Moreover, the Museum -with its first construction groundbreaking taking place in September has been at the centre of general interest; neighbours have been complaining, values of surrounding houses have been raised; pros and cons have been expressed by curators and architects both on the museum design and the connection of the building to the general urban architecture.
It makes sense for objections to arise on such a huge project. In all attempts and projects, from the smallest structure building to the largest construction, conflicting voices and objections often arise. For something of the New Acropolis Museum magnitude, those were even more. The New Acropolis Museum is already extremely popular among visitors from all over the world.
What is now left for you is to experience the Museum for yourselves. Yatzer strongly invites you to do so. Schedule Competition Announced: Spring Architect Announcement: September Design Completed: August Groundbreaking: September Building Completion: September Transfer of Artifacts: September through December Limited Public Viewing of Installation: Winter Public opening: June 20, Signage: Signage has been developed to be both visible and yet to be as discrete as possible, recognizing that signage and wayfinding must not compete with the artifacts.
Theater : A square meter theater with seats is fully equipped with projection facilities and a translation booth. Shading devices designed by Bernard Tschumi Architects are subtly incorporated into the overall scheme, allowing for year-round use during the day and night. Landscaping : The 23, square meter site is landscaped with local vegetation that blends with the natural flora of the Acropolis slopes. Landscaping is designed to open up the public spaces in and around the museum and to incorporate with the neighborhood.
The museum is designed especially for pedestrian visitors, which access points on the north and east sides. Access: Parking is not provided on site, but is available nearby in the Makriyianni neighborhood. Bus dropoff is accommodated to the south of the museum on Hadjichristou street. Public transit can be accessed from the northeast corner of the block at the Acropolis stop of the Athens Metro.
The Museum exhibits — masterpieces of world heritage — and the Museum as an example of high contemporary architecture are the undoubted stars of the Acropolis Museum opening. Points at which the sculptural world of the 6th — 4th centuries BC and contemporary Athens can meet and mingle. The projected images seek to multiply these reflections. Statues, and scenes taken from pottery are set into motion, coming to life in a series of animations played in a loop lasting an hour.
Their aesthetic alludes to the first attempts to record and study motion during the early years of cinema. This artistic approach connects and parallels the emergence of two extraordinary periods in the history of anthropocentric world art: Classical sculpture and cinema. At night the effect is even stronger, because its lighting distracts from the wonderful skyline of the sacred mountain. Designed to accommodate the most spectacular sculptures of ancient Greece, located across from the Parthenon, one of the most influential buildings of western civilization, in a sensitive archaeological site, combined with a warm climate in a region of earthquakes, the New Museum of the Acropolis offers a simple and precise architecture with mathematical and conceptual clarity of ancient Greece.
The project is based on three concepts that transformed the potential limitations of the site: electricity, motion and tectonic and programmatic concept. More than any other museum, the light was taken as a primary concept in design.
As this exhibition of sculptures, the conditions differ from those found in an exhibition of paintings. It is, first, a museum of natural light, related to the presentation of sculptural objects within it.
The manifestation of the building structure is reflected on the outside and inside of it. It is structured in such a way that is designed around the specific needs of each part of the program. The building volume is articulated at the base, middle and upper level, designed around the specific needs of each part of the program.
At the base lies the entrance hall overlooking the Makrygianni excavations, temporary exhibition spaces and all support services, including the gift shop. Being implemented on stilts over an archaeological site, was used in some sectors based pavement clear glass through which the visitor can see the excavations. The center is a large square of double-height trapezoidal shape which houses the galleries of the archaic period of the Roman Empire, with complete flexibility.
Here is accessed through a slide glass. A mezzanine houses a multimedia auditorium, a bar overlooking the archaeological excavation and a restaurant with a terrace and spectacular views of the Acropolis.
The upper part consists of the Parthenon Gallery, rectangular, arranged around a covered space transparent. This, it turns gently to guide the marble frieze in the Parthenon exactly. The transparent cover provides ideal light for sculpture and a direct view to and from the Acropolis. One of the objectives of the main gallery is to bring the Parthenon Marbles, currently scattered in various museums.
The circulation in the museum is raised in chronological order, so that the visitor crosses an architectural and historical tour. The building was built on a network of columns, carefully preserving archaeological remains from the site. The piles penetrate the ground to the underlying bedrock and float on roller bearings capable of withstanding an earthquake of magnitude 10 Richter Scale. The building was designed in relation to the durability and resistance to the passage of time, so that the building age with grace, despite the heavy volume of traffic in an international tourist destination.
A sketch by Bernard Tschumi which elucidates how the Acropolis museum comprises three main parts — the archaeological excavations, the main galleries, and the Parthenon Hall — stacked on one another.
The excavations are currently not publicly accessible; yet, they can be partially seen by the visitors through a sequence of horizontal windows, cut into the entry-level floor slab; it is planned to make them fully accessible by the public shortly. The entrance level accommodates the lobby, temporary exhibition spaces, visitor services, and an auditorium. The visual relationship with the excavations makes this level the first leg of a chronologically-arranged historical itinerary which Tschumi carefully planned when designing the architecture of the museum.
The Acropolis Museum houses an extraordinary collection of sculptures, dating from Archaic Greece to the Roman times and spanning over fifteen centuries, arranged into five chronological sections.
The permanent exhibition of the museum features artifacts from the Hekatompedon the earliest building on the hill , the Propylaia , the temple of Athena Nike , the Erechtheion , the Sanctuary of Artemis Brauronia and, of course, the Parthenon the temple of Athena Parthenos. Afterward, through a staircase, the visiting path goes on up to the top level of the museum, which houses the Parthenon Gallery and whose footprint is rotated accordingly to the alignment of the Parthenon , so to present the marbles on view with the same orientation they originally had in the temple.
The famous frieze of the Parthenon is exhibited in the heart of the gallery; the frieze is partly made of original pieces and partly made of copies of the artifacts currently in London.
Through large windows, the artworks are put in direct visual relationship with the Acropolis and the Parthenon nearby. From the museum upper level, the route continues, progressing in time, and descends to the level underneath, where pieces dating from the Classic age to the Roman period are displayed, eventually returning to the entrance level, thus closing the exhibition circular itinerary across space and time.
The carefully planned adoption of daylighting has been a fundamental component in the design by Tschumi. Since the Acropolis museum is, to a large extent, a museum of sculptures, appropriate lighting was required, also considering that many pieces could be viewed from all sides. The solution conceived by the architects was to provide diffuse ambient lighting through an array of full-height glazed openings running along the entire perimeter of the galleries; the Parthenon Gallery is also enlightened by skylights.
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