why the new acropolis museum? the changing context of the parthenon sculptures a lecture given at bristol architecture centre, 29 september 2004 matthew taylor
Sculptures Context Where
Throughout the time that you are passing the building, the pediment sculptures & main entrance.main the above conclude & rejoin branches two the until building the around wraps & point starting its at paths two into breaks frieze the while them, pass you as direc tion a in read are & story a tell to designed each are metopes & pediment The dedicated. is Parthenon the whom to goddess the Athena, of sculpture (ivory) chryselephantine giant destroyed, since long the layerssculpture.is these of itself totemple the of interior dark Withinthe visible from the outside of the building. Beyond the frieze lies the final centrepiece metopes can be seen clearly, but the frieze is hidden behind them & is never easily view. of field directly,your filling entranceconfrontsmain you the & it faceto turn youuntilyou behind disappears building the Eventually perimeter. its along move you as changing continuously it of view your Parthenon, the past you leads rock the acrossroute your point this only view, from Acropolis.From hidden the ontogateway this through out emerge you as again revealed completely is Parthenon the up Propylaeum climb you the As Acropolis. towards the of rock the of by parts either other by hidden, or is buildings, other Parthenon the however, approach the of stages many For you.above high Parthenon the of glimpses catch continually today,you exists that city developed densely the within even Athens, Throughout isolation. in existed that structure a than rather Acropolis, the to up route the of culmination a as positioned carefully building a was Parthenon The Greece.mainland of area Attica the Acropolis,in Athenian the of top on buildings of complex the within sitting Parthenon, the of The original context of the Parthenon Sculptures was that they were an integral part works.” art great other of context the Londonin in here be to them for is sculptures these of canmakeworld the claims: Museum British The situated be they instead? should where then Parthenon the on displayed longer no are current the in involved sculptures the if everyone though, is monuments.Acropolis question the The restorationof accepted fact a is This there. left were they if occur would deterioration unacceptable & rapid that mean weathering of effects the & PollutionParthenon. the onto back going never are Marbles Parthenon The architecture.”of dimension crucial a the is time through through & back in Movement an & extending period. Roman Marbles folding experience Parthenon the loop, spatial to excavations rich the dimensional from a with clear promenade a architectural forms route visitor’s “The Bernard Tschumi ¹ “Because the Parthenon is now a ruin the best use that use best the ruin a now is Parthenon the “Because -
1 why the new acropolis museum?
Duveen Gallery Duveen Later context Later London
When Lord Elgin’s collection of sculptures arrived in London they were originally were they London in arrived sculptures of Elgin’s Lordcollection When twenty twenty five separated parts by pieces that are either destroyed, or in Athens. into split actually are Museum British the in the sections the of reality in whereas frieze,run continuous a originally was seeing are you the what at that & doorways implying ends, by broken only is It entirety. its in visible instantly is so it inwards, that facing again gallery, the of walls long two the along runs frieze The groups, four Parthenon. the of side in arranged are museum the single a from came all they originally though evengallery, the of ends the around of possession the in metopes The pediments. the of scale the of impression false a giving sculptures, missing the for arrangement the of middle the centralin substantial a segmentmissing, isspaceleft thereno is although that together,so pushed are display on pieces the space, the of straints The pediments are at either end of the gallery, facing inwards. Because of the con Parthenon. the of context the into fitted originally they how understand to helped that way that is though problem The a weren’tin still arranged view,they on clearly now weresculptures the wide. although metres two twenty to up & long metres seventy museum, six the within space vast a is sculptures Parthenon the for home Gallery. Duveen the as known is & in public the to opened which struction of a new purpose built within gallery the British Museum for the marbles, Duveen, Joseph s, the In Parthenon. the on placement their torelated that way a in aim was to create interesting compositions from them, rather than arranging them weredisplayedthere,the sculptures Museum. the WhenBritish the at Room Elgin the to moved being later before house, Lane Park his adjoining shed a in stored sculptures. Parthenon the of context original the of end the today.was with This familiar are we that ruins the as it redefined & building working a as Parthenon the of life the store & was hit by a cannon shot. This single event did more than any other to end gunpowder a as Ottomans the by used was building the while occurred that sculptures on the building remained relatively intact though until the explosion of the of Most defaced. were sculptures metope the of many & church a became it when period, Christian early the during ceased temple a as Parthenon’suse The Parthenon. the at Acropolislooking the of top on standing of in Nashville, Edinburgh & Germanyones cannever come closeto recreating the sensation the vis as such buildings, Athens replica later of that reasons context the of wider one is it the from ible & site the with relationship direct This them. they space;through movement & aroundof paths werechannelled constrainedalways about abstract an in exist to designed not were sculptures & building The ² ³ a wealthy & prolific art collector financed the con the financed collector art prolific & wealthy a ⁴ This new This ⁵ Even - - -
2 why the new acropolis museum?
New acropolis museum acropolis New Acropolis museum Acropolis
h cret cooi Msu dtn fo , s capd ulig sunk building, cramped a is , from dating Museum Acropolis current The otc wt te ie s ta tee ol b n psiiiy f aae o the to damage of possibility no be would remains.archaeological there that so site, the with contact make could building the where out laid also itself, brief museum the the of ments require the to addition in & of summer the in launched was competition A site. the on remainsarchaeological the integratedwith & to the remains & therefore the best option was to design a new proposal that reacted initial consultationsthatclear became wasit to possible not designthe adapt to avoid After Athens. of settlement Christian Early the of remains unknown ously excavationsrevealedthe previ when afterwards soon stop to only , in began site the clearing on work issues, legal to due s early the during delays After it. of side one down ran that road the after Makryianni, as known site a on located Nicoletti, & Passarelli architects Italian the by was entry winning a choice of three possible sites & attracted an unprecedented submissions. The competition third ,the In space. of lack the to due storage in kept been had that items display & collection growing the house to needed was building new a that clear became it location, safer a to Parthenon the on sculptures remaining the of removal the of necessitated some problems pollution to As remains. through Roman & period,from sculptures Parthenon Archaic finds the the various of houses temples It earlier Acropolis. from the Acropolis, of the corner one on ground the into grey,shadows.imperceptibleof levelwith equal an in illuminated is everything that ensure lights roof glass however, frosted Gallery Duveen the In light. diffuse soft through building the on sculptures other the to way different a in perceived therefore was shaded, completely was which frieze, the whereas sunlight harsh this to exposed were Parthenon the of Pediments & Metopes sky.The the across moves sun the as day the through constantly other shifting balance the the lit, brilliantly while is dark, is side one building, a around move you As shade. between & contrastlight the by relief sharp into forced seen there have buildings will of visited surfaces the has who Anyone sunlight. the of clarity & brightness ing unforgiv the is there, spaces external defines Greece,that in Attica of aspect One not are set. complete the youseeing that sense a never is there but sculptures, absent the by broken be the defined placementsculpturesthe of were they when Parthenon.Continuitythe on should that layering & hierarchy the indicate to anything there is nor past, move you as revealed being narrative linear a of sense no is There you. at in ing look sculptures the with centre, the at focusgallery. Youthe the areenter you as visible instantly is everything whole, a as sculptures the of display this at Looking building. the on positions original their to if you know the Parthenon well, it is still hard to relate these fragments of the frieze ⁶ for a new Acropolis Museum was announced, with announced, was AcropolisMuseum new a for - - - -
3 why the new acropolis museum?
Tschumi design Tschumi Building Site
The Makryianni site is close to the Acropolis & the upper levels will have a clear a have will levels upper the & Acropolis the to close is site Makryianni The out from this space. this from out leading doorways form walls concrete the in slots Multiple above. roof glass the top of the building, where you arrive in the a central to courtyard, flooded withmezzanine light from the through up lead escalators gallery, main the of end the At built. was Parthenon beforethe destroyedwerelong Acropolisthat the on buildings of parts period, archaic the from items holds It roof. the sup porting columns tall with it, to feel monumental a with space a is gallery main The roof. the through in filters daylight & space the across pass bridges of series a above High ramp. this of side either on displayed are slopes lower the from finds various & Acropolis the to up climbing of act the symbolises it of top the on focussingramp, the up walking of act The walls. two between up leads floor glass a with ramp wide a inside, Once site.archaeological another overroof a as acts also it but galleries, in artefacts the dimly lit excavations on the site below. The building is not just about exhibiting to building modern the beyond see can you bridge the of floor glass Throughthe museum. the of doors the through pass with the route up to the Acropolis though, you loose sight of the sculptures as you As wall. glass a behind building, the of top the at sculptures Parthenon the see to manage just can you bridge, glass & concrete a across museum the enter you As area. the of history the within & above sits instead but it, surrounding monuments historic the with attention fight for not does it that so Externally, Tschumi’smaterials of palettelimited a using form, simple a has design Acropolisitself.the to on continue beforethey station, metro the from journey visitor’s a of stage first the as acts Museum Acropolis New The Parthenon. the of context opened recently the Acropolisto Metro Station. Even beforeentrance you enter the building, you the are already in the to next also is It Acropolis. the of base around the leads that road the of pedestrianising recent the from benefits location CentreAcropolisforStudies.the site,housing the The of front the at building tury cen th the by obscured is view the downlower Acropolis, although the of view different way. a in us by seen now are & way specific a in Greeks ancient the by viewed be to designed were that sculptures view to way best the defining lenge, to & earthquakes harsh through sunlight. Most importantly, he saw it remains as a museographic chal archaeological the from ranging issues for with designing site was complex he a Secondly Parthenon. the to building modern landmark a levels; three on challenge a as building the saw Tschumi year, following issues. political & legal bydelayed heavilythe been since has it although began site on work & winner the as selected was Architects Photiadis Michael & Architects TschumiBernard by entry joint a , October In ⁷ firstly he had to relate to had he firstly - - -
4 why the new acropolis museum?
Acropolis regained Acropolis Parthenon gallery Parthenon
frame. Tschumi told. by frame sculptures being the discover you where experience, cinematic a story to this likens the understand to trying range, close at individually sculptures the of each pass & space the through move to forcedare you neously; simulta sculptures the all see to impossible is it gallery, the of design the to Due museum. British the in held still is collection the of much accentuatehow is form gallery’s the of defined by aspects of the Parthenon. aspect The spaces where sculptures are missing Every also be. would panels frieze missing the where which parts are destroyed. The entrances into the gallery occur through the spaces walls are the blank left & the plinths removed, so that you surviving, build up quickly a picture of sculptures no are there where areas In Parthenon. the onto fitted have would sculpture particular a where understand to easy is It itself.Parthenon past the sculptures,move exactly the yousame areas are As the in shade as same. would have the been of on the is alignment that the & match same the to is size planned The itself. Parthenon carefully is Gallery Parthenon the of design The building. the of part formed once that the by sculptures the capped at look can you time Acropolis same the at while you, the above high Parthenon of view your regain finally you corner next the At sculptures.pediment the holding plinth larger a is metopes the of front revealed. The frieze continues along the wall, with the metopes in front of it, but in is view new a & corner a turns it gallery, the of end the was thought you what At Parthenon. the on those to identical spacing their plinths, these between up rise Columns behind. frieze the In front of the frieze the metopes sit on individual plinths, forming a layer shielding sculptures.the of ment environ outdoor original the possible as closely as replicate to tool a as it using museum, the of theme central the as light sees Tschumidesign, the Throughout sculptures. the of setting original the defined that diffuse & harsh the between disparity the replicating above, slot a through lighting diffuse more by illuminated instead is & roof the by sheltered is it as day the during light other.sun direct by hit not is frieze,forwhich the setting formsthe wall back This the on wall concrete a & side one glass with relief.The room, in harsh long a like feels initially space the sculptures illuminating the gallery, to in floods Sunlight Acropolisitself.the on up being to tion sensa similar a with out look you Athens,& of top on are you that impression the give walls glass height Full museum. the entered you as glimpsed previously you that sculptures, Parthenon the with again confronted are you around turning on & Gallery, Parthenon the into emerge you openings these of one Passingthrough ⁸ - - - -
5 why the new acropolis museum?
The Parthenon The Route down Route Conclusions
do they really understood what the true context of the Marbles is? Marbles the of context true the what understood really they do sculptures the describe of the retention possibility the of for their arguingreturn MPsto Greecewhen yourself,as ask to have You context. topographic & historic their within perfectly tothe presented are sculptures the Hereitself. right building through the day,byrepresented present in order, existence the Acropolis’s of periods different the a three dimensional loop, not only in space, but also in time, is building the through journey challenge. The this with dealing problems no has Tschumi’smuseum but architect, any for task challenging a be would functions of programme complex a fulfilling time same the at yet Parthenon, the as iconic as monument a of context the in comfortably exist can that building a Creating elevation. fifth its forming roof its with it onto down looking are you buildings, behind nestling than rather & changed, completely now has Museum Acropolis the being of before perspective Your concealed again. are revealed that views of theme Parthenon’s the into contemporary a element adding more, once gallery Parthenon the in sculptures distant the seen & down look can you Parthenon the reach you once view, from hidden becomes soon & you, behind left is museum the Although Parthenon. the at ing On leaving the museum site, you continue your journey up the Acropolis, culminat building. the through journey your of start the at over passed you that ramp the of floor down glass the filters through you onto Light centuries. th & th rd, the from excavations the at look can you where building, the beneath down lead steps level, ground reach you Once Acropolis.the of periods Roman & Parthenon Post the from artefacts containing galleries into building the through down back leads route different a gallery, Parthenon the through circuit your of end the At Iconoclastic Decontextualisation ⁹ as you move through ¹⁰ - ,
6 why the new acropolis museum?
References
Tim Loughton MP (Conservative, Worthing & East Sussex) speaking in the House of Commons on th on Commons of House the in speaking Sussex) East & (Conservative,Worthing MP Loughton Tim but in the context of the great developing panoply of archaic and classical art and architecture."and art classical and archaic of panoply developing great the of context the in but treasure artistic single a as just not marbles Elgin the see to able are They free. for visit all Africans,Koreans the year. a Greeks,South Britons,visitors Academics,children, million school students, has across there.It exist globe enlightenment cultural and educational for Forces museum. world a is museum British …The quo?… status the destroying for motives real the in the arerightfully what audience,and widest the by most appreciated be toplace best the marbles in they aremuseum, British Elgin the Are grounds. following the on it judge will and decontextualisation tic iconoclasat attemptlatest this oppose universalareenormous.collectionsworldI housing museums all of “…The hon. Gentleman said that his proposals were modest, but they are not. The implications for the future May Ibid. Ibid. Bernard. bygiven Tschumith NovemberLondon, lecture Fromin a found.wer proposalsacceptable no that meant competitions the foravailable sites the of limitations the cases both in but museum, new a design to held were competitions , & In Heidelberg.in Palermo,& locatedVienna, are Rome frieze original the of .% than less is area total Louvre & constitutes less than % of the original frieze’sthe area.in smaller Other fragments,is whose collective pieces these of largest Europe.The in museums other in held is frieze the of amount small A metres.. is gallery the of tion sec central the for metres,but . is ends the atmaximums. width the Thearegiven dimensions The Authorities. Museum controversial cleaning of the Marbles in the ’s without the appropriatethe permissions from the British instigating for responsible person the also was Millbank of Baron First -, Duveen Joseph light.”best catchthe tomoved be could they that so bases,swivelling to fixed were what pieces famous most separatethe of Manydraw. to to artists for atmosphere congenial nor most the provide sculpture, the to was purpose of main whose arrangement, ‘picturesque’ placement a was It rest. original the from Parthenon the the to belonged recapture to made was attempt …No slopes…Acropolis the on monument a from Dionysus god the of statue notable a as well as Greece, from removed not material but some bits & pieces from Mycenae, a whole variety of architectural up, fragments, some plaster casts of other ended had that antiquities other the of thanks to his agents, manyin Elgin’s with packing cases: not just the famous caryatid jostled from the porch of the Erechtheion, Parthenon the from sculptures the “Here P Beard,. Parthenon, The Mary place.”and time contrastedacross and compared and depth in studied all,by experienced be cancultures where context international an provides Museum British The access. possible widest the providing by ence Act Museum British the by confirmed Museum’sthe by justified is moralbroadersense a wasin audi world a Ownership serve (1963). commitmentto and documented fully is collection the of status “…The legal the by Sport & June Media th on Museum British Culture, on committee Select the to submitted memorandum the in forward put also was marbles the for context best the provide they that position official Museum's British The ’s Radio FrontBBC Row,January on nd speaking MacGregor Neil - - -
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