Architecture Portfolio Demitri Gadzios
___Index
01
OPEN ACCESS Architecture Schematic Academic Studio
04
02
ADJACENT ‘THINGS’ Architecture Concept Academic Studio
18
03
INDUSTRIAL INFILL Architecture Concept Academic Studio
24
04
CORTILI DI ARCHITETTURA Architecture Concept Academic Studio
34
05
UNEARTHED Architecture Concept Academic Workshop
42
Cover Image: Axial Relationships Tomba Brion, 1978, Carlo Scarpa
06
HYBRID SITES Animation Academic Research
48
07
PIÑATA Digital Fabrication Academic Research
54
08
FOUNDRY Fabrication Academic Research
60
3
___Design
OPEN ACCESS Location Syracuse, New York Program Research, Workspace, Public Space Type Schematic Design Team Rachel Davis, Demitri Gadzios Advisor Amber Bartosh
5
Public Voids Section AA
7
S SALINA ST S SALINA ST
ERIE BLVD E
E WATER ST
S SALINA ST
E WATER ST
EG
EN
SE
ST
E WASHINGTON S BANK ALLEY
S SALINA ST
E WASHINGTON ST
Urban Spaces Site Plan
ES
EG EN ES SE
MONTGOMERY ST
S WARREN ST
ST MARKET ST
MONTGOMERY ST
S WARREN ST
MONTGOMERY ST
S WARREN ST S WARREN ST
O EG W O S VD BL
ERIE BLVD E
E WATER ST
ST
E WASHINGTON ST
9
Proposed as a new research facility and center of excellence in downtown Syracuse, Open Access is designed to question the polar dynamic of the researcher and members of the public. Sited at a terminal point of a public vein of the city, the research center responds by creating a new plaza to extend the existing thoroughfare into the site and therefore integrate with the urban environment. With this in mind, the visually open characteristics of the ground level turns the plaza into an arcade for public learning while the upper levels accommodate more private work spaces. The project consists of multiple fabrication facilities, dry lab spaces, and testing spaces to be used by researchers—which in this instance includes the public—while a slender gallery space across the plaza from the primary building both exhibits research, and provides opportunities for public engagement through the testing of the technologies that are produced at the center.
Public Plaza Exterior Perspective
11
A
B 14’ 8”
D
C 15’ 0”
15’ 0”
E 15’ 0”
F 15’ 0”
G 15’ 0”
H 15’ 0”
I 15’ 0”
H
I
J
15’ 0”
74’ 8”
0.00ft
1
2 3
4
AA
Aa
5 -4.00 ft
6
7
8
0.00ft 9
10
11
12
13
14
15
16
17
N
Research Spaces Ground Floor Plan (left), Second Floor Plan (right)
A
B
C
D
E
F
G
H
I
J
K
L
1
2 3 4
AA
Aa 5
6
7
8
9
10
11
12
13
14
15
16
17
N
13
Painted Aluminum Canopy Panels
Galvanised Steel Space Frame Canopy
Angled 12x12in Structural Steel Tube
Reinforced Concrete Core
Angled 8x8in Structural Steel Tube
18in W Beam Reinforced Concrete Core 14in W Beam
18in W Beam 14in W Beam Angled 8x8 in Structural Steel
Reinforced Concrete Footing
Structure and Details Structural System Axonometric (left), Detailed Section through Gallery (right)
Angled 12x12in Structural Steel Tube
Concrete Strip Footing
STRUCTURE_AXONOMETRIC SCALE: 1’ = 1/32”
J Wood Spacer w/ Angled Rise Drip Profile 8'-1 1/2"
5 1/4" 5 1/4" 1'-8 3/4"
6'-10 3/4"
EPDM Rubber Roof Finish
Aluminum Profile
EPS Rigid Insulation
Light Gauge Steel Frame 2'-10"
EPS Rigid Insulation Waterproofing Membrane
Waterproofing Membrane Leveling Layer
6" 4 1/4"
6 in Lightweight Concrete
EPS Rigid Insulation
1'-6 1/2"
Hat Channel Galvanized Steel Facade Panel Fixture Light Gauge Steel Frame Waterproofing Membrane
2'-1 3/4"
4x8in Gutter Drainage Channel
18 in W Shape Beam
Roof
22 ft 7 1/2 in
8'-6 3/4"
CEILING FINISH: Custom Woodgrille Ceiling Panels MIMIC FACADE PANEL
3 1/2"
5’ x 8’ Double Glazing White Aluminum Profile Cap White Aluminum Frame Mullion 5’ x 12’ Double Glazing
11'-2 3/4"
Angled 8x8in Structural Steel Tube
FLOOR FINISH: Kingston Limestone Custom Tiles HONED FINISH Base Plate with Expansion Joint Reinforced Concrete Footing
10"
1'-0"
6'-5 1/4"
Grade 0 ft
Porous Drainage Pipe Waterproofing Membrane Geotexile Layer Gravel
SCALE: 1’ - 1/2” Construction Drawing
SECTION_A
Showroom, West Facade
15
Voids Interior Perspectives (left), Exterior Perspective (right)
17
ADJACENT ‘THINGS’ Location Queens, New York Program Self Storage, Recreation Type Concept Design Team Demitri Gadzios Advisor Gregory Corso
19
Through the contemporary rise in consumerist practices, the phenomenon of hoarding has become common place. Thus, the place of ‘stuff’ in our lives has obtained new relevance as a spatial concern. In response to this, a market dedicated to providing spaces to store our unused artifacts has developed strange urban behemoths whose lurid colours starkly contrast their contexts. As the demand for these self-storage facilities has risen, they have encroached deeper into the city where large numbers of people have little space within their own homes. In understanding that this new typology is here to stay, rather than attempt to efface the visual character of the contemporary self-storage facility, this proposal attempts to reaffirm its place in the city through a graphic language—dictated by both the building’s function and its visual presence—and an insertion of mixed-use, interactive spaces intended to extend the functions of the facility. The self-storage facility is a curious confluence of the home and the life of the city. Drawing on precedents in the home, it recreates the varied conditions of storage that can be found there while providing services and spaces to the public.
Storage in the Home Precedent study, axonometric diagram
21
Urban Artifact Site Plan
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Plan Perspective Ground Floor Plan
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INDUSTRIAL INFILL Location Rome, Italy Program Artist Residency, Workspace, Public Space Type Concept Design Team Demitri Gadzios Advisor Daniele Profeta
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Interstitial Occupation Site Isometric View
29
Interstitial Occupation Ground Floor Plan
31
Sited amongst the three warehouses of the Ministry of Defense’s Precision Electrical Components Factory from the Second World War—where numerous contemporary art exhibitions have been held in recent years—Industrial Infill is introduced as a residence and workplace for artists that have been granted fellowships. Through the diffusion of production, exhibition, and residential spaces that tack on to the existing conditions of the site the existing warehouse space is preserved to be used as an informal stage by both artists in residence and without to display their work. The project reinforces the ownership of the site by the public and practicing artists, while introducing the necessarily more private workspaces that stimulate the vibrant artistic life of the city.
33
CORTILI DI ARCHITETTURA Location Florence, Italy Program Education, Workspace, Library Type Concept Design Team Anthony Bruno, Demitri Gadzios, Stewart Tillyer Advisor Luca Ponsi
35
Exterior Interiors Interior Perspectives
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Located across the Piazza Savonarola, the villa—owned by Syracuse University—exists as an enclave for the foreign students who frequent it during their semester abroad. This condition serves as a disruption in the interaction between the students and the city around them, effectively contradicting the goal of the program. In response to this condition, the ‘Courtyards of Architecture’ seeks to introduce a renewed connection between the polar conditions of the Villa Rosa and the context of the city by filling the interstitial space of the site while relieving pockets of programed space from the building’s mass through the use of courtyards. The character of each courtyard draws on Italian precedents to inform their functional and atmospheric qualities. The diversity and increased inclusivity of program invests new interest to the site, from both within the university’s student body, as well as from the agents of the city as a whole.
Programmed Courtyards Ground Floor Plan
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Spatial Conditions Composite Section
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UNEARTHED Location Florence, Italy Program Garden, Public Space Type Workshop Team Demitri Gadzios, Melissa Melone, Hao Zheng Advisors Daniel Vasini, Julia Czerniak
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The precisely curated landscape of the Boboli Gardens is a significant expression of the renaissance past but fails to maintain its relevance in contemporary Florence. In analyzing the materials used in it’s construction, it becomes apparent that the garden’s highly curated palette plays an integral part in the character and therefore the experience of the garden. By honing in on the edge conditions between changing materials and moments of attrition within the aging garden, marble—a historically and contextually familiar material—is used to emphasize the impacts that time has had on the garden, as well as draw out its inherent material qualities. The garden becomes a catalogue of material history while leveraging contemporary sensibilities to reframe the experience of the gardens.
Marble Catalysts Material studies, edited images
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Marble Catalysts Material studies, edited images
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___Research
HYBRID SITES Location N/A Type Cultural, Technology Status Completed Team Demitri Gadzios, Natasha Liston-Beck, Aditya Mehta Advisors Daniele Profeta
49
Domestic Digital Animation Still
51
Contemporary spaces are increasingly sites of convergence between the digital and the physical. As such, we no longer simply inhabit space physically, but through our cybernetic presence as well. Concieved of as a proxy for our presence in digital space, the Peg(hu)man takes on the characteristics of its environments as it engages with them, while simultaneously serving as a catalyst that reshapes the spaces, blurring the lines between seemingly disparate sites. Utilizing a combination of photogrammetry, free 3D assets, and motion capture, this animation visually explores this process of spatial production that we often unintentionally engage in.
Blurred Site(less) Animation Still
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___Other Work
PIĂ‘ATA Location N/A Type Fabrication, Design Status Completed Team Isabella, Calidonio, Demitri Gadzios Advisors Gregory Corso
55
The act of fabrication is reliant on the tools and methodologies that are employed to produce, and yet all too often these tools are seen as inhibiting to design. As an exercise in digital fabrication, this project aims to leverage the inherent limitations of the software and machines used in the fabrication process to reimagine a banal artifact: the piĂąata. The design of this particular piĂąata aims to be spatially intruding and overbearing, extending its presence beyond its physical form through its hanging system; a system that acts as a kind of self-defense mechanism to distract and tangle a swung bat as it simultaneously supports the independent capsules in tension.
Color Test Vacuum Formed PETG Shell, Spray Paint
57
Hanging Apparatus Vacuum Formed PETG Shell, Spray Paint
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FOUNDRY Location N/A Type Fabrication, Art Status Completed Individual Work Advisors N/A
61
The advent of mass production, and more recently image culture, significantly changed discussions over the ownership and authorship of produced work. Much like the contemporary image on the internet—whose authorship is often ignored, poorly policed, or otherwise accepting of its potential for appropriation—a banal, mass-produced object such as a halloween prop can be appropriated and transformed through analogue techniques as well. Using the prop as a basis for molds, editable material such as wax can be used to reconfigure its formal configuration and qualities to produce an entirely new cultural artifact. This work is composed of the documentation of this particular process of metal foundry production, and the tools, materials, and artifacts that it involves.
Post Pour Aluminum Pour, Silica Molds
63
Fragments Plaster Mold (left), Partially removed mold (right)
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New Artifact Aluminum Cast
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