Space, Art and Architecture Between East and West: the Revolutionary Spirit International Conference Book of Abstracts & Programme

Home , Ottoman Greece

Space, Art and Architecture between East and West: The Revolutionary Spirit international conference book of abstracts & programme

Athens, March 2021 Space, Art and Architecture between East and West: The Revolutionary Spirit Athens, March 18-20, 2021 International conference, held as a digital event from Athens Greece Live streamed on the Hellenic Open University YouTube channel: https://www.youtube.com/c/ ΕλληνικόΑνοικτόΠανεπιστήμιοΕΑΠ/featured

Organised by: Hellenic Open University, School of Humanities, Program of Studies ‘Hellenic Civilization’, Module Art - Architecture - Urban Planning © Texts: Space, Art and Architecture between East and West: The Revolutionary Spirit International Conference & Authors Cover: Jason Forlidas (March 2021).

Academic Committee: • Argyro Loukaki, Hellenic Open University • Dimitris Plantzos, National and Kapodistrian University of Athens & Hellenic Open University • François Penz, University of Cambridge • Konstantinos Moraitis, National Technical University of Athens • Georgios Panetsos, University of Patras • Melita Emmanouil, National Technical University of Athens • Konstantinos I. Soueref, Director Emeritus of Antiquities, Greece • Stavros Alifragkis, Hellenic Open University • Jenny Albani, Hellenic Ministry of Culture and Sports • Dionysis Mourelatos, Hellenic Open University Organizing Committee: • Argyro Loukaki, Hellenic Open University • Dimitris Plantzos, National and Kapodistrian University of Athens & Hellenic Open University • Konstantinos I. Soueref, Director Emeritus of Antiquities, Greece • Stavros Alifragkis, Hellenic Open University • Jenny Albani, Hellenic Ministry of Culture and Sports • Dionysis Mourelatos, Hellenic Open University

Conference Support: Elias Stavropoulos, Panayotis Fragkoulis, Jason Forlidas, Hellenic Open University, Patras, Greece.

Cover image: Sir Charles Lock Eastlake, Lord Byron’s ‘Dream,’ 1827, Tate Britain [Image released under Creative Commons]. International conference The Revolutionary Spirit

contents a. Introduction p.02 b. Programme & Abstracts p.04 c. Conference participants p.21

Athens, 18, 19 & 20 March 2021 a. Introduction: Conference theme

The emergence of modernity coincided with the geographical expansion of Europe and its influence through the discovery of the continents, trade, and colonialism. In the process, the perception of global space in geographical, cultural and artistic terms was radically changed. Exoticism, Chinoiseries, Japonisme, Egyptomania, India and the Americas, among others, influenced deeply the West, shaped modernism as a dominant art and architectural movement, and meant the demotion of the Mediterranean in matters of trade though not of cultural focus. All this can be portrayed, indicatively, in the works of Eugène Delacroix, Charles Rennie Mackintosh, Frank Lloyd Wright, Vincent van Gogh and Paul Klee.

How we define ‘the East’ and ‘the West,’ whereby the East has been regularly identified with backwardness and tradition, while the West with dynamism and modernization, as Edward Said has shown, is subject to historical-geographical changes. This is witnessed in the case of Greece: Cradle of the Western civilization for its classical period, it became an Ottoman province for four centuries after the fall of Constantinople, gravitating between a dystopian East and an ideal West in the geographical imaginations of Europe which participated multifariously in its return to the ‘Western’ sphere. These geographical re- orientations, power relations and antagonisms have often involved all kinds of clashes over resources, predominance, religions and cultures, some of which continue unabated, as we are witnessing again in the curse of 2020, despite recent cultural movements such as post-modernism and concomitant explorations of otherness, as processes of globalization are fiercely resisted nationally.

The international conference Space, Art and Architecture between East and West: The Revolutionary Spirit, organized by the Module Art-Architecture-Urban Planning, Hellenic Open University intends to explore the spatial and creative aspects and impacts of the above processes both diachronically and in the present. More particularly, the following relevant dimensions will be pursued globally:

• Competing cultures: ‘East’-‘West’ dialogues, rationalities, spatialities, perceptions, artistic and architectural creativity, old and new colonialisms, clashes and upheavals. • Processes of exchange during the beginning of modernity, starting from the 16th century.

International conference The Revolutionary Spirit

• What and where was the Renaissance in regard to appropriations and interpretations of Byzantium and the East. • Edward Said’s Orientalism and cultures of travel: The present narratives. • Eastern art and architecture as Western history of art and architecture. • Post-war cultural dynamism of the USA as the new ‘Western’ frontier of art and art history.

the organizing committee

Athens, March 2021

Athens, 18, 19 & 20 March 2021 b. Programme & Abstracts Thursday, March 18, 2021 17:00-17:20 Greetings Efstathios Efstathopoulos Vice-President of Academic Affairs, Hellenic Open University, Professor of Medical and Radiation Physics, Medical School, National and Kapodistrian University of Athens 17:30-18:30 Book Presentation Georgios Panetsos Professor, Department of Architecture, University of Patras Melita Emmanouil Professor Emerita, of Architecture, National Technical University of Athens 18:30-19:00 Conference Introduction Argyro Loukaki Professor of Art, Architecture and Urban Planning, Hellenic Open University 19:00-19:30 Discussion

International conference The Revolutionary Spirit

Friday, March 19, 2021 Session 1 19th -Century Creative Imaginations, the Classical Legacy, and the Revolutionary Spirit Chair Argyro Loukaki 10:00-10:15 Konstantinos I. Soueref PhD Archaeology, Emeritus Director of Antiquities, Greece 1809. Byron in Ioannina Lord Byron’s and John Cam Hobhouse’s Grand Tour around the Mediterranean Sea was broken temporarily in Patra. They travelled to Epirus in order to meet the heretical ‘oriental’ Ali Pasha. The journey turned out to be an exploration of a different land, the contradictory experience of idealism and romanticism. Details are known to us from Byron’s correspondence to his mother and Hobhouse’s Journey through Albania (1813). Poems such as The Curse of Minerva (1811), Childe Harold’s Pilgrimage (1812-1818), which Byron started writing in Ioannina and made him famous, and Oriental Tales (1813-1815), brought forth his imaginative childhood of the secretive Levantines and the influences of the cultural curiosities of his first trip to the ‘subjected Greeks’. Byron’s works revitalised the meaning of genius loci and Greek revival and influenced many, like Lear and Delacroix, also Nietzsche and authors, amongst the last Kalvos, Solomos, Rhoides, Mavilis, Palamas and Karyotakis. A leading light of the romantics and philhellenes, Byron, went back to Messolonghi (1823-1824) to bolster the morale of the ‘rebellious lads’ of the Revolution. I do not think Byron could rid his mind the Greek ‘East’, where nationalities and religions co-existed, as they did in Epirus. 10:15-10:30 Konstantinos Moraitis Professor Emeritus, School of Architecture, National Technical University of Athens Dreams of Universal Freedom and the Hellenic Revolution Charles Eastlake depicted Byron sleeping in the Hellenic archetypal landscape of natural beauty, adorned with ruins of classical antiquity. According to the title of

Athens, 18, 19 & 20 March 2021 the picture the poet ‘is dreaming’… What was he dreaming of? We shall refrain from the realm of the generalized poetic imagination and concentrate on Byron’s political revolutionary aspirations. In 1824 the romantic poet reached Genoa, Italy in his private vessel ‘Bolivar’, bearing the name of the South American peoples’ liberator, ‘el libertador’. In Italy Byron organized a small military group of Souliotes warriors, under the command of Pietro Gambia, an Italian revolutionary ‘carbonaro’. Byron was eager to arrive in Messolonghi, Greece and meet Marcos Botsaris, a Souliotis leader of the Hellenic 1821 Revolution who, in Byron’s approach, was accepted as an idealized political personality. In Byron’s perspective, as well as in the view of many other philhellenes, the 1821 appraisal could be considered as an ideal response to the 19th century’s hope for political liberation in general. Apparently, the Hellenic Revolution was not merely regarded by the intellectual and political avantgarde of its time as a restricted Greek incident; it was rather envisioned as a paradigm of what the enlightened neoteric ethics could demand, in favour of the universal amelioration of peoples’ political dignity. 10:30-10:45 Dimitris Plantzos Professor, National and Kapodistrian University of Athens “A Very Fine Sight to See”: F.E. Church, S.R. Gifford and W.J. Stillman's Sojourn in Athens, and the Westernization of the Classical East During 1869, three important American artists visited or were resident in Athens, Greece. They were the painters Frederic Edwin Church (1826-1900) and Sanford Robinson Gifford (1823-1880) and the pioneer photographer William James Stillman (1828-1901). They all knew one another, and Stillman (who was also a painter) had been a pupil of Church’s around 1850. The three artists’ works from that year illustrate Greece as was habitually represented through the eyes of Westerners at the time: as a heterotopia of ruins, full of dreamy allusions to Greece’s classical past and few references to its mostly Oriental present. The paper, drawing from earlier and more recent work on the three artists, attempts a comment on the ways Western landscape painting insisted on viewing Greece through its classicized past, even at a time when the fledgling nation-state, barely counting three decades since its establishment in 1830, was facing its own demons on the threshold of an eagerly anticipated, and heavily westernized Modernity.

International conference The Revolutionary Spirit

10:45-11:00 Maria Aivalioti Dr, Art Historian, Independent Scholar Imaging Greece: The French Symbolists and the Quest for the Ideal Symbolism appeared and forged its identity in fin de siècle Europe, during a period of radical transformations about the religion, the reconsideration of human destiny and of revaluation of social conditions. In this climate of questioning and of reexamination of myths, the notion of antique Greece, its history and its mythology became a leitmotif in the work of French Symbolists, Gustave Moreau, Pierre Puvis de Chavannes and Odilon Redon who felt the strong impulse to interpret the drama and the destiny of a nation and to seek their own salvation through the depiction of myths about gods, heroes, kings and poets. The goal is to demonstrate how and in which terms the French adepts of the movement, that was commonly described as a “state of soul”, perceived and represented the classical legacy that was transformed into a vehicle to express artists dreams, ideas, ideologies and anxieties, highlighting the differences and correspondences among the artists. 11:00-11:30 Discussion

Session 2 Charting the Geographies of ‘Westernness’ and of ‘Otherness’ Across the Map Chair Dimitris Plantzos 11:45-12:00 Solmaz Kive Assistant Professor, School of Architecture & Environment, University of Oregon The Style of the ‘Other’; Ethnography in James Fergusson’s Account of World Architecture James Fergusson is often credited with writing the first history of architecture that systematically incorporated different traditions around the world within the established history of Western architecture. His global narrative was appeared in three main versions: An Historical Enquiry into the True Principles of Beauty in 1849; The Illustrated Handbook of Architecture in 1855; and A History of Architecture in All Countries in 1865. While the True Principles adopted a universalist tone, which valued many non-European styles as examples of ‘true

Athens, 18, 19 & 20 March 2021 architecture’, the Handbook and subsequent works shifted towards an ethnographical account of architecture, which further developed in A History. His ethnography evaluated architecture based on what it could say about a nation and used racial theories to explain architectural styles. It also facilitated a system of structuring the world that eventually led to a binary division of the Western, dynamic core and a non-Western change-less other. Looking at the gradual development of this early global history of architecture, this paper discusses the ethnographical method at the roots of the notion of otherness lingering in contemporary histories of architecture. 12:00-12:15 Areti Adamopoulou Professor of Art History, School of Fine Arts, Department of Fine Arts and of the Sciences of Art, University of Ioannina, Greece Defending ‘European’ Culture: Imagined Frontiers During the Cold War What was described as West and East after 1945 is a highly ideological issue that still raises a lot of debates. Even though we now know that the imagined Cold War dipole did not signal absolute separation of the two worlds, still the new schism between East and West shaped to a large degree the self-definition and national identity of all European states. Countries in Central Europe were considered Eastern, while Greece, situated in the SE of the continent, became a Western country. USA and the USSR were the new West and East in the Cold War setting, described as such obviously still from a European point of view. How did the newly constructed notion of a common European culture fit in this new geography? How many ‘Europes’ were invented after 1945 in states that perceived themselves as defenders of the ‘European’ culture? How were boundaries imagined and negotiated both internally and in foreign diplomacy in each case? 12:15-12:30 Cosmin Minea Dr, New Europe College, Bucharest The Transnational Creation of the Romanian National Architectural Heritage in the 19th Century. The paper presents the ideas about the sources and meaning of historical monuments of Romania in the second half of the 19th century. It will focus on

International conference The Revolutionary Spirit notions such as Byzantine Art, National Art, Oriental Art, to trace how architecture was used to demonstrate the national and European nature of the medieval heritage of Romania. Indeed, the need for international recognition and for maintaining the political status of the independent state were main reasons for the efforts to identify and promote a national architectural heritage. The creation of the Romanian architectural heritage was a transnational process, albeit less recognised as such in the literature. The first to write about an architectural monument in Romania was a German from Transylvania, Ludwig Reissenberger (1819-1895), whose study was contextualised and contradicted by the Romanian architect Dimitrie Berindei (1831-1884). Romanian, together with French artists, also organised the display of Romanian historical monuments at 19th century Universal Exhibitions. Moreover, a collaboration between the French architects Eugène Viollet-le-Duc, André Lecomte du Nouÿ and the Romanian authorities led to the restoration of the most important historical monuments in the country. Therefore, the national architectural heritage of the new nation-state was defined and promoted by way of complex transnational networks of actors and intellectuals, in such a way that contradicts binaries or oppositions between ‘Eastern’ and ‘Western’ art and culture. 12:30-12:45 Stavros Alifragkis1 & Emilia Athanassiou2 1Adjunct Lecturer, Department of Architecture, Aristotle University of Thessaloniki & Hellenic Open University 2Dr, Research Associate, School of Architecture, National Technical University of Athens The ‘Voyage à l’ Orient’ as a Revolutionary Act: The Hellenic Travellers’ Club Educational Cruises to Greece, 1906-1939 Early in the 20th century, travelling was rebranded as a vehicle for social enlightenment, drawing on the humanistic tradition of the 18th century Grand Tour, whereby privileged and educated Britons reconnected with the ancient Greek civilisation and culture of their classical education via a spiritual pilgrimage of self-discovery, infused with romantic idealism. For the European intelligentsia, Greece -then approachable mostly by sea- and her cultural landscapes, dotted with the ruinous remnants of her glorious past, furnished the framework of common ethical, aesthetic, and philosophical values for society’s much needed

Athens, 18, 19 & 20 March 2021 moral regeneration prior to and following WWI. The Hellenic Travellers’ Club (HTC), established in 1906 by Sir Henry S. Lunn (1859-1939), a Methodist and exponent of utilitarianism, capitalised on the added symbolic value of the journey to Greece, by organising cruises around the Aegean basin. At the time, Europe was longing for a future of peace and prosperity, founded on social justice and inclusion. Travelling to foreign lands, the intended encounter with the other, was expected to promote acceptance and understanding. The creative coexistence of people from different educational backgrounds (e.g., scientists, educators etc.) on-board the HTC’s steamships headed for Greece, the land of territorialised ideals, and their active engagement in relevant academic lectures, were expected to propel society toward this future. In this sense, the HTC’s educational cruises to Greece, the floating realised utopias of early and interwar modernity, fulfil the call for cosmopolitan values that was interrupted by WWII, thus constituting a revolutionary act. 12:45-13:15 Discussion

Session 3 The Mediterranean Cinematic Gaze Between East and West Chair Stavros Alifragkis 13:30-13:45 Argyro Loukaki Professor of Art, Architecture and Urban Planning, Hellenic Open University Greek Tragedy in Pasolini and Cacoyannis. Eastern- Western Undertones of the Mediterranean Geographical Unconscious Pier Paolo Pasolini and Michalis Cacoyannis, two world-class Mediterranean cinematographers, have interpreted ancient tragedy and myth in contrasting ways, to propose different aspects of Greece as the origin of European culture. The paper stresses the ways that landscape and space are used to portray Eastern, Greek and Western aspects of the Mediterranean geographical unconscious, namely, of the manner in which modernity has appropriated Greek culture and myth to shape its own spatial perceptions and imaginaries. In Pasolini, the mythical world emanating from his films Oedipus Rex and Medea, in the latter starring none else than Maria Callas, but also from geographical and

International conference The Revolutionary Spirit cultural surveys, ultimately becomes a vehicle for self-exploration. Pasolini highlights the polarity between a barbaric, ‘Eastern’ or ‘African’ world, seen as seats of authenticity, and classical Greek world, portraying the latter as the forefather of Western rationality, alienating progress, and industrialization, to voice his revolt towards modernity plus the Italian politics and society of his time, to which he partly remained an outcast. Conversely, Cacoyannis, in his tragic trilogy, Electra, Trojan Women and Iphigenia pursues both the authentic, age- long underpinnings of Greece and their present relevance, by adhering to the ancient text, to the power of ‘the Greek gaze,’ and to the mythical, yet very real landscapes that nourished the tragic logos, including Mycenae; Greek landscapes of the 1960s were still close to their ancient form. Cacoyannis re-establishes ancient Greek themes such as the bonds between humans and nature, hubris and its punishment through divine justice, accountability of the powerful, social collectivity and impacts of war. Ultimately, he also explores the role of women in the Mediterranean cultural becoming. 13:45-14:00 Evi Ntoupa & Achilleas Ntellis Teachers, 1st Model Lyceum of Athens – Gennadeio How the Modernist Invention of Cinema Transformed the Eastern Gaze of Greeks Cinema as the final ending of Modernism changed the way of seeing and perceiving the representation of an artwork. The political phase of modernism, which reached its peak in the period 1967-1975, coincided with political instability, institutional inadequacies and the dictatorship in Greece. In that specific period one trend conquered the Greek intelligentsia: the primacy of form over content, under the influence of political modernism in terms of self- reference, introversion and later political activism. The other trend, the emphasis on depicting common people and setting the subject over the form, was supported by bourgeois intellectuals and paradoxically by leftist critics. Through this presentation a different approach will be made in relation to how the content and the form developed not in the political period of the modernism, but in the beginning of the Greek Film History before and after WWII. In other words, the presentation will explore not only the influence of the Byzantine tradition of the East, but also examine how the landscape and architecture influenced cinematography. 14:00-14:15. Discussion

Athens, 18, 19 & 20 March 2021

Keynote Speech Chair Argyro Loukaki 14:30-15:10 François Penz Professor Emeritus, Department of Architecture, Faculty of Architecture and History of Art, University of Cambridge The Cultured Eye in the Age of Divided Spatial Representation This talk follows from a research project entitled ‘A Cinematic Musée Imaginaire of Spatial Cultural Differences’ that aimed at understanding spatial practices in different cultures by comparing the West with China and Japan in particular, through the medium of cinema. Building on Philippe Descola’s anthropological theories of systems of qualities detected in iconic images (La Fabrique des Images, 2010), we adapted for film his ontological categorization of ‘naturalism’ for the West and ‘analogism’ for the East. However, iconic images of cinema are mediated by the motion picture camera, constructing an image analogous to the perspective projections developed during the Italian Renaissance. It implies that with the advent of cinema, other ways of seeing the world in the East, using traditional techniques of representations, often referred to as anti-perspective, would have been lost. I will concentrate here on the following conundrum: how can we differentiate cultural qualities in iconic film images between naturalistic and analogistic traditions that use the same apparatus? And what are the broader implications for the cultured eye? 15:10-15:30 Discussion

International conference The Revolutionary Spirit

Saturday, March 20, 2021 Session 4 Art and Spatial Processes: Byzantium and the Ottoman Empire Chair Jenny Albani 10:00-10:15 Dionysis Mourelatos Associate Lecturer, Hellenic Open University Icons Between ‘East’ and ‘West’ In the proposed paper the icons will be explored as objects of inter-cultural features; more specifically, the icons will be explored as objects reflecting the inter-cultural dialogue, especially between East and West; in this perspective will be discussed the perception of the ‘East’ and the ‘West’ in the framework of the Byzantine society and culture. Icons even after the Iconoclasm gained visibility and influence in the Byzantine society. However, at the end of the 11th century Byzantium’ s military and political power started to decline; in the following centuries up the 15th century, a complex political and cultural reality was shaped in the region; Georgians, Crusaders and Muslims, ‘Easterns’ and ‘Westerns’, gain power and political influence. The Byzantine culture, especially the painting, though, was widespread at the same period across the Mediterranean Sea and the Eastern Europe. Furthermore, in the Western Europe, especially in Italy, new forms of ‘icons’ are developed, like Vita icons, that reflect the cultural osmosis with the Byzantines. Therefore, icons are the most representative material to explore and discuss inter-cultural issues. Although the icons are religious objects, they reveal the complexity and the dynamics of different cultures in the region during this period. Moreover, in this paper will be explored how the ‘eastern’ and the ‘western’ elements are presented in the ‘eastern’ and the ‘western’ icons. 10:15-10:30 Smaragdi Arvaniti Post-doctoral researcher, University of Athens The Cultural Movement During Late and Post- Byzantine/Ottoman Period; The Case of Ceramic Production in Terms of Exchanges, Imitations, Appropriation

Athens, 18, 19 & 20 March 2021

Pottery is a significant factor of historical societies and a faithful reflection of everyday life in all its diversity and mobility. Furthermore, its study helps clarify issues of commerce, fluidity, and exchange. During the Late Medieval and the Early Modern times, Mediterranean was an area of constant interactions, characterized by the movement of commodities, ideas, and peoples. In this paper I will first discuss the commercial routes in the Mediterranean and the particular links developed from the 13th to the early 19th century between its eastern and western littorals, namely between Spain and Italy, and the former Byzantine lands, the Latin Crusaders’ States and later on, the Ottoman Empire. I will draw attention to the influences of socio-cultural and religious factors on pottery types, techniques, styles and decorative patterns, and I will highlight the changes occurred due to these cultural interactions. Finally, I will discuss the way that appropriation on pottery reflects the co-existence of Eastern and Western cultural traditions. 10:30-10:45 Nasso Chrysochou Associate Professor, Frederick University, Nicosia, Cyprus The Unique Appropriation and Re-interpretation of Eastern Byzantine Form and Structure, Resynthesized with Renaissance Elements, Into New Hybrid Forms. The Case of Rural Orthodox Ecclesiastical Architecture During the Late Latin Period in Cyprus Τhe renaissance in Cyprus, as an architectural typology and morphology of a classicized aesthetic, was imported and used conservatively mainly in large public, some domestic and in a few monastic edifices. In antithesis, the rural Orthodox ecclesiastical architecture during the Late Latin period in Cyprus, is a fascinating and unique appropriation and re-interpretation of eastern byzantine form and structure, metamorphosed and resynthesized, into new hybrid forms. In its many surviving examples, in new churches but mainly in the incorporation of additions onto byzantine churches, it demonstrates the tremendous ease of the Cypriot construction crews, for architectural creativity and the ability to alter structure and redistribute loads. However, there is simultaneously, evidence of a strive for aesthetic qualities which tend to oscillate between a west than east. The morphological elements and the endeavour for optical corrections are clearly products of a western influence while the resulting sum of the parts, is definitely eastern in its evolving organic and sculptural form. The resulting

International conference The Revolutionary Spirit structure is far removed from the orthological, geometric forms of its western counterparts but simultaneously it indicates a dialogic process of thought, form and even liturgy between west and east. 10:45-11:00 Patrick Becker-Naydenov Researcher, DFG Research Training Group. ‘Knowledge in the Arts’, Berlin University of Arts Sounding the Border, Drawing a Line: Architectural and Acoustical Dimensions in the Conversion and Construction of Islamic Sacral Sites in Southeast Europe After the Fall of Constantinople Following the Fall of Constantinople and continuous expansion throughout the remainder of the 15th and 16th century, the newly conquered lands provided the Ottoman rulers with ample opportunities for the conversion of former Christian religious sites as well as the construction of new sacral architecture. Until now, researchers have mostly focused on prestigious projects undertaken either in the new capital or other cultural and political centres that directly emulated the style of the Hagia Sophia. However, construction and conversion in the more rural, yet heavily contested borderlands remain a somewhat untapped phenomenon. This contribution investigates how the construction of new sacral Islamic architecture and the conversion of existing religious buildings became meeting points for various discourses and different religious, architectural, and administrative knowledge. Within the multi-ethnic and -religious contexts of the newly acquired regions in South East Europe, mosques formed the visible and audible sites of Ottoman rule: Through their interior architecture and outer appearance they went beyond a mere symbolism of power. Instead, as documentary evidence from both the Empire and Western spectators at least since the Council of Vienna (1311/12) shows, the regulation of sound and noise went hand in hand with the imaginary geographies of late Medieval and Renaissance Europe. 11:00-11:30 Discussion

Athens, 18, 19 & 20 March 2021

Session 5 Modern Architectural Identities, Infrastructures and Social Becoming Around the Mediterranean Chair Konstantinos I. Soueref 11:45-12:00 Ersi Filippopoulou Architect and Jurist, Independent scholar Oriental Background and Occidental Modernity: Athens Urban Iconography

The present paper attempts to ‘read’ the modern Greek urban iconography by navigating across the post-1830 Greek socio-political context, with Athens as an example. Having lost all its ancient glory, post-Ottoman Athens was chosen in 1834, for symbolical reasons, to be the capital of the new Greek sovereign nation-state and, likewise, the neoclassical architectural style as the nation's visual representation. The reorganization of space as an instrument of reconstructing the collective meaning was an ambitious top-down, elite occidentalization policy to establish a link to modernity, even more so as the Occident had previously used Hellenism to formulate its own image. The new style became quite popular and, in the early 20th century, it coexisted successfully with a moderate modernism. However, the mismatch between urban iconography and an institutional and industrial modernization proved to be of particular significance in the post-1949 period, when the Athenian cityscape was extensively encumbered with poor-quality structures, in efforts to quickly combat the great destitution of Greek people, inflicted during World War II and the ensuing Greek Civil War. Contemporary Athenian iconography reflects the difficulty of the Greek society to transition from the traditional Oriental familistic and localistic dimension of communal mindset to a big-city civic visioning and urbanity.

12:00-12:15 Nikolas Patsavos Associate Professor of Architecture, Department of Architecture, University of Ioannina Cypriot Architecture, or Architecture in Cyprus: Untimely Notes The paper discusses the political and other concerns related to the invention and imposition of a certain ‘Cypriot’ architectural (if not cultural and national)

International conference The Revolutionary Spirit identity throughout British colonial rule of the Mediterranean island. Following the first relative historical and applied studies by British and local architects and archaeologists, the study moves on with key architectural discourses and episodes related to the national uprise of the island's Greek(-orthodox) community (Unification Struggle) and the troubled times after the declaration of its Independence. The paper focuses on the Cypriot example as a paradigmatic opportunity to address the wider questions regarding the formation of local architectural identities on the basis of contested territories and traditions. 12:15-12:30 Vassilis Colonas Architect, Architectural Historian, Professor at the Department of Architecture, University of Thessaly The Chicago School at the Banks of the Suez Canal! In the second half of the 19th century, the major projects carried out in Egypt, in particular the opening of the Suez Canal, had attracted a significant number of European workers, mainly of Greek origin (about 70%). The role of all European communities was not limited to religious and educational fields, but included all the social and economic activities of a permanent establishment. Among the building types intended to accommodate new activities due to private initiative, this presentation will focus on a special typology: that of the high-rise building which has as its main feature its superimposed wooden galleries This ‘second’ wooden facade gives it, apart from a homogeneous appearance, a specific, quasi- colonial character. Looking for models of this architecture, one must turn to the British colonies rather than to Metropolitan France and in particular the dwellings, which come from the Indian ‘bungalow’. This bungalow has flourished in the Canal cities, with expansions in height reaching the 5 floors to better meet the demands imposed by speculation on land value, occupying entire building blocks both in indigenous areas and in European quarters. With a ground floor for shops and a number of repetitive floors, these buildings have marked the iconography of the city for more than 50 years. They are still today, a coherent and unique entity in the history of Mediterranean and Middle East architecture. The evolution of the ‘Indian bungalow’ and its transformation into a ‘wooden skyscraper’ could have created, mutatis mutandis, the Chicago school along the Suez Canal.

Athens, 18, 19 & 20 March 2021

12:30-12:45 Iddo Ginat MDes, BΑrch, Shenkar College and Bezalel Academy of Arts and Design, Jerusalem ‘Planning a Civilization’: Constructing a Zionist Landscape in International Exhibitions Between World Wars The paper expands on the ways and means by which the Zionist ethos has been constructed through Zionist participation in International Exhibitions and World’s Fairs between the two World Wars. It focuses on the measures taken to represent the Palestinian/ ‘Eretz Israeli’ landscape and the Zionist construction project as exemplars of a Western modernization process, and as a successful model of nationalist and social reform conceptions. It unpacks the relationship between the methods of visual representation used in exhibitions, the set of agendas of the organizers, and the interpretive agency of the audiences. The rational for the paper is that Zionist organizations had to exert efforts in order to consolidate the conceptual connections between the ideas of Jewish nationalism and a Jewish cultural and geographic/physical locale. By a comparative analysis of key exhibitions in which Zionists had participated, the paper highlights the connection between the different agendas and messages conveyed, and the visual and architectural means used, suggesting a migration of knowledge in the act of representation, and intricate relations between codes of representation and audiences. 12:45-13:00 Amalia Kotsaki Associate Professor, School of Architecture, Technical University of Crete Crete: East and West. Spatial Imprints in Pendulum Motion Crete, through consecutive conquests during its long history, is one of the Greek regions which shows pendulum motions between East and West. In their succession, each conqueror will use in large proportion pre-existing buildings, constructed by the previous reign, especially big-scale administration and religious buildings, and in parallel will pursue to express his sovereignty in the field of architecture and urban planning. The aim of this presentation is the examination of the architectural and urban expression of the transition from

International conference The Revolutionary Spirit each sovereignty to the next, in fact from East to West and vice versa. The study includes civic and religious buildings in Crete, which have been used by consecutive conquerors as expressions of the urban presence of each sovereignty. This presentation will emphasize the architectural expression of the transition from the Ottoman Rule to the Cretan Union with Greece, but also the period of the Cretan State, a semi-autonomous state under the Rule of the Great Powers, considered as representatives of the West. Specifically, this study poses the following questions: Which building type from the previous sovereignty has been selected as more appropriate to house the institutional buildings of the following? Is the use of the buildings characterized by resilience? In which occasions? How can we interpret it? Where are these buildings located in the urban tissue of the cities and how do they acquire their symbolic character? Is there any differentiation in the architectural gestions between civic and religious buildings during their transition? 13:00-13:30 Discussion

Session 6 Eastern Architecture and Art in Western Interpretations Chair Dionysis Mourelatos 13:45-14:00 Alejandro M. Sanz Guillén PhD candidate, Art History Department, University of Zaragoza Sources for Discovering Japanese Architecture in 18th Century Europe

Several texts and prints published during the 17th and 18th centuries in Europe served to bring Japanese culture closer to Western readers. Despite the fact that during this period the relations between the two regions were reduced, thanks to these books, many facets of Japan were disclosed in the European countries. This paper examines what European images and texts of Japanese architecture were created during the Enlightenment, before the Japonisme phenome. For this purpose, we will analyse the main titles published in Europe on Japan during the 18th century. We will especially highlight the information on Japanese architecture that can be extracted thanks to these publications. In this manner, we will know how far the knowledge of Japanese architectural typologies and

Athens, 18, 19 & 20 March 2021 forms was extended in Europe, before the archipelago was widely opened to Western nations. This research discovered how before the Japonisme phenome, different characteristics of Japanese architecture could already be known, and the impact that it could have within the context of the Chinoiseries. Thanks to these texts, not only the main temples and castles were known, but also how was the popular architecture, the urban planning of the main cities or the interiors of the houses. 14:00-14:15 Eka Tchkoidze Associate Professor at Ilia State University, Tbilisi, Georgia. Transforming Batumi into a Western City: Greek Houses in an Industrial Center of the 19th and early 20th Century The Georgian littoral town of Batumi, situated on the eastern shores of the Black sea, was included in the Ottoman empire in the 16th century. It was reunified with Georgia due to the victory of the Russian empire in the last Russo-Turkish war in 1877-1878 (at the time Georgia was part of Russia). By the end of the same century, as a very convenient port, Batumi became the only sea- transporter of Baku’s (Caspian) oil, to which Batumi was connected via railway. Thus, before the October Revolution, Batumi served as one of the most important industrial centres of the whole Russian empire. Greeks’ migration to this district started early in the 19th century. They were actively involved in all economic processes of Batumi. Consequently, some of them became very rich with their own business activities. Their houses were an important element of their high social status. Up to now there is a great number of houses which used to have Greek owners. Some of them will be presented in the current paper. Greeks’ general contribution to Batumi’s economic and social development will also be analysed. 14:15-14:30 Discussion. Round table Chair Argyro Loukaki 15:00-16:00 The Organizing Committee Conference conclusions

International conference The Revolutionary Spirit c. Conference participants (in alphabetical order)

Areti Adamopoulou Professor of Art History, School of Fine Arts, Department of Fine Arts and of the Sciences of Art, University of Ioannina, Greece, aadamo[at]uoi.gr Areti Adamopoulou is Professor of Art History at the University of Ioannina, Greece. She has previously taught at the University of the Aegean and the Aristotle University of Thessaloniki. She has authored two books in Greek (Post- war Greek Art. Visual Interventions in Space, University Studio Press, 2000, and Art and Cold War Diplomacy. International Art Exhibitions in Athens, 1950-1967, University Studio Press, 2019) and edited three volumes on art history and theory. She publishes widely, mainly in Greek and English. Her research interests focus on contemporary art, national identity and art, art history’s history, Cold War exhibitions and the art market. Maria Aivalioti Dr, Art Historian, Independent Scholar, maria_aivalioti[at]hotmail.com Maria Aivalioti is an Art historian. The theme of her Ph.D. obtained from the Université Paris Ouest Nanterre La Défense, is the image of the angel in the paintings of European symbolist artists. She is a specialist of Symbolism. She has participated in several conferences and symposiums and has written articles mostly about Greek symbolism. In parallel, she has worked as an art curator and tutor of art history in public and private institutions including the Athens Tour Guide School. Her main interests are the presence of the movement in Greece and its affinities with the European centres, the symbolist iconography and in particular the representation of religious emblems in the work of symbolist artists. Jenny Albani Dr, Hellenic Ministry of Culture and Sports, jennyalbani[at]gmail.com Jenny Albani holds a diploma in architecture (1982) from the National Technical University, Athens, and a Ph.D. in the history of art (1986). She participated (1987–1991) in the Pseira excavation project of the Hellenic Ministry of Culture and the American Archaeological School of Classical Studies in Athens as well as in the Abu Fana (Upper Egypt) excavation project of the Austrian Ministry of Sciences and Research. Albani was a research fellow at the Institute of Art History of National Technical University (1987–1991) and is a staff member of the Section of Exhibitions at the Hellenic Ministry of Culture (1992–). Her

Athens, 18, 19 & 20 March 2021 professional activity at the Ministry focuses on exhibition curating, editing exhibition catalogues, and coordinating educational projects. She participated in numerous international conferences, gave lectures in Greece and abroad, and is the author of book reviews, papers, and books on issues of Byzantine art and architecture history, iconology, and museology. Moreover, she taught undergraduate courses on the history of art, architecture, and urbanism (2001– 2018) at the School of Humanities, Hellenic Open University. Albani is currently editing a collective volume on the changes in 13th-century Byzantine architecture, art, and material culture, in collaboration with Dr. Ioanna Christoforaki. Stavros Alifragkis Adjunct Lecturer, Department of Architecture, Aristotle University of Thessaloniki & Hellenic Open University, sa346[at]otenet.gr Stavros Alifragkis is Adjunct Lecturer at the Hellenic Open University and the Department of Architecture, Aristotle University of Thessaloniki. He holds a Diploma from the Department of Architecture, Aristotle University of Thessaloniki (2002). He earned his MPhil in ‘Architecture and the Moving Image’ at the Department of Architecture, University of Cambridge (2003), and his Postgraduate Degree in ‘Architectural Design – Space – Culture’ at the School of Architecture, National Technical University of Athens (2004). He holds a PhD from the University of Cambridge (2010). He has published widely on the theory and history of architecture and the city and their representations in different mediums. Smaragdi Arvaniti Post- doctoral Researcher, University of Athens, smarvaniti[at]gmail.com Dr Arvaniti studied at the Athens University (B.A., M.A., Ph.D). She engaged in numerous fieldwork projects and has acquired qualification in a wide range of disciplines, such as paleography, archeometry, cultural and museum management. Her thesis, entitled “Glazed pottery in the City of Thebes from the 13th century to the end of Ottoman Rule (1204 -1829): The Testimony of the Excavation Finds from the Kadmeia Region”, examined the topography of a medieval and early modern city in conjunction to pottery finds, in order to clarify issues of social structure, commercial relations, and political transformations. Her post-doctoral research focuses on the different policies and practices adopted by local communities in the field of management, exploitation and enhancement of cultural heritage. She examines the role and contribution of

International conference The Revolutionary Spirit

Municipalities, regions, chambers of commerce and various collectivities. She is a field assistant in two excavation teams, namely in the late antique site of Alasarna/Kardamaina (Kos), and in the late medieval fortified settlement of Epano Kastro, Andros. Her interests focus primarily on the social and economic conditions of the Late Byzantine and Ottoman Greece, as documented in pottery assemblages and circulation and on the development of post-byzantine mural painting as attested by the activity of local workshops in Kynouria, in the Peloponnese. She is member in good standing of numerous cultural and scientific associations. She has worked at the 1st Byzantine Ephorate and is currently working at the Athens Chamber of Commerce and Industry, in the Department of Public Affairs and Publications. Emilia Athanassiou Research Associate, School of Architecture, National Technical University of Athens, millie62[at]otenet.gr Emilia Athanassiou received her Diploma from the Department of Architecture, Aristotle University of Thessaloniki (2001) and her Postgraduate Degree in the Theory and History of Architecture from the School of Architecture, National Technical University of Athens (NTUA, 2004). She holds a PhD in the History of Architecture from the NTUA (2018). Her doctoral thesis investigates the rhetorical foundations of architectural theory. She has participated in four NTUA research programs. More recently, she concluded the European-funded research project ‘Journey to Greece: Mobility and Modern Architecture in the Interwar Period’. Currently, she is Research Associate at the School of Architecture, NTUA. She has published in scientific journals and edited books. Patrick Becker-Naydenov Researcher, DFG Research Training Group ‘Knowledge in the Arts’, Berlin University of Arts, bekerpat[at]gmail.com Patrick Becker-Naydenov is a researcher at the DFG research training group ‘Knowledge in the Arts’, Berlin University of Arts. In his Ph. D. The Mind Factory: Economy of Music Theatre in Socialist Bulgaria, he investigated compositional strategies that became both a means of communicating official historical narratives to new audiences and a mechanism to cope with economic violence, labour camps, and forced collectivization. He is co-founder of the international online magazine-journal Partisan Notes (formerly dissonance, 1984–2018), co- editor of the peer-reviewed Almanac of the NMA ‘Prof. Pancho Vladigerov’, and member of the editorial board to the German journal Positionen. Texte zur aktuellen Musik. He read musicology, philosophy, German literature, historical

Athens, 18, 19 & 20 March 2021 linguistics, economics, and music pedagogy at Humboldt-Universität zu Berlin and the Institute for Music, University of Applied Sciences Osnabrück. For his master thesis on the post-World War II Bulgarian avant-garde folk music reception, he won the Humboldt-Preis 2019. In 2021, he is a Fulbright Visiting Scholar at the Herberger Institute for Design and the Arts, Arizona State University. In his postdoctoral research, he examines the transfer of music across the Eastern Mediterranean region during the Renaissance. Research interests: history, theory, and semiology of music. Nasso Chrysochou Associate Professor, Frederick University, Nicosia, Cyprus, art.cn[at]frederick.ac.cy Nasso Chrysochou holds a Bachelor of Architecture, from SCI-ARC, a Masters in Conservation from ICRROM /York University and a PhD from the University of Cyprus, on the subject of Venetian period Monastic architecture in Cyprus. She has taught Architecture at Frederick University since 2008 in both the undergraduate and the postgraduate programs. She has also restored numerous historic buildings and ancient monuments. Her research interests are the ecclesiastical/ monastic architecture of Frankish-Venetian rule as well as Vernacular Cypriot architecture and she has participated in various research programs and has published books and numerous articles on these topics. Vassilis Colonas Architect, Architectural Historian, Professor at the Department of Architecture, University of Thessaly, colonas10[at]gmail.com Vassilis Colonas is a Graduate of the Department of Architecture of the Aristotle University of Thessaloniki, continued his studies in Paris, in the fields of conservation of historical monuments, Art history and Μuseology. Earned his doctorate in 1992 and since 2002 professor at the Department of Architecture of the University of Thessaly. Main researcher and head of Greek and European research programs related to the 19th and 20th century architectural heritage in Greece and in eastern Mediterranean and the Black Sea countries. Has taught at Universities in the United States, Canada and France. Since 2012, elected member of the scientific committee of the EAUH.

International conference The Revolutionary Spirit

Melita Emmanouil Professor Emerita, School of Architecture, National Technical University of Athens, marmelit[at]otenet.gr Melita Emmanouil is an art historian and Professor Emeritus of History of Art of the National Technical University of Athens. She has written books and articles on Byzantine monumental painting and art, and on modern and contemporary Greek and international art. She has written among others the books: The Frescoes of Hagios Demetrios at Makrichori and the Dormition of the Virgin at Oxilithos, Euboea (Archeion Euboikon Meleton, Athens 1991), The Monastery of the Pantanassa at Mistras. The Frescoes of the 15th Century (in collaboration with M. Aspra-Vardavaki) (edited by the Commercial Bank of Greece, Athens 2005), Colour and Image. Alice Tournikiotis. Twenty-Five Years of Artistic Creation (Monograph in Greek and English, Under the aegis of Vorres Museum, Athens 2005), The Art in Europe from the 18th to the 20th Centuries (Open University of Greece, Second Revised Edition, Patras 2008), History of Art since 1945 in five Units (Kapon Editions, Athens 2017, second revised edition). Ersi Filippopoulou Architect and Jurist, Independent Scholar, ersi[at]mauve.gr Ersi Filippopoulou, is an architect and jurist, specialized in cultural and heritage infrastructure projects development, as well as in museum planning/ programming/designing. Served as a high-ranking officer of the Hellenic Ministry of Culture and as an adjunct faculty member at the Departments of Architecture at the Universities of Thessaloniki and Patras, Greece. Contributed to the urban regeneration programme of unification of archaeological sites in Athens. Published extensively on topics of museums, urban architecture and cultural policies. Her last paper in English is: ‘Archaeological Museums and Public Policies in Greece: A Gordian Knot’. Museum International, 69(3-4), 2017. Currently researching a comparative approach to the Greek and Western museum paradigm. Iddo Ginat MDes, BΑrch, Shenkar College and Bezalel Academy of Arts and Design, Jerusalem, iddoginat[at]gmail.com Iddo Ginat is an architect, historian, and co-curator of the Israeli Pavilion for the Venice Biennale Architecture 2021. He teaches design and architectural history at the Bezalel Academy of Arts and Design, Jerusalem, and at Shenkar College of Engineering and Design, Tel Aviv. Iddo graduated with a B.Arch. from Bezalel

Athens, 18, 19 & 20 March 2021

Academy, and holds a master's degree in Design Studies from Harvard University. He is currently working on a doctoral dissertation at the Cohn Institute of History and Philosophy of Science at Tel Aviv University. Solmaz Kive Assistant Professor, School of Architecture & Environment, University of Oregon, skive[at]uoregon.edu Solmaz Kive is an Assistant Professor at the University of Oregon. She holds a Master’s in Architecture and a Ph.D. in History of Architecture. Her research explores identity politics in art/architecture historiography and the museum with focus on nineteenth-century England. Amalia Kotsaki Associate Professor, School of Architecture, Technical University of Crete, Kotsaki[at]arch.tuc.gr Amalia Kotsaki is Associate Professor in the School of Architecture, Technical University of Crete. PhD, NTUA, 2005. In 2000 she was honoured by the Athens Academy with the Prize of Letters and Fine Arts as a distinguished young architect. She is also a practicing architect and has won prizes in 12 architectural competitions. She has organized and taken part in numerous international conferences, and published articles which focus on Neohellenic architecture, city, and culture. Amalia is founder of the research Lab ‘Neohellenic Architecture, City and Culture’ and Director of the Postgraduate Program of the School of Architecture, TUC. Author of four monographies and editor of three collective books. Argyro Loukaki Professor of Art, Architecture and Urban Planning, Program in Hellenic culture and Civilization, Hellenic Open University, aloukaki[at]eap.gr Argyro Loukaki is Professor of Greek Art, Architecture and Urban Planning at the Hellenic Open University (HOU). D.Phil. Oxford, MA Sussex, Master Panteion, Architect-Engineer, NTUA. Recurrent director of the HOU Undergraduate Program ‘Greek Culture and Civilization.’ Previously, an architect and a planner at the Greek Archaeological Service and in other public services. After a relevant 2013 conference in Athens, she initiated a sequence of international conferences on art and space in 2017 which have led to a number of publications. Has taught and participated in conferences extensively. Research interests: Art, architecture, space, and literature, monuments’ and heritage preservation, Mediterranean landscape and cultural geography, aesthetics of development.

International conference The Revolutionary Spirit

Book selection: (2007/2009) Mediterranean Cultural Geography [in Greek]. Athens: Kardamitsa. (2008/2016) Living Ruins, Value Conflicts. Aldershot: Ashgate/London and New York: Routledge. (2014/2016) The Geographical Unconscious. Aldershot: Ashgate / London and New York: Routledge. With D. Plantzos (eds) (2018) Art and Space in Crisis-Hit Greece [in Greek]. Athens: Leimon. (ed.) (2021) Urban Art and the City. Creating, Destroying, and Reclaiming the Sublime. London and New York: Routledge. In press: Islands of the Ancient Sea. Aesthetics, Landscape and Modernity. London: Bloomsbury. Art, Space and Literature: The Case of Greece. Athens: Leimon. For a detailed list of papers, see: https://eap.academia.edu/argyroloukaki (last accessed: March 2021). Cosmin Minea Dr, New Europe College, Bucharest, cosmin.minea[at]gmail.com Cosmin Minea is a Bucharest-based art historian whose research interests focus on modern and contemporary art in Central and Eastern Europe, in particular in the ways the material and cultural heritage of the region has been used to project new identities and communicate political ideas. Cosmin is currently a postdoctoral researcher in the ERC project ‘Art Historiographies in Central and Eastern Europe’ (arthist.ro) where he reassesses the emergence of a unique Romanian style in modern architecture around 1900. Cosmin graduated in 2020 with a PhD from the University of Birmingham titled ‘Old Buildings for Modern Times: The Rise of Architectural Monuments as Symbols of The State in Late 19th Century Romania’ (supervisor Professor Matthew Rampley). Konstantinos Moraitis Professor Emeritus, School of Architecture, National Technical University of Athens, mor[at]arsisarc.gr Dr Konstantinos Moraitis. Professor Emeritus, School of Architecture - National Technical University of Athens (NTUA). Architect - Engineer NTUA, PhD in Architecture and Landscape Architecture. Doctoral Thesis under the subject: Landscape – allocating place through Civilisation (NTUA). Postgraduate Studies of Ethical and Political Philosophy (Université I de Paris). Postgraduate Program of Arabic and Islamic Studies (Panteion Univ., Athens). Teaching in NTUA since 1983.Responsible for the postgraduate seminar of ‘History and Theory of Landscape Design’, since 1998. Publications of architectural projects and scientific articles, participation in collective editions, author of tutorial books. Author of three monographs concerning landscape design. Numerous distinctions in Pan-Hellenic, Pan-Cypriot and International architectural competitions. Member of the Greek Philosophical Society - Member of the

Athens, 18, 19 & 20 March 2021

Hellenic Society for Aesthetics – Member of the Hellenic ICOMOS – Member of the International Scientific Committee on Cultural Landscapes [ISCCL]. Dionysis Mourelatos Associate Lecturer, Hellenic Open University, dmourela[at]arch.uoa.gr Dionysis Mourelatos read History and Archaeology at the University of Athens. He was awarded an MA and a PhD (Icon: its placement and function, 2009) in Byzantine art and archaeology at the same University. His publications and presented papers cover painting, minor arts, historiography of Byzantine art, coinage and the history of metallurgy. He is currently associate Lecturer at Hellenic Open University. Achilleas Ntellis Teacher at the 1st Model Lyceum of Athens – Gennadeio, achilleas.ntellis[at]gmail.com Achilleas Ntellis studied Classics at the National and Kapodistrian University of Athens and Film Directing at Lykourgos Stravrakos Film School. He holds a PhD in Film Studies from Aegean University. He is writing film reviews, mainly, in the literary magazine Frear. Evi Ntoupa Teacher at the 1st Model Lyceum of Athens – Gennadeio, evouladoup[at]gmail.com Evi Ntoupa is an alumnus of the Faculty of History and Archaeology of the National and Kapodistrian University of Athens. With a Master obtained from the Hellenic Open University in the field of ‘Administration of School Units’ and an ongoing Master in ‘Rhetorics, Human Sciences & Education from NKUA’, she has more than 20 years of experience in teaching in private and public schools, while she has participated in numerous conferences, MUNs and projects in cooperation with European Union, and Schools from abroad. Her passion for History and Rhetorics is the stimulus for multifarious experiences in the field of teaching. Georgios A. Panetsos Professor, Department of Architecture, University of Patras, gparch[at]otenet.gr Georgios A. Panetsos (Athens, 1960) is Professor of Architecture and Urban Design (1999-) and former chair (2007-11, 2015-2020) of the University of Patras Department of Architecture. He received the DiplArch from NTUA (summa cum

International conference The Revolutionary Spirit laude,1984) and the MArch from Harvard University (1986), and pursued independent study at TUWien and AAK, Vienna, with H. Hollein (1987-88) as a Herder fellow. He is the founder of the annual Greek Architecture Awards (2010-) and Domés Index (2014), and the editor of Domés (2005-), Domés Greek Architecture Yearbook (2010-) and DOMa (2020). His design work has been distinguished in competitions, exhibited and published internationally, and included in contemporary architecture guides. Nikolas Patsavos Associate Professor of Architecture, Department of Architecture, University of Ioannina, npatsavos[at]uoi.gr Nikolas Patsavos (Athens, 1977), Dipl Arch AUTH, is the managing partner of Ctrl_Space Lab, and the project architect for a series of research and applied projects, workshops, publications and exhibitions. Since 2001, he has been a researcher at the AA Graduate School, the British School at Rome, the NTUA, TU Crete and the University of Thessaly. He has been teaching architecture design and theory-critique, at both undergraduate and graduate level, since 2003, at the AA, TU Crete, and the Universities of Thessaly, Nicosia and Frederick (CY), and at Ioannina since the foundation of the School in 2015. Research interests: postindustrial architectural culture and knowledge, strategic design, ekistics, sustainable heritage, design methods. François Penz Professor Emeritus, Department of Architecture, Faculty of Architecture and History of Art, University of Cambridge, fp12[at]cam.ac.uk François Penz is an Emeritus Professor of the Department of Architecture and an Emeritus Fellow of Darwin College, University of Cambridge. His AHRC project ‘A Cinematic Musée Imaginaire of Spatial Cultural Differences’ (2017-2020) expanded to China and Japan in particular, many of the ideas developed in his monograph ‘Cinematic Aided Design: An Everyday Life Approach to Architecture’ (Routledge 2017). He is currently editing ‘The Everyday in Visual Culture: Slices of Lives’ (forthcoming 2021) and working on a new monograph ‘The 100 Films That All Architects Should See’ (Routledge 2022/2023). Dimitris Plantzos Professor, National and Kapodistrian University of Athens, dkplantzos[at]arch.uoa.gr Dimitris Plantzos is a classical archaeologist specializing in Greek art and archaeology, archaeological theory, and classical reception. He is the author of

Athens, 18, 19 & 20 March 2021

Hellenistic Engraved Gems (Oxford 1999) and, more recently, Greek Art and Archaeology, 1200-30 BC (Athens and Atlanta GA, 2016) and The Art of Painting in Ancient Greece (Athens and Atlanta GA, 2018). He was also co-editor (with D. Damaskos) of A Singular Antiquity. Archaeology and Hellenic Identity in 20th c. Greece (Athens, 2008) and (with T.J. Smith) of A Companion to Greek Art (Oxford and Malden MA, 2018). Alejandro M. Sanz Guillén PhD candidate, Art History Department, University of Zaragoza, al.sanzguillen[at]gmail.com Alejandro M. Sanz Guillén graduated in Art History, Master's Degree in Advanced Studies in Art History and Diploma of Specialization in Japanese Studies: Law, Society and Culture at the University of Zaragoza. Since February 2018 he has been developing his PhD as a predoctoral fellow on the construction of the image of Japan through the illustrated books published in Europe during the 17th and 18th centuries. He has published various articles in academic journals and participated in several conferences on his research topic. He has completed a research stay granted at SOAS, University of London, from October 2019 to January 2020. Konstantinos I. Soueref PhD Archaeology, Emeritus Director of Antiquities, Greece, souerefk1[at]gmail.com Konstantinos I. Soueref was the Director of the Ephorate of Antiquities of Ioannina at the Ministry of Culture and Sports (2011-2019) and was the Director of the Ephorate of Antiquities of Florina and Kastoria (2006-2010). He holds a PhD from the School of History and Archaeology at the Aristotle University of Thessaloniki in Greece. He studied History and Archaeology at the University of Bari and he completed two postgraduate courses, in Ancient Philology at Scuola Normale Superiore of Pisa and in Prehistoric Archaeology at the University of Pisa, in Italy. He was appointed as Adjunct Lecturer and taught Prehistoric Archaeology at the School of Philosophy at the University of Ioannina (1989- 1991), Ancient Greek Art at the University of Western Macedonia (2007-2011) and Greek Arts at the School of Humanities at the Hellenic Open University (1999-2015). Dr Soueref's scientific research focuses on the Northern and the North-Western Greek Archaeology and the History of Art.

International conference The Revolutionary Spirit

Eka Tchkoidze Associate Professor at Ilia State University, Tbilisi, Georgia, eka_tchkoidze[at]iliauni.edu.ge Eka Tchkoidze received her first degree in Philology at I. Javakhishvili State University of Tbilisi (1998), and her M.A. (2001) and Ph.D. (2006) in Byzantine History at the University of Ioannina (Greece). In 2007-2008 she worked as a postdoctoral researcher at Princeton University (Program in Hellenic Studies). Since 2008 she held a position of professor at Ilia State University. In 2011 her monograph funded by the Onassis Public Benefit Foundation was published in Athens. In 2012-2015 worked as an external collaborator in the interdisciplinary and inter-university project ‘The Black Sea and its port-cities, 1774-1914. Development, convergence and linkages with the global economy’.

Athens, 18, 19 & 20 March 2021

The international conference Space, Art and Architecture between East and West: The Revolutionary Spirit book of abstracts was designed by Stavros Alifragkis in March 2021. Cover: Jason Forlidas (March 2021). Cover image: Sir Charles Lock Eastlake, Lord Byron’s ‘Dream,’ 1827, Tate Britain [Image released under Creative Commons].