Details
Unexpected contradictions and bold combinations open a historical and stylistic dialogue between past and present, creating new stories and emotions. the old refines the daring contemporary forms, whereas the modern lends a new edge to the classical in an endless circle of contrasts, consisting of a need for “high” roots and a desire to transcend tradition.
In this space, where the baroque nuances meet the Byzantine glamour and the French neo-classicism meets the abstract forms of modern design, Kirios Criton created the eclectic version of a contemporary “palazzo”, catering at the same time to all the creature comforts demanded of an Athenian three-level family residence. In his formal environment, where shade and light are equally important, Kirios Criton chose as his basic colours black, brown and grey – on floors, walls and upholstery – to create an ideal background for his circle of contrasts.
A circle beginning with two French chairs of the 18th century, with a new black-and-white “skin” from fabrics with the most distinctive optical prints of the ’60’s by the Finnish firm Marimekko. Next, it moved on with the “religious” contradiction between a carved wooden iconostasis and a white, geometrical Jasper Morisson chair, vaguely shaped like a pigeon and a whole series of objects, each highlighting the designing virtues of its “opposite”. Venetian mirrors with glass frames, family heirlooms, tables bearing the obvious marks or modernistic aesthetics – signed by Charlotte Perriand – biomorphic couches by Zaha Hadid, “imperial” chairs, modern Italian seats and showcases made of Corian, exhibiting ancient Chinese statuettes made of terracotta. Finally, a marble bust depicting a sacerdotal figure, on its black pedestal, safeguards the valuable historicity of the space.
