Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront
Autor(a) principal: | |
---|---|
Data de Publicação: | 2023 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.24840/2183-8976_2023-0008_0001_9 |
Resumo: | This article focuses on the transition of the natural landscape of Thessaloniki’s east waterfront to the artificial urban landscape that draws a straight line between water and land, while noting the developing rigid homogeneous multistorey buildings as a background image of the city in contrast to the former porosity and architectural variety of the late 19th-early 20th century mansions. The transition is captured either as a commentary on the new landscape or as a memoir of a lost era by cinematographers, such as Takis Kanellopoulos in his film “Parenthesis” (1968) and Theo Angelopoulos in his film “Eternity and a Day” (1998) and photographers of the 1960’s such as Socratis Iordanidis and Yiannis Stylianou. Cover image: Theo Angelopoulos, Populated manmade waterfront, Film still, Eternity and a Day, Thessaloniki, 1998 |
id |
RCAP_4eeaae552299d0c5a8f686381603bcb1 |
---|---|
oai_identifier_str |
oai:www.up.pt/revistas:article/864 |
network_acronym_str |
RCAP |
network_name_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository_id_str |
7160 |
spelling |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfrontwaterfront landscapearchitectureThessalonikiTakis KanellopoulosTheo AngelopoulosThis article focuses on the transition of the natural landscape of Thessaloniki’s east waterfront to the artificial urban landscape that draws a straight line between water and land, while noting the developing rigid homogeneous multistorey buildings as a background image of the city in contrast to the former porosity and architectural variety of the late 19th-early 20th century mansions. The transition is captured either as a commentary on the new landscape or as a memoir of a lost era by cinematographers, such as Takis Kanellopoulos in his film “Parenthesis” (1968) and Theo Angelopoulos in his film “Eternity and a Day” (1998) and photographers of the 1960’s such as Socratis Iordanidis and Yiannis Stylianou. Cover image: Theo Angelopoulos, Populated manmade waterfront, Film still, Eternity and a Day, Thessaloniki, 1998CITYSCOPIO, CULTURAL ASSOCIATION2023-12-31info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.24840/2183-8976_2023-0008_0001_9https://doi.org/10.24840/2183-8976_2023-0008_0001_9Sophia Journal ; Vol. 8 No. 1 (2023): Landscapes of care: photography, film, modern architecture and landscape heritage; 97-115Sophia Journal ; Vol. 8 N.º 1 (2023): Landscapes of care: photography, film, modern architecture and landscape heritage; 97-1152183-94682183-897610.24840/2183-8976_2023-0008_0001reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://www.up.pt/revistas/index.php/sophia/article/view/864https://www.up.pt/revistas/index.php/sophia/article/view/864/471Copyright (c) 2023 Sotiria Alexiadou, Vassilis Colonasinfo:eu-repo/semantics/openAccessAlexiadou, SotiriaColonas, Vassilis2024-01-27T05:13:48Zoai:www.up.pt/revistas:article/864Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:58:04.533260Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront |
title |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront |
spellingShingle |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront Alexiadou, Sotiria waterfront landscape architecture Thessaloniki Takis Kanellopoulos Theo Angelopoulos |
title_short |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront |
title_full |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront |
title_fullStr |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront |
title_full_unstemmed |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront |
title_sort |
Unclaiming the natural waterfront landscape: Thessaloniki’s manmade east waterfront |
author |
Alexiadou, Sotiria |
author_facet |
Alexiadou, Sotiria Colonas, Vassilis |
author_role |
author |
author2 |
Colonas, Vassilis |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Alexiadou, Sotiria Colonas, Vassilis |
dc.subject.por.fl_str_mv |
waterfront landscape architecture Thessaloniki Takis Kanellopoulos Theo Angelopoulos |
topic |
waterfront landscape architecture Thessaloniki Takis Kanellopoulos Theo Angelopoulos |
description |
This article focuses on the transition of the natural landscape of Thessaloniki’s east waterfront to the artificial urban landscape that draws a straight line between water and land, while noting the developing rigid homogeneous multistorey buildings as a background image of the city in contrast to the former porosity and architectural variety of the late 19th-early 20th century mansions. The transition is captured either as a commentary on the new landscape or as a memoir of a lost era by cinematographers, such as Takis Kanellopoulos in his film “Parenthesis” (1968) and Theo Angelopoulos in his film “Eternity and a Day” (1998) and photographers of the 1960’s such as Socratis Iordanidis and Yiannis Stylianou. Cover image: Theo Angelopoulos, Populated manmade waterfront, Film still, Eternity and a Day, Thessaloniki, 1998 |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-12-31 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.24840/2183-8976_2023-0008_0001_9 https://doi.org/10.24840/2183-8976_2023-0008_0001_9 |
url |
https://doi.org/10.24840/2183-8976_2023-0008_0001_9 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://www.up.pt/revistas/index.php/sophia/article/view/864 https://www.up.pt/revistas/index.php/sophia/article/view/864/471 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2023 Sotiria Alexiadou, Vassilis Colonas info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2023 Sotiria Alexiadou, Vassilis Colonas |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
CITYSCOPIO, CULTURAL ASSOCIATION |
publisher.none.fl_str_mv |
CITYSCOPIO, CULTURAL ASSOCIATION |
dc.source.none.fl_str_mv |
Sophia Journal ; Vol. 8 No. 1 (2023): Landscapes of care: photography, film, modern architecture and landscape heritage; 97-115 Sophia Journal ; Vol. 8 N.º 1 (2023): Landscapes of care: photography, film, modern architecture and landscape heritage; 97-115 2183-9468 2183-8976 10.24840/2183-8976_2023-0008_0001 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
repository.mail.fl_str_mv |
|
_version_ |
1799137066170187776 |