In Vino: A Winery Dispersed Through the Vineyard Rows It Serves

Most wineries clear a patch of vineyard and plant a monument in it. In Vino refuses that move. Its premise is that a winery set inside a cultivated landscape should not stand apart as an isolated object; it should become part of the field. The vineyard and the architecture pass through each other. Production halls, tasting spaces and guest accommodation are scattered among the vine rows rather than gathered into one commanding building.

The proposal by Lisa Hasenohr was a Shortlisted entry in Pour 2020. It reads the vineyard as a man-made landscape, ordered by planting geometry, circulation and the routines of harvest, and builds its master plan from that order. The site's natural fall becomes part of the winemaking process, and generous glazing keeps visitors in constant view of the vines. What results is less a single building than a route through cultivation, processing, tasting and hospitality.

Vine Rows as the Master Plan's Ruling Grid

The site plan sets out the project's main argument. Guest suite blocks with timber decks, tank halls and service buildings sit among parallel rows of vines, and none of them claims a separate precinct. The rows continue around and between the volumes, and paths follow the same direction. Each structure is placed according to its programme and the topography, so the composition stays dispersed. The vineyard remains the dominant field, and the buildings occupy chosen moments within it.

The rendering shows that strategy at eye level. A glazed, dark-clad pavilion stands right beside the vine rows, close enough that a visitor can reach out and touch the leaves. The dark cladding lets the volume recede against the foliage, while the glazing turns the interior toward the landscape. The contrast in scale between the fine repetition of planting and the larger built volumes keeps the architecture legible without letting it take over the site.

Guest Rooms Staggered Between the Plantings

The accommodation applies the same logic at a smaller scale. Guest rooms are paired, each with its own bathroom and timber deck, and the pairs are staggered between rows of vines instead of lined up along a corridor. The stagger gives each deck a view along the planting and keeps neighbouring rooms out of each other's sightlines. Staying overnight here means sleeping inside the working landscape rather than looking at it from a hotel wing. Hospitality becomes another layer of the field, not a separate destination.

Arched Sheds and Walkways Beneath the Peaks

The production buildings take on the curved and arched roof profile of agricultural sheds. They rise above the vine rows against a blue sky and a rocky peak behind. This is a sensible reading of context: the vocabulary comes from the working architecture of farming, not from the language of the luxury tasting room. Placed among the rows, the sheds read as part of the vineyard's equipment, which suits a project whose subject is production as much as display.

Between them, paved walkways run alongside strips of vines and carry pedestrians past the arched sheds toward a glazed pavilion, with jagged mountains closing the view. The paths follow the direction of the rows, so moving through the campus becomes a walk through the crop itself. Visitors cross the vineyard at walking pace and read its order directly, which no viewing terrace above the vines could offer.

Gravity Steps the Wine Downhill

The system section above the final site plan holds the project's most persuasive idea. Pressing, fermentation, bottling and tasting step down the slope one after another, and the wine moves between stages by gravity. The natural topography does work that would otherwise fall to pumps, and the building sequence matches the production sequence. Sustainability here is built into the section rather than added through technology, and the plan beside it shows how this vertical logic sits within the horizontal order of the vineyard rows.

Why This Project Matters

Winery design often divides into two types: the agricultural shed that hides production, and the architectural statement that sells the brand. In Vino offers a third option. It disperses the programme into the cultivated field and lets the vineyard's own geometry set the plan, so the boundary between landscape and building is hard to locate. Its contextual integration is not an aesthetic gesture. It follows from taking the vineyard seriously as a designed, productive system.

The gravity-fed section is a reminder that some of the most effective sustainable strategies are also the oldest. By pairing that logic with a campus that puts guests, workers and vines on the same paths, Hasenohr presents a winery that is meant to be walked through rather than looked at. For a competition about wine, that is an apt result: the experience grows from the ground the grapes are grown in.

View the Full Project

About the Designers

Designer: Lisa Hasenohr

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Project credits: In Vino by Lisa Hasenohr Pour 2020 (uni.xyz).