Abstract
Atlantis: A Journey in Search of Beauty is Carlo and Renzo Piano’s travelogue, documenting their voyage from Genoa to Ithaca. Sailing through the Mediterranean, Renzo is in pursuit of beauty and perfection, or rather as he equates it, in search for Atlantis. Still, in the original myth Plato has not created the perfect Atlantis. At first, the city appears as ideal, a sea power that rules over the Mediterranean. However, it eventually becomes a hubristic society, initially defeated by its opposite - primeval Athens - and later destroyed by the sea.
Plato created the myth of Critias to see the ideal state in action. After pondering upon the concept of the ideal city through his other philosophical works - Timaeus, the Laws and the Republic - he wished to explore its concrete form. He used his own memories, geographies and historical observations to create a physical embodiment of the myth.1 Its fictional albeit material nature as well as its distant chronological setting has given the myth a timeless, romantic appeal, which has been extensively used by other figures.2 Consequently, Piano utilises the popularity of the Platonic myth and approaches the SNFCC in pursuit of perfection. Sailing into the Phaleron harbour, he describes a fleeting SNFCC, whose form at that moment is an ideal manifestation of its creator’s intentions. In his eyes, the SNFCC becomes a focal point, a temporary island, an Atlantis.
The SNFCC is described as a structure that reintroduces the buried conditions of Athens: the hill of Kallithea, the Illisus and Cephisus rivers, the Athenian agora and the Mediterranean garden. Piano revives old myths and imaginaries and compares it to Athens’s myopic (as he describes it) contemporary, urban development.3 He offers an alternative image of Athens, re-imagining the city through its ancient landscape; a portrayal also based on myth. He investigates his own version of a “perfect” Atlantis by tu(r)ning the SNFCC’s narrative into an attempt to concretise lost, romanticised conditions of Athens.
In a sense Piano wants to see his own mythical creation in action. Based on his narrative the thesis approaches the SNFCC from three different perspectives – framings: as an island, approached from the sea, as a garden, indexed and preserved and as a labyrinth, symbiotically related with the city. This sample of writing is both a written and a visual exploration of the SNFCC as an island. The thesis will ask:
- What are the connotations of an ‘island’ setting? What is its connection with the sea and the landscape?
-
What is the relationship between the island of Atlantis and the SNFCC island? How are they constructed by their creators?
-
How does the concept of ‘the island’ relate to questions of migrancy in contemporary Athens?
1James Bramwell, Lost Atlantis, (Kessinger Publishing Co, 2005), 90.
2Melvyn Bragg, (In Our Time, Plato’s Atlantis) Interview with Edith Hall, Christopher Gill and Angie Hobbs, (BBC Radio 4, Podcast audio, September 22, 2022). Accessed December 13, 2022. https://www.bbc.co.uk/programmes/m001c6t3.
3Carlo Piano and Renzo Piano, Atlantis: A Journey in Search of Beauty, translated by Will Schutt, (New York, NY: Europa Compass, 2020), 259.
Aknowledgements
This body of work is part of a larger design PhD Annual Review thesis titled ‘Composing Mythologies: Tu(r)ning Plato’s Myth of Atlantis Towards Contemporary Athens’.
ISLAND TRAVELOGUES;
‘APPROACH’
‘We must first remind ourselves that in all nine thousand years have elapsed, according to the records, since the war occurred between those who lived outside and those who lived inside the Pillars or Heracles. This is the war whose course I am to trace. It was said that the leadership and conduct of the entire war were on the one side in the hands of our city, on the other in the hands of the kings of Atlantis. At the time, as we said, Atlantis was an island larger than Libya and Asia put together, though it was subsequently overwhelmed by earthquakes and is the source of the impenetrable mud which prevents the free passage of those who sail out of the straits into the open sea.’7
There are two kinds of islands. The continental island - a landscape slowly eroded by the sea, gradually taking its island form - and the oceanic island, a landscape that punches through the sea, instantly and purposefully. According to Deleuze, the two reveal an insightful opposition. The first is shaped by the sea, whereas the second is born
There are two kinds of islands. The continental island - a landscape slowly eroded by the sea, gradually taking its island form - and the oceanic island, a landscape that punches through the sea, instantly and purposefully. According to Deleuze, the two reveal an insightful opposition. The first is shaped by the sea, whereas the second is born
from the sea.8 Plato’s myth of Critias describes Atlantis as an island found in the middle of the Atlantic ocean, impenetrable and isolated. Founded by Poseidon, it was also a maritime power controlling the Mediterranean. In other words, Atlantis could not have existed without the sea because it was born from it. Therefore, by invoking Deleuze’s account, Atlantis was an oceanic island.
‘Current position: 37o57’5’’ North, 23o34’0’’ East. Day 237 of the periplus undertaken by Carlo (the present author) and his father Renzo, the Explorer. We are headed not to the seaport of Piraeus, where ferries depart form the Cyclades, but to Phaleron, Greece’s major port three thousand years ago. The soldiers bound for Troy set sail from Phaleron. They assembled their fleet of triremes in these shimmering waters (…) All that remains of Phaleron’s past glory is a small marina for yachtsmen. Overlooking the port is the cultural centre of Stavros Niarchos Foundation built by my father.’9
‘Current position: 37o57’5’’ North, 23o34’0’’ East. Day 237 of the periplus undertaken by Carlo (the present author) and his father Renzo, the Explorer. We are headed not to the seaport of Piraeus, where ferries depart form the Cyclades, but to Phaleron, Greece’s major port three thousand years ago. The soldiers bound for Troy set sail from Phaleron. They assembled their fleet of triremes in these shimmering waters (…) All that remains of Phaleron’s past glory is a small marina for yachtsmen. Overlooking the port is the cultural centre of Stavros Niarchos Foundation built by my father.’9
While sailing towards the SNFCC, Carlo Piano first speaks of the sea. Through it, he describes his father’s creation as a structure that is approached as well as turned towards the old Phaleron harbor with all its ancient maritime glory. The Athenians of the 5th century BC equated the sea with life, wealth and power. In that sense, ancient Athens – similarly to Atlantis – was also born out of the sea. That is what Piano wishes to recapture. Through its creator’s portrayal, the SNFCC becomes a new origin (an oceanic island) for Athens, appearing as a mythical piece of landscape that derives from its oceanic exploration.
7 Plato. Timaeus and Critias. Translated by Desmond Lee, T. K. Johansen. 3rd edition, (London, United Kingdom: Penguin Classics, 2008), 97.
8 Gilles Deleuze, Desert Islands and Other Texts, 1953-1974 / Gilles Deleuze ; Edited by David Lapoujade ; Translated by Michael Taormina. Semiotext(e) Foreign Agents Series, (Los Angeles, CA: Semiotexte, 2004), 9.
9Carlo Piano and Renzo Piano, Atlantis: A Journey in Search of Beauty, translated by Will Schutt, (New York, NY: Europa Compass, 2020), 254.
7 Plato. Timaeus and Critias. Translated by Desmond Lee, T. K. Johansen. 3rd edition, (London, United Kingdom: Penguin Classics, 2008), 97.
8 Gilles Deleuze, Desert Islands and Other Texts, 1953-1974 / Gilles Deleuze ; Edited by David Lapoujade ; Translated by Michael Taormina. Semiotext(e) Foreign Agents Series, (Los Angeles, CA: Semiotexte, 2004), 9.
9Carlo Piano and Renzo Piano, Atlantis: A Journey in Search of Beauty, translated by Will Schutt, (New York, NY: Europa Compass, 2020), 254.
‘(RE)SURFACING’ & ‘DECLINATION’
Deleuze wrote that the oceanic island is ‘originary, radical and absolute’. It is a solitary entity that is deserted and detached from the rest of the world. He calls it a desert island because no human truly inhabits it, since in order to do so requires a complete separation from the world. That is why it is always viewed as a dream, a mythological setting that is the product of collective human imagination.10
In Log 55, Francesco Marullo critically examines the word ‘desert’, deeming it problematic as a noun but highly operative as a verb. As a concept the desert leads to raw, uninhabited landscapes that often serve as a tabula rasa. Nevertheless, Marullo writes that deserts are in fact a portrayal of forgotten or disregarded conditions that could potentially reveal new systems and prototypes for the world. Equally to how the desert island is formed, the verb ‘to desert’ speaks of isolation and estrangement. According to Marullo, ‘to desert’ means to question the predispositions of current reality and ‘to look at the world from a strange point of view’ in order to reinvent it.11
Therefore, did both Piano and Plato constructed their respective islands through this desertification? Atlantis was essentially a mythical materialization of the dream of Athens in the late 5th century. In fact, during the Persian wars, Pericles wanted the Athenians to consider themselves as an island.12 Therefore, Plato is testing out the idea of a maritime imperialistic Athenian sea power through fictional means. He reconstructs an island that is remote, inaccessible and bound with the sea; its patron god, its geography and its wealth all dependent upon it. Plato uses existing albeit disregarded conditions such as memories and geographies to reinvent the island. However, he places it 9000 years before his time in order to fiercely separate it from his world. He creates a prototype of an ideal maritime island of Athens.
In Log 55, Francesco Marullo critically examines the word ‘desert’, deeming it problematic as a noun but highly operative as a verb. As a concept the desert leads to raw, uninhabited landscapes that often serve as a tabula rasa. Nevertheless, Marullo writes that deserts are in fact a portrayal of forgotten or disregarded conditions that could potentially reveal new systems and prototypes for the world. Equally to how the desert island is formed, the verb ‘to desert’ speaks of isolation and estrangement. According to Marullo, ‘to desert’ means to question the predispositions of current reality and ‘to look at the world from a strange point of view’ in order to reinvent it.11
Therefore, did both Piano and Plato constructed their respective islands through this desertification? Atlantis was essentially a mythical materialization of the dream of Athens in the late 5th century. In fact, during the Persian wars, Pericles wanted the Athenians to consider themselves as an island.12 Therefore, Plato is testing out the idea of a maritime imperialistic Athenian sea power through fictional means. He reconstructs an island that is remote, inaccessible and bound with the sea; its patron god, its geography and its wealth all dependent upon it. Plato uses existing albeit disregarded conditions such as memories and geographies to reinvent the island. However, he places it 9000 years before his time in order to fiercely separate it from his world. He creates a prototype of an ideal maritime island of Athens.
Piano also creates an island prototype. He designs the SNFCC through the sea as a means to reestablish Athens’s connection with it. Piano was aware of the sea’s significance in ancient Greece and perhaps that is why he so passionately associated the SNFCC with it. Contrary to the Platonic myth however, the SNFCC is a very real, physical structure. It is only through Piano’s travelogue entries that appears as an isolated entity found either in the middle of the Aegean Archipelago or within the sea of the polykatoikia-embedded Athenian landscape. Regardless of whether it was intentional, this portrayal is a reminder of Pericles’s dream of the Athenian island and acts as a recreation for its modern counterpart.
The most prevalent event in the Atlantis myth is its destruction by flood. Still, what popular culture fails to acknowledge is that Atlantis was in fact a depiction and a fictional recreation of 5th century maritime Athens. In other words, Atlantis was born out of a catastrophe only to eventually be destroyed. In his text, Deleuze defines the desert island as an origin but actually further specifies it as a second origin. For Deleuze, a second origin is a rebeginning that has derived from a catastrophe. He argues that the first origin is always divine, whereas the second is man-made.13
In their text John Beck and Mark Dorrian take the idea of the second origin a step further, introducing the term Postcatastrophic Utopias. In Postcatastrophic Utopias, catastrophe has become a precondition for their establishment. They argue that without destruction there will not be a rebeginning, attributing it to Deleuze’s desert island being a product of cultural imagination, a mythology. In myths catastrophe is necessary to instigate rebirth. ‘It is not that there is a second birth because there has been a catastrophe, but the reverse, there is a catastrophe after the origin because there must be, from the beginning, a second birth.’14
The most prevalent event in the Atlantis myth is its destruction by flood. Still, what popular culture fails to acknowledge is that Atlantis was in fact a depiction and a fictional recreation of 5th century maritime Athens. In other words, Atlantis was born out of a catastrophe only to eventually be destroyed. In his text, Deleuze defines the desert island as an origin but actually further specifies it as a second origin. For Deleuze, a second origin is a rebeginning that has derived from a catastrophe. He argues that the first origin is always divine, whereas the second is man-made.13
In their text John Beck and Mark Dorrian take the idea of the second origin a step further, introducing the term Postcatastrophic Utopias. In Postcatastrophic Utopias, catastrophe has become a precondition for their establishment. They argue that without destruction there will not be a rebeginning, attributing it to Deleuze’s desert island being a product of cultural imagination, a mythology. In myths catastrophe is necessary to instigate rebirth. ‘It is not that there is a second birth because there has been a catastrophe, but the reverse, there is a catastrophe after the origin because there must be, from the beginning, a second birth.’14
If then a catastrophe is a prerequisite for a rebeginning, could the SNFCC be described as a second origin for Athens? Piano describes a destroyed hill of Kallithea followed by the city’s detachment from the sea, while at the same time reminiscing Athens’s ancient maritime glory.
‘Kallithea
Right this neighbourhood, only a few kilometers from the centre, is called Kallithea, meaning beautiful view. But over time, despite the promise of its name, its natural beauty eroded and the panorama became obscured. The Port of Phaleron was buried, and the view of the sea was swallowed up by buildings and a grey ribbon with six lanes. But today there is this artificial hill, whose gentle slopes have restored the enchanting Aegean to the landscape.’15
In its mythical island form, the SNFCC becomes a rebirth of its setting. The hill of Kallithea is recreated through an act of (re)surfacing. If that then is the case, will the SNFCC - similar to how 5th century Athens, Atlantis and modern Athens - be destroyed?
10 Gilles Deleuze, Desert Islands and Other Texts, 1953-1974 / Gilles Deleuze ; Edited by David Lapoujade ; Translated by Michael Taormina. Semiotext(e) Foreign Agents Series, (Los Angeles, CA: Semiotexte, 2004), 11.
11Francesco Marullo, ‘To Desert’ in Log 55, Edited by Cynthia Davidson and Patrick Templeton, (Summer edition. S.l.: Anyone Corporation, 2022), 121-125.
12Christopher Gill, The Genre of the Atlantis Story, (Classical Philology 72, 1977), 296.
13Gilles Deleuze, Desert Islands and Other Texts, 1953-1974 / Gilles Deleuze ; Edited by David Lapoujade ; Translated by Michael Taormina. Semiotext(e) Foreign Agents Series, (Los Angeles, CA: Semiotexte, 2004), 13.
14Beck, John, and Mark Dorrian. ‘Postcatastrophic Utopias.’ Cultural Politics (Biggleswade, England) 10, no. 2 (2014), 142-143. https://doi.org/10.1215/17432197-2651738.
15Carlo Piano and Renzo Piano, Atlantis: A Journey in Search of Beauty, translated by Will Schutt, (New York, NY: Europa Compass, 2020), 258.
‘Kallithea
Right this neighbourhood, only a few kilometers from the centre, is called Kallithea, meaning beautiful view. But over time, despite the promise of its name, its natural beauty eroded and the panorama became obscured. The Port of Phaleron was buried, and the view of the sea was swallowed up by buildings and a grey ribbon with six lanes. But today there is this artificial hill, whose gentle slopes have restored the enchanting Aegean to the landscape.’15
In its mythical island form, the SNFCC becomes a rebirth of its setting. The hill of Kallithea is recreated through an act of (re)surfacing. If that then is the case, will the SNFCC - similar to how 5th century Athens, Atlantis and modern Athens - be destroyed?
10 Gilles Deleuze, Desert Islands and Other Texts, 1953-1974 / Gilles Deleuze ; Edited by David Lapoujade ; Translated by Michael Taormina. Semiotext(e) Foreign Agents Series, (Los Angeles, CA: Semiotexte, 2004), 11.
11Francesco Marullo, ‘To Desert’ in Log 55, Edited by Cynthia Davidson and Patrick Templeton, (Summer edition. S.l.: Anyone Corporation, 2022), 121-125.
12Christopher Gill, The Genre of the Atlantis Story, (Classical Philology 72, 1977), 296.
13Gilles Deleuze, Desert Islands and Other Texts, 1953-1974 / Gilles Deleuze ; Edited by David Lapoujade ; Translated by Michael Taormina. Semiotext(e) Foreign Agents Series, (Los Angeles, CA: Semiotexte, 2004), 13.
14Beck, John, and Mark Dorrian. ‘Postcatastrophic Utopias.’ Cultural Politics (Biggleswade, England) 10, no. 2 (2014), 142-143. https://doi.org/10.1215/17432197-2651738.
15Carlo Piano and Renzo Piano, Atlantis: A Journey in Search of Beauty, translated by Will Schutt, (New York, NY: Europa Compass, 2020), 258.
‘COMPOSITION’
Atlantis is a setting born out of the sea, but also destroyed by the sea. In fact, Plato’s intention through Atlantis’s flooding was to send a message to his fellow Athenians, preaching them to stop idealizing the past Athenian sea power. He believed that the sea was the cause of Athens’s demise and wanted a paradigm shift.16 This resulted to the (re)creation of primeval Athens, a fertile piece of land in the shape of a triangular peninsula (contemporary Attica). On the contrary, the land of Atlantis, is merely an unapproachable small hill, fortified by concentric, artificial rings of land and sea. The Atlantean landscape had to also be cultivated and worked through in order to sustain the island; Plato did not make it abundant and self-sufficient.
‘Moreover, what used to say about our territory is true and plausible enough; for in those day sits boundaries were drawn at the Isthmus, and on the mainland side at the Cithaeron and Parnes ranges coming down to the sea between Oropus on the right and the Asopus river on the left. And the soil was said to be more fertile than any other and therefore our country could maintain a large army exempt from the call of agricultural labor.’17
‘Poseidon’s share was the island of Atlantis, and he settled the children borne to him by a mortal woman in a district which I will now describe. From the sea extending across the middle of the whole island there was a plain, said to be the most beautiful and fertile of all plains, and near the middle of this plain about fifty stades inlands a hill of no great size (…) he fortified the hill where she lived by enclosing it with concentric rings, alternately of sea and land, and of varying sizes, two rings of land and three of sea, which from the center of the island he turned as if with a lathe and chisel so that they were at every point equidistant from each other, thereby making the hill inaccessible to man.’18
Plato remodeled Attica’s landscape to thwart Atlantis’s sea power.19 Primeval Athens was a stable land power, its ideality greatly attributed to its mythical landscape. Still, even though it was not born nor was dependent upon the sea, the sea itself is not entirely absent in its setting. In the myth, the Athenian peninsula is surrounded by very deep waters, which according to Plato, makes it unique compared to the rest of the land and is a determinant factor for its richness.
‘Moreover, what used to say about our territory is true and plausible enough; for in those day sits boundaries were drawn at the Isthmus, and on the mainland side at the Cithaeron and Parnes ranges coming down to the sea between Oropus on the right and the Asopus river on the left. And the soil was said to be more fertile than any other and therefore our country could maintain a large army exempt from the call of agricultural labor.’17
‘Poseidon’s share was the island of Atlantis, and he settled the children borne to him by a mortal woman in a district which I will now describe. From the sea extending across the middle of the whole island there was a plain, said to be the most beautiful and fertile of all plains, and near the middle of this plain about fifty stades inlands a hill of no great size (…) he fortified the hill where she lived by enclosing it with concentric rings, alternately of sea and land, and of varying sizes, two rings of land and three of sea, which from the center of the island he turned as if with a lathe and chisel so that they were at every point equidistant from each other, thereby making the hill inaccessible to man.’18
Plato remodeled Attica’s landscape to thwart Atlantis’s sea power.19 Primeval Athens was a stable land power, its ideality greatly attributed to its mythical landscape. Still, even though it was not born nor was dependent upon the sea, the sea itself is not entirely absent in its setting. In the myth, the Athenian peninsula is surrounded by very deep waters, which according to Plato, makes it unique compared to the rest of the land and is a determinant factor for its richness.
In addition, careful to preserve their virtuous soul, Plato makes the Athenians not rulers but liberators of the Mediterranean, renouncing them as the superior power of the sea. Physically, primeval Athens is not an island. However, its attributes are resonant with Deleuze’s definition of the desert island. Likewise, primeval Athens is a recreation of 5th century Athens based on the Platonic ideal. It is a postcatastrophic, second origin that has been constructed by the mythification of its real conditions - the landscape of Attica, its lost rivers and virtuous inhabitants - and ultimately destroyed by its landscape (earthquakes), the very thing that makes it ideal.
Atlantis, primeval Athens and presently the SNFCC are all products of the cycle of catastrophe and recreation. They are all second origins of an Athens which have or will potentially be destroyed. They all display unique connections between the sea and the landscape. Sometimes the sea clashes with the landscape and others it follows it and vice versa. Both however are essential for the formation of the island. Through their narratives, Piano and Plato compose those interrelationships to test out this process of desertification and rebirth.
Through the Island Orthograph, the thesis will attempt to turn/tune this practice of mythmaking towards island migrancies in contemporary Athens. Both Deleuze, Beck and Dorrian correlate their respective desert islands and postcatastrophic utopias with displacement. In her text (Forced) Movement, Antigone Samellas writes that migrancy is a form of displacement, sometimes voluntary but in most cases forced. Since becoming an autonomous state, Athens has been no stranger to waves of immigration. ‘In 1923, the living conditions of the refugees quarantined in Chios, Piraeus and Macronesos did not differ much from those in the camp of Moira or Vathy, in today’s Lesbos and Samos.’20 In fact, a common cultural practice has been the persecution, exploitation and estrangement of those seeking refuge, marked by the stigma of poverty and displacement.
In his essay, Nicolas Lakiotakis speaks of an Uprooting, a Xerizomo, le Déracinement.21 He describes a floating tree imagery as an analogy for the migrants currently floating in the islands of Aegean, their position fluid and uncertain.
Atlantis, primeval Athens and presently the SNFCC are all products of the cycle of catastrophe and recreation. They are all second origins of an Athens which have or will potentially be destroyed. They all display unique connections between the sea and the landscape. Sometimes the sea clashes with the landscape and others it follows it and vice versa. Both however are essential for the formation of the island. Through their narratives, Piano and Plato compose those interrelationships to test out this process of desertification and rebirth.
Through the Island Orthograph, the thesis will attempt to turn/tune this practice of mythmaking towards island migrancies in contemporary Athens. Both Deleuze, Beck and Dorrian correlate their respective desert islands and postcatastrophic utopias with displacement. In her text (Forced) Movement, Antigone Samellas writes that migrancy is a form of displacement, sometimes voluntary but in most cases forced. Since becoming an autonomous state, Athens has been no stranger to waves of immigration. ‘In 1923, the living conditions of the refugees quarantined in Chios, Piraeus and Macronesos did not differ much from those in the camp of Moira or Vathy, in today’s Lesbos and Samos.’20 In fact, a common cultural practice has been the persecution, exploitation and estrangement of those seeking refuge, marked by the stigma of poverty and displacement.
In his essay, Nicolas Lakiotakis speaks of an Uprooting, a Xerizomo, le Déracinement.21 He describes a floating tree imagery as an analogy for the migrants currently floating in the islands of Aegean, their position fluid and uncertain.
Currently, contemporary Athens is turned inwards, facing the land and completely dismissive of the Aegean sea and its respective islands. Piano’s SNFCC becomes a gesture of tu(r)ning it once again towards the sea and reconnecting it with the floating pieces of landscape which, according to Plato’s myth, were once an unequivocal part of primeval Athens.
‘As with little islands, you are left with something now which compared to what was is rather like the skeleton of a body wasted by disease; the rich, soft soil has all run away leaving the land nothing but clean bone. But in those days the damage had not taken place, the hills had high crests, the so called ‘rocky planes’ were covered with rich soil, and the mountains were covered by thick woods of which there are some traces today.’22
16 K. A., Morgan, ‘Designer History: Plato’s Atlantis Story and Fourth-Century Ideology’, Journal of Hellenic Studies 118. (1998), 118.
17Plato. Timaeus and Critias. Translated by Desmond Lee, T. K. Johansen. 3rd edition, (London, United Kingdom: Penguin Classics, 2008), 99.
18ibid, 102
19Melvyn Bragg, (In Our Time, Plato’s Atlantis) Interview with Edith Hall, Christopher Gill and Angie Hobbs, (BBC Radio 4, Podcast audio, September 22, 2022). Accessed December 13, 2022. https://www.bbc.co.uk/programmes/m001c6t3.
20Antigone Samellas, ‘(Forced) Movement’ in (Forced) Movement, Across the Aegean Archipelago, (Greece, Kyklada Press, 2021), 8-9.
21Nicolas Lakiotakis, ‘Uprootings/Xerizomoi’ in (Forced) Movement, Across the Aegean Archipelago, (Greece, Kyklada Press, 2021), 70.
22Plato. Timaeus and Critias. Translated by Desmond Lee, T. K. Johansen. 3rd edition, (London, United Kingdom: Penguin Classics, 2008), 99-100.
‘As with little islands, you are left with something now which compared to what was is rather like the skeleton of a body wasted by disease; the rich, soft soil has all run away leaving the land nothing but clean bone. But in those days the damage had not taken place, the hills had high crests, the so called ‘rocky planes’ were covered with rich soil, and the mountains were covered by thick woods of which there are some traces today.’22
16 K. A., Morgan, ‘Designer History: Plato’s Atlantis Story and Fourth-Century Ideology’, Journal of Hellenic Studies 118. (1998), 118.
17Plato. Timaeus and Critias. Translated by Desmond Lee, T. K. Johansen. 3rd edition, (London, United Kingdom: Penguin Classics, 2008), 99.
18ibid, 102
19Melvyn Bragg, (In Our Time, Plato’s Atlantis) Interview with Edith Hall, Christopher Gill and Angie Hobbs, (BBC Radio 4, Podcast audio, September 22, 2022). Accessed December 13, 2022. https://www.bbc.co.uk/programmes/m001c6t3.
20Antigone Samellas, ‘(Forced) Movement’ in (Forced) Movement, Across the Aegean Archipelago, (Greece, Kyklada Press, 2021), 8-9.
21Nicolas Lakiotakis, ‘Uprootings/Xerizomoi’ in (Forced) Movement, Across the Aegean Archipelago, (Greece, Kyklada Press, 2021), 70.
22Plato. Timaeus and Critias. Translated by Desmond Lee, T. K. Johansen. 3rd edition, (London, United Kingdom: Penguin Classics, 2008), 99-100.
BIBILIOGRAPHY
Antigone Samellas et. al. (Forced) Movement, Across the Aegean Archipelago. Greece, Kyklada Press, 2021.
Beck, John, and Mark Dorrian. “Postcatastrophic Utopias.” Cultural Politics (Biggleswade, England) 10, no. 2 (2014): 132–150. https://doi.org/10.1215/17432197-2651738.
Bragg, Melvyn. (In Our Time, Plato’s Atlantis) Interview with Edith Hall, Christopher Gill and Angie Hobbs. BBC Radio 4. Podcast audio. September 22, 2022. Accessed December 13, 2022. https://www.bbc.co.uk/programmes/m001c6t3.
Bramwell, James. Lost Atlantis. Kessinger Publishing Co, 2005.
Brisson, Luc. Plato the Myth Maker. Translated, edited and with an introduction by Gerard Naddaf. Chicago: University of Chicago Press, 1998.
Deleuze, Gilles. Desert Islands and Other Texts, 1953-1974 / Gilles Deleuze ; Edited by David Lapoujade ; Translated by Michael Taormina. Semiotext(e) Foreign Agents Series. Los Angeles, CA: Semiotexte, 2004.
Gill, Christopher. The Genre of the Atlantis Story. Classical Philology 72, 1977.
Gilloch, Graeme. Myth and Metropolis: Walter Benjamin and the City. 1st edition. Cambridge: Polity, 1997.
Beck, John, and Mark Dorrian. “Postcatastrophic Utopias.” Cultural Politics (Biggleswade, England) 10, no. 2 (2014): 132–150. https://doi.org/10.1215/17432197-2651738.
Bragg, Melvyn. (In Our Time, Plato’s Atlantis) Interview with Edith Hall, Christopher Gill and Angie Hobbs. BBC Radio 4. Podcast audio. September 22, 2022. Accessed December 13, 2022. https://www.bbc.co.uk/programmes/m001c6t3.
Bramwell, James. Lost Atlantis. Kessinger Publishing Co, 2005.
Brisson, Luc. Plato the Myth Maker. Translated, edited and with an introduction by Gerard Naddaf. Chicago: University of Chicago Press, 1998.
Deleuze, Gilles. Desert Islands and Other Texts, 1953-1974 / Gilles Deleuze ; Edited by David Lapoujade ; Translated by Michael Taormina. Semiotext(e) Foreign Agents Series. Los Angeles, CA: Semiotexte, 2004.
Gill, Christopher. The Genre of the Atlantis Story. Classical Philology 72, 1977.
Gilloch, Graeme. Myth and Metropolis: Walter Benjamin and the City. 1st edition. Cambridge: Polity, 1997.
Iliou, Maria, director. Athens and the Great Idea, 1896-1922. Proteas & Proteus NY Inc. 2023.
Mark Dorrian, ‘Utopia on Ice: The Climate as Commodity Form.’ in Etienne Turpin (ed) Anthropocene: Encounters Among Design, Deep Time, Science and Philosophy, (Open Humanities Press, 2013), 155-162.
Marullo, Francesco, ‘To Desert’ in Log 55. Edited by Cynthia Davidson and Patrick Templeton. Summer edition. S.l.: Anyone Corporation, 2022.
Montague, Sarah. “Reimagining Joyce’s Dublin: An Interview with Freddie Phillipson.” Irish Studies Review 30, no. 2 (April 3, 2022): 208–21. https://doi.org/10.1080/09670882.2022.2078548.
Morgan, K. A., Designer History: Plato’s Atlantis Story and Fourth-Century Ideology’. Journal of Hellenic Studies 118. 1998.
Perez-Gomez, Alberto. “Architecture as Drawing.” JAE 36, no. 2 (1982): 2–7. https://doi.org/10.2307/1424613.
Pérez-Gómez, Alberto. “Architecture and the City: The Space of Participation.” Studii de Istoria Si Teoria Arhitecturii, no. 5 (2017): 13–18.
Piano, Carlo, and Renzo Piano. Atlantis: A Journey in Search of Beauty. Translated by Will Schutt. New York, NY: Europa Compass, 2020.
Mark Dorrian, ‘Utopia on Ice: The Climate as Commodity Form.’ in Etienne Turpin (ed) Anthropocene: Encounters Among Design, Deep Time, Science and Philosophy, (Open Humanities Press, 2013), 155-162.
Marullo, Francesco, ‘To Desert’ in Log 55. Edited by Cynthia Davidson and Patrick Templeton. Summer edition. S.l.: Anyone Corporation, 2022.
Montague, Sarah. “Reimagining Joyce’s Dublin: An Interview with Freddie Phillipson.” Irish Studies Review 30, no. 2 (April 3, 2022): 208–21. https://doi.org/10.1080/09670882.2022.2078548.
Morgan, K. A., Designer History: Plato’s Atlantis Story and Fourth-Century Ideology’. Journal of Hellenic Studies 118. 1998.
Perez-Gomez, Alberto. “Architecture as Drawing.” JAE 36, no. 2 (1982): 2–7. https://doi.org/10.2307/1424613.
Pérez-Gómez, Alberto. “Architecture and the City: The Space of Participation.” Studii de Istoria Si Teoria Arhitecturii, no. 5 (2017): 13–18.
Piano, Carlo, and Renzo Piano. Atlantis: A Journey in Search of Beauty. Translated by Will Schutt. New York, NY: Europa Compass, 2020.
Picon, Antoine. “Nature, Infrastructure and Cities,” 2014.
Plato. Timaeus and Critias. Translated by Desmond Lee, T. K. Johansen. 3rd edition. London, United Kingdom: Penguin Classics, 2008.
Rosenberg, Daniel & Grafton, Antony. Cartographies of Time. First edition. New York: Princeton Architectural Press, 2010.
Theocharopoulou, Ioanna. Builders, Housewives and the Construction of Modern Athens. Foreword by Kenneth Frampton. London, UK: Artifice books on architecture, 2017.
Williams, Raymond. Keywords a Vocabulary of Culture and Society. Rev. ed. New York: Oxford University Press, 1985.
Yerolymbos, Yiorgis, Renzo Piano, Katharine Storr, and Robert Storr. Orthographs: The Stavros Niarchos Foundation Cultural Center. Illustrated edition. Athens, Greece: Other Distribution, 2017.
Plato. Timaeus and Critias. Translated by Desmond Lee, T. K. Johansen. 3rd edition. London, United Kingdom: Penguin Classics, 2008.
Rosenberg, Daniel & Grafton, Antony. Cartographies of Time. First edition. New York: Princeton Architectural Press, 2010.
Theocharopoulou, Ioanna. Builders, Housewives and the Construction of Modern Athens. Foreword by Kenneth Frampton. London, UK: Artifice books on architecture, 2017.
Williams, Raymond. Keywords a Vocabulary of Culture and Society. Rev. ed. New York: Oxford University Press, 1985.
Yerolymbos, Yiorgis, Renzo Piano, Katharine Storr, and Robert Storr. Orthographs: The Stavros Niarchos Foundation Cultural Center. Illustrated edition. Athens, Greece: Other Distribution, 2017.