Wine production has long been tied to place, climate, and culture, and in recent decades, architecture has become a central part of this relationship. Wineries are no longer understood only as functional facilities for fermentation, storage, and distribution, but also as spaces where landscape, materiality, and visitor experience intersect. From subterranean cellars hidden beneath fields to sculptural landmarks rising in rural territories, these buildings shape the identity of winemaking regions while offering visitors a carefully choreographed encounter with the process of production.

At the intersection of agriculture, tourism, and culture, wineries present architects with unique opportunities to merge technical requirements with a spatial narrative. They must respond to environmental conditions, manage temperature and humidity with precision, and integrate with delicate ecosystems, while also providing spaces for tasting, gathering, and celebration. As a result, the typology has given rise to a wide range of architectural solutions. Some are rooted in tradition and local craft, others are exploring advanced technologies and contemporary forms.

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Vernacular techniques and local materials are becoming more and more relevant in architecture, but is it possible to bring these concepts to large urban areas?

In 1984, the Amazonian architect Severiano Porto had already pointed out the need to make architecture more connected to its location. Using local materials and techniques is becoming more important each day, considering the impacts of the commodity chain of building construction on the planet. Not surprisingly, the number of projects that use this approach is growing every day, as Severiano has already mentioned in his work since the 1980s.

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Few materials are as timeless, durable and beautiful as terracotta. With a range of inherent properties, terracotta is being specified to redefine building envelopes. Used for its many colors and textures, as well as its flexibility, this ceramic can be constructed as cladding, rain screens and a variety of components. Dating back to the Babylonians, terracotta has been used throughout history, and it continues to be a material selected for diverse building types around the world.

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When we think of concrete, the color gray generally comes to mind. The traditional mixture of concrete, which comprises cement, gravel, sand, and water may vary in color depending on elements and admixtures but naturally varies from light to dark gray. However, compounds that add pigment to the mixture are becoming increasingly prevalent and popular,  as they infuse the concrete with hues more stable than paint. These shades result from the addition of oxides:  yellow, red and their derivations (eg. brown) are obtained with the addition of iron oxide; chromium and cobalt oxide create the greens and blues, respectively. For black concrete, it is common to use black iron oxide and carbon oxide combined with pozzolanic cement.

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The staircase is a fundamental element for the connection of architectural spaces. But beyond its functional use, in many projects the staircase serves as a sculptural object, offering an opportunity for architects to generate creative spatial forms that animate the built space. In this installment of our Photos of the Week, we present 15 incredible staircases captured by photographers such as Patricia Parinejad, José Campos, and Brigida González.

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Five projects have been selected as finalists of the 2015 EU Prize for Contemporary Architecture- Mies van der Rohe Award. The finalists were selected from a shortlist of 40 projects, and over the next couple of months the jury members will visit each of the finalist projects to evaluate the buildings firsthand and gather information from the people who use them. On May 7, the architects will present their projects to the jury. The winner will be announced the following day at a ceremony at Mies van der Rohe’s Barcelona Pavilion.

See the five finalists after the break.

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