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October 12 2013


Bubble Building / 3GATTI Architecture Studio

The Bubble Building, a “renovation of a common, old and unattractive building” in the centre of Shanghai, is a simple design containing complex environmental qualities. Unlike a conventional retrofit or renovation, 3GATTI‘s proposal places inflatables made of white antibacterial technical outdoor nylon, in front of the windows on the existing building. Their concept was to “create an icon-building, a kind of landmark very easy to recognize, a kind of sculpture with a strong character able to detach itself from the boring cityscape” with the ultimate aim to attract customers to rent both the office and commercial spaces.

The inflatable exterior also has environmental aspect, the air space between the fabric and the window acting as “efficient insulation to keep a desirable interior temperature” and “oxygenated due to the green barrier between the glass and the fabric.” Described as a “micro greenhouse,” the structure is expected to “constantly exchange air pressure with the office interior” providing an optimum internal climate whatever the season.

According to the designers, “the bubble façade will not be a static façade, it will oscillate with the wind and will interact with its inhabitants: the inflatables will be in full tensile capacity when many people are working and the ventilation is at its maximum. When no people are in the room the sensor will switch the ventilation down to its minimum and the facade will become almost deflated.” The site, located near one of Shanghai‘s most popular sculptural parks, the “building can perform as a large scale interactive sculpture itself” with both day and night strategies to help it engage with the surrounding city.

Architects: 3GATTI Architecture Studio
Location: Fengyang Road, Jiading
Architect In Charge: Francesco Gatti
Project Manager: Dawa Pratten
Collaborators: Essen Cai, Bogdan Chipara, Joanne Clark
Clients: YueGuang Investments (Shanghai) Co., Ltd.
Area: 8850.0 sqm
Year: 2013
Photographs: Courtesy of 3GATTI

See more of 3GATTI’s work on ArchDaily.

Bubble Building / 3GATTI Architecture Studio Skyline View. Image Courtesy of 3GATTI Bubble Building / 3GATTI Architecture Studio Street View. Image Courtesy of 3GATTI Bubble Building / 3GATTI Architecture Studio Office Interior View. Image Courtesy of 3GATTI Bubble Building / 3GATTI Architecture Studio Ground Floor View. Image Courtesy of 3GATTI Bubble Building / 3GATTI Architecture Studio Site Plan Bubble Building / 3GATTI Architecture Studio Ground Floor Plan Bubble Building / 3GATTI Architecture Studio Section Bubble Building / 3GATTI Architecture Studio Detailed Section Bubble Building / 3GATTI Architecture Studio Elevation Schemes Bubble Building / 3GATTI Architecture Studio Facade Scheme. Image Courtesy of 3GATTI

September 28 2013


Red Wall / 3Gatti Architecture Studio

Architects: 3Gatti Architecture Studio
Location: Shanghai, China
Chief Architect: Francesco Gatti
Project Manager: Summer Nie
Area: 14,300 sqm
Year: 2008
Photographs: Shen Qiang & Daniele Mattioli

Collaborators: Zhengxin Ni, Michele Ruju, Charles Mariambourg, Yanmin Sun, Furion Huang, Karen Cheung
Structural Engineer And Local Institute: Shanghai Orient Architectural design & Research Institute CO. LTD.

From the architect. If you digit +31° 16’ 9.45”, +121°27’ 14.93” on Google Maps, a zenith scale view will appear of a rectangular building, characterized by a central patio with pedestrian bridges crossing it and a long flamboyant red wall which acts as a barrier to separate the internal areas from the noise of the elevated road which runs opposite. The project designer, Francesco Gatti recounts: When we designed the building, we made the red façade turn towards the roof, as we were amused by the idea that the main web-mapping sites would possibly recognize it

It is a choice of visibility that transcends the dimensions of the neighborhood and which might seem megalomaniac at first sight – a signature visible from Space -. In reality this red wall, eye-catching and with its exaggerated dimensions, is representative of the whole idea of the building, the tip of the iceberg of a complex and difficult project that tell us much about the actual state of architecture in China. Gatti has been living and working in Shanghai since 2003.

The architect, who is Roman by origin, has concentrated on heterogeneous projects: from the rebirth of ex industrial sites, to the design of urban areas, from the architecture of interiors to important international competitions. In every project, whether the interior of a clothes shop or a car museum, one can always recognize his concepts and style – pragmatic and visionary at the same time -. While responding to the exigencies of a private client or a company, Gatti has always strived to find an outstanding idea, capable of satisfying the contextual conditions, adding an unexpected solution that, in the chaos and mutation of the Chinese metropolis, can give a unique character to the project.

In the case of the Red Wall this was a particularly difficult aim. The project had to contend with severe limitations: a particularly meagre budget, a site that was oblong and narrow and, above all, the ruthless reasoning of the investor who was intent upon commercially exploiting every single square meter of the new building. The Italian architect therefore proposed a simple design: a regular volume of four floors, empty in the centre as this was indispensable to provide light for illuminating the upper levels destined to be offices. The Red Wall has not been designed with complex structures or expensive material, but to maximize the local resources and know-how. The aim was to concentrate the experimentation on the “skin”.

This strategy is used world-wide; and has often produced “boxes” with a mediocre content and a striking outer appearance; one-off solutions where buildings, once the novelty of their external appearance has worn off, have retreated into the anonymity of their standardized interiors. In the case of Gatti the limitations of the budget and the decision to concentrate on the external face or skin have in effect produced a dual result, which is sculptural and functional at the same time. The aesthetics and the identity of the building have been fine-tuned towards the environmental comfort of the interior. The main façade is a long composition of panels in red aluminium, triangular in form, intended to be perceived as in movement from the interior of the vehicles that transit the elevated road on the opposite side. The idea of the texture, produced from the matching of triangular polygons of varying forms and dimensions, was born from a direct intuition, the architectonic transposition of the graphic interface of one of the principal software for 3D modeling.

The principal façade of the Red Wall is completely two-dimensional; however, the pattern of the composition creates a strange optical mesh effect which seems to create a relief movement. In this way Gatti obtains a surprising result, optimizing the resources to hand: to effect this, no more aluminum was used than for an ordinary facework. The “red wall” is thick and has linear and narrow openings in order to limit the acoustic and visual pollution resulting from the presence of traffic.

The minor façades, destined to host the technical apparatus, have been hidden behind a second mesh – a pattern of bamboo panels characterized by their varying dimensions and to the extent they jut out. The “skin” of the façade gives a sculptural effect and its width provides the shade necessary to prevent over-heating. The concept of the “Red Wall”, a multi-functional structure of 14300 square meters, was born in 2008 and the construction was carried out during the course of the same year. In the space of a few days Gatti and his collaborators moved from a convincing proposal to drawing up the technical designs necessary for the construction.

The building site started a few days later and had the inhuman rhythm of capitalist China, a model on the scale 1:1 where everyone – contractor, client and architect – decided the details day by day without following the rational organization of a “traditional” construction. Labor cost so little that it was possible to experiment, do and undo, construct and demolish entire parts, like an architectural model.

Red Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Red Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Red Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Red Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Red Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Red Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Red Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Red Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Red Wall / 3Gatti Architecture Studio Plan Red Wall / 3Gatti Architecture Studio Plan Red Wall / 3Gatti Architecture Studio Section Red Wall / 3Gatti Architecture Studio Section Red Wall / 3Gatti Architecture Studio Elevation

June 29 2010


Automobile Museum in Nanjing / 3Gatti Architecture Studio

© 3Gatti Architecture Studio

“The house is a machine for living in.”

- Le Corbusier

With this statement, Le Corbusier acknowledges the relation between technology/mass production and the new ways of living that the modern movement tried to materialize. For him the house was a static car, a designed functional object that could be mass produced. When the Villa Savoye was completed in 1929, 5.3 million cars were produced in Detroit.

Car designed by Le Corbusier (1929)

From this point forward, architecture and car started a long lasting relation, with examples such as Albert Kahn’s buildings for Ford, Giacomo Matte-Trucco’s FIat Factory in Turin, Archigram’s Drive-In House concept, the Mecedes Benz Museum by UN Studio and the recent Lincoln Rd 1111 parking by Herzog & de Meuron.

Along this line we find the new Nanjing Automobile Museum by 3Gatti Architecture Studio, which was awarded with the first prize on an international invited competition. The project now only shows the car in an unusual way, but it also lets you to experience the museum by car:

© 3Gatti Architecture Studio

Origami © 3Gatti Architecture Studio

“Car Experience” is a project for a building to be dedicated to the automobile: the car as an object of desire, a world to explore, a technology to study, an article to display and a means to travel around the building.

¬Here the world of the automobile intersects with the human and organic world creating a new tectonic structure with methods differing from the usual flat open spaces, squares… all on a human scale. Here everything is geared to the automobile – the car is the point of reference.


Here one will not find stairs to different floors, walls and elevators, but ramps which wind sinuously upwards creating a fluid conception of space, and where the flux of cars can move freely and reach the different levels of the building.

Exterior safari gallery © 3Gatti Architecture Studio

On an overall scale the area tectonically resembles a road, with a structure similar to that of an elevated motorway or a car park, but on a more human scale, the structure is as complex, ergonomic and sophisticated as the interior of a car.

The principal structure of the building is a spiral ramp with a glass partition dividing the exterior from the interior. In the internal part, reserved for pedestrians, the incline is more gradual, whereas the exterior and steeper side is for the transit of cars.

Interior gallery © 3Gatti Architecture Studio

The building’s typology develops sequentially, its structure similar to that of a film where the undisputed protagonist is the automobile. In fact the visitor, as the spectator of a film, is obliged, frame by frame, to follow the physical and psychological route as dictated by the museum’s architect.

Slope car installation

The visitor enters the museum with his own car and initiates the exhibition’s journey as on a safari, going up the external spiral and experiencing a rather “extreme” sensation – as the ramp consists of rapid ascents and descents which create an undulating, uneven surface facilitating the exhibition of cars from different angles and enabling the visitor to observe them from either above or below. This alternating movement with its practical yet amusing function creates a corresponding visual effect on the outer façade of the building, which appears as a fanned sheet of paper, folded and refolded, and where each fold is an opportunity to exhibit at a suitable angle the cars which are attached to the inclining floor.

Paper concept

The route through the museum for the visitor who arrives by car will thus start at ground level and will ascend via the spiral ramp to the top of the building. Here he can park his car and enter into the museum on foot following the exhibition’s descent to the ground level via the more gradual spiral. He can then take an elevator to return to the top of the building to collect his car; should he have arrived in a car with a driver who is awaiting him at the short-term car park at ground level, he can go there directly from below and leave from there.

Night view © 3Gatti Architecture Studio

In this way visiting the museum is divided into two types of experience:

The first is the experience of going up in one’s own car. As one ascends one advances chronologically from the more modern cars down below to arrive finally at the vintage cars on the top level. With this route one starts from a ground display level where the ceiling is 9 metres high and one arrives gradually at the highest display at the top of the spiral where the ceiling is only 4.5 metres high.


Entrance section


During this route the car ramp is uneven and the abrupt ascents and descents as well as the inclination of the cars exhibited, encourage the observer to frequently change both focus and view point; this generates a versatile experience which is rich in visual and perceptive stimuli.


Slope diagram

View points

The second is the experience of going down on foot. Contrary to the previous experience the descent starts chronologically from the display of vintage cars at the top and arrives at the more modern cars on the ground floor. The descending spiral ramp has an incline which alternates gradually from 0 to 7%, and thus the flooring slopes imperceptibly and takes the observer to the ground level with minimum effort, as on a slide. In this way it becomes possible to appreciate fully the exposition and not be distracted by steps, elevators or other obstacles; the visitor’s vision is free to wander, unencumbered.

Along the surface of the ramp there are occasional glass blocks or “prisma” which protrude from the flooring and ceiling. Their size, depth and type depend on their function as each one is intended for something different, for example if the area is intended for open space functions, or if it is intended for functions that require greater privacy such as offices, meeting rooms, conference rooms, laboratories, bathrooms or kitchens.

Historical exhibition

Scheme elements

Bioclimatic section

The outer façade of the building is completely permeable and reveals on sight the interplay of the different levels and the fluidity of the internal and external spirals. The building could seem to appear as an urban car showroom, with its corners and angles filled with tempting shining automobiles.

The objective of this project is to become an international point of reference in the world of automobiles and an unmistakable landmark for the territory of Nanjing, immediately recognizable by whoever transits the surrounding roads but also visible from the sky and, why not, even from the satellites from which an increasing number of internet-nauts explore the sights of the globe.

origami automobile museum- second page 3GATTI Origami © 3Gatti Architecture Studio urban exhibitor entrance © 3Gatti Architecture Studio night view Night view © 3Gatti Architecture Studio interior gallery Interior gallery © 3Gatti Architecture Studio exterior safari gallery Exterior safari gallery © 3Gatti Architecture Studio bird view © 3Gatti Architecture Studio views © 3Gatti Architecture Studio view 6 © 3Gatti Architecture Studio view 5 © 3Gatti Architecture Studio view 4 © 3Gatti Architecture Studio view 3 © 3Gatti Architecture Studio view 2 © 3Gatti Architecture Studio view 1 © 3Gatti Architecture Studio structure steel construction Steel construction structure plan Structure plan structure deatail Detail structure beams list Structural beams sections Sections sections 3D 3D Section section entrance Entrance section section 4 Section 4 section 3 Section 3 section 2 Section 2 section 1 Section 1 scheme ventilation Ventilation scheme temperature Temperature scheme sunlight Sunlight scheme slope Slope diagram scheme slope car installation Slope car installation scheme point of views View points scheme historical exhibition Historical exhibition scheme elements Scheme elements scheme developed section Scheme developed section scheme bioclimatic Bioclimatic section paper concept Paper concept circulation analysys Circulations elevetions Elevations elevation 4 Elevation 4 elevation 3 Elevation 3 elevation 2 Elevation 2 elevation 1 Elevation 1 01 ground level Ground level 02 first level First level 03 second level Second level 00 roof level Roof level Screen shot 2010-06-29 at 08.58.31 Car designed by Le Corbusier (1929)

This post is part of a sponsored series highlighting details of modern life and architecture. The content is sponsored by Gillette, but curated, selected and presented independently by ArchDaily.

Program: Automobile and car components exhibition, educational installations, design centre, office, workshops laboratories, technical laboratories, conference rooms, space for special events, restaurants, retail, sales office.

Competition: International invitation competition first prize
Chief architect: Francesco Gatti
Project manager: Summer Nie
Collaborators: Nicole Ni, Muavii Sun, Jimmy Chu, Luca Spreafico, Damiano Fossati, Kelly Han.

Client: Jiangsu Head Investment group CO.,LTD
Location: Jiangning area, high-tech zone, Nanjing, China
Total floor area: 15000 sqm
Design period: May 2008
Intended construction period: 2009
Materials: Steel structure, resin coating, glass partitions

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