Volume:3Number:1January-February-March2018

International Journal of Architecture and Urban Studies

DAKAM

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International Journal of Architecture and Urban Studies

QuarterlyJournalbyDAKAM

Volume:3

Number:1

January-February-March 2018

journals@dakam.org

www.dakam.org/ijaus

FiruzagaMahallesi,BogazkesenCaddesiNo:76/8,Beyoglu,Istanbul,Turkiye

Owner:ÖzgürÖztürk

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Editor:

YıldızAksoy,Asst.Prof.Dr.

Publication Coordinator:EfeDuyan,Asst.Prof.Dr

Reviewers of the current Issue

(in alphabetical order title, surname):

Prof.Dr.ÖmürBarkul

Prof.Dr.LeylaAlpagut

Prof.Dr.HavvaAlkanBala

Prof.Dr.GülsümBaydar

Prof.Dr.EtiAkyuzLevi

Prof.Dr.DeryaOktay

Prof.Dr.DeryaElmalısen

Prof.Dr.BilgeIşık

Assoc.Prof.Dr.YasemenSayÖzer

Assoc.Prof.Dr.SanemÖzenTuran

Assoc.Prof.Dr.NeşeGurallar

Assoc.Prof.Dr.MuratŞahin

Assoc.Prof.Dr.ErkanAydıntan

Assoc.Prof.Dr.AlevErarslanGöçer

Asst.Prof.Dr.YıldızAksoy

Asst.Prof.Dr.ZeynepYılmazBayram

Asst.Prof.Dr.ZeynepYazıcıoğluHalu

Asst.Prof.Dr.YaseminSarıkayaLevent

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CONTENTS

HERITAGE AT RISK REGISTER AS A TOOL FOR MANAGING CULTURAL HERITAGE SITES IN KOSOVOALBANMORINA,ERINËMULOLLI,KALTRINATHAÇI,SALİSHOSHI,NOLBINAKAJ.............................................4

TRANSFORMATION PROCESS AND INDUCED COMFORT IN THE OTTOMAN HOUSESMARWABENCHEKROUN..................................................................................................................................15

COMMUNITY PARTICIPATION IN LOW-INCOME COMMUNITY DESIGN IN THAILANDSADANUSUKKASAME......................................................................................................................................31

PALACE GARDENS IN ISTANBUL; THE EXAMPLE OF TOPKAPIYILDIZAKSOY,ÖZGEGÜRSOY,AYŞEGÜLSEZEGEN,İBRAHIMTEYMUR............................................................38

TRANSFORMATION OF CANALS IN COLONIAL BATAVIAEUISPUSPITADEWI,KEMASRIDWANKURNIAWAN,EVAWANIELLISA...........................................................53

A SENTIMENTAL INTEGRATION – DIMITRIS PIKIONIS’ PLAYGROUND AND ITS EASTERN ORIGINSZHANGYINGLE.................................................................................................................................................65

CONSTRUCTION OF CHUANDOU TIMBER HOUSES IN SOUTHWEST CHINA: TECHNOLOGY AND COMMUNITYRENCONGCONG,BIANRUCHEN,LISIMIAO....................................................................................................72

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A SENTIMENTAL INTEGRATION – DIMITRIS PIKIONIS’ PLAYGROUND AND ITS EASTERN ORIGINS ZHANG YINGLE (Universidad Politécnica de Madrid, UPM - ETSAM)

Abstract Between1961and1964,theGreekarchitectDimitrisPikionis(1887,Piraeus-1968,Athens)designedandconductedoneofhislastworks,thechildren´splaygroundatPhilotheidistrict,Athens.Inthisgarden-likeplaygroundlocatedbetweenresidentialareasandpinewoods,Pikionisintroducedexpressivereferencestocreateascenariothatrevealsalatentunitybetweentwodifferentcultures,theWesternandtheEastern.ApartfromthoseByzantinearchetypesthathistoricallyshowacloseaffinitytoGreekculture,thegarden’slooselayoutwithmeanderingflagstonepaths,theentrygate’ssimpleconstruction,thepuremanifestationofpanelsandframesoftheelevatedpavilion,andthosecleardetailsonstrawroof,woodenstructureandstonefootings,drivethisexoticismtotheremoteregion,evokingtheimagesandspiritoftraditionalJapaneseZengardens.Pikionis’earlypictorialeducationinMunichandParisofferedhiminsightsintoEasternandespeciallytheJapaneseculture.Orientalmotifssubsequentlybecamearecurringreferenceinhisprojects,asanascentthatfirstrosefromtheAthenianOpen-Airtheatre(1933),developedinthelandscapingworkatAcropolis(1951-1958)andcametoitscrestintheplayground.Bycombiningvariousmethodsofdesigningandbuilding,theGreekarchitectsystematicallysoughtoutthe“fundamentallyandinevitablyhomogeneous”amongdifferentarchitecturaltraditionsinthisoneiricplace.Pikionistookadvantageofthetopography,usinggeometricmatrixofvisualcontroltoestablishalayeredstructureinthegardenspace.Thisorderresultsinaparticularexperienceofmovementthat,fromentrytotheinnerplace,adaptstotheritualwalkinJapaneseteagardens.Hybridcharacteralsocanbefoundinarchitectures,whosesimplicityintegratesconstructionoftraditionalJapanesevillaandGreekvernacularhouses.Then,themetaphoricalambiencerenderedbythosesymbolicelements,thestrawhut,thewreckagebesidesdrypond,evokesGreekarchaicimagesaswellastheparticularsentimentof“quietness”inZenspirit.Spatialorder,constructivemanner,materialsandspiritualmonumentsarethosefactorsthatcomposetheorientaltoneinthisdailyandcasualsiteinAthens.FarmorethanaplayofJaponesque, thisambitiousyethumble-lookgardenstretchesovertimeandspace,overthehistoryofmodernityinrelationtoantiquity,echoingtheremoteworldacrossitsproperculture.ThevalueconveyedbyPikionishalfacenturyagoisstillshinningtoday:torepudiateourhabitualfixationontechnologyandglobalizationasaestheticsystem,thepracticeofseekingthecommonvaluefromindividualtraditionsandfixingtheirdifferencesintotheuniversalbackdropismorenecessarythaneverbefore.

Key words: DimitrisPikionis,Athens,playground,oriental, Word Count: 2706

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1. “A MAN OF THE EAST” “Someone said correctly that the trajectory of the Greek nation will depend on our responsible position between East and West. I will add: Also, on the suitable composition of antithetic currents in a new form. I could analyze how this problem is presented in architecture. But suffice it to say here that I am a man of the East.”!Pikionis, 1989:37"

DimitrisPikionis(1887-1968)(Figure1.)wasborninPiraeus,Greece.Heshowedthegiftofpaintingwhenhewasyoung.AftergraduatingfromAthensPolytechnicUniversityoncivilengineeringin1908,hewenttoMunichtostudypainting.There,Pikionisgottoknowtheexpressionismworksandadmired,aboveall,Cezanne’sworkssomuch.ThenhemovedtoParistostudyarchitectureforthreeyears.Duringthatperiod,theyoungarchitecthadthechancetodeepenhisinsightintotheEasterntraditionalculturewhich,ashesaidcomparedtotheWestern,excelledinspirituality.BeingtheoriginoftheWesterncivilization,GreecehasbeenholdingacloserelationwiththeEasternworldaswellduetoitsgreatgeographicaladvantages.PikionisthoughthighlyofthepurenessandspiritualexpressionintheOrientalart,andheinsistedthatsuchnarrativeinheritedfromtheantiqueperiodisstilllivinginGreecetoday.PikionisdevotedhislifelongcareerinstudyingthesimilaritiesanddifferencesbetweenWestandEast.Asapainterpriortoanarchitect,hispictorialworkshaveinterpretedbothofthetwoartisticlanguages,ontheonehand,thetechniqueofimpressionism,originallyderivedfromJapaneseUkiyo-e,wereapplied,andontheotherhand,Greekmythsandlandscapeweredepictedasrecurringtheme.SuchcombinationalsoplayedakeyroleinPikionis’conceptofspaceandarchitecture.Simpleconstruction,rawmaterialsandritualestablishmentoftheEasternbuildings,especiallyJapanesevernaculararchitecturesandgardens,hadagreatimpactonPikionis.Suchorientalmotifssubsequentlybecameanimportantreferenceinhiswork.ItfirstrosefromtheAthenianOpen-AirTheater(1933),developedinthelandscapingworkatAcropolis(1951-1958)andcametoitscrestinthechildrenplaygroundinPhilothei,Athens,builtbetween1960and1964.Pikionisorganizedthisgarden-likeplaygroundinalooselayout.Itsmeanderingpathways,simplepavilionsofwoodenstructure,strawroofandstonefootings,nottomentionthemetaphoricalambiancerenderedbythosesymbolicelements,clearlyevoketheOrientalaestheticofJapaneseteagarden.

Figure 1 Figure 2

2. Hierarchical layout ThecompositionoftraditionalpaintingsshowsoneoftheessentialdifferencesbetweentheWesternandtheEasternconceptaboutspace.UnliketheaccurateperspectiveintheWesternpaintingswhichhasbeenrefinedsinceRenaissance,indicatingparticularangleofobservation,ChineseandJapanesedrawingsalwaysdividetheentireimageintosmallerparts(Figure2.)toavoidadominantstructure.Thisarrangementresultsinacompositionconsistsofindependentsystemsthatshowthescenepartbypart.Theabsenceofunifiedmeasurementconvertsthewholeimageintoagameofscale,inwhichdimensionofobjectsanddistancebetweenthemaremoreexpressiveandsubjectivethanaccuracy.Thedifferentconceptofspace,seenfrompaintings,naturallyconductsthedesignoftraditionalgardens.Europeangardensarenormallydistinguishedbytheorganizationofperspectivefromthecentralavenueasaxisthatenablesvisitorstogetadominantview(Figure3.);whiletheOrientalonesweremadebasedontheunpredictablescenefromnature.Anystructuresthatmayleadtoanoverallreadareavoided.Likethepaintings,ChineseandJapanesegardensareusuallycomposedofseveralsmallerpartsofowncharacter(Figure4.).Theyarerelativelyindependentsothatvisitorscanenjoythechangingscenerywhilewalkingthrough.Besidesthespatialcomposition,thesymbolicnarrativeinJapaneseteagardensfascinatedPikionissomuchtodevelophisownwork.Infact,agreatJapanesegardenisalwaysseenasanartofarrangingthresholds.Those

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borders,somearephysicalandothersaremoreabstract,playthekeyroleindelimitingpartsandguidingtheitinerary.Thegarden’smaingatesetsthefirstthresholdtoseparatetheinteriorpathwayandtheoutsidestreet.Enteringthegate,visitorsareledtoapromenadebeforereachingtothemiddlegateasthesecondthreshold.Thissecondgate,usuallyarrangedasasimplewoodenstructure,reducesitsphysicalfunctionyetgivesasymbolictonethatimpliestheentrywayintoadeeperspace.Furtheron,theplowedgroundofKaresansui,knownasdrylandscape,standsforthethirdthresholdaimsatcleanthemind.Thelastthresholdappearsatthelowentranceoftheteahousethatforceseveryonebowingbeforeentering.Itmeanstheequalityofallvisitorsandtoshowrespecttothehost.Thesefourthresholdsformanascentofsymbolismandspiritualexpressionthattranscendsfunctionality,composingthespatialsequenceofJapaneseteagarden.

Figure 3 Figure 4

Pikionis’playgroundshowsagreatinspirationfromsuchOrientallayout.Thearchitecthasmadeuseofthesubtlycentralizedstructureofthegivesite,whoseoutmostareaisalittlebithigherthanthecentralground,tointroducehisgeometricmatrixasthemannerofdividingthelayoutintophasesandestablishingspatialorderfromtheperipheralparttothecorespace.(Figure5.)Thesiteissurroundedbyfencetogivetheinteriorprivacy.Asimplegateofwoodenstructureandstrawroof(Figure6and7.)recallstheentranceoftheplazaofChurchofSt.DimitrisLoumbardiarisontheAcropolispath.Itestablishesthefirstthreshold.SuchenclosureresemblesthoseOrientalgardensthat,ontheonehand,detachesthesitefromouterspace,andonthehand,intervenesintothenaturalcontextthroughhumbleinstallationinsteadofoutstandingmark.LiketheJapaneseteagardens,Pikionis'playgroundismadeofseveralsmallerpartsofindividualcharacter.Pathwaysarearrangedasthesecondarythresholdstoconnectthesepartsandtransitvisitorsfromonetoanother.Anaxisdoesleadthewayfromthegateintotheplayground,yetwithmuchweakercapacitycomparedtotheoneintraditionalWesterngardens.Pikionisextendedtheaxisonlytothemiddleofthesite.Theunsymmetricallayoutandseveralnarrowbranchesderivedfromtheaxisdeprivetheprivilegefromthiscentralpath.Itindicatestheorientationinacasualandnaturalwayinordertoavoiddominatingtheplace.

Figure 5 Figure 6

3. Transcendence through pathways AsinhispedestrianprojectofAcropolis,pavementwastreatedasanimportantthemeinPikionis'workofitinerarysinceithelpstoindicatethechangesinspaceandmakespeopletofocusontheirmovementas

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methodtoexperiencethespace.Intheplayground,Pikionisuseddifferentfloormaterialstomeetthecharactersofeachpart.Asmallentryplazainsemicircleshapewasassumedtobeatransitionalspacetoseparatetheinnergardenfromtheoutside.(Figure8.)Bigslabsinloosearrangementonthefloordistinguishthisinitiationaswellasattachgreatimportancetodelimit.Followingtheplaza,therearefourpathwaysmovingtowardsdifferentdirections.(Figure9.)Surroundedbytreesandbuildings,theseroutescreatenarrowcorridorsintotheplace.Themiddlepathoverwhichbushiscoveredevenreducestheaxistoaslender“tunnel”(Figure10.).Pikionisusedvegetationtocontrolvisitors’viewsotoinducetheirmovement.Incontrastwiththeloosecompositionoftheplaza,theseroutesarepavedtightlywithsmallerpieces,markingaclearchangeoftherhythmonthefloor.Afterpassingthroughpathways,visitorshaveenteredintotheinnerpartoftheplayground.Vegetationandnarrowaccessmakethisinteriorphasewellenclosedandhermetic.Pikioniskepttheroutesyetgreatlyreducedtheimportance.Theintermittentpavementisbarelydistinguishedfromthelargeareacoveredwithearthandgrass.Bushesareplantedasdivisionofseveralopenyardswherefacilities,huts,benchesandotherobjectsarearrangedforchildrenandparents.

Figure 7 Figure 8

Spatialdimensionandpavementvaryalongwiththeitineraryfromtheentrytotheinnerpartoftheplayground.Theyarethekeyfactorsthatunderlinetheprocessoftransition,whileindicatingarchitecturalinterventionintothenaturalcontextthroughphenomenalnarrative.Theplaza,flatandpaved,introducesvisitorsfromthecitystreetintoavoidspacewheretheirpacesarearrested.Surroundedbypavilionsandvegetation,thissemicircleplotimpliesanewstartyetitholdstheextensionoftheoutsidespace;whiletheinnerpartrevealstheminimumintervention.Pathwaysconnectthetwophases.Throughthesepassagesof"return",visitorsstepontoanaturaldomain.Pikioniscomposedthespatialordertosymbolizetherelationbetweenhumanandnature,aswellastoconveythesensibilityofpicturesqueidealtocompletethetranscendencefromtheexteriortotheinterior.

Figure 9 Figure 10

4. Gaze of metaphors ActuallytheGreekarchitectwasaccomplishedinsymbolicpaintingsbeforehisarchitecturalwork.Itiswellknownhislife-longfriendshipwithGiorgiodeChirico,theItaliansurrealismartistborninGreecewhoshared

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universityperiodwiththeyoungarchitect.Theinfluencefromfriendsandlastinginterestinpaintingdeepenedhismetaphysicalstudyonart.WhenDeChiricofirstshowedhispaintingseriesPiazzed’Italia(Figure11.),Pikioniswasdeeplytouchedbythemysteryandmetaphors,thesymbolicmeaningoftime,thehistoryandthedestination.Hedescribed:“the delicate line that separated light from shade on rain-drenched soil was equally mysterious. In one, there was a tall building with a clock telling the time. I also remember a picture in which the half-glimpsed mast of a ship conveyed the mystery of departure, exile... heavily marked by the shadow of destiny. Enigmatic, too, the vaults and arcades, the statue of Ariadne touched by the autumn light. All the paintings had the same limpid autumn sky. ”!Pikionis, 1989:36"

Figure 11 Figure 12

MetaphorisarecurringthemethatrenderedPikionis'ownartworks.HispaintingsseriesAttica (Figure12.),drawnaround1940,depictedthelandscapearoundAcropoliswhenthearchitectwaswonderingaroundthedistrictsalldaysandstudyingthesite.ThehybridqualityofthesesketchescomposedoftheWesternandtheEasterninspirationisrepresentedbyPikionis'compositiontechnique,symbolicandabstractnarration,whichthenhadbeendevelopedinhisprojectsandhelpedtoorganizetheplayground.Pikionisdrewinsimplelines,leavinglargeblankareathatimpliedintervalspace.ItresemblesthecompositionintraditionalOrientalpaintings.Vacancytakesoverconnectionbetweenobjects;absenceofreferenceconfusesthemeasurementofthescenesotointensifythedepthandmassiveness.Apparentlythearchitecthadappliedthisspatialeffectandmadeitcometotherealworld.Withintheinnerpartoftheplayground,sandpit,swings,hutsandotherfacilitiesarearrangedaroundtheopensiteandkeptacertaindistancefromeachother.Insteadofdirectlyreachingtotheinstallations,thoserouteswhichbarelypassbyorvanishbeforethesepointsseeminglyenlargethespacedimension.Apartfrompracticaltechnique,Pikionis'pictorialnarrationisalwayscomposedoftwothings,landscapeandmythology.Thesun,theocean,themountainswherestandthetemplescontributetothebackdropthatcontainsthegods'figure.InoneofhisAtticaworks(Figure13.),infrontoftherollingAcropolishills,Athenagripsherlance,holdinguphergorgonsheadonthehorseadjacenttotheserpent,incarnationofthegodErichthonius,creepingontheground,symbolizesthebirthfromearthandeternalregeneration.Pikionis'sketcheswereconcernedmuchwiththeprocessofcreationofHelleniccivilization.HewasfascinatedbythepyramidcompositiontoemphasizetheroleofearthastheoriginfromwhichtheGreeklandscapeandculturewerecultivated.Arelevantmetaphorintheplaygroundistracingthe"origin"alongtheitineraryandcomestoitscrestontwopointsofthesite,theshipwreckandthestrawhut.Bothofthemarearrangedwithintheinnerpart,theformerisclosetotheaxialpathwayandtheotherislocatedonthewestsidenexttothesandpit.

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Figure 13 Figure 14

Recliningbesidethedrypondandthebridge,theshipwreck(Figure14.)reproducesacommonsceneoftheGreekcoastline-aboatstrandedonthebeachortheriverbank.TheshipwreckappearsasthesymbolofGreekmarinecivilization,andistellingdualmeanings.Itcanbeseenasatragicplayoftheevergreatpowerbeingruinedbythepassageoftime,orastoryaboutgeneratingandgrowing.ThisartofscenographyintheheartoftheplaygroundrepresentsabridgewiththeOrientalideas.AgreatpartoftraditionalChineseandJapanesegardensweredesignedbasedonimitatingandreproducingthenaturalscenery.Rockeries,poundsandvegetationarearrangedtohavethecompositionandcontrastofthelandscapepainting,aswellastogiveastory,mythorfable,totellasapartoftheentirenarrative.Ontheotherside,thearchitectshowshisinclinationofsimpleconstructiononthehut(Figure15.),astheentrygateandthepavilionattheplaza.Supportedbythirteenwoodpillars,itsconicalbodyiscoveredwithseveralstrawlayerswhichmakeitasaprimitiveshed.The1.5meter-highentryisproportionatetothehutvolumeandappearsevenlarger.(Figure16.)Itsdimensionprivilegeschildrenbecauseadulthavetobowtoenterin.Notliketheshipwreckthatconcernsaboutsymbolization,Piklionisdevotedconcretearchitecturalelementstothehutsotoevokevisitors’memoryofantiqueforms.Thewoodentriangleovertheentrancedrawsthegableofclassicalbuildingswhiletheexposedpillarsprojectshadowonthegroundevenrecallthetypicalatmosphereoflithiccolonnade.Thehybridqualitiesappearedfromthissmallhutinterpretsomeessenceofarchitecture,thatis,overthelongperiodofdevelopmentandrenewalofarchitecturallanguage,therehavebeentwoinexhaustiblepower,thewisdomofvernacularformsandthespiritualvaluefromgrandmonuments.

Figure 15 Figure 16

5. A sentimental universe Pikionisthoughthighlyofnaturalessenceofobjects,inthearticleA Sentimental Topography,hewrote“I stood and pick up a stone…Fire molded its divine shape, water sculpted it and endowed it with this fine covering of clay…All the force of nature converge and work together to produce this particular configuration: the refined air, the bright light, the color of the sky… ” (Pikionis, 1989:68) Hemadetheshipandhutinbarely“naked”structuretoshowtheiroriginalformswhichappealtotheprimitiveness.Theprimitiveeraforthehumanhistoryisequaltothechildhoodforaperson.WhileobservingthescenesthatPikioniscomposed,onewouldfeeltheclosenesstoearthandwater,whicharetheoriginofnotonlytheGreek,butourhumancivilization.Pikionisreturnsvisitorstotheenigmaofantiquitywhileshowing

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thedevelopmentinwhichmaterialityandtemporalityofaplacehavebeenmergedwitheachotherinahistoricnarration.“… has something transcendental, something more than the solution to a problem, a particular, intangible spiritual grace, a love which is the privilege of the East, which envelopes all aspects of the Eastern Christendom art. In painting you can see transcendental form, intuitive vision coming from deep within. The craftsman has a full knowledge of the real, but does not succumb to the external phenomenon like the craftsman of the West· he represents it as an inner reality through spiritual symbols.” (Loukaki, A. 2014: 316)

“… I am weighing up the various visions that our time is about to shape. There is one that is the glorification of the ephemeral and another that would be the symbolic expression of the eternal.” (Loukaki, A. 2014: 317) ItisthisalmostspiritualinsistenceontheinterdependencyoftheEastandtheWest,andoftheturnthingsoftime,whichgivesPikionisconstantmotivationtoseekoutthe“fundamentally and inevitably homogeneous” amongdifferentarchitecturaltraditions,andthereforerendershisworkamixedcharacter,thecombinationoftheexoticandthedomestic.FarmorethanaplayofJaponesque,hisambitiousyethumblegardenstretchesovertimeandspace,overthehistoryofmodernityinrelationtoantiquity,echoingtheremoteworldacrossitsproperculture.Atthesametime,thecriticaledgeinPikionis’workhalfacenturyagoisstillshinningtoday:torepudiateourhabitualfixationontechnologyandglobalizationasaestheticsystem,thepracticeofseekingthecommonvaluefromindividualtraditionsandfixingtheirdifferencesintotheuniversalbackdropismorenecessarythaneverbefore.References Ferlenga,A.,1999.Pikionis, 1887-1968.Milan:MondadoriElectaKeane,M.P.,2012.Japanese garden design.USA:TuttlePublishing.Linazasoro,J,I.,2011.OTRAS VIAS: 1 Homage to Pikionis.BuenosAire:NOBUKOLoukaki,A.,2014.The geographical unconscious.Farnham:AshgatePublishing,Ltd.Pikionis,D.,&LondonArchitecturalAssociation.,1989.Dimitris Pikionis, architect: 1887-1968; a sentimental topography.London:TheArchitecturalAssociationSlawson,D.A.,1991.Secret teachings in the art of Japanese gardens.Tokyo:KodanshaInternational.Captions of Visual Material Figure1.DimitrisPikionis(1887-1968).Imagefrom:Pikionis,1989:1

Figure2.ThePhilotheiplayground,viewtotheentrance.Imagefrom:Ferlenga,1999:315Figure3.MapleViewingatTakao,KanōHideyori,16thcenturyURL:https://www.google.com/culturalinstitute/beta/asset/maple-viewers/oQF0nQM_PVBZeQFigure4.PlanofVersailles,1789.URL:https://i.pinimg.com/736x/8b/c3/2c/8bc32c0ba5d1bdfeb74d83b0f30208d4--paris-plan-palace-of-versailles.jpgFigure5.PlanofKyotoGardenFigure6.PlanofPhilotheiPlayground.Imagefrom:Ferlenga,1999:309Figure7.ThePlaygroundentrygate.Imagefrom:Pikionis,1989:60Figure8.Theentryplazaandpavilion.Imagefrom:Ferlenga,1999:319Figure9.Thepathway.Imagefrom:Ferlenga,1999:318Figure10.Theaxialpathway.Figure11.Piazzad'Italia,GiorgiodeChirico,1913.URL:https://educacion.ufm.edu/wp-content/uploads/2014/02/Giorgio-de-Chirico.-Piazza-dItalia.-1913.-Oil-on-canvas.-Art-Gallery-of-Ontario-Toronto-Canada.jpgFigure12.Attica,DimitrisPikionis,around1940.Imagefrom:Pikionis,1989:30Figure13.Attica,AthenaandErichthonius.Imagefrom:Pikionis,1989:18Figure14.TheShipwreck.Imagefrom:Ferlenga,1999:316Figure15.TheHut.Imagefrom:Pikionis,1989:58Figure16.TheHutandsandpit.Imagefrom:Ferlenga,1999:318