GOODSTEN isn´t just a creamery. It is born from an experience of oneiric landscapes, as if it where form another world, with a completely different logic. Unknown and fantastic lands made us think of precious stones. Their faceted surfaces inspired us to create a construction system. Those rocks, which blind us with their glows and crystal-like textures, are diamonds from another world.

The allegory of the precious stone had an impact on creative decisions, both in design and construction aspects, branding decisions, and even on the making of the desserts, which are prepared on granite slabs with temperatures below zero.

We transformed this idea into a construction system, through a material which allowed us to mold these faceted figures, without falling into the literalness of stony materials. We wanted to express a homogeneity through one continuous surface of elements which set up a diamond-like shell, made possible by means of the repetition of treated metallic tiles.

The proposal is expressive and synthetic, in a way that it suggests an intriguing formalism from its silent and mono material condition. The construction of a double height annex, which grants the true spatiality to the creamery, is attached to the original house so that both coexist in a respectful and harmonic way. The new diamond-like structure dialogues morphologically with the pitched roofs of a 20th century chalet.

The site of the annex incorporates two mansards in the inside and a third one on the outside, which respond to the requirements of the ventilating and lighting municipal codes. Because of this, the roof considerably modifies its shape allowing the needed lighting and fresh air to enter. As a result, we found ourselves with a very plastic roof, geometrically speaking. At ground level we built a concrete piece, which works as a basement over which the roof rests, becoming one similar morphological configuration.

We created a compositional system of triangles and faceted surfaces which can be seen in various elements particularly designed. From the openings in the building in the production zone, to the annex roof allowing the light to be sifted. The same geometry, also makes up the metallic structure of the general lighting system, as well as the design of the exterior floorings, made from precast concrete. It all comes together to the same compositional criteria.

The general interior idea is determined by essentials from the aesthetic Nordic imaginary, as are the skin and leather tapestry, walls coated in natural wood and light-colored granites. All of these noble materials are used in a monochromatic way, so that a perfect integration of the oneiric and fantastic world and the compositional system created is generated with no greater difficulty.

The client´s requirements have been very rigorous. The surface destined to the production area covers almost 50% of the buildings total surface, divided in two levels and with two double circulations as to ensure the clearly differentiated public and private areas.

The project is located in the southernmost city in the world, Ushuaia in Patagonia Argentina, where his hostile nature, icy and wild waters enclose the great tales of Darwin. Its port is the place that shelters the traveler and this magical universe has inspired us in our work. The client’s demand was to intervene a house of the early twentieth century respecting each of its areas, intervening only with ambiance. The house is typical of the area, belonging to the Olmo family, the first villagers of this city.

Cape Horn just 43 km away from the city, was the trigger that lead us to recreate the idea of a magical underwater world, similar to the illustrations of Jules Verne, where the machines of another century and landscapes are the protagonists. We created aquatic creatures, seaweed, scapers and we fuse it with port elements such as compasses, eyes of ox, through pipes, where both the graphic and these elements make up the imaginary of space.

We construct the illumination through nautical pulley wheel with cords, and we used old cartographic images adapted for different spaces, painted in a mural and wallpapered in the bathrooms. The intervention in the bar is made with old beer barrels, inspired again in the beer brand sponsored by the bar, Cape Horn, manufactured in these latitudes. The furnishing equipment with industrial aesthetics accompanies the idea of bar, whose language fuses a very closely related universe with its location, southern, wild and magical.

The project is located in the southernmost city in the world, Ushuaia, in Patagonia Argentina where the city’s architecture is typical of a port city one. The location was determinant in the choice of materials. This means that the materials used are mainly native due to the distance from the most dynamic and urban centers of the country. That implies a very rational use of materials, which are mostly wood and steel sheet. It is an architecture that appears to have stayed in time. The interiors are also mostly of wood and balloon frame structure. The project started with the idea of a diverse and varied grocery (traditional Argentine warehouse) through wooden boxes, and its “star” product, beer bottled in growlers. The decision to involve growlers as electrical appliances and wooden boxes as shelving is an example of an intervention with elements specially designed to create an aesthetic proposal, that was absolutely related with the type of products marketed.

Lenga, authentic wood from the Argentinean Patagonia, was chosen as inner siding of the first floor. The blackboard painting was chosen to cover the ground floor and considered also as a way of communicating information about the products for sale. The project brings together two materials, wood and white tiles, to balance the palette of materials so that it does not rely solely on wood colors. The distribution was a great challenge since the space only has 90 m2 and a width of barely 2.75 meters in ground floor and first floor. In the ground floor the idea was to build a self-service and take out area, in response to the clients´ request of giving the space a flexibility that would invite different types of consumers. The first floor is distributed in a range of different uses: low tables, bars, living.

The design proposal responds to the construction of an industrial environment by using elements of the industrial revolution with certain interventions of a contemporary style classified as steampunk. The challenge was to balance the industrial compositional elements and some Victorian style elegance. Thiscriteria allowed us to generate our own DNA outside the thematic schemes.

The choice of “secret” entrance and exit doors, covered in brick for circulation, was a premise that responds to the concept of clandestine bar (Hidden bar). The fictitious brick wall suggests access to the bar. At night a sliding iron gate covers the entire façade, which is completely graffitied with the image of England’s Queen Victory, work done by graffiti artist Martin Ron.

The strategy in the use of three “stations” to shelter the distinctive areas is the spatial organizational axis of the project. These stations are made up of 12 intervened oil tanks. The connections between the stations and the bar, through pipes that run through the ceiling, emulate the concept of whisky distillers, which inside does not transit alcohol but light serving a lighting function.

The last room where the living room is located is subdivided through screens with old scissor doors, which can eventually be moved to change the distribution. On the back wall is painted the face of Mr. Brown, whose image suggests a story.

Two artifacts were built, which work and have movement. On the one hand a clock designed through vertical gears, and on the other hand an old 19th century machine.