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                  <text>Salonika_ Multiconfessionalism and Urban form</text>
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                  <text>Dimitris Venizelos</text>
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                <text>“Representatives of a score of nationalities jostle each other in the narrow streets”</text>
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                <text>Photograph vibrant street of Salonika most likely in the Jewish Quarter_1900</text>
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                <text>This photograph is part of the article“A New Jerusalem” published in the magazine “The Catholic World” - a monthly periodical of general literature and science. Lucy Garnet who is the author of the article, describes a seductive image of a multicultural and vibrant city. &#13;
She writes: &#13;
This [Egnatia avenue] and the other main streets of Salonika, especially in the lower part of the city, present a scene of great animation, in which East and West are curiously mingled. Primitive carts from the neighboring villages, with solid wooden wheels, drawn by yokes of long-horned buffaloes and driven by wild-looking, long-haired Bulgarians in baggy breeches of brown home spun and towel bound head, are with difficulty steered clear of the tramcars which convey passengers from the western end of the city to its eastern suburb. Files of long suffering donkeys laden with building materials—tiles in panniers and heavy beams dragging behind—are hurried along by merciless Jews, who, not content with belaboring their sorry hides, goad the poor beasts most cruelly, while they harrow the ears of the passers-by with their excruciating cry of Ar r-r-r. Greek peasants in blue breeches and long-tasselled red fez, bringing in the produce of their vineyards and gardens in enormous baskets slung over the backs of mules and ponies, make way for the pasha and his suite on horseback, or the carriage of some foreign resident. Swaggering Albanians in voluminous white kilts, gorgeously embroidered jackets, and girdles bristling with pistols and yataghans; zaptiehs in green and red uniforms; itinerant venders of every kind of edible, and representatives of a score of nationalities, jostle each other in the narrow streets of the bazaars; the copper-smiths carry on their deafening trade in the little open shops of their quarter, and in the roadway in front of their shops the barbers calmly operate on the chins and heads of their customers, who, seated on rush-bottomed chairs, meditatively sip cups of coffee and smoke nargilehs while awaiting their turn at the hands of the barber.”</text>
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                <text>Lucy Garnet </text>
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                <text>Garnett, Lucy. “A NEW JERUSALEM.” The Catholic World, A Monthly Magazine of General Literature and Science (1865-1906) 69, no. 425&#13;
(1900): 612.</text>
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                <text>The Catholic World</text>
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                <text>August 1900 </text>
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                <text>Thessaloniki: The Hellenistic grid</text>
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                <text>The isotropic grid of the classic polis was built on the –practical as well as conceptual- hippodamian grid, with via Egnatia as the basic structuring element. The grid reflecting the geometric and philosophic approach of the Pythagoreans, produced a -spatial- symmetry that reflected the –social- isonomia. The grid was still relevant during the roman Empire  not as a symbol of isonomia anymore, but as limitless infrastructure  that served the expansionist aspirations of the Roman Empire. The classic grid of the polis, although dislocated from its philosophical and political connotations was retrofitted to a grid-as infrastructure for the Romans.</text>
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                <text>https://www.openstreetmap.org , &#13;
Vickers, Michael (1985). Hellenistic Thessaloniki. In Thessalonikin Filippou Vasilissan:Studies on Ancient Thessaloniki (in Greek), 486–499. Thessaloniki: Archaeological Museum&#13;
of Thessaloniki.</text>
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                <text>Minarets</text>
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                <text>Minarets of Salonika</text>
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                <text>Papazoglou, Aris. Οι μιναρέδες της Θεσσαλονίκης (The minarets of Thessaloniki). Thessaloniki: Kornilia Sfakianaki, 2010</text>
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                <text>Transformations of the Rotunda</text>
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                <text>Architecture as cultural mapping</text>
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                <text>This collage shows the consecutive transformations of the Rotunda as result of changes in the religious and political regime in Salonika</text>
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                <text>multiple sources :&#13;
Chormpos, Nikos. Eikones Tēs Palaias Thessalonikēs. Thessalonikē: Ekdotikos Oikos Adelphōn Kyriakidē, 2013&#13;
&#13;
Passuello, Francesco. I mausolei imperiali romani, Templi del Sole : la Rotonda di Tessalonica. Firenze: Le Monnier, 1976&#13;
&#13;
E. Cousinéry, Voyage dans la Macédoine : contenant des recherches sur l'histoire, la géographie, les antiquités de ce pays. Paris, 1831.</text>
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                <text>Juxtaposition of proposed plan for Thessaloniki  and exisiting (1917) fabric of the medieval city. </text>
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                <text>Gerolympou - Karadimou, Aleka. The Emergence of Contemporary Thessaloniki - Η Ανάδυση Της Σύγχρονης Θεσσαλονίκης, University Studio Press, 2013</text>
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                <text>New Plan for Thessaloniki, signed by committee led by E. Hebrard</text>
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                <text>Gerolympou - Karadimou, Aleka. The Emergence of Contemporary Thessaloniki - Η Ανάδυση Της Σύγχρονης Θεσσαλονίκης, University Studio Press, 2013 , p120</text>
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                <text>Published on Jun 11, 2014&#13;
Η Ομάδα 'Παλιές φωτογραφίες της Θεσσαλονίκης' &#13;
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Music by &#13;
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Music "Symphony No. 3: II. Lento E Largo - Tranquillissimo" by London Sinfonietta (Google Play • AmazonMP3 • iTunes)&#13;
Artist:Henryk Mikolaj Górecki&#13;
&#13;
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                <text>multiple sources:&#13;
&#13;
www.openstreetmap.org&#13;
&#13;
Mazower, Mark. Salonica, City of Ghosts : Christians, Muslims and Jews, 1430-1950. 1st American ed. New York: Alfred AKnopf, 2005.&#13;
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