year: 2012 | typologie: residential | status: complete
The basic intention of the design is to create the best and closest place to the water from a plot of land by the pond, although there is less reference to the water surface than with other properties. The starting point for this sculptural design was the position of the property on the pond, but not with direct access. Therefore, the morphological structure of the building was always shaped towards the pond in order to take up the quality of the proximity to the water. The aim of the formal grammar of the building is to give every place
and place within the structure a direct line of sight, a direct reference to the water surface. The sensual qualities of the pond should flow through the rooms and areas of the building and give the feeling of being as close as possible to the pond. This is supported by a connection between the garden and the pond, in which the water is woven into it in the form of a swimming pool. In this one swims towards the fortress without seeing the transition between the basin and the pond.
@ Horst MMichel Lechner
The reed planting, which constitutes the sensual quality of a pond, also grows into the garden and supports the interweaving of the open spaces. The floor plan of the building is chosen so that the basement does not impair the view of the pond as much as possible. For this it follows the curves that allow the garden, the driveway and the access a perfect view of the water. The upper floor is turned parallel to the pond, here, too, swings are used to offer each room a direct line of sight to the
The residential sculpture is formulated as a walk-in landscape. Spiral staircases are used both indoors and outdoors. This creates several paths through the building and the resident can move through the house as through a landscape. The green space enters into a symbiosis with the sculpture.
@ Julian Höck
water surface. Second-order viewing axes give every window that does not offer a direct view of the pond a view of the Untersberg or the fortress. This additionally increases the complex composition of the floor plan configuration. In order to do justice to this complexity on a three-dimensional level, the outer walls are rounded, following the logic of the floor plan. The final consequence of the three-dimensional interweaving is also continued in the shape of the windows and door openings.
with the sculpture. Due to the free forms, the building formally becomes part of the landscape. The wisteria are pulled over the spiral staircase onto the spacious terrace areas and partly grow into the window reveals. This creates a cozy atmosphere on the ground floor, like in a hobbit cave.
The interior is flooded with light due to the slim shape of the individual structures. The curved floor plans make it possible to play with spatial narrowness and width in a targeted manner and thus to meet the needs
of the building. The point of intersection of the bodies is used for development. The living areas of the house are arranged on the development and the interior is extended to the outside by the terraces.