Beach bar “40” is located in the most renowned beach of the Athenian Riviera; “Astir” Vouliagmeni. The project is consisted of the renovation and reuse of three underground consolidated bungalows, which have been there since the 1960’s when this beautiful place operated for the first time, along with the design of a roofed exterior dining and coffee area on the beach. The buildings and the surrounding area of the hotel, as well as the architectural elements and aesthetics of the period in which they belong, determined the creative frame for the design of bar “40”.
海滩酒吧“40”位于雅典Riviera最著名的海滩，“阿斯蒂”Vouliageni。该项目由三个地下固结平房的翻新和再利用组成，自1960年代以来，这个美丽的地方首次运行，以及在海滩上设计了一个屋顶的外部餐厅和咖啡区。酒店的建筑和周围区域，以及它们所属的建筑要素和美学，决定了酒吧“40”设计的创意框架。

As a result, the white shell is maintained in its bigger part, while smaller elements and details in black and grey complement and at the same time emphasize the purity of white. The decorative concrete breeze blocks, which were a common practice in buildings of the Greek modernistic era during the 60’s, became the main element of the concept. By being materialized into wood, decorative perforated blocks cover the biggest part of the bar behind them and therefore create a first wooden layer in front of a black and white composition of panels that cover the fridges and warming cabinets of the products.
因此，白色外壳保持在其较大的部分，而较小的元件和细节以黑色和灰色的形式补充，同时强调白色的纯度。在60年代，希腊现代主义时期建筑中常见的装饰混凝土微风块体成为这一概念的主要组成部分。通过将其具体化为木材，装饰性穿孔块覆盖在它们后面的最大部分，因此在覆盖产品的冰箱和加温柜的面板的黑色和白色组合物的前面形成第一木质层。

The floor, in a simple cement grey tone creates a neutral base for the interior space and lets the contrast among the rest of the elements play the leading role of the composition. Black becomes the main color of expression in the general concept with a different aspect each time; first as ceramic mosaic tiles on the background wall of the bar, then as a matte finish on the panels behind the wooden breeze blocks and finally shaping the monochromatic floral hand painted wallpaper of the surrounding walls.
地板，在一个简单的水泥灰色色调创造了一个中立的基础内部空间，让其他元素之间的对比发挥主导作用的组成。黑色成为一般概念中表达的主要颜色，每一次都有不同的方面；首先是瓷砖镶嵌在墙的背景上的酒吧，然后作为一个镀光板后面的木板微风积木，最后形成单色的手绘墙纸周围的墙壁。

The choice of the specific floral sketch and the way it is depicted aspires to graphically trigger our memories of a “lost paradise”. The 3 dimensional wooden leaves which also serve as light fixtures try to stimulate the transitional space between dream and reality and to soften the boundaries between seeing and feeling. Spherical light bulbs in different sizes were placed on the vaulted ceilings in a way that they give the impression they have been scattered there and rotated by a sea breeze or wind. The exterior space under the pergola, oriented towards the sea, complements the interior and integrates the transition from inside-out and vice versa. Materials and colors take part in the same game of balance between memory, dream and reality, seeking to impress the users but in the same time directing their sight towards the endless blue of the Aegean Sea.
具体的花卉草图的选择，以及它被描绘的方式，渴望以图形化的方式触发我们对“失落的天堂”的记忆。三维空间的木叶也作为光的固定物，试图刺激梦想与现实之间的过渡空间，并软化视觉与感觉之间的界限。不同尺寸的球状灯泡被放置在拱形天花板上，让人觉得它们分散在那里，在海风或风的作用下旋转。洋底的外部空间，面向海洋，补充了内部，整合了从内到外的过渡，反之亦然。材料和颜色在记忆、梦想和现实之间进行着同样的平衡游戏，试图给用户留下深刻的印象，但同时也将目光指向爱琴海的无尽蓝色。