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Architecture Por tfolio 2018

Silvio Pennesi

S i l v i o Pe n n e s i - Po r t f o l i o

B a ù t a - Ve n e t i a n U n i v e r s i t y C a m p u s, p p. 2 1

C o n t a c t s & Pe r s o n a l I n f o r m a t i o n

Full name S i l v i o Pe n n e s i

Date and place of birth 08th September 1992 San Severino (IT)

E-mail address

Mobile number +34 632 10 73 23

Address C a l l e d e S a n B e r n a r d i n o, 8 Madrid-28015 (Spain)

S i l v i o Pe n n e s i - Po r t f o l i o

S e c Ä« b a - B a l t i c Wa y M e m o r i a l , p p. 3 7





- Cur riculum Vitæ -

- Para una Ciudad Autoconstr uida

- Demanio KM 278-Riflette -

Bog otà, Colombia

Senig allia, Italy




- Baùta -

- Momentum -

- Secība -

Ve n i c e , I t a l y

Bangkok, Thailand

Riga, Latvia




- Model Making -

- Building Technolog y -

- Complementar y disciplines

S e l e c t e d Wo r k s ( O c t o b e r 2 0 1 5 - J u n e 2 0 1 7 )

S i l v i o Pe n n e s i - Po r t f o l i o



Architectural Designer at Ecosistema Urbano, Spain (5 months) November 2017-March 2018

Internship at MIRO Architetti, Itlay (4months) April-July 2014

• Collaboration focused on the design development of the “Malaga University Campus”

project. My task included urban scale masterplan design, architectural strategies definition, 3D visualising and preliminary executive design. • Participation as one of the members of a five-people team in the architectural

competition “The Liget Budapest Intenational Design Competition”, organised by the Museum of Fine Arts of Budapest.

E DUCATION MSc (Architecture) at Delft University of Technology (TU Delft), Netherlands September 2015 - June 2017

Grade : 10/10 cum laude

• Initially I worked on a large scale project within the studio “Architecture and Public

Building” held by prof. ir. Michiel Riedijk obtaining good control over the various stages of the design process up to 1:1 construction details. • During the second semester I orientated my studies towards a more theoretical

directions taking part in the courses run by the “Architecture Theory” department. • I did my graduation project in collaboration with the the chair of “Methods and

Analysis” held by prof. dr. ir. Tom Avermaete. Bachelor in Science of Architecture University of Camerino, Italy October 2011-July 2014

• I took the admission exam at the University of Ascoli Piceno (IT), school based in

Camerino (IT) and graduated from the department “Architectural Sciences”, with a thesis that focused on “Construction Systems in Developing Countries”.

Grade : 110/110 cum laude


• “DemanioKm.278-Riflette” (realised in July 2017).

Competition organised by the Architecture Magazine MappeLab. May 2017. Result: Nomination Archiprix (pre-selection)

2nd Prize

• “Para una Ciudad Autoconstruida”.

Graduation project at TU Delft. June 2017, candidate for the Archiprix-Netherlands. Result: • “Secība”, Baltic Way Memorial.

Competition organised by Bee Breeders Architecture. January 2016. Result: Honourable mention

• “Momentum”, design of an Artist Retreat in Bangkok.

Competition organised by Bee Breeders Architecture. May 2016. Result:


Curriculum Vitæ



“Riciclasi Capannoni” edited by L. Coccia, A. Gabbianelli, published by “Aracne Editrice” on Dec. 2015.

• One of my bachelor projects was published in this book to illustrate architectural strate-

Architecture & Culture, n° 421 June 2016.

• Non reviewed publication of the 2nd prize winning project, Secība, Baltic Way Memorial


gies to be used for the renovation of unused industrial warehouses in central Italy. (pp. 86-91).

(pp. 161-166).


ARGUS Expo at the BK, TU Delft’s Architecture Faculty,

• MSc 1 design studio: Proskenion, 21st century urban scenic design - 2015/16 A.Y. • 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. “SHELL, Smart Home for an Extraordinary Long Living” Unicam S.A.D., May-June 2014

• Main focus of the workshop was the development of innovative solutions generated by

the combination of interior architecture and new interactive technological systems. The workshop was run by professor Federica Ottone, vice-headmistress of the Architecture School Unicam S.A.D.

Video editing course, CISI.amo March-May 2013

• Adobe After Effects and Adobe Premiere Pro. The course explored the possibilities

“City as Common Ground”, 13th Venice Biennale of Architecture, October 26th-28th 2012

• Participation at the seminar “City as common ground”, run by professors from the

offered by the use of these two softwares. The course was promoted by CISI.amo a cultural association based in Ascoli Piceno (IT).

universities of Venice (IT), Milan (IT) and Patras (GR). The event was part of a series of lectures and seminars organised during the 13th Venice Biennale of Architecture.t

SOFTWARE Autodesk AutoCAD Autodesk Rhinoceros Grasshopper 3D Autodesk 3ds Max with VRay

5 years 5 years beginner 1 year

Adobe Photoshop Adobe Illustrator Adobe After Effects Adobe Premiere Pro

5 years 5 years 4 years 4 years

Adobe Indesign Adobe Lightroom Luxion Keyshot Microsoft Office

2 years 2 years 4 years 5 years


mother tongue






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

Academic Project Delft University of Technology Recognition: Published by the University Association Argus in the TU Delft 2016/’17 Annual Candidate for the

Archiprix Netherlands

by the Chair of Methods & Analysis (pre-selection)

October 2016 - June 2017


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Para una Ciudad Autoconstr uida Self-buildable residential and productive spaces Site specific construction system


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.




T his

n ew s p a ti a l en ti ti es cr eated an d man ag ed by th e co mmun i ty wo ul d ser ve

a s s p a ce o f p ro d u cti o n fo r a l o cal dri n k cal l ed C h i ch a. S uch a mi cr o -eco n o mi c s ys tem s p rea d a l l over th e a rea th ro ug h smal l p r o duc ti o n an d di stri b uti o n ar eas co u l d i n crea s e th e l evel o f a u to n o my o f th i s n ei g h b o urh o o d i n r eg ard to l ar g er u rb a n fra m e o f referen ce. A s s eco n d el em en t o f ref l ecti o n I n o ti ced th at sel f -co n str ucti o n p r acti ces h ave a lways b een ver y co m m o n a m o n g t h e memb ers o f t h i s co mmun i ty over th e on e-cen tu r y l o n g h i s to r y o f th i s b ar ri o. T h e mo dul ar system o f co n str ucti o n h er e pr o p o s ed s h o u l d th en b e s een a s a to o l to b e g iven i n h an ds o f th e l o cal p o p ul ati o n in o rd er to em p ower th em eco no mi c al l y, cul tural l y an d p o l i ti cal l y.


Ground f loor production spaces, First f loor Private Accesses

From the Demolition a new Strateg y of Implantation

In/Out Edg e _ Controlled spaces of Contact


T h e t wo res o u rces p res en t i n th e area (C h i ch a an d sel f -co n str ucti o n p racti c es ) ca n b e u n l o cked to g eth er an d used t o activate a r adi cal tran sf o r mati o n o f th i s p ro b l em a ti c a rea . S u ch a p ro f o un d tran sf o r mati o n o f th e arch i tectur al s u b s ta n ce o f l a Pers evera n ci a i s o bvi o usl y ve r y di f f i cul t b ut n ecessar y i n o rder to a ch i eve fr u i tfu l res u l ts. Mo re over th i s p ro j ect do es n o t stan d as a si mp l e fo r m a l exerci s e i t a l m o s t ta ke s th e f o r m o f a p o l i ti cal act. I t i s th e tr an sl ati o n o f a rea l i ty th a t a l rea d y ex i sts b ut o n l y i n th e f o r m o f p o ten ti al an d f o r th i s rea s o n i t req u i res a d a ri n g exp l o rative atti tude. My exerci se h ad f aced a man y d i ffi cu l ti es th a t were n eces s ar y i n l i g h t o f th e i n n ovative r esul t I was p ur sui n g. Fi n a l g o a l o f th i s cu l tu ra l exe rci se was n o t f i n di n g so l uti o n s to p ro b l ems b ut ra th er l ea r n i n g th ro u gh th eo r eti cal , sp ati al an d materi al ex p l o rati o n s.


The Heavy Module z.

x. ______ 2700 mm y. ______ 1800 mm z. ______ 2500 |...| 3200 mm x.


The Light Module z.i x. = y.i ______ 910 mm z.


y.ii ______ 2700 mm z.i ______ 1200 mm z.ii ______ 2500 |...| 2800 mm z.iii ______ 3700 |...| 4000 mm

y.i x.


Joint detail

Bottom Connection Detail



D emanio KM 278-R iflet t e Temporary Installation for Architectural Seminars

(realised) Senigallia | Italy 43°40'54.5"N 13°16'48.7"E

Architectural Competition promoted by the magazine MappeLab Recognition:

1st prize

May 2017 - June 2017 Photos: Fabrizio Carotti & Marco Tedeschi for “Questagenzianonhanome”


D em a n i o K M 278-R i f l et t e

D EMAN I O K M 278- R I F L ET TE Ref lecti ng (on) Ou rs el ves

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 17

Project - Axonometric view | Actualisation - Bird's-eye view 18

On-site building up Works


Space - People


Baùta Venetian University Campus (Historic Building renewal) Venice | Italy 45°22'53.3"N 12°19'52.4"E

Architectural Competition promoted by YAC (Young Architects Competitions)

Young Architects Competitions

February 2016 - May 2016



baùta | poveglia (Baùta, bautta [ba’ uta] traditional Venetian mask, from German: behüten: to protect)

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, echoing the Venetian sottoportego. Through the rhythm of the arcades, the wall bends and seeks connections to the public square it generates, establishing a direct dialogue with the historic buildings and providing a clear hierarchy to 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, allowing a playful coexistence of private and public 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.


Original configuration

Stage and Podium

New wall

Redefinition of the spaces

Axonometric View

Section AA’ original scale 1:500 24

1. Classrooms / Culture Centre 2. Bricks elements, training/resting 3. Green paths, jogging, sport equipments 4. Classrooms 5. Classrooms 6. Docking 7. Library 8. Auditorium hall, offices 9. Canteen, cafeteria 10. Amphitheatre, statues garden 11. Laboratories 12. University offices, classrooms 13. Exhibition space 14. Polivalent rooms, multipurpose area 15. Students and visitors accomodation 16. Octagon, exhibition plastic arts 17. Multipurpose space for exhibition

Time Masterplan


Dialogue Axonometric view (worm’s eye)


Exhibition Space Internal View

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, echoing the Venetian sottoportego. Through the rhythm of the arcades, the wall bends and seeks connections to the public square it generates, establishing a direct dialogue with the historic buildings and providing a clear hierarchy to the island.

Hierarchy Axonometric view (military)


Residences Internal View

Residences Section and Plan 28

Momentum Artist Retreat (existing building renewal) Bangkok | Thailand 13°44'42.4"N 100°29'59.8"E

Architectural Competition promoted by Bee Breeders Architecture Recognition:

Honourable Mention

February 2016 - May 2016



Ar tist retreat in Bangkok, T hailand

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.


Axonometric View บริ บ ท


Exploded View บริ บ ท

 ชั ้ น หนึ ่ ง

 ชั ้ น สอง

 ชั ้ น ที ่ ส าม

 ชั ้ น ที ่ ห ก 0 1




Perspective Section มุ อ งภายในชั ้ น ที ่



Inter nal view fifth f loor, exhibition space มุ ม มองภายในชั ้ น ที ่ ห ้ า


Sec카ba Baltic Way Memorial R카ga | Latvia 56째56'48.7"N 24째06'14.8"E

Architectural Competition promoted by Bee Breeders Architecture Recognition:

2nd prize

December 2015 - January 2016



Secība - Baltic Way Memorial a space to discover in the heart of Riga

This project takes a simple proposal to create a unique and meditative environment that encourages personal reflection. Drawing upon the history of the Baltic Way, this memorial places a series of walls lined up across the site to represent the many people lined up throughout Latvia, Lithuania, and Estonia during the Baltic Way. The result is an environment that, in its rigid repetition, seeks to make an emotional impact on its visitors. Discovering and learning about the Baltic Way Movement is breathtaking. The figures are staggering and the photographic ‘effect’ is truly cinematic, even surreal. At its smallest scale however, the idea to ‘hold hands’ was a remarkably simple act; a very humble ‘building block’. It is this radical polarity between the effect of the whole and the fundamental nature of its constituent parts that have informed the conceptual approach to this proposal. The ‘part’ in my intervention is the ‘wall’ - a fundamental architectural element that features in the most primitive of dwellings and in the most opulent of palaces. Conceptually, a wall is apolitical. It is understandable and accessible to every individual. It represents something ‘un-dictatorial’ and ‘un-oppressive’. 42 walls are arranged along the length of this elongated site. Their form is configured through a set of variables, some of which are kept constant to highlight their consistency as part of a whole, some of which are carefully manipulated, highlighting individuality and character. It is this considered playfulness of one simple element that seeks to create a strong and striking ‘whole’ perceived from the street and the river embankment, an interesting form with weight and consistency. Conversely, it is their individual variations of height and openings that, at closer inspection, promises further narrative and spatial journey. It is suggestive and inviting, conveying a space to ‘discover’ by a route carved through the walls and the spaces created in between them. Some walls have one opening, others have two; some are broken into two elements while some morph into enclosed spaces or around the existing trees on the site. The memorial is discovered through a 2.4 metre sunken path that traverses and punctures through the walls.By sinking the memorial path a ‘moment’ is created where one crosses into the independent space of the memorial. Atmospherically, crossing this threshold provides a distinct entrance to a very different kind of space to that of the immediate urban context, one particularly unexpected in this part of the city. Practically, this decision removes the memorial from the distracting realities of its surroundings, most notably insulating it from the noise of traffic from the adjacent main embankment road. It helps the memorial and its site retain an element of reflection.

Permanent Exposition



Green public spaces


Temporary Exposition






The Memorial inside 40

Position in the Context

The memorial path leads past various fragmentations and ‘moments’ where elements of the program and the memorial are ‘discovered’. Walls are broken, punctured, connected and manipulated to provide flexible exhibition space, landscape, seating, areas of contemplation and rest. The route is broken to provide opportunities for transgression. It is thus flexible, not only in its function as an informative memorial but in its use by the visitors as they are gently invited and guided, not directed. Architecturally, these playful manipulations of form break the strong rhythm of the plan and provide further depth beyond the perception of the ‘whole’.


Axonometric View

The south eastern tip of the site is a strong, axial space in its relationship to its immediate urban context. It links the bridge, the promenade and the public square which provided an edge to the old city. The proposal locates the cafe at this end of the site as a neutral but inviting introduction to the memorial. A permanent exhibition space and a shop are located at the opposite end of the site, beyond which the required car parking spaces are situated. It is at these axial nodes of the site that an occasion is created for the visitor whereby they are transferred from/to the busyness and presentness of the street, to the quietness and reflection of the memorial.

The Memorial perspective section 42

Maquette & Model Making


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)



Building Technolog y

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.

On the left side:

The Netherlands Architecture Institute (NAI) Delft Seminars on Building Technology (academic project at the TU Delft) Perspective Section 1:20.

On the right side:

Proskenion - 21st century urban scenic design Public Building Design Studio (academic project at the TU Delft) Perspective Section and and exploded view of the anchoring system.



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.



S ilvio P ennesi

| portfolio

M a dri d, S p ai n - March 2018

Architecture_Portfolio | Silvio_Pennesi  
Architecture_Portfolio | Silvio_Pennesi  

Silvio Pennesi's Architecture Portfolio Selected Works: October 2015 - June 2017