Enrico Capanni | architecture portfolio by Capanni Enrico

ENRICO CAPANNI

ARCHITECTURAL PORTFOLIO

ENRICO CAPANNI S T U D E N T, D E S I G N E R & I M A G E - M A K E R

REFERENCE Born in 1995 in Barga (Lucca), Italy. address via Nebbiana, n° 34, Barga (LU) Italy. e-mail capannienrico18@gmail.com Phone + 0039 3460475425 Instagram Account @e.n.r.i.c.o.c.a.p.a.n.n.i

EDUCATION 2009 - 2014 _ High School A. Passaglia, Lucca, Architecture class 2014 - current _ Florence University, School of Architecture Sep. 2019 - current _ Universidade Lusófona de Humanidades e Tecnologias

LANGUAGES Italian : Native language English : B2 French : Colloquial

SKILLS OS: Mac OS X / Windows Drafting: Autocad, Qgis, hand drawing Rendering: Cinema 4D, Vray plugin Graphics: Adobe CC (Photoshop, Lightroom, InDesign)

EXPERIENCE May - june 2017

September 2017 - On going July 2019 - On going

Collaborations with Arch. Gianluca Macchini Interior Design, Architecture and furnishing. Studio Macchini, Montecatini, Italy Collaborations with Arch. Leandro Martinelli. Studio Martinelli, Viareggio, Italy Collaborations with MartinelliLuceSPA, visualization. MartinelliLuceSPA, Lucca, Italy

SELECTED WORKS 2017 / 2019

IN BETWEEN

THE RING

competition entry _ RETHINKING COMPETITION _ Niagara Falls, U.S.A. / Canada _ gold mention _

proposal for a contemporary theatre Mantova (MN), Italy

MEMORY ARCHETYPE

REPETITION ACT

LIKE A WALL

Proposal for the renovation of a chapel Vicopisano (PI), Italy

competition entry _ REUSE ITALY _ Ripafratta (PI), Italy _ honorable mention _

proposal for the extenction of a kindergarten Vicopisano (PI), Italy

UNCOMMISSIONED IMAGES

General Plan

Between United States and Canada, between sky and ground, between water and stone, light and shadow, human and nature: the main idea is to achieve a path that makes the border between the countries tangible. In this way the project works like a zip, not a boundary. The path on the water ends in a platform in the middle of the river, where two stone walls stands representing both United States and Canada. The pavilion is accessible only by water.

Under the platform, a hall accessible by two linear and symmetrical stair is the perfect place to enjoy the sound of water, looking at a void where water falls like the Niagara’s do. In fact each side of this “water void” represent one of the three Niagara Falls. Here visitors can stay, sit or rest as long as they want, close the eyes and feel the power of the river while water is flowing all around. Dim lighting helps to create the atmosphere, shadow is the master.

Axonometry

Behind the hall the path proceed in a long hallway. From the outside the space is more and more compressed. Light and shadow are now equal: alternated voids on the rooftop let the light in creating a rapid pace. The introverse promenade ends in the middle of waterfall, cutting it like a blade. The space is now completely open. Visitors are in the middle of landscape on a new incredible viewpoint where they can look and listen at the river like they never did.

THE

RING

Proposal for a contemporary theatre in Mantova (MN), Italy | 2019 | Teacher: Arch. Paolo Zermani

General plan

The Horizon. The first things you notice are Palazzo Ducale and Mantovaâ&#x20AC;&#x2122;s roofs which design the skyline of the city. Then, the water. The Mincio river, backbone of the ancient settlement and natural fortification, embraces the urban centre becoming a permanent and spontaneous sign which divides the City from the countryside. On one side you can find history, men and their creations; on the other side silence, purity, the essence of a place out of time.

Plan

What is needed in a place which already have everything? Nothing more than watching. The project indeed is born to allow watching the flow of time articulated by the flowing River. A built space arises from the earth and opens up like a ring, resting on the natural shoreâ&#x20AC;&#x2122;s slope. Then this pure form is broken and a fragment is detached from it and is arranged parallel to the shore so as to never make us lose the horizon.

Section

Like an ancient theater, the project unites two moments: cavea and scene, spaces that change direction with respect to the fracture, giving those who want to look at, always a new perception. This gesture becomes a void that is reflected in the riverâ&#x20AC;&#x2122;s waters like an imperceptible line, moved by the current. Look, nothing more, protected by a silent fence that guards the secret of theater.

The intervention intends to restore the monumentality of the ruin with a simple sign: Â the repetition of the foundation act of the Castle, namely the creation of the surrounding wall. The new element define a base, on top of which stands the construction. The new Wall is emptied and become inhabited to host the functions required by the competition rules. The comparison between new walls and ancient walls is the representation of the consequentiality between History and Project.

A completely different approach is adopted inside the Rocca. Only elements built with dry techniques are introduced. A shelter for the protection of the ruins of the ancient palace and cantilevered walkways made of wood and steel to guide the visitor in the discovery of the castle. All the new elements follow the same geometric matrix making clear the difference between what is added and what was.

Inside the castle begins the rise that Â starting from the ancient foundations covered by the new shelter, slowly conquers the view across the landscape, with which the path creates an ever-changing connection that culminates at the top of the Mastio tower, in the â&#x20AC;&#x153;camera obscuraâ&#x20AC;? (darkroom), where the landscape projects itself inside the fortress. The two entrances and the distinction between the functions inside the inhabited walls and those inside the castle simplify the management of the complex, which can, therefore, be open to the public, entirely or only in some of its areas, if necessary.

The relationship between the ruin and the new intervention is characterized by detachment, the will not to touch what demands respect, Â a line of light or shadow that mark the limit between the ruins and the new building, which are close, though they never touch each other. There are practical reasons for this: touching the ancient walls with new buildings - especially if not dry construction techniques are used - can cause the deterioration of the historic walls. This choice also encourages a correct interpretation of the monumental complex and of its architectural history.

The inhabited walls surrounding the castle house the functions that are less likely to be found inside ruins like the restaurant, the restrooms and the conference room. The space between the ancient walls and the new ones, is configured as a promenade around the castle, that continues on the rooftop of the new walls where the visitor finds the entrance to the fortress through the Porta Pisana, which is re-opened.

The new structures will touch the castle only exploiting the putlog holes. The reopening of the Porta Pisana is the only intervention on the historic walls, as all the new structures added to the castle will be constructed with dry techniques and could, therefore, be disassembled, if necessary. The materials employed are steel and wood for the elements inside the fortress and sandstone for the covering of the new building.

Planivolumetric

Identity image and visual-geographic reference, these are the two values that are attributed to the church of St. Giovanni in Castellare. From this, a project that goes on on a binary route that is simultaneously able to take charge of the symbol that the community attributed to the building that used to be there before and to maintain the connection with the territory.

Plan The theme of memory is treated on the compositional plane by maintaining the cabin model and the rectangular diagram, in order to evoke the archetypical language that guarantees the universal recognizability of this church. The square and the triangle create a volume that is meant to work with natural indirect light, with its ordered ratios. In its complex, it shows itself as a solid dug from the volume of the previous church that opens up on a hall where the different incline of the inner and external slope build a thickness interrupted only behind the altar, flooded by natural light.

Instead, the facade presents a circular opening over the entrance that alludes to a rose window, but since itâ&#x20AC;&#x2122;s buffered, it diverts the light in two symmetrical side recesses where there are the confessional and the holy water font.

Section

For what concerns the original collocation, even though it maintains the orientation and the same axis, the church has receded some metres to allow the organisation of a space that is made to host various open-air activities. The entrance to the area is moved to North behind the volume, in order to form a scenographic hallway between the church and the rocks, so that it evokes a visual cone towards the landscape and the sky lead to the white cross that is located there. The basement and the staircase of the entry are made with rough concrete obtained from inert local materials; from this the steps of the visitors meet the rungs and then the floor, created with verrucano slab, that penetrate from the outside into the church, which raises into the light, thanks to the white and smooth plaster.

In this way a sort of â&#x20AC;&#x153;open-air roomâ&#x20AC;? is formed, arranged on two levels: the church parvis and a little raised terrace of two steps from where we can enjoy the view. The route that brings to the summit from the valley is easily seen in the use of the material that follows an itinerary from the rough to the refined.

General Plan In the north of the inhabited old town of Vicopisano, between the well-defined urban centre and the open country, there is the uneven site that is the object of this intervention. This space presents itself as a group of disconnected areas, separated by a road and enclosed by a narrow zone between a canal and the Brunelleschi’s walls that enclose the town. Therefore the key words are “reorganize” and “promote” what already exists in the area, by also taking the chance of working on the enlargement of the kindergarten that overlooks this space. The natural consequence of these considerations is the overall urban scale vision of the construction that finds its historical and compositional reference in the town. The project provides for the realization of a paved square placed above slightly staggered levels in front of the building that currently host the kindergarten, while rebuilding the lost churchyard of the adjacent church.Moving on to the narrow and long park under the walls, the project foresees simple and linear ways marked under the walls, connecting the new ARCI office to the ancient entrance door. In this case, the presence of open and clean spaces is preferred, in order to enhance the historic sites and make them available. A central gradine is created to be able to use the walls as a backdrop for screenings.

Ground Floor Plan

First Floor Plan

Descending from the stairway, we can focus on the school; The project wants to give more space to the internal areas, by demolishing the inter floor slab while leaving the external part of the building as it is.Going beyond the previous artifact, the expansion is made up by a new volume on two levels, placed orthogonally to the previous one into the rear space, in order to create a big sheltered courtyard between the school and the church. Here everything is thought as part of a full and void system that has to make the natural light work. For what concerns the compositional level, the example of the walled city reflect itself with a building developed lengthwise along a sturdy wall which holds the volumes that host the different functions, the historic fabric of Vicopisano.

This inhabited wall is more than a simple divider: working in excavation in its own thickness, it contains the vertical connection elements, such as stairways, elevators and various recesses that host some seats within themselves. Through these openings, the light diffusely penetrates from the top, creating a suggestive oxymoron in which the excavated part is brighter than the full one. The choice of making this characteristic element using fair-face concrete made of local inserts makes the surface vibrating and not ordinary, by strengthening its appearance.

Another expedient to create this result is the realization of the distribution space between the wall and the counterposed volumes.The internal facet of the volumes is sloped towards the wall without touching it, besides the load-bering structure where beams host the casing into their extrados hiding it from the observerâ&#x20AC;&#x2122;s eyes. The remaining split let a light cascade in, that wash the rough internal partition of the inhabited wall by counterposing to the classroom volumes. Plastered with a warm peach color, the simple volumes are thought in a double height in order to make big light well that can diffusely brighten up to the distribution space.In the ground floor classrooms, an horizontal void posed at a child height creates a funny connection with the outside, in order to lighten the blocks by detaching them from the floor. On the first floor a light raised walkways system guarantee the connection between the wall and the volumes where the canteen and the teachersâ&#x20AC;&#x2122; rooms are; here a 2 meters per 2 meters window finds its place in the thickness of the wall defining a suggestive seat. The external pavement is hosted into the distribution space, changing weft only into the children play rooms. In this way the gradual origin of this project is remarked: starting from a very wide urban scale, it narrows into a more minimal and intimate unity.

UNCOMMISSIONED IMAGES | space studies |