Knut Lustier
-
English
Thoughts in Memory of Panos Koulermos
Much too early for us humans.
My dear friend the architect, urbanist, educator, poet and humanist,
Panos Koulermos, died on Sunday the 26th of September.
He left us during one of his long journeys around the world, left
us behind with the memory of his incredible spirit and his search
for truth in architecture and the world in general - as if he
wanted to say to all of us to continue his journey.
Here we are, thinking of who we lost, thinking what he meant to
us.
Here we are.
Here I am trying in these humble words to sketch a glimpse of
Panos. Who was he?
I first met Panos in Los Angeles in 1987 while studying architecture
at the University of Southern California. He was the head of the
graduate program at the time and also my graduate thesis advisor.
He struck me from the first moment I met him with his open, warm
and lively manner and his poetic understanding of architecture.
Soon after that I came to be his teaching assistant, and he came
to be my good friend and mentor.
In 1995, Panos told me about his plans to move to Switzerland
to be part of the founding forces creating a new architecture
school in Ticino, together with his old friend Mario Botta. Knowing
Panos's architectural, didactical and educational qualities, I
realized the explosive potential Panos's presence would have in
that process.
In 1996, after 24 years in America, Panos and his wife Piera were
about to return to Europe, where he felt so spiritually connected.
He was so happy and excited . The year after that I joined him
again as his assistant at the new Accademia di architettura. I
enjoyed an amazingly intense and creative time together with Panos
and his other three assistants.
Panos loved architecture. He lived it with all his soul. The understanding
of space, form and meaning in architecture came entirely naturally
to him. The clarity and poetic depth of thinking astounded me
every time I observed it while working close to him.
Panos was also a gifted teacher. He believed that the real understanding
of architecture and the world around us must come from within
a person; it cannot be taught, imported or implanted by someone
else. He did not appear to want to instruct students. On the contrary,
he gave the impression of one desiring to learn from them. He
didn't lecture; he discussed. He felt that only the understanding
from within can lead to true insight and that all those many ideas
provided the richness of the world we live in. A society of liberated
individuals in a pluralistic world.
Panos believed in an open and free world where architecture schools
educate their students in ethics and humanity. He felt students
should be prepared to be able to practice their profession anywhere
in the world and that their architecture give joy and meaning
to human life.
During many of our long walks together, we often passed the statue
of Socrates in Chiani park in Lugano. Panos was so fond of this
statue and always greeted Socrates's likeness with great respect.
One day we realized that our friend had been moved. Socrates was
no longer in his place. I could tell Panos felt quite sad.
Panos was in many ways like Socrates. I never saw a teacher who
was so capable of seeing inside the students' minds, who could
see the hidden seed. He believed in each individual and in the
greatness of his thoughts. He believed in you and helped you to
find your own identity. I realized time and time again while talking
to former students and friends around the world, just how many
lifes he influenced, how many eyes he opened.
In the end, Panos somehow found Socrates again, along with the
Gods in Greece, where he now rests. Perhaps the words of his old
friend John Hejduk ring most poignant:
"Panos understands that the ancient Gods are always waiting,
observing our creations; that is, they compare and finally judge.
I think they smile with and upon Panos Koulermos. In their positions,
the Gods need their hearts to be warmed a bit as do we humans,
and Panos provides us with the necessary heat, just enough, for
he does not want to burn us. He is clear about the ambiguity as
to what the heavens might bolt down, so he makes an appropriate
offering, that is, the offering of good work in the form of architecture."
He left us on one of his long journeys.
Much to early for us humans.
-
Italian
Pensieri in memoria di Panos Koulermos
Troppo presto per noi umani.
Il mio caro amico, l'architetto, urbanista, educatore, poeta e
umanista, Panos Koulermos, è morto domenica 26 settembre.
Se n'è andato durante uno dei suoi lunghi viaggi intorno al mondo,
lasciando dietro di sé il ricordo del suo spirito e della sua
ricerca della verità nell'architettura e nella vita - come se
avesse voluto dire a ciascuno di noi di continuare il suo viaggio.
Siamo qui, pensando a colui che abbiamo perso, pensando a cosa
rappresentava per noi.
Siamo qui.
Sono qui per tentare con queste umili parole di tracciare un profilo
di lui. Chi era?
Incontrai Panos per la prima volta a Los Angeles nel 1987, mentre
studiavo architettura alla University of Southern California.
A quell'epoca era a capo del programma di laurea. Fu anche mio
relatore di tesi. Dal primo momento mi aveva colpito per il modo
caloroso, aperto e vivace e la visione poetica dell'architettura.
In seguito divenni suo assistente e lui divenne per me un amico
ed un maestro.
Nel 1995, Panos mi parlò della sua intenzione di trasferirsi in
Svizzera per partecipare alla fondazione di una nuova scuola d'architettura
in Ticino, assieme al suo vecchio amico Mario Botta. Conoscendo
le qualità di Panos come architetto, didatta e educatore, capii
il potenziale esplosivo che la sua presenza avrebbe avuto in quel
processo.
Nel 1996, dopo 24 anni in America, Panos e la moglie Piera facevano
ritorno in Europa, cui lui aveva continuato a sentirsi profondamente
legato spiritualmente. Era felice ed emozionato.
L'anno successivo lo raggiunsi ancora una volta come assistente
alla nuova Accademia di architettura. Fu un periodo incredibilmente
intenso e creativo quello trascorso in Ticino assieme a Panos
e gli altri tre suoi assistenti.
Panos amava l'architettura. La viveva con tutta l'anima. La comprensione
dello spazio, della forma e del significato dell'architettura
gli era innata. La chiarezza e profondità poetica del suo pensiero
mi stupivano ogni volta che mi capitava di lavorare al suo fianco.
Panos era anche un insegnante di talento. Credeva che una reale
comprensione dell'architettura e del mondo deve avvenire all'interno
di ciascuno di noi; non può essere insegnato né trasmesso da altri.
Non dava l'impressione di voler istruire gli studenti. Al contrario,
sembrava desiderare apprendere da loro. Non dava lezioni: discuteva.
Considerava le idee di ognuno un importante contributo alla ricchezza
del mondo nel quale viviamo.
Panos credeva in una società di individui liberi in un mondo aperto
e pluralista, dove le scuole di architettura educano gli studenti
ai valori etici. Pensava che gli studenti debbano essere preparati
ad esercitare la professione ovunque nel mondo e garantire così
protezione, gioia e significato alla vita umana con la loro architettura.
Durante le nostre lunghe passeggiate, spesso passavamo davanti
alla statua di Socrate nel parco Ciani a Lugano. Panos amava molto
quella statua e la salutava sempre con grande rispetto. Un giorno
costatammo che il nostro amico era stato rimosso: Socrate non
era più al suo posto. Panos ne pareva rattristato.
Panos era simile per molti aspetti a Socrate. Non ho mai visto
un insegnante altrettanto capace di vedere dentro la mente degli
studenti e scovarne il germe nascosto. Credeva in ogni individuo
e nella grandezza dei suoi pensieri. Credeva in te e ti aiutava
a trovare la tua identità. Volta per volta, parlando con coloro
che erano stati suoi studenti o con i suoi amici sparsi nel mondo
intero, ho capito su quante vite avesse influito e quanti occhi
aperto.
Alla fine, Panos ha in un certo senso ritrovato Socrate, assieme
agli dei greci, là dove ora riposa. Forse le parole del suo vecchio
amico John Hejduk sono le più incisive:
"Panos capisce che gli antichi dei stanno sempre aspettando, osservando
le nostre creazioni, dapprima comparano, poi giudicano. Penso
che sorridano di Panos Koulermos. Gli dei hanno bisogno, come
noi umani, che il loro cuore sia riscaldato un po', e Panos ci
fornisce il calore necessario, nella giusta quantità perché noi
non ci bruciamo. Nell'incertezza su quanto il cielo potrebbe portagli,
Panos fa un'offerta votiva, che consiste in un lavoro ben fatto
in forma di architettura."
Ci ha lasciato durante uno dei suoi lunghi viaggi.
Troppo presto per noi umani.
Julian Reid
English
The Time of Our Lives
The greatest impression that Panos
made upon me as a young architect was his belief that "Order must
be the foundation of architecture". At the time I did not really
understand what this meant, I just knew that it sounded right
on a very basic, gut-instinct level. I felt that all great works
of architecture, and art in general, were not random occurrences
but very deliberate creations, with specific meaning and context.
I was excited to find someone who was able to verbalize and manifest
these instincts which I felt, and I was devoted to Panos as an
architect and teacher from that point on. At the time I sensed
that many of my fellow students at USC found this belief to be
a bit uninteresting, given that deconstructivism was all the rage
at the time and the most popular studios usually resulted in "buildings"
derived from the cross section of television sets or some incomprehensible
text by a self-important French philosopher. Panos and I along
with others felt that these studios--while they did have redeeming
qualities--often made undisciplined or casual architecture students
look like great architecture students.
So a core group of USC students--myself, Mark Gangi, Knut Luscher,
and others--continued to toe the line on the "Architecture-is-Order"
school of design. This idea, though still very generalized at
the time for me, had a great deal of influence on my schoolwork.
After graduation I continued working at Panos' studio in Westwood.
In 1992, Panos was chosen to do a project for the Greek pavilion
at the Venice Biennale of Architecture. Mark Gangi, Panos and
myself along with several others from Los Angeles traveled to
Venice for the show. It was a truly memorable time in our lives.
Ironically, the American pavilion featured architects whose bombastic
entries epitomized the "trends" at the time. I was proud that
our design over at the Greek pavilion provided a poetic rebuttal
to this grandiose self-importance.
* * *
After the Biennale, Panos returned to Los Angeles while Mark and
I went on to Athens and then to Crete to see Panos' work for the
Foundation of Research and Technology Hellas (FORTH) and the University
of Crete--two projects which we had worked on with Panos. When
we arrived in Heraklion everything was taken care of--Panos had
arranged the hotel rooms, transportation, and instructions for
his associates to show us where to go. He insisted that all of
our time be spent understanding the architecture there. I realize
now that it was very important to him that Mark and I understand
on a fundamental level why he created the architecture that he
did. He insisted that we first spend a day at the Palace of Knossos
before seeing his buildings. We did so, and there was a powerful
sense of connection when we stood in the great courtyard, with
the famous sculpture of the bull's horns at the end of the courtyard,
framed by the indentations in the mountains beyond representing
the horns of the great bull-god, the Minotaur, the mythical earth-shaker
of Minoan lore. It was what Panos would call a "Eureka!" moment.
Here was an architecture that creates order on a human level (physically,
spiritually, emotionally) while at the same time acknowledging
the divine order of nature and Gods (the order of the stars and
planets, of the Homeric epics, of Genesis in the Bible).
Having found our religion, Mark and I set out for Panos' buildings
the next day. The campuses were about 45 minutes outside of Heraklion
in a semi-rural area mostly populated by olive groves and vineyards.
The buildings had not yet been completed, mainly finishing work
needed to be done, so the immediate environment was quiet and
peaceful. Just the kind of environment that architects love for
taking pictures and exploring. We arrived at FORTH first. Finally
we were seeing these buildings we had worked on and seen pictures
of. My most vivid memory of this moment was standing in front
of the rough concrete forms, in that light that only exists in
Greece, with the mountains and Mediterranean in the background,
and our driver standing behind us prattling on about how we "only
had an hour". Mark and I looked at each other and smiled. The
driver was soon zooming away--alone--with Mark and I left behind
not knowing or caring how we would get back to Heraklion.
The entry to the building is through a small amphitheater, with
the building steps in the middle and the seating areas curving
forward along the flanks, embracing the visitors as they enter.
I clearly remember the afternoon that Panos and I sat in his Westwood
studio designing this feature on 8.5x11 sheets of vellum--the
drawings had to be faxed to Crete that evening so they would be
ready for start of construction the next morning. Holding up the
plan of the entry-amphitheater I could not help but point out
the resemblance to the horn's of a bull. Panos liked that.
Once through the amphitheater and up the steps you enter into
the "Galleria", essentially a double-height circulation axis bisecting
4 structures, each structure square in plan, two on each side
of the Galleria. Of course this is the prototypical urban passageway
found throughout the Mediterrannean and Europe, perhaps most spectacularly
implemented in the Galleria in Milan, or more intimately in the
passages found in the island cities of Santorini or Patmos.
The end of the Galleria opens up to the Plaza, the "void" object
in Panos' composition of 4 squares. Again the connection was immediate
for me: the frescoed images from the courtyard of Knossos depicting
the bullfighter grabbing the bull's horn's and then cart-wheeling
over the bull came into sharp focus. In reality of course the
Plaza was created for less-challenging human events--perhaps a
school reception after classes, with wine, music and dancing.
One of the most dramatic features of the FORTH plaza is the L-shaped
pergola framing the mountains in the distance. When I saw this
I knew I had seen it before--on the roof terrace of Terragni's
Casa del Popolo in Como, where the open structural members perfectly
frame the Duomo in the distance.
At the end of the day Mark and I packed up and headed for Heraklion.
A passing farmer stopped to give us a ride in the back of his
truck. Driving away I looked back at the buildings glowing in
the twilight of that early Greek evening and realized that it
would be a long time--most likely many years--before I returned.
I took consolation in knowing that I would spend this time talking
and laughing and learning with my friend and mentor Panos Koulermos.
* * *
Having visited Panos' buildings, I am still overwhelmed by the
powerful sense of discipline and respect for architecture as an
art and practice. The realization that architecture is hard work
came to me completely and fully. I came to understand what I had
only felt before: that a work of architecture must be designed
with a passionate sense of purpose, that even the most random
of elements are there for a reason, perhaps to create an unseen
connection to history or the land, or to make a silent offering
to whatever divine entity passes judgement on works of architecture.
Emanuele Saurwein
Italian
26.X.1999
Caro Panos,
forse in una lettera - di quelle che non verranno mai spedite,
ma che si tengono strette al cuore - possono trovare dimora alcuni
vaganti pensieri che in questi anni ci hanno accompagnato.
Abbiamo iniziato, assieme, un viaggio dentro lo studio dell'architettura.
Da Mendrisio, assieme, siamo partiti alla scoperta del mondo dell'architettura.
Presto abbiamo scoperto che i confini erano lontani, invisibili
ai nostri occhi. Abbiamo anche scoperto che il viaggio sarebbe
stato molto lungo e faticoso.
E quale scoperta é stata questa!
A mattone si accosta mattone, con cura e con il dovuto tempo.
Così, con la stessa cura e il medesimo tempo, si percorre la strada
che porta all'architettura. Negli anni finora trascorsi all'accademia,
dentro e fuori, ci si è accorti che questo viaggio non si può
concludere. Alcune soste, forse, sono permesse per prendere fiato,
ma il dubbio che la ricerca dell'architettura sia un viaggio senza
fine è orami certezza. Sconcertante verità, questa.
Appare nel preciso istante della scoperta, allora, la mano dell'uomo.
L'esperta mano del professore si allunga per afferrare il tremolante
studente colpito dalla verità. Quella mano sorregge lo studente
e trasmette fiducia. Da questo viaggio, inoltre, non si può fare
ritorno. Innestato il meccanismo della passione, ci si accorge
che è impossibile fermarsi e che colui che ci ha guidati fino
al momento della scoperta non è più un professore o un architetto,
ma è semplicemente un uomo. Un caro uomo e un anziano amico. Già,
proprio l'uomo dai bianchi capelli, che con curiosità e pazienza,
tanta pazienza, guida e spesso frena il frenetico studente. Lo
stesso uomo che giudica e valuta, che ascolta e parla. Lo stesso
uomo che insegna a giocare con l'architettura. È un gioco serio,
è vero, ma allo stesso tempo -contemporaneamente- è anche un gioco
spensierato, dove la voglia di fare allunga il passo. La mano
corre allora sul foglio e traccia linee … traccia muri. La matita
lascia tracce sul foglio, ma incide anche il cuore. Ci si accorge
che il tempo corre come la matita sul foglio. Si ha fretta di
fare, di concludere, di vedere il risultato. L'impazienza brucia
quelle tracce che la matita ha inciso nel cuore. Tutto scorre,
velocemente. Tanto veloce che la matita, spesso, si spezza. Ancora
una volta, la mano dell'amico è vicina e rallenta la folle corsa.
È una presenza rassicurante. Necessaria come il suo sorriso.
Giunge poi, inaspettato e violento, lo sconforto. La matita si
ferma; la carta rimane bianca; lo sguardo fissa il vuoto. Tutto
è bloccato. Si cercano disperatamente i confini, i limiti … eppure
niente. La mano non ha più la forza necessaria per tracciare i
bordi di una architettura. Lo stesso significato del termine è
sfuggente. Ma ecco che la mano amica ora apre nuove direzioni,
nuove vie da esplorare. Lo sguardo può nuovamente correre libero
nella vasta distesa, può volare sopra infinite architetture e
arcadici paesaggi; ancora con un sorriso
Come si sarà intuito da queste poche e sfuggenti parole, la tua
era anzitutto una presenza amica e a noi vicina.
Così, come gli amici spesso comunicano attraverso parole mai dette,
ma proprio per questo molto più eloquenti, allo stesso modo il
tuo improvviso silenzio ora deve tradursi, per rispetto e per
amicizia, nelle nostre parole. Quelle stesse parole capaci di
disegnare una architettura. Come studenti, ossia come esploratori
dell'architettura, siamo guidati, ora, dal tuo silenzio.
È con un antico augurio, "kalo taxidi kale mas file", buon viaggio
caro amico, che noi studenti ti salutiamo
Alek Zarifian
English
At Panos' memorial on November 20,1999 at USC School of Architecture, I spoke these words of remembrance.
Panos Koulermos,
This powerful name, this wonderful human being who meant so much
for so many people, in so many ways.
When Dana called me last week and asked me if I could talk for
Panos, I felt very honored, in fact I had never felt so honored
in my life. But at the same time I felt great sadness and sorrow.
I wished that the occasion had never come about.
I always felt very fortunate to be one of Panos’ students. It
gave me the opportunity to spend so much time with him and enjoy
every moment of it.
Some 20 years ago when I came to USC School of Architecture, one
of my friends, Oshin Saginian, who at the time was in Panos’ studio,
talked to me about this great Professor by the name of Panos Koulermos.
He kept telling me "you have to take his studio Alek, you have
to take his studio. You’ll design buildings that you won’t believe"
he said.
I became very interested and volunteered to help Panos, along
with some other students to put together his first exhibition
in Los Angeles at the Barnsdall Gallery. After a week of working
with Panos one day I told him, “Panos I really enjoy working with
you because I feel that I’m learning.”
This statement held true for the course of the years that we spent
together, and will be true forever. Whether we were working or
not every time I met Panos I learned something new. The more time
I spent with him the more I realized that his teachings were not
only about Architecture but about life itself. After all architecture
is about life.
Panos was a teacher by nature, he was born as a teacher and he
knew how to teach. He loved his students and his students loved
him. They loved to have Panos critic their work, because his criticism
was so profound and to the point. It left you with a feeling of
awe and being illuminated. It excited you to go back and work
harder and come back for more. And yes, by the end of the studio,
we designed buildings that we couldn't believe.
Quite often I thought about Panos and asked myself, “What is it
that makes him so special, so unique?” I found my answer rather
quickly as I thought it was so obvious. One could sense the presence
of this bright and intense light of intelligence and knowledge
which fused with his very Greek passion, made everything about
Panos so enormous. His architecture, his humor, his academic abilities,
his understanding of the Arts and above all his love for life
and living poetically. Even his profile was unique to the one
and only Panos Koulermos.
There will never be another Panos.
Panos, as John Hedjuk put it so beautifully “He loves architecture
and his work proves it.” He always managed to work with such a
joy and humor. He used to say “take your work seriously not yourself”
or “Next to prostitution Architecture is the oldest profession.”
It’s so hard to talk about Panos, because he is so vast, yet it’s
so easy because no matter what you choose to touch upon its always
full of life and excitement.
One of the noble talents that Panos had was his ability to bring
people together. And he brought so many of us together. So many
friendships started with Panos, within his big space, the atmosphere
that he created for us. The reason that we are all here today
is because everyone one of us has a very prominent place in our
hearts for Panos. He gave us so many gifts and they are all priceless.
Piera, let me also thank you for your support both for Panos and
us the students. Very often you invited us to your home where
we shared so many happy times with you, Yorgo and Panos. And you
were also so kind to accept our invitations with great joy and
sincerity. I like you to know that everyone of those moments are
greatly appreciated and will remain in our hearts forever. Please
know that you and Panos were always known among us, as the young
students.
We, the students, have a great responsibility on our shoulders.
We have to make sure that we pass the torch of knowledge and compassion
to the next generation and let the future students see and get
inspired, just the way he did it for us. And we know that it will
take a lot of hard work, a lot of search and research and a lot
of learning about living poetically, remembering that he always
said:
“Never give up, strive for the best and it will pay.”
One of the things about our dear Panos, that never made it to
the books of Architecture, was his love of music. In fact his
only child, his son Yorgo, is a wonderful musician and composer.
Once I had the opportunity to play drums with him and the impression
that he left me was just like his father’s, a brilliant and sensitive
artist. Sometime in the 80’s, as Panos and I were working in his
studio he asked me to play an Armenian song for him. So I went
to my car and came back with a tape of Armenian tunes played by
a reed instrument called Duduk. Duduk was created by Armenians
about 2500 years ago and is known for its most spiritual sound.
When played right it sounds as if it’s a way of communicating
with God. Panos wasn’t a religious man but he was one of the most
spiritual men I have ever met. As soon as he heard the first song
he fell in love with it and couldn’t help talking about the depth
that the music gave him. He immediately asked me to make a duplicate
for him and for years it remained as the memory of the moment
that we shared with each other, listening to that music.
Today I like to play the music once again as words alone can never
tell enough about this great husband, father, brother, friend,
architect, and distinguished Professor Panos Koulermos.
Maestros: Roubik Haroutunian and Henrik Avoian will play, "Through
foreign, deserted roads.
" Only two days ago I found out that the lyrics for this song
characterize a caravan as a man and his journey back to his homeland.
Maria Veronica Warner Wong
English
March 2001
As one of the many fortunate beneficiaries
of Panos Koulermos' passion for Architecture, I share this legacy
with Architecture students at the National University of Singapore.
Panos taught us of the importance of lifelong education for an
Architect and inspired a whole generation of Architects from Europe,
Asia and America to live with passion and design with optimism
in the spirit "Progressive Evolutionary Modernism".
I work in Singapore where many of Panos's students have settled
to search for meaning and opportunity in Architecture.
In December of 1999 I had the privilege of spending five days
in Lugano with Piera Koulermos and meeting Knut Luscher and some
of Panos' other students and colleagues from the Accademia. This
was a profoundly moving time for me which I am still assimilating.
I assisted Piera to organize and catalog Panos' drawings, renderings,
sketchbooks, books, notes and personal effects to prepare for
donation to the library of the Accademia where the collection
will be archived and eventually organized for publication, exhibition
and other uses.
Panos was a prolific writer and a disciplined scholar and expert
in the field of Italian and European Rationalist Architecture.
Academy Editions published a monograph of his work in Greece and
the US up to the late 1980's. His work is comprehensively published
in A+U and Casabella. Once the complete collection has been archived
and theoretical research is prepared a publication of his complete
works together with an exhibition of his drawings, models, renderings
and sketches will reveal the influence and brilliance of his work
and its place in late 20th century architecture.
My appreciation to those who have created this website as a place
to collect and communicate experiences and memories, I hope to
keep in touch and be of assistance in the creation of the exhibition
and publication.
The following are some notes made on the return journey in December
1999 which I meant to share with Panos' colleagues and friends.
I am just returning from Lugano where I have had the privilege
of helping Piera Koulermos to assemble all of Panos' work to form
an archive which will be kept by the Accademia De Architettura
in Mendrisio, Switzerland.
Mine has been an inspiring journey through Panos' career spanning
forty years and many countries. Panos' career as an architect
consisted of three principal areas of achievment. First, his built
works which are not numerous but are all significant, then his
theoretical work, research, writings and self comissioned projects.
And then of course there is that facet of his career which affects
us most directly, as an educator and inspiration.
During my trip I met many of the people with whom Panos was most
involved in the recent past, such as Botta, Galfetti, Nicola,
Sylvia and of course Knut. The most difficult part of the trip
for me was seeing the Accademia, which Panos founded three years
ago and played a critical role in the development of the pedagogy.
This new, exciting and potentially pivotal school of architecture
was the seat of Panos’ vision although he continued to teach in
Como and many other places. Things have fallen into place for
Panos over the past few years, he made the choices and created
this potential for himself. I regret Panos’ absence from the Accademia
most because Panos is clearly essential to the success of this
institution.
Before he died, Panos was very happy with his life, Chiu Man and
I had the honor of an evening at home with Panos in August at
which time he shared his excitement. Panos felt blessed, as we
took and evening walk along Orchard Road, he shared plans & dreams.
At that time, Panos was working on three large projects, his second
department store in Taiwan, a museum in Greece and an infrastructure
project in Milan.
Since Panos died, friends have gathered for memorials in Greece
and Mendrisio, both of which I was not able to attend. Speaking
with Knut I sensed a synergy among Panos’ students, associates
and friends. It was immediately clear upon meeting Knut that we
share a legacy of inspiration and passion for Architecture. A
seed which for most of us was planted by Panos more than any one
person we have encountered in our career.
The premature and untimely end of Panos’ life left a mountain
of unfinished work, built, theoretical and most of all inspirational.
Seeing all of Panos’ work, I observed many areas of research and
writing which would be essential to the work in progress.
This webpage which I believe was assembled by Mark Gangi is the
ideal tool for a forum amongst us all regarding Panos, his work
and his legacy which in great part is our work.
As I told John Tong, Anthony and ChiuMan, Panos’ influence as
an educator will be measured by our contributions to architecture,
theory and education. Panos would say “looks great, draw it up”,
When we lingered in “NDC” ( Non Developmental Complex). Its his
way of pushing us to do something meaningful and not give into
whatever influences we use as excuses for not giving 100%.
