Basketball Arena in London

To the 2012 Summer Olympic Games in London have constructed the portable basketball arena.

The 2012 Olympic Games which will take place in London, will be rather burdensome for the British budget. For example, for the Olympic Stadium are invested more 500,000,000 pounds. Besides it, in plans the tens of Olympic objects, sport arenas, and infrastructural complexes. Among the Great Olympic objects is possible to name the Center of Water-sports (by Zaha Hadid), and the 1st Cable Car in London.

Portable Olympic Arena

The project of the Basketball Arena which can accept simultaneously twelve thousand spectators, will be developed by the architectural and engineering companies: Sinclair Knight Merz, Wilkinson Eyre and KSS. The main feature of this arena consists that arena will be created from easily erected elements that has allowed to erect all complex for 15 months.

Thus, after the termination of the Olympic and Paraolympic Games this basketball stadium will be quickly disassembled. But not for ever. Further, the basketball arena can be collected again in any place.

Interior of Basketball Arena

Such portable arena will allow to save ten millions pounds. And, if it will be possible to sell this stadium it's even better.

The destruction at the ancient city of Palmyra symbolises the suffering of the Syrian people at the hands of the terrorist group known as Islamic State (IS). Palmyra was a largely Roman city located at a desert oasis on a vital crossroad, and “one of the most important cultural centres of the ancient world”. Its remarkable preservation highlighted an intermingling of cultures that today, as then, came to stand for the tolerance and multiculturalism that pre-conflict Syria was renowned for -– tolerance that IS seeks to eradicate.

Early in the conflict, the area was heavily fortified. Roads and embankments were dug through the necropolises and the Roman walls, and the historic citadel defences were upgraded. Yet the terrorists occupied and desecrated the city from May 2015, systematically destroying monuments such as the Temple of Baalshamin, the Temple of Bel, seven tower tombs, a large Lion goddess statue and two Islamic shrines. They ransacked the museum, tortured and executing the former site director Khaled al-Asaad in search of treasure to sell. According to satellite imagery analysis the site was heavily looted throughout it all.

Now the city has been recaptured, the first damage assessments are underway, and Syrian – and international – attention is already turning to restoration. This work will be greatly aided by the Syrians who risked their lives to transport the contents of the Palmyra museum to safety. The last truck pulled out as IS arrived, with bullets whizzing past.

Even as they were displaced, Syrians have worked to keep a detailed memory of the city alive. Syrian artists created artworks depicting the destruction. In a Jordanian camp, refugees made miniature models of the city and other cultural sites, even measuring out the number and position of Palmyra’s columns from photographs.

The international community is also playing its part. Groups like UNOSAT, the UN’s satellite imagery analysts have used satellite imagery to monitor the damage. On the ground, Syrian-founded NGOs like APSA have linked with universities to assess the site. Groups such as NewPalmyra and Palmyra 3D Model are using the latest technology to create open-access 3D computer models from photographs.

Others have gone even further. The Million Image Database Project at the Oxford Institute for Digital Archaeology distributed cameras to volunteers across the Middle East to collect 3D photos of sites. As well as creating 3D models, they will recreate full-scale artefacts, sites, and architectural features using their own cement-based 3D printing techniques. This will start with a recreation of the arch from Palmyra’s Temple of Bel, due to be unveiled in London in April 2016.

Ethics of restoration

As well as being used for research, education and enjoyment, this technology could recreate (and perhaps ultimately restore) what IS has destroyed. 3D printing can be done in any colour of shapeable material, and can be as obvious – or as unobtrusive – as desired. The group is also exploring using computer-guided tools to quickly carve their models into stone.

It wouldn’t be the first time such large-scale restoration has been undertaken. Historic central Warsaw, for example, was destroyed during World War II, and was almost completely reconstructed and is now a World Heritage site. Reconstruction is costly, but might be accomplished more quickly and cheaply using new digital techniques, showing the world that Syria values its cultural heritage.

But many argue that 3D printing fails to capture the authenticity of the original structures, amounting to little more than the Disneyfication of heritage. They also point out that the fighting is still ongoing: 370,000 Syrians are dead, millions are displaced, and perhaps 50%-70% of the nearby town has been destroyed. Given the pressing humanitarian needs, stabilisation alone should be the priority for now.

Rebuilding also fails to redress the loss caused by the extensive looting of the site, focusing only on the dramatically destroyed monuments. Perhaps most importantly, its worth asking whether returning Palmyra exactly to its pre-conflict state denies a major chapter of its history? There needs to be a wide-ranging discussion on the priorities for the immediate future and the nature of any future reconstruction.

As has happened after previous conflicts, there may need to be a memorial as a testimony to those beheaded in the arena, or tied to columns that were detonated, or to the former site director executed in trying to protect this site that was so important to him. These stories, and many more, are a part of Palmyra’s, and Syria’s, history.

One thing is clear: while Palmyra may hold great significance to the world, the final decision should belong to those who have lived alongside it, cared for it, managed it, fought for it, and protected it for generations: the Syrian people.

Author: Emma Cunliffe, University Of Oxford | Source: The Conversation [March 31, 2016]

The first-ever legal bid to force the UK to return the Parthenon Sculptures to Greece has been thrown out by the European Court of Human Rights.

The court ruled that because the alleged theft of the sculptures from the 2,500-year-old Parthenon temple took place more than 150 years before the UK signed up to the human rights convention, it did not have the power to consider the lawsuit.

Campaigners for the return of the sculptures pointed out that the court had not made a ruling on the “merits of the case”.

The marbles were taken from the temple by the Earl of Elgin in the 1800s and he then sold them to the British Government in 1816 after running into financial difficulties.

At the time, Greece was occupied by the Ottoman Empire. Lord Elgin obtained a “firman”, a legal document, that apparently allowed him to take some stones but some believe it did not entitle him to cut sculptures from the building.

The marbles are regarded as some of the finest sculptures ever created and the Parthenon, built by the democratic Athenians after victory over the Persian Empire, is arguably the most important monument in Europe.

The Greek Government was given extensive legal advice from lawyers Amal Clooney and Geoffrey Robertson, but appears to have decided against taking Britain to court.

Instead, the case against the UK was brought by the >Athenians’ Association, a cultural group, after the British Government refused an offer last year by UNESCO to mediate between Greece and Britain.

The British Government and the British Museum, where about half the surviving Parthenon sculptures are on display, insist the Earl of Elgin acquired them legally.

>In its ruling, which was sent to the Athenian Association last month, the European court said: “The Court notes that the marbles were removed from Greece in the early 19th century.

“In order to bring the matter within the temporal jurisdiction of the Court, the applicant has sought to rely on the refusal of the United Kingdom to enter into mediation with Greece concerning the return of the marbles and the continuing refusal to return the marbles.

“However, it is clear from the nature of the applicant’s complaints that its underlying grievance is the allegedly unlawful removal of the marbles from Greece. The removal having occurred some 150 years before the Convention was drafted and ratified by the respondent state, the applicant’s complaints would appear to be inadmissible.”

The judges also said the Athenians’ Association did not have “any right … to have the marbles returned to Greece”.

The Athenians’ Association’s legal representative, Vassilis Sotiropoulos, said the case was a “first step”.

He claimed the judgement could actually help the Greek Government take legal action in the future.

“Globally, this first statement of the European Court, historically the first court judgement, on the subject of the Parthenon Marbles highlights the points that Greece should focus on with particular attention in her recourse against the United Kingdom,” Mr Sotiropoulos said.

“This decision leaves open the possibility of a recourse submitted by Greece being proclaimed admissible, thus also indirectly offering precious expertise on how to handle the case henceforth.”

Andrew George, of the British Association for the Reunification of the Parthenon Sculptures, said the ruling did not affect the arguments in favour of sending the sculptures back.

“We’ve learned nothing from this. There’s been no test of the merits of the case, just that this is not the arena to resolve the justice or otherwise of the case,” he said.

“The UK Parliament effectively state-sanctioned the improper acquisition of the sculptures exactly 200 years ago this year.

“But this doesn’t make it a cause of pride for the British, nor does it make the act nor their continued retention either ethical or just.”

On 10 July, a cross-party group of MPs launched a >Bill to return the sculptures to Athens, where the Acropolis Museum was built specifically to house them within sight of the Parthenon.

The British Museum argues that it “tells the story of cultural achievement throughout the world, from the dawn of human history over two million years ago until the present day”.

“The Parthenon Sculptures are a vital element in this interconnected world collection. They are a part of the world’s shared heritage and transcend political boundaries,” it says.

“The Acropolis Museum allows the Parthenon sculptures that are in Athens (approximately half of what survive from antiquity) to be appreciated against the backdrop of ancient Greek and Athenian history. The Parthenon sculptures in London are an important representation of ancient Athenian civilisation in the context of world history.”

Author: Ian Johnston | Source: Telegraph [July 20, 2016]