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∆√ ∂ƒ°∞™∆∏ƒπ√ ∆√À ∞ƒÃπ∆∂∫∆√¡∞: ∫∞∆√π∫π∂™ ∆√À ¢∏ª∏∆ƒ∏ º∞∆√Àƒ√À
∆HE ARCHITECT’S LABORATORY: HOUSES BY DIMITRIS FATOUROS
∫ˆÓÛÙ·ÓÙ›ÓÔ˜ •·ÓıfiÔ˘ÏÔ˜ Î·È Kristiina Kuvaja-•·ÓıÔÔ‡ÏÔ˘
Konstantinos Xanthopoulos and Kristiina Kuvaja- Xanthopoulou
∫·ÙÔÈΛ· ÛÙËÓ ∞›ÁÈÓ·: Ú·ÁÌ·ÙÈÎfiÙËÙ· Î·È ÛËÌÂÈÔÏÔÁ›·
House in Aegina: Reality and Semiotics
∏ ηÙÔÈΛ· Î·È ÙÔ ÂÚÈ‚¿ÏÏÔÓ Ù˘ ·ÔÙÂÏÔ‡Ó ›Ûˆ˜ ÙËÓ ÈÔ ÂÍ·ÙÔÌÈÎÂ˘Ì¤ÓË ¤ÎÊÚ·ÛË ÙˆÓ ÂÈı˘ÌÈÒÓ –ÏÂÈÙÔ˘ÚÁÈÎÒÓ Î·È ·ÈÛıËÙÈÎÒÓ– ÙÔ˘ ›‰ÈÔ˘
ÙÔ˘ ÙÚfiÔ˘ ˙ˆ‹˜ (genre de vie) ÙˆÓ ÂÓÔ›ÎˆÓ ÙÔ˘. ªÂ οÔÈ· ¤ÓÓÔÈ·,
ÂÎÚÔÛˆÔ‡Ó Î·È ·ÓÙÈηÙÔÙÚ›˙Ô˘Ó ÙȘ ȉȷÈÙÂÚfiÙËÙ˜ ÙˆÓ ¯·Ú·ÎÙ‹ÚˆÓ
ÙÔ˘˜. ¶Ôχ ÂÚÈÛÛfiÙÂÚÔ Ì¿ÏÈÛÙ· fiÙ·Ó Ë Î·ÙÔÈΛ· ¤¯ÂÈ Û¯Â‰È·ÛÙ› ·fi
Î·È ÁÈ· ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· Î·È ÙË Û˘Ì‚›· ÙÔ˘.
£· ÌÔÚÔ‡Û ÏÔÈfiÓ Ë ›‰È· ·˘Ù‹ ηÙÔÈΛ· Ó· ·ÓÙ·ÔÎÚÈı› Ì ·ÓÙ›ÛÙÔÈ¯Ë ÏËÚfiÙËÙ· ÛÙȘ ȉȷÈÙÂÚfiÙËÙ˜ οÔÈÔ˘ ¿ÏÏÔ˘ ˙‡ÁÔ˘˜, Ì ·Ó¿ÏÔÁ˜ ηٷ‚ÔϤ˜ ÂӉȷÊÂÚfiÓÙˆÓ;
ªÈ· ÁÂÓÈ΋ ·¿ÓÙËÛË Û’ ·˘Ùfi ÙÔ ÂÚÒÙËÌ· ı· ¤ÎÏÈÓ ̿ÏÏÔÓ ÚÔ˜ ÙËÓ
·ÚÓËÙÈ΋ ÏÂ˘Ú¿. ™ÙË Û˘ÁÎÂÎÚÈ̤ÓË ÂÚ›ÙˆÛË fï˜ ·ÔηχÙÔÓÙ·È
ÏÂÔÓÂÎÙ‹Ì·Ù· Ô˘ ‰È·ÌÔÚÊÒÓÔ˘Ó ÙȘ ϤÔÓ Â‡ÛÙԯ˜ ÚÔ¸Ôı¤ÛÂȘ
·Ô‰Ô¯‹˜ Î·È ÚÔÛ·ÚÌÔÁ‹˜ Û’ ¤Ó· ÂÁÁÂÓÒ˜ ÊÈÏfiÍÂÓÔ Î·È ÔÈÎÂ›Ô Ï·›ÛÈÔ Î·ÙÔ›ÎËÛ˘.
°È·Ù› Î·È Ò˜ ÙÂÎÌËÚÈÒÓÂÙ·È Î¿ÙÈ Ù¤ÙÔÈÔ;
The particular house and its setting perhaps constitute the most
individualized expression of its occupants’ wishes –in terms both of
function and aesthetics– and, indeed, of their way of living. In a sense,
house and setting speak for and reflect the occupants’ idiosyncrasies.
The more so in fact, given that the house had been designed by and
for the architect and his lady.
Is it possible therefore that the house should respond of itself with
like plenitude to the idiosyncrasies of a different couple, albeit one
that shares a similar background of interests and concerns? A generic response to such a question would, in all likelihood, incline to the
negative. However, in this particular instance, certain advantages
reveal themselves and contrive to create the most appropriate conditions for acquiescence and adjustment, in a habitation that is
intrinsically hospitable and familiar.
Why and how can such an assertion be made?
™Â ¤Ó· ÔÈÎfiÂ‰Ô 336m2 –·˘ÙÔÙÂϤ˜ ÙÌ‹Ì· ÌÂÁ·Ï‡ÙÂÚ˘ ¤ÎÙ·Û˘– Ô
·Ú¯ÈÙ¤ÎÙˆÓ Û¯Â‰›·Û ÙËÓ Î·ÙÔÈΛ· ÙˆÓ 78m2 (ÌÈÎÙfi ÂÌ‚·‰fiÓ) Î·È ÙÔ ÂÚÈ‚¿ÏÏÔÓ Ù˘, Ì ÙÚfiÔ Â˘Ê˘‹, ·Ïfi Î·È Û˘ÓÂÙ˘Á̤ÓÔ-Û˘ÓÂÎÙÈÎfi. ªÂ
·Ó¿ÏÔÁÔ Ê˘ÛÈÎfi, ¿ÌÂÛÔ Î·È ÔÈÎÔÓÔÌÈÎfi ÙÚfiÔ ‰È·ÌÔÚÊÒÓÔÓÙ·È Î·È ÔÈ
Û¯¤ÛÂȘ ÙˆÓ Ó¤ˆÓ ÂÓÔ›ÎˆÓ ÙÔ˘ Ì ·˘Ù¿.
∆Ô ÎÙ‹ÚÈÔ ¯ˆÚÔıÂÙÂ›Ù·È ‰È·ÎÚÈÙÈο Û ۯ¤ÛË Ì ÙÔÓ ÂÚ›Á˘Úfi ÙÔ˘, ·Ê‹ÓÔÓÙ·˜ ÛÙÔ ÌË ÎÙÈÛÙfi ÙÌ‹Ì· Ó· ·Ó·‰Â›ÍÂÈ ÌÈ·Ó ÂÍ›ÛÔ˘ ÛËÌ·ÓÙÈ΋ ·ÚÔ˘Û›· ÛÙËÓ fiÏË Û‡ÓıÂÛË. √ ÚfiÏÔ˜ ÙÔ˘ ÙÂÏÂ˘Ù·›Ô˘ ‰ÂÓ Â›Ó·È ·ıËÙÈÎfi˜ ‹ ‰È·ÎÔÛÌËÙÈÎfi˜. √ ÂÚ›Á˘ÚÔ˜ Â›Ó·È Î·È ·˘Ùfi˜ ¿ÚÚËÎÙ· ‰Â̤ÓÔ˜ ÌÂ
ÙË ˙ˆ‹ ÛÙÔÓ Â˘Ú‡ÙÂÚÔ ¯ÒÚÔ Î·ÙÔ›ÎËÛ˘.
In a plot of 336m2 –an autonomous part of a larger estate– the architect designed a 78m2 house (gross area) together with its setting in
a way that was smart, simple, coherent and concise. The existence
of its new occupants in the house and its setting is just as natural,
uncomplicated and frugal.
The building has been sited discretely in relation to its surroundings, permitting the unbuilt part of the plot to assume an equally
significant presence within the overall design. The role of the unbuilt
is neither passive nor merely decorative. For this setting is also
inextricably bound with living in the habitat at large.
∆Ô ÎÙ‹ÚÈÔ Î·ı·˘Ùfi, Ô˘ Û˘ÌÙ‡ÛÛÂÙ·È Û 3 ÛÙ¿ı̘, ‰ÂÓ Â›Ó·È ÂÍ·Ú¯‹˜ ÔÚ·Ùfi ÛÙÔ Û‡ÓÔÏfi ÙÔ˘. ∂ÓÒ ÚÔ‚¿ÏÏÂÈ ·fi Ì·ÎÚÈ¿ ˆ˜ Ê¿ÚÔ˜ ¿Óˆ ·fi ÙÔ ‰·Û‡Ê˘ÏÏÔ Î·È ·ÓıÈṲ̂ÓÔ Ú¿ÛÈÓÔ, ÌfiÓÔÓ Ë ÙÂÏÂ˘Ù·›· ÛÙ¿ıÌË Ì ÙÔ ˙ˆËÚfi ÎfiÎÎÈÓÔ-Á·È҉˜ ¯ÚÒÌ·, ηıÒ˜ Î·È ÙÔ ÙÂıÏ·Ṳ̂ÓÔ ·Ó¿ÁÏ˘ÊÔ ÙÔ˘ ‰˘ÙÈÎÔ‡ ÙÔ›¯Ô˘, ÚԉȷÁÚ¿ÊÔ˘Ó ÙÔ ·Ú¯ÈÙÂÎÙÔÓÈÎfi ÂӉȷʤÚÔÓ
ÙÔ˘ Û˘ÓfiÏÔ˘ (ÂÈÎ. Û. 148). √ ÙÔ›¯Ô˜ ÔÚÈÔıÂÙ› ¿ÏψÛÙÂ Î·È ÙÔÓ ¿ÍÔÓ·
ÚfiÛ‚·Û˘ ÚÔ˜ ÙËÓ Â›ÛÔ‰Ô Ù˘ ηÙÔÈΛ·˜ ÛÙÔ ›Ûˆ ÌÂÛËÌ‚ÚÈÓfi ÙÌ‹Ì·
Ù˘, ʤÚÔÓÙ·˜ Â›Û˘ ÙÔÓ ÂÓÂÚÁËÙÈÎfi ÚfiÏÔ Ô˘ ÙÔ˘ ·¤‰È‰Â Ô J. Hejduk, Û‡Ìʈӷ Ì ÙÔÓ ÔÔ›Ô ‘Ë ˙ˆ‹ [Î·È ÙÔ Êˆ˜] ‰¤ÓÂÙ·È Ì ÙÔ˘˜ ÙÔ›¯Ô˘˜ ... fiÔ˘ ηÓ›˜ Û˘Ó¯Ҙ ÎÈÓÂ›Ù·È Ì¤Û· ·ã ·˘ÙÔ‡˜, ÌÂÙ·‚·›ÓÔÓÙ·˜
̤۷ Î·È ¤Íˆ, ηٿ Ì‹ÎÔ˜ Î·È ÂÁοÚÛÈ·, ‰È·ÂÚÓÒÓÙ·˜ ÙÔ˘˜ ...’ (ÂÈÎ. Û.
147). ∫·Ù¿ Ì‹ÎÔ˜ ÙÔ˘, Ô ÁÚ·ÌÌÈÎfi˜ ¿ÍÔÓ·˜ ÚfiÛ‚·Û˘ ÏÂÈÙÔ˘ÚÁ› ÔÏÏ·Ï¿ ˆ˜ ÙÔ ÛËÌ·ÓÙÈÎfiÙÂÚÔ Û˘ÓıÂÙÈÎfi ÛÙÔȯ›Ô, ÛÙȘ ·Ú˘Ê¤˜ ÙÔ˘
ÔÔ›Ô˘ ‰È·ÚıÚÒÓÔÓÙ·È Â·ÁˆÁÈο ÔÈ ¯ÒÚÔÈ Î·ÙÔ›ÎËÛ˘, ÂÛˆÙÂÚÈÎÔ› ηÈ
Â͈ÙÂÚÈÎÔ›. ∏ ‰È·‰ÚÔÌ‹ ηٿ Ì‹ÎÔ˜ ÙÔ˘ Û˘ÓÈÛÙ¿ ÌÈ¿ ‘ÂÚÈ¤ÙÂÈ·’ ÛÙËÓ
ÔÔ›· ‰ÈÂÁ›ÚÔÓÙ·È ÛÙ·‰È·Î¿ Ë ÂÚȤÚÁÂÈ· Ù˘ ·Ó·Î¿Ï˘„˘, Ë ¤ÎÏËÍË
Î·È Ô Û˘ÓÙÔÓÈÛÌfi˜ ÙˆÓ ·ÈÛı‹ÛˆÓ.
The building, gathered compactly in 3 levels, is not entirely visible
from the outset. From afar it appears as a lighthouse above dense
foliage and blooming vegetation: only the topmost level, with its
vivid earthy reddish hue, and the angular face of the west wall give
an intimation of the ensemble’s architectural allure (fig. p. 148). This
is in fact the wall that demarcates the line of access to the entrance
of the house, located in its rear, south side, and also fulfilling the
vitalizing role ascribed to it by J. Hejduk, according to whom ‘life
[and the light] is bonded to the walls … for one moves continually
through them, going outside and going inside, proceeding along
their length and transversally, passing right through them…’ (fig. p.
147). As the most important design element, the access path functions in a multitude of ways along its length, on the fringes of which
the spaces for habitation, both interior and outdoor, are deployed
with the persuasiveness of a well reasoned inductive argument.
Walking along this path is an ‘adventure’ that gradually excites curiosity and delight in exploration, and enjoins a marriage of the senses.
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∆√ ∂ƒ°∞™∆∏ƒπ√ ∆√À ∞ƒÃπ∆∂∫∆√¡∞: ∫∞∆√π∫π∂™ ∆√À ¢∏ª∏∆ƒ∏ º∞∆√Àƒ√À
∆HE ARCHITECT’S LABORATORY: HOUSES BY DIMITRIS FATOUROS
∫¿ÙÔ„Ë ÛÙ¿ıÌ˘ +1
Plan Level +1
∫¿ÙÔ„Ë ÛÙ¿ıÌ˘ ±0
Plan Level ±0
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∏ Û‡ÓıÂÛË ‰È·Ù˘ÒÓÂÈ ÙȘ ‚·ıÌÈ·›Â˜ ·ÔÎÏ›ÛÂȘ ÙÂÛÛ¿ÚˆÓ ‰ÈÒÚÔʈÓ
ηÙÔÈÎÈÒÓ ·fi ÙËÓ Î¿ıÂÙÔ ÛÙÔÓ ‰ÚfiÌÔ, ¤Ó· ›‰Ô˜ Û˘Ì‡ÎÓˆÛ˘, Ô˘
‘·Ó·˙ËÙ›’ ÙË ı¤· ÚÔ˜ ÙË ı¿Ï·ÛÛ·.
∆Ô Û‡ÓÔÏÔ: ÌÈ· ÌÈÎÚ‹ ‘·ÛÙÈ΋’ ÁÂÈÙÔÓÈ¿ Ì ηı·Ú¿ ÁˆÌÂÙÚÈο ÛÙÂÚ¿
Û˘Û¯ÂÙÈṲ̂ӷ Ì ÂÛˆÙÂÚÈΤ˜ ‰È·‰ÚÔ̤˜, Ù·Ú¿ÙÛ˜ Î·È ·˘Ï¤˜. ∏ ηٿÏÏËÏË Ê‡Ù¢ÛË ÂÓ¤ÙÂÈÓ ٷ ¯·Ú·ÎÙËÚÈÛÙÈο Ù˘ ÌÈÎÚ‹˜ ÁÂÈÙÔÓÈ¿˜ Î·È ‰ËÌÈÔ‡ÚÁËÛ ¢¯¿ÚÈÛÙ˜ ÌÈÎÚÔÎÏÈÌ·ÙÈΤ˜ Û˘Óı‹Î˜
∆Ô È‰ÈfiÏÂÎÙÔ: ÙÔ ¤Ó· ·fi Ù· Ù¤ÛÛÂÚ· ÛÙÔȯ›·-ηÙÔÈ˘ ‰È·ÚıÚÒÓÂÙ·È
ÌÂ ‚¿ÛË ¤Ó· ÂÛˆÙÂÚÈÎfi ‰ÚfiÌÔ.
The composition enunciates the gradual deviations of four two-storied houses from an axis at right angles to the street: a type of condensation, which ‘seeks out’ the view to the sea.
The entire project: a small ‘urban’ neighborhood with pure geometrical solids assembled and linked by means of internal pathways,
terraces and courtyards. Suitable plantings have accentuated the
features of this tiny neighborhood, creating a comfortable micro-climate.
Personal idiom: one of the four components–houses is articulated
on the basis of an internal lane.
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™ÙÔ ÓfiÙÈÔ ¿ÎÚÔ Ô ‰È¿‰ÚÔÌÔ˜ ηٷϋÁÂÈ Û ¤Ó· ÛÙ·˘ÚÔ‰ÚfiÌÈ (ÂÈÎ. Û. 151),
·fi ÙÔ ÔÔ›Ô ·ÚÈÛÙÂÚ¿ ÌÂÓ, Û˘ÛÙÚ¤ÊÂÙ·È ·ÏÈÓ‰ÚÔÌÒÓÙ·˜ ÛÙËÓ ÂӉȿÌÂÛË ÛÙ¿ıÌË Ù˘ ηÙÔÈΛ·˜ ·fi ÙËÓ Â›ÛÔ‰Ô ÚÔ˜ ÙÔÓ ÂÓÈ·›Ô ÂÛˆÙÂÚÈÎfi
¯ÒÚÔ Î·ıËÌÂÚÈÓ‹˜ ‰È·‚›ˆÛ˘ (22,50m2) (ÂÈÎ. Û. 147 οو). ∂‰Ò ·ÔηχÙÂÙ·È Ë ÛÎÔÔ‡ÌÂÓË ‰È·Ê¿ÓÂÈ· Ù˘ ηÙÔÈΛ·˜, Ô˘ ·Ú·Û‡ÚÂÈ ÙÔ
‚ϤÌÌ· fiÙ ÛÙÔ Á·Ï¿˙ÈÔ ÙÔ˘ ™·ÚˆÓÈÎÔ‡ KfiÏÔ˘1 Î·È ÛÙ· ÎÔ˘Ú·Ṳ̂ӷ
ÊÒÙ· Ù˘ Ì·ÎÚ˘Ó‹˜ ÌËÙÚfiÔÏ˘ (‚fiÚÂÈ·) Î·È fiÙ ÛÙÔ˘˜ ÌÂÛÔÁÂÈ·ÎÔ‡˜
ÂÏ·ÈÒÓ˜ ÙÔ˘ ·ÈÁÈÓ‹ÙÈÎÔ˘ ÙÔ›Ô˘ (ÓfiÙÈ·), ηÏÏÈÂÚÁÒÓÙ·˜ Ì·˙› Ì ÙË Ú˘ıÌÈ΋ ÌÔ˘ÛÈ΋ ÙˆÓ Ù˙ÈÙ˙ÈÎÈÒÓ Î·È ÙÔÓ ÂÓ›ÔÙ ·ÓÂ·›ÛıËÙÔ ‹¯Ô ÙˆÓ Î˘Ì¿ÙˆÓ, ÙË ÌÔÓ·‰ÈÎfiÙËÙ· ÙÔ˘ ÂÏÏ·‰ÈÎÔ‡ Ó‡̷ÙÔ˜ Î·È „˘¯ÈÛÌÔ‡.
™Ù· ‰ÂÍÈ¿ Ù˘ ‰È·ÛÙ·‡ÚˆÛ˘ Ô ·Ú¯ÈÙ¤ÎÙˆÓ ¤¯ÂÈ Û¯Â‰È¿ÛÂÈ ¤Ó· ˘·›ıÚÈÔ
ÔÚıÔÁÒÓÈÔ ¯ÒÚÔ, Ï·ÈÛȈ̤ÓÔ ·fi ÌÈ¿Ó ·¤ÚÚÈÙË ÎÈÔÓÔÛÙÔȯ›· Î·È Î·Ï˘Ì̤ÓÔ ·fi ηϷً̈. √ ¯ÒÚÔ˜ ·˘Ùfi˜ ÏÂÈÙÔ˘ÚÁ› Û·Ó Î¿ÔÈ· ÂÓ·ÏÏ·ÎÙÈ΋ ·ÓÙ›ÏË„Ë ÂÓfi˜ ‘·ÈıÚ›Ô˘’, Ô˘ ÌÂٷʤÚÂÙ·È ·›ÊÓ˘ ·fi ÙÔ ÂÛˆÙÂÚÈÎfi ÛÙȘ ·Ú˘Ê¤˜ ÙÔ˘ ÎÙËÚ›Ô˘, ÚÔÂÎÙ›ÓÔÓÙ·˜ Ô˘ÛÈ·ÛÙÈο ÙȘ ‘‰ËÌfiÛȘ’ ÂΉËÏÒÛÂȘ Î·È ‰Ú¿ÛÂȘ ÙÔ˘ ηıËÌÂÚÈÓÔ‡.
√ ÂӉȿÌÂÛÔ˜ ‘‰ËÌfiÛÈÔ˜’ ¯ÒÚÔ˜ ÂÓÔÔÈ› Î·È Ù·˘Ùfi¯ÚÔÓ· ‰È·¯ˆÚ›˙ÂÈ
ÙȘ ‰‡Ô ·ÎÚ·›Â˜ ÛÙ¿ı̘ Ô˘ ·ÊÔÚÔ‡Ó ÛÙȘ ÈÔ È‰ÈˆÙÈΤ˜ ÂÈÏÔÁ¤˜ Ù˘
·fiÛ˘ÚÛ˘, Ù˘ ÂÚÈÛ˘ÏÏÔÁ‹˜, Ù˘ ÌÂϤÙ˘, Ù˘ ·Ó¿·˘Û˘...
∏ ηÙÒÙÂÚË (38,25m2), ·ÍÈÔÔÈ› ȉ·ÓÈο ÙËÓ ·›ÛıËÛË ÙÔ˘ ‘‚˘ıÈṲ̂ÓÔ˘
¯ÒÚÔ˘’ [ÂΉԯ‹ ÂÓfi˜ sunk space à la Aalto] Ì ÙȘ ÂÛÒ„˘¯Â˜ ÂÌÓ‡ÛÂȘ Î·È ÙËÓ ÈÛ¯‡ ÙÔ˘ ‰È·ÏÔÁÈÛÌÔ‡ Ô˘ ·˘Ù‹ Û˘ÓÂ¿ÁÂÙ·È. ∏ ı¤·, ÙÔ Êˆ˜,
Ë ÌÂÙ¿‚·ÛË ¤Íˆ, ÔÈ ·˘Ï¤˜ ÛÙ· ‰‡Ô ¿ÎÚ· ˘·ÎÔ‡Ô˘Ó ÛÙËÓ ÂÏÂÁ¯fiÌÂÓË
ÏÔÁÈ΋ ÙˆÓ ÈÔ ¿Óˆ ÂÈÏÔÁÒÓ. ™ÙÔÓ ·ÓÙ›Ô‰·, ÛÙËÓ ÙÂÏÂ˘Ù·›· ÛÙ¿ıÌË
(17,35m2), Ë ·fiÛ˘ÚÛË Û˘Ó‰˘¿˙ÂÙ·È Ì ‰È·ÊÔÚÂÙÈΤ˜ ȉÈfiÙËÙ˜, fiˆ˜
148
At the south end the corridor leads to a crossing (fig. p. 151). To the
left it twists on itself, by regressing to the middle level of the house
leading through the entrance to the unified interior space intended
for daily habitation (22.5m2) (fig. p. 147 bottom). Here the intentional transparency of the house is discovered, as it leads one’s gaze to
the ultramarine of the Saronic Gulf1 and the weary lights of the distant metropolis (to the north) or to the Mediterranean olive groves of
Aegina’s landscape (to the south), which, along with the rhythmic
drone of the cicadas and the occasional subliminal murmur of the
rolling surf, nurture the spirit and idiosyncrasy peculiar to Greece.
To the right of the crossing the architect has designed a rectangular
open air space, framed by a plain colonnade and covered with wattle. This area functions as an alternative version of an ‘atrium’ which
is unexpectedly brought out from the inside of the building to its
fringes, in a substantial extension of the ‘public’ events and actions
of the day room.
The ‘public’ space in between unifies and at the same time divides
the two levels, beneath and above, which are given over to the more
private times of retreat, meditation, study, relaxation…
The lowest (38.25m2) ideally exploits the sense of a ‘sunken space’
[a reworking of a sunken space à la Aalto] with its moments of inspiration that speak to the soul, and the power of meditation that it
suggests. The view, the light, the transition outside, and the courtyards at the two ends submit to the controlled logic of those choices. Conversely, on the topmost level (17.35m2), one’s retreat is com-
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ÌÈ·˜ ·ÔÌÔӈ̤Ó˘ ‘·ÂÙÔʈÏÈ¿˜’, fiÔ˘ Â›Ó·È Ì¿ÏÏÔÓ Ô ÚÂÌ‚·ÛÌfi˜ ηÈ
Ë ÔÙÈ΋ Â·Ê‹ Ì ÙË Á‡Úˆ Î·È ¿Óˆ Ô˘Ú¿ÓÈ· ʇÛË, Ô˘ ˘Ôı¿ÏÔ˘Ó
ÙËÓ ËÛ˘¯›· Î·È ÙËÓ ËÚÂÌ›· ÙÔ˘ ‰È·ÏÔÁÈÛÌÔ‡.2
∏ ηÙÔÈΛ· Ù˘ ∞›ÁÈÓ·˜, Ô˘ ۯ‰›·ÛÂ Ô ·Ú¯ÈÙ¤ÎÙˆÓ ¢ËÌ‹ÙÚ˘ º·ÙÔ‡ÚÔ˜, ·ÓÙ·ÔÎÚ›ÓÂÙ·È Û ÌÈ¿ ÏÂÈ¿‰· ȉÈÔÙ‹ÙˆÓ Ô˘ Û˘Ó˘Ê·›ÓÔÓÙ·È ÌÂ
ÙËÓ ·ÓıÚÒÈÓË Ê‡ÛË, Ì ÙÔ˘˜ Û˘ÓÂÈÚÌÔ‡˜, ÙȘ ÂÈÏÔÁ¤˜ Î·È ÙȘ ·ÓÙÈı¤ÛÂȘ Ô˘ ·ÊÔÚÔ‡Ó ÛÙËÓ Î·ÙÔ›ÎËÛË, Ì ÌÈ· ÔÈÎÔ˘ÌÂÓÈ΋ Ù˘ ¤ÓÓÔÈ·.
∂Ó·ÚÌÔÓ›˙ÔÓÙ·È Â‰Ò ÌÂ Â˘Ê˘˝·, ̤ÙÚÔ Î·È ·›ÛıËÌ·, ÔÈ ·ÓÙÈı¤ÛÂȘ Ù˘
ÌÈÎÚ‹˜ Îϛ̷η˜ Ì ÙËÓ ·›ÛıËÛË Ù˘ ¢ڢ¯ˆÚ›·˜, Ë ˙ˆ‹ ̤۷ Ì ÙË
˙ˆ‹ ¤Íˆ, ÔÈ ÎÈÓ‹ÛÂȘ Ì ÙȘ ÛÙ¿ÛÂȘ (ÂÈÎ. Û. 147 οو), ÙÔ ·‰Úfi (Á˘ÌÓfi
Û΢Úfi‰ÂÌ·) Ì ÙÔ Â˘ÁÂÓ¤˜ (͇ÏÈÓÔ Îԇʈ̷), Ù· Ï‹ÚË Î·È Ù· ÎÂÓ¿, Ô
ÔÚÈÛÌfi˜ ÙÔ˘ ¯ÒÚÔ˘ Ì ÙË Ú¢ÛÙfiÙËÙ· Î·È ÙË ‰È·Ê¿ÓÂÈ·, ÙÔ Ù¯ÓËÙfi ÌÂ
ÙÔ Ê˘ÛÈÎfi, ÔÈ Û˘Ó‰˘·ÛÌÔ› ÌÂٷ͇ ıÂÚÌÒÓ Î·È „˘¯ÚÒÓ ¯ÚˆÌ¿ÙˆÓ, Ë
·Ï‹ ÁˆÌÂÙÚ›· Ì ÙȘ Ï·ÛÙÈΤ˜ Ù˘ ‰˘Ó·ÙfiÙËÙ˜, ÙÔ ·Ïfi Ì ÙÔ ÔÏ˘Ô›ÎÈÏÔ. ŸÏ· ·˘Ù¿ Â›Ó·È Â‡ÏËÙ· Î·È Â˘·Ó¿ÁÓˆÛÙ·. Œ¯Ô˘Ó ۯ‰ȷÛÙ› Ì ‰È¿ıÂÛË ÂÈÏÈÎÚ›ÓÂÈ·˜, ¯ˆÚ›˜ ÂÚÈÙÙ¤˜ ÂÍ¿ÚÛÂȘ Î·È Êχ·ÚÔ˘˜
Ó·ÚÎÈÛÛÈÛÌÔ‡˜.
bined with different qualities, such as those of an isolated ‘eyrie’
where it is reverie rather, and visual contact with the celestial nature
all around and above, which nurture the quiet and peace of meditation.2
The Aegina house, designed by architect Dimitris Fatouros, responds
to a constellation of qualities that are intertwined with human
nature, with the associations, the choices and the contrasts inherent
to habitation, in its universal sense. Here, intelligently, with moderation and feeling, are harmonized the contrasts of the small scale
with the sense of amplitude of space, of the life within and the life
without, of movements and arrests (fig. p. 147 bottom), of the rough
(bare concrete) and the refined (wooden frames), solids and voids,
the definiteness of space with fluidity and transparency, artificial
and natural, combinations of warm with cool colours, simple geometry and its potential for plasticity, the simple with the manifold. All
that is clear and legible. Everything has been designed in a mood of
sincerity without the slightest exaggeration or hint of narcissism.
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∆√ ∂ƒ°∞™∆∏ƒπ√ ∆√À ∞ƒÃπ∆∂∫∆√¡∞: ∫∞∆√π∫π∂™ ∆√À ¢∏ª∏∆ƒ∏ º∞∆√Àƒ√À
∆HE ARCHITECT’S LABORATORY: HOUSES BY DIMITRIS FATOUROS
∏ ηÙÔÈΛ· ÛÙËÓ ∞›ÁÈÓ· Î·È ÙÔ ¿ÌÂÛÔ ÂÚÈ‚¿ÏÏÔÓ Ù˘, Û˘ÌÙ‡ÛÛÔ˘Ó
ıÂÌÂÏÈÒ‰ÂȘ ·Ú¯¤˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ Û‡ÓıÂÛ˘. ™˘ÓÈÛÙÔ‡Ó Ì ϛÁ· ÏfiÁÈ·, ¤Ó· ÁÓ‹ÛÈÔ ·Ú¿‰ÂÈÁÌ· ÁÈ· ÙÔ ‰È·ÚΤ˜ ª¿ıËÌ· Ù˘ ∞Ú¯ÈÙÂÎÙÔÓÈ΋˜, ‰ÔṲ̂ÓÔ Â‰Ò ·fi ÙÔÓ ‰¿ÛηÏÔ-·Ú¯ÈÙ¤ÎÙÔÓ·.
The house in Aegina and its immediate setting distil fundamental
principles of architectural design. They constitute, in other words, a
genuine example of the timeless Lesson of Architecture, delivered
here by a master of the craft.
™ËÌÂÈÒÛÂȘ
Notes
1. ªÔÓ·‰È΋ ·ÓÔÚıÔÁÚ·Ê›· ÛÙËÓ ·ÈÛıËÙÈ΋ ÙÔ˘ ÙÔ›Ô˘, ·ÔÙÂÏÔ‡Ó Î·È Â‰Ò, ÔÈ ¿Ù·-
1. In the sublimity of this landscape the single false note is struck by the hap-
ÎÙ· Î·È ·Û˘ÓÙfiÓÈÛÙ· ÙÔÔıÂÙË̤ÓÔÈ ÛÙ‡ÏÔÈ Ù˘ ¢∂∏ Î·È ÙÔ˘ √∆∂ Ì ٷ ÎÚÂÌ·ÛÙ¿ η-
hazard, errant posts for telephone and power lines, with their sagging cables,
Ï҉ȿ ÙÔ˘˜, fiÔ˘ ·˘Ù¿ Ù‡¯ÂÈ Ó· ÂÚ¿ÛÔ˘Ó – ÁÓÒÚÈÌË ÂÈÎfiÓ· Ô˘ ·Ú·¤ÌÂÈ ÛÂ
wherever they happen to be located – a familiar sight that betrays a mortifying
ÙÚÈÙÔÎÔÛÌÈΤ˜ ηٷÛÙ¿ÛÂȘ.
deficit in our aesthetic culture.
2. ∏ ͇ÏÈÓË Î·Ù·Û΢‹ ÛÙÔ ÓfiÙÈÔ ÙÌ‹Ì· ÙÔ˘ ‰ÒÌ·ÙÔ˜ ÙÔ˘ ÔÚfiÊÔ˘ (ÂÈÎ. Û. 149) ·Ô-
2. The wooden construction on the south end of the first floor rooftop (fig. p.
ÙÂÏ› ÚfiÛÊ·ÙË ÚÔÛı‹ÎË (πÔ‡ÏÈÔ˜ 2009) Ô˘ ‰È·ÌÔÚÊÒÓÂÈ Â˘ÓÔ˚Τ˜ ÚÔ¸Ôı¤-
149) is a recent addition (July 2009) which has made it possible to use the open
ÛÂȘ ¯Ú‹Û˘ ÙÔ˘ Â͈ÙÂÚÈÎÔ‡ ¯ÒÚÔ˘ ηÙãÂ¤ÎÙ·ÛË ÙÔ˘ ‰ˆÌ·Ù›Ô˘ Ù˘ ¿Óˆ ÛÙ¿ıÌ˘,
air space and, by extension, the room at the top level, by providing some wel-
·Ú¤¯ÔÓÙ·˜ ÛΛ·ÛË ÚÔÛÙ·Û›·˜ ·fi ÙÔÓ ¤ÓÙÔÓÔ ÓÔÙÈÔ‰˘ÙÈÎfi ËÏÈ·ÛÌfi. ∏ ÚÔÛı‹ÎË
come shade from the intense southwest sunlight. This addition was made with
·˘Ù‹ ¤ÁÈÓ Ì ÙËÓ Û˘ÓÂÚÁ·Û›· Î·È ÙË Û‡ÌʈÓË ÁÓÒÌË ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· ¢. º·ÙÔ‡ÚÔ˘
the consent of, and in collaboration with architect D. Fatouros.
√ ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ •·ÓıfiÔ˘ÏÔ˜ Â›Ó·È ·Ú¯ÈÙ¤ÎÙˆÓ. ¢ÈÂÙ¤ÏÂÛ ηıËÁËÙ‹˜ ÛÙÔ ∆Ì‹Ì·
Konstantinos Xanthopoulos is an architect. He has been Professor at the Depart-
∞Ú¯ÈÙÂÎÙfiÓˆÓ ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ ¶·ÙÚÒÓ ·fi ÙÔ 2000 ¤ˆ˜ ÙÔ 2006
ment of Architecture of the University of Patras, Greece, from 2000 to 2006
∏ Kristiina Kuvaja-•·ÓıÔÔ‡ÏÔ˘ Â›Ó·È Û‡Ì‚Ô˘ÏÔ˜ ÚÂۂ›·˜ ÛÙÔ ∆Ì‹Ì· ∞Ó·Ù˘-
Kristiina Kuvaja-Xanthopoulos is Councillor with the Department for Develop-
Íȷ΋˜ ¶ÔÏÈÙÈ΋˜ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ∂͈ÙÂÚÈÎÒÓ Ù˘ ºÈÓÏ·Ó‰›·˜
ment Policy of the Ministry for Foreign Affairs of Finland
∑Ô˘Ó ÙÔÓ ÂÚÈÛÛfiÙÂÚÔ ¯ÚfiÓÔ ÛÙÔ ∂ÏÛ›ÓÎÈ Î·È Î·Ù¿ ‰È·ÛÙ‹Ì·Ù· ÛÙËÓ ∞›ÁÈÓ·
The couple spend most of their time in Helsinki, and parts of the year in Aegina
150
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