iLand: When Construction Meets Art and Creativity
How did a real estate development company decide to name its projects after Francisco Goya or Federico Garcia Lorca? The managing director of iLand, Ali Fouladi, speaks to NouPou about the philosophy of a company that dreams of creating not just residences, but buildings that stand out for their aesthetics and enhance the mostly dull architectural reality of Athens.
- 10/03/2025
Ali Fouladi fell in love with Greece when he and his brother first visited the country several years ago. He decided to settle here permanently, captivated by the country’s uniqueness, while also pursuing a business venture in the construction sector. This led to the creation of iLand.
Every construction project delivered by iLand carries its own unique imprint, its own character. Each one is named after a great artist, such as the renowned Spanish painter Francisco Goya or the Spanish poet and playwright Federico García Lorca.The team’s vision is that every building they create should embody the aura and philosophy of significant figures in the arts and literature. As Ali Fouladi puts it, his goal is not just to build a house, but to create a work of art that will hold value for generations to come.
The company is currently completing another residential project— a complex of luxury homes on Kotzia Street in Alimos, named “Goya.” How is the project progressing, and what are its key features?
This particular construction is in its final phase and is expected to be completed in about two months, with only the finishing touches remaining. If you’ve passed by the site, you may have noticed that the building stands out both in design and in its overall philosophy. It differs significantly not only from other buildings in the broader area but even from those located in the same neighborhood. It is a luxurious complex consisting of four apartments, each featuring a private pool and unobstructed sea views. We named the building “Goya“, drawing inspiration from the name of the famous Spanish painter, Francisco Goya.
Why are iLand’s buildings named after famous artists? Each property you build is named after a world-renowned artist, whether a painter, sculptor, or writer. Why do you make this choice?
Our philosophy of naming our constructions after prominent figures in the arts and culture stems from our desire to create buildings that stand out aesthetically and leave a lasting imprint on their surroundings and society. In Greece, for several decades—especially after the 1950s—the primary concern of architects and engineers was not to create something beautiful, but simply to construct solid, durable buildings that could provide housing for many people. As a result, the focus of most constructions was more practical than artistic or aesthetic.
However, in recent years, things have started to change. More and more developers, architects, and engineers are aiming to deliver not only structurally sound buildings but also aesthetically refined ones. This trend excites me. Many professionals in the construction industry now seek to create beautiful and unique projects, and this movement continues to grow.
How do you choose the names for each building?
It all starts with an idea. At the same time, we have in mind an artist or a poet whom we truly admire. In a way, it is also a personal choice and a sensitivity of mine. Apart from being an engineer, I am also a professional painter, deeply connected to the world of art. My desire is to pay tribute to great individuals.This philosophy naturally extends to each construction. Through the design and creation of a new building, we aim to infuse a sense of the spirit and the aura of these personalities. Returning to the “Goya” project in Alimos, I must say that Francisco Goya is one of the artists I deeply respect for his work. Even before acquiring the plot for this project, I had the strong feeling that it should be named “Goya.”I would compare this process to choosing a name for a newborn child. Parents discuss and try to decide between various names, often selecting one that honors someone they admire—sometimes their own parents. Eventually, the right name reveals itself, as if by intuition. This is exactly how it happens for us as well.
Another example is the “Lorca” building in Voula. How did this name come about?
One of the languages I speak is Spanish—the language of poets. Since childhood, I have been reading Lorca’s poetry. He was one of the first great poets who inspired me. When we acquired the plot in Voula, we had an undeniable certainty: the building could not be named anything other than “Lorca.” It couldn’t be called “Picasso” or “Mondrian“—it had to be “Lorca“.
For you, it seems that this is not just about business, but also about a deeply personal element.
I want to capture the attention of both the general public and everyone involved in the project’s execution—engineers and architects alike. A major focus is placed on the artistic and aesthetic values a residence can embody. Only values remain over time. The people who built the Parthenon, the Temple of Poseidon at Sounion, and many other significant monuments in Greece had one thing in mind—to leave something behind that would stand in time. Their primary concern was aesthetics and art, which they successfully infused into their creations.
One distinctive feature of your constructions is that no building resemble each other. Each one is unique.
If we begin to repeat ourselves and mimic our own designs, what we produce will become conventional and ordinary—a part of a mass production process. Instead, we must create and leave behind something that will remain a point of reference long after we are gone. If we build a true work of art, no one will think of demolishing it in the future, because they will recognize its value and uniqueness. But I also want to share something else. It saddens me, yet it is a reality: buildings constructed in the 1950s, ’60s, and ’70s lack any distinguishing or remarkable features. They are just some of the many unremarkable buildings in Greece, and no one would consider preserving them as part of the country’s cultural heritage.
We, however, aim to do the exact opposite—to leave behind something that will stay.