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.