The distillery was designed for Horse Soldier Bourbon, an American bourbon brand founded by retired US Special Forces servicemen. It is named after US soldiers who fought on horseback in Afghanistan in the weeks following the 9/11 terrorist attack.
Horse Soldier Farms will cover a 227-acre site
Called Horse Soldier Farms, the distillery – which will be located in the city of Somerset, Kentucky – will be part of a 227-acre site overlooking Lake Cumberland.
Rogers Stirk Harbour + Partners will include a tribute to the brand's origins in the project's design in the form of a water garden with a dramatic replica of America's Response Monument, which is located at Ground Zero in New York and unofficially known as the Horse Soldier Statue.
An illustration of the monument is part of the bourbon whiskey brand's logo.
Other architectural references to the brand's story will include 12 fermentation vats arranged around a column that the studio says will be made of metal from the Statue of Liberty, as well as a recessed water feature and stillhouse that pays tribute to the World Trade Center that was destroyed in the 9/11 attack.
Horse Soldier Farms will also house a gallery that will honour the "heroes of 9/11 and also the everyday heroes of our community".
The Distillery Village will also house a luxury lodge
A series of community rooms and shops will be included at the site's Distillery Village, in addition to event and equestrian centres and a chapel. Visitors will also be able to stay at a luxury lodge.
Horse Soldier Farms will extend the route of the Kentucky Bourbon Trail, which is a tour of the state's bourbon distilleries. The region's Bourbon County is considered the birthplace of the spirit.
A replica of America's Response Monument will feature in a water garden
For our latest lookbook, we've collected ten interiors that use clever storage solutions, including custom-made shelving, pegboard walls and hidden bench spaces, to create streamlined, uncluttered interiors.
These homes from the Dezeen archive all feature storage design that helps them make the most of their space.
From Taiwan to Portugal, from micro apartments to homes with double-height ceilings, there are solutions for homes of all sizes.
Architecture studio Atelier Espaço P2 inserted wood-lined interiors into this single-storey home in Ansião, Portugal.
It used custom-made built-in furniture elements to make the most of the space, including a wooden surround at the living room threshold that doubles as a bookshelf and coat rack.
A clever pegboard-like wall design was used to create adaptable storage in this apartment in Taiwan. The owner of the 46-square metre apartment can add shelving to the wall and use it to display and store books and decorative items.
The shelves can be moved and added to whenever he wants, creating an easy storage solution that can be continuously expanded.
In Madrid, a disused art studio was turned into a mirrored extension by studio Delavegacanolasso.
Inside the 50-square-metre house, the studio has added plenty of built-in storage, which was designed to run around the periphery of the room to free-up floor space.
A wooden work desk by the window slots perfectly into the space above a storage area with simple, sleek white drawers and cabinets.
Hao Design transformed this apartment in Kaohsiung, Taiwan by adding an upper level with a second bedroom and more storage space.
To connect the two floors, the studio designed a blocky wooden staircase. A matching double-storey bookcase covers the wall behind and integrates shelves, windows and a desk to create a clever storage unit that also functions as a workstation.
A double-height storage wall made from white-stained pine emphasises the ceiling height of the main living space in this London apartment.
With its added cabinets underneath, the custom-built shelf enables the owners of the flat in a former matchstick factory to really take advantage of all of the room's available space.
StudioAC added short wood cabinets, which it describes as "contemporary wainscotting", to the Borden residence in Downtown Toronto to create storage and give the impression of more space.
On the ground floor, one of the cabinets stretches throughout the open-plan space to form the base of a built-in fireplace and kitchen counter.
Architecture studio Jonathan Tuckey Design filled this apartment in London's Marylebone neighbourhood with pastel-coloured storage walls.
These deep-set walls are made from medium-density fibreboard (MDF) and were designed as built-in furniture, negating a need for standard shelves and cupboards. In the bedroom, open shelves were added to the storage walls to create bedside tables.
This public-housing complex in Osaka, Japan, was given raised plywood floors and pegboard walls to let residents customise their apartments.
The 30-centimetre-high floors are hollow so that items can be stored underneath. Users can also hang shelves and hooks on the perforated walls for more convenient storage solutions.
These South Korean micro apartments have birch-lined walls with hidden storage to maximise useable space.
Window seats feature hidden storage underneath and the walls have multiple cupboards. The minimalist apartments measure between just 16 to 23 square metres in size.
This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen's image archive. For more inspiration see previous lookbooks showcasing window seats, plywood interiors and playful slides.
New York studio The Living developed a pavilion for the Venice Architecture Biennale to demonstrate how organic materials with microbial properties could be used in architecture to help create healthier environments for humans.
The Living was invited by Biennale curator Hashim Sarkis to create the Alive pavilion for an exhibit titled Among Diverse Beings, which is presented at the city's Arsenale venue. The installation has been shortlisted in the small building category of Dezeen Awards 2021.
The Living constructed the pavilion using microbial materials
The pavilion represents an evolution of ongoing research by The Living, which has worked with biologists and academics to explore the potential of multi-species architecture and how best to harness the microbes that surround us all the time.
According to The Living founder and principal David Benjamin, advances in biological technologies such as bio-computing, bio-sensing and bio-fabricating offer new opportunities for using living organisms in architecture.
The Alive pavilion displayed at the 2021 Venice Architecture Biennale
The exhibition at the Arsenale examines the potential for creating an "urban microbiome" that would see cities evolve to become more healthy and sustainable by employing bio-receptive materials in their construction.
"As a society, we are increasingly aware of how a good gut microbiome promotes individual health," Benjamin told Dezeen, "and in a similar way, it is now clear that a good urban microbiome promotes public health."
"This means that instead of creating architecture and spaces that are sterile and antibiotic, we should develop environments that are alive and probiotic."
The structure was built as part of The Living's ongoing research project into biomaterials
Bio-receptive materials trap and host microorganisms in surfaces containing pockets with different temperatures, moisture levels, air flow and nutrients. These organic, living materials support colonies of microbes that in turn promote the health of people in their vicinity.
The Alive installation is made from dried fibres of luffa – an inexpensive, renewable and fast-growing vegetable that grows on vines in tropical and subtropical regions.
Luffa's fibrous surfaces form a strong and organic material that is ideally suited to hosting diverse microbes and could be easily adapted to form panelling products or partitions for use in architectural projects.
"The project is a prototype for architecture of the future, but at the same time it is relevant to current buildings," Benjamin suggested.
"[Luffa] can be easily adapted into many environments like today's offices and restaurants, with partition walls and acoustic tiled ceilings, or tomorrow’s buildings with microbial facades that remove pathogens from the air."
The material can be used across different architectural interventions
The pavilion's design promotes the architectural possibilities of luffa and other probiotic materials while also creating spaces that allow different levels of light and air flow.
Following the conclusion of the Biennale in November 2021, the prototype will be deconstructed and used for several ongoing experiments. One section will be returned to New York City and analysed to assess how microbes grow in different conditions.
The pavilion was made using luffa fibres
Researchers and previous collaborators Kevin Slavin and Elizabeth Henaff will use a DNA sequencer to determine what species of bacteria lived in the material.
Comparing this DNA with samples from other materials and locations will allow the project to feed into early studies about the biomes of various buildings and cities.
The pavilion was formed from a flat sheet of material
The Waste Age exhibition, which opens today at London's Design Museum, explores how design has contributed to the rise of throwaway culture and how the industry can help to create an alternative circular economy that doesn't exploit the planet.
Across three sections and more than 300 objects, it takes stock of the global waste crisis as well as presenting a range of possible solutions developed by product, fashion and building designers using reclaimed and natural materials.
The exhibition's core thesis is that, much like humanity had the stone age and the steam age, we not live in a waste age defined by convenience and single-use, disposable products.
The exhibition looks at reducing the use of plastic (above) and recycling it into products such as the S-1500 chair (top image)
"Waste is something that we tend to think of as on the periphery and that's where we prefer it, out of sight and out of mind," said the Design Museum's chief curator Justin McGuirk.
"But what if waste isn't peripheral? What if it's absolutely central to the culture that we've created?"
Dirk van der Kooij's Chubby Chair is 3D printed from discarded fridges
Timed to coincide with the UN's upcoming COP26 conference, the exhibition seeks to establish waste as a key focus point for designers in the fight against climate change.
"We wanted to focus on the waste issue because we think that's where design has the biggest impact," McGuirk told Dezeen.
"When you talk about carbon emissions, there are things designers can help with but it's not really a design issue. Whereas when you think about waste, most waste happens in the making of products."
The exhibition design by Material Cultures makes use of natural materials and unfired bricks
"This is, in a way, a design-made mess," agreed the show's curator Gemma Curtain. "But we can certainly change the way we react in the future."
In this spirit, the exhibition design by local studio Material Cultures focuses on renewable materials and repurposes components from the museum's recent Charlotte Perriand exhibition, while Sophie Thomas of climate collective URGE is conducting an environmental audit of the show to assess its footprint.
"It's a show about how we rethink design at every level and look to a future where we create less waste," said McGuirk. "That's not going to mean just recycling. It's going to be a whole shift towards growing materials rather than extraction."
The Peak Waste section visualises the scale of the waste crisis
Before visitors enter the exhibition, they are greeted by a newly commissioned installation from architect Arthur Mamou-Mani, which is suspended in the Design Museum foyer and explores how PLA bioplastic and wood pulp can be 3D printed to create recyclable building materials.
The first section, titled Peak Waste, traces the rise of convenience culture starting from the Industrial Revolution, with the advent of disposable plastics and design strategies such as planned obsolescence.
It also charts the emergence of throwaway culture and possible alternatives
"Humans are not by nature wasteful beings, we had to be taught wastefulness," McGuirk told Dezeen.
"There are anecdotes about people in the 50s holding on to plastic bags and meal trays and they had to be told, through ads, that it was okay to throw them away, that they weren't anything of value," he continued.
"So the plastics industry thrived. But we've been set up to fail."
This introductory section showcases some of the earliest examples of disposable cutlery and plastic water bottles, as well as visualising the scale of the global waste crisis.
A new commission from artist Ibrahim Mahama incorporates e-waste from Ghana's notorious Agbogbloshie rubbish dump and examines the failings of the current waste management system, which sees rubbish from the West "dumped on poor countries" in Africa and Southeast Asia.
From here, the exhibition leads on to the second section titled Precious Waste, which charts work from designers and architects that treats waste as an abundant resource to be exploited.
Studio Drift deconstructed a VW Beetle into its constituent materials
It starts by showing everyday objects such as an iPhone or Volkswagen Beetle as the sum of their constituent materials, in a series of works from Studio Drift's Materialism series.
Algae bioplastic sequins adorn this dress by Charlotte McCurdy and Phillip Lim
"I think they're some of the most important architects working today because they don't believe in demolition," McGuirk said. "The sheer waste of embodied carbon and energy is ludicrous."
The final part of the exhibition looks towards a "post-waste" future, highlighting experimental projects that substitute the extractive, emissions-intensive materials of the 20th century for natural, renewable and often biodegradable alternatives.
Blast Studio's Tree Column is made from discarded coffee cups and mycelium
This last section also takes a look at initiatives that are overhauling the systems surrounding waste, from a case study on Japan's first zero-waste town to Framework, a modular laptop that can be easily repaired and upgraded much like a Fairphone.
"We don't have an economy that helps people fix or recycle things, so of course they take the path of least resistance and they throw those things away," McGuirk explained.
"The message coming from corporations is that it's down to consumer behaviour but we took the position with this exhibition that consumers just aren't presented with viable choices. And things are made to last for brief periods of time, so the whole system is broken."
Waste Age is on view at the Design Museum in London until 20 February 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
Adjaye Associates, which is led by architect David Adjaye, designed the 1,663-feet-tall (498-metre) skyscraper for a vacant plot in New York State in response to an open Request for Proposals from the state government.
In total, more than 53,000 votes were cast and verified across all categories, with Manuel Herz Architects' pop-up synagogue (pictured) among the public's winners.
According to the historians, the demonisation of brutalism buildings is part of a politically motivated shift towards more traditional styles of architecture.
At Dutch Design Week in Eindhoven, which took place this week, eco-design studio Biobased Creations created a showhome that was built almost entirely from biomaterials.
In France, Japanese studio Kengo Kuma and Associates unveiled its plans to give Angers Cathedral a contemporary facelift by adding a modern, arched entrance gallery to protect a historic sculptural doorway.
