The winery program is the result of the need to produce wine and organize a relationship with the existing land house. There are four main spaces for the wine production with three more areas between them. These three are service spaces with all the facilities and storage. The first main space in the right, next to the laboratories and freezers, is the one for all the farming instruments and tools for the vineyards. The second one is for all the vats needed for the “mosto wine” production. The third one is for those vats and bottles that are resting. The last one, and forth, is the area for tastings, enjoyment and storage of the bottles that are ready to be open. The access through a tunnel from the upper side of the house serves as organizer for the circulation of the owners. The three remaining service areas are accessed directly from the vineyards.
The Farm 38° 30°, an iconic boutique dairy factory, derives its name from the coordinates of the site it is located in, the “38° 30° Valley of Art” in the village of Afyon Tazlar, in the province of Afyonkarahisar in Central Turkey. Located at the entrance of the valley, this dairy factory offers degustation for visitors, all the while exhibiting the production process of the dairy products of the farm.
This is an extension to an existing circuit board factory located near Atsugi base. The first floor area, which had originally been planned as a workshop, was changed to be used as a showroom and a multi-purpose space for local community, and therefore versatility and openness were required. Furthermore, since future reconstruction of the currently used factory building was under consideration, we tried to design an extension allowing for multiple uses, while providing adjustable spaces and programs in accordance with the active involvement of users. This building is constructed of a frame structure model designed to accommodate various conditions and requirements, as well as fitting and hardware elements allowing fine tuning by improving their adjustability and renewability. Those spaces in the building are characterized by the composition juxtaposing those elements without losing their original characteristics.
At the time that WilkinsonEyre was invited to design this new factory and headquarters building, Dyson was one of the fastest growing companies in the UK. The new development therefore needed to embrace an extensive range of uses and be built and occupied in a rolling programme. Our original masterplan for the overall site optimised the layout of a range of functions whilst incorporating flexibility for future expansion.
The design created an exciting yet economical space with an undulating wave form roof which ‘floats’ above the trees, disguising the bulk of the factory.
Article source: UFo,(UFo Studio, Beijing Institute of Architectural Design)
Abstract
Huadian Tianning Temple factory, also known as the second thermal power factory, assumed of the central city heating tasks since 1976. After the main generator unit shouted down in 2009, the factory Facing the challenge of changing itself to a new area and meet the needs of the city.
On the north and west side of the factory are the urban roads, and the roads inside the block are narrow and full of dead ends. On the east side of the factory is Tianning Temple, a well-known Buddhist holy site in Beijing.
Tags: Beijing, China Comments Off on Renovation of Huadian Tianning Temple Factory (Phase 1) in Beijing, China by UFo,(UFo Studio, Beijing Institute of Architectural Design)
The intervention involves an existing productive building, located along a busy commercial route of Noventa Padovana, in the eastern rural area of Padua. The late 900’s architectural body in composed of a compact large vaulted volume, in which a third is occupied by a two-storey directional block and two thirds by a double high space hosting the workshop.
The S.Pellegrino brand identity is deeply rooted in its origin in the San Pellegrino Terme: from the majestic nature, purity of the source and historical heritage, to the century-long development of craft and Italian way of life. As such, the new S.Pellegrino Flagship Factory should not be a radical superposition of new messages or foreign elements, but rather an enhancement and elevatation of the qualities that are already abundant in and around the river valley. BIG proposes an architecture that offers a fresh take on an ancient wisdom, revisiting the classic elements of Italian architecture and urbanism: the arcade, the viale, the piazza and the portico create an architectural environment where production and consumption, nature and architecture, outside and inside, and making and enjoying are integrated to elevate the experience for visitors as well as S.Pellegrino staff.
Article source: Ricardo Bofill Taller De Arquitectura
I found enormous silos, a tall smokestack, four kilometres of underground tunnels, and machine rooms in good shape. This was twenty five years ago and it was my first encounter with the Cement Factory.
I already imagined future spaces and noticed that the different aesthetic and plastic tendencies that had developed since World War 1 were present in this factory.
I was surprised twice when I first visited the Daekyoung Factory. The first surprise was the beautiful scenery of the mouth or the river of the Nakdong River, and the second surprise was that the beautiful scenery could not be seen at all from the factory complex. There were three buildings in the complex, with two buildings lined up on parallel lines, making a rectangular plaza. The plaza was busy, with many workers passing by. The third building was placed perpendicularly with the plaza, blocking the scenery towards the sea. I felt sorry for the factory workers, who are so close to the beautiful scenery, but could not even see it.
Industrial culture can only come about when existing economic and functional practical constraints are successfully transformed into multidimensional design.
The Funder Werk factory building, a paper coating factory, is functionally determined by the process of production. It was to be metamorphosed into “expressive architecture.” The design concept was based on the idea of dismantling the production hall into sculpturally shaped elements. During the design process, the power station with its chimneys, the media bridge, the flying roof, the office and laboratory areas, and the entrances emerged as differentiated, interconnected architectural elements that endow the complex as a whole with an unmistakable head and body. The playful sculptural evocation of the power station with the “dancing chimneys,” the media bridge as a connection between energy and production, the free design of the flying roof as “wings,” the shaped canopies of the entrances, and the corner of the laboratory and office areas dissolved in glass towards the south, all stand out against the hall, which has been consciously kept white and simple.
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