Acropolis Museum - A highlights report (June 2011 - May 2012)

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acropolismuseum year

A highlights report 1 june 2011 to 31may 2012

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President’s message In difficult times it is often considered that ‘culture’ and museums are a dispensable luxury. Our experience at the Acropolis Museum shows differently: visitors taking a brief respite from the daily grind and moved by their walk through the Museum galleries, young people enjoying the contemporary museum setting in which the unique exhibits are displayed and children kneeling on the Museum’s glass floors, nose to glass, drawn by the archaeological excavation below. As visitors observe the burnt sculptures of the Persian catastrophe next to the masterpieces that emerged immediately after, they can make the connection to the current economic crisis and the potential for recovery. This year the Museum again achieved the impossible. Despite the general economic downturn the Museum was able to survive solely from its earnings without burdening the state budget, by no means an easy feat. With both daring and caution the Board of Directors managed with vigilance and absolute transparency. The Museum’s senior management team, its services and staff continued to work with admirable enthusiasm and visitors spoke with candid sincerity about the Museum’s effective operations. This success has had a positive influence on the local area. The pedestrian walkway of Dionysiou Areopagitou has come to life, the quality of many of the local retail outlets improved, but most of all as stated by local business people, the almost 5 million visitors to the Museum of the past three years contributed to the economic resurgence of the neighborhood. To further improve its services the Museum analyses the comments and suggestions made daily by visitors. This year however it undertook its first systematic visitor evaluation, identifying a series of areas for further improvement in the coming year. More intensely than in the previous year, the Museum increased its focus on improvements and changes in the exhibition spaces enriching the permanent exhibition and improving the presentation of significant exhibits.

This year visitors provided with an unexpected experience, pPXSRRNQPXW ZYN were QH\ YXWHCWO?P\H aXW\SD QW ^W[RPJW @VQWL being able see the Archaic sculptures to the accompaniment ZOAHRP QSL to UXZRQHXSNQHQVL QW[ RQW[L PKBPRSZKWOL aEXW[L ?P P?YMW[QSR?N Qm\ R[MMWCE\ QW[ KZS FPMQJmRH QW[ QXNYW[ YZXW[ of live music played on the second floor balcony, every Thursday RJZRHL RYW[UZJm\ PKBP?DQm\ QW[ afternoon from Christmas to Easter. The melody of sound and the harmony of the folds of the garments of the Korai melded in a G\ZYD\QPaH ]QZ\ H P?YPSXJZ Qm\ PYSRKPYQE\ NQZ\ VFMPYZ\ QZ spell bounding combination that showed the closeness of the two ZXaZeKD ZCDM?ZQZ ZKWOCW\QZL R[CaXN\mL _m\QZ\] ?W[RSK] ZYN arts: Sculpture and Music. QW\ PAERQH QW[ W[ WXN@W[ KDBP pV?YQH ZYNCP[?Z ZYN QZ fXS RQWOCP\\Z VmL QW pDRaZ g ?PMmUJZ Qm\ ]am\ QHL ?W[RSK]L KZS The third year of the Museum’s operation was fruitful in research H ZX?W\JZ Qm\ YQ[aE\ Qm\ ZCZM?DQm\ Qm\ hWXE\ VUP\Z\ R> V\Z and in joint international initiatives that focused on the collections, R[\ZXYZRQSKN RO\WMW YW[ VUPSa\P YNRW KW\QD FXJRKW\QZS WS U[W in the application of innovative communication tools and in the QVa\PL H |M[YQSK] KZS H ^W[RSK] development of conservation and restoration. The conservation T QW[ ^W[RPJW[ ]QZ\ CN\S?WL PYSRQH?W\SKD of QXJQWL walls, aXN\WL floor surfaces and structures of theRP archaeological YXWCXD??ZQZ KZS USPB\PJL YW[ PYSKP\QXEBHKZ\ excavation approached their R[\PXCZRJPL successful completion and pending RQH ?PMVQH Qm\ R[MMWCE\ QW[ RP P@ZX?WC] KZS\WQW?SKE\ the approval of the design plan and the identification of PYS the KWS\m\SZKE\ PXCZMPJm\ RP YXWEBHRH QPa\SKE\ R[\Q]XHRHL necessary funds, the development of this last and very exceptional KZS ZYWKZQDRQZRHL ^P PYSQ[aJZ QVMWL WMWKMHXE\PQZS @VQWL QW exhibition area of the Museum will be completed. YXNCXZ??Z R[\Q]XHRHL QWJam\ UZYVUm\ KZS KZQZRKP[E\ QHL Z\ZRKZ@]L KZS Z\Z?V\PQZS ?PQD QH\ VCKXSRH Qm\ ?PMPQE\ KZS QH\ I thank the Ministry of Culture and Tourism for its invaluable supPAPOXPRH Qm\ ZYZXZJQHQm\ YNXm\ H UH?SW[XCJZ QW[ QPMP[QZJW[ port and the First Ephorate for Prehistoric and Classical Antiquities P\QPMEL ZR[\]BSRQW[ PKBPRSZKWO aEXW[ QW[ ^W[RPJW[ and the Acropolis Restoration Services for our excellent working relationship. I am grateful to the Municipality of Athens and the I[aZXSRQE QW iYW[XCPJW pWMSQSR?WO KZS oW[XSR?WO CSZ QH\ YWMO ‘Technopolis’ for their unhesitating responsiveness to requests QS?H RQ]XSA] QW[ RQW ^W[RPJW QH\ pXEQH I@WXPJZ GXaZSWQ]Qm\ from the Museum. Lastly I would like to thank Samsung Electronics G> IphG KZS QH\ iYHXPRJZ {[\Q]XHRHL Qm\ ^\H?PJm\ QHL GKXN Hellas for their generous contribution to the Museum. YWMHL i{^G CSZ QH\ YWMO KZM] R[\PXCZRJZ IYJRHL P[aZXSRQJPL PK@XD_m RQW\ c]?W GBH\ZJm\ KZS QH\ ΤεχνόDimitrios Pandermalis πολη CSZ QH\ YXNB[?H Z\QZYNKXSR] QW[L RP ZSQ]?ZQZ QW[ ^W[RPJ President, Board of Directors W[ oVMWL P[aZXSRQE QH\ PQZSXPJZ # #% 2+)9754/)8 +22'8 CSZ QH CP\\ZSNUmXH YXWR@WXD QHL RQW ^W[RPJW

∆ηµήτριος Παντερµαλής Πρόεδρος του ∆Σ του Μουσείου

CL [UL\XbUN[R our visitors _YWk N^ YWOSNLXV ^LX^O^?LXV In spite of the negative economic XTZ?Y XYL NSO UNe\S N^] N^]WL\?^P climate and the reduction in \NSO DA@OY XYNk NS hLkWX[LY NgO tourism to Athens over the last N[T[]NYZgO ?SOeO N^ J^]\[Z^ 12 months, the Acropolis Museum NSR DXWVU^TSR \]ObHL\[ OY continued to successfully operate UYWbH[L ?[ [ULN]HZY NLR ]USW[\Z[R 12 hours daily 6 days a week, N^] MLY eW[R T[LN^]WMZYR NSO S?bWY XYL S?bW[R NSO [Eh^?khY remaining open until 22.00 each UYWY?bO^ONYR YO^LHNV ?bHWL NLR Friday night. From 1 June 2011 to XkA[ _YWY\X[]@ EWkh] 31 May 2012, 1,143,886 people DUV NSO S K^]OZ^]

bgR came to visit the Museum, creating a NSO S JYI^] healthy demand for services and a kN^?Y [UL\XblASXYO N^ J^]\[Z^ positive morale amongst staff, a hS?L^]WMeONYR ]ML@ UWVXTS\S crucial ingredient for maintaining \NS FL^ZXS\S MLY UW^\l^Wk quality services to the public. ]USW[\LeO XYL

YPmS\S NSR XYT@R hLkA[\SR N^] Front desk staff continued to UW^\gULX^P \S?YONLXV UYWkM^ONY collect data on country of origin MLY NSO YhLkT[LUNS UW^\l^Wk and main language spoken from U^L^NLXeO ]USW[\LeO UW^R N^ visitors so X^LOV that the Museum is able to profile the background of its G^ UW^\gULXV NSR ]U^h^H@R visitors accurately. This year Greek \]ObHL\[ NS \]TT^M@ \NYNL\NLXeO visitors were again a large part of\N^LH[ZgO MLY NS HeWY UW^bT[]\SR the Museum’s visiting public, XYL NS MTe\\Y XkA[ [UL\XbUNS reversing the trend commonly ?[ YU^NbT[\?Y N^ J^]\[Z^ OY reported in the media of Greeks hLYAbN[L ?LY YXWLE@ [LXVOY MLY not visiting their museums. NSO UW^bT[]\S NgO [UL\X[UNeO N^] D]N@ NS HW^OLk ^L sTTSO[R Museum ticket prices were kept [UL\XbUN[R YU^NbT[\YO UkTL at 5 euro for a full entry ticket. bOY ?[MkT^ N?@?Y N^] X^LO^P This is a low admission fee by U^] [UL\XblASX[ N^ J^]\[Z^ international standards and reflects YONL\NWbl^ONYR NSO Nk\S U^] Museum policy aimed at helping \]HOk YOYlbW[NYL YUV NY JJd VNL people to visit the Museum. A large ^L sTTSO[R h[O [UL\XbUN^ONYL NY number of eligible ?^]\[ZY N^]R visitors (42%) also continued to visit the Museum r NL?@ N^] [L\LNSWZ^] M[OLX@R free of charge or at a discounted [L\Vh^] UYWb?[LO[ \NY []We rate. NL?@ Y]N@ hL[AOeR [ZOYL HY?ST@ XYL YONYOYXTk NSO [O\]O[ZhSNS U^TLNLX@ N^] J^]\[Z^] OY hL[]X^TPO[L NSO UW^\bT[]\S [UL\X[UNeO sOYR ?[MkT^R YWLA?VR \]MX[XWL?bOgO [UL\X[UNeO N^ \]ObHL\[ OY [UL\XbUN[NYL N^ J^]\[Z^ ?[ ?[Lg?bOS @ hgW[kO [Z\^h^

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1June 2011 to 31 May 2012 Total visitors

1,143,886

Visitors arriving independently (74% of all visitors) Visitors arriving in pre organized groups (26% of all visitors)

843,082 300,804

Greek English French

Of these:

Student Groups

Languages spoken (by independent visitors)

(44%)

132,266

Spanish Italian

Adult Groups

(56%)

168,538

Dutch

Countries of origin (Independent visitors)

Greece United States France United Kingdom Italy Spain Germany Australia Canada Brazil Other Countries

Τotal*

46% 13% 6% 4% 4% 3% 3% 3% 2% 1% 15%

100%

German

356,305 101,172 47,899 32,218 28,149 26,517 22,519 20,580 17,408 9,002 114,597

Portugese Russian Other Languages

Total*

47% 23% 8% 5% 4% 3% 1% 1% 1% 7%

100%

360,048 177,881 55,734 40,702 28,013 26,854 10,739 10,625 8,743 57,027

776,366

*(excluding special events and restaurant)

Free and Discounted entry Free entry tickets

42%*

Discounted tickets

8%*

474,953 88,110

*(of all visitors)

776,366

*(excluding special events and restaurant)

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r [?U[LWZY NSR [UZ\X[oSR the visitor experience period was enhanced with the Changes and improvements ΑΝΝιγέĎ‚ κιΚ βξΝĎ„ΚĎŽĎƒξΚĎ‚ ĎƒĎ„Ρ ]TLXk U^] HWS\L?^U^L@ASXYO mounting of a display of the natural toĎƒĎ…ΝΝογΎ the permanent collection MLY OY ngMWYlL\N^PO XYL OY ÂľĎŒνΚ¾Ρ B[ONWLXV km^OY NSR [?U[LWZYR NSR substances used in this period, as The centre stage of the Museum HWg?YNL\N^PO NY MT]UNk XYNk NS [UZ\X[oSR \N^ J^]\[Z^ YU^N[T^PO hLkWX[LY NSR DWHYiX@R U[WLVh^] well as the tools used by artisans experience is its exhibits. NY [XAb?YNk N^] _W^N[WYLVNSNY ?b\g NSR bXA[\SR NgO l]\LXeO of the times to sculpt objects such The Museum’s priority is to N^] J^]\[Z^] [ZOYL S \]O[H@R ^]\LeO U^] HWS\L?^U^L^PONYO as those exhibited in the Archaic continuously improve the E[TNZg\S NSR ?VOL?SR bXA[\SR XYL Y]N@ NSO U[WZ^h^ XYAeR XYL NgO Gallery. permanent exhibition and to S [L\YMgM@ ObgO \N^LH[ZgO \NLR [WMYT[ZgO U^] HWS\L?^U^L^PONYO introduce new elements to its YZA^]\[R YUV XYTTLNbHO[R NSR [U^H@R MLY In preparation for an extended galleries. NS Tkm[]\S YONLX[L?bOgO VUgR Museum in-gallery activity on DUV NY HLTLkh[R AWYP\?YNY Y]Nk U^] [XNZA[ONYL \NSO YWHYiX@ ancient color, an Archaic period From the thousands of fragments MT]UNeO NSR DXWVU^TSR U^] YZA^]\Y Ionic column capital with delicate from the Acropolis stored in l]Tk\\^ONYL \NLR YWHYL^T^MLXbR relief and painted decoration archaeological storerooms, YU^A@X[R ^L YWHYL^TVM^L N^] QN^ UTYZ\L^ NSR UW^[N^L?Y\ZYR was put on display, as was the Museum archaeologists J^]\[Z^] YOYMOeWL\YO XYL NSR ?^]\[LYX@R hWk\SR MLY N^ pillar capital of Theodoros, son successfully identified and \]ObOg\YO U^T]kWLA?Y X^??kNLY YWHYiXV HWe?Y \N@ASXYO bOY ?[ @hS [XN[A[L?bOY bWMY of Onesimos, that was used as matched numerous pieces with YWHYiXV LgOLXV XL^OVXWYO^ ?[ dmYLW[NLXk \S?YONLX@ ]U@Wm[ S T[UNV MT]UNLXV YTTk XYL HWg?YNLXV a statue base and features a exhibits. Of particular significance NYPNL\S ?[MkT^] AWYP\?YN^R dedicatory inscription with well was the identification of a large hLkX^\?^ XYL N^ [UZXWYO^ N^] YUV NSO UTkNS N^] MZMYONY \NS preserved coloring. fragment belonging to the back COS\Z?^] ML^] N^] a[^heW^] h[mLk MgOZY N^] Y[Ne?YN^R N^] of the ‘Giant’ of the ‘Old Athena U^] HWS\Z?[][ gR Ek\S YMkT?YN^R Î‘Ď Ď‡ιίοĎ… Î?ιοĎ? r \]MXVTTS\S ?[ U^TP XYTk hLYNSWS?bOY NY After years of anticipation, the Temple’. Its reattachment to the AY [ULlbW[L YTTYMbR \NSO bgR HWg?YNL\?bOY MWk??YNY NSR metopes of the northwest corner sculpture will alter the current NeWY YOY\POA[\S NSR ?^Wl@R YOYAS?YNLX@R [ULMWYl@R N^] of the Parthenon, north metopes reconstruction of the figure. From _YWkTTSTY bMLO[ ObY bXA[\S NSR 31 and 32 and west metope 1, the same temple, the lion’s head J[Nk YUV YOY?^O@ U^TTeO [NeO T[^ON^X[lYT@R ]hW^WWVSR N^] were removed from the monument. waterspout was presented in a new XYNbESXYO YUV N^O _YWA[OeOY OY^P \NSO ^U^ZY UW^\NbASX[ Following conservation in the ^L ?[NVU[R NSR E^W[L^h]NLX@R display featuring a large section of ?[MkT^ N?@?Y NSR [UYbNLYR \Z?SR Museum’s workshops, they were MgOZYR N^] XNLWZ^] ^L EVW[L[R the sima above the pediment which N^] OY^P put on display temporarily at a XYL XYL S h]NLX@ Dl^P was rejoined. vLnLXk kTTYm[ S ?^Wl@ N^] \]ONSW@ASXYO \N^ [WMY\N@WL^ low height, so that visitors could U[WZlS?^] X]OSMSNLX^P \X]TL^P MT]UNeO N^] J^]\[Z^] \N@ASXYO for the first time view original The famous Hunting Dog attributed U^] YU^hZh[NYL \N^O XYTTLNbHOS UW^\gWLOk \[ HY?STV Po^R metopes from the Parthenon at to the sculptor of the Rampin Rider N^] Κππέι Rampin ?[ NSO MLY OY ?U^W^PO ^L [UL\XbUN[R saw an essential change in its form close proximity and appreciate UW^\A@XS N?@?YN^R NSR ^]WkR their exceptional artistic value. with the addition of a section of OY h^]O MLY UWeNS l^Wk YUV N^] Q]?UTSWeASX[ YXV?Y X^ONk UWgNVN]U[R ?[NVU[R N^] Metope 32 with its remarkable the dog’s tail. The right limb of ?[ UWgNVN]UY AWYP\?YNY N^ _YWA[OeOY XYL OY YOYXYTPo^]O composition and its refined Horse Rider 700 was augmented h[mZ \XbT^R N^] LUUbY XYL NSO LhLYZN[WS XYTTLN[HOLX@ YmZY rendering of detail draws the eye with original fragments and KoreN^]R X]WZgR NSR ?[NVUSR mYOY\N@ASX[ ?[ \PMHW^O^ NWVU^ and it is this metope that escaped 669 was remounted using modern S YLOLM?YNLX@ BVWS Yl^P ?[ NS \U^]hYZY \POA[\S NSR destruction by fanatical Christians, techniques, following the removal YUYTTkHASX[ YUV UYTYLVN[W[R UYWk\NY\SR XYL NSO ]oST@ possibly because it was thought of earlier additions of plaster. MPoLO[R \]?UTSWe\[LR T[UNVNSNY XYL HkWS \NSO YUVh^\S to depict, in an early manner, the NgO T[UN^?[W[LeO NgO [Oh]?kNgO Visitors’ opportunity to appreciate CL [UL\XbUN[R [ZHYO NSO []XYLWZY dZOYL S ?[NVUS U^] hLbl]M[ YUV NSO Annunciation. OY [XNL?@\^]O NY YXYNbWMY\NY the raw materials used to paint and XYNY\NW^lLX@ ?YOZY lYOYNL\?bOgO color sculptures during the Archaic

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Preparation of the on site To enhance the display of the HWL\NLYOeO MLYNZ Z\gR A[gW@ASX[ [XNVR YUV NSO DASOk XYL N^O ZhL^ archaeological excavation reconstruction of the Parthenon’s VNL UYWL\NkO[L \[ ?LY UW^hW^?LX@ S DlW^hZNS S UW^\NkNLhY NSR The archaeological remains of the akroterion, the Museum presented ?^Wl@ N^O d]YMM[TL\?V NSR UYNWZhYR N^] BOZh^] \NS J D\ZY a[^NVX^] significant original fragments which ancient Athenian neighborhood Προετοιµασία της επιτόπιας that lies under the Museum will demonstrate the high quality of |LY OY [OL\HP\[L NSO YOYUYWk\NY\S αρχαιολογικής ανασκαφής the crowning decorative element of form a further ‘gallery’ of the N^] YXWgNSWZ^] N^] _YWA[OeOY GY YWHYL^T^MLXk []W@?YNY NSR this emblematic temple and lay the Museum with a network of ramps N^ J^]\[Z^ UYW^]\ZY\[ N^O K^POL^ YWHYZYR DASOYiX@R \]O^LXZYR ground for subsequent research for and exhibition areas and displays N^]

\N^ X^LOV \S?YONLXk U^] [XN[ZO[NYL XkNg YUV N^ of the portable findings. In the the reconstruction of the second UWgNVN]UY AWYP\?YNY NY ^U^ZY J^]\[Z^ AY YU^N[Tb\^]O bOY past year Museum archaeologists akroterion. XYNYh[LXOP^]O NSO ]oST@ U^LVNSNY Ob^ [XA[\LYXV HeW^ MLY N^]R working with conservators and NSR X^W]lYZYR hLYXV\?S\SR [UL\XbUN[R ?[ hZXN]^ hLYhWV?gO Many improvements were made in workmen, approached completion N^] [?ETS?YNLX^P OY^P XYL [UZ\X[oSR NgO [W[LUZgO the Parthenon Gallery, in particular of works to restore and conserve hW^?^T^M^PO NS ?[TbNS MLY NSO XYL ?^]\[LYX@ UYW^]\ZY\S with the new mounting of the ancient structures in the YOYUYWk\NY\S XYL N^] h[PN[W^] all the NgO XLOSNeO []WS?kNgO NSR centralYXWgNSWZ^] south metopes. Original YOY\XYl@R BYNk NS hLkWX[LY N^] excavation. The proposal for the fragments were mounted on thick displayN[T[]NYZ^] bN^]R ^L YWHYL^TVM^L of the excavation and the QNSO YZA^]\Y N^] _YWA[OeOY slabs of transparent Plexiglas using designN^] J^]\[Z^] h^]T[P^ONYR ?[ of the exhibition for the bMLOYO U^TTbR E[TNLe\[LR LhLYZN[WY N^]R \]ONSWSNbR XYL N^]R [WMkN[R an innovative approach that allows excavation’s portable finds was ?[ N^ Ob^ \N@\L?^ NgO X[ONWLXeO \H[hVO ^T^XT@Wg\YO NLR [WMY\Z[R clear viewing and examination progressed to near completion. O^NZgO ?[N^UeO GY UWgNVN]UY YU^XYNk\NY\SR XYL \]ON@WS\SR without the plaster back mount. AWYP\?YNY \N[W[eASXYO \[ ColourNgO YWHYZgO XYNY\X[]eO \NSO coming to the Museum YOY\XYl@ r UWVNY\S MLY NSO In the L\H]WbR UTkX[R YUV hLklYO^ north gallery on the first The Museum commenced a "2+</-2'8 ?[ XYLO^N^?LXV NWVU^ UYW^]\ZY\S NSR YOY\XYl@R XYL floor, the relief decrees were specialized research project on U^] [ULNWbU[L NSO YUWV\X^UNS N^ \H[hLY\?V NSR bXA[\SR MLY rearranged. Supplementary on the sculptures, the AbY\S XYL ?[TbNS N^]R hZHgR N^ the colour NY XLOSNk []W@?YNY EWZ\X[NYL \[ information was provided in architectural members and the h]\kW[\N^ MPoLO^ bhYl^R eWL?^ \NkhL^ four languages using digital inscriptions of the Archaic period. technology, so that visitors can In 2012 resultsχρώµα of the research Q]O[HZ\NSX[ N^

Τοthe αρχαϊκό better^ XYAYWL\?VR NSR BYW]kNLhYR D ?[ appreciate these significant will be JLY [ON[TeR LhLYZN[WS ?^]\[LYX@ presented to visitors monuments of ancient Athenian N[HOLX@ 2'8+7 XYL ^T^XTSWeASX[ ?[ while the research continues in hWk\S m[XZOS\[ ?[ NSO bW[]OY public [ULN]HZY life. The display was N^] HWe?YN^R \NY YMkT?YNY cooperation with Greek and foreign enriched with the addition of the NY YWHLN[XN^OLXk ?bTS XYL NLR institutes. decreeQNS EVW[LY YZA^]\Y N^] UWeN^] for Proxenides, where [ULMWYlbR NSR YWHYiX@R [U^H@R ^WVl^] bMLO[ YOYhLkNYmS NgO Jb\Y \N^ NY YU^N[Tb\?YNY besides Athena and Proxenides Conservation in situ and in oSlL\?YNLXeO YOkMT]lgO himself, Aphrodite is depicted publicNgO [WMY\LeO AY YWHZ\^]O OY view UYW^]\Lkn^ONYL \N^]R [UL\XbUN[R as thed?UT^]NZ\NSX[ ^ \H^TLY\?VR N^]R patron goddess of his Conservators continued their \[ Nb\\[WLR MTe\\[R ?[ oSlLYXV N^] J^]\[Z^] [Oe UYWkTTSTY AY homeland of Knidos in Asia Minor. regular works both in the galleries \P\NS?Y UW^X[L?bO^] OY ?U^W^PO UW^HgW[Z U[WYLNbWg N^ [W[]OSNLXV and in the Museum while also ^L [UL\XbUN[R OY XYNYO^^PO bWM^ \[ \]O[WMY\ZY ?[ [TTSOLXk The cleaning of Caryatid A with a undertaking in public view, the NY \U^]hYZY Y]Nk ?OS?[ZY NSR XYL mbOY LO\NLN^PNY laser technique was successfully laser cleaning of the Caryatids hS?V\LYR ng@R NSR YWHYZYR completed during 2011. DA@OYR r ^?khY [OL\HPASX[ on the Caryatids’ balcony in ?[ bOY YXV?S o@lL\?Y MLY N^O cooperation with the Institute of

_W^m[OZhS \N^ ^U^Z^ YU[LX^OZn[NYL

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communicating archaeology Technology and Research of Crete. With the aid of a monitor, visitors were able to observe the process underway. The laser cleaning of the Archaic Owl was also undertaken outside the Museum in visitors’ view, as was much of the conservation and restoration of the archaeological excavation that lies below the Museum. 3D scanning of the Parthenon frieze In October 2011 the Museum commenced cooperation with the Laboratory of Machine Tools and Manufacturing Engineering of the Aristotle University of Thessaloniki in a program to undertake the detailed 3-dimensional scanning of the Parthenon frieze in Athens and London. This work informs the possibility of the correct physical reunification of the reliefs in Athens with those in the British Museum. In addition to its essential contribution to research, the program will assist in the scientifically accurate reunification of the frieze blocks and their many fragments that are held in the two museums.

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With school students: school programs The Museum offers a restricted number of educational programs and presentations of the permanent exhibition to school groups. Demand for these programs far exceeds supply. Given the impossibility of providing access to organized programs for all school groups, the Museum has commenced exploring the development of resources to support self-guided and teacher lead visits so that more students can benefit from programs and activities in the Museum in the future. In the past year 2,433 primary school students from 54 schools participated in the Parthenon Sculpture Program with the Acropolis Restoration Service Education Team (YSMA). A further 7,442 children from 178 schools participated in activities focused on the Museum’s permanent collection with Museum Archaeologist-Hosts. With teachers: teacher training A critical strategy already in place for multiplying the human resource capacity for productive school visits is the training of teachers in undertaking their own programs within the Museum collection. The YSMA Education Team presented 9 seminars to over 255 teachers in the Museum auditorium on

educational programs for the Parthenon Gallery. With visitors in the galleries: gallery talks 2,166 visitors participated in gallery talks with Museum Archaeologist-Hosts. Presentations continued on The Kore of Antenor, The Horse Riders and The Sanctuary of Asclepios. Presented in both English and Greek, brief presentations focusing on one exhibit were new to Greek audiences: however the Museum noted that the gallery talks rated amongst the 10 most popular activities in Athens by the weekly magazine Athinorama. In addition to the regular program, the Museum offered a number of special event gallery talks on the occasion of the installation of the Akroterion exhibit in the Parthenon Gallery as well as when the display of north metopes 31 and 32 and west metope 1 of the Parthenon was introduced into the Parthenon Gallery. With children and their families: the family backpack The Family Backpack Program A day at the Acropolis Museum with the Goddess Athena was first introduced in April 2011 and continues to be popular and well received by families visiting the Museum. The backpack contains various games and activities that are exhibition- based and are supported by colourful children’s

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YUV NSO `USW[\ZY DOY\N@Tg\SR ^] [UL\XbUN^ONYL N^ J^]\[Z^ can now purchase the Guide in exhibit labels in the Museum JOS?[ZgO DXWVU^TSR `QJD ^ \YXZhL^ N^] UW^MWk??YN^R French, German, Spanish as well galleries. The pack activities XYL m[XZOS\YO OY UW^EkTT^ONYL [WLbH[L hLkl^WY UYLHOZhLY as the original Greek and English require families to work together N^ ?[ UW^E^TbR NY YL hWY\NSWLVNSN[R ?[ Ek\S NY editions. to solve its challenges. QYEEYN^XPWLYXY \NSO [TTSOLX@ XYL XAb?YNY U^] ]U^\NSWZn^ONYL The Guide is now also available in \NSO YMMTLX@ MTe\\Y UV U^TPHWg?[R \H[hLY\?bO[R In the past 12 months. 4,489 Braille (Greek and English) Y UYLhLk [LXVO[R [XA[?kNgO families used the backpack, with ÎœÎľ ¾ξĎ„ÎŹĎ†Ď ÎąĎƒΡ ĎƒĎ?νĎ„ο¾οĎ… on loanτου at the Museum’s L hWY\NSWLVNSN[R N^] \YXLhZ^] 76% of families using the Greek οδΡγοĎ? του ÎœÎżĎ…ĎƒξίοĎ… W^{U^AbN^]O NS \]O[WMY\ZY NgO Information Desk. language package and 24% G^ N[T[]NYZ^ bN^R N^ J^]\[Z^ using [TeO NgO ^LX^M[O[LeO MLY NSO With multimedia the English language version.?[NblWY\[ N^O QPON^?^ ChSMV UZT]\S NgO UW^XT@\[eO N^] The centrality of multimedia and An evaluation undertaken byN^] \[ MTe\\[R CL [UL\XbUN[R the ?U^W^PO UTb^O OY YM^Wk\^]O N^O ^]R N[T[]NYZ^]R ?@O[R social media in Museum education backpacks creators, the YSMA ChSMV \NSO MYTTLX@ M[W?YOLX@ X^MbO[L[R HWS\L?^U^ZS\YO and recreation is recognised Education Team indicates a high ^ \YXZhL^ ?[ N^ NgO internationally. This year the level of satisfaction amongstL\UYOLX@ MTe\\Y XYAeR XYL \NLR both YWHLXbR [XhV\[LR NSR [TTSOLX@R X^M[O[LeO OY HWS\L?^U^L^PO Board of Directors of the Museum children and their parents with XYL NSR YMMTLX@R MTe\\YR dUZ\SR ^ \YXZhL^ \NY [TTSOLXk XYL N^ endorsed a policy on multimedia over 90% of children surveyed OY HWS\L?^U^L^PO N^ \YXZhL^ ^ ChSMVR [ZOYL UTb^O hLYAb\L?^R and the systematic redevelopment expressing the desire to return to hYO[L\NLXk \[ MWYl@ 7'/22+ NY YMMTLXk r YU^NZ?S\S NgO of the Museum website, as the the Museum after using the pack. [TTSOLX@ XYL YMMTLX@ YUV N^ S?L^]WMeO N^] \YXLhZ^] NSR central platform for onsite and The digital application Athena |WYl[Z^ _TSW^l^WLeO XUYLh[]NLX@R ^?khYR NSR `QJD remote visitors. This policy – the Goddess of the Acropolis N^] J^]\[Z^] YNYh[LXOP[L bOY ]oSTV [UZU[h^ formed the basis of the Museum’s (www.acropolis-athena.gr) further YO^U^ZS\SR YOk?[\Y \NY UYLhLk application for funding to the extends the activities of the ÎœÎľ Ď€οΝĎ…¾έĎƒÎą YL \NLR ^LX^MbO[LbR N^]R ?[ UkOg backpack once visitors are atr X[ONWLX@ Ab\S NgO U^T]?b\gO home EU’s National Strategic Reference UV N^ NgO UYLhLeO NSR XYL NgO ?b\gO X^LOgOLX@R Framework Development Funds or even if not visiting W[]OYR OY [XlWkn^]O NS hLkA[\S hLXNPg\SR \NS ?^]\[LYX@ Y [UL\NWbo^]O \N^ J^]\[Z^ ?[Nk Program. A successful outcome the Museum. [XUYZh[]\S XYL YOYo]H@ [ZOYL S HW@\S N^] \YXLhZ^] r oSlLYX@ from this application will assist With visitors the virtualhL[AOeR YOYMOgWL\?bOS D]NV lYW?^M@ ΑθΡνΏ - Η θξΏinĎ„ΡĎ‚ the Museum to implement its N^ bN^R N^ FL^LXSNLXV Q]?E^PTL^ reality theatre ;;; ')75652/8 '9.+4' ÎşĎ ĎŒĎ€οΝΡĎ‚ policy and a range of programs USMYZO[L bOY E@?Y UL^ UbWY NLR The Museum has a 40 seat N^] J^]\[Z^] ]L^AbNS\[ ?LY to enhance visitor access to the WY\NSWLVNSN[R N^] \YXLhZ^] ?[Nk theatre with a state-of the art?^]\[LYX@ U^TLNLX@ MLY NY Museum collections. U^T]?b\Y XYL NS \]\NS?YNLX@ SO [UL\NW^l@ NgO [UL\X[UNeO \N^ screen for 3-dimensional virtual YOkUN]mS NSR L\N^\[TZhYR N^] UZNL N^]R @ YXV?S XYL YO With digitalizing the collection reality projections. Films orienting J^]\[Z^] gR X[ONWLX@ UTYNlVW?Y [O [UL\X[lA^PO N^ J^]\[Z^ In order to preserve archaeological visitors to the monuments of the MLY S?[hYU^PR XYL YTT^hYU^PR data and to aid effective use of Acropolis produced by the YSMA [UL\XbUN[R D]N@ S U^TLNLX@ Îľ ξπΚĎƒκέπτξς ĎƒĎ„Îż θέιĎ„Ď Îż this information both for research commenced screenings in 2012 hLY?VWlg\[ NS Ek\S MLY N^ YZNS?Y κονΚκΎĎ‚ Ď€Ď ÎąÎłÂľÎąĎ„ΚκĎŒĎ„Ρτις and visitor resource development, with regular showings on theN^] J^]\[Z^] MLY [ULH^W@MS\S ^ J^]\[Z^ hLYAbN[L bOY AbYNW^ the digitalization of extensive weekends in Greek and English. YUV N^ dAOLXV QNWYNSMLXV X^OLX@R UWYM?YNLXVNSNYR handwritten and analogue files _TYZ\L^ DOYl^WkR dQ_D GY Ab\[gO ?[ ?LY N[T[]NYZYR With translation of the brief was commenced. In the past year YU^N[Tb\?YNY N^] UW^MWk??YN^R HO^T^MZYR ^AVOS MLY Museum guide Museum archaeologists supervised Y]N^P AY E^SA@\^]O N^ J^]\[Z^ WL\hLk\NYN[R UW^E^TbR CL In the past year the MuseumOY ]T^U^L@\[L NSO U^TLNLX@ N^] the digitalization of 600 WL\hLk\NYN[R UW^E^TbR NYLOLeO translated the Brief Guide toMLY bOY ?[MkT^ [PW^R hWk\[gO the archaeological excavation plans, ^] XYA^hSM^PO N^]R [UL\XbUN[R Museum in 5 languages. Visitors [lYW?Vn^ONYR oSlLYX@ N[HO^T^MZY NY ?OS?[ZY NSR DXWVU^TSR bMLOYO

10

program\ULNL^P N^]R XYAeR [UZ\SR OY draws together the 1,200\NSO UW^[N^L?Y\ZY XYL hL[]XVT]O\S individual exhibit archive knowledge of the Museum, records, catalogue lists for 12,100 contentbH^]O UWV\EY\S \[ hLYAb\L?[R NSR [UZ\X[oSR \N^ J^]\[Z^ the technical skills of its project individual portable finds and the DXWVU^TSR [LXVO[R ]oST@R []XWZO[LYR NgO partners[XA[?kNgO \NSO L\N^\[TZhY and the approaches of contents of 2,000 trays of stored ÎœÎľ The ĎˆΡφΚοĎ€οίΡĎƒΡ Ď„ΡĎ‚ ĎƒĎ…ΝΝογΎĎ‚ ;;; -55-2+'796750+)9 )53 story tellers, authors and other Jb\g ceramics. digital photographing J[ \NVH^ NS hLYN@WS\S NgO NSR [lYW?^M@R NSR N[HO^T^MZYR of 750 exhibits also completed the disciplines to be able to tell the YWHYL^T^MLXeO h[h^?bOgO stories lgN^MWYlZYR /-'6/H+2 NSR 55-2+ of the Museum’s exhibits basic photographic profiling of the XYL YWH[ZgO XYL NS \N@WLmS MLY ?LY [mYLW[NLXk ]oST@R []XWZO[LYR using varied approaches for Museum’s permanent collection. YU^N[T[\?YNLX@ HW@\S Y]NeO different[LXVOY NSR TZA^] & NSR YOYN^TLX@R ‘types’ of visitors. Initially NgO UTSW^l^WLeO XYL MLY NSO nglVW^] N^] _YWA[OeOY 5L With the Google Art Project to be implemented with mobile bW[]OY YTTk XYL NSO YOkUN]mS HW@\N[R ?U^W^PO OY YOYXYTPo^]O From April 2012, a high quality hand held technologies, the project T[UN^?bW[L[R \N^ YOkMT]l^ U^] virtual NgO E^SAS?kNgO MLY N^]R tour of the Museum’s is evolving a model for broader [UL\XbUN[R kWHL\[ S oSlL^U^ZS\S h[O [ZOYL ^WYNbR ?[ M]?OV ?kNL Archaic and Parthenon Galleries ?[MkT^] YWLA?^P H[LW^MWklgO application in the Museum’s became available to remote of multimedia and XYL YOYT^MLXeO YWH[ZgO BYNk production ÎœÎľ ĎˆΡφΚικΎ ÎąĎ†ΎγΡĎƒΡ: visitors through the Museum’s a libraryĎ„ÎżofĎ€Ď ĎŒÎłĎ ÎąÂľÂľÎą audio-visualCHESS assets NS hLkWX[LY N^] N[T[]NYZ^] bN^]R participation in the Google Art In the past 12 months. ^L YWHYL^TVM^L N^] J^]\[Z^] G^ J^]\[Z^ YObUN]m[ NSO hWk\S Project[UVUN[]\YO NSO oSlL^U^ZS\S and the application of N^] \NS ELg?YNLX@ [?U[LWZY Google’s Street View technology. YWHYL^T^MLXeO YOY\XYlLXeO NSR _^TLNL\NLX@R BTSW^O^?LkR Having\H[hZgO ?[?^Og?bOgO joined 150 other cultural ?b\g NgO X^LOgOLXeO XYL institutions across the globe, YWH[ZgO [XA[?kNgO TZ\N[R YN^?LXeO YTTST[ULhWk\[gO XYL virtual XYNYTVMgO MLY visitors worldwide can NSR oSlLYX@R Yl@MS\SR Q[ ?[?^Og?bOY XLOSNk []W@?YNY XYL now tour these galleries from the \]O[WMY\ZY ?[ kTT^]R [NYZW^]R NY U[WL[HV?[OY YUV hZ\X^]R comfort of their home, while also Y]N@ S bW[]OY U^] [ULH^WSM[ZNYL YU^ASX[]?bOgO X[WY?[LXeO accessing high resolution images YUV N^ ^ _WVMWY??Y NSR r oSlLYX@ lgN^MWklS\S d]WgUYiX@R sOg\SR \]O[OeO[L of exhibits made available on the [XA[?kNgO [UZ\SR \]?UT@Wg\[ N^ NSO [UL\NS?^OLX@ MOe\S MLY N^ site. Through Google’s application EY\LXV lgN^MWYlLXV YWH[Z^ NSR U[WL[HV?[O^ N^] J^]\[Z^] NLR of gigapixel photography, a super ?VOL?SR \]TT^M@R N^] J^]\[Z^] N[HOLXbR h[mLVNSN[R NgO [NYZWgO high resolution image of Block N^] \NS ?[TbNS XYL NLR UW^\[MMZ\[LR VI of the ÎœÎľParthenon Ď„Îż Googleeast Artfrieze Project NgO YlSMSNeO NgO \]MMWYlbgO enablesDUV NLR DUWLTZ^] ?LY users to see detail XYL kTTgO [LhLXeO bN\L e\N[ in the relief not available to ]oST@R U^LVNSNYR oSlLYX@ OY UW^XPo[L ?LY Yl@MS\S MLY the naked eye. U[WL@MS\S NSR YWHYiX@R YZA^]\YR NY ?^]\[LYXk [XAb?YNY U^] OY XYL NSR YZA^]\YR N^] _YWA[OeOY Yl^Wk \[ hLYl^W[NLX^PR Ď„Ď?πους With digital storytelling: N^] J^]\[Z^] bMLO[ hLYAb\L?S [UL\X[UNeO DWHLXk the Chess project \N^ hL[AObR X^LOV ?b\g NSR S [lYW?^M@ NSR bW[]OYR MLOVNYO ?[ \]??[N^H@R N^] J^]\[Z^] Following funding in early 2011 N[HO^T^MZ[R XLOSNeO NST[leOgO \N^ 55-2+ 79 "750+)9 XYL NSR the Museum furthered its work in [Oe NeWY UW^gA[ZNYL bOY [lYW?^M@R NSR N[HO^T^MZYR the Cultural Heritage Experiences ?^ONbT^ MLY []WPN[WS [lYW?^M@ through#97++9 &/+; NSR 55-2+ sH^ONYR Socio-Personal \NSO UYWYMgM@ N^] J^]\[Z^] \]Oh[A[Z ?[ bOY hL[AObR hZXN]^ Interactions and Digital Storytelling MLY U^T]?b\Y XYL ?LY ELETL^A@XS

U^TLNL\NLXeO ^WMYOL\?eO ^L ^UNLX^YX^]\NLXeO YMYAeO (CHESS) Project. In cooperation oSlLYX^Z [UL\XbUN[R bH^]O UTb^O with several other partners, this NS h]OYNVNSNY OY U[WLSMSA^PO NLR YZA^]\[R YUV NSO kO[\S N^]

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1June 2011 to 31 May 2012 Programmed school visits form a significant component of Museum visits and an important investment in the socialization of school students to museum visiting.

Total visitors in student groups 132,266

Facebook

Of which:

Total number of friends

Greek students

(76%)

100,701

Foreign students

(24%)

31,565

Primary school children

(32%) (48%) (20%)

42,723 64,106 25,437

Secondary school children Tertiary students

United States United Kingdom France Italy Germany Spain Canada Australia Cyprus other countries

Source countries for friends

Greece United States Cyprus United Kingdom Germany Australia

Total number of visitors to website

Greece

New friends since 1 June 2011

Italy

Virtual Visitors 72% 8% 3% 2% 1% 1% 1% 1% 1% 1% 9%

450,468 322,851 34,561 12,539 7,412 6,899 6,646 5,679 5,470 4,234 3,367 40,810

324,584 46,851

other countries

73% 5% 2% 2% 2% 1% 1% 14% Age of Friends

13-17 18-24 25-34 35-44 45-54 55+ Unknown

12% 25% 31% 19% 7% 4% 2%

Medical services Total number of Museum visitors attended Total number of Museum staff consultations

12

236,458 15,845 7,175 5,621 5,512 4,237 3,375 46,361

2,807 1,454 13

4

communicating the museum dULX^LOgOeONYR N^ J^]\[Z^ Entry was free for all visitors on With music J^]\[ZgO N^O JkL^ N^] ÎœÎľ ¾οĎ…ĎƒΚκΎ r ?^]\LX@ ]L^A[N@ASX[ gR four full days and between 8.00 Music was introduced as a G^ J^]\[Z^ UYW[ZH[ hgW[kO bOY \NYA[WV \]\NYNLXV \N^ am and 12.00 midnight for four stable ingredient to Museum [Z\^h^ \[ VT^]R N^]R [UL\XbUN[R UWVMWY??Y N^] J^]\[Z^] N^ other late night openings. programming in the summer of\[ UT@W[LR S?bW[R XYL hgW[kO [Z\^h^ YUV NLR bgR NLR XYT^XYZWL N^]

XYL \]ObHL\[ 2011 and continued throughout

? ? MLY YXV?S S?bW[R XYAf VTS NS hLkWX[LY N^] bN^]R With postcard promotion the year with both contemporary hL[]W]?bO^] gWYWZ^] ?[ \PMHW^O[R XYL ^WHS\NWLXbR In August 2011 the Museum made and orchestral concerts performed \]OY]TZ[R \N^O YPT[L^ HeW^ N^] promotional postcards available to in the Museum’s courtyard ÎœÎľ Ď€Ď ÎżĎŽθΡĎƒΡ ÎşÎąĎ Ď„ĎŽν J^]\[Z^] XYL \NSO ]U^h^H@ XYL city hotels, key tourist information and lobby, with small group G^O DPM^]\N^ N^]

?[ ?^]\LXbR [XN[Tb\[LR ?LXWeO points at the airport and elsewhere performances on the balcony N^ J^]\[Z^ hS?L^PWMS\[ ^?khgO \N^O [me\NS UkOg and to large bookstores. Almost overlooking the Archaic Gallery. hLYlS?L\NLXbR XkWN[R hLYAb\L?[R YUV NSO DWHYiX@ YZA^]\Y CL 18,000 postcards have been Balcony performances commenced \NY m[O^h^H[ZY NSR UVTSR ?^]\LXbR [XN[Tb\[LR \N^O [me\NS distributed free of charge so in December 2011 followed by \NY MWYl[ZY N^]WL\NLXeO m[XZOS\YO N^O F[Xb?EWL^ N^] far in this first step in informing UTSW^l^WLeO N^ Y[W^hWV?L^ XYL the February Thursday afternoon

XYL YX^T^PAS\YO NY ?^]\LXk visitors to Athens of the Museums’ series (Musical Meetings with \[ ?[MkTY ELETL^UgT[ZY QH[hVO YU^M[P?YNY XkA[ _b?UNS N^] operating hours and address. y[EW^]YWZ^] ?[ NZNT^ ÎœÎżĎ…ĎƒΚκέĎ‚ Mano Hatzidakis) and a series XYT^\H[hLY\?bO[R XkWN[R of hLYO[?@ASXYO hgW[kO bgR NeWY ÎŁĎ…νινĎ„ÎŽĎƒξΚĎ‚ ¾ξ Ď„ον ÎœΏνο ΧιĎ„ΜΡδΏκΚ six performances in March/April With museum exact cast copies \[ Y]N@O NSO UWeNS YUVU[LWY XYL ?LY \[LWk YUV bmL ?^]\LXbR titled Greek Crossroads: a meeting In May 2012 the Museum’s [OS?bWg\SR NgO [UL\X[UNeO NSR [XN[Tb\[LR N^O JkWNL^ DUWZTL^ ?[ with an Anthology of International Conservation Department UVTSR NgO DASOeO MLY NLR eW[R NZNT^ ΕΝΝΡνΚκοί Î´Ď ĎŒ¾οΚ Music. Visitors were able to either T[LN^]WMZYR XYL NSO N^U^A[\ZY produced its first cast copies of ĎƒĎ…νινĎ„ÎżĎ?ν Ď„Ρν Ď€ιγκĎŒĎƒ¾Κι ¾οĎ…ĎƒΚκΎ tour the Archaic exhibition within N^] J^]\[Z^] original exhibits for sale in the ινθοΝογίι earshot of the music from the CL [UL\XbUN[R [ZHYO NS h]OYNVNSNY Museum shop. Museum franked balcony, or take a place on theÎœÎľ ÎąÎşĎ ÎšÎ˛ÎŽ ÎłĎ?ĎˆΚνι ινĎ„ÎŻÎłĎ ÎąĎ†Îą [ZN[ OY U[WLSM^PONYL NSO YWHYiX@ copies of the Head of Athena balcony itself. ξκθξ¾ΏĎ„Ď‰ν του ÎœÎżĎ…ĎƒξίοĎ… YZA^]\Y YX^PM^ONYR NLR ?[TghZ[R Parthenos, the Head of the Blond YUV N^O [me\NS [ZN[ OY TkE^]O ?LY G^O JkL^ N^] N^ G?@?Y Boy and a recently exhibited relief With morning to midnight Q]ON@WS\SR N^] J^]\[Z^] Ab\S \N^O ZhL^ N^O [me\NS from a base from the Odeion of openings and free entry days UYW@MYM[ NY UWeNY N^] YXWLE@ Herodes Atticus depicting the another means YONZMWYlY YUV Y]A[ONLXk [XAb?YNY ÎœÎľ ĎŽĎ ÎľĎ‚As ΝξΚĎ„ÎżĎ…Ď ÎłÎŻÎąĎ‚ ÎąĎ€ĎŒofĎ„Îżoptimizing personification of the community UW^R UeTS\S \NY XYNY\N@?YNY N^] for visitors, Ď€Ď Ď‰ÎŻ έωςaccess Ď„Îą ¾ξĎƒΏνυχτι κιΚthe Museum of Athens. Commemorative remains ξΚĎƒĎŒδοĎ… open from morning tillJ^]\[Z^] G^ J^]\[Z^ UYW@MYM[ ÎˇÂľÎ­Ď ÎľĎ‚ δĎ‰Ď ÎľÎŹÎ˝ medallions were also produced in zR bOY YXV?S ?b\^ MLY NS ?bML\NS midnight on special occasions.UL\Nk YONZMWYlY NSR X[lYT@R NSR DASOkR N^] mYOA^P [l@E^] XYL cooperation with the National Mint hL[]XVT]O\S NSR UW^\bT[]\SR NgO The Museum opened for visitors [OVR XTY\LX^P YOYMTPl^] U^] to celebrate International [UL\X[UNeO N^ J^]\[Z^ UYWb?[LO[ from 8.00 am to midnight for the YU[LX^OZn[L N^O F@?^ NSR DA@OYR YO^LHNV bgR NY ?[\kO]HNY \[ Museum’s second birthday in June Museum Day. [LhLXbR U[WL\Nk\[LR G^ J^]\[Z^ 2011, the Full Moon celebration J[ Yl^W?@ N^O [^WNY\?V NSR Staff development and training kO^Lm[ MLY N^]R [UL\XbUN[R YUV of August, the two nights of FL[AO^PR r?bWYR J^]\[ZgO The provision of training and NLR bgR NY ?[\kO]HNY MLY NY the European Days of CulturalUWYM?YN^U^L@ASX[ \[ \]O[WMY\ZY h[PN[WY M[ObATLk N^] N^O K^POL^ development activities is central Heritage, International Museum ?[ N^ dAOLXV c^?L\?YN^X^U[Z^ N^]

mYOk MLY N^O [^WNY\?V to the Museum’s delivery of Day and the European Night ofX^U@ YOY?OS\NLXeO X[W?kNgO NSR _YO\[T@O^] N^] D]M^P\N^] quality services to visitors and to Museums in May 2012. NLR h]^ OPHN[R NgO d]WgUYiXeO constantly improving staff skills r?[WeO _^TLNL\NLX@R BTSW^O^?LkR and knowledge in all disciplines. XYL NS cPHNY d]WgUYiXeO

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UW^iVONgO NgO UgTSNSWZgO XYL Î•Ď€Κ¾ĎŒĎ Ď†Ď‰ĎƒΡ κιΚ ινΏĎ€Ď„Ď…ΞΡ Ď„ÎżĎ… lunchtime The program of the past year Optional presentations NgO [XA[?kNgO N^] J^]\[Z^] Ď€Ď ÎżĎƒĎ‰Ď€ΚκοĎ? included an emphasis on were introduced for staff on CL DWHYL^TVM^L yW^ONL\NbR N^] multimediar UYW^H@ NgO hWY\NSWL^N@NgO in the Museum. a monthly basis including an J^]\[Z^] [XUYLh[PNSXYO YUV N^O YOkUN]mSR XYL [UL?VWlg\SR Museum shop staff received experimental series on personal YU^N[T[Z X[ONWLXV \S?[Z^ \NSO ykW^ G]lTeO dTTkh^R e\N[ OY specialized training on sales health and well-being designed to ?U^W^PO ?[ kO[\S OY ^hSM^PO U^TLNLX@ N^] J^]\[Z^] MLY and service to visitors as well support staff. UW^\l^Wk U^L^NLXeO ]USW[\LeO [UL\XbUN[R U^] [ZOYL N]lT^Z @ as information sessions with bH^]O UW^ET@?YNY VWY\SR \N^]R [UL\XbUN[R XYL \]O[H@ Library Museum archaeologists so that E[TNZg\S NgO LXYO^N@NgO XYL Museum archaeologists supervised they can better communicate _bWYO NSR [XUYZh[]\SR N^] MOe\[gO N^] UW^\gULX^P \[ the establishment of a library with the link between shop products NYXNLX^P UW^\gULX^P N^ J^]\[Z^ VT^]R N^]R XTkh^]R electronic and hard copy materials UYW[ZH[ [L\YMgMLX@ [XUYZh[]\S and Museum exhibits. Museum to support staff undertaking \[ [U^HLX^PR lPTYX[R G^ UWVMWY??Y N^] N[T[]NYZ^] Archaeologist-Hosts trained with research. Y\lYT[ZYR XYL \[ hL^LXSNLX^PR bN^]R [ULX[ONWeASX[ \[ h[mLVNSN[R the Lighthouse for the Blind in ]UYTT@T^]R U^] ]U^E^@AS\[ NSO XYL MOe\S NgO U^T]?b\gO Greece to be able to competently Presentations abroad \N^ J^]\[Z^ G^ UW^\gULXV YU^N[T[\?YNLX@ N^]R [O\g?kNg\S guide visitors that are blind or The Museum\NS T[LN^]WMZY N^] J^]\[Z^] was presented at NgO UgTSNSWZgO N^] J^]\[Z^] visually impaired. three key international events in \]??[N[ZH[ \[ [LhLX@ [XUYZh[]\S _W^YLW[NLXbR ?[\S?[WLYObR MLY UgT@\[LR XYL [m]USWbNS\S the past year. Museum President In addition to training for regular UYW^]\Lk\[LR UW^\lbWASXYO NgO [UL\X[UNeO XYAeR XYL Professor Dimitrios Pandermalis staff, the Museum provided \N^ UW^\gULXV \[ ?SOLYZY Ek\S \[ [OS?[WgNLXbR \]O[hWZ[R ?[ presented at the Fitzwilliam induction training for 45 U[WLTY?EkO^ONYR ?LY U[LWY?YNLX@ YWHYL^TVM^]R N^] Museum in Cambridge, at the seasonal security officers and 15 \[LWk MLY NSO UW^\gULX@ N^]R J^]\[Z^] bN\L e\N[ OY UW^gA^PO Leventis Foundation in Nicosia, administrative support staff that \g?YNLX@ XYL o]HLX@ ]M[ZY XYTPN[WY NS \POh[\S ?[NYmP NgO Cyprus and the Prado Museum. enabled their effective integration U^] \H[hLk\NSX[ [LhLXk MLY N^ into the Museum. UW^\gULXV Visitors respond to the museum In addition to responding to and Î’ΚβΝΚοθΎκΡ monitoring comments received DWHYL^TVM^L N^] J^]\[Z^] from visitors on museum comment [UVUN[]\YO NS hS?L^]WMZY ?LYR forms or via the email, the Museum ELETL^A@XSR ?[ ST[XNW^OLXV XYL sought visitor views with its first bON]U^ ]TLXV MLY NSO ]U^\N@WLmS Visitor Survey in the summer of N^] [W[]OSNLX^P bWM^] N^] 2011. Undertaken jointly with the UW^\gULX^P University of Toronto’s Faculty of ĎƒĎ„Îż ξΞĎ‰Ď„ÎľĎ ÎšÎşĎŒ Information,Î ÎąĎ ÎżĎ…ĎƒΚΏĎƒξΚĎ‚ a statistically valid _WYM?YN^U^L@ASX[ UYW^]\ZY\S and representative sample of 188 visitors wasN^] J^]\[Z^] \[ NW[LR hL[AO[ZR interviewed from [XhSTe\[LR XYNk NS hLkWX[LY N^] 1 June to 17 July 2011. The project was N[T[]NYZ^] bN^]R ! UWV[hW^R N^] undertaken with the J^]\[Z^] XYASMSN@R FS?@NWL^R academic supervision of Associate _YON[W?YT@R \]??[N[ZH[ ?[ Professor Costis Dallas and YOYX^ZOg\S \[ S?[WZhY \N^ Dr. Barbara Soren and with the J^]\[Z^ /9=;/22/'3 \N^ '3(7/*-+ assistance of postgraduate XYL bhg\[ hLYTbm[LR \N^ xhW]?Y

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students from the University of Toronto and Greek Universities. The survey results provide a range of valuable insights for Museum planning that will be presented in a separate report. Key findings that rewarded the Museum positively include that almost a quarter of the study sample had visited the Museum up to 3 times or more. Almost 60% of visitors spent between 1- 2 hours in the Museum during their visit and 37% spent over 2 hours. 82% of respondents considered the Museum labels and texts in galleries a useful source of information in the exhibition, a particularly satisfying result following the Museum renewal of these texts in the previous year. Over 45% of the sample considered staff to be extremely helpful, while an additional 51% considered that staff was helpful. 65% considered that the Museum was extremely accessible for people with disabilities and a further 34% considered accessibility to be at ‘good’ levels. The survey results direct the Museum to consider the need for additional audiovisual interpretation aids, to review the Museum’s way finding map and to the greater promotion of Museum services such as the reading area and the availability of Museum Archaeologist-Hosts.

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text Dimitrios Pandermalis, Niki Dollis production Danae Zaoussi translation Maria Andreopoulou photos Giorgos Vitsaropoulos design Teti Kamoutsi printing Pletsas - Kardari

June 2012 Acropolis Museum

G^ FL^LXSNLXV Q]?E^PTL^ Board of directors President Î Ď ĎŒÎľÎ´Ď ÎżĎ‚ Dimitrios Pandermalis âˆ†Ρ¾ΎĎ„Ď ÎšÎżĎ‚ ΠινĎ„ÎľĎ ÂľÎąÎťÎŽĎ‚ DWHYL^TVM^R C?VNL?^R BYASMSN@R Archaeologist, Professor Emeritus of Archaeology DWL\N^N[T[Z^] _YO[UL\NS?Z^] a[\\YT^OZXSR Aristotle University of Thessaloniki

Members ÎœέΝΡ

Giorgos Î“ÎľĎŽĎ ÎłÎšÎżĎ‚Kaminis Κι¾ίνΡĎ‚ Mayor of Athens F@?YWH^R DASOYZgO Panayiotis Tetsis ΠινιγΚĎŽĎ„ΡĎ‚ ΤέĎ„ĎƒΡĎ‚ Academician and Artist DXYhS?YiXVR jgMWkl^R Nikolaos Damalitis Î?ΚκĎŒΝιοĎ‚ ∆ι¾ιΝίĎ„ΡĎ‚ Director of the Construction Project, Organization for the Construction _^TLNLXVR JSHYOLXVR _W^i\Nk?[O^R NSR FL[]APO^]\YR `USW[\ZYR of the Acropolis Museum BYNY\X[]@R N^] J^]\[Z^] NSR DXWVU^TSR N^] CWMYOL\?^P DObM[W\SR cb^] J^]\[Z^] DXWVU^TSR Haralambos Bouras Emeritus Professor of Architecture Î§ÎąĎ ÎŹÎťÎąÂľĎ€ÎżĎ‚ ÎœĎ€ÎżĎ?Ď ÎąĎ‚ President of the Acropolis Restoration Service C?VNL?^R BYASMSN@R DWHLN[XN^OLX@R _WV[hW^R NSR dULNW^U@R Q]ON@WS\SR JOS?[ZgO DXWVU^TSR Julia Iliopoulos-Strangas Professor of Law, University of Athens ΤΜοĎ?ΝΚι ΗΝΚοποĎ?ΝοĎ… ÎŁĎ„Ď ÎŹÎłÎłÎą

∆ΚξĎ?θĎ…νĎƒΡ Î•Ď€ΚκοΚνωνίι Address andκιΚ Contact details J^]\[Z^ DXWVU^TSR Acropolis Museum, 15 FL^O]\Z^] DW[^UYMZN^] Dionysiou Areopagitou Street,

DA@OY 11742, Athens GST Tel.: +30 210 9000900 3'/2 /4,5 9.+')75652/83:8+:3 -7 Email: info@theacropolismuseum.gr www.theacropolismuseum.gr ;;; 9.+')75652/83:8+:3 -7

BYASM@NWLY NSR c^?LX@R QH^T@R N^] _YO[UL\NS?Z^] DASOeO Eleni Kourinou Director ΕΝένΡ ÎšÎżĎ…Ď ÎŻÎ˝ÎżĎ… First Ephorate for Prehistoric and Classical Antiquities _W^i\NY?bOS NSR Df dl^W[ZYR _W^i\N^WLXeO XYL BTY\LXeO DWHYL^N@NgO of the Ministry of Culture (from April 2012) N^] `__C DUV N^O DUWZTL^ N^] Kathy Paraschi Architect Engineer ΑΚκιĎ„ÎľĎ ÎŻÎ˝Îˇ Î ÎąĎ ÎŹĎƒĎ‡Ρ DWHLNbXN^OYR JSHYOLXVR Costis Dallas Associate Professor, Communication, Media and ÎšĎ‰ĎƒĎ„ÎŽĎ‚ ∆ΏΝΝιĎ‚ Culture Department, Panteion University dUZX^]W^R BYASMSN@R \N^ N?@?Y dULX^LOgOZYR Jb\gO XYL _^TLNL\?^P \N^ _kON[L^ _YO[UL\N@?L^

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