| ACAarchitecture MAG 65 | ||
| "GREECE" IN ARCHITECTURE A PRIMORDIAL SOURCE OF INSPIRATION or "Ich bin ein Grieche" by A.C.Antoniades, AIA This is a time for contemplation and shame for all the free and honest citizens of this World; What follows is not just the attempt of a particular "global citizen" for Greece, who happens to be Greek, but of one who deeply believes like so many others before him and have substantiated to the best of their capacity, with their lives' work and attitude, that all the civilizations have contributed, one way or another to bringing us where we have reached, to the moon and way beyond, and that the whole history of our mental effort and evolution globally, is the result of our collective DNAs ; all shaped by were on this planet we were born, where we live, how we have been conditioned by our geography, the landscapes and the winds, the seas and the deserts, the canyons and the prairies that surround us...the people next to us, our trips, our "give and take"...it is us, the Globe, proud and shameful at the same time, good and evil, peace and war, brotherhood and disaster...so, let us all face it in calm and in tolerance !!! I have nothing more concrete to say in support my non -"local", non-parochial, and "non-nationalistic" personal attitude and disposition toward life and things, toward my global brothers , but call the attention of my welcomed reader to two of my own life's works, foremost for what follows, my book "Epic Space: Toward the roots of Western Architecture", an overview of all the architectures of this globe, or at least of as many , which I could see, feel and understand through the "Epics" I could read and to Viollet Le Duc ; he had never visited Greece, he was inspired and he wrote so lovingly about the architecture of the country of my birth and citizenship. But here, the call of the times and fate forces all , to stay back and shout as Kennedy did in Berlin,..Ich bin ein Grieche! What follows is an attempt, in these times of difficulty, to bring a summary view of the contribution of GREEK ARCHITECTURE through time to the architectures of the world. It is not just a current attempt of "a Greek architect" in times of difficulty, but it is a summary of this particular Greek architect's life-long concern, to present these subjects and make them part of the international dialogue through time. All of the items enumerated below have been subjects of previous publications of this author, either as whole articles in international magazines, or as parts in the author's various books and lectures in foreign Universities (USA, UK, JAPAN, MEXICO, TURKEY) through the years of his activities and career abroad, prior to his return home in 1996. The great contribution of GREECE in the world architecture through centuries, was "cleverly" suppressed by many "high smart" non-Greek theoreticians of the last half of the twentieth century , particularly of the "Post-modern" and the "ecology" lot, with the exception of Alexander Tzonis and Liane Lefaivre "Classical Architecture: The Poetics of Order" , which although probably widely read (an MIT edition), addressed only one even though major aspect of what I call the Greek offer to the world. The real OPPOSITION, in my own estimation of things, was brought to international prominence by the current author, during the early days of the propagation of Post-modernism by his friend Charles Jencks, as an answer to him "What are you trying to tell us? All these were already part of Greek Architecture...!". My official opposition found it very difficult to be expressed via Anglo-Saxon architecture media, even though in my attempt to promote my positions I always used the language and the terms the very capable and exquisite in "English" Jencks and others of "Anglo-Saxon lineage" UNDERSTOOD, never approaching my discourse from a boringly conservative or "scholastic" archaeological or history of Architecture mode; As an architectural design instructor, I had always in front of my mind my students, and everything I said or wrote was from a purely "design instruction" perspective, a means to inspire and encourage the imagination and creativity of my own students first . Because of this , several people home, who never knew me as "a teacher", have repeatedly accused me as "populist" ("Λαϊκιστή"), for referring to things and terms by their simple names, names that carried history-long significance and meaning , just by their mention alone. The mention of "Attiko topeio" ("Attic Landscape"), "Junta period" ("Χουντική εποχή"), "...tavernaki kai to kyma..." ( little taverna by the waves...) , were considered by some , as "populism"("Λαϊκισμός"/Laikismos).... In times such as the present, of the current difficulty GREECE has been going though, in opposition to stupid campaigns by media experts in various foreign media, particularly some deplorable German magazines and "lending entities", in opposition even to the widely spread idea home that Greece is ranking low in the esteem of nations and people abroad, I submit that this , as per my own experience, is absolutely NOT TRUE: GREECE and the GREEK architecture, the architecture in this country that springs out of the GREEK DNA and the history of the land through centuries, rank high in everybody's minds abroad, in the minds of all the above the average educated global non-Greek citizens; Particularly in the USA, to be of Greek origin, I had found to be a great attribute, always helping my personal advancement and respect by the others, I always felt in a sense, rather guilty, as I believed that "being and remaining Greek" was a cause for differential treatment to my benefit. Among equals, a GREEK had and still has an advantage, as GREEK and GREEKS, at least in the USA where I lived and worked for 32 years, and never became an American citizen, was offering me a great advantage over the rest.....The only handicap, being a Greek , was that my language was not spoken by the whole world, and this, let us face it as Greeks , is our great handicap. The GREEK of my time , had to work very hard, to find people from other countries that somehow shared values and DNA, and such people for me were the JAPANESE...Through JAPAN and Toshio Nakamura, I had been able to be heard, to state my pro-GREECE arguments , against many of the things that were said and propagated in the second half of the twentieth century, to speak about precedents in Ecology, modernism and Post-modernism, and to finally come to the statement of my own theory of Inclusivity in the Poetics of Architecture... Down deep, as a base to all this, was my belief in GREECE and in GREEK ARCHITECTURE, away from whatever architectural was happening in Greece that was senselessly imitating things and fashions abroad, practiced and propagated by fashionable practitioners and mostly academia, or to say it better, by senseless academia, that was manipulated by people and groups affiliated with political parties and close "professional" blinkers, that had nothing to do with GREECE, but were descendents of "oriental" bad habits, habits such as bribery and corruption, people of this country acquired over the last two centuries. For me, the eternal lessons of GREECE in architecture, which I believe ARE ALSO PROPERTY OF GREECE, offered historically to the whole humanity without ever enjoying "tangible royalties" over the centuries , follow this introduction . I hope , if you are students of architecture, you may spend more time on these subjects and the references presented here , through your libraries or through the LINKS provided in the text below.
1.The Palace of Knossos
The Earliest precedent of "inclusivist architecture", the "earliest architectural ecology"(Arcology), the earliest sample of collective living inclusive of ceremonial of life and incorporation of color as integral part of architecture, the earliest example of integrated resolution of the utilities and air-conditioning of spaces, via cross ventilation through appropriate cross-sectional design. ... For detailed presentation of all of the above see: A.C.Antoniades, "Cretan-Space" in "A+U" (Architecture and Urbanism), Oct. 1984,p.p. 83-90.
2.Laertis estate
3.The Palace of Odysseus
The first collage assembley composed out of free standing functional areas interconnected into an architectonic whole, of a complex program , the various uses being "STAGED" as per the life style scenario, inclusive of the Bed chamber of Odysseus and Penelope(see no.4 below). For more on all of the above and more see:Anthony C.Antoniades, "Epic Spacer: Toward the Roots of Western Architecture" , Van Nostrand Reinhold, New York, 1992 (also translated in Chinese, China Architecture and Building Press, Beijing 2007)
4. Odysseus and Penelope Bedroom - Green in the interior space, real Green...not "Green" The first space encountered in Architectural precedents, with "green" in the interior space: An olive tree being one of the four legs of the bed of the Odysseus and Penelope bed...What could one say more to the drawing above, sketched by a 6 year old child, Natassa Triviza, my goddaughter, a few minutes after I had read her the few lines of Homer about Penelope's test , who asked Odysseus to describe the interior of the bedchamber in order to make sure it was he.... (for more see: ACA"Epic Space..."). 5. Elpenorean Architecture
"Son of Laertis, seed of Zeus, resourceful Odysseus, A Curse of God wine caused my destruction; Miscalculated from above, the parapetless terrace where I spent the night gazing at the stars by Circe's palace. Upon your call I missed the stairs and fell straight down from the terrace, hitting the rocks to break my neck and send my soul to heaven (Hades) (Odyssey XI, 60-66, author's translation-re: "Epic Space: ibid. p.61). .Elpenorean architecture , or the architecture of Circe's palace, the first unique artifact of the whole Odyssey. The earlier reference to "taste", Circe's taste, of highly individualistic attitude toward the interior and exterior of a building. The earliest reference to "parapetless" terraces, stairs and roofs, the primordial root of architecture in the Mediterannean, a place for joy to all...the roots of the desires and dreams of every owner...the first suggestion on "user issues"....for more see: ACA: "Epic Space..." 6.The Trojan Horse
7. The Treasury of Atreus
The eternal prototype of "modernist composition" , a synthetic approach in which integral elements of function, are connected via the incorporation of "necks", in a strategy of ceremonial procession and symbolism. This precedent is also prototypical in the harmonious incorporation of varying types of solids, of varying methods of construction ("ekforikon systima"- "earth covered buildings"), etc. It is a monument of Death celebrating life, creativity, nature and memory. (sketch by ACA.) For more see: Α.Κ.Αντωνιάδη,"ΑΡΧΙΛΟΓΟΣ",συλλεκτικό χειρόγραφο - μη κερδοσκοπική έκδοση, Press the Grape, Santa Monica 2005 και Ελεύθερος Τυπος , Αθήνα 2006
8. Town-Shrines of the Spirit and armistice : DELPHI and OLYMPIA
The spiritual as an element of a country's cohesiveness....Man made assemblies in total co-existence with nature, where the IDEAL is persued in physical and metaphysical terms, where man seeks advice , justice and hope for his future in the decision making process for contemplated acts and expeditions. Delphi : A prototypical town-shrine with hardly any match in subsequent centuries and civilizations. Olympia : A prototypical shrine for global armistice....Two Greek precedents that have yet to see their equal physical counterparts in our modern World....Even the Olympic games, are far away from the initial conception by the Greek ancients...Delphi and Olympia, precedents of Good, gifts by the Ancient Greeks to mankind, never understood, exploited and misinterpreted, still "hopes" for the future... 9.The Acropolis of Athens
The most significant prototype of the "polar system of Design"; a language of Urban Design that was to be found 2000 years later in the architecture of Alvar Aalto and other great architects.
10.The Parthenon
For many people considered to be the top monument in the History of Architecture; A work of perfection , the highest work of Art of the Athenean Democracy of Perikles, Iktinos, Kallikrates and Phedias. Parthenon ! The main building on the Acropolis of Athens, in symphony with all the others ,as per the rules of a "polar system of Design", the pole being the point of exit from the Propylaea. The Acropolis of Athens, the Parthenon and the Erechtheion, as well as the Propylaea and the "pole" on the basis of which the whole design was decided. 11.The Agora
12. The Theater
"Theater" and "Actor" in English, "Θεατρο"(Theatro) and "Ηθοποιός" (Ethopoios) in Greek, worlds apart in Meaning for the same thing : In the Greek conception, a "Visual thing" where the people who act, "stimulate the character" and help the community elevate its morals and the character of its members to higher levels, a building and institution with destination ...beyond the "visual"...What more to say....The Epidaurus open air Greek theater to the left , and student projects to its right, by C. Xanthopoulos and Th. Panzaris, "Architectural studies 1", NTUA- Greece, 1964 13.The Hippodamean System and "Typology
14. Pergamon-Asia Minor : The most inclusivist....
The Plan of Pergamon is the most inclusive urban design precedent of antiquity, combining Free form logic as that developed in Delphi, Agora-type assemblies of free-form and rectilinearity, along with touches of polar system within the rectilinear precincts. Regarding the last, major buildings such as temples are placed at an angle offering maximumvisual impact to the viewers, the buildings viewed at an angle instead of frontally. The Theater and the Stoa at its base, represent the symbolic and aesthetic datum of the whole. The Acropolis of Athens and the Pergamon principles can be seing in the 20th century works of Alvar Aalto .
15.The Haghia Sophia
16. Mount Athos
17. The Greek Islands
Town planning of the people, during the medieval times in the Greek archipelago, towns of people oppressed yet FREE, towns of pirates and family lords, towns of cosmopolitans who found there "NEST" that was always there, and retained it, people of the Eastern Mediterranean, of the winds and the greatest blue, towns in many colors, other times in white, towns of mix and individuality, with often one function, "hometown"-"home", and unifying element the white and the monastery over it in the case o Patmos, the last resort in times of Danger. Greek islands, the primordial case of architectural detailing and metaphysics, towns of customs, life ceremonial, dance and community spirit, towns in unity with the landscape, their terrain and the elements (for more see: A.C.Antoniades,"Greek Islands: A case study in the Metaphysics of Architectural Detail" in "A+U" (Architecture and Urbanism),July 1980, pp. 39-58 in English and Japanese translation.) 18. Peoples' Palaces / Architecture without architects-Architect/User/Builder, or the Holy Trinity of Architecture....
A further exploration into the Greek islands where all the elements hybernating in the depths of man's psyche find eventual expression through the building of his own habitat, the home, built with his own hands, man acting as "Architect-Builder-user" (the holy trinity of architecture). In the process the simple man builds his "Palace", PEOPLES' PALACES ...see "A+U" , 1896 issue no.188 , pp. 79-90 , in English and Japanese). 19. The Creek version of the imported Styles
And the more these islanders were becoming cosmopolitan, the more they were roving around the Mediterranean, the more other Europeans, new-comers to these lands, were having problems and fighting among themselves, these islanders , from Hydra, Spetses and Psara, mariners of no fear , pirates and family patriarchs, saw other places, and imported their styles, adjusting the "palatial" with the "modest", living in order and community, everybody sharing, in danger and adversities, nobody owing a whole boat to themselves, the best insurance for times of adversity, covenants and ways of living against the unexpected. Island Towns, assemblies of local and the imported, evolving through time into authentic, as "people" are and always remain one fist when things turn sour and adverse . Hydra town, will always be a model of imported styles in conservation. 20.The Revivals from the Past : first in opposition and creative rebelion...ART not DESTRUCTION !
There are some great examples, such as the "Athenian Trilogy" by the Hansen brothers, the Library, the University and the Academy; But these, perhaps in opposition to the blasphemy by Karl Friedrich Schinkel , an otherwise great architect, who made a design and agressively attempted to put King Otto's palace on the top of the Acropolis, making the Parthenon a decorative element of the entrance court to the palace compound , infuriated the simple and unsophisticated Greeks of the time, who could never swallow ever since such act of disrespect and the rip-off of their own architecture in the first place, and never really accepted neo-classicism. One more GREEK "FIRST" I suppose, an attitude of Opposition to whatever had no soul, to whatever was imitation, to whatever was a rip off...The Greeks never got a penny from anyone as intellectual rights for Neoclassicism ; They never got a penny from the Great Schinkel, as of course Mies never got one from all those around the world who "ripped off his own modernity". The PEOPLE, that is , the simple PEOPLE, always felt uncomfortable to such importations...and some thoughtless youth among them often reacted, not in the best or creative manner.. (Photo above: The Iliou Melathron, a neo-Palladian Villa by Ernst Ziller, who survived the furor, photo ACA) 21.The Greek inspiration in the making of the Architecture of the Twentieth Century (Charter of Athens, Le Corbusier, Energy precedents and efficiency)
I will not get into all that, it is well known to most, and following recent books , research and articles on Le Corbusier , Mies, and on what has been found in their "closets", I'd rather not disturb here , images many people had about these idols, the present writer included, preferring to leave each and everyone find these things for themselves, later or in separate readings here...I am now more convinced on the validity of people like Frank Lloyd Wright, Bruce Goff, the now forgotten by many Stamo Papadaki, and totally forgotten world international heroes, architects of Great talent and morality, like the totally erased from the picture Alfred Neumann and his apprentice and my friend, Zvi Hecker...and many more, that would make this section far too personal for the main focus of the present writing, BUT PLEASE DO GIVE IT A THOUGHT, and send your students research on what I propose below.....because I claim, that even today, whatever is actually happening in the world, whether we subscribe or not to it, formally and experientially, much of what really happens and is promoted as the "INNEST" of the "INs" , the symbolic, the experiential and the highly interractive, owes much to RECENT GREEK LINEAGE, namely .....and see below :
22. ...that From the "Poems with Stones of Dimitris Pikionis", via Corbu, Gropius, Mies and others, and Greeks like Candilis, Doxiadis, Konstantinidis, Despotopoulos, Provelenghios, P.Mylonas, Zenetos, Valsamakis, and a few others, younger and older, all "searching"-"fighting"-"meandering", many "imitating thoughtlessly", some creating originally , noticed or un-noticed, home and abroad, and yet, finally through the primordial interrelationships of "MUSIC and ARCHITECTURE" and via the work of IANNIS XENAKIS - and his modest house for a French musician in Amorgos, to DANIEL LIBESKIND and Beyond.....
The vacation house of the musician François-Bernard Mâche (1966) (courtesy Sophia Vyzoviti) IANNIS XENAKIS
. . . . ..this is what I had been telling to my students Dean Anderson....and Now , more than ever before I feel the need to shout : "ICH BIN EIN GRIECHE".... (A.C.Antoniades conversing with MIT Dean Lawerence Anderson, ACSA conference, Quebec , 1982/ Courtesy ACSA newsletter)
The above MAG 65 is Dedicated to Peter Papademetriou , Constantine Michaelides and Toshio Nakamura Anthony C.Antoniades , 3 Feb, 2012 NOTES: A. References as incorporated in the Text, with photos by the author except otherwise indicated. B. Drawings and diagrams as in the Text and further substantiating evidence from the following references, Books and articles all by the author (1-50 below), in the international bibliography as Anthony C.Antoniades , and in the Greek Bibliography as Αντώνη Κ.Αντωνιάδη : Books (all including substantiation in one way or another of items and ideas presented above): 1. Anthony C.Antoniades, "Architecture and Allied Design: An Environmental Design Perspective", Kendall/Hunt , Dubuque, Iowa, 1980,1986,1992, also in Korean, and Chinese Translations. ( A mojor international Text where Greece is featured pivotal in an overall "global/cross-cultural" exposition of architectural and environmental issues) 2. Anthony C. Antoniades, "Poetics of Architecture: Theory of Design", Van Nostrand Reinhold , New York 1990 , also in Greek , Αντώνη Κ.Αντωνιάδη, "Ποιητική της Αρχιτεκτονικής", εκδόσεις "Ανθρωπος+Χώρος", εκδ.Κώστας Καραγκούνης, Αθήνα 1982. (Greece also plays key frame of reference and precedents) 3. Anthony C.Antoniades, "Epic Space: Toward the Roots of Western Architecture", Van Nostrand Reinhold, New York, 1992 ( A key text of many years or research exploring architectural and environmental issues, based on references on Architecture and the environment to be found in the Epics of the Mankind. All the Epics and all the countries are treated in equal terms, as opposed to the current article which maximizes for obvious reasons the case of Greece). This is the key reference readers of the current article ought to be consulted, prior to judging the current entry further... And Books in the Greek Bibliography : 4. Αντώνη Κ. Αντωνιάδη, "Σύγχρονη Ελληνική Αρχιτεκτονική", εκδόσεις "Ανθρωπος+Χώρος"Κώστα Καραγκούνη, Αθήνα 1979 ("Contemporary Greek Architecture", "A+X" editions Kosta Karagouni, Athens 1979) 5. Αντώνη Κ. Αντωνιάδη, "Ο Φωταγωγός", εκδόσεις Καραγκούνη, Αθήνα 1982 ("The Lightwell", ed.Karagouni, Athens 1982 6. Αντώνη Κ.Αντωνιάδη, "Viollet Le Duc: Διαλέξεις και Ελληνική Αρχιτεκτονική", εκδόσεις Στάχυ, Αθήνα 2000 (Viollet Le Duc: Lectures and Greek Architecture", editions Stachi, Athens 2000) 7. Αντώνη Κ.Αντωνιάδη,"ΑΡΧΙΛΟΓΟΣ", Press the Grape, Sant Monica California, 2005, also by Ελεύθερος Τύπος (Βαλτετσίου 53), Athens Greece 2006 as a collector's manuscript and in DVD form (all in Greek) (Including the first time stated theory on the Xenakis Influence on Liebeskind, with the plans and pictures of the Francois Mache house in Amorgos,courtesy Sophia Vysoviti). 8. Αντώνη Κ.Αντωνιάδη, "Κατωπεριμενώματα:
Κριτική του Μετά-Αρχιτεκτονικού χώρου", 9. Αντώνη Κ.
Αντωνιάδη, "Απο τον Frank Lloyd Wright στον
Μετα-καπιταλσοσιαλιστικό περιβαλλοντικό σχεδιασμό"
10. Αντώνη Κ.Αντωνιάδη, "Ποίηση: Παλαμάς και Αρχιτεκτονική", Ελεύθερος Τύπος (Βαλτετσίου 53), Αθήνα 2009 ("Poetry: Palamas and Architecture", Eleftheros Typos, Athens 2009) 11.Αντώνη Κ.Αντωνιάδη, "Κλίμακα και μέτρο στη Δημοκρατία: Μια αρχιτεκτονική προσέγγιση", Ελεύθερος Τύπος (Βαλτετσίου 53), Αθήνα 2011 ("Scale and measure in Democracy: An architectural approach", Eleftheros Typos, Athens 2011 Periodicals :(all including substantiation in one way or another of items and ideas presented above): 1.Anthony C.Antoniades, "Poems with Stones: The enduring spirit of Dimitrios Pikionis",A+U (Architecture & Urbanism), Dec. 1976. Tokyo, Japan. In original English and Japanese translation. pp. 17-22. Also in Technodomica, March 1977. pp. 18-21. 2. "Dimitrios Pikionis: His work lies underfoot on Athens Hills", Landscape Architecture, March, 1977. pp. 150-153. also in Greek as "Ποιήματα με Πέτρες",Τεχνοδομικα, Μάρτιος1977,σσ.18-21. 3. "Mount Athos: The living precedent of Arcological Post Modernism" , "A+U" (Architecture and Urbanism) September 1979, pp. 9-20, in English and Japanese translation. 4. "Greek Islands: A case study in the Metaphysics of Architectural Detail" in "A+U" (Architecture and Urbanism),July 1980, pp. 39-58 in English and Japanese translation. 5. "The Design Instructor as an Architectural Journalist" in"Architectural Education and the University", Robert M.Beckley and Hugh Burgess, Editors. Proceeding of the 70thAnnual Meeting of the Association of Collegiate Schools of Architecture, 1982. Washington, D.C., 1983, p.p. 177-182. 6. "Cretan-Space" in "A+U" (Architecture and Urbanism), Oct. 1984, p.p. 83-90. 7. "The Exotic and Multicultural in Design Education" in "TheCultural Responsiveness of Architecture: Proceedings of the1984 A.C.S.A. Northeast Regional Meeting" School of Architecture, McGill University, Montreal, Canada. Oct. 1984.Section 18, also in Addendum of above volume. 8."Ποιότητα και κοινωνία : το χωροποιητικό καιπολυσήμαντο σε πρόσφατα έργα της αρχιτεκτονικής μας": Δελτίο Συλλόγου Αρχιτεκτόνων, Μάρτης-Απρίλης, 1985, ( Title translated: Design quality and Society: The spatially poetic and polysymantic in recent works of Greek Architecture-journal of the Greek Society of Architects). 9. "Greece: Restoration and Exploration of the Avant-garde" in Architecture the Journal of the American Institute of Architects, Sept. 1985, p.p. 138-141. 10. "Μοντερνισμός και λαϊκή κουλτούρα: από το τρίτο διεθνές συνέδριο Alvar Aalto στην Jyväskylä Φινλανδίας, 12-14 Αυγούστου 1985", Δελτίο Συλλόγου Αρχιτεκτόνων, Ιούλιος-Οκτώβριος, 1985, σ.11.( Title translated: "Modernism and Popular culture: from the third International Alvar Aalto conference in Jyväskylä Finland-12-14 August 1985- in the journal of the Greek Society of Architects). 11. "Peoples Palaces" Architectural Creativity Through the Obscure", "A+U" (Architecture and Urbanism) 1986, No,. 188, p. 79-90 (English and Japanese). 12. "Αθήνας Μήτρα" , Σύγχρονα θέματα, Ιούνιος, 1986, σσ. 67-70. (Title translated: "Matrix of Athens") 13 "Greece: A Generation of Respectful Buildings in an Ancient Town" , Architecture (The Journal of the American Institute ofArchitects) Sept. 1986, p. 44-45. 14. "The Care-free and Play elements vs. the element of Serious in Architectural creativity" in Fostering Creativity in Architectural Education , James P. Warfield, Ed. ACSA, West Central Regional Meeting, University of Illinois 1986, pp. 3-8 15 . "Πολυκατοικία στη Σαρωνιδα" , Δελτίο Συλλόγου Αρχιτεκτόνων,Μάης-Ιούνης 1987,σσ. 31-33 also in English as "An Apartment House in Saronis" p.55. 16. "GREECE: Housing complex takes its form from the Hilltowns" in Architecture, Sixth Annual International Review of World Architecture, The American Institute of Architects,Washington, D.C., Sept. 1987, p. 84. 17."Πικιώνης σε τέσσερις διαστάσεις" σε "Δημήτρης Πικιώνης, Αφιέρωμα στα εκατό χρόνια από τη γέννηση του", Εθνικό Μετσόβειο Πολυτεχνείο, Αθήνα 1989, σσ. 15-24 . (Title translated:" Pikionis in four dimensions" in book " Dimitris Pikionis , One hundred years from his birth",Editions, National Technical University, Athens 1989). 18. "Anthony C. Antoniades - Architecture Through the Odyssey","A+U" (Architecture and Urbanism), July 1990, p.p. 82-87 19. "Condominium in Saronis, Saronis/Athens, Greece", "A+U" (Architecture and Urbanism), July 1990, p.p. 88-91 (English &Japanese). 20. "Architect's Residence in Hydra, Hydra/Greece", "A+U" (Architecture and Urbanism),July 1990, p.p. 92-95 (English &Japanese). 21."Αντώνης Κ. Αντωνιάδης: Διδάσκει , Διερευνά, Γράφει και εξασκεί το επάγγελμα"("Anthony C. Antoniades: He teaches, Researches , Writes and practices the Profession") in Magazine "The World of Buildings" , no.5, Athens-Greece, June 1994, pp. 108-115 22. "Hugh Newell Jacobsen: Ένας Διεθνής Αρχιτέκτονας με έργο και στην Ελλάδα" ( "Hugh Newell Jacobsen: An International Architect with work in Greece", in Magazine "The World of Buildings" no. 10, Athens Greece, June 1996, pp. 26-36 23. "Η Αρχιτεκτονική του Τάσου Κατσέλα : Τα τελευταία είκοσι χρόνια"("The Architecture of Tasso Katselas:The last twenty years") : in Magazine "The World of Buildings”, Spring 1997 24. "The Architecture of Bart Prince" , "The World of Buildings" no.13, Athens Greece, June 1997, pp.64-78 25. “Gehrysteria : H Αρχιτεκτονική του Φρανκ Γκέρυ και οι πολιτιστικές καταβολές των λαών" , περιοδικό The World of Buildings , τευχος 21, Μάιος 2000 , σσ.64-98 26."Μουσείο Ακρόπολης: Ακατάλληλο του Μακρυγιάννη και λοιπά δεινά", εφημερίδα "Η Καθημερινή",21Απριλίου 2001,σ.12 27. "Κλίμακα και μέτρο στη Δημοκρατία", εφημερίδα "Η Καθημερινή",4 Ιουλιου 2001,σ.12 28, "Inclusivist Architectural Poetics" , "Architecture+Design", A Journal of Indian Architecture, vol xviii, no.4, New Delhi, July-August 2001, pp.102-105 29. "Ποιητική της Αρχιτεκτονικής και Παγκοσμιοποίηση", εφημερίδα "Αυγή", 11 Νοεμβρίου 2001,σ.39 30. "Φταίνε οσοι συνέπραξαν" , εφημερίδα " Η Καθημερινή", 6-3-2002, σ. 12 31. " Δημοκρατία και "αισθητική του βίου", εφημερίδα "Η Καθημερινή"21-6-2002 . σ. 12 32. "Ύδρα : Ορατή και αόρατη" , εφημερίδα ,"Αυγή", 23-6-2002 σ.33, 33.“Αρχιτεκτονική ως δείγμα πολιτισμού» , εφημερίδα "Η Καθημερινή",22 Αυγούστου 2002, σ.12 34.“Ο Αριστομένης Προβελέγγιος και «Η Σύγχρονη Ελληνική Αρχιτεκτονική» , περιοδικό «Α+Τ» (Αρχιτεκτονική+Τεχνολογία), Εκδόσεις Παπασωτηρίου, Φεβρ. 2003, σσ.28-34 35. «Eric Owen Moss : εισαγωγή σε προσωπικό τονο», περιοδικό «Α+Τ» (Αρχιτεκτονική+Τεχνολογία), Εκδόσεις Παπασωτηρίου, Φεβρ. 2003, σσ.64068 36. «Το Λαϊκο έναντι της Υψηλής Τέχνης : Το Σπίτι του Edgar Kaufmann Jr. στην Υδρα», following invitation and see : www.greekarchitects.gr, under Articles; Also interview by the author in same site /same issue. Aug. 2003 37.«Κανδύλης, Ικέδα, αντι-οπερατικός και αμοιβές» following invitation and see : www.greekarchitects.gr, under Articles; March 2003 38. "¨Ντοκουμέντα", «Α+Τ» (Αρχιτεκτονική+Τεχνολογία), τεύχος νο.2 , Εκδόσεις Wiredart ,Μάιος 2004,σσ.14-16 39."Κλίμαξ", «Α+Τ» (Αρχιτεκτονική+Τεχνολογία), τεύχος νο.2 , Εκδόσεις Wiredart ,Μάιος 2004,σσ. 18-19 40. "Καντριλιες με τους Αρχαίους" http://www.acaarchitecture.com/Mag08.htm 2004 (παρακαλώ πηγαίνεται σε "view" "encoding" και πατήστε "greek windows" (κάποιος εχει μπεί στην ιστοσελίδα και αλλοιώσει τα γράμματα , αλλα αλλάζουν εύκολα στο σωστό-ευχαριστώ/πρόκειται πιστεύω για ενα κομμάτι πολύ σημαντικό προϊόν πολλών ετων "διαβασμάτων" και "προβληματισμου"). 41."Περιτύλιγμα και Σύμβολο αποσύνθεσης", «Α+Τ» (Αρχιτεκτονική+Τεχνολογία), τεύχος νο.2 , Εκδόσεις Wiredart ,Μάιος 2004, σ.22-26 42. «Μνεία και Μνημεία» », εφημερίδα "Η Καθημερινή" , 15 Ιουνίου 2004, σ. 16 43. “Architecture and the Stages of Life”, UIA 2005 (International Union of Architects World Congress 2005) ,section 3.2 ( c ) Housing in Cities , Istanbul , 6 July 2005, ( Also see insert of above article translated in Japanese by Toshio Nakamura, in magazine Jutaku-Kenchiku, , Tokyo, April 2005, p. 28, Also whole article in English and Japanese Translation by Toshio Nakamura , in Magazine "Kenchiku-Gahu"(VA,Visual Architecture), vol.41, no.314, Tokyo ,Nov.2005,pp.122-135. Also published in www.greekarchitects.gr) 44."Βιβλία Ελλήνων αρχιτεκτόνων στο εξωτερικό: Απ'το Στάμο Παπαδάκη στη Στυλιανή Φιλίππου και μερικές σκέψεις για το Υπουργείο Πολιτισμού και το εγχώριο ακαδημαϊκό-εκδοτικό αρχιτεκτονικό κατεστημένο", www.acaarchitecture.com/mag26.htm (Απρίλης 2008) 45. "Υποσημειώσεις για το Στάμο Παπαδάκη (1906-1992)και η συνεισφορά του στην αρχιτεκτονική του εικοστού αιώνα", (μακροχρόνια έρευνα του συγγραφέα με πρωτότυπο υλικό απο το αρχείο του Στάμου Παπαδάκη στο Πανεπιστήμιο Πρίνστον, (με την άδεια του Πανεπιστημίου Πρίνστον) επίσης και στα Αγγλικά ως :"Notes on Stamo Papadaki (1906-2992) a neglected pioneer from Greece and his contribution to the architecture of twentieth century", (original research by the author and original material, first published, with the permission of the Princeton University Library) , www.acaarchitecturecom/Mag27.htm, oct.2008 46. "Αλλοι Ολυμπιονικες", Η Καθημερινή, 5 Σεπτ.2008, σ.10 , επίσης βλ. και www.acaarchitecture.com/Mag29.htm 47. "On Tangent in irreverence" a book review (re: of the book by Syliane Philippou "Oscar Niemeyer curves of irreverence",Yale University Press, 2008) in www.acaarchitecture.com/Mag29.htm , also same in www.Amazon.com under book review of the Styliane Philippou book above. 48. "Bruce Goff : in memoriam", www.acaarchitecture.com/Mag31, Dec.2008 49."Prince, Jencks, Goff", www.acaarchitecture.com/Mag31, Dec.2008 50. "Αρχιτεκτονική και περιβάλλον στην Ελληνική ποίηση" ,www.acaarchitecture.com/Mag32.htm , Ιανουάριος 2009 References to sources authored by third parties: 1.Sibyl Moholy Nagy, "Matrix of Man: an Illustrated History of Urban Environment", Pall Mall Press, London,1968 2. R.E.Wycherley, "How the Greeks built cities", MacMillan, London, 1967, p.p.60, 72 3. Vincent Scully, "The Earth, the temple,and the Gods: Greek Sacred Architecture, Yale University Press, 1979 4.Göran Schildt, "In the Wake of Ulysses", Dodd, Mead & Company, New York, 1953 5. "Αρχιτεκτονικές Σπουδές 1" , περιοδικο των σπουδαστών Αρχιτεκτονικής Ε.Μ.Π. Αθήνα 1964, σσ.44,45 6.Βυζοβίτη Σοφία, "Σπίτι διακοπών στην Αμοργο του Ιάννη Ξενάκη", απο ηλεκτρονικό περιοδικό greekarchitects.gr (σχέδια κατόψεων και φωτογραφίες με την άδεια της συγγραφέως) 7. Παύλου Μ. Μυλωνά, "Η Θεωρία της Αρχιτεκτονικής και οι Αρχαίοι Ελληνες", Εκτακτη συνεδρία της 1ης.Δεκ.1998 8. Παύλου Μ. Μυλωνά, Η "Αθηναϊκη Τριλογία" και τα επίγεια εργα του Μετρο . Γιατι θρηνουν στον ταφο τους οι φιλέλληνες Αρχιτέκτονες αδελφοι Χάνσεν. Ακαδημία Αθηνών, Συνεδρία της 28ης Μαϊου 1998 9. War Museum in Manchester, by Daniel Libeskind,2004(photo source:Architectural Record) © Anthony C.Antoniades/Αντώνης Κ.Αντωνιάδης- απαγορεύεται η αναδημοσίευση έντυπα ή ηλεκτρονικά χωρίς την γραπτή άδεια του συγγραφέα, καθως επίσης και οποιαδήποτε LINK ή ηλεκτρονική αναφορά ή παραπομπή , που μέσω αυτής, το παρόν υλικό θα γίνει κτήμα ή θα περιέλθη στα αρχεία ευρύτερων ιντερνετικών οντοτήτων με τα οποία τυχόν ιστοσελίδες συνεργάζονται .
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The first prototype to
ecological self-sufficiency, a precedent to property rights and concern
for family and living in periods of peace and adversity. This could be
seen as the remotest precedent to planning self-sufficiency and to later
proposals by utopian thinkers, From Boullee , Ledoux and Leque, to pioneer
twentieth century architects particularly Frank Lloyd Wright, who in
his Broadacres city asked for "one acre to a
man" , to satisfy the "Laertis" self sufficiency. For more see:
Anthony C.Antoniades, "Epic Spacer: Toward the Roots
of Western Architecture", NNR. New York, 1992, see Also
The
primordial prototype of the Bizare ! What could be more "pre-modern", more
naive, more deceiving-in the children's game sense, yet more canning-money producer
for adults, through its
capacity to occupy through deception the town of Troy. The "resourceful
ingenuity of the simple and unsophisticated man" to take over what is
not his. Precedent of all the machines of war and of architecture of
"user-deception" or intension to impress with the "unfamiliar" with purpose some gain (Bizar architecture in amusement
parks, in Buildings on highways, 
.jpg)
One could write dissertations upon dissertations on the influence of the
Agora and its evolution, from the Athenean to theAgoras of Hellenistic
towns (Priene, Miletus)...Hundreds of Architects and Urban
Designers, famous and lesser known, resorted to the diagrammatic
cartesianity of the ancient Agora, yet it was Alvar Aalto, who explored
and refined the Athenean, where the Free and laissez faire, was
consciously treated to be in harmony with the cartesian , using as most
inclusivist prototype the overall plan of Pergamon. We could add here,
that the Agora of the Hellenistic towns, such as of Militos above, came
very handy to designers of the Bauhaus school, as well as to developers
with primary concern the reduction of the construction costs, through
easier layout and repetition that were afforded with the diagrammatic
cartesianity. The Ancient Agora as an canvas for social , educational and
trade interaction can be seen as the precedent of many university
campuses, as well as the Shopping malls of the early British New Towns and
cultural center proposals, both in Scandinavia and elsewhere (i.e the
non-realized cultural Center in Athens proposed by Jan Despo/
Although
the "Hippodamean system" of town layout, originates in much earlier times,
in China(Ch'ang-an), and in Egypt (Tell el Amarna) and in Anatolia
and in Persia, this most efficient "people , workers and military needs"
inspired town planning method , has been attributed historically to the
Greek Town planner, Hippodamus, the planner of Piraeus, Alexandria, Miletus,
Priene and other towns. It further became the beloved system for the foundation of many great towns, in
Greece as well as in Rome, as the Roman camp, and centuries later to be
found in the mercantile towns of America and elsewhere in the Globe. Along
with the facility and the economics of this system, came the idea of
mixing urban uses and often conflicting urban activities , particularly
for the facilitation of trade in colonial towns;
"freedom" and "tolerance" were absolutely necessary for all kinds of human intercourse,
with common denominator the need for trade and the equalizing power of
"money". The Hippodemean system, despite of its "monotonous application"
in the Roman Camp and the Socialist town planning applications , is in a sense, when the element of individuality considered, as for instance was
the case in Miletus (differing sizes of City blocks, different housing
typologies, etc.) , a very democratic and liberal system, the source of
"URBAN PRIDE" for its happy citizens. It was only
surpassed by the urban prototype of Pergamon , which combined not only
physically, but at all the levels of Town planning the concepts of
"freedom" and "tolerance", requiring at the same time, great talent on the
part of the design for it composition and final implementation. (For
more see: ACA: "Architecture and Allied Design" Kendall/Hunt, 3rd edition,
Dubuque Iowa, 1982) , also ACA: ARCHILOGOS, etc....)
A
prototype of the "SUBLIME", of symbolism in Architecture and of the
"Universal Space". Even with the scaffolding, under the great dome, the
"heaven" carried over the perforated windows, the feeling of the
"sublime", is still there, if not more dramatic... Photos : The Haghia Sophia in Constantinople (now ISTANBUL), with the
help of photoshop as was during the Byzantine times. (Photos and Photoshop
by the author, UIA International Union of Architects conferene, 2005).
The historic
precedent of ARCOLOGICAL POST-MODERNISM . A Prototype of the "inclusive"
and "ecologic" regional development of "choice" . A prototype of
collective order and Individuality in harmonious co-existence, in absolute
respect for nature, self containment and self-sufficiency. A
prototype not as yet implemented elsewhere in its regional totality;
Furthermore, a prototype recognizing the need of people to "select"
and "built" and "Live" as per choice ("radical eclecticism" per Jencks' term)
five different life styles possible in the peninsula ( "Monastery:
Individualistic within communal framework", "Monastery: Communal -socialist","Skete:
Communal in individual shells", "Kellia : individualistic personal", "Askitaria
: remote-withdrawn-meditatively individualistic ). All these choices as per
their individual architectural and aesthetic DNA, and under communal covenants and rules of living,
in harmonious co-existence , People free and liberal even
within the strict and dogmatic order of Christian Orghodoxy. For more see:
DIMITRIS PIKIONIS
DANIEL
LIBESKIND 
.