On an exceptionally narrow plot in Porto, a residential building combines eleven apartments within a compact volume, using a central stair core, varied duplex configurations and a concrete façade articulated by large arches and planted balconies.

Boavista 339 in Porto by Paulo Merlini architects is a 650m² residential building completed in 2023 on Rua de Agramonte. Developed on a plot of only 88m², with a 5.50m frontage and a rear elevation narrowing to just 2.00m, the project responds to an unusually constrained urban condition through a compact organization of studio and one-bedroom apartments.

Rather than treating the irregular site as a limitation to be concealed, the design uses its proportions to determine the building’s circulation, apartment typologies and relationship with natural light. A central stair core frees both façades, while a varied arrangement of apartments on one and two levels makes more efficient use of the available floor area.

 

A central core on a narrow urban plot

The stairwell is positioned at the centre of the building, following a distribution principle associated with Porto’s narrow urban plots.

Placing circulation away from the perimeter releases the front and rear façades for openings and allows daylight to reach deeper into the apartments. At the same time, it reduces the amount of space required for external corridors and maximizes the usable residential area.

This compact organization makes it possible to accommodate eleven independent units within the building while maintaining a range of different internal configurations.

A small commercial space occupies the ground floor and is extended by a patio towards the rear, introducing an additional programme without compromising the residential organization above.

 

Apartments on one and two levels

The restricted dimensions of the site lead to a more complex sectional organization rather than a repeated standard floor.

Apartments on one and two levels are combined throughout the upper part of the building, allowing the architects to adapt the available volume to different domestic layouts.

Although the individual units vary, their constituent elements are standardized where possible. This approach reconciles spatial diversity with construction efficiency, creating different apartment types without requiring each to be treated as a completely independent system.

The variation in section becomes particularly important on a site where horizontal expansion is severely limited. The building therefore develops its residential density through vertical connections and overlapping configurations.

 

Concrete arches open the façades

Given the limited dimensions of the apartments, both elevations are opened as much as possible to increase the perception of space and access to natural light.

Large concrete arches connect the openings and give the façade its principal architectural expression. Rather than appearing as isolated windows, the openings are visually linked into a continuous composition that emphasizes the vertical development of the building.

The curved geometry also softens the otherwise compact concrete elevation. According to the architects, the arch was selected not only as a compositional device but also for its relationship to the scale and movement of the human body.

On the main façade, the arches frame access to shallow balconies measuring approximately 0.60m in depth, recalling a recurring feature of Porto’s residential architecture.

 

Privacy behind planted balconies

The extensive openings required an additional layer of privacy between the apartments and the street.

Planters approximately 0.80m high are positioned along the façade to interrupt direct sightlines from public space. Vegetation consequently becomes part of the architectural composition rather than a secondary decorative addition.

The planted edge establishes distance between the interior and the street while preserving daylight and outward views. It also introduces a softer element against the exposed concrete, reinforcing the depth of the façade and the intermediate character of the balconies.

The frontage is therefore composed through several layers: the interior, the glazed openings, the planted edge, the concrete arches and, finally, the street.

 

Reinterpreting Porto’s residential typology

Despite its distinctive façade, Boavista 339 develops from familiar principles of Porto’s urban housing.

The narrow plot, centrally positioned circulation, shallow balconies and vertically organized apartments are reworked within a contemporary concrete structure. The project does not reproduce a historical façade, but adapts established local patterns of occupation and circulation to a constrained contemporary residential programme.

Paulo Merlini architects use the peculiar geometry of the site to generate a dense but varied building, where eleven units coexist within a highly restricted footprint.

The result is defined by the relationship between efficiency and architectural identity: a compact internal organization is combined with an open façade whose arches, vegetation and balconies mediate between the apartments and the city.

A typical Athenian apartment in Pangrati is reorganized around natural light and spatial continuity, combining an open living area with restored herringbone parquet and a continuous timber volume that conceals secondary functions.

The Apartment in Pangrati by Narration Architects reinterprets the conventional layout of an Athenian residence through a series of targeted interventions. Unnecessary partitions and a dark internal corridor are removed, allowing natural light to penetrate deeper into the apartment and creating a more continuous relationship between the main living spaces.

Rather than replacing the original character of the interior, the renovation combines new spatial elements with existing materials. The restored herringbone timber floor extends through the unified areas, while integrated furniture and timber cladding organize storage, circulation and secondary functions within a restrained material palette.

 

An open-plan living area

The reorganization of the plan focuses on removing the fragmentation of the existing apartment.

The former corridor and unnecessary partitions give way to an open sequence of spaces where kitchen, dining and living areas remain visually connected. Natural light can consequently move more freely through the interior, while circulation becomes part of the main living space rather than a separate zone.

The intervention establishes a clearer hierarchy between the principal domestic functions without relying on additional walls. Furniture, material transitions and built-in elements instead provide more subtle forms of spatial definition.

 

The kitchen as a social core

The kitchen becomes the centre of the new organization.

Positioned in direct relation to the living room, it is designed as an active social space rather than a separate functional area. A central island accommodates dining and gathering, responding to the owners’ request for an open setting for everyday meals and entertaining.

Its central position reinforces the continuity of the plan and allows activities traditionally distributed among different rooms to coexist within the same open environment.

The kitchen consequently operates as both a working surface and a point of social interaction, connecting the different areas of the apartment.

 

A timber volume conceals secondary functions

One of the principal interventions is the integration of the bathroom behind continuous timber cladding.

A concealed door provides access to the bathroom, allowing its entrance and associated utility functions to disappear within a clean wooden volume. The element introduces a warmer material presence while reducing visual fragmentation in the main living space.

Rather than treating storage and secondary rooms as independent components, the design incorporates them within a single architectural surface.

The timber volume therefore operates simultaneously as enclosure, storage and spatial organizer, establishing a quieter background for the more open parts of the residence.

 

Restoring the original herringbone floor

The existing herringbone timber flooring forms an important connection with the apartment’s previous configuration.

Instead of being replaced, it is restored and extended across the newly unified spaces. The continuity of the parquet helps connect areas that were previously separated by walls and circulation zones, while maintaining a material reference to the original apartment.

The intervention uses the existing floor as an active part of the new spatial organization rather than simply preserving it as a historical detail.

Its texture and warm tone also provide a counterpoint to the cleaner surfaces and integrated elements introduced by the renovation.

 

 

Low elements and visual continuity

In the living room, horizontal lines and low furniture preserve long views across the apartment and reinforce the sense of openness.

The same principle is transferred to the bedroom, where a low ledge runs behind the bed and is completed by a slim timber shelf. Integrated niches replace conventional bedside tables, incorporating everyday functions directly into the architectural composition.

The use of low elements reduces visual obstruction and allows the proportions of the existing rooms to remain clearly perceived.

Natural materials, neutral tones and controlled lighting complete the interior, with new interventions remaining deliberately restrained in relation to the existing apartment.

 

Continuity rather than fragmentation

The renovation is ultimately based on reducing the number of independent spatial elements.

Walls are removed where separation is no longer necessary, while storage, access to secondary spaces and furniture are consolidated into continuous architectural components.

Narration Architects use the restored parquet, timber cladding and open relationship between kitchen and living room to establish a more connected domestic environment without erasing the apartment’s existing character.

The result is a contemporary urban interior shaped by natural light, material continuity and a clearer relationship between circulation and everyday living.

Corporate orange, exposed building services and warmer timber surfaces define the 600m² headquarters of technology company M-STAT in Athens, combining the visual language of technical infrastructure with more informal modes of working.

The M-Stat Headquarters in Athens by Minos Digenis Arquitectos transforms a 600m² open floor into the offices of a technology company active in mobile communication services. Two ideas establish the identity of the interior: the use of M-STAT’s corporate orange as a recurring visual element and the decision to leave the building services exposed as a reference to the technological character of the company.

Rather than concealing the technical infrastructure above a conventional suspended ceiling, cables, ducts and pipes become part of the architectural composition. Their orange finish extends the company’s visual identity through the workspace and turns an otherwise functional layer into one of the most recognizable elements of the project.

 

Technical infrastructure as interior architecture

The exposed services run beneath a lowered ceiling line at approximately 2.50m, creating a dense horizontal layer above the working areas.

Painting this network orange brings together the project’s two principal concepts: corporate identity and the visible presence of technology. The ceiling consequently operates less as a neutral background and more as an active component of the interior.

Against this technical layer, the remaining surfaces are deliberately quieter. The contrast makes the infrastructure legible while giving the workplace a consistent visual identity across its different functions.

 

Different settings for everyday work

The programme combines workstations and meeting rooms with areas organized according to different levels and forms of activity.

Rather than interpreting the headquarters solely as a collection of conventional desks and enclosed meeting rooms, the layout incorporates informal meeting points and spaces for breaks and social interaction.

A recreation area with a ping-pong table introduces a more relaxed use, while an open kitchen provides a shared setting where employees can meet during breakfast or lunch.

These programmes extend everyday working life beyond the individual workstation and establish a range of spaces for concentrated work, meetings and informal exchange.

 

A warmer workplace

Alongside the more technical expression of the exposed installations, the project introduces materials and elements associated with a warmer, more domestic environment.

Timber plays an important role in moderating the industrial character of the ceiling infrastructure. Its natural surface provides a tactile counterpoint to the exposed technical elements and the strong orange colour.

Planting introduces another layer within the workplace. Rather than functioning simply as decoration, greenery contributes to the definition of shared areas and reinforces the intention to create an environment less closely associated with the conventional corporate office.

The result combines two deliberately different registers: an exposed technological infrastructure overhead and a more informal, tactile environment at the level of everyday occupation.

 

Corporate identity beyond graphics

Colour is used as an architectural device rather than as an applied graphic layer.

By extending M-STAT’s orange across the visible cables, pipes and ducts, the design connects the company’s identity with the actual technical systems that support the workplace. Branding and infrastructure therefore occupy the same physical layer.

The strategy gives the headquarters a recognizable character without depending on an accumulation of signs or decorative references to the company.

Minos Digenis Arquitectos use the existing open floor, exposed services, timber and shared social areas to establish a workplace where technological identity and everyday comfort coexist within the same interior.

 

The project was first published in print in ek magazine 290 | September 2024, a monthly issue by ek Architectural Publications.

Two equal residences on the sloping landscape of Bouros, Karystos, combine autonomous living with a shared architectural identity, using orientation, deep openings and an intermediate void to frame the Aegean horizon.

Seametry Villas in Bouros, Karystos by MRV Architects comprises two equivalent residences conceived as independent volumes within a unified composition. The design responds to the sloping terrain, open horizon and particular conditions of the site, balancing the autonomy of each house with the coherence of the ensemble.

Rather than dividing a single building into two units, the project establishes two clearly defined volumes of equal scale, proportion and functional value. Their relationship is shaped through distance, orientation and a shared ground that integrates the architecture with the topography.

 

Two equal and autonomous volumes

The two residences are conceived as equivalent rather than primary and secondary elements.

Each retains its independence and privacy, while their proportions and architectural language establish a clear relationship between them. The space separating the buildings is therefore not treated as residual.

Instead, the intermediate void becomes a deliberately designed part of the composition: a threshold, passage and arrival zone that simultaneously distinguishes and connects the two houses.

This arrangement gives the project a sense of balance without relying on strict symmetry. The identity of the ensemble emerges from the relationship between the two autonomous volumes and the space that remains between them.

 

Oriented towards the sea

Both residences turn towards the open horizon and the sea.

Deeply recessed openings create shaded frames that protect the interiors from the intensity of Mediterranean light while directing views towards the landscape. The openings therefore perform both environmental and spatial roles, controlling sunlight while reinforcing the orientation of everyday life towards the exterior.

The architecture remains deliberately restrained. Simple geometries and controlled proportions allow the relationship with the terrain, daylight and distant horizon to become more prominent than individual formal gestures.

The depth of the openings also creates a gradual transition between enclosed rooms and the exterior, avoiding an abrupt boundary between the two.

 

 

A shared base follows the terrain

The common base of the composition responds to the natural slope of the site.

Rather than establishing a level platform independent from the existing topography, the different levels follow the terrain and allow the two buildings to settle into the incline. The architectural organization therefore develops together with the section of the site rather than against it.

This relationship reduces the visual autonomy of the individual volumes and reinforces their reading as parts of a single ensemble.

At the same time, the positioning of the houses maintains the openness of the site. Horizon, wind and natural light remain active components of the experience rather than elements viewed from behind a continuous architectural boundary.

 

Privacy within a common identity

The project is ultimately defined by the balance between independence and proximity.

The two residences share the same architectural principles without becoming a single building. The intermediate space provides separation and orientation, while the shared base and consistent geometry establish continuity.

MRV Architects use a limited number of spatial operations—two autonomous volumes, a designed void, deep openings and a terrain-responsive base—to create a contemporary form of coastal living in which privacy and collective identity coexist.

The architecture remains measured in relation to its setting, directing the experience of the houses towards the sea, natural light and open horizon.

Terrazzo, timber, steel and glass establish a restrained material language in a 350m² penthouse in Tel Aviv, where changing natural light becomes an active element of the interior.

The Penthouse in Tel Aviv by Pitsou Kedem Architects occupies the top of a residential tower in the centre of the city, along a street connecting a busy market with the sea. The 350m² interior is organized around a deliberately limited palette of terrazzo, timber, steel and glass, whose different surfaces respond to the changing natural light throughout the day.

Rather than relying on a broad range of finishes, the project establishes continuity through repetition. The same materials return across floors, walls, furniture and circulation elements, giving the apartment a coherent identity while allowing variations in texture, reflection and shadow to distinguish individual areas.

 

Terrazzo as a continuous surface

Light terrazzo becomes the principal material of the apartment.

Composed of white concrete with grey stone fragments, the material refers to a familiar element of Tel Aviv’s domestic architecture, where terrazzo was widely used during the modernist period of the 1950s.

In the penthouse, it extends across the flooring and continues vertically onto the principal walls surrounding the structural core of the tower. This repetition gives the central part of the apartment a monolithic quality while establishing continuity between horizontal and vertical surfaces.

Its pale tone reflects natural light, while the grey fragments become more or less visible according to the changing conditions throughout the day. The material therefore provides a relatively neutral background without becoming visually uniform.

Timber as a warmer counterpoint

Against the mineral character of the terrazzo, timber veneer introduces a warmer layer.

Its natural tones create contrast with the pale floor and wall surfaces, while changes in daylight emphasize the depth and grain of the material. Rather than introducing a separate decorative language, timber operates within the same restrained palette and moderates the cooler character of the stone, steel and glass.

The relationship between the two materials is based on contrast rather than similarity: terrazzo provides visual continuity and brightness, while timber introduces texture and warmth.

 

A steel library within the central space

A custom-made white steel library becomes one of the principal elements within the main living area.

Designed with thin profiles and a restrained geometry, it operates simultaneously as storage, architectural partition and technical enclosure. Its rear surface is clad in terrazzo, reinforcing its connection with the material treatment of the central core.

The library also conceals the air-conditioning unit, integrating part of the technical equipment into the furniture rather than allowing it to interrupt the visual continuity of the interior.

White-painted steel gives the element a lighter presence against the denser terrazzo surfaces, while its sharp edges generate changing shadows as daylight moves through the apartment.

A white steel stair towards the roof

The white steel stair leading to the rooftop terrace is another defining element of the penthouse.

Positioned beneath a skylight and next to a glass wall, it is exposed to changing natural light throughout the day. Metal strips filter the light and cast alternating shadows across the stair and surrounding surfaces.

The stair is therefore both a circulation element and a device for registering time. Its white finish connects it visually with the steel library, while the combination of steel and glass distinguishes it from the more solid terrazzo core.

 

Carrara marble in the bathrooms

In the bathrooms, Carrara marble replaces the terrazzo while maintaining the grey-and-white palette that defines the rest of the apartment.

The shift in material differentiates these more private spaces without introducing an unrelated visual language. The veining and softer surface of the marble add variation while remaining compatible with the overall restrained treatment.

Across the apartment, the material selection is therefore less about creating individual decorative moments and more about establishing controlled variations within a consistent system.

Material and light as a unified language

The interior is ultimately defined by the repeated relationship between terrazzo, timber, steel and glass.

The terrazzo establishes continuity across the central surfaces, timber introduces warmth, white steel defines furniture and circulation elements, and glass allows natural light to penetrate deeper into the space.

Pitsou Kedem Architects use this limited palette to give the apartment a coherent architectural identity while allowing light and shadow to continually alter its appearance.

 

The project was first published in print in Apartments 2025, an annual edition by ek Architectural Publications.

A white architectural shell, mint-green volumes and suspended oak elements reorganize a duplex apartment in Koukaki around light, colour and a restrained Mediterranean material palette.

Casa Menta in Athens by Space is around us is the renovation of a duplex apartment in Koukaki, conceived around the light, colours and material character of the Mediterranean landscape.

The intervention transforms a conventional interior dating from the 2000s into a clearer and more restrained domestic environment. Rather than introducing complexity through multiple materials or decorative gestures, the design reduces the interior to a continuous white architectural backdrop against which colour, furniture and everyday functions are carefully positioned.

 

Shared and private areas across two levels

The functional organization follows the existing division of the duplex.

The entrance level accommodates the shared living spaces, while the upper floor contains the private rooms. On the lower level, the previously undivided open-plan area is reorganized into three distinct but visually connected zones: kitchen, dining area and living room.

This differentiation is achieved without fragmenting the interior with additional partitions. Instead, furniture, colour and fixed elements define the individual functions while preserving visual continuity across the floor.

The arrangement allows the principal living spaces to remain open and flexible, while the upper level develops a more private domestic character.

 

A white shell as a neutral background

White surfaces establish the principal architectural language of the apartment.

Inspired by the whitewashed surfaces of Mediterranean architecture, the walls and ceilings form a continuous backdrop that reflects natural light and reinforces the sense of openness across both levels.

The intention is not to recreate a literal Mediterranean interior. Instead, the white shell creates a neutral field against which colour, texture and domestic functions can acquire greater definition.

The restrained treatment also reduces the visual weight of the existing apartment, allowing selected objects and built-in elements to become more prominent.

 

Existing materials retained and updated

Part of the intervention focuses on adapting rather than replacing the materials already present in the apartment.

The cement screed covering the communal spaces and the stair was updated with a continuous light-grey finish, establishing a neutral ground across the shared areas.

By contrast, the original timber parquet in the bedrooms was carefully restored. Its warmer material character differentiates the private spaces from the more mineral surfaces of the lower level.

This relationship between continuity and contrast allows the existing fabric to remain part of the new interior without dictating its overall character.

 

Floating volumes and integrated furniture

A series of lightweight elements introduces both function and colour within the white shell.

The mint-green kitchen becomes one of the most prominent volumes on the entrance level. Suspended oak furniture reinforces the impression of lightness, while storage and fixed elements are integrated into the architecture rather than treated as independent objects.

The white stair is conceived as a sculptural element within the duplex. Its continuous form contributes to the visual connection between the two levels while maintaining the restrained material language of the apartment.

Together, these elements organize everyday activities without overloading the interior.

 

Mint green as a recurring accent

Colour plays a central role in the identity of Casa Menta.

The palette draws on seafoam, olive trees, sun-bleached stone and pastel tones associated with Mediterranean landscapes. Within the predominantly white and light-grey interior, mint green becomes a recurring element that links different parts of the apartment.

The colour appears most clearly in the kitchen and returns in selected details throughout the residence.

Deeper green tones are concentrated in the bathroom, where the shower area becomes a more monolithic and visually intense element. The contrast introduces variation without disrupting the broader sense of continuity.

 

Lightness in everyday use

Storage, circulation and furniture are incorporated as part of the architectural composition.

Rather than filling the rooms with freestanding elements, the project integrates many everyday functions into suspended or visually lightweight volumes. This keeps the principal spaces open and allows movement between the different zones to remain unobstructed.

The result is an interior where the architectural shell remains deliberately quiet. White surfaces, restored timber, light-grey flooring and green accents form a limited palette, while natural light becomes one of the principal elements defining the changing atmosphere of the apartment.

Casa Menta ultimately combines functional reorganization with a reduced material language. Through colour, suspended elements and the selective retention of existing materials, Space is around us establishes a contemporary domestic environment shaped by clarity, light and a measured reference to the Mediterranean landscape.

A compact white volume gradually opens towards the Pacific landscape through a circular courtyard, a curved concrete wall and a broad roof that reduces the architecture to shelter, shade and framed views.

 

Casa Malonic in Zihuatanejo by HW Studio is a 497m² residence in Punta Garrobo, Guerrero, completed in June 2026. Surrounded by tropical vegetation and overlooking the sea, the house develops through a deliberate transition from enclosure towards openness, using a limited number of architectural elements to regulate privacy, movement and contact with the landscape.

Rather than treating the building as an autonomous object within the site, the design establishes a sequence between street, courtyard, interior and horizon. A continuous roof provides shade, while walls and voids progressively direct the body and the gaze towards the surrounding vegetation and the Pacific Ocean.

 

Shelter as an elementary condition

The conceptual starting point is the enramada, understood as a simple shelter beneath a canopy rather than as a literal reference to vernacular form.

Ground, roof and shade become the project’s fundamental elements. The architecture provides protection from rain and sun while allowing the landscape to remain continuously present around the inhabited areas.

This approach also determines the scale and openness of the main spaces. Rather than framing the horizon as a conventional view from inside a room, the organization of the house develops around its permanent presence.

 

A closed condition towards the street

From the road, Casa Malonic appears as a contained white volume accompanied by a single curved concrete wall.

Following the geometry of the street, the wall establishes a first boundary between the public approach and the private residence. Vegetation, rocks and the natural topography reinforce this protected condition, limiting direct views into the house.

The entrance sequence therefore delays the full perception of the site. The landscape is revealed gradually through movement rather than being immediately exposed from the point of arrival.

This contrast between enclosure and openness becomes one of the main organizing principles of the project.

 

A circular courtyard as a spatial void

The path leads towards a circular courtyard enclosed by white walls.

Here, the relationship with the surroundings changes. Tree canopies, sky and sunlight become visible above the perimeter, while the circular void interrupts the otherwise solid architectural mass.

The courtyard operates simultaneously as an exterior room, a source of natural light and a transitional space. The wall no longer functions simply as an enclosure, but as an edge that frames selected elements of the landscape.

Its geometry also establishes a clear sequence through the house: from the street to a protected interior condition, from there to the courtyard, and eventually towards the open horizon.

 

From enclosure to the horizon

Beyond the courtyard, the building progressively loses the compact character presented towards the street.

The architecture becomes lighter and more open until the roof emerges as the principal element defining the inhabited space. Rather than relying on a continuous envelope, the house establishes shade and protection while maintaining extensive visual contact with the landscape.

The sequence is based on a small number of spatial operations: containment, movement, subtraction and opening.

Solid elements provide privacy where required, while voids introduce light, vegetation and long views. The relationship between mass and absence becomes more important than the formal autonomy of the individual rooms.

 

Material continuity with the site

The treatment of the ground reinforces the relationship with the surrounding landscape.

Its colour and texture recall the sand of the nearby beach, extending a similar material character beneath the roof. The intention is not to reproduce the natural setting literally, but to establish continuity through colour, texture and physical experience.

White surfaces introduce a contrasting element. Their colour relates to the flowers of the nine Cacalosúchil trees surrounding the residence, creating another connection between the constructed volume and the existing vegetation.

The material palette therefore remains deliberately restrained. Ground, white walls, concrete and vegetation provide the main visual and tactile references, allowing changes in light and shadow to remain clearly perceptible throughout the day.

 

Architecture defined by mass and void

Casa Malonic is organized through the gradual transformation of a protected volume into an increasingly open relationship with the site.

The curved wall directs the approach, the circular courtyard removes part of the built mass, and the roof establishes a broad zone of shade towards the landscape. Each element performs a specific spatial role without requiring additional formal complexity.

HW Studio uses this sequence to balance privacy and openness. The house remains closed where it meets the street, becomes porous around the courtyard and finally opens towards the horizon.

The landscape is therefore not treated as a background to the architecture. It becomes the principal condition around which the residence is organized.

A timber school campus immersed in the Uruguayan landscape dissolves the conventional boundary between classroom and park, using spatial diversity, outdoor circulation and direct contact with nature as active components of education.

The Garzón School in Uruguay by Rosan Bosch Studio is conceived as a learning landscape where architecture, interior design and the natural environment operate as a continuous whole.

Set within a 94-acre rural landscape surrounded by eucalyptus forests, meadows and a lake, the campus moves away from the conventional model of classrooms connected by enclosed corridors. Instead, buildings, pathways, plazas, vegetation and open-air areas form a network that allows learning to move between interior and exterior throughout the day.

The project develops around a simple principle: the school is the park and the park is the school. Nature is therefore not treated as a backdrop or an occasional destination, but as part of the everyday structure of learning.

 

Landscape as a learning environment

The organization of the campus begins with its natural setting.

Pathways move through planted areas and connect a series of smaller buildings rather than concentrating the entire programme within a single institutional volume. The resulting arrangement gives the school the character of a small settlement dispersed through the landscape.

Outdoor areas accommodate different scales and forms of activity. Some support gathering and play, while others create more protected conditions for smaller groups or individual work.

Transitions between enclosed rooms, covered areas and open landscape remain gradual. Educational activities can therefore shift according to use, weather conditions, group size or the degree of concentration required.

The landscape does not operate as a decorative perimeter around the architecture. It participates directly in circulation, social interaction and the daily use of the school.

 

Six Learning Worlds

The spatial organization is structured around six design principles developed by Rosan Bosch Studio, described as Learning Worlds: Mountain Top, Cave, Campfire, Watering Hole, Hands-on and Movement.

Each corresponds to a different mode of learning rather than to a conventional classroom type.

The Mountain Top supports presentation, performance and focused communication to a group. The Cave offers smaller settings for concentration, retreat and individual work. The Campfire creates conditions for storytelling, dialogue and shared attention, while the Watering Hole encourages informal exchange and peer-to-peer learning.

Hands-on areas are intended for making, experimentation and practical problem-solving, while Movement recognizes physical activity and play as integral parts of the learning process.

Rather than permanently assigning one activity to one room, these spatial conditions allow students and teachers to move between collective and individual work, concentration and exploration, structured instruction and informal interaction.

 

A timber settlement within the landscape

The campus is constructed entirely from sustainably sourced timber, with the external surfaces treated using the traditional Japanese Shou Sugi Ban technique of charring the outer layer of the material.

The dark façades contrast with the vegetation while retaining the tactile character of the timber. The common treatment also establishes a coherent architectural identity among the different buildings.

Brick plazas introduce another material register, drawing on local Uruguayan architectural traditions. Native vegetation extends between the structures and reinforces the continuity between the built areas and the wider landscape.

Timber, brick and planting therefore establish a deliberately limited material palette, connecting the architecture with both the ecological and cultural characteristics of its setting.

 

Learning between indoors and outdoors

The architecture repeatedly creates intermediate spaces instead of abrupt boundaries.

Covered areas allow activities to extend beyond enclosed rooms. Pathways operate not only as circulation routes but also as places for encounter, observation and informal learning. Plazas accommodate collective activities, while vegetation defines smaller areas with varying degrees of enclosure.

This spatial variety gives students greater choice in how and where they work.

The school consequently functions less as a sequence of predefined classrooms and more as an interconnected system of different learning environments. Moving between them becomes part of the educational experience.

 

Physical experience in the age of AI

The project also responds to a broader discussion surrounding education at a time when digital tools and artificial intelligence increasingly influence how knowledge is accessed and shared.

The Garzón School does not position technology and physical space as opposites. Instead, it emphasizes forms of learning that depend on direct experience: movement, face-to-face interaction, contact with materials, observation and engagement with the natural environment.

Children can make, experiment, play, collaborate and observe changes in the landscape as part of the normal school day.

Physical space therefore becomes an active complement to digital learning, providing experiences that extend beyond the transfer of information.

 

Architecture as pedagogical infrastructure

At The Garzón School, architecture is not treated simply as accommodation for a predefined educational programme.

The relationship with the landscape, the diversity of spatial conditions and the absence of rigid boundaries between learning and circulation create an environment where different forms of activity can coexist.

Rosan Bosch Studio approached the masterplan, landscape architecture, buildings and interiors as interconnected elements of the same educational system.

The result replaces the repeated classroom module with a varied landscape of spaces for concentration, communication, experimentation, movement and collective life. Architecture becomes part of the pedagogical structure itself, while the surrounding landscape participates directly in the everyday experience of learning

An 1893 house in Lisbon’s former industrial district of Marvila is renovated and extended through a sequence of large spatial cuts, raw interior finishes and an ultramarine-blue lime plaster that unifies old and new.

Blue House in Lisbon by extrastudio is the first of three residences developed by the practice under the title casas poveras. Conceived during a period of uncertainty, the series explores an architecture reduced to essential means without compromising spatial generosity. In Blue House, this approach produces a 251m² residence where the existing building, new extension and materials are brought together without concealing their irregularities or traces of construction.

The house stands in Marvila, an area of Lisbon shaped by successive transformations from agricultural land to an industrial district and, more recently, to a concentration of studios and cultural spaces. Rather than erase the modest character of the original house, extrastudio treats it as a record of everyday occupation and uses its existing fabric as the basis for the intervention.

 

Preserving the 1893 house

The project renovates and extends a single-storey residence dating from 1893 while retaining its existing structure.

Architectural elements removed from the original façades were restored and reincorporated into the new elevations. Existing and added surfaces receive the same finish, avoiding a conventional visual distinction between restoration and extension.

The different periods remain legible instead through changes in silhouette and material texture. The intervention consequently preserves the old building without treating it as an untouchable historical object. Its imperfections become part of the character of the new house.

 

Two large spatial cuts

Two principal operations define the new spatial organization.

Towards the street, a cut extending across the full width of the building creates a double-height courtyard. This void provides shade and greater privacy for the bedrooms while establishing an intermediate space between the domestic interior and the street.

On the opposite side, a triple-height interior volume opens towards the garden and reveals the full vertical dimension of the extension. The two voids establish contrasting conditions: a protected courtyard facing the city and a large interior volume directed towards the more private garden.

The rear façade is further interrupted by a vertical strip of light. Generated by a planning constraint that cuts diagonally across one corner of the building, the opening was incorporated into the architectural composition rather than concealed. For a short period towards the end of the day, sunlight penetrates through the narrow cut and moves across the interior.

 

Garage and living space as one environment

The clients introduced an unusual requirement into the domestic programme: the garage had to form part of the living area.

Cars and motorbikes could therefore be worked on without separating this activity from everyday family life. Rather than concealing the garage behind a secondary enclosure, the design accommodates it within the generous, loft-like spatial character requested for the house.

This combination challenges the conventional separation between technical and domestic areas. The scale of the main interior allows different activities to coexist within one continuous environment, turning the garage into part of the inhabited space rather than an ancillary room.

 

Materials decided on site

Once the basic architectural concept had been established, decisions concerning colour, finishes and textures were intentionally left open during the design process.

Many were resolved directly on site in collaboration with the craftsmen and clients. Construction therefore became part of the design process, with individual techniques, tests and material decisions remaining visible in the completed building.

The method gives the residence a deliberately tactile character. Surfaces do not attempt to achieve a standardized level of finish; differences in texture and workmanship are retained as evidence of how the house was made.

 

Aluminium and unfinished grey plaster

The entire ground floor is covered with aluminium sheeting, manually brushed by one of the craftsmen.

The resulting surface is soft and luminous, contrasting with the rougher treatment of the walls. Internally, these are left largely unfinished and covered only with a grey plaster scratch coat discovered during construction.

The economical finish creates continuity between different elements of the interior while introducing a material reference to Marvila’s industrial past. Rather than adding another decorative layer, the grey surface retains the direct character of the construction beneath it.

 

Ultramarine blue as a continuous layer

The defining exterior colour originates from the existing building.

Ultramarine blue is applied as a pigmented lime plaster over the complete volume, visually bringing together the original house and its extension. Because of the instability of the pigment, each façade had to be completed in a single day without visible seams or subsequent repairs.

The method makes variation inherent to the finished surface. Colour becomes both a unifying element and a record of the construction process.

Rather than emphasizing the difference between old and new, the blue creates a more ambiguous reading of the building. Its silhouette and textures reveal the intervention, while the continuous finish gives the house the appearance of a single object.

 

Construction as part of the architecture

Blue House is shaped by the coexistence of preservation, extension and decisions made during construction.

The original structure remains present, while large spatial cuts redefine its relationship with street, garden and natural light. Aluminium, unfinished grey plaster and pigmented lime render create contrasting surfaces whose character depends as much on workmanship as on specification.

Through this approach, extrastudio avoids a strict separation between historical fabric and contemporary intervention. Old and new are brought together by colour and construction while remaining distinguishable through form, texture and the accumulated traces of the existing building.

Original plasterwork, five-metre-high ceilings and a century-old timber staircase provide the framework for the renovation of a 1920s apartment in Kypseli, where new materials, bespoke elements and contemporary technology coexist with the building’s eclectic character.

The Upper House in Athens by A&O Architects and Saint of Athens occupies the first floor of a 1920s building in Kypseli. The 220m² apartment retains characteristics of the eclectic domestic architecture that shaped parts of Athens during the early decades of the 20th century, including ceilings reaching five metres in height, intricate plaster decoration and an unusually generous spatial organization.

Originally built for the family of a Greek industrialist, the residence was reorganized for contemporary use without suppressing these existing qualities. The renovation preserves significant architectural elements while introducing new functions, furniture, finishes and technical systems.

 

 

Preserving the original spatial character

The existing plan provided a sequence of large rooms connected through generous openings, allowing circulation to move easily across the apartment.

Rather than replacing this organization with a radically different layout, the intervention works with the proportions and relationships already present. Two former reception rooms continue to function as living spaces, while a new dining room, principal bedroom with en-suite bathroom, guest bedroom and powder room are incorporated into the domestic programme.

A library, kitchen and pantry complete the arrangement. The functions are distinct, but the existing circulation allows them to remain connected as part of a continuous residential sequence.

At the centre of this relationship between old and new stands the original timber staircase. Carefully preserved, it remains one of the most recognizable elements of the apartment and makes the age of the building immediately legible.

 

Existing ornament as part of the new interior

The original plasterwork is treated as an active architectural layer rather than a decorative remnant.

Ceiling mouldings and ornamental details are retained against a restrained palette, allowing their relief and scale to remain visible. The height of the rooms reinforces their presence and gives the newly introduced furniture and lighting a different scale from that of a conventional contemporary apartment.

The intervention therefore does not attempt to neutralize the eclectic character of the residence. Instead, contemporary additions are inserted within the existing setting, producing deliberate contrasts between historic ornament, modern furniture and new material surfaces.

 

 

Bespoke elements and individual rooms

Custom-made elements play an important role throughout the apartment. A specially designed wardrobe, wall panelling and Japanese wallpaper introduce distinct identities to individual rooms without disconnecting them from the overall composition.

The new elements operate at different scales. Some become part of the architectural surfaces, while others appear as individual pieces of furniture or joinery.

Designer furniture, lighting, contemporary ceiling fans, artworks and objects collected by the occupants are combined with the existing architecture. Their arrangement gives each room a distinct character while preserving the sense that the apartment has accumulated different layers over time.

Rather than pursuing uniformity, the project allows variations in colour, material and furnishing from one room to another.

 

Timber flooring and Greek marble

The material palette connects the different areas while maintaining the contrast between the restored shell and the contemporary intervention.

Chevron timber flooring extends through the principal rooms and establishes a continuous geometric background. Greek marble is introduced alongside it in selected surfaces, particularly in the bathrooms and other areas where a more mineral finish is required.

Timber also appears in the original staircase and in new custom-made elements, allowing historic and contemporary components to share a common material reference without being visually identical.

The combination of timber, marble, painted surfaces, wallpaper and existing plaster decoration creates an interior defined by different textures rather than by a single uniform finish.

 

 

Contemporary systems within a historic apartment

The renovation also incorporates current domestic technology into the historic shell.

Internet of Things systems and contemporary heating and cooling equipment improve the everyday operation of the apartment while remaining visually secondary to the architectural character of the rooms. The technical upgrade is therefore integrated without turning the residence into an overtly technological environment.

This relationship between infrastructure and preservation is central to the project. Contemporary comfort is introduced within an existing spatial framework rather than used as a reason to erase it.

 

A contemporary layer within a 1920s interior

The Upper House is ultimately organized around the coexistence of different periods.

The original proportions, staircase and plaster decoration preserve the architectural identity of the 1920s residence. New joinery, wallpaper, furniture, lighting and technical systems introduce another layer corresponding to present-day domestic life.

A&O Architects and Saint of Athens therefore approach the renovation not as a reconstruction of a historical interior, but as an addition to its ongoing history. The existing building remains clearly visible while contemporary interventions establish a new domestic environment around it.

 

The project was first published in print in Apartments 2025, an annual edition by ek Architectural Publications.

A compact cubic residence in Kanoni uses recesses, courtyards and carefully positioned openings to mediate between domestic privacy, planting and the heterogeneous urban fabric of Corfu.

The Habitus Project by Thymi Architects is located in Kanoni, Corfu, within a transitional area between the urban and suburban fabric. Rather than seeking a formal reference in the heterogeneous architecture of the surrounding neighbourhood, the residence develops its relationship with the context through controlled views, planted setbacks and a sequence of intermediate spaces.

The house is conceived as a compact volume in which voids and openings acquire a defining role. Its architecture does not rely on direct visual exposure towards the surroundings. Instead, different depths, frames and thresholds establish a selective relationship between interior spaces, garden and neighbourhood.

 

Subtraction from a compact volume

The architectural composition develops through a process of subtraction from an initially cubic mass. Recesses, voids and openings articulate the otherwise restrained form and determine relationships between different parts of the house.

The openings vary according to orientation, programme and the degree of exposure required. Deep apertures frame specific views towards the neighbourhood and landscape, while narrower vertical cuts introduce controlled daylight. Elsewhere, larger openings reinforce continuity between the living spaces and the garden.

On the principal façade, the recessed ground floor creates a protected entrance threshold and adds depth to the elevation. On the upper level, another subtraction forms an internal courtyard, introducing daylight, vegetation and an outdoor area within the compact volume.

The result is a façade shaped less through applied elements than through shadow, depth and the changing relationship between solid and void.

 

Planted setbacks as part of the house

The mandatory distances between the building and the boundaries of the plot are incorporated into the architectural composition rather than treated as residual strips of land.

Planting establishes a first layer of separation from the street and adjacent buildings. Boundaries, vegetation and openings work together to maintain contact with the neighbourhood while moderating visibility and protecting the privacy of the interior.

This strategy allows the residence to retain a degree of inwardness without becoming isolated. The surrounding urban fabric remains present, but is repeatedly selected, concealed or framed through architecture and landscape.

 

Living spaces connected with the garden

The residence develops across three levels. The principal domestic spaces occupy the ground and upper floors, while ancillary functions are accommodated in the basement.

On the ground floor, kitchen, dining and living areas form a continuous space in direct relationship with the garden. Although visually connected, the different functions maintain their individual character through the arrangement of fixed elements and changes in material treatment.

The staircase occupies the core of the composition. More than a means of vertical circulation, it establishes visual relationships between the levels and contributes to the spatial continuity of the house.

The design therefore extends connection not only horizontally towards the garden, but also vertically through the interior.

 

An internal courtyard for the private level

On the upper floor, the main bedroom and ancillary functions are arranged around the internal courtyard.

The courtyard operates simultaneously as a source of natural light, a planted outdoor space and a means of maintaining privacy. Rather than opening the private rooms directly towards the surrounding buildings, it creates a protected external environment within the volume itself.

This inward-facing landscape is balanced by selected views towards the wider context. The house continually alternates between openness and enclosure, using each opening to establish a specific degree of visual connection.

 

A restrained material palette

The material approach follows the same principle of restraint that governs the spatial composition. A limited number of materials recur throughout the residence and help define its different zones.

Timber wall linings and integrated storage elements establish continuity across the interiors and give functional definition to the open living areas. Dark metal window frames emphasize the depth and precision of the apertures, reinforcing their character as cuts within the compact building mass.

A continuous cement-based finish creates visually uninterrupted surfaces, while marble is introduced selectively in floors, steps and individual details.

The limited palette allows changes in daylight and shadow to remain clearly perceptible. Material surfaces operate as a background against which the geometry of the openings and the movement of natural light become more prominent.

 

Framing the suburban context

The Habitus Project responds to the heterogeneous character of its surroundings without adopting the forms of the neighbouring buildings.

Instead, architecture becomes a means of regulating the relationship with the context. Voids, boundaries, planting and openings determine what remains visible, what is protected and how the transition from private interior to neighbourhood is experienced.

Through this system, the house maintains both connection and distance. The changing daylight, planted areas and selected views of the surrounding fabric become part of everyday domestic life, while the compact volume preserves a clear sense of privacy.

Curved surfaces, flexible seminar rooms and exposed building systems define an additional floor of Baseblue’s Piraeus headquarters, designed for corporate events, meetings and staff training.

The Baseblue offices in Piraeus by R.C.TECH occupy an additional floor within the shipping company’s existing headquarters. Completed in 2023, the intervention creates a dedicated environment for corporate events, training seminars, meetings and informal interaction.

The interior draws on the spatial atmosphere of Stanley Kubrick’s 2001: A Space Odyssey. Rather than translating this reference through literal imagery, the design develops it through continuous surfaces, contrasting colours and curved elements that organize circulation and give the space a sense of visual lightness.

 

 

A central zone defined by ceiling and floor

The main area is organized beneath a glossy white suspended ceiling. Its geometry is reflected in a corresponding change in the tone of the floor, defining a central zone without the need for additional partitions.

At the entrance, a large white table performs a dual role as reception desk and shared work surface. A curved blue metal wall follows its geometry, creating a visual boundary between the breakout area and the seminar facilities.

At the opposite end, two curved sofas form a circular lounge. The arrangement introduces a more informal setting for conversation while repeating the curved geometry that characterizes the entrance.

 

Flexible spaces for training

Flexibility becomes particularly important in the seminar area. Movable folding panels allow it to operate as two independent rooms or as one larger space, adapting the floor to different numbers of participants and types of events.

The furniture follows the same principle. Tables can be rearranged according to the requirements of each seminar, allowing configurations for teaching, presentations or collaborative work.

Acoustic performance is addressed through a perforated gypsum-board ceiling and specifically designed timber cladding. These elements form part of the architectural language rather than being introduced as independent technical additions.

 

 

Oak and exposed structure

The meeting room introduces a different material character. One wall is clad in oak, while the existing Zoellner slab remains exposed overhead.

This relationship between finished and unfinished surfaces continues throughout the project. Selected mechanical and electrical services are deliberately left visible, making the technical infrastructure of the office part of the interior.

The decision avoids concealing the existing construction behind a uniform suspended ceiling. Instead, the original structural system and new interventions remain visually distinct.

 

An architecture of elongated surfaces

Horizontal and vertical elements are deliberately extended beyond the scale of conventional furniture or partitions. The long white ceiling, curved metal wall, work surfaces and timber cladding are perceived as continuous architectural planes.

Their proportions, together with the exposed services and structural ceiling, reduce the sense of a conventionally enclosed office. Solid elements appear to detach from one another, reinforcing the impression of a lightweight interior.

The contrast between blue metal, white surfaces, natural oak and the existing structure provides a limited material palette through which the different functions remain clearly identifiable.

 

 

A workplace beyond individual desks

The project reflects a workplace programme centered not only on individual production but also on learning, exchange and collective activity.

Seminar rooms, meeting areas, shared work surfaces and informal seating coexist within the same floor, while movable elements allow the balance between them to change according to use.

Baseblue therefore operates as a flexible extension of the company’s headquarters. The intervention uses a small number of architectural devices—curved surfaces, colour, exposed structure and movable partitions—to create distinct working conditions without fragmenting the interior.

 

The project was first published in print in ek magazine 290 | September 2024, a monthly issue by ek Architectural Publications.

Original mosaic floors and decorated ceilings become the starting point for the renovation of a 200m² apartment in Barcelona, where colour, custom joinery and a new spatial organization connect its historic character with contemporary domestic life.

The Apartment in Paseo San Juan by YLAB Architects occupies a 19th-century residence in central Barcelona. Previously in a deteriorated condition, the 200m² apartment was redesigned for an Australian couple seeking a permanent European home that could also comfortably accommodate visiting family and friends.

The intervention balances contemporary requirements with the preservation of the apartment’s existing architectural character. Its intricate mosaic flooring and original decorated ceilings are retained as defining elements, while the plan, joinery, finishes and technical systems are reorganized around a new domestic programme.

 

 

Two distinct areas within the apartment

The revised plan divides the residence into two main zones separated by the entrance hall.

The larger side contains the shared living spaces and guest accommodation, allowing everyday activities and hospitality to unfold within a more open sequence of rooms. The smaller side operates as a private suite, creating a more secluded area for the owners.

The arrangement establishes a clear distinction between collective and private life without fragmenting the apartment into a series of isolated spaces. The entrance becomes a point of transition, allowing each part of the residence to function with a degree of independence.

This organization responds directly to the clients’ dual requirement: a comfortable primary home and, at the same time, a place capable of receiving family and friends for extended periods.

 

Existing mosaic as the basis for colour

The original mosaic flooring provides the central reference for the interior palette.

Its colours and patterns change from room to room, creating a sequence of distinct surfaces that already formed part of the apartment’s architectural identity. Rather than neutralizing this variety, YLAB Architects use it to guide the selection of new finishes.

Walls are painted in complementary, softer tones that respond to the existing floors without competing with them. Colour therefore becomes a means of connecting the new intervention with the historic material fabric.

A continuous dark-brown finish runs through the apartment along skirting boards, frames and joinery. This darker line provides visual continuity between rooms and emphasizes thresholds and transitions within the otherwise varied sequence of colours and patterns.

 

 

Light within the deeper rooms

The existing plan includes more compact interior spaces where access to natural light is limited.

Strategically positioned artificial lighting and reflective surfaces are used to increase their perceived depth and brightness. Rather than radically changing the historic arrangement, these interventions improve the spatial conditions through smaller adjustments to surfaces and illumination.

The original windows were also replaced by contemporary high-performance units to improve acoustic and thermal insulation.

This technical upgrade is integrated discreetly into the renovation, supporting contemporary standards of comfort without becoming visually dominant within the historic interior.

 

Custom joinery within the existing architecture

Specially designed joinery extends throughout the residence and introduces a new functional layer within the retained architectural framework.

The custom elements respond to the colours already present in the apartment and are designed to sit alongside the original ceilings, floors and openings rather than visually compete with them.

Bespoke furniture follows the same approach. Instead of establishing a uniform contemporary language across every room, individual pieces respond to the atmosphere and colour of each space while maintaining coherence across the residence.

The renovation therefore develops through addition and coordination rather than through the complete replacement of the existing interior.

 

 

Shared living and dining spaces

The principal living area is organized as an open sequence connecting the sitting room, kitchen and dining area.

A streamlined kitchen island defines the cooking area without isolating it from the rest of the social space. Nearby, two facing sofas are arranged around a circular wool rug, establishing a more clearly defined sitting area within the open plan.

The adjoining dining room opens onto a balcony whose mosaic floor continues the material language of the apartment. This relationship reinforces the connection between the interior rooms and the external space while maintaining the visual presence of the historic flooring.

The social area is therefore organized through furniture, surfaces and colour rather than through additional partitions.

 

A more private domestic sequence

On the opposite side of the entrance, the private suite develops a more intimate character.

The bed is defined by a large upholstered headboard with concealed backlighting, introducing softer illumination into the room. Nearby, a reading corner combines an armchair with a marble side table.

The smaller scale and more controlled lighting distinguish the private rooms from the brighter social areas without abandoning the overall material and chromatic language of the apartment.

The distinction between the two parts of the residence is therefore achieved through programme, light and atmosphere rather than through an entirely different architectural vocabulary.

 

 

History as an active part of the interior

The Apartment in Paseo San Juan does not treat the existing mosaic floors and ceilings as isolated heritage objects. They actively inform the organization and appearance of the new interior.

Colours are drawn from the original surfaces, new joinery follows their visual rhythm, and contemporary lighting and reflective materials respond to the conditions created by the existing plan.

Through this approach, YLAB Architects establish a balance between preservation and adaptation. The historic apartment remains recognizable, while its spaces are reorganized to support contemporary everyday life, privacy and hospitality.

 

The project was first published in print in Apartments 2025, an annual edition by ek Architectural Publications.

A former family residence in the dense centre of Fira is transformed into a five-suite hotel, where restored Cycladic forms, natural materials and planted spaces translate the principles of vegan hospitality into architecture.

Ethos Vegan Suites in Santorini by Kapsimalis Architects occupies a former two-storey family residence in the centre of Fira. Originally constructed after the 1956 Santorini earthquake and extended vertically during the 1980s, the building was reorganized as a small hotel with five independent suites.

Two suites and a compact reception and kitchen occupy the ground floor. Three additional suites are arranged above and accessed through an open staircase integrated with planting. Each room combines sleeping and sitting areas with a kitchenette and bathroom, while private yards, balconies or terraces extend the accommodation outdoors.

 

 

Reworking the existing shell

The transformation retains the characteristic geometry of the original building while simplifying later additions and adapting the structure to its new use.

Existing forms were restored and clarified to establish a contemporary relationship with the compact, whitewashed fabric of Fira. Selected parapets, decorative cornices and parts of the enclosure were removed or replaced, reducing the visual complexity of the former residence.

New thin metal handrails, solid surfaces and perforated ceramic screens introduce a lighter architectural layer. The screens define different degrees of privacy around the rooms and circulation areas while allowing daylight and air to pass through.

The intervention therefore does not attempt to reproduce a historic Cycladic interior. Instead, it works with the existing building and its recognizable forms, introducing new elements that respond to contemporary hospitality.

 

Five suites around shared and private outdoor spaces

From the pedestrian street, the entrance leads to a common semi-outdoor area. This intermediate space functions as a point of arrival and informal gathering before the circulation divides towards the individual suites.

On the ground floor, each unit extends towards a private yard with a small pool and sitting area. The rooms on the upper level open onto balconies or terraces, also incorporating small water elements and views towards the eastern part of Santorini and the Aegean.

The roof is partially planted with aromatic herbs and local vegetables. These are connected with the operation of the hotel and its vegan food and drinks, extending the project’s concept beyond the interiors and into the everyday use of the building.

 

 

Vegan principles as design parameters

A central objective was to translate vegan hospitality into architectural and material decisions rather than treat it solely as an operational concept.

Materials and furnishings derived from animal products were avoided. In their place, the architects selected natural and recyclable materials including ceramics, clay, stone, oak, mineral mortars, cotton, hemp and linen.

Local craftsmanship and custom-made furniture also form part of this approach. Built-in elements reduce the need for additional objects, while planting, water, daylight and natural ventilation contribute to an interior environment closely connected with natural processes.

The material strategy is therefore integral to the identity of the hotel. Vegan principles are expressed through sourcing, construction and atmosphere rather than through applied imagery.

 

Ceramic surfaces and mineral textures

The restrained palette combines variations of earth tones with the material character of ceramics, timber and mineral finishes.

Outside, small square terracotta tiles are laid with visible joints filled with natural beige mortar, creating a repetitive grid across the floors. The exterior walls and ceramic screens are predominantly off-white, connecting the hotel with the surrounding urban fabric.

Inside, large square floor tiles incorporate small ceramic fragments and tesserae. Walls and ceilings are finished with textured plasters containing natural components, while smooth white plaster emphasizes the vaulted ceilings of the two ground-floor suites.

Bathrooms are treated with pale cement-based finishes. Coloured glass partitions in yellow and green create translucent boundaries around the showers and introduce controlled variations within the otherwise muted interiors.

 

 

Oak, terracotta and recycled aggregates

Natural oak is used for wardrobes, shelving and other fixed elements, bringing a warmer material layer into the rooms.

Thin terracotta tiles appear on selected walls, while ceramic claustra are also used inside as supports for desks and as permeable elements that conceal technical equipment.

Kitchenette and bathroom surfaces combine plaster with recycled stone or coloured recycled glass. Their irregular aggregates give the surfaces a distinct texture and make the reuse of material visually apparent.

Bronze-toned mirrors, black metal details and custom travertine tables complete the composition. Lighting made from clay, coloured glass, timber and metal continues the same material language.

Rather than aiming for a uniform finish, the interiors bring together surfaces with different densities, textures and degrees of reflection.

 

Hospitality within the dense fabric of Fira

The project uses an existing building to create a small-scale form of hospitality within one of Santorini’s most densely built settlements.

Its identity emerges from the relationship between the restored shell, porous ceramic surfaces, planting, natural materials and individual outdoor spaces. The result combines the spatial character of a traditional island house with a contemporary programme organized around five suites.

Ethos Vegan Suites translates its operating philosophy into the architecture itself, using material selection, natural light, ventilation and landscape as basic components of the guest experience.

 

The project was first published in print in ek magazine 270 | September 2022, a monthly issue by ek Architectural Publications.

A large-scale checkered floor extends across the social areas of a 200m² apartment, becoming both a graphic element and an organizing grid for family life, bespoke joinery and collected objects.

Brooklin Apartment in São Paulo by Küster Brizola Arquitetos reinterprets the traditional checkered floor as the defining element of a contemporary family interior.

Designed for a couple with two children, the 200m² residence was conceived around everyday family life, entertaining and the gradual accumulation of memories. Rather than using the checkered pattern as an isolated decorative gesture, the architects extend it through almost the entire social area, allowing its geometry to organize the relationship among the living room, playroom, game room, dining areas and kitchen.

 

A checkered grid across the social spaces

The graphic flooring provides the apartment with its most recognizable identity. However, its role extends beyond visual impact.

Repeated at a large scale, the pattern begins to read almost as a continuous rug connecting the different areas. The dimensions of the grid align with bespoke cabinetry and stone countertops, introducing an underlying order across the plan.

This coordination allows furniture and fixed elements to respond to the same geometry. As a result, the floor becomes an architectural tool that reinforces continuity between functions instead of simply defining individual rooms.

Because of its strong visual presence, the flooring also influenced the wider material palette. Predominantly pale surfaces provide a quieter background, while blue accents introduce a cooler and more restrained atmosphere.

 

Timber as a continuous interior layer

American oak cabinetry appears throughout the apartment and creates a common material language between otherwise distinct spaces.

Its warm tone balances the graphic floor and lighter architectural surfaces. At the same time, the joinery incorporates ceramic objects produced in the family’s own pottery workshop.

These pieces introduce a personal history into the new interior. Rather than being displayed independently as decoration, they are integrated into the architecture of the storage and shelving, connecting the residents’ previous experiences with their new home.

 

 

Defining spaces without isolating them

Maintaining continuity across the social areas was another central concern. A multifunctional shelving unit organizes circulation while separating the playroom, game room and living room without creating complete visual barriers.

The playroom provides a particularly clear example. The developer had originally intended this area as a home office enclosed by a conventional wall.

Instead, the architects introduced a delicate metal-framed partition. The element gives the room the privacy required for children’s activities while preserving its visual relationship with the adjoining social spaces.

The strategy allows different programmes to coexist without fragmenting the apartment. Boundaries remain functional but visually permeable.

 

Collected objects and family memory

The interiors also accommodate furniture with an existing history rather than relying entirely on newly designed pieces.

In the game room, a century-old Italian pietra dura table sourced in Florence becomes one of the focal points. Its presence introduces another temporal layer into the otherwise contemporary environment.

Together with the ceramics made by the family, the table reinforces a recurring theme throughout the residence: new architecture provides a framework for objects carrying personal or material memory.

The apartment is therefore not conceived as an abstract composition detached from its occupants. Its identity emerges through the interaction of precise geometry, bespoke elements and pieces accumulated over time.

 

 

Kitchen and balcony as a shared centre

The integration of the gourmet balcony with the kitchen creates a large continuous area dedicated to cooking, dining and entertaining.

At its centre, an island in Paraná Cromos stone acts as the principal fixed element. Its bevelled edges are repeated in the everyday dining table, establishing a formal relationship between the two pieces.

Guache ceramic tiles by Portobello introduce green tones into the kitchen. Together with the American oak cabinetry, they expand the wider palette of blue, green and terracotta found across the residence.

The kitchen is therefore treated not as a separate service space, but as an active part of the social programme. Its connection with the balcony creates a generous setting where everyday domestic routines and larger family gatherings can overlap.

 

Geometry, comfort and identity

Throughout the apartment, geometric precision is balanced by tactile materials and objects associated with the residents’ own history.

The checkered floor establishes the grid. Timber cabinetry introduces warmth and continuity. Stone and ceramic surfaces bring variations of colour and texture, while permeable partitions preserve visual connections among the different functions.

The project ultimately transforms a familiar decorative pattern into a spatial device. By extending the checkered surface through the social areas and coordinating it with the architecture, Küster Brizola Arquitetos use geometry to structure circulation, strengthen relationships between spaces and provide a background for everyday family life.

Exposed concrete cantilevers, vertical timber surfaces and a glazed internal courtyard establish a continuous relationship between the living spaces, garden and pool.

S29 Residence in Strovolos by EKKY Studio Architects combines solid architectural volumes with transparent and planted elements. Horizontal and vertical components intersect throughout the composition, producing changing relationships between enclosure, openness and the surrounding garden.

The street-facing form is interrupted by a glazed volume recessed on the upper floor. Along the western elevation, two exposed-concrete cantilevers embrace the principal building mass, which is articulated with vertical timber surfaces. Aluminium, concrete and timber continue across the exterior, establishing a deliberately limited material vocabulary.

 

 

Solid volumes and transparency

The composition develops through the contrast between the weight of the concrete elements and the lighter character of glass and timber.

The western cantilevers extend horizontally beyond the principal volume, reinforcing the direction of the house towards its outdoor areas. In contrast, the vertical timber treatment emphasizes the enclosed central mass.

The recessed glazed element on the upper level introduces another degree of transparency. Rather than treating the façades as uniform surfaces, the design alternates between solid, transparent and textured sections.

This interplay gives the building a changing appearance according to viewpoint. At the same time, it establishes a clear distinction between the protective architectural envelope and the areas that open towards the landscape.

 

An L-shaped living sequence

Inside, the principal spaces of everyday life are organized within an open-plan L-shaped arrangement.

The sitting and dining areas occupy the entrance zone and maintain direct contact with the courtyard, swimming pool and surrounding outdoor spaces. Their position establishes an immediate visual relationship with the exterior rather than directing movement towards an enclosed internal core.

A second dining area, the kitchen and a semi-outdoor dining space with barbecue follow in sequence. The different functions remain distinct, yet their linear relationship allows everyday activities to extend gradually from the interior towards the garden.

The arrangement avoids a rigid separation between formal and informal living. Instead, the interconnected spaces support different patterns of gathering while maintaining continuity across the ground floor.

 

 

A planted courtyard at the centre

A glazed internal courtyard becomes one of the defining elements of the residence.

Enclosed by transparent surfaces, it contains a planted wall that extends towards the staircase. Vegetation is therefore introduced into the centre of the plan rather than confined to the perimeter of the building.

The courtyard establishes visual contact with nature from several internal positions. At the same time, its enclosed character creates a more introspective landscape within the otherwise open living sequence.

The planted wall softens the surrounding mineral surfaces and introduces changes in texture, shadow and colour. It also creates a quieter spatial interval between the more active shared areas of the house.

 

Continuity across the threshold

A large corner opening reinforces the connection among the different living spaces and their exterior extensions.

Travertine flooring continues across the principal areas, creating a restrained, unified background and reducing the visual distinction between inside and outside. The repeated surface strengthens the perception of the ground floor as a continuous environment rather than a collection of separate rooms.

Grey marble, exposed concrete and timber complete the material palette. Their different textures balance the overall neutrality of the interior, while discreet lighting and restrained furniture allow the architectural elements to remain dominant.

The project ultimately develops around a measured dialogue between mass and transparency. Concrete defines and protects the residence, timber introduces texture and warmth, while glazing, the planted courtyard and the continuous floor establish a close relationship with the outdoor spaces.

 

The project was first published in print in ek magazine 290 | September 2024, a monthly issue by ek Architectural Publications.

Two independent summer apartments reinterpret the landscape and cultural memory of Serifos through distinct colour palettes, natural materials and bespoke elements inspired by the island.

Seriphos Estate is a complete redesign of a 1970s building near Agios Ioannis beach in Serifos. The project by Ioli Chiotini Studio contains two independent residences: Kelyphos on the upper level and Edaphos below.

Rather than reproducing Cycladic architecture literally, the interiors translate characteristic impressions of the island into colour, material and form. The line between sea and sky, the roughness of the dry landscape and, above all, the intensity of summer light become recurring points of reference throughout the two residences.

 

 

Two residences, two colour identities

Although the apartments belong to the same project, each develops a distinct atmosphere.

Earthy and reddish tones dominate Edaphos on the ground floor, connecting its palette with the dry terrain. Kelyphos above is defined by blue-green hues that recall the sea and the changing colours of the horizon.

The contrast gives each residence an individual identity while maintaining a common conceptual framework. Across both interiors, colour operates less as surface decoration than as a means of abstracting familiar images and sensations from the island.

The project thus approaches place through memory rather than imitation. Serifos is present in the interiors without being reduced to conventional white-and-blue references.

 

Translating Cycladic forms

Built-in seating with organic curves, niches protected beneath arches and timber ceiling battens reinterpret elements associated with the traditional architecture of Serifos.

These references are simplified and incorporated into a contemporary interior language. Curves soften transitions between different functions, while recessed areas create more protected settings for sitting and resting.

Natural materials reinforce this sense of familiarity. Woven cane appears on wardrobe fronts and linen is used around the beds, introducing tactile surfaces and warmth within the restrained interiors.

Two-tone white and blue curtains establish a more direct relationship with the view. Their horizontal transition echoes the division between sky and sea and brings the distant horizon into the rooms through colour and fabric.

 

 

Cultural references as bespoke objects

A series of custom-made elements introduces more specific references to the history and culture of Serifos.

The island’s quarries, apiaries and mythology are abstracted into mirrors, articulated pendant lights and marble surfaces incorporated into the kitchen furniture. These pieces do not function as literal replicas of local objects. Instead, they transform recognizable associations into contemporary forms and details.

The strategy adds another layer to the interiors: the landscape is expressed through the overall palette, while cultural memory appears at the smaller scale of furniture, lighting and bespoke objects.

 

Outdoor living beneath timber pergolas

Both levels extend into outdoor spaces sheltered by timber pergolas covered with natural reed.

Built-in seating and generous cushions continue the colour palette of the interiors, making the terraces feel like extensions of the rooms rather than separate external areas.

On the ground floor, the outdoor kitchen and large dining table form a principal gathering space with open views towards the island landscape. Here, the design shifts from the more intimate scale of the apartments to collective outdoor life.

The use of reed, timber, built-in furniture and textiles also maintains continuity between the material character of the interiors and the exposed summer spaces.

 

 

Personal memory within the new interiors

Alongside the references to the wider island, the design incorporates personal objects belonging to the owner.

These pieces preserve traces of the earlier life of the property and introduce a more individual layer within the redesigned apartments. Rather than treating the renovation as a complete break with the past, the project allows old memories and new interventions to coexist.

Seriphos Estate consequently operates at several scales of memory: the landscape and light of the Cyclades, the cultural history of Serifos, and the personal history attached to the existing property.

Through colour, natural materials and purpose-designed objects, Ioli Chiotini Studio transforms these references into two contemporary interiors with separate identities but a shared relationship with place.

 

The project was first published in print in ek magazine 290 | September 2024, the monthly issue by ek Architectural Publications.

A series of light-touch interventions transforms a ground-floor apartment in Kolonaki into the architecture practice’s first permanent workplace, retaining the existing timber floors, glazed doors and arched entrance.

 

The Local Local workplace occupies a 77m² ground-floor apartment in Kolonaki, Athens. Designed by Local Local as the practice’s first permanent headquarters, the project adapts an existing residential interior through a series of non-structural interventions that preserve its previous architectural layers.

Before moving into the new office, the growing team had been working from founder Sofia Xanthakou’s own Plaka House. The new space provides a dedicated setting for collective work while translating the studio’s wider interest in context, material history and reuse into its everyday working environment.

 

Working with the existing apartment

As the property is leased, the intervention was deliberately restrained. Instead of substantially altering the existing plan, the design works with the qualities already present in the apartment.

The original timber floors were repaired and lightened to compensate for the limited direct sunlight reaching the ground-floor interior. White walls further increase luminosity, while the existing timber doors with rippled glazed panels were restored and finished in a slightly darker tone.

The arched entrance was also retained. Together, these elements preserve the domestic origins of the space rather than concealing them behind a conventional office fit-out.

The L-shaped plan is divided primarily between the main workspace and a meeting room with access from two sides. This simple organization allows the small office to accommodate different patterns of individual and collective work without introducing new permanent partitions.

 

Furniture as part of the workplace

A large solid-cypress table in the meeting room became the point of departure for the furniture designed specifically for the office.

Drawing on its material and proportions, Local Local developed a large communal worktable and two window-facing desks. Solid timber is combined with Formica to withstand the heavier daily use associated with the workplace.

The new elements coexist with chairs retrieved from storage rather than replaced with a complete new furniture set. This combination of bespoke pieces and existing objects gives the office an intentionally cumulative character.

The meeting room itself was formerly a bedroom. Its original wardrobe was retained, but its doors were removed and replaced with roll-up blinds. The simple alteration transforms the existing joinery into open storage for material samples and project documentation while keeping another layer of the apartment visible.

 

Books and collective design work

A Vitsœ shelving system occupies one of the main walls and holds Sofia Xanthakou’s architecture library, assembled over almost a decade of study and professional work.

Previously kept in storage, the books now form both a working resource and a visual backdrop to the studio. Their prominent position reflects the practice’s continued use of printed material as a tool for research and design.

Another wall is occupied by a long perforated-metal pinboard finished in pistachio green. Designed by Local Local, it allows drawings, references and work in progress to be displayed and reviewed collectively.

The element establishes an analogue counterpart to screen-based work. Projects can be pinned up, compared and discussed at a larger scale, turning the wall into an active part of the design process.

 

A more distinct entrance

The entrance was treated as an opportunity to give the workplace a clearer identity. The existing lobby had little natural light and lacked a distinct spatial character.

Local Local invited artist Theodore Psychoyos to create two site-specific marble pieces for this area: a sculptural console and a seat. Marble, already recurrent in the practice’s architectural work, introduces a denser material presence against the lighter background of timber floors and white walls.

The pieces are functional objects but also establish a more deliberate threshold between the street, the shared building and the studio.

Lighting contributes another precisely selected layer. Ceiling fixtures by Michael Anastassiades are used in the principal workspace, while a freestanding light by the same designer completes the meeting room.

 

An office designed to accumulate

The project does not pursue the image of a finished, immutable workplace. Existing architectural elements, restored furniture, new joinery, books, material samples and artworks are deliberately allowed to coexist.

This approach leaves space for the office to change as the practice develops. Objects and references can accumulate, work can occupy the walls, and individual areas can adapt to new routines without requiring substantial alterations to the apartment.

Through a limited number of interventions, the Local Local workplace demonstrates how an ordinary residential interior can acquire a new function while retaining its previous character. Rather than erasing the apartment, the design uses its existing features as the framework for a workplace shaped by collaboration, material research and gradual occupation.

Two concealed storage volumes organize the apartment into public and private zones, while visual axes derived from the building’s façade grid reinforce the transparency and architectural identity of the former Doxiadis headquarters.

 

Located in the One Athens residential complex in Kolonaki, the apartment occupies a building of distinctive typology and architectural significance that formerly housed the headquarters of architect and urban planner Konstantinos Doxiadis.

The renovation by Proplusma Architects approaches the interior with respect for this existing architectural identity. Instead of imposing an unrelated formal language, the design emphasizes the visual axes, transparency and structural elements already embedded in the building.

 

 

Two zones defined by concealed storage

Two continuous storage units run transversely across the floor plan and establish the principal organization of the residence.

The first zone contains the shared living spaces: sitting room, dining area and open-plan kitchen. The second accommodates the more private programme, including the children’s bedrooms with en-suite bathrooms and the principal bedroom with its walk-in wardrobe and bathroom.

Rather than functioning simply as cupboards, the storage units operate as architectural boundaries. Their scale allows them to organize circulation, conceal secondary functions and separate the two parts of the apartment without introducing a conventional sequence of corridors and isolated rooms.

 

A grid derived from the existing façade

The design takes the geometric pattern of the building’s façades as a point of departure. Imaginary axes derived from this grid determine alignments both horizontally and vertically throughout the interior.

These lines coordinate openings, joinery, ceilings and fixed elements. As a result, individual interventions remain connected to a larger ordering system rather than appearing as independent objects.

The strategy also reinforces the relationship between the renovated apartment and the architecture of the original complex. The building’s exterior logic is translated into the organization of its interior, establishing visual continuity across the plan.

 

 

Exposed concrete and continuous timber flooring

In the living room, a recessed ceiling exposes the original concrete beams. Their rhythm remains visible as a recognizable element of the building’s construction and becomes one of the defining features of the shared space.

Concealed lighting around the recess emphasizes the depth and repetition of the beams without visually separating them from the broader composition.

A herringbone timber floor runs continuously through the apartment. Its warm material character contrasts with the exposed concrete and the predominantly monochromatic joinery, while its uninterrupted pattern reinforces spatial continuity.

At the centre of the living zone, the kitchen island becomes a focal point. Its substantial marble countertop establishes a material counterweight to the darker cabinetry behind it and connects the kitchen with the adjoining dining and sitting areas.

 

White and black storage surfaces

The two concealed storage bands are clad in timber finished in white and black lacquer. A regular grid of vertical grooves organizes the long surfaces and subtly marks the functions hidden behind them.

On the lighter side, the television and a bar adjacent to the dining area are integrated within the white cladding. When closed, the units become part of a continuous architectural surface rather than individual pieces of furniture.

On the opposite side, black lacquer gives the storage wall a denser character. A concealed door within the same surface provides access to the private part of the apartment, allowing the transition between the two zones to remain visually discreet.

 

 

Individual character within the private rooms

The more private areas introduce greater variation while remaining within the overall design system.

The children’s bedrooms respond to individual requirements, with bespoke elements and distinct colour palettes extending into their bathrooms. This allows each room to develop a recognizable character without disrupting the wider material coherence of the apartment.

In the principal bedroom, the composition places greater emphasis on depth and reflection. Mirrors, transparent wardrobe doors and concealed lighting create overlapping visual layers that expand the perception of the space.

The combination of transparency and reflection continues one of the central ideas of the residence. Boundaries remain legible, but they are repeatedly softened through visual connections and changing degrees of opacity.

Through a controlled palette of timber, marble, lacquered surfaces, glass and exposed concrete, the renovation establishes a contemporary domestic environment while retaining references to the original building. The design is defined less by added decoration than by alignment, concealment and the careful management of transparency.

 

The project was first published in print in Apartments 2025, an annual edition by ek Architectural Publications.

Three interconnected stone dwellings reinterpret the rural house of Chalkidiki, weaving between mature pines and olive trees through an elongated composition shaped by privacy, hospitality and outdoor life.

 

 

Treelithon is a countryside retreat in Chalkidiki by Studio Not a Number Architects. Set on a long, narrow plot that slopes gently beneath mature pines and olive trees, the 200m² project combines a family vacation home with accommodation capable of operating independently for short-term guests.

Completed in 2025, the complex reinterprets the archetype of the rural Greek stone house through three interconnected dwellings. Their arrangement responds directly to the proportions of the site, the existing trees and local planning regulations, which required the building volumes to remain attached rather than fully detached.

 

Three dwellings within an elongated composition

The resulting plan follows an elongated Z-shaped configuration that negotiates privacy between the different occupants while moving around the existing vegetation.

At opposite ends of the site, two landscape elements anchor the composition. A small pine canopy creates a sheltered outdoor retreat for the architects’ family, while a long swimming pool serves the guest accommodation.

Between them, the three dwellings are conceived as a contemporary interpretation of a trilithon: two upright monolithic volumes frame and support a central horizontal element. The reference establishes a common architectural identity without imposing an identical spatial organization on each house.

The three units develop over one, two and three levels respectively. This variation produces different relationships with the terrain, from horizontal single-storey living to vertically stacked spaces. Each residence also develops its own entrance sequence, internal rhythm and framed views towards the garden.

 

 

Outdoor rooms between house and landscape

Terraces extend the enclosed spaces into the surrounding landscape. Some are sheltered by long-span timber pergolas, while others occupy the shade of existing trees.

Rather than functioning simply as peripheral patios, these areas become outdoor rooms for dining, gathering and retreat. Their distribution also allows the three households to maintain independence while preserving subtle visual and spatial connections.

The sloping terrain contributes actively to this organization. Limited grading interventions transform it into a network of routes across the site. Paved paths alternate with stepping stones, creating a gradual sequence between the different residences and gardens.

 

Load-bearing stone as structure and enclosure

Locally sourced stone forms the load-bearing perimeter walls. The choice extends the logic of traditional rural construction into a contemporary building while anchoring the new volumes materially in their setting.

The substantial masonry is not treated as a decorative skin. It performs simultaneously as structure, enclosure and architectural expression. In this sense, the project tests the capacity of traditional stone-building techniques to respond to current construction requirements.

Openings are positioned selectively within the monolithic walls. They frame specific views of the vegetation, introduce daylight and support passive cross-ventilation rather than dissolving the envelope through extensive glazing.

 

 

Timber elements that regulate exposure

Timber introduces a lighter and more adaptable layer alongside the stone construction. It is used for window frames, furniture and staircases, as well as the long-span pergolas that define the principal outdoor spaces.

Operable sliding panels provide an additional environmental filter. Their position can be adjusted to regulate sunlight, air movement, privacy and views according to season and use.

The envelope therefore combines permanent and movable elements. The stone walls establish a stable, protective framework, while the timber components allow the houses to respond more directly to changing climatic and domestic conditions.

 

A restrained interior palette

Inside, the material treatment remains closely connected with the construction of the buildings. Stone walls are either left exposed or finished with white render, allowing differences in texture to shape the atmosphere of each room.

Terrazzo flooring incorporates subtly coloured aggregates and extends a mineral character through the interiors. In-situ concrete slabs remain exposed, making the structural system visible while contributing thermal mass.

Against these harder surfaces, timber furniture, doors and stairs introduce a warmer layer and emphasize craftsmanship. The limited palette allows differences in texture, natural light and construction to define the interiors rather than relying on additional decorative treatments.

Through its three-part organization, Treelithon balances the apparently opposing requirements of a shared family retreat and independent guest accommodation. Its architectural identity emerges from this negotiation: interconnected but autonomous houses, protective stone walls and adaptable outdoor thresholds arranged within the existing landscape.

Three independent residences step along two terraces in Lefkes, preserving dry-stone walls and mature olive trees while gradually framing the Parian landscape.

 

The residence in Lefkes by KP Office is formed by a complex of three independent houses known as Pezoules House. It occupies a narrow, steeply sloping site in one of the most traditional settlements of Paros.

The project takes its name from its position across two agricultural terraces, or pezoules. Opposite the site, some of the island’s best-preserved terraced fields extend across the hillside. These longstanding structures have shaped both the cultivation and the architectural character of the Cycladic landscape.

 

Buildings arranged along the slope

The narrow proportions and pronounced gradient of the site determined the articulated arrangement of the building volumes. Rather than creating a single compact mass, the design distributes the programme across a sequence of interconnected structures.

The composition follows the two existing terraces. As a result, the buildings remain close to the ground and adapt to the changing levels instead of imposing a uniform platform on the site.

Openings appear gradually as visitors move through the complex. Some provide broad panoramic views, while others frame isolated parts of the surrounding hills. The landscape is therefore revealed as a sequence rather than as a continuous image.

The main project collaborator was Studio265, whose work with KP Office contributed to the architectural and constructional development of the complex.

 

Three independent residences

Each of the three houses develops across two or three levels. Their ground floors contain the principal living and dining areas, together with semi-outdoor sitting spaces integrated into the main volumes.

The bedrooms have private bathrooms and occupy more protected positions. Their distribution establishes a clear distinction between communal and private life without disconnecting them from the landscape.

The stepped organization also gives each house a degree of autonomy. Individual terraces, pools and outdoor rooms are separated from one another, although all three residences remain part of the same architectural composition.

The published ground-floor plan and longitudinal section clarify this relationship. The plan shows the houses extending along the narrow site, while the section explains their gradual descent through the two terraces.

 

Framed views and semi-outdoor rooms

Covered seating areas are incorporated within the principal volumes rather than added as independent structures. They form deep thresholds between enclosed rooms, swimming pools and the surrounding terrain.

These intermediate spaces protect everyday outdoor activity from direct sunlight. At the same time, they preserve visual continuity with the hills and the distant horizon.

The arrangement of openings reinforces this controlled relationship. Windows and passages do not simply provide a view from every point. Instead, they direct attention towards selected elements of the landscape and make orientation part of the movement through the house.

 

Stone from the site

Rendered masonry defines the enclosed residential volumes. In contrast, exposed stone is used for retaining walls, boundaries and other external architectural elements.

The stone was recovered exclusively during the excavation of the site. Its reuse strengthens the material relationship between the new construction and the surrounding terrain.

Existing dry-stone walls were preserved and structurally reinforced. Where sections had collapsed, they were rebuilt with local stone, maintaining the continuity of the agricultural terraces.

The masonry therefore serves several roles. It retains the sloping ground, organizes circulation and outdoor rooms, and connects the new complex with the longstanding constructional logic of the Parian landscape.

 

Building around existing olive trees

The outdoor spaces were designed with the aim of limiting intervention in the natural terrain. Building volumes and circulation routes were positioned around mature olive trees that already occupied the site.

The landscape design by Outside Landscape Architecture extends this approach. Gardens contain olive and cypress trees, vines, herbs, aromatic shrubs and flowering plants associated with the Mediterranean ecosystem.

Rainwater-storage tanks contribute to the irrigation of the planted areas. The intervention therefore relies on specific landscape and water-management measures rather than treating planting as an applied decorative layer.

 

Local techniques and contemporary elements

The houses combine references to traditional Cycladic construction with contemporary building components. Small openings and walls up to 60cm thick create substantial, protected envelopes.

Many elements were custom-made by experienced local craftspeople. In parallel, exposed-concrete ceilings, thermally insulated frames and stainless-steel fittings introduce a more contemporary constructional language.

The project does not reproduce a historic building type. Instead, it draws on the environmental and material logic of local architecture and adapts it to current residential needs.

The result is a sequence of houses embedded in the terraces, where stone walls, framed views and intermediate outdoor rooms establish a measured relationship with the landscape.

 

The project was first published in print in ParosVillas Vol.4, a special edition by ek Architectural Publications.

Bespoke joinery and movable partitions replace fixed rooms, allowing a compact 1970s apartment to shift between open-plan living, work and privacy.

 

Kifisia Apartment is located within the “Stroggyli Polykatoikia,” or Round Apartment Building, designed by architect Nikos Despotidis and constructed in 1973–1974. The renovation by Georgios Apostolopoulos Architects reconsiders the internal organization of the apartment while maintaining a clear relationship with the geometry of the original building.

Before the intervention, the plan was divided into a sequence of enclosed spaces. Two narrow corridors led towards the bedroom and kitchen, while the bathroom occupied the centre. As a result, the principal living areas were compressed into a narrow zone with limited access to natural light.

 

 

Removing the internal divisions

The renovation began with the removal of all internal partitions. This process revealed the underlying geometry of the apartment and created the conditions for a continuous interior.

Instead of replacing the former layout with another arrangement of enclosed rooms, the architects organized the different functions through bespoke joinery and movable partitions. These elements define areas for living, sleeping, working and storage without interrupting the overall continuity of the plan.

The apartment can therefore be perceived as a single space or divided into more private zones. Its organization changes according to the time of day and the needs of its occupants.

 

Flexible boundaries of privacy

Despite the limited floor area, the programme required two bedrooms alongside the other functions of a complete residence. This condition led the architects to reconsider privacy as a changing spatial relationship rather than a fixed boundary.

The principal bedroom operates as an extension of the living room. A sequence of wardrobes stands between the two areas, providing storage while acting as a series of visual filters.

The joinery limits direct views without creating the sense of a fully enclosed room. Consequently, the bedroom remains connected to the broader interior while retaining a measured degree of separation.

 

A room that appears when needed

On the opposite side of the plan, a second flexible area can function as a dining room, home office or additional bedroom.

A continuous system of bespoke joinery incorporates storage, a fold-down desk and a retractable bed. When these elements remain closed, the room almost disappears and becomes part of the open interior.

Sliding partitions can isolate the area when privacy is required. The apartment thus gains an autonomous second bedroom without permanently surrendering space to a function that may only be needed occasionally.

This approach allows the same area to accommodate several patterns of use. The room appears when required and recedes once its temporary function has ended.

 

The kitchen as a social centre

The new kitchen occupies the centre of the plan, replacing the former bathroom. Its main functions are organized around a large island connected directly with the living and dining areas.

The island faces the existing fireplace and becomes a shared point within the residence. Cooking, conversation and everyday activity can develop around the same central element.

Relocating the kitchen also transforms the circulation. Instead of being reached through a narrow corridor, it now forms part of the continuous living environment and establishes direct relationships with the surrounding uses.

 

A nearly monochromatic interior

The material palette remains restrained and almost monochromatic. Microcement extends across the floors, walls and doors, reducing visual interruptions between surfaces.

This continuous treatment reinforces the unity of the interior. At the same time, it allows the original construction, curved geometry and architectural logic of the apartment building to remain legible.

The subdued material background gives greater emphasis to the changing arrangement of doors, partitions and integrated furniture. Spatial transformation, rather than applied decoration, becomes the defining feature of the project.

Kifisia Apartment ultimately proposes a compact interior without permanently assigned rooms. Areas can open, close or change function, allowing spatial continuity and privacy to coexist within the same domestic environment.

The renovation opens a compartmentalized 1970s residence to daylight and transforms part of its interior into a generous semi-outdoor living space.

 

Heraklion Summer House is the renovation of a two-storey residence built during the 1970s in a suburb of Heraklion, Crete. Designed by iLi Studio, the intervention seeks to give the existing urban house a stronger vacation-home character by reorganizing its interior and reinforcing its relationship with outdoor life.

The project is conceived in two phases. The first, completed in 2025, concerns the renovation of the upper residential level. A later phase proposes the addition of a new volume on the roof terrace.

Opening the existing plan

Before the renovation, internal walls divided the residence into a sequence of separate spaces, including an entrance hall and an enclosed kitchen. This organization limited visual continuity and prevented natural light from reaching the full depth of the floor plan.

The intervention removes these partitions and combines the kitchen, dining room and living area within a continuous shared space. Instead of being distributed among separate rooms, the main domestic activities now unfold within an open plan.

The new organization improves circulation and establishes longer views through the interior. It also allows daylight to enter from different sides and move across the residence throughout the day.

 

A continuous living environment

The open-plan arrangement does not eliminate all spatial definition. The different uses remain legible through furniture, fixed elements and changes in orientation rather than through enclosing walls.

The kitchen forms part of the shared living environment, while the dining and sitting areas maintain direct visual contact with one another. Movement through the house consequently becomes more fluid, and the interior is perceived as a continuous sequence rather than a collection of individual rooms.

This reorganization uses the existing building as a framework for a different form of everyday life. The renovation does not depend on increasing the enclosed floor area. Instead, it redistributes the available space and gives greater importance to shared use, light and visual connection.

 

Giving up interior area for outdoor life

The project’s principal intervention is the creation of a new semi-outdoor space in front of the living room. The existing balcony was too narrow to function as a substantial extension of the house. iLi Studio therefore chose to reduce the enclosed interior and convert part of it into a deeper, more usable covered terrace.

Although the gesture decreases the internal floor area, it expands the range of ways in which the residence can be inhabited. The new space can accommodate everyday activities outdoors while remaining protected from direct exposure.

A large opening connects the living room with this covered area. When opened, it strengthens both the visual continuity and the functional relationship between the two zones. The living room and terrace can therefore operate independently or as a single extended environment.

 

From an urban house to a summer residence

The semi-outdoor space changes the balance of the residence. Outdoor life is no longer confined to a conventional balcony attached to the façade. Instead, the covered terrace becomes a principal room of the house and a threshold between interior and exterior.

This approach gives the existing suburban building a more pronounced seasonal character without treating it as a new construction. The holiday-home quality emerges from the organization of everyday activities around light, openness and outdoor occupation.

Through a limited number of targeted changes, Heraklion Summer House demonstrates how an existing residential shell can accommodate a different way of living. The removal of partitions brings daylight deeper into the plan, while the new semi-outdoor space establishes a more direct relationship with the Cretan climate.

Near Glyfa beach, the residence unfolds like a small settlement of white and stone volumes, connected by sheltered courtyards, internal pathways and outdoor spaces facing the sea.

 

The project is located in the tranquil southeastern part of Paros, near Glyfa beach. Designed by Maria Doxa Architecture Studio, the seaside residence overlooks the coast and the open horizon.

The complex develops linearly across the site, resembling a small island settlement rather than a single autonomous building. A white cubic residence is accompanied by four smaller stone volumes containing supplementary uses. Courtyards, paths and sheltered outdoor rooms connect the separate parts while preserving their individual scale.

 

A protected route through the complex

Access is from the north, through a stone-walled courtyard planted with olive trees, cypresses and aromatic species. A marble-paved path crosses the garden and leads towards the principal entrance.

The high stone boundary protects the arrival area from strong winds. Instead of immediately revealing the sea-facing side of the house, the entrance sequence gradually moves from the enclosed northern courtyard towards the open southern landscape.

The path continues beyond the entrance and extends along the length of the residence. It connects the principal house with the guest accommodation, the artist’s studio and the smaller gardens distributed throughout the site.

 

Two wings around an entrance axis

Inside, the principal residence is divided into two wings. To the right of the entrance, an open-plan living area contains the kitchen, dining room and sitting space.

Large sliding glazed panels connect this shared interior directly with the central outdoor area. When opened, they establish continuity between the living room, shaded terrace, swimming pool and distant sea horizon.

The private wing develops to the left of the entrance. It contains one principal bedroom and two en-suite bedrooms, organized around an enclosed planted courtyard. This internal garden becomes a common point of reference for the sleeping areas and introduces daylight and vegetation without compromising privacy.

The contrast between the two wings is deliberate. The shared spaces open broadly towards the sea, while the bedrooms are organized around a more introspective landscape.

 

Guest accommodation and an artist’s studio

At the western end of the complex, a stone guest house contains two double-height rooms with direct access to the main terrace.

Each room includes a kitchen, bathroom and small sitting area at ground level. The sleeping area is placed on a mezzanine, creating a more private zone within the vertically organized interior.

A small painting studio completes the composition at the eastern end. It is reached through the outdoor path that begins at the entrance courtyard and follows the length of the house.

In the northwestern part of the site, a partially subterranean volume contains two further bedrooms with bathrooms and a shared kitchen. A planted roof and stepped courtyards integrate it into the terrain and limit its visual presence within the wider complex.

Outdoor life between stone and water

A large sheltered outdoor space occupies the area between the principal residence and the guest house. Facing the linear swimming pool and the sea, it forms the main setting for outdoor life.

A pergola and solid stone back wall protect the terrace, which contains an external bar and sitting area. An imposing fixed marble dining table stands close to the indoor kitchen, supporting a direct relationship between food preparation and outdoor dining.

The swimming pool reinforces the longitudinal organization of the residence. Its water surface extends visually towards the horizon and brings together the main house, guest accommodation and central terrace.

The outdoor spaces are not concentrated in a single area. Smaller courtyards, gardens and routes create different degrees of enclosure, shade and contact with the landscape.

 

 

A contrast of white plaster and local stone

The material palette draws on the character of island architecture without directly reproducing traditional forms. White plaster defines the principal residence, while local untreated stone gives the smaller volumes a heavier and more textured presence.

Large, pale marble slabs form a continuous floor across interior and exterior areas. This repeated surface connects the enclosed rooms with the terraces and weakens the boundary between them.

Rough timber beams and reed linings emphasize selected ceilings. Grey pergolas and window frames introduce a restrained contemporary layer, while natural timber and light fabrics with subtle textures define the furnishings.

The contrast among plaster, stone, marble, timber and reed gives each part of the residence a distinct identity. At the same time, the limited palette maintains the coherence of the whole.

Gardens across the site

The landscape design by Outside Landscape Architecture is distributed across small gardens and courtyards rather than concentrated around the main façade.

Mediterranean aromatic plants, grasses, shrubs, fruit trees and wildflowers establish a close relationship with the existing island landscape. Most ground surfaces remain permeable, combining exposed soil, gravel and paths formed from irregular stone slabs.

The result is a seaside residence with several different spatial scales and multiple possibilities for outdoor occupation. Controlled transparency reveals the sea and vegetation gradually through a sequence of measured architectural forms.

 

The project was first published in print in ParosVillas Vol.4, a special edition by ek Architectural Publications.

The renovation preserves the vaulted structure of existing summer residences in Oia, introducing precise functional changes, natural materials and selected colour accents.

 

The refurbished summer residences form part of a larger complex in the traditional settlement of Oia. Facing south, they overlook the volcano and the Caldera. Their existing shells are characteristic of the island’s more recent architectural heritage.

The intervention by Kapsimalis Architects focuses on the interiors. It preserves the original structure and spatial identity while adapting the residences to contemporary hospitality requirements.

Each unit includes a living area, bedroom and bathroom. The interiors extend into private courtyards with small pools and views towards the Aegean landscape.

 

Preserving the vaulted interiors

The principal objective was to retain and emphasize the existing vaulted forms. Domes, cross vaults and shallow concave ceilings give each residence its distinct spatial character.

Rather than concealing these elements, the redesign treats them as the starting point of the interior composition. New furniture and functional additions follow the existing geometry without competing with it.

The interventions remain deliberately limited. Small changes to fixed and movable furniture improve circulation, storage and everyday use while preserving the original proportions of the rooms.

Arched openings reinforce the continuity between adjoining spaces. Their rounded profiles repeat the geometry of the ceilings and allow the residences to be perceived as a sequence of connected vaulted chambers.

A restrained material palette

Smooth white plaster covers the walls and ceilings. Its continuous surface emphasizes the plasticity of the architecture and allows daylight to reveal the changing curvature of the interior.

Large slabs of light-grey marble define the floors. Their subtle tonal variations introduce depth without disturbing the visual unity of the rooms.

Built-in timber elements are finished in pale oak. Different varieties of marble are used for fixed furniture and counters, while ceramic claustra in a natural terracotta tone filter views between selected areas.

Off-white textiles complete the quieter material background. Together, the plaster, marble, oak and fabrics establish continuity between the different residences without erasing their individual spatial qualities.

 

Reflections and selected colour

Mirrored sections are introduced on walls and timber constructions to increase the perceived depth of the smaller rooms. Reflections multiply the vaulted forms, daylight and partial views of adjoining spaces.

Glass elements further reduce the visual weight of partitions. In bathrooms, transparent screens preserve the continuity of the vaulted interiors while allowing the different functions to remain clearly organized.

Against the neutral background, movable furniture in deep red introduces a concentrated colour accent. Metal-and-glass lighting fixtures and darker timber pieces add further contrast without fragmenting the overall composition.

The colour is used selectively rather than as a continuous decorative theme. As a result, the red elements become distinct points of orientation within the predominantly white and grey interiors.

Courtyards overlooking the Caldera

The external façades are retained and subtly repaired. The courtyards are reorganized through new dining areas, built-in seating and planting.

These outdoor spaces operate as extensions of the compact residences. Small pools, shaded seating and framed views towards the Caldera support everyday outdoor use without altering the established architectural character of the complex.

The relationship between the white interiors and the blue horizon remains central to the experience. Windows and doorways frame the sea, while daylight moves across the curved surfaces throughout the day.

Through restrained alterations, the renovation brings contemporary comfort to the existing residences without replacing their spatial identity. The vaulted structures remain dominant, supported by natural materials, reflective surfaces and carefully selected elements.

 

The project was first published in print in ek magazine 288 | June 2024, a monthly issue by ek Architectural Publications.

A high perimeter wall embraces a carved rectangular volume, creating a protected courtyard where light, vegetation and controlled views establish a condition of permeable introversion.

Domus Maya is located in the southeastern suburbs of Nicosia, on a typical plot within a recently developed neighbourhood. The two sides of the site present contrasting conditions. To the south, scattered residential buildings form an irregular urban frontage. To the north, open agricultural land extends towards the horizon and the trapezoidal profile of Aronas hill.

The proposal by Studio Kyriakos Miltiadou responds to this contrast through two principal compositional elements: a clearly defined rectangular prism and a tall wall that surrounds and embraces it.

 

A solid volume shaped by subtraction

The main volume has a footprint of 12 by 10 metres. Rather than remaining an intact rectangular block, it is carved along its horizontal and vertical axes.

The subtraction of parts from the original mass creates an internal void, which rises through two storeys in selected areas. The rooms and circulation spaces are organized around this opening.

The residence develops over two levels. The ground floor contains the principal shared spaces: the living room, kitchen, dining area and a small guest room. The bedrooms, bathrooms and supporting functions occupy the upper floor.

The central void acts as a three-dimensional canvas within the house. It brings light, air and vegetation into the interior while framing the horizontal line of the distant landscape. At the same time, it mediates between the family’s private life and its more social spaces.

 

A wall against the suburban landscape

The second defining element is a 3.5m-high wall positioned three metres behind the public road. Extending across the full width of the plot, it forms a firm boundary between the residence and the fragmented suburban surroundings.

Its continuous surface gives the street elevation an intentionally restrained character. Three narrow vertical openings interrupt the wall and permit carefully controlled views towards and from the interior.

The house therefore does not become completely isolated from the neighbourhood. Instead, the openings produce a selective permeability, allowing light, movement and partial visual contact to pass through an otherwise protective boundary.

A vivid yellow entrance door marks the point of access. Its colour contrasts with the white rendered surfaces and transforms the act of entering into a clearly legible moment within the composition.

 

An internal square around an olive tree

Behind the perimeter wall lies a central “square”: a protected courtyard that receives visitors before they enter the main house.

A transplanted olive tree stands at its centre. Surrounded by a circular exposed-concrete element, it becomes the principal point of orientation within the courtyard and introduces a mature natural presence into the precise geometric composition.

The courtyard opens towards the social life of the residence. It is not conceived as an isolated garden but as a shared outdoor room connected with the entrance, living spaces and semi-outdoor areas.

The white surfaces reflect the intense Mediterranean light, while the shadows of the planting animate the otherwise monolithic walls throughout the day.

 

Continuity between inside and outside

Exposed-concrete seating surfaces extend through the internal and external spaces. By crossing the boundaries of the envelope, they weaken the distinction between room, courtyard and garden.

These continuous elements also create informal places for sitting and social encounter. Their position allows everyday activities to spread beyond the conventional arrangement of enclosed rooms.

Where the perimeter wall meets the rectangular prism, smaller semi-outdoor spaces emerge. A network of stainless-steel cables supports climbing plants and introduces a lighter, permeable layer alongside the solid architectural surfaces.

Thyme, jasmine, lavender and bougainvillea occupy the enclosed gardens. Over time, the vegetation is intended to extend across the walls and wire structures, gradually softening the monolithic character of the residence.

 

Permeable introversion

The wall and the prism ultimately operate as a single architectural gesture. The first establishes protection and distance from the irregular urban setting. The second is opened and carved to accommodate light, landscape and vegetation.

Their interaction produces a series of deliberate contradictions: enclosure and openness, public and private life, the natural and the artificial, exposure and protection.

Domus Maya does not resolve these oppositions by choosing one condition over the other. Instead, it uses the courtyard, narrow openings and semi-outdoor thresholds to maintain a balance between them.

 

The project was first published in print in ek magazine 288 | July–August 2024, a monthly issue by ek Architectural Publications.

In Puerto Vallarta, on Mexico’s Pacific coast, Casa Tao by HW Studio is conceived around shade as both a climatic necessity and a spatial condition. The 472 m² residence draws on the memories and interests of its inhabitants, translating ideas of shelter, quiet and contemplation into a sequence of enclosed courtyards, filtered views and protected interiors.

The house occupies a neighbourhood without distant views, but directly faces a tree-lined plaza offering shade and breeze. Rather than opening frontally towards it through extensive glazing, the architecture establishes an indirect relationship with its surroundings. Carefully positioned openings allow the presence of the plaza to be perceived while limiting exposure to the intense coastal sun.

Shade as a way of inhabiting

The design emerged in part from the inhabitants’ personal histories. Growing up in Puerto Vallarta, one of the owners understood shade as an essential refuge from the heat and humidity of the Pacific climate. A later family journey to Japan introduced another set of references: spatial restraint, emptiness, carefully filtered light and a sense of stillness.

These influences are translated into an architecture of indirect relationships. The house neither withdraws completely from the city nor exposes itself fully to it. Instead, views, breezes and daylight enter through controlled openings, courtyards and transitional spaces.

The result is an environment shaped less by outward display than by the gradual experience of light and shadow.

 

 

Private spaces below, social life above

The principal programme is divided vertically. Bedrooms, the garage and service areas occupy the base of the house, while a lighter, double-height volume containing the main social spaces is raised above them.

Elevating the communal areas separates daily social life from street level and opens it towards the crowns of the surrounding trees. Air circulates around the upper volume, while elevated patios form protected outdoor rooms overlooking the neighbouring greenery.

The arrangement allows the house to engage with the plaza without relying on a conventional panoramic façade. The relationship is experienced through fragments: the movement of branches, the arrival of the breeze and the changing quality of light.

Courtyards and interior retreat

The bedrooms are organized around a courtyard, where enclosure provides privacy while preserving access to air and sky. At the entrance, a curved wall gently redirects movement, while a tree marks the transition into the house.

This inward orientation creates a sequence of spaces focused on the sky, shade and vegetation. The courtyards are therefore more than sources of natural light and ventilation; they establish the slower rhythm around which domestic life is organized.

Throughout the house, privacy is achieved through depth and indirect views rather than complete isolation.

 

 

Concrete, whiteness and filtered light

The material palette reinforces the contrast between the intensity of the exterior climate and the subdued atmosphere within. White surfaces respond sharply to the coastal sun, while exposed concrete absorbs and softens light.

Its weight gives the interiors a sense of permanence, but the changing daylight prevents the material from appearing static. Light settles across walls and surfaces, revealing subtle differences between open courtyards, shaded thresholds and more protected rooms.

The architects relate this approach to Junichirō Tanizaki’s In Praise of Shadows, where darkness is understood as a means of giving depth to perception rather than simply as the absence of light. In Casa Tao, shade becomes similarly active: a climatic resource, a spatial filter and the element through which the house establishes its atmosphere.

Casa Tao ultimately proposes a form of domestic life organized around attention and pause. Through its elevated patios, inward-facing courtyards and carefully controlled openings, the house creates a protected interior world while remaining connected to the air, vegetation and climate of Puerto Vallarta.

Located in Agkairia, on the southwestern side of Paros, the building is organized as four distinct volumes along an elongated axis across the plot. Designed by Chris Tessas, the residence breaks its programme into smaller spatial units, using internal courtyards to introduce natural light and privacy.

The two central volumes contain the living room and kitchen. The outer sections accommodate the family bedrooms and guest rooms. Rather than forming a single compact house, the separate parts establish a linear sequence of enclosed spaces, atriums and sheltered outdoor areas.

 

 

Four volumes and three atriums

Each volume has a distinct function. However, the residence remains connected through a clear longitudinal organization.

Three of the four volumes are separated by internal atriums. These open spaces bring daylight into the centre of the plan and allow the rooms to maintain a direct relationship with the exterior. At the same time, their position within the composition protects domestic life from being immediately visible from the surrounding landscape.

Because the atriums remain largely concealed from the perimeter, they also divide the apparent scale of the house. From a distance, the residence is perceived as a sequence of smaller structures rather than a single extended building.

This arrangement establishes a dialogue with the additive character of traditional Cycladic settlements, where compact rooms and small building units develop gradually in response to use and terrain.

Shared life at the centre

The living room and kitchen occupy the two central sections of the residence. Their position turns the middle of the composition into its shared social core.

Large openings connect these spaces with the terrace, pool and shaded dining area. In contrast with the more controlled openings on the outer façades, this side of the house develops a broader relationship with the landscape and outdoor life.

The pool runs parallel to the main terrace, reinforcing the linear direction of the plan. A lightweight pergola protects the outdoor dining area and creates an intermediate zone between the enclosed rooms and the open Cycladic setting.

Inside, the restrained palette allows natural light to define the atmosphere. Rooflights illuminate the kitchen from above, while narrow openings frame selected views and preserve the sense of enclosure established by the external volumes.

 

 

Proportions derived from local architecture

The proportions of the individual volumes and the discreet external openings draw on the historic stone structures found across Paros and the wider Aegean.

This reference is expressed through scale and spatial organization rather than through the literal reproduction of traditional details. The building remains contemporary, but its fragmentation allows it to relate to the surrounding landscape and the established architectural character of the island.

The repeated wall surfaces and controlled openings give the outer elevations a compact presence. By contrast, the concealed courtyards introduce light and openness within the composition.

An external stair towards the roof

The northern volume contains the family bedrooms and is separated from the adjoining parts of the residence by an external staircase. Its broad, solid form recalls the external stairs of traditional island houses.

The stair leads to the roof and becomes part of the architectural promenade. Beyond its practical role, it invites occupants to rise above the low volumes and observe the wider Cycladic landscape.

Through its combination of linear organization, fragmented volumes and hidden atriums, Cycladic Layout proposes a contemporary residence that belongs to Paros without relying on the direct imitation of vernacular forms.

 

The project was first published in print in ParosVillas Vol.4, a special edition by ek Architectural Publications.

Rhoēs is an unbuilt private residence by Sinas Architects on the island of Serifos. The 390m² project occupies a 4,500m² site within an exposed Cycladic landscape, where strong winds, intense sunlight, steep terrain and distant views become active elements of the design.

Rather than reproducing the recognizable forms of traditional island architecture, the project investigates the environmental forces that originally shaped them. Its aim is to develop a contemporary house rooted in the conditions of Serifos without relying on the direct imitation of vernacular forms.

 

 

Architecture shaped by climate

The residence is conceived as a sequence of spaces that gradually negotiate exposure and protection. Walls define sheltered zones, while courtyards and semi-open areas create places where outdoor life can continue despite the island’s demanding climatic conditions.

The landscape is therefore not treated as a background for an autonomous architectural object. Instead, wind, solar exposure, terrain and views influence the position and character of each space.

Protected outdoor rooms form intermediate thresholds between the enclosed interior and the open site. These transitional areas allow the architecture to remain connected with its surroundings while providing shade and shelter from the wind.

A gradual spatial sequence

Movement through the project is organized as a transition between different degrees of enclosure. More protected spaces are followed by courtyards, framed openings and wider views towards the landscape.

This sequence avoids the immediate exposure of the entire residence. Instead, the house is gradually revealed through changes in scale, light and orientation. The courtyards become points of reference within this progression, extending domestic life beyond the enclosed rooms.

The resulting organization reflects the contrast found across the Cycladic landscape itself. Open and exposed areas coexist with recesses, walls and protected pockets shaped by the terrain.

 

 

Beyond the image of Cycladic architecture

Contemporary residential programmes often require larger interior spaces and amenities that differ significantly from those of older island houses. Rhoēs addresses these requirements without treating the site as a neutral setting onto which a predetermined lifestyle can simply be transferred.

The project seeks continuity with local architecture through its underlying logic rather than its external image. Climate determines the relationship between solid and open surfaces. The topography informs the sequence of movement, while sheltered courtyards mediate between contemporary domestic needs and the conditions of the island.

In this way, the reference to Cycladic architecture remains structural rather than stylistic. The house does not attempt to reproduce an idealized past. Instead, it applies a similar process of adaptation to the realities of present-day living.

Material continuity with the site

The proposed palette combines natural stone, exposed concrete, oak, glass and aluminium. Stone gives the composition a direct material relationship with the terrain, while concrete forms more continuous structural surfaces.

Oak introduces warmth within the interior and sheltered outdoor areas. Glass maintains visual connections with the landscape, while aluminium provides a restrained framework for the openings.

The combination is intended to reinforce the distinction between protection and exposure. Heavier materials define the boundaries of the residence, while transparent surfaces open selected spaces towards the surrounding landscape.

Rhoēs is currently under development, with completion estimated for 2028. The project proposes a contemporary interpretation of island dwelling in which architectural form emerges from climate, terrain and everyday use rather than from the reproduction of a predetermined regional style.

Astir Marina was the first marina in Greece developed exclusively for tourist vessels. Built in Vouliagmeni during the early 1960s, it occupies a coastal site distinguished by its natural landscape and archaeological significance.

Its redevelopment began in 2013 with two principal objectives. The existing port infrastructure had to accommodate the increased operational requirements of a home port for mega and superyachts. At the same time, the land zone was reimagined as a destination combining tourism, leisure, retail, dining and marina administration.

KSE Studio prepared the preliminary master plan for the land zone. AETER Architects subsequently developed the final land-zone master plan and designed the new buildings. Neiheiser Argyros were responsible for the landscape architecture and public realm.

The port works were delivered in 2023, while construction on the land zone was completed in May 2024.

 

 

A new programme along the waterfront

The redevelopment addresses two interconnected areas: the reconstruction and improvement of the existing port facilities and the complete reorganization of the land zone.

The latter contains 4,800m² of enclosed spaces accommodating tourism, retail, dining and marina-management functions. The outdoor areas, pedestrian routes and shared spaces were treated as an equally important part of the architectural programme.

To prevent parking from occupying a substantial part of the available open ground, a 156-space underground facility was placed beneath the central plaza. Its position within a steeply inclined section of the site reduces the visual presence of vehicles and preserves the relationship between the buildings, landscape and waterfront.

The new programme is distributed among a sequence of buildings and open plazas. Together, they establish a continuous public route along the central quay and connect the commercial areas with the marina’s operational facilities.

Buildings informed by the language of yachts

For AETER Architects, the form and materiality of the vessels using the marina provided a point of departure for the architectural language.

The façades are characterized by curved, folded and inclined surfaces formed in smooth white exposed concrete. Their changing geometry evokes movement and gives the buildings a different appearance as visitors move along the quays and public routes.

The materials associated with contemporary yachts also informed the treatment of the architectural surfaces. White concrete, extensive glazing, reflective finishes and darker metallic elements create contrasts between solidity, transparency and sheen.

Two central buildings containing retail and dining uses define the principal public space along the waterfront. Their broad overhangs and terraces extend the interior programme outdoors, while preserving uninterrupted views towards the marina.

To the northwest, the two-storey administration building and marina control tower form a more sculptural composition. A broad, almost ceremonial ascent leads to the accessible upper roof, which becomes an elevated viewpoint over the harbour and the Saronic Gulf.

Smaller buildings accommodating supporting functions complete the complex through a more restrained interpretation of the same architectural vocabulary.

 

 

From historical maps to a new public realm

The landscape design by Neiheiser Argyros begins with the proposition that “the map is the territory.” Historical topographic records and old nautical charts were used to retrieve earlier contour lines associated with the site.

These traces informed the main routes, paving patterns and planted zones. Landscape is therefore not applied as a decorative layer around the buildings. Instead, it becomes a continuous system that organizes movement, orientation and the transition between the hillside and the water.

Clusters of planted “islands” form buffers between vehicle circulation, parking areas and the waterfront. They also extend the vegetation of the adjoining slope towards the lower quays.

The paving incorporates irregular marble fragments sourced from nearby quarries. Their variations in scale, geometry and tone emphasize an ad hoc and handcrafted quality associated with the material character of the coastal pine forest.

The placement of the buildings defines a sequence of open plazas coordinated with the planting and the sea. Within the retail and dining zone, the two principal buildings frame the most significant shared space along the waterfront.

Bioclimatic strategies and planted roofs

The buildings employ a series of environmental strategies intended to reduce energy demand. Glazed surfaces support passive solar gain during winter, while deep overhangs, canopies and louvers protect the interiors from direct summer sunlight.

Extensive planted roofs continue the landscape across the upper surfaces of the buildings. They connect the architecture visually with the vegetation of the peninsula and soften the distinction between built and planted areas.

The artificial-lighting strategy responds to the coexistence of several different programmes. It reinforces the identity and hierarchy of the individual buildings while establishing continuity among plazas, covered passages and waterfront routes after dark.

 

 

A landscape of modernization

The redevelopment of Astir Marina continues a longer Greek history in which architecture mediates between tourism infrastructure and landscapes of particular natural, historical and cultural value.

Here, the role of design extends beyond the production of individual buildings. The preliminary planning by KSE Studio, the final master plan and architecture by AETER Architects, and the public realm by Neiheiser Argyros operate as distinct but interconnected layers.

The project remains suspended between two conditions: the local landscape that was already present and the international programme introduced by the marina. Its broader architectural significance lies in the way these forces are negotiated.

The balance between landscape protection and tourism development is not self-evident. Nevertheless, it continues to define a critical field for the evolution of contemporary Greek architecture.

 

The project was first published in print in ek magazine 290 | September 2024, the monthly issue by ek Architectural Publications.

Set within a public park in Ajman, United Arab Emirates, Bkd Bakery by UMKY design is conceived as an extension of the surrounding urban landscape. The 305 m² building opens towards the park through large sliding elements, allowing the boundary between the interior, shaded terraces and public space to shift throughout the day.

The design responds simultaneously to the demanding regional climate and the operational requirements of a working bakery. Deep pergolas protect three sides of the building, while the interior combines public circulation, seating and production within a continuous spatial sequence.

 

 

Extending the park into the interior

The design began with an analysis of pedestrian movement through the park. The main entrance aligns with its central axis, establishing a direct continuation of the principal public route into the bakery.

Rather than enclosing the commercial space behind a fixed façade, large sliding mechanisms allow it to open towards the surrounding landscape. The transition from park to terrace and interior becomes gradual, allowing the bakery to participate in the everyday activity of the public space.

Deep pergolas extend along three sides of the building. They shade the outdoor seating areas and limit direct solar exposure, creating a protected perimeter around the bakery and reducing heat gain within the interior.

This shaded edge is central to the project. It allows indoor and outdoor hospitality spaces to operate as parts of the same environment while responding to Ajman’s intense climate.

A layout shaped by movement

The organization of the interior follows the pedestrian flows approaching the building. Public functions remain clear and immediately accessible, while staff circulation, storage and other back-of-house operations are positioned away from the principal guest areas.

At the center of the plan, a large service counter becomes the main visual and spatial point of reference. It is built from custom-cast concrete bricks with mint-green pigment added during production, establishing a material relationship with the vegetation of the surrounding park.

The masonry gives the counter a tactile presence and anchors the open interior. Its weight contrasts with the transparency of the perimeter and the ability of the façades to open almost completely towards the exterior.

 

 

A domestic scale beneath the pitched ceiling

Above the public areas, the ceiling follows the profile of a pitched roof. The familiar geometry reduces the perceived height of the interior and introduces a more intimate scale within the large commercial space.

The form also performs a technical role, concealing the extensive climate-control equipment required by the bakery. Rather than allowing these systems to dominate the interior, the ceiling integrates them within an architectural element associated with shelter and domesticity.

This combination of technical performance and familiar form supports the broader character of the project: an open public venue that nevertheless maintains a sense of warmth and enclosure.

Baking as part of the public experience

At the core of the bakery, the production area is enclosed by glass and remains visible from the guest spaces. Visitors can observe the preparation and baking process, making production part of the everyday experience of the interior.

Integrating a working bakery into a busy public space required careful coordination of ventilation. The production zone remains visually connected to the seating areas while operating with the air-control systems necessary to maintain comfortable conditions throughout the building.

Transparency therefore operates at several scales. The bakery opens towards the park, the public areas remain visually connected across the interior, and the process of production is placed on display.

Inspired by ideas of movement and lightness associated with the Gemini constellation, the project avoids the character of a sealed commercial object. Through its sliding boundaries, shaded perimeter and visible production spaces, Bkd Bakery becomes a place of exchange between the park, the interior and the everyday activity of baking.

In the mountains of Emeishan, China, Zoland·Emei Resort by Studio J. Bridgland transforms a collection of deteriorated structures into a 2,900 m² retreat organized around the landscape. Buildings are arranged as a staggered group of smaller volumes, recalling a settlement embedded in the hillside rather than a single hotel complex.

The design draws on the terrain and local building traditions through pitched roofs, deep eaves and a restrained material palette. These elements are reinterpreted through contemporary construction, establishing a gradual relationship between existing structures, new interventions and the surrounding forest.

 

 

A village-like composition in the landscape

The buildings follow the natural changes in level across the site. Their fragmented arrangement creates a sequence of courtyards, paths and framed views, allowing the complex to be experienced gradually.

At the entrance, a façade of textured concrete worked by hand establishes a strong material presence. Its rough surface contrasts with the surrounding vegetation and introduces the tactile character that continues throughout the project.

Rather than seeking visual prominence, the architecture uses differences in scale, level and material to become part of the hillside. Traditional pitched roofs and deep overhangs provide protection while connecting the new intervention with familiar regional forms.

A courtyard organized around an ancient tree

The central courtyard forms the social heart of the resort. At its centre, an ancient Zhennan tree is surrounded by a reflecting pool, turning the existing vegetation into the main point of reference.

The courtyard opens towards the surrounding mountains and brings together architecture, water and planting. The tree gives the space a sense of continuity with the site’s earlier history, while the pool extends its presence through reflection.

Nearby, a contemplative space is enclosed by full-height glazing. The transparent envelope maintains an uninterrupted relationship with the forest, allowing changing light and vegetation to define the atmosphere of the interior.

 

 

Local materials and shared spaces

The dining hall brings together local materials and a clearly expressed structure. Traditional grey tiles from Leshan cover the roof, while a cedar framework spans the interior, introducing warmth and rhythm overhead.

Walls built from schist sourced from Emei Mountain connect the building with the geology of its setting. The combination of stone, timber and tile avoids a uniform material treatment, allowing the different surfaces to retain their texture and individual character.

Throughout the shared spaces, the architecture relies on a limited palette and direct construction. Material differences establish atmosphere without competing with the surrounding landscape.

Guest suites beneath a planted landscape

At the highest point of the site, the guest suites are incorporated beneath a raised planted surface. From the outside, the building remains largely concealed by the landscape, while full-height windows open the rooms towards the mountains.

The design creates a clear contrast between the building’s subdued external presence and the expansive views from within. The guest rooms become protected spaces from which the landscape is observed rather than architectural objects imposed on it.

Bathrooms use deep red local stone, introducing a stronger colour and a tactile connection with the region’s geological character. The bathing experience continues outdoors, where a stone pool finished with green granite extends into the mountain setting.

The relationship between built form and landscape becomes progressively less distinct across the project. Courtyards are organized around existing vegetation, roofs become planted ground and outdoor bathing areas merge with the terrain.

Through this landscape-led approach, Zoland·Emei Resort proposes an architecture of reduced pace and heightened attention. The regeneration of the existing site is shaped through modest interventions, local materials and a sequence of spaces that invite visitors to experience the mountain environment gradually.

Casa Gruta is a 254m² residence in the Sisal neighbourhood of Valladolid, Mexico. Designed by Salvador Román and Adela Mortera, it approaches the house as an inhabitable sculpture. Its spatial language draws on the caves, grottos and cenotes that characterize the geology of the Yucatán Peninsula.

Rather than reproducing these formations literally, the architecture translates their atmosphere into a sequence of passages, chambers and openings. Spaces alternately contract and expand, creating different perceptions of scale as occupants move through the house.

 

 

Entering the grotto

The entrance is marked by an existing álamo tree. In local tradition, this species has been associated with the presence of underground formations. Its preservation therefore establishes both a physical and symbolic point of departure for the project.

From the tree, visitors enter an open-air vestibule before moving into the residence. According to the architects, this sequence recalls the ritualized approach to cenotes in ancient Maya culture. The entrance is treated as a gradual transition rather than a conventional doorway.

Beyond it, enclosed passages lead towards brighter rooms and open courtyards. The changing proportions establish a rhythm of compression and release. Meanwhile, controlled openings allow sunlight to enter in narrow beams or illuminate entire surfaces.

A sequence of chambers and clearings

The internal organization is inspired by underground caverns, where tunnels connect larger chambers and unexpected clearings. Casa Gruta applies this principle to domestic life. Each area has a distinct spatial character, yet remains part of a continuous route.

The residence does not reveal itself from a single viewpoint. Instead, walls, thresholds and changes in light frame partial views of the adjoining spaces. Courtyards interrupt the enclosed composition and bring vegetation, air and daylight into its centre.

This alternation between sheltered interiors and open-air voids creates a balance between introspection and contact with the exterior. The courtyards act as extensions of the rooms, while the solid architectural surfaces preserve a sense of enclosure.

 

 

Material, light and time

The restrained material palette derives from the colours and textures of the Yucatán landscape. Its earthy surfaces reinforce the impression that the house has been carved from a single mass rather than assembled from separate elements.

Light becomes an active material within this setting. It moves across the walls throughout the day, revealing their texture and altering the perceived depth of the rooms. Shadows emphasize corners, passages and curved transitions, giving the architecture a changing character over time.

The design also considers the gradual ageing of its surfaces. Instead of pursuing a pristine and unchanging finish, the residence allows weather, vegetation and everyday use to become visible. This approach strengthens the project’s relationship with the passage of time.

Casa Gruta ultimately uses the image of the grotto to question the conventional openness of the tropical residence. Its protected interiors, carefully positioned courtyards and shifting spatial proportions form a retreat that remains connected with the climate and vegetation of Valladolid.

 

The Baie-de-Valois Nautical Centre is a public pavilion on the shore of Lake Saint-Louis in Pointe-Claire, Quebec. Designed by ADHOC Architectes and PRISME architecture, the project replaces a deteriorating park chalet in Grande-Anse Park and supports the area’s water-sports and community activities.

Τhe development includes a 665m² pavilion and a separate 112m² boat-storage area. The building introduces a community hall for up to 100 people, as well as changing rooms, offices and storage facilities for boaters, canoeists, kayakers, day-camp groups and visitors renting equipment.

 

 

Architecture shaped by the shoreline

The design translates the geological stratification of the lakeside setting into a series of architectural layers. Its solid base refers to the rocky shoreline, while the vertical rhythm of the timber cladding recalls the trunks of the surrounding trees.

Above, the angular roof extends across the composition like a tree canopy. Its changing planes continue into the interior, where they define the community hall and direct attention towards Lake Saint-Louis.

Rather than treating the landscape as a background, the building frames it through broad openings and covered outdoor areas. The principal patio faces the water, while a second, more sheltered terrace allows visitors to experience the site during different seasons.

Beneath this raised outdoor space, the architects incorporated boat storage. This arrangement preserves the view towards the lake while using the changing ground levels to accommodate a substantial operational requirement.

A pavilion for different users

The ground and basement levels support a varied public programme. The community hall can host local events and summer activities, while the lower level contains offices, changing areas and equipment storage.

The building, both patios, the parking area and the route towards the docks are universally accessible. As a result, the project extends access to the shoreline beyond experienced boaters and creates facilities that can be used by people of different ages and levels of mobility.

The circulation also establishes a direct sequence from the park to the building and onward to the water. Interior and exterior spaces therefore operate as parts of a continuous public landscape rather than as separate zones.

 

 

Roof as environmental infrastructure

The distinctive roof is also central to the building’s environmental performance. Its deep southwest overhang blocks direct summer sunlight and limits overheating. During winter, when the sun is lower, solar radiation can enter the interior and contribute to passive heat gain.

A large skylight introduces diffused daylight into the community hall and supports natural ventilation. A white roofing membrane reflects solar radiation, further reducing heat absorption during the warmer months.

Part of the rainwater collected from the roof is redirected towards planted filtration areas within the landscape. This strategy retains water on the site and connects the building’s drainage system with the outdoor design.

Reclaimed ash and natural light

Ash wood recovered from trees removed as part of measures against an invasive beetle was reused for the interior finishes and exterior soffits. The material introduces warmth beneath the angular roof and creates continuity between the enclosed rooms and sheltered terraces.

Inside, the timber ceiling and extensive glazing balance the more solid base of the building. Changing daylight reveals the folded roof geometry, while uninterrupted views of the lake give the relatively compact pavilion a broader spatial character.

Through this combination of public access, climatic response and landscape integration, the Baie-de-Valois Nautical Centre operates as both community infrastructure and a new point of contact with Montreal Island’s shoreline.

A Cut in the Landscape

The architectural proposal for a winery in Aidipsos, Evia, begins with the question of how a building of substantial scale can become part of the landscape. Given the area required for the production facilities, the winery is embedded into the hillside, absorbed by the terrain and incorporated into the vineyard, acquiring an intentionally chthonic character.

The underground solution serves more than a compositional purpose. The stable temperatures and controlled humidity of the subsoil create conditions suited to the maturation and aging of wine, allowing the building’s relationship with the earth to become part of the production process itself.

 

 

One line and one circle

At ground level, the architectural intervention is reduced to two traces: a line and a circle.

The linear production building is concealed behind the sloping wall of its only visible elevation. The circle, by contrast, forms a central open-air plaza overlooking the vineyard. Conceived as a crater, it interrupts the repetitive parallel lines of cultivation and becomes the principal point of reference within the composition.

While the building follows the rhythmic furrows of the cultivated terrain, the circle acts as a precise geometric incision. Its archetypal form introduces a deliberate interruption into the continuity of the vineyard, establishing a dialogue between architecture and landscape.

Descending into the winemaking process

The visitor’s journey begins among the rows of vines. Guided by the geometric alignment of the plants, a subtle cut in the landscape gradually reveals the presence of the building as an underground refuge.

The elongated entrance becomes an interior route that follows the course of wine production. Beyond the reception area, a large circular staircase descends to the winery’s main level, where the visitor moves between the barrels of the shadowy aging hall, the production areas, the transparent fermentation room with its tall stainless-steel tanks, and the bottling and storage spaces.

The coolness of the earth, the humidity, the silence and the scent of must intensify the experience of the descent. Architecture and production are encountered simultaneously, allowing the route through the building to become a progressive introduction to the making of wine.

 

 

From darkness back to light

The journey continues into an almost mystical tasting room. A vaulted ceiling slab, inclined walls and indirect natural light create a cave-like retreat, isolated from the surrounding sounds. Gravel underfoot becomes the only interruption, echoing with every step.

The sequence reaches its climax at the opening of the circular crater. Here, the visitor encounters daylight again and the view returns to the vineyard—the origin of the wine and the landscape from which the building itself emerges.

The circular plaza becomes a place of pause and contemplation, completing a journey of descent into the earth and re-emergence into the light. In this way, the architectural experience mirrors the transformative process of winemaking itself.

 

Originally published in ek magazine 299 | July–August 2025.

In Chios, the proposal Fluid Fields of Knowledge by Local Local reimagines the neoclassical building of the Karradeios School as part of an expanded public and academic environment for the University of the Aegean. The project combines restoration and new construction, treating the historic building not as a static monument, but as an active participant in the everyday life of the campus.

The design is based on the idea of a continuous field of knowledge, memory and collectivity. The metaphor of “communicating vessels” becomes a spatial strategy: old and new, interior and garden, formal teaching and informal exchange are connected through movement, visibility and shared use.

 

 

Old and new as one system

The proposal treats the neoclassical building as an example of the Chian urban residence, with influences from Smyrna. Its restoration follows the principles of integrated conservation, preserving its historical identity while giving it a renewed public role within the university.

The new extension is conceived as a continuation of this framework. It does not imitate the historic building literally. Instead, it reinterprets its geometry, proportions and spatial relationships in a more abstract way.

A key reference is the nine-square system of the old building’s plan. This becomes a compositional tool for the extension, where the geometry is expanded and rotated to generate new relationships. Verandas and semi-outdoor spaces also return in a contemporary form, creating continuity without direct repetition.

A connected academic environment

The two buildings are linked physically and functionally. An internal ramp, protected by a continuous glass screen, connects them, while a covered bridge joins the buildings at first-floor level.

This creates a clear operational continuity. The student dining hall in the new building can extend towards the community space on the ground floor of the neoclassical building. Meanwhile, offices on the upper levels are connected through the existing terrace and its extension.

Below ground, the two buildings form a unified core of services and auxiliary spaces. As a result, the complex operates as one system rather than as two separate buildings placed side by side.

 

 

Material memory

The material strategy also supports the dialogue between old and new. The neoclassical building is restored with respect for its existing elements, including wooden panelling, murals and the fireplace.

In the extension, the main façade is clad in locally produced ceramic tiles. This choice refers to the tradition of structural ceramics in Chios without copying historical forms.

The floor of the new building is proposed as a mosaic made with aggregates and ceramic fragments from demolished elements on the site and from the old building. In this way, material from the past is incorporated into the new construction, giving physical form to the idea of memory as something that continues to circulate.

The garden as connective tissue

The outdoor space plays a central role in the proposal. It is designed as the connective tissue of the complex, linking all buildings through paths and universally accessible ramps.

The garden also shaped the massing of the new extension. By developing vertically, the proposal limits its footprint and preserves as much greenery as possible.

Existing water elements—the well, the historic cistern and the stream—are reactivated as a triple water trace. Together, they improve the microclimate and bring the memory of the site back into daily use.

Planting is organized with bioclimatic goals, providing shade, supporting natural ventilation and using evapotranspiration to improve comfort. Existing trees, including the araucaria that offers natural shade, become active elements of the design.

 

A porous field of learning

Large openings, especially on the south façade of the new building, maintain visual continuity between the extension, the restored building and the garden. The amphitheatre on the top floor opens views towards the neoclassical building, the Michaleio building and the wider campus.

Learning is therefore not limited to enclosed classrooms or offices. It extends into corridors, passages, terraces and outdoor areas, encouraging chance encounters and informal exchange.

Fluid Fields of Knowledge proposes architecture as a framework for continuity and renewal. Through restoration, extension, garden design and material reuse, the project turns the Karradeios School into a porous civic and academic environment where the memory of the place becomes part of contemporary university life.

Fallen Tower by Kipseli Architects is a vacation home in Messinian Mani. Its design reinterprets the region’s fortified stone towers, which traditionally developed vertically as structures of defence and isolation.

Instead of reproducing this familiar form, the project turns it on its side. The tower becomes an elongated horizontal volume that organizes everyday life and strengthens the residence’s relationship with the landscape.

 

 

A tower laid across the site

The principal volume contains the living room, kitchen and dining area in a continuous linear sequence. The entrance is positioned at one end of this shared space. From there, movement through the house culminates in a semi-outdoor area that frames the sea.

This extended route gives the building a clear internal direction. At the same time, it transforms the traditional tower from an enclosed vertical structure into an open framework for collective life.

The horizontal form retains a sense of monumentality. However, its meaning changes. Rather than asserting separation from the landscape, the volume stretches across the site and establishes a direct connection between the interior, the courtyard and the distant horizon.

 

 

Private spaces as separate fragments

Bedrooms, bathrooms and storage areas project from the principal spine as smaller spatial fragments. Their divergent arrangement loosens the strict geometry of the main volume and creates a more varied relationship with the terrain.

The gaps between these private wings shape a protected outdoor core. This west-facing internal courtyard acts as a shared open-air room, enclosed by the residence but visually connected with the wider landscape.

The ground- and first-floor plans published with the original presentation clarify this organization. The long communal spine defines one side of the composition, while the smaller volumes unfold around the courtyard and respond independently to the site.

 

 

Continuity between inside and outside

The photographic sequence reveals a composition of stone surfaces, lighter rendered volumes and dark metal pergolas. The main stone element gives the residence a substantial presence, while the projecting wings and sheltered outdoor spaces divide its overall mass.

Large openings connect the living areas with the terraces, pool and sea view. Inside, the linear kitchen reinforces the direction of the main volume. Meanwhile, the living room opens simultaneously towards the water and the semi-outdoor space at its far end.

The bedrooms maintain a more contained character. Nevertheless, carefully placed openings preserve their relationship with the landscape and allow natural light to enter the private areas.

Through this shift from verticality to horizontality, the regional tower is redefined as a structure of connection. It no longer separates its occupants from their surroundings. Instead, it brings together shared and private spaces around an open sequence of movement, landscape and outdoor life.

 

The project was first published in print in Maison de Campagne 2025, an annual edition by ek Architectural Publications.

Located on a rocky hillside in Corfu, the summer residence was designed by Tony Wynbourne, Georgios Apostolopoulos and Makis Gisdakis. Organized along an east–west axis, the house opens towards uninterrupted 180-degree views of the sea and the surrounding landscape.

The architectural composition follows the terrain and incorporates existing natural elements into the experience of the house. A preserved olive tree occupies a central position, while exposed rock remains visible within the lower level. Local stone and large glazed openings establish a balance between solidity and openness.

 

 

Following the natural terrain

The residence is distributed across a ground floor, lower ground floor and mezzanine. This arrangement allows the building to respond to the changing levels of the hillside while maintaining a close relationship with the exterior.

On the ground floor, the plan is divided into two main zones. The principal bedroom occupies the western side, while the kitchen, living room and dining area are placed to the east. Large openings connect these spaces with the terraces and frame the view towards the sea.

The lower ground floor contains four additional bedrooms with private bathrooms and a small kitchenette. At the rear, the natural rock is incorporated into a quiet, cave-like retreat. Rather than concealing the terrain, the design brings its rough material character directly into the interior.

The repeated orientation towards the view creates a common spatial direction throughout the house. At the same time, the distribution across three levels allows the different sleeping and living areas to retain a degree of independence.

Two pools at different levels

Two swimming pools are integrated into separate parts of the hillside. On the upper level, a heated pool extends directly from the principal bedroom. Set beside the natural rock, it forms a more private water surface within the landscape.

The main pool occupies a lower terrace. Its long, calm surface aligns visually with the distant horizon, strengthening the connection between the residence and the sea.

The different position and scale of the two pools give each one a distinct role. The upper pool belongs to the more private part of the house, while the lower pool forms part of the shared outdoor spaces.

 

 

Local stone and restrained interiors

The exterior is clad in locally sourced stone, shaped by hand by local craftspeople. Its irregular surface connects the architecture with the rocky hillside and recalls the material character of Corfu’s traditional buildings.

Large windows and carefully resolved details introduce a contemporary contrast to the weight and texture of the stone. The relationship between solid walls and glazed openings also allows the landscape to remain visible throughout the interior.

Inside, the design is deliberately understated. Neutral materials, minimal lines and discreet joinery create a quiet setting for the views. The interiors do not compete with the surrounding landscape. Instead, they direct attention towards the sea, the natural rock and the changing daylight.

 

The project was first published in print in ek magazine 298 | June 2025, the monthly issue by ek Architectural Publications.

A low-rise composition of fragmented volumes and atriums is arranged around mature olive trees on Corfu’s western coast.

Casa Ruina is a 477m² residence in Kortiraki, on the western coast of Corfu. Designed by Thetacon, it develops as a low, fragmented composition among mature olive trees. The existing vegetation, the sloping terrain and the presence of a ruin informed a design that combines contemporary spatial organization with references to Corfiot building traditions.

 

 

Architecture among the olive trees

The height of the residence is deliberately restrained, allowing the vertical presence of the olive trees to remain dominant. Instead of forming a single compact volume, the building is divided according to use. This strategy preserves the largest trees and introduces a series of open spaces between the enclosed rooms.

The main residence occupies a single level despite the changing topography. Its entrance is approached through a landscaped atrium, which acts as the first threshold between the olive grove and the interior. The kitchen is placed on one side and the living and dining areas on the other. Meanwhile, the principal bedrooms are arranged at the far end.

Atriums as spatial structure

Atriums connect the separate volumes and establish a gradual transition from shared to private areas. They also create visual links across the residence, extending sightlines from one room to another and towards the surrounding landscape. As a result, the fragmented plan retains a sense of continuity and openness.

The steeper part of the site accommodates a subterranean guesthouse. Internal vertical circulation leads to the additional bedrooms and utility spaces below. This arrangement uses the natural slope without increasing the apparent height of the main composition.

At a lower level, a linear swimming pool follows the direction of the terrain. Its elongated form reinforces the continuity between the architecture, the descending landscape and the distant sea.

 

 

Materials with local references

The material palette supports the project’s integration into its setting. Light-toned stone provides the dominant earthy surface, while timber pergolas with wicker elements filter the sunlight. Corfiot brick adds a further local reference.

Together, these materials create a restrained balance between contemporary construction and the island’s architectural identity.

On a steep, rocky 4,070 m² plot overlooking Kalathas beach in Crete, the vacation house by iN2 Architects is conceived as a partially embedded residence closely integrated into the terrain. Designed for ten people, the house combines generous shared spaces with clearly separated areas of privacy.

The building occupies one of two natural plateaus on the slope, where the incline is gentler. Its long, single-level plan follows both the geometry of the site and the view towards the sea. Meanwhile, the existing vegetation was preserved wherever possible, including a prominent tamarisk tree at the entrance.

Rather than reshaping the landscape around the house, the design uses the existing features of the site to organize access, movement and orientation.

 

 

Entering through the rock

The approach begins at an existing cut in the mountain. From there, a narrow opening leads into a long, uncovered passage designed as a light well.

This route delays the first full encounter with the sea. At its end, the entrance hall divides the residence into two principal zones: communal living spaces to the east and bedrooms to the west.

From this central point, the view suddenly opens towards the islet of Kalathas. Folding glazing further dissolves the boundary between interior and exterior, turning arrival into a gradual transition from rock and enclosure towards light and horizon.

A linear plan facing the sea

The eastern side contains the living room, dining area and kitchen within one continuous space. A 14 m sliding glass façade opens the entire communal zone towards the terrace and the panoramic view.

As a result, the living area becomes the social heart of the residence. Its open plan supports shared life, while the uninterrupted relationship with the exterior gives the sea a constant presence.

The western wing contains five bedrooms with en-suite bathrooms. Their arrangement follows a rhythmic sequence of solid and open elements. Vertical screens provide privacy while allowing daylight to enter and framing controlled views towards the landscape.

The single-level organization also provides clear circulation and full accessibility. Underground spaces accommodate the necessary auxiliary functions, keeping the principal floor focused on daily life and the relationship with the sea.

 

 

Concrete as structure and background

Exposed concrete is the main material and expressive element of the house. Its natural colour is close to that of the rocky terrain, reducing the visual contrast between building and mountain.

Inside, the same material creates a neutral backdrop for the artworks of Netherlands-based artist Daniella Rubinovitz. The house therefore operates simultaneously as a domestic setting and as a restrained environment for displaying art.

Polished cement flooring continues the muted material language. Timber and metal elements add warmth and contrast, while the direct expression of the construction maintains the overall clarity of the interior.

Material continuity also strengthens the relationship between the building and the site. Rock fragments removed during excavation were returned to the surrounding landscape, reducing the distinction between the constructed and existing ground.

 

 

Light, shade and the open horizon

Large openings bring diffuse daylight deep into the residence. At the same time, a pergola covered with wicker filters the intense sun and extends the living areas outdoors.

The architecture is therefore shaped by a series of contrasts: the narrow entrance and the open horizon, the heavy concrete structure and the filtered light, the communal living area and the more protected bedrooms.

These relationships allow the house to remain visually restrained despite its size. The planted roof, linear form and earthy material palette reduce its presence on the slope, while the main façade opens almost completely towards the sea.

The house is conceived as a quiet architectural framework for the landscape and the art it contains. Through its embedded form, carefully staged entrance and long open façade, the residence brings the changing light, rocky terrain and horizon into everyday life.

 

The project was first published in print in Maison de Campagne 2025, an annual edition by ek Architectural Publications.

Keras Cliff House by Tzagkarakis + Associates is located outside Agia Galini in Rethymno, southern Crete. The residence occupies a natural plateau between a steep cliff and the surrounding mountains, with uninterrupted views across the southern Cretan Sea towards the uninhabited Paximadia islets.

Its composition draws on the “horns of consecration,” a recurring symbol of Minoan Crete. Rather than reproducing the motif as ornament, the architects use its geometry as a formal tool. Two curved wings follow the morphology of the site and open the house towards the sea.

 

 

A protected entrance and a sudden view

The entrance is positioned on the northern side of the residence. A floating concrete slab extends above a low wall, forming a sheltered threshold and introducing the project’s underlying geometric reference.

A continuous wall of local stone defines the northern boundary. Narrow vertical openings interrupt its otherwise solid surface, providing privacy while allowing controlled glimpses of the landscape.

This enclosed approach delays the principal view. Once inside, the stone wall gives way to a large opening towards the sea and Paximadia. The transition from the protected entrance to the open southern elevation establishes a gradual sequence of concealment and revelation.

Two curved residential wings

The house is divided into two main volumes. The western wing contains the interior living areas, which connect directly with the covered terraces and outdoor spaces. Wide openings allow the kitchen, dining room and sitting areas to operate as part of a continuous zone facing the sea.

The eastern wing accommodates four en-suite bedrooms arranged along an elongated corridor. At its far end, a small lounge frames a focused view of the Paximadia islets and provides a quieter destination away from the shared spaces.

Where the two wings meet, a central skylight introduces daylight from above. The space beneath it recalls the internal courtyard of traditional Cretan houses and acts as an orientation point from which the different parts of the residence become visible.

The ground-floor plan and cross-section published with the project clarify how the curved geometry follows the contours of the plateau. They also show the close relationship between the interior rooms, covered outdoor areas and changing levels of the landscape.

 

 

Stone, concrete and timber

The material palette responds to the raw character of southern Crete. Load-bearing walls of local stone form substantial boundaries, while exposed reinforced concrete extends across both enclosed and outdoor areas.

Concrete slabs continue beyond the glazed façades to create deep overhangs, pergolas and planted recesses. These elements provide shade and reinforce the visual continuity between the interior and the terraces.

Timber introduces a warmer and more precisely crafted layer. Custom sliding shutters protect the bedrooms and filter sunlight through their horizontal openings. The repeated use of stone, concrete and wood across interior and exterior surfaces gives the house a consistent material identity.

Nearly all construction work was undertaken by local craftspeople and crews. Their contribution is particularly visible in the stonework, the board-marked concrete and the purpose-made timber elements.

 

The project was first published in print in Maison de Campagne 2025, an annual edition by ek Architectural Publications.

At Somanou, in Koufonissia, two single-level vacation homes by GFRA Architecture unfold across a landscape with uninterrupted views of the Aegean and a nearby traditional Cycladic settlement. The principal design strategy was to organize the programme in close contact with the landscape without altering the natural topography of the site. Instead of concentrating the functions within large continuous forms, the complex is broken down into smaller volumes. Protected courtyards and semi-outdoor spaces emerge between them, bringing the scale and intimacy of a Cycladic neighbourhood into a contemporary residential setting.

 

 

A small settlement within the landscape

Access is provided from the eastern side of the property, where a shared parking area serves both residences. From there, two separate paths lead to the houses, reinforcing their functional independence from the outset.

Each residence is entered through a low, discreet volume that acts as a distribution corridor between the principal and auxiliary spaces. The open-plan living, dining and kitchen area occupies the main façade and projects slightly beyond the other volumes, establishing its central role within the composition.

The primary bedrooms are also positioned towards the front, taking advantage of the views across the Aegean. Between the principal volumes, a private courtyard is created for each residence, forming a protected centre of calm and privacy.

Additional bedrooms are placed towards the rear, where their more secluded position is reinforced by independent access to small sheltered courtyards. The spatial organization therefore alternates between open views and protected outdoor rooms rather than treating the landscape as a single uninterrupted panorama.

Courtyards between the volumes

The fragmentation of the complex allows the spaces between the buildings to become as important as the interiors themselves. Courtyards, pathways and shaded thresholds regulate movement through the project, while the transition between shared and private areas takes place gradually.

The arrangement draws on the spatial logic of Cycladic settlements without directly reproducing their forms. The experience is based on a sequence of separate volumes, narrow passages and protected places where the architecture offers shelter from the sun and wind.

 

 

Shared and private outdoor life

The principal outdoor areas are positioned along the front of the residences, facing the sea. Each house is provided with a pool, a hydrotherapy area and generous outdoor sitting spaces.

At the same time, a shared area with an outdoor dining table and bbq creates a place for gathering between the otherwise independent residences. The project balances these communal uses with a series of more secluded courtyards and sitting areas associated with individual rooms.

Outdoor life is therefore organized through different degrees of privacy. Open areas directed towards the Aegean coexist with enclosed courtyards, shaded patios and protected spaces between the volumes.

Materials rooted in the Cyclades

The landscape design follows the same principle of restrained integration. Mediterranean species are introduced through limited interventions that enrich the existing vegetation, while local rocks are retained as active elements of the composition.

The façades are finished in light earthy tones drawn from the natural palette of the Cyclades. Wood, stone, marble and cane establish a tactile material language that links the new architecture with the island landscape.

Rather than relying on the conventional white image of Cycladic architecture, the project uses colour, texture and natural materials to establish a quieter relationship with the terrain. Stone walls and planted areas extend the buildings into the site, while cane pergolas filter the strong sunlight and create changing patterns of shadow.

At Somanou, the two vacation homes and the converted structure form a small architectural ensemble in which buildings and outdoor spaces are closely interwoven. Through the fragmentation of the programme, the creation of protected courtyards and the restrained use of natural materials, the project interprets the scale of a Cycladic settlement while maintaining the independence of each residence.

 

Originally published in Maison de Campagne 2025, an annual edition by ek Architectural Publications.

Somanou by GFRA Architecture is featured on the cover.

At Minos Palace Resort in Crete, spatial flow, controlled sensory transitions and a close relationship with nature shape an environment dedicated to personalised wellbeing.

 

 

Νao Longevity Hub is located at Minos Palace Resort in Agios Nikolaos, Crete. Designed by Stones & Walls, the project explores how interior design can contribute to a broader approach to wellbeing and longevity.

Movement through space, contact with the natural landscape, lighting, materiality and atmosphere are treated as interconnected elements. The interior does not simply provide a setting for treatments and assessments. Instead, it becomes an active part of the visitor’s gradual transition towards a calmer rhythm.

Flow as a spatial principle

The name Nao derives from the ancient Greek verb nao, meaning “to flow,” and recalls the principle of panta rhei: everything flows. This concept informs the organization of the interior and the continuous passage from one functional zone to another.

The visitor’s experience begins before arrival through a personalised assessment, which establishes the basis of the programme that follows. Once inside Nao, the succession of spaces, the relationship with the landscape and the gradual reduction of sensory stimuli create a process of decompression.

The entire programme is not revealed from a single point. Instead, it unfolds through an ordered sequence of thresholds. Variations in light, enclosure, texture and atmosphere mark the transition from one activity to the next.

Circulation therefore becomes more than a functional link between rooms. It forms part of the overall wellness experience and prepares visitors for a different perception of time.

 

Nature and sensory restraint

The design responds to the understanding that the physical environment can affect both mental and bodily states. Natural light, tactile surfaces and visual contact with the exterior contribute to a measured and progressively quieter spatial experience.

Rather than separating the different functions through abrupt boundaries, Stones & Walls establish continuity through a shared material and atmospheric language. Spaces for assessment, movement, treatment and relaxation maintain distinct identities while remaining part of the same route.

The natural landscape serves as more than a framed view. Its colours, rhythms and sense of openness inform the restrained character of the interior. In this way, the project introduces contact with nature without relying on literal decorative representations.

Five interconnected pillars

The spatial design operates alongside a personalised methodology structured around five principal pillars: Nutrition, Sleep, Movement, Self-Mastery, and Connection & Purpose.

Diagnostic tools and individual programmes establish a personal route for each visitor. The interior supports this process through spaces with different degrees of activity, privacy and sensory intensity.

More active or technologically supported functions are balanced by quieter environments dedicated to rest and contemplation. The transitions among them are designed to feel gradual, preserving the principle of continuous flow.

Architecture and methodology therefore have complementary roles. Assessment defines the individual programme, while the physical environment gives this programme a clear sequence and atmosphere.

 

A changing understanding of luxury

Nao reflects a broader shift in contemporary hospitality and wellness design. Luxury is no longer expressed only through material refinement or visual abundance. It is increasingly associated with time, privacy, personalised attention and the quality of the surrounding environment.

Within this context, the project brings together interior design, science and nature as parts of a single experience. The objective is not simply to create a visually controlled setting, but to establish an environment that supports a more balanced everyday rhythm.

The architectural contribution lies in translating the abstract concept of flow into a spatial experience. Arrival, evaluation, movement, treatment and rest become successive stages of a continuous route.

 

The project was first presented in print in ek magazine 302 | November 2025, a monthly issue by ek Architectural Publications.

On the southwestern coast of Mykonos, En Kyanó by Dimitris Sakellariou and Mihalis Seitanidis is shaped by the deep blue of the Aegean and a continuous relationship between architecture and landscape. Its name refers to the saturated colour of the sea and sky, which forms an ever-changing backdrop to the residence.

The architectural composition seeks continuity between interior and exterior through a sequence of interconnected spaces. Rather than revealing itself at once, the house is experienced gradually, through transitions between different levels, shaded and open areas, planted surfaces and mineral ground.

A two-level composition

The residence is organized across two levels with distinct degrees of openness and privacy. The upper level contains the principal living, dining and cooking areas, both indoors and outdoors, together with two primary bedrooms.

The lower level accommodates four cave-like suites, a gym and the necessary service areas, connected by a separate circulation corridor. This arrangement integrates the more private functions into the terrain while allowing communal life to occupy the more open upper level.

The resulting sequence establishes continuous transitions between above and below, inside and outside, covered and open-air spaces. Planting and hard surfaces further articulate the movement through the property, allowing the composition to be discovered in stages.

 

 

The pergola as common ground

An expansive but visually lightweight pergola extends in front of the principal living spaces, connecting the two building volumes along the length of the infinity pool.

This intervention transforms the courtyard into the central space of daily life. Protected from the intense Mykonian sun, it accommodates eating, relaxation and social gatherings while maintaining an uninterrupted relationship with the horizon.

The pool reinforces the longitudinal organization of the residence and extends the architecture towards the Aegean. At the same time, smaller private courtyards attached to the bedrooms provide more secluded outdoor spaces.

The project therefore balances two parallel conditions: a central area designed for communal life and a series of protected places for retreat.

Contemporary living and Cycladic references

The design brings a contemporary spatial language into dialogue with the architectural character of the island. Instead of reproducing vernacular forms directly, it draws on their principles through simple volumes, protected outdoor areas and a restrained material palette.

The interior design collaboration between Lambs and Lions, StudioMacBride and Annabell Kutucu develops the same approach through spaces intended to support both gathering and privacy.

Local craftspeople contributed to a series of bespoke elements, allowing traditional knowledge and contemporary construction to coexist within the project. The result is a form of restrained modernity grounded in the tactile character of the place.

 

 

Natural materials and the beauty of imperfection

Natural materials reinforce the relationship between the residence and its setting. Lime plaster is placed alongside the local stone of the building volumes, while timber and sandblasted travertine introduce further variations in texture.

The palette avoids polished uniformity. Its surfaces are intended to register light, use and time, supporting an approach based on modesty, material simplicity and an appreciation of imperfection.

Through the relationship between its two levels, the large shaded pergola and the sequence of shared and private outdoor spaces, En Kyanó places everyday life in continuous contact with the landscape. The architecture becomes a framework for experiencing the changing light of Mykonos and the expanse of the Aegean.

 

Originally published in MykonosVillas Vol.5, a special edition by ek Architectural Publications.

A series of three-hinged timber frames spans the basketball court, combining structural expression, passive environmental strategies and the reuse of material from the existing gymnasium.

 

 

Kyathos is a proposed 4,000m² indoor basketball arena in Galatsi. Designed by KAAF | Kitriniaris Associates Architecture Firm, the project was directly commissioned by the Cultural and Athletic Organisation of the Municipality of Galatsi as a specialist public building requiring expertise in engineered-timber construction.

The programme includes the principal basketball court and spectator stands, together with an internal perimeter mezzanine. Changing rooms for athletes and referees, sanitary facilities, administrative offices, club offices and supporting spaces complete the complex.

The new arena will replace the existing timber gymnasium on the same site. The older structure has been designated for demolition, mainly because its materials cannot be certified according to current structural standards. However, a substantial part of its timber is intended for reuse as non-load-bearing components in the new building.

 

A concrete podium and timber superstructure

The arena rests on a reinforced-concrete podium containing the functions below the final level of the playing court. This solid base opens towards the adjoining pedestrian route and accommodates the programme that requires direct contact with the ground.

Above the court level, the building is formed primarily from engineered-timber components. The structural system combines glulam, plywood and cross-laminated timber, while steel is introduced selectively at connections and where additional stiffness is required.

The distinction between the concrete base and the timber superstructure gives the building a clear constructional order. It also allows the large-span enclosure to remain relatively lightweight above the more solid lower level.

Ten frames spanning 30 metres

The timber load-bearing structure is arranged around a rectangular grid measuring 45m by 30m, with a regular bay of 5m.

Ten identical statically determinate frames bridge the 30m span of the main arena. Each frame consists of columns and beams working together as a three-hinged arch.

The repeated structural units determine the principal rhythm of the building. Rather than being concealed behind an independent exterior image, the load-bearing system becomes the basis of the architectural composition.

Lightweight waterproof polymer components cover the roof. According to the project description, the material is recyclable, weather-resistant and suitable for printed surface treatments.

 

From the ancient kyathos to the building envelope

The project takes its name from the kyathos, an ancient Greek cup or ladle. Its curved profile provides a conceptual reference for the geometry of the structural shell.

A second reference comes from the cup-shaped inflorescence of Euphorbia, known in Greek as galatsida. The plant’s name establishes a further association with Galatsi, while its botanical form informs the repeated elements of the envelope.

These references are integrated into the structure rather than applied as decorative motifs. Form, construction and environmental performance are conceived as parts of the same architectural system.

 

A shaded and naturally ventilated perimeter

A principal objective of the envelope is to keep the building and its perimeter circulation areas largely under shade. The depth and repetition of the timber elements limit direct solar exposure while allowing daylight to enter the interior.

Open sections of the shell support natural ventilation and passive cooling. At the same time, the structural rhythm creates a gradual transition between Veikou Grove, the sheltered edge of the arena and the main internal volume.

Rainwater from the roof and the surrounding hard surfaces is intended for reuse in landscape irrigation. The landscape design also proposes the reinforcement of the existing Mediterranean vegetation of the grove.

These strategies are presented as design objectives and will need to be evaluated through the project’s detailed technical development.

 

Reusing material from the existing gymnasium

Timber recovered from the existing building will be reused in shutters, wall linings and purpose-made non-structural elements. This approach retains part of the material history of the site without relying on components that can no longer be certified for structural use.

The new load-bearing system is intended to use engineered timber from certified, sustainably managed forests. Approximately 2,000m³ of timber will be required for the proposed construction.

Concrete is concentrated below the court level, while timber spans the principal arena above. Through this combination, Kyathos proposes a public sports building in which structure, environmental response and architectural identity are developed together.

Set on an olive-covered slope overlooking the quiet bay of Ampelaki in Meganisi, Amphitheatro Boutique Hotel by ATENO Architecture Studio transforms two existing stone houses into a small contemporary hotel. The intervention retains the character of the original buildings while introducing new shared spaces, shaded areas and a completely redesigned landscape.

The two independent stone volumes had previously been connected by an irregular corridor. Their interiors were fully reorganized to accommodate six guest rooms alongside the necessary reception, kitchen and storage areas. Rather than erasing the existing structures, the design introduces a series of restrained additions that soften their geometric severity and establish a closer relationship with the surrounding landscape.

 

 

Connecting two existing volumes

A metal canopy in an earthy tone bridges the two stone buildings, creating a sheltered central area with an outdoor kitchen. The new element establishes a shared zone between the existing volumes while remaining visually distinct from the original masonry.

In front of it, the swimming pool becomes the focal point of the courtyard. Nearby, a curved built-in seat unfolds beneath a circular canopy, introducing softer geometries into the composition and counterbalancing the rigid lines of the stone buildings.

These additions establish a new architectural vocabulary between the two existing houses. Metal, plaster and timber are introduced alongside the local stonework, while their muted tones maintain the visual continuity of the ensemble.

Shared spaces and private courtyards

The outdoor areas were redesigned entirely and organized across three levels. At the centre, the main courtyard functions as the shared heart of the hotel, bringing together the pool, outdoor kitchen and shaded sitting areas.

Around it, smaller outdoor spaces serve the ground-floor rooms as private courtyards. The arrangement allows collective life and retreat to coexist within the same composition, offering guests places to gather as well as more secluded areas in direct contact with the landscape.

The relationship between these different levels of privacy is central to the project. The hotel is not organized around a single communal space, but through a gradual transition from shared areas to increasingly private settings.

 

 

A material palette rooted in the landscape

The selection of materials seeks to anchor the intervention within its setting. Earthy colours and subdued tones are applied to the metal surfaces, plaster and timber, complementing the existing stone walls.

The intervention avoids strong contrasts between old and new. Instead, differences in geometry, texture and construction distinguish the contemporary additions while allowing the two original buildings to remain the principal elements of the composition.

The architecture is conceived as a quiet background to the experience of the place. The changing light, views towards the sea and the movement of the surrounding trees remain the dominant features of the hotel.

Through a limited series of additions and landscape interventions, Amphitheatro Boutique Hotel gives new use to the existing structures without diminishing their relationship with the site. Shared courtyards, shaded thresholds and private outdoor rooms transform the two stone houses into a small hospitality complex shaped around the experience of the landscape.

 

Originally published in ek magazine 299 | July–August 2025.

 

1. Korean Football Park in Cheonan | UNS

 

In Cheonan, South Korea, Korean Football Park by UNS creates a new national home for the Korea Football Association. The 450,427 sq.m. campus brings together training, recovery, education, public engagement and institutional identity within a single landscape-led masterplan.

The project includes 11 football fields, an indoor climate-controlled arena, an outdoor stadium, gyms, physical therapy areas, healthcare facilities and athlete accommodation. Athletic performance is treated here as a wider ecosystem, where training, medical support, recovery and mental balance remain closely connected to landscape and public life.

 

2. Telekom Center Athens at OAKA

ek Issue: 293 | December 2024

 

At OAKA, the renovation of PAO BC Arena transforms the indoor basketball stadium into the new home venue of Panathinaikos BC, through an intervention that combines technical upgrading, functional organization and a renewed spectator experience. The project was developed by Decathlon, Markos Vouzounerakis / RICHE, K-Division and Eva Lantzouni / SEED Architects, covering more than 50,000 sq.m.

The first phase included waterproofing, assessment and reinforcement of the roof space frame, hydraulic and electrical upgrades, new circulation areas, food-and-beverage spaces, press facilities and hospitality zones. At the same time, the interactive glass sports floor, new screens, lighting and suites turn the arena into a contemporary sports and entertainment infrastructure, without erasing the identity of the existing shell.

 

 

 

3. Hidden Spa – Water Hope in Vietnam | IDEE Architects

 

In Cam Ranh, Vietnam, Hidden Spa – Water Hope by IDEE Architects is designed as a wellness space emerging from the landscape of coastal sand dunes. Rather than imposing itself on the natural setting, the architecture follows the terrain, creating a calm experience of therapy, water and shade.

At the heart of the composition, a central water courtyard works as both a spatial and environmental device. Reflecting water surfaces, planted islands and shaded walkways create gradual shifts in temperature, humidity and light. Water is therefore not treated as a decorative feature, but as infrastructure for cooling and sensory recovery.

 

 

4. Minthis Spa in Paphos | Woods Bagot

ek Issue: 281 | October 2023

 

In Paphos, Minthis Spa by Woods Bagot is part of a wider hospitality and wellness landscape, where the experience of care gains architectural scale. The project is not limited to a series of treatment rooms; it organizes a relationship between water, light, movement and the calmness of the surrounding landscape.

As a resort spa, it works as a place of distance and restoration, where atmosphere is as important as programme. Materiality, views and the connection with the environment shape a wellness experience based less on the image of luxury and more on duration, physical relaxation and a sense of retreat.

 

 

5. Hekate Fitness Club in Athens | Studio Maneo

 

In Metaxourgeio, Studio Maneo transforms a former warehouse into a 140 sq.m. exercise space with a calm, restrained atmosphere. Instead of the aggressive image of a conventional gym, the project is based on natural materials, diffused light and carefully controlled boundaries.

The architecture connects exercise with a sense of safety and decompression from the city. The gym therefore works not only as infrastructure for physical strength, but also as an everyday space for mental reset.

 

 

6. Sentō Urban Shop & Spa in Athens | PHOS Architects

ek Issue: 299 | July–August 2025

 

In Athens, Sentō Urban Shop & Spa by PHOS Architects combines beauty, care and wellness services with references to Japanese bathing culture. The project forms a sequence of reception, treatment and relaxation spaces, where materiality and light control degrees of visibility and privacy.

The spa experience is based on gentle transitions. Natural materials, fabric filters and carefully designed surfaces create an urban retreat, where care for the body is connected to silence, touch and a sense of distance from the rhythm of the city.

 

 

7. +One More Gym | BIVA Design

 

In Muscat, Oman, + One More Gym by BIVA Design organizes a CrossFit center with a strong industrial identity and a complex wellness programme. Reception, café, two sports halls, locker rooms, steam bath, sauna, swimming pool and Jacuzzi come together in an environment that combines exercise, recovery and social experience.

Lighting plays a decisive role in the atmosphere. Reception areas convey a calmer mood, while the sports halls gain energy through directional lighting. The result is a gym that treats the intensity of training and the process of recovery as parts of the same experience.

 

 

8. Pow Box Fitness Boxing Club in Athens | GJP Design & Construction

ek Issue: 258 | June 2021

 

In Athens, Pow Box Fitness Boxing Club by GJP Design & Construction occupies a neoclassical building, creating a strong contrast between the historic shell and a radically contemporary interior identity. Marble, metal mesh, neon, boxing gloves and theatrical lighting turn the gym into a scenographic environment for exercise.

The different floors organize reception, changing rooms, the boxing ring, a multi-purpose gym and a basement training area with a strong club-like atmosphere. The project shows how architecture can translate the energy of boxing into a complete spatial, visual and kinetic experience.

 

 

9. Molon Labe Gym | ADP Architecture Design Practice

 

In Engomi, Cyprus, Molon Labe Gym by ADP Architecture Design Practice transforms an abandoned industrial building from the 1960s into a contemporary fitness space. The programme includes free-weight areas, equipment zones, an MMA cage, martial arts areas, changing rooms and support functions, while the intervention maintains references to the industrial memory of the shell.

The new façade redefines the gym’s relationship with the street, combining the impression of a solid corten volume with a curtain wall that opens visibility toward the main exercise space. Inside, exposed services, the new metal roof and targeted lighting highlight bodily intensity and use as central elements of the architecture.

 

 

10. Nao Longevity Hub in Minos Palace | Stones & Walls

ek Issue: 302 | November 2025 – The Hotel Issue

 

At Minos Palace Resort in Agios Nikolaos, Crete, Nao Longevity Hub by Stones & Walls explores how interior design can support a broader approach to wellbeing and longevity. Movement through space, contact with the natural landscape, light, materiality and atmosphere are treated as interconnected elements.

The experience is organized around the concept of flow, from personalised assessment to movement, treatment and rest. Rather than being revealed from a single point, the programme unfolds through a sequence of thresholds. Changes in light, enclosure, texture and atmosphere shape a gradual transition towards a calmer rhythm.

 

Against the rugged coastline of southern Crete, Archway Enclosure by Entopos Architects transforms an existing structure into a summer residence with direct access to the sea. The intervention preserves the original footprint of the building while reorganizing the relationship between interior, exterior and landscape.

The 1,800 m² plot remains largely undeveloped, with the historic fortress of Frangokastello forming the principal point of reference in the wider surroundings. This setting informs an architecture shaped by enclosure and exposure: the residence turns selectively towards the sea while drawing on the defensive character of the local built landscape.

Arches between interior and landscape

Within the existing footprint, the former living and kitchen areas were reorganized to create two independent rooms with uninterrupted views towards the open sea.

The transition between inside and outside is articulated through a sequence of arches that become the defining element of the façades. Rather than functioning as an applied motif, the arch regulates movement and frames successive views of the landscape.

This approach is particularly evident where sheltered spaces open towards the coast. The geometry of the openings creates a gradual transition from the more protected interior to the exposed seaside setting.

 

 

References to fortress architecture

The northern side of the residence is deliberately more introverted. Small openings recall the narrow loopholes of defensive structures, while the inclined wall surfaces draw on the Venetian scarpo, the sloping base characteristic of fortifications.

These elements establish a clear contrast between the two principal orientations of the house. To the north, the architecture becomes heavier and more enclosed; towards the south and the sea, it opens through arches, shaded areas and framed views.

A perforated suspended pergola completes the southern façade, filtering the strong sunlight while preserving the visual relationship with the coast.

Auxiliary structures as part of the composition

Existing structures on either side of the main building were incorporated into the overall design.

To the west, a 15 m² space was converted into an independent guest unit with a private bathroom. Two new walls with arched openings increase privacy while creating a gradual connection with the surrounding landscape.

To the east, former sheds associated with an improvised grilling area were transformed into storage and an outdoor kitchen with a barbecue. A waterproof pergola extends over an adjoining shaded sitting area, bringing the different functions together.

The outdoor living space continues along the northern boundary. Here, another arch framed by perforated brick directs the view towards the sea, repeating the project’s principal architectural device at the scale of the landscape.

 

 

Water, planting and the existing terrain

Landscape design forms an integral part of the intervention. At the eastern edge of the property, an existing well was preserved and incorporated into a new water zone containing a swimming pool and hydromassage area.

Low stone walls, rising no higher than 45 cm, follow curved lines through the site and discreetly define more private areas without creating rigid boundaries.

Planting is organized in different heights to strengthen the sense of seclusion and enrich the existing vegetation. Islands of endemic Cretan aromatic plants and herbs further connect the residence with the local landscape.

The material palette responds to the demanding coastal conditions. Marble and local stone are used for the floors, while durable timber forms the frames and pergolas. Together with the arches, stone walls and layered planting, these materials create a residence that draws from the character of the place without directly reproducing traditional forms.

 

Originally published in Maison de Campagne 2025, an annual edition by ek Architectural Publications.

Mold Architects was founded in 2011 by Iliana Kerestetzi, an architect who studied in Athens and New York. Based in Athens and Serifos, the award-winning practice works across the full spectrum of design, extending beyond the architecture of buildings. Regardless of scale or programme, its projects maintain the same investigative approach, seeking clear and precisely targeted responses.

 

S.M.: You belong to a generation of architectural practices that emerged during the financial crisis, maintaining a base in Serifos alongside a second office in Athens. How did you navigate this condition, and how did you use it to your advantage almost a decade later?

I.K.: In 2013, I had the good fortune to build my first project, a vacation home in Serifos. During the years that followed, the proposals we received mainly concerned designs intended for off-plan property sales.

That model ultimately failed to bear fruit, and most of those projects were never built. Nevertheless, during a very difficult period, we were able to practise architecture, evolve and delve more deeply into the subject of our work. We developed a clear direction and a conscious approach to selecting projects at a time when, in reality, there was no luxury of choice.

With patience and optimism, we overcame that obstacle. Much later, we are preparing to see many more of our projects realized.

 

 

S.M.: Designing vacation housing requires architects to reconcile demands for “authenticity” and belonging to a particular “place” with residents’ desire for amenities associated with a different way of life. How do you maintain this balance in your projects?

I.K.: I understand the quotation marks around the word “authenticity,” and I assume you are referring to an architecture that tends to reproduce “traditional” structures, materials and construction techniques. It does so to approach the idea of the old, the pure and the traditional, which is, of course, an established tourism product.

The task, however, is clearly more difficult than uncritical reproduction. We belong to the present, with everything that entails—with increasingly complex needs, but also with constantly evolving tools and means—and we are not nostalgic for the past.

Yet we also belong to the place. Whether considered through its geomorphology or its history, the place is the starting point of our thinking, the subject of our analysis and the reservoir from which we draw our ideas. These are simple and clear ideas, with reason and substance, capable of weaving the thread that connects us with the place, its past, its present and its future.

 

 

S.M.: Having worked on many small-scale projects, how did you approach the transition to large hotel developments? What can be retained, and what is lost from your architectural approach when the scale changes?

I.K.: Our approach to architecture is certainly not affected by the size of a project, although the requirements may differ.

One issue that we clearly do not encounter in a residence is the accommodation of extensive back-of-house infrastructure without disturbing the immediacy of the relationship between the user and the landscape that we seek to establish. It is a machine in constant motion that must operate silently while providing every necessary service.

Another challenge is finding ways to introduce the idea of the small into a larger scale. This may be achieved by minimizing the building footprint. Alternatively, the design can prevent the building’s total volume from being perceived from any of its individual parts.

Once uninterrupted visual contact is removed, the scale immediately diminishes. The architecture consequently becomes more approachable and humane.

 

Read the full interview in ek issue 247 | May 2020.