EDITOR IN CHIEF- A!"#$%&'()'*$Socrates Stratis, lecturer, Dr. architect, urbanist - Ph. D.!"#$%&'( !&$)&*(, +,#&-$)(, .$. )$/0&,#&"1, 2-+3-456-(

MEMBERS - +,-*Marios C. Phocas, assistant professor, architect - Dr. ing. - arch.7)$0-( 8"#%(, 329#-:$-( #);'<'&*(, .$. )$/0&,#&"1, 6'/)10#5(Panayiota Pyla, assistant professor, architect, theorist -Ph. D.=)1)<0>&) =?+), 329#-:$-( #);'<*&$0), .$. )$/0&,#&"1, ;3"$'&0#5(Christos Hadjichristos, assistant professor, architect, - Ph. D.@$9A&-( @)&B'/$9A&-(, 329#-:$-( #);'<'&*(, .$. )$/0&,#&"1

TRANSLATOR- +,'(.!($'!#(Maria Skamaga7)$9) !#)6)<#%

PROOF READERS- ,/#+,-*',$ ),#+,&0&Costas Papageorgiou (Greek)C>A&)( =)2)<3"$<9-: ( D++'10#%)John Foradaris (English)EB>1 8-$)4%$'( ( F<<+0#%)

DESIGN- $",1#($+2$Creative Lab Communications Ltd.

PHOTOGRAPHY- .0'23!(.#$*+ichael Theoharides (Student Work)M0/%+'( G3-/)$94'( ( 8-0&'&0#% H$<))Socrates Stratis (Annual Exhibition)!"#$%&'( !&$)&*( ( D&*A0) H#;3A')University of Cyprus (Panayioti Tournikioti Lecture & Panos Koulermos Exhibition))=)1320A&*60- C?2$-: ( .0%+3I' =)1)<0>&' E-:$10#0>&' #)0 H#;3A' =%1-: C-:+,$6-:)Le Corbusier Archive, Panayioti Tournikioti article, pg. 169,172,173,175F$/39- Le Corbusier, =)1)<0>&' E-:$10#0>&', A3+. 169,172,173,175

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J.UCY

01Journal of Architecture, Department of Architecture, University of Cyprus

The authors are fully responsible for the text and photography used.!" #$%%&'()*+ ,-.$/ 01/ )$23/1 %"' 0. 4)&")-56)/. 07/ 8)"6,/7/ 8'" (70.%&'()"9/ 4.$ -&1#"6.4.".3/0'"

/4567869: (5;6<49<7=69>?, T@>@A (5;6<49<7=69>?, /A=4B6C<D@E7F )GB57F

4 J.UCY 01

CONTENTS!"#$"%O&"'(

INTRODUCTION 7!"#$%&%'

THE POWER OF ARCHITECTURE IN A DIVIDED LAND , PROFESSOR STAVROS ZENIOS 11 H ()*$+' ,'# $-.",!/,0*"/'# #! !*$ +0"-$#+!*0 ,010 | #,$)-0# 2!*"0# ARH 201 (MAIN DESIGN STUDIO) PEDAGOGICAL OBJECTIVES 14$-.",!/,0*"/0# #.!("$#+0# IV

ARH 200 (MAIN DESIGN STUDIO) INHABITING THE INFRASTRUCTURE 20$-.",!/,0*"/0# #.!("$#+0# III /$,0"/&*,$# ,'* )10(0+'

ARH 101 (MAIN DESIGN STUDIO) ARCHITECTURAL DESIGN II 26$-.",!/,0*"/0# #.!("$#+0# ""

ARH 100 (MAIN DESIGN STUDIO) 34$-.",!/,0*"/0# #.!("$#+0# "

ARH 100 (MAIN DESIGN STUDIO) THRESHOLD AS A PASSAGE: LEDRA STREET NICOSIA 38$-.",!/,0*"/0# #.!("$#+0# ": /$,&34" &# ("$5$#': 0(0# 4'(-$# 4!)/&#"$

HOW DOES ONE BEGIN? TEACHING ARCHITECTURE TO 1ST YEAR STUDENTS CHRISTOS HADJICHRISTOS 431&# $-."2!" /$*!"#; ' ("($#/$4"$ ,'# $-.",!/,0*"/'# #,0)# $-.$-"0)# | .-"#,0# .$,2'.-"#,0#

INTERCOSMICS SOCRATES STRATIS 50("$/0#+"/$ | #&/-$,'# #,-$,'#

ARH 121 MEANS OF COMMUNICATION IN ARCHITECTURE - DOCUMENTING THE CONCEPT OF PERFORMANCE 66!-%$#,'-"0 +!#&* !1"/0"*&*"$# #,'* $-.",!/,0*"/' – /$,$%-$3' ,'# !**0"$# ,'# $10(0#'#

$RCH 120 FREEHAND DRAWING 70!4!)6!-0 #.!("0

ARH 220 DIGITAL ARCHITECTURAL COMMUNICATION 74'4!/,-0*"/A +E#$ !1"/0"*&*I$#

TEACHING AND PRACTICE: INTERPLAY OF THOUGHTS AND ACTIONS THEOCHARIS DAVID 76("($#/$4I$ /$" 1-$/,"/H !3$-+0%H: ' $+0"5$I$ !1I(-$#' #/E7'# /$" 1-A8'# | 6!0.A-'# ($)I(

EDUCATING ARCHITECTS PIERRE VON MEISS 79!/1$"(!)0*,$# $-.",!/,0*!# | PIERRE VON MEISS

ARH 230 CONSTRUCTION I 900"/0(0+"/' "

$RCH 233 CONSTRUCTION II 920"/0(0M"/' I"

ON ARCHITECTURAL DESIGN EDUCATION IN THE INFORMATION ERA LOUKAS N. KALISPERIS 96' $-.",!/,0*"/H !/1$I(!)#' #,'* !10.H ,'# 14'-030-I$# 40)/A# *. /$4'#1E-'#

REINTEGRATION IN CONTEMPORARY ARCHITECTURAL EDUCATION MARIOS C. PHOCAS 112!1$*!*010"'#' #,' #)%.-0*' $-.",!/,0*"/' !/1$"(!)#' +$-"0# /. 3&/$#

5

ARH 510 ADVANCED BUILDING TECHNOLOGY 120!"#$%"&'E(& )*$(#+#,I- .)/"I%(

ARH 331 BUILDING TECHNOLOGY 122)*$(#+#,I- .)/"I%(

ARCHITECTURAL PSYCHOLOGY 1969 - 2007 THEORY PRACTICE & EDUCATION BYRON MIKELLIDES 128-"$/)*.)#(/.& 01$#+#,/- 1969 – 2007 2*%"/-, !"-3& & *.!-/4*15& | 61"%( '/.*++/4&5

HOW HISTORICAL KNOWLEDGE INFORMS CONTEMPORARY ARCHITECTURAL CONCERNS PANAYIOTA PYLA 146!%5 & /5)#"/.& ,(%5& *'!+#1)/7*/ 51,$"#(#15 -"$/)*.)#(/.#15 !"#6+&'-)/5'#15 |!-(-,/%)- !1+-

ARH 211 ARCHITECTURE & SOCIETY 160-"$/)*.)#(/.& .-/ .#/(%(/-

BEING THE ARCHITECT FORMULATING THEORY IN LE CORBUSIER’S TOWARD AN ARCHITECTURE P. TOURNIKIOTIS 162'*5 )# '1-+O )#1 -"$/)E.)#(- & 51,."O)&5& )&5 2*%"I-5 5)# ,/- '/- -"$/)*.)#(/.H )#1 LE C#RBUSIER | !. )#1"(/./%)&5

PANOS KOULERMOS 1989 - 1999 THE LEGACY OF A MENTOR PANOS LEVENTIS 184!-(#5 .#1+*"'#5 1989 - 1999: & .+&"#(#'/- *(#5 '*()#"- | !-(#5 +*6*()&5

TOLEDO TECO-NEIGHBOURHOOD C. ARROYO 196#/.#+#,/.O #/.#4#'/.O 51,."O)&'- 5)# )#+E4# | .. -""#,/#

A SHORT HISTORY OF SCHOTS 1 & 2, THE CIBOGA-TERRAIN, GRONINGEN, NL S333 204#/./5)/.- 51,."#)&'-)- (SCHOTS 1 & 2) 5)&( !*"/#$& CIBOGA )#1 ,."#(/(,.*( (#++-(4/-): '/- 51()#'& *!/5.#!&5& | S333

ARH 241 INTRODUCTION TO THEORY OF URBAN DESIGN THROUGH AN ‘INTERCOSMICS’ POINT OF VIEW 214*/5-,%,& 5)& 2*%"/- )#1 -5)/.#1 5$*4/-5'#1 '*5- -!# '/- “4/-.#5'/.&” 5.#!/-

COASTAL PROMENADE MARGARITA DANOU & SEBINA ZISIMOU 216!-"-+/-.#5 !*7#4"#'#5| '-",-"/)- 4-(#1 & 5*6/(- 7&5/'#1

THE SCIENCE BUILDING ZENON & CHRISTINA SIEREPEKLIS 222.)/"/# *!/5)&'%( | 7&(%(-5 .-/ $"/5)/(- 5/*"*!*.+&

TIMBER STRUCTURES SUMMER WORKSHOP 2007 2302*"/(# *",-5)&"/ 31+/(&5 .-)-5.*1&5 2007

184 J.UCY 01184 J.UCY 01

185185

B: L E C T U R E S E R I E S

PANOS KOULERMOS 1989 - 1999 THE LEGACY OF A MENTOR PANOS LEVENTIS!"#$% &$'()*+$% 1989 - 1999: , &(,*$#$+-" )#$% +)#.$*" | !"#$% ()/)#.,%

Presentation at the Symposium “The Work of Panos Koulermos”

Famagusta Gate Cultural Centre, Nicosia, Cyprus, September 3, 2005

Through this brief tribute I will attempt to paint a picture of Panos

Koulermos as I met and knew him during the last decade of his life. I

will make use of better and lesser known projects, and of a themed

organization based on Panos’ main characteristics and traits: Panos

the Architect, the Teacher, the Researcher, the Simeiologist, the

Poet/Myth-maker, the Voyager.

1. DESIGN

Projects in Venice and California: The Open Building - The En-closed ComplexThe !rst contact with Panos was in Los Angeles late in 1988 (!g.1).

As !rst-year architecture students, we were seeking each and every

advice that he openheartedly o"ered to the students, to his numer-

ous children as he branded us. Except for the “Grand Projects” which

had already been designed and were materializing in Heraklion of

Crete during that period, his research and theoretical designs in

Venice and California were those which immediately won interest

and admiration. An intriguing di"erentiation, one that betrays the

manner by which Panos approached these two distinct

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PANOS LEVENTIS

Figure 1

!"#$%& 1

186 J.UCY 01186 J.UCY 01

geographic and cultural constructs, is that while the Venice designs

have an open character and an inviting mood towards the inside

of the compositions, the California designs insistently and with no

exception turn to the typology of the castle, an enclosed and self-

su!cient complex.

Thus, in the competition for the Art Museum of the University of

California in Santa Barbara (1983) the building assumes a com-

pletely defensive circular shape. The same concept of the enclosed

complex shapes the solution for the Kindergarten in Los Angeles

(1988). The building, with its three cylindrical volumes enclosed

within a tall, inhabited perimeter wall, is placed in an urban set-

ting, from which the perimeter limits draw their delineation. On the

other hand, in the proposal for the San Francesco della Vigna Com-

munity Recreation Center in Venice (1980), the building assumes a

clearly symbolic and urbanistically friendly character, situated be-

tween the Grand Canal and the same-named church by Sansovino

and Palladio, with curving metal roofs and an open-air theater with

axis and view to the Canal. Similarly, in the proposal for the Greek

Pavillion for the Venice Biennale (1990), the imagination runs ram-

pant with typological references (bridge, tower, rooftop open-air

theater), an urban setting and visual axes toward landscapes which

unite the Aegean with the Adriatic in an interchange of labyrin-

thine circulations and clean volumes.

Three Competitions: The Building as Marker in the LandscapeDuring the 1990s, in the three large scale architectural competitions

that Panos entered, his intent for creating important complexes

which act as clear and important markers in the landscape (be it

urban or not) grew stronger. In the proposal for the Visitor Facili-

ties for the Alhambra (1990), the absolute geometric presence and

the interchange of volumes refer not only to the adjacent historic

monument, but also respect the awesome surrounding landscape,

with both of which the proposal attempts a dialectic relation.

In the competition for the Parliament in Nicosia (1994, "g.2), the

obvious symbolism is even further reiterated with the breaking up

of the program in two clearly distinct volumes. While the austere

volume of the o!ces refers to the urban fabric with an interchange

of solid and void and with interior courtyards, the volume of the

Parliament is an open temple dedicated to Democracy. This travers-

able building, with environmental design and axial placement to

the surrounding plazas, proposes easily accessible interior spaces

which emphasize its character and use.

In the proposal for the Urban Seafront of Thessaloniki (1997, "g.3),

the symbolism of the building-markers joins the linear character

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University of Cyprus Journal of Architecture | pp. 184-195 | © 2009 UCY

B: L E C T U R E S E R I E S

PANOS KOULERMOS 1989 - 1999 THE LEGACY OF A MENTOR

187187

of the urban design with the vertical axes that lead to the inland

urban fabric. These buildings act as key nodes for city’s cultural, lei-

sure and commercial activities, o!er local identity, urban continu-

ity, and return a previously indi!erent seafront to the core of the

city’s life and creativity.

2. TEACHING

The America-Europe dialecticTeaching, the passing-on of knowledge and the passion for cre-

ation, were an everyday need for Panos, a charisma which he con-

tinuously enjoyed to reshape and renew. The multicultural charac-

ter of Southern California, that immense “village” in which Panos

lived and taught for a quarter of a century, gave him the opportuni-

ty to not only study buildings which combined multiple forms and

typologies, but to also present his students with design problems

while at the same time attempting to answer them himself with

his own proposals. This attempt, as he would emphatically explain,

aimed at enriching an urbanistically poor and out-of-scale land-

scape with proposals that would in fact bestow Los Angeles with

some of the imagination, the monumental presence, the symbolic

imagery and the unique humanism, all the myths that the city itself

created and conserves via the cinematic industry. The previously

mentioned “protection” of the enclosed complex in the California

projects is also repeated in La Jolla, next to Kahn’s Salk Institute,

where Panos proposes the creation of a Conference and Commu-

nity center, which, though initially projected, had never material-

ized. The La Jolla project was a design problem which, parallel to

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PANOS LEVENTIS

Figure 2

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Figure 3

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188 J.UCY 01188 J.UCY 01

Panos, his students were asked to solve for !ve consecutive years

(1989-1993).

Teaching in America was for Panos never complete, had it not been

complimented with a piece of Europe. For the West Coast Architec-

ture student, USC’s program in Italy, a program which Panos found-

ed, organized and watched over with care and a"ection, was an

oasis of urban culture, history and knowledge, a supplement for all

the things that Los Angeles lacked. With Lake Como on the Italian-

Swiss border as base, and with travels to the whole of Italy, from

Rome and Florence to Bologna and Venice, the students continu-

ously confronted history together with the new and the unknown,

and were called to act in architectural, urban and social problems.

They returned from Europe with those experiences in their lug-

gage and with Panos emphasizing the need for architectural action

within both a local and a regional urban landscape, and within the

historic fabrics which according to him unavoidably encircle our

every move.

From the !rst clumsy design attempts, until the Undergraduate

and Graduate thesis projects, Panos kept the students company

with continuous advice, with examples, with friendship, and always

with strictness regarding the way they understood creativity and

method in their work. One of the examples for which in every given

opportunity Panos spoke with love and nostalgia was Cyprus, his

homeland, to which he was thankful for the experiences and les-

sons it had o"ered.

3. RESEARCH

Bringing Modernism and Rationalism to the MediterraneanPanos’ research activities, ever since the !rst years of his architec-

tural education and experience, were not exhausted in theoretical

design projects. Architectural theory and practice from the 1910s

to the 1960s exerted unavoidable pull on him. He attempted a

deep comprehension at the thought and lessons of the creators

and currents that impressed him most, from the visions of the Rus-

sian Constructivists, of Sant’Elia and the Italian masters of Futurism,

to Terragni and the war-years, until Corbu and the absolute of the

high Modern. Through this e"ort he would attain a well informed

self-understanding, and would comprehend who he really was and

what he stood for within the larger context of Southern European

Architectural creation in the !nal decades of the twentieth cen-

tury.

This attempt at self-understanding became evident again in 1993-

#$%&'( )* +,- *)'*,%.*- /$+0- 1+,- /'213*$0- +2$- 3/, )* +24 5642

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University of Cyprus Journal of Architecture | pp. 184-195 | © 2009 UCY

B: L E C T U R E S E R I E S

PANOS KOULERMOS 1989 - 1999 THE LEGACY OF A MENTOR

189189

1994, during the production of texts and drawings for a monograph

on the work of Panos which was to be published by Academy Edi-

tions in London. The pretext was the preparation of material for the

buildings that had just been completed in Heraklion on Crete, and

especially for the three complexes of the Research Center of Crete

(1985-1990), the Science Complex of the University of Crete (1985-

1994) and the Foundation of Research and Technology - Hellas

(1987-1994). The constant energy, the unstoppable insistence and

the unending variations and presentations with which conceptual

diagrams, site and !oor plans those complexes were approached

betrayed Panos’ curiosity and will to view and comprehend his own

creations with as many lenses as possible, and to place them within

the theoretical and creative spectrum of the time. Some months af-

ter the monograph’s publication, Academy Editions returned with

a proposal for a publication on European rationalism in the twen-

tieth century, a pre-existing project idea which Panos had been

forming for years. During the following academic year (1995-1995),

Panos composed and de"ned the concept and production of Eu-

ropean rationalism through his own experiences, and proposed

a publication ("g.4) which included specimens from modernism’s

beginnings from Scandinavia until Greece, and reached until Ital-

ian and Swiss rationalism and post-modern tendencies, both from

#$%&''()$%*+, )%(#*+, -)./ 0+/.)(, 1.& /. )&, )*#*2$)-'$& 34'.

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7&. 19#*&. :%(/&. /. 3*%8*#*&-'$&. C)'& 7&. )6/ $#(3$/6

.1.063.?1- :%*/&9 (1994-1995) * B9/*, '+/42$)$ 1.& #%*'0&(%&D$

)& 2. #$& %.'&*/.>&'3(, 34'. .#( )&, 0&14, )*+ $3#$&%=$,, 1.&

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PANOS LEVENTIS

Figure 4

!"#$%& 4

Figure 5

!"#$%&5

190 J.UCY 01190 J.UCY 01

the wider Mediterranean region as well as from his own creations.

The manner with which Panos wished to approach the projects by

the masters of the !rst half of the twentieth century was indeed

characteristic of his thought process. All drawings for those proj-

ects were executed in Panos’ studio, and, as an unavoidable result,

Corbusier and the others migrated and became true worshipers of

the Mediterranean, with references to bright, white light, to tradi-

tional, vernacular, and even mythic architecture of single buildings

or complete conglomerations, and to the unbroken connection be-

tween building and topos.

4. SIGNS

Venice and CretePanos believed that life’s constant twists and games had to be care-

fully studied in order for the appropriate actions to be undertaken.

His love for Venice and the parallel studies that materialized on

Crete are an example of this belief’s result. From Venice he drew

strength and inexhaustive inspiration. The myth of the city, the fog,

the lagoon, the imagination, but also the historic and cultural ties

that bind it to Crete and Cyprus, opened the gates to the dream-

world of the Serenissima. The compilation and presentation of his

work at the Fondazione Marieri (1993, !g.5) remained for him his

most important exhibition. The presentation of the theoretical

projects for Venice, with their hybrid typological references, in con-

junction with the built projects at Heraklion was an epilogue for Pa-

nos relation with those two worlds, an epilogue that duly bridged,

united, and merged the light of Greece with the magic of the North

Adriatic.

A small but characteristic example of the Heraklion projects is

FORTH’s O"ce Building B (1995, !g.6). Even in this project of small

scale and secondary importance, which as I have noticed has not

been included in the Accademia’s edition of Panos’ oeuvre, the

indisputable #$%#&#'()*(+,*-*. and clarity of volumes bow to

the sign, the strong form and the skewing of the entry and public

spaces volume.

Studio Koulermos 1990sAt Studio Koulermos, fate and destiny had an important role in de-

cision taking. In 1994, to appease and predetermine the decisions

of the larger powers-that-be, a banner was placed above Panos’ of-

!ce, which included everyone’s signatures and read “by this time

next year we’ll be at the construction site in Cyprus,” signaled the

end of the competition for the Parliament in Nicosia... As for the

preparation for the dreaded business meetings, they included Pa-

4. !"#$%&$

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University of Cyprus Journal of Architecture | pp. 184-195 | © 2009 UCY

B: L E C T U R E S E R I E S

PANOS KOULERMOS 1989 - 1999 THE LEGACY OF A MENTOR PANOS LEVENTIS

191191

nos’ unending, pointed and humorous comments, who succeeded

in always erasing everyone’s anxieties, by remaking, “correctly” of

course, the ties of all those who were about to take part...

During the 1900s, those business meetings led to the widening of

the Studio’s scope, and to the materialization of important projects

in Asia. At the opposite end of Panos’ geographic and philosophi-

cal core, the unique cultural signs of the Asian world, the history,

the art, the writing, and the surrounding structures, were !ltered

through his eyes and were translated in building lines and forms.

In the master plan for a 5,000 inhabitant development on the hills

of Hiroshima (1996, !g.7), the need for heightened density led to

a search of multi-story typologies with common public, open and

parking spaces. On the sloping ground at the city’s edge, view and

privacy, attained through a uniquely Japanese perspective on the

de!nition of private space, produced buildings as vertical signs

arising from the earth, forms and references which communicate

with each other and tie the community into a uni!ed whole.

Santa VibianaPerhaps Panos’ least known attempt for a large-scale project in the

United States came a few months before he left for Switzerland

when, along with Mario Botta, applied with a common portfolio for

the commission of designing a new Cathedral Church for Los Ange-

les. The commission did not come. It was God’s will, he explained. It

was time to return to Europe.

5. MYTH-CREATION

Dodecalogoi I-II: Dwellings of Men - Dwellings of GodsThe double explosion of creativity which betrayed Panos’ excessive

imagination and showcased in the most direct manner his ability

of tying history to volumes, of uniting mythology with form, and

of translating memory into building, came at the end of 1980s and

the end of the 1990s, with the compositions for the houses of the

two “dodecalogoi” as he named them, travels into the past and the

future of Greek space, time and myth.

1989: Dodecalogos I: Dwellings of MenPanos’ enthusiasm for the new projects under construction in Crete

certainly aided in this thorough typological research and archi-

tectural designs for Habitation. Sources of inspiration and in"u-

ences which helped in the formation of ideas for this project can

be grouped into four categories: Vernacular house types formed

House 3 (Heraklion I), House 9 (Skyros), and House 1 (Salamina, Cy-

prus, !g.8), where the merging of the classical Greek Stoa with the

#$% &'()#*+, (1996, -'..7), % ,/01.% 1', ,23%+4/% 52./6$%$,

5,(45-+7- #- 8'-(-9/%#% $25):)1';/ 5):26()<=/ .,$)'.';/,

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PANOS LEVENTIS

192 J.UCY 01192 J.UCY 01

vernacular Cypriot Dihoro gives a multifaceted complex which nev-

ertheless retains clear volume sthat open to the landscape. House

2 (Rhodes), House 4 (Heraklion II) and House 6 (Antiparos) draw in-

spiration from speci!c historic buildings and contexts, while House

5 (Patmos), House 7 (Hydra) and House 10 (Cassandra) are inspired

from the surrounding landscape. Dodecalogos I held such impor-

tance for Panos as to push him to present the project in as wide a

cultural horizon as possible, reaching, among others, Brazil, Mexico

and Japan.

The most symbolically charged compositions in Dodecalogos I had

themes drawn from one of Panos’ most cherished pastimes, the

study, interpretation and retelling of mythology. Thus, the tragic

!gure of Iphigenia comes alive in the complex and extremely the-

atrical spaces of House 8 (Avlida), while the Sympligades o"er in-

spiration for the pair of volumes forming the entry of House 11 (Al-

exandroupolis, near the gate to the Black Sea). Finally, in House 12

(Ithaca), the theme of the Odyssey is transformed into an extremely

symbolic composition, perhaps Panos’ most recognizable sign.

1999: Dodecalogos II: Dwellings of GodsTen years after Dodecalogos I, and while Panos’ theoretical quests

were once again searching for a gate toward the poetic and the ab-

stract, mythology came to form an idea for the creation of themed

“habitations” for the twelve Olympian gods (!g.9). Dodecalogos II

gave the last, but one of the strongest samples of Panos’ theoretical

work, an architectural and sculptural confrontation of the abstract,

the ideal and the divine with the speci!c, the real and human world

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University of Cyprus Journal of Architecture | pp. 184-195 | © 2009 UCY

B: L E C T U R E S E R I E S

PANOS KOULERMOS 1989 - 1999 THE LEGACY OF A MENTOR

Figure 6

!"#$%& 6

193193

as he himself had conceived of in the original Dodecalogos. The

construction of the models for the Houses of the Gods, early 1999

in the workshop at Kallirois Street in Athens, was a lesson-sympo-

sium with Panos, the craftsman Fosteris, and the other friends in

a continuous dialogue. The presentation of the models at the De-

sign Museum of Thessaloniki was the last exhibit that Panos himself

would prepare.

6. JOURNEY

Panos was an incurable traveller. He journeyed to Europe, to Amer-

ica, to Asia, searching for the novel, which was certainly there of

course, impatiently awaiting its discovery. He journeyed to the

imagination, moulding architectural creations which merged

dream and reality. He journeyed to an eternal youth, overcome

with an adolescent enthusiasm for each new class, each new de-

sign project, each new commission. He journeyed to love and to

his family, bestowing to everyone who had the fortune to !nd

themselves near him with excessive liveliness and warmth. He will

always continue to do that.

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PANOS LEVENTIS

Figure 7

!"#$%& 7Figure 9

!"#$%& 9

194 J.UCY 01194 J.UCY 01

SELECTED BIBLIOGRAPHY

1990 “!tizontas to Topio”, in Tefchos, issue 4. Athina: Ekdoseis Tefchos, December 1990, pp.25-40.

1990 Panos Koulermos: Topos, Memory and Form (Exhibition Catalogue).Athens: Deste Foundation and Tefchos Review, 1990.

1991 “Foundation of Research and Technology - Hellas in Crete”, in Architecture in Greece, issue 25. Athens: Architecture in Greece Press, 1991.

1991 “Twelve Houses in the Hellenic World”, in Design and Art in Greece, issue 22. Athens: Architecture in Greece Press, 1991, pp.78-103.

1992 “Panos Koulermos: Twelve House Versions in the Hellenic World”, in A+U, issue 264. Tokyo, A+U Publishing, September 1992, pp.4-11.1993 “Jardin de Ninos”, in Arquitectura, issue 8. Mexico City: Ka-bronor S.A., April 1993.

!"#$!%&!'( )#)$#*%+,-#,

1990 “!"#$%&"'( "% )%*#%”, +"% ),-.%(, '/0123( 4. 415&': 6783+,0( ),-.%(, 9,7:2;/0%( 1990, ++.25-40.

1990 <=&%( !%>?:/2%(: )3*%(, @&52A + @%/B5 (!'"=?%C%( D71,+A(). 415&': E8/>2' 96F)6 7'0 <,/0%8073 ),-.%(, 1990.

1991 “E8/>2' ),.&%?%C#'( 7'0 D/,>&'( !/5"A(”, +"% 4/.0",7"%&07= G:2'"', '/0123( 25. 415&': 678. 4/.0",7"%&07H& G,2="I&, 1991.

1991 “9I8,7=?%C%(: 9H8,7' F*#"0' +"%& 6??A&073 JH/%”, +"% G:2'"' JH/%> 7'0 ),.&H&, '/0123( 22. 415&': 678. 4/.0",7"%&07H& G,2="I&, 1991, ++.78-103.

1992 “Panos Koulermos: Twelve House Versions in the Hellenic World”, +"% A+U, '/0123( 264. )37>%: 6783+,0( A+U, F,*":2;/0%( 1992, ++.4-11.

1993“Jardin de Ninos”, +"% Arquitectura, '/0123( 8. <3?A "%> @,K07%-: 6783+,0( Kabronor, 4*/#?0%( 1993.

University of Cyprus Journal of Architecture | pp. 184-195 | © 2009 UCY

B: L E C T U R E S E R I E S

PANOS KOULERMOS 1989 - 1999 THE LEGACY OF A MENTOR

Figure 8

!"#$%& 8

195195

1994 “Architecture in California: Panos Koulermos”, in Zodiac, issue 11. Milano: Editrice Abitare Segesta, March 1994.

1994 Editors. Architectural Monographs #35: Panos Koulermos. London: Academy Editions, 1994.

1994 “Fondazione di Ricerca a Creta”, in Casabella, issue 618. Milano: Elemond s.p.a., December 1994.

1995 Koulermos, Panos. Twentieth Century European Rational-ism. London: Academy Editions, 1995.

1997 Boidi, Sergio. “L’Architettura di Ulisse: Il Viaggio di Panos”, in Costruire, issue 175. Milano: Editrice Abitare Segesta, December 1997, pp.106-109.

1998 Hastaoglou, Vilma. Restructuring the City: Urban Design Competitions for Thessaloniki. London: Andreas Papadakis, 1998, pp.76-81.

1999 Panos Koulermos: 12 Houses for the Gods of Olympus (Exhibition Catalogue). Thessaloniki: Design Museum, 1999.

1999 Leventis, Panos. “Return to Ithaca (In Memoriam: Panos Koulermos)”, in Architectoniki Antilipsi, issue 23-24. Athens: Wave Media, July-October 1999, pp.6-7.

2000 Leventis, Panos. “Panos Koulermos: Projects 1979-1999”, in Architectones kai Mihanikoi, issue 54. Nicosia: Response, June-July 2000, pp.62-71.

1994 “Architecture in California: Panos Koulermos”, !"# Zodiac, $%&'()* 11. +&,-.#: /01)!2&* Abitare Segesta, +-%"&#* 1994.

1994 /01)"2*. Architectural Monographs #35: Panos Kouler-mos. 3#.14.#: /01)!2&* Academy, 1994.

1994 “Fondazione di Ricerca a Creta”, !"# Casabella, $%&'()* 618. +&,-.#: /01)!2&* Elemond, 5206(7%&#* 1994.

1995 8#9,6%(#*, :-.#*. Twentieth Century European Ratio-nalism. 3#.14.#: /01)!2&* Academy, 1995.

1997 Boidi, Sergio. “L’Architettura di Ulisse: Il Viaggio di Panos”, !"# Costruire, $%&'()* 175. +&,-.#: /01)!2&* Abitare Segesta, 5206(7%&#* 1997, pp.106-109.1998 ;$!"-#<,#9, =4,($. Restructuring the City: Urban Design Competitions for Thessaloniki. 3#.14.#: /01. >.1%6$* :$?$1-0@*, 1998, !!.76-81.

1999 :-.#* 8#9,6%(#*: 5A120$ B?4"&$ <&$ "#9* C2#D* "#9 E,D(?#9 (8$"-,#<#* F0'2!@*). C2!!$,#.40@: +#9!24# Design, 1999.

1999 3276."@*, :-.#*. “/?&!"%#GH !"@. I'-0@ (:-.#* 8#9,6%(#*: /&* +.H(@.)”, !"# >%J&"20"#.&0H >."4,@K@, $%&'()* 23-24. >'H.$: Wave Media, I#D,&#*-E0"A7%&#* 1999, !!.6-7.

2000 3276."@*, :-.#*. “:-.#* 8#9,6%(#*: +2,6"2* 1979-1999”, !"# >%J&"60"#.2* 0$& +@J$.&0#4, $%&'()* 54. 3290L!4$: Re-

sponse, I#D.&#*-I#D,&#* 2000, !!.62-71.

PANOS LEVENTIS