Time had long forgotten this quiet corner of the city, but it has since become one of the most intriguing contemporary destinations in Thessaloniki. Tucked behind the Byzantine walls, just steps away from the city’s bustle, lies a serene pocket of urban life near the Church of Aghioi Apostoloi (“Holy Apostles”). The area contains apartment buildings, auto supply shops, a few bakeries, cafés, a florist and a taverna. And now, seemingly overnight, numerous studios – gradually over the last few years, then with a surge in recent months – have made creativity the defining characteristic of the neighborhood.

The Plan

The past is palpable here, a quiet presence. About five years ago, Mike Rafail, an interdisciplinary designer and founder of That Long Black Cloud, recognized the area as the ideal place to pursue a broader vision after two decades in graphic design. Architect Simos Antoniadis opened ULURU, his ceramics studio, where “you can hear the birds.” Soon, others followed: Konstantinos Kesidis started Ecolapsis, and Eleni Papaevangelou and Konstantinos Theodoridis of Form Related, along with Babis Papanikolaou of 157+173, launched a shared studio. Dimitris Avgerinos and Christina Balouktsi, specialists in museum-quality printing, established Matte Black, while artist Nefeli Kyriakou and third-generation photographer Konstantinos Vattis of Studio 21 moved in, too. More studios emerged, and hardly any of the newcomers realized others were already here. The neighborhood wasn’t known for its creative scene. They were drawn by the same qualities – stillness, appealing spaces, and a sense of nostalgia. It was like an urban example of morphic resonance. Discovering one another was a pleasant surprise, leading to shared resources and support as the community expanded. Today, 16 studios, all within a five-minute walk, form a dense cluster of creativity with a shared vision. A year ago, they officially became a collective, and progress sped up.

“The collaboration, the exchange of ideas – that’s essential for me,” says Mike. In addition to his studio for photography, film, graphics and branding, he opened a flexible space across the street. It includes a design shop and ceramics studio where he collaborates with his sister, Maria. At both, joint projects, workshops and happenings take place, and he welcomes other artists to share their work through exhibitions and other events.

At Ecolapsis, interaction is integral to the creative process. Konstantinos describes the studio as “focused on experience and cultivating imagination.” Workshops and experimentation lead to ideas expressed across various mediums – sometimes evolving into a visual identity for organizations. The use of recycled and biodegradable materials reflects a commitment to community and sustainability as a mindset.

For Kipos (“Garden”), connection and community are the heart of the matter. Maria Megalopoulou opened the space a decade ago to host seminars and workshops on subjects such as theater, creative writing, filmmaking and philosophy. “Kipos brings together people who might never otherwise meet,” she says. “It’s a place of expression and self-realization, and for fostering community.” Christos Kydros and Anthie Lekka, sculptors and ceramicists, share that goal, offering classes at Magma Lab alongside their own work. For some, creativity is inherently solitary. “For us, a third place is especially important,” says jewelry designer Anna Ntinopoulou of Anoushe. “Home is the first place; work is the second. The place where you connect with the community – that’s the third place. This neighborhood is our third place.” For Nefeli, whose primarily figurative paintings, prints and works on paper often convey introspection, the collective is essential. “Art can be isolating. Here, we truly connect. We inspire one another; there’s a lot of energy and encouragement.”

The Locals

Nikos Iosif, the collective’s other fine artist, creates textile collages from his collection of vintage fabrics, each piece rich with history. His subjects, brought to life with vivid expression, often come from childhood photographs.

Creating these works here adds another layer of meaning. Nikos is a local; he lives nearby and grew up in the apartment above his uncle’s auto supply shop, now home to That Long Black Cloud. He’s invested in the area, as are the others – that’s the magic of both the district and the collective. Kipos, for instance, occupies the former site of Maria’s grandparents’ house and garden. Under Greece’s antiparochi system (where a property owner gives a site to a developer in exchange for one or more apartments in the newly constructed building), the old house made way for a modern apartment building in a neighborhood where her grandfather had the local grocery store. Athina Voudouri of Salty Moon Jewels, who was baptized in the Church of Aghioi Apostoloi, grew up playing near the Byzantine walls. “When I opened my shop here,” she says, “people said it was a ‘weird place for a girl’ – dangerous, deserted. But I believed in my neighborhood.”

Tattoo artist Mimoza of Absinth Tattoo shares a similar attachment. She and her husband, a carpenter, spent a decade in a live/work warehouse here. “We used to look at the empty stores and think, ‘Wouldn’t it be great if people opened studios here?’” When she found a space near Matte Black, she knew it was the right fit.

The district has a low profile but a strong presence. The streets are a vintage graphic-design paradise, reminiscent of the 1970s, though the area’s history runs much deeper. The Pasha Hamam, now overgrown with vines, opened in 1529 and served as a public bath until 1981; the Church of Aghioi Apostoloi has been a spiritual center since the 14th century; and the West Walls define the city’s historic edge. While some changes, including the widening of sidewalks in Mavili Square, have occurred, the area’s essence remains intact, and the collective cherishes this. Eleni and Konstantinos of Form Related previously worked in the rapidly changing Valaoritou district. “This has always been a residential area, so its character is more likely to endure,” Konstantinos says, recalling visits to his grandmother here. “You really feel the city’s identity in this neighborhood.”

Babis of 157+173 also has deep ties to the area. “It was like a ghost town before, with mostly closed auto parts shops and no sidewalks. I sensed this could be the next artist hub, like my first studio on Ernestou Emprar Street 20 years ago. I’m even happier here now than I could have imagined, with a new studio and as part of a collective with a shared creative vision.”

Fashion designer Apostolos Katsimantos was new to the area when he opened his atelier Midnight Dinner but quickly connected with its history. “This had been a bookstore, closed for years when I moved in,” he says. “When I took down the sign, I found it had been a tailor’s before.” His atelier retains the original terrazzo floors and storefront. Their DIY spaces preserve the district’s architectural character. ULURU’s corner studio, once the neighborhood “psilikadzidiko” (or convenience store), with floor-to-ceiling glazing, complements the minimalist aesthetic of Eirini Geronta’s Still Studio.

The Renaissance

For decades, the area’s commercial spaces were abandoned; this creative influx is warmly welcomed. Thodoros Tsagalidis, the third generation running the family taverna Thodoros, is glad to see life return to these streets. Florist Stefanos Delidis, who grew up here and opened his shop nearly 40 years ago, shares that sentiment: “This neighborhood deserves a new chapter.” The collective and the local community are closely connected. They dine at Thodoros; Konstantinos of Studio 21 sources flowers from Stefanos; and Nefeli uses Delidis’ orchids as subjects for her art.

Bringing positivity to the community was a main focus when the collective started meeting. The urban space lends itself to events, drawing new visitors to the district. Their first open studio night took place under a full strawberry moon in June, followed by a live performance by the walls. Mike created a map for the event, Nikos handled permits and Kostas arranged the band: “We wanted music that resonated with the older residents who’ve lived here all their lives.” Carmen Venti, a local band, captured the mood of old Thessaloniki with an unplugged set that brought people into the streets.

In late September, the streets filled again for an open house, with a grand piano set up in the small square. As leaves swirled in the autumn air, pianist Vassilis Varvaresos played a set that kept the otherwise lively crowd quiet. A woman from the audience began singing “My Funny Valentine” and joined him at the piano, followed by other singers. At the end, Varvaresos shared reflections on beauty, connection and the collective’s evolving vision. His post about the event captured the spirit: “Visual, applied and fine arts. And music. And beers. And Schubert. And Brahms. And conversations. And a walk to the studios… And we create our own language because somehow Mozart and photography and art speak to us, not in living rooms…”

More events are already being planned. Nefeli and Nikos are organizing a show, which Mike will host. Other ideas include involving a broader community through an open call. “We’re a small, democratic collective, making it up as we go,” says Konstantinos. “Collaboration is essential at every level, not just here, but globally. It’s great to be part of that.”

“Our collective has a soul,” says Mimoza, “and this neighborhood is its body.”