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August 14, 2013
By Ted Loos | Architecture

Stunning Lines at a Wine-Tasting Room
Jeremy Bitterman

On rare occasions a great architect finds a building project that touches him personally. More than a commission, it’s a love match in wood, steel and glass. So noted architect Brad Cloepfil, founder of Allied Works Architecture, isn’t kidding when he gushes that the recently opened tasting room at Sokol Blosser Winery in Dundee, Oregon, is a “dream project.”

Cloepfil, who has designed huge art museums and corporate headquarters all over the world, is an Oregon native and a wine lover who keeps one office in Portland and one in New York. “I’ve wanted to do a winery ever since I started Allied Works,” he says.

Sokol Blosser was a fortuitous client. Founded in 1971, it is one of the Willamette Valley’s pioneering estates, its range of wines garnering an excellent track record. The new, 5,000-square-foot tasting room is an ideal place to enjoy those offerings, catching the eye with its striated wooden cladding, a visually arresting pattern in cedar, fir and hickory.

“The building is a simple form but an involved series of spaces inside,” Cloepfil says. “There are a lot of faceted surfaces, taking that Northwest carved aesthetic to the extreme. The floors, walls and ceiling are all the same materials, but as you go through it, the space shifts and moves.”

Cloepfil, who rose to fame for his adaptive reuse design for the Portland headquarters of advertising giant Wieden & Kennedy, has put green concerns at the forefront of his design for Sokol Blosser. The winery aims to be certified by 2014 in the Living Building Challenge, an unusually high environmental standard.

In terms of architectural ambition in his home region, Cloepfil says that he hopes his work is the start of something big: “It’s a pivot point for Oregon wineries.” At 5000 Sokol Blosser Ln.; 503-864-2282; sokolblosser.com.

June 19, 2013
By Maureen Cassidy-Geiger | Architecture

Pacific Standard Time in L.A.
J. Paul Getty Trust

Descended from an altruistic preservation initiative—which the Getty Foundation launched in 2002, with the aim of recognizing and protecting what was left of the postwar art scene in and around Tinseltown—Pacific Standard Time is a nearly annual happening of exhibitions, performances and walking tours throughout southern California celebrating 20th century art and design.

Following 2011’s Pacific Standard Time: Art in L.A. 1945–1980, this year’s incarnation, Pacific Standard Time Presents: Modern Architecture in L.A. (through July), emphasizes urban planning, civic buildings and housing experiments as opposed to the region’s renowned midcentury residential nests. (The next major event will happen in 2017, focusing on Latin American art.)

To experience the current event fully, choose from 11 featured exhibitions at nine different venues in Los Angeles, Santa Barbara and Pomona. The J. Paul Getty Museum is showing “In Focus: Ed Ruscha” and “Overdrive: L.A. Constructs the Future, 1940–1990” (pictured above), while LACMA takes a look in the mirror with “The Presence of the Past: Peter Zumthor Reconsiders LACMA.” “A Confederacy of Heretics: The Architecture Gallery, Venice, 1979,” at the Southern California Institute of Architecture, remembers the short-lived architectural think tank held at architect Thom Mayne’s Venice home.

Eight programming partners offer in-sync shows, entertainment and tours. Fans of performance and conceptual art should target the one-off offerings of the Machine Project Field Guide to L.A. Architecture (through August 15; machineproject.com), which is held in public spaces or near landmark structures. Or take to the streets on a guided tour with the Curating the City program at the Los Angeles Conservancy (laconservancy.org). Through July; pacificstandardtimepresents.org.

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