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Ein Sommernachtstraum1 Andreas Papadantonakis Ein Sommernachtstraum1 Andreas Papadantonakis 1 "A midsummer night's dream"; In January 1833 the English frigate HSM Madagascar dings, such as the New Royal Palace and the Academy of translation. anchored in the bay of Nauplia and amid a scene of ex- Athens with the ancient ruins of Acropolis, while pro- traordinary spectacle, the 17-year-old Otto von Wit- posing new urban axes. The significance of the strong telsbach disembarked on Greece. A widely enthusiastic urban form could simultaneously serve as a guarantor crowd welcomed the young Bavarian aristocrat whom of the new political order and as a flexible spatial frame- the National Assembly had declared “King of Greece”. work. Schaubert and Kleanthes’ plan was ratified in July 1833 and until its abrogation one year later, due to the During Otto’s early reign and specifically in 1833, interpolation of various landowners, faced several alte- five years after the establishment of the Hellenic State at rations. The royal palace was then the focal point of most the Third National Assembly at Troezen (1827), Athens alternative plans. was assigned as the capital city. In these first stages of development after the secession from the Ottoman em- In this struggle, the King of Prussia Friedrich Wih- pire, Greece formed its national identity as a construc- lem III, recommended Karl Friedrich Schinkel, to his ted narrative; a self-evident continuation of the ancient friend Maximilian, Crown Prince of Bavaria. Schinkel past. Athens was the epicentre of this cultural approp- was very much admired by both Kleanthes and Schau- riation. bert, being additionally their professor at the Bauaka- demie of Berlin. Maximilian, the older brother of Otto The task of composing a master plan that would von Wittelsbach, solicited Schinkel’s advice regarding transform a village of 20,000 inhabitants into a mo- the design of the Royal Palace of Athens. The project’s dern capital was entrusted to two graduates of the Ber- brief addressed the creation of a modern palace for the liner Bauakademie: Gustav Eduard Schaubert and Sta- new monarchy, very well defensible and able to incor- matios Kleanthes. The young architects proposed a new porate within it the Parthenon and the rest of the survi- urban nucleus, a neoclassical garden city at the North ving ancient monuments on site. In 1834, Schinkel rose side of the Acropolis’ hill with a triangular urban form. to the task with a design which was expanding over the The masterplan was meant to connect prominent buil- entire hill. In lieu of a singular building he designed a CARTHA II / 02 2018 8 2 Entry Hall; translation from sequence of one-story high chambers and four cour- classicism in general. Indeed, in 1826 Schinkel made German to English. tyards at the Eastern and Southern edge of the Acro- an important tour of Britain, however the assertion 3 The most notable examples of polis. The entrance to the complex was, as in the an- with the British architect is not confirmed. Still, the the Schinkel’s struggle with the context are two monumental clas- cient Acropolis, through the Propylaia. Immediately to idea to base his architectural composition on a cellu- sical buildings in central Berlin, the east of the paved entrance court was placed a sun- lar plan allowed his design to fit on Acropolis’ plateau the Altes Museum (1813-1830) and the Schauspielhaus (1818- ken hippodrome between two large landscaped areas and relate with the existing antiquities. Schinkel who 1821). with planting, fountains, and seating offering cool and through his career had been repeatedly challenged to 4 The term refers to the German gracious locations from which to view and contemplate accommodate his designs to the difficulties of a spe- tradition of self-cultivation and it 3 was specifically used by the Prus- the Erechtheion and the Parthenon. The hippodrome cific site , selected first and foremost to highlight the sian philosopher and educatio- was leading from the Propylaia to the entrance hall of immensity of the context rather than restore a histo- nal administrator Wilhelm von Humboldt (1767–1835). Hum- the royal chambers. While most of the palace follows rical image. The plan would be thus understood as a boldt developed the term in or- Parthenon’s orientation, the northern part of it is alig- topology more than a typology. The appropriation of der to define the way that a person could gain his freedom through a ned to Erechtheion. Both geometries are abruptly cut on the existing site would gain a self-sufficient complete- continuous process of self-educa- the edges of the hill’s fortification. In that way the royal ness through the coexistence of old and new. tion and the expansion of cultural sensibilities. palace completes the periphery of the site and together with the existing Propylaia creates a large courtyard in The use of a greek-inspired architectural style in the middle. The Parthenon would have been the high- the specific context allowed Schinkel to evoke the idea est and only building existing in that open space. Ele- of the past; an act both oblivious and fascinating. Ob- ments that approached that height, such as the rotunda livious because it consciously ignores the hundreds of of the queen's apartment, were kept at a sufficient dis- years of cultural fermentation that interpolated the tance in order to considerably diminish their apparent end of the ancient Greek civilization and the birth of size. Luxuriant landscaping softened the contrast bet- the Modern Greek State. Fascinating because it can be ween the different parts and helped to unify the whole viewed from a distance as an aesthetic phenomenon. complex. Schinkel’s proposal balanced a need of monu- The ancient past turns into a spectacle and the Par- mentality with a smaller scale, making sure that the ro- thenon the centre of a composition, remnant of an era yal chambers framed the ancient ruins without typolo- that is overcome. In central Europe of the 19th cen- gically competing with them. tury the Greek ideal was already enlisted in the ser- vice of a well-ordered society. Neoclassicism, as a mo- The architecture of the Royal Palace focuses on a vement, offered the idiom of the high art of antiquity rich sequence of individual interior spaces that reinter- and Prussia’s middle class was expected to conform pret the classical language reducing it to rich volumes willingly to the post-Napoleonic, anti-revolutionary and simplified ornamental themes. Some of the rooms, order. The Art of Bildung4, a key concept on the forma- like the Repräsentationssaal2, reveal as majestic peris- tion of the Prussian State promised first and foremost tyles with direct relation to the exterior and with refe- a key role to the bourgeois society. Neoclassicism as a rences to classical themes of decorations. Schinkel pro- nostalgia for past civilizations and an attempt to re- duced a complex plan that combines ease of circulation create order and reason through the adoption of clas- and access with clear functional distinctions. The design sical form paradoxically turned into a romantic mo- had labyrinthian qualities very much alike those of the vement. Schinkel—a master of stylistic eclecticism Bank of England by Sir John Soane and English Neo- that could simultaneously propose a project in gothic CARTHA II / 02 2018 9 Figure 1 Schinkel Acropolis Pa- lace, South Elevation, redrawn by the author. Figure 2 Schinkel Acropolis Pa- lace, Plan, redrawn by the author. CARTHA II / 02 2018 10 5 Labrouste, H 1829 Antiqui- and in classic architecture—by designing a palace next life. Needless to say, Schinkel’s plan was rejected mainly tés de Pestum, Posidonia, Lab- to the most prominent Greek antiquity, transcended the because of the lack of funds and partly because it endan- rouste jeune 1829 [mémoire]. Pa- ris, École Nationale Supérieure neoclassical style. gered the classical ruins. Illusory or not, it is pointless des Beaux-Arts. to judge Schinkel's unbuilt proposal from a pragmatic 6 Karl Friedrich Schinkel’s plans If 18th century very famously is the period of the point of view. It is substantial to approach it as an ar- for a palace on the Acropolis were published in the form of elaborate cultural Grand Tour; a desire to know the Italian and ul- chitectural study that suggests a productive blurring of coloured lithographs by Ferdinand timately the Greek landscape, in 19th century this tradi- two asynchronous, yet associated, architectural styles Riegel in Potsdam from 1840 to 1843 and 1846 to 1848, under the tion was rivalled by a culture of observation tours to the with the scope of framing the identity of a monument title Werke der höheren Baukunst industrialised countries of Europe. The intense quest of and consequently that of a whole state. It is therefore, an zur Ausführung bestimmt (Works of higher architecture, intended national identities in the post-Napoleonic world would act undoubtedly historical. for realisation). lead to an increased interest in the destiny of nations “The only art that qualifies as historical is that 7 Barry Bergdoll and Erich Les- and their historic evolution. A new approach to history which in some way introduces something additional in sing, Karl Friedrich Schinkel: An 5 7 Architecture for Prussia (New York would be suggested by architects as Henri Labrouste , the world, from which a new story can be generated” : Rizzoli, 1994) 45. who defended a rupture with the past and questioned the wrote Schinkel. For this reason, Karl Friedrich Schin- restoration studies of the ancient Greek and Roman an- kel perceives history as a laboratory of change and de- tiquities. In Schinkel’s case the departure from neoclas- tects its dynamic in the possibility of architecture to re- sicism, already visible in his design for Friedrichswer- define identities.
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