Streets

How does one design in a suburban environment? How can a social housing development create a neighbourhood, a meaningful point of reference for everyday life on the outskirts of a city? Ultimately, how can architecture renegotiate a social housing programme in a contemporary way in Cyprus today?

Our proposal approaches housing as an urban project, drawing on the history of Cypriot housing settlements while responding to contemporary forms of living. The project reinterprets the settlement as a spatial, social and environmental unit, creating the conditions for collective everyday life. A hybrid typology of row houses and detached volumes defines a network of pedestrian streets, thresholds and courtyards across the site. Organised as a low-rise, high-density neighbourhood, the development balances compactness with openness, and privacy with collective life.

The residential complex consists of three distinct building volumes, gently curving to follow the geometry of the plot, adapt to the site’s topography and achieve optimal orientation. Their sloping roofs reinforce the continuity between architecture and landscape.

A transverse pedestrian route introduces an alternative movement through the plot, connecting the different parts of the settlement. Along each wing, a clear sequence is established between the pedestrian street, parking, shared thresholds, the residential buildings and the private gardens of the ground-floor apartments. Upper-floor dwellings are accessed through shared balconies and common thresholds.

The development mixes three apartment sizes throughout the complex to accommodate different household structures and changing patterns of living. Each dwelling is organised around a compact service core containing the kitchen and utilities, allowing the surrounding rooms to remain flexible over time. This arrangement minimises circulation space, concentrates building services and enables rooms to adapt as family needs evolve. Rather than prescribing a single way of living, the project allows residents to appropriate their homes in different ways. All dwellings benefit from generous natural light and private outdoor space through balconies or gardens.

The proposal responds to the climatic conditions of Limassol through the orientation and organisation of the buildings. Their linear development and southern orientation maximise natural daylight, while the open arrangement of the apartments promotes cross ventilation and effective night cooling during the summer months. Openings respond to orientation, with smaller apertures on the northern façades reducing heat loss and larger southern openings making use of daylight and beneficial solar gains.

The material palette prioritises durability, low maintenance and locally sourced components with reduced embodied carbon. The façades are clad in porous ceramic tiles and brick elements that reference the material traditions of Cyprus. Lightweight galvanised steel structures, aluminium frames and carefully positioned shading elements complete the proposal. Together with planting and generous outdoor spaces, these strategies contribute to a resilient and environmentally responsive neighbourhood.

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Rooms

Concept

Our main goal was to create a residential complex that promotes the collective dimension of social housing, while remaining flexible, anthropocentric, intimate, and of high quality. The proposal reinterprets two social and spatial archetypes, found both in the traditional and popular architecture of Cyprus and across the Mediterranean: the “courtyard” and the “central hall”.

The “courtyard” refers to the central shared garden, a typological element with social, spatial, functional and environmental benefits. Dense planting of Cypriot flora, such as carob trees, wild olive trees and mulberries, outdoor living areas, inward-facing units, and the optimal orientation, create an environment of well-being, comfort, play and pride, protecting and strengthening collective life in the otherwise indifferent, and perhaps inhospitable, suburban environment of Paphos. The garden encourages social contact, creating a point of reference in the wider neighbourhood while significantly enhancing the environmental and functional sustainability of the residential complex.

The “central hall”, this inventive multi-functional space of vernacular architecture, organises the typical floor plans of the units as a “butterfly” – with two or four rooms of the same size, and the corresponding outdoor spaces, emerging on either side. The “hall” proposes an anti-hierarchical system of accommodation and organisation of daily life, without corridors and unpleasant, usually dark spaces of distribution and circulation. At the same time, it encourages new modes of living that are emerging in Cyprus and internationally, while also assimilating contemporary approaches to the performance and reproductive work within the home.

A series of thresholds and “spaces-in-between” of multiple scales, create the necessary connections and gentle transitions between different functional units, introducing various material, environmental and social qualities. Typical such points are the main entrance at the western corner of the plot, the passage at the centre of the southeast side, the shared, semi-outdoor spaces of the staircases, the planted patios between the apartments, the fixed furniture and threshold zones within the units, and finally, the pergolas and the recreation and storage areas on the roofs.

Organisational Principles

The building consists of two, “U”-shaped, asymmetrical structures. The western corner of the building is released on the ground floor, to form the central entrance to the complex, from the main road and parking areas, and towards the generous garden of the central courtyard. Off-centre, on the southeast side, another public passage-entrance to the complex is created, introducing a dynamic, diagonal movement into and from the garden.

Six staircases are placed at the corners and centres of the two long sides of the complex, and gather auxiliary functions such as cabinets, small storage spaces, meters, bins, and electrical infrastructure. The staircases lead to the common areas of the roofs, where light metal pergolas organise areas for gathering and recreation for the residents.

Program Analysis / Units / Apartments

Our basic decision is the mixing, and not the separation, of the two types of apartments in a single building complex. At every floor small (40m2) and large apartments (62m2) share common “thresholds”, auxiliary infrastructures and facilities, thus intensifying the sense of collectivity and solidarity in the complex. Different ages, family structures, lifestyles and habits mix and coexist.

All apartments are airy and have generous outdoor spaces on the exterior facades, balconies or porches, but at the same time, with large openings, they also refer to the garden of the central courtyard. The “central hall” appears in both types of apartments. Depending on the size of the unit, it is framed by two or four autonomous spaces of the same dimensions. This central core brings together the functions of the kitchen, dining area, gathering and work area, while it is framed by the necessary auxiliary spaces of WC, bathroom, dryer, etc. Rather than being concealed, domestic infrastructure becomes the organisational centre of the home, giving it symbolic, spatial, constructional and technical significance.

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Two Schools

The commission asked for the design of two schools – a kindergarten and an elementary school – conceived as welcoming and inclusive social infrastructure in two neighbouring rural settlements of the fertile Thessalian plain. Both sites previously accommodated schools that were severely damaged by the earthquakes and catastrophic floods that affected central Greece in 2021 and 2023. Emerging from this shared condition of environmental devastation, the proposal approaches the two schools as a unified form of social infrastructure, articulated through a common architectural language that adapts to the distinct geographical, ecological, economic, and social conditions of each settlement. The two schools are conceived as open agrarian frameworks in which the community entrusts its youngest members. Their spatial organisation supports multiple forms of use throughout the day, the week, and across seasonal events. The schools draw from the architecture and scale of rural Thessaly: sloping roofs, sheds, greenhouses, silos, earth materials, stone walls, simple and familiar structures occasionally interrupted by moments of surprise in colour, material, and form. In these archetypes of rural architecture, human labor coexists with play; machines with animals and vegetation; everyday life with collective learning. 

In both schools, each programmatic cluster is organised into distinct volumes. These volumes follow the rituals and architecture of small settlements of the Greek countryside: domestic units alongside structures of public collective life. The infant play rooms, indoor rest areas, classrooms and the spaces of collective infrastructure of both schools acquire their unique form, with a particular significance given to the Multipurpose Room. Remaining accessible to the local community through autonomous entrances, these latter spaces can function independently from the daily operation of the school. In the openings created by the detachment or the rotation of the individual volumes, an inbetween space is generated; “the collective threshold” of each school. A light wooden structure, sometimes enclosed while others as a covered pergola, highlights this threshold. Underneath, communal functions and auxiliary spaces are placed, while in parts it can also function as a flexible space for play, exercise and outdoor teaching.

Athens as a Project

The book, a collaboration between Yiorgis Yerolymbos and Platon Issaias, is an interdisciplinary publication that presents the findings of a research and “parallel” project in the fields of architecture and photography on Athens and the Greek urban environment. Tracing the connection between social transformation, urban management and architectural form, the book presents a survey of the city, its architecture, its space, its history and contemporary life. Using Athens as a case study, it aims to define an original method of studying the city and urban form. 

The first chapter of the book, which is based on historical and archival research, discusses the “informal” urbanization that characterizes contemporary Greek cities and especially Athens as a direct derivative of a complex political project, which manifests itself mainly through architectural and urban typologies and protocols. As a case study, Greek cities, and especially Athens, offer a possible critique of recent perceptions regarding the distinction between “informal” and “formal” urbanization, as well as the multiple forms of their representation and documentation. 

In the second part, the book focuses on the analysis of exemplary architectural projects, from the 1930s to the present. The city is studied and presented through its smaller scales, the residential unit, the apartment and the apartment building, which have built and shaped the city with a seemingly random and fragmented pattern. In this part, text, architectural drawings and photographs by Yiorgis Yerolymbos present an “Atlas of Athens”, classifications of objects, atmospheres and everyday practices. 

In the third and final part, the book delves into the history of the city over the last 25 years, aiming to question the structure and form of contemporary Athens. Architectural analysis, drawings and photographic essays are utilized here to map the spaces of emerging desires, individual and collective spatial experiences of the contemporary city. 

As Pier Vittorio Aureli characteristically notes in the book’s preface “the core of the project described in this book is the famous Polykatoikia, a generic concrete structure that can host housing and other activities and that constitutes the quasi totality of Athens’ urban fabric. This type was the outcome of the extreme parcelization of land through which the urban population in Greece was managed since the early 20th century. Rather than just celebrating—once again—the versatility and informality of this type, Issaias and Yerolymbos expose it as an architectural and urban project. In this project, class interests, market conditions, and public legislation produced a specific architectural form with a specific political and economic goal: the transformation of dwellers into a society home-owners. In his essay, Issaias chronicles this project not just through sweeping social commentary but by a rigorous close reading of architecture. By analyzing, redrawing, and photographing exemplary case studies, Issaias and Yerolymbos rediscuss the most quintessential disciplinary aspects of architecture and domestic space: plan, distribution, proportions, etc. Athens as a Project exposes the extent to which the discipline of architecture is ontologically instrumental to a political and economic project. For this reason, Athens as a Project, is not only a book on modern and contemporary Athens but a profound meditation on what architecture and urban form are really about.”  

Contributors
Design: Akis Ioannides
Editing: Leela Keshav
Drawings, Diagrams: Myrto Vravosinou, Christos Smyrniotis (Fatura Collaborative)
Photo Processing: Vicky Lemoni
Production: Kati Klaeske
Project management: Kassandra Nakas
Reproduction: Schwabenrepro, Germany

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Healing Garden

A gradual shift in healthcare design has redefined the role of architecture and landscape in processes of healing. Recovery is increasingly understood to depend not only on medical care, but also on emotional balance, sensory comfort, and the presence of family. Within this shift, gardens have moved from peripheral features to essential spaces for rest, companionship, and everyday life. 

On the Agia Sofia campus, an old woodshop has been transformed into a residence for families accompanying a child in treatment, providing a domestic refuge for those travelling from across Greece to remain close during periods of care. Some stay a few nights; others, months. Their presence reorients the hospital’s routines, bringing domestic time into the institutional day: cooking, resting, playing, waiting. The garden extends this intimate atmosphere outdoors, offering an environment that lets families inhabit the hospital’s grounds, stay close, and share both uncertainty and hope. Designed for movement, play, and gatherings, it allows families, caregivers, and staff to share an intergenerational space where recovery is collective rather than isolated.

The garden draws from local ecology and the tradition of therapeutic landscapes. It offers shaded areas for shared meals, corners for quiet conversation, open clearings where children under treatment play alongside their siblings, and practical infrastructure—drying zones, outdoor sinks, benches—attuned to everyday life. Shaded courtyards, aromatic herbs, and textured materials invite touch and scent into daily life. The garden acts as a living interface between architecture and care,an open, evolving ground where healing can unfold in shared presence.

Where Three Rivers Kiss

‘First, single-celled animals signalled to each other, “I’m going to devour you,” “I’m over here!” “Let’s hook up,”’ writes Eleni Sikelianos, tracing a pathway into intimacy. Before we had mouths, they had porous lipid membranes but no cell walls. Malleable, they flexed and floated in a thick mineral-rich soup that kept them in shape and in transience. Their permeable boundaries were thresholds of exchange, diffusion, and osmosis, absorbing and exuding nutrients and waste. Promiscuous critters engulfed – devoured – each other, exchanging genetic material: a primordial kiss. After all, to kiss and be kissed is to expose oneself to unknowns, to find a new host, to be vulnerable to infection, to allow for exchange on cellular levels. Against evolutionary narratives of competition as survival, they organized and coordinated in new, more complicated but always drooling bodies. ‘Life did not take over the globe by combat,’ Lynn Margulis tells us, ‘but by networking’: cooperation, interdependence and symbiosis. Water – brackish, thermally alive – was not their backdrop but the condition of possibility. It carried signals, dissolved boundaries, allowed cells to fuse and flee. Intimacy, from the very beginning, was a messy, wet matter.

[…]

“Where Three Rivers Kiss,” in Waves Lost at Sea, edited by Alon Schwabe and Daniel Fernández Pascual. Berlin: Spector Book, 2026.

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after school

Schools are contradictory places. They are where students are assessed, sorted, and disciplined, and where histories are censored. Yet they are also sites of play and discovery, of solidarity and collective care, where rights have been fought for and standards challenged. after school brings together architects, artists, educators, students, and activists to study the states and stakes of public education. Developed alongside the exhibition of the same name at Carnegie Museum of Art, the publication follows classrooms, corridors, itinerant sites, and cooperative experiments to consider how public education has been shaped, organized, and contested across its buildings as social infrastructures.

Situated within an increasingly uncertain educational landscape in the United States—the culmination of decades of disinvestment and erosion of civic and democratic institutions—after school turns toward Pittsburgh. Here, recent proposals for school closures and consolidations continue longer histories of displacement, segregation, and restructuring. In dialogue with contemporary works, the contributions trace the layered histories of public education in the region—from the city’s first public high school and New Deal–era programs to cooperative school gardens and Black-led Street Academies of the 1970s. These fragments observe cycles of learning, unlearning, and collective praxis across shifting policies, built infrastructures, and forms of refusal and community care.

Drawings, archival photographs, and newly commissioned visual contributions accompany essays, conversations, and case studies attentive to how education takes form in classrooms, streets, policies, and everyday practices. after school attends to the material, political, and social conditions that shape public education today—and gestures toward the possibility of a school not yet here. The publication is structured in three parts—text bookcounter index, and lesson plans—which adapt established pedagogical formats to consider how schooling is organized, experienced, and reworked across time.

after school is published on the occasion of the exhibition at Carnegie Museum of Art.
The exhibition and book are curated and edited by Theodossis Issaias, curator, Heinz Architectural Center, and Alyssa Velazquez, assistant curator, with McKenzie Stupica, curatorial fellow. Designed by Corinne Ang, the publication is co-produced by Carnegie Museum of Art and in otherwards, the imprint of Carnegie Mellon University School of Architecture.

Contributors
Essays by: Ujju Aggarwal, Sarosh Anklesaria, Rachel Delphia, Theodossis Issaias, Laura Nelson, Leigh Patel, David Serlin, and Alyssa Velazquez.
Conversations with: Miguel Braceli with Stefan Gruber; Sister IAsia Thomas with Wanda Henderson, Regina Holley, Tamanika Howze, Anthony Mitchell, James Stewart, and William Thompkins (Equity Advisory Panel); and Sala Udin with Dana Bishop-Root.
Testimonies from: Martin Chetlin, Paula & Jolene Elder, Jillian Forstadt, Noah Fritsch, James Hill, Ayanna Jones, Lynn Kawaratani, Justin Laing, Lajja Mistry, and Pete Vitti.
Lesson plans by: Vicky Achnani; Ayanna Jones & Sankofa Village Community Garden and Farms; Gabo Camnitzer; Teddy Cruz & Fonna Forman; Danielle Dean; Toshiko Mori; Ana Serrano; Soul Fire Farm (Lala Montoya, Naima Penniman, and Crystal Clarity); and Leah Wulfman with Jin Meisenberg.
Drawings by: Sharvi Kamal Shah and Nicholas Thies.

Photo: Zachary Riggleman

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A Bag of Seeds, a Mule, and an Empty Timber Frame: Building Indebted Lives in Southern Macedonia

Rising from the lush slopes of Mount Vistra in North Macedonia, the Vardar River flows eastward to dissect the city of Skopje. From there, it turns south, coursing through the central Balkan watershed until it meets the militarized EU border with Greece. To cross the barbed wire, concrete walls, and Frontex patrols—deployed since the 2015 humanitarian crisis—it must change its name: from Vardar to Axios. Eventually, the river empties into the Aegean Sea, threading through a wide, fertile valley shaped by millennia of sediment and retreating shorelines. Some six thousand years ago, this delta was a limnic basin—swampy, shell-strewn, and rich with clay and silt—gradually infilling the edge of the Thermaic Gulf, west of Thessaloniki. A century of monoculture farming, damming, and extractive land practices has drained its flow. What was once a landscape of swamps and tributaries has hardened into cracked earth, its surface fractured by drought. Below-average precipitation since 2021, coupled with rising temperatures and soil depletion, have precipitated a profound ecological breakdown. The villages that line the plain are depopulating, the wheat monocultures failing, and nationalist fervor intensifying.

This essay tends to this valley in southern Macedonia, a place, a borderland that has been the site of violent displacements of peoples and ecologies. It traces one such moment of rupture: the agrarian refugee settlement project implemented in the aftermath of the 1923 Lausanne Convention on the Exchange of Populations between Turkey and Greece. It focuses on the work of the Refugee Settlement Commission (RSC), an extraterritorial humanitarian agency established by the League of Nations to permanently resettle over one million displaced people in Greece. Through an ambitious agrarian program of land redistribution and mass shelter provision, the RSC sought to transform this historically multiethnic and geopolitically volatile region into a monoculture landscape. Here, monoculture refers not only to the agricultural practice of dedicating arable land to the production of a single crop, but also to the state’s attempt to construct a homogenous cultural, religious, and linguistic identity out of a historically heterogeneous territory. These two meanings of monoculture—ecological and ethnopolitical—are inseparable. In this agrarian program national consolidation, economic development, and territorial transformation violently converged. At the center of this apparatus was the smallholding: both the principal productive asset and the tool for converting displaced populations into cultivators, landowners, and debtors. Borrowing from colonial administrative systems, the RSC applied a logic of subdivision and standardization—parsing territory and classifying people according to productivity, kinship, and origin. Together with the rural shelter, the smallholding was one of the two spatial instruments that tethered displaced bodies to property, property to debt, debt to labor, and labor to the construction of the ethnostate.

[link to the full article]

Couleur Locale: Tourism, Archetypes, and the case of the Flat Roof

Διαχρονικά, από τις μεταπολεμικές δεκαετίες έως τις μέρες μας, η ρητορική γύρω από την τουριστική δραστηριότητα στην Ελλάδα εστιάζει στη συγκρότηση μιας «εξωστρεφούς» και διαρκώς μοντέρνας, προοδευτικής ταυτότητας, τόσο κοινωνικής/πολιτιστικής, όσο και χωρικής και μορφολογικής. Η προσέγγιση αυτή ερμηνεύει τη σχέση του τοπικού με το κάθε φορά «άλλο» ως το στοιχείο που εγγυάται την διαρκώς ανανεούμενη και αμφίπλευρη μετασκευή του τοπίου, της εμπειρίας, και, στη δική μας περίπτωση, της αρχιτεκτονικής. Κατά τη γνώμη μας, η «κατασκευή του τοπίου και της ταυτότητας» ως ένα τουριστικό προϊόν αποτελεί μια ιδιαίτερα πολύπλοκη πολιτική και πολιτιστική διεργασία, η οποία δεν μπορεί να κατανοηθεί ως θετική ή αρνητική, ιδιαίτερα όταν αυτή προκύπτει από άκαμπτα ιδεολογικά και «πραγματικά» δίπολα.

Σήμερα αυτό το μοντέλο συναντά μια νέα παγκόσμια και τοπική αγορά, τρομακτική σε κλίμακα, με πρωτοφανείς περιβαλλοντικές, κοινωνικές και χωρικές επιπτώσεις. Ίσως η πιο χαρακτηριστική στιγμή, εμβληματική της πλήρους παράδοσης της ελληνικής κοινωνίας και οικονομίας στα νέα τουριστικά και επενδυτικά πρότυπα είναι ο κορεσμός του αποχετευτικού συστήματος στα νότια προάστια – η λεγόμενη «Αθηναϊκή Ριβιέρα» πνιγμένη στα λύματα.

[…]

Ever since  the post-war decades, the rhetoric around tourism in Greece has focused on the construction of an “extrovert” and incessantly modern, progressive identity; one that is both social and cultural, as well as spatial and morphological. This approach perceives the relation between the “local” and the “other” as the element that guarantees the continuously renewed reconstruction of the landscape, its experience, and architecture. In our view, the “construction of the landscape and the local identity” as a tourist product constitutes a particularly complex political and cultural process, which cannot be understood simply as positive or negative. Especially when it originates from rigid ideological dipoles. 

Today this pattern is further situated within a new global and local market, terrifying in scale, with unprecedented environmental, social and spatial impacts. Perhaps the most characteristic moment, emblematic of the collapse and complete surrender of Greek society and economy to new tourist and investment models, is the saturation of the sewage system in the southern suburbs of Athens – the mythical “Athenian Riviera” drowned in excrement.

[…]

[link to the full article]

Photo by Yiorgis Yerolymbos

The Constant Typologist: the Notion of Type in the Work of Aris Konstantinidis

Although Modern Greek architecture is often only marginal in the canonical narrations of twentieth-century architectural history, the work of Aris Konstantinidis (1913–1993) holds a special place there. He formed a complementary duo together with Dimitris Pikionis (1887–1968), which has defined the dominant perspective through which a foreign gaze understands and categorizes Greek architectural discourse, culture, and production. This perspective touches upon what many consider an unsettling and unresolved relation between modernity and tradition, or what may be called a “third way” and a possible departure from this very dilemma, forming the myth of “critical regionalism.”⁠

[…]

Our interest in Konstantinidis’s work, which has initiated this short essay, comes from a series of studies and observations about him as a designer, writer, and public intellectual. Contrary to widespread readings on his work and personality, we are particularly interested in his ideological and political thought, as well as the profound systematization of his practice by the architect himself, often disguised behind a highly emotional and polemic rhetoric. 

[…]

Although on multiple occasions Konstantinidis complains about his interactions with private clients, who he often profoundly resented,⁠ we argue that there are a number of private houses […] which offered him the opportunity to control not only the construction but, most importantly, the way they function as conceptual devices for the understanding of his overall work. These private residences indicated and summarized his own theses about the use of materials, structural systems and, essentially, the desired relation between landscape and architectural object: the house as a place of dwelling, an object where cultural, material, and structural continuity is traceable, a space defined by Konstantinidis as a “vessel of life.”⁠ […] However, in this text we are also interested in the complementary part of his practice: his work for the public sector. […] If anything, it seems that Konstantinidis was a devoted public sector worker.

[…]

[link to the full article]

Attica Wildfires – Dismantling the binary ‘nature’ and ‘city’

Κάθε προσπάθεια βελτίωσης των συνθηκών ζωής – ανθρώπινης και μη – στο αστικό, περιαστικό, παραγωγικό και μη περιβάλλον, ιδιαίτερα μετά από μια περιβαλλοντική καταστροφή είναι αναγκαία και θετική. Οι πρόσφατες πυρκαγιές στην Αττική δεν αποτελούν εξαίρεση. Χρειάζεται να παρθούν σειρά βραχυπρόθεσμων και μακροχρόνιων μέτρων που θα έχουν όμως πολλαπλό χαρακτήρα. Παράλληλα με τις πολιτικές ετοιμότητας και τις αναγκαίες αποζημιώσεις, που θα πρέπει να γίνονται ανεξάρτητα από μια στενά οικονομοτεχνική μελέτη και αξιολόγηση επικινδυνότητας, οφείλουμε να μελετήσουμε και να αξιολογήσουμε σε βάθος χρόνου και σε πολλαπλές κλίμακες τόσο τα αίτια των καταστροφών, όσο και τη συνολική μας σχέση, ως ανθρώπινη κοινότητα, με το περιβάλλον και το τοπίο. Να μεταβούμε δηλαδή από μια συνθήκη διορθωτικών και ανακουφιστικών μέτρων, στην αναζήτηση ευθυνών και σε πολιτικές επανορθώσεων (reparations).

[…]

Every effort to improve the life conditions – of human and non-humans – within the urban, periurban, productive and non-productive environment, especially after a catastrophic environmental event, is necessary and has an overall  positive impact. The recent wildfires in Attica are not an exemption. There is a need for a series of short- and long-term measures that should operate across multiple scales. Parallel to the regional disaster preparedness policies, or the necessary compensations, which should be distributed independently of the narrow understanding provided by a financial, technocratic, and econometric position of risk assessment reports, we must study and assess the causes of these catastrophes.. Hence, we should gradually move from a condition of corrective and aid relief measures, to one focusing on accountability and reparations.

[…]

[link to the full article]

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Courtyard House

This small coastal house in Nea Skioni, Halkidiki, exists at the friction point between law and desire. Local building regulations demand a unified mass – the legal form of a single holiday home. Yet the family who commissioned the house, an ageing couple with two adult children, no longer fits this normative model. They wanted separation and autonomy, spaces for private life alongside collective gathering. The house answers by complying with the law, while pushing its boundaries by quietly splitting from within.

All interior and exterior spaces are inscribed within a 17×17 metre monolithic square. But within this frame, the house breaks apart. An extruded cross organises circulation and fragments the solid into three distinct units, each with its own entrance, its own route to the garden, its own threshold between inside and out. This gesture both connects and separates, allowing for privacy and proximity. A perimeter wall holds this fragmented life inside, its porosity shifting along the edges – sometimes sealing off, others opening to the landscape. Three courtyards puncture the mass, making space for informal life along the Greek coast – shaded breakfasts, outdoor showers after swimming, cigarettes and dinners under the sky. The holiday home becomes a device that negotiates shifting family structures and expanding desires, hosting forms of life that resist regulation.

Materials remain humble, making a playful reference to the lexicon of vernacular modernist vacation homes of the Greek coast; coarse, lightly-coloured plaster walls, aluminium frames, decorative perforated blocks, shading devices, light-wooden partitions, and a rooftop pergola. Yet colour appears in small, charged moments, highlighting activities such as cooking and bathing, inside and outside the house.

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Pylaia

This housing complex stands at the edge of Thessaloniki, on a sloping plot directly below the listed Benouzilio silk mill – a landmark of the city’s industrial archaeology. Built in 1880 as part of a larger ceramic factory, the mill is both a physical and a symbolic anchor. The new complex enters into a productive dialogue with its neighbour, respecting its scale, material memory, and presence, while reinterpreting its language into contemporary housing.


The design consists of three distinct residential volumes, placed along the edges of the plot to frame the mill and open up a shared central courtyard. This configuration creates a collective space, where life unfolds between private thresholds and the cultural memory of the factory above. The buildings follow the natural slope, adapting their heights and profiles to echo the industrial structures nearby, while offering protected views of the city below.


The housing complex borrows from the material history of its listed counterpart utilizing ceramic tiles and mass produced components for windows, apertures, skylights and pergolas. Each building is wrapped in a concrete L-shaped element – a thick, protective line that shields the units and directs life inward and toward the courtyard. Beneath this protective frame, the ceramic cladded volumes break down into smaller, more intimate spaces, generating semi-outdoor terraces and sheltered corners for domestic life to spill outside. Planted roofs and new local species of plants within the courtyard stitch the project into the wider landscape, creating a habitat that is both ecological and social – a contemporary living environment grounded in the layered history of Pylaia.

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Mechanism of Suspension @ kyklàda.press

In the Islands After Tourism. Escaping the Monocultures of Leisure, the editors write:  “Tourism does more than transforming spaces and forcing emotions: its geographies also conceal a persisting power that captures the imagination. In their operational sturdiness, tourismscapes appear intractable and inert, making their alternative renderings almost unthinkable.”
Mechanism of Suspension
 was a collective project launched in March 2014, exhibited in the 14th International Architecture Exhibition – La Biennale di Venezia as part of the Greek Participation. The project is a machine that reconfigures a coastal landscape to function as a field for outdoor free accommodation. Setting a framework against the privatization and environmental degradation of the coast, the legislative document becomes a speculative infrastructure that supports free access to the commons.

Thank you, George Papam, and @kyklada.press for including our work Mechanism of Suspension to this exquisite series.

[Buy online here]

Nursery in Athens

This nursery proposal treats early childhood education as an integral part of the city’s collective infrastructure of care. It asks how architecture can support emotional, social, and cognitive development – not as abstract principles, but through space itself. From the scale of an infant’s hand grasping a surface to the daily negotiations between carers, families, and neighbourhood life, the nursery works across bodies, rooms, and streets. It is a vivid, dynamic space where care becomes infrastructure and architecture becomes play – a spatial field of well-being, recreation, learning and rest, designed with and for infants, toddlers, and staff.


The design centres on a compact two-storey volume, freeing up most of the site for outdoor play and exploration. A cross-shaped core organises movement, gathering vertical and horizontal circulation and moments of spontaneous interaction between children, carers, and visitors. Learning rooms and collective spaces spill outwards, always reaching for sunlight, air, and contact with the garden. Inside and outside fold into one another, allowing learning to shift from floors to trees to earth – from crawling to climbing to reaching the city beyond the site.


The building’s envelope is made of ceramic insulating bricks, combining environmental performance in one unifying architectural gesture. This textured surface wraps both building and garden, holding colour, shadow, and movement. Interiors are designed for sensory learning: walls invite touch, materials resist or give way, scales shift to meet smaller bodies, and colours form cues for navigation and play. Here, architecture does not discipline behaviour – it responds to it, expanding what a public nursery can hold and who it can be for.

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Care Condenser

Our aim is to create an urban network of intertwined interior and exterior spaces that, in turn, constructs a complex infrastructure of care, health, wellness, play, rest, and coexistence of the various groups that inhabit the city. The three main programmatic clusters of the nursery, the day centre for the elderly, and the neighbourhood park form a centre for care, during but also outside the regular working hours. We imagine the overall site as a collective community garden that promotes participation and accessibility for all.

The arrangement of the distinct built volumes in the plot encourages the dialectical relation between the nursery and the elderly centre; a relation of a balanced coexistence, which, at the same time, provides the potential of their distinct use. Along these lines, the nursery building is located on the north side of the plot, far from the street noise. The spaces for infants are organised in a linear volume, while the spaces for toddlers around a courtyard; both meet in the central – compositionally and programmatically – dining area, which becomes the nucleus of the nursery and the neighbourhood life. The elderly centre is located on the south east corner of the plot and is designed as an easily accessible ground-floor level pavilion. The centre of the site is thus freed and dedicated to   the creation of the neighbourhood park that acquires in such a way a primary symbolic, functional, and sensory role.

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Kefalonia is for Lovers

OMA’s practice from 1972–1985 is undeniably characterized by projects that problematise the metropolitan condition of the late-capitalist city. Their design briefs, speculative projects and competition entries were informed by post-domestic environments, emerging spaces of leisure and work, and the challenges of new forms of life, aiming to reclaim a role for architectural form – a contemporary language of brutal realism. Berlin, London, New York and Paris, archetypal cities of western modernity and urbanity, offered a fertile context for these radical experiments; they became the playground in which Rem Koolhaas’s writings, Elia Zenghelis’ drawings and Zoe Zenghelis’ and Madelon Vriesendorp’s paintings created a universe of beauty, lust and unapologetic hedonism.

The text addresses four projects developed by OMA in 1984–85 on the island of Kefalonia: the redevelopment of St. Gerasimos Sacred Plain, the redesign of Koutavos Bay, and the beaches of Skala and Platys Gialos. In these projects, Zoe’s artistic practice – and particularly her work on Greek landscapes in Kefalonia and beyond – became enmeshed with OMA’s formulation of architectural devices that operate in the ‘transposed paradises’ of these Arcadian, hedonistic projects. Colours, abstract forms and the confrontation with topographical and natural elements – the sea, the sky, mountains, plains, lakes – are here not mere representations of architectural projects, but rather the conceptual framework through which these projects exist in the first place. Moreover, this phase of the collaboration between Zoe Zenghelis and OMA resulted in a striking design experiment based on the deployment of archetypal forms such as ‘the avenue’, ‘the pier’, ‘the platform’, ‘steps’ and ‘the canopy’, as well as the treatment of vegetation as a primary formal and organizational element in their projects.

The text concludes with an interview with the Greek architect Elias Veneris, a key member of the Office of Metropolitan Architecture in the late 1970s and early 80s, project leader of OMA Athens and key contributor in the Kefalonia works.

[Links to the online exhibition at the AA and the book at the AA Bookshop]

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Farmhouse

Right outside the village of Oinoi in the region of West Attica and in contact with the forest on the foot of the mountain Kithairon, is a plot of about 21 acres with an existing rural house built in the early 1980s. In recent years, the owners decided to move there permanently and engage with the beautiful productive landscape that surrounds it, with its vineyards, olive groves, flowers and vegetable garden. 

Overall the project includes a series of landscape interventions, the renovation of the existing house and the construction of a new, autonomous residence of approximately the same size (110m2). The first stage, a new masterplan organises the site based on the introduction of new crops, the circulation of agricultural machinery and infrastructure, a series of new warehouses and other auxiliary spaces, resting areas and, of course, the location of the new residence. The plot was divided into four distinct zones, each of a distinct character. The north peak of the plot is left untouched, restoring the natural slopes and tending to the pine trees of the adjacent forest to grow naturally. The domestic zone includes the two houses and occupies the area south of the pine trees, while on its other edge the masterplan introduces an ‘urban garden,’ a ‘domestic garden,’ an interplay of flowerbeds, water features, and vegetable gardens. Finally, the productive landscape dominates the largest, south part of the plot with the gridded olive groves, the vineyards and agricultural infrastructure.

The design of the new house emerged after a study of farmhouses, silos and other industrial and agricultural typologies in Greece and abroad. An equilateral L-shape covered by a pitched roof opens towards the south. Two exterior stone walls, roughly plastered and painted in off-white, organise the outline of the building, while a series of sliding openings create zones of shading and privacy. All dimensions of both the basic structure and the openings are standardised to minimise the construction costs and achieve a structural and material clarity.

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About

Fatura Collaborative – Research & Design Practice, was founded in 2009 and is developing projects across a wide range of scales, from intimate objects and performance, to architecture, urban design and planning. We are interested in architecture as social infrastructure, in developing collective equipments, in the design of spaces of care, empathy and welfare. We design and research expanding new problematics about ecology, the domestic, everyday life and the city.

Members

PLATON ISSAIAS
ARCHITECT

is an architect, researcher, and educator. He studied architecture in Thessaloniki, Greece, and holds an MSc from Columbia University and a PhD from TU Delft and The City as a Project research collective. He is Assistant Professor of Architectural Design at the School of Architecture, Aristotle University of Thessaloniki. He is the co-Head of Projective Cities MPhil programme at the Architectural Association, where he is also teaching Diploma Unit 7 with Georgia Hablützel and Hamed Khosravi. His research interests explore urban design and architecture in relation to the politics of labour, economy, law and labour struggles. He has written and lectured extensively about Greek urbanisation and the politics of urban development.

THEODOSSIS ISSAIAS
ARCHITECT

(he/him) is an architect and educator. He serves as Curator, Heinz Architectural Center, at Carnegie Museum of Art and Professor of Practice at Carnegie Mellon University School of Architecture. He studied architecture in Athens, Greece, and holds a Master of Science in Architecture and Urbanism from the Massachusetts Institute of Technology. His research focuses on architecture at the intersection of
human rights, conflict, and the provision of shelter. This interest led to his PhD dissertation “Architectures of the Humanitarian Front” (2021, Yale University), which examined a period around WWI when conflict, displacement, and territorial insecurity provoked the reconfiguration of humanitarian operations –their spatial organization and ethical imperatives.

GIANNANTONIS MOUTSATSOS
ARCHITECT

is an architect based in Lund, Sweden. He graduated in 2010 from the School of Architecture of the National Technical University of Athens and holds an MSc in Energy Efficient and Environmental Building Design from the School of Architecture of Lund University (2015). He has practiced architecture as a freelance architect in Greece and currently in Sweden (eg. Tengbom architects), where he works on a wide range of projects including small houses, larger residential complexes as well as care, educational and industrial facilities.

ALEXANDRA VOUGIA
ARCHITECT

is an architect and an educator. She graduated in 2007 from the School of Architecture of the Aristotle University of Thessaloniki, Greece. She holds the MSc in Advanced Architectural Design from GSAPP, Columbia University (2008) and a PhD from the Architectural Association – School of Architecture, London (2016). She is currently an Assistant Professor of History and Theory of Architecture at the School of Architecture, Aristotle University of Thessaloniki. She has previously taught at the Architectural Association and the University of Westminster and practiced as an architect in New York and Athens.

MYRTO VRAVOSINOU
ARCHITECT

is an architect based in Thessaloniki. She graduated from the School of Architecture of the Aristotle University of Thessaloniki in 2015 and holds an MSc in Environmental Architectural and Urban Design from the same institution (2023). Since 2017, she has been collaborating with a group of freelance engineers, working on a variety of residential, workspace, and small-scale digital fabrication projects. Her special interests lie in urban and architectural design practices that promote spatial justice.

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FORMER MEMBERS

ELISAVET HASA