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The Rodakis house consisted of an Lshaped
plan with a rather large courtyard surrounded by a high stone wall. The house was comprised of a series of four
rooms, only three of which, apparently multiuse
living areas, were connected
together. Another Lshaped
series of rooms directly adjacent and roughly as
large as the main living areas, housed the animals. Cooking was done in a
separate outhouse that contained a circular stone oven whose outline extended
outwards from the otherwise orthogonal plan. The courtyard also contained
its own threshing area (alòni).
sculpture
Pikionis’s studies of the Rodakis house were complex.
At one level, he perceived the house with European eyes,
obviously knowledgable of major artistic movements from the North, such as Cubism and Surrealism. For him this house
was a “primitive” other – an object trouvè, as fascinating as some of the African
masks “discovered” by Picasso and Giacometti in the Parisian flea markets –
and Pikionis often used the terms primitive and popular interchangeably
indicating how close he felt they were in meaning. Among the black and white
photographs included in the book published by his friends the German painter
Klaus Vrieslander and the writer and shadowtheater
artist Julio Kaimi, are
details of mysterious figures on the property wall: a pig, a clock, a snake, and
a dove. According to Vrieslander and Kaimi they could symbolize “Luck, Time,
Evil and Peace”.8 Other photographs show plaster busts “that look away with
a mystical gaze” leaning against the corners of the roof – reminding us, at least
in spirit, of other “naïf” eccentric architecture admired by André Breton and
Pablo Picasso