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The Domaines Ott winery at Château de Selle is a working production cellar and visitor centre in Taradeau, Provence, designed by Carl Fredrik Svenstedt Architect. Completed in 2017, it is formed by massive Gard-stone blocks arranged as staggered, rotated walls. That apparent solidity is deliberately porous: gaps frame the vineyards, admit air and light, and create entrances while the enclosed volumes handle reception, fermentation, ageing, bottling, storage, offices and tastings.
What the Domaines Ott winery is
At Château de Selle, the new building replaces an earlier production facility rather than acting as a freestanding gallery or tasting pavilion. It is the estate’s contemporary cellar: a complete winery organized around the movement of grapes, wine, workers and visitors. Domaines Ott places it in Taradeau, in France’s Var department, on limestone hills inland from the Mediterranean coast.
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Carl Fredrik Svenstedt Architect describes the project as a “new horizon” above the historic Château de Selle. The estate calls it a contemporary cellar built from Gard stone. Together, those descriptions explain the building’s dual role. It has the visual weight expected of a stone agricultural complex, yet its openings keep the structure connected to the road, vineyard terraces and surrounding hills.
Where it sits in Provence
Château de Selle and the Var landscape
Marcel Ott acquired Château de Selle in 1912 as the family’s first estate. Domaines Ott now reports 93 hectares here, planted with Grenache, Cinsault, Syrah and Mourvèdre for the Côtes de Provence appellation. The vines occupy terraces and restanques on stony ground containing gypsum, sandstone and red clay. The winery’s long walls follow that cultivated topography instead of treating the site as a level industrial plot.
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The building therefore reads from two distances. From the approach road it is a substantial mineral landmark. From the terraces, the spaces between its blocks reveal the landscape behind it. The architecture does not erase the older château; it establishes a contemporary horizon above and alongside it.
How the stone architecture works
Massive blocks, deliberately open joints
The primary material is Gard stone assembled into large masonry screens. Carl Fredrik Svenstedt Architect says the blocks are staggered and rotated to make views and openings. Its project description summarizes the strategy in the sentence: “The stones are placed at incremental distances, making a porous yet massive screen.” The wall is massive because each unit remains visibly structural and individually legible; it is porous because the spacing is never sealed into a continuous, opaque plane.
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1Scan for outdated or missing drivers - takes under a minute2Clear out junk files and repair common Windows errors3Fix the driver behind crashes, sound loss and screen glitchesArchDaily reports that the blocks measure one metre by one metre by 50 centimetres and weigh about one metric ton each. The same publication describes walls rising to ten metres. Those dimensions are ArchDaily’s reported project figures, not a generalized specification for every piece of stone on the site. They help explain the building’s unusual scale: the facade is read as a field of heavy units rather than as a thin cladding layer.
Two parallel walls shape the approach
ArchDaily describes two parallel stone walls following the road and vineyard terraces. One wall curves in response to passing vehicles, so the arrival sequence is experienced as a gradual sweep rather than a straight industrial frontage. The parallel walls frame the winemaking process while sheltering wine, work and visitors.
Openings in those walls perform several jobs at once:
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- Views: gaps align sightlines with vines, terraces and the wider limestone landscape.
- Access: the screen opens to form routes into a functioning cellar and visitor areas.
- Ventilation: the spacing allows air movement through a building whose rooms must accommodate changing production conditions.
- Orientation: the repeated blocks make the road, process spaces and landscape readable as one sequence.
Rotating individual blocks prevents the facade from becoming a repetitive grid. Small changes in angle produce a changing pattern of shadow and reveal, so the wall appears different as a person drives past, walks toward an entrance or looks out from inside.
What happens inside the winery
A full production program
Alienor Ingénierie Vinicole’s project record lists a complete production building. Its program includes refrigeration, harvest reception, maceration tanks, winemaking areas, tank storage, an ageing cellar, bottling and wrapping, general storage, sales and tasting rooms, offices and an agricultural building. The consultant reports a winery capacity of 7,920 hectolitres.
That list matters architecturally. Harvest reception needs practical access for bringing in fruit; maceration and winemaking require controlled process rooms; storage and ageing need protected, stable interiors; bottling and wrapping demand a separate logistics sequence. Sales and tasting rooms bring visitors into the same overall building without turning production into a decorative backdrop.
Gravity-fed, plot-by-plot vinification
Domaines Ott says Château de Selle uses gravity-fed vinification and small vats adapted to individual vineyard plots. The cellar combines stainless-steel tanks with oak foudres and barrels and ceramic spheres. Gravity can reduce unnecessary pumping between stages, while small vessels allow lots from separate plots to remain distinct during fermentation and maturation.
The material palette inside therefore differs from the monumental exterior. Stone establishes the building’s environmental and visual identity; steel, oak and ceramic provide the working vessels. The architecture’s job is to make those operations possible, protect them and show enough of them to explain the estate’s method without interrupting production.
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How the building serves visitors
A visitor centre embedded in a working cellar
Visitors encounter the winery through the same architectural idea that organizes the production areas: movement between solid walls and openings. A solid stretch gives shelter and a sense of enclosure; a gap offers a view toward vines or a route into the complex. This alternating experience makes the estate legible without relying on a separate landmark entrance.
The consultant’s program specifically includes sales and tasting rooms. Those rooms connect the public experience to the wines made on site, while offices and agricultural spaces support the staff and estate operations that visitors do not always see. The result is not a themed visitor attraction added to a factory; it is one building in which hospitality and production are planned together.
Why permeability is practical, not merely visual
Open joints and framed views are often described as aesthetic features, but here they also answer operational needs. Access points let people and materials move between the road, cellar and agricultural areas. Ventilated gaps temper the experience of moving around a large enclosed facility. Views provide orientation across a deep plan and maintain a visual relationship with the vineyard plots that supply the cellar.
Project facts and why published areas differ
Several project records report different floor areas. None of those sources explains the discrepancy, so the figures should remain attached to the organization and context that published them rather than being merged into one “official” number.
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| Item | Published information | Source context |
|---|---|---|
| Location | Château de Selle, Taradeau, France | Domaines Ott, Carl Fredrik Svenstedt Architect and ArchDaily project records |
| Architect and client | Carl Fredrik Svenstedt Architect / Domaines Ott | Architect portfolio and Alienor Ingénierie Vinicole project record |
| Completion | 2017 | Architect portfolio and ArchDaily |
| Construction period | 2014–2016 | Alienor Ingénierie Vinicole; described as the works period |
| Area | 4,000 m² | Carl Fredrik Svenstedt Architect portfolio |
| Area | 4,370 m² | ArchDaily project listing |
| Area | 3,500 m² | Alienor Ingénierie Vinicole project record |
| Reported capacity | 7,920 hl | Alienor Ingénierie Vinicole |
| Stone-wall dimensions | Blocks of 1 m × 1 m × 0.5 m; walls up to 10 m high | ArchDaily report |
The different areas may reflect different measurement scopes, but that interpretation is not established by the published records. The safe conclusion is that the project is a multi-thousand-square-metre facility, with the exact reported area depending on which record is consulted.
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Who collaborated on the project
The architect’s portfolio credits Christophe Ponceau and Mélanie Drevet for landscape work and lists Becamel Mallard among the project collaborators. Alienor Ingénierie Vinicole identifies Carl Fredrik Svenstedt as architect and describes its own mission as general functional design and project management. These listings document different roles rather than a single, identical consultant list.
ArchDaily credits photography to Dan Glasser. Photographs show the relationship between the stone screens and the vineyard setting, but the building’s operational scope comes from the project and engineering descriptions rather than from images alone.
How to read the building’s central idea
Solidity
Gard stone gives the winery a durable, geological character suited to a site of limestone hills and old agricultural terraces. The one-tonne blocks, as reported by ArchDaily, make the walls feel assembled from landscape-scale pieces rather than finished with a superficial stone skin. Their weight also gives the building a strong visual anchor above the historic estate.
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The same wall system avoids becoming a fortress. Incremental spacing, rotated blocks and strategically placed openings let air, sightlines and circulation pass through. The screen can conceal equipment and storage from the road while still revealing the vineyard and allowing visitors to understand that a working cellar lies behind it.
Process as a framed landscape
Parallel walls do more than contain rooms. They frame the sequence from harvest reception to winemaking, storage, ageing and bottling. The vineyard remains present at the edge of that sequence, linking the building’s industrial tasks to the plots and terraces that produce its grapes.
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Wine context at Château de Selle
Domaines Ott identifies Château de Selle as one of its three estates and describes rosé and red wines from the property. The estate states that organic certification applies from the 2022 vintage. Those wine and certification statements belong to Domaines Ott; they are separate from the architect’s description of the building, but they help explain why the cellar must support both careful plot separation and a public tasting function.
Domaines Ott also reports an average vine age of 22 years on its Château de Selle page. Vine age, grape varieties and certification describe the estate’s agricultural identity; the winery translates that identity into rooms, equipment, circulation and a public-facing threshold.
When was it completed?
The architect’s portfolio and ArchDaily both give 2017 as the completion year. Alienor Ingénierie Vinicole lists works during 2014–2016. The most precise way to state the timeline is therefore: construction works are reported for 2014–2016, while the architect and ArchDaily identify the completed project as 2017. The sources do not establish whether the difference reflects commissioning, final fit-out or another administrative milestone.
Why this winery matters as architecture
The Domaines Ott cellar is significant because its formal idea and its practical brief are inseparable. A visitor can recognize the stone mass from the road, yet the building is not just a monumental sign for the estate. Its walls make openings for ventilation and access, its plan accommodates the entire production chain, and its tasting rooms sit within the same agricultural infrastructure.
That combination gives the project a clear lesson for contemporary winery design: a building can express permanence without closing itself off. At Château de Selle, the heavy material establishes a sense of place, while the gaps keep the production process, the visitor route and the vineyard views connected.
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