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Griva Casalegno Textile Factory
Griva Casalegno Textile Factory
Riva presso Chieri, Italy
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Other Projects by Caprioglio Architects
Griva Casalegno Textile Factory
Riva presso Chieri, Italy
The
sequence of plans and volumes underlying the architectural composition is
directly correlated with the requirements of the company’s manufacturing cycle.
The intention behind the composition is however to resolve the sequence of
functions and circulation in the plan by countering the rigid stereometry of
the volumes for the manufacturing areas with the fluid articulation of the
volumes that house all the other company functions. These volumes are located
in the northeastern section of the complex plan where an architectural
landscape is designed, based on fluid lines wrapped in circles, ellipses and
parabolas that grow at a constant angle towards the north-east, when they are
defined as volumes that rise progressively and distinctly from the reception,
the area of access control, to the elliptical volume of the offices. This
configuration allowed the construction of an original and recognizable image
for the Griva Casalegno company, based on the architectural composition of its
manufacturing and marketing facilities and on the use of materials. The latter
are developed in contrast: the volumes for the manufacturing and technological
areas are wrapped in a continuous sheath of steel panels, lightweight in their
consistency, horizontally laid, neutral and silvery in color; the volumes for
the administrative and commercial offices are characterized by a base, which is
reflected in the solid parts of the elevation, faced in red brick in the
tradition of the Piemonte region, and in the large transparent glazed areas
with grey steel-frame windows. The roofs over the volumes of the manufacturing
areas are modulated by the grids of the sheds, which convey natural sunlight
inside; the roofs over the volumes of the office and commercial area are
sloped, with ample overhangs to the north and northwest, clad in copper-zinc-titanium
sheet metal to absorb maximum indirect light, depending on the orientation,
through the large transparent ribbon windows. The composition is influenced by
the nature of the site, the flat agricultural land extending out to the hills
and the Alps, which rise over the northeastern horizon of this section of the
Chierese plain. This is the reason for the intentional and underscored
horizontal tension of the complex, which contrasts with the fluid rhythm of the
composition of the volumes in the northern and northeastern zone, and the use
of red brick, the traditional material par
excellence in the civil and religious architecture of the Chieri and
Piemonte regions. When making architecture in this context, it is impossible to
ignore the variations in plan and the Pindaric elevations built in Piemonte by
Guarino Guarini first and Filippo Juvarra and Bernardo Vittone after him. In
particular what is borrowed from Guarini is his systematic method of
“invention” unconstrained by the usual relationships of proportion, number and
dimensions of Renaissance classicism. It is no coincidence that this influence
is concretized in the fluid and continuous design in comparison with the
“undulating” order that Guarini proclaimed to be his invention.
sequence of plans and volumes underlying the architectural composition is
directly correlated with the requirements of the company’s manufacturing cycle.
The intention behind the composition is however to resolve the sequence of
functions and circulation in the plan by countering the rigid stereometry of
the volumes for the manufacturing areas with the fluid articulation of the
volumes that house all the other company functions. These volumes are located
in the northeastern section of the complex plan where an architectural
landscape is designed, based on fluid lines wrapped in circles, ellipses and
parabolas that grow at a constant angle towards the north-east, when they are
defined as volumes that rise progressively and distinctly from the reception,
the area of access control, to the elliptical volume of the offices. This
configuration allowed the construction of an original and recognizable image
for the Griva Casalegno company, based on the architectural composition of its
manufacturing and marketing facilities and on the use of materials. The latter
are developed in contrast: the volumes for the manufacturing and technological
areas are wrapped in a continuous sheath of steel panels, lightweight in their
consistency, horizontally laid, neutral and silvery in color; the volumes for
the administrative and commercial offices are characterized by a base, which is
reflected in the solid parts of the elevation, faced in red brick in the
tradition of the Piemonte region, and in the large transparent glazed areas
with grey steel-frame windows. The roofs over the volumes of the manufacturing
areas are modulated by the grids of the sheds, which convey natural sunlight
inside; the roofs over the volumes of the office and commercial area are
sloped, with ample overhangs to the north and northwest, clad in copper-zinc-titanium
sheet metal to absorb maximum indirect light, depending on the orientation,
through the large transparent ribbon windows. The composition is influenced by
the nature of the site, the flat agricultural land extending out to the hills
and the Alps, which rise over the northeastern horizon of this section of the
Chierese plain. This is the reason for the intentional and underscored
horizontal tension of the complex, which contrasts with the fluid rhythm of the
composition of the volumes in the northern and northeastern zone, and the use
of red brick, the traditional material par
excellence in the civil and religious architecture of the Chieri and
Piemonte regions. When making architecture in this context, it is impossible to
ignore the variations in plan and the Pindaric elevations built in Piemonte by
Guarino Guarini first and Filippo Juvarra and Bernardo Vittone after him. In
particular what is borrowed from Guarini is his systematic method of
“invention” unconstrained by the usual relationships of proportion, number and
dimensions of Renaissance classicism. It is no coincidence that this influence
is concretized in the fluid and continuous design in comparison with the
“undulating” order that Guarini proclaimed to be his invention.
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