Consolidating functions

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

 

Design Philosophy

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

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

 

 

Structural Logic

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

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

 

 

Materials & Sustainability

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

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

 

Spatial scenography

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

 

Design Philosophy

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

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

 

 

Spatial Organization & Materials

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

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

 

 

Lighting Design

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

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

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

 

Visual flow

From the very first visit to the 98m² apartment in São Paulo, the future owners felt an immediate connection to its history. The exposed concrete structure -with its visible pillars, beams, and raw-finish slabs- carried the marks of time, evoking a sense of authenticity. However, the outdated infrastructure and rigid layout called for a renovation that could preserve the apartment’s original character while meeting contemporary needs.

 

Design Philosophy

The central challenge was to unify the spaces, fostering a physical and visual flow that would support interaction in everyday activities. For the couple, both of whom work from home, the conventional idea of a closed-off office did not resonate. They sought an integrated, open layout that encouraged connection rather than division. The original floor plan included two bedrooms and a strict separation between the social, service, and private areas. In the renovation, nearly all interior walls were removed -except for those enclosing the powder room and main bedroom. Activity zones are now defined by cabinetry and furniture rather than structural barriers. Three core materials create the base of the design: exposed concrete, which remains visible as a tribute to the building’s history; white-painted masonry, chosen to amplify natural light from the large windows; and wooden plank flooring, which spans the entire apartment except for the bathrooms.

 

 

Custom Structures & Furniture

In the entrance, custom Freijó wood cabinetry arranged in an L-shape serves a dual purpose. On one side, it forms a workbench that organizes the home office. Above it, open shelves in the same finish, supported by French brackets, house the couple’s book collection and add a distinctive design touch. On the other side, the cabinetry holds a turntable and handmade speakers -an homage to the owners’ passion for vinyl and music, now deeply embedded in their home life.

At the far end of the apartment, the living room reflects the seamless integration of old and new. A poster brought back from New York decorates the wall, while other vintage furniture punctuate the space, blending eras and styles. To address the asymmetry revealed by the cantilevered beams after the walls were removed, metal sheet shelving was custom-designed to conceal these irregularities. The addition of houseplants on the shelving brings a touch of nature into the interior.

In the kitchen, Freijó wood cabinetry continues the visual language, offering cohesion across spaces. Marble countertops add sophistication, while a central island -rounded at the edges and clad in terracotta-colored tiles- provides a softer contrast to the apartment’s orthogonal architecture. This island also functions as a practical space for quick meals. The kitchen flows directly into the dining area, encouraging easy interaction between cooking and socializing during gatherings.

 

 

Lighting Design & Materials

Lighting throughout the apartment is achieved with electrified tracks, which illuminate the exposed concrete slabs while preserving their aesthetic integrity. In the bedroom, a neutral palette creates a serene environment conducive to rest. White walls and wooden-finish furnishings echo the warmth of the social areas, while the suite continues the same inviting tone. In the bathroom, ceramic tiles offer a gentle chromatic transition: terracotta at the base rising into white above, creating a subtle interplay of texture that continues across the countertop. A sink in the same terracotta tone, paired with a wooden cabinet, completes the harmonious design.

 

Highlighting the grid

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

 

Building history and structure

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

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

 

 

Functional organization

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

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

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

 

 

Design Interventions

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

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

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

 

 

Material Palette

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

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

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

 

Transitional spaces

The private vacation home is located on the western side of Antiparos, facing the sea, enjoying unobstructed views of the nearby island of Paros.

 

Design Approach

Antiparos keeps limited exposure to mass tourism, and the visitors, the island caters to for seasonal stay require their vacation homes to be equipped with the same amenities they are accustomed to from living in the city. Concurrently, the site is bound by strict building regulations regarding the form and materials of new constructions, because of its adjacency to the vernacular Ayia Kyriaki chapel.

 

Interior & Exterior Organization

The building is laid out on one level only, bringing together the seasonal inhabitants and the outstanding Cycladic landscape. The floors extend seamlessly from the indoor to the outdoor areas; this connection is further highlighted by generous transitional spaces, sheltered under pergolas. The openings, whose number and size had to be kept limited due to local regulations, provide views and outdoor connections to all the main rooms; dark shutters on their inner side are consistent with the local building tradition. The lounge, the kitchen, and the master bedroom are oriented towards the view, together with the outdoor living spaces and the swimming pool.

 

Material & Lighting

Inside, all walls are clad in grey facing applied by hand; strategically positioned openings on the ceiling bring abundant natural light to the interior, illustrating the rustic treatment of the vertical surfaces, whose appearance changes according to the time of the day. The color palette of the furniture includes opposing black and white tones, complemented by the texture of natural wood and woven straw. The hard surface of the floor is treated in cement facing and comes at a stark contrast to the natural sloping ground.

Artisanal local stone on the exterior surface of the walls, matched with sensible, discreet landscaping, complete the architectural impression, whose objective is to remain consistent with the principles of traditional island building. The biggest challenge in this project was to merge tradition with modernity, high architectural aesthetics with cutting-edge mechanical equipment; at all times, the reference had to be the sparse Cycladic landscape, local materials and relaxed island living.