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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 demosthenes.sfa@gmail.com | (646) 300-3959

EDUCATION Syracuse University, School of Architecture, Syracuse, NY

May 2020

Stuyvesant High School, New York, NY

June 2015

Bachelor of Architecture (B.Arch.), Minor in Classical Civilizations Dean’s List: Fall 2016, Spring 2017, Fall 2017, Spring 2018, Fall 2018 Relevant Courses: Technical Drawing, Architecture, Graphic Design

PROFESSIONAL EXPERIENCE Fogarty Finger, New York, NY

Summer 2018

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. Misra Group, New York, NY Summer 2017 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. Thompson Chemists Pharmacy, New York, NY Summer 2016 Designed interior and storefront schemes for product display in both SoHo stores.

ADDITIONAL EDUCATION Institute for Balkan Studies, Thessaloniki, Greece

Studied Greek language and history. New York Art Studio, New York, NY Created an art portfolio for submission to architecture schools.

Summer 2016 Summer 2014

Bernard and Anne Spitzer School of Architecture, New York, NY

Summer 2013

Museum of Modern Art Education Center, New York, NY

Summer 2012

Studied the history of architecture and produced a studio project. Created mechanical art that responds to human interaction.

SKILLS Digital: Rhino, AutoCAD, Revit, SketchUp, V-Ray, Adobe Creative Suite Physical: Model Making, Laser Cutting, 3D Printing, Sketching Languages: English, Greek, Spanish, Italian


Xiong’an City Garden 1 Masjid Chelsea 7 Hollywood Arts 13 Onondaga Natural Pools 19 Monastero Brutalista 23


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Exploded Isometric - System Analysis

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Photovoltaic Glazing

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Space Frame Structure

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Drainage System

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Operable Window System

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Farm Landscape

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Concrete Stair

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Concrete Waffle Slab Structure

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Hydraulic Lift

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Spiral Staircase

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Program Modules

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Terracotta Rings


Xiang’an City Garden In Collaboration with Soravis Nawbhanich

The Xiang’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 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

Mid Autumn Festival Configuration

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Ground Floor Plan - Atrium Configuration

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UP

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C UP

+0’-0”

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A

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46’ - 6”

10’ - 2”

4’ - 3”

D

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Chinese N February

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Transverse Sectional Perspective


Landscape Plan - Plant Distribution + Elevations

10’ - 0” TYP.

+0’-0” 13’ - 6” TYP. +29’-2”

+29’-4”

+23’-7”

+33’-0” +31’-4”

+28’-7”

+25’-8” +25’-6” DWN

DW

N

+28’-2”

+20’-7”

+29’-5” +24’-9”

+23’-0”

+24’-3” +24’-6”

+28’-1”

+27’-5”

+25’-4” +21’-8”

+30’-7”

+28’-9”

+22’-7”

+27’-3”

+21’-9” +19’-7”

+27’-1” +26’-6” +36’-4” +23’-4” +27’-3”

e Plan

70’ - 4”

33’ - 8”

28’ - 1”

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C

New Year y 5, 2019

Chinese New Year

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Contextual Render

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Farmscape Render


Sectional Perspective 88’ - 2” 84’ - 5”

40’ - 1” 36’ - 4”

32’ - 2” 28’ - 10”

General Market Scenario

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55’ - 7”

38’ - 9”

18’ - 9”

13’ - 0”

2’ - 2”

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Mid Autumn Festival September 13, 2019

Perspectival Section - Mid Autumn Festival + Moon Appreciation

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Minaret +305’-0”

Roof Parapet +227’-0”

Twentieth Floor +216’-0”

Nineteenth Floor +205’-0”

Eighteenth Floor +194’-0”

Seventeenth Floor +183’-0”

Sixteenth Floor +172’-0”

Fifteenth Floor +161’-0”

Fourteenth Floor +150’-0”

Thirteenth Floor +139’-0”

Twelfth Floor +128’-0”

Eleventh Floor +117’-0”

Ninth Floor +95’-0”

Eighth Floor +84’-0”

Seventh Floor +73’-0”

Sixth Floor +62’-0”

Fifth Floor +51’-0”

Fourth Floor +40’-0”

Third Floor +29’-0”

Second Floor +17’-0”

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Section A

Demosthenes Sfakianakis Perspectival Section Masjid Chelsea

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Hypostyle Hall

Masjid Chelsea

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

rk City Grid

ur research of Chelsea, it became apparent velopment of the structures in the od were a result of careful planning as merous acts and designations. From this rbanization, the grid of New York City es to fruition.

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 spaces within Manhattan. This project envisions a hotel with a complementary program. The implementation of a Mosque/Islamic Center within my hotel would make Islam accessible those of Chelsea. This additional program would provide Qibla, Direction ofto the Kaaba 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. 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 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 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, such as spatial hierarchies, gender differentiated spaces, sequence in program, materiality, as well as architectural styles attributed to mosque architecture.

Quba, The Dome

The Quba is an essential architectural element Islamic architecture. The curvature of the ceili represents the heavens above and is seen in bot the past and modern representations. The Qub pierces the hypostyle hall and defines itself to upon the exterior.

architecture, the gmmatic change ous practice. The dded nature of the

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

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Qi

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ec Dir

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Axonometric

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Masjid Chelsea Demosthenes Sfakianakis

Contextual Axonometric


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.

Bedroom Loft

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.

Base Bedroom

27’

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.

43’-4”

13’-4”

Plan Perspective - Loft Unit Masjid Chelsea Demosthenes Sfakianakis

Perspectival Plan - Loft Unit

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Minaret +305’-0”

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Roof Parapet +227’-0”

Twentieth Floor +216’-0”

Nineteenth Floor +205’-0”

Eighteenth Floor +194’-0”

Seventeenth Floor +183’-0”

Sixteenth Floor +172’-0”

Fifteenth Floor +161’-0”

Fourteenth Floor +150’-0”

Thirteenth Floor +139’-0”

Twelfth Floor +128’-0”

Eleventh Floor +117’-0”

Ninth Floor +95’-0”

Eighth Floor +84’-0”

Seventh Floor +73’-0”

Sixth Floor +62’-0”

Fifth Floor +51’-0”

Fourth Floor +40’-0”

Third Floor +29’-0”

Second Floor +17’-0”

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North Elevation

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Tawaf (Circulation)

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Hypostyle Hall

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Qubba (Dome), Prayer Space

Eigh teenth Street

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Physical Model

Seventeenth Street

Contextual Plan

Tenth Avenue

Site Plan

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Wudu (Ablution)

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Mihrab

Masjid Chelsea Demosthenes Sfakianakis

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Ground Floor Plan

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RESTAURANT/BAR

GALLERY

FILM THEATRE

AUDITORIUM

CLASSROOM

CLASSROOM CAFE

OFFICES

STORE

Emphasized public spaces Semi private spaces

TECTONIC / SPATIAL STUDY ISOMETRIC WITHIN SITE ARC207: Defined Matrix and Levels of Program

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Contextual Isometric


Hollywood Boulevard Arts Center

CIRCULATION

Details the two forms of circulation: 1. The core, general circulation represented in gray 2. The prominent, user guided circulation represented in blue

Alongside Hollywood Boulevard, this Arts Center emerges as a tourist destination while promoting the works of local artists. While the divide between the tourist and local is evident throughout Hollywood Boulevard, the different degrees of pronounced form draw attention from both types of visitor. The aesthetic interest of this design lies in the moments of monolithic spatial hierarchy which pierce the regular, gridded structure. The established matrix of a 10’ x 10’ x 10’ grid serves to provide a symbol of normality, a regimented grid of architectural stability. Programs that pierces through the matrix defines its identity through the facade as a moment of spatial importance - an emphasis on local arts or vibrant night life of Hollywood Boulevard.

EXTERIOR MATRIX TECTONIC STUDY It is through the juxtaposition of the orthogonal matrix and the protruding, angular program that the structure can appeal to the public as well as establish a spatial ambiguity within - a mixture of exterior spaces within the matrix as well as interior spaces outside the matrix

VISIBLE MATRIX The matrix follows a sequence of a 10’ x 10’ x 10’ grid that vertically extends throughout the site, and is present in 70% of the plan. Depending on program, the matrix is either consumed by the space or visibily present within the space.

MATRIX RELATIONSHIP To emphasize programatic hierarchy to the public, areas of spatial importance either pierce the matrix and establish themselves outside of the implied boundary or are suspended within the matrix and distanced from other programs

MATRIX + TECTONIC DIAGRAM

Massing Strategies - Matrix Relationship ARC207: The Implemenation and Function of the Matrix

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Spatial Narrative


Physical Model - Exposed Matrix / Top Floor

H O L L Y W O O D BLVD

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OFFICES

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NIGHT SECTION

GROUND FLOOR PLAN WITH CONTEXT Scale = 1/8” = 1’-0”

ARC207: The Urban Figures of Hollywood_Demos Sfakianakis

Ground Floor Plan

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66’ RY

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RESTAURANT BAR

55’ GALLERY

FILM THEATRE TERRACE

44’ AUDITORIUM

CLASSROOM TERRACE

CLASSROOM TERRACE

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CAFE

STORE

SECTIONAL PERSPECTIVE SCALE: 1/16” - 1’-0”

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ARC207:Daytime ApplicationPerspectival of Matrix Section


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66’ RESTAURANT / BAR

RESTAURANT

KITCHEN

55’ FILM THEATRE

GALLERY GALLERY

33’

22’

11’

SECTIONAL PERSPECTIVE SCALE: 1/16” - 1’-0”

ARC207: Emphasis on night programs

Nighttime Perspectival Section

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Contextual Isometric


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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 People, 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 differing aspects of nature. With the carvings of two natural pools, a planted dendrology ecosystem, as well as the introduction of the river system, this complex places the inhabitant directly within these natural influences. These four natural programs carve out mass from the main structure to establish their programmatic hierarchy. While these carvings serve to establish the nature throughout the design, they also provide framed views of these distinct areas. 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.

SITE CONTOURS

DISTINCT CLEARINGS

CLEARING INFLUENCE

REGULAR PRISM

CARVING BY CLEARINGS

INTERNAL PROGRAM

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Natural Pool Perspective


Upper Floor Plan

Transverse Section

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Monastero Brutalista

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 connectiom, and the densely vegetated top floor is restricted to the monks which seek individual prayer.

Longitudinal Section

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.

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Profile for Demosthenes Sfakianakis

Demosthenes Sfakianakis - Architecture Portfolio  

Syracuse University - School of Architecture 2020

Demosthenes Sfakianakis - Architecture Portfolio  

Syracuse University - School of Architecture 2020

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