A 3,100m² workplace for BESTSECRET in Munich translates the fashion platform’s restrained visual identity into a spatial environment defined by exposed concrete, mirrored surfaces, timber, textiles and flexible zones for collaborative and focused work.

 

The new BESTSECRET offices in Munich by HENN occupy seven floors of a building designed by LRO Lederer Ragnarsdóttir Oei at the iCampus near Ostbahnhof. Completed in 2024, the 3,100m² interior accommodates around 125 employees and translates the identity of the online members-only fashion platform into a physical workplace through a restrained palette, contrasting textures and an emphasis on transparency.

Facing the city centre from the northern edge of the development, the building opens towards the Werksviertel and, in the distance, the Alps. The interior responds to this urban position by placing more open and communicative functions towards the active city side, while spaces requiring greater concentration are located along the quieter edge.

 

From digital identity to physical space

BESTSECRET’s digital platform is characterised by a reduced visual language intended to provide a neutral setting for multiple fashion brands. The interior follows a similar principle.

Warm grey walls, exposed concrete ceilings and light-grey seamless floors establish a restrained background rather than competing with the people, furniture and objects occupying the workplace. Reflective and mirrored surfaces extend the perceived dimensions of the spaces, while an extensive use of textiles introduces a direct reference to the fashion industry.

The material language relies on deliberate contrasts. Cool mirror surfaces are paired with warm timber; galvanised metal and exposed concrete are offset by curtains, upholstery and custom-made wooden furniture. The result is a workplace where industrial materials coexist with softer elements associated with domestic interiors.

 

Transparency across the floors

Despite differences in programme, the seven levels share a consistent principle of openness. Glazed partitions create visual continuity across each floor and allow views to extend from the centre of the building towards the exterior. The workplace is therefore divided functionally without becoming a sequence of isolated rooms.

On the ground floor, the boardroom is positioned so that it remains visible from outside and directly addresses the city. Opposite it, a lounge kitchen with a large communal table provides an informal meeting point for employees working on different floors. The lower level thus becomes both a representative and a collective part of the workplace.

 

Different settings for different ways of working

The upper floors introduce a broader range of working environments. Communicative co-working zones are complemented by quieter think-tank rooms intended for focused tasks. Floor-to-ceiling curtains allow these areas to be subdivided further, so the spatial arrangement can respond to changing requirements without relying exclusively on fixed partitions.

The distribution of functions is linked to the building’s orientation: open collaborative areas face the more active city centre, while rooms for individual concentration occupy the quieter side. Rather than organising the workplace around a uniform desk layout, the project creates a sequence of settings for different forms of work, communication and retreat.

 

Contrasting material qualities

Material contrast becomes one of the main tools for differentiating these settings while maintaining a coherent identity. Exposed concrete and galvanised metal retain the direct character of the architectural shell. Against them, custom-made timber furniture extends along the perimeter walls, incorporating benches, shelving and other smaller-scale functions.

Textiles soften the more industrial surfaces both acoustically and visually, while curtains operate simultaneously as material elements and as flexible spatial boundaries. The contrast between rigid and soft, reflective and matte, raw and finished surfaces gives the interior variation without requiring a broad material palette.

 

A workplace organised around openness

The BESTSECRET offices combine a lobby, workspaces, meeting rooms, a lounge kitchen, coffee bars and an event area within the seven-storey interior. HENN approaches these programmes through transparency, flexible zoning and a clear distinction between collaborative and focused environments.

The company’s restrained digital identity is translated into architecture not through literal branding, but through the controlled use of colour, material and reflective surfaces. The result is a workplace in which the neutral background associated with BESTSECRET’s online platform becomes a framework for everyday activity, while timber, textiles and communal spaces introduce a more informal dimension to the corporate interior.

Exposed concrete, natural textures and Brazilian furniture define the renovation of a 130m² apartment in São Paulo, where a reconfigured plan opens the social areas while retaining visible traces of the building’s 1970s structure.

The Jardins Apartment in São Paulo by AVAA Arquitetura is a 130m² residence within a building dating from the late 1970s. Designed for a couple, the renovation combines a complete infrastructure update with a reorganization of the original floor plan, while preserving structural elements such as the exposed concrete beams.

Rather than concealing the age of the building, the intervention retains selected existing elements and places them in dialogue with new timber surfaces, natural textures and contemporary furniture. The result is organized around greater continuity between the social spaces and a material palette that connects the apartment’s existing structure with the personal references of its residents.

 

An integrated social area

The new layout gives priority to the shared areas of the apartment.

The previously enclosed kitchen is opened towards the living and dining spaces and organized around a large central island. The kitchen consequently becomes part of everyday social activity, accommodating both meal preparation and gatherings with friends and family.

Access to the service area is concealed behind a flush door incorporated into the timber panelling of the dining area. Secondary functions are therefore absorbed within a continuous architectural surface, maintaining visual continuity across the main living space.

The living and dining areas are designed to support different activities without requiring fixed divisions. A double-sided sofa separates a more informal sitting area from the television zone, while a continuous bench extends along the room, providing seating and integrated storage.

 

Existing concrete and natural textures

Materiality establishes a direct relationship between the original building and the new interior.

The exposed concrete beams are retained as visible traces of the 1970s structure, allowing the construction of the building to remain legible within the renovated apartment. Against these harder surfaces, timber and natural textures introduce a more tactile layer.

Woven straw has particular significance within the material palette, referring to the Portuguese background of one of the residents. The reference is incorporated through material rather than decorative imagery, introducing a personal element within the broader architectural composition.

Walls and ceilings receive textured finishes in neutral tones. Their uneven surfaces respond subtly to changes in natural and artificial light, providing variation without introducing additional colours or decorative layers.

 

A powder room within the existing infrastructure

The powder room is created by reusing the plumbing shaft associated with the former service bathroom.

This adjustment takes advantage of the existing infrastructure while adapting the apartment to its new social organization. A countertop in Verde Vitória Régia quartzite becomes the principal material element, its manually finished surface emphasizing the natural variations of the stone.

Travertine mosaic flooring is combined with green-toned wallpaper, establishing a more concentrated material and colour palette than in the main living areas.

A watercolor depicting the resident’s family home in Portugal introduces another personal reference, connecting the renovated apartment in São Paulo with memories of a different domestic setting.

 

The private areas

The main suite was enlarged to incorporate a generous walk-in wardrobe with light timber cabinetry.

The lighter joinery contrasts with the darker herringbone flooring, while a vanity positioned beside the window takes advantage of natural light. Rather than treating the room as a collection of independent furniture pieces, several functions are incorporated within the overall composition.

A rectangular ottoman introduces additional texture, while a bench designed by the studio combines curved geometry with a subtle colour accent.

The guest suite has a dual function and can also operate as a home office. In everyday use, it provides a dedicated space for the couple’s two dogs, allowing the room to adapt according to changing domestic needs.

Lighting without lowering the ceiling

Maintaining the original ceiling height was a specific consideration of the renovation.

Rather than introducing extensive suspended ceilings to accommodate services and lighting, recessed details resolve technical requirements while organizing illumination in the social areas and circulation zones.

Indirect lighting with warm colour temperatures and dimmable controls allows the atmosphere to change according to the time and use of each space. The strategy is integrated with a complete renewal of the apartment’s plumbing and electrical systems, together with preparation for home automation.

The technical upgrade therefore remains largely discreet, allowing the exposed original structure and the proportions of the rooms to remain clearly visible.

Brazilian design within the interior

The furniture selection introduces a further layer to the apartment through a focus on Brazilian design.

A dining table designed by AVAA Design is integrated into the social area, while Sérgio Rodrigues’ Moleca armchair forms one of the principal pieces in the living room. Furniture and objects by Gustavo Bittencourt, Jader Almeida, Estúdio Orth and Mel Kawahara complete the selection.

The furniture is therefore not treated as a separate decorative layer. Together with the retained concrete, timber surfaces and natural textures, it contributes to an interior where the existing architecture, contemporary interventions and personal references remain simultaneously visible.

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

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

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

 

 

Solid volumes and transparency

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

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

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

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

 

An L-shaped living sequence

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

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

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

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

 

 

A planted courtyard at the centre

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

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

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

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

 

Continuity across the threshold

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

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

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

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

 

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

Two 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.

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

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

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

 

A solid volume shaped by subtraction

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

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

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

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

 

A wall against the suburban landscape

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

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

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

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

 

An internal square around an olive tree

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

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

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

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

 

Continuity between inside and outside

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

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

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

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

 

Permeable introversion

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

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

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

 

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

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

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

 

 

Architecture shaped by climate

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

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

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

A gradual spatial sequence

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

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

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

 

 

Beyond the image of Cycladic architecture

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

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

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

Material continuity with the site

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

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

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

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

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

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

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

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

 

 

A new programme along the waterfront

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

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

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

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

Buildings informed by the language of yachts

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

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

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

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

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

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

 

 

From historical maps to a new public realm

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

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

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

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

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

Bioclimatic strategies and planted roofs

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

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

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

 

 

A landscape of modernization

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

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

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

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

 

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

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

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

Rather than reshaping the landscape around the house, the design uses the existing features of the site to organize access, movement and orientation.

 

 

Entering through the rock

The approach begins at an existing cut in the mountain. From there, a narrow opening leads into a long, uncovered passage designed as a light well.

This route delays the first full encounter with the sea. At its end, the entrance hall divides the residence into two principal zones: communal living spaces to the east and bedrooms to the west.

From this central point, the view suddenly opens towards the islet of Kalathas. Folding glazing further dissolves the boundary between interior and exterior, turning arrival into a gradual transition from rock and enclosure towards light and horizon.

A linear plan facing the sea

The eastern side contains the living room, dining area and kitchen within one continuous space. A 14 m sliding glass façade opens the entire communal zone towards the terrace and the panoramic view.

As a result, the living area becomes the social heart of the residence. Its open plan supports shared life, while the uninterrupted relationship with the exterior gives the sea a constant presence.

The western wing contains five bedrooms with en-suite bathrooms. Their arrangement follows a rhythmic sequence of solid and open elements. Vertical screens provide privacy while allowing daylight to enter and framing controlled views towards the landscape.

The single-level organization also provides clear circulation and full accessibility. Underground spaces accommodate the necessary auxiliary functions, keeping the principal floor focused on daily life and the relationship with the sea.

 

 

Concrete as structure and background

Exposed concrete is the main material and expressive element of the house. Its natural colour is close to that of the rocky terrain, reducing the visual contrast between building and mountain.

Inside, the same material creates a neutral backdrop for the artworks of Netherlands-based artist Daniella Rubinovitz. The house therefore operates simultaneously as a domestic setting and as a restrained environment for displaying art.

Polished cement flooring continues the muted material language. Timber and metal elements add warmth and contrast, while the direct expression of the construction maintains the overall clarity of the interior.

Material continuity also strengthens the relationship between the building and the site. Rock fragments removed during excavation were returned to the surrounding landscape, reducing the distinction between the constructed and existing ground.

 

 

Light, shade and the open horizon

Large openings bring diffuse daylight deep into the residence. At the same time, a pergola covered with wicker filters the intense sun and extends the living areas outdoors.

The architecture is therefore shaped by a series of contrasts: the narrow entrance and the open horizon, the heavy concrete structure and the filtered light, the communal living area and the more protected bedrooms.

These relationships allow the house to remain visually restrained despite its size. The planted roof, linear form and earthy material palette reduce its presence on the slope, while the main façade opens almost completely towards the sea.

The house is conceived as a quiet architectural framework for the landscape and the art it contains. Through its embedded form, carefully staged entrance and long open façade, the residence brings the changing light, rocky terrain and horizon into everyday life.

 

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

Keras Cliff House by Tzagkarakis + Associates is located outside Agia Galini in Rethymno, southern Crete. The residence occupies a natural plateau between a steep cliff and the surrounding mountains, with uninterrupted views across the southern Cretan Sea towards the uninhabited Paximadia islets.

Its composition draws on the “horns of consecration,” a recurring symbol of Minoan Crete. Rather than reproducing the motif as ornament, the architects use its geometry as a formal tool. Two curved wings follow the morphology of the site and open the house towards the sea.

 

 

A protected entrance and a sudden view

The entrance is positioned on the northern side of the residence. A floating concrete slab extends above a low wall, forming a sheltered threshold and introducing the project’s underlying geometric reference.

A continuous wall of local stone defines the northern boundary. Narrow vertical openings interrupt its otherwise solid surface, providing privacy while allowing controlled glimpses of the landscape.

This enclosed approach delays the principal view. Once inside, the stone wall gives way to a large opening towards the sea and Paximadia. The transition from the protected entrance to the open southern elevation establishes a gradual sequence of concealment and revelation.

Two curved residential wings

The house is divided into two main volumes. The western wing contains the interior living areas, which connect directly with the covered terraces and outdoor spaces. Wide openings allow the kitchen, dining room and sitting areas to operate as part of a continuous zone facing the sea.

The eastern wing accommodates four en-suite bedrooms arranged along an elongated corridor. At its far end, a small lounge frames a focused view of the Paximadia islets and provides a quieter destination away from the shared spaces.

Where the two wings meet, a central skylight introduces daylight from above. The space beneath it recalls the internal courtyard of traditional Cretan houses and acts as an orientation point from which the different parts of the residence become visible.

The ground-floor plan and cross-section published with the project clarify how the curved geometry follows the contours of the plateau. They also show the close relationship between the interior rooms, covered outdoor areas and changing levels of the landscape.

 

 

Stone, concrete and timber

The material palette responds to the raw character of southern Crete. Load-bearing walls of local stone form substantial boundaries, while exposed reinforced concrete extends across both enclosed and outdoor areas.

Concrete slabs continue beyond the glazed façades to create deep overhangs, pergolas and planted recesses. These elements provide shade and reinforce the visual continuity between the interior and the terraces.

Timber introduces a warmer and more precisely crafted layer. Custom sliding shutters protect the bedrooms and filter sunlight through their horizontal openings. The repeated use of stone, concrete and wood across interior and exterior surfaces gives the house a consistent material identity.

Nearly all construction work was undertaken by local craftspeople and crews. Their contribution is particularly visible in the stonework, the board-marked concrete and the purpose-made timber elements.

 

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

Minthis Spa by Woods Bagot stands at the centre of a large wellness resort near Paphos, Cyprus. Positioned on the crest of a hill, the building overlooks the Ezousa Valley and the historic Stavros tis Minthis monastery.

The architecture responds differently to the two sides of the site. Towards the resort’s main square and stepped outdoor amphitheatre, the building presents a controlled and largely enclosed façade. In contrast, its opposite side opens towards the valley and the distant horizon.

 

 

Emerging from the hillside

The wellness centre appears to rise from the sloping terrain. Its fragmented planted roofs form a geometric extension of the landscape, while the low horizontal composition limits the building’s visual impact when seen from above.

The two-storey spa contains 2,100m² of public wellness facilities. Its programme includes eight specialized treatment rooms, four of which have private internal courtyards. A 25m heated indoor pool, a smaller thermal spa pool, a gym, a yoga room, a relaxation lounge and body-treatment areas complete the main facilities.

A further 700m² service level is located at the base of the building. Reserved for staff, it accommodates the spa’s supporting functions without interrupting the sequence of spaces used by visitors.

From the square to the courtyard

Visitors approach the spa from the resort’s central square along an outdoor route. On this side, a grid of standardized exposed-concrete volumes creates a protective façade. Gaps between them allow climbing plants to grow across the surface.

The concrete grid is interrupted at the entrance, where glazing reveals the central courtyard beyond. Here, a vertical garden of aromatic local plants is arranged within black metal containers. Their repeated geometry echoes the pattern of the external façade.

This planted courtyard forms the spatial centre of the project. It leads towards the reception and lobby, while maintaining long views across the resort and the surrounding terrain. A white Volakas marble reception desk stands against exposed concrete, accompanied by a wall-mounted ceramic composition. Timber surfaces across the walls and ceilings soften the concrete structure, while grey stone defines the floor.

 

 

Graduated levels of quiet

The internal programme is divided between two wings according to the degree of quiet required by each function. The two pools and gym are placed to the left of the courtyard. On the opposite side, the treatment rooms follow a linear arrangement that supports greater privacy and acoustic separation.

Four treatment rooms incorporate private open-air courtyards. These enclosed spaces bring daylight, vegetation and fresh air into the treatment areas without exposing them to the wider circulation zones.

Towards the valley, the principal functional volumes are emphasized by substantial frames of untreated natural limewood. Transitional spaces occupy the intervals between them. Openings reaching up to 5m in height frame views of the green landscape and draw daylight deep into the building.

Materiality and framed views

The interior combines natural timber battens, board-marked concrete and grey stone in both polished and rough finishes. Natural and artificial lighting reveal the differences between these surfaces, while reinforcing the visual axes towards the exterior.

The indoor pool is positioned directly beside full-height glazing. Reflections from the water extend the view into the landscape, while the timber-lined ceiling introduces warmth to the space. Elsewhere, darker corridors and treatment areas create a gradual transition towards more enclosed and private rooms.

Furniture and decorative elements follow the same material approach. Soft organic forms, woven surfaces, timber and heavily textured fabrics balance the geometric structure of the architecture.

 

The project was first published in print in ek magazine 281 | October 2023, a monthly issue by ek Architectural Publications.

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.

Small-scale inhabitation

The two-family house was constructed on a small, narrow, and elongated plot between two existing -and quite mundane -buildings, situated in the coastal city of Agios Nikolaos, in Crete.

 

Design Philosophy

With the only volumetric possibility being the treatment of the building’s main façade, the design concept from the beginning sought a small scale approach befitting the size of the plot. It focused on the archetypical elements of a traditional residence: the pitched roof and the open external staircase, as reminiscent of the houses in a small village where external stairs lead to the “upper floor”.

This small scale approach engages in a dialogue with the overall character of the town, where nature prevails, and emphasizes the value of minimal design against the phenomenon of intense and rapid urbanization -a common issue found in highly touristic areas in Greece.

 

Functional Layout

The first residence is developed on the ground floor and features a courtyard for ventilation and outdoor living. The second one is developed across two levels, comprised of a first floor  and an attic. The entrance to both residences occurs through a secondary, shared courtyard, facilitating daily “conversations” amongst tenants. Specifically, residents can communicate both through the front courtyard and as well as via the numerous balconies.

 

Materials & Morphologies

The building is constructed with reinforced concrete, which remains exposed throughout the house interior. Two cantilevered volumes protrude from the main façade, creating small canopies that shelter the staircase and balconies. One of them enters the interior of the residence, emphasizing the continuity between inside and outside, while interrupting the double-height living room space and forming a cozier interior.