PORTFOLIO
CAROLINA SARTORI JAN 2022
3 Carolina Sartori 25-01-1994, Venice Milan (IT) Via Canonica 13, Milan 20154 Italy +39 348 4231 491 sartoric9@gmail.com https://carolinasartori.it/
Education:
2020 - 2021
CFP Bauer, Milan, IT Digital and Analogue Photography
2017 - 2020
Polytechnic of Milan, Milan, IT Master of Architecture - Built Environment Interior (Cum Laude)
2013 - 2017
IUAV University, Venice, IT Bachelor degree - Master of Architecture and Arts (Cum Laude)
Work experiences: 2021 - ongoing
Publications:
YellowOffice, Milan, IT – Architect
2020
Matilde Cassani, Milan, IT – Internship
2019
SANAA / Kazuyo Sejima + Ryue Nishizawa, Tokyo, JP – Internship
2018
Ugo Carmeni Photography Studio, Venice, IT – Assistant
2016 - 2017
OMA (Office of Metropolitan Architecture), Rotterdam, NL – Internship
2015 - 2016
Renato Rizzi, Venice, IT – Collaborator and teaching assistant
2019
FREEHANDWRITING – calligraphy manual, Monica Dengo, Venice photography and graphic editing
Exhibitions:
Proficiencies:
2017
LAMPEDUSA – La Cattedrale di Salomon Il Libro del Lavoro, Vol. II, R. Rizzi, Mimesis Edizioni (ISBN-13: 9788857539348) - graphic editing
2021
‘STILL’ – TRNK Exhibition photography Edition, NY, US
2021
ET CETERA – ISOLATION: 16 Italian young photographers, Prague, CZ
softwares
language
Suite Adobe (Photoshop, Illustrator, Indesign, After Effects, Premiere, Lightroom) Autocad, Microsoft Office (Word, Excel, Power Point), Rhino, Sketch Up Italian (mother language), English (fluent in speaking and writing)
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7 in detail:
YellowOffice - arch. Francesca Benedetto The firm revolves its research around city and nature, ideas of public spaces and environmental disciplines, always observed through the lens of visual arts. As architect I collaborate in projects ranging different scales, from international architecture competition to exhibition design and publications. In detail: establish, develop and communicate the design in the early phases, in coordination and administration through the construction documentation and execution phases.
2021 - ongoing
Nora’s House > interior design project > private commission > Milan, IT Enhancement and restoration of the Castle of Locarno > international architecture competition > Locarno, CH The new Aere neighbourhood in Bern > international architecture competition > Bern, CH Campus Edeha et Ecole de Couture à Sierre > international architecture competition > Sierre, CH Re qualification of the garden of the former A. Mai Institute > international architecture competition > Rome , IT
As a photographer I trained both in analogical and digital photography. My personal research focuses on the relationship between human and urban context through investigation of the spatial condition. Beside the personal research, I often work as freelance photographer for events, e-commerce and architecture.
ongoing
SANAA - Kazuyo Sejima + Ryue Nishizawa Getting in touch with a multidisciplinary and ever-changing environment, I have been involved in a number of group projects which allowed me to quickly learn new design approaches and operative methods. As an architecture intern, my tasks included model making, images production, drawing for the different project phases. Furthermore I had the chance to participate in the layout designing of the Office’s monograph for Vitra Design Museum.
2019 - 2020
Grosnover Square > international competition > London, UK Summer residencies in Otranto > private commission > Otranto, IT SANAA Vitra Book > publication Berlin’s Exile Museum > international competition > Berlin, DE
OMA - Office for Metropolitan Architecture As an architectural intern, I worked on various projects within a team, being trained and mentored by experienced architectural professionals. I had the chance to work collaboratively in a dynamic and international environment. My tasks included conceptual drawings, rendering, physical model building, presentations for meetings.
2016 - 2017
Schipol Terminal South > international competition > Amesterdam, NL Richmond Power Station > private commision > Melburne, AU
Renato Rizzi In the role of teaching assistant I was in charge of the presentation of lectures material and students assignments. Furthermore I collaborated in several architecture competition. I deeply explored new techniques of model making which involved plaster cast and precise uses of papers. Lampedusa, The Salomon Cathedral > Architecture and Composititon course > IUAV, Venice Orphan Ground > 15. Venice Biennale - Reporting from the front > exhibition design > Venice, IT The Grand Villa Adriana > Piranesi Prix de Rome, International Architecture Competition > Rome, IT Lampedusa. The Salomon’s Cathedral vol. II / publication / Mimesis Edizioni
2015 - 2016
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collaborations
academic
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> GROSVENOR SQUARE / international design competition / London, UK / p. 10 > A LIBRARY FOR NORA’S HOUSE / private commission / Milan, IT / p. 32 > LAMPEDUSA / The Salomon’s Cathedral vol. THE WORK BOOK / publication / 2017 / p.38 > ORPHAN GROUND / exhibition design / Venice, IT / p. 44 > RESONANCE / photographic research / p. 48
> SCENOGRAPHY FOR A POSSIBLE ACT / academic project / Greek Theatre of Syracuse, IT / p.16 > AMAZON EXCHANGE HUB / academic project / Madrid, ES / p. 24
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Grosvenor Square design competition / London, UK international competition / SANAA / 2019 Our proposal is to transform Grosvenor Square from a small park into a diverse series of habitats, from woodland to wetland. The design highlights the purifying potential of urban space and adopts the natural cycles of water and the existing topography of the site to harvest rain and transform it biologically into a network of layered ecosystems that provide space for reflection, play and well-being. We propose to retrace the boundary of the garden to highlight this new balance between the urban and the natural: the garden re-appropriates traffic intersections while the city trickles across the site. A canopy weaves through the trees, providing shelter, solar energy and a soft division between spaces of flux. The design is driven by seasonal shifts, each with its own vegetal character and colour, each highlighting a quality of the water landscape with which visitors can engage from ponds, streams and reflective skims, to ephemeral mist and rainbows.
Our proposal looks to give sustainable design a new aesthetic, one that is harnessed from nature and engages with its rhythms, unpredictability and wildlife to create a space of intergenerational crossover, education and programmatic layering. It is an archipelago of islands that can be clustered or separated, intimate or expansive and whose limits are continuously redefined by temporal cycles. * the following images are not reproducible. Sanaa 2019 all right reserved ©
Team: architects/ Kae Ito, Lucy Styles, Furuya ..., Asano Yagi interns / Carolina Sartori, Alexander Zikanov
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Plan
1. rainwater collection
3. cooling the city
4. energy prproduction
2. water filtration
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Current: small park
A collection of habitats: 5 types of natural environments woven together by an urban plaza
Perimeter channel and canopy water are directed to rain garden for first filtration
Rain garden then direct water to the reed bed of the pond for second filtration
Multi day summer fair
A seated event for 1000 people
Nature workshop for 50 kids
Normal day
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Spring
Summer
Autumn
Winter
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NV - Nymphaea virginalis NMC - Nymphaea Marlacia Carnea NM - Nymphaea Marlacia A - Aponogtum distachyos
I - iris pseudacorus x5 My - Myosotis scarpiodes x7 L - Lythrum scalicaria x7 Eup - Eupatorium cannabinum x3 Eu - Euphorbia palaustris x3 Ly - Lychnis flos-cuculis x7 Me - Mentha acquatilis x5 IS - Iris siberica x5 g- Geum rivale x5 C- Caltha palustris x5
Fountain plants system
Wetland
Woodland edge
Meadow
Lawn
Woodland
Plaza
Six types of habitat
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Physical model
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Three elements for Nora’s House / Milan, IT Private commission / YellowOffice / 2021 A kitchen, a bookshelf and a exterior terrace are three made to measure project for a private house in Milan historical centre (currently under renovation). The three interventions structure the living spaces of the new house, establishing a dialogue between shapes, space and materials. The kitchen is structured on a 60x60 module, unified by a corrugated aluminium cladding. A wall and a island unit contain all the necessary appliances and compartments, in a game of full and empty spaces. Conceived as a modular piece of furniture, the library can be easily adapted to any type of room and size need. The brass uprights have an hexagonal base (1mm thick) and allow to set the horizontal elements every 30cm
height. The shelf are instead characterized by a wave shape of 85cm length, drawing an infinite leitmotiv by their regular repetition. The double siding of aluminium foil of the shapes, gives to entire structure a sense of lightness and openness. The terrace eventually expands the living room outside. A pavement of 20x20 cm recycled stone tiles give a sense of freshness and continuity with the sky view of the city. The terrace host numerous plants and small trees, like a hidden garden between the roofs.
Team: architect / Francesca Benedetto junior architect / Carolina Sartori
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Description: 90 cm wave shelf bookcase *customized adaptation of the module Size (cm): W30 H300 D670 Materials: 1mm brass hexagonal pillars (x9), laminated shelf (Abet Laminati) (x35)
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Description: 60x60 cm modulate kitchen Size (cm): W264 H300 D62 Materials: white laminate internal structure, aluminium laminate exterior finishing (Abet Laminati), white stone working tops (Lapitec)
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Description: external paving for outdoor terrace and study for a pots containment metal structure Size (cm): W20 H2 D20 (tile) / W0,8 H20 D642 (structure) Materials: terrace pavement in recycled stones and concrete, iron structure with 80 cm pitch
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LAMPEDUSA / The Salomon’s Cathedral vol. THE WORK BOOK Renato Rizzi / IUAV / 2017 Aestethic and Architecture 1236 pp. (ISBN: 9788857539348) The pages of this large volume are held together by three steel bolts. A practical, economical, effective solution. As any good work requires. It looks a lot like those drastic decisions that, despite our intentions, we are forced to take quickly in the pipeline. For this reason, the book looks more like a filing cabinet suitable for a blacksmith’s desk than a drawing board. It actually serves both of them. Their plans, overlapping, draw the grid of the daily schedules of the works. That is their purpose, their field of action. So what does the book show? That the construction site has returned to a classroom again. (Isn’t this the meaning of a laboratory?). And again: why those bolts? They are the obvious metaphor of a latent work. They firmly hold responsibility, effort, effort together with the subjects of the project. The essential material: the ideal. The instrumental material: the manual. The occasional matter: the inorganic. Their sum: the form.
Hence the need and urgency of the construction site. Big or small, it always has its laws to respect, its rules to apply: administrative, programmatic, economic. But let’s start with the data. - 64 students, 1 teachers - Assistants 1 - 13 volunteer collaborators (teaching group, 15 people) - Work tables, 38 - Ratio 1,7 students / table (inadequate) - Course duration: annual (two semesters) - Total working days, 30 The book collects in detail, the activities and the work organisation of the first year of Architecture and Composition course at IUAV, held by Renato Rizzi in 2017.
Team: texts and architecture project / Renato Rizzi assistant / Susanna Pisciella graphic designer / Carolina Sartori, Marco Costa, Nicola Ruaro
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ORPHAN GROUND / Reporting from the front / 15. Venice Biennale Renato Rizzi exhibition design / Venice, IT / 2016 Every “shape” lives of a internal substance. They are the invisible images of indominabile forces. The matter and the soul are the extremes of “real”. The physical needs are linked to metaphysical dimension. The four projects in section shows us, beyond the concrete needs, the internal movements of invisible powers. 1- Napoli, experimental space for music. Regret. Contraction, to fall into. 2- Parma, work on the european periphery. Shame. Draw back, to make room. 3- Gdansk, Shakespearean Theatre. Dignity. Raising, push. 4- Firenze, ideal classroom. Vision. Contemplative suspension.
Each movement recalls its own gravity field of knowledge and consciousness around function. 1- culture 2- knowledge 3- discipline 4- civilization 118 models (projects) hang on the wall to show us how the matter is the aspiration to soul and vice versa. Team: texts and architecture project / Renato Rizzi assistant / Susanna Pisciella collaborators / Carolina Sartori, Nicola Ruaro, Alessandro Modonese, Filippo Arenosto, Fabio Gardin, Stefano Gobbin
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1.
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3.
4.
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15. Biennale di Venezia Reporting from the front Orphan Ground
List of works
1. Ferrara – Orografia urbana all’interno delle mura 2. Ferrara – Primo sistema figurativo. Le mura 3. Ferrara – Livio Guerini, Il sogno di Ferrara, XVI sec. 4. Ferrara – Nucleo Bizantino,VII sec. 5. Ferrara – VIII – XI sec. 6. Ferrara – Addizione Niccolò II d’Este, XIV sec. 7. Ferrara – Addizione Borso d’Este, XV sec. 8. Ferrara – Addizione Erculea, fine XV sec. 9. Ferrara – Rafforzamento dei bastioni, fine XVI sec. 10. Pedemontana – Virgilio, Eneide, Libro I, v. 244 11. Pedemontana – Dante, Divina Commedia, Paradiso, Canto XXXIII, vv. 91-93 12. Pedemontana – Dante, Divina Commedia, Inferno, Canto XV, vv. 10-12 13. Ferrara – Attuale conformazione del sistema delle mura 14. Ferrara – Secondo sistema figurativo. Le acque 15. Ferrara – Pianta della città, 1747
16. Ferrara – Iconografia, XVI sec. 17. Ferrara – Iconografia, XII sec. 18. Parma – Centro storico, periferia e progetti 19. Parma – I fiumi Baganza e Parma e la città, XVIII sec. 20. Parma – Impianto fondativo della città, epoca longobarda 21. Parma – Iconografia, XVIII sec. 22. Parma – Iconografia, XVII sec. 23. Parma – Impianto fondativo della città, epoca romana 24. Parma – Iconografia, XV sec. 25. Parma – Iconografia, XVII sec. 26. Parma – Iconografia, fine XVII sec. 27. Parma – Iconografia, fine XVII sec. 28. Parma – Battistero, bassorilievo dello sviluppo interno 29. Parma – Sistema difensivo in relazione al torrente Parma e al Palazzo della Pilotta, XVI sec. 30. Palazzo della Pilotta, XVI sec.
31. Venezia – La riviera del Brenta e il sistema lagunare 32. Pedemontana - Marostica, le colline di San Benedetto e le mura del castello 33. Venezia – Bacino di San Marco e la stazione della Sublagunare 34. Napoli – Villaricca, centro storico, periferia e l’occhio ipogeo 35. Varsavia – La Vistola, lo zoccolo tettonico, il Palazzo della Scienza e della Cultura 36. Varsavia – Rovine della Seconda Guerra Mondiale 37. Cortina – Dolomiti d’Ampezzo: Tofane, Monte Cristallo, Sorapiss 38. Valdagno – Progetto, teatro, Parco e Villa “La Favorita”, torrente Agno 39. Costantinopoli – Mar di Marmara, Corno d’oro 40. Cortina – Le tre cime di Lavaredo, Rocchetta, Antelao 41. Aldeno – La gola del diavolo
42. Bismantova – La pietra di Bismantova 43. Scilla e Cariddi – Tracciati visivi delle fortificazioni ottocentesche 44. Scilla e Cariddi - Punta Peloro, Reggio Calabria, Messina 45. Aldeno – La valle dell’Adige 46. L’Aquila – Palazzo Camponeschi 47. Bismantova – Appennino Tosco-emiliano, Secchia 48. Parma - Appennini, Via Emilia, Po. Piacenza, Fidenza, Parma, Reggio Emilia, Modena
49. Pedemontana – Colli Euganei, Colli Berici, Monti Lessini, Altopiano di Asiago, Montello, laguna veneta 50. Pedemontana – Il tracciato della Pedemontana e la scena del progetto 51. Pedemontana – Inversione del paesaggio: i canali pensili 52. Pedemontana – Valdastico, Val Sugana, Val Feltrina 53. Danzica – Iconografia, XVII sec. 54. Danzica – Iconografia, XIII sec. 55. Danzica – Iconografia, XIV sec. 56. Danzica – Iconografia, XVII sec. 57. Pedemontana - Marostica, Brenta, Bassano 58. Pedemontana – Theatrum Adriae: le prealpi venete, la pianura e l’Alto Adriatico 59. L’Aquila – Catena del Gran Sasso 60. L’Aquila – I laboratori dell’Istituto Nazionale di Fisica nucleare sotto il Gran Sasso 61. Copenaghen – Paesaggio dei bordi
62. Copenaghen – Paesaggio dei bordi 63. Copenaghen – Paesaggio dei bordi 64. Copenaghen – Paesaggio dei bordi 65. Modello di teatro elisabettiano 66. Modello di teatro elisabettiano 67. Modello di teatro elisabettiano 68. Valdagno – Le propaggini delle piccole Dolomiti e i Monti Lessini 69. Valdagno – La valle dell’Agno 70. Napoli - Il golfo, Ischia, Procida, campi Flegrei, Vesuvio, Capri 71. Copenaghen – La città e l’isola di Amager 72. Copenaghen - Fondali marini del Kattegat 73. Copenaghen - Fondali marini dell’Oresund, lo stretto di Helsingor e Hels-ingborg, al centro Copenhagen 74. Copenaghen – Palazzo Reale di Amalienborg, Marmor Kirke, il Kastellet e l’arco orientale delle fortificazioni
75. Parma – Battistero, livello dei portali di ingresso 76. Parma – Battistero, livello del secondo ordine delle logge interne 77. Parma – Battistero, livello dell’imposta della cupola 78. Parma – Battistero, intradosso della cupola 79. Parma – Battistero, estradosso della cupola 80. Venezia – San Zan Degolà 81. Venezia – Redentore 82. Parma – Lo spazio del pudore, progetto A 83. Parma – Lo spazio del pudore, progetto B 84. Parma – Lo spazio del pudore, progetto C 85. Venezia – San Simeone Piccolo 86. Venezia – Santa Maria Maddalena 87. Venezia – Santi Giovanni e Paolo 88. Venezia – Santa Caterina 89. Venezia – San Marco 90. Venezia – Santa Maria della Salute 91. Venezia – Santa Maria Mater Domini 92. Venezia – Carmini 93. Venezia – San Zaccaria 94. Venezia - San Giovanni Elemosinario 95. Venezia – San Salvador 96. Venezia – Miracoli
97. Venezia – San Giorgio Maggiore 98. Venezia – San Francesco della Vigna 99. Venezia – Il progetto a Piazzale Roma in relazione alla città 100. Venezia – Mediterraneo, Mar Rosso e Mar Nero 101. Valdagno – Figura di progetto in relazione al torrente Agno 102. Varsavia – Fortificazioni, XIX sec. 103. Gerusalemme, Al Aqsa 104. Mecca, Al-Masjid al-Harãm 105. Damasco, Moschea Omayyadi 106. Venezia – Ville del Brenta, Ca’ Moro 107. Venezia – Ville del Brenta, Villa Zaguri 108. Venezia – Ville del Brenta, Villa Nao 109. Venezia – Ville del Brenta, Villa della Bella 110. Venezia – Ville del Brenta, Villa Priuli 111. Venezia – Ville del Brenta, Palazzo Boldù 112. Venezia – Ville del Brenta 113. Venezia – Ville del Brenta 114. Venezia – Ville del Brenta, Casa Canonica di Mira 115. Venezia – Ville del Brenta, Villa Foscarini 116. Venezia – Ville del Brenta, Villa Zucconi 117. Venezia - Redentore 118. Venezia - Chiesa della Salute
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View of the exhibition
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RESONANCE Photographic research and web design Images and the references play a fundamental role within the design process, in the way they can create operative directions and translate them into spatial configurations. I find my interest in photography as a powerful tool by which filtering reality and express contemporary issues. The image combination and assemblage structures possible stories and cultural geographies, always questioning contemporary issues and most debate topic of our time. https://carolinasartori.it/ Personal projects
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DAILY ROMANCE / personal research project / 2021
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RETURN TO THE SUN OF NOTHING / personal research project / 2021
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36 HOURS IN PALAZZO ABATELLIS, Palermo, IT / TheHiddenCity collateral event / Manifesta 12 / 2018
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SCENOGRAPHY FOR A POSSIBLE ACT / The Bacchae (by Euripides) / Greek Theatre of Syracuse, IT
Academinc project / Politecnico of Milan / 2020 Pivotal theme of the tragedy and foundation of the project, the opposite wants to be interpreted as doubling and visual alteration. A threshold line joins and divides two different halves of the same body. Rationality and irrationality, nature and the city, are represented by a circular platform separated in the center by a step, a symbol of the two-faced limit. To these two halves, evocation of the city, theater of human actions in which the drama takes place directly, corresponds the opposite and the complementary mountain, seat of the sacred and of the mystery, populated by once human figures, now dominated and guided by a force that has nothing of the human. The upward path that circumscribes, embraces and runs through the field of action, represents and serves the action of Dionysus, his double role as man and deus ex machina, through the tension towards a divine unattainable for man, aerial , omniscient gaze of divinity. Between these two poles there is a screen, an instrument of the divine that alters reality up to the loss of human sense and identity.
These two objects rotate with their own and autonomous cadence: the platform, symbolizing the city, is subject to a slow and inexorable rotation, following and determining the passage of day to night; the screen, an instrument of the afterlife, scans the acts with a sudden rotation necessary for the preparation of the scene, revealing the divine artifice to the viewer. Three times are delineated characterizing the action: natural time (given by the passage of day to night), mechanical time (given by the rotation of the platform and the screen) and human time (given by the movement of the actors). Like a dance these three tempos interact and detach themselves, revealing the project: a great stage machine.
Team: professor / Pierluigi Salvadeo students/ Mattia Chinellato, Sofia Hosszufalussy, Carolina Sartori
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Plan
Edward Gordon Craig, The Mask
Giano bifronte
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Tiresias, Cadmus in the palace
Bacchantes on Monte Citerone
Disguise & ascent to the mountain
Sparagmos
Epilogue, Deus ex machina
(Tiresias) “Only us, among all the Thebans, we know how to reason. “
(Penteo) “Women, pretending to be owned by Bacchus, they left the houses and wander through the woods, on the mountain, in honor of a new god, Dionysus, if that is his name. “
(Penteo) “It all seems double to me. I see two suns in the sky and two cities of Thebes [...] Who am I like? To Ino, perhaps, or to Agave, my mother?
(Messenger) “And he tore off the tapes from the hair, because he is his mother, the unfortunate one Agave, she could recognize him and not kill him. “
(Agave) “I will go to a place where the cursed Cytheron can no longer see me, where I can no longer see the Citerone, where it doesn’t even exist the memory of the thyrsus. “
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Day/Night view
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Subscale storage schemes
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Performance views
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Structural composition axonometric drawing
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Time of the Earth
Time of the machine
Time of the human being
Three times are delineated characterizing the action
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AMAZON EXCHANGE HUB / Madrid / ES Academinc project / Politecnico of Milan / 2019 Amazon decides to take over ‘Madrid Norte’ Transit Station to experiment in a new model of parcel delivery in cities taking advantage of the existing transportation infrastructures, conceiveing it as a role model for our future cities. The aim of the project is to re-think the technology and the new public space where people, goods and parcels, public transportation, cars are exchanged in cities.
Team: professor / Hector Fernàndez Elorza students / Wen Wen Chang ,Mattia Chinellato, Carolina Sartori
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Urban front
Masterplan
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Ground floor plan
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Physical model
Exterior facade frame
East facade
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Rooftop garden
Urban front
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autumn garden
winter garden
spring garden
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3. Disco club 2. Restaurant and rentable spaces 1. Cafè and co-working space + rooftop garden
summer garden 1.
Terraces floor plans
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01 Receipt of goods
02 Vertical distribution
03 Scanning
04 Pack / Unpack station
05 Conveyor belt
06 Vertical lift
07 Shuttle storing system
08 Self-supportig stocking shelves
09 Multi zone picking
10 Drone racket system
11 Management
Logistic floor plan
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Goods logistic process