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SKOOP
SKOOP
Scottsdale, AZ, United States
Finalist, 2025 A+Awards, Hospitality - Restaurants (S <1000 sq ft)
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Other Projects by debartolo architects
SKOOP
Scottsdale, AZ, United States
Finalist, 2025 A+Awards, Hospitality - Restaurants (S <1000 sq ft)
Firm
Type
STATUS
Built
YEAR
2024
SIZE
0 sqft - 1000 sqft
BUDGET
$500K - 1M
Along a sun-bleached arterial in Scottsdale, Arizona—where the desert heat warps the horizon and asphalt reigns supreme—skoop quietly interrupts the rhythm of the everyday. A narrow, elongated volume, wedged into the residual geometry of what was once two parallel parking bays, the project resists the temptation of spectacle. Instead, it offers something far rarer in the American Southwest: a calibrated moment of architectural stillness.
At just 12 feet wide and 84 feet long, skoop occupies a sliver of the city with improbable grace. It does not shout its presence, nor does it resort to retail cliché. There is no signage vying for attention, no overextended branding campaign. Instead, one encounters a singular opening in the façade—a walk-up window, modest and precise—through which ice cream is served, and interaction is staged. This simple aperture becomes a civic gesture, a framing device for hospitality and ritual.
The story behind skoop is rooted in local culture and long-standing craft. Kale and Shasta Keltz, founders of the adjacent Bicycle Haüs—a destination cycling shop established in 2004—have long cultivated a culture of precision, service, and material passion. In 2017, Shasta turned toward a different form of making: small-batch, handcrafted ice cream. skoop, completed in 2024, is the architectural embodiment of that venture—a translation of ethos into built form.
What is most striking is the project's spatial economy. While American retail architecture is so often a study in excess, skoop demonstrates how constraint can become a source of poetry. The building reads as a single extruded gesture—lean, linear, and exacting. Its proportions heighten one's awareness of movement, detail, and light. In this way, the architecture becomes experiential rather than iconic.
Materially, the project is rigorous without being precious. Concrete, steel, and glass are deployed with restraint and clarity, recalling the kind of tactile minimalism more often found in ateliers than scoop shops. The building is an object lesson in collaboration: the architect, contractor, and owner—each a cyclist, each a maker—formed a shared vocabulary that privileges precision over flourish, and intention over affectation.
Though it operates independently, skoop exists in quiet dialogue with Bicycle Haus next door. The two structures, both surgically inserted into the urban fabric, form a composition of kinship—resonant in philosophy, scale, and craft. They stand not as monuments, but as refined instruments of use and delight.
In a region where architecture too often yields to image, skoop asserts a quieter kind of intelligence—one that trusts in the power of proportion, the dignity of material, and the enduring generosity of thoughtful design.
At just 12 feet wide and 84 feet long, skoop occupies a sliver of the city with improbable grace. It does not shout its presence, nor does it resort to retail cliché. There is no signage vying for attention, no overextended branding campaign. Instead, one encounters a singular opening in the façade—a walk-up window, modest and precise—through which ice cream is served, and interaction is staged. This simple aperture becomes a civic gesture, a framing device for hospitality and ritual.
The story behind skoop is rooted in local culture and long-standing craft. Kale and Shasta Keltz, founders of the adjacent Bicycle Haüs—a destination cycling shop established in 2004—have long cultivated a culture of precision, service, and material passion. In 2017, Shasta turned toward a different form of making: small-batch, handcrafted ice cream. skoop, completed in 2024, is the architectural embodiment of that venture—a translation of ethos into built form.
What is most striking is the project's spatial economy. While American retail architecture is so often a study in excess, skoop demonstrates how constraint can become a source of poetry. The building reads as a single extruded gesture—lean, linear, and exacting. Its proportions heighten one's awareness of movement, detail, and light. In this way, the architecture becomes experiential rather than iconic.
Materially, the project is rigorous without being precious. Concrete, steel, and glass are deployed with restraint and clarity, recalling the kind of tactile minimalism more often found in ateliers than scoop shops. The building is an object lesson in collaboration: the architect, contractor, and owner—each a cyclist, each a maker—formed a shared vocabulary that privileges precision over flourish, and intention over affectation.
Though it operates independently, skoop exists in quiet dialogue with Bicycle Haus next door. The two structures, both surgically inserted into the urban fabric, form a composition of kinship—resonant in philosophy, scale, and craft. They stand not as monuments, but as refined instruments of use and delight.
In a region where architecture too often yields to image, skoop asserts a quieter kind of intelligence—one that trusts in the power of proportion, the dignity of material, and the enduring generosity of thoughtful design.
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