In Nicosia, Anastasiou Misseri dissolves the walls of a fragmented three-bedroom flat to create a two-bedroom pied-à-terre where marble appears as skirting, worktop, sink, wall and floor lining — binding every room into a single material conversation.
Apartment No. 201 started as a dark and compartmentalised flat in an early-2000s residential building in Nicosia. The brief was a renovation for art enthusiasts, and the first decision was structural: remove a bedroom entirely. That loss is the project's central move. The reclaimed floor area redistributes itself into a generous walk-in wardrobe integrated with the master bedroom, and — more significantly — into a coherent open living zone where the fragmented common areas once sat in isolation from each other.
The kitchen was relocated to establish a new spatial axis, and a continuous built-in element was introduced: cabinetry at one end transitions into a display shelving system within the living space without interruption. The material that carries it — burl wood veneer in a rich amber-brown — appears again in the bedroom headboard, the dining room wall treatment, and as door panels, making the shelving feel less like furniture and more like the building's interior lining. A raised carpeted platform within the living area creates a reading nook, sectioning the room without dividing it.
Marble is the project's unifying constant. It appears as kitchen worktops and backsplash, as bathroom walls and floor, as skirting throughout. The marble used is not uniform — the kitchen shows a dramatic green-veined stone, the bathroom uses pale linear tiles — but the decision to use it everywhere ensures the apartment reads as a continuous material territory rather than a collection of individually designed rooms. The herringbone oak floor beneath it all keeps the temperature of the space warm against the stone's cooler register.
The bespoke furniture belongs to the same architectural language. The kitchen table, the TV unit, the dresser — all designed by the studio — extend the logic of the built-in element rather than introducing a separate furniture character. The TV unit in particular sits on a marble plinth between the library and the living room, acting as a pivoting hinge between the two zones. The Camaleonda sofa in forest-green velvet and an amber resin table claim the living room without fighting the restraint of the architectural shell around them.
The art is not incidental. Two large works face each other across the living space — a loose figurative piece in ink and a psychedelic cartoon-inflected painting in pastel tones — and their presence is what the apartment is designed to hold. Anastasiou Misseri doesn't make a neutral background for the collection; the burl veneer and the marble are bold enough to share the room with the work. The apartment is curated in the same sense the art collection is curated: every decision contributes to a specific aesthetic argument rather than a general one.
