ Î·È ÂÈı˘ÌÔ‡Ó Ó· ˙‹ÛÔ˘Ó Û ¯ÒÚÔ˘˜ Ì ·ÓıÚÒÈÓË Îϛ̷η, ÎÔÓÙ¿ ÛÙË Ê‡ÛË, Ì ÔÈÎÔÏÔÁÈο ˘ÏÈο Î·È fiÏ· Ù· ÂÈÙ‡ÁÌ·Ù· ÙË Û‡Á¯ÚÔÓ˘ Ù¯ÓÔÏÔÁ›·˜ Î·È Ù˘
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Besides, a really thriving dynamic has of late made its appearance globally, in marked contrast to the out scaled housing complexes. A tendency, rather a resistance, which expresses, by the use of sensitive design and the increasing production of small, poetical shelters which are introduced in order to satisfy the needs of young people. Those people who cannot and rather wish not to dream their life inside faceless and often aggressive complexes or luxurious villas and want to inhabit spaces of moderate scale, close to nature, with ecological materials and all the accomplishments of modern technology and green energy.
12.
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ηٷӿψÛ˘ ÂÓ¤ÚÁÂÈ·˜ Î·È fi¯È ÛÙËÓ Î¿Ï˘„Ë Ù˘ ·ÓÂͤÏÂÁÎÙ˘ Û·Ù¿Ï˘. ™Â οı ÂÚ›ÙˆÛË Ë Ù¿ÛË ·˘Ù‹ Û‹ÌÂÚ· Ê·›ÓÂÙ·È Ó· Â›Ó·È ÂÍ·ÈÚÂÙÈο ›ηÈÚË.
¢ÂÓ
›ӷÈ
Ù˘¯·›Ô
Ô˘
ÙÔÓ
OÎÙÒ‚ÚÈÔ
ÙÔ˘
2008
Ú·ÁÌ·ÙÔÔÈ‹ıËΠÛÙÔ ªÔ˘ÛÂ›Ô ªÔÓÙ¤ÚÓ·˜ ∆¤¯Ó˘ (MOMA) ÛÙËÓ ¡¤· ÀfiÚÎË, ¤ÎıÂÛË Ì ٛÙÏÔ «Home delivery: Fabricating the Modern Dwelling», fiÔ˘ ·ÚÔ˘ÛÈ¿ÛÙËÎ·Ó ÚÔÙ¿ÛÂȘ ·Ú¯ÈÙÂÎÙfiÓˆÓ Ì ۇÁ¯ÚÔÓ˜ ÌÈÎÚ‹˜ Îϛ̷η˜ ηٷÛ΢¤˜ Ô˘ ÂÓۈ̷ÙÒÓÔ˘Ó ÙȘ Ӥ˜ Ù¯ÓÔÏÔÁ›Â˜. ¢ÂÓ Â›Ó·È Ù˘¯·›Ô Ô˘ ÛÙÔ ªÔ˘ÛÂ›Ô Guggenheim Ù˘ ¡¤·˜ ÀfiÚ΢, ÙÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 2009, Ì·˙› Ì ÙËÓ ·Ó·‰ÚÔÌÈ΋ ¤ÎıÂÛË Frank Lloyd Wright: From Within Outward ·ÚÔ˘ÛÈ¿ÛÙËΠ·Ú¿ÏÏËÏ· ÌÈ· ‰Â˘ÙÂÚÂ‡Ô˘Û· ÌÈÎÚ‹ ¤ÎıÂÛË, Ì ٛÙÏÔ Learning By Doing, ÔÚÁ·ÓˆÌ¤ÓË ·fi ÙËÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋ Û¯ÔÏ‹ Taliesin. ∞ÓÙÈΛÌÂÓÔ Ù˘ ‰Â‡ÙÂÚ˘ ·˘Ù‹˜ ¤ÎıÂÛ˘ ‹Ù·Ó Ë ÈÛÙÔÚÈ΋ ·Ó·‰ÚÔÌ‹ ÛÙ· ÌÈÎÚ‹˜ Îϛ̷η˜ ηٷʇÁÈ·, Ô˘ ۯ‰ȿ˙Ô˘Ó Î·È Î·Ù·Û΢¿˙Ô˘Ó ÔÈ ÊÔÈÙËÙ¤˜ ÛÙÔ Taliesin West Ù˘ ∞ÚÈ˙fiÓ·˜ Î·È ÙÔ˘ Taliesin ÙÔ˘ Wisconsin, fiÔ˘ ‰È·‚ÈÒÓÔ˘Ó Î·Ù¿ ÙË ‰È¿ÚÎÂÈ· ÙˆÓ ÛÔ˘‰ÒÓ ÙÔ˘˜. ∏ Û¯ÔÏ‹, Ô˘ ›‰Ú˘ÛÂ Ô Wright ÙÔ 1932, ¤¯ÂÈ ·Ú¯›ÛÂÈ Ó· ÎÈÓ› ÙÔ Â˘Ú‡ÙÂÚÔ ÂӉȷʤÚÔÓ ÁÈ· ÙËÓ ÔÈÎÔÏÔÁÈ΋ Ù˘ ¢·ÈÛıËÛ›·. ¢ÂÓ Â›Ó·È Ù˘¯·›Ô Ô˘ ÛÙÔ ¢È·‰›ÎÙ˘Ô ÙÔÓ ÙÂÏÂ˘Ù·›Ô ηÈÚfi ÚÔ‚¿ÏÏÔÓÙ·È ·Ó·Ú›ıÌËÙ˜ ÚÔÙ¿ÛÂȘ ·Ú¯ÈÙÂÎÙfiÓˆÓ ÁÈ· ÌÈÎÚ¿ ηٷχ̷ٷ, Ô˘ ·Â˘ı‡ÓÔÓÙ·È Û ӤԢ˜ ·ÓıÚÒÔ˘˜ Î·È fi¯È ÌfiÓÔ. ∆· ηϿ Ó¤· ¤Ú¯ÔÓÙ·È Î˘Ú›ˆ˜ ·fi ÙËÓ ∞ÌÂÚÈ΋, ÙËÓ π·ˆÓ›·, ÙȘ ™Î·Ó‰ÈÓ·‚ÈΤ˜ ÃÒÚ˜ ·ÏÏ¿ Î·È ·fi Ù· µ·ÏοÓÈ·. ™ÙË ™Ô˘Ë‰›· Ì¿ÏÈÛÙ· ÚÔÂÙÔÈÌ¿˙ÂÙ·È ÓÔÌÔıÂÛ›· Ô˘ ÚÔÙÚ¤ÂÈ ÙÔ ÎÚ¿ÙÔ˜ Ó· ·Ú·¯ˆÚ› ÚÔ˜ ¯Ú‹ÛË ¯ÒÚÔ˘˜ ÁÈ· ÂÁηٿÛÙ·ÛË Ù¤ÙÔÈˆÓ ÌÈÎÚÒÓ Î·Ù·Ï˘Ì¿ÙˆÓ Û ‰ËÌfiÛȘ ÂÎÙ¿ÛÂȘ, Û ‰¿ÛË Î·È ÛÂ Ê˘ÛÈο ÙÔ›·, Ô˘ ÌÔÚ› Ó· ÂÁηٷÛÙ‹ÛÂÈ Ô ÔÏ›Ù˘. ªÈÎÚ¿
This tendency under any circumstances seems extremely timely. Incidentally, there has been an exhibition at the MOMA (New York) in October 2008 titled "Home Delivery: Fabricating the Modern Dwelling", where various architectural proposals for smallscale structures utilizing new technologies. It was not by accident that the Guggenheim Museum in New York staged a retrospective exhibition called "Frank Lloyd Wright: From within Outward" in August 2009 supplemented with an auxiliary exhibition called "Learning by Doing", organized by the Taliesin architectural school. This second exhibition concerned a retrospective show of small-scale shelters designed, built and inhabited by students at Taliesin West in Arizona and Taliesin in Wisconsin during their studies. The ecological sensitivity of this school, founded by Wright in 1932, increasingly gains world-wide acclaim. It was no accident that lately numerous proposals for small shelters are circulated by internet geared to young people but not exclusively. Such good news comes mainly from The USA, Japan, the Scandinavian countries, even from the Balkans. Sweden moreover is working on legislature which encourages the cession of land by the state, in woods or natural settings, for the construction of such small units by citizens. These units would be autonomous, exploit new technology, on the condition that they respect the natural environment. Perhaps in Greece, under the current difficult socio-economic conditions, such an approach would help decrease arson and other similar destruction of the environment.
ηٷχ̷ٷ Ô˘ Â›Ó·È ·˘ÙfiÓÔÌ·, ·ÍÈÔÔÈÒÓÙ·˜ ÙȘ Ӥ˜ Ù¯ÓÔÏÔÁ›Â˜, Ì ÙËÓ ÚÔ¸fiıÂÛË fiÙÈ ı· Û¤‚ÔÓÙ·È Î·È ı· ‰È·Ê˘Ï¿ÙÙÔ˘Ó ÙÔ ÙÔ›Ô Î·È ÙÔ Ê˘ÛÈÎfi ÂÚÈ‚¿ÏÏÔÓ. ÿÛˆ˜ ÛÙËÓ ∂ÏÏ¿‰·, ÛÙȘ ‰‡ÛÎÔϘ È· ÔÈÎÔÓÔÌÈÎfiÎÔÈÓˆÓÈΤ˜ Û˘Óı‹Î˜, ÌÈ· Ù¤ÙÔÈ· ÚÔÛ¤ÁÁÈÛË ı· ÂÚÈfiÚÈ˙ ·Ú¿ÏÏËÏ· ÂÌÚËÛÌÔ‡˜ Î·È ¿ÏϘ ηٷÛÙÚÔʤ˜ ÙÔ˘ ÙÔ›Ô˘. ∫Ï›ÓÔÓÙ·˜ Ì ·˘Ù¤˜ ÙȘ ÂÎÙÈÌ‹ÛÂȘ, ı· ‹ıÂÏ· Ó· ·Ó·ÊÂÚıÒ ÛÙËÓ ÚÔÛˆÈ΋ ÌÔ˘ ·ÁˆÓ›·, Ô˘ ‰È·Î·Ù¤¯ÂÈ fiÏË ·˘Ù‹ ÙËÓ ÂÚÈÏ¿ÓËÛË Ì¤¯ÚÈ Î·È ÙË ‰ËÌÈÔ˘ÚÁ›· ·˘ÙÔ‡ ÙÔ˘ ‚È‚Ï›Ô˘. ∆ËÓ ·ÁˆÓ›· Ô˘ Û˘Óԉ‡ÂÙ·È Î·È Ì ÙËÓ ÔÌÔÏÔÁ›· Ù˘ ÌÂÁ¿Ï˘ ¢ı‡Ó˘ Ù˘ ÁÂÓÈ¿˜ ÌÔ˘, ÁÈ· ÙË ‰Ú·Ì·ÙÈ΋
In conclusion to the above statements I would like to refer to my personal agony which underlies the whole of this wandering and the creation of this book. An agony coupled with the sense of great responsibility of my generation, for the dramatic outcome of its dreams. A generation which, after the May of ’68 and the revolt of the Athens Polytechnic, built or finally tolerated whichever followed. The generation which I am afraid today feels the despair and the loneliness of an unbelievable greed; which watches its future and the future of its children with perplexity.
ηٿÏËÍË ÙˆÓ ÔÚ·Ì¿ÙˆÓ Ù˘. ∆˘ ÁÂÓÈ¿˜ Ô˘ ÌÂÙ¿ ÙÔÓ ª¿Ë ÙÔ˘ ’68 Î·È ÙËÓ ÂͤÁÂÚÛË ÙÔ˘ ¶ÔÏ˘Ù¯Ó›Ԣ, ÔÈÎÔ‰fiÌËÛ ‹ ÙÂÏÈο ·Ó¤¯ÙËΠfiÏ· fiÛ· ·ÎÔÏÔ‡ıËÛ·Ó. ∆˘ ÁÂÓÈ¿˜ Ô˘ ÊÔ‚¿Ì·È fiÙÈ ÙÂÏÈο ˘Ê›ÛÙ·Ù·È Û‹ÌÂÚ· ÙËÓ ·ÂÏÈÛ›· Î·È ÙË ÌÔÓ·ÍÈ¿ ÌÈ·˜ ·›ÛÙ¢Ù˘ ·ÏËÛÙ›·˜ Î·È ·Ú·ÎÔÏÔ˘ı› Ì ·Ì˯·Ó›· ÙÔ Ì¤ÏÏÔÓ Ù˘ Î·È Î˘Ú›ˆ˜ ÙÔ Ì¤ÏÏÔÓ ÙˆÓ ·È‰ÈÒÓ Ù˘. 250
My wish is that this agony would sensitize, would open new human directions and lead toward a true architecture fit for the unique Greek landscape.
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14.
13. 1.
Summer wooden House, Norway, Architects: Todd Saunders & Tommie Wilhelmsen
2.
Farm House, Norway Architects:Jarmund / Vigsnaes AS Architects v MNAL /
3.
CO2 Saver House, Lake Laka, Poland 2007, Architect: Peter Kuczia
4.
Tree-trunk garden house, Hilversum, Netherland 2009 Architect: Piet Hein Eek
5-6. The Barn House, Belgium 2007 Architects: Buro II 7.
Williams Cabin - Durango, Colorado Architect :Stephen Atkinson
8.
La petite Maison du Weekend, Canada, Patkau Architects
9.
Joshua Tree' Architects: Hangar Design Group
10. Refuge, Bachte-Maria-Leerne, Belgium,2008, Architect: Wim Goes 11. House K in Sausal-Pistorf, Austria, 2007, Architects: Yes architecture 12. House C Chiba, Japan Architect: Hiroshi Nakamura 13.-14. ÂŞicro compact home at MoMA, 2008 Design groups: Faculty of Architecture, Institute for Architecture and Product Design, Technical University in Munich Prof. Richard Horden 15. Mini House, Katrineholme, Sweden
15.
Designer/Architect: Jonas Wagell
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™HMEIø™EI™
NOTES
1. O Adolf Loos Û¯ÔÏÈ¿˙ÂÈ ÙËÓ ·‰ÂÍÈfiÙËÙ· ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· Î·È ÙËÓ ÛÔÊ›· ÙÔ˘ ¯ˆÚÈÎÔ‡:
1. Adolf Loos comments on the architect's awkwardness and the peasant's
«ªÔ˘ ÂÈÙÚ¤ÂÙ·È Ó· Û·˜ Ô‰ËÁ‹Ûˆ ÛÙȘ fi¯ı˜ ÌÈ·˜ Ï›ÌÓ˘ ÛÙÔ ‚Ô˘Ófi; O Ô˘Ú·Ófi˜
wisdom (Frampton 1987, p89): "May I lead you to the shores of a mountain
Â›Ó·È Á·Ï·Ófi˜, Ù· ÓÂÚ¿ Ú¿ÛÈÓ· Î·È fiÏ· Â›Ó·È ‚·ıÈ¿ ÂÈÚËÓÈο. ∆· ‚Ô˘Ó¿ Î·È Ù· Û‡ÓÓÂÊ·
lake? The sky is blue, the water green and everything is profoundly peaceful.
ηıÚÂÊÙ›˙ÔÓÙ·È Ì¤Û· ÛÙË Ï›ÌÓË, fiˆ˜ ηıÚÂÊÙ›˙ÔÓÙ·È Î·È Ù· Û›ÙÈ·, ÔÈ ·˘Ï¤˜ Ù·
Mountains and clouds are reflected in the lake, and so are houses, farm-
ÂÚÈ‚fiÏÈ· Î·È ÔÈ ÂÎÎÏËۛ˜. ¢ÂÓ ÌÔÈ¿˙Ô˘Ó ÊÙÈ·Á̤ӷ ·fi ·ÓıÚÒÈÓÔ ¯¤ÚÈ ·ÏÏ¿ ·fi ÙÔ
yards, courtyards and chapels. They do not seem man-made, but more like
ıÂ˚Îfi ÂÚÁ·ÛÙ‹ÚÈÔ, Û·Ó Ù· ‚Ô˘Ó¿ Î·È Ù· ‰¤ÓÙÚ·, Ù· Û‡ÓÓÂÊ· Î·È ÙÔÓ Á·Ï·Ófi Ô˘Ú·Ófi.
the product of God’s workshop, like the mountains and trees, the clouds and
∫·È fiÏ· ·ÔÓ¤Ô˘Ó ÔÌÔÚÊÈ¿ Î·È Á·Ï‹ÓË. ∞, ÙÈ Â›Ó·È ·˘Ùfi; ªÈ· ·Ú·ÊˆÓ›· ̤۷ ÛÙËÓ ·ÚÌÔÓ›·. ™·Ó ·ÚÔÛ‰fiÎËÙË ÎÚ·˘Á‹. ™ÙÔ Î¤ÓÙÚÔ, οو ·fi Ù· Û›ÙÈ· ÙˆÓ ¯ˆÚÈÎÒÓ,
the blue sky. And everything breathes beauty and tranquillity. Ah, what is that? A false note in this harmony. Like an unwelcome scream. In
Ô˘ ‰ÂÓ ‰ËÌÈÔ˘ÚÁ‹ıËÎ·Ó ·fi ·˘ÙÔ‡˜ ·ÏÏ¿ ·fi ÙÔÓ £Âfi, ˘¿Ú¯ÂÈ ÌÈ· ¤·˘ÏË. ∆ËÓ ¤ÊÙÈ·Í ¿Ú·Á ¤Ó·˜ ηÏfi˜ ‹ ¤Ó·˜ ηÎfi˜ ·Ú¯ÈÙ¤ÎÙˆÓ; ¢ÂÓ Í¤Úˆ. ∆Ô ÌfiÓÔ Ô˘ ͤڈ Â›Ó·È fiÙÈ Ë Á·Ï‹ÓË Î·È Ë ÔÌÔÚÊÈ¿ ‰ÂÓ ˘¿Ú¯Ô˘Ó È·… ∫·È ÚˆÙ¿ˆ Í·Ó¿: ÁÈ·Ù› Ô ·Ú¯ÈÙ¤ÎÙˆÓ, ›ÙÂ Â›Ó·È Î·Ïfi˜ ›Ù ηÎfi˜, ‚È¿˙ÂÈ ÙË Ï›ÌÓË; Ÿˆ˜ ۯ‰fiÓ Î¿ı οÙÔÈÎÔ˜
the centre, beneath the peasants’ homes which were created not by them, but by God, stands a villa. Is it the product of a good or a bad architect? I do not know. I only know that peace, tranquillity and beauty are no more...
Ù˘ fiÏ˘, Ô ·Ú¯ÈÙ¤ÎÙˆÓ ‰ÂÓ ¤¯ÂÈ ÔÏÈÙÈÛÙÈ΋ ·È‰Â›·. ¢ÂÓ ‰È·ı¤ÙÂÈ ÙËÓ ·ÛÊ¿ÏÂÈ·
And I ask yet again: Why does the architect both good and bad violate the
ÙÔ˘ ¯ˆÚÈÎÔ‡, Ô˘ ¤¯ÂÈ ¤ÌÊ˘ÙË ÌÈ· Ù¤ÙÔÈ· ·È‰Â›·. O οÙÔÈÎÔ˜ Ù˘ fiÏ˘ Â›Ó·È ¤Ó·˜
lake? Like almost every town dweller, the architect possesses no culture.
ÓÂfiÏÔ˘ÙÔ˜. OÓÔÌ¿˙ˆ ÔÏÈÙÈÛÙÈ΋ ·È‰Â›· ÂΛÓË ÙËÓ ÈÛÔÚÚÔ›· ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡ ηÈ
He does not have the security of the peasant to whom the culture is innate.
ÙÔ˘ Â͈ÙÂÚÈÎÔ‡ ÙÔ˘ ÎfiÛÌÔ˘ ÙÔ˘ ·ÓıÚÒÔ˘, Ô˘ Â›Ó·È ¿ÏψÛÙÂ Ë ÌfiÓË ÂÁÁ‡ËÛË ÌÈ·˜
The town dweller is an upstart.I call culture, that balance of inner and outer
ÏÔÁÈ΋˜ ÛΤ„˘ Î·È Ú¿Í˘». Adolf Loos Architektur, 1910 ·Ó·Ê. ∫. Frampton,
man, which alone can guarantee reasonable thought and action". (Adolf
ªÔÓÙ¤ÚÓ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ [1981, 1985], ÌÂÙ·ÊÚ. £. ∞Ó‰ÚÔ˘Ï¿ÎË - ª. ¶·ÁοÏÔ˘, ∞.
Loos, Architektur, 1910).
∫Ô‡ÚÎÔ˘Ï·˜, ÂÈÌ., £Â̤ÏÈÔ, Aı‹Ó·,1987, ·Ú¯‹ 8Ô˘ ÎÂÊ., ÛÂÏ. 89. 2. As narrated in August 2005 by Dimitris Konstantios, curator of the 2. ∞Ê‹ÁËÛË ÙÔ˘ ¢È¢ı˘ÓÙ‹ ÙÔ˘ µ˘˙·ÓÙÈÓÔ‡ ªÔ˘Û›Ԣ ¢ËÌ‹ÙÚË ∫ˆÓÛÙ¿ÓÙÈÔ˘, ÙÔÓ
Athens Byzantine and Christian Museum, while visiting sheepfolds in the
∞‡ÁÔ˘ÛÙÔ 2005 Ù·Íȉ‡ÔÓÙ·˜ ÛÙ· Ì·ÓÙÚÈ¿, ÛÙȘ ÔÚÂÈÓ¤˜ ÂÚÈÔ¯¤˜ Ù˘ µfiÚÂÈ·˜ ∂‡‚ÔÈ·˜.
mountainous regions of northern Euboea.
3. Mircea Eliade, 1999. ¶Ú·ÁÌ·Ù›· ¿Óˆ ÛÙËÓ πÛÙÔÚ›· ÙˆÓ £ÚËÛÎÂÈÒÓ, ∂ΉfiÛÂȘ π.
3. M. Eliade, 1949. Traité d’Histoire des Religions.
÷Ù˙ËÓÈÎÔÏ‹, ∞ı‹Ó·. 4. Plato, 2008. Meno. 4. ¶Ï¿ÙˆÓ, ª¤ÓˆÓ, 2008. ÂÈÛ., ÌÂÙ¿ÊÚ. Î·È Û¯fiÏÈ·, π. ¶ÂÙÚ¿Î˘, ÂΉfiÛÂȘ ¶fiÏȘ, ∞ı‹Ó·, ÛÂÏ. 149, 294.
5. Professor of Psychology at Harvard University.
5. ∫·ıËÁ‹ÙÚÈ· „˘¯ÔÏÔÁ›·˜ ÛÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ Harvard.
6. Reprint of an earlier edition, Neolithic Greece, by the National Bank of
6. ∂·Ó¤Î‰ÔÛË ·Ï·ÈfiÙÂÚ˘ ¤Î‰ÔÛ˘ ÙÔ˘ ªÔÚʈÙÈÎÔ‡ π‰Ú‡Ì·ÙÔ˜ Ù˘ ∂ıÓÈ΋˜ ∆Ú·¤˙˘ Ì ٛÙÏÔ ¡ÂÔÏÈıÈ΋ ∂ÏÏ¿˜.
Greece Cultural Foundation. 7. R. J. Rodden, 1962. "Excavations at the Early Neolithic site of Nea
7. π‰È·›ÙÂÚÔ ÂӉȷʤÚÔÓ ·ÚÔ˘ÛÈ¿˙Ô˘Ó Ù· ÔÈ΋̷ٷ Ô˘ ·ÔÎ¿Ï˘„·Ó ÔÈ ·Ó·Ûηʤ˜ ÙÔ˘
Nikomedeia, Greek Macedonia (1961 Season)", Proceedings of the Prehis-
R. J. Rodden ÛÙËÓ ¡¤· ¡ÈÎÔÌ‹‰ÂÈ· fiˆ˜ ·ÚÔ˘ÛÈ¿˙ÔÓÙ·È ÛÙÔ ¿ÚıÚÔ ÙÔ˘, "Excavations
toric Society, 28(1962), pp. 267-288. Of particular interest are the buildings
at the Early Neolithic Site at Nea Nikomedeia, Greek Makedonia (1961 Season)" PPS
found during the excavations of Nea Nikomedeia by R. J. Rodden.
(Cambridge) 28/1962, 267. 8. C. Palyvou, 2005. "Building technology in the Prehistoric Era", Archaeol8. ∫Ï. ¶·Ï˘‚Ô‡, ηıËÁ‹ÙÚÈ· ÛÙÔ ∞ÚÈÛÙÔÙ¤ÏÂÈÔ ¶·ÓÂÈÛÙ‹ÌÈÔ, «OÈÎÔ‰ÔÌÈ΋ ∆¯ÓÔÏÔÁ›·
ogy, 94/2005, p12. Claire Palyvou is Associate Professor of Architecture at
ÙˆÓ ¶ÚÔ˚ÛÙÔÚÈÎÒÓ ÃÚfiÓˆÓ» ÂÚ. ∞Ú¯·ÈÔÏÔÁ›·, Ù‡¯Ô˜ 94/2005.
the Aristotle University of Thessaloniki.
253
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9. ∞fi ÙÔ fiÓËÌ· Ù˘ ª. ¶·ÓÙÂÏ›‰Ô˘-°ÎfiÊ· «∏ ¡ÔÂÔÏÈıÈ΋ ¡¤· ª¿ÎÚË: ∆· ÔÈÎÔ‰ÔÌÈο, ∞ı‹Ó· 1991», fiˆ˜ ·Ú·Ù›ıÂÙ·È ÛÙÔ ÚÔËÁ. ¿ÚıÚÔ Ù˘ ∫Ï. ¶ÔÏ˘‚Ô‡.
9. M. Pandelidou-Gofa, 1991. "The Neolithic Nea Makri: Construction". As mentioned in C. Palyvou (2005), op. cit.
10. ∫. •·ÓıÔÔ‡ÏÔ˘, «∆· Ôχ ·ÏÈ¿ ¯ÚfiÓÈ· ÛÙË £Ú¿ÎË», ¶ÚfiÁÚ·ÌÌ· ªÂϛӷ: O ÎfiÛÌÔ˜ Ù˘ ∞Ú¯·ÈfiÙËÙ·˜, π£’ ∂¶∫∞, ÛÂÏ. 4.
10. K. Xanthopoulou, "The very old times in Thrace". Melina: The world of antiquity. 19th Ephorate of Prehistoric and Classical Antiquities, p4. as mentioned in Girtzi (2005), op. cit.
11. ™Â ¿ÚıÚÔ Ù˘ ª. °ÎÈÚÙÛ‹ («∏ ηıËÌÂÚÈÓ‹ ∑ˆ‹ ÛÙË ¡ÂÔÏÈıÈ΋ ª¿ÎÚË Î·È ÙËÓ ∞Ú¯·›· ªÂÛËÌ‚Ú›·», ∞Ú¯·ÈÔÏÔÁ›· Ù‡¯Ô˜ 94/2005) ·Ó·Ê¤ÚÂÙ·È ÛÙÔ ·Ó·ÛηÊÈÎfi ÚfiÁÚ·ÌÌ· Ù˘ π£’ ∂¶∫∞ ∫ÔÌÔÙËÓ‹˜, Ô˘ ÍÂΛÓËÛ ÙÔ 1988 ÛÙËÓ ÓÂÔÏÈıÈ΋ ª¿ÎÚË, ÛÙËÓ £Ú¿ÎË. ™Ùfi¯Ô˜ Ë ·Ó·Î¿Ï˘„Ë ÛÙÔȯ›ˆÓ Ô˘ ı· ¤ÚÈ¯Ó·Ó Êˆ˜ Û ‰È¿ÊÔÚÔ˘˜ ÙÔÌ›˜ Ù˘ ·ÓıÚÒÈÓ˘ ‰Ú·ÛÙËÚÈfiÙËÙ·˜ Î·È Ê˘ÛÈο ÛÙËÓ ÔÈÎÔ‰fiÌËÛË ÙˆÓ ÓÂÔÏÈıÈÎÒÓ ÛÈÙÈÒÓ. 12. °. ∞. ª¤Á·˜, ¢È¢ı˘ÓÙ‹˜ ÙÔ˘ §·ÔÁÚ·ÊÈÎÔ‡ ∞Ú¯Â›Ô˘ Ù˘ ∞η‰ËÌ›·˜ ∞ıËÓÒÓ Î·È Î·ıËÁËÙ‹˜ ¶·ÓÂÈÛÙËÌ›Ô˘. 13. «Ÿˆ˜ ˘¿Ú¯ÂÈ ‰ËÌ҉˘ Ô›ËÛȘ ¤Ó ∂ÏÏ¿‰È, ‚‚·›ˆ˜ ı· ˘¿Ú¯ÂÈ Ì›· Ï·˚΋ ηÏÏÈÙ¯ӛ·,Ì›· Ï·˚΋ ·Ú¯ÈÙÂÎÙÔÓÈ΋, Ì›· Ï·˚΋ ÌÔ˘ÛÈ΋» ÁÚ¿ÊÂÈ Ô ∞. ∑¿¯Ô˜ ÙÔÓ ∞‡ÁÔ˘ÛÙÔ 1911 ÛÙÔ ÂÚ. O ∫·ÏÏÈÙ¤¯Ó˘ Ô˘ Âͤ‰È‰Â Ô °ÂÚ¿ÛÈÌÔ˜ µÒÎÔ˜ Î·È ÚÔÛı¤ÙÂÈ Û¯ÂÙÈο Ì ÙÔ ÂÏÏËÓÈÎfiÓ ¯ˆÚÈÎfiÓ Û›ÙÈ «fiÙÈ Ë ÙÔ˘ÚÎÈ΋ ηٿÎÙËÛ›˜ ‰ÂÓ Â¤ÊÂÚ ÙÂÏÈο ηÌÌ›·Ó ·ÏÏÔ›ˆÛÈÓ, ‰ÈfiÙÈ ÙÔ Î·Ù·ÎÙ‹Û·Ó ¤ıÓÔ˜ ‹ÙÔ ÔÏÂÌÈÎfiÓ ÌfiÓÔÓ, ¯ˆÚ›˜ Ó· ʤÚÂÈ Ì·˙‹ ÙÔ˘ ηӤӷ ÔÏÈÙÈÛÌfiÓ ÈηÓfiÓ Ó· ÂȉڿÛÂÈ […]». 14. ™. °. ∑. ∑·ÊÂÈÚfiÔ˘ÏÔ˜, ÂÈÌ., ŸÚÈÔÓ, ÙÈÌËÙÈÎfi˜ ÙfiÌÔ˜ ÛÙÔÓ ∫·ıËÁËÙ‹ ¢. ∞. º·ÙÔ‡ÚÔ, ∆‡¯Ô˜ °’, ∞ÚÈÛÙÔÙ¤ÏÂÈÔ ¶·ÓÂÈÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢, ¶ÔÏ˘Ù¯ÓÈ΋ ™¯ÔÏ‹, ∆Ì‹Ì· ∞Ú¯ÈÙÂÎÙfiÓˆÓ, £ÂÛÛ·ÏÔÓ›ÎË 2001, ÛÂÏ. 18. 15. ¢ËÌ‹ÙÚ˘ ºÈÏÈ›‰Ë˜, «ŒÚÁ· ÂÁηٿÏÂȄ˘» ·Ó¤Î‰ÔÙÔ Î›ÌÂÓÔ Ô˘ ÌÔ˘ ·Ú·¯ˆÚ‹ıËΠ¢ÁÂÓÈο ·fi ÙÔÓ Û˘ÁÁڷʤ·.
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11. M. Girtzi, 2005. "Everyday life in Neolithic Makri and in Ancient Mesimvria". Archaeology, 94/2005, p94. This article describes the excavation programme of the 19th Ephorate of Prehistoric and Classical Antiquities which begun in 1988 in Nea Makri, Thrace. The aim of the excavation was to throw light on various aspects of human activity and of the building of Neolithic houses. 12. Director of the Folklore Archive of the Academy of Athens and Professor of Folklore at the National and Capodistrian University of Athens. 13. "Just as there is a folk poetry in Greece, there must be a folk art, a folk architecture, a folk music..." writes Aristotle Zachos in the August 1911 edition of O Kallitechnis review published by Gerasimos Vokos; and adds, regarding the Greek peasant house: "the Turkish occupation did not cause any change, for the conquering nation was merely war-like, bereft of any civilization capable of influence [...]" 14. D. A. Fatouros, 2001. "Unfinished Timetable. A course through architecture". 2001. S. Zafeiropoulos, ed., Orion, Honorary Volume for Professor D. A. Fatouros. Thessaloniki: Aristotle University of Thessaloniki, vol. 3, p18. 15. D. Philippides, 2009. "Works of Abandonment". unpublished manuscript.
16. ∂›¯· ÙËÓ Ù‡¯Ë Ó· ÁÓˆÚ›Ûˆ ·˘ÙfiÓ ÙÔÓ ¿ÓıÚˆÔ, Ó· ÓÔÈÒÛˆ ÙÔ ı˘Ìfi ÙÔ˘, ÙËÓ ·ÁˆÓ›· ÙÔ˘, ÙËÓ Â˘·ÈÛıËÛ›· ÙÔ˘… ◊Ù·Ó ÌÈ· ·Ú¿ÍÂÓË ÂÌÂÈÚ›·, ÛÙÔ ¯ÒÚÔ ÂÓfi˜ ÌÔÓ·¯ÈÎÔ‡ ÙÂÏÈο ·ÓıÚÒÔ˘, ÛÙËÓ ‰ÂηÂÙ›· ÙÔ˘ 1980, Ô˘ ·ÊÔ‡ Ì ٷ›ӈÛ ÁÈ· ÙËÓ ¿ÁÓÔÈ· ÌÔ˘ (ˆ˜ Ó¤Ô˜ ·Ú¯ÈÙ¤ÎÙˆÓ ·fiÊÔÈÙÔ˜ ÙˆÓ ÂÏÏËÓÈÎÒÓ ·Ú¯ÈÙÂÎÙÔÓÈÎÒÓ Û¯ÔÏÒÓ) Î·È Ì ¤Î·Ó ӷ ÓÙÚ·Ò Î·È Ó· ‚Ô˘ÚÎÒÛˆ, ÌÔ˘ Ì›ÏËÛ ÌÂÙ¿ ·fi ηډȿ˜ ÁÈ· ÙËÓ ˙ˆ‹ ÙÔ˘ Î·È ÙÔ ¤ÚÁÔ ÙÔ˘. ™ÙÔ˘˜ ÂÚÈ¿ÙÔ˘˜ Ì·˜ Ô˘ ·ÎÔÏÔ‡ıËÛ·Ó, ‚›ˆÛ· ÙÔÓ ÏÔ‡ÙÔ ÙÔ˘ ÂÛˆÙÂÚÈÎÔ‡ ÎfiÛÌÔ˘ ÂÓfi˜ ·ÓıÚÒÔ˘ Ô˘ ·ÏÏfiÙ·Ó fiˆ˜ ¤Ó·˜ È·Ó›ÛÙ·˜ Ô˘ ·›˙ÂÈ ˙ˆÓÙ·Ó¿ ÙÔ ÎÔÓÙÛ¤ÚÙÔ ÁÈ· È¿ÓÔ ¡Ô 3 (1st movement Cadenza) ÙÔ˘ Rachmaninoff… ™¯Â‰fiÓ ·ÈÛı¿ÓıËη Ó· ÌÔ˘ ÎÚ·Ù¿ ÙÔ ¯¤ÚÈ Î·È Ó· Ì ԉËÁ› ̤۷ ÛÙȘ ‰È·‰ÚÔ̤˜ ÙˆÓ ‰È·ÚÎÒÓ Î·È ¤ÓÙÔÓˆÓ ·Ó·˙ËÙ‹ÛÂÒÓ ÙÔ˘. ŒÓÔȈ۷ ÙËÓ ·ÁˆÓ›· Î·È ÙËÓ ·ÔÁÔ‹Ù¢ÛË ÂÓfi˜ ·ÓıÚÒÔ˘, Ô˘ ÌÂÙ¿ Ù· ÙfiÛ· ¤ÚÁ·, ¤‚Ï ÙÂÏÈο Ù· Ú¿ÁÌ·Ù· Á‡Úˆ ÙÔ˘ Ó· ·ÔÌ·ÎÚ‡ÓÔÓÙ·È ·fi ÙËÓ ·Ï‹ıÂÈ·…
16. I was fortunate enough to meet this man, to feel his anger, his distress, his tenderness... It was an extraordinary experience of a lonely man, in the 1980s, who after he humbled me for my ignorance (me being a young graduate of the Greek architecture schools) and made me feel ashamed and my eyes mist, he proceeded to talk to me from the heart about his life and his work. In our subsequent strolls I felt the wealth of the inner world of a man who was vibrant like a pianist performing the 1st Movement cadenza of Rachmaninov's 3rd Piano Concerto. I felt the distress and disappointment of a man who, after so many projects, saw things around him moving away from the truth. I have nearly felt him holding my hand on the trail of my constant and intense pursuits.
17. O N›ÎÔ˜ ™ËÊÔ˘Ó¿Î˘ Ù·˘Ùfi¯ÚÔÓ· ‚Ô˘ÏÂ˘Ù‹˜ ÙfiÙÂ, ÂÎÙfi˜ ÙˆÓ ¿ÏÏˆÓ ÂÚÈÛÒ˙ÂÈ ·Ï·È¿ ÂÏ·ÈÔÙÚȂ›· ÛÙË §¤Û‚Ô Î·È ‰È·Ù˘ÒÓÂÈ ÙËÓ ¿Ô„Ë fiÙÈ Ë ¯ÒÚ· Ì·˜, ¤¯ÔÓÙ·˜ ˘ÔÁÚ¿„ÂÈ ÙËÓ
17. Nikos Sifounakis, an MP at the time, preserves old oil presses on Lesbos and expresses the view that our country, having signed the Charter
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«Ã¿ÚÙ· Ù˘ µÂÓÂÙ›·˜» ÔÊ›ÏÂÈ Ó· Û‚·ÛÙ› Î·È Ó· Û˘Ì‚¿ÏÂÈ ÛÙËÓ Î·Ù·ÁÚ·Ê‹ Î·È ·˘Ù‹˜ Ù˘ «Ù·ÂÈÓ‹˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜» Û fiÏÔ ÙÔÓ ÂÏÏ·‰ÈÎfi ¯ÒÚÔ.
of Venice, must respect this "humble architecture" and help record it throughout Greece.
18. Ÿˆ˜ ·Ó·Ê¤ÚÂÈ Ô ¢. £ÂÔ¯¿Ú˘ ÛÙÔ ‚È‚Ï›Ô ÙÔ˘ ¡ÂÔÏÈıÈÎfi˜ ¶ÔÏÈÙÈÛÌfi˜, ̤۷ ÛÙËÓ ∞ÎÚfiÔÏË ÛÙÔ ™¤ÛÎÏÔ Ù· ÔÈ΋̷ٷ Â›Ó·È Û˘Ó‹ıˆ˜ ÌÈÎÚ¿, Î·È ¤¯Ô˘Ó Û˘Ó‹ıˆ˜ ÙÔÓ ›‰ÈÔ ÚÔÛ·Ó·ÙÔÏÈÛÌfi. ∂›Ó·È ¯·Ú·ÎÙËÚÈÛÙÈ΋ Ë Û¯Â‰È·ÛÙÈ΋ ·Ó··Ú¿ÛÙ·ÛË ÙÔ˘ ª. ∫ÔÚÚ¤ ÛÙË ÛÂÏ. 92.
18. As Dimitris Theocharis mentions in Neolithic Culture, the buildings inside the Acropolis of Sesklo are usually small and similarly oriented. The reconstruction drawing by M. Korres on p92 offers a good picture of the whole.
19. ∆· ÊÚ·ÁÎÈ¿Ù· Â›Ó·È Î·Ù·Û΢¤˜ ·fi ÎÏ·‰È¿ ‰¤Ó‰ÚˆÓ Î·È ¯fiÚÙ·. ∆¤ÛÛÂÚȘ ¿ÛÛ·ÏÔÈ Ê¤ÚÔ˘Ó ˘ÂÚ˘„ˆÌ¤ÓË Î·Ï‡‚· ·fi ÎÏ·‰È¿, Û ̤ÁÂıÔ˜ ÌÈÎÚÔ‡ ‰ˆÌ·Ù›Ô˘,ÁÈ· ÙËÓ ·Ú·ÎÔÏÔ‡ıËÛË Î·È Ê‡Ï·ÍË ÙˆÓ ·ÁÚÒÓ, Ù˘ ÛÔ‰ÂÈ¿˜ Î·È ÙˆÓ ÎÙËÓÔÙÚÔÊÈÎÒÓ ‰Ú·ÛÙËÚÈÔًوÓ, ÔÓÔÌ¿˙ÔÓÙ·È Î·È ‰Ú·Á·ÛȤ˜ Î·È ÙÛ·Ú‰¿ÎÈ·.
19. The "frangiata" are structures made of branches and thatch. Four posts carry an elevated hut, the size of a small room, for watching the fields, the crop and the stock-raising; also known as "dragasies" or "tsardakia".
20. ∂›¯· ÙË ¯·Ú¿ Ó· Û˘ÌÌÂÙ¤¯ˆ ÛÙËÓ ÔÚÁ¿ÓˆÛË, ÙÔ Û¯Â‰È·ÛÌfi Î·È ÙËÓ ˘ÏÔÔ›ËÛË Ù˘ ÚÒÙ˘ ÌÂÁ¿Ï˘ ¤ÎıÂÛ˘ ªÂÏÂÓÙ˙‹˜-ª·Ï¿Ê·˜-∆ÏÔ‡·˜ ÛÙËÓ ™ÎfiÂÏÔ ÙÔ 1995 Î·È Ó· ÙÔÓ ÁÓˆÚ›Ûˆ.
20. I had the pleasure to participate in organizing the design and implementation of the first major exhibition Melentzis-Balafas-Tloupas, in Skopelos in 1995, and to meet him. I discovered through his work that other Greece he recorded, a few decades ago, along with his two friends. The comparison with current practice indicates that huts and sheepfolds have not changed in their way of construction and their overall image.
∞Ó·Î¿Ï˘„· ̤۷ ·fi ÙËÓ ‰Ô˘ÏÂÈ¿ ÙÔ˘, ·˘Ù‹Ó ÙËÓ ¿ÏÏË ∂ÏÏ¿‰· Ô˘ η٤ÁÚ·„ ÌÂÚÈΤ˜ ‰ÂηÂٛ˜ ÚÈÓ ·Ú¿ÏÏËÏ· Ì ÙÔ˘˜ ‰‡Ô Ê›ÏÔ˘˜ ÙÔ˘. ∏ Û˘Û¯¤ÙÈÛË Ì ÙËÓ ÛËÌÂÚÈÓ‹ Ú·ÁÌ·ÙÈÎfiÙËÙ· ˘Ô‰ÂÈÎÓ‡ÂÈ fiÙÈ ÔÈ Î·Ï‡‚˜ Î·È Ù· Ì·ÓÙÚÈ¿ ˆ˜ ÚÔ˜ ÙÔÓ ÙÚfiÔ Î·Ù·Û΢‹˜ Î·È ÙËÓ ÁÂÓÈ΋ ÂÈÎfiÓ· ÙÔ˘˜ ‰ÂÓ ¤¯Ô˘Ó ·ÏÏ¿ÍÂÈ. 21. ∞. ∞ÓÙÔÓ¿˜, ¶ÚÔÊÔÚÈο ∫Ù›ÛÌ·Ù·, ÂΉfiÛÂȘ ¶·ÙÙ¿ÎË, ∞ı‹Ó· 2004.
21. A. Antonas, 2004. Oral Architecture. Athens: Pattakis. 22. M. Heidegger, 1971. “Building Dwelling Thinking” in Poetry, Language, Thought. transl. A. Hofstadter, New York: Harper Colophon Books.
22. ª. Heidegger, ∫Ù›˙ÂÈÓ, ∫·ÙÔÈÎÂ›Ó Î·È ™Î¤ÙÂÛı·È, ÂΉfiÛÂȘ ¶Ï¤ıÚÔÓ 2008. 23. ∞fi ÙÔÓ «¶ÚfiÏÔÁÔ» ÙÔ˘ ∑. §ÔÚÂÓÙ˙¿ÙÔ˘ ÛÙËÓ ¤Î‰ÔÛË ∞. ¶ÈÎÈÒÓË - ª. ¶·ÚÔ‡Û˘, ÂÈÌ., ¢. ¶ÈÎÈÒÓË, ∫›ÌÂÓ·, ªÔÚʈÙÈÎfi ÿ‰Ú˘Ì· ∂ıÓÈ΋˜ ∆Ú·¤˙˘, ∞ı‹Ó· 1985, ÛÂÏ. 10. 24. ∞fi ÙÔ ‰ËÌÔÛ›Â˘Ì· ÙÔ˘ ÕÚË ∫ˆÓÛÙ·ÓÙÈÓ›‰Ë ÛÙÔ Baumeister (Ù‡¯Ô˜ 4/1965) «™ËÌÂÚÈÓ‹ ·Ú¯ÈÙÂÎÙÔÓÈ΋ Î·È ·ÓÒÓ˘ÌË ·Ú¿‰ÔÛË» ÛÙÔ ‚È‚Ï›Ô ÙÔ˘ °È· ÙËÓ ∞Ú¯ÈÙÂÎÙÔÓÈ΋, ÕÁÚ·, ∞ı‹Ó· 1987 ÛÂÏ. 167-176. 25. ™ÙÔ ‚È‚Ï›Ô ÙÔ˘ ¢. º·ÙÔ‡ÚÔ˘ ∏ ÂÈÌÔÓ‹ Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜, ∫·ÛÙ·ÓÈÒÙ˘, ∞ı‹Ó· 2003, ÛÂÏ. 207.
23. Z. Lorenzatos, 1981. "Preface" (1981). A. Pikionis - M. Parousis, eds., D. Pikionis. Texts, Athens: National Bank Cultural Foundation, pp. 7-13. 24. A. Konstantinidis,1987, Baumeister (4/1965) "Contemporary architecture and anonymous tradition", For Architecture. Athens: Agra. pp. 167176. 25. D. A. Fatouros, 2003. The Persistence of Architecture. Athens: Kastaniotis.
26. ∆. ª›Ú˘, «π‰ÂÔÏÔÁ›· Î·È ËıÈ΋ Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜», ÂÊËÌ. ∏ ∫·ıËÌÂÚÈÓ‹ 5 OÎÙ. 2008.
26. T. Biris, 2008. "Ideology and ethics of architecture". I Kathimerini, October 5.
27. ¶. ∆Ô˘ÚÓÈÎÈÒÙ˘, «∏ Ú¢ÛÙÔÔ›ËÛË Ù˘ Û‡Á¯ÚÔÓ˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜», £¤Ì·Ù· ÃÒÚÔ˘ Î·È ∆¯ÓÒÓ 33/2002.
27. P. Tournikiotis, 2002. "The liquefaction of modern architecture". Design + Art In Greece, 33/2002, pp. 18-19.
28. µÏ. ∞. ¶ÈÎÈÒÓË, ÂÈÌ., ¢ËÌ‹ÙÚ˘ ¶ÈÎÈÒÓ˘, O ¶·È‰ÈÎfi˜ ∫‹Ô˜ Ù˘ ºÈÏÔı¤Ë˜, ∞ı‹Ó· πÓ‰ÈÎÙÔ˜ 2002.
28. cf. A. Pikionis, ed. 2002. Dimitris Pikionis: The Philothei Playground. Athens: Indiktos.
29. À‹ÚÍ· Ì·ıËÙ‹˜ ÙÔ˘ ¢ËÌ‹ÙÚË º·ÙÔ‡ÚÔ˘ ·fi Ù· ¯ÚfiÓÈ· Ù˘ ¢ÈÎÙ·ÙÔÚ›·˜ ÛÙÔ ∆Ì‹Ì· ∞Ú¯ÈÙÂÎÙfiÓˆÓ ÙÔ˘ ∞¶£ Î·È ÓÔÌ›˙ˆ ÂÍ·ÎÔÏÔ˘ıÒ Ó· Â›Ì·È Ì¤¯ÚÈ Û‹ÌÂÚ·. O º·ÙÔ‡ÚÔ˜
29. I was a student of Dimitris Fatouros, in the School of Architecture of the Aristotle University of Thessaloniki, since the dictatorship years and I
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¯ˆÚ›˜ Ó· ·ÁÓÔ› Ù· ÂÈÙ‡ÁÌ·Ù· ÙÔ˘ ÌÔÓÙ¤ÚÓÔ˘, ÂÚÈÔÚ›˙ÂÙ·È Û ÛÂÌÓ¤˜ ·Ú¯ÈÙÂÎÙÔÓÈΤ˜ ¯ÂÈÚÔÓƠ̂˜ Ô˘ ·ÔÌ·ÎÚ‡ÓÔÓÙ·È ·fi οı ·Ú¯ÈÙÂÎÙÔÓÈÎfi Ô›ÛÙÚÔ Î·È Î¿ı ÂÈÙË‰Â˘Ì¤ÓË ÂÂÍÂÚÁ·Û›·. ∏ ¤ÓÓÔÈ· Ù˘ «ÚÔ˚ÛÙÔÚÈÎfiÙËÙ·˜» Î·È Ë «ÔÈËÙÈ΋ ‰È¿ÛÙ·ÛË» Â›Ó·È Û˘ÛÙ·ÙÈο ÛÙÔȯ›· Ù˘ ÔÈfiÙËÙ·˜ ÙÔ˘ ·Ú¯ÈÙÂÎÙÔÓÈÎÔ‡ ÙÔ˘ ¤ÚÁÔ˘. ŒÓÙÈÌÔ˜, Ì ÌÈ· ·Ó·¿ÓÙÂ¯Ë ÂÈÏÈÎÚ›ÓÂÈ·, ·˘Ùfi˜ Ô ÔÏ˘‰È¿ÛÙ·ÙÔ˜ Î·È ·ÎÔ‡Ú·ÛÙÔ˜ Ì·¯ËÙ‹˜ Ù˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ Ì·˜ ·Ú·‰›‰ÂÈ ·‰È¿ÎÔ· Î·È ¤Ó· ÛÔ˘‰·›Ô ıˆÚËÙÈÎfi ¤ÚÁÔ Ô˘ ʈٛ˙ÂÈ Ì ÙÔ ‰ÈÎfi ÙÔ˘ ÙÚfiÔ ÙËÓ ÔÚ›· Ù˘ ÂÏÏËÓÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜. 30. OÈ ∞ÓوӷοÎˉ˜ Ì ·ÊÂÙËÚ›· ÙËÓ ·¤ÚÈÙÙË ÚÔÛ¤ÁÁÈÛË ÙÔ˘ ÛÈÙÈÔ‡ ÛÙÔÓ O͇ÏÈıÔ ÙÔ 1973 Î·È ÙȘ ηÙÔÈ˘ ÛÙÔ ¢›ÛÙÔÌÔ (1969), ·ÙÔ‡Ó Û ·Ú¯ÂÙ˘ÈΤ˜ ·Í›Â˜ Î·È ÚÔ‚¿ÏÏÔ˘Ó Ì¤Û· ·fi ÙË ‰Ô˘ÏÂÈ¿ ÙÔ˘˜ ÌÈ· «Á‹ÈÓË ·›ÛıËÛË», ¯ÚËÛÈÌÔÔÈÒÓÙ·˜ Ê˘ÛÈο ˘ÏÈο. ™ÙËÓ ÔÚ›· ÙÔ˘˜ Ô‰ËÁÔ‡ÓÙ·È Û ÔÏ˘Û‹Ì·ÓÙÔ˘˜ ¯ÒÚÔ˘˜ Ì ÂÈÌÔÓ‹ ÛÙËÓ ÂÂÍÂÚÁ·Û›·, Ô˘ Û˘¯Ó¿ «·ÔÓ¤ÂÈ ¤Ó·Ó ÏÔ‡ÛÈÔ Ï˘ÚÈÛÌfi». 31. O ª. ¶ÂÚÚ¿Î˘ › ¯ÚfiÓÈ· ·ÔÌ·ÎÚ‡ÓÂÙ·È ÛÙ·ıÂÚ¿ ·fi ÙÔ È‰ÈfiÙ˘Ô Â˘Úˆ·˚Îfi ϤÁÌ· ÙˆÓ ÛÔ˘‰ÒÓ ÙÔ˘ ÛÙËÓ ∞η‰ËÌ›· ∫·ÏÒÓ ∆¯ÓÒÓ Ù˘ µÈ¤ÓÓ˘, ·Ù¿ÂÈ ÁÂÚ¿ ÛÙËÓ ÎÚËÙÈ΋ ηٷÁˆÁ‹ ÙÔ˘, Î·È ÚÔÛÂÁÁ›˙ÂÈ ÛÙ·ıÂÚ¿ ηı·Ú¤˜ ·Ú¯ÂÙ˘ÈΤ˜ ÌÔÚʤ˜. ∆Ô «™¯ÔÏ›ÔÓ» ÛÙËÓ Ô‰fi ¶ÂÈÚ·ÈÒ˜, Ô ÌÈÎÚfi˜ ÍÂÓÒÓ·˜ ÛÙÔ ÂÍÔ¯ÈÎfi ÙÔ˘ Û›ÙÈ ÛÙËÓ ¶·ÏÈ¿ ∂›‰·˘ÚÔ Î·È ¿ÏÏ· ¤ÚÁ· ÙÔ˘ fiˆ˜ ÙÔ £¤·ÙÚÔ ¶¤ÙÚ·˜ Î·È ÙÔ ªÔ˘ÛÂ›Ô ∫ÒÛÙ· ∆ÛfiÎÏË ÛÙÔÓ ∫¿ÌÔ Ù˘ ∆‹ÓÔ˘, ‰È·ÎÚ›ÓÔÓÙ·È ÁÈ· ÙËÓ ·ÁˆÓ›· ÙÔ˘ Ó· ÂÚÈÔÚÈÛÙ› ÛÙËÓ Ô˘Û›·. ∂›¯· ÙËÓ Ù‡¯Ë Ó· ÂÚÁ·ÛÙÒ Ì·˙› ÙÔ˘ ·fi ÙÔ 1977 Î·È ÂÍ·ÎÔÏÔ˘ıÒ Ì¤¯ÚÈ Û‹ÌÂÚ· Ó· ·Ú·ÎÔÏÔ˘ıÒ ·fi ÎÔÓÙ¿ ÙȘ ·Ó·˙ËÙ‹ÛÂȘ ÙÔ˘.
believe I still am to this day. Fatouros, without not ignoring the achievements of modernism, limits himself to discreet architectural gestures, far removed from architectural zest and pretentious treatment. The concept of "prehistoricity" and the "poetic dimension" are integral components of the quality of his architectural work. Honourable, with a surprising honesty, this multidimensional and indefatigable architecture fighter delivers constantly an outstanding theoretical work which illuminates, in his own manner, the course of Greek architecture. 30. D. and S. Antonakakis, starting with their austere approach to the Distomo housing complex (1969) and the Oxylithos house (1973), rely on archetypal values and accentuate through their work a "terrestrial feel" using natural materials. Their course leads them to thoroughly refined, intricate spaces which often "emit a profuse lyricism". 31. For many years now Perrakis is steadily moving away from the distinct pattern of his studies at the Academy of Fine Arts in Vienna; inspired by his Cretan descent he moves firmly towards pure archetypal forms. The "Skolion" on Peireos St., the small guest quarters at his country house in Old Epidaurus and other works like the Petra Theatre and the Costas Tsoklis Museum in Kampos, Tinos, are defined by Perrakis' concern to stick to the essence I was fortunate enough to work with him, from 1977 onwards, and I follow to this day his pursuits.
32. µÏ. ∞. ∆ÔÌ¿˙˘, ∏ fiÌÔÚÊË Î·ÌËÏÔ¿Ú‰·ÏË..., ÂΉfiÛÂȘ ¶·ÙÙ¿ÎË ∞ı‹Ó· 2008 ÛÂÏ. 178. 32. A. Tombazis, 2008. The Beautiful Giraffe. Athens: Pattakis, p.178. 33. Heidegger ª., ∫Ù›˙ÂÈÓ, ∫·ÙÔÈÎÂ›Ó Î·È ™Î¤ÙÂÛı·È, ÂΉfiÛÂȘ ¶Ï¤ıÚÔÓ 2008, ÛÂÏ. 69. 33. M. Heidegger, op.cit., 69. 34. ∫ÒÛÙ·˜ ∆ÛfiÎÏ˘ «∫·Ó¤Ó·˜ ÂÚ›·ÙÔ˜ ‰ÂÓ Ú¤ÂÈ Ó· ̤ÓÂÈ ¯ˆÚ›˜ ·ÌÔÈ‚‹», ¶·Ú·Ì¤Óˆ ÌÂÙ¤ˆÚÔ˜, ∂ΉfiÛÂȘ ∫·ÛÙ·ÓÈÒÙË, ∞ı‹Ó· 1995, ÛÂÏ.18. 35. O Jacob Burckhardt (∂Ï‚ÂÙfi˜ ÈÛÙÔÚÈÎfi˜ Ù¤¯Ó˘) ÌÈÏ¿ÂÈ ÁÈ· ÙËÓ «ËÁ·›· ηÏÏÈÙ¯ÓÈ΋ ÛˆÊÚÔÛ‡ÓË Ô˘ ¯·Ú·ÎÙËÚ›˙ÂÈ ÙÔ˘˜ ŒÏÏËÓ˜» ÛÙÔ ‚È‚Ï›Ô ÙÔ˘ The Greeks And Greek Civilization. 36. ∏ ÚÔÂÙÔÈÌ·Û›· ÁÈ· ÙËÓ ÂÈηÛÙÈ΋ ·˘Ù‹ ¤̂·ÛË ¤¯ÂÈ Î·Ù·ÁÚ·Ê› ÛÙÔ ‚ȂϛԷÓÙÈΛÌÂÓo: ∫. ∆ÛfiÎÏ˘, °. ∆ÚÈ·ÓٷʇÏÏÔ˘, ¡. •˘‰¿Î˘, ∞ÓÙ·Ó·ÎÏ¿ÛÂȘ, ∂ΉfiÛÂȘ ªÈ¯¿Ï˘ ∆Ô˘Ì‹˜, 2006. 37. O ·Ú¯ÈÙ¤ÎÙˆÓ ¡›ÎÔ˜ ÷Ù˙Ë΢ÚÈ¿ÎÔ˜ Û˘ÌÌÂÙ›¯Â Ò˜ ¤Ó· ‚·ıÌfi ÛÙËÓ ˘ÏÔÔ›ËÛË ·˘ÙÔ‡ ÙÔ˘ ¤ÚÁÔ˘. 38. ¢. ¶ÈÎÈÒÓ˘, «¶ÚfiÏÔÁÔ˜ ÁÈ· ÙË §·˚΋ ∆¤¯ÓË», ∞. ¶ÈÎÈÒÓË - ª. ¶·ÚÔ‡Û˘, ÂÈÌ., ¢. ¶ÈÎÈÒÓË ∫›ÌÂÓ·, ªÔÚʈÙÈÎfi ÿ‰Ú˘Ì· ∂ıÓÈ΋˜ ∆Ú·¤˙˘, ∞ı‹Ó· 1985, ÛÂÏ. 52.
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34. C. Tsoclis, 1995. No Walk Should Remain Unrewarded. Athens: Kastaniotis. 35. J. Burckhardt discusses the "innate... artistic wisdom that characterizes the Greeks" in. The Greeks and Greek Civilization. New York: St. Martin's Griffin. 1999. 36. C. Tsoclis, G. Triantafyllou, N. Xydakis, 2006. Reflections. Athens: Toubi's Editions. Records the preparation for this visual intervention. 37. The architect Nikos Hatzikyriakos participated in this work. 38. D. Pikionis, "Preface to Folk Art" [1927]. A. Pikionis - M. Parousis, eds. D. Pikionis. Texts, Athens: National Bank Cultural Foundation, p.52.
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ILLUSTRATION CREDITS
∞Ú¯Â›Ô ∆ÚÈ·ÓٷʇÏÏÔ˘ °., 1, 2, 7, 8, 9, 19, 28, 44, 45, 46, 47, 48, 49, 50, 52, 54, 56, 57, 58, 60, 62, 65, 67, 69, 70, 72, 78, 80, 81, 83, 86, 88, 90, 93, 95, 96, 99, 100, 103, 106, 108, 109, 110, 111, 112, 113, 114, 116, 119, 121, 122, 124, 126, 128, 130, 135, 137, 138, 141, 143, 145, 147, 152, 153 £ÂÛÛ·ÏÔÓ›ÎË OÈ ÚÒÙ˜ ¤Á¯ÚˆÌ˜ ʈÙÔÁڷʛ˜ 1913-1918, OÏÎfi˜, ∞ı‹Ó· 1999 ÛÂÏ.180, 3 www.lebbeuswoods.woodpress.com/2008/01/18/slums-the-problem/, 5 ∞Ú¯Â›Ô ¶Â¯ÏÈ‚·Ó›‰Ë˜ ÃÚfiÓ˘, 6 10, 11, 33, 34, 37, 38, 39, 40, 41, 42, 43, ∞Ú¯Â›Ô ∆ÏÔ‡· µ¿ÓÈ·˜ 104, 150 æÈÏÏ¿Î˘ °È¿ÓÓ˘ O ÎfiÛÌÔ˜ Â›Ó·È ¤Ó·˜ ÂΉ. ªÔ˘ÛÂ›Ô ªÂÓ¿ÎË, ∞ı‹Ó· 2005, ÛÂÏ. 252, 12 £ÂÔ¯¿Ú˘ ƒ. ¢., ¡ÂÔÏÈıÈÎfi˜ ¶ÔÏÈÙÈÛÌfi˜, MIET, ∞ı‹Ó· 2000, ÛÂÏ.11 13,14 ¶·Ï˘‚Ô‡, ∫Ï. ÂÚ. ∞Ú¯·ÈÔÏÔÁ›·, OÈÎÔ‰ÔÌÈ΋ ∆¯ÓÔÏÔÁ›· ÙˆÓ ¶ÚÔ˚ÛÙÔÚÈÎÒÓ ÃÚfiÓˆÓ – ∆‡¯Ô˜ 94 / ª¿ÚÙÈÔ˜ 2005 ÛÂÏ.13 15, 16 ∞Ú¯Â›Ô ∂˘ÛÙÚ·Ù›Ô˘ ¡, 17, 18. ª¤Á· °ÂˆÚÁ›Ô˘ §·ÔÁÚ·Ê›·, ¢ÂÏÙ›ÔÓ Ù˘ ∂ÏÏËÓÈ΋˜ §·ÔÁÚ·ÊÈ΋˜ ∂Ù·ÈÚ›·˜, ÙfiÌÔ˜ ÃÃVI (1968-1969) «£ÂÛÛ·ÏÈη› OÈΛÛÂȘ», ∞ı‹Ó· 1946. ™ÂÈÚ¿ ÂΉfiÛÂˆÓ ÙÔ˘ ÀÊ˘Ô˘ÚÁ›Ԣ ∞ÓÔÈÎÔ‰ÔÌ‹Ûˆ˜ ∞Ú. 4, ÛÂÏ.: 100 (ÂÈÎfiÓ· 3) ÛÂÏ. 102 (ÂÈÎfiÓ˜ 5, 6) ÛÂÏ. 103 (ÂÈÎfiÓ˜ 7, 8) ÛÂÏ. 104 (ÂÈÎfiÓ· 9), 22, 23, 24, 25 ÷Ù˙ËÌȯ¿ÏË ∞ÁÁÂÏÈ΋, ™·Ú·Î·ÙÛ¿ÓÔÈ, ∞ı‹Ó· 1957, ÙfiÌÔ˜ ÚÒÙÔ˜, ̤ÚÔ˜ µ, ∏ ÙÔÌ‹ Ù˘ ÙÔ˘Úψً˜ ηχ‚·˜, ÛÂÏ. 201, 26 © ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô ªÔ˘Û›Ԣ ªÂÓ¿ÎË, ∞ÚÈÛÙÔÙ¤Ï˘ ∑¿¯Ô˜, ºıÈÒÙȉ· 1929, OÌ¿‰· ™·Ú·Î·ÙÛ¿ÓˆÓ Ù˘ ∞Ù·Ï¿ÓÙ˘ Ì ٷ ηıËÌÂÚÈÓ¿ ÙÔ˘˜, 27
Archive of Triantafyllou Giorgos, 1, 2, 7, 8, 9, 19, 28, 44, 45, 46, 47, 48, 49, 50, 52, 54, 56, 57, 58, 60, 62, 65, 67, 69, 70, 72, 78, 80, 81, 83, 86, 88, 90, 93, 95, 96, 99, 100, 103, 106, 108, 109, 110, 111, 112, 113, 114, 116, 119, 121, 122, 124, 126, 128, 130, 135, 137, 138, 141, 143, 145, 147, 152, 153 Thessaloniki 1918, editions Olkos, Athens 1999 p.180 3 www.lebbeuswoods.wordpress.com/2008/01/18/slums-the-problem/, 5 Archive of Pechlivalidis Chronis, 6. 10, 11, 33, 34, 37, 38, 39, 40, 41, 42, 43, Archive of Tloupa Vania 104, 150 Psillakis Yannis, O kosmos einai enas publ.Itanos. Museum Benaki, Athens 2005, p. 252, 12 Theocharis R.D., Neolithicos Politismos, MIET, Athens 2000, p. 11 13, 14 Palyvou Klairi, magazine Archaeologia No 94. Oikodomiki Technologia ton Proistorikon Xronon March 2005 p.13, 15,16 Archive Efstratiou ¡., 17,18 Mega G., Laografia, Deltion tis Ellinikis Laografikis Etairias, vol. ÃÃVI (1968-1969) no.4, p.100 (image 3) p.102 (images 5,6) p.103 (images 7,8)p. 104 (image 9). 22, 23, 24, 25 Hatzimichali Ageliki, Sarakatsani, Athens 1957, Volume A, part B, Section of a Sarakatsaniki hut, 26 © Photografic archive of Benaki Museum, Aristotelis Zahos, Fthiotida 1929, 27
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∞Ú¯Â›Ô ∫ˆÓÛÙ·ÓÙÈÓ›‰Ë ∞., ʈÙÔ ÕÚ˘ ∫ˆÓÛÙ·ÓÙÈÓ›‰Ë˜, «∆· £Âfi¯ÙÈÛÙ·. ÙÔ›· Î·È Û›ÙÈ· ÛÙË Û‡Á¯ÚÔÓË ∂ÏÏ¿‰·» ¶·ÓÂÈÛÙËÌȷΤ˜ ÂΉfiÛÂȘ ∫Ú‹Ù˘, ∞ı‹Ó· 1994, 29, 30 ∞Ú¯Â›Ô ™ËÊÔ˘Ó¿ÎË ¡., 31 ∞Ú¯Â›Ô ∫ÔÚÚ¤ ª., 32 © ºˆÙÔÁÚ·ÊÈÎfi ∞Ú¯Â›Ô ªÔ˘Û›Ԣ ªÂÓ¿ÎË, ∫ÒÛÙ·˜ ª·Ï¿Ê·˜, ª¤ÙÛÔ‚Ô 1960, 36 ¶·È‰ÈÎfi˜ ΋Ԙ ÛÙË ºÈÏÔı¤Ë, ∂ÛˆÙÂÚÈο, 1965, ∞ı‹Ó·, ·Ú¯ÈÙ¤ÎÙˆÓ ¢. ¶ÈÎÈÒÓ˘ ʈÙfi. °. ª·˘ÚfiÔ˘ÏÔ˜, 51 ∞Ú¯Â›Ô º·ÙÔ‡ÚÔ˜ ¢., 53 ∞Ú¯Â›Ô ∞ÓوӷοÎË ¢+™., 55 ∞Ú¯Â›Ô ∫ÚfiÎÔ˘ ∫˘Ú., 59 ∞Ú¯Â›Ô ∞ÓÙÔÓ¿ ∞Ú., 61 63 ∞Ú¯Â›Ô Deca ARCHITECTURE, ∞Ú¯Â›Ô ∫·ÏÔÁ‹ÚÔ˘ ¡., 64 ∞Ú¯Â›Ô §·ÌÚÈÓfiÔ˘ÏÔ˘ ∫. – º·ÚÌ¿Î˘ ª., ·Ú¯ÈÙ¤ÎÙÔÓ˜, ʈÙÔ. ª¿Ì˘ §Ô˘È˙›‰Ë˜, 66 ∞Ú¯Â›Ô ™Ù·˘ÚÔÔ‡ÏÔ˘ ∂Ï., 68 SIZA ALVARO - EXPOR ON DISPLAY, ed. by Museu Serralves p. 231 photo: Roland Halbe, 73 ∞Ú¯Â›Ô Taylor Smyth. Architects, 74 © ∞Ú¯Â›Ô Jean-Marie Tjibaou Cultural Center, Noumea, New Caledonia 1992-1998, 76 ÂÚ. L’ARCA No 06/2009 ·Ú. 248 ÛÂÏ. 34-35, 79 Adam Mornement & Simon Holloway Corrugated Iron Building on the Frontier, p. 191 photo Max Dupain, 82 ∞Ú¯Â›Ô Pugh & Scarpa architects, 84, 91 Aگ›Ô. © The Solomon Guggenenheim Foundation, New York ªuseum Guggenenheim, 85, 87 Simone Schleifer Small Houses, Evergreen, Taschen GmbH p.88, 89 ∞Ú¯Â›Ô Tim Pyne, 92 Benitez Paredes Christina Homes on Distinctive Land, Loft Publications. p. 188, Rooftectures, Photo Yoshiharu Matsumura, 94 Beaver Robyn, The New 100 Houses X 100 Architects, Images Publishing Group PTY LTD 97 Adam Mornement & Simon Holloway Corrugated Iron Building on the Frontier, p.179, ʈÙfi C. Richters 98 ∞ÎÚÈı¿Î˘, T¤¯ÓË Â›Ó·È Ô ‚·ı‡˜ fiÓÔ˜, Ô ‚·ı‡˜ ¤ÚˆÙ·˜, ÂΉ. πÙ·Ófi˜, 1971 ÛÂÏ. 6-7, 101, 125 ∞گ›Ô.∆ÛfiÎÏË ∫., 102, 115, 117 © Richard Long, All rights reserved, DACS 2009, 105, 107 Augusti A. TAPIES The Complete works volume 3, p.265 and 259. Ed. Konemann 1977, 118, 120 ∞Ú¯Â›Ô Ã·Ù˙ËÌȯ¿Ï˘ °ÈÒÚÁÔ˜, 123
Archive of Konstantinidis Aris. from the book, «Ta Theoktista.-Topia kai spitia sti sinchroni Ellada» Crete University Press, Athens 1994, 29, 30 ©Archive of Sifounakis ¡., 31 Archive of Korres M., 32 © Photografic archive of Benaki Museum, Kostas Balafas, Metsovo 1960, 36 Playground at Filothei, inside view, 1965, Athens, architect D. Pikionis photo G.Mavropoulos, 51 Archive of Fatouros D., 53 Archive of Antonakakis D+S., 55 Archive of Krokos K., 59 61 Archive of Antonas Ar., Archive of Deca ARCHITECTURE, 63 Archive of Kalogirou N., 64 Archive of Lambrinopoulos C. – Farmakis M., architects, photo Louizidis Babis, 66 Archive of Stavropoulou El., 68 SIZA ALVARO - EXPOR ON DISPLAY, edited by Museu Serralves p. 231 photo: Roland Halbe, 73 Archive of Taylor Smyth.architects, 74 Archive of Jean-Marie Tjibaou Cultural Center, Noumea, New Caledonia 1992-1998, 76 L’ARCA magazine. No 06/2009 n.248 p.34-35, 79 Adam Mornement & Simon Holloway, Corrugated Iron Building on the Frontier, photo: Max Dupain p.191, 82 Archive of Pugh & Scarpa architects, 84, 91 © Archive The Solomon Guggenenheim Foundation, New York Museum Guggenheim, 85,87 Schleifer Simone, Small Houses, Evergreen, Taschen GmbH p.88, 89 Archive of Tim Pyne, 92 Benitez Paredes Christina Homes on Distinctive Land, Loft Publ. Roftectures p. 188, Photo Yoshiharu Matsumura, 94 Beaver Robyn, The New 100 Houses X 100 Architects, Images Publish97 ing Group PTY LTD, Adam Mornement & Simon Holloway Corrugated Iron Building on the frontier, p.179, photo C. Richters 98 Akrithakis, Tecni einai o bathis ponos, o bathis erotas, publ. Itanos, 1971 p. 6-7, 101, 125 Archive Tsoclis C., 102, 115, 117 © Richard Long. All rights reserved, DACS 2009, 105, 107 Augusti A. TAPIES The Complete works volume 3, p. 265 and 259. Ed: Konemann 1977, 118, 120 Archive of Chatzimichalis Giorgos, 123
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Cora Bruno Kounellis, Gli Ori, Prato 2001, 127, 129, 131, 133, 134 © ∞Ú¯Â›Ô §¤ÙÛÈÔ˘ ¢., ªÔ˘ÛÂ›Ô ºˆÙÔÁÚ·Ê›·˜ £ÂÛÛ·ÏÔӛ΢, 132, 149 ∞Ú¯Â›Ô °Ú·Ì̤ÓÔ˜ ∫ÔÚÓ‹ÏÈÔ˜, ʈÙfi ™ˆÌ·Ú¿Î˘ µ·ÁÁ¤Ï˘ Studio Phobia, 136 Richard Greaves Anarchitect, 5 continents editions and Societe des arts indisciplines. Ed. by: Sarah Lombardi / Valerie Rousseau Richard Greaves, 139 ∞Ú¯Â›Ô ™fiÚÔÁη ™., 140 AÚ¯Â›Ô ∫·Ù˙Ô˘Ú¿ÎË ª., 142 Robert Raushenberg, 144 www.grenmuseum.org, 146, 148 151 ∞Ú¯Â›Ô ∞ÏÂ͛Ԣ ¡.,
Cora Bruno Kounellis, Gli Ori, Prato 2001, 127, 129, 131, 133, 134 © Archive of Letsios Dimitris, Thessaloniki Museum of Photography 132, 149 Archive of Grammenos Kornilios, photo Somarakis B. Studio Phobia, 136 Richard Greaves Anarchitect, 5 continents editions and Societe des arts indisciplines. Ed.:Sarah Lombardi / Valerie Rousseau Richard Greaves, 139 Archive of Sorogas S., 140 Archive of Katzourakis M., 142 Robert Raushenberg, 144 www.greenmuseum.org, 146, 148 Archive of Alexiou N., 151
∂¶π§O°O™ ¶H°E™ EIKONøN
EPILOGUE ILLUSTRATION CREDITS
∞Ú¯Â›Ô Todd Saunders 1 ∞Ú¯Â›Ô Jarmund Vigsnaes AS Architects 2 ∞Ú¯Â›Ô P.Kuczia, ʈÙÔ T. Pikula 3 ∞Ú¯Â›Ô Danika Kus ʈÙÔÁÚ¿ÊÔ˘ 5, 6 http://www.studioatkinson.com/1-williamscabin-7.htm 7 ∞Ú¯Â›Ô Patkau Architects Inc, ʈÙÔ R. K. Loesch 8 http://www.designboom.com/weblog/cat/8/view/9408/hangar-design-group-joshua-tree.html 9 ∞Ú¯Â›Ô Kristien Daem Fotograaf ʈÙÔÁÚ¿ÊÔ˘ 10 ∞Ú¯Â›Ô Yes-architecture 11 12 http://www.nakam.info/english/works/HouseC/09.html ∞Ú¯ÈÙ¤ÎÙÔÓ˜: Richard Horden, Horden Cherry lee Architects ltd London, Lydia Haack and John Hopfner Munich, ∞Ú¯Â›Ô Richard Horden, ʈÙÔ Tim Wessbecher 13 ∞Ú¯ÈÙ¤ÎÙÔÓ˜: Richard Horden, Horden Cherry lee Architects ltd London, Lydia Haack and John Hopfner Munich, ∞Ú¯Â›Ô Richard Horden, ʈÙÔ Sacha Kletzsch 14 ∞Ú¯Â›Ô Jonas Wagell, ʈÙÔ Andy Liffner, Lars Petter Pettersen 15
Archive of Todd Saunders 1 Archive of Jarmund Vigsnaes AS Architects 2 Archive P.Kuczia, photo T. Pikula 3 Archive Danika Kus, photographer 5, 6 http://www.studioatkinson.com/1-williamscabin-7.htm 7 Archive Patkau Architects Inc, photo R.K.Loesch 8 http://www.designboom.com/weblog/cat/8/view/9408/hangar-designgroup-joshua-tree.html 9 Archive Kristien Daem Fotograaf, photographer 10 11 Archive of Yes-architecture http://www.nakam.info/english/works/HouseC/09.html 12 Architects: Richard Horden, Horden Cherry lee Architects ltd London, Lydia Haack and John Hopfner Munich, Archive of Richard Horden, photo Tim Wessbecher 13 Architects: Richard Horden, Horden Cherry lee Architects ltd London, Lydia Haack and John Hopfner Munich, Archive of Richard Horden, photo Sacha Kletzsch 14 15 Archive of Jonas Wagell, photo Andy Liffner, Lars Petter Pettersen
∂ÓÒ Î·Ù·‚Ï‹ıËΠοı ÚÔÛ¿ıÂÈ· Ó· ÂÓÙÔÈÛÙ› οı οÙÔ¯Ô˜ ÓÂ˘Ì·ÙÈÎÒÓ ‰ÈηȈ̿وÓ, Ô Û˘ÁÁڷʤ·˜ ˙ËÙ¿ÂÈ ÚÔηٷ‚ÔÏÈο Û˘ÁÓÒÌË ÁÈ· ÔÙȉ‹ÔÙÂ, ·ı¤ÏËÙ·, ·Ú¿‚Ï„Â.
While every effort has been made to trace all copyright holders, the author would like to apologize in advance for any that may have been inadvertently overlooked.
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ΤO ΒΙΒΛΙO
·Ú¯¤Ù˘·* ΕΚ∆OΘΗΚΕ ΤOΝ ΑΠΡΙΛΙO ΤOΥ 2010 ΜΕ ΤΗΝ ΕΥΚΑΙΡΙΑ ΤΗΣ OΜOΤΙΤΛΗΣ ΕΚΘΕΣΗΣ ΣΤO ΒΥΖΑΝΤΙΝO & ΧΡΙΣΤΙΑΝΙΚO ΜOΥΣΕΙO ΣΕ 1000 ΑΝΤΙΤΥΠΑ ΣΕ ΧΑΡΤΙ CHAGALL 130 gr Β’ ΕΚ∆OΣΗ ΤOΝ ΙΟΥΛΙΟ ΤΟΥ 2010
∆‹ÓÔ˜, ∫Ô˘Ì¿ÚÔ˜, “∏ ηχ‚· ÙÔ˘ ∫ÒÛÙ· ∆ÛfiÎÏË” 14-08-2009 Tinos island, Koumaros, “C. Tsoclis hut” 14-08-2009