Silvia Susanna is an architect and independent researcher based in Rome. Her interests are in critical spatial practices, community-driven projects, speculative design research and storytelling. Her focus is primarily on projects that are questioning or reflecting established assumptions of the built environment and its relative social, cultural and political implications. She has collaborated with architectural firms and informal collectives as architect, design researcher, assistant curator, project manager, and recently filmmaker in Italy and abroad, often in multi-disciplinary groups. Currently she is running a research project on “home as space of cultural production.” Her work has been part of BIO50-Biennial of Design Ljubljana; Art and Architecture Venice Biennale; Milano and Vienna Design Week.


IASPIS artist in residence in Stockholm
Conducting a study focused on the interplay between the material decay observed at Borgo Rizza revealing the paradoxes inherent in the principles of authorised heritage discourse within preservation practices. IASPIS is the Swedish Arts Grants Committee’s international programme for visual and applied arts.

Diffractive windows – art project presented at dieDas Academy
The project emerged within the frame of Monumental Affair program dieDas Academy. It originates from a reflection on the labels ‘Zedler-Restaurierung’ testament of the currently authorized preservation discourse on Saalecker Workshop—the first project of the Nazi ideologist Paul Schultze-Naumburg and location for several meetings of prominent National Socialists (including Hitler); today headquarter of dieDas Academy. The diffractive windows offers a perspective on the material entanglement of the Saalecker Workshop beyond the authorized preservation discourse as a way to reflect on the practice of framing and being framed.

Fellow at dieDAS fellowship – Monumental Affairs – Living with contested spaces directed by Germane Barnes dieDas Academy Saaleck, Germany
Monumental Affairs asked: How does the process of canonization come to fruition? Who determines which architecture becomes part of the canon? What overt or subtle forms of oppression are inherent in this process? How does one utilize the public sphere to dismantle these canonized monuments?

Dissonances. Re-Interpreting and Re-Assessing Difficult Heritage IMT School for Advanced Studies Lucca.
Participant at the group conference with the research project 2cm the thickness of fascism on Borgo Rizza with Alice Pontiggia.

Engaged in a public conversation in Casa Punto Croce, Venice with Radio Robida revolving around the topic of home as a space of cultural production, suspension of domestication of life and platform for creative living. Robida is a collective that works at the intersection of written and spoken words and spatial practices developed in relation to the village of Topolò/Topolove, where the collective is based.

Home Tours was an experimental art project performing as a travel agency that offered de-touristic experiences at the traveller’s own home. After asking a few questions about personal idea of a vacation, Home Tours created a customized tour for each traveller/home: an experience that takes place within the four walls but guides the traveller to unexpected places and trigger exhilarating thoughts, leading to a completely new way of encountering the most known place: home.
Home tours is a collective project conceived with Alessandro Fonte, Ottonie von Roeder,  Anastasia Eggers. The project was supported by Goethe Institute Milan and funded by the Cultural Foundation of the Free State of Saxony.

II edition of The Picnic Pavilion and book launch
As Instigator together with Tobia and Isadora Tomasi and Gabriel Adams The Picnic Pavilion offered a platform to generate and realize new works within the city. It aimed at breaking the consumer-based miasma which often accompanies visits to Venice through artistic actions. The ethos of The Picnic Pavilion was to contribute to the quality of everyday life in Venice, as well as to our humanity in general.