PLACE OF REST

PLACE OF REST There, where the history flows, there at the rupture I want and I will build.

Simply and doric.

M 1 100

PLACE OF REST There, where the history flows, there at the rupture I want and I will build.

Simply and doric.

MASTER THESIS PLACE OF REST LARA NIOVI VARTZIOTIS WINTER SEMESTER 2016

KARLSRUHE INSTITUTE OF TECHNOLOGY FIELD BUILDINGS‘ SCIENCE/ DANIELE MARQUES FILED THEORY OF ARCHITECTURE/ PROF. DR. GEORG VRACHLIOTIS

ACKNOLEDGEMENT I WOULD LIKE TO THANK MY PROFESSORS, DANIELE MARQUES AND DR. GEORG VRACHLIOTIS. MOREOVER, I WANT TO THANK ALL THOSE WHO SUPPORTED AND INSPIRATED ME DURING MY SCIENTIFIC TRAVEL.

INTRODUCTION

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THESES

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MYRTALI UND ALEXANDER

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DODONA

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IOANNINA

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PLACE OF THE CONSTRUCTION - KATSIKAS

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SACRAL EXPERIENCES

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NECROMANCY

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DODONA

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CHURCH AND MOSQUE

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DUNGEON

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STALACTITE CAVE

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SUMMARY

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DEVELOPMENT PROCESS

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CENTRAL IDEA OF THE CONSTRUCTION

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LOCATION

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DESCRIPTION OF THE CONSTRUCTION

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INITIAL SITUATION

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CONCLUSION

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BIBLIOGRAPHY

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Rudolf Fontana und Christian Kerez : Kapelle St. Nepomuk, 1994

INTRODUCTION

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The construction, the immersion and the experience of the sacral are the subject of this master thesis.

Based on the long and sacral tradition of Epirus/ Greece [1], I dared to construct a new sacral structure within this frame.

The term “sacral“[2] defines “the holy that serves a religious purpose”. This term includes meanings such as holy, heavenly, spiritual or clerical. According to the etymology the word “sacral” originates from Latin “sacer” and means “holy”.

It is quite difficult to approach the sacral in a scientific way.

Science objectifies situations and events. From the architecture it is required to depict the subjectivity and the transcendental of the sacral.

In world’s history the sacral architecture [3, 4] left famous master pieces behind, such as the Parthenon in Greece, the Agia Sophia in Turkey, the Taj Mahal Mausoleum in India, the Chephren pyramids in Egypt, the Shwedagon Pagoda in Myanmar or the Maya ground Tikal in Guatemala.

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Two famous sacral locations of the Antiquity are located in the region of Epirus, in northwestern Greece.

Dodona [5,6] the oldest oracle of ancient Greece, is situated in the middle of the region and the necromancy [7] on the western end, at the Ionian Sea. It wasn’t only Odysseus who visited the necromancy in order to talk to his deceased mother. Generations of humans visited this holy location in order to get in touch with their beloved deceased. The rather long linger of the religious at this location served the spiritual preparation and suggestion, so that the contact to the underworld could be enabled.

Specific nutrition and the conversation with the priests were an integral part of the ritual. From the architectural point of view the structure of the labyrinth complements the access to the Hades and interpreted in this way the difficult path to the underworld.

To the other holy place of the Antiquity, in the region Dodona, many people trooped in order to get a prophecy about their future. Apart from the conversation with the priests, the leaves‘ rustling of the holy oak-tree was a source of the priests’ inspiration in order to see the future.

The Christianization of the region took a long time because of the big influence of these pagan places.

Ancient holy locations were selected systematically, so that new church buildings could be erected.

For example, a church was built on the hill of the necromancy.

In this way the holiness of the location was used to establish the new belief.

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The Ottomans, who conquered the region in the 15th century, erected mosques next to churches.

Occasionally, the conquers destroyed a church after a failed freedom riot in order to build right there or next to it a mosque [8] In the walled old city of Ioannina, the capital of Epirus, there are still nowadays rooms that were used as horse stables or dungeons for the prisoners and the criminals of the Ottoman Empire. These rooms with their rambling corridors and their darkness still frighten the visitor.

Five kilometers western of the center of Ioannina, under the hill of Perama, an interesting stalactites cave is situated. The rutty pathway through the cave, with its lighted stalactites and stalagmites creating a natural architecture, leads to the other end of the hill, to the daylight.

In the center of Ioannina city there are two museums, where the visitors can admire exhibits from the Antiquity and the Byzantine period. The Archaeological Museum is a modern construction of the `70.

In the region of Epirus one can historically recognize an architectural sequence, according which the old sacral constructions were replaced with new ones. This process could lead to the assumption that this new religion holiness wanted to manifest its power over the old one.

Each time the new sacral location had to seem architectonically more attractive than the previous one. As a symbol of the new theory.

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My intention is not to incorporate the religious in my construction, but to use the hidden and suggestive elements of sacral constructions in order to create a new, attractive and simple architecture.

A place of rest for the modern human living in a restless society.

Initially inspired by the atmosphere of the above mentioned locations, I intend through my work to transfer selected elements of the sacral to a new architectural concept. „…as though these old figures revealed to us, the modern ones, what we are by indicating us what we are not anymore.’’1 I destroy the old stone house in Katsikas, a suburb of Ioannina, which got inhabitable after an earthquake. „… destruction and demolition…but regardless of how these processes are evaluated, they depict interventions in the humans‘ life and talk often about the difficult and painful participation in the common destiny.’’ 2 It was the Priest‘s house. There I construct the new.

Taking into account the architectural development of the sacral places, I set the following principles, which constitute the basis of my construction: The sacral as a transformation, the sacral as a form, the sacral as a suggestion, the sacral as purification.

Without immersion in the transcendental of a sacral structure, I couldn‘t have designedsuch a construct. I had to pass the path of darkness, the path of the shadows and the wrong path in order to reach the light. A form of contemplation, dialogue and catharsis.

1 Marc Augé Orte und Nicht-Orte: Vorübergegangen zu einer Ethnologie der Einsamkeit, p. 34 2 Aldo Rossi: Die Architektur der Stadt, Leseheft 1, s. 12 München 1998

Uno Tomoaki | ‚Temple House‘ , von William Weaver

THESES

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According to bibliography and my own experiences through visits at the sacral locations of Epirus, I set the following theses, which inspired the designing process and became essential.

TRANSFORMATION FORM SUGGESTION PURIFICATION

The sacral is a fundamental spiritual expression of human nature. Despite its universality and its rigorous invariance of human nostalgia for soul peace and immortality, the sacral is subject to an architectural process of change, which I call here transformation. With regard to the different religious developments and their expressions in architecture, in terms of transformation the sacral finds different forms of expressions, despite the constant human needs.

The choice of the form of a sacral place implies an expected nostalgia and thus determines the emerging emotions and expectations, as well as the reactions and the ways of action.

The selection of these special sacral elements for the construction and their adaption to the respective cultural reality can lead the visitor in a form of purification.

In this thesis any kind of manipulative elements of the sacral architecture, which lead consciously to the seduction and submission of the human soul, will be excluded. Consciously, I disregard the power of the seduction and the subtle exercise of power through phobic configurations by using sacral elements.

In accordance with those thoughts and determinations I try to construct a new concept of sacral architecture with entertaining and creative forms. Main concern of my construction is the realization of a reflective and calming atmosphere, which stimulates consideration and releases through a simple and disillusioning composition of the effect of the sacral elements.

MYRTALI UND ALEXANDER

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The young boy was naughty and curious. There, up on the mountains of Epirus, the homeland of his mother, he spent some summer times of his childhood. On the highlands of the Molossians. There, his eye got the wild pride of the snowcapped mountains. His mother was Myrtali13], the daughter of the King of Molossians, the leading tribe of Epirus. They claimed that they were descendants of Hercules and Achilles. Achilles was the idol of young Alexander. His father was Philip, the King of Macedonia. The princess of Epirus used to say that Philip belonged to a lower royal family.

Myrtali, as it was said, brought her son up following the example of Achilles and insisted on the fact that he was the son of Zeus. Strong and undamped. Proud and combative.

In the region of the Molossian highlands were two cities, Tekmon and Passaron, the one ruled the southern area, the present hill Parkion, and the other ruled the northern area of Vounoplagia. The inhabitants of the region were shepherds with wild dogs, A doric and taciturn nation. Without lots of words and promises, their word was direct. This was the origin of Alexander the Great [14] by his beloved mother‘s side.

A wild and unconquerable person, who reached the end of the world.

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DODONA

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At the bottom of the mountain Tomaros, southwestern of Ioannina, thousands of years ago, the oldest oracle of the Antiquity was erected. The holy place, where pilgrims from all over the world came to, in order to get their prophecies. This place was dedicated to Zeus, the first of the ancient Gods, and his wife Dione. The oracle‘s name is Dodona. The holy tree was an oak. Here, the priests listened to the rustle of the leaves and the sound from the vessels hanging on the branches.

A young warrior, who wanted to get his prophecy, would eventually ask: „Will my wife betray me now that I am going to the war?“ [15] The prophet had to listen to the tree‘s answer, but looked at the same time at the warrior in order to complete the whisper of the branches. He asked him how beautiful his wife was and gave him afterwards his prophecy.

Later, Pyrrhus the King of Epirus built here his theatre, the biggest of this era, where tragedies and comedies were performed. Pyrrhus was the one who defeated the Romans in Italy with big losses. This is the famous Pyrrhus-victory. The victory which holds in the defeat.

When the Romans conquered Epirus, they transformed the theater into an arena.

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IOANNINA

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During the Byzantine Empire, the emperor Justinian constructed in the area of the lake Pamvotis the town Nea Evroia[16], which was named after a city in Thesprotia with the same name. He constructed also the great fort of the city.

Later the city was renamed Ioannina. It is the capital of Epirus.

Venetians, Slavs and Turks came by. The Slavs left names of regions and villages behind, the Turks words and mosques.

In the last centuries the city became a trade and education center with excellent schools and great teachers [17]. John Lock and other philosophers were educated here.

Ioannina is nowadays an University town. The University offers Humanity and Science Studies, among them Architecture and Archaeology.

The Jews of the town belonged to the core of Economy and Education. A community that got erased during the Nazi-Period.

The famous craftsmen of the area built in Ioannina -as well as in the whole Greece and Balkans- bridges, mansions, buildings and schools. They all have left their traces in the town and the region.

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The famous craftsmen of the area built in Ioannina -as well as in the whole Greece and Balkans- bridges, mansions, buildings and schools. They all have left their traces in the town and the region.

In the city only few nice old stone houses have been left. In the course of the modern urban development they were replaced by concrete apartment blocks.

LOCATION OF THE CONSTRUCTION - KATSIKAS

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The former village Katsikas -the location of the construction- is nowadays a district of Ioannina city, approximately5 km southern of the city center. There are no documents about the village‘s foundation. The oldest of the 5 churches was built in 1411.

The region „Palia Spitia (Old Houses)“ at the municipal boundaries implies that there was one more older settlement there. The municipality is located on the hillside and counts about 5.000 inhabitants. Katsikas is nowadays the local center for the surrounding villages. Upper and lower high school, other schools and kindergarten constitute the attraction for the surrounding agricultural population. For centuries the inhabitants were mainly farmers. The names of the surrounding areas reveal the main activity of the people. „Mega Kampos“ is a large flat region with huge grasslands, where thousands of sheep used to find their nutrition. To the next, another fruitful area offered any kind of grains, which were grinded in „Paliomylos“, an old mill powered by the lake‘s water. The name of the region „Pente Alonia (Five threshing floors)“ reveals that here great amounts of grains were harvested. „Voidoleivado (Bulls meadow)“ is an area next to the lake, where only cows and bulls were allowed to graze.

Up to the last 40 years, hundreds of animals were grazing there in the open.

Today the municipality‘s character is mainly urban. Doctors, lawyers, architects, accountants, pharmacists and civil servants, as well as other professions, displaced during the past decades the farmers and the stock-breeders.

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In Katsikas some stone buildings, such as the old school with its thick stone walls, are still preserved. In a similar way the houses of prosperous inhabitants of the village are built.

They were mainly two-storied houses with an exterior stone staircase and a balcony, which was almost always covered by grave vine. In the ground floor of the house was, apart from the cows‘ stable, a grain store. It was accessible through a trapdoor at the floor of the upper storey. The attic, which was covered with slate plates, was used as a hiding place at turbulent times. In an adjacent building was the kitchen, which hosted cows and sheep.

In the last centuries the common construction material of the pure population was clay-bricks and slate plates. The concrete skeleton construction replaced since the middle of the last century the old materials. The houses became bigger with two or three storeys and tiled roofs. About 20 stone houses outlived this concrete development, most of them almost destroyed by earthquakes.

Some of them are inhabited, others are waiting for their future use.

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The house of the deceased priest in Katsikas was built in 1930. Initially the family lived in the upper part of the village in a big stone mansion. With the growing of the family, the sons built their own houses near the village‘s main street that connects Ioannina with the surrounding villages. The inhabitants were showing great respect for the priest. Many of them visited him to get advice.

The house, the planted arched entrance and the garden with the huge pine tree, the olive tree and the chestnut tree transfer the visitor in a reflective and reverent atmosphere.

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SACRAL EXPERIENCES

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NECROMANCY - HADES

The necromancy is about 1 hour drive from Ioannina [18]. It is situated at the Ionian coast in Mesopotamos and the valley of the river Acheron.

In the middle of the summer during noontime I arrived. Only the guard was there and was waiting for me. All the visitors were gone. In the summer silence, with the annoying cricket‘s calling, and slightly sweaty, I entered this sacral place.

I was alone, the guard led me patiently to the entrance of Hades. He was informed that I dealt as a student of architecture with the subject „Sacral construction“. I asked him to let me pass the way to underworld by myself. Long before I reached there, a feeling of an unexplainable anxiety came over me.

With the sketch pad in my hand I drew paths and stones and I went through the labyrinthine structure of the entrance to Hades.

I looked at the rooms for the pilgrims and stayed there for a while. At this moment, I was a pilgrim too. Spontaneously, I had the longing to talk to my deceased grandfather. I moved on. I was just at the Abyss. This was the entrance to Hades. An underground arched room.

My goose bumps were visible. I moved downwards. It was dark, I saw the shadows, on top there was the light and absolute silence. I had to go back. I rose from the underworld, I made it -Eurydice did not, despite Orpheus singing-. I felt resurrected. I ran back through the labyrinth and I realized the cricket‘s calling as I reached the exit. I sketched the forms, said goodbye to the guard and drove back, accompanied by the feeling of purification.

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The architecture of this sacral place affected me like catharsis after tragedy. It was a unique experience. Just remembering this visit takes me even now in a similar emotional mood. The way back seemed short to me.

After I arrived I completed my sketches; I neither forgot to sketch the church [19], surrounded by cypresses, on the top of the hill of Hades: The transition and the transformation from Paganism to Christianity.

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DODONA A calm summer night, in the idyllic atmosphere of the valley of the mountain chain Tomaros, the theatrical play „Prometheus Bound“ attributed to Aeschylus was being performed.

After many years of restoration works, the ancient theater of Dodona opened again for cultural events. It was an experience. There, at the oldest oracle of the Antiquity, Pyrrhus erected the amphitheater as the cultural center near the famous sanctuary. The Roman Aemilius Paulus ruined the sanctum.

The emperor Augustus restored later the amphitheater and transformed it to gladiators‘ arena.

I experienced this performance at the silence of the evening, a mystic atmosphere under the moon light and the feeling that Zeus and Dione were omnipresent. Before the night fell I visited the sacral place of the oracle and the place where according to the story the holly oak stood. I sketched and tried to reconstruct the remains. Once again I discovered ways to the sanctum, the places for the pilgrims and the priests. All ruins [20].

At dusk the performance started. This suggestion from the mixture of the sacral ruins and the tragedy transferred me in a mood that was necessary in order to find the first elements of inspiration for my project. On my way back, I repeated loudly and unconsciously the phrase of Prometheus: „I am realist, because I am looking for the impossible“.

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CHURCH AND MOSQUE On a Sunday morning I went for a walk in the old city of Ioannina. In the eastern part and at a distance of about 100 meters of each other there were an inactive mosque and an orthodox church [21].

The church is old and small. The mosque is old as well, but big and impressive. This mosque, built during the Ottoman Empire, operates today as a museum. In front of it is the Pasha‘s grave. First, I visited the museum.

Afterwards I went to church. The liturgy was at full blast and the psalmodies could be heard from outside. I entered, the church was half-full, mainly old people. The smell of incense was penetrating. The interior of the old church had not much from the byzantine splendor. I lit a candle and left.

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THE DUNGEON Not far from the church and inside the walls [22] of Ioannina city I visited the old prisons. They are hidden, recessed in the thick wall. Heavy iron paled gates block the access. I found a destroyed entrance and went in. Sudden darkness, humidity and coldness surrounded me and I felt immediately how inconvenient even a short stay there could be. Nevertheless I kept on going. I switched on the light of my mobile phone and the shadows turned in motion. There were lots of cells. I dared to keep on walking. It was unbearable. Spontaneously I turned around and I ran back. By the view of the light I felt free again. The daylight, though, reminded me of a story that my grandmother used to tell me. Her younger brother was locked up for years in one of those cells.

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STALACTITE CAVE The stalactite cave near Ioannina [23] is an attraction. Many busses with tourists and coffee-parties are around.

I mixed with the tourists, paid my ticket and entered the cave.

The first steps were not impressive. But then phantasmagoria came up. A huge empty place, stalagmites and stalactites of different sizes enlightened with artificial light, shaped a scenario of archaeological architecture. The path went up and down, there was pretty humidity, not inconvenient, but definitely not the right place for claustrophobic people. I enjoyed the space around, the safety of an underground stable structure and the interesting echo of the guide‘s voice and group‘s steps. In this place I had another sense of time and I felt a sudden nostalgia to come back to light.

I wondered why!

SUMMARY

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I grew up in Ioannina and went to school there. I know the streets, the surrounding villages and the kind of its people. I dream, I sketch and I want to „build“.

All the nations that passed by demolished and built. The demolition and the building is the architectural invariance of the history [24]. We, the Architects, are called to build there, where others have demolished.

Or should we first demolish creatively by our own in order to build something new?

There, where the history flows, there at the rupture I want and I will build. Simply and doric.

CONSTRUCTION PROCESS

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The old stone house of the priest was the beginning.

The existing can either be transformed or demolished. „Each intervention requires destruction“1.

The demolition is the intervention.

The minimum invasive procedure, starting from a massive body, constitutes the basis of the construction process.

After the intrusion in the body, the darkness came.

The effort to reach the light again requires the corrosion of the material. This way, the place takes its shape from the inner. The formation of these rooms is the completion of the construction process so that one can reach the light. This process simulates the sacral.

1 Luigi Snozzi, Betonprisma online, Gespräch: Gegenseitiges Vertrauen ist Voraussetzung für gutes Wohnen

Fig. Mario Botta: Novazzano

CENTRAL IDEA OF THE CONSTRUCTION

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LOCATION The construction property is located in the center of the settlement at the suburb Katsikas.

Many of the existing houses were built in the ‚80 and they are typical two-storey buildings with tile roofs. Over the years many modifications took place on them. These modifications are not based on a real building plan and as a result the external look of the settlement seems to be mixed with a heterogenic character. Despite those different building structures, the place seems peaceful, familiar and a little bit chaotic. Due to the continuous expansion of the suburb Katsikas, a lower high school and several retail shops were built some years ago and thus the agricultural village turned into a small independent town, which became through its infrastructure and the rather silent atmosphere an attractive place of residence.

Inside this structure there is an old stone house, the walls and the substance of which survived over the decades. The decline of the walls is connected to a specific aesthetic, which differentiates significantly from the surrounding building development.

According to narrations and documents, this small stone house belonged to the priest. One can reach there from the central road by passing a private pathway and the house stands at the extension of the road leading to the lower high school.

A huge old chestnut tree decorates the front yard of the house and looks like witness of the time period, who has survived the historical and modern incidents. The surrounding private houses have small gardens with light tree vegetation.

Low knee-high walls form the boundaries between the properties.

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The hillside locations and the different height levels of the properties are balanced through the boundaries. The height of these walls builds this way a symbolic boundary rather than a real protection means. Through this direct exchange with the neighborhood, familiar atmosphere comes up, which can be noticed by reaching the area.

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DESCRIPTION OF THE COSNTRUCTION A place of rest in this heterogenic structure is the target of the construction process. The construction can be already seen from the street. Through the extension of the private road through the neighbor‘s property until the parallel road, a direct connection to the lower high school is created. The form of the building, although including elements of the existing building development, seems through its external look remarkable different. A massive closed concrete building with an extremely high pitched roof stands out among the surrounding structures and declares this way its prominence in the area. The simple elegance and the renunciation of the modern thermal glazing highlight the simplicity of the building‘s structure. Only the pure walls of the house protect the visitor from the elements. This protection at the house exists only to a certain time extent, as here the meeting with the external dominant natural powers is of great significance.

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INITIAL SITUATION

Passing the narrow path to the construction property, the entrance to the building structure is not directly visible. High closed walls dominate the picture and attract the visitor‘s attention and the curiosity. By reaching the front yard and the pathway through the garden, the path leads to a roofed, low and dark passage. The darkness affects the visitor in a mysterious way and requires courage and overcoming. By entering the semi-arched opening, the path leads to the interior of the building, directly to a small lightened niche on the wall. The key is hidden here, for those who know. The opening of the door to the right is now something more than a pure symbolic act. I associate the hidden key with a private house, where in case of need the key is hidden under the doormat or under a stone in the front yard.

In the Indo-European language, the linguistic-historical roots and origin of the word „right“ meant the proper and was used for the good, the real and the perfect. Here is the entrance. The door together with one step forms the doorstep to the interior of the building. The corridor goes in the same height. By reaching the interior of the body, the visitor has reached the other rooms. Symbolic speaking it is the heart‘s function. This main function is the preparation for the sacral place. To the right of the corridor there are three high niches.

Small openings at the outer shell and additional artificial light sources in each opening lighten the corridor indirectly. The conical course of the openings towards outside does not allow the right position and the source of the light to be visible.

This kind of lighting gives a mystical atmosphere in the place, which gives calmingly a form of grounding through the absolute loss of the connection to the exterior.

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In the first niche there is a seat, in the second a sink and in the third and last right before the main place one more seat.

The type and use are at visitor‘s discretion. For each demand simple answers can be found here.

To the left of the corridor there is a staircase sculpted in the concrete, rotating upwards. Following this, an exhibition place appears which lights up through the skylight. This exhibition place is pretty hidden and uses the inner mass of the roof in order to create its room. This room can be used individual and offers the visitor the possibility to develop himself, either through an exposition or an installation.

The corridor at the ground floor leads directly to the sacral place. This especially high room opens upwards and lights up from there naturally. Due to the lack of glazing in the opening, the visitor meets the elements and is directly exposed to them. Hard lines and strict forms catch the eye upwards to the light of the sky. The meeting and the guidance „from upwards“ or just the sight of light and hope, evoke different emotions to each one.

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CONCLUSION

This place is my own interpretation of the sacral.

The central challenge of my construction is the feeling braking out after havening guided from darkness to light.

An ideal place for the development of personal senses, autocatharsis and catharsis.

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BIBLIOGRAPHY TABLE OF FIGURES

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[1] Γ ιάννενα, Ελληνική παραδοσιακή αρχιτεκτονική, Εκδοτικός οίκος <<Μέλισσα>>, Αθήνα 1988 [2] Sakral: www.duden.de [3] Closer to God: Religious Architecture and Sacred Spaces, Robert Klanten [4] Sacred Spaces: Contemporary Religious Architecture, James Pallister [5] http://www.dodoni.gr/to-manteio [6] http://odysseus.culture.gr/h/3/gh351.jsp?obj_id=2365 [7] http://www.acheronsprings.gr/mythologia.html [8] http://www.ioannina.gr/DI/politismos/dimotiko_mouseio.htm [9] Greece: 2oth-century architecture, Savas Condaratos, Wilfried Wang, Deutsches Architektur-Museum, Farnk furt am Main, 1999 [10] h ttp://www.biblionet.gr/author/4937/Άρης_ Κωνσταντινίδης [11] O rte und Nicht-Orte: Vorübergegangen zu einer Ethnologie der Einsamkeit, Marc Augé [12] Aldo Rossi, Die Architektur der Stadt, Leseheft 1

[13] www.grin.com/de/e-book/110401/olympias-die-mut ter-alexanders-des-grossen

[14] Weigall, Arthur : Alexander der Grosse Leibzig, Paul List Verlag 1941

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[15] http://www.acheronsprings.gr/mythologia.html

[16] elias.comule.com/german/ioannina/history.htm

[17] www.atlasobscura.com/places/necromanteion-of-ephyra

[18] www.ancient-origins.net/news-myths-legends/necro manteion-ancient-temple-dead-002255

[19] www.atlasobscura.com/places/necromanteion-of-ephyra

[20] Das Zeusheiligtum in Dodona zwischen Orakel und venatio, Ioannia Mylonopoulos, Phoibos Verlag, Wien 2006 [21] 6dim-ioann.ioa.sch.gr/poli_kastro.htm

[22] 6dim-ioann.ioa.sch.gr/poli_kastro.htm

[23] www.spilaio-perama.gr

[24] Luigi Snozzi, Betonprisma online, Gäsprech: Gegenseiti ges vertrauen ist Voraussetzung fßr gutes Wohnen.

LARA NIOVI VARTZIOTIS WINTERSEMESTER 2016 KARLSRUHE INSTITUTE OF TECHNOLOGY FAKULTY FOR ARCHITECTURE