Perforated screen

The project concerns the architectural planning and interior design of a boutique hotel unit located on the island of Tinos. The individual unit consists of a 50m² ground floor, incorporating a vestibule, and a 27m² attic level. In parallel, a general masterplan was developed as a proposal for the arrangement of 13 accommodation units across a 15-acre plot.

 

Design Philosophy

The design concept draws direct inspiration from the traditional dovecotes of Tinos, emphasizing their architectural, historical, and cultural significance. The project is grounded in an in-depth study of the dovecotes’ structural logic, morphology, and original function. The proportions, volume, and overall massing of the hotel unit reinterpret those of a typical dovecote, translating vernacular principles into a contemporary hospitality context.

The morphology of the building shell itself evokes the image of a dovecote. The entrance is defined by a “clostra element” – a perforated architectural screen that introduces a strong geometric expression. This feature references the traditional dovecote façade, originally designed as the birds’ point of entry. In contrast, the remaining surfaces are predominantly solid, creating a deliberate tension between openness and enclosure.

 

 

Context Integration

The units are carefully positioned in dialogue with the natural environment, responding to both orientation and topography. The complex is embedded within the landscape, facing the sea approximately 200m away, on the southern part of the island. A key guiding principle was the morphology of the island terrain, particularly its characteristic dry-stone walls, which informed both the spatial layout and the landscape design.

Beyond referencing dovecote architecture, the project aims to reconnect visitors with the land through an agritourism-oriented approach. Cultivation and engagement with the landscape are integral to the experience. Water also plays a central role in the design, reflecting the historical placement of dovecotes near springs or running water. Private pools are integrated into the site, following the logic of the dry-stone walls and unfolding organically across the terrain.

 

 

Spatial Organization

The total interior area of each unit is 77m². Entry is mediated by a vestibule positioned between the “clostra screen” and the glazed façade, ensuring a gradual transition and enhanced privacy. Shading is user-controlled, allowing flexibility in light and openness. The interior is organized as an open-plan space, where curved lines and natural materials foster a nest-like atmosphere that blends seamlessly with the surrounding landscape. On the ground floor, the living area forms the spatial core, flowing into the dining space and kitchen. A circular staircase leads to the attic level, which accommodates the bedroom, an open shower, and a WC.

The side walls feature rough-textured finishes, recesses, and openings that reinterpret the original functional cavities of dovecotes – spaces once intended to host birds. Integrated planting within the interior further reinforces the connection to the earth and natural cycles.

Finally, the accommodation units are conceived as sanctuaries, acting as spaces of retreat and introspection. They encourage seclusion, serenity, and a sense of isolation from everyday life, offering guests a distinctive spatial experience that promotes relaxation and reconnection with both nature and self.

 

Playful light

The project concerned the renovation of a 70m² second-floor apartment near Lycabettus Hill. The design follows an open-plan layout, allowing natural light to penetrate deeply into the interior. To organize the unified space, emphasis was placed on transitional areas through the use of vibrant colors and textures. The kitchen was treated as an integrated piece of built-in furniture, while metal partitions and doors were designed to accommodate different living scenarios. Distinctive features of the 1970s apartment were preserved and complemented by more vibrant and industrial elements, resulting in a layered collage of materials.

 

Renovation Strategy

The primary intervention was the relocation of the kitchen in order to optimize the apartment’s spatial organization. In its original position, the kitchen obstructed the entrance, lacked visual and functional connection with the rest of the apartment, and suffered from insufficient light and limited size. Its relocation enabled the creation of an elongated entrance hallway and a generous, multifunctional storage element incorporating an entrance bench, wardrobe, washing machine, and general storage. The kitchen was conceived as a functional object rather than a separate room – integrated into the open plan and discreetly supporting everyday activities. It is directly connected to the dining area and positioned opposite the balcony door to benefit from improved natural light.

 

 

Functional Layout

The apartment is organized into three distinct zones. The first zone, comprising transitional spaces such as the hallway and storage areas, functions as a chromatic frame for the more restrained main spaces. A key intervention involved the removal of the wall separating the bedroom from the living area, revealing the building’s structural elements, including the central column and beams. In place of the original partition, a four-leaf metal door with fluted glass was introduced, referencing traditional wooden sliding partitions commonly found in Athenian apartments. The ribbed glass enhances the 1970s aesthetic while allowing light to diffuse throughout the space and providing privacy when needed.

 

 

Material Palette

The original mosaic floor, uncovered but heavily damaged by previous interventions, was replaced with turquoise tesserae tiles that enhance light reflection in these intermediate and darker areas. Birch veneer, selected for its expressive grain and warm yellow tones, was used for the woodwork, while the entrance threshold is defined by a burgundy accent.

The second zone includes the primary living spaces – living room, dining area, and bedroom – where the existing oak parquet flooring was repaired and retained. Other elements were designed to contrast with and emphasize the warmth of the wood, incorporating industrial finishes such as exposed concrete, metal elements (including sliding doors and shelving), glass, and chrome glossy details in lighting fixtures and hardware.

The third zone, encompassing the kitchen and bathroom, features Dionysos marble as the dominant material, a reference to materials already present in the apartment. In the kitchen, the marble was applied to both countertop and backsplash, creating vivid reflections that contrast with the matte off-white lacquered cabinetry. In the bathroom, 40×40 cm marble tiles were used to introduce a more playful interpretation of this timeless material.

 

Contrasting shapes

On the main street of the Havana district -an area of particular interest for food and beverage venues- a new contemporary Italian trattoria takes shape, emphasizing a balanced dialogue between materiality and form.

 

Exterior Design & Layout

Along the sidewalk, the restaurant unfolds with its first outdoor dining area. During the summer months, the metal pergola opens, allowing the large plane trees lining the street to provide natural shade throughout the day, while leaving the sky visible at night. Perimeter planting functions as a natural filter from passersby and street traffic, complemented by marine plywood panels which, through their carefully considered design and placement, allow natural light to penetrate the space, casting dramatic shadows and creating a layered atmosphere.

The main dining hall coexists with the open kitchen, where a low counter in front of the chefs’ workspace enhances a sense of immediacy and informality -core principles of the design concept. Comfortable rosewood sofas are arranged along the perimeter, oriented toward the heart of the restaurant, the kitchen, evoking the feeling of a large communal living room. Tables for both small and larger groups are interspersed throughout the space. The existing central column, a dominant feature of the hall, is embraced by a custom-made marble table and serves as the structural base for a suspended metal planter.

Material Palette

The interior is clad with symmetrical perforated panels crafted from oak and rosewood, integrated with concealed lighting that bathes the space in warm wooden reflections. Upholstery fabrics draw inspiration from Italian elegance, both in their combinations and in the detailing of their stitching. Walls finished with hand-applied plaster gain luminosity from embedded, scattered mirrors, while material contrast is further reinforced by the use of construction planks on the floor and the brass cladding applied to all industrial stainless-steel kitchen equipment. Overall, the dialogue between raw materials -such as construction planks and plaster- and more refined ones -such as marble and brass- achieves a balance that reflects the spirit of the restaurant.

 

 

Morphology & Color Scheme

Circular elements and curves dominate the composition, both in plan and in the finer design details, from the shapes of tables and lighting fixtures to the perforations in the wooden wall panels. The circle is employed repetitively to establish a strong visual motif, while the square tile used in the preparation areas, combined with exposed green grout, was selected to introduce geometric contrast.

The color palette is led by green -featured on the entrance door, tables, selected walls, seating, and tile joints- and yellow, present in the sofas and the tones of the wood. These are complemented by brass accents, visible in elements such as the bar cladding and selected lighting fixtures.

 

Careful restoration

In the heart of Corso Italia in Milan, a small yet highly significant interior within Casa Sissa – a residential building by Gio Ponti and Emilio Lancia – has been given renewed life and purpose. The architecture of the residence balances Rationalist, eclectic, and Novecento elements, emblematic of Italian design of the period. The intervention addresses the theme of conservative restoration with philological rigor, while carefully accommodating new functions related to contemporary professional use.

 

Spatial Organization

The studio occupies a wing of the building facing Corso Italia. The plan is organized around an entrance hall equipped with full-height cabinetry, leading to a large, luminous open workspace. This is complemented by a more intimate meeting room overlooking the internal garden, a coffee area, a bathroom with an antechamber, and discreetly concealed technical zones. The original layout is respected throughout: double-leaf glazed doors, reconstructed after the loss of the originals, open onto the principal spaces, while smoked oak boiseries line the entrance, adding warmth and depth.

 

Material Palette

All design decisions stem from close engagement with the existing fabric. The original oak floors, laid in a herringbone pattern in the meeting room and in 40×40cm diamond-patterned parquet tiles in the work area, were carefully recovered, reassembled, and integrated where necessary to accommodate new technical systems. This rare flooring, discovered beneath later coverings, was restored with meticulous attention. In other areas, black cementine tiles imitating Belgian Black marble were retained; where suitable replacements could not be sourced, continuity was ensured through slabs of actual marble matched in tone and finish.

Wall surfaces were treated with an almost archaeological approach. Original 1930s plasters and decorative finishes, concealed beneath subsequent layers, were revealed, consolidated, and reintegrated where lacunae existed. In the meeting room, the green wall tone recalls the chromatic palette of the era. Windows, handles, and hinges were also restored: each metal element was dismantled, cleaned, and, in some cases, recast from molds, revealing the variety of original brass and iron finishes. Positioned between Modernism and Novecento taste, these details testify to a project in which elegance and technical precision intersect with material culture.

 

 

Furnishings & Restoration Practices

The built-in furnishings, entirely custom-designed, define functions with discretion. Storage units, consoles, and worktables in bleached ash articulate the space without interrupting the historical legibility of the interiors. The condominium entrance hall is conceived as an integral part of the project. Though still awaiting restoration, it preserves original wall cladding in Palissandro Blu marble – a rare Italian stone from Piedmont – laid in a diamond pattern, a motif echoed in the office flooring.

Other notable elements include the striped plaster ceiling, a recessed lamp beneath a marble bench, and a large, glazed window that floods the staircase with light, all poised between Novecento and Modernist sensibilities. The intervention stands as both an act of care toward the historic fabric and a clear declaration of method.

 

An urban canteen

Tanpopo is the Japanese word for the dandelion plant and the title of a cult Japanese film from 1985 that follows the story of a young mother who is taught by a truck driver how to make the perfect bowl of ramen. It is also a distinctive space tucked away behind Klafthmonos Square, where Japanese food is served in a casual, canteen-like atmosphere that feels as if it is set directly on the sidewalk.

 

Design Philosophy

The design intent was to blur the boundaries between public and private space, bringing the act of cooking into constant interaction with passersby. Spatially, this idea is expressed through the placement of the food preparation area on the façade, at the core of the flow between the street and the interior. The peripherally open kitchen is housed within a metal solid that rises to a double height and is integrated into the space without relying on the existing structural elements, even allowing for the possibility of being relocated.

 

 

Spatial Organization

In this way, the kitchen functions as an independent universe with its own rhythm and rules. The unobstructed visibility of all food preparation processes enhances the sense of immediacy, while simultaneously transmitting the pulse of the kitchen to the visitors. Points of interaction and meeting between the two worlds – preparation and consumption – are formed by the food counters, where the chef serves the ramen directly to the guests.

 

 

Material Palette

The materials selected to dress the fast and ephemeral eat-and-go concept are raw in character, with metal taking a dominant role. Stainless steel surfaces in the kitchen interior combine with the prevailing grey tones and Aliveri marble details in the seating area, creating a sense of continuity. The variety of textures and the transition from the smoothness of stainless steel to the roughness of plastered walls and processed bush-hammered marble create tactile differentiation, while the color palette visually unifies the space, placing preparation and consumption in a constant negotiation of boundaries and differences.

The design is completed with wooden counters that evoke memories of traditional street canteens, making the atmosphere more familiar while enhancing functionality and circulation flow. The particular emphasis on the harmonious interplay of materials and structures aims to enrich the overall concept, highlighting the authenticity of the brand.

 

 

Dessert arcade

The central objective for the ground floor of a 1960s building in the Metropolis area was the creation of a “Sweet Arcade”: a multi-layered venue that would need to accommodate a production laboratory, a retail area, and a dessert restaurant.

 

Cultural Context

The concept that emerged during the design process drew inspiration from the Athenian arcade. This archetypal form of a covered yet freely accessible space seamlessly connects commerce, social gathering, and leisure. The first arcade built on Athenian soil, at Kapnikarea Square, was constructed in 1883 to designs by Ernst Ziller, within the four-storey neoclassical Melas Mansion, featuring a “glass-roofed passage” modeled after the Parisian galeries made of metal and glass.

Among the most vital nodes of commercial life, arcades were primarily thematic, functioning as hubs for specific activities or types of retail. Initially conceived as spaces for the concentration of goods, they ultimately evolved to “serve the pursuit of pleasure in the city, through strolling and other forms of entertainment.”

 

 

Design Philosophy

Inspired by the commercial arcade and motivated by its inclusive vibrancy, the pastry shop is designed primarily using metal and glass. It is articulated as a sequence of three distinct spatial units (shops), each with its own façade (shopfront) facing an elongated, central shared space -the arcade.

The olive-green arcade, measuring 9×3m and featuring the original mosaic flooring, forms along its entire outer edge the main, twin entrance. A slender, elongated structure placed along the central axis organizes movement, provides a functional counter surface, and supports suspended, illuminated planting that enhances the sense of a public, open space. Flanking the entrance and extending to the back, metal and textured glass define the shopfronts of the three units as well as the passage leading to the restrooms.

 

 

Spatial Organization & Materials

The retail shop on the left and the restaurant on the right are located behind two facing metal arches that act as thresholds to the respective spaces. In the first, a brightly lit central table of white marble displays the products, adjacent to a luminous wall of glass blocks that filters the constant activity of the laboratory beyond. In the second, warm orange tiles, wooden tables, and subdued lighting create an inviting dining room for à la carte desserts.

At the rear, behind a retractable partition, lies the production laboratory. It comes alive in the afternoon, when its lights are turned on and its window opens, revealing the chef -now visible to the public- preparing the sculptural plates, the true protagonists of the Sweet Arcade.

 

Handcrafted aesthetic

In designing the restaurant, the aim was to create a non-conventional space that would actively engage visitors in an experience highlighting the values of art, design, and gastronomy, translating them into tangible forms, materials, and textures.

 

Spatial Organization

The existing restaurant features a distinctive double-height space with a mezzanine and a spiral staircase, while its façades are clad with large metal openings that provide full visual permeability throughout the interior. Upon entering, visitors encounter the central dining zone, arranged in an open-plan layout with seating, the bar and its counter, and an open kitchen at the rear, allowing guests to observe the food preparation process.

With a strong emphasis on detail, custom-made marble tables were designed, along with stainless-steel chairs featuring cushions made of flexible gel, introducing an unusual, soft tactile quality. The floor is finished with a mosaic composed of various Greek marble fragments, combined with bespoke ceramic tiles by artist Vasilis Papageorgiou.

 

 

Materials & Furnishings

Although wood in its natural tone appears to dominate at first glance, the design also incorporates materials with a more robust character, such as stainless steel and marble, which are seamlessly absorbed by the warmth and softness of the wood.

A central feature of the space is a sculptural light tube that rises to the ceiling and draws the eye from every direction, even from outside the restaurant. A handcrafted wool-and-silk rug by artist Yannis Varelas adorns the wall in front of the luminous column, becoming a focal point through its rich chromatic variety. The interplay of these two key elements creates an atmosphere of warmth and comfort, further enhanced by ambient lighting from smaller pendant fixtures and wall sconces.

 

 

Staircase Design

The stainless-steel staircase at the rear introduces a distinctive geometry to the space and leads visitors to the mezzanine, which is lined with wooden, wall-mounted wine libraries. This function extends to the basement as well, where the entrance resembles a wooden tunnel illuminated by a 90-degree light tube that continues the vertical column from the ground floor.

 

Vertical assembly

Throughout the apartment, a thoughtfully curated palette of materials and colors seamlessly bridges form, function, and aesthetics. The result is an interior that feels both contemporary and timeless.

 

Functional Layout

The apartment is the product of uniting two previously separate flats into a vertically connected, cohesive home. The new spatial composition unfolds across two levels—both functionally and aesthetically distinct. The lower level houses the private zones: the master suite (including the bedroom, walk-in closet, and bathroom), a wellness area, and an auxiliary bathroom. The upper level is dedicated to communal living, featuring an open-plan living-dining-kitchen area, a guest WC, and a library. A sculptural internal staircase serves as the architectural centerpiece of the apartment. It facilitates the transition from the more public upper level -where the main entrance is located- to the more private lower level. All spaces are arranged around this staircase, which anchors circulation and creates a sense of spatial continuity.

The layout also responds thoughtfully to the apartment’s enviable location near the beach and sea. Main areas such as the living spaces and wellness zone are positioned along the southeast façade to maximize exposure to natural light, sea views, and ventilation. Conversely, auxiliary areas are placed along the northwest side, facing neighboring buildings. A large opening in the staircase core frames the transition between levels while filtering light from the rear façade.

 

 

Material Palette & Lighting

The design embraces a unified aesthetic that unfolds both horizontally and vertically. Natural materials like marble and wood are combined with refined industrial elements such as ceramic slabs, HPL panels, metal structures, and glass. This interplay creates an elegant, enduring atmosphere. The carefully chosen materials, textures, and tones -along with custom geometric surfaces- form a unique architectural language. This language draws from both the eclectic character of 1960s urban apartments (e.g., marble flooring, intricate woodwork, staircases) and the natural qualities of the Freatida setting (sand, sea, and sunlight).

Sinai marble flooring, in earthy tones and a semi-rough finish, serves as the base upon which all interior elements are composed. Its soft hue visually echoes the sandy tones visible through the large façade windows, reinforcing a seamless connection between interior and exterior. A generous 35cm high marble skirting further defines the perimeter of the interior spaces.

Walls are painted in a warm off-white tone, complementing the flooring and setting a calm backdrop for green marble accents, custom American walnut joinery, delicate metal-framed partitions with fluted glass, and upholstery in natural fabrics. The overall muted palette is boldly contrasted by the kitchen’s striking black volume, conceived as a sculptural centerpiece. This dark backdrop enhances the adjacent custom marble kitchen island, allowing it to stand out.

 

 

Custom Structures

The staircase not only connects the two levels but also embodies the apartment’s design identity, adding elegance and artisanal refinement. Clad entirely in Sinai marble, it features a solid wood handrail, carved on-site by skilled craftsmen to follow its curved form with precision and grace. The library continues the visual language of the kitchen, adopting the same dramatic dark tonality. Throughout the apartment, lighting fixtures are chosen for their minimal forms, fine craftsmanship, and warm glow -subtly enhancing the textures and materials they illuminate.

 

Athenian reflections

In the heart of Athens’ commercial triangle, along the bustling pedestrian street of Ermou, a discreet arcade breaks through the continuous facades, gradually revealing Building No. 18. Its original spiral staircase leads to Apartment No. 9.

 

Design Philosophy

This project involves the renovation of a narrow, 36m² shell, designed to accommodate a hotel-style studio. The goal was to maintain a strong connection with the identity of the past, expressed through subtle reflections of Athenian charm. A single yet striking opening in the space prompted a unified layout, allowing natural light to reach the full depth of the interior. Invisible boundaries help define zones for primary and secondary functions.

 

 

Functional Layout

At the core of the design is a marble volume, placed transversely along the long axis of the apartment, dividing the space into two asymmetrical parts. This creates a sequence of transitions- from the smaller section to the larger -enhancing the gradual unveiling of the main living area. Toward the rear, a vestibule conceals auxiliary functions such as the WC, storage, and a compact resting nook.

Within this white canvas, a marble frame outlines a passage that cuts through the volume, drawing the eye toward the city beyond. The ceiling height lowers here, reinforcing the sensation of spatial transition. The impression of a carved-out cave is intensified by the rich materiality: the space is entirely clad in a matte-finished, reddish Greek marble, whose natural texture comes to life at the touch, evoking intimacy, grounding, and a quiet sense of luxury. Behind ribbed glass partitions lies the shower area, subtly hidden from view.

A semicircular column emerges between these spaces, gently embracing a low piece of furniture. This curved geometry is mirrored on the opposite side of the corridor in the reflective surfaces of sliding closet doors, offering fragmented glimpses of the surrounding volumes. The ceiling height resumes, while the side walls host a metal pipe framework -an informal structure for arranging movable furniture and integrating fixed elements such as bedside tables and lighting.

 

 

Material Palette

The identity of the space is further defined by a stone floor made of brushed, fine-grained terrazzo tiles, rising up into a 60-centimeter baseboard. The unpolished marble, coarse stone, soft wooden surfaces, and metal details come together in a tactile composition of natural materials that shape the core experience of the interior. This sensibility extends to other elements as well: a handmade ceramic wall sconce and custom ceramic tableware were created specifically for the space, embracing a holistic design approach. The space culminates in a freestanding marble bathtub placed in front of the opening -an element that harmonizes with the living area to complete the experience.

 

Alternating surfaces

The project is an all-day bar-restaurant located on Evia’s Lake, in Greece. Its interior design combines classic and contemporary elements praising the building ’s neoclassical character.

 

Functional Layout

The interior space has a central arrangement with the bar at the back, and large openings on the façade, maximizing the view towards the lake. The building ’s original form guided the distribution of table seats. Various seating types occurred, from linear banquettes and booths to a central sofa element and free-standing chairs accompanied by custom made marble top tables with wooden frames. The exterior seating arrangement combines fer forgé chairs, striped patterned sofa cushions and wooden tables.

 

Design Philosophy

The goal from the beginning was to create a welcoming and atmospheric space recalling moments from the past. The concept draws inspiration from the Art Deco era, which is attributed through an abstract and modern approach. A significant design aspect that brings us back to the ‘20s in popular European capitals, is the black and white marble mosaic flooring with the marble skirting. The well-known pattern merged with the brightness of white marble pieces reminds us of traditional Parisian bistros.

 

 

Materials & Furniture

Marble is also carefully placed on the floor of the bar area, creating an elegant separation between bar and dining hall. The elements made of wood, the bright hues of the walls and flooring along with the dark green touches of the sofa and ceiling, the brass details of the lighting fixtures and the colorful vitraux, form a fresh palette of contrasts. The space is characterized by continuous alterations between smooth and embossed surfaces, sharp and curved forms, solid and transparent elements. Natural plants are integrated in the central sofa volume to add an overall summer feeling to the interior.

 

  

Gold Sponsor: Marmyk Iliopoulos

Silver Sponsor: GEBERIT

Sponsors: Apticon,  el greco,  Halo,  Textures and Tiles,  Vitex

Supporters: Dionyssomarble,  Furniture Gallery,  HUB Lighting & Innovation by Kafkas,  Hatzaki Marbles,  John Papagiannoulis Bros,  Kolligas Wood Essence,  Pnevmatikos Marble,  Prodea,  Xalkis sa

Cocktail Event Sponsor: Kanelli

Media Sponsor: NEWS247

 

Aluminum box

Living amidst the rapid growth of urban population and high rises in Bangkok, a critical question is raised: how can we adjust ourselves to live peacefully and privately in this speedily changed environment and lifestyles? In doing so, how can we avoid losing contact with the amenities that megacity provides us and accessibility to the greenspace?

 

Design Philosophy

The project proposes an alternative design solution to mitigate this urban-dwelling problematic issue by crafting the home-office buildings called “THE Haute”, a self-sustainable workplace and residence, to become a new solution concept for the next generation of housing development in Thailand.

The building concept is begun with simple idea as stacked boxes, between black stone box and aluminum box. These boxes are composed of 2 main functions as the working space and living space. The openable windows are designed for not facing each other, for reasons of privacy.

 

 

Sustainability Approach

The sustainable environmental design aspects are considered thoroughly with the private oasis concept which responds directly to tropical climate of Bangkok. All units are designed with the concept of living by nature, borrowing the green space from the neighbor’s view without compromising privacy. The key design concept is to create a 5-storey residence that gives the “Private Oasis” that shares the green space in vertically to the community and city. The trees are placed at every possible space in the building, creating a natural green character for the building envelope. While the project is designed to maximize both the usable area and the open space of the green area, their spatial relationship maximizes ventilation and openness in response to tropical climate. The internal spaces are designed to enjoy their own private garden.

 

 

Façade Design

The facades of the living spaces and bedrooms maintain a signature façade design: using the air gap and aluminum panels to relieve the house from being heated as well as allowing sunlight and air ventilation to pass through. The facade acts as an insulation protecting solar heat gain from outside which is a high concern in tropical climates. When measuring the temperature during summer season, these panels help cooling down the 39 degrees Celsius outside to 26 degrees inside. This façade also provides privacy by blocking the view from outside. The design provides full privacy in this dense surrounding while also being a prominent landmark of this neighborhood.

 

Walled compound

The holiday retreat for an extended, multigenerational family, is located in the remote and rugged lands of the Mani Peninsula. The plot of land is set high on a mountainside offering spectacular views, peering down on the village and the sea below.

 

Design Philosophy

The task was to create a space for the family to come together whilst also making room for each member to have individual space within the complex. Due to the remote and rather wild location of the house, security was an important issue. A meditation room was also a request -a space where they could practice their Buddhist beliefs. In this framework, the building was envisioned like the many monasteries that can be found throughout Greece.

 

 

Spatial Organization

A walled compound that would have separate structures inside, offering the clients both the individual space and security they were searching for. The inner compound was designed to provide an openness that one probably wouldn’t expect if looking from the outside walls, with each separate area being accessed only via external walkways. The core of the compound is a terraced courtyard flanked by individual buildings and an elongated swimming pool at the lowest level, opening unexpected vistas to the sea and mountain landscape, while maintaining its feel of an intimate enclosure.

 

 

Material Palette

Provided that the owners had a particular love for local traditional stone buildings with tiled roofs, but were also drawn to a more modern flat-roofed building with its minimalist aesthetic, the home became a combination of both, using the modern style with ample pressed cement surfaces and metal frames for the individual areas, such as the bedrooms and the kitchen, and the traditional stone and tile with wooden shutters in the communal building, which contains the living area and the meditation area below it.

The outcome appears rooted in the mountain landscape, and modern at once. By using the guiding idea of a monastery, the design offers the perfect balance between the openness of the walkways and the sanctuary of the surrounding walls. By fusing modern and traditional building styles, the project becomes something a little unique for the area: a place the owners can be proud to call their home.

 

The new sculptural sink for antoniolupi

The primordial force of nature, an artistic gesture that transforms marble into a contemporary archetype of design.

With Neolitico, Paolo Ulian continues his personal exploration of the meaning of marks and fractures in matter, for antoniolupi. A freestanding marble sink that celebrates the encounter between human gesture and natural force, where beauty is born from a break, an imperfection, a fracture that becomes both form and narrative.

The basin is carved by hand, evoking the millennia-old action of water on stone: drop after drop, groove after groove.

The result is a raw, intense surface that lays bare the inner essence of the material, in contrast with the perfectly smooth cylindrical exterior, marked only by the marble’s unique veining. A balance between control and unpredictability, precision and spontaneity.

The name Neolitico deliberately recalls the origins of the creative act, when humans first began shaping tools and objects to meet their basic needs, leaving a mark in history. In the same way, this sink evokes a return to essence, to the purity of the material, to the power of the sculptural act.

“I have conveyed to this sink a feeling I get while hiking in the mountains”, says Paolo Ulian, “when I encounter along the way those natural hollows carved into the rock with irregular shapes determined by time and chance. When it rains, they fill with water and for me they become the best sink in which to cool off, because the rock has the power to make me feel good. A presence that has inhabited our DNA since the beginning of time.”

“I chose a geometric shape as simple and perfect as the cylinder,” Ulian continues, “which blends perfectly along the perimeter edges with the irregularity of the split-worked stone bowl. Two contrasting finishes that come together in a casual formal fusion that is precisely why it is perfect”.

Neolitico by Paolo Ulian for antoniolupi is a manifesto of emotional design, capable of merging art, nature and innovation. A timeless object that tells the story of human evolution through the transformation of stone.

 

Measures: cm ø 45 x 85

Materials:

• Marble: Bianco Carrara, Nero Marquinia, Verde Alpi, Calacatta Viola, Rosso Levanto, Port Laurent, Emperador Grigio Lavico, Bardiglio Nuvolato, Bianco Silver, Collemandina, Grigio Imperiale
• Stone: Pietra Luna

Modernising tradition

The project is inspired by a special feature of Mani’s residential forms – the “Ksemonia”, meaning “the ones left alone”; those were stand-alone towers or small residential complexes in the rugged landscape of Mani, operating as shelters or observation points. From afar, these stone-built towers appear as just one more element in the land, like monolithic outbursts from the soil.

 

Design Philosophy

The residential compound, consisting of two stone houses, is organized around two towers placed in the plot in a dynamic arrangement which correlates the outdoor spaces and the house entrances, further defining additional outdoor areas. The modern tower-houses are designed to be in close connection with the natural landscape, just as is the case with traditional Mani architecture, which became an integral part of the place it sprung out of. Although the main composition is expressed in the form of the towers, their extensions, which make up the rest of the complex, do not exist independently within the plot, but are rather brought together into a whole, echoing the established architectural forms of the region; in so doing, they also provide a modern interpretation of those same traditional typologies.

 

 

Functional Organization

The houses are designed so that one can live at once “inside” and “outside”, with dynamic indoor and outdoor spaces. It thereby becomes possible to transfer one’s life outside the home: in this case, in a courtyard divided into a set of spaces endowed with different qualities and visual frames. Pergolas, secluded corners for quiet and meditation, living spaces, infinity pools blurring the boundaries of the horizon and the sky, all combine to create the external backdrop for the houses themselves. Throughout, completely natural building materials which bear the signs of time have been chosen, showing the marks of their origin and their processing. The materials serve as a blank canvas upon which the interplay of light and shadow gently unfolds during the day.

 

 

Material Palette

Stone characterizes the place: Mani, as it is expressed both in the ground itself and in its traditional constructions; Mani, as it evokes an architectural vocabulary of monolithic austerity, of strict lines, and geometric volumes. Concrete complements the natural materials, creating smaller, artificial stonework in earth tones with coarse textures. Wood creates soft, warm, and clean surfaces, and lattice shutters to complete the volumes. These materials are alternating inside and out, intensifying the visual experience of the houses, constituting a natural but strictly conceived statement within the Messenian landscape.

 

 

Furniture & Color Palette

The interior design is consistent with the architecture of both buildings, inspired by the simple tradition, the imposing landscape of Mani, and the materials found on this land. The purpose was to create spaces that give a warm character inside the stone volumes, always reminding that one is “there”, in this place; to feel part of a different, Doric life. Most of the furniture was designed exclusively for the project, emphasizing the sense of uniqueness and a timeless line that aims to bring the landscape into dialogue with the design. The forms were kept simple, and all the custom-designed furniture bears references to a simplified classicism. The materials include oak wood in two shades, combined with stones in matching colors. The fabrics and carpets follow natural, earthy tones, soothing the wild textures of Mani’s stone and wood, balancing the interiors with the unique surrounding landscape.

 

New identity

This project involves the complete renovation of an existing 23-room hotel located on Nikis Street, in a neighborhood near Plaka that mirrors the many dynamic facets of modern Athens -a city full of contrasts and surprises for the visitor.

 

Design Philosophy

The core idea was to craft a fresh aesthetic identity for the hotel, inspired by a fusion of diverse elements, styles, and references -echoing the vibrant mosaic of Athens itself. The concept was shaped by the owners’ vision, who, having lived in various European capitals, aimed to translate their cosmopolitan experiences into the new space.

 

 

Furniture & Custom Elements

While the spatial layout remained unchanged, all surface finishes, colors, and decorative features were reimagined. In the shared areas, the design evokes the feel of a reinterpreted classic boutique hotel. Glossy dark wood paneling coexists with brass accents, industrial touches, iconic design pieces, and elements of pop culture. The overall aesthetic leans toward a dramatic, “noir” atmosphere, defined by a rich palette of dark materials.

 

 

Material Palette

The chosen material palette was largely influenced by the existing nero marquina marble flooring in the restaurant area, which was preserved as a respectful nod to the building’s history. In contrast, the guest rooms and suites embrace a lighter, more serene ambiance. White walls are accented by copper-toned details and feature custom oak constructions for the headboards and open wardrobes. A standout design feature in the rooms is the semi-transparent bathrooms -framed in iron and fitted with retro glass- which were designed to allow natural light to permeate the entire space.

 

Cultural redefinition

The iconic Greek fashion brand Parthenis was founded in 1970, when Dimitris Parthenis opened his first store in Athens. In 1978, Parthenis opened a boutique in Mykonos, which was both a source of inspiration and a stepping-stone for international fame. Parthenis’ minimalist, monochromatic designs are recognised worldwide for their timeless elegance, high quality, and flattering silhouettes. With Orsalia Parthenis, daughter of the founder, at its helm, the brand continues its strong global presence in the world of fashion and design.

 

Project Aim

The project seeked to transform the label’s flagship store in Mykonos town into a multifunctional space, where customers can shop Parthenis’ instant classics and enjoy a drink, or a light meal inspired by the elemental Cycladic lifestyle. Located next to the island’s famous windmills, the café flows onto a courtyard overlooking Little Venice and its legendary sunsets.

 

 

Design Philosophy

In parallel, the design aim was to conceive, construct and curate every stage of the creation of Parthenis Café, from spatial philosophy to interior design, including a range of custom-made furniture and lighting. The design draws inspiration from the eternal elements of Greek summer: light, energy, and simplicity. The result is faithful to the pure forms of Cycladic architecture and the easy, stripped-back Parthenis aesthetic, using local materials such as marble, wood, and metal in modern yet timeless ways.

 

 

Material Palette & Custom Structures

Sculptural marble and metal sconces, a marble counter and a bar clad in textured wooden panels, nesting tripod stools and side tables that can be reconfigured around low benches with striped cushions, all complement the clean lines of the Parthenis collection. Clothing is displayed on free-standing rails suspended from the ceiling. The project draws inspiration from Greece and its cultural heritage, redefining contemporary Greek style with international elements and reimagining Hellenism’ in a minimalist and elegant way.

 

Scenography approach

This project involves the restoration of a complex of three stone-built structures in Kalyviani, Chania, repurposed to accommodate five bedrooms and spacious communal areas. The building volumes are arranged around an interior courtyard, where water serves as a central feature. Drawing inspiration from the Venetian imprint on traditional Cretan architecture, the design follows a scenographic approach that evokes new emotional experiences through spatial storytelling.

 

Restoration Philosophy

The first two-story building, located along the village’s main road, underwent significant interventions. A key modification was the creation of an interior opening to visually and functionally connect the bedroom to the ground floor. This transition is framed by a distinctive metal threshold. A spiral staircase made of perforated metal sheeting provides vertical circulation, adding a sculptural quality to the space. The building envelope was structurally reinforced with cement injections. On the exterior, the old plaster was replaced with a natural lime-based mortar, which selectively reveals portions of the original stonework. In contrast, the interior stone masonry was left fully exposed. The juxtaposition of polished cement flooring with the rough-hewn stone walls creates a powerful visual dialogue.

 

 

Aesthetic Interventions

In the second building, situated at pool level, striking visual contrasts are introduced—between exposed stone and smooth plaster, and between solid walls and open voids. A reinforced concrete beam runs across the stonework, unifying the structure while showcasing the process of structural reinforcement as an intentional design element. The calm, muted tones of the plaster complement the natural elegance of travertine flooring, which seamlessly extends from the interior to the courtyard, wrapping around the pool and continuing into the kitchen of the two-story structure. Access to the third building, positioned on a higher level, is provided via an external metal staircase, reinforcing the dialogue between old and new materials.

 

 

Materials & Furniture

Inside, an old fireplace is repurposed as a skylight in the new bedroom, preserving heritage while introducing functionality. Natural cotto tiles are used for the flooring, extending into the courtyard to create a sense of continuity. A metal pergola with reed covering shades the elevated courtyard, forming a relaxed social gathering space. The overall composition is enhanced by the choice of organically shaped furniture and lighting fixtures, which soften and contrast with the robust geometry of the existing structure. Materials such as metal, wood, fabric, ribbed glass, and plaster interact harmoniously with the architectural surfaces, articulating the contemporary additions while honoring the historical character and natural patina of the building.

 

Flowy experience

The project centers on the creation of a modern wellness hub arranged over two levels. Its core objective is to seamlessly integrate diverse functions into a unified architectural experience, achieved through a fluid interior layout shaped by the interplay of materials and light.

 

Spatial Organization

Visitors enter through a double-height space illuminated by pendant lighting, where a semi-circular polycarbonate surface guides movement inward. In the retail area, elongated counters, linear ceiling fixtures, and full-length wall shelving emphasize horizontal lines, creating a sense of motion and depth. Toward the back, the space opens up once more through a soft curve, accommodating a lounge and kitchen. Natural light filters in through skylights set in the sloped metal roof, while a mirrored column subtly disrupts the visual field -enhancing the perception of spatial continuity.

Color Palette & Materials

Bright white serves as the dominant color throughout. The materials were chosen boldly, with smooth tonal transitions but striking contrasts in texture. Glossy finishes like epoxy paint and stainless steel alternate with coarse materials such as earth and plaster. A lightweight, corrugated plastic surface is juxtaposed against the smooth, heavy mass of marble—highlighting both contrast and balance.

 

 

Natural Light

Light reflects, refracts, or is absorbed in a variety of ways, with natural elements along the perimeter gently softening the edges of the space. This nuanced lighting enhances the dialogue between synthetic forms and organic presence.

 

Minimal aesthetic

The proposal concerns the creation of aesthetic teeth whitening centers, where clients with limited time can enjoy the services offered during breaks from their obligations and demanding schedules.

 

Material palette

The minimal aesthetic of the space and the understated luxury are enhanced through the selection and use of natural materials, such as birch wood, white marble, and granite-textured tiles. This is complemented by the placement of original artworks by renowned artists and the creation of handcrafted lighting fixtures and furniture.

 

 

Custom constructions

The uniqueness of the space’s identity is further emphasized by the detailed design of surfaces and hidden storage areas, which also helps maintain the minimal aesthetic by preventing clutter and disorganized object placement.

 

Building integration

One Kleomenous represents an innovative approach to residential architecture. Advanced technologies were employed throughout both the design and construction processes to achieve a result that blends refined aesthetics with practical functionality.

 

Design Philosophy

Located on the threshold between the dense urban fabric of Athens and the natural terrain of Lycabettus Hill, the site itself shaped the design approach. The building was envisioned as a bridge between two worlds: the structured, modernist cityscape -with its characteristic forms and materials -and the organic topography of the hill, with its vegetation and earthy textures. The architectural vision sought to create a structure that is both functionally contemporary and contextually integrated. To achieve this, a hybrid design language was adopted- one that embraces innovation while respecting its surroundings.

 

 

Urban Integration

The building’s placement, orientation, and functional layout were carefully studied to define its relationship with both the city and the landscape. On the side facing the urban environment, the close proximity to a neighboring structure influenced a more restrained design -a flat façade rendered in simple plaster, echoing one of the most common Athenian finishes. Conversely, on the side adjoining the forest, the architectural strategy shifted to accommodate the dynamic contours of the hill and the proximity to vegetation. Protruding balconies extend toward the treetops, shaped to reflect the flowing forms of the natural landscape. The southeastern façade required a specially designed cladding system to diffuse direct sunlight.

Inspiration for this design emerged from an old topographic map of the area. The elegant lines of the map’s contour curves were translated into architectural form. A digital model of a “landscape façade” was developed, introducing fluid transitions between the geometric volumes of the balconies. This surface was then digitally segmented into sequential sections, forming the components of the cladding system. Without adding mass, the existing volumes were unified to form a geometry that feels organically embedded in its environment.

 

 

Material Palette

The choice of Travertine marble was both aesthetic and contextual. Its beige hue mirrors the stones traditionally used in the retaining walls of Lycabettus Hill. From the outset, the building’s strong visual connection to the Acropolis inspired the use of marble -a material both timeless and versatile.

Travertine’s porous surface not only offers visual texture but also reinforces its natural, unprocessed character. The material also connects to the architectural language of nearby 1970s buildings, including the adjacent structure that links One Kleomenous to the urban fabric. The interior palette was selected with equal sensitivity; colors were chosen to harmonize with the earth tones of the site. Glass balustrades further strengthen the building’s connection to nature, subtly reflecting the surrounding greenery.

Overall, the building’s material and design choices are a direct reference to the aesthetic of the Attic landscape. Together, they achieve the desired effect: a natural continuation of the built environment, a threshold that quietly transitions into untouched land. The result is a structure that exists in harmony with its context -One Kleomenous stands as a model of architectural integration with its environment.

 

The 6th architectural event of the “Material Matters“ series, organized by ek magazine, will take place on Friday, May 16th, at the Athens Concert Hall, Banquet Hall.

The event is sponsored by the Hellenic Institute of Architecture.

The event is fully booked

The goal of the Material Matters events is to highlight the significance of a range of contemporary and traditional materials and their applications in architecture, through the theoretical approaches and works of Greek architects. Based on the history of each material and its construction or expressive characteristics, the presentations focus on its potential use in contemporary terms, as shaped by economic and technological developments.

Material Matters Vol.6 is dedicated to a family of materials with enduring importance for Greek architecture: Marble and Stone.
The ancient Greeks highlighted the timeless beauty and durability of marble, creating world-renowned monuments. The use of the vast variety of Greek marbles, as well as other local stones, contributed to the creation of a unique architectural identity that reflects the relationship with the natural environment, particularly in traditional architecture.

In the modern era, marble and stones continue to add prestige, aesthetics, and authenticity to both small and large-scale projects.
Ten speakers from the fields of architecture and design will analyze the role of marble and stones in architecture, both in their own works and in selected works by other architects, through engaging 10-minute presentations.

 

Speakers:

– Dimitris Tsigos | Omniview Design
– Stella Pieri | Pieris architects
– Niki and Zoi Moskofoglou | On entropy
– Dionysis Sotovikis | Workshop Dionisis Sotovikis
– Labrini Lyrou | Desypri-Misiaris Architecture
– Eleni Tsigarida | Etsi Architects
– Vangelis Bonios | Studio Bonarchi
– Natasha Deliyianni – Yiorgos Spiridonos | React Architects
– Panos Iliopoulos | Board Member of the Marble Businesses Association
– Giannis Giannoutsos | Assistant Professor, NTUA

 

Gold Sponsor: Marmyk Iliopoulos

Silver Sponsor: GEBERIT

Sponsors: Apticon,  el greco,  Halo,  Textures and Tiles,  Vitex

Supporters: Dionyssomarble,  Furniture Gallery,  HUB Lighting & Innovation by Kafkas,  Hatzaki Marbles,  John Papagiannoulis Bros,  Kolligas Wood Essence,  Pnevmatikos Marble,  Prodea,  Xalkis sa

Cocktail Event Sponsor: Kanelli

Media Sponsor: NEWS247

 

The event is fully booked

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.

The exhibition ‘A Future for the Past’ is part of a 2-year programme that aims to raise awareness about marble craftsmanship at the island of Tinos. The programme, in collaboration with marble atelier on•entropy and curator Maria Cristina Didero, brings together traditional craftsmanship and contemporary design and aims to showcase how their dialectic relationship can contribute to both social and economic sustainability.

Marble sculpting in Greece carries historical significance, as it is an art practiced for millennia and intertwined with the Greek cultural heritage. At the same time, today it can constitute a potential factor for social progress.

The research program, part of which is this exhibition, highlights precisely this aspect. Through kinaesthetic knowledge preserved across generations, the art of marble sculpting contributes to the strengthening of societal bonds within the villages of Tinos. Values such as the sense of belonging and the collective identity are brought to the forefront and consequently the quality of life improves. Especially during a period of intensive touristic development and gentrification at the island of Tinos, the empowerment of such values is more critical than ever.

The presentation of “A Future for the Past” at the Benaki Museum follows the successful installation at the international design hub in Milan and precedes a festival of marble craftsmanship at Tinos. The installation at Benaki Museum provides a unique opportunity for the museum’s contemporary greek marble exhibits to engage in a dialogue with the creations of tinian marble sculptors. These, in turn, will converse with a sculptural contemporary design object made by tinian marble sculptors.

Implemented with a hands-on, modern, inclusive and sustainable approach, this is an innovative synergy. It brings together the local and the international, and the traditional with the contemporary in the specific field of craftsmanship. The aim is that both, contemporary design and historic marble sculpting, can continue sustainably to the future, making Tinos a recognizable hub of cultural wealth.

Architectural dualities

The residence is nestled into the hillside, following the topographical contours and adapting seamlessly to the natural morphology of the land. It is situated in the area of Louria, in the southern part of Paros. The plot is oriented to the southwest along its longer side, offering unobstructed views of the sea, the bay of Aliki, and Antiparos.

 

Design Philosophy

The entrance is located on the northern edge of the site, where the highest point serves as a gateway into the home. A solid white wall with minimal openings greets the visitor, concealing both the internal arrangement and the front courtyards. The architectural composition is defined by a series of spatial and experiential dualities: concealed versus exposed spaces, sheltered courtyards versus open terraces, interior circulation paths versus threshold journeys, a closed entrance versus an unfolding route, grounded volumes embedded in the landscape versus elevated masses reaching toward the view. Large transverse walls extend from the core of the residence into the hillside, anchoring the building to the terrain. These walls carve out private courtyards at the rear and guide the interior spaces outward into the natural surroundings.

 

 

Spatial Organization

Between these structural walls, distinct thematic zones emerge -sometimes functioning as entrances, gardens, water features, or protected outdoor lounges. These spaces flow organically from the interior, shaped and defined by the commanding presence of the walls. Visible only from the rear of the plot, these elements reveal the spatial narrative only upon entry, inviting gradual discovery. A transverse path intersects the composition, connecting these thematic zones while running parallel to the interior circulation route. This path frames curated views toward the landscape and the communal living areas. The volumes of the residence unfold toward both the hillside and the open view, projecting over a low stone wall that forms a sculptural western façade. On one side, the structures are rooted in the ground; on the other, they appear to hover above the terrain, reaching toward the sea and the horizon.

This interplay is echoed in the intermediate and front-facing courtyards and balconies, which are oriented toward the water. The walls alternate between acting as architectural structures and forming outdoor spaces, always responding to the site’s topography and natural context. A singular architectural volume is fragmented into smaller, grounded forms that integrate harmoniously with the land.

 

 

Landscape Integration

From above, the “fifth façade” -the roofscape- becomes a dominant element, blending with the hillside. The architecture balances gracefully on the sloping terrain, allowing the landscape and natural relief to shape the design language. Through this dialogue with the land, spatial experiences are crafted to define the essence of holiday living. The intense Cycladic light choreographs the architecture throughout the day, revealing new layers of the composition as it shifts. The built environment embraces human presence, cultivating a deep sense of intimacy between the inhabitant, the space, and the surrounding landscape.

 

 

After three years of research and development, RUINS SERIES, exclusively commissioned by Carwan Gallery is finally unveiled in Athens in June 2021

Carwan Gallery, in collaboration with IN Residence and Fonderia Artistica Battaglia, is pleased to present RUINS, a body of work by Roberto Sironi. The project, developed since 2017 and the result of four years of research, is enriched by a series of new works that complete the collection.

Ruins features a series of works that re-signify architectural fragments belonging to different historical periods and which refer to the most significant archaeological sites placed in the Mediterranean basin.

The project relates some constructive elements of the classical era as bases of columns, capitals, sections of amphitheatre with rudiments of the industrial era, such as the double-T beams, reticular structural elements and corrugated sheet metal, which are reshaped according to a new aesthetic perspective

The collection is conceived as a series of contemporary ruins, freely deconstructed and reconstructed, imaginary simulacra, programmed artifices where the materials and techniques of execution do not correspond to the original but rather become functional to the post-archaeological message conveyed, transmitting a feeling of “Indefinite time” that becomes hypothetical, evanescent, suspended.

Roberto Sironi got the opportunity to develop RUINS thanks to the selection of the international residency program IN Residence Design, curated by Barbara Brondi and Marco Rainò and to produce the works with bronze experts Fonderia Artistica Battaglia and Simone Desirò, Marmi Artificiali di Rima.

The project is also illustrated by a monographic publication curated by Barbara Brondi and Marco Rainò and published by NERO Editions, 2020.

Duration: June 3-August 28, 2021.