Castelnovo Noemi
Hello! I recently graduated in Interior and Spatial Design from Politecnico di Milano. During my master’s studies, I took part in a Double Degree exchange project with Tongji University in Shanghai. I am passionate about what I do, and I am always looking forward to new challenges. My curiosity has no limits when it comes to design.
Index // CV // PROJECTS: HABITA temporary living EROS IS OCCULT metaphorical space GRID temporary retail LIVING ON STAGE temporary space THE LAST VINEYARD landscape design DSTNC research BOTTEGA VENETA flagship store // WORKSHOPS & EXHIBITIONS
Noemi Castelnovo DATE OF BIRTH 15 December 1995
PLACE OF BIRTH Busto Arsizio (VA) Italy PHONE +39 3492784622 EMAIL noemi.castelnovo @alice.it
EDUCATION 2017 - 2020 Master Degree - Interior and Spatial Design Politecnico di Milano - Scuola del Design Feb. 2019 - July 2020 Double Degree exchange program Environmental Design Tongji University - College of Design and Innovation Shanghai, China 2014 - 2017 Bachelor Degree - Interior Design Politecnico di Milano - Scuola del Design 2009 - 2014 Diploma of “Business consultant proficient in foreign languages” Double diploma EsaBac (France) Istituto tecnico commerciale ITC Enrico Tosi Busto Arsizio, VA
OTHER COURSES Debate course Public speaking workshop
WORK EXPERIENCES Feb. 2021 - July 2021 EMEA Architecture intern - Bottega Veneta Milan, Italy Jan. 2020 - June 2020 Interior Design intern - Coordination Asia Ltd. Shanghai, China Sept. 2019 - Nov. 2019
Teaching assistant - Tongji University “Design for Sustainability“ - Prof. Zhu Xiaocun
March 2017 - June 2017 Museum guide and mediator Museum Casa degli Atellani - La Vigna di Leonardo
SKILLS Hard skills
Soft skills
Research Idea generation Concept definition Concept representation Organization & planning
2D Drawings 3D Modeling Rendering Graphic illustration Model making
Team work Problem solving Deadline driven Multi-tasking Presentation
SOFTWARE KNOWLEDGE
LANGUAGE KNOWLEDGE
PERSONAL INTERESTS
SKETCHUP
ENGLISH B2 (FCE - grade B)
Retail design Exhibition design Art installations Light art Jewerly design Sustainability
AUTOCAD 3DS STUDIO MAX
FRENCH B2 (EsaBac)
PHOTOSHOP
SPANISH B1
INDESIGN
CHINESE Beginner
ILLUSTRATOR MICROSOFT OFFICE
Internships Coordination Asia Ltd. Interior design intern During my internship I worked on two exhibition design projects. 1_ Research and concept development for an exhibition at Shanghai Museum of Glass Park. Contents definition and design of 12 art installations. 2_ ”How social distance re-shapes Museums”. Research and design of conceptual maps and illustrations about the possible future of museums and exhibition spaces. Main activities: • Multidisciplinary research • Concept development • Concept presentations • Project development through 3D visualizations, technical drawings and graphic.
Bottega Veneta EMEA Architecture intern • Support the project manager during the last phases of a project. • Interact with furniture producers asking quotations, documents and organizing deliveries. • Keep track of furniture production. • Support the project manager with costplan files update. • Keep track and organize documents in between vendors and administration. • Control and management of documents and orders for different projects in support of the managers. • Organize activities in store for furniture changes or technical interventions collaborating with different partners • Prepare presentations for different project phases: location selection, zoning, additional spatial interventions, and final result. • Adjust drawings, plans or renderings for different partners. • Keep track and submission of weekly/ monthly team’s documents.
HABITA
contamination for reintegration
Project area
BACHELOR THESIS PROJECT
Starting from:
Project realized with Elisa Cinelli
Laboratorio di Sintesi finale Prof. Anna Anzani, Luciano Crespi, Davide Crippa and Barbara Di Prete.
Mentor: Prof. Anna Anzani Academic Year 2016-2017
Project logo
Habita is the result of a research based on the topic of Avanzi that wants abandoned buildings to be brought back to life in order to avoid their demolition. The design metaphor chosen to express this intention is the Contamination seen as the integration of new systems with the existing context to obtain an evolution process. The next step of our work was to define the planning methods suitable for the adopted metaphor. As regards the second floor, contamination has been translated in the adaptation and in the continuous transformation of the space directly made by guests. In fact, in this area of the building, guests do not occupy the space in a passive way, but they are the real creators as they adapt the space to their needs.
Furniture system Most of the perimetral interior walls are covered with MDF panels in which, thanks to laser cut production, are included the various elements that, once detached and joint between them, will form the different furniture for the spaces.
In the second floor of the building is located the residence composed by two different temporary solutions, a kitchen and shared bathrooms. The two solutions are designed to adapt to different needs such as the period of stay and the composition of the family. A conformation is fixed and consists of three flats while the other housing solution is completely variable according to necessities.
Movable walls system
A modular system of movable walls allows to transform the rooms creating up to 10 different solutions. These elements are also wardrobes and, from an additional laser cut panel situated on their back, the components for tables and chairs can be extracted and jointed.
Front Wardrobe additional panels
Back Furniture components
In the central area of the floor there’s the kitchen that can be used by the short term accommodation guests. This area is transformable thanks to furniture, such as tables, chairs and armchairs, that can be constructed interlocking the components extracted from the MDF panels over the existing walls. In addition, to reduce the view from the corridor and from the stairs, a partially perforated wall has been introduced and it also helps guests to find the items they need.
Bollitore :s
The shared kitchen
rtello A po
The rooftop The terrace on top of the building wants to be an extension of the houses. In this area numerous activities can be carried out: hanging clothes, organizing a barbecue, playing together, relaxing or working out. Blocks on wheels are used to manage the space, creating different configurations that change with the seasons, the orientation of the sun or the need of privacy. Laterally the modules have additional panels from which can be obtained, through laser cut, the components for the creation of the furniture. From each block sides can be removed the elements that joint together can create two stools and a table.
Eros is occult
Project realized with Giulia Cimenti, Valeria Pernice and Laura Polvara
Prof. Michele De Lucchi, Francesca Balena Arista, Mario Greco
DESIGN IS EROS Ephemeral / Temporary Spaces 2 a.y. 2017-2018
https://teachingislearning. it/1718/2nd-semester-xxi-secolo. aspx#
Expositions Video trailer presented during the Milan Design Week 2018 https://vimeo.com/374582330 https://vimeo.com/374581809
Model and final video exposed at the Milan Design Week 2019 https://www.parentidistrict. com/it/eros/ Hotspots exhibition 2019 at Tongji University
“Eros has a duality: it can be explicit or hidden. The explicit part is the one that is naturally shown to the others. The hidden side is like a secret that has to remain in the darkest area of our mind. It’s a pulsion that must be covered because it’s considered dangerous or negative. This becomes the important side of eros as it’s too personal that can’t be shared with no one. Humans try to control, forget and cover this side of eros, but the result is only its growth and its transformation into obsession.”
Video trailer This short video it’s a metaphore of the duality of Eros. It’s composed by two types of scenes: the representation of an elegant dinner is interrupted by frenetic scenes.
The maquette is divided in two main areas: the upper level is the visible part and it’s a representation of the conscious side of the brain while the other part of the structure is underground and it’s a materialisation of the unconscious. The difference of dimension between the two parts it’s a symbol of the vastity of the hidden passions and desires that are in opposition with the small part of them that are shown to the others.
The making
E Floor - example We created a DO IT YOURSELF book with the technical drawings of the structure and the different steps of realisation. We catalogued all the pieces, their disposition and their angles.
E25
E26
E24
E27 E12
E28
E13
E11
E23
E29 E4
E10
E30
E3 E31
E2
E22
E14
E1 E5
E32 E15
E21 E6
E7 E20
E9
E16
E8
E19 E18
Axonometry and plan of floor E
E17
Realisation For the realisation of the maquette was important the use of different machines and instruments. The wood has only been cut, sanded and assembled with no changes at touch or sight.
Geometry and arches are the base elements of the model. An alternation of 3 types of arches expresses a sort of obsession and anxiety that refers to the repression of the unconscious eros. Starting from the top and reaching the lower floor, the alternation becomes more random and confused and the number of arches increases.
The model has a vertical orientation: a central hole connects all the structure and represents an ideal well of secrets. This creates a game of light and shadows between the arches and the columns: the sunlight enters from the top and gradually illuminates the underground level. The lower floors are surrounded by dark.
Grid
Project realized with Valentina Poma
Prof. Aldo Faleri and Guido Musante
Laboratorio di Temporary retail, spazio per il commercio temporaneo indoor-outdoor
Academic Year 2016-2017
Exposition Presented at the exhibition Materiali e Luce Nel Temporary Retail 2017 at the Creativity Center Milano Casalgrande Padana
This temporary shop is based on the idea of using the grid in each aspect of the project such as the materials, the position and the shape of the furniture. All the clothes’ stands are made by modular profiles that can be rotated and inserted in each hole of the base. The same principle is applied to the central exhibitor and to the accessories’ display: they are composed by light weight boxes that can be arranged following the different needs.
Living on stage
Project realized with Veronica Camera and Giulia Cimenti
Prof. Anna Barbara, Ron Gilad, Stefano Mirti
Laboratorio di Ephemeral Spaces 1
Academic Year 2017-2018
Exposition Hotspots exhibition 2019 at Tongji University
LIVING ON STAGE is a temporary space inside the Triennale Design Museum in Milan that wants to solve the absence of living rooms inside a lot of Milan’s shared apartments. We decided to create a living room for rent that can be used for different activities because it’s adaptable and poli functional. The project is composed by an entrance, a cloakroom, a storage room for the furniture, a waiting area and a big living room. Our main space can be totally arranged by the users that can select the furniture and the dimension of the space they need. The living room can be transformed thanks to a modular structure of soundproofing curtains that can be electrically lowered from the ceiling and that isolate the different spaces.
empty disposition
coffee time disposition
aperitivo disposition
The last vineyard
Project realized with A. Borin, G. Cimenti, G. Gobbo, V. Pernice, M. Pessina, G. Pezzuto, L. Polvara, I. Puccini
Prof. Giovanna Piccinno
Interdisciplinary workshop
Academic Year 2017-2018
Martha Schwartz Partners: Markus Jatsch, Cristina Morbi
The installation takes place in Piazza Santa Maria delle Grazie in Milan. The aim of this project is to represent the progressive process of desertification that is affecting Italy and the fact that wine economy will be irreversibly hit. The structure is covered by a new low-energy biological material, manufactured in compostable bricks, which crumble due to weathering.
It is composed by layers which recall the shapes of the typical Italian vineyards while the color evokes the nuances of wine. The structure is located at the center of the plaza and it follows the fluxes created my the usual passage of the people. There are 4 entrances that form walkways and symbolize the cracks in the dry land due to desertification.
Shape generation and fluxes
Space fruition From the street
Between the walls
In the middle
Sitting
DSTNC
Research for: Coordination Asia Ltd.
Project realized with Giulia Cimenti
museums
How the pandemic will affect
exhibitions
?
art
DSTNC is a research project about the future of Museums and exhibitions after the pandemic. How will social distancing impact them? The first part of the research led to creating maps and schemes that summarize the questions and the key elements that describe future scenarios. The main questions that structured the analysis are: How will the social role of museums change? How will existing museums adapt to new restrictions and how new museums will be designed? How will the relationship between visitors and exhibitions change? How will new restrictions affect additional services and accessibility of museums? Will this crisis lead to a strong presence of intangibility and reproducibility of culture? The second map focuses on possible interventions regarding different aspects of museums and exhibitions. The scheme investigates visitors’ circulation, curator’s role, the use of means of communications, intangibility of art, visitors’ interaction with exhibitions, visitors’ experience, services and entertainment, and museums’ social role.
How the social role of the museum will change?
How the importance of the museum as a node for cultural exchange and social interaction will change?
How the crisis will affect the entertainment fuction of the museum?
Will the crisis stimulate a new consciousness and sense of responsibility in the visitor?
How this will reshape the audience of museums?
Will the idea of a more individual experience reduce the attractivity of the museum?
Will the new regulations and the major organization required to visit a museum (need to organize/reserve in advance) reduce the attractivity of the museum?
Will the new features of the museums (for example the increase of technology) attract new audiences?
Will art and culture re-become an exclusive/elite experience (For requiring a reservation, putting a closed number of entrances, raising the prices, etc)
Will the masses be excluded from art and culture?
Will the audience be reduced to people that have a real interest?
How the role exhibition’s g change?
How already existing museums will adapt their space to the new constraints and how new museums will be designed? How the circulation inside a museum will be affected?
How the paths and narratives will be affected?
How the relationship between the visitor and the exhibition with its content will change?
Will be needed the creation of new spaces? (for example, intermediary spaces for sterilization or for dressing/undressing)
How social distancing and staggered entrances will affect visitors’ experience?
Will the exhibition become an individual experience?
Will visitors be less free of walking through the space and more convoyed in predesignated paths?
How the reduction of physical contact will reshape the interactivity?
Will the visitor have more space but maybe also less time for the visit?
Will the reduction of touching increase the importance of the other senses (sight, hearing, smell and taste)?
Will interactive artworks be thought mainly for individual use?
How the new constraints will affect the additional services and the accessibility of museums? How social distancing will affect services and other activities offered museums (Bar/restaurant, shows, events, guided tours, etc)?
e of the guide will
Will new devices for social distancing/moving control/visit information, etc) be needed?
How the limitations of the sense of touch will affect the accessibility and the services offered by a museum?
Will digital means of communication replace physical ones (Flyers, posters, etc)?
How it will affect the experience for blind people?
Will personal technologic devices (smartphone, watches, headphones, etc) replace communication devices offered by the museum (for example audioguides)?
Will be there more attention to each individual visitor/client in terms of safety and comfort?
How the major distance of the artworks from the visitor can affect their interaction/relationship? (eg. details)
Which kind of museums it will affect the most?
Will the absence of crowding allow the visitor to have a more personal relationship of the artworks?
Will the role of the curator gain more importance in designing fixed routes to be followed by visitors?
Which interaction strategies can replace those requiring physical contact (no touchscreens, switchers, buttons, handles, but body sensors, voice commands, facial recognition, etc)
How can museums with a mainly interactive approach adapt to this situation?
How can museums with kids sections and activities adapt to this situation?
Will this crisis lead to a strong increase of intangibility and reproducibility of culture? Will we see an increse of digital means of artistic expression ? - virtual reality - augmented reality - multimedia art - projections - holograms
Will digital copies replace the originals? - Virtual tours - Digital 3D copies of items - Virtual archives - Virtual art galleries on websites or instagram
How this will affect the physical experience and the experience of the authenticity of items?
Will the role of social networks be unchanged?
Can Instagram be not just a promotional tool for art, but a medium in its own right?
Us di
Circulation
Closed numbe and staggered
Curator
Means of communication
Intangibility of art
Different narra are suggested regulate the vi
Reduction of p touched by mu (eg. Audioguid
Increase of dig artistic express (multimedia ar holograms, vir augmented re
Major distance
Visitor interaction with the exhibition
Difficulty in th of details
The exhibition among few vis
Visitor experience
Th vis
Services and entertainment
Museum’s social role
Restriction of t the additional offered by mu
Limitation of o for kids
New regulatio reduction of at (closed numbe guests, reserva
se of spatial devices and signs for istancing and addressing circulation
ers d entrances
Redistribution of spaces, contents, and activities for flows reorganization
Creation of new typologies of spaces and services for the new necessities
New designs that focus on flexibility for adapting to different scenarios
Narratives and paths become constraints for driving visitors’ movements
atives and paths d to visitors to isit Definition of multiple narratives in order to alternate and personalize flows
physical devices that require to be ultiple people des, touchscreens, tickets, buttons, etc.)
Total digitalization of the means of communication
Major role of social networks
Exclusive use of personal devices instead of shared devices
Increased use of personal technologic devices (eg. Smartphones, tablets, headphones, smartwatches)
gital means of sion rt, projections, rtual reality, eality, films)
e from the items
he appreciation
n space is shared sitors
Implementation or creation of virtual tours
Implementation or creation of a comprehensive online museum experience
Digitalization of the museum items (virtual copies)
Increased use of interaction techniques that replace those requiring physical contact (body sensors, voice commands, facial recognition, etc.) Implementation of the use of senses: sight, hearing, smell and taste are used instead of touch.
The inferior crowding allows a more personal relationship with the artworks.
the services and l activities useums
Increased attention for each visitor’s safety and comfort
ons lead to a ttendance er of maximum ations, etc.)
Total elimination and replacement of any physical and touching interactions (touchscreens, buttons, etc.)
The visit becomes an individual experience
he maximum duration of the sit is scheduled
organized activities
Replacement of the physical museum and art galleries with entirely virtual platforms
Redesign of the interfaces for blind people avoiding the use of touch New audiences are attracted by major inclusion of technology in exhibitions
Museums become elitist and exhibitions are exclusive experiences
Visitors have better consciousness and sense of responsibility
Artworks are ideated for a more individual fruition
Elimination of organized activities for kids
Elimination of the services and the additional activities offered by museums
Museums are no more designed and conceived for the masses, but for few selected people
Possible scenarios Social distancing is as much a daunting challenge as an opportunity to re-think what museum spaces could be. Our thought experiments led us to five categories of interventions in museum spaces according to level of changes. The first level of changes will involve the visitor’s interaction with exhibits and other visitors. The requirement for a major distance will affect significantly the circulation inside exhibition areas. This will challenge designers in re-programming spaces, and curators in reorganising contents and narratives. Visitors might be asked to adapt to imposed paths and timing. With changes in level of constraints and conditions, the visiting experience will inevitably evolve. Social distancing might transform the visitor journey on individual level and even redefine visiting museums as an elitist experience. In these scenarios, the architectural and spatial features of the museums would need to be substantially reshaped to adapt to the new circumstances. We might also witness a subversion of the function and role of the museum as a cultural institution. The museum exhibitions could be further individualised and become compartments of urban furniture. This variations or evolved forms of museums then can be woven into the fabric of the cultural landscape again in the face of new reality.
Small openings allow the vision of the artwork from different angle while ensuring a certain distance between the visitors.
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The reflection of the artwork in different mirrors allows multiple perspectives while ensuring certain distance.
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2
The space around artworks is shaped by vertical elements that aim to keep visitors distant from each other.
Oriented mirrors allow the visitor to see the different sides of the artwork from a single point of view. The details of the piece of art are discovered thanks to magnifying mirrors.
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3 The time of visit and the number of people allowed inside a room are regulated. Before entering the room, each visitor needs to be informed about current accessibility. It is possible to apply different techniques like timed barriers or indicators, such as doors, lights, graphics, etc.
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Temporary creation of new corridors and runways that are narrow enough to allow one visitor at time. A single structure has the double function of corridor and display.
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Temporary creation of new corridors and runways that frame artworks. The intervention aims to allow only one visitor at time and to keep a fixed distance between visitors and artworks.
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9
A smart floor re-addresses visitors on alternative routes to avoid crossings and meetings with other people.
Visitors proceed around the space on a moving conveyor which is designed to never allow paths intersections.
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10 The only use of light traces the paths and establishes the paces. The architecture is composed of a removable external layer.
In a dark environment the visitor will be guided by light on predesignated routes and will have a scheduled time to stare at artworks until the light will change direction.
In the event of lockdown, museums can shift from closed containers to open galleries.
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11 Museums are fragmented into small rooms accessible from the outside.
Vertical levels are created inside the space. The room is shaped by different platforms that aim to regulate visitors’ movements and to facilitate physical distancing.
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Each room accommodates a limited number of visitors. Artworks move through different rooms on a conveyor.
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The visitor can just interact with one piece of art inside a private room. The selected artwork can enter the space using different techniques like tracks or rotating walls.
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Museums are mostly composed of closed spaces that can not be accessed by visitors. Exhibition spaces are reduced to single rooms where walls can be opened in order to move artworks directly inside.
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17 Museums are displaced in urban environments. Collections can be arranged in different areas of the city using exhibition modules or moving vehicles. Private cabins could be used for experiencing digitally archives and artworks. Fixed
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Bottega Veneta
Flagship store in Via dei Condotti, Roma. Opened in 2021. Courtesy Photos.
During my 6 months internship as EMEA Architecture intern at Bottega Veneta, I collaborated in the creation of 3 stores: • Roma, Via dei Condotti - BV biggest flagship store in EU • Barcelona, Paseo de Gracia - flagship store • Paris, Le Bon Marché - store My main tasks during these projects were: • Support the Project Manager during the last phases of the project. • Interact with furniture producers asking quotations, documents, and organizing deliveries following the project’s timing. • Keep track of furniture production. • Support the project manager with costplan files update. • Keep track and organize documents in between vendors and administration.
Workshops 2019 HTML - CSS FOR BEGINNERS 2 hour Landing Page Le Wagon, Shanghai UI - UX WORKSHOP 2 hour Le Wagon, Shanghai HAINAN WORKSHOP 12-17 April Project for Luoyi Village Prof. Su Yungshen Tongji University 2018 MARTHA SCHWARTZ PARTNERS 12-23 February Landscape design workshop Climate change projects Politecnico di Milano 2017 CARLO BERNARDINI WORKSHOP 8-12 May Light design and light art Rethinking unused spaces with light design Politecnico di Milano
Exhibitions HABITA contamination for reintegration “Dall’Europa alla città, il futuro di Milano tra innovazione e solidarietà” 2017 at Castello Sforzesco, Milan EROS IS OCCULT Video trailer presented during the Milan Design Week 2018 at Palazzo Litta, Milan Model and final video exposed at the Milan Design Week 2019 part of “Around the water“ at Teatro Franco Parenti, Milan Hotspots - Tongji University - 2019 GRID Materiali e Luce Nel Temporary Retail 2017 at the Creativity Center Milano Casalgrande Padana “Palla al centro commerciale - a proposito di Temporary shop e spazi temporanei nei mall” 2017 at Palazzo Castiglioni, Milano LIVING ON STAGE Hotspots - Tongji University - 2019
Thank you EMAIL
noemi.castelnovo@alice.it
/noemi-castelnovo-5b69b0194
PHONE WECHAT
+39 3492784622 noemicastelnovo