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Think of the Terroir

This winery holds its own with a self-supporting limestone facade
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With a wine-producing history stretching back three millennia to Greek colonization in the 6th century B.C., the French region of Provence is nearly synonymous with viticulture. Winemaker Les Domaine Ott Chateau de Selle has called the region home since 1912 and last year completed a full-scale revamp of its facilities by Paris-based Carl Fredrik Svenstedt Architect (CFSA) featuring a facade of self-supporting one-ton blocks of local stone. The 47,000-square-foot winery is partially nestled into the hillside, rising from a stepped concrete foundation. The two primary elevations of the structure run adjacent to each other, with that to the east following a gentle curve. Each stone block of the facade is approximately 3 square feet in area and 1.5 feet in height, stacked to reach a total height of nearly 33 feet. Each stone block weighs approximately a ton, allowing for the insertion of certain load-bearing elements into the blocks for interior slabs and beams.
  • Facade Manufacturer Carrier De Provence Poggia Provence
  • Architects Carl Fredrik Svenstedt Architect
  • Facade Installer Printemps de la Pierre
  • Location Taradeau, Provence, France
  • Date of Completion 2017
  • System Self-supporting limestone facade with a concrete core
  • Products La Pierre du Pont-du-Gard limestone Soleal Evolution Technal aluminum window frames
The arrangement of the self-supporting stone blocks dilates and contorts according to interior function; the central body housing dozens of stainless steel and wooden wine barrels must be guarded from UV rays, while gaps in the imposing elevations crop towards the north and south for office spaces and screened courtyards. For French vineyards, the concept of terroir, or the unique qualities of local mineral and environmental conditions, is directly credited for the final palette of each vintage. For CFSA, it was imperative that the design of the new winery similarly reflect the surrounding geography. To this effect, the design team procured the beige limestone blocks from quarrier Carrières de Provence who source from local a limestone quarry dating back from the Roman era. The large-grain stone, known as La Pierre du Pont-du-Gard, was first roughly harvested from the quarry and subsequently fashioned in an on-site workshop with diamond disc rotors. “Using stone quarried nearby was coherent for the insertion of such a large building into the landscape,” says Carl Fredrik Svenstedt, “at the same time the stone has fantastic thermal properties for a winery in a hot climate, with great mass inertia and hygrometry, while also being very accessible financially.” Following fabrication, the stone blocks were transported 125 miles from Carrier de Provence's facilities to the construction site and craned into position atop the perimeter of the concrete shell. Joinery of the blocks was fairly straightforward: they are held together by gravity and mortar. Since Provence is located in an active seismic zone, CFSA added two key elements to boost earthquake resistance: every sixteen feet, the stone piers were hollowed to facilitate the insertion of a vertical concrete pier directly to the foundation, while strategically placed pins are used to the same effect for areas with significant openings. Similar to historic wineries that rely on a system of vaults to allow for flexible interior floor plans, the great halls of the facility are supported by a system of precast concrete beams and columns. CFSA relied on rebar and infill concrete between limestone columns and the core to tie the stone and concrete elements into a cohesive structural system.
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Tiny Haus

Bauhaus bus will travel the world to celebrate the school's centennial
To celebrate the 100th anniversary of the founding of the Bauhaus school by Walter Gropius, a bus modeled after the school’s historic workshop building in Dessau, Germany, will take to the streets worldwide. The miniature version of the modernist building, famous for its stark white volumes, enormous windows, and vertical Bauhaus signage on the narrow end, was designed by the Berlin-based Van Bo Le-Mentzel. Inside the 161-square-foot mobile apartment, dubbed Wohnmaschine (“living house” in German), an exhibition and workshop space will join a miniature reading room full of books about the history of the Bauhaus. The bus kicked off a 10-month-long worldwide tour on January 4 in Dessau outside of its full-size peer. The tour’s goal, according to design group SAVVY Contemporary, who is hosting a series of workshops and panels in the bus, will be to challenge the traditional colonialist narrative that has become intertwined with modernism. The Bauhaus bus and its associated lectures and shared learning are all part of SAVVY’s SPINNING TRIANGLES project, which aims to bring in design philosophies from areas of the world that have been traditionally marginalized. "We will face the relations of coloniality and design as well as its various visibilities and invisibilities," wrote SAVVY Contemporary in a statement. “For too long, practices and narratives from the global South have been kept at the periphery of the design discourse, been ignored altogether, or appropriated. This needs to change. And it can only do so if we start with new forms of learning and unlearning, that may perhaps actually be very old, but have certainly been overheard for far to[o] long.” From January 4 through January 22 the bus will be in Dessau, after which it will depart for Berlin. From January 24 through 27, the bus will be parked in the German capital to coincide with the opening of the 100 Years Bauhaus festival. After that, the mobile school will go abroad and land in Kinshasa, the capital of the Democratic Republic of the Congo. Through forums and dialogues with design professionals in Kinshasa, a view of a collective modernity will be established. Five “masters” will take back what they’ve learned from Kinshasa to SAVVY Contemporary’s Berlin office to educate 40 students on their findings from July 22 to August 18. The bus’s final destination is the Para Site art space in Hong Kong, where the findings from its past trips can be expanded on.
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Much Latergram

Detroit Institute of Arts brings the city's past to life in found photo show
The Detroit Institute of Arts (DIA) is putting fresh faces on the past with the found photography show Lost & Found: Photographs from the DIA’s Collection, up now through March 3. Coming from a range of sources, some "rescued from attics, resale shops, online sources," and DIA archives, according to the institute. Subjects are both architectural and social, originating from the 1860s to the 1970s. Some of the more recent snaps are from local photographers Allen Stross and James Pearson Duffy, who documented the city frequently from the seat of his car, according to DIA. The institute is also soliciting contributions from the public via social media, asking participants to use the tag #LostAndFoundatDIA. Both the show and admission to the museum are free for residents of Wayne, Oakland, and Macomb counties.
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Fully Scully

Daniel V. Scully, son of historian Vincent Scully, has built an auto-inspired compound
The houses architects build for themselves often reveal much about their makers—just think of Thomas Jefferson’s Monticello, Frank Lloyd Wright’s Taliesin, or Sir John Soane’s 13 Lincoln’s Inn Fields. The homes of architectural auteurs are testaments to their philosophies, their religions, their gods. And Daniel V. Scully’s compound in the shadow of Mount Monadnock near Dublin, New Hampshire, is a fascinating, if little known, example of a self-referential project that consumed half of its designer’s life. A slab of Vermont slate—the tombstone of the architectural historian, Vincent Scully—lies in wait on the ground for a sketch of the temple of Juno at Agrigento to be carved into it. Vincent Scully—Dan’s father—glimpsed the Greek ruin from a warship during World War II, a sighting that marked the beginning of his love affair with architecture. Another relic of the classical world on Dan’s compound is his sheet metal interpretation of the Winged Victory of Samothrace. Living and working in the shadow of a famous parent can be intimidating, but Dan Scully gamely embraced the world of architecture. He worked for Louis Kahn during the summers of his college years, and at the Yale School of Architecture, Scully was a member of Charles Moore’s socially responsible Yale Building Project class of 1970. He also joined Robert Venturi and Denise Scott Brown’s groundbreaking Las Vegas seminar, and, from then on, pop culture—particularly cars—crucially informed his design aesthetic. Scully finally settled in the mill town of Harrisville, New Hampshire, designing homes, schools, and commercial buildings throughout the Monadnock region. Scully is also something of a motor head; automobiles are integral to his vision of America as “a fast and restless place carved out of wilderness.” In 1980, he bought eight acres of land in the neighboring town of Dublin and began to create his own world of “carchitecture.” It should come as no surprise that Scully’s impact on the property was informed by his dynamic, “road runs through it” raison d’être. Today, Scully’s multistructure tableau is recognized as a notable addition to Dublin’s remarkably rich collection of American architecture. Scully’s house in Dublin is a stylistic combination of regional Greek Revival, Shingle Style, and an early 1950s Pontiac. The kitchen, for example, boasts shingles and a Greek entablature, and on the whole resembles the hood of a car, complete with a giant Chieftain emblem hood ornament. The interior walls are sheathed in corrugated metal, while the dining room table is a “roadway” inlaid lengthwise with passing lines, and a gas-pump handle caps off the stairway banister. Scully's house, within hearing range of New Hampshire Route 101, was featured in the 1987 issue of Ripley’s Believe It or Not, where it was labeled “Highway 101-Two-Lane Blacktop.” Scully’s whimsically serious work is more idiosyncratic than frivolous. His temple to the Gods of Speed faces the house down an alley lined by silver gazing balls. The heart of this didactic folly is a solid-fuel dragster, the engine of which has been replaced by a woodstove. As in 18th-century picturesque landscapes, the compound’s buildings are about memory and evoking associative emotions in viewers. This neoclassical trope continues with the garage, where Scully prepares vintage Volvos for races. Giant piston-columns composed of silver-painted, 55-gallon drums flank the main entrance, and license plates serve as frieze decoration between the metopes of the full entablature. The plates are arranged from east to west, beginning with New Hampshire and ending with California, echoing the vector of American expansion. Atop the garage—where in classical Greece, a statue of Athena may have stood as the venerated icon—is a Mobil gas pump. There are a variety of smaller outbuildings and objects that catch the eye: a 1950 Ford pickup originally bought for 50 dollars 50 years ago, a chicken-coop homage to the Quonset hut, a rusted-out truck with a snow plow attachment. A 1957 Cooper Formula 3 racing car hovers over file cabinets in Scully’s latest and perhaps final structure on the compound, the Archives Studio, a 20-by-24-foot shed wrapped in plastic roofing tiles that have been manufactured to resemble slate. Inside the shed, a 1968 Dan Scully painting of a Maserati engine faces Giambattista Nolli’s 1748 map of Rome. A 20-foot-long drafting table sits beneath a strip window that, Aalto-like, frames a view of the lake and neighboring forest. This seemingly humble cube, although reminiscent of Le Corbusier’s Cabanon de Vacances in size and function, is a nod to the Enlightenment—more Jean-Jacques Rousseau than Henry David Thoreau. The primitive hut can surely be thought of as man's earliest temple, but Scully’s Archives Studio also defers to the Yankee aesthetic of utility and thrift. After decades of work echoing the movement of cars and trains, this idyllic shack is just the place for a restless genius to contemplate his contributions to the manmade environment.
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At the ForeFRONT

FRONT International names artistic directors for its 2021 triennial
Prem Krishnamurthy and Tina Kukielski have been chosen as co-artistic directors of the second edition of FRONT International: Cleveland Triennial for Contemporary Art in 2021. The duo will help curate the large-scale exhibition based in Northeast Ohio that elevates the region as a center of arts and culture. Both art leaders have extensive design and curatorial experience. Krishnamurthy, a founding principal of the award-winning New York firm Project Projects is now partner and director of Wkshops where he designs visual identities for cultural organizations and brands. He champions the power of graphic design as a tool to shape narratives and bring social awareness. Krishnamurthy is a member of the creative team for the currently-open 57th Carnegie International. He also works as an independent exhibition maker and writer. Kukielski directs and serves as chief curator of Art21, a nonprofit arts organization that crafts stories on contemporary art and artists through documentary film. She produces the group’s longest-running TV program, “Art in the Twenty-First Century,” in which recent features included artists Nathalie Djurberg, Olafur Eliasson, David Goldblatt, and Hans Berg. Kukielski previously held curatorial positions at the Whitney Museum of American Art in New York as well as the Carnegie Museum of Art in Pittsburgh. In 2013, she co-curated the Carnegie International with Daniel Baumann and Dan Byers. Krishnamurthy and Kukielski’s appointment comes on the heels of last summer’s highly successful first edition of FRONT. Themed An American City, the inaugural triennial was directed by artist and curator Michelle Grabner and presented the work of over 120 global artists. The showcase, which was held in 28 different institutions and spaces across Northeast Ohio, brought in over 90,000 visitors and $31 million for the region. The next edition of FRONT will run from July 17 through October 2, 2021.
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DUMBO Gets BIG-ger

BIG shows off its new full-block office in DUMBO
Bjarke Ingels Group (BIG) has completed its move to Brooklyn, setting up shop in a new 50,000-square-foot office space only a stone’s throw from the Brooklyn Bridge. BIG has consolidated its 250-person office onto a single full-block floor near the top of 45 Main Street in DUMBO. Designed by BIG’s in-house interiors team, the office is full of furniture and lighting fixtures from the Danish design firm and frequent BIG collaborator KiBiSi. The move to a larger office meant that the studio was able to quadruple the space allocated to its two fabrication and assembly spaces. Completed pieces can then move to an extra-height, skylight-lit room for displaying large-scale models and mockup furniture. A gallery on the south side of the floor connects the office’s eastern and western wings. The chairs inside of the glass-enclosed conference room are color-coded in reference to the studio’s monograph Hot to Cold and range from mild to vibrant, a flourish repeated in the perimeter-lining bookshelves. Rounding out the new office’s perks is a private roof deck that the studio can use for events and conference meetings, which is separate from the building's 9,500-square-foot green roof designed by James Corner Field Operations.
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Early Bird Special

This British parrot shops for tasty treats with owner's Alexa
A British pet parrot has forged a bond with his owner's Alexa, playing music and ordering tasty treats from the virtual assistant developed by tech giant Amazon.
Rocco, a rescue African Grey, made international headlines when The Times of London reported that he's bought ice cream and strawberries from Alexa (though the device's parental lock feature prevents these items from actually showing up at the door). Owner Marion Wischnewski adopted Rocco from the animal sanctuary she volunteers with after the bird's frequent cussing scared away potential adoptive parrot parents. African Greys are known for their ability to precisely mimic sounds, natural and mechanical, often very loudly. While Rocco's now famous, YouTube offers plenty of looks into greys and their relationships with voice-activated devices. Below is a 2017 clip of Petra making fart sounds at Alexa then asking her for a peanut: While Alexa might be the perfect machine companion for birds like Rocco, (this author, a former African Grey fosterer, speaks from personal experience), the future of smart home technology almost demands that we'll see more pet-machine bonds in years to come.
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Bowlin' Out

Foster + Partners unveils Lusail Iconic stadium for 2022 FIFA World Cup
Foster + Partners revealed renderings of the much-anticipated Lusail Iconic Stadium, an 80,000-seat soccer venue that will house the opening and final games of the 2022 FIFA World Cup in Qatar. The project, commissioned by Qatar’s Supreme Committee for Delivery & Legacy, will be situated within the center of the up-and-coming Lusail City, an under-construction modern metropolis set nine miles north of Doha. The British firm designed the centerpiece structure to mirror the ancient Arab craft of bowl weaving. It will feature a shimmery, gold palette wrapped around a slightly undulating exterior and a saddle-form retractable roof that will float above a concrete seating bowl.   According to the architects, the stadium will boast a highly-efficient energy saving system, a requirement for FIFA World Cup constructions. Since Qatar’s climate is so intense, the building will help cool players and fans. Solar canopies will also hover over the parking and service areas to produce energy for the stadium and power the surrounding buildings. With Lusail Iconic Stadium, Foster + Partners joins the star-studded roster of studios that have designed projects for the tournament, including Zaha Hadid Architects and its controversial stadium in Al-Wakrah, which is near completion. Fenwick Iribarren Architects, a Spanish firm, is building a modular, 40,000-seat stadium made of repurposed steel shipping containers. After the tournament, the arenas are expected to be reused by the cities in which they’re built. The seats within Lusail Iconic Stadium, for example, will be removed and the structure will be used as a community space with room for shops, cafés, athletic and education facilities, as well as a health clinic. The project is slated for completion in 2020.
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Tastes Like Heaven

Heaven Hill is the latest bourbon brand to expand its architectural appeal
Building for bourbon brands is all about storytelling. Over the two decades, some of the world’s top distillers have completed multimillion-dollar architectural projects and exhibitions in an effort to communicate the past, present, and future of whiskey culture through their own distinct stories. Since bourbon is one of Kentucky’s biggest tourist attractions, it’s no surprise that brands are turning to seasoned architects and designers to elevate their physical presence and style. Heaven Hill, the largest independent family-owned producer of distilled spirits in the United States, just announced a $65 million operations expansion that includes renovating its Bardstown, Kentucky, headquarters. Led by Louisville-based experience design firm Solid Light, the project will completely renovate the brand’s 14-year-old Bourbon Heritage Center and add 22,300-square-feet of space to the site along the famed Kentucky Bourbon Trail.    According to Solid Light President Cynthia Torp, Heaven Hill’s goal is to expand guests’ knowledge of the brand’s 83-year history, including the story of the Shapira family that owns the company. The brand also want to provide an immersive, hands-on experience with bourbon that can’t be found anywhere else in the state. “Our philosophy is that we want to connect visitors emotionally with the story of the brand,” Torp said. “Many people who visit the Bourbon Trail are looking to explore the details behind these brands, which is part of the whole mystique behind it. So we’re offering a bourbon education specifically through design.” The $17.5 million visitor center expansion is the latest project Solid Light has undertaken with Heaven Hill. In 2000, the firm helped design and build the structure, which it will now supplement with a brand new rooftop bar, enhanced tasting rooms, retail space, and the “You Do Bourbon” experience where guests will get to bottle their own bourbon. The full-service design and planning firm also completed the Evan Williams Bourbon Experience for Heaven Hill in downtown Louisville, one of the company’s flagship labels. Among its other well-known labels are Elijah Craig, Henry McKenna, Larceny, and Old Fitzgerald.   Christopher Quirk, Solid Light’s director of architecture, explained how this project is unlike some of the firm’s other commissions; they designed the Kentucky Derby Museum as well as the Sagamore Spirit Distillery Experience for Under Armour CEO Kevin Plank in Baltimore. He said that, normally, Solid Light is asked to work within the confines of an existing museum space, but due to a devastating fire that destroyed most of the brand’s plant in 1996, Heaven Hill wanted to reestablish its identity through a new structure built for 21st-century bourbon enthusiasts. “The architecture of the new building is an homage to the heritage of the site,” Quirk said. “The mashup between the older structure and the more modern one is an expression of Heaven Hill’s desire to mark on the future.” Further details behind the expanded structure have not yet been released as Solid Light is still in the schematic design phase of planning and aims to announce more information at a later date. Renovation work will begin on the existing site in January and is expected to be done in the middle of the summer. With this news, Heaven Hill joins a list of other Kentucky-based bourbon distillers that have recently completed or are currently renovating their facilities. Kentucky Owl just announced plans to create a 420-acre campus in Bardstown, designed by Shigeru Ban Architects, while Rabbit Hole just opened up a striking, metal-clad building in Louisville last May, dreamt up by pod a+d. In 2017, Bulleit Distilling Co. completed its headquarters in Shelbyville, Kentucky, while Wild Turkey opened an award-winning visitors center in 2014, designed by Louisville-based De Leon & Primmer Architecture Workshop. Quirk noted that part of the Kentucky bourbon industry’s appeal as a big business is the successful promotion of not only its products but the experiences each brand offers customers at these various locations. “If you go to one visitors center and learn about the history behind one dynamic brand, you’re likely to drive down the road to another local brand to see how they’re different,” Quirk said. “There’s value in showcasing their individual identities and bringing people closer to their products. All have very unique stories to tell.”
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Pyramid of the Yearamid

2018 was the year of the pyramid
Plenty of distinctive projects were announced or completed in 2018, but at The Architect’s Newspaper, no form so thoroughly captures our imagination as much as the pyramid. The primitive shape came up again and again in our reporting, and, acknowledging its (maybe Illuminati-masterminded) importance, we’ve collected the top pyramid stories of the year for easy consumption. January saw a clash of the titans play out on Facebook, as the Socially condensed fully-built enviromemes (SCFBE) page pitted some of history’s most famous pyramids against each other for the title of world’s greatest. Sixteen pyramids were paired off and users voted to eliminate one until only the strongest remained. Ever wonder if the Tyrell Corporation headquarters from Blade Runner is superior to BIG’s Via 57 West? Could the Bass Pro Shop at the Pyramid in Memphis beat the Great Pyramid of Giza in a fight? In April, the Tyrell Corporation headquarters squared off against North Korea’s Ryugyong Hotel in the final round, but the fictional office building lost out to Pyongyang’s “Hotel of Doom.” Of course, not all pyramid stories are happy. In July, the Gold Pyramid House in Wadsworth, Illinois, was gutted by a fire that caused over $3 million in damages and threatened to shutter the popular tourist attraction. The six-story home had been a fixture in Illinois since its completion in 1977, its strange shape an attempt by owners Jim and Linda Onan to channel magical energy (the building was originally clad in 8,000 24-karat gold plates until neighbors complained about the glare). The pyramid, which sits on its own private island surrounded by a moat and is guarded by a 55-foot-tall guard statue of Ramses II, was thought to have been lost, but the Onans have pledged to rebuild. Although it was still a burned-out husk in October, the couple opened their doors to the public for tours during a fall festival. Unfortunately, because zoning codes have changed since the pyramid was first built, it likely can’t be rebuilt as a home because it sits in a floodplain. The Ryugyong Hotel began construction in 1987, but it wasn’t until 2018 that the building finally came to life. The concrete mountain has been covered in LED panels, and as a video posted by the Facebook page North Korea Girls 북조선녀성 in August shows, it’s now used as a backdrop to display art and propaganda. Any video released to the public of the 105-story hotel has made it past North Korea’s hypervigilant sensors, and it remains uncertain whether the building will ever actually be completed or occupied. Rounding out the year was the announcement that Shigeru Ban Architects (SBA) had designed a trio of timber pyramids for Kentucky Owl bourbon in Bardstown, Kentucky. The pyramids, each wrapped in a diamond pattern, will anchor the new 420-acre Kentucky Owl Park and contain the campus’s distillery. The $150 million project will be integrated into the Kentucky Bourbon Trail when the campus opens in 2020.
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Holiday Parti

Architecture holiday cards are here
We are not big fans of holiday cards that feature new buildings by architects even if they are hidden behind photoshopped snow or holly. But we are making an exception for Studio Gang's Chicago boathouse. Though we kinda like Steven Holl’s card with the architect in a saffron robe blowing a body size Tibetan horn. Our favorites are an abstract silver pattern, inspired by the Chestnut trees of Malcantone, Ticino, printed on heavy brown paper stock from the Swiss Consulate, Rockwell Group's four-page Happy Holiday from Irving Berlin and Santa in a red truck from Cummings Printing. Here are our best from 2018 including the image of the Viaduct over the Polcevera, Red Zone, Genoa, by Emanuele Piccardo.  
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2018 Winding Down

Weekend edition: Women in architecture aren't hiding but face challenges in the field
Missed some of this week's architecture news, or our tweets and Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Stop asking where all the female architects are; we’re right here Madame Architect editor Julia Gamolina weighs in on the tired, problematic question: Where are all the female architects? Design legend Murray Moss discusses the future of “anti-disciplinarity” The design legend gave two lectures and graduate-level workshops this past semester at the Rhode Island School of Design (RISD). Architects rally behind Doriana Fuksas after prize snub This month two groups started a petition demanding that Doriana Fuksas be included in a lifetime achievement award given to her partner Massimiliano. San Francisco orders historic Neutra home be rebuilt after being torn down After an illegal demolition of one of the five remaining Richard Neutra–designed homes in San Francisco, the homeowner was ordered to build an exact replica. AN will be closed through Wednesday, December 26, but we will see you on Thursday!