Haus Rüscher by OLKRÜF

Sloping meadows and woodland thickets are all that surrounds this boxy concrete house in the mountains of western Austria by local studio OLKRÜF (+ slideshow).

Haus Rüscher by OLKRÜF

Haus Rüscher is located around a kilometre away from the nearest village and OLKRÜF designed the house as two self-contained buildings that impact as little possible on the surrounding countryside. “It was important for the client to build a very compact house that would not spoil the local landscape by sealing over the top surface with unnecessary concrete, gravel or tarmac,” the architects explain.

Haus Rüscher by OLKRÜF

The outer shell of each building comprises a single casting of concrete, designed to reference the solid volumes of the surrounding mountains. “The most challenging part of the project was the single-piece construction,” architect John Read told Dezeen.

Haus Rüscher by OLKRÜF

The larger of the two buildings contains the living rooms and bedrooms, while the smaller structure is a guesthouse with a sauna and shower room in the basement.

Haus Rüscher by OLKRÜF

In the main house, split levels differentiate between the living room and kitchen on the ground floor, while upstairs the children’s room sits lower than the master bedroom to allow enough ceiling height for bunk beds.

Haus Rüscher by OLKRÜF

Exposed concrete walls are sandblasted to create smooth interior surfaces on the lower level. Floors are lined with elm boards, which also clad the walls and ceilings in the bedrooms.

Haus Rüscher by OLKRÜF

Large windows pierce the concrete facade on different sides to give residents clear views across the mountain and forest landscape.

Haus Rüscher by OLKRÜF

“The most successful thing for us was managing not to compromise on the design from start to finish,” added Read. “That is something that rarely happens in the industry, but in this case the final result is almost identical to the original concept. Partly this was due to our perseverance and partly it was due to the client believing and sharing in our vision.”

Haus Rüscher by OLKRÜF

See more Austrian houses on Dezeen, including one that appears to climb down a hill.

Haus Rüscher by OLKRÜF

Photography is by Adolf Bereuter.

Haus Rüscher by OLKRÜF

Here’s some more information from the architects:


Haus Rüscher

Location

As solitary solid masses embedded in the landscape sits the project Haus R. It hangs on a steep incline at almost 1100 m in altitude and a kilometre from the nearest village of Schnepfau. To the north, the houses back on to thick woodland that cover the rest of the hill, in all other directions lay pasture lands. Because of the elevated position the house enjoys incredible views in every direction, especially of the Kanisfluh mountain and the valleys of the Bregenzerwald.

Haus Rüscher by OLKRÜF

The sparsely populated landscape is reflected in the simple form and basic materials chosen for the design. The double shell is constructed without any horizontal construction joints. The entire outer wall was constructed as one solid piece. In this way the solid concrete hull corresponds to the simple mass of the surrounding mountains. The grassland grows right to the edge of the building to emphasize the concept of the house as a rock emerging from the ground naturally. In addition, a small guest house was included in the design that abides by the same rules of design. It compliments and emphasises the first by creating a ‘natural rock formation’ rather than a solitary monument.

Haus Rüscher by OLKRÜF

Circulation/Rooms

It was important for the client to build a very compact house that would not spoil the local landscape by sealing over the top surface with unnecessary concrete, gravel or tarmac. The top surface surrounding the building had to remain as natural as possible.

Haus Rüscher by OLKRÜF

It was also important that house had a generous living space for entertaining and accommodating guests, but should not be too big for everyday use. As well as providing open space, the design had to incorporate smaller, more intimate areas for when people wished to relax in peace. The guest house and the separation of the sleeping rooms using split levels, are a result of these thought processes.

Haus Rüscher by OLKRÜF

From the mountain track leads a set of stairs between the two houses, which are both entered from the rear, so that the entrances are not visible from the track.

Haus Rüscher by OLKRÜF

The ground floor is shared into separate zones through different room heights in the living and eating area, the kitchen and the circulation paths. The high ceilings in the living space allow incredible views in all directions. In the west, the rooms entire height and width is glazed to give a panoramic view of the surroundings. The lower kitchen area is orientated towards the open living room, above which a vertical air space flows through all the levels. The first floor and cellar levels are reached through a set of floating wooden stairs that pierce the concrete of the outer wall, supporting themselves on one side only.

Haus Rüscher by OLKRÜF

Above: site plan

The differing room heights also resulted from the needs of the two very different sleeping rooms. The lower sleeping room was designed for the children, and was intended to be able to accommodate a double bed or bunk bed system and therefore utilises an intentionally higher format. Latching on to the side of this room is the slightly bigger main bedroom, which has a normal room height and enjoys views of the Kanisfluh. In addition, the guest house bedroom replicates the feel and elegant style of the main house but in miniature. In the cellar, beside the storage rooms and the technical room, there is a small sauna and separate shower room.

Haus Rüscher by OLKRÜF

Above: ground floor plan

Materials and Construction

The 65cm thick hull of the building was formed in two parts: The outer shell and the core insulation managed to avoid the usual visible construction joints by being constructed from one continuous piece of concrete over 9.5 meters in height. Connecting on the inside, the internal walls are also constructed in one solid piece, with the interior walls, for the most part, echoing this process by casting several walls straight through multiple levels in a single piece. The floors are then set into place afterwards by drilling metal into the triple height finished wall to provide the basis for the supporting structure.

Haus Rüscher by OLKRÜF

Above: first floor plan

All the exposed concrete areas in Haus R have a sandblasted finish, the floor is fitted out in Elm and in the cellar the floor is finished in polished screed. By contrast, the two bedrooms (and the guest house) are completely clad in wood. The windows in these rooms are flush with the outside of the building whereas the windows on the ground floor are flush with the inside of the building, this was to allow the inclusion of sun blinds that prevent overheating in during the summer. The jamb is constructed entirely from concrete all the way up to the beginning of the window frame.

Haus Rüscher by OLKRÜF

Above: section

Both roofs were designed inverted. As an important fifth facade, they were finished with a layer of large format prefabricated concrete slabs. The house is also fitted out with a ground source heat pump that provides the majority of the energy for the under floor heating all year round.

Haus Rüscher by OLKRÜF

Above: front elevation

The thermal mass of the building is exceptional for its size due to the buildings extensive use of exposed concrete within the insulation shell. This provides stable warmth through the winter months and a consistent cooling effect during the hot summer days.

Haus Rüscher by OLKRÜF

Above: side elevation

The construction of the building was very complicated and challenging for the many reasons; the concrete walls were cast in one single piece which was experimental for both the builders and the architects. The mountain weather was unpredictable and often extreme. Site access was difficult for the heavy construction vehicles. And the large format windows, that were inserted into the concrete jamb, had very little margin for error.

Haus Rüscher by OLKRÜF

Above: rear elevation

However, the house, from the initial design to the finished building hardly changed at all. This was only possible due to an intense and detailed communication between the architect, the construction company and the client. An important element in this process was the guest house.

Haus Rüscher by OLKRÜF

Above: side elevation

It was constructed using the exact same methods and materials as the main building and provided a useful proving ground. In this way all parties were able to evaluate and optimize the experimental construction methods for the main building, ensuring a very high quality finish.

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by OLKRÜF
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House Y2 by Destilat

This house by architects Destilat appears to climb down a hill at the foot of the Pöstlingberg mountain in Austria.

House Y2 by Destilat

“The design incorporates the property’s topography,” Destilat architect DI Wolfgang Wimmer told Dezeen. “Every floor is ideally adapted to its respective location on the steep slope, which turns the conventional order of public and private areas on its head. The house is structured from top to bottom.”

House Y2 by Destilat

The residence is split between two larch-clad buildings with similar shapes, which are referred to as the “residential building” and the “sleeping building”. The former accommodates the living and dining areas, while the latter contains all the bedrooms.

House Y2 by Destilat

Residents enter through the top floor of the first three-storey building, where an oak staircase leads down into the open-plan living room on the middle floor. From here, an underground passage leads across to the second building.

House Y2 by Destilat

Both buildings feature asymmetric roofs that create irregular ceiling heights and double-height spaces for the rooms inside.

House Y2 by Destilat

“The form of the roofs goes with the incline of the slope, so the buildings seem lower than they would appear with the construction of flat roofs,” said Wimmer.

House Y2 by Destilat

Rooms in both buildings feature cork floors, while one is covered with Tatami mats so that it can be used as a traditional Japanese room.

House Y2 by Destilat

Above: top floor plan

The architects had to fell a tree during the construction process, so they reused the trunk as a structural column along one of the inside walls.

House Y2 by Destilat

Above: middle floor plan

See more Austrian houses on Dezeen, including a stark white residence and a concrete house on stilts.

House Y2 by Destilat

Above: lower floor plan

Here’s a more detailed description from Destilat:


Haus Y2

The property is located on a steep slope at the foot of Pöstlingberg in the immediate vicinity of the Danube. Like all buildings along this residential estate’s main street, its width amounts only to 21m. Some of the neighbouring structures extend almost to the property’s boundary; therefore an orientation towards east and west was of lesser importance.

The building is divided into 2 slim structures. This division increases the effect of the interspace between the structures; it generates a strong relation between the two and ensures the desired link between all floors on this steep property.

House Y2 by Destilat

Above: residential building long section

Design

The design incorporates the property’s topography. Every floor is ideally adapted to its respective location on the steep slope which turns the conventional order of public and private areas on its head – this house is structured from top to bottom.

Integration into the property’s environment

The property’s layout is ideal for designs in accordance with the above mentioned principles. The back side of the building provides protection and is therefore raised while the front side is open and wide. The property’s location above the Danube River is ideal for this kind of design.

House Y2 by Destilat

Above: sleeping building long section

Structure and shape

The room assignment was the basis for the project’s design with its two structures (residential building + ‘sleeping’ building) which are joined by a subterranean passageway. This way, the two structures are not set against the slope. They are both positioned along the fall line to let the energy of the slope flow through the centre. The structures appear to be one-storeyed on the sides that face the slope.

The residential building (southeastern side) almost seems withdrawn while the sleeping building (southwestern side) is open like a big gate. Formally, both structures are perceived as twin or duplex houses. They seem to be unusual and familiar at the same; their heights and dimensions are also very similar. The structures’ exteriors follow the property’s boundaries; their inner sides, which are facing each other, generate unique dynamics in this context. Both houses are covered with irregularly inclined saddle roofs across the entire length of the respective structure. These roofs rise gradually from the side of the entrance and drop steeply at their narrowest point between both buildings along the slope’s inclination. The varying inclinations of the roofs are felt in every room of the house – with ceiling heights of up to 5 m.

House Y2 by Destilat

Above: cross section

Layout

The way to the entrance door was particularly important for this project: it does not lead to the door in a straight line but takes visitors to the structure’s back via a roofed concrete ramp that leads through the carport’s wide open gate. From this point a wooden bridge branches off to the left and ‘bridges’ the gap to the entrance of the residential building.

House Y2 by Destilat

Above: massing diagram one

Residential building (southeastern side)

A draft lobby is located behind the front door and leads to the waiting area of the treatment rooms as well as to the private cloakroom. Natural light floods into the entrance area via a large window that provides a view of the front garden as well as the wooden bridge and the neighbouring sleeping house.

The sides of the Shiatsu treatment room are 3.6 m long. This room is meant for treatments on 8 rice straw mats which are placed on the floor. Tatami are used for floorings in traditional Japanese houses and may not be walked upon in shoes. At night, a futon is laid upon the tatami mat and turns this room into a sleeping area. This area can also be used as a guest room as it also works as an independent unit due to the adjacent bathroom on the entrance floor.

House Y2 by Destilat

Above: massing diagram two

An oak wood staircase leads directly from the entrance area to the living area that comprises all functions from living and dining to cooking – in this order. This is the area where everybody come together. It is the most public room in the house and the very centre of communal life. Inhabitants and guest meet here to relax, listen to music, read, cook and communicate. There are almost no right angles in this entire – almost sacral – room. The freestanding staircase, the suspended body, windows in various formats and on different levels as well as ceiling heights of up to 5 m right below the roof enhance this effect even further. The living area consists of a fireplace, an all-glass corner window with a panoramic view and elevated seating/reading area at the parapet’s height of 45 cm which, at the same time, constitutes the back rest of the free-form seating ensemble. A sliding door offers a view of the wooden terrace that connects both buildings on the outside. The central dining area is located under the physiotherapy room which is suspended from the roof with no supports. The kitchen with its island unit lies right behind the dining area. Oak wood shelves in the back of the dining area, which were adapted to the shape of the staircase, provide clear and open storage space.

One reaches the sleeping house via the subterranean passageway, which is naturally illuminated by the skylight dome right above it, by taking a left turn at the top of the staircase. This way also leads to the slope-sided technical room, the wc and the utility room.

House Y2 by Destilat

Above: massing diagram three

Sleeping house (northwestern side)

The hallways runs along the eastern side of the sleeping house and leads from the bathroom to a recessed balcony. The bathroom – upgraded to a private wellness area – includes an all-glass view across the balcony into the alpine foothills, a shower with mirrored glass walls and a view of the forest as well as an elevated rest area.

The bedrooms are oriented towards the west – the children’s room includes a gallery, the master bedroom extends across the floor above the hallway. This way, both rooms are exposed to morning light from the east.

The meditation room on the lowest level of the sleeping house can be accessed by e-stairs (space-saving staircase) and leads to the southwestern garden on the ground level.

House Y2 by Destilat

Above: massing diagram four

Construction and material

The house is built right onto the slope and is based on foundation slabs made of reinforced concrete. Walls made of reinforced concrete were only used for walls that touch the actual ground of the slope. All other walls that are visible from the outside as well as the roof are made of wood.

Future-oriented, sustainable construction with ‘healthy’ materials was of the utmost importance to the client. Wooden components were insulated with rock wool and the installation level was insulated with renewable materials (hemp). The inner sides of exterior walls were cladded with insulating soft fibre boards and finished with clay plastering or sand-coloured clay coating. The heating system consists of an air source heat pump supported by a controlled living room ventilation system. The house was designed as a low-energy building.

Domestic larch wood was chosen for the outer sides of exterior walls. The open and ventilated façade with vertically positioned boards and squared timber in various widths and depths – a so-called ‘chaos formwork’ are key elements of the building’s distinctive look. These boards and squared timbers were cut with a gang saw, dried and then brushed on the outside. This procedure reduces soft parts within the wood and therefore ensures that the façade grays evenly.

House Y2 by Destilat

Above: massing diagram five

Cork and cast cementitious coatings alternate throughout the house’s floor areas.

The wood-aluminium windows consist of oiled larch wood on the inside and pearlescent-gray coating on the outside. They were either installed as flush windows or set deeply into the window reveal to create deep and useful recessed areas on the inside as well as exciting incisions in the exterior façade. The interior tilt-and-turn sashes were filled with panels to contrast the fixed glazing and bring more materiality from the inside to the outside.

A tree, that had to be removed for the construction of this house, was dried and stripped of its bark and is now used as a column. This natural column supports the tip of the house and is true testament to this building’s wooden construction.

House Y2 by Destilat

Above: massing diagram six

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by Destilat
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BTV Branch Innsbruck by Rainer Köberl

A chequerboard of solid and void cloaks the tapered glass walls of this bank in Innsbruck by Austrian architect Rainer Köberl (+ slideshow).

BTV Branch Innsbruck by Rainer Koberl

The four-storey building, for European bank BTV, has a steeply gabled profile that creates enough height for two more storeys than are usually permitted in the area by local planning authorities.

BTV Branch Innsbruck by Rainer Koberl

The fibre-reinforced concrete panels function like louvres to moderate the daylight passing into the building.

BTV Branch Innsbruck by Rainer Koberl

Below the chequered screen, a wall of concrete surrounds the ground floor, with windows in the shape of overlapping circles.

BTV Branch Innsbruck by Rainer Koberl

The bank occupies the ground and first floors of the building, while the two upstairs floors are rented by a doctor and a shipping company.

BTV Branch Innsbruck by Rainer Koberl

We’ve featured a few interesting banks on Dezeen, including one with cardboard meeting rooms.

BTV Branch Innsbruck by Rainer Koberl

See all our stories about banks »

BTV Branch Innsbruck by Rainer Koberl

Photography is by Lukas Schaller.

BTV Branch Innsbruck by Rainer Koberl

Here’s a project description from the photographer:


Black and white squares cover the building in a regular pattern. It suggests a chessboard, but also has something of the white snow-covered mountains that surround Innsbruck. What really inspired Rainer Köberl for this new building on the edge of town he did not divulge to me.

BTV Branch Innsbruck by Rainer Koberl

But one thing is for sure: he succeeded in making a strong statement. He created a building that can hold its own in an urban architectural jumble without having to resort to great formal contortions.

BTV Branch Innsbruck by Rainer Koberl

We are standing on Mitterweg, a street extremely busy with both car traffic and pedestrians. A building supply store, even several large supermarkets, schools, residential buildings and commercial enterprises extend along its right and left sides.

BTV Branch Innsbruck by Rainer Koberl

The Vier Länder Bank, known as BTV for short, wanted to have a new building for a branch built here on Mitterweg and held a competition by invitation for its design.

BTV Branch Innsbruck by Rainer Koberl

The jury was chaired by the Viennese architect Heinz Tesar, who had built the head office for BTV, the so-called Stadtforum (completed in 2006), in Innsbruck’s historic centre.

BTV Branch Innsbruck by Rainer Koberl

In the course of the competition, the bank realised the property was actually too small for its needs and it did not award a prize. After being able to purchase an additional small lot adjoining the property, it invited the same participants to a second round.

BTV Branch Innsbruck by Rainer Koberl

That provided the Innsbruck architect Rainer Köberl a good opportunity to give his design an edge. He kept the pointy cap-like shape rising up to a peak, but proposed a different material for the facade and was able to win the competition.

BTV Branch Innsbruck by Rainer Koberl

The striking feature of this bank building is its steeply rising roof – Köberl wanted to make the building as tall as possible so it is not swamped by the surrounding urban architectural jumble. Actually, only two storeys are allowed in this location.

BTV Branch Innsbruck by Rainer Koberl

Site plan – click above for larger image

That is why the body of the building bends sharply towards the roof ridge from the second storey upward. Underscoring the shape is the striking pattern of the facade.

BTV Branch Innsbruck by Rainer Koberl

Ground floor plan – click above for larger image

Like a chessboard, the outer skin consists of square, concrete-coloured panels made of fibre-reinforced concrete alternating with black air holes of the same size. In order to be better able to gauge the size of the individual panels, Köberl recounts, he went to Vaduz. There, Hans Jörg Göritz had realised a similarly steeply rising form of roof ending in a point for the Landesforum and Landesparlament (parliament) of the principality of Liechtenstein, though in this case of small-sized bricks.

BTV Branch Innsbruck by Rainer Koberl

First floor plan – click above for larger image

Using the measurements of the bricks, Köberl was then able to count up and calculate what seemed to him the right size of panel for his own building. Behind the facade’s outer skin, the reinforced concrete structure with glazing all around tapers towards the top like a stepped pyramid. A 60-centimetre-wide steel maintenance balcony is positioned between the glass skin and outer skin of the facade.

BTV Branch Innsbruck by Rainer Koberl

Second floor plan – click above for larger image

Attached to it are steel struts which, in turn, hold the fibre-reinforced concrete panels. From the outside this net house allows hardly any views of the interior. From indoors, on the other hand, the dark squares scarcely obstruct the view out – better still, they help shut out the ugly neighbouring buildings and allow the focus on beautiful sights such as the silhouette of the mountains.

BTV Branch Innsbruck by Rainer Koberl

Third floor plan – click above for larger image

A concrete wall beginning its gradual ascent parallel to the garage entrance wraps once around the whole building at a certain distance from it, but then comes into contact with it on the east side after all.

BTV Branch Innsbruck by Rainer Koberl

Section – click above for larger image

Round windows are cut into the wall here; they provide views into and out of the more public part of the bank. Everywhere else the wall protects the offices from direct view but, because it is at a distance, it lets enough daylight indoors and creates a small inner court planted with greenery.

BTV Branch Innsbruck by Rainer Koberl

Section – click above for larger image

The bank occupies the ground floor and the first upper storey. Downstairs are the staff offices, reception counter and self-service area. Upstairs are meeting rooms and a small terrace, popular for private telephone calls or short breaks for smoking. The bank rents out the top two storeys to a doctor and a shipping company respectively.

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by Rainer Köberl
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Villa SK by Atelier Thomas Pucher

Austrian architects Atelier Thomas Pucher built a glass box and courtyard onto this house in Graz to bring the family’s living space outdoors (+ slideshow).

Villa SK by Atelier Thomas Pucher

Two steel beams mark out the concrete roof structure, which can be accessed from the first floor of the house and used as a terrace.

Villa SK by Atelier Thomas Pucher

The glass box provides a new living area, which is screened on one side by an internal brick wall.

Villa SK by Atelier Thomas Pucher

Outside, a concrete floor wraps around the glass box and leads to the square courtyard, which wraps around a walnut tree.

Villa SK by Atelier Thomas Pucher

At the far end, a rough stone wall provides shelter to the courtyard.

Villa SK by Atelier Thomas Pucher

See all our stories about residential extensions »

Villa SK by Atelier Thomas Pucher

Photographs are by Lukas Schaller.

Here’s some more information from the architects:


The initial assignment for the Villa SK was to rebuild with a rather limited budget an existing single family house and adjust it to the needs of its future inhabitants. Instead of redeveloping the old structure, the decision was made to add a contrasting annexe that would extend the living area of the house into the garden.

Villa SK by Atelier Thomas Pucher

This choice allowed us to keep intact the main structure of the existing construction and reserve it for private functions, such as bathrooms and rooms for the children. On the other hand, the most public function of the house – the living room – is now surrounded by nature and becomes the central element of the house.

Villa SK by Atelier Thomas Pucher

The first floor of the existing house is a more reserved area for the owners and the roof of the annexe serves as an exterior terrace.

Villa SK by Atelier Thomas Pucher

The extension volume consists of three materials — large glass panes, rough brick and red coloured concrete. The concrete structure that forms the roof is composed by two major beams, which extent almost to the limit of the plot.

Villa SK by Atelier Thomas Pucher

Although supported by thin metal elements, the roof structure appears to hover over the rough stone wall, creating a clear but delicate contrast between these elements and materials. In this gesture, the building embraces the existing walnut tree, forming a calm and reserved courtyard.

Villa SK by Atelier Thomas Pucher

The wide glass panes provide an intimate connection from the interior space with the outside scene, from spring’s lush greenery to winter’s bright snow. In this way, nature and architecture are interwoven to create a welcoming and harmonious backdrop for family life.

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Atelier Thomas Pucher
appeared first on Dezeen.

Hotel Topazz by BWM Architekten und Partner

Hotel Topazz by BWM Architekten und Partner

Austrian studio BWM Architekten und Partner has completed a hotel in central Vienna with big oval windows all over its brown mosaic facade.

Hotel Topazz by BWM Architekten und Partner

Above: photograph is by Anna Blau, Lenikus GmbH

Behind the glass, the windows are lined with cushions so that they can be used as sofas by guests.

Hotel Topazz by BWM Architekten und Partner

Named Hotel Topazz, the skinny 10-storey building butts up against a neighbouring building and is located just a few streets away from St. Stephens Cathedral.

Hotel Topazz by BWM Architekten und Partner

Other hotels we’ve featured include one that looks like children’s game Connect Four and one behind the facade of a derelict pub.

Hotel Topazz by BWM Architekten und Partner

See more stories about hotels »

Hotel Topazz by BWM Architekten und Partner

Above: photograph is by Anna Blau, Lenikus GmbH

Photography is by the architects, apart from where otherwise stated.

Here’s some more information from BWM Architekten und Partner:


Hotel Topazz by BWM Architekten und Partner, Vienna

The new Topazz design hotel by BWM Architekten und Partner in Vienna’s city centre can be likened to a glistening, dark-coloured gemstone. Its brown mosaic façade, which absorbs and reflects the natural light, ensures that this building – on one of Vienna’s smallest building sites – is a real eye-catcher. The design, created by BWM Architekten und Partner, is characterised by striking elliptical window openings that jut out slightly.

Hotel Topazz by BWM Architekten und Partner

This unconventional, distinctive treatment of the façade gives this round-cornered building a sense of weightlessness and elegance as well as an unusually physical presence within the fabric of Vienna’s historical architecture. Inside, the curved window recesses serve as comfortably rounded spots for sitting or lounging while you watch the hustle and bustle of the city below. In this way, the exterior and interior spaces engage in close dialogue and complement each other. The idea with the portholes was born partly out of a lack of space – with the aim of making the best possible use of the 153 square metres of site area. After relaxing and daydreaming in one of the niches, you will open your eyes and say: Good morning, Vienna!

Hotel Topazz by BWM Architekten und Partner

Architecture: BWM Architekten und Partner, DI Michael Manzenreiter
Building concept, Facade: BWM Architekten und Partner
Floor plans, Interior designr: DI Michael Manzenreiter

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Overlapping walls of curving concrete encase this funeral chapel in Graz by Austrian architects Hofrichter-Ritter.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

The three walls never meet, but are connected to one another by panels of glazing that denote entrances at the front and back.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

The chapel of rest is at the centre of the building and can seat up to 100 guests at a time, although the glazed facade can also be opened up to accomodate larger parties.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

The middle concrete wall curls around the end of this hall to screen views out the cemetery beyond.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Ancillary rooms are wrapped around the eastern side of the building.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

We’ve featured a few concrete church buildings in recent months, including one lined with crushed volcanic rocks. See all our stories about buildings for worship here.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Photography is by Karl-Heinz Putz.

Here’s a project description from Hofrichter-Ritter Architekten:


“Father, into your hands I commend my spirit” (Luke 23:46)

The chapel of rest for the Steinfeld cemetery is designed in the form of two curving formwork elements made of reinforced concrete and appearing as two carefully receptive hands. It is the centrepiece of the redesigned Cemetery Centre which was begun by the municipal parish of Graz under episcopal vicar Dr Heinrich Schnuderl, continued by Christian Leibnitz, the new municipal parish provost, and finally built to a design by Hofrichter-Ritter Architects in 2011.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

From the perspective of urban development the building site had become a peripheral location due to the construction of the new, exclusively pedestrian tunnel underneath the railway line. Upgrading the site and, as a result, the Steinfeld cemetery was a matter of importance for Graz’s urban planners. Consequently, the cemetery has regained its significance as a public space and park.

A new concept for taking final leave of deceased loved ones has been developed in dignified and pleasant surroundings:
1. The chapel of rest serves as a chapel of rest and place of final blessing in one.
2. After the farewell ceremony the deceased is accompanied in a funeral procession through a separate entrance out of the building to the burial ground.
3. Due to increased demand on the part of the bereaved members of the family, technical multimedia facilities enable the farewell ceremony to be arranged in a highly individual way, if so required.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Depending on the particular choice of seating arrangement, the chapel of rest can accommodate up to about 100 people. In special cases larger funerals can also be held by opening up the northern glass wall and by using the spacious dimensions of the open forecourt. Cultural events may also take place at this site. Vital ancillary and service rooms have been positioned in the eastern part of the hall to facilitate smooth operations at the cemetery. These rooms are encompassed by a wall which runs along the length of the road and also acts as a necessary noise barrier to the Südbahn railway line. To the south, the wall goes on to define a green area with a columbarium grove and wall and with urn graves. Amenities such as a florist, stonemason, phone box and a public toilet are also situated right at the forecourt.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

The chapel of rest:

The area for the farewell ceremony is regarded as the key space: the central location, size and above all the height of the room makes it the heart of the service centre. This space is used in three phases. These can be staged differently, depending on how the room has been arranged, especially with regard to the openings and lighting effects. The sequence is as follows: laying out – farewell – accompaniment of the deceased to the burial ground. An approx. 150 m² chapel of rest, surrounded by two shell-like walls (see ground plan) with a ceiling height of about 4.80-5.0 m, forms the main structural element of the building. An overlap between the two shells hides the view of the exit to the columbarium grove and cemetery grounds.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Ancillary rooms:

The ancillary rooms used for running all of the cemetery’s operations and arranging funerals are joined to one side of the chapel of rest. They consist of the rooms required for the funeral (lounge, preparation, work room, store room and frigidarium), for the priest and for the cemetery’s administrative staff. These rooms cover a total area of about 120 m². The outer wall of the ancillary rooms described above is formed by the “new cemetery wall”.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Cemetery wall:

The intention is to build a new cemetery wall flanking the ancillary rooms and the new columbarium grove. Much of it will form the outer wall of the ancillary rooms. Made of white concrete, this wall features different slants: where it performs a space-enclosing function, the wall slants towards the building; where it has the sole function of a “boundary wall” it slants away from the site (cf. photo of model). A second, relatively small structure has also been included in the overall design; it accommodates two small business premises and a public toilet.

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Time sequence:

Start of planning: May/June 2010
Completion period: November 2010 – November 2011

Chapel of Rest in Graz by Hofrichter-Ritter Architekten

Layout review:

Chapel of rest: approx. 150 m²
Ancillary rooms: approx. 120 m²
Sheltered area at the front: approx. 40 m²
Length of the new cemetery wall: approx. 75 m² (height varies from approx. 2.00 to 3.50 m)
Columbarium grove / park-like area: approx. 550 m²
Paved forecourt: approx. 500 m²

Wienerberger Brick Award 2012

Wienerberger Brick Award 2012

Dezeen promotion: Austrian brick manufacturer Wienerberger will reward the most innovative contemporary brick architecture at the fifth biennial Wienerberger Brick Award ceremony in Vienna next month.

Wienerberger Brick Award 2012

A panel of experts will select winners in five categories from a total of 50 projects that have been submitted from around the world.

Top image: 2010 Special Award – Architecture Museum for the Island of Hombroich Foundation, Germany by Álvaro Siza, Rudolf Finsterwalder
Above: 2010 third-placed entry – Morjan-Poeten House, Germany by Nikolaus Bienefeld 

Wienerberger Brick Award 2012

Above: 2010 Grand winner – State Forum and Parliament of the Principality of Liechtenstein, Liechtenstein by Hansjörg Göritz Architecture Studio

The awards promote excellence in buildings constructed using clay products based on criteria including sustainability, energy efficiency, functionality and innovative exterior design.

Wienerberger Brick Award 2012

Above: 2010 Special Award – Public Buildings, Republic of Mali by Emilio Caravatti

An accompanying book, titled “Brick’12” and published by Callwey Publishers, presents the nominated and winning designs alongside text by international architecture writers.

Wienerberger Brick Award 2012

Above: 2010 second placed entry – South Asian Human Rights Documentation Centre, India by Anagram Architects

Find out more about this year’s awards here, click here for a list of all 50 nominees and see images of the winning projects from 2010 here.

Here are some more details about the awards from Wienerberger:


Wienerberger Brick Award 2012: Global market leader presents award-winning brick architecture for the fifth time

Vienna, 29 February 2012 – On 3 May 2012, Wienerberger AG will present its internationally announced Wienerberger Brick Award in Vienna for the fifth consecutive time. With the award, the world’s largest brick producer and the largest roof tile manufacturer in Europe recognises internationally outstanding examples of modern brick architecture in five categories. Selection criteria include the innovative exterior design and skilful use of brick as a material, as well as the functionality, sustainability and energy efficiency of the buildings.

Wienerberger Brick Award 2012

Above: 2012 jury panel. Photography by Christian Dusek.

This year’s winners will be selected by a jury of renowned experts consisting of the architects Plamen Bratkov (Bulgaria), Zhang Lei (China), Hrvoje Hrabak (Croatia), Rudolf Finsterwalder (Germany) and John Foldbjerg Lassen (Denmark) – (image from left to right).

The globally outstanding buildings constructed using clay products were submitted by international architecture critics and architecture journalists. The worldwide research conducted by these “architecture scouts” helps Wienerberger identify brick buildings that leave a lasting impression. Possible applications range from building solutions with classic wall and façade bricks to the creative use of roof tiles and clay pavers. Special attention is paid to how the building blends naturally into the surroundings as well as to the geometry, personality and quality of the building and its lighting conditions.

Wienerberger Brick Award 2012

Above: 2010 second places entry – South Asian Human Rights Documentation Centre, India by Anagram Architects

The prize has been awarded every two years since 2004. The 2012 Gala will take place in Vienna City Hall on 3 May 2012. The Wienerberger Brick Award 2012 is endowed with a total of 27,000 euros in prize money. A total of 50 projects from 28 countries and five continents were nominated for the Wienerberger Brick Award 2012 (see the Wienerberger fact sheet for an overview of the countries).

Wienerberger Brick Award 2012

Above photograph is by Christian Richters.

“With the Wienerberger Brick Award, we want to cast a spotlight on how innovative and versatile brick can be when used as a construction material in architecture today,” says Heimo Scheuch, CEO of Wienerberger AG. “Especially in modern, future-oriented architecture, the choice of material plays an increasingly important role. Brick is not just timeless and innovative, it also is a durable and environmentally-friendly construction material that makes an important contribution to energy-efficient building.”

Wienerberger Brick Award 2012

Above photograph is by Ian Ehm (APA).

For the fifth time, the Wienerberger Brick Award will have an accompanying book, titled “Brick’12” and published by Callwey Publishers, featuring the nominations and award-winning buildings presented by international architectural writers. The second part of the 240-page book includes the new magazine Brick+, in which readers can learn where top architect David Chipperfield goes on holiday, why Literature Nobel Laureate Elfriede Jelinek is crazy about ceramic artist Kurt Ohnsorg, and how a new generation of architects from all over Europe has developed a passion for building with brick. “Brick’12” will go on sale in May 2012 at bookshops in German-speaking countries and will also be available from the Callwey online shop at www.callwey-shop.de/brick-12.html and from other big-name online retailers.

www.wienerberger.com

Sulzberg-Thal Fire Station by Dietrich Untertrifaller

Fire Station, Thal by Dietrich Untertrifaller

Hoses hang inside an illuminated glass tower at this timber-clad fire station in western Austria by architects Dietrich Untertrifaller.

Fire Station, Thal by Dietrich | Untertrifaller

The timber that cloaks that building’s exterior is silver fir, which is typical of architecture in the surrounding village of Sulzberg-Thal.

Fire Station, Thal by Dietrich | Untertrifaller

Behind the cladding, the fire station has a masonry-constructed ground floor and a timber-framed first floor.

Fire Station, Thal by Dietrich | Untertrifaller

A large room on the ground floor houses two fire engines beside a slightly elevated radio and control room, while a classroom, an archive and an office are located on the level above.

Fire Station, Thal by Dietrich | Untertrifaller

We’ve never had a fire station on Dezeen before, although we have featured a couple of unusual police stations – see them here.

Fire Station, Thal by Dietrich | Untertrifaller

Photography is by Bruno Klomfar.

Here’s some more information from Dietrich Untertrifaller:


Fire station, Sulzberg-Thal

Fire Station, Thal by Dietrich | Untertrifaller

The prominent location of the new fire station at the boundary of the village and engaged in a spatial dialogue with Gasthaus Krone (inn) required a sensitive and discreet integration of the new building into the villagescape.

Fire Station, Thal by Dietrich | Untertrifaller

The building is ideally sited in relation to the topography, with forecourts forming a separate square within the village fabric. This way fortified structures are reduced to a minimum and the road layout remains intact.

Fire Station, Thal by Dietrich | Untertrifaller

The square is located between the fire station and Gasthaus Krone, forming a scenario which is typical for Sulzberg Thal.

Fire Station, Thal by Dietrich | Untertrifaller

The building features a clear separation into vehicle depot with control room and all other uses that are grouped according to room height and temperature into compact units.

Fire Station, Thal by Dietrich | Untertrifaller

The radio and control room is slightly elevated, overlooking both the vehicle depot and the forecourt with the crew entrance. Parking for emergency operations is planned as gravel lawn lining the road.

Fire Station, Thal by Dietrich | Untertrifaller

The building has ground-level access from the main road, with the slightly projecting top floor marking and shielding the entrance area.

Fire Station, Thal by Dietrich | Untertrifaller

The control area and locker rooms adjoin the entrance. The top floor with a classroom, village archives, an office and auxiliary rooms opens to the village boundary, thus signaling the public function of the building.

Fire Station, Thal by Dietrich | Untertrifaller

The vehicle depot is built as a solid structure, while the top floor is planned as a timber construction. The facade features silver-fir-cladding, which gives the building a uniform appearance as is typical for the village.

 Fire Station, Thal by Dietrich | Untertrifaller

The large continuous glazing structures the building, creating an air of lightness and transparency to all angles. External shading protects the interior from overheating.

Fire Station, Thal by Dietrich | Untertrifaller

The tube-shaped tower is built as timber construction with glass on two sides, revealing a glimpse of the activities taking place at the fire station.

Fire Station, Thal by Dietrich | Untertrifaller

Client: Municipality of Sulzberg

Architectural design: Dietrich | Untertrifaller

Fire Station, Thal by Dietrich | Untertrifaller

Project management: R. Grups
Competition: 2008

Fire Station, Thal by Dietrich | Untertrifaller

Construction: 2009 – 2010
Location: A-6934 Sulzberg-Thal

Fire Station, Thal by Dietrich | Untertrifaller

Floor space: 604 m²
Volume: 3,060 m³

Fire Station, Thal by Dietrich | Untertrifaller

Building costs: 1.26 m Euro
Partners: Structural engineering – concrete: Mader Flatz, Bregenz | Structural engineering – timber: Merz Kley, Dornbirn | Building services engineering: Pflügl Roth, Bregenz

University of Applied Arts Vienna by Wolfgang Tschapeller

University for Applied Arts, Vienna by Wolfgang Tschapeller

Austrian architect Wolfgang Tschapeller has won a competition to overhaul the University of Applied Arts Vienna with proposals that include facade-climbing staircases and giant balloons.

University for Applied Arts, Vienna by Wolfgang Tschapeller

The architect plans to demolish an existing link building, allowing room for all staircases and elevators of the main university block to be relocated onto its exterior beneath an undulating blanket of glass.

University for Applied Arts, Vienna by Wolfgang Tschapeller

This will create larger floorplates within the building for studios, as well as extended areas for lecture halls, workshops and storage spaces.

University for Applied Arts, Vienna by Wolfgang Tschapeller

An internal plaza will also be enclosed behind the extruded facade, while gardens will bridge the spaces between this block and its neighbour.

University for Applied Arts, Vienna by Wolfgang Tschapeller

Two large pneumatic balloons are to be positioned on the roof and will be inflated to signify special events or occasions.

University for Applied Arts, Vienna by Wolfgang Tschapeller

This isn’t the first unusual building proposal from Wolfgang Tschapeller that we’ve featured – click here to see plans for a science centre on stilts.

University for Applied Arts, Vienna by Wolfgang Tschapeller

Here’s some more explanation from the architect:


6 Points for a NEUE ANGEWANDTE

University for Applied Arts, Vienna by Wolfgang Tschapeller

Between 1st and 3rd district in Vienna on the Ringstrasse a few buildings of different authors and times are collected on a block.

University for Applied Arts, Vienna by Wolfgang Tschapeller

Heinrich von Ferstel, Schwanzer-Wörle and Noever-Müller are the architects of the group of fine buildings.

University for Applied Arts, Vienna by Wolfgang Tschapeller

Some of them serve the purposes of the Museum for Applied Arts and some of them serve the University of Applied Arts.

University for Applied Arts, Vienna by Wolfgang Tschapeller

The original urban intent for this group of buildings follows a very fine, subtle and precise idea.

University for Applied Arts, Vienna by Wolfgang Tschapeller

Although being part of a block, or standing on a block, they were always meant to keep their independency and autonomy by simultaneously allowing for a visibility of the space in between them.

University for Applied Arts, Vienna by Wolfgang Tschapeller

In late 2011 an international 2 stage competition was announced.

University for Applied Arts, Vienna by Wolfgang Tschapeller

Wolfgang Tschapeller ZT GmbH proposed 6 POINTS FOR A “NEUE ANGEWANDTE”

ERASE ⇒ RESTORE

The LINK BUILDING by Schwanzer/Wörle was an unfortunate move.

University for Applied Arts, Vienna by Wolfgang Tschapeller

It does not only work strongly against the original urban intent of a loose and open grouping of buildings on a block. It works also against the character of Schwanzer/Wörle´s own design.

University for Applied Arts, Vienna by Wolfgang Tschapeller

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Ferstel Bau as well as the Schwanzer/Wörle Bau are in their essence autonomous objects standing in critical and productive distance to each other. Such a reading is re-proposed in our project. Consequently the following steps are proposed: Demolition link building, Reconstruction of those parts of the Ferstel Bau and the Schwanzer-Wörle Bau which were destroyed by the insertion of the LINK BUILDING, Activation of the now very well lit areas of the Schwanzer/Wörle Bau.

University for Applied Arts, Vienna by Wolfgang Tschapeller

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DISLOCATE

We are fascinated by seriality of the Schwanzer/Wörle Bau. The building consists in essence of a series of columns and slabs.By taking out stairs and elevator cores and by repositioning them in front of the serial structure of the Schwanzer/Wörle Bau two essential targets are achieved: full flexibility on the entire floor slab, remarkable gain of usable floor area, improvement of circulation (in economic and spatial terms).

University for Applied Arts, Vienna by Wolfgang Tschapeller 21

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PURE STRUCTURE – AN ENTIRELY EMTPY SHELF

The removal of stair and elevator cores displays a pure serial structure. What remains are solely columns and slabs, ready for multiple functional readings. The shelf like structure will house the Studios.

University for Applied Arts, Vienna by Wolfgang Tschapeller

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COMMON BASE

Ferstel Bau and Schwanzer/Wörle Bau are connected by a common functional base, containing lecture halls, workshops, storage spaces, technical installations as well as supply lines and waste management.

University for Applied Arts, Vienna by Wolfgang Tschapeller

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CAMPUS – WHERE 17 DIFFERENT STUDIOS MEET

In essence we propose 3 main connecting elements to “make” the new Campus of the Angewandte. The INTERIOR SQUARE connects Ferstel Bau with Schwanzer/Wörle Bau, the GARDEN connects the buildings of the University with those of the Museum, the BROADWAY, a large stair which runs diagonally across the elevation of the Schwanzer/Wörle Bau. The BROADWAY is not only a means of circulation; it is the platform where members and knowledge of the 17 different studios meet. It is the informal marketplace for cross disciplinary projects.

University for Applied Arts, Vienna by Wolfgang Tschapeller

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TEMPORARY STRUCTURES

On the roof of the University two optional, temporary structures are proposed. Two pneumatic balloons indicate and signal special occasions at the Angewandte to the surrounding City. Raised transparent balloons means a special day, like flags on a building.

University for Applied Arts, Vienna by Wolfgang Tschapeller

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Project: University for Applied Arts, Vienna, international Competition, 1st Prize
Author: Wolfgang Tschapeller ZT GmbH
Project team: Jesper Bork, Simon Oberhammer, Mark Balzar, Franz Kropatschek, Gonzalo Vaillo Martinez, Daniel Erl

University for Applied Arts, Vienna by Wolfgang Tschapeller

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Experts: Werkraum Wien, Tragwerk
Planungsgruppe Grünpichler GmbH, TGA
Dr. Jochen Käferhaus, Energie + Klimadesign
Brandrat, Brandschutz
Klaus Pokorny, Lichtplanung
ISOCHROM, Armin Hess, Renderings

Oasis Centre of Pastoral Care by X Architekten

Slideshow: stripy monochrome triangles are folded into facets around the walls and ceiling of this church hall in Linz, Austria, to create a cavernous interior.

Oasis Centre of Pastoral Care by X Architekten

Designed by Austrian firm X Architekten, the Oasis pastoral centre is sited in the grounds of a steel manufacturer, where it burrows into a sloping landscape.

Oasis Centre of Pastoral Care by X Architekten

This grassy landscape slopes up over the roof of the centre, while an angled metal pole emerges from the ground to provide a wonky spire near the entrance.

Oasis Centre of Pastoral Care by X Architekten

Beyond the entrance, a two-storey-high atrium splits the building to separate administrative rooms and workshops from the main hall, which incorporates a bar, a chapel and an event space.

Oasis Centre of Pastoral Care by X Architekten

A concealed courtyard occupies a space at the heart of the building and features a solitary, rusty bell that is stationary on the ground.

Oasis Centre of Pastoral Care by X Architekten

Other churches worth a look include one that is see-through and another with steel whirlpools on the roofsee both plus more here.

Oasis Centre of Pastoral Care by X Architekten

Photography is by David Schreyer, apart from where otherwise stated.

The text below is from X Architekten:


Oasis Pastoral care voestalpine

Task

The office for pastoral care in the diocese of Linz, to be located on the site of the steel company voestalpine, is to serve liturgical as well as secular purposes. The plot of land lies as a “no-man’s-land” between main roads and industrial estates and is in need of a new strong character.

Oasis Centre of Pastoral Care by X Architekten

Concept

The study of man and work within the steel company led to a complementary addition to the site through its “built landscape“.

Oasis Centre of Pastoral Care by X Architekten

Existing woodlands serve as a conceptional starting point, an “oasis for the people”, and the new built landscape retains this character by being embedded within a hillside.

Oasis Centre of Pastoral Care by X Architekten

Conventional church buildings would not be able to achieve their independent meaning in this area as the voestalpine’s site is mainly dominated by relatively high buildings.

Oasis Centre of Pastoral Care by X Architekten

Implementation

The building’s main artery, which cuts into the hillside, runs towards the entrances and widens as it approaches the green space, finally leading up to the woods along a sloping surface.

Oasis Centre of Pastoral Care by X Architekten

The embankment, made of dark slag-stone, is either poured into the embankment or processed as pebble dash. The cross, the edge of the wood and meadow as well as the wooden shed are situated up against the edge of the building.

Oasis Centre of Pastoral Care by X Architekten

The planting increases in density starting from the lawn, via a diversity of plants, towards the coniferous forest. Climbing the roof via walkways and stairs, one passes the steel car port as well as the garden associated with the apartment and youth area.

Oasis Centre of Pastoral Care by X Architekten

Above: photograph is by Rupert Asanger

The “built landscape” concept also determines the interior.

Oasis Centre of Pastoral Care by X Architekten

The “ravine” divides the functional areas including offices, meeting room and workshops from the social and religious areas including cloakroom, bar, event room and the chapel.

Oasis Centre of Pastoral Care by X Architekten

The recessed “bell court” radiates a contemplative mood with its squares and its bell placed at ground-level.

Oasis Centre of Pastoral Care by X Architekten

The hollow space under the bell serves to distribute the sound (like the bell in the mining shaft). A wooden and white coated shell divided into triangles unites the chapel, event room and bar as the main rooms of the social area.

Oasis Centre of Pastoral Care by X Architekten

This crystalline geometry creates an important meaning encompassing Saint Barbara as patron saint of both pastoral care and mining.

Oasis Centre of Pastoral Care by X Architekten

Above: photograph is by Rupert Asanger

Two sliding walls enable a choice of separate or connected rooms for different events.

Oasis Centre of Pastoral Care by X Architekten

The open room as a whole inhabits the chapel and bar and thus establishes a unique openness and integration.

Oasis Centre of Pastoral Care by X Architekten

Above: photograph is by Rupert Asanger

Location: Wahringerstraße 30, Linz, Upper Austria Client: Diocese Linz
Start of planning: February 2008 Completion: Summer 2011
Art in construction: Gerhard Brandl

Oasis Centre of Pastoral Care by X Architekten

Premises: 4.843 m2
Built-up area: 840 m2

Oasis Centre of Pastoral Care by X Architekten

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Oasis Centre of Pastoral Care by X Architekten

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Oasis Centre of Pastoral Care by X Architekten

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Oasis Centre of Pastoral Care by X Architekten

Click above for larger image

Oasis Centre of Pastoral Care by X Architekten

Click above for larger image

Oasis Centre of Pastoral Care by X Architekten

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Oasis Centre of Pastoral Care by X Architekten

Click above for larger image