Designed by New York architect Bernard Tschumi in collaboration with Greece's Michalis Photiadis.

One of the most important museums for the history of art. In it's collection are included some of the most beautiful works of the plastic art of the archaic and classical period.

The monumental complex with light, space, angular lines &  its perfect view of the Acropolis, honours the history of this ancient site and its treasures.

State-of-the-Art technologies handle energy consumption matters and others related to this museum specifically. There are three materials employed in the construction of this building: glass, reinforced concrete and steel with marble floors.

The glass applied in the New Acropolis Museum is especially clear, with reduced iron levels (E) to avoid green colouring. The Parthenon Hall is surrounded by glass sheets with a 70cm gap within them. The internal sheet is hanged 2,25m above the floor.

The outer one is covered with silk print dots for shading purposes and so as to avoid glaring effects. Fabric rolls employing sensors compliment the shading system, thus protecting the three facades from the sun.

The two sheets of glass create the “glass chimney” of the hybrid air-conditioning system. The glass base-bench around the space works at the same time as part of the air-conditioning system, providing the floors with cold air. The air rises up to the furred ceiling. Therefore, when the temperature outdoors reaches 40^oC, indoors it stays at around 23^oC.

The glass exterior surface has increased weight and is quite sensitive to the potential high air pressures. Glass floors guarantee the unobstructed view to the archaeological findings underneath the Museum. Specifically, it is laminated glass 5cm thick, so as to be skid and heat resistant.

The glass ceiling of the Parthenon Hall is covered by black silk print surfaces, in continuance with the vertical ones inside the Hall. This is of great importance since it constitutes the fifth façade of the Museum, visible by the Acropolis. The glass surfaces are supported by steel stays. Beneath them, a special system of foam glass works for the removal of rain water, leading it to the hidden rain water removal network. 

The earthquake proofing system defines the surface where the upper construction lays on metallic bases. Each metallic base of the 92 columns endures different static tensions. The metallic bases of reversed pendulum are essentially a combination of two concave plates, one inside the other, which, during earthquakes are displaced and the energy produced gets absorbed until the plates return to their initial positions.

The use of raw concrete has been successful. The aim was for the concrete’s finishing not to be uneven or have any colour differences after uninstalling the specially designed metallic moulds.

Marble floors of smoothed marble and of Macedonian Black marble cover the Circulation and Communal Spaces. In the Exhibition Spaces, the marble used is of a light ochre-rose shade, found in Elikonas, Peloponnesus, matching the sculptures’ patina.   

Sound proofing has been applied to avoid the noise pollution, commonly experienced in all museums employing hard surfaces. On the 12m tall ramp, the sound-absorbing material is covered by precast concrete banners with circular openings, which absorb all noise allowing thus for crystal clear sound.

Fire-compartments are necessary in order to protect the building against fire and their segregation is done with the help of sensors releasing fire curtains.