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GIUSEPPE CAROSINI<br />
PORTFOLIO 2017
2 GIUSEPPE CAROSINI
PERSONAL STATEMENT<br />
A highly motivated and passionate designer, interested in the architectural<br />
expression of society.<br />
Following 3 years of study in order to obtain an undergraduate degree from<br />
the University of Cape Town, I then had the oppurtunity of working in a great<br />
studio, Head Space design before moving to Milan to complete a Masters<br />
degree.<br />
NAME<br />
GIUSEPPE AMEDEO CAROSINI<br />
DOB<br />
04/12/1990<br />
CITIZENSHIP<br />
ITALIAN<br />
PLACE OF BIRTH<br />
JOHANNESBURG, SOUTH AFRICA<br />
giuseppe.carosini@gmail.com<br />
via Plinio, Milano<br />
GIUSEPPE_ITA8<br />
Talented in conceptual design, as well as in drafting and particularly 3D<br />
presentation work. An outgoing person who works well within a team environment,<br />
motivating and generating good personal interrelationships with<br />
people from all walks of life.<br />
WORK EXPERIENCE<br />
EMANUELA TONDO ARCHITECTS - 2016<br />
Junior Architect ( Current position )<br />
Redevelopment of Genova Airport; Commercial developments.<br />
STUDIO COSTA ARCHITECTURE SCA - 2016<br />
Collaboration<br />
Competition enntry for Science City in Alexandria, Egypt<br />
FREELANCE ARCHITECT - 2015<br />
Architectural and Interior Design<br />
Mixed projects from many clients around the world.<br />
SOFTWARE PROFICIENCY<br />
Revit<br />
Autocad<br />
Rhino<br />
Grasshopper<br />
Adobe InDesign<br />
Adobe Photoshop<br />
Adobe Illustrator<br />
Sketchup<br />
3D Studio Max<br />
Microsoft Office<br />
LANGUAGES<br />
ENGLISH ITALIAN AFRIKAANS<br />
MOTHER TONGUE ADVANCED INTERMEDIATE<br />
PORTFOLIO<br />
My portfolio of work can be found either<br />
by scanning the QR code on the left, or by<br />
going to<br />
HEADSPACE DESIGN - 2013<br />
Junior Architect<br />
Full year work experience, mostly high class residential design.<br />
LUKE SCOTT ARCHITECTS - 2011/12<br />
Internship, part-time work<br />
Started as a summer internship, but was extended to part time job during<br />
my studies after becoming an integral part of the studio.<br />
EDUCATION<br />
DESIGN AWARDS<br />
TRANSCEND - 2016<br />
First Prize, Ideas Forward International Competition<br />
Team: G.Carosini, A. Gojnic<br />
VERISIMILITUDE - 2016<br />
First Honourable Mention, Ideas Forward International Competition<br />
Team: G.Carosini, A. Gojnic<br />
KITCHEN OF THE FUTURE - 2015<br />
First Prize, Exhibited at EXPO 2015 by BEST Milano<br />
Team: G.Carosini, A. Gojnic, O. Proshkina LJ. Matthews<br />
PRISTINA INFINITE LOOP OF SPORT - 2014<br />
Honourable Mention, Architetti Emergenti (2014)<br />
INTERESTS<br />
3 GIUSEPPE CAROSINI<br />
http://issuu.com/giuseppecarosini/<br />
docs/portfolio2017<br />
POLITECNICO DI MILANO<br />
MASTERS DEGREE<br />
2013-2016<br />
FOOTBALL<br />
CARS<br />
PHOTOGRAPHY<br />
UNIVERISTY OF CAPE TOWN<br />
UNDERGRADUATE DEGREE<br />
2010-2012<br />
FITNESS<br />
ART<br />
MARTIAL ARTS<br />
REDDAM HOUSE COLLEGE<br />
HIGH SCHOOL ATTENDED<br />
2005-2009<br />
READING<br />
COOKING<br />
SKETCHING
CONTENTS<br />
01 URBAN OASIS 02 CULTURAL CENTER 03 SCIENCE CITY 04 ODU PAVILLION 05 COMPETITIONS<br />
UNIVERSITY WORK UNIVERSITY WORK WORK EXPERIENCE BUILT WORK CONCEPTUAL<br />
CAPE TOWN MILAN ROME CAPE TOWN INTERNATIONAL
URBAN OASIS<br />
University Project<br />
°We borrow from nature the space upon which we build.°<br />
- TADAO ANDO
01<br />
MOWBRAY<br />
SOUTH AFRICA<br />
Multi-use building catering for Residential, Commercial<br />
units and the NGO Straatwerk. The project was located<br />
in Mowbray.<br />
INTENT<br />
To create a building that provided a commentary to<br />
the issues identified within Mowbray such as the lack of<br />
green or public space.<br />
CONCEPT<br />
The concept was developed through the stark lack of<br />
nature in the area of Mowbray. The design became<br />
a commentary on this through the juxtopposition of<br />
organic and rectilinear forms.<br />
Programme<br />
- Apartments -Straatwerk NGO<br />
- Market<br />
- Commercial -Gym<br />
- Creche<br />
DEVELOPMENT<br />
The plan of the design creates edge to this triangular<br />
site, where environmental aspects such as sun angles<br />
are used to generate the varied heights.<br />
The copper cladding on the organic building in combination<br />
with its irregular columns and circular windows<br />
brings through the idea of a canopy of trees, in this<br />
dense urban fabric. This visual effect of the canopy is<br />
then literally realized within the courtyard space of the<br />
building, where the internal green landscape rises up to<br />
create a terraced space for the users and residents.<br />
REFLECTIVE COMMENT<br />
The reference to nature through the organic building<br />
clad in copper is reminiscent of a forest of trees and<br />
works well against the backdrop of the ordered rectilinear<br />
apartment block that sets up a strong edge on the<br />
site. This edge aids in protecting the building from the<br />
harshness of the taxi and bus station, while at the same<br />
time creating a piazza, as well as an internal courtyard.<br />
In retrospect, although the use of copper worked well in<br />
realising the intent, the practical application of this in an<br />
area such as Mowbray may be problematic.<br />
7 GIUSEPPE CAROSINI<br />
Site Plan (Left)<br />
Diagrammatic Breakdown (Right)
Streetscape 2<br />
View of juxtopposed geometries<br />
8 GIUSEPPE CAROSINI<br />
Section<br />
Internal Piazza<br />
Detail Component<br />
Window Detail<br />
Technical Component:<br />
This was the first important lesson in how<br />
critical it is to have a clear intent on what it<br />
is that one is trying to create. Here one of the<br />
portal windows of the copper structure was<br />
technically realised in detail. This was done<br />
right up to scales of 1:1 in order to grasp an<br />
understanding of the implications of technical<br />
choices and the result that these have on the<br />
design. The importance of combining design<br />
and tech to generate a beautiful and logical<br />
solution to the original intent is stressed.
Streetscape 1<br />
View from pedestrian street<br />
9 GIUSEPPE CAROSINI<br />
Entrance<br />
Internal Piazza
CULTURAL CENTER<br />
University Project<br />
°I believe that the way people live can be directed a little by architecture.°<br />
- TADAO ANDO
02<br />
REGGIO<br />
EMILIA<br />
ITALY<br />
BRIEF<br />
Multi-use building serving as a Cultural and Social<br />
Center designed within a new masterplan for the historic<br />
core of Reggio Emilia.<br />
INTENT<br />
To utilize the clues given by the existing fabric of the city<br />
in order to generate a design which seamlessly fits into<br />
the context. At the same time serving the programmatic<br />
needs identified within the urban precinct.<br />
CONTEXT<br />
The Ghiara Church, facing the site from across the piazza,<br />
is described as Reggio’s most important. Its conception<br />
is associated with a miracle involving a boy called<br />
Marchino who couldn’t hear or speak. The boy is said<br />
to have miraculously gained both his voice and hearing<br />
back while praying before a portrait of the Madonna.<br />
The term ghiara comes from the fact that the Cròstolo<br />
stream, with large gravel deposits, used to run where the<br />
church is now built.<br />
CONCEPT<br />
The church is a signifying aspect of not only the site<br />
but the entire city. Utilizing many of the aspects of the<br />
church, the public space is ordered through this device.<br />
The strong axis of the church itself, penetrates through<br />
the site. This axis becomes a key element from which the<br />
space progresses. This axis is received by the auditorium<br />
and sets up the narrative within the project. The ideas<br />
of miracle and spectacle are translated into the cultural<br />
elements of the building, as glowing boxes, within this<br />
otherwise humble building.<br />
The pre-existence of the river on the site also gives<br />
design cues. The original position of the river is a strong<br />
element that brings memory back to the site of the<br />
history of the city. The use of water also gives the oppurtunity<br />
to generate a narrative within the public square,<br />
starting with an area of reflection outside the back of the<br />
church. This fortifies the the idea of axis spanning from<br />
the church to the building as well as providing an area of<br />
tranquility and pause within the space.<br />
11 GIUSEPPE CAROSINI<br />
Site Plan -<br />
Contextual relationship<br />
between site and rear of the<br />
church, generating a new<br />
piazza.
Axis of Ghiara Church through square - Contextual relationship - Original position of the river 1 - Entrance<br />
- Cultural “Ethereal” boxes - Idea of introducing water to the site 2 - Sculptural Area<br />
4 - Building<br />
5 - Internal Courtyard<br />
3 - Tranquil Space<br />
12 GIUSEPPE CAROSINI<br />
Site Perspective Section<br />
Exterior View New Piazza
The conceptual development of the project started from<br />
an intricate and thorough understanding and drafting of an<br />
overall masterplan, within which the cultural center itself<br />
works as an element within a much larger system.<br />
Drawing from historical research, the genius loci of the site,<br />
and current social needs within the area, the complex programme<br />
of the building itself was derived. The morphology<br />
of the envelope aimed to encapsulate this as well, resonating<br />
with the context within which it is deeply embedded.<br />
CONCEPTUAL BREAKDOWN<br />
Stage Gives Function<br />
Sculptural Intervention<br />
relating to narrative<br />
Precast Concrete<br />
Piazza Floor<br />
Trees provide vertical threshold<br />
and shading<br />
Urban Furniture<br />
Raised Wooden Deck<br />
Axis of Church<br />
Interaction of building<br />
with the Piazza<br />
13 GIUSEPPE CAROSINI<br />
Public Furniture<br />
Window Concept<br />
An incredibly important aspect of<br />
the project was to have a strong<br />
relationship with the context. The<br />
facade itself becomes a function<br />
of both this conceptual cue, as<br />
well as aiding the programmatic<br />
aspects of the project itself.
Interior View Internal Courtyard<br />
14 GIUSEPPE CAROSINI<br />
Elevation West<br />
Elevation East
15 GIUSEPPE CAROSINI<br />
Exterior View Pedestrian Street
SCIENCE CITY<br />
Collaboration with SCA<br />
16 GIUSEPPE CAROSINI<br />
“Science may set limits to knowledge, but should not set limits to imagination”<br />
- BERTRAND RUSSELL
03<br />
ALEXANDRIA<br />
EGYPT<br />
CHALLENGE<br />
The Science City Project in Egypt represented for us a<br />
big challenge for thetopic proposed, the architectural<br />
language and the context.<br />
INTENT<br />
Egypt, being the project located in Egypt, it was a strong<br />
motivation to think how to create a dominant architectural<br />
form, expression and value that could achieve a<br />
level of correspondence with the history of architectural<br />
elements in Egypt. We thought it is an opportunity to<br />
propose an architectural global landmark that Egypt,<br />
with its extraordinary architectural heritage, could<br />
inspire and express. In order to do so. a homogenous<br />
model presented in the project, seen as one element<br />
that expresses the idea of Densities that the local context<br />
inspired us. As contemporary Egypt urban feature .<br />
On the other hand looking at the hot dry climate we are<br />
dealing with, we found<br />
the necessity of creating a dialogue with the local environment.<br />
The necessityof generating a microclimate<br />
that could allow daily livable outdoor spaces for<br />
users. These outdoor spaces are central to define a<br />
collective, sharing and<br />
joyful common ground where knowledge, science and<br />
research interests can<br />
be transferred to the public. Density is a moderator and<br />
principle for urban<br />
pattern definition.<br />
Science, While looking at local specificities, we also tried<br />
to find an architecture<br />
language that could represent the city of science. It was<br />
not for us a composition of objects but a complete environment;<br />
with its specific design, our aim is to find a way<br />
to express scientific principles and ideas into a space.<br />
By this, we wish that the project could transfer scientific<br />
ethics, potentiality to the public<br />
and abilities of creating new realities, in a place where<br />
scientific ideas could be spread and at the same time<br />
peoples imagination could be strengthend.<br />
17 GIUSEPPE CAROSINI<br />
Site Plan -<br />
Repetition and variation of a<br />
singular element to generate<br />
a complex whole.
18 GIUSEPPE CAROSINI<br />
Exterior View Desert Scape
Site Overview<br />
A possibility of future expansions Urban<br />
voids, in between the density of sticks appear<br />
two voids where sculptured elements<br />
are found (Auditorium and Planetarium). We<br />
decided to surround the site by a green buffer<br />
for sound, air cooling and parking shading.<br />
Our main architectural feature are the vertical<br />
sticks. In additional to their basic functions<br />
(structure, light and ventilation) they are the<br />
elements that create the dialogue with the surrounding<br />
environment and landscape. The function of the<br />
sticks changes according to their position. The external<br />
ones, with the help of running water, will work as cooling<br />
systems and sound absorbents. The vertical sticks situated<br />
in the inner part, will produce a shadow that will recreate<br />
an intense micro climate using shadow, humidity and heated<br />
tops where different ecological systems will be reproduced.<br />
Alternate sticks will function as exhibition structures to host outdoor<br />
installations, while others will function as accommodation<br />
for users/guests. The sticks will be using wind to generate melodies<br />
– they change in accordance to the programmatic location.<br />
19 GIUSEPPE CAROSINI<br />
Research Center<br />
Administration
20 GIUSEPPE CAROSINI<br />
Detail Elements -<br />
Variation of the stick elements<br />
to create alternate environments<br />
and experiences.
Piazza View The Tower<br />
21 GIUSEPPE CAROSINI<br />
Exterior View Starry Night
ODU PAVILLION<br />
Collaboration with Luke Scott Architects<br />
22 GIUSEPPE CAROSINI<br />
°I believe that the way people live can be directed a little by architecture.°<br />
- TADAO ANDO
04<br />
CAPE<br />
TOWN<br />
SOUTH AFRICA<br />
The Woodlands Pavillion was designed as a new home<br />
for the Old Boys Society of Bischops Diocesian College<br />
in Cape Town, and also served as the pavillion and<br />
supporting structure to the new hockey pitches installed<br />
at the school. The project was developed durning my<br />
tenure at Luke Scott architects, working in a small team<br />
comprised of Luke Scott and myself.<br />
My involvement in the project started from the initial<br />
clients brief and I had a large responsibility in the initial<br />
conceptual design of the project. The design took inspiration<br />
from historical points on the site of the school,<br />
uniting elements from across the site. This was then<br />
embedded with the complex set of functions required<br />
from the project brief in order to give substance to the<br />
outcome of the final design. The project was completed<br />
and opened on 8 May 2015.<br />
As we took the project from the conceptual development<br />
through to the construction phases, I was responsible<br />
for the creation and drafting of the drawing set<br />
required for submission.<br />
The pavillion itself had to be sensitive to the existing site<br />
as the Bischops Diocesian College has many heritage<br />
buldings within its ground which is steeped in tradition.<br />
The Interior design of the project was also done by us,<br />
along with furniture company Weylandts who we partnered<br />
with in order to create an end product that would<br />
resonate the elite mentality of the school itself.<br />
The bold and simple rectilinear forms of the desing work<br />
well to pay homage to the past of the school while steering<br />
it subtly in a future direction, and creating a pristine<br />
backdrop for a multitude of future events within it.<br />
23 GIUSEPPE CAROSINI<br />
Site Plan General<br />
Site Plan Local<br />
Elevation West<br />
Elevation East
24 GIUSEPPE CAROSINI<br />
Exterior 1 Night Shot<br />
Exterior 2 Grand Stands<br />
Exterior 3 Construction Progress
25 GIUSEPPE CAROSINI<br />
Interior 1 Display Detailing
26 GIUSEPPE CAROSINI
COMPETITIONS<br />
A selection of competition entries<br />
27 GIUSEPPE CAROSINI<br />
°I believe that the way people live can be directed a little by architecture.°<br />
- TADAO ANDO
01<br />
COMPE<br />
TITIONS<br />
TRANSCEND<br />
Mount Ararat<br />
2 nd Place in Ideas Forward International Competition:<br />
Transcend<br />
Man must be present to watch the reckoning of his own evil. While the fauna stay blissfully<br />
unaware in their genetic slumber.<br />
High above the raging waters, the suspended audience, marvel at the performance of God himself.<br />
This is mans Purgatory, where Noah and his family will wait out the floods.<br />
The Ark described by the Lord to be three hundred cubits long, fifty cubits wide and thirty<br />
cubits high was not large enough to host two of the Earth 7.7 million species. So their genetic<br />
material (sperm and eggs) has been harvested, to be reborn after the deluge has ceased and<br />
the land has dried once more.<br />
Trancend<br />
Peacefully unaware, the genes of all species created by God, rest pecefully, within the bowls of<br />
the dormant Volcano, Mount Ararat, awaiting the chaos above to become calm.<br />
The new cradle of life will be formed, a place where all of Gods creation are stored in The Womb.<br />
The snow capped peak of Mount Ararat provides the perfect low temperature for the storage of<br />
this technologically nurtured genetic material. Autonomonously the process of birth is managed<br />
by machine, a task to delicate for Man himself.<br />
The Wombs only escape is a narrow shaft where the natural light of day is the guide for the new<br />
borns to follow.<br />
Genesis
02<br />
COMPE<br />
TITIONS<br />
SUMMER PAVILION<br />
New York, USA<br />
Finalist in Arquideas New York Summer Pavilion competition:<br />
Trouvaille<br />
30 GIUSEPPE CAROSINI<br />
Trouvaille is a pavilion true its French name, a “lucky find” within the splendor of Central Park.<br />
The design draws narrative from the history of Manhattan along with the context of the park<br />
itself. The narrative starts from Ellis Island, the historical point of arrival for immigrants looking<br />
to make the USA their new home. Drawing a line from the Island to the Trouvaille Pavillion, this<br />
narrative is carried into the design, where the entrance of the Pavilion now acts as the entry<br />
point to the millions of visitors to New York. This metaphorical journey then takes one up the<br />
pavillion along its roof, evoking the symbolism of one moving upwards and forward in life, just<br />
like the many immigrants did, finally reaching an elevated view of the park and the city.<br />
The materiality plays closely to parts of New York’s history. Ropes are used to create threshold,<br />
where these elements are symbolic of the historic shipyard and sea travel that one had to take<br />
to get to New York. The use of the rope also is a sustainable choice as well as a conceptual one.<br />
The ropes allow the pavilion to blend into its natural surroundings rooting itself deeply into<br />
the context of the park rather than trying to dominate over the beautiful landscape. The use of<br />
other sustainable elements such as wooden palettes and a green landscape wall, further aid<br />
the Trouvaille Pavillion to camouflage itself within its surroundings.<br />
The Pavilion serves a multitude of functions such as library, exhibition space, amphitheater,<br />
outdoor cinema, recreational swings and a viewing point within the park.<br />
Trouvaille is more than just a pavilion, it is something to search for within Central Park.
31 GIUSEPPE CAROSINI
03<br />
COMPE<br />
TITIONS<br />
VERISIMILITUDE<br />
ITALY<br />
1 st Honorable Mention in Ideas Forward International Competition:<br />
Syria: A tower for Refugees<br />
32 GIUSEPPE CAROSINI<br />
The multi - award winning Bosco Verticale is the current symbol of power, innovation, sustainability<br />
and excess in Milano. Our proposal provides a critique of the current state of the built<br />
environment. The design approaches the concept of sustainability, through the re-use of existing<br />
fabric, rather than creating more skyscrapers, adjacently in order to satisfy our functions. By<br />
building unique skyscrapers, solely for refugees, the process of segregation is highly intensified.<br />
Thus through our global strategy of revising and adapting existing buildings, a new, innovative<br />
and inclusive architecture can be created.<br />
Taking inspiration from Superstudio’s “Continuous Monument”, the design sheds all superfluous<br />
form, illustrating how the refugee crisis is a global problem, and needs to be addressed in<br />
a multitude of different contexts. The suspended body, unites the towers to create a social, and<br />
sustainable community for over 1000 Syrian migrants.<br />
The plans of Bosco Verticale have been completely reworked in order to accomodate our new<br />
functions that exceed biological and physical survival which is a signifier of refugee camps.<br />
Here our new structure intervenes into the existing towers, cutting into each of them and<br />
forming a series of social spaces, suspended between the two buildings. Where a self sustaining<br />
community can flourish.
33 GIUSEPPE CAROSINI
GIUSEPPE CAROSINI<br />
giuseppe.carosini@gmail.com