{"id":59474,"date":"2017-07-12T13:00:25","date_gmt":"2017-07-12T13:00:25","guid":{"rendered":"https:\/\/metropolismag.com\/projects\/how-renzo-piano-800-million-cultural-center-survived-crisis\/"},"modified":"2021-08-19T14:12:22","modified_gmt":"2021-08-19T14:12:22","slug":"how-renzo-piano-800-million-cultural-center-survived-crisis","status":"publish","type":"metro_project","link":"https:\/\/metropolismag.com\/projects\/how-renzo-piano-800-million-cultural-center-survived-crisis\/","title":{"rendered":"How Renzo Piano’s $800 Million Cultural Center Survived the Crisis and a Decade of Delays"},"content":{"rendered":"
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Aerial view of Athens, and the Stavros Niarchos Foundation Cultural Center, Courtesy Iwan Baan, 2016<\/strong><\/figcaption><\/figure>\n

Experimentation with forms, materials, and means of sustainability has been a constant throughout <\/span>Renzo Piano<\/span><\/a>\u2019s career. In Athens, <\/span>for the <\/span>Stavros Niarchos Foundation Cultural Center<\/span><\/a>, he pushed the envelope of all three, and the result is two large wings of a single structure, constructed in reinforced concrete with some steel elements and separated by a sizable open-air agora\u200a\u2014\u200aall of this embedded in a man-made hill. A huge but seemingly weightless canopy, tapered like an airplane wing, \ufb02oats above this construction. Made of ferro-cement (thin-shell reinforced mortar over a layer of metal mesh and closely spaced thin steel rods), it provides support for solar panels, as well as shade, and it conspicuously signals the cultural center\u2019s presence. A newly created park covers most of the site, climbing up the hill over the library and the garage. The center is just two miles south of the Acropolis and only a few hundred feet from the beautiful Saronic Gulf, both of which can be seen from the new building.<\/span><\/p>\n

Investigation and collaboration on the canopy was particularly intense. In an amazing combination of old and new, hundreds of workers, usually on their hands and knees, hand-wove the connecting wire mesh of the structure\u2019s components. The form was then \ufb01lled and covered by a thin layer of sand\/cement mortar. It is the most expensive element of the <\/span>$824 million <\/span>endeavor (<\/span>the canopy\u00a0<\/span>cost more than $57.6 million)\u200a\u2014\u200athe kind of effort that ends up being called visionary if successful, a folly if not. <\/span><\/p>\n

The man who set the Stavros Niarchos Foundation Cultural Center (SNFCC) in motion is Andreas Dracopoulos, the devoted great-nephew of the shipping magnate Stavros Niarchos, who serves as the foundation\u2019s director, co-president, and determining decision-maker. From the moment he met the architect Renzo Piano, he was captivated by the man and by the startling originality of his concept of raising the site\u2019s \ufb02at surface by 105 feet to create a hill as the location for the new home of the Greek National Opera and the National Library of Greece. Inspired by the mountains surrounding the capital (one of whose quarries, Penteli, supplied the marble for the Parthenon), Piano imagined a hill excavated as if for a quarry. The hilltop would provide panoramic views of the sea and the city from the <\/span>SNFCC<\/span>. To reconnect the city and the sea, which were separated by a four-lane highway, and to provide backup irrigation for the park, the architect envisioned a canal running parallel to the structure and extending the entire length of the site. <\/span><\/p>\n

With the country facing such dire \ufb01nancial problems, embarking on an undertaking of this magnitude\u200a\u2014\u200athe <\/span>SNFCC<\/span> is approximately 1.28 million square feet\u200a\u2014\u200ade\ufb01ed logic. For a foundation to spend a fortune on culture in this heavily indebted country, where labor strikes were frequent even before the crisis accelerated in 2009, presented a paradox\u200a\u2014\u200aand it was not the only one. The government\u2019s call for a new facility for the NLG was convincing, especially because its magnificent collection of books, manuscripts, and documents was divided among three separate temporary venues; but the rationale for a luxurious new opera house was less evident. Granted, the Olympia Theater, where the GNO had performed since 1958, is woefully inadequate for opera, but the company had also occasionally appeared in the Megaron concert hall (completed in 1991), in Athens, with great success. That very success may be what encouraged construction of a new theater built speci\ufb01cally to present operas.<\/span><\/p>\n

The lush Stavros Niarchos Park, which covers most of the site,\u00a0will play an important role in making the cultural center a popular destination. Myron Michailidis, who in 2011 was \ufb01nally appointed as the NGO\u2019s artistic director, held his \ufb01rst major press conference\u00a0in the park\u00a0early in 2015\u200a\u2014\u200aan indication of the importance he attaches\u00a0to this part of the cultural center.\u00a0<\/span><\/p>\n

Unlike previous models of landscape conservation, which stressed the need to protect natural resources, scenic wilderness, and rural areas from urbanization, recent approaches to landscape design have dissolved the\u00a0opposition between city and nature, seeking to use parks as a means to introduce natural ecologies into urban areas. Leaving behind the Romantic\u00a0idea of a\u00a0park as a\u00a0natural\u00a0idyll\u00a0that\u00a0offers an escape from\u00a0urban activity, most contemporary designers prefer to integrate nature and urbanism as Piano did in aligning the\u00a0paths in the\u00a0cultural center\u2019s\u00a0park\u00a0with those of neighborhood streets.\u00a0<\/span><\/p>\n

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The sketch by Renzo Piano that started it all. Already evident is the architect\u2019s key idea– to build a hill that would lift up the Stavros Niarchos Foundation Cultural Center to provide astonishing views never possible before.<\/figcaption><\/figure>\n

The park and the other two major additions to the city of Athens were made possible by the foundation established according to the terms of Stavros Niarchos\u2019s will. That donation is part of a long tradition in modern Greece of private support for public institutions. Niarchos began earning a living as an impecunious apprentice in the \ufb02our-milling business of his maternal uncles, and then persuaded them to expand the business by buying ships. After World War II, he founded his own shipping company and by 1956 had built it into the largest international private \ufb02eet in the world.<\/span> \u00a0<\/span>His foundation came into being in 1996\u200a\u2014\u200athe year of his death\u200a\u2014\u200aand has worked actively ever since. However, because the <\/span>SNFCC<\/span> was by far its most ambitious project (and its \ufb01rst important architecture project), the directors seriously questioned the advisability of their extravagance in December 2008, when cities throughout Greece were wracked for more than a month by violent protests. Though triggered by the killing of a 15-year-old student by the police in Athens, the demonstrations were fueled by widespread outrage and frustration, especially among young people, over the country\u2019s growing economic difficulties. <\/span><\/p>\n

So extreme were the problems by late 2009 that the phrase \u201cbecoming another Greece\u201d entered the vernacular as a reference to drastic \ufb01nancial instability. \u00a0Greece\u2019s problems with the European Community were only just beginning their dramatic escalation in June 2011 when Piano participated in the <\/span>SNFCC<\/span>\u2019s inaugural press conference. A brief disruption of the event, orchestrated by environmentalists, subsided when it became apparent that the building would introduce a new level of environmental sensitivity to Greek architecture. The only exception to generally favorable press coverage has been from the far left-wing media, which opposed allowing the SNF to use the land, criticized what it saw as tax exemptions for the foundation, and denounced what it labels private interference with government-run institutions.<\/span><\/p>\n

Be that as it may, every mainstream newspaper in Athens carried a laudatory front-page story about the June 25, 2014, \u201cDance of the Cranes\u201d that took place at the construction site in anticipation of the completion of the <\/span>SNFCC<\/span>\u2019s superstructure. Fifteen hundred people, including myself, watched the sun set in the cloudless Mediterranean sky as ten giant cranes gracefully interacted in a \ufb01fteen-minute performance choreographed to the music of Gustav Holst\u2019s suite <\/span>The Planets, <\/span><\/i>played by the GNO orchestra. The event replicated a similar \u201cDance\u201d staged by Piano\u200a\u2014\u200aever the consummate showman\u200a\u2014\u200ain Berlin in 1996, during the erection of his Daimler-Benz complex at Potsdamer Platz. <\/span><\/p>\n

Dracopoulos, the SNF\u2019s director, concluded the performance with a short assertion of his optimism, calling the <\/span>SNFCC<\/span> \u201can inspired project, imparting a sense of magic and a dreamlike quality to each and every one of the citizens of this country.\u201d Piano took over the microphone to repeat his belief in the \u201ctherapeutic power of beauty.\u201d<\/span><\/p>\n

Dracopoulos and Piano are not the \ufb01rst to entertain such ideas in the face of adversity. The Empire State Building (1931) and Rockefeller Center (1930\u20131939) in New York City, both remarkable architectural achievements, were constructed during the height of the Great Depression that ravaged the U.S. economy for ten years. More than half a century earlier, in Paris, the Palais Garnier opera house (1875) rose during and immediately after the Franco-Prussian War (1870\u20131871), in an era of turbulence even more extreme than the Greek crisis. These projects overcame the troubles of their times to become enduring masterpieces. It remains to be seen whether the Athens project will be equally lasting. <\/span><\/p>\n

This is an excerpt from Victoria Newhouse’s\u00a0<\/em>Chaos and Culture: Renzo Piano Building Workshop and the Stavros Niarchos Foundation Cultural Center,\u00a0<\/a>available from Monacelli Press.<\/em><\/p>\n

If you liked this, you may enjoy\u00a0The Whitney’s Chief Curator on How Renzo Pian’s New Building “Stretches the Mind”<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Despite the odds, the Stavros Niarchos Foundation Cultural Center (SNFCC), by Renzo Piano Building Workshop, became a beacon of hope amid Greece\u2019s economic crisis and political upheaval.<\/p>\n","protected":false},"author":1095,"featured_media":22631,"menu_order":0,"template":"","meta":{"_acf_changed":false,"featured_image_focal_point":[],"legacy_WP_ID":null},"tags":[452,307],"metro_tax_domain":[8],"metro_tax_topic":[13],"metro_tax_program":[],"metro_issue":[],"internal_flag":[],"class_list":["post-59474","metro_project","type-metro_project","status-publish","has-post-thumbnail","hentry","tag-excerpt","tag-renzo-piano","metro_tax_domain-cultural","metro_tax_topic-architecture"],"acf":[],"yoast_head":"\nHow Renzo Piano's $800 Million Cultural Center Survived the Crisis and a Decade of Delays - Metropolis<\/title>\n<meta name=\"description\" content=\"Despite the odds, the Stavros Niarchos Foundation Cultural Center (SNFCC), by Renzo Piano Building Workshop, became a beacon of hope 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