Interior designer Die go Burdi created
different effects for Stratus’s
tasting rooms. In the larger one (left
and far left), a glass wall reveals
French-oak barrels in a climate-
controlled cellar. The other room
(below) has oiled end-grain-
mesquite walls.
TASTING
ROOMS
“I wanted people to really feel
good about the environment
that they were tasting our
wines in, and to come back,”
Feldberg says.
a building that would allow them to make the best
possible wine and offer the best experience to surround and support the tasting (and selling) of that
wine. And green design helped them do that.
From the beginning, the architecture was driven
by the wine-making process. “It was a gravity winery, and there are height restrictions in Niagara-on-the-Lake, so we had to create the maximum
height we could within the restrictions of the zoning,” Andrew explains. The resulting four-story,
18,500-square-foot box that houses the production
facilities is also unusually large given Stratus’s
relatively low annual yield. (It produces about 10,000 HAND-SORTING
cases of wine a year; some of its neighbors produce
ten times that amount.) But to circumvent pump-
ing, the equipment itself had to be movable, and
this required space. The destemming and sorting
machine is on wheels so that grapes can be dropped
directly into the fermentation vats (the only pieces
of equipment that are immobile). And near the
center of the building, elevator tanks carry the
wine to the top of the building to facilitate continuous gravity-feeding.
Just as the form of the building was dictated by
the wine-making, so too was the geothermal heating-and-cooling system tailored to Groux’s needs. “That
is a great tool for a winemaker,” Groux says. “
Because with the geothermal the same media is going
to allow you to cool or to heat.” In fact, the ground-loop system—which is powered by 24 wells drilled
to an average depth of 225 feet—is ideally suited
to a winery. “In the late fall,” continued on page 129
79
On the top floor of the production
building, grapes pass through a
destemming machine, then vibrate
along two sorting tables, where
workers pick out any bad fruit.
A painting by the Canadian artist
Richard Halliday hangs above the
marble tasting bar.