"During the summer of 1991, sixteen architectural students from the University of Cincinnati made a study tour in Greece concluding after five weeks of travelling to architectural sites throughout the country, with a four week studio project on the island of Milos. The main theme of the summer program had to do with "Greekness", ( What makes Greek architecture, or landscape, or culture, or food or literature or people, e.t.c., Greek, despite their geographical or chronological diversity ), and with "Tourism" ( How does a visitor engage with -or not- all of these things in a foreign land on more than a superficial level ). The studio focused on the design of a tourist facility, the intent being to investigate ways in which architectural design could promote and intensify a tourists experience and engagement with the historical, spatial, and cultural meaning of a place. Selected projects from the studio will be presented and explained in relation to the students experience of Greek life, their interpretation of the ancient, medieval, vernacular and modern Greek architectural precedents, and particularly in relation to the following principles or characteristics of an architecture of Greekness which our experiences and discussions seemed to reveal: "The Thick and the Thin". Greek architecture is made of the extremes of thick and thin, and the poetics of this contrast have deep and meaningfull connection to the place. The stone, concrete, and stucco walls, with their great thermal mass, are expressive of the solidity of the earth, and of the intimacy and refreshing coolness, the deep sacredness of enclosure. Set in contrast to these are the thin frames of wood and steel, with canvas, bamboos or sailcloth awnings floating in the airyness of the sky, controlling of the sun and the wind, minimal shelters of the thriving and continuous outdoors public life.Objects and Enclosurenes". The Greek builtscape is composed of figural volumes, figural enclosures and figural paths, which interact in a subtly balanced yet ambigous dance with each other: Temple, Temenos and Propylon; or, church, courtyard, gate; or, house, yard, street. Collision of these elements, all seeking their form and position, are resolved in compromises and distortions, gaps are the occasions for spatial and ornamental flourishes. The central object and the bounded space portray the sacred and the profane, while the layers of enclosure and resolution, and the paths and open spaces which participate in them, are the primary sources of Greek architectures spatial character."The Truth". The most significant Greek architecture from all periods seems to reach, with remarkable confidence for a level of truth which attains a mystical idealism. Though easy to locate in the Parthenon or in the Byzantine dome, what is srtiking is the degree to which this confidence in "the thruth" is still felt in greek art, architecture and literatureeven today- when the rest of the world has embraced pluralism and relativism. There seems to be a deeply felt and shared idea of what is right, good, worthy, fitting, lifeenhancing- something profound, simple, durable, proven by time, and perhaps by the selfevident authenticity of the landscape and the way of life. For Americans studying architecture in Greece, the remarkable aspect of this is how deeply felt, how natural, how automatic is the sensation of this authenticity and how irrelevant and even ridicolous become the superficial grasping after stylish imageries which drives so much architectural creativity elsewhere.Just as the studio invited a group of "tourists" to critique the superficiality of "tourism" through architectural means, so the experiential reality of Greece challenged the superficiality of style-conocious, formalistic architecture, through the deeply rooted duration of its landscape, climate, way-of-life, and architecture."