skewed meeting room bends the grid in shanghai office revamp by atelier siyu

Atelier Siyu adds angular volumes to workspace in Shanghai

In Shanghai’s Changning District, Atelier Siyu breathes new life into a former industrial shell with the renovation of Kaixuanfang Studio, a 760-square-meter workspace that has served as the client’s headquarters for nearly a decade. Without altering the basic layout, the design team undertakes a strategic reprogramming of the two-level interior.

The architects revamp this hybrid creative workspace, part photography studio and part office, introducing new volumes, angular geometries, and adaptive design gestures to improve circulation and help things run more smoothly. The project explores contrasts by combining logical planning with expressive design gestures, where rectilinear forms transition into dynamic alignments that frame views, connect spaces, and introduce moments of surprise.

A key intervention on the ground floor is a skewed meeting room, what Atelier Siyu calls a ‘box’, placed at a 15-degree angle within the orthogonal shell. This move sets off a ripple of indirect circulation routes and spatial overlaps that break up the previously straightforward floor plan. With dimensions of 4.2 by 7.2 meters, the box holds a 12-person conference space and acts as a spatial hinge, connecting the public-facing reception and photo studio with a series of more private functions, including a theater, sample room, and equipment storage.

images by Chenhao, unless stated otherwise

angular staircase and brick cladding redefine the entrance

By intentionally misaligning new and existing planes, the designers at Atelier Siyu introduce a sense of motion and spatial depth. Subtle lighting interventions further amplify this layered geometry, playing off the angled surfaces to create an atmosphere that shifts throughout the day.

One of the most striking design features appears right at the entrance, where Atelier Siyu reworks the existing staircase to directly connect the entryway with the reception area. By removing and repositioning part of the stair, they improve how people move through the space and turn the stair into a standout vertical element. The area beneath it now hosts a small pantry, visually tied to the front desk and kitchen with light brick cladding laid out in angular patterns. The stair itself, painted black, framed in red steel, and set on a grey concrete base, brings a bold, industrial feel to the space. Openings between the stair and reception are carefully placed to maintain visual connections while still offering a sense of privacy.

a key intervention on the ground floor is a skewed meeting room

walls that think: integrating utilities into structure

Along the window-facing wall on the first floor, the studio found a thick, 600-millimeter wall made of concrete and added steel. Instead of tearing it down or covering it up, Atelier Siyu decided to work with it in a practical way. They neatly fitted things like air conditioners, fire extinguishers, and trash bins into the wall at just the right heights, creating a smart, multi-use area that frees up floor space and helps organize the studio better. To balance light and privacy, parts of the wall are covered with glass bricks, which not only fit the building’s industrial look but also gently soften the light inside.

Atelier Siyu breathes new life into a former industrial shell with the renovation of Kaixuanfang Studio

navigating low ceilings with geometry and light

Upstairs, the ceiling drops to just 2.3 meters under the original beams, a challenge that the architects embraced with bold, geometric shapes. They added irregular metal structures between work areas to create clear boundaries, change how the space feels, and open up certain spots. Private offices for administration, finance, and management are enclosed with slanted glass walls that line up with these metal shapes, creating overlapping crystal-like effects that make the space feel bigger than it is.

To handle electrical wiring on the second floor, where running cables under the floor wasn’t an option, Atelier Siyu used vertical columns that quietly carry wires from the ceiling down to the desks, turning necessary infrastructure into part of the design.

The renovation of Kaixuanfang Studio turns a straightforward, practical space into a flexible, creative place to work by thinking through how people move, how light flows, and how each area is used. It’s a workspace that shapes how people navigate the space and connect with each other, thanks to angled lines, smartly placed walls, and framed views that reveal new ways of seeing the building.

the area beneath the staircase now hosts a small pantry

introducing new volumes, angular geometries, and adaptive design gestures | image by Atelier Siyu

introducing moments of surprise

the design team undertakes a strategic reprogramming of the two-level interior

pops of color complete the interior | image by Atelier Siyu

upstairs, the ceiling drops to just 2.3 meters under the original beams | image by Wangke

irregular metal structures between work areas create clear boundaries | image by Wangke

private offices are enclosed with slanted glass walls | image by Atelier Siyu

project info:

name: Renovation of Kaixuanfang Studio
architect: Atelier Siyu | @atelier.siyu

location: Changning District, Shanghai, China

area: 760 square meters

photographer: Chenhao, Wangke, Siyu

contractor: Shanghai Idea Mechanics Interior Designers Contractors

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reisarchitettura’s L-shaped extension completes traditional stone house with six trulli in italy

olive groves surround Trullo GR in the hills of Fasano

REISARCHITETTURA’s Trullo GR renovation and expansion project of a typical Apulian structure in Puglia, Italy, creates two independent residences for owners and guests. Located in the hills of Fasano, the traditional stone structure is surrounded by 8,000 sqm of olive groves. A pathway bordered by dry stone walls and two monumental oaks leads to a semicircular courtyard, providing access to the residence. The original building, dating back to the early 1900s, consisted of three ‘casedde’ and six ‘trulli,’ structures with sloping and conical roofs, traditionally used as dwellings and tool sheds by local farmers, as well as a flat-roofed section added in the 1960s.

The renovation included demolishing the newer part and replacing it with a perpendicular extension, forming an ‘L’ shape with the existing structure, housing the main residence’s living area, and featuring large windows that open to the garden and pool to the north. The new volume is connected to the existing structure by a recessed glass passage that serves as the main entrance, reducing its visual impact. The sleeping area is in the first two trulli and three ‘casedde’ to the south, with three independent bedrooms. The four trulli to the north house the guest residence, with a living room, kitchen, and two en-suite bedrooms. In the garden and around the pool, there are two gazebos, one large for the owners and a smaller one for guests, along with an outdoor shower and oven.

all images by Alessandra Bello

REISARCHITETTURA’s renovation respects Apulian tradition

The designers at REISARCHITETTURA opted for materials and finishes that respect Apulian tradition, with contemporary details. Minimal interventions were made on the existing structure: the stone walls were cleaned, sealed, and, where necessary, supplemented, while the exterior was repainted with white lime, and the interior plaster was restored. The new volume, made of exposed tuff stone, is also whitewashed for continuity. The original flooring in the first two trulli was preserved, while in other rooms, where more recent flooring was present, it was replaced with smooth, minimal concrete, as in the new extension. The external windows and interior doors are made of natural oak, and the outdoor flooring includes local stone, washed concrete for the perimeter walkway, and wooden decking around the pool, comfortable for walking barefoot.

The focus on traditional materials is combined with sustainability and energy efficiency. Climate control is provided by a heat pump powered by solar panels installed above the new extension, while a cistern beneath the external flooring collects rainwater for reuse. The lighting is LED-based for low consumption and long life, and a smart home system allows remote control of installations, optimizing energy use and comfort. Finally, an integrated sound and outdoor lighting system enhances the poolside atmosphere.

Trullo GR sits in the hills of Fasano, surrounded by 8,000 sqm of olive groves

a dry stone path flanked by oaks leads to a semicircular courtyard entrance

the new volume houses the main living area and opens northward to the garden and pool

outdoor finishes include local stone, washed concrete, and wooden decking

minimal intervention preserved and restored original stonework

a recessed glass passage connects the new and historic structures

project info:

name: Trullo GR
architect: REISARCHITETTURA | @reisarchitettura

lead architects: Nicola Isetta, Paola Rebellato

location: Puglia, Italy

photographer: Alessandra Bello | @ab_alessandrabello_fotografia

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open structural steel grid by estudio BNAA reinterprets barn typology in argentina

ESTUDIO BNAA reinterprets barn architecture

Located in Potrero de los Funes, San Luis, Argentina, Barn House by ESTUDIO BNAA (Bravo Nieto Arquitectos Asociados) presents a contemporary reinterpretation of the traditional barn structure. Designed as a peripheral and adaptable system rather than a closed typology, the project proposes an open framework that supports multiple modes of habitation and challenges conventional residential models.

The design is based on a modular and flexible approach, moving away from fixed spatial hierarchies. Instead of assigning static functions to defined spaces, the dwelling operates as a field of transformable possibilities, where users actively shape the configuration and use of the interior over time.

all images by ESTUDIO BNAA (Bravo Nieto Arquitectos Asociados)

Barn House unfolds around a structural grid

At its core, the project utilizes a regular structural grid and a low-cost industrial construction system. Prefabricated in a workshop, the house is built using 140 mm IPN steel profiles. These elements serve multiple functions: structural support (beams and columns), infrastructure for lighting and electrical systems, support for interior partitions, and anchor points for domestic accessories such as hammocks and planters. The exposed steel structure defines the architectural language, emphasizing both function and clarity.

The design team at ESTUDIO BNAA (Bravo Nieto Arquitectos Asociados) creates interior divisions using movable partition systems made of curtains suspended from calibrated magnets. This method avoids permanent fixtures and perforations, allowing for a flexible and reversible spatial layout. The configuration supports a variety of uses without compromising material efficiency or spatial order.

Barn House reinterprets a rural typology through flexible design

Modular design allows for future expansion

A compact central core houses all wet areas. Above it, a loft space is constructed, an enclosed, windowless area illuminated indirectly from below. This upper level is suited for resting or studying, offering an efficient use of vertical space and enhancing the three-dimensional quality of the interior.

Provisions for future expansion are integrated into the initial design of Barn House. South-facing openings, dimensioned to match standard door sizes, allow sections of the envelope to be removed to extend the structure. This extension process maintains the original architectural language and adheres to the same structural and construction principles.

an open structural framework replaces traditional spatial hierarchy

the house operates as a transformable field, not a fixed layout

magnetic curtains allow for non-invasive spatial flexibility

modular openings allow for phased structural growth

beams and columns double as supports for lighting and accessories

future expansions are built into the design logic

a regular steel grid forms the core of the construction system

project info:

name: Barn House

architect: ESTUDIO BNAA (Bravo Nieto Arquitectos Asociados) | @estudio.bnaa
lead architects: Arq. Ralph Tomas Bravo Nieto, Ana Paula Amieva
location: San Luis, Potrero de los Funes, Argentina

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DMAA transforms kellogg’s silos into waterfront hotel in bremen, germany

Urban transformation in Bremen’s harbor district

In Bremen, Germany, a cluster of 1970s grain silos once used by Kellogg’s has been transformed into the John & Will Silo Hotel by Delugan Meissl Associated Architects (DMAA). The site, located on the Überseeinsel peninsula within the larger redevelopment of Überseestadt, forms part of one of Europe’s most ambitious urban renewal projects. With the River Weser on one side and Bremen’s city center nearby, the intervention repositions industrial heritage as a civic and cultural landmark.

The former Kellogg’s site, now a mixed-use complex, maintains the prominence of the original silos while introducing new programs across its perimeter. DMAA’s response preserves the visual identity of the site while subtly threading it into the changing rhythm of the waterfront.

images © Piet Niemann

Silos reimagined as hotel architecture

The concrete silos in Bremen, once capable of storing up to 5,000 tons of Kellogg’s grain, are now occupied by 117 uniquely configured guest rooms for the John & Will Silo Hotel. The architects at DMAA plan each room with a circular or semi-circular floorplan, following the geometry of the original silo forms. Vertical window slits have been carved through sixteen-centimeter-thick concrete walls to frame narrow, cinematic views of the Weser. These minimal apertures maintain the visual weight of the structures while admitting natural light deep into the cylindrical spaces.

The original red Kellogg’s logo remains emblazoned atop the tallest silos, asserting continuity with the past even as the interior is radically repurposed. Below, a low-rise annex formerly used as a vitamin store has been adapted into five levels of office and conference spaces, with a new rooftop pavilion serving as an event venue.

the Kellogg’s silos in Bremen have been transformed into a hotel by DMAA

Cutting through concrete, connecting new volumes

To adapt the Kellogg’s silos for hospitality use in Bremen, DMAA introduced new interior corridors and openings that connect the cylinders. Access routes were carefully threaded through the concrete mass, and 3,500 cubic meters of concrete were excavated and removed by hand. The hotel lobby incorporates the silos’ original funnel-shaped bases, allowing the building’s industrial function to remain legible within the new program.

The architectural intervention extends beyond the hotel. The adjacent rice store has been adapted into a market hall and restaurant cluster, while new terraces and an in-house brewery activate the waterfront with public life. These spaces contribute to a broader strategy for integrating communal amenities within the former industrial fabric of Bremen.

the project is located on the Überseeinsel within Bremen’s larger harbor redevelopment

DMAA preserved the industrial character of the original 1970s concrete structures

the complex includes restaurants, a brewery, and a market hall within the adjacent rice store

3,500 cubic meters of concrete were excavated to enable circulation within the silos

project info:

name: Kellogg’s Bremen Germany

architect: Delugan Meissl Associated Architects | @deluganmeissl

location: Bremen, Germany

client: John & Will | @johnandwill.hotel

address: Auf der Muggenburg 30, 28217 Bremen, Germany
completion: 2024

photography: © Piet Niemann | @_piet_niemann

project manager: Eva Schrade
project team: Birgit Miksch, Julia Oblitcova, Klaudia Prikrill, Martin Schneider,
executive planning: dt+p, Gruppe GME Architekten
structural engineering: Wittler Ingenieure
lighting design: Die Lichtplaner
building services engineering: Schweigatz Heizungsund Sanitärbau
building physics: Wittler Ingenieure

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‘Inside Information’ Cutaway Diagrams by Dorothy Dig Into the Makings of Pop Culture Icons

Taking diagrams to a new level, U.K.-based studio collective Dorothy creates prints that celebrate information—charts, maps, alphabets, color wheels, and blueprints. The team has also plunged into the world of cutaway drawings, which are popular for visualizing otherwise opaque, multilayered objects in the manufacturing world.

Cutaway diagrams have actually been around for centuries, with the form originating in the 15th-century notebooks of Italian Renaissance engineer Mariano “Taccola” de Jacopo. Dorothy’s twist on the 3D graphic form, a series titled Inside Information, is a celebration of pop culture and modern technology, from Apple computers and sneakers to boomboxes and theremins.

Each object teems with figures and motifs that have been instrumental in the item’s history and culture, like trailblazing rappers and hip-hop artists who wander stereo box innards in “Inside Information: Boombox” as if it’s a building. The same goes for the Moog, which highlights flashpoints in its development and musical icons like David Byrne and Led Zeppelin who have contributed to its popularity—along with its namesake, of course, Robert Moog.

Prints are available for purchase on Dorothy’s website, and you can follow updates and releases on Instagram.

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høyer arkitektur builds elongated vollerup house within denmark’s coastal forest

a horizontal Gesture Beneath Vertical Trees

The Vollerup House, designed by Høyer Arkitektur, takes shape in northwestern Zealand, Denmark, about ninety minutes north of Copenhagen. Conceived as a summer retreat, the house is carefully set within a wooded site where fields meet forest, just inland from the windswept coastline. The timber building sits low against a backdrop of birch and pine, its elongated, single-story form offering a calm horizontal counterpoint to the upright trees. Høyer Arkitektur uses this orientation to create both spatial intimacy and visual clarity, shielding nearby cottages from view and framing a quiet forest clearing.

The design takes advantage of the site’s dual character. While the north facade is restrained and mostly closed to maintain privacy from the more public areas, the south facade opens generously to the woods. Floor-to-ceiling glazing along this southern elevation draws in filtered daylight and allows the interior to remain visually and atmospherically tethered to the forest beyond.

images © Hampus Berndtson

høyer arkitektur’s vollerup house Treads Lightly

The design team at Høyer Arkitektur plans the Vollerup House with a linear arrangement, with all living spaces aligned along the southern face. Movement through the house parallels the rhythm of the trees outside, reinforcing a constant connection to the changing light and seasonal shifts in the landscape. From inside, the distinction between interior and exterior softens; the forest becomes a living backdrop to daily life.

Materially and structurally, the home echoes the region’s vernacular buildings. Its construction draws on the traditional longhouse form and the presence of timber barns scattered through rural Zealand. A rhythm of glulam beams defines the primary grid, elevated on cast-point foundations to preserve the forest floor and minimize ecological disruption.

The lightness of the structural solution lends the house a kind of stillness in the landscape. By lifting the volume slightly and anchoring it with minimal intervention, Høyer Arkitektur reinforces a sense of respect for the natural setting. From certain angles, the glulam supports even suggest that the house rests lightly among the trees rather than being imposed upon them.

surrounded by birch and pine trees, the Vollerup House sits on the northwest coast of Zealand

Høyer Arkitektur designs the summer house as a horizontal structure that responds to the vertical forest

the elongated form creates a quiet visual barrier from neighboring cottages

a restrained north facade ensures privacy while the south facade opens fully to the forest

the project draws inspiration from the local longhouse typology and rural Denmark’s wooden barns

project info:

name: Vollerup House

architect: Høyer Arkitektur | @hoyerarkitektur

location: Vollerup Strand, Denmark

area: 95 square meters

photography: © Hampus Berndtson | @hampusper

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More than 7,500 Prints and Negatives by Trailblazing Photographer Alice Austen Return Home

With its panoramic views of New York Harbor, the house that trailblazing photographer Alice Austen (1866-1952) called home for most of her life, is a sprawling, two-story, elegant Victorian Gothic waterfront property known as Clear Comfort. Situated on the Staten Island shoreline near the Verrazano Narrows Bridge, she would have witnessed the monumental assembly of the Statue of Liberty in 1886, immigrants arriving at Ellis Island, and World War I soldiers returning from the front—much of which she captured in more than 7,000 incredible photographs throughout her lifetime.

Austen’s body of work is considered among the earliest and most prolific by a female photographer. Long viewed as an amateur because she pursued the craft predominantly as a hobby, she is now recognized for her significant contributions to the canon of American photography. For several decades, her work has been stewarded by Historic Richmond Town, formerly the Staten Island Historical Society, where more than 7,500 prints and negatives were entrusted in 1945. This month, the entire archive returns to Clear Comfort—now known as the Alice Austen House—thanks to a landmark acquisition.

Growing up in New York, Austen discovered photography when she was 10 years old, converting her bedroom closet into a darkroom. “In this home studio, which was also one of her photographic muses, she produced thousands of photographs of a rapidly changing New York City, making significant contributions to photographic history, documenting New York’s immigrant populations, Victorian women’s social activities, and the natural and architectural world of her travels,” says the museum.

While she participated in Victorian society as a woman of wealth and privilege, Austen also flouted and mocked its customs and defied expectations of gender roles and domesticity. “Austen was a rebel who broke away from the constraints of her Victorian environment and forged an independent life that broke boundaries of acceptable female behavior and social rules,” the museum says. She often lugged the cumbersome camera equipment, weighing sometimes up to 50 pounds, around on her bicycle.

Austen snapped humorous photos of family and friends during leisurely activities around New York and on international travels. She also focused on immigrants and working class people in New York City, but her images primarily highlight upper class style and pastimes, from tea time “larks” to swimming to hanging with the girls—her relationships with other women proving influential in the type of work she made and how we read it today.

Marking a significant site in LGBTQ+ history, Clear Comfort was home for 30 years to both Austen and her life partner Gertrude Tate. Austen met the kindergarten and dance teacher in 1899, embarking on a relationship that would span more than five decades. While financial difficulties at the end of their lives forced them to separate—Austen lost all of her wealth in the stock market crash of 1929 and she and Tate were evicted from Clear Comfort in 1945—Tate advocated for the preservation of Austen’s work. Their families denied the couple’s final wishes to be buried together.

Today, Alice Austen House is committed to showcasing the breadth of the seminal photographer’s work and highlighting her heretofore ignored yet influential role in LGBTQ+ history. The organization is a member of the National Trust for Historic Preservation’s Historic Artists’ Homes and Studios program (previously) and is open to the public Tuesday through Saturday.

If you’re in Chicago, Austen’s work is included in The First Homosexuals: The Birth of a New Identity, 1869-1939 at Wrightwood 659 through July 26. The return of the archive to Austen’s ancestral home also aligns with the release of Too Good to Get Married: The Life and Photographs of Miss Alice Austen by Bonnie Yochelson. Find your copy on Bookshop, and plan your visit to the Alice Austen House on the museum’s website.

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Mario Moore’s Oil Paintings Bridge Past and Present to Spotlight Black Resilience and Style

In large-scale works in oil, Detroit-based artist Mario Moore taps into the legacy of European painting traditions to create bold portraits exploring the nature of veneration, self-determination, and the continuum of history.

Moore’s work is currently on view in Beneath Our Feet at Library Street Collective alongside fellow Detroiter LaKela Brown. His new pieces nod to the Dutch and Flemish tradition of devotional painting, particularly religious garland paintings. Within elegant arrangements of flowers and foliage, he highlights Black figures relaxing or tending to gardens.

In “Watermelon Man,” a stone altar is surrounded by hibiscus and watermelons, both symbols of resilience. Historically, the latter represented self-sufficiency and freedom for Southern African Americans following Emancipation, but whites flipped the narrative into a stereotypical exemplar of poverty. Moore reclaims the fruit in the spirit of refined 17th-century still-lifes.

The artist has long drawn on the culture and legacies of both Detroit and the U.S. more broadly through the lens of the Black diaspora. Earlier works like “Pillars” position Black figures in elegant dress within the vast wildernesses of the American frontier, bridging the past to explore how racial divisions continue to shape the present.

An exhibition last summer at Grand Rapids Art Museum titled Revolutionary Times took his series A New Republic as a starting point, revisiting the history of Black Union soldiers during the Civil War.

Moore learned that one of his ancestors, who had been enslaved as a child, later enlisted in the Union Army, spurring the artist’s exploration of the seminal mid-19th-century period of conflict and Western colonization. He positions present-day figures in contemporary dress within historical contexts, interrogating political and racial segregations.

Through tropes of European painting like a self-portrait of the artist in mirrored reflections and poses in three-quarter profile, Moore renders individuals whose direct, confident gazes and elegant dress invoke Detroit style and pride.

For Beneath Our Feet, Brown and Moore collaborated on a five-foot-wide bas-relief bronze coin. Each artist completed one side, with Mario’s contribution taking the form of a portrait of Brown. “Her profile echoes the conventional format of traditional American coinage, confronting the historic absence of Black women in national symbolism and positions of authority,” the gallery says. On the opposite side, Brown depicts a bouquet of collard greens symbolic of nourishment and community.

For this exhibition, Brown and Moore “reflect on the wealth held in the earth beneath us—and the enduring question of who holds the rights to till, own, and shape that land,” says an exhibition statement. Detroit is home to ambitious urban gardening initiatives that aim for local food sovereignty, mirroring the resourcefulness of Black farmers throughout history. The artists “consider land not just as property but as history, inheritance, and possibility,” the gallery says.

Beneath Our Feet continues through July 30 in Detroit. See more on Moore’s website and Instagram.

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Order an Object at the New V&A East Storehouse to Get Up-Close to 5,000 Years of Cultural Heritage

What do the largest Picasso painting in the world, punky Vivienne Westwood apparel, pins for securing a 17th-century ruff, and a complete Frank Lloyd Wright interior have in common? That’ll be the U.K.’s Victoria and Albert Museum, or the V&A, the world’s largest collection of design and applied and decorative arts.

In South Kensington, the palatial museum has awed visitors since 1852, and in recent decades, the institution has greatly expanded, with locations like the Young V&A in Bethnal Green, the Wedgwood Collection in Stoke-on-Trent, the ship-like V&A Dundee in Scotland, and the brand new V&A East Storehouse in Queen Elizabeth Olympic Park.

Spanning 5,000 years of human creativity through hundreds of thousands of objects requires a lot of space. Rather than hiding it all away in a dark warehouse, the new Storehouse takes over a portion of the former 2012 London Olympics Media Centre, providing a purpose-built home for more than 250,000 objects, 350,000 library books, and 1,000 archives from across the V&A’s diverse collections.

The best part? You can visit! Storehouse hosts workshops, screenings, performances, and pop-up displays of special collections, along with the opportunity to observe conservators at work preserving a wide range of cultural heritage objects.

Peruse more than 100 curated mini-displays throughout the building, and book in advance to get up-close and personal through the Order an Object experience. Pick any object in storage, and a member of the Collections Access team will assist you in interacting safely with everything from artworks to textiles to musical instruments.

Plan your visit on the V&A website.

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Nearly 450 Objects Are on the Block in a Marvelously Eclectic Auction from David Lynch’s Archive

If you’re a fan of cult classics like Twin Peaks, Mulholland Drive, or Eraserhead, a piece of cinematic history could be yours in a unique auction that just launched in Los Angeles. Co-presented by Turner Classic Movies and Julien’s Auctions, bidding is currently open for items from the weird and wonderful archive of visionary filmmaker David Lynch, who died in January just days before his 79th birthday.

Nearly 450 objects, from cameras and woodworking supplies to books and ephemera, highlight both his incredible creative output and his own personal taste. Surrealist artworks are listed alongside movie props and memorabilia, instruments, coffee machines, and mugs — “because he could never be more than 15 steps away from a damn good cup of coffee,” the auctioneer says. Register and cast your bids until 10 a.m. Pacific Time on June 18 on the Julien’s site.

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