2017年6月30日 星期五

Flair for the Grand Gesture: Celebrating a Magazine By John Russell for Verve

ART VIEW; Flair for the Grand Gesture: Celebrating a Magazine

In every decade there is a review of literature and art that could have come out at no other time, so neatly is it buttoned into the spirit of the age. This was true before 1900 of The Yellow Book in London and of La Revue Blanche in Paris. It was true of the Blue Rider Almanac in Munich in 1911 and of Blast in London in 1914-15. As run by Scofield Thayer in this country in the 1920's, The Dial had just that character.
Even a blind man would know those publications one from another - by format, by touch and by smell. The same was true of Art & Literature, edited in the 1960's by John Ashbery, Anne Dunn, Rodrigo Moynihan and Sonia Orwell. In its chunky little pages - so plump, so white - many an invaluable text still deserves to be sought out. Every generation has its own mode of expression in these matters, and a visit to the shop called Printed Matter Inc., 7 Lispenard Street, will show that the urge to show and tell in new ways is very far from being extinct.
Fifty years ago in Paris, the magazine to look for was Verve, which first came out in December 1937 and kept going in one form or another till 1960. That first cover (by Henri Matisse) sang out from the other side of the street in a way that made us run across the road to look at it more closely. And when we turned its pages, Verve had a bosomy, full-fleshed, slightly slithery quality that this former subscriber would know in his sleep.
The 50th anniversary of the first appearance of Verve is being celebrated with no more than minimal delay in a book called ''Verve: The Ultimate Review of Art and Literature.'' Edited by Michel Anthonioz, it is published in an English version by Harry N. Abrams at $95. By using the original first cover, the book gets away to a start that even Carl Lewis would rate as brisk. Thereafter, it epitomizes the noble format, the luxurious presentation and the flair for the grand gesture that marked the magazine in its great days. As a book to look at and look through, this one is in a very high class.
With covers by Matisse, Braque, Bonnard and Rouault and special issues devoted to Picasso, Braque, Matisse, Bonnard and Chagall, Verve hewed to what today seems a consistently safe line. But we have to remember that 50 years ago those painters had by no means the mandatory importance that they came to have later. Nor were they pushed into print by people who couldn't wait to make a fortune out of them. Auctions of contemporary art were virtually unknown. Prices had been stable for a long time, and the major artist was still a private person, unharried by the media.
For these reasons, Verve was really bringing the news when, in its first issue, it printed Dora Maar's historic photograph of ''Guernica'' in Picasso's studio. It also brought the news when it persuaded the great old men of the School of Paris to let it reproduce not just one or two new canvases but a whole corpus of recent work. After World War II, and before the exhibition industry had got fully under way, virtually the only way to keep in close touch with what was being done by Matisse, Picasso, Braque and Chagall was to grab the relevant issue of Verve. What may look today like automatic choices had at that time a revelatory quality.
But Verve was not simply a magazine that put the best possible face on the senior masters of the School of Paris. It was powered in its earlier years by a wild range of editorial fancy that came as a continual suprise to most readers. There was no knowing what would come next - a 16th-century doll from the Himalayas, a bust of Louis XIV by Houdon, an essay on ''Fire'' by John dos Passos, an essay on the sculptor Henri Laurens by his colleague Alberto Giacometti, a detail from Giotto's ''St. Francis Receiving the Stigmata'' in gold and color photogravure, a daguerreotype of Edgar Allan Poe by the American photographer Matthew Brady, an illustrated account by Fernand Leger of the Paris Exposition of 1937, a still life by the 17th-century Spanish painter Sanchez Cotan or an early extract from Andre Malraux's ''Psychology of Art.''
James Joyce and Ernest Hemingway were early contributors, and the still young Jean-Paul Sartre made his debut as a writer on food (Neapolitan cuisine, to be precise). Matisse and Bonnard spoke off the cuff to Verve about whatever was on their minds; John Rewald allowed Verve to publish some letters from the young Cezanne to Emile Zola. Meyer Schapiro introduced Chagall's illustrations to the Bible, and in the 1950's the English novelist and reporter Rebecca West was invited - not with the happiest of results - to write on both Braque and Picasso.
Among the traits that marked Verve in its beginning as a child of the late 1930's were an interest in French 18th-century visionary architecture, a delight in Oriental myth and legend and a taste for Indian miniatures (no matter how rough). It was on to the ''Mahabharata'' many years before Peter Brook produced his monumental staging of it. It was on to cartoons and calligraphers that dated from not long after the Middle Ages, and it was on to the memorable photographs of British housemaids that Bill Brandt took in London around the time of the coronation of King George VI. Altogether, it was an astonishing mixture, the like of which no one had ever seen. Fundamentally it was a hedonistic publication. Marvels, not monsters, were its first field of interest. But the late 1930's had more than its fair share of monsters in life, and the very first number of Verve had an illustrated feature called ''In the Blood of the Martyrs'' that reminded the reader, however obliquely, that in more than one European country martyrs were shedding their blood at that very moment.

ART VIEW; Flair for the Grand Gesture: Celebrating a Magazine

(Page 2 of 2)
When the worst scenario turned out to be true, and the German armies overran France in 1940, Verve did not refer to it directly. The cover of the issue dated ''Summer 1940'' was once again by Henri Matisse, and once again Matisse made color and form dance for him as they danced for no one else. (Twenty-six print runs were needed to get the colors right, by the way.) But what distinguished that cover was the sumptuous funerary black of the ground on which those colored shapes danced. Unique in Matisse's output was the predominance of that grief-laden and premonitory black.
A one-man publication in its every detail, Verve owed everything to its publisher and editor, E. Teriade. Once again, Teriade was not a star editor in our contemporary mold. But even in a Paris that prized individuality and knew how to cherish it, Teriade stood out. Greek by birth, and the nursling of a cosmopolitan, many-tongued circle in Mytilene, Teriade was born Efstratios Eleftheriades in 1897. From that thicket of consonants, and from his native city, he escaped as soon as he could and arrived in Paris in 1915 as E. Teriade.
It was not until he was 40 that he got to be his own master, in professional terms. But he could hardly have founded Verve with better credentials - assistant to his fellow-countryman Christian Zervos on ''Cahiers d'Art'' (1926-31), art critic for the newspaper L'Intransigeant (1928-33), artistic director of Minotaure (1933-36) and co-founder (1935-36) of a short-lived periodical called La Bete Noire, whose function was to provoke, to annoy and to ridicule the stuffed shirt in his every form.
Never a natural subordinate, Teriade tailored Verve to suit his own image, which was that of a portly, benign, amused and amusing man who had been in and out of the Parisian art world for many years and is not known to have made an enemy. Unlike some of his former associates (on Minotaure, especially), he never showed his sharp teeth (and was widely believed not to have any). What he wanted was for the artists he liked best to realize themselves completely in Verve. He also wanted Verve to be as rewarding to read as to look at.
In later life he appeared to have no regrets and never to have suffered disappointment (not least, in his conspicuously happy private life). He never boasted. If asked about this or that among his many achievements, he would feign to remember nothing. ''You know so much more about all that than I do,'' he would say, while sitting the long afternoon through in a luxuriant garden that overlooked the sea at St. Jean-Cap Ferrat.
To condense Teriade's activity on ''Verve'' into a single volume is not easy. Teriade's sense of rhythm, as an editor, was both perfect and personal. ''Highlights from Verve'' may sound very well, and in many ways it looks rather good, but in reality it falsifies the character of the magazine. Verve was not a picture book, and it was conceived as a work of art in its own right, not as a treasure house of reproductions.
Many of the texts that appeared in the magazine are merely ''excerpted'' in the book. Here and there a wonderful phrase comes to the surface, as when the poet Pierre Reverdy says of Matisse that ''the final syllable of his name hisses slightly, like a soaring rocket, the flash of light above the soil in a dazzling flower bed.'' The Belgian poet and painter Henri Michaux has some apt and memorable things to say about the ''inconceivable delirium'' that affects every observant visitor to India. But the book as a whole has a jerky, restless, unanchored structure that is the very reverse of what we find in Verve the magazine. The reproductions of Matisse's late cut-paper works have a high shine that is totally false to the matte character of the originals. To call Verve the ''ultimate review'' could be said to be an exaggeration, given that so many of the big-name writers were running on empty when they sent in their contributions. But what images Verve had, all the same!
Photos of two Verve illustrations: ''Death of Bali,'' an 18th-century lithograph (based on a 13th-century manuscript) that accompanied an essay on idolatry by Henri Michaux, and Matisse's ''De la Coleur,'' the cover for the November 1945 issu

2017年6月29日 星期四

George Sand et Eugène Delacroix

George Sand.jpg

George Sand and Eugène Delacroix
In the workshop of the Delacroix museum

The Delacroix Museum acquired George Sand, dressed as a man, a touching and intimate portrait of George Sand, which Delacroix produced in 1834. This remarkable acquisition is the occasion for a renewed hanging of the museum's collection, George Sand and Eugene Delacroix, as well as the artistic life of their time.
The entry into the collections of the Eugène Delacroix Museum of the first portrait of George Sand by Delacroix is ​​the occasion for a clash that evokes the faithful friendship established between the woman of letters and the painter. These ties are all the more profound because they are formed between two dissimilar beings, who feel and support each other.
Eugène Delacroix and George Sand met in November 1834 when the director of the Revue des deux mondes asked the painter to make the portrait of the woman of letters in order to illustrate her articles. Sand has just broken with Alfred de Musset, it is a young woman bruised who poses with the artist. This encounter marks the beginning of a deep, deep friendship, sometimes with disagreements. They exchange, from 1835 to 1863, until the death of the painter, several hundred letters. Their tone, very quickly, becomes warm; Delacroix abandons the "Madame" for a "dear wife," or a "dear friend and sister," testifying to her deep affection. The painter and the writer share a strong passion for Shakespeare as for Byron. They like, in concert, the rough power, with the flaming colors, of the art of Spain.
Hanging in the painter's former studio enhances the multiple facets of Delacroix's talents, painter, draftsman, engraver and writer. It will also offer the opportunity to rediscover The Education of the Virgin, large painting painted by Delacroix for the church of Nohant, in 1842, while the painter stayed at his friend's.
Curator: Dominique de Font-Réaulx, national museum Eugène-Delacroix.
Around the hanging at the Musée Delacroix
Thursday, 06 October at 6.30 pm
Delacroix at George Sand in Nohant: a perfume from another world
By Annick Dussault, House of George Sand in Nohant.
Thursday, October 13 at 6:30 pm
The literary friendships of Sand and Delacroix
By Yves Gagneux, House of Balzac in Paris.
Monday, 24 November at 6.30 pm
Portraits crossed by George Sand, Memoirs beyond the tomb of Chateaubriand to the Bas-blues of Barbey d'Aurevilly
By Fabienne Bercegol, University of Toulouse 2.
Thursday 1 and Friday 2 December at 8 pm
Readings of selected texts by Musset, Sand and Delacroix
By Stanislas Roquette, actor and director.
Thursday, December 8 at 8 pm
Concert Beethoven / Chopin by Olivier Korber, pianist
October 20 to October 23
The museum participates in the FIAC
November 4 to November 20
Festival Photo Saint-Germain-des-Prés: presentation of the works of Swedish photographer Anders Petersen.
The museum Eugène-Delacroix: In the intimacy of the artist
The National Museum Eugène Delacroix is ​​located in the last apartment and studio occupied by the painter. Delacroix moved to 6 rue de Furstenberg on December 28, 1857 to finish the decoration of the chapel of the Saints-Anges of Saint-Sulpice church, which he had been in charge of since 1847. Suffering for several years, the artist wanted Finish his work at all costs and be as close as possible to the church. It was through his friend, the color merchant and restorer of paintings Étienne Haro (1827-1897), that he found a quiet, airy lodging near Saint-Sulpice, located on the first floor, between courtyard and Garden, a building belonging to the former communes of the abbey palace of Saint-Germain-des-Prés. He lived in his apartment until his death, August 13, 1863.
Saved in the 1930s thanks to the commitment of great artists and intellectual personalities gathered around the painter Maurice Denis within the Society of Friends of Delacroix, the apartment became associative museum, then national museum in 1971, attached to the museum of Louvre since 2004.
The Delacroix Museum brings together a collection of collections related to the French painter - paintings, pastels, drawings, lithographs, as well as a large collection of letters and memorabilia.
The renewed hanging of its permanent collections allows visitors to discover different works over the months. A large temporary exhibition is organized there, on themes related to the creation of the painter. The next major exhibition will take place from May to August 2017 around the relationship between Maurice Denis and Eugène Delacroix and the transformation of the painter's studio to today's museum.

George Sand et Eugène Delacroix

dans l’atelier du musée Delacroix

Le musée Delacroix a acquis au printemps dernier la peinture George Sand habillée en homme, portrait émouvant et intime de George Sand, que Delacroix réalise en 1834. Cette acquisition remarquable est l’occasion d’un accrochage renouvelé de la collection du musée, autour de George Sand et d’Eugène Delacroix, comme de la vie artistique de leur temps.
L’entrée dans les collections du musée Eugène-Delacroix du premier portrait de George Sand réalisé par Delacroix, est l’occasion d’un accrochage qui évoque les liens d’amitié fidèles qui s’établirent entre la femme de lettres et le peintre. Ces liens sont d’autant plus profonds qu’ils se nouent entre deux êtres dissemblables, qui  s’estiment et se soutiennent.
Eugène Delacroix et George Sand se rencontrent en novembre 1834 lorsque le directeur de la Revue des deux mondes, demande au peintre de faire le portrait de la femme de lettres, afin d’illustrer ses articles. Sand vient de rompre avec Alfred de Musset, c’est une jeune femme meurtrie qui pose chez l’artiste. Cette rencontre marque le début d’une amitié profonde, vive, non sans désaccords parfois. Ils échangent, de 1835 à 1863, jusqu’à la mort du peintre, plusieurs centaines de lettres. Leur ton, très vite, devient chaleureux ; Delacroix abandonne le « Madame », pour un « chère femme », ou un « Amie et sœur bien chère », témoignant de son affection profonde. Le peintre et l’écrivain partagent une vive passion pour Shakespeare comme pour Byron. Ils aiment, de concert, la puissance rude, aux couleurs embrasées, de l’art de l’Espagne.
L’accrochage, dans l’ancien atelier du peintre, valorise ainsi les multiples facettes des talents de Delacroix, peintre, dessinateur, graveur et écrivain. Il offrira également l’occasion de redécouvrir L’Éducation de la Vierge, grande toile peinte par Delacroix pour l’église de Nohant, en 1842, alors que le peintre séjournait chez son amie.
Commissaire : Dominique de Font-Réaulx, musée national Eugène-Delacroix.
Autour de l’accrochage au musée Delacroix
Jeudi 06 octobre à 18 h 30
Delacroix chez George Sand à Nohant : un parfum d’un autre monde
Par Annick Dussault, Maison de George Sand à Nohant.
Jeudi 13 octobre à 18 h 30
Les amitiés littéraires de Sand et de Delacroix
Par Yves Gagneux, Maison de Balzac à Paris.
Lundi 24 novembre à 18 h 30
Portraits croisés de George Sand, des Mémoires d’outre-tombe de Chateaubriand aux Bas-bleus de Barbey d’Aurevilly
Par Fabienne Bercegol, université de Toulouse 2.
Jeudi 1er et vendredi 2 décembre à 20 h
Lectures de textes choisis de Musset, Sand et Delacroix
Par Stanislas Roquette, acteur et metteur en scène.
Jeudi 8 décembre à 20 h 
Concert Beethoven/Chopin par Olivier Korber, pianiste
Du 20 octobre au 23 octobre
Le musée participe à la FIAC
Du 4 novembre au 20 novembre
Festival Photo Saint-Germain-des-Prés : présentation des œuvres du photographe suédois Anders Petersen.
Le musée Eugène-Delacroix : Dans l’intimité de l’artiste
Le musée national Eugène Delacroix est situé dans le dernier appartement et atelier occupés par le peintre. Delacroix s’installa 6, rue de Furstenberg le 28 décembre 1857 afin de terminer le décor de la chapelle des Saints-Anges de l’église Saint-Sulpice dont il avait été chargé, dès 1847. Souffrant depuis plusieurs années, l’artiste souhaitait finir à tout prix son œuvre et être le plus proche possible de l’église. Ce fut par l’intermédiaire de son ami, le marchand de couleurs et restaurateur de tableaux Étienne Haro (1827-1897), qu’il trouva un logement calme et aéré, proche de Saint-Sulpice, situé au premier étage, entre cour et jardin, d’un immeuble faisant partie des anciens communs du palais abbatial de Saint-Germain-des-Prés. Il vécut dans son appartement jusqu’à sa mort, le 13 août 1863.
Sauvé dans les années 1930 grâce à l’engagement de grands artistes et de personnalités intellectuelles réunis autour du peintre Maurice Denis au sein de la Société des Amis de Delacroix, l’appartement  devient musée associatif, puis musée national en 1971, rattaché au musée du Louvre depuis 2004. 
Le musée Delacroix réunit un ensemble de collections liées au peintre français – peintures, pastels, dessins, lithographies, ainsi qu’un ensemble important de lettres et de souvenirs.
L’accrochage renouvelé de ses collections permanentes permet aux visiteurs de découvrir des œuvres différentes au fil des mois. Une grande exposition temporaire annuelle y est organisée, autour de thèmes liés à la création du peintre. La prochaine grande exposition aura lieu de mai à août 2017 autour de la relation entre Maurice Denis et Eugène Delacroix et la transformation de l’atelier du peintre au musée d’aujourd’hui.

The Gates of Paradise,

The Gates of Paradise, 17-foot-tall gilded doors cast from the 15th-century originals, will be installed at the Nelson-Atkins this summer. This promised gift from Paul DeBruce and Linda Woodsmall-DeBruce was discovered in Florence while visiting the Marinelli Foundry. After years of conversations with the Marinelli family and negotiations, the DeBruces acquired the Gates of Paradise. Over the coming weeks, you may see construction near the revolving doors in the Bloch Building—we’re preparing the space for this massive installation!

2017年6月27日 星期二

monumental cotton batik mural entitled “The World of Radio,”

蠟染,古稱蠟纈,是一種古老的手工防染工藝,與絞纈扎染)、夾纈並列為中國古代染纈工藝的三種基本類型。 除了中國少數民族之外,蠟染的傳統在全球許多國家都有發現,包含印尼馬來西亞新加坡印度斯里蘭卡菲律賓、以及奈及利亞;不過印尼的蠟染是最為世人所熟知的。印尼爪哇島的蠟染製法有歷經很長時期的文化適應,受到多種文化影響的結果而擁有豐富多元的樣式,也是目前世界上樣式、技術、以及工匠技巧發展最完整的地區[1] 。2009年10月,聯合國教科文組織將印尼的蠟染納入人類重要口傳與無形文化資產[2]

The Nelson-Atkins Museum of Art
The Cooper Hewitt, Smithsonian Design Museum, is showcasing the history of radio in an exhibition complete with iconic radios, radio design drawings, and photographs. At the center is a Depression-era, monumental cotton batik mural entitled “The World of Radio,” with 16 feet of radio history: http://bit.ly/2rfUcYK.
'The World of Radio' at the Cooper Hewitt explores the 20th-century rise of…

2017年6月26日 星期一

Dimitri Pikionis, Architect, 1887-1968

 Dimitri Pikionis, Architect, 1887-1968


The Panathenaic Path: In the Steps of Dimitri Pikionis
A short film, which attempts to re-create the…


Dimitris Pikionis - Aixoni Project [Pilot sample 3D…


季米特里斯·皮吉奧尼斯希臘語Δημήτριος (Δημήτρης、Dimitris Pikionis;1887年-1968年),是一位希臘建築師,對20世紀希臘的建築有著深遠的影響。.[1]


皮吉奧尼斯曾在國立雅典理工大學學習工業與民用建築,後至巴黎和慕尼黑學習雕塑與繪畫,接觸了著名法國畫家保羅·塞尚(Paul Cézanne,1839年-1906年)的作品,並與義大利超現實畫派大師喬治·德·基里科(Giorgio de Chirico,1888年-1978年)成為好友。此後他回到希臘,並於1925年在國立雅典理工大學裝飾系擔任講師一職。 1933年,法國建築師勒·柯布西耶在現代建築國際會議中提出《雅典憲章》,參加這次活動的建築師還有其他希臘包浩斯派建築師 Ioannis Despotopoulos、季米特里斯·皮吉奧尼斯、Patroklos Karantinos 及 Takis Zenetos。 皮吉奧尼斯被認為是一位批判性的地域主義建築師和歐洲現代主義建築師。


皮吉尼奧斯的作品並不太多,他最被廣為稱道的作品是20世紀50年代的 雅典衛城 步行通道景觀設計。在這裡,他採用了看似不規則卻具有嚴格幾何形的毛面大理石,並選擇了當地的本土植物與平台和階梯有機結合。這一創作令前來參觀雅典衛城的遊客們大感驚艷,從而聲名遠揚。


  • Lycabettus School
Mellowing out at Pikionis

  • Moraitis mansion, Tzitzifies, 1921-1923
  • Kotopoulis Theatre, 1932
  • Primary School of Pefkakia, 1932
  • Experimental School of Thessaloniki, 1933
  • 雅典衛城周圍景觀設計, 1954–57
  • Filothei playground, 1961–64
  • Hotel Xenia, Delphi
  • City Hall of Volos, Volos
  • Pourris House, Athens, view


Wiki   google翻譯自希臘文
迪米特里斯·皮基奧尼斯1887年 - 28日Avgoustou 1968)是希臘的建築師和學者,具有豐富的繪畫,詩歌和著作。


1912年,在期間巴爾幹戰爭,他回到希臘和退休的時候,他又變成了架構,以補充起始的知識和現代希臘傳統的架構的首批研究。他通過埃伊納的流行架構設計的許多房屋。在1921年,他被任命為教授的館長阿納斯塔西奧斯·奧蘭多斯在他保持直到中期建築的形態和節奏的過程中1923年。他娶了亞歷山德拉阿納斯塔修(1925年),然後有五個孩子。同年被評為NTUA的特別教授 在家裡和裝飾藝術成立於1930年。在此期間,保留與斯皮羅斯·ALIBERTI,Giannis阿波斯托拉基斯,喬治和顯著的精神友誼照片公民Fotis Kontoglou,建築師尼科斯Mitsakis了Stratis DOUKAS尼科VelmoHadjikyriakos-Ghika尼科斯雅尼斯Tsarouhis尼克Engonopoulos耶拉西莫斯Stamatelatou
1935年1937年,與畫家和朋友,Hadjikyriakos-Ghika,雜誌聯合頒發3眼,他在那裡發表了幾篇文章。該雜誌形容為藝術和與名作家等了Stratis DOUKAS和工作塔基斯Papatsonis,畫家斯皮羅斯帕帕盧卡斯的戲劇導演蘇格拉底Karantinos,雕塑家邁克爾Tompros和雕刻安吉洛Theodoropoulos
他作為一個建築師的工作開始在Moraitou房子大棗(1921-1923)。他們與性格閣樓民間建築正在建造。1932年,與小學在Pefkakia利卡維特斯完成他發現他並沒有滿足他的作品,並改變了他的看法美感。Stochastike的普世精神應與種族的精神來合成。所有基於這種理念下一個建築項目。在十年1940-1950建築創作僅限於墳墓草稿。但是,今後一個時期,從1951年1957年,曾在許多項目上。包括周圍的雅典衛城和菲洛帕波斯山站點的配置,也許是他最重要的工作,以及旅遊資訊亭街DIMITRIOU Loumpardiari尋求扁他的理想,連接普世精神與傳統精神。周圍的聖山開放空間的佈局是一件藝術品。在1958年,經過35年的EMP服務為師,退休。在1966年,他當選為成員雅典科學院


Pikionis,良好的願望和謙虛的人,他經歷了一次內部分裂:畫家本來想成為和建築師終於發生了,這影響了整個作品。與多個知識多才多藝的藝術家深化哲學美學的追求以及法律。Chadjikyriakos吉卡斯,指出:“ 在一片沙漠中的時間Pikionis是一個真正的隱士,梯形的小約翰,一個不起眼的隱士或古希臘明智的,他的精神和道德觀念獲得幾何精度規則 “ [1] 
“ 與Pikionis出色的是,在這個時候的建築科學來代替架構,O- Pikionis反應希望當前的架構作為一門藝術,而不是感到羞愧,因為他的同時代人誰想到,更豪華的是建築科學 “,約翰Tsarouhis寫道迪米特里斯·皮基奧尼斯,靈感的建築師,思想家和哲學家,誰在審美開闢了新的視野希臘[2] 。希臘藝術的保護與傳統和歷史記憶梗,支持回歸根源,這意味著新的創造活力將通過希臘大地湧出。Pikionis工作今天可以看作是現代主義時代的還擊藝術家沒有這個意思是否定現代運動的簡單表達。該小學在Pefkakia的利卡維特斯和的實驗學校塞薩洛尼基大學通過Pikionis顯示適度接受現代運動的原則。


學校是廣泛的教育的改革方案和校舍30年代建設的一部分。它屬於希臘現代主義的參考書,儘管迪米特里斯·皮基奧尼斯施工後立即六親不認。這是常見的類型學學校建築圍繞著一個中心室外封閉空間。位於Lycabettus山腳下,擱在強烈傾斜地面。該清潔的現代卷承載限制的功能,以及梯度形成水平下方的中央開放空間。因此,學校的院子裡收益規模和戲劇性,可容納哪位涉及到每個單獨的教室或所有學校的孩子多活動。再次在迪米特里斯·皮基奧尼斯的這項工作,歷史和民間傳說的痕跡合成的現代精神[4] 。大入口門廊是指古建築。梯田,鋪路和傳統的島嶼建築的層次。總體上,然而,學校建的德國學校的功能理論的基礎上,包豪斯:具有合理性和清晰度,操作,有許多開放的空間,明亮的房間。該建築的建築與現代材料製成:主體由鋼筋混凝土製成的,而幾何和嚴謹方面佔主導地位塗上白色的灰泥牆和大木玻璃窗。
19的新古典主義建築作品後世紀和國家園林的浪漫園藝花了大約一個世紀看到的公共室外空間如此重要工作為更廣泛的現代雅典。該項目包括開始幾乎結修斯Areopagite和聖保羅相對兩個主要螺旋路徑。一進入衛城山北雅典娜神廟。另一種是從中創建兩個觀看條件除去:第一STOU Loubardiaris其中對於一個時間帕特農的前主面發出,並在台的第二的所在的路徑結束扭轉。整個Pikionis項目中使用的視覺感知作為合成工具。空間光學對準系統連接著歷史-engytera或makrina-景觀。在視兩點,但是,切口是特別明顯。在它周圍的Ag的配置。dapedostrosis的迪米特里奧斯關節,在進入的開放空間時,鉛眼球。在老咖啡館的傾斜屋頂朝向衛城的半室外空間。在山頂上,的露台,坐在大理石舉辦這樣的男人放在點與龜和雅典衛城一般的最佳觀賞小石頭結構。[5]有趣的是,如何Pikionis捕獲性質的含義。自然在這裡交織著它的文明史和既往。結合人的著作和廢墟舊的居住,從他們如此難以區分。[6]古蹟,建築物,岩石,就像一個景觀灌木講述地球Attikis。
他跟著一個更東方哲學。在在兒童花園入口處的攤位是從日本建築清晰明顯的影響 - 和不上班,tou-呈現這種影響的第一次。研究迪米特里斯·皮基奧尼斯兒童和孩子們的遊戲似乎特別所選擇的設備:一個搖搖晃晃的船,Sarakatsana型小屋,在一個小池塘的橋樑。一個設備最終神秘的,探索性的,不規範,viomichanikos-,提供了許多選擇-Collection或atomikou-自發的遊戲。


1912年至1918年MEMORIES - 巴黎等 計劃:巴黎(盧浮宮圖)(1912年)兩種設計/各種項目(多用法語標題)1912-1925
拜占庭(1915 ... 0.1946)拷貝靈感
花卉(野生研究 - 裝飾)
1921-1923HOUSE F. Moraitou - Tzitzifies N. Falirou(拆除)
1925年HOUSE KARAMANOU伊拉克利翁街(拆毀)我們的民間藝術我們
1926年學院 - 實習修女埃伊納(不執行)
1927年NAOS Agion的ANARGYRON在N.愛奧尼亞(不執行)對於民間藝術的前言“藝術葉'N.維爾瑪
房屋,工廠廠房帕帕盧卡斯PL。Chalepas - 結算Kypriadou(拆除)
1930蓋和他的書S. Douka VINIETES 自言自語HOUSE帕帕約安努Markora路線(拆除)審查報告海峽。公爵
1933年圖場景第一表示影院雞肉和一些以下的,在與畫家的Steris合作夏日露天劇場M. KOTOPOULI(Heyden的街)遵循古和日本劇場(三方現場的原則,去除水中的懸浮套等。圍繞會議
1935年家庭TOMB Gounarakis從雅典的第一公墓
HOUSE D. Kalogianni希臘(拆除)
1935-1937出版了“第三只眼”以下內容:反駁Aiolou的遊戲尋找產品的願景23 gravures情緒地形理論建築師K. A. Doxiadis在古建築美化矩形動態規則該在顏色和色調的和諧也與詩人ç..協作翻譯Sarantaris從保羅·克利和康定斯基五的著作節選
1949HOUSE AND GLYPTRIAS F. EFTHYMIADIS的實驗室(10 Grypari nbspPatisia)
森林村莊IN Pertouli山谷(1953-1956)住宅調控Aexoni:個人資產的模板(1952)
HOUSE雪茄在馬羅西(1954)原因C. Kontoleon(1953)
AIXONI - 計劃標準的希臘結算(1951-1954)觀看者的視覺(1953年)
考古ON AKROPOLI照明和希爾距離Filopappou的(1954-1957)信-報告員衛城工程(1955年)
旅遊資訊亭SAN DIMITRIOY Loubardiaris(1954-1957)學生世界(1955)
C. Bouzianis(存儲器)(1956)
1960- 1965年草稿旅遊綜合體的Th。Oikonomaki Anavyssos信沃洛斯市長(1960年)
雙面設計POLYKATOIKIAS Komninaki(MP。拜占庭)
高校教會FRONTISTIRIO TINOU希臘教會的使徒Diakonia組織多拉玻璃畫家
HOUSE C. STAMATOPOULOU(AG。夫拉和Laskaratou,Kypriadou暴露於Doxiadis
研究旅遊開發豐澤FORTETZAS瑞瑟蒙(彼得合作Pikionis,A Koutsogianni)S.拉撒路。一個天才的畫家和piloplastis


  1. 跳起來↑ 眾議員。Pikionis:他留下一個聰明的建築師,歷史相冊1968年,第148頁日常(1998)
  2. 跳起來 Tsarouhis,約翰,建築藝術在每日特價的迪米特里Pikionis,週日,1994年10月16日,
  3. 跳起來 迪米特里斯·皮基奧尼斯所載的話迪米特里斯·皮基奧尼斯(歸檔紀錄片 ERT人格權kaboodle.png
  4. 跳起來 帕納約蒂斯Tournikiotis在對理想城市和社會的願景建築在分鐘4:17至6:50(由發射從Kallikratis卡拉特拉瓦中 ERT網絡電視)
  5. 跳起來 Tsiambaos木香,視覺的建設,雅典:河2010
  6. 跳起來 “Odoiporontas基於這個理由,石灰石和粘土的王國,看到了岩石變成楣和紅土染色虛殿的牆”Pikionis季米特里斯情感地形在Pikionis烈火,目前,男。,迪米特里斯·皮基奧尼斯,文本,雅典(編):全國銀行文化基金會1999年
  7. 跳起來 短語迪米特里Pikionis作為進貢給迪米特里斯·皮基奧尼斯在線雜誌 greekarchitects 2006年01月07日
  8. 跳上↑ Pikionis烈火(編)(1994)。迪米特里斯·皮基奧尼斯,1887-1968。雅典:Bastas-Plessas ss.83-89。


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