This much-anticipated visual tour of the New Acropolis Museum in Athens, Greece, examines both its architecture and the archaeological treasures it was built to house, providing a behind-the-scenes look at the creation of the building as well as the restoration, preservation and housing of its exhibits. Original.
Located in Athens’ historic area of Makryianni, the New Acropolis Museum stands less than 1,000 feet southeast of the Parthenon, at the entrance of a network of pedestrian walkways that link the key archaeological sites and monuments of the Acropolis.This location was carefully selected to enable a dialogue between the museum’s exhibition spaces and the Acropolis buildings. Tschumi won the commission in 2001 as the result of a design competition. “The design was chosen for its simple, clear, and beautiful solution that is in accord with the beauty and classical simplicity of the museum’s unique exhibits and that ensures a museological and architectural experience that is relevant today and for the foreseeable future,” stated Professor Dimitrios Pandermalis, President of the Organization for the Construction of the New Acropolis Museum and author of the foreword to this volume.
One of the most important monuments of human civilisation and the new architectural jewel of Athens are both presented through informative, easy to read texts in a fully illustrated edition with colour representations and detailed site plans. This brand new book begins with a look at the history of Athens and the Acropolis. Starting at prehistoric times, this historical overview describes the town's development, from a quite modest Mycenaean settlement to one of the most powerful city-states of the classical era, the one that gave birth to democracy and theatre, and then its downfall to a small, provincial fortified town of the Byzantine Empire. At the same time, the reader can follow the historical steps of the Acropolis itself, originally a fort, which was transformed to the most glamorous shrine of the city, only to become a fort again, after the end of the ancient world. Then, there is a short account of the Athenian myths, especially the ones concerning the town's patron deity, Athena. After discovering the exciting past of the town and the sacred rock, the reader will get to know the temples, buildings in general, that were constructed at the top of the Acropolis during the archaic and classical era of Greece. Parthenon, the masterpiece of Pheidias, Iktinos and Kallikratis is, of course, the highlight, but there were other important and architecturally innovative structures there, such as the Propylaea and the Erechtheion. This part of the book gives a very good idea of how the ancient hill looked, with all its buildings and its uncountable offerings: statues that ancient Athenians were bringing to their goddess Athena as a present. Then, the reader will have the chance to learn everything about the very important south slope of the Acropolis, with the famous theatre of Dionysus, and enjoy an imaginary walk at the north and east slopes of the ancient rock. The second part of the book is devoted to the admittedly impressive new Acropolis Museum. The reader can "navigate" through the different levels of the museum exhibition, using the book as a guide which gives interesting information and highlights the most important exhibits. "Moschoforos", the Kore of the Acropolis, the Caryatids, Parthenon's frieze are only a few of the ancient pieces of art that this book presents, through captivating pictures and texts. In conclusion, The Acropolis, the New Acropolis Museum is a valuable reading for all those who want to explore and understand one of the major archaeological sites of the world and it's brand new Museum. Katerina Servi was born in Athens and studied archaeology at the National University of Athens. After graduating, she worked for the Greek Ministry of Culture and then in international advertising agencies in the creative department. She is now is a freelance copywriter and translator and also writes children's and archaeological books.
This book comprises a series of 22 case studies by renowned experts and new scholars in the field of architecture competition research. In 2015, it constitutes the most comprehensive survey of the dynamics behind the definition, organization, judging, archiving and publishing of architectural, landscape and urban design competitions in the world. These richly documented contributions revolve around a few questions that can be summarized in a two-fold critical interrogation: How can design competitions - these historical democratic devices, both praised and dreaded by designers - be considered laboratories for the production of environmental design quality, and, ultimately, for the renewing of culture and knowledge? Includes 340 illustrations, bibliographical references and index of over 200 cited competitions. Keywords: Architecture / International competitions / Architectural judgment / Design thinking / Digital archiving (databases) / Architectural publications / Architectural experimentation / Landscape architecture / Urban studies
The second edition of Archaeological Ethics is an invitation to an ongoing and lively discussion on ethics. In addition to topics such as looting, reburial and repatriation, relations with native peoples, and professional conduct, Vitelli and Colwell-Chanthaphonh have responded to current events and news stories. Twenty-one new articles expand this ongoing discussion into the realm of intellectual property, public outreach, archaeotourism, academic freedom, archaeological concerns in times of war, and conflicting values. These compelling articles, from Archaeology Magazine, American Archaeology, and Expedition are written for a general audience and provide a fascinating introduction to the issues faced every day in archaeological practice. The article summaries, discussion and research questions, and suggestions for further reading-particularly helpful given the vast increase in related literature over the last decade-serve as excellent teaching aids and make this volume ideal for classroom use.
This book is based on the premise that marketing is central to understanding and advancing companies, businesses, countries, major economic areas and every-day problems. It opposes the view held by some social scientists that the positive effects of marketing in a society are a product of capitalist enterprises and that marketing involves excessive exploitation and is a tool for creating and maintaining their power structures. To illustrate its point, the book examines successful marketing practices with implications for consumers’ quality of life. Its compilation of cases from all over the world provides a unique and concise review of best practices in marketing and their impact on QOL. Each case in the book presents a specific social problem and discusses details of the marketing strategy adopted to resolve it, as well as the results obtained both for society at large and in terms of the citizens’ quality of life. In addition, each case addresses the theoretical background of the specific area of marketing used in the case.
The myriad ways in which colour and light have been adapted and applied in the art, architecture, and material culture of past societies is the focus of this interdisciplinary volume. Light and colour’s iconographic, economic, and socio-cultural implications are considered by established and emerging scholars including art historians, archaeologists, and conservators, who address the variety of human experience of these sensory phenomena. In today’s world it is the norm for humans to be surrounded by strong, artificial colours, and even to see colour as perhaps an inessential or surface property of the objects around us. Similarly, electric lighting has provided the power and ability to illuminate and manipulate environments in increasingly unprecedented ways. In the context of such a saturated experience, it becomes difficult to identify what is universal, and what is culturally specific about the human experience of light and colour. Failing to do so, however, hinders the capacity to approach how they were experienced by people of centuries past. By means of case studies spanning a broad historical and geographical context and covering such diverse themes as architecture, cave art, the invention of metallurgy, and medieval manuscript illumination, the contributors to this volume provide an up-to-date discussion of these themes from a uniquely interdisciplinary perspective. The papers range in scope from the meaning of colour in European prehistoric art to the technical art of the glazed tiles of the Shah mosque in Isfahan. Their aim is to explore a multifarious range of evidence and to evaluate and illuminate what is a truly enigmatic topic in the history of art and visual culture.
Cultural heritage is material – tangible and intangible – that signifies a culture’s history or legacy. It has become a venue for contestation, ranging in scale from protesting to violently claimed and destroyed. But who defines what is to be preserved and what is to be erased? As cultural heritage becomes increasingly significant across the world, the number of issues for critical analysis and, hopefully, mediation, arise. The issue stems from various groups: religious, ethnic, national, political, and others come together to claim, appropriate, use, exclude, or erase markers and manifestations of their own and others’ cultural heritage as a means for asserting, defending, or denying critical claims to power, land, and legitimacy. Can cultural heritage be well managed and promoted while at the same time kept within parameters so as to diminish contestation? The cases herein rage from Greece, Spain, Egypt, the UK, Syria, Zimbabwe, Italy, the Balkans, Bénin, and Central America.
The most powerful case yet made for the return of the Parthenon Marbles The Parthenon Marbles (formerly known as the Elgin Marbles), designed and executed by Pheidias to adorn the Parthenon, are perhaps the greatest of all classical sculptures. In 1801, Lord Elgin, then ambassador to the Turkish government, had chunks of the frieze sawn off and shipped to England, where they were subsequently seized by Parliament and sold to the British Museum to help pay off his debts. This scandal, exacerbated by the inept handling of the sculptures by their self-appointed guardians, remains unresolved to this day. In his fierce, eloquent account of a shameful piece of British imperial history, Christopher Hitchens makes the moral, artistic, legal and political case for re-unifying the Parthenon frieze in Athens. The opening of the New Acropolis Museum emphatically trumps the British Museum’s long-standing (if always questionable) objection that there is nowhere in Athens to house the Parthenon Marbles. With contributions by Nadine Gordimer and Professor Charalambos Bouras, The Parthenon Marbles will surely end all arguments about where these great treasures belong, and help bring a two-centuries-old disgrace to a just conclusion.