A 1960s public building in central Athens is converted into a 24-room boutique hotel, with a new planted façade, an open ground floor connected to the city and guestrooms organized around Greek materials and subdued natural tones.

 

The Social Athens Hotel by OOAK Architects transforms a public building dating from the 1960s into a contemporary 24-room boutique hotel. The 1,370m² project is organized over eight levels, combining accommodation with restaurant, reception and fitness functions while establishing a more direct relationship between the building and the surrounding city.

The intervention develops two distinct conditions. At street level, the hotel opens towards public life through its restaurant and the existing arcade. Above, the guestrooms become progressively more private, while the new white façade uses undulating surfaces, planting and changing light to establish a recognizable identity within the urban fabric.

 

A new façade towards the city

The existing building acquires a completely new external identity.

The white façade introduces a sequence of undulating forms whose perception changes according to daylight and shadow. References to classical Greek architecture remain abstract, translated through repetition, depth and the contrast between illuminated and shaded surfaces.

Instead of the projecting balconies typical of Athenian apartment buildings, planting is integrated directly into the façade. Vegetation forms an intermediate layer between the guestrooms and the city, increasing privacy while softening the relationship between the interior and the street.

The elevation consequently acquires depth and variation without relying on a conventional repetition of balconies.

 

Opening the ground floor to the city

At street level, the project deliberately establishes a more public character.

The bar-restaurant is integrated into the ground floor as a meeting point for both hotel guests and city residents. Its programme extends into the existing public arcade, allowing the boundary between interior and exterior to remain visually and functionally porous.

Lighting reinforces this continuity, while the reception retains a separate and more protected entrance. The two functions can therefore coexist on the same level without the restaurant operating simply as an extension of the hotel lobby.

The columns of the arcade are clad in mirror, multiplying reflections from the street and emphasizing the public character of the base of the building.

 

A compact double-height reception

The reception occupies a deliberately compact area while making use of the existing double-height volume.

Mirrored surfaces extend the perceived dimensions of the space, while a more concentrated colour palette distinguishes it from both the exterior and the guestrooms above. Red marble is used on the floor and stair, while a cobalt-blue reception desk becomes the principal colour accent.

The intensity of the materials and colours gives the entrance level a more outward-facing character that responds to the movement and activity of central Athens.

On the accommodation floors, however, the design language changes considerably.

 

A quieter material language in the guestrooms

The six floors of guestrooms and suites contain different room typologies but share a common material approach.

The vivid atmosphere of the ground floor gives way to subdued natural tones and materials sourced from Greece. Stone and textiles introduce characteristic textures, while purpose-designed elements combine more than one function within the rooms.

Marble bed headboards turn an ordinarily decorative component into an architectural surface, while built-in sofas can also function as desks.

This shift in colour and material establishes a clear transition between the extroverted character of the lower levels and the quieter environment of the accommodation areas.

 

From public space to privacy

The hotel programme develops vertically according to different degrees of public and private use.

The ground floor and mezzanine accommodate the bar-restaurant, breakfast area and reception. The six upper levels contain the guestrooms, while the top floor includes a gym with open views towards Lycabettus Hill and central Athens.

OOAK Architects therefore redefine the 1960s building not only through its renovation but primarily through a new relationship with the city. The redesigned façade establishes a new urban presence, the ground floor extends into the arcade, and the accommodation floors create a more protected interior behind the expressive exterior.

 

The project was first published in print in ek277 | May 2023.

 

 

 

 

 

 

 

 

Opposite the Temple of Olympian Zeus and Hadrian’s Arch, a hotel in central Athens uses vertical façade elements, framed balconies, marble, oak and integrated greenery to establish a contemporary dialogue with the city’s classical context.

 

Anthology of Athens by Elastic Architects is located in the historic centre of Athens, in direct visual dialogue with the Temple of Olympian Zeus and Hadrian’s Arch. The design draws on the city’s classical references without reproducing them literally, translating proportion, verticality, materiality and views into a contemporary architectural language.

The concept also takes inspiration from the myth of Deucalion, in which stones thrown upon the earth become human beings. This relationship between matter and transformation becomes a recurring theme throughout the building, from the rhythm of the façade to the tactile treatment of the interiors.

 

A façade structured by proportion

The main elevation is organized through new balconies and a system of vertical elements that give the façade its principal rhythm.

Their spacing follows proportional relationships based on the golden section, establishing a clear grid across the elevation. These elements perform both functional and compositional roles, framing the balconies while controlling the visual relationship between the guestrooms and the surrounding city.

Rather than directly imitating classical columns, the vertical members abstract their linearity and rhythm. The reference to the nearby Temple of Olympian Zeus therefore operates through proportion and repetition rather than ornament.

 

Framing the Athenian landscape

The façade functions as a series of filters between interior space and the urban landscape.

The projecting balconies create depth and shade, while their vertical frames structure views towards the archaeological monuments and the wider city. From the upper levels, these openings become architectural devices for observing rather than simply overlooking Athens.

Light and shadow continuously alter the perception of the elevation. The vertical elements cast changing patterns across the balconies, reinforcing the depth of the façade and giving the building a different appearance throughout the day.

The architecture is therefore shaped not only by its physical form, but also by the changing relationship between material, daylight and view.

 

Classical references through abstraction

The project interprets its historical surroundings through contemporary geometry.

The rhythm of ancient colonnades is translated into slender vertical forms, while the orthogonal organization of the façade provides a controlled framework for the different openings and balconies.

This grid also influences the organization of the interiors, extending the logic of the exterior into the spatial structure of the hotel. The reference remains abstract: the design does not reproduce classical motifs, but reworks principles of proportion, repetition and structural rhythm.

 

A more expressive interior

Inside, the architectural language becomes more tactile and expressive.

Marble, oak, glass and textured plaster create a layered material environment, while integrated planting introduces a contrasting natural element. The interplay between mineral, timber and planted surfaces gives the communal spaces greater depth without departing from the restrained palette established by the architecture.

The use of natural materials connects different areas of the hotel while allowing changes in texture to distinguish individual spaces.

Curved elements appear alongside the more orthogonal geometry of the building, introducing a softer counterpoint within circulation areas and shared interiors.

 

Marble, oak and textured surfaces

Materiality becomes particularly important in the guestrooms and communal areas.

Marble provides the principal mineral surface, while oak introduces warmth and a finer texture. Glass with decorative treatment and fluted plaster add further variation, creating different responses to natural and artificial light.

The colour palette remains controlled, with off-white, beige and earth tones extending across both interior and exterior surfaces. These restrained colours reinforce continuity between materials and allow the architectural elements, vegetation and views to remain visually prominent.

 

Architecture as a filter of views

Anthology of Athens uses its position within the historic centre as a central component of the design.

The façade mediates between the intimacy of the guestrooms and the monumental scale of the surrounding city, while the interiors develop the same concept through changes in material, texture and light.

Elastic Architects translate classical references into proportion and rhythm rather than direct quotation. Vertical elements, framed balconies, marble surfaces and greenery establish a contemporary architectural identity whose relationship with Athens is defined primarily through what it frames, filters and reveals.

 

The project was first published in print in ek302 | November 2025.

The historic Electra Hotel on Ermou Street is comprehensively redesigned around the concept of urban rhythm, introducing four new room typologies, publicly accessible social spaces and a reworked ground-level façade connected directly with the pedestrian life of central Athens.

 

Electra Rhythm Athens by Mutiny Architects is the new incarnation of the historic Electra Hotel Athens at 5 Ermou Street. The project uses the notion of rhythm as the organizing concept for the architectural and interior design, translating the pace, repetition and movement of the city into spatial sequences, material choices and architectural details.

The redesign addresses the hotel as a whole, from guestrooms and shared interiors to the entrance and lower section of the façade. A central objective was to create new room typologies for contemporary travellers while opening parts of the building to the wider public through spaces for coffee, work, exercise and dining.

 

 

Four room typologies

The hotel contains 101 guestrooms, completely redesigned according to four principal types: Nest, Slow, Cozy and Active.

Each typology, together with its variations and suites, responds to different room sizes, patterns of use and requirements of individual guests. Despite these differences, a common architectural vocabulary gives the accommodation a coherent identity.

Timber and marbles associated with the Athenian urban landscape form the principal material palette. Curved forms appear in ceilings, lighting elements and selected architectural details, while repetition provides the most direct spatial expression of the overall concept.

Vertical members, horizontal planes and recurring architectural elements introduce rhythm at different scales within each room.

 

Opening the hotel to the city

Three principal spaces extend the programme beyond conventional hotel functions and are also accessible to the public.

Rebels Brew operates as a curated coffee shop and bar directly facing the Ermou pedestrian street. Collaborative Studios provide spaces for professional meetings and flexible work, while Focal, on the highest accessible level, functions as both the hotel restaurant and an independent bar-restaurant.

This mixture of hospitality and public uses establishes a more porous relationship between the hotel and the surrounding city.

The shared areas are not treated as isolated amenities for hotel guests, but as spaces that participate in the everyday activity of central Athens.

 

 

Reinterpreting the Athenian arcade

At ground level, reception, lounges, a library, kitchen facilities and Rebels Brew are organized in direct relationship with the principal circulation areas.

The redesign of the entrance draws on the Athenian arcade, a characteristic element of the city’s modern urban fabric. Rather than creating a sharply defined threshold, the entrance supports a more fluid transition from the Ermou pedestrian street into the hotel.

The concept of rhythm therefore extends beyond decorative repetition. It becomes part of the movement through the building, connecting the pace of the street with the organization of the internal spaces.

 

Work, exercise and hospitality

The first floor accommodates the Collaborative Studios together with the Electro Studio Gym.

Both programmes introduce uses that move beyond the traditional division between guestrooms and hotel amenities. The workspaces respond to hybrid modes of professional activity, while the gym adds another outward-facing programme within the building.

Guestrooms occupy the second through ninth floors. On the tenth floor, Focal forms the uppermost public destination of the hotel, with three terraces, two of them offering unobstructed views towards the Acropolis.

The programme consequently develops vertically from the most urban and publicly accessible functions at street level towards accommodation and, finally, the rooftop restaurant.

 

 

A new base for the existing façade

The main part of the existing façade, including the openings of the guestrooms facing Ermou Street, was retained.

The lower part, however, was completely redesigned to reinforce its relationship with the pedestrian street. A new olive-green zone extends across the ground and mezzanine levels, visually establishing a base for the composition.

Arches articulate this lower section, while an illuminated entrance canopy projects towards the street. Its geometry deliberately contrasts with the linear direction of the pedestrian route, marking the entrance while introducing a more dynamic element into the existing elevation.

The intervention therefore concentrates the most visible external transformation at the level where the hotel meets the city.

 

Rhythm as an architectural system

Across the guestrooms, shared spaces and façade, rhythm is interpreted through repetition, sequences, curved forms and movement.

Rather than applying the concept as a graphic theme, Mutiny Architects use it to connect different scales of the project: the vertical elements within the rooms, the circulation through communal areas, the reinterpretation of the arcade and the new architectural base facing Ermou Street.

Electra Rhythm Athens consequently transforms an established city hotel while retaining much of its existing urban presence. The new interventions focus on the relationship between hospitality and public life, extending the internal programme towards the rhythms of contemporary Athens.

 

The project was first published in print in ek302 | November 2025, in the CITY section.

A listed former sanatorium in the fir forests of Arcadia is restored as a 32-room hotel, preserving its monumental stone structure while introducing local materials, contemporary hospitality spaces and a restrained new layer of timber, terrazzo and stone.

Manna Arcadia in Vytina, with architectural and interior design by K-Studio and technical design by Monogon, revives a former sanatorium built in 1929 on Mount Mainalo. Set at an altitude of approximately 1,200m within the Arcadian forest, the listed building has been transformed into a 32-room hotel while retaining the architectural character and material traces of its previous life.

Originally conceived as a tuberculosis sanatorium, the building was designed around the belief in the restorative qualities of fresh air, isolation and the mountain landscape. Following its abandonment, parts of the structure and its materials were removed or repurposed elsewhere. The contemporary intervention therefore begins with the preservation and reconstruction of a building whose original fabric had survived unevenly over several decades.

 

Restoring the existing building

The design retains as much of the original construction as possible and treats the surviving material fabric as the basis for the new architecture.

Rather than returning the building to an idealized historical condition, the intervention preserves its visible age and introduces new surfaces that remain compatible with the existing structure. Natural renders, stone, timber and terrazzo establish a restrained palette whose textures reinforce the solid and austere character of the former sanatorium.

Where the original terrazzo floors were severely damaged, they were replaced with new mixtures using locally sourced gravel. Stone is introduced at ground level in the dining and spa areas, as well as at thresholds and sills, while chestnut timber adds a warmer layer to the interior.

The approach establishes continuity through material character rather than exact reproduction.

 

Extending the original programme

The restoration also reactivates parts of the original building that had been lost or left incomplete.

A new volume occupies the footprint of a ruined auxiliary structure, while the reconstruction of the roof creates an additional attic level. These interventions extend the usable area without introducing an independent architectural language detached from the historic building.

Across approximately 2,982m², the programme includes 32 guestrooms, reception and lounge areas, a bar, restaurant, spa, gym and supporting hotel functions.

The arrangement preserves the scale of the main communal rooms while allowing smaller and more secluded spaces to coexist throughout the building.

A timber grid organizes the guestrooms

Within the guestrooms, a timber framework establishes the principal system of spatial organization.

The brushed timber grid defines areas for sleeping, bathing and dressing, while its geometry is repeated in the patterns of the terrazzo and marble floors. Furniture and fixed elements are therefore integrated within an ordered system rather than introduced as independent objects.

The material palette remains deliberately limited. Timber provides warmth against the more mineral surfaces of stone and terrazzo, while the restrained colours maintain continuity with the architecture of the existing building.

The result avoids the conventional repetition of a standardized hotel room and instead emphasizes the relationship between structure, material and use.

 

Existing traces and new materials

The project places particular emphasis on the way new materials age alongside the original construction.

The surviving building is not treated as a pristine historical object. Irregularities, traces of wear and variations in texture remain legible, while new finishes are selected for their ability to acquire their own patina over time.

This approach is especially evident in the relationship between rougher mineral surfaces and carefully detailed timber elements. The new interventions remain identifiable without becoming visually detached from the original shell.

Metal-framed openings introduce another precise layer within the heavier masonry envelope, allowing daylight and views towards the forest to remain central to the experience of the interior.

Shared spaces and retreat

The former sanatorium provides an unusual framework for a contemporary hospitality programme.

Large communal rooms support gathering and social activity, while more secluded areas retain the sense of retreat associated with the building’s original use. The hotel therefore combines collective spaces with smaller settings for privacy and quiet.

The restaurant and lounge occupy some of the larger interiors, while the spa develops the project’s relationship with wellbeing through more enclosed, materially dense spaces.

This alternation between gathering and retreat extends the logic of the existing building rather than imposing an entirely new model of occupation.

 

Architecture within the Arcadian landscape

The surrounding forest remains fundamental to the project.

Instead of competing with the scale of the landscape, the intervention concentrates on restoring the existing structure and strengthening its relationship with the terrain. Natural materials, views towards the forest and a landscape design integrated with the mountain setting reinforce this connection.

Manna Arcadia consequently operates as an adaptive reuse project in which the previous identity of the sanatorium is neither erased nor reconstructed as a historical image. K-Studio and Monogon retain the building’s structural and material presence while adapting it to contemporary hospitality through measured additions and a limited architectural vocabulary.

 

The project was first published in print in ek282 | November 2023, in the RESORT section

Four former tannery buildings on the waterfront of Chania are converted into a 20-suite hotel, preserving their industrial character while introducing a restrained material language of stone, timber, metal and glass.

The Tanneries Hotel & Spa in Chania by Konstantina Smponia – Architecture & Design occupies four adjoining former industrial buildings in the historic Tabakaria district. Completed in 2021, the 2,500m² project transforms the heritage complex into a contemporary hotel while retaining the material and volumetric character of the original tanneries.

Rather than erasing the traces of the buildings’ former use, the intervention works with their existing masonry, proportions and relationship with the waterfront. The four volumes are read as a unified composition, while their different heights respond to the slope of the site and its direct connection with the sea.

 

Four industrial buildings on the waterfront

The complex belongs to Tabakaria, the former tannery district east of the centre of Chania, where industrial buildings developed directly along the shoreline.

The project retains the distinctive character of the four existing structures rather than replacing them with a new hotel volume. The south side remains relatively low and discreet towards the urban fabric, while the northern elevation develops over three levels as the site descends towards the sea.

This difference in section reinforces the dual condition of the project: more contained towards the city and increasingly open towards the waterfront.

The relationship between the two sides becomes part of the arrival sequence. From the urban entrance, large openings establish visual contact with the sea, connecting the street-facing side of the former industrial complex with the coastal landscape beyond.

 

Preserving an industrial character

The renovation is based on retaining key elements of the original buildings while adapting them to contemporary hospitality use.

The industrial identity remains visible through the existing façades, roof tiles and structural surfaces, together with the continued presence of stone, concrete, metal and timber. The intervention avoids introducing a decorative historical reconstruction and instead uses a restrained contemporary language around the surviving fabric.

The material palette responds directly to the character of the former tanneries. Natural stone provides weight and texture, timber introduces warmth, while metal and glass establish a more precise contemporary layer.

A limited range of beige, black and grey tones reinforces the continuity between the different areas and allows the roughness of the existing construction to remain clearly perceptible.

 

Twenty suites within the existing volumes

The four buildings accommodate 20 suites, organized within the dimensions and irregularities of the historic structures.

Rather than imposing a single repeated hotel-room module, the interiors respond to the different proportions of the existing volumes. The suites remain visually restrained, with natural materials and a predominantly monochrome palette allowing the relationship with the sea to remain central.

Large openings introduce natural light and frame waterfront views, while stone, timber and marble establish continuity between sleeping, living and bathing areas.

The bathrooms use marble extensively, reinforcing the contrast between the more robust industrial fabric and the smoother surfaces introduced for the new hospitality programme.

 

Permeability between city and sea

One of the main spatial qualities of the conversion is the gradual connection between the urban and maritime sides of the complex.

Views towards the water are maintained through large glazed openings, while circulation spaces allow the sea to remain present beyond the interior.

This transparency is repeated in communal areas, where glass and other translucent elements are used to balance openness with privacy. In the spa and fitness areas, glass blocks introduce diffuse light and partial visibility, creating a more protected atmosphere without completely separating these spaces from the rest of the hotel.

The architecture therefore uses different degrees of transparency rather than a strict division between enclosed interiors and the waterfront.

 

Shared spaces and wellness

The hotel programme extends beyond the guestrooms to include reception, restaurant, spa, fitness facilities and an indoor heated pool.

These spaces follow the same material approach as the suites, but each acquires specific details related to its function. The spa uses large openings towards the sea, while the restaurant occupies a more direct relationship with the waterfront.

The former industrial complex consequently operates as a sequence of different environments rather than as a uniform hotel interior.

Despite the diversity of uses, the limited palette and repeated material references create continuity across the project.

 

Adaptive reuse in Tabakaria

The Tanneries Hotel & Spa is ultimately defined by the decision to preserve the identity of four industrial buildings while adapting them to a substantially different programme.

Their stone construction, relationship with the shoreline and varied internal proportions remain visible, while contemporary interventions introduce the technical and functional requirements of a hotel without obscuring the original structures.

Konstantina Smponia uses material restraint and the relationship between the city and the sea to establish a new use for the former tanneries while retaining their industrial presence within Tabakaria.

 

The project was first published in print in ek282 | November 2023, in the CITY section.

A listed 19th-century residence in Vaporia, Syros, is converted into a five-star hotel through the restoration of its stone fabric, painted ceilings and marble surfaces, while former cisterns are repurposed as wellness spaces.

Argini Hotel Syros, with interior design by Costas Gagos Architecture & Design and Tree Company, occupies a listed neoclassical residence in the Vaporia district of Ermoupolis. Originally built in the 19th century as the home of Grigoris Paikos, a member of the Filiki Eteria, the building was restored and adapted into a five-star hotel while retaining significant elements of its historic fabric.

The programme comprises seven rooms and four suites, together with a restaurant, a bar overlooking the Aegean and a wellness area with a hammam, jacuzzi and indoor swimming pool. The intervention is structured around the relationship between the existing masonry, restored decorative elements and new hospitality functions.

 

Preserving the existing stone structure

The original masonry remains one of the defining elements of the hotel.

Stone walls, in some areas reaching 1.20m in thickness, are retained and left visible, allowing the construction and scale of the former residence to remain legible. Natural stone is combined with marble throughout the communal spaces, circulation areas and guestrooms.

Rather than covering the historic structure with a uniform contemporary layer, the intervention preserves differences in texture, material and ornament. New elements are inserted within this framework while maintaining the presence of the original building.

 

Marble throughout the interior

Marble provides a recurring material connection between different parts of the hotel.

Geometric marble floors in the common areas refer to the original character of the residence while introducing a more contemporary composition. The approach continues through corridors and shared rooms, establishing a consistent material language.

Different varieties are used in the guest bathrooms, including white Dionysos marble, green Tinos marble and dark Grigio Carnico. Variations in colour and veining distinguish the individual spaces while retaining continuity across the project.

 

Restoring the painted ceilings

The restoration of the painted ceilings in the guestrooms and suites was among the most demanding parts of the renovation.

The surviving ceiling and wall paintings, produced by Italian and local artists, include folkloric references, figures associated with the Greek Revolution and Renaissance motifs. Their conservation allows these decorative layers to remain central to the identity of the rooms.

Contemporary furniture and lighting remain comparatively restrained around them, allowing the original proportions, high ceilings and painted surfaces to retain visual prominence.

The contrast between restored decoration and simpler contemporary interventions avoids the literal reconstruction of a historical interior.

 

Shared spaces and the internal courtyard

The communal programme unfolds through a sequence of interiors where historic architectural elements coexist with new uses.

Exposed stone, timber floors, marble surfaces and existing openings remain visible, while contemporary furniture and lighting support the hotel programme without obscuring the original fabric.

The internal courtyard extends the communal areas outdoors. Its exposed masonry façades frame a protected exterior space and reinforce the continuity between the different parts of the historic building.

 

Wellness spaces inside the former cisterns

The building’s old cisterns acquire a new function as wellness and relaxation areas.

Their vaulted geometry accommodates the hammam and the heated indoor swimming pool with jacuzzi. Stone and marble surfaces are combined with indirect lighting, emphasizing the enclosed character and curvature of the existing volumes.

The intervention therefore makes use of the spatial qualities of these former service areas rather than erasing their previous character. Their mass, materiality and vaulted construction remain visible within the new programme.

 

Adaptive reuse of a historic residence

Argini Hotel Syros is defined by the coexistence of preserved architectural elements and contemporary hospitality functions.

Stone masonry, painted ceilings and geometric marble floors retain the connection with the building’s history, while guestrooms, restaurant, bar and wellness areas accommodate its new use.

The project approaches restoration as a process of selective preservation and adaptation. Historic materials, ornament and spatial proportions remain visible, while contemporary additions are integrated without attempting to imitate the original architecture.

 

The project was first published in print in ek292 | November 2024, in the CITY section.

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 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 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.

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.

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.

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.

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.

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.

The project concerns the redesign of Varkiza Beach, one of Attica’s most popular and heavily used coastal areas. The complex brought together surviving elements of 1960s modernism and later interventions that had gradually altered its character, presenting the architects with the challenge of establishing a new identity without erasing the existing one.

 

 

Arched typologies

The design draws on mid-century modern architecture and the prefabricated curved forms already present within the complex. The aim was to create an atmosphere of understated elegance, calm and natural harmony.

Against the different orthogonal grids inherited from the modernist complex, repeated curves in both the horizontal and vertical planes establish a coherent architectural vocabulary. The new interventions are applied as “second skins” to the existing building typologies, giving them a renewed identity through soft, organic forms that settle into the natural setting.

The new main entrance is defined by pronounced arched forms and conceived as an experiential gateway and primary point of reference. A separate VIP entrance follows the same logic, using the repetition of the arch to establish a distinct reception sequence.

Shade, food and movement

The new F&B area develops beneath a large pergola shaped by natural materials and organic lines. Sheltering a series of food trucks, it creates an open and active area for gathering.

The existing cabana buildings and communal restrooms are redesigned in the same architectural language. At the same time, the routes leading to and from them are reinforced through the recurring arched typologies, allowing a single formal system to connect the different parts of the resort.

 

 

Materials, landscape and light

The material palette is restrained and earthy. A natural kourasani finish is applied to the exterior shells, while cement render is used inside, both in sandy tones. Bamboo elements form shading devices and enclosures.

The combination of textures and curved forms strengthens the experiential character of the project. Materials respond to the changing daylight, producing patterns of light and shadow and contributing to an atmosphere of calm and summer comfort.

The landscape is redesigned through targeted interventions, new routes and planting choices. A discreet but dynamic lighting strategy supports the sense of summer naturalness and ease without interrupting the continuity of the landscape.

The overall intention was to establish a strong identity without imposing on the site. The beach operates as a continuous system of experiences, structured by curved forms and materials that change with the sunlight. Routes gradually unfold the complex, leading visitors through a sequence of spaces and encounters with the surrounding landscape.

A Museum Between Memory and New Identity

In Vila do Bispo, Portugal, Vila do Bispo Museum by spaceworkers is conceived as an intervention that preserves the identity of the place while giving the existing building a new civic role. The project works with the character of the original construction, not by erasing it, but by extending and clarifying its presence.

The design proposes the addition of a new volume to the existing structure, echoing the form of the adjacent naves. This gesture creates urban and formal continuity, while allowing the new addition to establish its own identity as the main entrance to the museum.

A Red Volume Completing the Existing Building

The new volume extends to the southern limit of the plot and accommodates the technical, administrative and social functions of the museum. By concentrating these uses in the addition, the project frees the inner core of the existing warehouses to receive the exhibition areas.

This redistribution of program allows the exhibition to become the central function of the intervention. The museum is therefore organized through a clear distinction between support spaces and public cultural space, while the new red volume gives the ensemble a recognizable presence.

 

 

Neutral Exterior, Black Interior

The two pre-existing naves, with approximately 680 sq.m. of covered area, are treated in a neutral grey tone. This chromatic strategy homogenizes the existing construction and reinforces its formal abstraction.

Inside, the same warehouse volume is lined in black, creating a controlled background for the exhibition. Against this dark interior, a dynamic organic form organizes the display route, creating thematic exhibition pockets and guiding visitors through the museum in a clear and intuitive way.

Red Exposed Concrete as Urban Marker

In contrast to the chromatic abstraction of the existing structure, the new volume is built in exposed concrete with red pigmentation. Its material presence turns it into a point of reference in the urban and aerial landscape, marking the territory with clarity.

The addition acts as a formal completion of the existing building. It recreates its geometry in a delicate way, through a balance of solids and voids that organizes entrances, areas of pause and the relationship with the surrounding landscape.

 

 

A Museum That Feels Already Familiar

The result is a museum that appears as if it has always belonged to the place. For older generations, it evokes the memory of the former granaries; for younger generations, it becomes the “red museum”, a new image in the collective memory of the community.

Through this balance between preservation and transformation, Vila do Bispo Museum establishes a dialogue between continuity and new identity. It is both a careful architectural intervention and a public landmark capable of anchoring itself in the everyday image of the town.

Architectural gestures

Located in a quiet neighborhood of Palaio Faliro, this small-scale 1950s house is reapproached through a series of restrained and precise architectural gestures. The project seeks to preserve the domestic identity and spatial memory of the existing shell while adapting it to the demands of contemporary everyday living.

 

Spatial Organization

The original layout of the residence is largely maintained, with selective interventions enhancing functionality and spatial flow. The central design gesture is the reconfiguration of the kitchen, which transforms from an isolated, enclosed room into an open core of daily life. Its extension toward the entrance reinforces the continuity of the interior, while its relationship with the living area is organized through the framing of the existing opening, allowing visual connection without fully dissolving the separation between functions.

 

 

Reintegration of Existing Elements

Rather than disconnecting the house from its past, the intervention seeks to creatively incorporate traces and elements of its previous life. The decorative plaster ceiling moldings are preserved as carriers of memory, while the original kitchen sink is restored and repurposed within the bathroom, acquiring a new function in a different spatial context. The residence thus becomes a field of continuity, where old and new coexist without resorting to nostalgic imitation.

 

 

Material Palette

The material palette follows a calm and tactile logic, shaped by natural textures, earthy tones and clear geometries. Wood acts as the primary element of warmth and continuity throughout the interior, while the stainless-steel kitchen countertop introduces a subtle contemporary tension within the otherwise restrained composition. In the bathroom, the relationship between refinement and rawness is reinforced through materials that reference exposed concrete and rougher flooring surfaces, intensifying the tactile experience of the space.

The project approaches the idea of an “urban holiday house”: an intimate domestic environment where simplicity, material honesty and spatial clarity coexist with a subtle sense of nostalgia. Without attempting to replicate the past, the design seeks to carry its traces into the present, allowing the house to evolve while preserving its distinct character.

 

Interconnected space

The project consists of two interconnected interventions: the restoration of a 1920s Cretan stone residence and the addition of a contemporary vertical extension, together forming a unified family home. Originally built as part of the refugee housing settlements of the early twentieth century, the existing structure represents a characteristic example of vernacular domestic architecture, now reinterpreted through a contemporary architectural language that allows the building to regain visibility and presence within the urban fabric.

 

Restoration Strategy

Rather than concealing the traces of the original dwelling, the intervention embraces the existing stone shell as a bearer of memory and spatial identity. Elements of the historic residence are preserved and incorporated into the new architectural composition, particularly within the lower level where the shared living functions are organized. Century-old details remain visible throughout the interior, contributing to an atmosphere that balances familiarity, permanence and subtle nostalgia.

 

 

Design Philosophy

The new extension is constructed through a lightweight metallic structural system combined with a timber roof and an additional loft level. The design approach seeks to establish a coherent architectural dialogue between the permanence of the original masonry structure and the lighter contemporary intervention. Clean geometric volumes, semi-transparent surfaces, generous ceiling heights and a restrained material palette contribute to an environment defined by spatial clarity and continuity.

 

 

Spatial Organization

Within the upper levels, where the private sleeping quarters are located, the architectural composition explores variations in height and section to introduce spatial complexity and moments of openness. The shifting interior volumes generate a sense of lightness and optimism, reinforcing the experiential quality of everyday domestic life. The result is a residence where restoration and contemporary addition coexist without hierarchy, producing a unified architectural narrative grounded equally in memory and transformation.

Renewed perspective

The project of Dexamenes matures gracefully over time, much like wine – a narrative defined by continuity, a gentle projection into the future, and a constant state of entropy. Quiet reinvention has become intrinsic to its character: the hotel evolves through modest gestures, extending itself layer by layer, season by season. Since its inception, it has consistently reactivated its existing components. The twin silos now pulse with wellness, art, and recurring culinary events, each iteration fostering an ongoing dialogue with the past.

 

Extension Strategy

In parallel, the building has sought its own modes of evolution, delicately emerging from its robust concrete base. A few years after its completion, as cultural and culinary programs continued to flourish, it became evident that the site could accommodate a new chapter in hospitality – an additional layer that would honor the original ethos while offering a renewed perspective. During the early stages of construction, when the interiors of the tanks remained inaccessible, time spent on their rooftops revealed a unique sensation of elevation. From this vantage point, the sky met the sea in a continuous, uninterrupted line. It was this immediate connection to the horizon that ultimately informed the addition of a new layer atop the concrete tanks.

 

 

Functional Organization

Eight new rooms now occupy this elevated structure. A lightweight framework of slender metal tubes and warm wooden planks hovers above the solid tanks, tracing the building’s geometry without imposing upon it. These refined elements dematerialize the presence of the new level, allowing a thin canopy to appear as though it floats effortlessly above the concrete volume. A linear water feature frames the horizon, visually merging the architecture with the sea. Sunlight reflecting off the wooden pergola animates the surfaces, reinforcing the nautical, raft-like character of the intervention. The new rooms extend the palette, aesthetic, and spatial logic of the existing accommodations. Each one opens toward the sea through a generous veranda, shaded beneath the pergola, while access from the rear courtyard integrates the upper level into the daily life of the hotel below.

 

 

Design Philosophy

From this elevated vantage point, guests engage with the silos, the cultivated vines of the garden, and the rhythm of activity below, now perceived from a distinctly different perspective. The addition does more than expand the hotel’s capacity; it encapsulates, activates, and extends the evolving narrative of Dexamenes. The rooftop of the rear tank remains intentionally open-ended, reserved as a space for experimentation and discovery. From here, the horizon stretches infinitely, uncharted and anticipatory, awaiting the next chapter in the life of the hotel.

 

Legible boundaries

The interior design of a 300 m² office space for an insurance company is conceived as a study in transparency, spatial continuity and organizational clarity. The proposal introduces the notion of the “capsule” as a primary morphological and functional device, structuring the workplace through a series of transparent volumes that articulate the program while preserving a continuous visual field throughout the interior.

 

Spatial Organization

Departing from conventional enclosed office typologies, the design employs glass volumes to accommodate private functions such as meeting rooms and executive offices. These “capsules” operate as lightweight architectural insertions within the open-plan layout, allowing natural light to permeate the entirety of the space while maintaining visual connections across departments. The workspace is thus conceived as a unified environment, where boundaries remain legible yet non-restrictive, supporting both collaboration and autonomy.

 

 

Material Palette

Materiality plays a decisive role in shaping the atmosphere of the interior. Exposed cable trays mounted on metal rails, perforated metal panels and glass block partitions foreground the infrastructural and technical dimension of the workspace. In contrast, neutral surfaces introduce a layer of warmth and balance, establishing a dialogue between industrial expression and a more domestic sensibility. This juxtaposition produces a spatial identity that is both precise and inviting.

 

 

Lighting Design

In the entrance, a large-scale perforated metal screen defines the first spatial threshold. Acting as a semi-transparent filter, it subtly delineates the reception area while maintaining visual permeability toward the open workspace beyond. Light and movement diffuse through its perforated surface, enabling a gradual transition from the entrance zone into the interior.

Lighting design further reinforces the spatial reading of the project. Linear fixtures trace the primary axes of circulation, while sculptural and directional lighting elements accentuate specific zones of work and interaction. Combined with the abundant daylight entering through large openings, the lighting strategy enhances the rhythm, depth and clarity of the interior environment.

The resulting workspace is defined by openness, adaptability and a coherent spatial language. Through the interplay of transparency, material contrasts and light, the project fosters a dynamic environment that encourages collaboration while accommodating moments of concentration and privacy within a unified architectural framework.

 

Radical material reuse

Trace is a transformative deep retrofit residential project located on Drummond Street in Euston, London, designed by Bureau de Change for HGG London. The scheme reinterprets a four-storey brick building from the 1980s, extending it with two additional levels and accommodating five contemporary, light-filled apartments, while preserving and repurposing the majority of the existing structure.

 

Circular Economy Principles

At the core of the project lies a rigorous commitment to circular economy principles. Rather than opting for demolition and reconstruction, the design retains the original foundations, primary structure and defining architectural elements, including the characteristic archway, thus conserving the embodied carbon of the site. A key innovation is the development of a site-specific glass reinforced concrete (GRC) composite for the façade, incorporating materials harvested directly from the existing building.

The original mid-brown bricks are crushed and reused as visible aggregate, forming a new textured cladding that reconstitutes the building envelope. This process generates a materially expressive façade that both preserves and reinterprets the building’s history, allowing traces of the past to remain legible within a contemporary architectural language.

 

 

Design Philosophy

The architectural language draws from the layered historical context of Drummond Street and Tolmer’s Square, referencing Georgian urban typologies, the legacy of Euston Station, and successive phases of 20th-century redevelopment. The façade composition is informed by Georgian proportions, rustication, and articulated arches, reinterpreted through a contemporary construction system.

Organized within a rational grid, the openings reinterpret traditional segmental arches, enabling larger window apertures that enhance daylight penetration, cross-ventilation, and spatial quality. The inclusion of winter gardens at the rear further extends the living spaces, establishing a dynamic relationship between interior and exterior environments.

 

 

Layout & Urban Integration

The completed development comprises three two-bedroom apartments across the lower levels and two one-bedroom units on the newly added upper floors, each offering skyline views and access to outdoor terraces. The internal layouts are structured around double-aspect living spaces arranged in a stepped configuration, subtly organizing kitchen, dining, and living areas without rigid partitioning.

Aligned with the ambitions of the Euston Area Plan, the project promotes sustainable urban intensification while enhancing the character of the surrounding area. By demonstrating how existing structures can be elevated through adaptive reuse and material innovation, Trace positions itself as a model for low-carbon residential development within the contemporary city.

 

Highlighting the grid

The OTE Headquarters in Athens is the realized architectural study of a multi-storey office building, star-shaped in plan, based on the proposal that was awarded second prize among twelve selected entries. The project concerns the renovation and reconstruction of office and communal spaces from the 2nd to the 13th floor; a decision made in 2019 within the framework of modernization and energy upgrading of the building envelope.

 

Building history and structure

The construction of the original volume began in 1974, with several modifications to the initial plans, while the building was ultimately put into operation in the 1980s, consolidating all services of the “Hellenic Telecommunications Organization.” On a plot of 52 stremmas, a building with a total floor area of 65,000m² was developed.

The new proposal for the interior layout of the office spaces followed the structural grid of the existing shell. The superstructure consists of three rectangular wings, connected through a central circular core of vertical circulation. Each of the 13-storey wings was designed on a vertical structural grid of 1.25×1.25 m, expressed on the façades through external, non-structural, horizontal and vertical reinforced concrete panels. A similar approach is applied to the circular core, where the panels are exclusively vertical and arranged in a radial configuration. Each wing was “divided” into three longitudinal zones, each corresponding to six openings of 1.25m, resulting in a total width of 7.50m per zone.

 

 

Functional organization

In this way, alternative work modules were developed in full correspondence with the building’s structural grid. In the two lateral zones of each wing, both open-plan and enclosed office spaces were arranged, along with dedicated meeting rooms. In these areas, which benefit from natural light and unobstructed views, the arrangement of workstations in two groups of four creates a maximum unit of eight workstations.

The four corner zones of each wing were enclosed with fixed partitions, accommodating special uses, alternating between executive offices, workspaces, collaboration areas, meeting rooms, relaxation zones, creative spaces, rest areas, and spaces for employee retreat.

Movable, flexible, or fixed partitions for integration, repetition, or separation can accommodate – with mechanical precision – all possible conditions of flexibility, functionality, and adaptability. In the central zone, aligned with the structural grid, meeting rooms, sanitary facilities, and support spaces are developed.

 

 

Design Interventions

These include meeting rooms and areas, WCs, a closed kitchen, printing and copying rooms, semi-open meeting booths for private discussions, and open communal spaces for gathering and relaxation. A significant portion is occupied by the existing central core, which houses MEP spaces and the emergency staircase, while a dedicated project/meeting room at the top level, along with the distinctive design and material selection of the entrance area, complete the central zone.

The primary function of the central circular core is circulation and communication, and secondarily, it accommodates auxiliary uses such as WCs and storage areas. Interventions were kept to a minimum, focusing on the refinement of existing material finishes or the localized addition of new ones, the redesign of lighting and ceilings, and the introduction of custom constructions and selected furniture pieces in the radial, curved areas for rest or breaks between the wings.

In one of these areas, the open food service space (cafeteria) was fully upgraded according to specifications, with new elements, lighting, and equipment. Similarly, the WCs were upgraded through the replacement of partitions, claddings, and sanitary fixtures.

 

 

Material Palette

Key parameters in the process of design, selection, and application methods of materials were compliance with the requirements of LEED and WELL Building Standard certification systems.

The construction materials follow the logic of a central design strategy, with consistent choices in flooring, acoustic ceilings, and lighting, combined with numerous variations in claddings, textures, colors, subtle tonalities, material qualities, and furniture equipment. In this way, each wing and floor forms a distinct yet unique visual identity, resulting in a cohesive compositional and aesthetic outcome aligned with the new concept of the study.

The architectural design of the new interior layouts of the headquarters, along with its subtle visual differentiation on the façade (through the replacement of aluminum frames), completes its aesthetic identity, fully implementing the requirements of certification systems, while respecting the existing shell and reinforcing the building’s established presence in the urban consciousness of a major organization.

 

Evolving environment

The interior architecture of the Brazilian headquarters of the global law firm White & Case, emerges from a refined exploration of how local identity can coexist with an international corporate framework. Rooted in a synthesis of tradition and contemporaneity, the project foregrounds the human experience while articulating a spatial narrative shaped by cultural, behavioral, and functional parameters.

 

Design Philosophy

The conceptual approach is grounded in a deep reading of place, where intangible cultural attributes and patterns of use inform the spatial composition. Every design decision, from the incorporation of Brazilian materials and artworks to the selection of furniture by local designers, operates as a deliberate gesture toward expressing identity without resorting to clichés. The result is an environment that is both welcoming and stimulating, fostering engagement through subtle yet meaningful references to locality.

 

 

Spatial Organization

The layout is structured around a continuous and fluid spatial sequence that connects communal areas, such as the reception, café, and landscaped terrace, with private workspaces and meeting rooms. Open-plan workstations are complemented by acoustic solutions, phone booths, and adaptable meeting spaces, supporting a range of working modes. Retractable partitions enable meeting rooms to shift between openness and enclosure, reinforcing a flexible and dynamic office environment. This adaptability extends to the reception area, conceived as a transformable space capable of hosting events or accommodating more formal, everyday functions.

 

 

Material Palette

The material palette draws from natural references, with wood and stone employed to evoke the textures and tones of the Brazilian landscape. A gradual chromatic transition from darker tones at the core to lighter hues toward the perimeter, enhances the perception of depth and spatial progression. Curvilinear elements in floors and partitions, inspired by the work of Roberto Burle Marx, introduce a sense of continuity and movement, reinforcing the project’s fluid spatial identity.

Finally, the project integrates structural and programmatic strategies that anticipate future change. By embedding adaptability into its core, the design responds to evolving workplace demands while addressing the broader issue of spatial obsolescence. The office thus becomes not only a place of work but an evolving environment, capable of renewal, responsive to context, and expressive of both corporate and cultural identity.

 

Ritualistic process

LOULOU, an iconic boutique dedicated to rare and avant-garde eyewear, introduces its new space in Lyon, conceived as a spatial showcase that reflects both the exclusivity of its collections and the identity of the brand. Recognized internationally and ranked among the top five optical boutiques worldwide, the project articulates a synthesis of design, craftsmanship, and curated retail experience.

The boutique presents a carefully assembled selection of eyewear from international designers, emphasizing rarity, innovation, and the art of detail. Brands originating from diverse cultural contexts, including Japan, France, the United States, and Brazil, are brought together under a unified curatorial vision that foregrounds material precision and aesthetic clarity.

 

Retail Concept

Situated in a new address in Lyon, the store establishes itself as a destination for design-conscious audiences. The relocation marks a strategic evolution, transforming the boutique into a spatial narrative where objects are revealed progressively, fostering a sense of discovery. The retail experience departs from conventional optical environments, instead embracing a philosophy of “quiet luxury,” where discretion, refinement, and personal interaction define the product engagement.

This approach reframes the act of selection as an intimate and almost ritualistic process, where eyewear is introduced gradually, echoing gestures of hospitality and attentiveness. The boutique operates not only as a commercial space but also as a platform supporting independent design and local craftsmanship.

 

 

Spatial Organization

The proposal articulates a contemporary interior language through a restrained yet expressive palette of materials. Pink concrete, dark wood, and brushed metal are combined to construct a layered spatial environment that balances tactility with visual coherence.

The spatial organization unfolds as a sequence of intimate zones, culminating in a boudoir-like setting that enhances the experiential dimension of the visit. This configuration allows for both display and consultation, integrating functional requirements, such as eye testing, within a cohesive and refined architectural framework.

 

 

Material Palette

Materiality plays a central role in defining the identity of the space. The juxtaposition of raw and refined surfaces establishes a dialogue between permanence and precision, while the controlled use of color and texture contributes to an atmosphere of understated sophistication.

The detailing of the interior reinforces the brand’s commitment to craftsmanship, translating the qualities of the eyewear collections into spatial form. Through this approach, the boutique transcends its commercial function, becoming an architectural expression of curated design culture and sensory experience.

 

Constellation of volumes

An existing 40-year-old office building is stripped back to its primary structure and comprehensively reinterpreted to respond to contemporary workplace demands. The initial massing logic is recovered and clarified, transforming what was once a fragmented and visually inconsistent assemblage into a cohesive composition. The building is rearticulated as a constellation of twelve distinct volumes, each defined by its own cladding strategy and spatial atmosphere, establishing a new architectural identity rooted in differentiation and clarity.

 

Intervention Strategy

The intervention operates through a process of subtraction and redefinition. By removing non-essential layers, the original structural framework is revealed and reorganized, allowing the building’s inherent geometry to be legible once again. The front façade adopts a restrained material palette, articulated through subtle tonal variations of white, grey, black, and gold. A newly introduced curtain wall defines the primary elevation, while a sequence of cast-in-place terrazzo steps establishes a clear and generous entrance gesture.

In contrast, the rear elevation embraces a more expressive and playful language. Individual volumes are distinguished through color and material differentiation: a pale turquoise-clad elevator core, a striped black-and-white staircase punctuated by yellow window frames, a pink-rendered service core, and blue metal-clad office spaces. This chromatic distribution extends throughout the building, generating a dynamic interplay between interior and exterior surfaces.

 

 

Spatial Organization & Environmental Strategy

The building is reoriented to engage more directly with its adjacent natural park, introducing new openings within previously opaque façades. These interventions enhance visual connectivity while significantly improving daylight penetration, addressing the limitations of the original low ceiling heights.

At roof level, a landscaped green roof is combined with a circular pergola, forming a sequence of outdoor workspaces and social areas. These elevated spaces accommodate informal gatherings, events, and moments of exchange, extending the program beyond the conventional office environment.  

Sustainability is integrated as a core design parameter. The project incorporates high-performance insulation systems, energy-efficient glazing, locally sourced materials, and low-energy mechanical systems. Additional features include photovoltaic panels, electric vehicle charging stations, and bicycle parking, contributing to the building’s A+ energy efficiency rating.

Material Palette

The interior design negotiates between preservation and transformation. Existing black marble flooring is restored, while suspended ceilings are removed to expose the raw concrete structure and its irregular formwork. This juxtaposition of refined and unfinished surfaces establishes a consistent material language across all levels.

Each floor is further differentiated through bespoke architectural elements and furniture interventions. These range from sculptural marble seating installations to a vivid red perforated metal library and expansive shared worktables. On the ground floor, a generous red terrazzo staircase operates simultaneously as circulation and as an amphitheatrical space for events, linking to a luminous mezzanine above.

 

Citadel Within the City

Set within the Matosinhos Sul Urbanization Plan by Álvaro Siza, the former Brandão & Companhia canning factory occupies a privileged position near the coastline, retaining a strong connection to the industrial past and maritime identity of the area. The intervention reinterprets this legacy through a mixed-use development that consolidates healthcare, commercial, office, and residential functions within a unified architectural system, restoring the original envelope and chimney while introducing a contemporary layer.

 

Urban Integration

The proposal addresses the fragmentation of the existing structure by re-establishing continuity within the urban fabric. While the original volumetry occupied almost the entire plot, the project introduces permeable and green voids that allow natural light and circulation to penetrate the block. These interstitial spaces generate visual and physical connections between programs, enhancing accessibility to upper levels and fostering interaction within a dense, multifunctional urban environment. The ground floor accommodates commercial and service functions, offices are positioned on the first level, and residential units are organized in elevated volumes.

 

 

Programmatic Organization

At the entrance to the residential areas, a reception space opens onto a patio that operates as the central node of circulation, linking communal zones and distributing movement across the complex. The spatial hierarchy is structured to balance privacy and collectivity, ensuring fluid transitions between different uses. The distribution of the building mass into distinct volumes creates a dynamic composition that responds both to the scale of the plot and to the surrounding urban context.

 

 

Material Palette

The architectural language is articulated through a juxtaposition of materials with varying densities, notably pigmented concrete and aluminum stretched mesh. This contrast reflects the dialogue between past and present, emphasizing both the solidity of the existing structure and the lightness of the newly inserted volumes. Suspended above the courtyard, these elements introduce a sense of elevation and permeability, with a material palette inspired by the proximity to the sea. The intervention ultimately establishes a balanced relationship with adjacent buildings and the public realm, contributing to the revitalization of the block and supporting a broader strategy of sustainable urban development.

 

Extroverted geometry

Simple linear geometries, clarity of form, brightness, and a sense of freshness are combined with functionality and warmth to shape the design of the “Pick Up” all day coffee & brunch. Conceived through an extroverted spatial approach, the project emphasizes the relationship between interior and exterior, establishing an active dialogue with the street and the surrounding neighborhood. By employing a restrained palette of low-cost materials – terracotta brick, glossy white ceramic tiles, polished cement screed, and birch plywood – the space articulates a timeless aesthetic through a contemporary architectural lens.

 

Spatial Organization

The composition is structured into two primary zones: an open bar dedicated to coffee and food preparation, and a seating area for guests. This clear functional division enhances usability while maintaining visual continuity across the space. A linear built-in bench in terracotta, fixed constructions clad in ceramic tiles, and a custom-made installation composed of reused broken tiles contribute to a cohesive and adaptable interior environment. The arrangement prioritizes both efficiency and comfort, reinforcing the social character of the café.

 

 

Material Palette

White-painted interior surfaces operate as a neutral background, allowing the tactile presence of terracotta and the reflective quality of glossy ceramic tiles to emerge as dominant elements. The polished cement screed flooring, rendered in a concrete tone, introduces a sense of material density and continuity, grounding the interior composition. The integration of greenery further enhances spatial freshness, strengthening the connection between inside and outside while softening the mineral palette.

 

 

Brand Design

The design logic extends seamlessly to the exterior, where the façade becomes an active component of the project’s identity. A custom-made circular sign, crafted from terracotta and white ceramic tiles, serves as a focal point, visually anchoring the café within its urban context. This gesture consolidates the project’s material language and reinforces its presence in the streetscape, completing a unified architectural narrative that bridges interior atmosphere and public interface.

 

Consolidating functions

The Exeter Road Pavilion is an adaptive reuse of a modest Victorian garden outbuilding in northwest London, reimagined as a hybrid domestic and social space for an art collector and amateur DJ. Conceived as both a storage environment and a setting for leisure, the project consolidates diverse functions – archiving, display, gathering, and recreation – within a unified architectural gesture that extends from interior to landscape.

 

Design Philosophy

At the core of the proposal lies a continuous cabinet, operating as a contemporary cabinet of curiosities. Beginning within the refurbished structure and extending outward into the garden, this linear element accommodates an array of uses: art storage and display, shelving for books and vinyl records, a DJ station, a television, and personal artifacts. As it moves outdoors, it integrates recreational functions, including a ping-pong table, weights, and garden games, maintaining spatial continuity across interior and exterior domains.

Encased in a perforated stainless-steel screen, the cabinet oscillates between transparency and opacity. Its surface reflects and filters light, producing shifting visual conditions throughout the day. This duality allows the cabinet to simultaneously reveal and conceal its contents, reinforcing its role as both container and spatial mediator.

 

 

Structural Logic

The cabinet operates not only as storage but also as a structural system, supporting the canopy that extends over the outdoor space. The relationship between these elements introduces a deliberate tension, inspired by the precarious compositions of Fischli & Weiss. Rather than adhering to conventional structural logic, the design removes an expected column, redistributing forces through a counterbalancing system.

This equilibrium is achieved through a precisely milled marble mass embedded within a galvanized steel I-beam, paired with a tension rod anchored to a concealed concrete block below ground. The resulting configuration establishes a legible yet unconventional structural narrative, where balance is perceived as dynamic and contingent rather than fixed.

 

 

Materials & Sustainability

The canopy itself is composed of layered materials – marble, steel, and polycarbonate – articulated in a clear tectonic hierarchy. Stainless steel cladding on the cabinet mirrors the surrounding vegetation, while translucent roofing elements diffuse light into the space below. This material palette oscillates between raw and refined, grounding the project in both industrial precision and environmental responsiveness.

Through reflection, translucency, and spatial extension, the pavilion dissolves the boundary between interior and exterior. It becomes an instrument for observing seasonal and daily changes, where light, vegetation, and built form interact continuously. The project ultimately establishes a condition in which structure, storage, and landscape remain in constant and perceptible dialogue.

 

Cohesive framework

Conceived as a new architectural landmark for South Tyrol, the Museum Depot responds to the need for a centralized facility dedicated to the protection, conservation, and public accessibility of the region’s cultural assets. The project rethinks the fragmented system of existing depots, consolidating diverse collections into a unified structure that accommodates over one million objects, ranging from artworks and museum holdings to archaeological finds and audiovisual archives.

 

Programmatic Integration

The proposal addresses a dual objective: to operate as a highly efficient preservation facility while simultaneously engaging with the cultural and institutional demands of the region. Rather than functioning as a series of isolated storage units, the building establishes a cohesive framework that integrates research, conservation, and exhibition. Offices, laboratories, workshops, storage areas, and public galleries coexist within a single architectural system, fostering collaboration and exchange between institutions.

The spatial organization prioritizes relationships and workflows, structuring the program around a central courtyard that introduces natural light into the working environments while offering visual and physical access to a landscaped outdoor space. This arrangement enhances both functionality and user experience, positioning the depot as an active cultural infrastructure rather than a purely technical repository.

 

 

 

Spatial Strategy & Sustainability

A key aspect of the design lies in the careful distribution of functions across different levels. Storage and exhibition spaces are located underground, ensuring stable climatic conditions essential for the long-term preservation of sensitive artifacts. Above ground, administrative and research functions benefit from daylight and visual permeability, creating a balanced working environment.

Circulation is conceived as a continuous and legible system, connecting the various programmatic elements while reinforcing their interdependence. The interior is defined by clear spatial sequences and controlled transitions, allowing both staff and visitors to navigate seamlessly through the building.

 

Design Philosophy

The architectural form draws from the vernacular typologies of South Tyrol’s alpine and valley regions, translating traditional elements into a contemporary language. A raised, pitched roof defines the building’s silhouette, while the street-facing entrance opens into a transparent and welcoming foyer.

Partially embedded into the ground, the structure reduces its visual impact and establishes a sensitive relationship with the surrounding landscape. The green roof extends the natural terrain, reinforcing continuity between the built form and its environment. This integration is further emphasized by the material palette and the modulation of volumes, which echo local architectural references while maintaining a distinct contemporary identity.

The main entrance connects directly to the urban fabric and adjacent plaza, while additional access points through underground parking ensure functional efficiency. At the heart of the interior, a sculptural spiral staircase acts as both a spatial and symbolic element, linking the exhibition spaces below with the public and administrative areas above.

Upon completion, the Museum Depot will not only provide optimal conservation conditions for previously dispersed collections but will also reposition them as accessible and active components of the region’s cultural landscape, reinforcing their value within both local and broader contexts.

 

Spatial mediator

Set within the tall perimeter walls of a disused factory, the project unfolds as a carefully orchestrated intervention that redefines the relationship between domestic life, industrial memory, and landscape. Rather than demolishing the existing structure, the proposal preserves its masonry enclosure, transforming constraints into spatial opportunities. Hidden behind a modest entrance, the residence reveals itself gradually, structured around a central open-air garden that becomes the core of the architectural composition.

 

Renovation Strategy

Facing a public square in Lendinara, the project presents a restrained and almost opaque exterior. A tall wall, marked by an irregular profile, recalls the layered history of industrial constructions in the area. The only visible opening – a small iron door – conceals the spatial richness beyond. Once inside, the perception shifts dramatically, revealing a lush, enclosed garden defined by high walls and climbing vegetation.

Located in a context where traces of past industrial activity coexist with residential fabric and green spaces, the project engages directly with its surroundings. The proximity to the public park and the historic garden of Ca’ Dolfin-Marchiori informs the architectural strategy, introducing landscape as an essential component of the dwelling experience.

 

 

Landscape Design

At the heart of the project lies the garden, conceived as an open-air room that organizes the entire domestic program. Created through the partial demolition of the factory roof and the repositioning of the new volume, this green courtyard introduces light, air, and visual continuity into an otherwise introverted structure.

The house develops as a compact, two-level volume inserted within the preserved perimeter walls. Its spatial configuration establishes a continuous dialogue with the garden, most notably through a double-height living space that opens fully onto it via a large, glazed façade. Framed by a timber lattice structure, this transparent surface mediates between interior and exterior, reinforcing the vertical rhythm of the composition and extending into the roof geometry.

 

 

Design Philosophy

The project is defined by a deliberate interplay between openness and enclosure, visibility and concealment. From the street, the house remains entirely hidden, while internally it unfolds through carefully framed views toward greenery. This sequence of spatial transitions constructs a controlled yet dynamic experience of movement and perception.

Materially and structurally, the intervention balances timber, steel, and glass within the existing masonry framework. The new construction echoes the industrial profile of the former building, while introducing a refined architectural language that emphasizes lightness and spatial continuity.

Guided by the notion of landscape as an architectural device, the design moves beyond nostalgic references to industrial heritage. Instead, it repositions the garden as a fundamental condition of contemporary dwelling – not as a decorative element, but as a necessary spatial and environmental mediator that defines the identity of the house.

Relief continuation

The hotel is located at the edge of the traditional settlement of Oia, at the top of the volcanic cliffs of the Caldera. The site has a steep slope, a south-western orientation and unobstructed views toward the sea and the volcano.

 

Restoration Strategy

Within the plot there were ruined cave structures previously used as storage spaces, stables and cellars, as well as an old cubic house located at the northeastern corner. The objective of the project was the reconstruction of the pre-existing buildings and the addition of new cave rooms and communal areas, forming a hotel complex.

As a result, the hotel includes a small reception area, sixteen rooms, a restaurant, a shared swimming pool and a gym-spa. These functions are arranged gradually across the six levels of the complex. The entrance, accessed from the main pedestrian path of the settlement, is located at the upper level together with the reception and an outdoor seating area.

 

 

Spatial Organization

A central outdoor staircase leads from the upper level to the restaurant and the pool, connecting the three intermediate levels that accommodate the guest rooms with their private courtyards and pools. The lowest level includes the spa reception, a small gym, massage rooms, hammam, sauna, sanitary facilities and storage areas, as well as a sheltered relaxation courtyard at the edge of the cliff.

The proposal aimed both at the faithful restoration of the pre-existing buildings and the construction of new cave structures in the spirit of a contemporary and subtle reinterpretation of the cubic morphology of the old settlement, while maintaining a continuous relationship with the natural topography of the Caldera. The form of the new cave spaces preserves the structure of the traditional ones, along with their geometric shapes, materiality and white color.

The typologies of the floor plans, as well as the openings, are oriented so as to frame the view toward the sea. As a result, the façades follow the natural contour lines as broken geometries, resembling folded retaining walls that integrate gently into the landscape. The layering of these compositional strategies ultimately defines the final form of the building and its strong spatial dynamism. The descending movement of the central outdoor staircase, from the hotel entrance to the lowest level, resembles a “crack” in the “body” of the building, guiding movement and directing visitors toward the various private and communal areas.

Materials & Lighting

The interior design follows a strict minimalist approach based on the principles of Cycladic architecture. In the pre-existing cave spaces, a “total white” atmosphere prevails, with subtle touches of iridescent gold and green, while soft curves and freestanding furniture with organic forms highlight and enrich their natural plasticity.

The aesthetic of the new cave rooms is characterized by more intense colors, in the spirit of a “vie en bleu”, with abstract references to the cosmopolitan resorts of the Mediterranean south. These references become more geometric, linking the shapes and volumes of the interior with the forms of the exterior composition.

The lighting of the complex operates in a discreet manner, enhancing the sculptural quality of the white volumes and the experience of movement through the landscape. Along the outdoor pathways and staircases, low-intensity linear luminaires are integrated into the architecture, emphasizing the geometry of the walls and guiding visitors during nighttime circulation. The illuminated pools act as diffused luminous surfaces within the composition, creating soft reflections across the cave volumes. Inside the rooms, lighting remains subtle and integrated into the curved surfaces, highlighting the minimalist aesthetic and the sculptural qualities of Cycladic architecture.

 

Spatial scenography

The aim of the project was the complete conversion of a residence originally designed in the early 1980s by architect N. Valsamakis. Located in Panorama, Thessaloniki, the building now accommodates the Siskou Derma Clinic, a contemporary dermatology center that seeks to redefine the typology of the medical space in Greece, creating an environment of refined familiarity, far removed from the conventions of the typical medical office.

 

Design Philosophy

The original residence is a characteristic example of the modern movement in the city, defined by clear geometric compositions, balanced volumes and a striking white plaster finish that emphasizes the plasticity of its form. The intervention sought to preserve the architectural identity of the initial design while introducing new elements that ensure functional upgrading and spatial coherence.

The design strategy focused on reinterpreting the experience of a medical environment, drawing references from contemporary European clinic architecture. Through subtle interventions and a careful management of materials and proportions, the project achieves a balance between respecting the existing building and accommodating a new functional program.

 

 

Spatial Organization & Materials

The interior environment is organized around the idea of domestic comfort, creating spaces that convey calmness and trust to visitors. The spatial atmosphere draws inspiration from refined modernism and the aesthetics of mid-century design, with materials and objects acting as key carriers of the overall ambiance.

Oak wall paneling, velvet armchairs and carefully selected lighting fixtures compose a palette of materials and textures that expresses understated luxury. The composition remains strictly minimal, allowing the materials to stand out through their texture and natural presence without unnecessary formal gestures. Each object is carefully placed within the space, contributing to a coherent spatial experience defined by clean lines and balanced aesthetics.

 

 

Lighting Design

The scenography of the interior unfolds through subtle shifts of light, textures and visual focal points that guide the visitor’s movement through the space. Lighting operates as a primary tool for shaping the atmosphere.

The lighting design enhances the sense of privacy and comfort while simultaneously highlighting architectural surfaces and interior details. Through discreet lighting interventions, a balance is achieved between functionality and spatial experience.

The final spatial composition is complemented by selected artworks that are integrated into the architectural narrative of the project.

 

Layered continuity

Located in the heart of Jingdezhen’s Imperial Kiln Historic District, the regeneration of a former porcelain factory complex proposes a contemporary strategy for historic preservation through what the architects describe as a “Plugin Architecture” approach. Rather than replacing the existing structures, the intervention introduces new architectural insertions within and around the historic fabric, revitalizing the site while maintaining its cultural and spatial continuity. Jingdezhen – renowned as China’s “Porcelain Capital” – has been associated with porcelain production for more than a millennium, making the careful integration of new architectural elements within this context particularly significant.

 

Design Philosophy

The core concept of the project is based on a system of architectural “plugins”— new spatial modules inserted into existing buildings to enhance functionality while preserving their historic character. These contemporary interventions upgrade the aging workshops and support structures to accommodate new programs such as offices, meeting rooms and guest accommodations.

Rather than imitating historical forms, the inserted modules are intentionally expressed as modern architectural elements. Their clear visual distinction establishes a dialogue between old and new, reinforcing the layered history of the site while enabling the complex to function as a contemporary cultural destination. Circulation elements such as staircases and walkways are introduced both inside and outside the structures, improving connectivity and enabling the adaptive reuse of previously fragmented spaces.

 

 

Glass Pavilion & Lighting

At the center of the site stands a three-story glass pavilion that functions as a new architectural landmark within the historic district. Designed as a transparent volume topped with a traditional double-pitched roof clad in clay tiles, the structure houses exhibition spaces and a café while acting as a focal point for the main public square.

The contrast between the transparent glass enclosure and the surrounding masonry buildings establishes a clear architectural dialogue between contemporary design and historic context. The roof appears to float above the glazed structure, reinforcing the sense of openness and creating a spatial extension of the public square into the building interior. From a distance, the pitched roof emerges among the surrounding tiled rooftops, subtly referencing the traditional architectural language of Jingdezhen.

Carefully integrated lighting design plays a crucial role in reinforcing the pavilion’s architectural presence, particularly after sunset. Warm recessed luminaires embedded within the timber soffit of the roof evenly illuminate the glass envelope, transforming the pavilion into a softly glowing lantern within the historic courtyard. Inside, discreet linear and point lighting accentuate the brick core and the vivid orange circulation elements, highlighting the layered spatial composition while maintaining a restrained and atmospheric ambiance. The transparency of the façade allows interior light to spill into the surrounding public square, strengthening the visual connection between interior activity and the historic urban fabric.

 

 

Materials & Urban Circulation

The project reinforces the relationship between interior and exterior space through the careful treatment of the courtyard landscape. Brick paving extends from the public square directly into the interior of the glass building, dissolving the boundary between inside and outside.

Within the courtyard, the paving transforms into stepped surfaces that accommodate changes in elevation while simultaneously functioning as informal seating areas. On the opposite side of the square, a series of barrel-vaulted brick rooms form the building’s base, anchoring the new structure within the historical material language of the site.

To improve accessibility and spatial continuity across the complex, one of the existing buildings was rotated, merging two separate courtyards into a single shared public space. This reconfiguration allows visitors to move fluidly between the public square, the glass pavilion and the surrounding workshops, effectively transforming the former industrial compound into a cohesive cultural environment.

Located adjacent to Chimney Square, the project sits within a dense historical landscape that includes the Imperial Kiln Museum and the archaeological remains of the Imperial Porcelain Factory to the west, while the historic Xu Family Kiln – the oldest and most complete preserved wood-fired kiln site in Jingdezhen – lies to the north. Within this historically layered setting, the project establishes a careful balance between preservation and contemporary intervention, transforming the former industrial site into a vibrant public destination that celebrates both the legacy and the future of porcelain culture.

 

Ateno Architecture Studio was founded in Athens in 2018 by architects Giorgos Fiorentinos and Ilias Theodorakis. Its initial ambition was to create a collaborative platform centered on architectural composition—one that would encourage dialogue and experimentation around form and the spatial relationships of the built environment. Over time, the team broadened its scope, undertaking a wide range of private and public commissions. Envisioned as an entity that integrates research, design and construction into a unified creative process, the practice continues to evolve, looking to the future with optimism.

 

ek: One of your first projects involved the renovation of a damaged restaurant in Mati, Attica, conceived through a narrative approach in which memory played a central role. Have you addressed subsequent renovations in a similar way? What is the primary challenge when changing the use of a space?

ATENO: Intervening in an existing building is a process of reading and reinterpretation. Every structure carries a narrative embedded in its form, layout and traces of use. These elements suggest ways of inhabiting; they carry memories and stories that often shape the framework of our work.

The greatest challenge in a change of use lies in the fact that we are sometimes required to intervene in this narrative in an almost violent manner. Through our work, we strive to preserve living fragments of history while simultaneously creating a fresh substratum capable of accommodating the stories of future occupants.

The balance between old and new, the decision to preserve or radically transform a space’s character, the safeguarding of craft traditions that may have faded, alongside the integration of new materials and technologies, constitute for us an ongoing and creative exercise.

 

 

ek: Among your unrealized projects, the proposals for the Eleneio Public Kindergarten and the Arts Building of Athens College stand out. Although formally distinct, was there a shared approach between the two? In your view, how does architecture contribute to supporting a contemporary educational experience?

ATENO: We regard architectural competitions as opportunities for experimentation, extroversion and collaboration. Indeed, our office was founded on the occasion of a competition for Public Utility Facilities in Thessaloniki. The projects you mention were developed in collaboration with colleagues and friends—Dimitris Zampopoulos, Nestor Skantzouris (Arts Building) and Studio Spacecraft (Eleneio).

Each design endeavor was shaped by multiple parameters – the site, the life scenario, and the collective references of each design team – with a shared aspiration to create timeless learning environments that move and inspire. We believe architecture can enhance the educational experience both functionally and experientially. Proportions, geometries, visual perspectives, the interplay of light and shadow, colors and textures encountered in school environments as children form our first perception of the world; they become embedded in memory and return, consciously or not, throughout our lives.

 

 

ek: As your practice continues to grow, are there particular building types or categories of projects you hope to explore further?

ATENO: Undoubtedly, like the majority of architectural practices in Greece, we are primarily engaged in projects related to tourism, commerce and housing, within both new constructions and existing shells. Throughout our trajectory so far, we approach every commission with equal interest. Regardless of scale or typology, the distinct challenges accompanying each project stimulate us, expand our knowledge and strengthen the team’s creativity.

Ideally, we would like to engage with as many project categories as possible in the future, without focusing exclusively on a specific typology. At the same time, we observe a gap between private and public infrastructure – from sidewalks to hospitals, schools and administrative buildings. We recognize the urgent need for high-quality works of collective interest and would welcome the opportunity to contribute meaningfully to that direction.

Targeted interventions

Athena Residence is the renovation of a 1960s apartment in central Athens, conceived as a small-scale hospitality project within the dense urban fabric of Kolonaki.

 

Adaptive Reuse

Located in Kolonaki and completed in 2024, the project responds to the evolving reality of contemporary Athens, where domestic interiors are increasingly required to accommodate hybrid modes of inhabitation – daily life alongside short-term stays. Working within the constraints of an existing building and a tightly defined budget, the project adopts a strategy of light yet decisive intervention. Rather than pursuing formal transformation, the design prioritizes reuse, spatial clarity and long-term performance.

The original timber flooring was carefully retained and restored, grounding the apartment in its material past. New bespoke joinery elements in timber and brass organize the kitchen, storage and wardrobes as fixed architectural components rather than loose furnishings, reinforcing a sense of permanence and cohesion. Subtle reconfigurations of the layout enhance circulation, daylight penetration and spatial flexibility, allowing the apartment to adapt to shifting patterns of occupation without altering its structural logic.

 

 

Sustainability Approach

Operational energy formed a central pillar of the project’s sustainable agenda. In a city where much of the residential stock remains energetically inefficient, the renovation focused on substantially reducing operational demand instead of relying on superficial upgrades. High-performance glazing, low-energy lighting, photovoltaic provision and the replacement of the existing gas heating system with an air-source heat pump collectively led to a reduction of more than 65% in operational energy consumption. The apartment’s energy classification was upgraded from Z to B+, marking a significant environmental improvement within the existing shell.

 

 

Design Philosophy

Athena Residence reflects a broader architectural attitude emerging in Athens, one that values continuity, responsibility and careful engagement with the existing built fabric. Rather than extracting value through spectacle, the project demonstrates how targeted, precise interventions can enhance comfort, environmental performance and longevity. In doing so, it proposes an alternative model of small-scale hospitality: one embedded in the city’s everyday life, respectful of its material history and oriented toward durable, long-term use.

 

Sustaining heritage

Situated on a hill above Oropos, the residence harmonizes with its natural setting. The renovation avoided expansion, preserving the existing volume and respecting building regulations. The result is a modest, elegant dwelling that demonstrates how careful reuse can sustain heritage while supporting contemporary living and environmental awareness.

 

Design Philosophy

The project transforms a deteriorated 1970s prefabricated summer house into a light-filled, contemporary retreat overlooking the Evian Gulf. Respecting the original volume, the design balances preservation with renewal, embracing a bright, modern aesthetic inspired by the natural landscape. The intention was to redefine the house’s identity –  from an outdated seasonal home to a welcoming weekend refuge that connects with its surroundings in every season.

 

 

Spatial Organization

The house maintains its compact footprint while achieving openness through selective interior interventions. By removing suspended ceilings and exposing white-painted trusses, the design introduced vertical depth and natural light. Anchored functional zones (kitchen, library, fireplace) line the perimeter, freeing the central area for flexible living. Outdoor and indoor spaces merge through a shaded veranda and garden views.

Storage is fully integrated into the architecture, creating a calm and efficient space without loose furniture. A movable dining table, in vibrant coral-pink, acts as a flexible focal point for dining or working. Each intervention contributes to a coherent spatial narrative of comfort and adaptability.

 

 

Material Palette

The palette combines contrasts: dark terrazzo floors, white upper walls, and olive-green accents drawn from the surrounding groves. The color-band concept unifies the space –  darker materials ground the lower portions, while the white and pistachio tones evoke freshness and light. Functional materials shift subtly across the program, always remaining cohesive and tactile.

 

Vibrant hub

Walker Hall is an adaptive reuse of a 1927 building at the core of the University of California, Davis campus. The project transforms a vacant, seismically unsafe building into a graduate and professional student center with meeting rooms, a lecture hall, and active-learning classrooms that serve the entire campus.

 

Design Philosophy

Walker Hall exemplifies the power of revitalization by transforming an abandoned into a vibrant academic and social center. The project preserves the character of the 1927 structure while introducing modern learning environments, symbolizing continuity between the university’s history and its forward-looking academic vision.

 

 

Spatial Organization

The original two-story north wing now houses student lounges, meeting areas, and offices. The three southern wings, formerly used for agricultural engineering workshops, have been repurposed into a lecture hall and two flexible classrooms. The redesign establishes a clear hierarchy between community spaces and academic functions, ensuring seamless movement through the building.

The project supports graduate students’ academic and personal growth with spaces for mentoring, advising, and social interaction. The flexible learning rooms integrate advanced media technologies, turning former machine shops into dynamic “toolboxes” for contemporary, interdisciplinary education.

 

 

Materials & Sustainability

Original structural elements such as steel trusses, concrete columns, and finishes were retained and highlighted. New facades, solar collectors, and steel shading devices express a dialogue between the industrial heritage of the building and its new sustainable identity.

The design responds to the hot, dry climate of California’s Central Valley with shaded openings and efficient systems. The building connects to the campus through visible transparency and sustainable performance, achieving LEED Platinum certification and zero net electricity use.

 

Unfinished architecture

The restoration of the Caffè Nazionale embraces the city by establishing a direct relationship with the urban fabric of Arzignano. Historical traces are engaged in a creative dialogue, generating layered depth through spatial elements conceived as theatrical backdrops. The project emphasizes continuity with memory while creating a multifaceted and collaborative architectural intervention.

 

Spatial Organization

The design connects interior and exterior along an axis that aligns the colonnade, the main hall, and the birch courtyard. Spaces unfold as a sequence of stages, creating visual dialogues between the square, the vestibule, and the courtyard. The layout orchestrates transitions between civic space, café, and garden, highlighting the interplay of openness and enclosure.

The main hall integrates fragments of different historical layers. A pleated stainless steel wall conceals and reveals views, while posters by artist Stefan Marx evoke Belle Époque theater. The ground floor hosts the entrance, bar, open kitchen, and café hall, with an upper dining room accessed by a staircase. Wooden tables and benches organize interior and exterior seating, merging tradition with contemporary references.

 

 

Material Palette

Recovered historical elements coexist with new interventions. Stainless steel walls, burnished iron doors, serpentine marble handles, polychrome mosaic floors, and multilayered wooden ceilings all contribute to a layered, theatrical materiality. The project embraces imperfection and unfinished textures, highlighting authenticity in surfaces and construction details.

 

 

Context Integration

Through its restoration, the project becomes a living work that connects the square, colonnade, and garden with Arzignano’s cultural identity. It preserves memory while embracing new uses, creating a space of urban continuity and layered history. This project exemplifies architectural research into “the unfinished”, revealing processes and construction techniques as part of the architectural narrative.

 

Reinterpreting tradition

The project is a single-family residence that seeks to reinterpret the lifestyle of a house in the historic center of Mérida, integrating new spaces adapted to contemporary life while respecting the house’s original architecture. The inspiration came from Yucatecan colonial architecture, aiming to rescue the essence of the pre-existing bay with traditional pasta tile floors, stone masonry walls, and exposed wooden joists.

 

Spatial Organization

Given the very narrow lot, only 4 meters wide, the main goal was to maximize use of the property’s length, resulting in a linear scheme. This layout allows circulation between different spaces without passing directly through them. Open and semi-open spaces promote indoor-outdoor connection, natural lighting, and ventilation. Additionally, a central courtyard was introduced as a key organizing element, echoing traditional colonial homes.

The house is organized around distinct areas with a variety of atmospheres. The terrace preserves the existing upper structure and exposed masonry walls, enhanced by a mural by Adriana Romero and colorful pasta tile flooring. The spacious central courtyard serves as the heart of the house, incorporating stairs to the upper floor and a bahareque roof with a protective acrylic top. At the end of the property lies the master bedroom, designed for privacy and tranquility, with an arched façade that reduces heat and sunlight.

Material Palette

Regional materials were essential in defining the project’s identity. Traditional tiles with contemporary patterns, stone masonry walls, and exposed wood maintain a strong connection to Yucatecan tradition. Neutral interior wall colors create spaciousness, polished concrete floors balance modernity with tradition, and yellow concrete pigmented with mineral powder lends warmth and distinction to the exterior walls.

 

 

Context Integration

The project harmonizes new design with Mérida’s historic center, respecting colonial architectural language while adapting to modern living. Its linear scheme, courtyard concept, and material palette foster continuity with regional identity. Ultimately, the design blends preservation with contemporary reinterpretation, embodying cultural and spatial integration.

 

The first phase of the OAKA basketball arena renovation combines essential structural and technical upgrades with new hospitality, media and spectator facilities, while preserving the identity of the existing sports landmark.

 

 

The renovation of PAO BC Arena transformed the indoor basketball stadium at OAKA into the home venue of Panathinaikos BC. The intervention covered more than 50,000m² and combined the maintenance of the existing building with extensive functional, aesthetic and energy upgrades.

The core conversion was delivered within 75 days, while the wider design-and-construction process of the first phase was completed within four months. The accelerated programme required close coordination among the designers, project-management team, consultants and contractors.

Rather than replacing the identity of the existing arena, the project sought to clarify its structural character and adapt its infrastructure to contemporary requirements.

Infrastructure before image

The first stage addressed fundamental technical issues that had remained unresolved for an extended period. Works included waterproofing, the assessment and reinforcement of the roof space frame, hydraulic systems and the electricity supply network.

These interventions were necessary for the building’s safe and reliable operation. They also established the technical foundation for the new public, hospitality and athletic programmes introduced inside the arena.

The renovation consequently approached modernization as more than a visual transformation. Hidden infrastructure and structural performance were treated as equally important as the redesigned spectator areas.

 

New spaces for spectators and operations

The second level of intervention concerned the public and operational interiors. Circulation areas, sanitary facilities and food-and-beverage spaces were reorganized, while retail functions and areas for children’s activities were added.

New offices and press facilities support the daily operation of the venue. The Press Entrance, Gate 10 entrance and associated sanitary areas were designed by Decathlon in collaboration with Eva Lantzouni.

The hospitality programme includes a new VIP Entrance and VIP Lounge by Markos Vouzounerakis / RICHE. Dark surfaces, timber, marble and controlled lighting establish a more concentrated atmosphere within these spaces.

Sixteen suites designed by K-Division introduce smaller, private viewing environments within the large arena. Their interiors combine framed views of the court with integrated seating, storage and hospitality functions.

A digitally adaptable playing surface

The central court was upgraded through the installation of an interactive glass sports floor. Its digital surface allows graphics, markings and visual content to change according to the requirements of a game or event.

New audiovisual systems extend this transformation beyond the playing surface. Screens, sound and lighting reinforce the atmosphere of the arena and allow the venue to support a broader range of sporting and entertainment programmes.

The intervention also reorganized the visual identity of the seating bowl. Green seating, large digital displays and suspended banners connect the new technical infrastructure with the history and identity of Panathinaikos BC.

 

Lighting and external identity

The energy upgrade included the replacement of the existing lighting system. New functional lighting was introduced throughout the interior, alongside accent and atmospheric lighting in selected public and hospitality areas.

The separation of the building’s different levels was clarified, while additional sanitary facilities supported the updated circulation and spectator programme.

The external façades received a revised colour palette. The intention was to respect the form of the original arena while signalling its new identity and use.

The public space northeast of the building was also redesigned. Improvements to functional, accent and atmospheric lighting extend the intervention beyond the enclosed arena and reinforce its presence within the wider OAKA complex.

Preserving a public sports landmark

The project addresses the renovation of a major sports building as a process of adaptation rather than replacement. New systems and programmes are inserted within the existing structural framework, whose scale and architectural character remain legible.

At the time of the original publication, a second phase had been designed to include upgraded training courts, changing rooms and physiotherapy facilities. Additional offices, an outdoor café, a VIP restaurant, five further suites and a Panathinaikos museum were also planned.

These proposals should be understood within the December 2024 publication context. Their subsequent construction status requires separate confirmation.

The completed first phase demonstrates how the existing public sports-building stock can be renewed through coordinated architectural, technical and operational interventions. Its approach avoids an autonomous new image and instead builds on the principles and material presence of the inherited shell.

 

The project was first published in print in ek magazine 293 | December 2024, a monthly issue by ek Architectural Publications.