The Dockner Wine Cellar is a modern utility building optimizing business to ensure sustainability and resource conservation. A structure with a rectangular footprint has been placed on the elongated property, which stretches from east to west. The basement of the new utility building is built partially into the steep sloping hill. The building is divided into three height levels. To the west is a raised deck with a view of Göttweig Abbey. This shelters a forecourt with a sunken loading ramp to the lower level. The wine cellar rises up adjacent to the deck and is covered by a gently inclined tent roof. A flat arched roof spans the eastern section of the vehicle fleet. On the lower story, the spatial sequence begins with a covered forecourt and moves on to a pallet warehouse for ca. 1,300 pallets, to the bottling line, and into the hill for the tank storage area. All walls are of visible concrete. Upstairs, gold-coated panels are used for interior insulation and Brucha panels downstairs. Outside, a curving wall with the “Winzerhof Dockner” lettering leads the way inside. Visitors are greeted by a room filled with wooden wine barrels and steel containers, pierced at the center by a rectangular atrium. Lighting rails illuminate the barrels.
The Espai Saó, together with the Gallery House, is part of a series of interventions carried out for the Mas Blanch i Jové winery, located in the small village of La Pobla de Cérvoles, in Lérida.
This new space, built inside the large wine production hall, responds to the growing demand for events that are being generated in the winery, for which the previous tasting room had remained small.
The position was delimited beforehand by the available space in the production hall and by the necessary connection with the previous tasting room, resulting in a rectangle in plan of twenty one meters long and six meters wide, covering the entire width of the hall, and raised above the working area as a mezzanine. The connection with the previous tasting room is made by means of a bridge, of generous dimensions, which hangs from a pair of cables on the room of barrels, to serve as viewpoint of the same one, carried out by a very extensive mural of Gregorio Iglesias that covers all the walls of the room. This bridge is designed as pure construction, made entirely of cor-ten steel, as an assembly of beams and plates, thus giving prominence to the room itself and the large mural. The use of cor-ten steel refers to a favorite material of the winery: on the one hand, the past of the owner as a blacksmith, and on the other hand, an omnipresent material in the sculptures and works that Josep Guinovart, renowned artist and intimate friend of the owners, made throughout his life for this winery.
The Villa Torlonia in San Mauro Pascoli, near the towns of Rimini and Cesena, Italy, is one of the most important cultural heritage sites of the Rubicone river valley for its architectural and historical significance. Defined as a “monumental complex”, its many buildings, built throughout history, have come to have a peculiar artistic, historical and ethno-anthropological relevance.
Once a perfect rural factory with warehouses, production rooms, work environments and residences, current circumstances have determined its inevitable changing in function converting the complex into a suggestive venue for cultural events.
Binary Sites and the Strategy of Appearing and Disappearing
The Inventronics Tonglu LED driver production base is located among the beautiful landscapes of Fuchun Mountains depicted in Huang Gongwang’s Dwelling in the Fuchun Mountains. The land is adjacent to the No. 320 national highway linearly, and is approximately 4 kilometers away from the main urban area of Tonglu. The site was originally a suburban village and farmland, but in recent years, with the urbanization process, the interior and exterior of the site have presented two different looks – the neat and uniformed industrial park in development beyond the red line and the quite rustic and primitive fish ponds, tea mountains and other farming civilizations within the site form a sharp contrast.
The Phase I cluster of the project has been completed and put into operation, whose contour is relatively square, with flat ground, and surrounded by roads; the Phase II land in construction in the north side includes ponds, streams and tea mountains, where the environment is beautiful featuring comely landscapes. The binary site conditions necessitate the collision of large-scale industrial production logics and the organic natural environment, activating the design scheme of the unity of opposites of appearing and disappearing.
Developed for the Tyrolean crystal manufacturer, the Swarovski Manufaktur is a progressive crystal workshop perfectly suited for creative co-creation, rapid prototyping and representation. The structure cleverly merges design, product development and production into one single facility. The new building type allows the company to develop innovative ways to align creative visionary processes with technical production requirements. “The Swarovski Manufaktur sets a new standard for inclusive fabrication facilities,” says Kjetil Trædal Thorsen, Founding Partner of Snøhetta, when summarizing the concept. “Bringing clients, designers, artists, researchers, machine operators, technicians and the public into one space under one roof is going to change how we think about these relationships in the future”.
Assemble were commissioned by Goldsmiths, University of London, to create a new public art centre, transforming the former industrial spaces of the Grade II listed Laurie Grove Baths. The design strategy opens up and makes accessible hidden spaces of South London’s social history, bringing public life back to the building. The 1000m2 building accommodates seven new gallery spaces, a café, curators’ studio and event space. Goldsmiths Centre for Contemporary Art will be a significant cultural resource for students, artists and the wider public, offering a diverse programme focused on exhibitions, events and education.
This is a 6.000 sqm project for the new warehouse and production for the german company Sarstedt in Porto Feliz, São Paulo, Brasil.
It has been developped together with a mixed team of engeneers and architects from Germany and Brasil to follow German standards with the culture of building in Brasil.
A challenge for any designer is to face an environment in which the landscape is preponderant, in which no intervention will go unnoticed, for critical eyes, will condemn the authors to heaven or hell. There is no doubt that the responsible architectonic task in the equinoctial Andes requires an acute knowledge of the territory but, above all, the neat continuity of correct decisions is necessary.
The Obelisk Winery was built on the green horizon in southern Czech Republic, with a unique view of Valtice and Pálava Hills where a former border guard platoon was once stationed. National borders once in need of protection are now the site of a beautiful winery and lush vineyards, carefully landscaped and maintained.
Tucked into a hillside in Kelowna, British Columbia, the design of the newest von Mandl Family Estates winery draws a close parallel between the topography of the land and the gravity-flow winemaking process taking place inside. Conceived of as a rectangular form with a central split or “fracture” down the middle opening the building to daylight, the production side of the building follows the direction of the site, utilizing the downhill slope for its gravity-flow process. The other half containing the visitor area cantilevers out over the vineyards, offering sweeping views of nearby Okanagan Lake and the iconic belltower of Mission Hill Winery, von Mandl’s first winery in the region, also designed by architect Tom Kundig.
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