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A maze of tunnels and caverns, hundreds of miles of corridors across seven levels, with the deepest one at 327 meters below ground. Poland’s Wieliczka Salt Mine draws 1,2 m visitors per year. It is the world’s most successful case of adaptive reuse.

There are countless cases of abandoned buildings, or structures in general, even historic landmarks. Spaces that are left unused and forgotten. How can architects breathe new life into an old structure? How can they find a new use for it, while conserving its historic value? It is not an easy task to undertake. One of the most successful cases of “adaptive reuse” in a massive scale is most certainly that of Poland’s Wieliczka Salt Mine.

From a mine to a multipurpose site

Just outside the southern city of Krakow, the Wieliczka Salt Mine dates back centuries. In 1978 UNESCO listed the site on the World Cultural and Natural Heritage List. In 1996 industrial salt production ended by a government decision, leaving the mine unused. Works on transforming it into a multipurpose site started right away. Most importantly, the layout of the mine was left untouched. No changes were made to the routes the miners followed, or to the colossal salt chambers that were formed through the centuries.

Performances, praying, physical healing and banquets are all activities currently taking place at the reused Wieliczka Salt Mine. A multipurpose site that attracts millions of tourists each year. Each chamber has a different function that tells its story. One of the tallest chambers, with a height of 36 meters, is now used as the world’s first underground bungee jumping site. Others are transformed into chapels, event venues or banquet halls.

Every wall, every ceiling, has been left in its raw state. The wooden flooring and the crystal chandeliers are the only things that architects added later. Of course after studying very carefully each space. The Wieliczka Salt Mine is a perfect example of how a massive space can by creatively reused. A true inspirational case.

As the phenomenon of reused spaces in architecture, whether they are natural or constructed, gets continuously more attention around the world, Nimand architects could not be apart from them. Our very own project Exereton showcases such an example, where an old abandoned factory is transformed into a livid functional space.

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Since the dawn of time, from history to poetry, often, if not always we have constantly been trying to identify ‘’home’’. Poets writing about it, travelers reminisce it, tales as old as time, painting various pictures varying from one another, all around the globe. Where would ‘’home’’ be though? Could home be a meaning that has been altered during the ages? Could it be the warmth that never seizes to exist, the fire that would never stop burning? It seems that despite of wars, travels and calamities home will always be one’s root to comfort, memories and safety and mankind will always be in the search for it. It’s a natural instinct for men to always seek for it, especially if they would be rendered without one. Locals will always praise the one they have. Migrants and refugees would travel in search for one, a replacement of their past, one that was a source of memories, history, and life. A roof will never seize to exist above one’s head. The fire should always burn, filling the space with warmth, the light summer breeze should always enter from the open door at the homecoming of a beloved one. A home, a place to gather, a place filled with voices, various generations in one space, past, present and future all at once. Many have lost it, some managed to find it and many will be in a constant search for one.

Marco Polo, a Venetian trader that ended up chained in the depths of Asia, managed to portrait examples of a city and the sentiments that framed it in such a way that Kublai Khan granted him a seat in his court and his esteemed council. ‘‘A city of sadness, there runs an invisible thread that binds one living being to another for a moment, then unravels, then is stretched again between moving points as it draws new and rapid patterns so that at every second the unhappy city contains a happy city unaware of its own existence.” Polo said.

The history of the city, is just a mere reflection of her love was written by Necati Cumali, a Turkish poet, who was made into a refugee, part of the population exchange in 1922. The city then, would be able to proceed, only if memories of its love are relieved through our memories.

‘‘ From my words you will have reached the conclusion that the real city is a temporal succession of different cities, alternately just and unjust. However, what I wanted to warn you about is something else: all future cities are already present in this instant, wrapped one within the other, confined, crammed, inextricable.’’

Marco Polo

Article and artwork Created by Vasileios Sempsis

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 Dame Zaha Hadid

Zaha Hadid was the first woman to win the Pritzker Prize (in 2004), she was born in Iraq in 1950. Described by The Guardian as the “Queen of the curve” she liberated architectural geometry. One of the busiest and most influential architects in the world, she started her career in controversy. Her early designs were criticized as “paintings that could not be built”. Zaha Hadid opposed that architecture “should be able to excite you, to calm you, to make you think”. And she was right. Her signature style are stairways that seem to float in space, curved floors and walls that were seldom vertical.

Lina Bo Bardi

One of the most prolific women architects, she was born in Italy in 1914. After World War II Bo Bardi moved permanently in Brazil. She designed “The Glass House” – which was her own house – in 1951. Today it is considered a great work of rationalist architecture. Her most famous work though is the Museum of Art in Sao Paulo. She came up with the breakthrough idea of suspending the building above a square she was supposed not to block under any circumstances.

Eileen Gray

A pioneer of women architects, born an Irish aristocrat in 1878, Eileen Gray moved to Paris for studies in 1902. Mostly known for her lacquered furniture designs, Gray’s architectural masterpiece is Villa E-1027. Built on the Cote d’ Azur in 1929 it has become a symbol of modernism. The Villa was the exact opposite of what was considered “charming” at the time. Extraordinarily innovative E-1027 is among the first ever projects in Europe to interpret the principles of the modern movement. “Everyone, even in a small house needs to feel free and independent”. This is Gray’s dogma behind the design of E-1027. Therefore every room has a balcony with outdoor access.

Charlotte Perriand

She deeply believed that better design helps in creating a better society, so her work aimed mainly to create functional living spaces. Born in Paris in 1903 she joined Le Corbusier’s studio and also collaborated with Jean Prouvé. Charlotte Perriand was inspired by Art Deco, she loved the aesthetic of the machines and also Art Brut. Her most well-known architectural project is Les Arcs, a 1960s ski resort in France. A true inspiration for women architects.

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How a World Design Capital is designated?

The World Design Organization announces the World Design Capital every two years. In order for a city to become one, it has to acknowledge the importance of design as a tool to stimulate economic, social, environmental and cultural development. By becoming a world Design Capital a city that already is “design-friendly” has a chance to firmly establish a legacy of design that will remain within its economy and society for many years to come.

The case of Valencia

Valencia is the 3td most populated city in Spain. A city that stands out for its creativity in the areas of design, architecture and illustration. Creativity is so interwoven in Valencia’s social fabric, that the whole initiative to turn the city into a World Design Capital started from its society. Entrepreneurs and professionals, individual companies and authorities that dreamed of promoting local creativity even further and louder, on a global scale. Their objective is to make design the main agent for urban innovation and change.

What is in store for 2022?

Issues like social inclusion, sustainable growth and equality will hold a key role in Valencia’s world design capital programme of events. There will be exhibitions on topics like the Valencian graphic design and its fundamental role in daily life. Special projects focusing on Mediterranean design and one of its greatest legacies: ceramics. Discussion forums and online platforms regarding the management and procurement of design services. Everything will be free to all. Details and a specific timeline will be announced in early 2022. All will be aligned with the United Nations Sustainable Development Goals.

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Hamburg: Linking the past to the future

The Kaispeicher is the original building on top of which Herzog & de Meuron placed the new building of the Philharmonic Hall. These two structures, now in perfect unity, reflect the past, the present and the future of Hamburg. Originally a harbor warehouse, the Kaispeicher was constructed in 1963 and stored thousands of heavy bags of cocoa beans until it closed in the late 1990s. Now it supports the new Philharmonic. On the one hand the original and somehow archaic feel of the harbor, on the other the sumptuous and elegant world of the Philharmonic. In between an amazing, super popular terrace, connecting them. Someone could say a “new bustling piazza for Hamburg”, certainly one with mesmerizing 360 views over the city. Making it one of the most iconic buildings designed and constructed.

New York: Eco friendly contradictions

The Hearst Tower in New York, was the first high-rise building to be constructed in the city after 2001. A true landmark, it gained rave reviews instantly. The tower, by Foster & Partners, raises on top of an art deco block in Manhattan. Two completely different architectural styles coexist in perfect harmony. The triangular form of the tower rises above the original art deco building. An impressive complex and an eco friendly idea, as it consumes 25% less energy than an equivalent office building. Lets hope that this great example of a truly innovative working environment will set the rules and inspire more to follow in the near future. Thus, creating an opportunity for an open dialog for new design opportunities.

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The Arc is the newest sustainable building on campus at the world renowned Green School in Bali. A totally unprecedented structure, a completely original design. The Arc comprises of intersecting bamboo arches, 14 meter tall. What holds the whole structure together are the gridshells that curve in two opposite directions. They are of key importance to the strength and stability of the Arc. Months of research and development and fine tuning of numerous tailor-made details ended up to this final result.

Expanding horizons in architecture and design

Bamboo is a durable and sustainable material used for centuries in the various regions of Asia. In the case of the Arc, design firm Ibuku has managed to prove that it can be a highly creative material with which architects can give form to contemporary ideas and projects. Ibuku has put together the intricate bamboo structure by employing one of the greatest strategies we can find in nature. The Arc achieves geometric strength, while generating a massive volume that still manages to appear lightweight. The roof appears to drape between the arches of the Arc, as if it was made of fabric. The forces of geometry and physics bring the structure into a state of equilibrium, so there is a dramatically decreased need for structural material.

Bamboo is becoming increasingly popular in architecture and design projects, thanks to its impressive versatility and its sustainable qualities. Plus it has a higher compressive strength than concrete or wood. This is a really important attribute as structures in bamboo are resistant to natural disasters such as earthquakes or hurricanes. Common and affordable, bamboo is likely to become the “green steel” of the 21^st century -at least for certain areas of the globe, where there is a pressing and constantly increasing need for sustainable housing.

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Could Tecla be the answer to serious global issues like the increasing climate emergency and the need for sustainable homes? Combining state-of-the-art technology and ancient building techniques, it certainly is a perfect example of low-carbon, climate-adaptable housing. It is located on the outskirts of Bologna Italy, and all the materials used for its construction came from the surrounding area, most importantly the clay that is from a nearby riverbed.

A technological miracle

It took no more than 200 hours to construct the 60-square-metre house, using a multilevel, modular 3D printer. Two connected dome-shaped volumes constitute the house. All the outer walls are made of clay, arranged in undulating layers. This way they provide structural stability and function as a thermal barrier. The atypical shape gives life to an organic and visually coherent design. The layout is divided into two different zones: a day zone which constitutes of the living area and the kitchen, and a night zone which includes the sleeping area and services. They are 4.2 meters high each and have skylights at the top so that natural light can reach easily all the inside areas.

An example of low-carbon housing

Tecla ,a 3D printed house, is the result of a meticulous study of bio-climatic principles and the use of natural and local materials. As Mario Cucinella Architects point out: “It is a nearly zero-emission project. Its casing and the use of entirely local materials allows for the reduction of waste and scraps. This and the use of clay make Tecla a pioneering example of low-carbon housing”. Thanks to modern technology it became possible to reuse an ancient material and to transform it to something new. And this is something that could show us a way to our future development.

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A miniature green oasis, separate from the large island of Manhattan, Little Island intends to provide a serene retreat from the hectic everyday life in New York. The project started in 2013 when The Hudson River Park Trust and businessman Barry Diller appointed Heatherwick Studio to build a new pier on Manhattan’s southwest riverside.

A groundbreaking idea

Thomas Heatherwick came up with something more that just another concrete pier. The studio suggested creating a more engaging experience for New Yorkers, as they saw the opportunity to invent a new public space. They rethought what a “pier” could be. The starting point was the kind of experience they wanted visitors to have. They should feel like leaving the city behind and being immersed in a serene, green space. All of that over the water, which adds to the excitement. This was the beginning of Little Island.

A new, green city landmark

Two bridges connect Little Island to Manhattan. It consists of 132 precast concrete “planters” resembling the form of tulips. The final pattern is organic and rises in varying heights to form the contours of the park’s topography. 400 different species of trees and plants are on Little Island, all of them to be found all over Northern America. Visitors will find a network of paths that flow through group of trees, with each corner of the park possessing a unique topography. There are also three performance venues that can host up to 3,500 people.

Little Island had a rocky start. In the beginning, skeptics saw an outrageously expensive project to build, which they argued would be even more expensive to maintain. Construction started in 2016 but has halted again in 2017 after legal lobbying from various campaign groups. It restarted in 2019 and in late spring 2021 it finally opened to the public.

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Renowned motion picture theatre architect S. Charles Lee designed the historic landmark in 1927. It instantly created a buzz as it was the first movie theatre wired for films with sound. Its exterior stands out for the characteristic clock tower and the terracotta tiles. Entering the building, guests are welcome through a monumental lobby that references Opera Garnier of Paris. A grand stairway with bronze handrails is the most impressive feature. Two marble columns of Corinthian style frame it, adding grandeur. A beacon of the architectural style of the 1920s and a reference point for LA and its cinematic history. The renovation of the Tower Theatre was not an easy project to undertake.

Bringing back a legend

After more than 30 years of constant darkness, the LA landmark rebounds, taking center stage again. Foster + Partners have carefully restored and enhanced all the distinctive features of the original building. In particular, the historic plaster detailing on the walls and ceiling, dating back to the 1920s. Visitors can once again see all the craftsmanship that went into this building.

A majestic display area is at ground level, where the main theatre hall used to be. A fresco of the calming, bright California sunshine decorates the central dome above it. A dynamic, contemporary and optimistic approach that connects the different periods of the building’s life. A distinctive video wall is where the cinema screen used to be. In front of it a low-height seating area for workshops and seminars. A strong reference to the typical layout of a cinema.

What has been particularly challenging in the case of Tower Theatre, was the transformation of a theatre into a retail store, without loosing the specific character of its nature. As everybody agrees, it still reads as a theatre and this is a major achievement and a reason for applause.

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This question has puzzled architects and urban planners over and over again. Brasilia, the utopian dream of Oscar Niemeyer may have some clues for the final answer.

The promise of a bright and better future. That moment in time when everything seems possible and all aspirations are projected forward to a yet-to-be-defined future. This belief in perpetual progress is the main thought behind “urban planning”. In the 20^th century architects started engaging in constructing a better society for the future. Urban planning and the concept of restarting became completely relevant.

But also today, in the 21^st century, 150 new cities are in the making. Mainly in Asia, the Middle East, Africa and Latin America. Particularly popular in emerging markets, the idea of “building from scratch” is part of a broader strategy to take a leap from agricultural economy to one based on services.

The dream of Brasilia

One of the very few times in history where a whole nation unites behind the belief in a new beginning, behind the belief in the success of such a large-scale operation. That happened in the case of Brasilia in the mid 50s. A new capital city for Brazil, one that would have no colonial legacy, no baroque or classical architecture, no slums. A city of clean lines, rational planning (Lucio Costa was the urban planner of Brasilia) and space.

The reality

More and more modern urban planners argue that Brasilia may be an architectural miracle, but it is not a city. Simply because it does not have the ingredients of a city: the messy streets, the indigenous complexity, the mingling of residential areas and office blocks. To put it quite bluntly: Nobody is living above a cafe or a small shop, because there are none. Brasilia has become a sort of an office campus for a government.

This is the greatest lesson urban planners have to learn from Brasilia. Niemeyer has created startling architecture but that alone doesn’t make a city. Instead of separating everything to different zones, urban planners today favor mixed-use neighborhoods. A city built from scratch, a city that is absolutely planned, has first of all to be a city. And this means that it has to surprise you, to intrigue you, to make you want to discover every corner of it.

*The images of top French photographer Vincent Fournier capture Brasilia’s utopian appeal

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Alvar Aalto founded his own practice in 1923. Though most of his early projects are characteristic examples of “Nordic Classicism”, the output of his work take on a clearly Modernist aesthetic. By the mid 50s he had already become something like a national “starchitect” in Finland. A true celebrity for whom even Finnair would delay the departure of its flights, until the great Aalto was on board.

His personal take on Modernism begun to become apparent in the late 40s. To name just a few of his iconic works that shaped the history of architecture:

1. MIT Baker House Dormitory. USA 1946

Alto had a very specific goal here. He wanted to maximize the view of the nearby river for every student in the dormitory. So he came up with this one-of-a-kind shape of a curving snake. The symbol of Aalto’s work in America.

2. Saynatsalo Town hall. Finland 1949

A center-point for a small community of 3000 people in central Finland. Aalto took the traditional European “court and tower” model of a civic center and transformed it into a modernist complex.

3. House of Culture. Finland 1955

It is the pinnacle of Alto’s work with red brick, one of his ever favorite materials. The undulating brick edifice of the auditorium became its trademark instantly. Rounded corners allowed for more complex play of daylight across the surface of the facade.

4. Stephanuskirche. Germany 1968

St. Stephen’s Church in the small German town of Wolfsburg is a prominent example of architectural modernism in a church. The altar is made of Carrara marble, while the distinctive geometrical patterns behind it underline the international character of the church.

5. Finlandia Hall. Finland 1971

The building and every detail in it is designed by Aalto. Furniture, lamps, even door handles, everything speak the language of nature without anything technically artificial. Finlandia Hall is clad in white Carrara marble, as this for Aalto was a tie to the Mediterranean culture he wanted to bring to Finland.

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This is an undated photo of American architect and designer Charles Eames and his wife and partner Ray Eames. The location is not known. An exhibition of their work opens at the Library of Congress on May 20, 1999. The exhibit displays examples from over a million items of Eames’ works such as the fiber-glass stacked chair and the laid-back lounger-with-ottoman. The husband and wife team created a variety of things that they insisted could be useful and beautiful at the same time, from children’s toys to their film “Powers of 10.” All in all pioneers of modernism. (AP Photo) 

“The chair is king in the exhibition New Furniture Designed by Charles Eames opening at the Museum of Modern Art Wednesday March 13. But not the ordinary chair. The exhibition will present the greatest innovation in chair design since Marcel Breuer startled the furniture world with his metal chair”. This is the exact opening paragraph of the press release MoMA sent in March 1946 announcing the opening of its exhibition about Eames. An architect and designer that shaped modernism with his dynamic and revolutionary ideas.

Plywood, an unknown material

After years of experimenting and practicing with plywood, Charles & Ray Eames perfected the techniques of molding it into complex curves. This led to the creation of the DCM, the first “Eames Chair”. The one that almost instantly stood out of the plywood furniture collection that was showcased at MoMA in 1946. A true symbol of innovation and creativity it became almost instantly the favorite of a nation obsessed with both. Conceptual, new and “value for money” it had it all. A design that shaped modernism.

Thinking “Out of the box”

Right after plywood there came fiberglass. The couple introduced their fiberglass armchairs that soon became an icon. Until today, they are the epitome of the optimism and the innovative spirit that shook mid century’s design culture, a true symbol of the American 50s and the movement of modernism. Thanks to their breakthrough shape and materials’ use they paved the way for “out of the box” thinking and they continue to inspire designers up to present day.

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The news of Patricia Urquiola’s appointment as Cassina’s creative director shook up the design industry. She was not the first though. Architect Piero Lissoni was already in charge of the collections of Living Divani, Porro and B&B Italia. Soon Molteni followed the trend by appointing Belgian architect Vincent Van Duysen as its creative director.

Coming closer to people

What is it with architects and product design then? David Adjaye answered the question in one of his recent interviews: “Designing a chair presents the opportunity to express my position. It is like a testing ground for ideas that interest me”. It is true that people can have a more intimate relationship with pieces of furniture than they can with buildings.

The early years

It all started in the early 20^th century with architects like Mies van der Rohe designing pieces of furniture for individual buildings. This is the case of Barcelona chair. It was designed for the “Barcelona Pavilion” for the 1929 International Exposition that took place in the city. Later on, mainly in the 1950s, it became more common for architects to design furniture. In fact most of the icons of the Modernist movement are signed by architects: Alvar Aalto and Charles & Ray Eames are among the most well-known names to have done so.

A sense of home

As the years went by and the design industry matured, this practice became more and more popular. Big design brands now rely on architects to see their sales grow. Does the perspective of an architect differ from that of a designer? As Giulia Molteni, head of marketing and communication said: “Vincent will work on interior decoration to give a real sense of home, because of his architectural background”. So, architects tend to have a more “holistic approach” to design one could say. And this can only be a plus.

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Creating architecture for all helps to improve the overall creative process, resulting in a more innovative and universally beneficial outcome. True or false? Well, though most architects would answer “true”, in reality they generally overlook the work on accessibility. It remains at a legal minimum and that’s it. Why? Maybe just because we rarely think of great architecture when we think of accessibility rules and standards. And we are wrong.

Ed Roberts Campus – Berkeley, CA
Architects – Leddy Matum Stacy

A matter of inclusion

Design for everyone must be top of mind from the beginning. An opportunity both economic and creative. Accessibility is not just a civil rights issue, it has to do with equity and inclusion. The best projects are those that enhance the lives of the people using them. And that is “of all the people using them”. Though, architects and designers often have a misconception that accessibility features are unattractive. But with creative thinking and excellent design, accessibility can be beautiful. We can think of a ramp as something stuck onto a building just to tick a box on some list of legal requirements. Or it can inspire a breakthrough, innovative design of Ed Roberts Campus in California.

Learning the principles of accessibility

Creating spaces that welcome everyone must be a reality. And this could begin from architecture schools. Accessibility should always come u as something fundamental to every project, not as something peripheral. Students need to hear from people with a wide spectrum of different abilities to better understand their needs. This is not only about mobility, but about all kinds of physical limitations. Improving the acoustics of indoor spaces for those with hearing loss, or using devices that enhance the tactile, audible or even aromatic experience for the visually impaired are practices to implement.

Museo Novencento – Milan, ITA
Architects – Studio Italo Rota & P.

An accessible to all building, makes life better for everyone. And that is a architecture’s greatest achievement.

Museo Novencento – Milan, ITA
Architects – Studio Italo Rota & P.

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The experience of discovering a new place. The anticipation of living -for a few days at least- in a different way of life. The need of change, of breaking the rhythm. All these are what discerning travelers are looking for. Both when they choose their next destination and when they choose their next hotel.

Sani Dunes Lobby by Nimand Architects

The “Sense of place”

A hotel, in order to be appealing, has to trigger emotions. It has to be different and it has to help its guests feel connected with the place they are visiting. It has to give them a “sense of place”. Interior design is the most effective way for hoteliers to achieve that. Interior designers working hand in hand with the architects can capture the culture and history of a place, as well as its impact on the senses. When arriving somewhere travelers need to identify with their new location. They need to tap into the culture of the place, and if they can do that even from the comfort of their room that is already a huge plus.

The fabrics used, the color palette, the materials, the smells, even the signs and the symbols. All these can evoke emotions and trigger one’s imagination. They all convey a “sense of place” that help the guest orientate better, connect with the place and also with the hotel.
Sani Porto Reception by Nimand Architects

“Sense of place” and a feeling of familiarity, a delicate balance

Interior design can create feelings of familiarity and comfort, a sense of belonging. Achieving this delicate balance between the new and the familiar is quite a challenge.  Providing a “home away from home” atmosphere that helps guests unwind and relax is always a plus. Elements like high quality upholstery and linens ameliorate the guest’s experience without ruining the hotel’s “sense of place”. To the contrary. The Sani Dunes Hotel, in Halkidiki Greece, just like every hospitality installation delivered by Nimand Architects, is a very good example of how luxury, simplicity and a discreet sense of place can coexist through interior design. Its architecture is absolutely integrated into the location’s topography, while its interior design follows the Mediterranean aesthetic principles of using natural materials and handmade pieces of furniture, created by expert craftsmen. This is the key to differentiation.

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With online retail on the rise, shopping norms are changing. Digital shopping is effective – no doubts there – but many consumers still want to see and experience products physically. In response to this, architects have to come up with innovative ideas. They need to find suggestions out of the box, that give a whole new meaning to the term “experience”. After all, this is a world where everything moves fast and where you can do almost anything from the “comfort of your living room”. In a world like this you need to have a good reason to leave that “comfort of your living room” and experience something new. Something that you would talk about, something that could even create a memory.

Thalleia Exarchou jewelery store by Nimand Architects

Making technology part of the experience

Architecture needs to give an answer to this challenge. Forward thinking architects are already integrating technology – instead of ignoring it – into the physical shopping experience. Interactive screens in dressing rooms, for example, is an idea constantly gaining ground in some exclusive stores right now. Besides technology (which clearly is not the enemy) architecture has to look at the surroundings of a store and get inspired.

Connecting the brand to its location

Local relevance and the feeling of a certain uniqueness create a “special” experience and specialty is one of the most sought after attributes in our times. A message of connection between the brand and its location  is particularly important. It gives people a sense of a special treatment, of acknowledgment and respect. And these people are all potential customers. Uniformity is a thing of the past, and that includes also multinational brands.

Be playful!

Engaging the senses is another field where brick-and-mortar stores outscore any eshop. Architects and interior designers have the privilege of being playful, they can use textured finishes or particular aromas to connect with the customers. The future of physical retail stores looks as bright as never before. If we just realize that technology is not the enemy, but an extremely useful tool. If we realize that technology will help architecture unleash its creative powers.

Missoni Boutique by Nimand Architects

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In Nimand architects, our main guiding principle is the power of good design and its ability to raise the spirit by the optimization of environments. Our passion urges us towards the creation of contextual, user friendly, exciting contemporary buildings, spaces and open places. The commitment towards our clients and their needs, constitutes our greatest priority as through the spirit of collaboration, the end results would exceed their expectations. In all logistical difficulties lies hidden an opportunity for flexibility and creativeness, the art of practicality.

Our approach

In our Nimand studio external shell renovation, our main design principle was for our offices and workplace to match the aesthetics and contemporary architecture design principles of our projects. The building shell was cladded with external insulation in order for its façades to become energy efficient while, maintaining its contemporary volume and design principles. Apart from the alterations made in the external form, the existing railings were removed and have been replaced by new glazed ones which, led to a sharper form and an elegant final result.

Moreover, complimentary to the building’s volumetric approach is the lighting design. This study was carried out in order for the building to be effectively and efficiently lit. This was achieved by installing new recessed linear led lights in all openings making them visible and distinctive while, maintaining the contemporary design of the building’s façade. Lighting is a vital and valuable step in Nimand’s process and approach towards designing a project, as we always aim for distinctive and high aesthetic results.

Conclusively, our externally renovated Nimand offices, are now completely up to date with current environmental construction standards and our Nimand contemporary architecture and design principles.

Refreshed, renewed and up to date, we aim towards serving you with elegant and iconic designs that will leave you content with the finished result.

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When the 2017 Pritzker was awarded to the Spanish firm RCR Arquitectes, the jury mentioned, they were awarded because of the approach “to create buildings and places that are both local and universal at the same time”. But what does this really   mean? How important are local traits in architecture during the era of a globalized world?

The fear of losing our local values

In today’s interconnected world we rely more and more on international influences, trade, transactions etc. This may be the reason behind a new fear that sociology scholars have already detected: that of losing our local values, customs, way of life even our understanding of regional architecture. There is a justified anxiety there which asks for a new way to approach the production and consumption of culture and architecture has an essential role to play there.

What is “local architecture”?

Local is a word used to describe something particular about a place that makes it different. In different places of the world, people live, work, socialize in different ways and this reflects on the environment they live in: their cities. In most European cities people usually commute to work, so there are advanced subway and bus systems. On the other hand, in many American cities (take LA for example) people prefer to move by – their own – car. A habit that has led to the development of highways. In the Mediterranean people spend much time outside. Balconies and verandas are vital for buildings. In Scandinavia they don’t need balconies but large windows to let natural light in. The way we live shapes the way we build and vice-versa. Architecture and locality are absolutely interconnected.

Local is another word for sustainable

How are our cities built? Where are the materials for their buildings coming from? How are they sourced? These are all questions that need answers. With nearly 70% of the world’s population projected to live in cities by 2050, it is becoming more and more important for cities and therefore, architecture to find ways to locally source environmentally friendly materials.

And there are not only the numbers. Beyond them, locality plays an important role in the experiential aspects of a building, in the emotions it generates to its visitors or residents. People identify themselves with the space they live in. Architecture connects us with the culture of our land, it is a way to even pay homage to our history. And this is quite important in an ever changing world.

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Researchers at the University of Waterloo in Canada have managed to measure the physiological impact of architecture on people. One of the most astonishing findings of the research was that facades seriously affect our mood. This came up after measuring subjects’ physiological responses in situ. When a group of people with wearable devices such as bracelets that monitor skin conductance walked past a long, smoked-glass frontage of a department store their mood took a dive according to their wristband readings. They also quickened their pace. The exact opposite happened when the group walked in front of a stretch of diverse restaurants and stores. Blank, cold facades seriously damage urban conviviality.

Visual complexity in public spaces

Another important finding – though not so surprising – is that access to green spaces offsets some of the stress of city living. A theory in favor of that, states that generally, visual complexity in architecture acts as a kind of mental balm. Visual complexity can be an attribute of both natural and urban environments. Enriching public spaces, whether green or not, will help make city residents feel more engaged and comfortable with their surroundings. Placing benches in large squares is an excellent start to make people socialize and spend time in an otherwise indifferent space they would easily pass in a hurry.

Direction and navigation in large buildings

In the real world we are able to move from point A to point B via one route, which we can also take on our way back from point B to point A -if we wish to. Buildings that force people move in and move out in different ways are a disaster. The one-way escalators in public buildings that only move up without providing obvious means of descent, increase dramatically our anxiety levels. In such cases most people spend their time trying to figure out how to get out of the building. Navigation should be easy and obvious. People require a layout that creates better flow. This should not be an issue at any point.

More light and art

Both public spaces and homes should offer natural light and the ability to glimpse outside. The human body (and brain) needs to have access to the sun’s rays. The improve one’s mood and mental health. So does individuality too. Incorporating beauty and mindful design through artwork can create a calming environment that positively impacts our mood.

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Neue Nationalgalerie opened in 1968. Mies van der Rohe has divided its plan into two distinct stories. The upper story houses the entrance hall and the primary special exhibit gallery, while the lower story is home to the gallery’s permanent collection, a library, offices, a shop and a cafe. Though smaller in size, the upper story is undoubtedly the gallery’s primary architectural element with its roof seemingly “floating” 8,4 meters above the floor. Neue Nationalgalerie is Van der Rohe’s only project in Europe after he emigrated to the USA and remains an iconic example of twentieth-century architecture..

A surgical intervention

The building’s renovation started in 2012 and after 9 years of works is has finally come to an end. Everything is already in place and the museum will reopen this August. The restoration left the building’s character untouched. It focused on refurbishing ageing concrete structures, modernizing its services and restoring the glass exterior. A “surgical” intervention as described by David Chipperfield himself. The architect noted that “taking apart a building of such unquestionable authority has been a strange experience but also a privilege”

The works

Maximizing storage spaces in the lower level and improving its energy performance by updating the building’s air-conditioning and lighting infrastructure were top priorities for the team of architects. Of course making the museum accessible to everybody by adding a ramp, was also among the major key points of the restoration done by David Chipperfield Architects.

Repair & Restore with respect

In cases of architectural icons being restorated, an architect cannot do anything else, but try to bring back the psyche of the icon. As David Chipperfield did for Neue Nationalgalerie in Berlin, or as Tadao Ando did for Bourse de Commerce in Paris. Protecting and showcasing the vision of the icon’s creator and its architecture is the main task an architect has to keep in mind during the planning stage and execution of a building renovation.

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Driving on the highway that connects downtown Milan to its northwestern outskirts and the airport, you cannot miss it. A “Vertical Forest” – literally – rises to a height of 112 meters, two skyscrapers full of numerous trees and plants of all sizes, covering almost every inch of their facades.

The vision of Stefano Boeri 

With his “Bosco Verticale”, Italian architect Stefano Boeri suggests a new format of architectural biodiversity. He explores the relationship between humans and other living species in an urban environment. Boeri came up with the idea of rethinking the concept of the skyscraper during a visit to Dubai in 2007. Moving around the city, he noticed how skyscrapers dressed in metal and glass were reflecting the solar light, generating more heat in the air and even on the ground. Adding to that the results of a study showing that 94% of all tall buildings constructed since 2000 were dressed in glass, Boeri decided to focus on the sustainable architecture of tall buildings.

The “Bosco Verticale” in numbers

Construction of the skyscrapers lasted for 6 years. Both of them are home to 800 trees and more than 15.000 plants and shrubs. This is more or less the equivalent of about 30.000 square meters of green area. Indeed a vertical park, just a stone’s throw away from downtown Milan. Creating a special place for humans, trees and birds to live together is a quite particular project, that had a tremendous effect on the architectural language used. Their immense, overhanging balconies define the shape of both buildings. They were especially designed to accommodate large tubs for vegetation. Plus, they were put on the facade in a way that they allow trees and plants to grow without hindrance. From a distance the two buildings look like a pair of gigantic trees housing people, birds and other forms of life. Two gigantic trees that change colors as seasons go by.

Milan’s Bosco Verticale is an impressive architectural experiment, set to influence the development of high-rise buildings and skyscrapers in the future.

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Στον εξωραϊσμό των όψεων και των εξωστών του διατηρητέου κτιρίου του Μουσείου Μακεδονικού Αγώνα προχωρά το Ίδρυμα Μουσείου Μακεδονικού Αγώνα και της Νεότερης Ιστορίας της Μακεδονίας. Το κτίριο σε σχέδια του Γερμανού αρχιτέκτονα Ερνέστου Τσίλλερ, ένα από τα μοναδικά σωζόμενα κτίρια στην πόλη της Θεσσαλονίκης, ξεκίνησε την ιστορική πορεία του στον χρόνο ως Ελληνικό Γενικό Προξενείο (1893) μέχρι την απελευθέρωση της Θεσσαλονίκης (1912). Από το 1982 στεγάζει το Μουσείο Μακεδονικού Αγώνα, τις εκπαιδευτικές και πολιτιστικές δράσεις του με στόχο τη διατήρηση της ιστορικής μνήμης των γεγονότων του Μακεδονικού Αγώνα και των ηρώων του. Η μακραίωνη πορεία του μέσα στον χρόνο προκάλεσε βλάβες και φθορές που αμέσως μόλις εντοπίστηκαν και με ιδιαίτερο σεβασμό στην ιστορικότητα του κτιρίου αποφασίστηκε η μελέτη και υλοποίηση αποκατάστασής τους.

Το αρχιτεκτονικό γραφείο NIMAND AE με επικεφαλής τη Δρ. Νίκη Μάνου – Ανδρεάδη και συνεργάτη αρχιτέκτονα τον Μιχάλη Βρέντζο, ανέλαβε αφιλοκερδώς την πλήρη αρχιτεκτονική μελέτη, καθώς και την υποστήριξή της στην αρμόδια Εφορεία Νεοτέρων Μνημείων. Η αρχιτεκτονική μελέτη περιλαμβάνει εργασίες με βασικό άξονα την ανάδειξη του ιστορικού αυτού κτιρίου. Τη συνολική δαπάνη του έργου έχουν αναλάβει οι εταιρείες Α. Χατζόπουλος ΑΕ και ISOMAT ABEE, που από την πρώτη στιγμή υποστήριξαν το έργο ανάδειξης του σημαντικού αυτού τοπόσημου στην ιστορία της Θεσσαλονίκης. Σημαντική είναι και η συμβολή της εταιρείας DELOITTE ως χορηγού υποστήριξης των εκπαιδευτικών και επιστημονικών δράσεων του Ιδρύματος του Μουσείου. Tην υλοποίηση των εργασιών που αναμένεται να ολοκληρωθούν το φθινόπωρο έχει αναλάβει η εταιρεία ARTDECON.

ΧΡΗΣΙΜΕΣ ΠΛΗΡΟΦΟΡΙΕΣ

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Artificial Intelligence will certainly have a huge impact on architecture and design. According to studies published just before the pandemic hit, almost 50% of architects in Europe would be using AI for 50% of their work by 2030. Covid-19 has even accelerated this pace. The need to stay apart while being connected and working together at the same time, has made us all more depended on technology. We had already seen this trend evolving before, but now it has become an indispensable reality for everyone.

The first effects on architecture

As the evolution of AI becomes more robust and widespread day by day, architects and designers are dealing with a new reality that they can definitely use to their advantage. In the very near future, the main role of the architect will be to focus on the strategy of design. To use all these new advanced technological tools to speed up the procedure and offer more alternatives to their clients. Architects will be able to discuss and present concepts much earlier than before in the process.

A boom for creativity

With less time spent on designing alternatives, architects will have more time available for spending on creative, conceptual thinking. What will happen is that while the time a firm spends on a client will be reduced, the value of its work will go up. How is that? The answer is simple: Because improvising and providing ideas that will create more real estate value (or more aesthetic and functional value) will be the main task of architectural firms. The key to their development and prosperity. AI is no threat to creativity. To the contrary. Technology is not going to replace the creator, but it will help him focus on creativity, liberating real talents from time-consuming tasks.

After all, as Albert Einstein has said: “Creativity is intelligence having fun”

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Art’s place is not just in galleries. Art -more specifically public art, has the power to make the difference, to put whole urban areas on the map. It can change our cities -and the way we live- just like architecture.

Public art plays an important role in raising the cultural quality and social attractiveness of urban areas. Plus it enhances the sense of spatial recognition. Visual space perception is a psychological process in which landmarks are of paramount importance. Landmarks can be buildings as well as works of art, placed in public spaces. They serve as reference points in navigation through the city.

The power of public art

Public art is accessible to all. There is not a specific audience to which it is addressed. Public art not only influences its environment but also it is influenced by it. The same work of art may look different when you see it in another urban context, in another square. Public art is in constant dialogue, in a fluid, ever-changing balance with the architecture that surrounds it. You can never neglect it. No matter how many times one may have seen the Cloud Gate in Chicago by Anish Kapoor, one can never just walk on by, without looking at it.

Most importantly, urban interventions which involve art to a great extend, can change the overall value (financially and also emotionally) of whole areas. Contemporary urban planning always counts on public art. Architecture and art work hand in hand in reshaping and revitalizing neighborhoods. Architects who can see that, are very well aware of art’s power and seek to reclaim it in their projects.

The case of Sani Dunes  

Nobody denies that art can make the difference. Either in a public space – like a city square – or in a building of commercial use, like a shopping center or a museum. Or even in a hospitality project like a hotel.

This is the case of our project Sani Dunes in Halkidiki. At its main lobby an impressive permanent art installation by the Greek sculptor Costas Varotsos greets travelers, making a powerful first impression. Highly sentimental, it immediately sets the hotel apart. And that is something that only art can do -at first sight.

https://www.sani-resort.com/el_GR/our-hotels/sani-dunes-hotel

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