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Chongqing 1949 Grand Theater
Preface
Chongqing 1949 Grand Theatre is the first phase of Chongqing Ciqikou. It is a special theater for the performance of the large-scale red historical stage drama "Chongqing 1949". Ciqikou. The project integrates the culture of trade and commerce of Ciqikou, the culture of Bayu poetry, the culture of sand and magnetism and the culture of red rocks, and serves as the ultimate display of the natural and humanistic space of Chongqing. The entrance square area with Chongqing 1949 Grand Theatre as the core becomes one of the most important landscape nodes of the project - " infinity shines in the Red Rock".
Environment and Conception
Chongqing 1949 Grand Theatre is located in the Ciqikou area of Shapingba, Chongqing, with a complex surrounding environment: the west is adjacent to the national highway and subway, the north is the cultural and creative area of the Special Steel Factory, and the east is adjacent to the Phoenix Creek and across the water from the historic and cultural district of Ciqikou. The environment includes Gele Mountain, Jialing River, and the ancient town of Ciqikou, which are the original scenes of the story in the plot. How to integrate such a huge volume into the complex surrounding environment? How to connect it as a place element to the original life scenes of the venue? How can the narrative space inside and outside the theater be used to complete the performance experience? These are questions that need to be considered and answered in the design.
When thinking about the relationship between the project and the environment, the designer seized two aspects: first, dissolution and communion; second, control and sorting. The design needs to weaken the huge volume of the building through spatial means, so that the building can be better integrated with the complex environmental elements around it in terms of space, function and flow; at the same time, it also makes full use of the special characteristics and influence of the theme theater in space and form to control and sort out and external environmental elements, forming mutual constraints and integration of individuals and groups, truly realizing the dissolution of site boundaries, mutual adaptation of scene behavior and the spirit of place common.
Space and Technology
Chongqing.1949 Grand Theatre is a custom-made Class A indoor theme theater with a capacity of 1,500 people. The plot tells the various touching stories of patriots and party lovers from all walks of life on the eve of Chongqing's liberation in 1949 to welcome the advent of a new era. The main body of the theater is a large space for viewing and performing, and other functions are arranged around the large space. All spaces and equipment related to the viewing and performance in the theater are closely related to the development of the play.
The design adopts a centripetal spiral slope division for the huge volume of the project, with the curved combination curtain wall showing the red culture theme as the core, forming the form relationship of the building spiraling up from the square. The roof of the building is treated in a site-specific manner, and a large number of steps and ramps are used to respond to the native site of the Ciqikou, so as to minimize the pressure of the huge volume of the building on the surrounding environment. At the same time, the concept of space sharing and the setting of auxiliary functions of the building are combined to create a café with a distant view of the Jialing River and a cultural theme gallery, which are additional to the function of viewing and performance, thus highlighting the vitality of the space.
Construction and Details
The floor elevation of the building is located above the 100-year flood level, and the underground portion has structural requirements for flood protection and flotation resistance. The building structure is made of reinforced concrete below the ±00 elevation, while the main structure above ground is made of all steel. The designer and builder overcame many difficulties to ensure the successful completion of the project in less than a year.
The presentation of the building space and mood cannot be achieved without the support of structure and details, such as the curved main part in the center of the building is formed by a transparent glass curtain wall wrapped with a red relief theme wall. The relief wall is made up of 1949 characters in different fonts, the height of a single number is 750mm, and the outside is a transparent glass curtain wall, which not only protects the relief wall, but also enhances the integrity of the building with its luster.
The main wall of the building is made of GRC artificial stone with texture. After a lot of pre-proof and post-sample selection, the final product size 2500x1000mm, stone thickness of 60mm, each GRC plate is slotted and cut by machine to form the primary texture, texture width of 50-80mm, and then chisel the plate, so that each piece of stone presents a different texture.
Other materials used include natural stone for the steps and base of the plaza, a titanium-zinc panel folding roof that echoes traditional forms, and a large circular roof made of perforated aluminum panels in various shades of gray to form the annual cycle of the clock.
Ultimately, the open scene composed of many interrelated spatial details makes the theater's surroundings continuously gather popularity, truly fulfilling the function of urban cultural life that "Chongqing 1949" Grand Theater should carry as a public cultural building.
The completed building is as natural and unpretentious as growing out of its native environment. The design team interpreted Chongqing with its own deep excavation and unique understanding of the red theme and regional culture. 1949 Grand Theatre has well accomplished the continuation of red culture and the export of regional culture. In the process of project construction, the team was actively rooted in the project construction site, from August 2020 to August 2021, the project was completed in one year, the team truly participated in the whole process of "local construction" of the project. In the 100th anniversary of the founding of the party as scheduled for the successful opening of the show has also quickly become a new business card of Chongqing city cultural tourism project.
Site area: 13,900 square meters
Building area: 25,200 square meters
Architectural design: Chongqing Yueji Architectural Design Office
Lead architect: Li Jun, He Biao, Tian Qi
Design Team: Li Tao, Li Jingyu, Tan Meng, Lv Yi, Xu Jingfeng, Wu Jing, Xu Xiangdong, Guo Jian, Wan Liangqing, Huang Ying, Wang Yansheng, Liu Peng, Wu Meng, Wang Yuedong, Zhao Shudong, Xie Chengping, Dan Chenghu
Design consultants: He Zhiqiang (planning), Xiong Gang (steel structure), Gan Min (structure), Yu Qunli (architecture), Chen Jinhua (HVAC), Zhao Ying (water supply and drainage), Li Jun (electrical, renamed with the lead architect)
Chongqing 1949 Grand Theatre is the first phase of Chongqing Ciqikou. It is a special theater for the performance of the large-scale red historical stage drama "Chongqing 1949". Ciqikou. The project integrates the culture of trade and commerce of Ciqikou, the culture of Bayu poetry, the culture of sand and magnetism and the culture of red rocks, and serves as the ultimate display of the natural and humanistic space of Chongqing. The entrance square area with Chongqing 1949 Grand Theatre as the core becomes one of the most important landscape nodes of the project - " infinity shines in the Red Rock".
Environment and Conception
Chongqing 1949 Grand Theatre is located in the Ciqikou area of Shapingba, Chongqing, with a complex surrounding environment: the west is adjacent to the national highway and subway, the north is the cultural and creative area of the Special Steel Factory, and the east is adjacent to the Phoenix Creek and across the water from the historic and cultural district of Ciqikou. The environment includes Gele Mountain, Jialing River, and the ancient town of Ciqikou, which are the original scenes of the story in the plot. How to integrate such a huge volume into the complex surrounding environment? How to connect it as a place element to the original life scenes of the venue? How can the narrative space inside and outside the theater be used to complete the performance experience? These are questions that need to be considered and answered in the design.
When thinking about the relationship between the project and the environment, the designer seized two aspects: first, dissolution and communion; second, control and sorting. The design needs to weaken the huge volume of the building through spatial means, so that the building can be better integrated with the complex environmental elements around it in terms of space, function and flow; at the same time, it also makes full use of the special characteristics and influence of the theme theater in space and form to control and sort out and external environmental elements, forming mutual constraints and integration of individuals and groups, truly realizing the dissolution of site boundaries, mutual adaptation of scene behavior and the spirit of place common.
Space and Technology
Chongqing.1949 Grand Theatre is a custom-made Class A indoor theme theater with a capacity of 1,500 people. The plot tells the various touching stories of patriots and party lovers from all walks of life on the eve of Chongqing's liberation in 1949 to welcome the advent of a new era. The main body of the theater is a large space for viewing and performing, and other functions are arranged around the large space. All spaces and equipment related to the viewing and performance in the theater are closely related to the development of the play.
The design adopts a centripetal spiral slope division for the huge volume of the project, with the curved combination curtain wall showing the red culture theme as the core, forming the form relationship of the building spiraling up from the square. The roof of the building is treated in a site-specific manner, and a large number of steps and ramps are used to respond to the native site of the Ciqikou, so as to minimize the pressure of the huge volume of the building on the surrounding environment. At the same time, the concept of space sharing and the setting of auxiliary functions of the building are combined to create a café with a distant view of the Jialing River and a cultural theme gallery, which are additional to the function of viewing and performance, thus highlighting the vitality of the space.
Construction and Details
The floor elevation of the building is located above the 100-year flood level, and the underground portion has structural requirements for flood protection and flotation resistance. The building structure is made of reinforced concrete below the ±00 elevation, while the main structure above ground is made of all steel. The designer and builder overcame many difficulties to ensure the successful completion of the project in less than a year.
The presentation of the building space and mood cannot be achieved without the support of structure and details, such as the curved main part in the center of the building is formed by a transparent glass curtain wall wrapped with a red relief theme wall. The relief wall is made up of 1949 characters in different fonts, the height of a single number is 750mm, and the outside is a transparent glass curtain wall, which not only protects the relief wall, but also enhances the integrity of the building with its luster.
The main wall of the building is made of GRC artificial stone with texture. After a lot of pre-proof and post-sample selection, the final product size 2500x1000mm, stone thickness of 60mm, each GRC plate is slotted and cut by machine to form the primary texture, texture width of 50-80mm, and then chisel the plate, so that each piece of stone presents a different texture.
Other materials used include natural stone for the steps and base of the plaza, a titanium-zinc panel folding roof that echoes traditional forms, and a large circular roof made of perforated aluminum panels in various shades of gray to form the annual cycle of the clock.
Ultimately, the open scene composed of many interrelated spatial details makes the theater's surroundings continuously gather popularity, truly fulfilling the function of urban cultural life that "Chongqing 1949" Grand Theater should carry as a public cultural building.
The completed building is as natural and unpretentious as growing out of its native environment. The design team interpreted Chongqing with its own deep excavation and unique understanding of the red theme and regional culture. 1949 Grand Theatre has well accomplished the continuation of red culture and the export of regional culture. In the process of project construction, the team was actively rooted in the project construction site, from August 2020 to August 2021, the project was completed in one year, the team truly participated in the whole process of "local construction" of the project. In the 100th anniversary of the founding of the party as scheduled for the successful opening of the show has also quickly become a new business card of Chongqing city cultural tourism project.
Site area: 13,900 square meters
Building area: 25,200 square meters
Architectural design: Chongqing Yueji Architectural Design Office
Lead architect: Li Jun, He Biao, Tian Qi
Design Team: Li Tao, Li Jingyu, Tan Meng, Lv Yi, Xu Jingfeng, Wu Jing, Xu Xiangdong, Guo Jian, Wan Liangqing, Huang Ying, Wang Yansheng, Liu Peng, Wu Meng, Wang Yuedong, Zhao Shudong, Xie Chengping, Dan Chenghu
Design consultants: He Zhiqiang (planning), Xiong Gang (steel structure), Gan Min (structure), Yu Qunli (architecture), Chen Jinhua (HVAC), Zhao Ying (water supply and drainage), Li Jun (electrical, renamed with the lead architect)
Future Rural Life Center in Tuanshi Village
The project is located in Tuanshi Village, Xiaonanhai Town, which belongs to Longyou County, the city of Quzhou. It faces Qujiang River on the south, with G60 Shanghai-Kunming Expressway on the north side, and the Xihuxian Road passing nearby. Across the road from the site is the Qujiang River, providing a wide view of scenery. The project's site was originally an elementary school, and later located the factory of an enterprise, with buildings in poor condition. The surrounding area is mainly occupied by waterfront residences of the villagers, and in the front of the site, a memorial archway of chastity and filial piety, built in Qing Dynasty in year 1790, has been preserved.
The project is designed to be a public space serving the local villagers. The owner and the operator expected that the design of the space would integrate diverse themes, including industry, culture and humanism. The original site was enclosed, with a large courtyard in the middle. According to the site's conditions, the architects combined renovation and new additions, to rearrange different building blocks for various functions.
Originally used as a factory, Building 1 provides relatively large and wide-open space for industrial purposes. It accommodates various functions, including property management services for the villagers, agricultural products exhibition, technology-assisted agriculture live-streaming, as well as a co-working office, a banquet hall, and a multi-functional conference room.
Building 2 has a linear plane and used to be a primary school's teaching building. Inheriting the previous spatial attribute, the redesigned building is still culture-related, by setting up Nankong Bookstore and Children's Center, side by side with the Wellness Cabin for elderly care.
Looking out from Building 3, both the scenery of the river and the inner courtyard come into sight. With such a nice view, a cafe and a restaurant are placed in this building.
The more private Building 4 and Building 5 are used as a guesthouse and a youth hostel, since they are less disturbed by the outside. The architects also proposed to open the enclosed inner courtyard to the surrounding villagers as an activity square and marketplace.
The original enclosed space had already formed large and small gaps in between the buildings. After analyzing the site's existing conditions, the architects decided to insert fragmented spaces, such as "corridor box", "roof platform" and "inner courtyard" with different sizes, into the building cluster, to strengthen a sense of enclosure. A more organic combination of spaces can also be created. At the same time, the variety of spatial planning and scales as well as the diversity of architectural forms lead to the dynamic changes of the building cluster while maintaining a sense of integrity.
Since the site's surrounding buildings and environment are complicated, the architects coordinated the new construction with other buildings of different eras in visual effect, materials and colors, by taking advantage of the existing site conditions. As to the relationship between old and new buildings, the design focuses on the integration of tradition and modernity, as well as the coordination between newly built architecture and the surrounding natural and cultural environment. Through creating an organic contrast, the design realizes the symbiosis among all elements on and near the site.
At the very beginning of the conception stage, the consideration of construction efficiency, feasibility and aesthetics were prioritized, in order to achieve the best results through the most effective way. During the demolition on site, it was found that the original building walls were too fragile to provide support, therefore most of the roof and walls were demolished or reinforced. When adding new structural system, the construction also tried to avoid contact with the existing old walls, so as to avoid the extension of construction time due to foundation reinforcement.
The newly built structural system presents a sense of rhythm through similar and repeated patterns. The form of each single building and the organization of buildings are based on the consideration of the surrounding environment, functions and interior space. While creating various architectural forms and complex spatial morphology, the design endows the spaces with a sense of integrity and order as well. At the same time, the spatial form is simplified, to guide visitors to experience the purity of space and perceive the diversity of environment.
4,850 square meters
Chief architect: Yan Yang
Design team: Shen Chuan, Wu Kejia, Zhao Siyuan, Yan Yu
The project is designed to be a public space serving the local villagers. The owner and the operator expected that the design of the space would integrate diverse themes, including industry, culture and humanism. The original site was enclosed, with a large courtyard in the middle. According to the site's conditions, the architects combined renovation and new additions, to rearrange different building blocks for various functions.
Originally used as a factory, Building 1 provides relatively large and wide-open space for industrial purposes. It accommodates various functions, including property management services for the villagers, agricultural products exhibition, technology-assisted agriculture live-streaming, as well as a co-working office, a banquet hall, and a multi-functional conference room.
Building 2 has a linear plane and used to be a primary school's teaching building. Inheriting the previous spatial attribute, the redesigned building is still culture-related, by setting up Nankong Bookstore and Children's Center, side by side with the Wellness Cabin for elderly care.
Looking out from Building 3, both the scenery of the river and the inner courtyard come into sight. With such a nice view, a cafe and a restaurant are placed in this building.
The more private Building 4 and Building 5 are used as a guesthouse and a youth hostel, since they are less disturbed by the outside. The architects also proposed to open the enclosed inner courtyard to the surrounding villagers as an activity square and marketplace.
The original enclosed space had already formed large and small gaps in between the buildings. After analyzing the site's existing conditions, the architects decided to insert fragmented spaces, such as "corridor box", "roof platform" and "inner courtyard" with different sizes, into the building cluster, to strengthen a sense of enclosure. A more organic combination of spaces can also be created. At the same time, the variety of spatial planning and scales as well as the diversity of architectural forms lead to the dynamic changes of the building cluster while maintaining a sense of integrity.
Since the site's surrounding buildings and environment are complicated, the architects coordinated the new construction with other buildings of different eras in visual effect, materials and colors, by taking advantage of the existing site conditions. As to the relationship between old and new buildings, the design focuses on the integration of tradition and modernity, as well as the coordination between newly built architecture and the surrounding natural and cultural environment. Through creating an organic contrast, the design realizes the symbiosis among all elements on and near the site.
At the very beginning of the conception stage, the consideration of construction efficiency, feasibility and aesthetics were prioritized, in order to achieve the best results through the most effective way. During the demolition on site, it was found that the original building walls were too fragile to provide support, therefore most of the roof and walls were demolished or reinforced. When adding new structural system, the construction also tried to avoid contact with the existing old walls, so as to avoid the extension of construction time due to foundation reinforcement.
The newly built structural system presents a sense of rhythm through similar and repeated patterns. The form of each single building and the organization of buildings are based on the consideration of the surrounding environment, functions and interior space. While creating various architectural forms and complex spatial morphology, the design endows the spaces with a sense of integrity and order as well. At the same time, the spatial form is simplified, to guide visitors to experience the purity of space and perceive the diversity of environment.
4,850 square meters
Chief architect: Yan Yang
Design team: Shen Chuan, Wu Kejia, Zhao Siyuan, Yan Yu
MarPunta
MarPunta is a summerhouse located in the highest level of the Cesme/Pasalimani province, which was designed to diffuse in the sloping land and to celebrate the beauty of the Aegean Sea.
Throughout the design process of MarPunta primary focus was benefitting the advantages of the plot(view and landscape) and comfort at the maximum level.
The villa, designed on a 520 m2 plot with 403 m2 construction area, has two floors and a basement, three of which are facing a great sea view with terrace/balcony areas, and a garden with infinity pool. Apart from the glazing, which covers most of the facade, a special plaster was used for the facade which was detailed with the use of iroko wood and aluminum on the eaves.
One of the outstanding features of the entrance/east façade, the stairwell, connects floors with a gallery opening that invites natural light and the fascinating view in.
A secondary terrace is designed on the entrance/east facade of the villa to avoid wind as well as west sun when necessary.
On the entrance/middle floor there is a living area with a dining area and a service kitchen connected to the kitchen downstairs with a dumbwaiter.
On the basement floor, there is a living area, the main kitchen, which is connected to the service kitchen on the ground floor, service areas and the guest room with direct access to the pool. The access to the terrace/garden and pool at the basement level is also provided by an outdoor guest's staircase, which follows the slope of the land and integrates with the landscape, from the south side of the building. There is also a service stair from the north of the building, which leads to a direct entrance to the service area on the basement floor.
On the first floor, there are three rooms, each with a view. In particular, the en-suite bathroom was designed with a transparent wall on the room side in order to keep the connection with both the bedroom and the outside. A jacuzzi is placed in this bathroom to help houseowners enjoy the moment.
In order to benefit from the stunning view from three sides of the villa, maximum opening / joinery is used on the façades.
The living area on the ground floor has a glass flooring in the corner to emphasize the relationship between the entrance floor, pool and the basement living area in a fluent way and to keep the view at the highest level.
Again, in order to prioritize the access to the view, the console balcony located in front of the ground floor’s living area was planned to be accessed with a stair, lower level than the ground floor so that the furniture used in the balcony would not block the view inside.
Plot Area: 520 m2
Built Area: 403 m2
Architectural Design: BAD-Basak Akkoyunlu Design
Lead Architect: Basak Akkoyunlu
Project Team: Pelin Köroğlu
Client/Consultant: SLM Alacati
Contractor: Hakan Acar Insaat & BAD-Basak Akkoyunlu Design
Landscape Design: OMG Landscape Architectural Studio
Structural Engineer: Erkan Karadag
Mechanical Engineer: Arda Ersan
Photo Credits: ZM Yasa Photography, Basak Akkoyunlu
Throughout the design process of MarPunta primary focus was benefitting the advantages of the plot(view and landscape) and comfort at the maximum level.
The villa, designed on a 520 m2 plot with 403 m2 construction area, has two floors and a basement, three of which are facing a great sea view with terrace/balcony areas, and a garden with infinity pool. Apart from the glazing, which covers most of the facade, a special plaster was used for the facade which was detailed with the use of iroko wood and aluminum on the eaves.
One of the outstanding features of the entrance/east façade, the stairwell, connects floors with a gallery opening that invites natural light and the fascinating view in.
A secondary terrace is designed on the entrance/east facade of the villa to avoid wind as well as west sun when necessary.
On the entrance/middle floor there is a living area with a dining area and a service kitchen connected to the kitchen downstairs with a dumbwaiter.
On the basement floor, there is a living area, the main kitchen, which is connected to the service kitchen on the ground floor, service areas and the guest room with direct access to the pool. The access to the terrace/garden and pool at the basement level is also provided by an outdoor guest's staircase, which follows the slope of the land and integrates with the landscape, from the south side of the building. There is also a service stair from the north of the building, which leads to a direct entrance to the service area on the basement floor.
On the first floor, there are three rooms, each with a view. In particular, the en-suite bathroom was designed with a transparent wall on the room side in order to keep the connection with both the bedroom and the outside. A jacuzzi is placed in this bathroom to help houseowners enjoy the moment.
In order to benefit from the stunning view from three sides of the villa, maximum opening / joinery is used on the façades.
The living area on the ground floor has a glass flooring in the corner to emphasize the relationship between the entrance floor, pool and the basement living area in a fluent way and to keep the view at the highest level.
Again, in order to prioritize the access to the view, the console balcony located in front of the ground floor’s living area was planned to be accessed with a stair, lower level than the ground floor so that the furniture used in the balcony would not block the view inside.
Plot Area: 520 m2
Built Area: 403 m2
Architectural Design: BAD-Basak Akkoyunlu Design
Lead Architect: Basak Akkoyunlu
Project Team: Pelin Köroğlu
Client/Consultant: SLM Alacati
Contractor: Hakan Acar Insaat & BAD-Basak Akkoyunlu Design
Landscape Design: OMG Landscape Architectural Studio
Structural Engineer: Erkan Karadag
Mechanical Engineer: Arda Ersan
Photo Credits: ZM Yasa Photography, Basak Akkoyunlu
O LOFOS
The green, wild Cretan landscape and the richness and heritage of traditional crafts define this new, thoroughly contemporary residential design by Block722. Sat on the northern foothills of Thrypti mountain within the Greek island’s eastern side, the project is a commission by a private client. It called for a 280 sq m home on a slope, including two guestrooms and generous outdoors areas.
Balancing the needs of the brief with the natural setting that combines vistas of mountains, plains, and the Mediterranean Sea, was critical in the architects’ design solution. The architecture was driven by desire to create a modern house that is discreet and respectful to its surroundings. Negotiating the site’s angle through levels instead of steps was also critical in moulding a relaxing environment that embraces its setting.
A path down a slope from the main road leads visitors to the residence’s entrance. The complex’s size is cleverly broken down into smaller volumes, which are interconnected through circulation routes and in-between spaces - some indoors and some open-air. The main home is divided into two low buildings linked by a semi-enclosed area with a water feature. The design merges natural materials that are often used in the local vernacular, such as wood and stone. At the same time, the atmosphere is distinctly contemporary, blending Block722’s inherent Scandinavian sensibility and organic minimalism with Japanese architecture influences. This nod to Japan unfolds through the design’s refreshing simplicity of clean, almost austere lines that balance the materials’ natural, tactile nature and the overall craft-rich approach.
The powerful Greek sunlight helps define shapes and surfaces, playing with the textured materials, as the architects drew on the feel and rhythm of the context for both interiors and exteriors. The journey of light and the clients’ habits throughout the day led the spatial arrangement inside. Each section and route are carefully planned to support functionality and frame vistas, through visual journeys and spatial narratives that blend inside and outside, the natural and the human made. The design seeks to enhance slow living, taking its cues from the island’s lifestyle.
Block722 collaborated with local craftsmen throughout the construction, applying expert manufacturing skills to a large array of elements in the house. This applies to both high-end architectural details and furniture pieces, the majority of which are bespoke and created specifically with this project in mind, using marble, wood, stone, and terrazzo. All the pieces together form Block722’s ANATA furniture collection. This approach, rich in artistry and locally sourced, natural materials, elevates the design into a truly custom-made residential gem. Neutral, earthy colours dominate, and quality is prioritised over quantity.
Artwork was also important in the overall composition and the project now holds an impressive 2.8 x 1.5m sculpture by Greek artist Pantelis Chandris. The specially commissioned piece, sits in the living room, and was developed in parallel to the architectural design, beautifully displaying the retreat’s perfect marriage of scales and disciplines.
Photographer:
Ana Santl
Art Direction:
Block722
Architectural Supervision:
Block722
Creative Direction:
Block722
FF&E:
Block722
Construction Manager:
Nani Kapsoritaki
Furniture marble
Constructions:
Delta marble
Masterplanning&
Architecture:
Block722
Lighting Study:
Skia Lighting
Special wood constructions:
Loupasakis s.a.
Special metal
Constructions:
Grammatikakis
Interior Design and
Curation and Styling:
Block722
Landscape:
Outside landscape architecture
Special marble
Constructions:
G. Houlakis
Furniture construction:
Maan Halaoui
Sculpture:
“Post-Landscape”:
Pantelis Chandris
Weaving art:
Chrysa Georgiou
Furniture Design
Collection ANATA:
Block722
Mirror construction:
Onentropy
Ceramics:
Un.processed realities
Maru Meleniou
Sotiris Tsergas, Katja Margaritoglou, Francesca Balfoussia, Michael Gryllakis, Christina Kontou, Yannis Mantzaris, Sofia Badeka, Eva Dimoula, Danai Lazaridi, Aristea Topizopoulou
Balancing the needs of the brief with the natural setting that combines vistas of mountains, plains, and the Mediterranean Sea, was critical in the architects’ design solution. The architecture was driven by desire to create a modern house that is discreet and respectful to its surroundings. Negotiating the site’s angle through levels instead of steps was also critical in moulding a relaxing environment that embraces its setting.
A path down a slope from the main road leads visitors to the residence’s entrance. The complex’s size is cleverly broken down into smaller volumes, which are interconnected through circulation routes and in-between spaces - some indoors and some open-air. The main home is divided into two low buildings linked by a semi-enclosed area with a water feature. The design merges natural materials that are often used in the local vernacular, such as wood and stone. At the same time, the atmosphere is distinctly contemporary, blending Block722’s inherent Scandinavian sensibility and organic minimalism with Japanese architecture influences. This nod to Japan unfolds through the design’s refreshing simplicity of clean, almost austere lines that balance the materials’ natural, tactile nature and the overall craft-rich approach.
The powerful Greek sunlight helps define shapes and surfaces, playing with the textured materials, as the architects drew on the feel and rhythm of the context for both interiors and exteriors. The journey of light and the clients’ habits throughout the day led the spatial arrangement inside. Each section and route are carefully planned to support functionality and frame vistas, through visual journeys and spatial narratives that blend inside and outside, the natural and the human made. The design seeks to enhance slow living, taking its cues from the island’s lifestyle.
Block722 collaborated with local craftsmen throughout the construction, applying expert manufacturing skills to a large array of elements in the house. This applies to both high-end architectural details and furniture pieces, the majority of which are bespoke and created specifically with this project in mind, using marble, wood, stone, and terrazzo. All the pieces together form Block722’s ANATA furniture collection. This approach, rich in artistry and locally sourced, natural materials, elevates the design into a truly custom-made residential gem. Neutral, earthy colours dominate, and quality is prioritised over quantity.
Artwork was also important in the overall composition and the project now holds an impressive 2.8 x 1.5m sculpture by Greek artist Pantelis Chandris. The specially commissioned piece, sits in the living room, and was developed in parallel to the architectural design, beautifully displaying the retreat’s perfect marriage of scales and disciplines.
Photographer:
Ana Santl
Art Direction:
Block722
Architectural Supervision:
Block722
Creative Direction:
Block722
FF&E:
Block722
Construction Manager:
Nani Kapsoritaki
Furniture marble
Constructions:
Delta marble
Masterplanning&
Architecture:
Block722
Lighting Study:
Skia Lighting
Special wood constructions:
Loupasakis s.a.
Special metal
Constructions:
Grammatikakis
Interior Design and
Curation and Styling:
Block722
Landscape:
Outside landscape architecture
Special marble
Constructions:
G. Houlakis
Furniture construction:
Maan Halaoui
Sculpture:
“Post-Landscape”:
Pantelis Chandris
Weaving art:
Chrysa Georgiou
Furniture Design
Collection ANATA:
Block722
Mirror construction:
Onentropy
Ceramics:
Un.processed realities
Maru Meleniou
Sotiris Tsergas, Katja Margaritoglou, Francesca Balfoussia, Michael Gryllakis, Christina Kontou, Yannis Mantzaris, Sofia Badeka, Eva Dimoula, Danai Lazaridi, Aristea Topizopoulou
Adaptive Reuse Of Heritage Buildings ( Alexandria Horses Racing Stands ) - Youth Hub
One of the sustainability concepts that the world strives for today is preservation and repurposing existing structures to new social demands and requirements. Alexandria is one of the oldest cities has a rich built heritage and cultural characteristics of architectural styles. So creating a unique experience for young people from an existing building is a huge challenge worth considering.
The Stands of Alexandria Sporting Club in Alexandria, which Prince Omar Toson had ordered erected in 1930, was one of the unique and striking structures that lost its function after being neglected for more than 30 years. In addition to the fact that the building is not utilised by the public users or even private users ( club's members), it is a barrier that creates a dead zone that fosters crimes and thefts in the neighbourhood.
Objectives:
1. Social aspect: Increase interaction between public and private users and increase safety factor in neighbourhood.
2. Economical aspect: Increase commercial activities and provide different services for economical value of club.
3. Environmental aspect: Produce energy and saving existing asset in club.
Solutions:
1. Utilize the internal spaces under the stands.
2. Utilizing a flexible steel lightweight structure that also contributes to extending the floors and to separate the movement of private users from that of the public users in order that preserve privacy.
3. Preserving the shape of the old stands while making a contrast between the rigidity of the concrete and the new structure.
- The lightweight structure can be flexible according to the function (Extended floors, Shaded corridors, Stairs, Stages units...)
- Flexibility in the use of Polycarbonate spacers - It has less U-Value instead of glass - to give a visual continuity or the use of thin metal mesh for ventilation.
- The lightweight structure is used as a canopy to block the sun's rays on the southern facade and thus reduce heat gain.
- The red color is not only to create an attractive vibrant atmosphere for youth, but it helps in generating electrical energy through Thermoelectric red paint .
Program Contents :
- Extended Gate
- Watching deck
- Show Hall
- Gaming Space
- Music School
- Stores ( Rental Area )
- Exercise & Yoga Halls
- Fresh Food Market
- Food Court ( Restaurants & Cafes )
Arch.Student: Shahd Kandeel
Supervisors:
Dr. Yasmin Kandil
Arch. Omnia El Hossary
The Stands of Alexandria Sporting Club in Alexandria, which Prince Omar Toson had ordered erected in 1930, was one of the unique and striking structures that lost its function after being neglected for more than 30 years. In addition to the fact that the building is not utilised by the public users or even private users ( club's members), it is a barrier that creates a dead zone that fosters crimes and thefts in the neighbourhood.
Objectives:
1. Social aspect: Increase interaction between public and private users and increase safety factor in neighbourhood.
2. Economical aspect: Increase commercial activities and provide different services for economical value of club.
3. Environmental aspect: Produce energy and saving existing asset in club.
Solutions:
1. Utilize the internal spaces under the stands.
2. Utilizing a flexible steel lightweight structure that also contributes to extending the floors and to separate the movement of private users from that of the public users in order that preserve privacy.
3. Preserving the shape of the old stands while making a contrast between the rigidity of the concrete and the new structure.
- The lightweight structure can be flexible according to the function (Extended floors, Shaded corridors, Stairs, Stages units...)
- Flexibility in the use of Polycarbonate spacers - It has less U-Value instead of glass - to give a visual continuity or the use of thin metal mesh for ventilation.
- The lightweight structure is used as a canopy to block the sun's rays on the southern facade and thus reduce heat gain.
- The red color is not only to create an attractive vibrant atmosphere for youth, but it helps in generating electrical energy through Thermoelectric red paint .
Program Contents :
- Extended Gate
- Watching deck
- Show Hall
- Gaming Space
- Music School
- Stores ( Rental Area )
- Exercise & Yoga Halls
- Fresh Food Market
- Food Court ( Restaurants & Cafes )
Arch.Student: Shahd Kandeel
Supervisors:
Dr. Yasmin Kandil
Arch. Omnia El Hossary