Αθήνα 2022
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5 Acrópolis de Atenas (siglo V AC.)
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8 Landscaping of the Archaeological Site (Dimitris Pikionis, 1959)
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The landscaping of the open space on the Acropolis and Filopappou Hill is the best known work by Dimitris Pikionis and the most important landscape architecture project in modern Athens. It in cludes the landscaping of a network of access roads, paths and sidewalks leading to the Acropolis monuments, to the Herod Atticus Theatre and to Filopappou Hill, as well as the integration of the church of St. Dimitrios Loumbardiaris and a refreshment centre into the area. With unique sensitivity but also with a sense of the cultural significance of the site, Pikionis wanted to express the historic and cultural continuity of Hellenism. In this project he utilised forms and materials from the ancient Hellenic, Byzantine and vernacular traditions and was constructively influenced by the Japanese landscape architecture tradition. The roads and buildings were planned harmoniously, aiming to create optical lines to the monu ments on the Acropolis. The treatment of the elaborate stone-paved walkways and seating areas and the use of plants from the Attica landscape were the product of Pikionis’s thorough search.
The result of this search is esteemed in particular by experts as a harmonious combination of archi tecture, natural landscape and historical memory expressing the universality of the Greek spirit.
10 New Acropolis Museum (Bernard Tschumi Architects, 2009)
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Of the same generation as Le Corbusier and Mies van der Rohe, Pikionis was one of the first archi tects to realize that a regionally inflected culture could only be sustained in a post-vernacular age through the admixture of sympathetic alien cultures, just as Greek archaic sculpture had once been fertilized by Egypt. Thus the paving of Philopappou bears an uncanny relationship to the stone causeways of Zen temples, its overall patterns breaking across the curvature of the site so as to deny any perspectival anticipation of movement thereby engendering a seemingly infinite sequence of seams and gulleys in conjunction with the counter changing stonework. Kenneth Frampton
12Alexandra Papageorgiou has written: “He was stringently against the use of Western forms which are more representative of science and technology, and more tolerant of Eastern forms which are closely related to the ideals of a spiritual world. He admired the scale, form and materials of elements found in Japanese architecture, such as bamboo. He employed similar methods of construction, for example he elevated the ground floor of the Loumbardiaris pavilion and used stone footings at the base of its columns…”
St. Dimitrios Loumbardiaris Church- Dimitris Pikionis (1951)
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Iglesia de los Santos Apóstoles 15
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The octagonal tower (3.20 m. long on each side) stands on a base of three steps and is built of white Pentelic marble. It has a conical roof, a cylindrical annex on the south side, and two Corin thian porches, one on the NE and one on the NW side. At the top of each of the eight sides there is a relief representation of a wind, symbolized by a male figure with the appropriate attributes and its name inscribed on the stone. There were sundials on the external walls and an elaborate waterclock in the interior. The tower was built in the first half of the 1st century B.C. by the astronomer Androni cos, from Kyrrhos in Macedonia. In the early Christian period, the Tower of the Winds was converted into a church or a baptesterion of an adjacent church, while the area outside the NE entrance was occupied by a Christian cemetery. In the 15th century A.D., Cyriacus of Ancona mentions the monument as the temple of Aeolos while an anonymous traveller refers to it as a church. In the 18th century it was used as the tekke of the TheDervishes.monument had been half-buried by the earth accumulated over the centuries. It was excavated between 1837 and 1845 by the Greek Archaeological Society.
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Horologion of Andronikos Kyrristos (siglo I AC.)
Choragic Monument of Lysicrates (-335) Choragic monument, large, freestanding pedestal that formed the display base for an athletic or choral prize won at an ancient Greek festival. Although the only surviving example is the choragic Monument of Lysicrates, or Lamp of Diogenes, erected in Athens in 334 bc, literary evidence of the existence of others may be found in Virgil’s Aeneid.
Erected in honour of victory at the Great (or City) Dionysia festival, the Monument of Lysicrates has a 9.5-foot- (2.9-metre-) square foundation that is 13 feet (4 metres) high and is topped by a circular edifice 21 feet (6.4 metres) high made of Pentelic marble. Upon this edifice rests a circular structure supported by six Corinthian columns—the earliest surviving examples of that order. The entablature of the monument supports a shallow dome, which in turn is the base of three scrolls intended to hold the tripod trophy (now missing). A frieze on the entablature shows the Tyrrhenian pirates being turned into dolphins by the god Dionysus.
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Another choragic monument, the Monument of Thrasyllus (319 bc), no longer exists, but it was imitated in other funerary structures, including the Bazouin mausoleum at Père-Lachaise Cemetery in Paris. Architects of the 18th century who worked in the Neoclassical style borrowed details of the choragic monuments for decorative elements around doors and windows.
Temple of Olympian Zeus - Olimpeion ( (siglo V AC.)) 19
Panathenaic Stadium ( Anastasios Metaxas 1896)
21 Metropolitan Cathedral of Athens (Theophil Hansen 1842)
The Greek geographer Pausanias describes Philopappos’ grand tomb as a monument built for a Syrian man.[1] The monument was built on the same site where Musaios or Musaeus, a 6th-cen tury BC priestly poet and mystical seer, was held to have been buried. The location of this tomb, opposite the Acropolis and within formal boundaries of the city, shows the high position Philopa ppos had within Athenian society.
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Philopappos Monument (116 AC.)
Philopappos died in 116, and his death caused great grief to his sister Julia Balbilla, citizens of Athens and possibly to the imperial family. As a dedication to honor the memory of Philopappos, Balbilla with the citizens of Athens erected a tomb structure on Muses Hill (Λόφος Μουσών) near the Acropolis of Athens. His marble tomb monument is still known as the Philopappos (or Philopa ppou) Monument, and the hill is today known as Philopappou Hill (Λόφος Φιλοπάππου).
A su vez, ésta fue reemplazada en el siglo XI por la iglesia bizantina de una sola nave Megalia Pa nagía. Durante la ocupación otomana, se convirtió en sede del Gobernador. En 1835, los cuarteles del rey Otón se construyeron en su lugar.1 Tras ser sustituida por la iglesia de Megalia Panagía, la biblioteca se perdió en el olvido hasta que, en 1885, después de un incendio que dañó parte del templo cristiano, se inició una excavación en la que se encontraron algunos bloques de piedra caliza y varias columnas corintias de más de ocho metros de altura, además de los restos de los cimientos de la iglesia del siglo V.
En el siglo V se construyó, en el centro del patio peristilo, una iglesia paleocristiana con planta de trébol de cuatro hojas. En el siglo VII se levantó una basílica de tres naves sobre la iglesia anterior.
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Biblioteca de Adriano (132) La Biblioteca fue construida en 132 por el emperador Adriano. En 267 fue destruida por los héru los, siendo incorporada posteriormente a la muralla tardorromana de Atenas y reparada en 412.
En el siglo XX se retomaron las excavaciones y, entre 1960 y 1970, se restauró la fachada oeste.
Kerameikos En 478 a. C., cuando las guerras médicas estaban llegando a su fin, Temístocles decidió construir un muro alrededor del ágora, y el Cerámico fue dividido en Cerámico interior y Cerámico exterior.
La Puerta Sagrada era el inicio de la Vía Sacra, que conectaba Atenas con Eleusis y era recorrida por la procesión de los misterios eleusinos. En la puerta Dípilon empezaba el camino que conducía a la Academia de Platón, situada fuera de Atenas. A lo largo del mismo estaba el Demosion Sema o Cementerio Público, el lugar de enterramiento de los atenienses notables y héroes de guerra. Es aquí donde Pericles pronunció su famoso discurso fúnebre por los muertos durante el primer año de la guerra del Peloponeso (430 a. LaC.)puerta Dípilon era también el comienzo de la Vía Panatenaica, la calle principal de Atenas, que conducía hasta la Acrópolis. Dicha vía era recorrida por la procesión de las Panateneas, cuyos preparativos tenían lugar en el interior del Pompeion. Este gran edificio, de patio peristilar y datado a finales del siglo V a. C., se hallaba detrás de la muralla, junto al Dípilon. El Pompeion y otros edificios próximos a la Puerta Sagrada fueron arrasados por el ejército romano de Sila durante el saqueo de Atenas en 86 a. C., un episodio que Plutarco describe como un baño de sangre.4 En el siglo II se construyó un almacén en el emplazameinto del Pompeion, que fue destruido por los hérulos en su invasión de 267. A fines del siglo VI, las incursiones de los ávaros y eslavos provocaron nuevas destrucciones, y el Cerámico, enterrado, cayó en el olvido.
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La parte situada fuera de la ciudad servía de cementerio a los soldados muertos por la patria. El ágora se hallaba en el Cerámico interior. Se conserva la sección del muro que atravesaba el Cerá mico en dirección NS, junto con dos puertas importantes: la Puerta Sagrada y el Dípilon, la puerta más grande y más formal de Atenas.
25 12 879 10 10α 11 3 4 5 6 28 2629 27252223242134 161718 20 15 3938 3637 37α 40 4342414447 4645 14 13 12 30 313233 31α Museum Entrance FLOORGROUND 19 12420 34 8 14 30 31 3217 35 18 11 13 37 15 9 29 10 12 1-2Roomslobby,Museum–Entrance 3-4RoomsCollection,Mycenaean AgeBronzeMiddleandEarlyNeolithic, 5RoomAntiquities, 6RoomAntiquities,Cycladic 7-34RoomsSculptures,ofCollection 36-39RoomsMetalwork,ofCollection 40-41RoomsCollection,Egyptian 42RoomCollection,Stathatos 43-45RoomsExhibitions,Temporary 46-47RoomRoom,LectureMuseo Arqueológico Nacional (Panagis Kalkos 1866)
26 Stavros Niarchos Foundation Cultural Center (Renzo Piano 2016)
27 Primary school in Pefkakia (Dimitris Pikionis 1932)
28 American Embassy Of Athens (Walter Gropius 1961)
29 AEEGA GROUP BUILDING (Mario Botta 2005)
Piraeus Port Passenger Terminal (Giannis Liapis, Ilias Skroumpelos 1969)
Athens Conservatoire (Ioannis Despotopoulos 1976)
32 Apartment Building ‘Asyrmatos’ (Elli Vassilikioti 1967)
33 National Gallery Of Greece (Pavlos Mylonas, Dimitris Fatouros 1975)
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" ® P " ® P" ® P " ® P o o Sp a ta Pe a nia e fki Halan d ri Vrilis s ia Gera ka s Anth o us a Gly k a Ne ra Nea Pe n teli Pe n teli Melis sia Pa llin i Kallite ch n o u Koro p i Maro u ss i Kifis sia Hola rgo s Pa p ag o u Agh ia Pa ra sk ev i Pik erm i Mt . Ym itt o s Mt . Pe n te li PEFKI HALANDRI AGHIA PARASKEVI NOMISMATOKOPIO PALLINI PEANIA KANTZA KO DIO SA KIFISSIA KAT MAROUSSI HOLARGOS ATHENS INTERNATIONAL AIRPORT ODOS OTE SIDERA DOUK PLAKENTIAS KOROPI RYSI PARADISSOS ! 0 1,000 52,000 00 m July 2020 LEGEND Operating Lines LINE 1 LINE 2 LINE 3 Extensions LINE 3 UNDER CO NSTRUCTION LINE 2, UNDER DESIGN LINE 4 TENDERED LINE 4 UNDER DESIGN METRO LINES NETWO RK Parking Facility Attiko Metro " ® P Operat ng Park ng Fac lity " ® P Scheduled Parking Facility Suburban Railway Suburban Railway Section also used by Metro SUBURBAN RAILWAY NETW ORK MINISTRY OF INFRASTRUCTURE & TRANSPORT CO-FINANCED BY GREECE AND THE EUROPEAN UNION 37
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