Propagating its station as foremost an instrument of refuge, architecture seems to continually sustain a sense of immutability in that regard in an almost primal sense with its dichotomies of the built and unbuilt. As civilisation progresses at the rate it does in the 21st century, even that appears to be challenged as architecture is beckoned to, at the same time, continuously evolve and become specialised in fulfilling specific (and for now, human) needs. While the functional and aesthetic facets of architecture have become highly advanced—be it in the form of high-tech manufacturing facilities or gravity-defying edifices—the field of architecture has only recently become adept at being actively responsive to our biological processes, attempting to optimise comfort through technology. Neuroarchitecture is an interdisciplinary research field that combines neuroscience and architecture, delving into finding the impact of built and unbuilt surroundings on our brains. It, in turn, facilitates more informed design decisions that better suit human cohabitation. The Headquarters of CIA Conad—an Italian retail store brand that is a cooperative organisation of independent retail entrepreneurs—is an office building that places people at the centre of its design through the use of neuroarchitecture, reflecting how the organisation functions.

Located in an industrial zone at the edge of the ancient Roman centuriation in the city of Forli in Italy, the building designed by the Italian design firm Tisselli Studio Architetti sits in a context that offers neither language nor inspiration - a landscape defined by a monotonous parade of prefabricated warehouses. The site holds strategic importance, however, as it is located near the motorway exit and is just a few kilometres from the old town centre. Being the headquarters of the organisation, the building supersedes being solely a corporate office and a place of work, but also represents the organisation as a whole, its prominence doubling down on the banality of its context. To add to that statement-making, the building’s epidermis does not intend to conform to any stylistic or cultural recall, instead representing the values of the organisation that manifest themselves in the building’s function.

With the brief demanding maximum flexibility while avoiding the open-plan formula and guaranteeing exclusive workspaces, the linear character of the building provides these spaces on a more human scale. The form enables ample natural light to all workspaces, decreasing the use of artificial lighting during the day. Adorned with vertical fins, the facade enlivens the interiors with sunlight while eluding heat gain, also significantly reducing energy consumption and inching towards sustainability. The fins also add emphasis to the verticality of the structure which has a notably horizontal disposition. The design brief consisted of two other requirements, also functional in nature, that define the architectural form of the building: each of the six departments into which the company is divided had to be housed on a single level and the project had to include a 200-seat assembly hall and cafeteria space that could be converted into defined culverts of office architecture if required.

The Italian architects note how the design decisions, since the beginning of the process, involved letting the building reveal itself by adapting its lines to the functional and logistical needs instead of focusing on a specific built form. They propound, “The form that can be appreciated today is the result of a creative process that paradoxically absorbs the rationality and pragmatism of the cooperative, making the headquarters itself the primary representation of the company’s scientific rigour.”

The 100-metre long and 33-meter high building has a skin that features only three materials - aluminium (six kilometres of vertical fins), black pigmented concrete and glass (about 5000 square metres of glazing on the facade). The reflective nature of aluminium fins gives the building a dynamic appearance, as it changes its tone and colour depending on the weather conditions and the time of the day. The dynamicity is further enhanced as the depth of the fins gives the building diverse looks depending on the viewing angles, becoming increasingly opaque as one moves towards the shorter facade of the structure. The architects perceived the roof as a visual element of the building envelope, elaborating, “Since we are aware of the fact that with the rise of contemporary navigation tools such as Google Earth, we are now all accustomed to looking at and perceiving spaces from above. This awareness translates into the need to also include defining architectural features for this viewpoint.” A series of sloping pitches were designed to crown the structure, as a nod to the silhouette of the nearby Apennines - the mountain range that extends across the length of Italy from the northwest to the southwest.

The elements of neuroarchitecture that are prevalent in the building’s design manifest, for one, in the form of filtration of the natural elements. The glass and aluminium skin diffuse the incoming natural light and the ventilation system is combined with a total absence of operable windows to ensure a high quality of indoor air, despite the building being located in one of the most polluted areas in Europe. The light fixtures follow a 24-hour circadian rhythm and a considerable level of sound insulation provides psychological well-being to the inhabitants.

The large internal staircase with a skylight is designed as a disruptive element in the otherwise linear layout, enabling the users to experience the noteworthy vertical scale of the building. The winding sinuous staircase spirals upwards, drawing the vision towards the skylight through which diffused natural light floods in. The staircase provides one of two visuals depending on where it is viewed from - an ethereal view from the bottom with slight hints of people veiled behind the opaque parapets; or a bustling view from the top with serpentine parapets framing the ample-sized wooden landings that enable the opportunity to linger in the liminal space. The landings have seatings that invite people to stop and interact, seeking to foster a sense of community within the office design. Social moments and positive relationships amongst coworkers are thus enabled since they are viewed as fundamental factors that ensure general well-being and in turn are foreseen as a boost to productivity.

Designed in a context devoid of a discerning or definitive identity and architectural value, the structure’s surroundings were landscaped with 300 trees and 22000 plants, creating a quasi-natural immediate context for the building to sit in. The materiality of the project expresses a certain austerity with wood, aluminium and concrete for the exterior, alongside furniture made from Corian expressing themselves in their honest form. The deconstructivist visual vocabulary of the project paradoxically sits with a recurring human scale in its spaces, alongside a clear departure from the inert symmetry and orthogonality often found in corporate buildings. The specimen of Italian architectural design rejects the monotony of any individual identity, showcasing itself innovatively as a bricolage of collective ideas and strategies based on the need of the collective and their well-being, giving us a glimpse of equitability in the architectural process.

Project Details

Name: CIA Conad Headquarters
Location: Forli, Italy  
Architect: Tisselli Studio Architetti
Landscape Architecture: Paisa
Built Area: 4,360 sq.m
Site Area: 22000 sq.m
Year of Completion: 2023