Francesca Costi UniversitĂ della Svizzera Italiana Accademia di Architettura di Mendrisio Portfolio 2016-2018
Francesca Costi 04|01|1997 Born in Milan Resident in Milan 0039 3338148321 francesca.costi@usi.ch franci.costi@gmail.com Education Architecture Academy Mendrisio: BSc2 2017|2018 Atelier Walter Angonese BSc1 2016|2017 Atelier Mario Botta, Paolo Canevascini 2016|- Accademia di Architettura di Mendrisio 2011|2016 Liceo Artistico di Brera, Architecture and Territory, Milano Languages Italian, English, French Computer Skills Archicad, 2D Archicad 3D, Adobe Photoshop, Adobe InDesign, Rhinoceros, Maxwell Studio, SketchUp, Adobe Premier Pro CC, iMovie Material Skills Paper, Concrete, Mdf, Wood, Foam, Poliplat, Plexiglass, Clay, Pasteboard, Sand, Wax, Steel Awards 2018 Third Place Competition Architecture Academy Mendrisio “A Bench. A Lamp� 2015|2016 First Place Stage for the Italian firm Status anno 2014|2015 First Place for Innovation for Competition at Common Goods Social Business School
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Housing in Marrakesch
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Distrave
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Redesigned: House for Older Residents, Sergison Bates
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House in the Vineyards
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Redesigned and Model: Mendes AndrĂŠ House, JoĂŁo Battista Vilanova Artigas
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Sisiman Bay Lighthouse
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Val di Blenio Territorial Model
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Ex Factory Cima Norma
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Theater and Guest House for a Company of Artists
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Temporary Exhibition
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Exercise Re-Invent: Discofrutta
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Minimum Stage: The Cube
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Drawing and Representing
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The Man and the Space
Housing in Marrakesch In the second year during the second semester, in addition to the structure, the topic treated is housing. The assigned site is the city of Marrakesch in Morocco, in particular the site of the Bab, near the medina, in the Jewish quarter, a bridge between the historic and the new city, the gateway as an element of the threshold, transition, removal, symbol. The Bab presents one of the green lungs of the Medina, which once belonged to the Palace of the Bahia. My project was born from the desire to maintain the public space of the garden, on the ground floor but I wanted to redevelop it so that it could become a meeting place for the whole district. On the ground floor, in fact, I considered the
BSc2|sem II Atelier Walter Angonese
paths created by the water from the trees to the layout of the entrante. I would like this space to be an almost mystical place, thanks also to the light filtered by the courts of the upper lodgings. So I decided to invade the ground as little as possible The only points of support are volumes that have a triple function: structure, vertical access and wind towers. Thanks to the wind towers, all the apartments have natural ventilation that always guarantees air circulation. The apartments are distributed on the upper floors, suspended between these towers as modular “trays” that overlap, creating a “grid” characterized by full and empty spaces. The apartments are divided: four are in the modules of the first floor and two are in the
upper modules, designed for larger families. However, thanks to the structure of the building designed with Vierendeel beams characterized by numerous holes, they allow a flexible and interchangeable space according to the needs of the occupants. In fact, the openings can be buffered or opened according to how the interior space is distributed and in the facades this will create different rhythms of voids in the patios wherethe “symbolic” bas-reliefs are buffered and openings covered by brise- soleil designed to guarantee fundamental privacy in Moroccan culture. I also thought of a hypothetical parking in one of the few roads accessible to cars. In fact, the Medina has a problem of migration caused by its narrow road inaccessible to cars.
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BSc2|sem II | 2018 Competition A bench. A lamp.
For the competition, announced by the Academy, a lamp and a concrete bench were requested, so during a class lesson a friend of mine and I thought to take a simple structural element like a beam, untangling it and giving it a new function. The beam has different heights that allow you to sit, lie down and have a side table and a lamp.
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Redesigned: House for Older Residents Sergison Bates
The first exercise of the Second Semester concerns the study and redraw of 24 significant buildings associated with the theme of collective housing from the 20th century to modern times. The teaching will assign each student an example of housing in order to carry out research and investigate the topic through the process of redraw, developing plans, sections and faรงades that are significant in scale and faithful to the original. This work of analysis represents the educational path that began during the autumn semester of the current academic year, with the object of acquiring a
BSc2|sem II Atelier Walter Angonese
knowledge of the fundamental aspects of collective housing, eventually becoming the base supporting the project. The redraw exercise makes it possible to understand the complexity of the relations between the organisational and structural aspects of collective housing with the programmatic and functional aspects of the apartment, and so enter in detail into its dimensions, relation, private and collective spaces. And, last but not least, it will enable us to identify the relationships that the building establishes with its context.
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House in the Vineyards The project is located in Cigognola, a small town in the Oltrepo‘pavese hills. The location was the result of an analysis of the territory, in fact both the morphology of the territory, the structure and the direction of the vineyards were well studied. The structure is an inhabited structure of 50 square meters, very private, positioned in the middle of the vineyards. It is very isolated compared to the town, ensuring excellent privacy and protection from noise. The small building follows the direction of the
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vineyards, it is as if it was a part of them, in fact it isn’t the result an intervention too invasive compared to the territory but it seems almost unified with the landscape. The project is a structure in the form of a “skirt” in concrete suspended from the ground thanks to steel cables that pass inside the roof pulled by ten poles, divided five on one side and five on the other. These poles need a foundation so the terrain should be changed, but once the building is built the soil that had been removed is put back because the structure is suspended.
The idea was to recreate the structure of the vineyards. I wanted to use concrete because it has to swing as little as possible. The building inside is almost an open space. The light system is designed to its minimum because the orientation of the house allows natural light to come through thanks to two windows that completely cover the west and east part. These windows, as well as enabling a magnificent view, allow excellent natural ventilation and a good relation between inside and outside.
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Redesigned and Model: Mendes André House João Battista Vilanova Artigas
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The first phase of the studio sessions will focus on “an inhabited structure” through the redraw and rebuild of ten significant houses by the architect João Battista Vilanova Artigas. The selection of houses serves to bring out themes recurrent in his works, very differently distributed over the years. For this exercise the students will be divided into groups. Each group will be assigned a house to be redesigned in vector drawings on a scale of 1:50 by developing plans, sections and facades. An accurate drawing, faithful to the original, is required. Both the study material and the guidelines for the graphic design will be provided. On the basis of the graphic material produced, which will include personal research and interpretation of the material provided, each group will make a model of the house on a scale of 1:33, connected with the internal spatial qualities of the house and its details, anticipated by a small study model on a scale of 1:100. A
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BSc1|BSc2 Digital Representation
Sisiman Bay Lighthouse During Bachelor I I started from a picture of Manila’s Lighthouse representing it in a two-dimensional architectural drawing and interpreting its materiality with a two-dimensional rendering in Photoshop. During Bachelor ll, I had the task to assimilate the three-dimensionality of the lighthouse with a 3D model drawn in Rhinocheros and then to obtain a realistic rendering with Maxwell studio. Drawing was investigated in its multiple meanings: design forknowledge, an instrument for analysing reality, drawing for representation.
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Val di Blenio Territorial Model
BSc1 Atelier Mario Botta - Paolo Canevascini
By constructing a territorial model (an exercise common to the four ateliers) it was intended to introduce the concept of physicality in the planning territory of the two first year semesters, the ability to read the cartographic material and translate it into a three-dimensional representation. The geographical area was that of Ticino in the Blenio valley, starting south from the end of the Riviera region and culminating in the town of Biasca up to the Passo del Lucomagno. The model was then used to frame the specific area in which the six-monthly projects took place in a wider context.
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Ex Factory Cima Norma
BSc1|sem1 Atelier Mario Botta - Paolo Canevascini
Both first-year projects occupied the area of the former Cima Norma factory located in the small town of Torre in the Val di Blenio in Ticino. Architecture oscillates between the ambition of its eternal duration and the reality of the transformations that distinguish it. Architecture does not change solely because it deteriorates, because it “ages” as a living being, but also because it changes its contents, themes and guests. The first semester project therefore consisted in analyzing a space in the former factory and creating a new function such as a temporary exhibition. In the second semester, on the other hand, the project occupied the surrounding area of the factory, where it was necessary to think of couples in a theater and a foristery diverted to theatrical companies.
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Theater and Guest House for a Company of Artists After the first semester, in which the project proposals have had the role of interest of the Cima Norma, the point of view is the following: no longer inside the buildings, outside of them, touching the areas surrounding the industrial nucleous. The question was the spaces and structures that saw the preparation of activities related to the show: theater, dance, cinema or music. We imagined a group of people for a period of a few monthswhen they will find themselves, isolated and concentrated, to build a show. So a group of people thought of an answer by dividing the two needs. We thought about a growing path, from the rehearsal room to the guest house. which was partly both indoor and outdoor. The focus would have been the space in order to prove that it could have been both indoors and outdoors. a staircase that in addition to being the audience for the audience is also that of the factory and the catwalk that led to the guesthouse on a higher level.
BSc1| sem11 Atelier Mario Botta - Paolo Canevascini
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Francesca Costi, Giusy La Lica
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Temporary Exhibition
BSc1|sem 1 Atelier Mario Botta - Paolo Canevascini
In the first semester of the first year in the Atelier, everyone was assigned a space which would have had a specific function. One of the spaces of the former factory would have hosted a temporary exhibition. For my space I thought of an exhibition that could host any kind of art that could be sculpture, photography, painting inside the “boxes� easily composable. therefore, for this space, I thought in particular to the artist Adrian Paci, who experiments different types of art, where in each box he could present his different types of works, such as videos, sculptures, paintings, etc. I wanted the viewer to be in an intimate environment face to face with the work so that he could capture every detail. These very simple and modular boxes are designed in wood that can be assembled from different panels. Each presents a seat for the visitor.
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Exercise Re-Invent: Discofrutta
Atelier Mario Botta - Paolo Canevascini SA 2016
This exercise consisted in taking an object dear to us, that had lived itself the change of its original function and had become something else, within the same form, or if it had changed it, that it was still legible. That’s why I chose an old vinyl that I did not listen to, and I decided to turn it into a fruit holder. I heated it for a few minutes in the oven and molded it and afterwards took a new shape.
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Minimum Stage: The Cube
The exercise consisted in choosing a film and synthesizing it in a minimal setting. As a set designer, it was a matter of giving body to the imagination, of condensing into a given space and with the help of objects, the background, the colors, the light, a composition, the single moment of a story. The synthesis of this spatial composition had to be able to transmit and evoke all the nuances of a story, a thought, an emotion. A frame that lasts over time. In these “boxes� we had to reproduce not so much the scene itself, but rather abstractions, quintessences, memories, images mixed with reality and fantasy.
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Drawing and Representing
Atelier Annina Ruf SA 2016| SP 2017
To watch, to see, to observe, to represent: the requested exercise is based on these four verbs. Giving the comon thread for a logical sequence to follow menever one mants to re-produce something real in a graphic representation: Seeing is the most generic side of our relationship mith reality mithout it necessarily being intentional. Watching is a decision we have already seen it and we can continue matching something for as long as we like. To observe something is to examine it carefully and intentionally, to study it, to get to know it.
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The Man and the Space
Atelier Riccardo Blumer SA 2016| SP 2017
Thanks to the Specific physical exercises, we have been introduced to the knowledge of human anatomy and the movement. Furthermore by means of exercises that provoke a real-scale and public experience, called Mise en scène, the course aims the develop constructive expertise throught the knowledge of the relationship between matter and mechanics, and of geometry as a language of abstraction at the base of the project.
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Thank you
Francesca Costi largo settimio severo 4 20144 Milano 0039 3338148321 francesca.costi@usi.ch franci.costi@gmail.com