Athens by Sound

Architecture is not only that which is built. Architecture is made up of different aspects, both material and immaterial. The atmosphere, the sounds, the smells, the possibility of interaction between human bodies: these all constitute characteristics of space, characteristics that are assuming an increasing importance within architectural research worldwide. Within this field of thought about “Architecture Beyond Building”, we focus on one particular non-material spatial phenomenon that lies ‘beyond the built’: sound. We have created, thus, an interactive sonic map of Athens, which presents, in an unexpected way, fragments of the atmosphere of the city. What would a non-visual map look like? What would it feel like if you wandered within a forest of headphones, playing sounds from different places in Athens? How would it feel if you found yourself in a ‘map’ that only appeared when you walked in it? What would it be like if the map only appeared when you invited one more person to be with you? The Greek pavilion addresses these questions through an atmospheric interactive ‘game’, presenting fragments of sounds and visual sequences of Athens. The visitor recreates the space around him through his own presence and movement. The map appears only where he walks, and/or when he invites one more person to sit next to him. The bodies of the visitors react with one another and with the space itself, creating a dynamic, changing field. This walk in the pavilion takes you “out there”, through invisible Athens. The pavilion brings forth the aspects of architecture that are ‘beyond the material’: the ‘beyond the built’, the almost unreachable, elusive aspects of space, such as sound, non-visual senses, atmosphere. It challenges, thus, the limits of architecture, the limits of what can be mapped and re-located and what cannot. An edited collection by A. Karandinou, C. Achtypi, S. Giamarelos, including texts by: Ιntothepill, Katie Lloyd Thomas, Martin Parker, Panayiotis Tournikiotis, Mark Wigley, Dorian Wiszniewski, Leslie Kavanaugh, Stephen Cairns, Jonathan Hill, Vassilis Ganiatsas, Anastasios Kotsiopoulos, Constance Classen, Stavros Stavrides, Ole Bouman, William Mitchell, Richard Coyne, Neil Spiller, Kas Oosterhuis, Nora Schueler, Zissis Kotionis, Stelarc, Andreas Angelidakis, Aristide Antonas, Slavoj Žižek, Nikolaos Laskaris, Argyris Rokas, Andreas Kourkoulas, John Peponis, Yorgos Ioannou, Yorgos Tzirtzilakis, Konstantinos Vita, Dionyssis Kapsalis, United Visual Artists, Platon Rivellis, and Dimitris Filippidis. Contributors to the Greek National Participation to the 11th International Architecture Exhibition La Biennale di Venezia "Out there. Architecture beyond building" (2008) Organised by: Hellenic Ministry of Culture [yppo.gr] General Directorate of Modern Culture Directorate of Visual Arts Department for the Promotion of Contemporary Art Curators: Anastasia Karandinou Christina Achtypi Stylianos Giamarelos Video works by Intothepill net [intothepill.net] Artists: Yiannis Grigoriadis Yiannis Isidorou Lina Theodorou Sound Recording / Sound Design Dimitris Miyakis [movement.gr] Vangelis Lympouridis Exhibition Graphics / Catalogue Design Company [company-london.com] Design and Implementation of interactive environment 2monochannels [2monochannels.com] Audiovisual and interactive systems design / acoustic design / construction supervision Iraklis Lampropoulos Giorgos Lampropoulos Software programming Vassilis Boukis Electronic subsystem design Michail Kritsotakis Electrical Design Giorgos Satolias Interconnection of interactive elements Vangelis Lympouridis [inter-axions.com] Dimitris Miyakis Light design L+DG lighting architects [lightingdg.com] Thomas Gravanis Christina Frangeti Construction Gavrilos Michalis [gavrilos.gr] Digital printing Polichromo [polichromo.com] Translations Rachel Howard Nikos Masourides Catalogue photographs Intothepill – Internet video platform Catalogue published by futura publications Marketing communication Chryssa Vrouzi Communication associate Katerina Stamidi Photographer Cathy Cunliffe [cathycunliffeΑΤgmail.com] For their financial and material support for the Greek participation at the 11th International Exhibition of Architecture, La Biennale di Venezia, we express our deepest thanks to the sponsors: Alexander S. Onassis Public Benefit Foundation [onassis.gr] Akzonobel [akzonobel.com] Carteco - Architectural Materials & Design [carteco.gr] L+DG Lighting Architects [lightingdg.com] Plaisio [plaisio.gr] Polichromo Advertising Applications [polichromo.com] iGuzzini illuminazione [iguzzini.com] Diathlasis Architectural Lighting [diathlasis.gr

Archetypes in-Formation. Strategies of Transition in Architecture and Urban Design

By comparing the adaptations of machine and network in works of late-modernism, this study's scope is to evince the significance of archetypes throughout design. Archetypes act as schematic visualizations showing the relations among the units involved, as much as they are disassociated from the restraints of form. They may be interpreted variously as they may also be modified even be combined with other archetypes too, and so they are inherently ingrained with the potential for space adaptation. There is a renewed interest on archetypes nowadays, primarily benefiting from the capabilities of the digital means of production in regards to computation, parametric manipulation and dynamic transformation. A complete reevaluation of the design process would reflect the idea that architecture holds information codified and at once retrievable, as for this reason it remains open to transformation according to each time's set priorities

L'invention d'un architecte. Le voyage en Orient de Le Corbusier

Si tratta del volume che raccoglie i contributi elaborati in occasione della XVII Rencontre organizzata dalla Fondation Le Corbusier per celebrare il centenario del Voyage en Orient

Museum of Light: The New Acropolis Museum and the Campaign to Repatriate the Elgin Marbles

It is almost half-a-dozen years since the New Acropolis Museum in Athens was inaugurated in June 2009, following a gestation period of over three decades. Before, during and after the construction of the building, the importance of natural light was frequently emphasised by the Museum's Swiss-French architect, Bernard Tschumi, as well as many Greek government officials, archaeologists, and other heritage professionals. The manner in which the same bright sunlight illuminates both the Parthenon and the temple's decorative sculptures which are now on display in the Museum, is also routinely referenced by campaigners advocating a return of those sculptures that were removed from the Athenian Acropolis on the orders of Lord Elgin between 1801–03 and subsequently shipped to London. Following the purchase of the collection by the British government in 1816, the Marbles of the Elgin Collection were presented to the British Museum, where they are presently on display in Room 18, the Duveen Gallery. However, for more than two centuries it has been maintained that the sculptures can only be truly appreciated when viewed in the natural light of Athens. Even before the completion of the New Acropolis Museum there were bitter attacks on the manner in which the Marbles are displayed in the British Museum, and the quality of the illumination afforded to the sculptures in the Duveen Gallery. The aesthetics of the Attic light has therefore taken its place as one of the principal weapons in the armoury of Greek officials and international campaigners seeking the return of the Marbles removed by Lord Elgin. Nonetheless, this paper will argue against the accepted orthodoxy that the New Acropolis Museum replicates the original light conditions many of the sculptures from the temple experienced when on the Parthenon. Indeed, this article will dispute the goal of many architects, politicians, and heritage professionals of the need ensure that, when on public display, all of the Parthenon sculptures are bathed in bright natural light. The ability to display the Marbles in the sun-drenched gallery of the New Acropolis Museum forges a powerful link binding the environment of Classical Athens with the present-day capital of Greece, offering politicians and activists seeking the repatriation of the Elgin Marbles a potent weapon wielded to great effect. However, the politically motivated design parameters laid on the museum, requiring the building admit vast amounts of natural Attic light, has destroyed the architectural context the Marbles were displayed in when originally affixed to the temple in the fifth century BC

Patrimônio Cultural e escrita da história:a hipótese do documento na prática do Iphan nos anos 1980

In the 1980s, technicians from the Institute for National Artistic and Historical Heritage (Iphan) began to look to the academic discipline of History for arguments to support the selection of heritage assets that went beyond the grandiose. Engaging actors and concepts from France’s historiography they justified listing buildings and urban ensembles with characteristics that did not fit into the colonial-based national identity narratives used by the institution in its early decades. During this time, sites such as Laguna (in Santa Catarina State), Cuiabá (in Mato Grosso State), Morro da Conceição and XV de Novembro Square (in the City of Rio de Janeiro), among others, were preserved not only for the historical value of their buildings, but also for their potential as a source of history. New preservation rationales for immovable assets were developed; these sought to circumvent the concepts set out in the provisions of Decree-Law No. 25/37, striving instead to protect sites and places according to their documental value. This article aims to discuss the city as a document, retrieving the concepts of document from Social History and Brazilian historiographical practices in their relationship with the preservation of built heritage. We will seek to examine how cities and their architecture were treated as sources by the field of preservation in Brazil, as well as to understand the theoretical discourse and the authors mentioned herein, such as Marc Bloch and Jacques Le Goff, and the studies of the urban centers where such rationale was put to practice, most notably Laguna, in Santa Catarina.Na década de 1980, técnicos do Instituto do Patrimônio Histórico e Artístico Nacional (Iphan) passaram a utilizar argumentos do campo disciplinar da história para justificar a seleção do patrimônio para além dos cânones da excepcionalidade. Mobilizando autores e conceitos da Escola dos Annales, justificavam tombamentos de conjuntos urbanos cujas características não se enquadravam nas narrativas de identidade nacional via colonial praticadas nas primeiras décadas da Instituição. Laguna/SC, Cuiabá/MS, Morro da Conceição e Praça XV de Novembro no Rio de Janeiro, por exemplo, serão preservados não somente pelo valor histórico das suas edificações, mas também pela sua potencialidade como fonte histórica. Elaboram-se, então, argumentos de preservação de bens imóveis que buscavam driblar os conceitos do aporte legal do Decreto-lei no 25/37, buscando proteger sítios e lugares por seu valor documental. O artigo discute as relações entre escrita da história e preservação do patrimônio cultural, tendo como foco o caso de Laguna/SC. Pretende-se compreender de que maneira a proteção legal foi justificada a partir do inédito entendimento da cidade como documento por meio do estudo do processo de tombamento, seus estudos técnicos e as mobilizações teóricas do campo da história social e de autores como Marc Bloch e Jacques Le Goff