Posts tagged with "Greece":

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E.U. requests Elgin Marbles return to Greece from British Museum post-Brexit

During his visit to Athens over two hundred years ago, British diplomat Lord Elgin absconded with nearly half of the Parthenon’s architectural marble sculptures and bas relief panels and transported them by sea to Britain over an 11 year period. The event, no doubt, is infamous not only in the minds of Greek citizens, who resent that they are now on display in London’s British Museum. But the absence is especially felt by the curators of Athens’ Acropolis Museum, where the remaining half is displayed among a set of pale facsimiles that will be cheerfully replaced whenever the “Elgin Marbles” return from their unwarranted journey up north. In a surprising turn of events, it seems the 2,500-year-old statuary might be returned amidst Europe’s current political turmoil. If the United Kingdom wishes to continue trading with the European Union post-Brexit, according to a recently leaked clause in the European Union's (E.U.) negotiating mandate, it must return the Elgin Marbles back to Greece. The clause’s declaration that the U.K. must now be committed to the “return or restitution of unlawfully removed cultural objects to their country of origin” has put the marbles front-and-center of the raging trade debate. Of course, Britain and Greece have been arguing over the Elgin Marbles for years—Greece claims they were taken without permission while under occupation and should be repatriated, while Britain has claimed this could open the door to returning an untenable amount of cultural assets to other countries. But the transaction is not yet set in stone. Negotiators on either side are set to begin a much-needed conversation next month and will attempt to reach an agreement by November 26, when a trade deal must be presented to European Parliament for ratification. Currently, the U.K. refuses to give up the marbles, stating that their acquisition was lawful at the time given Greece’s occupation within the then-existent Ottoman Empire. According to ARTnews, a spokeswoman for the British government said in a statement on Tuesday that the Elgin Marbles are, therefore, “the legal responsibility of the British Museum,” and that they are “not up for discussion as part of our trade negotiations.” “I would expect some of these negotiations to be rather difficult," E.U. aide Stefaan de Rynck told French politician Michel Barnier in a public statement. “Perhaps more difficult than during withdrawal because the scope of issues is much vaster.”
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Greece floats plan for refugee-deterring sea wall

The Greek government has announced plans for a floating barrier in the Aegean Sea, meant to slow the movement of asylum-seeking migrants arriving on the country’s North Aegean Islands via boat from mainland Turkey. Envisioned as a sort of buoyant maritime version of the Trump Administration’s U.S.-Mexico border wall, the netted blockade would stretch 1.7 miles off the northern coast of Lesbos, Greece’s third-largest island and home to the notoriously ill-equipped and overcrowded Moria refugee camp. Per Reuters, the barrier could potentially extend over nine miles if the initial segment is found to be an effective deterrence tool by Greece’s Defense Ministry. Plans call for the floating wall to rise above sea level by nearly two feet and be topped with flashing lights so that it's visible in the dark of night. While there’s currently no clear start or completion date for the estimated $545,000 undertaking, The New York Times reports that the search for private contractors to erect the barricade is underway and a selection will be made within three months. Government officials are confident that a floating sea wall will successfully thwart refugees attempting to reach Greece’s northeastern islands, pointing specifically to a barbed wire-laden land barrier built along Greece’s northern border with Turkey in 2012 that officials believe has produced desirable results. “In Evros, physical barriers had a relative impact in curbing flows,” Greek Defense Minister Nikolaos Panagiotopoulos explained to Skai Radio when the proposal was announced late last month. “We believe a similar result can be achieved with these floating barriers.” Although Panagiotopoulos is confident in the plan’s efficacy, the very idea of a refugee-blocking floating fence in the Aegean Sea has been met with swift condemnation from humanitarian groups and former government officials alike, many of which have criticized the idea as being potentially dangerous and likely ineffective—after all, small vessels carrying migrants can simply navigate around the barrier. “The idea that a fence of this length is going to work is totally stupid,” said Greece's former Migration Minister Dimitris Vitsas. “It’s not going to stop anybody making the journey.” “This proposal marks an alarming escalation in the Greek government’s ongoing efforts to make it as difficult as possible for asylum-seekers and refugees to arrive on its shores and will lead to more danger for those desperately seeking safety,” warned Massimo Moratti, European research director with Amnesty International, in a press statement. “The government must urgently clarify the operational details and necessary safeguards to ensure that this system does not cost further lives.” Amnesty International notes that roughly 60,000 migrants, largely from war-torn Syria, arrived in Greece by sea in 2019, nearly double the number of arrivals in 2018. From January through October 2019, the International Organization for Migration recorded 66 deaths along maritime migration routes in the eastern Mediterranean Sea.
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New book tells the story of the Stavros Niarchos Cultural Center, but can a building this wasteful really be called "green"?

Last year, the Stavros Niarchos Foundation Cultural Center, a 1.28 million-square-foot complex built into an artificial hill in Athens, was inaugurated to great fanfare. The building will provide two institutions, the National Library of Greece and the Greek National Opera, pristine new homes, and it is a significant addition to the Athens cultural landscape. This year saw a related achievement: the publication of Victoria Newhouse’s Chaos and Culture: Renzo Piano Building Workshop and the Stavros Niarchos Foundation Cultural Center in Athens, a richly detailed account of the creation of the $800 million complex. The book could have been a dud; after all, as Newhouse herself notes, the realization of the Athens project was “nearly trouble-free.” But Newhouse lucked out, in part because Greece didn’t: The country was in dire financial and political straits for most of the time the complex was in the works, providing the “chaos” of the title. Only the commitment of the deep-pocketed Stavros Niarchos Foundation kept the project on track. But the plan was always that the complex, once completed, would be turned over to the Greek government, which would operate it with taxpayer funds—a result that now seems unrealistic. (Worse, the agreement between the foundation and the government stipulates that if the government fails to meet its obligation to operate the Center, it will refund the foundation’s entire investment in the project—money the government doesn’t appear to have.) So the book became as much a tale of politics and economics as of architecture. And right now, that tale is a cliffhanger: neither the library nor the opera house has fully moved into the building. True, there is some architectural intrigue, usually involving firms other than the always-dependable Renzo Piano Building Workshop (RPBW): Newhouse details the master-planning work of the New York firm Cooper Robertson that preceded the selection of RPBW to design the complex. She then reports that almost nothing of the master plan can be seen in the RPBW design. And she delves into the hiring, in 2013, of the Dutch firm Mecanoo, to rethink RPBW’s library design. Newhouse writes:
The idea that work by Renzo Piano—winner of a Pritzker Prize, among numerous other awards—could be corrected by anyone, let alone a far less known firm, would be surprising under any circumstances. What made it especially so is the stark disparity of styles between the two offices.
But Piano prevailed: “Having initially greeted [Mecanoo founder Francine] Houben with his usual charm, the Italian architect barely glanced at the Mecanoo proposal in late 2013 before rejecting it out of hand.” In the course of writing the book, Newhouse developed expertise on subjects as diverse as the history of philanthropy in the Ottoman world and the acoustical preferences of Southern Europeans. The book is a kind of encyclopedia. But there is one significant lacuna:  Newhouse calls the building “a triumph of environmental sensitivity.” In fact, the building, despite incorporating enough “green” features to achieve LEED platinum status, is inherently wasteful.  First, it’s not clear it was needed in the first place. The Greek National Opera, though lacking a purpose-built home, has performed “with great success” at the Megaron Concert Hall in the center of Athens, Newhouse reports. As for the library, its existing building, also in the center of the city, could handle far more visitors than it received. Consequently, Newhouse writes, “no one was able to realistically define the new library’s purpose.” Neither organization had a director at the time the planning for the cultural center began. And with the country in economic crisis, the entire enterprise, Newhouse observes, “defied logic.” But the Niarchos Foundation was determined to build something important, and its resolve only strengthened when the Greek economy collapsed. True, Piano’s best buildings, including New York’s Whitney Museum of American Art, exhibit an inherent modesty (as does Piano himself). But the Niarchos Foundation encouraged Piano to think big. After visiting the Athens site, he decided to give the library and opera separate buildings, facing a modern agora (through a pair of enormous glass facades) and set them into a manmade hill, more than 100 feet high at its peak. “It was an almost childish idea:  I simply lifted the ground’s surface to make way for the architecture,” Piano told the author. Creating the hill would involve building vast retaining walls, moving some 654,000 cubic feet of earth, and protecting all of it against seismic activity. That was accomplished by filling steel tubes with rocks, then hammering the tubes into the earth at 10-foot intervals, creating some 3,500 “gravel piles” in the process. Those processes required vast amounts of energy. Then came the planting of the center’s 40-acre garden, much of it on raised ground, and the extensive irrigation required to keep it alive in arid Athens—a process that involves both pumping water uphill and passing it through a reverse osmosis desalinization plant. The hill, that “childish idea,” is a grown-up energy consumer. Overall, operating the cultural center will require 14 gigawatt-hours of electricity each year, Newhouse reports. Producing that much power through the burning of coal—the predominant source of electricity in Greece—will create some 30 million pounds of CO2 or its equivalents, according to the best available figures. That’s about as much 1,500 average Greeks produce each year. True, setting the building in a hill could reduce the cooling load by as much as 7%, Newhouse reports. But counting that as an environmental victory is like counting gambling winnings while ignoring losses. And, true, the vast building has a substantial photovoltaic system. In fact, after the artificial hill, its most prominent feature is the canopy atop the opera house, a kind of flying carpet supporting 87,000 square feet (about two acres) of photovoltaic panels. That certainly sounds green. But the panels, even with the latest technology, will produce just 2 gigawatt-hours of electricity each year, or about 15% of the building’s needs. (And that’s if all goes well.) And even that power isn’t “free,” environmentally speaking. Thirty steel columns, braced by diagonal cable ties, support the p.v. panel-covered canopy, which is estimated to weigh 4,700 tons. The carbon footprint of structural steel is enormous. And solar panels themselves require energy to fabricate, transport, and install. There is no free lunch, energy-wise. Making matters worse, the Center is two miles from the nearest subway stop. Hard to reach by public transit, it contains 1,000 parking spaces, evidence of its reliance on private cars. LEED doesn't take any of that into account. It is essentially a checklist system, conferring points for “moves” like providing bicycle racks and using recycled building materials.  Whether the building should have been built in the first place; whether it could have been built closer to public transportation; or could have been significantly smaller than it is—the big-ticket items, environmentally—are the very issues LEED ignores. Of course, I understand the need for symbols, which can help uplift societies (especially societies as troubled as 21st-century Greece). And I believe that the Niarchos Foundation had the best intentions when it vowed to make the building green.  But the building it built is anything but green, and LEED is its enabler. With its “platinum” imprimatur, LEED sends a message that even unnecessary buildings, on sites ill-served by public transportation, and requiring vast amounts of energy to build and maintain, are good for the environment. Which, at this time of climate crisis, triggered by energy consumption, is a dangerous message to send. Chaos and Culture: Renzo Piano Building Workshop and the Stavros Niarchos Foundation Cultural Center in Athens is available from Monacelli Press.
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Renzo Piano wraps up construction of the Energy Canopy at Athens' enormous Cultural Center

For years, Renzo Piano has been working to complete his design for the Stavros Niarchos Foundation Cultural Center in Greece. Not, the cultural group behind the project has announced that a key component of the Visitor’s Center, the energy canopy, is now complete. https://youtu.be/_LoJfZwZvb8 Suspended over the Greek National Opera, the canopy is composed of 30 columns and 717 individual precast pieces—weighing in at 4,700 tons overall. Although designed to appear light and airy, the canopy is 328-feet-square and 150-feet tall. Topped with photovoltaic cells, it will produce 2GWh of energy per year, fueling the opera house and the National Library of Greece. The Cultural Center includes the national library, opera house, canal, and 42-acre park south of Athens. The site was originally used for parking during the 2004 Olympics and once the project is completed, it will be turned over to the public. Total cost for the project is an estimated $831 million. Next steps include finishing the Lighthouse, the 9,700-square-foot glass room, and finalizing the flooring, facades, and ceilings. The rest of the SNFCC is expected to be complete in the first half of next year. SNFCC hopes that programming in the Visitor’s Center will engage the community and connect the public to artists in Greece and around the world. Already, it has hosted over 300 events and welcomed over 55,000 visitors. From now until Christmas, the center will be a Santa Workshop, and in February 2016 the center will relocate to a temporary building until construction is complete. To learn more about the cultural center, read our initial article on the project here.
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Four Firms Shortlisted To Rehab Gropius-Designed Embassy in Athens

The Department of State’s Bureau of Overseas Buildings Operations (OBO) announced yesterday its shortlist of design firms to rehabilitate the Walter Gropius-designed US Embassy building in Greece, known as the Athens Chancery. The four firms were selected out of an applicant pool of 56 submissions, and include: Ann Beha Architects, DesignLab Architects, Machado Silvetti / Baker, and Mark Cavagnero Associates. “The shortlisted submissions presented projects that were well-conceived and well-executed, displaying a sophisticated understanding of the issues involved in renovating historically significant buildings and experience with rehabilitations of complex modern structures,” the OBO said in a statement. While in keeping with a modernist aesthetic, the building, completed in 1961, is also a nod to the Parthenon with its white columns and marble facade. Following the selection, the four firms will be expected to establish their technical teams and provide more detailed information on their work and experience for the next phase of consideration.
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Infrared’s Madren 5340 Installation

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Temporary structure uses paper to create light-regulating filter

Infrared is a group of architectural researchers and fabricators based in Thessaloniki, Greece. Initiated in 2010, the group’s work has included public installations like the Thess Bic Seat, an amorphously shaped bicycle rack and bench. Another piece called 313 / 315 is a 25-foot-long seesaw installed between two rooms of a derelict hotel created for last year’s XV Biennale De La Mediterranee. For its most recent installation, titled Madren 5340, the team investigated the theme of private space with a digitally modeled screen made with a series of paper tubes.
  • Fabricator Infrared
  • Designer Infrared
  • Location Thessaloniki, Greece
  • Status Complete
  • Materials Paper
  • Process Algorithmic surface generation
Madren 5340 began with the concept of regulating light and visibility in an intimate space like a bedroom. A patterned surface would act as a filter, creating a perforated facade between two parts of the room. Infrared began by generating the surface algorithmically, interpolating between sine curves of varying wavelengths and amplitudes. These calculations created a double-curved, self-supporting structure that would rest on the ground. The 11 ½-foot-tall wall was then rationalized into a series of simple paper tubes that would be assembled to create the structure. In its project brief, the team described the combined effect of 3-D volumes and round pixels:
In effect, each paper-tube is becoming something between a voxel and a pixel: it is positioned in space trying to represent a thin volume that reads as a surface—the properties of the volex—while at the same time displays a certain intensity of light—the properties of the pixel. The aggregation of the tubes is approximating the curvature of the initial surface.
  The digitally generated information was exported into assembly sheets—essentially a map of where and how to place each tube. The piece was installed in January as part of Thessaloniki’s Platforma 1 temporary exhibition, organized by ArqLab and Art|House gallery.