The work is centered on notions of shapelessness, inconsistency, ugliness and repetition; it traces a jagged line that connects properties of drawing with the act of building and the anomalies of the cities’ surfaces. The title of the work is borrowed from the greek word used for ‘ugly’. Rooted inside it – the prefix ‘a’ indicating absence and negation of the word schema (σχήμα) meaning shape. Under the rubric of shapelessness things don’t have a name, either by maintaining a vast distance from primitive shapes and their derivatives or by being such an integral part of a complex whole that any delineation or recognition is impossible. They usually lie in-between as odd encounters, bastard, void, random or debris. All these properties seem to challenge architecture yet they are constituent elements of drawing and the built environment. By establishing a temporary alliance with the undesigned, ΑΣΧΗΜΟ utilises drawing as a tool for frenetic inscription that betrays its communicational values. This alliance provides the affordance, to systematically handle shapelessness and to encounter it as the material and aesthetic condition of the city, while using the creative capabilities of abstraction offered by drawing and drive them towards the building domain. ΑΣΧΗΜΟ becomes entangled between building material and decor, informed by modes of filling surfaces and the art of wall finishes; its products seeking to activate margins of architecture and aesthetics.
–
Zves Konstantinos (1990, Thessaloniki) is a licensed architect, living and working in Athens, Greece. He is practicing architecture through the design of buildings, speculative projects, objects and images. He obtained a MArch from the Department of Architecture, University of Thessaly and he continued his research through the Critical Philosophy program by the New Centre for Research and Practice. He has been involved in housing, commercial, urban design, exhibition design projects. Some of his work has been part of group exhibitions in Europe and online and some of it published in zines, catalogues and journals
Rad je usredsređen na pojmove bezobličnosti, nedoslednosti, ružnoće i ponavljanja; on ispisuje zupčastu liniju koja povezuje svojstva crtanja sa aktom građenja i anomalijama na licu grada. Naslov rada je pozajmljen od grčke reči koja se koristi za „ružno“. Unutar reči je ukorenjen- prefiks „a“, što ukazuje na odsustvo i negaciju reči shema (σχημα), što znači oblik. U domenu bezobličnog, stvari nemaju ime, ni po održavanju velike udaljenosti od primitivnih oblika i njihovih derivata niti time što su sastavni deo složene celine, pa je razgraničenje ili prepoznavanje nemoguće. Ove pojave se obično nalaze negde između neobičnih susreta, slučajnosti, praznina, nasumično ili u pukotinama. Čini se da takva svojstva provociraju arhitekturu, ali su sastavni elementi crteža i izgrađenog okruženja. Uspostavljanjem privremene alijanse sa ne-dizajniranim, ΑΣΧΗΜΟ koristi crtež kao alat za frenetičan natpis koji izdaje njegove komunikacijske vrednosti. Ova alijansa pruža prednost sistematskom rukovanju bezobličnošću i omogućava da se susretnemo s njom kao materijalnim i estetskim stanjem grada, koristeći pritom kreativne mogućnosti apstrakcije sadržane u procesu crtanja i zatim daljim pokretanjem ovih saznanja ka domenu građenja. ΑΣΧΗΜΟ se zapliće između građevinskog materijala i dekora, informiše se načinima ispunjavanja površina i umetnošću oblaganja zidova; njegovi proizvodi teže aktiviranju margine arhitekture i estetike.
–
Zves Konstantinos (1990, Solun) je licencirani arhitekta, živi i radi u Atini, Grčka.Bavi se arhitekturom kroz projektovanje zgrada, špekulativnih projekata, objekata i slika. Magistrirao je na odeljenju za arhitekturu na Univerzitetu u Tesaliji i nastavio svoje istraživanje kroz studije na programu Kritičke filozofije u New Centre for Research and Practice. Bavio se stambenim, komercijalnim, urbanim dizajnom, izložbenim dizajnerskim projektima. Deo njegovog rada čine grupne izložbe u Evropi i online, a jedan deo je objavljen u fanzinima, katalozima i časopisima.