DES 1 (2) pp.

203–225 Intellect Limited 2011

Design Ecologies
Volume 1 Number 2
© 2011 Intellect Ltd Article. English language. doi: 10.1386/des.1.2.203_1

YORGOS LOIZOS

Olympia: Alchemical
designs of spatial
decadence
ecology Abstract
artificial
inanimate
hybrid Architectures were thought to be designed and placed in a very physical place: the architectural site.
decadence However, a large majority of designers overlook the complexity of our environment’s continuous adaptation
desire and mutation. This deficiency of a design needs to be addressed through a greater understanding of the
feedback from the environment. It could be said that design does not need an active interfering designer, as
it is an inherent part of the universe. A more assertive designer would treat a design in our environment as
a giant simulation and just allow things to happen. Through this article, I will present a series of design
strategies that generate a spatial complexity informed by the rural environment of a seaside pier, a theatre of
the bizarre – a freak show, a chemical photographic process and a cyborg, a storefront in an urban environ-
ment. Through my practice all these spaces are interconnected through a creative language of spatial repre-
sentation. Using my creative language of spatial representation I aim to celebrate the ordinary through the

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environment’s continuous transformation. The binding and separation of the various sites come together
through experimentation with the wet photographic techniques in a darkroom. The research speculates on
the various ecological fluxes of an alchemical design. Hidden in the arcane of film chemical photography, I
extract, reintroduce and reinvestigate a contemporary architecture with a fresh approach to architectural
drawing. The potential is not only within time delays and the composition of the image, but also in its
chemical substance.

‘Sometimes it feels like the whole world is smeared with Vaz’.

(Noon 1993: 5)

Introduction

My practice methodologies concentrate on the medium of photography as a vital tool of spatial represen-
tation combined with the use of traditional chemical photographic processes: gelatin-silver prints, photo-
grams, multi-layered photographic collages, c-type prints and polaroid transfers. In contrast, some of the
very ancient photographic processes such as daguerreotypes, wet collodion, ambrotypes and cyanotypes,
all of which require a more complex working environment, directly connected with the photographed
objects. Thus, the production of the image speculates on the possible alteration of the space itself, which
seems to provoke manifestations for sensitive objects and places that would not remain unchanged.
The images become my architectural drawings, which describe places that are non-anthropocen-
tric, non-local and non-reductionist. The work explores a romantic notion of a latent sensitivity in the
built environment with a hidden potential of living from inert objects. Decadent literature such as
Villiers de L’Isle-Adam’s L’Ève Future ([1886] 1992) and Huysmans’ Against Nature ([1884] 1959) has
described vast worlds of hybrid ecological objects and spaces between the living and non-living. Baron
Des Esseintes, the protagonist of Against Nature, announces that ‘the time has surely come for artifice
to take her [nature’s] place whenever possible’ (Huysmans [1884] 1959: 37), while Villiers de
L’Isle-Adam describes a fictional Thomas Edison capable of crafting a robot or an Andréide as a
‘human imitation’ (Villiers de L’Isle-Adam [1886] 1992: 183) that perfects the human nature.
The possibility for my design methodologies to provoke these qualities between the living and
non-living has inspired the project described in this article. I have borrowed the title Olympia Doll for
one of my projects from the automat (or cyborg) named ‘Olympia’, described in the short story Der
Sandmann ([1816] 1982) by E. T. A. Hoffman. With Olympia Doll I touch on ideas of the mannequin
motif as seen in Hans Bellmer’s dolls, which introduces notions of the familiar and the unfamiliar.
Similarly, I find a longing for Hal Foster’s notion of the surrealists’ mannequin that it is ‘an uncanny

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being because ambiguously sentient’ (1993: 5). Olympia Doll is a project that travels through various
locations within the Palace Pier to a shop in the West End of London where the two other projects,
Domestic Automata and Spatial Decadence, are also situated.
Domestic Automata is crafted by a mixture of physical models and chemical photographs, which
introduces a moment of animation within the inert parts of a domestic interior. In the domestic inte-
rior I make incisions in the space for mechanical pieces to move, linger and then readjust depending
on the changes in the occupant’s body.
In Spatial Decadence I reassemble the light-sensitive aspect of the photographed space (as a like-
ness of the real) with the possibility of constant transmutation. A shop window of a clothes shop situ-
ated in the West End of central London is imagined abandoned from human occupation, only to be
populated by the objects initially designed to showcase the clothes and the mannequins. The project
seeks to merge the photographed space with the physical space, to become a ‘mannequinish photo-
booth’ that celebrates the non-anthropocentric, non-local and non-reductionist idea of speculating on
the various ecological fluxes of an alchemical design.

1. Olympia doll: A constant transformation of architecture

Photographed space; the ‘cold’ and ‘sterile’

Olympia doll currently resides as an installation ‘built’ into a shop window in London’s Theatre
District. The project’s origins came from a variety of distinct places, each one offering different spatial
qualities: a ‘skeletal’ pier on an English seaside, a former amusement and attraction site, coupled with
a shopping arcade situated in central London to become a part of ecological drifts that inform one
another and join together within the practice of designing.
The production of the work involves the use of various sites within other sites, which inform each
other, through the physical crafting and manufacturing of objects: a darkroom, a design studio, an
installation room, a drawing board, a monitor, a library’s reading room and a photographic camera back-
plate. The practical details of the production of a piece of artwork or a set of designs may often be considered
less important than the end product itself. Nevertheless, I am interested in an architecture that lingers in
various stages and sites of production – the darkroom, an installation room, a drawing board, a sketchbook –
that become interconnected ecologies informing one another continuously. This interconnection between
distinct sites creates hybrids of familiar and unfamiliar places, as seen in my images.

The photographic film (like transistorized music in automobiles and apartments) is part of
the universal, hyperreal, metalized, and corporeal larger of traffic and flows. The photo is no
more of a medium than technology or the universal, hyperreal, metalized, and corporeal layer
of traffic and flows. The photo is no more of a medium than technology or the body – all are

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Olympia Doll on Light-Sensitive Sand #4, Photograph, Unique gelatin-silver print, 10×12 inches, Yorgos Loizos, 2009.

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Olympia Doll on Light-Sensitive Sand #5, Photograph, Unique gelatin-silver print, 10×12 inches, Yorgos Loizos, 2009.

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 Yorgos Loizos

simultaneous in a universe where anticipation of the event coincides with its reproduction,
indeed with its ‘real’ production.
(Baudrillard [1985] 1994: 117)

My particular interest lies in a necessity to discover personal ways of evolving an architectural drawing
along with lens-based media, as part of the continuous process for designing each of my projects.
A popular architectural drawing tactic is to develop an idea through a drawing and then to keep drawing
and altering until the drawing becomes ready for a builder to construct the design from the drawing. The
drawing should become a vital part of the construction of the design and not only its representation.
However, in my project’s photographic process, photographed space and the design proposal merge
together not only as a representational tool, but also as the design itself that desires to be inhabited.
Wim Wenders film Paris, Texas from 1984 revolves around a photograph of a vacant lot in a
desert environment found in the town of Paris in Texas. This lot, owned by Travis, the film’s
protagonist, was never visited in reality. Though he is bounded with the lot as much as with its
photograph, which mythologized his presence in that place, his desire to inhabit it remains only in
the ‘space’ of the photograph.
With reflection on a previous ecological design vision article in Design Ecologies, Munro’s
narration and photographic sequence throughout the Japanese landscapes makes me think of the
work of another British photographer, Michael Ormerod. His photographs of the American West
describe the sterile built environment: free of people, even though evidence of human traces may be
apparent in the ‘decadent’ landscape, as part of its sensitive ecology. Sometimes the washed and
deserted town of his photograph Rainy Townscape, Truth or Consequences (Ormerod, 1989) is
rendered site-less, although all signs and objects unveil the spectral traces of its occupants. In
contrast, another photograph, Steppin’ in High Fashions, Butte (Ormerod, 1986), shows human
subjects such as shop windows’ mannequins, the exact copies of the body, to evoke the notion of
familiar in a place yet inert and inhumane. For me, this particular photograph reflects Eugène Atget’s
c. 1910–1920 photographic sequences of Parisian arcades entitled Display Windows, where
mannequins are rendered as the theatrical protagonists of a potentially reflexive space, an architecture
of constant transformation. This is where Olympia Doll actually begins: the mannequin is the
idealized likeness of the human body, whereas for me the space of the photograph becomes an exact
copy of the physical space.

Bain-marie

And if photography belonged to a world with some residual sensitivity to myth, we should exult
over the richness of the symbol: the loved body is immortalized by the mediation of a precious

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Shop Window Transfer #4; Remnants of mannequins – after Eugène Atget Parisian Display Windows photo-
graphs c. 1910–1920, Unique polaroid transfer on watercolour paper, 12×16 inches, Yorgos Loizos, 2008.

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Mannequin Body #4; studies of human torso and its (photographic) double, Photograph, Unique
gelatin-silver print, 10×12 inches, Yorgos Loizos, 2008.

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metal, silver (monument and luxury); to which we might add the notion that this metal, like all
the metals of Alchemy, is alive.
(Barthes [1980] 2000: 81)

Through the Olympia Doll I investigate the architectural possibility of the chemical photography and
my practice methodologies to blur the boundary between the parallax of art and architecture – a way
of representing space and a way of designing, a photograph and an architectural drawing as two
objects in their own right. Of course a photograph could be created primarily to inhabit another place,
possibly that of a gallery, in contrast to an architecture that needs to be inhabited.
These multi-layered images were drawn both spatially and time-based, creating a very specific
practice that involves precision in time and temperature. Still through the making of the work, I
considered the chance, such as an accidental re-exposure to light, as another layer to their fabrication.
The uses of chemical photography, within my projects, have been practiced through ideas of a
series of time-based drawings with different qualities of sensitivity to light and temperature. My prac-
tice is about the act of making as well as the finished article itself; hence, the dark spaces you inhabit
during the making of the work and the range of ways we choose to interact with the work makes the
work. When used as a design tactic within the space of the drawing, the hypothesis of a sensitive
architectures responding to light becomes smeared in a wet bath of a bain-marie and accidental light
exposures reveal a hybrid of dark and light, neither black nor white, whilst the negative and positive
are merged together within the chemical process. This encourages a sense of experimentation that
takes the risk of the mistake as part of the creative process.

2. Domestic Automata
Theatre of the bizarre

Surrealist artists such as Salvador Dali with his Rainy Taxi at the 1938 Exposition International du
Surrélisme in Paris and Giorgio de Chirico with the 1916 The Disquieting Muses revealed an admiration
for mannequins – ‘simulacra’ of the human body – and their uncanny qualities in their works. In a
state of suspended animation, their mannequins declared emotions and anxieties: the human
condition.
One of Hans Bellmer’s projects – entitled ‘La Poupée’ (1936–1949) – was a series of photographs
of female dolls’ games, which celebrates a blurred parallax between the animate and the inanimate.
Numerous configurations of doll parts were positioned and photographed inside house interiors. The
mannequins were hung beside a door or positioned outdoors to show the cold and frozen nature of
the mannequin and unveil something so familiar. In addition to these photographs, he produced a
series of visceral drawings to illustrate the body in a ruinous manifestation. As Sue Taylor writes,

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Doll Bodies in Continuous Light Saturation (Studio), Photograph, Unique gelatin-silver print, 10×12 inches, Yorgos Loizos, 2009.

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Domestic Automata #3, Photograph, Unique gelatin-silver print, 10×12 inches, Yorgos Loizos, 2009.

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Domestic Automata #5, Photograph, Unique gelatin-silver print, 10×12 inches, Yorgos Loizos, 2009.

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‘Bellmer exploits the transparency of the drawing medium to x-ray the body, to present it in the very
process of decay, predicting the death anticipated by the narrator’ (2000: 243).
A large amount of my work includes pieces of physical casts of doll parts set in numerous arrange-
ments. Initiated with Olympia Doll, the Domestic Automata project speculates the condition between
the body and the designed spaces and their constant information. Some of the pieces and objects
were intentionally deformed to provoke a non-ideal relation between body and its copy.
Alexander Calder’s project Circus (1926) involved a collection of kinetic small-scale sculptures
made from wire and found objects. The project becomes a spectacle in its own right rather than a
mere representation, as a scale model of a circus. The performance created by these miniature toys
bring to my mind a scene from the film Blade Runner (Scott 1982) from the apartment of one of the
characters J. F. Sebastian, populated by numerous mannequins and machines, all exact copies of
humans. Some of them were frozen (sleepers) and others were performing some kind of action. Still,
this collection of mechanical toys, ‘exhibited’ works of the genetic engineer J. F. Sebastian, evoke that
we are designing our objects in our own likeness from desire to idealize ourselves.
The doll parts merge with other objects of the domestic interior, for example a wooden doorframe,
where the mannequinish object performs a vivid motion, whilst informed by another shift of object or
body. Though not connected with a wire like Calder’s Circus’ protagonists, these body and doll-cast
objects are still interconnected like responsive spatial ecologies, sensitive and strangely attracted to
one another, a theatre of the bizarre, almost like a freak show of outsider performers.

Animate/inanimate

Hal Foster writes and according to Breton’s Révolution Surréaliste, ‘automatons multiply and dream’
and he adds that ‘the association suggests the full ambiguity of surrealist automatism: a “magical
dictation” that renders one a mechanical automaton, a recording machine, an uncanny being because
ambiguously sentient, neither animate nor inanimate, double and other in one’ (Foster 1993: 5).
Domestic Automata reveal this sense of the blurred boundary of the animate and inanimate,
including familiar objects of our closer surroundings that blend with disparate unfamiliar yet visited
places. These designs would readjust, change or collapse, responding to any of our actions, almost like
daydreams.
At the end of the fifteenth century, Francesco Colonna wrote a seminal book entitled
Hypnerotomachia Poliphili ([c. 1499] 2005). It is a significant writing that recreates an architectural
narrative through the confusion of the animate and the inanimate as well as the state of metamorphosis.
Poliphilo, the protagonist of the story, explores a multidimensional geography merging fictional and
historic elements to create an architectural fantasy, driven from his desire to meet his beloved Polia.
There is a clear distinction between dreams and real, but dreaming could be seen as a manifestation

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Doll Bodies in Continuous Light Saturation (Pier), Photograph, Unique gelatin-silver print, 10×12 inches, Yorgos Loizos, 2009.

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part of the reality, driven by our subconscious. Thus dreams are both real and shadows of reality that
draw our profound thoughts and desires, in a personal and almost visceral way.

Hypnerotomachia fulfils its objective by demonstrating how architectural meaning is not some-
thing intellectual, a ‘formal’ question of proportional relationships or abstract aesthetic values,
but rather originates in the erotic impulse itself, in the need to quench our physical thirst: the
existential condition to which humanity can only be reconciled within the realm of poiesis […]
and its metaphoric imagination.
(Pérez-Gómez 1992: xv)

I find Hypnerotomachia Poliphili vital for both my own research and practice of design work, as it
presents that very symbiotic nature of imagination and reality. It results in a spectacular – quasi-
magical – spacescape designed by desires. It involves architectures that constantly transform, as in
nature. This is a hybrid ecology of the natural and the artificial, which redefines non-static objects and
places.

3. Spatial Decadence
Between light and dark

Design could be inspired by the temporality of a shop window, a space of constant change.
Mannequins blend with the shop’s other decorations to reveal a secret mechanical movement,
change and rearrangement following the body itself. The photographed space is reintroduced as a
critical catalyst to the designed space. The shop window is redesigned as a photo booth, which
instead of capturing the immortality of photographs, recreates a highly sensitive, changeable and
decadent shop interior.
Behind the creation of the ‘photographed space’ as ‘cold’ and ‘sterile’ exists the spatial process in
the development of the images to reveal an alchemical design. The early days of photography can be
found in the mystic and the occult, when the ‘Daguerreotype’ photographic product was transformed
‘from mercury and silver through light and fire’ (Dahlberg 2006: 87), and the art of photography was
developed primarily by the chemists rather than the painters. The wet-complex processes for the
creation of the image sometimes involved specially designed spaces to accommodate them, such as
Black Maria (1893) designed by Thomas Edison in West Orange, New Jersey, which was the first
moving images production studio. Other photographic techniques, like the wet collodion and
the ambrotypes, necessitate the darkroom facility to be very close to the photographed subject or
the photographed space. As a result, the photo shooting could only take place in a studio or the
photographic darkroom. The environment to be photographed would determine the location of the

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Ten Seconds Around a Mannequin, Collage drawing on photographic paper, Unique gelatin-silver print, 20×24 inches, Yorgos Loizos, 2009.

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Mannequin Smeared by Light-Sensitive Chemicals, Collage drawing on photographic paper, Unique gelatin-silver print, 20×24 inches, Yorgos Loizos, 2009.

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studio. For me this spatial relation between the photographed space and the space of the photographic
process is really important.
Similar to the art of alchemy, ‘while the prima materia of architecture is space, space cannot exist
without information. In architecture one needs to conceive of the container of space to perceive the
space. As in alchemy, the negative must be seen in order to view the positive’ (Spiller 1998: 28).
Similar to architecture, the chemical photographic process is about the manipulation of space and its
image, working with a material to be transformed into something else: a metamorphosis. It is that
‘lowest material’, a ‘dark matter’, the very ordinary, all those raw materials found in the everyday and
its redundancies that need to be extracted from the immediate environments we inhabit, and to
become something rather special.
Philip K. Dick’s novel Do Androids Dream of Electric Sheep? describes an object that he calls a
‘kipple’, capable of evolving and change through a period of time. According to the novel, these may
be redundant objects found within the very heart of the built environment:

‘Kipple-ized?’ She did not comprehend. ‘Kipple is useless objects, like junk mail or match fold-
ers after you use the last match or gum wrappers or yesterday’s homepage. When nobody’s
around, kipple reproduces itself. For instance, if you go to bed leaving any kipple around your
apartment, when you wake up the next morning there’s twice as much of it. It always gets more
and more’.
(Dick [1968] 1999: 56)

Of course, beyond the fiction, the ‘kipple’ objects are not alive in the same way as a living organism.
However, my reflection upon the ‘kipple-ized’ has to do more with the idea of transformation of the
very ordinary – the almost forgotten, and although usually found in the practice of the everyday it is
overlooked – into something that would provoke a sense of responsiveness.

The architect/magus/physician must lovingly transform the prima materia of the world to reveal
a hidden order with restorative powers. Doing so requires an harmonic, rhythmic action that
becomes embodied in a building, a sculpture, a sonnet, or a herbal medicine.
(Pérez-Gómez 2006: 18)

An architect like the alchemist could follow the ‘art of transformation’ throughout the architectural
journey, to create innumerable ‘manipulations of space’.
A manipulation in the photographic process becomes apparent when the dark room is filtered by
light, causing an over-development or decay. Nonetheless, light is necessary as it reveals the qualities
of space. Sometimes, through the darkness, the shifts of objects would be unveiled in some sudden

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light. In similar way as Lebbeus Woods describes at his ‘Slow Manifesto’ architecture’s continuous
exposures in light and dark and ‘embracing the sudden shifts of its too – delicate forms, therefore
indifferent to its own destruction’ (2009) – nothing can remain standstill.

Cyborgs of smooth distinctions

In my research, the politics of these places, both spatially and graphically, become sensitive to exposure
times, camera back-plates, film speeds and being all part of our environment in continuous change.
Spatial distances between viewer, designer, user and object suddenly collapse, as objects are designed
to be sensitive to any changes and readjustments; these ‘light-meters’ measuring the dark and light of
disparate places now become altogether connected as hybrids, and would be affected in any change.

This new aesthetic must take into consideration notions of speed and duration and an object’s
ability to condense space, that is, to bring together disparate space for split seconds to create
spatial avalanches – space knitting.
(Spiller 2000: 106)

Spiller calls them ‘vacillating objects’ and describes them as follows: ‘highly responsive objects will be
designed to be capable of vacillation’ (2000: 105); these inhabit a variety of places in the same moments.
He also suggests that objects of our domestic environments such as ‘the telephone […] the virtual
machine of the computer – a machine that can become other machines, a calculator, a typewriter and
a video screen’ (Spiller 2000: 105) have these qualities.
Equally, I feel that ‘cyborg’ architectures ‘who populate worlds ambiguously natural and crafted’
(Haraway 1991: 149), and which are consisted of ecologies of these objects and their places, are indeed
already there. Like the ‘Kipple’ (Dick [1968] 1999) and the ‘Vaz’ (Noon 1993) in fiction, to me ‘cyborg’
architectures in reality consist of what is been often overlooked, but has the potential to provoke the
spectacular within a redundant place.
Following Spiller who had introduced the ‘Split sites and smooth aesthetics’ (2000), and which
was later described by Munro as places to go ‘hand in hand, the charm and charisma of one place
governed by the look and appearance of the other’ (2011: 51), my designs negotiate two or more
disparate architectural sites to share their distinct qualities and to create uniqueness. These become
ambiguously interconnected, sensitive and highly responsive to each other, yet often schizophrenic
hence ‘simultaneously attracting and repelling’ (Munro 2011: 51).
In this area, neither light nor dark, neither biological nor mechanic, but maybe both, could help
my understanding of our coexistence with the space we inhabit in a non-anthropocentric view, our
spatial ecology.

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Shop’s Back Door, Night-Time, Collage drawing on photographic paper, Unique gelatin-silver print, 20×24 inches, Yorgos Loizos, 2009.

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Spinning Doll, Slowly, Collage drawing on photographic paper, Unique gelatin-silver print, 20×24 inches, Yorgos Loizos, 2009.

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References

Barthes, Roland ([1980] 2000), Camera Lucida (trans. Richard Howard), London: Vintage.
Baudrillard, Jean ([1985] 1994), Simulacra and Simulation (trans. Sheila Faria Glaser), Ann Arbor:
The University of Michigan Press.
Colonna, Francesco ([c. 1499] 2005), Hypnerotomachia Poliphili: The Strife of Love in a Dream (trans.
Joscelyn Godwin), London: Thames & Hudson.
Dahlberg, Laurie (2006), ‘Material ethereal’, in Jacob Wamberg (ed.), Art & Alchemy, Copenhagen:
Museum Tusculanum Press, University of Copenhagen, pp. 83–100.
Dick, Philip K. ([1968] 1999), Do Androids Dream of Electric Sheep?, London: Orion Books.
Foster, Hal (1993), Compulsive Beauty, Cambridge, MA and London, UK: The MIT Press.
Haraway, Donna (1991), ‘A cyborg manifesto: Science, technology, and socialist-feminism in the
late twentieth century’, in Donna Haraway, Simians, Cyborg and Women: The Reinvention of
Nature, New York City: Routledge, pp.149–81.
Hoffmann, E. T. A. ([1816] 1982), Der Sandmann, Tales of Hoffmann (trans. R. J. Hollingdale),
London: Penguin Books.
Huysmans, Joris-Karl ([1884] 1959), À Rebours/Against Nature (trans. Robert Baldick), London:
Penguin.
Munro, Stuart (2011), ‘Dreaming tongues: Journeys and observations through a sensitive and
tempered landscape’, Burgeoning Practices, Design Ecologies, 1: 1, pp. 33–53.
Noon, Jeff (1993), Vurt, Littleborough: Ringpull Press.
Pérez-Gómez, Alberto (1992), Polyphilo, or, The Dark Forest Revisited: An Erotic Epiphany of
Architecture, Cambridge, MA: MIT Press.
—— (2006), Built Upon Love: Architectural Longing after Ethics and Aesthetics, Cambridge, MA
and London, UK: The MIT Press.
Scott, Ridley (1982), Blade Runner, USA: Warner Bros. Pictures.
Spiller, Neil (1998), Digital Dreams: Architecture and the New Alchemic Technologies, London: Ellipsis.
—— (2000), ‘Split sites and smooth aesthetics’, in Neil Spiller, Maverick Deviations, Chichester:
Wiley-Academy, pp. 104–06.
Taylor, Sue (2000), Hans Bellmer: The Anatomy of Anxiety, Cambridge, MA and London, UK: The
MIT press.

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Villiers de L’Isle-Adam, Auguste ([1886] 1992), L’Ève Future/ Tomorrow’s Eve, Paris: Flammarion.
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Woods, Lebbeus (2009), ‘Slow manifesto’, http://lebbeuswoods.wordpress.com/2009/01/07/slow-
manifesto/. Accessed 28 September 2009.

Suggested citation

Loizos, Y. (2011), ‘Olympia: Alchemical designs of spatial decadence’, Design Ecologies 1: 2,

pp. 203–225, doi: 10.1386/des.1.2.203_1

Contributor details

Yorgos Loizos is a designer and artist. He received his MArch with Distinction from the Bartlett School
of Architecture, UCL in 2009, and previously studied at École Spéciale d’Architecture, and the
Edinburgh College of Art. His work has been shown in London, Paris, Edinburgh and Athens. He has
taught as a teaching assistant for Sir Peter Cook at the École Spéciale d’Architecture and currently he
is a visiting critic at Bartlett and Greenwich University. Based in London, he continues to explore
contemporary architecture.
E-mail: yorgosloizos@gmail.com
Web: http://cargocollective.com/yorgosloizos

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