Catalogue of the 8th Biennale of Young Greek Architects

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Order: info@heliarch.gr
ISBN: 978-960-98072-7-2
Pages: 144
Dimensions: 21×28 cm

(from the catalogue)
FOREWORD

The 8th Biennale of Young Greek Architects takes place during one of the most critical periods in contemporary Greek history.
The question of architectural production in times of economic, social, and cultural crisis had already emerged at the successful 7th Biennale of Young Greek Architects, held at the Benaki Museum (November 2012 to January 2013). This question concerned the current architectural landscape and the difficult situation that the construction activity as a whole was already perceived to be entering.
This year’s 214 submissions are very encouraging, especially in the midst of the crisis, reflecting the importance that young Greek architects attribute to the Biennale institution, a significant platform for showcasing architectural work.
In this sense, the Biennale serves as a barometer that marks over time not only new presences with notable works but, more importantly, the overall direction and trends of contemporary Greek architecture. In previous Biennales, it was noted on one hand the consistent dominance of housing, which accounts for a large percentage of completed projects, and on the other hand the lack of significant public buildings. Additionally, there was the emergence of projects concerning public spaces (mainly competitions for the design of squares, open spaces, road axes, etc.) and an increase in regional production outside the Greek capital.
This year’s 8th Biennale presents several distinct features compared to previous editions. The jury chose to showcase a total of 59 projects, half of which are realized and the other half unrealized.
For the first time, the number of realized and unrealized works is balanced, clearly reflecting the stagnation in construction activity. Among the unrealized projects, a significant portion consists of competition entries and awards, which through the Biennale gain a second opportunity for public presentation (e.g., the Archaeological Thematic Museum of Piraeus, the Museum for the Exploitation of Argos in Volos, etc.).
Moreover, the percentage of residential projects has significantly decreased compared to the past, a fact that also aligns with the contraction of the building sector and the reduction of spending on private housing. This phenomenon is unprecedented for a country that never had a strong state housing policy like many other European countries, but always relied either on private capital or the system of building exchange.
Following the two previous Biennales, we observe the continued creation of more significant works in the regions. The saturated capital no longer offers opportunities for a multitude of new projects, while the regions, strengthened by the presence of architects who graduated from the new architecture schools established after 1999, seem to offer more development opportunities than Athens, Thessaloniki, and other major cities, which are mainly focused on the reuse and adaptation of the existing building stock.
At the same time, there is the consistently ongoing presence of high-quality contemporary Cypriot architecture in the Biennales, as well as an increased flow of participation on the European (Italy, Germany, Austria, Hungary, United Kingdom, Norway) and international stage (USA, Africa, Asia), mainly through collaborations of Greeks with foreign architects and participation in competitions. This is a promising sign of potential presence on the international scene, which might mutually benefit Greek architecture by overcoming our long-standing geographical isolation in a more substantive way. Looking to the future, we could say that Greek architecture at least that originating from architects under 45 years old is transforming in multiple directions different from before, concerning place, landscape, and urban space: less Athens-centric, less focused on housing, and with greater interest in public space.
It remains to be seen whether the next, ninth Biennale will be able to express some new ideas, or even formulate principles for architecture amidst the multifaceted crisis which is not only local but also European, not only economic but more broadly urban and environmental with which to collectively envision the future.
Fortunately, the young, compelled to reinvent hope, do not easily succumb to the crisis and challenge us to envision together an architecture that expresses the era and the place, while remaining simultaneously open and universal.
I would like to thank the members of the jury, Andreas Giakoumakatos, Dimitris Issaias, Kostas Moraitis, Michalis Manidakis, and Dionisis Sotovikis, for the difficult and conscientious work with which they carried out their selection.
I especially thank the curator of the Biennale, Nadia Koula, and the graphic designer, Ioanna Kostika, for their tasteful work, and certainly the director of the Hellenic Institute of Architecture, Marianna Milioni, who bore the burden not only of the organization but also of all the ongoing activities of the Institute during this critical period.
Finally, I must thank the members of both the outgoing and the new Board of Directors who supported this effort, the Stavros Niarchos Foundation, which once again stood as a great supporter of our endeavor, and all the sponsors for the realization of the Biennale at such a difficult time.

Professor Elias Cnstantopoulos
President H.I.A.
August 6,2015