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ρχιτεκτονική και ρώμα
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ISBN: 978-960-7597-48-9 Α’ Έκδοση: Οκτώβριος 2009
Áðáãïñåýåôáé ç áíáäçìïóßåõóç Þ áíáðáñáãùãÞ ôïõ ðáñüíôïò Ýñãïõ óôï óýíïëü ôïõ Þ ôìçìÜôùí ôïõ ìå ïðïéïíäÞðïôå ôñüðï, êáèþò êáé ç ìåôÜöñáóç Þ äéáóêåõÞ ôïõ Þ åêìåôÜëëåõóÞ ôïõ ìå ôñüðï áíáðáñáãùãÞò Ýñãïõ ëüãïõ Þ ôÝ÷íçò, óýìöùíá ìå ôéò äéáôÜîåéò ôïõ Í. 2121/1993 êáé ôçò Äéåèíïýò Óýìâáóçò ÂÝñíçò - Ðáñéóéïý, ðïõ êõñþèçêå ìå ôï Í. 100/1975. Åðßóçò áðáãïñåýåôáé ç áíáðáñáãùãÞ öùôïôõðéêÜ, øçöéáêÞ åêôýðùóç, çëåêôñïíéêÜ Þ ïðïéåóäÞðïôå Üëëåò ìåèüäïõò, óýìöùíá ìå ôï Üñèñï 51 ôïõ Í. 2121/1993.
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ÁËÅÊÏÓ ÖÁÓÉÁÍÏÓ
ρχιτεκτονική και ρώμα
rchitecture and ALEKOS FASSIANOS
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olour
T A S S I S P A P A I O A N N OU
ÅÊÄÏÓÅÉÓ ÍÇÑÅÁÓ
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ÔÁÓÇÓ ÐÁÐÁÚÙÁÍÍÏÕ
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Χρώ
èá ðåé äÝñìá. Ïé ðáëáéïß æùãñÜöïé
Ýëåãáí üôé ôï ÷ñþìá ôçò ãçò Ýìïéáæå ìå ôï áíèñþðéíï äÝñìá êáé Ýôóé ôï ÷ñçóéìïðïéïýóáí óáí õëéêü ãéá íá áéóèÜíïíôáé ôçí ïìïéüôçôá, êáé ïíïìÜóôçêå áõôü ôï ÷ñþìá þ÷ñá ìå áíáãñáììáôéóìü. ÈõìÜìáé üôé ðñéí åîÞíôá ÷ñüíéá üëá ôá ÷ñþìáôá óå óêüíç ôá
¸íá íåïëáúêü óðéôÜêé óôïõ ÐáðÜãïõ üðïõ áêïëïõèåßôáé ôï ðáñåëèüí ôïõ éäéïêôÞôç ìå ôá êïêêéíüáóðñá ðëáêÜêéá, ôçí þ÷ñá óôïõò ôïß÷ïõò êáé ìùóáúêü óôçí ôáñÜôóá Á.Ö.
Ýëåãáí þ÷ñåò êáé ìïõ Ýêáíå åíôýðùóç, ãéáôß äåí êáôáíïïýóá ôï ëüãï ðïõ ïíïìÜæáìå ôï ðñÜóéíï êáé ôï êüêêéíï þ÷ñåò. Ôï êáôÜëáâá áñãüôåñá. ¼ôáí èÝëáìå íá åðéóêåõÜóïõìå ôïí ôïß÷ï ôçò áõëÞò ìáò, öùíÜæáìå ôïí ìðïãéáôæÞ, ï ïðïßïò Ýðáéñíå þ÷ñá, ôçí áíáêÜôåõå ìå áóâÝóôç êáé Ýâáöå ôïí ôïß÷ï ìå ìéá ôáâáíüâïõñôóá, êéíþíôáò ôçí óå ó÷Þìá ï÷ôáñéïý. Êáé Ýâëåðåò ôïí ôïß÷ï íá õãñáßíåôáé ðñþôá óå óêïýñï ÷ñþìá êáé ìåôÜ ôï óôÝãíùìá Ýâëåðåò ìéá ëáìðñÞ åðéöÜíåéá, ùñáßá þ÷ñá. Êáé ãÝìéæå öùò ç áõëÞ.
A neo-folk house in Papagou, which recalls the owner’s past with the red and white tiles, the ochre walls and the mosaic flooring on the terrace. Á. F.
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Ëáúêü íåïêëáóéêü óôç Óýìç. Ôï ÷ñþìá áêïëïõèåß ôïõò óõíèåôéêïýò êáíüíåò ôïõ êôßóìáôïò. Ô.Ð. A folk neoclassical house on Symi. Colour follows the rules of house building. T.P.
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õìÜìáé ðïëý êáëÜ áõôÞ ôçí êßôñéíç ëÜìøç óå üëç ôçí ÁèÞíá, ãéáôß üëá ó÷åäüí ôá óðßôéá Þôáí âáììÝíá åîùôåñéêÜ
ìå áõôÞ ôçí þ÷ñá Þ ìå ôï êåñáìéäß ðïõ Þôáí áðü÷ñùóç ôçò øçìÝíçò þ÷ñáò. Ôçí þ÷ñá üôáí ôçí øÞóïõìå, ìáò áëëÜæåé ÷ñþìá êáé ãßíåôáé êåñáìéäéÜ. Óôï áñ÷áúêü ìïõóåßï ôçò Áêñüðïëçò Ý÷åé Ýíá Üãáëìá ðïõ áðü ôçí öùôéÜ Ýãéíå êüêêéíï. ÁëëÜ õðÞñ÷å êáé ôï ëïõëÜêé ðïõ ôï ÷ñçóéìïðïéïýóáí ãéá íá ëåõêáßíåé ôá âáìâáêåñÜ, âÜæïíôáò ëßãï ìðëå ìÝóá óôï íåñü. ¹ôáí ìáãéêÜ ðñÜãìáôá. Êáé óôï ëåõêü ôïõ áóâÝóôç ïé ìðïãéáôæÞäåò Ýâáæáí ëßãï ìðëå ìÝóá óôïí íôåíåêÝ ôï ïðïßï ðñïóÝäéäå ìåãáëýôåñç Ýíôáóç óôï ëåõêü êáé ôï åìðüäéæå íá êéôñéíßæåé ìåò óôï ÷ñüíï. ¼óï ðßóù ãõñíÜìå óôï ÷ñüíï âëÝðïõìå üôé ôï ÷ñþìá ðáßæåé ðñùôáñ÷éêü ëüãï óôçí æùÞ ôùí áíèñþðùí. Ç Óáíôïñßíç üðùò âëÝðïõìå áðü ôá åõñÞìáôá ôùí áíáóêáöþí, åßíáé ãåìÜôç ìå ôïé÷ïãñáößåò, ìå ùñáßá ÷ñþìáôá êáé êáèçìåñéíÝò ðáñáóôÜóåéò. ÖáíôÜæïìáé ôá áéóèÞìáôá ôùí áíèñþðùí ðïõ æïýóáí ìÝóá ó' áõôÜ ôá äùìÜôéá... Ðüóï ùñáßá èá æïýóáí. Ôé êáëÜ èá áéóèÜíïíôáí
Ôï ëïõëáêß Þ ßíôéγêï êáëýðôåé üëç ôç ìÜæá ôïõ óðéôéïý êáé ãßíåôáé Ýíá ìå ôïí ïõñáíü Ô.Ð.
êÜèå ìÝñá, âëÝðïíôáò áõôÝò ôéò æùãñáöéÝò êáèçìåñéíÜ. Êáé ôé âéþìáôá áðü áõôÝò ôéò æùãñáöéÝò èá äéáôçñïýóáí ôá ðáéäéÜ, óôçí ìåôÝðåéôá æùÞ ôïõò. Êáé ôéò óåâüíôïõóáí åðßóçò óáí êÜôé ðïëýôéìï, áöïý äéáôçñÞèçêáí ìÝ÷ñé êáé óÞìåñá.
The indigo colour covers the entire mass of the house and fuses with the sky. T. P.
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ôçí áñ÷áßá ÁèÞíá, äåí õðÞñ÷å ôï ìðëå, åíþ óôçí ÊñÞôç êáé ôç ÍÜîï ôï âëÝðïõìå ðïëý óôéò ðáñáóôÜóåéò. Óôçí ðïéêßëç óôïÜ ôùí Áèçíþí, ï
Ðïëýãíùôïò æùãñÜöéóå ôçí Üëùóç ôçò Ôñïßáò ÷ñçóéìïðïéþíôáò þ÷ñá. Ìå
ÖáíôáóôéêÞ ðñüóïøç, ãéá Ùäåßï Þ öñïíôéóôÞñéï ìå áñ÷áßåò áíáìíÞóåéò, þóôå íá áíáðëÜèïõí ôï ðáñåëèüí ïé ìáèçôÝò Á.Ö.
åëÜ÷éóôá ÷ñþìáôá êáé ìüíï ìå ãñáììÞ. Ìüíï ôá õöÜóìáôá Þôáí ãåìÜôá ìå ÷ñþìá. Êáèþò, üðùò óôéò ëåõêÝò ëηêύèους. Ïé æùãñÜöïé ôùí áããåßùí åðçñåÜóôçêáí ðÜñá ðïëý áðü ôïí Ðïëýãíùôï. Êáé ï Ðáñèåíþíáò Þôáí Ýã÷ñùìïò. Ïé êßïíåò Þôáí âáììÝíïé åëáöñÜ ìå þ÷ñá êáé ôá áåôþìáôá ìå êüêêéíï êåñáìéäß ÷ñþìá. ¸ôóé, áðü ìáêñéÜ, ðñïâÜëëïíôáí ïé êßïíåò êáé ôá áãÜëìáôá êáëëßôåñá óôá ìÜôéá ôïõ èåáôÞ.
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çí áãÜðç ãéá ôï ÷ñþìá, ôçí âëÝðïõìå êáé óôçí ìåôÝðåéôá æùÞ ôùí ÅëëÞíùí, ãéáôß Ý÷ïõìå ôá íåïêëáóóéêÜ êáé ëáúêÜ σπίτια ÷ñùìáôισμένα
ìå ôçí þ÷ñá êáé ôï êüêêéíï. Ôá íçóéÜ Þôáí ðïëý÷ñùìá. Ôá Ý÷ù äåé ðåñéðëáíþìåíïò áðü ìéêñüò óôï Áéãáßï. Äéáâáßíïíôáò ôá äñïìÜêéá ôïõò, óå Ýëïõæå ç þ÷ñá êáé ôï ãáëÜæéï. Ôá äùìÜôéá ðïõ æïýóáìå Þôáí ÷ñùìáôéóôÜ. Ôá âïñéíÜ Þôáí âáììÝíá êüêêéíá Þ þ÷ñá ãéá íá áéóèÜíåóáé ðéï èåñìÜ. Åíþ ôá ìåóçìâñéíÜ Þôáí ìðëå, ãéá íá áéóèÜíåóáé ðéï äñïóåñÜ. ÂëÝðïõìå, ëïéðüí, ðüóï ìåãÜëï ñüëï Ýðáéæå ôï ÷ñþìá óôç æùÞ ìáò, óôç æùÞ ôùí áíèñþðùí. ¹ôáí êÜôé ôï áíáãêáßï. ÊÜôé ðïõ Þôáí óõíõöáóìÝíï ìå ôç æùÞ ìáò. ¹ôáí áäéáíüçôï íá æåéò óå ëåõêïýò ôïß÷ïõò. Èá ôñåëáéíüíôïõóáí ïé Üíèñùðïé, üðùò ïé êñáôïýìåíïé óôá öïâåñÜ ëåõêÜ êåëéÜ.
Imaginary façade with ancient memories for a conservatoire or school, so that students can reconstruct the past. Á.F.
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Óðßôé óáí óêçíéêü èåÜôñïõ óôçí ¼ëõìðï ôçò ÊáñðÜèïõ. Ô.Ð.
A house like a stage-set in Olympos, Karpathos. Ô.P. 12
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Áðü ôï ëéìÜíé ôçò ÊÝáò, üðïõ ôï ýöïò åßíáé ëáúêü, íåïêëáóéêü Ýùò áõèáßñåôï. Á. Ö.
From the harbour of Kea, with the style ranging from folk to neoclassical to arbitrary. Á. F.
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æùãñáöéêÞ ìïõ ðñïÝñ÷åôáé áðü ôá ÷ñùìáôéóôÜ äùìÜôéá.
¸âëåðá ôïõò áíèñþðïõò íá ðñïâÜëëïíôáé ðÜíù ó' áõôïýò ôïõò ÷ñùìáôéóôïýò ôïß÷ïõò êáé Ýôóé äçìéïýñãçóá ôïõò ÷ñùìáôéóôïýò áíèñþðïõò. Äõóôõ÷þò, óôçí óçìåñéíÞ åðï÷Þ, óôçí ÅëëÜäá, ÷Üóáìå ôá ÷ñþìáôá. Êáé óôçí óýã÷ñïíç áñ÷éôåêôïíéêÞ áðïöåýãïõí ôï ÷ñþìá, ôï èåùñïýí ëáúêü. ÁëëÜ êáé ïé íåüðëïõôïé ôï áðïöåýãïõí, íá ìçí ôïõò èõìßæåé, ßóùò ôçí êáôáãùãÞ ôïõò êáé ôçí öôþ÷éá. Êáé Ýôóé áíáãêÜæïõí ôïõò áñ÷éôÝêôïíåò ðïõ óõíåñãÜæïíôáé, íá ôïõò éêáíïðïéïýí ÷ñçóéìïðïéþíôáò ðïëõôåëÞ õëéêÜ, ìÜñìáñá áðáóôñÜðôïíôá, ãõáëéÜ êáé áëïõìßíéá, ôñéììÝíá áöåéäþò óôá äÜðåäá êáé óôïõò ôïß÷ïõò. Êáé Ýôóé öôÜóáìå íá Ý÷ïõìå ìéá ÁèÞíá ôæáìÝíéá, êáèñåöôÝíéá êáé áëïõìéíÝíéá. Êáé áíôß íá öáßíåôáé ùñáßá, öáßíåôáé ãåëïßá êáé ðëïýóéá. Óáí ìéá ãõíáßêá ÷ïíôñÞ, ðáíÜó÷çìç ðïõ ôçò êñÝìïíôáé âñá÷éüëéá, óêïõëáñßêéá êáé êïëéÝ, ðñïóðáèþíôáò íá öáßíåôáé ùñáßá. Ãé' áõôü, êÜíïíôáò ìéá ðñïóðÜèåéá, ìå ôçí áíÜìíçóç ôïõ ðáñåëèüíôïò, ìáæß ìå
Áðü åéêüíá ôïõ Ôüêéï, ìå êåñáóéÜ êáé óðéôÜêé ìéêñü. Á.Ö.
ôïí ößëï ìïõ áñ÷éôÝêôïíá Τάση ÐáðáúùÜííïõ, ðïõ äéÝðåôáé áðü ôá ßäéá áéóèÞìáôá, óêåöôÞêáìå, êÜíïíôáò áõôü ôï åãêüëðéï íá äþóïõìå ëßãï ÷ñþìá êáé öùò, ìÝóá óôçí ãêñßæá åðï÷Þ ìáò.
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From an image of Tokyo, with cherry tree and a small house.. Á. F.
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Ðïëõêáôïéêßåò áðü ôï Ìåîéêü, üðïõ ç õðåñâïëÞ óôá ÷ñþìáôá óõíå÷ßæåôáé êáé óôá óýã÷ñïíá êôßñéá, áêïëïõèþíôáò ôïõò ëáúêïýò ÷ñùìáôéóìïýò Á.Ö.
Apartment blocks in Mexico, where the flamboyant colours continue to live in contemporary buildings, following folk patterns. Á.F.
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Áðü ôá óðéôÜêéá ôïõ οικιστικού οργανισμού αξιωματικών (ÁÏΟÁ) óôïõ ÐáðÜãïõ, ìå ÷ñùìáôéóìïýò ðñÜóéíïõò êáé êïêêéíùðïýò. Á. Ö. An original house built by the Officers’ Building Society (AOΟA) in Papagou, in green and reddish tones. Á. F.
Ðïëý÷ñùìïò ðýñãïò óôï Ìåîéêü. ÌïéÜæåé ìå ôçí ÅëëÜäá. Á.Ö. A multicolour tower in Mexico. Looks like Greece. Á. F.
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ρχιτεκτονική και ρώμα Ôï ÷ñþìá ðÜíôïôå Ýðáéæå óçìáíôéêü ñüëï óôïí ôñüðï ìå ôïí ïðïßï ïé Üíèñùðïé áíôéëáìâÜíïíôáí ôï ÷þñï, ôçí áßóèçóç ðïõ åß÷áí ãéá ôéò ôñåéò äéáóôÜóåéò ôïõ, ôç ó÷Ýóç ôïõ ìå ôï öùò Þ ôç óêéÜ, ôçí éäéüôçôÜ ôïõ íá ôïíßæåé êáé íá óçìáôïäïôåß ôïí áñ÷éôåêôïíéêü ÷þñï. Ç åíóôéêôþäçò áíÜãêç ôïõ áíèñþðïõ íá óçìáôïäïôÞóåé ôï ÷þñï ìÝóá óôïí ïðïßï æåé êáé êéíåßôáé, íá æùãñáößóåé óêçíÝò áðü ôïí êáèçìåñéíü ôïõ âßï, êáôáãñÜöåôáé áðü ôçí áðáñ÷Þ ó÷åäüí ôçò éóôïñßáò ôïõ. "Ôï ÷ñþìá åßíáé æùÞ, ãéáôß Ýíáò êüóìïò ÷ùñßò ÷ñþìáôá ìáò öáßíåôáé íåêñüò", õðïóôÞñéæå óùóôÜ ï Ãéï÷Üíåò ºôåí. Áñêåß íá ðáñáôçñÞóåé êáíåßò ôéò åðéöÜíåéåò ôùí óðéôéþí ôùí ðñïúóôïñéêþí ïéêéóìþí ôçò Óáíôïñßíçò êáé ôçò ÊñÞôçò ìå ôá Ýíôïíá ÷ñþìáôá êáé ôéò ðïëõÜñéèìåò ôïé÷ïãñáößåò, ôïõò âáóéëéêïýò ôÜöïõò ôçò Âåñãßíáò Þ áñãüôåñá ôá êáëÜ äéáôçñçìÝíá óðßôéá ôçò Ðïìðçßáò, ãéá íá äéáðéóôþóåé ôç ìåãÜëç óçìáóßá ðïõ Ýäéíáí ôüôå óôç ÷ñÞóç ôùí ÷ñùìÜôùí, áëëÜ êáé ôéò ôåñÜóôéåò êáôáêôÞóåéò ôïõò ôüóï óôç æùãñáöéêÞ üóï êáé óôçí áñ÷éôåêôïíéêÞ. Ç ðáñÜäïóç êÜèå ëáïý Ý÷åé äþóåé óôï ÷ñþìá ðïëëÝò öïñÝò ìõèéêÞ õðüóôáóç, ðñïåñ÷üìåíç áðü ðáíÜñ÷áéá ðáãáíéóôéêÜ Þèç êáé Ýèéìá. Ôï ðñïáéþíéï áßíéãìá ôçò æùÞò êáé
¸íôïíá ÷ñþìáôá êáé ëáäïìðïãéÝò áëëÜæïõí áðï÷ñþóåéò ìå ôï öùò êáé ôç óêéÜ. T. Ð. The striking colours and varnishes change hue under light and shade. T. P.
ôïõ èáíÜôïõ Ý÷åé ôáõôéóôåß ìå ôï ÷ñþìá. Áêïëïõèåß êáôÜ êÜðïéï ôñüðï ôç æùÞ êáé ôçí åêöñÜæåé ôáõôü÷ñïíá. Åßíáé ïé áñ÷Ýãïíåò ìïñöÝò êáé ôá óêáëßóìáôá ðÜíù óôï óïâÜ ôùí ëáúêþí óðéôéþí, ôï ÷ñþìá óôéò åñãáôéêÝò ðïëõêáôïéêßåò, åßíáé áêüìç ïé öùôïãñáößåò ðïõ êñÝìïíôáé óôéò ëáìáñßíåò ôùí óõíåñãåßùí áõôïêéíÞôùí. Áðü ôá ÷ùìÜôéíá óðßôéá ôçò Éíäßáò Þ ôïõ Ìáñüêï Ýùò ôá åîðñåóéïíéóôéêÜ ÷ñþìáôá ôùí ÌåîéêÜíùí ðïõ äåí äéóôÜæïõí íá
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ËáúêÜ óðßôéá óôï Ìåîéêü. Ôï ÷ñþìá äå ãíùñßæåé óýíïñá T.Ð. Folk houses in Mexico. Colour knows no boundaries. T. P.
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Óðßôé óôïõ ÐáðÜãïõ áðü ôïí ÁÏΟÁ. Ùñáßï óðéôÜêé ðïõ äéáôçñåß ðáëáéÜ óôïé÷åßá êáé ðñïóáñìüæåôáé ôï '65.
A bright indigo adds depth to the wall surface. The stone steps stand out under the light in Jodhpur, India. T.P.
An Officers’ Building Society (AOΟA) house in Papagou. A nice little house which retains some old elements, adapted in ’65.
Á.Ö.
Á.F.
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Ôï Ýíôïíï ëïõëáêß äßíåé âÜèïò óôçí åðéöÜíåéá ôïõ ôïß÷ïõ. Ôá ðÝôñéíá óêáëïðÜôéá îåðñïâÜëëïõí êáé ôïíßæïíôáé ìå ôï öùò óôç Jodhpur ôçò Éíäßáò. T.Ð.
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÷ñùìáôßóïõí áêüìç êáé ôïõò ôÜöïõò, ðñïêáëþíôáò ôïí èÜíáôï üðùò èá Ýëåãå ï ÏêôÜâéï Ðáζ, ôï ÷ñþìá ëåéôïõñãåß êõñßùò óõìâïëéêÜ, áíáôñåðôéêÜ. Ðáëáéüôåñá, óôá ëáúêÜ êõñßùò óðßôéá, ëßãåò çìÝñåò ìåôÜ ôï óïâÜôéóìá ôùí ôïß÷ùí êáé ðñéí ôï êïíßáìá óôåãíþóåé åíôåëþò, Ýâáöáí ôçí åðéöÜíåéá ìå áóâåóôï÷ñþìáôá, ôá ïðïßá äéåßóäõáí óôç ìÜæá ôïõ åðé÷ñßóìáôïò äçìéïõñãþíôáò Ýôóé Ýíá åíéáßï óþìá, åîáéñåôéêÜ áíèåêôéêü óôç äéÜñêåéá ôïõ ÷ñüíïõ. Ãáéþäç ÷ñþìáôá ðñïÝêõðôáí áðü ôï áíáêÜôåìá ôïõ áóâÝóôç ìå öõóéêÝò óêüíåò ôçò ãçò ðåôõ÷áßíïíôáò áðßóôåõôá üìïñöåò áðï÷ñþóåéò. Åßíáé ìéá ðáñÜäïóç ðïõ ìáò Ýñ÷åôáé áðü ðïëý ðáëéÜ, ÷áìÝíç ìÝóá óôï ðáñåëèüí, ìå ôå÷íéêÝò ðïõ Üëëåò åßíáé ãíùóôÝò êáé ÷ñçóéìïðïéïýíôáé áêüìç åíþ êÜðïéåò Üëëåò Ý÷ïõí ïëïêëçñùôéêÜ ðéá ÷áèåß êáé ìüíï êåßìåíá óáí ôïõ Ðëßíéïõ Þ ôïõ Âéôñïýâéïõ ìáò ôéò åðéâåâáéþíïõí. Óôç ëáúêÞ åëëçíéêÞ áñ÷éôåêôïíéêÞ ôï âÜøéìï ôïõ óðéôéïý ðïõ ãéíüôáí êÜèå ÷ñüíï ðñéí ôéò óçìáíôéêÝò åïñôÝò, "îáíáæùíôÜíåõå" ôï óðßôé êáé óõìâüëéæå ôç ãéïñôéíÞ áôìüóöáéñá ôùí çìåñþí, ôçí êáèáñéüôçôá, ôçí áíáêáßíéóç, ôçí áíáíÝùóç. Ìéá äéáäéêáóßá Üìåóá óõíäåäåìÝíç ìå ôç æùÞ ôçò ïéêïãÝíåéáò, üôáí áêüìç ïé Üíèñùðïé åðéóêåýáæáí ìüíïé ôïõò ôá óðßôéá ôïõò. Ôï ÷ñþìá ôïõ óõíüëïõ ðñïÝêõðôå áðü ôïí óõíäõáóìü üëùí ôùí åðéìÝñïõò ÷ñùìÜôùí. Óðßôéá ìåìïíùìÝíá, áëëÜ êáé ïéêéóìïß ïëüêëçñïé åß÷áí ÷ñþìáôá -óå áíôßèåóç ìå ôçí ðáñåîçãçìÝíç ðÜëëåõêç óçìåñéíÞ ôïõò åéêüíá- ðïõ "Ýäåíáí" ôï Ýíá ìå ôï Üëëï êáé ç êôéñéáêÞ ôïõò ìÜæá 21
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áðïôåëïýóå ÷ñùìáôéêÞ óõíÝ÷åéá ôïõ åäÜöïõò, áëëÜ êáé ôïõ öõóéêïý ðåñéâÜëëïíôïò. Ãáéþäç ÷ñþìáôá áíáìåìåéãìÝíá ìå áóâÝóôç êÜëõðôáí ôçí ðñïçãïýìåíç åðéöÜíåéá, äçìéïõñãþíôáò Ýôóé åðÜëëçëåò ëåðôÝò óôñþóåéò, Ýíá éäéüôõðï ðáëßìøçóôï áðï÷ñþóåùí ðïõ ôï äéáêñßíåéò êÜôù áðü ôï ðá÷ý óôñþìá ôïõ áóâÝóôç. ÐïëëÝò öïñÝò áíáêáôåýáíå ôïí áóâÝóôç áêüìç êáé ìå ÷þìá ðïõ âñßóêáíå ôñéãýñù êáé ðåôý÷áéíáí êáôáðëçêôéêÜ ÷ñþìáôá. Áñêåß íá îåöëïõäßóåéò ëßãï ôçí åîùôåñéêÞ åðéöÜíåéá ôïõ óïâÜ êáé èá áíáêáëýøåéò ðùò ôï Ýíá ÷ñþìá êáëýðôåé ôï Üëëï, ðùò ç ìéá åðï÷Þ óêåðÜæåé ôçí ðñïçãïýìåíç áêïëïõèþíôáò êáé åêöñÜæïíôáò êáôÜ êÜðïéï ôñüðï ôçí ßäéá ôç æùÞ, "öõëëïìåôñþíôáò" èá 'ëåãå êáíåßò ôï ÷ñüíï. Ç åðéöÜíåéá ôïõ ôïß÷ïõ áðïêôïýóå Ýôóé ìéá ìïíáäéêÞ ðëáóôéêüôçôá, áöïý ï áóâÝóôçò ðñïóÝäéäå óôïí óïâÜ ìéá åêðëçêôéêÞ äéáöÜíåéá, äçìéïõñãþíôáò ôçí áßóèçóç âÜèïõò. Ï áóâÝóôçò äßíåé Ýíá öùôåéíü ÷ñþìá êáé ðïôÝ äåí êáëýðôåé ôçí åðéöÜíåéá ôïõ ôïß÷ïõ ïìïéüìïñöá. ÌïéÜæåé ìå æùãñáöéêÞ. Æùãñáößæáíå ôá óðßôéá ôïõò, äåí ôá âÜöáíå!
ÁðïìåéíÜñéá áóâåóôï÷ñþìáôïò óå åðÜëëçëåò óôñþóåéò ðÜíù óôçí åðéöÜíåéá ôçò ëéèïäïìÞò. Ðáëßìøçóôï áðï÷ñþóåùí Ô.Ð.
Äåí åß÷áí äåóìåýóåéò åãêåöáëéêÝò, ïýôå õðÜêïõáí óå áíïýóéåò ðåéèáñ÷ßåò, Þôáí åëåýèåñïé áðü êáíüíåò êáé íïìïôÝëåéåò, ãé' áõôü ïñéóìÝíåò öïñÝò óõíáíôÜìå áñéóôïõñãÞìáôá óôçí ðáñáäïóéáêÞ áñ÷éôåêôïíéêÞ.
Óõ÷íÜ
âëÝðïõìå
áðñïóäüêçôïõò
÷ñùìáôéêïýò
óõíäõáóìïýò êáé åíáëëáãÝò Þ ìáò îáöíéÜæïõí áíáðÜíôå÷á ÷ñùìáôéêÜ ðáé÷íéäßóìáôá åíþ äåí åßíáé ëßãåò ïé öïñÝò ðïõ ìßá åðéöÜíåéá ôïß÷ïõ ìáò èõìßæåé ðßíáêá ìïíôÝñíáò æùãñáöéêÞò. ×ñþìáôá åôåñüêëéôá óå ðñþôç ìáôéÜ ðïõ áí ôá êïéôÜîïõìå ìåìïíùìÝíá ßóùò íá åßíáé Ýíôïíá, áêüìç êáé ðñïêëçôéêÜ, üôáí üìùò âñßóêïíôáé äéÜóðáñôá ìÝóá óôï óýíïëï ôïõ 22
Whitewash in peeling off layers on the surface of the stone wall. A palimpsest of hues. T.P.
Á.Ö.
A little harbour in Evia, with a church and classic colours. A vivid picture that makes you want to be there. Á. F.
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ËéìáíÜêé óôçí Åýâïéá ìå åêêëçóßá êáé êëáóéêïýò ÷ñùìáôéóìïýò. ÃëáöõñÞ åéêüíá. Óïõ Ýñ÷åôáé íá ðáò åêåß.
áðïêôïýí
Ýíá
äéáöïñåôéêü
íüçìá
êáé
ëåéôïõñãïýí óõìðëçñùìáôéêÜ üðùò ïé ìéêñÝò øçößäåò ó' Ýíá øçöéäùôü.
¸÷åé åîáéñåôéêü åíäéáöÝñïí íá
ðáñáôçñÞóåé êáíåßò ôïí ôñüðï ìå ôïí ïðïßï ÷ñùìÜôéæáí êáé åîáêïëïõèïýí áêüìç óôéò ìÝñåò ìáò íá ÷ñùìáôßæïõí ôá ëáúêÜ óðßôéá. Ôï ÷ñþìá ãßíåôáé óçìåßï, ãñáììÞ, åðéöÜíåéá, üãêïò. ÐïëëÝò öïñÝò îå÷åéëßæåé êáé Ýîù áðü ôá ðåñéãñÜììáôá. Äåí óôáìáôÜ ìüíï óôçí êáôáêüñõöç åðéöÜíåéá ôïõ ôïß÷ïõ, áëëÜ ðåñíÜåé êáé ðÜíù áðü ôïí äñüìï, ôïíßæïíôáò åëåýèåñá ïëüêëçñåò åðéöÜíåéåò, óêáëéÜ Þ ìåìïíùìÝíá óçìåßá. ÐåñíÜåé áêüìç êáé ðÜíù áðü ðÝôñåò, âñÜ÷éá, êïñìïýò äÝíäñùí êáé ü,ôé Üëëï õðÜñ÷åé óôïí ðåñßãõñï ôïõ óðéôéïý, ôïíßæïíôáò áêüìç ðåñéóóüôåñï ôçí åðáöÞ ôïõ êôßóìáôïò ìå ôï Ýäáöïò. ¸ôóé ôï óðßôé ìïéÜæåé íá åðåêôåßíåôáé êáé Ýîù áðü ôá üñéá ôçò ìÜæáò ôïõ êáé íá óõíäÝåôáé ìÝóù ôçò ÷ñùìáôéêÞò åðéöÜíåéáò ìå ôá ãåéôïíéêÜ ôïõ êôßóìáôá. ÁðïêôÜ ìå ôïí ôñüðï áõôü ï ÷þñïò ìéá Ýíôïíç ðëáóôéêüôçôá êáé ïìïéïãÝíåéá. ÁõôÞ ç çèåëçìÝíç êáé åëåýèåñç áðü êáíüíåò "äéáññïÞ" ôïõ ÷ñþìáôïò, óïõ äßíåé ôçí åíôýðùóç åíüò ÷þñïõ ðïõ ðÜëëåôáé, äõíáìéêïý êáé ôáõôü÷ñïíá åíéáßïõ. Ôá ðåñéóóüôåñá õëéêÜ äüìçóçò Ý÷ïõí ôï äéêü ôïõò öõóéêü ÷ñþìá ðïõ ôá ÷áñáêôçñßæåé. Ôï óêõñüäåìá, ãéá ðáñÜäåéãìá, ðïõ åßíáé Ýíá óýã÷ñïíï õëéêü ìå ôï ïðïßï êôßæïõìå óôïí ôüðï ìáò, áðü ìáêñéÜ Ý÷åé ôçí óôá÷ôéÜ 24
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ïéêéóìïý
The vibrant colours on the house fronts in San Angel, Mexico turn the street into a modern painting. Ô. P.
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¸íôïíá ÷ñþìáôá óå ðñïóüøåéò óðéôéþí óôï San Angel ôïõ Ìåîéêïý, äéáìïñöþíïõí ôï ìÝôùðï ôïõ äñüìïõ óå ðßíáêá ìïíôÝñíáò æùãñáöéêÞò Ô.Ð.
ËåðôïìÝñåéá óå óôÝøç óðéôéïý óôá Êïóêéíïý ôçò Ñüäïõ. Ôï ðëáóôéêü Þ ç ëáäïìðïãéÜ áíôéêáèéóôïýí ôï áóâåóôü÷ñùìá óôïí Áñ÷Üããåëï ôçò Ñüäïõ. Óôçí ëáúêÞ áñ÷éôåêôïíéêÞ äåí õðÜñ÷ïõí åãêåöáëéêïß êáíüíåò êáé íïìïôÝëåéåò, áëëÜ áðßóôåõôç åëåõèåñßá. Ô.Ð.
from the crown of a house at Koskinou, Rhodes. Latex or enamel paint replace whitewash at Archangelos, Rhodes. There are no cerebral rules or axioms in folk architecture –just incredible freedom. Ô. P.
25
Üóåéò êïíôÜ ôçí áäñÞ ôïõ åðéöÜíåéá, äéáêñßíåéò Ýíáí êüóìï ïëüêëçñï áðü äéáöïñåôéêÜ ÷ñþìáôá. Ôá áäñáíÞ, ìéêñüôåñá Þ ìåãáëýôåñá, êáé êõñßùò ç Üììïò, äçìéïõñãïýí ìáæß ìå ôéò óêïõñüôåñåò êáé áíïéêôüôåñåò ðåñéï÷Ýò ôçò åðéöÜíåéáò ôïõ îõëïôýðïõ Ýíá ðëÞèïò äéáöïñåôéêþí áðï÷ñþóåùí. Áõôü ãßíåôáé áêüìç åíôïíüôåñï áðü ôç óôéãìÞ ðïõ ôï óêõñüäåìá ðåëåêçèåß, ïðüôå ôá ÷áëßêéá, ôï ãáñìðßëé Þ ç Üììïò åìöáíßæïíôáé óôçí åîùôåñéêÞ åðéöÜíåéá ôïõ õëéêïý, ðïõ ìïéÜæåé ìå öõóéêÞ ðÝôñá. Ôá åðé÷ñßóìáôá åðßóçò, üôáí ðåñéÝ÷ïõí ìÝóá óôç ìÜæá ôïõ êïíéÜìáôïò ÷ñùóôéêÝò ýëåò Þ
Ýã÷ñùìá
áäñáíÞ,
áðïêôïýí
ôåëåßùò
äéáöïñåôéêÞ åðéöÜíåéá, ç ïðïßá ðáëéþíåé üìïñöá ìå ôï ðÝñáóìá ôïõ ÷ñüíïõ. ÁëëÜ êáé ôá Üëëá õëéêÜ, ïé ðÝôñåò, ôá ôïýâëá, ïé ôóéìåíôüëéèïé… êáëü åßíáé íá áöÞíïíôáé óôï öõóéêü ôïõò ÷ñþìá, üôáí ïé óõíèÞêåò âåâáßùò ôï åðéôñÝðïõí, ãéáôß Ýôóé ãßíïíôáé ðéï æùíôáíÜ áëëÜ
êáé
áíèåêôéêüôåñá
óôéò
êáéñéêÝò
óõíèÞêåò. Ìå ôïí êáéñü ç åðéöÜíåéá ôïõò ãßíåôáé áêüìç ðéï áäñÞ êáé êÜíïõí ôï êôÞñéï íá "ãåñíÜåé" öõóéïëïãéêÜ êáé íá ãßíåôáé
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áðü÷ñùóç ôïõ ôóéìÝíôïõ, üôáí üìùò ðëçóé-
Ôï ÷ñþìá êáëýðôåé ôçí åðéöÜíåéá ôïõ ôïß÷ïõ êáé îå÷åéëßæåé ðÜíù óôï êáëíôåñßìé. Ô.Ð.
A dialogue of colours: indigo and light red interchange freely on the stone surfaces in Jodhpur, India. Ô. P.
Colour covers the surface of the wall and spills out onto the cobblestones. Ô. P.
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ÄéÜëïãïò ÷ñùìÜôùí. Ëïõëáêß êáé áíïé÷ôü ÷ïíôñïêüêêéíï åíáëëÜóóïíôáé åëåýèåñá ðÜíù óôéò ðÝôñéíåò åðéöÜíåéåò óôç Jodhpur ôçò Éíäßáò. Ô.Ð.
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ùñáéüôåñï, áöïý ðïôÝ äåí ÷Üíåé ôç æùíôÜíéá ôïõ êáé ôçí ðáôßíá ðïõ ôïõ äßíåé ï ÷ñüíïò. Äåí âñùìßæïõí åýêïëá üðùò ôá ôå÷íçôÜ ÷çìéêÜ ÷ñþìáôá êáé áðïññïöïýí ôçí Ýíôïíç áêôéíïâïëßá ôïõ Þëéïõ ÷ùñßò íá ôçí áíôáíáêëïýí åíï÷ëçôéêÜ. ¼ôáí ç âñï÷Þ ðÝöôåé ðÜíù óôçí åðéöÜíåéÜ ôïõò, ôá îåðëÝíåé êáé ôá êÜíåé íá ëÜìðïõí êáèáñÜ, üðùò ôá âñÜ÷éá óôéò áêôÝò ôçò èÜëáóóáò ìåôÜ ôï êýìá. Ôï ÷ñþìá êáé ôá õëéêÜ ãåíéêüôåñá Ý÷ïõí íá êÜíïõí ìå ôï ãåíéêüôåñï óõíèåôéêü êáé êáôáóêåõáóôéêü ëåîéëüãéï ôïõ êôιñßïõ. Ôåëåßùò äéáöïñåôéêïß ÷ñùìáôéêïß êáíüíåò éó÷ýïõí, ãéá ðáñÜäåéãìá, óôï íåïêëáóéêü êôίñéï, áð' üôé óôï ìåóïðïëåìéêü Þ ôï ìïíôÝñíï ôçò äåêáåôßáò ôïõ '60. Ôï ÷ñþìá äåí Ýñ÷åôáé åê ôùí õóôÝñùí íá äéáêïóìÞóåé êáé íá ïìïñöýíåé ôï ïéêïäüìçìá, áëëÜ áðïôåëåß áíáðüóðáóôï óõíèåôéêü óôïé÷åßï ôçò êåíôñéêÞò ôïõ éäÝáò êáé ôßèåôáé åî áñ÷Þò. Äåí åßíáé ëßãá ôá ìåóïðïëåìéêÜ êôίñéá, ãéá ðáñÜäåéãìá, ðïõ êáôáóôñÝöïíôáé óôçí êõñéïëåîßá êáé áëëïéþíåôáé ï ÷áñáêôÞñáò ôïõò üôáí ôá õðÝñï÷á ðåëåêçôÜ ôïõò êïíéÜìáôá êáëýðôïíôáé ìå
Ç îýëéíç áíùäïìÞ âÜöåôáé êáé ôïíßæåôáé áêüìç ðåñéóóüôåñï ç äéáöïñÜ ôçò êáôáóêåõÞò. Ô. Ð.
ðëáóôéêÜ ÷ñþìáôá, åíþ èá áñêïýóå ï êáëüò êáèáñéóìüò ìå õäñïâïëÞ ôçò åðéöáíåßáò ôïõò. Ôï ÷ñþìá üìùò ðñÝðåé íá ôï áíôéëáìâáíüìáóôå êáé íá ôï ÷ñçóéìïðïéïýìå ùò "äïìéêü õëéêü" ôçò êáôáóêåõÞò. ×ôßæïõìå äçëáäÞ ìå ôï ÷ñþìá! ¸ôóé èá ìðïñïýóáìå, ãéá ðáñÜäåéãìá, íá ðïýìå "×ôßæïõìå ìå êüêêéíï" êáé ü÷é "×ôßæïõìå ìå ôïýâëá". ¼ôáí ï áñ÷éôÝêôïíáò öáíôÜæåôáé ôïí áñ÷éôåêôïíéêü ÷þñï, äåí ìðïñåß ðáñÜ íá ôïí öáíôÜæåôáé ìå ÷ñþìáôá, õëéêÜ, öùò. ÊÜèå öõóéêü Þ ôå÷íçôü õëéêü Ý÷åé ÷ñþìá. Ðþò åßíáé äõíáôüí, ëïéðüí, íá ÷ôßæù ìå õëéêÜ, ÷ùñßò ôçí ßäéá óôéãìÞ íá ÷ôßæù ìå ÷ñþìáôá; 28
The wooden superstructure is painted to underscore the different method of construction. Ô. P.
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Ïéêéóìüò óôçí ÊÝá, ðïëý÷ñùìïò, 1969. Óðßôé ìå ôïß÷ïõò êáé êåñáìßäéá. ÕðÞñ÷áí ÷ñùìáôéóìïß åéêüíáò. Á. Ö. Colourful settlement in Kea, 1969. House with walls and roofing tiles. A.F.
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×ñþìá êáé áñ÷éôåêôïíéêÞ, ëïéðüí, ðïñåýïíôáé ùò áíáðüóðáóôåò êáé áäéáßñåôåò Ýííïéåò ìÝóá óôïí ÷ñüíï. Áí ôï Ý÷ïõìå áõôü êáôÜ íïõ áðü ôá ðñþôá óêßôóá ðïõ êÜíïõìå, ðñïóðáèþíôáò íá áðïêñõóôáëëþóïõìå ôçí êåíôñéêÞ éäÝá ôïõ êôéñßïõ, ôüôå ç ëåéôïõñãßá ôùí ÷ñùìÜôùí èá ðáßîåé áðïöáóéóôéêü ñüëï óôïí ôñüðï ìå ôïí ïðïßï èá óõíèÝóïõìå ôç ìïñöÞ ôïõ ïéêïäïìÞìáôïò êáé èá óõíäõÜóïõìå ôá õëéêÜ ôïõ. Èá ìáò áðáó÷ïëÞóåé, äçëáäÞ, ðïëý ðåñéóóüôåñï ç ó÷Ýóç ôïý åíüò õëéêïý ìå ôï Üëëï, ôï ðþò èá áêïõìðÞóåé ôï Ýíá äßðëá óôï Üëëï, ôï ðþò èá ðÝöôåé ôï öùò ðÜíù óôçí åðéöÜíåéÜ ôïõò êáé èá áíáäåéêíýåé
"ÍåêñÞ Öýóç" óå ìðëå êïñíßæá.
ôéò ëåðôïìÝñåéåò êáé ôéò õöÝò, éäéáßôåñá ó' Ýíáí ôüðï óáí ôï äéêü ìáò êÜôù áðü Ýíá åêôõöëùôéêü
öùò
ðïõ
äçìéïõñãåß
“Still life” in a blue frame.
Ýíôïíåò
öùôïóêéÜóåéò êáé ðåñéãñÜììáôá. ÌÜëéóôá ìÝóá óôï åõìåôÜâëçôï öùò êÜèå þñáò, áëëÜæåé êáé ç ôïíéêüôçôá ôùí ÷ñùìÜôùí ìÝ÷ñé íá öôÜóåé ç íý÷ôá, üðïõ üëá ãêñéæÜñïõí êáé ÷Üíïíôáé óéãÜóéãÜ ìÝóá óôï óêïôÜäé.
ÁñéóôåñÜ: Ç Ýíôïíç þ÷ñá êáé ôï ëïõëáêß ðÜíù óôï ìéêñü óðßôé óå õðïäÝ÷ïíôáé óôçí ¼ëõìðï ôçò ÊáñðÜèïõ Ô.Ð. Left:
Τάσης Παπαϊωάννου
A striking ochre and indigo combination on the small house welcomes you in Olympos, Karpathos. Ô. P.
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ÊïëÜæ ÷ñùìÜôùí, áëëïý Ýíôïíá êáé áëëïý îåèùñéáóìÝíá äßíïõí ôï ìÝôñï ôïõ ÷ñüíïõ.
The collage of colours, some strong and some faded, provides a measure of time.
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C hro
The Ancient Greek word chro means skin.
The painters of ancient times said that the colour (chroma) of the earth resembled human skin, and so they used it as a material in order to sense the likeness, and this colour was called ochra (ochre) by an anagram. I can remember that 60 years ago all the colours in powder form were called 'ochre', and I was
Ôñßðáôï óðßôé óôïõ ÐáðÜãïõ ìå þ÷ñåò êáé ôñéáíôáöõëëéÜ ÷ñþìáôá, 2007. Óå ëßãï èá ãêñåìéóèåß ãéá ðïëõêáôïéêßá. Áêüìá ôï æïõí áíèñþðéíá Á.Ö.
struck by this, because I couldn't understand why we called green and red 'ochres'. I understood later. When we wanted to refurbish the wall of our courtyard, we would summon the painter, who took ochre, mixed it with lime, and painted the wall with a brush used for painting ceilings, moving it in the shape of a figure-of-eight. And you could see the wall becoming moist first of all in a dark colour, and after it dried, you saw a shiny surface, a fine ochre. And the courtyard filled with light. I can remember very well this yellow glow in the whole of Athens, because almost all the houses were painted on the outside with this ochre, or in the brick colour which was a shade of baked ochre. When we bake ochre, it changes to a brick colour. In the Archaic Museum of the Acropolis there is a statue which has turned red from the effect of fire. But there was also the blue of the 'blue-bag' which was used to whiten cotton fabrics 34
Three-storey house in Papagou, in ochre and rose tones, 2007. Still inhabited, but soon inevitably to be torn down and give way to an apartment block. Á. F.
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by putting a little blue into the water. These were magical things. And painters
Óôçí ¢íäñï ìå ìÜíôñá, çëåêôñéêÞ êïëþíá êáé óðßôé ìå …. õðïäïìÝò. ×ñþìá õðÜñ÷åé. ÍïóôáëãéêÞ åéêüíá. Á.Ö. Andros, a wall, an electricity pole and a house with …. infrastructure. There is colour. A nostalgic image. Á. F.
used to put a little blue in the tin in the white of the limewash, and this lent greater intensity to the white and prevented it from yellowing with time. The further we go back in time, we see that colour plays a primordial role in human life. Santorini, as we can see from the finds of excavations, was full of wall-paintings, in fine colours, showing everyday scenes. I can imagine the feelings of the people who lived in those rooms ... How well they must have lived. How fine they must have felt each day, as they saw these paintings on a daily basis. What experiences from these paintings the children would have retained in their later life. And they also reverenced them as something precious, since they have survived until the present day. In ancient Athens there was no blue, while on Crete and Naxos, we see it used a lot in depictions. In the Painted Portico in Athens, Polygnotus painted the taking of Troy using ochre. With very few colours and the line only. Only the fabrics were covered with colour. Just as on the white lekythoi. The painters of pottery were greatly influenced by Polygnotus. And the Parthenon was painted in colours. The columns were lightly painted ochre, and the pediments a red brick colour. In this way, the columns and the statues stood out better from afar off in the eyes of the beholder. The love of colour can also be seen in the subsequent life of the Greeks, because we have neo-Classical and vernacular colourings, in ochre and red. I saw them when wandering in the Aegean when I was young. When you walked along the little streets, you were bathed in ochre and blue. The rooms in which we lived were painted in colours. Those on the north were painted red and ochre so that you felt warmer; whereas those on the south were blue, so you would feel cooler. We see, then, how great a role colour played in our life, 37
bound up with our lives. It was unthinkable to live within white walls; people would go mad, like the prisoners in the appalling 'white cells'. My painting is derived from coloured rooms. I saw people standing out against these coloured walls and so I created coloured people. Sadly, in the present age, in Greece, we have lost colours. In contemporary
Ç þ÷ñá ôçò ÷ùìÜôéíçò áñ÷éôåêôïíéêÞò ùò öüíôï ôçò Ýíôïíçò ðáñáäïóéáêÞò åíäõìáóßáò óôï Khuri ôçò Éíäßáò.
architecture we avoid colour, we consider it 'low class'. And the nouveaux riches avoid it, perhaps so that it doesn't remind them of their origins and of poverty. And so they force the architects they employ to satisfy them by using luxury materials, gleaming marble, glass and aluminium, lavishly sanded on floors and walls. And so we come to have an Athens of glass, mirrors and aluminium. And instead of being
The ochre of earth-brick architecture as the backdrop to the brightly coloured traditional costume in Khuri, India.
beautiful, it seems ludicrous and wealthy. Like a fat, ugly woman who is hung with bracelets, earrings and necklaces, in an effort to seem attractive. So, in making an endeavour, with the remembrance of the past, together with my friend the architect Tassis Papaioannou, who is imbued with the same feelings, we had the idea, in producing this little study, of bringing a little colour and light into this grey age of ours.
ÎåèùñéáóìÝíåò ÷ñùìáôéêÝò áíáìíÞóåéò óå áõèáßñåôï óôï ÐÝñáìá.
Alekos Fassianos Faded colour memories on an illegally built house at Perama.
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in human life. It was something necessary. Something which was
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Ðïëõóý÷íáóôï óôåíïóüêáêï óôç Jodhpur ôçò Éíäßáò.
A busy lane in Jodhpur, India.
An imaginary modernGreek settlement with disparate ancient and modern columns; newly-built and old houses. Somewhere around Tourkovounia or ... A. F.
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Öáíôáóôéêüò ïéêéóìüò íåïåëëçíéêüò ìå êïëþíåò áñ÷áßåò êáé óýã÷ñïíåò áíüìïéåò íåüêôéóôá óðßôéá êáé ðáëáéÜ. ÊÜðïõ óôá Ôïõñêïâïýíéá Þ ... Á.Ö.
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Ôüêéï ìå êåñáóéÝò ôï 1980. ÊÞðïé, åóùôåñéêüò ãéáðùíÝæéêïò áðü ìðáìðïý êáé êåñáóéÝò êáé êÞðïé ìå ÷áëßêéá êáé ðÝôñåò. Á.Ö. Tokyo with cherry trees in 1980. Enclosed Japanese garden with bamboo and cherry trees, gardens with rocks and pebbles. A. F.
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olour
Colour has always played an important role in the way in which people perceived space, the sense they had of its three dimensions, its relation with light or shadow, its property of stressing and marking out the realm of architecture. The instinctive need of man to mark out the space in which he lives and functions, to paint scenes from his everyday life is recorded almost from the very beginning of his history. "Colour is life, because a world without colours seems dead to us", Johanes Iten rightly maintained. We need do no more than observe the surfaces of the houses of the prehistoric settlements of Santorini and Crete with their bright colours and numerous wall-paintings, the royal tombs of Vergina, or, later, the well-preserved
×ñùìáôéêÝò åíáëëáãÝò óå óïâáôéóìÝíï ôïß÷ï ðáíôïðùëåßïõ óôá Êïóêéíïý ôçò Ñüäïõ. Ô. Ð.
houses of Pompeii, to realise the vast importance which was attached at that time by the use of colours, and their enormous conquests in painting and architecture. The tradition of every people has often ascribed to colour a mythical nature, derived from pagan manners and customs of the greatest antiquity. The ageold enigma of life and death has been identified with colour. It follows life, in a way, and at the same time gives expression to it. It is the primitive forms and the scratchings in the plaster of vernacular houses, the colour used in workers' housing; it is even the photographs which hang on the metal sheets of motor repair shops. From the houses of earth of India and Morocco to the
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Range of colours on the plastered wall of a grocer’s store at Koskinou, Rhodes. Ô. P.
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rchitecture and
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Öáíôáóôéêüò ðýñãïò, ìðëå ÷ñþìá, èá ëÜìðåé óôï öùò ôçò çìÝñáò. A.Ö. An imaginary tower in blue; it will sparkle in the daylight. A.F.
Contrasting colours on the façade of a house at Koskinou, Rhodes. T. P.
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×ñùìáôéêÞ áíôßèåóç óå ðñüóïøç ëáúêïý óðéôéïý óôá Êïóêéíïý ôçò Ñüäïõ. Ô.Ð.
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expressionistic colours of the Mexicans, who do not hesitate to colour even graves - challenging death, as Octavio Paz would say - colour functions chiefly symbolically, apotropaically. In earlier times, mainly in working-class houses, a few days after the plastering of the walls and before the plaster had completely dried, they used to paint the surface with limewash paints, which penetrated the mass of the plastering, thus creating a single body, extraordinarily resistant to the passage of time. Earthy colours resulted from the mixing of lime with natural powders from the earth, thus achieving incredibly beautiful shades. This is a tradition which comes to us from long ago, lost
¸íá óðéôÜêé óôï ×áëÜíäñé, áðÝìåéíå áðü ôçí áîéïðïßçóç ôïõ ôïðßïõ. A.Ö.
in the past, using techniques some of which are known and are still used, while others have now been totally lost and only texts such as those of Pliny or Vetruvius confirm their exis-
A little house in Halandri, a relic from over-development. A.F.
tence for us. In vernacular Greek architecture, the painting of the house which happened each year before important festivals 'revitalised' it and symbolised the festal atmosphere of those days, cleanliness, renovation, renewal - a process directly bound up with the life of the family, when people still repaired their own houses themselves. The colour of the whole resulted from the combination of all the individual colours. Individual houses, but also whole villages, had colours - in contrast with their allwhite, misguided present-day image - which matched one another, while their building mass was a continuation of the terrain, and of the natural environment. 45
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Óôçí Ãêïõáíá÷ïõÜíá ôïõ Ìåîéêïý, âëÝðïõìå ÷áìüóðéôï ìå ôóéìåíôüëéèïõò êáé ÷ñþìá. Guanajuato, Mexico – a shack with concrete blocks and colour.
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Óôï Ìáñêüðïõëï, ðÜëé Ýíá ÷áìüóðéôï, ìå ðëßíèåò êüêêéíåò, ðïõ ìÝíåé áêüìç ÷ùñßò íá ëéþóåé áðü ôéò âñï÷Ýò. A.Ö.
Another shack with red mud-bricks in Markopoulo, still not washed away by rain. A.F.
Earthy colours mixed in with lime covered the previous surface, thus creating successive fine layers, a sui generis palimpsest of shades discernible beneath the thick coating of the lime. Often, the lime was mixed even with the earth which was to be found all around and astonishing colours were achieved. If you only peeled off the outer surface of the plaster, you would discover how one colour covered the other, how one era covered the preceding one, following and giving expression in a certain way to life itself, 'leafing through' time, as you might say. Thus the surface of the wall acquired a unique plasticity, since the lime lent the plaster a surprising transparency, producing a sense of depth. The lime provides a bright colour and never covers the surface of the wall uniformly. They used to paint their houses as artists, not as painters and decorators! They had no cerebral commitments, nor did they obey inspid disciplines, they were free of rules and determinisms, and so sometimes we encounter masterpieces in traditional 47
tions and alternations, or we are taken by surprise by unforeseen games with colours, while the surface of a wall reminds us of a work of modern painting. Heterogeneous colours which, at first sight, if we look at them in isolation, are perhaps bright, even provocative, but when they are scattered over the whole of the village, take on a different meaning and serve to complement one another like the small tesserae in a mosaic. It is exceptionally interesting to study the way in which they used to colour, and continue to colour even today, vernacular houses. Colour becomes a point, a line, a surface, a volume. Often it runs over, outside the outlines. It does not stop only at the vertical surface of the wall, but crosses the road, freely highlighting whole surfaces, steps or isolated points. It even passes over stones, rocks, tree trunks and whatever else there is in the vicinity of the house, stressing even more the contact of the building with the ground. Thus the house seems to extend beyond the limits of its mass and to be linked by means of the coloured surface with the neighbouring buildings. In this way the space acquires a marked plasticity and homogeneity. This 'escape' of the colour, intentional and free of rules, gives the impression of a space which is vibrant, dynamic, and at the same time unified. Most building materials have their own natural colour which is characteristic of them. Reinforced concrete, for example, 48
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architecture. Frequently we see unexpected colour combina-
Decorative motif on an earthen house wall in India.
Óõíïèýëåõìá óðéôéþí óôçí Ãêïõáíá÷ïõÜíá ìå ôÜâëá êáé ÷ñþìá, ôï Ýíá åðÜíù óôï Üëëï.
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Äéáêïóìçôéêü ìïôßâï óå ÷ùìÜôéíï ôïß÷ï óðéôéïý óôçí Éíäßá.
Öáíôáóôéêüò ðýñãïò åìðíåõóìÝíïò áðü ôçí place d'Italie, ðïõ Ýìåíá êáé åß÷áí áñ÷ßóåé ôï ìïíôÝñíï Ðáñßóé. ÔåëéêÜ ôï êáôïßêçóáí ïé ÊéíÝæïé. A.Φ. An imaginary tower inspired by the place d’Italie, where I used to live as the modern Paris was being built. It was finally inhabited by Chinese people. Α.F.
A cluster of houses in Guanajuato with boards and colour, built one on top of the other.
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ern material with which we build in our country, from a distance has the ashen shade of cement, but when you come close to its rugged surface, you see a whole world of different colours. The aggregates, greater or smaller, particularly the sand, create together with the darker and lighter areas of the surface of the formwork a host of different shades. This becomes even more marked from the moment that the reinforced concrete is cut into shape, when the gravel, the pebbles or the sand are apparent on the outer surface of the material, which is like natural stone. Plasters also when they contain in their mass colouring materials or coloured aggregates, acquire a totally different surface which ages beautifully with the passage of time. But other materials also stones, bricks, breeze blocks - benefit from being left in their natural colour, when, of course, conditions permit, because in this way they become more vivid, and also more resistant to weather conditions. In time, their surface becomes even more
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which is at one and the same time a mod-
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Êõâéóôéêïß ÷ñùìáôéêïß óõíäõáóìïß óôï Guanajuato ôïõ Ìåîéêïý. Τ.Π. Cubist colour combinations in Guanajuato, Mexico. T.P.
×ñùìáôéóôÜ Ýñêåñ êñÝìïíôáé óôï êåíü óôï Guanajuato ôïõ Ìåîéêïý. Τ.Π. Coloured bay windows hovering in the air in Guanajuato, Mexico. T.P. 51
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rugged and they make the building 'age' naturally and
ÍÝïò ìå öïõëÜñé ôçí íý÷ôá óå ìïíôÝñíá ðüëç. ÌÜëëïí óôï Ôüêéï. Α.Φ.
become more beautiful, since in this case it does not lose its vitality and the patina which time has bestowed. These materials do not easily become dirty as artificial chemical paints do, and they absorb the strong radiation of the sun without
Young man with a foulard in a modern city, probably Tokyo.
reflecting it in an way that is a nuisance. When the rain falls
A.F.
on their surface, it washes them down and makes them shining clean, like the rocks on the sea shore after the waves have washed over them. Colour and materials generally have to do with the more general composition and construction vocabulary of the building. The rules which apply, for example, to a neo-Classical building are totally different from those which apply to an inter-War building or a building of the 1960s. Colour does not come ex post facto to decorate and embellish what has been built, but is an integral feature of composition of its central idea and is given from the beginning. There are not a few interWar buildings, for example, which are literally ruined and their character impaired when their superb hewn plastering is covered with plastic paint, while a good cleaning of their surface with water blasting would have sufficed. But colour should be perceived and used as a 'structural material' of the construction. In other words, we build with colour! And so we could say, for example, 'We are building in red' and not 'We are building with bricks'. When the architect imagines the architectural space, he cannot but imagine it 53
Tower in Mexico, in various architectural designs. Mexicans practise a dynamic kind of architecture. A.F.
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Ðýñãïò óôï Ìåîéêü, óå äéÜöïñá áñ÷éôåêôïíéêÜ ó÷Ýäéá. Ïé Ìåîéêáíïß Ý÷ïõí äõíáìéêÞ óôçí áñ÷éôåêôïíéêÞ ôïõò. Α.Φ.
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with colours, materials, light. Each natural or artificial material has a colour. How is it possible, then, for me to build with materials, without at the same time building with colours? Colour and architecture thus set out together as integral and indivisible concepts in time. If we bear this in mind from the first sketches which we make, as we attempt to formulate the central idea of the building, then the function of the colours will play a decisive role in the way in which we compose the form of the building and combine its materials. We shall be much more concerned, that is, with the relation of the one material with the other, how one will be set down next to the other, how the light will fall on their surface and bring out the details and textures, particularly in a country like this one, under a blinding light which produces sharp chiaroscura and outlines. Indeed, in the mercurial light of each time of day, the tonicity of the colours alters until night falls, when everything turns grey and little by little is lost in the darkness. Tassis Papaioannou
Óôçí ÈÞñá ìå ôá èïëùôÜ óðßôéá áéóèÜíåóáé óáí íá æåéò óôï ðáñåëèüí. Α.Φ. Thera with its vaulted houses makes you feel like you live in the past. A.F. 55
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Ëéáêùôü ðåñéôñéãõñßæåôáé áðü åêáôïíôÜäåò Ýã÷ñùìá ãõáëéÜ êáé ìðïõêÜëéá óå éäéïêáôáóêåõÞ óôï Ìåîéêü Áõôü ôï ëéáêùôü åßíáé óáí áõèáßñåôï, ôï Ýöôéáîå éäéþôçò óôçí ôáñÜôóá óðéôéþí, ÷ñçóéìïðïéþíôáò æåëáôßíåò, ãõáëéÜ êáé äéÜöïñá Üëëá áíáêõêëùìÝíá õëéêÜ. Åßíáé óáí âéôñþ. Âñßóêåôáé êïíôÜ óôï ìðëå óðßôé ôçò Öñßíôá ÊÜñëï. Sun lounge surrounded by hundreds of coloured bottles and pieces of glass in a makeshift construction in Mexico. A makeshift structure on the roof of a house, made using plastic sheeting, glass and other recycled materials. Looks like a stained window. Lies close to Frida Kahlo’s Blue House. 56
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rchitecture and
olour
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