Greece in Modern Architecture Since 1900
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Architecture and Urbanism in the Middle East
Viewpoints Special Edition Architecture and Urbanism in the Middle East The Middle East Institute Middle East Institute The mission of the Middle East Institute is to promote knowledge of the Middle East in Amer- ica and strengthen understanding of the United States by the people and governments of the region. For more than 60 years, MEI has dealt with the momentous events in the Middle East — from the birth of the state of Israel to the invasion of Iraq. Today, MEI is a foremost authority on contemporary Middle East issues. It pro- vides a vital forum for honest and open debate that attracts politicians, scholars, government officials, and policy experts from the US, Asia, Europe, and the Middle East. MEI enjoys wide access to political and business leaders in countries throughout the region. Along with information exchanges, facilities for research, objective analysis, and thoughtful commentary, MEI’s programs and publications help counter simplistic notions about the Middle East and America. We are at the forefront of private sector public diplomacy. Viewpoints is another MEI service to audiences interested in learning more about the complexities of issues affecting the Middle East and US relations with the region. To learn more about the Middle East Institute, visit our website at http://www.mideasti.org Cover photos, clockwise from the top left hand corner: Abu Dhabi, United Arab Emirates (Imre Solt; © GFDL); Tripoli, Libya (Patrick André Perron © GFDL); Burj al Arab Hotel in Dubai, United Arab Emirates; Al Faisaliyah Tower in Riyadh, Saudi Arabia; Doha, Qatar skyline (Abdulrahman photo); Selimiye Mosque, Edirne, Turkey (Murdjo photo); Registan, Samarkand, Uzbekistan (Steve Evans photo). -
Critical Regionalism: Whatever Happened to Autonomy
fusion-journal.com http://www.fusion-journal.com/issue/004-fusion-the-town-and-the-city/critical-regionalism-whatever-happened-to-autonomy/# Critical Regionalism: Whatever Happened to Autonomy Opening In his most recent take on “critical regionalism,” Kenneth Frampton revisits the dichotomy between centre and periphery. It is not the implied territorial divide that interest Frampton. At issue is how architecture could or should define the periphery in contrast to the hegemonic architecture unfolding in the centre. Frampton’s take is centred on the ways that technological apparatus, under the auspices of capitalism, transform the cities one- dimensionally. From China to wherever else that capital today finds a home for fast accumulation, we witness “the mediagenic impact of spectacular form which is,” Frampton observes, “as much due to the capacity of ‘superstar architects’ to come up with sensational, novel images as to their organizational competence and technical abilities.”[i] For a better understanding of Frampton’s position we need to give attention to the change in the title of his text. Since the rise of postmodernism, Frampton has constantly searched for alternative(s) in the work of architects who sidetrack the post-sixties turn to historical eclecticism and the drive for formal autonomy, to mention two dominant tendencies of the time. As early as the 1980s, Frampton mapped the thematic of “critical regionalism” with phenomenological aspiration for the duality between “national culture” and civilization. [ii] Exploring the early -
The Ideology of Critical Regionalism As a Teaching and Design Resource for the Next 100 Years of Cela
THE IDEOLOGY OF CRITICAL REGIONALISM AS A TEACHING AND DESIGN RESOURCE FOR THE NEXT 100 YEARS OF CELA Hopman, David D. The University of Texas at Arlington, [email protected] 1 ABSTRACT Since its introduction as a term by Alexander Tzonis and Liane Lefaivre (Tzonis and Lefaivre, 1981), Critical Regionalism has emerged as a significant ideology in contemporary landscape architectural discourse worldwide that continues to merit closer attention as a framework for creative regional design. Kristine Woolsey wrote that the only constant in the process of Critical Regionalism is the quality of the ideological position of the architect that evolves over time through practice, experience, and the international debate of the profession (Woolsey, 1991). Looking towards the next 100 years of CELA, it is worth reflecting on where we are ideologically as a profession in relation to Critical Regionalism. Critical Regionalism can be broadly summarized as an embrace of contemporary and historical world culture as an indispensable part of a creative and expressive regionalist design process, a desire to provoke both intellectual (critical thinking) and sensual reactions to a design by the end user, and a broadening of the experience intended by design to embrace the importance of non-visual experience. Personal ideological positions related to Critical Regionalism are informed and modified by influences of region, contemporary culture, and aesthetic components such as environmental psychology, cultural rules, personal growth and creativity, and the appropriation of regional ecology and environmental forces. The author has used research into Critical Regionalism as a guiding ideology for both practice, research, and education for the past 25 years. -
New Evidence on the Origin of the Influence of Nietzsche and of the Idea of Immanent
fig. 1 G. de Chirico, Scatola di cerini e sigarette, ca 1904-1906 13 New Evidence on the Origin of the Influence of Nietzsche and of the Idea of Immanent Myth in Giorgio de Chirico: Mavìlis, Palamàs and the Early XX Century Athens Literary Scene Fabio Benzi There have been many attempts at identifying an influence of the Greek milieu on the young Gior- gio de Chirico. From his birth (1888) to his late adolescence, the artist lived in Greece, in Volos and especially Athens, until he moved to Munich in October 1906. So, he spent the first eighteen years of life – undoubtedly a formative moment for any young intellectual – mostly in Athens, where he also completed his first artistic studies in the Academy of Fine Arts of the Polytechnic School. As might be expected, research aimed at contextualizing and furthering the knowledge of pos- sible Hellenic influences on de Chirico’s artistic activity has focused so far on the specific analysis of the local painting scene, although with little or less than significant results. To be sure, we are not aware of any extant early painting from his Greek period, except for a negligible, small still life painted on cardboard, depicting a box of matches with a lit cigarette leaning against it (fig. 1); the verso shows an earlier copy of a detail of a chromolithography by Bel- gian painter Jan van Beers (Lier, 27 March 1852-Fay- aux-Loges, 17 November 1927), which we have iden- tified here (figs. 2, 3).1 If this copy is an example of the nearly photographic unyielding adherence by a young artist who might have not yet attended the academy, the small oil is actually a genre exercise, probably painted while de Chirico was still a student. -
When Crisis Becomes Form: Athens As a Paradigm Theophilos Tramboulis and Yorgos Tzirtzilakis
When Crisis Becomes Form: Athens as a Paradigm Theophilos Tramboulis and Yorgos Tzirtzilakis Documenta 14 in Athens: a glossary Documenta 14 (d14) was an undoubtedly important exhibition which triggered endless debate and controversy that continues today.1 The choice of Athens as a topological paradigm by Adam Szymczyk, an ingenious curator with expected and unexpected virtues, initially fired people’s appetite and enthusiasm. Yet what it ultimately managed to do was demythicize the event itself in a way, as well as demonstrate a series of dangers in the operation of the institution. At the same time it brought to light a series of innate ailments and fantasies of contemporary culture in Greece, which manifested themselves in a distorted and sometimes aggressive fashion. This is not without significance, since it functioned complementarily to—rather than independently of—the exhibition. In short, d14 served as a kind of double mirror with which we could see the cultural relation of Greece with Europe and the world, but also the reverse: that of Europe with Greece. So what was d14 in Athens? For now we must necessarily sidestep its contribution to making Athens and Greek culture a temporary center of international attention in order to focus on what must not be overlooked. The series of arguments below can be read individually or successively as a network of alternating commentary, but also through their diagonal intersections, ruptures, disagreements, and connections, where meaning is produced in a syncretic or dialectical way. D14 is the symptom from which all discourse around it begins. 1/11 A political metonymy The critical reception of d14 in Greece focused mainly on the institution and its operation; on its discursive and political context rather than the works, concerts, or lectures— generally speaking, the actual art and discourse presented by the exhibition. -
2020 Adoptions
Dimitris Arvanitakis: Head of the Publications Department Born in Zakynthos, Dimitris Arvanitakis is a graduate of the Department of Byzantine and Modern Greek Studies of the University of Athens. As a fellow of the Academy of Athens from 1995 to 1999, he conducted research for his doctoral dissertation at Istituto di Studi Bizantini e Postbizantini of Venice, which was successfully defended at the Ionian University in Corfu (1999). His scientific interests span a wide range of topics: social history, history of ideas and intellectual history, history of literature and historiography, Modern Greek and Italian history, and the formation of national states. Since 2000, he has been working at the Benaki Museum and since 2006 he has been in charge of the Publications Department. In his capacity as Head of Publications, he has overseen and coordinated the publication of a great number of the Museum’s exhibition and collections catalogues and has been scientific editor of many books, including the series Benaki Museum Library. Dimitris Arvanitakis has taught in postgraduate seminars in Greece and Italy, has organized scientific conferences and has edited a number of scientific volumes. Moreover, he has published many articles in scientific volumes, journals and conference proceedings. He is a member of the Editorial Secretariat of the Greek journal Ta Istorika and the Italian journal Periptero, member of the Review Team of the journal Giornale Storico della Letteratura Italiana, Scientific Director of the Casa di Ugo Foscolo / Hugo Foscolo’s House (Zakynthos), and since 2009 he has been a Member and Coordinator of the Scientific Committee which oversees the publication of Andreas Kalvos’ Works by the Benaki Museum. -
GEORGE ZONGOLOPOULOS George Zongolopoulos (Athens, 1903-2004) Was One of the Most Important Greek Artists and Representatives Of
GEORGE ZONGOLOPOULOS George Zongolopoulos (Athens, 1903-2004) was one of the most important Greek artists and representatives of the so called “Generation of 1930s” with diverse and internationally recognized work. The work of the artist, who was often called the “eternal teenager”, extends across the unusual vector of time of almost eight decades, and its rich range of subject matter is characterized by incessant renewal. Biography George Zongolopoulos was born on March 1st, 1903, in Deligiorgi Street in the center of Athens, while his place of origin was the village Manna or Markasi in Corinth (as Zongolopoulos narrated to his family the real year of his birth was 1901 and not 1903 as is appeared in all his official documents). He grew up in a family of lawyers that did not encourage him to deal professionally with art, although he showed a special inclination towards painting and drawing from childhood. He served his military service as a sergeant until 1923 and during that period he met his peer and later important Greek architect Patroklos Karantinos, who became one of his closest friends and colleagues. First years of apprenticeship o National Technical University of Athens, Athens School of Fine Arts (1924-1930) In 1924 he entered the Athens School of Fine Arts and studied sculpture under Academician Thomas Thomopoulos. In his student years he expressed with militancy his opinion on the need for modernization and reorganization of teaching, and also on the need to increase the School‟s budget. His attitude towards the academicism of the School and his participation in the “occupation” of the School by its students in 1929 meant for the young Zongolopoulos expulsion from the School for a year. -
The Greek Sale
athens nicosia The Greek Sale tuesday 26 november 2019 The Greek Sale nicosia tuesday 26 november, 2019 2 athens nicosia AUCTION Tuesday 26 November 2019, at 7.30 pm THE LANDMARK NICOSIA, 98 Arch. Makarios III Avenue managing partner Marinos Vrachimis partner Dimitris Karakassis london representative Makis Peppas viewing - ATHENS athens representative Marinos Vrachimis KING GEORGE HOTEL, Syntagma Square for bids and enquiries mob. +357 99582770 mob. +30 6944382236 thursday 14 to saturday 16 november 2019, 10 am to 9 pm email: [email protected] to register and leave an on-line bid www.fineartblue.com viewing - NICOSIA catalogue design Miranda Violari THE LANDMARK NICOSIA, 98 Arch. Makarios III Avenue photography Vahanidis Studio, Athens sunday 24 to monday 25 november 2019, 10 am to 9 pm tuesday 26 november 2019, 10 am to 6 pm exhibition instalation / art transportation MoveArt insurance Lloyds, Karavias Art Insurance printing Printco Cassoulides Ltd ISBN 978-9963-2497-4-9 01 Nikos KESSANLIS Greek, 1930-2004 Untitled signed lower right mixed media on hardboard 25 x 20 cm PROVENANCE private collection, Athens 1 500 / 2 000 € Nikos Kessanlis was born in Thessaloniki. Between 1944 and 1948 he studied with Yannis Spyropoulos and later enrolled at the School of Fine Arts, Athens in the studio of Yannis Moralis where he graduated in 1955. He continued his studies in Rome, on a scholarship from the Italian government at the Istituto Centrale del Restauro while also taking lessons in mural painting and engraving at the Scuola delle Arti Ornamentali di San Giacomo. In the early 1960s, he moved to Paris and in 1981 returned permanently to Greece. -
Prospects for a Critical Regionalism Kenneth Frampton Perspecta, Vol. 20. (1983), Pp. 147-162
Prospects for a Critical Regionalism Kenneth Frampton Perspecta, Vol. 20. (1983), pp. 147-162. Stable URL: http://links.jstor.org/sici?sici=0079-0958%281983%2920%3C147%3APFACR%3E2.0.CO%3B2-Q Perspecta is currently published by Yale School of Architecture. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/ysoa.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Wed Dec 12 11:36:13 2007 Kenneth Frampton 147 Prospects for a Critical Regionalism Luis Barragan, Las Arboledas, 1961. -
An Analysis of Critical Regionalism and Its Application to High-Rise Building Design
An Analysis of Critical Regionalism and its Application to High-Rise Building Design A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Architecture in the School of Architecture and Interior Design of the College of Design, Architecture, Art, and Planning by Shaun Baranyi B.S. in Architecture (S.U.N.Y) at Buffalo April 2016 Committee Chair: Michael McInturf II Abstract As the most iconic aspect of a city, high-rise buildings have a responsibility to represent their regions local culture and identity. Mass-communication, mobility, and modern technology have imposed an international culture onto today’s urban architecture. The cultural entropy from globalization has spread itself onto skylines around the world. Additionally, as cities become denser, the construction of high-rise buildings will continue to increase. The skyscraper, which was originally an American phenomenon, has been adopted by cities around the world. Regions such as such the Middle East and Asia have grown in population and density at an unprecedented rate. As a result, we have seen an emergence of mega cities that are centered around high- rise developments. Furthermore, the mass migration of people from diverse backgrounds into dense urban environments has led to a cultural evolution that needs to be recognized and expressed. Urban environments will need to respond to their region’s evolving ethos or allow their architecture to become homogenized within capitalist demands. Through an adapted critically regionalist attitude, designers can create high-rise architecture that focuses on developing ‘places’ opposed to ‘spaces’. -
Regionalism, Modernism and Vernacular Tradition in the Architecture of Algarve, Portugal, 1925-1965
Regionalism, modernism and vernacular tradition in the architecture of Algarve, Portugal, 1925-1965 Ricardo Manuel Costa Agarez University College London Ph.D. Volume I 1 I, Ricardo Manuel Costa Agarez, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 Ricardo Agarez | Abstract Abstract This thesis looks at the contribution of real and constructed local traditions to modern building practices and discourses in a specific region, focusing on the case of Algarve, southern Portugal, between 1925 and 1965. By shifting the main research focus from the centre to the region, and by placing a strong emphasis on fieldwork and previously overlooked sources (the archives of provincial bodies, municipalities and architects), the thesis scrutinises canonical accounts of the interaction of regionalism with modernism. It examines how architectural ‘regionalism’, often discussed at a central level through the work of acknowledged metropolitan architects, was interpreted by local practices in everyday building activity. Was there a real local concern with vernacular traditions, or was this essentially a construct of educated metropolitan circles, both at the time and retrospectively? Circuits and agents of influence and dissemination are traced, the careers of locally relevant designers come to light, and a more comprehensive view of architectural production is offered. Departing from conventional narratives that present pre-war regionalism in Portugal as a stereotype-driven, one-way central construct, the creation of a regional built identity for Algarve emerges here as the result of combined local, regional and central agencies, mediated both through concrete building practice and discourses outside architecture. -
Architecture As Artifact and the Re-Rendering of Fragmentary Experience
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation January 2007 Architecture as Artifact and the Re-Rendering of Fragmentary Experience Pamela Freeman Jordan University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Jordan, Pamela Freeman, "Architecture as Artifact and the Re-Rendering of Fragmentary Experience" (2007). Theses (Historic Preservation). 83. https://repository.upenn.edu/hp_theses/83 A Thesis in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Master of Science in Historic Preservation 2007. Advisor: Randall F. Mason This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/83 For more information, please contact [email protected]. Architecture as Artifact and the Re-Rendering of Fragmentary Experience Comments A Thesis in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Master of Science in Historic Preservation 2007. Advisor: Randall F. Mason This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/83 ARCHITECTURE AS ARTIFACT AND THE RE-RENDERING OF FRAGMENTARY EXPERIENCE Pamela Freeman Jordan A THESIS In Architecture & Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements of the Degree of MASTER OF SCIENCE IN HISTORIC PRESERVATION 2007 _________________________ Advisor Randall F. Mason Associate Professor of Architecture _________________________ Program Chair Frank G. Matero Professor of Architecture To a road unpaved ii Acknowledgements A dual degree can be challenging. To my primary thesis advisors, Randall Mason and Cathrine Veikos, I offer my most sincere thanks for their guidance and patience.