MUSEUM OF UNDERWATER ANTIQUITIES, PIRAEUS, GREECE, *honourable mention in international architectural competition
INTERNATIONAL ARCHITECTURAL COMPETITION
DISTINCTION – HONOURABLE MENTION
PROJECT MANAGERS
YIANNIS DITSAS, PANOS KOUNTOURAS,
LIDA DITSA
PROJECT TEAM
YIANNIS DITSAS, PANOS KOUNTOURAS,
LIDA DITSA
COLLABORATOR
TSOPELA KATERINA
PROJECT INFO
USE: MUSEUM FOR UNDERWATER ANTIQUITIES AND PARK
LOCATION: PORT OF PIRAEUS, GREECE
OWNER: PIRAEUS PORT AUTHORITY, GREEK MINISTRY OF CULTURE
TOTAL AREA OF COASTAL ZONE: 110.000 M²
TOTAL AREA OF BUILDING: 15.818 M²
STUDY: 2012
DESCRIPTION
The architecture of the museum is presented as a combination of two basic elements: on one hand, the contemporary approach of museum design, that proposes a unified supervision of the museum interior combined with an energy efficient technological shell that complements the buildings’s aesthetical minimalism. In this way, the term of transparency is induced to support conceptually the character of the Museum, with the creation of selected openings in the shell.
The interior of the building is opened by a main space at the height of the old cells (25.00 m) which is the core of developing showrooms around it.. Furthermore, it extends vertically with the addition of an extra floor made of light steel structure with a shaded translucent covering.
The exterior of the building is coated by a shell that combines bare concrete at the bottom forming two floors of arched corridors, sun-protecting strips in the roof and in the side elevations and finally two photovoltaic solar glass curtain walls on both longitudinal sides.
The architecture of the environment includes buildings for public-use, pedestrian paths, water parks, large vertical communication knots and amusement/game parks . A central axis is formed to give access to the museum and the adjacent buildings, a twin rampla lifted on its ends, surrounded by small sitting areas, all incorporated on a water canal.
The main idea is the development of water parks, in which small islands are intergrated as restaurants, bars and cafes and pedestrian paths combined with perfectly flat plain squares illuminated throughout the night from self-powered underfloor lights.
The road networks which are plotted in service of visitors are almost invisible except one spiral bicycle route ribbon which gives the whole landscape morphological cohesion and unifies it aethetically.
The architecture of the museum is presented as a combination of two basic elements: on one hand, the contemporary approach of museum design, that proposes a unified supervision of the museum interior combined with an energy efficient technological shell that complements the buildings’s aesthetical minimalism. In this way, the term of transparency is induced to support conceptually the character of the Museum, with the creation of selected openings in the shell.
The interior of the building is opened by a main space at the height of the old cells (25.00 m) which is the core of developing showrooms around it.. Furthermore, it extends vertically with the addition of an extra floor made of light steel structure with a shaded translucent covering.
The exterior of the building is coated by a shell that combines bare concrete at the bottom forming two floors of arched corridors, sun-protecting strips in the roof and in the side elevations and finally two photovoltaic solar glass curtain walls on both longitudinal sides.
The architecture of the environment includes buildings for public-use, pedestrian paths, water parks, large vertical communication knots and amusement/game parks . A central axis is formed to give access to the museum and the adjacent buildings, a twin rampla lifted on its ends, surrounded by small sitting areas, all incorporated on a water canal.
The main idea is the development of water parks, in which small islands are intergrated as restaurants, bars and cafes and pedestrian paths combined with perfectly flat plain squares illuminated throughout the night from self-powered underfloor lights.
The road networks which are plotted in service of visitors are almost invisible except one spiral bicycle route ribbon which gives the whole landscape morphological cohesion and unifies it aethetically.
