The motivation behind the construction of the new building has been to create a space that would have a positive and productive effect on the creativity of the executives, researchers and employees of the company. Throughout all the phases of design and construction, there has been an underlying and continuous concern in investing in human resources. This innovative social approach has been consistently supported throughout the project by the company and the challenge to deliver such a building has been met with great satisfaction by all involved.
UNIQUE PROPERTIES / PROJECT DESCRIPTION:
The project is the landmark HQ of the new ‘Jansen Campus’ and is the result of two years of extraordinary collaboration between the architects and the clients.
The building , a striking new addition to the skyline, is the link between the industrial area and the old town and takes its triangular forms from the traditional pitched roofs of Oberriet. The project integrates innovative technologies and includes new details and materials not yet used in architecture- the façade system for example, structural glazing details (by Jansen AG) and internal glazed fireproof doors. The building’s heating, ventilation, lighting and energy consumption meets strict Swiss ‘Minergie’ standards, meaning that it has excellent sustainable credentials- the HV system, for example, is ‘TAPS’, activated by the structural shell of the building.
One of Jansen’s main objectives for the project is to make the Campus a creative and engaging place for all their employees. The building’s work spaces are open plan, with each employee have their own custom designed workstation. (Many furniture pieces have been custom designed and made for the project and stand alongside the chosen brands of Alias and Capellini).
All spaces look out across the Rheintal and the geometry of the building means that visitors and employees alike are offered unexpected glimpses sliced out of the landscape.
The landscaped park surrounding the building includes 80 trees, 35 different species representative of those of the region. The project also sees the beginning of the Jansen Art collection, containing works by international contemporary artists.
OPERATION / FLOW / INTERACTION:
In plan, the building follows a triangular geometry and, reflecting the reading of the built space, this geometry is again found in the elevation of the volumes. The four triangular shaped volumes, with respect to their internal functions, are modelled with their relationship to the surrounding landscape in mind. As such they reflect the 'game of planes' of the village, both in elevation and in their roofscape, where the highest parts face its industrial family, the lower parts sloping down to greet its residential neighbours. In order to emphasise the idea of collectivity and to underline the social principles of the company, the four volumes are organised in such a way as to avoid a classical composition of hierarchical spaces.
The internal landscape is articulated as a fluid space, almost as if it were formed by an extension of the urban streets of the village, a system of solids and voids expanding in all directions. The apparent mass of the new building is dematerialised internally, flooded with natural light teeming through the generous openings and grand slicing overhangs that project the users out to the landscape. The building also draws from the extraordinary beauty of its natural surroundings and recreates part of this external atmosphere within its own internal landscape.
In order to allow for the fluid flow of daily working life, spaces intended for collective use have been placed adjacent to the main lifts and stair while the more intimate working spaces lie further along from this circulation. The structural functions of the building are assumed by the perimeter walls of the triangles, allow for a free plan internally with a high degree of flexibility and possibility of future divisions. Currently the spaces are organised about a three-dimensional grid that corresponds to the company’s functional structure.
The public functions are distributed from a reception zone on the ground floor. Rooms for meetings, business lunches and a restaurant all lead off this area. Also on the ground floor, beside the reception is an office known as ‘Mission Control’ representing the operational heart of the company and acts almost like the stock market floor, where all information regarding the operations of the company is processed here in real time. On the first floor there is a space named "Kreativbereich", a workplace and informal meeting space open to all, much appreciated by the employees, a teaching room with foyer and other meetings rooms. An open plan office for the communications section is located on the second floor, and on the third is the boardroom with a panoramic terrace.
Individual offices and more intimate working spaces requiring more privacy are distributed along a spiral, with their area increasing as the spiral rises. The northern-most triangular block houses the operations wing of the company across two floors and on the upper floors are the offices of the directors responsible for this sector. The south triangle houses quality control and the executives responsible on the second floor. In the basement there are ca. 1000sqm reserved for the archives, mechanical rooms and technological systems.
PROJECT DURATION AND LOCATION:
Location: Oberriet, SG, Switzerland
Project start date: July 2008
Construction start date:May 2010
Completion date:May 2012
FITS BEST INTO CATEGORY:
Architecture, Building and Structure Design
PRODUCTION / REALIZATION TECHNOLOGY:
The composition of the internal landscape follows the principles of architecture, offering a continued reduction of scale of the main volumes and the allowing for the reading of the surrounding environment through the choice of furniture, materials, colours, lighting and green elements. For example, the finish on the hardwood timber flooring emulates the chromaticity of the ground outside. The 120 interior plants and the small potted plants spread about the work spaces and stations, further reduce the scale of the green landscape, bringing it right it in close to the hands of the employees; a continuation of the lush valley of the Rhine right onto their desks.
The suspended ceiling required a long planning process and considerable effort by those specialists involved. The technological elements- the ventilation, audio, sound absorption, lighting, motion and smoke detection systems- were condensed with great precision within one sculptural element that runs through the spaces and accompanies users about the building. These ceilings, along with their decorative function, emphasise the meaning of the space. Two versions were designed, depending on the height of the space in which they are located. Compared to a traditional fully suspended ceiling covering the entire roof area, this solution meets the same functions yet it is more economical. In addition, the materiality of the ceilings, through the interlaced layers of mesh and light has an increased effect on the perception of the space and its three-dimensionality.
The white RAL 9016 used as a base colour throughout the building was chosen for its neutral characteristics and to accommodate the designers’ wishes to create a colourful, warm internal landscape without creating an emotional tension for the users. This may seem contradictory however through the expedient and daring use of colour on concealed surfaces, the Campus offers a welcoming and warm atmosphere. The building is alive with hidden colour; coloured elements peek out from behind the perforated metal of the office furniture, from the acoustic panels of the walls and ceilings, behind sand blasted glass, from brightly painted niches reflections and shadows of colour emerge indirectly. At the same time, other areas of the building were deliberately coloured and provide an ulterior reading of the internal landscape. These three dimensional abstract surfaces are not simply physical walls but serve as mnemonic reminders that accompany users throughout the building, creating a sense of belonging in this internal composition.
SPECIFICATIONS / TECHNICAL PROPERTIES:
Site area: 3'705 m2
Building area: 1'100 m2
Total floor area: 3'300 m2
Basement floor area: 900 m2
Above ground floor area: 2'400 m2
Volume: 15’800 m3
Storeys: 1 level basement, 4 levels above ground
architecture, geometry, Rheintal, innovation, Rheinzink, Minergie
TEAM MEMBERS (34) :
Architects: Davide Macullo Architects, Lugano, CH- Davide Macullo, Lorenza Tallarini, AH Lom Kim, Aileen Forbes-Munnelly, Michele Alberio, Contractor: Architekten: rlc AG – Rheineck SG, Structural engineer: Wälli AG Ingegnieure - St Gallen SG, Building engineer, acoustics: Baumann Akustik und Bauphysik AG - Dietfurt , System engineer and coordination: , Amstein und Walthert AG - St Gallen SG, Lighting engineer: Caduff Lichtplanung – Dietikon ZH, Facades consultant: Fiorio Fassadentechnik GmbH – Zuzwil SG, Door consultant: Dileis – St Gallen SG, Foreman: Gautschi AG – St Margrethen SG, Johann Loher – Montlingen SG, Kühnis AG – Oberriet SG, Facade construction: K + K Fassaden AG – St Gallen, Roof construction: Loher Spenglertechnik AG – Oberriet SG , Rossi AG – Oberbüren SG, Window construction: Aepli Metallbau AG – Gossau SG, Internal doors construction: Wehrli Metallbau AG – Wil SG, Wooden floor construction: Parkett Bösch GmbH – Zürich ZH , Stone floor construction: Urban Loher – Montlingen SG, Suspended ceilings : Lüchinger Metallbau AG – Kriessern SG, Kühnis metallplan – Montlingen SG, Lighting: Regent Beleuchtungskörper AG – Zürich ZH, Audio, video: Büro Tech Spirig AG – Berneck SG, Furniture: Cappellini Spa – Meda I, Alias Spa – Grumello del Monte I, Sara SA – Tenero TI, Stoll Giroflex – Lenzburg AG, Custum designed furniture: Frei Holzbau AG – Kriessern SG, Zomo-form – Au SG, , Prints: Kupka Werbeproduktion AG – Montlingen SG, Art Advisor: Sophia Kim, Seoul, South Korea, Landscaping: Bucher AG – Widnau SG, Outdoor paving: Hugo Dietsche AG – Kriessern SG and Sanitaryware: Tiziani Haustechnik GmbH – Montlingen SG
Davide Macullo Architects, 2012.