p neuma - virginia tech · in winery w ashington a lexandria a rchitecture c onsortium alexandria,...

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Thesis My theis began by exploring what

“Pneuma” means.“Warm, cool, humid, airy, radiant, cozy are

an important part of our experience of a space,they influence what we choose to do there but alsohow we feel about the space.”1 Thermal qualitiesare important in the architect’s initial conceptionand could influence all phases of design. Airflow isas important to the human body as it is in a building.The purpose of the paper is to establish the relationof the respiratory process and spirit “Pneuma” ofthe human body to a building through the naturalclimatic system. The word Pneuma that derivesfrom the Greek word (pnein), means “breath”, and“wind” as well as the vital spirit, the soul. Similarly,psyche from the psychein or “to breathe, to blow,to cool” means breath and soul. The Latin workanima, signifies “wind” and “spirit” and leads toanimus” the soul.” Pneuma and psyche as well asanima and spiritus are identified with life and with allliving beings and of the universe. In ancientmedicine pneuma was associated with the breathdiffused through out the body. Many ancientphilosophers speculated about pneuma as the soulof the world and the divine breath animating thecosmos. “Diogenes of Appollonia believed thatpneuma was the essential element of the universeand as the vital breath that, together with theblood, circulated through human veins”. 2

Aristotle said that the heart is created first,the heart is the last organ to stop working, the heartis in the center of the body, therefore the conclu-sion seemed clear to him: the heart is the seat oflife. The heart beat speed up or slow down when aman experiences joy or sorrow. From this Aristotleconcluded that desires, feelings, and all emotionsare derived from the heart. The brain seemed torepresent the direct opposite of the warm, mobile,blood filled heart. It was cool, contained blood thatwas immobile, therefore he concluded that isfunction was a to cool the blood heated by theviolent exertions of the heart. However, he believedthe soul, the intellect, and the character were not

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bound to any organ, they were independent ofthe body. The heart, Aristotle said, was not merelythe main conductor of movement and emotions,but also the controller of metabolism. Thesubstances absorbed from nutrition, he thoughtturned into blood in the heart and mixed with air“Pneuma” which came from the lungs. Thefunction of air, since it was cold, its purpose was to

cool the hot blood.

“The key to life is the lung” Le Corbusier.

In the Radiant City, Le Corbusier explains respira-tion, as matter of lungs, Air gives the lung its raisond’etre “exact air”. The lungs are the essentialorgan of respiration, it is within the lungs that darkblood is transformed in to red blood, that occursfrom the gaseous exchange between the bloodand the air outside. The Lung is the exchangecenter were blood brings its Impurities to get rid ofthe them but at the same time picks up oxygen tocarry it to the body tissues. Lack of air causesdeath.

In Thermal Delight Lisa Heschong said lifeexists within a small range of temperatures. Thesurface of the earth is constantly heating up andcooling down with each daily cycle and eachyearly cycle. The ground heats the air around it,driving the forces of weather that can changethermal conditions over the course of a few hours.One of the most important ways to regulate theflow of heat is through the circulation of the blood.Mammals and birds can control how much bloodis flowing to the surface of the skin. Human nakedskin functions well in the hot, humid tropics butneeds some help in other climates. Some tradi-tional clothing developed by different culturesoften have extremely well thought thermalfunctions. For example the white robes that theArab where reflect away the sun’s radiation whilehelping to fan air past the body and increaseevaporative cooling. In the other extreme thoughthe fur parka of the Eskimo keeps in both bodyheat and water vapor from perspiration so thatthe Eskimo lives within a semitropical environment.

Nest building is, the best way of choosingthe best microclimate. An animal seeking out a

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rock crevice or a hole in the earth as a place torest and be cool is choosing a favorablemicroclimate. All animals start their nests byfinding the best location. The Anasazi Indians ofthe southwestern United States were smart inchoosing locations for their cliff dwellings. Theychose locations shaded in the summer by anoverhanging ledge of the cliff, but exposed tofull sun all winter long. With their backs to thecliff, the dwellings were protected from thewinter winds and also took advantage of thethermal mass of the earth to moderate thetemperature flux.

Heschong explains that to enjoy beingwarmed or cooled we need some awareness ofthe process. It is impossible to enjoy consciouslywhat we don’t notice, yet most of the process ofheat flow take place below our level of con-scious sensation. Heat convects away from ourskin surfaces in air currents too gentle to feel.Clues from other senses can help make us moreaware of thermal process. For example there aremany ways to notice that the air is moving andhelping to cool us even when it is too gentle to

feel.

Ho Hsun, a Chinese poet wrote:You can’t see it or hear it,It is so soft. But it is strongenough To dust the mirror with pollen,

And thrum the strings of the lute. 3

One good example of feeling air is thedescription given by Lisa Heschong in ThermalDelight about Japan and Persian Gardens. InJapan people like to hang lanterns or wind chimeunder the roof of the veranda during the hot andhumid summers. The lightly swaying lantern or theringing of the bell gives a suggestion of refreshingwind and coolness. In Persian gardens roses andjasmine and other fragrant flowers were planted indifferent quarters so that when the breeze came, itcame with a lot of scents.

Many of the other sensory associationswith cooling seem to want to remind us of some-thing, like the breeze, lightly playing over thesurface. Cooling sounds are light and high pitched,

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like the Japanese wind chimes or the splashing ofwater droplets in a fountain. Cool decorationsmove lightly over the surface like laciness ofVictorian gazebo or the mosaics of vines and scriptthat twine over every surface of a Persian mosque.Heschong continues to explain that it is right at theskin’s surface that people most consciously noticecooling. Which makes perfect sense when weconsider that both the process of evaporationand convection take place at the surface of theskin. Even when losing body heat by radiation to acold surface, people still assume that they arebeing chilled by a cold draft somewhere in theroom. In contrast, warmth is internal because weassociate it with the warmth generated within ourown bodies. Warmth is what’s alive at the verycore of things. A fire and the sun also generateheat inside of themselves. We feel their heat not somuch warming our skin as penetrating in to thevery center of our being.

“The thermal sense is intricately boundedup with the experience of our bodies. We continu-ally sense the heat flow of our bodies, informationthat creates a general background for all otherexperience. Keeping warm and keeping coolhave been everyday activities for people sincetime immemorial. ”1 We are also unlikely to relateour thermal well-being to anything in particularunless there is an awareness at some level that anobject or place does have a thermal function.Radiant hot water pipes embedded in the ceilingmay work for keeping us worm but there is no wayto sense directly that the ceiling has a thermalfunction. The lack of specific clues makes it hard torelate to the ceiling in the same way we relate forexample to the hearth. The same can be said ofwalls. An important function of the exterior wall ofa building, especially in a cold climate is to act asan insulator between the interior of the buildingand the weather conditions outside. In the middleages they used intricately woven tapestries andcarpets in the medieval halls. This was originatedwith the European peasants who would hang skinsor lengths of cloth on the walls of their housesduring the cold weather. That created an extrainsulating air space and a radiation barrierbetween the inhabitants and the cold exterior

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walls. The royalty used very special pictorial hang-ings. The Mughuls of India developed a similarsystem in order to heat their open and airy stonepalaces in winter. Persian carpets, in addition toproviding insulating layers over the stone floors forpeople to sit on, they are also hung along the wallsfor insulation. The carpets were valued for thebeauty but also for their warmth and comfort. Amechanically cooled place is linked with symbol ofstatus. The heat was an equalizer, somethingeveryone had to endure, rich or poor. While theproblem of cold weather was extremely complexand expensive. In medieval Islamic countries, bigeffort was expended to cool the throne or pleasurepavilion of the sultan. Elaborate waterworks wereused to cool an area by evaporation.

The hearth is well known as the center ofgathering and to provide a source of heat for thehouse. In four books of architecture, Palladiodescribes how the ancients used to heat theirhouses, they build chimneys or ducts (canna,tromba) in the thickness of the wall through whichthe heat of the fire below the rooms rose and wentout through certain vents of holes made at the topof the chimneys. In the summer the “Trentos” whichare the gentlemen of Vicenza, cooled their rooms inthe same way. Since in the hills of that estate thereare some large caves which the locals calledcovali, using those caves that existed in that regionby directing the air through certain vaults ventiductsthat they call ventidotto and then send the fresh airthrough all the rooms with tubes opening andclosing them to produce more or less coolnessaccording to the season. Palladio also mentions the“prison of the winds”, which is an underground roombuilt by Signor Francesco Trento, which he callsEolia, where many of the ventiducts open out. Thedescription of air flowing through out the buildingthrough pipes and vents, relates to the circulatorysystem of the human body of the veins and arteriesand lungs.

Like Aristotile, Erasistratus a Greek physicianborn in 320 B.C. was interested on how the humanbody works most of all the heart and the bloodvessels. Following the paths of the blood vessels, hemade his way to various organs, and when dissect-

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the nervous system through the bloodvessels of the brain, and to be transformed in to adifferent kind of pneuma, which he called “soulpneuma”. He assumed that this air was also inconstant motion, starting form the brain andcoursing through the body by means of the spiralcord and the nerves. Therefore he concludedthat the “human body has three kinds of sub-stances which made their way outward from thecenter: blood by way of veins, “life pneuma” byway of the arteries, and soul “soul pneuma” byway of the nerves. (figure 1)

The three substances according to Erasistratus. The blood in the veinsis drawn black, the “life pneuma inthe arteries white, and the “soul

pneuma” in the brain and nerves grey.

DobyT.,.M.D.Discoveries of Blood circulation.

(figure 1)

Leonardo da Vinici was also interested infinding answers about penuma. Da Vinci explains“The lung is not capable of sending air in to theheart, however, he continued it does not needto, for air is produced within the heart, whichevaporates in the form of perspiration on thesurface of the skin through the extreme ends ofthe capillaries.”1 He rejected the theory thatpneuma went directly in to the pulmonary veinsthrough the trachea ending in vessels. Hisquestion was ” What was pneuma? And whatwas air? There must exist a common factor

ing them he always found them filled with blood,just like the veins. Therefore, he thought the bloodmust have reached them through the veins. In thelarger arteries, on the larger arteries, he foundmostly air. Fresh air comes from the lungs throughthe “vein-like arteries” (pulmonary veins) in to theleft side of the heart where he concluded that theinhaled air was transformed in to an air like sub-stance maintaining life- the “life pneuma”. Sensa-tion and movement, however were conducted bythe nerves, and Erasistratus believed that airreached

PICTURE IS NOT DISPLAYED PER REQUEST OFVTECH ETD GRADUATE REVIEWER

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between combustion and breathing. “Wherethere is not enough air for the fire, neither fire, norany sort of animal can live. Where fire cannotburn, breathing animals cannot exist either”5 a

(figure 2)

Crculatory System and Lungs

depicted by Leonardo Da Vinci

Doby T., M.D.Discoveries of Blood circulation

(figure 2 )

Kenda Barbara an architect and aprofessor, wrote an article of Villa Eolia as thePneuma of Costozza, which describes in moredetail the same idea that Palladio was explainingabout Trentos. Costozza is a small town nearVicenza, which is full of, caves and springs. Someof the caves are natural, but many are artificial.“An eighteenth- century church historian FranescoBarbano, describes Costozza as one of the mostmemorable marvels of antiquity, with caves andcanals made both by art and by nature and werewinds originate, flow like water and generate freshair.”2 Later an article was published by a historiancalled Gaetano Macca, who describes theunderground movement of “air as process ofpurifying many substances and even writes aboutthe cave as a point of cosmic insight”.6 a InCostozza Kenda explains that there are number of“sixteenth century ville that are connected bygardens and are linked underground throughcaves and wind channels, or ventiducts, forming anatural and unique air conditioning system.”6 b

Eolia she explains is the prime example ofsixteenth century pneumatic architecture. As thehuman breaths through its lungs, so the air of thepneumatic building, which circulates through itsown lungs the ventiducts. Francesco Trento andhis villa Eolia “a superb marvel of construction”6 c

(Figure 3) Francesco Trento was born in 1528, hereceived a doctorate in civil law in Padua andwas knowledgeable about science, philosophy,agronomy, literature, art, and theater but also acollector of art and musical instruments. In 1560Francesco Trento constructed Villa Eolia together


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with another Villa EoliaII. To date Francesco hasbeen credited with the invention of a system ofsubterranean ventiducts for the natural “air-conditioning” system of the family buildings. Fromthe article Kenda Barbara includes a map ofCostozza dated 1567. The oldest surviving docu-ment displaying the original position of Trento’sbuildings, gardens, and orchards. According toTrentos drawings, a colonnaded passage originallyconnected Eolia II with Eolia. A similar connectionshe explains can be found below ground, whereone of the principal ducts leading from the Cave ofthe Winds to Villa Eolia is extended to the site ofEolia II. “Villa Eolia must therefore be considered apavilion or dependency of Eolia II.“6 d (Figure 4)

(figure3) Villa Eolia (Figure 4) Map of Costozza, 1567

Kenda, Barbara, Pneuma in Voila Eolia,

“Francesco Trento devised a naturalclimatic system for his three buildings, Palazzo diCostazza, Villa Eolia, and Eolia II as well as for thenearby Villa Trento. Originally, these four villas wereall connected by underground ventiducts to theCave of the Winds, which has constant tempera-ture of about 14.4 C (Figure 5a+b and 6). It actedas a source of fresh air for the whole climaticmechanism. Hot summer air filled the highest partof this cave, which extends from high in the hill tothe level below the villas, on contact with the rockwalls the air cooled and become heavier, so that itdropped to reach the ventiducts. The movementspushed air along the ducts so that it would risewhen it reached a rising well and eventually passinto the halls of the villas through elaboratelycarved and pierced stone rosettes in the floor.” 7

The mechanism of airflow in Villa Eolia still resemblesits original where in the sixteenth century, Eolia hadat least two vetiducts. The first vent conveyed airthrough the west door while the second ventgenerated air through the north door of thecryptoporticus. There was two additional ventiducts


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that were constructed, allowing air from theeastern and southern sides to enter. Now fromthe Cave of the Winds, air continues to travelthrough a principal ventiduct to the villa’scryptoporticus, or “the Prison of the Winds”and is further conveyed through an octagonalrosetta to the hall of Eolia. (Figure 7) The articlealso mentions about a possible precedent forTrento’s system may have bee provided by theOdeon, a garden pavilion in Padua, builtaround 1535 by Alvise Cornaro who lived from1476 to 1566. In one of his book Art of LivingLong, Cornaro wrote:”… I haveavoided…remaining for any length of time inpoorly ventilated places and have beencareful not to expose myself too much to thewind and the sun for these things too are greatdisorders. He reiterated this advice in his briefbook on buildings, where he stated that hewanted fine tuned and durable edificesthrough the proper selection of site, orienta-tion, materials, and arrangement of correctlyproportioned rooms: and in my chambers, Iam defended from the great heat as well asfrom the great cold the mortal enemies of theold age, because I fabricated them accordingto the laws of architecture which may prolong

human life.”7 a

5a 5b

(Figure 5a) Entrance to the Cave of the Winds (Figure 5b) Interior of a principal Ventiduct Kenda, Barbara, Pneuma in Voila Eolia,

6 7

(Figure 6) Entrance to a principal Ventiduct, 1560(Figure 7) Rosetta in the floor of Villa Eolia


While Trento studied in Padua, hemay have visited the Odeon and come across



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Cornaro’s treatises on architecture and medicine.Both Cornaro and Trento relied on ancientliterature. Theorem IV of Hero’s Spiritali (Figure 8)appears to provide a prototype for villa Eolia. Thismachine demonstrates how a pneumatic devicebeneath a room generates fresh winds channeledthrough the mouths of stone heads mounted onthe walls of the room: ”Building a chamber in towhich a wind will blow more or less according toour desire…. When the water rises, much air fromthe wind outside issues through the mouths to theroom, rendering the space fresh since thesemouths blow like the mouths of windsthemselves…..”7 b Kenda says while the instrumentsof Hero’s pneumatics were only toylike miniatures,Trento transformed them into a pneumaticmachine for human habitation.

8 9(Figure 8) Theorem IV of Hero of Alexandria

(Figure 9) Entrance to the cryptoporticus of Villa Eolia


According to Kenda Barbara Eolia is aprime example of sixteenth century pneumaticarchitecture: the villa is both a physical andspiritual realization of pneumatic principles as wellas a unique cosmological representation. In thearticle Kenda mentions about the Renaissance,that a lot of the attention has been about theproportions of architecture in relationship to thehuman body, music and the cosmos but notabout Pneuma which means -breath, wind, spirit,soul – the primary prerequisite for establishingharmony in the triangular relationship of the“human body, a building, and the universe: theymay all be said to breathe”.7 c Kenda claims in thearticle that the principal goals of the Renaissancearchitects were to augment the powers ofpneuma to “foster the art of well-being”. This ideawas important also to Trento where in one of hisentrance doors in the cryptoporticus of Villa Eolia(figure 9) an inscription reads: AEOLUS HICCLAUSO VENTORUM CARCERE REGNANT AEOLIA(“Aeolus rules over Aeolia by way of this prison of


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winds”), which refers to the mythology of theAeolus, the god o winds: Juno made the windsto go against Zeus as a retaliation for his runningoff with Io. As punishment, Zeus imprisoned thewinds in a cave on the island of Aeolia, lockedthem behind a brass door, and appointedAeolus to be the guardian. 7 d “Renaissancearchitects applied pneumatological doctrines intheir theories and practice because they heldthat true architecture could be deciphered onlyby virtue of a correspondence between thestructure of the soul and that the object. Theybelieved that the art of living well could bedetermined through the discovery of thepneumatic principle of the divinely orderedcosmos and of architecture. Therefore, themodel Renaissance building was to be arealization of pneumatic theories in practiceand was to enhance the well-being of itsinhabitants.”8

The most critical for the study ofRenaissance pneumatic architecture, are themedical aspects of pneuma. According toErasistratos, pneuma in the form of a warm windwas first formed by the inhaled air or theenvironment then revitalized in the heart andspread through the entire organism.Hippocrates taught that all disease was causedby pneuma, and believed that to become asuccessful physician, one had to understandwind. Among the “pneumatists” of medicine,Galen was the first to consider the relationshipbetween pneuma and psyche. He assertedthat “physical pneuma, located in the brainand made by air inhalation and blood exhala-tion, had to be considered the prime instrumentof the human soul.”9

Vitruvius included the subject ofpneuma in his architectural treatise. He ar-ranged streets inside octagonal town halls, sothat the noxious winds would be avoided,referring to the octagonal Tower of the Windsbuilt in Athens by Andronicus of Cyrra aroundthe second century B.C. This monument was anhorologium, containing a clepsydra, or “waterclock” and its exterior was decorated with eightsundials and eight reliefs of the wind gods. The

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tower was crowned by a Triton (keeper of Soul)which rotating with the wind informed ancientAthenians about the weather and about thediseases or the therapeutic powers that the windmight bring. (figure 10)

(Figure 10) The Tower of the Winds in Athens


Kenda Barbara describes that the ideasfor Eolias geometry and for the villas wind dial canbe traced back to the octagonal Tower of theWinds. The cryptoporticus of Trentos is build with amosaic pavement with an octagon in the middle.On the walls there are eight small niches, underwhich are carved the names of eight local winds:”Borea, Euro, Sirocho, Austro, Garbin, Zefiro,Maestro, and Tramot.”9 a The mosaic octagonvertically mirrors an octagonal ceiling rosetta in towhich the eight ribs of the cryptoporticus’s vaultconverge. Eolia show through its geometry thateight was the correct number of winds and followsVitruvius’s instructions on the arrangement of thestreets within the octagonal l walls to defend thecity against the winds. Trento’s villa is orientedtoward the collaterals so that its corners split thecardinal winds and diminish their forces.

The invention of the ventiducts and thearchitectural geometry, for Eolia demonstrates thatTrento’s primary concern was to augment thebeneficial pneuma of his villa. “As the humanbeing breathes through its lungs, so the air of the apneumatic building, such as Villa Eolia, circulatesthrough its own lungs- ventiducts.”9 b “Trentosconceptualized Eolia as a corp mediante,reinforcing a doctrine of Aristotle’s De Respiration:So do all things inhale and exhale…”9 c. In thearticle Kenda also mentions that Leonardo studiesabout pneuma concluded that the architect andphysician must be acquainted with the scientificrules of equilibrium, a building and the human


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body must be balanced by the harmony of allelements.

Shortly after the construction of villa Eolia,Philibert de L’Orme, in his third Book on Architec-ture, published the image “The Architect Emergingfrom the Cave” (figure 11).

(figure11) “The Architect Emergin from the Cave”

from Philibert de l’Orme


The architect standing in front of a cave,holds a compass, integrating with a snakeaccording to Kenda the representation of theimage might be Francesco Trento enlightenedwith the knowledge of architecture and medicinewhile emerging from the Cave of the Winds. Del’Orme also refers to the writings of Hippocratesexplanation of pneuma. “Wind in bodies is calledbreath, outside it is called air… How air, then isstrong in the case of wholes this has been saidand for mortals too this is the cause of life and thecause of disease in the sick, all other activities ofman are intermittent, for life is full of changes, butbreathing is continuous for all mortal creatures,inspirations and expiration being alternate.”1 0

Villa Eolia is therefore the physical andspiritual realization of pneumatic theories as wellas a unique representation of the sixteenth-century understanding of the cosmos. Consideringthe ideas of the ancient “pneumatists”, and thoseof Leonardo, and Conrnaro, Trento constructed aRenaissance model of pneumatic architectureand a therapeutic machine to foster the art ofwell-being. “Eolia, as villa spiritale, demonstratesthat the soul of the edifice functions as indispens-able human soul and the cosmos, and that thistriangular relationship is fundamentally condi-tioned by pneuma and thus by the respiratoryprocess not only of the human body, but also of abuilding and the universe.”1 1


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In conclusion “Pneuma” is an essentialresource for supporting life. Early architectureexisted to create comfortable internal conditions:Roofs, walls, floors, window, and doors all evolvedthrough time to fit the climate. This historicalevolution has formed a massive lexicon of enve-lope typologies that designers can now draw upon.

Architects are now developing advancedtechniques for providing natural air ventilation anddesign with more logical approach when humancomfort and health are taken in to consideration.

The winery is designed based on the air that movesin the site. The idea of using pipes was one way ofbringing natural air in to the building without havingto use machines.

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1 Doby T., M.D. Discoveries of Blood circulation. (New York, London,Toronto: Designed by the Etheredges, 1963).p.97- See(figure 1)

2 Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998) p.101

5a Doby T., M.D. Discoveries of Blood circulation. (New York, London,Toronto: Designed by the Etheredges, 1963).p.97

6a Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998)p.101

6b Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998)p.101

6c Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998)p.102

6d Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998)p.103


7a Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998)p.105

7b Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998) p.107

7c Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998)p.108

7d Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998)p.108



9a Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998) p.111

9b Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998)p.113

9c Kenda, Barbara, Pneuma in Voila Eolia, (Res 34 autumn 1998) p.113

10 Alberto Gomez and Stephen Parcell, Chora-Intervals in thePhilosophy of Architecture, (McGill University , Montreal, Canada1996) p.50


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Thesis Defense Day

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Collage of Ideas

The first thoughts began by collage ofideas of history of “wine”, the idea of the“human body” and its relation to wine.

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Site

The site is located in Barbousville, Vir-ginia. A winery already exists and amansion which was build by ThomasJefferson. The mansion was destroyedby fire in 1884 but its ruins have beencarefully preserved. There are 135 acresof vines that exist in the site today.The new building will be located in thesame spot where the old one is, facingthe main road so the visitor is welcomedas they enter the site.

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Site

View from the main road way

USGS Aerial Photo of Site

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Existinng Site Pictures

View from main road

historical mansion viewfrom the winery

historical mansion

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Photo A from brochureof existing winery

Photo B from brochureof existing winery

Photo C from brochure of existing winery

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Site Map andAerial Site Photos

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USGS Map of Site

USGS Map of Site

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USGS Aerial of Site

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Main Sketch IdeaThe sketch is the idea of the

vine growing from the earth beanethwith it‘s roots underground. The twowalls represent the lungs of thebuilding where they protect theheavy wind from entering inside.

While the center (aorta, root )is the “pneuma” of the space were itwill bring life inside the building fromthe earth below to the on pen sky.The main elements the grape, thelung the making of the barel with fireinside. The human function with thecardivascular system that bringsblood to the heart therefore bringingair to the lungs. The same experienceof the building were the roots under-neath of the winery represent theaorta that will bring air inside thebuilding from the ground below.

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Earlier Sketches andStudy ModelsWork in progress

The Sketches and study modelsexplore the idea of dividing the wineryin two halfs.

One being the process of thewine and the other the visitor walkthrough.

After disecting a grape in twohalfs and seeing the human lung cut insection both seemed very similar in thesystem of breathing. The middle root ofthe grape that makes the grape grow,so does the main aorta of the humanbody brings the blood to the longs topump “air”.

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3D Model StudiesWork in progress

Studying materiality by using 3d ele-ments and models by hand.The idea of bringing life in to the winerythrough air, was best desplayed byusing pipes (glass and metal). Some ofthe first ideas to study how the pipecould be used to make the best func-tion.

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Lung study model

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Sculptural Model ofMain Idea/ StructureStudy

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Final Presentation/Site Model

The visitor is welcomed by a long proces-sion of a glass retaining wall that acts asmusuem of housing the vines of the site bybeing able to look at the roots as you walkby.

The WInery is divided in to two halfs, by aplaza in the center that stores a series ofpipes that protrude from underground.

The talest side of the two halfs is the visitorscenter that is made up of 3 floor. Thematerial is made of metal pipes and a lotof light entering through a wall of glass.

The other half side will house the processof wine making in 5 floors. The material ofthe process building will be made ofconcrete with very few windows to controltemperature the best.

The winery functions through a series ofpipes that are in the center. Those pipesbring air, water, electricity, wine and theyalso store the elevator which is one of thebigest pipes in the center. The pipes thatbring air in to the building go underground were they are connected with aseries of folies around the site that functionas thermosifon.

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Underground the grapes are brought in tothe reiceiving area were they are pulledup by one pipe in to the pressing machineon the 3rd floor. Then the process contin-ues in to another pipe to be brought in tothe fermentation room on the 2nd floorwhile another pipe brings the wine in tothe barrels for aging. The final room is thetasting room where it takes place in thevistior center either on the undergrounddark floor surounded by all the bottles, orthe 3rd floor and roof floor were it is opento the sky above were you can look at thevines outside. On the visitor center there isalso seating outside by a series of cascad-ing terraces that a visitor can enjoy theview of the vista of vines and mountains.

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Site Plan, Plans,Sections Elevationsand Final Model

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Bibliography

Bachelard, Gaston. Air and Dreams. (Dallas: TheDallas Institute Publications, 1988).

Doby T., M.D. Discoveries of Blood circulation. (NewYork, London, Toronto: Designed by the Etheredges,1963).

Gissen, David. Big and Green Toward SustainableArchitecture In The 21st Century. (New York:Princeton Architectural Press, 2002).

Heschong, Lisa. Thermal Delight In Architecture.(Cambridge: The MIT Press, 1979).

Kenda, Barbara. On the Renaissance art of well-being: Pneuma in Voilla Eolia. (Magazine: Res 34Autumn 1998).

Klein, Robert. Form and Meaning. (Princeton:Princeton University Press 1979).

Le Corbusier. The Radiant City. (New York: The OrionPress. 1967).

Palladio, Andrea. The Four Books on Architecture.Translated by Robert Tavernor and RichardSchofield (Cambridge: The MIT Press, 1997).

Perez-Gomez, Alberto & Parcell Stephen. ChoraIntervals in the Philosophy of Architecture. (Montreal, Quebec: McGill-Queen’s University Press,1996).

Vitruvius, The Ten Books on Architecture. Translatedby Morris Morgan (New York: Dover, 1960).

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VitaA challenging position with a progressive architec-tural firm that will enable me to learn and expandmy design and technical skills with opportunity tocontribute to all aspects of the project designdevelopment through construction documents.

Master of ArchitectureVirginia Polytechnic Institute and State UniversityWashington Alexandria Architecture Consortium,Alexandria VirginiaBachelor of ArchitectureThe Catholic University of America, WashingtonD.C.Bachelor of Science in ArchitectureThe Catholic University of America, WashingtonD.C.Associated in Applied Science in ArchitectureNOVA- Annandale VA Cum Laude

“Pneuma” In Winery, Winery in Barbousville Virginia

“Study Center/Museum” for the restoration andpreservation of the Acropolis

Certificate of achievement award in architectureDean’s listExhibited project at the National Building Museumin Washington D.C.Design build workshop - published in the magazineof ARCHITECTURE, May 2000Involved in preservation project for St. Mary’schurchFinalist at the international competition for thedevelopmentof ‘David’s Island” in New York at the castle galleryof New RochelleForeign studies competition at Catholic UniversityNational metro canopy competion in WashingtonD.C.

STUDIOS Architecture, Washington D.C.Designer for apartment building in Bethesda,Maryland

Bowie Gridley Architects, Washington D.C.Worked on different aspects of project from SD, DDto CD. Responsible for choosingfinishes for most projects and putting finish boardstogether. Designer for graphicsand master plan booklets. Field measuring. Jobs

objective

master thesis

education

fifth year thesis

honors/awardscompetitions/

accomplishments

work experience

may 1999-june 2003

february 2005-present

Irene Nafpliotis

may 1997

may 1996

may 1994

december 2004

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worked on included: Art Center(SD,DD,CD) and final finishes in GermantownMaryland. Williamsburg Lower/MiddleSchool (SD,DD,CD and final finishes) in arlingtonvirginia. Preservation and renovation of a Middleschool for disabled children in Washington D.C.,Lower/Middle School Gym and educationfacilities in Texas. Renovation of interiorlobby and entrance lobby of John Hopkinsuniversity in Washinngton D.C.,master plan for an elementary school plus a St.John church in Baltimore Maryland.

Heery International Inc., Washington D.C.Worked w/ project leader to complete DD andCD drawings, field measuringand space planning. Initiated graphics forpresentation drawings.Project included: Convention Center (CD’s) inWashington D.C.Preservation and renovation (DD, CD)of a hotel inNew York.

Lascaris Interior Design, Mclean Va.Designer for variety of projects (international anddomestic). Responsible forpicking finishes and putting presentation finishedboards.

Holland Lessard Group, Washington D.C.Intern architect, assisting in field measuring, filemanaging, and interior design work.

Microstation, Auto Cad14, Archicad, Adobe(photoshop, pagemaker, and illustrator),Microsoft (word, excell, power point)

Fluent in greek, english, arabic. Reading andwriting french

available

computer skills

languages

referenceupon request

dec.1997-may1996

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