A BOOK BY SAWSAN BASSALAT

INTRODUCTION

SITE ANALYSIS

Location
Background
Route

CASE STUDIES

Case 1
Case 2
Case 3
Case 4

CASTLES

CONCEPTUAL DEVELOPMENT

Resemblance
Wine swirling
Conceptual Model

PROGRAMME

DRAWINGS DEVELOPMENT

Plans
Section

DETAILS

MATERIALS

SHOTS

CONTENT BIBLIOGRAPHY
INTRODUCTION

The book introduces an interior design project of a win-

ery in the center of the busy center of Birmingham City

As the site is that of historical valuse, the project fo-

cuses on bringing a fresh approach to the building’s
interior, while mainting th exterior facade as a part
of the city’s architectural heritage

The book follows the process of desing, from site

analysis and programme setting, all through to the
little details that give the give its unique identity
 SITE
The site chosen for the project is Birmingham City Council, UK. The building is a piece of Classical Architecture that
dates back to 1879.
Located in Victoria Square in the city center at the end of the city’s main shopping street, the site enjoys a panoramic
view of the city and the attention of both its locals and its visitors, which makes it ideal for the project at hand.

The building itself holds great importance to the City’s identity not only in its history, but also in its architecture, thus
the design maintains the building’s original architecture while giving it a fresh purpose.

“It is passed by hundreds of people every day, as they walk through Victoria Square. The renaissance style captures the
opulence of 19th century classicism, but its true significance lies in the ideals it stands for. Designed by local architect
Yeoville Thomason, it is a grand reflection of Birmingham’s pride in its civic achievements.” (Goer 2016)
FIGURE 1
 Victoria Square

SITE LOCATION

Map of Birmingham City

(Victoria Square Area)
SURROUNDING AREA

The building is located in one

of Birmingham’s busiest areas.
The route to the site was ana-
lyzed during its busiest time of
the year “The German Christmas
Market”
FIGURE 2

FIGURE 3

AUTOMATIC DRAWINGS
(THROUGH THE MARKET)

On the way to the site, automatic drawings

were made to express the feeling of the sur-
rounding area using different colors and styles.

The drawings express the journey of walking

through the Christmas Market and experienc-
ing the emotions triggered by the human sens-
es to color, smell, sight and perception.
FIGURE 4
 CASE STUDIES
To fully understand the function and arrangement of wineries, a
number of cases were studied.

The following are some of the ones which provided examples of

unique atmospheres and well-desined spaces.

FIGURE 5
 FIGURE 6 FIGURE 2

CASE 1
BRUMA Winery
Architects: TAC Taller de Arquitectura Contextual

Location: Valle de Guadalupe, Valle de Chapultepec, 22785 Ensenada, B.C., Mexico

Area: 2000.0 m2

Project Year: 2015

Photographs: Humberto Romero

Architectural Design and Landscape: Alejandro D’Acosta López

FIGURE 8
CASE 2
Bell-lloc Winery FIGURE 9
 FIGURE 11

FIGURE 10

Architects: RCR Arquitectes

Location: Palamós, Girona, Spain Project Architects RCR Rafael Aranda, Carme Pigem, Ramón

Vilalta Arquitectes FIGURE 12

Project Area: 981.0 m2

Project Year: 2007

Photography: Eugeni Pons

FIGURE 13
CASE 3
Yalumba Winery – Signature

Architects: Grieve Gillett

Location: Tanunda, Australia

Client: Yalumba Winery

Project Year: 2009

FIGURE 14 FIGURE 15
CASE 4
Zuccardi Winery

Architects: Tom Hughes, Fernando Raganato, Eugenia Mora

Location: San Carlos Department, Mendoza Province, Argentina

Area: 8841.95 m2

Project Year: 2016

Photographs: estudio García+Betancourt

FIGURE 16
CASTLES

FIGURE 17
 FIGURE 20 FIGURE 19 FIGURE 18

FIGURE 22 FIGURE 21
CARDIFF CASTLE
WALES

FIGURE 24
FIGURE 25
FIGURE 23
FIGURE 26 FIGURE 27
CONCEPTUAL DEVELOPMNET

FIGURE 28
 RESEMBLENCE

Viewing the previous examples of wineries and old castles, a strong visual connection is found
between the two types of buildings mainly due to the similar materials used and the overall
general atmosphere created due to the similarities in the architectural elements used in both.

The arches with the stone walls, in addition to the warm colors and darker interiors, the wineries
FIGURE 29
studied above give a similar feel to old castles/ passage-ways/ secret rooms and dungeons.

The concept behind this design derives from two points, one of which being this similarity.
 WINE SWIRLING
Swirling wine is believed to be an important part of the tasting process. As a winery
main function is the production of wine, the tasting process is of high importance
to the whole idea of a winery.

As the wine is swirled and allowed to settle, it revelas its true color.

The center element of this design is the circulation element following, in shape, the
wine swirls. The circulation element fluidly forms spontaneous circles leading up
from the lowest to the highet point in the building.

As the visitor goes up and down the ramps, with secret doors and linear passage-
ways, a state of confusion about the configuration of the space is formed, but later
vanishes as the visitor reaches the higest level and is able to see the whole of the
winery in action. Just like wine settling after being swirled.

FIGURE 30
FIGURE 31 FIGURE 32
 ELEMENTARY

FIGURE 33
 The development of the plans follows the conceptual thinking process as it relies n both points
presented in this book:

The similarities between wineries and old castles/ dungeons

The process of sirling wine and the clarity that follows

The concept is centered around the circulation element as a main visual focus and atmosphere
FIGURE 34

generator, supported by the elaborate design of the spaces and the arrangement of the move-
ment elements.
 FIGURE 35

CONEPT MODEL
FIGURE 36
 FIGURE 38

FIGURE 37 FIGURE 39
PROGRAMME
Given the nature of the project and the site’s location, the prgramme
is directed towards the touristic aspect of a winery while maintaining
its authentisity and functionality.

the design allows for the visitors to view all steps in the process
of producing wine and provides a range of private tasting areas, a
gift-shop, a hotel, a restaurant and a bar to serve the winery’s own
selection of wines and other products.

FIGURE 40
DRAWINGS DEVELOPMENT

FIGURE 41
FIGURE 42
GROUND FLOOR
PLAN

FIGURE 43
 LOWER
GROUND FLOOR PLAN

FIGURE 44
FIRST FLOOR
PLAN

FIGURE 45
TOP
FLOOR PLAN

FIGURE 46
SECTION -S

FIGURE 47
 A CLOSER
LOOK

FIGURE 48
TREES

Trees are present throughout the spaces of the

winery to give a more natural vibe.

This specific tree is used due to its color being

close to that of red wine, which the circulation
element (the center of the project) takes.

FIGURE 49

FIGURE 50
 FIGURE 52

PANORAMIC VIEW
The top floor acts as a bar to provide the guest with the chance to try a wider
range of drinks produced in the winery in addition to allowing the winery to further
interact with the surrounding city-scape through a full panoramic view of the area.

FIGURE 51
 FIGURE 54

An art gallery is incorporated on the lower

FIGURE 53
ground floor to benifit from the creativ-
ity of the city and entertain the visitors
simultanously.

The visitors find their way throught the

circulation to what appears as a dead-end
art gallery, reinforcing the concept derived
from old castles and secret opassage ways. ART GALLERY
 FIGURE 56

HIDDEN DOORS
FIGURE 55
 FIGURE 58

LIGHT INSTALLATION
As an additional use of the wine bottles, a light installation is created to decorate
the gift-shop and give some seperation for the restaurant.
FIGURE 57
 FIGURE 60

CIRCULATION
The Circulation area is an important element of the conceptual design for the proj-
ect, thus it is aesthatically emphasized through two elements: the art installation
hanging from the highest point of the circulation area & the bottle storage at the
bottom.

FIGURE 59
 FIGURE 61

BOTTLE STORAGE SPACE

(Bottom of circulation element, accessable to visitors)
FIGURE 62
 MATERIALS

FIGURE 63
 FIGURE 65 FIGURE 66

FIGURE 67 FIGURE 68

FIGURE 64

MATERIALS
The materials used in the design are employed
to create an atmosphere similar to that of old
castles and secret passage ways, further rein- FIGURE 69
forcing the atmosphere and concept. Materials from upper left:

Glass
Woven Metal
Scots Pine Wood
Polished Concrete
Weathered Steel
Concrete
FIGURE 70
 FERMENTATION AREA

FIGURE 71

FIGURE 72
FIGURE 73

FIGURE 74
BIBLIOGRAPHY

FIGURE 1: Original image found at [https://commons.wikimedia.org/wiki/File:Birmingham_ FIGURE 20: Kinooze Learning, 2012. Found at [http://kinooze.com/secret-passageways/]
Council_House.jpg] Accessed: January, 2018.
FIGURE 21: Unknown, 2017.Found at [http://netwales.com/castles/caerphilly-castle/]
FIGURE 2: Original Drawing by Sarah Macharia Silva.
FIGURE 22: Unknown, 2017. Found at [http://cicbiz.com/medieval-castle-interior-design.html/
FIGURE 3: Original Drawing by Sujana Uddin. simple-ideas-for-medieval-castle-interior-design-in-your-home]

FIGURE 4: Original Drawing by Sarah Macharia Silva. FIGURES 23-28: Author’s own

FIGURES 5-8: ArchDaily, 2016. Found at [https://www.archdaily.com/802135/vinicola-bru- FIGURE 29: Matisse, 1947. Found at [https://www.henrimatisse.org/portrait-of-lydia-delec-
ma-tac-taller-de-arquitectura-contextual] torskaya.jsp#prettyPhoto]

FIGURES 9-13: ArchDaily, 2014. Found at [https://www.archdaily.com/536508/bell-lloc-winery- FIGURE 30: UrbaZon, 2018. Found at [https://videohive.net/item/swirling-red-wine-silhou-
rcr-arquitectes] ette/6292810]

FIGURES 14 & 15: ArchDaily, 2011. Found at [https://www.archdaily.com/193785/yalumba-win- FIGURES 31-47: Author’s own
ery-%25e2%2580%2593-signature-cellars-grieve-gillett]
FIGURE 48: John Laurie, 2017. Found at [http://www.soniarentsch.com/Barringwood]
FIGURE 16: ArchDaily, 2016. Found at [https://www.archdaily.com/802293/zuccardi-winery-in-
valle-de-uco-tom-hughes-plus-fernando-raganato-plus-eugenia-mora] FIGURE 49: Author’s own

FIGURE 17: Unknown, 2018. Found at [https://www.poitou-charentes-vendee.com/the-vendee/ FIGURE 50: Picture by Delafarin Sharifi.
must-see-attractions/chateau-de-talmont/chateau-talmont-photo-gallery/]
FIGURE 51: Unknown, 2017. Found at [http://www.birminghamupdates.com/spectacular-imag-
FIGURE 18: OldSteward, 2015. Found at [http://theoldcastle.co.uk/castle-furnishand-fireplaces/] es-released-of-birminghams-changing-skyline/]

FIGURE 19: 2017. Found at [https://ru.dreamstime.com/%D1%81%D1%82%D0%BE%D0%B FIGURE 52: Author’s own

A%D0%BE%D0%B2%D0%BE%D0%B5-%D0%B8%D0%B7%D0%BE%D0%B1%D1%80%D0
%B0%D0%B6%D0%B5%D0%BD%D0%B8%D0%B5-%D1%81%D1%80%D0%B5%D0%B4%- FIGURE 53: House Rental Florence, 2017. Found at [http://www.houserentalflorence.com/pon-
D0%BD%D0%B5%D0%B2%D0%B5%D0%BA%D0%BE%D0%B2%D0%B0%D1%8F-%D0%- te-vecchio-florence-vasari-corridor]
BA%D1%83%D1%85%D0%BD%D1%8F-image27208541]
FIGURES 54-56: Author’s own

FIGURE 57: Picture by Millie Simon.

FIGURES 58-61: Author’s own

FIGURE 62: ArchDaily, 2016. Found at [https://www.archdaily.com/802293/zuccardi-

winery-in-valle-de-uco-tom-hughes-plus-fernando-raganato-plus-eugenia-mora]

FIGURES 63 & 64: Author’s own

FIGURE 65: AzOm, 2016. Found at [https://www.azom.com/news.aspx?newsID=46880]

FIGURE 66: Form+Services, 2018. Found at [https://www.forms-surfaces.com/linq-wo-

ven-metal]

FIGURE 67: Mandy Saven, 2013. Found at [http://www.stylus.com/xhbgtg]

FIGURE 68: David Stephenson, 2016. Floor flatness and levelness can severely affect
polished concrete pricing. Found at [https://www.concretedecor.net/decorativecon-
cretearticles/vol-16-no-2-feb-march-2016/costing-out-ff-fl/]

FIGURE 69: Bianca Bosker, 2017. Haute Concrete. Found at [https://www.theatlantic.

com/magazine/archive/2017/04/haute-concrete/517803/]

FIGURE 70: Lengles Stock, 2018. Found at [https://lengels-stock.deviantart.com/art/

Weathered-Metal-Texture-02-257850837]

FIGURES 71-74: Author’s own