In Between Worlds: Francesca Singer’s journey from SANAA to Bocconi and the art of making things happen

In Between Worlds: Francesca Singer’s journey from SANAA to Bocconi and the art of making things happen by Vittorio Triggiani and Michela Vitiello

Francesca Singer, partner at SANAA, joined the Design Management course for a guest lecture centered on the project she has followed most closely: the Bocconi Urban  Campus in Milan. 

She chose to speak not about finished images or polished presentations, but about the human process behind the architecture — a process shaped by constant presence, negotiation, and mediation. More than any other, this project demanded her full involvement: from regular site visits and hands-on decisions to navigating the delicate balance between the client, the contractor, and SANAA’s own leadership. 

What emerges is a story that goes far beyond design drawings — one that speaks to the  persistence, care, and dialogue needed to bring architecture to life. The following  conversation offers a deeper look into that experience. 

How much decision authority did you have during the artistic direction phase?

Convincing the client is not always easy — it often comes down to budget and time  constraints. Usually, they hand over a project and expect you to make it happen. But over  time, if the outcome is successful, you naturally become part of the process, and that  gives you a certain level of influence.  

For me, it’s essential to be involved from the very beginning through to the end. That’s  how we work. I need to be part of the decision-making process, including the selection of  consultants. If a client makes decisions with a consultant without me present, it sets the  wrong tone. The consultant won’t fully understand the direction I’m trying to take. They  might assume you're too young, inexperienced — and that creates friction. 

Why do you think it’s so hard for people to see that having another person involved can actually add value to the process? 

Because when there’s a lot of money at stake, control becomes everything — for both the  client and the construction company. And you, as the architect or designer, are often the  element that disrupts that control. Their priority is to finish on time. 

But if you show them that you understand their point of view — that you’re working to  improve the project while respecting their constraints — they start to see you as an asset.  The key is not to always fight back. Now, I see myself more as a mediator: I try to find a  balance between the client's expectations and SANAA’s decisions. 

What did you take away from the different studios you’ve worked at? 

When I joined SANAA, I was immediately able to dive into complex projects, mostly  because I came from the highly organized structure of American studios. That progression  worked really well for me — I loved it from the start.

But it’s a huge challenge: working with SANAA means trying to invent something that  doesn’t exist yet — something beautiful, and something that actually has to get built. Their  rules, culture, and construction methods are totally different. Translating a Japanese  mindset into an Italian project is never easy. And every time, you also need to learn how  to deal with local teams. Once you gain their trust, they understand you — and they see  that sometimes you’re facing the same challenges they are. 

At any point, did you want to leave that studio and return home? 

Leaving was tough. I had been living in Japan for years, and abroad for nearly a decade.  The Bocconi project felt like a clear sign it was time to come back. But it was a difficult decision. 

Francesca Singer’s journey with the Bocconi Urban Campus reflects not only the  challenges of architecture but also the growth that comes from navigating complex  relationships and cultural differences. Her experience highlights that beyond design,  success comes from patience, mediation, and the ability to adapt — lessons she has  carried throughout her international career.