Pikiwnis returns from time to time, mostly with his words, then with his sketches, and finally with occasional photographs of the routes to the Acropolis [...] because the search for authentic voices, excellent designs, and well-structured spaces is a goal not only within, but also outside our borders.
With Dimitris Pikiwnis, we can say that the modern has functioned as a way of thinking and writing, as a one-way street capable of organizing our relationship with the world. Tradition appears as a personal, laborious processing of known and eternal data that seek their place in a transitional world, when many things have clearly been lost, especially after the Second World War.
Through this duality, Pikiwnis balances himself in the modern world, in a slow approach to issues, where sometimes the modern functions as a reference canvas on which fragments of memory are placed, and sometimes the rational element inherent in tradition is studied, identified, and transcribed. [...] These are the ways of the craftsman. The architectural work is studied and designed as if it has already existed, been worn out, and narrated. The design phase seems to encompass all the times of life, as a representation of an acceleration of rhythms, in order to define the way of coexistence with the surroundings, and interaction with people and time. Through such dynamics, Pikiwnis brings back the Greek heritage of the arts into his own unity to shape a personal dialogue with the world.
In such a framework, where personal vision is translated into writing and stone, it is difficult to talk about heritage, continuity, or descendants. We preferred the co-resonances, moments in which individual Greek architects, during the teacher's lifetime and even today, have faced the process of design and construction in ways similar to Pikiwnis.