Spatial Seams at the Edge

The project proposes the activation of the northern part of Karpathos through a network of existing and new hiking and maritime routes, forming a unified spatial narrative that transforms movement into an experience of reflection and discovery.

 

Surveying the Landscape

The study focuses on revealing and activating the northern part of Karpathos through a network of routes connecting four key locations: Avlona, Vroukounta, Tristomo and Saria. These individual sites form a cohesive spatial narrative, where movement is not merely a transition but a process of experiential understanding of the landscape.

A key element of the approach is the systematic observation and analysis of the site, leading to the creation of a “lexicon of the place.” This tool operates as a methodological foundation for the design process, enabling the interpretation of the landscape’s characteristics and their translation into architectural gestures. The interventions emerge as “spatial seams,” subtly integrated into the environment, emphasizing the transitional and fluid nature of the experience.

Architectural Interventions

The proposed interventions form a system of points that activate the landscape without altering its character. In Avlona, “The Threshing Floor” is organized as a square–amphitheater, inspired by the traditional form of the threshing floor, functioning as a gathering place and a starting point for routes. Beneath the ground, a rainwater collection reservoir is integrated, reinforcing the relationship between architecture and the productive landscape.

In Vroukounta, “The Trace” is shaped as a space for information and contemplation. The composition draws references from the carved monuments of the area, with a grid oriented toward the necropolis. Vertical cuts pierce the ground, allowing light to penetrate and create an intense spatial atmosphere, where information transforms into reflection on memory and mortality.

In Tristomo, “The Rift” is positioned opposite Saria, reinforcing the condition of transition toward the island. Through the gradual lowering of the existing path, a protected space is created, where walls and incisions shape a controlled interplay of light and shadow. At the end of the route, the framed view of Saria becomes the culmination of the experience.

Design Philosophy

The central aim of the proposal is the assimilation of the interventions into the landscape, enhancing the experience of the visitor while revealing the cultural richness of the area. The composition forms a narrative journey, where the visitor is invited to listen, learn and experience the place as a living entity.

Architecture does not impose itself but operates as a medium of revelation. Based on primordial forms and spatial principles, it translates the landscape into experience, where memory is activated through the sequence of spaces. It is a compositional approach in which the human presence recedes, allowing the place to speak, forming a journey through fragments of memory and physical presence.

 

New connections

Eleftheria Square lies adjacent to the Venetian walls and the dry moat that surrounds Nicosia. These distinctive defensive fortifications, originally built during the Middle Ages and extensively restored by the Venetians in the 16th century, define the historic core of the capital, separating the old city from the newer districts that developed beyond the walls.

 

Urban Design Strategy

The transformation of the square into the city’s primary gathering space is based on the creation of new connections intended to contribute to the reunification of the divided capital. The design secures unobstructed views toward the historic walls, establishing them as an integral component of Nicosia’s identity, while simultaneously opening the moat to public uses, allowing it to host festivals and outdoor events.

The project elevates the level of the moat to form a bridge that connects organically with the surrounding urban fabric, creating a new civic square at the heart of the city. Within this framework, extensive archaeological excavations were carried out, alongside conservation and protection works for the historic Venetian fortifications. The project also includes the creation of two cafés within the square and the construction of a new underground parking facility, accessed from Omirou Avenue.

 

 

Elements of Circulation

Staircases and elevators directly link the square with the Solomos Square bus terminal, reinforcing the functionality and permeability of the area. The transformation of previously inaccessible areas within the moat into plazas, gardens, and palm-lined pedestrian paths establishes a new “green belt” around the city.

This belt has the potential to extend along the historic fortifications, forming a continuous network of public spaces that encircle Nicosia and reconnect the communities of the divided capital. In this way, the square acts as a catalyst for the activation of public space, offering new opportunities for social interaction and urban life.

 

 

Materiality & Lighting Design

Within the broader vision of transforming the moat into an urban park, the project’s fluid geometries emerge from the triangulation of the irregular forms of the fortification perimeter. Points of spatial intensity are transformed into seating areas, planting beds, or water elements, shaping a dynamic urban landscape. Granite paving introduces a sense of timeless solidity, while the open joints between the slabs function as a passive system for stormwater drainage. Newly planted trees contribute to the natural regulation of water levels, reducing erosion around the foundations of the medieval walls.

The upper-level bridge and its supports are constructed from sculptural concrete forms that ensure seismic stability, while the bases of the columns are shaped to function as integrated seating elements. Through this transformation, Eleftheria Square emerges as the largest urban public space in Nicosia. By bridging the Venetian walls and the moat, the square becomes a significant gateway to the old city, while the underground parking facility removes vehicular traffic from the historic center, facilitating its future pedestrianization. In this way, the project enriches the urban landscape of this historic district while simultaneously creating new public gardens and gathering spaces for residents and visitors alike.

Finally, the lighting design reinforces the square’s fluid geometry and acts as a spatial guidance system during the evening hours. Linear lighting elements are discreetly integrated along the contours of the curved surfaces and bridges, emphasizing the dynamic morphology of the composition and enhancing the legibility of the structure within the urban landscape. At the same time, low-intensity lighting fixtures embedded within the paving create a subtle “field of light” that follows the geometry of the circulation paths and areas of pause. This approach highlights the plasticity of the concrete surfaces, enhances the sense of safety, and transforms the public space into a nocturnal landscape where light operates both functionally and atmospherically.

 

 

Winner of the European Prize for Urban Public Space 2024 in General Category

The project embraces the memory of the site through its materiality. Specifically, rubble from the Second World War that has shaped the mound is transformed into concrete to create the park’s new structures.

 

Existing Condition

The Uprising Mound, which was as dumping ground for the rubble of the city during the Second World War, is located in one of Warsaw’s most central districts and a rapidly growing residential area. In the 1990s, a memorial was erected on the top of the mound with symbols of the Polish resistance movement, turning the site into a venue for annual commemorations.

 

Design Approach

Efforts focused mainly on adapting the mound to the needs of all users. Due to the complex terrain, this required the creation of footbridges and artificial gullies. With the help of concrete specialists, technology was used to make concrete from the rubble, applying modern circular economy criteria. The slopes of the resulting gullies resemble the geological layers of an anthropogenic mound. The project also included recreational features, with the design of numerous resting and walking areas, including a children’s playground.

 

Landscape Design

In terms of vegetation, a planting plan was developed in collaboration with a specialist in phytosociology. This was based on an analysis of the natural processes initiated by pioneering and invasive species, followed by a model for new ecosystems. As part of the education and outreach work, an outdoor exhibition on the reconstruction of Warsaw -and the new type of landscape it created- was set up in collaboration with a historian and a nature educator.

 

Urban Impact

The project has strengthened the local population’s sense of belonging, who now have a better understanding of its history and can appreciate the use of the rubble that formed the mound. In parallel, the design offered the city with a new green space that is resilient to climate change by employing an array of landscape management strategies and improving the access to the park.

Stepped terraces

The project involves renovating a 240m² residence as well as designing its 600m² exterior space, which is situated at the base of Mount Penteli. It tells the story of a Greek-Canadian architect, who is in search of understanding the intricate relationships between people, objects, and landscapes.

 

Landscape Design

The stepped terraces reflect romantic ideals of exploration and discovery, using the concept of travel as a guiding design principle. A newly introduced path breaks away from the rigidity of linear and confined boundaries in earlier designs, offering a fresh and original journey. Although the courtyard is modest in size, this intervention, paired with strategic visual barriers, transforms the landscape into a series of unfolding experiences, enhancing the sense of continuous discovery.

 

Architectural Elements

The overall scene has a surreal quality, with the exterior framed by columns, oversized benches, small windows, and a distinctive waterfall. The stairs and terraces are crafted from hammered white concrete mixed with crushed local aggregate, evoking the textures of nearby riverbeds and the historic Pentelic marble. The whitewashed vertical walls serve as blank canvases, highlighting the surrounding landscape and accommodating the dynamic activities within the garden.

 

Open-plan Layout

The functional spaces are arranged in an open L-shaped floor plan, encompassing the living room, sitting area, dining room, and office. On the first floor, the layout includes bedrooms, additional offices, and bathrooms, creating a harmonious division of private and communal areas.

Green revitalisation

The project focuses on the redevelopment of Feidas Square in Lambrini, covering a total area of 16,343m², which includes the square itself, along with its surrounding streets and sidewalks. The goal of this revitalisation is to transform the area into a vibrant, sustainable urban hub that enhances the quality of life for residents while fostering a stronger connection with public spaces, in harmony with both nature and the urban environment.

 

Design Philosophy

The square is currently in a state of significant disrepair, with issues such as cracked flooring and abandoned retaining walls, neglected dirt paths, a lack of low greenery, narrow sidewalks, and insufficient signage. The proposal seeks to address these problems by improving the environmental, functional, and aesthetic quality of the square, while also creating a modern, welcoming urban space that promotes greenery, recreation, and play.

 

Architectural Approach

The design preserves the square’s existing layout, with the central area featuring a hardscape formed by a 4mx4m rectangular grid. This grid is created using continuous rows of marble blocks, while the resulting paved sections are distinguished by a mix of “cool” concrete and marble blocks arranged in three distinct patterns, along with raw concrete poured in two different shades. The repeating and alternating squares form a cohesive geometric backdrop of textures and colors. Tree canopies, both existing and newly planted, are integrated into the design, bordered by one or more rows of cobblestones arranged in concentric circles.

 

Public Uses

In the central area, the flooring is distinct and features ground-level water jets, surrounded by a circular seating area. A playground is created in the northeastern section of the square, while the existing basketball courts are preserved. The dirt paths are redesigned with varying widths, and new public amenities are added, including benches arranged in groups within shaded areas.

The perimeter sidewalks are expanded to provide more comfortable and safer pedestrian conditions, with new rows of trees added along their length. Traffic management measures include implementing one-way streets, reducing vehicle speeds, and organizing and limiting parking.

 

Sustainable Design

A primary planning goal is to combat the urban heat island effect through “blue and green” interventions. This is achieved by reducing hard surfaces and expanding planting areas to foster lush vegetation and natural stormwater management. Retaining existing greenery, along with introducing a substantial number of new trees and low plants, provides ample shade and lowers temperatures in warmer months. Enhanced planting diversity not only improves the microclimate but also boosts biodiversity, enriching the urban ecosystem.

In addition to serving as a recreational feature, the floor jets also function as a cooling element, particularly during the summer months. New led lighting and recycling initiatives are introduced to minimize the environmental footprint. Moreover, traffic regulations and the installation of bicycle parking spaces promote increased bicycle use.

Doxiadis+ is an architecture and landscape architecture consultancy founded in Athens in 1999 by Thomas Doxiadis, one of the pioneers in this field when landscape architecture was virtually unknown in Greece. Over the past two decades, the firm has experienced significant growth, building a dedicated team of 30 specialists and earning international recognition. Through its projects, doxiadis+ has played a key role in shifting public perceptions of landscape architecture. The firm’s approach seamlessly integrates practice with research, guided by core principles that have been fundamental since its inception: ecology, biophilia, and people-centered design.

 

S.M: With a background in architecture from your early studies, when did you first discover landscape architecture, and how soon did you decide to explore the opportunities it presented?

T.D: I began my studies in architecture at Harvard, where the department was closely linked with landscape architecture. As I observed my fellow students working, I found their creations and forms more intriguing than what I was doing as an architect. After completing my degree, I decided to pursue landscape architecture, even though at the time, most people had little understanding of the field. This fascinating discipline offered me a deeper insight into the symbiosis of species, the significance of biology and ecology, and a more holistic perspective on the planet’s ecosystems.

As an architect, I have a desire to build, to create structures that endure long after I’m gone, since architecture often seeks to leave a monumental legacy. However, as a landscape architect, I recognize the beauty of landscapes and how they are impacted by construction. From this perspective, the less we intervene in the landscape, the more harmonious our relationship with it becomes. At the same time, it’s important to acknowledge that landscapes evolve over time -they are living entities, made up of organisms, including us. To live in harmony with nature, we must respect its dynamic, ever-changing nature.

 

S.M: What led you to choose Greece as your base, especially at a time when landscape architecture was largely unknown? How have your clients evolved since then, and how have you changed?

T.D: Until recently, the combination of landscape architecture and traditional architecture seemed almost prohibitive. When I returned to Greece from the US in 1997 and spoke about landscape design, I was often met with astonished looks, as if people didn’t quite understand the concept. However, over the past 20 years, there has been significant progress on many fronts. At every step, doxiadis+ has played a key role in shifting this mindset, both through our projects and the lectures we give in Greece as well as internationally.

Let me share a personal example: During the 2004 Olympics, I worked on the Organizing Committee as the Green Officer and Director of the City Image Sector. Before 2004, it was common for municipalities to plant palm trees everywhere, but soon after, they shifted towards planting olive trees. In the early days, sustainability and landscape architecture may have seemed like a distant vision or even a luxury at the office level. However, we have since built strong relationships with major companies in Greece, as well as with both Greek and international private clients. We now undertake projects such as the Elliniko Metropolitan Park, the redevelopment of industrial areas, urban regeneration, the creation of public spaces, and holiday homes.

 

S.M: Which projects do you consider as milestones in your career and why?

T.D: The project I’m most proud of is building a team of passionate, skilled collaborators based in Greece, with whom we are establishing global leadership in ecological architecture and landscape design. One of our flagship projects is Landscapes of Cohabitation -350 acres of stunning Cycladic landscape with villas in Antiparos, which began in 2000 and is still ongoing. At the time, using native plants drew curious looks. This project has given us the opportunity to deeply explore the relationship between humans and nature across space and time, while conducting research and experiments that have honed our expertise. As a result, it has earned several international mentions, including being a finalist for the prestigious Rosa Barba Prize for landscape architecture, and has been featured in the Financial Times.

Unfortunately, in Greece, there is a mindset where “green” is viewed as merely an addition. As architects and landscape architects, we design everything from buildings to urban spaces, parks, and gardens and treating space, concrete, stone, water, plants, and people as interconnected elements of a living environment -especially in the face of climate change. With this approach, we are considering a series of projects in Athens, where targeted efforts through specific initiatives aim to deliver significant results in both ecology and quality of life.

On Strefis Hill, we preserve all existing elements, adding only what is necessary to make it more vibrant, healthy, beautiful, and accessible for all ages. In our Elliniko projects -such as the Marina Tower, streets and sidewalks, small squares, and the first phase of the Metropolitan Park- we are exploring how the city of the future can be more humane and ecological. At Plato’s Academy, we are discussing how an archaeological site can also function as a neighborhood park, and how the ancient can harmonize with the present.

 

Read the full interview at the 265 | March 2022 ek issue.

Active core

Located in the outskirts of the ‘Potos’ settlement in Thasos Island, the project’s aim is to create an active, central “core” around which all spaces are organized.

 

Spatial Organization

A central atrium, filled with water, becomes the focal point of the complex, hosting all outdoor activities. It serves as a pivotal element in the design process acting as a void that contrasts the solid, consecutive volumes. The “empty” core allows ample natural light as well as cross-ventilation to enter the interior, while at the same time serving as an outdoor circulation space.

 

Architectural Morphology

Four minimal and elegant volumes are seamlessly integrated with the existing context. They are comprised of a restaurant and four housing units, spanning in two levels, with an array of semi-private gardens on the ground floor. A series of strategically positioned openings foster a dynamic relationship between the interior and exterior, blurring the boundaries between the two.

 

Material Selection

The materials follow the traditional Greek island aesthetic: the walls are clad in local stone and white plaster, while the interior floors are covered in light grey tiles. Wood is used as an accent element in window frames as well as furniture. Finally, pergolas made of timber and wicker provide ample shade to the outdoor spaces.

Folding structures

Inhabitants of the Arabian Peninsula have a long-standing tradition of travelling to seaside or desert destinations during the holidays and setting up temporary infrastructures for leisure and relaxation.

 

Roof Structure

The projects aim is to conceptually create a sense of “gathering” in a five-holiday-house-complex, by designing a lightweight and discrete shelter structure. An elegant, “folded” roof made of white concrete becomes the most characteristic element of the design, while providing protection from the sun and wind. Additionally, the roof is perforated in certain parts, allowing sunlight into the interior spaces, while a series of rectangular cuts offer stunning views of the sky.

 

 

Exterior Design

The exterior ground floor includes communal spaces for social gatherings, featuring a lounge and dining area as well as a pool surrounded by ample vegetation, reminiscent of a calm and peaceful and oasis. The outdoor gardens meet in two communal, double height shaded spaces that visually connect the residence’s interior with the beach, and at the same time, further accentuate the main façade.

 

 

Accessibility & Privacy

The interior spaces are oriented towards the central “green oasis,” creating a seamless connection with the surrounding context through a series of expansive openings. This design maximizes openness and transparency, offering unobstructed views towards the beach. In contrast, the sections of the residence that are adjacent to the street are predominantly solid, ensuring a high level of privacy. By striking this balance, the design not only fosters a tranquil and open living environment – characterized as both a desert camp and a beach house – but also provides a sanctuary from the bustling street, enhancing both comfort and seclusion.

 

Successive levels

Close to the Sivota settlement, three luxury holiday residences are developed on a verdant hillside, each one situated on a different level to ensure privacy and provide uninterrupted views of the sea.

 

Spatial Organization

The largest ground-floor residence is situated at the top level, featuring three en-suite bedrooms and a spacious open-plan area that includes the living, dining, and kitchen. A loft spanning across two of the bedrooms, contains an additional en-suite bedroom, accessible via an internal staircase. The two smaller residences are organized in a similar interior layout and are positioned successively on lower levels.

 

Landscape Design

The exterior spaces include a series of relaxation areas, such as a swimming pool, lounge, dining as well as barbeque area. A long pathway created by consecutive retaining walls provides access to all the residences. Finally, the three buildings are designed as undercut structures, achieving perfect integration and harmony with the surrounding natural landscape.

 

Material Palette

Natural stone, plaster coating, a ceiling made of exposed concrete and dark wood are the dominant materials of the design. Finally, a series of vertical louvres act as sliding screens, controlling the natural light entering each residence.

Environmental symbiosis

The new park at the Elliniko airport site offers a glimpse into the envisioned lifestyle of the Athenian Riviera. With the city’s seafront in view, the park showcases a harmonious blend of ecological management and social planning.

 

Design Philosophy

At the heart of the Experience Park lies the concept of symbiosis, i.e., fulfilling the needs of both humans and nature. This approach ensures that both “worlds” remain healthy and mutually supportive within a framework of harmonious coexistence, safeguarding the planet’s future well-being. The park’s design and implementation are guided by principles of ecology, biophilia, and human-centered design.

 

Morphological Characteristics

The park is open and accessible to all, featuring spaces suitable for all ages, along with geometries that foster human contact. The 75-acre project includes over 500 trees and 50,000 plants, four public squares as well as four different green areas.

The design of the park meticulously preserves the airport’s natural and built elements, creating a dialogic framework that highlights and reveals its distinct features. The project’s uniqueness is evident in its soil management, which is preserved and enriched to enhance fertility. Additionally, existing plants and trees are retained and supplemented with native species, showcasing the beauty of Attica’s nature.

The existing floors are extensively preserved and carefully restored. The removed pieces are reused and transformed into sculptural configurations that accommodate the use of temporary outdoor seating.

 

Sustainability Approach

Small, new buildings are constructed from lightweight and eco-friendly materials, thus reducing carbon emissions from the park’s construction. Landmarks such as a distinct water feature and a playground designed in collaboration with a toy manufacturer -following the latest approaches to experiential learning- become new park attractions.

The project is proactively preparing for climate change by aiming to reduce carbon emissions during the park’s construction through extensive reuse of materials. Finally, it ensures that the entire park remains functional even in a warmer climate.

Monochromatic Sculpture

The project is about a contemporary 700m2 residence with stunning sea views, surrounded by a 100-year-old natural park. The design is minimal and is comprised of consecutive monolithic volumes, which are seamlessly integrated with the landscape topography.

 

Building Morphology & Materials

The architectural form is emphasized through dynamic rigid lines, which frame the views of the surrounding landscape. The elevations oriented towards the street are completely solid, whereas the ones facing the panoramic views are adorned with glass. The residence’s exterior is painted in a soft white color that contrasts the surrounding greenery and the tall cypress trees. The lower level that leads to the garden and the main swimming pool is clad with local stone, visually “grounding” the building and distinguishing it from three upper floors.

 

Functional Organization

The ground floor houses a gym and a hammam and has access to the exterior swimming pool. The first floor is an open plan space that includes the kitchen, dining room and living room as well as a large terrace with an impressive shallow pool with a glass bottom. This intricate design solution fosters a dialogue between the two floors. Additionally, the water is reflected on the transparent surface, creating an interplay with the sunlight and casting shadows to the monochromatic façade. The building’s third level is comprised of blocks housing guest bedrooms, while the fourth level features a master bedroom complete with a private terrace. External and internal staircases have been meticulously designed to facilitate convenient accessibility routes and enable independent use of each level.

 

Guesthouse Design

Prior to the project’s start, the clients acquired an adjacent site extending horizontally along the sea and adjoining the main property on the left side. On this secondary plot a compact yet fully equipped, self-sufficient guesthouse with an entertainment area was constructed. The aim was to create a cohesive ensemble of two buildings and to carefully design the shared spaces and connections between them.

An external staircase leads from the parking lot to the main pool level and eventually stops at the front of the guesthouse, where a small lounge is positioned. The entertainment area is intimate, cozy, and entirely secluded, ensuring privacy from the main house. Both residences utilize a shared material palette such as locally sourced stone masonry and light concrete slabs, fostering a sense of unity between the two buildings.

Life in the in-between space

The complex consists of three residences with private pools built on a lush hillside. To accommodate the steep terrain and maximize ocean views, the buildings were strategically arranged in parallel, staggered formations, guaranteeing uninterrupted views from every level.

 

Design Morphology

Each house consists of a monolithic stone block with an inset single-pitched roof, parallel to the other two buildings. The distance between them creates intermediate spaces, such as entrance courtyards and terraces that are oriented towards the sea. A series of openings in the inner courtyards provide panoramic views of the sea and the pool terrace, facilitating visual connections between the primary outdoor living areas that surround the space. This duality between the two main living spaces and the residence in the middle was a key design theme: two courtyards used during different times of the day, in visual and functional continuity with the interior of the house, overlooking the sea.

 

Interior Layout

In its interior, the house is divided into three levels, following the slope of the ground. At the main entrance level there is an open-plan space, which includes the living area and kitchen. At its center, a wooden staircase leads to the attic of the first two houses, acting both as a visual divider between the spaces as well as a built-in sofa with space for storage.

 

Natural Materials

The most predominant materials are stone, excavated from the site, wood and lightweight metal structures. The contrast between the metal elements and the large glass openings with the solid stone walls, highlights the composition and offers a sense of lightness to the space.

Natural volumes

The building consists of four apartments located on the ground and first, while the underground spaces serve as garages and storage rooms. The aim of the design is to integrate the building with the distinct Aegean landscape.

 

Design Philosophy

The orientation and outline of the plot plays a decisive role in the design composition, due to its elongated shape as well as the way in which it faces the sea. Consequently, the residences are carefully arranged to provide views to the landscape through all communal interior spaces. The rigid building volume is placed at a distance from the eastern boundary to make up for the plot’s height difference and ensure access through a series of “green” courtyards -the walls of which follow the sloping topography.

 

Interior Organization

A communal staircase becomes the central core around which the four residences are organized. An important factor influencing the spatial layout is each flat’s distinct orientation. The northern volume “slides” to the west and maximizes the amount of natural light entering the communal areas, while south window openings provide natural light to the more private spaces of the building.

 

Material Palette and Vegetation

The building is cladded with natural materials such as local stone and wood, while the outdoor spaces are planted with dense vegetation placed in custom flower basins casted with concrete. The local materials and careful landscape design complement the building’s distinct morphology, successfully integrating it with the existing topography.

Dialogue with nature

The house, with an area of 600m², is arranged in three levels, built on a steep slope in Tala.

 

Design Philosophy

The lower level contains the entrance along with the bedrooms, an office, a home cinema, and a wine cellar. The main pool is also located on the main level. The second floor hosts the main areas, which include the living room, dining room and kitchen. The master bedroom, which has a recessed planted roof, occupies the top floor. A wide range of semi-outdoor spaces are placed in various areas and in different orientations, complementing the building and extending its functions towards the exterior spaces throughout the year. The design pays close attention to the coexistence and dialogue with nature, manifesting through sustainable and bioclimatic solutions.

 

Sustainable Approach

The prevailing western winds are cooled down by passing through the shaded garden and water features, picking up water vapor created by the main pool as well as a waterfall from the upper pool. Afterwards, they rise through the two-storey entrance area before returning to the environment through a series of small openings at the top of the space. Perforated aluminum panels shade the large windows from direct sunlight and then retract to maximize the view of the surrounding natural landscape. They are painted on the same off-white color as the building’s walls and create a temporary sense of enclosed volume that disappears when they are open, giving the feeling of a façade that is constantly moving and following the sun.

 

Landscape Design

The engraving pattern resulted from the digital processing of an image taken from the forest and gives the impression and transparency of a vine. After undergoing through a biological process, the wastewater is led to the irrigation and domestic use systems, feeding a natural pond found at the center of a small pavilion. Native species were primarily planted to become seamlessly integrated with the landscape over time, while the careful design ensures the enjoyment of every corner and route within the site. An automation system subtly regulates the residence’s operation consuming almost zero energy. Lighting and music complement the overall spatial experience.

The beauty of imperfection

Located in the Bay of Korfos, on the western side of the island of Mykonos, the project is a new luxury hotel proposal focusing on authenticity and expressive simplicity.

 

Contemporary Minimalism

The design philosophy revolves around sleek, contemporary spaces interrupted by the juxtaposition of raw, unrefined materials in specific areas, offering a delightful contrast. Faithful to the concept of contemporary minimalism, colors, shapes, and textures avoid excess, leading to a balanced composition that exudes a sense of calm and serenity.

 

 

Space Planning

The hotel offers unobstructed views of the sea. The main building houses most public areas, including the reception, the lounge and the dining room, a small showroom and a bar, as well as the majority of the rooms. The more spacious rooms are strategically positioned along the building’s perimeter, while the diverse range of typologies offer varying spatial qualities and opportunities. Each room has a private outdoor area with an exclusive swimming pool or jacuzzi, depending on the level it is located. The wellness centre is situated on the second floor, separated from the other public areas.

 

 

Façade Design

The wooden façade wraps around the facilities and blends smoothly with the natural landscape. The restaurant and the communal swimming pool are nestled along the hillside, adjacent to the main building. Both the dining and the seating area face the surrounding landscape, enjoying views of the lush garden and the sea.

 

 

Natural Light

In the interior, a key element of the floor plan is the impressive atrium in the center of the building, which connects three different levels as well as organizes the various uses, creating an atmospheric play of light and shadow. The light emerges from organic-shaped holes in the ceiling and is reflected on a water surface on the ground floor, leaving an imprint along its path.

 

Hyperbolic structures

The building is part of a large campus -managed by the Eugene Eisenman Avifauna Foundation- immersed in the Panamanian tropical rainforest. It offers a series of ecotourism facilities such as an observation tower and a visitor’s center that showcases the area’s natural heritage. The shelter functions primarily as a tour guide training center.

 

Design Morphology

The project consists of two primary elements: an elevated, open-plan wooden platform, which acts as a place of gathering, teaching, and food preparation, as well as a large gable roof that is the design’s main morphological feature. The roof is supported by two main columns and a central beam, forming two hyperbolic polaroids, thus achieving a free and flexible effect. Being a highly durable material, rigid thermopanel sheets are used as roof cladding.

 

Landscape Integration

The shelter maintains both a visual as well as an emotional relationship with the forest. Its architectural design is minimal yet accounts for all the essential functions needed to inhabit the space. During the day, it provides shading through its intricate roof design, while at night, a series of indirect lights illuminate the wooden platform.

 

Social & Cultural Impact

The project’s construction greatly impacted the social and cultural heritage of the area. Using the local workforce and expertise to materialize the design has resulted in making this site an educational destination. It has become a learning center for ecotourism and environmental sustainability within the scenery of Panama’s tropical rainforest.

Earthly tones

The hotel complex consists of ten suites, divided into tree distinct typologies. The design’s focus is to harmonically blend the building with the immediate landscape and the local architecture.

 

Design philosophy

The building integrates seamlessly with its surroundings through the incorporation of earth-toned limestone on its exterior, as well as natural stone coatings and custom-made wooden pergolas that complement the outdoor space. Large openings were incorporated into the building’s facade to allow natural light to enter the space and offer unobstructed views of the sea or mountains.

 

Typologies

All suite typologies include a spacious bedroom, fully equipped kitchen, a comfortable living room and bathroom. The suites vary from 55-75m2, some offering views to the mountain others to the sea. The deluxe suites, 75m2, are spread over two floors: on the first floor there is the kitchen, living room, a bathroom, and the private pool, while the basement includes the master bedroom, an additional bathroom and a free-standing bathtub situated against a rock-framed backdrop, overlooking the private pool. The junior suites, 55m2, have mountain views as well as a private pool, while the suites located on the upper level have panoramic views of the island of Kelyfos as well as an outdoor hot tub.

 

Interior material pallet

The interior design is quiet and unobtrusive, featuring a palette of textures and colours in earthy tones, clean geometric volumes, and simple lines. Specifically, a user and environmentally friendly concrete coating is applied, complemented by custom-made furniture crafted from reclaimed oak, and carefully selected natural fabrics. All the above, combined with the statement decorations and minimalist light fixtures, offer a sense of harmony and relaxation to the space.

 

Landscape design

Regarding the landscaping of the surrounding area, the selection of plants is intended to cultivate a tropical landscape that harmonizes seamlessly with traditional Greek elements. The plants include bamboo, palm trees, stipes as well as Greek herbs such as rosemary and lavender, promoting a naturalistic identity to the hotel.

Carving the landscape

Located in a 3000 m2 plot, the Dragon Mountain Tourist Centre fosters a symbiotic relationship between building and landscape and redefines the approach towards vernacular architecture.

 

Architecture in context

The design considers the complex natural context, adapting to its topography by creating five distinct, fragmented buildings organized around a small square. Their form is clean and curved, varying in height, crafting a dialogue between solids and voids. The constructed empty spaces, frame a series of landscape perspectives of the mountain. The site is split into two separate lanes; the first one directing the visitor up towards the mountain and the second descending towards a small grove filled with trees and two small ponds.

 

Entrance gate

In China, entrances to modern touristic sites follow a standardized sequence: a public square with a sculpture at its center followed by an entrance gate constructed in traditional style and finally a ticket counter, information, and welcome center. In this project, the entrance gate is incorporated into the architectural composition, housing the ticket counter and security staff area. Its form is both architectural and sculptural, acting as a visual landmark for visitors. The gate is composed of a series of curved walls – a reminder of the fortifications that surrounded the ancient Chinese cities – which also define the public square. Following the form of the five buildings, the walls vary in height, creating an interplay within the vertical space. They create a series of thresholds, that allow the visitor to gradually discover the different entrances to each building.

 

Materials

Stone cladding is the project’s material protagonist, used to delicately integrate the design with the surrounding landscape and local architecture. Additional “earthly” materials used are raw concrete as well as screens constructed with natural bamboo that create a subtle layer between the heavy stone elements and the transparent glass façade.

Harmonious dialogues

Hidden within the garden of the Goulandris Museum, the new restaurant harmoniously intertwines with the natural context unfolding around it, creating a field of dynamic yet gentle transitions in space and time.

 

Design philosophy

The distinct garden, formed by small aromatic plants and colorful flowers to tall perennial trees, surrounds the enclosed space, which is the focal point of the composition, and creates an overall immersive experience. The driving force behind the design was an ongoing connection with the experience of the Natural History Museum, while the fossil, a concept that is both contemporary and ancient, emerged as a key element of inspiration, reflected in the materials used, the plasticity and form of the volumes, the choice of colors and the overarching spatial intertwinement.

 

Connecting the indoor and outdoor spaces

At the entrance, the minimal lines and the purity of the design are enhancing the garden’s vibrancy, leaving an impression on the visitor’s mind. The boundaries are blurred, thus creating strong connections between light and shadow, liquid and earthly elements, interior and exterior spaces, preserving however the distinct character of each design component. The simplicity of the interior is enhanced by natural elements and materials, while the presence of art and elegant textures compose a space that simultaneously flows as well as blends with the garden.

 

Material Pallet

Distinctive stones, rough marble surfaces and dark, natural wood are the main materials of the interior space. At the heart of the composition, a majestic marble monastery table instigates moments of culinary experiences, conversations, encounters and sensations, while seamlessly interacting with the exterior surroundings through a large glass window. Small details, decorative objects, special lighting and an eye-catching bar complete the experience.

 

Designing the exterior space

Upon entering the outdoor space, the immersive experience of nature is emphasized through organic canopies casting dappled shadows, the sound of water cascading down linear waterfalls, the prominent pond as well as the majestic and carefully curated flora found in places of particular beauty. Artworks strategically placed throughout the space complement and enrich the overall composition. The shading elements and spatial features draw inspiration from the surrounding environment, while their radial cross-sections, color schemes, and designs are meticulously crafted to ensure a seamless integration with the natural surroundings.

Helical route

The house is located on a steep slope, at the eastern slopes of Pantokrator, on the northeastern side of Corfu, in a stepped olive grove, benefiting from the midday view to the bay of Nisaki and across to Corfu Town.

 

Design philosophy

The route from the coast to the olive grove follows an uphill course on narrow roads that constantly wrap around stone terraces. The layout of the house is “Z” shaped, both horizontally and vertically, in continuation of this route. Three long blocks of similar dimensions are placed on the highest part of the plot, to maximize the openings facing the view.

 

 

Building morphology

The ground floor volume is below ground and made of stone, forming a solid base to support the slope behind it, as a continuation of the existing dry-stone walls. The lighter upper volume, is offset towards the mountain, creating canopies and balconies.

In front of them, a second ground floor volume follows a hybrid logic, and has large sliding openings recessed behind walls of exposed concrete, shifted in relation to the rear volumes and creating a sequence of outdoor, transparent passages that alternate and diffuse the boundaries between interior and exterior. The hybrid logic of the two-story spaces enhances the views and maximizes the experience of weather-protected living next to nature.

 

 

Local materials & Roof Design

The material palette attempts to balance the strict geometry of the design logic and the exuberance of the natural Corfu landscape: pebbled floors, local stone, earth-toned cement and black anodized metal elements. Three walls of exposed concrete anchor the building to the landscape and balance the horizontal canopies that extend towards the view. The choice of a flat roof instead of the traditional sloping one, visually minimizes the landscape intervention and contrasts with the steep slope of the land as well as the verticality of the cypress trees, scattered inside the olive grove.

 

Integration into the landscape

The building is located at the foot of the Huangshan (Yellow) Mountain region in the Anhui province of eastern China. It serves as a tourist center providing information to visitors from surrounding villages and consists of a reception area, information desk, toilets, storage space, and staff quarters.

 

Integration into the natural environment

The main design goal was to avoid a “building-object” and to integrate the structure into the landscape both formally, as well as materially. In terms of form, a staircase placed at the north end and one at the south end makes the building continuous with the ground, facilitating seamless circulation from one side of the structure to the other through the roof. As a result of this, the roof becomes an extension of the public space around the tourist center and can be openly accessed for enjoying views of the dramatic mountainous surroundings.

 

Custom-made construction

The majority of materials, such as cedar wood used for the facade ribs, have been locally sourced to minimise their carbon footprint. The panels are designed as closed shapes consisting of straight lines, making them easy to measure (each protruding point consists of one dimension in the x-axis and one in the y-axis) and easily cut by hand by local craftsmen.

 

The function of wooden panels

Formally, the width of each panel varies from one end of the building to the other, with the panels above the central opening being wider to mark the entrance to the building. Another function is also to shade the interior from the low hot sun in the summer, while allowing sunlight into the space for passive heating during the winter.

 

Sustainable architecture

Amidst economic constraints and limited availability of local materials, tools, and techniques, the aim was to create an environmentally sustainable local landmark for both visitors and residents of this remote rural area.

Multiple Traces

A residence and three undercut guesthouses were created on a hill with a strong slope and frequent strong winds, in Plakias in southern Rethymno, The main residence intended for the owners, was designed on the highest point of the plot. The three guesthouses were placed at the lower levels of the study area, with access from the road below.

 

Design philosophy and integration into the landscape

The main request was the orientation of the buildings in such a way that all areas have a direct view to Ammoudi Βay to the south-east and the sea to the south-southwest. The complete integration into the rocky mountain landscape and the creation of a sustainable building exterior, sheltered from the winds of the Cretan mountains, were also some of the main goals. The whole complex follows the same design philosophy and serves the same purposes. Fencing was avoided and additional plantings were kept to a minimum, allowing the local plants to “embrace” our intervention. The materials chosen are the local stone of the area and the mortar – wood in the same shades.

 

Excavations and composition of indoor-outdoor spaces

Μultiple axes were created following the contour lines of the site. Repeated at different levels, they created buildings, diazoms, pools, pergolas and retaining walls, simultaneously creating exterior and interior spaces, with different views and levels of privacy. The use of indoor and semi-enclosed atriums and gardens intensified the separation of zones with different levels of privacy.

 

Functional organization of the main house

The main house consists of two levels. Access is via stairs from the parking area to the east of the building. On this level, the living spaces are separated from the main bedroom and the auxiliary areas by two patios. From there, a staircase leads to the lower level of the house, where two bedrooms, a bathroom and a small living room are located. The outer spaces of the upper level are divided by a garden, into the courtyard areas of the master bedroom and the common areas. In them is located the swimming pool, the outdoor kitchen with dining and living areas. The spaces of the lower level, due to the external access to the courtyard spaces of the upper level, become autonomous. The design of the walls, combined with the slopes of the plot, make access to visitors and animals impossible, while the users are fully protected from the wind.

The three undercut guesthouses consist of living/day areas, and bedrooms with bathroom. There were designed autonomous pools and outdoor spaces as well. Also, they are placed at different heights ensuring unobstructed views and privacy.

 

Underground houses

The three underground guesthouses consist of living areas, two bedrooms and two bathrooms. Externally, self-contained swimming pools and relaxation areas were designed. Also, they were placed at different altitudes, ensuring unobstructed views and privacy.

Typological crossing

The 200m² house is located in a gently sloping olive grove in the southern Peloponnese. The project is formed by a single continuous rippling wall that frames a series of protected courtyards at the extremity of each wing, combining elements of a gallery with a monastery typology of enclosed gardens.

 

Building morphology

The project combines two extreme conditions which complement one another: the courtyards that provide meditative enclosure, and the west wing and roof that, in contrast, offer unobstructed panoramic views towards the sea. The X-shaped massing divides the site into four distinct areas providing the eastern gardens with visual intimacy and variable shading throughout the day.

 

Masonry formation

The wall surface is animated by cast concrete ripples whose amplitude diminishes along the length of the facade. The course of the sun creates a play of shadows throughout the day. The rippling wall acts as a backdrop for tree shadows. The height of the project is constrained to the peak of the surrounding olive trees, whilst maintaining panoramic views to the sea from an accessible roof terrace. In its deployment, the wall elevation varies as it is gradually sunken into the terrain, tapering the height of the facade to 1.2m at the end of each wing. The excavated earth was recuperated to create a tapered transition enabling a softer integration of the project within the agrarian landscape.

 

Functional organization and interior design

The west wing contains the public areas as well as a large opening towards the sea and the south terrace. Internally, each room is extended by a terrace and courtyard. The room wall projects outward and folds to frame a lemon tree. The absence of corners and the continuity of the wall provide spatial expansion. The curved walls frame the changing sky color and light, inducing a strong presence of the sky within the interior.

 

Prefabrication and local materials

The project was constructed by local contractors supported by the architects’ experience with digital design and fabrication of non-standard parts. The architects collaborated with a company specializing in polystyrene products ranging from infrastructure to the fishing industry. This strategy enabled the off-site production using digital hot-wire cutting of important constructive elements such as the concrete formwork used to cast the rippling wall, bespoke lighting elements contained within the ceiling, landscape formers as well as bespoke furniture items. The lightness of the formwork enabled ease of transport and installation in a couple of days by a reduced team. Following the casting of the concrete, all the formwork was then re-cut into sheets and reused as insulation within the wall cavity and ceiling. This strategy allowed for a minimal use of industrially produced building parts, instead favoring a local supply chain. The project made use of locally sourced materials such as concrete, and terrazzo amongst other products from the local marble industry.