STEFANOMORI
ABOUT ME...
WORK EXPERIENCE When: from May 2013. Employer: STUDIO ANNA HERINGER (http://www.anna-heringer.com), Laufen, Germany. Position: assistant & project manager.
STEFANO MORI curriculum vitae
When: Ocober 2012 - December 2012. Employer: TAM ASSOCIATI architecture firm (www.tamassociati.org), Venice, Italy. Position: intern. When: December 2010. Employer: Atelier Chen Hung (www.a-ch.com.au). Brisbane, Australia. Position: CAD designer and model maker.
PERSONAL DETAILS Name: Stefano Mori Nationality: Italian DOB: 21/04/1987 Address: Viale Montecatini 12, 41126 Modena, Italy Mob Phone: +39 348 2886437 E-Mail: stefano.mori@live.com
When: January 2009 - July 2009. Employer: ACZ architecture firm (www.acz.it), Modena, Italy. Position: intern. VOLUNTEER EXPERIENCE When: September 2004 – June 2005. Who/Where: A.C.A.E. (Associazione Cristiana Attivita’ Espressive). Via Santa Caterina 120 3, 41100 MO, Italy. What: Care of persons affected by different kind of handicap/disabilities. When: September 2005 – September 2006 and September 2007 – September 2008. Who/Where: AGESCI (Italian Scouts association). What: Educator of a Scout group of children (8-12 and 12-16 years). When: September 2006 – June 2007. Who/Where: Casa della Carità di Cognento. Stradello Santa Marta, 41126 Cognento (MO), Italy. What: Care of persons affected by different kind of handicap/disabilities. When: August 2008. Who/Where: PROGETTO SARAJEVO (www.progettosarajevo.org). What: Animator of a group of children with different ages in Sarajevo. EDUCATION Education completed: Master of Science in Architecture (Laurea Magistrale in Architettura). From February 2010 – April 2013. I have attended my master at the POLITECNICO DI MILANO (www.polimi.it), Milan, Italy. Graduation score: 110/110. Education completed: University Exchange Diploma. February 2009 – November 2010. I was overseas for one year (2 semesters), studying as exchange student from POLITECNICO DI MILANO, at the QUEENSLAND UNIVERSITY OF TECHNOLOGY (www.qut.edu.au), Brisbane, Australia. Education completed: Bachelor in Architecture (Laurea di primo livello in Scienze dell’Architettura). September 2006 – September 2009. Graduated in 2009 from POLITECNICO DI MILANO (www.polimi.it), Milan, Italy.
Graduation score: 110/110. Education completed: High School. September 2001 – July 2006. Graduated in 2006 with a Diploma from the Liceo Scientifico A. Tassoni, Modena, Italy. Graduation score: 80/100. WORKSHOPS/COURSES When: February - April 2013 What: html programming course That is: I am currently attending a professional web design course (30 hours). When: July - August 2012 What: COSTRUIRE “TRA” LA GENTE That was: I lived for a month in Ropi (Ethiopia) where, with local people, I designed and buit up a baker’shop and other little constructions for a kindergarten. Then I also did the first scientific survey of Konso settlements (World Heritage Site) funded by UN. When: September - October 2011 What: WSTC – WORKSHOP TERRA CRUDA That was: I attended a 3-week workshop on earth architecture in Africa (www.wstc.polimi.it), in which I made design for an health centre in Itololo (Tanzania). When: September 2009 – December 2009. What: Intensive English course plus IELTS preparation course. That was: I attended an Intensive English course and an IELTS preparation course (2 months) at the Bell International College (www.bell-centres.com) in Cambridge to improve my English before going as exchange student in Australia. IELTS overall band score: 6,5. PERSONAL SKILLS AND COMPETENCES Mother tongue: Italian Other languages: English • Reading skills: excellent (IELTS sub-score: 7,5) • Writing skills: excellent (IELTS sub-score: 6,5) • Speaking skills: good (IELTS sub-score: 6,0) • Listening skills: excellent (IELTS sub-score: 6,5) Social skills and competences: Ability to work in groups gained through the experience in several fields (University, Scout and voluntary associations, sport) which require an organic cooperation between different characters. Organizational skills and competences: Ability to plan the work by myself and to manage short/long run deadlines on the base of resources, skills and time available. Ability to plan, promote and organize activities gained mainly through a 13-year experience in a Scout Association. Technical skills and competences:
High knowledge of Microsoft platform and Office applications (Word, Excel, Power Point). Great ability in the use of design and rendering software such as AutoCAD, Sketchup, 3D Studio Max and in the use of Adobe applications (Photoshop, InDesign, Illustrator, Lightroom). I have also experienced the use of other design software such as Rhino, Grasshopper, Archicad, and I am always trying to be up to grade, hence learnig new programs. Additional Information: Winner (first award) of the sustainable architecture design competition “Costruire Sostenibile”, Ostiglia Italy 2008 [see attachment 01]. Selected for the design exhibition “Forgotten Places. Rediscovering the small spaces and laneways of Fortitude Valley”, Brisbane (Australia) 2010. Winner (first award) of the “Climate Responsive Building Design Competition in Turkey” (www.temev.org. tr/site), Ankara - Turkey 2010 [see attachment 02].
ATTACHMENTS main awards & certificates
AWARDS 01: First award of the sustainable architecture design competition “Costruire Sostenibile”, Ostiglia - Italy 2008. 02: First award of the “Climate Responsive Building Design Competition in Turkey”, Ankara - Turkey 2010. CERTIFICATES 03: Attendance Certificate, WSTC (Earth Architecture Workshop), September 19th to October 7th, 2011. 01
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ABROAD main experiences...
UK
4 months What: WORKING & STUDING When: 2009 2
1 4 2
SPAIN 2
3
1,5 months What: Camino de Santiago When: 2011
AUSTRALIA
12 months What: WORKING & STUDING When: 2010 / 2011
3
BOSNIA
1 month What: VOLUNTEER WORKCAMP When: 2008 5
ETHIOPIA
1 month What: WORKSHOP When: 2012
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NEW ZEALAND
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5
1,5 months
3
What: TRAVELLING When: 2011
6
6
LAST DESIGNS some drawings, picture and information from my last significant works
2012
Ropi - Konso / Ethiopia / Africa
COSTRUIRE“TRA”LA GENTE a small building (baker’s shop) & other works for a kindergarden in Ropi (Ethiopia).
Why refusing any ready-made proposal? why spending more time talking with locals than seeking ideas or solutions? Indeed, the secret for every real collaboration and every lasting cooperation lies in turning upside down our point of view, it lies in “just” leaving the arrogance of our usual “FOR” (someone) and starting over, directly from the bottom: “AMONG” the people. Believing in diversity, facing a new equilibrium among the parts: the only way to have exchanges and foster creativity. I took up the challenge, feeling time by time the shame and the joy of being taught. I learned from people who did not certainly have to “open a book” to know perfectly how to dig foundations, how to build walls, how to make roofs. I thought I would have felt as useless as never before, but I ended up finding myself gaining as much as I gave. If the occidental world thinks to still have any chance of redemption, any chance for a sustainable development, any real and alternative future: this might probably be that chance.
2012
Mantova / Italy / Europe
SET THEORY a design proposal for the competition “Outside the Box_Low and High Technologies for the Emergencies” 20011
Really simple in its architectonical composition, the “Set Theory”, is a smart design proposal as far as possibilities and organization of spaces is concerned. Indeed, the four volumes/shapes (a single parallelepiped and three different cylinders) which make up the design, does not create just a defined number of static areas, but on the contrary, an endless series of combinations. In the design proposal, five general spaces/ areas (E: External spaces, I: Indoor general spaces/Info point, W: workstation/Wi-fi room, C: Conference room/Classroom, B: Breack area/Bar) can be considered as “sets”, and exactly as in the homonymous branch of mathematics that studies sets (the set theory), it is possibe to operate on them and “play” with what is inside them: this, because in the small temporary construction, three circular areas can rotate and change totaly spaces and uses. Moreover, the special pieces of furniture inside the construction are designed to support and improve such flexibility.
2011
Mantova / Italy / Europe
CLEARLY SQUARED new low priced dwellings for the council house building programme
The design proposal provides new low priced dwellings according with the council house building program and tries to find a meeting point between economy, good quality of spaces, and energy efficiency. The three main volumes that compose the building are arranged on the site responding to the local climate conditions and to the sunlight: indeed the building is quite closed on the north side while its instead lighter and with windows on the others. This particular arrangement allows also to integrate the new construction with the surrounding spaces and buildings: in particular, at the ground floor it create a continuous space where public realm and private/semi-private areas flow gradually one into each other. At each floor the intersection of the three volumes generate also several spaces inside the building where a number of common functions can be hosted to improve sociality among the people living in.
2011
Mantova / Italy / Europe
DAL GENIO AL LUOGO a design proposal for the Mantova’s university’s campus renovation
Countryside, lakes and city are the three main features which, through their elements, make unique the Mantova’s landscape. In this place, the configuration of the water has always represented a crucial balancing system among the parts, consequently to its constant and relevant evolution in the history has always corresponded a significant transformation in the net of relations among Mantova’s territorial components. For this reason, in the design proposal are reinterpreted such components (and their specific relation with the water) and is created a “space of transformation” where the water itself from threshold, limit and border become an occasion of passage and discovery. Here’s come the idea of an underground path as occasional connection and expositive area, the idea of a new urban furnishing inspired on the rural courts, and yet the idea of bridges as single point of crossing. Finally the whole area is connected by a system of pools and “floodable” surfaces which are able to change totally the spaces and their functions.
2011
Itololo / Tanzania / Africa
WSTC - WORKSHOP TERRA CRUDA a design proposal for an health centre in Itololo (Africa)
I believe the hardest challenge in this design, was probably to go through the first series of questions I was repeatedly asking myself at the very start: do they really need an Health Centre or any other kind of help based on a western mentality? And if yes, how can I interact positively with such a totally unknown and different environment/culture? All these issues combined with the effort to avoid importing an “external model”, leaded me to opt for a simple and flexible structure (built up with local techniques and materials) which can be interpreted and used by local people in their own personal way. The design proposal is in fact, based just on “signs”: linear walls and shelters able to suggest functions but not really to define spaces. In the proposal, a cross structure connect together existing buildings, surrounding spaces and different levels, creating at the same time a new central area for the acceptance/first aid/triage.
2011
Madagascar / Africa
GRAB PLAY LEARN a simple & modular design to assist education in Madagascar
A lightweight, modular design made from recyclable materials, the modular shape panels provide the opportunity to create either chairs or tables. Should any damage occur – no need to replace an entire piece of furniture – just a single panel. This design born as a basic tool to assist education in the Third World Countries. In particular, concerning both the making process and the materials required, it was thought up for Madagascar. The divide between rich and poor in this country is currently larger than ever before as a result of many different issues. One of the simplest, yet most challenging, ways of stitching up that gap is through education. “Grab Play Learn” aims to promote and facilitate education and learning through its practical and simplistic approach to furniture design which can be made easily and readily available to those most in need. Education is one of the threads that will help to draw these developing societies back into the global village, promoting fairer and more equitable opportunities for all.
2011
Birdsville / Queensland / Australia
BIRDSVILLE HOUSE a climate responsive building design
The design’s site is Birdsville, a small town located in the Channel Country of western Queensland. Such region is in a semi-arid zone which characterize all the internal regions of Australia: the outback. The house is articulated on tree different level: in this way the design aim to find a good balance between protection from the outback’s quite hard climate conditions and exposition to sunlight/air. The building’s shape and the arrangement of its several volumes comes from the purpose of creating shadowed open areas (the two yards) and to catch the main Birdsville wind coming from south: indeed the combined action of this element, the house/trees’ shadows and the pool water body aims to cool the internal and external spaces of the house. The design include also a number of further strategies to protect the internal spaces from the excessive sunlight and to mitigate the large temperature fluctuation of this region.
2010
Brisbane / Queensland / Australia
THE URBAN CUBE a temporary art gallery
The Urban Cube is a temporary art gallery designed to improve degraded areas within Fortitude Valley, Brisbane (Australia). Fortitude Valley represents a diverse and dynamic culture. A key aspect of its artistic culture is displayed through street art. In the local context the Urban Cube attempts to create an interactive archive of Brisbane’s local talent. On each side of each slice is artwork, reflective of the street art already present in the surrounding context. It should attracts a new appreciation of this form of art among the community. The slices can be pulled by a passer-by to create a dynamic and sculptural space, or pushed to reveal different sides of the slices and, with each slice, a new piece of artwork (a 3x3m graffiti panel). The array of slices becomes a “book” of graffiti and underground artwork. The project was selected for the exhibition opened by Councillor David Hinchliffe (Fortitude valley, Brisbane June 2010).
2010
Brisbane / Queensland / Australia
PLAYING WITH SURFACES a new museum and public space in Fortitude Valley (Brisbane, Australia)
This design attempt to reach the integration between places and destinations through an accessible and connective public realm (the building ground floor plan is entirely designed to interact positively with the surrounding spaces). The multicultural character of Fortitude Valley (Brisbane, Australia) and the current policy’s intent of maintaining this character despite the purpose to develop and densify the area, suggested the idea of a building composed by basic rectangular elements which keep clearly their structural function and their geometrical identity inside the mix: the equilibrium impression the final composition reveals has therefore to be seen as a geometrical transposition of such policy intent. The purposed composition aims also to create as much dynamic spaces as possible to satisfy the main building function of hosting a great range of temporary exhibitions: there is no physical division betwen spaces, indeed each of them can easily flow to the surrounding areas.
STEFANO MORI
#02
2009
Mantova / Italy / Europe
SOGLIA DELLA CONTINUITA’ a design proposal for the Mantova’s historical harbour renovation
The design proposal for the Mantova’s historical harbour renovation (a part of my bachelor degree thesis) consists in a partially underground building (a museum) which enclose the harbour without affecting neither the significant city’s historical skyline from outside and the lake view from inside. The purposed building configuration/layout comes from a theoretical reflection on the architectural threshold concept, indeed the design comply to three theoretical point: 1. the architectural threshold between the building and the city (the access to the building is emphasized and monumental), 2. the architectural threshold between the different spaces of the building (the spaces which make up the building are not physically defined: the definition of a space is only a mental operation of the visitor), 3. the architectural threshold as changeable border between earth and water (the building is able to interact with the water level in the different seasons, changing its shape/organization consequently).
LIVELLO LAGO BASSO
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Il secondo elemento che costituisce il sistema di accesso è rappresentato da un volume a pianta triangolare che contiene il punto informativo e quello di ristoro. Questo elemento, collocato in una posizione apparentemente marginale del progetto, è in realtà un punto nodale in quanto generato dall’intersezione di due direttrici storiche e (nella proposta progettuale) percorsi diversi: quello di accesso e quello ciclopedonale che, ricollegandosi alla rete ciclabile dei laghi di Mantova, riprende l’asse delle mura storiche passando lateralmente al porto. La forma definita e la particolare posizione di questo volume gli conferiscono una forte identità e autonomia, potenziata inoltre da un totale distacco fisico rispetto al resto del progetto di cui costituisce simbolicamente l’accesso. Grazie a quest’ultimo elemento la soglia, non è più rappresentata dal solo segno bidimensionale che stabilisce in modo netto un confine tra il dentro ed il fuori, ma acquista una spazialità ed un volume, capaci di scandire l’atto dell’entrare e supportarlo nelle sue diverse fasi: in questo spazio oltre al semplice avvicinamento e superamento del limite trovano quindi risposta altre componenti proprie dell’accedere quali il controllo/ comunicazione, l’accoglienza, la sosta ed infine l’informazione del visitatore che si prepara ad una conoscenza più intima del “progetto”. Questa soglia acquista quindi significato in termini di luogo in quanto capace di legare gli elementi dello spazio costruito e i diversi momenti dell’azione umana.
LIVELLO LAGO ALTO
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II
Oltre al tema della soglia come accesso vero e proprio ad un edificio, e quindi come limite tra città e porto, nella proposta progettuale è presente anche un altro tipo di studio del concetto di soglia/limite: una analisi più particolare che riguarda l’articolazione e la composizione del progetto nelle sue diverse parti. Come già accennato nella parte introduttiva, la soglia è anche il limite che permette di individuare le diverse parti di un progetto, quel confine che dà identità a ciascuno spazio permettendogli di esistere in qualità di “luogo”. L’operazione di sottrazione/semplificazione promossa nello scorso secolo dal movimento moderno viene qui, in un certo senso, “esasperata” per poter reinterpretare il concetto di limite dei diversi ambienti. Nel progetto tutti gli elementi base dell’architettura vengono infatti semplificati e ricondotti “ai minimi termini”: muri, solai, aperture diventano superfici continue, piatte, pulite, ben definite nella loro forma e funzione ed indipendenti tra loro. Il concetto classico di apertura o porta viene quindi completamente bandito dal progetto in quanto ritenuto quasi elemento “inquinante” che ne comprometterebbe pulizia, continuità e significato. Questo procedimento genera una scarsa connessione tra gli elementi, che a sua volta impedisce una reale partizione del progetto in ambienti distinti. Gli spazi che compongono il progetto (3 sale e i diversi percorsi che le connettono) rimangono, tuttavia, percepibili ed individuabili in quanto mantengono una propria identità, ma il loro confine non è definito fisicamente o visivamente in nessun modo, tanto che il fondersi delle sale e dei percorsi gli uni dentro gli altri può portare il visitatore a interpretare l’intero progetto come un unico grande ambiente. Il concetto di soglia diventa quindi qualcosa di estremamente soggettivo poiché si lega alla capacità e volontà del visitatore di percepire e interpretare lo spazio: la continuazione ideale delle linee e delle superfici che compongono il progetto permette infatti di individuare diversi confini possibili. In base a come la mente dell’osservatore decide poi di interpretare questi “confini possibili”, si possono generare spazi e percorsi diversi. Questo “processo percettivo” può essere spiegato paragonando il metodo con il quale Mies van der Rohe si è approcciato a molte sue opere architettoniche a partire dagli anni venti, ed il procedimento di “sottrazione” che Bruno Munari, molti anni dopo, ha studiato nel campo della grafica.
L’accesso all’edificio è un sistema composto da due elementi, che pur mantenendo una loro identità formale e simbolica sono fortemente legati dalla relazione che permette di individuarli insieme come sistema unico di accesso al museo e come vera e propria soglia tra città e porto. Questo sistema di accesso unisce un lungo percorso rettilineo che scende collegando la quota della città a quella più bassa del porto e un volume definito che si configura come vera e propria “porta spaziale” e quindi come atrio/luogo a supporto del gesto dell’entrare. Il percorso rettilineo si sviluppa longitudinalmente delimitato da due muri su un “segno” che non risulta dalla stratificazione e orientamento dell’edificato, ma che nasce da uno spazio longitudinale tangente alla estremità meridionale del porto persistente nonostante le innumerevoli trasformazioni che hanno coinvolto nel tempo la morfologia urbana e territoriale dell’area. Il percorso nell’ultimo tratto si trasforma in rampa permettendo di collegare due livelli distinti: quello a quota superiore (20m) che caratterizza la città e gli spazi aperti della parte occidentale del progetto e quello a quota inferiore (15-16m) che è invece caratteristico del punto di accesso fisico e quindi del museo che su questo livello si articola aprendosi verso il porto. La discesa lungo questo percorso, tuttavia, non rappresenta solamente la soluzione di un problema funzionale per collegare due livelli a quota diversa e consentire quindi l’accesso, ma rappresenta anche e principalmente il passaggio tra due stati di percezione e conoscenza diversi: uno stato di percezione incompleta del porto e della composizione architettonica del progetto in cui il livello della città sfuma sulle coperture delle sale espositive attraverso uno spazio aperto dal quale affiorano solo parzialmente gli elementi murari del progetto, ed uno stato di percezione in cui è consentita invece la progressiva conoscenza del progetto nel suo articolarsi e aprirsi sul porto. Il percorso termina con un sistema di scalinate disposto a semicerchio che, generando centralità e staticità, si contrappone alla dinamicità del percorso segnalandone il termine e collegandolo al punto di accesso vero e proprio, che viene così facilmente reso esplicito.
II. SOGLIA TRA LE PARTI
I. L’ACCESSO
ESPLOSO ASSONOMETRICO
L’acqua è una caratteristica che, da sempre, è stata distintiva per la città di Mantova, e specialmente in questo caso, avendo a che fare con un porto, l’acqua diventa senza dubbio uno dei fattori più forti ed interessanti. È quindi per questi motivi che il progetto non deve sottovalutare la sua presenza né come elemento ricorrente al suo interno, né come elemento che possa acquisire valore di soglia. Nel museo, l’acqua taglia ogni barriera fisica e, attraverso dei canali sottili, penetra all’interno delle sale espositive, dove viene raccolta da una serie di vasche (una per ogni sala). La sua azione, tuttavia, non è limitata alla sola presenza nelle sale espositive, infatti, il progetto lascia all’acqua il potere di modellare parzialmente i suoi confini e di identificarsi, sotto certi aspetti, come “soglia invalicabile”: un sistema di due banchine a quote diverse, permette al lago, quando il livello dell’acqua si innalza, di allagare gli spazi aperti inferiori, rendendoli quindi impraticabili. La soluzione iniziale, tuttavia, attribuiva al lago ancora più potere: scegliendo infatti di non prevedere una “struttura ponte” che collegasse contemporaneamente le due banchine, la continuità tra il sistema di accesso e il museo non era garantita in caso di allagamento e di conseguenza l’acqua del lago diventava a tutti gli effetti una “porta”. Quello che rappresenta forse una delle più grandi particolarità di Mantova, e uno dei problemi storici contro cui questa città ha sempre lottato, nel progetto acquisisce quindi grande valore.
III. L’ACQUA COME SOGLIA
SCHEMA COMPOSITIVO
TAV. 1
2008
Verbania / Italy / Europe
SETTESETTI a new recreation space in a working environment
The Settesetti design is an improvement proposal for the Verbania’s old office & technology park (Lake Maggiore, Italy). Due to a totally lack of services and recreation spaces for the workers this area is falling into disuse, therefore the subject design proposal aims to catalyze an improvement in the working environment through placing a new recreation block/pavilion to provide a wide range of new spaces and activities for the workers during their break time inside the park. The new pavilion maintain the shape of the other blocks in the park but is made with different material (glass and concrete to lets see what happen inside) and is divided by a series of walls into different spaces which are arranged with an ascending order on the base of the activity hosted and the time required for such activity. Moreover the design proposal include several pieces of furniture and objects (designed to be placed inside the recreation pavilion), which are able to interact with the user and to meet different needs.
MISCELLANEOUS some random panels, pictures, drawings from previous years works
2010
2008
“No matter how hard is to walk your way, to give up is not an option: keep walking!� [found written on a stone]
STEFANO MORI
Via Montecatini 12 - 41126 Modena - Italy I +393482886437 I stefano.mori@live.com