Byzantine - Trapezutine Character: Site plan with elevations of the Hagia Sophia and the new topos.Edge of the Old City/ The container of the Agora.Center of the Agora- The Altar.Site analysis, looking to and from the characters to the new Agora.Icon of a typical Pontain man and woman.Site of Old City walls where the ancient roads meet.My iconographic/ mosaic map/ the Istoria and its relationships.Model, The New Topos, mosaic museum.Model, The New Topos, mosaic museum.Model, Site of City- Trapezus.Model, Site of City- Trapezus.Model, Icon for the Myth: Jason and the Argonauts.Model, Icon for the Myth: Jason and the Argonauts.Model, Book for the Myth.Model, The Memorial, the pavilion for people in diaspora.Sketch model of the "metaphorical book " representing West ( Jason) meting East ( Medea) used to define the theatrical "estias / altars" for the characters of the site: the theatrical altar for mythology, the theatrical altar for religion( Byzantine), the theatrical altar for language and philosophy, the theatrical altar for exile and diaspora, & the theater altar for the dance and music.Sketch model of the "metaphorical book " representing West ( Jason) meting East ( Medea) used to define the theatrical "estias / altars" for the characters of the site: the theatrical altar for mythology, the theatrical altar for religion( Byzantine), the theatrical altar for language and philosophy, the theatrical altar for exile and diaspora, & the theater altar for the dance and music.Sketch model of the "metaphorical book " representing West ( Jason) meting East ( Medea) used to define the theatrical "estias / altars" for the characters of the site: the theatrical altar for mythology, the theatrical altar for religion( Byzantine), the theatrical altar for language and philosophy, the theatrical altar for exile and diaspora, & the theater altar for the dance and music.Sketch model of the "metaphorical book " representing West ( Jason) meting East ( Medea) used to define the theatrical "estias / altars" for the characters of the site: the theatrical altar for mythology, the theatrical altar for religion( Byzantine), the theatrical altar for language and philosophy, the theatrical altar for exile and diaspora, & the theater altar for the dance and music.Sketch model, depicting the enhancement of the ancient fortress walls at 3 levels, as to draw the characters into the new Agora and extend the Agora beyond the physical boundaries of the ancient fortress.Etching of the city of Trapezus in the 1800s and excerpt from Sophocles' Antigone.Pontian dancers in Thessaloniki in traditional costume, 1907; Pontian family in traditional costume in Trapezus, Turkey, 1907; Pontian couple on their wedding day in Anada, Russia, 1924.History of a Pontian from the memorial statue in Athens, Greece.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Sketch of the myth Jason and the Argonauts.Installation polaroid.
Abstract
A construct of a topos for the Pontians to preserve the memory of Pontos and in response to the current condition in Greece of Diaspora in reverse.
Title
A Topos for Pontians
Author
Panteliadis, Emorphylli
Course
Thesis
Academic Year
1994–95
Semester
Fall/Spring
Faculty
Hejduk, John
Knox, Roderick
Sculley, Sean
Weile, Regi F.K.A. Goldberg
Problem Type
N/A
Program Types
Agora
Architectural Elements
N/A
Site
Trabzon, Turkey formerly known as Trapezus, Pontos
Photographer
Hillyer, Steven
Pro-Lab
Subjects
Greek language
Identity
Mythology
Greece--History
Manners and customs
Faculty Text
NA
Rights
Copyrights to this work are owned by the project author(s). Publication and/or use of this work may be restricted. Please contact The Irwin S. Chanin School of Architecture Archive for additional rights information.
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