A space of Reflection is a spatial intervention located on Het Plein in The Hague, engaging with Mauritshuis museum and the former Ministry of Colonies building, complemented by a wooden pavilion ('House of Free Speech') and connected through an underground system. The design intervention unravels and gives voice to historical narratives about Dutch colonial history which haven’t been properly heard or acknowledged, in order to gain a more honest and complete image of this specific past. The project aims to provoke dialogue and allows space for the public to reflect upon this history, enabling them to position themselves within the bigger context of this complex and controversial past.

Making an Oasis is a master’s thesis about transforming a Hong Kong shopping mall into a sequence of gardens. In a city where retail facilities have replaced public squares, this project reimagines one of Hong Kong’s commercial centres as a place for healing, nature, and connection.
The project brings together mental health, shopping malls, and nature in the city of Hong Kong. What began as a personal reflection on well-being and architecture developed into a design that challenges the role of consumption-driven public spaces in cities.
Set in the Franki Centre—an early 1980s shopping mall—this thesis proposes four interconnected gardens that reclaim the building as a non-clinical, accessible space for mental well-being. Drawing from research, lived experience, and the complex urban conditions of Hong Kong, the project treats the mall not as an enclosed commercial facility, but as an exterior landscape.
Part research, part reflection, and part architectural proposal , Making an Oasis offers a prototype of hope for cities around the world. It reimagines not only what architecture is, but what it can become—a bridge between people, nature, and the possibility of renewal.

The project is situated at Lake Karla in Greece’s Thessalian Plain, the country’s second-largest agricultural area, marked by its unique city-territory dynamics, cultural heritage, and urban-rural interplay. Recent floods have caused widespread damage, underscoring the region’s vulnerabilities.The project responds to the devastating floods of recent years, recognizing them not just as isolated events, but as symptoms of broader global phenomena. Bioversity in nature and human systems just as natural ecosystems thrive on diversity, so too must our approaches to problem-solving incorporate a range of voices and expertise.
Through interventions like the Thessalian Table, the project provides a platform for dialogue, collaboration, and education, addressing the fragile relationship between human activity and natural ecosystems while offering a replicable model for regions facing similar challenges globally. It appears as a moment to question practices and foster resilience.
The proposal centers on the Thessalian Table, a conceptual and physical intervention designed to address the region’s unique vulnerabilities while speaking to universal challenges. The treatment of the surrounding nature through several scales, zooming in and out of the boundaries, is an architectural move that only allows for the careful interaction with the physical environment planted in places where unofficial meetings happen, guiding the visitor’s gaze but is also a philosophical move that compliments the different perspectives that ones have over the same problem.
The Thessalian table is a microcosm of larger issues offering a replicable model for emphasizing the need to shift perspectives, re negotiate boundaries, reflect on our relation to nature and our habits, re-read moments of catastrophe, strengthen community networks, and engage diverse voices. The floods in Thessaly serve as a stark reminder of how personal choices—our consumption habits, agricultural practices, and attitudes toward nature contribute to larger crises. These moments demand reflection by engaging diverse perspectives in addressing shared challenges.

During the interwar period in Greece, urbanization drove people to Athens for better job opportunities and economic recovery. They brought a countryside mentality, fostering neighborhood and small community life within Polykatoikias. When I left Greece, I still remember my first impression of other European cities, "Where are all the Polykatoikia buildings?"

The term Poly-Katoikia, literally "multiresidence" is a composite word, from poly, translated as multi, and the noun katoikia, dwelling. The construction is built with reinforced concrete. It originates from modernism, retains traditional and neoclassical elements, treated like custom-made furniture by its users and architects. Athens' architectural tapestry, marked by flexibility and adaptability, accommodates remarkable diversity within a singular archetype.
The project’s mission involves expanding the potential for communal living in the “Athens of property.” Understanding various scales—neighborhood, urban, and building— the project addresses new design challenges, including minimal living spaces.
A new design of Polykatoikia by key interior spaces (Terrace, Balconies, Foyer, etc.) to establish collective character and activity among tenants. This attempt expands the means to create a new dwelling type that retains the spatial and social essence of the archetypal Polykatoikia for innovative living.
The tenants of such a building are favored with certain flexibilities in their individual spaces, allowing them to control the level of communal element they want to introduce. It is not a rigid, copy-paste element to be repeated identically, but only one version of this flexible framework that adapts to specific needs and conditions.

Post-disaster reconstruction approaches in Italy have come to favor outputs over processes; something that increasingly causes social precarity and a sense of collective oblivion throughout the prolonged recovery efforts.
Located in post-earthquake Amatrice, “In other forms, otherwise” is a project exploring possible practices and processes of reappropriating public grounds, encouraging open-ended narratives in spatial planning and architectural design within three locations along the town’s main road.
By retracing the long-standing tradition of transhumance and procession that is characteristic of rural areas, this project advocates for more adaptive practices of renewal that focus on the movement of materials, spaces, and people, pivoting away from the static and linear understanding of historical processes and cultural forms.
This project is ultimately an infrastructural acupuncture. It provides accessible grounds to an uprooted population by means of spatial repair and material rearrangement, engaging with themes of architectural preservation, societal attachment, and balance between memory and time.

The proposal reimagines the Zoological Garden in Warsaw, Poland as part of Vistula's ecological corridor, blending human spaces with rewilded landscapes.

This project creates a safe-haven for the homeless women of Madrid, addressing both homelessness and gender-based violence. It explores the stigmas surrounding homelessness in Spain and the lack of dedicated facilities for women in Madrid city centre. Drawing inspiration from case studies like the Beguinages from the Netherlands and traditional Spanish patio house typology, the project emphasizes the importance of community, privacy, and safety.
The chosen site in the neighbourhood of Tetuán aims to revitalize a neglected area while providing shelter, support, and a path to independence for vulnerable women. The design integrates into the local context, fostering a supportive environment for healing and empowerment.

The Graduation Project is facing the challenge of extension to the historical building of Stockholm City Library. Its main goal was to provide an architectural answer to the political, economic and cultural problems which the institution of public libraries in Stockholm is facing nowadays.

My proposal refers back to the original plan for the site proposed by Erik Gunnar Asplund in 1928 and completing it with the 4th building. Thanks to that I managed to densify and fill the already-used part of the plot with subsequent educational functions. The building is connected to the main library underground which allows to preservation of its monumentality and independent character in the city. In the proposed extension I focus on the functions which can not be placed in the historical building due to its spatial limitation. The new building is a contemporary library incorporating a variety of interactions and ways of sharing knowledge. The structural layout allows for a flexible adaptation and at the same time provides different spatial qualities.

The Stockholm City Library was designed by the renowned Swedish architect Erik Gunnar Asplund in 1928. Since then, the role of public libraries has changed dramatically. Nowadays, public libraries constitute important social infrastructure within cities; they should provide a wide range of program for all needs and demands and enhance interaction among people. This project is about the transformation and expansion of the Stockholm City Library, in an attempt to open up the library to a broader public and address its various today’s and future needs.

The project deals with extending a monumental building - the Stockholm City Library. It's complexity lies within the position of respect towards the monument which the library is and the work of the architect behind it - Erik Gunnar Asplund. This project proposes to extend as a mean of modernising and coming forward to the needs of growing and changing city.

The protagonist of this year’s graduation studio is the Stockholm City Library. It was deesigned by famous Scandinavian architect Erik Gunnar Asplund (1885-1940) and opened in the spring of 1928. It is a modernist building located in Vasastaden, a very diverse neighbourhood on the Northern Island of Sweden’s capital Stockholm.

The graduation studio, organised by the group Interiors Buildings Cities, started on the premise of two failed competitions that were written out for the Stockholm City library. The project aims to reintegrate the Library into the urban fabric and the city life of Stockholm. It does this by bringing the Bazaar into the building, creating a public, inviting route on the level of Svaevägen Street, and connecting this central city axis to a lowered square that finishes the route throughout the building. While following this public route, the visitor can go up to more focused areas within the library and discover its beautifully kept reading room and Rotunda centrepiece.

The aim is to create a library that not only allows for the individual consumption of knowledge but also facilitates the exchange of knowledge between the inhabitants and visitors of Stockholm.

This graduation project explores the feasibility of renewing the competition for the Asplund Library in Stockholm. The competition and assignment focus on a possible extension. A renewed proposal will have to determine if the original intended program still reflects the needs of a contemporary library. Furthermore, this proposal seriously questions whether the established strategies of working with heritage still hold up in a world that must deal with limits to growth.

The proposal suggests that by looking beyond the strategies of adding to and contrasting with existing architecture, the brief can be answered in a much more modest way.

Stockholm Public Library, as a library from the 1920s, pioneered the use of architectural elements such as the Rotunda and open bookshelves, which softened the oppressive nature of traditional library architecture at that time. It embraced a humanistic approach, fostering a sense of active participation and community vitality among its visitors. However, after a century, the original library's space and knowledge dissemination methods are no longer sufficient to meet the diverse needs of society. This project, based on a failed competition held in 2006 for the expansion and renovation of the library and the advisory brief proposed in 2014 based on the 2006 competition, explores the new social functional positioning and service direction of the library in the face of a multicultural audience and is rooted in the unique political and cultural context of Stockholm. Considering the real conditions of the site and the developmental needs, the project aims to construct a new library to make a supplement of the existing library. It will encompass diverse functional spaces such as an Immersive E-media room, a multilingual reading room, and an urban activity lounge to cater to a variety of audiences. The design also involves the transformation and activation of the overground plaza and underground spaces, facilitating communication and connection between the new and old libraries. The goal is to create an interactive entity that radiates into the urban space.

This project explores a revalidation strategy for a neglected and contested neighborhood in Tirana, Albania, whose physical state narrates the historical, political, and social conditions of the place: walls dividing once large gardens, symbols of individual desires that came after the fall of the communist regime, informal extensions to traditional houses, all paired with significant damage from top-down initiatives for grand architectural projects.

Acknowledging limited labor, financial constraints, and time pressures, the project advocates for a capacity-driven approach. The strategy comprises a series of scalable architectural and urban interventions. These range from small modifications, such as brick-supported openings in walls to reconnect divided spaces, to more ambitious projects like a Neighborhood Center that serves as a communal building. Collectively, these interventions act as catalysts, creating a system whose impact grows through interconnectedness and active use. The project demonstrates how intentional design can enable meaningful urban transformation while respecting the complexities of difficult contexts.

This project reimagines cinema spaces in Istanbul’s Beyoğlu district as community-oriented environments that resist the socio-political erasure caused by gentrification and state-led urban transformations. Beyoğlu’s historical role as a cinematic and cultural hub serves as the foundation for exploring cinema as a social common. This concept positions cinema spaces as inclusive public arenas for collective memory, cultural exchange, and democratic engagement.
The design draws inspiration from the rich legacy of Turkish cinema, which was deeply rooted in Beyoğlu. By referencing its themes, settings, and cultural significance, the project builds an understanding of the spatial and social dynamics that shaped the district’s identity. Site-specific architectural interventions are employed across abandoned buildings, open spaces, and intimate interiors. These interventions engage Beyoğlu’s diverse urban fabric, reviving its cinematic legacy and architectural character. By reactivating underutilized spaces, the project fosters environments for film viewing, social interaction, and public dialogue. The approach emphasizes the district’s layered history, using its unique ambiance and narratives to create spaces that inspire new encounters and strengthen communal bonds.
The project operates at three scales: interior rooms, urban landscapes, and a network of in-between spaces. It focuses on thresholds between public and private realms, transforming them into vibrant links within the urban fabric. Each intervention responds to its specific context, creating connections that integrate Beyoğlu’s historic architecture with its evolving cultural needs. These designs remain subtle yet intentional, preserving the district’s heritage while fostering its continuity.
Through this framework, the project positions cinema as a tool for urban connection, cultural resilience, and democratic participation. It offers a model for honoring Beyoğlu’s historic identity while shaping inclusive spaces that enrich public life.

The project investigates Uzvaras Park (Victory Park) in Riga as a narrated urban figure, focusing on the themes of contestation and reconciliation. It analyzes the park’s role and form in the changing socio-political context and, with the means of spatial design, proposes an alternative vision for its redevelopment from a conflicted demolition site into a unifying habitat of nature and culture.

Based on conclusions taken from the research, the design method manifested itself as the selection and combination of historical layers together in a collage of spatial fictions, playing with and reframing existing dichotomies between their forms and meanings.

All layers were perceived as equally important, that way removing the former hierarchy between them, which was so characteristic of the previous approach to the park – when with each new ideology the previous layer was put into oblivion, as the regime desired to oppress nature into its image. By treating all former visions of Uzvaras Park, completed/only imagined/devalued/destroyed, as reference material for constructing the new park – the project strives for the much-needed reconciliation between these conflicting visions and allows them to coexist harmoniously in this use-wise no longer monumental space of prosaic recreation.

In case you feel confused, this is an architecture project based on research which in total took one year. The process was never linear, but the narrative has to be.

For the first six months I studied the essential values of collective housing in post war period, how they prompted to solve housing crisis and how they embraced the collectivism in Europe and China. It turned out that most of them did not maintain the original function as a collective housing for working class. However, the concept of collective living continued to influence urban life. In response, the design approach for renovating the 1952 Workers' New Village in Shenyang, China aimed to demonstrate the potential for reviving this old form for communal living. Minimal intervention and adjustments to thresholds resulted in the creation of a series of spaces ranging from private to public, catering to the demands of the free market and post-urbanization.

This research attempts to develop a space in the city that, outside of the dynamics of consumption, but not denying the dialogue with the city, seeks to intertwine with its overlaps, by defining the public space of dialogue and representation. On the morbidity of performance and expectation, we might say that the contemporary Utopian intent, this thesis, regards defining a potential place, and its interpretive structure, devoid of expectations
– an in-efficient place.

Based in Vienna, Austria, the project deals with the possibilities a new type of public interior has for a gradually flattened historic city centre, concentrating on the role of derelict spaces such as abandoned shop spaces, aggressively demolished building plots or undervalued topographies in this instance an underground car parking have once integrated back into the grain of the city.

The project proposes a new type of urban institution, a network of rooms, reinterpreting and adapting aspects from typologies that local residents would be familiar with such as the ‘Wiener Kaffeehaus’, the ‘Durchhaus’ or the ‘Bildungsgrätzl’ to create a sequence of spaces and rooms that carry a sense of familiarity and intimacy for the users. Situated in the Ruprechtsviertel, one of Vienna’s most historic but underappreciated neighbourhoods, the project questions the means through which architecture can help appropriate a new public interior and reclaim spaces that are currently underutilised. Through this, it hopes to invite local communities and new publics to reclaim a sense of the qualities the city centre had for communal life all these years and continue its legacy through it.