Tili Wine Italy
Guest Homes

The project makes use of an interesting grid organization which places complex, well-considered line drawings in gray and white to the left of each sheet, with larger colored renderings to the right. The resulting effect places visual emphasis on the successfully- rendered perspectives while the line drawings remain supplementary. The balance is clean, the hierarchy clear, and there is a direct relationship between the orthogonal design of the project and the layout of the presentation sheets. The limited use of colors in the imagery places strong emphasis on the expression of natural materials which appear in harmony with the existing site and landscape. Consequently, and to the presentation’s benefit, the green planted elements as well as the wooden finishes stand out in relief. Special detail is given to materiality and the micro-expression of joints, grains, and imperfections. Very rarely is a competition entry able to achieve this level of detail and consistency. Annotation and text is used in a limited way. Spaces, textures, and materials are clearly announced, however the project would benefit from additional text to describe design decisions, as well as an introductory or summary paragraph to solidify the design concept and aspirations in words. While the gray linework is consistent and aids in expressing the visually heavier renderings, the line drawings would benefit from additional weights and the use of darker grays or blacks to augment hierarchy. As drawn, gray shadows are the same visual tone as the lines and so do not help to articulate forms or provide the intended depth. Gray annotation text also does not stand out from drawings and in certain cases becomes lost. When reviewing the line drawings in detail, a reader cannot clearly differentiate ‘cut’ lines in section from elevation lines. This is particularly the case for the overall site sections on sheet 3.

The project successfully makes use of a two-column format with black and white line drawings to the left and richly colored images to the right. The renderings are particularly strong for producing a visual color balance and describing the design aspirations which are otherwise not apparent in the drawings. It is recommended that the author include scale human figures both in drawing and in perspective. While the general sense of the spaces is clear, a reader cannot fully appreciate the scale nor the spatial experience. Such scale figures could also further explain: How does one use the space? How do groups use communal spaces? While the overall presentation is beautifully rendered, there is a lack of hierarchy with regards to the line drawing components of the sheets at the left. The text and drawings have the same shade of gray and so it is not clear for a reader where to look first when reviewing drawings. Furthermore, there is quite a bit of empty white space on the sheets while the drawings are almost too small to make sense of. The final fourth sheet, for example, would greatly benefit from larger sectional drawings to provide a fuller sense of the design intent.

The presentation is minimalist in nature and reflective of the design of the project. The author has clearly made efforts to reduce visual clutter in order to express the geometric and spatial clarity of the project. The sheets are organized in two clean columns, with small plan and sectional diagrams to the left with renderings to the right. While the layout is rigorous and will clearly resonate with many jurors, there are presentation tips this submission would benefit from. There is no material annotation to describe the project’s construction, for example, nor explanations as to why spaces and buildings were laid out this way. The author could maintain the project simplicity while adding text to further describe the architecture and better communicate the project. As a result, a reviewer may find the project overly simplistic and not developed enough to be convincing as the most convincing and sophisticated design entry. The author would benefit from the inclusion of scale human figures so that a reader can more fully appreciate the project scale. While the plans and sections are clearly laid out according to simple geometric shapes, it is not clear how a human might inhabit or use these spaces as drawn. Such a clean project would benefit from some additional nuance in drawings.

The presentation makes use of a primary colored rendering on each of the four sheets, which is supported by secondary line drawings and text. The principal imagery is muted in nature and consequently expresses the project as a light intervention and in context with its site and the historical Italian region. While the drawings successfully convey the project intent, the layout is inconsistent and would benefit from a more rigorous use of a grid or uniform sizing of imagery. The text on the first sheet is positively bold and strong, but does not relate to text use or hierarchy on the following sheets. Furthermore the text is lengthy and repeats much of the information described in diagrams on sheet 3. The author would benefit from reducing the text or relocating certain phrases, such as that about massing or sustainability, alongside the corresponding diagrams. The hierarchy of imagery on sheet 3 could also be improved.  The layout includes two plans and three sections which are quite detailed in nature, however these are reduced in size and take on less importance than the image describing the corten wine racks - while this image is interesting it does not provide much information.