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A Greek House That Reflects Centuries of History
Leda Athanasopoulou, a Greek designer with a diverse practice in jewelry, furniture, and interiors, considers the island of Patmos her true home, despite having lived in major cities like Athens, London, New York, and Paris. Her connection to Patmos stems from childhood summers spent in Chora, a preserved, whitewashed village on the island, where her parents began acquiring property in the early 1990s. The village, characterized by its winding stone paths and the 11th-century Christian monastery that crowns it, fostered a sense of familiarity and belonging for Athanasopoulou.
Five years ago, Athanasopoulou purchased a 5,400-square-foot, two-story mansion in Chora, a property she had barely noticed as a child. Named Sekiari, the house had been uninhabited since the 1980s, with its last significant restoration occurring in the early 20th century. This previous restoration introduced neo-Classical elements such as patterned cement tiles, enlarged windows with exterior shutters, and a faux-marble fresco in the foyer. However, due to UNESCO-protected architectural preservation rules in Chora, which prohibit major structural changes, the house largely retained the essence of its first owner, Zannis Sinetos Sekiaris. Sekiaris, a Greek trader, had conjoined three separate structures in 1799, incorporating island-specific details like beige Patmian stone window frames and stamped terra-cotta floor tiles.
Undeterred by the structural limitations, Athanasopoulou embarked on a comprehensive redecoration and rearrangement of Sekiari, aiming to create a modern sanctuary that honored the island's traditions. This project marked her fifth on Patmos, following earlier successes like overhauling one of her family's houses at age 19 and developing Pagostas, a monastic three-bedroom hotel. Her extensive experience on Patmos has allowed her to forge strong relationships with local artisans and contractors, who have significantly influenced her minimalist design aesthetic. This style is characterized by a palette of pale greens and blues, the use of rustic loomed textiles, often dead stock, and an embrace of vernacular craft techniques.
For the Sekiari project, Athanasopoulou had the freedom to experiment, pushing custom-designed elements to the forefront, which might have been more challenging with a client. The house's intricate hallways, winding through former pantries and closets, now showcase bespoke Greek elements. These include reclaimed marble-topped consoles in the kitchens, beds created by soldering antique metal frames, 1960s Greek Keramikos pottery repurposed as table lamps, and numerous reclaimed wood pieces, such as juniper sofas and a chestnut dining table. The designer also thoughtfully integrated items left by previous generations, including Ottoman-era trays and trunks from when Patmos was under Turkish rule, and 19th-century mirrors and French gravures reflecting its European history.
A central feature in the main living room is a cerulean-and-sage Pronoia rug, a treasured possession of Athanasopoulou. This rug, made around 1960 in a rural region of Greece, draws its floral medallion pattern from Byzantine and Greek folk art. The rug is perfectly situated beneath a late 19th-century English walnut table, framed by built-in banquettes. Athanasopoulou views Sekiari as an ongoing project, consistently refining and rearranging its lighting, art, and objects with each return to Patmos. This adaptive approach reflects her understanding that Patmos, like her personal connection to it, is continuously evolving, necessitating an ongoing dialogue between tradition and contemporary life.
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