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Society

Mendoza's "Recycled" Winery — Argentine Eco Architecture With A Splash

Architects in Mendoza, western Argentina, have used hundreds of tons of recycled building material, shipping containers and discarded decorations to create an otherwise high-tech winery.

Photo of Maalwines' winery Las Compuertas, Mendoza, Argentina

Maalwines' trash recycled winery Las Compuertas, Mendoza, Argentina

Graciela Baduel

MENDOZA — Winemaking and wine tourism installations are usually built with a tasteful nod at the landscape around them. In the case of the MAAL winery in western Argentina, its environment-friendly design includes use of 300 tons of discarded construction and decoration materials found in and around the district of Mendoza.

Local architects Mora Hughes wanted to make the project a badge of their "commitment to nature," but with all the "charm of a Mendoza winery." MAAL winery is in Las Compuertas, on the outskirts of the city of Mendoza and at the heart of a celebrated winemaking region.


Their design won a bronze medal in the Architecture and Landscapes category at the 2023 Best of Mendoza's Wine Tourism awards. MAAL is an acronym of the owners' names, Matías and Alfredo, though they insist it also means Malbec As Alfredo Likes. The label only uses its own Malbec grapes and only "the way Alfredo likes it."

Photo of Maalwines' winery construction in Argentina

First moments of Maalwines' recycled winery

Maalwines Instagram

Eco-friendly designs


The winery sits on a narrow strip and is effectively a rectangular tube, with the produce introduced at one end, and passed along and processed to end up as wine in barrels at the other. Fermentation and storage happen in small concrete tanks holding between 50 and 200 hectoliters, and stainless steel vats and barrels with capacity ranging from 225 to 500 liters. The winery produces some 200,000 bottles a year, sold in eight countries including Argentina.

They used bits of flooring or roofing from wineries facing demolition, pipe segments and 20 disused shipping containers.

Wanting to minimize construction emissions, the architects decided to reuse local construction elements, including bits of flooring or roofing from defunct wineries facing demolition, pipe segments and 20 disused shipping containers. They brought in items like postal service furniture, church pews, old tractor seats, aluminum roof paneling from a local hotel, the Aconcagua, and even an old minibus still waiting to find its use. These were neatly laid out by the building site before work began.

This proliferation of recovered material prompted challenges, requiring flexibility and adaptation during construction, which meant intermittent delays. The design evolved and with the containers at least, the architects seemed at times to toy with options like kids playing with giant Lego bricks. These have ended up as a wall around the central structure, serving variously as offices, labs, storage or tasting rooms.

The winery's surfaces have kept a rough finishing that says something of their previous lives as bits of other buildings. The shipping containers were cleaned, but without wiping away their original colors, wooden beams and paneling are neatly cut but were not sanded down too much nor repainted or varnished, keeping thus their original tones. Much of the furniture is recycled or made from hard-plastic fruit crates.

The building also maximizes access to sunlight and natural air currents, through ample light shafts and air corridors that can be regulated to adjust airflow and temperatures. The only new things it seems are the winery's top-end equipment.

Mora Hughes, a studio run by Eugenia Mora and Tom Hughes, have undertaken a range of design projects around Mendoza including the Zuccardi winery and its restaurant Piedra Infinita, the Cavas Wine Lodge and private homes.

Photo of Wine tasting at Maalwines' trash recycled winery

Wine tasting during the Maalwine trash recycled winery tour

Maalwines Instagram

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Society

Where 'The Zone Of Interest' Won't Go On Auschwitz — A German Critique Of New Nazi Film

Rudolf Höss was the commandant of Auschwitz concentration camp who lived with his family close to the camp. Jonathan Glazer's The Zone of Interest, a favorite to win at the Cannes Festival, tells Höss' story, but fails to address the true inhumanity of Nazism, says Die Welt's film critic.

Where 'The Zone Of Interest' Won't Go On Auschwitz — A German Critique Of New Nazi Film

A still from The Zone of Interest by

Hanns-Georg Rodek

-Essay-

BERLIN — This garden is the pride and joy of Hedwig, the housewife. She has planned and laid out everything — the vegetable beds and fruit trees and the greenhouse and the bathtub.

Her kingdom is bordered on one long side by a high, barbed-wire wall. Gravel paths lead to the family home, a two-story building with clean lines, no architectural frills. Her husband praises her when he comes home after work, and their three children — ages two to five — play carefree in the little "paradise," as the mother calls her refuge.

The wall is the outer wall of the concentration camp Auschwitz; in the "paradise" lives the camp commander Rudolf Höss with his family.

The film is called The Zone of Interest — after the German term "Interessengebiet," which the Nazis used to euphemistically name the restricted zone around Auschwitz — and it is a favorite among critics at this week's Cannes Film Festival.

The audacity of director Jonathan Glazer's style takes your breath away, and it doesn't quickly come back.

It is a British-Polish production in which only German is spoken. The real house of the Höss family was not directly on the wall, but some distance away, but from the upper floor, Höss's daughter Brigitte later recalled, she could see the prisoners' quarters and the chimneys of the old crematorium.

Glazer moved the house right up against the wall for the sake of his experimental arrangement, a piece of artistic license that can certainly be justified.

And so one watches the Höss family go about their daily lives: guiding visitors through the little garden, splashing in the tub, eating dinner in the house, being served by the domestic help, who are all silent prisoners. What happens behind the wall, they could hear and smell. They must have heard and smelled it. You can see the red glow over the crematorium at night. You hear the screams of the tortured and the shots of the guards. The Höss family blocks all this out.

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