Based on the traditional houses of the Bregenz district, the two-storey residence has a simple rectangular plan with a steep gabled profile and a wooden deck driven through its middle.

Austrian studio Bernardo Bader Architects used 60 trees to produce all the wood needed for the house with minimal waste. As well as the walls, the timber provided material for doors, flooring and also some of the furniture.

The structure of the building is concrete, which reveals itself on a selection of walls and ceilings to contrast with the light tones of the wooden surfaces.

Living and dining areas occupy the largest side of the ground floor. A wood-burning stove creates a central hearth.

Additional heating is generated from a ground-sourced heat pump.

A home office sits on the other side of the deck, alongside a garage with room for two cars. Bedrooms and a children's playroom are located on the floor above.

Entitled Haus am Moor, which translates as "House on the Moor", the cabin is situated near the market town of Krumbach.

Other recently completed residences in Austria include a boxy concrete house in the mountains and a wooden house that appears to climb down a hill. See more Austrian houses on Dezeen.

Photography is by Adolf Bereuter.

The post Haus am Moor by
Bernardo Bader Architects appeared first on Dezeen.

Located within the Alpine countryside, the cemetery serves the eight-percent Muslim population in the Austrian state of Vorarlberg and comprises a simple rectilinear building with five burial enclosures.

Bernardo Bader Architects used red-tinted concrete for the construction of the building and its surrounding walls. The surfaces remain exposed both inside and outside the complex, revealing the rectangular imprints of wooden formwork.

A long rectangular window stretches across the facade, screened by a latticed oak framework that displays one of the traditional patterns of Islamic mashrabiya screens.

The building accommodates both prayer rooms and assembly halls. The largest room opens out to a private courtyard and features lighting fixtures set into circular ceiling recesses.

The five rectangular graveyards are lined up at the back of the building. Each one contains several trees, benches and small patches of grass.

Completed in 2011, the Islamic Cemetery is one of 20 projects on the shortlist for the Aga Khan Award 2013. Five or six finalists will be revealed later this year and will compete to win the $1 million prize.

Other architect-designed cemeteries completed in recent years include a seaside graveyard in Italy and a pair of wooden pavilions in Belgium. See more stories about cemeteries, funeral chapels and memorials.

Here's a short project description from the Aga Khan Award organisers:

The cemetery serves Vorarlberg, the industrialised westernmost state of Austria, where over eight percent of the population is Muslim. It finds inspiration in the primordial garden, and is delineated by roseate concrete walls in an alpine setting, and consists of five staggered, rectangular grave-site enclosures, and a structure housing assembly and prayer rooms.

The principal materials used were exposed reinforced concrete for the walls and oak wood for the ornamentation of the entrance facade and the interior of the prayer space. The visitor is greeted by and must pass through the congregation space with its wooden latticework in geometric Islamic patterns. The space includes ablution rooms and assembly rooms in a subdued palette that give onto a courtyard. The prayer room on the far side of the courtyard reprises the lattice-work theme with Kufic calligraphy in metal mesh on the 'qibla' wall.

The post Islamic Cemetery by
Bernardo Bader Architects appeared first on Dezeen.

The medical practice by Hammerschmid Pachl Seebacher Architekten is located in the remote village of Ramsau, known for its cross-country skiing and ski jumping.

"The building's shape and the materiality is reminiscent of the typical historical hay barns of the Ennstal area," explained the architects.

The facade is vertically clad with roughly sawn, untreated spruce.

Spruce was chosen "because it turns grey very consistently on all sides of the building," architect Dietmar Hammerschmid told Dezeen.

Inside the building are three treatment rooms, a waiting room and a pharmacy.

The architects used larch to build the benches in the waiting room and the counter in the pharmacy.

"Larch has a lot of branches in the texture, so it has a very rough look," said Hammerschmid.

The walls behind the benches are covered in grey loden, a thick wool fabric traditional to the Austrian alps.

We've featured a couple of other buildings by the same architects – a distillery with an asymmetrical timber roof and a renovated stone chapel with skeletons in the basement.

Other projects in Austria we've published on Dezeen include a cocktail bar in Vienna with a ceiling inspired by mountains and a concert hall with a dramatically angular roof – see all our Austrian buildings.

See all stories about Austria »
See all stories about health »

Photographs are by Dietmar Hammerschmid.

Here's some more from the architects:

The medical practice is located in Ramsau, an elevated plateau between the mountain Dachstein and Schladming.

Above: floor plan

The shape and the materiality is reminiscent of the typical historical haystacks of the ennstal area.

Above: north elevation

The very rough design of the outer surface is continued in the interior.

Above: east elevation

Massive larch and loden was used for the furniture.

Above: south elevation

Above: west elevation

The post Medical Practice in Ramsau by Hammerschmid
Pachl Seebacher Architekten appeared first on Dezeen.

Local architects Gregorio S. Lubroth and Chieh-shu Tzou teamed up with three friends to design, build and launch the bar themselves, before adding the spiky ceiling as the first in a series of installations by different artists and designers.

"We want the bar to be a place where a larger conversation about design and art can occur," Lubroth told Dezeen. "As it is, ceilings are generally under-utilised, under-explored surfaces. Periodically changing the ceiling installation not only brings new life to the bar but sparks conversations about space."

The architects gave the ceiling the theme Mensch und Natur, or Man and Nature, which was intended to inspire a "fantasy" view of the natural world. "Our installation is a translation, or rather, geometric simplification of natural forms," added Lubroth.

Above: photograph is by Jochen Fil

Lighting is affixed to the walls and pointed towards the ceiling, while mirrors behind the bar reflect a selection of spirit bottles used for making cocktails.

Above: photograph is by Jochen Fil

"Vienna has a long, rich history of wine, beer, and schnapps drinking, not to mention a vibrant bar scene," said Lubroth. "However, with a few exceptions, cocktail culture is relegated to fancy hotel bars or loud clubs. We wanted to introduce a small cocktail menu with old and classic drinks at affordable prices."

The rest of the bar has a simple layout with steel and oak furniture, plastered walls and an asphalt floor.

See more bars on Dezeen, including one with tables made of drawers and a bar made of doors.

Photography is by Stefan Zenzmaier, apart from where otherwise stated.

Here's some more information from the architects:

If dogs run free is a bar on the Gumpendorfer Straße in Vienna's 6th district co-owned by an actress, a restaurateur, a graphic designer, and two architects. The bar was conceived as a neighborhood watering hole; a place where students, neighbors, and the after-work crowd get together to enjoy a good drink.

The name, like the space itself, is meant to invite fantasy. The generously proportioned 82m2 space is modelled after a black box theater with the main focus on the ceiling plane rather than on an actual stage.

In addition to its function as a bar, the owners wanted to provide a space where people have access to new ideas in art and design outside the traditional context of a gallery or the academy. The ceiling plane is reserved for artists and designers to create site specific installations intended as annual fixtures revolving around the theme Mensch und Natur.

The first installation was designed and built by the owners. It describes an inverted mountain landscape through the manipulation of a single geometric tile. The patchwork of tiles shift in tone creating two interwoven color gradients. The landscape is multiplied by mirrors attached to the wall behind the bar counter.

Below the ceiling, dark, unadorned surfaces are used to emphasize the presence of the ceiling installation. The walls are spackled with a blend of plaster and black house paint. The floor is poured asphalt. All furnishings are a mixture of steel, black MDF boards, and dark, stained oak. The lighting is a flexible system of stage spots and construction strobes.

Project Name: If dogs run free
Project Type: Bar
Location: Vienna, Austria
Architects: Tzou Lubroth Architekten
Design Team: Gregorio S. Lubroth, Chieh-shu Tzou
Graphic Design: Maria Prieto Barea
Total Floor Area: 82 m2

The post If Dogs Run Free by
Tzou Lubroth Architekten appeared first on Dezeen.

The Passionsspielhaus, or "Passion Playhouse", was constructed in the 1950s as a Christian theatre but since 1998 is has also hosted summer operas and orchestras as part of the Tyrol Festival.

Delugan Meissl Associated Architects designed the new Festival Hall as a winter concert venue for the festival and its faceted shell spikes out from the landscape as a single monolithic volume.

"The building's form and positioning both relate to the impressive landscape setting defined by the rock formations in the back, and to the dynamic presence of its neighbouring historical counterpart," say the architects.

A staircase sunken into the hill leads down to the building's entrance, where visitors are directed through a clean white lobby into the timber-lined auditorium.

The architects explain: "The transition from the foyer into the concert hall is accompanied by spatial and atmospheric change: dynamism, variability and asymmetry give way to maximum concentration, static calm and orthogonality."

A strip of glazing slices across the west elevation to frame a panoramic view of the surrounding meadows from a first floor gallery, which provides a second route into the hall.

Delugan Meissl Associated Architects won a competition to design the building in 2007 and it was completed in August.

The architects previously designed a Porsche Museum in Germany, which we featured in 2009.

See more concert halls on Dezeen, including a pearlescent music hall in Spain.

Above: site plan

Photography is by Brigida González.

Here's some more information from Delugan Meissl Associated Architects:

The geometry of the Festival Hall developed from the topographical conditions, placing it in an adequate relationship with the existing Passionsspielhaus. The building's form and positioning both relate to the impressive landscape setting defined by the rock formations in the back, and to the dynamic presence of its neighboring historical counterpart. This existing building and the new one are oriented towards one another. They complement and elevate their respective architectural articulation of the reference to the landscape by interacting visually with one another.

Above: lower floor plan - click above for larger image

The new building increases existing qualities of the natural and architectural environment. Aside from the geometry, colour also enhances the duality between old and new. While the white surface of the Passionsspielhaus stands out optically during the time of the summer festival, the changing of seasons brings upon a cromatic reversal of the ensemble. The configuration of the Festival Hall resembles a tectonic stratification. Its crevices and faults lying in between indicate the way into the building's interior. At nighttime the incisions and folds in the distinctive facade allow insight into the radiant foyer.

Above: upper floor plan - click above for larger image

Access

The topographic imprint on the new building is consequently continued within its interior. The deisgn idea is guided by two defining parameters: the interrelation between the interior and the surrounding natural space as well as the spatial configuration of a functional, internationally acclaimed concert hall. Flowing visual and functional spatial references define the architecture. Areas with diverse usage and geometry show the creative engagement with communication and calm, dynamism and concentration. The sequences of movment are subtly guided by the sensory experience of the rooms. The access staircase is integrated into the landscape thus guiding visitors into the building.

Above: cross section through foyer - click above for larger image

Functions

Cloakroom and reception desk are situated near the entrance. The foyer - an asymmetric construction volume - allows manifold views onto the surrounding nature as well as onto the neighboring Passionsspielhaus. A staircase running in the opposite direction leads onto the upper gallery where the impressive relationship between interior and exterior space can be experienced again through the ample west façade made of glass. This level also hosts the building's secondary functions. Orientation, room sequence and functional relations are integral parts of the architectural dramaturgy: ample communication areas, retracting and expanding circulation areas and varying room hights translate the building's tectonic geometry in a sensory manner. In a consequent and effective way, the approach to the concert hall is staged through a gentle surge of the entrance level. The respective levels of the foyer are connected with the concert hall through two entrances. The latter is situated in the centre of the building like a shell, its rear part being anchored in the rock. The transition from the foyer into the concert hall is accompanied by spatial and atmospheric change: dynamism, variability and asymmetry give way to maximum concentration, static calm and orthogonality.

Above: cross section through auditorium - click above for larger image

Materials

Like the succession of rooms, the materials concept is equally defined by a sensorial perception of the respective usage areas. Differentiations in geometry, haptics and surfaces of room elements increase the senorial experience of single function areas and facilitate orientation. The shine in the foyer during the winter's sunset increases the communicative character of this area of encounter. Following the metaphor of an exposed jewel, the concert hall is defied by a distinct change of materials: wood surfaces and subdued colours create a warm room composition of tense quiet thus directing the visitors' attention onto the performance to follow. Multiple technical equipment and the possibility to transform the hall allows a varied use which reaches far beyond the function of a classical concert and festival venue.

The post Festival Hall Of The Tiroler Festspiele Erl
by Delugan Meissl Associated Architects appeared first on Dezeen.