αρχέτυπα* | αrchetypes* PART 1

40

∏ ¤ÓÓÔÈ· Ù˘ ÚÔ˚ÛÙÔÚÈÎfiÙËÙ·˜

The Concept of "Prehistoricity"

∏ ÏÈÙfiÙËÙ· ÛÙË ‰È¿Ù·ÍË, Ë Î·Ù·Û΢·ÛÙÈ΋ ÂÈÏÈÎÚ›ÓÂÈ· Î·È Ë ÔÈfiÙËÙ· Ô˘ ‰¤ÓÂÈ ÙÔ ÎÙ›ÛÌ· Ì ÙÔ Ó‡̷ Î·È ÙËÓ Ï·ÛÙÈÎfiÙËÙ· ÙÔ˘ ÂÏÏËÓÈÎÔ‡ ÙÔ›Ô˘, Û˘ÁÎÚÔÙÔ‡Ó ÌÈ· ·ÈÒÓÈ· ·Ï‹ıÂÈ· Ô˘ ¯·Ú·ÎÙËÚ›˙ÂÈ ÙÔ ·ÓÒÓ˘ÌÔ ¤ÚÁÔ ˆ˜ ÚÔ˜ ÙËÓ ÂÛˆÙÂÚÈÎfiÙËÙ· ÙÔ˘ Î·È fi¯È ·fi Ù· Â͈ÙÂÚÈο ÙÔ˘ ÁÓˆÚ›ÛÌ·Ù·. ∞˘Ù‹ Ë ·Ï‹ıÂÈ· Û¯ÂÙ›˙ÂÙ·È Ì ÙËÓ ¤ÓÓÔÈ· Ù˘ «ÚÔ˚ÛÙÔÚÈÎfiÙËÙ·˜» 25 fiˆ˜ ÙËÓ ‰È·Ù˘ÒÓÂÈ Ô ¢. º·ÙÔ‡ÚÔ˜, ¤ÓÓÔÈ·˜ ȉȷ›ÙÂÚ· ¯Ú‹ÛÈÌ˘ ÁÈ· ÙË Û‡Á¯ÚÔÓË ·Ú¯ÈÙÂÎÙÔÓÈ΋ Ô˘ ·Ú¯›˙ÂÈ Ó· Â·ÓÂÍÂÙ¿˙ÂÈ ÙȘ Û¯¤ÛÂȘ ÙÔ˘ ·ÓıÚÒÔ˘ Ì ÙÔ ¿ÌÂÛÔ ÂÚÈ‚¿ÏÏÔÓ ÙÔ˘ Î·È Ù·˘Ùfi¯ÚÔÓ· ·Ó·˙ËÙ¿ ÙË ÌÂÙ¿‚·ÛË Û ·-ÈÛÙÔÚÈο Î·È ÌË ÈÛÙÔÚÈο ˘ÏÈο. ∏ ηٷÛ΢‹ Î·È Ù· ˘ÏÈο ·ÔÙÂÏÔ‡Ó ‰Â˘ÙÂÚÔÁÂÓ‹ ¯·Ú·ÎÙËÚÈÛÙÈο Î·È Ë Ô˘Û›· ‚Ú›ÛÎÂÙ·È ÛÙÔ˘˜ ¯ÂÈÚÈÛÌÔ‡˜ ÙÚfiˆÓ Î·È ˘ÏÈ΋˜ Û˘ÁÎÚfiÙËÛ˘ ÙÔ˘ ¯ÒÚÔ˘. ∏ ÚÔ˚ÛÙÔÚÈÎfiÙËÙ· ÛÙËÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋ Û¯ÂÙ›˙ÂÙ·È Ì ÙË ÌË-ÂÈıÂÙÈÎfiÙËÙ·, ÙËÓ ·›ÛıËÛË Ù˘ ·ÛÊ¿ÏÂÈ·˜, ÂÈÙÚ¤ÂÈ Û˘Û¯ÂÙ›ÛÂȘ Ì ÂχıÂÚ˜ ÌË Î·Ù·ÈÂÛÙÈΤ˜ Û˘Óı‹Î˜ ‰È·‚›ˆÛ˘ Î·È Ù·˘Ùfi¯ÚÔÓ· ηıËÛ˘¯¿˙ÂÈ. ™Â η̛· ÂÚ›ÙˆÛË ‰ÂÓ ·ÔÎÏ›ÔÓÙ·È Ù· Û‡Á¯ÚÔÓ· ˘ÏÈο, Ù¯ÓÈΤ˜ Î·È ÌÂıÔ‰ÔÈ Î·Ù·Û΢‹˜, ¤ÛÙˆ Î·È ·Ó ·ÔÌ·ÎÚ‡ÓÔÓÙ·È ·fi ÙËÓ «ÂÈÎÔÓÔÁÚ·Ê›·» ÙÔ˘ «ÚˆÙÔÁÂÓÔ‡˜». ™ËÌ·Û›· ¤¯ÂÈ Ë ÂÂÍÂÚÁ·Û›· ÙÔ˘˜ Î·È ÔÈ Û¯¤ÛÂȘ Ì ÙÔ ÂÚÈ‚¿ÏÏÔÓ. ™‹ÌÂÚ· Ô ÌÔÓÙÂÚÓÈÛÌfi˜ Â›Ó·È ·ÚÒÓ. ™Â ÌÂÚÈΤ˜ ÂÚÈÙÒÛÂȘ ¤¯ÂÈ ÌÈ· «˘Ê‹» ÚÔ˚ÛÙÔÚÈÎfiÙËÙ·˜ Î·È Û˘Ó·ÓÙ¿Ù·È Ì ÚÔÁÂÓ¤ÛÙÂÚÔ˘˜ Î·È ÌÂÙ·ÁÂÓ¤ÛÙÂÚÔ˘˜ ·fi ·˘ÙfiÓ Ù‡ˆÓ ÙÔ˘ «Î·ÙÔÈΛӻ. ∏ ÚÔ˚ÛÙÔÚÈÎfiÙËÙ· Â›Ó·È ÎÔÈÓ‹ ÎÔ›ÙË ÁÈ· ÔÏϤ˜ ·Ó·˙ËÙ‹ÛÂȘ Î·È ÂÂÍÂÚÁ·Û›Â˜ ÙÔ˘ ÌÔÓÙÂÚÓÈÛÌÔ‡ Î·È ÁÂÓÈÎfiÙÂÚ· Ù˘ ÓˆÙÂÚÈÎfiÙËÙ·˜.

The sparing layout, the structural honesty and the quality that ties the building to the genius loci and the plasticity of the Greek landscape, constitute an eternal truth characterising the anonymous work according to its internal rather than its external features. This truth relates to the concept of "prehistoricity" as put forward by Dimitris Fatouros,25 a concept especially useful to contemporary architecture which attempts to reinterpret the relationship between man and his immediate environment by seeking a connection to a-historical and non-historical evidence. The construction and the materials would then be of secondary importance as the essence would lie in devising methods and means of spatial composition.

Prehistoricity in architecture is associated with non-aggression, with a sense of security, allowing correlations to evolve with free, non-oppressive living conditions, while providing a sense of reassurance. As for the materials, contemporary ones are in no way excluded, even if they depart from the "iconography" of the "primary". Their treatment and their relationship with the environment is all that counts.

Today’s modernism occasionally displays a "texture" of prehistoricity, at an intersection with both earlier and later types of "habitat". "Prehistoricity" thus forms a common ground for many pursuits and processes related to modernism and modernity in general.

∞Ó·˙ËÙÒÓÙ·˜ ÙÔ˘˜ ¢·ÈÛıËÙÔÔÈË̤ÓÔ˘˜

A Search for the Sensitive Ones

™Â fiϘ ÙȘ ÂÚÈÏ·Ó‹ÛÂȘ ÌÔ˘, Â¤ÏÂÁ· ÙÔ ı¤Ì· ÂÓÙÂÏÒ˜ ·˘ıfiÚÌËÙ· Î·È ·ÚÁ¿ ‹ ÁÚ‹ÁÔÚ· ·Ó·Î¿Ï˘Ù· ÙË Û˘Ó¿ÊÂÈ· Î·È ÙË Û¯¤ÛË Ì ·˘Ù‹ ÙËÓ ÂȉÈ΋ ηÙËÁÔÚ›· Û‡Á¯ÚÔÓˆÓ ¤ÚÁˆÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ Ô˘ ·ÔÙÂÏÔ‡Ó ¤ÚÁ· ¢·ÈÛıËÙÔÔÈËÌ¤ÓˆÓ ·Ú¯ÈÙÂÎÙfiÓˆÓ Î·È Û˘ÁÎÚÔÙÔ‡Ó ›Ûˆ˜ ÌÈ· ·ÈÛÈfi‰ÔÍË ÚÔÔÙÈ΋. £· ‹ıÂÏ· Ì¿ÏÈÛÙ· Ó· ·Ó·‰Â›Íˆ ÙËÓ Í¯ˆÚÈÛÙ‹ ·˘Ù‹ Ù¿ÛË Ô˘ ¯·Ú·ÎÙËÚ›˙ÂÈ ·˘Ù¿ Ù· ¤ÚÁ·, Û ÌÈ· ÂÔ¯‹ Ô˘ ÎÈÓԇ̷ÛÙ ·fi ÙË ·ÚfiÛˆË ‰ÈÂÎÂÚ·›ˆÛË ·Û‹Ì·ÓÙˆÓ ·Ú¯ÈÙÂÎÙÔÓÈÎÒÓ ÚÔÙ¿ÛˆÓ, ÛÙËÓ ÂÛˆÛÙÚ¤ÊÂÈ· ÙÔ˘ ÙfiÔ˘ Ì·˜, ̤¯ÚÈ ÙËÓ ÂÈÛ‚ÔÏ‹ Î·È ÂÈÎÚ¿ÙËÛË ÌÈ·˜ ÔÚÈṲ̂Ó˘ ÔÌ¿‰·˜, ÂÓfi˜ Û˘ÁÎÂÎÚÈ̤ÓÔ˘ «‰ÈÂıÓÔ‡˜ jet set ·Ú¯ÈÙÂÎÙfiÓˆÓ». ¶ÚfiÎÂÈÙ·È ÁÈ· ÙÔ˘˜ ‰ËÌÈÔ˘ÚÁÔ‡˜ «ÌÈ·˜ ·fiȉÂÔÏÔÁÈÎÔÔÈË̤Ó˘, ·ÙÔÈ΋˜, ·ÓÙÈ-·ÓıÚÒÈÓ˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜», Ô˘ Â›Ó·È ÌÔÚÊÔÏÔÁÈο ÂÓÙ˘ˆÛȷ΋ Ì ÂÍ·ÈÚÂÙÈο ˘„ËÏfi

In my wanderings I chose my subject completely spontaneously but sooner or later I was to discover the affinity and relationship with the work of sensitive architects, this unique category of contemporary architecture as a portent of a potentially optimistic outlook.

I would like, indeed, to highlight this noteworthy trend of a distinct form of architecture in contrast to our times when we oscillate between the impersonal processing of insignificant architectural proposals and the introspection of our land following the invasion and dominance of a group of "international jet set architects". Those were the perpetrators of "a de-ideologized, atopic, anti-human architecture" formally impressive