This PDF is my fifth-year thesis documentation. The thesis is a dialogue between the craft of weaving and architecture. The subject of study is a mid-sized winery located in Central Virginia.

1. The
Woven
Winery.
RYAN THOMAS MOSS

2. The Woven Winery
Patrick Doan, RA
Hunter Pittman, Primary Adv.
May, 2016
Blacksburg, Virginia
Undergraduate Architecture Thesis
Copyright 2016
Ryan T. Moss

3. Contents
i Foreword............................................................3
ii Preface...............................................................5
iii Introduction........................................................8
iv Investigation.....................................................10
v Weaving...........................................................15
vi Documentation.................................................28
vii Conclusion.......................................................67
viii References......................................................68
ix Acknowedgements..........................................70
x Afterword.........................................................71
Below: A Natural Weave
This photograph shows two vines
beginning to weave over top of one
another at Moss Vineyards.
Opposite: The Woven Winery
A sketch of the winery, showing the tram.
1CONTENTS

4. 3FOREWORD
The Wine Industry & Architecture
In an interview conducted by Sean Stanwick and Loraine Fowlow on
May, 2005, winery owner Don Trigs reveals that;
“When you are in the wine business, the hospitality element of
the business is inextricably linked with the brand, with the profile
and image that you are trying to project for your project. It is
inconceivable that you would expect to go to a substandard
building, for example, if your wine has an iconic intention.
Therefore, there is an excpectation in the consumer’s mind that
there will be a compatability, a parallel imagery between their
view of the brand of the wine, what it means to them, and the
experience that they have at the winery itself. For example, a wine
brand that has a very modern image probably would not fit with
an Old-World-style chateau. When we have approached the task
of selecting architects for our wineries, we believe that, in simple
terms, we consider the idea that wine is about the hedonistic,
sensual pleasures of life: the sounds, flavours, colours. So, if you
are working very hard to create great enjoyment with the sense
of taste in the wine, why would you not give equal consideration
to ensuring that the visual enjoyment of the winery is at the same
standard? In other words, they are both forms of art: creating a
great wine, and creating a wonderful building to house the wine”
(9).
Both the wine and building design are equally important for a
winery’s success. Wine regions that are aware of this will prosper.
Foreword
Opposite: The Woven Winery
An exterior rendering of the VA winery.
Below: A Look at Precedence
This photograph shows Fournier Winery,
designed by Bórmida & Yanzón, in
Mendoza, Argentina.

5. 5PREFACE
When thinking about Architecture, I can’t help but ponder on how
it has shaped and continues to shape my life. In the past decade I
have worked with my family to open a winery in Virginia. Throughout
this arduous journey, we had an idea, chose a site, prepared it, raised
a building, and the rest was history. More importantly, I would like to
put an emphasis on how valuable being a part of this process was to
preparing me for studies within the field of architecture.
After six years of being open to the public, I believe that our
investment has paid off. Our hard work as allowed us to give back to
the community, by further enriching the growing wine culture within
the Shenandoah Valley. We also provide a meeting place for people
to observe nature, relax, fall in love, celebrate, or pretty much dwell
however they like within reasonable limits. This sounds a lot like the
job of an architect, right?
Not only the Shenandoah Valley, but all of Virginia now prides itself
on its small but rapidly growing number of quality wineries like ours.
These wineries also contribute to a significant portion of Virginia’s
economy and image through wine tourism.
I will demonstrate through this thesis the things that I learned
during this process. My sole purpose was to design a place that
celebrated my native home through its architecture. My work is
a search for harmony using the art and craft of weaving as its
inspiration.
Ryan T. Moss
Preface
Opposite: Gazing at Skyline Drive
This is an approximate view from the site.
Below: A Blank Canvas
Two naked wine bottles huddle together
in front of the barrel room. This space has
potential for architectural expression.

6. 7PREFACE
“The very essence of architecture can be likened to the seed in nature, and some of the transparency of the
principle of growth as found in nature ought to be a fundamental concept in the architectural process.
Thinking of the seeds, producing plants and trees — all the seeds of a common species would develop in the
same way if not for the fact that the conditions for growth are so varied and each plant has the innate ability of
developing without compromise. Seeds of a common species produce plants with individual characteristics
under different conditions.
Our environment, the time we live in, is totally different from any previous one, but the essence of architecture,
the seed, is the same. The study of existing architecture is letting oneself be influenced directly by it. One must
become aware of how the solutions and the details are dependent on the time in which they are created.
In order for the architect to be able to master his means of expression, he has to experiment. He must practice
like the musician does, experiment with masses, with rhythmic forms made up of masses grouped together,
combinations of color, light, and shadow, etc. He must use his senses intensely and by all this train his ability
to create new forms.
An intimate knowledge of the materials is needed. An architect must be able to understand the structure of the
tree, the heaviness and hardness of the stone, the character of glass; he must become one with his materials
and be able to form and use them in harmony with their nature. When he understands the nature of a material,
then its potentials are much more real to him than by means of mathematical formulas and arts. For the
architect, mathematics is a means to ascertain that his assumptions were true.
What is needed is a healthy approach to life. Understanding how to walk, stand, sit, and lie down so that it
feels good. Enjoying the sun, the shadow, the water against one’s body, the earth and all the less definable
sense impressions. An urge for comfort must be the basis for all architecture if a harmony shall be achieved
between the spaces that are made and the activities that will take place in them. This is very simple rationality
and common sense.
What is needed is the ability to create a harmony out of all the demands that are raised in connection
with a project, the ability to make all these demands melt together and form a novel entity—as in nature—
compromises are not known in nature; all difficulties are accepted, not as difficulties but just as new factors
which, without conflict, grow to a unified whole” (Utzon, Jørn).
Above: Seed Architecture.
An image produced by Architect Allan
Wexler demonstrating a truss being built
with a vine.
Opposite: Subterranean Cabins
An exterior rendering of the dwellings
adjacent to the winery building.

7. 9INTRODUCTION
INTRODUCTION
For centuries after the first wine was made in Mesopotamia from grapes,
people have continued to produce the sacred drink. American, French, Italian
and Portuguese wines are now considered some of the best, with Italy being the
largest producer of wine internationally.
The earliest known pictographic depictions of wine can be found in Egyptian
hieroglphs, where wine played an important role in ancient rituals.1
Though, it
wasn’t until Homer wrote the epic poem, ‘The Iliad,’ that wine was first described
with written language.2
Since the times of ancient Greeks and Egyptians, wine
has always been a symbol of wealth and prosperity. Archaeological evidence
supports that wine was used as a pharmaceutical as early as 3,150 BCE.3
However, most early wine drinkers were generally prominent people, while
commoners considered the substance a luxury.
In the middle ages, the Catholic religion decided that it needed wine for its
liturgy, and so priests, nuns and monks began to make it themselves throughout
much of Europe.4
Their interest in wine production grew further after they
noticed its economic benefits, as wine surpluses were sold and the profits were
kept in the monastery’s treasury. Though, it didn’t take long for some merchants
and farmers to follow suit. Now, wine is more available than ever before, and
most would agree that the craft of winemaking has been perfected right down to
a science.
From ancient poems and ballads to modern day songs, people have
consistently expressed their fascination with wine across the ages through
various art forms. However, in the early 2000’s the popularity of wine began
to grow dramatically with films like Sideways (2004), A Good Year (2006), and
Bottle Shock (2008) reaching significant audiences. In recent years, both the
number of wine clubs and memberships have grown by a significant margin.
As people have been inspired to learn more about the art of wine making,
wineries around the world have begun to integrate tourism into their business.
Some wineries have even shifted towards pairing tastings with a spa resort like
Wine Culture
atmosphere, like the Marqués de Riscal, designed by Frank Gehry.
Like architecture, the cultivation of wine has always required an intimate relationship between people and
their environment. It is a celebration of both the land as well as the ability and skill of the people to recognize
its potential. This is where the role of an architect is key to assisting winemakers in realizing that potential in
order to promote their desired identity.
We live in the “Age of Consumption.” We are able to buy goods from all over the world with relative ease
at a moments notice, thanks to the internet and sites like Amazon. Manufacturers and distributors now have
to compete for our money by delivering the finest quality for the price. As the consumer, why would we settle
for anything less? This is where marketing comes into play, to either promote a brand’s accepted identity, or
to trick people into accepting one. However, the latter of these two methods will eventually be rused out by
consumer reviews.
While we live in a time where convenience is exceptional, we as a society have a responsibility to maintain
a certain degree of quality to our place and product whatever and wherever it may be. Some businesses
may decide to take the path of certain fast food chains, and have success focussing on quantity over quality.
However, they will always rank at the bottom of the food chain when it comes to taste, and they often destroy
the identity of a place by replacing would-be-culture with pseudo-culture.
The job of an architect is to celebrate cultural identity by appealing to all of the senses through built form. In
the case of a winery, he is tasked with matching the quality of the place with the wine for the consumer.
Above: Movie Collection Poster
An image taken from a DVD package
containing the films, Bottle Shock (2008),
Sideways (2004), and A Good Year
(2006).
Right: Marqués de Riscal
This winery designed by architect Frank
Gehry, was constructed in Elciego,
Spain. It contains a five-star hotel, spa,
museum of viticulture and a wine shop.
The Age of Consumption
Notes
1 Mcgovern, patrick E. Ancient Wine:
The Search for the Origins of
Viniculture. Princeton UP, 2007. Print
2 “Ancient Greece.” All About Greek
Wine: History. Thalassi Companies,
Inc. Web. 04 May 2016.
3 Research by Dr. Patrick McGovern at
the University of Pennsylvania
Museum of Archaeology and
Anthropology and the Proceedings of
the National Academy of Sciences of
the United States of America article
“Ancient Egyptian Wine Jars”.
4 “The Legacy of the Monks.” Old
Cook. Trans. Bruce Lee. Web. 04
May 2016.

8. 11
Just Some Basic Facts:
++Ideal Vineyard Row: Oriented from East to West, perpendicular to the slope
++Ideal Latitude: 20-50 Degrees North or South of the equator
++Ideal Elevation: 800-1200 ft above sea level
++Ideal Slope: Facing South or East
++Ideal Soil: Granite-based and clay
++Ideal Acres Planted: 10-20 acres (small to mid-range size)
++Site: 1990 Simmons Gap Road, Nortonsville, VA 22935
++County: Greene w/ partial acreage in Albermarle
++Potential Wine Trails: Monticello, Blue Ridge
++American Viticultural Area: Monticello
++Wineries in Virginia: +252
What is a winery?
A farm, factory, retail, museum, wilderness retreat destination, cultural icon,
etc. The idea of what a winery should or should not be is becoming more
flexible as it adapts to changes within the industry.
Why Virginia?
“Virginia’s Old World style has won some critical acclaim. Four years ago,
The Washington Post’s wine writer, Dave McIntyre, hosted a blind tasting
in which Virginia wines only narrowly trailed competitors from France and
California. Then, last year, Steven Spurrier, the British wine merchant who
arranged the “Judgement of Paris” wine tasting in 1976 that put California
wines on the map when they beat their French rivals, arranged a blind tasting
of Virginia wines alongside top candidates from France, Italy, Portugal and
California. Spurrier preffered the Virginia contender in six of eight comparisons,
and the other two were ties” (Milbank, Dana).
What is my proposal?
My study investigates how the design of a winery can be abstracted from the
INVESTIGATION
weaving nature of a grape vine on a trellis. The Winery is sited on a southern facing mountainside just north of
Charlottesville in the Monticello AVA. The winery includes a tasting area, an area for private functions, and a
cellar for wine making. Also, subterranean cabins are woven into the landscape around the winery for visitors
to rent. Visitors have the option of riding up to the winery in a tram lift. There will be two stations at the bottom
and top of the mountain. One pair is dedicated to departures and the other to arrivals.
The Cellar is sunken into the earth, to keep it cool. The main-level, holds the tasting area and gift shop,
meets the ground on the North side near the main entrance. An upper floor holds a private area for parties and
wedding functions. There is also a roof garden that acts both as an overlook for visitors and as an extension of
the private area when required.
Building Footprint: Approximately14,000 square feet.
Gross Area: Approx. 56,000 square feet.
Above: Tram Lift
A photograph of a tram lift car.
Below: Winery Perspective
A perspective rendering of the Winery.
INVESTIGATION

9. Cabins
Winery
Tram A
Tram B
Forest
Vineyard

10. 15
Weaving
In order for a vineyard to grow a significant amount of grapes, a trellis system is needed. This is because a
grape vine cannot support the weight of a crop by itself. The word trellis can be traced from the French word
treliz, which translates to a fabric of open texture, back to the Late Latin word trilicius, which means woven with
three threads. My investigation will focus on the weaving nature of the trellis system in relation to the grape vine
(Trellis, n.).
The craft of weaving has been a common practice performed by cultures around the world for centuries.
While there can be subtle differences between them in terms of technique or rhythm, the general idea remains
common. Since the technique is easy enough for most people to grasp, the basic craft is often used as an
analogy to represent real world phenomena. Professor Craig Griffen from Philadelphia University points out
that it has been used to explain the interrelated systems of climates, organisms, plants, and animals (235). It
has also been used to represent the woven fabrics of various beliefs, ideals, and values (Griffen, 235).
Architecture, is another age old practice that attempts to incorporate these ideals and understanding of
our place in the environment. Vitruvius claimed, in his “Ten Books On Architecture,” that an architect should
have both theoretical and practical knowledge of all the sciences, arts, and also nature (Book One, Chapter
I, Section 3). Rather than think of these fields as separate entities, Griffen suggests that it is better to think of
them as threads that must be woven together relevant to particular circumstances (235).
Gotfried Semper attempted to seek out the origins of architecture in his book titled, “The Four Elements of
Architecture.” He deduced that the most essential elements were reducible to the mound, the hearth, the roof,
and the enclosure (Semper, 102). Semper believed that each of these elements could be traced back to one
ancient craft or another. The element of enclosure, first used to shelter man from wind, was thought to have
been derived from the craft of weaving (Semper, 103). I propose that the winery should shelter the people, and
protect them from the natural elements in a smilar manner.
As a geometric juxtaposition against the organic landscape, the building will be rooted deep in the ground
similiar to that of the planted vine. It’s mound will be the earthwork built up beneath the foundation and around
the retaining walls. The sunken cabin next to the winery will hold the hearth, and serve as the orignal resting
place for the builders. Whereas, the roof on the cabins will be a lush green and meet the landscape uphill, the
roof of the winery will be a flat roof garden. The enclosure of the winery building will consist of a glass curtain
wall. The concrete columns extending out of the foundation will be like that of the posts in a trellis system, with
the facade weaving in between like that of the wire. The vines would be the floors of the building (not seen in
the image on the left), clinging on to the columns for support.
Above: Trellis System
A sketch illustrating how a trellis system
works to support grape vines. The red
wire weaves around the vines in the
horizontal plane, crossing as they meet at
the stake, while the vines weave between
the loops in the vertical direction.
Below: Column System
A diagram illustrating how the building will
mimic the trellis system. In this case, pre
cast panels would act as the red wire and
the columns would act as the stakes. The
gold indicates the part covered in earth.
WEAVING

11. The pergola, located on the roof, rests on concrete columns and is built mostly of timber. Canvas weaves in
between the beams, in an undulating fashion, to provide for shade. This location is an ideal spot for visitors to
catch a glimpse of the best view from the property.
Viewed from a distance, the pavilion resembles a textile. The essence of the structure is recognizable
as the first identifiable aspect of the roof, seen from the gondola approach. This pergola, which serves as a
symbol for the building, has the potential to become a logo for the winery. At the highest point of the building, it
appears like a beacon to travelers exploring the Blue Ridge mountains.
The pavilion houses seating for customers, so that they are able to sip wine and catch a glimpse of the
view. However, during special events like a wedding ceremony, it serves best as a stage. The placement of
the benches allow for both social gatherings, and for introspective contemplation.
Above: Detail Connection
A detail from the pergola assembly.
Below: Pergola Section
A section cut through the roof pergola.
Pergola One
17WEAVING

12. Located above the atrium is a second pergola. This structure prevents too much light from entering the
building, while also helping to provide shade for visitors on a hot day. The area also allows for spectacular
views of the Blue Ridge Mountains.
The pergola is primarily supported by eight concrete columns. On top of the colums a steel tube rises to
hold a timber structure above. Because the pergola is partially cantilevered, a steel bar is connected from the
bottom of the timber girder to the bottom of the steel tube. To provide lateral support and additional locations
for steel bar connections, a steel truss extends in between the steel bars.
The weaving aspect again plays into canvas, winding in between the timber beams. However, unlike the
first pergola, only one stretch of canvas exists on each side of the atrium. This is to place emphasis on the
importance of the part in relation to the whole.
Above: Detail Connection
A detail from the pergola assembly.
Below: Pergola Section
A section cut through the roof pergola.
Pergola Two
19WEAVING

13. The atrium, located just inside the main entrance of the building, contains two elevators and a grand
staircase that reaches from the main level above the cellar to the roof garden. The staircase rotates at each
floor level to metaphorically represent the act of weaving. This is implied by one stretch laying perpendicularly
over top of another, like strings intertwined in a fabric.
Below the staircase, the concrete floor above the cellar opens up, revealing the structural ribs beneath. The
ribs are covered by glass, in order to allow views down in to the cellar, while preventing undesirable thermal
conditions for winemaking and storage.
The stair is primarily supported by steel channels that run along either side of the width, and are anchored
into the concrete at the top and bottom. Textured steel treds and landings are bolted in between the channels.
The railing structure rises out of the top of the channel to hold a woven metal mesh.
Above: Handrail Section
A section drawing cut through a handrail.
Below: Stair Section
A section drawing cut through the stair..
Grand Staircase
2'9"
2"
3'6"
21WEAVING

14. The building is shaded along the east and west facing sides by a brise-soleil. These sun baffles located
along the exterior perimeter of the building, rest in between the columns closest to the cantilevered corners.
The structure consists of a metal screen supported by aluminum framing. The framing branches off towards
the columns, where it is bolted into the concrete, near the top and bottom of each component.
The framing is reminiscient of a Mondrian painting, consiting of golden harmonies often found in nature.
Although, some of the proportions are completed by other parts of the building in the background. Different
rectangles within the frame alter the viewer’s perception of the foreground, middleground, and background
beyond.
The shading system is intended to be semitransparent, in order to allow views through the screen, of the
beautiful mountainsides in the distance. Also, at night the building is able to glow through the screen.
Woven Facade
Above: Metal Screen Mesh
A photograph of the woven metal mesh.
Below: Screen Elevation
An elevation of facade.near the entrance.
23WEAVING

15. 2524 WEAVING
Hardwood Flooring
Marble Tile
Mortar
Plywood Sub-Flooring (4’ x 8’ x 3/4”)
Furring Strips (1” x 4”)
Radiant Tubing
Rebar
Plumbing
Electrical Channel
Wiring
Mortar Bed
Radiant Tubing
The building takes advantage of the Holedeck construction method to allow for woven systems. This
construction type incorporates a molding component that is slightly different from traditional molds. The main
difference is that this method allows for holes within ribs and slabs. The rib essentially becomes a joist as the
forces travel diagonally around the openings (Holedeck).
Plumbing and electrical conduit weave through the openings in the waffle slab. The different height levels of
the pipes and conduit allow for the two systems to pass over top of one another.
Radiant tubing is laid atop of the concrete instead of embedded into it to prevent costly repairs. This tubing
is used to both heat and cool the building. The drawing below shows two cases of how the radiant tubing is
placed. On the left, the tubing weaves back and forth in between furring strips. On the right, the tubing weaves
around raised tile supports.
Woven Systems
Above: Building Systems Plan
Pipes and conduit weave through slab.
Below: Building Systems Section
Section illustrating how systems weave.
Hardwood Flooring
Plywood Sub-Floor
Furring Strips
Radiant Tubing
Tile
Mortar
Tubing
Mortar Bed
Water Valve
Holedeck Slab
Rebar #3
Wiring
Plumbing
Rebar
Channel
Light Fixture
WEAVING

16. The cabins emerge out of the sloping mountain side, to have a view of the valley below. Each unit has its
own patio, providing a place for visitors to have a picnic and watch the sunset. The units are slightly displaced
from one another, in order to create a sense of privacy.
In plan, the cabins appear to weave in and out of the ground. Near the main entrance, two columns rise to
support the roof above. Pre-cast concrete panels then weave around the columns. This feature is very similar
to the instance that occurs in the winery building facade, where the columns represent the trellis stakes.
The cabins include a fireplace within a combined living, dining and kitchen area. The interior walls in this
portion of the unit appear to be cabinet-like, with built-in furniture and appliances. In the adjacent wing, the
bedroom has a view into a private garden, to instill a feeling of solitude and serenity in the visitor. The garden
enclosure features a trellis for Virginia Creeper to grow up from the ground, into the frame above the brick wall.
Above: Weaving Wall Plan
An initial plan of the entrance wall.
Below: Cabin Rendering
An exterior rendering of the cabins.
Subterranean Cabins
27WEAVING

17. Opposite: Cabin Rendering
An exterior rendering of the
southeastern facade of a cabin unit.
28 DOCUMENTATION
Documentation

18. Opposite: Cabin Rendering
An exterior rendering of the front
entrance on the southern facade of a
cabin unit.
30 DOCUMENTATION

19. Opposite: Cabin Section
A section drawing looking East at a
cut through the cabin.
Below: Cabin Render
An exterior render of the view looking
West at the Cabins.

21. 36 DOCUMENTATION

22. Scale: 1/8” = 1’ - 0”
Floor Plan: Cabin Units
DOCUMENTATION DOCUMENTATION 3938

23. Winery 1st & 2nd Floor Plans Winery Ground & Roof Plans
DOCUMENTATION 4140 DOCUMENTATION

24. DOCUMENTATION42
Below: Winery Section
This image highlights the view into
the cellar from the atrium above. The
openings in between the concrete
ribs are covered by a thin layer of
glass for thermal control.

26. Opposite: Study Model Elevation
This image begins to ask how the facade
should be divided.
Right: Winery Facade Study
Precast concrete panels weave in
between the columns on the back right.
47DOCUMENTATION

29. These study models explore spatial
conditions and the movement of light
through the facade:
The image on the left begins to hint
at cantilevered corners and a brise-
soleil that will shade the interior of
the building. A succession of bearing
pads emerge out of the columns to
catch the edge of the slab.
The image on the right
demonstrates how light is allowed to
pass through the open waffle slab
on the exterior. These openings also
serve to let rain pass through the
slab, instead of accumulating on the
surface. A glass curtain wall can be
seen on the left.
53DOCUMENTATION

30. Opposite: Winery Section Model
This image provides the viewer with a
sense of scale.
Right: Winery Facade Study #2
Precast concrete panels weave in
between the columns on the left. Visual
continuity is maintained to enhance the
weaving appearance.
55DOCUMENTATION

31. Opposite: Bird’s Eye View
Looking down at the model you can
begin to see the weaving facade.
Right: Slab Opening Overlay
This is an image taken looking up in
between the ribs of each floor. Imagine
feeling the rain, listening to the drops
splatter at various heights.
57DOCUMENTATION

32. Opposite: Looking Up
The bolted connections are visible
between the precast panels and the
column in the middle.
Right: The Cellar
The large ceiling height of this area will
accomodate tall winery tanks that are
necessary for fermentation.
59DOCUMENTATION

33. 1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Scale: 1/4” = 1’ - 0”
Isometric
Winery Wall-Section
1. Foundation
2. Cast-in-place Concrete Retaining Wall
3. Precast Concrete Panels
4. Precast Concrete Columns
5. Stainless Steel Bolted Connection
6. Cast-in-place Waffle Slab (Holedeck)
7. Embedded Steel T-Column
8. Glass Curtain Wall
9. Window Mullions
10. Cast-in-place S.O.G.
11. IsoKorb Thermal Break
12. Compression Resistant Water Proofing
13. Roof Insulation
14. Permanent Filtration Geotextile
15. Chip Bed
16. Pavement
Scale: 1/4” = 1’ - 0”
Exploded isometric
Winery Wall-Section
Below: Winery Render
An exterior render of the Winery
looking North East along the facade.
DOCUMENTATION60

34. DOCUMENTATION62

35. DOCUMENTATION 65

36. Opposite: Winery Entrance
An exterior render of the Winery
Entrance. From this perspective, the
Gondola Stations can be seen on
both sides of the main entrance.
67
The ancient art form of weaving has desirable impacts when
reinterpreted through architectural design. By studying the weaving
nature of the trellis in relation to the vine, I explored how to evoke an
architecture that sheds light on its own primitive roots.
Gottfried Semper claimed that the development of the facade
could be traced back to weaving. I have discovered, along this
discourse in architecture, that there are some instances where the
roof or floor plane can take on this same character. As demonstrated
earlier, woven canvas can provide necessary shading under roof
garden pergolas. Also, tile and wood can be arranged to serve as a
representation of weaving on floor surfaces of the cabins and winery. I
thought it best to design these structures with the essence of weaving
in mind, so that the idea would be expressed clearly, at multiple
scales, and in many ways.
While there is a drive to embody the wild spirit of the vine in the
work, “the building must not demand things which cannot be found
or made ready without great expense,” as Vitruvius suggested.
(Book One, Chapter II, Sec. 8 ). A certain balance must be struck
between the luxurious grandeur of the visitor’s area and the utilitarian
efficiency of the winemaker’s cellar. Additionally, it should be safe for
both visitors and employees. In other words, the building should be
beautiful, stable, useful, and economical.
This work is meant to celebrate not only architecture, but also
the rich culture and land throughout the Monticello AVA. I find it
both remarkable and inspirational to see the vast amount of failures
precipitated by our forefathers here that make our success possible.
Conclusion
CONCLUSION

37. REFERENCES 6968 REFERENCES
References Photo Credits
Key: t=top, b=below, c=center, l=left, r=right
Title Page: © macbrianmun / Adobe Stock
p 3 © García + Betancourt - retrieved from Archdaily.com, p 5 ©
UMB-O / Adobe Stock, p 8 © Carlos Yudica / Adobe Stock, p 9(t) ©
Twentieth Century Fox Home Entertainment LLC - retrieved from
Amazon.com, p 9(b) © Marqués de Riscal (Vinos de los Herederos
del Marqués de Riscal, SA), p 11(t) © Treasury Chateau & Estates, p
14 © nuwatphoto / Adobe Stock, p 15(t) Photo by Patricia Oakley
Griffen, Craig. “Interweaving Culture and Form; Weaving as an Analogy for
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38. ACKNOWLEDGEMENT 7170
Acknowledgement
AFTERWORD
Afterword
In his poem, “Work,” Kahlil Gibran explores the human condition:
“Then a ploughman said, Speak to us of Work. And he
answered, saying:
You work that you may keep pace with the earth and the soul of
the earth. For to be idle is to become a stranger unto the seasons,
and to step out of life’s procession that marches in majesty and
proud submission towards the infinite.
When you work you are a flute through whose heart the
whispering of the hours turns to music. Which of you would be
a reed, dumb and silent, when all else sings together in unison?
Always you have been told that work is a curse and labour a
misfortune. But I say to you that when you work you fulfill a part of
earth’s furthest dream, assigned to you when that dream was born,
and in keeping yourself with labour you are in truth loving life, and
to love life through labour is to be intimate with life’s inmost secret.
But if you in your pain call birth an affliction and the support of
the flesh a curse written upon your brow, then I answer that naught
but the sweat of your brow shall wash away that which is written.
You have been told also that life is darkness, and in your
weariness you echo what was said by the weary. And I say that life
I would like to acknowledge and thank the following for assistance with this book:
Hunter Pittman for his professional support, training and direction; Patrick Doan for
his time and constructive criticism, before and after the start of this book; Sarah White
for her honest feedback and enthusiastic support for this project from the start; Barry
Moss for his professional opinion and power tools; and Ellen Moss for her culinary
talent, and knack for crafting fuel.
This book is dedicated to my mother, Ellen Moss, and to my father, Barry Moss.
Without their loving support and guidance, I would have never made it to this point in
my life. Thanks to their patience, I feel as if I have finally learned a sense of purpose.
It’s been an imperfect ride, but at least all of our limbs are still attached and inside the
vehicle. On we go!
For Sarah, Tao, Nana, Papa, Rita, Annette, Bailey, and Ian, forever.
RTM

39. AFTERWORD 7372
is indeed darkness save when there is urge, And all urge is blind save when
there is knowledge. And all knowledge is vain save when there is work, and all
work is empty save when there is love; and when you work with love you bind your
self to yourself, and to one another, and to God.
And what is it to work with love? It is to weave the cloth with threads drawn from
your heart, even as if your beloved were to wear that cloth. It is to build a house
with affection, even as if your beloved were to dwell in that house. It is to sow
seeds with tenderness and reap the harvest with joy, even as if your beloved were
to eat the fruit. It is to charge all things you fashion with a breath of your own spirit,
And to know that all the blessed dead are standing about you and watching.
Often have I heard you say, as if speaking in sleep, “He who works in marble,
and finds the shape of his own soul in the stone, is nobler than he who ploughs
the soil. And he who seizes the rainbow to lay it on a cloth in the likeness of man,
is more than he who makes the sandals for our feet.” But I say, not in sleep, but
in the overwakefulness of noontide, that the wind speaks not more sweetly to the
giant oaks than to the least of all the blades of grass; And he alone is great who
turns the voice of the wind into a song made sweeter by his own loving.
Work is love made visible. And if you cannot work with love but only with
distaste, it is better that you should leave your work and sit at the gate of the
temple and take alms of those who work with joy. For if you bake bread with
indifference, you bake a bitter bread that feeds but half man’s hunger. And if you
grudge the crushing of the grapes, your grudge distills a poison in the wine. And if
you sing though as angels, and love not the singing, you muffle
man’s ears to the voices of the day and the voices of the night.”1
- Gibran, Kahlil The Prophet
This Poem is a reflection of the way I feel about my learning
experience within the School of Architecture at Virginia Tech. The
most important thing that I learned during my education here was
not how to think like a designer, but how to love working. Alhough,
the former is a necessary element to becoming a succesful architect,
the latter is of equal, if not greater, importance. The more you care
as an individual, the less likely you will be to quit, and the more
encouraged you will be to succeed. As a result, your studies will often
progress further. Now, possibly the greatest contradiction within the
extraordinary architect’s search, is the desire to remain uncomfortable
with design schemes, while still loving to work. Patience combined
with consistent love is the architect’s only salvation, when it comes to
working through this conflicted process.
On the opposite end of the spectrum, apathy and fear are the
architect’s poison. Both will render the architect unable to work.
Apathy will lead to laziness, and fear will cloud the mind. The only way
to overcome both is to work consistently, with love and patience.
Afterword...Afterword...
AFTERWORD
Notes:
1 Gibran, Kahlil. “Work.” The Prophet. Project Gutenberg Australia. E-book. June, 2002.
<http://gutenberg.net.au/ebooks02/0200061h.html#7>. May 3 2016.