Our proposal for S. Pellegrino’s new home in the heart of Bergamo is an authentic extension of the rational and functional architecture of the existing factory, where the natural mineral water has been bottled since 1899.
Located in the Brembana valley between the Brembo river and at the foot of the Italian alps, our proposal embraces and enhances the existing architecture while forming an elegant framework that will allow the visitors to sense the power and purity of the surrounding Alpine nature.
S. Pellegrino Flagship Factory -Courtesy of Bjarke Ingels
The design is evolved around a well-known architectural element: the archway. The simple and clear character of the expanding and contracting arches throughout the campus, create a multitude of spaces and experiences. The visitors and S. Pellegrino employees will walk through majestic vaults, covered tunnels, arcades and green pergolas that frame the history and heritage of the brand. The seriality of the architecture will reveal parts of the surrounding mountains from the snowcapped summit to the running river at the base. At the center of the campus, a giant geological biopsy will visualize the 30-year journey the mineral water has to travel through to acquire the minerals and achieve the purity that is unique to S. Pellegrino. The new S. Pellegrino Campus will appear disciplined yet fluid; cavernous yet transparent; unifying yet diverse; classic yet contemporary. Celebrating both tradition and evolution the architecture of the new campus reflects the values of San Pellegrino Terme as well as the core values of the Sanpellegrino Group: Purity, Transparency and Naturality.
S. Pellegrino Flagship Factory -Courtesy of Bjarke Ingels
Architect’s statement: “Shaped by the serpentine run of the Brembo river and the sloping Alpine mountainsides, our proposal for the new S. Pellegrino Campus inherits its narrative structure from the landscape of the Brembana valley. Like an aquatic equivalent of a wine cellar, the repeating archways expand and contract to create the narrative framework for the purity and clarity of the mineral water, in an environment characterized by lightness, openness and transparency. The architecture of manmade elements is embraced and enhanced by the forces of nature, tapping into the rhythmic rationality of the industrial heritage of S. Pellegrino while eliminating the traditional segregation between front and back of house, creating a seamless continuity between production and consumption, preparation and enjoyment.” Bjarke Ingels, Founding Partner, BIG.
S. Pellegrino Flagship Factory -Courtesy of Bjarke Ingels
Project Info. Architect :Big [Bjarke Ingels] Location : San Pellegrino Terme, Italy. Type : Factory Status : Competition Works Year : 2016
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The connotative relationship between architecture and nature as well as architecture and culture always attracts the attention of the architects as a key focus. In this project, we hope to establish a linkage between architecture and nature as well as architecture and culture in a simple and plain way. Just as art and literature both have sketches, this project is a construction sketch to some extent. It doesn’t mean that the sketch has neither technical difficulty nor thought depth. Instead, it just doesn’t need to spare any pains and give mature consideration to all aspects of a question. The sketch is a flash in high spirits, which means without too much hesitation when selecting from big things through small ones. From landscape to architecture, we hope this house can express the scenery and breath of nature in an implicit way, which is complex but temperate, free but rhythmic. Thus, human, nature, architecture, and scenery are connected together.
Courtesy of TengYuan Design Institute Co., Ltd. – Photogrphy: Yuanfu Ou
“ShanShui” has special significance in the traditional Chinese culture. For example, traditional Chinese paintings are divided into figure paintings, bird-and-flower paintings, and mountains-and-waters paintings. In traditional Chinese paintings, landscape painting is called mountains-and-waters painting, while in classical Chinese poems and lyrics, landscape poem takes a crucial splendid part. Dating back to Wei and Jin dynasties, landscape paintings entered a period of great prosperity in Tang and Song dynasties, which integrate universe, nature, humanity, and art together in an abstract and enjoyable manner, thus forming unfailing interest. Chinese literators abandon themselves to mountains and water, express their aspirations to the mountain and pour out their feelings to water. There are not only natural scenery in landscape poems but also view, emotion, and feeling, which manifest the symbiotic relationship between human beings and nature with the union of mind as well as the interlink of breath.
Courtesy of TengYuan Design Institute Co., Ltd. – Photogrphy: Yuanfu Ou
The scenery of Guilin has been called the finest under heaven. There, typical karst topography constitutes peculiar scenery, and mountains rise out of the ground in different poses with different expressions; in the Lijiang River, twisting water is bright and clean as a mirror; besides, there are also many caves in the mountains with fantastic rock peaks, forming “Four Wonders of Guilin”——green mountains, clean water, strange caves and beautiful stones.
Courtesy of TengYuan Design Institute Co., Ltd. – Photogrphy: Yuanfu Ou
Thus, it is a natural selection to create a landscape theme for a display architecture located in Guilin, such a poetic city surrounded by mountains and water. We try to exclude “patterning” from this aesthetical landscape to some extent and make it shown by a kind of abstract line structure. The architecture in the plan is still a very simple cube without any shape or style change, which creates a “landscape cube” through the curtain wall structure. We hope the project can be derived from the scene, to form, through a pure glass box evoke people’s inner feeling about nature and landscape Sentiment.
Courtesy of TengYuan Design Institute Co., Ltd. – Photogrphy: Yuanfu Ou
Compared with those projects with huge volume and complicated functions, this exhibition center is an undeniable architectural sketch. During the creating process, we want to make it simple and relaxing. We give more consideration to the pureness of concept and operability of implementation. At that time, what we considered is mainly shown as follows: 1. From shape to connotation: How to manifest the connotation of “landscape” in the traditional Chinese culture by simple architectural language? 2. The depth of space in external surface construction: How to express the stratification of landscape and depth of space by the surface treatment? 3. Scenery direction of the material composition: How to build an implicit object with fuzzy boundary and overlapped layer using different reflection, refraction and transmission performances of glass together with the digital-colored glaze glass in order to create an enshrouding natural landscape? In a word, the whole design starts from construction and context.
Courtesy of TengYuan Design Institute Co., Ltd. – Photogrphy: Yuanfu Ou
Mountains in Guilin are well-distributed far and near. In addition to the inverted reflections on the water, a rich gradation is formed accordingly. This architecture manifests the hill shapes up and down through the rising and falling vertical glass ribs and creates three hill shape levels of the facade through different densities and overhang scales of glass ribs, namely “nearby view”, “medium view” and “distant view”. Thus, the gradation superposition caused by the transmission, reflection and refraction effect between different glass can form subtly changeable dramatic effect under different light conditions such as cloudy, sunny, raining and foggy. In the mottled shadows, the “boundary” becomes blurry and flowing. At a close look at the architecture, people feel like staying in the mountain range while steam flows above, and the architecture reflects the changes of the surrounding natural environment sensitively. Viewers, architecture, and landscape of Guilin interact with each other, creating a wonderful and far-reaching prospect.
Courtesy of TengYuan Design Institute Co., Ltd. – Photogrphy: Yuanfu Ou
The landscape design of the Exhibition Center continues the theme of landscape and realizes the linkage and scaling of space by virtue of layered water surface, winding path and elegant bamboo gallery, which forms a delightful contrast and makes people stroll in it. As people move their steps, they will see different sceneries and go into a wonderful paradise from the landscape.
Courtesy of TengYuan Design Institute Co., Ltd. – Photogrphy: Yuanfu Ou
Project Info Architects: TengYuan Design Institute Co., Ltd. Location:Guangxi, China Architect in Charge: Peng Wei Design Team: Guang jun Zhao, Zhen ming Wang,Bo Zhang, Wei Wang Structural Engineer: Xing Xing MEP Consultant: Zhiguang Qu, Juan Wang Main contractor: Uashi Decoration Co. Ltd. Selected subcontractors: SBG South Bright Glass Co. Ltd. Facade Material: Digital-colored glaze-painted art glass curtain wall Site Area: 26,118㎡ Building Area: 4,800㎡ Year: 2016 Type:Cultural Center Photographs: Yuanfu Ou
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Avoid Obvious Architect provided master plan design to convert an existing industrial site in Williamsburg, Brooklyn into a mixed-use development with three high-rise towers. The idea of the master plan is to connect all three buildings to views, contexts, and people. It will create a quiet yet exciting destination along the English Kills. It will echo the other big project, Willets Point Development, on the other end of the river.
Courtesy of Avoid Obvious Architects
Avoid Obvious Architect partnered with Studio C Architects to provide master plan design to convert an existing industrial site in Williamsburg, Brooklyn into a mixed-use development with three high-rise towers. The idea of the master plan is to connect all three buildings to views, contexts, and people. It wants to maintain an industrial and creative feel while providing a family oriented environment. The orientation of the mass responds to different parameters and turns the overall design into a crossing matrix.
Courtesy of Avoid Obvious Architects
The matrix activates the waterfront and provides a much needed broad walk and greenery for the neighborhood. The design approach aligns with New York City’s Vision 2020 plan to improve the city’s waterfront. Tower to the west is dedicated as artist’s studio, a tower in the middle is an art hotel, and the tallest tower to the East is a condominium. The project will create a quiet but exciting destination along the English Kills. It will echo the other big project, Willets Point Development, on the other end of the river.
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The House as a Shelter How can a dry, rocky, steep-sloped terrain be confronted by architecture? That’s the initial question that arises out of the necessity to build a household and a work atelier in this type of setting. As an answer, we decided to intervene as little as possible with the land’s topography, as a means to balance excavations and fillers, solving the problem with a simple outline, with sections and planes.
In order to pose architecture in a manner through which it respects its steeped-slope geography, we rely on 4 levels that extend towards the horizon, searching for the best views for each of the different environments in Lima’s bay.
We propose a service area located in the back of the house, neighbouring the hillside and the main environments in terms of sections and planes, which offers greater flexibility including views to the city and the Pacific ocean. Within the street level, we lodge the areas of social life with the dining room and the Access to the kitchen and services, an area which extends towards the rooftop which includes the pool, garden, barbecue and game room.
Located in the lower level is the family living room and the romos, each having access to a patio located at the back of the house which connects to the escalonated gardens arranged with local stone platforms. Finally, in the last level, there is a work environment, studio and atelier for the family’s use.
The language that reflects a noble architecture, was expressed by attempting to align the structure, the functionality and the room schedules, by using plants and a simple distribution, due to the quality of its materials and the spatial definition.
Austerity, flexibility and practicality are the central components of the house, which harbors functions that are clearly oriented towards family, studio and work life, resulting in a timeless shelter which exists in perfect harmony with its site and landscape.
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