The Bordeaux Wine Museum’s wooden structure has been completed, the first step in an ambitious project slated to open in 2016. Designed by XTU Architects, and situated along the coast of the river Garonne in Bordeaux, France, the museum aims to stand as a beacon and “guardian angel” against the skyline of the riverbank. Inspired by the timeless spirit of French wine, the building forms flow in a continuous space without corners, evoking the circular motion that awakens a wine before tasting.
For those familiar with the more canonical work of Bernard Tschumi, the Limoges Concert Hall may seem a puzzlingly conventional departure from the radical, intensively theoretical projects that introduced the world to the Swiss architect. In one sense, the visual clarity of the design doesn’t provoke the same complex discourses on architectural violence and eroticism that guided his early-career pursuits, and it is certainly a more functional evolution of his polemic on non-programmatic space that was famously exhibited at Parc de la Villete. In another sense, the concept and form of Limoges aren't anything novel, either, emerging almost in its entirety from a concert hall prototype Tschumi developed in the late 1990s for a similar venue at Rouen. But Limoges is important for other reasons: in addition to its thoughtful material and spatial choices, it is one of the more articulate illustrations of Tschumi’s explorations of movement and enclosure—“vectors and envelopes”—that inform much of his recent work.
