TINOS | Zoumboulakis Architects

Tinos is a modest island that has managed to retain its unique character and authenticity in all levels. It is probably one of the very few places with traditional artisans that love their art and are not forcing it. Working with them during the construction of stone details or walls was a great inspiration.

In this project, the volumes of the building had already been shaped by the pre-existing reinforced concrete frame. The study was related to the organisation of the floor plans, the processing of the elevations, the configuration of the site plan and the incorporation of the mechanical equipment and lighting.

On the exterior, the use of glass and metal, as well as some long and narrow glass slits in the facade, are the most important and distinctive divergences from the (in other respects) traditional architecture. In the interior layout, the traditional approach gets an additional “makeover”. There are, of course, elements - such as the big stones from Tinos or the stone traditional lintels - that allude to the tradition of the island and inspire reminiscence, but they are reworked in a contemporary way. The rusted metals – the main finish in the interior - are timeless. It’s as if they have always been there. The glass and rust extend the reflections and effects of the sea accordingly.

The absence of colours or other unnecessary elements is also a characteristic of the style. All the materials used have maintained their natural finish in a similar way as the colours are ascribed by the nature of materials in the landscape. The morphology of the island’s landscape does not require further intervention.

The stairs and table/counter were two of the most important elements for the owner. The cantilevered rusted metal table is the main functional element of the space; It is used for working, dining and cooking. The difference in level between the sitting room and kitchen, the willingness to functionally unite the two spaces, and the liberty of expression provided played a decisive role in the formation of this sculpture-furniture. The same applied to the staircase, which was requested to be light and discreet, in accordance with its destination: a very simple, ethereal bedroom on the upper level.

Many of the built-in furniture in the interior and exterior spaces were designed in great detail. The design furniture and items were selected in collaboration with the owner, bearing in mind the contemporary style and functional aesthetics. Indicatively here mentioned are the Tron armchair and the folding chairs by Cappellini and Marc Newson and the lighting fixture by Established and Sons that were combined with contemporary artworks.