The timeless role of the walls

Dry-stone walls are more than mere structures—they are essential to the Cyclades’ cultural and landscape identity. For centuries, they have supported the foundations of local agricultural communities. Today, they are an important reminder of traditional architecture and the sustainable use of natural resources.

Environmentally, the dry-stone walls are crucial in combating erosion and collecting rainwater in the dry Cycladic environment. They stabilize slopes and help keep the land arable. Restoring these structures is therefore not just a tribute to the past but also an investment in a sustainable future.

Along steep slopes stretching from mountain peaks to the edge of the sea, terraces and dry-stone walls shape the landscape of the Greek island of Amorgos, enabling agriculture for generations.

Here, among abandoned vineyards and rocky trails, enthusiastic participants from around the world gathered to breathe new life into a tradition at risk of being lost.

The Amorgian craftsmanship

Recently, the third seminar in the series “Η Αμοργιανή Μαστοριά” (The Amorgian craftsmanship) was held, aiming to revive and preserve traditional construction techniques.

The seminar, organized by the non-profit association The Mitato of Amorgos, was a great success, attracting local craftsmen, representatives from many other islands, visitors from mainland Greece, and several other countries. For five days, they gathered to work, learn from one another, and share their knowledge.

The Mitato of the Greek island of Amorgos

Mitato: A stone hut offering shelter to shepherds

The Mitato of Amorgos is a non-profit organization founded in 2020. Their mission is to protect and promote the island’s natural and cultural heritage. Through various projects, including seminars on building dry-stone walls and other traditional crafts, they aim to pass down knowledge to new generations while integrating it with modern methods and technologies. They also explore how this heritage can contribute to creating a unique and sustainable form of tourism that benefits both the local community and visitors’ experiences.

Places that hold both history and future

The seminar attracted participants from around the world—from architects and engineers to farmers and environmentalists. Together with local craftsmen, they worked to revive Amorgos’ historical heritage and give the landscape a renewed purpose in our time.

The central craftsman leading the fieldwork is renowned for his passion and dedication to the art of traditional construction—a quality that has made him highly regarded in the region.

The location for this year’s fieldwork was chosen to be the area of Palia Strata, near the village of Potamos on the Greek island of Amorgos. Here, steep slopes are lined with stone walls and terraces, bearing witness to generations of hard labor.

“We carefully select sites that can benefit the local community while also highlighting the value of the environment,” explains Semeli Drymoniti from The Mitato of Amorgos.

During the five days of the seminar, extensive work was carried out with the help of participants and invited experts.

• 246 feet of supporting stone walls were restored to stabilize the ground above.
• 328 feet of the trail in Palia Strata were cleared and repaired, including a previously hidden paved section.
• 37.5 feet of the trail were reinforced at a site that had eroded.
• New stone structures were built along a stream to slow the water flow.
• An abandoned well was excavated, and repaired, and the surrounding area was paved and equipped with a protective wall.

Building with stone and tradition

During the practical phase of the seminar, the work took place out on site. Semeli Drymoniti introduced us to the restoration process and explained how every step requires precision.

“We always begin by clearing away soil and loose stones to expose the stable foundations.
Using hand tools like hammers and chisels, the local stones are then carefully shaped and stacked to create durable structures,” she explained.

“An important goal is to use as much material as possible directly from the site,” Semeli continues. “In this year’s work, no stones needed to be brought in from elsewhere.”

For the participants, the on-site work is not only a practical experience but also an opportunity to deepen their understanding of the role of dry-stone wall construction and its significance to the identity of the Cyclades.

Reflections and emotions from the seminar

For both participants and organizers, the seminar was an experience filled with profound emotions. “There’s an indescribable joy in seeing such a large-scale project come to completion,” says Semeli Drymoniti.

“Bringing together people from different parts of the world alongside local craftsmen created a unique sense of community,” she continues. “We worked together, shared ideas and perspectives, and formed bonds that will hopefully last a long time.”

The participants formed a diverse group, all united by a shared desire to learn and contribute. “It’s heartening to see how the seminar continues to evolve and strengthen its position,” added Semeli, viewing this as a sign of growing interest in preserving the cultural heritage of the Cyclades.

The work also provided an opportunity for reflection and insights. Many participants expressed how rewarding it was to work with the stones under the guidance of masters who have preserved this craft for generations.

At the same time, the organizers emphasized the importance of preserving the walls as a living part of the landscape. “Our efforts not only protect the landscape but also inspire more people to engage with this traditional craftsmanship.”

The seminars have sparked discussions about the potential of tourism in the Cyclades. The Mitato of Amorgos members see opportunities in a tourism model that combines local craftsmanship with economic development.

“Responsible tourism can become a positive force for reviving the terraces and restoring the dry-stone walls,” notes Semeli Drymoniti.

Collaboration between sustainability experts and local communities could pave the way for a more sustainable tourism industry.

Visions for the future and next steps

The seminars on dry-stone walls on the Greek island of Amorgos are not just about preserving a tradition—they are part of a broader initiative for sustainable development in the Cyclades.

Evenings were dedicated to discussions and lectures held in a conference venue, where participants exchanged ideas and planned future initiatives.

Among the topics discussed were concrete measures to create educational programs in stone craftsmanship, with the aim of establishing schools where the craft can continue to thrive and inspire new generations.

The lectures also highlighted international role models, such as Ireland’s successful programs for preserving cultural heritage while creating new opportunities for local communities.

Through new collaborations among the Cycladic islands and with support from international stakeholders, the organizers hope to strengthen the future of dry-stone wall craftsmanship. The strategy is not only to preserve the landscape but also to establish global recognition for this unique craft as a model for sustainable development.

“This is not just about tradition; it’s also about building a sustainable future for our islands,” was noted during the seminar.

Despite the positive momentum of the seminars, participants are aware of the complex challenges involved in preserving this traditional craft in modern times. Hopefully, future seminars and initiatives will not only ensure the survival of this knowledge but also foster its continued development.

Discover more about the world of dry-stone walls

The seminars held on the Greek island of Amorgos do more than breathe new life into ancient walls and trails—they also open the door to a fascinating tradition that still holds relevance in today’s society. Perhaps you too will be inspired to participate in the future or learn more about dry-stone walls and their significance to the landscape and culture of the Cyclades.

If you’re interested in exploring the Amorgian craftsmanship further, you’re welcome to join one of The Mitato Amorgos’ future seminars. As Semeli Drymoniti herself says: “Come to our seminars and learn how we build—you’ll discover many of our secrets there!”

You can find more information about the association’s activities on their website here: http://mitato-amorgos.com/en/

The seminars are supported by several organizations, including the Greek Ministry of Culture, the Cycladic Museum, the Cyclades Preservation Fund, and others. They are organized by the The Mitato Association on Amorgos and held under the auspices of the Municipality of Amorgos.
Images and video courtesy of The Mitato on Amorgos.

More about the Greek Island of Amorgos here:

We had the privilege of meeting Kostas Papatheodorou, the civil engineer, architect, artist, and philosopher behind this extraordinary building. He invited us on an exclusive private tour of what he calls his life’s work.

The church of Agia Foteini rises as a striking sight in the open landscape of Mantineia – a building that organically blends ancient, Byzantine, and Oriental elements. It is a church unlike any other, filled with both sacred and playful features.

Kostas Papatheodorou – the creator of the church

When the church was built in the early 1970s, Kostas Papatheodorou became a remarkable figure in the eyes of the locals Summer and winter alike, he worked tirelessly among piles of discarded materials, transforming them into his life’s work. One of the villagers describes him like this:

He was called “the ghost of ancient Mantineia” – a solitary figure who walked or cycled to the church construction site, where he carved stone and breathed new life into what others deemed worthless. He even lived for six months in a tent at the site in order to save time. (From the magazine lifo.gr)

Meeting a groundbreaking artist

Fifty-five years later, we meet this man in the remote mountain village of Levidi in northern Peloponnese, where he now lives, not far from Agia Foteini.

He immediately comes across as a kind-hearted, humble, and modest individual. With a warm and lively storytelling manner, and a twinkle in his eye, he openly shares memories, reflections, and anecdotes from his journey as the creator of Agia Foteini, one of Greece’s most unique churches.

After getting acquainted, he kindly asks us to accompany him to his home to retrieve the new icon he has painted and wishes to install in the church.

We arrive at his modest residence, a 160 sq. ft. apartment comprising a bedroom studio, a kitchenette, and a small bathroom. Carefully wrapping the delicate icon, which depicts Jesus mocked by the Romans, he carries it himself, despite his age, to the car and later into the church.

Once inside the church, we decide together where the icon should be placed. Then, we sit down on a church bench to talk about his life’s work.

His voice echoes through the church’s arches as he shares the vision, challenges, and inspiration behind the creation of this unique place.

Kostas explains that it was the Mantineia Society that approached him in the late 1960s. They wanted to create a church dedicated to Agia Foteini, but one that would stand out from the rest.

“I immediately felt that this was something special,” he says, adding that he promptly resigned from the Ministry of Culture and moved to Tripoli to begin his life’s work.

Guidance from within

He quickly drafted an initial sketch of the church to secure a building permit, even though the design later evolved in a completely different direction. Once construction began, he experienced strong inner guidance.

“It was as if something deep within me guided every single step,” he explains. “It wasn’t like an actual voice, but more like a profound feeling.”

Kostas explains that he and a small team of craftsmen began the construction intending to create everything by hand, following old traditions.

“Everything you see here, we made ourselves, with our own hands. We never bought a finished product. The work was intense, often continuing day and night. We even made bricks of our own and, of course, built without cement.”

Kostas carefully oversaw every step to realize his vision down to the smallest detail.

He gestures passionately toward the various parts of the building. First, he directs our attention to the unique arches and begins to explain his thoughts behind their design.

“The arches here are not circular; they are parabolic,” he points out, explaining that a parabola is a geometric curve symbolizing something that extends toward infinity.

“See over there,” he continues, pointing. “The right column stands perfectly upright, while the left has a slight tilt. Its axis points toward the Pantocrator at the top of the dome.”

He refers to the traditional depiction of Christ as the Pantocrator – a common feature in Greek Orthodox churches, where Christ is portrayed as the Ruler of the Universe, positioned high above in the dome.

“I painted Him with a small, fine brush, without following any sketch. The ideas came to me spontaneously as I worked high up on the scaffolding,” he says.

To save time, he initially slept on the scaffolding. He also recalls an owl that would come to wake him early every morning. Kostas built her a marble nest, where she later had owlets.

“She would tap on the dome with her beak every morning; we had become friends,” he says with a gentle smile.

Marble – a peculiar material

Kostas also shares his deep reverence for marble, describing it as a living material.

“Marble has a soul of its own and needs to be shaped and placed in the right way. Each piece must be set where it belongs, at the proper distance, in the correct form, and with its movement in the right direction,” he says, gesturing toward the details of the church. “That’s why we mostly used hand tools and rarely relied on machines.”

Kostas then points to the capitals and other decorative details as he explains how he drew inspiration from Greece’s rich history.

“My inspiration comes from all Greek eras,” he says, “from the Mycenaean civilization and the Classical period to the Byzantine era, all the way to modern Greece.”

“Everything in here speaks,” Kostas continues reverently. “Everything wants to tell a story. Do you see the different colors and combinations? They are trying to communicate something too.”

He also points out that the building has no right angles, which makes it appear slightly askew.

“It’s as if the church is alive. It looks fragile – almost delicate. But that’s exactly what gives it an organic life; it’s like a living being,” he says with a mysterious smile. “It doesn’t belong to any known architectural style.”

I take the opportunity to share with Kostas my impression of the church from my first visit – a curious blend of ancient, Byzantine, and modernist elements, with surreal and almost comical touches. The church had struck me as ramshackle, almost like Karagiozis’ rickety house.

“Yes, ramshackle is a good word,” Kostas agrees. “But behind the ramshackle appearance,” he explains, “lies a higher form of mathematics – not the kind we learn in school.”

But this blend of Christian and ancient elements – how did people react when they saw what was taking shape?”

“Most people liked how the church looked, especially the Mantineia Society, which financed the project. They supported me throughout the entire process.”

But then Kostas shakes his head as he recalls the negative reactions.

“Unfortunately, some people tried to hinder me,” he says quietly. “Once, they even tried shaking the scaffolding to make me fall. Others fired a shotgun at the roof while I was sleeping inside, mostly to scare me.”

But Kostas did not give up and continued his work tirelessly. Despite the many challenges and opposition from some, he persevered with unwavering determination.

“Did the official Church approve of what was taking shape?”

“At first, they were skeptical, but in the end, it was approved, though with some reservations. The regular priests love the church as it is, but opinions among the bishops are divided. Some find fault with both big and small things; it’s hard to explain to them what it’s all about.”

“And what about ordinary people?”

“Ordinary people just love Agia Foteini! Many want to get married or baptize their children here.”

Much More Than a Church

The church has become a beloved venue for weddings and baptisms, but for Kostas, it is so much more. To him, Agia Foteini is like a part of his own body, a living extension of himself.

“God can only be expressed through symbols, and it is through symbols that the building speaks,” he explains.

“The purpose of the building is to unite the human with the divine. The divine can be glimpsed in every stone, in the movement, and in the direction each part points toward.”

Kostas also shares a remarkable experience from the day before the church’s central icon of Saint Agia Foteini was to be installed. Near the cypress tree outside the church, he saw a silver-white light radiating from the tree.

“It was like many swords of light radiating toward me. I believe it was Agia Foteini herself expressing her joy,” he says with a thoughtful smile.

At this point, I wanted to continue the discussion, but I noticed his voice starting to fade.

“I’m really tired now,” he says quietly. “I actually have thousands of things to tell, but I won’t manage it, so we’ll have to stop,” he apologizes.

The private tour and Kostas’ captivating stories opened up a new dimension for me, allowing me to see the church’s stones and symbols as expressions of humanity’s longing, faith, and creative spirit throughout history.

Perhaps the true value of Agia Foteini lies in the sense of eternity and presence that permeates every corner – a feeling Kostas has woven into every detail, where the human and the divine meet in a silent dialogue that continues long after the words have faded.

Related article: Off the beaten track in the Northern Peloponnese