chris aniftos
Designer and artist
Chris aniftos Designer and artist
TABLE OF CONTENTS Governor’s Island Artist’s Residence
ARCH 601
Sunset Park School (The Vortex) ARCH 602
1-6 7-16
Farragut Houses (Razzle Dazzle) ARCH 703
17-28
Hybrid Facade ARCH 611
29-36
Arbouressence Timber in the City
37-50
Movement Series Sound and Motion Project
51-60
Personal Work Miscellaneous Art and Design
61-76
East Section
Floor Plans
GOVERNOR’S ISL AND, NY 10004 1
2
ARCH 601
Axon
West Section
Site Collage My project was an exploration
It could imply movement or
of taking something like
circulation , like a bridge. IT
a graphic image, a two
could inform a landscape,
dimensional field, something
something the user could
flat and purely visual and
physically interact with and
manifesting the essence
enjoy. These idea culminate
of that image in different
to reveal that this project is a
spatial experiences. The
canvas for a piece of artwork.
exploration began with an
All the different facets are
object, something small, and
informed by and serve as a
exploring how that color can
homage to a single piece of
reveal space. It could be
work. Through time that work
something quite literal, like
can change, and thus the
a graphic spread across a
building would change with it.
Perspective
facade. 3
4
ARCH 601
Physical Model
5
6
ARCH 601
SUNSET PARK SCHOOL THE VORTEX
BROOKLYN, NY 11220 7
8
ARCH 602
Lobby Level
Classroom/Auditorium 9
Circuit Model
Roof 10
ARCH 602
Play-space Our inquiry in to the middle school program in Sunset Park is to approach the school as an “operational infrastructure for education and community service” rather than an anachronistic understanding of the middle school as an architectural representation of public institution . This emphasis on operational and organizational aspects of education allows the studio to participate fully in the need and desire for adaptable spaces an open ended systems interplay in education. The classroom is to be understood as a volumetric exploration in complex spatial and non-adjacent arrangements in time rather than plan-metric and contiguous space. A system which bases its forms of learning on discourse and debate within the school spaces. In this participatory format students are encourages to discuss and extend links or challenge their classmates and faculty on topics in schools spaces that encourage their interaction
My response to this said system was to acknowledge a “heterarchical” approach to the organization and elements of the project, specifically with regards to the site. Using the forces of the adjacent 42nd street and 4th avenue, my project engages in a “vortex” like organization vertically connecting the immediate area including a nearby school, retail across the street, residential, and historical trees along 4th avenue. That single vortex quickly turned into multiple vortices, each addressing a different “quality” pertinent to children’s education (Compliance, Vulnerability, Assertion, Deception). My interest was not for these vortices to work in a harmonious fashion but rather the opposite, it was my wish that these vortices work together but “don’t agree”. The mixing and crashing on these forces create a gradient of space, with some spaces torquing tightly and some spaces retreating outward. It was this chaos that led to the organization of my interior 11
Section
Quality Charts 12
ARCH 602
Site Plan
Conceptual Structure
13
14
ARCH 602
15
16
ARCH 602
FARRAGUT HOUSES RAZZLE DAZZLE
BROOKLYN, NY 11201
17
18
ARCH 703
Site Collage/Plan
Elevation
East Section
Form Studies
Chunk Model
West Section
We began our initial exploration with an analysis of the neighborhoods surrounding the Farragut Houses within the context of urban density. We created an illustration of the overlapping an merging of the different “program densities” found in the surrounding area. This initial analysis informed our design narrative of public vs private and the gradient between the two, merging elements to provoke that gray area. Our intention was to break away from the categorization of public and private found in the high rise developments around the site which validate a sense of isolation between the individual and the neighbors/community surrounding them. After some experimentation, we needed to condense the amount of shapes used and approach the form through interlocking rather than overlapping, picking a shape representative of amenity density found from the neighboring areas. The ability for the shape to interlock in itself created a plan capable of intermixing and transforming mixed use spaces when necessary 21
Using this notion of interlocking, we defined our spaces into three floor types: Lobby/Commercial, Residential/Amenity, and Residential. The interlocking reveals the gradient in a clear and overt way, inviting users to inhabit the spaces and engage with one another. Sectionally we used double heights and dynamic floor slabs as a way to represent our collage vertically. Vertical circulation through elevators to the units allow the space to break away from a typical double loaded floor plan. We used stair cases within the units themselves that lead to amenity spaces as well as fire exits on lower levels, allowing the interlocking form the remain intact. The materiality wishes to create a sort of “camouflage” through various materialities spread across the facade, using it as a signifier of where mixed use is occurring from the outside looking in. We implemented concrete and glass as representations of public and private (concrete representing private and glass representing public) with the “textile revealing itself with alternate materials 22
ARCH 703
Section Gradient
Units Amenity
Residential Lobby Commercial
Unit Types
23
24
ARCH 703
South Entry
North Entry
25
26
ARCH 703
27
28
ARCH 703
H YBRID FAC ADE
29
30
ARCH 611
This project was an
The purpose of this project
exploration of formality beside
was to learn means of
informality. The formality with
fabrication as well as modes
the uniform acrylic pieces
of representation, and how
creating an irregular grid
these different mediums can
as well as the conventional
be used in order to convey
facade placed in the medium
exactly what a given designer
relief. The informality with the
wishes to convey, however
hydro-dipped graphic spread
they see fit. Through this
across the piece as well as
project i learned how to take
the non-descript form in the
something so basic like that of
background, holding the
a common facade and turns
piece together. The exacting
those forms into something
nature of the grid forms a
new. I created a field of sorts,
stark contrast to the random
a non-descipt architectural
nature of the piece it sits
image that is informative in
upon, yet coming together to
it’s own way
create cohesion
31
32
ARCH 611
Model Views
33
34
ARCH 611
ARBOURESSENCE LONG ISL AND CIT Y, NY 11101
37
38
Timber in the City
Concept Vignettes
39
40
Timber in the City
Section
Our biggest design goal was to celebrate timer as both a structural element, and as a biophilic design strategy. Assembling a large canopy which reaches out and connects the three main building masses, creating a semi-enclosed area which serves as our transitional space between the different programmatic elements. Everyone’s childhood dream was to have their very own tree house in their backyard, and the aim was to replicate that feeling with our biophilic canopy structure, which gives the illusion of enchantment of running through a forest playing off the energetic nature and livelihood of children. The intention was to capture the childlike exploration and adventure associated with that of a tree house. I conveyed this through the modularity of the classroom spaces as well as encouraging exploration with the circulation between the classes through the non-linear geometric walkway. The outdoor play area continues this geometric exploration with elevated and depressed patches of land, where the children are able to climb and play with the site itself as well as connecting the play space to the adjacent Queens-bridge Park. Safety was noted with the play space, no elevated piece of land exceeds 8 feet and the gradual slope prevents and danger of falling.
41
42
Timber in the City
Structural Detail
Plans
Canopy Detail
43
44
Timber in the City
Play-space
Residential Patio
45
46
Timber in the City
Residential
Pool
47
48
Timber in the City
Entry
Gym
49
50
Timber in the City
MOVEMEN T SERIES The Movement Series is an ongoing motion and sound project by myself in collaboration with musician/producer Paul Aronson. The two installations thus far intend to convey the colors, shape, space, and motion of various ambient sound compositions. Conveying the texture and imagery of sounds themselves is the driving intention behind this series. Moving forward I wish to increase the animation quality, as well as implement programs such as Touch Designer to explore ambient compositions in a more effective, ethereal, and compelling way
51
52
Movement Series
Movement 1 Still Renders
53
54
Movement Series
Movement 2 Still Renders
55
56
Movement Series
Movement 1
57
CLICK TO WATCH
58
Movement Series
Movement 2
59
CLICK TO WATCH
60
Movement Series
PERSONAL WORK
These are a selected collection of my personal artworks and designs I’ve worked on over the years. In my free time I tend to find myself experimenting with different forms of visual expression ranging from word art to abstract architectural renderings and vignettes. Although these works were created for myself, as a form of relaxation and enjoyment, they are some of my favorites that have come out from the time I spend with myself. I love to create, and to make others experience the joy I get from expressing myself through my work.
61
62
Personal Work
Hyper-Graphic Illumination
63
64
Personal Work
65
66
Personal Work
Heaven and Earth
Brooklyn
67
68
Personal Work
Bike Part Studies
69
70
Personal Work
Word Art
71
72
Personal Work
Capstone Vignettes
73
74
Personal Work
The Arc
75
76
Personal Work
chris-aniftos.squarespace.com
@ csnift