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.”⁠

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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. 

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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.”⁠

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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.

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[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).

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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

The house is located outside the coastal village of Nea Skioni in Halkidiki, in a plot facing the south-east and the nearby sea. 

The brief asked for the design of a holiday house for a family of 4, which could cover their current and possible future needs of an older couple with 2 adult kids.  All interior and exterior spaces of the house are inscribed within a square outline (17x17m). This outline is delimited by a wall, the porosity of which changes as the wall folds around the volume, and which organises and protects the life inside. The overall composition is organised by an extruded central cross; a gesture that achieves the spatial autonomy of the 3 separate living units. At the same time, this cross forms the connecting element of all the archetypal outdoor and semi-outdoor spaces that, in turn, are created by subtracting volumes from the initial solid. There are three distinct courtyards, which refer and organise the open air life of the house. All living units have distinct entrances and refer to these open spaces that provide the autonomy and privacy desired by the members of the  family and their potential guests. The large pergola is conceived as a continuation of the pitched roof of the ‘tower’ and outlines a pleasant space of viewing and relaxation during the summer months. 

The materials of the building were determined based on their low-cost and simple construction, low-energy consumption and sustainable behaviour. All exterior walls are covered with a coarse, lightly coloured plaster, while all lighter partitions, frames and shading elements are made out of aluminium. Colour is used in specific details and micro-corners of the house, highlighting activities such as bathing, inside and outside of the house.

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Pylaia

The project is in a low-density area in the fringes of Thessaloniki. The specific plot is one with a gentle slope, above which lies a former silk factory, now a listed building.

The design’s primary concept is the organisation of a housing complex that develops a productive dialogue with the adjacent listed building. At the same time, the design attempts to generate series of intimate moments for the residents while creating protected views of the city that lies below. The overall premise was the seamless integration of the complex into the natural and manmade landscape of the plot and the overall neighbourhood. The complex consists of three distinct volumes, placed on the side edges of the plot, that adopt to the natural slope of the ground and the scale of the adjacent buildings while generating a generous central courtyard that gives prominence to the listed building.

The articulation of all three buildings is consistent creating the unifying expression of the overall composition. A concrete, inverted L-shaped element defines the outer envelope of the three volumes. This is an element that ‘protects’ the housing units below and directs the life inside towards the central courtyard. The ‘protected’ mass underneath is excavated, articulating smaller and lower volumes that inscribe a variety of enclosed spaces and define the outdoor and semi-outdoor terraces on all different levels. New local plants are added in specific, strategic positions of the main courtyard and the planted roofs. These enriched outdoor habitations generate the presence of a consistent environment of comfort and well-being.

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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

Our primary objective is to create a model nursery that features interlinked indoor and outdoor spaces, projected in the city as a complex pre-school education unit. Our proposal and its architectural solution promote the educational and social dimension of the building. Education and care for the mental and physical development of children coexist in a space that remains alive and dynamic, a field of rest, well-being, and recreation, designed with infants, toddlers, and the staff who work in it at the center. Special care is given to the design to obtain the optimal functional organisation of the complex, ideal bioclimatic and environmental conditions, and pleasant and generous spaces that are friendly and efficient for both young and old users of the building, as well as visitors.

Thus, the nursery becomes a paradigmatic new pole, a social condenser for the neighbourhood that, in turn, joins the wider network of collective infrastructure of the city, a network of daycare centres, schools, parks, playgrounds, recreational areas, and sports facilities.

The central idea of our proposal was to create a compact building that, while taking advantage of the available coverage, is placed centrally in the plot and leaves most of it unbuilt. In this way, the largest possible uncovered spaces for outdoor activities and play are created in contact with the building, extending its functions and opening it up in all orientations.

The unified architectural approach towards both the building envelope and the boundaries of the plot, using as a material the energy efficient, ceramic, heat-insulating bricks, creates a direct integration of the demanding functions of the Nursery school into the dynamic everyday life of the neighbourhood and the building block. In this way, the further correlation of the new building in the building block is achieved, as the material of the bricks is in dialogue with that of the adjacent Cultural Center.

Our proposal allows maximum flexibility, desired correlations, and potential separation of program modules, sections, and inputs of the overall structure.

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In the Absence of Care: Building Solidarity in Athens

This essay traces the “archive of resistance” assembled by solidarity heath care initiatives in Athens. During the years of financial crisis, the spaces of solidarity clinics and pharmacies, develop as counter-archives—records of possibility—which contain the tools to contest the architectures of abandonment by the state by providing healthcare services to the most marginalized groups in Greece. The essays in Issue 54 of the Avery Review uncover both what is at stake and what is possible in (opposing) anti-abortion, (supporting) anti-austerity, and (registering) anti-imperial struggles over the infrastructures of daily life.

[Link to the online publication ]

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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

ELISAVET HASA
ARCHITECT

is an architect, researcher and educator based in London. She holds a diploma in architecture from the School of Architecture of the University of Patras, Greece (2015) and was awarded a PhD from the School of Architecture at the Royal College of Art (2022). Her thesis dealt with the materiality of grassroots, ad hoc and mutual aid projects by social movements in Europe and the United States, with an emphasis on their relationship with the state. She is teaching in undergraduate architectural design studios and history and theory courses at the London South Bank University and Central Saint Martins. She is also a registered architect in the UK (ARB) and Greece (TCG) and has practiced architecture in London, Madrid and Athens.

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 Special Faculty 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.