Past Forms of Pavilions

Material analysis Dark marble Concrete Low-iron glass Timber fittings Beige marble Axis asymmetry Division in thirds Main diagonal axis from the main entry leading to the excavations site Enclosed areas Semi-enclosed Open areas

Facade Structural columns Circulation Access points on North and East sides. Second floor: Signage is designed to be subtle, so that wayfinding does not compete with artifact exhibits. Material changes from the dark marble to timber and beige also assists with guiding. Third floor: Panoramic views across the Acropolis and celebrating views of the Parthenon from inside out. The classical collections of the Museum date from the prehistoric, to the Archaic, Classical, Hellenistic, Roman and up to late Antiquity periods. It was designed to feature all the collections from Ancient Greece, considered masterpieces, as one complete narrative of the Athenian Acropolis.

The project focuses on 3 concepts: light-electricity, motion/ tectonic and programmatic enhancement.

Transfer of Artifacts: September to December 2007 Limited viewing of installations: Winter 2008 Viewing opened to public: June 20, 2009

Programs & Spaces:

• A 250 m2 theater with 180 seats, translation booth and projections. • A 770 m2 cafe/restaurant opens onto a public terrace with views of the Acropolis. Shading devices are integrated, allowing for use during the day and night. • 2 of 125 m2 shops located on level ‘0’ and second floor. • Landscaped with local flora eventually blends with the natural flora of the Acropolis. Essentially a public reactivated space and converges with the neighbourhood. • Access: Parking is not provided on site, but is available in the nearby neighbourhood. Public transit can be accessed from northeast of Athens Metro’s Acropolis Stop.

SPACE & UTILITY

Similar to Scarpa’s interventions on the Castelvecchio, the New Acropolis Museum focuses on a play of light across the galleries to emphasize the narrative sequence between the installations. However the difference between the two is that the Museum preserves these artifacts for the present audience and society to admire. The purpose of viewing such sculptures in modern society compared to those in Castelvecchio, is that: For the New Acropolis- this tells a story of a society that focused on mathematical and conceptual clarity and forward thinking at the time. It is a preservation of the past, for the present society to gain insights from. It is a base to compare from and improve on what is currently occurring. For the Castelvecchio- this showcases a set of monuments and sculptures that celebrate the Scaliger family, the higher-class rulers of society back then and not representing other classes included in the society itself accurately. Essentially it emphasizes on respect for the ruling power of higher-classes in their society back then.

Figure 11. Bernard Tschumi Architects. Exploded Axonometric sketch. 2009. https://arcspace.com/feature/new-acropolis-museum/ Figure 12. Bernard Tschumi Architects. Section. 2009. https://www.archdaily.com/61898/new-acropolis-museum-bernard-tschumi-architects Figure 13. Shortle, Cathy. HDA Glass Design. 2009. https://www.hda-paris.com/project/new-acropolis-museum-athens-greece/ Figure 13. Shortle, Cathy. HDA Glass Design. 2009.

The detail features a double skin facade with shading screens on exposed elevations. The low-iron glass is used to maintain colour integrity and dense black fritting is added for anti-glare. The glass itself was integrated into the glass floors, balustrades and skylights to allow for light and views down to the excavations in the lower floor.

Figure 11. Bernard Tschumi Architects. Exploded Axonometric sketch. 2012.

Simplicity and lack of monumentality was the focus of this design in order to showcase and emphasize on the remains of the former Museum’s exhibits. The architecture extensively uses glass for external and internal treatments to represent preservation, in encasing the installations and archaeological excavations.

Ludwig Mies Van der Rohe. Barcelona Pavilion, 1929.

BARCELONA PAVILION LUDWIG MIES VAN DER ROHE

Category: Production-Consumption Project Location: International Exposition in Barcelona, Spain. Site Footprint: 901 m2 Completion: 1929. Tectonics: Planarity; Modernist style.

Materials: • Roman Travertine • Steel for structure • Reinforced concrete cover • Chrome • Marble (Roman travertine, Alps green marble, Ancient Green marble from Greece, Onyx dore Atlas) • Glass panels • Water (reflective pool)

Reusability: A specific chair was designed for the Pavilion, with a silver metal profile as indicative of modern design, to match the timelessness of the building as the design itself continues to sell to this day. The bronze Georg Kolbe Dawn sculpture decorates the pond located at the back of the building and gives an organic impression to the overall atmosphere of the building, softening the geometric purities of the planar forms. The silhouette and form of the statue is able to reflect onto the water, crystal or marble materials due to the polished surfacing.

Axis

Structure Light

Shapes

Main slab structure

Roof structure Materials

Water bodies Initially the face of Germany post-WWII, this pavilion was renamed the Barcelona Pavilion. Renowned for its elegant modern design, its intention was grand-- to welcome King Alphonso XIII of Spain, and German officials at an inauguration. It was intended not to store artworks, rather it would be a place of serenity and escape from the lively bustling of the exposition at the time. In this sense, the Pavilion serves as a sculptural artwork in and of itself.

The structure is raised on a travertine plinth, situated away from the busy streets of Barcelona city. Heavy emphasis on material, experience and atmospheric quality is most distinct in this building. Regarding its design, it is based on a grid system determining the pattern of travertine pavers along with the composition of wall systems. The narrowness of the site profile further accentuates the low horizontal orientation, causing the flat roof structure to seem as though it is suspended over the interiors. This low position also guides the line of sight to adjust to the framed views and encourage circulation throughout the building. In terms of experiential qualities, the building allows its users to feel inclined to explore the site and reminisce, basking in its tranquility.

The low profile of the roof further enhances this blur in boundaries, between the interior and exterior, openness and closeness. The interior further adds to the atmosphere by juxtaposing itself alongside two reflection pools, in which generate sleek, mirrored planes that establish a sense of solitude and reminisce. In addition, the main materials that contribute to this powerful essence are primarily steel, chrome, marble and glass. The steel meshes along with integration of the marble, is created through a process to create the patterns within. Travertine was mostly used for wall coverage, as when light illuminates its surface, it washes a dissolved layer of light across the interior volume. The Pavilion was deconstructed in 1930, after International Exposition.