∂ÈÛ·ÁˆÁ‹Introduction

ºˆÙÔÁÚ·ÊÈο ¶·Ú·ÎÙÔÚ›· Î·È ºˆÙÔÁÚ¿ÊÔÈPhotographical Agencies and Photographers

∏ ∞ı‹Ó· ÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·Athens at the end of 19th Century

∏ ∞ı‹Ó· Î·È ÔÈ ·Ú¯·ÈfiÙËÙ˜Athens and Antiquity

∏ ¶Ï¿Î·The Plaka

√ ¶ÔÏÂÔ‰ÔÌÈÎfi˜ ÈÛÙfi˜: √È ‰ÚfiÌÔÈ Ù˘ ∞ı‹Ó·˜The City Plan: Roads of Athens

¶Ï·Ù›˜Squares

Δ· ̤۷ Û˘ÁÎÔÈÓˆÓ›·˜The Means of Transportation

Δ· ÎÙ›ÚÈ·The buildings

√È ¿ÓıÚˆÔÈ Ù˘ fiÏ˘ - √È ∞ıËÓ·›ÔÈ - ∏ ∑ˆ‹The people of the city - Athenians - Life

∫¿ÔȘ ̤Ú˜ ·ÏÏÈÒÙÈΘ ·fi ÙȘ ¿ÏϘSome days different than others

μÈ‚ÏÈÔÁÚ·Ê›·Bibliography

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¶∂ƒπ∂Ã√ª∂¡∞CONTENTS

8

P H O T O

A T H E N S

∞ı‹Ó·-ΔÂÎÌ‹ÚÈ· ʈÙÔÁÚ·ÊÈÎÔ‡ ·Ú¯Â›Ô˘“√ ÏÂ˘ÎˆÌ·ÙÈÎfi˜ ÙfiÌÔ˜ Ô˘ Îڷٿ٠ÛÙ· ¤ÚÈ· Û·˜ Î·È ¤¯ÂÈ ˜ ÛËÌ›ԷӷÊÔÚ¿˜ ÙËÓ ∞ı‹Ó·, Â›Ó·È Ô ‰Â‡ÙÂÚÔ˜ Ô˘ ¯ÚËÛÈÌÔÔÈ› ˘ÏÈÎfi ÙÔ˘ÊˆÙÔÁÚ·ÊÈÎÔ‡ ·Ú¯Â›Ô˘ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜-°ÂÓÈ-΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘. ™ÙÔÓ ÚÒÙÔ ÏÂ˘ÎˆÌ·ÙÈÎfi ÙfiÌÔ, Ô˘ÂΉfiıËΠÙÔ 2006, ·ÍÈÔÔÈ‹ıËΠÙÔ ÔχÙÈÌÔ ·˘Ùfi ʈÙÔÁÚ·ÊÈÎfi·Ú¯Â›Ô, ÁÈ· Ó· ÛÙÔȯÂÈÔıÂÙËı› ÙÔ ·ÊȤڈ̷ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË. √È 214 ʈÙÔÁڷʛ˜ Ô˘ ÂÎÙ›ıÂÓÙ·È, ηχÙÔ˘Ó ¤Ó· ¯ÚÔÓÈÎfi ‰È¿-ÛÙËÌ· 25 Î·È Ï¤ÔÓ ¯ÚfiÓˆÓ. ΔÔ ¯ÚÔÓÔÏÔÁÈÎfi ÚÔÛ‰ÈÔÚÈÛÌfi Î·È ÙÔÓ˘ÔÌÓËÌ·ÙÈÛÌfi ÙÔ˘˜ ·Ó¤Ï·‚Â Ë Î·ıËÁ‹ÙÚÈ· ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ÙÔ˘ ∂ıÓÈ-ÎÔ‡ ªÂÙÛfi‚ÈÔ˘ ¶ÔÏ˘Ù¯Ó›Ԣ Î. ª¿Úˆ ∫·Ú‰·Ì›ÙÛË-∞‰¿ÌË . ΔÔ ÊˆÙÔÁÚ·ÊÈÎfi ·Ú¯Â›Ô Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜-°ÂÓÈ-΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÓË̤ڈÛ˘ ·ÚÈıÌ› ÂÚ›Ô˘ 100.000 ʈÙÔÁڷʛ˜.¶ÔÏϤ˜ Â›Ó·È ¿ÁÓˆÛÙ Ó ÊˆÙÔÁڿʈÓ, ¯ˆÚ› ÛÙÔȯ›· ÚÔÛ‰ÈÔÚÈÛÙÈο,ÚÔÛÒˆÓ, ÚfiÓÔ˘, ÙfiÔ˘. Δ· ÛÙÂϤ¯Ë Ù˘ ÀËÚÂÛ›·˜, Ì ·Á¿Ë ÁÈ· ÙÔ¤ÚÁÔ ·˘Ùfi, ÊÚÔÓÙ›˙Ô˘Ó Û˘ÛÙËÌ·ÙÈο ÁÈ· ÙË Û˘ÓÙ‹ÚËÛË Î·È ÙË ıÂÌ·ÙÔ-ÏÔÁÈ΋ Î·È ¯ÚÔÓÔÏÔÁÈ΋ ηٿٷÍË Ù Ó ÊˆÙÔÁÚ·ÊÈÒÓ.£ÂˆÚԇ̠·˘ÙfiÓ ÙÔÓ fiÁÎÔ ÙÔ˘ ÔÙÈÎÔ‡ ˘ÏÈÎÔ‡ ¯Ú‹ÛÈÌÔ ÁÈ· ÙË ‰È·-¯ÚÔÓÈ΋ ·ÔÙ‡ˆÛË Ù˘ Ù·˘ÙfiÙËÙ·˜ ÙÔ˘ Ï·Ô‡ Ì·˜, fiˆ˜ ‰È·ÌÔÚÊÒ-ıËΠÙȘ ÙÂÏÂ˘Ù·›Â˜ ‰ÂηÂٛ˜. ∏ οı ʈÙÔÁÚ·Ê›· ·ÔÙÂÏ› „ËÊ›‰··˘Ù‹˜ Ù˘ ͯˆÚÈÛÙ‹˜ Ù·˘ÙfiÙËÙ¿˜ Ì·˜. ∞Ó·ÁÓˆÚ›ÛÈÌË ·fi ÙȘ ·Ï·Èfi-ÙÂÚ˜ ÁÂÓȤ˜, „ËÏ·ÊËÙ‹ ÛÙËÓ ÂÚȤÚÁÂÈ· ÙˆÓ ÓÂfiÙÂÚˆÓ. ¢ÂÓ Â›Ó·È¤Ó· ·Ïfi Ù·Í›‰È ÛÙÔ ¯ÚfiÓÔ. ™˘ÓÈÛÙ¿ ÌÈÎÚ‹ Û˘Ì‚ÔÏ‹ ÛÙËÓ ÈÛÙÔÚÈ΋·Ï‹ıÂÈ·. £· ¤¯ÂÈ Û˘Ó¤¯ÂÈ·. ∂›Ó·È Î·È ¯Ú¤Ô˜ Ì·˜ ·¤Ó·ÓÙÈ ÛÙÔÓ ÔÏ›-ÙË Î·È ÙÔ Ï·fi Ì·˜.”

ª·ÚÁ·Ú›Ù· ¶··‰¿-ÃÂÈÌÒÓ·°ÂÓÈ΋ °Ú·ÌÌ·Ù¤·˜ ∂ÈÎÔÈÓˆÓ›·˜

Athens- Photo Archive Documents “The present volume refers to Athens and is the second in a series ofpublications which uses material drawn from the photo archive of theSecretariat General of Communication-Secretariat General ofInformation. The first volume, which was published in 2006 as atribute to contemporary Thessaloniki, also anthologizes a number ofrecords of this valuable photo archive. The 214 photographs included cover a period of more than 25 years.The chronological listing as well as the annotation complementing thephotographs were attended to by Ms. Maro Kardamitsis-Adamis,professor of Architecture in the National Metsovion Polytechnic ofAthens. The aforementioned archive of the Secretariat General ofCommunication-Secretariat General of Information consists ofapproximately 100,000 photographs, several of which were taken byunknown artists and are not accompanied by specific data regardingthe place and time. The staff of the Secretariat General ofCommunication-Secretariat General of Information has undertaken,with great dedication, the preservation and the classification of thesephotos by theme and year.This visual material is regarded as important since it presents the Greekidentity through the years. Each photo is a small part of this uniqueidentity, recognizable by the old and accessible to the young. It is not asimple journey back in time. It is a small contribution to the historicaltruth. Our efforts will continue since it is our duty to Greek people.”

Margarita Papada-CheimonaSecretary General of Communication

A T H E N S 9

∂π™∞°ø°∏INTRODUCTION

ÂÓÓ‹ıËη Î·È ÌÂÁ¿ÏˆÛ· ÛÙËÓ ∞ı‹Ó·. ∂›¯· ÙËÓ ·›ÛıËÛËfiÙÈ ÙË ÁÓÒÚÈ˙· ηϿ οı ‰ÚÔÌ¿ÎÈ Ù˘ , οı ϷÙ›·.

ŸÌˆ˜ ηıÒ˜ ÂÁÒ ÌÂÁ¿ÏˆÓ·, ÌÂÁ¿ÏˆÓ ÎÈ ·˘Ù‹. ∫·ıÒ˜ ÂÁÒ¿ÏÏ·˙·, ¿ÏÏ·˙ ÎÈ ·˘Ù‹. √È Î·ıËÌÂÚÈÓ¤˜ ‰Ú·ÛÙËÚÈfiÙËÙ˜, ÔÈÁÚ‹ÁÔÚÔÈ Ú˘ıÌÔ› Ù˘ ˙ˆ‹˜ ‰ÂÓ ÛÔ˘ ‰›ÓÔ˘Ó ÙÔ ¯ÚfiÓÔ Ó· ÛÙ·-Ì·Ù‹ÛÂȘ Î·È Ó· ·Ú·ÙËÚ‹ÛÂȘ ÙȘ ·ÏÏ·Á¤˜ Á‡Úˆ ÛÔ˘. ΔȘ·Ú·ÙËÚ›˜, ÙȘ Û¯ÔÏÈ¿˙ÂȘ ›Ûˆ˜ ÁÈ· Ï›ÁÔ, ›Ûˆ˜ Ô‡ÙÂ Î·Ó ·˘ÙfiÎ·È ÚÔÛÂÚÓ¿˜. √È Î·ÈÓÔ‡ÚÁȘ ÂÈÎfiÓ˜ ·ÓÙÈηıÈÛÙÔ‡Ó ÙȘ·ÏȤ˜, Ó¤· ‚ÈÒÌ·Ù· Ûο˙Ô˘Ó Ù· ÚÔ¸¿Ú¯ÔÓÙ·, ÙÔ Û‹ÌÂÚ·‰ÈÂΉÈΛ Ù· ‰ÈηÈÒÌ·Ù· ÙÔ˘, ÙÔ ¯ı˜ ͯÓȤٷÈ. ∫·È Í·ÊÓÈο¤Ú¯ÂÙ·È ÌÈ· ʈÙÔÁÚ·Ê›· Î·È fiÏ· ·Ó·Ô‰ÔÁ˘Ú›˙ÔÓÙ·È...¶·›ÚÓÔÓÙ·˜ ÙÔ ˘ÏÈÎfi Ô˘ ÌÔ˘ ·Ú¤‰ˆÛ·Ó ·fi ÙË °ÂÓÈ΋°Ú·ÌÌ·Ù›· ∂ÈÎÔÈÓˆÓ›·˜ - °ÂÓÈ΋ °Ú·ÌÌ·Ù›· ∂ÓË̤ڈ-Û˘, ¤ÌÂÈÓ· ÁÈ· ÔÏϤ˜ ÒÚ˜ Ó· ÙÔ ÎÔÈÙ¿˙ˆ, Ó· ÙÔ ·Ó·Î·-Ù‡ˆ, Ó· ÚÔÛ·ıÒ Ó· ·Ó·Î·Ï¤Ûˆ ÛÙË ÌÓ‹ÌË ÌÔ˘, ÂÈÎfi-Ó˜ ·ÏȤ˜ ͯ·Ṳ̂Ó˜ Î·È Ù·˘Ùfi¯ÚÔÓ· ÔÏÔ˙ÒÓÙ·Ó˜.∞ÏÒÓˆ ÛÙÔ ÙÚ·¤˙È ÙȘ ʈÙÔÁڷʛ˜ : ∏ Ô‰fi˜ ™Ù·‰›Ô˘, ËÔ‰fi˜ ™Ù·‰›Ô˘! £Â¤ ÌÔ˘, Ó·È, ·ÏÏ¿ ÔÈ· Ô‰fi˜ ™Ù·‰›Ô˘. Δ·ÂÚÈÛÛfiÙÂÚ· ÎÙ›ÚÈ· Âη٤ڈıÂÓ ‰ÂÓ ˘¿Ú¯Ô˘Ó È·. ∞Ó·Ê·ÈÚÔ‡Û· οÔÈ· ÙÔfiÛËÌ·, ·ÌÊÈ‚¿Ïψ ·Ó ı· ‹Ù·Ó ·Ó·-ÁÓˆÚ›ÛÈÌË ÛÙÔ Û‡Á¯ÚÔÓÔ ÂÈÛΤÙË Ù˘ fiÏ˘. ∞Ó ·Ê·È-ÚÔ‡Û·Ì ٷ ÙÔfiÛËÌ·... Δ· ÙÔfiÛËÌ· fï˜ ˘¿Ú¯Ô˘Ó ηȷÔÙÂÏÔ‡Ó Ù· ÛÙ·ıÂÚ¿ ÛËÌ›· ·Ó·ÊÔÚ¿˜ ̤۷ Û ÌÈ·fiÏË Ô˘ ·ÏÏ¿˙ÂÈ, Î·È Û˘Ó¯›˙ÂÈ Ó· ·Ú·Ì¤ÓÂÈ ›‰È·. ŸÛÔ‡ÎÔÏ· Ô ÂÁΤʷÏÔ˜ ‰¤¯ÂÙ·È ÙȘ ·ÏÏ·Á¤˜, ÙÔ ›‰ÈÔ Â‡ÎÔÏ··Ó·Î·Ï› ÙȘ ÌӋ̘. ∫·È ÔÈ ÌӋ̘ ʤÚÓÔ˘Ó ÙȘ ·Ó·ÌÓ‹-ÛÂȘ. ¶ÚÔÛˆÈο ‚ÈÒÌ·Ù·, Û˘Ó·ÈÛı‹Ì·Ù·, Á‡ÛÂȘ, Ì˘Úˆ-

was born and raised in Athens. I used to have the feelingthat I was familiar with her, her every street, her every

square. But as I was growing up, she was growing up too. AsI was changing, she was changing too. The daily activities,the fast rhythms of living do not allow enough time to make apause and observe the changes around. You may noticethem, you may speak about them for a while, maybe youdon’t even do that, and you move on. A series of new imagescome to replace the old ones, new experiences cover theprevious ones, today claims its own rights, and yesterdaytends to be forgotten. And suddenly you come across aphotograph and everything turns upside down….When I took the material delivered by the SecretariatGeneral of Communication – Secretariat General ofInformation I spent many hours looking at it, turning itaround, trying to bring to memory those old images, whichseemed forgotten and yet were kept so alive. I spread thephotos on the table: Stadiou Street, yes Stadiou Street! ByGod, yes, but which part? Most of the buildings on bothsides no longer exist. If some of the locatory signs weretaken out, I doubt that any modern visitor would be able torecognise it. If the locatory signs were taken out… Butthese signs exist and they are the stable points of referenceinside a city which is changing, and still remains the same.As easy as the brain is able to assimilate changes, it canrecall memories with equal ease. And memories carrywith them remembrances. Personal experiences, feelings, a

° I

10

∂ π ™ ∞ ° ø ° ∏

A T H E N S

‰È¤˜, ‹¯ÔÈ... •·ÊÓÈο ·Ó·Î·Ï‡ÙÂȘ fiÙÈ ı˘Ì¿Û·È ÛÙÈÁ̤˜ ηÈÂÈÎfiÓ˜ ·fi Ù· Ôχ ÚÒÙ· ·È‰Èο ÛÔ˘ ¯ÚfiÓÈ·...ªÓ‹Ì˜ Î·È ·Ó·ÌÓ‹ÛÂȘ πÛÙÔÚ›· Î·È ÚÔÛˆÈ΋ ˙ˆ‹. ∞ÓÙÈ-ÎÂÈÌÂÓÈÎfiÙËÙ· Î·È ˘ÔÎÂÈÌÂÓÈÎfiÙËÙ·. Δ· ÙÂÎÌ‹ÚÈ· fï˜ Ô˘¤¯ˆ ÛÙË ‰È¿ıÂÛ‹ ÌÔ˘, ʤÚÔ˘Ó ÎÈ ·˘Ù¿ ÙË ÛÊÚ·Á›‰· Ù˘ ˘Ô-ÎÂÈÌÂÓÈ΋˜ Ì·ÚÙ˘Ú›·˜, ¿ÏÏ· Û ÌÂÁ·Ï‡ÙÂÚÔ ÎÈ ¿ÏÏ· ÛÂÌÈÎÚfiÙÂÚÔ ‚·ıÌfi. ∫È Ô Û¯ÔÏÈ·ÛÙ‹˜ ÙÔ˘˜ ‰ÂÓ ÌÔÚ› ·Ú¿ Ó··ÓÙ·ÔÎÚÈı›.ªÈÎÚ¤˜ ÛÙ·Ì·ÙË̤Ó˜ ÛÙÈÁ̤˜ ÙÔ˘ ¯ÚfiÓÔ˘. ¶ÚÔÛ·ıÒ Ó·Á˘Ú›Ûˆ ÙÔ ÚÔÏfiÈ ›Ûˆ Î·È Ó· ÙÔ ÛÙ·Ì·Ù‹Ûˆ ÁÈ· Ï›Á· ‰Â˘ÙÂÚfi-ÏÂÙ·, fiÛÔ ÎÚ·Ù¿ÂÈ ÙÔ “ÎϛΔ ÌÈ·˜ Ï‹„˘, ÁÈ· Ó· ÙÈ ÎÔÈٿ͈ fiÛÔÈÔ ·ÓÙÈÎÂÈÌÂÓÈο ÌÔÚÒ, fiÛÔ ÈÔ ÎÔÓÙ¿ ÛÙÔÓ ÊˆÙÔÁÚ¿ÊÔ Ô˘ÙÈ ÙÚ¿‚ËÍÂ. ¢ÂÓ Ù· ηٷʤÚÓˆ. √È ÛΤ„ÂÈ ÌÔ˘ ·Ú·Û‡ÚÔÓÙ·ÈÚÔ˜ Ù· ›Ûˆ Î·È Â·Ó¤Ú¯ÔÓÙ·È ÚÔ˜ Ù· ÌÚÔ˜, Û·Ó ÙËÓ ·Ï›Ú-ÚÔÈ·. ªÚÔ˜ Î·È ›Ûˆ. Ãı˜ Î·È Û‹ÌÂÚ·. ŒÓ· Û˘Ó¯¤˜ Ù·Í›‰È̤۷ ÛÙÔ ¯ÚfiÓÔ, Â›Ó·È Ô Û¯ÔÏÈ·ÛÌfi˜ ÂÓfi˜ Ù¤ÙÔÈÔ˘ ˘ÏÈÎÔ‡. ŒÓ·Ê˘ÏÏÔ̤ÙÚËÌ· ÂÓfi˜ ‚È‚Ï›Ô˘ Ô˘ ¤¯ÂÈ Í·Ó·‰È·‚¿ÛÂÈ Î·È ÙÔÍÂÊ˘ÏÏ›˙ÂÈ Í·Ó¿, ÛÙ·Ì·ÙÒÓÙ·˜ Û οÔȘ ÌfiÓÔ ÛÂÏ›‰Â˜, ÛÂοÔÈ· ÌfiÓÔ ÂÚÈÛÙ·ÙÈο.¢ÂÓ ÌÔÚ› Î·È ‰ÂÓ Ú¤ÂÈ Ó· Â›Ó·È ÈÛÙÔÚ›·. ¢ÂÓ ı· ‹Ù·Ó Ô‡ÙÂÂÈÛÙËÌÔÓÈο ÔÚıfi, Ô‡Ù ¤ÓÙÈÌÔ. ∂›Ó·È ÌfiÓÔ ÛÎfiÚÈ· ʇÏÏ·ÈÛÙÔÚ›·˜, ʈÙÔÁÚ·ÊÈο ÂÓÛÙ·ÓÙ·Ó¤.∞ÎfiÌ· Î·È Ë Ù·ÍÈÓfiÌËÛË ÙÔ˘˜ Û ÔÌ¿‰Â˜ Â›Ó·È ˘ÔÎÂÈÌÂÓÈÎ‹Î·È ·ÌÊÈÛ‚ËÙ‹ÛÈÌË. ∞·Ú·›ÙËÙÔ fï˜ ‚ÔËıËÙÈÎfi ÛÙÔÈ¯Â›Ô ÛÙÔÛ¯ÔÏÈ·ÛÙ‹ Î·È ÛÙÔÓ ·Ó·ÁÓÒÛÙË.∞Ó Â›¯· ÙË ‰˘Ó·ÙfiÙËÙ·, ı· ‰ËÌÈÔ˘ÚÁÔ‡Û· ¤Ó· folio Ô˘ Ô Î¿ı¤ӷ˜ ı· ÌÔÚÔ‡Û ӷ ·Ó·‰ÈÔÚÁ·ÓÒÛÂÈ ÙÈ ÂÓfiÙËÙ˜, fiˆ˜ ·˘Ùfi˜ı· ‹ıÂÏÂ. £· ÚÔ¤Î˘Ù·Ó ÙfiÙ ÔÏÏ¿ ÌÈÎÚ¿ ·ÙÔÌÈο Ï¢ÎÒÌ·Ù·.∫¿ˆ˜ ¤ÙÛÈ ÓÈÒıˆ ÂÁÒ ÙËÓ ∂ÓË̤ڈÛË Î·È ÙËÓ ∂ÈÎÔÈÓˆÓ›·.ΔÔ ˘ÏÈÎfi Ô˘ ÌÔ˘ ·Ú·‰fiıËΠ¯ÚÔÓÔÏÔÁÂ›Ù·È Î˘Ú› ˜ ·fi Ù·¯ÚfiÓÈ· ÙÔ˘ ¶ÔϤÌÔ˘ Î·È Ù˘ ∫·ÙÔ¯‹˜ Î·È Ì¤¯ÚÈ ÙËÓ ‰ÂηÂÙ›·ÙÔ˘ 70, Î·È Ï›Á˜ Ôχ Ï›Á˜ ÚÔÔÏÂÌÈΤ˜ ʈÙÔÁڷʛ˜.Δ· ÚÒÙ· ÌÂÙ¿ ÙÔÓ fiÏÂÌÔ ¯ÚfiÓÈ·, ÂÈÎÔÓÔÁÚ·ÊÔ‡ÓÙ·È ·fi¤Ó· Û¯ÂÙÈο ÌÈÎÚfi ·ÚÈıÌfi ʈÙÔÁÚ·ÊÈÒÓ. ∫¿ÔȘ ÌÈÎÚ¤˜Î·ıËÌÂÚÈÓ¤˜ ÛÙÈÁ̤˜ ÛÙ· ‰ÚÔÌ¿ÎÈ· Ù˘ ¶Ï¿Î·˜, ÔÈ ÚÒÙ˜ÌÂÙ·ÔÏÂÌÈΤ˜ ÂÎÏÔÁ¤˜, ʤÚÓÔ˘Ó ÌËӇ̷ٷ ·ÈÛÈÔ‰ÔÍ›·˜ ÁÈ·ÙË ˙ˆ‹, Ô˘ ÚÔÛ·ı› Ó· Í·Ó·‚Ú› ÙËÓ Î·ıËÌÂÚÈÓfiÙËÙ¿ ÙË˜Î·È Ó· ÙÚ·‚‹ÍÂÈ ÌÚÔÛÙ¿.

taste, a smell, a sound… And suddenly you realise how youremember moments and pictures from your very earlychildhood…Memories and remembrances, History and personal life.Objectivity and subjectivity. The documents in front of mealso carry the mark of a subjective witness, some of them toa large and some to a smaller degree. And their commentatoris called to a response.Small frozen moments of time. My attempt is to turn the clockbackwards and make it stop for a few seconds, as long as the“click” of a shot lasts, and to be able to look at them as objectivelyas possible, as near as possible to the photographer who tookthem. It doesn’t work. My thoughts are drifting back to the pastand returning again to the now, like a tide. Backward, forward.Yesterday and today. Like a continuous journey through time,that’s the feeling caused by trying to write comments on thismaterial. It’s like turning the pages of a book that you have readbefore, and as you are going through it again, you stop only atsome of the pages, at some of the incidents.This presentation is not supposed to be history. It wouldn’tbe scientifically correct, neither truthful. It is only somescattered pages of history, some photo instances.And even their classification in groups of photos is subjectiveand doubtful. But it intends to add some assistance to thecommentator and the reader.If it was possible, I would rather create a folio in whicheveryone would be able to restructure the various parts, inany way they would wish. In that case we would have manysmall individual albums. This is how I feel about Informationand Communication.The material delivered to me mainly covers a period fromthe years of the Second World War until the decade of the70’s, including a very few pre-war photos.The first years after the war are depicted by a relatively smallnumber of photos. There are a few ordinary moments in thetiny roads of Plaka, the first post-WWII elections, passingacross messages of hope, as life is trying to locate its centreof gravity again and move on.

I N T R O D U C T I O N

A T H E N S 11

∏ ‰ÂηÂÙ›· 1950-1960 Â›Ó·È ÌÈ· ÂÚ›Ô‰Ô˜ Ô˘ ¯·Ú·ÎÙËÚ›˙Â-Ù·È ·fi ÙËÓ ÚÔÛ¿ıÂÈ· Ù˘ ¯ÒÚ·˜ Ó· ÍÂÂÚ¿ÛÂÈ ÙȘ ηٷÔ-Ó‹ÛÂȘ ÙÔ˘ ÔϤÌÔ˘ Î·È ÙÔ˘ ‰È¯·ÛÌÔ‡, Ó· ·Ó·Û˘ÁÎÚÔÙËı› ηÈÓ· ·Ó·Ù¿ÍÂÈ ÙËÓ ÔÈÎÔÓÔÌ›· Ù˘ Î·È ÙËÓ ÔÏÈÙÈ΋ ˙ˆ‹ Ù˘.√È ∞ıËÓ·›ÔÈ, ÔÈ ·ÏÔ› ¿ÓıÚˆÔÈ, ¤¯Ô˘Ó ·Ó¿ÁÎË Ó· ͯ˘ıÔ‡ÓÛÙÔ˘˜ ‰ÚfiÌÔ˘˜, Ó· ÁÈÔÚÙ¿ÛÔ˘Ó Ù· ÃÚÈÛÙÔ‡ÁÂÓÓ·, ÙȘ ∂ıÓÈΤ˜ÁÈÔÚÙ¤˜ Ù· ηıËÌÂÚÈÓ¿ „ÒÓÈ· ÛÙËÓ ÎÂÓÙÚÈ΋ ·ÁÔÚ¿. ¡·Í·Ó·‚ÚÔ‡Ó ÙÔ Á¤ÏÈÔ, ÙËÓ ·ÓÂÌÂÏÈ¿ Ô˘ ›¯·Ó ¯¿ÛÂÈ. ∫·È ÙËÓ›‰È· ÛÙÈÁÌ‹ Ó· Í·Ó·Ú¯›ÛÔ˘Ó Ó¤Ô˘˜ ·ÁÒÓ˜: OÈ ÚÒÙ˜ ÔÚ›-˜ ÔÈ ·ÊÈÂڈ̤Ó˜ ÛÙÔÓ ŒÏÏËÓ· ÂÚÁ·˙fiÌÂÓÔ, Ù· ÚÒÙ· Û˘Ï-Ï·ÏËÙ‹ÚÈ· ÁÈ· ÙÔ ∫˘ÚÈ·Îfi.∂ΛÓÔ fï˜ Ô˘ ¯·Ú·ÎÙËÚ›˙ÂÈ ÂÚÈÛÛfiÙÂÚÔ ·fi οı ÙÈ¿ÏÏÔ ÎÈ’ ·˘Ù‹ ÙË ‰ÂηÂÙ›· Î·È Î˘Ú›ˆ˜ Ù· ¯ÚfiÓÈ· Ô˘ ı· ·ÎÔ-ÏÔ˘ı‹ÛÔ˘Ó , Â›Ó·È Ù· ÌÂÁ¿Ï· ¤ÚÁ· ·Ó·ÌfiÚʈÛ˘ Ù˘ Úˆ-ÙÂ‡Ô˘Û·˜. √È ‰È·Ï·Ù‡ÓÛÂȘ ÙˆÓ Ô‰ÒÓ, ÔÈ ‰È·ÓÔ›ÍÂȘ Ó¤ˆÓψÊfiÚˆÓ, ÔÈ ‰È·ÌÔÚÊÒÛÂȘ ÙˆÓ Ï·ÙÂÈÒÓ, ÔÈ Î˘ÎÏÔÊÔÚÈ·-Τ˜ Ú˘ıÌ›ÛÂȘ, ÔÈ ÚÒÙ˜ ÌÔÓÔ‰ÚÔÌ‹ÛÂȘ, ÔÈ ÚÒÙÔÈ Â˙fi-‰ÚÔÌÔÈ, Ë Î·Ù¿ÚÁËÛË ÙÔ˘ ÙÚ·Ì, Ë ÂÈÛ·ÁˆÁ‹ ÙˆÓ ÚÒÙˆÓ ÙÚfi-ÏÂ˚ ·fi ÙËÓ πÙ·Ï›·, Â›Ó·È Ù· ı¤Ì·Ù· Ô˘ ··Û¯ÔÏÔ‡Ó ÙÔÓ ËÌÂ-Ú‹ÛÈÔ Î·È ÙÔÓ ÂÚÈÔ‰ÈÎfi Ù‡Ô.∫·ÈÓÔ‡ÚÁÈ· ÎÙ›ÚÈ· ÔÏ˘ÒÚÔÊ·, ÎÙ›˙ÔÓÙ·È Î·ıËÌÂÚÈÓ¿. ŒÓ·ÎÔÌÌ¿ÙÈ, ¤Ó· ÛËÌ·ÓÙÈÎfi ÎÔÌÌ¿ÙÈ Ù˘ ∞ı‹Ó·˜ ÙÔ˘ 19Ô˘ ·ÈÒӷηٷÛÙÚ¤ÊÂÙ·È. ΔȘ ÂÚÈÛÛfiÙÂÚ˜ ÊÔÚ¤˜ ·ÂÚ›ÛÎÂÙ· ηȯˆÚ›˜ Ô˘ÛÈ·ÛÙÈÎfi ÏfiÁÔ Ë fiÏË ·ÏÏ¿˙ÂÈ. ◊‰Ë ·fi ÙË ‰ÂηÂ-Ù›· ÙÔ˘ 1960, ›Ûˆ˜ Î·È Ï›ÁÔ ÚÈÓ, ¤¯Ô˘Ó ·Ú¯›ÛÂÈ ÔÈ ‰È·Ì·ÚÙ˘-ڛ˜ ÁÈ· ÙËÓ ·‰ÈηÈÔÏfiÁËÙË Î·Ù·ÛÙÚÔÊ‹ ÙÔ˘ ÎÙÈÚÈ·ÎÔ‡ ÏÔ‡-ÙÔ˘ Ù˘ ∞ı‹Ó·˜. √È ‰È·Ì·ÚÙ˘Ú›Â˜ ÏËı·›ÓÔ˘Ó ·fi ÙË ‰ÂηÂ-Ù›· ÙÔ˘ 1970 ÎÈ’ ‡ÛÙÂÚ·. ∂›Ó·È fï˜ È· ·ÚÎÂÙ¿ ·ÚÁ¿. ªÔÈ¿-˙Ô˘Ó ÂÚÈÛÛfiÙÂÚÔ Û·Ó ÓÂÎÚÔÏÔÁ›Â˜ Î·È ÌÓËÌfiÛ˘Ó·.ª¤Û· ·fi ÙÔ ÂÈÎÔÓÔÁÚ·ÊÈÎfi ˘ÏÈÎfi ·˘ÙÔ‡ ÙÔ˘ Ï¢ÎÒÌ·ÙÔ˜,ÌÔÚ› ηÓ›˜ Ó· ·Ú·ÙËÚ‹ÛÂÈ ·˘Ù¤˜ ÙȘ ·ÏÏ·Á¤˜ Ó· Û˘Ì-‚·›ÓÔ˘Ó. ∞Ï¿ Î·È ÌfiÓÔ Ó· Û˘Ì‚·›ÓÔ˘Ó. ª¤Ú· Ì ÙË Ì¤Ú·,Ì‹Ó· Ì ÙÔ Ì‹Ó·, ¯ÚfiÓÔ Ì ÙÔ ¯ÚfiÓÔ Ë ∞ı‹Ó·, Û·Ó Î¿ı¤̂ÈÔ fiÓ ·ÏÏ¿˙ÂÈ Î·È ı· ÂÍ·ÎÔÏÔ˘ı› Ó· ·ÏÏ¿˙ÂÈ. ª·Î¿ÚÈ ÔÈ·ÏÏ·Á¤˜ ·˘Ù¤˜ Ó· Â›Ó·È ÁÈ· ÙÔ Î·Ï‡ÙÂÚÔ.

The 1950-60’s decade is a period characterised by thecountry’s effort to overcome the painful situations caused bythe war and the national civil war, a movement towardsreconstruction and the regeneration of economical andpolitical life.Athenians, the common people, feel the need to freely rushonto the streets to celebrate Christmas, the national holidays,the daily shopping at the central market. They are looking fortheir daily laughter, in a carefree way, which had gone. Theyare also looking for opportunities to pursue new causes: Thefirst marches dedicated to the Greek labourers, the firstdemonstrations around the Cyprus issue.Yet the major characteristic, appearing more than anythingelse during this decade as well as the years to follow, is themassive enterprises of the restructuring of the capital.Widening of roads, opening of new avenues, reformation ofcentral squares, new traffic regulations, the first one-waystreets, the first pedestrian roads, the abolition of the tram, theintroduction of the first trolley-buses from Italy, these are themain issues presented in the daily and periodical press.Many new multi-storey buildings are erected on a dailybasis. One of the most important parts of 19th centuryAthens is being destroyed. The city is changing, mostlywithout any consideration and without a substantial reason.Already since the 60’s, maybe even just before that, protestshave begun against the unjustifiable destruction of Athens’building wealth. The protests increase during the 70’s andcontinue afterwards. But by then it is already too late. Theytend to resemble obituaries and memorial services.Through the various pictures of this album it is possible toobserve these changes as they are happening. Simply thefact that they are happening. Day by day, month by month,year by year Athens, much like any living being, is changingand continues to change. One would wish for these changesto cause improvement.

A T H E N S 13

Ô ÊˆÙÔÁÚ·ÊÈÎfi ˘ÏÈÎfi Û‡Ìʈӷ Ì ÙȘ ÛÊÚ·Á›‰Â˜ Ô˘Ê¤ÚÔ˘Ó ÔÈ ÊˆÙÔÁڷʛ˜ ÛÙÔ ›Ûˆ ̤ÚÔ˜ ÌÔÚ› Ó’ ·Ô-

‰Ôı› Û ÌÂÌÔӈ̤ÓÔ˘˜ ʈÙÔÁÚ¿ÊÔ˘˜ ‹ ʈÙÔÁÚ·ÊÈοڷÎÙÔÚ›·.√ ÌÂÁ·Ï‡ÙÂÚÔ˜ ·ÚÈıÌfi˜ ¤¯ÂÈ ÙÚ·‚˯Ù› ·fi ·ÁÁÂÏ̷ٛ˜ʈÙÔÚÂfiÚÙÂÚ, ÙË ÌÂÁ¿ÏË ‰ËÏ·‰‹ ÔÌ¿‰· ÙˆÓ ÊˆÙÔÁڿʈÓÔ˘ ˘ËÚÂÙÔ‡Ó Ì ˘Â˘ı˘ÓfiÙËÙ· ÙË ÊˆÙÔÂȉËÛÈÔÁÚ·Ê›·.∫·ÏÏÈÙ¯ÓÈÎfi ÚÂÔÚÙ¿˙, ÔÏÈÙÈÎfi ÚÂÔÚÙ¿˙, ·ıÏËÙÈÎfiÚÂÔÚÙ¿˙, ·fi„ÂȘ Ù˘ ∞ı‹Ó·˜, ÎÙ›ÚÈ·, ‰ÚfiÌÔÈ, Ï·Ù›˜,ÛÎËÓ¤˜ ‰ÚfiÌÔ˘ ÎÙÏ.ºˆÙÔÁÚ¿ÊÔÈ Ô˘ ·Ôı·Ó·Ù›˙Ô˘Ó ÙÔ ı¤Ì· ÙÔ˘˜ ·ÓÙÈÎÂÈÌÂÓÈοÂȉËÛÂÔÁÚ·ÊÈο, ¯ˆÚ›˜ ¿¯ÚËÛÙÔ˘˜ Â͈ڷ˚ÛÌÔ‡˜. ªÈ· ηٷ-ÁÚ·Ê‹ ÁÂÁÔÓfiÙˆÓ Ô˘ ¤¯Ô˘Ó ÛÙËÓ ÏÂÈÔ„ËÊ›· ÙÔ˘˜ ÙËÓ ·Í›·ÙÔ˘ ÈÛÙÔÚÈÎÔ‡ ÙÂÎÌËÚ›Ô˘. √È ÂÈÎÔÓÔÁÚ¿ÊÔÈ Ù˘ πÛÙÔÚ›·˜.÷ڷÎÙËÚÈÛÙÈ΋ Â›Ó·È Ë ¤ÎÊÚ·ÛË ÙÔ˘ ¢ËÌ‹ÙÚË ΔÚÈ·ÓٷʇÏ-ÏÔ˘ ÙÔ˘ «¶Ú·ÎÙÔÚ›Ԣ ∏ÓˆÌ¤ÓˆÓ ÊˆÙÔÚÂfiÚÙÂÚ» Ô˘ ¯·Ú·-ÎÙ‹ÚÈ˙ ْ ·ÚÓËÙÈο ÙÔ˘˜ ˆ˜ Ù· ÊÈÏÌ Ù˘ ÈÛÙÔÚ›·˜.∂›ÎÔÛÈ ÔÎÙÒ ‰È·ÊÔÚÂÙÈΤ˜ ÛÊÚ·Á›‰Â˜ ·fi ∂ÏÏËÓÈο Ú·-ÎÙÔÚ›· Î·È ÌÈ· ÙÔ˘ √˘ÁÁÚÔÁ¿ÏÏÔ˘ ʈÙÔÚÂfiÚÙÂÚ Paul GAlmasy. ª¤Û· ·fi ·˘Ù¤˜ ÌÔÚ› ηÓ›˜ Ó· ·Ú·ÎÔÏÔ˘ı‹-ÛÂÈ ÙȘ ‰È¿ÊÔÚ˜ ¯ÚÔÓÈΤ˜ ÂÚÈfi‰Ô˘˜, ÙËÓ ¤‰Ú· ÙˆÓ ÊˆÙÔ-ÁÚ·ÊÈÎÒÓ ÂÚÁ·ÛÙËÚ›ˆÓ Ô˘ ·ÏÏ¿˙ÂÈ, Ù· ÙËϤʈӷ Ô˘·fi ÂÓÙ·„‹ÊÈ· Á›ÓÔÓÙ·È ÛÙË Û˘Ó¤¯ÂÈ· ÂÍ·„‹ÊÈ· ηȷÚÁfiÙÂÚ· ÂÙ·„‹ÊÈ· ÎÏ.π‰È·›ÙÂÚ· ÂӉȷʤÚÔ˘Û˜ Â›Ó·È ÔÈ ÏËÚÔÊÔڛ˜ Ô˘ ÌÔÚ›ηÓ›˜ Ó’ ·ÓÙÏ‹ÛÂÈ ÁÈ· Û˘ÓÂÚÁ·Û›Â˜ Ô˘ ‰È·Ï‡ÔÓÙ·È ‹ ‰ËÌÈ-

he photographical material presented, according to what iswritten at the back of the photos, can be attributed either

to individual photographers or to photographical agencies.The majority of the pictures is taken by professional photo-reporters, that big group of photographers serving withresponsibility as photo-journalists. The variety is large, rangingfrom artistic coverage, to political coverage, to sports coverage,including views of Athens, buildings, roads, squares, streetmoments, etc.These photographers save their themes for posterity in anobjective way, as a piece of information, without anyunnecessary embellishments. It is a collection of facts, most ofthem carrying an extra value, that of historical document.These are the picture makers of History.There is a characteristic expression, spoken by DimitrisTriantafyllou from the “United Photoreporters Agency”, inwhich he called their negatives “the films of history”.There are twenty eight different stamps from Greek Agenciesand one from a French (or maybe Swiss) photo-reporter, PaulG. Almasy. Through these stamps it becomes possible to followthe different chronological periods, the offices of thephotostudios and their changing addresses, the telephonenumbers which start with five digits, then increase to six andlater to seven digits, and so on.There is an abundance of information that can be revealedthrough them about the co-operations between various

ºøΔ√°ƒ∞ºπ∫∞ ¶ƒ∞∫Δ√ƒ∂π∞∫∞π ºøΔ√°ƒ∞º√π

PHOTOGRAPHICAL AGENCIES ANDPHOTOGRAPHERS

T T

A T H E N S14

º ø Δ √ ° ƒ ∞ º π ∫ ∞ ¶ ƒ ∞ ∫ Δ √ ƒ ∂ π ∞ ∫ ∞ π º ø Δ √ ° ƒ ∞ º √ π

Ô˘ÚÁÔ‡ÓÙ·È. ªÂ ÙÔÓ ›‰ÈÔ .¯. Ù›ÙÏÔ «ºˆÙÔÚÂÔÚÙ¿˙ ∞ıËÓ·˚ÎÔ‡Δ‡Ô˘» ÙÔ 1962 ·ÓÙÈÚÔۈ‡ÂÙ·È ·fi ÙÔÓ °. ¢È·Ì·ÓÙ›‰Ë, ÙÔ1963 ·fi ÙÔ˘˜ °.¢È·Ì·ÓÙ›‰Ë Î·È ™. μ·Ï¿ÎË, ÂÓÒ ÙÔ 1966 Ô ™.μ·Ï¿Î˘ ¤¯ÂÈ ·Ô¯ˆÚ‹ÛÂÈ ·fi ÙÔ ∞ıËÓ·˚Îfi ÚÂÔÚÙ¿˙ ηÈÛ˘ÓÂÚÁ¿˙ÂÙ·È Ì ÙÔ˘˜ ¢. μ·ÚÓ·Ï›‰Ë Î·È °. ™ÎÔ‡Ú· ÛÙÔ “ºˆÙÔ-ÁÚ·ÊÈÎfiÓ ¶Ú·ÎÙÔÚ›ÔÓ ¶Ú˜˜”.∞Ó¿ÌÂÛ· ÙÔ˘˜ ͯˆÚ›˙Ô˘Ó ÔÈ ∏ӈ̤ÓÔÈ ºˆÙÔÚÂfiÚÙÂÚ, Ô˘·fi ÙÔ 1946 Î·È Ì¤¯ÚÈ ÙÔ 1996 ¤¯Ô˘Ó ·Ôı·Ó·Ù›ÛÂÈ ÙÈ ÛËÌ·-ÓÙÈÎfiÙÂÚ˜ ÛÙÈÁ̤˜ Ù˘ ÂÏÏËÓÈ΋˜ ˙ˆ‹˜ Î·È Ô ª·ÓÒÏ˘ ªÂÁ·-ÏÔÔÈÎÔÓfiÌÔ˘ , Ô ÊˆÙÔÁÚ¿ÊÔ˜ ÙÔ˘ ∂Ï¢ı¤ÚÈÔ˘ μÂÓÈ˙¤ÏÔ˘.¢›Ï· ÛÙÔ ˘ÏÈÎfi ÙˆÓ ÌÂÁ¿ÏˆÓ ÔÚÁ·ÓˆÌ¤ÓˆÓ ÁÚ·Ê›ˆÓ ÙÔ˘ÊˆÙÔÚÂÔÚÙ¿˙ Û˘Ó·ÓÙ¿Ì οÔȘ, Ï›Á˜ Â›Ó·È ÔÈ ·Ï‹ıÂÈ·,ʈÙÔÁڷʛ˜ ÌÂÌÔÓˆÌ¤ÓˆÓ ÊˆÙÔÁÚ¿ÊˆÓ Ô˘ ·Û¯ÔÏ‹ıË-Î·Ó Ì ÙË ÊˆÙÔÁÚ·Ê›· ˆ˜ Ù¤¯ÓË, ÂÚ·ÛÈÙ¯ÓÈο ‹ ·ÁÁÂÏ-Ì·ÙÈο. √ÚÈṲ̂ÓÔÈ ÂÚÁ¿ÛÙËÎ·Ó Î·Ù¿ ÂÚÈfi‰Ô˘˜ Î·È ˆ˜ÂχıÂÚÔÈ Î˘Ú›ˆ˜ ʈÙÔÚÂfiÚÙÂÚ. ∂ÓÓ¤· ÔÓfiÌ·Ù·: √ ∞fi-ÛÙÔÏÔ˜ μÂÚ‚¤Ú˘ (1900-1980) Ô˘ Â›Ó·È ÁÓˆÛÙfi˜ ˆ˜ ÔʈÙÔÁÚ¿ÊÔ˜ Ù˘ ª¤Û˘ ∞Ó·ÙÔÏ‹˜, Ô ª·ÓÒÏ˘ ∑·ÓÓ‹˜ ÁÈ·ÙÔÓ ÔÔ›Ô ‰ÂÓ ‚Ú¤ıËÎ·Ó ¿ÏÏ· ÛÙÔȯ›·, Ô ¡ÈÎfiÏ·Ô˜ ∫ÔÓÙfi˜(1930- 2002) ·fi ÙÔ˘˜ ÚˆÙÔfiÚÔ˘˜ Ù˘ ‰È·ÊËÌÈÛÙÈ΋˜ÊˆÙÔÁÚ·Ê›·˜ ÛÙËÓ ∂ÏÏ¿‰·, Ô §Ô˘Î¿˜ ªÂÓ¿Î˘ (1907-1976) ·ÓÈ„Èfi˜ ÙÔ˘ ∞ÓÙÒÓË ªÂÓ¿ÎË Ô˘ ·Û¯ÔÏ‹ıËÎÂÂÚ·ÛÈÙ¯ÓÈο Ì ÙË ÊˆÙÔÁÚ·Ê›·, Ô ¢ËÌ‹ÙÚ˘ ¶··‰‹ÌÔ˘(1918- 1994) Ì ÔÏϤ˜ Û˘ÌÌÂÙÔ¯¤˜ Û ÂÎı¤ÛÂȘ ÛÙËÓ∂ÏÏ¿‰· Î·È ÙÔ Â͈ÙÂÚÈÎfi, ‹ μԇϷ ¶··˚ˆ¿ÓÓÔ˘ (1898-1992) Ë ÌÂÁ¿ÏË Î˘Ú›· Ù˘ ÂÏÏËÓÈ΋˜ ʈÙÔÁÚ·Ê›·˜ Ô˘·Ôı·Ó¿ÙÈÛ Ì ÙÔÓ Ê·Îfi Ù˘ Ì ·Ê¿ÓÙ·ÛÙË Â˘·ÈÛıËÛ›·Î·È ÂÈÏÈÎÚ›ÓÂÈ· ÂÈÎfiÓ˜ Ù˘ ÂÚÈfi‰Ô˘ Ù˘ ∫·ÙÔ¯‹˜, Ô ¡›ÎÔ˜ΔÔÌ¿˙˘ (1894-1986)̤ÏÔ˜ Ù˘ ¢ÈÂıÓÔ‡˜ √ÌÔÛÔÓ‰›·˜ºˆÙÔÁÚ·ÊÈ΋˜ Δ¤¯Ó˘, Ì ȉȷ›ÙÂÚ· ÏÔ‡ÛÈÔ ÊˆÙÔÁÚ·ÊÈÎfi¤ÚÁÔ ÛÙËÓ ∂ÏÏ¿‰· Î·È ÙÔ Â͈ÙÂÚÈÎfi, Ô ¢ËÌ. ÷ÚÈÛÈ¿‰Ë˜(1911- 1993) È‰Ú˘ÙÈÎfi ̤ÏÔ˜ Ù˘ ∂ÏÏËÓÈ΋˜ ºˆÙÔÁÚ·ÊÈ-΋˜ ∂Ù·ÈÚ›·˜, Ô ÊˆÙÔÁÚ¿ÊÔ˜ Ô˘ ‚Ô‹ıËÛ ÛÙËÓ ÂͿψÛËÙ˘ Û‡Á¯ÚÔÓ˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜, Ë ª·Ú›· ÃÚÔ˘Û¿ÎË(1899-1972) ̤ÏÔ˜ Ù˘ ∂ÏÏËÓÈ΋˜ ºˆÙÔÁÚ·ÊÈ΋˜ ∂Ù·ÈÚ›-·˜ Î·È ÂÚ˘ıÚÔÛÙ·˘Ú›ÙÈÛÛ·, Ô˘ ··ı·Ó¿ÙÈÛ Ì ÙÔ Ê·ÎfiÙ˘ ÛÙÈÁÌÈfiÙ˘· ·fi ÙË ‰Ú¿ÛË ÙÔ˘ ∂.∂.™ ÛÙÔ ∞Ï‚·ÓÈÎfiª¤ÙˆÔ Î·È ÙËÓ Î·ÙÔ¯È΋ ∞ı‹Ó·.

partners and how they dissolve later on. For instance underthe title of “Athens Press Photoreportage” in 1962 we see thename of G. Diamantidis, in 1963 G. Diamantidis and S.Valakis, but in 1966 S. Valakis has left the “Athens Press” andworks with D. Varnalidis and G. Skouras in “PressPhotographical Agency”.Amongst them we must distinguish the UnitedPhotoreporters, who, between 1946 and 1996, have keptpictures of the most important moments of Hellenic life forposterity, and Manolis Megalooikonomou, the photographerof Venizelos.Alongside the material of big organised photoreportingoffices we meet some, or rather a few, pictures taken byindividual reporters, who have spent time with photographyas an art, either as an amateur or as a professional. Some ofthem haveworked in different periods as free lance photojournalists.Nine names: Apostolos Ververis (1900-1980) mostly knownas the Middle East photographer, Manolis Zannis with noother information, Nikolaos Kontos (1930-2002), one of thepioneers of advertising photography in Greece, LoukasBenakis (1907-1976), nephew of Anthony Benakis, whospent time as an amateur photographer, Dimitris Papadimou(1918- 1994), who participated in many exhibitions both inGreece and abroad, Voula Papaioannou (1898-1992), thegreat lady of Greek photography who offered through herlense pictures of the German occupation period with anincredible sensitivity and truthfulness, Nikos Tombazis(1894-1986), member of the International PhotographicalArts Federation, with a particularly rich photographicalproduce in Greece and abroad, Dim. Charissiadis (1911-1993), a founder member of the Hellenic PhotographicalCompany, the photographer who promoted the spread ofmodern architecture, Maria Chroussakis (1899-1972),member of the Hellenic Photographical Company, and of theRed Cross, who offered us moments from the activities of theGreek Army at the Albanian borders and from the Germanoccupation of Athens.

A T H E N S 15

P H O T O G R A P H I C A L A G E N C I E S A N D P H O T O G R A P H E R S

ŒÓ· Ôχ ÏÔ‡ÛÈÔ ÏËÚÔÊÔÚÈ·Îfi ÏÈÎfi, Ô ı· ¿ÍÈ Â Ó· ÌÂÏÂÙËı›·fi ¤Ó· ÈÛÙÔÚÈÎfi ÙË Ê ÙÔÁÚ·Ê›· . ™ÙÔ Ï·›ÛÈÔ ÙÔ Ï¢ÎÒÌ·ÙÔ˜·˘ÙÔ‡, ÌÈ· Ù¤ÙÔÈ· ÌÂϤÙË ‰ÂÓ Â›Ó·È Ê˘ÛÈο ‰˘Ó·Ù‹.∞ÚÎÔ‡Ì·È ÛÙÔ Ó· ·Ú·ı¤Ûˆ ·Ó·Ï˘ÙÈο ÙÔÓ Î·Ù¿ÏÔÁÔ fiÏˆÓ Ù ÓʈÙÔÁÚ¿ÊˆÓ ‹ Ù Ó ÊˆÙÔÁÚ·ÊÈÎÒÓ Ú·ÎÙÔÚ› Ó, ʈÙÔÁÚ·Ê›Â˜Ù Ó ÔÔ› Ó Û˘ÌÂÚÈÏ·Ì‚¿ÓÔÓÙ·È Û’ ·˘Ùfi ÙÔ Ï‡Έ̷ Î·È Ó·Â˘¯·ÚÈÛÙ‹Ûˆ ıÂÚÌ¿ ÙËÓ ˘Â‡ı˘ÓË ÙÔ˘ ºˆÙÔÁÚ·ÊÈÎÔ‡ ∞Ú¯Â›Ô˘ÙÔ˘ ªÔ˘Û›Ԣ ªÂÓ¿ÎË Î . ∞Ï›ÎË ΔÛÈÚÁÈfiÏÔ˘ ÁÈ· ÙËÓ Úfiı˘ÌË‚Ô‹ıÂÈ· Ô˘ ÌÔ˘ ·Ú›¯Â ÛÙËÓ ÙÂÎÌËÚ› ÛË Ù˘ ‰Â‡ÙÂÚ˘ ΢ڛ ˜ÔÌ¿‰·˜ Ù Ó ÂχıÂÚˆÓ ÊˆÙÔÁڿʈÓ.

ºˆÙÔÁÚ·ÊÈο ¶Ú·ÎÙÔÚ›·1. ∞ıËÓ·˚ο ºˆÙÔÁÚ·ÊÈο ¡¤· (™. ∫. ΔÚ‚È˙¿Î˘)μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘ 21, ∞ı‹Ó·È2. ∞ÊÔ› ªÂÁ·ÏÔÔÈÎÔÓfiÌÔ˘ – ∂ÏÏËÓÈο ºˆÙÔÁÚ·ÊÈο ¡¤·∞Óı›ÌÔ˘ °·˙‹ 15, ∞ı‹Ó·È3. ¢¤ÏÙ· ºˆÙÔÁÚ·ÊÈο ÁÂÁÔÓfiÙ·§Âˆ¯¿ÚÔ˘˜ 9, ∞ı‹Ó·È4. ∂ÏÏËÓÈο ºˆÙÔÁÚ·ÊÈο ∂›Î·ÈÚ· ª›Ú˘§¤Îη 12, ∞ı‹Ó·È5. ∂ÏÏËÓÈÎfiÓ ¢ËÌÔÛÈÔÁÚ·ÊÈÎfiÓ ¶Ú·ÎÙÔÚ›ÔÓ- ΔÌ‹Ì· º ÙÔÁÚ·ÊÈÎfiÓ™Ù·‰›Ô˘ 5∞, ∞ı‹Ó·È6. ∂ÏÏËÓÈÎfiÓ ºˆÙÔÚÂÔÚÙ¿˙ ∫. £ÂÔ¯¿ÚË, ¡. ΔÛÈÎÔ‡ÚÈ·¶Ï·Ù›· ∫·Ú‡ÙÛË 3, ∞ı‹Ó·È7. ¶Ú·ÎÙÔÚ›ÔÓ ∏ÓˆÌ¤ÓˆÓ ºˆÙÔÚÂfiÚÙÂÚ¶·ÓÂÈÛÙËÌ›Ô˘ 59. ™ÙÔ¿ ¶ÂÛÌ·Ù˙fiÁÏÔ˘, ∞ı‹Ó·È8. ¶Ú·ÎÙÔÚ›ÔÓ ™˘ÓÂÚÁ·˙fiÌÂÓˆÓ ºˆÙÔÚÂfiÚÙÂÚ¶Ú·ÍÈÙ¤ÏÔ˘˜ 26, ∞ı‹Ó·È9. ¶Ú·ÎÙÔÚ›ÔÓ ºˆÙÔÁÚ·Ê›·˜ ∞ıËÓ·˚ÎÔ‡ Δ‡Ô˘ °. ¶·ÓÔ˘ÚÁÈ¿πÔÎÚ¿ÙÔ˘˜ 7 – £¤·ÙÚÔÓ ∞ÚÁ˘ÚÔÔ‡ÏÔ˘, ÂÓÙfi˜ Ù˘ ÛÙÔ¿˜,∞ı‹Ó·È10. ¶Ú·ÎÙÔÚ›ÔÓ ºˆÙÔÁÚ·ÊÈÎÒÓ ∂Èη›ÚˆÓ·) °·˙‹ 9- ™ÙÔ¿ ∂ÛÙ›·˜, ∞ı‹Ó·È‚) ∫ÔÏÔÎÔÙÚÒÓË 20, ∞ı‹Ó·È11. Rentzis Basile Greek and Foreingn Newspictures ServiceSt. Constantinou Str 4, Athens (‰Â˜ Î·È 25)12. ™˘ÓÂÚÁ·ÙÈ΋ (∏) ºˆÙÔÚÂÔÚÙ¿˙ ¶Ú·ÎÙÔÚ›ÔÓ ºˆÙÔÁÚ·-Ê›ˆÓ Δ‡Ô˘

There is such a wealth of photographic material, that it is surelyworthwhile to be researched further by a historian ofphotography. Such a study would not be possible within theframework of this album however.I can only provide a detailed list of all the photographers orphotographical agencies whose photos are included in thisalbum; also I wish to very warmly thank the head of thephotographical archives of the Benakis Museum, Mrs. AlikiTsirgiolou, who willingly assisted me in trying to find documentsmainly about the second group of free lance photographers.

Photographical Agencies1. Athenian Photographic News (S. K. Trevizakis)21, Voukourestiou Str. Athens2. Megalooikonomou Bros – Hellenic Photographic News15, Anthimou Gazi Str. Athens3. Delta Photographical Events9, Leocharous Str. Athens4. Hellenic Newspictures Biris12, Lekka Str. Athens5. Hellenic Reporter’s Agency – Photographical Department5A, Stadiou Str. Athens6. Hellenic Photoreporting K. Theocharis, N. Tsikourias3, Karytsi Square Athens7. United Photojournalists Agency59, Panepistimiou Str., Pesmatzoglou Arcade Athens8. Co-operating Photojournalists Agency26, Praxitelous Str. Athens9. Photographic Agency of the Athenian Press G. Panourgias7, Ippokratous Str. – Argyropoulou Theatre, inside the arcade,Athens10. Agency of Newspicturesa) 9, Gazi Str. – Estia Arcade Athensb) 20, Kolokotroni Str. Athens11. Rentzis Basile Greek and Foreign Newspictures ServiceSt. Constantinou Str 4 Athens (see also 25)12. Co-operation Photoreporting Agency of PressPhotographers

A T H E N S16

º ø Δ √ ° ƒ ∞ º π ∫ ∞ ¶ ƒ ∞ ∫ Δ √ ƒ ∂ π ∞ ∫ ∞ π º ø Δ √ ° ƒ ∞ º √ π

∑·ÏfiÁÁÔ˘ 14, ∞ı‹Ó·È13. ™˘ÓÂÚÁ·˙fiÌÂÓÔÈ ºˆÙÔÚÂfiÚÙÂÚ˜μÂÚ·ÓÙ˙¤ÚÔ˘ 18, ∞ı‹Ó·È14. ºÒÙÔ – ÕÏÊ· πˆ·Ó. ∞. ∫ÔÓ‰Ô‚¿ÛËπ. ªÂÙ·Í¿ 13, ∞ÛÚfi˘ÚÁÔ˜15. ºˆÙÔ ¢ËÌËÙÚfiÔ˘ÏÔ˜ – Photo Dimitropoulos Athenes16. ºˆÙÔÂȉËÛÂÔÁÚ·ÊÈÎfiÓ ¶Ú·ÎÙÔÚ›ÔÓ AGFA – ∞ÊÔ› ∞Ó·-ÁÓˆÛÙfiÔ˘ÏÔÈ£ÂÌÈÛÙÔÎÏ¤Ô˘˜ 1, ∞ı‹Ó·È.17. ºˆÙÔÂȉËÛÂÔÁÚ·ÊÈÎfiÓ ¶Ú·ÎÙÔÚ›ÔÓ ∂ÏÏËÓÈÎÔ‡- •¤ÓÔ˘Δ‡Ô˘ ∞ÊÔ› ∞ÓÙˆÓ›Ô˘ Î·È ™›· √∂ª·˘ÚÔÎÔÚ‰¿ÙÔ˘ 7 , ¶Ï·Ù›· ∑ˆÔ‰fi¯Ô˘ ¶ËÁ‹˜, ∞ı‹Ó·È18. ºˆÙÔÁÚ·ÊÈο °ÂÁÔÓfiÙ· ¢¤ÏÙ·§Âˆ¯¿ÚÔ˘˜ 9, ∞ı‹Ó·È19. ºˆÙÔÁÚ·ÊÈÎfiÓ ¶Ú·ÎÙÔÚ›ÔÓ “¶Ú¤˜˜” ™. μ·Ï¿Î˘, ¢. μ·Ú-Ó·Ï›‰Ë˜, °. ™ÎÔ‡Ú·˜μ·Ï·ˆÚ›ÙÔ˘ 2, ∞ı‹Ó·È20. ºˆÙÔÁÚ·ÊÈÎfiÓ ¶Ú·ÎÙÔÚ›ÔÓ ¢.∞. ÷ÚÈÛÈ¿‰Ë˜¶·ÓÂÈÛÙËÌ›Ô˘ 16, ∞ı‹Ó·È21. ·) º Ùfi-∫Ô˘Ú¤ÙË ∂ÏÏËÓÈÎfiÓ º ÙÔÁÚ·ÊÈÎfiÓ ¶Ú·ÎÙÔÚ›ÔÓ√Ì‹ÚÔ˘ 66, ∞ı‹Ó·È‚) ºˆÙÔÚÂÔÚÙ¿˙ ∫Ô˘Ṳ́ÙË ∂ÏÏËÓÈÎfiÓ ÊˆÙÔÁÚ·ÊÈÎfiÓ ¶Ú·-ÎÙÔÚ›ÔÓ¢. μ·ÚÓ·Ï›‰Ë˜, ∫. ∫Ô˘Ṳ́Ù˘, °. ™ÎÔ‡Ú·˜√Ì‹ÚÔ˘ 66, ∞ı‹Ó·ÈÁ) ºˆÙÔÚÂÔÚÙ¿˙ ∫Ô˘Ṳ́ÙË ∂ÏÏËÓÈÎfiÓ ÊˆÙÔÁÚ·ÊÈÎfiÓ ¶Ú·-ÎÙÔÚ›ÔÓ∑·ÏÔÎÒÛÙ· 7, ∞ı‹Ó·È22. ºˆÙÔÚÂÔÚÙ¿˙ ∞ıËÓ·˚ο ¡¤· π. ª¤ÙÙ·˜¶·ÙËÛ›ˆÓ 24, ∞ı‹Ó·È23. ·) ºˆÙÔÚÂÔÚÙ¿˙ ∞ıËÓ·˚ÎÔ‡ Δ‡Ô˘ °. ¢È·Ì·ÓÙ›‰Ë Î·È ™.μ·Ï¿ÛË¡›Î˘ 23, ¶Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜, ∞ı‹Ó·È‚) ºˆÙÔÚÂÔÚÙ¿˙ ∞ıËÓ·˚ÎÔ‡ Δ‡Ô˘ °. ¢È·Ì·ÓÙ›‰Ë¡›Î˘ 23 ¶Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜ ∞ı‹Ó·È24. ºˆÙÔÚÂÔÚÙ¿˙ ∞ıËÓ·ÈÎÔ‡ Δ‡Ô˘ ºÏÒÚÔ˘·) ¶·ÙËÛ›ˆÓ 15, ∞ı‹Ó·È‚) ¶·ÓÂÈÛÙËÌ›Ô˘ 64, ∞ı‹Ó·È

14, Zaloggou Str. Athens

13. United Photojournalists

18, Veranzerou Str. Athens

14. Photo – Alfa Ioan. A. Kondovassis

13, I.Metaxas Str. Aspropyrgos

15. Photo Dimitropoulos Athens

16. News Pictures Agency AGFA – Anagnostopouloi Bros

1, Themistokleous Str. Athens

17. News Pictures Agency for Greek – Foreign Press

Antoniou Bros and Co. Ltd.

7, Mavrokordatou Str. Zoodochou Pigis Square Athens

18. Photographic Events Delta

9, Leocharous Str. Athens

19. Photo Agency “Press” S.Valakis, S. Varnalidis, G. Skouras

2, Valaoritou Str. Athens

20. Photo Agency D. A. Charissiadis

16, Panepistimiou Str. Athens

21. a) Photo-Kourbetis Greek Photo Agency

66, Omirou Str. Athens

b) Photoreporting Kourbetis Greek Photo Agency D.

Varnalidis, K. Kourbetis, G. Skouras

66, Omirou Str. Athens

c) Photoreporting Kourbetis Greek Photo Agency

7, Zalokostas Str. Athens

22. Photoreporting Athenian News I. Bettas

24, Patission Str. Athens

23. a) Photoreporting Athenian Press G. Diamantidis and S.

Valassis

23, Nikis Str. Syntagma Square Athens

b) Photoreporting Athenian Press G. Diamantidis

23, Nikis Str. Syntagma Square Athens

24. Photoreporting Athenian Press Floros

a) 15, Patission Str. Athens

b) 64, Panepistimiou Str. Athens

A T H E N S 17

P H O T O G R A P H I C A L A G E N C I E S A N D P H O T O G R A P H E R S

25. ºˆÙÔÚÂÔÚÙ¿˙ ∂ÏÏËÓÈÎÔ‡ Î·È •¤ÓÔ˘ Δ‡Ô˘ ƒ¤ÓÙ˙˘∞Á›Ô˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ 4, √ÌfiÓÔÈ·, ∞ı‹Ó·È (‰Â˜ Î·È 11)26. ºˆÙÔÚÂÔÚÙ¿˙ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ÷Ù˙ËΈÓÛÙ·ÓÙ›ÓÔ˘√Ì‹ÚÔ˘ 14, ∞ı‹Ó·È27. ºˆÙÔÚÂfiÚÙÂÚ ¢ËÌ‹ÙÚÈÔ˜ ¶Ô˘Ï·Î›‰·˜¡ÂˆÚ›ˆÓ 52, ¶ÂÈÚ·È¿˜28. (Ã) Chalkides Press Photographe22 Churcill str, Athens

•¤ÓÔÈ ºˆÙÔÚÂfiÚÙÂÚ1) Almasy G. PaulCorrespondant acredite de la Presse Suisse1 Rue de Messine Paris(8e)

MÂÌÔӈ̤ÓÔÈ ÊˆÙÔÁÚ¿ÊÔÈ (ÂÚ·ÛÈÙ¤¯Ó˜ ‹ ·ÁÁÂÏ̷ٛ˜)1) μÂÚ‚¤Ú˘ ∞fiÛÙÔÏÔ˜ ( A. Ververis)2 Kanari Str, Athens2) ¢ËÌ‹ÙÚ˘ ¶··‰ËÌËÙÚ›Ô˘¢‹ÌËÙÚÔ˜ 17, ∞Á›· ¶·Ú·Û΢‹3) Zannis G. Emmanuel (∑·ÓÓ‹˜ ª·ÓÒÏ˘)15 rue Messolongiou, Amaroussion Athenes, Greece4) ∫ÔÓÙfi˜ ¡›ÎÔ˜ ʈÙÔÁÚ¿ÊÔ˜Studio - ∂ÚÁ·ÛÙ‹ÚÈÔ ¶ÈÓ‰¿ÚÔ˘ 4, ∞ı‹Ó·È5) KÔ˘ÙÔ˘Ï¿Î˘ ∫ÒÛÙ·˜ (copyright by Kostas Koutoulakis)I. Drosopoulou 215, Athens6) Myloff Paulos ( copyright photograph)Momferatou 85A, Athens7) MÂÓ¿Î˘ §Ô˘Î¿˜ (Lukas A Benakis- Athens)8) ¶··‰‹ÌÔ˜ ¢ËÌ‹ÙÚ˘9) ¶··˚ˆ¿ÓÓÔ˘ μԇϷ ( Papaioannou V)Patriarhou Ioakim, Athens10) V and N Tombazi (ΔÔÌ¿˙˘ ¡›ÎÔ˜)Psychiko Athens11) ÃÚÔ˘Û¿ÎË ª.∞ı‹Ó·È

25. Greek and Foreign Newspictures Service Rentzis4, Agiou Konstantinou Str. Omonoia Athens (see 11)26. News pictures Konstantinos Chatzikonstantinou14, Omirou Str. Athens27. Photojournalist Dimitrios Poulakidis52, Neoreion Str. Pireas28. (Ã) Chalkides Press Photographe22 Churchill Str. Athens

Foreign photojournalists1) Almasy G. PaulCorrespondant accredite de la Presse Suisse1 Rue de Messine Paris(8e)

Individual photographers (amateur or professional)1) Apostolos Ververis2 Kanari Str. Athens2) Dimitris Papadimitriou17 Dimitros Str. Agia Paraskevi3) Zannis G Emmanuel15 rue Messolongiou Amaroussion Athens Greece4) Kontos Nick photographerStudio – 4 Pindarou Str. Athens5) Kostas Koutoulakis (copyright by Kostas Koutoulakis)215, I. Drosopoulou Str. Athens6) Myloff Paulos ( copyright photograph)85A Momferatou Str. Athens7) Lukas A Benakis- Athens8) Papadimos Dimitris9) Papaioannou VoulaPatriarchou Ioakim Athens10) V and N Tombazi (Tombazis Nick)Psychiko Athens11) Chroussaki M.Athens

∏ ∞£∏¡∞ ™Δ∞ Δ∂§∏ Δ√À 19Ô˘ ∞πø¡∞

ATHENS AT THE END OF THE 19th CENTURY

¶¤ÓÙ ·ÓÔÚ·ÌÈΤ˜ ·fi„ÂȘ Ù˘ ∞ı‹Ó·˜ Ï›ÁÔ ÚÈÓ ·fiÙËÓ Â›ÛÔ‰Ô ÙÔ˘ 20Ô˘ ·ÈÒÓ·.™›ÙÈ· ¯·ÌËÏ¿ ‰˘fiÚÔÊ· Î·È ÙÚÈfiÚÔÊ·, ÎÂÚ·ÌÔÛΤ˜…∏ ÔÏÈÙ›· ·ÏˆÌ¤ÓË ·Ó¿ÌÂÛ· ÛÙÔ §˘Î·‚ËÙÙfi Î·È ÙÔÓπÂÚfi μÚ¿¯Ô. ∏ ∞ÎÚfiÔÏË Ó· Ê·›ÓÂÙ·È ·fi ·ÓÙÔ‡. Δ·‡„Ë ÙˆÓ ÎÙÈÚ›ˆÓ ‰È·ÙËÚÔ‡ÓÙ·È ¯·ÌËÏ¿. ªÈ· ÓÂÔÎÏ·ÛÈ΋ÔÏÈÙ›· ÛÙÔ Û‡ÓÔÏÔ Ù˘ ÌÔÓ·‰È΋ ÛÙÔÓ ÎfiÛÌÔ. °È·Ù›Ô˘ıÂÓ¿ ·ÏÏÔ‡ ‰ÂÓ ı· Û˘Ó·ÓÙ‹ÛÂȘ ·˘Ùfi ÙÔ Ê·ÈÓfiÌÂÓÔ,ÙÔ˘ Ó· ΢Úȷگ› ‰ËÏ·‰‹ Ô ÓÂÔÎÏ·ÛÈÎfi˜ Ú˘ıÌfi˜ ·fi Ù·μ·ÛÈÏÈο ∞Ó¿ÎÙÔÚ·, ̤¯ÚÈ ÙÔ ÈÔ ÌÈÎÚfi ·ÛÙÈÎfi ÛÈÙ¿ÎÈ.√È ÊˆÙÔÁڷʛ˜ ‰ÂÓ ·Ó·Ê¤ÚÔ˘Ó ÙÔ fiÓÔÌ· ÙÔ˘ ‰ËÌÈÔ˘Ú-ÁÔ‡ ÙÔ˘˜. ŸÌˆ˜ Û ÌÈ· ·’ ·˘Ù¤˜, ·ÓÙ› ÁÈ· ˘ÔÁÚ·Ê‹¤¯ÂÈ ·ÔÙ˘ˆı› ÛÙË Î¿Ùˆ ÁˆÓ›· ·ÚÈÛÙÂÚ¿ Ë ÛÎÈ¿ ÙÔ˘.∂›Ó·È ÔÈ ·Ï·ÈfiÙÂÚ˜ ʈÙÔÁڷʛ˜ ÙÔ˘ ·Ú¯Â›Ô˘. ªÈ·ÌÂÁ¤ı˘ÓÛË ÙÔ˘˜ Û ÌÂÁ¿ÏË Îϛ̷η ÌÔÚ› Ó· Ì·˜‰ÒÛÂÈ ¤Ó· Ï‹ıÔ˜ ·fi ÏËÚÔÊÔڛ˜ ÁÈ· ÙËÓ ÂÔ¯‹ ȉÈ-·›ÙÂÚ· ÔχÙÈ̘.

Five panoramic views of Athens shortly before thebeginning of the 20th century. Low houses with two orthree storeys, tiled roofs…The city stretches out between Lykavittos Hill and theSacred Rock. The Acropolis is visible from any location.The height of the buildings remains low.It is by majority a neoclassical city, unique in the world.Because nowhere else can you meet this phenomenon,where the neoclassical style is dominant to such an extent,from the Royal Palace to the smallest civilian home.There is no mentioning of the name of the maker on thephotos. But on one of them, instead of a signature, we havethe appearance of his shadow at the bottom left corner.These are the oldest photos in our archives. If they were tobe enlarged to a bigger scale we would be able to notice awealth of information about that period, which would beever so valuable.

20

¶ ∞ ¡ √ ƒ ∞ ª π ∫ ∂ ™

A T H E N S

ÕÔ„Ë Ù˘ ∞ı‹Ó·˜ ·fi ÙÔ˘˜ Úfiԉ˜ ÙÔ˘ §˘Î·‚ËÙÙÔ‡ÂΛ ÂÚ›Ô˘ fiÔ˘ Û‹ÌÂÚ· Ë ¢ÂÍ·ÌÂÓ‹. ™ÙÔ Ì¤ÛÔÓÂÚ›Ô˘ Ù˘ ʈÙÔÁÚ·Ê›·˜ Ô πÂÚfi˜ μÚ¿¯Ô˜ Ì ÙËÓ∞ÎÚfiÔÏË, Î·È ÛÙ· fi‰È· ÙÔ˘, ÔÈ Û˘ÓÔÈ˘ Ù˘ ¶Ï¿Î·˜Î·È ÙÔ˘ £ËÛ›Ԣ.™ÙË ÁˆÓ›· ·ÚÈÛÙÂÚ¿ ÙÔ ÌfiÏȘ ·Ó·ÛÙËψ̤ÓÔ ¶·Ó·ıËÓ·˚Îfi™Ù¿‰ÈÔ Î·È ·ÎÚÈ‚Ò˜ ÌÚÔÛÙ¿ ÙÔ˘ Ë ÎˆÓÈ΋ ÛÙ¤„Ë Ù˘ÁˆÓ›·˜ ÙÔ˘ ªÂÁ¿ÚÔ˘ ¶ÂÛÌ·Ù˙fiÁÏÔ˘ ÛÙË ÁˆÓ›· ÙˆÓÔ‰ÒÓ ∏ÚÒ‰Ë ÙÔ˘ ∞ÙÙÈÎÔ‡ Î·È μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜, ηÈÛÙË Û˘Ó¤¯ÂÈ· Ù· ∞Ó¿ÎÙÔÚ· (ÛËÌ. μÔ˘Ï‹ ) Î·È Ô μ·ÛÈ-ÏÈÎfi˜ ΋Ԙ.

View of Athens from the foothill of Lykavittos, more orless where today the area called Dexameni is situated. Inthe middle of the photograph we see the Sacred Rock withthe Acropolis and below it the neighbourhoods of Plakaand Thesseio.In the left hand corner the Panathinaikon Stadio, recentlyrestored, and right in front of it the conical decoration ofthe corner of Pesmatzoglou Mansion at the junction ofHerod Atticus Street and Vasilissis Sofias Avenue andbehind that the Royal Palace (nowadays the Parliament)and the Royal Gardens.

∏ ∞ı‹Ó· ÛÙ· Ù¤ÏËÙÔ˘ 19Ô˘ ·ÈÒÓ·.

Athens at the endof the 19th century

P A N O R A M I C

A T H E N S 21

22

¶ ∞ ¡ √ ƒ ∞ ª π ∫ ∂ ™

A T H E N S

Still at Lykavittos foothills. This photograph must havebeen taken along the axis of Omirou Street, at thepoint of Anagnostopoulou Street.In the left hand corner, in the forefront is the smallchurch of St. Dionyssios Areopagitis, exactly on thespot where the modern church was built. Still on theleft far in the background the Panathinaikon Stadioand the Royal Gardens with the Palace. We can alsosee the Successor’s Palace (nowadays thePresidential Residence) before the attachment of theballroom on the side of King George II’s Avenue.Taking in account the fact that the Successor’s Palacewas built in 1897 and the ballroom was added in1909, these pictures should have been taken duringthis period.Central in the photo is the Acropolis again, and on theright we see the Civilian Hospital (nowadays CulturalCentre of the Municipality of Athens ) in AkademiasStreet and the Athenian Trilogy on PanepistimiouAvenue and further back the Arsakeio School.This t ime the shot was probably taken fromPhilopappou Hill. In the forefront we see ApostolouPavlou Street, still in formation.On the right the Acropolis Hill, with Erechtheio,Parthenon and Propylaia. Almost in the centreLykavittos Hill and on its left the Thesseio.

¶¿ÓÙ· ÛÙÔ˘˜ Úfiԉ˜ ÙÔ˘ §˘Î·‚ËÙÙÔ‡. ∏ ʈÙÔÁÚ·-Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÛÙÔÓ ¿ÍÔÓ· Ù˘ Ô‰Ô‡√Ì‹ÚÔ˘, ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∞Ó·ÁÓˆÛÙÔÔ‡ÏÔ˘.™ÙË ÁˆÓ›· ·ÚÈÛÙÂÚ¿, Û ÚÒÙÔ Ï¿ÓÔ ÙÔ ÌÈÎÚfi ÂÎÎÏË-Û¿ÎÈ ÙÔ˘ ∞Á›Ô˘ ¢ÈÔÓ˘Û›Ô˘ ÙÔ˘ ∞ÚÂÔ·Á›ÙÔ˘ ÛÙË ı¤ÛËfiÔ˘ ¯Ù›ÛÙËΠ·ÚÁfiÙÂÚ· Ô ÛËÌÂÚÈÓfi˜ Ó·fi˜. ¶¿ÓÙ··ÚÈÛÙÂÚ¿ ÛÙÔ ‚¿ıÔ˜, ÙÔ ¶·Ó·ıËÓ·˚Îfi ™Ù¿‰ÈÔ Î·È Ôμ·ÛÈÏÈÎfi˜ ΋Ԙ Ì ٷ ∞Ó¿ÎÙÔÚ·. ¢È·ÎÚ›ÓÂÙ·È Â›Û˘ÙÔ ∞Ó¿ÎÙÔÚÔ ÙÔ˘ ¢È·‰fi¯Ô˘ (ÛËÌ. ¶ÚÔ‰ÚÈÎfi ª¤Á·ÚÔ)ÚÈÓ Á›ÓÂÈ Ë ÚÔÛı‹ÎË Ù˘ ·›ıÔ˘Û·˜ ¯ÔÚÔ‡ ÚÔ˜ ÙËÓÏÂ˘Ú¿ Ù˘ ψÊ. μ·Û. °ÂˆÚÁ›Ô˘ μ’. ¢Â‰Ô̤ÓÔ˘ fiÙÈÙÔ ∞Ó¿ÎÙÔÚÔ ÙÔ˘ ¢È·‰fi¯Ô˘ ¯Ù›ÛÙËΠÙÔ 1897 Î·È Ë·›ıÔ˘Û· ¯ÔÚÔ‡ ÚÔÛÂÙ¤ıË ÙÔ 1909 ÔÈ ÊˆÙÔÁڷʛ˜·˘Ù‹˜ Ù˘ ÂÓfiÙËÙ·˜ Ú¤ÂÈ Ó· ¤¯Ô˘Ó ÙÚ·‚˯Ù› ÛÙÔÌÂÛԉȿÛÙËÌ·.™ÙÔ Î¤ÓÙÚÔ Ù˘ ʈÙÔÁÚ·Ê›·˜ Î·È ¿ÏÈ Ë ∞ÎÚfiÔÏË,ÂÓÒ ÛÙ· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÔ˘Ì ÙÔ ¶ÔÏÈÙÈÎfi ¡ÔÛÔÎÔÌ›Ô,ÛËÌÂÚÈÓfi ¶ÓÂ˘Ì·ÙÈÎfi ∫¤ÓÙÚÔ ÙÔ˘ ¢‹ÌÔ˘ ∞ıËÓ·›ˆÓ,ÛÙËÓ Ô‰fi ∞η‰ËÌ›·˜ Î·È ÙËÓ ∞ıËÓ·˚΋ ΔÚÈÏÔÁ›· ÛÙËψÊ. ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÙÔ ∞ÚÛ¿ÎÂÈÔ.∞˘Ù‹ ÙË ÊÔÚ¿ Ë Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ Èı·Ófiٷٷ ·fi ÙÔÏfiÊÔ ÙÔ˘ ºÈÏÔ¿Ô˘. ™Â ÚÒÙÔ Ï¿ÓÔ Ê·›ÓÂÙ·È ËÔ‰fi˜ ∞ÔÛÙfiÏÔ˘ ¶·‡ÏÔ˘ ·ÎfiÌË ·‰È·ÌfiÚʈÙË.¢ÂÍÈ¿ Ô ‚Ú¿¯Ô˜ Ù˘ ∞ÎÚfiÔÏ˘, Ì ÙÔ ∂Ú¯ı›Ô, ÙÔÓ¶·ÚıÂÓÒÓ· Î·È Ù· ¶ÚԇϷȷ. ™ÙÔ Î¤ÓÙÚÔ ÂÚ›Ô˘, ÔÏfiÊÔ˜ ÙÔ˘ §˘Î·‚ËÙÙÔ‡ Î·È ·ÚÈÛÙÂÚ¿ ÙÔ˘ ÙÔ £ËÛ›Ô.

P A N O R A M I C

A T H E N S 23

24

¶ ∞ ¡ √ ƒ ∞ ª π ∫ ∂ ™

A T H E N S

∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ÎÔÓÙ¿ ÛÙÔÓ ∞Á. ∞ı·Ó¿ÛÈÔ. ¢ÂÍÈ¿ ·fiÙȘ ÁÚ·Ì̤˜ ÙÔ˘ ÙÚ·›ÓÔ˘ Ô˘ Ô‰ËÁ› ÛÙÔÓ ¶ÂÈÚ·È¿, ÙÔ£ËÛÂ›Ô Î·È Ë ∞ÎÚfiÔÏË, ·ÚÈÛÙÂÚ¿ Ô §˘Î·‚ËÙÙfi˜. ∞ÎÚÈ-‚Ò˜ ‰›Ï· ÛÙȘ ÁÚ·Ì̤˜ Ë Â¤ÎÙ·ÛË Ù˘ Ô‰Ô‡ ∂ÚÌÔ‡,Ô‰ËÁ› ¢ı›· ÛÙ· ∞Ó¿ÎÙÔÚ·.∞ÚÈÛÙÂÚ¿ Ù˘ Ô‰Ô‡ ∂ÚÌÔ‡ Ô ∫ÂÚ·ÌÂÈÎfi˜, ·‰È·ÌfiÚʈÙÔ˜·ÎfiÌ· Î·È ·¤Ó·ÓÙÈ, › Ù˘ ¶ÂÈÚ·ÈÒ˜ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ·ÂÚÈfiʈÙÔ˜ ÛÙËÓ ÚÒÙË Ê¿ÛË ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘.™ÙÔ ‚¿ıÔ˜ Ô Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ §Ô˘Î¿.

This shot must have been taken near St. Athanassios.On the right side of the railway lines, leading toPireus, Thesseio and the Acropolis , on the lef tLykavittos Hill.On the left of Ermou Street, the Kerameikos, stillunrestored, and opposite that, on Pireos Street, thegas works, during its first phase of operation.Further back the church of St. Loukas.

ª›· ·ÎfiÌË ·ÓÔÚ·ÌÈ΋ ¿Ô„Ë Ù˘ ∞ı‹Ó·˜ Ì ÙÔÓ πÂÚfiμÚ¿¯Ô ÛÙËÓ ‰ÂÍÈ¿ ÁˆÓ›· Û ÚÒÙÔ Ï¿ÓÔ, Î·È ÙÔ ÏfiÊÔÙÔ˘ §˘Î·‚ËÙÙÔ‡ ÛÙÔ Î¤ÓÙÚÔ.¢È·ÎÚ›ÓÔÓÙ·È Ô ¯ÒÚÔ˜ Ù˘ ƒˆÌ·˚΋˜ ∞ÁÔÚ¿˜, ÙÔ Ù˙·Ì› ÙÔ˘™Ù·ÚÔ¿˙·ÚÔ˘, ÔÈ ‡ÚÁÔÈ Î·Ì·Ó·ÚÈ¿ Ù˘ ∞Á›·˜ ∂ÈÚ‹-Ó˘, Ù· ∞Ó¿ÎÙÔÚ·.

One more panoramic view of Athens with the SacredRock in the right hand corner in the forefront andLykavittos Hill in the centre.We can see the area of the Roman Market, the mosquenamed after the wheat market, the bell towers of St.Eirini, the Royal Palace.

P A N O R A M I C

A T H E N S 25

∏ ∞£∏¡∞ ∫∞π √π ∞ƒÃ∞π√Δ∏Δ∂™

ATHENS AND ANTIQUITY

¢ÂÓ ˘¿Ú¯ÂÈ Ï‡Έ̷ ÁÈ· ÙËÓ ∞ı‹Ó·, Ô˘ Ó· ÌËÓÛ˘ÌÂÚÈÏ·Ì‚¿ÓÂÈ ÙȘ ·Ú¯·ÈfiÙËÙ˜. ªÈ· fiÏË Ô˘ Ë ˙ˆ‹Ù˘ ·Ó·Ù¤ÏÏÂÈ ·fi ÙÔ Ï˘Îfiʈ˜ ÙˆÓ ·Ú·‰fiÛÂˆÓ Î·È ÙˆÓ̇ıˆÓ Î·È Û˘Ó¯›˙ÂÙ·È Ì·ÎÚÈ¿ Î·È ·‰È¿ÎÔÔ ÛÙÔ ¤Ú·-ÛÌ· ÙˆÓ ·ÈÒÓˆÓ ‰ÂÓ ÌÔÚ› ·Ú¿ Ó· ÙÈÌ¿ Î·È Ó· Û¤‚Â-Ù·È ÙËÓ ÈÛÙÔÚ›· Ù˘.°‡Úˆ ·fi ÙÔÓ πÂÚfi μÚ¿¯Ô, ÙËÓ ∞ÎÚfiÔÏË, ÙÔ ∫¿ÛÙÚÔ Ù˘ΔÔ˘ÚÎÔÎÚ·Ù›·˜ Í·ÏÒıËÎÂ Î·È ÂÍ·ÎÔÏÔ˘ı› Ó· Í·ÏÒ-ÓÂÙ·È Ë Û‡Á¯ÚÔÓË fiÏË, ·ÂÈÏÒÓÙ·˜ Ó· ηٷϿ‚ÂÈ Î¿ıÂÁˆÓ›· ÂχıÂÚ˘ Á˘ ÙÔ˘ §ÂηÓÔ‰›Ô˘.∏ Ì›˙ˆÓ ÂÚÈÔ¯‹ Ù˘ ¶ÚˆÙÂ‡Ô˘Û·˜.

There is no album about Athens that would notinclude the ancient sites. The city, with its lifeemerging through the twilight of traditions andmyths, continuing its long history without a breakthrough the passing of centuries, is due to honourand respect its history.Athens started to expand around the Sacred Rock,Acropolis, the Castle during the Turkish occupation;the modern city continues to expand, threatening tooccupy every bit of free land.The major area of the Capital.

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A T H E N S

∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÏËÊı› ÛÙ· ¯ÚfiÓÈ· ÙÔ˘ ªÂÛÔ-ÔϤÌÔ˘. ∏ ·Ó·ÛًψÛË ÙÔ˘ ı¿ÙÚÔ˘ ÙÔ˘ ∏ÚÒ‰Ë ÙÔ˘ ∞ÙÙÈÎÔ‡Î·È Ù· ¤ÚÁ· ÛÙËÓ ∞ÎÚfiÔÏË ‰ÂÓ ¤¯Ô˘Ó ·ÎfiÌË ·Ú¯›ÛÂÈ.¶¿Óˆ ÛÙÔÓ πÂÚfi μÚ¿¯Ô ‰È·ÎÚ›ÓÂÙ·È ÛÙË ÁˆÓ›· ‰ÂÍÈ¿ ÙÔ·ÏÈfi ÌÔ˘ÛÂ›Ô Ù˘ ∞ÎÚfiÔÏ˘ (1865-1874), ¤ÚÁÔ ÙÔ˘¶·Ó·Á‹ μÚÂÙÙÔ‡-∫¿ÏÎÔ˘ Ì ÙËÓ ÚÔÛı‹ÎË ÙÔ˘ 1888. ¢ÂÓ˘¿Ú¯ÂÈ Ë ÓÂfiÙÂÚË Â¤ÎÙ·ÛË Ô˘ ¿Ú¯ÈÛ ÙÔ 1953. ∞ÚÈÛÙÂ-Ú¿ Ô ÏfiÊÔ˜ ÙÔ˘ £ËÛ›Ԣ.™ÙÔ ‚¿ıÔ˜ Ë ÚÔÔÏÂÌÈ΋ ∞ı‹Ó· Ì ÙË ¯·ÌËÏ‹ ‰fiÌËÛË, ÌÂÎÙ›ÚÈ· Ì ÎÂÚ·ÌÔÛΤ˜, ¯ˆÚ›˜ ÔÏ˘Î·ÙÔÈ˘.

This photo must have been taken in the years between thetwo world wars. The restoration of the Herod AtticusTheatre and the works on Acropolis have not yet started. On the Sacred Rock in the right hand corner we see the oldAcropolis Museum, constructed by Panagis Vrettos-Kalkos(1865-1874), with the addition of 1888. The more recentextension, which started in 1953, is not yet there. On theleft the Thesseio Hill.Further back Athens before the war, with its low constructions,buildings with tiled roofs, without any multi-storey buildings.

¶·ÓfiÚ·Ì· Ù˘ ∞ı‹Ó·˜. Panorama of Athens.

A N T I Q U I T Y

A T H E N S 29

ΔÔ ÌÓËÌÂ›Ô ÙÔ˘ ¢ÈÔÓ˘Û›Ô˘ ÂÎ ∫ÔÏÏ˘ÙÔ‡ ÛÙÔ ·Ú¯·›Ô ÓÂÎÚÔÙ·ÊÂ›Ô Ù˘∞ı‹Ó·˜ Ô˘ ˘‹Ú¯Â ‹‰Ë ·fi ÙÔÓ 2Ô Ã. ·ÈÒÓ·. Δ· ÈÔ ·ÍÈfiÏÔÁ··fi Ù· ÓÂÎÚÈο ÌÓËÌ›· Ô˘ ÛÒ˙ÔÓÙ·È, fiˆ˜ Ë ÛÙ‹ÏË Ù˘ ∏ÁËÛÒ˜¶ÚÔͤÓÔ˘, ÙÔ ÌÓËÌÂ›Ô ÙÔ˘ §˘ÛÈÌ·¯›‰Ô˘, Ë ÛÙ‹ÏË ÙÔ˘ ¢ÂÍÈϤˆ ‚Ú›-ÛÎÔÓÙ·È Î·Ù¿ Ì‹ÎÔ˜ Ù˘ ÛËÌ·ÓÙÈÎfiÙÂÚ˘ Ô‰Ô‡ ÙÔ˘ ÓÂÎÚÔÙ·Ê›Ԣ,Ù˘ Ô‰Ô‡ ÙˆÓ Ù¿ÊˆÓ. ∞Ó¿ÌÂÛ· ÙÔ˘˜ ‚Ú›ÛÎÂÙ·È Î·È ÙÔ ÌÓËÌÂ›Ô ÙÔ˘¢ÈÔÓ˘Û›Ô˘ ÂÎ ∫ÔÏÏ˘ÙÔ‡, Ì ¤Ó·Ó Ì·ÚÌ¿ÚÈÓÔ Ù·‡ÚÔ ÛÙËÓ ÎÔÚ˘Ê‹,ۇ̂ÔÏÔ ÙÔ˘ ıÂÔ‡ ¢ÈÔÓ‡ÛÔ˘. ªÚÔÛÙ¿ ÙÔ˘, ÛÙË ·ÚÈÛÙÂÚ‹ ÁˆÓ›· Ù˘ʈÙÔÁÚ·Ê›·˜, ÙÔ ÌÓËÌÂ›Ô ÙÔ˘ §˘ÛÈÌ·¯›‰Ô˘ ÙÔ˘ ∞¯·ÚÓ¤ˆ˜ Ô˘ÎÔÛÌ›ÙÔ ·fi ‰‡Ô Û·ÏÔ˘˜. ™‹ÌÂÚ· ÛÒ˙ÂÙ·È ÌÔÓ¿¯· Ô ¤Ó·˜.

The monument of Dionyssios from Kollytos in the ancient burialgrounds of Athens, existing since the 2nd century BC. The mostremarkable burial monuments, saved through centuries, such as thestele of Hegisos Proxenos, the monument of Lyssimachidis, the stele ofDexileos, are located across the most important road of the cemetary,the tombs road. Amongst them we see the monument of Dionyssiosfrom Kollytos, with a marble bull, a symbol of the god Dionyssos, onthe top. In front of it, in the left corner of the photograph, themonument of Lyssimachidis from Acharnes, which was adorned withtwo dogs. Today only one of them has been preserved.

∫ÂÚ·ÌÂÈÎfi˜ Kerameikos

30

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A T H E N S

∞fi ÙÔ 1975 ÎÈ ‡ÛÙÂÚ· Û˘ÛÙËÌ·ÙÈΤ˜ ÂÚÁ·Û›Â˜ Û˘ÓÙ‹ÚËÛË˜Î·È ·Ó·ÛًψÛ˘ ÍÂΛÓËÛ·Ó ÛÙ· ÌÓËÌ›· Ù˘ ∞ÎÚfiÔÏ˘.√È ÂÚÁ·Û›Â˜ ·˘Ù¤˜ Û˘Ó¯›˙ÔÓÙ·È Ì¤¯ÚÈ Û‹ÌÂÚ·, οو ·fiÙËÓ ÂÔÙ›· ÌÈ·˜ ‰ÈÂÈÛÙËÌÔÓÈ΋˜ ÂÈÙÚÔ‹˜ ÂÈÛÙËÌfi-ÓˆÓ, ·Ú¯·ÈÔÏfiÁˆÓ, ·Ú¯ÈÙÂÎÙfiÓˆÓ, ÔÏÈÙÈÎÒÓ Î·È ¯ËÌÈÎÒÓÌ˯·ÓÈÎÒÓ.∏ ·Ó·ÛًψÛË ÙˆÓ ÌÓËÌ›ˆÓ Ù˘ ∞ÎÚfiÔÏ˘ ¤¯ÂÈ È‰È·›ÙÂ-ÚË ÛËÌ·Û›· fi¯È ÌfiÓÔ ÁÈ· ÙË ¯ÒÚ· Ì·˜ ·ÏÏ¿ Î·È ÁÈ· ÔÏfi-ÎÏËÚË ÙËÓ ·ÓıÚˆfiÙËÙ·. ∏ ‰È·Ê‡Ï·ÍË Ù˘ ÔÏÈÙÈÛÙÈ΋˜Ì·˜ ÎÏËÚÔÓÔÌÈ¿˜ ·ÔÙÂÏ› ηı‹ÎÔÓ Î·È ˘Ô¯Ú¤ˆÛË Ù˘ÂÏÏËÓÈ΋˜ ÔÏÈÙ›·˜.∏ ʈÙÔÁÚ·Ê›· ·ÂÈÎÔÓ›˙ÂÈ ÈÎÚ›ˆÌ· ÛÙË ÁˆÓ›· Ù˘ ·Ó·ÙÔ-ÏÈ΋˜ fi„˘ ÙÔ˘ ¶·ÚıÂÓÒÓ·, Î·È Â›Ó·È ·¯ÚÔÓÔÏfiÁËÙË.

From 1975 a series of thorough maintenance andrestoration works began on the Acropolis monuments.These works carry on until today, under thesupervision of a multi-scientific committee ofscientists, archaeologists, architects, civil engineersand specialised chemists.Restor ing the Acropol is monuments carr ies acrucial significance not only for our country, but forthe entire human race. The proper preservation ofour cultural heritage is a major duty and obligationof the Greek State.This photograph shows a scaffold on the corner of theParthenon’s eastern side, and is undated.

∞Ó·ÛÙËψÙÈο ¤ÚÁ·ÛÙÔÓ ¶·ÚıÂÓÒÓ·

Restoration workson the Parthenon

A N T I Q U I T Y

A T H E N S 31

ΔÔ ¯ÔÚËÁÈÎfi ÌÓËÌÂ›Ô ÙÔ˘ §˘ÛÈÎÚ¿ÙÔ˘˜ ÁÓˆÛÙfi Î·È ˆ˜ Ê·Ó¿-ÚÈ ÙÔ˘ ¢ÈÔÁ¤ÓÔ˘˜ Â›Ó·È ÙÔ ÌÔÓ·‰ÈÎfi ÌÓËÌÂ›Ô Ô˘ ÛÒ˙ÂÙ·È·Ó¤·ÊÔ, ÛÙË Ì¤ÛË Ù˘ ÔÌÒÓ˘Ì˘ ÌÈÎÚ‹˜ Ï·Ù›·˜.∂›Ó·È ¤Ó· ·fi Ù· ÌÓËÌ›· Ô˘ ·Ó¤ÁÂÈÚ·Ó ÔÈ ¯ÔÚËÁÔ› ÙˆÓ‰Ú·Ì·ÙÈÎÒÓ ·ÁÒÓˆÓ ÔÈ ÔÔ›ÔÈ ÂÙÂÏÔ‡ÓÙÔ Î¿ı ¯ÚfiÓÔÛÙËÓ ·Ú¯·›· ∞ı‹Ó·, ÛÙÔ £¤·ÙÚÔ ÙÔ˘ ¢ÈÔÓ‡ÛÔ˘. ¶ÚfiÎÂÈÙ·ÈÁÈ· ¤Ó· ÎÔÌ„fi ΢ÏÈÓ‰ÚÈÎfi ÎÙ›ÚÈÔ Ô˘ ¯Ù›ÛÙËΠÙÔ 334.Ã., Ì ÌÔÚÊ‹ Ó·˝ÛÎÔ˘ ÎÔÚÈÓıÈ·ÎÔ‡ Ú˘ıÌÔ‡. ∏ ˙ˆÔÊfiÚÔ˜ÎÔÛÌÂ›Ù·È Ì ·Ó¿ÁÏ˘Ê˜ ·Ú·ÛÙ¿ÛÂȘ, Ô˘ ·ÂÈÎÔÓ›˙Ô˘ÓÙÔÓ fiÏÂıÚÔ Δ˘ÚÚËÓÒÓ ÂÈÚ·ÙÒÓ ·fi ÙÔ ıÂfi ¢ÈfiÓ˘ÛÔ Î·ÈÙË ÌÂÙ·ÙÚÔ‹ ÙÔ˘˜ Û ¢ÂÏÊ›ÓÈ·.™ÙË ÁˆÓ›· ›Ûˆ ·fi ÙÔ ÌÓËÌ›Ô, ‰È·ÎÚ›ÓÂÙ·È ÙÚÈÒÚÔÊË Î·ÙÔÈΛ·ÙÔ˘ fi„ÈÌÔ˘ ÓÂÔÎÏ·ÛÈÎÈÛÌÔ‡ Ì ·Á¿ÏÌ·Ù· ÛÙÔ ‰ÒÌ· (1911) ηȉ›Ï· ÛÙË ‰ÂÍÈ¿ ÏÂ˘Ú¿ Ù˘ ʈÙÔÁÚ·Ê›·˜ ¤Ó· ·ÎfiÌË ·Ï·Èfi-ÙÂÚÔ ÓÂÔÎÏ·ÛÈÎfi ÙÔ˘ Ù¤ÏÔ˘˜ ÙÔ˘ 19Ô˘ ·ÈÒÓ·.∞fi ÙȘ Ï›Á˜ ÁˆÓ›Â˜ Ù˘ ∞ı‹Ó·˜ Ô˘ ·Ú·Ì¤ÓÂÈ ·Ó·ÏÏÔ›ˆÙË.

The choragic monument of Lyssicrates, also known as Diogenis’lantern, is the only monument in the middle of the homonymoustiny square that is preserved in its entirety.It is one of the monuments erected by the patrons of theatricalperformances, which were held on a yearly basis in ancientAthens, in Dionyssos’ Theatre. It is an elegant, circular structure,built in 334 BC, in the form of a small temple in accordance withthe Corinthian style. Its freeze is adorned with engravedsculptures, depicting the destruction of Tyrrenian pirates by thegod Dionyssos, and their transformation into dolphins.In the corner behind the monument we can see a three-storeyhouse in late neoclassical style, with statues on the top (1911) andnext to it, on the right side of the photo, one more olderneoclassical building constructed at the end of the 19th century.One of the few parts of Athens which remain unchanged.

To ÌÓËÌÂ›Ô ÙÔ˘ §˘ÛÈÎÚ¿ÙÔ˘˜ (25-06-66)

The monument of Lyssicrates (25-06-66)

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™Ù· ̤۷ ÙÔ˘ 2Ô˘ .Ã. ·ÈÒÓ· ÎÙ›˙ÂÙ·È ÛÙËÓ ·Ó·ÙÔÏÈ΋ÏÂ˘Ú¿ Ù˘ ·Ú¯·›·˜ ∞ÁÔÚ¿˜ Ë ™ÙÔ¿ ÙÔ˘ ∞ÙÙ¿ÏÔ˘. ∏ ™ÙÔ¿·Ó·ÛÙËÏÒıËΠ·fi ÙËÓ ∞ÌÂÚÈηÓÈ΋ ™¯ÔÏ‹ ∫Ï·ÛÛÈÎÒÓ™Ô˘‰ÒÓ ÁÈ· Ó· ÛÙÂÁ¿ÛÂÈ Ù· ÔχÙÈÌ· Â˘Ú‹Ì·Ù· ÙˆÓ·Ó·ÛηÊÒÓ ÛÙËÓ ∞ıËÓ·˚΋ ∞ÁÔÚ¿. ∏ ÌÂϤÙË Ù˘ ·Ó·ÛÙ‹-ψÛ˘ ¤ÁÈÓ ·fi ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ·- ·Ú¯·ÈÔÏfiÁÔ °È¿ÓÓËΔÚ·˘Ïfi Î·È Ë ÛÙ·ÙÈ΋ ÌÂϤÙË ·fi ÙÔÓ ÔÏÈÙÈÎfi Ì˯·ÓÈÎfi°ÈÒÚÁÔ ª›ÚË. ΔË ÁÂÓÈ΋ ÂÔÙ›· ›¯Â Ô ∞Ó·ÛÙ¿ÛÈÔ˜√ÚÏ¿Ó‰Ô˜. √È ÂÚÁ·Û›Â˜ ¿Ú¯ÈÛ·Ó ÙÔ 1953 Î·È ÙÂÏ›ˆÛ·Ó ÙÔ1956. Δ· ÂÁη›ÓÈ· Ù˘ ™ÙÔ¿˜ ÙÔ˘ ∞ÙÙ¿ÏÔ˘ ıˆڋıËηӓ‰ÈÂıÓ¤˜ ·Ú¯·ÈÔÏÔÁÈÎfi ÁÂÁÔÓfi˜” Î·È ··Û¯fiÏËÛ·Ó ÔχÙÔÓ ·ıËÓ·˚Îfi Δ‡Ô. √È ÊˆÙÔÁڷʛ˜ ·Ó Î·È ·¯ÚÔÓÔÏfiÁËÙ˜ڤÂÈ Ó· Â›Ó·È ÂΛӢ Ù˘ ÂÔ¯‹˜.ªÚÔÛÙ¿ ·fi ÙËÓ ∞ÁÔÚ¿ ‰È·ÎÚ›ÓÔÓÙ·È ÛÙÔ ¤‰·ÊÔ˜ Ù·›¯ÓË ÙÔ˘ ˆ‰Â›Ô˘ ÙÔ˘ ∞ÁÚ›· (150Ì.Ã.) Î·È Û ÚÒÙÔÏ¿ÓÔ ÔÈ ÛًϘ Ì ٷ ·Á¿ÏÌ·Ù· Ô˘ ÎÔÛÌÔ‡Û·Ó Î¿ÔÙÂÙËÓ ÚfiÛÔ„Ë ÙÔ˘ ˆ‰Â›Ô˘. ¶›Ûˆ ·fi ÙË ™ÙÔ¿ Ë ÂÚÈÔ¯‹Ù˘ ¶Ï¿Î·˜.

In the middle of the 2nd century BC the Attalus Arcadewas built on the eastern side of the ancient Agora(market). The arcade was restored by the American Schoolof Classical Studies so as to host the precious findings fromthe excavations in the Athenian Agora. The restorationstudy was undertaken by architect-archaeologist YiannisTravlos and the stability research by the civil engineerGeorge Mbiris. Anastassios Orlandos worked as thegeneral supervisor. The works began in 1953 and werecompleted in 1956. The inauguration of the AttalusArcade was considered “an international archaeologicalevent” and was widely covered by the Athenian press.These photos, although undated, must have been takenduring that period.In front of the agora we see on the ground the left-overs ofAgrippa’s Odeon (150 AD) and right in the forefront thecolumns with the statues which used to adorn the Odeon’sfrontal part. Behind the arcade is the area of Plaka.

™ÙÔ¿ ∞ÙÙ¿ÏÔ˘ Attalus Stoa (Arcade)

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ªÂ ÊfiÓÙÔ ÙË ™ÙÔ¿ ·Ú·ÙËÚԇ̠ٷ ·Á¿ÏÌ·Ù· Ô˘ ÛÙfi-ÏÈ˙·Ó ÙËÓ fi„Ë ÙÔ˘ ˆ‰Â›Ô˘ ÙÔ˘ ∞ÁÚ›·.™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ ¿Á·ÏÌ· ÙÔ˘ ıÂÔ‡ ΔÚ›ÙˆÓ· Ô˘ ·ÂÈ-ÎÔÓ›˙ÂÙ·È Û·Ó ÌÈÛfi „¿ÚÈ Î·È ÌÈÛfi˜ ¿ÓıÚˆÔ˜.

With the arcade in the background we see the statues whichused to adorn the frontal part of Agrippa’s Odeon.In the forefront is the statue of Triton, the deity depictedas half fish and half human.

∞Á¿ÏÌ·Ù· ÙÔ˘ ˆ‰Â›Ô˘ ÙÔ˘ ∞ÁÚ›· Statues of Agrippa’s Odeon

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™Â ÚÒÙÔ Ï¿ÓÔ Ë ÚÔ˜ ¡ Ù˘ Ô‰Ô‡ ¢ÈÔÓ˘Û›Ô˘ ∞ÚÂÔ·Á›ÙÔ˘ÂÚÈÔ¯‹ Ô˘ ÂÚÈ‚¿ÏÏÂÙ·È ÌÂٷ͇ Ù Ó Ô‰ÒÓ °·ÚÈ‚¿Ï‰Ë ηÈ∫·Ú˘·Ù›‰ˆÓ.™ÙÔ Ù¤ÏÔ˜ Ù˘ ¢ÈÔÓ˘Û›Ô˘ ∞ÚÂÔ·Á›ÙÔ˘ ÙÔ ø‰Â›Ô ÙÔ˘ ∏ÚÒ‰ËÙÔ˘ ∞ÙÙÈÎÔ‡, Ô˘ ¤ÎÙÈÛÂ Ô ƒˆÌ·›Ô˜ ¢ÂÚÁ¤Ù˘ Ù˘ ∞ı‹Ó·˜,ÚÔ˜ ÙÈÌ‹Ó Ù˘ Û˘˙‡ÁÔ˘ ÙÔ˘ ƒËÁ›ÏÏ˘ ÛÙ· Ù¤ÏË ÙÔ˘ 2Ô˘ ÷ÈÒÓ· Î·È ÛÙË Û˘Ó¤¯ÂÈ· Ë ™ÙÔ¿ ÙÔ˘ ∂˘Ì¤ÓË. ™ÙÔ ‚¿ıÔ˜ ÔÈÂÚfi˜ ‚Ú¿¯Ô˜ Ì ٷ ÚԇϷȷ, ·ÚÈÛÙÂÚ¿ ÙÔ ∂Ú¤¯ıÂÈÔ Î·È Ô¶·ÚıÂÓÒÓ·˜ ÛÙÔ Î¤ÓÙÚÔ. ¢È·ÎÚ›ÓÂÙ·È Î·È ÙÔ ÌÈÎÚfi ÌÔ˘Û›ÔÙ˘ ∞ÎÚfiÔÏ˘ Ì ÊfiÓÙÔ ÙÔ §˘Î·‚ËÙÙfi ÛÙËÓ ¿ÎÚË ‰ÂÍÈ¿.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙË ‰ÂηÂÙ›· ÙÔ˘ ‘40 ‹ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ ‘50 ÚÈÓ ·fi Ù· ¤ÚÁ· Ù˘ ·Ó·-ÛًψÛ˘ ÙÔ˘ ∏Úˆ‰Â›Ô˘ Î·È Ù˘ ‰È·ÌfiÚʈÛ˘ ÙÔ˘ ÂÚÈ‚¿Ï-ÏÔÓÙÔ˜ ¯ÒÚÔ˘ ·fi ÙÔÓ ¢ËÌ. ¶ÈÎÈÒÓË.

In the forefront the area south of Dionyssios AreopagitisStreet, surrounded by Garivaldis Street and KaryatidonStreet.At the end of Dionyssios Areopagitis Street the Odeon, madeby Herod the Atticus, constructed by this Roman benefactorof Athens in honour of his wife, Regilla, at the end of the 2ndcentury BC, and further back the Arcade of Eumenes. Far inthe background the sacred rock with Propylaia, on the leftErechtheio and the Parthenon in the centre.We can also see the small Acropolis museum with Lykavittosin the background in the right hand corner. This photo musthave been taken during the 40’s or at the beginning of the50’s, before the restoration works of the Herodeion and thereformation of the surrounding area by Dim. Pikionis.

ÕÔ„Ë Ù˘ ∞ÎÚfiÔÏ˘ ·fi ÙËı¤ÛË ÂÚ›Ô˘ fiÔ˘ Û‹ÌÂÚ· ÙÔÂÛÙÈ·ÙfiÚÈÔ “¢ÈfiÓ˘ÛÔ˜”

A view of the Acropolis from thelocation where today the restaurant“Dionyssos” can be found

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™ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ ÏfiÊÔ˘ ÙÔ˘ ªÔ˘Û›Ԣ ÎÙ›ÛÙËΠÙÔ114-116Ì.Ã. ÙÔ ÁÓˆÛÙfi ÌÓËÌÂ›Ô ÙÔ˘ ºÈÏÔ¿Ô˘ ÚÔ˜ÙÈÌ‹Ó ÙÔ˘ ƒˆÌ·›Ô˘ ÊÈϤÏÏËÓ· °¿˚Ô˘ πÔ˘Ï›Ô˘ ∞ÓÙ›Ô¯Ô˘ºÈÏÔ¿Ô˘.™ÙÔ ÎÔ›ÏÔ Ì¤ÚÔ˜ ÙÔ˘ ÌÓËÌ›Ԣ ÛÙȘ ‰‡Ô ÎfiÁ¯Â˜ Ô˘ ‰È·ÎÚ›-ÓÔÓÙ·È ÛÙË ÊˆÙÔÁÚ·Ê›· ‹Ù·Ó ÙÔÔıÂÙË̤ӷ Ù· ·Á¿ÏÌ·Ù·ÙÔ˘ ºÈÏÔ¿Ô˘ ÛÙËÓ ÎÂÓÙÚÈ΋| Î·È ÙÔ˘ ·Ô‡ ÙÔ˘, ∞ÓÙ›Ô-¯Ô˘ ÙÔ˘ ¢’ ÛÙËÓ Ï¿ÁÈ·. À‹Ú¯Â ÌÈ· ·ÎfiÌË ÎfiÁ¯Ë ÛÙËÓ¿ÏÏË ÏÂ˘Ú¿ ÙÔ˘ ÌÓËÌ›Ԣ, Ô˘ ‰ÂÓ ÛÒ˙ÂÙ·È Û‹ÌÂÚ·. ™ÙË ˙ˆÊfiÚÔ ÛÙÔ Î¿Ùˆ ÙÌ‹Ì· ÙÔ˘ ÌÓËÌ›Ԣ, ÛÒ˙ÂÙ·È Û·ÚÎÂÙ¿ ηϋ ηٿÛÙ·ÛË ·Ó¿ÁÏ˘ÊË ·Ú¿ÛÙ·ÛË, Ô˘ ·ÂÈ-ÎÔÓ›˙ÂÈ ÙËÓ ¿ÊÈÍË ÙÔ˘ ºÈÏÔ¿Ô˘ ÙÔ 100Ì.Ã. ÛÙËÓ∞ı‹Ó· ¿Óˆ Û ¿ÚÌ·.

On top of the museum’s hill the famous monument ofPhilopappou, which was constructed between 114-116AD to honour the Roman grecophile Gaius JuliusAntiochus Philopappus.In the two niches of the monument, as seen in thephoto, were the statues of Philopappos in the middleand his grandfather Antiochus IV by the side. There wasa third niche on the other side of the monument whichtoday is no longer preserved.On the freeze of the monument’s lower part there is anengraved sculpture, preserved in a rather goodcondition, depicting Philopappos’ arrival in Athens ona chariot in 100 AD.

ªÓËÌÂ›Ô – §fiÊÔ˜ ºÈÏÔ¿Ô˘

Monument – Philopappos Hill

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∏ ‡ÏË Ù˘ ∞Ú¯ËÁ¤ÙȉԘ ∞ıËÓ¿˜ (Ù¤ÏË ÙÔ˘ 1Ô˘ .Ã. ·ÈÒÓ·),Ô˘ ‚Ú›ÛÎÂÙ·È ÛÙÔ ¯ÒÚÔ Ù˘ ƒˆÌ·˚΋˜ ∞ÁÔÚ¿˜ ÛÙ· fiÚÈ·Ù˘ ·ÏÈ¿˜ ·ÁÔÚ¿˜ Î·È Ù˘ Ó¤·˜.∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› ̤۷ ·fi ÙÔ ¯ÒÚÔ Ù˘·ÁÔÚ¿˜, Ì ı¤· ÚÔ˜ ÙËÓ Ô‰fi ÕÚˆ˜ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡¶ÔÈΛÏ˘.

This is the gate of Athena Archegetis (end of 1st century BC),located in the region of the Roman Agora on the borderbetween the old and the new market.This photo is taken from inside the agora, with a viewtowards Areos Street at the level of Poikili’s Street.

∞ı‹Ó·È. ∏ ‡ÏË Ù˘ ∞ÁÔÚ¿˜.

Athens. Agora’s Gate

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ΔÔ ºÂÙȯ¤ Ù˙·Ì› Ë Δ˙·Ì› ÙÔ˘ ¶ÔÚıËÙ‹ (15Ô˜ ·ÈÒÓ·˜ Ì.Ã.)ÛÙÔ ¯ÒÚÔ Ù˘ ·ÏÈ¿˜ ∞ÁÔÚ¿˜. ∂›Ó·È ÁÓˆÛÙfi Î·È ˆ˜ Ù˙·Ì›ÙÔ˘ ™Ù·ÚÔ¿˙·ÚÔ˘.∂›Ó·È ÙÔ ÌfiÓÔ Ù˙·Ì› Ô˘ ÛÒ˙ÂÙ·È ·fi Ù· Ù¤ÛÛÂÚ· ÚÒÙ· Ù˙·ÌÈ¿ Ô˘¤ÎÙÈÛ·Ó ÔÈ ΔÔ‡ÚÎÔÈ ÛÙËÓ fiÏË, ·Ì¤Ûˆ˜ ÌÂÙ¿ ÙËÓ ÂÁηٿÛÙ·ÛË ÙÔ˘˜Û’ ·˘Ù‹Ó Î·È ÙÔ ·Ï·ÈfiÙÂÚÔ.∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ·fi ÙËÓ ›Ûˆ ÏÂ˘Ú¿ ÙÔ˘ ÎÙÈÚ›Ô˘. ªÚÔÛÙ¿ ·fi ÙÔÙ˙·Ì› ·ÚÈÛÙÂÚ¿ ‰È·ÎÚ›ÓÂÙ·È Ô ÙÚÔ‡ÏÔ˜ Ù˘ ÂÎÎÏËÛ›·˜ Ù Ó Δ·ÍÈ·Ú¯ÒÓ.™Â ÚÒÙÔ Ï¿ÓÔ, ÙÌ‹Ì· Ù˘ ÎÈÔÓÔÛÙÔȯ›·˜ Ù˘ ڈ̷˚΋˜ ·ÁÔÚ¿˜.

The Fethiye Camii or Mosque of the Conqueror (15th centuryAD) in the region of the old agora. It is also known as the mosquenamed after the wheat market.From the first four mosques that the Turks built in Athens as soonas they settled in the city, this is the only one that survived andthe oldest one.The shot was taken from the back side of the building. At the leftin front of the mosque we see the dome of Taxiarches’ church. Inthe forefront is a part of the Roman Agora colonnade.

∞ı‹Ó· ¶·Ï·È¿ ∞ÁÔÚ¿ Athens. Old Agora

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∞ÚÈÛÙÂÚ¿ ÛηÚʷψ̤ӷ ÛÙÔ˘˜ Úfiԉ˜ ÙÔ˘ μÚ¿¯Ô˘Ù’ ∞Ó·ÊÈÒÙÈη, ÛÙÔ Î¤ÓÙÚÔ ÂÚ›Ô˘ Ù˘ ʈÙÔÁÚ·Ê›·˜ Ë ÔÈΛ·ÙˆÓ ∫Ï¿ÓıË Î·È Schaubert ·fi Ù· ·Ï·ÈfiÙÂÚ· ÎÙ›ÛÌ·Ù· Ù˘¶Ï¿Î·˜, Ô˘ ÛÙ¤Á·Û ÌÂÙ¿ ÙËÓ ÌÂÙ·ÊÔÚ¿ Ù˘ ÚˆÙÂ‡Ô˘Û·˜ÛÙËÓ ∞ı‹Ó· ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ.¶›Ûˆ ÛÙÔ ‚¿ıÔ˜ ·¯ÓÔÊ·›ÓÂÙ·È Ô fiÚÌÔ˜ ÙÔ˘ º·Ï‹ÚÔ˘ ÎÈ Ô ™·ÚˆÓÈÎfi˜.

On the left, perched on the foothill of the rock, is the area called Anafiotika,and more or less in the centre of the photo the residence of KleanthesSchaubert, one of the oldest buildings in Plaka, which hosted theUniversity as soon as Athens became the country’s capital.Far in the background Faliro Bay and the Saronnic Gulf appearthrough the mist.

H Û˘ÓÔÈΛ· Ù˘ ¶Ï¿Î·˜ οو ·fiÙË μfiÚÂÈ· ÏÂ˘Ú¿ ÙÔ˘ μÚ¿¯Ô˘Ù˘ ∞ÎÚfiÔÏ˘.

Plaka neighbourhood under thenorthern side of the AcropolisRock

H ¶§∞∫∞

PLAKA

∏ ¶Ï¿Î· Â›Ó·È Ë ÈÔ ·ÏÈ¿ ÁÂÈÙÔÓÈ¿ Ù˘ ∞ı‹Ó·˜. ™ÙËӶϿη ¯Ù˘¿ÂÈ Ë Î·Ú‰È¿ Ù˘ fiÏ˘.¶ÂÚÈÏ·Ì‚¿ÓÂÈ ÙËÓ ÂÚÈÔ¯‹ Ô˘ ηÙËÊÔÚ›˙ÂÈ ·fi ÙË ‚fiÚÂÈ·ÏÂ˘Ú¿ ÙÔ˘ ‚Ú¿¯Ô˘ Ù˘ ∞ÎÚfiÔÏ˘ Î·È ÂÚÈÎÏ›ÂÙ·È ·fiÙȘ Ô‰Ô‡˜ ¢ÈÔÓ˘Û›Ô˘ ∞ÚÂÔ·Á›ÙÔ˘, ∞Ì·Ï›·˜ Î·È ªËÙÚÔ-fiψ˜ ÁÈ· Ó· ηٷϋÍÂÈ, ̤ۈ Ù˘ Ô‰Ô‡ μÚ˘Û·Î›Ô˘,ÛÙÔÓ ÂÚ›‚ÔÏÔ Ù˘ ·Ú¯·›·˜ ∞ÁÔÚ¿˜.∞Ó ¯ˆÚ›˙·Ì ÙËÓ ¶Ï¿Î· Û ˙ÒÓ˜, ÙfiÙ ۛÁÔ˘Ú· Ë ÂÚÈÛ-ÛfiÙÂÚÔ ÙÚ·ÁÔ˘‰ÈṲ̂ÓË ˙ÒÓË Ù˘, ·˘Ù‹ Ô˘ ·Ú·Ì¤ÓÂÈۯ‰fiÓ Ë ›‰È· ·fi ÙËÓ ·ÂÏ¢ı¤ÚˆÛË Î·È ‡ÛÙÂÚ· ÌÂÂÏ¿¯ÈÛÙË ÎÙËÚȷ΋ ·Ó·Ó¤ˆÛË Â›Ó·È ·˘Ù‹ Ô˘ ÍÂÎÈÓ¿·fi ÙËÓ Ô‰fi ∞‰ÚÈ·ÓÔ‡ Î·È ÚÔ¯ˆÚ› ÚÔ˜ Ù· ¿Óˆ, Ù·∞Ó·ÊÈÒÙÈη, ÙË ÌÈÎÚ‹ Û˘ÓÔÈΛ· fiÔ˘ ηÙÔ›ÎËÛ·Ó ÔÈ∫˘ÎÏ·‰›Ù˜ Ì¿ÛÙÔÚÔÈ Ô˘ ÂÁηٷÛÙ¿ıËÎ·Ó ÛÙË ÓÂÔÛ‡ÛÙ·-ÙË ÚˆÙÂ‡Ô˘Û· ÙË ‰ÂηÂÙ›· ÙÔ˘ 1830 Î·È ‚Ô‹ıËÛ·Ó ÛÙËÓÔÈÎÔ‰fiÌËÛ‹ Ù˘ Î·È Î·Ù·Ï‹ÁÂÈ ÛÙÔÓ πÂÚfi μÚ¿¯Ô.∞˘Ùfi ·ÎÚÈ‚Ò˜ ÙÔ ÎÔÌÌ¿ÙÈ Ù˘ ¶Ï¿Î·˜ ÙÔ ÈÔ ÁÚ·ÊÈ-Îfi, ·ÂÈÎÔÓ›˙Ô˘Ó fiϘ ÔÈ ·ÏÈfiÙÂÚ˜ ʈÙÔÁÚ·Ê›Â˜Ô˘ ‚Ú¤ıËÎ·Ó ÛÙÔ ·Ú¯Â›Ô Ù˘ °.°. ∂ÈÎÔÈÓˆÓ›·˜ – °.°.∂ÓË̤ڈÛ˘ ÂÎÙfi˜ ·fi ÌÈ· Ô˘ ·ÂÈÎÔÓ›˙ÂÈ ÎÔÌÌ¿ÙÈÙ˘ ∫¿Ùˆ ¶Ï¿Î·˜.¢ÂÓ Â›Ó·È Û›ÁÔ˘Ú· Ù˘¯·›Ô, fiÙÈ ·Ó¿ÌÂÛ· ÙÔ˘˜ ͯˆ-Ú›˙Ô˘Ó ‰‡Ô, ÙÚ·‚ËÁ̤Ó˜ ·fi ͯˆÚÈÛÙÔ‡˜ ηÏÏÈÙ¤-¯Ó˜ ʈÙÔÁÚ¿ÊÔ˘˜ Ù˘ ÂÔ¯‹˜, ÙË μԇϷ ¶··˚ˆ-¿ÓÓÔ˘ Î·È ÙÔÓ ¡. ΔÔÌ¿˙Ë.

Plaka is the oldest neighbourhood of Athens. Plaka is theplace where the city’s heart beats.It includes the area coming down from the northern side ofAcropolis rock and is surrounded by DionyssiosAreopagitis Street, Amalias Street and Mitropoleos Street,ending through Vryssakiou Street in the surroundings ofthe ancient Agora.If we would split Plaka in zones, then surely its most well-known zone would be the part which remained almostunchanged since the liberation from the Germanoccupation, with only minimal building restructuring, andis the area that starts from Adrianos Street and advancesupwards ending at the sacred rock, called Anafiotika, thesmall neighbourhood inhabited by the Cycladian masons,who came to live in the new capital round about 1830 andhelped to restructure it.This part of Plaka, the most picturesque, isdepicted in all the older photos found in thearchives of S.G.Communication – S.G.Information,with the exception of one photo showing a part ofLower Plaka.It is not by chance, surely, that amongst all theseshots two are standing out, those taken by twoexceptional artistic photographers of that period,Voula Papaionannou and N. Tombazis.

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“ŒÓ· ¯·Ú·ÎÙËÚÈÛÙÈÎfi ‰ÚÔÌ¿ÎÈ Ù˘ ·ÏÈ¿˜ ÁÂÈÙÔÓÈ¿˜(¶Ï¿Î· Ù˘ ∞ı‹Ó·˜. ªÈ· ÔÌ¿‰· ÌÈÎÚÒÓ Ì·ıËÙÒÓ Á˘ÚÓÒ-ÓÙ·˜ ·’ ÙÔ Û¯ÔÏ›Ô).”∏ ʈÙÔÁÚ·Ê›· Â›Ó·È Ù˘ μԇϷ˜ ¶··˚ˆ¿ÓÓÔ˘ Î·È Â›Ó·È·¯ÚÔÓÔÏfiÁËÙË. ¶Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙË ‰ÂηÂÙ›· ÙÔ˘1940. Δ· Ù¤ÛÛÂÚ· ÌÈÎÚ¿ ·ÁÔÚ¿ÎÈ· ¤¯Ô˘Ó ÌfiÏȘ Û¯ÔÏ¿ÛÂÈ·fi ÙÔ ‰ËÌÔÙÈÎfi Ù˘ Ô‰Ô‡ ∞‰ÚÈ·ÓÔ‡ Î·È ·ÓËÊÔÚ›˙Ô˘Ó ÙËÓÔ‰fi ∂Ú¯ı¤ˆ˜.

“A characteristic small road of the old neighbourhood(Plaka in Athens. A group of young students returningfrom school).”This photo is taken by Voula Papaioannou and is undated.It must have been taken during the 40’s. The four youngboys have just finished classes at the junior school onAdrianou Street and are climbing up Erechtheos Street.

¶Ï¿Î· Ù˘ ∞ı‹Ó·˜ Plaka in Athens

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™ÙËÓ ÂÚÈÔ¯‹, ÁÓˆÛÙ‹ ·ÏÈ¿ Û·Ó “ª·‡Ú˜ ¶¤ÙÚ˜” ‰ËÌÈÔ‡ÚÁËÛ·ÓÔÈ ÓËÛÈÒÙ˜ ÙÔ “¯ˆÚÈfi” ÙÔ˘˜ ̤۷ ÛÙËÓ ÚˆÙÂ‡Ô˘Û·. √È ÙÔÈΤ˜Û˘Óı‹Î˜, ·Ó¿ÏÔÁ˜ Ì ·˘Ù¤˜ Ô˘ ÁÓÒÚÈ˙·Ó ·’ ÙÈ ·ÙÚ›‰Â˜ ÙÔ˘˜,‚Ú¿¯È·, ·fiÙÔÌË ÎÏ›ÛË ÙÔ˘ ‰¿ÊÔ˘˜, ¤ÏÏÂÈ„Ë ÓÂÚÔ‡ ‰ÂÓ ÙÔ˘˜‰˘ÛÎfiÏ„·Ó. ™Î¿ÏÈÛ·Ó ÛηÏÔ¿ÙÈ·, ¿ÓÔÈÍ·Ó ‰ÚÔÌ¿ÎÈ·, ¤ÎÙÈÛ·ÓÛÙ¤ÚÓ˜ Î·È ¤ÛÙËÛ·Ó ÙÔ ˆÚÈfi ÙÔ˘˜, Ô˘ ‹Ú ْ fiÓÔÌ· ÙÔ˘ ·fi ÙÔ˘˜ÚÒÙÔ˘˜ ÔÈÎÈÛÙ¤˜ ÙÔ˘, ÙÔ˘˜ °. ¢·Ì›ÁÔ Î·È ª. ™ÈÁ¿Ï·, Ì·ÛÙfiÚÔ˘˜ ·’ÙËÓ ∞Ó¿ÊË. ¢ÂηÂÙ›· ÙÔ˘ ‘50.

This neighbourhood, which used to be known in the past as“Mavres Petres”, provided for the people from the islands their own“village” inside the capital. The local conditions, rocky ground, steepinclinations, lack of water, similar to those they were familiar withfrom their places of origin, did not present any obstacle to them.They sculptured the steps, they opened up roads, they builtcisterns, and here they set up their village, which was named afterits first inhabitants, G. Damigos and M. Sigalas, masons from theisland Anafi. Decade of the 50’s.

Δ’ ∞Ó·ÊÈÒÙÈη Ì ٷ ÌÈÎÚ¿, ¿Ù·¯Ù·ÎÙÈṲ̂ӷ, ÛÈÙ¿ÎÈ·

The area called Anafiotika with itssmall randomly built houses

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ªÈÎÚ‹ ¯·Ú·ÎÙËÚÈÛÙÈ΋ ‰ÚÔÌfiÛηϷ Ô˘ ÍÂÎÈÓ¿ ·fiÙËÓ Ô‰fi ƒ·Áη‚¿ Î·È Î·Ù·Ï‹ÁÂÈ ÛÙË ™ÙÚ¿‚ˆÓÔ˜. ŒÓ··ÁÔÚ¿ÎÈ Î·Ù‚·›ÓÂÈ ÙË ‰ÚÔÌfiÛηϷ.¢ÂηÂÙ›·’50.

A small characteristic pedestrian stairway, startingfrom Ragava Street and ending at Stravonos Street. Ayoung boy is descending the steps.Decade of the 50’s.

¢ÚÔÌfiÛηϷ

A pedestrian stairway

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A T H E N S 45

ªÈ· Á˘Ó·›Î· ÛÙÔ ÛηÏÔ¿ÙÈ Ù˘ ·˘ÏfiÔÚÙ·˜, ¤Ó· ÛÊË-Ú‹Ï·ÙÔ ÛȉÂÚ¤ÓÈÔ ‰È·ÎÔÛÌËÙÈÎfi ¯ˆÚ›˜ ÙÔ Ê·Ó¿ÚÈ, ÙÔÌÔ˘Ú› Ù˘ ÛfiÌ·˜ ÛÙÔ ·Ú¿ı˘ÚÔ, ÌÈ· ÎÏËÌ·Ù·ÚÈ¿ Ô˘ÍÂÚÔ‚¿ÏÏÂÈ ÛÙÔ ‚¿ıÔ˜. ªÈÎÚ¤˜ ÛÙÈÁ̤˜ ÙÔ˘ ¯ı˜.¢ÂηÂÙ›· ÙÔ˘ ‘50.

A woman standing in the tiny door step of the yard, ahand-made forged-iron decoration without light, thechimney pipe for the stove through the window, aclimbing vine showing in the background. Small momentsfrom yesterday.Decade of the 50’s.

™ÙË Ô‰fi ™ÙÚ¿‚ˆÓÔ˜.

On Stravonos Street

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™ÙË ‰ÚÔÌfiÛηϷ Ù˘ Ô‰Ô‡ ∂Ú¯ı¤ˆ˜ ÙÔ 1948 ¤Ó· ÎÔÚÈ-ÙÛ¿ÎÈ Î·ÙËÊÔÚ›˙ÂÈ ÚÔÛÂÎÙÈο ÊÔÚو̤ÓÔ Ì’ ¤Ó· ‚·Ú‡ÙÂÓÂΤ. ∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ·fi ÙË ‰È·ÛÙ·‡ÚˆÛË Ù˘ԉԇ ∂Ú¯ı¤ˆ˜ Ì ÙËÓ ∂ÚˆÙÔÎÚ›ÙÔ˘.¢ÂÍÈ¿ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ªÂÙfi¯È ÙÔ˘ ¶·Ó·Á›Ô˘ Δ¿ÊÔ˘.∏ ʈÙÔÁÚ·Ê›· Â›Ó·È ÙÔ˘ ¢. ÷ÚÈÛÈ¿‰Ë.

A little girl is descending carefully, carrying a heavyload on the pedestrian stairway of Erechtheos Street in1948. This shot was taken at the junction of Erechtheosand Erotokritou Street.On the right we see the Metochi of the Holy Sepulchre.This photo was taken by D. Charissiadis.

√‰fi˜ ∂Ú¯ı¤ˆ˜

Erechtheos Street

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A T H E N S 47

™ÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ £Ú·Û˘‚Ô‡ÏÔ˘ Î·È ∫Ï„‡‰Ú·˜.™Ù’ ·ÚÈÛÙÂÚ¿ Ë Ù·‚¤ÚÓ· Ù˘ ∫ÏËÌ·Ù·ÚÈ¿˜, ÌÈ· ·fi ÙȘ·ÏÈfiÙÂÚ˜ Ï·ÎÈÒÙÈΘ Ù·‚¤ÚÓ˜.ÕÏÏË ÌÈ· Ï‹„Ë ÙÔ˘ ¢. ÷ÚÈÛÈ¿‰Ë.

At the corner of Thrassyvoulou Street and KlepsydraStreet. On the left the taverna of Climataria, one of theoldest taverns in the area of Plaka.Also this photo is taken by D. Charissiadis.

¶Ï¿Î· ∞ı‹Ó· 1948

Plaka Athens 1948

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ªÈ· ÁˆÓ›· ÛÙ’ ∞Ó·ÊÈÒÙÈη, ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘1940.

A spot in Anafiotika, at the end of the 1940’s.

∞Ó·ÊÈÒÙÈη

Anafiotika

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A T H E N S 49

∏ Ô‰fi˜ ªÓËÛÈÎÏ¤Ô˘˜ Ì ı¤· ÙÔ Ù›¯Ô˜ Ù˘ ∞ÎÚfiÔÏ˘.∞¯ÚÔÓÔÏfiÁËÙË ÊˆÙ. ÙÔ˘ ¡. ΔÔÌ¿˙Ë.

Mnissikleous Street viewing the Acropolis wall. A phototaken by N. Tombazis, undated.

∏ Ô‰fi˜ ªÓËÛÈÎÏ¤Ô˘˜

Mnissikleous Street

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√ ÕÁÈÔ˜ ¡ÈÎfiÏ·Ô˜ Ô ƒ·Áη‚¿˜ ·fi ÙÔ ¿Óˆ ̤ÚÔ˜ Ù˘ԉԇ ∂ȯ¿ÚÌÔ˘.√ ·ÚÈÔ˜ Ó·fi˜ ¯ÚÔÓÔÏÔÁÂ›Ù·È ÛÙÔÓ 11Ô -12Ô ·ÈÒÓ· ηÈÂ›Ó·È ÂÁÁÂÁÚ·Ì̤ÓÔ˜ Ì ÙÚÔ‡ÏÔ. ∞ÚÁfiÙÂÚ· ÛÙË ‚fiÚÂÈ·ÏÂ˘Ú¿ ÙÔ˘ Ó·Ô‡ ÚÔÛÙ¤ıËΠ·ÚÂÎÎÏ‹ÛÈÔ Ù˘ ∞Á›·˜¶·Ú·Û΢‹˜.∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙË ‰ÂηÂÙ›· ÙÔ˘ 1940.

The church of St. Nicholas Rangavas, taken from theupper part of Epicharmou Street.The main temple is dated around 11th – 12th centuryAD and is decorated with a dome. Later another chapel,dedicated to Agia Paraskevi, was added on the northside of the temple.This photo was taken during the 1940’s.

√ ÕÁÈÔ˜ ¡ÈÎfiÏ·Ô˜ Ô ƒ·Áη‚¿˜

St. Nicholas Rangavas

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O ÕÁÈÔ˜ ¡ÈÎfiÏ·Ô˜ Ô ƒ·Áη‚¿˜ fiˆ˜ Ê·ÈÓfiÙ·Ó ÚÈÓ ·Ô-ηٷÛÙ·ı›, ÙÔ 1978, ·fi ÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ ∂ȯ¿ÚÌÔ˘Î·È ΔÚÈfi‰ˆÓ.™ÙË ÊˆÙÔÁÚ·Ê›· Ô Ó·fi˜ Â›Ó·È ÂȯÚÈṲ̂ÓÔ˜. ∫·Ù¿ Ù˘ÂÚÁ·Û›Â˜ Û˘ÓÙ‹ÚËÛ˘ Î·È ·ÔηٿÛÙ·Û˘ ÙÔ˘ 1978·ÔηχÊıËÎÂ Ë ‚˘˙·ÓÙÈÓ‹ ÙÔȯÔÔÈ›· Ù˘ ‚fiÚÂÈ·˜fi„˘ Î·È ÙÔ˘ ÙÚÔ‡ÏÔ˘. ¢È·ÎÚ›ÓÂÙ·È ÙÔ ·ÏÈfi η̷ӷ-ÚÈfi Ô˘ ‰ÂÓ ˘¿Ú¯ÂÈ È· Û‹ÌÂÚ·, ηıÒ˜ Î·È Ô ‡ÚÁÔ˜ÙÔ˘ ÓÂfiÙÂÚÔ˘ η̷ӷÚÈÔ‡ ÛÙÔ ‚¿ıÔ˜. ÷ڷÎÙËÚÈÛÙÈ΋ Â›Ó·È Â›Û˘ Ë ÂÈÎfiÓ· ÙˆÓ ·ÓÔÈÁÌ¿ÙˆÓÙÔ˘ Ó·Ô‡, Û·ÊÒ˜ ·ÏÏÔȈ̤ÓË, Ô˘ Û‹ÌÂÚ· ¤¯Ô˘Ó ·Ô-ηٷÛÙ·ı› ÛÙËÓ ·Ú¯È΋ ÌÔÚÊ‹ ÙÔ˘˜.∏ ʈÙÔÁÚ·Ê›· Â›Ó·È Ù˘ ¡. ÃÚÔ˘Û¿ÎË.

St. Nicholas Rangavas, as it was seen from the junction ofEpicharmou and Tripodon Street, before its restoration,which was done around 1978.On this photo the church is plastered. In 1978 themaintenance and restoration works revealed thesculpted stones used for the construction of thenorthern side and the dome, characteristic of theByzantine period. We can see the old bell tower, whichno longer exists today, and the more recent bell towerin the background.Another outstanding feature is the openings of thechurch, clearly damaged, which have been restored totheir original form in our days.The photo is taken by N. Chroussakis.

√ ÕÁÈÔ˜ ¡ÈÎfiÏ·Ô˜ Ô ƒ·Áη‚¿˜

St. Nicholas Rangavas

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æË Ï¿ Û Ù ËÓ ¶ Ï¿ η Û Ù ËÓ Ï· Ù Â ›· §˘ Û È Î Ú ¿ ÙÔ ˘ ˜ ÔÏ·Ófi‰ÈÔ˜ ·ÓıÔÒÏ˘ Ì ÙÔ Á¿È‰·ÚÔ ÙÔ˘, Ô˘Ï¿ ÙËÓÚ·Ì¿ÙÂÈ· ÙÔ˘, ¯Ú˘Û¿ÓıÂÌ· Î·È ÓÙ¿ÏȘ, ·˚‰ËÌÈÙÚÈ¿ÙÈ-η. ºıÈÓfiˆÚÔ. ŒÓ·˜ ¿Ó‰Ú·˜ Ì ÙËÓ “∫·ıËÌÂÚÈÓ‹” ÛÙÔ¯¤ÚÈ Î·È ÙÔ ÎÔÚÈÙÛ¿ÎÈ ÙÔ˘ ‰›Ï· ‰È·Ï¤ÁÔ˘Ó ÚÔÛÂÎÙÈο,¯Ú˘Û¿ÓıÂÌ·.¢ÂηÂÙ›· ÙÔ˘ 1950.

High up in Plaka, at Lyssikratous Square, the wanderingflower-seller with his donkey is selling his goods,marigolds and dahlias, flowering around the end ofOctober. It is autumn. A man holding the newspaper“Kathimerini” and his daughter next to him, arecarefully picking marigolds.Decade of the 50’s.

™ÙËÓ Ï·Ù›· §˘ÛÈÎÚ¿ÙÔ˘˜

At Lyssikratous Square

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∏ ÌfiÓË ÊˆÙÔÁÚ·Ê›· Ù˘ ÔÌ¿‰·˜ ·˘Ù‹˜ Ô˘ ¤¯ÂÈ ÙÚ·‚˯Ù›ÛÙËÓ Î¿Ùˆ ¶Ï¿Î· ÛÙËÓ ¶Ï·Ù›· Ù˘ ∞Á›·˜ ∞ÈηÙÂÚ›Ó˘.ªÂ ÊfiÓÙÔ ÙÔ˘˜ ΛÔÓ˜ ·fi ÙÔ ÚˆÌ·˚Îfi ÂÚÈÛÙ‡ÏÈÔ Î·ÈÙÔ˘˜ ÊÔ›ÓÈΘ ÛÙÔÓ ÂÚ›‚ÔÏÔ ÙÔ˘ Ó·Ô‡, ‰‡Ô ÌÈÎÚ¿ÎÔÚÈÙÛ¿ÎÈ· ı·˘Ì¿˙Ô˘Ó Ù· ·ÓËÁ˘ÚÈÒÙÈη ·È¯Ó›‰È· ÎÔ‡ÎϘ,ÎÚ‚·Ù¿ÎÈ·, ηÙÛ·ÚÔÏÈο, ÎÈı¿Ú˜ Î·È ·˘ÙÔÎÈÓËÙ¿ÎÈ·.Δ· “ηϿ” ÊÔ˘ÛÙ·Ó¿ÎÈ· ÙˆÓ ÌÈÎÚÒÓ, Ù· ηÏÔ¯ÙÂÓÈṲ̂ӷ̷ÏÏÈ¿ Î·È ÔÈ ÊÚÔÓÙÈṲ̂ÓÔÈ ÊÈfiÁÎÔÈ, Ì·˜ ÙÔÔıÂÙÔ‡Ó ÙËʈÙÔÁÚ·Ê›· ÚÔ˜ Ù· Ù¤ÏË ¡ÔÂÌ‚Ú›Ô˘ ÙËÓ ·Ú·ÌÔÓ‹ ËÎ·È ·Ó‹ÌÂÚ· Ù˘ ∞Á›·˜ ∞ÈηÙÂÚ›Ó˘.ÕÏÏË ÌÈ· ʈÙÔÁÚ·Ê›· ÙÔ˘ ¢. ÷ÚÈÛÈ¿‰Ë.¢ÂηÂÙ›· ÙÔ˘ 1950.

The only photo of this group taken in Lower Plaka at St.Catherine’s Square. In the background the columns ofthe Roman colonnade and palm trees in the church’sgarden, in the front two little girls admiring the colourfultoys on display, dolls, small beds, cooking pots, guitarsand small cars.The girls wearing their best clothes, their beautiful hairand their exquisite ribbons suggest that the photo wastaken towards the end of November, either on the eve oron the day of St. Catherine’s celebration.Another photo taken by D. Charissiadis.Decade of the 50’s.

∏ Ï·Ù›· Ù˘ ∞Á›·˜ ∞ÈηÙÂÚ›Ó˘

St. Catherine’s Square

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ÕÔ„Ë Ù˘ ∞ı‹Ó·˜ ·fi ÙÔ˘˜ Úfiԉ˜ Ù˘ ∞ÎÚfiÔÏ˘ÛÙÔ Ù¤ÏÔ˜ Ù˘ Ô‰Ô‡ ∫Ï„‡‰Ú·˜.∞ÚÈÛÙÂÚ¿ ÂÓÙÔ›˙Ô˘Ì ÙÔ Ù˙·Ì› ÙÔ˘ ™Ù·ÚÔ¿˙·ÚÔ˘ Î·È ÛÙË Û˘Ó¤-¯ÂÈ· ÛÙË ‰È·ÛÙ·‡ÚˆÛË ÂÚ›Ô˘ Ù Ó Ô‰ÒÓ ¶ÂÏÔ›‰· Î·È ∞ÈfiÏÔ˘ ÙÔøÚÔÏfiÁÈÔ ÙÔ˘ ∞Ó‰ÚfiÓÈÎÔ˘ ∫˘ÚÚ‹ÛÙÔ˘, ÁÓˆÛÙfi ˆ˜ “¶‡ÚÁÔ˜ Ù Ó∞Ó¤ÌˆÓ ‹ ∞¤Úˉ˜”(‚’ÌÈÛfi ÙÔ˘ 1Ô˘ Ì.Ã. ·ÈÒÓ·). ∞fi ÙÔÌÓËÌÂ›Ô Î·È ÚÔ˜ ÙÔ ‚¿ıÔ˜ ÂÎÙ›ÓÂÙ·È Ë Ô‰fi˜ ∞ÈfiÏÔ˘.ªÔÚ› ηÓ›˜ Ó· ‰È·ÎÚ›ÓÂÈ ÙÔ˘˜ ÙÚÔ‡ÏÔ˘˜ Î·È Ù· η̷-Ó·ÚÈ¿ Ù˘ ∞Á. ∂ÈÚ‹Ó˘ Î·È Ù˘ ÃÚ˘ÛÔÛËÏÈÒÙÈÛÛ·˜. ªÂٿٷ ÷˘Ù›· Û˘Ó¯›˙ÂÈ Ë Ô‰fi˜ ¶·ÙËÛ›ˆÓ.∏ ʈÙÔÁÚ·Ê›· Â›Ó·È ·¯ÚÔÓÔÏfiÁËÙË Ú¤ÂÈ fï˜ Ó· ¤¯ÂÈÙÚ·‚˯Ù› ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 ‹ ÛÙȘ ·Ú¯¤˜Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1960 fiÙ·Ó Ë ·ÓÔÈÎÔ‰fiÌËÛË Î·È Ë Â¤-ÎÙ·ÛË Ù˘ fiÏ˘ ¤¯ÂÈ È· ÚÔ¯ˆÚ‹ÛÂÈ.

A view of Athens from the foothills of the Acropolis, at theend of Klepsydra’s Street.On the left the Fethiye mosque and next to it, at the junction ofPelopidas Street and Aiolou Street, the Clock of AndronikosKyristos, also known as the “Tower of winds” or Aerides (builtduring the second half of the 1st century AD). Beginning fromthis monument and going further is Aiolou Street.We can also see the domes and bell towers of the churchesSt. Eirini and Chrysospiliotissa. After the area calledChafteia is the continuation of Patission Street.This is an undated photograph, but it must have been takenat the end of the 50’s or at the beginning of the 60’s, whenthe restructuring and expansion of the city had advancedconsiderably.

™Ù· fiÚÈ· Ù˘ ¶Ï¿Î·˜

On the border of Plaka

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A T H E N S 55

“ªÂÚÈ΋ ¿Ô„Ș Ù˘ fiψ˜, ¯ÈÔÓÈṲ̂Ó˘, ÙÔÓ π·ÓÔ˘¿ÚÈÔ1963, Ô ÔÔ›Ô˜ ÂÓ¤Û΢„ Ì ÊÔ‚ÂÚfi ÎÚ‡Ô Î·È ·ÁˆÓÈ¿,·ÚfiÌÔÈ· ÙˆÓ ÔÔ›ˆÓ ›¯Â Ó· ˉ› Ë fiÏȘ ·fi ÙÔ ÚÒÙÔÓ¤ÙÔ˜ Ù˘ πÙ·ÏÔÁÂÚÌ·ÓÈ΋˜ ηÙÔ¯‹˜ ÙÔ 1941. ¢È·ÎÚ›ÓÂÙ·È¢ÎÚÈÓÒ˜ Ô ¯ÒÚÔ˜ ¤Óı· Ô ¡·fi˜ ÙÔ˘ √Ï˘Ì›Ô˘ ¢Èfi˜, ÌÂÙËÓ Û˘ÛÙ¿‰· ÙˆÓ ˆÚ·›ˆÓ ÛÙ˘ÏÒÓ ÙÔ˘”. 26-11-1963∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› ·fi ÙËÓ Ô‰fi ™ÙÚ¿ÙˆÓÔ˜ÛÙËÓ ¶Ï¿Î·, ÛÙË ‰È·ÛÙ·‡ÚˆÛË Ù˘ Ì ÙË £¤ÛȉԘ. ™ÙÔÓ¿ÍÔÓ· Ù˘ ¶‡Ï˘ ÙÔ˘ ∞‰ÚÈ·ÓÔ‡, Ë Ô‰fi˜ §˘ÛÈÛÙÚ¿ÙÔ˘˜Ô‰ËÁ› ÛÙË ÌÈÎÚ‹ Ï·Ù›· fiÔ˘ ÙÔ ÔÌÒÓ˘ÌÔ ¯ÔÚËÁÈÎfiÌÓËÌ›Ô. ™ÙÔ ‚¿ıÔ˜ ‰ÂÍÈ¿ ÙÔ ÂÎÎÏËÛ¿ÎÈ Ù˘ ∞Á›·˜ ºˆÙÂÈÓ‹˜(1872) Î·È ›Ûˆ ÙÔ˘ Ô ÏfiÊÔ˜ ÙÔ˘ ª¤Ù˜.

“A partial view of the city, with snow, in January 1963,when the weather conditions were extremely severe,similar to those that the city experienced during the firstyear of Italian-German occupation in 1941. We can clearlysee the area hosting the Temple of Olympius Zeus, with thecolonnade of its beautiful columns” 26-11-1963.The photo is taken from Stratonos’ Street in Plaka, at thejunction with Thespidos Street. On the axis of AdriannosGate, Lyssistratous Street leads to the small square with thehomonymous choregic monument. In the background atthe right the chapel of Agia Foteini (1872) and behind itthe hill of Mets.

H ¶Ï¿Î· ¯ÈÔÓÈṲ̂ÓË Plaka in the snow

The city planRoads of Athens

ΔÔ ÚÒÙÔ Û¯¤‰ÈÔ fiÏ˘ Ù˘ Ó¤·˜ ÚˆÙÂ‡Ô˘Û·˜ ۯ‰ȿÛÙËÎÂfiˆ˜ Â›Ó·È ÁÓˆÛÙfi ·fi ÙÔ˘˜ ™Ù·Ì¿ÙË ∫Ï¿ÓıË Î·È EduardSchaubert. ¶·Ú’ fiϘ ÙȘ fiÔȘ ÙÚÔÔÔÈ‹ÛÂȘ ¤ÊÂÚÂÛ’ ·˘Ùfi Ô Leo von Kleenze Î·È ÛÙÔ ¤Ú·ÛÌ· ÙÔ˘ ¯ÚfiÓÔ˘ ÎÈ’¿ÏÏÔÈ ·Ú¯ÈÙ¤ÎÙÔÓ˜ ÔÏÂÔ‰fiÌÔÈ, ÙÔ ÈÛÙÔÚÈÎfi ΤÓÙÚÔ Ù˘fiÏ˘ ‰ËÌÈÔ˘ÚÁ‹ıËΠ‚¿ÛË ÙÔ˘ ÚÒÙÔ˘ ·˘ÙÔ‡ ۯ‰›Ô˘.™Ù·‰È·Î¿ Î·È Î·ıÒ˜ Ë ∞ı‹Ó· ÂÂÎÙ¿ıËÎÂ, Ӥ˜ ψÊfiÚÔȉȷÓÔ›¯ıËηÓ, Ӥ˜ Û˘ÓÔÈ˘ ‰ËÌÈÔ˘ÚÁ‹ıËηÓ, Ӥ˜ Ï·-Ù›˜ ۯ‰ȿÛÙËηÓ. ∏ ÌÂÙ·ÔÏÂÌÈ΋ ÂÚ›Ô‰Ô˜ ¯·Ú·ÎÙËÚ›-˙ÂÙ·È ·fi ÌÈ· ÂÓÙ˘ˆÛȷ΋ Î·È Û ÌÂÁ¿ÏÔ ‚·ıÌfi ¿Ó·Ú¯Ë·Ó¿Ù˘ÍË Ù˘ ÚˆÙÂ‡Ô˘Û·˜.◊‰Ë ÛÙ· ̤۷ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ ‘50, ΢ÎÏÔÊÔÚÔ‡Û·Ó ÛÙÔ˘˜‰ÚfiÌÔ˘˜ Ù˘ ÚˆÙÂ‡Ô˘Û·˜ ÂÚ› Ù· 55.000 ·˘ÙÔΛÓËÙ·. §›ÁÔ·ÚÁfiÙÂÚ·, ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 60, ÙÔ “Ó¤ÊÔ˜” ¤¯ÂÈÁ›ÓÂÈ ÌfiÓÈÌÔ˜ οÙÔÈÎÔ˜ Ù˘ ÚˆÙÂ‡Ô˘Û·˜. √ Ù¯ÓÈÎfi˜ÎfiÛÌÔ˜ Ù˘ ¯ÒÚ·˜ ÂÓÂÚÁÔÔÈ›ٷÈ. ™ÂÈÚ¿ ·fi ÔÏÂÔ‰ÔÌÈΤ˜Î·È ΢ÎÏÔÊÔÚȷΤ˜ ÌÂϤÙ˜ ÂÎÔÓÔ‡ÓÙ·È, ÔÈ ÂÚÈÛÛfiÙÂÚ˜fï˜ ·Ú·Ì¤ÓÔ˘Ó ÛÙ· ¯·ÚÙÈ¿.™Ù· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ ‘50 ÙÔÔıÂÙÔ‡ÓÙ·È Ù· Ê·Ó¿ÚÈ·ÛÙÔ˘˜ ÎÂÓÙÚÈÎÔ‡˜ ‰ÚfiÌÔ˘˜. ΔÔ 1953 ÂÌÊ·Ó›˙ÔÓÙ·È Ù· ÚÒÙ·ÙÚfiÏÂ˚. ΔÔ 1960 ÔÈ ∞ıËÓ·›ÔÈ ·Ô¯·ÈÚÂÙÔ‡Ó Ù· ÙÂÏÂ˘Ù·È¿ ÙÚ·Ì.Δ· ·ÏÈ¿ Áη˙Ô˙¤Ó ·ÓÙÈηı›ÛÙ·ÓÙ·È ·fi Ó¤·˜ Ù¯ÓÔÏÔÁ›·˜ÏˆÊÔÚ›· Î·È ·ÚÁfiÙÂÚ· Ì ·ÚıÚˆÙ¿. ™ÙË ‰ÂηÂÙ›· ÙÔ˘ ’60¤¯Ô˘Ì ÙÈ ÚÒÙ˜ ÌÔÓÔ‰ÚÔÌ‹ÛÂÈ Î·È ·ÚÁfiÙÂÚ· ı· ·ÎÔÏÔ˘-ı‹ÛÔ˘Ó Î·È ÔÈ ÚÒÙÔÈ Â˙fi‰ÚÔÌÔÈ. ¡¤ÔÈ ÏˆÊfiÚÔÈ, ·ÓÈÛfi‰ÔÈÎfiÌ‚ÔÈ, ·ÏÏ¿˙Ô˘Ó ÙËÓ fi„Ë Ù˘ ÚˆÙÂ‡Ô˘Û·˜.∏ ∞ı‹Ó· ÌÂÁ·ÏÔ‡ÔÏË.

The first city plan of Athens was designed by StamatisKleanthes and Eduard Schaubert. Although severalmodifications were suggested by Leo von Kleenze andother architects, the historic centre of the city wasconstructed following this first original plan. Gradually, asAthens expanded, new avenues were opened, newneighbourhoods were created, new squares were formed.The post war period features an impressive and to a largeextent random development of the capital.Already from the middle of the 50’s there were some55.000 vehicles driving on the capital’s roads. A short timelater, when the 60’s begin, the pollution “cloud” took uppermanent residence in the capital. The technical expertsin the country were alerted. And since then a series of cityplans and traffic plans were designed, but the majorityremained on paper.At the end of the 50’s traffic lights are installed along themain roads. In 1953 the first trolley-buses appear. In 1960Athenians wave good-bye to the last remaining trams. Oldbuses using gas are replaced by newer buses withadvanced technology and later by elongated buses. Duringthe 60’s come the first one-way roads and soon after thatthe first pedestrian roads. New avenues, multi-leveljunctions, are changing the appearance of the capital.Athens turns into a big City.

√ ÔÏÂÔ‰ÔÌÈÎfi˜ ÈÛÙfi˜√È ‰ÚfiÌÔÈ Ù˘ ∞ı‹Ó·˜

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∏ Ô‰fi˜ ∂ÚÌÔ‡, Ô ·Ï·ÈfiÙÂÚÔ˜ ÂÌÔÚÈÎfi˜ ‰ÚfiÌÔ˜ Ù˘ÓÂfiÙÂÚ˘ ∞ı‹Ó·˜, ‹Ú ÙÔ fiÓÔÌ¿ Ù˘ ·fi ÙÔÓ ıÂfi ÙÔ˘ÂÌÔÚ›Ô˘ ∂ÚÌ‹. ™Ù· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1830·ÔÎÙ¿ ÏÈıfiÛÙÚˆÙ· Â˙Ô‰ÚfiÌÈ·. ™ÙȘ ‰‡Ô Âη٤ڈıÂÓÏ¢ڤ˜ Ù˘ ÎÙ›˙ÔÓÙ·È ÂÌÔÚÈο ηٷÛÙ‹Ì·Ù· ÂÓÒ ÔÈfiÚÔÊÔÈ ÛÙÂÁ¿˙Ô˘Ó ÂÚÁ·ÛÙ‹ÚÈ·, ÎÂÓÙ‹ÛÙÚ˜, ÌÔ‰›ÛÙÚ˜,ηÂÏÔ‡‰Â˜ Î·È ÙȘ ηÙÔÈ˘ ÙˆÓ ÂÌfiÚˆÓ.∞fi ÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ÌÂÛÔÔϤÌÔ˘ ‹‰Ë, ηÙ‰·Ê›˙ÔÓÙ·ÈÙ· ·ÏÈ¿ ÓÂÔÎÏ·ÛÈο Î·È ·ÓÙÈηı›ÛÙ·ÓÙ·È ·fi ÙȘ ÚÒÙ˜ÔÏ˘Î·ÙÔÈ˘. ªÂÙ¿ ÙÔÓ fiÏÂÌÔ Î·È Î˘Ú›ˆ˜ ηٿ ÙˉÂηÂÙ›· ÙÔ˘ 60 Ë Î·ÙÔÈΛ· ÂÁηٷÏ›ÂÈ ÔÚÈÛÙÈο ÙËÓÔ‰fi ∂ÚÌÔ‡ ÂÓÒ ÛÙÔ˘˜ ÔÚfiÊÔ˘˜ ÙˆÓ ÔÏ˘ÒÚÔʈÓÎÙÈÚ›ˆÓ Ô˘ fiÏÔ Î·È ·˘Í¿ÓÔÓÙ·È, ÛÙÂÁ¿˙ÔÓÙ·È ÁÚ·Ê›·Î·È ‚ÈÔÙ¯ӛ˜.∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙÔ 1966 ·fi ÙËÓ Ï·Ù›·™˘ÓÙ¿ÁÌ·ÙÔ˜.¢È·ÎÚ›ÓÂÙ·È ·ÚÈÛÙÂÚ¿ ÛÙËÓ ·Ú¯‹ Ù˘ Ô‰Ô‡∂ÚÌÔ‡ ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ∏ϤÎÙÚ· Ô˘ ÌfiÏȘ ¤¯ÂÈ ·Ú¯›ÛÂÈ Ó·ÏÂÈÙÔ˘ÚÁ›. ™ÙË ‰È·ÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi μÔ˘Ï‹˜, ÙÔÂÓÙ·ÒÚÔÊÔ ÎÙ›ÚÈÔ ÙÔ˘ ÍÂÓÔ‰Ô¯Â›Ô˘ ΔÔ˘Ú›ÛÙ, ·fi Ù·ÙÂÏÂ˘Ù·›· ÎÙ›ÚÈ· Ô˘ ÎÙ›ÛÙËÎ·Ó ÛÙËÓ ∞ı‹Ó· Û ÓÂÔÎÏ·ÛÈ-Îfi Ú˘ıÌfi. ™‹ÌÂÚ· ¤¯ÂÈ ÌÂÙ·Ùڷ› Û ÔÏ˘Î·Ù¿ÛÙËÌ·.™ÙÔ ‚¿ıÔ˜ ÙÔ ÌÈÎÚfi ÂÎÎÏËÛ¿ÎÈ Ù˘ ∫·ÓÈηڤ·˜.÷ڷÎÙËÚÈÛÙÈ΋ Â›Ó·È Ë ÌÂÁ¿ÏË Î›ÓËÛË ÙˆÓ ÙÚÔ¯ÔÊfiÚˆÓ.

Ermou Street, the oldest commercial road of modernAthens, is named after the god of commerce, Hermes.Around the end of the decade of the 1830’s the roadacquired stone pavements. On both sides commercialshops are built and the upper f loors are hostingmanufacturers, designers, embroiderers, hat-makersand the living quarters of the merchants.During the period between the two wars some of theold neoclassical buildings are demolished and replacedby the first multi-storey buildings. After the SecondWorld War, mainly during the 60’s, Ermou Street is nolonger used as a residential area; the upper floors of thehigh buildings, which are increasing in number, arenow hosting offices and manufacturers.This photo is taken in 1966 from Syntagma Square. Wecan see on the left, where Ermou Street begins, theElectra Hotel, which had just opened. At the junctionwith Voulis Street, the five-storey building of the TouristHotel, one of the last buildings in Athens constructed inneoclassical style. Nowadays it is transformed into amultishop. In the background the small church ofKapnikarea.Also the large movement of vehicles is a feature.

∏ Ô‰fi˜ ∂ÚÌÔ‡ ÛÙË ‰È·ÛÙ·‡ÚˆÛËÙ˘ Ì ÙËÓ Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜

Ermou Street at the junction withSyntagma Square

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∫·È ¿ÏÈ Ë Ô‰fi˜ ∂ÚÌÔ‡, ·˘Ù‹ ÙË ÊÔÚ¿ ÚÔ˜ ÙËÓ ·ÓÙ›ıÂÙËηÙ‡ı˘ÓÛË, ·fi ÙË ‰È·ÛÙ·‡ÚˆÛË Ù˘ Ì ÙËÓ ∫·ÓÈηڤ·ÚÔ˜ ÙËÓ Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜.™Â ÚÒÙÔ Ï¿ÓÔ Ô „ËÏfi˜ ÙÚÔ‡ÏÔ˜ Ù˘ ‚˘˙·ÓÙÈÓ‹˜ ÂÎÎÏË-Û›·˜ ÙÔ˘ 11Ô˘ ·ÈÒÓ·, Ô˘ ÛÙËÚ›˙ÂÙ·È ÂÛˆÙÂÚÈο Û ٤ÛÛÂ-ÚÂȘ ڈ̷˚ÎÔ‡˜ ΛÔÓ˜.™ÙÔ ‚¿ıÔ˜ ÙÔ ÎÙ›ÚÈÔ Ù˘ μÔ˘Ï‹˜ ÙˆÓ ∂ÏÏ‹ÓˆÓ, Ù· ·ÏÈ¿∞Ó¿ÎÙÔÚ·. ∏ ΛÓËÛË Û ·ÓÙ›ıÂÛË Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓËʈÙÔÁÚ·Ê›· Â›Ó·È ÂÚÈÔÚÈṲ̂ÓË.™‹ÌÂÚ· Ë Ô‰fi˜ ∂ÚÌÔ‡ ¤¯ÂÈ Â˙Ô‰ÚÔÌËı›. ¶ÔÏϤ˜ ·fi ÙȘʛÚ̘ Ô˘ ‰È·ÎÚ›ÓÔ˘Ì ÛÙË ÊˆÙÔÁÚ·Ê›· ¤¯Ô˘Ó ·ÓÙÈηٷ-ÛÙ·ı› ·fi ÌÂÁ¿Ï˜ ÔÏ˘ÂıÓÈΤ˜ ·Ï˘Û›‰Â˜ ÂÌÔÚÈÎÒÓηٷÛÙËÌ¿ÙˆÓ.

Ermou Street again, this time in the opposite direction, fromits crossing with Kapnikarea towards Syntagma Square.In the forefront the high dome of the Byzantine church,built in the 11th century, internally supported by fourroman columns.Further back the Parliament building, the old Palace. On thisphoto, in contrast to the previous one, traffic is less.Nowadays Ermou Street is a pedestrian road. Many of thefirms featuring in this photo have been replaced by bigmulti-national chains of commercial shops.

∏ Ô‰fi˜ ∂ÚÌÔ‡ ÛÙË ‰È·ÛÙ·‡ÚˆÛËÙ˘ Ì ÙËÓ Ï. ∫·ÓÈηڤ·˜

Ermou Street crossing KapnikareaSquare

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∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ·fi ÙËÓ Ï·Ù›· ∫Ï·˘ıÌÒÓÔ˜ Ì ı¤·ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ ¤ÚÁÔ ÙÔ˘ ¢·ÓÔ‡ ·Ú¯ÈÙ¤ÎÙÔÓ·ÃÚÈÛÙÈ·ÓÔ‡ ÿÓÛÂÓ.™ÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿ ‰È·ÎÚ›ÓÂÙ·È ÛÂÈÚ¿ ÓÂÔÎÏ·ÛÈÎÒÓ Î·ÈÂÎÏÂÎÙÈÛÙÈÎÒÓ ÎÙÈÚ›ˆÓ ηÙ‰·ÊÈÛÌ¤ÓˆÓ Û‹ÌÂÚ·.Δ· ÌfiÓ· Ô˘ ·Ú·Ì¤ÓÔ˘Ó, Â›Ó·È ÙÔ ÁˆÓÈ·Îfi ̤Á·ÚÔ ÙˆÓÔÏÈÙÈÎÒÓ ˘·ÏÏ‹ÏˆÓ ÙÔ˘ ªÂÙÔ¯ÈÎÔ‡ Δ·Ì›Ԣ Ô˘ ÎÙ›ÛÙËÎÂÙÔ 1934 Û ÛÙ˘Ï art-deco, ¤ÚÁÔ ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· ∂Ì. §·˙·Ú›‰Ë,Ô˘ ÛÙÂÁ¿˙ÂÈ Û‹ÌÂÚ· ÙÔ °ÂÓÈÎfi §ÔÁÈÛÙ‹ÚÈÔ ÙÔ˘ ∫Ú¿ÙÔ˘˜ ηÈÙÔ ‰ÈÏ·Ófi ÙÔ˘. ™ÙËÓ ·¤Ó·ÓÙÈ ÁˆÓ›· ‰È·ÎÚ›ÓÂÙ·È Ë ÌÈÎÚ‹ÔÈΛ· ™Ô‡ÙÛÔ˘, ¤Ó· ·fi Ù· ·Ï·ÈfiÙÂÚ· ÎÙ›ÛÌ·Ù· Ù˘ڈÙÂ‡Ô˘Û·˜ ÙˆÓ ÚÒÙˆÓ ¯ÚfiÓˆÓ Ù˘ √ıˆÓÈ΋˜ μ·ÛÈÏ›·˜.ŒÚÁÔ ÙÔ˘ ™Ù·Ì¿ÙË ∫Ï¿ÓıË, ÛÒıËΠ·fi ÙËÓ Î·Ù‰¿ÊÈÛËÌÂÙ¿ ·fi ÌÂÁ¿ÏÔ ·ÁÒÓ·, ÚÈÓ Ï›Á· ¯ÚfiÓÈ·.

The picture is taken from Klafthmonos Square, viewing theUniversity of Athens, designed by the Danish architectChristian Hansen.Featuring on the left a row of neoclassical, eclectisticbuildings, which have been demolished now.The only ones remaining are the mansion on the corner usedfor the civil servants of Metochiko Tameio, built in 1934 inart-deco style, designed by the architect Em. Lazaridis,housing today the General Accountancy Office, and thebuilding next to it. On the opposite corner we see the smallSoutsou residence, one of the oldest buildings in the capital,dating back to the first years of King Othon. Designed byStamatis Kleanthes, it was rescued from demolition just afew years ago, after many years of struggle.

∏ Ô‰fi˜ ∫ÔÚ·‹ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950 Korai Street during the 50’s

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∏ ψÊfiÚÔ˜ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜, ÙÔ ˆÚ·ÈfiÙÂÚÔ ›Ûˆ˜ ‚Ô˘ÏÂ-‚¿ÚÙÔ Ù˘ ÚˆÙÂ‡Ô˘Û·˜ ÙË ‰ÂηÂÙ›· ÙÔ˘ ‘50.™ÙÔ ‚¿ıÔ˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ Ì¤Á·ÚÔ ¢ËÌËÙÚ›Ô˘ ÙÔ ÌÂÙ¤ÂÈÙ·ÍÂÓÔ‰Ô¯Â›Ô Ù˘ ªÂÁ¿Ï˘ μÚÂÙ·Ó›·˜ ÚÈÓ ÙȘ ÚÔÛı‹Î˜ ηÈÙȘ ÂÈÛ΢¤˜ ÙÔ˘ 1960.™ÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿ Ë Ì¿Ó‰Ú· ÙÔ˘ ∂ıÓÈÎÔ‡ ∫‹Ô˘.¢ÂÍÈ¿ ÙÔ Â˙Ô‰ÚfiÌÈÔ, Ï·ÎÔÛÙڈ̤ÓÔ Ì ÌÂÁ¿Ï˜ fiÌÔÚʘ̷ÚÌ¿ÚÈÓ˜ ϿΘ Ù· ÔÔ›· ‰˘ÛÙ˘¯Ò˜ ·ÓÙÈηٷÛÙ¿ıËηÓÙ· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ· ·fi ¢ÙÂÏ‹ ‚ÈÔÌ˯·ÓÔÔÈË̤ӷϷοÎÈ· Ô˘ ‹‰Ë ¤¯Ô˘Ó ˘ÔÛÙ› ÛËÌ·ÓÙÈΤ˜ ˙ËÌȤ˜.

Vassilissis Sofias Avenue, perhaps the most beautifulboulevard of the capital, during the 50’s.Far in the background we see the Dimitriou mansion, latertransformed into the Grande Bretagne Hotel, before itsadditions and repairs in 1960.On the left the wall surrounding the National Garden.On the right the pavement, paved with beautiful, largemarble stones which unfortunately have recently beenreplaced by cheap, industrial ones, which are alreadysuffering damage.

∏ ψÊfiÚÔ˜ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜ Vassilissis Sofias Avenue

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™ÙË ÁˆÓ›· Ì ÙËÓ ÏˆÊ. ¶·ÓÂÈÛÙËÌ›Ô˘ ‰ÂÍÈ¿,‰È·ÎÚ›ÓÂÙ·ÈÌfiÏȘ Ë ÁˆÓ›· ÙÔ˘ ªÂÁ¿ÚÔ˘ ¶·Ô‡‰ˆÊ. ∞ÎÔÏÔ˘ı› ÙÔ ª¤Á·ÚÔ ¡ÈÎ. 懯· (Û‹ÌÂÚ· ∞ÈÁ˘Ùȷ΋¶ÚÂۂ›·) Î·È ÌÂÙ¿ ÙËÓ Ô‰fi ∑·ÏÔÎÒÛÙ· ÙÔ Ì¤Á·ÚÔ ∞Ó‰Ú¤·™˘ÁÁÚÔ‡ (Û‹ÌÂÚ· ÀÔ˘ÚÁÂ›Ô ∂͈ÙÂÚÈÎÒÓ) ÎÙÈṲ̂ӷ Î·È Ù·‰‡Ô ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1870 ·fi ÙÔ ™¿ÍÔÓ··Ú¯ÈÙ¤ÎÙÔÓ· E. Ziller.

The junction of Neofytou Vamva Str. and Kifissias Avenue,with Lykavittos Hill in the background.This photo must have been taken at the end of the 40’s orbeginning of the 50’s. In the right corner we see themansion of Petros Kalligas (1887), now demolished. Theneoclassical buildings featuring on both sides of N. VamvaStr. and the building at the far end of the photo, on KapsaliStr., are all demolished.

ΔÔ ›‰ÈÔ ÂÚ›Ô˘ ÎÔÌÌ¿ÙÈ Ù˘ μ·ÛÈÏ›ÛÛ˘™ÔÊ›·˜ ‰¤Î· ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ· (1963)

Almost the same part of VassilissisSofias Avenue ten years later (1963)

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∏ ‰È·ÛÙ·‡ÚˆÛË Ù˘ Ô‰Ô‡ ¡ÂÔʇÙÔ˘ μ¿Ì‚· Ì ÙË ÏˆÊfiÚÔμ·Û. ™ÔÊ›·˜, Ì ÊfiÓÙÔ ÙÔ ÏfiÊÔ ÙÔ˘ §˘Î·‚ËÙÙÔ‡.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ÙÔ˘ ‘40, ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ ‘50.¢ÂÍÈ¿ ÛÙË ÁˆÓ›· ÙÔ ª¤Á·ÚÔ ¶¤ÙÚÔ˘ ∫·ÏÏÈÁ¿ (1887) ηÙ‰·-ÊÈṲ̂ÓÔ Û‹ÌÂÚ·. Δ· ÓÂÔÎÏ·ÛÈο Ô˘ ‰È·ÎÚ›ÓÔÓÙ·È Âη٤ڈıÂÓÙ˘ Ô‰Ô‡ ¡. μ¿Ì‚· ηıÒ˜ Î·È ·˘Ùfi ÛÙÔ ‚¿ıÔ˜ Ù˘ ʈÙÔÁÚ·Ê›·˜Â› Ù˘ Ô‰Ô‡ ∫·„¿ÏË Â›Ó·È Û‹ÌÂÚ· ηÙ‰·ÊÈṲ̂ӷ.

The junction of Neofytou Vamva Str. and Kifissias Avenue,with Lykavittos Hill in the background.This photo must have been taken at the end of the 40’s orbeginning of the 50’s.In the right corner we see the mansion of Petros Kalligas(1887), now demolished. The neoclassical buildingsfeaturing on both sides of N. Vamva Str. and the building atthe far end of the photo, on Kapsali Str., are all demolished.

∏ ψÊfiÚÔ˜ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ¡ÂÔÊ. μ¿Ì‚·

Vassilissis Sofias Avenue at thelevel of Neof. Vamva Str.

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∏ ‰È·ÛÙ·‡ÚˆÛË Ù˘ ψÊfiÚÔ˘ μ·Û. ™ÔÊ›·˜ Ì ÙËÓ Ô‰fi∏ÚÒ‰Ô˘ ∞ÙÙÈÎÔ‡. 16- 09-65ªÈ· ·fi ÙȘ ÙÂÏÂ˘Ù·›Â˜ ʈÙÔÁڷʛ˜ ÙÔ˘ ªÂÁ¿ÚÔ˘ π.¶ÂÛÌ·˙fiÁÏÔ˘ (1893) ¤ÚÁÔ ÙÔ˘ ∂ÚÓ¤ÛÙÔ˘ ΔÛ›ÏÏÂÚ. ΔÔÌÂÁ¿ÏÔ ÙÂÙÚ·ÒÚÔÊÔ ÎÙ›ÚÈÔ, ÌÈ· ·fi ÙȘ ÚÒÙ˜ ÔÏ˘Î·-ÙÔÈ˘ Ù˘ ∞ı‹Ó·˜, ·ÔÙÂÏ›ÙÔ ÛÙËÓ Ô˘Û›· ·fi ‰‡Ô·ÓÂÍ¿ÚÙËÙ· Û˘ÁÎÚÔÙ‹Ì·Ù· Ì ·ÚÌfi ‰È·ÛÙÔÏ‹˜ ·Ó¿ÌÂÛ¿ÙÔ˘˜, ÛÙÔ Ì¤ÛÔ ÂÚ›Ô˘ Ù˘ ÚÔ˜ ÙËÓ ÏˆÊ. μ·Û.™ÔÊ›·˜ ÏÂ˘Ú¿˜ ÙÔ˘. ∏ ÌÔÚÊÔÏÔÁ›· ÙÔ˘ ·ÎÔÏÔ˘ı› Ù·ÚfiÙ˘· ÙˆÓ ÂÎÏÂÎÙÈÛÙÈÎÒÓ ÔÏ˘Î·ÙÔÈÎÈÒÓ Ù˘ ∂˘ÚÒ˘.™ÙËÓ ·ÚÈÛÙÂÚ‹ ÁˆÓ›· Ù˘ ʈÙÔÁÚ·Ê›·˜ ‰È·ÎÚ›ÓÂÙ·È ÌfiÏÈ˜Ë ÂÍ·ÈÚÂÙÈο ÏÈÙ‹ ÁˆÓȷ΋ ·fiÏËÍË, Ô˘ ÂÛÙ¤ÊÂÙÔ Ì ÂÍ·-ÁˆÓÈ΋ ÊÔÏȉˆÙ‹ ΈÓÈ΋ ÛÙ¤ÁË. ¢˘ÛÙ˘¯Ò˜ ÙÔ ÙÌ‹Ì· ·˘ÙfiÙ˘ ÔÏ˘Î·ÙÔÈΛ·˜ ¤¯ÂÈ Î·Ù‰·ÊÈÛÙ› Î·È ·ÓÙÈηٷÛÙ·ı›Ì ÌÈ· Û‡Á¯ÚÔÓË ÔÏ˘Î·ÙÔÈΛ·, ¤ÚÁÔ ÙÔ˘ ηıËÁËÙ‹¶·‡ÏÔ˘ ª˘ÏˆÓ¿.

The junction of Vassilissis Sofias Avenue and HerodouAttikou Str. 16-09-65.One of the latest photographs of the I.PesmazoglouMansion, designed by Ernst Ziller (1893). This big, four-storey building, one of the first apartment blocks in Athens,originally consisted of two independent blocks,interconnected, with expansion joinÙs at about the middleof the side looking towards Vass. Sofias. Its morphologyfollows the style of European eclectistic apartment blocks.In the photo’s left corner the exceptionally plain cornerending features, crowned by an hexagonal scaled conicalroof. Unfortunately this part of the building has beendemolished and replaced by a modern apartment block,designed by professor Pavlos Mylonas.

∞ı‹Ó·È Ô‰fi˜ ∏ÚÒ‰Ô˘ ∞ÙÙÈÎÔ‡

Athens Herodou Attikou Str.

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∏ ψÊfiÚÔ˜ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜ ÛÙË ‰È·ÛÙ·‡ÚˆÛË Ì ÙÈ Ô‰Ô‡˜¶ÂÙÚ¿ÎË ‰ÂÍÈ¿ μÂÓÙ‹ÚË Î·È Ã·Ù˙ËÁÈ¿ÓÓË ª¤ÍË ·ÚÈÛÙÂÚ¿.∞̤ۈ˜ ÌÂÙ¿ ÙË Ô‰fi μÂÓÙ‹ÚË ‚Ï¤Ô˘Ì ÙËÓ ÔÏ˘Î·ÙÔÈΛ·fiÔ˘ ÛÙÔ ÈÛfiÁÂÈÔ Ù˘ ÏÂÈÙÔ‡ÚÁËÛ ÁÈ· ¤Ó· ÌÈÎÚfi ‰È¿ÛÙËÌ· ÙÔ¶¤ÙÚÔÁÎÚ·‰ ÙÔ˘ ¡›Î˘ °È¿ÎÔ‚ÏÂÊ Î·Ù¿ ÙË ÌÂÙ·ÛÙ¤Á·Û‹ ÙÔ˘ ·fiÙËÓ ÏˆÊ. ¶·ÓÂÈÛÙËÌ›Ô˘. §›ÁÔ ÈÔ ¤Ú· ÛÙÔ Â˙Ô‰ÚfiÌÈÔ,ÌÔÚԇ̠ӷ ‰È·ÎÚ›ÓÔ˘Ì ÙËÓ ·Ó·ÌÓËÛÙÈ΋ ÛÙ‹ÏË ÙÔ˘‰Èψ̿ÙË ÔÏÈÙÈÎÔ‡ Î·È ÏÔÁÔÙ¤¯ÓË ÿˆÓ· ¢Ú·ÁÔ‡ÌË Ô˘,‰ÔÏÔÊÔÓ‹ıËΠÛÙÔ ÛËÌÂ›Ô ·˘Ùfi ÙÔ 1920 Î·È ·Ì¤Ûˆ˜ ÌÂÙ¿ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi ª¤ÓÛË ÙËÓ ÔÏ˘Î·ÙÔÈΛ· Ì ÙËÁÔÚÁfiÓ·. ∞ÎÔÏÔ˘ıÔ‡Ó Ô Î‹Ô˜ ÙÔ˘ ¡πªΔ™ ÙÔ ÌÓËÌÂ›Ô ÙÔ˘∂Ï. μÂÓÈ˙¤ÏÔ˘ Î·È Ë ∞ÌÂÚÈοÓÈ΋ ¶ÚÂۂ›· ÛÙÔ ‚¿ıÔ˜.∞Ó¿ÌÂÛ· ÛÙ· ‰‡Ô ÙÂÏÂ˘Ù·›·, ı· ÎÙÈÛı› ·ÚÁfiÙÂÚ· ÙÔ ª¤Á·ÚÔªÔ˘ÛÈ΋˜. ÷ڷÎÙËÚÈÛÙÈΤ˜ Â›Ó·È ÔÈ Ú·ÛȤ˜ ÌÚÔÛÙ¿ ÛÙȘÔÏ˘Î·ÙÔÈ˘ Ô˘ ·˘Í¿ÓÔ˘Ó ÙÔ Ï¿ÙÔ˜ Ù˘ ψÊfiÚÔ˘ ηȉ›ÓÔ˘Ó ¿ÓÂÛË Î·È ÌÂÁ·ÏÔÚ¤ÂÈ· ÛÙÔ ‰ÚfiÌÔ.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› Ë̤ڷ ·ÚÁ›·˜ Î·È ËΛÓËÛË ÛÙÔ ‰ÚfiÌÔ Â›Ó·È ÂÏ¿¯ÈÛÙË. 26/11/63

Vassilissis Sofias Avenue at the junction with Petraki Streetto the right and Ventiri and Hadjiyianni Mexi Street to theleft. Just after Ventiri Street we see the apartment blockwhere on the ground floor the patisserie Petrograd of NickyYakovlev was hosted for a short period after its movementfrom Panepistimiou Avenue. A little further on the pavementthe memorial stele dedicated to Ion Dragoumis, thediplomat, politician and literary man who was assassinatedon this spot in 1920; just after this on the corner with BensiStr. is the apartment block with the mermaid. Further on wesee the garden of NIMTS Hospital, the Venizelos Monumentand the American Embassy at the end. Between the two lastbuildings the Athens Concert Hall (Megaro Moussikis) is tobe built later on. Featuring the gardens in front of theapartment blocks, which increase the avenue’s width,adding charm and a majestic element to the road.This photo must have been taken in a holiday period, sothere is little traffic on the road 26/11/63.

∏ ψÊfiÚÔ˜ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜ÌÂÙ¿ ÙÔÓ ∂˘·ÁÁÂÏÈÛÌfi

Vassilissis Sofias Avenue afterEvangelismos

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ΔË ‰ÂηÂÙ›· ÙÔ˘ 1960 Ë ∞ı‹Ó· ÂÂÎÙ›ÓÂÙ·È. ™ÙË ÊˆÙÔÁÚ·Ê›··ÂÈÎÔÓ›˙ÂÙ·È Ô ÎfiÌ‚Ô˜ Ù˘ ψÊfiÚÔ˘ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜Î·È Ù˘ ψÊfiÚÔ˘ μ·Û. ∫ˆÓÛÙ·ÓÙ›ÓÔ˘. ™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ¿ÚÎÔ Ù˘ ƒÈ˙·Ú›Ԣ ™¯ÔÏ‹˜ Ì ÙÔ ÌÈÎÚfi ÂÎÎÏËÛ¿ÎÈ ÙÔ˘∞Á. °ÂˆÚÁ›Ô˘ Î·È ·¤Ó·ÓÙ› ÙÔ˘ ÙÔ ¿ÚÎÔ ÙÔ˘ ∂˘·ÁÁÂÏÈÛÌÔ‡.¶›Ûˆ ·ÎÚÈ‚Ò˜ ·fi ÙÔ ¿ÚÎÔ Ù˘ ƒÈ˙·Ú›Ԣ Ë ÔÏ˘Î·ÙÔÈΛ·ÙˆÓ ·ÍȈ̷ÙÈÎÒÓ Ô˘ ηÙ‰·Ê›ÛÙËΠÁÈ· Ó· ÎÙÈÛÙ› ÙÔ¶ÓÂ˘Ì·ÙÈÎfi ∫¤ÓÙÚÔ, Ô˘ ‰ÂÓ Ú·ÁÌ·ÙÔÔÈ‹ıËΠÔÙ¤. °È·¯ÚfiÓÈ· ›¯Â ‰ËÌÈÔ˘ÚÁËı› ÂΛ ÌÈ· ¯·‚Ô‡˙·, ¤Ó· ÌÈÎÚfi ¤ÏÔ˜,Ô˘ ϤÁÂÙ·È fiÙÈ ÏÂÈÙÔ‡ÚÁËÛÂ Û·Ó ¤Ó·˜ ÌÈÎÚfi˜ ˘‰ÚÔ‚ÈfiÙÔÔ˜.™‹ÌÂÚ· Ë ÂÈÎfiÓ· Ù˘ fiÏ˘ Â›Ó·È ÂÓÙÂÏÒ˜ ‰È·ÊÔÚÂÙÈ΋.ΔÔ ¿ÚÎÔ Ù˘ ƒÈ˙·Ú›Ԣ ·Ú·Ì¤ÓÂÈ ÛÙË ı¤ÛË ÙÔ˘, Ì ηÙ‰·-ÊÈṲ̂ӷ fï˜ Ù· ÂÚÈÛÛfiÙÂÚ· ·fi Ù· ÎÙ›ÚÈ· Ù˘ ƒÈ˙·Ú›Ԣ™¯ÔÏ‹˜. ∞Ó Î·È ÂΛ Â΂¿ÏÂÈ Ë ÛÙ¿ÛË ÙÔ˘ metro ∂˘·ÁÁÂÏÈÛÌfi˜ÂÓ ÙÔ‡ÙÔȘ Â›Ó·È ÂÁηٷÏÂÏÂÈÌ̤ÓÔ ÛÙËÓ Ù‡¯Ë ÙÔ˘. ∫È fï˜ ı·ÌÔÚÔ‡Û ӷ Á›ÓÂÈ ¤Ó· ·fi Ù· ÈÔ fiÌÔÚÊ· Ú¿ÛÈÓ· Ù˘ ∞ı‹Ó·˜.¶›Ûˆ ÙÔ˘ ÛÙË ı¤ÛË fiÔ˘ Ë ÔÏ˘Î·ÙÔÈΛ· ÙˆÓ ·ÍȈ̷ÙÈÎÒÓ,¤¯ÂÈ Î·Ù·Û΢·ÛÙ› ¤Ó· ·fi Ù· ÌÂÁ·Ï‡ÙÂÚ· ¿ÚÎÈÓÁÎ Ù˘fiÏ˘, ÂÓÒ ·ÎÚÈ‚Ò˜ ‰›Ï· ÙÔ˘ ÚÔ˜ ÙËÓ μ·Û. ∫ˆÓÛÙ·ÓÙ›ÓÔ˘˘¿Ú¯ÂÈ ÙÔ ø‰Â›Ô ∞ıËÓÒÓ (1966-76) ÙÔ ÌfiÓÔ ÎÙ›ÚÈÔ Ô˘Ú·ÁÌ·ÙÔÔÈ‹ıËΠ·fi ÙÔ ÊÈÏfi‰ÔÍÔ Û¯¤‰ÈÔ ÙÔ˘ ¶ÓÂ˘Ì·-ÙÈÎÔ‡ ∫¤ÓÙÚÔ˘ ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· °È¿ÓÓË ¢ÂÛÔÙfiÔ˘ÏÔ˘.™ÙË ‰È·ÛÙ·‡ÚˆÛË ÙˆÓ Ô‰ÒÓ ƒÈ˙¿ÚË Î·È μ·Û. ™ÔÊ›·˜ ˘„ÒÓÂÙ·ÈÙÔ ¶ÔÏÂÌÈÎfi ªÔ˘Û›Ô, ÂÓÒ ÛÙË ÁˆÓ›· ·ÚÈÛÙÂÚ¿, fiÔ˘ ÙÔ¿¯ÙÈÛÙÔ ÔÈÎfiÂ‰Ô ‚Ú›ÛÎÂÙ·È Û‹ÌÂÚ· Ë ∂ıÓÈ΋ ¶ÈÓ·ÎÔı‹ÎË.ªÈ· ÌÈÎÚ‹ ΢ÎÏÔÊÔÚȷ΋ ‰È·ÚÚ‡ıÌÈÛË ¤¯ÂÈ Á›ÓÂÈ Î·È ÛÙËÓÙÚÈÁˆÓÈ΋ ÓËÛ›‰· ÛÙË ı¤ÛË Ù˘ Ï·Ù›·˜ Ù˘ ªÂÁ¿Ï˘ ÙÔ˘°¤ÓÔ˘˜ ™¯ÔÏ‹˜.™ÙÔ ‚¿ıÔ˜ Ë ∞ÎÚfiÔÏË Î·È Ô ÏfiÊÔ˜ ÙÔ˘ ºÈÏÔ¿Ô˘.

During the 60’s Athens continues to expand. The photoshows the junction of Vassilissis Sofias Avenue andVassileos Konstantinou Avenue. In the forefront we see theRizareio School park with St. George’s chapel and on theopposite side the park of Evangelismos Hospital. Justbehind the Rizareio Park is the Officers’ block,which was demolished with the intention to build a CulturalCentre, but it was never actualised. For years there was anempty plot there, a small swamp, which some say hasserved as an aquatic ecology.In our days the picture of the city is completely different.The Rizareio Park remains there, but most of thebuildings of the Rizareio School have been demolished.Although this is the exit of the Metro stationEvangelismos, the area is left unattended. Still this couldbecome one of the most beautiful green patches inAthens. Behind it, on the spot where the Officers’ blockwas standing, is now one of the biggest parking lots inthe city; exactly next to it, towards Vass. Konstantinou,we see the Athens Odeon (1966-76), the only buildingthat was actualised from the original, ambitious plan fora Cultural Centre, designed by the architect YiannisDespotopoulos. At the crossing of Rizari Street and Vass.Sofias Avenue the War Museum is erected, and in the leftcorner, where the photo shows a non-build-up area, thesedays the National Picture Gallery is situated.A small traffic restructuring was done to the triangular partat the spot of the square of the Megalou Genous School.Far back the Acropolis and Philopappou Hill.

“ªÂÚÈ΋ ¿Ô„Ș Ù˘ ÚˆÙ‡ԢÛ˘Ì ٷ˜ ψÊfiÚÔ˘˜ μ·ÛÈÏ›ÛÛ˘™ÔÊ›·˜ Î·È μ·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ .∂Ș ÙÔ ‚¿ıÔ˜ ‰È·ÎÚ›ÓÂÙ·È Ë ∞ÎÚfiÔÏÈ˜Î·È Ô §˘Î·‚ËÙÙfi˜.” 26/11/63

“A partial view of the capital withthe Avenues Vassilissis Sofiasand Vassi leos Konstantinou.Further back the Acropolis andLykavittos” 26/11/63

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∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ Ï›ÁÔ ÌÂÙ¿ ÙËÓ Ô‰fi ∂ÌÌ. ªÂÓ¿ÎË ÌÂÊfiÓÙÔ ÙËÓ Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜. ∏ ʈÙÔÁÚ·Ê›· ‰ÂÓ·Ó·ÁÚ¿ÊÂÈ ËÌÂÚÔÌËÓ›· Ú¤ÂÈ fï˜ Ó· Â›Ó·È ÙÚ·‚ËÁ̤ÓËÛÙ· ̤۷ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 60.∞ÚÈÛÙÂÚ¿ ‰È·ÎÚ›ÓÔ˘Ì ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ¶·ÏÏ¿‰ÈÔ Ô˘·Ó·Î·ÈÓÈṲ̂ÓÔ Û‹ÌÂÚ· ÏÂÈÙÔ˘ÚÁ› ˆ˜ ÎÙ›ÚÈÔ ÁÚ·Ê›ˆÓÌ ηٷÛÙ‹Ì·Ù· ÛÙÔ ÈÛfiÁÂÈÔ, ÙÔ ÓÂfiÎÙÈÛÙÔ ÁÈ· ÙËÓ ÂÔ¯‹ÍÂÓÔ‰Ô¯Â›Ô ΔÈÙ¿ÓÈ· Î·È ·ÎÔÏÔ˘ıÔ‡Ó ÙÔ REX ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ·μ·Û. ∫·ÛÛ¿Ó‰Ú· Î·È Ë ÔÏ˘Î·ÙÔÈΛ· ™Ï‹Ì·Ó- ªÂÏ¿ ÛÙËÓÁˆÓ›· Ì ÷Ú. ΔÚÈÎÔ‡Ë ¤ÚÁÔ ÙÔ˘ ΔÛ›ÏÏÂÚ. ™ÙÔ ‚¿ıÔ˜,¿ÓÙÔÙ ÛÙË ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿ Ê·›ÓÂÙ·È Ë Ï¿ÁÈ· fi„Ë ÙÔ˘ÎÙÈÚ›Ô˘ Ù˘ ∞Ú¯·ÈÔÏÔÁÈ΋˜ ∂Ù·ÈÚ›·˜ ÛÙË ÁˆÓ›· Ì ÙËÓ Ô‰fi√Ì‹ÚÔ˘, ÂÓÒ ÛÙÔ Ù¤ÚÌ· ÙÔ˘ ‰ÚfiÌÔ˘ ‰ÂÛfi˙ÂÈ ÙÔ ÍÂÓԉԯ›ԓ∞ÛÙ¤Ú·˜” Î·È ÈÔ ›Ûˆ ·Ì˘‰Ú¿ ÌÔÚԇ̠ӷ ‰È·ÎÚ›ÓÔ˘ÌÂÌÈ· ÁˆÓ›· ÙÔ˘ ÎÙÈÚ›Ô˘ Ù˘ μÔ˘Ï‹˜.∞fi ÙËÓ ‰ÂÍÈ¿ ÏÂ˘Ú¿ Û ÚÒÙÔ Ï¿ÓÔ ¤Ó· Û‡Á¯ÚÔÓÔÎÙ›ÚÈÔ ÁÚ·Ê›ˆÓ ·ÎÔÏÔ˘ı› ¤Ó· ÌÂÁ¿ÏÔ ÂÎÏÂÎÙÈÛÙÈÎfi̤Á·ÚÔ Î·È ÛÙË Û˘Ó¤¯ÂÈ· Ù· ÓÂÔÎÏ·ÛÈο ¯·ÌËÏ¿ ÎÙ›ÚÈ·Ô˘ ηÙ‰·Ê›ÛÙËÎ·Ó ÁÈ· Ó· ‰ËÌÈÔ˘ÚÁËı› Ë Ï. ¢ÈηÈÔ-Û‡Ó˘, ÌÈ· ·fi ÙȘ ÈÔ ¿ÁÓˆÛÙ˜ Ï·Ù›˜ Ù˘ ∞ı‹Ó·˜.™ÙË Û˘Ó¤¯ÂÈ· ÙÔ ∞ÚÛ¿ÎÂÈÔ. ∏ fi„Ë ÙÔ˘ ‰ÚfiÌÔ˘ ‰È·ÙËÚÂ›Ù·È Û¯Â‰fiÓ ›‰È· Î·È Û‹ÌÂÚ·.

The shot is taken a bit past Emm. Benaki Street withSyntagma Square in the background. No date ismentioned, but it must have been taken around the middleof the 60’s.On the left we see Hotel Palladio, which today, after itsrestoration, is used as an office building, with shops on theground floor, then the Titania Hotel, at the time newlyerected, and further the REX Theatre by architect Vass.Kassandras, and the apartment block Schliemann–Melas,designed by E. Ziller, on the corner with Ch.TrikoupiStreet. Far back, still on the left side, we see the side viewof the building of the Archaeological Company on thecorner with Omirou Street, and at the end of the roadHotel “Asteras” dominates, and further behind it a cornerof the Parliament.On the right side in the forefront a modern office building,then a big eclectistic mansion, and further on the lowneoclassical buildings that were later demolished toconstruct Dikaiosynis Square, one of the least knownsquares in Athens. Further on the Arsakeio School. This part of the road remains almost the same until today.

∏ Ô‰fi˜ ¶·ÓÂÈÛÙËÌ›Ô˘ Panepistimiou Street

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™Â ÚÒÙÔ Ï¿ÓÔ ·ÚÈÛÙÂÚ¿ ÙÔ √Êı·ÏÌÈ·ÙÚÂ›Ô ∞ıËÓÒÓ ¤ÚÁÔÙÔ˘ ÃÚ. ÿÓÛÂÓ (1847-1854). ΔÔ ÎÙ›ÚÈÔ ‹Ù·Ó ·Ú¯Èο ÈÛfiÁÂÈÔ.ΔÔ 1868 Ô ∫ÂÊ·ÏÏÔÓ›Ù˘ ·Ú¯ÈÙ¤ÎÙˆÓ °ÂÚ¿ÛÈÌÔ˜ ªÂÙ·Í¿˜ÚÔÛ¤ıÂÛ ¤Ó· ·ÎfiÌË fiÚÔÊÔ ÚÔÎÂÈ̤ÓÔ˘ Ó· ·ÓÙ·ÔÎÚÈ-ı› ÛÙȘ ÔÏÔ¤Ó· ·˘Í·ÓfiÌÂÓ˜ ·Ó¿ÁΘ.∞ÎÔÏÔ˘ı› Ë ∞η‰ËÌ›· (1859-1885) ÙÔ˘ £ÂfiÊÈÏÔ˘ ÿÓÛÂÓÎ·È ÛÙÔ ‚¿ıÔ˜ ÙÔ ¶·ÓÂÈÛÙ‹ÌÈÔ (1839-1864) ¤ÚÁÔ ÙÔ˘ÃÚÈÛÙÈ·ÓÔ‡ ÿÓÛÂÓ. ∞fi Ù· ÛËÌ·ÓÙÈÎfiÙÂÚ· ÎÙ›ÚÈ· Ù˘∞ı‹Ó·˜ Î·È ·fi Ù· Ï›Á· Ô˘ ÂÍ·ÎÔÏÔ˘ıÔ‡Ó Ó· ‰È·ÙËÚÔ‡ÓÙËÓ ·Ú¯È΋ ÙÔ˘˜ ¯Ú‹ÛË.ªÚÔÛÙ¿ ÛÙÔ √Êı·ÏÌÈ·ÙÚÂ›Ô ÛÙË ÁˆÓÈ¿ Ù˘ ψÊfiÚÔ˘¶·ÓÂÈÛÙËÌ›Ô˘ Ì ÙËÓ Ô‰fi ™›Ó· ÔÈ ÏÔ‡ÛÙÚÔÈ Ì ٷηÛÂÏ¿ÎÈ· ÙÔ˘˜ ÂÚÈ̤ÓÔ˘Ó ÙÔ˘ ÂÏ¿Ù˜. §›ÁÔ ÈÔ›Ûˆ ·ÊÂÙËڛ˜ ÙˆÓ ÏˆÊÔÚ›ˆÓ.

In the forefront the Ophalmologic Clinic of Athens,designed by Chr. Hansen (1847- 1854). The buildingoriginally had one floor. In 1868 the architectGerassimos Metaxas from Kefallonia added one morefloor to respond to increasing needs.Next we see the Academy (1859-1885) designed byTheophil Hansen and further back the University, alsodesigned by Christian Hansen, one of Athens’ mostsignificant buildings and one of the few remaining thathave kept their original usage.In front of the Ophalmologic Clinic, on the corner ofPanepistimiou Avenue and Sina Street, the shoe-polishers, boys with their boxes awaiting their clients.A little back the bus terminal.

∏ Ô‰fi˜ ¶·ÓÂÈÛÙËÌ›Ô˘ ÙË ‰ÂηÂÙ›· ÙÔ˘ 50 Panepistimiou Street during the 50’s

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∏ ÂÈÎfiÓ· Ù˘ fiÏ˘ ·Ú·Ì¤ÓÂÈ ¿ÓÙ· ‹ ›‰È·. ¢ÂÛfi˙Ô˘ÓÙ· ÙÚ›· ÛËÌ·ÓÙÈÎfiÙÂÚ· ÓÂÔÎÏ·ÛÈο ÎÙ›ÚÈ· Ù˘ ÚˆÙ‡Ԣ-Û·˜ ¤ÚÁ· ÙˆÓ ·‰ÂÏÊÒÓ ÃÚÈÛÙÈ·ÓÔ‡ Î·È £ÂfiÊÈÏÔ˘ ÿÓÛÂÓ.∏ ∞η‰ËÌ›· ∞ıËÓÒÓ (1859-85) Â›Ó·È ¤ÚÁÔ ÙÔ˘ ÓÂfiÙÂÚÔ˘·‰ÂÏÊÔ‡ £ÂfiÊÈÏÔ˘ Ì ÂÈÛÙ·Û›· ÙÔ˘ ∂. ΔÛ›ÏÏÂÚ ‰ˆÚ¿ÙÔ˘ ‚·ÚÒÓÔ˘ ™›ÌˆÓ· ™ÈÓ¿. ∞fi Ï¢Îfi ÂÓÙÂÏÈÎfi Ì¿ÚÌ·-ÚÔ Î·È ‚¿ÛË ·fi ÂÈÚ·˚Îfi Ï›ıÔ, ÙÔ ÎˆÓÈÎÔ‡ Ú˘ıÌÔ‡ ÎÙ›-ÚÈÔ Ù˘ ∞η‰ËÌ›·˜ ·Ú·Ì¤ÓÂÈ ¿ÓÙÔÙ ÌÈ· ÎÔÚ˘Ê·›··Ú¯ÈÙÂÎÙÔÓÈ΋ Û‡ÓıÂÛË.ΔÔ ∂ıÓÈÎfi ∫·Ô‰ÈÛÙÚÈ·Îfi ¶·ÓÂÈÛÙ‹ÌÈÔ (1839-1864)ÛÙË Ì¤ÛË ¤ÚÁÔ ÙÔ˘ ÚÂÛ‚‡ÙÂÚÔ˘ ·‰ÂÏÊÔ‡ ÃÚÈÛÙÈ·ÓԇÿÓÛÂÓ, Â›Ó·È ˘fi‰ÂÈÁÌ· ÓÂÔÎÏ·ÛÈÎÔ‡ ÎÙÈÚ›Ô˘ ÎÔÌ„fi·Ïfi Î·È Ù·˘Ùfi¯ÚÔÓ· ÂÈ‚ÏËÙÈÎfi.™ÙÔ ‚¿ıÔ˜ Ë μ·ÏÏÈ¿ÓÂÈÔ˜ ∂ıÓÈ΋ μÈ‚ÏÈÔı‹ÎË (1887)¯Ù›ÛÙËΠ̠‰ˆÚ¿ ÙˆÓ ·‰ÂÏÊÒÓ ª·Ú›ÓÔ˘ Î·È ∞Ó‰Ú¤·μ·ÏÏÈ¿ÓÔ˘. ΔÔ ÎÙ›ÚÈÔ Û¯Â‰›·ÛÂ Ô £. ÿÓÛÂÓ ÌÂ Û˘ÓÂÚÁ¿ÙËÎ·È ÂȂϤÔÓÙ· ÙÔÓ ∂. ΔÛ›ÏÏÂÚ Î·È ·ÔÙÂÏ› Û˘Ó‰˘·ÛÌfi ÙÔ˘ÓÂÔÎÏ·ÛÈÎÔ‡ Î·È ÙÔ˘ ÂÎÏÂÎÙÈÛÙÈÎÔ‡ ‡ÊÔ˘˜.

The picture of the city remains the same. Featuring the threemost significant neoclassical buildings of the capital,designed by the brothers Christian and Theophil Hansen.The Academy of Athens (1859-85) is designed by theyounger of the brothers, Theophil, under the supervision ofE. Ziller, funded by Baron Simon Sina. Constructed in whitePentelian marble with foundations of Peiraic stone, emulatingaspects from the Ionian Style, the building of the Academyremains a top class architectural composition.The National and Kapodistrian University (1839-1864)in the middle, designed by the elder brother ChristianHansen, is a characteristic example of a neoclassicalbuilding, elegant, plain and yet imposing.Far behind the Vallianeios National Library (1887),funded by donations from the brothers Marinos andAndreas Vallianos. The building was designed by Th.Hansen under Ziller’s supervision and is a uniquecombination of neoclassical and eclectistic style.

∏ ψÊfiÚÔ˜ ¶·ÓÂÈÛÙËÌ›Ô˘ ÛÙÔ‡„Ô˜ Ù˘ ∞ıËÓ·˚΋˜ ÙÚÈÏÔÁ›·˜ÛÙ· ̤۷ ÂÚ›Ô˘ Ù˘ ‰ÂηÂÙ›·˜ÙÔ˘ 1960. ÕÓÔÈÍË

Panepistimiou Avenue at the levelof the Athenian Trilogy around themiddle of the 60’s. Spring

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∏ ÂÊ·ÚÌÔÁ‹ ÙÔ˘ Û˘ÛÙ‹Ì·ÙÔ˜ ÌÔÓÔ‰ÚfiÌˆÓ ·¤‚Ë Ï›·Ó·ÔÙÂÏÂÛÌ·ÙÈ΋ ‰È· ÙËÓ ·ÔΤÓÙÚˆÛÈÓ. ΔÌ‹Ì· Ù˘ Ô‰Ô‡¶·ÓÂÈÛÙËÌ›Ô˘ ÚËÛÈÌÔÔÈÔ˘Ì¤Ó˘ ‰È· ÙËÓ Î¿ıÔ‰ÔÓ Ô¯ËÌ¿Ù ÓÂÎ ™˘ÓÙ¿ÁÌ·ÙÔ˜ ÚÔ˜ √ÌfiÓÔÈ·Ó (‰ÂηÂÙ›· ÙÔ˘ 1960).∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÏËÊı› ·fi ÙÔ ™‡ÓÙ·ÁÌ· Î·È ·ÂÈÎÔ-Ó›˙ÂÈ ÔÏfiÎÏËÚË ÙË ÏˆÊ. ¶·ÓÂÈÛÙËÌ›Ô˘ ̤¯ÚÈ Î·È ÙËÛÙÚÔÊ‹ Ù˘ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰. £ÂÌÈÛÙÔÎÏ¤Ô˘˜.™Â ÚÒÙÔ Ï¿ÓÔ ·ÚÈÛÙÂÚ¿ ÙÔ Ì¤Á·ÚÔ ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘μÚÂÙÙ¿ÓÈ· Î·È ÙÔ˘ ı¿ÙÚÔ˘ ∞ıËÓÒÓ, ÛÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘.π‰È·›ÙÂÚ· ÂӉȷʤÚÔÓ ÎÙ›ÚÈÔ ÙÔ˘ ÌÂÛÔÔϤÌÔ˘, Ì ÛÙÔ¿ÛÙÔ ÈÛfiÁÂÈÔ, ¯Ù›ÛÙËΠÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1930·fi ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· μ·Û. ΔÛ·ÁÚ‹.∞ÎÔÏÔ˘ı› ÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ªÂÙÔ¯ÈÎÔ‡ Δ·Ì›Ԣ ™ÙÚ·ÙÔ‡Î·È ÛÙË Û˘Ó¤¯ÂÈ· ·˘Ùfi Ù˘ ∞ıËÓ·˚΋˜ §¤Û¯Ë˜ Î·È Ë∂ıÓÈ΋ ΔÚ¿Â˙·.∞fi ÙË ‰ÂÍÈ¿ ÏÂ˘Ú¿ ÍÂÎÈÓ¿Ì ·fi ÙÔ Ì¤Á·ÚÔ ∫Ô‡· ¤Ó··fi Ù· ÚÒÙ· ÌÂÁ¿Ï· ÔÏ˘fiÚÔÊ· ÎÙ›ÚÈ· Ô˘ ÎÙ›ÛÙËηÓÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·, ¤ÚÁÔ Î·È ·˘Ùfi ÙÔ˘ ΔÛ›ÏÏÂÚ, ηÈÏ›ÁÔ ÈÔ Î¿Ùˆ ÙÔ ÿÏÈÔ ª¤Ï·ıÚÔÓ.∂Ï¿¯ÈÛÙ˜ Â›Ó·È ÔÈ ‰È·ÊÔÚ¤˜ Ô˘ ÌÔÚ› ηÓ›˜ Ó·ÂÓÙÔ›ÛÂÈ ÛÙË ÏˆÊ. ¶·ÓÂÈÛÙËÌ›Ô˘, ÛÙ· 40 ÂÚ›Ô˘¯ÚfiÓÈ· Ô˘ ÌÂÛÔÏ¿‚ËÛ·Ó ·fi ÙË Ï‹„Ë ·˘Ù‹˜ ÙË ÊˆÙÔ-ÁÚ·Ê›·˜ ̤¯ÚÈ Û‹ÌÂÚ·.

Applying the system of one-way roads effectively relievedthe weight of traffic in the centre. The part ofPanepistimiou Str. used for one-way traffic flow (fromSyntagma Square towards Omonoia Square) (the 60’s).This photo is taken from Syntagma Square and showsthe ntire length of Panepistimou Avenue until the pointwhere it turns at the level of Themistokleous Street.In the forefront left the mansion of the Bretannia Cinemaand the Athens Theatre, on the corner of PanepistimiouStr. and Voukourestiou Street.It is a particularly interesting building, from the inter-warperiod, with an arcade at the ground floor, and was constructedat the beginning of the 30’s by architect Vass. Tsagris.Next to it the building of Metochiko Tameio Stratou andpast that the Athenian Leschi and the National Bank.On the right hand side we start with the Koupasmansion, one of the first big multistorey buildingsconstructed at the end of the 19th century, alsodesigned by E. Zil ler, and somewhat further theIlion Melathron.There are only small changes that can be noticed onPanepistimiou Avenue during the last 40 years that havepassed since this photo was taken.

∏ ψÊfiÚÔ˜ ¶·ÓÂÈÛÙËÌ›Ô˘ÌÔÓfi‰ÚÔÌÔ˜

Panepistimiou Avenue one-wayroad

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√ ʈÙÔÁÚ¿ÊÔ˜ ÂÛÙÈ¿˙ÂÈ ÛÙËÓ ÌÈÎÚ‹ Ï·Ù›· ÌÚÔÛÙ¿ ÛÙËÓ·ÏÈ¿ μÔ˘Ï‹ ÙÔ ÛËÌÂÚÈÓfi ∂ıÓÈÎfi πÛÙÔÚÈÎfi ªÔ˘ÛÂ›Ô Î·ÈÛ˘ÁÎÂÎÚÈ̤ӷ ÛÙÔÓ ¤ÊÈÔ ·Ó‰ÚÈ¿ÓÙ· ÙÔ˘ £Âfi‰ˆÚÔ˘∫ÔÏÔÎÔÙÚÒÓË.∏ ÈÛÙÔÚ›· ÙÔ˘ ı·˘Ì¿ÛÈÔ˘ ÁÏ˘ÙÔ‡ ÙÔ˘ ÁχÙË §¿˙·ÚÔ˘™Ò¯Ô˘ (1862-1911) ÍÂÎÈÓ¿ ÙÔ 1884, fiÙ·Ó Ô ‰‹ÌÔ˜ ¡·˘Ï›Ô˘ÚÔÎËÚ‡ÛÛÂÈ Î·ÏÏÈÙ¯ÓÈÎfi ‰È·ÁˆÓÈÛÌfi ÁÈ· ÙË ÊÈÏÔÙ¤¯ÓËÛˤÊÈÔ˘ ·Ó‰ÚÈ¿ÓÙ·. ΔÔ ‰È·ÁˆÓÈÛÌfi ÎÂÚ‰›˙ÂÈ Ô ™Ò¯Ô˜ ηÈÛÙ· Ù¤ÏË ÙÔ˘ ·ÈÒÓ· ÙÔ ÁÏ˘Ùfi ¯˘Ù‡ÂÙ·È ÛÙÔ ¶·Ú›ÛÈ ÛÙÔÂÚÁ·ÛÙ‹ÚÈ ÙˆÓ ·‰ÂÏÊÒÓ ΔÈÂÌÒ.ΔÔ 1895 Ô ÚÒÙÔ˜ ·Ó‰ÚÈ¿ÓÙ·˜ ÛÙ‹ÓÂÙ·È ÛÙÔ ¡·‡ÏÈÔ. ™ÙÈ ·Ú¯¤˜ÙÔ˘ ·ÈÒÓ· ¤Ó·˜ ‰Â‡ÙÂÚÔ˜ ¯¿ÏÎÈÓÔ˜ ·Ó‰ÚÈ¿ÓÙ·˜ ÙÔÔıÂÙ‹ıËÎÂÛÙÔ Ï¿È Ù˘ μÔ˘Ï‹˜, ÛÙËÓ ·Ú¯‹ Ù˘ Ô‰Ô‡ ∫ÔÏÔÎÔÙÚÒÓË, Ô˘·ÚÁfiÙÂÚ·, ÙÔ 1954 ÌÂÙ¿ ÙË Ó¤· ‰È·ÌfiÚʈÛË Ù˘ Ï·Ù›·˜ ηÈÚÔÎÂÈ̤ÓÔ˘ Ó· ·ÓÔ›ÍÂÈ Ë Ô‰fi˜ ∫ÔÏÔÎÔÙÚÒÓË ÌÂٷʤÚıËÎÂÛÙË ÛËÌÂÚÈÓ‹ ÙÔ˘ ı¤ÛË ÌÂÙ¿ ·fi ÔÏϤ˜ Û˘˙ËÙ‹ÛÂȘ ηȉȷ̿¯Â˜ ÙÔ˘ ·Ú¯ÈÙÂÎÙÔÓÈÎÔ‡ ÎfiÛÌÔ˘.∞ÎÚÈ‚Ò˜ ›Ûˆ, Ë Ï¿ÁÈ· fi„Ë ÙÔ˘ ÎÙÈÚ›Ô˘ ÙÔ˘ √ÚÁ·ÓÈÛÌÔ‡ÙËÏÂÈÎÔÈÓˆÓÈÒÓ ∂ÏÏ¿‰Ô˜ ÙÔ˘ ∞Ó·ÛÙ¿ÛË ªÂÙ·Í¿. ΔÔ ÎÙ›ÚÈÔÎÙÈṲ̂ÓÔ ÙÔ 1930 ·Ó·‰ÂÈÎÓ‡ÂÈ Ì ÙÔ Ì¤ÁÂıÔ˜ ÙÔ˘ ÌÈ· Ó¤··Ú¯ÈÙÂÎÙÔÓÈ΋ Îϛ̷η Ô˘ ·Ú¯›˙ÂÈ Ó· ÂÈ‚¿ÏÏÂÙ·È ÛÙÔΤÓÙÚÔ Ù˘ ÚˆÙÂ‡Ô˘Û·˜.ªÈ· Îϛ̷η Ô˘ ÙÔ Ó¤Ô ˘ÏÈÎfi, ÙÔ beton arme, ‰›ÓÂÈ Ùˉ˘Ó·ÙfiÙËÙ· ÛÙÔ˘˜ ·Ú¯ÈÙ¤ÎÙÔÓ˜ Ó· ÙËÓ ÂÈϤÍÔ˘Ó Î·È Ó· ÙËÓÂÊ·ÚÌfiÛÔ˘Ó. ∫È fiˆ˜ Î·È ÛÙÔ ÎÙ›ÚÈÔ Ù˘ ∞ÓˆÙ¿Ù˘ ™¯ÔÏ‹˜√ÈÎÔÓÔÌÈÎÒÓ Î·È ∂ÌÔÚÈÎÒÓ ∂ÈÛÙËÌÒÓ (1935), ÛËÌÂÚÈÓfi√ÈÎÔÓÔÌÈÎfi ¶·ÓÂÈÛÙ‹ÌÈÔ, Ô ªÂÙ·Í¿˜ ÌÂÙ·¯ÂÈÚ›˙ÂÙ·È ÙÔÏÂÍÈÏfiÁÈÔ ÂÓfi˜ ÌÔÓÙ¤ÚÓÔ˘ ÎÏ·ÛÈÎÈÛÌÔ‡, ·Î·‰ËÌ·˚ÎÔ‡¯·Ú·ÎÙ‹Ú·: Û˘ÌÌÂÙÚ›·, ÙÔÓÈÛÌfi ÙˆÓ Î·Ù·ÎfiÚ˘ÊˆÓ ·ÍfiÓˆÓ,ÙÚÈÌÂÚ‹ ‰È·›ÚÂÛË Î·ı’ ‡„Ô˜ Û ‚¿ÛË ÎÔÚÌfi Î·È ÛÙ¤„Ë.∏ ÏÈÙ‹ ¯Ú‹ÛË ÙˆÓ Û ‡ÊÔ˜ art- deco ‰È·ÎÔÛÌËÙÈÎÒÓÛÙÔȯ›ˆÓ, fi¯È ÌfiÓÔ ‰ÂÓ ÂÓÔ¯ÏÔ‡Ó, ·ÏÏ¿ ·ÓÙ›ıÂÙ· ÙÔÓ›-˙Ô˘Ó ÙÔÓ ÎÏ·ÛÛÈÎfi ÌÔÓÙÂÚÓÈÛÌfi ÙÔ ÎÙÈÚ›Ô˘.

The photographer focuses on the small square in front ofthe old Parliament, nowadays turned into the NationalHistory Museum, and specifically on the equestrianstatue of Theodoros Kolokotronis.The story of this marvellous sculpture, made by LazarosSochos (1862-1911), started in 1884, when the city ofNafplio announced an artistic contest for the creation ofan equestrian statue. The contest was won by LazarosSochos, who, in the workshop of the brothers Tiempo inParis, cast the statue in bronze.In 1895 the first statue was erected in Nafplio. At thebeginning of the century a second bronze statue wasplaced at the side of the Parliament building, at thebeginning of Kolokotroni Street; later on, in 1954, afterthe square’s reformation in order to widen KolokotroniStreet, the statue was transported to its current location,after several discussions and argue-stretches of thearchitectural experts. Exactly behind it, the side view of the TelecommunicationsBuilding, designed by Anastassis Metaxas. The size of thisbuilding, constructed in 1930, features a new architecturalscale, which started to dominate the centre of the capital.The usage of a new material, reinforced concrete, providesarchitects with the opportunity to choose a larger size andactualise it. For the building of the High School forEconomics and Commercial Sciences (1935), today’sUniversity of Economics, Metaxas uses a vocabulary thatexpresses a modern classisicm with an academic flavour:symmetry, emphasis on the vertical axis, tripart division.The plain usage of decorative artdeco elements impresseswith its style, emphasising the classical modernism ofthis building.

∏ Ô‰fi˜ ™Ù·‰›Ô˘ ÙÔ 1966 Stadiou Street in 1966

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¡¤· Ï‹„Ë Ù˘ Ô‰Ô‡ ™Ù·‰›Ô˘ ·fi ÙËÓ ›‰È· ÂÚ›Ô˘ ı¤ÛËÏ›Á· ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·, ÙË ‰ÂηÂÙ›· ÙÔ˘ ‘70.¢ÂÍÈ¿ Î·È ¿ÏÈ Û ÚÒÙÔ Ï¿ÓÔ ÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ªÂÙÔ¯ÈÎÔ‡Δ·Ì›Ԣ ™ÙÚ·ÙÔ‡. ∞ÚÈÛÙÂÚ¿ ÓÂÔÎÏ·ÛÈÎfi Ù˘ ÚÔËÁÔ‡ÌÂÓ˘ʈÙÔÁÚ·Ê›·˜ ¤¯ÂÈ ·ÓÙÈηٷÛÙ·ı› ·fi ÔÏ˘ÒÚÔÊÔ ÎÙ›ÚÈÔÂÓÒ ÛÙÔ Î¤ÓÙÚÔ ÂÚ›Ô˘ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ¿Á·ÏÌ· ÙÔ˘ £.∫ÔÏÔÎÔÙÚÒÓË ¤ÚÁÔ ÙÔ˘ ÁχÙË §¿˙·ÚÔ˘ ™Ò¯Ô˘ Î·È ÛÙËÛ˘Ó¤¯ÂÈ· ÙÔ ÎÙ›ÚÈÔ ÙÔ˘ √Δ∂ ÙÔ˘ ∞Ó·ÛÙ¿ÛË ªÂÙ·Í¿.

Another shot of Stadiou Street from about the samelocation, a few years later in the 70’s.Right in the forefront the building of Metochiko Tameio.On the left the neoclassical building of the previousphotograph is now replaced by a multi-storey building;in the centre is featured the statue of TheodorosKolokotronis by the sculpturer Lazaros Sochos andfurther on the Telecommunications building byAnastassis Metaxas.

∏ Ô‰fi˜ ™Ù·‰›Ô˘

Stadiou Street

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∏ ·Ú¯‹ Ù˘ Ô‰Ô‡ ™Ù·‰›Ô˘, ·fi ÙÔ ‡„Ô˜ Ù˘ ‰È·ÛÙ·‡ÚˆÛ˘Ù˘ Ì ÙËÓ Ô‰fi μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘ ÙË ‰ÂηÂÙ›· ÙÔ˘ ‘60. ¢ÂÍÈ¿,Û ÚÒÙÔ Ï¿ÓÔ ÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ªÂÙÔ¯ÈÎÔ‡ Δ·Ì›Ԣ ™ÙÚ·ÙÔ‡.™ÙÔ ‚¿ıÔ˜ Ù· ÷˘Ù›·.

The beginning of Stadiou Street at the point where itcrosses Voukourestiou Street, during the 60’s. On theright in the forefront the building of Metochiko Tameio.Further back the Chafteia.

∏ Ô‰fi˜ ™Ù·‰›Ô˘ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘

Stadiou Street at the level ofVoukourestiou Street

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π‰È·›ÙÂÚÔ ÂӉȷʤÚÔÓ ·ÚÔ˘ÛÈ¿˙ÂÈ Ë ‰ÂÍÈ¿ ÏÂ˘Ú¿ ÙÔ˘ ‰ÚfiÌÔ˘,Ô˘ ‰È·ÙËÚ› ·fi ÙËÓ Ô‰fi ∞ÌÂÚÈ΋˜ Î·È Ì¤¯ÚÈ ÙËÓ Ô‰fi ∂‰Ô˘¿Ú‰Ô˘§ˆ ÙË ÌÔÚÊ‹ Ô˘ ›¯Â ÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· Ì ٷ ÓÂÔÎÏ·ÛÈοÂÓ ÛÂÈÚ¿. ™‹ÌÂÚ· ÛÒ˙ÔÓÙ·È ÌÔÓ¿¯· Ù· ‰‡Ô ÚÒÙ·.∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÏËÊı› ÛÙȘ 19-03-63 Ì ÙËÓ Â˘Î·ÈÚ›· ÙˆÓÚÒÙˆÓ ÌÔÓÔ‰ÚÔÌ‹ÛÂˆÓ ÁÈ· ÙËÓ ‚ÂÏÙ›ˆÛË ÙÔ˘ ΢ÎÏÔÊÔÚÈ·ÎÔ‡.

The right side of the road is very interesting, as it maintainsthe same form which it had at the end of the 19th centuryfrom Amerikis Str. up until Eduard Lo Str., with a row ofneoclassical buildings. Today only two of them remain.The photo was taken on 19-03-63, on the occasion of thefirst one-way roads in order to relieve traffic weight.

∫·È ¿ÏÈ Ë Ô‰fi˜ ™Ù·‰›Ô˘ ÛÙÔ ‡„Ô˜Ù˘ Ô‰Ô‡ ∞ÌÂÚÈ΋˜

Again Stadiou Street, at the level ofAmerikis Street

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∏ Ô‰fi˜ ∞η‰ËÌ›·˜ Ï›ÁÔ ÚÈÓ ·fi ÙË ‰È·ÛÙ·‡ÚˆÛË Ù˘ Ì ÙËÓÔ‰fi ∫ÚÈÂ˙ÒÙÔ˘ ·ÚÈÛÙÂÚ¿ Î·È ÙËÓ Ô‰fi ¶ÈÓ‰¿ÚÔ˘ ‰ÂÍÈ¿.™ÙË ÁˆÓ›· ·ÚÈÛÙÂÚ¿ ‰È·ÎÚ›ÓÂÙ·È ÙÌ‹Ì· ÙÔ˘ ÎÙÈÚ›Ô˘ Ù˘(·Ï·È¿˜) °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ Δ‡Ô˘ Î·È ¶ÏËÚÔÊÔÚÈÒÓ Ù˘¶ÚÔ‰ڛ·˜ Ù˘ ∫˘‚ÂÚÓ‹Ûˆ˜, ÂÓÒ ·¤Ó·ÓÙÈ ˘„ÒÓÔÓÙ·È ÌÈ·ÛÂÈÚ¿ ·fi ÔÏ˘fiÚÔÊ· ÎÙ›ÚÈ· Ì ·Ó·ÁÓˆÚ›ÛÈÌ· Ù· ÛÙÔȯ›·Ù˘ ÌÔÚÊÔÏÔÁ›·˜ ÁÚ·Ê›ˆÓ: ∂ÌÊ·Ó‹˜ ‰ÔÌÈÎfi˜ οÓÓ·‚Ô˜,curtain wall, ÛÙÔ¿ ÛÙÔ ÈÛfiÁÂÈÔ. ∞Ó¿ÌÂÛ· ÙÔ˘˜ ͯˆÚ›˙ÂÈ ¤Ó·ÌÈÎÚfi ‰˘fiÚÔÊÔ ÂÎÏÂÎÙÈÛÙÈÎfi ÎÙ›ÚÈÔ, Ô˘ ‰È·ÙËÚÂ›Ù·È Î·ÈÛ‹ÌÂÚ· Ì ·ÏÏÔȈ̤ÓÔ ÙÔ ÈÛfiÁÂÈÔ (ÌÂÙ·ÙÚÔ‹ ÙÔ˘ Û ηٿ-ÛÙËÌ·) Î·È Î¿ÔȘ ÌÂÛÔÔÏÂÌÈΤ˜ ÔÏ˘Î·ÙÔÈ˘.

Academias Street just before the junction with KriezotouStreet to the left and Pindarou Street to the right.In the left corner a part of the building of the SecretariatGeneral of Press and Information of the Ministry of State isfeatured, on the opposite side a row of multistoreybuildings with specific features characteristic to offices:evident structural canvas, curtain wall, and an arcade onthe ground floor. Amongst them a small twostorey,eclectistic building, remaining until today, with changes onthe ground floor (turned into a shop) and some post WWIIapartment blocks are standing out.

∏ Ô‰fi˜ ∞η‰ËÌ›·˜

Academias Street

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H Ô‰fi˜ ∞ıËÓ¿˜ ¤Ó·˜ ·fi ÙÔ˘˜ ÛËÌ·ÓÙÈÎfiÙÂÚÔ˘˜ÂÌÔÚÈÎÔ‡˜ ‰ÚfiÌÔ˘˜ Ù˘ ∞ı‹Ó·˜ ‰È·ÙËÚÔ‡Û ·ÎfiÌ·ÙËÓ ·›ÁÏË Ù˘ ÛÙȘ ·Ú¯¤˜ ÙÔ˘ 20Ô˘ ·ÈÒÓ·. ∞fi ÙÔÓfiÏÂÌÔ ÎÈ’ ‡ÛÙÂÚ· Ë ∞ıËÓ¿˜ ·Ú¯›˙ÂÈ Ó· ˘Ô‚È‚¿˙ÂÙ·È.™Ù· ÌÂÁ¿Ï· ÓÂÔÎÏ·ÛÈο Ù˘, ÛÙȘ ‰‡Ô Ï¢ڤ˜ ÙÔ˘‰ÚfiÌÔ˘ ηÙÔÈÎÔ‡Û·Ó ÏÔ‡ÛÈÔÈ ¤ÌÔÚÔÈ, Ô˘ ›¯·Ó ٷηٷÛÙ‹Ì·Ù¿ ÙÔ˘˜ ÛÙÔ ÈÛfiÁÂÈÔ Î·È ÙȘ ηÙÔÈ˘ ÙÔ˘˜ÛÙÔ˘˜ ÔÚfiÊÔ˘˜.°‡Úˆ ÛÙÔ 1950, Ë ¯Ú‹ÛË Ù˘ ηÙÔÈΛ·˜ ÛÙ·‰È·Î¿ÂÁηٷÏ›ÂÙ·È. √È fiÚÔÊÔÈ ÙˆÓ ÎÙÈÚ›ˆÓ ÌÂÙ·ÙÚ¤ÔÓÙ·ÈÛ ·ÁÁÂÏÌ·ÙÈΤ˜ ÛÙ¤Á˜, ÁÚ·Ê›·, ‚ÈÔÙ¯ӛ˜, ·Ô-ı‹Î˜. ∫¿ÔÈ· ·fi Ù· ·Ú¯ÔÓÙÈο ηÙ‰·Ê›˙ÔÓÙ·È,οÔÈ· ¿ÏÏ· ÂÁηٷÏ›ÔÓÙ·È ÛÙË ÊıÔÚ¿.∏ Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜ Ú¤ÂÈ Ó· ¤¯ÂÈ Á›ÓÂÈ ·ÎÚÈ-‚Ò˜ Û’ ·˘Ù‹ ÙË Ê¿ÛË, ÛÙ· ̤۷ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ ’50.∂Ó ÙÔ‡ÙÔȘ Ë Ô‰fi˜ ∞ıËÓ¿˜ ÂÍ·ÎÔÏÔ˘ı› Ó· ÎÚ·Ù¿ÂÈ ÙÔ‰ÈÎfi Ù˘ ‡ÊÔ˜, ÙË ‰È΋ Ù˘ ÁÔËÙ›·.™‹ÌÂÚ· ÚÔ¯ˆÚ› ÙÔ ÚfiÁÚ·ÌÌ· ·Ó·‚¿ıÌÈÛ˘ ηȷÍÈÔÔ›ËÛ˘ Ù˘.

Athenas Street, one of the most importantcommercial roads of Athens, maintained itssignificance since the beginning of the 20th century.After the Second World War it starts to decline. Thelarge, neoclassical buildings on both sides of the roadwere inhabited by wealthy merchants, who kept theirshops on the ground floor and their living quarterson the upper f loors.Around the 50’s the living quarters are graduallyevacuated. The upper floors of the buildings are turnedinto businesses, offices, handcraft studios, storageplaces. Some of the mansions are taken down andsome others are abandoned and fell into decay.This photo must have been taken exactly during thatperiod, in the middle of the 50’s. However AthenasStreet always carries its own style, its unique charm.Nowdays its update schedule is carried out in a waythat will increase its value.

∏ Ô‰fi˜ ∞ıËÓ¿˜ ÛÙÔ ‡„Ô˜ ÂÚ›Ô˘fiÔ˘ ‰È·ÛÙ·˘ÚÒÓÂÙ·È Ì ÙȘ Ô‰Ô‡˜μÔÚ¤Ô˘ Î·È μ‡ÛÛ˘

Athenas Street at the level where itcrosses Voreou and Vyssis Streets

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∏ Ô‰fi˜ ΔÔÛ›ÙÛ· ÌÂٷ͇ ÙÔ˘ ∂ıÓÈÎÔ‡ ªÂÙÛԂ›Ԣ ¶ÔÏ˘Ù¯ÓÂ›Ô˘Î·È ÙÔ˘ ΋Ԣ ÙÔ˘ ∂ıÓÈÎÔ‡ ∞Ú¯·ÈÔÏÔÁÈÎÔ‡ ªÔ˘Û›Ԣ.™ÙÔ ‚¿ıÔ˜ ›Ûˆ ‰È·ÎÚ›ÓÔÓÙ·È Ù· ∂Í¿Ú¯ÂÈ· Î·È Ë ¡Â¿ÔÏË Ô˘ÎÚ·ÙÔ‡Ó ·ÎfiÌË ÙÔ ÓÂÔÎÏ·ÛÈÎfi ÙÔ˘˜ ¯·Ú·ÎÙ‹Ú·.¶›Ûˆ ·fi ÙÔ ªÔ˘ÛÂ›Ô ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÎÙ›ÚÈÔ Ù˘ ∞ÛÊ¿ÏÂÈ·˜,ÛÙȘ Ô‰Ô‡˜ ΔÔÛ›ÙÛ· Î·È ªÔ˘ÌÔ˘Ï›Ó·˜ ÁˆÓ›·, ηÙ‰·ÊÈṲ̂ÓÔÛ‹ÌÂÚ· Î·È ÛÙË Û˘Ó¤¯ÂÈ· Ë ÔÏ˘Î·ÙÔÈΛ· §ÔÁÔıÂÙfiÔ˘ÏÔ˘ÌÈ· ·fi ÙȘ ÚÒÙ˜ ÔÏ˘Î·ÙÔÈ˘ ÙˆÓ ∞ıËÓÒÓ ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ·∫˘ÚÈ·ÓÔ‡ ª›ÚË, fiÔ˘ Û‹ÌÂÚ· ÙÔ ˘Ô˘ÚÁÂ›Ô ¶ÔÏÈÙÈÛÌÔ‡.∫·Ù‰·ÊÈṲ̂ÓÔ Â›Ó·È Â›Û˘ Î·È ÙÔ ÙÚÈÒÚÔÊÔ ÓÂÔÎÏ·ÛÈÎfi ›Ûˆ·fi ÙÔ ¶ÔÏ˘Ù¯Ó›Ô. ∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù›ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950.ΔÔ ÎÙ›ÚÈÔ ÙˆÓ ÃËÌÈÎÒÓ Â› Ù˘ Ô‰Ô‡ ΔÔÛ›ÙÛ·, ›Ûˆ ·fi ÙÔÎÂÓÙÚÈÎfi ÎÙ›ÚÈÔ ∞‚¤ÚˆÊ ÙÔ˘ ¶ÔÏ˘Ù¯Ó›Ԣ, ‰ÂÓ ¤¯ÂÈ ·ÎfiÌËÎÙÈÛÙ›, ÂÓÒ ÂÏ¿¯ÈÛÙ˜ Â›Ó·È ÔÈ ÔÏ˘Î·ÙÔÈ˘ Ô˘ ¤¯Ô˘Ó˘„ˆı›.

Tossitsa Street between the National Metsovio PolytechinalUniversity, NTUA, and the garden of the NationalArchaeological Museum. In the background we see Exarcheiaand Neapoli, still maintaining their neoclassical character.Behind the museum we see the police building, on thecorner of Tossitsa Street and Bouboulinas Street, nowdemolished, and further on the Logothetopoulos’ apartmentblock, one of the first blocks in Athens, designed by thearchitect Kyprianos Mbiris, where nowadays the Ministry ofCivilisation is hosted. The three-storey neoclassical buildingbehind the Polytechneio is also demolished. This photomust have been taken during the 50’s.The building of the University of Chemistry on TossitsaStreet is not yet built, and the apartments blocks are stillquite few.

“ÕԄȘ Ù˘ Û‡Á¯ÚÔÓ˘ ∞ı‹Ó·˜.¢ÂÍÈ¿ ÙÔ ¶ÔÏ˘Ù¯ÓÂ›Ô Î·È ·ÚÈÛÙÂÚ¿Ô Î‹Ô˜ ÙÔ˘ ∂ıÓÈÎÔ‡ ªÔ˘Û›Ԣ”

“A view of modern Athens.To the right the PolytechinalUniversity and to the left the gardenof the National Museum”

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∏ Ô‰fi˜ μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘ ÌÂٷ͇ ÙˆÓ Ô‰ÒÓ ∞η‰ËÌ›·˜ ηȶ·ÓÂÈÛÙËÌ›Ô˘ ÌÂÙ¿ ÙËÓ ÌÂÙ·ÙÚÔ‹ Ù˘ Û Â˙fi‰ÚÔÌÔ.™ÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ ‘80 ÂȯÂÈÚ‹ıËΠÁÈ·ÚÒÙË ÊÔÚ¿ Ë ÌÂÙ·ÙÚÔ‹ οÔÈˆÓ Ô‰ÒÓ ÙÔ˘ ÂÌÔÚÈÎԇΤÓÙÚÔ˘ Û Â˙Ô‰ÚfiÌÔ˘˜. ∏ Ô‰fi˜ μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘ ‹Ù·Ó·fi Ù· ÚÒÙ· ÂÈÚ·Ì·ÙÈο ·Ú·‰Â›ÁÌ·Ù· ÛÂ Û˘Ó‰˘·ÛÌfiÌ ÙȘ Ô‰Ô‡˜ ∑·ÏÔÎÒÛÙ· Î·È μ·Ï·ˆÚ›ÙÔ˘. ™ÙÔ Î¿ÙˆÙÌ‹Ì· Ù˘ Ô‰Ô‡, ÌÂٷ͇ ÙˆÓ ÏˆÊfiÚˆÓ ¶·ÓÂÈÛÙËÌ›Ô˘Î·È ™Ù·‰›Ô˘ Ë Î˘ÎÏÔÊÔÚ›· Û˘Ó¯›˙ÂÙ·È. ™‹ÌÂÚ· ¤¯ÂÈÂ˙Ô‰ÚÔÌËı› Î·È ÙÔ ÙÌ‹Ì· ·˘Ùfi Ù˘ μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘.∏ ÛËÌÂÚÈÓ‹ ÂÈÎfiÓ· Ù˘ Ô‰Ô‡ μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘, Â›Ó·È ‰È·ÊÔÚÂÙÈ΋·fi ·˘Ù‹ Ù˘ ʈÙÔÁÚ·Ê›·˜, ηıÒ˜ › ‰ËÌ·Ú¯›·˜ ¡ÙfiÚ·˜ª·ÎÔÁÈ¿ÓÓË ·˘Ù‹ ÌÂÙ·ÙÚ¿ËΠ·Ú·Ì¤ÓÔÓÙ·˜ fÓÙÔÙ Â˙fi‰ÚÔÌÔ˜. ™ÙÔ ‚¿ıÔ˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÎÙ›ÚÈÔ ÛÙËÓÁˆÓ›· ÙˆÓ Ô‰ÒÓ ™Ù·‰›Ô˘ Î·È ∫·Ú·ÁÂÒÚÁË Ù˘ ™ÂÚ‚›·˜.

Voukourestiou Street between Academias Street andPanepistimiou Street after its transformation into apedestrian area. In the early ‘80s it was attempted forthe first time to turn some streets of the commercialcentre into pedestrian areas. Voukourestiou Street wasone of the first experimental examples, in combinationwith Zalokosta Street and Valaoritou Street. In the lowerpart of the street, between Panepistimiou Avenue andStadiou Avenue, traffic is allowed. Nowadays this partof Voukourestiou Street is given to pedestrians too.The current image of Voukourestiou Street is differentfrom the one shown on the photo, because it waschanged during the period when Dora Bakoyiannis wasmayor of Athens, but still it remained a pedestrianroad. Further back we see the building on the corner ofStadiou Street and Kar. Servias Street.

¶Â˙fi‰ÚÔÌÔ˜ μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘

Voukourestiou pedestrian road

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ªÂÙ·ÁÂÓ¤ÛÙÂÚË Ï‹„Ë Ù˘ Ô‰Ô‡ ΔÔÛ›ÙÛ· ÙˆÓ ·Ú¯ÒÓ Ù˘‰ÂηÂÙ›·˜ ÙÔ˘ 1960 ·fi ÙÔ ›‰ÈÔ ÂÚ›Ô˘ ÛËÌ›Ô.ΔÔ ÎÙ›ÚÈÔ ÙˆÓ ÃËÌÈÎÒÓ, ÓÂfiÎÙÈÛÙÔ, ‰ÂÛfi˙ÂÈ ›Ûˆ ·fiÙËÓ ¯·ÌËÏ‹ Ù¤Ú˘Á· Ù˘ ™¯ÔÏ‹˜ ∫·ÏÒÓ Δ¯ÓÒÓ.™ÙÔ Î¤ÓÙÚÔ, ÛÙËÓ ÚÒÙË ‰È·¯ˆÚÈÛÙÈ΋ ÓËÛ›‰· Ù˘ Ô‰Ô‡ΔÔÛ›ÙÛ· ¤¯ÂÈ ÙÔÔıÂÙËı› ÙÔ ¿Á·ÏÌ· Ù˘ μÔÚ›Ԣ ∏›-ÚÔ˘.

A more recent shot of Tossitsa Street at the beginning ofthe 60’s, taken more or less from the same spot.The building of the University of Chemistry, newly built,dominates the view behind the low wing of the School ofFine Arts.In the middle of the first central reserve of TossitsaStreet we find the statue of Northern Ipeiros.

H Ô‰fi˜ ΔÔÛ›ÙÛ· Tossista Street

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“∞È ∞ı‹Ó·È ηı›ÛÙ·ÓÙ·È Û˘Ó Ùˆ ¯ÚfiÓˆ ÌÈ· ÌÂÁ¿ÏË ÎÔÛÌÔÔ-Ï›ÙÈÎË ÂÚÈÔ¯‹” ÁÚ¿ÊÂÈ ÛÙÔ ÂÚÈÔ‰ÈÎfi “∞Ú¯ÈÙÂÎÙÔÓÈ΋” ÙËÓ¿ÓÔÈÍË ÙÔ˘ 1960 Ô ·Ú¯ÈÙ¤ÎÙˆÓ ÔÏÂÔ‰fiÌÔ˜ Ã. ΔÛ·ÁÁ·Ú›‰Ë˜Î·È ÛÙË Û˘Ó¤¯ÂÈ· ·ÚÔ˘ÛÈ¿˙ÂÈ ÙÔÓ ÎfiÌ‚Ô Ù˘ Û˘Ó¿ÓÙËÛ˘Ù˘ ψÊfiÚÔ˘ ∞ÏÂÍ¿Ó‰Ú·˜ Ì ÙËÓ ¶·ÙËÛ›ˆÓ Ì ٷ ·Ú·Î¿ÙˆÛ¯fiÏÈ· “ΔÔ ÛËÌ›ÔÓ ·˘Ùfi Â›Ó·È ÂÓ ÂÎ ÙˆÓ Ï¤ÔÓ ÂӉȷÊÂÚfi-ÓÙˆÓ ÂȘ ÂÌÊ¿ÓÈÛÈÓ, ÂÚ·ÁÌ·ÙÔÔÈ‹ıË ‰Â ÂȘ ÙÔ ÛËÌ›ÔÓ·˘Ùfi ÌÈ· Ó¤· Û˘ÓÔÈΛ· Ù˘ fiψ˜ › ÙË ‚¿ÛÂÈ Î·Ï˘Ù¤ÚÔ˘ÔÏÂÔ‰ÔÌÈÎÔ‡ ۯ‰›Ô˘. ∏ ¿Óˆ ÂÚÈÔ¯‹ ÎÂ›Ù·È ¤ÚÈÍ ÙÔ˘·Á¿ÏÌ·ÙÔ˜ ÙÔ˘ μ·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ Î·È ÏËÛ›ÔÓ ÙÔ˘ÌÂÁ¿ÏÔ˘ ¿ÚÎÔ˘ ÙÔ˘ ¶Â‰›Ô˘ ÙÔ˘ ÕÚˆ˜”.

¢‡Ô ʈÙÔÁÚ·ÊÈΤ˜ Ï‹„ÂȘ Û ·fiÛÙ·ÛË ¤ÓÙ ¯ÚÔÓÒÓÌÂٷ͇ ÙÔ˘˜. ∏ ÚÒÙË ¤¯ÂÈ Á›ÓÂÈ ÙÔ 1961 ·Ì¤Ûˆ˜ ÌÂÙ¿ Ù·Û¯fiÏÈ· Ù˘ “∞Ú¯ÈÙÂÎÙÔÓÈ΋˜” Ë ‰Â‡ÙÂÚË ¤ÓÙ ¯ÚfiÓÈ··ÚÁfiÙÂÚ·. ™ÙÔ ÌÂÛԉȿÛÙËÌ· ¤¯Ô˘Ó Û˘ÓÙÂÏÂÛÙ›ÛËÌ·ÓÙÈΤ˜ ·ÏÏ·Á¤˜.∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ·fi ÙËÓ Ô‰fi ¶·ÙËÛ›ˆÓ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡∞ÈÓ›·ÓÔ˜. ¢È·ÎÚ›ÓÔÓÙ·È ÔÈ ÌÂÛÔÔÏÂÌÈΤ˜ ÔÏ˘Î·ÙÔÈ˘ Ù˘¶Ï·Ù›·˜ ∞ÈÁ‡ÙÔ˘. ∂ÎÏÂÎÙÈÛÙÈ΋ Ë ÁˆÓȷ΋, ÛÙÔ Ú˘ıÌfi ÙÔ˘ÌÔÓÙ¤ÚÓÔ˘ ÎÈÓ‹Ì·ÙÔ˜ Ë ‰Â‡ÙÂÚË. ™Â ÚÒÙÔ Ï¿ÓÔ Ë Ô‚¿Ï‰È·¯ˆÚÈÛÙÈ΋ Ú¿ÛÈÓË ÓËÛ›‰· fiÔ˘ η٤ÏËÁÂ Ë ÏˆÊfiÚÔ˜∞ÏÂÍ¿Ó‰Ú·˜. ™‹ÌÂÚ· Ë ÓËÛ›‰· ·˘Ù‹ ‰ÂÓ ˘¿Ú¯ÂÈ Î·È Ë΢ÎÏÔÊÔÚȷ΋ Ú‡ıÌÈÛË ¤¯ÂÈ ÌÂÙ·Ùڷ›.

“Athens is gradually turning into a large cosmopolitanarea” is the phrase written in the magazine “Architecture”during the spring of 1980, by the architect and cityplanner C. Tsagaridis; further on he presents the junctionwhere Patission Street meets Alexandras Avenue with thefollowing comments “this spot has become one of themost interesting parts in terms of appearance, and at thislocation a new neighbourhood has been constructed,based on an improved city plan. This area mentionedabove is situated around the statue of King Konstantinos,next to the large park called “Pedio Areos””.

Two photos taken within a span of five years. The first wastaken in 1961, very shortly after the commentaries in the“Architecture” magazine, the second five years later.During this period certain important changes haveoccurred.The shot is taken from Patission Street at the level ofAinianos Street. We can see the post WWII apartmentblocks on Aigyptou Square. The first one is eclectistic, thesecond follows the style of the modern movement. In theforefront the oval shaped central reserve, whereAlexandras Avenue used to end. Nowadays this reserveno longer exists and the traffic flow has changed.

√ ÎfiÌ‚Ô˜ Ù˘ Ô‰Ô‡ ¶·ÙËÛ›ˆÓ ÌÂÙËÓ ÏˆÊfiÚÔ ∞ÏÂÍ¿Ó‰Ú·˜

The junction of Patission Streetand Alexandras Avenue

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∏ ÓËÛ›‰· ¤¯ÂÈ ·ÓÙÈηٷÛÙ·ı› ·fi ¤Ó· ÌÈÎÚfi ÙÚ›ÁˆÓÔ Î·ÈÔÈ ‰‡Ô ÌÂÁ¿ÏÔÈ ¿ÍÔÓ˜ Û˘Ó·ÓÙÈÔ‡ÓÙ·È Î¿ıÂÙ·. ∏ ΢ÎÏÔ-ÊÔÚ›· Ú˘ıÌ›˙ÂÙ·È Ì ʷӿÚÈ·.™ÙÔ ‚¿ıÔ˜ Ô ¤ÊÈÔ˜ ·Ó‰ÚÈ¿ÓÙ·˜ ÙÔ˘ μ·ÛÈÏÈ¿ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘¤ÚÁÔ ÙÔ˘ ÁχÙË Francesco Parisi (1938) Ì ÊfiÓÙÔ Ù·ΔÔ˘ÚÎÔ‚Ô‡ÓÈ·. ∏ ·Ú¯ÈÙÂÎÙÔÓÈ΋ Û‡ÓıÂÛË ÙÔ˘ ÌÓËÌ›ԢÔÊ›ÏÂÙ·È Â›Ó·È ÛÙÔÓ Â›Û˘ πÙ·Ïfi ·Ú¯ÈÙ¤ÎÙÔÓ· C. Vetziani.

The central reserve has been replaced by a small triangleand the two large streets meet each other under an angle of90 degrees. The traffic flow is regulated by traffic lights.In the background the equestrian statue of King Konstantinos,a creation of sculptor Francesco Parisi (1938), with theTourkovounia in the background. The architecturalcomposition of this monument is designed by another Italianarchitect, C. Vetziani.

ΔÔ ›‰ÈÔ ÛËÌÂ›Ô ÙÔ 1966 The same spot in 1966

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¢‡Ô ·ÎfiÌË ÊˆÙÔÁڷʛ˜ ÙÔ˘ ›‰ÈÔ˘ ÎfiÌ‚Ô˘ ·fi ÙËÓ ·¤-Ó·ÓÙÈ ÏÂ˘Ú¿ Ù˘ ¶·ÙËÛ›ˆÓ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ºÂÚÒÓ·˘Ù‹ ÙË ÊÔÚ¿.

Two more photos of the same junction from the oppositeside of Patission Street, at the level of Feron Street this time

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∏ Ô‰fi˜ ª·˘ÚÔÌÌ·Ù·›ˆÓ ÛÙËÓ ·Ó·ÙÔÏÈ΋ ÏÂ˘Ú¿ ÙÔ˘¶Â‰›Ô˘ ÙÔ˘ ÕÚˆ˜ Â›Ó·È ¤Ó·˜ ·fi ÙÔ˘˜ ˆÚ·ÈfiÙÂÚÔ˘˜‰ÚfiÌÔ˘˜ Ù˘ ∞ı‹Ó·˜ fiÔ˘ ·Ó·Ù‡ÛÛÂÙ·È ÌÈ· ÛÂÈÚ¿ ·fiÌÂÛÔÔÏÂÌÈΤ˜ Î·È ÌÂÙ·ÔÏÂÌÈΤ˜ ÔÏ˘Î·ÙÔÈ˘ ÌÈ·˜È‰È·›ÙÂÚ˘ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ÔÈfiÙËÙ·˜, Ì ڷÛÈ¿ÌÚÔÛÙ¿ Î·È ı¤· ÚÔ˜ ÙÔ ¶¿ÚÎÔ.∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ·fi ÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ ∫Ô‰ÚÈÁÎÙÒÓÔ˜.∞ÚÈÛÙÂÚ¿ ‰È·ÎÚ›ÓÔ˘Ì ÙÔ Á‹Â‰Ô ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘°˘ÌÓ·ÛÙÈÎÔ‡ ™˘ÏÏfiÁÔ˘ Î·È ÛÙÔ Ù¤ÚÌ· ÙÔ˘ ‰ÚfiÌÔ˘ ÙËӶϷÙ›· ∞ÈÁ‡ÙÔ˘.™ÙÔ ‚¿ıÔ˜ Ô ÈÂÚfi˜ ‚Ú¿¯Ô˜ Î·È Ë ∞ÎÚfiÔÏË.

Mavrommateon Street, on the eastern side of PedioAreos, is one of Athens’ most beautiful roads, where arow of inter-war and post WWII apartment blockshave been developed, with a significant architecturalvalue, and with green patches in the front and a viewtowards the Park.The shot is taken at the level of Kodrigtonos Street.On the left we see the sports grounds of PanelliniosGymnast ics Club and at the end of the roadAigyptou Square.In the background the Sacred Rock and the Acropolis.

∏ Ô‰fi˜ ª·˘ÚÔÌÌ·Ù·›ˆÓ Î·È ÙÔ¶¿ÚÎÔ 19-06-61

Mavrommateon Street and thePark 19-06-61.

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∫·ıÈÛÙÈÎfi ÛÙÔ ¶Â‰›Ô ÙÔ˘ ÕÚˆ˜. ™ÙÔ ‚¿ıÔ˜ ÎÚ˘Ì̤ÓÔ̤۷ ÛÙ· ‰¤ÓÙÚ· ÙÔ ·Ó·„˘ÎÙ‹ÚÈÔ Î·È ·fi ›Ûˆ ˆ˜ÊfiÓÙÔ ÔÈ ÔÏ˘Î·ÙÔÈ˘ Ù˘ ∫Ô‰ÚÈÁÎÙÒÓÔ˜ Î·È Ù·ΔÔ˘ÚÎÔ‚Ô‡ÓÈ·.

A place to sit in Pedio Areos. Behind it, hiding amongst thetrees, is the open refreshments shop and the backgrounddepicts the apartment blocks in Kodrigtonos Street from theback and the area of Tourkovounia.

¶Â‰›Ô ÕÚˆ˜ Pedio Areos

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™Ù· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1930 ηıÒ˜ Ë ∫˘„¤ÏË ·Ú¯›-˙ÂÈ Ó· ·Ó·Ù‡ÛÛÂÙ·È Î·Ï‡ÙÂÙ·È ÙÔ Ú¤Ì· Ù˘ ÂÚÈÔ¯‹˜Î·È ‰È·ÌÔÚÊÒÓÂÙ·È ÛÙ·‰È·Î¿ Ë ºˆÎ›ˆÓÔ˜ ¡¤ÁÚË. ¢‡Ô·ÛÊ·ÏÙÔÛÙڈ̤ÓÔÈ ‰ÚfiÌÔÈ Î·È ·Ó¿ÌÂÛ· ÙÔ˘˜ ‰‡ÔʷډȤ˜ ÂÈ̋Θ ÓËÛ›‰Â˜: Ï·Ù›·. √ ¯ÒÚÔ˜ Ê˘Ù‡ÂÙ·ÈÌ ϷٿÓÈ· Î·È ı¿ÌÓÔ˘˜, ‰ËÌÈÔ˘ÚÁÂ›Ù·È ÌÈ· ·È‰È΋¯·Ú¿ Ì ·È¯Ó›‰È· Î·È ¤Ó· ÌÈÎÚfi ÛÈÓÙÚÈ‚¿ÓÈ. ¶ÚÔ˜ ÙËÓÔ‰fi ∞Á. ∑ÒÓ˘ ÌÈ· ÏÈÌÓԇϷ fiÔ˘ ÎÔÏ˘ÌÔ‡Ó ¿È˜.∫·Ù¿ Ì‹ÎÔ˜ ·ÁοÎÈ· Î·È Î·ıÈÛÙÈο.◊‰Ë ·fi ÙËÓ ÂÚ›Ô‰Ô ÙÔ˘ ªÂÛÔÔϤÌÔ˘ ·Ú¯›˙Ô˘Ó Ó· ÎÙ›˙ÔÓÙ·ÈÔÏ˘Î·ÙÔÈ˘ Ô˘ ÏËı·›ÓÔ˘Ó ÙËÓ ÌÂÙ·ÔÏÂÌÈ΋ ÂÚ›Ô‰Ô.™ÙË ‰ÂηÂÙ›· ÙÔ˘ ‘50 Ë ºˆÎ›ˆÓÔ˜ ¡¤ÁÚË Â›Ó·È ¤Ó·˜·fi ÙÔ˘˜ ÈÔ ˙ˆÓÙ·ÓÔ‡˜ ¯ÒÚÔ˘˜ Ù˘ ∞ı‹Ó·˜, Ô ¯ÒÚÔ˜·È¯ÓȉÈÔ‡ ÁÈ· Ù· ·È‰È¿ Î·È ÛÙ¤ÎÈ ÁÈ· ÙË ÓÂÔÏ·›· ηÈÙÔ˘˜ ÌÂÁ·Ï‡ÙÂÚÔ˘˜.ªÂ ÚÒÙÔ ÙÔ “™ÂϤÎÙ” Ô˘ ·ÓÔ›ÁÂÈ ÙÔ 1948 ÛÙË ÁˆÓ›· ÌÂÙËÓ Ô‰fi ∂Ù·Ó‹ÛÔ˘ ˙·¯·ÚÔÏ·ÛÙ›·, ηÊÂÙ¤ÚȘ, ÂÛÙÈ·-ÙfiÚÈ· ηٷϷ̂¿ÓÔ˘Ó Ù· ÈÛfiÁÂÈ· ÙˆÓ ÔÏ˘Î·ÙÔÈÎÈÒÓ.ÕÔ„Ë Ù˘ ºˆÎ›ˆÓÔ˜ ¡¤ÁÚË ·fi „ËÏ¿ ÙÚ·‚ËÁ̤ÓË ÙÔÓπ·ÓÔ˘¿ÚÈÔ ÙÔ˘ 1962.√È ÔÏ˘Î·ÙÔÈ˘ ¤¯Ô˘Ó ηχ„ÂÈ Î·È ÙȘ ‰‡Ô Ï¢ڤ˜ ÙÔ˘‰ÚfiÌÔ˘ Î·È ·ÓËÊÔÚ›˙Ô˘Ó ÚÔ˜ ÙÔ ÏfiÊÔ Ù˘ ∫˘„¤Ï˘.

At the end of the 30’s, the time that the area of Kypselistarted to develop, the river of the neighbourhood iscovered and gradually Fokionos Negri is transforminginto a street. Two asphalt roads and between them twowide areas together forming a square. The area isplanted with plane trees and shrubs, a playground isconstructed and a small fountain. Towards Ag. ZonisStreet there is a pond with ducks. Across it there arebenches and places to sit.Already since the inter war period apartment blocksstarted to appear, and they multiply after the SecondWorld War.In the 50’s Fokionos Negri is one of the most excitingareas of Athens; an area to play for children and ameeting point for the young generation and others.Starting with Select, which opened in 1948, on thecorner with Eptanissou Street, several patisseries,coffee-shops, restaurants are taking over the groundfloors of the buildings.A view of Fokionos Negri, taken from high up, in January1962. The apartment blocks have occupied both sides of theroad and are climbing towards Kypseli Hill.

∏ Ô‰fi˜ ºˆÎ›ˆÓÔ˜ ¡¤ÁÚË Fokionos Negri Street

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∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ·fi ÙË ‰È·ÛÙ·‡ÚˆÛË Ù˘ Ô‰Ô‡πˆ¿ÓÓË ¢ÚÔÛÛÔÔ‡ÏÔ˘ Î·È ºˆÎÈÒÓÔ˜ ¡¤ÁÚË. ™ÙËӷ̤ۈ˜ ÂfiÌÂÓË ÁˆÓÈ¿ £‹Ú·˜ ∂Ù·Ó‹ÛÔ˘ Î·È ºˆÎ›ˆ-ÓÔ˜ ¡¤ÁÚË ·ÚÈÛÙÂÚ¿ ‰È·ÎÚ›ÓÂÙ·È Ë ÔÏ˘Î·ÙÔÈΛ·§·Ó·Ú¿ Ì η̇ÏË ÙË ÁˆÓȷ΋ ·fiÏËÍË Î·È ·ÎÚÈ‚Ò˜·¤Ó·ÓÙÈ Ù˘ ÛÙÔ ÈÛfiÁÂÈÔ ÙÔ “™ÂϤÎÙ”.™ÙÔ ÚÒÙÔ Ï¿ÓÔ ·Ó¿ÌÂÛ· Û’ ¤Ó· Ù·Í› Î·È Û’ ¤Ó· Û¯ÔÏÈÎfi¤Ó· οÚÔ.

The picture is taken from the junction of IoannisDrossopoulou Street and Fokionos Negri Street. On thenext corner, between Theras Street, Eptanissou Streetand Fokionos Negri Street, we see the apartment blockof Lanaras, which ends in a curve, and exactly on theopposite side Select, on the ground floor.In the forefront a cart, between a taxi and a school bus.

∞ÎfiÌË Ì›· ʈÙÔÁÚ·Ê›· Ù˘ºˆÎ›ˆÓÔ˜ ¡¤ÁÚË Ôχ Úˆ› Ù·ÃÚÈÛÙÔ‡ÁÂÓÓ· ÙÔ˘ 1966

Another photo of Fokionos Negri,very early morning, Christmas1966

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∏ ψÊfiÚÔ˜ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜ ÛÙË ‰È·ÛÙ·‡ÚˆÛË Ì ÙȘψÊfiÚÔ˘˜ ∞ÏÂÍ¿Ó‰Ú·˜ Î·È ∫ËÊÈÛ›·˜.∞ÚÈÛÙÂÚ¿ ›Ûˆ ·fi Ù· ‰¤ÓÙÚ·, ‰È·ÎÚ›ÓÂÙ·È Ë ÀÁÂÈÔÓÔÌÈ΋™¯ÔÏ‹ ÂÓÒ ‰ÂÍÈ¿ fiÙÈ ¤¯ÂÈ ·ÔÌ›ÓÂÈ ·fi ÙÔ ÎÙ‹Ì· £ÒÓ.™‹ÌÂÚ· ÛÙË ı¤ÛË ·˘Ù‹ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËı› ÙÔ Ó¤Ô ÂÌÔÚÈ-Îfi ΤÓÙÚÔ ÙÔ˘ μˆ‚Ô‡, Ô˘ ÚÔοÏÂÛ ÔÏϤ˜ Û˘˙ËÙ‹ÛÂȘÛÙËÓ ·ıËÓ·˚΋ ÎÔÈÓˆÓ›·.

Vassilissis Sofias Avenue where it meets AlexandrasAvenue and Kifissias Avenue.On the left, behind the trees, is the Health Services Schooland on the right the remains of the Thon estate.Nowadays we find at this same location the newcommercial centre of Vovos, which stirred manydiscussions in the Athenian society.

¶Ï·Ù›· ∞ÌÂÏÔ΋ˆÓ Ampelokipi Square

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∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙËÓ ÂÚ›Ô‰Ô ÙˆÓ ÚÒÙˆÓÌÔÓÔ‰ÚÔÌ‹ÛÂˆÓ Î·È ·ÂÈÎÔÓ›˙ÂÈ ÙË ÏˆÊ. ∫ËÊÈÛ›·˜ ÛÙÔ‡„Ô˜ ÙˆÓ ∞ÌÂÏÔ΋ˆÓ, Ï›ÁÔ ÌÂÙ¿ ÙË ‰È·ÛÙ·‡ÚˆÛË Ù˘Ì ÙË ÏˆÊfiÚÔ ∞ÏÂÍ¿Ó‰Ú·˜, ÛÙË ı¤ÛË fiÔ˘ Û‹ÌÂÚ· ÙÔÍÂÓÔ‰Ô¯Â›Ô ¶Ú¤˙ÈÓÙ·Ó.∞ÚÈÛÙÂÚ¿ Ë ÂÚÈÔ¯‹ Ô˘ ÂÚÈÎÏ›ÂÙ·È ÌÂٷ͇ ÙˆÓ Ô‰ÒÓ∫ËÊÈÛ›·˜ Î·È ¶·ÓfiÚÌÔ˘. ∏ ÂÚÈÔ¯‹ ·˘Ù‹ Ô˘ ̋ΠÛÙÔÛ¯¤‰ÈÔ fiψ˜ ÛÙȘ ·Ú¯¤˜ ÙÔ˘ 20Ô˘ ·ÈÒÓ· ‰È·ÙËÚÔ‡Û·ÎfiÌË ÙË ¯·ÌËÏ‹ ÌÂÛÔÔÏÂÌÈ΋ Ù˘ ‰fiÌËÛË. ™‹ÌÂÚ· ÛÙËı¤ÛË ÙˆÓ ÂÚÈÛÛfiÙÂÚˆÓ ·fi Ù· ÌÈÎÚ¿ ·˘Ù¿ ÌÂÛÔ·ÛÙÈοۛÙÈ· ¤¯Ô˘Ó ˘„ˆı› ÔÏ˘Î·ÙÔÈ˘.

The photo is taken during the period of the construction ofthe first one-way roads and depicts Kifissias Avenue at thelevel of Ampelokipi a little after its crossing with AlexandrasAvenue, at the location where nowadays the President Hotelis situated.On the left the area surrounding Kifissias Avenue andPanormou Street. This area, which was included in the cityplan at the beginning of the century, still maintained itsinter-war low buildings. Today most of these middle classsmall houses are replaced by apartment blocks.

∏ ψÊfiÚÔ˜ ∫ËÊÈÛ›·˜. ¢ÈÏ‹˜Î˘ÎÏÔÊÔÚ›·˜ ¿ÓÔ‰Ô˜-οıÔ‰Ô˜

Kifissias Avenue. Going up anddown in both directions

A T H E N S 101

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∞ÚÈÛÙÂÚ¿, ÌÈ· ·fiÂÈÚ· ÔÚÁ·ÓˆÌ¤ÓË ‰fiÌËÛË ·fi È‰È ÙÈÎfiÊÔÚ¤· ÙË ‰ÂηÂÙ›· ÙÔ 50 ηٿ ÙÔ ÚfiÙ˘Ô Ù Ó Û˘ÁÎÚÔÙËÌ¿Ù ÓÙÔ ÌÔÓÙ¤ÚÓÔ ÎÈÓ‹Ì·ÙÔ˜, ¯ Ú› fï ÙËÓ ·˘ıÂÓÙÈÎfiÙËÙ· Î·È ÙËÓÔÈfiÙËÙ· ÙË ÌÂÛÔÔÏÂÌÈ΋ ·Ú ÈÙÂÎÙÔÓÈ΋˜.™ÙÔ ‚¿ıÔ˜ ‰È·ÎÚ›ÓÔÓÙ·È ı·ÌÔ› ÔÈ fiÁÎÔÈ ÙÔ˘ ∞Ú۷ΛԢ ηÈÙÔ˘ ∫ÔÏÏÂÁ›Ô˘ ∞ıËÓÒÓ.

On the left an attempt of a private company, during the50’s, to build according to the example set by the blocks ofthe modern movement, but it lacks the originality andquality of the post WWII architecture.Further in the background the conglomerates of ArsakeioSchool and Athens College.

∏ ψÊfiÚÔ˜ ∫ËÊÈÛ›·˜ ÛÙÔ ‡„Ô˜ÙÔ˘ æ˘¯ÈÎÔ‡

Kifissias Avenue at the level ofPsychiko

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ΔÔ ÛËÌÂ›Ô Û˘Ó¿ÓÙËÛ˘ Ù˘ ψÊfiÚÔ˘ ∞Ú‰ËÙÙÔ‡, Ì ÙȘψÊfiÚÔ˘˜ ŸÏÁ·˜ Î·È μ·Û. ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ Ï›ÁÔ ÚÈÓ ÙÔ¶·Ó·ıËÓ·˚Îfi ™Ù¿‰ÈÔ. ∞ÚÈÛÙÂÚ¿ ÙÔ °˘ÌÓ·ÛÙ‹ÚÈÔ ÙÔ˘∂ıÓÈÎÔ‡ Î·È ·¤Ó·ÓÙÈ Ô Î‹Ô˜ ÙÔ˘ ∑·Â›Ô˘. ¢ÂÍÈ¿ ÔÏfiÊÔ˜ ÙÔ˘ ∞Ú‰ËÙÙÔ‡. ™ÙÔ ‚¿ıÔ˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ÍÂÓԉԯ›ÔÛÏÙÔÓ Î·È ÚÔ˜ Ù· ·ÚÈÛÙÂÚ¿ Ô ÙÚÔ‡ÏÔ˜ ÙÔ˘ ∞Á›Ô˘ ™˘Ú›‰ˆÓ·ÛÙÔ ¶·ÁÎÚ¿ÙÈ.

The crossing point between Ardittou Avenue, Olga’sAvenue and Vass. Konstantinou Avenue, just a bitbefore the Panathinaiko Stadio. On the left the sportsgrounds of Ethnikos and on the opposite side theZappeio Garden. On the right the Hilton Hotel andtowards the left the dome of Ag. Spyridon in Pangrati.

∞ı‹Ó·È ψÊfiÚÔ˜ μ·Û. ∫ˆÓÛÙ·-ÓÙ›ÓÔ˘. 5-09-66

Athens Vassileos KonstantinouAvenue. 5-09-66

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∏ ‰È·ÌfiÚʈÛË Ù˘ ÎÔ›Ù˘ ÙÔ˘ πÏÈÛÛÔ‡ ‹Ù·Ó ¤Ó· ·fi Ù·ÛÔ‚·ÚfiÙÂÚ· Ù¯ÓÈο ÚÔ‚Ï‹Ì·Ù· Ô˘ ·ÂÙ¤ÏÂÛ ·ÊÔÚ-Ì‹ ÁÈ· ÔÏϤ˜ Û˘˙ËÙ‹ÛÂȘ ÙÔ 1959.∏ ˘ËÚÂÛ›· √ÈÎÈÛÌÔ‡ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ™˘ÁÎÔÈÓˆÓÈÒÓÎ·È ¢ËÌÔÛ›ˆÓ ŒÚÁˆÓ ÌÂϤÙËÛ ÂÚÈÛÛfiÙÂÚ˜ χÛÂȘ,ÁÈ· Ó· ηٷϋÍÂÈ ÙÂÏÈο Û ÙÚÂȘ ·fi ÙȘ Ôԛ˜ ¤ÏÂÍÂÙË Ï‡ÛË ·˘Ù‹˜ Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËΠÌÂÙ¿ Î·È ÙËÓ¤ÁÎÚÈÛË Ù˘ ∞Ú¯·ÈÔÏÔÁÈ΋˜ ÀËÚÂÛ›·˜.∫·Ù·‚Ï‹ıËΠȉȷ›ÙÂÚË ÚÔÛ¿ıÂÈ· Ó· ‰È·ÙËÚËı› ÙÔÙÔ›Ô ¯ˆÚ›˜ ÌÂÁ¿Ï˜ ·Ú·ÌÔÚÊÒÛÂȘ ÛÙËÓ ÂÚÈÔ¯‹ ÙÔ˘¶·Ó·ıËÓ·˚ÎÔ‡ ™Ù·‰›Ô˘ Î·È Ì¤¯ÚÈ ÙËÓ ∞Á›· ºˆÙÂÈÓ‹.™ÙȘ ·Ú¯¤˜ ÙÔ˘ 1963 ·Ú¯›˙Ô˘Ó Ù· ¤ÚÁ· Ù˘ ÎÔ›Ù˘ ÙÔ˘πÏÈÛÔ‡. √ ÚÒÙÔ˜ ·ÓÈÛfi‰Ԙ ÎfiÌ‚Ô˜ ‰ËÌÈÔ˘ÚÁÂ›Ù·È ÛÙˉȷÛÙ·‡ÚˆÛË Ù˘ ψÊfiÚÔ˘ ™˘ÁÁÚÔ‡ Ì ÙȘ ÛËÌÂÚÈÓ¤˜ÏˆÊfiÚÔ˘˜ ∫·ÏÏÈÚfi˘ – £ËÛ¤ˆ˜ (∂Ï¢ıÂÚ›Ô˘ μÂÓÈ˙¤ÏÔ˘ÌÂٷ͇ ÙˆÓ ÂÚÈÔ¯ÒÓ ¡¤Ô˘ ∫fiÛÌÔ˘ Î·È ∫ԢηΛԢ).

“√ ÚÒÙÔ˜ ·ÓÈÛfi‰Ԙ ÎfiÌ‚Ô˜ ÙˆÓ ∞ıËÓÒÓ ÂȘ ÙËÓÛ˘Ó¿ÓÙËÛÈÓ Ù˘ ψÊfiÚÔ˘ ™˘ÁÁÚÔ‡ ÌÂÙ¿ Ù˘ ¶·Úfi¯ıÈ-Ô˘ ψÊfiÚÔ˘ πÏÈÛÔ‡.”15-01-63

The reconstruction of the bed of the Ilissos river hasbeen one of the most serious technical challenges andwas the cause of many discussions in 1959.The Housing Department of the Ministry ofTransportation and Public Works has conducted variousstudies, and eventually three of them were suggestedand the Department of Archaeology selected thesolution which was actualised in the end.A significant effort was made towards maintaining thelandscape with as little change as possible, from the area ofPanathinaiko Stadio until the location of Agia Foteini.In the beginning of 1963 the works on the Ilissos riverbed started. The first fly-over junction was created at thecrossing point between Syngrou Avenue and Kallirois –Thesseos Avenue (Eleftheriou Venizelou between theareas of N. Kosmou and Koukaki).

“ The first fly-over junction in Athens at the crossingpoint of Syngrou Avenue and Ilissou Avenue on the riverside” 15-01-63

∏ Ó¤· ψÊfiÚÔ˜ πÏÈÛÛÔ‡ The new Ilissos Avenue

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∏ ÂÚÈÔ¯‹ ÙÔ˘ ¡¤Ô˘ ∫fiÛÌÔ˘ Î·È Ù˘ ∫·ÏÏÈı¤·˜ ÛÙÔ ‡„Ô˜Ù˘ ‰È·ÛÙ·‡ÚˆÛ˘ Ù˘ ψÊfiÚÔ˘ ∞Ó‰Ú¤· ™˘ÁÁÚÔ‡ ηȧ·ÁÔ˘ÌÈÙ˙‹. ™ÙÔ Î¤ÓÙÚÔ ÂÚ›Ô˘ Ù˘ ʈÙÔÁÚ·Ê›·˜ Ô·ÓÈÛfi‰Ԙ ÎfiÌ‚Ô˜ Ù˘ ∫·ÏÏÈÚfi˘. ™ÙÔ ‚¿ıÔ˜ Ô ÏfiÊÔ˜ÙÔ˘ ºÈÏÔ¿Ô˘, ÙÔ ı¤·ÙÚÔ Ù˘ ¢ÒÚ·˜ ™ÙÚ¿ÙÔ˘ Î·È Ô¯ÒÚÔ˜ Ù˘ ∫Ô›Ï˘ Î·È Ë Û˘ÓÔÈΛ· ÙˆÓ ¶ÂÙÚ·ÏÒÓˆÓ.∞ÚÈÛÙÂÚ¿ Î·È Ï›ÁÔ ÈÔ ›Ûˆ ·fi ÙË ÏˆÊ. ™˘ÁÁÚÔ‡, ÙÔÂÚÁÔÛÙ¿ÛÈÔ ÂÈÏÔÔÈ›·˜ ™·Ú›‰Ë (Û‹ÌÂÚ· ÛÙÂÁ¿˙ÂÙ·È Ë°.°. ∂ÈÎÔÈÓˆÓ›·˜-°.°. ∂ÓË̤ڈÛ˘) Î·È ÛÙË Û˘Ó¤¯ÂÈ· ˶¿ÓÙÂÈÔ˜ ∞ÓˆÙ¿ÙË ™¯ÔÏ‹ ¶ÔÏÈÙÈÎÒÓ ∂ÈÛÙËÌÒÓ (Û‹ÌÂÚ·¶¿ÓÙÂÈÔ ¶·ÓÂÈÛÙ‹ÌÈÔ). ¢È·ÁˆÓ›ˆ˜ ·¤Ó·ÓÙÈ Ô ¯ÒÚÔ˜fiÔ˘ Û‹ÌÂÚ· ÙÔ ÍÂÓÔ‰Ô¯Â›Ô Intercontinental. ™ÙË Û˘Ó¤-¯ÂÈ· ›Ûˆ ·fi ÙȘ ·ÏȤ˜ ÚÔÛÊ˘ÁÈΤ˜ ηÙÔÈ˘ ÙÔ Ó¤ÔÛ˘ÁÎÚfiÙËÌ· ÙˆÓ ÂÚÁ·ÙÈÎÒÓ ÔÏ˘Î·ÙÔÈÎÈÒÓ.∏ ÂÚÈÔ¯‹ Â›Ó·È ÛÙÔ ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ Ù˘ ·ÎfiÌË ·‰È·-ÌfiÚʈÙË.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙË ‰ÂηÂÙ›· ÙÔ˘1960.

36 The area of Neos Kosmos and Kallithea at the level ofthe crossing of Andreas Syngrou Avenue and LagoumitziStreet. Roughly in the centre of the photo the flyoverjunction of Kallirois Avenue. In the background thePhilopappou Hill, the Dora Stratou Theatre and the areaof Koili and the Petralona neighbourhood.On the left and somewhat behind Syngrou Avenue, theSaridis furniture factory and further back the PanteiosHigher School of Political Sciences (nowadays PanteioUniversity). Diagonally on the opposite side the areawhere the Intercontinental Hotel stands today. Furtheron, behind the old refugee blocks, the new conglomerateof labourers’ apartment blocks.The area still remains unformed to a large extent.This photo must have been taken during the 60’s.

N¤Ô˜ ∫fiÛÌÔ˜ Neos Kosmos

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ΔÔ 1963 Ë ∞ı‹Ó· ·ÔÎÙ¿ ÁÈ· ÚÒÙË ÊÔÚ¿ ∫.√.∫. ÛÙÔ Ô‰ÈÎfi Ù˘‰›ÎÙ˘Ô, ηχÙÔÓÙ·˜ Ù· ›¯ÓË ÙÔ˘ πÏÈÛÔ‡, ÙÔ˘ ·Ú¯·›Ô˘ ÔÙ·ÌÔ‡, ÚÔ˜¯¿ÚÈÓ Ù˘ Ô‰Ô‡ ™˘ÁÁÚÔ‡ Î·È ÙÔ˘ ÂÚÁÔÛÙ·Û›Ô˘ ºÈÍ.¶·Ú’ fiÏÔ fiÙÈ Ô ·ıËÓ·˚Îfi˜ Δ‡Ô˜ ‰ÈηÈÒÓÂÈ ÙÔ Ì¿˙ˆÌ· ÙÔ˘ πÏÈÛÔ‡,Ù·˘Ùfi¯ÚÔÓ· ·Ú¯›˙Ô˘Ó Î·È ÔÈ ÌÂÌ„ÈÌÔÈڛ˜ ÁÈ· Ù· “¯ˆÚ¿ÊÈ· Ô˘ ı·ÁÂÌ›ÛÔ˘Ó ÔÏ˘Î·ÙÔÈ˘”.™ÙË ÊˆÙÔÁÚ·Ê›· Ë ÏˆÊfiÚÔ˜ ∫·ÏÏÈÚfi˘ ›Ûˆ ·fi ÙÔ Ù·Ï·›ˆÚÔÂÚÁÔÛÙ¿ÛÈÔÛÙÔ “º›Í”.ΔÂÏÈο Ô‡Ù ÙÔ fiÓÔÌ· ÙÔ˘ ‰ÂÓ ¤ÌÂÈÓ ÁÈ· Ó· ı˘Ì›˙ÂÈ ÙÔÓ πÏÈÛfi.

In 1963 Athens introduces for the first time a Traffic Code for theroad network. The remains of the ancient Ilissos river are coveredover for the sake of Syngrou Street and the factory Fix.Although the Athenian press justifies the covering of Ilissos river, atthe same time people start complaining about “the fields going to befilled by multi-storey buildings”.On the photo Kallirois Avenue behind the miserable factory at thelocation “Fix”.Eventually not even the name has survived to remind us of Ilissos.

“¶ˆ˜ ÙÔÓ ÏÂÓ ˆ˜ ÙÔÓ ÏÂÓ ÙÔÓÔÙ·Ìfi;”

“How is this river called?”

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∏ ψÊfiÚÔ˜ πÏÈÛÔ‡ ÛÙËÓ ·Ú¯‹ Ù˘, ÛÙËÓ ÂÚÈÔ¯‹ ∫˘ÓÔÛ¿Ú-ÁÔ˘˜. ŒÓ· ̤ÚÔ˜ Ù˘ ÎÔ›Ù˘ Â›Ó·È ·ÎfiÌË ·Î¿Ï˘ÙÔ Ì ÙÔÁÂÊ˘Ú¿ÎÈ ÛÙÔ ‡„Ô˜ Ù˘ Ô‰Ô‡ μÔ‡Ú‚·¯Ë Ó· ÂÓÒÓÂÈ Ù· ‰‡ÔÚ‡̷ٷ ÎÈÓ‹Ûˆ˜. ™ÙÔ ‚¿ıÔ˜ ·ÚÈÛÙÂÚ¿ Ô ÕÁÈÔ˜ ¶·ÓÙÂÏ‹-ÌˆÓ Î·È ÈÔ ›Ûˆ ‰ÂÍÈ¿ ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ ÙÔ˘ º›Í. Δ· ¯ˆÚ¿ÊÈ·‰ÂÓ ¤¯Ô˘Ó ·ÎfiÌË ·Ú¯›ÛÂÈ Ó· ÁÂÌ›˙Ô˘Ó ÔÏ˘Î·ÙÔÈ˘.

Ilissou Avenue at its beginning, the area of Kynosargous. Apart of the river bed is still uncovered and the small bridgeof Vourvachi Street is connecting the two traffic flows.Further on the left the church of St.Panteleimon and furtheron the right the Fix factory. The fields have not yet startedto be filled by multi-storey bulidings.

∏ ψÊfiÚÔ˜ πÏÈÛÔ‡ – ∫·ÏÏÈÚfi˘

Ilissou - Kallirois Avenue

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“∏ Ó¤· ψÊfiÚÔ˜ πÏÈÛÛÔ‡ ·Â‰fiıË ÌfiÏÈ ÂÈ Î˘ÎÏÔÊÔÚ›·Ó Î·È Û˘Ó-‰¤ÂÈ Ù·˜ ›Û˘ ÌÂÁ¿Ï·˜ ψÊfiÚÔ˘˜ μ·Û. ∞Ì·Ï›·˜ Î·È ™˘ÁÁÚÔ‡ ÌÂÙ·˜ ψÊfiÚÔ˘˜ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜ Î·È μ·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘.¢ÈÂÚ¯fiÌÂÓË ‰È· Ù˘ Ô‰Ô‡ £ËÛ¤ˆ˜ ηٷϋÁÂÈ ÂÈ ÙËÓ ·Ú·Ï›·Ó ¡¤Ô˘º·Ï‹ÚÔ˘ ¤¯ÂÈ Ì‹ÎÔ˜ 7,800Ì. Î·È ÔÏÔÎÏËÚÒÓÂÈ ÌÈ· Ù Ó Î˘ÚÈÔÙ¤ÚˆÓÔ‰ÈÎÒÓ ·ÚÙËÚÈÒÓ Ù˘ fiψ˜”. 28-03-63∞ÚÈÛÙÂÚ¿ ‰È·ÎÚ›ÓÂÙ·È ÙÔ Û˘ÁÎÚfiÙËÌ· Ù Ó ÚÔÛÊ˘ÁÈÎÒÓ ÔÏ˘Î·-ÙÔÈÎÈÒÓ Î·È ÛÙÔ ‚¿ıÔ˜ Ô ÀÌËÙÙfi˜.

“The new Ilissos Avenue was just opened for traffic; it connects theequally large Avenues of Vass. Amalias and Syngrou with Vass.Sofias Avenue and Vass. Konstantinou Avenue. Crossing ThisseosStreet, it ends on the coast of Neo Faliro, its length is 7.800 m andit completes one of the major arteries of the city”. 28-03-63On the left the conglomerate of refugee apartment blocks and in thebackground Imittos.

∫·È ¿ÏÈ Ë Ó¤· ψÊfiÚÔ˜ πÏÈÛÔ‡ –∫·ÏÏÈÚfi˘ ÛÙÔ ‡„Ô˜ ÙÔ˘ ·ÓÈÛfi-‰Ԣ ÎfiÌ‚Ô˘

The new Ilissou – Kalirrois Avenueagain, at the spot of the fly-over

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ªÈ· ·ÎfiÌË ÊˆÙÔÁÚ·Ê›· Ù˘ ψÊfiÚÔ˘ πÏÈÛÔ‡ ¤ÍË ¯ÚfiÓÈ· ÌÂÙ¿ ÙËÓ·fi‰ÔÛË Ù˘ ÛÙËÓ Î˘ÎÏÔÊÔÚ›·.

Another photo of Ilissou Avenue six years after it was openedfor traffic.

“¡¤· ψÊfiÚÔ˜ πÏÈÛÔ‡” 8-12-69 “The new Ilissos Avenue” 8-12-69

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∏ ψÊfiÚÔ˜ ∞Ó‰Ú¤· ™˘ÁÁÚÔ‡ ‰È·ÓÔ›¯ÙËΠ̠¯Ú‹Ì·Ù· Ô˘ ÚÔ-Û¤ÊÂÚÂ Ë πÊÈÁ¤ÓÂÈ· ™˘ÁÁÚÔ‡ ÙÔ 1900 ¤Ó· ¯ÚfiÓÔ ÌÂÙ¿ ÙÔ ı¿Ó·ÙÔÙÔ˘ ÂıÓÈÎÔ‡ ¢ÂÚÁ¤ÙË ÁÈ· Ó· Û˘Ó‰¤ÛÂÈ, Û‡Ìʈӷ Ì ÙËÓ ÂÈı˘Ì›·ÙÔ˘, ÙËÓ ∞ı‹Ó· Ì ٷ º¿ÏËÚ·.™Ù· ·Ì¤Ûˆ˜ ÂfiÌÂÓ· ¯ÚfiÓÈ· Ú·ÁÌ·ÙÔÔÈ‹ıËÎÂ Ë Û¯ÂÙÈ΋ ÌÂϤÙËÎ·È ¿Ú¯ÈÛÂ Ë ÛÙ·‰È·Î‹ ηٷÛ΢‹ Ù˘.™ÙË ÊˆÙÔÁÚ·Ê›· Ë ·Ú¯‹ Ù˘ ψÊfiÚÔ˘ ™˘ÁÁÚÔ‡ ÛÙË ‰È·ÛÙ·‡ÚˆÛËÙ˘ Ì ÙËÓ Ô‰fi ∞ı·Ó·Û›Ô˘ ¢È¿ÎÔ˘. ∞ÚÈÛÙÂÚ¿ ÛÙËÓ Î·Ù¿ÏËÍË Ù˘ԉԇ πˆÛ‹Ê Ù Ó ƒÔÁÒÓ ‰È·ÎÚ›ÓÂÙ·È Ô ÕÁÈÔ˜ ¶·ÓÙÂÏÂ‹ÌˆÓ Î·È ËÂÚÈÔ¯‹ ∫˘ÓÔÛ¿ÚÁÔ˘˜, ·ÎfiÌË Ì ¯·ÌËÏ‹ ‰fiÌËÛË.

The construction of Andreas Syngrou Avenue was made possibleby funds donated by Ifigeneia Syngrou, in 1900, a year after thedeath of the National Benefactor, so that Athens would beconnected with Faliro, according to his wish.During the years to follow studies were made and its gradualconstruction began.On the photo the beginning of Syngrou Avenue at the crossing withAthanassiou Diakou Street. On the left, meeting the end of IosifRogon Street, we see Agios Panteleimon and the area ofKynosargous, still with low buildings.

“ÕԄȘ Ù˘ ψÊfiÚÔ˘ ™˘ÁÁÚÔ‡·ÔÙÂÏÔ‡Û˘ ΢ڛ·Ó Ô‰È΋ӷÚÙËÚ›·Ó ÙˆÓ ∞ıËÓÒÓ ‰ÈÏ‹˜Î˘ÎÏÔÊÔÚȷ΋˜ ÂÓÂÚÁ›·˜”. 19-03-63

“A view on Syngrou Avenue,which constitutes one of the maintwo-way arteries of Athens” 19-03-63

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∏ ψÊfiÚÔ˜ ™˘ÁÁÚÔ‡ ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1960 ¤Ó·ÙÂÙÚ¿ÁˆÓÔ ÌÂÙ¿ ÙÔ ¶¿ÓÙÂÈÔ ¶·ÓÂÈÛÙ‹ÌÈÔ. ¢ÂÍÈ¿ ‰È·ÎÚ›ÓÂÙ·ÈÛ ÚÒÙÔ Ï¿ÓÔ ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ¢¿ÌˆÓ.™‹ÌÂÚ· ÔÏfiÎÏËÚË Ë ÂÚÈÔ¯‹ ¤¯ÂÈ ·ÓÔÈÎÔ‰ÔÌËı›.

42 Syngrou Avenue at the end of the 60’s, one block afterthe Panteio University. On the left we see in the forefrontthe Damon Hotel.Nowadays the whole area has been reconstructed.

∏ ψÊfiÚÔ˜ ™˘ÁÁÚÔ‡

Syngrou Avenue

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∏ ψÊfiÚÔ˜ ∫·Ù¯¿ÎË ÛÙÔ ‡„Ô˜ ÙÔ˘ ¶·¿ÁÔ˘ ÛÙˉȷÛÙ·‡ÚˆÛË Ì ÙËÓ Ô‰fi ¶›Ó‰Ô˘.™ÙÔ ‚¿ıÔ˜ ·ÚÈÛÙÂÚ¿ Ô Ô›ÎÔ˜ ·‰ÂÏÊÒÓ ÙÔ˘ 401 °ÂÓÈÎÔ‡™ÙÚ·ÙȈÙÈÎÔ‡ ¡ÔÛÔÎÔÌ›Ԣ. ¶ÚÔ˜ Ù· ‰ÂÍÈ¿ ‰È·ÎÚ›ÓÂÙ·È ÙÔ«¶ÂÓÙ¿ÁˆÓÔ» Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÔÈ ‰‡Ô ‡ÚÁÔÈ ÙˆÓÔÏ˘Î·ÙÔÈÎÈÒÓ ÙˆÓ ÂÎ·È‰Â˘ÙÈÎÒÓ.ÕÏÏË ÌÈ· ψÊfiÚÔ˜ Ô˘ ‰fiıËΠÛÙËÓ Î˘ÎÏÔÊÔÚ›· ÙˉÂηÂÙ›· ÙÔ˘ 1960.

Katechaki Avenue at the level of Papagou, at the junctionwith Pindou Street.Further back on the left the building of the nurses of 401General Military Hospital.Towards the right we see the Pentagono and further backthe two towers of the multistorey buildings of teachers.One more avenue that was opened for traffic in the 60’s.

∏ ψÊfiÚÔ˜ ∫·Ù¯¿ÎË

Katechaki Avenue

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√ ÌÂÁ¿ÏÔ˜ ΢ÎÏÔÊÔÚÈ·Îfi˜ ÎfiÌ‚Ô˜ ÛÙÔ ∫Ô˘Î¿ÎÈ ÛÙÔ ‡„Ô˜Ù˘ Ï·Ù›·˜ ∫Ô˘ÓÙÔ˘ÚÈÒÙË, ˘fi ‰È·ÌfiÚʈÛË. ™ÙÔ ‚¿ıÔ˜ ÙÔ∫Ô˘Î¿ÎÈ Î·È ›Ûˆ ÙÔ˘ Ë ∞ÎÚfiÔÏË, Ô ÏfiÊÔ˜ ÙÔ˘ ºÈÏÔ¿Ô˘Î·È Ô ÏfiÊÔ˜ ÙˆÓ ªÔ˘ÛÒÓ Ì ÙÔ ¯ÒÚÔ Ù˘ ∫Ô›Ï˘ Î·È ÙÔÓÏfiÊÔ ÙˆÓ ¡˘ÌÊÒÓ.

The big junction in Koukaki at the level of KountouriotiSquare, under construction. In the background the area ofKoukaki and behind it the Acropolis, the Philoppapos Hilland the Hill of the Muses, also the area of Koili and the Hillof the Nymphs.

∫˘ÎÏÔÊÔÚÈ΋ ‰È·ÌfiÚʈÛÈ ÎfiÌ‚Ô ÂÈÙËÓ Û˘Ì‚ÔÏ‹Ó ÙˆÓ Ô‰ÒÓ §·ÁÔ˘ÌÈÙ˙‹ –μÂ˚ÎÔ˘-¢ËÌËÙÚ·ÎÔÔ‡ÏÔ˘. 15-01-63

The construction of a junction at thecrossing of the Streets Lagoumitzi –Veikou – Dimitrakopoulou. 15-01-63

S Q U A R E S∏ Ï·Ù›· √ÌÔÓÔ›·˜ Ì·˙› Ì ÙËÓ Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜,Â›Ó·È Û›ÁÔ˘Ú· ÔÈ ‰‡Ô ÛËÌ·ÓÙÈÎfiÙÂÚ˜ Ï·Ù›˜ Ù˘ڈÙÂ‡Ô˘Û·˜. ΔÔ ÚÒÙÔ Û¯¤‰ÈÔ Ù˘ ∞ı‹Ó·˜ ÙˆÓ ∫Ï¿ÓıËÎ·È Schaubert ÛÙËÚ›˙ÂÙ·È ÛÙË ¯¿Ú·ÍË ÂÓfi˜ ÔÚıÔÁˆÓ›Ô˘ÈÛÔÛÎÂÏÔ‡˜ ÙÚÈÁÒÓÔ˘ ÛÙȘ ÎÔÚ˘Ê¤˜ ÙÔ˘ ÔÔ›Ô˘ ÙÔÔıÂ-ÙÔ‡ÓÙ·È ÙÚÂȘ Ï·Ù›˜, Ë Ï·Ù›· ŸıˆÓÔ˜ – ÛËÌÂÚÈÓ‹Ï·Ù›· √ÌÔÓÔ›·˜, Ë Ï·Ù›· ÙˆÓ ªÔ˘ÛÒÓ ÛËÌÂÚÈÓ‹Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜ Î·È Ë Ï·Ù›· ∫¤ÎÚÔÔ˜ ÛÙˉȷÛÙ·‡ÚˆÛË ÙˆÓ Ô‰ÒÓ ¶ÂÈÚ·ÈÒ˜ Î·È ∂ÚÌÔ‡, ÛÙË ı¤ÛËfiÔ˘ Ô ∫ÂÚ·ÌÂÈÎfi˜, Ô˘ ‰ÂÓ Ú·ÁÌ·ÙÔÔÈ‹ıËΠÔÙ¤.™ÙËÓ Ï·Ù›· ŸıˆÓÔ˜- √ÌÔÓÔ›·˜ ÚÔ¤‚Ï ÙËÓ·Ó¤ÁÂÚÛË ÙˆÓ μ·ÛÈÏÈÎÒÓ ∞Ó·ÎÙfiÚˆÓ. ∏ ÙÂÏÈ΋ fï˜ÂÈÏÔÁ‹ ÙÔ˘ ÏÔÊ›ÛÎÔ˘ ¿Óˆ ·fi ÙËÓ Ï·Ù›· ªÔ˘ÛÒÓ-™˘ÓÙ¿ÁÌ·ÙÔ˜ ÁÈ· ÙËÓ ·Ó¤ÁÂÚÛË Ù˘ ηÙÔÈΛ·˜ ÙÔ˘ŸıˆÓ· ˘Ô‚¿ıÌÈÛ οˆ˜ ÙË ÛËÌ·Û›· Ù˘ ¯ˆÚ›˜ ÔÙ¤fï˜ Ó· ¿„ÂÈ Ó· ·›˙ÂÈ ÚˆÙ‡ÔÓÙ· ÚfiÏÔ ÛÙË ˙ˆ‹ Ù˘fiÏ˘. ∏ ·Ï·ÈfiÙÂÚË ÊˆÙÔÁÚ·Ê›· Ù˘ Ï·Ù›·˜√ÌÔÓÔ›·˜ Ô˘ ÂÈÛËÌ¿ÓıËΠÛÙÔ ∞Ú¯Â›Ô Ù˘ °.°.∂ÈÎÔÈÓˆÓ›·˜ Î·È °.°. ∂ÓË̤ڈÛ˘ ¯ÚÔÓÔÏÔÁ›ٷÈÛÙËÓ ÂÚ›Ô‰Ô 1932-36. ™Ù· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘1920 Î·È ÌÂÙ¿ ÙËÓ ·fiÊ·ÛË ÌÂÙ·ÊÔÚ¿˜ ÙÔ˘ ÛÙ·ıÌÔ‡ÙÔ˘ ÛȉËÚÔ‰ÚfiÌÔ˘ ·fi ÙËÓ Ô‰fi ∞ıËÓ¿˜ Î·È §˘ÎÔ‡ÚÁÔ˘fiÔ˘ ÏÂÈÙÔ˘ÚÁÔ‡Û ˆ˜ ·ÊÂÙËÚ›·, ÛÙËÓ Ï·Ù›· √ÌÔÓÔ›·˜ÍÂΛÓËÛ·Ó Ù· ¤ÚÁ· ·Ó·ÌfiÚʈÛ˘ Ù˘ Ï·Ù›·˜ Ô˘‚·Û›ÛÙËÎ·Ó ÛÙȘ ÌÂϤÙ˜ ÙˆÓ ·Ú¯ÈÙÂÎÙfiÓˆÓ ∂. §·˙·Ú›‰ËÎ·È μ.ΔÛ·ÁÚ‹. ∏ Ï·Ù›· ÂÁηÈÓÈ¿ÛÙËΠÙÔ 1932 ›¢ËÌ·Ú¯›·˜ ™‡ÚÔ˘ ªÂÚÎÔ‡ÚË.

Omonoia Square and Syntagma Square are certainlythe two most important squares of the capital. Thefirst city plan of Athens, drawn by Kleanthes andSchaubert, is based on designing a rectangular,isoskeles triangle, at the vertices of which threesquares are located: Othonos Square, MoussonSquare, today’s Syntagma Square, and KekroposSquare at the crossing of Pireos Street and ErmouStreet, at the level of Kerameikos, which was neverrealised. At Othonos – Omonoia Square the planproposed to build the Royal Palace. As the finalchoice for the location of the Palace was the hillabove the Mousson – Syntagma Square, the value ofOmonoia was slightly reduced, but it never stoppedplaying a major part in the life of the city. The oldestphoto of Omonoia Square found in the archives ofthe Secretariat General of Communication andInformation dates back to the period 1932-36. At theend of the 20’s, after the decision to move the trainstation from Athinas Street and Lykourgou Street,where the terminal was located, to Omonoia Square,the transformation works started on the basis ofstudies prepared by the architects E. Lazaridis and V.Tsagris. The square was inaugurated in 1932, whenSpyros Merkouris was mayor.

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¶ÚfiÎÂÈÙ·È ÁÈ· ÌÈ· Û˘ÌÌÂÙÚÈ΋ Û‡ÓıÂÛË Ì ٷ ÎÏÈÌ·ÎÔÛÙ¿ÛÈ·Ô˘ Ô‰ËÁÔ‡Ó ÛÙÔÓ ˘fiÁÂÈÔ ÛÙ·ıÌfi ÙÔÔıÂÙË̤ӷ ¤Ó· ÛÙÔΤÓÙÚÔ, ¤Ó· ÚÔ˜ ÙËÓ Ô‰fi ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È ¤Ó· ÚÔ˜ÙËÓ Ô‰fi ∞Á. ∫ˆÓÛÙ·ÓÙ›ÓÔ˘. ¶ÂÚÈÌÂÙÚÈο ‰ËÌÈÔ˘ÚÁÔ‡ÓÙ·ÈηÌÈÓ¿‰Â˜ ·fi ÙÛÈ̤ÓÙÔ Ì ÙË ÌÔÚÊ‹ ΛÔÓÔ˜ Î·È ÛÙË ‚¿ÛËÙ˘ οı ÌÈ·˜ ÙÔÔıÂÙÂ›Ù·È ÙÔ ¿Á·ÏÌ· ÌÈ·˜ ÌÔ‡Û·˜.™ÙÔ Î¤ÓÙÚÔ Ù˘ Ï·Ù›·˜ ÙÔÔıÂÙ‹ıËÎ·Ó Ù’ ·ÓıÔˆ-Ï›·, Ù· ÔÔ›· ÛÙËÓ ·Ï·ÈfiÙÂÚË Ê¿ÛË Ù˘ Î¿Ï˘Ù·ÓÙËÓ ÂÚÈʤÚÂÈ· Ù˘.∂Ù¿ ÂÚ›ÙÂÚ·, Ù¤ÛÛÂÚÂȘ ÌÂÁ¿Ï˜ ·ÓıÔ‰fi¯Â˜ ʈÙÈÛÙÈ-Τ˜ ÛًϘ Î·È ÙËÏÂʈÓÈÎÔ› ı¿Ï·ÌÔÈ Û˘ÌÏ‹ÚˆÛ·Ó ÛÙ·-‰È·Î¿ ÙÔÓ ÂÍÔÏÈÛÌfi Ù˘ Ï·Ù›·˜.

It is a symmetrical construction with staircases leading tothe underground train station, one in the middle, onetowards Panepistimiou Street and one towards Ag.Konstantinou Street. The perimeter is decorated withconcrete ventilation pipes in the shape of a column, on thebase of each column the statue of a muse is placed.In the middle of the square are the florist’s shops, whichwere all around it in the previous phase.Seven kiosks, four huge flower vases, light pylons andtelephone boxes were gradually added to complete thefurnishing of the square.

¶Ï·Ù›· √ÌÔÓÔ›·˜ Omonoia Square

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∏ ‰˘ÙÈ΋ ÏÂ˘Ú¿ Ù˘ √ÌfiÓÔÈ·˜. ™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ ÍÂÓԉԯ›Ԫ¿ÁÎÂÈÔÓ Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÙÔ ÍÂÓÔ‰Ô¯Â›Ô ª¤Á·˜ ∞ϤͷӉÚÔ˜.ŒÚÁ· Î·È Ù· ‰‡Ô ÙÔ˘ E. ΔÛ›ÏÏÂÚ, ¯Ù›ÛÙËÎ·Ó ÛÙÈ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ÙÔ˘ 1880, Âη٤ڈıÂÓ Ù˘ ‰È·ÛÙ·‡ÚˆÛ˘ Ù˘ ∞ıËÓ¿˜ Ì ÙËÓ Ï·-Ù›·. ™ÙË Û˘Ó¤¯ÂÈ· Ë Ô‰fi˜ ¶ÂÈÚ·ÈÒ˜ (Û‹ÌÂÚ· ¶·Ó·Á‹ Δ۷ω¿ÚË ÌÂÙËÓ ÔÈΛ· ∫ÔÚˆÓ·›Ô˘ ( ÍÂÓÔ‰Ô¯Â›Ô ‘∞ÛÙ˘) ÛÙË ÁˆÓ›· Ì ÙÔ Î·Ê¤ –Ì·Ú μ˘˙¿ÓÙÈÔ ÛÙÔ ÈÛfiÁÂÈÔ.∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› Ù· ÚÒÙ· ÌÂÙ·ÔÏÂÌÈο ¯ÚfiÓÈ· fiÙ·Ó·ÎfiÌË Î˘ÎÏÔÊÔÚÔ‡Û·Ó Ù· ËÏÂÎÙÚÔΛÓËÙ· ÙÚ·Ì.

The western side of Omonoia. In the forefront the Bageion Hoteland further back the Megas Alexandros Hotel. Both of themdesigned by E. Ziller, they were built in 1880 on either side of thecrossing between Athinas Street and the Square. Further on PireosStreet (today Panagi Tsaldari) with the house of Koronaiou (HotelAsty) on the corner where the coffee-bar Byzantion used to be onthe ground floor.The photo is taken in the first post WWII years, when electricaltrams were still moving along the roads.

∏ Ï·Ù›· √ÌÔÓÔ›·˜ 13/01/49 Omonoia Square 13/01/49

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ΔÔ 1936 › ¢ËÌ·Ú ›· ∫ÔÙ˙È¿ ·Ê·ÈÚ¤ıËÎ·Ó ÔÈ ÛÙ‹Ï ÂÍ·ÂÚÈÛÌÔ‡ Î·È ÔȪԇÛ˜. ¢È·ÎÚ›ÓÔÓÙ·È Ù· ÍÂÓÔ‰Ô Â›· “Carlton” ÛÙË ÁˆÓ›· ÙË Ï·Ù›· ÌÂÙËÓ Ô‰fi ¢ÒÚÔ Î·È “∂ͤÏÛÈÔÚ” ÛÙË ÁˆÓ›· ÙË ÏˆÊfiÚÔ ¶·ÓÂÈÛÙËÌ›Ô˘.™‡Ìʈӷ Ì ٷ ·Ï·ÈfiÙÂÚ· Û˘Ì‚fiÏ·È·, ÛÙË ı¤ÛË ·˘Ù‹ ˘‹Ú¯Â·Ï·ÈfiÙÂÚ· Ë Î·ÙÔÈΛ· ÙÔ˘ ÁÓˆÛÙÔ‡ ·Ú¯ÈÙ¤ÎÙÔÓ· §‡Û·Ó‰ÚÔ˘∫·˘Ù·ÓÙ˙fiÁÏÔ˘ Ô˘ ηÙ‰·Ê›ÛÙËΠÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ· ÁÈ· Ó·¯ÙÈÛÙ› ÙÔ ÍÂÓÔ‰Ô¯Â›Ô “Excelsior”. ™ÙÈ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1960 ÙԷΛÓËÙÔ ·ÁÔÚ¿ÛÙËΠ·fi ÙËÓ ∂ıÓÈ΋ ΔÚ¿Â˙·. ªÂÙ¿ ÙËÓ ·ÔηٿÛÙ·-ÛË ÙÔ˘ ·fi ÙÔÓ Î·ıËÁËÙ‹ ÙÔ˘ ∂ª¶ °. §È¿Ë Û‹ÌÂÚ· ÛÙÂÁ¿˙ÂÈ ˘Ôη-Ù¿ÛÙËÌ· Ù˘ ΔÚ¿Â˙·˜. ™ÙÔ ÈÛfiÁÂÈÔ ÙÔ ˙·¯·ÚÔÏ·ÛÙÂ›Ô ÙÔ˘ ¶Ú¿·.

In 1936, when Kotzias was mayor of Athens, the ventilation pipes and thestatues of the muses were removed. Featured are the Carlton Hotel at thecrossing between the square and Dorou Streetand Hotel Exelsior at the crossing with Panepistimiou Avenue. According toold contracts the house of Lyssandros Kaftanzoglou, the well-knownarchitect, used to be located here, which was demolished at the end of the19th century so as to build Hotel Exelsior. At the beginning of the 60’s theproperty was bought by the National Bank of Greece. After its restoration,supervised by G. Liapis, professor at the NTUA, it nowadays accommodatesa branch of the Bank. On the ground floor the patisserie of Prapa.

∏ √ÌfiÓÔÈ· ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950 Omonoia during the 50’s

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™ÙË ÊˆÙÔÁÚ·Ê›· ·˘Ù‹ Ô˘ Ú¤ÂÈ Ó· ¯ÚÔÓÔÏÔÁÂ›Ù·È ÂÚ› ÙÔ 1953‰È·ÎÚ›ÓÂÙ·È ÙÔ ÍÂÓÔ‰Ô¯Â›Ô “¶¿ÓıÂÔÓ” Î·È ÙÔ ı¤·ÙÚÔ ∫ÔÙÔÔ‡ÏË Ï›ÁÔ ÚÈÓÌÂÙ·Ùڷ› ÛÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ∫ÚfiÓÔ ·fi ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· ∫›ÌˆÓ·§¿ÛηÚË. ∏ ÌÂÁ¿ÏË ·Ê›Û· ο٠·fi ÙËÓ ÂÈÁÚ·Ê‹ ÙÔ˘ ı¿ÙÚÔ˘ ‰È·ÊËÌ›˙ÂÈÙËÓ Ù·ÈÓ›· “¡›ÎÔ˜ °Ô‡Ó·Ú˘ Ô ÔÓÂ̤ÓÔ˜ ÙÚ·ÁÔ˘‰È·ÛÙ‹˜” ÂÓÒ Ë ÊˆÙÂÈÓ‹ÂÈÁÚ·Ê‹ “ΔÔ ÏÈÌ¿ÓÈ Ù˘ ÎÔÏ¿Ûˆ˜”. ™ÙËÓ ·¤Ó·ÓÙÈ ·fi ÙÔ ÍÂÓԉԯ›Զ¿ÓıÂÔÓ, ÁˆÓ›· › Ù˘ ∞Á›Ô˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘, ÙÔ ÚÒÙÔ ÔÏ˘ÒÚÔÊÔ ÎÙ›ÚÈÔÙ˘ √ÌfiÓÔÈ·˜, Ô˘ ÎÙ›ÛÙËΠϛÁÔ ÚÈÓ ÙÔ μ’ ·ÁÎfiÛÌÈÔ fiÏÂÌÔ ·fi ÙÔÓ·Ú¯ÈÙ¤ÎÙÔÓ· ƒ¤ÓÔ ∫Ô˘ÙÛÔ‡ÚË. ™ÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÛÙÂÁ¿ÛÙËΠÁÈ· ¯ÚfiÓÈ·Ê·ÚÌ·ÎÂ›Ô ª·Î¿ÎÔ˘. Δ· ·ÓıԈϛ· ¤¯Ô˘Ó ʇÁÂÈ ·fi ÙËÓ Ï·Ù›·Î·ıÒ˜ ·˘Ù‹ ÂÙÔÈÌ¿˙ÂÙ·È ÁÈ· ÌÈ· ·ÎfiÌË ÊÔÚ¿ Ó’ ·ÏÏ¿ÍÂÈ ÌÔÚÊ‹.

This photo must have been taken round about 1953, as we seeHotel Pantheon and the Kotopouli Theatre, just before it was turnedinto Kronos cinema house by the architect Kimon Laskaris. The bigposter under the theatre’s signboard advertises the movie “NikosGounaris, the sorrowful singer” and the illuminated sign says “Theharbour of hell”. On the corner opposite Hotel Pantheon, crossingAg. Konstantinou Street, the first multi-storey building in Omonoia,constructed a short time before the Second World War, by thearchitect Renos Koutsouris. On the ground floor used to be thePharmacy of Bakakos for many years. The florists have left thesquare, as yet another change of its form is imminent.

∏ √ÌfiÓÔÈ· ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950 Omonoia during the 50’s

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ΔÔ 1959 Ë √ÌfiÓÔÈ· ·ÏÏ¿˙ÂÈ Î·È ¿ÏÈ ÌÔÚÊ‹. √È ÏfiÁÔÈ Ô˘ ¤‚·-Ï·Ó ÙË Ó¤· ‰È·ÌfiÚʈÛË Ù˘ Ï·Ù›·˜ ‹Ù·Ó ΢ÎÏÔÊÔÚÈ·ÎÔ› ηÈÔÏÂÔ‰ÔÌÈÎÔ›.∏ ÌÂϤÙË ¤ÁÈÓ ·fi ÙËÓ ÀËÚÂÛ›· √ÈÎÈÛÌÔ‡ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ™˘ÁÎÔÈÓˆÓÈÒÓ Î·È ¢ËÌÔÛ›ˆÓ ŒÚÁˆÓ, ·fi ÙÔ˘˜ ·Ú¯ÈÙ¤ÎÙÔÓ˜∞¯. ™·Ófi˜, ¶. μ·ÛÈÏÂÈ¿‰Ë, ™. ∫ÔÎÎÔÏÈ¿‰Ë Î·È °.ªfiÁ‰·ÓÔ.∏ ÂÈÊ¿ÓÂÈ· Ù˘ Ï·Ù›·˜ Ì ÙÔ˘˜ ÂÓÙ˘ˆÛÈ·ÎÔ‡˜ ›‰·Î˜ Î·È È‰È-·›ÙÂÚ· ÙË Ó‡ÎÙ· Ô˘ ʈÙÈ˙fiÓÙÔ˘Û·Ó, ¤ÚÁÔ ÁχÙË °. ∑ÔÁÁÔÏfiÔ˘-ÏÔ˘ ¤ÁÈÓ ۇ̂ÔÏÔ Ù˘ ÌÂÙ·ÔÏÂÌÈ΋˜ ∞ı‹Ó·˜.

In 1959 Omonoia is going through a reconstruction once again. Thereasons which led to its reformation were to do with the traffic flowand city planning.The study was conducted by the Housing Department of theMinistry of Transportation and Public Works, by the architects Ach.Spanos, P. Vassileiadis, S. Kokkoliadis and G. Bogdanos. The surfaceof the square, with its impressive water jets, especially in theevening hours when they were illuminated, designed by sculpturerG. Zongolopoulos, turned into a symbol of post WWII Athens.

∏ √ÌfiÓÔÈ· ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950 Omonoia during the 50’s

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“∏ Ï·Ù›· √ÌÔÓÔ›·˜, ıˆÚÔ‡ÌÂÓË ˆ˜ Ë ÌÂÁ·Ï˘Ù¤Ú· Ù Ó ∞ıËÓÒÓ,ηٿ ÌÈ·Ó Ó˘ÎÙÂÚÈÓ‹ Ù˘ ¿Ô„Ë.∂Áη›ÓÈ· ˘ÔÁ› Ó ¤ÚÁˆÓ √ÌÔÓÔ›·˜”.

“Omonoia Square, considered to be the biggest square of Athens,nocturnal view.Inauguration of the underground works”.

∏ Ï·Ù›· √ÌÔÓÔ›·˜ Omonoia Square

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“ÃÔÚÔÛÙ·ÙÔ‡ÓÙÔ˜ ÙÔ˘ ∞Ú¯ÈÂÈÛÎfiÔ˘ ∞ıËÓÒÓ Ì ÙËÓ ·ÚÔ˘Û›·ÓÙÔ˘ ¶ÚÔ¤‰ÚÔ˘ Ù˘ ∫˘‚ÂÚÓ‹Ûˆ˜, ÙˆÓ ·ÚÌÔ‰›ˆÓ ÀÔ˘ÚÁÒÓ,ÔÏÏÒÓ ÂÈÛ‹ÌˆÓ Î·È Ï‹ıÔ˜ ÎfiÛÌÔ˘ ÂÎÙÂϤÛıËÛ·Ó Ù· ÂÁη›ÓÈ·Ù Ó ¤ÚÁˆÓ √ÌÔÓÔ›·˜. ∂È ÙËÓ ÊˆÙÔÁÚ·Ê›·Ó”.¡˘ÎÙÂÚÈÓ‹ ¿Ô„È Ù˘ ¶Ï·Ù›·˜ Ì ÙÔ˘˜ ʈÙÈṲ̂ÓÔ˘˜ ˘‰·Ù›ÓÔ˘˜›‰·Î·˜ ÂÈ ÙÔ Ì¤ÛÔÓ Ù˘ Û¯ËÌ·ÙÈÛı›Û˘ Ï›ÌÓ˘” 31-03-59.

“With the officiation of the Archbishop of Athens, in the presence ofthe Prime Minister, the relevant Ministers, many officials and a largegroup of people, the works in Omonoia were inaugurated.On the photograph”.A night view of the square with the illuminated water jets in themiddle of the artificial pond” 31-03-59.

∏ Ï·Ù›· √ÌÔÓÔ›·˜ Omonoia Square

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™ÙÔ˘˜ ˘fiÁÂÈÔ˘˜ ¯ÒÚÔ˘˜ 1.200 Ù.Ì. ÂÚ›Ô˘ ‰ËÌÈÔ˘ÚÁ‹ıËηÓηٷÛÙ‹Ì·Ù·, ˘ÔηٷÛÙ‹Ì·Ù· ÙËÏÂÁÚ·Ê›Ԣ Ù·¯˘‰ÚÔÌ›ԢÙËÏÂʈÓÈÎÔ‡ ΤÓÙÚÔ˘ ·ÛÙÈÎÒÓ Î·È ˘ÂÚ·ÛÙÈÎÒÓ ÙËÏÂʈÓËÌ¿Ù ÓÁÚ·ÊÂ›Ô ÙÔ˘ ∂√Δ, ηÊÂÙ¤ÚȘ, ‰ËÌfiÛÈ· ÏÔ˘ÙÚ¿ Î·È ·Ô¯ˆÚËÙ‹ÚÈ·.ΔfiÙ ÏÂÈÙÔ‡ÚÁËÛ·Ó ÁÈ· ÚÒÙË ÊÔÚ¿ ÛÙËÓ ∞ı‹Ó· ΢ÏÈfiÌÂÓ˜Îϛ̷Θ.

The spaces underground, appr. 1,200 s.m., accommodated avariety of shops, offices for telegraphy, post office, telephonefacilities for local and long-distance calls, a Tourist office, coffee-shops, and public lavatories. This was the first time when escalatorswere used in Athens.

∏ Ï·Ù›· √ÌÔÓÔ›·˜ Omonoia Square

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“ªÈ· ˆÚ·›· ¿Ô„È Ù Ó Ó¤ˆÓ ηٷÛÙËÌ¿Ù Ó Ù Ó Â˘ÚÈÛÎÔ̤ӈÓο٠ıÈ ÙÔ˘ ηٷÛÙÚÒÌ·ÙÔ˜ Ù˘ ¶Ï·Ù›·˜ √ÌÔÓÔ›·˜”.

“A beautiful view of the new shops, located under the surface ofOmonoia Square”

∏ Ï·Ù›· √ÌÔÓÔ›·˜ Omonoia Square

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ŒÓ·˜ ·ÎfiÌË ÁχÙ˘ ·›ÚÓÂÈ ÙË ÛÎ˘Ù¿ÏË. ΔÔ Á˘¿ÏÈÓÔ ¿Á·ÏÌ·ÙÔ˘ ¢ÚÔ̤· ÙÔ˘ μ·ÚfiÙÛÔ˘ ÚÔηÏ› ÔÏϤ˜ Û˘˙ËÙ‹ÛÂȘ ÛÙÔ·ıËÓ·˚Îfi ÎÔÈÓfi.

Another sculpturer takes over the baton. The glass sculpture called“Dromeas” (Runner), created by Varotsos, causes many discussionsin Athenian society.

ΔÔ 1988 ÌÈ· ·ÎfiÌË ·ÏÏ·Á‹ In 1988 one more change

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∞¯ÚÔÓÔÏfiÁÈÙË Undated

¶¿ÚÎÔ °Ô˘‰› Goudi Park

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∏ Ï·Ù›· Ù˘ ªÂÁ¿Ï˘ ÙÔ˘ °¤ÓÔ˘˜ ™¯ÔÏ‹˜ ÛÙË Û˘Ó¿ÓÙËÛË ÙˆÓψÊfiÚˆÓ μ·Û. ™ÔÊ›·˜ Î·È μ·Û. ∫ˆÓÛÙ·ÓÙ›ÓÔ˘, ÛÙ· Ù¤ÏË Ù˘‰ÂηÂÙ›·˜ ÙÔ˘ 1950 .∞ÚÈÛÙÂÚ¿, Ù· Á‹Â‰· fiÔ˘ ÛÙË Û˘Ó¤¯ÂÈ· ÎÙ›ÛÙËÎ·Ó ÙÔ ∂ıÓÈÎfiÿ‰Ú˘Ì· ∂Ú¢ÓÒÓ, Ë ∂ıÓÈ΋ ¶ÈÓ·ÎÔı‹ÎË- ªÔ˘ÛÂ›Ô ∞ÏÂÍ¿Ó‰ÚÔ˘™Ô‡ÙÛÔ˘, Â›Ó·È ·ÎfiÌË ÎÂÓ¿. ¢È·ÎÚ›ÓÂÙ·È Ë ·Ú¯‹ Ù˘ Ô‰Ô‡™. ªÂÚÎÔ‡ÚË Î·È ÔÈ ‰‡Ô ÚfiÛÊ·Ù· ÎÙÈṲ̂Ó˜ ÔÏ˘Î·ÙÔÈ˘ÛÙË ‰È·ÛÙ·‡ÚˆÛË Ù˘ Ì ÙȘ Ô‰Ô‡˜ ¡·˚¿‰ˆÓ Î·È ¡ËÚË›‰ˆÓ·ÓÙ›ÛÙÔȯ·. ¶ÈÔ ›Ûˆ, › Ù˘ Ô‰Ô‡ °ÂˆÚÁ›Ô˘ ÙÔ˘ μ ÙÔ Áηڿ˙ Ô˘ÎÙ›ÛÙËΠ·fi ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· ƒ¤ÓÔ ∫Ô˘ÙÛÔ‡ÚË ÙÔ 1955, ÚˆÙÔÔ-ÚÈ·Îfi ÁÈ· ÙËÓ ÂÔ¯‹ ÙÔ˘. ™ÙÔ ‚¿ıÔ˜ Ô ÏfiÊÔ˜ ÙÔ˘ ∞Ú‰ËÙÙÔ‡.™ÙÔ Î¤ÓÙÚÔ ÙË Ê ÙÔÁÚ·Ê›· ›Û ·fi ÙÔ ¿ÚÎÔ ÙË ƒÈ ·ÚÂ›Ô ™ ÔÏ‹ ,Ë ÔÏ˘Î·ÙÔÈΛ· Ù Ó ·ÍÈ Ì·ÙÈÎÒÓ Ô˘ ηÙ‰·Ê›ÛÙËΠÙËÓ ÂfiÌÂÓˉÂηÂÙ›· ÁÈ· Ó· ÎÙÈÛı› ÙÔ ÓÂ˘Ì·ÙÈÎfi ΤÓÙÚÔ Ù˘ ∞ı‹Ó·˜, Ô˘ ‰ÂÓÚ·ÁÌ·ÙÔÔÈ‹ıËΠÔÙ¤ ÛÙÔ Û‡ÓÔÏÔ ÙÔ˘. ¶ÈÔ ¤Ú· ‰È·ÎÚ›ÓÂÙ·È ÙÔª¤Á·ÚÔ Ù˘ ¢Ô˘Î›ÛÛ˘ Ù˘ ¶Ï·ÎÂÓÙ›·˜ “πÏ›ÛÛÈ·” Ô˘ ÛÙÂÁ¿˙ÂÈÛ‹ÌÂÚ· ÙÔ μ˘˙·ÓÙÈÓfi ªÔ˘Û›Ô.™‹ÌÂÚ· ÛÙÔ Î¤ÓÙÚÔ Ù˘ Ï·Ù›·˜ Ù˘ ªÂÁ¿Ï˘ ÙÔ˘ °¤ÓÔ˘˜ ™¯ÔÏ‹˜,¤¯ÂÈ ÙÔÔıÂÙËı› Ô “¢ÚÔ̤·˜” ÙÔ˘ μ·ÚfiÙÛÔ˘ ÌÂÙ¿ ÙËÓ ·ÔÌ¿ÎÚ˘Ó-ÛË ÙÔ˘ ·fi ÙËÓ √ÌfiÓÔÈ·.

The Square of Megalis tou Genous Scholis at the junction ofVassilissis Sofias and Vass. Konstantinou Avenue, at the end of the50’s. On the left the sports grounds, where later on the National ResearchFoundation and the National Art Gallery – Museum of AlexandrosSoutsos were built, still empty. Featuring the beginning of Sp.Merkouri Street and two newly built apartment blocks at thejunction with Naiadon Street and Niriidon Street. Further behind,on George the II Street, the garage designed by the architect RenosKoutsouris in 1955, a novelty for that period. In the backgroundArdittos Hill.In the centre of the photo behind the park of the Rizareio School theofficers’ apartment block, which was demolished during the nextdecade to be able to erect the Cultural Centre of Athens, which wasnever really fully actualised. Further back we see the Mansion ofDuchess Placentia “Ilissia”, which today hosts the ByzantineMuseum.In the centre of Megalis tou Genous Scholis Square the sculpture“Dromeas”, a creation by Varotsos, where it is today after its removalfrom Omonoia Square.

∏ Ï·Ù›· Ù˘ ªÂÁ¿Ï˘ ÙÔ˘°¤ÓÔ˘˜ ™¯ÔÏ‹˜

The Square of Megalis touGenous Scholis (Greek OrthodoxCollege)

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∏ Ï·Ù›· μ¿ı˘ ‹ Ï·Ù›· ∞ÓÂÍ·ÚÙËÛ›·˜ ‚Ú›ÛÎÂÙ·È ÛÙË Û˘Ì‚ÔÏ‹ÙˆÓ Ô‰ÒÓ ∞¯·ÚÓÒÓ, §ÈÔÛ›ˆÓ, ª¿ÚÓË Î·È ∫·Ì·ÙÂÚÔ‡. °È· ÚÒÙËÊÔÚ¿ ÂÌÊ·Ó›˙ÂÙ·È ˆ˜ Ï·Ù›· ÛÙÔ Û¯¤‰ÈÔ ¤ÓÙ·Í˘ ÙÔ 1867.™Ù· ̤۷ ÙÔ˘ 20Ô˘ ·ÈÒÓ· Ë ÂÚÈÔ¯‹ Á‡Úˆ ·fi ÙËÓ Ï·Ù›· μ¿ıË˜Â›Ó·È ÌÈ· ˘ÎÓÔηÙÔÈÎË̤ÓË Û˘ÓÔÈΛ·, Ì ÌÈÎÚÔ·ÛÙÈÎfi Î·È Ì¿ÏÏÔÓÏ·˚Îfi ¯·Ú·ÎÙ‹Ú·, ÙÔÓ ›‰ÈÔ ÂÚ›Ô˘ Ô˘ ‰È·ÙËÚ› ̤¯ÚÈ Û‹ÌÂÚ·.™Ù· ̤۷ ÙË ‰ÂηÂÙ›· ÙÔ 1960, ÛÙ· ÁÂÓÈÎfiÙÂÚ· ̤ÙÚ· ‰È·ÌfiÚʈÛË˜Î·È Î·Ù·Û΢‹˜ 206 ‰ÚfiÌˆÓ Î·È Ï·ÙÂÈÒÓ, Ë Ï·Ù›· μ¿ı˘ ‹ fiÙȤ¯ÂÈ ·ÔÌ›ÓÂÈ ·fi ·˘Ù‹, ÌÈ· Ê˘ÙÂ̤ÓË ‰ËÏ·‰‹ ÙÚÈÁˆÓÈ΋ ÓËÛ›‰·Ô˘ ÂÚÈÏ·Ì‚¿ÓÂÈ ¤Ó· ÌÈÎÚfi ηıÈÛÙÈÎfi, ‰‡Ô ÂÚ›ÙÂÚ· Î·È ¯ÒÚÔ˘˜˘ÁÈÂÈÓ‹˜ ÛÙÔ ˘fiÁÂÈÔ, ·›ÚÓÂÈ ÙË ÌÔÚÊ‹ Ô˘ Û ÁÂÓÈΤ˜ ÁÚ·Ì̤˜‰È·ÙËÚ› Î·È Û‹ÌÂÚ·. ΔÚÈÁ‡Úˆ ¤Ó· ‰ÂÈÁÌ·ÙÔÏfiÁÈÔ ÎÙÈÚ› Ó fiÏˆÓ Ù ÓÚ˘ıÌÒÓ Î·È Ù Ó ÂÔ¯ÒÓ.

Vathis Square or Independence Square is at the junction ofAcharnon Street, Liossion Street, Marni Street and KamaterouStreet. It appears for the first time as a square in the city plan of1867. Around the middle of the 20th century the area surroundingVathis Square is a densely populated neighbourhood, for middleclass homes, a character more or less maintained until today.In the middle of the 60’s Vathis Square takes its final form, more orless maintained until today, as part of the general measures toreform and construct 206 roads; or better what is left of it, which isa planted triangular traffic island with a bench, two kiosks, and anunderground public lavatory. All around a sample of buildings of allstyles and periods is featured.

∏ ¶Ï·Ù›· μ¿ı˘ Vathis Square

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A T H E N S 133

THE MEANS OF TRANSPORTAT I ON

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ΔÔ 1953 ΢ÎÏÔÊfiÚËÛ·Ó ÛÙËÓ ∞ı‹Ó· Ù· ÚÒÙ· 48 ÙÚfiÏÂ˚.◊Ù·Ó πÙ·ÏÈο Î·È Â›¯·Ó ·Ú·ÁÁÂÏı› ÛÙËÓ ÂÙ·ÈÚ›· “Alfa Romeo”.Δ· ÚÒÙ· ÙÚfiÏ ÙÔÔıÂÙ‹ıËÎ·Ó ÛÙÈ ÁÚ·Ì̤ ¶·Ù‹ÛÈ·- ∞ÌÂÏfiÎËÔÈÎ·È ∫˘„¤ÏË – ¶·ÁÎÚ¿ÙÈ.™ÙË ÊˆÙÔÁÚ·Ê›· ¤Ó· ÙÚfiÏÂ˚ Ù˘ ÁÚ·ÌÌ‹˜ ¶·Ù‹ÛÈ·- ∞ÌÂÏfiÎË-ÔÈ ÛÙÚ›‚ÂÈ ·fi ÙË ÏˆÊfiÚÔ ∞Ì·Ï›·˜ ÚÔ˜ ÙËÓ ¶·ÓÂÈÛÙËÌ›Ô˘.¶·Ú’ fiÏÔ fiÙÈ Ë ÊˆÙÔÁÚ·Ê›· ·fi ›Ûˆ ¤¯ÂÈ ËÌÂÚÔÌËÓ›· 16-09-65,Ë Ï‹„Ë Ú¤ÂÈ Ó· Â›Ó·È Ôχ ·Ï·ÈfiÙÂÚË ÂÊ’ fiÛÔÓ ÙÔ ª¤Á·ÚÔ¢ËÌËÙÚ›Ô˘ – ªÂÁ¿ÏË μÚÂÙ·Ó›· ‰ÂÓ ¤¯ÂÈ ·ÎfiÌË Î·Ù‰·ÊÈÛÙ›ÁÈ· Ó· ‰ÒÛÂÈ ÙË ı¤ÛË ÙÔ˘ ÛÙÔ ÔÏ˘fiÚÔÊÔ ÎÙ›ÚÈÔ Ô˘ ÙÔ·ÓÙÈη٤ÛÙËÛÂ. 16-09-65

The first 48 trolley-buses were used in Athens in 1953. Theywere Italian and were ordered from the company “Romeo”. Thefirst trolley-buses used to serve the lines Patissia – Ampelokipiand Kypseli – Pangrati.On this photo a trolley-bus of the line Patissia – Ampelokipiis turning from Amalias Avenue into Panepistimiou Street.Although the date written on the back side of the photo is 16-09-65, it must have been taken a lot earlier, because theMansion of Dimitriou – Grande Bretagne, to be replaced by amulti-storey building that was constructed later, is not yettaken down. 16-09-65

∞ı‹Ó·È ΔÚfiÏÂ˚ ª·˜ Athens Trolley-bus

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ΔÚfiÏϸ Ù˘ ÁÚ·ÌÌ‹˜ ∫˘„¤ÏË – ¶·ÁÎÚ¿ÙÈ ÌÚÔÛÙ¿ ÛÙÔ¶·Ó·ıËÓ·˚Îfi ™Ù¿‰ÈÔ Â› Ù˘ ηÈÓÔ‡ÚÁÈ·˜ ψÊfiÚÔ˘ μ·ÛÈϤˆ˜∫ˆÓÛÙ·ÓÙ›ÓÔ˘, Ï›ÁÔ ÚÈÓ ÛÙÚ›„ÂÈ ÛÙËÓ Ô‰fi ∂Ú·ÙÔÛı¤ÓÔ˘˜ ÁÈ· ӷηٷϋÍÂÈ ÛÙËÓ Ï·Ù›· ¶Ï·ÛÙ‹Ú·, ÛÙÔ ¶·ÁÎÚ¿ÙÈ.∏ Ï‹„Ë Ú¤ÂÈ Ó· ¤¯ÂÈ Á›ÓÂÈ ÙÔ 1962.

A trolley-bus of the Kypseli - Pangrati line in front of thePanathinaiko Stadio on the new Vassileos Konstantinou Avenue,just before turning into Eratosthenous Street, where it will follow theroute ending at Plastira Square, in Pangrati.The shot must have been taken in 1962.

ΔÚfiÏϸ ‰ÈÂÚ¯fiÌÂÓÔÓ ÚÔ ÙÔ˘™Ù·‰›Ô˘

A trolley-bus passing the Stadio

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™ÙÈ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1960 ÌÈ· ÛÂÈÚ¿ ·fi Ó¤Ô˘˜ ‰ÚfiÌÔ˘˜ÌÂٷ͇ Ù Ó ÔÔ› Ó Î·È Ë ÏˆÊfiÚÔ˜ μ·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘·Ú·‰fiıËÎ·Ó ÛÙËÓ Î˘ÎÏÔÊÔÚ›·.™ÙË ÊˆÙÔÁÚ·Ê›· ÂÈÎÔÓ›˙ÂÙ·È Ë ‰È·ÛÙ·‡ÚˆÛË Ù˘ Ó¤·˜ ψÊfiÚÔ˘ ÌÂÙËÓ Ô‰fi ∏ÚÒ‰Ë ÙÔ˘ ∞ÙÙÈÎÔ‡ ÌÚÔÛÙ¿ ·ÎÚÈ‚Ò˜ ÛÙÔ ¶·Ó·ıËÓ·˚Îfi™Ù¿‰ÈÔ. ∞ÚÈÛÙÂÚ¿ ÛÙË ÁˆÓ›· Ô Î‹Ô˜ ÙÔ˘ ∑·Â›Ô˘ Î·È ·¤Ó·ÓÙÈ Ë¯·ÌËÏ‹ ¤·˘ÏË, ÂΛ fiÔ˘ Û‹ÌÂÚ· Ë ÔÏ˘Î·ÙÔÈΛ· §Â‚¤ÓÙË, fiԢηÙÔÈÎÔ‡Û ÁÈ· ÌÂÁ¿ÏÔ ¯ÚÔÓÈÎfi ‰È¿ÛÙËÌ· ÌÂÙ¿ ÙËÓ ªÂÙ·Ôϛ٢ÛË,Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ˜ ∫·Ú·Ì·ÓÏ‹˜. ™ÙÔ ‚¿ıÔ˜ Ô ÏfiÊÔ˜ ÙÔ˘ §˘Î·‚ËÙÙÔ‡.

In the beginning of the 60’s a lot of new roads were opened fortraffic, amongst them was Vassileos Konstantinou Avenue.The photo shows the crossing of the new avenue with HerodouAttikou Street just in front of the Panathinaiko Stadio. Left in thecorner the Zappeio Garden and on the opposite side the lowmansion, where nowadays Leventi’s apartment block is located,where Konstantinos Karamanlis resided for a long period after thepolitical change following the fall of the dictatorship. Further backLykavittos Hill.

ΔÚfiÏϸ Trolley-Bus

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“§ÂˆÊÔÚ›ÔÓ ‰ÈÂÚ¯fiÌÂÓÔÓ ¤ÍˆıÈ ÙÔ˘ ™Ù·‰›Ô˘ › Ù˘ Ó¤·˜ÏˆÊfiÚÔ˘ μ·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘”.

“A bus passing the Stadio on the newly constructed VassileosKonstantinou Avenue”.

§ÂˆÊÔÚ›ÔÓ Bus

T H E B U I L D I N G S√ ÎÙÈÚÈ·Îfi˜ ÂÍÔÏÈÛÌfi˜ ÌÈ·˜ fiÏ˘ ·ÔÙÂÏ› ·Ó·ÌÊÈÛ‚‹ÙËÙ·ÙÔÓ ÛÙÔÏÈÛÌfi Ù˘ Î·È ÙÔÓ ÏÔ‡ÙÔ Ù˘. ∂›Ó·È ·Ó·ÌÂÓfiÌÂÓÔÂÔ̤ӈ˜ Ô ÌÂÁ·Ï‡ÙÂÚÔ˜ ·ÚÈıÌfi˜ Ù Ó ÊˆÙÔÁÚ·ÊÈÒÓ Ô˘ÂÌÂÚȤ ÔÓÙ·È ÛÙÔ ∞Ú Â›· ÙË °ÂÓÈ΋ °Ú·ÌÌ·Ù›· ∂ÓË̤ڈÛË˜Î·È Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›·˜ ∂ÈÎÔÈÓˆÓ›·˜ Ó· ·ÊÔÚÔ‡Ó ÎÙ›ÚÈ·:ÎÙ›ÚÈ· ‰ËÌfiÛÈ·, ÎÙ‹ÚÈ· ÙÔfiÛËÌ·. ¢‡ÛÎÔÏ· Ó· Ù· ηٷٿÍÂȘÛ ÔÌ¿‰Â˜. √ ‰È·¯ˆÚÈÛÌfi˜ ‰ÂÓ ÌÔÚ› Ê˘ÛÈο Ó· ›ӷȷfiÏ˘ÙÔ˜. ™ÙȘ ÂÚÈÛÛfiÙÂÚ˜ ¿ÏψÛÙÂ Î·È ·fi ÙȘ ¿ÏϘʈÙÔÁÚ·ÊÈΤ˜ ÂÓfiÙËÙ˜, Û¯ÔÏÈ¿˙ÔÓÙ·È Ù· ÎÙ›ÚÈ· Ô˘·ÂÈÎÔÓ›˙ÔÓÙ·È . ™ÙËÓ Î·ÙËÁÔÚ›· fï˜ “∫Ù›ÚÈ·” ÔʈÙÔÁÚ·ÊÈÎfi˜ Ê·Îfi˜ ÂÛÙÈ¿˙ÂÈ ÛÙ· ÎÙ›ÚÈ· Î·È Ù· ÚÔ‚¿ÏÏÂÈ.Δ· ÎÙ›ÚÈ· Â›Ó·È ÔÈ ÚˆÙ·ÁˆÓÈÛÙ¤˜.∫¿ÔÈ· ¤¯Ô˘Ó ÌÈ· Ì·ÎÚÈ¿ ÈÛÙÔÚ›· ÛÙÔ ¯ÚfiÓÔ Î·È ¤¯Ô˘Ó ‹‰ËÂÚ¿ÛÂÈ ÛÙËÓ Î·ÙËÁÔÚ›· ÙˆÓ ÌÓËÌ›ˆÓ, οÔÈ· ¿ÏÏ· ÌÔÈ¿-˙Ô˘Ó ÔÏÔη›ÓÔ˘ÚÁÈ· ÌÈ· Î·È Ë ÎÔÚ‰¤Ï· ÙˆÓ ÂÁηÈÓ›ˆÓ ¤¯ÂÈÌfiÏȘ ÎÔ›.∂¤ÏÂÍ· Ó· ÍÂÎÈÓ‹Ûˆ ·fi’ ÙË ªËÙÚfiÔÏË ∞ıËÓÒÓ “ÂΣÂÔ‡ ¿Ú¯ÂÛı·È” Ó· Û˘Ó¯›Ûˆ Ì ÙËÓ “ÂÍÔ˘Û›·” ÙȘ “·Ú¯¤˜”.∂‰Ò ÛÙ¿ıËη, ÌÈ·˜ Î·È Ù· ÚÒÙ· ∞Ó¿ÎÙÔÚ·, Ù· “¶·Ï·È¿∞Ó¿ÎÙÔÚ·” ÊÈÏÔÍÂÓÔ‡Ó Û‹ÌÂÚ· ÙË μÔ˘Ï‹ ÙˆÓ ∂ÏÏ‹ÓˆÓ, ηÈÙ· ·Ì¤Ûˆ˜ ÂfiÌÂÓ· , ÙÔ “∞Ó¿ÎÙÔÚÔ ÙÔ˘ ¢È·‰fi¯Ô˘” fiˆ˜·Ú¯Èο ÏÂÁfiÙ·Ó, ¤¯ÂÈ ÌÂÙ·Ùڷ› Û ¶ÚÔ‰ÚÈÎfi ª¤Á·ÚÔ.ŒÙÛÈ Î¿ı „¢‰Ô‰›ÏÏËÌ· ·ÔÌ·ÎÚ‡ÓıËÎÂ. ∞ÎÔÏÔ˘ı› Ë·ÏÈ¿ μÔ˘Ï‹, ÙÔ ¢ËÌ·Ú¯Â›Ô Î·È ¤Ó·˜ ÂÚ›·ÙÔ˜ ÛÙÔ Î¤ÓÙÚÔÙ˘ fiÏ˘ Î·È ÛÙȘ ÌÂÁ¿Ï˜ Ô‰ÈΤ˜ ·ÚÙËڛ˜ ÙȘ ψÊfiÚÔ˘˜Ù· ·ÏÈ¿ ‚Ô˘Ï‚¿ÚÙ· Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÛÈÁ¿ ÛÈÁ¿ ‚Á·›ÓÔ˘-Ì ·’ ÙÔ Î¤ÓÙÚÔ Î·È ÚÔ¯ˆÚԇ̠ÚÔ˜ ÙËÓ ÂÚÈʤÚÂÈ·. ΔȘӤ˜ Û˘ÓÔÈ˘.

The buildings of a city are undoubtedly its adornment andits wealth. Therefore it can be expected that the largestnumber of photos contained in the archives of theSecretariat General of Press and the Secretariat General ofCommunication concerns buildings: public buildings,landmark buildings. It is difficult to divide them intogroups. This division could never be perfect. In most casesthere are commentaries added to the buildings depicted,much like the other groups of photos. But in the category“Buildings” the photographic lense focuses on buildings andpromotes them. The buildings are the main actors.Some of them have a long history and they already belong inthe category of monuments, some others seem to becompletely new, as they have just recently been inaugurated.I chose to start from the Mitropolis (Cathedral) of Athens,“starting from God”, then to continue with “authority”, the“official buildings”. Here I made a stop, because the firstRoyal Palace, the “old Palace”, today hosts the GreekParliament, and the next in order, the “Successor’s Palace”as it was originally called, has been transformed into thePresidential Residence. So the dilemma was actuallyresolved. Then we have the old Parliament, the Town Halland a stroll through the centre of the city, to the mainarteries, the avenues, the old boulevards, and after that,coming out of the centre, we continue with the periphery.The new neighbourhoods.

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Ÿˆ˜ ‹Ù·Ó Ê˘ÛÈÎfi ·Ì¤Ûˆ˜ ÌÂÙ¿ ÙËÓ ÌÂÙ·ÊÔÚ¿ Ù˘ ÚˆÙÂ‡Ô˘Û·˜·fi ÙÔ ¡·‡ÏÈÔ ÛÙËÓ ∞ı‹Ó·, Ù¤ıËΠÙÔ ı¤Ì· ÙÔ˘ ∫·ı‰ÚÈÎÔ‡¡·Ô‡ Ù˘ ªËÙÚfiÔÏ˘. ø˜ ÙÔÔıÂÛ›· ÂÂϤÁË ·˘Ù‹ fiÔ˘‹‰Ë ˘‹Ú¯·Ó Ù· ÂÚÂȈ̤ӷ ÎÙ›ÚÈ· Ù˘ ªËÙÚfiÔÏ˘ Ù˘ΔÔ˘ÚÎÔÎÚ·Ù›·˜.√ ıÂ̤ÏÈÔ˜ Ï›ıÔ˜ ηٷ٤ıËΠÙÔ 1842 ÎÈ Ô ªËÙÚÔÔÏÈÙÈÎfi˜Ó·fi˜ Ô ·ÊÈÂڈ̤ÓÔ˜ ÛÙÔÓ ∂˘·ÁÁÂÏÈÛÌfi Ù˘ £ÂÔÙfiÎÔ˘ ¿Ú¯È˙ÂÓ· ÎÙ›˙ÂÙ·È ¿Óˆ Û ۯ¤‰È· ÙÔ˘ ÃÚ. ÿÓÛÂÓ. ™Ù· ÂfiÌÂÓ·¯ÚfiÓÈ· ÙÔ ·Ú¯ÈÙÂÎÙÔÓÈÎfi Û¯¤‰ÈÔ ÙÔ˘ Ó·Ô‡ ˘¤ÛÙË ÛËÌ·ÓÙÈΤ˜ÌÂÙ·ÙÚÔ¤˜ ·fi ÙÔ˘˜ ·Ú¯ÈÙ¤ÎÙÔÓ˜ ¢ËÌ. ∑¤˙Ô, Fr. BoulangerÎ·È ¶. μÚÂÙÙfi-∫¿ÏÎÔ.∂ÛˆÙÂÚÈο ÙËÓ ÔÁÎÔÁÚ¿ÊËÛË ·Ó¤Ï·‚Â Ô ™. °È·ÏÈÓ¿˜ ηÈÔ ∞ϤͷӉÚÔ˜ ª·ÍÈÌÈÏÈ·Ófi˜ Zeitst ÂÓÒ ÙËÓ ÎÔÛÌËÌ·ÙÔÁÚ·Ê›·Ô ∫ˆÓÛÙ. º·ÓÂÏÏ‹˜.Δ· ÎÈÔÓfiÎÚ·Ó·, ÙÔÓ ¿Ì‚ˆÓ· Î·È Ù· ˘fiÏÔÈ· ÁÏ˘Ù¿ ÛÙÔȯ›· ÙÔ˘Ó·Ô‡ Ú·ÁÌ·ÙÔÔ›ËÛÂ Ô °. º˘Ù¿Ï˘.Δ· ÂÁη›ÓÈ· ÙÔ˘ ªËÙÚÔÔÏÈÙÈÎÔ‡ ¡·Ô‡ ¤ÁÈÓ·Ó ÙÔÓ ª¿ÈÔ ÙÔ˘ 1862.∞fi ÙfiÙÂ Î·È Ì¤¯ÚÈ Û‹ÌÂÚ· Ë ªËÙÚfiÔÏË ·ÔÙÂÏ› ÛËÌ›ԷӷÊÔÚ¿˜ Î·È ÙÔfiÛËÌÔ ÁÈ· fiÏÔ˘˜ ÙÔ˘˜ ∞ıËÓ·›Ô˘˜. ∂‰Ò Á›ÓÔÓÙ·ÈfiϘ ÔÈ Â›ÛË̘ ÙÂÏÂÙ¤˜, ‰ÔÍÔÏÔÁ›Â˜, ÔÈ ÛÙ¤„ÂȘ ÙˆÓ ‚·ÛÈϤˆÓηٿ ÙËÓ ÂÚ›Ô‰Ô Ù˘ μ·ÛÈÏ¢Ô̤Ó˘ ¢ËÌÔÎÚ·Ù›·˜, Á¿ÌÔÈ Î·ÈÎˉ›˜ ÙˆÓ ÚÔÛˆÈÎÔًوÓ. ¢˘ÛÙ˘¯Ò˜ Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ·,¿ÛÙԯ˜ ÂÂÌ‚¿ÛÂȘ ÛÙÔ ÂÛˆÙÂÚÈÎfi Ù˘, η٤ÛÙÚ„·Ó ÛËÌ·ÓÙÈοÙÔ ‡ÊÔ˜ ÙÔ˘ 19Ô˘ ·ÈÒÓ·.∏ ʈÙÔÁÚ·Ê›· Â›Ó·È ·¯ÚÔÓÔÏfiÁËÙË ÔˆÛ‰‹ÔÙ fï˜ ¤¯ÂÈÙÚ·‚˯Ù› ÚÈÓ ·fi ÙÔ 1958, ¯ÚÔÓÔÏÔÁ›· fiÔ˘ ÙÔ Ù‡Ì·ÓÔÙ˘ ·ÚÈ·˜ fi„˘ ηχÊıËΠ·fi ÙÔ ÌˆÛ·ÈÎfi Ì ı¤Ì· ÙÔÓ∂˘·ÁÁÂÏÈÛÌfi.™ÙËÓ ÁˆÓ›· Ù Ó Ô‰ÒÓ ªËÙÚÔfiψ˜ Î·È ∂˘·ÁÁÂÏÈÛÙÚ›·˜ ‰È·ÎÚ›ÓÂÙ·ÈÓÂÔÎÏ·ÛÈÎfi ÙÚÈÒÚÔÊÔ ÎÙ›ÚÈÔ, ηÙ‰·ÊÈṲ̂ÓÔ Û‹ÌÂÚ·.

As could be expected, immediately after moving the capital fromNafplio to Athens, the issue concerning the Cathedral Church,Mitropolis, was raised. The location that was chosen coincidedwith the one of the ruins of the cathedral that was left from theTurkish occupation.The cornerstone was laid in 1842 and the construction of theMitropolis Church, dedicated to the Annunciation of the VirginMary, started, based on designs made by Chr. Hansen. Duringthe following years the architectural design of the church wentthrough important changes by the architects Dim. Zezos, Fr.Boulanger and P. Vrettos-Kalkos.Internally the wall painting was supervised by Sp. Gialinas andAlexander Maximilian Zeist and the ornaments by Konst.Fanellis.The capitals, the pulpit and the rest of the sculptural elementswere designed by G. Fytalis.The Cathedral was inaugurated in May 1862.From that time onwards, even unto today, the Mitropolis is aconstant reference point and a landmark for all Athenians. Hereall official ceremonies are conducted, doxologies, the coronationsof the kings during the period of the Monarchical Democracy, theweddings and funerals of the famous. In recent years someinconsiderate interventions internally have, unfortunately,destroyed the 19th century style significantly.This photo is undated but is surely taken before 1958, becausein that year the frontal drum was covered by the mosaic featuringthe Annunciation.At the crossing between Mitropoleos Street and EvangellistriasStreet we see a neoclasical three-storey building, demolishednowadays.

∏ ªËÙÚfiÔÏË ÙˆÓ ∞ıËÓÒÓ Athens Cathedral (Mitropolis)

B U I L D I N G S

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∏ μÔ˘Ï‹ Ù Ó ∂ÏÏ‹ÓˆÓ (¶·Ï·È¿ ∞Ó¿ÎÙÔÚ·), ÎÙ›ÛÙËΠ·Ì¤Ûˆ˜ Û¯Â-‰fiÓ ÌÂÙ¿ ÙËÓ ·Ó·Î‹Ú˘ÍË Ù˘ ∞ı‹Ó·˜ ˆ˜ ÚˆÙÂ‡Ô˘Û·˜, ÁÈ· Ó· ÛÙÂ-Á¿ÛÂÈ ÙÔ˘˜ ÚÒÙÔ˘˜ ŒÏÏËÓ˜ ‚·ÛÈÏ› , ÙÔÓ ŸıˆÓ· Î·È ÙËÓ ∞Ì·Ï›·.∞Ú¯ÈÙ¤ÎÙÔÓ·˜ ÙÔ˘˜ ˘‹ÚÍÂ Ô μ·˘·Úfi˜ ºÚÂȉÂÚ›ÎÔ˜ °Î·›ÚÙÓÂÚ.§ÈÙfi Î·È ·˘ÛÙËÚfi, Ì ÚԇϷȷ ‰ˆÚÈÎÔ‡ Ú˘ıÌÔ‡, ÙÔ ÎÙ›ÚÈÔ‰¤ÛÔ˙ ÙÔ˘ ΋Ԣ Ù Ó ÌÔ˘ÛÒÓ (Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜).ΔÔ 1928 ·ÔÊ·Û›˙ÂÙ·È Ë ÌÂÙ·ÙÚÔ‹ ÙÔ˘ Û μÔ˘Ï‹ Ù Ó ∂ÏÏ‹ÓˆÓ.ŒÍË ÚfiÓÈ· ·ÚÁfiÙÂÚ·, ÛÙÈ 2 ∞˘ÁÔ‡ÛÙÔ˘ ÙÔ˘ 1934 ÁÈ· ÚÒÙË ÊÔÚ¿ÛÙÔ ÎÙ›ÚÈÔ Ô˘ ¤¯ÂÈ ˘ÔÛÙ› ÙÈ ··Ú·›ÙËÙ˜ ÁÈ’ ·˘Ùfi ÙÚÔÔÔÈ‹ÛÂÈ ,ı· Ú·ÁÌ·ÙÔÔÈËı› Ë ÚÒÙË Û˘Ó‰ڛ·ÛË Ù˘ μÔ˘Ï‹˜. 28-12-73

The Greek Parliament (old Royal Palace) was built almostimmediately after Athens was declared the capital, in order tohost the first Greek royal couple, King Otto and Queen Amalia.Its architect was the Bavarian Friedrich Gaertner.The plain, strict building, with a Dorian style entrance,overlooks the Garden of the Muses (Syntagma Square).In 1928 it was decided to change it into the Greek Parliament.Six years later, the 2nd of August 1934, the first assembly of themembers of the Parliament would take place, after the buildinghad gone through the necessary reconstruction. 28-12-73

∏ μÔ˘Ï‹ ÙˆÓ ∂ÏÏ‹ÓˆÓ (1836-1840) The Greek Parliament (1836-1840)

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ªÚÔÛÙ¿ ·fi Ù· ¶·Ï·È¿ ∞Ó¿ÎÙÔÚ· ÂÁηÈÓÈ¿ÛÙËΠÙËÓ 25Ë ª·ÚÙ›Ô˘ÙÔ˘ 1932 ÙÔ ÌÓËÌÂ›Ô ÙÔ˘ ∞ÁÓÒÛÙÔ˘ ™ÙÚ·ÙÈÒÙË ¤ÚÁÔ ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ·¶·ÓÙÂÏ‹ §·˙·Ú›‰Ë Û ηı·Úfi ‡ÊÔ˜ ÌÔÓÙ¤ÚÓÔ˘ ÎÏ·ÛÈÎÈÛÌÔ‡.√È ÁÏ˘ÙÈΤ˜ ·Ú·ÛÙ¿ÛÂÈ Ô˘ ÎÔÛÌÔ‡Ó ÙÔ ÌÓËÌ›Ô, ÙfiÛÔ ÙÔÎÂÓÙÚÈÎfi ·Ó¿ÁÏ˘ÊÔ ÙÔ˘ ıÓ‹ÛÎÔÓÙÔ˜ ÔÏ›ÙË fiÛÔ Î·È ÔÈ ÔÚÂȯ¿ÏÎÈÓ˜·Û›‰Â˜ ‰‡Ô ÎÏÈÌ·ÎÔÛÙ·Û›ˆÓ Âη٤ڈıÂÓ ÙÔ˘ ‚ˆÌÔ‡, fiÔ˘ÌÓËÌÔÓ‡ÔÓÙ·È ÔÈ Ó›Î˜ ÙÔ˘ ÂÏÏËÓÈÎÔ‡ ÛÙÚ·ÙÔ‡ ·fi ÙÔ 1821ÎÈ’ ‡ÛÙÂÚ·, Â›Ó·È ¤ÚÁ· ÙÔ ÁχÙË ∫ÒÛÙ· ¢ËÌËÙÚÈ¿‰Ë (1881-1943).ΔÔ ÌÓËÌÂ›Ô ÊÚÔ˘ÚÔ‡Ó Ó‡ÎÙ· Î·È Ì¤Ú· ‰‡Ô ‡˙ˆÓÔÈ Ì ÙËÓ·Ú·‰ÔÛȷ΋ ÙÔ˘˜ ÛÙÔÏ‹. ∏ ·ÏÏ·Á‹ ÊÚÔ˘Ú¿˜ ÚÔÛÂÏ·ÂÈ ¿ÓÙ·Ôχ ÎfiÛÌÔ, ŒÏÏËÓ˜ Î·È Í¤ÓÔ˘˜.

The Monument of the Unknown Soldier, in the forecourt of the OldPalace, designed by architect Pantelis Lazaridis in a pure, modernneoclassical style, was unveiled on the 25th of March 1932. Thesculptural engravings adorning the monument, the centralrepresentation of a dying soldier and the bronze shields located onthe two staircases at the sides of the temple, where all victories of theGreek Army since 1821 are mentioned, are created by sculpturerKostas Dimitriadis (1881-1943).The monument is guarded day and night by two Evzonoi in theirtraditional uniform. The changing of the guard is always a majorattraction for Greeks and tourists.

TÔ ÌÓËÌÂ›Ô ÙÔ˘ ∞ÁÓÒÛÙÔ˘ ™ÙÚ·ÙÈÒÙË The Monument of the Unknown Soldier

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Δ· ∞Ó¿ÎÙÔÚ· ÙÔ ¢È·‰fi Ô , (ÛËÌÂÚÈÓfi ¶ÚÔ‰ÚÈÎfi ª¤Á·ÚÔ), ÎÙ›ÛÙËηÓÛÙÔ ‰È¿ÛÙËÌ· 1891-1897, ÁÈ· Ó· ÛÙÂÁ¿ÛÔ˘Ó ÙÔ ÚÈÁÎËÈÎfi ˙‡ÁÔ˜ÙÔ ‰È·‰fi Ô ∫ˆÓÛÙ·ÓÙ›ÓÔ Î·È ÙË ÚÈÁΛÈÛÛ· ™ÔÊ›· ÃÔÂÙ fiÏÏÂÚÓ.∂Èı˘Ì›· ÙÔ˘ μ·ÛÈÏÈ¿ °ÂˆÚÁ›Ô˘ ÙÔ˘ ∞’ ‹Ù·Ó Ù· ·Ó¿ÎÙÔÚ· Ó· ÌˉȷʤÚÔ˘Ó ÛËÌ·ÓÙÈο ·fi Ù· ÌÂÁ·ÏÔ·ÛÙÈο ̤Á·Ú· Ù˘ ψÊfiÚÔ˘∫ËÊÈÛ›·˜ (ÛËÌÂÚÈÓ‹ μ·Û. ™ÔÊ›·˜), Ô˘ ›¯·Ó ·Ú¯›ÛÂÈ Ó· ˘„ÒÓÔÓÙ·ÈÙÔ ¤Ó· ÌÂÙ¿ ÙÔ ¿ÏÏÔ ÙÔ ÙÂÏÂ˘Ù·›Ô ٤ٷÚÙÔ ÙÔ˘ 19Ô˘ ·ÈÒÓ·. °‡Úˆ ÙÔ˘‰ËÌÈÔ˘ÚÁ‹ıËΠÌÂÁ¿ÏÔ˜ ΋Ԙ.ªÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ ÙÔ˘ 1909 Ô˘ η٤ÛÙÚ„ ÛËÌ·ÓÙÈÎfi ̤ÚÔ˜ Ù ÓÙfiÙ μ·ÛÈÏÈÎÒÓ ∞Ó·ÎÙfiÚˆÓ (ÛËÌÂÚÈÓ‹ μÔ˘Ï‹) ÙÔ ÎÙ›ÚÈÔ ¯ÚËÛÈÌÔÔÈ-‹ıËΠϤÔÓ ˆ˜ μ·ÛÈÏÈο ∞Ó¿ÎÙÔÚ·. 27-12-66

The Successor’s Palace (nowadays the Presidential Residence) wasbuilt during the period 1891-1897, to house the princely couple ofSuccessor Konstantinos and princess Sophia Hohenzollern. KingGeorge I expressed the wish for the Palace to maintain similaritieswith the neoclassical buildings of Kifissias Avenue (today Vass.Sofias Avenue), which started to be built one after the other duringthe last quarter of the 19th century. A big garden was laid outaround the Palace.After the fire in 1909, which destroyed a large part of the RoyalPalace (today the Parliament), this building was used as the RoyalPalace. 27-12-66

Δ· ∞Ó¿ÎÙÔÚ· ∞ıËÓÒÓ The Palace of Athens

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ΔfiÙ ÚÔÛÙ¤ıËΠÚÔ˜ ÙËÓ ÏÂ˘Ú¿ Ù˘ Ô‰Ô‡ μ. °ÂˆÚÁ›Ô˘,Ë Û¯Â‰È·Ṳ̂ÓË Â›Û˘ ·fi ÙÔÓ ∂. ΔÛ›ÏÏÂÚ Î·Ù’ ÂÈı˘Ì›· Ù˘μ·Û›ÏÈÛÛ·˜ ϤÔÓ ™ÔÊ›·˜, Ë ÌÂÁ¿ÏË ·›ıÔ˘Û· ¯ÔÚÔ‡ Ô˘ ·ÂÈÎÔ-Ó›˙ÂÙ·È Û ÚÒÙÔ Ï¿ÓÔ ÛÙË ÊˆÙÔÁÚ·Ê›·.ŒÓ· ÚfiÓÔ ·ÎÚÈ‚Ò˜ ÌÂÙ¿ ÙË Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜, ÙÔ 1967 Ì ÙËÓ·Ó·¯ÒÚËÛË ÙÔ˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ μ’ ·fi ÙËÓ ∂ÏÏ¿‰· ÙÔ ÎÙ›ÚÈÔ ¤·„ÂÓ· ¯ÚËÛÈÌÔÔÈÂ›Ù·È ˆ˜ ·Ó¿ÎÙÔÚÔ.™‹ÌÂÚ· ¯ÚËÛÈÌÔÔÈÂ›Ù·È ˆ˜ ¤‰Ú· ÙÔ˘ ¶ÚÔ¤‰ÚÔ˘ Ù˘ ∂ÏÏËÓÈ΋˜¢ËÌÔÎÚ·Ù›·˜.

During that period another wing was added, a large ball-room,according to the wishes of Sofia, queen by now, on the side towardsV. George Street, shown in the forefront of the photo. Exactly oneyear after the photo was taken, in 1967, as soon as KingConstantinos II left Greece, the building ceased to be used as aRoyal Palace.During the period until 1974 the military junta used it as the officesof their “Government”. Nowadays it is used as the official residenceof the President of the Greek Republic.

Δ· ∞Ó¿ÎÙÔÚ· ∞ıËÓÒÓ The Palace of Athens

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ΔÔ ÎÙ›ÚÈÔ Û¯Â‰›·ÛÂ Ô Á¿ÏÏÔ˜ ·Ú¯ÈÙ¤ÎÙˆÓ FrancoisBoulanger Û ÓÂÔÎÏ·ÛÈÎfi Ú˘ıÌfi ÙÔ 1858 Î·È ÌÂÙ·ÚÚ˘ıÌ›ÛÙËηfi ÙÔÓ ¶·Ó·Á‹ μÚÂÙÙfi – ∫¿ÏÎÔ ÙÔ 1863. ∏ ÔÈÎÔ‰ÔÌ‹ÙÂÏ›ˆÛ ÙÔ 1871.∞fi ÙÔ 1961 ˘ÔÁÚ¿ÊËΠۇ̂·ÛË ÌÂٷ͇ Ù˘ πÛÙÔÚÈ΋˜Î·È ∂ıÓÔÏÔÁÈ΋˜ ∂Ù·ÈÚ›·˜ Î·È ÙÔ˘ ¢ËÌÔÛ›Ô˘ Û‡Ìʈӷ ÌÂÙËÓ ÔÔ›· ÙÔ ÎÙ›ÚÈÔ ‰È·Ù›ıÂÙ·È ÁÈ· ÙË ÛÙ¤Á·ÛË ÙÔ˘ πÛÙÔÚÈÎÔ‡ªÔ˘Û›Ԣ Ù˘ ¡ÂfiÙÂÚ˘ ∂ÏÏ¿‰·˜. Δ·  Á η › Ó È· ÙÔ ˘ªÔ ˘Û  ›Ô ˘ ¤ Á ÈÓ·Ó ÙÔ 1 9 6 2 .∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ·fi ÙËÓ Ô‰fi ÕÓıÈÌÔ˘ °·˙‹.∞¤Ó·ÓÙÈ ·fi ÙÔ ÌÔ˘ÛÂ›Ô ‰È·ÎÚ›ÓÂÙ·È ÙÔ ª¤Á·ÚÔ ÙÔ˘ ªÂÙÔ¯ÈÎÔ‡Δ·Ì›Ԣ ™ÙÚ·ÙÔ‡ Î·È ÛÙË Û˘Ó¤¯ÂÈ· Ù· ‰‡Ô ¯·ÌËÏ¿ ÓÂÔÎÏ·ÛÈο·fi Ù· ÂÏ¿¯ÈÛÙ· Ô˘ ‰È·ÙËÚÔ‡ÓÙ·È ·ÎfiÌË Ì¤¯ÚÈ Û‹ÌÂÚ·.ªÚÔÛÙ¿ ·fi ÙÔ ÎÙ›ÚÈÔ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ¿Á·ÏÌ· ÙÔ˘ ÷ÚÈÏ¿Ô˘ΔÚÈÎÔ‡Ë.∏ ‰È·ÌfiÚʈÛË Ù˘ Ï·Ù›·˜ ÚÔ˜ ÙËÓ Ô‰fi ∫ÔÏÔÎÔÙÚÒÓË ‰ÂÓ¤¯ÂÈ ·ÎfiÌË Ú·ÁÌ·ÙÔÔÈËı› Î·È Ô Î‹Ô˜ ÂÚÈÊÚ·Á̤ÓÔ˜ ÌÂÎÈÁÎÏ›‰ˆÌ· ‚Ú›ÛÎÂÙ·È Û „ËÏfiÙÂÚË ÛÙ¿ıÌË ·fi ·˘Ù‹Ó ÙÔ˘‰ÚfiÌÔ˘, ÈÛfi‰· Ì ÙË ÛÙ¿ıÌË ÙÔ˘ ‰·¤‰Ô˘ ÙÔ˘ ˘ÂÚ˘„ˆ-̤ÓÔ˘ ÈÛÔÁ›Ԣ Ù˘ ¶·ÏÈ¿˜ μÔ˘Ï‹˜. 16-09-65

This building was designed by the French architect FrancoisBoulanger in 1858 in neoclassical style and was reformedby Panagis Vrettos-Kalkos in 1863. Its construction wascompleted in 1871.In 1961 a contract was signed between the Historical andEthnological Company and the State, according to which thebuilding was going to be used to house the HistoricalMuseum of modern Greece. The official opening of theMuseum was held in 1962.This photo was taken from Anthimou Gazi Street.Opposite the museum we see the Mansion of MetochikoTameio Stratou and further back two neoclassical buildings,some of the few remaining until today.In front of the building we see the statue of CharilaosTrikoupis.The square towards Kolokotroni Street has not yet beenreformed, so the garden surrounded by a railing is located ata higher level than the road, levelling with the ground floor ofthe Old Parliament. 16-09-65

∏ ¶·ÏÈ¿ μÔ˘Ï‹ The Old Parliament

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ΔÔ ¢ËÌ·Ú Â›Ô Ù˘ ∞ı‹Ó·˜ (1873-74) ÎÙ›ÛÙËΠ¿Óˆ Û ۯ¤‰È· ÙÔ˘ ∞ıËÓ·›Ô˘·Ú¯ÈÙ¤ÎÙÔÓ· ¶·Ó·Á‹ μÚÂÙÙÔ‡ - ∫¿ÏÎÔ˘ › ‰ËÌ·Ú¯›·˜ ¶. ∫˘ÚÈ·ÎÔ‡.ΔÔ ·Ú¯ÈÎfi ÎÙ›ÚÈÔ ‹Ù·Ó ‰ÈÒÚÔÊÔ, ·˘ÛÙËÚfi, ÏÈÙfi, Ì ÙÔÓÈṲ̂ÓË ÙËÓÎÂÓÙÚÈ΋ ›ÛÔ‰Ô ·fi ‰ˆÚÈÎfi Úfi˘ÏÔ Î·È ÂÍÒÛÙË ¿Óˆ ·fi ·˘Ùfi.™ÙÔ ÈÛfiÁÂÈÔ ˘¿Ú¯ÂÈ ÛÂÈÚ¿ ηٷÛÙËÌ¿ÙˆÓ. ΔÔ 1937 ÚÔÛÂÙ¤ıË ¤Ó·˜·ÎfiÌË fiÚÔÊÔ˜ ÛÙÔ ÎÙ›ÚÈÔ Î·È Î·Ù·ÚÁ‹ıËÎ·Ó Ù· ηٷÛÙ‹Ì·Ù· ÙÔ˘ÈÛÔÁ›Ԣ. ∞¤Ó·ÓÙÈ ·ÎÚÈ‚Ò˜ ·fi ÙÔ ¢ËÌ·Ú¯Â›Ô ‚ÚÈÛÎfiÙ·Ó ÙÔ ¢ËÌÔ-ÙÈÎfi £¤·ÙÚÔ Ô˘ ηÙ‰·Ê›ÛÙËΠÙÔ 1939.∏ ʈÙÔÁÚ·Ê›· ÙÔ˘ ªÂÁ·ÏÔÔÈÎÔÓfiÌÔ˘ Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙˉÂηÂÙ›· ÙÔ˘ 1950 fiÙ·Ó ·ÔÊ·Û›ÛÙËÎÂ Ë ·Ó·Î·Ù·Û΢‹ Ù˘ Ï·Ù›·˜Ù˘ √ÌfiÓÔÈ·˜ Î·È Ë ÌÂÙ·ÊÔÚ¿ ÙˆÓ ·ÓıԈϛˆÓ Ô˘ ˘‹Ú¯·Ó ÂΛÛÙËÓ ¶Ï·Ù›· ∫ÔÙ˙È¿.

The Town Hall of Athens (1873-74) was built according to the designas laid out by the Athenian architect Panagis Vrettos Kalkos, when P.Kyriakou was mayor of Athens.The original building had two floors, plain and strict, emphasisingthe central entrance, in Dorian style with a balcony above it. Atground level there is a series of shops. In 1937 one more floor wasadded to the building and the shops of the ground floor ceased toexist. Exactly opposite the Town Hall the Municipal Theatre wassituated, which was demolished in 1939.The photo by Megaoloikonmou must have been taken duringthe 50’s, when it was decided to reconstruct Omonoia Squareand to move the florist shops there to Kotzia Square.

ΔÔ ¢ËÌ·Ú¯Â›Ô The Town hall

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™ÙË ‰Â‡ÙÂÚË ÊˆÙÔÁÚ·Ê›· ÙÔ˘ 1965 ÌÈ· ‰ÂηÂÙ›· ۯ‰fiÓ ·ÚÁfiÙÂÚ·Ê·›ÓÔÓÙ·È Û ÚÒÙÔ Ï¿ÓÔ Ù· ‰‡Ô Ú¿ÛÈÓ· ·ÚÙ¤ÚÈ· Ì ÙÔÛÙÚÔÁÁ˘Ïfi ·Ó·‚Ú˘Ù‹ÚÈÔ ·Ó¿ÌÂÛ¿ ÙÔ˘˜ Î·È Ë ›Ûˆ fi„Ë Ù˘ÛÙ‹Ï˘ Ì ÙËÓ ÚÔÙÔÌ‹ ÙÔ˘. ∂ӉȷʤÚÔÓ ·ÚÔ˘ÛÈ¿˙ÂÈ ÙÔ ÙÚ›Ô‰ÔÌ ÙË ÊˆÙÔÁÚ·ÊÈ΋ Ì˯·Ó‹ ÙÔ˘ ˘·›ıÚÈÔ˘ ʈÙÔÁÚ¿ÊÔ˘, Ï›„·ÓÔÌÈ· ÂÔ¯‹˜ Ô˘ ¤Ê˘Á ÁÈ· ¿ÓÙ·. ΔÔ 1980 ‰¤Î· ¤ÓÙ ¯ÚfiÓÈ··ÚÁfiÙÂÚ· ·fi ÙË Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜ ηٿ ÙË ‰È¿ÚÎÂÈ· ·Ó·Ûη-ÊÒÓ ÚÔÎÂÈ̤ÓÔ˘ Ó· ‰ËÌÈÔ˘ÚÁËı› ˘fiÁÂÈÔ˜ ¯ÒÚÔ˜ ÛÙ¿ıÌ¢Û˘ο٠·fi ÙËÓ Ï·Ù›· ∫ÔÙ˙È¿, ·ÔηχÊıËÎ·Ó ÙÔ Ù›¯Ô˜ ÙÔ˘ ÷ÛÂ-΋ Î·È Ë ¶‡ÏË Ù Ó ∞¯·ÚÓÒÓ, ÙÌ‹Ì·Ù· ·Ú¯·›Ô˘ ÔÈÎÈÛÌÔ‡ ηıÒ˜ ηÈÙ· £Â̤ÏÈ· ÙÔ˘ ¢ËÌÔÙÈÎÔ‡ £Â¿ÙÚÔ˘. ∏ Ó¤· Ï·Ù›· Ô˘ ˘¿Ú¯ÂÈÛ‹ÌÂÚ· Â›Ó·È ·Ú¯ÈÙÂÎÙÔÓÈο ·‰È¿ÊÔÚË.

On the second photo, from 1965, almost a decade later, wesee in the forefront two green patches with the round publictap between them, and the back side of the stele with its bust.A tripod with the camera of an outdoor photographer on it,an interesting relic of an epoch which is gone forever. In1980, five years after the photo was taken, during theexcavations that were performed to construct anunderground parking area under Kotzia Square, parts of anancient settlement were discovered, the wall of Chassekis andthe Gate of Acharnai, and also the foundations of theMunicipal Theatre. The new square that exists today isindifferent from an architectural point of view.

ΔÔ ¢ËÌ·Ú¯Â›Ô The Town hall

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ΔÔ ª¤Á·ÚÔ ¶¿ÏÏË ¤ÚÁÔ ÙÔ˘ Ôχ ÛËÌ·ÓÙÈÎÔ‡ ·Ú¯ÈÙ¤ÎÙÔÓ·∞Ó·ÛÙ¿ÛË ªÂÙ·Í¿, ÎÙ›ÛÙËΠÛÙË ÁˆÓ›· Ù˘ Ï·Ù›·˜ ™˘ÓÙ¿ÁÌ·ÙԘ̠ÙËÓ Ô‰fi ∫·Ú·ÁÂÒÚÁË Ù˘ ™ÂÚ‚›·˜ ÛÙȘ ·Ú¯¤˜ ÙÔ˘ 20Ô˘·ÈÒÓ·. ÕÚÈÛÙÔ˜ ¯ÂÈÚÈÛÙ‹˜ ÙÔ˘ ÓÂÔÎÏ·ÛÈÎÔ‡ Ú˘ıÌÔ‡,Ô ªÂÙ·Í¿˜ ÂÚÓ¿ÂÈ Ì ÙÔ ¤ÚÁÔ ·˘Ùfi ÛÙÔÓ ÂÎÏÂÎÙÈÎÈÛÌfi.¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ·fi Ù· ÚÒÙ· ÎÙ›ÚÈ· ÁÚ·Ê›ˆÓ Ù˘ ÚˆÙ‡-Ô˘Û·˜ Ì ηٷÛÙ‹Ì·Ù· ÛÙÔ ÈÛfiÁÂÈÔªÂÙ¿ ÙËÓ ÌÂÙ·ÊÔÚ¿ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ÛÙÔ Ù¤ÚÌ· Ù˘ ψÊfiÚÔ˘∞ÏÂÍ¿Ó‰Ú·˜ ÛÙÔ ÎÙ›ÚÈÔ ÛÙÂÁ¿ÛÙËÎ·Ó ÔÈ Û¯ÔϤ˜ ø̤Á·.™ÙË ÊˆÙÔÁÚ·Ê›· ÙÔ ÈÛfiÁÂÈÔ Â›Ó·È ·Ú·ÌÔÚʈ̤ÓÔ ·fi ÙȘÓÂfiÙÂÚ˜ ÂÂÌ‚¿ÛÂȘ. ΔË ‰ÂηÂÙ›· ÙÔ˘ 1960 ÔÏÏ¿ ÎÙ›ÚÈ·Ô˘ ÌÂÙ¤ÂÈÙ· ÚÔÛٷهÙËÎ·Ó ˆ˜ ‰È·ÙËÚËÙ¤· ˘¤ÛÙËÛ·ÓÛÔ‚·Ú¤˜ ·Ú·ÌÔÚÊÒÛÂȘ ·fi ÓÂfiÙÂÚ˜ ÂÈÛ΢¤˜ Î·È ÌÂÙ·-ÙÚÔ¤˜ ηıÒ˜ Ë Û¯ÂÙÈ΋ ÓÔÌÔıÂÛ›· ‰ÂÓ Â›¯Â ·ÎfiÌË ÌÂÈ ÛÂÂÊ·ÚÌÔÁ‹.™‹ÌÂÚ· ÙÔ Î¤Ï˘ÊÔ˜ ÙÔ˘ ÎÙÈÚ›Ô˘ ·ÔηٷÛÙ¿ıËΠÂÓÒ ÙÔ ÂÛˆÙÂ-ÚÈÎfi ÙÔ˘ ÌÂÙ·ÙÚ¿ËΠÒÛÙ ӷ ÌÔÚ¤ÛÂÈ Ó· Â͢ËÚÂÙ‹ÛÂÈ ÙË Ó¤·ÏÂÈÙÔ˘ÚÁ›· ÙÔ˘ ÔÏ˘Î·Ù·ÛÙ‹Ì·ÙÔ˜ Ô˘ ÊÈÏÔÍÂÓ›. 6-09-66

The Pallis Mansion, designed by a very important architect,Anastassis Metaxas, was built on the corner of Syntagma Squareand Karageorgi Servias Street at the beginning of the 20thcentury. An excellent engineer of the neoclassical style, Metaxasnow moves into eclecticism by designing these buildings.This is one of the first office buildings in the capital, with shopsat ground floor level. As soon as the Ministry moved to the end of Alexandras Avenue,the building housed the Omega Schools.On the photo the ground floor is distorted by newerinterventions. During the 60’s many buildings, whichwere later to be declared protected and preserved,suffered serious damages by newer constructions andchanges, because the relevant legislation was not yetenforced.Today the exterior of the building is restored and theinterior was changed to be able to serve the new multi-store which will be housed there. 6-09-66

ΔÔ ª¤Á·ÚÔ ™ÙÚ·ÙËÁÔ‡ ∫ˆÓ. ¶¿ÏÏËÀÔ˘ÚÁÂ›Ô ¢ËÌÔÛ›ˆÓ ŒÚÁˆÓ

The Mansion of General Konst. PallisMinistry of Public Works

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ΔÔ ÍÂÓÔ‰Ô¯Â›Ô ∫ing George ÎÙ›ÛÙËΠÙÔ 1939 ÛÙË ı¤ÛË fiÔ˘·Ï·ÈfiÙÂÚ· Ë ÔÈΛ· ÙÔ˘ ™Ù¤Ê·ÓÔ˘ ™ÎÔ˘ÏÔ‡‰Ë Ë ÔÔ›· ηÙÂ-‰·Ê›ÛÙËΠÙÔ 1935. ∞fi Ù· ÚÒÙ· Û‡Á¯ÚÔÓ· ÍÂÓԉԯ›· Ù˘∞ı‹Ó·˜ ÙÔ King George ÙÔ˘ ∫·ÏοÓË ·Ó·Î·ÈÓ›ÛıËΠÌÂÙ¿ ÙÔÓfiÏÂÌÔ. ™Ù· ̤۷ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 Â›Ó·È ÙÔ Î¤ÓÙÚÔ Ù˘ÎÔÛÌÈ΋˜ ˙ˆ‹˜ Ù˘ ∞ı‹Ó·˜. ™ÙËÓ Ù·Ú¿ÙÛ· ÙÔ˘, fiÔ˘ ˘¿Ú¯ÂÈÎ·È ÈÛ›Ó·, ÏÂÈÙÔ˘ÚÁÔ‡Û ÔÏ˘ÙÂϤ˜ ÂÛÙÈ·ÙfiÚÈÔ.™ÙË ÊˆÙÔÁÚ·Ê›·, ÙÚ·‚ËÁ̤ÓË ÙÔ 1965, ‰È·ÎÚ›ÓÂÙ·È ‰›Ï· ÛÙÔKing George ÙÔ Ó¤Ô ÍÂÓÔ‰Ô¯Â›Ô Ù˘ ªÂÁ¿Ï˘ μÚÂÙ·Ó›·˜ ÌÂÙ¿ÙȘ ÌÂÙ·ÙÚÔ¤˜ Î·È ÙȘ ÚÔÛı‹Î˜ Ô˘ ÂÍ·Ê¿ÓÈÛ·Ó Ô˘ÛÈ·ÛÙÈοÙÔ ·Ï·Èfi ÎÙ›ÛÌ· ÙÔ˘ £ÂfiÊÈÏÔ˘ ÿÓÛÂÓ.™Â ÚÒÙÔ Ï¿ÓÔ, Ù· ÙÚ·Â˙¿ÎÈ· ÙÔ˘ ˙·¯·ÚÔÏ·ÛÙ›Ԣ ÙÔ˘∑·¯·Ú¿ÙÔ˘ “∏ ÌÈÎÚ‹ μÔ˘Ï‹” Ô˘ ÂÍ·ÎÔÏÔ˘ı› Ó· ÛÙÂÁ¿˙ÂÙ·ÈÛÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÌÂÁ¿ÚÔ˘ μÔ‡ÚÔ˘ Ô˘ ı· ηÙ‰·ÊÈÛÙ› Ì ÙËÛÂÈÚ¿ ÙÔ˘ ÎÈ ·˘Ùfi Ï›ÁÔ ·ÚÁfiÙÂÚ·.§›ÁÔ ÚÈÓ ÙÔ 2000 Î·È ÂÓ fi„ÂÈ ÙˆÓ √Ï˘ÌÈ·ÎÒÓ ∞ÁÒÓˆÓ, ÙÔKing George ·ÔηٷÛÙ¿ıËÎÂ Î·È ¿ÏÈ “ÂÈ ÙÔ ÓÂÔÎÏ·ÛÈÎfiÙÂÚÔÓ”·˘Ù‹ ÙË ÊÔÚ¿. 16-09-65

The ∫ing George Hotel was built in 1939 at the site where thehouse of Stefanos Skouloudis was located, which wasdemolished in 1935. One of the first modern hotels inAthens, the King George, designed by Kalkanis, wasrenovated after WWII. In the middle of the 50’s it becomes thecentre for the Athenian jet-set. On the terrace there is aswimming pool and there used to be a luxurious restaurant.On the photo, taken in 1965, next to the King George, we seeHotel Grande Bretagne, after the changes and additionswhich effectively caused the original building, designed byTheophil Hansen, to disappear.In the forefront the small tables of patisserie Zacharatos,called “the small Parliament”, which is housed on theground floor of Vouros Mansion, which was also to bedemolished later.A short time before 2000, in anticipation of the OlympicGames, the King George was restored, again “in neoclassicalstyle” . 16-09-65

•ÂÓÔ‰Ô¯Â›Ô King George The King George Hotel

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∏ ¶Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜ Á‡Úˆ ÛÙ· ̤۷ Ù˘ ‰ÂηÂÙ›·˜ 1950.™ÙË ÁˆÓ›· Ù˘ Ô‰Ô‡ ¶·ÓÂÈÛÙËÌ›Ô˘ Ì ÙËÓ Ô‰fi μ·ÛÈϤˆ˜°ÂˆÚÁ›Ô˘ ∞’ ÙÔ ª¤Á·ÚÔ ¢ËÌËÙÚ›Ô˘ (1842) ¤ÚÁÔ ÙÔ˘ £ÂfiÊÈÏÔ˘Ã¿ÓÛÂÓ. ΔÔ ÚÒÙÔ Î·È ÙÔ ÎÔÌ„fiÙÂÚÔ ›Ûˆ˜ ¤ÚÁÔ ÙÔ˘ ¢·ÓÔ‡·Ú¯ÈÙ¤ÎÙÔÓ· ÛÙËÓ ∞ı‹Ó·. ∞fi Ù· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·ÌÂÙ·ÙÚ¿ËΠ۠ÍÂÓÔ‰Ô¯Â›Ô Ì ÙÔ fiÓÔÌ· ‘ªÂÁ¿ÏË μÚÂÙÙ·Ó›·”.ΔÔ 1930 ÂÂÎÙ¿ıËΠÚÔ˜ ÙËÓ Ô‰fi ¶·ÓÂÈÛÙËÌ›Ô˘. ΔÔ Ó¤ÔÔÏ˘fiÚÔÊÔ ÎÙ›ÚÈÔ ÚÔÛ¿ıËÛ ·‰¤ÍÈ· Ó· ÌÈÌËı› ÙÔ Ì¤Á·ÚÔÙÔ˘ ÿÓÛÂÓ.√ÓÔÌ¿ÛıËΠÙfiÙ ÙÔ ·Ú¯ÈÎfi ÎÙ›ÚÈÔ Le petit palais.ΔÔ 1957 ÙÔ ÎÙ›ÚÈÔ Î·Ù‰·Ê›ÛÙËΠÁÈ· Ó· ÌÂÙ·‚ÏËı› Û‡ÌʈӷÌ ÙÔÓ Ù‡Ô “Û ˘ÂÚÌÔÓÙ¤ÚÓÔ ÍÂÓԉԯ›Ԕ Û‡Ìʈӷ Ì ÙÔÓ¤Ô ·Ú¯ÈÙÂÎÙÔÓÈÎfi Û¯¤‰ÈÔ ÙÔ˘ ∫ÒÛÙ· μÔ˘ÙÛÈÓ¿, ÙÔ ÔÔ›Ô “‰ÂÓı›ÁÂÈ Î·ıfiÏÔ˘ ÙËÓ ÚfiÛÔ„Ë Ì¤¯ÚÈ ÙÔ˘ ∞’ ÎÙÈÚ›Ô˘. ∏ ÛοϷ ÙÔ˘ÍÂÓÔ‰Ô¯Â›Ô˘ Î·È ÔÈ ∞Úο‰Â˜ ı· Í·Ó·ÎÙÈÛÙÔ‡Ó Û¯Â‰fiÓ ·ÓÔ-ÌÔÈfiÙ˘Â˜. ŒÙÛÈ ÁÈ· ÙÔ˘˜ ÓÔÛÙ·ÏÁÔ‡˜ Ù˘ ∞ı‹Ó·˜ ı· Ì›ÓÂȤӷ ÎÔÌÌ¿ÙÈ ÙÔ˘ ·ÏÈÔ‡ ÎÙÈÚ›Ô˘ Ô˘ ı· ·ÚËÁÔÚ› ÙËÓÓÔÛÙ·ÏÁ›· ÙÔ˘˜ Î·È ı· ÙÔ˘˜ ÂÍÔÈΛˆÓÂÈ ÈÔ Â‡ÎÔÏ· ÛÙË ı¤·ÙÔ˘ ÌÂÁ·ıËÚ›Ô˘ Ô˘ ı· ˘„ˆı›” (5/02/1952 μ‹Ì·).ΔÔ 2003-4 ÙÔ ÎÙ›ÚÈÔ ·Ó·Î·ÈÓ›ÛıËΠͷӿ.¢›Ï· ÙÔ˘ ÙÔ ÍÂÓÔ‰Ô¯Â›Ô “ King George”.™‹ÌÂÚ· ÛÙÔ ÍÂÓÔ‰Ô¯Â›Ô ¤¯Ô˘Ó ÚÔÛÙÂı› ¿ÏÏÔÈ ‰‡Ô fiÚÔÊÔÈÎ·È Ë fi„Ë ÙÔ˘ Ì ÙËÓ Â˘Î·ÈÚ›· ÙˆÓ √Ï˘ÌÈ·ÎÒÓ ∞ÁÒÓˆÓÌÂÙ·ÙÚ¿ËΠ۠“ Ó¤Ô” ÓÂÔÎÏ·ÛÈ΋.

Syntagma Square around the middle of the 50’s.At the junction of Panepistimiou Street and Vass. Georgiou I,the Mansion of Dimitriou (1842), designed by TheophilHansen. The first and perhaps the most elegant building ofthe Danish architect in Athens. Since the end of the 19thcentury it was changed into a hotel called “Grande Bretagne”.In 1930 it was extended towards Panepistimiou Street. Thenew multi-storey building attempted, in vain, to imitate thebuilding of Hansen.Then the original building was called Le petit palais.In 1957 the building was demolished so as to be transformed,according to the press, into “a supermodern hotel”, followingthe new architectural design of Kostas Voutsinas, which“didn’t change the front at all up to building A. The hotel’sstaircase and the arcades were rebuilt almost identically. Sofor those that are nostalgic about old Athens a part of the oldbuilding remains, to comfort them and to allow them to easilyfamiliarise with the sight of this huge construction”(5/02/1957 Newspaper Vima).During 2003-4 the building was renovated again.Next to it the King George Hotel.Today another two floors are added to the hotel and its frontside was changed into a “new” neoclassical style, on theoccasion of the Olympic Games.

•ÂÓԉԯ›· “ªÂÁ¿Ï˘ μÚÂÙ·-Ó›·˜” Î·È “μ·ÛÈχ˜ °ÂÒÚÁÈÔ˜”

Hotels “Grande Bretagne” and“King George”

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∫ÙÈṲ̂ÓÔ ÛÙ· ̤۷ ÙÔ˘ 19Ô˘ ·ÈÒÓ· (1840-48) ·fi ÙÔÓ ·Ú ÈÙ¤ÎÙÔÓ· ™Ù·Ì¿ÙË∫Ï¿ÓıË, ÙÔ ÎÙ›ÚÈÔ ¯ÚË̢ۛ ˆ˜ ¯ÂÈÌÂÚÈÓ‹ ηÙÔÈΛ· Ù˘ ȉÈfiÚÚ˘ıÌ˘°·ÏÏ›‰·˜ ¢Ô‡ÎÈÛÛ·˜ Ù˘ ¶Ï·ÎÂÓÙ›·˜, Ì ÙÔ fiÓÔÌ· “πÏ›ÛÈ·”.∞fi ÙÔ 1928 Î·È ‡ÛÙÂÚ·, ÛÙÂÁ¿˙ÂÈ ÙÔ ªÔ˘ÛÂ›Ô μ˘˙·ÓÙÈÓ‹˜Î·È ªÂÙ·‚˘˙·ÓÙÈÓ‹˜ Δ¤¯Ó˘. ΔË ‰È·Û΢‹ Ú·ÁÌ·ÙÔÔ›ËÛÂÔ ·Ú¯ÈÙ¤ÎÙÔÓ·˜ ∞ÚÈÛÙÔÙ¤Ï˘ ∑¿¯Ô˜.¶›Ûˆ ·fi ÙÔ ÌÔ˘Û›Ô, ·ÏÒÓÂÙ·È ÙÔ ¶·ÁÎÚ¿ÙÈ Î·È Ë ∫·ÈÛ·ÚÈ·Ó‹ ÚÈÓ·ÎfiÌË ·Ú¯›ÛÂÈ Ë ·ÓÔÈÎÔ‰fiÌËÛË ÙÔ˘˜. ¢È·ÎÚ›ÓÔÓÙ·È ÔÈ ÛÙÚ·ÙÒÓ˜ ÙÔ˘πÈÎÔ‡ Î·È Ù· ÚÔÛÊ˘ÁÈο Ù˘ ∫·ÈÛ·ÚÈ·Ó‹˜. 1950

Built in the middle of the 19th century (1840-48) by architect StamatisKleanthes, the building, called “Ilissia”, was used as the winterresidence of an eccentric French, the Duchess of Placentia.Since 1928 it accommodates the Museum of Byzantine and post-Byzantine Art. The alteration was conducted by the architect AristotelesZachos.Behind the museum we see the areas of Pangrati and Kaisariani, beforetheir reconstruction. Featuring the army camp of the cavalry and therefugees homes in Kaisariani. 1950

ΔÔ μ˘˙·ÓÙÈÓfi ªÔ˘ÛÂ›Ô The Byzantine Museum

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ŒÚÁÔ ‰‡Ô Ôχ ÛËÌ·ÓÙÈÎÒÓ ·Ú ÈÙÂÎÙfiÓˆÓ, ÙÔ˘ ∫. ¢ÔÍÈ¿‰Ë Î·È ÙÔ˘ ¢. ¶ÈÎÈÒÓË,ÙÔ ∂ıÓÈÎfi ÿ‰Ú˘Ì· ∂Ú¢ÓÒÓ ·ÔÙÂÏ› ¤Ó· ·fi Ù· ÈÔ ÛËÌ·ÓÙÈο ÎÙ›ÚÈ· Ù˘ڈÙÂ‡Ô˘Û·˜. √È ‰ËÌÈÔ˘ÚÁÔ› ÙÔ˘ ÚÔÛ¿ıËÛ·Ó Ó· ‰È·Û¿ÛÔ˘Ó ÛÂÌÈÎÚfiÙÂÚ· ÙÌ‹Ì·Ù· ÙÔÓ ÌÂÁ¿ÏÔ fiÁÎÔ ÙÔ˘ ÒÛÙÂ Ë ÌÔÚÊ‹ ÙÔ˘ Ó· ÌËÓ‚·Ú‡ÓÂÈ ÙÔÓ ·ÛÙÈÎfi ÈÛÙfi.∞ÔÙÂÏ› Û˘Ó‰˘·ÛÌfi Ù˘ ‰ÈÂıÓÔ‡˜ Î·È Ù˘ ÙÔÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜.√È Ï¢Τ˜ Ì·ÚÌ¿ÚÈÓ˜ ÂÈÊ¿ÓÂȘ ÛÙÔ ÊˆÙÂÈÓfi ÂÛˆÙÂÚÈÎfi ·›ıÚÈÔ Î·È ÙÔÌÂÁ¿ÏÔ ‰È¿Ê·ÓÔ ¯ÔÏ Ù˘ ÂÈÛfi‰Ô˘ ÙÔÓ›˙Ô˘Ó ÙËÓ ÂÏÏËÓÈÎfiÙËÙ· ÙÔ˘, ÂÓÒ ÙÔ›ÌËΘ ‰ÈÂıÓ¤˜ ÔÏ˘fiÚÔÊÔ ÎÙ›ÚÈÔ Ì ÙȘ ·˘ÛÙËÚ¿ ÔÚÁ·ÓˆÌ¤Ó˜Û οÓÓ·‚Ô fi„ÂÈ ·Ó‹ÎÂÈ ÛÙË ‰ÈÂıÓ‹ ÌÔÚÊÔÏÔÁ›· Ù Ó ÎÙÈÚ› Ó ÁÚ·Ê› Ó.™ÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÎÙÈÚ›Ô˘ ‚Ú›ÛÎÔÓÙ·È Ë ÌÂÁ¿ÏË ‚È‚ÏÈÔı‹ÎË Î·È ÙÔ ·ÌÊÈı¤·ÙÚÔÂÓÒ ÛÙÔ˘˜ ÔÚfiÊÔ˘˜ ÔÈ ¯ÒÚÔÈ Ù Ó ÂÚ¢ÓËÙÒÓ.

Designed by two of the most important architects, K. Doxiadis and D.Pikionis, the National Research Foundation is one of the outstandingbuildings of the capital. Its creators intended to disperse the massivebulk so that its form will not weigh heavy on the city.It is a combination of international and local architecture. The whitemarble surfaces of the bright inner atrium and the great, transparenthall in the entrance emphasise the Greek aspects, and the long, multi-storey building with the austere external outlook is influenced by theinternational style of office buildings.The ground floor of the building houses a big library and anamphitheatre and the upper floors house the research facilities.

ΔÔ ∂ıÓÈÎfi ÿ‰Ú˘Ì· ∂Ú¢ÓÒÓ (1961-68) The National Research Foundation (1961-68)

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ΔÔ ƒ¿ÏÏË –™Î·Ú·Ì·Áο ÎÙ›ÛÙËΠÛÙȘ ÚÒÙ˜ ‰ÂηÂٛ˜ ÙÔ˘ 20Ô˘·ÈÒÓ· ÛÙË ı¤ÛË fiÔ˘ Û‹ÌÂÚ· ÙÔ ˘Ô˘ÚÁÂ›Ô ¶ÚÔ‰ڛ·˜, ÌÂÙ·Í‡ÙˆÓ Ô‰ÒÓ ™¤ÎÂÚË Î·È ∫Ô˘Ì¿ÚË ·Ó¿ÌÂÛ· ÛÙËÓ πÙ·ÏÈ΋ ¶ÚÂۂ›·Î·È ÙÔ ªÔ˘ÛÂ›Ô ªÂÓ¿ÎË.∂ÚfiÎÂÈÙÔ ÁÈ· ÙÔ ÌÔÓ·‰ÈÎfi ÓÂÔ‚˘˙·ÓÙÈÓfi ̤Á·ÚÔ Ù˘ μ·Û.™ÔÊ›·˜ ¤ÚÁÔ ÙÔ˘ ∞Ú. ∑¿¯Ô˘. °È· ÔÏÏ¿ ¯ÚfiÓÈ· ¤ÌÂÈÓ ÎÏÂÈÛÙfi ÂÂȉ‹ ÔÈ È‰ÈÔÎً٘ ÙÔ˘ ¤Ê˘Á·ÓÁÈ· ÙÔ Â͈ÙÂÚÈÎfi. ΔÔ ¢ÂΤ̂ÚÈÔ ÙÔ˘ 1944 ÂÈÙ¿¯ıËÎÂ Î·È ¤ÁÈÓ ÁÓˆÛÙfi ˆ˜ ̤Á·ÚÔÙ˘ ∞ÓÙÈ‚·ÛÈÏ›·˜. ∞ÚÁfiÙÂÚ· ÛÙÂÁ¿ÛÙËΠے ·˘Ùfi ÁÈ’ ¤Ó· ‰È¿ÛÙËÌ·Ë ∞ÌÂÚÈηÓÈ΋ ¶ÚÂۂ›·. ™ÙÈ ·›ıÔ˘Û˜ ÙÔ˘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÛÔ‚·Ú¤˜ ÔÏÈÙÈΤ˜ Û˘ÛΤ„ÂÈÌ ÙȘ ·ÚÔ˘Û›Â˜ ÙÔ˘ ΔÛÒÚÙÛÈÏ Î·È ÙÔ˘ ÿÓÙÂÓ.§›ÁÔ ÚÈÓ Î·Ù‰·ÊÈÛÙ› Ô ÁÓˆÛÙfi˜ ·Ú¯ÈÙ¤ÎÙÔÓ·˜ ∫ÒÛÙ·˜ ∫ÈÙÛ›Î˘·ÁfiÚ·Û ÙËÓ ÏÔ‡ÛÈ· ÌÔ˘·˙ÂÚ› ÙÔ˘ Î·È ¿ÏÏ· ‰È·ÎÔÛÌËÙÈο·ÓÙÈΛÌÂÓ· (Èı·Ófiٷٷ ۯ‰ȷṲ̂ӷ ›Û˘ ·fi ÙÔÓ ∞Ú. ∑¿¯ÔÎÈ’ ·˘Ù¿) Î·È Ù· ÙÔÔı¤ÙËÛ ÛÙÔ ˘fi ·Ó¤ÁÂÚÛË ÙfiÙ ÍÂÓԉԯ›ÔAuberge , ÛÙÔ ‰ÚfiÌÔ Ù˘ μ·Ú˘ÌfiÌ˘ Ô˘ ¤¯ÙÈ˙Â, ÙfiÙÂ Ô Á˘Èfi˜ÙÔ˘ ∞ÓÙÒÓ˘ ∫ÈÙÛ›Î˘.

The Rallis – Skaramagas was built during the first decades ofthe 20th century at the location where today the Ministry ofState is situated, between Sekeris Street and KoumparisStreet, between the Italian Embassy and the Benaki Museum.This used to be the only neo-Byzantine mansion on Vass.Sofias Avenue, a work of Ar. Zachos. For many years it remained closed because its owners wereabroad. In December 1944 it was confiscated for usage and becameknown as the Viceroy’s Mansion. Later on it housed theAmerican Embassy for a period. In its chambers important political conferences were held,with the presence of Churchill and Eden.Some time before its demolition the known architect KostasKitsikis bought its rich boiseries and other decorativeartefacts (possibly also designed by architect Ar. Zachos) andplaced them in Hotel Auberge, which was being constructedat the time, on Varybobi Road, built by his son, AntonisKitsikis.

ΔÔ Ì¤Á·ÚÔ ƒ¿ÏÏË ™Î·Ú·Ì·Ú·Áο The Mansion of Rallis - Skaramagas

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“Ãı˜ ·ÚÔ˘Û›· ÙÔ˘ ÀÔ˘ÚÁÔ‡ ∫ÔÈÓˆÓÈÎÒÓ ÀËÚÂÛÈÒÓÎ. ¶¿ÙÚ·, ÙÔ˘ ˘Ê˘Ô˘ÚÁÔ‡ ¶Ú. ∫˘‚ÂÚÓ‹Ûˆ˜ Î. ΔۿΈӷÂÙÂϤÛıËÛ·Ó Ù· ÂÁη›ÓÂÈ· ÙÔ˘ Ó¤Ô˘ ÎÙÈÚ›Ô˘ Ù˘ ∂ıÓÈ΋˜¶ÈÓ·ÎÔı‹Î˘ ∂Ș ÙËÓ ÊˆÙÔÁÚ·Ê›·Ó ÙÔ ÂÁηÈÓÈ·Ûı¤Ó ÎÙ›ÚÈÔÓÙ˘ ¶ÈÓ·ÎÔı‹Î˘”.∏ ·Ó¤ÁÂÚÛË ÎÙÈÚ›Ô˘ Ô˘ ı· ÛÙ¤Á·˙ ÙËÓ ∂ıÓÈ΋ ¶ÈÓ·ÎÔı‹ÎËÙ˘ ∂ÏÏ¿‰·˜ ‹Ù·Ó ¤Ó· ·fi Ù· ı¤Ì·Ù· Ô˘ ÔÏϤ˜ ÊÔÚ¤˜ ›¯Â··Û¯ÔÏ‹ÛÂÈ ÙÔ ÓÂÔÂÏÏËÓÈÎfi ÎÚ¿ÙÔ˜. ΔÔ 1956 ÚÔÎËÚ‡ÛÛÂÙ·ÈÛ¯ÂÙÈÎfi˜ ·Ú¯ÈÙÂÎÙÔÓÈÎfi˜ ‰È·ÁˆÓÈÛÌfi˜. ΔÔ ∞’ ‚Ú·‚Â›Ô ‰›‰ÂÙ·ÈÛÙË ÌÂϤÙË ÙˆÓ ¶·‡ÏÔ˘ ª˘ÏˆÓ¿ Î·È ¢ËÌ. º·ÙÔ‡ÚÔ˘ ÌÂÛ˘ÓÂÚÁ¿ÙË ·Ú¯ÈÙ¤ÎÙÔÓ· ÙÔÓ ¢. ∞ÓوӷοÎË.ΔÔ ÎÙ›ÚÈÔ ¿Ú¯ÈÛ ÙÂÏÈο Ó· ÎÙ›˙ÂÙ·È ÙÔ 1963 ÁÈ· Ó· ·ÔÂÚ·Ùˆı›ÙÔ 1975. ™‡Ìʈӷ Ì ٷ ·Ú¯Èο Û¯¤‰È· ÚÔ‚ÏÂfiÙ·Ó¤Ó·˜ ·ÎfiÌË fiÚÔÊÔ˜ ÛÙÔ ›Ûˆ ÎÙ›ÚÈÔ Ô˘ ‰ÂÓ Ú·ÁÌ·ÙÔ-ÔÈ‹ıËΠÔÙ¤.ΔÔ 1970 Ë ÃÔ‡ÓÙ· ÂÁηÈÓ›·Û ¤Ó· ̤ÚÔ˜ ÙÔ˘ ÎÙÈÚ›Ô˘.¶·Ú¿ ÙȘ οÔȘ ·‰˘Ó·Ì›Â˜ Ù˘ (Û‡Ìʈӷ Ì ÙÔÓ ¶. ª˘ÏˆÓ¿¤Ó·˜ ÌÔ˘ÛÔÙÚ·Ê‹˜ ˘Ô˘ÚÁfi˜ ¶ÔÏÈÙÈÛÌÔ‡ Ù˘ ÂÙ·ÂÙ›·˜ ÙÔ¤‚ÚÈÛΠÊÚÈÎÙ¿ ÓˆÙÂÚÈÛÙÈÎfi Î·È ‹ıÂÏ ӷ ÙÔ˘ ÚÔÛı¤ÛÂȉ‡Ô πˆÓÈΤ˜ ÎÔÏÒÓ˜ ÛÙËÓ ÚfiÛÔ„Ë Î·È ˙ˆÔÊfiÚÔ ÛÙÔ ÌÂÙˆÈÎfiÌÂÙfiÓ) Ë ¶ÈÓ·ÎÔı‹ÎË ‰ÂÓ ·‡ÂÈ Ó· Â›Ó·È ¤Ó· ·fi Ù·ÛËÌ·ÓÙÈο Û‡Á¯ÚÔÓ· ÎÙ›ÚÈ· Ô˘ ÎÔÛÌÔ‡Ó ÙÔÓ ¿ÍÔÓ· Ù˘ÏˆÊfiÚÔ˘ μ·ÛÈϤˆ˜ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ÛËÌÂ›Ô ·Ó·ÊÔÚ¿˜ ÁÈ·ÙÔ˘˜ Ôϛ٘.™ÙÔ˘˜ ¯ÒÚÔ˘˜ Ù˘ ÂÎÙfi˜ ·fi ÙË ÌfiÓÈÌË Û˘ÏÏÔÁ‹ Ù˘ ‰ÈÔÚÁ·-ÓÒıËÎ·Ó Î·È ÊÈÏÔÍÂÓ‹ıËÎ·Ó ÂÎı¤ÛÂȘ ÛÙ·ıÌÔ› ÛÙÔÓ ÂÈηÛÙÈ-Îfi ¯ÒÚÔ Ù˘ ÚˆÙÂ‡Ô˘Û·˜. 15- 05-70

“Yesterday, in the presence of the Minister of Social Services,Mr. Patras, and the vice Minister of State, Mr. Tsakonas, thenew building of the National Art Gallery was officiallyopened. On the photo the inaugurated building of the ArtGallery”.The construction of a building that would house the NationalArt Gallery of Greece has been an issue that was oftendiscussed in the modern Greek State. In 1956 anarchitectural contest was announced. The first prize waswon by the study conducted by Pavlos Mylonas and Dim.Fatouros, and their associate architect D. Antonakakis.The construction of the building began in 1963 and wascompleted in 1975. According to the original plans one morefloor was supposed to be added to the rear building, but thiswas never actualised.In 1970 the military junta inaugurated a part of the building.Despite its minor unfortunate aspects (P. Mylonas, one of theMinisters of Civilisation of the dictatorship, considered ithorribly modern and wanted to add two Ionic style columnsto the entrance and a frieze to the frontal concrete surface),the National Art Gallery remains one of the importantmodern buildings adorning Vassileos Konstantinou Avenue,and a landmark for the citizens.Its facilities, apart from its permanent collection, alsohosted exhibitions significant for the Fine Arts of thecapital. 15-05-70

∏ ∂ıÓÈ΋ ¶ÈÓ·ÎÔı‹ÎË The National Art Gallery

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TÔ •ÂÓÔ‰Ô¯Â›Ô Hilton (1958-63) Â›Ó·È ÙÔ ÚÒÙÔ ÌÂÁ¿Ï˘Îϛ̷η˜ ÎÙ›ÚÈÔ Ô˘ ÎÙ›ÛÙËΠÛÙËÓ ∞ı‹Ó· ÌÂÙ¿ ÙÔÓ fiÏÂÌÔ.ŒÚÁÔ ÙˆÓ ∂ÌÌ. μԢڤη, ¶Ú. μ·ÛÈÏÂÈ¿‰Ë, ™. ™Ù¿ÈÎÔ˘ ηÈÛ˘ÓÂÚÁ¿ÙË ·Ú¯ÈÙ¤ÎÙÔÓ· ÙÔÓ °ÂˆÚÁÈ¿‰Ë ÍÂۋΈÛ ı‡ÂÏÏ·Û˘˙ËÙ‹ÛÂˆÓ ÛÙÔÓ ·ıËÓ·˚Îfi Δ‡Ô Ù˘ ÂÔ¯‹˜.∂È‚ÏËÙÈÎfi, Û‡Á¯ÚÔÓÔ, ‰Â›ÁÌ· ÌÈ·˜ ‰ÈÂıÓÔ‡˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜ ¤ÁÈÓÂÛÙ·‰È·Î¿ ·Ô‰ÂÎÙfi ·’ fiÏÔ˘˜, ۇ̂ÔÏÔ ÌÈ·˜ Ó¤·˜ ÂÔ¯‹˜.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙÔ 1962 ‹ ÙÔ 1963Ï›ÁÔ ÚÈÓ ÙÂÏÂÈÒÛÂÈ Ë ÔÈÎÔ‰ÔÌ‹.™Â ÚÒÙÔ Ï¿ÓÔ Ô Î‹Ô˜ ÙÔ˘ ÓÔÛÔÎÔÌ›Ԣ ∂˘·ÁÁÂÏÈÛÌfi˜.™ÙËÓ Î¿Ùˆ ·ÚÈÛÙÂÚ¿ ÁˆÓ›· ‰È·ÎÚ›ÓÂÙ·È ÌÈ· ÌÈÎÚ‹ ÁˆÓ›· Ù˘Ӥ·˜ Ù¤Ú˘Á·˜ ÙÔ˘ ¡ÔÛÔÎÔÌ›Ԣ Î·È Ë ÔÏ˘Î·ÙÔÈΛ· Ù˘ÁˆÓ›·˜ ÙˆÓ Ô‰ÒÓ μ·Û. ™ÔÊ›·˜ Î·È πˆ¿ÓÓÔ˘ °ÂÓÓ·‰›Ô˘.™ÙÔ ‚¿ıÔ˜ ›Ûˆ ·fi ÙÔ Hilton ÙÔ ÓÔÛÔÎÔÌÂ›Ô ∞Ó‰Ú¤·™˘ÁÁÚÔ‡ › Ù˘ Ô‰Ô‡ ÿˆÓ· ¢Ú·ÁÔ‡ÌË Î·È Ë ∫·ÈÛ·ÚÈ·Ó‹.∏ ψÊfiÚÔ˜ μ·Û. ∞ÏÂÍ¿Ó‰ÚÔ˘ Â›Ó·È ·ÎfiÌË ¯ˆÌ·Ùfi‰ÚÔÌÔ˜,ÂÓÒ Ë Â¤ÎÙ·Û‹ Ù˘ ÚÔ˜ ÙËÓ ÏˆÊfiÚÔ μ. ™ÔÊ›·˜ ‰ÂÓ ¤¯ÂÈ·ÎfiÌË ‰È·ÓÔȯı›.™ÙÔ Î¤ÓÙÚÔ, ·ÓÔÚ·ÌÈ΋ ¿Ô„Ë ÙÔ˘ Hilton Ì ÙËÓ ·Ó¿ÁÏ˘ÊËÛ‡ÓıÂÛË ÙÔ˘ ªfiÚ·ÏË Ó· ‰ÂÛfi˙ÂÈ ¿Óˆ ·fi ÙËÓ Â›ÛÔ‰Ô, ÙÔÓÔÏ˘fiÚÔÊÔ fiÁÎÔ ÙˆÓ ‰ˆÌ·Ù›ˆÓ Ó· ·Ó·Ù‡ÛÛÂÙ·È Û ·Ì‚Ï›·ÁˆÓ›· Ì ı¤· ÙËÓ ∞ÎÚfiÔÏË Î·È ÛÙÔ ÈÛfiÁÂÈÔ ¯·ÌËÏ¿Ë ÈÛ›Ó· Î·È Ù· “ÂÏÏËÓÈο” ·›ıÚÈ·.

The Hilton Hotel (1958-63) is the first grand-scale buildingconstructed in Athens after World War II. Designed by Emm.Vourekas, Pr. Vassileiadis, Sp. Staikos and associate architectGeorgiadis, it caused an upheaval of discussions in theAthenian Press of that time.Imposing, modern, and an example of internationalarchitecture, it gradually became accepted by everyone, asymbol of a new era.The photo must have been taken in 1962 or 1963, a shorttime before the completion of its construction.In the forefront the garden of “Evangelismos” Hospital.In the lower left corner we see a small part of the Hospital’snew wing and the apartment block at the junction of Vass.Sofias Ave. and Ioannou Gennadiou street.In the background behind the Hilton we see the AndreaSyngrou Hospital in Iona Dragoumi Street and the area ofKaissariani. Vass. Alexandrou Avenue is still unpaved, andits extension towards V. Sofias Avenue not yet opened.In the middle a panoramic view of the Hilton with thesculptured engraving of Moralis featuring above theentrance, the multi-storey bulk of rooms shown at an obtuseangle with a view towards the Acropolis and on the groundfloor the swimming pool and the “Hellenic” aethrion(atrium) lounges.

ΔÔ •ÂÓÔ‰Ô¯Â›Ô Hilton The Hilton Hotel

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ªÈ· ·ÎfiÌË Ï‹„Ë ÙÔ˘ Hilton Ù· ·Ì¤Ûˆ˜ ÂfiÌÂÓ· ¯ÚfiÓÈ·. Another shot of the Hilton during the years immediately following

ΔÔ •ÂÓÔ‰Ô¯Â›Ô Hilton The Hilton Hotel

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∏ ∞ÌÂÚÈηÓÈ΋ ¶ÚÂۂ›· ¤ÚÁÔ ÙÔ˘ ÁÚ·Ê›Ԣ ÙÔ˘ ‰È¿ÛËÌÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ·Walter Gropius ·ÔÂÚ·ÙÒıËΠÙÔ 1961. ΔÔ ÎÙ›ÚÈÔ Ô Î·Ï‡ÙÂÈ ¤Ó· ÔÏfiÎÏËÚÔÔÈÎÔ‰ÔÌÈÎfi ÙÂÙÚ¿ÁˆÓÔ ·ÂÙ¤ÏÂÛ ÛÙ·ıÌfi ÛÙËÓ ÔÚ›· Ù˘ Û‡Á¯ÚÔÓ˘ÂÏÏËÓÈ΋˜ ·Ú¯ÈÙÂÎÙÔÓÈ΋˜. ™‡Ìʈӷ Ì ÙÔÓ ›‰ÈÔ ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· Âȉ› ÍËÙÔ˘ ‹Ù·Ó Ó· ÂÎÊÚ¿ÛÂÈ ÙËÓ ·Ú¿‰ÔÛË ÙÔ˘ ÂÏÏËÓÈÎÔ‡ ÎÏ·ÛÈÎÔ‡ Ó‡̷ÙԘ̠ۇÁ¯ÚÔÓÔ ‡ÊÔ˜. ∏ ÚÔÛ¿ıÂÈ· ·˘Ù‹ Á›ÓÂÙ·È Ê·ÓÂÚ‹ Ì ÙË ÚËÛÈÌÔÔ›ËÛËÙ˘ ·Ú¯·˚΋˜ ÌÔÚÊ‹˜ ÙÔ˘ ÌÂÁ¿ÏÔ˘ ÂÛˆÙÂÚÈÎÔ‡ ·ÈıÚ›Ô˘ Î·È ÙË ÛÙÔ¿ Ô˘ÂÚÈÙÚ¤¯ÂÈ ÂÍ ÙÂÚÈο ÙÔ ÎÙ›ÚÈÔ. ™ÙÔ ÎÙ›ÚÈÔ ‰ÂÓ ˘‹Ú¯·Ó ÎÈÁÎÏȉÒÌ·Ù· ¤ÙÛÈÒÛÙ ·˘Ùfi Ó· ÚÔ‚¿ÏÏÂÈ ÂχıÂÚÔ, ̤۷ ÛÙÔ Ú¿ÛÈÓÔ Ì ٷ Ï·ÙÈ¿ÎÏÈÌ·ÎÔÛÙ¿ÛÈ·, ÙËÓ ÌÂÁ¿ÏË ˘‰¿ÙÈÓË ÂÈÊ¿ÓÂÈ· ÙÔ˘ Ì ÙÔ ÁÏ˘Ùfi·Ó·‚Ú˘Ù‹ÚÈÔ Î·È Ù· Ì·ÚÌ¿ÚÈÓ· ‰ÒÏÈ·.√È Û˘¯Ó¤˜ ÔÚ›˜ ‰È·Ì·ÚÙ˘Ú›·˜ ÚÔ˜ ÙËÓ ∞ÌÂÚÈηÓÈ΋ ¶ÚÂۂ›· ÌÂÙ¿ ÙËÓªÂÙ·Ôϛ٢ÛË ÙÔ˘ 1974 ›¯·Ó Û·Ó ·ÔÙ¤ÏÂÛÌ· ÙËÓ ÙÔÔı¤ÙËÛË ÌÂÙ·ÏÏÈ-ÎÔ‡ ÎÈÁÎÏȉÒÌ·ÙÔ˜ ÂÚÈÌÂÙÚÈο Î·È ÔÁΈ‰ÒÓ ·fi ÌÂÙfiÓ ÛÙÔȯ› Ó Û·Ó˙·ÚÓÙÈÓȤÚ˜ Ô˘ ›¯·Ó Û·Ó ·ÔÙ¤ÏÂÛÌ· Ó· ÙË ÌÂÙ·ÙÚ¤„Ô˘Ó Û ÊÚÔ‡ÚÈÔÎ·È Ó· ηٷÛÙÚ¤„Ô˘Ó ÙËÓ È‰¤· ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ·. 24-02-66

The American Embassy, designed by the famous architect WalterGropius, was completed in 1961. The building, covering almost anentire block of buildings, has been a landmark for the development ofmodern Greek architecture. According to the architect himself, hisintention was to express the tradition of the classical Hellenic spirit in amodern style. This attempt is examplified by the usage of the archaicform of a grand internal atrium and an arcade surrounding the exteriorof the building. There are no railings around the building yet, so itappears free, inside its green surroundings, with wide staircases, a largewaterfront with a sculptured water tap and marble benches.Because of the frequent protest marches targeting the AmericanEmbassy after the change in 1974, certain protection measures wereinstalled, such as a metal railing and massive concrete elementsresembling flower beds, and this meant the ruining of the original ideaof the architect. 24-02-66

∏ ∞ÌÂÚÈηÓÈ΋ ¶ÚÂۂ›· The American Embassy

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ΔÔ ÓÂÔÎÏ·ÛÈÎfi ·˘Ùfi ÎÙ›ÚÈÔ ¯Ù›ÛÙËΠÙÔ 1880 ·fi ÙÔ ÓÔÌÔ-Ì˯·ÓÈÎfi ¢ËÌ. ∫·ÏÏ›· ÚÔÎÂÈ̤ÓÔ˘ Ó· ¯ÚËÛÈ̇ÛÂÈ ˆ˜∂ÌÔÚÈ΋ ™¯ÔÏ‹, Ì ¯Ú‹Ì·Ù· ÙÔ˘ ÂıÓÈÎÔ‡ ¢ÂÚÁ¤ÙË °ÚËÁÔ-Ú›Ô˘ ª·Ú·ÛÏ‹.ΔÔ 1912 ÂÈÙ¿¯ıËÎÂ Î·È Ì¤¯ÚÈ ÙÔ 1916 ÏÂÈÙÔ‡ÚÁËÛ ˆ˜™ÙÚ·ÙȈÙÈÎfi ¡ÔÛÔÎÔÌ›Ô. °È· ¤ÍË ¯ÚfiÓÈ· ÛÙË Û˘Ó¤¯ÂÈ·¯ÚËÛÈÌÔÔÈ‹ıËÎÂ Î·È ¿ÏÈ ˆ˜ ∂ÌÔÚÈ΋ ™¯ÔÏ‹. ΔÔ 1922Á›ÓÂÙ·È ÚÔÛÊ˘ÁÈÎfi ÓÔÛÔÎÔÌÂ›Ô Î·È ÙÔ 1928 ÌÂÙÔÓÔÌ¿ÛÙËÎÂÛ πÔÎÚ¿ÙÂÈÔÓ °ÂÓÈÎfiÓ ¡ÔÛÔÎÔÌ›ÔÓ ∞ıËÓÒÓ.ªÂÙ·ÔÏÂÌÈο, ÛÙÔ ›Ûˆ ̤ÚÔ˜ ÙÔ˘ ÔÈÎÔ‰ÔÌÈÎÔ‡ ÙÂÙÚ·ÁÒÓÔ˘ÚÔÛÙ¤ıËÎ·Ó Ó¤Â˜ Ù¤Ú˘Á˜ ÚÔÎÂÈ̤ÓÔ˘ Ó· ηχ„Ô˘Ó ÙȘӤ˜ ·Ó¿ÁΘ. ΔË ‰ÂηÂÙ›· ÙÔ˘ 70 ÎÙ›ÛÙËÎÂ Î·È Ó¤· ÚÔÛı‹ÎËÎ·È ÚÔÛÙ¤ıËÎ·Ó fiÚÔÊÔÈ ÛÙ· ÚÔ¸¿Ú¯ÔÓÙ· ÂÎÙfi˜ ÙÔ˘ÎÂÓÙÚÈÎÔ‡ ÎÙÈÚ›Ô˘.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ÙÚ·‚‹¯ÙËΠÙË ‰ÂηÂÙ›· ÙÔ˘ 50.¶›Ûˆ ·fi ÙÔ πÔÎÚ¿ÙÂÈÔ ‰È·ÎÚ›ÓÂÙ·È Ë ÂÚÈÔ¯‹ ÙÔ˘ ∑ˆÁÚ¿ÊÔ˘,Ì ÂÏ¿¯ÈÛÙ˜ ·ÎfiÌË ÔÏ˘Î·ÙÔÈ˘, Ô Ó·fi˜ ÙÔ˘ ∞Á›Ô˘ £ˆÌ¿Î·È ÈÔ ›Ûˆ ÔÈ ÏˆÊfiÚÔÈ °ÂˆÚÁ›Ô˘ ¶··Ó‰Ú¤Ô˘ Î·È ™ÙÚ·ÙËÁÔ‡¶·¿ÁÔ˘ ·ÎfiÌË ·‰È·ÌfiÚʈÙ˜. ™ÙÔ ‚¿ıÔ˜ Ô ÀÌËÙÙfi˜.™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ πÔÎÚ¿ÙÂÈÔ Î·È ‰›Ï· ÙÔ˘ ÙÔ ÌÈÎÚfiÎË¿ÚÈÔ Ô˘ ›Ûˆ ÙÔ˘ ÎÙ›ÛÙËΠÙÔ 1960 ÙÔ ·ÚÂÎÎÏ‹ÛÈ ÙÔ˘∞Á. ∞Ó‰Ú¤·.

This neoclassical building was constructed in 1880 byengineer Dim Kallias, and was intended to be used as aCommercial College, and was sponsored by the nationalbenefactor Gregoris Maraslis.In 1912 it was confiscated and was used as a MilitaryHospital until 1916. For the next six years it was used as aCommercial College. In 1922 it was turned into a hospital forrefugees and in 1928 it received the name IppokrateionGeneral Hospital of Athens.After World War II several new wings were added at the rearof the block of buildings in order to facilitate the increasingneeds. During the 70’s a new additional part was built andnew floors were added.This photo must have been taken during the 50’s.Behind Ippokrateion we see the Zografou area, with very fewapartment blocks still, the church of Agios Thomas, andfurther back the Avenues G. Papandreou and GeneralPapagou, still unshaped. In the background Imittos.In the forefront the Ippokrateion and next to it the smallgarden, behind which the chapel of Ag. Andreas was built in1960.

ΔÔ πÔÎÚ¿ÙÂÈÔÓ.°ÂÓÈÎfiÓ ¡ÔÛÔÎÔÌ›ÔÓ ∞ıËÓÒÓ

IppokrateionGeneral Hospital of Athens

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ΔÔ ªÂÙÔ¯ÈÎfi Δ·ÌÂ›Ô ™ÙÚ·ÙÔ‡ ÎÙ›ÛÙËΠÙË ‰ÂηÂÙ›· ÙÔ˘ 1930·fi ÙÔ˘˜ Ó·ÚÔ‡˜ ÙfiÙ ·Ú¯ÈÙ¤ÎÙÔÓ˜ μ·Û. ∫·ÛÛ¿Ó‰Ú· ηȧˆӛ‰· ªfiÓË, ·ÔÊÔ›ÙˆÓ Ù˘ Ecole des Beaux Arts ÙÔ˘¶·ÚÈÛÈÔ‡. ΔÔ Ì¤Á·ÚÔ ·ÔÂÚ·ÙÒıËΠÙÔ 1939. √ ۯ‰ȷÛÌfi˜ ÙÔ˘·ÔÙ¤ÏÂÛ ·ÓÙÈΛÌÂÓÔ ·Ú¯ÈÙÂÎÙÔÓÈÎÔ‡ ‰È·ÁˆÓÈÛÌÔ‡ ÛÙÔÓ ÔÔ›ÔÙÔ ∞’ ‚Ú·‚Â›Ô Î¤Ú‰ÈÛ·Ó ÔÈ ∫·ÛÛ¿Ó‰Ú·˜ –ªfiÓ˘.¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ·fi Ù· ÚÒÙ· ÌÂÁ¿Ï· ÎÙ›ÚÈ· Ì ٷ¯·Ú·ÎÙËÚÈÛÙÈο ÙÔ˘ ·Ó·Óˆ̤ÓÔ˘ ÎÏ·ÛÈÎÈÛÌÔ‡ Ô˘ ÂÈÎÚ¿ÙËÛÂÛÙËÓ ∂˘ÚÒË ÙË ‰ÂηÂÙ›· ÙÔ˘ 20 ÏÈÙfi Î·È ·˘ÛÙËÚfi. ΔÔ ÎÙ›ÚÈÔηχÙÂÈ ¤Ó· ÔÏfiÎÏËÚÔ ÔÈÎÔ‰ÔÌÈÎfi ÙÂÙÚ¿ÁˆÓÔ. ™ÙÔ ˘fiÁÂÈÔÎ·È ÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÛÙÂÁ¿ÛÙËÎ·Ó ı¤·ÙÚ·, ÎÈÓËÌ·ÙÔÁÚ¿ÊÔÈ,η̷ڤ, ˙·¯·ÚÔÏ·ÛÙ›·, ηÊÂÙ¤ÚȘ Î·È ÌÈ· ÏÂÈ¿‰· ·fiηٷÛÙ‹Ì·Ù· ÔÏ˘ÙÂÏ›·˜.√È fiÚÔÊÔÈ Â›¯·Ó ¯Ú‹ÛË ÁÚ·Ê›ˆÓ.ΔÔ ªªΔ™ ·ÂÙ¤ÏÂÛÂ Î·È ·ÔÙÂÏ› ÛËÌÂ›Ô ·Ó·ÊÔÚ¿˜ ÁÈ· ÙËÓ fiÏË.™ÙË ÊˆÙÔÁÚ·Ê›· ÛÙËÓ ÁˆÓ›· ÙÔ˘ 6Ô˘ ÔÚfiÊÔ˘ fiÔ˘ÛÙÂÁ·˙fiÙ·Ó Ë ∞ÌÂÚÈοÓÈÎË ™Ùڷ٠Ȉ٠È΋ ∞ÔÛÙÔÏ‹Î˘Ì·Ù›˙ÂÈ Ë ·ÛÙÂÚfiÂÛÛ· ÂÓÒ ÛÙÔ ÈÛfiÁÂÈÔ ˘¿Ú¯ÂÈ ·ÓfiÌ ÙÔ ¤Ì‚ÏËÌ· Ù˘ ‰ÈÂıÓÔ‡˜ Ã∂¡. ™ÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È ∞ÌÂÚÈ΋˜ ‰È·ÎÚ›ÓÂÙ·È ÙÔ ª¤Á·ÚÔªÂÏ¿, ¤ÚÁÔ ÙÔ˘ °¿ÏÏÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· ∂. Troump, fiÔ˘·ÚÁfiÙÂÚ· ÛÙÂÁ¿ÛÙËÎÂ Ë ∞ıËÓ·˚΋ §¤Û¯Ë.™‹ÌÂÚ· ÛÙË ı¤ÛË Ù˘ ˘„ÒÓÂÙ·È ÔÏ˘ÒÚÔÊË ÔÈÎÔ‰ÔÌ‹ Ì·گÈÙ¤ÎÙÔÓ· ÙÔÓ ∂Ì. μԢڤη. ™ÙËÓ Î¿Ùˆ ‰ÂÍÈ¿ ÁˆÓ›·‰È·ÎÚ›ÓÂÙ·È Ô ÙÚÔ¯ÔÓfiÌÔ˜ ÛÙÔ μ·Ú¤ÏÈ.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÛÙÔ Ù¤ÏÔ˜ Ù˘ ‰Âη-ÂÙ›·˜ ÙÔ˘ 40 ‹ ÛÙȘ ·Ú¯¤˜ Ù˘ ÂfiÌÂÓ˘.

The Metochiko Tameio Stratou was built during the30’s by the architects Vass. Kassandras and Leonidasμonis, young at the time, graduates of the Ecole desBeaux Arts in Paris. The designing was decided in anarchitectural contest, in which the first prize was wonby Kassandras – μonis.This is one of the first big buildings, that feature elementsof modern classicism, which was prevailing in Europeduring the 20’s, in a style plain and strict. The buildingcovers an entire building block. In the basement and atground f loor level theatres, movie-houses, cabarets,pattiseries, coffee-shops and a series of luxurious storeswere housed.The upper floors were used as offices.This building has been and still is a landmark for the city.The photo shows the American flag, on the corner of the6th floor, where the American Military Offices werehoused; at ground floor level a placard with the emblemof the International HEN (Christian Women’sAssociation). At the crossing of Panepistimiou Street andAmerikis Street we see the Melas Mansion, designed bythe French architect ∂. Troump, where later the AtheneanLeschi was hosted.Nowadays, on the same spot, a multi-storey building israised, designed by the architect Em. Vourekas. On the lowerleft side we see the traffic policeman in his barrel.This photo must have been taken around the end of the40’s or the beginning of the next decade.

ΔÔ ª¤Á·ÚÔ ÙÔ˘ ªÂÙÔ¯ÈÎÔ‡ Δ·Ì›Ԣ™ÙÚ·ÙÔ‡.∏ fi„Ë ·fi ÙËÓ Ô‰fi ¶·ÓÂÈÛÙËÌ›Ô˘

The Mansion of Metochiko TameioStratou (Army Share Fund)The view from Panepistimiou Street

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ΔÔ πÏ›Ô˘ ª¤Ï·ıÚÔÓ, ηÙÔÈΛ· ÙÔ˘ ÁÓˆÛÙÔ‡ ÂÚ·ÛÈÙ¤¯ÓË·Ú¯·ÈÔÏfiÁÔ˘ ∂ÚÚ›ÎÔ˘ ™Ï‹Ì·Ó, Â›Ó·È ¯ˆÚ›˜ ·ÌÊÈ‚ÔÏ›· ÙÔ ÈԉȿÛËÌÔ ‰ËÌÈÔ‡ÚÁËÌ· ÙÔ˘ ∂. ΔÛ›ÏÏÂÚ.ΔÔ Ì¤Á·ÚÔ ÎÙ›ÛÙËΠÙÔ 1879 Û ·Ó·ÁÂÓÓËÛÈ·Îfi Ú˘ıÌfiÚÔÛ·ÚÌÔṲ̂ÓÔ ÛÙȘ ‰È·Ù¿ÍÂȘ ÙÔ˘ ÒÚÈÌÔ˘ ÎÏ·ÛÈÎÈÛÌÔ‡.ªÂÙ¿ ÙÔ ı¿Ó·ÙÔ ÙÔ˘ ™Ï‹Ì·Ó, ÙÔ 1920 ÙÔ πÏ›Ô˘ ª¤Ï·ıÚÔӈϋıËΠÛÙÔ ÂÏÏËÓÈÎfi ÎÚ¿ÙÔ˜. ∞fi ÙÔ 1934 Î·È Ì¤¯ÚÈ ÙÔ1983 ÛÙ¤Á·˙ ÙÔÓ ÕÚÂÈÔ ¶¿ÁÔ.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÏËÊı› ÛÙȘ ·Ú¯¤˜ Ù˘‰ÂηÂÙ›·˜ ÙÔ˘ 70 fiÙ·Ó ·ÎfiÌË ÛÙ¤Á·˙ ÙÔÓ ÕÚÂÈÔ ¶¿ÁÔ.ΔÔ 1983 ÙÔ ·Ú¤Ï·‚Â Ë ∫ÙËÌ·ÙÈ΋ ÀËÚÂÛ›· ÙÔ˘ ¢ËÌÔÛ›Ô˘.ΔÔ ÂÛˆÙÂÚÈÎfi ÙÔ˘ ›¯Â ˘ÔÛÙ› ÛÔ‚·Ú¤˜ ·ÏÏ·Á¤˜ ‹‰Ë·fi Ù· ÚÒÙ· ÌÂÙ¿ ÙÔ ı¿Ó·Ùfi ÙÔ˘ ™Ï‹Ì·Ó ¯ÚfiÓÈ· ,Ô˘ Âȉ ÈÓÒı ËÎ·Ó ÛÙÔ ‰È¿ÛÙËÌ· ÙˆÓ 50 ÂÙÒÓ Ô˘¯ÚËÛÈÌÔÔÈ›ÙÔ ˆ˜ ÕÚÂÈÔ˜ ¶¿ÁÔ˜.√È ı·˘Ì¿ÛȘ ÔÚÔÊÔÁڷʛ˜ Î·È ÙÔȯÔÁڷʛ˜ Ô˘ÎÔÛÌÔ‡Û·Ó ÙÔ˘˜ ¯ÒÚÔ˘˜ ÙÔ˘ ÎÙÈÚ›Ô˘ ‰˘ÛÙ˘¯Ò˜ ›¯·ÓÂÈÎ·Ï˘Êı› ۯ‰fiÓ fiϘ. ∂›¯·Ó ›Û˘ ·Ê·ÈÚÂı› Ù· ·Á¿Ï-Ì·Ù· Ô˘ ˘‹Ú¯·Ó ÛÙÔ ‰ÒÌ· ÙÔ˘ ÌÂÁ¿ÚÔ˘. ∂˘Ù˘¯Ò˜ ÔÈ˙ËÌȤ˜ ‹Ù·Ó ·Ó·ÛÙÚ¤„È̘.™‹ÌÂÚ· ·ÔηٷÛÙË̤ÓÔ ÛÙËÓ ·Ú¯È΋ ÙÔ˘ ÌÔÚÊ‹ ÂÛˆÙÂÚÈÎ¿Î·È Â͈ÙÂÚÈο ÛÙÂÁ¿˙ÂÈ ÙÔ ¡ÔÌÈÛÌ·ÙÈÎfi ªÔ˘Û›Ô.

Iliou Melathron, the residence of the well-known amateurarchaeologist Heinrich Schliemann, is undoubtly the mostfamous creation of Ernst Ziller.The mansion was constructed in 1879 in Renaissance styleadapted to late 19th century classicism. In 1920, afterSchliemann’s death, the Iliou Melathron was sold to theGreek State. Between 1934 and 1983 it housed the AreiosPagos (Supreme Court).This photo must have been taken in the beginning of the70’s, when it still housed Areios Pagos. In 1983 it was takenover by the Public Property Department. The interior hadalready undergone serious changes since the first years afterSchliemann’s death, and it further deteriorated during the 50years of its usage as Areios Pagos. The marvellous wall and ceiling decorations that adornedthe interior of the building were unfortunately all coveredover. The statues on the top floor of the mansion were alsoremoved. Fortunately it was possible to reverse thesedamages.Nowadays, restored back to its original form, internally andexternally, it houses the Numismatic Museum.

πÏ›Ô˘ ª¤Ï·ıÚÔÓ, ÕÚÂÈÔ˜ ¶¿ÁÔ˜ Iliou Melathron, Areios Pagos

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ΔÔ Ì¤Á·ÚÔ Ù˘ ∞Ú¯·ÈÔÏÔÁÈ΋˜ ∂Ù·ÈÚ›·˜ ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ·°È¿ÓÓË ∞ÓÙˆÓÈ¿‰Ë ÎÙ›ÛÙËΠÙÔ 1958 ÛÙË ÁˆÓ›· ÙˆÓ Ô‰ÒÓ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È √Ì‹ÚÔ˘ ÛÙË ı¤ÛË fiÔ˘ ÙÔ ·Ï·ÈfiÙÂÚÔ̤Á·ÚÔ, ¤ÚÁÔ ÙˆÓ ·‰ÂÏÊÒÓ ∞ÍÂÏÒÓ Ô˘ ηÙ‰·Ê›ÛÙËÎÂÙÔ 1952.√È fi„ÂȘ ÙÔ˘ ·˘ÛÙËÚ¤˜ ·ÎÔÏÔ˘ıÔ‡Ó ÙÔ Ú‡̷ ÙÔ˘Û‡Á¯ÚÔÓÔ˘ ÎÏ·ÛÈÎÈÛÌÔ‡.ªÂÙ¿ ·fi ¤̂·ÛË ÙÔ˘ ™˘Ì‚Ô˘Ï›Ô˘ Ù˘ ∞Ú¯·ÈÔÏÔÁÈ΋˜∂Ù·ÈÚ›·˜ Ô ∞ÓÙˆÓÈ¿‰Ë˜, Û‡Ìʈӷ Ì ÔÌÔÏÔÁ›· ÙÔ˘,·Ó·ÁοÛıËΠӷ ÚÔÛı¤ÛÂÈ ·Ú·ÛÙ¿‰Â˜ Ì’ ›ÎÚ·Ó· ηÈÓ· ÂÍ¿ÚÂÈ ÙËÓ ÎÔÚˆÓ›‰· Ì ÁÂÈۛԉ˜.™ÙÔ Úfi˘ÏÔ Ù˘ ÂÈÛfi‰Ô˘ ÙÔÔıÂÙ‹ıËÎ·Ó ÔÈ ‰‡Ô ΈÓÈÎԛΛÔÓ˜ Ô˘ ÎÔÛÌÔ‡Û·Ó ÙÔ ·Ï·ÈfiÙÂÚÔ ÎÙ›ÚÈÔ Ù˘ ∂Ù·ÈÚ›·˜ÙˆÓ ∞‰ÂÏÊÒÓ ∞ÍÂÏÒÓ.™ÙËÓ ·›ıÔ˘Û· ÙÂÏÂÙÒÓ ÙÔ˘ ÈÛÔÁ›Ԣ ‰›ÓÔÓÙ·È Û˘¯Ó¿ ‰È·Ï¤ÍÂȘÁÈ· ÙÔ Â˘Ú‡ ÎÔÈÓfi, ÂÓÒ ÛÙÔ˘˜ ÔÚfiÊÔ˘˜ ÛÙÂÁ¿˙ÔÓÙ·È Ù·ÁÚ·Ê›· Î·È Ë ‚È‚ÏÈÔı‹ÎË Ù˘ ∂Ù·ÈÚ›·˜. 24-02-66

The Mansion of the Archaeological Company, designed byarchitect Yiannis Antoniadis, was built in 1958 at thejunction of Panepistimiou Street and OmirouStreet, at the location where the older mansion of the A.C.was situated, designed by the Axelos brothers, that wasdemolished in 1952.Its strict exterior follows the style of modern classicism.After intervention of the Board of the ArchaeologicalCompany Antoniadis was forced, as he confessed himself, toadd doorposts with lintels and to emphasise the cornice witheaves.Two conical columns were placed in front of the entrance,which used to decorate the previous building of theCompany, designed by the Axelos Brothers.The conference hall at ground floor level often hosts publiclectures, and the offices and the library of the Company aresituated on the upper floors. 24-02-66

ΔÔ Ì¤Á·ÚÔ Ù˘ ∞Ú¯·ÈÔÏÔÁÈ΋˜∂Ù·ÈÚ›·˜

The Mansion of the ArchaeologicalCompany

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∫·ÙÔÈΛ·, ·ÁÁÂÏÌ·ÙÈ΋ ÛÙ¤ÁË, ¯ÒÚÔ˜ ÌÂÁ¿ÏˆÓÛ˘ÁÎÂÓÙÚÒÛÂˆÓ Î·È Ê˘ÛÈο ̤ÛÔ ÎÔÈÓˆÓÈ΋˜ ÚÔ‚ÔÏ‹˜,ÙÔ Ì¤Á·ÚÔ ÙÔ˘ ÏÔ‡ÛÈÔ˘ ÌÂÙ·ÏÏÂÈÔÏfiÁÔ˘ – ‚ÈÔÌ‹¯·ÓÔ˘Giovanni – Bat is ta S erpier i ȉÈÔÎÙ‹ÙË Ù˘ ÂÙ·ÈÚ›·˜G. Serpieri – Roux Fraissinet Î·È ™›· Ô˘ ÂÎÌÂÙ·ÏÏ¢fiÙ·ÓÙ· ÌÂÙ·ÏÏ›· §·˘Ú›Ô˘ ÎÙ›ÛÙËΠÙË ‰ÂηÂÙ›· ÙÔ˘ 1870ÛÙË ÁˆÓ›· Ù˘ ψÊfiÚÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È ∂‰Ô˘¿Ú‰Ô˘ §ˆ,·fi ÙÔÓ ∞Ó·ÛÙ¿ÛÈÔ £ÂÔÊÈÏ¿. ∞fiÊÔÈÙÔ˜ Ù˘ ™¯ÔÏ‹˜ÙˆÓ ∂˘ÂÏ›‰ˆÓ, ηıËÁËÙ‹˜ ÙÔ˘ ∂ª¶ Î·È ÛÙË Û˘Ó¤¯ÂÈ·¢È¢ı˘ÓÙ‹˜ ÙÔ˘, Ô £ÂÔÊÈÏ¿˜ ۯ‰›·Û ¤Ó· ‰˘fiÚÔÊÔ ÏÈÙfiÓÂÔÎÏ·ÛÈÎfi ÎÙ›ÚÈÔ. ™ÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1880Ô Jules Girard ·fiÊÔÈÙÔ˜ Ù˘ Ecole des beaux–arts Ú·ÁÌ·ÙÔ-Ô›ËÛ ÙËÓ Â› Ù˘ ψÊ. ¶·ÓÂÈÛÙËÌ›Ô˘ ÚÔÛı‹ÎË Ì ¤ÓÙÔÓ··Ó·ÁÂÓÓËÛȷο ÛÙÔȯ›·, Î·È ÏÔ‡ÛÈÔ ‰È¿ÎÔÛÌÔ, Û ÂÏ·ÊÚ¿˘Ô¯ÒÚËÛË ˆ˜ ÚÔ˜ ÙÔ ·Ú¯ÈÎfi ÎÙ›ÚÈÔ Î·È ÚÔÛ¤ıÂÛÂ Î·È ¤Ó·ÂÈϤÔÓ fiÚÔÊÔ.ΔÔ 1929 ÙÔ ª¤Á·ÚÔ ·ÁÔÚ¿ÛÙËΠ·fi ÙËÓ ∞ÁÚÔÙÈ΋ ΔÚ¿Â˙·ÛÙËÓ È‰ÈÔÎÙËÛ›· Ù˘ ÔÔ›·˜ ·Ú·Ì¤ÓÂÈ Ì¤¯ÚÈ Û‹ÌÂÚ·.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÛÙȘ ·Ú¯¤˜ Ù˘‰ÂηÂÙ›·˜ ÙÔ˘ ‘60.¢È·ÎÚ›ÓÂÙ·È Î·ı·Ú¿ ÛÙÔ ÎÙ›ÚÈÔ Ù˘ ÚÔÛı‹Î˘ ÙÔ˘ Gizard, ÙÔÂÓÙ˘ˆÛÈ·Îfi ·Ó¿ÁÏ˘ÊÔ ¿Óˆ ·fi ÙȘ ÙÔ͈٤˜ Ì·ÏÎÔÓfiÔÚÙ˜ÙÔ˘ ÚÒÙÔ˘ ÔÚfiÊÔ˘ Ì ÙÔ ÎÂÊ¿ÏÈ Ù˘ ∞ıËÓ¿˜ ÛÙË Ì¤ÛË Î·ÈÛÎËÓ¤˜ ·fi ÙË ÌÂÙ·ÏÏ¢ÙÈ΋ Âη٤ڈıÂÓ.

The mansion of the rich miner-industrialist Giovanni–Battista Serpieri, owner of the company G. Serpieri – RouxFraissinet & Co., exploiting the Lavrio mines, had itsresidential quarters, offices, functioned as a place for upperclass entertainment and a means for promotion. It was builtduring the decade of the 1870’s, at the junction ofPanepistimiou Av. and Eduardou Lo Street, by AnastassiosTheophilas. A graduate of the Evelpidon Military Academy,a professor at NTUA and later Dean of the University,Theophilas designed a plain, two-storey, neoclassicalbuilding. At the beginning of the decade of the 1880’s JulesGirard, graduate of the Ecole des Beaux Arts, designed theadditional part, situated on Panepistimiou Avenue, withobvious Renaissance features and a rich decoration, slightlybehind the original building and also added an extra floor.In 1929 the Mansion was bought by the Agricultural Bankand since then it remains its property.The photo must have been taken around the beginning ofthe 60’s.√n the building added by Girard we can clearly see animpressive engraving above the arched balcony doors of thefirst floor with the head of the goddess Athena in the middleand mining scenes on both sides.

∞ÁÚÔÙÈ΋ ΔÚ¿Â˙· – ª¤Á·ÚÔ™ÂÚȤÚË

Agricultural Bank – Serpieri Mansion

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™Â ÚÒÙÔ Ï¿ÓÔ ÔÈ ·ÊÂÙËڛ˜ Ù Ó ÏˆÊÔÚ› Ó.™Ù’ ·ÚÈÛÙÂÚ¿ ÙÔ˘ ªÂÁ¿ÚÔ˘ ™ÂÚȤÚË ‰È·ÎÚ›ÓÂÙ·È ÌÈ· ÛÂÈÚ¿ ·fi ÚÒÈÌ·ÓÂÔÎÏ·ÛÈο ÎÙ›ÚÈ· ÌÔÓfiÚÔÊ· Î·È ‰˘fiÚÔÊ·, ηÙ‰·ÊÈṲ̂ӷ fiÏ· Û‹ÌÂÚ·.

In the forefront the bus terminal.On the left of the Serpieri Mansion we see a row of early neoclassicalone or two storey buildings, all of which are demolished today.

ΔÔ Ì¤Á·ÚÔ ™ÂÚȤÚË ÙË ‰ÂηÂÙ›·ÙÔ˘ ‘50.

The Serpieri Mansion during the50’s

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° Ó›· Ù˘ ψÊfiÚÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ Ì ÙËÓ Ô‰fi ∫ÔÚ·‹. ™‹ÌÂÚ· Â˙fi-‰ÚÔÌÔ˜. ™Â ÚÒÙÔ Ï¿ÓÔ ÙÔ ÈÛfiÁÂÈÔ ÙÔ˘ ÎÙÈÚ›Ô˘ ÙÔ˘ °ÂÓÈÎÔ‡ §ÔÁÈÛÙËÚ›-Ô˘ ÙÔ˘ ∫Ú¿ÙÔ˘˜ Ô˘ ÎÙ›ÛÙËΠÙÔ 1934 ·fi ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· ∂ÌÌ·ÓÔ˘‹Ï§·˙·Ú›‰Ë ÛÙÔ ÏÈÙfi ‡ÊÔ˜ ÙÔ˘ ÌÔÓÙ¤ÚÓÔ˘ ÎÏ·ÛÈÎÈÛÌÔ‡. ™ÙÔ ÈÛfiÁÂÈÔ ÙÔηÊÂÓÂ›Ô °·Ì‚¤ÙÙ·, ÁÓˆÛÙfi ÛÙ¤ÎÈ Ù Ó ∞ıËÓ·› Ó. ™ÙËÓ ·ÎÚÈ‚Ò˜ ·¤Ó·ÓÙÈÁˆÓ›· ¶·ÓÂÈÛÙËÌ›Ô˘ Î·È πÔÎÚ¿ÙÔ˘˜ ÌÈ· ·fi ÙÈ ÚÒÙ˜ ÌÂÙ·ÔÏÂÌÈ-Τ˜ ÔÏ˘Î·ÙÔÈ˘ Ù˘ ∞ı‹Ó·˜ Ì ÌÈÎÙ‹ ÙfiÙ ¯Ú‹ÛË ÁÚ·Ê› Ó Î·ÙÔÈÎÈÒÓÎ·È Î·Ù·ÛÙËÌ¿Ù Ó ÛÙÔ ÈÛfiÁÂÈÔ. ¢È·ÎÚ›ÓÔÓÙ·È ÔÈ ‰È·ÊËÌÈÛÙÈΤ˜ ÈӷΛ‰Â˜Ù˘ ÂÊËÌÂÚ›‰·˜ “ÃÚfiÓÔ˜” ÙÔ˘ ÂÚÈÔ‰ÈÎÔ‡ «° Ó·›Î·» Î·È Ù˘ Ê·ÚÌ·ÎÔ-‚ÈÔÌ˯·Ó›·˜ “Ciba”. ™‹ÌÂÚ· ÙÔ Î·ÊÂÓÂ›Ô °·Ì‚¤ÙÙ· ¤¯ÂÈ È· ÎÏ›ÛÂÈ Î·ÈÛÙË ı¤ÛË ÙÔ˘ ˘¿Ú¯ÂÈ ˘ÔηٿÛÙËÌ· ÙÚ·¤˙˘. 16-09-65

At the junction of Panepistimiou Avenue and Korai Street.Nowadays a pedestrian road. In the forefront the ground floor ofthe General Logistirio of the State, designed in 1934 by thearchitect Emmanouil Lazarides according to the plain style ofmodern neoclassicism. On the ground floor the Gambetta coffee-shop, a well-known meeting place for Athenians. Exactly on theopposite corner, of Panepistimiou and Ippokratous, one of the firstpost WWII apartment blocks in Athens, using the same building foroffices and residential quarters, and shops at ground floor level. Wesee the advertisements of the newspaper “Chronos”, the magazine“Gynaika” and the pharmaceutical company “Ciba”.

ΔÔ °ÂÓÈÎfi §ÔÁÈÛÙ‹ÚÈÔ ÙÔ˘ ∫Ú¿ÙÔ˘˜ The General Logistirio(Accountancy Office) of the State

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ΔÔ ÎÙ›ÚÈÔ ‚Ú›ÛÎÂÙ·È ÛÙÔ ÙÂÏÂ˘Ù·›Ô ÙÂÙÚ¿ÁˆÓÔ Ù˘ Ô‰Ô‡ ∞η‰ËÌ›·˜·¤Ó·ÓÙÈ ·ÎÚÈ‚Ò˜ ·fi ÙËÓ Ô‰fi ∫·Ó¿ÚË. ∂Ù·fiÚÔÊÔ (¤ÓÙ fiÚÔÊÔÈÎ·È ‰‡Ô ÂÛÔ¯¤˜) Ì ÛÙÔ¿ ÛÙÔ ÈÛfiÁÂÈÔ Ô˘ ‰›ÓÂÈ ÛÙÈ Ô‰Ô‡˜ ∫ÚÈÂ˙ÒÙÔ˘Î·È ∑·ÏÔÎÒÛÙ·, ·ÔÙÂÏ› ¯·Ú·ÎÙËÚÈÛÙÈÎfi ‰Â›ÁÌ· ÙˆÓ ÎÙÈÚ›ˆÓÁÚ·Ê› Ó Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1960. ΔÔ ÎÙ›ÚÈÔ ıÂÌÂÏÈÒıËΠÙÔ 1968 .ΔËÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÌÂϤÙË ÂÎÔÓ‹Û·Ó ÔÈ ÃÚ. ∞ı·Ó·ÛfiÔ˘ÏÔ˜,π. ∫·ÓÂÙ¿Î˘, ¢. ∫Ô˘ÙÛÔ˘Ú¿Î˘ Î·È °Ú. Δ۷̤Ú˘ (ÚÒÙÔ ‚Ú·‚›ԷگÈÙÂÎÙÔÓÈÎÔ‡ ‰È·ÁˆÓÈÛÌÔ‡), ÛÙÔ˘˜ ÔÔ›Ô˘˜ ·Ó·Ù¤ıËÎÂ Î·È ËÂÎÙ¤ÏÂÛË ÙÔ˘ ¤ÚÁÔ˘ Ì·˙› Ì ÙÔÓ Î·ıËÁËÙ‹ ÙÔ˘ ∂ª¶ §È¿Ë.™ÙË Î¿Ù ‰ÂÍÈ¿ ÁˆÓ›· Ù˘ ʈÙÔÁÚ·Ê›·˜ ÙÔ Ì¤Á·ÚÔ ¢ÂÏËÁÈÒÚÁË,ÁˆÓ›· ∞η‰ËÌ›·˜ Î·È ∫·Ó¿ÚË, ¤Ó· ·ÎfiÌË ¤ÚÁÔ ÙÔ˘ ΔÛ›ÏÏÂÚ. ΔÔÎÙ›ÚÈÔ ÛÙ¤Á·˙ ÁÈ· ÔÏÏ¿ ¯ÚfiÓÈ· ÙËÓ Δ·ÈÓÈÔı‹ÎË Ù˘ ∂ÏÏ¿‰Ô˜.∏ Ê ÙÔÁÚ·Ê›· ÙÚ·‚‹¯ÙËΠϛÁÔ ÌÂÙ¿ Ù· ›ÛËÌ· ÂÁη›ÓÈ· ÙÔ ÎÙÈÚ›Ô˘Ô˘ Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ÙËÓ 1Ë ¡ÔÂÌ‚Ú›Ô˘ ÙÔ˘ 1976. ª¤¯ÚÈ ÙÔ2005 ÛÙ¤Á·˙ ÙËÓ °. °. Δ‡Ô˘.

The building is situated on the last square of Akadimias Street,exactly opposite Kanari Street. It has seven storeys (five floors andtwo bays) with an arcade at ground floor level in the direction ofKriezotou and Zalokosta Street, and is a characteristic example ofoffice-buildings constructed during the 60’s. The architectural studywas conducted by Chr. Athanassopolous, I. Kanetakis, D.Koutsourakis and Gr. Tsamperis (first prize in the architecturalcontest), who were also responsible for the execution of the worktogether with NTUA professor Liapis.On the lower right side of the photo the Deligiorgis Mansion isfeatured, at the junction of Akadimias and Kanari Street, anotherbuilding designed by Ziller. This building used to house the movie-collection of Greece.The photo was taken a short time after the official inauguration ofthe building, which was held on 1st November 1976.

ΔÔ ÎÙ›ÚÈÔ Ù˘ °ÂÓÈ΋˜ °Ú·ÌÌ·Ù›-·˜ Δ‡Ô˘ Î·È ¶ÏËÚÔÊÔÚÈÒÓ Ù˘¶ÚÔ‰ڛ·˜ ∫˘‚ÂÚÓ‹Ûˆ˜ ·fiÙËÓ ÏÂ˘Ú¿ ÙÔ˘ ∂ÌÔÚÈÎÔ‡ ηÈμÈÔÌ˯·ÓÈÎÔ‡ ∂ÈÌÂÏËÙËÚ›Ô˘

The building of the SecretariatGeneral of Press and Informationof the Ministry of State fromthe side of Emporiko andBiomechaniko Epimelit ir io

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ΔÔ Û ËÌ·Ó Ù È ÎfiÙ Â Ú Ô ›Ûˆ ˜ ¤ ÚÁÔ ÙˆÓ · Ú¯ ÈÙ Â ÎÙfiÓˆÓμ. ∫·ÛÛ¿Ó‰Ú· Î·È §. ªfiÓË.∞fi Ù· ÈÔ ÚˆÙÔÔÚȷο ÎÙ›ÚÈ· Ù˘ ∞ı‹Ó·˜, ÎÙ›ÛÙËΠÛٷ٤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1930 Ì ¤ÓÙÔÓ˜ ·Ó·ÊÔÚ¤˜ ÛÙËÓ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÙˆÓ Ô˘Ú·ÓÔ͢ÛÙÒÓ. ∂ÎÙfi˜ ·fi ÙËÓ ÌÂÁ¿ÏËÂÓÙ˘ˆÛȷ΋ ·›ıÔ˘Û· ÙÔ˘ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ˘ Rex ÛÙÔ ÈÛfiÁÂÈÔÎ·È ÙÔ˘ ı¿ÙÚÔ˘ ∫ÔÙÔÔ‡ÏË ÛÙÔ˘˜ ÔÚfiÊÔ˘˜, ÛÙÔ ˘fiÁÂÈÔ ÙÔ˘ÎÙÈÚ›Ô˘, ÏÂÈÙÔ˘ÚÁÔ‡Û ›Û˘ Ô ·Á·Ë̤ÓÔ˜ ¯ÒÚÔ˜ وӷȉÈÒÓ, ÙÔ ™ÈÓ¿Î. ™ÙÔ˘˜ ¯ÒÚÔ˘˜ ÙÔ˘ £Â¿ÙÚÔ˘ ∫ÔÙÔÔ‡ÏË,οı ¢Â˘Ù¤Ú· Ô˘ Ù· ı¤·ÙÚ· ·ÚÁÔ‡Û·Ó, ÙÔ ÊÈÏfiÌÔ˘ÛÔ ÎÔÈÓfi·Ú·ÎÔÏÔ˘ıÔ‡Û ÙȘ Û˘Ó·˘Ï›Â˜ Ù˘ KÚ·ÙÈ΋˜ √Ú¯‹ÛÙÚ·˜∞ıËÓÒÓ. 16-09-65

This is perhaps the most important work of the architectsV. Kassandras and L. Bonis. One of the most futuristicbuildings in Athens, constructed at the end of the 30’s, withobvious features from skyscraper architecture. Apart fromthe large, impressive hall of the movie-house Rex on theground floor and Kotopouli Theatre on the upper floors, inthe basement of the building the favourite place of childrenused to be operative, Cineac. On Mondays, a rest day fortheatres, the music lovers would be able to attendperformances of the Athens State Orchestra in the facilitiesof Kotopouli Theatre. 16-09-65

To ÎÈÓËÌ·ÙÔı¤·ÙÚÔ Rex

The cinema-house Rex

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™ÙÔ ÎÙ›ÚÈÔ Ù˘ ∂.™.∏.∂.∞. ·Ó·ÁÓˆÚ›˙ÂÈ Î·Ó› fiϘ ÙÈ ‚·ÛÈΤ˜·Ú¯¤˜ Ù Ó ÎÙÈÚ› Ó ÁÚ·Ê› Ó. ∫·Ù·ÛÙ‹Ì·Ù· ÛÙÔ ÈÛfiÁÂÈÔ, ÁÚ·Ê›·ÛÙÔ˘ ÔÚfiÊÔ˘ . √ ʤÚÔÓ ÔÚÁ·ÓÈÛÌfi Û ÔÈÛıÔ ÒÚËÛË Î·Ï‡ÙÂÙ·È·fi ¤Ó· ÂÏ·ÊÚfi ¤Ù·ÛÌ· ·fi ÌÂÙ·ÏÏÈο ÛÙÔȯ›· ηٷÎfiÚ˘Ê·Î·È ÔÚÈ˙fiÓÙÈ·. Δ· ÎÂÓ¿ ÙÔ˘ ηÓÓ¿‚Ô˘ ηχÙÔÓÙ·È ·fi ÚÔη-Ù·Û΢·Ṳ̂ӷ ·Ófi Î·È ˘·ÏÔÂÙ¿ÛÌ·Ù·. ÷ڷÎÙËÚÈÛÙÈ΋ Ë·fiÙÌËÛË Ù˘ ÁˆÓ›·˜ › Ù Ó Ô‰ÒÓ ∞η‰ËÌ›·˜ Î·È μÔ˘ÎÔ˘ÚÂ-ÛÙ›Ô˘. ¶ÚˆÙÔÔÚÈ·Îfi ÁÈ· ÙËÓ ÂÔ¯‹ ÙÔ˘ ÙÔ ÎÙ›ÚÈÔ Ù˘ ∂.™.∏.∂.∞.™ÙÈ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 60, fiÙ·Ó ÎÙ›ÛÙËΠÙÔ ÎÙ›ÚÈÔ Ù˘∂.™.∏.∂.∞. ÙÔ˘˜ ·Ú¯ÈÙ¤ÎÙÔÓ˜ ··Û¯ÔÏÔ‡Û ȉȷ›ÙÂÚ· ÙÔ ı¤Ì·Ù˘ ÏÂÈÙÔ˘ÚÁ›·˜ Ù˘ ηٷÛ΢‹˜ Î·È Ù˘ Û‡ÓıÂÛ˘ Ù Ó fi„ˆÓÙ Ó Ó¤ˆÓ ÎÙÈÚ› Ó ÁÚ·Ê› Ó. 17-11-66

The building of the Union of editors of Athens’ daily newspapersfeatures all the basic principles of office buildings. There areshops on the ground floor and offices on the upper floors. Thebearing body seems backwardy and covered by a slight drapeof vertical and horizontal elements. Grid gaps are covered byperconstructed banners and glass panels. Another characteristicfeature is the corner cut on Akadimias and VoukourestiouStreets. For its epoch the building of the Union of editors ofAthens newspapers was quite a novelty. In the beginning of the60’s, when the building was constructed, architects wereparticularly concerned about the issue of functionalconstructions and the outlook of new office buildings. 17-11-66

ΔÔ ÎÙ›ÚÈÔ Ù˘ ŒÓˆÛ˘ ™˘ÓÙ·ÎÙÒÓ∏ÌÂÚËÛ›ˆÓ ∂ÊËÌÂÚ›‰ˆÓ ∞ıËÓÒÓ∞η‰ËÌ›·˜ Î·È μÔ˘ÎÔ˘ÚÂÛÙ›Ô˘

The building of the Union of editors ofA thens ’ da i l y newspapers –Akadimias Str. and Voukourestiou Str.

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¶·Ú’ fiÏÔ fiÙÈ ÔÈ ÚÒÙ˜ ÚÔÙ¿ÛÂÈ ÁÈ· ÙË ‰ËÌÈÔ˘ÚÁ›· Ï·Ù›·˜ ÛÙËı¤ÛË fiÔ˘ Û‹ÌÂÚ· Ë Ï·Ù›· ∫¿ÓÈÁÁÔ˜, ›¯·Ó ·ÚÔ˘ÛÈ·ÛÙ› ‹‰Ë·fi ÙÔ 1847, Ë Ï·Ù›· ‰ËÌÈÔ˘ÚÁ‹ıËΠÛÙ· Ù¤ÏË ÙÔ˘ 19Ô˘ ·ÈÒÓ·.ΔÔ fiÓÔÌ· Ù˘ ÙÔ ‹Ú ·fi ÙÔÓ ÕÁÁÏÔ ÊÈϤÏÏËÓ· ÔÏÈÙÈÎfi GeorgeG. Canning ÙÔ˘ ÔÔ›Ô˘ Ô ·Ó‰ÚÈ¿ÓÙ·˜ ÙÔÔıÂÙ‹ıËΠÙÔ 1931 ÛÙÔΤÓÙÚÔ Ù˘ Ï·Ù›·˜. ŒÚÁÔ ÙÔ˘ ÕÁÁÏÔ˘ ÁχÙË sir Francis LegattChantray ‰¤ÛÔ˙ ÛÙÔ ¯ÒÚÔ.™ÙÈ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1960, Ë Ï·Ù›· ·Ó·ÌÔÚÊÒÓÂÙ·È ÌÂÛÎÔfi Ó· Â͢ËÚÂÙ‹ÛÂÈ ÙÔ ÌÂÁ¿ÏÔ ·ÚÈıÌfi ·ÊÂÙËÚÈÒÓ ÏˆÊÔÚ› ÓÔ˘ ÊÈÏÔÍÂÓÔ‡Û ‹‰Ë ·fi ÙË ‰ÂηÂÙ›· ÙÔ˘ 1950.™‹ÌÂÚ·, Î·È ÌÂÙ¿ ÙË ‰ËÌÈÔ˘ÚÁ›· ˘ÔÁ›Ԣ parking ÛÙÔ ¯ÒÚÔ Ù˘ ηÈÙË ‰È¿ÓÔÈÍË Ù˘ ·fi ÙÔÓ ·˘ÙÔÎÈÓËÙfi‰ÚÔÌÔ Ô˘ ÙË ‰È·Û¯›˙ÂȉȷÁÒÓÈ·, ÌfiÓÔ Î·Ù’ fiÓÔÌ· Â›Ó·È Ï¤ÔÓ Ï·Ù›·.√ Ê·Îfi˜ ÙÔ˘ ʈÙÔÁÚ¿ÊÔ˘ ÂÛÙÈ¿˙ÂÈ ÛÙÔ ÂÓÓ·fiÚÔÊÔ ÎÙ›ÚÈÔ ÙÔ˘·Ú¯ÈÙ¤ÎÙÔÓ· °È¿ÓÓË §˘Á›˙Ô˘ Ô˘ ÎÙ›ÛÙËΠÁÈ· ˘ÔıËÎÔÊ˘Ï·Î›Ô.ΔÔ ÎÙ›ÚÈÔ ÎÙ›ÛÙËΠÙÔ 1955-7 Î·È ¤ÎÊÚ·˙ Ì ۷ʋÓÂÈ· ÙËÓ ıˆڛ·ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· ÂÚ› “ÎfiÌ‚Ô˘” ÙÔ˘ ÛËÌ›Ԣ ‰ËÏ·‰‹ fiÔ˘ Á›ÓÂÙ·ÈÛ˘Ó¿ÓÙËÛË ˘ÔÛÙ˘ÏÒÌ·ÙÔ˜ Î·È ‰ÔÎÔ‡ ÛÙËÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÙÔ˘ ÌÂ-ÙfiÓ ·Ṳ́. √È ÌÂÁ¿Ï˜ ÎÔÏÒÓ˜ ÙÔ˘ ‚·ÛÙ¿˙Ô˘Ó Ù¤ÛÛÂÚÂÈ ÔÚfiÊÔ˘˜.™ÙËÓ ÎÔÚ˘Ê‹ ÙÔ˘ Â›Ó·È ·fi ·ÛÔ‚¿ÙÈÛÙÔ ÌÂÙfiÓ Ì¿ÚÌ·ÚÔ ·ÏÎÔ‡. ΔÔÈÛfiÁÂÈÔ ÙÔ˘ ÎÙÈÚ›Ô˘ Î·È Î˘Ú› ˜ Ë ÛÙÔ¿ Ô˘ ‰È·Û¯›˙ÂÈ ÙÔ ÈÛfiÁÂÈÔ ÙÔ˘Î·È ÂÓÒÓÂÈ ÙËÓ Ô‰fi ∞η‰ËÌ›·˜ Ì ÙËÓ Ô‰fi ∫ÏÂÈÛfi‚˘, ‹Ù·Ó ÁÓˆÛÙ‹ˆ˜ ÙÔ ÃfiÏ˘ÁÔ˘ÓÙ Ù˘ ∞ı‹Ó·˜ ÌÈ· Î·È ·fi ÂΛ ÁÈÓfiÙ·Ó Ë ‰È·Î›ÓËÛËÙ Ó ÌÔÌ›ÓˆÓ Ù Ó ÎÈÓËÌ·ÙÔÁÚ·ÊÈÎÒÓ Ù·ÈÓÈÒÓ, ηıÒ˜ ÛÙÔ˘˜ ÔÚfi-ÊÔ˘˜ Ù˘ ÔÏ˘-ηÙÔÈΛ·˜ Î·È ÛÙË Á‡Úˆ ÂÚÈÔ¯‹ ÛÙÂÁ·˙fiÓÙÔ˘Û·ÓÔÏϤ˜ ÂÙ·ÈÚ›˜ ·Ú·ÁˆÁ‹˜ Ù·ÈÓÈÒÓ.¢›Ï· ÛÙËÓ ÔÏ˘Î·ÙÔÈΛ· ÙÔ˘ §˘Á›˙Ô˘ ‰È·ÎÚ›ÓÂÙ·È Ë ·Ó·Î·ÈÓÈṲ̂ÓËÛ‹ÌÂÚ· ηÙÔÈΛ· ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· ∂Ì. ∫ÚÈÂ˙‹ ÎÙÈṲ̂ÓË ÙÔ 1912.™ÙÔ˘˜ ÔÚfiÊÔ˘˜ Ù˘ fiˆ˜ Î·È ÛÙÔ˘˜ ÔÚfiÊÔ˘˜ Ù Ó ‰‡Ô ÎÙÈÚ› Ó Ô˘‰È·ÎÚ›ÓÔÓÙ·È ÛÙËÓ ·ÚÈÛÙÂÚ‹ ÁˆÓ›· Ù˘ ʈÙÔÁÚ·Ê›·˜ (ÙÔ ÁˆÓÈ·Îfi ÌÂÙËÓ ∞η‰ËÌ›·˜ Â›Ó·È Û‹ÌÂÚ· ηÙ‰·ÊÈṲ̂ÓÔ) ÛÙÂÁ¿˙ÔÓÙ·Ó ÊÚÔÓÙÈ-ÛÙ‹ÚÈ· Ù Ó ˘Ô„ËÊ› Ó ÁÈ· ÙÈ ·ÓÒٷ٘ Û¯ÔϤ˜.09-07-62

Although the first proposals for the construction of a squareat the current location of Kaningos Square were put forwardalready from 1847 onwards, the square was not completedbefore the end of the 19th century. It was called after theBritish grecophile and politician George G. Canning, whosebust was placed in the middle of the square in 1931. It wascreated by the British sculpturer Francis Legatt Chantray andstood out in the place.At the beginning of the 60’s the square was reconstructed with theintention to serve the large number of bus terminals which werethere already since the 50’s.Nowadays, after the construction of an underground parking andthe opening of the highway that crosses the square diagonically, itremains a square only by name.The photographer’s lense focuses on the nine-storeybuilding designed by arch. Yiannis Lygizos to be used as theMortgage Office.The building was constructed during the years 1955-57 andclearly expressed the architect’s theory about “junction” betweenthe beam and the pillar in using reinforced concrete. Its bigcolumns support four floors. On the top there is a copper marblemade from unplastered concrete. The ground floor of the building,and particularly the arcade that crosses the ground floor andconnects Akadimias Street with Klissovis Street, was known atthe Hollywood of Athens; it was a central exchange point for film-cassettes of movies, and also the surrounding area housed manymovie producing companies.Next to the apartment block of Lygizos the residence of architectEm. Kriezis is featured, nowadays refurbished, which was built in1912. On its floors and the floors of the two buildings seen in thephoto’s left corner (the building at the junction with AkadimiasStreet is now demolished) preparatory classes for Universityexams were housed. 09-07-62

ΔÔ ÎÙ›ÚÈÔ ÙÔ˘ ÃfiÏ˘ÁÔ˘ÓÙ- ¶Ï·Ù›·∫¿ÓÈÁÁÔ˜

The Hollywood building – KaningosSquare

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ΔÔ ÔÏ˘fiÚÔÊÔ ÎÙ›ÚÈÔ ÙÔ˘ √™∂ › Ù˘ Ô‰Ô‡ ∫·ÚfiÏÔ˘ Ï›ÁÔ ¿Óˆ·fi ÙËÓ Ï·Ù›· ∫·Ú·˚ÛοÎË ÙˆÓ ™ı¤ÓË ªÔÏʤÛË Î·È £‡ÌÈÔ˘¶··ÁÈ¿ÓÓË. √ ·Ú¯ÈÙÂÎÙÔÓÈÎfi˜ ‰È·ÁˆÓÈÛÌfi˜ ÁÈ· ÙÔ ÎÙ›ÚÈÔ ÛÙÔÛ˘ÁÎÂÎÚÈ̤ÓÔ ÔÈÎfiÂ‰Ô ÚÔÎËÚ‡¯ÙËΠÙÔ 1963 (ÙÔ 1958 ›¯ÂÚÔÎËÚ˘¯Ù› ¿ÏÏÔ˜ ‰È·ÁˆÓÈÛÌfi˜ ÁÈ· ¿ÏÏÔ ÔÈÎfiÂ‰Ô ÛÙË ÏˆÊfiÚÔ∫ˆÓÛÙ·ÓÙÈÓÔ˘fiψ˜ ÙÔÓ ÔÔ›Ô Â›¯·Ó Î·È ¿ÏÈ ÎÂÚ‰›ÛÂÈ ÔÈ ›‰ÈÔÈ·Ú¯ÈÙ¤ÎÙÔÓ˜). ΔÔ ÎÙ›ÚÈÔ ¤¯ÂÈ ‰ÈϤ˜ ÚÔÛfi„ÂȘ. ∂͈ÙÂÚÈο ʤÚÂÈ·ÓËÚÙË̤ÓÔ ¤Ù·ÛÌ· Ì ÂÚÛȉˆÙ¿ ÚÔÏ¿ ·ÏÔ˘ÌÈÓ›Ô˘ Ô˘ÚÔÛÙ·ÙÂ‡Ô˘Ó ·fi ÙÔÓ ‹ÏÈÔ. ™ÙÔ ˘fiÁÂÈÔ ¤¯ÂÈ Î·Ù·Û΢·ÛÙ›ÛÙ·ıÌfi˜ ·˘ÙÔÎÈÓ‹ÙˆÓ ÂÓÒ ÛÙÔ ÈÛfiÁÂÈÔ ¯ÒÚÔ˜ ÛÙ¿ıÌ¢Û˘ ÁÈ· ٷψÊÔÚ›· ÙÔ˘ √™∂. 4-10-72

The OSE multi-storey building on Karolou Street, a short distanceafter Karaiskaki Square, designed by Sthenis Molfessis andThymios Papayiannis. The architectural contest for the buildingon this plot of land was announced in 1963. (In 1958 anothercontest was announced for another plot of land onKonstantinoupoleos Avenue, which was also won by the samearchitects.) The building had double facades. On the outside, ithas a drape hung, with louvered aluminium sun protecting rolls.A car park is constructed in the basement and a bus terminal forOSE buses at ground floor level. 4-10-72

ΔÔ ÂÁηÈÓÈ·Ûı¤Ó Ó¤ÔÓ ÎÙ›ÚÈÔÓ ÙÔ˘√™∂

The inaugurated new building ofOSE

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“∂Ș ÙÔÓ ÙÔ̤· Î·È Ù˘ ‰ËÌÔÛ›·˜ ‰Ú·ÛÙËÚÈfiÙËÙ·˜ Ë ·ÓÔÈ-ÎÔ‰fiÌËÛË ÚÔۤϷ‚ÂÓ Ù·¯‡Ó Ú˘ıÌfiÓ ÌÂÙ¿ ÙËÓ ·ÂÏ¢-ı¤ÚˆÛÈÓ. ΔÔ Ó¤ÔÓ ÎÙ›ÚÈÔÓ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ∫ÔÈÓˆÓÈ΋˜¶ÚÔÓÔ›·˜ Ô˘ ·ÔÙÂÏ› ›Ù¢ÁÌ· Ù˘ ∫˘‚ÂÚÓ‹Ûˆ˜ Ù˘ÙÂÏÂ˘Ù·›·˜ 7 ÂÙ›·˜”.03-03-63

“Also in the sector of public activities the construction ofbuildings achieved high speed after the liberation. Thenew building of the Ministry of Social Welfare, which isone achievement of the Government during the last 7years” 03-03-63

ΔÔ ÀÔ˘ÚÁÂ›Ô ∫ÔÈÓˆÓÈ΋˜ ¶ÚfiÓÔÈ·˜,™ÙÔ˘ÚÓ¿Ú· Î·È ∞ÚÈÛÙÔÙ¤ÏÔ˘˜

Δhe Ministry of Social Welfare,Stournara Street and Aristotelous Str.

∏ ÚÔ˜ ÙËÓ Ô‰fi ∞Á›Ô˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ fi„Ë ÙÔ˘ ∂ıÓÈÎÔ‡£Â¿ÙÚÔ˘. ŒÚÁÔ ÙÔ˘ ΔÛ›ÏÏÂÚ, ÙÔ μ·ÛÈÏÈÎfi £¤·ÙÚÔ, ÙÔ 1924ÌÂÙÔÓÔÌ¿ÛıËΠ∂ıÓÈÎfi, ¿Ú¯ÈÛ ӷ ÎÙ›˙ÂÙ·È ÙÔ 1898 ÁÈ· Ó··ÔÂÚ·Ùˆı› ÙÔ ÊıÈÓfiˆÚÔ ÙÔ˘ 1901.™ÙÔ Û¯Â‰È·ÛÌfi Ù˘ Ì·ÎÚÈ¿˜ ÚÔ˜ ÙËÓ ∞Á. ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ fi„ËÙÔ˘ Ô ΔÛ›ÏÏÂÚ ¯ÚËÛÈÌÔÔ›ËÛ ˆ˜ ÚfiÙ˘Ô ÙËÓ ÎÈÔÓÔÛÙÔȯ›·Ù˘ ‚È‚ÏÈÔı‹Î˘ ÙÔ˘ ∞‰ÚÈ·ÓÔ‡ ÛÙË ƒˆÌ·˚΋ ∞ÁÔÚ¿.¶ÚÒÙÔ˜ ‰È¢ı˘ÓÙ‹˜ ÙÔ˘ Ô ÕÁÁÂÏÔ˜ μÏ¿¯Ô˜.™‹ÌÂÚ· ÙÔ ∂ıÓÈÎfi £¤·ÙÚÔ ·Ó·Î·ÈÓ›˙ÂÙ·È Î·È ·Ú¿ÏÏËÏ· ÔȯÒÚÔÈ ÛÙÔ ÂÛˆÙÂÚÈÎfi ÙÔ˘ ·Ôηı›ÛÙ·ÓÙ·È ÛÙËÓ ·Ú¯È΋ ÙÔ˘˜ÌÔÚÊ‹ Ì ÙËÓ ·Ôηı·›ÚÂÛË ÙˆÓ ÎÔÓÈ·Ì¿ÙˆÓ Ô˘ ›¯·Óηχ„ÂÈ ÙȘ ı·˘Ì¿ÛȘ ÙÔȯÔÁڷʛ˜ Î·È ÔÚÔÊÔÁڷʛ˜. ∏ÛÎËÓ‹ ÙÔ˘ ÊÈÏÔͤÓËÛ ٷ ÌÂÁ·Ï‡ÙÂÚ· ÔÓfiÌ·Ù· ÙÔ˘ ÂÏÏË-ÓÈÎÔ‡ ı¿ÙÚÔ˘.ª·˙› Ì ÙÔ ¢ËÌÔÙÈÎfi £¤·ÙÚÔ (ηÙ‰·ÊÈṲ̂ÓÔ Û‹ÌÂÚ·)˘‹ÚÍ·Ó Ù· ‰‡Ô ÛËÌ·ÓÙÈÎfiÙÂÚ· ı¤·ÙÚ· Ù˘ ÚˆÙÂ‡Ô˘Û·˜.

ΔÔ ∂ıÓÈÎfi £¤·ÙÚÔThe side of the National Theatre towards AgiouKonstantinou Street. Designed by the Bavarian architectErnst Ziller, the Royal Theatre, which was renamedNational Theatre in 1924, started to be built in 1898 andthe construction was completed by autumn 1901.In designing the long side towards Ag. Konstantinou, Zillerused the colonnade of the Adrianos’ Library in the RomanMarket as an example.Its first director was Angelos Vlachos.Nowadays the National Theatre is under restoration and theinterior is being restored to its original form, after cleaningup the elements that covered some marvellous wall andceiling paintings. Some of the biggest names of GreekTheatre have appeared on its stage. Together with the Municipal Theatre (nowadaysdemolished) these were the two most important theatres ofthe capital.

The National Theatre

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∂› Ù˘ Ô‰Ô‡ ¶·ÙËÛ› Ó, ·¤Ó·ÓÙÈ ·fi ÙÔ ∂ıÓÈÎfi ∞Ú¯·ÈÔÏÔÁÈÎfiªÔ˘ÛÂ›Ô Î·È ÙÔ ∂ıÓÈÎfi ªÂÙÛfi‚ÈÔ ¶ÔÏ˘Ù¯Ó›Ô, „ÒÓÂÙ·È ÙÔ ı·˘Ì¿ÛÈÔ,Û ڢıÌfi Art Nouveau ÎÙ›ÚÈÔ ÙÔ˘ ·Ú¯ÈÙ¤ÎÙÔÓ· ™.π. ª·ÁÈ¿ÛË.ΔÔ ÎÙ›ÚÈÔ ÎÙ›ÛÙËΠÛÙ· ¯ÚfiÓÈ· ÙÔ˘ ÌÂÛÔÔϤÌÔ˘ (1926-28) ηȷÂÙ¤ÏÂÛ ÛËÌÂ›Ô ·Ó·ÊÔÚ¿˜ ÁÈ· ÙËÓ fiÏË.™ÙË ‰ÂηÂÙ›· ÙÔ˘ 1960 ‰È·ÙËÚÔ‡Û ·ÎfiÌË ÙËÓ ÎÔÛÌÈ΋ ÙÔ˘ ·›ÁÏË.∞fi ÙËÓ Ù·Ú¿ÙÛ· ÙÔ˘, ·Ú·ÎÔÏÔ˘ıÔ‡Û·Ó ÔÈ Í¤ÓÔÈ Î·È ŒÏÏËÓ˜‰ËÌÔÛÈÔÁÚ¿ÊÔÈ Ù· ÈÛÙÔÚÈο ÁÂÁÔÓfiÙ· ÙÔ˘ ¶ÔÏ˘Ù¯Ó›Ԣ ÛÙÈ 17¡ÔÂÌ‚Ú›Ô˘ 1974.ΔÔ 1991 ÙÔ ÎÙ›ÚÈÔ ÎËÚ‡¯ıËΠ‰È·ÙËÚËÙ¤Ô Î·È ÛÙË Û˘Ó¤¯ÂÈ·ÂÎÎÂÓÒıËΠÁÈ· Ó· ·ÔηٷÛÙ·ı›.™‹ÌÂÚ· ÎÂÓfi ·ÎfiÌË ÂÚÈ̤ÓÂÈ Ó· ·ÔÊ·Û›ÛÂÈ ÙÔ ÀÔ˘ÚÁ›ԶÔÏÈÙÈÛÌÔ‡ ÛÙÔ ÔÔ›Ô ·Ó‹ÎÂÈ Ó· ÙÔ˘ ¯·Ú›ÛÂÈ ÌÈ· Ó¤· ¯Ú‹ÛË Î·È ÌÈ·Ó¤· ˙ˆ‹.

This marvellous building, designed by architect S. I. Magiassis, inArt Nouveau style, is erected on Patission Street, opposite theArchaeological Museum and the National Technical University.It was built during the inter war period (1926-28) and hasfunctioned as a landmark for the city.During the 60’s it still maintained its social glamour. From the roofof this building several foreign and Greek journalists watched thehistorical events in the Polytechneio on 17th November 1973.In 1991 the building was declared to be under preservation andimmediately after it| was evacuated so as to be refurbished.Today, still vacant, it is waiting for the Ministry of Civilisation, towhich it belongs, to decide to offer it another chance for a new life.

ΔÔ ÍÂÓÔ‰Ô¯Â›Ô ∞ÎÚÔfiÏ ¶·ÏÏ¿˜

The Acropol Palace Hotel

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“ΔÔ ÂÁηÈÓÈ·Ûı¤Ó ÎÙ›ÚÈÔÓ ÙÔ˘ ¡¤Ô˘ƒ˘ıÌÈÛÙÈÎÔ‡ ∫¤ÓÙÚÔ˘ ∞ıËÓÒӢȷÚÎÔ‡˜ ∂ÊËÌÂÚ›·˜” ∞ÌÂÏfiÎËÔÈ

“The inaugurated building of theNew Rythmistiko Kentro (Hospital)in Athens of Continuous EmergencyDuty” Ampelokipoi

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ΔÔ ÍÂÓÔ‰Ô¯Â›Ô Mont Parnes ¿Ú¯ÈÛ ӷ ÎÙ›˙ÂÙ·È ÛÙ· Ù¤ÏË Ù˘‰ÂηÂÙ›·˜ ÙÔ˘ 1950 Î·È ÔÏÔÎÏËÚÒıËΠÛÙȘ ·Ú¯¤˜ Ù˘ÂfiÌÂÓ˘.ŒÚÁÔ ÙÔ˘ ηıËÁËÙ‹ Î·È ·Î·‰ËÌ·˚ÎÔ‡ ¶. ª˘ÏˆÓ¿ ÚÔοÏÂÛÂÔÏÏ¿ Û¯fiÏÈ· ÙfiÛÔ Î·Ù¿ ÙÔ ÛÙ¿‰ÈÔ Ù˘ ηٷÛ΢‹˜ ÙÔ˘, fiÛÔÎ·È ÌÂÙ¿ ÙËÓ ·ÔÂÚ¿ÙˆÛË ÙÔ˘. ΔÔ ÍÂÓÔ‰Ô¯Â›Ô ÂÁηÈÓÈ¿ÛÙËÎÂÌ ÌÂÁ¿ÏË ÂÈÛËÌfiÙËÙ· ÙÔÓ πÔ‡ÓÈÔ ÙÔ˘ 1961.¶·Ú’ fiÏÔ fiÙÈ ·ÔÙÂÏ› ÌÈ·˜ ÌÂÁ¿Ï˘ Îϛ̷η˜ Û‡ÓıÂÛˤÁÈÓ ȉȷ›ÙÂÚË ÚÔÛ¿ıÂÈ· ·fi ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· ÒÛÙÂÓ· ÂÓÙ·¯ı› fiÛÔ ÈÔ ·ÓÒ‰˘Ó· ÁÈÓfiÙ·Ó ÛÙÔ ÂÚÈ‚¿ÏÏÔÓ.π‰È·›ÙÂÚË ÂÓÙ‡ˆÛË ÚÔοÏÂÛ·Ó Ô ¯ÒÚÔ˜ ˘Ô‰Ô¯‹˜ ÙÔ˘ ηÈ΢ڛˆ˜ ÙÔ ˘‰Ú·›ÈÎÔ Û·ÏfiÓÈ Ì ÛÙÔȯ›· ·fi Ù’ ·Ú¯ÔÓÙÈο∫Ô˘ÓÙÔ˘ÚÈÒÙË, μÔ‡ÏÁ·ÚË, °Î›Î· Î·È ª›ÙÛÔ˘ ηıÒ˜ Î·È ÙÔ‚ÔÚÂÈÔÂÏÏ·‰›ÙÈÎÔ Û·ÏfiÓÈ ÂÌÓ¢Ṳ̂ÓÔ ·fi ÙÔÓ Î·ÏfiÓ ÔÓÙ¿ÙÔ˘ ·Ú¯ÔÓÙÈÎÔ‡ ÙÔ˘ ™‚·ÚÙ˜ ÛÙ’ ∞ÌÂÏ¿ÎÈ·.°È· ÙËÓ ÙÂÏÈ΋ ÂÈÎfiÓ· ÙÔ˘ ÍÂÓÔ‰Ô¯Â›Ô˘ ÙË ‰È·ÎfiÛÌËÛË Î·ÈÙËÓ Â›ÏˆÛË ÙÔ˘, Û˘ÓÂÚÁ¿ÛÙËΠÌÈ· ÏÂÈ¿‰· ·Ú¯ÈÙÂÎÙfiÓˆÓÎ·È Î·ÏÏÈÙ¯ÓÒÓ fiˆ˜ ÔÈ ™‡ÚÔ˜ μ·ÛÈÏ›Ԣ, °ÈÒÚÁÔ˜ª·˘ÚÔ˚‰‹˜, °È¿ÓÓ˘ ªfiÚ·Ï˘, ¡›ÎÔ˜ ¡ÈÎÔÏ¿Ô˘, ∂˘Á¤ÓÈÔ˜™·ı¿Ú˘, ¶·Ó·ÁÈÒÙ˘ Δ¤ÙÛ˘ Î·È ¿ÏÏÔÈ.™ÙË ÊˆÙÔÁÚ·Ê›· Ë Ù¤Ú˘Á· ÙˆÓ ‰ˆÌ·Ù›ˆÓ. 1958-61

•ÂÓÔ‰Ô¯Â›Ô Mont ParnesThe Mont Parnasse Hotel started to be built at the end ofthe 50’s and was completed at the beginning of the nextdecade.Designed by professor and member of the Academy P.Mylonas, it caused a lot of discussions during itsconstruction and after its completion. The hotel wasinaugurated with a lot of ceremony in June 1961.Although it is a large- scale composition, the architectmade a great deal of effort to integrate it with theenvironment as much as possible. Some of its aspects arevery impressive, such as the Foyer and especially theHydra Lounge, with elements from the residences ofKountouriotes, Voulgaris, Gigas and Bitsos, but also theNorthern Greece Lounge, inspired by the welcome hall ofthe Schwarz residence in Abelakia.A team of architects and artists has co-operated for thefinal details of the hotel, including decoration and furniture,such as Spyros Vassileiou, Giorgos Mavroidis, YiannisMoralis, Nikos Nikolaou, Eugene Spatharis, PanagiotisTetsis and others.On the photo the wing of the rooms. 1958-61

Hotel Mont Parnasse

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™Â ÚÒÙÔ Ï¿ÓÔ Ë ÈÛ›Ó·, ۯ‰ȷṲ̂ÓË ·fi ÙÔ ¡ÈÎÔÏ‹ ÷Ù˙Ë΢ÚÈ¿ÎÔ – °Î›Î·Î·È Ë ÂÏÔ‡˙ Ì ÙÔ Áη˙fiÓ. ¶ÈÔ ›Ûˆ Ê·›ÓÂÙ·È Ë Ù·Ú¿ÙÛ· ÙÔ˘ ÂÛÙÈ·ÙÔÚ›Ô˘ ηÈÛÙÔ ‚¿ıÔ˜ ÙÔ Ó˘ÎÙÂÚÈÓfi ΤÓÙÚÔ ÎÙÈṲ̂ÓÔ Û ‰‡Ô ›‰·.∏ ÎÔ›ÏË ÔÚÔÊ‹ ÙÔ˘ Û˘Ó¯›˙ÂÙ·È Û·Ó Úfi‚ÔÏÔ˜ ÚÔ˜ Ù· ¤Í ÙÚ˘Ë̤ÓÔ˜ ·fiÌÂÁ¿Ï˜ ¯ˆÓÂ˘Ù¤˜ ΢ÎÏÈΤ˜ Ï·ÊÔÓȤÚ˜ Î·È Ûο˙ÂÈ ÙË ÌÂÁ¿ÏË Î˘ÎÏÈ΋‚ÂÚ¿ÓÙ· ÌÂÏ‚ÂÓÙ¤ÚÂ, Ô˘ ÚÔ‚¿ÏÂÈ ¿Óˆ ·’ ÙË ¯·Ú¿‰Ú·. ¢˘ÛÙ˘¯Ò˜ ÙÔÓ˘ÎÙÂÚÈÓfi ΤÓÙÚÔ Î·Ù·ÛÙÚ¿ÊËΠ·fi ÙÔÓ ÙÂÏÂ˘Ù·›Ô ÛÂÈÛÌfi Ù˘ ¶¿ÚÓËı·˜.ΔÔ ÍÂÓÔ‰Ô Â›Ô, Ô˘ Û‹ÌÂÚ· ÊÈÏÔÍÂÓ› ÙÔ Î·˙›ÓÔ Ù˘ ¶¿ÚÓËı·˜ ÎÚ›ıËΠˆ˜‰È·ÙËÚËÙ¤Ô ·fi ÙÔ ∫ÂÓÙÚÈÎfi ™˘Ì‚Ô‡ÏÈÔ ¡ÂÔÙ¤ÚˆÓ ªÓËÌ› Ó Î·È Û‡ÓÙÔÌ· ı··ÔηٷÛÙ·ı› ÛÙËÓ ·ÏÈ¿ ÙÔ˘ ÌÔÚÊ‹, ÂÓÒ ·Ú¿ÏÏËÏ· ı· ÂÂÎÙ·ı› ÚÔ˜ Ù·›Ûˆ ÒÛÙ ӷ Â͢ËÚÂÙ› ÙÈ Û‡Á¯ÚÔÓ˜ ·Ó¿ÁΘ.

At the forefront the swimming pool, designed by Nikoli Chatzikyriakos-Gigas, and the grass pelouge. Behind it we see the roof of the restaurantand further back the night club, built in two levels.Its curved roof continues projecting to the front, with large circularplafonds, and covers the large, circular, veranda-style belvedere thathangs over the abyss. Unfortunately the night club was destroyed by therecent earthquake in Parnitha mountain.The hotel, which today houses the Parnitha Casino, was declared to beunder preservation by the Central Board of Newer Monuments and willsoon be restored to its old form, and will also be extended towards therear to be able to serve the current needs.

ÕÔ„Ë ÙÔ˘ Mont Parnes Ì ı¤·ÙÔ ÏÂηÓÔ¤‰ÈÔ Ù˘ ∞ÙÙÈ΋˜

A view of Mont Parnasseoverlooking the area of Athens

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μÚ›ÛÎÂÙ·È Â› Ù˘ Ô‰Ô‡ ¶. ∫˘ÚÈ·ÎÔ‡ ·¤Ó·ÓÙÈ ·fi ÙÔ ª·ÈÂ˘Ù‹ÚÈÔŒÏÂÓ·. ΔÔ ÎÙ›ÚÈÔ Ú¤ÂÈ Ó· ÎÙ›ÛÙËΠÛÙȘ ·Ú¯¤˜ ÙÔ˘ 20Ô˘ ·ÈÒÓ· ηÈÂ›Ó·È ¯·Ú·ÎÙËÚÈÛÙÈÎfi ‰Â›ÁÌ· ‰È‰·ÎÙËÚ›Ô˘ Ù˘ ÂÚÈfi‰Ô˘ Ô˘·ÎÔÏÔ˘ı› ÙÔ ÓÂÔÎÏ·ÛÈÎÈÛÌfi Î·È ÙÔ˘˜ Ù‡Ô˘˜ ∫·ÏÏ›· (Ù· ÁÓˆÛÙ¿ˆ˜ Û¯ÔÏ›· ™˘ÁÁÚÔ‡).¶·ÚfiÌÔÈ·˜ ÌÔÚÊ‹˜ ‰È‰·ÎÙ‹ÚÈ· Ê·ÓÂÚ¿ ÂËÚ·Ṳ̂ӷ ·fi ·ÓÙ›ÛÙÔȯ·ÁÂÚÌ·ÓÈο ˘Ô‰Â›ÁÌ·Ù· Ì ÙÔÓÈṲ̂ӷ Ù· ¯·ÌËÏ‹˜ Î·Ì˘ÏfiÙËÙ·˜·ÓÒÊÏÈ· ÙˆÓ ·ÓÔÈÁÌ¿ÙˆÓ ¿Ú¯ÈÛ·Ó Ó· ÎÙ›˙ÔÓÙ·È ÙËÓ ÂÚ›Ô‰Ô Ô˘˘ËÚÂÙÔ‡Û·Ó ÛÙË Δ¯ÓÈ΋ ˘ËÚÂÛ›· ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ¶·È‰Â›·˜ÔÈ ¡. ™Ô‡ÚÛÔ˜ Î·È °. ™Ô‡Ï˘.

It is located on P. Kyriakou Street opposite the Elena MaternityHospital. The building must have been constructed in the beginning ofthe 20th century and it is a characteristic example of the schoolinstitutions of that period, following a neoclassical style and thestandards of Kallias (the schools known as Syngrou Schools).Several school buildings, obviously influenced by relevant Germanexamples, with emphasis on low-curved lintels of the openings,started to be constructed during the period when N. Soursos andG. Soulis were employed at the Technical Department of theMinistry of Education.

™Â‚·ÛÙÔÔ‡ÏÂÈÔ˜ Δ¯ÓÈ΋ ™¯ÔÏ‹ Sevastopouleios TechnicalSchool

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◊‰Ë ·fi ÙË ‰ÂηÂÙ›· ÙÔ˘ 1910, ÙÔ ∞ÚÛ¿ÎÂÈÔ ∞ıËÓÒÓ ‰ÂÓ Â·ÚÎÔ‡Û ȷÁÈ· Ó· ÂÚÈÏ¿‚ÂÈ ÙÔÓ ÔÏÔ¤Ó· ·˘Í·ÓfiÌÂÓÔ ·ÚÈıÌfi Ù Ó Ì·ıËÙÚÈÒÓ ÙÔ˘.ŒÙÛÈ, ÛÙȘ ·Ú¯¤˜ ÙÔ˘ 1930 Ë ºÈÏÂÎ·È‰Â˘ÙÈ΋ ∂Ù·ÈÚ›· ·Ó·ı¤ÙÂÈ ÛÙÔÓ·Ú¯ÈÙ¤ÎÙÔÓ· ∞. ∫ÚÈÂ˙‹ ÙÔ Û¯Â‰È·ÛÌfi ÙÔ˘ Ó¤Ô˘ ÙÔ˘ Û¯ÔÏÈÎÔ‡ Û˘ÁÎÚÔÙ‹Ì·ÙÔ˜,Û ÔÈÎfiÂ‰Ô Ô˘ ›¯Â ·ÁÔÚ¿ÛÂÈ ÙÔ 1927 ÛÙÔ ¶·Ï·Èfi æ˘¯ÈÎfi.√ ∫ÚÈÂ˙‹˜ ÎÙ›˙ÂÈ ¤Ó· Û‡Á¯ÚÔÓÔ Û¯ÔÏÈÎfi Û˘ÁÎÚfiÙËÌ· Ô˘ ÂÚÈÂÏ¿Ì‚·ÓÂÛ¯ÔÏ›Ô, ÔÈÎÔÙÚÔÊ›Ô, Á˘ÌÓ·ÛÙ‹ÚÈÔ, ÛÙ›‚Ô, Ó·fi ÎÏ Û‡Ìʈӷ Ì ÙȘۇÁ¯ÚÔÓ˜ ÚԉȷÁڷʤ˜ Î·È Ì ÌÔÓÙ¤ÚÓ· ·Ú¯ÈÙÂÎÙÔÓÈ΋ ıÂÒÚËÛË. ΔÔ ÎÙ›-ÚÈÔ ÂÁηÈÓÈ¿ÛÙËΠÙÔ 1933.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· Â›Ó·È Ï›ÁÔ ÌÂÙ·ÁÂÓ¤ÛÙÂÚË.™Â ÚÒÙÔ Ï¿ÓÔ ‰È·ÎÚ›ÓÂÙ·È Ë Â›ÛÔ‰Ô˜ Î·È Ô ÎÂÓÙÚÈÎfi˜ ‰ÚfiÌÔ˜ Ô˘ Ô‰ËÁ›ÛÙÔ ÛÙ›‚Ô Î·È ÙÔ ÎÂÓÙÚÈÎfi ÎÙ›ÚÈÔ ÙˆÓ Û¯ÔÏ›ˆÓ. ¢ÂÍÈ¿ Ô Ó·fi˜ Ù˘ ∞Á›·˜∞Ó·ÛÙ·Û›·˜ Î·È ·ÚÈÛÙÂÚ¿ ÙÔ Á˘ÌÓ·ÛÙ‹ÚÈÔ.°‡Úˆ ·fi ÙÔÓ ÂÚ›‚ÔÏÔ ÙÔ˘ ∞Ú۷ΛԢ ÔÈ Â·‡ÏÂÈ Ù Ó ÚÒÙ Ó ÔÈÎÈÛÙÒÓÙÔ˘ ¶·Ï·ÈÔ‡ æ˘¯ÈÎÔ‡. ÕÏϘ ·ÎÔÏÔ˘ıÔ‡Ó ÙËÓ ÁÚ·ÊÈ΋ ·Ú¯ÈÙÂÎÙÔÓÈ΋ ηÈÙÔÓ ÂÎÏÂÎÙÈÛÌfi ÎÈ’ ¿ÏϘ ÙËÓ ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÙÔ˘ ÌÔÓÙ¤ÚÓÔ˘ ÎÈÓ‹Ì·ÙÔ˜ Ô˘ÂΛÓË ÙËÓ ÂÔ¯‹ ¤Î·Ó ٷ ÚÒÙ· Ù˘ ‚‹Ì·Ù· ÛÙËÓ ∂ÏÏ¿‰·.

Already since the decade of 1910 the Arsakeio in Athens was incapableto facilitate the increasing number of its students.So in the beginning of the 30’s the Filekpaideutiki Etaireia assignedarchitect A. Kriezis with the project of designing a new school, on apiece of land in Old Psychiko already purchased in 1927.Kriezis built a modern school complex, which included a school, aboarding-house, a sports facility, a running track, a church, etc.,according to the requirements of the time and with a modernarchitectural perspective. The building was inaugurated in 1933.This photo must have been taken somewhat later.In the forefront the entrance and the central road leading to the runningtrack and the central building of the schools. To the right Ag. AnastassiaChurch and to the left the sports facility.Around the enclosure of the Arsakeio the residences of the firstinhabitants of Old Psychiko. Some of these follow a picturesquearchitectural style and eclecticism and some others follow thearchitectural style of the modern movement, which was just taking itsfirst steps in Greece at the time.

ΔÔ ∞ÚÛ¿ÎÂÈÔ æ˘¯ÈÎÔ‡ The Arsakeio of Psychiko

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A T H E N S198

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ΔÔ ∂ıÓÈÎfi ªÂÙÛfi‚ÈÔ ¶ÔÏ˘Ù¯Ó›Ô, ÙÔ ÌÂÁ¿ÏÔ ÓÂÔÎÏ·ÛÈÎfi Û˘ÁÎÚfiÙËÌ· Ô˘ÎÙ›ÛÙËΠÛÙ· ̤۷ ÙÔ˘ 19Ô˘ ·ÈÒÓ· ·fi ÙÔÓ ·Ú¯ÈÙ¤ÎÙÔÓ· §˘Û. ∫·˘Ù·-ÓÙ˙fiÁÏÔ˘ ÛÙÔ ÔÈÎÔ‰ÔÌÈÎfi ÙÂÙÚ¿ÁˆÓÔ ÌÂٷ͇ ÙˆÓ Ô‰ÒÓ ¶·ÙËÛ›ˆÓ,™ÙÔ˘ÚÓ¿ÚË, ªÔ˘ÌÔ˘Ï›Ó·˜ Î·È ΔÔÛ›ÙÛ·, ·ÔÙÂÏ› ÙÔ ÚÒÙÔ Ù¯ÓÔÏÔÁÈÎfi›‰Ú˘Ì· Ù˘ ¯ÒÚ·˜.™ÙË ÊˆÙÔÁÚ·Ê›·, Ô˘ ÙÚ·‚‹¯ÙËΠÙÔ 1954, ‰È·ÎÚ›ÓÔÓÙ·È Û ÚÒÙÔÏ¿ÓÔ ÔÈ ‰‡Ô ÌÚÔÛÙÈÓ¤˜ ¯·ÌËϤ˜ ÌÔÓfiÚÔʘ Ù¤Ú˘Á˜ ‰ˆÚÈÎÔ‡ Ú˘ı-ÌÔ‡ Î·È ÛÙÔ ‚¿ıÔ˜ ÙÔ ÎÂÓÙÚÈÎfi ÎÙ›ÚÈÔ, ÙÔ ∞‚ÂÚÒÊÂÈÔ, fiˆ˜ ÔÓÔÌ¿˙ÂÙ·È·fi Ù’ fiÓÔÌ· ÙÔ˘ ÌÂÁ¿ÏÔ˘ ¢ÂÚÁ¤ÙË °. ∞‚¤ÚˆÊ Ô˘ ÚÔÛ¤ÊÂÚ ٷ¯Ú‹Ì·Ù· ÁÈ· ÙËÓ ·Ó¤ÁÂÚÛË ÙÔ˘.ΔÔ ∞‚ÂÚÒÊÂÈÔ ÂÚ·ÙÒıËΠÙÔ 1876.∏ ·ÚÈÛÙÂÚ‹ ¯·ÌËÏ‹ Ù¤Ú˘Á· ÛÙ¤Á·˙ ÁÈ· ¯ÚfiÓÈ· ÙË Û¯ÔÏ‹ ∫·ÏÒÓ Δ¯ÓÒÓÂÓÒ ÙÔ ÎÂÓÙÚÈÎfi ÎÙ›ÚÈÔ ÌÂÙ¿ ÙËÓ ·Ó¤ÁÂÚÛË Ù Ó Ó¤ˆÓ ÎÙÈÚ› Ó ·Ú¯Èο › Ù˘ԉԇ ™ÙÔ˘ÚÓ¿ÚË (ÎÙ›ÚÈÔ °Î›ÓË) Î·È ÛÙË Û˘Ó¤¯ÂÈ· › ÙˆÓ Ô‰ÒÓªÔ˘ÌÔ˘Ï›Ó·˜ Î·È ΔÔÛ›ÙÛ· ÛÙ¤Á·˙Â Î·È ÛÙÂÁ¿˙ÂÈ ÙË ™¯ÔÏ‹ ∞Ú¯ÈÙÂÎÙfiÓˆÓ.™ÙÔ ‚¿ıÔ˜ ‰ÂÍÈ¿, › Ù˘ Ô‰Ô‡ ™ÙÔ˘ÚÓ¿ÚË, ‰È·ÎÚ›ÓÂÙ·È ¤Ó·Ì¤ÙˆÔ ÓÂÔÎÏ·ÛÈÎÒÓ Î·È ÂÎÏÂÎÙ ÈÛÙ ÈÎÒÓ ÎÙ ÈÚ›ˆÓ ηÙ‰·ÊÈ -ÛÌ¤ÓˆÓ fiÏˆÓ Û‹ÌÂÚ·.

The National Metsovio Technical University, a big neoclassicalcomposition, constructed in the middle of the 19th century byarchitect Lys. Kaftantzoglou in the space between PatissionStreet, Stournari Street, Bouboulinas Street and Tossitsa Street,is the first technological institution of the country.On the photo, taken in 1954, we see in the forefront the twofrontal, low, one-floor wings in Dorian style and further back thecentral building, called Averofeio, named after the grandbenefactor who donated the funds for it to be erected.The Averofeio was completed in 1876.The left lower wing hosted the University of Fine Arts for manyyears, whilst the central building, after the construction of thenew buildings, first on Stournari Street (Ginis building) and thenon Bouboulinas Street and Tossitsas Street, hosted and stillhosts the Architectural University. On the right side of the photo,on Stournari Street, we see a row of neoclassical and eclectisticbuildings, all demolished by now.

ΔÔ ∂ıÓÈÎfi ªÂÙÛfi‚ÈÔ ¶ÔÏ˘Ù¯ÓÂ›Ô The National Metsovio TechnicalUniversity (NTUA)

B U I L D I N G S

A T H E N S 199

A T H E N S200

∫ Δ π ƒ π ∞

ΔÔ ∂ıÓÈÎfi º·Ú̷΢ÙÈÎfi ÃËÌÂ›Ô ıÂÌÂÏÈÒıËΠÙÔ Î·ÏÔη›ÚÈÙÔ˘ 1887 ¿Óˆ Û ۯ¤‰È· ÙÔ˘ ΔÛ›ÏÏÂÚ.ΔÔ ÎÙ›ÚÈÔ ·Ú¯Èο ‰ÈÒÚÔÊÔ Î·Ï‡ÙÂÈ ÔÏfiÎÏËÚÔ ÙÔ ÔÈÎÔ‰ÔÌÈÎfiÙÂÙÚ¿ÁˆÓÔ ÌÂٷ͇ ÙˆÓ Ô‰ÒÓ ™fiψÓÔ˜, ª·˘ÚÔÌȯ¿ÏË,¡·˘·Ú›ÓÔ˘ Î·È Ã·Ú. ΔÚÈÎÔ‡Ë Ì ÙËÓ ÎÂÓÙÚÈ΋ ›ÛÔ‰Ô ·fiÙËÓ Ô‰fi ™fiψÓÔ˜.ŒÓ· ÌÂÁ¿ÏÔ ÎÏÈÌ·ÎÔÛÙ¿ÛÈÔ Ô˘ ÍÂÎÈÓ¿ ·’ ¢ı›·˜ ·fi ÙÔÂ˙Ô‰ÚfiÌÈÔ Ù˘ Ô‰Ô‡ ™fiψÓÔ˜ Ô‰ËÁ› ÛÙÔ ÎÂÓÙÚÈÎfi ΈÓÈÎfiÚfi˘ÏÔ.ΔÔ 1910 ÌÂÁ¿ÏÔ Ì¤ÚÔ˜ ÙÔ˘ ÎÙÈÚ›Ô˘ ηٷÛÙÚ¿ÊËΠ·fi ˘Ú-ηÁÈ¿. ∞̤ۈ˜ ‡ÛÙÂÚ· ·ÔηٷÛÙ¿ıËΠ·fi ÙÔÓ Ì·ıËÙ‹ ÙÔ˘ΔÛ›ÏÏÂÚ, ¶. ∫·Ú·ı·Ó·ÛfiÔ˘ÏÔ. ΔfiÙ ÚÔÛÙ¤ıËÎÂ Ô ÙÚ›ÙÔ˜fiÚÔÊÔ˜. ™ÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ÃËÌ›Ԣ ÛÙÂÁ¿ÛÙËÎ·Ó Î·Ù¿ ηÈÚÔ‡˜ÙÔ ∂ıÓÈÎfi ÃËÌÂ›Ô Î·È ÙÔ °ÂÓÈÎfi ÃËÌÂ›Ô ÙÔ˘ ∫Ú¿ÙÔ˘˜,ÙÔ ∂ıÓÈÎfi °Ú·ÊÂ›Ô ª¤ÙÚˆÓ Î·È ™Ù·ıÌÒÓ, Ë °Âˆ‰·ÈÙÈ΋∂ÈÙÚÔ‹, Ë £·Ï·ÛÛÔÁÚ·ÊÈ΋ ∂Ù·ÈÚ›·, Ë º˘ÛÈÔ‰ÈÊÈ΋∂Ù·ÈÚ›·, ÙÔ μÔÙ·ÓÈÎfi ªÔ˘ÛÂ›Ô Î·È Ë ∂ÏÏËÓÈ΋ ∞ÛÙÚÔÓ·˘ÙÈ΋∂Ù·ÈÚ›·. ™ÙÔ˘˜ ¯ÒÚÔ˘˜ ÙÔ˘, ÏÂÈÙÔ‡ÚÁËÛ ÙÔ ÚÒÙÔ¶·ÓÂÈÛÙËÌÈ·Îfi √ÈÓÔÔÈÂ›Ô Î·È Ë ÚÒÙË ÁÂÓÓ‹ÙÚÈ· ·ÎÙÈÓÒÓRoentgen ÙÔ 1897.ªÂ ÙÔ ÛÙ·ıÌfi ·Û˘ÚÌ¿ÙÔ˘ ÙÔ˘ ÃËÌ›Ԣ ÂÈÙ‡¯ıËÎÂ Ë Â·Ê‹Ì ٷ ÛÙÚ·Ù‡̷ٷ Ì·˜ ÛÙË ªÈÎÚ¿ ∞Û›· (1919-22) ÂÓÒ ÔÚ·‰ÈÔʈÓÈÎfi˜ ÛÙ·ıÌfi˜ Ô˘ ‚Ú›ÛÎÂÙ·È ·ÎfiÌË ÛÙÔ ˘fiÁÂÈÔ ÙÔ˘ÌÂÁ¿ÚÔ˘ ÌÂÙ¤‰ˆÛ ÚÒÙÔ˜ ÙÔ Ì‹Ó˘Ì· Ù˘ ·ÂÏ¢ı¤ÚˆÛ˘·fi ÙÔ˘˜ °ÂÚÌ·ÓÔ‡˜.™‹ÌÂÚ· ÌÂÙ¿ ·fi ·ÚÎÂÙ¿ ¯ÚfiÓÈ· Ô˘ ·Ú¤ÌÂÈÓ ÎÂÓfi ÙÔ ÎÙ›-ÚÈÔ ·Ôηı›ÛٷٷÈ. ∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù›ÙË ‰ÂηÂÙ›· ÙÔ˘ ‘50 fiÙ·Ó ÙÔ ÃËÌÂ›Ô ÏÂÈÙÔ˘ÚÁÔ‡Û ηÓÔÓÈο.™ÙËÓ ¿ÎÚË ·ÚÈÛÙÂÚ¿, › Ù˘ Ô‰Ô‡ ÷Ú. ΔÚÈÎÔ‡Ë ‰È·ÎÚ›ÓÂÙ·È·ÎfiÌË ·Î¤Ú·ÈÔ ¤Ó· ÌÈÎÚfi ‰ÈÒÚÔÊÔ ÓÂÔÎÏ·ÛÈÎfi.

ΔÔ ∂ıÓÈÎfi º·Ú̷΢ÙÈÎfi ÃËÌ›Ô

The National Pharmaceutical Chemistry Building(Chimeio) was founded based on designs by the Bavarianarchitect Ernst Ziller in 1887.Originally the building had two floors; it covers the entirespace between the Streets Solonos, Mavromichali,Navarinou and Charilaou Trikoupi, and its central entranceis on Solonos Street.A large staircase, starting directly from the pavement ofSolonos Street, leads to the central, Ionian style front gate.In 1910 a large part of the building was destroyed by fire.It was immediately restored by P. Karathanassopoulos, oneof Ziller’s students. Then the third floor was added. Indifferent periods the building has housed the NationalChemistry Institute and the General Chemical Laboratoryof the State, the National Bureau des Poids et Measures, theGeodetic Committee, the Oceanographic Company, thePhysiodiphic Company, the Botanical Museum and theHellenic Astronautical Company. It also hosted the firstUniversity Winery and the first generator of X-rays in1897.The wireless radio station of the Chimeio facilitated contactwith our troops in Minor Asia (1919-1922), and the radiostation, which was the first to announce the liberation fromthe Germans, is still maintained in the building’s basement.Nowadays, after several years of vacancy, the building isunder restoration. The photo must have been taken duringthe 50’s when the Chimeio functioned properly. On the leftside, on Char. Trikoupi Street, we see a small two-storeyneoclassical building, still intact.

The National PharmaceuticalChemistry Building

A T H E N S 201

B U I L D I N G S

∫ Δ π ƒ π ∞

A T H E N S202

∏ ¶∞™¶∂ ȉڇıËΠÙÔ 1930 Ì ÎÏËÚÔ‰fiÙËÌ· ÙÔ˘∞ϤͷӉÚÔ˘ ¶¿ÓÙÔ˘ Î·È ¿Ú¯ÈÛ ӷ ÏÂÈÙÔ˘ÚÁ› ÙÔ 1931 ηٿÙÔ ÚfiÙ˘Ô Ù˘ ∂cole Libre des Sciences Politiques.Δo ÎÂÓÙÚÈÎfi ÎÙ›ÚÈÔ ıÂÌÂÏÈÒıËΠÙÔ 1927 ·fi ÙÔÓ ÙfiÙÂÚfi‰ÚÔ Ù˘ ¢ËÌÔÎÚ·Ù›·˜ ¶·‡ÏÔ ∫Ô˘ÓÙÔ˘ÚÈÒÙË Î·È·ÔÂÚ·ÙÒıËΠÙÚ›· ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ·.¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ÎÙ›ÚÈÔ Ô˘ ·ÎÔÏÔ˘ı› ÙȘ ·Ú¯¤˜ ÙÔ˘ÌÔÓÙ¤ÚÓÔ˘ ÎÏ·ÛÈÎÈÛÌÔ‡, Û˘ÌÌÂÙÚÈÎfi, ÏÈÙfi Ì ¤Ó· ÌÂÁ¿ÏÔÚfi˘ÏÔ Ì ÌÔÚÊ‹ ÛÙÔ¿˜.§ÂÈÙÔ‡ÚÁËÛ ˆ˜ ȉȈÙÈ΋ Û¯ÔÏ‹ ̤¯ÚÈ ÙÔ 1937, ÔfiÙ·ӷÁÓˆÚ›ÛÙËΠˆ˜ ‰ËÌfiÛÈ· ·ÓÒÙ·ÙË Û¯ÔÏ‹.ΔÔ 1967 ÎÙ›ÛÙËΠÙÔ Ó¤Ô ÎÙ›ÚÈÔ Ù˘ ¶·ÓÙ›Ԣ ·fi ÙÔÓ·Ú¯ÈÙ¤ÎÙÔÓ· ƒ¤ÓÓÔ ∫Ô˘ÙÛÔ‡ÚË. ΔÔ ÎÙ›ÚÈÔ Î·Ù·Û΢¿ÛÙËηfi ÔÏÈṲ̂ÓÔ Û΢Úfi‰ÂÌ· Ì ÚÔÂÓÙÂٷ̤ӷ Ï·›ÛÈ·.√È Î·Ù¿ Ï¿ÙÔ˜ fi„ÂȘ Â›Ó·È ÙÂÏ›ˆ˜ ÎÏÂÈÛÙ¤˜, ÂÓÒ ÔÈοıÂÙ˜ ÛÙË ÏˆÊfiÚÔ ™˘ÁÁÚÔ‡ Â›Ó·È ÙÂÏ›ˆ˜ ·ÓÔÈÎÙ¤˜ÛÙÔ Êˆ˜ (ÌÂÙ·ÏÏÈÎÔ› ÛÎÂÏÂÙÔ› Ì ˘·ÏԛӷΘ‰È·Ê·Ó›˜ Î·È ·‰È·Ê·Ó›˜).∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÏËÊı› ·Ì¤Ûˆ˜ ÌÂÙ¿ Ù·ÂÁη›ÓÈ· Ù˘ Ó¤·˜ Ù¤Ú˘Á·˜. 1970

¶¿ÓÙÂÈÔ˜ ∞ÓˆÙ¿ÙË ™¯ÔÏ‹ ¶ÔÏÈÙÈÎÒÓ∂ÈÛÙËÌÒÓ

The Panteios was established in 1930 with the funds ofAlexandros Pantos and started to operate in 1931 inaccordance with the standards of the Ecole Libre desSciences Politiques.In 1927 Pavlos Kountouriotis, who was President of theRepublic, laid the founding stone of the central building,and it was completed three years later.This is a building following the style of modern classicism,symmetrical, plain, with a large forefront in the shape of anarcade.Until 1937 it functioned as a private school, and afterwardsit was acknowledged as a public Higher College.In 1967 the new building was constructed by architectRennos Koutsouris. It was constructed from reinforcedconcrete with intensified frames. The wide sides arecompletely closed, but the sides vertical to Syngrou Avenueare entirely open to allow light in (metallic frames withtransparent and non-transparent glass).The photo must have been taken immediately after theinauguration of the new wing. 1970

Panteios Higher School of PoliticalSciences

B U I L D I N G S

A T H E N S 203

∫ Δ π ƒ π ∞

A T H E N S204

∏ ∞ÓˆÙ¿ÙË ™¯ÔÏ‹ √ÈÎÔÓÔÌÈÎÒÓ Î·È ∂ÌÔÚÈÎÒÓ ∂ÈÛÙËÌÒÓ fiˆ˜ ÔÓÔÌ·˙fiÙ·ÓÙÔ √ÈÎÔÓÔÌÈÎfi ¶·ÓÂÈÛÙ‹ÌÈÔ È‰Ú‡ıËΠÙÔ 1919 › ∂Ï. μÂÓÈ˙¤ÏÔ˘.∞fi ÙÔ 1935 ÛÙÂÁ¿˙ÂÙ·È ÛÙÔ ÎÙ›ÚÈÔ Ù˘ Ô‰Ô‡ ¶·ÙËÛ›ˆÓ ¤ÚÁÔ, ÙÔ˘·Ú¯ÈÙ¤ÎÙÔÓ· ∞Ó·ÛÙ¿ÛË ªÂÙ·Í¿.∏ fi„Ë ÙÔ˘ ÎÙÈÚ›Ô˘ ۯ‰ȷṲ̂ÓË Ì ·˘ÛÙËÚ‹ Û˘ÌÌÂÙÚ›· ¤¯ÂÈ ˆ˜ ÎÂÓÙÚÈÎfiÛÙÔÈ¯Â›Ô ÛÙÔÓ ¿ÍÔÓ· Ù· ÙÚ›· ÌÂÁ¿Ï· ·ÓÔ›ÁÌ·Ù· Ù˘ ‰ÈÒÚÔÊ˘ ·›ıÔ˘Û·˜ÙÂÏÂÙÒÓ, ÙÔ˘ ÌÂÁ¿ÏÔ˘ ·ÌÊÈı¿ÙÚÔ˘.÷ڷÎÙËÚÈÛÙÈÎfi ‰Â›ÁÌ· ÙÔ˘ ÌÔÓÙ¤ÚÓÔ˘ ·Î·‰ËÌ·˚ÎÔ‡ ÎÏ·ÛÈÎÈÛÌÔ‡.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÙË ‰ÂηÂÙ›· ÙÔ˘ 50 ‹ ÛÙȘ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 60.

The Higher College of Economical and Commercial Studies, as theUniversity of Economics was called, was founded in 1919, during theperiod of El. Venizelos.Since 1935 it is housed in the building on Patission Street, designed bythe architect Anastassis Metaxas.The building, which was designed strictly symmetrically, has as itscentral element the three big openings of the hall of ceremonies, the bigtwo-storey amphitheatre.It is a classic example of modern academic classicism. The photo musthave been taken during the 50’s or the beginning of the 60’s.

ΔÔ √ÈÎÔÓÔÌÈÎfi ¶·ÓÂÈÛÙ‹ÌÈÔ¶·ÙËÛ›ˆÓ 76-78

The University of Economics.Patission Str. 76-78

B U I L D I N G S

A T H E N S 205

∏ ∞ÓÒÙ·ÙË °ÂˆÔÓÈ΋ ™¯ÔÏ‹ ȉڇıËΠÂΛ fiÔ˘ ¿ÏÏÔÙÂ Ë ¤·˘ÏË ÙÔ˘∞Ï‹ ÷Ù˙‹ ÷ÛÂ΋. ∞ÚÁfiÙÂÚ· ÛÙÔ ·ÏÈfi ÎÙ›ÚÈÔ ÚÔÛÎÔÏÏ‹ıËÎ·Ó ¿ÏÏ·ÓÂfiÙÂÚ· Ô˘ ·Ú·ÌfiÚÊˆÛ·Ó ÙÔ ·Ú¯ÈÎfi ÎÙ›ÛÌ·. ™ÙÔ ¯ÒÚÔ ÛÒ˙ÔÓÙ·È Î·È¿ÏÏ· ÛÙÔȯ›· Ù˘ ÂÔ¯‹˜ ÙÔ˘ ÷ÛÂ΋ (Ù¤ÏÔ˜ 18Ô˘ ·ÈÒÓ·) fiˆ˜ ÌÈ· ·„›‰·Î·È ÌÈ· Ì·ÚÌ·ÚfiÁÏ˘ÙË ÎÚ‹ÓË. 27-5-70

The Higher Agricultural University was founded at the location wherethe mansion of Ali Chatzi Haseki was situated in… keno. Later on morebuildings were added to the old building, which diminished the originalbuilding. The site hosts more elements of the period of Hasseki (end of18th century), such as an arch and a marble fountain. 27-5-70

¡¤· ÎÙ›ÚÈ· °ÂˆÔÓÈ΋˜ ™¯ÔÏ‹˜∞ıËÓÒÓ

New Buildings of the AgriculturalUniversity of Athens

∫ Δ π ƒ π ∞

A T H E N S206

∏ §·¯·Ó·ÁÔÚ¿ ∞ıËÓÒÓ ÛÙËÓ Ô‰fi ¶ÂÈÚ·ÈÒ˜ ‹Ù·Ó ¤ÚÁÔ ÙÔ˘Ì˯·ÓÈÎÔ‡ ÙÔ˘ ¢‹ÌÔ˘ Î·È Î·ıËÁËÙ‹ ÙÔ˘ ∂ª¶ π. ∫ÔÏÏÈÓÈ¿ÙË.ΔÔ ÎÙ›ÚÈÔ ÂÁηÈÓÈ¿ÛÙËΠÙÔ 1902 Ì ÙËÓ ·ÚÔ˘Û›·ÔÏfiÎÏËÚ˘ Ù˘ μ·ÛÈÏÈ΋˜ ÔÈÎÔÁ¤ÓÂÈ·˜, ÙÔ˘ ¢ËÌ¿Ú¯Ô˘™. ªÂÚÎÔ‡ÚË Î·È Ï‹ıÔ˘˜ Ï·Ô‡. ªÈ· ÌÂÁ¿ÏË ÚˆÙÔÊ·Ó‹˜ÁÈ· Ù· ·ıËÓ·˚ο ¯ÚÔÓÈο Ï·˚΋ ÁÈÔÚÙ‹. ΔÔ 1966 ÙÔ ÎÙ›ÚÈÔ Ù˘·ÁÔÚ¿˜ ηÙ‰·Ê›ÛÙËÎÂ. ∏ §·¯·Ó·ÁÔÚ¿ Ù˘ Ô‰Ô‡ ¶ÂÈÚ·ÈÒ˜ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 60. ∏ ÏÂ˙¿ÓÙ· ·fi ›Ûˆ ÁÚ¿ÊÂÈ“Ù· ηٷÛÙ‹Ì·Ù· ˘Ô‰ËÌ¿ÙˆÓ Ù· ÔÔ›· ηÙ‰·Ê›˙ÔÓÙ·È”.24/03/62.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› Ï›ÁÔ ÚÈÓ ·fi ÙËÓηÙ‰¿ÊÈÛË Ù˘ ·ÏÈ¿˜ ·ÁÔÚ¿˜. √È ÁÚ·Ì̤˜ ÙÔ˘ ÙÚ·Ì Ô˘˘‹Ú¯·Ó ÛÙËÓ Ô‰fi ¶ÂÈÚ·ÈÒ˜ ¤¯Ô˘Ó ·Ê·ÈÚÂı›.¶›Ûˆ ·fi ÙËÓ ·ÁÔÚ¿ ÔÈ ÔÏ˘Î·ÙÔÈ˘ Ì·ÚÙ˘ÚÔ‡Ó ÙËÓ ÔÏÔ¤-Ó· Î·È ·˘Í·ÓfiÌÂÓË ÔÈÎÔ‰ÔÌÈ΋ ·Ó¿Ù˘ÍË Ù˘ ÂÚÈÔ¯‹˜,ÂÓÒ ÛÙËÓ ·ÚÈÛÙÂÚ‹ ÏÂ˘Ú¿ Ù˘ ʈÙÔÁÚ·Ê›·˜ ÛÙÔ ‚¿ıÔ˜‰È·ÎÚ›ÓÂÙ·È ÙÔ ÂÚÁÔÛÙ¿ÛÈÔ ÙÔ˘ ¶Ô˘ÏfiÔ˘ÏÔ˘. ™‹ÌÂÚ· ÛÙÔ¯ÒÚÔ fiÔ˘ ˘‹Ú¯Â Ë Ï·¯·Ó·ÁÔÚ¿ ¤¯ÂÈ ‰ËÌÈÔ˘ÚÁËı› ¿ÚÎÔ.

The Vegetable Market of Athens is designed by I. Kolliniatis,engineer of the Municipality and professor at the NTUA. Thebuilding was inaugurated in 1902 in the presence of thewhole royal family, the mayor of Athens, Sp. Merkouri, andlots of people. For the crowds it was quite a uniquecelebration. In 1966 the market building was demolished.The Vegetable Market in Pireos Street in the beginning of the60’s. The caption on the back says “the shoe stores, beingdemolished”.24/03/62.The photo must have been taken a short time before thedemolishion of the old ,market. The tram lines, which werein Pireos Street, have been taken out.Behind the Market the apartment blocks signify theincreasing building activity in the area, and on the left side ofthe photo, far behind, we see the factory of Poulopoulos.Nowadays there is a park at the location of the market.

§·¯·Ó·ÁÔÚ¿ ∞ıËÓÒÓ. The Vegetable Market of Athens

B U I L D I N G S

A T H E N S 207

∫ Δ π ƒ π ∞

A T H E N S208

∏ ¡¤· §·¯·Ó·ÁÔÚ¿ ÙˆÓ ∞ıËÓÒÓ ÛÙÔÓ ÕÁÈÔ °È¿ÓÓË ÙÔ ƒ¤ÓÙËıÂÌÂÏÈÒıËΠÙÔ 1959.°È· ÙËÓ Î·Ù·Û΢‹ Ù˘ ‰··Ó‹ıËÎ·Ó ÂÚ› Ù· 250 ÂηÙ. ‰Ú¯.∏ ÔÏÔÎÏ‹ÚˆÛË Ù˘ ηı˘ÛÙ¤ÚËÛ Ôχ. ™ÙË Ê¿ÛË Ù˘ ηٷÛ΢‹˜,ÛËÌÂÈÒıËÎ·Ó ÔÏÏ¿ Ó·ÓÈο ÛÊ¿ÏÌ·Ù· Î·È ·‰ÈηÈÔÏfiÁËÙ˜ÔÈÎÔÓÔÌÈΤ˜ ÂÈ‚·Ú‡ÓÛÂȘ, Ô˘ Û¯ÔÏÈ¿ÛÙËÎ·Ó Ôχ ·fi ÙÔÓ·ıËÓ·˚Îfi Δ‡Ô.

The founding stone for the new Vegetable Market of Athens inAgios Yiannis Rentis was laid in 1959.The cost of its construction was about 250 million drachmas. Itscompletion was much delayed. During the construction phasevarious errors occurred, due to lack of experience, andunjustified financial surcharging, which were mentioned in theAthens press.

∏ ¡¤· §·¯·Ó·ÁÔÚ¿ ÙˆÓ ∞ıËÓÒÓ The new Vegetable Market of Athens

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™ÙȘ 14 ª·ÚÙ›Ô˘ ÙÔ˘ 1965, Ë ¡¤· §·¯·Ó·ÁÔÚ¿ › Ù˘ ψÊfiÚÔ˘∫ËÊÈÛÔ‡ ÂÈÙ¤ÏÔ˘˜ ÂÁηÈÓÈ¿ÛÙËÎÂ. ¶ÚÈÓ ·fi Ù· ›ÛËÌ· ÂÁη›ÓÈ·,¤Ó·˜ ÌÂÁ¿ÏÔ˜ ·ÚÈıÌfi˜ ·fi ¯ÔÓ‰ÚÂÌfiÚÔ˘˜ ÌÂÌÔӈ̤ÓÔ˘˜ ·Ú·ÁˆÁÔ‡˜Î·È ÁˆÚÁÈÎÔ‡˜ Û˘ÓÂÙ·ÈÚÈÛÌÔ‡˜ ›¯·Ó ‹‰Ë ÂÁηٷÛÙ·ı› ÛÙËÓ·ÁÔÚ¿. ∏ ‰ËÌÈÔ˘ÚÁ›· Ù˘ Û‹Ì·Ó ÙÔ Ù¤ÏÔ˜ fiÏˆÓ ÙˆÓ ·ÏÈÒÓÏ·¯·Ó·ÁÔÚÒÓ ÛÙÔ °Î¿˙È, Ù· ¶ÂÙڿψӷ, ÙÔ˘ ƒÔ‡Ê ÎÏ.ΔÔ ÎÙ›ÚÈÔ ÚˆÙÔÔÚÈ·Îfi ÁÈ· ÙËÓ ÂÔ¯‹ ÂÓÙ˘ˆÛ›·Û ΢ڛˆ˜ ÁÈ· ÙÔÌÂÁ¿ÏÔ Î¤Ï˘ÊÔ˜ Ù˘ ÎÂÓÙÚÈ΋˜ ÂÈÛfi‰Ô˘.

On 14th March 1965, at last, the new Vegetable Market onKifissou Avenue was inaugurated. Before the official opening alarge number of merchants, singular producers of goods andagricultural unions had already installed themselves on themarket. As soon as it was ready all previous, old vegetablemarkets, in Gazi, Petralona, Rouf, etc., stopped functioning.The building, quite outstanding for that period, was ratherimpressive, especially because of the spectacular cover of thecentral entrance.

∏ ¡¤· §·¯·Ó·ÁÔÚ¿ ÙˆÓ ∞ıËÓÒÓ The new Vegetable Market of Athens

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∂Ș ÙËÓ ÊˆÙÔÁÚ·Ê›·Ó ·È ·ÓÂÁÂÚıÂ›Û·È Ó¤·È Ï·˚η› ÔÏ˘Î·ÙÔÈ-Λ·È ·Ú¿ ÙËÓ ∫·ÏÏÈı¤·Ó ‰È· ÙËÓ ÛÙ¤Á·ÛÈÓ ÙˆÓ ÚÔÛʇÁˆÓ”.

√ÚÁ·ÓÈÛÌfi˜ ∂ÚÁ·ÙÈ΋˜ ∫·ÙÔÈΛ·˜.ΔÔ 1955 ÛÙÔ Ï·›ÛÈÔ ÂÓfi˜ ¢ڇÙÂÚÔ˘ ÔÈÎÈÛÙÈÎÔ‡ ÚÔÁÚ¿ÌÌ·ÙÔ˜·Ó¿Ù˘Í˘ Ù˘ ¯ÒÚ·˜, ȉڇıËÎÂ Ô √ÚÁ·ÓÈÛÌfi˜ ∂ÚÁ·ÙÈ΋˜∫·ÙÔÈΛ·˜ (√.∂.∫.) Ì ÛÙfi¯Ô ÙËÓ ·ÚÔ¯‹ ÛÙ¤Á˘ Û ÂÚÁ·ÙÔ¸-·ÏÏ‹ÏÔ˘˜ Û’ ÔÏfiÎÏËÚË ÙËÓ ∂ÏÏ¿‰·.¶·Ú¿ ÙËÓ Î·Ù¿ ηÈÚÔ‡˜ ÚÔ¸¿Ú¯Ô˘Û· ÂÌÂÈÚ›· ·fi ÙËÓÚ·ÁÌ·ÙÔÔ›ËÛË ·ÚfiÌÔÈˆÓ Û˘ÁÎÚÔÙËÌ¿ÙˆÓ (ÛÙ¤Á·ÛËÚÔÛʇÁˆÓ, ÛÂÈÛÌÔ·ıÒÓ, ÏËÁ¤ÓÙˆÓ ·fi ÙȘ ηٷÛÙÚÔʤ˜ÙÔ˘ ÔϤÌÔ˘) ÙÔ ÚfiÁÚ·ÌÌ· ÌÂÏÂÙ‹ıËΠۯ‰fiÓ Û Ӥ˜‚¿ÛÂȘ ·fi ÙËÓ ·Ú¯‹.μ·ÛÈ΋ Âȉ›ˆÍË, οıÂ Û˘ÁÎÚfiÙËÌ· Ó· ¤¯ÂÈ ÔÈÎÈÛÙÈ΋ÏËÚfiÙËÙ· Î·È Û˘ÓÔ¯‹ Î·È Ù·˘Ùfi¯ÚÔÓ· Ó· Û˘Ó‰¤ÂÙ·ÈÊ˘ÛÈÔÏÔÁÈο Ì ÙË Á‡Úˆ fiÏË Î·È ÙȘ ÂÂÎÙ¿ÛÂȘ Ù˘. ø˜ÚÔ˚ÛÙ¿ÌÂÓÔ˜ Ù˘ ˘ËÚÂÛ›·˜ ÌÂÏÂÙÒÓ Ù· ‰‡Ô ÚÒÙ·, ¯ÚfiÓÈ·Ô ÕÚ˘ ∫ˆÓÛÙ·ÓÙÈÓ›‰Ë˜ ¤‰ˆÛ ÙÔ ÛÙ›ÁÌ· ÙÔ˘ ÛÙȘ ÚÒÙ˜ÚÔÛ¿ıÂȘ.

On the photo the newly built people’s apartment blocks inKallithea which were to house refugees”.

Organisation for the Housing of LabourersIn 1955, in the framework of a wider residential program fordevelopment of the country, the Organisation for the Housingof Labourers, OEK, was established, with the aim to providehousing for the working class in the whole of Greece.Even though there was plenty of previous experiencefrom the realisation of similar projects (housing forrefugees, earthquake victims, victims of war calamities),the programme was studied on new foundations fromsquare one.The main intention was for each settlement to have acomplete housing facility, integrated and naturally connectedwith the surrounding parts of the city and its extensions, andwas formulated by Aris Konstantinidis, who was heading theresearch department for the first two years.

“∞ÓÙÈÌÂÙÒÈÛȘ ÙÔ˘ ÚÔÛÊ˘ÁÈÎÔ‡˙ËÙ‹Ì·ÙÔ˜

“Dealing with the problem ofrefugees

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√ ηٷÛ΢·ÛÙÈÎfi˜ οÓÓ·‚Ô˜ (ϿΘ Î·È ˘ÔÛÙ˘ÏÒÌ·Ù·),ÂÌÊ·Ó‹˜ ·fi ÌÂÙfiÓ ·Ṳ́ ̤ÓÂÈ ·Ó›¯ÚÈÛÙÔ˜. √È ÙÔ›¯ÔÈ ÏË-ÚÒÛˆ˜ ·fi ÏÈÓıÔ‰ÔÌ‹, ÛÔ‚·Ù›˙ÔÓÙ·È Î·È ‚¿ÊÔÓÙ·È Ì ٷ‚·ÛÈο ¯ÚÒÌ·Ù· Ï¢Îfi, ÎfiÎÎÈÓÔ, ΛÙÚÈÓÔ, ÌÏÂ. Δ· ÌÂÙ·ÏÏÈοÎÈÁÎÏȉÒÌ·Ù· Ì ÙÔ˘˜ ÏÂÙÔ‡˜ ÛÙ‡ÏÔ˘˜ Ô˘ ÔÚ›˙Ô˘Ó ¤Ó· ÌÈÎÚfiÙÂÚÔοÓÓ·‚Ô ·Ú·¤ÌÔ˘Ó Û ÌÔÚʤ˜ Ù˘ ·Ú¿‰ÔÛ˘.√ ÔÈÎÈÛÌfi˜ ·ÔÙÂÏÂ›Ù·È ·fi 210 ‰È·ÌÂÚ›ÛÌ·Ù·.

Constructing grid (plates and props), visibly made of armouredconcrete, remains unplastered. Brickwork filled walls areplastered and painted in the basic colours white, red, yellow,blue. The thin metallic railings remind us of traditional forms.The settlement consists of 210 apartments.

«∂ÚÁ·ÙÈΤ˜ ηÙÔÈ˘ ÛÙË ¡.ºÈÏ·‰¤ÏÊÂÈ·» (1955)

Labourer’s houses in N. Filadelfeia(1955)

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“∂Ó ÙË ÌÂÚ›ÌÓË Ù˘ ∫˘‚ÂÚÓ‹Ûˆ˜ ÚÔ˜ ·ÔηٿÛÙ·ÛÈÓ ÙˆÓ ÚÔ-ÛʇÁˆÓ ÔÈÎÔ‰ÔÌ‹ıËÛ·Ó ÂȘ ∫·ÈÛ·ÚÈ·Ó‹Ó ·È ¤ÌÚÔÛıÂÓ Î·ÙÔÈΛ·ÈÂȘ Ù·˜ ÔÔ›·˜ ı· ÛÙÂÁ·ÛÙÔ‡Ó ÔÈ ¿ÛÙÂÁÔÈ ÚfiÛÊ˘Á˜, ÔÈ ÔÔ›ÔÈ Â›Ì›·Ó 35ÂÙ›·Ó ‰È¤ÌÂÓ·Ó ÂȘ ·Óı˘ÁÈÂÈÓ¿ ·Ú·‹ÁÌ·Ù·”. 18-12-1956

“These houses were built in Kaissariani because theGovernment took the care to resettle refugees; they are due toaccommodate the homeless refugees, who for about 35 yearshave stayed in unsanitary lodgings”. 18-12-1956

«¶ÚÔÛÊ˘ÁÈη› ∫·ÙÔÈΛ·È ÂȘ∫·ÈÛ·ÚÈ·Ó‹Ó»

Refugee houses in Kaissariani

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√È Ó¤Â˜ ÚÔÛÊ˘ÁÈΤ˜ ÔÏ˘Î·ÙÔÈ˘ Ù˘ ∫·ÈÛ·ÚÈ·Ó‹˜ ÛÙÔÓÂÚÈÊÂÚÂÈ·Îfi ‰ÚfiÌÔ Ù˘ ¶·ÓÂÈÛÙËÌÈÔ‡ÔÏ˘ (∂˘ÊÚÔÓ›Ô˘)Ï›ÁÔ ÚÈÓ ·Ú·‰ÔıÔ‡Ó ÛÙÔ˘˜ ‰ÈηÈÔ‡¯Ô˘˜.™Â ÚÒÙÔ Ï¿ÓÔ ‰È·ÎÚ›ÓÔÓÙ·È Ù· ·ÏÈ¿ ·Ú·‹ÁÌ·Ù·.™ÙÔ ‚¿ıÔ˜ Ô §˘Î·‚ËÙÙfi˜.

The new refugee apartment blocks of Kaissariani, on theperipheral road leading to the University grounds (EfroniouStreet), just shortly before giving them to their new owners.In the forefront the old lodgings.Further back Lykavittos.

«¶ÚÔÛÊ˘ÁÈη› ∫·ÙÔÈΛ·È ÂȘ∫·ÈÛ·ÚÈ·Ó‹Ó»

Refugee houses in Kaissariani

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√ ÔÈÎÈÛÌfi˜ ÂÚÈÏ·Ì‚¿ÓÂÈ 350 ηÙÔÈ˘, Ì ÎÂÓÙÚÈ΋ Ï·Ù›· Û˘ÓÂ-¯fiÌÂÓË Ì ·ÁÔÚ¿ Î·È ÌÈÎÚfi ¿ÏÛÔ˜ ηıÒ˜ Î·È ¯ÒÚÔ ÁÈ· ·È‰ÈÎfiÛÙ·ıÌfi.ΔÔ Û¯¤‰ÈÔ Ù˘ ÁÂÓÈ΋˜ ‰È¿Ù·Í˘ ÂÍÂfiÓËÛÂ Ô ·Ú¯ÈÙ¤ÎÙˆÓ ¢. ∑‹‚·˜.(1959)

The settlement consists of 350 apartments, with a centralsquare, next to it a market and a grove and space for akindergarden.The design for the overall planning was made by the architect D.Zivas. (1959)

™˘ÁÎÚfiÙËÌ· ∫·ÙÔÈÎ ÈÒÓ ÛÙÔ∞ÈÁ¿Ïˆ.

A conglomerate of houses inAigaleo.

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¢˘ÙÈο ÙÔ˘ ÏfiÊÔ˘ ÙÔ˘ ºÈÏÔ¿Ô˘ Î·È Ì¤¯ÚÈ Û¯Â‰fiÓ ÙȘ ÁÚ·Ì̤˜ÙÔ˘ ËÏÂÎÙÚÈÎÔ‡ ÛȉËÚfi‰ÚÔÌÔ˘ ‚Ú›ÛÎÂÙ·È Ë ·ÏÈ¿ Û˘ÓÔÈΛ· ÙÔ˘∞Û‡ÚÌ·ÙÔ˘.

West of Philipappos Hill and almost reaching the railway lines isthe old neighbourhood of Assyrmatos.

¶ÚÔÛÊ˘ÁÈη› ∫·ÙÔÈΛ·È ∞Û˘ÚÌ¿ÙÔ˘∞ı‹Ó·È

Refugee housings in AssyrmatosAthens

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∂Λ Î·È ÛÙËÓ ∫·ÏÏÈı¤· ¯Ù›ÛÙËÎ·Ó ÙË ‰ÂηÂÙ›· ÙÔ˘ 1960, Ù· ÙÂÏÂ˘Ù·›·ÚÔÛÊ˘ÁÈο Û˘ÁÎÚÔÙ‹Ì·Ù·, ÁÈ· Ó· ·ÓÙÈηٷÛÙ‹ÛÔ˘Ó ÙÔ˘˜ ·˘ı·›ÚÂÙÔ˘˜Ï·˚ÎÔ‡˜ ÚÔÛÊ˘ÁÈÎÔ‡˜ ηٷ˘ÏÈÛÌÔ‡˜ Ô˘ ˘‹Ú¯·Ó. ∞fi· Ú¯ È Ù Â ÎÙÔÓ È Î ‹˜ ÏÂ˘Ú¿˜ ·Ó Î·È Ôχ ÌÂÙ·ÁÂÓ¤ÛÙÂÚ˜ ÔÈÔÏ˘ ηÙÔÈÎ ›Â˜ ·˘Ù¤˜ ·fi ÙȘ ÚÔÔÏÂÌÈΤ˜ Ù˘ ψÊfiÚÔ˘∞ÏÂÍ¿Ó‰Ú·˜ Î·È Ù˘ ™Ù¤Á˘ ¶·ÙÚ›‰Ô˜, ˘ÛÙÂÚÔ‡Ó ÛËÌ·ÓÙÈο.

There, and also in Kallithea, the most recent refugee settlementswere built, so as to replace the various arbitrary settlementswhich were located there during the 60’s.From an architectural point of view, even though they were builtlater than the pre- WWII buildings in Alexandras Avenue andStegi Patridos, these apartment blocks are definitely inferior.

¶ÚÔÛÊ˘ÁÈη› ∫·ÙÔÈΛ·È ∞Û˘ÚÌ¿ÙÔ˘∞ı‹Ó·È

Refugee housings in AssyrmatosAthens

∏ fiÏË, ÔÈ ‰ÚfiÌÔÈ, ÔÈ ÁÂÈÙÔÓȤ˜, Ù· ÎÙ›ÚÈ· ·ÔÙÂÏÔ‡Ó Û›ÁÔ˘Ú·,ÙÔ ˘fi‚·ıÚÔ Ù˘ ηıËÌÂÚÈÓ‹˜ ˙ˆ‹˜. ΔËÓ ›‰È· fï˜ ÙËÓ ˙ˆ‹,ÙËÓ ‰ËÌÈÔ˘ÚÁÔ‡Ó ÔÈ ¿ÓıÚˆÔÈ. ªÔÚ› Ó· ˘¿Ú¯ÂÈ Ô Î·Ì‚¿˜,¯ˆÚ›˜ fï˜ ÙȘ ¯ÚˆÌ·ÙÈÛÙ¤˜ ÎψÛÙ¤˜ Â›Ó·È ¤Ó·˜ ·Ïfi˜Î¿Ó·‚Ô˜, ¤Ó· ¿‰ÂÈÔ ÊfiÓÙÔ. ∞˘Ù‹ Ë ÔÌ¿‰· ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓÂ›Ó·È ÁÈ· ̤ӷ Ë ÈÔ ‰˘Ó·Ù‹, Ë ÈÔ Ô˘ÛÈ·ÛÙÈ΋. ∞¤Ê˘Á· Ó·ÌÂٷʤڈ Û˘ÓÂȉËÙ¿ Ù· ‰Èο ÌÔ˘ ÚÔÛˆÈο ‚ÈÒÌ·Ù· ÛÙÔÛ¯ÔÏÈ·ÛÌfi ÙÔ˘˜, ÁÈ· ‰‡Ô ÂÍ’ ›ÛÔ˘ ÛËÌ·ÓÙÈÎÔ‡˜ ÏfiÁÔ˘˜.√ ÚÒÙÔ˜ ›ӷÈ, fiÙÈ Û’ ¤Ó· ·ÚfiÌÔÈÔ ÊˆÙÔÁÚ·ÊÈÎfi χΈ̷ÙÂÎÌËÚ›ˆÓ, Ô ˘ÂÚ‚ÔÏÈÎfi˜ Û˘Ó·ÈÛıËÌ·ÙÈÛÌfi˜ ‰ÂÓ Ù·ÈÚÈ¿˙ÂÈ.Δ· ÙÂÎÌ‹ÚÈ· ¯¿ÓÔ˘Ó ¤ÙÛÈ ÙËÓ ·ÓÙÈÎÂÈÌÂÓÈÎfiÙËÙ¿ ÙÔ˘˜.√ ‰Â‡ÙÂÚÔ˜ ÏfiÁÔ˜, Â›Ó·È fiÙÈ ¤ÙÛÈ ·Ê‹ÓÂÙ·È ÂÓÙÂÏÒ˜ÂχıÂÚÔ˜ Ô “ÂÈÛΤÙ˘” ·Ó·ÁÓÒÛÙ˘ Ó· ÂÈÛ·Á¿ÁÂÈÙ· ‰Èο ÙÔ˘ ÚÔÛˆÈο ‚ÈÒÌ·Ù·, ÙË ‰È΋ ÙÔ˘ ˘ÔÎÂÈÌÂÓÈ΋ıÂÒÚËÛË.ŸÏ· ·˘Ù¿ ‚¤‚·È· ÛÙÔ Ì¤ÙÚÔ Ô˘ Ô ÊˆÙÔÚÂfiÚÙÂÚ Ì·˜ ÙÔÂÈÙÚ¤ÂÈ. °È·Ù› Û’ ·˘Ù‹ ÙËÓ ÔÌ¿‰·, ÂÚÈÛÛfiÙÂÚÔ ·fiÔÔÈ·‰‹ÔÙ ¿ÏÏË, Ô ÊˆÙÔÁÚ·ÊÈÎfi˜ Ê·Îfi˜ ·ÊËÁ›ٷÈ.∫·ıÒ˜ Ë ˙ˆ‹ Î˘Ï¿ÂÈ ÎÈ’ Ë Ì›· ̤ڷ ‰È·‰¤¯ÂÙ·È ÙËÓ ¿ÏÏË,Â›Ó·È Î¿ÔȘ ̤Ú˜ Ô˘ ͯˆÚ›˙Ô˘Ó. ∫¿ÔȘ ̤Ú˜ Ô˘ ÁÈ·‰È·ÊfiÚÔ˘˜ ÏfiÁÔ˘˜ ÛËÌ·‰Â‡Ô˘Ó ÙËÓ ÈÛÙÔÚ›·. ∏ ÙÂÏÂ˘Ù·›·ÂÓfiÙËÙ· Ù˘ ÔÌ¿‰·˜ ·˘Ù‹˜ Â›Ó·È ·ÊÈÂڈ̤ÓË Û’ ·˘Ù¤˜ ÙȘÔχ ͯˆÚÈÛÙ¤˜ ̤Ú˜.∞fi ÙȘ ÈÔ Û˘ÁÎÏÔÓÈÛÙÈΤ˜ ÈÛÙ‡ˆ ʈÙÔÁڷʛ˜ Â›Ó·È ËʈÙÔÁÚ·Ê›· Ô˘ ·ÂÈÎÔÓ›˙ÂÈ ÙË Ô‰fi ™Ù·‰›Ô˘ ¿‰ÂÈ·. ∏ fiÏ˯ˆÚ›˜ ·ÓıÚÒÔ˘˜, Ì’ ÂχıÂÚË ÂÈÏÔÁ‹ ÙÔ˘˜.

The city, the roads, the neighbourhoods, the buildings,they surely all constitute the background of daily life.But living itself is created by the people. There may bea canvas, but without the colourful threads it is anempty surface, an empty shell. This group ofphotographs for me is the most powerful one, the mostessential one. I consciously avoided transferring mypersonal experiences into the commentaries, for twoequally important reasons.The first one is that in a photographic album of thiskind there is no space for an overly emotionalapproach. In that case the evidences would lose theirobjectivity. The second reason is to allow the “visitor”to enter, as free as possible, their own personalexperiences, their own subjective approach.All the above to the degree made possible by thephotojournalist. Because in this group, more than inany other, the photographical lense is telling a story.As life is moving on and one day follows the previousone, there are some days that stand out. Some dayswhich, for various reasons, mark history. The last partof this group of photos is dedicated exactly to thosevery special days.One of the most fascinating photos is the photo whichshows Stadiou Street, empty. The city without people,by their own choice.

√ π ∞ ¡ £ ƒ ø ¶ √ π Δ ∏ ™ ¶ √ § ∏ ™√ π ∞ £ ∏ ¡ ∞ π √ π - ∏ ∑ ø ∏

T H E P E O P L E S O F T H E C I T YA T H I N I A N S - L I F E

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Œ¯ÔÓÙ·˜ ·Ê‹ÛÂÈ ›Ûˆ ÙÔ˘˜ ÙȘ ‰‡ÛÎÔϘ ̤Ú˜ ÙÔ˘ ¶ÔϤÌÔ˘ Î·È Ù˘∫·ÙÔ¯‹˜ ÔÈ ∞ıËÓ·›ÔÈ ÚÔÛ·ıÔ‡Ó Ó· Í·Ó·Ú¯›ÛÔ˘Ó Ó· ˙Ô˘Ó.√È ¯ÚÈÛÙÔ˘ÁÂÓÓÈ¿ÙÈΘ ̤Ú˜ Â›Ó·È ¿ÓÙÔÙ ̤Ú˜ ¯·Ú¿˜. √ ÎfiÛÌԘͯ‡ÓÂÙ·È ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ ¯·˙‡ÂÈ, „ˆÓ›˙ÂÈ, ˙ÂÈ. °‡Úˆ ·fi ÙÔÓÙÚÔ¯ÔÓfiÌÔ, ÛÙË̤ÓÔ Ì¤Û· ÛÙÔ ‚·Ú¤ÏÈ Ù· ‰ÒÚ· Û˘ÛˆÚ‡ÔÓÙ·È.∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› ÛÙ· ÷˘Ù›·, ÛÙË ‰È·ÛÙ·‡ÚˆÛË ÙˆÓÔ‰ÒÓ ™Ù·‰›Ô˘ Î·È ∞ÈfiÏÔ˘.ªÈÎÚ¤˜ ·Û‹Ì·ÓÙ˜ Î·È fï˜ ÙfiÛÔ È‰È·›ÙÂÚ˜ ÏÂÙÔ̤ÚÂȘ. ΔÔ ÌÂÁ¿-ÏÔ ÎÔ˘Ù› ÙÔ˘ ηʤ “ªÚ¿‚Ô” ÛÙÔÓ ÙÚÔ¯ÔÓfiÌÔ. ∏ ÓÔÈÎÔÎ˘Ú¿ Ì ÙÔ‰›¯Ù˘ ÛÙÔ ÚÒÙÔ Ï¿ÓÔ Ô˘ ÎÚ·Ù¿ ÛÊÈÎÙ¿ Ù’ ·ÁÔÚ¿ÎÈ Ù˘ ·fi ÙÔ ¯¤ÚÈ,ÔÈ ÌÈÎÚÔˆÏËÙ¤˜ Ì ٷ Ì·ÏfiÓÈ· ÛÙÔ ‚¿ıÔ˜…

The people of Athens have left the tough days of the war and theoccupation behind them and are trying to start living again. TheChristmas holidays are always days full of joy. People rush onto thestreets, they go looking around, shopping, enjoying themselves. Aroundthe traffic policeman, standing in his barrel, gifts are piling up.The photo is taken in the area of Chafteia, at the junction of StadiouStreet and Aiolou Street.Details small and insignificant and yet very significant. The big boxof “Bravo” coffee given to the traffic policeman. The housewife withthe carrier bag in the forefront, holding her little boy tightly by thehand, the men selling balloons in the background…

ÃÚÈÛÙÔ‡ÁÂÓÓ· ÙË ‰ÂηÂÙ›· ÙÔ˘ 50 Christmas during the 50’s

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§›ÁÔ ÈÔ Î¿Ùˆ ÛÙËÓ ∞ÈfiÏÔ˘, ÙÔ ÔÏ˘Î·Ù¿ÛÙËÌ· ¢Ú·ÁÒÓ·ÛÙÔÏÈṲ̂ÓÔ. ªÚÔÛÙ¿ ÛÙÔ ÎÙ›ÚÈÔ ÙÔ˘ Δ·¯˘‰ÚÔÌ›Ԣ ÛÂÈÚ¿Ù· Úfi¯ÂÈÚ· ÌÈÎÚÔ·Ú·‹ÁÌ·Ù· Ì ÙË ÊÙËÓ‹ Ú·Ì¿ÙÂÈ·.

A little further, in Aiolou Street, the decorated Dragonasmulti-store. In front of the post office a row of smalloutdoors stalls with various cheap goods.

ÃÚÈÛÙÔ‡ÁÂÓÓ· ÙË ‰ÂηÂÙ›· ÙÔ˘ 50 Christmas during the 50’s

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“ Ÿˆ˜ οı ¯ÚfiÓÔ ¤ÙÛÈ Î·È ÂʤÙÔ˜ Ë Ô‰fi˜ ∞ÈfiÏÔ˘ ÙˆÓ ∞ıËÓÒÓ ‹ÙÔÏ‹Ú˘ ·fi ÎfiÛÌÔ˘ ÙËÓ ·Ú·ÌÔÓ‹Ó Ù˘ ¶ÚˆÙÔ¯ÚÔÓÈ¿˜ Ô ÔÔ›Ô˜ËÁfiÚ·˙ÂÓ ·fi ÙÔ˘˜ ˘·›ıÚÈÔ˘˜ ˆÏËÙ¿˜ ÙÔ˘˜ ÚˆÙÔ¯ÚÔÓÈ¿ÙÈÎÔ˘˜ÌÔÓ·Ì¿‰Â˜”.¢ÂηÂÙ›· ÙÔ˘ ’50.

“Like every year, also this year Aiolou Street in Athens was fullof people, who were buying their New Year’s Eve gifts from theoutdoor merchants on New Year’s Eve”.During the 50’s.

¶·Ú·ÌÔÓ‹ ¶ÚˆÙÔ¯ÚÔÓÈ¿˜ ÛÙËÓÔ‰fi ∞ÈfiÏÔ˘ ·Ó¿ÌÂÛ· ÛÙË ÃÚ˘ÛÔ-ÛËÏÈÒÙÈÛÛ· Î·È ÙËÓ ∞Á›· ∂ÈÚ‹ÓË

New Year’s Eve in Aiolou Street,between Chryssospiliotissa andAgia Eirini

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™ÙÔ ™‡ÓÙ·ÁÌ· ÌÚÔÛÙ¿ ÛÙ· ·ÓıԈϛ· Ù˘ μ·ÛÈÏ›ÛÛ˘ ™ÔÊ›·˜¤¯Ô˘Ó ÂÌÊ·ÓÈÛÙ› Ù· ÚÒÙ· ·ÏËıÈÓ¿ ÂÏ·Ù¿ÎÈ·.¢ÂηÂÙ›· ÙÔ˘ ’50.

In Syntagma Square, in front of the florists at Vassilissis Sofias,the first real Christmas trees appeared.During the 50’s.

Δ· ¯ÚÈÛÙÔ˘ÁÂÓÓÈ¿ÙÈη ¤Ï·Ù· Christmas trees

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∏ ʈÙÔÁÚ·Ê›· Â›Ó·È ·¯ÚÔÓÔÏfiÁËÙË, Ú¤ÂÈ Ó· Â›Ó·È fï˜ Û‡Á¯ÚÔÓËÂÚ›Ô˘ Ì ÙȘ ÚÔËÁÔ‡ÌÂÓ˜. π‰È·›ÙÂÚÔ ÂӉȷʤÚÔÓ ·ÚÔ˘ÛÈ¿˙ÂÈÙÔ ·Ó¿Ù˘ÁÌ· ÙˆÓ fi„ÂˆÓ Ù˘ Ô‰Ô‡ ∞ÈfiÏÔ˘ Ì ÙË ÛÂÈÚ¿ ÙˆÓÓÂÔÎÏ·ÛÈÎÒÓ ÎÙÈÚ›ˆÓ.

The photo is undated, but it must have been taken more or lessin the same period as the two previous ones. Particularlyinteresting is the development of the sides of Aiolou Street withthe row of neoclassical buildings.

ªÈ· ·ÎfiÌË ÊˆÙÔÁÚ·Ê›· Ù˘ Ô‰Ô‡∞ÈfiÏÔ˘, ÁÈÔÚÙÈÓ¤˜ ̤Ú˜ ÌÚÔÛÙ¿ÛÙË ÃÚ˘ÛÔÛËÏÈÒÙÈÛÛ·.

Another photo of Aiolou Streetdur ing the holidays in front ofChryssospiliotissa

E›Ó·È Ë ÌfiÓË ÊˆÙÔÁÚ·Ê›· ÙÔ˘ ∞Ú¯Â›Ô˘ Ô˘ ¤¯ÂÈ ÙÚ·‚˯Ù› ·fi ͤÓÔʈÙÔÚÂfiÚÙÂÚ.√ Ù›ÙÏÔ˜ Ù˘ ı· ÌÔÚÔ‡Û ӷ ÌÂÙ·ÊÚ·ÛÙ› οˆ˜ ¤ÙÛÈ. “∏ ™Ù·‰›Ô˘ÊˆÙÈṲ̂ÓË ¤Ó· ™·‚‚·Ùfi‚Ú·‰Ô”ŒÓ· ¯ÂÈ̈ÓÈ¿ÙÈÎÔ ™·‚‚·Ùfi‚Ú·‰Ô ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 50.ª¤Ú˜ ÁÈÔÚÙÒÓ Ì ÙË ™Ù·‰›Ô˘ ÛÙÔÏÈṲ̂ÓË Ì ʈÙÂÈÓ¤˜ ÁÈÚÏ¿ÓÙ˜ ηÈÛËÌ·›Â˜. ∏ ΛÓËÛË ÛÙÔ ‰ÚfiÌÔ, ÌÂÁ¿ÏË, Ù· ÂÚ›ÙÂÚ· ·ÎfiÌË ·ÓÔÈÎÙ¿ÃÚÈÛÙÔ‡ÁÂÓÓ·; ¶ÚˆÙÔ¯ÚÔÓÈ¿; ∫¿Ô˘ ÂΛ. ∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ÛÙÔ ‡„Ô˜ Ù˘ ΔÚ¿Â˙·˜ ∞ıËÓÒÓ. ∞ÎÚÈ‚Ò˜ ·¤Ó·-ÓÙÈ ÛÙÔ Â˙Ô‰ÚfiÌÈÔ ÌÈ· ʈÙÂÈÓ‹ οıÂÙË ÂÈÁÚ·Ê‹ ∞¡√ƒ£ø™π™.

This is the only photo taken by a foreign photojournalist.Its title could be translated “Stadiou Street illuminated on aSaturday night”.A Saturday night in winter in the beginning of the 50’s. Holidayperiod whilst Stadiou is decorated with bright ribbons and flags.The traffic on the road is intense, the kiosks are still open. Is itChristmas or New Year’s Eve? Somewhere around that time.The picture is taken at the level of the Bank of Athens. Exactly

opposite on the pavement an illuminated, vertical sign“RESTORATION”.

ATHENES LA NUITGreece Athens in the night. Stadioustreet illuminated a Saturday night.

ATHENE LA NUITGreece Athens in the night. Stadioustreet illuminated a Saturday night.

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§Ô˘ÏÔ˘‰¿‰Èη Ù˘ ∞Á›·˜ ∂ÈÚ‹Ó˘. Flower shops in Agia Eirini.

¶¿ÚÔ‰Ô˜ ∞ÈfiÏÔ˘ Side road of Aiolou

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∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ›Ûˆ ËÌÂÚÔÌËÓ›· 24-03-62.√ ÌÂÁ¿ÏÔ˜ ·ÚÈıÌfi˜ ÙˆÓ Î¿ÚˆÓ Ô˘ Ù· Û¤ÚÓÔ˘Ó ¿ÏÔÁ·ÙˆÓ ÌÈÎÚÒÓ Ì·Ó¿‚ˉˆÓ ηıÒ˜ Î·È Ô Ù‡Ô˜ ÙˆÓ ÙÚÔ¯ÔÊfiÚˆÓ› Ù˘ Ô‰Ô‡ ¶ÂÈÚ·ÈÒ˜ Î·È ÔÈ ÁÚ·Ì̤˜ ÙÔ˘ ÙÚ¿Ì ·Ú·¤ÌÔ˘ÓÛ ÌÈ· ¿ÏÏË ÂÔ¯‹ Ô˘ ¯¿ıËÎÂ.

The photo is dated at the back 24-03-62.The large number of horse-pulled carts of the pettymerchants, the type of vehicles on Pireos Street and thetram lines remind us of another epoch, which is gone.

™ÙËÓ ÎÂÓÙÚÈ΋ §·¯·Ó·ÁÔÚ¿ At the central Vegetable Market

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∏ ¢ËÌÔÙÈ΋ ∞ÁÔÚ¿ Ù˘ ∞ı‹Ó·˜ ÏÂÈÙÔ˘ÚÁÔ‡Û ̤¯ÚÈ ÙȘÙÂÏÂ˘Ù·›Â˜ ‰ÂηÂٛ˜ ÙÔ˘ 19Ô˘ ·ÈÒÓ· ÛÙÔ Ù¤ÚÌ· Ù˘ Ô‰Ô‡∞ÈfiÏÔ˘, ̤۷ Î·È Á‡Úˆ ·fi ÙÔÓ ·Ú¯·ÈÔÏÔÁÈÎfi ¯ÒÚÔ Ù˘ƒˆÌ·˚΋˜ ∞ÁÔÚ¿˜.ΔÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1884 ˘ÚηÁÈ¿ ·ÔÙ¤ÊÚˆÛ ٷ ͇ÏÈÓ· ·Ú·-‹ÁÌ·Ù¿ Ù˘. ◊‰Ë fï˜ ·fi ÙÔ 1878 › ¢ËÌ·Ú¯›·˜ ¶·Ó·Á‹∫˘ÚÈ·ÎÔ‡ ›¯Â ·Ú¯›ÛÂÈ Ó· ÎÙ›˙ÂÙ·È Ë Ó¤· ·ÁÔÚ¿, ¿Óˆ Û ۯ¤‰È·ÙÔ˘ ∞Ó‰ÚÈÒÙË ·Ú¯ÈÙ¤ÎÙÔÓ· πˆ¿ÓÓË ∫Ô˘Ì¤ÏË. ªÂÙ¿ ÙËÓ ˘ÚηÁÈ¿ÔÈ ÂÚÁ·Û›Â˜ Ô˘ ÚÔ¯ˆÚÔ‡Û·Ó Ì ·ÚÁfi Ú˘ıÌfi ÂÈÙ·¯‡ÓıËηÓÎ·È ÙÔ ¤ÚÁÔ ÂÚ·ÙÒıËΠÛÙÔ Ù¤ÏÔ˜ ÙÔ˘ 1886.ΔÔ ÎÂÓÙÚÈÎfi ÎÙ›ÚÈÔ Ù˘ ¢ËÌÔÙÈ΋˜ ∞ÁÔÚ¿˜ ηχÙÂÈ ÙÔ ÔÈÎÔ-‰ÔÌÈÎfi ÙÂÙÚ¿ÁˆÓÔ Ô˘ ÂÚÈÎÏ›ÂÙ·È ·fi ÙȘ Ô‰Ô‡˜ ∞ıËÓ¿˜,∞ÚÌÔ‰›Ô˘, ºÈÏoÔ›ÌÂÓÔ˜ Î·È ∞ÚÈÛÙÔÁ›ÙÔÓÔ˜. °Ú‹ÁÔÚ· ÙÔÂÌfiÚÈÔ ÂÂÎÙ¿ıËΠηٿ Ì‹ÎÔ˜ Ù˘ Ô‰Ô‡ ∞ıËÓ¿˜ Î·È ÙˆÓÁ‡Úˆ ‰ÚfïÓ. ∞fi Ôχ ÓˆÚ›˜ ÔÏfiÎÏËÚË Ë ÂÚÈÔ¯‹, ΤÓÙÚÔÂÌÔÚ›Ô˘ ÙÚÔÊ›ÌˆÓ ¤ÁÈÓ ηıËÌÂÚÈÓfi˜ ÙfiÔ˜ Û˘ÁΤÓÙÚˆÛË˜ÙˆÓ ∞ıËÓ·›ˆÓ Î·È ÔÏfiÎÏËÚË Ë ÂÚÈÔ¯‹ ÔÓÔÌ¿ÛÙËΠ·ÁÔÚ¿.™ÙȘ ·Ú¯¤˜ ÙÔ˘ 20Ô˘ ·ÈÒÓ· Î·È Î˘Ú›ˆ˜ Ù· ÌÂÙ·ÔÏÂÌÈο¯ÚfiÓÈ·, Ë ·ÁÔÚ¿ ÙÚÔÊ›ÌˆÓ ÂÂÎÙ¿ıËÎÂ Î·È ÛÙËÓ ·¤Ó·ÓÙÈ·fi ÙÔ ÎÙ›ÚÈÔ Ù˘ ¢ËÌÔÙÈ΋˜ ∞ÁÔÚ¿˜ Á‹Â‰Ô, Ô˘ ηٷϿÌ-‚·Ó ÙÔ μ·Ú‚¿ÎÂÈÔ §‡ÎÂÈÔ. √ ·‡ÏÂÈÔ˜ ¯ÒÚÔ˜ ÙÔ˘ ÊÈÏÔͤÓËÛÂÙË Ï·¯·Ó·ÁÔÚ¿ Ô˘ ¤ÁÈÓ ÁÓˆÛÙ‹ ˆ˜ μ·Ú‚¿ÎÂÈÔ˜ ∞ÁÔÚ¿·fi ÙÔ fiÓÔÌ· ÙÔ˘ ·ÏÈÔ‡ Û¯ÔÏ›Ԣ Î·È fi¯È Ê˘ÛÈο ÂÂȉ‹ Ôμ·Ú‚¿Î˘ ¯ÔÚ‹ÁËÛ ÙËÓ Î·Ù·Û΢‹ Ù˘, fiˆ˜ ÔÏÏÔ›ÈÛÙ‡ԢÓ.

∏ ÎÂÓÙÚÈ΋ ·ÁÔÚ¿ Ù˘ ∞ı‹Ó·˜.Δ· „·Ú¿‰Èη. ŒÓ·˜ ·fi ÙÔ˘˜ Ï›ÁÔ˘˜ ÙfiÔ˘˜ fiÔ˘ ÌÔÚ› Ó·‚ÚÂÈ Î·Ó›˜ ·ÎfiÌË Î·È Û‹ÌÂÚ· ÊÚ¤ÛÎÔ „¿ÚÈ ÛÙËÓ Î·Ú‰È¿ Ù˘∞ı‹Ó·˜. 23-03-70

The Municipal Market of Athens was functional until the lastdecades of the 19th century at the end of Aiolou Street, inand around the archaeological site of the Roman Market.In August 1884 a fire completely destroyed its woodenconstructions. Already since 1878, whilst Panagis Kyriakouwas mayor of Athens, construction work for the new Marketstarted, based on designs made by the architect IoannisKoumelis from Andros. After the fire, the work, which wasprogressing at a slow pace, intensified and the constructionwas completed by the end of 1886.The central building of the Municipal Market covers thespace surrounded by the Streets Athenas, Armodiou,Filopoimenos and Aristogeitonos. Very soon the commercialactivity extended along Athinas Street and the surroundingroads. Very early on the entire area, a centre for foodcommerce, turned into a daily meeting place for theinhabitants of Athens and the entire area was called Market.From the beginning of the 20th century and especiallyduring the post WWII years, the food market extended alsoto the grounds opposite the Municipal Market building,which was occupied by the Varvakeio Lykeio. Its front yardhosted the vegetable market, which later became known asthe Varvakeios market, due to the name of the old school,and not because Varvakis sponsored its construction, asmany people think.

The central market of AthensThe fish stalls. One of the few locations where, even today,you can find fresh fish in the heart of Athens. 23-03-70

∏ ¢ËÌÔÙÈ΋ ∞ÁÔÚ¿ The Municipal Market

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ÃÚÒÌ·Ù·, Ì˘Úˆ‰È¤˜ ʈӤ˜. ∂›Ó·È ÌÈ· ·fiÏ·˘ÛË Ó· „ˆÓ›˙ÂȘÛÙËÓ ∫ÂÓÙÚÈ΋ ·ÁÔÚ¿. ™·Ó ›Ó·Î·˜ ÙÔ˘ ¶·Ó·ÁÈÒÙË Δ¤ÙÛË.

Colours, smells, voices. It is a real joy to go shopping inthe Central Market. Much like a painting of Pan. Tetsis.

∫ÚÂԈϛ· ∫ÂÓÙÚÈ΋˜ ∞ÁÔÚ¿˜∞ıËÓÒÓ

Central Meat Market of Athens.

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√ Û˘ÓˆÛÙÈÛÌfi˜ Â›Ó·È ÌÂÁ¿ÏÔ˜. 23-03-70 It is very overcrowded. 23-03-70

§·¯·Ó·ÁÔÚ¿ ∞ıËÓÒÓ Athens Vegetable Market

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§·¯·ÓÈο Î·È ÊÚÔ‡Ù· ™¿‚‚·ÙÔ ·fiÁÂ˘Ì· ‰ÂηÂÙ›· ÙÔ˘1950.

Vegetables and fruits on a Saturday afternoon, during the50’s.

∫ÂÓÙÚÈ΋ ∞ÁÔÚ¿ ∞ıËÓÒÓ Central Market of Athens.

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Δ· ·Ú·‹ÁÌ·Ù· ·ÏÒÓÔÓÙ·È ¤Íˆ ·fi Ù· ·ÏÈ¿ ·Ú¯ÔÓÙÈοÙ˘ Ô‰Ô‡ ∞ÚÈÛÙÔÁ›ÙÔÓÔ˜ ÚÔ˜ ÙËÓ Ô‰fi ™ˆÎÚ¿ÙÔ˘˜. ªÈ·ÌÔÙÔÛÈÎϤٷ ÍÂÊÔÚÙÒÓÂÈ Û·Ó¿ÎÈ (‰ÂηÂÙ›· ÙÔ˘ 1950).

The stalls are spread outside the old upper class residencesof Aristogeitonos Street towards Sokratous Street.A motorcycle is off-loading spinach (decade of the 50’s).

∫ÂÓÙÚÈ΋ ∞ÁÔÚ¿ ∞ıËÓÒÓ. ∂ÎÊfiÚÙˆÛȘ Ï·¯·ÓÈÎÒÓ ™¿‚‚·ÙÔ·fiÁÂ˘Ì·

Central Market of Athens. Of f - load ing vegetab les on aSaturday afternoon

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¶¿Óˆ ÛÙ· Úfi¯ÂÈÚ· ·fi Ï·Ì·Ú›Ó· ÛÙ¤Á·ÛÙÚ· Âٷ̤ӷηʿÛÈ· Ô˘ÏÂÚÈÎÒÓ (‰ÂηÂÙ›· ÙÔ˘ 1950).

§›ÁÔ ÈÔ Î¿Ùˆ, ÛÙËÓ Ô‰fi ∞ıËÓ¿˜ ¿ÓÙÔÙÂ, ·Ó·Ù‡ÛÛÂٷȤӷ ÌÈÎÚÂÌfiÚÈÔ, Ô˘ ÂÂÎÙ›ÓÂÙ·È Î·È ÛÙÔ˘˜ Á‡Úˆ‰ÚfiÌÔ˘˜, ÚÔ˜ ÙËÓ ∞ÈfiÏÔ˘ Î·È ÚÔ˜ ÙÔ˘ æ˘ÚÚ‹. ª·¯·ÚÈο,ÍËÚÔ› ηÚÔ›, ·˘Á¿, Ì·ÓÙ˙Ô‡ÓÈ·, Û¿ÁÁÔÈ, ÓÙ·ÌÈÙ˙¿Ó˜,͇ÏÈÓ· ¯ÂÈÚÔÔ›ËÙ· ·ÓÙÈΛÌÂÓ·, ÊÙËÓ¿ ›‰Ë ÎÈÁηÏÂÚ›·˜.

Boxes with chickens are thrown on the casuallyconstructed tin surfaces. (decade of the 50’s).

A little further, still on Athinas Street, various pettymerchants, extending to the surrounding roads, towardsAiolou Street and the Psyrri area, sell spices, dry fruits,eggs, strings, herbs, liquid carriers, woodwork artefacts,cheap metallic objects.

ª·Ó¿‚Èη ÛÙËÓ ∫ÂÓÙÚÈ΋ ∞ÁÔÚ¿∞ıËÓÒÓ

Vegetable shops in the CentralMarket of Athens

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÷ϷÚfi˜ Ô ÌÈÎÚÔ¤ÌÔÚÔ˜ Ù˘ Ô‰Ô‡ ∞ıËÓ¿˜ Ô˙¿ÚÂÈ ÛÙÔʈÙÔÁÚ·ÊÈÎfi Ê·Îfi. ªÚÔÛÙ¿ ÙÔ˘ Ë ˙˘Á·ÚÈ¿ Ì ٷ ˙‡ÁÈ·.

The petty merchant on Athinas Street casually poses forthe photographical lense. In front of him the scales withthe weights for weighing.

ªÈ· ÛÙÈÁÌ‹ Ù˘ Ô‰Ô‡ ∞ıËÓ¿˜

A moment on Athinas Street

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¶¿Óˆ ÛÙÔ ÎÈÓËÙfi Ì·Á·˙¿ÎÈ È¿Ù· ÙÔ˘ «∫ÂÚ·ÌÂÈÎÔ‡»,ÌÚ›ÎÈ·, ηÙÛ·ÚfiϘ, ÙËÁ¿ÓÈ·, ÛÔ˘ÚˆÙ‹ÚÈ·, ÎÔ˘Ù¿Ï˜.√ÏfiÎÏËÚÔ˜ Ô ÂÍÔÏÈÛÌfi˜ Ù˘ ÎÔ˘˙›Ó·˜ (‰ÂηÂÙ›· 50).

On the mobile stall plates from Kerameikos, pots formaking coffee, cooking pots, frying pots, strainers,spoons. The whole kitchen equipment. (decade of the50’s).

“O ∫ÂÚ·ÌÂÈÎfi˜” “Kerameikos”

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ŸÙ·Ó Ë ·ÁÔÚ¿ ÂÂÎÙ›ÓÂÙ·È ¤Íˆ ·fi Ù· fiÚÈ· Ù˘.™ÙÔ ÙÔ›¯Ô ‰È·Ê‹ÌÈÛË ÙÔ˘ Ï·¯Â›Ô˘ ™˘ÓÙ·ÎÙÒÓ.

The time when the market extends beyond its limits.On the wall an advertisement of the Newspaper Editors’lottery.

√ˆÚԈϛ· ÂȘ ÙËÓ ¶Ï·Ù›·∫Ï·˘ıÌÒÓÔ˜

Fruit shops in Klafthmonos Square

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∏ ∂ıÓÈ΋ ΔÚ¿Â˙· Ù˘ ∂ÏÏ¿‰Ô˜ ȉڇıËΠ·fi ÙÔÓ∏ÂÈÚÒÙË °ÂÒÚÁÈÔ ™Ù·‡ÚÔ ÙÔ 1841 ÂÓÒ Ù· ÚÒÙ·ÎÂÊ¿Ï·È· η٤ıÂÛÂ Ô ∂Ï‚ÂÙfi˜ ÊÈϤÏÏËÏ·˜ Î·È ÚÔÛˆÈÎfi˜Ê›ÏÔ˜ ÙÔ˘ ∫·Ô‰›ÛÙÚÈ· J.G. Eynard.∞Ú¯Èο ÛÙÂÁ¿ÛÙËΠÛÙËÓ ÔÈΛ· ¢ÔÌÓ¿‰Ô˘ ÛÙË ÁˆÓ›· ÙˆÓÔ‰ÒÓ ∞ÈfiÏÔ˘ Î·È °. ™Ù·‡ÚÔ˘ Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÂÂÎÙ¿ıËÎÂÎ·È ÛÙÔ ‰ÈÏ·Ófi ÎÙ›ÚÈÔ, ÙËÓ ÔÈΛ· ºÂڿωÈ. ΔÔ 1899Ô ·Ú¯ÈÌ˯·ÓÈÎfi˜ Ù˘ ΔÚ¿Â˙·˜ ∞ÚÈÛÙ›‰Ë˜ ª·Ï¿ÓԘηٿÊÂÚ ӷ Ù· Û˘ÓÂÓÒÛÂÈ Ì ÂÈÙ˘¯›· Û’ ¤Ó· ÂÓÈ·›ÔÎÙ›ÚÈÔ. ªÚÔÛÙ¿ ÛÙËÓ ΔÚ¿Â˙· ÌÈÎÚÔˆÏËÙ¤˜ ‰È·ÊËÌ›˙Ô˘ÓÙËÓ Ú·ÌÌ¿ÙÂÈ· ÙÔ˘˜, ÛÊÔ˘ÁÁ¿ÚÈ·, ÙÛ¿ÓÙ˜, ÁÚ·‚¿Ù˜,ÛÙÚ·Á¿ÏÈ·, ·Û·Ù¤ÌÔ.∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘40 ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 50.

The National Bank of Greece was establised by GeorgeStavros, from Ipeiros, in 1841, and the first funds weredonated by the Swiss grecophile and personal friend ofKapodistrias, J.G. Eynard.Originally it was housed in the Domnadou residence, atthe junction of Aiolou Street and G. Stavrou Street, andlater it was extended to the next-door building, the Feraldiresidence. In 1899 the chief engineer of the Bank,Aristeidis Balanos, managed to successfully merge thetwo buildings into one.In front of the Bank petty merchants advertise theirwares, sponges, handbags, neckties, chick-peas, edibleseeds.The photo must have been taken at the end of the 40’s orthe beginning of the 50’s.

™ÙËÓ ¶Ï·Ù›· ∫ÔÙ˙È¿ ÌÚÔÛÙ¿ÛÙËÓ ∂ıÓÈ΋ ΔÚ¿Â˙·

At Kotzia Square in front of theNational Bank

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ªÚÔÛÙ¿ ÛÙÔ ÎÙ›ÚÈÔ Ù˘ ∂ıÓÈ΋˜ ΔÚ¿Â˙·˜ ¤¯Ô˘Ó ÛÙËı› ¿ÁÎÔÈÌÈÎÚÔˆÏËÙÒÓ. ¶Ï·ÛÙÈο ÏÔ˘ÏÔ‡‰È·, ÙÛ¿ÓÙ˜, ·È¯Ó›‰È·.™Â ÚÒÙÔ Ï¿ÓÔ Ô ÛÊÔ˘ÁÁ·Ú¿˜.

In front of the National Bank building petty merchantsexhibiting their wares. Plastic flowers, handbags, toys.In the forefront the sponge merchant.

ªÈÎÚÔˆÏËÙ¤˜ Petty Merchants

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Δ’ ·ÓıԈϛ· Ù˘ √ÌfiÓÔÈ·˜ Ï›ÁÔ ÚÈÓ ÌÂÙ·ÊÂÚıÔ‡ÓÛÙËÓ Ï·Ù›· ∫ÔÙ˙È¿.Δ· ¯Ú˘Û¿ÓıÂÌ· (·˚‰ËÌËÙÚÈ¿ÙÈη), ÔÈ ÁÏ·‰ÈfiϘ Î·È Ù·Á·Ú‡Ê·ÏÏ· ÂÈÎÚ·ÙÔ‡Ó. ÷ÌËÏ¿ ÛÙÔ ‹ÏÈÓÔ ‚¿˙Ô ÛÙËÓ·ÚÈÛÙÂÚ‹ ÁˆÓ›· ˙·Ì¿ÎÈ·.ΔfiÙ ·ÎfiÌË Ù· ÏÔ˘ÏÔ‡‰È· ÌÔÛ¯Ô̇ÚÈ˙·Ó.

The flower shops on Omonoia shortly before they weremoved to Kotzia Square.Chrysanthems, gladioles and carnations prevail. Lowerdown in the clay vase in the left corner are “zampakia”.Those days flowers still had a scent.

Δ’ ·ÓıԈϛ· Ù˘ √ÌfiÓÔÈ·˜ The flower shops on Omonoia

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ÿÛˆ˜ Ù’ ÂÌÔÚ‡̷ٷ Ó’ ¿ÏÏ·Í·Ó, ·ÏÏ¿ ÔÈ Ï·Ófi‰ÈÔȷڷ̤ÓÔ˘Ó.

Their wares may have changed, but the wanderingmerchants remain.

¶Ï·Ófi‰ÈÔÈ ÌÈÎÚÔˆÏËÙ¤˜ ÛÙËÓ∞ÈfiÏÔ˘ ·Ú¯¤˜ ‰ÂηÂÙ›·˜ ÙÔ˘ ‘50

Wandering petty merchants inAiolou Street in the beginning ofthe 50’s

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∏ ∞ÈfiÏÔ˘, Ï›ÁÔ ¿Óˆ ·fi ÙËÓ ∞Á›· ∂ÈÚ‹ÓË Ì ÊfiÓÙÔ ÙÔÓπÂÚfi μÚ¿¯Ô Ù˘ ∞ÎÚfiÔÏ˘.¢È·ÎÚ›ÓÂÙ·È Ë ÊˆÙÂÈÓ‹ ÂÈÁÚ·Ê‹ ÙˆÓ ÔÏ˘Î·Ù·ÛÙËÌ¿ÙˆÓ™ÁÔ‡Ú‰·˜ ·fi Ù· Ï›Á· Ô˘ ÂÍ·ÎÔÏÔ˘ıÔ‡Ó Ó· ˘¿Ú¯Ô˘Ó·ÎfiÌË Î·È Û‹ÌÂÚ·.¢ÂÍÈ¿, οÔÈ· ·fi Ù· ˆÚ·ÈfiÙÂÚ· ÓÂÔÎÏ·ÛÈο ÎÙ›ÚÈ· ÙÔ˘‰ÚfiÌÔ˘, Ì ٷ ÈÛfiÁÂÈ· ÂÓÙÂÏÒ˜ ·ÏÏÔȈ̤ӷ. ªÚÔÛÙ¿ÙÔ˘˜ Úfi¯ÂÈÚ· ÛÙË̤ӷ Ù· Ì·Á·˙¿ÎÈ· ÙˆÓ ÌÈÎÚÔˆÏËÙÒÓ.

Aiolou Street, a little after Agia Eirini, with the AcropolisRock in the background.We see the lit-up sign of multi-store Sgourdas, one of thefew that remains until today.On the right some of the most beautiful neoclassicalbuildings of this road, with the ground floors completelyaltered. In front of them the stalls of petty merchants arespread out.

“∞ı‹Ó·È Ô‰fi˜ ∞ÈfiÏÔ˘. ™ÙÔ ‚¿ıÔ˜Ô ¶·ÚıÂÓÒÓ”

“Athens Aiolou Street. In thebackground the Parthenon”

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¢›Ï· ÛÙÔ ªÔÓ·ÛÙËÚ¿ÎÈ ÛÙËÓ Ô‰fi ∞ıËÓ¿˜ ›‰Ë ÎÈÁηÏÂÚ›·˜·fi ÂÌ·ÁȤ Î·È ·ÏÔ˘Ì›ÓÈÔ.√ Ï·Ófi‰ÈÔ˜ Â͢ËÚÂÙ› ÙÔ˘˜ ÂÏ¿Ù˜ ·fi Ù· Á‡Úˆ ·fiÙËÓ ∞ı‹Ó· ¯ˆÚÈ¿.16- 09-65

Next to Monastiraki, on Athinas Street, metallic artefacts,made of enamel and tin.The wandering merchant serves his clients that comefrom the villages around Athens. 16-09-65

™ÙËÓ Ô‰fi ∞ıËÓ¿˜ On Athinas Street

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∫¿ı ∫˘Úȷ΋ Úˆ› ÛÙËÓ ¶Ï·Ù›· ¢ËÌÔÚ·ÙËÚ›Ô˘ ÛÙËÓ·Ú¯‹ Ù˘ Ô‰Ô‡ ∞ÈfiÏÔ˘ ‹ Ï·Ù›· ∞Ó·‚Ú˘ÙËÚ›Ô˘ fiˆ˜ÔÓÔÌ·˙fiÙ·Ó ·Ú¯Èο, ÏÂÈÙÔ˘ÚÁ› ·fi ÙÔ 1895 ‚‰ÔÌ·‰È·›··ÁÔÚ¿ ÌÂÙ·¯ÂÈÚÈṲ̂ӈÓ.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· Â›Ó·È ÙÚ·‚ËÁ̤ÓË ÚÈÓ ·fi ÙÔ1935, ÔfiÙ ηٷÚÁ‹ıËÎ·Ó Ù· Ê·Ó¿ÚÈ· ÙÔ˘ Áη˙ÈÔ‡.

Every Sunday morning at the Municipal Market Square, atthe beginning of Aiolou Street, the Anavrytiriou Square asit was originally called, you can find a market of second-hand items, since 1895.This photo must have been taken before 1935, when thegas lamps went out of use.

ªÔÓ·ÛÙËÚ¿ÎÈ Monastiraki

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°‡Úˆ ·fi ÙËÓ Ï·Ù›· ªÔÓ·ÛÙËڷΛԢ ÌÚÔ˜ Î·È ›Ûˆ ·’ÙÔ ·ÏÈfi Ù˙·Ì›, ÛÙÔ ¯ÒÚÔ Ù˘ ·ÏÈ¿˜ ·ÁÔÚ¿˜ ·Ú¯›˙ÂÈ Ó·Û¯ËÌ·Ù›˙ÂÙ·È ÛÙȘ ·Ú¯¤˜ ÙÔ˘ 20Ô˘ ·ÈÒÓ· ÌÈ· Ó¤· ȉÈfiÌÔÚÊË,Î·È È‰È·›ÙÂÚ· ÁÔËÙ¢ÙÈ΋ ·ÁÔÚ¿ Ì ·ÚÈÔ˘˜ ¿ÍÔÓ˜ ÙˆÓÔ‰ÒÓ ¶·Ó‰ÚfiÛÔ˘ (·Ï‹ıÂÈ· fiÛÔÈ ÁÓˆÚ›˙Ô˘Ó ¿Ú·Á fiÙÈ Ë¶¿Ó‰ÚÔÛÔ˜ ‹Ù·Ó ÎfiÚË ÙÔ˘ ‚·ÛÈÏÈ¿ Ù˘ ∞ÙÙÈ΋˜ ∫¤ÎÚÔ·Î·È fiÙÈ ÔÈ ∞ıËÓ·›ÔÈ ÙË Ï¿ÙÚ¢·Ó ÛÙÔ ∂Ú¤¯ıÂÈÔ;) Î·È ∏Ê·›-ÛÙÔ˘.ªÈ· ·ÁÔÚ¿ Ô˘ ÔÚÁ·ÓÒıËΠ·˘ÙÔÛ¯¤‰È· ·fi ÙÔ˘˜ ÚÒÙÔ˘˜Ï·Ófi‰ÈÔ˘˜ ·ÏÈ·Ù˙‹‰Â˜, ÚfiÛÊ˘Á˜ ÔÈ ÂÚÈÛÛfiÙÂÚÔÈ.

Around Monastiraki Square, in front and behind the oldmosque, at the place of the old market, a new, ratherunusual and especially charming market starts to developin the beginning of the 20th century; its main axis isPandrossou Street (by the way, who knows that Pandrososwas the daughter of Attika’s king Kekrops and that she wasworshipped by the Athenians in the Erechtheio?) andHifaistou Street.This market was set up by the self initiative of the firstwandering dealers in old stuff, most of whom were refugees.

ªÔÓ·ÛÙËÚ¿ÎÈ Monastiraki

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™ÙÔ ¿Óˆ ̤ÚÔ˜, ÛÙËÓ Ô‰fi ¶·Ó‰ÚfiÛÔ˘, ÂÍ·ÎÔÏÔ˘ıÔ‡Ó·ÎfiÌ· Ó· ÛÙÂÁ¿˙ÔÓÙ·È Ì·Á·˙È¿ Î·È ÂÚÁ·ÛÙ‹ÚÈ· ηٷÛ΢-‹˜ ÙÛ·ÚÔ˘¯ÈÒÓ Î·È ÛÙË Û˘Ó¤¯ÂÈ· Û·Ó‰·ÏÈÒÓ fiˆ˜ ÛÙÔÙ¤ÏÔ˜ ÙÔ˘ 19Ô˘ ·ÈÒÓ·. ∏ Ì˘Úˆ‰È¿ ÙÔ˘ ‰¤ÚÌ·ÙÔ˜ ÔÙ›˙ÂÈ ÙÔ‰ÚfiÌÔ.

In the upper part, in Pandrossou Street, even until today,the shops and workshops are housed that manufacturetsarouchia (traditional shoes) and later on sandals, muchlike at the end of the 19th century. The smell of leatherspreads across the road.

ªÔÓ·ÛÙËÚ¿ÎÈ Monastiraki

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Δ· ·ÏÈ¿ Ï¿ÛÙȯ· ·˘ÙÔÎÈÓ‹ÙˆÓ ÚÔÛʤÚÔ˘Ó ÚÒÙË ‡ÏË.™ÈÁ¿ ÛÈÁ¿ fï˜ ·Ó¿ÌÂÛ· ÙÔ˘˜ ÍÂÊ˘ÙÚÒÓÔ˘Ó ·Ï·ÈÔˆ-Ï›· Î·È Ì·Á·˙È¿ Ì “·ÓٛΘ” Î·È ÙÔ˘ÚÈÛÙÈο ›‰Ë.

Used car tyres are on sale. Gradually other shops, such asantique shops, second-hand shops, and shops sellingtouristic artefacts, start to emerge amongst them.

ªÔÓ·ÛÙËÚ¿ÎÈ Monastiraki

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¶ÈÔ Î¿Ùˆ ÛÙËÓ Ô‰fi ∏Ê·›ÛÙÔ˘ Ô˘ ‹Ú ÙÔ fiÓÔÌ· Ù˘ ·fiÙÔ ıÂfi ◊Ê·ÈÛÙÔ Ù· ÛȉÂÚ¿‰Èη ΢ÚÈ·Ú¯Ô‡Û·Ó. ∞ÎfiÌË Î·ÈÛ‹ÌÂÚ· ÌÔÚ› ηÓ›˜ Ó· ‚ÚÂÈ Â‰Ò ¯·ÏÎÒÌ·Ù· Î·È Ì·Î›ÚÈ·ÁÓ‹ÛÈ· ‹ ·ÔÌÈÌ‹ÛÂȘ, ·‰È¿ÊÔÚ·. ∫·È ‰›Ï· ÙÔ˘˜, Ù··Ï·ÈԈϛ· Á›ÓÔÓÙ·Ó Â‰Ò ·ÏÈ·Ù˙›‰Èη

Further on, in Hifaistou Street, which was called after thegod Hifaistos, the smithies are set up. Even nowadays it ispossible to find bronze and copper artefacts here, originalor imitations, it doesn’t matter. Next to them the antiqueshops turn into second-hand shops here.

ªÔÓ·ÛÙËÚ¿ÎÈ Monastiraki

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™ÙË ‰ÂηÂÙ›· ÙÔ˘ ‘50 ‹ ·ÎfiÌË Î·È ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ÙÔ˘ ‘60 ‰ÂÓ ‹Ù·Ó Ï›ÁÔÈ ·˘ÙÔ› Ô˘ ÂÚ¯fiÓÙÔ˘Û·Ó ÁÈ· Ó·‚ÚÔ˘Ó Â‰Ò ÚÔ‡¯· Î·È ·Ô‡ÙÛÈ· ·fi ‰Â‡ÙÂÚÔ ¯¤ÚÈ ·ÏÏ¿Û ηϋ ηٿÛÙ·ÛË Î·È Û ηϋ ÙÈÌ‹.

During the 50’s or even at the beginning of the 60’s quitea lot of people would visit the area looking to find second-hand clothes and shoes, in good condition for anaffordable price.

ªÔÓ·ÛÙËÚ¿ÎÈ Monastiraki

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™ÈÁ¿ ÛÈÁ¿ ,ÙÔ ·ÏÈfi ÚÔ‡¯Ô ÂÁηٷÏ›ÂÙ·È Î·ıÒ˜ ÙÔ ‚ÈÔÙÈÎfiÂ›Â‰Ô ·Ú¯›˙ÂÈ Ó· ·Ó‚·›ÓÂÈ Î·È Ó¤Ô˜ ·ÎÏÔ˜ ÂÌÔÚ¢-Ì¿ÙˆÓ ·›ÚÓÂÈ ÙË ı¤ÛË ÙˆÓ ·ÏÈÒÓ.

Gradually the second-hand clothes are abandoned as theaverage income is increasing, and another new kind ofmerchandise replaces the previous one.

ªÔÓ·ÛÙËÚ¿ÎÈ Monastiraki

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¢›Ï· ÛÙ· ·ÏÈ¿ ¤ÈÏ· Î·È ÚÔ‡¯· Ù· ‰È·ÎÔÛÌËÙÈο·ÓÙÈΛÌÂÓ· Î·È Ù· ›‰Ë ηıËÌÂÚÈÓ‹˜ ¯Ú‹Û˘, Ù· ‚È‚Ï›·,ÔÈ ‰›ÛÎÔÈ, Ù· ·È¯Ó›‰È· ÔÈ Î·ÚÙ- ÔÛÙ¿Ï, ÔÈ ÊˆÙÔÁڷʛ˜.Ÿ,ÙÈ Ôı› Ë „˘¯‹ ÛÔ˘. °ÂÌ›˙Ô˘Ó Ù· ÌÈÎÚ¿ ηٷÛÙ‹Ì·Ù·Î·È Ù· Â˙Ô‰ÚfiÌÈ·.

Next to old furniture and clothes we see decorativeobjects, items for daily usage, books, records, toys,picture postcards, photographs. Whatever it is that onemay wish for. The small shops and the pavements are full.

ªÔÓ·ÛÙËÚ¿ÎÈ Monastiraki

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“¶ˆÏÔ‡ÓÙ·È ·ÓÙ›Î·È ·Ï·È·› Î·È Ó¤·È” ¤ÁÚ·Ê οÔÙ ÌÈ·ÂÈÁÚ·Ê‹.

“Old and new antique for sale” was written on this sign.

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ŒÚÁÔ ÙÔ˘ ۿ͈ӷ ·Ú¯ÈÙ¤ÎÙÔÓ· ΔÛ›ÏÏÂÚ ¯ÙÈṲ̂ÓÔ ÙÔ 1873‰¤ÛÔ˙Â Î·È ‰ÂÛfi˙ÂÈ ÛÙËÓ Ï·Ù›· ∫ÔÙ˙È¿ Ì ÙÔ ÌÓËÌÂÈ·ÎfiÙÔ˘ ‡ÊÔ˜ Î·È Ê·ÓÂÚ‹ ÙËÓ Â›‰Ú·ÛË ÙÔ˘ μÈÂÓÓ¤˙ÈÎÔ˘ÎÏ·ÛÈÎÈÛÌÔ‡. ∞fi ÙÔ 1900 Î·È ÁÈ· ¿Óˆ ·fi ÌÈÛfi ·ÈÒÓ·˘‹ÚÍ ¤‰Ú· ÙÔ˘ ∫ÂÓÙÚÈÎÔ‡ Δ·¯˘‰ÚÔÌ›Ԣ. ◊Ù·Ó ÁÓˆÛÙfiÛÙÔ˘˜ ∞ıËÓ·›Ô˘˜ ˆ˜ Ù· “3Δ” Δ·¯˘‰ÚÔÌÂ›Ô –ΔËÏÂÁÚ·Ê›Ô-ΔËÏÂʈÓ›Ô.™‹ÌÂÚ· ÛÙÂÁ¿˙ÂÈ ˘ËÚÂۛ˜ Ù˘ ∂ıÓÈ΋˜ ΔÚ¿Â˙·˜.“∞fi ÙËÓ ªÂÁ¿ÏËÓ Î›ÓËÛÈÓ ÂȘ ÙÔ ∫ÂÓÙÚÈÎfiÓ Δ·¯˘‰ÚÔÌ›ÔÓ∞ıËÓÒÓ Â’ ¢ηÈÚ›· ÙˆÓ ÂÔÚÙÒÓ”.ΔÔ ÌÂÁ¿ÏÔ ÂÛˆÙÂÚÈÎfi ·›ıÚÈÔ ÙÔ˘ ªÂÁ¿ÚÔ˘ ªÂÏ¿ fiÙ·Ó·˘Ùfi ÏÂÈÙÔ˘ÚÁÔ‡Û ˆ˜ Ù·¯˘‰ÚÔÌÂ›Ô Ì ÙȘ Úfi¯ÂÈÚ˜ÚÔÛı‹Î˜ ÙˆÓ ˆÏËÙËÚ›ˆÓ ÁÚ·ÌÌ·ÙÔۋ̈Ó.∏ ʈÙÔÁÚ·Ê›· Ú¤ÂÈ Ó· ¤¯ÂÈ ÙÚ·‚˯Ù› ÛÙȘ ·Ú¯¤˜ Ù˘‰ÂηÂÙ›·˜ ÙÔ˘ 50.

Designed by the Bavarian architect E. Ziller, it was built in1873 and dominated Kotzia Square with its monumentalstyle and obvious influence of Viennese classicism. Since1900 it was the Central Post Office for more than half acentury. It was known to people in Athens as the “3T’s”Tachydromeio (Post) – Telegraphy- Telephony.Nowadays it houses offices of the National Bank.“Coming out of a trafficy road into the Central Post Officeof Athens in the holiday season”.The large interior atrium of the Melas Mansion when itoperated as a post office, with the vending machines forbuying stamps.This photo must have been taken in the beginning of the50’s.

ΔÔ ª¤Á·ÚÔ ªÂÏ¿ Mela’s building

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“Δ· Ù·¯˘‰ÚÔÌ›· ı· ÏÂÈÙÔ˘ÚÁ‹ÛÔ˘Ó Ú¿ÁÌ·ÙÈ ˆ˜Δ·¯˘‰ÚÔÌ›· Î·È fi¯È ˆ˜ ‚Ú·‰˘‰ÚÔÌ›·. ∏ Ù·¯Â›· ‰ÈÂÎÂ-Ú·›ˆÛȘ Ù˘ ·ÏÏËÏÔÁÚ·Ê›·˜ Î·È fi¯È Ë ··Ú¿‰ÂÎÙË ÔÏ˘‹-ÌÂÚË Î·ı˘ÛÙ¤ÚËÛȘ Ô˘ ·ÔÙÂÏÔ‡Û ¿ÏÏÔÙ ηıÂÛÙÒ˜ ÂÈ-Ù˘Á¯¿ÓÂÙ·È Ì ÙËÓ ·Ó·‰ÈÔÚÁ¿ÓˆÛÈÓ Î·È ÙÔÓ ÂÎÛ˘Á¯ÚÔÓÈ-ÛÌfiÓ ÙˆÓ Ù·¯˘‰ÚÔÌÈÎÒÓ ˘ËÚÂÛÈÒÓ.ªÔÙÔÔ‰‹Ï·Ù· Î·È ÌÔÙÔÛ˘ÎϤÙ˜ ÂÏ·ÊÚÔ‡ Ù‡Ô˘ ΢ÎÏÔ-ÊÔÚÔ‡Ó ‹‰Ë ÂȘ ÙËÓ ÚˆÙÂ‡Ô˘Û·Ó Î·È Ù·˜ ·گ›·˜ Î·È ı·Â͢ËÚÂÙÔ‡Ó ¯ˆÚ›˜ ¯ÚÔÓÔÙÚÈ‚‹Ó ÙËÓ ‰È·Î›ÓËÛÈÓ Ù˘·ÏÏËÏÔÁÚ·Ê›·˜. ∂ÈÎÔÓ›˙ÔÓÙ·È ÂȘ ÙËÓ ÊˆÙÔÁÚ·Ê›·ÓÂÔ¯Ô‡ÌÂÓÔÈ ÂȘ ‚¤Û·˜ Ù·¯˘‰ÚÔÌÈÎÔ› ‰È·ÓÔÌ›˜,ÂÈÊÔÚÙÈṲ̂ÓÔÈ Ì ÙËÓ ‰È·ÓÔÌ‹Ó Ù˘ ·ÏÏËÏÔÁÚ·Ê›·˜EXPRESS”. 15 π·ÓÔ˘¿ÚÈÔ˜ 1968.

“The post offices’ service will operate really fast and notslow. A faster processing of mail, instead of unacceptabledelays of many days as used to be “standard”, will beachieved with the reconstitution and modernisation ofthe postal services. Mopeds and motorbikes are already traversing the capitaland the countryside, aiming to facilitate the undelayedmovement of mail. On the photo we see riders onmotorbikes, post deliverers, tasked to deliver the mailEXPRESS”. 15 January 1968.

∂ÎÛ˘Á¯ÚÔÓ›˙ÔÓÙ·È Ù· Ù·¯˘‰ÚÔÌ›· The post offices are modernised

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ΔË ‰ÂηÂÙ›· ÙÔ˘ 60 Ë Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜ ‹Ù·Ó ÁÂÌ¿ÙË·fi Ù· ÙÚ·Â˙¿ÎÈ· ÙˆÓ Á‡Úˆ ·fi ·˘Ù‹Ó ˙·¯·ÚÔÏ·ÛÙ›-ˆÓ Î·È Î·ÊÂÓ›ˆÓ ÙÔ˘ ∑·¯·Ú¿ÙÔ˘, ÙÔ˘ ¶··Û‡ÚÔ˘, ÙÔ˘∑·‚ÔÚ›ÙË.∏ Ï‹„Ë ¤¯ÂÈ Á›ÓÂÈ ·fi ÙËÓ ÏÂ˘Ú¿ Ù˘ Ô‰Ô‡ ™Ù·‰›Ô˘ ÚÔ˜ÙËÓ ºÈÏÂÏÏ‹ÓˆÓ.•Â¯ˆÚ›˙ÂÈ Ë ÂÙ·fiÚÔÊË ÔÈÎÔ‰ÔÌ‹ ÙÔ˘ °È¿ÓÓ·ÚÔ˘, ºÈÏÂÏ-Ï‹ÏˆÓ Î·È ŸıˆÓÔ˜ Î·È ÛÙËÓ ·¤Ó·ÓÙÈ ÁˆÓ›· Ë ÙÚÈÒÚÔÊËÔÈΛ· ÙÔ˘ μÔ˘Ï¢ÙÔ‡ ÕÚÙ·˜ °ÂˆÚ. ¶·¯‡. ¢›Ï· ÙÔ˘ › Ù˘ªËÙÚÔfiψ˜ ÙÔ ı¤·ÙÚÔ ¢ÈÔÓ‡ÛÈ·. ™ÙË ÁˆÓ›· ªËÙÚÔfi-ψ˜ Î·È Ï·Ù›·˜, ÙÔ ÙÂÙÚ·ÒÚÔÊÔ ÎÙ›ÚÈÔ ÙÔ ∞Ó¿ÚÁ˘ÚÔ˘™ÈÌfiÔ˘ÏÔ˘.¶·Ú’ fiÏÔ fiÙÈ ÙË ‰ÂηÂÙ›· ÙÔ˘ 1960 fiÏ· ·˘Ù¿ Ù· ÎÙ›ÚÈ·¤¯Ô˘Ó ¿„ÂÈ È· ·fi ηÈÚfi Ó· ÛÙÂÁ¿˙Ô˘Ó ÙË ÏÂÈÙÔ˘ÚÁ›·Ù˘ ηÙÔÈΛ·˜, ·Ú·Ì¤ÓÔ˘Ó ÛÙË ı¤ÛË ÙÔ˘˜ ‰È·ÙËÚÒÓÙ·˜ÙËÓ ÂÈÎfiÓ· Ù˘ Ï·Ù›·˜ ÙÔ˘ Ù¤ÏÔ˘˜ ÙÔ˘ 19Ô˘ ·ÈÒÓ·. Δ··Ì¤Ûˆ˜ ÂfiÌÂÓ· ¯ÚfiÓÈ· ÙÔ ¤Ó· ÌÂÙ¿ ÙÔ ¿ÏÏÔ Ù· ÎÙ›ÚÈ··˘Ù¿ ÂÎÙfi˜ ·fi ÙËÓ ÔÈÎÔ‰ÔÌ‹ ÙÔ˘ °È¿ÓÓ·ÚÔ˘, ηÙ‰·Ê›-ÛÙËÎ·Ó Î·È ÛÙË ı¤ÛË ÙÔ˘˜ ·ÓÂÁÂÚı‹Î·Ó Ó¤· ÔÏ˘ÒÚÔÊ·ÎÙ›ÚÈ·. ∏ ʈÙÔÁÚ·Ê›· ÙÔ˘ 1965 Â›Ó·È ›Ûˆ˜ ÌÈ· ·fi ÙȘÙÂÏÂ˘Ù·›Â˜ Ô˘ ·ÂÈÎÔÓ›˙Ô˘Ó Ù· ÎÙ›ÚÈ· ·˘Ù¿.

During the 60’s Syntagma Square was full of tables fromthe surrounding patisseries and coffee-shops Zacharatou,Papaspyrou, Zavoritis.The shot is taken from Stadiou Street towards Filellinon.We see the seven-storeyd building of Yiannaros, atFilellinon and Othon Streets, and on the opposite cornerthe three-storeyd residence of George Pahis, Parliamentmember from Arta. Next to it the Dionyssia Theatre, onMitropoleos Street. At the junction of Mitropoleos withthe Square the four-storeyd building of AnargyrosSimopoulos.Although by the time of the 60’s all these buildings nolonger functioned as living quarters, they remain in theirplace, and maintain the image of the Square as it was atthe end of the 19th century. During the years to follow,one after the other, these buildings were demolished,apart from the Yiannarou construction, and replaced bynew multi-storey buildings. The photo, taken in 1965,could be one of the last photos depicting these buildings.

∏ Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜ Syntagma Square

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™ÂÙÂÌ‚ÚÈ¿ÙÈÎÔ ÚˆÈÓfi. ∫·Ê¤˜ ÛÙÔ˘ ∑·¯·Ú¿ÙÔ˘.™ÙË Û˘Ó¤¯ÂÈ· ÙÔ˘ ªÂÁ¿ÚÔ˘ ¢ËÌËÙÚ›Ô˘ (ÛÙË Û˘Ó¤¯ÂÈ·ªÂÁ¿ÏË μÚÂÙÙ·Ó›·) ¯Ù›ÛÙËÎ·Ó ÙË ‰ÂηÂÙ›· 1870 ÔÈ ÔÈÎ›Â˜ÙˆÓ ™Ù. ™ÎÔ˘ÏÔ‡‰Ë Î·È π. μÔ‡ÚÔ˘. ∞ÚÁfiÙÂÚ· ÙÔ ÈÛfiÁÂÈÔÙÔ˘ ªÂÁ¿ÚÔ˘ μÔ‡ÚÔ˘, ÛÙË ÁˆÓ›· Ù˘ ™Ù·‰›Ô˘ Ì ÙËÓÏ·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜ ‰È·ÌÔÚÊÒıËΠ۠ηÊÂÓ›Ô. ΔÔÂÚ›ÊËÌÔ Î·ÊÂÓÂ›Ô ∑·¯·Ú¿ÙÔ˘, Ë ÌÈÎÚ‹ μÔ˘Ï‹ fiˆ˜Û˘Ó‹ıÈ˙·Ó Ó· ÙÔ ·ÔηÏÔ‡Ó ÂÍ’ ·ÈÙ›·˜ ÙÔ˘ fiÙÈ Û’ ·˘ÙfiÏfiÁˆ Ù˘ ÌÈÎÚ‹˜ ·fiÛÙ·Û˘ ÙÔ˘ ·’ ÙË μÔ˘Ï‹ Û‡¯Ó·˙·Ó·ÚÎÂÙÔ› ‚Ô˘ÏÂ˘Ù¤˜, ·ÔÙÂÏÔ‡Û ÙÔfiÛËÌÔ ÁÈ· ÙËÓ ∞ı‹Ó·.ΔÔ ª¤Á·ÚÔ μÔ‡ÚÔ˘ ηÙ‰·Ê›ÛÙËÎÂ.16-09-65

A September morning. Coffee at Zacharatou.During the decade of 1870, next to the Dimitriou Mansion(turned into Grande Bretagne), the residences of St.Skouloudis and I. Vouros were built. Later on the groundfloor of Vouros Mansion, at the junction of Stadiou Streetand Syntagma Square, was transformed into a coffee-shop.It was the famous Zacharatou coffeeshop, which was oftencalled the small Parliament, because of its close proximityto the Parliament, and many parliament members used togather there; it was a landmark for Athens.The Vouros Mansion was demolished. 16-09-65

¶Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜ Syntagma Square

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¶ÂÚ›ÙÂÚÔ ÛÙËÓ Ï·Ù›· ™˘ÓÙ¿ÁÌ·ÙÔ˜. ¢›Ï· ÛÙÔ ƒÔÌ¿ÓÙ˙Ô,ÙÔ ªÔ˘Î¤ÙÔ Î·È ÙȘ ∂ÈÎfiÓ˜, ÙÔ Elle , ÙÔ Life, ÔÈ Times,ÙÔ Vogue Î.Ù.Ï.√ ÂÏÏËÓÈÎfi˜ Î·È Ô Í¤ÓÔ˜ ËÌÂÚ‹ÛÈÔ˜ Î·È ÂÚÈÔ‰ÈÎfi˜ Δ‡Ô˜¤¯ÂÈ ÛοÛÂÈ Ï‹Úˆ˜ ÙÔ ÎÈfiÛÎÈ.ΔÈ ¿Ú·Á ¯·˙‡ÂÈ Ì ÙfiÛË ·ÊÔÛ›ˆÛË ÙÔ fiÚÁ·ÓÔ Ù˘ Ù¿Í˘;( ·Ú¯¤˜ ‰ÂηÂÙ›·˜ 1960).

A kiosk on Syntagma Square. Next to the Greekmagazines Romantzo, Bouqueto and Icons, the foreignmagazines Elle, Life, Times, Vogue, etc.Greek and foreign daily and periodical press is completelycovering the kiosk.One wonders what the policeman is looking at soattentively? (beginning of the 60’s).

ŒÓ· ÎÈfiÛÎÈ ÂÊËÌÂÚ›‰ˆÓ A newspaper kiosk

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∞¤Ó·ÓÙÈ ·fi ÙÔ ª¤Á·ÚÔ ªÂÏ¿, ÔÈ ∞ıËÓ·›ÔÈ ·ÔÏ·Ì‚¿ÓÔ˘ÓÙËÓ ÊıÈÓÔˆÚÈÓ‹ Ïȷο‰· ÛÙ· ÙÚ·Â˙¿ÎÈ· ÙˆÓ ÚÔ˜ ÙËÓÔ‰fi ∂˘ÔÏ›‰Ô˜ ηÊÂÓ›ˆÓ.¶›Ûˆ ÙÔ˘˜, Ù· ÌÂÁ¿Ï· ÔÏ˘ÒÚÔÊ· ÓÂÔÎÏ·ÛÈο ÙÔ˘ Ù¤ÏÔ˘˜ÙÔ˘ 19Ô˘ Î·È ÙˆÓ ·Ú¯ÒÓ ÙÔ˘ 20Ô˘ ·ÈÒÓ·.§›ÁÔ ÈÔ Î¿Ùˆ ¯Ù˘¿ÂÈ Ë Î·Ú‰È¿ Ù˘ ·ÁÔÚ¿˜.∏ Ï·Ù›· ¢ËÌ·Ú¯Â›Ô˘ ÂÍ·ÎÔÏÔ˘ı› Ó· Â›Ó·È ÌÈ·Ï·Ù›· Ôχ‚Ô˘Ë, ˙ˆÓÙ·Ó‹, ÁÂÌ¿ÙË ·fi ÎfiÛÌÔ Ô˘ËÁ·ÈÓÔ¤Ú¯ÂÙ·È. 16-09-65

Opposite the Melas Mansion Athenians enjoying theautumn sun at the tables of a coffee-shop towards EfpolidosStreet.Behind them the big multi-storey neoclassical buildingsfrom the end of the 19th century and the beginning of the20th century.A little further back the heart of the Market is beating.Dimarcheiou Square still remains a place full of noise,lively, with lots of people coming and going. 16-09-65

∫·ÊÂÓ›ÔÓ Â› Ù˘ Ï·Ù›·˜¢ËÌ·Ú¯Â›Ô˘

A coffee-shop on DimarcheiouSquare

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ΔÔ ∑¿ÂÈÔ ª¤Á·ÚÔ, Û ÓÂÔÎÏ·ÛÈÎfi Ú˘ıÌfi, ۯ‰ȿÛÙËηگÈο ·fi ÙÔÓ F. Boulanger Î·È ÙÚÔÔÔÈ‹ıËΠÛÙËÛ˘Ó¤¯ÂÈ· ·fi ÙÔÓ £ÂfiÊÈÏÔ Ã¿ÓÛÂÓ. MÈÎÚ¤˜ ÙÚÔÔÔÈ‹ÛÂȘ¤ÊÂÚÂ Î·È Ô ΔÛ›ÏÏÂÚ. ∫Ù›ÛÙËΠ̠¯ÔÚËÁ›· ÙÔ˘ ∂˘·ÁÁ¤ÏËÎ·È ÙÔ˘ ∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ∑¿· ÁÈ· Ó· ¯ÚËÛÈ̇ÛÂÈ ˆ˜ÂÎıÂÛÈ·Îfi ΤÓÙÚÔ.∏ ÔÈÎÔ‰fiÌËÛË ÙÔ˘ ¿Ú¯ÈÛ ÙÔ 1874 Î·È ÙÂÏ›ˆÛ ÙÔ 1888.∏ ÌÚÔÛÙ¿ ÛÙÔ ∑¿ÂÈÔ Ï·Ù›· ¯ÚËÛ›ÌÂ˘Â Î·È¯ÚËÛÈ̇ÂÈ ˆ˜ Û‹ÌÂÚ· ˆ˜ ÙfiÔ˜ ÂÚÈ¿ÙÔ˘ Î·È ·Ó·„˘¯‹˜.

“∞›ÁÏË”™ÙÔ ¯ÒÚÔ ÌÚÔÛÙ¿ ·fi ÙÔ Î¤ÓÙÚÔ ∞›ÁÏË ÏÂÈÙÔ˘ÚÁÔ‡ÛÂÏ›ÁÔ ÚÈÓ ÙÔ fiÏÂÌÔ Î·È ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘1950 ÙÔ Î¤ÓÙÚÔ “¶Â‡Î·”, ¤Ó· ·fi Ù· ÚÒÙ· ·ıËÓ·˚ο‚·ÚÈÂÙ¤.√ ¯ÒÚÔ˜ Ù˘ Ï·Ù›·˜ Ù· ÚˆÈÓ¿, Ì ÌÈ· Úfi¯ÂÈÚËÂÚ›ÊÚ·ÍË, ÌÂÙ·ÙÚÂfiÙ·Ó Û ›ÛÙ· ·ÙÈÓ¿˙, ÂÓÒ ÛÙËÛÎËÓ‹ ÛÙÔÈ‚¿˙ÔÓÙ·Ó ‚È·ÛÙÈο ÔÈ Î·Ú¤ÎϘ.

The Zappeio Mansion, in neoclassical style, wasoriginally designed by F. Boulanger and later changed byTheophil Hansen. Also E. Ziller made some minorchanges. It was built as an exhibition centre with fundsdonated by Konstantinos and Evangelos Zappas.Its construction started in 1874 and was completed in1888.The Square in front of Zappeio was used, and still is usedtoday, as an area for a stroll and for entertainment.

“Aigli”.The area in front of Aigli used to house the shop “Pefka”,one of the first music-halls in Athens, from a short timebefore WWII until the beginning of the 50’s.During the morning the area of the Square wastransformed into a skating-rink, using a movableseparation, and the chairs were put on the stage.

™ÙÔ ∑¿ÂÈÔ In Zappeio

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ªÈ· ‰ÂηÂÙ›· ۯ‰fiÓ ·ÚÁfiÙÂÚ·, ÛÙÔÓ ›‰ÈÔ ·ÎÚÈ‚Ò˜ ¯ÒÚÔÙÔ ˙·¯·ÚÔÏ·ÛÙÂ›Ô ∞›ÁÏË, Ô˘ ÙȘ ‚Ú·‰ÈÓ¤˜ ÒÚ˜ÏÂÈÙÔ˘ÚÁ› ¿ÓÙ· Û·Ó ‚·ÚÈÂÙ¤.√È Í‡ÏÈÓ˜ ηڤÎϘ ηÊÂÓ›Ԣ ¤¯Ô˘Ó ÙÒÚ· ·ÓÙÈηٷÛÙ·ı›·fi ÙȘ ·Ó··˘ÙÈΤ˜ «ÏÈ·Ó» ÔÏ˘ıÚfiÓ˜ ÙÔ˘ ÛÎËÓÔı¤ÙË.16-09-65

Almost a decade later, at exactly the same spot, patisserieAigli, which in the evening hours continues to operate asa music-hall.The wooden coffee-shop chairs are now replaced bycomfortable folding chairs. 16-09-65

ΔÔ Î¤ÓÙÚÔÓ ÙˆÓ ∞ıËÓÒÓ ∞›ÁÏË The shop Aigli in Athens

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∏ Ï‹„Ë Ù˘ ʈÙÔÁÚ·Ê›·˜ ¤¯ÂÈ Á›ÓÂÈ ·fi ÙÔ Î¿Ùˆ ̤ÚÔ˜ÙÔ˘ ˙·¯·ÚÔÏ·ÛÙ›Ԣ ∞›ÁÏË Î·È Ú¤ÂÈ Ó· ¤¯ÂÈ Á›ÓÂÈ ÛÙÔÙ¤ÏÔ˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1950 ‹ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘1960 . ™Â ÚÒÙÔ Ï¿ÓÔ Ù· ·Ú·‰ÔÛȷο ÌÂÙ·ÏÏÈοÙÚ·Â˙¿ÎÈ· ÙˆÓ Î·ÊÂÓ›ˆÓ Î·È ÔÈ ÙfiÛÔ ÁÓˆÛÙ¤˜ ηȷӷ·˘ÙÈΤ˜ ¿ÓÈÓ˜ ÔÏ˘ıÚfiÓ˜.ªÚÔÛÙ¿ ÛÙÔ ÎÙ›ÚÈÔ ÙÔ˘ ∑·Â›Ô˘ ÌÈ· ÛÂÈÚ¿ ·fiÙÚ·Â˙¿ÎÈ· ·ÎfiÌË, Ì ͇ÏÈÓ˜ ηڤÎϘ ·˘Ù‹ ÙË ÊÔÚ¿.∏ ÙÔÔı¤ÙËÛË ÙÚ·Â˙ÔηıÈÛÌ¿ÙˆÓ ÌÚÔÛÙ¿ ÛÙÔ ª¤Á·ÚÔ··ÁÔÚ‡ÙËΠϛÁÔ ·ÚÁfiÙÂÚ·.

The picture must have been taken from the lower side ofpatisserie Aigli, approximately at the end of the 50’s or thebeginning of the 60’s. In the forefront the traditionalmetallic coffee-shop tables and the well-known comfortablefolding chairs.In front of the Zappeio building another row of tables, withwooden chairs this time. Soon afterwards it was prohibitedto put tables and chairs in front of the Mansion.

∫˘ÚȷοÙÈÎÔ ÚˆÈÓfi ÌÚÔÛÙ¿ ÛÙÔ∑¿ÂÈÔ

Sunday morning in front ofZappeio

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√ Á·ÏÏÈÎfi˜ Ù›ÙÏÔ˜ Ù˘ ʈÙÔÁÚ·Ê›·˜ Â›Ó·È Î·È Ô ÛˆÛÙfiÙÂÚÔ˜,ηıÒ˜ Ë ÊˆÙÔÁÚ·Ê›· ·ÂÈÎÔÓ›˙ÂÈ ·ÊÂÙËڛ˜ ψÊÔÚ›ˆÓÛÙËÓ Ï¿ÁÈ· fi„Ë Ù˘ ∞η‰ËÌ›·˜ › Ù˘ Ô‰Ô‡ ™›Ó· Î·È fi¯Èηٿ ÙÔ Ì‹ÎÔ˜ Ù˘ Ô‰Ô‡ ∞η‰ËÌ›·˜. ™ÙÔ ‚¿ıÔ˜ ‰È·ÎÚ›ÓÂÙ·ÈÙÔ ∂ÏÏËÓÈÎfi ∂Î·È‰Â˘Ù‹ÚÈÔ ÙÔ˘ °Ú. ¶··‰fiÔ˘ÏÔ˘(1849) ·fi Ù· ÚÒÙ· Î·È ÛËÌ·ÓÙÈÎfiÙÂÚ· ÂÎ·È‰Â˘Ù‹ÚÈ·Ù˘ ∞ı‹Ó·˜. ΔÔ ÎÙ›ÚÈÔ Â›Ó·È ¤Ó· ·fi Ù· ÂÏ¿¯ÈÛÙ· ÎÙ›ÚÈ· ÙÔ˘·Ú¯ÈÙ¤ÎÙÔÓ· ™Ù·Ì¿ÙË ∫Ï¿ÓıË Ô˘ ÂÍ·ÎÔÏÔ˘ı› Ó· ÛÒ˙ÂÙ·È̤¯ÚÈ ÙȘ ̤Ú˜ Ì·˜.∞ӷηÈÓÈṲ̂ÓÔ ·fi ÙÔÓ Î·ıËÁËÙ‹ ™fiψӷ ∫˘‰ˆÓÈ¿ÙË ÌÂÙËÓ ÂˆÓ˘Ì›· “ÎÙ›ÚÈÔ ∫ˆÛÙ‹ ¶·Ï·Ì¿”, ‹ ÁÈ· ÙÔÓ ÔχÎfiÛÌÔ “ƒÔ˙ ÎÙ›ÚÈÔ” ÊÈÏÔÍÂÓ› Û‹ÌÂÚ· ÙÔ ÂÓÙ¢ÎÙ‹ÚÈÔ ÙˆÓ∫·ıËÁËÙÒÓ ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ ∞ıËÓÒÓ.ΔÈ ÁÚ‹ÁÔÚ· ·Ï‹ıÂÈ· Ô˘ Û‚‹ÓÔ˘Ó ÔÈ ÌӋ̘ ÛÙË ¯ÒÚ·Ì·˜.ΔÈÌÒ Î·È Û¤‚ÔÌ·È ÙË ÌÓ‹ÌË ÙÔ˘ ÂıÓÈÎÔ‡ Ì·˜ ÔÈËÙ‹ fÂÓ Í¯ÓÒ fiÙÈ Î·È Ô °Ú. ¶··‰fiÔ˘ÏÔ˜ (1818-1873)˘‹ÚÍ ÛËÌ·ÓÙÈ΋ ÚÔÛˆÈÎfiÙËÙ· ÛÙÔ ¯ÒÚÔ Ù˘ Âη›‰Â˘ÛË˜Î·È Ù˘ ·È‰Â›·˜ ÁÂÓÈÎfiÙÂÚ·. ∫·ıËÁËÙ‹˜ ÛÙÔ ∂ª¶, ÈÛÙÔÚÈÎfi˜Ù˘ Ù¤¯Ó˘, È‰Ú˘ÙÈÎfi ̤ÏÔ˜ ÙÔ˘ “™˘ÏÏfiÁÔ˘ ÚÔ˜ ‰È¿‰ÔÛÈÓÙˆÓ ∂ÏÏËÓÈÎÒÓ ÁÚ·ÌÌ¿ÙˆÓ” ÙÔ˘ “™˘ÏÏfiÁÔ˘ ∂ÏÏËÓ›‰ˆÓ°˘Ó·ÈÎÒÓ” ÎÏ. Û˘Ó¤‚·Ï ›Û˘ Ô˘ÛÈ·ÛÙÈο ˆ˜ ˘¿ÏÏË-ÏÔ˜ ÙÔ˘ ÀÔ˘ÚÁ›Ԣ ∂͈ÙÂÚÈÎÒÓ ÛÙÔ “μÔ˘ÏÁ·ÚÈÎfiÛ¯‹Ì·”.∞˘Ù¿ ÏÔÈfiÓ Û·Ó ÌÓËÌfiÛ˘ÓÔ ÙÔ˘ °Ú. ¶··‰fiÔ˘ÏÔ˘ ÌÂÙËÓ Â˘Î·ÈÚ›· ÌÈ·˜ ʈÙÔÁÚ·Ê›·˜. (‰ÂηÂÙ›· ÙÔ˘ 60)

The French title of the photo is more accurate, as thephoto shows bus terminals at the side of the Academybuilding on Sina Street and not along Akadimias Street. Inthe background we see the Hellenic Education of Gr.Papadopoulos (1849), one of the first and mostimportant educational centres in Athens. This building isone of the very few designed by architect StamatisKleanthes that still remain in our days.Today, refurbished by prof. Solon Kydoniatis, under thename “Kostis Palamas building” or for most people “Pinkbuilding”, it houses the meeting-place for the Professors ofthe Athens University.It’s amazing how quickly memory is erased in ourcountry.I honour and respect the memory of our National Poet,but I don’t forget that Gr. Papadoloulos (1818-1873) alsowas a significant personality in the field of teaching andeducation generally. A Professor at the NTUA, an art-historian, a founder member of the “Union for the spreadof Hellenic Civilisation”, and of the “Union of GreekWomen”, he also contributed significantly, during hisservice at the Ministry of Exterior, in the “Bulgarianissue”.This perhaps to be a short oration in the memory of Gr.Papadoloulos on the occasion of a photograph. (duringthe 60’)

∞ÊÂÙËÚ›·È ψÊÔÚ›ˆÓ ηٿ̋ÎÔ˜ Ù˘ Ô‰Ô‡ ∞η‰ËÌ›·˜

Depart d’ autocars le long de L’Academie d’ Athenes - Busdepartures along Akadimias Street

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∞ÊÂÙËÚ›· ψÊÔÚ›ˆÓ ÛÙËÓ Ô‰fi ™›Ó·, ÛÙÔ Ï¿È Ù˘∞η‰ËÌ›·˜. ¶›Ûˆ ‰È·ÎÚ›ÓÂÙ·È ÙÔ §‡ÎÂÈÔ ¶··‰fiÔ˘ÏÔ˘.∏ Ï‹„Ë Ú¤ÂÈ Ó· ¤¯ÂÈ Á›ÓÂÈ ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘50, ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 60.

The bus terminal in Sina Street next to Akadimia. Behindit we see the Papadopoulos High School. The shot musthave been taken at the end of the 50’s or beginning of the60’s.

∞ı‹Ó· ∞η‰ËÌ›· Athens Akadimia

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√‰fi˜ ™›Ó· ÛÙÔ Ï¿È Ù˘ ∞η‰ËÌ›·˜ ∞ıËÓÒÓ. 16-09-65 Sina Street on the side of the Athens Academy. 16-09-65

∞ı‹Ó· ™Ù¿ÛȘ §ÂˆÊÔÚ›ˆÓ Athens bus terminal

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Δ¿ÍË Á˘ÌÓ·Û›Ô˘ ·ÚÚ¤ÓˆÓ ÛÙÔ Ì¿ıËÌ· Ù˘ Ê˘ÛÈ΋˜ ÈÛÙÔÚ›·˜.ŒÓ·˜ Ì·ıËÙ‹˜ fiÚıÈÔ˜ ·ÓÙÈÁÚ¿ÊÂÈ ÛÙÔÓ ›Ó·Î· ÙÔ Ì¿ıËÌ·Ù˘ ̤ڷ˜ «™˘ÓÔÌÔÙ·Í›· ·ÚıÚˆÙ¿, 1Ë ÔÌÔÙ·Í›·» ÂÓÒ ÔηıËÁËÙ‹˜ ·Ú·ÎÔÏÔ˘ı› fiÚıÈÔ˜ ›Ûˆ ·fi ÙËÓ ¤‰Ú· Ì·ӤÎÊÚ·ÛÙÔ ‡ÊÔ˜.∏ ʈÙÔÁÚ·Ê›· ‰ÂÓ ‰›ÓÂÈ Î·Ì›· ÏËÚÔÊÔÚ›·, Ô‡Ù ÁÈ·ÔÈÔ Û¯ÔÏÂfi ÚfiÎÂÈÙ·È, Ô‡Ù ÁÈ· ÙÔ fiÙ ¤ÁÈÓÂ Ë Ï‹„Ë.ÿÛˆ˜ Ó· ÚfiÎÂÈÙ·È ÁÈ· ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 60.÷ڷÎÙËÚÈÛÙÈÎfi ÛÙÔÈ¯Â›Ô Â›Ó·È fiÙÈ ÔÈ Ì·ıËÙ¤˜ οıÔÓÙ·È ÛÂÌÔÓ¿ ıÚ·Ó›· οÙÈ Û¿ÓÈÔ ÁÈ· ‰ËÌfiÛÈÔ Û¯ÔÏ›Ô.

A high school class during a natural history lesson.A standing student is writing the lesson of the day:“Division vertebrates, 1st subdivision” on the blackboardwhilst the teacher is watching behind the desk, withoutany expression.No information is given on the photo, neither about whichschool it is, nor when the shot was taken. It could well bethe beginning of the 60’s.An outstanding feature is that students are sitting at singledesks, something rare for a public school.

™ÙÔ Ì¿ıËÌ· Ù˘ Ê˘ÛÈ΋˜ ÈÛÙÔÚ›·˜ During natural history classes

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Δ’ ·Ó·ÛËΈ̤ӷ Ì·Ó›ÎÈ· ÛÙȘ ԉȤ˜ ÙˆÓ ÎÔÚÈÙÛÈÒÓ,Ù’ ·ÓÔÈÎÙ¿ ·Ú¿ı˘Ú· Î·È ÙÔ Ï¢Îfi ÎÔÛÙÔ‡ÌÈ ÙÔ˘ ηıËÁËÙ‹·Ú·¤ÌÔ˘Ó Û ÂÍÂÙ¿ÛÂȘ πÔ˘Ó›Ô˘, ÂÓÒ Ô Ù‡Ô˜ ÙˆÓıÚ·Ó›ˆÓ Î·È ÙÔ Û‹Ì· ÛÙÔ Áȷο οÔÈˆÓ ·fi ·˘Ù¿, ÛÂȉȈÙÈÎfi Û¯ÔÏ›Ô.Δ· ÙÚ›ÁˆÓ· Ô˘ ‰È·ÎÚ›ÓÔÓÙ·È ‰›Ï· ÛÙȘ ÎfiÏϘ ‰È·ÁˆÓÈÛÌÔ‡Ô‰ËÁÔ‡Ó ÛÙÔ Û˘Ì¤Ú·ÛÌ· fiÙÈ Ì¿ÏÏÔÓ ÚfiÎÂÈÙ·È ÁÈ·Ì¿ıËÌ· ÁˆÌÂÙÚ›·˜ ÷ÚÈو̤ÓË ÏÂÙÔ̤ÚÂÈ· ÙÔ ·ÓÔÈÎÙfiÎÔ˘Ù› Ì ÙÔ ÌÂÏ¿ÓÈ Quink Ù˘ Parker.K·Ï‹ ÂÈÙ˘¯›· ÎÔÚ›ÙÛÈ·, ‹ Ì‹ˆ˜ È· ÁÈ·ÁÈ¿‰Â˜;

The rolled-up sleeves of the girls’ outfit, the open windowsand the white suit of the teacher suggest that the photo istaken during the June exams, whilst the type of desks andthe mark on the girls’ collar suggest that it was a privateschool.The triangles featuring next to the exam papers suggestthat it is very likely to be a geometry exam. A charmingdetail is the open box with the Quink ink from Parker’s.Good luck girls, or is it grannies by now?

ª·ı‹ÙÚȘ Á˘ÌÓ·Û›Ô˘ ‰È·ÁˆÓ›˙ÔÓÙ·È High school girls taking exams

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∞Ó Î·È Ë ÊÔ›ÙËÛË ‹Ù·Ó ÌÈÎÙ‹ Ù· ÎÔÚ›ÙÛÈ· οıÔÓÙ·È Û¯ˆÚÈÛÙ‹ Ù¤Ú˘Á· ·fi Ù· ·ÁfiÚÈ·. √È ÚÔÊÔÚÈΤ˜ Ì·ÚÙ˘Ú›Â˜fï˜ ÊÔÈÙËÙÒÓ Ù˘ ∞™√∂∂ ‰È·‚‚·ÈÒÓÔ˘Ó,fiÙÈ Î¿ÙÈ Ù¤ÙÔÈÔ‰ÂÓ Û˘Ó¤‚·ÈÓ ԇÙÂ Î·È ÛÙȘ ·Ú¯¤˜ Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 1940.ΔÔ ˙‹ÙËÌ· ÂÚÈ̤ÓÂÈ ÙË Ï‡ÛË ÙÔ˘.

Although the students were of mixed gender, the girls aresitting on a different side than the boys. Oral witnessreports, however, from students of the University ofEconomics, confirm that this was not the case, not evenduring the early 40’s.The issue remains unsolved.

∞›ıÔ˘Û· –∞ÌÊÈı¤·ÙÚÔÓ ∞™√∂∂ Amphitheatre Hall in the Universityof Economics

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√È ÊˆÙÔÁÚ·ÊÈΤ˜ Ì·ÚÙ˘Ú›Â˜ ÂÈ̤ÓÔ˘Ó. √È ÊÔÈÙËÙ¤˜ Î·È ÔÈÊÔÈÙ‹ÙÚȘ Û ¯ˆÚÈÛÙ¿ ÙÚ·¤˙È· ÌÂϤÙ˘.¢ÂηÂÙ›· ‘50

Photographic evidence persists. The girls and the boysstudents are sitting at separate study desks.During the 50’s.

∞›ıÔ˘Û· ÌÂϤÙ˘ Ù˘ ∞™√∂∂ Study hall in the University ofEconomics

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™ÙÔ ÂÛÙÈ·ÙfiÚÈÔ ¿ÓÙˆ˜ ÙÚÒÌ ·Ú¤·. ∞ÎfiÌË ÎÈ ·Ó ÊÔÚ¿ÌÂÎ·È Ì›ÓÈ ÊÔ‡ÛÙ·.

In the restaurant at least we eat together. Even if we arewearing a mini-skirt.

ºÔÈÙËÙÈÎfi ÂÛÙÈ·ÙfiÚÈÔ ÁÈ· ÙÔ˘˜ÊÔÈÙËÙ¤˜ Ù˘ ∞™√∂∂

A students’ restaurant for thestudents of the University ofEconomics

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(·¯ÚÔÓÔÏfiÁËÙË) (undated)

∏ ÃÔÚˆ‰›· Î·È Ë √Ú¯‹ÛÙÚ· ÙÔ˘¶·ÓÂÈÛÙËÌ›Ô˘ ∞ıËÓÒÓ

The Choir and the Orchestra of theUniversity of Athens

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¶ÚfiÎÂÈÙ·È ¿Ú·Á ÁÈ· Ù· ÂÚÁ·ÛÙ‹ÚÈ· ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘∞ıËÓÒÓ;∏ ʈÙÔÁÚ·Ê›· ‰ÂÓ ‰›ÓÂÈ ¿ÏϘ ÏËÚÔÊÔڛ˜.∂‰Ò ÙÔ ·Ó‰ÚÈÎfi ÛÙÔÈ¯Â›Ô Î˘Úȷگ›. §›Á· ÎÔÚ›ÙÛÈ·‰È·ÎÚ›ÓÔÓÙ·È ÛÙÔÓ ›Ûˆ ¿ÁÎÔ.∂ӉȷʤÚÔ˘Û· ÏÂÙÔ̤ÚÂÈ· fï˜. ™ÙËÓ ÔÌ¿‰· ÙÔ˘ÚÒÙÔ˘ ¿ÁÎÔ˘, Ë ‰È‰¿ÛÎÔ˘Û· Ì ÙË Ï¢΋ ԉȿ ›ӷÈÁ˘Ó·›Î·. √È ÂÓ‰˘Ì·ÙÔÏÔÁÈΤ˜ ÏÂÙÔ̤ÚÂȘ Î·È Î˘Ú›ˆ˜ ÙÔÌ‹ÎÔ˜ Ù˘ ÊÔ‡ÛÙ·˜ ÙˆÓ ÊÔÈÙËÙÚÈÒÓ Î·È ÔÈ Ê·‚ÔÚ›Ù˜ ÙˆÓÊÔÈÙËÙÒÓ ·Ú·¤ÌÔ˘Ó ÛÙ· Á‡Úˆ ·fi ÙÔ 1960 ¯ÚfiÓÈ·.

The question is whether it is the lab of the AthensUniversity.The photograph doesn’t provide any further information.Here the male element is dominant. A few girls are visibleon the rear bench.There is an interesting detail; in the group on the firstbench the teacher, wearing a white outfit, is a lady. Theclothing details, mainly the length of the skirt, and thesidewhiskersof the students suggest it must be around the 60’s.

ºÔÈÙËÙ¤˜ ÛÙ· ÂÚÁ·ÛÙ‹ÚÈ· º˘ÛÈ΋˜ Students in the physics lab

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∫·ı·Ú‹ ¢Â˘Ù¤Ú· 26-03-62 (∏ ÛˆÛÙ‹ ËÌÂÚÔÌËÓ›· Ù˘∫·ı·Ú‹˜ ¢Â˘Ù¤Ú·˜ ÙÔ 1962 Â›Ó·È 13 ª·ÚÙ›Ô˘).

∫¿Ùˆ ·fi ÙËÓ ∞ÎÚfiÔÏË, ÛÙÔ ¯ÒÚÔ Ô˘ ·ÏÒÓÂÙ·È Á‡Úˆ·fi ÙÔ˘˜ ÛÙ‡ÏÔ˘˜ ÙÔ˘ √Ï˘ÌÈ›Ԣ ¢›Ô˜ ÁÏÂÓÙÔ‡Û·Ó¿ÓÙÔÙ ÔÈ ∞ıËÓ·›ÔÈ Ù· ∫Ô‡ÏÔ˘Ì· Ì ¯ÔÚÔ‡˜ Î·È ÙÚ·ÁÔ‡-‰È·. ™Ù· ̤۷ ÙÔ˘ 20Ô˘ ·ÈÒÓ· ÙÔ ¤ıÈÌÔ Û˘Ó¯›˙ÂÙ·È. ŒÓ·ÁϤÓÙÈ Ô˘ οÔȘ ÛÙÈÁ̤˜ ÌÂÙ·ÙÚ¤ÂÙ·È Û ÈÂÚÔÙÂÏÂÛÙ›·,Ô˘ ÙÂÏÂ›Ù·È Ì Ï‚ÂÓÙÈ¿ Î·È ÛÔ‚·ÚfiÙËÙ·.

Clean Monday 26-03-62

Under the Acropolis, in the area around the pillars ofOlympios Zeus, the Athenians have always celebrated theKoulouma with dances and songs. In the middle of the20th century the custom still continues. It is a festivity that,if only for some moments, turns into a ceremony, held withpride and seriousness.

ÃÔÚfi˜ °·Ï·ÎÙÔˆÏÒÓ The Dance of the Milk-sellers

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ΔËÓ ∫·ı·Ú¿Ó ¢Â˘Ù¤Ú·Ó ¤¯ÂÈ Á›ÓÂÈ ¤ıÈÌÔÓ Ó· ÂÙÔ‡Ó¯·ÚÙ·ÂÙÔ‡˜ fi¯È ÌfiÓÔÓ ÂȘ Ù· ÂÍÔ¯¿˜ ÙˆÓ ∞ıËÓÒÓ ·ÏÏ¿ ηÈÂȘ ÙÔ˘˜ ‚Ú¿¯Ô˘˜ Á‡Úˆ Ù˘ ∞ÎÚÔfiψ˜ 25/05/55.(∏ ·Ó·ÁÚ·ÊfiÌÂÓË ËÌÂÚÔÌËÓ›· ‰ÂÓ ·ÓÙ·ÔÎÚ›ÓÂÙ·È ÛÙËÓ∫·ı·Ú¿ ¢Â˘Ù¤Ú·, Ë ÔÔ›· ÙÔ 1955 ‹Ù·Ó ÛÙÈ 28 ºÂ‚ÚÔ˘·Ú›Ô˘).

ŒÓ· ·fi Ù· ˆÚ·ÈfiÙÂÚ· ¤ıÈÌ· Ù˘ ∫·ı·Ú‹˜ ¢Â˘Ù¤Ú·˜ ›ӷÈÙÔ ¤Ù·ÁÌ· ÙÔ˘ ¯·ÚÙ·ÂÙÔ‡. ¶Ôχ¯ÚˆÌÔÈ, ¶ÔÏ˘ÁˆÓÈÎÔ›ÛΛ˙Ô˘Ó ÙÔÓ ·¤Ú· Ì ÙȘ ÊÔ˘Óو٤˜ Ô˘Ú¤˜ ÙÔ˘˜ Ó·Î˘Ì·Ù›˙Ô˘Ó ›Ûˆ ÙÔ˘˜.∞Ó Î·È ÔÈ ¯·ÚÙ·ÂÙÔ› ÁÂÓÓ‹ıËÎ·Ó ÛÙËÓ ∫›Ó· Î·È ÙËÓ π·ˆÓ›·ÂÓۈ̷ÙÒıËÎ·Ó ÁÚ‹ÁÔÚ· ÛÙËÓ ÂÏÏËÓÈ΋ ·Ú¿‰ÔÛË Î·È‹Ú·Ó ¿ÌÔÏÏ· ÔÓfiÌ·Ù·, ̇ÏÔ˜, „·Ï›‰·, ¿ÛÙÚÔ,ʈÙÔÛ٤ʷÓÔ, Ê˘ÛÔ‡Ó·, ÙÛÂÚΤÓÈ, Ô˘ÙÛÔ˘ÚÌ¿˜, Ô˘Ï›Ô,ÂÙ¿ÎÈ Ì ΢ڛ·Ú¯Ô ¿ÓÙ· ÙÔ “·ÂÙfi˜”.ªÂ ÊfiÓÙÔ ÙÔ ÏfiÊÔ ÙÔ˘ §˘Î·‚ËÙÙÔ‡, ÙËÓ ∞ÎÚfiÔÏË Î·È ÈÔÎÔÓÙ¿ ÙÔ ı¤·ÙÚÔ ÙÔ˘ ∏ÚÒ‰Ë ÙÔ˘ ∞ÙÙÈÎÔ‡ Î·È ·¤Ó·ÓÙÈ ÙÔ˘ÙÔ Û›ÙÈ ÙÔ˘ ˙ˆÁÚ¿ÊÔ˘ ¶·Úı¤ÓË Ó· ÛÙ¤ÎÂÈ ÌfiÓÔ ÙÔ˘ , ÌÈ··Ú¤· ·fi ÌÈÎÚ¿ ·ÁfiÚÈ· ÂÙ¿ ÙÔ ¯·ÚÙ·ÂÙfi Ù˘ ÂΛ fiÔ˘Û‹ÌÂÚ· ÙÔ Î¤ÓÙÚÔ ¢ÈfiÓ˘ÛÔ˜.

“On Clean Monday the custom is to fly kites, not only inthe countryside aroundAthens, but also from the rocks around the Acropolis”.25/05/55

One of the most fascinating customs on Clean Mondayis the flying of the Kite. They are colourful, polygonal,flying through the air with their tufty tails wavingbehind them.Although kites originate from China and Japan, theywere quickly integrated in Greek tradition and they weregiven a variety of names, such as mill, scissors, star,halo, blower, tserkeni, utsurmas, birdy, flyer, but theword “aetos -eagle” is the most commonly used.In the background Lykavittos Hill and the Acropolis andcloser by the Theatre of Herod Attikos, and opposite thehouse of the painter Parthenis a group of young boys isflying their kite on the spot where today restaurantDionyssos is located.

∫·ı·Ú¿ ¢Â˘Ù¤Ú· Clean Monday

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∫·ıÒ˜ Ô ¯ÚfiÓÔ˜ Î˘Ï¿ÂÈ ÎÈ’ Ë Ì›· ̤ڷ ‰È·‰¤¯ÂÙ·È ÙËÓ ¿ÏÏË

Â›Ó·È Î¿ÔȘ ̤Ú˜ Ô˘ ͯˆÚ›˙Ô˘Ó. ∫¿ÔȘ ̤Ú˜ Ô˘

ÁÈ· ‰È¿ÊÔÚÔ˘˜ ÏfiÁÔ˘˜ ÛËÌ·‰Â‡Ô˘Ó ÙËÓ ÈÛÙÔÚ›·. ∞˘Ù‹ Ë

ÛÂÈÚ¿ ÙˆÓ ÊˆÙÔÁÚ·ÊÈÒÓ Â›Ó·È ·ÊÈÂڈ̤ÓË Û ·˘Ù¤˜ ÙȘ

ͯˆÚÈÛÙ¤˜ ̤Ú˜ Î·È ÙȘ ÂÂÙ›Ԣ˜ ÙÔ˘˜.

As time is flowing and one day follows another, some

days stand out. Some days, which for various reasons,

are marking history. This series of photos is dedicated

to these special days and their anniversaries.

∫ ∞ ¶ √ π ∂ ™ ª ∂ ƒ ∂ ™∞ § § √ π ø Δ π ∫ ∂ ™ ∞ ¶ √ Δ π ™ ∞ § § ∂ ™

S O M E D A Y SD I F F E R E N T T H A N O T H E R S

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1944. √ ∂ÏÏËÓÈÎfi˜ Ï·fi˜ ͯ‡ÓÂÙ·È ÛÙÔ˘˜ ‰ÚfiÌÔ˘˜ÁÈ· Ó· ÁÈÔÚÙ¿ÛÂÈ ÙËÓ ÂÏ¢ıÂÚ›· ÙÔ˘.ªÈ· Ï·Ôı¿Ï·ÛÛ· ·fi ÌÂÁ¿ÏÔ˘˜ Î·È ·È‰È¿ ÏËÌÌ˘Ú›˙ÂÈÙËÓ ÏˆÊfiÚÔ ¶·ÓÂÈÛÙËÌ›Ô˘. ¶·ÓÙÔ‡ Î˘Ì·Ù›˙ÂÈ ËÁ·Ï·ÓfiÏ¢ÎË.™Â ÚÒÙÔ Ï¿ÓÔ Ô ÂÍÒÛÙ˘ ÙÔ˘ ÎÈÓËÌ·ÙÔı¿ÙÚÔ˘μÚÂÙ¿ÓÈ·.

1944. The Greek people are rushing onto the streets tocelebrate their freedom.A sea of humans, adults and children, is floodingPanepistimiou Avenue. The Greek flag, white and blue,is waving absolutely everywhere.In the forefront the balcony of the cinema-houseBretannia.

H ∞ÂÏ¢ı¤ÚˆÛË The Liberation

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ª¤Û· Û ÌÈ· ∞ı‹Ó· Ì ӈ¤˜ ·ÎfiÌË ÙȘ ÏËÁ¤˜ ·fi ÙÔÓ¶fiÏÂÌÔ Î·È ÙËÓ ∫·ÙÔ¯‹ ÔÈ ∞ıËÓ·›ÔÈ ÚÔÛ¤Ú¯ÔÓÙ·È Í·Ó¿ ÛÙȘοϘ ̤۷ Û’ ¤Ó· Îϛ̷ ÁÂÓÈ΋˜ ·Ó·Û˘ÁÎÚfiÙËÛ˘.√È ÂÎÏÔÁ¤˜ Ê¤Ú·Ó ÓÈÎËÙ‹ ÙÔÓ ¡Ù›ÓÔ Δ۷ω¿ÚË Ì 53%.ªÚÔÛÙ¿ ÛÙÔ 72Ô ÂÎÏÔÁÈÎfi ÙÌ‹Ì· › Ù˘ Ô‰Ô‡ ∞η‰ËÌ›·˜„ËÊÔÊfiÚÔÈ ÂÚÈ̤ÓÔ˘Ó ÙË ÛÂÈÚ¿ ÙÔ˘˜.

Whilst Athens still carries the fresh wounds from the warand the occupation, the Athenians are going to the ballotbox again, in an atmosphere of general reconstitution.The winner of the elections was Nikos Tsaldaris with 53%.In front of election building nr. 72 on Akadimias Streetvoters are waiting for their turn.

¶ÚÒÙ˜ ‚Ô˘Ï¢ÙÈΤ˜ ÂÎÏÔÁ¤˜ ÌÂÙ¿ÙËÓ ·ÂÏ¢ı¤ÚˆÛË. æËÊÔÊfiÚÔȤ͈ ·fi ÂÎÏÔÁÈÎfi ΔÌ‹Ì·. 31/03/46

First Parliament elections after theLiberation – voters outside avoting building. 31/03/46

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“ΔÚ›ÙË Ë̤ڷ ÙÔ˘ ÂÔÚÙ·ÛÌÔ‡ Ù˘ 25˘ ª·ÚÙ›Ô˘, ·ÊÈÂڈ̤ÓË ÂÈ ÙÔÓ ŒÏÏË-Ó· ÂÚÁ·˙fiÌÂÓÔÓ. ∏ Ù¤ˆ˜ Ú¤Û‚ÂÈÚ· Ù˘ ∞ÌÂÚÈ΋˜ ΢ڛ· °ÎÚ·›ËÓÙ˘ ›ÎÂÊ·Ï‹˜ Ù Ó ÂÚÁ·ÙÈÎÒÓ ·ÓÙÈÚÔÛˆÂÈÒÓ, ·È ÔÔ›·È ÌÂÙ·‚·›ÓÔ˘Ó ÂÈ ÙÔªÓËÌ›ÔÓ ÙÔ˘ ∞ÁÓÒÛÙÔ˘ ™ÙÚ·ÙÈÒÙÔ˘”.¶ÔÏÈÙÈÎÔ› η ·ÓÒÙÂÚÔÈ ÛÙÚ·ÙÈ ÙÈÎÔ› ÂÈÎÂÊ·Ï‹˜ Ù˘ ÔÚ›·˜. ™ÙË ÊˆÙÔÁÚ·-Ê›· ‰È·ÎÚ›ÓÔÓÙ·È Ô ¶·Ó·ÁÈÒÙ˘ ∫·ÓÂÏÏfiÔ˘ÏÔ˜, Ô ºÒÙ˘ ª·ÎÚ‹˜ Î.¿..∏ ÔÚ›· ‚Ú›ÛÎÂÙ·È ÛÙËÓ ·Ú¯‹ Ù˘ ψÊfiÚÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ ÌÚÔÛÙ¿ª¤Á·ÚÔ ∫Ô‡·. ™ÙË Û˘Ó¤¯ÂÈ· ÂÈÎÔÓ›˙ÔÓÙ·È ‰‡Ô ÓÂÔÎÏ·ÛÈο ÎÙ›ÚÈ· ηÙ‰·-ÊÈṲ̂ӷ Û‹ÌÂÚ· Î·È ·ÎÔÏÔ˘ı› ÙÔ “ πÏ›Ô˘ ª¤Ï·ıÚÔÓ” . ∫¿Ù ÛÙÔ Ô‰fiÛÙÚˆ-Ì· ‰È·ÎÚ›ÓÔÓÙ·È ÔÈ ÁÚ·Ì̤˜ ÙÔ˘ ÙÚ·Ì.

“The third day of the celebration of the 25th of March, dedicated to theGreek labourer. The ex-ambassador of the USA, Mrs. Grady, heading thelabourers’ representatives, who are going to visit the Monument of theUnknown Soldier”.Many politicians and higher military staff are heading the march. On thephoto we see Panagiotis Kanellopoulos, Fotis Makris, and others.The march has come to the beginning of Panepistimiou Avenue, in front ofKoupas Mansion. Further on we see two neoclassical buildings,demolished today, and behind them the “Iliou Melathron”. On the surfaceof the road the tram lines are visible.

∞fi ÙÔÓ ∂ÔÚÙ·ÛÌfiÓ Ù˘ 25˘ª·ÚÙ›Ô˘ ÙÔ˘ 1949

From the celebration of 25thMarch 1949

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“ΔËÓ ·Ú·ÌÔÓ‹Ó Ù˘ ∂ıÓÈ΋˜ ÂÔÚÙ‹˜ ÂÁ¤ÓÙÔ ÂÈ‚ÏËÙÈ΋·Ú¤Ï·ÛȘ ÙˆÓ Ì·ıËÙÒÓ ÙˆÓ °˘ÌÓ·Û›ˆÓ Ù˘ ÚˆÙ¢ԇÛ˘ÚÔ ÙÔ˘ ÀÔ˘ÚÁÔ‡ ¶·È‰Â›·˜”.

ΔÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ ·ÚÂÏ·‡ÓÂÈ ÌÚÔÛÙ¿ ÛÙÔÓÕÁÓˆÛÙÔ ™ÙÚ·ÙÈÒÙË, ÂÓÒ Ï‹ıÔ˜ ÎfiÛÌÔ˘ ·Ú·ÎÔÏÔ˘ı›ÛÙÔ ·¤Ó·ÓÙÈ Â˙Ô‰ÚfiÌÈÔ Ù˘ ¶Ï·Ù›·˜ ™˘ÓÙ¿ÁÌ·ÙÔ˜.™ÙË ÁˆÓ›· Ù˘ ψÊfiÚÔ˘ ∞Ì·Ï›·˜ Î·È Ù˘ Ô‰Ô‡ ŸıˆÓÔ˜ÙÔ Ì¤Á·ÚÔ §Ô˘ÚÈÒÙË- ¡ÂÁÚÂfiÓÙ ηÙ‰·ÊÈṲ̂ÓÔ Û‹ÌÂÚ·.ΔÔ Ì¤Á·ÚÔ ¯ÚË̢ۛ۠ˆ˜ ·Ó¿ÎÙÔÚÔ ÙÔ˘ ‰È·‰fi¯Ô˘∫ˆÓÛÙ·ÓÙ›ÓÔ˘ ÌÂÙ¿ ÙÔ Á¿ÌÔ ÙÔ˘ Ì ÙËÓ ÚÈÁΛÈÛÛ·™ÔÊ›·, ÂÒ˜ fiÙÔ˘ ÎÙÈÛÙ› ÙÔ ÛËÌÂÚÈÓfi ¶ÚÔ‰ÚÈÎfi ª¤Á·ÚÔ.¢›Ï·, ÛÙË ÛÂÈÚ¿, ‰È·ÎÚ›ÓÔÓÙ·È, ÙÂÙÚ·fiÚÔÊÔ ÓÂÔÎÏ·ÛÈÎfi̤Á·ÚÔ Ì ‰È·Ê‹ÌÈÛË Ù˘ General electric ÛÙÔ ‰ÒÌ·,ηÙ‰·ÊÈṲ̂ÓÔ Â›Û˘ Û‹ÌÂÚ· Î·È Ë ÚÒÙË ÔÏ˘Î·ÙÔÈΛ··fi ÔÏÈṲ̂ÓÔ Û΢Úfi‰ÂÌ· Ô˘ ÎÙ›ÛÙËΠÛÙËÓ Ï·Ù›·™˘ÓÙ¿ÁÌ·ÙÔ˜.

“At the eve of the national celebration, an impressiveparade of the students from high schools of the capitaltook place in front of the Minister of Education”.

The students of the University of Athens are parading infront of the Unknown Soldier, whilst a crowd of people iswatching from the opposite pavement on SyntagmaSquare.At the junction of Amalias Avenue and Othonos Street theMansion Louriotis- Negreponte, demolished nowadays.The building was used as a palace for the successorKonstantinos after his wedding with Princess Sophia untilthe completion of the current Presidential Residence. Nextto it we see a four-storey neoclassical building with anadvertisement of General Electric on the top, alsodemolished nowadays, and the first apartment block fromreinforced concrete constructed on Syntagma Square.

24 ª·ÚÙ›Ô˘ 1955 24 March 1955

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ΔËÓ ¶·Ú·ÌÔÓ‹Ó Ù˘ ∂ıÓÈ΋˜ ∂ÔÚÙ‹˜ ÂÁ¤ÓÂÙÔ ÌÂÁ·ÏÂÈ҉˘·Ú¤Ï·ÛȘ ÙˆÓ ÛÔ˘‰·ÛÙÒÓ ÚÔ ÙÔ˘ ÀÔ˘ÚÁÔ‡ Ù˘ ¶·È-‰Â›·˜ Î °ÂÚÔΈÛÙÔÔ‡ÏÔ˘.∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÏËÊı› ÙËÓ ›‰È· ̤ڷ Î·È ·fi ÙËÓ ›‰È·ÂÚ›Ô˘ ı¤ÛË Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË Î·È ·ÂÈÎÔÓ›˙ÂÈ ÙÔÙÌ‹Ì· ·Ú¤Ï·Û˘ Ù˘ πÔÓ›Ô˘ ™¯ÔÏ‹˜.(1955)

On the eve of the National Celebration a magnificentparade of the students took place in front of the Ministerof Education, Mr. Gerokostopoulos.The photo is taken on the same day and from almost thesame spot as the previous one, and shows a part of theparade of the Ionios School. (1955)

¶·Ú¤Ï·ÛȘ Ù˘ ª·ıËÙÈÒÛ˘¡ÂÔÏ·›·˜

A parade of students

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∏ ʈÙÔÁÚ·Ê›· ¤¯ÂÈ ÙÚ·‚˯Ù› Ï›Á· ¯ÚfiÓÈ· ·ÚÁfiÙÂÚ· ·fiÙȘ ‰‡Ô ÚÔËÁÔ‡ÌÂÓ˜ ÛÙ· Ù¤ÏË Ù˘ ‰ÂηÂÙ›·˜ ÙÔ˘ 50.ΔÔ ª¤Á·ÚÔ ¡ÂÁÚÂfiÓÙ ¤¯ÂÈ Î·Ù‰·ÊÈÛÙ› Î·È ÛÙË ı¤ÛËÙÔ˘ ¤¯ÂÈ ·Ú¯›ÛÂÈ Ë ·Ó¤ÁÂÚÛË Ù˘ Ó¤·˜ ÔÈÎÔ‰ÔÌ‹˜.™ÙË Û˘Ó¤¯ÂÈ· ÙÔ ÙÂÙÚ·ÒÚÔÊÔ ÓÂÔÎÏ·ÛÈÎfi ̤Á·ÚÔ, ÌÈ·ÌÂÛÔÔÏÂÌÈ΋ ÔÏ˘Î·ÙÔÈΛ·, ¤Ó· ·ÎfiÌË ¯·ÌËÏfi ÓÂÔÎÏ·ÛÈÎfiÎ·È ÙÔ ª¤Á·ÚÔ °È¿ÓÓ·ÚÔ˘. ™ÙËÓ ¿ÏÏË ÁˆÓ›· Ù˘ Ô‰Ô‡ºÈÏÂÏÏ‹ÓˆÓ Ë ÙÚÈÒÚÔÊË ÔÈΛ· ÙÔ˘ °ÂˆÚÁ›Ô˘ ¶·¯‡. ™ÂÚÒÙÔ Ï¿ÓÔ ÔÈ Ì·ı‹ÙÚȘ ÙÔ˘ ™Δ’ °˘ÌÓ·Û›Ô˘ £‹ÏˆÓ.

This photo is taken a few years after the two previous ones, atthe end of the 50’s.The Negreponte Mansion has been demolished and thebuilding of the new construction has begun at the samelocation. Further back a four-storey neoclassical mansion, apost WWII apartment block, another low neoclassicalbuilding and the Yiannarou Mansion. On the other corner ofFilellinon Street the three-storey building of George Pahis. Inthe forefront the students of the VI highschool for girls.

“ª·ıËÙÈ΋ ¶·Ú¤Ï·ÛȘ › ÙË ÂÂ-Ù›ˆ Ù˘ ∂ıÓÈ΋˜ ∂ÔÚÙ‹˜ Ù˘25˘ ª·ÚÙ›Ô˘”

“Student’s parade on the anniversaryof the National Celebration of 25thMarch”.

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∏ ʈÙÔÁÚ·Ê›· ‰ÂÓ ¤¯ÂÈ Ô‡Ù ¯ÚÔÓÔÏÔÁ›· Ô‡Ù ÏÂ˙¿ÓÙ·.√ˆÛ‰‹ÔÙ ڤÂÈ Ó· Â›Ó·È ÙÚ·‚ËÁ̤ÓË ÛÙȘ ·Ú¯¤˜ Ù˘‰ÂηÂÙ›·˜ ÙÔ˘ 50 ηıÒ˜ ‰ÂÓ ¤¯ÂÈ ·ÎfiÌË Î·Ù‰·ÊÈÛÙ› ÙÔª¤Á·ÚÔ ¢ËÌËÙÚ›Ô˘ (ªÂÁ¿ÏË μÚÂÙ·Ó›·) Ô‡ÙÂ Î·È ÙÔ ª¤Á·ÚÔμÔ‡ÚÔ˘ Î·È ÙÔ ÍÂÓÔ‰Ô¯Â›Ô Grand Hotel ÛÙËÓ ·Ú¯‹ Ù˘ԉԇ ™Ù·‰›Ô˘.

This photo doesn’t carry a date or a caption.It must certainly have been taken at the beginning of the50’s, as the Dimitriou Mansion (Grande Bretagne) is notyet demolished, and neither are the Vouros Mansion andthe Grand Hotel in the beginning of Stadiou Street.

∫·Ù¿ıÂÛË ÛÙÂÊ¿ÓÔ˘ ÛÙÔÓ ÕÁÓˆÛÙÔ™ÙÚ·ÙÈÒÙË ·fi ÙÔ ™ÒÌ· ÙˆÓ∞‰ÂÏÊÒÓ ÙÔ˘ ∂ÏÏËÓÈÎÔ‡ ∂Ú˘ıÚÔ‡™Ù·˘ÚÔ‡

Laying a wreath at the Grave of theUnknown Soldier by the Body ofSisters of the Hellenic Red Cross

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« √ È ∫‡ Ú ÈÔ È ·Ó ¤ η ı Â Ó Â ˙ ‹ÙˆÓ Ù ËÓ « ¤ Óˆ Û ÈÓ » … .∏ ΢ڛ·Ú¯Ô˜ › Ù˘ ∫‡ÚÔ˘ ‰‡Ó·ÌȘ, Ë ªÂÁ¿ÏËμÚÂÙ·Ó›· Ô˘‰¤ Û˘˙‹ÙËÛÈÓ Â‰¤¯ÂÙÔ ‰È· ÙËÓ ·ÏÏ·Á‹Ó ÙÔ˘·ÔÈÎÈ·ÎÔ‡ ηıÂÛÙÒÙÔ˜ Ù˘ Ó‹ÛÔ˘».“√È ∞ÌÂÚÈοÓÔÈ ÚÔÂȉÔÔÈÔ‡Ó fiÙÈ ‰ÂÓ Ë‰‡Ó·ÓÙÔ Ó· Ì·˜˘ÔÛÙËÚ›ÍÔ˘Ó Î·È ÂÈÌfiÓˆ˜ Ì·˜ Û˘Ó‚ԇÏ¢ÔÓ “Ó·ı¤ÛˆÌÂÓ ÚÔÛˆÚÈÓÒ˜ ÙÔ ·›ÙËÌ· Ì·˜ ÂȘ ÙÔ „˘Á›ÔÓ”.∏ ΔÔ˘ÚΛ·, ˘ÔÎÈÓÔ‡ÌÂÓË ·fi ÙËÓ ªÂÁ¿ÏËÓ μÚÂÙ·Ó›·Ó,‰ÂÓ ¤ÌÂÓ ·‰È¿ÊÔÚÔ˜ Î·È ·ÓÙȉڿ ÂȘ Ù· ∏ӈ̤ӷŒıÓË …“ŒÙÛÈ, ÌfiÓÔÈ Î·È ·‰‡Ó·ÙÔÈ, ËÚ¯›Û·ÌÂÓ ¤Ó· ÌÂÁ¿ÏÔÓ,ÈÂÚfiÓ, ‰˘Û¯ÂÚ¤ÛÙ·ÙÔÓ ·ÁÒÓ·”.“ΔÔ ∫˘ÚÈ·ÎfiÓ” √ ·ÔÏÔÁÈÛÌfi˜ Ù˘ ÔÎÙ·ÂÙ›·˜ ÂΉ. ∂ƒ∂,∞ı‹Ó· 1966.

“The Cypriots have always asked for “unification…Thedominating power in Cyprus, Great Britain, has neveraccepted any discussion on the issue of changing thecolony status of the island”.“The Americans warned that they were unable to supportus and have insistently advised us “to temporarily put ourrequest in the fridge”.Turkey, with the support of Great Britain, did not remainindifferent and reacted against the United Nations…“Thus, alone and weak, we engaged in a big, sacred, mostdifficult battle”.“The Cyprus issue” Report of the last eight years, editions ERE,Athens 1966.

“∫·Ù¿ıÂÛȘ ÛÙÂÊ¿ÓÔ˘ ˘fi ÙˆÓ∫˘Ú›ˆÓ Ì·ıËÙÒÓ ÂȘ ÕÁÓˆÛÙÔÓ™ÙÚ·ÙÈÒÙËÓ”. 19-7-1954

“Cypriot students laying a wreathat the Grave o f the UnkownSoldier” 19-7-1954

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ªÈ· ¯·Ú·ÎÙËÚÈÛÙÈ΋ ʈÙÔÁÚ·Ê›· Ù˘ ·ÓıÚˆÔı·Ï¿ÛÛË˜Ë ÔÔ›· ηÙÂÏËÌ̇ÚÈÛ ¯ı˜ ÙËÓ ¶Ï. ™˘ÓÙ¿ÁÌ·ÙԘηıfiÓ ¯ÚfiÓÔÓ Ô ª·Î·ÚÈÒÙ·ÙÔ˜ ∞گțÛÎÔÔ˜ ∞ıËÓÒÓÎ. ™˘Ú›‰ˆÓ ÂÍÂÊÒÓÂÈ ÙÔÓ ‚·Ú˘Û‹Ì·ÓÙÔÓ ÏfiÁÔÓ ÙÔ˘,‰ÈÂÚÌËÓ‡ˆÓ ÙËÓ ›ÛÙÈÓ ÙˆÓ ∂ÏÏ‹ÓˆÓ ‰È· ÙËÓ “ ŒÓˆÛÈÓÙ˘ ∫‡ÚÔ˘ ÌÂÙ¿ Ù˘ ∂ÏÏ¿‰Ô˜ 20-08-54”.

A characteristic photo of the sea of people that floodedSyntagma Square yesterday, at the moment when HisBeatitude Spyridon, Archbishop of Athens, delivered hissignificant speech, interpreting the belief of the Greeks in“the unification of Cyprus and Greece 20-08-54”

“ŒÓˆÛÈÓ Ù˘ ∫‡ÚÔ˘ ÌÂÙ¿ Ù˘∂ÏÏ¿‰Ô˜”. 20-08-54

“The unification of Cyprus andGreece”. 20-08-54

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«∂Ș ÙÔÓ ÈÂÚfiÓ ¡·fiÓ Ù˘ ªËÙÚÔfiψ˜ ÂÙÂϤÛıË ¯ı˜ÌÓËÌfiÛ˘ÓÔÓ ÂȘ ÌÓ‹ÌËÓ ÙÔ˘ ∫˘Ú›Ô˘ ∏ÚˆÔ˜ °ÚËÁÔÚ›Ô˘∞˘ÍÂÓÙ›Ô˘. ¶·Ú¤ÛÙËÛ·Ó Ì¤ÏË Ù˘ ∫˘‚ÂÚÓ‹Ûˆ˜, ÔÈ ∞Ú¯ËÁÔ›ÙˆÓ ÎÔÌÌ¿ÙˆÓ, Ù˘ ∞ÓÙÈÔÏÈÙ‡Ûˆ˜, Ô ¢‹Ì·Ú¯Ô˜ ∞ıËÓ·›ˆÓη ÂÎÚfiÛˆÔÈ ÙˆÓ Â·ÁÁÂÏÌ·ÙÈÎÒÓ ÔÚÁ·ÓÒÛÂˆÓ Î·ÈÙˆÓ ÊÔÈÙËÙÒÓ. ∞ÎÔÏÔ‡ıˆ˜ ÌÂÙ¤‚ËÛ·Ó ÂÓ ÛÒÌ·ÙÈ ÂȘ ÙÔÌÓËÌ›ÔÓ ÙÔ˘ ∞ÁÓÒÛÙÔ˘ ™ÙÚ·ÙÈÒÙÔ˘ Î·È Î·Ù¤ıÂÛ·ÓÛ٤ʷÓÔÓ 11/03/57».∏ ÔÚ›· ·Ó‚·›ÓÂÈ ÙËÓ Ô‰fi ªËÙÚÔfiψ˜.

Yesterday, in the holy Church of Mitropolis, a memorialwas held in honour of the Cypriot hero GregorisAfxentiou. Present were members of the Government, theleaders of the Parties, the Opposition, the Mayor ofAthens and representatives of the trade unions andstudents. Afterwards they proceeded together to theMonument of the Unknown Soldier and laid a wreath.11/03/57.The procession is going up Mitropoleos Street.

ªÓËÌfiÛ˘ÓÔ ÙÔ˘ °ÚËÁfiÚË ∞˘ÍÂÓÙ›Ô˘ A memorial for Gregoris Afxentiou

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“∫·ÙfiÈÓ Ù˘ Û˘ÏÏ‹„ˆ˜ Î·È ÂÎÙÔ›Ûˆ˜ ÙÔ˘ ∂ıÓ¿Ú¯Ô˘∫‡ÚÔ˘ ª·Î·Ú›Ô˘ ˘fi ÙˆÓ ∞ÁÁÏÈÎÒÓ ∞Ú¯ÒÓ Ù˘ ∫‡ÚÔ˘ÔÈ ÛÔ˘‰·ÛÙ·› ÙˆÓ ∞ıËÓÒÓ ÚÔ¤‚ËÛ·Ó ÂȘ ·˘ıÔÚÌ‹ÙÔ˘˜Î·È ˙ˆËÚ¿˜ ÂΉËÏÒÛÂȘ ÂÓ·ÓÙ›ÔÓ Ù˘ ∞ÁÁÏ›·˜.∂Ș ÙËÓ ÊˆÙÔÁÚ·Ê›·Ó ÔÈ ÊÔÈÙËÙ·› ÚÔ ÙÔ˘ ·Á¿ÏÌ·ÙÔ˜ ÙÔ˘∫ÔÏÔÎÔÙÚÒÓË ‰›ÓÔ˘Ó fiÚÎÔÓ ›ÛÙˆ˜ ‰È· Ù· ·Î·Ù¿Ï˘Ù·‰›Î·È· Ù˘ ∂ÏÏ¿‰Ô˜ 12-03-56”.∞˜ ÛËÌÂȈı› fiÙÈ Ë ÚÒÙË ÌÂÙ¿ ÙÔÓ ¶fiÏÂÌÔ Û˘ÁΤÓÙÚˆÛËÊÔÈÙËÙÒÓ ÁÈ· ÙÔ ∫˘ÚÈ·Îfi Ú·ÁÌ·ÙÔÔÈ‹ıËΠÛÙËÓ ∞ı‹Ó·ÛÙȘ 12 π·ÓÔ˘·Ú›Ô˘ ÙÔ˘ 1950 .

“After the arrest and removal of the National Leader ofCyprus, Makarios, by the British authorities in Cyprus, thestudents in Athens participated in spontaneous and livelydemonstrations against England.On the photo some students in front of the statue ofKolokotronis take an oath of belief in the eternal rights ofGreece 12-03-56”.Let it be noted that the first post WWII gathering of studentsabout the Cyprus issue took place in Athens on 12 January1950.

¢È·‰ËÏÒÛÂȘ ÂȘ ∞ı‹Ó·˜ Demonstrations in Athens

“Ãı¤˜ ÙËÓ Úˆ›·Ó Ô ∂ÏÏËÓÈÎfi˜ §·fi˜ ‰È· ÙÂÙÚ·ÒÚÔ˘ ·ÓÂÏÏ·‰È΋˜·ÂÚÁ›·˜ ‰ÈÂÙÚ·ÓˆÛ ÙËÓ ·Á·Ó¿ÎÙÈÛÈÓ ÙÔ˘ ‰È· ÙËÓ ÂÎÙfiÈÛÈÓ ÙÔ˘∂ıÓ¿Ú¯Ô˘ ∫‡ÚÔ˘.∫·Ù¿ ÙÔ ËÌ›ˆÚÔÓ ·fi 9.30- 10 .Ì. ÂÓÂÎÚÒıË ¿Û· ΛÓËÛȘ ÂȘÔÏfiÎÏËÚÔÓ ÙËÓ ¯ÒÚ·Ó.∞fi Ù˘ 9.30-10 .Ì. ¿Û· ΛÓËÛȘ ÂÛÙ·Ì¿ÙËÛÂ. Δ· ηٷÛ̷ًٷηٿ ÙÔ ‰È¿ÛÙËÌ· ÙÔ‡ÙÔ ‰È¤ÎÔ„·Ó Ù·˜ ÂÚÁ·Û›·˜ ÙˆÓ ˆ˜ ÂÌÊ·›ÓÂÙ·ÈÂȘ ÙËÓ ÂÈÎfiÓ· 17/03/56”.

“Yesterday morning the Greek people expressed theirindignation about the removal of the National Leader of Cyprusby means of a four-hour national strike.From 9:30 – 10.00 am all movement was stopped in the wholeof the country.During this time the shops interrupted their work as shown inthe picture 17/03/56”.

«¶·ÓÂÏÏ‹ÓÈÔ˜ ·Á·Ó¿ÎÙËÛȘ ‰È·ÙËÓ ÂÎÙfiÈÛÈÓ ÙÔ˘ ∂ıÓ¿Ú¯Ô˘∫‡ÚÔ˘ ª·Î·Ú›Ô˘»

“Indignation all around Greeceabout the removal of the NationalLeader of Cyprus, Makarios”

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“∞fi Ù˘ ÚˆÙ¢ԇÛ˘ ̤¯ÚÈ Î·È ÙÔ˘ ÌÈÎÚfiÙÂÚÔ˘ ¯ˆÚ›Ô˘ÂÚ·ÁÌ·ÙÔÔÈ‹ıË ¯ı˜ ÙËÓ 12ËÓ ÌÂÛËÌ‚ÚÈÓ‹Ó Ë ¶·ÓÂÏÏ‹ÓÈÔ˜ÂΉ‹ÏˆÛȘ ˘¤Ú Ù˘ ·˘Ùԉȷı¤Ûˆ˜ Ù˘ ∫‡ÚÔ˘, ‰È· Ù˘·ÔÓÂÎÚÒÛˆ˜ ¿Û˘ ÎÈÓ‹Ûˆ˜ Î·È Î·ıÔÏÈ΋˜ ÛÙ¿Û˘ÂÚÁ·Û›·˜ ·fi ÙȘ 12-1Ì.Ì. .π‰Ô‡ ÌÂÚÈη› ¯·Ú·ÎÙËÚÈÛÙÈη› ÂÈÎfiÓ˜ ·fi ÙÔ˘˜ ÓÂÎڈ̤ÓÔ˘˜¿Û˘ ÎÈÓ‹Ûˆ˜ ‰ÚfiÌÔ˘˜ ÙˆÓ ∞ıËÓÒÓ. 15 ºÂ‚ÚÔ˘·Ú›Ô˘ 1957”.

“Starting at 12.00 am yesterday a National demonstrationtook place, from the capital to the smallest village, in supportof the self- sovereignty of Cyprus, by the cessation of allmovement and by a total work strike from 12-13 hrs.Here are some characteristic pictures from the roads ofAthens, absolutely devoid of any traffic. 15 February 1957”.

™˘Ì·Ú¿ÛÙ·ÛȘ ÙÔ˘ ∂ÏÏËÓÈÎԇϷԇ ÂȘ ÙÔÓ ·ÁÒÓ· ÙˆÓ ∫˘Ú›ˆÓ

Support from the Greek people to thestruggle of the Cypriots

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“∫·ÙfiÈÓ ÙËÓ Ï‹Íˆ˜ Ù˘ ÛȈËÚ¿˜ ‰È·Ì·ÚÙ˘Ú›·˜ Î·È ÌfiÏȘ·ÓÂÏ‹ÊıË Ë Î›ÓËÛȘ ÂÛ¯ËÌ·Ù›ÛıËÛ·Ó ·˘ıÔÚÌ‹Ùˆ˜ ηÈÂÓıÔ˘ÛÈÒ‰ÂȘ ‰È·‰ËÏÒÛÂȘ ÙˆÓ ÊÔÈÙËÙÒÓ Ì ˙ËÙˆÎÚ·˘Á¿˜ ˘¤ÚÙ˘ ∫‡ÚÔ˘, Ù˘ ∂.√.∫.∞. Î·È ÙÔ˘ ¢ÈÁÂÓ‹ Î·È ‰È·Ï‡ıËÛ·ÓηÙfiÈÓ Û˘ÛÙ¿ÛÂˆÓ Ù˘ ·ÛÙ˘ÓÔÌ›·˜ ¯ˆÚ›˜ Ó· ÛËÌÂȈıÔ‡ÓÛÔ‚·Ú¿ ÂÂÈÛfi‰È·. 15 ºÂ‚ÚÔ˘·Ú›Ô˘ 1957”.(ψÊfiÚÔ˜ ™Ù·‰›Ô˘.)

“After the end of the silent protest, as soon as the trafficstarted to flow again, the students gathered intospontaneous and enthousiastic demonstrations,supporting Cyprus, EOKA and Digenis, which were laterdissolved at the suggestion of the police without anyserious incidents. 15 February 1957”.(Stadiou Avenue).

™˘Ì·Ú¿ÛÙ·ÛȘ ÙÔ˘ ∂ÏÏËÓÈÎԇϷԇ ÂȘ ÙÔÓ ·ÁÒÓ· ÙˆÓ ∫˘Ú›ˆÓ

Support from the Greek people to thestruggle of the Cypriots

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“∂Ș ÙËÓ ÊˆÙÔÁÚ·Ê›·Ó ÛÙÈÁÌÈfiÙ˘ÔÓ ·fi ÙËÓ ‰È·ÎÔÌȉ‹Ó Ù˘ÛÔ‰Ô‡ ÙÔ˘ ªÂÁ¿ÏÔ˘ ŒÏÏËÓÔ˜ ∞Ú¯ÈÌÔ˘ÛÈÎÔ‡ ¢. ªËÙÚfiÔ˘ÏÔ˘ÂȘ ∞ı‹Ó·˜.∏ ÛÔ‰fi˜ ÌÂٷʤÚıË ÂȘ ÙÔ £¤·ÙÚÔÓ ∏ÚÒ‰Ô˘ ÙÔ˘ ∞ÙÙÈÎÔ‡ fiÔ˘

ηÙÂÙ¤ıËÛ·Ó Û٤ʷÓÔÈ Î·È ÔÏÏÔ› ÔÌÈÏËÙ·È ‡ÌÓËÛ·Ó ÙÔÓÂÎÏÈfiÓÙ· ‰ÈÂıÓÔ‡˜ Ê‹Ì˘ ∞Ú¯ÈÌÔ˘ÛÈÎfiÓ Î·È ÙÔ ¤ÚÁÔÓ ÙÔ˘. 07-11-60”.

√ ¢ËÌ‹ÙÚ˘ ªËÙÚfiÔ˘ÏÔ˜ (1896-1960) ˘‹ÚÍ ¤Ó·˜ ·fi ÙÔ˘˜ÎÔÚ˘Ê·›Ô˘˜ ·Ú¯ÈÌÔ˘ÛÈÎÔ‡˜ ÙÔ˘ 20Ô˘ ·ÈÒÓ·. °ÂÓÓË̤ÓÔ˜ ÛÙËÓ∞ı‹Ó· ¿Ú¯ÈÛ ÙË ÛÙ·‰ÈÔ‰ÚÔÌ›· ÙÔ˘ ˆ˜ Û˘Óı¤Ù˘ Î·È ‰È¢ı˘ÓÙ‹˜ÔÚ¯‹ÛÙÚ·˜, ÛÙȘ μڢͤÏϘ Î·È ÙËÓ ∞ı‹Ó·. ∞fi ÙÔ 1938 ηȇÛÙÂÚ· ÂÁηٷÛÙ¿ıËΠÌfiÓÈÌ· ÛÙËÓ ∞ÌÂÚÈ΋ Î·È ·ÊÈÂÚÒıËηÔÎÏÂÈÛÙÈο ÛÙË ‰È‡ı˘ÓÛË ÔÚ¯‹ÛÙÚ·˜. ™ÙËÓ ∂ÏÏ¿‰·ÂÌÊ·Ó›ÛÙËΠÌÂÙ·ÔÏÂÌÈο ÌfiÓÔ ‰‡Ô ÊÔÚ¤˜, ÛÙÔ ºÂÛÙÈ‚¿Ï∞ıËÓÒÓ ÙÔ˘ 1955 Î·È ÙÔ˘ 1958. ¶¤ı·Ó ¿Óˆ ÛÙÔ fiÓÙÈÔ˘ÌÛÙË ÁÂÓÈ΋ ‰ÔÎÈÌ‹ Ù˘ ÙÚ›Ù˘ Û˘Ìʈӛ·˜ ÙÔ˘ ª¿ÏÂÚ, ÛÙ˙οϷ ÙÔ˘ ªÈÏ¿ÓÔ˘.ΔËÓ ∫˘Úȷ΋ 7 ¡ÔÂÌ‚Ú›Ô˘ ÙÔ˘ 1960 ÔÈ ∞ıËÓ·›ÔÈ Ù›ÌËÛ·Ó ÙËÓÌÓ‹ÌË ÙÔ˘ Û ÂΉ‹ÏˆÛË Ô˘ ¤ÁÈÓÂ, ÛÙÔ ∏ÚÒ‰ÂÈÔ fiÔ˘ÌÂٷʤÚıËÎÂ Ë ÛÔ‰fi˜ ÙÔ˘.∏ ∫Ú·ÙÈ΋ √Ú¯‹ÛÙÚ· ·¤‰ˆÛ ÙÔ ‰Â‡ÙÂÚÔ Ì¤ÚÔ˜ Ù˘ ΔÚ›Ù˘™˘Ìʈӛ·˜ ÙÔ˘ ªÂÙfi‚ÂÓ, fiÔ˘ ÂÚȤ¯ÂÙ·È ÙÔ ¤ÓıÈÌÔ ÂÌ‚·Ù‹ÚÈÔ,·Î¤Ê·ÏË, ¯ˆÚ›˜ Ì·¤ÛÙÚÔ.“ΔËÓ ÏÂÈÔ„ËÊ›· Ù˘ ·ÛÊ˘ÎÙÈ΋˜ ÂΛӢ Û˘ÁΤÓÙÚˆÛ˘ ·ÔÙÂ-ÏÔ‡Û·Ó Ó¤ÔÈ Î·È Ó¤Â˜” ¤ÁÚ·„ ÙËÓ ¿ÏÏË Ì¤Ú· Ô ∞¯ÈÏϤ·˜ª·Ì¿Î˘.∏ ÛÔ‰fi˜ ÙÔ˘ Ù¿ÊËΠÛÙÔ ∞’ ¡ÂÎÚÔÙ·ÊÂ›Ô Ù˘ ∞ı‹Ó·˜.

“On the photo a moment from the carrying of the ashes of thegreat Greek top musician D. Mitropoulos to Athens.His ashes were taken to the Herod the Attikos Theatre, wheremany wreaths were laid and many speakers exclaimed theirodes to the departed internationally renowned top musicianand his work. 07-11-60”

Dimitris Mitropoulos (1896-1960) was one of thegreatest top musicians of the 20th century. Born inAthens, he started his career as a composer andorchestra director in Brussels and Athens. In 1938 hemoved permanently to the USA and devoted himselfexclusively to orchestra directing. In Greece he onlyhad two performances after WWII, during the Athensfestivals of 1955 and 1958. He died on the podium,during the rehearsal of Mahler’s Third Symphony, at theMilano Skala.On Sunday 7 November 1960 the people of Athens honouredhis memory in a ceremony held at the Herodeio, where hisashes were taken.The State Orchestra played the second part of Beethoven’sThird Symphony, that has the mourning march in it,without a director.“The majority of the people that attended this overcrowdedoccasion were young men and women” wrote AchilleasMamakis the day after.His ashes were buried in the A Cemetary of Athens.

H ÛÔ‰fi˜ ÙÔ˘ ¢. ªËÙÚfiÔ˘ÏÔ˘ÂȘ ∞ı‹Ó·˜

The ashes of D. Mitropoulos in Athens

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∏ ÂͤÁÂÚÛË ÙÔ˘ ¶ÔÏ˘Ù¯Ó›Ԣ ÛÙȘ 17 ¡ÔÂÌ‚Ú›Ô˘ ÙÔ˘ 1973 ‹Ù·ÓÙÔ ÎÔڇʈ̷ ÙˆÓ ·ÓÙÈ¯Ô˘ÓÙÈÎÒÓ ÂΉËÏÒÛÂˆÓ ÌÂÙ¿ ·fi ÂÙ¿¯ÚfiÓÈ· ηٷ›ÂÛ˘.ΔÔ ÊÔÈÙËÙÈÎfi ΛÓËÌ· ·ÔÙ¤ÏÂÛ ÙÔÓ ÌÔÓ·‰ÈÎfi ¯ÒÚÔ Ô˘ ÎÈÓ‹ıËÎÂÔÚÁ·ÓˆÌ¤Ó· ÂÓ·ÓÙ›ÔÓ Ù˘ ¯Ô‡ÓÙ·˜. ™˘ÛÂÈڈ̤ÓÔÈ ÔÈ ÊÔÈÙËÙ¤˜Ì¤Û· ÛÙÔÓ ·‡ÏÂÈÔ ¯ÒÚÔ ÙÔ˘ ¶ÔÏ˘Ù¯Ó›Ԣ Ì ʈӤ˜ ηÈÛ˘Óı‹Ì·Ù· ··ÈÙÔ‡Ó ÂÏ¢ıÂÚ›·. ™ÙÔÓ ÙÔ›¯Ô Ù˘ ÚfiÛԄ˘ ÙÔ˘ÎÂÓÙÚÈÎÔ‡ ÎÙÈÚ›Ô˘ ÙÔ˘ ∞‚ÂÚÒÊÂÈÔ˘, ‰È·ÎÚ›ÓÔÓÙ·È Ù· Û˘Óı‹Ì·Ù·ÂÓ¿ÓÙÈ· ÛÙË ¯Ô‡ÓÙ·.§›Á˜ ÒÚ˜ ·ÚÁfiÙÂÚ· ÙÔ Ù·ÓÎ ı· ·Ú·‚È¿ÛÂÈ ÙËÓ ÎÂÓÙÚÈ΋ ‡ÏËÙ˘ Ô‰Ô‡ ¶·ÙËÛÈÒÓ, Î·È ı· ηٷÛÙ›ÏÂÈ ÙËÓ ÂͤÁÂÚÛË, ·Ê‹ÓÔÓÙ·˜›Ûˆ ÙÔ˘ 23 ÓÂÎÚÔ‡˜.17-11-1973

The uprising in the Polytechneio on 17 November 1973 wasthe peak of the anti-junta demonstrations after seven years ofsuppression.The student movement was the only grouping that acted in anorganised way against the military junta. The students, united,inside the yard of the Polytechneio, shouting and chanting forfreedom. On the wall at the front of the central building,Averofeio, the banners against the junta are visible.A few hours later the tank crosses the central gate ofPatission Street and ends the uprising, leaving 23 deadbehind. 17-11-1973

∏ ÂͤÁÂÚÛË ÙÔ˘ ¶ÔÏ˘Ù¯Ó›Ԣ

The uprising in the Polytechneio

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™ÙȘ 21 & 22 ºÂ‚ÚÔ˘·Ú›Ô˘ ÙÔ˘ 1973 ¿Óˆ ·fi 1000 ÊÔÈÙËÙ¤˜Î·Ù·Ï·Ì‚¿ÓÔ˘Ó ÙË ¡ÔÌÈ΋ ™¯ÔÏ‹ ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ ∞ıËÓÒÓÂΉËÏÒÓÔÓÙ·˜ ÙËÓ ·ÓÙ›‰Ú·ÛË ÙÔ˘˜ ÛÙË Ô‡ÓÙ· ÙÔ˘ ¶··‰fiÔ˘ÏÔ˘.∂ÓÙ˘ˆÛȷ΋ ‹Ù·Ó Ë ·ÓÙ·fiÎÚÈÛË Ù˘ ÎÔÈÓ‹˜ ÁÓÒÌ˘.ª·˙ÈΤ˜ ·ÓÙȉÈÎÙ·ÙÔÚÈΤ˜ Û˘ÁÎÂÓÙÚÒÛÂȘ, Ì ȉȷ›ÙÂÚ· ÌÂÁ¿ÏËÏ·˚΋ Û˘ÌÌÂÙÔ¯‹ ·ÎÔÏÔ‡ıËÛ·Ó ÙËÓ ¿ÓÔÈÍË ÙÔ˘ ›‰ÈÔ˘ ¯ÚfiÓÔ˘. ∏·ÓÙ›ÛÙÚÔÊË ÔÚ›· ÁÈ· ÙÔ˘˜ Û˘ÓÙ·Á̷ٿگ˜ Ù˘ 21˘ ∞ÚÈÏ›Ô˘Â›¯Â ·Ú¯›ÛÂÈ.™ÙË Ê ÙÔÁÚ·Ê›· ÔÈ ÊÔÈÙËÙ¤ ÛÙËÓ Ù·Ú¿ÙÛ· ÙË ¡ÔÌÈ΋ ™ ÔÏ‹ › Ù˘ԉԇ ™fiψÓÔ˜, Ì ٷ ¯¤ÚÈ· ˘„ˆÌ¤Ó· Ì ÙÔ Û‡Ì‚ÔÏÔ ÙË Ó›Î˘.

On 21 and 22 February 1973 more than 1000 students occupythe Law School of the Athens University, expressing theirresistance to Papadopoulos’ Junta. The response of the generalpublic was impressive.During the spring of the same year massive anti-dictatorialgatherings were to follow, with a particularly large attendance.The countdown had started for the military junta of 21st April.On the photo students on the roof of the University of Law onSolonos Street with their hands high up making the sign ofvictory.

∞ÓÙȉڿÛÂȘ ÛÙË ¡ÔÌÈ΋ ™¯ÔÏ‹ Resistance at the University of Law

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μ π μ § π √ ° ƒ ∞ º π ∞B I B L I O G R A P H Y

1. ∞ÓÙˆÓÈ¿‰Ë˜ ∫. ∞ÓÙÒÓ˘ ™‡Á¯ÚÔÓË ∂ÏÏËÓÈ΋ ∞Ú¯ÈÙÂÎÙÔÓÈ΋,ÂΉ. ÕÓıÚˆÔ˜ + ¯ÒÚÔ˜ ∞ı‹Ó· 1979

2. ∞ÓÙˆÓÔÔ‡ÏÔ˘ ∑¤ÙÙ· Δ· ÁÏ˘Ù¿ Ù˘ ∞ı‹Ó·˜À·›ıÚÈ· °Ï˘ÙÈ΋ 1834-2004, ÂΉ. ¶ÔÙ·Ìfi˜ ∞ı‹Ó· 2003

3. μ·Î·ÏfiÔ˘ÏÔ˜ ∞fiÛÙÔÏÔ˜ πÛÙÔÚ›· ÙÔ˘ ¡¤Ô˘ ∂ÏÏËÓÈÛÌÔ‡£ÂÛÛ·ÏÔÓ›ÎË 1964-1974

4. μ·ÛÈÏ›Ԣ πˆ¿ÓÓ˘ ∏ Ï·˚΋ ÛÙ¤ÁË ÛÙËÓ ∂ÏÏ¿‰·, 1944

5. ∑‹‚·˜ ¢ÈÔÓ‡Û˘ ¶Ï¿Î· 1973-2003¶ÔÏÈÙÈÛÙÈÎfi π‰Ú˘Ì· √Ì›ÏÔ˘ ¶ÂÈÚ·ÈÒ˜ ∞ı‹Ó· 2008

6. ∫·ÈÚÔʇϷ˜ °È¿ÓÓ˘ ∏ ∞ı‹Ó· ÌÂÙ¿ ÙÔÓ ¶fiÏÂÌÔ, ÂΉ. ºÈÏÈfiÙË 1988

7. ∫·ÈÚÔʇϷ˜ °È¿ÓÓ˘ ∏ ∞ı‹Ó· ÛÙË ¢ÂηÂÙ›· ÙÔ˘ ’50, ÂΉ. ºÈÏÈfiÙË 1993

8. ∫·ÈÚÔʇϷ˜ °È¿ÓÓ˘ ∏ ∞ı‹Ó· ÛÙË ¢ÂηÂÙ›· ÙÔ˘ ’60, ÂΉ. ºÈÏÈfiÙË 1997

9. ∫·ÈÚÔʇϷ˜ °È¿ÓÓ˘ ∏ ∞ı‹Ó· ÛÙË ¢ÂηÂÙ›· ÙÔ˘ ’70, ÂΉ. ºÈÏÈfiÙË 2006

10. ∫·Ú‰·Ì›ÙÛË – ∞‰¿ÌË ª¿Úˆ ŒÚÓÂÛÙ ΔÛ›ÏÏÂÚ 1837-1923∏ Ù¤¯ÓË ÙÔ˘ ∫Ï·ÛÈÎÔ‡, ÂΉ. ª¤ÏÈÛÛ· 2006

11. ∫·Ú‰·Ì›ÙÛË –∞‰¿ÌË ª¿Úˆ, º¿ÓË ∫ˆÓÛÙ·ÓÙ›ÓÔ˘, Lugos Lugo Las aloAı‹Ó· ÙfiÙÂ Î·È ÙÒÚ·, ÂΉ. √ÏÎfi˜, ∞ı‹Ó· 2004

12. ∫fiÎÎÔ˘ ∞ÁÁÂÏÈ΋ ∏ ̤ÚÈÌÓ· ÁÈ· ÙȘ ·Ú¯·ÈfiÙËÙ˜ ÛÙËÓ ∂ÏÏ¿‰· Î·È Ù· ÚÒÙ· ªÔ˘Û›·, ÂΉ. ∂ÚÌ‹˜, ∞ı‹Ó· 1977

13. ∫˘‰ˆÓÈ¿Ù˘ ™fiÏˆÓ ∞ı‹Ó·È ¶·ÚÂÏıfiÓ Î·È ª¤ÏÏÔÓ¶ÓÂ˘Ì·ÙÈÎfi ∫¤ÓÙÚÔ ¢‹ÌÔ˘∞ıËÓ·›ˆÓ, ∞ı‹Ó·È 1985

14. ∫ˆÓÛÙ·ÓÙÈÓ›‰Ë˜ ÕÚ˘ °È· ÙËÓ ∞Ú¯ÈÙÂÎÙÔÓÈ΋, ÂΉ. ∞ÁÚ¿ 1987

15. §ÂÊ·ÓÙ˙‹˜ ªÈ¯¿Ï˘ ∏ ∞Ú¯ÈÙÂÎÙÔÓÈ΋ ÂÓ Ù‡ˆ. ∏ ÓÂÔÂÏÏËÓÈ΋ ·Ú¯ÈÙÂÎÙÔÓÈ΋ ̤۷ ·fi Ù·‰ËÌÔÛȇ̷ٷ ÙÔ˘ Δ‡Ô˘ ÛÙËÓ ÂÚ›Ô‰Ô 1944-1974∞ı‹Ó· 2004∞ÓÂΉ. ¢È‰·ÎÙ. ¢È·ÙÚÈ‚‹¶·ÓÂÈÛÙ‹ÌÈÔ ∞ıËÓÒÓ

μ π μ § π √ ° ƒ ∞ º π ∞

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16. §˘Á›˙Ô˜ °È¿ÓÓ˘ ∏ Ï·˚΋ ÛÙ¤ÁË ÛÙËÓ ∂ÏÏ¿‰· Î·È ÛÙÔ Â͈ÙÂÚÈÎfiΔ.∂.∂., ∞ı‹Ó·È 1974

17. ªÂÏ·ÌÈ·Ó¿ÎË ∂˘ÁÂÓ›· √È Ï·Ù›˜ Ù˘ ∞ı‹Ó·˜ 1834-1945¢È‰·ÎÙÔÚÈ΋ ‰È·ÙÚÔÊ‹ΔÌ‹Ì· ∞Ú¯ÈÙÂÎÙfiÓˆÓ ∂ª¶, ∞ı‹Ó· 2006

18. ª›Ú˘ ∫ÒÛÙ·˜ ªÂϤÙ˜ Î·È ·ÁÒÓ˜ ÁÈ· ÙË Û‡Á¯ÚÔÓË ∞ı‹Ó·∞ı‹Ó·È 195819. ª›Ú˘ ∫ÒÛÙ·˜

∞È ∞ı‹Ó·È ·fi ÙÔ˘ 19Ô˘ ÂÈ ÙÔÓ 20ÔÓ ·ÈÒÓ·,∞ı‹Ó·È 196620. ª›Ú˘ ª¿ÓÔ˜ , ∫·Ú‰·Ì›ÙÛË – ∞‰¿ÌË ª¿Úˆ

¡ÂÔÎÏ·ÛÈ΋ ∞Ú¯ÈÙÂÎÙÔÓÈ΋ ÛÙËÓ ∂ÏÏ¿‰·,ÂΉ. ª¤ÏÈÛÛ·, ∞ı‹Ó· 2001

21. ¶··ÁˆÚÁ›Ô˘ μÂÓÂÙ¿˜ ∞ϤͷӉÚÔ˜√ ∞ıËÓ·˚Îfi˜ ÂÚ›·ÙÔ˜, ÂΉ. ∫·fiÓ, ∞ı‹Ó· 2004

22. ¶··ÁˆÚÁ›Ô˘ ¡. ∞ϤͷӉÚÔ˜√ÈÎÈÛÌÔ› ÛÙËÓ ∂ÏÏ¿‰·, ∞ı‹Ó·È 1964

23. ¶·Ú·‰Â›Û˘ ∫. ¡ÈÎfiÏ·Ô˜∞ÌÂÏfiÎËÔÈ, ÂΉ. ªÈÎÚfi˜ ƒˆÌÈfi˜, ∞ı‹Ó· 2003

24. ™ÎÈ·‰·Ú¤Û˘ °ÈÒÚÁÔ˜∏ Û‡Á¯ÚÔÓË ∂ÏÏËÓÈ΋ ∫·ÙÔÈΛ· Û·Ó ·Ú¯ÈÙÂÎÙÔÓÈÎfi ηÈÔÏÂÔ‰ÔÌÈÎfi Úfi‚ÏËÌ·∂ÈÛ‹ÁËÛË ÛÙÔ μ’ ¶·ÓÂÏÏ‹ÓÈÔ ∞Ú¯ÈÙÂÎÙÔÓÈÎfi ™˘Ó¤‰ÚÈÔ £ÂÛÛ·ÏÔӛ΢ 1962.

25. ΔÚ·˘Ïfi˜ πˆ¿ÓÓ˘ ¶ÔÏÂÔ‰ÔÌÈ΋ ÂͤÏÈÍȘ ÙˆÓ ∞ıËÓÒÓ, ∞ı‹Ó· 1993

26. ºÈÏÈ›‰Ë˜ ¢ËÌ‹ÙÚ˘ ¡ÂÔÂÏÏËÓÈ΋ ∞Ú¯ÈÙÂÎÙÔÓÈ΋, ÂΉ. ª¤ÏÈÛÛ· 1984

27. ÷Ù˙ÈÒÙ˘ Ã. ∫ÒÛÙ·˜ ¶Ï·Ù›· √ÌÔÓÔ›·˜, ∏ ηډȿ Ù˘ ∞ı‹Ó·˜™‡ÏÏÔÁÔ˜ ÙˆÓ ∞ıËÓ·›ˆÓ 1993

28. ∞Ú¯ÈÙÂÎÙÔÓÈ΋ ÙÔ˘ 20Ô˘ ·ÈÒÓ·∂ÏÏ¿‰·∂ÏÏËÓÈÎfi πÓÛÙÈÙÔ‡ÙÔ ∞Ú¯ÈÙÂÎÙÔÓÈ΋˜, ∞ı‹Ó· 1999

29. ™‡Á¯ÚÔÓÔ˜ √ÈÎÔ‰ÔÌÈ΋(¶ÔÏÂÔ‰ÔÌ›·-∞Ú¯ÈÙÂÎÙÔÓÈ΋ –Δ¤¯ÓË∂Ή. ∫ÔÚÓ¿ÚÔ˜, ∞ı‹Ó·È 1977

¶ÂÚÈÔ‰Èο ∞Ú¯ÈÙÂÎÙÔÓÈ΋˜∞Ú¯ÈÙÂÎÙÔÓÈο £¤Ì·Ù·£¤Ì·Ù· ¯ÒÚÔ˘ Î·È Ù¯ÓÒÓΔ¯ÓÈο ÃÚÔÓÈο¢ÂÏÙ›Ô ™˘ÏÏfiÁÔ˘ ∞Ú¯ÈÙÂÎÙfiÓˆÓΔ· ∞ıËÓ·˚ο ÂΉ. ™˘ÏÏfiÁÔ˘ ÙˆÓ ∞ıËÓ·›ˆÓ