Le jeune photographe français, originaire de Toulouse, Alexandre Chamelat livre une série de clichés du métro montréalais. Prenant le même point de vue, ses images souterraines semblent nous inviter à un voyage dans les souterrains canadiens. A découvrir en détails dans la suite de l’article.
Huge terracotta wine vaults are concealed beneath a vineyard at this winery outside Florence by Italian firm Archea Associati (+ slideshow).
Completed at the end of 2012, the 50,000-square-metre Antinori Winery was conceived as an invisible building whose body merges with the folds of the hillside. The tiered roof is entirely covered with farmland and a pair of sliced openings infilled with glass are all that reveal the presence of the structure.
“The physical and intellectual construction of the winery pivots on the profound and deep-rooted ties with the land, a relationship which is so intense and suffered as to make the architectural image conceal itself and blend into it,” says Archea Associati.
The interior of the winery is divided into two main storeys. The lowest levels are dedicated to the storage and production of wine, while the upper level contains visitor facilities that include a museum, a library, an auditorium and areas for wine tasting and shopping.
Circular openings pierce the roof and floors to bring light into the depths of the building. One void contains a spiralling staircase, which connects an upper-level terrace with the vaults below.
These double-height cellars are arranged in three rows and are lined with terracotta on every side. The architects describe the rooms as “the secluded heart of the winery [that] with its darkness and the rhythmic sequence of the terracotta vaults, [conveys] the sacral dimension of a space which is hidden.”
The building uses the earth as a natural insulator to maintain a constant indoor climate and keep the wine cool during the warmer summer months.
Other wineries completed in recent years include a partially submerged sandstone winery in Spain and the rusted-steel Chateau Barde-Haut in France. See more wineries on Dezeen.
Here’s a project description from Archea Associati:
Antinori Winery
San Casciano Val di Pesa, Italia, 2004-2012
The site is surrounded by the unique hills of Chianti, covered with vineyards, half-way between Florence and Siena. A cultured and illuminated customer has made it possible to pursue, through architecture, the enhancement of the landscape and the surroundings as expression of the cultural and social valence of the place where wine is produced.
The functional aspects have therefore become an essential part of a design itinerary which centres on the geomorphological experimentation of a building understood as the most authentic expression of a desired symbiosis and merger between anthropic culture, the work of man, his work environment and the natural environment.
The physical and intellectual construction of the winery pivots on the profound and deep-rooted ties with the land, a relationship which is so intense and suffered (also in terms of economic investment) as to make the architectural image conceal itself and blend into it.
The purpose of the project has therefore been to merge the building and the rural landscape; the industrial complex appears to be a part of the latter thanks to the roof, which has been turned into a plot of farmland cultivated with vines, interrupted, along the contour lines, by two horizontal cuts which let light into the interior and provide those inside the building with a view of the landscape through the imaginary construction of a diorama. The facade, to use an expression typical of buildings, therefore extends horizontally along the natural slope, paced by the rows of vines which, along with the earth, form its “roof cover”.
The openings or cuts discreetly reveal the underground interior: the office areas, organized like a belvedere above the barricade, and the areas where the wine is produced are arranged along the lower, and the bottling and storage areas along the upper.
The secluded heart of the winery, where the wine matures in barrels, conveys, with its darkness and the rhythmic sequence of the terracotta vaults, the sacral dimension of a space which is hidden, not because of any desire to keep it out of sight but to guarantee the ideal thermo-hygrometric conditions for the slow maturing of the product.
A reading of the architectural section of the building reveals that the altimetrical arrangement follows both the production process of the grapes which descend (as if by gravity) – from the point of arrival, to the fermentation tanks to the underground barrel vault – and that of the visitors who on the contrary ascend from the parking area to the winery and the vineyards, through the production and display areas with the press, the area where vinsanto is aged, to finally reach the restaurant and the floor hosting the auditorium, the museum, the library, the wine tasting areas and the sales outlet.
The offices, the administrative areas and executive offices, located on the upper level, are paced by a sequence of internal court illuminated by circular holes scattered across the vineyard-roof. This system also serves to provide light for the guesthouse and the caretaker’s dwelling.
The materials and technologies evoke the local tradition with simplicity, coherently expressing the theme of studied naturalness, both in the use of terracotta and in the advisability of using the energy produced naturally by the earth to cool and insulate the winery, creating the ideal climatic conditions for the production of wine.
Location: Bargino, San Casciano Val di Pesa, Firenze
Programme: Winery, offices, museum, auditorium, restaurant, viability, manoeuvring and green areas, depuration
Cost: €85.052.831 (excluding winemaking plants and landscaping)
Beginning of design: 2004
Opening of building site: 2007
Completion date 25 October: 2012
Client: Marchesi Antinori srl
Architectral Design: Archea Associati (Laura Andreini, Marco Casamonti, Silvia Fabi, Giovanni Polazzi)
Artistic supervision: Marco Casamonti, Francesco Giordani
Engineering: HYDEA
Bulding site supervisor: Paolo Giustiniani
Structural design: AEI Progetti
Design of plants: M&E Management & Engineering
Oenological plants: Emex Engineering Marchesi Antinori
General contractor: Inso
The post Antinori Winery by
Archea Associati appeared first on Dezeen.
While some believe London’s infamous Bethlem Royal Hospital to have shuttered years ago, it is, in fact, still open. Gallerist Steve Lazarides gave us a tour of his latest show deep under London’s streets, taking an artistic evocation of the famous London insane asylum, which does indeed seem unnervingly…
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Le designer japonais Yuri Suzuki a récemment présenté son projet « London Underground Circuit Maps » développé dans le cadre de Designers in Residence au London Design Museum jusqu’en janvier 2013. Son travail explore les systèmes de communication souterrains à travers l’utilisation de circuits électroniques.
London’s secret music venue and their livestream act
With an invite-only door policy and super secret location, Boiler Room is London’s most exclusive music venue. But elitism isn’t the premise for its clandestine nature—in fact, anyone with an Internet connection can easily join in the fun. Using a simple webcam, the crew behind Boiler Room livestreams each set for the world to see free of charge, and each month more than a million viewers tune in to see performances by artists like James Blake, The xx, Roots Manuva, Neon Indian, Juan Maclean and more.
We recently chilled out to the smooth sounds of Brooklyn’s How To Dress Well before rocking out to revered musician Matthew Dear, who brought down the house with an intense 40-minute DJ set. Keep an eye out for our interview with Dear, but for now you can get a little more insight into the underground music scene’s most talked about livestream show by checking out our interview with assistant musical programmer and Boiler Room host Nic Tasker.
That is quite an important aspect of it, purely because it means when you do shows you don’t get a lot of groupies, pretty much everyone in the room is either a friend of ours or one of the artist’s. It helps to create a more relaxed atmosphere for the artist and I think they feel less pressure. They’re also just able to chill out and be themselves more rather than having people in their face with iPhones. It’s about artists performing in a different environment to that of a commercial gig or anywhere else. If the artists are relaxed usually you get the best music.
It’s definitely a social place. All the people that come down, most of them we know and they’re all our friends. So they come down, hang, have a drink and just chill out, basically. From our very set-up, we do it with a webcam, we’re not a high production filming operation but I think that’s kind of the charm of it. The main thing is people come down with the right attitude.
I guess that depends on the artist. We never say anything. Literally, whatever they want to do—we’re kind of the platform for them to do whatever they want, so if Matthew Dear wants to come and play an hour of noise with no beats, he can do that. That’s fine with us, and I think that’s why artists like coming to play for us. We’re not like a club where you have to make people dance, we don’t give a shit if people dance. It’s nice if they do and it makes it more fun, but some nights you just get people appreciating the music, which is equally fun.
No, not particularly, it’s just whatever we’re feeling. Thristian [Boiler Room’s music director] has the main say on musical direction, but it’s a massive team effort. In London there’s six of us, New York there’s two, LA there’s one and Berlin there’s two.
It definitely depends on the act and what kind of music they do. With live bands we found what works nicely is having them opposite each other because it’s like they’re in rehearsal, like they’re just jamming. Which is again trying to give them that chilled out feel that they’re just at home jamming and there happens to be a camera there. For some of our shows we’ve had over 100,000 viewers. When you think of those numbers it’s quite scary, but when you’re in the room and it’s all friends it creates that vibe that people don’t mind. You can imagine if you had all those people in front of you it would be a very different situation.
It’s never crossed my mind like that, but I can see why you think that. I like to think of us as the new music broadcaster, kind of the new MTV, but obviously we operate in the underground scene mainly. But I like to think that what we do is as revolutionary as what they were doing. We’re always growing into something new.
We’re looking forward to doing more with the visuals and we’re starting to do breakfast shows with some high profile DJs, we’re going to be doing that regularly. Each will have an individual format. The next step is progressing the US shows, we’re alternating weekly between New York and LA, so the next step is to take Boiler Room to America.
Photos by BHP
Slideshow: New York architect Steven Holl has concealed a underground gallery beneath a pool of water in Seoul, the city in South Korea that we’ve been focusing on following a string of proposals for skyscrapers.
Named Daeyang Gallery and House, the copper-clad building has two pavilions that rise up above the water to provide an entrance and an event space for the private gallery, while a third is the home of the owner.
The architects claim that the building’s proportions follow the patterns of a musical score by Hungarian-Canadian composer Istvan Anhalt, which they say can be best observed in the arrangement of 55 skylights on the roofs of the three blocks.
More skylights are scattered across the base of the pool, so daylight must pass through the water before entering the gallery.
Above: photograph is by Inho Lee
See all our recent stories about projects in South Korea here and see more architecture by Steven Holl here.
Above: photograph is by Inho Lee
Photography is by Iwan Baan, apart from where otherwise stated.
Here’s some more information from Steven Holl Architects:
Daeyang Gallery and House Seoul, Korea
2008 – 2012
The private gallery and house is sited in the hills of the Kangbuk section of Seoul, Korea.
The project was designed as an experiment parallel to a research studio on “the architectonics of music.”
The basic geometry of the building is inspired by a 1967 sketch for a music score by the composer Istvan Anhalt, “Symphony of Modules,” which was discovered in a book by John Cage titled “Notations.”
Above: photograph is by Inho Lee
Three pavilions; one for entry, one residence, and one event space, appear to push upward from a continuous gallery level below. A sheet of water establishes the plane of reference from above and below.
Above: photograph is by Inho Lee
The idea of space as silent until activated by light is realized in the cutting of 55 skylight strips in the roofs of the three pavilions.
Above: photograph is by Inho Lee
In each of the pavilions, 5 strips of clear glass allow the sunlight to turn and bend around the inner spaces, animating them according to the time of day and season. Proportions are organized around the series 3, 5, 8, 13, 21, 34, 55.
Views from within the pavilions are framed by the reflecting pool, which is bracketed by gardens that run perpendicular to the skylight strips.
In the base of the reflecting pool, strips of glass lenses bring dappled light to the white plaster walls and white granite floor of the gallery below.
A visitor arrives through a bamboo formed garden wall at the entry court, after opening the front door and ascending a low stair.
He or she can turn to see the central pond at eye level and take in the whole of the three pavilions, floating on their own reflections.
The interiors of the pavilions are red and charcoal stained wood with the skylights cutting through the wood ceiling. Exteriors are a rain screen of custom patinated copper which ages naturally within the landscape.
Dezeen archive: following our story about a gallery pushing up from beneath the lawn of the Staedel Museum in Frankfurt last week, here’s a roundup of all our stories about underground architecture on Dezeen. See all the stories »
Slideshow: German architects Schneider+Schumacher have completed an underground gallery that creates a bulge beneath the lawn of the Staedel Museum in Frankfurt.
Almost 200 circular skylights arranged in a grid across the lawn let light filter down into the exhibition hall, while the artificial hill creates a domed central ceiling.
The garden remains accessible to visitors, who can walk over the translucent skylights.
Entry to the new gallery is via a staircase in the museum’s main foyer.
Schneider+Schumacher won a competition to design the extension in 2008 – check out our earlier story to see the original renders.
You can see a selection of other underground projects on Dezeen here.
Photography is by Norbert Miguletz.
Extension of the Städel
In Fall 2007, the Städel Museum held a competition for extension work to be carried out on the museum, whereby eight prominent German and international architecture firms were invited to take part: Diller Scofidio + Renfro, New York; Gigon/Guyer Architekten, Zurich; Jabornegg & Pálffy, architects, Vienna; Kuehn Malvezzi Architekten GmbH, Berlin; Sanaa Ltd / Kazuyo Sejima, Ryue Nishizawa & Associates, Tokyo; schneider+schumacher Planungsgesellschaft mbH, Frankfurt/Main; UNStudio, Architects, Amsterdam and Wandel Hoefer Lorch + Hirsch Müller, Frankfurt/Main.
In February 2008, an international jury chaired by Louisa Hutton (architect BDA, Berlin) announced Frankfurt architects schneider+schumacher as the competition winners. “An excellent choice,” were the words used by the press when reporting on the announcement. “A shining jewel by day, a pool of light by night,” applauded the competition jury.
The new building adjoins the garden wing completed at the start of the 20th century and itself the first extension of the original museum building, which was built on Frankfurt’s Schaumainkai in 1878. In contrast to any of the extension work carried out to date, the new section of the museum will not be above ground; the generous new space planned by schneider+schumacher will be located beneath the Städel garden.
The new exhibition space will be accessed via a central axis from the main entrance on the museum’s river side. By opening the two tympanums to the right and left of the museum’s main entrance foyer, visitors will be able to reach the Metzler Foyer level.
A staircase will then lead from this area down into the 3,000-square-meter museum extension beneath the garden. The garden halls’ interior the will be characterized by the elegantly curved, seemingly weightless ceiling, spanning the entire exhibition space. 195 circular skylights varying between 1.5 and 2.5 meters in circumference will flood the space below with natural light as well as form a captivating pattern in the garden area above.
Outside, the green, dome-like protrusions, which visitors will be able to walk across, will lend the Städel garden a unique look and create a new architectural hallmark for the museum.
“Frankfurt will not only gain a new, unique exhibition building,” declared the competition jury, “but as a ‘green building’ it will also be very much abreast of its times.” The generously spacious, light-flooded garden halls will be the new home of the contemporary art section of the museum’s collection.
Dutch architect Erick van Egeraat has completed an underground museum extension with a park on top in Assen, the Netherlands.
The new gallery wing at the Drents Museum is burrowed into the ground around a former coach-house, which is retained as a new ground-floor entrance.
Just past the foyer is a single large exhibition hall, with a ceiling of curved stripes that ascend above the ground surface to create high-level windows.
These folding waves create gentle slopes on the ground above, where pathways lead across a planted garden to the city beyond.
Erick van Egeraat has designed a number of projects in Europe, including a stadium in Moscow, a city hall in Budapest and an incinerator in Roskilde – see more projects here.
Photography is by J Collingridge.
Here’s some more information from the architects:
Erick van Egeraat completes new Museum in Assen [NL]
On the 16th of November Erick van Egeraat’s new Drents Museum in Assen, the Netherlands, will be officially opened by Her Majesty Queen Beatrix of the Netherlands.
The festive re-inauguration of the Museum marks the official end of 18 months of construction within budget and timeframes.
Erick van Egeraat’s design was unanimously voted the winner at the design competition by the Jury and the client, the province of Drenthe.
His vision to use the extension of the Museum as an organizing instrument for the Museum as a whole was the decisive factor.
The most important aspect of Erick van Egeraat’s design is the consistent integration of the museum with the cities fabric.
A balanced play of building, landscape and water, creates a new identity for the extended museum.
The design reinforces both the scenic character and the cultural-historic face of Assen’s city centre.
The staggered, organic roof of the new wing connects existing gardens and parks in the city. Erick van Egeraat is thus creating a publicly accessible park.
Openings in the roof allow light to penetrate into the exhibition spaces below. The new wing links the new entrance with existing parts of the museum and the city landscape.
The existing coach-house will serve as the museum’s new main entrance.
Lifted 1 meter above the ground, the existing structure rests on a glass plinth, revealing the building’s new function in an elegant manner.
The historic façade is left untouched, therefore preserving the buildings civic appearance.
During the day, the glass plinth allows light to enter the building. At night, interior lighting transforms the coach-house into a beacon for the city and its inhabitants.
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| Staedel Museum by Schneider+Schumacher | Galeria Adriana Varejão by Rodrigo Cerviño Lopez | Interactive Museum by Nieto Sobejano Arquitectos |
Beijing’s underground rock powerhouse returns to the States
A standout in Beijing’s underground rock scene (learn more about it from our story on five other bands) returns to the U.S. this month for a few shows in NYC before swinging through the South.
Hedgehog, formed in 2005, is one of the most notorious and popular groups to come out of China in recent years. The country’s indie rock movement gained steam in Beijing in the early part of the last decade, continuing to grow nationally and abroad. Like the birth of punk, raw, energetic tunes primarily make up this now preteen movement.
Represented by Modern Sky, one of China’s only indie labels, Hedgehog’s meteoric rise to the forefront of alternative Chinese music in 2007 came after a slow start on the scene. The bands defacto leader Atom, featured on the cover of the 2009 book Sound Kapital: Beijing’s Music Underground, is stout in stature but fierce on the drums. She brings an enchanting energy to their performances and, while the driving melodies are hypnotic, she’s undeniably the center of attention.
The band’s music is difficult to define because it includes a broad spectrum of sounds. Indie pop with a twist of punk feels like an almost adequate description, but so few words for such a dynamic group seems unfair. Already at the top of the underground game in Beijing, their second trip to America will include the recording of a new album with Russell Simmons (of Jon Spencer Blues Explosion) and Coco Rosie’s John Grew. Touring with Xiu Xiu and Kindest Lines,
catch the badass Beijing youth all along the Eastern Seaboard through September.
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