Architecture Portfolio 2019
Silvio Pennesi
Contacts & Personal Information
Full name
Silvio Pennesi
Bir thdate and place
08 th Se pt. 1992 S. Severino (it)
silviopennesi@gmail.com
Mobile
+39 3279824421
Address
Via G. P. Cicarelli, 83 Camerino - 62032 (It)
Contents
04 .
Cu r ri cu l u m V i tæ
06 .
Par a u n a C i u dad Au t o c o n st r u i da Bog otà, Colombia
12 .
Pr o sken i o n Vilnius, Lithuania
18 .
D em an i ok m 2 7 8 -R i f l et t e Senig allia, Italy
22 .
c om _ Pr esen t i Ancona, Italy
28 .
Baù t a Venice, Italy
32 .
M om en t u m Bangkok, T hailand
36 .
Pou r l es en f an t s d’ O ko l à Yaoundé, Cameroon
40 .
B. U. A. C . Bologna, Italy
44 .
Em pat í a Mexico City, Mexico
48 .
C am posa z 1 3 : 1 3 Ghent, Belgium
52 .
S t or i es S t at i on Toronto, Canada
54 .
Mod el Mak i ng
56 .
B u i l d i ng Technol og y
58 .
Com pl em entar y d i s ci pl i nes
Silvio Pennesi - Portfolio
W ork
experience
Post-earthquake Technical Architect • Structural upgrading of partially damaged building and design of new residential Recovery and reconstruction, Central Italy projects in compliance with the latest anti-seismic regulations. Developing of the June 2018-March 2019 projects from the design concept up to executive detailing.
Architectural Designer at • Collaboration focused on the design development of the “Malaga University Campus” Ecosistema Urbano, Spain project. My task included urban scale masterplan design, architectural strategies (five months) November 2017-March 2018 definition, 3D visualising and preliminary executive design.
Internship at • Participation as one of the members of a five-people team in the architectural MIRO Architetti, Itlay competition “The Liget Budapest Intenational Design Competition”, organised by the (four months) April-July 2014 Museum of Fine Arts of Budapest.
E ducation MSc (Architecture) • Msc1 “Architecture and Public Building” _ prof. ir. Michiel Riedijk Delft University of Technology (TU Delft), Netherlands • Msc2 “Architecture Theory” _ dr. ir. Heidi Sohn September 2015 - June 2017 Grade : 10/10 cum laude • Msc3/4 “Methods and Analysis” _ prof. dr. ir. Tom Avermaete.
Bachelor in Science of Architecture • Graduate from the department “Architectural Sciences”, with a thesis that focused on University of Camerino, Italy the theme “Construction Systems in Developing Countries”. October 2011-July 2014 Grade : 110/110 cum laude
Awards and acknowledgements
1st Prize • “DemanioKm.278-Riflette” (realised in July 2017). Competition organised by the Architecture Magazine MappeLab. May 2017. Result: http://www.mappelab.it/dm-km-278-progetto-allestimento-2017/
Nomination Archiprix • “Para una Ciudad Autoconstruida”. (pre-selection) Graduation project at the TU Delft. June 2017, candidate for the Archiprix-Netherlands. Result: https://www.tudelft.nl/study/student-projects/archiprix-preselection-2018/
2nd Prize • “Secība”, Baltic Way Memorial. Competition organised by Bee Breeders Architecture. January 2016. Result: https://balticwaymemorial.beebreeders.com
Honourable mention • “Momentum”, design of an Artist Retreat in Bangkok. Competition organised by Bee Breeders Architecture. May 2016. Result: https://bangkokartistsretreat.beebreeders.com
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Curriculum Vitæ
Projects Published KooZ/Arch • Selection of drawings, renders and photos of the project “DemanioKm.278-Riflette”. a Visionary Platform of Architecture Interview about the techniques used in the various typologies of architectural drawings July 2018 (online) presented and explanation of the intentions behind the design.
Mappe_lab, n° 11 • Non reviewed publication of the 1st prize winning project, “DemanioKm.278-Riflette”, March 2018. realised in July 2017 (pp. 190-198).
Architecture & Culture, n° 421 • Non reviewed publication of the 2nd prize winning project, Secība, Baltic Way June 2016. Memorial, (pp. 161-166).
“Riciclasi Capannoni” edited by • One of my bachelor projects was published in this book to illustrate architectural strateL. Coccia, A. Gabbianelli, published gies to be used for the renovation of unused industrial warehouses in central Italy. by “Aracne Editrice” on Dec. 2015. (pp. 86-91).
E xhibitions - A ctivities BIENNALE ARCHITETTURA 2018 • My graduation project was represented in the “Tools of the Architect”, TU Delft’s 16th international architecture exhibition contribution to the 16th edition of the Venetian international architecture exhibition, Venice, May - November 2018 curated by Yvonne Farrell and Shelley and titled FREESPACE.
CAMPOSAZ 13:13 Vooruit • Collaboration with the Italian organisation Camposaz. The aim of the workshop was to Wood self-construction workshop redesign of the interior space of the Vooruit cafe during “The May Events” festival. Gent (Belgium) May 2018 The final outcome was the design and self-construction of modular architectural objects for space reactivation.
ARGUS Expo at the BK, • MSc 1 design studio: Proskenion, 21st century urban scenic design - 2015/16 A.Y. TU Delft’s Architecture Faculty, MSc3/4 graduation design studio: Para una Ciudad Autoconstruida - 2017/18 A.Y. These works were selected as two of the most remarkable projects at the TU Delft. The projects got published in the TU Delft yearbook and they were presented in a series of lectures and exhibitions that took place at the faculty of Architecture.
Video editing course, CISI.amo • Adobe After Effects and Adobe Premiere Pro. The course explored the possibilities March-May 2013 offered by the use of these two softwares.
S oftware Autodesk AutoCAD Rhinoceros Graphisoft ArchiCAD Autodesk Revit
6 years 6 years 3 years beginner
Adobe Photoshop Adobe Illustrator Adobe After Effects Adobe Premiere Pro
6 years 6 years 4 years 4 years
Adobe Indesign Adobe Lightroom Luxion Keyshot VRay
4 years 2 years 5 years 1t years
Languages Italian
mother tongue
English
5
fluent
Spanish
fluent
Silvio Pennesi - Portfolio
Para una Ciudad Autoconstruida Self-buildable residential and productive spaces | Site specific construction system
Bogotà | Colombia - 4°37’01.7”N 74°03’52.0”W
December 2015 - June 2016 Candidate (pre-selection): Archiprix (nl)
Academic Project TU Delft University,
My graduation project has been conceived for a problematic neighbourhood in Bogotà. The area’s main issues have to do with poorness, social stigmatisation and gentrification. My project tries to condense in a simple construction system solutions to these problems. This modular system requires basic knowledge in construction techniques and for this reason it can be employed by the community without the assistance of specialised manpower. Using this architectural tool people get empowered by the opportunity of defining autonomously their fragment of the city. This project tries to establish a dialogue between different types of reflections and intentions. ‘Le fil rouge’ that keeps everything together is a renovated idea of ownership for la Perseverancia, a working class neighbourhood located in the area of central Bogotà (Colombia). The typological transformations I imagined to introduce in this area are informed by the idea of trading private space for collective economic purposes. Such a radical upheaval in the living patterns of the inhabitants of this barrio can easily arise questions about compensation, nevertheless what I believe this project tries to do is giving shape to a process of negotiation. La Perseverancia, if we consider the state of poorness in which it is now, will not be able to survive long. Gentrification processes have now started to jeopardise this peculiar urban area and the social structure of the community that inhabits it. Staring from the idea that people in struggling conditions should get together in order to get the most out of the small resources they have available I defined a modular system of construction. This simple architectural tool being highly adaptable can be used to create small production spaces within this dense urban environment.
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Para una Ciudad Autoconstruida
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Silvio Pennesi - Portfolio
This new spatial entities created and managed by the community would serve as space of production for a local drink called Chicha. Such a micro-economic system spread allover the area through small production and distribution areas could increase the level of autonomy of this neighbourhood in regard to larger urban frame of reference. As second element of reflection I noticed that self-construction practices have always been very common among the members of this community over the one-century long history of this barrio. The modular system of construction here proposed should then be seen as a tool to be given in hands of the local population in order to empower them economically, culturally and politically.
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Para una Ciudad Autoconstruida
Ground floor production spaces, First floor Private Accesses
From the Demolition a new Strategy of Implantation
In/Out Edge _ Controlled spaces of Contact 9
Silvio Pennesi - Portfolio
The two resources present in the area (Chicha and self-construction practices) can be unlocked together and used to activate a radical transformation of this problematic area. Such a profound transformation of the architectural substance of la Perseverancia is obviously very difficult but necessary in order to achieve fruitful results. Moreover this project does not stand as a simple formal exercise it almost takes the form of a political act. It is the translation of a reality that already exists but only in the form of potential and for this reason it requires a daring explorative attitude. My exercise had faced a many difficulties that were necessary in light of the innovative result I was pursuing. Final goal of this cultural exercise was not finding solutions to problems but rather learning through theoretical, spatial and material explorations.
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The Heavy Module x. ______ 2700 mm
y. ______ 1800 mm z. ______ 2500 |...| 3200 mm
x.
y.
The Light Module
z.i
z.iii
z.ii
x. = y.i ______ 910 mm y. ______ 2700 mm ii
z.i ______ 1200 mm z.ii ______ 2500 |...| 2800 mm z.iii ______ 3700 |...| 4000 mm
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y.i x.
y.ii
Silvio Pennesi - Portfolio
Proskenion
21st century urban scenic design
Vilnius | Lithuania - 54°40’59.4”N 25°17’25.6”E
October 2015 - February 2016
ARGUS: best studio project
Academic Project TU Delft University,
Proskenion (as Greeks in ancient times used to call theatrical scenic design) was born from a series of reflections upon the transformations that are taking place in the historical city centre of most of the European capitals. The physical memory of cities is preserved while its cultural significance is traded for economic profits, so 18th century buildings now host fast food, shops and so on. The historical city gets emptied out and refilled; with this project a did it more radically, to show more clearly something that is already happening. The development of new systems of interaction between countries and cities all over the world altered the value of all the single parts that constitute a city. Thinking in terms of economy, also the idea of preservation changed. The ‘bubble’ inside which historical buildings and avenues are maintained externally unchanged reveals precise economical interests that transcend their artistic and cultural values. As a result of an operation of emptying that has been going on for decades after the second World War an hidden city was created behind the shield of memory. My proposal tries to go one step further giving to this phenomenon a visible three-dimensional character. The portion of the city, object of my inquiry, becomes thus a 21st century urban scenic design able to disclose the consequences and possibilities of such an operation. The city as we know it gets dissected and preserved only in its external appearance. A new cityscape is created under the street level generating spatial configurations that match more appropriately with the requirements imposed by internationally oriented programmes. Simultaneously the residues of the old town floats, borne by structures that resembling scaffoldings evoke a sense of limited temporality, inherent in all contemporary urban tendencies. Starting from this new ground zero, architecture grows, expands and decays as imposed by economical dominations, in a way that allows for control and unintelligibility.
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Proskenion
Roofs-plan - Floor plans, levels: +2m, -1m, -4m, -8m. Original scale 1:500 Functions housed: Entrance - Lobby 1. Foyer 2. Conference room 3. I.M.F offices’ private entrance 4. Exhibition space 5. I.M.F offices 6. Archive 7. CCTV room 8. University offices 9. Public I.M.F. offices 10. Canteen 11. I.M.F.’s private external space 12. University of economy’s entrance 13. Classrooms 14. Caffè - Restaurant 15. Auditorium 16.
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Silvio Pennesi - Portfolio
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Proskenion
Sections and matching Axonometric Views Original scale 1:200
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Silvio Pennesi - Portfolio
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Proskenion
Entrance - Lobby 1. Foyer 2. Conference room 3. Press room 4. I.M.F offices’ private entrance 4. Exhibition space 5. I.M.F offices’ private entrance 7. I.M.F. offices 8. Public I.M.F. offices 9. Canteen 10. University offices 11. Classrooms 12. University of economy’s entrance 13. Auditorium 14. Caffè - Restaurant 15.
Technological solution, adaptable steel connection
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Silvio Pennesi - Portfolio
Demaniokm278-Riflette Temporary Installation for Architectural Seminars
(realised) Senigallia | Italy - 43°40’54.5”N 74°03’52.0”W
May 2017 - June 2017
Architectural Competition promoted by the magazine MappeLab
1st prize
This temporary installation is my first realised project. This space is meant to host lectures and seminars about post-earthquake reconstruction strategies. In this unusual site - a plain fragment of seashore along the Adriatic coast - a few architectural elements define a permeable space. Here, mirror-like elements, evoking the twofold meaning of the word “reflection”, characterise a playful space with which both lecturers and audience can engage.
Our cities are the result of a continuous process of negotiation between material contingencies and the spiritual dimension of the community that inhabits them. When a natural event as an earthquake scars our urban and domestic environment in irreversible ways what is left is ourselves and the cultural baggage resulting from our past experiences. This immaterial resources represents the first resource to be used in the process of reconstruction. This considerations had inspired the proposal presented for this competition. A large symmetrical space has been thought to be delimited, along the long sides, by wooden septum covered by a mirror-like membrane. These vertical elements frame the attendees of the event, as main protagonists of the debate on the reconstruction that has been host in this temporary installation. Each of the attendees seeing his/ her image mirrored on the septum will be encouraged to reflect on his/her role as member of a community and as citizen in charge for the physical and spiritual reconstruction of our damaged territory.
Drawings | Material Reality 18
Demanio Riflette
Project - Axonometric view | Actualisation - Bird’s-eye view 19
Silvio Pennesi - Portfolio
On-site building up Works
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Demanio Riflette
Space - People
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Silvio Pennesi - Portfolio
com _ Presenti Temporary installation for photo exhibitions
Ancona | Italy - 43°37’29.7”N 13°30’41.8”E
September 2018
Architectural Competition promoted by the magazine MappeLab.
This project is a temporary installation that were meant to host a photo exhibition “Terre in Movimento”, whose pieces narrate, from different perspectives, the effects of the earthquakes that hit central Italy during October 2016. The chosen location, San Gregorio church, shares something with the exhibition, in fact this building just got re-opened after another earthquake occurred in 1972. The project creates a dialogue between these two, bringing the visitor through a path divided in two distinct parts, whose reciprocal relation is left open to interpretations.
One theme connects the photographic exhibition “Terre in movimento” and the internal space of San Gregorio’s church, the earthquake and the damages that it produces on the physical as well as cultural and social components of which a territory is made. The exhibition shows the scars left ,in 2016, by an earthquake that hit the territory of central Italy and appears as an investigation on the contemporary living conditions in these areas. These elements appear, in the images of the exhibition and in the appearance of this church, renovated after 1972 Ancona’s earthquake, in ways that defines a rapport of succession rather than parallelism. This temporal distance defines a conceptual separation between the elements brought in front of the visitor. This separation has been reinterpreted spatially by the architectural elements of this proposal.
axonometric view. 22
com _ Presenti
perspective section. 23
Silvio Pennesi - Portfolio
1 _ separation.
2 _ path.
The first part of the project is in the external space of the church whose facade features two elements that represent conceptually the internal design. In front of the church there is a path, made in alveolar polycarbonate and illuminated by led stripes on the external edges, that leads the visitors inside.
entrance. 24
com _ Presenti
floor plan.
Entering the church is entering the space of the installation directly, whose space blocks the view of the interiors. The path continues throughout the exhibition, implemented by a few panels that provide information and defines the various groups of work presented. The interior space of the installation, rather dark, facilitates a total immersion inside the spaces and the situations that the exhibition shows.
information panel | exhibition rooms. 25
Silvio Pennesi - Portfolio
A.
B.
C.
D.
E.
F.
G.
H.
A. module’s dimensions.
B. structure’s joints.
C. fabric’s anchoring system.
D. information panel’s light.
E. photos’ hanging system.
F. ramp’s structure.
G. polycarbonate’s lighting.
H. facade’s elements.
Lightweight fabric partitions, fastened to a slender steel structure, open up in specific parts towards the church in order to create “tridimensional photographs” that counterpose to the elements of the exhibition. Photography makes a selection (the edges of the image) and the project does something similar framing single elements to highlight them and create a first contact with the church’s interior.
a twofold exhibition. 26
com _ Presenti
longitudinal section.
At the end of the exhibition an opening leads the visitors oust-side the space of the installation reaching the second part of the project. The light plays again a crucial role in the characterisation of the space. After passing through spaces illuminated exclusively by the photographs’ spotlights, the bright space of the church creates an intense contrasting experience. The path continues on a ramp in the direction of the apse. Through this last segment of the path the church reveals itself to the visitor one step at the time. Walking the ramp is possible to see captions and QR code links that tell something more about the church and its history. The ramp becomes, in this way, the real public space of the project, a space for encounter and rediscovery.
the ramp | the church. 27
Silvio Pennesi - Portfolio
baùta | poveglia Venetian University Campus (Historic Building renewal)
Venice | Italy - 45°22’53.3”N 12°19’52.4”E
February 2016 - May 2016
Architectural Competition promoted by YAC (Young Architects Competitions)
Poveglia is an abandoned island in the Venetian lagoon, populated with many historic buildings. My intervention started with a macro operation that cuts the island in two. This separation is counterbalanced by the presence of a new architectural element (the wall). This elongated building defines the island’s main access point, houses exhibition spaces and leads the visitors to the other half of the island. Here the historic buildings are preserved in their external appearance while the interior spaces are redefined according to the new programme.
The decay of many islands around Venice is emblematic, echoing the process of transformation of a city mostly kept alive by its visitors. Poveglia, crystallised in its history, is a beautiful island that doesn’t need anything else than an approach able to lead the visitors in front of its intrinsic charm to bring it back to life. The intervention, referring to Venetian traditions, merges two archetypes, the wall and the arch together with two materials, the brick and the Istria stone, on different scales. A severe cut isolates the old complex and defines two areas, namely a stage and a podium, configuring an urban theatre that clearly frames the hierarchy of the space. On the podium, towers the old complex, housing the new university campus, framed by the old paths connecting the buildings. The stage is divided by nine walls that configure ten theatrical loggias, where the visitors can interact and establish an intimate visual relationship with Poveglia’s architecture. A brick wall hangs on the water to welcome the visitors of the island and leads them through the garden to the tribune. Ten arcades perforate the interactive wall that houses laboratories and exhibition spaces; ten gates underline the relation between the sea and the island. The ruin’s skins are preserved and the outlook of the old complex left untouched. The bricks skeletons house university rooms, residences, offices, the library and the auditorium. The constant relation between arches and walls, divide, define and connect the spaces. The project aims to promote the dialogue, and not the clash, between ancient and contemporary architecture. The fulcrums of this relation are precisely the art and architecture students, already located in a city. This is why, rather than standard classrooms, the campus hosts laboratories, ateliers and many exhibition spaces.
Residences Internal View 28
BaĂšta
Original configuration
Stage and Podium
New wall
Redefinition of the spaces
Axonometric View
Section AA’ original scale 1:500 29
Silvio Pennesi - Portfolio
Exhibition Space Internal View
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BaĂšta
Residences Section and Plan
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Silvio Pennesi - Portfolio
Momentum Artist retreat - Museum
Bangkok | Thailand - 13°44’42.4”N 100°29’59.8”E
Architectural Competition promoted by Bee Breeders Architecture
February 2016 - May 2016
Honourable Mention
Momentum is the result of
a contemporary architectural challenge: what’s an effective strategy to intervene on existing iconic buildings? In this proposal the most recognisable features of the external part of the building are kept. Inside this ‘concrete envelope’ a new architectural object is built. The project develops around, and within, two autonomous systems of vertical circulation, intended respectively for the artists living in the structure and for the visitors. This latter set of staircases wraps around the new intervention while performing as the connection element between the old and the new architectural entity.
The design attempts to establish a relation between the Nightingale Olympic, one of the last buildings that manage to retain a strong link to the past of Bangkok, and the new Artists Retreat. This relation is the real object of the design. Not only the old building, not the mere intervention but the space in between; the gap occurring between the nostalgia of a concrete shopping mall and the excitement of the artistic space creates a momentum. A pure volume inserts itself between the structural concrete belts of the Nightingale. Different spaces are distributed on seven floors standing on three concrete slabs.The first two stories are private, housing a kitchen and common spaces plus seven bedrooms for the artists. The two upper floors are working spaces where artists can collaborate with open rooms alternated to smaller ateliers. On the top floors people can truly interact with craftsmen and artists who can decide to open their ateliers to visitors in order to turn their space into an active museum of product and production. Enabling people to enjoy the final sculptures and paintings as well as instilling understanding of where and how these objects are made and what it means to live as an artist. The public approaches the building walking up and around this volume, perceiving through the perforated metal panels what happens on the inside and feeling the relationship within the architecture of the old façade and the new intervention. The private circulation occurs around a cylindrical void, which, connecting all the floors, physically brings light to all the spaces from above. This light sculpture and the concrete slabs break on the ground floor, which becomes an open square-and-museum. A public space attracting people with hanging sculptures through the walls. Visitors can reach the stairs leading to the rooftop in a vertical journey where people interact with the artists walking between the past and the future of Bangkok’s architecture.
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Momentum
Perspective Section มุองภายในชั้นที่
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Silvio Pennesi - Portfolio
First floor, common spaces
Second floor, rooms
ชั้นหนึ่ง
ชั้นสอง
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Momentum
0 1
5
10
Third floor, ateliers
Sixth floor, ateliers
ชั้นที่สาม
ชั้นที่หก
Internal view fifth floor, exhibition space มุมมองภายในชั้นที่ห้า 35
Silvio Pennesi - Portfolio
Pour les enfants d’Okolà Self-buildable children’s house
Okola | Cameroon - 4°01’29.4”N 11°24’16.5”E
June - July 2014
Academic Project S.A.D Camerino University
Pour les enfants d’Okolà is a structure for orphans designed for a peripheral area of Okolà (Cameroon). The project using resources and materials available in the area aims at creating a building able to achieve good bioclimatic behaviours while meeting the necessities of such a specific programme. This project is the result of
an analysis on the apparatus of needs, cultural habits, economical and natural re-
sources of the area. Aware of the shortage of resources available I tried to get the most out of them in order to define spaces as much functional and healthy as possible. I picked materials available in the areas surrounding the project site and used to achieve the best result in terms of durability and bioclimatic behaviour. The “U” shaped plan contains spaces placed in a specific sequence, linked by a covered porch that function as mediator between the internal spaces and the open patio. In the first phase of the project large parts of the site were meant to be left free to let the building grows if needed by the programme. The structure is located on the highest half of the site while the other host spaces for plantation and playful activities. The project also envisages the creation of perimetrical system for rainwater harvesting.
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Pour les enfants d’OkolĂ
dormitories common areas
kitchen infirmary terraces playground
garden
water well
B
A
C
C
plan B
A
elevation 37
Silvio Pennesi - Portfolio
section AA
section BB
Bioclimatic functioning: Simple considerations on sun irradiation, rain and wind informed many of the choices on the construction system. Rainfall: sloping roofs and flooring systems that let the water pass through, together with a system of rainwater harvesting allow to protect the structure while providing a reliable source of water. Sun: the path running below the porch protects the internal space from direct sun rays while heavy adobe walls on the South side increment thermal inertia. Wind: the risen-up structure and perforated internal partitions guarantee natural ventilation. constructive section
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Pour les enfants d’OkolĂ
construction steps
01.
02.
03.
04.
05.
06.
07.
08.
09.
10.
Construction System: The project is designed on a 1x1 mt. grid using modules that sharing the same load bearing structure can be customised internally in accordance with the features needed by the programme. The modular system allows the structure to grow organically in line with the necessities of the programme. The high density of the load bearing element allows to reduce their dimensions creating a system able to generate complex spaces from the assembling of small elements. axonometric view
perspective section CC
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Silvio Pennesi - Portfolio
B. U. A. C. Bologna Urban Art Centre
Bologna | Italy - 44°31’45.6”N 11°25’27.9”E
April 2015
Architectural Competition promoted by YAC (Young Architects Competitions).
B.U.A.C. is a project to rethink and re-use a valuable but disused industrial building located in peripheral area of Bologna. This abandoned factory became a box to be filled with spaces for art production, a venue that can host public activities while reactivating the surrounding urban area. This project was born from the idea of creating a large variety of indoor public spaces in which different types of art and various ways of producing art can come in contact one another. This intent brought to different architectural manifestations that share a common geometrical language, “circles” are the containers of art, permeable spaces in which all the phases of art production coexist. At the ground floor concentric spaces can be freely customised and arranged to produce and exhibit art within a sort art plaza that is open to the city and to whoever wants to be involved. Temporary accommodations for artists are placed in three area of the same floor behind light partitions so that privacy is guaranteed while the closeness to the laboratories let the artists work freely at any time. The first floor has a more didactic and educational character containing spaces for kids of different dimensions suitable for art related learning activities. The first floor also host a theatre. As on the lower floor all these spaces are designed in line with the conceptual scheme of “circles” as spaces to produce and enjoy art. B.U.A.C. is a space that fully belongs to the public realm, whose identity is constantly defined and redefined by the use of the community that keep the arts alive in it.t.
Programme arrangement | Theatre’s geometric concept | Overall Intervention
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B.U.A.C.
Exploded axonometric view 41
Silvio Pennesi - Portfolio
Arts laboratories
Modular pieces of furniture
Cinema
Sculpture
Photography
Painting 25mq.
18mq.
50mq.
15mq.
A’
A’
B’
B’
Ground floor
Section BB
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B.U.A.C.
1.1
2.1
3.1
4.1
1.2
2.2
3.2
4.2
1.3
2.3
3.3
4.3
Possible laboratories configurations
A’
A’
B’
B’
First floor
Section AA
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Silvio Pennesi - Portfolio
_ empatìa _ Mextròpoli 2018 pavilion
Mexico City | Mexico - 19°26’06.0”N 99°08’43.8”W
April 2018
Architectural Competition promoted by Arquine.
This pavilion got design as proposal for 2018 edition of Mextròpoli_Festival of Architecture and City. The brief asked to reflect upon the effect of natural calamities. The project tries to reverse the connection between people and environment through a mechanism that reacts to the presence of visitors. Entering this “alive” space the floor’s and ropes’ movements create feelings of disorientation, shared by al the visitors, feelings that would create perceptual empathy beetween all the people inside the pavilion. Beyond the horrors of
their physical consequences, there are events able to bring us close to other people as
nothing else. Natural disasters break the perception we have of our surrounding with effects whose extremeness is unfamiliar to all of us. In exceptional circumstances as these we get to know the people we are with through the awareness of being experiencing the same unknown conditions and thus empathy reaches the highest levels. Our proposal through its materiality and mechanism tries to evoke this specific aspect of natural calamities, the more human one. The aspect of the pavilion, hardly definable at first sight, stimulates the curiosity and invite people to engage with it. The density of the ropes changes constantly defining passages, permeable partitions, closures and their looseness allows to move easily among them. Nevertheless as people increase in number the pavilion changes in response. The floor, whose bottom layer is made of compressible foam, lowers and the ropes are put in tension, reducing freedom of movement.
External view in Calle Doctor Mora 44
empatĂŹa
Pavilion closed
Top View
Side View
1. Wooden Structure
2. Floor and Roof design
1.1 - Wooden framework 1.2 - Rubber foam sheets 1.3 - Wooden beam base
3. Placing of the Ropes
4. Ramps/ Vertical Closures Assembling
length of the ropes: 3,60 each
3.1 Knotting the ropes at the top 3.2 Knotting the ropes to the bottom 3.3 A final MDF element prevent the movable floor from moving upwards
4.1 - Assembling of the openable panels 4.2 - For safety reasons the pavilion gets closed at night
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Silvio Pennesi - Portfolio
Perimeter ropes are connected only at the top
8x8 cm Wooden elements
Without People NO Bottom Compression
A 28 cm wide OSB element secure movable floor Uncompressed foam 40 cm
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empatĂŹa
Horizontal OSB panels
Vertical OSB panels
With People-Bottom Compression
Multiple 8x8 cm Wooden elements OSB floor Compressed foam 20 cm
Our presence progressively modifies the internal space of the pavilion that affects us in return. Once inside, the perceptual experience offered by the pavilion is made more intense by the filtering effect that the ropes perform in relation to the external context. Detached from the surrounding we are utterly absorbed in this unconventional space and its rules get imposed upon all of us equally. The mechanism contained in this architecture makes it able to react to human presence and this generates an abstract, although physically tangible, image: The tension of these ropes it’s me, it’s us, right here, right now..
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Camposaz 13:13 Wooden design and self-construction in scale 1:1 for space reactivation
Ghent | Belgium - 51°02’51.7”N 3°43’38.1”E
May 2018
Design and self-construction workshop
Design and construction of wooden architectural objects finalised at the redefinition of the interior space of the Vooruit cafe during The May Events festival. This modular design meant to transform the cafè of the Vooruit Art Centre into a space for artistic performances and conferences. The workshop took place in the t (Gent, Belgium), within the framework of The May Events festival. Vooruit is a vibrant live performing arts center located in a 100 years old building in the heart of Ghent. The festival, curated by Silvia Bottiroli, was conceived on the occasion of the 50th anniversary of revolutionary movements of May 1968. For this project I worked in a team of architects and designers with the aim of designing a temporary installation inside the space of the Vooruit Café. The purpose of the project was to transform the café into an active space of confrontation for the festival, emphasising its role as collective and interactive space. The installation, composed by modular wooden elements, accommodated informal lunch conversations, conferences, and debates, becoming a backdrop for the artists’ performances. The May Events has been an occasion to explore the possibility of an autonomous proactive collaboration between architects and designers as a form of resistance to the extreme competitiveness of today’s creative economy.
Vooruit Art Centre 48
Camposaz 13:13
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modules construction
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Camposaz 13:13
space transformation
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Silvio Pennesi - Portfolio
Stories Station Temporary public art installation
Toronto | Canada - 43°39’39.2”N 79°18’26.3”W
November 2018
Architectural Competition promoted by Winter Stations Inc.
Proposal for an art installation to be constructed at the western end of the beach bordering Lake Ontario in Canada in correspondence of an existing lifeguard stand. The competition intended to investigate the phenomenon of migration considered in all its manifestations. The theme was too broad to come up with a definite definition of what migration is so the project turned into a space that gives people the chance to share their opinions, stories and thoughts on this topic.. “What is migration?”, tough question… I can tell what I experienced, what I heard, what I imagined. I felt that courage is needed to leave as it is necessary to host. I learnt that there is a need for exchange of ideas and not for propaganda. What about you? This proposal is a request for an open debate among people. The project is a simple, intimate space where people can stop for while, talking with others and warming up under a blanket. I ask visitors what migration means to them and to leave their stories, thoughts, questions on sheets of paper hanging from threads, that symbolically connects the Stories’ Station to every part of the globe and to every person that has something to share. Who comes after will be able to read, think and share so that the sum of individual contributions will help us to have a wider and more complete idea of what migration is now..
Axonometric view 52
Stories Station
Exterior
Section
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Maquette & Model Making
In my projects, model making has always been a fundamental tool both in the phases of design and as a communicative instrument. My recent experience at the university of Delft gave me the chance to improve my skills especially with regard to woodwork and software-assisted methods (laser-cut and 3-D printing). On the right side, in order:
- In-formation Machine Architecture Theory Studio (academic project at the TU-Delft) Laser-cut MDF, cardboard, plus steel components (scale 1:1) - Summerhouse on a Venetian Island The Delta Shelter (academic project at the TU-Delft) Laser-cut MDF, plexiglas, resin and concrete (scale 1:50) - Para una Ciudad Autoconstruida Methods & Analysis (graduation project at the TU-Delft) Laser-cut MDF, cardboard, plexiglas and gypsum (scale 1:50)
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Maquette & Model Making
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Silvio Pennesi - Portfolio
Building Technology
I have always studied in-depth the technological aspects of all my academic projects. I believe that technical construction details need to be mastered in our profession in order not to be limited in the design process. In this way obstacles become opportunities for further explorations in the realm of construction methodologies, studies that can lead us to new forms of architectural expressions.
The Netherlands Architecture Institute (NAI) Delft Seminars on Building Technology (academic project at the TU Delft) Perspective Section 1:20 “A” Perspective Section 1:20 “B” Joint Detail 1:5.
Proskenion - 21st century urban scenic design Public Building Design Studio (academic project at the TU Delft) Plan Detail 1:5 and Axonometric View.
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Building Technology
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Complementary disciplines
Since my childhood I have always cultivated my passion for figurative arts as a practice to engage and comprehend the world that surrounds me. Thus drawing, painting and photography perform for me as a vehicle for interaction between my interiority and the material, as well as the intangible, outside. Most frequently used techniques: - Ink on paper - Watercolours - Tempera on water - Acrylic
Cameras: Digital: Nikon D3200, 24.2-megapixel, DX format, DSLR, 2012. Lens:
- AF-S DX NIKKOR 18-105mm f/3.5-5.6G ED VR
Analogue: Canon FTb, 35Â mm single-lens reflex camera, 1971. Lens:
- Canon FD 28mm f/2.8 - Canon FD 50mm f/1.8 S.C. - Canon FD 135mm F/3.5 S.C.
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Complementary disciplines
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Silvio Pennesi
| portfolio
Camerino, Italy - March 2019