Acropolis New Museum

Archeological Site of Makrigianni

Very important findings for the history of Athens were recently found in the construction area of the New Museum of the Acropolis. This development has led the Hellenic Section of ICOMOS to decide to ask for alternative sites for the construction of the museum. The selection of another site is imperative not only because of city planning reasons but, mainly, because of the need to protect the Acropolis -a monument of world heritage- and the archaeological findings that are endangered because of the programmed New Museum (multi-function building).

WORLD HERITAGE COMMITTEE , 30 November 2004
DOCUMENT WHC/74/508/NT/MR,

...Furthermore, I would like to recall that according to the Operational Guidelines
of the World Heritage Convention, para 56:
"The World Heritage Committee invites the States Parties to the Convention Concerning
the Protection of the World Cultural and Natural Heritage to inform the Committee,
through the UNESCO Secretariat, of their intention to undertake or to authorize in an area
protected under the Convention major restorations or new constructions which may affect
the World Heritage value of the property. Notice should be given as soon as possible
(for instance, before drafting basic documents for specific projects) and before making
any decisions that would be difficult to reverse, so that the Committee may assist
in seeking appropriate solutions to ensure that the world heritage value of the site
is fully preserved."
" Document: WHC -03/27.COM/7B

The world Heritage Committee,

1. Regrets that the Greek authorities did not provide the report requested
by 1 February 2003 until 2 July 2003;
2. Recalls its request (26 COM 21 (b) 49) that the State Party give
urgent consideration to a redefinition of the buffer zone in order
to better protect the visual setting of the monument;
3. Further recalls its request (26 COM 21 (b) 49) that the State Party
provide information on any development projects, which may impact upon
the visual integrity of the World Heritage site and undertake a visual
impact study, notably concerning the site of the Acropolis;
4. Urges the State Party to prevent any irreversible damage;
5. Requests the State Party to submit a report by 1 February 2004
for review by the Committee at its 28th Session (June/July 2004). "








Archaeological Site Makrigianni (100m far from Akropolis Athens)

The long use of Athens during the centuries is a very important element of culture for the promotion of the historical consciousness

1. According to the well known tactic that is implemented during the last years since the planning for the major public works for infrastructure in Greece, because the archaeological service don't have any available resources for the confrontation of the high costs related to excavations of extensive areas, there is the aspiration for the financial cover of the expenses in case of excavation, maintenance and publication of the antiquities on behalf of the contractor of the public works. In all big public works for transports and for the infrastructure of the Olympic Games that are today in progress was requested the financial cover in case of the revelation of antiquities and the excavation method of salvation. During this method while the financial burdain is transferred to the contractor, the scientific part of the excavation operation lies exclusively on the archaeological service. During the above the contractor except of the obligation for the availability of resources for the rhythmical coordination of the work the desicion for the performance of the excavation and the possible preservation or not of the antiquities in place is upon to the archaeological service. From the above even if is presumed that OANMA (Organization for the Construction of the new Museum of acropolis) is responsible for the funding of the research and for the practical details of the business relations, is not possible to coordinate excavation works and not of course to decide for the preservation or not of the antiquities, or in this particular case -in which the worst of all happens- to decide for entire monumental complexes. So the low responsibility for the legal or not perform of the works - or for the legal or not destruction of antiquities- is a responsibility of the A EPKA (1st ephorate for the inspection of antiquities) The interference of OANMA in issues of excavation and mainly in the destruction of antiquities is illegal.

2. After the found of a very important, organized archaeological complex in the area of Makrigianni which was the result of the reactivation of exchavations from 1997 and on, the authorities had the obligation to turn to the immediate solution of the systematically definition of space to obtain a suitable area for the construction of the new museum. In the 15th meeting of the KAS (Cental Archaological Counsil) in 09.05.2000 arise the ascertainment the archaeological site has a unique importance for the history of Athens through the centuries (e.a s3,4 Konstantios) and some of the buildings of the complex have unique characterization. (e.s 2 Mpouras) In the false and scientifically inexpert solution of the immediate dissolution of the newer phases the A EPKA has consented after an instigation about that issue (A EPKA AR.PR. 4567/16.9.1997) and Central Archaeological Council decided to proceed with the illegal decision for the dissolution not only of the archaeological remnants of the Byzantine and Post Byzantine period but indiscreetly to any remnants of the same period "wherever" they appear inside the exchavations area. While the Greek constitution instructs the salvation of the culture inheritage from a special team of the Ministry of Culture, the Central Archaeological Council decided the non reversible dissolution of the antiquities in the area of Makrigianni and of whatever antiquities also there might being discovered later, without distinction and without evaluation.

3. The operation for the dissolution of the antiquities for the construction of the new museum of acropolis needed the systematically, full and assiduous exploration of the area. It's now even imaginable the begin of excavation works for the foundation because at that time was not even the architecture plans for the new museum yet known (position, accuracy, dimensions etc.) but not even the final shape or the width of the foundation. A permition for excavation was given from the authorities without following the previous procedure and that makes the permition given by the Central Archaeological Council illegal.

4. The area around acropolis is an archaeological area of highest archaeological importance, since it constitutes a zone of worldwide cultural importance. The excuse that we cannon speak for the automatic protection of the archaeological area of Makrigianni because "Not even the acropolis is declared protected area" is an outrageous claim and dangerous for the preservation of out cultural inheritage. Ancient monuments like Acropolis, Parthenon, the temple of Afaea in Aegina, the Temple of Figalia in Arcadia, will have been destroyed by now if they were needing the confirmation of the authorities to be preserved. In all the other countries the important monuments like the Colloseum they don't need the protection of the law for the preservation of their integrity. In opposite case, if in Greece was enforced for the above monuments the archaeological declaration as protected area, the archaeological law will have been weakened in a dangerous point and as a result the rest of the antiquities and monuments especially those with secondary importance would have been under the danger to be totally destroyed.

5. In the yellow zone of the excavation in the area of Makrigianni below the sequence of layers from Post Roman and Byzantine antiquities there are traces of a non excavated layer of an older period which is indicated from a floor and surrounded walls, extended in a lower level at the South West of the archaeological area. Because the procedure for the foundation of the building of the new museum with pole support is applied only after exhaustive excavation until the rock, in the particular case there is danger of destroying antiquities because this procedure is "blind" and the drill will enter into non excavated layers.

6. The sequence of layers of Post Roman and Byzantine period that have been destroyed completely in the south edge of the archaeological area in a zone of length 60m and width 15m were not only ancient layers of ground but sequence phases buildings with important archaeological foundlings and architectural remnants that represent an important archaeological complex. The rushed destruction of the buildings even with the permition of the KAS (Central Archaeological Council) was definitely illegal because was made in a rush and without the evaluation of their importance, the understanding of their relation compared with the founding's of the red zone and the publication of the discovered founding's as it's defined by the archaeological law.

7. Organized archaeological areas with sequence phases of buildings and monumental architectural monuments like in the archaeological area of Makrigianni (included the important architectural findings that have been recently destroyed in the yellow zone) need special care and protection. Generally in the archaeological science the importance of the archaeological are in defined by the preservation of sequence phases of buildings that are showing the continuous usage of the area in the centuries. According to the exchavations in the area of Makrigianni during the opening of the metro tunel and recently from the exchavations of A EPKA, the area was an important section of ancient Athens with continuous usage from the prehistoric ages until the 19th century. The scientific importance of the area is based on the discover of well preserved architectural remnants of the Post Roman and Byzantine period for which in older exchavations in athens there were not found satisfied information. Except the sequence of architectural phases particular importance has also the unique shape and the importance of the buildings that have be discovered. (as it's stated from the members of KAS (Central Archaeological Council) at their meeting (47 27/11/2000) The above architectural phases constitute an unquestionable exchibit of the long historical usage of Athens. They constitute the proof of the historical identity and the specific difference of Athens from capitals of other European countries.

The long usage of Athens during the centuries it's a very importance cultural element for the promotion of the historical consciousness and for that reason is an exhibit of outstanding importance that needs absolute preservation and protection. The destruction and the insult of symbols like the marathon an in particular case the are of Makrigianni they not only insulting the character and the physical environment of the monument but they are also mainly turned against history and civilization.

WELCOME MESSAGE OF THE OPEN DISCUSSION 19/6/2002

The construction of the new museum of acropolis, in a place filled with ancient buildings is an intentional destruction.

Everyone that participates in the procedures for the success of this purpose (the construction of the museum) if they are archaeologists they prooving that they don't possess the moral, that it is needed, for the refinements and teaching of archaeology. Whoever is not an archaeologist, only the lack of education can justify them. The new museum of acropolis is a dream of generations. It's contruction will have disappear the ugliness that exist on the rock of acropolis which in years ago we could see it from Faliro. When it was a dream, becomes a nightmare because for it's contruction in a dense populated area must be destroyed an extensive ancient architectural complex, well preserved and not publicated. What ever is said about it is based on speculations. One thing is certain, the antiquities that they will be destroyed they constitute a source for an almost unknown period of the history of athens. Scientificaly this action cannot be interpreted. Someone could to blame it to expediency. The destruction that will happen, constitutes consequent policy after the destruction of marathon, that removed from the area the moral importance that had and replaced it with the importance of profit, amusement and recreation. Here in this area they will construct a trade centre for ancient ideas. The teachers of the modern archaeologists, with the artificial manufactured authority, if they were still alive they will have turned away their glance from their students.

B.Petrakos,Member of the Academy of Athens, General Secretary of the Archaeological Company

G.Dontas,Honorary Inspector of Antiquities, President of the Archaeological Company

Νέο Μουσείο Ακρόπολης και η καταστροφή του Αρχαιολογικού Χώρου Μακρυγιάννη

Αρχαιολογικός Χώρος Μακρυγιάννη

1. Σύμφωνα με εμπεδωμένη πάγια τακτική που εφαρμόζεται στα τελευταία χρόνια αφότου δρομολογήθηκαν στην χώρα μας τα μεγάλα δημόσια έργα επειδή η αρχαιολογική υπηρεσία δεν διαθέτει πόρους για την αντιμετώπιση των υψηλών δαπανών που σχετίζονται με την ανασκαφή εκτεταμένων θέσεων επιδιώκεται η από μέρους της αναδόχου εταιρείας οικονομική κάλυψη του έργου σε περίπτωση ανασκαφής συντήρησης και δημοσίευσης των αρχαίων. Σε όλα τα μεγάλα κυκλοφοριακά ή ολυμπιακά έργα που βρίσκονται σήμερα σε εξέλιξη ζητήθηκε η οικονομική κάλυψη σε περίπτωση αποκάλυψης αρχαίων και σωστικής ανασκαφής. Κατά την μέθοδο ενώ η οικονομική επιβάρυνση μετακυλίεται στην ανάδοχο εταιρεία η διενέργεια της ανασκαφής κατά το επιστημονικό μέρος βαρύνει κατ αποκλειστικότητα την αρχαιολογική υπηρεσία. Σύμφωνα με τα παραπάνω ενώ η ανάδοχος εταιρία πέρα από την διάθεση πόρων μεριμνά για τον εύρυθμο εργασιακό συντονισμό του έργου η λήψη αποφάσεων για την εκτέλεση της ανασκαφής και την ενδεχόμενη διατήρηση ή όχι αρχαίων κατά χώραν ανάγονται αποκλειστικά στην αρχαιολογική υπηρεσία. Κατά τα ανωτέρω έστω και αν υποτεθεί ότι ο ΟΑΝΜΑ είναι υπεύθυνος για την χρηματοδότηση των ερευνών και πρακτικές λεπτομέρειες εργασιακών σχέσεων δεν είναι δυνατό να συντονίζει ανασκαφικό έργο ούτε βεβαίως και να αποφασίζει επί της διατήρησης ή όχι αρχαίων και στην συγκεκριμένη περίπτωση -όπερ και το χείριστο- μνημειακών συνόλων. Συνεπώς η νομική ευθύνη σύννομης ή μη εκτέλεσης του έργου-παράνομης ή όχι καταστροφής αρχαίων- βαρύνει μόνο την Α' ΕΠΚΑ. Η ανάμειξη του ΟΑΝΜΑ σε θέματα ανασκαφής και κυρίως διάλυσης αρχαίων προκύπτει παράνομη.

2. Μετά τον εντοπισμό σημαντικότατου οργανωμένου αρχαιολογικού συνόλου στο οικόπεδο Μακρυγιάννη που ήταν αποτέλεσμα τηνς επαναδραστηριοποίησης των ανασκαφών από το 1997 και ύστερα θα όφειλαν οι υπεύθυνοι να στραφούν στην άμεση λύση της συστηματικής χωροθέτησης για την εξασφάλιση καταλλήλου χώρου για το έργο. Στην συνεδρίαση του ΚΑΣ 15/9.5.2000 προκύπτει εναργέστατα η διαπίστωση ότι ο αρχαιολογικός χώρος έχει μοναδική σημασία για την μακραίωνη ιστορία της Αθήνας (ε.α, σ3,4 Κωνστάντιος) ότι κάποια από τα κτήρια του συνόλου έχουν μοναδικό χαρακτηρισμό (ε.σ 2 Μπούρας). Στην λανθασμένη και επιστημονικώς αδόκιμη λύση της εσπευσμένης διάλυσης των νεωτέρων φάσεων συναίνεσε και η Α'ΕΠΚΑ μετά από σχετική της εισήγηση (Α'ΕΠΚΑ ΑΡ.ΠΡ. 4567/16.9.1997) το ΚΑΣ κατέληξε στην παράνομη απόφαση διάλυσης όχι μόνο των αρχαιολογικών λειψάνων της βυζαντινής και μεταβυζαντινής περιόδου αλλά αδιακρίτως και "αυτών (της ίδιας πάντα περιόδου) που αναμένεται να εμφανισθούν. .. όπου επεκτείνεται η ανασκαφή?". Ενώ το Σύνταγμα της χώρας προβλέπει την διάσωση της πολιτιστικής κληρονομιάς ομάδα ειδικών του ΥΠΠΟ υπό αδιευκρίνιστες συνθήκες αποφάσισε την μη αναστρέψιμη καθαίρεση αρχαίων της περιοχής Μακρυγιάννη , όσων μελλοντικώς θα ήρχοντο στο φως εν προκειμένω χωρίς διάκριση και αξιολόγηση.

3. Η διαδικασία καθαίρεσης αρχαίων για την κατασκευή του Νέου Μουσείου Ακροπόλεως προϋποθέτει την συστηματική πλήρη και ενδελεχή διερεύνηση του χώρου. Δεν νοείται η έναρξη εργασιών εκσκαφής για την θεμελίωση καθήν στιγμή δεν ήταν γνωστά τα τελικά σχέδια (θέση ακρίβεια, διαστάσεις κλπ.) του κτιρίου αλλά και ούτε η τελική μορφή η μέθοδος και το εύρος της θεμελίωσης. Η χορήγηση αδείας εκσκαφής χωρίς να έχει προηγουμένως ολοκληρωθεί η παραπάνω διαδικασία καθιστά την άδεια προώθησης εκσκαφών του ΚΑΣ ευάλωτη και μη σύννομη.

4. Ο περί την Ακρόπολη χώρος είναι αρχαιολογικός χώρος υψίστης αρχαιολογικής σημασίας, καθόσον αποτελεί ζώνη παγκόσμιας πολιτιστικής σημασίας. Η δικαιολογία ότι δεν δυνάμεθα να ομιλούμε περί αυτομάτου αρχαιολογικής προστασίας του χώρου Μακρυγιάννη "γιατί δεν έχει κηρυχθεί η Ακρόπολη" αποτελεί εξοργιστικό ισχυρισμό επικίνδυνο για την διατήρηση της πολιτιστικής μας κληρονομιάς. Αρχαιότητες όπως η Ακρόπολη, ο Παρθενώνας , ο ναός της Αφαίας στην Αίγινα, ο ναός της Φιγαλίας στην Αρκαδία, αλίμονο εάν θα χρειάζοντο την διαβεβαίωση της Πολιτείας για την διατήρησή τους. Στο εξωτερικό σημαντικά μνημεία όπως το Κολοσσαίο δεν χρειάζονται την εγγύηση του νόμου για την διατήρηση της ακεραιότητάς τους. Σε αντίθετη περίπτωση εάν στην Ελλάδα επιβάλετο η αρχαιολογική κήρυξη των παραπάνω θέσεων ο αρχαιολογικός χώρος θα αποδυναμωνόταν σε επικίνδυνο σημείο με αποτέλεσμα οι λοιπές αρχαιότητες και ιδίως οι δευτερεύουσας σημασίας αρχαιότητες να διατρέχουν κίνδυνο άμεσου και ολοκληρωτικού αφανισμού.

5. Στην κίτρινη ζώνη της ανασκαφής Μακρυγιάννη κάτω από τις επάλληλες στρώσεις της υστερορωμαικής και βυζαντινής περιόδου διακρίνονται ενδείξεις μη ανασκαμμένου στρώματος παλαιότερης περιόδου όπως δείχνουν δάπεδο και περιβάλλοντες τοίχοι τα οποία εκτείνονται σε χαμηλότερο επίπεδο στα ΝΔ του γηπέδου. Επειδή η διαδικασία θεμελίωσης με πασσαλόπηξη είναι διαδικασία που εφαρμόζεται μόνο μετά από εξαντλητική ανασκαφή μέχρι τον βράχο στην συγκεκριμένη περίπτωση υπάρχει κίνδυνος καταστροφής αρχαίων διότι η μέθοδος είναι "τυφλή" και το γεωτρητικό θα εισχωρεί σε στρώματα μη ανασκαμμένα.

6. Οι επάλληλες στρώσεις της υστερορωμαικής και βυζαντινής περιόδου που καταστράφηκαν ολοσχερώς στην νότια παρυφή του οικοπέδου σε ζώνη μήκους 60 μ και πλάτους 15 μ δεν αποτελούσαν απλώς αρχαίες στρώσεις συσσωρευμένου χώματος αλλά επάλληλες οικοδομικές φάσεις με σημαντικά αρχαιολογικά ευρήματα και αρχιτεκτονικά κατάλοιπα που αντιπροσωπεύουν σπουδαίο αρχαιολογικό σύνολο. Η εσπευσμένη καταστροφή των κτιρίων έστω και με άδεια του ΚΑΣ υπήρξε σαφώς παράνομη γιατί έγινε με τρόπο εσπευσμένο και πριν την εκτίμηση της σημασίας τους την κατανόηση της σχέσης τους προς τα ευρήματα της κόκκινης ζώνης και την δημοσίευση των ανακαλύψεων όπως ορίζει ο αρχαιολογικός νόμος.

7. Οργανωμένοι αρχαιολογικοί χώροι με επάλληλες οικιστικές φάσεις και μνημειώδη αρχιτεκτονικά κατάλοιπα όπως στην περίπτωση των αρχαιοτήτων του οικοπέδου Μακρυγιάννη (συμπεριλαμβανομένων των σπουδαίων αρχιτεκτονικών ευρημάτων που προσφάτως καταστράφηκαν στην κίτρινη ζώνη) χρήζουν ειδικής φροντίδας και προστασίας. Γενικά στην αρχαιολογική επιστήμη η σημασία αρχαιολογικής θέσης κρίνεται από την διατήρηση επαλληλίας οικιστικών φάσεων που υποδηλώνουν την συνεχή χρήση του χώρου δια μέσου των αιώνων. Όπως δείχνουν οι ανασκαφές που έγιναν στον χώρο Μακρυγιάννη τόσο κατά τα έργα της αττικό μετρό όσο και πιο πρόσφατα από την Α'ΕΠΚΑ η θέση αποτέλεσε σπουδαίο οικιστικό χώρο της Αθήνας με χρήση από τους προϊστορικούς χρόνους έως τον 19ο αιώνα. Η επιστημονική σπουδαιότητα του χώρου έγκειται στην ανακάλυψη καλώς διατηρημένων αρχιτεκτονικών καταλοίπων της υστερορωμαικής και βυζαντινής περιόδου για τους οποίους παλαιότερες έρευνες στην Αθήνα δεν είχαν φέρει στο φώς ικανοποιητικά στοιχειά. Πέρα από την επαλληλία φάσεων ιδιαίτερη σημασία έχει και η μοναδική μορφή όπως και η σημασία των κτιρίων που αποκαλύφθηκαν (όπως δηλώνεται από τα ίδια τα μέλη του ΚΑΣ Συνεδρίαση 47/27.11.2000). Οι παραπάνω οικιστικές φάσεις αποτελούν αδιαμφισβήτητο τεκμήριο της μακράς ιστορικής χρήσης της Αθήνας. Αποτελούν απόδειξη της ιστορικής ταυτότητας και της ειδοποιού διαφοράς της Αθήνας από πρωτεύουσες άλλων ευρωπαϊκών χωρών. Η μακρά χρήση της Αθήνας δια των αιώνων αποτελεί σπουδαιότατο πολιτιστικό στοιχείο ανάδειξης της ιστορικής συνείδησης του νεοέλληνα και για τον λόγο αυτό τεκμήριο εξέχουσας εθνικής σπουδαιότητας που χρήζει απόλυτης διατήρησης και προστασίας. Η καταστροφή και η προσβολή συμβόλων όπως ο Μαραθώνας και στην συγκεκριμένη περίπτωση ο χώρος Μακρυγιάννη δεν προσβάλλουν μόνο τον χαρακτήρα και το φυσικό περιβάλλον του μνημείου αλλά στρέφονται κατά κύριο λόγο κατά της ιστορίας και του πολιτισμού του λαού που φέρεται ως φυσικός και ιστορικός κληρονόμος του υπό απειλή ιστορικού χώρου.

Cultural Heritage: The construction of the new museum of acropolis, in a place filled with ancient buildings is an intentional destruction.

Cultural Heritage: The construction of the new museum of acropolis, in a place filled with ancient buildings is an intentional destruction.

Μουσείο Ακρόπολης, μια σκόπιμη καταστροφή

ACTION GROUP OF CITIZENS AGAINST THE INSTALLATION OF THE NEW MUSEUM OF ACROPOLIS OF ATHENS ON MACRIYANNIS SITE




APPEAL


The Ministry of Culture and the Organization for the Construction of the New Museum of the Acropolis of Athens (OANMA), adhering to the Greek Government’s earlier decision concerning the location of the Museum for its construction, are in the process for the same site “Macriyannis” at the South slope of the Acropolis Rock.
This decision, made some years ago arbitrarily, without any previous research for the most suitable location, has been strongly criticized by various professional organizations, such as the Architects’ Association, as well as by distinguished archeologists and other specialists. This criticism, based on documented arguments, has been ignored by the Ministry of Culture and collaborating archaeological institutions.

1. This site is considered unsuitable from an archaeological point of view because:

a) Significant archaeological findings have been unearthed in the field intended for the Museum as verified by the Organization for the Construction of the New Museum itself. These antiquities date back to the mesohelladic and late neolithic periods down to the 7th century BC. As mentioned by OANMA itself (July 2000), “The antiquities found in the piece of land intended for the Museum have been proven more significant than originally anticipated. The new finds have changed radically previous agreements concerning the availability of the site, which had resulted from test excavations”. Nevertheless, radical change in estimates did not lead to a reconsideration of the choice. The competent Ministry and its archaeological services are going on with their plans to construct the Museum on the location decided originally, thus committing an act of inconceivable vandalism, building on important archaeological finds, which essentially are destroyed, a Museum whose purpose is to preserve and reveal antiquities.
b) The installation of the Museum in this space will prevent the possibility of an extension and unification of the field of excavation in the southern belt of the Rock. Such excavations in the same belt would, probably, offer significant information about the city and its relationship to the Acropolis. It must be noted here that, despite the opposite assertions of the competent body which declared the archaeological research finished in May 2000, the excavation of the field intended for the Museum has not been concluded and it is most probable that the scheduled demolition of the buildings, existing in it, will reveal important archaeological findings. In any case, it is obvious that this will create a gap on the history of the city and its relation to the Acropolis. Today’s residential area neighboring the Sacred Rock separates it from the ancient urban environment, while it diminishes the vital space which
is necessary in order to put on value the monuments crowing it. The objective here should be to decongest the area surrounding the Acropolis rather than add more buildings to it.

2. The site in question is entirely unacceptable from an aesthetic point of view;

It is obvious that the construction of whatever building, and especially the voluminous Museum, in the immediate environment of the Rock, on the edge of it – only a few dozen meters from its southern wall– is a vulgar, aesthetically unacceptable act that alters drastically the morphology of the archaeological landscape, upsetting its scale and contributing to the downgrading of the image of the Acropolis and its adjacent Monuments.
We are not, of course, aware of the particulars of the building to be approved, since the competition is still in progress, but some features of the structural program are enlightening. According to the proclamation of the competition, the building will occupy a total mixed area of approximately 14000 m2; from which, 8000 will be used for the display of the antiquities. However, along with already existing in the space of the Museum buildings to be assigned to it, its total area will be over 20000 square meters. The height of the southern wall may approach 40 m. It is worth mentioning that the floor area at the stylobates level of Parthenon is 2145 m2 and the total height of 17 m. without its pediments. Its height is diminished drastically during the visual perception not only because of the damages it has sustained, but also because of the fact that in viewing the southern side from the level of the ground, the lower part of the colonnade is hidden.
After the erection of the intended building, the visual field of the spectator will be overwhelmed by the image of the Museum, which is going to be projected oppressively over that of the Acropolis and the Parthenon.
The Museum will also dominate the landscape of Acropolis when viewed from the West, “merging” with the Propylaea and the entire image of the Monuments, while its presence will be strongly noticeable from an eastern sighting of the Rock as well.

The Acropolis is a cultural heritage of humanity. This means that its protection should be the concern of the international community. Especially when its handling by the Greek Government involves purposes like that of the speedy construction of the Museum so as to be in operation during the conduct of the Olympic Games of 2004. Consequently, the qualitative criteria aiming at the best consideration of the issues of location and operation of the Museum in the long run are replaced by short lived criteria of expediency, which aim at an opportunistic arrangement of some temporary “needs”, leading to the catastrophic errors we intimated above.

We are inviting you, therefore, to appreciate the validity of our arguments and to apply pressure on the Greek Government in order to, even at the last moment, persuade it to recall its decisions so as to prevent their irrevocably disastrous consequences for the universal, permanent values incarnated by the Acropolis and its Monuments.

This appeal is signed by;

ADAMOPOULOS KOSTIS Architect
AIDONOPOULOS GAVRIL architect
ALMIRANTIS YANNIS Chemist
ALTIPARMAKIS YANNIS agriculturist
ALVANITIS Z. Associate prof. ASKT
AMAXIS NIKOS Engineer
ANDRIANOPOULOU STAMATIA Private employee
ANGELIDOY DAFNI Lecturer, Fine Arts School of
Athens (ASKT)
ANNOUSI RENA Engraver, secretary of Fine Arts
Chamber
ANTIPA OURANIA Physicist
AYGERINOU – KOLONA S. Associate prof. of Polytechical School of
Athens (EMP)
BABOUSSIS M. Architect, photographer, honorary prof.
BAKOPOULOU DORA Musician, prof. of the Athens
Conserbatory
BALONA DINA painter
BANTOUNA AIMILIA painter
BARBOGLOU ZOGRAFIA painter
BARDAKIS KOSTAS architect
BATINAKIS TIMOS painter
BAXEVANAKI YOTA architect
BIBIKOU-ANTONIADI ELENI Historian, prof., HHESS (Paris)
BILI ANNA painter
BITSAKIS EYTYCHIS Prof. of the University
BITSAKIS YANNIS physicist
BOSTANTZOGLOU-TRIPOU KLIO Art historian
BOURNAZOU E. architect
BOZINEKI-DIDONI VOULA architect
DAVARINOU NIKI dentist
DEFTOU NINA Psychotherapist
DIDEOUSIS CHRISTOS Architect-lecturer
DIMOPOULOU MARIA Architect
DIONISOPOULOS VASILIS Painter
DRAGATOGIANNI IRINI Philologist
DROSOU ELLI Philologist
ELEFTHERIADOU SOPHIA Architect
EVGENIDIS NIKOS Painter
FANOURAKIS SIFIS architect
FARROU IPHIGENIA architect
FILIAS THANASSIS Mechanical engineer
FINE MARIA architect
FINES KOSTAS architect
GALANIS KOSTAS Physicist
GARIDI KORNELIA Retired prof.
GAVATHAS MARTINOS Painter, honorary. prof. ASKT
GAVRILOU ANTONIA Educationist
GAZEPIS NIKOS Architect
GAZIS ANDREAS physicist
GEORGAKOPOULOU POLI Architect
GEORGIADOU THEANO Architect
GEORGOULIS DIMITRIS Associate professor
GEORGOUTSOS CHRISTOFOROS Operateur
GIANNADAKI AIKATERINI
GIOLASIS ANDREAS Architect
GOULAKOS PERIKLIS Painter
GRIGORAKOU – MARTHA LOUIZA Architect
GRIGORIADIS VASILIS Architect
HAINIS YANNIS painter
HALKIAS ALEXANDROS architect
HALOULAKOS ILIAS teacher
HARALAMBOUS PANOS Painter, assist. Prof. ASKT
HAROKOPOU TZELIKA lawyer
HARTOKOLLI KALLIOPI Dr. of Clinical Psychology
HARTOKOLLIS PETROS Prof. of Patras University
HOLEVAS N. Prof, EMP
HRISTOFOGLOU MARTHA Art historian
HRISTOU EYANGELOS actor
IPIOTOU MARIA Psychiatrist
KALAMARA ELENI
KALATZOPOULOS GIORGOS Architect
KALEDRIANOS MICHAEL Computer engineer
KALLIDI ANNIA Visual artist
KALLIGA HARIS Dr. of philosophy, Architect, director of Gennadios Library, medal Europa Nostra
KALLIGA LIZI Painter
KANELLI MARIA Educationist
KANIARIS VLASSIS Painter
KARAVITI EVI Architect
KARDARAS ALEXIS Stage director, film producer
KAROUMBALOS KOSTAS Emeritus prof. Of the University of Athens
KARVOUNI LEMONIA Free entrepreneur
KARVOUNIDOU KAKIA teacher
KARYDIS D.N. Professor EMP
KASTRANTAS GIORGOS Civil engineer
KATAKALEOU ANASTASIA architect
KATSARELI ASPA architect
KATSAROS STATHIS Film director
KATZOURAKIS DIMITRIS Architect
KAVAGIA MAIRI Architect
KLEFTODIMOS DIMITRIS architect
KOKKINIDIS DIMOSTHENIS Painter, emeritus prof., former Dean of ASKT
KOKKINOU MARIA Painter
KONSTANTINOPOULOS
GRIGORIOS Honorary General Inspector of
Antiquities
KONSTANTINOPOULOU IOULIA priv. employee
KONTARATOU IOANNA Visual artist
KONTARINI NEFELI sculptress
KONTEAS ANTONIS architect
KONTOYANNI VASSILIKI philologist
KORAKAS STRATIS Member of the European Parliement
KOTSAKAS architect
KOTSAKI AMALIA architect
KOUCHTSOGLOU IRINI-ROZI lawyer
KOUFELI IRINI architect
KOUGEA LENA Director of art gallery
KOUGEAS SOCRATIS educationist
KOUMARIANOU AIKATERINI Historian, prof. Of University (Sorbonne)
KOUMARIANOU MARIA Film producer
KOUMOUNDOUROS PANAGIOTIS architect
KOUNADIS KOSTAS painter
KOURKOULA NINA translator
KOUVELA AGNI Architect, member of the Archaeological Society
KREMEZI KAITI architect, associate prof. EMP
KYRIAKI VASSO Painter, honorary prof. EMP
LAMBRIDIS MANOLIS Essay writer
LAPPAS GIORGOS Sculptor, prof. ASKT
LASKARIS NIKOS Associate prof. EMP
LEYKADITOU RENA architect
LIGNADIS DIMITRIS actor
LIOPYRAKIS YANNIS sculptor
LOUKAS YANNIS architect
MAKRAKI CHRYSSI architect
MAKRI CLIO sculptress
MAKRI ZIZI painter
MALAFEKAS KOSTAS architect
MANOLITSIS ANASTASIOS architect
MANTOUVALOU MARY Associate prof. EMP
MAOUNIS ANTONIS architect
MARAGOS YANNIS Retired professional
MARPLY KL. Journalist BBC
MARRAII GIORGOS Civil engineer
MARTHA LOUCIA architect
MAYRIDOU MARIA Honorary prof. EMP
MEGA MARIA educationist
MEIMAROGLOU DESPINA painter
MENDRAKOS TAS. author
MENTI EVA lawyer
MESARE INIS architect
METAXAS STAMATIS Painter, prof. ASKT
MICHAILIDOU FANI painter
MICHALEA FROSSO sculptress
MILIARAKI NATASSA
MITSIBOUNAS DIMITRIOS physician
MORETI ALEXANDRA architect
MORETI-AIDONOPOULOU IRINI architect
MORETIS ANGELOS architect
MORPHI SOPHIA educationist
MOSCHONA-KALAMARA ANNA sculptress
MYRIALLI ANGELIKI businesswoman
MYRIALLI MYRTO architect
MYRIALLIS EL. Free entrepreneur
NEZOU CHRISTINA Prof. of Political and Social Sciences
NIKOLAIDIS GIORGOS Sculptor, emeritus prof., former Dean of ASKT
OIKONOMOU OURANIA architect
PANAGIOTOPOULOU architect
PANAGOPOULOS ANDREAS Computer scientist
PANAGOU ELENI Notary public
PANOU YANNIS architect
PANSELINOU NAYSIKA Art critic, prof. ASKT
PANTAZOPOULOU MARINA lawyer
PANTELAKIS MICHALIS architect
PAPADAKI IRO professor
PAPADAKIS MICHALIS Sculptor, President of Fine Arts Chamber
PAPADIMA ELENI philologist
PAPAGEORGIOU VANGA
PAPAIOANNOU AGNI Architect, lecturer
PAPANICOLOPOULOS NESTORAS painter
PAPANTONIOU KOSTIS architect
PAPARODOU ELENI architect
PAPASYMEON MARIA architect
PAPAYANNAKIS LEFTERIS Economist, prof. of EMP
PAPOUTSAKIS CHRISTOS architect. Editor
PARASKEVAS NIKOS sculptor, lecturer ASKT
PATERAKIS HARALAMBOS Major council
PEHORIKIDOU MARIA painter
PERDIKI NIKI painter
PETROPOULAKIS SOTIRIS Electrical engineer
PETROULIA GEORGIA painter
PICHORIDOU CHRYSSANTHI Civil engineer
PISSIMISSIS GIORGOS architect
POLYXI MARIA student
PORTALIOU ELENI architect
PROVELENGIOS GIORGOS architect
PROVELENGIOU NIOVI architect
PSYCHOGIOU VARVARA teacher
RAFTOPOULOS DIMITRIS writer
RAFTOPOULOU SOPHIA photographer
ROTHOS KOSTAS Sculptor, prof., Technical School
ROUSSEAS NIKOS architect
SACHANA CHRYSSA architect
SANTORINAIOS MANTHOS Lecturer ASKT
SARANTOPOULOU CHRISTINA sculptress
SARIGELI MARIA teacher
SARIYANNIS GIORGOS Prof. EMP
SARROPOULOS KOSTAS Civil engineer
SARROPOULOU AIMILIA
SARROPOULOU KATERINA Prof. choreographer
SAVAS MICHAIL Physician, essayist, General. Secretary of EEK party
SCHAAL GASTON teacher
SCHINA ATHINA art historian
SELIANITI EYDOKIA Student of architecture
SELIANITIS CHRISTOS architect
SFIKAS KOSTAS Movie director
SIAPKIDIS NIKOS architect
SKALTSA LENA architect
SKLIAS KOSTAS architect
SORONGAS SOTIRIS Painter, prof. EMP
SOTIRIOU AGLAIA educationist
SOURAPA ERSI
SOUVATZIDIS MICHALIS painter
STYLIANOPOULOU ANTIGONI teacher
SVORONOU KALLIOPI painter
TAMPAKIS NIKOS engineer
TAVLARIDIS ALEKOS architect
THEODORIDIS YANNIS Civil engineer
THEOFILOU ANDREAS Researcher (DEMOKRITOS)
TOKATLIDIS KOSTIS lawyer
TORAKI STEPHANIA physician
TOTSIKAS PANOS architect
TRANOS NIKOS Sculptor, assistant prof. ASKT
TRIPOS KITSOS engineer
TSIGROU IOANNA teacher
TSIVERIOTI ELISA architect
TZAMOURANIS ILIAS Electrical engineer
TZOUNIS ALEXANDROS philologist
TZOVARIDOU THEANO architect
VAFIADI ELENI Student
VAFIADIS DIMITRIS Free entrepreneur
VAIOU NT. Associate prof. EMP
VALASI ZOI Author, majoral councilor
VALAVANIDIS YANNIS Paiter, professor of ASKT
VAMVAKOU MARIA Translator
VARLAMOS GIORGIS Paiter
VARLAS IOANNIS Mathematician
VAROUTSIS STAVROS Civil engineer
VEZIROGLOU ANTONIS Architect
VLASSOPOULOS KIRIAKOS Theologian
VOIVONDA AGAPI
VOULGARIS ZANNIS Physician, University professor
VOUTSINOS NIKOLAOS Architect
VRIHEA ANNA professor ASKT
XAGORARIS ZAFOS Painter, lecturer ASKT
XYDI MINA architect
XYDIS ALEXANDROS Art critic, honorary ambassador
ZACHARIOU ATHANASIA Philologist
ZACHOS THANASIS Priv. employee
ZAMBOURA LENA Dancer, prof. of classical ballet
ZAMBOURA MARILENA Painter
ZERVOS YANNIS Architect
ZIAKAS GIORGOS Scene painter, assoc. prof. ASKT
ZORBALAS GIORGOS Lawyer
ZOUNI OPI Painter
HASANAKOS KOSTAS Dentist