The Papachristou Residence belongs to an architect and art collector. Standing in a field, it is first viewed as an isolated volume that all but floats. Defying this image is the exposed concrete material.
The simple volume and its material are then manipulated so as to describe and define spaces. Small expressions and mannerisms appear to inform the surface of the volume. The folds are comfortable and yet precise, cutting. A deft exercise in restraint.
The most powerful element of all, neatly juxtaposed by a deliberately awkward tree, is the entrance void. This is in the form of a massive volume, which reduces on two of its sides as it moves up towards the door at its conclusion. The language of scale and progression shouts out at you.
It is patent the purpose of the architect/owner to create a series of sequential spaces which almost work as opportunities to house art objects, sometimes small and personal sometimes borrowing from the grandeur of the museum; the idea of a gallery was a driving force. The heavy materials of the space, the dark marble surfaces, reinforce this concept.
Functions are defined, beyond the conveniency aspect, by strong thresholds that lean on scale shifts and height changes. One is made aware of discretion. The languages embodied in architecture are powerful and patent.
