The winery collection

THE WINERY COLLECTION A travel guide to Contemporary Architecture in the Italian Landscape

THE WINERY COLLECTION

THE WINERY COLLECTION A travel guide to Contemporary Architecture in the Italian Landscape

edited by Luca Molinari

Editorial project Forma Edizioni srl Florence, Italy redazione@formaedizioni.it www.formaedizioni.it Editorial production Archea Associati Editorial director Laura Andreini Texts supervision Riccardo Bruscagli Editorial staff Maria Giulia Caliri Livia D’Aliasi Valentina Muscedra Beatrice Papucci Ilaria Rondina Graphic design Elisa Balducci Vitoria Muzi Isabella Peruzzi Mauro Sampaolesi Translations Elizabeth Burke and Johanna Kreiner for NTL, Florence Photolithography LAB di Gallotti Giuseppe Fulvio Printing Tap Grafiche, Poggibonsi (SI), Italy Texts by Laura Andreini Giovanni Bietti Luca Molinari Alessandro Benetti Federica Rasenti Claudia Saglimbeni Anja Visini Cover Antinori nel Chianti Classico Winery, photo by Pietro Savorelli

© 2017 Forma Edizioni srl, Florence, Italy The editor is available to copyright holders for any questions about unidentified iconographic sources.

All rights reserved, no part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher.

First edition: November 2017 978-88-99534-28-8

Foreword Laura Andreini

7

Some notes on wine culture in Italy Giovanni Bietti

9

Wineries and Architecture Luca Molinari

Northern Italy

15

20

Valle d’Aosta

Les Crêtes Winery / Domenico Mazza

28

Piedmont

Ceretto Winery, Monsordo Bernardina Estate / Studio Deabate Vite Colte - Terre da Vino Winery / Gianni Arnaudo

36 44

Trentino-Alto Adige

Nals Margreid Winery / Markus Scherer Colterenzio Winery / Studio bergmeisterwolf architekten Winecenter of Cantina Kaltern in Caldaro / Studio feld72 Tramin Winery / Werner Tscholl Mezzacorona Winery / Alberto Cecchetto

52 60 68 76 86

Veneto

Santa Margherita Winery / Westway Architects

94

Friuli Venezia-Giulia

Perusini Winery, La Torre / Augusto Romano Burelli

104

Emilia-Romagna

Campodelsole Winery / Fiorenzo Valbonesi

112

Central Italy

120

Tuscany

Antinori nel Chianti Classico Winery / Archea Associati Castello di Fonterutoli Winery / Agnese Mazzei Icario Winery / Studio Valle Progettazioni Podernuovo Winery / Alvisi-Kirimoto ColleMassari Winery / Edoardo Milesi & Archos Rocca di Frassinello Winery / Renzo Piano Building Workshop Tenuta delle Ripalte Winery / Tobia Scarpa Ammiraglia Winery / Sartogo Architetti Associati

128 142 150 158 172 180 192 200

Umbria

Castelbuono Estate, the Carapace / Arnaldo Pomodoro

210

Southern Italy

222

Campania

Sclavia Winery / Davide Vargas Associati Feudi di San Gregorio Winery / Hikaru Mori and Maurizio Zito

230 238

Basilicata

Enoteca dai Tosi / De Vylder Vinck Taillieu Taverna Winery / Onsitestudio

246 254

Sicily

Feudo di Mezzo Winery / Gaetano Gulino and Santi Albanese Cusumano Partinico Winery / Ruffinoassociati Barbera Winery / MAB Arquitectura

262 272 280

Sardinia

Su’Entu Winery / Francesca Rango and Mario Casciu

288

Appendices

Biographies Essential bibliography Credits

296 300 302

8

Some notes on wine culture in Italy Giovanni Bietti

We do not know exactly who first brought the wine grape – the vitis vinifera – to Italy: the Phoenicians, the Greeks, the Etruscans, or perhaps another more obscure race that acted as intermediary between the “cradle of wine”, the vast region of the Caucasus, and the peninsula located right in the middle of the Mediterranean. One thing is certain; it was a successful import, one of the most vital in the history of our culture. Not only does Italy seem perfectly made for growing grapes, for its climate, conformation, types of land, but over the centuries, our peninsula has also proved to be an extraordinary wine and winemaking laboratory. The grape has adapted to the most diverse territories and agricultural conditions, giving rise to a variety of biotopes unique in the world. According to the latest figures provided by the OIV (international organisation of the vine and wine) in Italy there are 453 officially recognised grape varieties – listed alphabetically from Aglianico to Zibibbo, passing through Barbera, Cannonau, Greco, Lambrusco, Montepulciano, Nebbiolo, Primitivo, Ribolla, Sangiovese, Trebbiano or Verdicchio. Not surprisingly only Georgia, a Caucasian nation, has a richer viticulture heritage than ours.

The variety in Italian viticulture can be seen even only through the traditional forms of props developed in different areas by the farmers, who have exploited and enhanced the resources of the local soil and climatic characteristics: plant supports, for example, are granite columns in Valle d’Aosta, vines are grown in a tree form in Aversa, or there are the woven reeds typical of the Vulture area in Basilicata. And the traditional form of growing without support as well, the so-called Mediterranean “alberello” or sapling, takes different forms: from the “alberello” in Sardinia, Puglia and Etna, to the very extreme case of holes dug in the volcanic soil in Pantelleria, which protect each individual plant from the wind and heat. The traditional types of pergola range from the mountain version, dense and compact, of Trentino and South Tyrol, to the Avellina starseta or Beneventano square, much larger and more spaced out. And then there are, of course, the most modern forms of cultivation in ‘espalier’ fashion, very widely-used today (such as the guyot or pruned-spur cordon-trained vines), and the intense and high-yielding methods such as the tent or Bellussi style, basically used in the plains, and relatively rare in our territory.

It should go without saying that in such a rich winemaking landscape, there is an equally rich and varied wealth of Italian wine produced. Still, only fifteen or twenty years ago it seemed that this wealth, unique to the world,

Tuscan landscape with typical vineyards that stand over the hills 9

12

13

14

Wineries and Architecture Luca Molinari

The Italian landscape, one of the most sophisticated, stratified and complex creations in the history of humanity, is an extraordinary machine of unparalleled technical, cultural and aesthetic quality. It is also very fragile on a broad scale due to growing demographic and economic pressure.

While architecture clearly established a respectful otherness in regard to the nature surrounding it, the silent labour of colonizing the land gradually defined the unstable image of our landscape and with that, the image of its peoples over the centuries. It has been an intense effort lasting for more than 3,000 years, and greatly constricted by the geography of the Italian land, squeezed into areas along its coasts by the ancient central mountain range of the Apennines, the archaic and enduring heart of our country, which comes to an end in front of the Po Valley and the Alps.

It would be a mistake to think that this image had been frozen like a perfect postcard over the centuries. Instead, it has undergone transformations because of human pressure and the lack of it, as well as changes in techniques and cultures that have tirelessly moulded the Italian landscape’s forms.

Through such fluid images we can also perceive the progressive change in the relationship between man and nature, which shifts from defensive and introverted to a gradual opening towards the landscape with which the new settlements constantly sought a dialogue. The natural world is no longer Dante’s forest, a terrible place in which no one wants to get lost, but rather the representation of a tamed, cultivated land like that of the representation orchestrated by Ambrogio Lorenzetti for the Sienese fresco of Good Government. While the Italian landscape was modelled over the centuries and generations so that the artificial form of its transformation ideally overlapped with a changing idea of a natural image, the architecture was modelled after two almost opposing ideals: the gesture that was antithetical to nature and the intervention that instead created forms of dialogue with it.

We can continually single out these traditional images in the Italian landscape at every latitude. Often, they correspond to the contrast between monument and settlement. Urbino and Siena represent this perfectly, just as the contrast between Castel del Monte and Matera can represent the two natural opposites of this vision and of the use of Italian land. But in this antonymic game, agricultural structures are probably one form of construction that is capable of combining the two opposites in an interesting synthesis,

facing page: the Carapace by Arnaldo Pomodoro for Castelbuono Estate, Bevagna (Italy), 2012 previous pages: the Rocca di Frassinello

by Renzo Piano, Gavorrano (Italy), 2007 15

24

25

Bressanone

Merano

4 6

Bormio

Bolzano Canazei

7

Cles

Chiavenna

Ortisei

5

San Martino di Castrozza

8

Sondrio

Edolo

Andalo

Trento

Domodossola

Levico Terme

Varese Courmayeur

Aosta 1

Saint Vincent

Lecco

Rovereto

Como Monza

Biella

Montichiari

Lodi

Vercelli Pavia

Verona San Bonifacio

Mantua

Cremona

Turin

Piacenza Asti

Alessandria

Carmagnola Bra

3

2 Alba

Badia Polesine

Tortona

Novi Ligure

Finale Ligure

Imperia Sanremo

Rovigo

Ferrara

Parma

Bobbio

Reggio Emilia Modena

Bardi Borgo Val di Taro

Genoa Savona

Mirandola

Fidenza

Acqui Terme

Cuneo MondovĂŹ

Padua

Casalmaggiore

Barolo

26

Vicenza

Brescia

Milan

Novara

Ivrea

Pinerolo

Bassano del Grappa

Bergamo

Borgomanero

Asiago

Sassuolo

Cento

Portomaggiore

Bologna Imola Faenza

Rapallo Porretta Terme

La Spezia

NORTHERN ITALY 01. Les Crêtes Winery Domenico Mazza

p. 28

SR20, 50 11010 Ayavilmavilles

02. Ceretto Winery Monsordo Bernardina Estate Studio Deabate

Cortina d’Ampezzo

p. 36

Strada Provinciale Alba/Barolo, Località San Cassiano 34 12051 Alba, Cuneo

Longarone

Belluno Udine Pordenone

10

Vittorio Veneto

Gorizia Palmanova

03. Vite Colte - Terre da Vino Winery Gianni Arnaudo

p. 44

Via Bergesia 6 12060 Barolo, Cuneo

9 Portogruaro

Treviso

Grado Jesolo

Venice Chioggia

Trieste

04. Nals Margreid Winery Markus Scherer

p. 52

05. Colterenzio Winery Studio bergmeisterwolf architekten

p. 60

Via Heiligenberg 39010 Nalles, Bolzano

Strada del Vino 8 39057 Appiano, Bolzano

Porto Viro

06. Winecenter of Cantina Kaltern in Caldaro Studio Feld72

p. 68

Via Stazione 7 39052 Caldaro sulla Strada del Vino, Bolzano

Comacchio

07. Tramin Winery Werner Tscholl

Ravenna

p. 76

Strada del Vino 144 39040 Termeno, Bolzano

Forlì

11

Cesena Rimini San Marino

08. Mezzacorona Winery Alberto Cecchetto

p. 86

Via Tonale 110 - SS 43 Val di Non 38016 Mezzocorona, Trento

09. Santa Margherita Winery Westway Architects

p. 94

Via Ita Marzotto 8 30025 Fossalta di Portogruaro, Venice

10. Perusini Winery Augusto Romano Burelli

p. 104

11. Campodelsole Winery Fiorenzo Valbonesi

p. 112

Via Del Torrione 13, Gramogliano 33040 Corno di Rosazzo, Udine

Via Cellaimo 850 47032 Bertinoro, Forlì Cesena

27

SICILY

Feudo di Mezzo Winery

25

address C.da Feudo di Mezzo 95012 Castiglione di Sicilia, Catania, Italy

architectural project Architect Gaetano Gulino, Architect Santi Albanese

access open to visitors

scope new project Cantina alle Pendici dell’Etna

web www.planeta.it

customer Aziende Agricole Planeta structural project Engineer Gaspare Francesco Ciaccio lot area 39,490 sq. m gross floor area 998.30 sq. m dates 2011-2013

262

vineyard surface area 28 ha grape varieties Carricante Nerello Mascalese Pinot nero Riesling annual production 240.000 bottles

263

SICILY

FEUDO DI MEZZO WINERY

The Feudo di Mezzo Winery is a new nucleus around which the vineyards of the Aziende Agricole Planeta gravitate on the northern slope of Etna. The exceptional landscape in which the building is located is highlighted by the strong colour contrast between the golden-green tones of the vegetation and the darker tones of the volcanic earth, and it is an opportunity for the designers to meet the challenges of these very unique and specific landscapes.

The study for the complex involves the construction of three blocks suitable for hosting different phases of wine production. The aim is to have the parts interact, and connective tissue created through pathways and internal spaces.

The designers deal with the ethnical environmental qualities by pursuing a constant dialogue of reciprocity between the elements of architecture and those of the territory; the material nature of the architecture made of stone and traditional plastering recall a continuity with the rural buildings in the territory that emphasize the link with the local construction tradition in such techniques as the mortarless stonework used in the cladding.

The first two buildings visible from the access road to the cellar respectively host the bottling activities and the aging of wine in barrels; to the north of the lot is a third building used for storage.

The main building, allotted for production, is a parallelepiped assimilated in a large base covered with lava stone, surmounted by a second volume clad in prepressed reinforced concrete panels. The bipartition is explicitly announced by the taller volume that is grafted onto a southern portion of the production block in order to ensure a greater height, more useful in the winemaking area. The northern area, reserved for bottling and a small oenological workshop, is separated from the southern part by a storage area that crosses the volume transversally and makes it porous on the eastern and western sides thanks to two large openings.

The barrel room, which also has a rectangular plan, appears as if partially sunk into the ground. The cladding used for the portion above the ground is lava stone, as in the case of the processing block: the stone cladding also covers the roof and creates a workable terrace which provides a view of the agricultural landscape.

The simplicity of the compositional choices highlights the presence of rectangular openings that frame chosen views towards the volcano.

The storage area is surrounded by a wall that delineates its perimeter area, but this is no less studied in the architectural solutions: in this case, instead of a finish in stone, the designers preferred an exterior finish in a traditional dark grey plaster, once again reiterating the ability of this architecture to harmonize with tradition, as well as with its surroundings, without becoming a camouflage.

264

previous page: the volumes of the winery in the landscape this page: facing with local stone harmonizes the architecture with the surroundings facing page: the composition of pure volumes is laid out in relation to external spaces that are used for services thanks to favourable climatic conditions

1. vinification cellar and bottling room 2. barrel room 3. depository

3

1

2

0 1m 3m 5m

site plan

10m

0

20m

5

20

265

FEUDO DI MEZZO WINERY

A

SICILY

the landscape seen from between the vinification rooms B

B 1

2

facing page: the main building, a parallelepiped faced with volcanic rock, crowned with a plastered volume of the same colour

3

4

7 5

6

0 1m 3m 5m 10m

level 0 266

A

8

0

2

5

1. production zone 2. delivery yard 3. bottling room 4. laboratory 5. changing room and toilets 6. disabled facilities 7. technical room 8. barrique room

section AA

section BB

east-elevation

0

2

10

267

SICILY

previous page: with great sensitivity the project recovers the specific characteristics of this zone of Sicilian landscape two views of the barrique room 270

FEUDO DI MEZZO WINERY

ERUZIONE 1614 CARRICANTE Sicilia DOC

ERUZIONE 1614 NERELLO MASCALESE

BRUT Sicilia DOC

Sicilia DOC

white wine

red wine

sparkling wine

serving temperature 10 °C

serving temperature 14 °C

serving temperature 8 °C

pairings Rich dishes of fish and, in any case, ideal for any gastronomical idea conceived at the seaside.

pairings Dishes with strong character: game, truffles, rocky shore coastal fish even with complex sauces; cheese and salamis.

pairings Perfect for opening, or closing, any evening, its fresh acidity allows it to go where many wines do not dare such as fried or particularly oily dishes.

vine variety Nerello Mascalese 100%

vine variety Carricante 100%

tasting notes With extraordinary aromas of medicinal herb incense, hybiscus and wild fennel of the black volcanic sands. A luminous and lyrical wine, it reveals the unfiltered character and refinement of the great mountain reds, but at latitudes close to Africa. The tannins of a compact nature are elegantly extracted.

The sweetness and generosity of soft fruits and currants mix with the aromas of incense and beeswax, a light almost saline touch invites the return to the glass.

tasting notes Floral aromas that are never invasive and a citric fruitiness with great minerals support a refined and persistent bead. The wine flows softly on the palate with the delicate taste of citron and passion fruit. A surprisingly enchanting taste, rich and punctuated with aromas of the Mediterranean scrub in the finish.

vine variety Carricante 90% Riesling 10% tasting notes The pale golden yellow colour gives no advance notice of the aromatic explosion of ripe fruit and white flowers that magically transport the taster to the slopes of Mount Etna. The wine also brings softness and character to the palate, ready to be enjoyed with its fruity character of sincere lemon peel and green apple linked to a leading mineral note that lengthens the finish. awards and recognitions James Suckling’s Guide, vote 92 Wine Enthusiast, vote 92 Jancis Robinson, vote 17 Guida essenziale ai vini d’Italia di Daniele Cernilli, vote 96

awards and recognitions James Suckling’s Guide, vote 93 Guida di Jancis Robinson, vote 17.5 I Vini Buoni d’Italia, 4 stars

awards and recognitions James Suckling’s Guide, vote 90 Wine Enthusiast, vote 90 Falstaff, vote 91

other wines Brut Sicilia Carricante DOC, Etna Bianco Etna Bianco DOC, Etna Rosso Etna Rosso DOC, Eruzione 1614 Carricante Sicilia Carricante DOC, Eruzione 1614 Nerello Mascalese, Sicilia Nerello Mascalese DOC, Eruzione 1614 Riesling Terre Siciliane IGT 271