I had the pleasure of first meeting Arata Isozaki, his ideas and work in 1997, when I curated a large retrospective exhibition of his work at the Lazarist Monastery as part of the Cultural Center with Lois Papadopoulos. Capital Organization of Europe “Thessaloniki 1997”. His presence at the opening of the exhibition, an unforgettable personal analysis of his work through amazing models and plans for an exhibition for students of the AUTH Faculty of Architecture, and his expression of satisfaction with the creation of an exhibition that set the stage for a second meeting with him in 2001 when we competed for the new Acropolis Museum. We worked in his office in Tokyo on the central idea of ​​a proposal he called “Space Egg”; a proposal based on Isozaki’s constant “conversation” with ancient Greek mythology, as well as with ancient Greek philosophers. He left behind the role of the Creator and the conversation takes place through a text written in the form of an ancient tragedy – with the Dance and the main characters – both with the past and the era of Pericles’ glory, and with the future monument.

The text begins with Chorus noting that “The Sacred Hill is now in ruins” and asking Pericles: “O Pericles, where is the glory that you created, the glory of the citizens of Athens? Glory lost”, he turns to Gaia: “You did not stop the flow of Time. The marble on the hill is still wearing off. After two millennia, outsiders stepped on it, and there was a strong explosion. Another stranger appeared and grabbed even the smallest pieces as he left the port of Piraeus. In search of the vanished glorious traces, a wave of pilgrims arrived on a deserted hill. The dance continues: “Call Phidias, Iktinos, Mnisikl.”

Phidias: Where is the goddess Athena that I created? I wonder if they melted down her gold?

Iktinos: How mutilated you are, my Parthenon! My Parthenon is barely standing – on crutches. Numerous statues of gods on the pediment, Panatheneas on the frieze – where are they?

Mnisicles: Even the unfinished Propylaea are crumbling, and the Erechtheion is not fully restored – the caryatids have not yet returned.

Dance: Call of the Creator.

Creator: I order the people of Athens to build Perfection on the hill of the Acropolis. This was the essence of architecture. Marble is subject to wear and tear, ruled by Gaia. What I can’t stand is people who selfishly fight, plunder and destroy. Collected, scattered pieces await Hatching. I don’t think it’s possible to reincarnate by going back to the hill and blending harmoniously together. At the foot of the hill, opposite the Theater of Dionysus, build an “Incubator”.

Gaia will call it the “Cosmic Egg”. Inside is a “Virtual Virgin”. It will be set to real pieces, then wait for the “hatch”. Real and virtual pieces will intersect, and when the third millennium comes, the shell will burst. Then the imaginary image will be felt as real. (Plato’s cave metaphor will be repeated.) The Egg of the Universe.

Participation in the competition is commendable and not feasible. Two years later, in the autumn of 2003, the third meeting takes place, with the aim of our participation – Isozaki’s office with the team of Thessaloniki – in the competition announced by the Thessaloniki Concert Hall for the study of the M2 building. The participation was successful, the offer was realized and Thessaloniki acquired a modern Concert Hall, a landmark in conversation with the sea and Mount Olympus.