Art at the entrance of an Athenian building: 10 masterpieces that must be protected

Isn’t it fascinating? We walk past them every day, yet we barely notice them! Perhaps there’s a reason for that. They reside in public spaces, teetering on the edge between private and public. They’re not displayed on building facades for everyone to admire, nor are they tucked away in apartments for the fortunate owners and their friends to relish privately. You could say they exist with understated presence.

The exact number of these creations is uncertain. And, naturally, they aren’t confined to the heart of Athens, where we’ve chosen to roam. It’s also not always clear who crafted them. But one thing is certain: from the mid-1950s to the mid-1980s, a fertile thirty-year span, a plethora of works were produced specifically to embellish the entrances of apartment and office buildings.

Alongside, or perhaps in addition to, those crafted for banks or industries, they graced the facades of apartment buildings (cf. Exarchopoulos Th., Kourouklis S., When art meets architecture, Archetype, 2018) or were created by the architects themselves for their own buildings.

Revisiting the Athenian apartment building indeed provides a wonderful opportunity to thrust these creations back into the spotlight. However, the fervor of the real estate market, coupled with subsequent renovations and changes of use, and the potentially mediocre state of office buildings in the post-pandemic era, raises questions about the future of these unique creations.

Functioning within a Transforming Society

Observing the city’s buildings, it appears that collaborations between architects, builders, and visual artists were thriving during the aforementioned period. The precise reasons for these collaborations await historical research, but we’ll make a preliminary attempt to sketch them out here.

In the post-war era, Athens underwent rapid construction, with the apartment building – a novel architectural concept introduced in the interwar period – taking center stage. In a way, a “blank canvas” was presented to visual artists for their creations. This opportunity seems to intersect with notions of public space, particularly the entrance to the building. As it seems, a well-kept, spacious entrance area added prestige to the property, and a work of art further enhanced this prestige in the eyes of potential buyers.

What’s intriguing is that these works are not only found in buildings designed by renowned architects of the time, but also in “typical opposition apartment buildings”. In both scenarios, the artwork was intended to be there from the outset. Branded creations were typically preceded by a study.

In the case of “anonymous” manufacturers, we have testimony that they would instruct their associates to “sculpt the entrance”.

Such matters did not go unnoticed by the techno-critics of the era. In 1964, Toni Spiteris asserted that artists and architects should work together “from the beginning” on a project. This way, “the solutions provided are not merely functional – although professional and technical knowledge is typically enough for this – but they strive for beauty, aiming to infuse an artistic form into a utilitarian creation.”

“Fortunately, such a trend is already starting to surface,” he emphasized.
Alexandros Xydis, an art critic, arrived at the same conclusion as Spiteris a year earlier. In a polemical article praising Yannis Moralis, he criticized architects for their “systematic indifference to the aesthetic deficiencies of their buildings due to the absence of basic painting or sculptural elements that would render them aesthetically pleasing.”

“In the last 5-6 years, exceptions to this regrettable rule have started to multiply,” he noted.

Indeed, the blossoming of Greek architecture didn’t occur “in a vacuum”. Post-war Greek society was rapidly evolving, and the areas we now often refer to as the “old Athenian center” became the breeding grounds for the interstices, which had new consumer needs and different aesthetic desires.

The recent television resurgence of a famous film duo serves as an apt metaphor. The shifting middle-class aspirations are clearly expressed in the 1965 film The Woman to Fear of Man. The Kokoviku couple must leave the “slum” where they reside and purchase an apartment, a four-room penthouse. Antonakis is climbing the social ladder, preparing to become a ministry secretary, which demands a different lifestyle. “Can I have a minister in here? Can I?” Helenica inquires.

One final element to consider is the formation of a social network. After all, the Schools of Architecture and Fine Arts were located next to the Patision building complex. In their student years, it’s undeniable that architects and artists often shared the same lecture halls, barring those who transferred between departments.

Moreover, it’s important to note the collaborations between builders and artists, as well as the instances where artists played a role in creating architectural works. Art historian Evita Arapoglou studied the contributions of artists who worked under architect Pavlos Mylonas to create Mont Parnes, as detailed in her work, “Greek Artists at Mont Parnes: Tradition and Modernity in the Aesthetics of Contradictions” in 1961.

Mylonas referred to the three contributing artists, Nikos Hadjikyriakos-Gikas, Yannis Tsarouchis, and Yannis Moralis, as his “artistic advisors.” Arapoglou writes, “These three, each acknowledged for their unique personalities and artistic pursuits, held special roles. It’s likely that their contributions to the project were made individually, with each adding their own unique touch based on the specific themes that Mylonas was focusing on at the time.”

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Unrealized Projects and Distressed Tenants

The reasons behind the rise and fall of this phenomenon need to be explored. The shift in communal space perception, the decrease in building activity, and the institutionalization of pilotage, which significantly reduced the square footage available for entrance areas, seem to have played a part. However, one thing is certain: this productive thirty-year period has left us with a “living museum” dispersed throughout the urban landscape.

The research conducted for this article revealed no comprehensive record of these works, either academically or by public bodies, even though artists have occasionally shown interest in apartment building entrances (see Campus Novel, Dimitris Kleanthis). Even if such a record existed, it’s likely that it was created without the involvement of the residents who live daily alongside these works. After all, residents rarely reported interactions with experts.

These works seem to be the property of the building owners, and while copyright issues may arise, the physical owner who funded the work typically has free rein over it. The existence of these works is often noted in condominium regulations, serving as a minimal legal safeguard against complete destruction or individual alterations, such as the addition of gas meters that frequently change entrances, or unauthorized modifications. Their preservation is largely left to the discretion of the owners. As local insiders tell us, “No provisions have been made for them.” They warn, “If we lose a few people from here, the next ones might not care what happens to this project,” a sentiment echoed by many.

The situation is reminiscent, mutatis mutandis, of the placement of projects and is also on the edge of change. The reevaluation of Athenian apartment buildings presents a positive opportunity to bring these creations back into focus. However, the fervor of the real estate market, subsequent renovations and changes in use, as well as the uncertain future of office buildings in the post-pandemic era, raise concerns about the longevity of these unique structures.

“Time will determine which of these works will stand as aesthetically perfect blends of art and technique, and which will remain as fleeting examples of a superficial desire for opulence and display,” Alexandros Xydis wrote in his critical commentary. “Nevertheless, we must pay attention to some that, in my opinion, can stake a claim for enduring significance in the lottery of time,” he added. Nearly six decades have passed since this insightful observation, which acknowledges the role of chance. Over time, some works have been destroyed, others have been altered, but dozens of these modern monuments remain where their creators placed them, urging us to locate, identify, document, and protect them.

JIANNIS MORALIS

CONVERSATION WITH EARLIER PLANES – 1973

Yannis Moralis’s composition on an apartment building in Herodou Atticus is perhaps one of the most striking works we have encountered. The piece, crafted from Giannio marble, was completed after the facades of the Hilton Hotel. In this instance as well, the renowned artist chose to work with Giannio marble. The relief spans two walls, each measuring 2.80 m x 2.85 m, cleverly concealing the staircase and elevator behind it. The work is marked by geometric shapes, lines, and curves, reflecting the artist’s painting style during that period.

“The apartment building at 25-27 Herodou Attiko Street is the work of the architect Ilias Skroumpelos (1921-2006). The owner was Anastasios G. Leventis (1902-1978) was a prominent Cypriot businessman and philanthropist, as well as an ambassador of Cyprus to UNESCO. He was also a renowned collector of European art,” shares art historian Evita Arapoglou. She points out that the period of the apartment building’s design and construction (1970-1973) aligns with the time when Leventis was negotiating and purchasing an important collection of works by nineteenth and twentieth century Greek painters from his friend, politician Evangelos Averof-Tositsas. This collection became the foundation of what is today the largest Greek collection in the Leventis Gallery in Nicosia. “The decision to feature a large-scale work by Yannis Moralis at the entrance of this building undoubtedly reflects A.G. Leventis’ interests and personality,” she explains.

Additional Information:According to a verbal account from a contemporary associate of Yannis Moralis, the subject of the work was “the sitting gods” and it was colloquially referred to as such. However, no official record of this nickname exists. In the MIET archive, the work is described as “a wall with engraved slabs at the entrance of a building”.

PARIS PREKAS

“Prekas was one of the few painters who also mastered the art of sculpture,” Professor Angelos Delivorrias wrote in the Benaki Museum’s publication dedicated to the artist (2012). He emphasized that Prekas’ body of work “conveys a sense of relief, where, since antiquity, it has been challenging to distinguish between painterly values and sculptural merits”. With this in mind, we have selected two of the many works by Paris Prekas (1926-1999) that are featured on buildings in downtown Athens. As Professor Stelios Lydakis noted in the same publication, Prekas “extended his art (…) to the entrances of apartment buildings and modern megacities, to the interior walls of public spaces, and even to the exterior walls of various buildings.”

THESEUS AND ARIADNE, Mural, 1960

The “Theseus and Ariadne” mural by Paris Prekas can be found in one of the most recognizable apartment buildings on Amalias Avenue. The artist’s personal account of the 1.70 m x 2.60 m work is documented in a precious edition.

“On the white canvas, I began to experiment with a line, the beginning of which I soon lost, forming shapes of squares, parallelograms, and curves, as if this endless continuity concealed the mystery of the Labyrinth. I based the composition on three main figures: the solid silhouette of the bull (Minotaur) dominates the center of the panel. The composition begins with a square of dark, earthy sienna and ombre tones, suggesting its origin. It gradually darkens as it moves towards the animal’s head, concluding in stark black. This contrasts sharply with the blinding white-yellow backdrop surrounding Theseus. At this juncture, I aim to convey the full essence of the composition. On the left, Theseus stands as a statuesque figure, unyielding. His right foot is drawn back, bracing against the animal’s assault, and his right hand is extended, a threatening gesture that also predicts the fight’s outcome. On the right, a tranquil Ariadne stands tall, offering the mite (the solution). Beside her, an impersonal presence of an idea is embodied by an upright female figure.”

Extra Info: Just inside the entrance is the “Battle of Pylos”, a 2.60m x 4.00m mural by Parry Preca.

Iliad, ANALYSIS ON A MARMARO, 1965

The building at the start of Karagiorgis Servias Street, designed by architect Ioannis Vikelas, is distinguished by Parris Preca’s relief, “The Iliad”. It comprises 15 marble slabs and spans an area of 3 m. x 6.50 m. on the left wall of the entrance. According to Stelios Lydakis, it is “a light relief on a single plastic plane, which aids its integration with the stereometric character of the architecture it shares space with”.

In creating the work, Precas shielded the surfaces he wanted to preserve with thick leather, before casting steel filings to shape the contours. The building’s caretaker, Mr. Triantafillos Balta, stated that this process was undertaken either in Aspropyrgos or Elefsina.

Baltas has been in daily contact with Preca’s work for many years. His father worked “for the Albertis – Dimopoulos company that constructed the project”. He assumed the role of the building’s caretaker, and his son took over in the late 1980s. He is well-versed in the history of the project and warmly shares its creation story and history with visitors and inquisitive individuals. He observes it and watches those of us who observe it, but most importantly, he cherishes it. “I’ve only cleaned it with water, the lights we have don’t touch the marble, and we haven’t even changed the door” – it’s a part of his family history, after all. “As long as we’re here, we’ll take care of it,” he assures us. What advice will he give to his successor? “The same I’m telling you. And to look after it.” He is certain that even after retirement, he will continue to visit the building on Karagiorgii Servia Street. “One corner, one whole life,” he reflects.

Extra Info: Adjacent to this, on the wall of a bank branch building, another of Parry Preca’s works can be found – the iconic sculptural composition “The Rhythm of Time.”

Right next door.

ELENI VERNADAKI

Ceramic sculptor Eleni Vernadaki has created monumental ceramic compositions for both public and private buildings. Her journey in this field started in 1962, at the age of 29, when she collaborated with Yannis Moralis. Journalist Yannis Konstantinidis informs us that these works “represent a distinct segment of her entire artistic output, solely because of their specific intended use”. He further notes that aesthetically, these works align perfectly with her unique ceramic style.

Mr. Konstantinidis states that the simplicity of Vernadaki’s architectural ceramics beautifully showcases her commitment to modernism. He adds, “this same simplicity reveals a vast richness, an unimaginable plethora of stimuli for the viewer, arising from the textures of the tiles and the spectrum of their color palette. Just when one believes they can easily define it, they discover its boundlessness”.

Konstantinidis further explains, “The works in this category never come across as mere decorative elements. They fully embrace the structural element they were designed for, giving them an architectural function”. He emphasizes how these works have successfully brought forth an unprecedented sense of luxury and grandeur using unassuming materials, which has become a cornerstone of new architectural prestige. He adds, “Its allure remains undiminished and captivating to this day”. From the broader downtown area, we have chosen two projects by Eleni Vernadaki, executed approximately a decade apart.

KERAMIKI SYNTHESIS – 1971

One of Eleni Vernadaki’s most recognizable compositions can be found in an office building in Syntagma. The impressive 3.10 m x 4.60 m work is displayed on the right wall of the entrance. “The simplicity of the geometric forms, the playful asymmetry in the distribution of simple ‘archaic’ black spots, their contrast with the vibrancy of the self-materialized copper oxide clay, which glows with ‘Egyptian blue’, and the counterpoint of the overall composition with the glossy marble of the floor, creating an illusion of it floating in space, make it an “archetype” of Eleni Vernadaki’s architectural ceramics”, observes Mr. Constantinidis.

SETTING FROM ALUMINUM PLATES – C. 1980

The second work by Eleni Vernadaki that we showcase is situated in a building on Navarino Street.

This is the only piece she crafted without the use of ceramics, instead opting for rectangular and square cast aluminium plates of three varying sizes. Many of these plates feature pairs of eyes in relief.

Mr. Ioannis Fotopoulos, one of the building’s longest-standing residents, refers to the artwork as an “integral part of the building”. Since its inception, the only change has been the repainting of the entrance in a deep purple hue, contrasting with the artwork’s material. “This piece hails from the early 1980s, a time when postmodernism in architecture was gaining momentum. It contrasts with the architectural-scale compositions that defined her style,” says Mr. Konstantinidis. He adds that the work simultaneously reveals another facet of her artistic persona—her unwavering commitment to research and experimentation.

Additional Info: Eleni Vernadaki designed a 3.00 m. x 14.0 m. ceramic wall composition in the reception hall for distinguished guests in the main building of Athens Airport, an edifice designed by renowned Finnish architect Eero Saarinen. The building is now a listed structure.

KOSMAS XENAKIS

MARBLE SITE – 1963

At the intersection of Akademias and Americas streets, within the entrance of a building, lies a somewhat overlooked piece by Kosmas Xenakis (1925-1984). Xenakis began his studies at the Athens School of Fine Arts before switching to architecture, blending both disciplines in his work.

“His interest in monumental sculpture, coupled with his work as an architect in Konstantinos Doxiadis’s office, resulted in many buildings featuring his art. “Xenakis’s use of architecture as a universal language is a significant advantage, as painting isn’t always internationally understood,” says Moshonas. According to Moshonas, the piece included in this tribute was one of Xenakis’s earliest works of this kind and is characterized by a more geometric logic. The “seed” of this style can be traced back to the large abstract pieces he created in the early 1960s, which bear a striking resemblance to the wall he designed at the Xenia in Kos.

“Xenakis’s approach was mathematical. He believed that each color on the canvas occupied a space corresponding to that color’s intensity and its significance within the painting. He developed his own mathematical formula to create rhythm on the canvas,” explains Moshonas, pointing out that Xenakis did this to accentuate the concept of light and shadow. “Xenakis’s next step was to translate this into a relief,” shares Moshonas, revealing that surviving videos show the artist illuminating the molds of his polyester sculptures in his studio, adjusting the projector to create light and shadow effects.

According to Mr. In Moschona, the pronounced lines and substantial indentations interact to form a dialogue. This reflects Xenakis’s fascination with the way shadows shift throughout the day, adding a sense of movement to the sculpture.

Additional Information: In 1971, Cosmas Xenakis crafted a 3 m x 12 m concrete wall sculpture for a pharmaceutical factory in Madrid. However, a proposed monumental relief measuring 20 m x 8 m x 4 m for the IOL building on Syngrou Avenue was never realized. A photograph of its model remains.

PANOS VALSAMAKIS

CERAMIC CONSTRUCTION IN EXTERIOR, CIRCA 1960

“Walking downtown, I’ve never come across another door like this one,” Michael Angelopoulos, the longest-standing tenant of the apartment building, tells us at the entrance. He appears to be correct. This entrance is the only one of its kind we’ve encountered. Yet, the apartment building in Plaka is not the only one in central Athens that showcases works by Panos Valsamakis (1900-1986).

“Today, a dwelling embodies the epitome of a flawless work of art that, from start to finish, reflects the absolute aesthetic potential that each of us uniquely expresses and reveals. Without a doubt, ceramic art occupies a distinct and special position in both the interior and exterior decoration of human dwellings,” Valsamakis himself declared in 1975.

According to Sophia Valsamakis, the granddaughter and successor of the renowned Greek ceramicist, Panos Valsamakis began collaborating with architects around the same time he crafted this unique door. “That was when he was creating the large ceramic banners.” Their collaboration continued until his death.

His works were created after consultations with architects and clients. “He would present a draft, modifications were made if necessary, and then the implementation would commence. The duration depended on the project’s size and complexity,” she explains.

Mr. Angelopoulos takes pride in the entrance to his apartment building. Despite witnessing numerous changes in Plaka, Valsamakis’s work remains a constant. Tourists and pedestrians frequently stop to take photographs. “I often find myself simply sitting and admiring it,” Angelopoulos shares with us.

Additional Information: According to Ms. Valsamakis, more than 100 large-scale works by Panos Valsamakis have been incorporated into buildings.

MICHAEL KATZOURAKIS

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MDF with Acrylic Graphics – Circa 1980

The work of Michalis Katzourakis is among the most recent we’ve discovered. However, two unique aspects are worth mentioning: it’s the only one created from this particular material, and the only one by the artist located at an apartment building entrance. Despite this, his creations can be found in various settings, including banks, hotels, factories, ships, ERT studios, and the Panormou metro station.

“This piece was commissioned for the entrance of the apartment building where my friend and colleague Kimonas Hoursoglou and his wife Christina resided,” shares Mr. Katzourakis. He adds that the execution was carried out by Takis Bezerianos, with whom he had previously collaborated on projects for Greek shipowners’ cruise ships, using the fire-resistant material, thermax.

This artwork, located in Lycabettus, appears to have been created during a crucial period for the artist. In a 2012 conversation with art historian Christopher Marino, Katzourakis revealed that from 1980 onwards, he transitioned “to a different kind of painting, constructions, and three-dimensional works, which were not as easily integrated into specific spaces as my previous works, or at least I wasn’t asked to.”

In the same interview, featured in “Michael Katzourakis – Works for Specific Spaces” (MIET 2012), the artist expressed that these integrated works he created “serve a particular purpose, such as creating a certain ambiance, like tranquility in a waiting area, or tension in an entrance or corridor. They also foster familiarity with a specific space, like staircases and corridors.”

Simultaneously, these pieces “also possess an aesthetic appeal, as they become the most prominent feature of the space due to their large size, color, compositional intensity, or even their placement and material.”

Additional Information: A dialogue of artworks that never took place. A piece by Yannis Moralis that once stood in Piraeus, on the Karaiskakis coast, was demolished under the junta. From the mid-1970s onwards, works by Michalis Katzourakis adorned Karras’ cruise ships Daphne and Danae and Panagopoulos’ Golden Odyssey. The former have been scrapped. The latter still appears to be operational in the Far East. One wonders if Katzourakis’ works still exist in the museum?

GIANNA PERSAAKI

Details – 1957

The mural by the pioneering artist Gianna Persaki (1921-2008) in the apartment building on Mavromataion Street is the oldest work we’ve identified.

The piece was completed in 1957, shortly after her return from France.

“From the late 1950s onward, luxury began to take on a more cosmopolitan flair, manifested through an aesthetic refinement,” shares Panagiotis Skordas, a resident of the building. He further notes that the building’s entrance is one of the grandest along the early stretch of the Athenian street.

“Architects and engineers reached out to Ms. Persaki—we’re not sure how—and entrusted her with the project,” explains Mr. Skordas. He adds that during this phase, the apartment building’s theme, the mermaid, was also decided upon. “This was a strategy to set the apartment building apart from others, thereby attracting buyers willing to pay a premium,” he surmises. Besides the entrance, the apartment door handles also bear the mermaid motif. “Each one is unique,” Skordas says, adding that while a specific design was followed, they were not mass-produced from a mold.

“Persaki’s decision to work on a monumental scale is tied to her studies in Paris, as well as the wider notion of ‘social’ monumental art,” posits Spyros Moschonas. He suggests that the artwork reflects Persaki’s experiences in France, while certain motifs draw from Greek folk art.

Persaki’s work features simple, clean shapes and lines, and vibrant colors. “A key aspect is the decorative quality achieved through simplicity, expressed via a clean, bold line and block color,” comments Mr. Moschonas. He also notes that the artwork exudes a playful ambiance. “This is evident in the depiction of the lush vegetation on the left wall, where the delicate leafy plants stand out against the block-colored, blue backdrop.”

“The sense of childlike artistry, innocence, and simplicity is also apparent in the scene with the mermaid, from the way the sun and fish are portrayed,” he observes, pointing out these elements that link Persaki’s work to folk art.

Additional Information: As per the book “Women of Mataroa” (Gavriilides 2018), Persaki’s artwork graces an office building in central Athens, while another piece was commissioned by a shipping company in Piraeus.

MARIA SPENZA

CERAMIC COMPOSITION – 1968

A large-scale ceramic composition by Maria Spenza (1925-2011) adorns the entrance wall of an apartment building on Agia Zoni Street in Kypseli. According to the building’s architect and resident, Katerina Giouleka, the developers aimed to create a building that would complement the then flourishing Fokionos Negri. Spenza’s piece is comprised of 298 handmade tiles, each measuring 10 cm x 20 cm.

“Creating a work of art like this, with its unique execution and individual themes, requires meticulous preparation to ensure a seamless pattern continuity,” explains Giouleka. She adds that in this regard, it is a deeply moving handmade masterpiece. The composition, featuring earthy hues and nods to folk tradition, expands to a length of 7 metres and a height of 2.50 metres. It is not, however, confined to a rectangular shape. Giouleka believes that this lack of a defined outline allows the artist to explore her subject matter and, when necessary, to broaden the scope locally. The piece is ultimately set into an orthomarble, likely a comb marble of Dionysian origin. The remainder of the entrance maintains a minimalist aesthetic, providing the artwork with room to breathe. “This entrance was one of the aspects that drew me into the building,” she shares.

Additional Information: Reports indicate that another piece by Maria Spenza is located in an apartment building in Ilisia.

 

This article was originally published in the print version of LiFO.

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