Interviews med Constantinos Yanniotis

I am an Architect Engineer (NTUA, 2011) and a Mechanical & Aeronautical Engineer (University of Patras, 2003). I first joined the Yanniotis & Associates Architectural Bureau in 2003 right after my graduation from Patras University where I earned the Specialty of Aeronautical Engineer. In 2015 I was promoted as Yanniotis & Associates Head Architect. I have more than 10 years of personal research in the field of Universal Design, Inclusive Design and Living-in-Place concept, and I have earned Certifications after having taking part in courses offered by the IDEA Center for Universal Design & Environmental Access of the School of Architecture and Planning at the NY State University at Buffalo. IDEA Center Universal Design is pioneer in Research & Development with regards to Universal Design.

I am honored to be one of the first CLIPP graduates in Europe, after the successful completion of the Certified Living In Place Professional™ class. This class, approved for continuing education by International Interior Design Association, National Kitchen & Bath Association, American Occupational Therapy Association, American Society of Home Inspectors, and others, creates interprofessional networks of experts working to make all homes safer and more convenient to live in.

Our flagship project INTERelationships, designed in 2019, has been developed in order to propose a Sustainable Dwelling Model by redefining the Sustainability terms. This proposal of a Sustainable Residential Complex with Public Usages, upgrades Sustainability, to include the User-centered Lifetime Design and the Operational Management with regards to the available resources (both spatial and human) and Waste Management, along with Energy Efficiency Design of the Building Shell.

Being the son of Architects I grew up in a design inspiring environment. I have early memories of my parents spreading their draft plans on the floor of our living room and of myself, as an infant, crawling around and I enjoying the “messy” moments; I am not sure whether my parents enjoyed that too!

My strongest memory though, is the image of my father, standing distant from his design table, lighting a cigarette and staring at his drawing for a couple of minutes. It was then that I first sensed the magic moment of creative inspiration, the close connection between an Architect and their brainchild and their absolute devotion to their art. To an architect this piece of work, even If it is just a conceptual sketch of abstract strokes, represents a living organism manifesting a vibrant intellectual universe.

Design above all means Responsibility; responsibility towards the client and the user of the built environment. The user’s needs and desires should be met and the design ought to be Flexible, allowing them to interact with it. Aesthetics and Functionality should not compete with each other and should both add value to the design. A Design that follows the goals and principles of Inclusivity that caters for the needs of all possible users is a Design that seeks to accommodate Quality of Life. Lifetime design with the aid of technology, may transform spaces into vibrant living units that boost self-esteem and self-conception. A Design that focuses on the Details, while keeping a balanced relationship between Functionality and Aesthetics. Setting the user at the center-of-interest, architecture may well accommodate Sustainability not only in terms of Energy Consumption and Waste Management, but also in terms of the user's needs, desires and wellbeing.

Each project opens up a whole new world to me. Coming across with new challenges, new people and new knowledge fields provides me with a strong motivation. Each new design shares a piece of my heart and spirit as I am totally devoted to it.

I believe that the conceptual phase of a project is the most important and the most creative one. In this preliminary phase the design builds its body, drawing all intellectual resources from its developer. A rigid conceptual model that takes into account all design aspects, would possibly blossom during the design process.

On the other hand Design is not a game. It is a long journey with checkpoints and short-run goals that should be placed accordingly in order to complete successfully a project. Happy and creative moments alternate with frustration, stress and disappointment when deadlines are to be met or when obstacles rise on the course. Challenges boost creativity, while imagination fuels the designer with ideas and design solutions thus creating a vibrant, imaginary world full of inspiration and aspirations.

Finally, when construction comes into play, everything should be completed and analyzed thoroughly. Pride and relief are the most common feelings along with the anxiety that the final result will finally meet the desires and expectations of the clients. Architects along with the other engineering disciplines and the workers who shape the form of the building with their own hands, consist a team whose members are interconnected and share the same emotions.

I live in Athens, a multi-cultural city with long history and rich heritage. The cultural context in which we live has a great impact, thus affecting the designers profoundly. The relationships that have been constructed solidly, piece by piece since their childhood, may be traced in a designer’s work through subtle or intensive gestures, stemming from their background. Furthermore, my studies as a Mechanical & Aeronautical Engineer, carved a solid mentality and mindset. Through mathematics and engineering courses I gained the skill of being able to organize my thoughts, my desires and channel them into addressing the complex synthetic challenges that each project raises. Last but not least, I would like to pay my dues to all my Teachers that formed me as an Architect and especially my parents for cultivating my architecture instinct since my early years. All these people are my design legends I draw inspiration from.

Apart from the client oriented projects, I love deepening my research horizons in design by developing conceptual projects that may lead to universal solutions; such a project is INTERelationships. I am also interested in spreading the concept of Lifetime design, a field with which I am passionate with and I have been studying since 2010.

Following this pattern of work, our next design project would be the offspring of INTERelationships. We are currently focusing on implementing its values in the smaller scale of Affordable Lifetime Private Residences that are energy efficient, have reduced environmental footprint in terms of CO2 emissions and waste management.

Concerning my dream project…What I dream to achieve, is to travel around the globe and why not contribute to the architecture evolution by grounding it back to human scale.

One great problem right after the completion of architecture studies, are the unlimited options. Option selection leads to evolution. Start working in a local design studio? Work abroad, to famous architecture firms? Set up your own studio? Collaborate with your friends and fellow students as professionals? Continue with a postgraduate level of studies? Participate in architecture contests and competitions? Take a year off? Travel? Unlimited options, unlimited career paths.

But still, even before graduation there are options and opportunities for self-improvement. The great difference between the two states is safety and comfort. The main duty of a student is to follow the demanding program of architecture studies. Participating to design competitions, summer practice or internships are valuable decisions that a student may consider adopting.

Our life experiences are our tools that feed or boost creativity. Experience comes by trying different things, other than design. By meeting different people and cultures, by travelling, by playing music, dancing, or through sports and leisure. Theater, Beaux arts, cinema are all art forms that share similar rules and creation methods. Reading, having fun, going for a walk, falling in love…living and enjoying life. Each of these activities offer valuable lessons, cultivate different skills, carve one’s personality and character, feed creativity and imagination providing people with unlimited resources to draw from.

So what I would recommend to a young designer is to take advantage of his youth, energy and thirst for life and knowledge. Go out to the real world and observe, experience and live. Feel all the emotions and reflect. Transform all these invaluable personal experiences to universal forms, places and environments. This never ending process will lead to clearer career decisions and determined efforts towards meeting reasonable goal settings.

I think that the most valuable skills a designer should have is patience and drive. Social skills, communicational skills and empathy are also imperative in order to associate and interact with partners, clients, contractors and workers and accommodate or address their competitive demands and desires. Presentation and pitching skills are foundational in order to convince all stakeholders for the value of a design solution and why it should be adopted as is. Having the courage to admit a possible mistake or inadvertence, listening carefully to others’ objections and opinions, being loyal to your own values while respecting others’, being honest, frank and straightforward are personality qualities that are well appreciated. Last but not least defending and respecting your partners helps building a trustful and powerful team.

A typical day in my life usually begins rather powerfully, as it involves playing with my 3 year-old daughter who wakes up too early in the morning. At about 8 o’ clock I drive to my office in Mets, a picturesque and old Athenian neighborhood located behind the old marble Olympic stadium of Kallimarmaron. There, I take my morning coffee with my father in a local bistro discussing with him about the current projects and reading the news. At about 9 o’ clock we return to the office to begin our work. I try to keep track the technology advances in Sustainable and inclusive design and I take online courses of the AIA Continuing Education programs. What I also love is that twice a week, I teach architectural drawing to future design students who are preparing for the Panhellenic university entrance exams. These teaching hours involves interaction with young students, an experience which is really refreshing and creative.

I have always been hesitant towards trends. There were times I turned against them, since trends usually come and go without impact. So as an architect I am very suspicious about the authenticity of trends and I admire those designers that have marked their era with the integrity of their work and the values that they have transmitted throughout their career.

Evaluating a design of a building is a complex procedure. Most of the times we are unaware of the critical aspects or design factors that led to certain design solutions. Parameters such as Budgeting limitations, Client’s desires or demands in providing service are key points that form or guide the design options even in the preliminary or conceptual phases. Having these in mind I agree that design criteria such as Function, Aesthetics, Materiality, Reliability, Performance, Interaction, Empowerment, Perfection, Change-as described by A’ Design Awards- are values that a good design should possess.

Usually we judge Architecture in terms of formal complexity and this tendency is instinctive. A gifted Architect of course may have the ability to develop complex architectural forms with interconnected spaces and uses or the capacity to handle materiality. All these are values that distinguish an architectural work and its designer. What makes Architecture very special though, is that all these aspects are embodied in a certain land property, with predefined orientation and views, with predefined options for possible entrances or access, with a predefined building program, with a predefined budget and for a certain client. Working with design limitations is part of our job and we should take into consideration all these parameters that usually compete with each other in order to produce an outstanding building.

Good design is difficult to achieve. It demands intellectual resources that sometimes are hard to draw. Inspiration does not come alone and does not come easily. I wish that I will achieve some good designs and why not some really good designs in my career. And when the time will come and I will look back, I hope that I will be relieved by finding that I have served Architecture with all my forces, doing the best I could for the users and my clients.

Deciding when a project is completed is never easy. There are always elements that could be reviewed and formed differently, in order to enhance morphology and functionality. A solid and good design concept, gives birth to new ideas that are integrated in the overall synthesis. Usually the designer feels and knows well if a project has reached to its completion. The post occupancy period though is very important for an Architect to evaluate the success of building project.

My favorite design actually is INTERelationships. It was a project that arose from my inner need to propose a completely new concept of a sustainable dwelling model. A model that defines sustainability in terms of the User, the Infrastructure and the Operation Management.

That is a really tough question. There are so many influential designers and artists, not only architects, whose work and visions have become iconic and universal. Wow…tough question…I will take the challenge though and state that I am a great admirer of the work of Peter Zumthor and Tadao Ando. Their Architecture is meaningful, spiritual, inward-looking. They create powerful places that are emotional, still, silent and calm by using simple forms and raw materials. Brilliant, pure Architecture!

Being the offspring of Architects, I was introduced into the Design World at a very young age. Among my first childhood recollections are some scattered, magic moments in my parents’ architectural bureau where I felt like home or some visits to the construction sites with my father. Becoming an Architect was truly a natural selection. Bureau and the rest is history…I have been thus cultivated with the ideal that Architecture needs to respect life and human existence. A well designed building is a life container more than a volumetric exercise of building forms. A well designed building affects directly the lives of its inhabitants; their productivity, their mood, their attitude. Who wouldn’t want to be part of the wellbeing of someone?

There is no secret or a magic recipe in order to achieve one’s goals. Hard work and believing in one’s self is the only way to go. One step at a time. Mistakes and wrong decisions are unavoidable and are there improve as individuals and professionals. I strongly believe that I would have never been an architect, had my parents followed other professional paths. I would have never obtained this design clarity of thought had I not studied Mechanical Engineering. I would have never conceptualized the foundations in Architecture had I not taken my Architecture masters teachings. I would have never followed the path of Lifetime Design, had I not met Ms. Margarita Fili, the person who introduced me to Disability. I would have never been devoted to Architecture had my family not supported and believed in me and my dreams. I would have never been an architect or even had designed INTERelationships had I listened to the discouraging voices of “logic” that compromise dreams.

I prefer being unhappy as an Architect to not being one. And thanks to all the people that I came up with, Family members, Friends, past relationships and great love affairs, Mechanical Engineering and Architecture Teachers and fellow students, past Tennis coaches, Dance teachers and partners, my drawing students, clients, project partners and consultants, I have carved my personality and I have lived lifelong experiences that enhanced the soft skills of my professional entity.

What I appreciate most in every project, is the team spirit and harmonic cooperation between all stakeholders of a project. Design is not only about drawings, models and visualizations; it involves relationships, interactions, happy moments and disappointments. It is a tough self-evolving procedure. Creativity is the fuel that feeds the designers thus leading them into conquering new grounds of knowledge.

Concerning the Design process, I always follow more or less the same procedure. I insist a lot in the preliminary and conceptual design phase, being the most important step of a project. It is like a sacred ritual to me. Visiting the place is very important in order to sense the local character and absorb as much information as possible. Information that may provide design ideas. An interview or a creative dialogue with the client and/or the project’s stakeholders in order to approach each other and set a basis for the future design options is also imperative. Then I write down very strictly, just like a mathematician does, all the parameters concerning the project as well as my desires and the aspects that should never be neglected during the design process i.e. inclusivity terms, certain functional demands etc. And then conceptual phase follows…What it is very important to me, especially at the beginning of a project, is that I give the necessary time to each stage to help me comprehend what has be done and to decide for the next steps. This means that I even stop, take small breaks, or even entire day offs, before returning back to continue the conceptual process. This phase involves 3d models and visualizations, plan/sections/elevation basic design and cost estimations. Once we come up to a fundamental agreement with the client we may further proceed to the next design phases.

When design focus on Social, Human and Environmental Sustainability, there is plenty of room to create a better society for the next generations. But designers are not alone in this battle. We walk hand in hand with our clients who have to share the same vision. The adventures that we have experienced (climate change, economic and pandemic crises) during the recent years up to present, has showed that Sustainability should be the long-term goal. That is why INTERelationships has been created at first place; to propose a Sustainable Dwelling Model and vibrant cell in the contemporary Mega Cities.

Having earned an award or recognition represents a whole period of strong efforts, focus in a goal and devotion to a project. Submitting INTERelationships project to A’ Design Awards, helped me understanding the values it reflects and to reevaluate its potential. It is imperative to pass through these inward-looking, self-awareness procedures, before communicating and exposing a project to the public. Each project reflects its creator’s insights, considerations as well as their design and artistic capacity and prospective, as it may be considered an extension of their personality.

The experience of attending A’ Design Award, is great so far. Having the opportunity of getting published and exhibited internationally is invaluable. There is a whole staff dedicated to promoting both the project and our brand. We are extremely honored and proud of being part of this community and we look forward to enhancing this relationship in the future.

The whole idea behind INTERelationships, is to propose a Sustainable Dwelling Model. In this case, Sustainable Design expands its usual definition of energy consumption and CO2 emissions reduction that are basically connected to the building shell and infrastructure, to include the terms of Inclusivity and Operational Sustainability. It is a residential complex that takes advantage of the provided resources, both spatial and human, in order to achieve maximum sustainability and economic growth.

Having in mind that the project’s central intention was to develop a Sustainable Dwelling Model, we had to analyze, redefine and further expand Sustainability in order to include Universal Design and Bioclimatic Architecture practices along with the implementation of the contemporary concepts of Zero Energy and Zero Waste. Recycling, Composting, grey water and waste management are basic processes for the green operation of the complex. All these elements are embodied in one solid concept for the creation of a sustainable residential complex.

This complex may belong to an organization, NGO or body that hosts vulnerable groups of people living in a supportive, collective community. Social Interaction is promoted through the revenue-generated activities and the Supported Employment services that are integrated into the vast building program. All these services offered by the organization, are developed through public usages that are spatially distributed within the residential complex. These organized usages are meticulously designed and positioned in places accessible by all users and visitors of the complex, located along the assenting path stemming from the central courtyard of the complex and heading towards the main building planted rooftop.

In conclusion, we hope that this model will not only contribute to sustainability by its reduced environmental footprint but it will also provide an alternative option for local communities living quarters or for organizations seeking sustainability in a more holistic and integrated form.

INTERelationships conceptual project could raise a debate about the sustainability practices among all stakeholders. It aims into introducing itself as an alternative, sustainable paradigm for similar residential units in the local neighborhood scale of contemporary cities; and this award is only the first stop of the journey.

The design of the INTERelationships lasted approximately one year, having begun in May 2018 and reaching its completion on July 2019.

After graduation from the Architecture School, I have always felt the need to design a project that would share universal values concerning the contemporary dwelling model and that would introduce Inclusive Design to the Greek public. The concept though was perpetually evolving throughout the design process. The initial concept and building program were considerably poor compared to the final outcome. This was the result of thorough planning in close cooperation with Architecture, Civil and Mechanical Engineering Consultants and of course of the precious contribution of Mr. Vasilis Kalopisis, our Research consultant. So INTERelationships was not a client commission, but it was born by the Yanniotis & Associates initiative.

We would rather proceed in building INTERelationships in the near future and we would be happy to cooperate and join our forces with companies or organizations that are interested into developing such residential concepts and projects.

There are many issues concerning the living conditions of the contemporary cities and especially Athens; climate change, vast urbanization, non-inclusive environments, social exclusion of certain groups of people such as the elderly etc. to name a few. The low quality of life in many districts combined with the poorly designed building shells and the high density of the urban fabric, are common problems of the built environment. INTERelationships is introducing an alternative option for the city center and the dense districts by collecting usages and by reducing commuting. Such small urban cells could be spread accordingly and result to an upgraded urban environment. They may thus become a cultural attraction where interpersonal relationships develop through social, cultural and leisure revenue-generated activities.

INTERelationships is the result of a continuing introspective reflection that was born right after my thesis in Architecture School. The title of my thesis was ‘Dwelling Network for people with Mental Disabilities in Colonus, Athens’ that was conducted in cooperation with my fellow student Eleni Papadaki under the Supervision of our Professors Theano Fotiou, Maria Kafritsa and Konstantina Vaiou in 2011. Since then, I have extended my research in Inclusive design and to introducing an alternative residential concept which could enhance wellbeing in our city. Such concepts, but much more extensive, have been developed in the past by famous Architecture masters such as Le Corbusier, Constantinos Doxiadis etc. INTERelationships shares common values with its predecessors with the difference that it involves smaller scale and subtle urban interventions.

INTERelationships focuses on vulnerable groups of people such as the elderly, people with disabilities etc. The same model though, may well be universalized and applied as a dwelling proposal for the entire population of contemporary cities, under a well-organized and revised urban gentrification programs.

This project focuses on the sustainable aspects of a residential complex as a whole. Sustainability is defined in terms of Infrastructure (Zero Energy), User (Universal Design, Health monitoring Technology, Social Integration, Supported Community Living, Supported Employment) and Operation Management (Utilization of complex resources-both human and spatial, Zero Waste).

INTERelationships is developed in a lot that sets additional challenges such as the steep sloppy ground that questions accessibility terms. Moreover, the project is located in the sensitive urban context of the historic neighborhood of Philopappos near the city center of Athens, thus demanding gentle and meticulous design gestures in order to respect its surroundings. Finally, the morphological and functional incorporation of the ancient masonry relics found on the north side of the property as well as the masonry remains of the two, two-story neoclassical buildings forming the south facade of the complex posed extreme synthetic challenges.

Last but not least we should not forget to mention the overall redefinition of the Stairwell concept located within the body of the main building. The new concept transforms this space to a vibrant unit hosting periodic art exhibitions. The relevance and visual contact with the antiquities within the body of the building serves as a meaningful connection between modern and ancient art in its function as an exhibition space; one of the main public usages of the building program.

The name of the design, INTERelationships, has its origins to the foundational concept of synthetic interconnections. Social relationships and interactions, spatial, visual, sensory and perceptual interconnections between opposing elements are all ideas concentrated in a single universal meaning. A modern and technologically advanced building incorporated in a historical neighborhood with intense local character. Vulnerable groups of people co-living and serving the neighborhood city dwellers. Ancient masonry relics are showcased and merged with the interior and exterior, modern art exhibition spaces. Historical building remnants are renovated and integrated in the complex synthesis thriving back in new context. Alternating Private, Semiprivate, Public and Semipublic spaces enhance building morphology through diligent synthetic interplay. We could not have imagined a more appropriate name for this project…

The project was designed in ARCHICAD 19 and the 3D model was then rendered in TWINMOTION 2019 thus producing the visualizations and the navigation video.

I think that both the whole concept of the Sustainable Dwelling Model as described in the Submitted Texts and of course the Overall Transformation of the Stairwell to a vibrant space that can accommodate periodic art exhibitions while serving as a useful and appealing space for tenants, are my both aspects that make this project unique. But it is up to you to judge.

The project was conceptualized, developed and designed by the Yanniotis & Associates Bureau in close cooperation with our Research Consultant Vasilis Kalopisis (Coordinator of the NGO "Petagma") who had the responsibility of evaluating the supported living terms and the overall inclusivity of the design. At this point though, I would like to thank our Architecture, Sustainability and Structural Engineering consultants who based on their expertise, they contributed into defining certain aspects of the project. These Consultants are Eleni Maistrou (Architect, Emeritus Professor NTUA), Panagiotis Chatzisarandis (Civil Engineer AUTH), Konstantinos Gianniotis (Mechanical Engineer AUTH) and of course my father Yannos Yanniotis (Architect E.A.U.G.) who supported me during all project phases. Finally, I would like to thank Konstantinos Xanthopoulos, graduate Architect NTUA, who helped in organizing the presentation material of the project.

Although being a conceptual project, INTERelationships takes advantage of technology advances in various fields and applications. Technology plays a critical role for the sustainable operation of the complex. Health monitoring technology process the collected data to provide personalized medical services to the tenants. Photovoltaic panels and small Roof Wind Turbines generate enough power to cover energy residential needs. Energy accumulators store and release energy when needed. Geothermal and Thermal Mass systems for cooling, heating and hot water. Decentralized blower units, waste heat recovery, and flexible multi-mode operation for maximum efficiency and thermal comfort. Passive House Standard to the Building Envelope. Collection, purification and reuse of water, recycling and waste management through a small composting unit, all contribute to the green operation satisfying the energy footprint of the complex infrastructures. All these functions could not have been feasible without the use of current technology advancements.

INTERelationships came up quite naturally after 9 years of research in the field of Inclusive Design. This powerful concept empowers and enables use of the products and environments by all no matter their age, gender, physical, perceptual, or cognitive abilities, religion, sexual orientation etc. This concept thrives into creating enabling domestic spaces by adopting design concepts, solutions and techniques that focus on the user ability to feel, understand, use and interact with their immediate environment or products. The creation of a stimulating, welcoming, friendly and accessible environment was the result of the creative implementation and interpretation of the Universal Design principles. These principles were first developed by Ron Mason and were further refined and particularized by the IDEA Center of Inclusive Design and Environmental Access at the University of Buffalo. This extensive research has involved reviewing of ADA Regulations, NKBA Kitchen and Bathroom Guidelines, Greek as well as international legislations and of course relative literature concerning design solutions, functional dimensions and material specifications in order to achieve maximum accessibility in a challenging environment such as the Philopappos district.

As mentioned in the Detailed description of the project, the design challenges were massive, expanding in various aspects of Architecture Planning and Design. First of all the harmonic integration of a modern building complex in the historical context of Philopappos was, alone, a case study. Moreover, the morphological and functional incorporation of the masonry remains of the two, two-story neoclassical buildings forming the south facade of the complex and of the ancient masonry relics found on the north side of the property, demanded careful and elaborate architectural handling. Both elements were preserved and showcased. The pool area nesting in the restored perimetric neoclassical masonry thus serving as a scenography setting, was a very interesting design solution that allowed for additional outdoor spaces. The barriers to accessibility raised by the steep ground slopes of the lot, lead to the organization of a system of paths of escalating accessibility, enhanced by enabling arrangements, equipment and appropriate fixtures such as accessible ramps, (stair) lifts or elevators. Finally sustainability was a whole concept that actually formed and guided the building program, the operation management and the green operation technologies of the complex.

When I first started designing INTERelationships, I had no idea that this would be a project submitted and awarded by international institutions and alike. Only after realizing the values of the project and with the encouragement of my close friend and Business Consultant Maria Yarmeniti, I decided to proceed into submitting it to A’ Design Awards and additional prestigious International Awards.

The impact of INTERelationships in my design experience is enormous. Combining and implementing successfully the concepts of Sustainable and Inclusive Design in a single residential complex enhanced my architecture skills. I would also express my gratitude for having collaborated with skilled and worthy professionals and academic teachers, who believed in INTERelationships and were happy to participate as consultants. Their contribution to the project was critical and given the opportunity I would like to thank them for having offered their time and precious knowledge.

Last but not least I would like to thank A’ Design Awards institution and of course the jury members who evaluated, judged and finally recognized the design values of INTERelationships. I wish that this award will act as a springboard to public acceptance, diffusion, adoption and expansion of sustainability principles and will help INTERelationships to contribute in the global sustainability debate.

Being the offspring of Architects, I was introduced into the Design World at a very young age. Among my first childhood recollections are some scattered, magic moments in my parents’ architectural bureau where I felt like home or some visits to the construction sites with my father. Becoming an Architect was truly a natural selection. Having failed to enroll at the Architecture School, I studied Mechanical & Aeronautical Engineering at the University of Patras. Upon the completion of my studies I was planning to continue as a doctoral student in the field of Finite Elements under the supervision of my Professor Mr Harris Apostolopoulos. Before returning at Patras in order to begin my new studies cycle, I took three months off, by staying in Athens and joining my parent’s Architectural Bureau and the rest is history…

Each project opens up a whole new world to me. Coming across with new challenges, new people and new knowledge fields provides a strong motivation. Each new design shares a piece of my heart and spirit as I am totally devoted to it.

Becoming an Architect was a natural decision. My parents, having experienced the difficulties of the profession I would say that they even tried to consider it twice before taking a decision about my future.

Architecture is what I practice professionally. As a designer though, I have explored various fields such as graphic design, painting, sketching. All these expressions of art share a common element; the embodied thirst for discovering creative ways to communicate one’s feelings or beliefs. Of course I love Architecture and I wish that I will be able to continue practicing and to continue serving the users’ needs, desires and wellbeing.

Legend is a term I don’t feel that best describes me. It takes a lot of effort to accomplish something like that and surely it is not up to me characterize myself as a legend. The way to succeed in architecture though is to have devotion, work hard and expand your Knowledge through the continuing education concept and through the projects. Knowledge is power and self-awareness reassures that one acknowledges their level and the steps they have to follow in order to improve as professionals.

I think the greatest difference between the two is the passion to deepen more and more into their art and thus to their own soul.

Good design is difficult to achieve. It demands intellectual resources that sometimes are hard to draw. Inspiration does not come alone and does not come easily. I wish that I will achieve some good designs and why not some really good designs in my career. And when the time will come and I will look back, I hope that I will be relieved by finding that I have served Architecture with all my forces, doing the best I could for the users and my clients.

A good design respects life and human existence. A well designed building is a life container more than a volumetric exercise of building forms. A well designed building affects directly the lives of its inhabitants; their productivity, their mood, their attitude. Who wouldn’t want to be part of the wellbeing of someone?

I would love to design a Pharaonic Pyramid, to carve a Stonehedge rock, to work with Fidias, Ictinus and Callicrates in the Parthenon construction, to join Brunelleschi’s Dome team in Florence and Le Corbusier’s Atelier at the time when he designed Unité d'habitation. Time is relative, isn’t it?

Each project, architects come up with, hides its own challenges and in this sense it is unique. It widens their horizons and offers a chance for self-improvement and for reevaluation of their design capacities. One may be intrigued or thrilled by projects that in a way seemed trivial or insignificant at the beginning of the design process. I find residential projects extremely interesting, attractive, complex and challenging. Accommodating all these complex usages occurring in a single residence; Creating a stimulus, functional and a welcoming domestic environment that enhances the sense of belonging; Meeting the ever-changing needs, desires and wellbeing terms of all dwellers through a lifelong design; Creating a place where children will be born and grown up to young adults, where adults will evolve and grow old, where older, frail people will reflect in wisdom or be challenged by their own age.

Yet architecture, may similarly support all human activities hosted in environments, different than the dwelling units. So, I love Architecture for the attraction it exerts over me, for the emotions it creates, for the excitement of creativity and for the knowledge I gain in every project I come up with.

Devotion, working hard, Knowledge expansion through the continuing education concept

I am happy to answer this question because I am given the opportunity to pay my dues to all my Teachers that formed me as an Architect and especially my parents for cultivating my architecture instinct since my early years. To me these people are my design legends I draw inspiration from.

That is a really tough question. It is as difficult to answer as the one asking what or who would you take with you on a deserted island. I hate this place!!!

There are so many influential designers and artists, not only architects, whose work and visions have become iconic and universal. Wow…tough question…I will take the challenge though and state that I am a great admirer of the works of Peter Zumthor and Tadao Ando. Their Architecture is meaningful, spiritual, inward-looking. They create powerful places that are emotional, still, silent and calm by using simple forms and raw materials. Brilliant, pure Architecture!

My favorite design actually is INTERelationships. That is why I have decided to submit it to A’ Design Awards. It was a project that arose from my inner need to propose a complete concept of a sustainable living model. A model that defines sustainability in terms of the User, the Infrastructure and the Operation Management.

There is no secret or a magic recipe. Hard work and believing in one’s self is the only way to go. One step at a time. Mistakes and wrong decisions are unavoidable and are there to make us better personalities and professionals.

I would have been a much better son, husband and father. I owe a lot to my family that supports me and believes in me.

Design above all means Responsibility; responsibility towards the client and the user of the built environment. The user’s needs and desires should be met and the design ought to be Flexible, allowing them to interact with it. Aesthetics and Functionality should not compete with each other and should both add value to the design. A Design that follows the goals and principles of Inclusivity, that caters for the needs of all possible users, is a Design that seeks to accommodate Quality of Life. Inclusive design with the aid of technology, may transform spaces into vibrant living units that boost self-esteem and self-conception. A Design that focuses on the Details, while keeping a balanced relationship between Functionality and Aesthetics. Setting the user at the center-of-interest, architecture may well accommodate Sustainability not only in terms of Energy Consumption and Waste Management, but also in terms of the user's needs, desires and wellbeing.

The design journey has been a long course with ups and downs. The latter helps you manage the former mentally. I think that my biggest supporter all over these years has been my father. But I will certainly not forget my wife Joe and my 3 year-old daughter Anna who cope with my attitude and support me with plenty of love and affection.

Well, the title great Architect is not something I feel comfortable with, but to answer this question I will have to go back in 1997-2003 during my studies as a Mechanical & Aeronautical Engineer. I believe that in this period I carved a solid mentality and mindset. Through mathematics and engineering courses I gained the skill of being able to organize my thoughts, my desires and channel them into addressing the complex synthetic challenges that each project raises.

I think that the obstacles never stop occurring. They change through the years and differ in quality and in the level of difficulty. I always felt that obstacles, just like challenges, are our comrades in our design quest. We need them to endure and to evolve as architects or professionals. One of those obstacles that still continues to exist, is the economic crisis in Greece that almost eliminated the construction sector.

There are various media through which a designer can present his/her work. Online and print format magazines, participation to exhibitions (especially for awarded projects), press releases or interviews to name a few. The problem that occurs though, has to do with the quality of these presentations, not in terms of their technical attributes but in the way that the public will comprehend the project in depth, distinguish its values and will be able to apply them in the future.

The next design project would be the offspring of INTERelationships. We are currently focusing on implementing its values in the smaller scale of affordable inclusive private residences that are energy efficient, have reduced environmental footprint in terms of CO2 emissions and waste management.

Dreams are free of charge, aren’t they? So what I dream to achieve, is to travel around the globe and why not contribute to the architecture evolution by grounding it back to human scale.

Once again, I don’t believe that an award distinction, no matter how important it is, makes someone special or legendary. Yes it is a moment of excellence, an opportunity to celebrate a great achievement to feel proud for the extreme design efforts that were recognized. But the day after the gala night, this award should raise the responsibilities, expectations and perspectives, so the awarded designer should be prepared to satisfy them.

When design focus on social and human sustainability, there is plenty of room to create a better society. But designers are not alone in this battle. They walk hand in hand with their clients who have to share the same vision. The adventures that we experienced in the recent years showed that Sustainability should be the long-term goal.

Apart from the design projects, I am very interested in following online continuing education programs and courses offered by formal AIA institutions and universities overseas. I deeply believe that knowledge is our power as professionals and as individuals. It feeds our mind and spirit and keeps us up to date to current technologies and design movements.

All projects are important because they all contributed to my evolution as an architect. The project that I really enjoyed though was INTERelationships because it offered me the opportunity to go back to basics of architecture and design inspiration. I had the time and freedom to create a residential building complex which could set an alternative sustainable dwelling proposal. This is why I feel grateful for its success even though it is a conceptual project. But who knows, maybe we will have the opportunity to realize it…

Less is more. I think that this diachronic phrase entails all the precious life values

I wish I had this magic sphere to predict the future. Unfortunately no one does. What I am sure of is that the pandemic crisis, global economy and climate change are all very serious and life changing facts that will affect the design field profoundly. Globalization of technology advances, sustainability terms and inclusive design will be the next thing that will rule the game.

Actually this depends strongly on the project, its category, the difficulties that the site poses into adopting certain forms or solutions and the complexity of the design attributes of a project (sustainability, inclusivity etc.). Unfortunately time is not our ally; we always feel that we need more. But we should also respect our client’s needs and project deadline and make sure that everything will be there on time. Time schedule, deadlines and deliverables are agreed with the client.

I always follow more or less the same design procedure. It is like a sacred ritual to me! Visiting the place is very important I order to sense the local character and absorb as much information as possible. Information that may provide design ideas. An interview or a creative dialogue with the client and/or the project’s stakeholders in order to approach each other and set a basis for the future design options is also imperative. Then I write down very strictly, just like a mathematician does, all the parameters concerning the project as well as my desires and the aspects that should never be neglected during the design process i.e. inclusivity terms, certain functional demands etc. And then conceptual phase follows…What it is very important to me, especially at the beginning of a project, is that I give the necessary time to each stage to help me comprehend what has be done and to decide the next steps. This means that I even stop, take small breaks, or even entire day offs, before returning back to continue the conceptual process.

‘Design for a Lifetime’ when Functionality meets Aesthetics.

I have always been hesitant towards trends. There were times I turned against them since trends usually come and go without impact. So as an architect I am very suspicious about the authenticity of trends and I admire those designers that have marked their era with the integrity of their work and the values that they have transmitted throughout their career.

Technology is a precious tool if used accordingly. The significant contemporary technological advances have broken new grounds in the design process, the materials technology the construction methods. They have also enhanced the threefold relationship between the architect, the client and the project. We as architects should have the control over these tools, know their attributes in detail and master their use. Technology has modified our lives completely by providing convenience and by simplifying daily tasks and duties. It is important to embrace these advancements and embody them to our design in an inclusive way.

I use ARCHICAD as a design software, Artlantis and Twinmotion for renderings and visualizations and Adobe Suite for presentations and photo editing. I am happy to exploit the powerful computer capacities of my IMacs that enhance my work and produce reliable results.

The impact of color, materiality and ambient in design is enormous. They may transform a rather dull and monotonous space into a vibrant and stimulating place. A place that boosts social interaction, respects diversity, empowers people, improves wellbeing and increases productivity. Moreover, according to the space usage, color, materials and ambient should be selected appropriately so that it will serve its users and it will function harmonically.

I wish that they would appreciate the values of lifetime design and its contribution to sustainability and I hope that they will discover these elements in our work and get attracted to solutions that do not compromise but enhance aesthetics through functionality channels.

I try to observe and figure out what design elements produce this certain ambience that creates these emotions. Is it a matter of materiality, of the forms, of the scale, of detailing, of the overall environment and surroundings? What makes a design unique and distinct? These are lifelong questions seeking desperately for answers!

During the Architecture School years, I had been trained to work in Teams and form collaborations in various projects. I believe in Team’s capacity to develop powerful ideas through creative dialogue and through setting and sharing the same goals. Architecture nowadays, has become complex with the introduction of sustainability, new technologies and materials. Even the design procedure has changed significantly, with the use of effective design tools that has expanded creativity tremendously. In building design apart from architects, other disciplines such as civil or structural engineers, mechanical engineers, sustainability consultants, industrial designers, contractors, project managers etc. are essential in order to complete a project. Thus being part of a Team is both inevitable and imperative and creating a team that is project-oriented and works in tune is extremely important for an architect.

I strongly believe that I would have never been an architect, had my parents followed other professional paths. I would have never obtained this design clarity of thought had I not studied Mechanical Engineering. I would have never conceptualized the foundations in Architecture had I not my Architecture masters teachings. I would have never followed the path of Inclusive Design, had I not met Margarita, a person that stood as a second mother to me. I would have never been devoted to Architecture had my family not supported and believed in me and my dreams. I would have never been an architect or even had designed INTERelationships had I listened to the discouraging voices of “logic” that compromise dreams. I prefer being unhappy as an Architect to not being one. And thanks to all the people that I came up with, Family members, Friends, past relationships and great love affairs, Mechanical Engineering and Architecture Teachers and fellow students, past Tennis coaches, Dance teachers and partners, my drawing students, clients, project partners and consultants, I have carved my personality and lived lifelong experiences that enhanced soft skills of my professional entity.

With no doubt my Inclusive Design research on its teachings and bibliography has profoundly changed and influenced my architecture considerations. The way of thinking, the fundamentals, the user-centricity of design, came to complement my basic architecture knowledge earned during my studies. In a sense, Inclusive Design expands Le Corbusier’s Vers une Architecture and Modulor Man concepts to even more universal spheres.

Architecture is a life container creation vocation. It draws inspiration from personal experiences, teachings and knowledge to create spatial experiences for other people, thus affecting directly their living terms. Apart from design teachings, project developments and professional experiences, I owe a lot to the people that surround me, to my family background, and to the course of my life until today with all experiences included both positive and negative.

Great question with unlimited options to choose from! Many figures come in my mind from all fields of human activity: arts, science, music, religion, philosophy, history and politics or even notorious criminals. Important or controversial figures from the recent and past years, till Antiquity. In what context would we meet? For example I would never ask Mozart to join a rave party, even if he would love to! Wouldn’t be interesting to see how these people would react in completely different situations or environments? For example wouldn’t it be interesting to watch Gary Kasparov as a playmaker in a team sports or Alexander the Great in peacetime? We have witnessed Michael Jordan playing golf! Although many people may have thought at the time that golf wouldn’t fit to Jordan, it was rather an interesting match.

Wouldn’t be interesting to arrange meetings that would bring together personalities such as Sir Isaak Newton and Albert Einstein for example? How would they interact?

I think that I love this option! There is song by my favorite Greek musician and singer called Loukianos Kilaidonis, entitled The Party. Loukianos has also studied Architecture at NTUA and in this song he dreams of organizing a fantastic party in a Deep Dungeon along with a bottle of rum! So in this surreal setting he would invite Fellini, the Beetles, Charlie Chaplin as Charlot, Wassily Kadinsky, Jorge Luis Borges, Frank Sinatra, Andrés Segovia, Picasso, Walt Disney, Elvis Presley, Bertolt Brecht, Hamphrey Bogart, François Truffaut, Scott Joplin, Johan Sebastian Bach, Giorgos Seferis, Georges Braque, George Gershwin, and even Zoro! I would love to join Loukianos’s Party, where I am sure that he would invite all the important personalities that he did not include in the brief lyrics of his song!!

Now, concerning one of the most controversial and mysterious historic figures of both the arts and science, Leonardo da Vinci, I would rather leave him in his peace…The mystery that surrounds his personality, part of which it was intentional, has created his legend and has thus contributed to the attraction Leonardo exerts to all scientists and artists till today. I would never ruin this feeling by just satisfying the curiosity of meeting him.

Gaining an award or recognition represents a whole period of strong efforts, focus in a goal and devotion to a project. Submitting this project to awards, contributes to understanding the values it reflects and to reevaluating its potential. It is imperative to pass through these inward-looking, self-awareness procedures, before communicating and expose a project to the public. Each project represents its creator’s views, considerations as well as their design and artistic capacity and prospective. In this sense, yes it is a tough and dangerous process and one should be prepared to face rejection or address objections to their project, as it may be considered an extension of their personality.

I love the ground tones and hues, like the ones of fayum paintings that best express their primitive and naïve notion.

Passing moments or short periods near the sea, is a relaxing experience. However, I would never exchange the stimulating and vibrant life of the city center.

Since I was a little child I craved for lentils and this is a dish I still enjoy eating. It sounds weird though, listening to my 3-year-old daughter’s claim that her favorite dish are the lentils too. I love both the nostalgic autumn mood and the nature’s spring revival.

I do not get obsessed or stick with things. On the other hand I do insist wearing some clothes, while denying to admit that they may have worn out.

My favorite brand is Apple. We have been fans and users of McIntosh and Apple products, since the first introduction of Mcintosh 128K to market place back in 1984. Brand’s finesse, user interface, targeted design and focus to accuracy and perfection are unmatchable.

Architecture is full of tiny and brief moments, fun and funny incidents that occur during the design process. Most of them happen when working with partners in deadline periods. Stress levels and fatigue are high due to overnight and exhaustive work, thus leading to lough outbursts. These outbursts are common reactions and they are essential as they contribute to physical and emotional balance. One funny but still terrifying incident that I remember, occurred during a supervision visit to a building which was under massive restoration. At that times, we used to take our dog along, because the building was located in a walking distance away from our home. Gorby loved running and enjoyed playing with the workers or with the random debris or rubbish he was discovering here and there. One day, we visited the building and Gorby, as usual, started running crazy to all rooms without noticing that in a certain hall the floor had been removed and only the supportive wooden beams were left in place. It was the first time in my life that I saw a dog balancing like a cat, quite awkwardly I admit, on the thin, lengthy floor beams! He was terrified and once he managed to reduce speed and stop, he was lying in the middle of the hall, grasped on the floor beam, and crying helpless. Suddenly, everybody in the building stopped working and were all searching for Gorby who was barking and whining. A huge operation commenced that lasted about half an hour, and Gorby was ultimately saved and returned back to the hugs of his beloved workers who celebrated his rescue.

Following everyday routines and habits reduces stress levels and creates a psychological state of mind in which I feel calm and safe. For example, the daily half an hour coffee at the local bistro, early in the morning along with people I know quite well, is the ideal way to start my day. This social interaction clears my mind and it is a kind of ritual to me. Reading articles or whatever I find interesting and enjoyable is also relaxing. Hand sketching and drawing, physically connects me to the project I work on and helps me explore its mental aspects in a creative and artistic way. The expansion of computer use to almost all fields and phases of creation, suppresses my needs for informal and physical expression. I thus resort to sketching and hand drawing, with the use of various writing mediums which I completely control and enjoy. Sketches and mock-ups are time-consuming activities that stimulate the mind and contribute to the perception of the building construction. Time is a crucial design factor in the sense of brain information processing. Brain needs time to absorb and perceive all the complex information, design criteria, building program organization, legislation or technical limitations and of course to develop desires; it takes time to transform ideas into architectural forms and hand crafting or sketching provide the designer with this essential motivational parameter with a creative and fun way.

Being the offspring of architects and by having grown up in a design-centered environment, I have had rich and joyful memories that had a deep impact on me. Since I was a little child and especially during summertime I remember myself sketching and painting. These pieces were not something special artistically, but I remember my natural attraction to creation and expression through painting. I remember enjoying visiting construction sites along with my father and I still feel the intense and distinct smell of my parents’ bureau. It was the distinct smell of papers, rice-papers, inks, color markers, pencils and photocopies, subtly fused with tobacco scent. I loved this smell and to my childish mind, it acted as a creation metaphor. So, becoming an architect was quite a natural decision and a desire that occurred too early and in a very young age.

My wife Joe, responded to this question describing the future as a Post-apocalyptic hell! I am happy that I will not witness her predictions!!!

I would like to state that we will keep trying to improve our design skills and processes, to provide better, more qualitative and integrated services and we will seek to participate in future design awards and competitions with inspiring and interesting projects. Please stay tuned, safe and healthy.

Being a son of Architects I grew up in a design, inspiring environment. I have early memories of my parents spreading their draft plans on the floor of our living room and me, as an infant, I crawled around and I enjoyed the “messy” moments; I am not sure whether my parents enjoyed it too!

My strongest memory though, is the image of my father, standing distant from his design table, lighting a cigarette and staring at his drawing for a couple of minutes. It was then that I first sensed the magic of creation, the close connection between an Architect and their brainchild and their absolute devotion to their art. To an architect this piece of work, even If it is just a conceptual sketch of abstract strokes, represents a living organism manifesting a vibrant intellectual universe.

I feel fortunate not having started smoking though!

Yanniotis & Associates Architectural Bureau was established in Athens in 1980 by my parents Yannos and Vassiliki Yanniotis, In 2003 I joined the Bureau after my studies in Mechanical Engineering at the University of Patras. In 2006 I enrolled at the Architecture School NTUA from which I graduated in 2011. Since then, I have been practicing as an Architect, having an expertise in Inclusive Design. In its long-lasting activity, the Bureau has completed a significant number of projects – of both small and large scale – in various fields of building design and urban planning (residential buildings, office spaces, industrial buildings, tourist facilities, golf resorts & sports centers, culture, restoration and reformation of listed historical buildings, urban planning, decorating, special designs etc). Facing towards the new challenges, contemporary design account for Inclusive Design practices, Sustainable Energy Technologies and Integrated IT Services.

Design above all means Responsibility; responsibility towards the client and the user of the built environment. The user’s needs and desires should be met and the design ought to be Flexible, allowing them to interact with it. Aesthetics and Functionality should not compete with each other and should both add value to the design. A Design that follows the goals and principles of Inclusivity that caters for the needs of all possible users is a Design, that seeks to accommodate Quality of Life. Inclusive design with the aid of technology, may transform spaces into vibrant living units that boost self-esteem and self-conception. A Design that focuses on the Details, while keeping a balanced relationship between Functionality and Aesthetics. Setting the user at the center-of-interest, architecture may well accommodate Sustainability not only in terms of Energy Consumption and Waste Management, but also in terms of the user's needs, desires and wellbeing.

I do not have a particular preference because every project has its own, special challenges that should be addressed. If though, I had to select a category of architectural projects that I favor, that would be Residences.

My favorite design actually is INTERelationships. That is why I have decided to submit it to A’ Design Awards. It was a project that arose from my inner need to propose a complete concept of a sustainable living model. A model that defines sustainability in terms of the User, the Infrastructure and the Operation Management.

The first thing I ever designed was a bookcase, inspired from Mondrian’s paintings motifs. It was designed during my studies in Architecture School and was constructed just after my graduation.

Materials are as important to architecture as is the skin to the body. It is the epidermis that completes the building forms, enabling them to convey subtle messages to the possible users. Each project has its own character, aspirations and soul. Materials should serve all these high intellectual goals. Therefore, the designer should create a harmonic synthesis with the use of the appropriate materials.

What I appreciate most in every project, is the team spirit and harmonic cooperation between all stakeholders of a project. Design is not about drawings, models and visualizations; it involves relationships, interactions, happy moments and disappointments. It is a tough self-evolving procedure. Creativity is the fuel that feeds the designers thus leading them into conquering new grounds of knowledge.

I believe that the conceptual phase of a project is the most important and the most creative one. In this preliminary phase the design builds its body drawing all intellectual resources from its developer. A rigid conceptual model that takes into account all design aspects, would possibly blossom during the design process.

Design is not a game. It is a long journey with checkpoints and short-run goals that should be placed accordingly in order to complete successfully a project. Happy and creative moments alternate with frustration, stress and disappointment when deadlines are to be met or when obstacles rise on the course. Challenges boost creativity, while imagination fuels the designer with ideas and design solutions thus creating a vibrant, imaginary world full of inspiration and aspirations.

When construction comes into play, everything should be completed and analyzed thoroughly. Construction may reveal unexpected issues that might have not be considered during the planning stage. It is a very suspenseful period, full of responsibilities and intense moments. Pride and relief are the most common feelings along with the anxiety that the final result will finally meet the desires and expectations of the clients. Architects along with the other engineering disciplines and the workers who shape the form of the building with their own hands, consist a team whose members are interconnected and share the same emotions.

I think that time is the most critical factor that defines whether a design will be considered successful or not. Users’ footprint on a building is equally important to its designers’ expectations and desires. The way they behave, act, express themselves and live consist the major part of its post-design life. If they are happy for their new home, office spaces etc. then the architects should feel also proud for their accomplishments. But we should never forget that a designer will be rewarded only by their peers who will judge their work objectively and rigidly.

Evaluating a design of a building is a complex procedure. Most of the times we are unaware of the critical aspects or design factors that led to certain design solutions. Parameters such as Budgeting limitations, Client’s desires or demands in providing service are key points that form or guide the design options even in the preliminary or conceptual phases. Having these in mind I agree that design criteria such as Function, Aesthetics, Materiality, Reliability, Performance, Interaction, Empowerment, Perfection, Change-as described by A’ Design Awards- are values that a good design should possess. Usually we judge Architecture in terms of formal complexity and this tendency is instinctive. A gifted Architect of course may have the ability to develop complex architectural forms with interconnected spaces and uses or the capacity to handle materiality. All these are values that distinguish an architectural work and its designer. What makes Architecture very special though, is that all these aspects are embodied in a certain land property, with predefined orientation and views, with predefined options for possible entrances or access, with a predefined building program, with a predefined budget and for a certain client. Working with design limitations is part of our job and we should take into consideration all these parameters that usually compete with each other in order to produce an outstanding building.

When design focus on social, human and environmental sustainability, there is plenty of room to create a better society for the next generations. But designers are not alone in this battle. They walk hand in hand with their clients who have to share the same vision. The adventures that we experienced in the recent years showed that Sustainability should be the long-term goal.

I wish I had this magic sphere to predict the future. Unfortunately no one does. What I am sure of is that the pandemic crisis, global economy and climate change are all very serious and life changing facts that will affect the design field profoundly. Globalization of technology advances, sustainability terms and inclusive design will be the next thing that will rule the game.

In A’ Design Awards! I am looking forward for this opportunity!

Technology and the internet have helped tremendously into bringing architecture masterpieces into our mobiles screens. In just a few seconds you may travel virtually from Beijing, to New York, to Paris or Berlin and London and have a chance to visit places and architecture sites. Nothing can replace the experience of an actual visit of a building by travelling abroad to see and feel its scale, its materiality, how it is integrated in its context and its surroundings. Architecture is deeply affected by the local character embodying the local culture and it cannot be fully perceived in a print or visual format alone. Sketching interesting views or elements of a building, contributes into understanding its structure and organization of its form. In a way, this intimate process may help one get in the shoes of its creator and trace the elements that make a building distinct and outstanding.

The design style is for an architect is actually his or her personality, carved meticulously along with their living environment and conditions, cultural context, education, experiences and many more defining factors. Design style cues are apparent even in the early works or in the school years but are rough and yet immature expressions of the deep personal values that each designer shares. It is really hard to express what my style is, because I think that it is more or less a characteristic that is formed and refined dynamically with every project, with every experience I have had. Individual beliefs and merits inherent to each person, both create the basis for this personal expression manner or style. Though, central to my design approach in each project, is the user-centered philosophy; a design that creates environments which respect their users, enables and empowers them.

I live in Athens, a multi-cultural city with great history and heritage. The cultural context in which we live has a great impact affecting the designers profoundly. These relationships that have been constructed solidly piece by piece since their childhood, may be traced in a designer’s work through subtle or intensive gestures, stemming from their background. The recent experience of the economic crisis has affected not only the society as a whole but also each individual and particularly architects and designers. We have entered in an existential quest, doubting even the need for our services and reviewing all our values that formed us as personalities and professionals. This process is tough, insular and has impinged on the survival terms of the construction disciplines link that interconnects all these professions. Now, we are phasing the Covid-19 contagion, a global pandemic that threatens to change the life habits and style once and for all.

Working with companies differs a lot from working for private clients. The procedures are different, usually because the decision maker is not a single person but a board, consisting of members that take into account aspects that may be even irrelevant to the project itself. Legal commitments, strict deadlines and contracts come into play and interpersonal relationships may be underrated. But architecture involves interaction, needs social approval and mutual commitment of all stakeholders to endure all the difficulties until the completion of a project. I therefore struggle to maintain this interpersonal team spirit and mutual understanding, in order to meet the expectations of all stakeholders.

I think that apart from the CV and the experience of a designer, an additional factor is that the profile of the designer should match the profile of the company profile. Both the architect and the company should share the same goals, agree with the basic stepping towards the completion of the project and find a common ground for understanding one another and respect each other’s priorities. I believe that these elements can create the perfect foundations for a successful project.

I always follow more or less the same design procedure. I insist in the preliminary and conceptual design phase being the most important step of a project. It is like a sacred ritual to me! Visiting the place is very important I order to sense the local character and absorb as much information as possible. Information that may provide design ideas. An interview or a creative dialogue with the client and/or the project’s stakeholders in order to approach each other and set a basis for the future design options is also imperative. Then I write down very strictly, just like a mathematician does, all the parameters concerning the project as well as my desires and the aspects that should never be neglected during the design process i.e. inclusivity terms, certain functional demands etc. And then conceptual phase follows…What it is very important to me, especially at the beginning of a project, is that I give the necessary time to each stage to help me comprehend what has be done and to decide the next steps. This means that I even stop, take small breaks, or even entire day offs, before returning back to continue the conceptual process. This phase involves 3d models and visualizations, plan/sections/elevation basic design and cost estimations. Once we come up to a fundamental agreement with the client we may further proceed to the next design phaces.

I am great fan of industrial design as it was first expressed and evolved during the Bauhaus movement. I love my old time classic metal stovetop espresso pot and my vintage metallic alarm clock. In my office I have a vintage wooden articulated doll bought by my parents during their studies in Geneva along with my mother’s student Bauhaus style armchair set and of course a vintage articulated desk lamp designed and produced in 1960. All these are everyday fixtures and utensils and great pieces of industrial design that were manufactured during or right after the closure of Bauhaus School in Berlin and Dessau.

A typical day in my life usually begins rather powerfully, as it involves playing with my 3 year-old daughter who wakes up too early in the morning. At about 8 o’ clock I take the public bus and head to my office in Mets, a picturesque and old Athenian neighborhood located behind the old marble Olympic stadium of Kallimarmaron. There, I take my breakfast and morning coffee with my father in a local bistro discussing about the current projects and reading the news. At about 9 o’ clock we return to the office to begin our work. I try to keep track the technology advances in sustainable design and inclusive design and I take online courses of the AIA Continuing Education programs. What I also love is that twice a week, I teach architectural drawing to future design students who are preparing for the Panhellenic university entrance exams. These teaching hours involves interaction with young students, an experience which is really refreshing and creative.

One great problem right after the completion of architecture studies, are the unlimited options. Option selection leads to evolution. Start working in a design studio? Work abroad, to famous architecture firms? Set up your own studio? Collaborate with your friends and fellow students as professionals? Continue with a postgraduate level of studies? Participate in architecture contests and competitions? Take a year off? Travel? Unlimited options, unlimited career paths.

But still, even before graduation there are options and opportunities for self-improvement. The great difference between the two states is safety and comfort. The main duty of a student is to follow the demanding program of architecture studies. Participating to design competitions, summer practice or internships are valuable decisions that a student may consider adopting.

Our life experiences are our tool that feed or boost creativity. To me, experience comes by trying different things, other than design. By meeting different people and cultures, by travelling, by playing music, dancing, or through sports and leisure. Theater, Beaux arts, cinema are all art forms that share similar design rules and creation methods. Reading, having fun, going for a walk, falling in love…living and enjoying life. Each of these activities offer valuable lessons, cultivate different skills, carve one’s personality and character, feed creativity and imagination providing people with unlimited resources to draw from.

So what I would recommend to a young designer is to take advantage of his youth, energy and thirst for life and knowledge. Go out to the real world and observe, experience and live. Feel all the emotions and reflect. Transform all these invaluable personal experiences to universal forms, places and environments. This never ending process will lead to clearer career decisions and determined efforts towards meeting reasonable goal settings.

As every creative occupation, architecture demands absolute devotion. It is a time consuming and intense profession that absorbs all intellectual and spiritual resources in order to reach to a high design status. Creativity, imagination, contemplation, reflection, focus to the ultimate goal are some of the skills that a designer should master. The feeling of fulfilment that follows the completion of a project or even after the discovery of the tiniest detail is invaluable and rewarding.

Never rush, take your time to focus and reflect

I think that the most valuable skills a designer should have is patience and drive. Social skills, communicational skills and empathy are also imperative in order to associate and interact with partners, clients, contractors and workers and accommodate or address their competitive demands and desires. Presentation and pitching skills are foundational in order to convince all stakeholders for the value of a design solution and why it should be adopted as is. Having the courage to admit a possible mistake or inadvertence, listening carefully to others’ objections and opinions, being loyal to your own values while respecting others’, being honest, frank and straightforward are personality qualities that are well appreciated. Last but not least defending and respecting your partners helps building a trustful and powerful team.

I use ARCHICAD as a design software, Artlantis and Twinmotion for renderings and visualizations and Adobe Suite for presentations and photo editing. I am happy to exploit the powerful computer capacities of my IMacs that enhance my work and produce reliable results. I always refer to building or local codes and inclusive design regulations and literature when designing.

When we are close to deadlines, usually the work load is increasing significantly. I always pre-organize the schedule with the tasks to be delivered estimating the time needed to complete each task. At the beginning of a project and especially the conceptual phase though, time calculation is hard to estimate. The preliminary design phase involves considering almost all aspects of a project and has to be conducted consistently and intently. Going back and forth in architecture is the standard for this profession, as well as anticipating unforeseen twists and turns due to the complex nature of design.

Actually this depends strongly on the project, its category, the difficulties that the site poses into adopting certain forms or solutions and the complexity of the design attributes of a project (sustainability, inclusivity etc.). Unfortunately time is not our ally; we always feel that we need more. But we should also respect our client’s needs and project deadline and make sure that everything will be there on time. Time schedule, deadlines and deliverables are agreed with the client.

Apart from the cost of design service which is always a serious concern for all clients, they are also interested into understanding the Inclusive Design concept and how it can be employed in buildings and environments. The initial doubts or possible objections usually transform to either surprise or admiration. Common sense, sensibility, scientific arguments and knowledge are our powerful tools to support solidly a design concept.

My most important job experience was the renovation of a massive exhibition center in Athens of a total surface of 32.000 sqm. This project involved upgrading the old, industrial, metal framed warehouse building shell into a modern and attractive exhibition space. All planning and design phases were completed and the construction permit was issued. Unfortunately the project did not qualified for construction for budgeting reasons. This was my first experience as a project architect right after graduation from Architecture school.

Most of our clients come from the private sector, including both private individuals and companies. In its long-lasting activity, the Bureau has completed a significant number of projects – of both small and large scale – in various fields of building design and urban planning (residential buildings, office spaces, industrial buildings, tourist facilities, golf resorts & sports centres, culture, restoration and reformation of listed historical buildings, urban planning, decorating, special designs etc).

As I mentioned before, I do not have a particular preference because every project has its own, special challenges that should be addressed. If though, I had to select a category of architectural projects that I favor, that would be Residences because of the complexity of human activities conducted within their body. It also involves inclusive design in the sense of lifetime housing, interior design and customized design solutions. Each project is a unique case study widening our design prospects and capacities.

Apart from the client oriented projects, I love deepening my research horizons in design by developing conceptual projects that may lead to universal solutions. Such project is INTERelationships. I am also interested in spreading the concept of inclusive design, a field with which I am passionate and I have been studying since 2010. All these activities have come up and have been refined during the economic crisis which has stimulated and directed creativity in new, unprecedented fields.

Following this pattern of work, our next design project would be the offspring of INTERelationships. We are currently focusing on implementing its values in the smaller scale of affordable inclusive private residences that are energy efficient, have reduced environmental footprint in terms of CO2 emissions and waste management.

During the Architecture School years, I had been trained to work in Teams and form collaborations in various projects. I believe in Team’s capacity to develop powerful ideas through creative dialogue and through setting and sharing the same goals. Architecture nowadays, has become complex with the introduction of sustainability, new technologies and materials. Even the design procedure has changed significantly, with the use of effective design tools that has expanded creativity tremendously. In building design apart from architects, other disciplines such as civil or structural engineers, mechanical engineers, sustainability consultants, industrial designers, contractors, project managers etc. are essential in order to complete a project. Thus being part of a Team is both inevitable and imperative and creating a team that is project-oriented and works in tune is extremely important for an architect.

The global pandemic unfortunately has violently affected the natural continuity and evolution of the creative business too. A cataclysmic pause has embarked and this fact will have a deep impact to all aspects of life and to our projects consequently. It is a chance for all to retrospect and evaluate the past and to reflect about the new future that is rising. I wait for this process to bear fruits and I am looking forward to better and much more solidary societies and leaderships.

They may visit our homepage where they will get our contact details and send us email to get in touch.

This interview has covered a wide range of fields and aspects. It exceeded my expectations and demanded time and deepening into concepts and terms that I have never had the chance to reflect so intensely and extensively. I hope that you will enjoy my answers as I did. Stay safe and healthy!

Symbolism was a fundamental element throughout the design development of the Metamorphosis Yoga Shala. The building’s form establishes a dialogue with the philosophy of yoga, embodying notions of rebirth, inner transformation, and spiritual ascension. The cocoon — as a biological vessel that shelters the metamorphosis from a grounded, humble state into something ethereal and elevated — emerged as an ideal conceptual framework for the project.The architectural form evolved through an iterative process initiated by the study of the cocoon’s structural logic. A series of simplified morphological models were generated through the rotational transformation of basic curves, seeking to capture the cocoon’s organic integrity. During this exploratory phase, these curves gradually began to evoke the outline of the human embryo — a symbolic reference to potential, renewal, and the genesis of change.The final expression of the building represents the moment when the cocoon has opened and the butterfly has been released — a spatial metaphor for liberation, awakening, and transcendence, aligning archit

The integration of the Metamorphosis Yoga Shala into the Portuguese forest was approached as a dialogue between harmony and contrast. While the organic form allows the structure to merge naturally with its surroundings, the titanium cladding introduces a subtle tension — a reflective skin that captures the shifting light and atmosphere of the forest, emphasizing the transient and transformative essence of the project.In contrast, the interior unfolds in warmth and intimacy through the use of timber surfaces, evoking a sense of grounding and connection to the natural world. This material duality — between the cool, metallic exterior and the tactile, wooden interior — mirrors the balance between the physical and the spiritual that yoga embodies.The surrounding landscape was designed as a transitional space, featuring a xeriscape garden that gently mediates between the forest and the architectural form. At the heart of the composition lies an open courtyard, conceived as a place of pause and reflection — a moment of stillness where practitioners can reconnect with nature and self after their practice.Through this interplay of contrasts, the Yoga Shala becomes both a landmark and a retreat: a structure that asserts its presence through quiet resonance rather than dominance, and one that, much like the act of metamorphosis itself, exists in a continuous state of balance between stillness and change.

The philosophy of yoga informed the design not only through spatial composition but through the very essence of transformation embodied by the cocoon metaphor. Just as the cocoon shelters the process of metamorphosis, the building was conceived as a protective envelope — a place where body and mind can retreat, evolve, and eventually emerge renewed.Within this conceptual framework, the atrium functions as the heart of the organism — a breathing core that channels light and air, symbolizing the act of inhalation and the expansion of consciousness. Its openness contrasts with the stillness of the Teahouse, which, embedded within the mountain, represents the moment of withdrawal and introspection. This descent into the earth mirrors the grounding phase of practice, where awareness turns inward before ascending once more.The dialogue between these two spaces reflects the rhythm of yoga itself: expansion and contraction, lightness and grounding, transformation and rest. Through this interplay, the building transcends the distinction between the spiritual and the practical — it becomes an architectural cocoon, nurturing both the physical experience of space and the inner evolution it invites.

The philosophy of yoga deeply informed the spatial organization and atmosphere of the Metamorphosis Yoga Shala. The project was conceived not only as a place for physical practice but as an architectural journey that mirrors the path of inner alignment — from movement to stillness, from body to spirit.At the heart of this experience lies the atrium, a space of openness and light that acts as the building’s spiritual core. It serves as a breathing void, connecting the interior with the sky above and symbolizing the expansion of consciousness that yoga seeks to cultivate. Here, light becomes a tangible material — filtered, shifting, and ever-present — encouraging a meditative awareness of the passage of time and the rhythm of nature.In contrast, the Teahouse offers a retreat into introspection and grounding. Nestled into the mountain as a semi-subterranean volume, its stone façade dissolves into the natural terrain, creating a seamless integration with the landscape. Within, the atmosphere turns quiet and contemplative — a space for rest and communion, where one can share tea, reflect, or simply observe the surrounding forest.Together, the atrium and the Teahouse define two complementary poles of the same experience: openness and shelter, elevation and descent, light and earth. This duality reflects the essence of yoga itself — a continuous dialogue between the physical and the spiritual, the external and the inner world.

Sustainability in the Metamorphosis Yoga Shala was approached not as an applied layer of technology but as an intrinsic aspect of its conception — an extension of the same organic logic that defines its form. The environmental systems were woven into the architectural language from the very beginning, shaping both the building’s geometry and its relationship with the landscape.The photovoltaic panels follow the curvature of the cocoon-like roof, absorbing sunlight much like the natural surface of a living organism drawing energy from its environment. This integration preserves the purity of the form, transforming functionality into an expression of life and continuity. Similarly, the water collection and purification systems are embedded within the topography, allowing the building to operate in respectful dialogue with the natural cycles of the forest.These considerations were never treated as separate components, but as manifestations of the same idea that guided the entire project — that architecture, like nature, should exist in a state of symbiosis rather than dominance. In this sense, sustainability becomes more than efficiency; it becomes an ethical and aesthetic stance, one that reinforces the building’s symbolic role as a cocoon — a vessel that nurtures both transformation and coexistence.

The structural grid of the wooden contour beams defines both the physical and spiritual essence of the Metamorphosis Yoga Shala. Conceived as the framework that gives shape and coherence to the cocoon-like form, it unites the technical precision of construction with the poetic sensibility of space.Functionally, the system distributes loads through a continuous network of curved timber beams, ensuring structural stability while preserving the building’s organic geometry. Each beam contributes to an overall sense of rhythm and harmony, expressing the logic of growth and continuity found in natural forms.Beyond its engineering role, the grid becomes a spatial narrative — a visible manifestation of order within fluidity. The interplay of light and shadow across the wooden surfaces evokes a quiet dynamism, inviting contemplation and reinforcing the meditative atmosphere of the interior.In this synthesis of function and expression, the structure itself becomes symbolic: a disciplined framework that supports transformation. Much like the cocoon that inspired it, the timber skeleton serves both as a protective vessel and as a symbol of inner strength and unity.

The xeriscape garden islands and cultivation activity levels were conceived as integral components of the Metamorphosis Yoga Shala’s spatial and philosophical narrative. They extend the building’s presence into the landscape, creating a continuum between architecture and nature that enriches both the visual and the sensory experience of the users.The xeriscaping approach — with its selection of native, drought-resistant species — embodies a sustainable dialogue with the environment. These garden islands form a living topography that changes with the seasons, offering a subtle rhythm that mirrors the cyclical nature of yoga practice itself. Rather than ornamental, they serve as meditative landscapes — places of observation, pause, and reconnection.The cultivation terraces, on the other hand, introduce an active dimension to the experience. They invite participation, grounding the spiritual aspect of the Yoga Shala in daily, tactile interaction with the earth. This direct engagement transforms the site into a place of coexistence between contemplation and cultivation, reflection and action.Together, these landscape elements blur the boundaries between the natural and the constructed, the physical and the spiritual. They reaffirm the building’s central idea — that transformation occurs not in isolation from nature, but through an intimate and respectful relationship with it.

The spatial organization of the Metamorphosis Yoga Shala was conceived as a triadic composition — the main shala, the atrium, and the teahouse — complemented by the cultivation terraces that extend the experience beyond the architectural envelope. While the shala and the teahouse were part of the original programmatic requirements, both the atrium and the terraces were later additions, introduced to enrich the dialogue between architecture, landscape, and human activity.The atrium functions as the connective heart of this composition — an open, breathing void that aligns visually with the teahouse entrance, establishing an axial relationship that structures the spatial hierarchy. Around this axis, the xeriscape paths guide visitors through a sequence of transitions: from practice to rest, from enclosure to openness, from architecture to landscape.The cultivation terraces, accessible through the same network of paths, invite a deeper engagement with the site. They transform the act of movement into an experience of grounding and participation, bridging the contemplative and the tactile. Through their presence, the Shala extends beyond meditation and architecture into the realm of coexistence — where the cycles of nature and human cultivation become part of a shared rhythm.Together, the shala, atrium, teahouse, and terraces create an integrated landscape of transformation. The experience unfolds holistically across multiple layers — physical, sensory, and spiritual — reflecting the project’s central idea: that harmony emerges through the continuous interplay of space, nature, and the human spirit.

The material palette of the Metamorphosis Yoga Shala was guided by the idea of transformation through contrast — a dialogue between permanence and impermanence, reflection and warmth. Rather than simply serving aesthetic or functional purposes, the materials were chosen to express the building’s evolving relationship with light, time, and touch.The titanium panels that envelop the exterior respond constantly to their surroundings, altering in tone and texture as the light shifts throughout the day. This subtle mutability reflects the very essence of metamorphosis — an architecture that appears to change and breathe with the forest. The reflective surface does not dominate its setting; instead, it absorbs and reinterprets it, creating a living skin that mediates between the natural and the man-made.Inside, the plywood cladding offers a counterpoint of intimacy and tactility. Its organic texture and warmth ground the experience, allowing visitors to feel enclosed yet connected. The contrast between the two materials — metallic and organic, cool and warm — embodies the project’s conceptual core: transformation as a balance of opposites.Ultimately, materiality in the Metamorphosis Yoga Shala is not a matter of construction, but of expression. It becomes the medium through which the building performs its own metamorphosis — an architecture that reflects, shelters, and transforms in harmony with its environment and its users.

The recognition of the Metamorphosis Yoga Shala with an A' Design Award affirms not only its architectural qualities but also the values it embodies — a renewed dialogue between nature, technology, and human consciousness. Its significance lies in demonstrating that sustainability in architecture can transcend efficiency and become a form of empathy — an act of listening to the landscape, of designing with rather than upon it.In sensitive natural environments, architecture must act with humility, precision, and imagination. The Shala proposes an alternative paradigm: a structure that is simultaneously a refuge, an organism, and a catalyst for awareness. By allowing the building to emerge from its site — shaped by the forest, the light, and the rhythms of the earth — it reveals how design can participate in the natural order rather than resist it.The future of sustainable recreational architecture depends on this very shift — from intervention to coexistence, from control to dialogue. The Metamorphosis Yoga Shala, in its small way, aspires to embody that transition: an architecture that evolves as nature does, celebrating transformation not as an exception but as a principle of harmony and renewal.

The INTERelationships Residential Complex redefines the very notion of sustainability, expanding it beyond its conventional environmental scope to include the human dimension. Its innovation lies in treating sustainability as a living framework that integrates energy performance with social inclusivity and long-term usability.While the zero-energy infrastructure — combining photovoltaic arrays, geothermal systems, and passive design — ensures environmental efficiency, the project’s holistic sustainability emerges through the Universal Design philosophy. By adopting a Design-for-All approach, the complex accommodates residents of diverse abilities and ages, enabling them to interact, access, and thrive within the same spatial ecosystem throughout their lifetime.In this way, sustainability is not perceived merely as energy conservation but as a continuous relationship between people, space, and time. This inclusive approach enhances the longevity and adaptability of the built environment, ensuring that both the infrastructure and its users evolve together — thus contributing to a truly enduring and socially responsive model of sustainable living.

The central courtyard of INTERelationships was conceived as the emotional and spatial heart of the project — a place where the essence of urban life could be distilled within the boundaries of the residential complex. The inspiration came from the traditional Mediterranean courtyard, reinterpreted not as a private enclave but as an open civic nucleus that fosters dialogue, inclusion, and belonging.The courtyard acts as a connective tissue linking all programmatic layers — from the communal workshops and café at ground level to the residential terraces and rooftop cinema above. This vertical and horizontal permeability encourages residents to meet naturally, to cross paths, and to share experiences in a setting that feels simultaneously intimate and public.By allowing visual continuity, natural light, and greenery to flow through the entire complex, the courtyard becomes a living catalyst for social engagement. It blurs the boundaries between architecture and community, transforming the act of inhabiting into an act of participating. In this sense, it embodies the project’s philosophy: architecture as a framework for relationships — inter-relationships that sustain both the people and the place.

The historical layers embedded within the INTERelationships Residential Complex became the foundation of its architectural narrative rather than a constraint to overcome. The preserved neoclassical façades and the revealed ancient masonry were not treated as static relics but as active participants in the project’s spatial dialogue. They embody the city’s memory, anchoring the new structure within its cultural continuum.These remnants shaped the entire design philosophy — one that seeks reconciliation rather than contrast between epochs. The new architecture grows around and through the historical fragments, allowing each layer to express its identity while contributing to a unified composition. The dialogue between old and new unfolds through material transitions, spatial juxtapositions, and the interplay of light upon the aged textures and contemporary surfaces.In this sense, the project transcends restoration; it becomes an architectural conversation across time. The past informs the present, while the present gives new life to the past — creating a living urban organism that honors heritage while projecting it into the future.

In INTERelationships, sustainability extends far beyond the boundaries of energy and technology — it becomes an urban catalyst. The complex operates as a living organism within the city, where environmental performance, social inclusivity, and local engagement form a unified ecosystem.People from the surrounding neighborhood are actively involved in the daily life of the complex — working in its facilities, participating in creative workshops, and contributing to its cultural identity. The ground-floor café and pool are open to the community, while the rooftop cinema invites both residents and neighbors to share collective experiences under the city’s skyline.Through these interactions, INTERelationships establishes itself as a microcosm of urban coexistence — a reference point and social hub that revitalizes its surroundings. Sustainability here is not only about preserving resources but about nurturing relationships: between people and place, private and public, architecture and community. In doing so, the project becomes a true cell of urban life — an active generator of connection, belonging, and renewal.

The Stairwell Exhibition concept was born from a desire to transform the experience of movement into a narrative of discovery. In INTERelationships, circulation is not merely functional; it becomes a cultural and emotional journey through light, material, and memory. The stairwell, wrapped in a translucent polycarbonate skin, filters daylight into soft, shifting tones, turning the vertical passage into a glowing spine that connects every level of the complex. Light itself becomes an exhibit — an ever-changing medium that defines atmosphere and perception throughout the day.The decision to reinterpret this space as a cultural venue stemmed from a wish to embed art and community within daily life. Along its path, small exhibitions, creative workshops, and local art displays unfold — blurring the line between resident and visitor, between private dwelling and public encounter.At ground level, the presence of preserved neoclassical façades and visible ancient masonry anchors the stairwell within Athens’ layered history, allowing each ascent to traverse both time and space. Thus, the act of moving through the building becomes a poetic dialogue — between heritage and innovation, opacity and transparency, solitude and collective experience. It elevates everyday circulation into a celebration of coexistence and identity.

The movement through INTERelationships was conceived as a choreographed sequence — an architectural promenade that encourages interaction, exploration, and awareness. The deliberate complexity of diagonal pathways, multilevel terraces, and outdoor transitions transforms the act of moving from one point to another into a social ritual. Circulation here is not a neutral act; it is a catalyst for human connection.The diagonal accesses weave together the residential units, communal zones, and public amenities, creating overlapping visual and spatial relationships. As residents traverse these paths, they experience a constant sense of openness and encounter — brief exchanges, shared glances, spontaneous conversations. The resulting network of movement functions like the circulatory system of a living organism, sustaining the social life of the complex.This three-dimensional choreography reinforces the project’s philosophy of interconnectedness. The architectural geometry is intentionally porous, allowing transparency, light, and human presence to flow freely across levels. In doing so, INTERelationships dissolves boundaries between private and communal realms, transforming circulation into a participatory experience — one that nurtures both community spirit and individual awareness within the fabric of everyday life.

From the outset, INTERelationships was envisioned not only as a residential complex but as an economically self-sustaining community ecosystem. The inclusion of revenue-generating functions — such as the café, workshops, pool facilities, and rooftop cinema — was never conceived as a commercial addition but as an integral component of social empowerment.These spaces operate as shared interfaces between the residents and the surrounding neighborhood. They create opportunities for local employment, collaboration, and cultural exchange, allowing people from different backgrounds to contribute to and benefit from the life of the complex. By integrating such mixed-use activities, the project ensures financial resilience while nurturing inclusivity and a sense of collective ownership.In this model, sustainability transcends environmental performance and enters the economic and social spheres. Each activity reinforces community vitality, encouraging a circular economy where resources, creativity, and participation flow continuously. Ultimately, INTERelationships becomes a prototype for urban coexistence — an environment where architecture, culture, and economy sustain one another through shared value and human connection.

The material palette of INTERelationships was carefully composed to articulate the project’s core narrative — the coexistence of transparency and solidity, memory and transformation. Each material was selected not only for its technical performance but for its symbolic capacity to convey continuity between past and present.The translucent polycarbonate sheets enveloping the stairwell act as a contemporary membrane of light — filtering daylight, softening boundaries, and revealing movement as a living pulse within the building. In contrast, the patinated copper panels express permanence and tactility; their evolving surface reflects the passage of time, echoing the weathered tones of the preserved neoclassical façades. Together, these materials embody the dialogue between old and new, opacity and translucency, craft and technology.Natural textures, reflective surfaces, and recycled components reinforce the project’s sustainable ethos while maintaining a sensory warmth that encourages human interaction. Materiality here becomes more than construction — it becomes communication. Through this nuanced composition, INTERelationships finds its identity not in uniformity, but in the poetic interplay of difference, where every surface participates in the story of connection.

Technology within INTERelationships was never intended to dominate the living experience but to discreetly support and enhance it. The integration of intelligent systems — from energy management to health and wellbeing monitoring — forms an invisible infrastructure that reinforces the project’s philosophy of supported living.Smart energy networks optimize consumption and storage, ensuring that the complex operates as a self-regulating organism with minimal environmental footprint. At the same time, digital systems assist residents in maintaining comfort, safety, and autonomy: sensors monitor environmental quality, accessibility aids respond to individual needs, and communication platforms connect users with on-site support or community activities.This seamless technological layer enables residents to experience independence within a collective framework. It bridges functionality and empathy, creating an environment that anticipates rather than reacts to human needs. In INTERelationships, technology becomes an extension of care — a silent architecture that listens, learns, and adapts — ensuring that sustainability and wellbeing evolve hand in hand throughout the life of the building and its inhabitants.

INTERelationships stands as a prototype for how architecture can redefine the way we live together in cities. The greatest lesson emerging from its development is that sustainability and inclusivity cannot be treated as parallel agendas — they must be interwoven into a single, human-centered framework. The project demonstrates that a collective living environment can be energy-efficient, socially cohesive, and emotionally resonant at once.By combining adaptable design, accessible infrastructure, and shared cultural spaces, INTERelationships illustrates how the built environment can evolve alongside its inhabitants rather than age apart from them. It shows that architecture can act as a facilitator of relationships — between generations, between private and public life, between the city and its citizens.Perhaps the most profound takeaway is that truly sustainable communities are those designed to change gracefully — to absorb diversity, to cultivate belonging, and to nurture the continuous dialogue between people and place. If future architecture embraces this ethos, our cities can once again become habitats of connection, dignity, and shared meaning.