Demosthenes Sfakianakis Architecture Portfolio Syracuse School of Architecture (B.Arch.)
Basilica di Santo Stefano
DEMOSTHENES SFAKIANAKIS 649 Second Avenue Apt. 6D | New York, NY 10016 email@example.com | (646) 300-3959 https://issuu.com/demosthenessfakianakis/docs/issuu
EDUCATION Syracuse University, School of Architecture, Syracuse, NY
Bachelor of Architecture (B.Arch.), Minor in Classical Civilization Dean’s List: 2016 – 2020
Institute for Balkan Studies, Thessaloniki, Greece
Modern Greek language, historical studies.
Stuyvesant High School, New York, NY
Technical Drawing, Architecture, Graphic Design.
PROFESSIONAL EXPERIENCE Fischer + Makooi Architects, New York, NY Architectural Intern: Worked on large scale residential developments throughout the boroughs of NYC, determined unit arrangements and façade brickwork articulation, created construction drawings and diagrams for DOB submission.
Fogarty Finger Architecture, New York, NY
Misra Group, New York, NY
Thompson Chemists, New York, NY
Architectural Intern: Participated in over ten ongoing projects including a ground-up building in midtown Manhattan, produced construction and design documents, created test fits for commercial projects, and independently surveyed sites. Architectural Intern: Contributed to all current projects, produced interior and exterior renders, conducted site research, met independently with clients, and created presentation boards for NYC Landmarks Preservation Commission. Designed interior and storefront displays for both SoHo pharmacies.
DISTINCTIONS Syracuse Undergraduate Research Grant
Albania’s Bunkers: Repurpose & Revitalization
Seoul Biennale of Architecture and Urbanism
Exhibited work: Xiong’an City Garden
2015 - 2020
SU Success Grant awarded by Syracuse University
SKILLS Digital: Physical: Languages:
Rhino, AutoCAD, Revit, SketchUp, V-Ray, Bluebeam, Grasshopper, Adobe Suite Model Making, Laser Cutting, 3D Printing, Sketching Conversational Greek and Spanish; Basic Albanian and Italian
C O NT E NT S
Xiongâ€™an City Garden 1 Masjid Chelsea 7 Hollywood Boulevard Arts 13 Onondaga Natural Pools 19 Bunker Reclamation 23 Monastero Brutalista 27 Lock Keeperâ€™s House 29
Exploded Isometric - System Analysis
XIONG’AN CITY GARDEN In Collaboration with Soravis Nawbhanich
The Xiong’an City Garden coalesces the two conditions of the rural south and the urban north by creating a medium for both forces to interact. This relationship is defined by the variability of the farmland and the temporality of the market space. The City Garden consists of two primary programs: open market and greenhouse. The aim of these programs is to be entirely flexible depending on the seasons and festivities. The greenhouse is designed with a common depth of 2’ of soil, allowing for the most common produce in China to be planted and harvested throughout the site. The surface of the farm is formed to mimic the topological attributes of the area and also serves to codify the plant distribution into 4 categories which in turn are attributed to slopes of 19°, 39°, and 59° to maximize sunlight for seasonal plants. As the farmscape changes, the market changes beneath. The market responds to seasonal changes of the planted farm through the variation of produce sold. The market stall configuration also serves to facilitate events such as parades and festival celebrations through various stall placements and functions. Systematically, the envelope functions to retain the natural elements and utilize them throughout the site. The panel skin atop the structure is composed of photovoltaic cells that harness the solar energy and internalize it for mechnical equipment. The undulating skin also serves to collect rainwater which is brought into the farm for purification and reuse for planting. The building is also designed to maximize passive heating and cooling, the open base of the market and the operable windows of the greenhouse facilitate cross ventilation, the atriums encourage the stack effect, and the soil serves as a thermal mass in the winter.
Chinese New Year Configuration
Detailed Section - Systems
Perspectival Section - Market Scenario
Ground Plan 1/8” - 1’
Ground Floor Plan - Atrium Configuration
Landscape Plan - Plant Distribution + Elevations
MASJID CHELSEA Within New York City, a city with a population of 8.5 million, the Muslim population accounts for 3.8% of these inhabitants. Islamic spaces are significantly under represented within New York City as there are only eleven mosques and 23 prayer Hypostyle Hall spaces within Manhattan. This project envisions a hotel with a complementary program. The implementation of a Mosque/Islamic Center within the hotel would make Islam accessible to those of Chelsea. This additional program would provide necessary amenities such as gender specific prayer spaces, educational resources, and a main prayer hall. The Masjid Chelsea, would allow for an accessible means to practice religion while also serving as a spectacle from the High Line; an item of curiosity and further inquiry. A common element of Islamic architecture, the arch is often used to dictate progmmatic change and serves as a gateway in religious practice. The hypostyle hall attests to the gridded nature of the city blocks
New York City Grid
Qibla, Direction of the Kaaba
The design process of the additional program of the Mosque/Islamic Center was furthered by researching the various components of a mosque as well as essential elements in Islamic architecture. These include the Qubba (the dome), Wudu (ablution), the Qibla (direction of Mecca), Mihrab (the indicator of the qibla), Hajj (pilgrimage to Mecca), Tawaf (counterclockwise circulation about the Kaaba), and Quba, The Dome Sahn (Courtyard). Additional research of renowned mosques such as the Great Mosque Cathedral of Cordoba, the Hagia Sophia, the Blue Mosque, and the lesser known Masjid Manhattan influenced the use of Islamic architectural elements, through spatial hierarchy, gender differentiated spaces, sequence in program, materiality, as well as architectural styles attributed to mosque architecture.
Through our research of Chelsea, it became apparent that the development of the structures in the neighborhood were a result of careful planning as well as numerous acts and designations. From this means of urbanization, the grid of New York City blocks comes to fruition.
It is through this form of directionality that the additional, religious programs of the hotel orient and aim to emphasize. This takes shape in the orientation of the main prayer hall, which idictates the main hotel housing block.
The Quba is an essential architectural element in Islamic architecture. The curvature of the ceiling represents the heavens above and is seen in both the past and modern representations. The Quba pierces the hypostyle hall and defines itself to upon the exterior.
Hypostyle Hall A common element of Islamic architecture, the arch is often used to dictate progmmatic change and serves as a gateway in religious practice. The hypostyle hall attests to the gridded nature of the city blocks
Quba, The Dome The Quba is an essential architectural element in Islamic architecture. The curvature of the ceiling represents the heavens above and is seen in both the past and modern representations. The Quba pierces the hypostyle hall and defines itself to upon the exterior.
Hypostyle Hall / Qubba
Carving of Mass Inspired by the Quba, the hotel massing is strategically carved away to establish different registers of programmatic hierarchy. This differentiation is achieved through different hotel typologies as well as the incorporation of additional, religious programs spaced throughout.
Unit Carving / Relation to Qubba
Contextual Axonometric - Facade Articulation
Loft Unit Intended for families with children, this loft unit will provide adequate space for a family of multiple children. Conveniently placed along the same floor as the educational/additional prayer rooms, this unit will make these amenities more accesibile to those residing in this type of unit.
Total SF: 492
To be inhabited by the children of families, this space faces contains twin sized beds as well as a cleared space for prayer.
Arched Rooms Based on the curvature of the Quba (Dome), an indication of the heavens, each hotel unit is shaped with an arched ceiling that spans the visible height of the structure. This shape serves as a constant indication of the religious use of a vaulted ceiling.
Visual Connection As the entirety of the hotel unit complex is set back from Tenth Avenue, all residents are accustomed to a view of the main prayer hall at ground level. A constant, visual connection to the religion.
While the children are intended to sleep on the loft, parents are to rest on the base floor of this unit. This space is also provided with a prayer rug for guests that cannot reach one of the many designated prayer spaces within the hotel.
Plan Perspective - Loft Unit Masjid Chelsea Demosthenes Sfakianakis
Perspectival Plan - Loft Unit
Ground Floor Plan - Prayer Hall Integration
Physical Model - Volume
Prayer Hall / Mihrab
HOLLYWOOD BOULEVARD ARTS Alongside Hollywood Boulevard, this Arts center promotes the works of local artists while also assimilating to the touristic nature of the site. While the divide between the local and the tourist is evident throughout Hollywood Boulevard, the different degrees of pronounced form draw attention from both types of visitor. The protruded moments of monolithic forms establish a spatial hierarchy that then pierces the matrix structure. The regular matrix of a 10â€™ gridded system serves to provide a symbol of normality, a regimented lattice of be either adhered to or broken. Programs that pierce the matrix are immediately reflected through the facade as moments of spatial importance, thus emphasizing the local arts.
Massing Strategies / Matrix Relationship
Spatial Narrative - Public + Private
Physical Model - Top Floor Matrix
H O L L Y W O O D BLVD
C DAY SECTION
GROUND FLOOR PLAN WITH CONTEXT Scale = 1/8” = 1’-0”
ARC207: The Urban Figures of Hollywood_Demos Sfakianakis
Ground Floor Plan
Structural Matrix - Narrative Effect
Nighttime Perspectival Section
OOL AND LANDSCAPE
ONONDAGA NATURAL POOLS Located in Dewitt, New York, the Onondaga Natural Pools is a didactic complex that cultivates a firsthand comprehension of several aspects of nature. The design of the Onondaga Natural Pools is derived from the interests and the influences of the Onondaga People. Through careful research of the Onondaga, this project retains their reverence for nature, their use of communal space, and their focus on community interaction. To maintain the appreciation and integration of nature, the structure is embedded into the riverbed soil and is situated amongst four distinct interventions of of nature. Through the carvings of two natural pools, a planted dendrology ecosystem, as well as the introduction of the river system, this complex places the visitor directly inside these natural influences. The four natural programs carve away from the main mass of the structure and internally establish programmatic hierarchy. While these carvings serve to define the nature throughout the design, they also provide framed views of these distinct areas from within. The use of communal space is derived from the impact of the carved moments of nature. As each sculpted piece provides a new internal bounding wall, these interruptions provide an emphasis on the center of the structure. The center itself becomes a stepped point of congregation where visitors can gather and connect.
OOL AND LANDSCAPE
MPOSITION SITE CONTOURS
CARVING BY CLEARINGS
CARVING BY CLEARINGS
Clearing / Carving Strategies
Upper Floor Plan - Nature Carvings
Transverse Section - Communal Interaction
Natural Pool Perspective
Coastal Bunker in DĂźrres, Albania
BUNKER RECLAMATION IDEALIZED
As a recipient of the Undergraduate Research and Creative Works Grant, I was provided the opportunity to travel to Albania to pursue on-site documentation and research of the bunkerization of the nation during the communist regime. This research has continued to serve as the basis of my thesis work: Bunker Reclamation. I burgosuri, the prisoner, represents a third narrative that relies upon a fictional character who emerges from SpaĂ§ prison amidst the dissolution of communism in Albania. I burgosuri serves as the confluence of the artist and the engineer, Gjergo and Zegali, as he holds a combination of the traits of the two prisoners he would have labored alongside with in SpaĂ§. Reliant upon the continuation of the communist ideal of the collective people, I burgosuri, removes the political power atop to evoke a form of populist self-governance through a collective identity. In a similar manner to the original distribution of the bunkers during the regime, the collective is able to utilize the remaining pieces for the creation of new devices. By disassembling the extant bunkers into their four, pre-cast components, the collective can utilize these fragments to build and reflect upon the trauma of the dictatorship while also alluding to a healed future. 0.90
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Exploded Bunker Components
An open field, littered with reinforced tombstones. To live by the dictator - to rest with his devices. The recognition of their past allegiance. Marked forever... THE CEMETERY.
The displaced, the persecuted. Searching for asylum in their native land. The communal effort, an aggregation, providing housing for its makers - the survivors. THE TOWERS.
27 Ground Floor Plan
This distinction between the influence of the piazza and the Arno creates a form of bidirectionality where the nature of the public and the hermetic compositions of space overlap and interact. While the main church and courtyard are the emphasized spaces of interaction between these two demographics, the refectory, dormitory, scriptorium, and ossuary follow a more secluded function. This interaction is further explored by using the tripartite organization where the church and courtyard of the ground floor serve as the main interaction between the visitor and the monk, the communal nature of the refectory of the second floor represents the final means of connection, and the densely vegetated top floor is restricted to the monks which seek individual prayer.
Located alongside the Arno River in Florence, the monastery negotiates between the intimacy of the piazza to the North and the exposure to the River in the South. Facing the piazza, the monastery is carved open to the public and entices visitors through an exposed cloister walk composed of bounding arches that terminate in the central church. Facing the Arno, the building is expressed in a more brutalist manner as the heavy gestures create a juxtaposition to the thinness of the arch and colonnade. However, there is a constant reminder of the fineness of the colonnade as its form is placed along the faรงade.
Do /E r y,
s( W or er
LOCK KEEPERâ€™S HOUSE
Submerged within the Camden Lock of London, the Lock-Keeperâ€™s House is both a commentary on the inaccessibility of housing in the densely populated cityscape as well as an exploration into the minimalist amenities required for a residence. The designation of the home to be submerged within the linear form of the lock challenges the typical desires of domestic space as the design is fixated on the below grade phenomenological interactions of light and water. The intervention operates on two levels, the above ground communal space and the below ground domestic. The precarious carvings of the surface encourage interaction among the boat owners traversing the lock by defining spaces of connection. Beneath the surface, the lock keeper is provided with several devices to monitor the gates and water levels. Through light wells, water level collections from either side, reflected light from water atop, and the display of water internally, these elements accentuate the living situation while also dramatizing the effects of the site.