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.

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.

Founded in Athens in 2013 by Michalis Kraounakis, k-division is an award-winning architectural firm known for its thoughtful and versatile approach. The studio engages in a broad spectrum of projects, ranging from tourist resorts and private residences to interventions in existing buildings. It offers comprehensive architectural services -from concept development and design to construction supervision and interior design. Central to their practice is a strong commitment to the initial design idea, a collaborative team dynamic, and a seamless approach that connects the overarching concept with its material execution.

 

S.M.: Your studio was established during the financial crisis. What were the key steps that allowed you to transition to larger-scale projects over time?

Michalis Kraounakis: The crisis was a defining period -not just because it marked the beginning of our practice, but also due to the extremely challenging conditions at the time. Fortunately, I brought with me a decade of experience from another firm, having worked on small- and medium-scale projects. That experience gave me valuable tools -both technical expertise and emotional resilience- which proved essential in navigating the challenges.

We essentially started from scratch, investing in our existing client network and accepting projects regardless of scale or architectural complexity. That phase acted as a reset -a chance to reflect on the identity of our practice and build solid foundations. We focused on strengthening our brand, both in name and visual identity, while also organizing our internal operations to meet the demands of the contemporary landscape.

Over time, this cohesive strategy -reflected in both our internal structure and our architectural output- began to bear fruit. When new opportunities emerged, we were prepared, both organizationally and creatively. Our consistent delivery of holistic services and attention to detail at every stage helped us earn the trust of clients and led to commissions of greater scale, as our structured, thorough approach became recognized.

 

 

S.M.: Your work doesn’t follow a standardized style or focus on a specific typology. How do you define your target audience, and how do you communicate your architectural vision?

M.K.: That’s true -we intentionally avoid a fixed stylistic identity. We tailor our architectural language to each project and client, always grounded in our core principles and design ethics. This flexible approach is also evident in our digital presence. Our website, for example, doesn’t follow the typical format of an architectural portfolio. We believe our visitors are looking for something more personal- more “tailor-made.” Our outreach is often indirect, conveyed through the content and atmosphere of the work itself.

We communicate our proposals with clarity and an accessible methodology. While our approach doesn’t radically differ from that of other studios, we make a point of clarifying the final outcome from the very beginning. Floor plans, for instance, are rarely intuitive for clients. Instead, we emphasize visual communication -especially three-dimensional forms- which offer a clearer and more immediate understanding of the space.

From the early design stages, we present the massing and spatial composition of each project, helping clients visualize how it will be built. In an era of information overload and rapid visual consumption, we aim not only to inspire but also to inform. We explain what each proposal entails -design-wise, technically, and financially- essentially “educating” the client in a creative, engaging way.

 

 

S.M.: Your studio is built around a young team. How do you balance personal responsibility with the collective design process?

M.K.: In my early career, I was fortunate to work at a studio where I was entrusted with complete responsibility for significant projects from a young age. That trust played a pivotal role in my growth, and we’ve adopted a similar model at k-division. Young architects are given real responsibility from the outset, within a learning environment grounded in practice. This is exactly how Dorothea Aligianni joined the studio -she is now a vital part of our evolution.

Dorothea Aligianni: We believe that this hands-on approach allows young architects to immerse themselves deeply in the profession. They quickly grasp the demands of the role and experience both the weight of responsibility and the satisfaction of creation. Of course, all work is carried out under the active guidance of more experienced team members, ensuring both quality and direction.

Ultimately, our process is deeply collaborative. Before every presentation, we seek diverse viewpoints from across the team, using internal dialogue to enrich our proposals. This ongoing exchange of ideas enhances the architectural integrity of each project and gives every design a collectively refined identity. For us, maintaining a balance between individual responsibility and collective creativity is fundamental to our architectural practice.

Read the full interview in issue ek 299 | July – August 2025.