WINERY IN SLAVONICE CTU Winter semester 2020 Hanson studio Anaïs Martin ERASMUS Student in Master 2
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W I N E RY I N
S L AV O N I C E
CTU Winter semester 2020
Hanson studio
Anaïs Martin
ERASMUS Student in Master 2
1
TABLE OF CONTENTS
VISION AND GOALS 5 5
DESIGN CRITERIA 8 8
PROPOSAL DEVELOPMENT 10 10
Needs of the client and inspirations 11 11
Study of the spatial contexte 14 14
Analyse of the dependencies 16 16
Reference research about positive and negative space 18 18
Wine process 20 20
Variations of the desig proposal 22 22
FINAL PROPOSAL 27 27
Wine production 30 30
Link to the terrain 33 33
Elevations 34 34
Living building challenge 36 36
This portfolio is the result of my personal work held in Hanson’s Studio, dur-
ing the 2020 winter semester in the Faculty of Architecture of CTU, Prague.
This studio aims at designing a winery near the town of Slavonice in Czech
Republic. The purpose of this personal portfolio is to pre-sent the process
of developing the final design proposal through all phases of the semester.
This personal portfolio follows a group research about the location regard-
ing the site itself, the culture and history of the surrounding as well as a
collection of several case studies of wineries.
3
VISISON AND GOALS
A first step of the design was to elaborate the vision and goals of the per-
sonal project. Those intentions state the direction of the project, and the
key ideas to follow all the way. This definition of intentions took the form of
a personal first blink followed by a vision elaborated as a group in a work-
shop. The main ideas that I wanted to develop were common in all those
phases and helped me design my goals for the project.
Over and under
One of my first interests in the design of a winery was the study of the link
between what is over ground and spaces underground. This relationship is
stronger in a winery than in every other designs. Indeed, in order to pro-
duce wine, the production area needs to be located over ground as a con-
tinuity of the crops and plantations. However, in order to ferment the wine
correctly and age it properly, there is a need to dig into the ground in order
find the best conditions - of air, temperature and humidity - to the aging of
the wine. This draws a continuity between the vines, the production and
the cellar regarding what is on the outside land, or over ground and what is
underground.
This is what drove the design of my first blink as a concrete sculpture ie a
solid, non-deformable shell that once reversed creates a large space under-
neath in response to the excavated land.
Indeed, this intention of this design is to create a dialogue between exca-
vation of the ground and the architectural design that is made from it. The
excavation is used as a mould where the concrete is poured. Once dry, the
concrete shell is reversed in order to draw the architectural space.
More than working with positive and negative spaces, this concrete sculp-
ture also encourages to use every aspect of the design. Meaning if we dig
into the ground let’s use this action and consequences in every way, here
using the hole created as a as mould for example. This first blink starts to
draw one of the goals of the design which is to look for a resilient and sus-
tainable project.
Picture of the first blink 5
Concrete sculpture
Thickness and layers
After this first blink, I got the opportunity to work in a workshop with people
sharing the same values and we worked together on or common vision.
This group thinking enabled me to create another interpretation of my vi-
sion, expressing this time my involvement with the landscape. This vision is
a way to see the surrounding and environment as an element which pos-
sesses a thickness. The surrounding is not a flat layer of ground on which
we grow plants and place buildings but it is an open space with a thickness
in which we can evolve on different levels.
Thickness and layers
Photomontage of my
second vision
Goals
Those visions were the starting point of the project and helped to determine
major goals to achieve in the design.
The first major goal is to have a strong connection with the surrounding. In
that sense I mean that I am looking for a design that would be a connection
from the “natural” outside world to the inside of the production.
The second main goal is find a relationship that works between the form
and function from the different floors of the project.
Finally I have the will to present a building that is a sustainable design that
works with its environment with a net positive impact. Story board of my first
vision
7
DESIGN CRITERIA
PRODUCTION AS A CORE
From those visions and goals, I expressed several design criteria as con-
siderations for the development of my design proposal. Those design
In order to organise the different functions of the
criteria are the specification of my goals, as concrete ways to implement my
winery, the primer entry parameter to take into
ambitions in the design development.
account in my vision is to see the production as a
core of the design. Nothing would be built without
this production and it is the key of the interest of the
visitors and therefore the key of the design.
HUMAN SCALE
The first design criteria that derives from by obser-
CONNECTION TO THE GROUND
vations and goals is the need to create a human
scale for the project. Indeed, we are facing an
As mentioned earlier, the connection to the under-
enormous site where the sense of space is lost at a
ground is an important part of the design of this win-
scale of an individual.
ery. In order to apply that to the design, the spaces
In order to achieve this goal, the architectural de-
should answer to the negative volume underground.
sign should create a sense of space using volumes
The building should also work with the slope of the
to enclose the visitors, to offer them a place at a
terrain.
scale where they belong.
Those volumes should then provide the visitors with
views and points of interest.
GRAVITY FLOW SYSTEM / SUSTAINABLE DE-
SIGN
The building is intended to work with its surrounding
and environment. It should be as sustainable as
possible regarding materials, energy, water con-
PATHS AS CONNECTION FROM THE OUTSIDE sumption etc.
TO THE INSIDE In order to respond to this criteria, the production is
as economical in energy as possible. In accordance
One goal of the design proposal is to have a strong to the will of the client, the design will therefore be
connection with the surrounding. This design cri- prepared for a gravity flow production; ie a produc-
teria, derives from the first one ,creating, with the tion that does not use any pump at any time in order
human scale, paths as dynamic links to the sur- to consume as less energy as possible. It also has
rounding. The path receives the different functions some good advantages regarding the quality of the
- visitors, production, harvest, delivery - and then wine. In order to achieve that the design will be in
allow to have views and to enjoy the surrounding. different levels and split levels following the slope to
allowing a gravity fed production.
9
PROPOSAL DEVELOPMENT
This section will describe the different stages that I went through in order to
develop my final proposal. It will guide through the steps and major decis-
sions that impacted the final design.
11
Study model of one design proposal
NEEDS OF THE CLIENT & INSPIRATIONS
In order to develop this project, one major starting point for me was to study WHAT IS A GRAVITY FLOW PRODUCTION ?
the will and needs of the client. In this case, the client is Mr Spalek, wine In a gravity fed winery, grapes move through the winemaking process by
producer, who already owns a winery in the south east of Czech Republic. the natural force of gravity, rather than by mechanical pumping.
Thanks to a video conference meeting Mr Spalek and visiting his winery t results in an economical and ecological method that ensures the quality
by distance, I was able to understand his vision of wine production and his of the wine as well.
major needs in a winery.
Mr Slapek seemed very interested in organical production of wine, already
using gravity flow system in his winery and sustainable growth of plots. This
is one of the reason why my design is turned toward a sustainable architec-
ture as I know that the client would be receptive.
In order to go forward, I needed to determine the organisation of the actual
Spalek winery regarding vines, production and space.
1 separate fruit from grapes
“crusher” (2,6x1x1,8m)
150m 2
if we are making rosé, or white,
the fruit goes from the crusher
into the press downstairs
2 if we are making red, it goes
into the first fermentation tank
(5000L)
3 Press
in order to remove the juce
150m2 a pipe leads to the sedimenta-
+80m2
tion tank
4 Sedimentation tanks
150m2
5 Tanks in wood or steel for fer-
mentation
6 Old cellar 15m under ground
Constant temp of 11°C
Spalek winery 13
STUDY OF THE SPATIAL CONTEXT Slope and Landscape highlights
One of the first steps of the design proposal was to study the spatial context The main viewpoints that seem interesting
of the projetc. We are indeed located on large site that still implies some on the site are the tower of Slavonice that
building and organisational contraints. The study of teh site was primeraly arises from the old charming city down
done during a workshop. Thank to this study, I was ebale to locate teh best the hill and the surrounding landscape.
position for the winery regarding various criterias. An interesting point would be to be able to
look at the vineyards while in the winery.
The main will is to direct the winery to-
wards the city and the landscape around
it. The slop is rather low from Slavonice
to the site, except in one location on the
west part of the road where the slope is of
about 7%.
Sun orientation
A quick study of the sun orientation allow
us to precise the orientation of the build-
ings. With the main clients of a winery
coming in the late afternoon to enjoy the
last rays of sun with a glass of wine, the
south west orientation is to be cared with
attention in our production.
Position of the building
The study of all those criteria allowed
me to defined a first radius of location for
the building. On the eastern part of the
ACTUAL BUILDINGS field, where vines would not be ideal, and
where orientation could allow a nice sight
A quick study of the present buildings’ shape and durability showed that at the town of Slavonice, the old church
keeping them would be more expensive in time, energy and money as the and the vineyards. Keeping in mind the
structures are not safe enough in order to receive public and that their in- gravity flow production, placing a building
sulation is to good at all. A study of the reuse of the materials and the most on the highest slope could easily facilitate
efficient way to think about the demolition of the building and foundation will the design of such a production space as
however be held. well as offering the nicest views.
15
ANALYSIS OF THE DEPENDANCIES LITTERAL APPLICATION OF THESE DEPENDANCIES
One major step in the development of the design proposal was to define After studying these dependencies of the facilities and the different paths,
the intentions for the winery. Meaning which message, aspect, ambiance we came up with a very literal application of those links. It is the literal
I wanted to give to the experience of this particular winery. This decision transfer of this scheme into an architectural form.
making came through the study of the dependencies of the different spac- This very first try is very important as it is a simple design that we can go
es, ie what do we want to link together, what do we want to look at etc. back to, remembering our simplest goals. It is a very brutal approach that
needs to be developed and deepen.
This architectural concept took
the form of a very low build-
ing, almost shy and humble
in front of the beauty of the
landscape and of Slavonice.
It does not intend in becoming
a new center to Slavonice but a
new point of interest that works
with the city.
This was drawn as a showcase
on the production. It infuses the
idea of the production being
Scheme of the dependencies
made during the workshop viewed as a performance from
the viewers’ perspective. The
viewer stands on an elevated
stage while the different levels
of production are presented to
him.
I saw very quickly this design as an experience. It is from the beginning
a nice merge of the experience of a winery regarding visiting, tasting and This design presents a large
immersion in this world of taste and smell, as well as the production of the welcoming area as a buffer
wine. zone between the outside and
inside world. It is a blurred bor-
The experience should start form Slavonice or the passing roads, and go der as in and out are actually
through the vineyards, start the immersion right there, before entering the merged.
welcoming area. This area is the most important of the winery as it is a
showcase of everything that is happening in the winery. This welcoming
area should be able to turn the visitor into a spectator of the vineyards and
the production part. This space is of course connected to the other facilities
linked to visitors which are the restaurant, the wine tasting and the store.
As far as the production area, it is linked to the vineyards, and englobes all
facilities of the production process as well as facilities for the workers.
17
Ishigami’s scheme of teh concept Personal interpretation of his work
REFERENCE RESEARCHES ABOUT POSITIVE AND NEGATICE SPACE
IN THE GROUND
House and restaurant - Ishigami
Visitor access
Wine process
19WINE PROCESS
As the wine process is one of the most important component of this pro- PRODUCTION PROCESS
Gravity flow system
ject, I put a lot of thought into the design of this area, both architectural and
functionally.
WINE PROCESS AS A CYCLE
Through all my proposals, I tried to keep the production of wine as a circle,
from the harvest to the export. This process, implies some spatial and func-
tional constraints.
Export Harvest
2- Crushing and first
fermentation
Wine production
Storage
1- Harvest
Bottling & Labelling Fermentation
Cellar
PRODUCTION PROCESS 3- Press
Gravity flow system
I made several proposal regarding the wine process taking underlining the
production process or the space ambiance.
Anaïs Martin - 30/11/2020
2- Crushing and first
Sketch of the first Sketch of tlast level fermentation
level of production of production
1- Harvest
3- Press
North - South
Section
Anaïs Martin - 30/11/2020 11
21VARIATIONS OF THE DESIGN PROPOSAL
Seeing the production as a core of the design, the organisation of the other
functions as blocks around the production area was the main work to real-
ise. I therefore made several sketches, models and plans to get to the final
design. This spatial organisation should also deliver an experience to the
visitor both culturaly and visually.
2325
FINAL PROPOSAL
South west axonometry of the project
27As mentionned before, the winery is located on the highest slope of the The winery is made of three major blocks; the production area, the res-
hill. This allows a good orientation and a sufficent slope for the gravity flow taurant, and the wine tasting. All the blocks are organised around the the
system. production as it is the core of the design.
The buildings are oriented toward the south west, ie toward the center of
the town of Slavonice and towards the vineyards that seperates the winery
from the town.
The grid that is created by the vineyards reflects the existing urban grid of
Slavonice. Those path are viewed as enjoyable walking promedades as
well as filed work driveways. This share is indeed very easy to make as
field works happen only a few times a year, those vineyards are pretty calm
teh rest of teh year.
PRODUCTION
WINE TASTING
RESTAURANT
Master Plan
100 m 29WINE PRODUCTION MAIN FLOOR PLANS
The production is organised on three levels, followig the gravity flow system
as explained before.
The first floor is dedicated to the receiption of the harvest, the crushing
and the first fermentation when needed. The second level is dedicated to
the press while the last level receives the second fermentation, the cellar,
storage and bottelling.
The production works properly as a cycle from the harvest to the export.
Plan of the platerform floor 10 m
Plan of the underground
Ex
plo
de
da
xo 31
no
me
tryLINK TO THE TERRAIN
Thanks to those sections, we can better understand the connexion of the
building with the slope. Indeed, the three buildings’ floor are following the
slope from North to South and are merged in the surrounding from East
to West. Indeed, the wine tasting and the restaurant area are volontarly
immersed in the vineyard, on the ground floor.
From the platfrom the visitor is a spectator of the vineyard,. From the tast- 10 m
ing areas, he becomes part of the environement surrounding him.
West East Elevation
North South Elevations
33ELEVATIONS Metalic roof cover
The rammed earth is a very interesting material that gives lots of opportuni-
Wooden beam as
ties and some constraints. It is living material that evolves and interact with roof structure
the surrounding.
In order to ensure the well being of the wall, teh rammed earth is kept out
of water thanks to a concrete plateform that can be found on every block of
the winery.
The rammed earth is a very good and strong meterial when working with
verticla forces. As soon as the rammed earth has to work in traction, the
material is not suited anymore. If we were to create openings in a wall, we
Rammed earth
would need a strong concrete or wooden beam on teh top of the oppening
to absorb all the forces. It is a waste of material and energy. In order to
conteract this effect, all the openings are placed from the roof to the wall. In
that sence there is no need of any additional secondary structure. Moreover
those opennings come in the drawing of this interaction between outside
and inside, absorbing light and allowing views.
South elevation
10m West elevation
East elevation North elevation
35LIVING BUILDING CHALLENGE EVALUATION WATER PETAL
This evaluation allow us to have a better idea of our design in term of sus- As mentioned earlier, the water collection is an important part of the project
tainability. It is not only a post design evaluation but it is a guide line that as the water from the room and platform are collected into tank that can be
I kept all along in order to build my project. Here are the key aspects that reused later on. The room is only tilted of about 2% that is enough to collect
answer to the challenge. the water.
The use of the water into the production is uncertain regarding the weather
and the method of wine making but the water can certainly be used in the
PLACE PETAL closed garden. The use of this water for the sanitary is a possibility.
The design in engaged in land protection by combining the different func-
tions of the program in a same place. The goal from the beginning is to
compress the design into a whole in order to leave as much permeable land
as possible.
On the other hand, as a place of agriculture, the common garden that is
beside the winery participate to the activities of the surrounding.
Finally, the mixed mobility plan is a major addition to the place. Indeed,
Slavonice is accessible by two main roads and a few walking path. Howev-
er, most of the path have to take the road at some point (bicycle and pedes-
trians) without any protection from the cars and any adapted environment.
This project, by taking into account all kinds of mobility and creating adapt-
ed path for every individual, fully embraces the will of development of the
active mobilities.
EQUITY PETAL - BEAUTY & INSPIRATION PETAL
Scheme of mixed mobility The project of this winery was not only an agricultural project, looked as a
factory. It had from the beginning the will to share knowledge, share pas-
sion and inspire others. The winery promotes culture by its own program.
What makes this design enjoyable is that it is at human scale and works
with the surrounding and with Slavonice. This project is not a new centre to
the town, it works with it and is an addition to Slavonice, not a stolen centre.
It has some goals of education, culture and agriculture.
37ENERGY PETAL
HEALTH AND HAPPINESS PETAL
The major gain of this project regarding energy is in the choice of the ma-
terial. Indeed, the great inertia of the rammed earth is a major advantage As mentioned earlier, the quality of the wall material being rammed earth,
for the building. It keeps the heat at night and release it during the day. it ensures a nice circulation or air and humidity but still keeping a good
Rammed earth also has a great hydrothermal values that enables to keep a temperature.
good temperature and humidity inside the room.
Moreover, thanks to this insulation, no heating is needed inside the pro- MATERIAL PETAL
duction area. This space will be kept at ambient temperature and can be
heaten by the production of wine that release some energy in form of heat. This project uses mainly biobased materials (rammed earth, wood). Those
The walls of the cellar are highly insulated in order to be kept at a good hu- material have a low carbon footprint as they have carbon gain (embodied
midity and temperature. Indeed the cellar uses both earth and evaporative carbon) during their life. They are also easily reusable and transformable.
cooling to take advantage of the cool night valley air. The result is energy
costs far bellow average.
Scheme of teh behaviour of rammed earth
during the day and night
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