Iowa State University Capstones, Theses and

Retrospective Theses and Dissertations

Dissertations

1992

A midwest winery
Douglas E. Finck
Iowa State University

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 A midwest wmery
by

Douglas E. Finck
A Thesis Submitted to the
Graduate FacuIty in Partial Fulfillment of the
Requirements for the Degree of

MASTER OF ARCHITECTURE

Major: Architecture

Signatures have been redacted for privacy

Iowa State University

Ames, Iowa
1992
ii

TABLE OF CONTENTS
Page

PREFACE IV

INTRODUCfION 1

PRECEDENTS 4
Introduction 4
Quady Winery 6
Lenz Winery 12
Clos Pegase Winery 19

SITE 28
Introduction 28
Physical and Geographical Infonnation 32
Site Studies 41

CONCEPTUAL STUDIES 49
Dionysian Influence 49
The Vineyard 55
III

Page

BUILDING SEGMENTS 67
Fermentation Shed 67
Crush Pad 85
Tasting/Sales 96

THE WALL 103

AQUEDUCT 109

DETAILS III

FINAL DESIGN 121

BIBLIOGRAPHY 134

ACKNOWLEDGMENTS 139
 lV

PREFACE

One of the principle ideas of this thesis is the questioning of

borders and limitations. I feel that in some instances it is beneficial

to break through barriers and conventions in order to benefit participants

or to enhance an overall experience.

This document was arranged to show the development of the

winery design. Drawings and sketches are accompanied by text in

order to help explain the thought processes. I arranged the document

along a horizontal format to accommodate this text-figure interrelationship

and to express the horizontal nature of the design. A system of

proportionate boxes was set up to define spaces for text and figures.

Some sketches flow beyond the restraints of these borders implying

the need to occasionally break conventions.

1

INTRODUCTION

This thesis is concerned with the reciprocal

relationship between the built environment

and the landscape.

The site is considered not as a static

object but as an animated force that is in

a constant state of change. While promoting

growth and decay, the site simultaneously

anchors and stabilizes, emerges and erodes.

I utilized the inherent qualities of the

site to produce an architecture which is

expressive of the qualities and functions of

the site. The architecture exemplifies the

nature of the site.

 2

In this reciprocal relationship between site

and architecture and through expression of

codependency, a harmony is achieved; a

mutual respect IS established and the borders

between architecture and landscape become

questioned lin~s which are continuously drawn

and erased. Edges are expanded into spatial

margms, termination points become points of

transfer.

Figure 1. (Solomon, 1988:86)

3

" . . . Nature is unlike art in terms of

its product - what we in general know it

by. The difference IS that it is not only

created, an external object with a history,

and so belonging to a past; but also creating

In the present, as we experience it.

As we watch, it is so to speak rewriting,

reformulating, repainting, rephotographing

itself. It refuses to stay fixed and fossilized

in the past, as both the scientist and the

artist feel it somehow ought to; and both

will generally try to impose this fossilization

on it" (Hal pen, 1989:249).

 4

rRECEDENTS
Introduction

The precedents I studied served as a base on which I could build an understanding of what a winery IS

in essence, a source of inspiration; they exist in art, literature and in reality. They can be experienced

visually, mentally, and physically. I drew from bits and pieces of the wash of images to arrive at a solution.

The result is a Mosaic of history, technology, and fantasy.

A winery has attributes of a farm, a· factory, a laboratory and a "savory". (I use the word savory to

describe a place where wine is tasted and enjoyed). It IS a place where wine is produced and relished. A

winery may pick up on any or all of these motifs. It IS a hybrid of process and pleasure. Hugh Johnson

illustrates this idea in the following statement: "Farmer and artist, drudge and dreamer, hedonist and masochist,

alchemist and accountant - the wine grower is all of these and has been since the flood" (Johnson, 1989:7).

I've chosen to highlight a few wineries that approach the problem with divergent methods. I felt that

these wineries would aid in addressing issues that are of interest to me. The three projects are: Quady

Winery in Madera, California by Stanley Saitowitz; Lenz Winery in Peconic, New York by Mark Simon; and

Clos Pegase Winery in Calistoga, California by Michael Graves.

 5

Stanley Saitowitz is masterful in coordinating highly functional architecture with a strong relationship to

nature. In Quady \Vinery, a modem production facility is melded with the landscape to create a harmonious

coexistence.

Mark Simon assumed an agrarian approach in the design of Lenz Winery. He employed existing farm

buildings to create the image of a European farm grouping. Simon's attitude was one of living off the land.

Michael Graves was selected as the winner of a competition to design Clos Pegase Winery. His scheme

adopted a classical attitude with mythological ties to the legend of Pegasus, the winged horse. I paid particular

attention to his views toward nature as a force to be controlled and dominated as well as the connection

made to mythology and origins of wine.

I studied each winery as best I could, given the amount of information available. I did analytical drawings

to identify dominant geometrical patterns which reoccur "With no apparent relationship to place" (Clark, 1985:ix).

In the case of Clos Pegase Winery, I utilized Roger Clark's book, Precedents in Architecture. as a model to

identify "formal archetypical patterns or formative ideas from which architecture might evolve" (Clark, 1985:ix).

My analyses just begin to unveil the intentions of the designers. In order to fully understand the goals of

each architect, a more indepth analysis involving a larger pool of information would be required.
6

Quady Winery
Madera, California

Stanley Saitowitz, Architect

"Warehouse at home in the

country" (Brenner, 1986: 125).

 7

Figure 2. Aerial VIew perspective (Lerup, 1986:200)

 8

Quady Winery is linear in

form with a barrel-vaulted

roof, possibly relating to

the shape of the wine barrels

housed within its confines.

The rhythm of columns and

Figure 3. South facade (Brenner, 1986:127) windows echo the cultivated

rows of the vineyards.

Buttresses become transi-

tional elements between the

ground plane and the roof.

Figure 4. North and west facades (Brenner, 1986:126)

 9

1. Barrel storage

2. Workshop and

storage

3. Grape press

4. Fermentation and

•7 storage

Figure 5. Ground floor plan (Brenner, 1986:126)

..

--- 5. Grape crusher

6. Bottling

7. Entertainment

8. Open to below

9. Conference room

10. Office

11. Porch
12
12. Wine library

Figure 6. Second floor plan (Brenner, 1986:127)

 10

Saitowitz utilizes an open,

flexible plan which can be

changed and expanded as

the needs of the winery

change. The layout is

"efficient- devoid of Iittle-

old-winemaker cuteness or
Figure 7. Geometrical analysis of plan
pseudo-chateau pretense"

(Brenner, 1986:125). The

building reveals technology

through its exposed systems

and allows for expansion

of new technology.

""'\ I
"- 7 " "\"-
\
\ /
/ "
'\
\
\ /
/
\
\
\
\ / \ / \
\ I / \ 1/ \
1/ 1/

Figure 8. Geometrical analysis of plan

 11

Figure 9. Geometrical analysis of elevation

12

Lenz Winery

Peconic, New York

Mark Simon, Architect

"Rich but not flashy- like

a goodwine" (Viladas,

1984:83).
 13

. In the development of Lenz Winery, Mark Simon was confronted with the task of converting a 26 acre

potato farm in Peconic, New York, into a winery of distinction. Simon wanted to create a winery that was

at home with its rural surroundings and distinguished enough to cater to the most distinguished oenophile.

"Simon's task, as he saw it, was one of landscape and organization" (Viladas, 1984:80).

The courtyard arrangement, derived from the positioning of existing agricultural buildings, IS reminiscent

of European farm grouping and brings tradition to an area that lacks tradition in the wine industry.

Accommodations for goats and geese were added to further enhance the "Picture of Pastoral Plenty" (Viladas,

1984:82).

The trellis system defines entrances, brings life to existing structures and provides shading from the hot

summer sun, in addition to establishing a direct correlation to the vineyards through the use of "Peeler poles

left over from plywood manufacturing" (Viladas, 1984:80). The peeler poles are used in the construction of

the trellis system and also act as stakes in the vineyard. Once the trellis system is covered with vines, a

continuance between the architecture and the vineyards is achieved.

 14

Figure 10. Parking lot, side of the throughway and courtyardside of former bam (Viladas, 1984:82)

Figure 11. Trellises next to pool and the villa (Viladas, 1984:82)
 15

Site Plan

1. Entry gate

2. Courtyard
3. Throughway with
\
peripheral stable
~ \
\
constructions

00 2
4. Former barn
5. Private villa
6. Swimming pool
7. Parking

Figure 12. Site plan (Viladas, 1984:82)

 16

Fonner Barn

1. Foyer

2. Exhibition

,,
, 3. Sales
,,
/
,/ 4. Visitor window
,

5. Tasting room

6. Tools
7. Barrel storage
8 6
8. Wine cellar (addition)

II
"
~----. ~---------
I&.a. ______ &.a_ _ _ _ _ _ _ _ _

Figure 13. Floor plan (Baumeister, 1985:54)

 17

Figure 14. Parking place side of the throughway (Baumeister, 1985:54)

Figure 15. Entry gate (Baumeister, 1985:54)

 18

Figure 16. Geometrical analysis of plan

Figure 17. Geometrical analysis of elevation

19

Clos Pegase Winery

Calistoga, California

Michael Graves, Architect

"Ornamentally reductive

but geometrically inten-

sified" (Filler, 1987:204).

 20

Clos Pegase Winery emanated from a design competition that was to be a collaborative effort between

architect and artist. The team chosen to carry out the project was that of Michael Graves and Edward

Schmidt. Clos Pegase Winery derives its name and its thematic organization from the myth of Pegasus which

is the subject of a significant painting in the owner's art collection by Odilon Redon (Architecture & Urbanism,

1989:55). Graves accompanied his team's submittal with the following statement:

The myth of Pegasus tells. us that the hoofprints struck by the winged horse landing on
Mount Helicon were the beginning of the spring of the Muses, the founding of the arts.
The waters of the spring can be seen as providing both spiritual and physical sustenance, as
the arts inspire our imagination and the waters irrigate our fields. It is fitting that Dionysus,
God of Wine, was the favorite pupil of the Muses, for also within the art of wine making,
there exists the duality of the process of making the wine and the pleasure of drinking it
(Filler, 1987:204).

The components of the program include a 50,000 case winery with provisions to exhibit the owner's art

collection, a sculpture garden and a residence for the owner.

The ceremonial and processional arrangement of the winery accommodate both the grapes and the public

individually with separate, but not equal, entrances. The entrance from the working court IS glven more

weight than the public entrance, signifying the importance of the arrival of the grapes. Both entrances are
 21

on axis with a central court and the activities of work and pleasure are clearly separate but accessible. The

formal layout seems appropriate with the theme as does the Acropolis-like arrangements of residence to the

wlllery linked by the Grotto of Pegasus and the water emanating from it.

Where the original design of Clos Pegase Winery (not entirely executed) may seem a bit exorbitant,· it is

exemplary of the history and mystique surrounding the production of wine.

Yes, the wine can indeed be made in a tar-paper shack, just as it can be drunk from a
paper cup. But architect and client have chosen a more elevated means of expression and
in doing so have raised two ancient arts - architecture and wine making - to a height that
resonates with echoes of the ages (Filler, 1987:206).
 22

.:::-.:::~~···\j~~1f-·~~.5!.f1--··-··-1~:·I·-:·~r.--·:fr1L.-.· .......: ........................ 1. Entry portico

....'. '4fY ....f0 ....., . .
,.'

iJ;hi.'.'.'~: ~·'····"'-20 ..".' .." 2. Dining room

;};~~~.:lli.;··············· :- . . . t,5:~:~=I~::::.···/ 3. Wine tasting
~f)···-·-···-{W!..·.·_ .·. 0- rt··_--i-"'_··'_··- - - - - - - 4. Kitchen
21 5. Wine library
6. Toilet
7. Office
1 ,ENTRY PORTICO 8. Owner's office
2 DINING ROOM
3
4
WINE TASTING
KITCHEN
9. Mechanical
5 WINE LIBRARY
=~...:::;...~~ ___::l
6 TOILET 10. Hall
--
~=~_=="_===----'1
-'- :.::;;::.:..:::. 7 OFFICE
-=
--'-.-~-----.::

:::.-=~_=:=--=---=::tl· .
II
9
OWNER'S OFFICE
MECHANICAL
11. Fennentation shed
~ 24--- .:_;---=-~:-- ~ 10 HALL
11 FERMENTATION SHED 12. Crush pad
12 CRUSH PAD
13
14
EMPLOYEE DINING
BOTTLING
13. Employee dining
15 WORKSHOP
16 LABORATORY 14. Bottling
17 WHITE WINE
18
111
WOODTANKROOM
BARREL WASHING
15. Workshop
20 WINE CAVES
21 SERVICE COURT 16. Laboratory
22 PARKING
23
24
GARDEN
VINEYARDS
17. White wine
18. Wood tank room
19. Barrel washing
20. Wine caves
21. Service court
22. Parking
23. Garden
24. Vineyards

Figure 18. Site plan (Woodbridge, 1988:85)

 23

DOMAIN! CLOS ftCAS! WINERY

Figure 19. Site plan (Architecture & Urbanism, 1989:56)

 24

Figure 20. South elevation (Architecture & Urbanism, 1989:55)

~., ,.",'}-'.
.,.'. '. '.' ..:',:-,

Figure 21. East elevation (Architecture & Urbanism, 1989:57)

 25

Figure 22. Section (not as executed) (G.A. Document, 1988:65)

 26

t -----+---t--f--+ --+--t---

/
/

/ •• ••
/
+ -;t- -+
/
•• ••
/

+-..-.----"

/
/ .

Figure 23. Geometrical analysis of site plan

 27

,----,
I I
I I
'--.--'
I I
IL..- _ _ _ -'I

Parti Parti Additive & subtractive

Repetitive & umque Circulation Symmetry & balance

Figure 24. Analytical diagrams

 28

SITE

Introduction
The case study of this thesis, Alto Vineyards, is an existing vineyard

located in the Orchard Covered Hills of Southern Illinois, north of the

confluence of the Ohio and Mississippi Rivers. This fruit producing

area consists of a loamy soil which was blown onto· these unglaciated

hills from the Mississippi River Basin. The climate in this region

consists of temperate winters and hot, humid summers that foster prolific

plant growth. The altitude of the higher hills protect the fruit from

molds and mildews. Drier summers have no adverse effect on the

well-rooted vines and even contribute to the sweetness of the fruit (Alto

Vineyards, Personal Communication, 1992).

Alto Vineyards is situated just outside of the small community of

Alto Pass, Illinois. This community of 300 residents relies on the

influx of tourists for support as does the vineyard itself. The tourists
 29

come to visit the many local antique shops, hike in the nearby
Shawnee National Forest and view Blad Knob Cross, a 110 foot
tall porcelain-clad cross resting atop the highest hill in the region
(Danes, 1989). The cross is a very prominent feature in the
landscape and symbolic to the community.
The vineyards occupy a wedge-shaped parcel of land bounded
on the east by a two-lane highway and on the southwest by a
small steam and a parallel scar of a removed railway system.
Features in the site are a small pond, approximately 300 feet in
breadth, a ravine that divides the site and provides drainage to the
area, a well that assumes a link between the surface and the
underground, and a spectacular view to the south and southwest
including the Bald Knob Cross and a local cemetery. All accessible
land on the site is planted with vines. Terracing is employed to

expand the cultivated area and to prevent erosion.

 30

Figure 25. View of site looking northwest

Figure 26. View of site looking north

 31

Figure 27. Mural in Alto Pass Figure 29. Shelter at nearby overlook

Figure 28. Alto Pass Library Figure 30. Trellis m vineyard

32

Physical and Geographical Information

Physical Background (Collins, 1976)

Figure 32 - Loess Thickness (p. 22)
Figure 33 - Frost Free Days (p. 35)
Figure 34 - Average Annual Temperature (p. 35)
Figure 35 - Annual Precipitation (p. 27)
Figure 36 - Glacial Deposits (p. 22)
Figure 37 - Physiographic Diagram (p. 20)
Figure 38 - Physiographic .Divisions (p. 21)
Figure 39 & 40 - Soils (p. 23)

Geographic
Figure 31 - State of Illinois
(Rand McNally, 1992:17)
Figure 41 - Southern Illinois
(U.S. Forest Service, 1982)
Figure 42 - Southwestern Illinois (U.S.0.S.:28)
Figure 43 - Topographical Map (U.S.O.S., 1978)
Figure 44 - Site as It Exists
(Courtesy of Alto Vineyards)
 33

---
o
M~ then 300

150-300 inches

l00-1S0lncnn
ind,,~s

o 2~60 inch~

less th.n 25 Inches

AtluvkJm. lak. sedhnent:l. 1~. stineS
dUIlM. erosional .lWface . ....Vely with Nttte
0' no kMJ:n

Figure 31. Figure 32.

 34

·F

NU MBER o 46 - 48 ·

0 < 160 o 48 - 50·

0 o 60 - 62·

0 o 62 - 64·

0 W 54 - 66 ·
e:;) 190 - 200 66 - 68 ·
>200 _ 68 - 60·

Figure 33. Figure 34.

 35

HOLOCENE ANO
IN CHES WISCONSIN
II Alluvium Jand d\mes,
0 < 34" L-..J a nd gravel tllrraCIl
WISCONSINAN

D 34" to 36" la ko O&posti s

WOODFORDIAN

0 36" to 38" r==l M oraine

0 38" to 40" ~

---
Front of mo rainic system

40" to 42 " o G foundmo..-ione

ALTONIAN

42 " to 44" o
IUtNOIAN
TiIIP!!un

44" to 46 " M o raine and ridg ed drift

>46 " Groundmorulne

KANSAS

D Tillp rain
DRIFTlESS

Figure 35. o Figure 36.

 36

Interior low Pl..~.u. Province

c.ntnl lowtIind PrvvinC8

c;o.sul Plain p~

Figure 37. Figure 38.

 37

OAJIK·COLOREO SO<LS · CARK AND LIGHT-COLORED SOILS

o
Develoc>td Prlmtwitv Ffom LOMI
A ~ Tame . MuaetltiM . tpev,
DEVelOPED PRIMARILY FROM
MEOIUM AND FINE·TEXTURED

---
o B Skid · C.tWn . FliIntg8n •
OnJlmf'Ml
o
OUTWASH
w ~:'~t~G·::~to, . ~no Camden ·

OEVaOPEO PR IMAR ilY FROM

C W.not'Ia . F4utl&nd · Stntetor
SANOY MAl"EfUAl
X H.~... · Rktgeville . Sk)omfi-'d .
O AM"
OEVElO~ED PflIMARILY FROM
MEDIUM·TEXTURED MATERIAL
ON BEDROCK
Y CMrInWton - Oodg9vill • • Dubuque .
09,5nd.

OEV'£\.OPE D PRIMARI!. Y FROM

ALUJV1UM
o ~.!!::n. -=nU::UP . Darwin ·
H R6ngoHood ~ OritwOfd. Ou~d

J Elliott · A.l:htum . Anent

o
UGHT COLO RED &OILS · " " " " _ I'rimorily From Loesa

o
.. Bktt:Mdt · Ward · RUIMU

o
o
o P Hosm ... · $tov . W.b

D Q AVII ' 8luford • Wynoos.

o R GfWIUburv · Robbs · W ....ton

0_ Pri......., F<Om Gioclol Drift

o S Foz · Ho.mor · CtlllXl

D T Me: HfIf\fV . l.,apMr ~ ~tonkM

o U S _ · MIomI

o V Money . 8bJr" . ~r · Eyt.,.

Figure 39. Figure 40.

 38

T. 8 S.

Figure 41.
 39

90"

KY
Figure 42.

89°
 40

,, - \
\
\
\
~
\ \
\
,, \
'
,, '
,

.)

Figure 43. Figure 44.

 41

Site Studies
Site Model
Scale: 1 "=150' -0"
Format: 1'-0" x 1'-6"
Material: Plaster
We, as humans, manipulate
the natural contour of the
landscape to gain productive
agricultural land and to
make that land more ac-
cessible.
This model shows the ex-
isting intervention in the
form of terracing. There
are limits to intervention;
limits set both by man and
by nature. The limits are
physical and metaphysical;
they are established by
drainage, transportation
routes, monetary and legal
conditions. The site is
forced to conform to these
limits.
Figure 45. Site model
 42

Site Model
Scale: 1"=150' -0"
Fonnat: 1'-0" xl' -6"
Material: Plaster

This model was severed in

key locations to generate
sectional views.

Figure 46. Sectioned site model

 43

Site Model
Scale: 1"=150' -0"
Material: Plaster

In this model the site is

fragmented according to soil
types which closely cor-
respond to gradient. This
investigation allowed me to
focus on the site in terms
of fragmented pieces, each
relating to the whole and
also to their individual char-
acteristics.

Fragmented surfaces become

individual forms - islands
separated from the whole.
The connection to the whole
becomes less apparent. Bor-
ders are formed .

Figure 47. Fragmented site model

 44

The site is divided into

productive and non-produc-

tive areas for grape cultiva-

tion. Since productiveare~s

are at a premium, I explored

alternative building sites and

developed massings dealing

with these sites.

~I
Figure 48.
 45

Possible building locations

are extruded from the land

and begin to assume charac-

teristiCs of building masses.

These mas sings helped me

to conceptualize the basic

volumetric spaces of a speci-

fic building location. These

particular mas sings occupy

spaces that fall into the

margm between arable and

agrestial land.

Figure 49.
 46

Site characteristics become

interruptions. In this case

a simple stepped form IS

explored as a means of
spanning and occupying the

ravine which separates the

Figure 50. site. Figure 52.

Figure 51. Figure 53.

 47

Figure 56.

Figure 55. Figure 57.

 48

I was interested in a building

that cohabitated with the

landscape and worked with

what the site had to offer.

I was opposed to treating

the earth as a sea which

Figure 58. we needed to float above

Figure 59.
or force aside. I wanted

to be able to use the in-

herent qualities of the site

to enhance the architecture

and in so doing, create an

architecture that exists In

harmony with the landscape.

Figure 60.
 49

CONCEPTUALIZATION STUDIES

Dionysian Innuence

Dionysus is the Mythic Deity Associated with the discovery of

the vine and the enjoyment of its nectar. I found the mystique

surrounding Dionysus intriguing and felt it could not be ignored in

the conceptualization of a winery.

He personified the irrational and uncontrollable urges

of man and beast . . . efforts to understand him
are vain, for he is innately hostile to rational thought.
He cannot be understood; only appreciated.

The myth of Dionysus' origins tells that he was

born first from the union of Zeus with Persephone.
Zeus designated this Dionysus 'Zagreus' as his heir,
but the jealous Titans lured him away while yet a
child, dismembered him and devoured all the pieces
except for the heart, which Athena rescued and
preserved. Zeus in anger reduced the Titans to
ashes, from which the new race of mankind was
fashioned. Thus each man contains a fragment of
Dionysus within his 'titanic' earthly body. From

Figure 61.
 50

the heart of the god was brewed a love-potion given

to Semele, a mortal, who forced her lover - Zeus
again - into revealing himself to her in his primal
form. The epiphany was so overwhelming as to
annihilate her, but the child she was carrying was
saved. Zeus enclosed it in his loins until the time
came for its birth as the second Dionysus. The
young god grew up in Thrace, suckled by goats and
raised by satyrs and sileni. When he reached
maturity he descended through the Alcyonian Lake
to rescue the shade of his mother Semele from
Hades and raise her to Olympus; then, accompanied
by a motley train of semi-human beings, maenads
and panthers, he set off on wanderings throughout
the world, from Libya to Arabia and India and back
to his homeland. Everywhere he went he brought
men knowledge of agriculture, arts and crafts, and
especially of the vine and wine-making. On the
isle of Naxos he discove~ed the Cretan princess
Ariadne, abandoned there by Theseus, and made her
his. bride. Together they ascended to the heavens,
whence he offers a similar blissful regard to his
devotees, temporarily in this life and permanently
after death (Godwin, 1981: 132-133).
 51

According to one of the many versions of the discovery of WIDe, Dionysus happens upon the savage vine

which he cultivates to produce the fennented drink.

One day a drop of divine blood fell from heaven to earth. From it grew a bush with
climbing vines, tendrils, and shoots. The wild vine, growing unattended (Autophues), wrapped
itself around trees in a sort of natural espalier. It continued to grow until Dionysus, wandering
through the world, happened upon it and recognized in the grapes swollen with their dark
red juice the fruit foretold in Rhea's Oracles (Detienne, 1989:33).

From this statement we can establish Dionysus as that link between the wild and the cultivated grape.

He is responsible for first crossing the border and adapting the untamed vine for the enjoyment of

women and men.

There is a pre-pruning Dionysus, counterpart of the god who causes the vine to grow (Auxites)
or the leaves to multiply (Dasullios). This is the Dionysus 'of the cultivated vine,' Hemerides,
who prunes away the wild part of the vine, eliminates irregularities, and is adept at transplanting
vines from the wild to the vineyard (Detienne, 1989:34).
 52

Figure 62. Christ m the press (Johnson, 1989:81)

 53

The role of the myth of Dionysus in this thesis is one of playfulness, creativity and unpredictability.

Dionysus represents the questioning of borders and the crossing of limits in spirit. He is the inspiration for

festivities to be held beyond designated festival areas. He invokes the spirit to wander and experience wine

In different contexts.

He encourages a personal, individual relationship with those who worship him, and invariably
in revealing himself he wears a mask .... By way of the mask that confers upon him his
figurative identity, Dionysus affirms his epiphanic nature as a god who. continually alternates
between presence and absence. He is always a stranger, a form to identify, a face to uncover,
a mask that hides as much as it reveals (Detienne, 1989:10).

Dionysus represents the struggle between order and disorder; the act of something struggling to break free

of the constraints imposed upon it. In the play liThe Bakkhai", the city of Thebes is representative of the
order Dionysus is opposed to. Here is a description of the city from the play "The Disorderly Women"

which is a modern adaptation of liThe Bakkhai" by Euripedes:

 54

Here is Thebes, we run an orderly city, each day decently divided, each year divided, work
and recreation, a time and place for each, to each family a home, and a share in our good
city, in our city hall, art gallery, museum, public library, in our civic theatre, ice rink,
hospitals, university, in our public parks, where daffodils are planted every spring, where
crocuses bloom, and each in their regular seasons tulips, roses, chrysanthemums, are planted,
and bloom, and are lifted before they die, each making room for the next in orderly progression
(Bowen, 1969:21).

In Thebes, there is discontent among the people, their lives are under rigid constraints. No room is left

for happenstance. Dionysus arrives and provides the outlet for expression of individuality and personal

experience. My project attempts to show the struggle between natural order and imposed order and the fight

to break free of confines. I do this by providing opportunities to explore and discover the landscape in

conjunction with the architecture and to incorporate the wine drinking experience.
 55

The Vineyard

In the vineyard, stakes are inserted into the earth at 18 foot intervals in rows ten feet on center. These

stakes are the vertical structural supports for the trellis system. Wires are stretched between the stakes which

support the vines and elevate them from the ground. Each row terminates with an end post slanted towards

the ground and anchored to the earth by cable.

The construction of the trellis system establishes a rigid grid across the vineyards based on a 6:10 ratio.

This 6: 10 ratio closely resembles the proportion of the Golden Section, a proportional system whose algebraic

and geometrical properties are frequently found in architecture as well as in living organisms (Doczi, 1981).

I employed this proportioning system and carried it through to the development of the winery. The vertical

supporting devices and anchoring points of the winery correspond to the intervals and spacmg of the trellis

stakes, thus carrying the rhythm and structural sensibility of the vineyards through to the architecture of the

winery. The Golden Section is representative of the crossing of borders. It is both a rigid ordering system

enforced by man and an innate ordering system found in nature; for this reason I found' it to be an appropriate

generating device.
 56

5· STAKE rf LONG

A THIRD WIRE CAN BE PLA~D HERE

TOP AND BOTTOM WIRE
FOR WIRE STAPlED TO OPPOSITE
SlOES OF STAKE ~

ONE LENGTH OF WIRE

LOOPED AROUND
END POST AND
RING ON EARTH
ANCHOR

'\
I'
I

8' TO FIRST STAKE- »

1.1
t'I)J, .;:.~-;-
. _----2'ENDOFPOST
STAKE AND
BELOW GROUND
~----1"'~::
.•• C'C!S
·
I
.
I
"" "
,.,
..-...." ·
• I
'.. ••I I•I
...... ),
FRUITING CANES
CORDONS ON
lCM'ER WIRE
TIED TO TOP
WIRE"
1-1---- /8' - - - -__
... 0-11

TYPICAL SET UP
OF VINES ON
TWO-WRE TRELUS
.11 .-.... "

Figure 63. A typical two-wire trellis system (Cox 1969:52)

 57

• • • • •
•
.~ I~'-o"
C>
f~'-of (;-0" .
1
• (,'-0
r3~df
• • • • •

• • • • •

• • • • •

• • • • •

• • • • •

Figure 64. Layout of vines and· stakes in vineyard

 58

The rigid grid laid out

..
:EJ·
· ... ..:~
.. ...
.e.
... . ..
• e
r - - - - - , ••
• e. e·
·
··EJ·
.. . .•.. .
· .. ... .. . .... .
• e. across the landscape by the

· . . . .. . .. ·.. ·.. .. . trellis system implied certain

... ... ... ·.. ... . .. .. geometric patterns and spa-
.. ... ... . .. .. .... ... ..... .. ..
·. . .. ... . .. .. tial relationships. These
... ... .... ... ... . ... ..
.. ..
••• I ••

implied patterns were instru-

·. .."
...
I.' .•. . •. I.' .•.

. ... ·e·
.
.. . ··rnl··
• ...-----.1" \.----,. mental in locating structural
... .. .. ...
~ • e'
points in the design and in

establishing a cohesive bond

! ~"-o. 1
between the cultivated land-

scape and the architecture.

z.td-d
D t

Figure 65. Patterns derived from vineyard layout

 59

n,I
Ill' ,Ill
I" I .

•
Figure 66. Patterns derived from vineyard layout
 60

The questioning of borders and limits is extended into activities as

well. In the festival area, for example, I wanted to introduce

elements which encourage participants in the festivities to wander,

explore and discover. I feel that by allowing people the opportunity

to experience the celebration at their own will, in a variety of

contexts, the experience will be felt at a more personal level.

The exploration led to studying the experiential differences of passing

through the vineyards at various angles to the vine rows. I looked

at possible forms that a clearing could assume and ways in which

a trellis system could span a clearing without interrupting the growth

of the vine. I also was concerned with how built forms could

interact with the vineyard rows and how to employ structural elements

that serve joint purposes.

 61

Clearing Models
Scale: 1"=30'0"
Format: 6" Squares
Material: Corrugated
Cardboard and
Foamcore

In these models, I expen-

mented with the experience
of traveling on a path
through the vineyards to-
wards a clearing. I was
interested in how passing
vine rows at various angles
could produce different
effects upon a person and
how clearings of various
shapes would be perceived
upon approach. I also in-
troduced platforms into the
clearings to observe the im-
pact of built fonns upon
the space.

Figure 67. Clearing models

 62

The overhead trellis 'Systems

are a way of creating an

opening within the vineyards

without interrupting the me-

andering nature of the grape

vine. The clearing serves

as a secluded outlet away

from the main festival area

and as a method of encour-

aging people to explore and

discover the vineyards. In

time the overgrowth of vines

of the overhead system will

provide shade for those

participating in the festivities

Figure 68. Studies for overhead trellis system

 63

" " . -.---.:~~

'.. . .... -.... '.;~;.·;~·-=-"L ~ ~
_.... _F.~_ .. _, __ ._ .. ___--.--- .....-.

Figure 69. Studies for overhead trellis system

 64

This sketch illustrates how

a platfonn or terrace might

0--_ _ _ _ • -0------00() ---1
----0 --.- 0-- -- - - - - 0 - - - - - 0 - . - _ . - ·-~----b-
be integrated into the
~11

vineyard. Structural sup-

ports are shared by each

and the continuance of the

~
I
vine growth enhances the
\

~____. .,._O--__--=:=_ ----==:~~O~

feeling of enclosure.

Figure 70. Plan and elevation of platfonn In vineyard

 65

Figure 71. Image of overhead trellis system

Figure 72. Image of overhead · trellis system

 66

-J\~ --- I -
-bL-_____. . .. - ..... ~ .-._--._-- ... _---

. -----_._---
·---·-f··
---- -
--
-_... ."

------_.

!--- \
5"'::": - - - t ::::--:t=-
~ ------- . --.. ---.. ---... ---.. . -. - Ii.. --. _
_. = ~:::=:::::::~~=_.-
- =.. -~.-:-~

---.-.-~ .. =-i~··-

·X=:·~

Figure 73. Studies for overhead trellis Figure 74. Studies for vineyard clearing
 67

BUILDING SEGMENTS

Fermentation Shed

The fermentation shed is the location where the "must", which is a mixture of crushed grapes, juice,

stems and skins, is transported after the grapes have been crushed and stemmed. Once inside the fermentation

shed, the must is pressed and the juice flows into tanks for fermentation.

Left to itself, the must, or expressed juice of the grape, ferments rapidly. Since the sugar
that makes the fermentation possible is found in the seed, the fruit of the vine offers the
spectacle of a fire that ignites spontaneously in the depths of a liquid. The wine "works",
cooks by itself in the barrels, its surface is agitated by its natural heat. It begins to 'boil.
It is liquid fire in a jar . . . (Detienne, 1989:35).
The fermentation shed takes its form from the activities that take place in it and the equipment it houses.

The juice of the grape is metamorphosed into wine. This is the most significant phase in the winemaking

process. Consequently, the fermentation shed becomes the dominant feature of the winery. The shed is

cylindrical, resembling the form of the fermentation tanks. This form also allows for ease of sanitation and

expresses the idea of container.

The must IS brought in on the upper level in a large cylindrical basket along tracks from the crush pad.

Once inside the shed, a' hydraulic cylinder lifts and presses the basket against a fixed pad to extract the
 68

Figure 75.
Fennentation S~h-ed~------------· •
 69

juice. The juice then flows into the fermentation tanks on the lower

level. The translucent tensile roof provides natural light and is

supported by cables attached to masts inserted in sleeves along the

perimeter of the shed. The cables are anchored at structural points

established in the earth by the vineyard grid as are the interior

supporting columns, thereupon completing the connection with the

vineyard. The following sketches illustrate the development of the

fermentation shed:

..J:r"--" .
. ~

.. -
-- .
.

-t' ~'~~-' ~.:

. _._\; .
.
. .-~-""-' .--:
~•
. ' . -
i'· -- ..~.- . - .'
-'~=~'-:;:..~ ,'- - -...~.'-.=- .- .
--- .'/11·,"
I -'-','- \- l
i:i

Figure 76. Developmental sketches of fermentation shed

 70

,
\ \ '"
,I, '\ "~, ,,' ~'"
'""
,,,"~1,.;:L'r~'
, , \ "

I' '
: , II~
'I \ I, '\' II
, " r'
I

I ;
, '~i j'i , i . ':t
'i' .~
- Ji_+_' " ~
I I
'\ t \ : , : .'
I

Figure 77. Developmental sketches of fermentation shed

 71

In this early conceptual

sketch of the fermentation
shed, the building is a sim-
ple cylinder which accomo-
dates smaller cylindrical
tanks along its perimeter.
In the center is a spiral
stair leading to an upper
level supported by an inter-
ior ring. The juice arrives
on the upper level and is
\
I distributed into the lower
tanks for fermentation. In
r
this scheme, the pressing
was to take place outdoors.

Figure 78. Plan and south elevation of fermentation shed

 72

r'" 1,
~
, "

'i'
\

---~ ......
....... '

(; '\~\
o '\\

Figure 79. North-south section through fermentation shed

 73

Figure 80. Developmental sketches of support system for tensile roof structure
 74

Fermentation Shed
Scale: Not to scale
Size: 6" High
Material: Chipboard, wood,
wire mesh, vinyl,
fabric

This study model of the

fennentation shed was
produced to help explore
the idea of a tensile roof,
which I employed as a way
of expressing the nature of
trellis construction and also
to introduce natural light
into a cylindrical fonn.
This model initiated the
idea of having cables break
loose of their restraints and
meander through the
vineyards, similar to an
unpruned vine.

Figure 81. Conceptual model of fennentation shed

 75

Figure 82. Elevation, section and plan shed

 76

Figure 83. Plan of fermentation shed

Figure 84. South elevation of fennentation shed

 77

\'
i
,,. //
(-
\-=~~

Figure 85. Details for suspended picking carriage

 This series of sketches

explores the connection of

the masts, which support

the cable for the tensile

roof, to the fennentation

shed. In this scheme, the

base of the masts rest in

sleeves mounted to the shell

and the upper mast is bound

to the cylinder by cables

wrapped around the

I I fennentation shed.
L._.l •

•
Figure 86. Details of support masts
 79

./
To develop the mast sleeve,

I looked into ways things

emerge naturally. In

particular, I was interested

in the emergence of new

growth in grape vine and

how I could adopt qualities

of natural growth into the

structure.

Figure Detail sketches of grape vine

 80

Figure 88. Developmental sketches of mast sleeve

 81

I) - - - - - - - - - - - - - - - - ,

\
.\\~.
\
:;. \ \

~
.~ I
t

Figure 89. Developmental sketches of mast sleeve

 " 82

, ~\
\\
\'
I
/
\.
\

Figure 90. Developmental sketches of mast sleeve

 83

The [mal form of the mast

sleeve is an attempt to link

the organic growth of vines

that cling to the shell of

the fermentation shed to the

more mechanical connection

details of the cable supports

for the tensile roof. The

lower portion of the

fermentation shed is to be

textured to provide a surface

which promotes vine growth

while the upper portion

would be polished smooth

to prevent organic growth.

Figure 91. Young shoot Figure 92. Mast sleeve

 84

Figure 93. Views of mast sleeve

 85

Crush Pad

The crushing pad is where the wine-making process is initiated. At this location the skin of the grape

is broken and the juice begins to flow. The crushing/stemming process occurs outdoors for ease or cleanup

and to control insects. I thought of the crushing pad as an isolated area with processional elements leading

to and from it. Because of the violent nature of the initial crushing/stemming activity, I conceived the pad

as having characteristics of a sacrificial altar. The process occurs on a solid, raised platform which the fruit

is delivered ceremoniously to and transported from.

As the harvested grapes approach the crushing pad the sound of gravel crunching beneath wheels can. be

heard. The grapes are then dumped into a hopper and the clattering of the conveyor takes over as it raises

the grapes to the elevated pad where they are thrashed and beaten out of their protective skins by the crusher

stemmer machine. The crushed grapes stream from the crusher stemmer into a wooden basket press awaiting

on the lower pad. Traces of spilt juice flow through channels carved into the pad and eventually dis~ppear

into the earth. The basket press, guided along a set of tracks, rumbles across the wooden slats of a bridge

connecting the crush pad to the fermentation shed where the juice becomes encased in the first of a series

of artificial skins ranging from the oak cask to the glass bottle. The following sketches illustrate the

conceptualization of the crush pad:

 86

r- I\r--/'
I

~ ,~.

II
. ' ,

:
@

Figure 94. Crusher stemmer machine

 87

, .
.i • a_

·1

,
i

\
I

f, II

I~l> ,.J;-~
I I' , I :r-cr- '1"
, I· I
ri,;'f....
-'>. .

. I.:...'...".",
..' . ~·.I:I._._· I

··A··~,·~·h
~.~
i
:
.• I . '.. "

~'r!·f
(~!I I,I I : I 1'\\
\ I. I: ! '. I

I'
/.~ '-;, ; .; Il' I .</.
\ • ]: I. I I

,.....
....I I
'
., . ,;
,/

Figure 95. Basket press

 88

In the development of the crush

pad, I studied structures and
elements that conveyed a sense
of compression. The basic ele-
ments of a crush pad are the
base, the columns and the
canopy. The purpose of the
base is to provide a working,
surface and absorb impact. The
columns are used for support
and the canopy provides shade
and sheds water. I attempted
to manipulate each individual
element to express its essential
purpose and convey the overall
feeling of crushing.

Figure 96. Portico of EI Capricho Manor House - Antonio Gaudi

 89

"I==-=--r==--,,-~-=--===-n

~ ---.-~

.- -I'
.-
",...s....i
~1~
I

l!~ :.J F-- ~-::: ,...

it=
I
c= --
,
I

Figure 97. Developmental sketches of crushing pad

 90

These sketches explored the

idea of compression and how

i
to express that feeling through
j architectural elements such as
I
the exaggerated keystone as a

force pushing downward and

J I I
tension rods resisting the

outward thrust. I felt that it

was a worthwhile exercise in

exploring material properties but

their exaggerated fonn, while

conveying the feeling of

.c.-": ~,---­
,,
weightiness, detracted from the

activity of crushing.

Figure 98. Developmental sketches of crushing pad

 91

Figure 99. Studies for overhead structure of crushing pad

 92

This senes of sketches was

also an attempt of expressing

o o
compression, this time through

post and lintel construction.

Once agam, I felt that the

attention became too focused

on the overhead structure and

detracted from the activities

taking place on the pad itself.

Figure 100. Developmental sketches of crushing pad

 93

At the base of the columns on

the crush pad is a reveal carved

into the concrete. The reveal

enhances the impact of the

weight of the columns and

,----...I- ----+--_ _ _ _ _ _ ~
channels the juice, spilt during

the crushing process, into a

basin situated at ground level.

Figure 101. Studies for reveal at column base

 94

The vessel that captures the

spilt grape juice from the crush

pad is reminiscent of a baptismal

font. The basin becomes a cer-

emonial transition point where

a portion of the grape juice is

returned back into the earth.

Figure 102. Study for basin

Figure 103. Section through basin

Figure 104. Section through channel and basin

Figure 105. Plan of channel and basin leading from crush pad
 96

Tasting/Sales

The tasting/sales room is located adjacent to the wmery entrance. Because this is the most frequently

used space by visitors to the winery, it must be easily located upon arrival.

The entrance acts as a penetratton through the wall separating imposed order from natural order. My

intentions were to develop an entrance that is suggestive of traveling from one condition to another and of

penetration through the wall. I envisioned the tasting room to be an inward oriented space, off of the entry,

where the main focus is directed towards the wine itself, excluding, at this time, the landscape and the wine

production process.
 97

Figure 106. Studies for entrance to tasting/sales area

 98

These sketches dealt with the

c:-.----_~ ___ .- problems of creating an entrance

r and the penetration of a linear

I
form. In this case I treated

the entrance as a form emerging

from the earth and creating an

opening into a different realm.

Figure 107. Studies for entrance to tasting/sales area

 99

Figure 108. Studies for entrance to tasting/sales area

 100

In studying the entrance to the sales/tasting

room, I became interested in the theoretical

crossing of a threshold into a mysterious

marginal space between the cultivated and

the natural landscape. I treated the entrance

as a rupture in the wall. The opemng

appears as a chance happening, previously

not accessible, enticing visitors to explore In

anticipation of the unknown.

-=-
__ ~_ --'"i:::--.,

: I.

I: : :
---
'i"i. i'
;i~I":

~----~----------------~
Figure 109. Entrance studies
 101

lr:
rl"ttV1 i

Figure 110. Entrance studies

 102

....----------
By using an alternative door

system, I established signifi-

cance to the entrance and

forced the user to question

,: i'
,:
I! conventions and become more
! {

I,I
I,
aware of her or his environ-
\I
~
ment.
...

,:t!) ~~=--~

0J
~ .L

Figure III. Studies of entrance mechanisms

 103

The Wall

A prominent feature of the winery is a wall which is placed

on the landscape separating the cultivated from the uncultivated, ~.' "
'Y po. d

imposed order from natural order. The wall becomes a figurative , i~,'
_ f ••• ~"

.4.

border between extremes. The wall is given depth to represent the \

6 ••

4' I
~~~r
region of interaction; it is a space of collision where creation occurs.

It becomes a corridor, a crevice which can be inhabited and traversed.

It is pierced with transparent and translucent apertures. A person

can travel vertically and horizontally into catacombs and laboratories,

libraries and terraces. The penetrations, accessibility and permeability

I
signify our conscious and subconscious connections with the natural {

order. The wall exists as a symbol of the fact that this invisible

border may be eroded, yet reminants will always remain present.

Figure 112. Wall studies

 104

I viewed the vine-covered

trellis system as a dividing

screen with opaque, trans-

parent and translucent areas

made up of foliage In

varying degrees of density

clinging to a support system

comprising of horizontal

wires stretched between up-

·~/~'I
l~ right vertical supports.

~\
r--
--l'~

Figure 113. Studies of trellis system as a screening device

 105

-. T' . - . - ---

Figure 114. Studies of wall related to trellis system

 106

In the development of the wall as a dividing element between

imposed order and natural order, I began to question whether the

wall should appear to emerge from or be placed on the earth. I

looked into organic elements, such as plant life and hair follicles,

that originate beneath the surface, observing their root systems and

the way they break through surfaces. The theory behind this is

that if the wall is planted into the landscape, it is humankind's

attempt to restrict nature from encroaching upon its territory and if

the wall emerges from the earth, it is nature's barrier against human

intervention.
 107

With the hair follicles, I

was initially intrigued by

the way they broke through

the skins surface. Upon

further study, however, I

became more interested in

their subcutaneous qualities

and the way in which they

seem to encapsulate a hid-

den space beneath the sur-

face .

. ,:
/
Figure 115. Studies of a hair follicle
 108

When an object of nature

is introduced or transplanted
". into a new context it reacts
.' I

.\ .I
instinctively. It either ac-
--
cepts or rejects its given
situation. If it accepts its
situation, it lives in hannony
with the surrounding ele-
ments and becomes a co-
herent part of its milieu.
If the object rejects its
situation, it fails to exist
in hannony; it either expires
or affects its environment
adversely.

Figure 116.
 109

AQUEDUCT

Existing on the site IS a well which is the only human-made link beneath the surface and indigenous

nutrients underground. The water from the well is pumped into a storage tank and transported, for use in

the wine making process, via aqueduct to the fermentation shed. As the aqueduct spans the ravine it doubles

as a pedestrian bridge to the winery. Cables, anchored into the earth at intervals corresponding to the support

points throughout the vineyards, provide lateral support to the structure. The vertical supports for the aqueduct

are rooted into the ground at similar intervals to the earth anchors. This physical and visual link between

the earth's nutrients, the vineyard and the winery became a very important feature In the development of the

site.
 110

\
\\
\ o
\

I
1
\ 1 ,0
\ '. \0 i
\
\
I
I
'

\ /
\/
/
/
;'
I
I
I

/
I,

/
/'
,

Figure 117. Studies for aqueduct/bridge

 111

DETAILS

Individual details in this design became very important elements in

providing continuity and in expressing ideas. Many of the details

are used throughout the project and are adapted slightly to correspond

to specific needs. The details I have chosen to highlight represent

connection, transference and termination.

 112

This column-beam connection piece is used

in the fennentation shed and in the crush

pad. The connection is symbolic of the

wall's tennination at the fennentation shed

in that it too tenninates a linear element at

a cylinder. the connection is comprised of

several individual pieces that are fused together

to link two individual and distinct elements.

Figure 118. Detail of column beam connection piece

 113

Figure 119. Developmental sketches of column-beam connection piece

 114

+-<:r-<;>-
~~ -<;>- ~

y~$

SECTION A-A

_ L_
I
I

SECTtON C.c

SECTlONB-B
-
o

Figure 120. Details of column-beam connection piece

 115

The idea behind creating a

universal joint was to devel-

op a system that could be

used throughout the product

as a cohesive element. This

study led to the fonnulation

of typical transfer and ter-

mination points.
'.

-=. . ~ "="i" --.

Figure 12l. Conceptual sketches for universal joint

 116

One of the typical conditions

In this project is the

tennination point. This an-

choring detail IS used

throughout the project at

the end of vine rows, as

an anchor for support cables,

to support the tensile roof

and in the structural system

of the bridge linking the

\, crush pad to the fennentation

I'
tank.

Figure 122. Details of cable connection at tensile roof

 117

- , -- il
\, ,-,I',
.~

Figure 123. Details of cable connection at tensile roof

 118

This typiCal transfer point

is used in conjunction with

cable supports. It neither

tenninates nor initiates. Its

'4 functional purpose is direc-

tional change.

..
.'
J' v •
.' ).,.
:-;-~ f.
~
v" (./
A. , .• -
..
.' '" .~: p

Figure 124. Detail of cable transfer point

 119

.- ~-""

Figure 125. Details of cable transfer point at aquaduct

 120

.L;:~=.==-=~-~
1
-~

\
;-
Figure 126. Details of cable transfer point at fermentation shed
121
 FINAL DESIGN

Site Plan

1. Well
2. Aqueduct/bridge
3. Parking
4. Vineyards
5. Highway
6. Removed railroad
tracks
7. Stream
8. Ravine
9. Pond
10. Festival area
 122

.............

~\\ \
' , \ \. "\ "\
\

---~=--------~
________ \------- ---
--------~,f-L----->---
------
\
\
\
\
I ---- --------------- - /-----
I
I
I
I
I
I \
\
\
.....
"
/----------------------- --
------------------
-- --- ----:----_/
--- ---- ------_/
I \\ I\
I
I
\
, \
" .....'-.::....._--
\
\
/ /- ------ ----------
-----------------------
' ........ ::--- \
\ --- ------------------
,,/

I
/
I
I.

,
"-
\
\ ,
\
\
\
'-

Figure 127. Site plan

123
Partial Site Plan

1. Well
2. Aqueduct/Bridge
3. Parking
4. Vineyards
5. Highway
6. Ravine
7. Winery
 124

Figure 128. Partial site plan

125
Figure 129. Plans

1. Entry
2. Tasting room
3. Outdoor terrace
4. Grape press
5. Fermentation shed
6. Crush pad
7. Aqueduct/bridge
8. Office
9. Wing library
10. Laboratory
11. Bottling
12. Storage
13. Barrel storage
14. Vineyards
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127
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129
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 131

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Figure 132 Building sectlOn

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 132

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Figure 133. Building section C-C

 133

Figure 134. Building section D-D

 134

BIBLIOGRAPHY

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 138

Viladas, Pilar. "Treillage." Progressive Architecture, 65 (6) (June 1984): 80-83.

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 139

ACKNOWLEDGMENT

I would like to express my deep appreciation to my committee members, Mikesch Mucke and Mira Engler,

for giving me inspiration and guidance throughout the formulation of this document.

To my major professor, Clare Cardinal-Pett, lowe a special heartfelt thanks for her enthusiastic support

and for adding "life" to the project.

To Paul Renzaglia and Guy Renzaglia of Alto Vineyards, lowe a debt of gratitude for their valuable

information and for the use of their beautiful vineyards as a model for this thesis.

I would also like to thank Gail Nonnecke for giving me access to her wealth of knowledge III viticulture.t ;_~
;A .,~:

Lastly, and most important of all, I wish to thank my parents, Leonard and Faye Finck and the rest of? ~/
:1.. ~.

my family, for their continual support and encouragement throughout my educational process.
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