Antinori Winery A superb work by Archea Association.

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 geo-morphological 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 façade, 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.















http://nationaltraveller.com/index.php?option=com_k2&view=item&id=478:antinori-winery

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Google Tel Aviv Office by Camenzind Evolution

Google is known for its quirky offices, and its Tel Aviv, Israel location is no exception.

Designed by Camenzind Evolution in 2012, walking through the rooms of this office is like being transported through time and space – a modern-but-tame lobby turns into a topsy-turvy conference room, a storybook orange orchard, or a slide leading to a maritime computer lab.

In this sort of place, anything is possible.



























Google Tel Aviv Office by Camenzind Evolution:

“At the end of December 2012, Google Israel has opened its spectacular new 8’000 m2 offices in Tel Aviv for their ever growing teams of engineers, sales and marketing. Designed by Swiss Design Team Camenzind Evolution, in collaboration with Israeli Design Teams Setter Architects and Studio Yaron Tal, the new Google office now occupies 8 floors in the prestigious Electra Tower in Central Tel Aviv, with breath taking views across the whole city and the sea.

It is a new milestone for Google in the development of innovative work environments: nearly 50% of all areas have been allocated to create communication landscapes, giving countless opportunities to employees to collaborate and communicate with other Googler’s in a diverse environment that will serve all different requirements and needs. There is clear separation between the employees traditional desk based work environment and those communication areas, granting privacy and focus when required for desk based individual working and spaces for collaboration and sharing ideas.

Each floor was designed with a different aspect of the local identity in mind, illustrating the diversity of Israel as a country and nation. Each of the themes were selected by a local group of Googlers, who also assisted in the interpretation of those chosen ideas. Being in Israel, for lunch the Googlers can choose from three amazing restaurants, non-kosher, kosher dairy and kosher meat, each of the restaurants designed to its own style and theme.

Only 7 of the 8 rented floors in Electra Tower are actually occupied by Google. The remaining floor gives space to a new ‘Campus’, which was also opened in December by the Israeli Prime Minister. The ‘Campus Tel Aviv’, powered by Google for Entrepreneurs, is a new hub for entrepreneurs and developers, providing a base for start-up companies, and is only the second Google ‘Campus’ worldwide. Sustainability played a vital role to Google in the development of their new Tel Aviv offices and the project is currently awaiting LEED ‘Platinum’ certification, the first of its category in Israel.”

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Inside Adobe’s New Silicon Slope Headquarters

Deep in Utah's high desert, Adobe is putting the finishing touches on its latest outpost — a low-slung but stylish 280,000-square-foot compound.

Sadly, the circumstances surrounding the building sound more mysterious than their reality, even with the NSA's new data center as a close neighbor. The location in the south suburbs of Salt Lake City is an up-and-coming region for tech business sometimes called "Silicon Slope." Adobe's new campus will operate as the company's digital marketing division.

The building itself, however, is unlike anything Adobe has ever built before. The company has hired designers from Rapt Studio to make sure the building design is integrated into the space at the deepest level, ensuring that, despite being an office building at its core, this isn't just one more massive tech campus.

David Galullo, CEO, and Cory Sistrunk, design principal, talked us through Rapt's approach to the project, offering a look inside both the facility and their design methods.



"We pride ourselves in not having kind of a Rapt look, but instead we try to make sure that we’re asking the right questions, that we’re pushing on a client to make sure that we’re getting exactly who they are, what their culture is, and what they’d like to be, and that our designs actually point in that direction," says Galullo.

He and Sistrunk use forceful language. They're enforcing their design ideals, pushing the company to capitulate, and capturing the attention of the employees.

"It's not something that you do just lobby, or in a huge communal space," Galullo says. "It's something that just permeates the entirety of the project."



Rapt hired Miles MacGregor, a street artist from LA known as "El Mac", to create a 75-foot mural of a girl drawing on a table.

"We tried to formulate the new Adobe, but in telling that story, we built a space where there are walls that speak to the history," says Sistrunk. "The concept's there that there's this innocence that children have around the idea of creativity that we want to remind people of."



Near the entrance, Adobe had a sort of lounge installed with touch panels, where clients and employees can chat about ideas.

"There's an area, we actually put a gas fireplace in, and it's kind of the hearth of the customer experience," says Galullo.



Rapt developed plans for the building in concert with WRNS Studio, the architects responsible for the design of the exterior, says Galullo.

"There was a healthy push and shove between the interior and exterior that allowed the building not to be designed just as a beautiful piece of architecture ... but was designed as an integrated interior-exterior," he says. "Because of that, the design aesthetic and the program bled through from the interior to the exterior and back in again."



Of the campus's 280,000 square feet, 80,000 is common areas, including an atrium, a cafe, a basketball court, and a fitness center. An additional 120,000 square feet have been green-lighted and are in the planning stages, while the site itself can hold a campus up to 600,000 square feet.



Often, companies will have different designers working on different aspects of their brand, from website to office to products.

"More and more of our clients are finding a disconnect between the various pieces of their consultant base and how they deliver design services," says Galullo. "It’s what really brought Adobe to us, and allowed us to bring a project to them that was not just a cool interior, but really did have a lot to do with the development and fostering of a culture and a brand and making more meaningful connections between that and their staff."



Both the interior and the exterior was developed around poured concrete, says Galullo.

"There's a certain genuineness around that, that we didn't spend a lot of money bringing stone tiles and suspended ceilings and all of that into the open areas," he says.



Only a small portion — less than 1 percent — of the building's budget went toward brand and culture, says Sistrunk.

Often, this kind of immersive environment is usually put on hold or not accomplished because people would view it as very expensive," he says. "And that's another part of the design challenge that we really like. You don't have to make an immersive experience something that’s astronomically expensive."

http://www.wired.com/design/2013/01/adobe-lehi/?pid=1908&viewall=true

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