PORTFOLIO
Francesca Becacci
FRANCESCA BECACCI
My name is Francesca, I was born in Florence in 1998, but I grew up in Prato. I started my university career in architecture in Florence, and then attended the master course in “Architecture for Heritage” at the Polytechnic University of Turin. During the academic years I learned to juggle with different types of software, developing a particular interest in interiors, layouts and graphics, but I am no less interested in applying myself in different disciplines and areas of architecture.
tel. +39 3386233920 | email. francescabecacci@gmail.com
SEPTEMBER 2012 l
JULY 2017
SEPTEMBER 2017 l JUNE 2021
OCTOBER 2021 l
FEBRUARY 2024
MARCH 2024 l
EDUCATION AND TRAINING
LICEO CLASSICO F.CICOGNINI, PRATO
High school leaving qualification in classical studies
UNIVERSITA’ DEGLI STUDI DI FIRENZE
Bachelor Degree
Scienze dell’Architettura
POLITECNICO DI TORINO
Master Degree
Architettura per il Patrimonio
MASTER’S DEGREE IN MUSEOGRAPHY, ARCHITECTURE AND ARCHAEOLOGY
Accademia Adrianea, Roma
WORK EXPERIENCE
FEBRUARY I
APRIL 2021
MARCH I
MAY 2023
APRIL 2024 |
2D DRAWING
3D MODELING
PARAMETRIC
MODELING
GRAPHICS AND POST-PRODUCTION
RENDERING
CURRICULAR INTERSHIP
AOU Careggi, Prof. Luca Marzi, parametric modeling
CURRICULAR INTERSHIP
Civico13, Torino, interior design and exhibition
Associate at Guicciardini&Magni Architetti
Studio Associato, Firenze
COMPUTER SKILLS
AUTOCAD
RHINOCEROS
ARCHICAD
PHOTOSHOP, ILLUSTRATOR, INDESIGN
CINEMA4D E CORONA
BUILDING REUSE PROJECT Ex Mar.Di.Chi.
INTERNSHIP
Mezzanin Floor - Fetta di Polenta
Turin GRADUATION
Turin
Events and Enhancement Fashion and Heritage
GRADUATION THESIS
Enhancement Processes. at Hadrian’s Villa.
Tivoli
WORKSHOP
Neues Museum Exhibit Berlin
WORKSHOP
Palazzo El-Badi Pavillion
Marrakesh
Ex Mar.Di.Chi.
The project was carried out as part of the “Building Reuse Project” workshop at the Polytechnic University of Turin with the aim of converting the former Mar.Di.Chi. complex to city use, also taking advantage of the planned work on the second subway line that will pass through the adjacent Via Bologna and solidify the connection between the neighborhood and the city.
The former barracks is located in the Barriera di Milano neighborhood in the north of Turin, whose services and connections at the urban level have been analyzed, so as to understand the potentials and shortcomings of that urban area.
01 Building Reuse Project
The overall Masterplan project involved the co-participation of several working groups, each of which then focused on a portion of the complex, the function of which was predetermined by the Masterplan project.
In this case, the project focused on the reuse and conversion of the Palmanova building into a cafeteria both university, for use by the adjacent residences located in the sheds, and free for anyone wishing to use it externally the a work break.
Dettaglio cucine
The Palmanova’s building already possesses a peculiar dynamism in the facade, this characteristic has led to enhance it by exploiting the height of the internal spacing, sufficient to raise a mezzanine floor.
The new open-space internal conformation has allowed to exploit the regularity in plan of the bays, creating strategic voids entirely glazed, which repropose a negative itself and allow a more diffuse lighting inside.
Similarly, the design of these mezzanines allowed for a rethinking of their accessibility by creating new roofs that take up the shape of the pitches, going on to modify their elevation and enhancing their distinctiveness.
Sullo base dello studio delle caratteristiche degli spazi della mensa riportate all’interno del Manuale dell’Architetto, sono stati definiti i vari ambienti della mensa, considerando in primis il numero delle persone da ospitare in quanto la mensa è stata pensata per essere al servizio degli studenti delle residenze, dei residenti e per coloro che che svolgono attività all’interno della nostra area. In particolar modo lo studio delle funzioni della cucina e dei suoi spazi di servizio ha portato alla definizione di un ambiente cucina(1) che presenta un piano cottura attrezzato (a), forno (b), e un bancone per la preparazione dei cibi (c), e che permette lo svolgimento delle funzioni per cui è pensato, di un ambiente dispensa (2) per la conservazione delle derrate con frigorifero (d) e con accesso dall’interno con una zona dedicata al ciclo di lavaggio stoviglie (e) ed infine uno spogliatoio, doccia e servizi igienici per il personale addetto (3).
Dettaglio caffetteria
Esploso assonomentrico
Kitchen for Fetta di Polenta
During my internship at Civico13 studio in Turin, I had the opportunity to collaborate with them on the reuse and conversion of a mezzanine floor into a kitchen.
After doing the necessary surveys with the architect, I brought the space back into twoand three-dimensional drawing.
The space and its dimensionality is really peculiar, so it was necessary to design
custom furniture and research appliances consonant with the space and the client’s request. The challenge was to equip such a cramped space with every primary need a kitchen must have.
The two main custom-made furnishings are the shelf above the door and the cooktop cabinet, which go to form in plan the sign of two inverted Ls that highlight the
conformation of the space. The cooktop can be folded down so that more space is available as needed, and a small refrigerator has also been arranged to meet the size requirements of the niche bel
Events and Enhancement Processes.
Fashion and Heritage at Hadrian’s Villa.
The objective of this study is to enhance the existing heritage through the design of ephemeral architecture that can highlight the ruin, increasing the attractiveness of the site through the organization of a major high fashion event.
The cross-curricular study of these different disciplines, such as archaeology, architecture, valorization, musealization and fashion, led to the choice of the fashion house Maison Margiela, a brand founded by Belgian designer Martin Margiela in 1988: these are the years of deconstructivism, applied not only in architecture, but also in fashion, in which the designer transposes this concept by creating collections that manage to give second life to garments, respecting and maintaining the traces of the passage of time.
The deconstructivist movement opposes classical architecture by its innovative forms and structures, drawing eccentric cuts and lines, providing new creative opportunities and approaches to design, in effect dictating
03 Graduation Thesis
new standards of beauty. This aesthetic establishes a contrast, a sharp discontinuity with archaeology, between the ancient and the modern, which, however, relates back to Margiela’s fashion in its creative process, which does not involve a destruction, but a rebirth.
The purpose was thus to establish a relationship between the ruin and the avowedly modern new, in which aesthetics take their cues from deconstructivist references, protecting archaeology, giving it a new legibility, and building knowledge, memory, and identity, but without compromising the environmental qualities of the site.
The path of the event is articulated in with punctual interventions, going to develop to all intents and purposes a diffuse museum, since these structures, although temporary, will not remain for the day of the parade alone, but will remain for a predetermined period of time for the Villa’s exhibition use.
The structure represented is grafted into the Pecile pool with a walkway accompanied by a photographic exhibition representing the history of the brand.
The main event of the fashion show is then held at the Grandi Terme: huge travertine blocks emerge from the water, forming a dynamic catwalk for the models to walk down the runway.
The models, dressed in the selected outfits, will follow a path that starts from the backstage, passes through an opening on the left side of the Grandi Terme, goes up the catwalk, and, after following different paths on the blocks, will return to the backstage via another opening.
The show will be enhanced by lighting on marble volumes, ruins in front of the Baths and trees along the catwalk. T he backstage, with trapezoidal structure covered with reflective film, will be visible from all angles, emphasizing the ruins and
the starry sky. Inside will be spaces for makeup, clothing, offices, photography and technical storage.
An overhead orchestra behind the catwalk will contribute to the atmosphere. Given the importance of the exhibit, it is proposed to extend its stay on the site with a display of statues, thus extending the useful life of the intervention.
In the vast Golden Square, a latticelike, modular structure fits between the ruins on either side, framing the central axis and maintaining the breadth of the space, keeping a non-oppressive spatial perception with light, semi-transparent structures.
Inside, an exhibition path presents the prestigious Margiela dresses, displayed inside polycarbonate cubes, recalling the materials of the Maison Martin Margiela couture fall-winter 2011 collection.
During the after-show, these spaces become scenic light sources. Other lights come from rows around the central ruins, from the lights inside the water pool between the ruins, and from the light beams from the stage in the quadrilobed hall, where a famous music star will perform to entertain the audience.
The last intervention is located west of the Villa on a hilly terrain with a tufa bank: it is the permanent exhibition pavilion developed following the axes analyzed during the study.
A garden guides the view toward the Roccabruna tower. The pavilion, partially excavated in the hillside, leaves the materiality of the tuff exposed, and, also inside, the museum follows an orthogonal grid for the positioning of displays, guiding visitors.
The materials highlight the contrasts of light and shadow: the pavilion, blind on the elevations toward the villa, is naturally lit through the excavation. A
glass surface along the inner perimeter illuminates the tuff, while other sources of light come from the holes in the ceiling and the stairs leading to the mirador.
Dark walls and flooring contrast with light-colored columns and ceiling. The columns, not structural but aesthetic, divide the interior space and some allow natural light to enter. Access to the mirador is through internal and external ramps.
Shadows on the Horizion Temporary Exhibition for the Neues Museum of Berlin
The workshop was held on-site in Berlin, co its site survey at the proposed project site. The objective was to design a termporary exhibit within the Greek Court on Pharaoh Akhenaten.
The project also included the development of the branding and communication of the exhibition itself, thus the related posters and sponsorship within the city. The concept choice was to recreate through colors a gloomy scenario faced in those years by the Egyptian people and to veiledly anticipate in the poster this concept through an eclipse, which will later be a metaphor for the finele part of the exhibit itself.
04 WORKSHOP
The exhibition designers want to recall the archetype of a portal, covered by a dark but at the same time translucent material. These large elements lead the eye to the final element of the exhibition: the bust of the pharaoh, “eclipsed” literally as the damnatio memoriae they had wished to inflict on him.
Only at the end will it then be possible to discover to enter inside the cylinder and observe the artifact on a brass pedestal and topped by an eclipse.
Design Pavilions for El-Badi Palace.
Marrakesh
The project is divided into different environments and functionality of them. The objective of the workshop was the enhancement of the entrance and ticket office of the Palace and the design of Pavilions within it to promote its tourist interest through events.
For the two pavilions, it was decided to work on the two towers: one currently still existing, while the other is no longer. In the existing tower an interior pavilion will be developed that will not affect the external image, but will manage to create a new interior space and a new perspective traite a staircase.
05 WORKSHOP
On the opposite side, on the other hand, an abstract reconstruction of the tower that no longer exists is proposed: it is an effimento pavilion consisting for all intents and purposes of a lattice structure covered with semi-transparent local fabrics, with a small garden inside, reminiscent of those found in the city.
Platforms for public use and public events have been placed in the center of the normally empty pools, making the central space totally usable.
