The choice of the design thesis is essentially based on a personal bond with the island of Kythnos and especially with the settlement of Dryopida where pottery has been developing for ages.
Various images from the imprint of human activity were slowly collected in the subconscious and became food for thought. These comprehensive, clear images conceal this innate sense of geometry of the common man.
With a starting point at the aqueduct of P.Mella and a path along the water, the process of pottery is reflected in a linear path that is visible and readable in the synthesis and culminates in the three ceramic kilns.
Two routes that operate as a hasp hold and define this core, creating at the same time two courtyards on different levels which are dictated by the inclination of the ground and define the zones of function, a public zone at the entrance level including the shop, the exhibition site, the café-preparation workshop and a zone of workshops (pottery, weaving, embroidery, general crafts) on the level of the central courtyard.
Unfortunately, the art of pottery, that is a strenuous, but also creative work, now belongs to a culture that is rapidly perishing, giving way to the culture of the "perfect machines", which is characterized by strenuous work, but also less creative.
Without a direct morphological reference, but with integration into the ground, the composition may diverge from the standards of the organic growth within the village, but it hides the structure and essence of the traces of the human interference. A ceramics workshop could not be cut off from the three key elements of the process, earth, water, fire. Through these the composition is defined, structured and erected (rammed earth). It requires the same suffering and the same "art of hands", but also the motivation of local people who are involved in all phases, from building up to the operation and familiarization.

CV