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New exhibition at Kunsthistorisches Museum Wien
Collection of Arms and Armour | Hofjagd- und Rüstkammer
Presenting the biggest contemporary Volière.
Opening 18.03.2013

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Curators:
Dr. Florian Bayer, Kustos der Esterházy Sammlungen
Dr. Stefan Körner, Stellvertretender Direktor Esterházy Privatstiftung

Schloss Esterházy, Eisenstadt, 2010

1 the exhibition of unique treasury from Esterházy. For this purpose, according vitrines, showcases and facilities have been developed. The production process has been carried out by the Italian company Barth Innenausbau. The exhibition content and arrangement from the collection Esterházy has been curated by Dr. Floriany Bayer, cultural department Esterházy. Through the temporary situation in terms of light and the accessibility, the visitor will experience rooms with a couple of vitrines, rooms without vitrines and rooms where the visitor himself is inside a vitrine. The goal was to present all objects within the space, without connections to any surface.

2 archeology. Different steps of usage and utilization have been exposed and are now visible; the specific rooms have been prepared for that step. The goal was to expose the time layers within the castle, to find out the according layers for a later reconstruction. Through unconventional ways, archeological layers (ground, ceiling, walls) are made visible for the visitor as a modern form of archelogy within rooms, parallel to the exhibition.

3 reconstruction of parts of the rooms with the opening on the facade and the glass-conclusion towards the world famous Haydnsaal. The goal was a complete reconstruction of the room-expansion towards the Haydnsaal – only now, this expansion has been completed as the initially planned intersection.

4 the conception of an expansion, connecting from the „Säulenhalle“: The director invites into the sphere, a reception directly in the park and at the same time with a view through the re-opened spatial axis – via way of the Säulenhalle directly into the world famous Haydnsaal. A connection of the outside and inside that can be experienced, from the park straight to the stage with the grand piano.

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Building of a cable car station including side facilities
St. Anton in Tyrol – a village with long tradition in skiing tourism – has a new architectural landmark, starting with the Winter-Season 2006/2007. The village once again proves its open-mindedness for new ways in architecture. After building the 4* hotel Lux Alpinae in 2003 the newly constructed base terminal of Galzigbahn by driendl*architects sets new standards in cable-railway architecture.

Glass, steel, concrete – favoured materials when Georg Driendl expresses his views of an architecture. Sober feedstock, yet sensual in its combination. An architecture which strongly refuses the fashion of hollow and meaningless aesthetical over-forming.
The form of the new basis station directly evolves out of the transport function it has to achieve. The desire for readability defines the material choice. Glass reveals technical inner life and previews the trip up to the mountain. Concrete grounds the construction, anchors it into the slope, creates a counterweight and is a carrier of a space truss (organized in triangulated bracing and as filigree as possible) which carries off the weight of the roof; the visible construction of the space truss (with its riggings and the chosen profiles) directly evolves from the prevailing wind- and weather conditions, always standing in attention to defy wind, rain and snow-masses.

Form defines the function and evolves out of the balance of power; technical inner life and the experience of a journey up the mountain are clearly evident and strongly oppose architectural acting.

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_ Uncovering and providing access to the public of specific, baroque parts of the monastery

_ Addition of hypermodern elements which complement the baroque site

_ The primary planned light tracing has been rediscovered and reactivated

_ Assembling of a modern museum into the monastery

A highly Baroque torso

The specific parts of the monastery which have been worked on (Sala Terrena, the gallery which introduces the two storeyed building, including the following gangway system as well as the lower Chorherrentreppe  [-stairway up to the ground floor] and outdoor facilities – see plan) mark a singular position in Europe: The Italian master builder Donato Felice D’Allio conceived Stift Klosterneuburg according to the example of the Spanish Escorial in Madrid. The building process has been halted tough when the client – Kaiser Karl the Sixth – died in 1740. The ongoing work and building process literally stopped at that point and remained unfinished ever since.

Wild assemblings, bonded windows, technical assemblings and intermediate ceilings which have been done during the following decades pushed the original conception into the background.

The condition of the above mentioned specific parts of the monastery has been well but everything was completely built up, hidden and not recognizable before the work started. Huge parts of the building (e.g. the baroque domed hall – the Sala Terrena which has been used as a storage room for many years) haven’t been approachable by the public.

Trained stone cutters, masons and bricklayers restored the building using traditional methods. The stone – and brickwork has been cleaned with the Joss method and partly corrected. The site hasn’t been finished in the meaning of completing the baroque concept but to show the unfinished, raw building site. Only small damaged parts have been renovated / repaired and a terrazzo floor has been laid.

The primary planned light tracing has been rediscovered and reactivated.

Especially the artistically accentuated, natural light tracing of the rooms which are sunk into the slope, are responsible for the clear win of spatial quality as it shows the hidden structure of the raw brick building – behind the common perception of baroque ornamentation. It so offers a view behind the curtain.

It only took little time to open the windows of the locked and hidden Sala Terrena, which has been used as a storage room for a long time. The big windows of the Sala Terrena received reflecting lamellas, which can be manually served and steered.

The light follows the baroque spatial choreography, defines and rebuilds rooms, completes the light concept which has been composed centuries ago. Not much in this room has been changed by Georg Driendl, only added: Furniture for shop and cash desk – steel elements made from 10mm steel plates, three-dimensionally bent, have been put into Sala Terrena. Those ton-heavy constructions have been built in a dockyard in Istanbul, its form is based on the “laying eight” – the symbol for infinity. A signal for the baroque building site as the form also quotes the baroque double scroll. Due to the dynamic and elegant line of the chosen form, the past and the contemporary completion find themselves in a balanced dialogue.

If the visitor leaves Sala Terrena to enter the gangway system he / she will pass the view to the gallery which introduces the two-storey part of the building and enter the Wine- and Culture path where the newly built Seufzerbrücke (-bridge) is to be found too. The stations of the Wine- and Culture path consist of a modular plug-system, stainless steel.

The necessary functional installations of a modern museum (browned steel- / glass constructions) create fine accents in contrast to the original parts of the site. The lower Chorherrenstiege (-stairway) brings the visitor to the first floor with the newly opened gallery and the children’s atelier.

The overall cost of the project included 5 million euros. The relocation and transition of rooms which have been used as storage and for other purposes as well as infrastructural set ups marked the administrational difficulties.

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Location: Forchtenstein, Burgenland, Austria

Client: Burg Forchtenstein Betriebsgesellschaft mbH

Finished: May 2006

Services: overall planning and project design / draft of the entrance area outside, realization of a footbridge, a viewing deck and toilet facilities, surveillance of the renovation process in the exhibition area, exhibition design, development, design, planning and construction of the showcases

As one part of a major reconstruction project a footbridge (steel-glass-construction) was constructed in the inner court, including a viewing deck for visitors.

The concept of the exhibition design places the main emphasis on the restored historic chambers and selected exhibits by using almost invisible installations, trying not to overcrowd the rooms. The specially developed furniture such as showcases, seating etc. perfectly corresponds with its surrounding.

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starter-flats + assisted living

Directly situated at the River Inn.
Kufstein Tirol

25 flats in total

assisted living

4flats a 70m², 9 flats a 50m²

standard flats

1 flat with 2-room, 9 flats with 3 rooms, 2 flats with 4 rooms

starter – and senior flats; this division intends to avoid a development of one-sided constellations of the occupants

all flats; all flats have a room-high interior glazing towards the river and offer a generous view and excellent light conditions; the upstream balconies offer protection against views from the outside.

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“City gate” is a subsidized residential building situated at a very noisy road in the outskirts of Innsbruck with a high traffic density. To avoid any noise pollution, a 210m long noise protection wall was built along the whole length of the complex. Behind that wall one gets the feeling of being on an “island of silence”, you can hardly hear the traffic noise from the other side. The complex itself consists of 5 buildings, all of them 3 storeys high. The buildings are reinforced concrete constructions with very dark blue, almost black glass facades. The façades reflect the surrounding mountains and therefore offer some very interesting light effects.

With its curved roofs, coloured balcony glasses and generously glazed apartments the whole complex creates a very friendly atmosphere and a timeless elegance – rather unusual for subsidized building with a low budget.

All of the 87 apartments are facing east and west, so they have direct sunlight the whole day. The size of the apartments vary from 75 to 95m2 (3 or 4 rooms), all of them have either a balcony (upper levels) or a private garden (ground floor).

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Austrian School Budapest / Österreichische Schule Budapest

Senior highschool

Orban Hegyi Ut. , Budapest  / Ungarn

The Austrian School in Budapest is an obviously contemporary, open, light-flooded glass appliance that slides up beside a banal school building dating from the 19^th century. The project is planned as a three-wing building placed on an approximately north-south axis. The side-wings are occupied by classrooms, teacher’s offices and a stairway on the west-side. The side-wings are more bulky, whereas the middle section of the building containing hallways, toilets and elevators for handicapped students is more narrower. The uncovered concrete surfaces are most dominant in the middle section, which is the solid core of the building. The structures get lighter towards the front walls. The central core is a 3 storey-high hall which is  completely glazed. It is also where the roof plates meet (they jut out above the wall surfaces, which make them appear light).

The logic of the arrangement is that architectural structures get lighter towards the facades. Parallel to this, the floor space of the various sections gets bigger and bigger as one approaches the external world through the front walls. This is a highly symbolic architectural path connecting school and life. It is the result of a future-oriented approach, in contrast with the isolating tendency in traditional school buildings.

Partly due to this gesture, and partly for the purpose of loosening up the tube-like central section, the roof structures behind the steel-supported glass facade open into each other, creating an atrium. It is a smart solution that the elevator shaft has a glass wall in the direction of the facade with the atrium, following the opening-up-from-inside arrangement and showing the mechanism of the elevator in full.

The classrooms are large, with full-height windows letting in much light, shaded by sturdy aluminium lamellas in three rows on the sunny side, together with galvanized-lattice passage galleries, the first layer of an enthrallingly new-constructivist frontal composition. The classroom partition walls do not run solid up to the curtain wall plane, but connect to it via a window section. Another window, at the top, makes the connection to the ceiling, and yet another, above the inward-reaching wide reinforced concrete frieze, in the direction of the corridor. This gives a feeling of openness and transparency.

The building itself is a low energy house with several environmentally conscious features, unusual in Hungary, such as the recycling of rain water. The balconies in front of the classrooms (this is probably the only school in the county where classrooms have balconies) are not only a very popular place for students to take their brakes, they also make the rooms seem wider and – due to the two balcony doors – provide a special ventilation system.

As a result of all this it is no surprise that most of the pupils of the senior high school feel extremely well in this building. According to the headmaster, the new building has increased the delight in learning to an unbelievable extent, a fact also confirmed in the school exams.

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Product Description
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“Solid | Table“ (© driendl*architects)

material: wood, steel, stainless steel
dimension: 780,1780,1100

coolest HOtel

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LUX ALPINAE

Type: 4 star hotel
Location: St. Anton, Tyrol, Austria
Client: Fam. Kertess
Finished: November 2003

The 4* hotel is built up on an extremely steep slope (40°). The backside supporting- wall is used as an interior climbing- wall which creates an uprising additional lobby on the north side of the complex. The 28 rooms (12 double rooms, 16 three-bed rooms) are developed by opened corridors * balconies which go through the back hall.

“Fantastic, funky, fabulous hotel!”

“An urban outpost in St.Anton”

More reviews

am Samstag den 29.Sept kocht das SKALA (Andrea Driendl) ab 17h im Zweitbesten

…..Vietnamesischen Hühnersalat, Spinattopfennockerln, Antipasto, ….

Die SKALA Bar mit Restaurant ist für Wien einmalig – nicht nur in baulicher Hinsicht, sondern auch wegen ihrer kommerziell ungünstigen Lage. Sie befindet sich im Souterrain eines Hoftrakts aus der Jahrhundertwende im dicht verbauten 7. Wiener Gemeindebezirk. Sie entzieht sich dem Blick von der Straße – man muss einfach wissen, wohin man will.
Über einen unscheinbaren Hausdurchgang, einen privaten Hof und über eine flache Aussentreppe hinab, erreicht man das Lokal über ein Nurgl
asportal . Absicht war es, ein Interieur zu schaffen, das bis zum vorgesehenen Ende seiner Lebensdauer, dreißig Jahre, keine Patina annehmen, also leicht zu reinigen und damit stets neu und frisch wirken sollte. Wand- und Deckenelemente sind in ein räumliches Netz aus Edelstahlprofilen mit Klemmbeschlägen geklipst, sodass sie in kurzer Zeit leicht ausgetauscht werden können.
Beabsichtigt war, einen zweiten Satz an Elementen zu produzieren um das Lokal über Nacht verwandeln zu können. Die Auswahl der Materialien und die Art ihres Einsatzes war 1987 noch sehr ungewöhnlich und stiess damals auf starke Kritik – traditionell neigte man in Wien mehr in Richtung auf Verdeckung der Materialien durch Anstriche. Für den künstlerischen Eingriff im Lokal war die Vorgabe, ein kinetisches Objekt an einer dafür vorgesehenen Stelle zu schaffen. Es sollte, ebenso wie das Lokal selbst, von hoher Lebensdauer und wartungsarm sein.
Ein Lichtstrahl, ein Helium-Neon-Laser, wird innerhalb eines, auf einer Stahlkonsole angebrachten Kastens aus halbdurchsichtigem Spiegelglas mittels einer Bewegungsmechanik mit zwei kleinen Spiegeln in alle Richtungen bewegt. Der Strahl wird an den Spiegelflächen zum Teil reflektiert und zum Teil durchgelassen, sodass er als Punkt an Boden und Wand unvorhersehbare Bahnen beschreibt.