Greek Architecture

Whether it's to start analyzing a detail or impressing someone in conversation, understanding a classical building begins with an awareness of the different classical orders of architecture. In the historical records of architecture, the first account of the orders was written by Vitruvius: "[...] The orders came to provide a range of architectural expressions, ranging from roughness and firmness to slenderness and delicacy. In true classical design, order choice is a vital issue—it is the choice of tone," [1] which for the author, synthesizes the "architecture grammar." [2]

As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Greek Pavilion. Below, the participants describe their contribution in their own words. 

From NEON.
NEON is a nonprofit organization that works to bring contemporary culture closer to everyone. 

The Parthenon, unquestionably the most iconic of the Ancient Greeks' Doric temples, was built between 447 and 432 BC. Located on the Acropolis in Athens, for many architects, it is one of the first buildings we analyzed when beginning our studies. Designed by Ictino and Calícrates, it displays a unique repertoire of architectural elements that can be fully appreciated individually, or for the role they play in forming a complete and magnificent whole.

As the common phrase attests, “history is written by the victors.” We therefore know that the story of the West is that of Europe and the United States, while the other actors in world history are minimized or invisible: it happened to the Chinese and Japanese during World War II, to the Ottoman Empire in sixteenth-century Europe, and to racial majorities in the common reading of Latin American independence. The same thing happens in architecture.

The Arcade Providence is 188 years old, but it's getting its second wind. 

MOR Architects has won first prize in the competition to design the Konaki Averof Cultural Center in Thessaly, Greece. The competition sought out proposals to convert an existing complex with historic importance into a modern socio-cultural multiplex. 

The Greek Pavilion at the 2016 Venice Biennale will be hosting an exhibition titled #ThisIsACo-op, which underscores the role of collaboration in architecture. Through a series of displayed research and discussions, the exhibition aims to understand how architects may need to unite on different “fronts” of world crises, including the refugee crisis, the housing crisis, and the crisis of the architectural profession, among others.

The Colossus of Rhodes, a thirty-metre high sculpture depicting the Greek Titan God Helios that once stood guard at the entrance to the city's harbour, may be realised once again. Standing for only 54 years until it was destroyed by an earthquake in 226BC, its position in the ranks of Seven Wonders of the Ancient World has become almost mythological. Plans to construct a new, much larger inhabitable statue—that will stand almost four times taller at 122 metres—have now been put in motion by a small collective of architects, engineers, and tourism agents.

The World Monuments Fund has released its 2016 World Monuments Watch list of 50 cultural heritage sites at risk in 36 countries around the world. The list, in its twentieth year, seeks to identify sites “at risk from the forces of nature and the impacts of social, political, and economic change,” and direct financial and technical support towards them.