As a building that has achieved an iconic level of fame, Greece’s Parthenon has been copied (both well & badly) in many different countries around the world. Most famous is the copy in Nashville, but there are others, such as the unfinished replica in Edinburgh & one in Germany known as the Valhalla, built by King Ludwig I.

From:
Irish Times

Friday, August 20, 2010
Heaven can wait but Valhalla here to stay

FINDING GERMANY: King Ludwig I’s temple thrusts one into the cold heart of Germany’s 19th-century hero cult, writes DEREK SCALLY

THE TEMPLE perched on the hill over the river Danube is a dead ringer for the Parthenon in Greece – only gleaming white and fully intact.
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Victoria University School of Architecture in Wellington, New Zealand, has produced ten scale models of various aspects of the Parthenon. These are now being shipped to Athens for display in the New Acropolis Museum.

From:
Stuff (New Zealand)

Parthenon heads from Wellington to Athens
By MIKE WATSON – The Dominion Post

One of the world’s most recognisable buildings has been cut down to size by a Wellington architectural lecturer in models to be exhibited in Athens.

Ten models depicting sculptures and detailed sections of the Parthenon and Acropolis have been made by Victoria University School of Architecture and Design lecturer Jeni Mihova, and graduates Jordan Wisniewski and Matt Fraser.
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This review seems to like some bits of the New Acropolis Museum, but not others. I guess I shouldn’t have expected unequivocal praise from a site called Grumpy Traveller. In some ways, its liking of the interior far more than the exterior echoes the comments Mary Beard made last year.

From:
Grumpy Traveller

Athens, Greece: Review of the new Acropolis Museum
David Whitley has mixed feeling on Bernard Tschumi’s new showcase for the treasures of the Parthenon.

New Acropolis Museum in Athens

If ever something was on a hiding to nothing, it’s the new Acropolis Museum in Athens. It cost EUR130 to build, is designed to hold many of Greece’s most important national treasures and is already being promoted as a tourism flagship.

Naturally, the critics had a field day before it was even opened. Some pointed to the cost, some to the position at the foot of the Acropolis rather than on it, others to the fact that a Swiss architect – Bernard Tschumi – was employed rather than a Greek.
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Although it is now more than six months since the official opening of the building, positive reviews of the New Acropolis Museum keep on coming. This review is from an architectural specification magazine, hence the focus on the materials that the building is constructed from.

From:
Specifier (Australia)

Issue 189
The New Acropolis Museum by Bernard Tschumi
Writer: Robbie Moore

In mid-2007, the Old Acropolis Museum shut its doors. Its collection of giants and centaurs, metopes, pediments and parts of the Parthenon Frieze, were wrapped in plastic shrouds and packed in reinforced wooden boxes, and hauled into the air over Athens. The artworks, some weighing two and a half tonnes, were passed between Europe’s three largest lifting cranes on their way to their new, €130 million home. Now, two years later, the New Acropolis Museum – one of the most significant and frankly political cultural projects of the last decade – has finally opened its doors.

The New Acropolis Museum is as much about the artifacts it’s missing as about the artifacts it holds. Its top-floor gallery, rotated 23 degrees to align with the Parthenon, makes a plain and eloquent case for the return of the Elgin Marbles. The gallery contains a small number of real pieces from the Parthenon, alongside replicas of artifacts taken two hundred years ago by Lord Elgin and now residing in the British Museum. The replicas were not given a fake weathered patina, but were left a perfect, toothpaste white. The contrast with the ancient stones is striking, and deliberate. This is a memorial as much as a museum, mourning a loss.

The architect of the New Acropolis Museum, Bernard Tschumi, is a supporter of the cause. His design destroys an argument used by the British since the 1970s, that Athens was too polluted with smoke and sulphur dioxide to look after the marbles. Athens’ air had already improved with the new metro system and the pedestrianisation of the historic district, but Tschumi further protects the museum’s antiquities with a sophisticated, highly controlled micro-environment. The Caryatids, for instance, were sealed behind glass in the Old Acropolis Museum, but here stand free. The interior conditions are easily preferable to those in the British Museum. The Elgin Marbles are surrounded by four walls and lit from above by diffuse daylight and spotlights, while the New Acropolis Museum’s Parthenon Gallery is open on all sides to the unblinking Greek sun. The works can be viewed, therefore, in the conditions they were intended. “Now that the building is finished and everybody will be able to see the quality of light that you get here”, Tschumi told Wallpaper*, “and the way they will be displayed here compared to the way they are displayed in the British Museum, the return [of the Elgin Marbles] will make sense straight away”.
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Professor Dimitrios Pantermalis is visiting Nicosia next week to give a lecture about the New Acropolis Museum.

From:
Cyprus Mail

President of Acropolis Museum in Cyprus
Published on February 17, 2010

PRESIDENT of the New Acropolis Museum, archaeologist Dimitrios Pantermalis, will visit Cyprus next week and will give a lecture in Nicosia.

According to an announcement issued by the Cyprus Department of Antiquities, which is organising the lecture, Pantermanis will speak on the New Acropolis Museum, its Architecture and its Exhibition Programme.

More positive coverage of the New Acropolis Museum which opened last year.

From:
Flavorwire

The Acropolis Goes Modern
1:01 pm Monday Jan 25, 2010 by Kelsey Keith

After inevitable delays — including the discovery of an ancient Athenian city under the building site — The New Acropolis Museum is open for business, packing in visitors to the historic but semi-rundown neighborhood of Makrygianni in Athens. The thoughtful design by former Columbia architecture dean Bernard Tschumi and team positions the 226,000 square foot museum over the footprint of the long-ruined city; the exhibition space — ten times larger than that of the previous edifice — provides what could someday be a permanent home for the hotly contested Elgin Marbles and other looted artifacts. Hellenic architecture porn after the jump.

Bernard Tschumi Architects won the bid in 2001 in a design competition chaired by Santiago Calatrava; their winning plan “created a deliberately non-monumental structure whose simple and precise design invokes the mathematical and conceptual clarity of ancient Greek architecture” while establishing a dialogue between the museum’s exhibition spaces and the existing Acropolis buildings.

The New Acropolis Museum which opened last year forms a gleaming new home to potentially house all the surviving Parthenon Sculptures.

From:
Los Angeles Times

A gleaming new showcase for the Acropolis
Athens finally has a place to display the hotly contested Elgin Marbles, plus statues, friezes and other artifacts from the ancient Greek site.
By Suzanne Muchnic
January 24, 2010

Reporting from Athens – For advocates of the repatriation of marble sculptures removed from the Parthenon in the early 19th century and long housed at the British Museum in London, the new Acropolis Museum is proof — at last — that Greece has a safe place to display the hotly contested artworks.

For Athenians who live and work near the Acropolis, the looming modern structure at the southeastern base of the hill is a mixed blessing. The $200-million, 226,000-square-foot museum has transformed the area of Makrygianni, boosting property values while dwarfing other buildings in the neighborhood.
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Columbia University’s Wallach Gallery in New York is hosting an exhibition of architecture & archaeology that relates to the New Acropolis Museum in Athens. Bernard Tschumi, the architect of the New Acropolis Museum was previously Dean of the School of Architecture at Columbia University.

From:
Columbia Spectator

New museum in Athens inspires exhibit at Wallach Gallery
“The New Acropolis Museum” incorporates architectural models, casts of classical Greek pottery and sculpture, and rare books and prints in Wallach Gallery.
By Kat Balkoski
Published Tuesday 10 November 2009 07:17pm EST.

“It is my profound belief that an exhibition in an educational institution should do more than please the eye and present ‘originals,’” said Ioannis Mylonopoulos, a professor in the Department of Art History and Archaeology and curator of “The New Acropolis Museum,” on view at the Miriam & Ira D. Wallach Art Gallery.

The exhibit contains little in the way of what would traditionally be considered “fine art”—instead, it incorporates architectural models, casts of classical Greek pottery and sculpture, and rare books and prints from Columbia’s Avery Architectural and Fine Arts Library. This selection of media gives the impression that the exhibit is more focused on the work that goes into the creation of art spaces and art appreciation than on art itself.
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Anthony Snodgrass – Chair of the British Committee for the Reunification of the Parthenon Marbles responds to Simon Jenkins’s earlier article about the New Acropolis Museum.

From:
The Guardian

Letters
New home for the Parthenon marbles
The Guardian, Tuesday 27 October 2009

I know that Simon Jenkins is fundamentally on the same side as I am, and I’m sure it wasn’t he who chose to put that offensive phrase in his headline (A banana republic police HQ maybe, but not a home for the Elgin marbles, 23 October). But his piece did contain more than its fair share of anti-Greek prejudice. The Greeks were “foolish” to turn down the offer of a loan of the Elgin marbles this summer (a heavily conditional offer, confined to a few pieces, never officially proposed and withdrawn as soon as mooted). They have consigned the excavated ancient site under the new museum to a “surreal dungeon” (unfair: it is to be open to visitors). And Jenkins cannot have it both ways: if the Greeks previously “spoiled their case” for restitution of the marbles by shortcomings in conservation, then he should not be complaining now that the restoration works on the Acropolis are so painstaking.

Anyway, the Greeks have now “gone to the other extreme” with a building that “screams the supremacy of Big Modernism” and looks like “the police headquarters of a banana republic”: Bernard Tschumi’s New Acropolis museum in Athens, which is the real target here. Comment is free, and a whole series of other expert architectural critics have commended Tschumi’s building for exactly the opposite quality – “handsome”, “unassuming”, “minimalist”, “unpretentious” – to what Jenkins detects. Simon Jenkins prefers the interior to the exterior: fair enough, so do many of us. But there was no call to package his criticism in this offensive wrapping paper.

Anthony Snodgrass
Chair, British Committee for the Reunification of the Parthenon Marbles

There have been many positive reviews of the New Acropolis Museum since its opening last June. As with any piece of art (or architecture) it is not to everyone’s taste. Simon Jenkins who has in the past spoken out in support of the return of the Parthenon Sculptures clearly falls into the latter camp. Unfortunately he is allowing his dislike of the building’s style to seemingly weaken his own case for return – something which is unfortunate, as generally people’s views on reunification are transformed in a different way when they are shown around the building.

From:
The Guardian

Simon Jenkins
A banana republic police HQ maybe, but not a home for the Elgin marbles
I am a restitutionist – but the new museum fails to clinch the case. It is not so much an argument as a punch in the face
Thursday 22 October 2009 22.00 BST

In 1812 Lord Elgin loaded the last of his Acropolis sculptures on to ships in Piraeus and set sail for England. Four years later and bankrupt, he sold them to the British Museum. This summer the Greeks, eager for their return, staged what they hoped would be a definitive retort by opening a £110m museum to house the marbles against the slopes of the same Acropolis. It is the most costly poison-pen letter in the history of cultural exchange.

Any lawyer can prove anything, and I happen to agree with those who regard the Elgin marbles as legally Britain’s. But in any meaningful sense, they “belong” in Athens. As 56 of the surviving 94 panels of the Panathenaic procession, they should rejoin the 36 in the new museum. Precedent is not an issue, being the last refuge of reactionaries and those who have lost an argument. The Elgin marbles are, to put it mildly, a special case.
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Since its opening a few months ago, the New Acropolis Museum has become the strongest argument for the reunification of the surviving Parthenon Marbles in one place, raising their international profile, at the same time as making the case for their return even clearer.

You can listen to this original radio broadcast here.

From:
WBUR (Boston)

Greece Unveils Museum Meant For ‘Stolen’ Sculptures
By Sylvia Poggioli
Published October 19, 2009 1:28 PM

A new, hypermodern museum at the foot of the Acropolis in Athens has a defiant purpose: to convince Britain to give back the symbols of ancient Greek glory, the 2,500-year-old sculptures of the Parthenon that were pried off the temple by Lord Elgin two centuries ago.

For decades, the main argument against the return of the sculptures — known as the Elgin or Parthenon Marbles — was Greece’s lack of a suitable location for their display. The new Acropolis Museum is a stunning rebuttal.
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The Architectural Record argues that the New Acropolis Museum represents the most powerful case yet for the reunification of all the surviving Parthenon Sculptures in Athens.

From:
Architectural Record

New Acropolis Museum, Athens, Greece
Bernard Tschumi Architects presents a case for bringing the Elgin Marbles back to Athens in its design for the New Acropolis Museum.
By Suzanne Stephens

After all the controversy, lawsuits, and delays in building the New Acropolis Museum in Athens, it will no doubt seem churlish to point out that the $180 million museum, designed by Bernard Tschumi Architects, is not the firm’s most spectacular work. It lacks the lyrical grace of the stainless-steel-and-concrete Zenith concert hall in Rouen or the finesse of the shimmering, perforated-steel Vacheron Constantin headquarters in Geneva, Switzerland, to name two. The dour mien of the New Acropolis Museum, with its sharp angles, black-fritted glass (except for a small section of the south wall), and less-than-perfect concrete work evokes High Modernist commercial American buildings of the 1970s.
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