Sustainable Architecture in Vorarlberg: Energy Concepts and Construction Systems 9783034604918, 9783034601191

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Sustainable Architecture in Vorarlberg

Energy Concepts and Construction Systems Ulrich Dangel

Birkhiiuser Basel · Boston - Berlin

This book is also available in a German language edition : Nachhaltige Architektur in Vorarlberg , ISBN978-3-0346-0118-4 Library of Congress Control Number : 2009934864 Bibliographic information published by the German National Library The German National Library lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http ://dnb.d-nb.de. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned , specifically the rights of translation , reprinting, re-use of illustrations, recitation, broadcasting, reproduction on microfilms or in other ways, and storage in data bases. For any kind of use, permission of the copyright owner must be obtained . © 2010 Birkhauser verlag AG Basel · Boston· Berlin P.O. Box 133,CH-4010 Basel, Switzerland Part of Springer Science+Business Media

Printed on acid-free paper produced from chlorine-free pulp . TCF 00 Proofreading : Claudia Mazanek, Vienna Design: Lea Pfister, Zurich / Nadine Rinderer, Basel Printed in Germany ISBN: 978-3-0346-0119-1 987654321 www.birkhauser.ch

7 8 11

Preface Map of Voralberg

93

Sustainability

The Timber House - Traditional Houses Sustainable Management of Resources

Tradition and Future

The Province ofVorarlberg Architecture Today

100 Community Center Ludesch

18

108 Housing Development Fichtenweg,

Sustainable Paradigm Hermann Kaufmann

Elementary School Doren

Lessons from wood Cukrowicz Nachbaur

26

32

Bartholomaberg-Gantschier

Compactand Cost-Efficient Hans Hohenfellner

Ski Lodge Schneggarei, Lech am Arlberg

Buildingon Traditional Values Katia Schneider + Gerold Schneider, Allmeinde Architektur, Philip Lutz

112

Parish Church St. Ulrich, Gotzis

118 Housing Development

Retaining Regional Value Johannes Kaufmann

Let There Be Light Christian Lenz

36

Sandgrubenweg, Bregenz

Sustainable Living Gerhard Horburger, Helmut Kuess, Wolfgang Ritsch, Norbert Schweitzer

RUscher Residence, Schnepfau

Reinterpreted Vernacular Oskar Leo Kaufmann, Albert RUf

42

124 Secondary School Klaus-Weiler-Fraxern Passive House Sets the Standard Dietrich Untertrifaller

Community Center Obersaxen

Tough on the Outside, Soft Inside Matthias Hein

48

Olperer House, Ginzling

Low Energy at High Altitude Hermann Kaufmann

57

Community Center Raggal

133 Construction Systems Vernacular Timber Construction Change inTradition - ANew Era 142 Housing Development MUhlweg, Vienna

Craft and Materiality

Timber - The Carpentry Trade Craft Culture

Exporting Expertise Hermann Kaufmann + Johannes Kaufmann

150 Hugo Kleinbrod Chapel, Lustenau 64

The Church Comes to the People Hugo Dworzak

Community Center St. Gerold

Compactand Coherent Cukrowicz Nachbaur

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154 Tschabrun Logistics Center, Rankweil All About Wood Christian Lenz

Metzler Residence, Rankweil-Brederis

Living on the Water Marte Marte

76

158 Hospital Dornbirn Floating Featherweight Gohm & Hiessberger

SYSTEM3

Customized Prefabrication Oskar Leo Kaufmann, Albert RUf

82

Natural Building Planungsgemeinschaft Lehmhaus: Roger Boltshauser, Martin Rauch

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164 Nordwesthaus, FuBach Light and Shadow Baumschlager Eberle

Rauch Residence, Schlins

Gasthof Krone, Hittisau

Old and Newin Harmony Bernardo Bader

170 174 175 176

ProjectSummary Biography, Acknowledgements Bibliography Illustrat ion Credits

7

Preface Over the last thirty years, the small Austrian province of Vorarlberg has made a name for itself with its contemporary building culture. Widely considered a unique phenomenon throughout Europe, Vorarlberg has not only established its own regional identity, but also serves as a role model far beyond its own borders . The apparently universal consensus among local architects to use reasonable means and resources is paired with a relentless search for the most sensible, functional, and cost-efficient design solutions. The employment of innovative materials and construction principles, the integration of the latest technologies, and the development of new building products playa particularly important role. Rooted in the population's ingenuity, this pragmatism, simplicity, and rationality has resulted in a high number of exemplary buildings which almost appear to be an unintended byproduct of a thoughtful and sophisticated problemsolving process. The harmonious collaboration between architects, craftsmen, clients, and the local authorities continues to produce new architecture which is progressive, energy-efficient, and sustainable, and has earned Vorarlberg a widely admired reputation in the international design community. Although I was raised in southern Germany, only about two hours from Vorarlberg, my introduction and exposure to its people and culture came several years later, ironically after I had moved away to the United States. Growing up, I was influenced by Swabian diligence and thrift from my German father's side - traits that can be readily found in Vorarlberg due to its geographical proximity. My mother's Austrian heritage contributed temperament and persistence, and also instilled my close affinity to her home country. This was complemented by my architectural education at unlversitat Stuttgart, which sparked a strong interest in building technology, including structure, assembly, materials, and sustainability. It appears that with my upbringing and educational background, it was only a matter oftime before Vorarlberg's architecture would attract my attention. Since my first visit, I have been captivated by the "Land le" and its people. I have been particularly intrigued by Vorarlberg's vernacular tradition and craft, and how they have contributed to the development of a distinctive contemporary architectural language. Without claiming to be complete, this book is an attempt to give an overview of the region's architectural history and culture. Despite the fact that Vorarlberg is facing many of the same environmental, social, cultural, and economic issues as other parts ofthe world, the province has developed its own unique response which I believe could serve as inspiration to others . I hope that the reader will forgive the tendency to idealize the phenomenon in vorarlberg, which is still considered by many to be a paradise for building. Ulrich Dangel Austin, Texas, Spring 2009

8

1 Elementary School Doren Cukrowicz Nachbaur Kirchdorf 2, 6933 Doren 2 ski Lodge schneggarei Katia Schneider + Gerold Schneider, Allmeinde Architektur, Philipp Lutz Tannberg 629, 6764 Lech am Arlberg

3 Parish Church St. Ulrich Christian Lenz HauptstraBe 15, 6840 Gotzis

4 ROscher Residence Oskar Leo Kaufmann , Albert ROf 6882 Schnepfau 5 Community Center Obersaxen Matthias Hein DorfstraBe 2, 6830 Obersaxen 6 Olperer House Hermann Kaufmann Dornauberg 110, 6295 Ginzling 7 community Center St. Gerold Cukrowicz Nachbaur FaschinastraBe 100, 6722 St. Gerold

8 Metzler Residence Marte Marte CluniastraBe, 6830 Rankweil-8rederis

17 -

6_

9 SYSTEM3 Oskar Leo Kaufmann, Albert ROf Jahngasse 9, 6850 Dornbirn 10 Rauch Residence planungsgemeinschaft Lehmhaus : Roger Boltshauser, Martin Rauch Torkelweg 17, 6824 Schlins 11

Gasthof Krone Bernardo Bader Am Platz 185, 6952 Hittisau 12 Community Center Ludesch Hermann Kaufmann RaiffeisenstraBe 56, 6713 Ludesch 13 Housing Development Fichtenweg Hans Hohenfellner Fichtenweg , 6780 Bartholomaberg-Gantschier 14 Community Center Raggal Johannes Kaufmann Raggal 31, 6741 Raggal

Switzerland

17 Housing Development MOhlweg Herma nn Kaufmann + Johannes Kaufmann MOhlweg, 1210Wien 18 Hugo Kleinbrod Chapel Hugo Dworzak SchOtzengarten straBe 21,6890 Luste nau 19 Tschab run Logi stic s Cente r Christ ian Lenz BundesstraBe 102, 6839 Rankweil

15 Housing Development Sandgrubenweg Gerhard H6rburger, Helmut Kuess, wolfgang Ritsch , Norbert Schweitzer MariahilfstraBe rra-d , 6900 Bregenz

20 Hosp ital Dorn birn Gohm & Hiessberger Lustena uer StraBe 4, 6B50 Dornb irn

16 Secondary School Klaus-weiler- Fraxern Dietrich Untertrifaller TreietstraBe 17, 6833 Klaus

21 Nordwesth aus Baumschlager Eberle HafenstraBe t a, 6972 FuBach

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Itlon uture Elementary School Doren Lesson s from w ood Cukrowicz Nach baur Ski Lodge Schneggarei, Lech am Arlberg Building on Trad ition al valu es Katia Schneider + Gerold Schneide r. All meinde Architekt ur, Philip Lutz Parish Church St. Ulrich, Gotzis Let There Be Light Christian Lenz ROscher Residence, Schnepfau Reinterpret ed Vernac ular Oskar Leo Kauf ma nn. Albert ROf Community Center Obersaxen Tough on th e Outsid e, Soft Insid e Matthias Hein Olperer House, Ginzling Low Energy at High Altitude Hermann Kaufm ann

12 Tradition and Future

The Province of Vorarlberg

1 Bizau and Reuthe in th e Bregenzerwald regio n Page10 t op : Day Care Cent re . Landegg (Fink Thurnh er Archit ekte n) Page 10 bottom : Gast hof Adler. Schwarze nberg. renovat io n 1991 (Hermann Kaufm ann)

Located on the northwestern slopes of the Austrian Alps and bordering the countries of Germany, Switzerland, and Liechtenstein, Vorarlberg is the second smallest Austrian province, but also the second most densely populated after Vienna. Its population of 368,000 [I) is hardly even that of a medium-sized European city, and inhabits an area of roughly 2,600 square kilometers [IIJ. Vorarlberg is geographically closed off from the rest of Austria, and the only connections to the neighboring province of Tyrol are provided by three surface roads, as well as the railroad and street tunnel through the Arlberg mountain. Due to its isolated location, most of the province's population speaks a distinctive German dialect which many of the country's other inhabitants find hard to understand. It is similar to the Alemannic dialects spoken in Switzerland, Liechtenstein, the Alsace region in France, and parts of southwestern Germany, whereas the dialects spoken in the rest of Austria form part of the Bavarian-Austrian language group. Many towns and villages even have their own distinct sub-dialects. Vorarlberg is an alpine region and extremely mountainous, and therefore offers unfavorable conditions for int ensive farming. [1-2) It also does not possess any significant valuable natural resources. For centuries, the land could not feed the population, and the younger generations were sent abroad as seasonal workers to the more prosperous neighboring countries. The province had a strong rural agricultural tradition, but it experienced an early industrialization at the beginning of the nineteenth century, particularly in the field oftextile manufacturing. The rise of the textile industry had its origins in the traditional production of linen, and benefited greatly from the craftsmanship and skill set of the farming population, which in turn became heavily involved in the home-based manufacturing of industrial textiles and other goods. Up to the nineteenth century, Vorarlberg was sparsely inhabited, and its population was mostly homogeneous. The regulation of the River Rhine, the construction ofthe railroad, and the use of water-power gave the province a basis for its own economic growth, and also led to an influx of foreign labor, particularly from Italy and Turkey. [IIIJToday, Vorarlberg is the most heavily industrialized region of Austria , but it produces with the lowest energy consumption. About 96 percent of the province's electricity is generated from hydroelectric power, with the III valley being the center of power production. [IV) Ofthe 169,000 people employed, only 3 ,000 still work in farming and forestry, but 67,000 work in textile, electrical, and machine manufacturing, and construction. [v] The per capita production of export goods is four times higher than in the United States or Japan , and is only surpassed by Switzerland.

13

2 Font anella , Sonntag a nd Raggal in t he Grea t w a lser Va lley

14 Tradition and Future

Due to Vorarlberg's size, it might come as a surprise that the emergence of its contemporary and innovative architecture over the last three decades is unparalleled in Europe. Deeply rooted in the region's longstanding tradition of building craft, a number of pioneering architects have established a strong technical, cost-efficient, and functional vocabulary that has evolvedinto a unique architectural culture . Today, this exclusive setting serves as a laboratory in which architects and craftsmen search for a symbiotic connection between a specifically regional architecture on the one hand, and a progressive architectural formal language on the other. In addition, they explore the relationship between technology and ecology, as well as between housing needs and the requirements ofthe industry. Architecture Today

Vorarlberg's contemporary architecture is a result of unprecedented regional development. As a continuation of a movement that started in the 1960s, the local architects have worked systematically over the last three decades to establish expertise in technology, cost efficiency, and functionality. Their work is not based on purely aesthetic aspects, but primarily focuses on infl uences from today's construction industry and manufacturing technology. Spaces are conceived through an exploration and integration of structure, assembly, and function , and not through short-lived superficial formalisms . Concepts are grounded in structural efficiency, maximum use of minimal resources, usability, and the client's needs which results in simple, yet very functional spaces. This sophisticated simplicity should not be misconstrued as being plain or basic, and is best described using German architect Heinrich Tessenow's words: "The simplest form is not always the best, but the best is always simple." The initial group of architects was fundamentally opposed to a formal regionalism based on misunderstood tradition. Their intention was not to replicate traditional forms , but to translate and update traditional processes and principles. As a result , architects and craftsmen together have been successful in finding a contemporary answer to the continuation of the local timber building tradition. Vorarlberg's architecture is unique in that it encompasses extremely modern tendencies such as the promotion of modular living accommodation or the use ofthe latest industrial building components, without ignoring or abandoning traditional construction skills and housing typologies of the region. The harmonious juxtaposition of old building stock with contemporary interpretations proves that it is possible to respect tradition while at the same time not rejecting contemporary life. [3-5 )

15

Apartment building Lechblick (Christian Lenz)

5 sturz Residence, Dalaas (Gohm Hiessberger)

4 Fire and Mountain Rescue Station, Mellau (Dietrich Untertrifaller)

16 Tradition and Future

6 -8

SU-SI Build ing System (Jo hannes und Oskar Leo Kaufm ann)

8

7

17

Initially, this critical discourse involved small-scale private projects which allowed the architects to easily test ideas and concepts. The invaluable knowledge gained through this experience enabled them to successfully transition to working with investors and public authorities on more complex and larger public commissions. [VI) This unique development was not the product of the architects alone. Enlightened clients, a climate of open discussion, the cooperation ofthe authorities, and a broad consensus on aesthetic qualities and energy consumption have contributed to the appreciation and promotion of contemporary and sustainable architectural principles at all levels of society. Thetraditional carpentry trade has successfully made the transition to modern fabrication techniques, and plays an active and important role in the planning and design process by setting extremely high standards of workmanship. Today, there are many open-minded timber manufacturers that have a vested interest in cooperating with architects in order to improve and promote their building products. Prefabrication plays a very important role, but it is rooted in the carefully crafted customization of the carpentry trade, rather than inexpensive industrialized mass production. [vlIl Many manufacturers offer entire prefabricated kit houses, which have been developed in collaboration with architects. [6-8J Dueto the decline of traditional farm ing, many centuries-old timber structures throughout the region became redundant and were, until recently, thoughtlessly demolished. At the same time, the postwar building stock from the 1950S and 1960s is starting to reach the end of its service life since envelope and energy systems no longer meet current building codes. The new generation of architects has become increasingly engaged with the sensitive renovation and adaptive reuse of many of these old buildings while at the same time addressing concerns of ecology, sustainability, and the conservation of resources. The refurbishment and upgrading of these valuable historic structures to today's building standards presents technical challenges and demands creative design solutions. [VIII] The labor-intensive and sometimes difficult restoration and conservation process keeps traditional craftsmanship skills alive, contributes to the creation of highly specialized expertise, and introduces new technologies to the field of historic preservation. The "Landle," as Vorarlberg is affectionately called by its inhabitants, has managed to develop new architectural customs and craftsmanship practices by successfully building on its vernacular past.

AmI der Vorar lberger t.andesregierung. t.andest el te fur tausur . Bevo/kerung okwell (www. vorrlberg.at . December 20 0 8 ) I

Statistik Austr ia . http://www.s ta tls tik al/web_de/Red lfect/ Index.hlm?dDo CNam e 022 138 \ Regio no/e G/iederungen Bundes/lind er (www.s taustik .at. 01.01.2008) .

II

III See Otto xapfi nger. "The Vora rlbe rg School of Arcnu ecture." In Ott o xapfinger. ConsUuctiv e Provocar ian: Contemporary Arch it ect ure in varar/berg. e d. by Vor arlber ger Arch it ekt ur ins titut (Sa lzburg: verl ag Anton Pust et . 2003). 22.

IV AmI der vor artb erger t.andesregie ru ng, Abt. Allgemeine Wirtschaftsangelegenheiten. Bereich Energie . fne rgiebericht 200B (www.vorarlberg.at. o ctobe r 20 08 ).12 . V Wirt schaltskammer vorar lber g, varar/berg in Zah/en . Ausgabe 2008 (www.wko .at/vlbg. 2008) . 8. VI Otto xapflnger, Baukun st in vorarlberg serr 19BO. f in Fiihr er l U 260 sehenswerte n Bouten (Ostfild ern ·Ruit : Ver lag Gerd Hatje . 199 9).6. VII Traugott Zech. Hollbauten in Vorar/berg . f ine Dokumentation der letllen 20 Jahre (Feldkirch: Rheticus' Gesellschalt . 1985). 7. VIII See 0110 xapfinger, -New Spa ce s in Arch ite cture," in Cansuuctive Provocation . 85.

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Elementary School Doren Cukrowicz Nachbaur

Lessons from Wood The small community of Doren is part of the Bregenzerwald region, a mountain range of the Northern Limestone Alps. Most of the working population in this part of Vorarlberg is employed in tourism and agriculture, although the latter workforce is rapidly decreasing due to the large variety of job opportunities in the nearby Rhine river valley. Doren's new elementary school is on a steep hill site in the center of the village. Directly adjacent to the church, rectory, and municipal offices, it offers panoramic views of the surrounding mountain ranges. The building's program, consisting of a gymnasium, day care, four classrooms, two workshops, a multipurpose space, and a teacher's lounge, proved to be a challenge to fit on the extremely small site. With their proposal for a hard-edged, compact building volume, architects Andreas Cukrowicz and Anton Nachbaur-Sturm beat 17 other firms to win a design competition held in 2001. Their design combines all functions on five levels, taking advantage of the sloped site to reduce the building's overall height. At first glance, the new elementary school seems to mark a break with the rural building tradition of the Bregenzerwald region. However,the new building completes the ensemble of church, community center, and school, and restores the spirit of the place . Thesolid structure plays with ideas of rotation and superimposition of layers in a horizontal and vertical fashion. Each individual story frames a different view of the landscape beyond, and this change of direction creates appealing spatial relationships within the simple volume. The steep hillside allows the building to have entrances on multiple levels and establishes two main orientations: the gymnasium entrance on the lower

1:150 0

20 Elementary School Doren

level faces south and addresses the square, while the main entrance is located on the level above facing the church to the east. Large south-facing windows in the classrooms allow views of the alpine mountain ranges in the distance . The building's compact nature minimizes the circulation areas for the benefit of the programmatic functions. A space-saving windowless staircase connects all levels and leads to generous hallways which house the pupils' coat racks and also allow classrooms to spill out for projectrelated activities. Thearchitects did not follow the 3 .20 m minimum room height requirement as mandated by Vorarlberg's school construction guidelines, but decided to reduce it by 10 percent to 2 .90 m. This reduction was only approved by the authorities following the introduction of a mechanical ventilation system, since the mandatory typical room height was merely based on natural window ventilation principles. As a result, this significantly contributed to decreasing the school's overall volume and its impact on the surrounding buildings. Lined with a natural stone wall, the newly established village square serves as a schoolyard for the pupils, and at the same time becomes the community's new social and cultural focus where events and festivities are held .

construction According to architect Markus Cukrowicz, "pastor, mayor, and teacher still command respect and hold positions of power." He states that with the design of the new elementary school, they "picked up on the old tradition that the buildings for these three pillars of society in the rural Bregenzerwald region are usually built out of solid materials." The building's exterior walls are made of loadbearing fair-faced concrete. Two interior concrete walls on each level subdiv ide the floor plan. By spanning the entire depth of the building, they function as floor-to-ceiling beams and support the story below. A large opening in each beam allows horizontal circulation on each level. The goal was to accommodate the project brief on the small site within a compact envelope, a clear span, and without the need for any additional interior columns .

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2 Exterio r wall . U : 0.18 W!m' K 300 mm reinforced concrete 100 x 50 mm horizontal furr ing strips with 100 mm mineral wool thermal insulat ion in-between 100 x 50 mm vertica l furr ing st rips with 100 mm mineral wool t hermal insulation in- between 12 mm orie nted str and board Vapor ret arder 37 mm furring str ips with services cavity in-bet ween 21mm silver fir boards. planed

3 27 mm silver fir floorboards , fine -sawn 45 mm timbe r floor j oist s with mineral wool insulat ion in-bet ween 128 mm raised floor 300 mm reinforced concrete slab 30 mm sheep wool acoust ical insulat ion Acoustical mat, black 40 mm silver fir str ips. spaced at 15 mm

4 22 mm epoxy cement floor ing or coco floo r mat 70 mm screed with int egrat ed underfloor heating system vapor retarder 20 mm impact sound insulation board 35 mm bed of bonded sto ne chipp ings 140 mm reinforced concrete slab 185 mm services cavity 30 mm sheep wool acoustica l insulation Acoustical mat, black 25 mm perforated medium density fiber board 4

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6 15 mm epoxy cement flooring 70 mm screed with int egrat ed underfloor heating system vapo r ret arder 20 mm impact sound insulation board 100 mm expanded polystyrene rigid t hermal insulat ion 4 mm bit uminous felt 300 mm reinforced concrete slab

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Reinforced concrete is only used where it has a structural application. It is seen on the building's facades and on the interior, where it becomes part of the building's spatial experience. The cold and hard surfaces of the loadbearing concrete structure are complemented by the use of wood for all non-loadbearing building components. Wall, floor, and ceiling finishes, as well as the built-in furnishings, are made of native silver fir, and reference the local material and build ing craft tradition . For the first time in an Austrian school, the architects were able to persuade the regulating authorities to approve the use of untreated interior wood surfaces: the walls are planed smoothly, and the floors are fine-sawn . In order to minimize expansion and contraction, the highest grade of silver fir was chosen for the flooring. The selected rift-sawn boards have been cut perpendicular to the tree rings, which guarantees a relatively uniform grain pattern and makes the boards more stable than plain-sawn lumber. In addition, the wood underwent an elaborate manufac turing process that involved several drying stages to ensure that the floor would not deform and generate gaps and cracks over time. Maintaining the untreated wooden floors has proven to be easy, which has even impressed the public health officer. According to the school's janitor, the floors are vacuumed once a week and are mopped with water twice a year, which allows them to retain their inherent natural beauty and pleasant smell. Untreated silver fir floors can be found in historic churches throughout the Bregenzerwald region, and serve as a convincing example that its application has been successful for centuries. The minimized formal language and reduced material palette identify the five-story school as a contemporary building. Its flat roof juxtaposes the nearby church's Baroque clock tower and the gabled roof ofthe municipal office building. The architecture is unapologetic and purposely denies any traditional references. Instead of evoking typical childhood connotations as might be expected in the design of a school, the architects focused on a clear formal language and the use of well-crafted and carefully detailed materials. Various surface finishes stimulate the pupils' senses and invite interaction with the building. Most importantly, the restrained aesthetic does not detract from the daily school activities. Cukrowicz Nachbaur have successfully created an environment conducive to learning. Energy Concept

The compact school building has an optimized surface-area-to-volume ratio which minim izes the potential for heat loss. A biomass-powered heating plant is located underneath the plaza facing the church , and also supplies several of the neighboring houses in the village with heating energy. The system is able to reduce the building's CO, emissions through the combustion of wood pellets that are typically made from compacted sawdust and are a byproduct of the timber industry. A mechanical ventilation system replaces the prevalent practice of natural ventilation, and prevents excessive energy losses through improper window operation by the building's users. Many locals aired concerns during the planning and construction phases of the project. After the school's opening ceremony, however, this initial skepticism was quickly put aside. Overall, the community is rather pleased, and has praised the harmony and coherence that is apparent between the building's interior and exterior appearance.

26

Ski Lodge Schneggarei, Lech am Arlberg Katia Schneider + Gerold Schneider, Allmeinde Architektur, Philip Lutz

Building on Traditional Values Thevillage of Lech am Arlberg was founded in the fourteenth century by Walser migrants from the canton of Wallis in Switzerland. The region's slopes served as the basis for the local dairy and livestock farmers' sparse existence for hundreds of years, and were discovered to be ideal for skiing in the early twentieth century. Today, Lech has grown to become one ofthe world's premier ski destinations. However, tourism has transformed the little mountain village into an agglomeration of disparate buildings which are no longer rooted in the local building tradition. Today's building stock reflects superficial and diluted alpine building forms, which try to appeal to the mass of visitors and their apparent expectations of a cozy and rustic experience . The ski lodge is located in the center of the village, near the base station of one of the ski resort's chair lifts. There was a lot of controversy at the beginning of the building's design and planning process, but initial opposition from the local administration was eventually overcome. The Schneggarei is an attempt to reinterpret the traditional mountain hut, which was historically the most basic building type to provide room and board in the alp ine region. The clients, a well-established family of hoteliers, wanted a rustic design, but one that was a bold contemporary interpretation of the regional building tradition , and not one that would be a continuation of the alpine kitsch architecture that clutters Lech and many other neighboring ski resorts. The aggressive efforts ofthe tourism industry to create a stereotypical picture of alpine living have resulted in many poorly designed built examples claiming to cater to the needs of the tourists, while at the same time glorifying a false sense of tradition. It appears that Vorarlberg's contemporary

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28 Ski Lodge Schneggarei, Lech am Arlberg

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and innovative architecture has hardly left any impression on the ski resort over the last three decades. The new lodge stands out through its remarkable simplicity, clean lines, and minimal detailing. Its design is based on the belief that there are many possibilities for a rustic but contemporary int erpret at ion of the region's traditional timber architecture. The building acknowledges the tourists' legitimate search for authenticity, a sense of place, and Gemutlichkeit, but tries to address these desires skillfully through the use of materiality and space rather than the mere surface application of pseudo-traditional motifs. With its minimal and modest design features, the Schneggarei fits in well with Vorarlberg's internationally acclaimed timber architecture, while at the same time fulfilling the requirements of a contemporary ski lodge. The guest areas are separated into an open bar and dance floor zone on the ground floor, and a more secluded restaurant on the upper level. Visually connected by a double-height space, both floors offer seating for approximately 120 guests. A vertical volume made of tamped concrete extends over both levels and houses two open fireplaces as well as the ventilation system. The main staircase wraps around this concrete mass and leads to the upper floor, where a continuous counter lines the perimeter of the void, offering good views of any activity below. A shallow south-facing terrace invites guests to sunbathe. construction and Energy Concept

Great care was taken to design a contemporary and sustainable building which reflects the return to the roots of the alpine building tradition . Locally harvested and processed solid sawn lumber was used almost exclusively in the lodge's construction, and every effort was made to minimize cut-off waste. The majority of the building materials were sourced locally, which allowed any added value to be retained in the region. The small amount of heating energy needed to operate the building is provided by a ventilation system with heat recovery which is connected to the municipal biomass-powered district heating system. The prefabricated timber-framed structure is clad in heavy rough-sawn silver fir boards on both inside and outside, giving the entire building a rustic appearance . All timber elements used are untreated and retain their waney edges, which means that they show a portion of the original log surface from which they were cut. The exterior cladding boards are lapped at the corners using a joining method reminiscent of the traditional Strickbau technique, which is similar to log construction and literally means "knitted building." The horizontal strip windows have sliding shutters of unfinished silver fir and feature neither hardware nor weather-stripping. Throughout the space, rustic but extremely simply detailed furnishings and fixtures allow guests to experience and appreciate the local material tradition and craftsmanship. All interior surfaces, as well as the basic furnishings, are made of the same unfinished silver fir, giving the lodge interior a robust, yet warm charm. The goal of the project was to combine the local building tradition and a sense of place with today's modern design and contemporary lifestyle. The ski lodge successfully illustrates how this approach can lead to the creation of harmonious, compelling, and highly memorable spaces. A bold reinterpretation of traditional values, the Schneggarei is a beautifully crafted contemporary building that is authentic and rustic at the same time .

32

Parish Church St. Ulrich, Gotzis Christian Lenz

Let There Be Light The catholic parish church St. Ulrich in G6tzis was completed in 1865. Over the course of the twentieth century, several improvements were made to enrich the building: stained-glass windows by artist Martin Hausle were added, artist Mila Bjelik-St6hr designed the rose windows, and the sculptor Herbert Albrecht contributed main and side altars. Extremely low light levels inside the church almost rendered these works of art invisible, making it difficult for visitors to appreciate or indeed even experience their presence. The entire parish consists of approximately 7,600 members, and two services a week are held in the orlginal soo-seat church, attracting on average about 200 to 300 people . From recent experience, a full church can only be expected on high religious holidays or special occasions such as First Communion and Confirmation. In addition to the reduced number of visitors, the interior of the church did not conform to certain liturgical guidelines devised during the Second Vatican Council in the early 1960s. The redesign should cultivate the cooperation between priest and congregation, dissolve spatial barriers, and bring individual parishioners closer together. After several years of discussions, architect Christian Lenz was finally commissioned to carry out the renovation in 2005. His proposal for a complete remodel was intended not only to improve the quality of the spaces inside, but also to bring light into this place of worship. The development of a suitable solution to improve the natural daylighting conditions within the church proved a difficult decision -making process. Many people expressed their objections to the solution of introducing narrow vertical light slits. For the most part, however, this scheme has now been accepted by everyone involved.

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34 Parish Church St. Ulrich , G6tzis

Exterior and Interior Concept As part of the comprehensive remodeling project, the design concept of the church grounds provided new paved outdoor areas specifically dedicated to the building itself. Raised from the street, the new church square is accessible through a set of wide stairs, while benches and outdoor lighting provide an inviting and comfortable environment for lingering. Long concrete planters line the square on three sides and mediate any level changes, providing a suitable setting for service-related outdoor events such as Easter Vigil and agape. By leveling the outdoor areas, the side entrances to the transept and the sacristy now allow disabled visitors easy access to the church . A new sacristy space was added on the southeast corner of the church to match the original sacristy on the north facade, thus completing the symmetry of the floor plan : Entirely made out of fairfaced concrete, the new addition opens to the outside through three south-facing glass doors and a narrow east-facing window. The bright and radiant color scheme employed on the exterior facades is also continued inside the sanctuary. The guiding idea for the interior renovation focused on the liturgical space as defined by the crossing of nave and transept. The main altar was relocated to this point of intersection and now relates equally to the adjacent spaces, while the entire altar area was lowered, rising just four steps above the nave. The trad itional pew layout along the outer walls was consolidated in the center nave and leaves the side naves completely open. This reduction in seating reflects the fact that the number of churchgoers is dwindling in today's society. The transept now also contains pews, thus placing the altar in the center of the sanctuary. Loose seating in the form of chairs is located in the apse, keeping the space flexible for future activities. The new seating arrangement positions the congregation close to the altar, offers ideal visual and acoustic relationships, and allows active participation during service. The solid oak pews rest on an oak floor and form an "island" within the interior space. The same motif is repeated in the gallery, which - appearing like an oversized drawer - consists of a wooden volume extending into the sanctuary. To improve daylighting conditions, narrow 200 mm wide light slits were cut into the massive 1 m-thick exterior walls, which proved to be a technical challenge. Their slight asymmetric arrangement in relationship to the valuable stained-glass windows above designed by artist Martin Hausle - avoids any type of rivalry. Due to the considerable wall thickness, the light reflected from the deep window reveals plays an important role in the illumination scheme . This minimal intervention makes all elements within the sanctuary visible and serves to illuminate the circulation areas, following the visitor throughout the entire church. The quality of light entering through the slits facilitates the gradual transition to the dimly lit main nave, contributing to the mystic ism of the space.

Material and Energy Concept Architect Christian Lenz drew inspiration from the solid construction of the church and the objects he found inside to arrive at his material selection. Just three different materials - stone, wood , and metal - contribute to create a harmonious and distinct palette. The floor surfaces of the sanctuary, the sacristy, and the community room were covered with polished 500 x 500 mm Solnhofer limestone slabs laid out in a checkered pattern. The floor finish below the pews and the gallery extension are all kept in solid oiled oak. All the furnishings including the pews, the confessional, the sedilia, and the chairs in the apse are also made of oak. Inspired by the existing travertine altar which had been designed by sculptor Herbert Albrecht of Wolfurt, Christian Lenz combined travertine

35

and bronze to create the valuable and high-quality liturgical accessories includ ing tabernacle, ambo, baptismal font, sanctuary lamp, stoup, and offertory box. All of the technical equipment in the church was replaced and skillfully integrated into the existing spaces. The building is heated through a radiant floor heating system supplied by the municipal biomass-powered heating plant. The sacristy, community room, and youth club space are heated to 20·C, the altar area is heated to l2·C, and the remaining spaces are kept at lO·C. All pews are equipped with electric infrared heaters. At the intersections of the ceiling vaults, down lights are recessed into circular openings to illuminate the main nave. The column capitals support uplights for lighting of the vaults above, while down lights in the corners brighten the column shafts below. The .close collaboration between Christian Lenz, the client, and the building committee allowed the successful completion of a project this size, complexity, and quality. By strengthening the building's already powerful architecture, the architect's goal was to create a light-filled and inviting place of worship which would bring the congregation closer together. The limited number of subtle design interventions provides the church with an unpretentious and natural elegance.

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Riischer Residence, Schnepfau Oskar Leo Kaufmann, Albert Riif

Reinterpreted Vernacular This single-family home is located on a sloped site at the main thoroughfare through Schnepfau, a little village in the Bregenzerwald region. Like many new timber-framed houses in this area which is renowned for its sophisticated woodworking trade, this project is the result of a close collaboration between the architect and the client, who owns a millworking company. The client's parents' house was originally located on the site, which was tight and presented a lot of constraints. The steep slope also made it challenging for the architect to fulfill the family's desire for bright, light-filled spaces with a generous open living, dining, and kitchen area. Another important requirement was the physical connection of the new family home to the immediately adjacent millwork shop. The building's exterior borrows from the local vernacular architecture. The simple volume with gabled roof, covered patio, and wood cladding reflects traditional building elements to be found throughout the region. The house is laid out on three levels. The entrance, garage, laundry, and storage spaces are on the ground floor. The next story houses the open kitchen and living area, as well as a home office which also doubles as a guest bedroom . With vast amounts of glazing, this floor opens up to the street and the impressive mountain views in the distance . A covered patio and outdoor space serve as a buffer between the private home and the millwork facilities and extend the usable space ofthe main living level. The bedrooms and bathrooms on the top floor are purposely kept private and secluded.

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38 ROscher Residence. Schnepfau

1 Roof, U = 0 .21 W/m'K Standing seam metal roof Waterproofing membrane 18 mm or iented strand board 60 mm ventilated cavity 22 mm fiberboard 100 mm thermal insulati on 210 mm prefabricated solid timber panel . consisting of individual layers of spruce and fir boards, joined with hardwood dowels 2 Exterior wall . U = 0.21 W/m'K 18 mm oak siding 40 mm horizontal furring strips 40 mm vert ical furring strips 35 mm fiberboard 220 mm mineral wool thermal insulation 200 mm reinforced concrete . fair-faced fi nish to inside 3 22 mm larch slats 46 mm furring str ips 5 mm neoprene pad Waterproofing membrane 5 mm PE mat 20 mm vacuum insulation panel 5 mm PE mat Vapor barr ier Coat of bitum inous paint 250 mm reinforced concrete slab 30 mm furr ing strips 12 mm plywood board

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Construction The building's architecture with its gabled roof blends into the surrounding context, but at the same time, its construction principles present an unconventional departure from traditional timber-framed houses. Resting on a fair-faced concrete plinth, the walls, ceilings and roofs of the upper levels are made of prefabricated solid timber panels. These panels consist of eleven layers of spruce and fir boards, which add up to an overall thickness of 310 mm. The construction system is innovative in the sense that it relies solely on beech-wood dowels to hold the individual boards together. No glues, solvents, or metal fasteners are used. All building materials used for the assembly of the prefabricated panels are environmentally friendly and can be fully recycled. Further, the client attached great importance to untreated surfaces and honesty towards the building's materiality. This is reflected in the use of solid and single-layered building elements without further addition of final floor and wall finishes . All wooden walls, ceilings, and roofs are made of single-leaf solid timber panels that are not only loadbearing, but also fulfill several other performance requirements. The structural engineer and architect worked closely together to solve the building's structural challenges . In order to create an open living area without the interruption of columns, only 2.5 m of the top level rests on the concrete staircase core, while 5.5 m cantilevers freely over the living room and outdoor patio . Due to the choice of construction methods, the routing of all plumbing and electrical services had to be determined before construction began. All switches and electrical outlets had to be located during the planning phase, since every wall and ceiling surface consisted of either fair-faced site-cast concrete or a prefabricated timber panel. Any additional changes to the service installations on-site would not have been possible without severely compromising the project's minimal aesthetic and were therefore avoided at all cost. This requi red a lot of upfront coordination by the consultants on the one hand, but on the other hand made the actual construction phase much more efficient, since all these matters had already been addressed and resolved early in the project.

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The exterior surface ofthe prefabricated timber panels is made of untreated oak boards, which are sanded smooth and installed without any visible joints. Over time, the wooden facades will weather turning a soft gray, and will blend in with the ground floor's fairfaced concrete finish , creating the impression of a monolithic building volume . For the design of the built- in furnishings and furniture, the architect continued the close collaboration with the client, who was extremely interested in a continuation of the minimized material palette inside the house. The interior finishes are limited to concrete and wood, which are merely oiled and free of any lacquers and solvents . Spruce was used for the walls and ceilings, the floors consist of polished and oiled concrete or spruce floorboards, and all furniture and built-ins are made of oiled oak.

Energy Concept The residence is heated by a wood-chip heating system located in the adjacent millwork shop. The 310 mm -thick solid timber wall panels have excellent thermal properties and provide a U-value that makes any additional insulation unnecessary. Heating costs of the new building are 55 percent of those of a conventional timber-framed house since the walls provide a high thermal mass. The wood panels are able to store large amounts of heating energy during the day and slowly release it back to the interior through the evening and night. The thermal storage capacity of the exterior walls also prevents the home from overheating in the summer, which is a common problem in conventional timber-framed houses. The prefabricated timber panel system offers the advantage of reduced on-site con struction time, excellent fire -rating and acoustics, as well as improved indoor air quality through the absence oftoxic glues and solvents. The absorption and release of moisture is delayed, allowing the panels to aid in regulating the interior climate. Further, the solid timber walls have the added benefit of blocking most of the potentially harmful electromagnetic radiation such as wireless phone signals. All of these aspects contribute to the creation of a comfortable and healthy home.

42

Community Center Ubersaxen Matthias Hein

Tough on the Outside, Soft Inside The hillside village of Obersaxen overlooks the River Rhine and offers unique views across the entire valley, ranging from Piz Buin to Lake Constance. In 2002, the small community of approximately 600 inhabitants decided to hold a design competition with the goal of remodeling the existing community center and school building. The scheme would also provide the village with a new multipurpose event space and central square. Among the invited participants were not only ten established architecture offices, but also two young and up-and-coming firms . One of these was architect Matthias Hein, who emerged as the winner of the two -stage competition and was hired for the design and planning of the project. Important and critical design criteria included taking advantage of the site's spectacular views, embedding the new building into the small-scale village fabric, and retaining an existing single-family residence located on the site designated for the future square, which would be implemented in the second phase of the project. The scheme involved the refurbishment of the existing community center and school building from the 1960s, containing municipal offices, the elementary school, a day care center, as well as meeting rooms and gathering spaces for clubs and other organizations. The client wanted a rearrangement of these spaces and the creation of separate entrances in order to segregate the individual functions, which would allow each one to operate independently and without interference. The new addition houses a multipurpose event space, the library, and a spacious bar.

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44 Community Center Obersaxen

Even though the new building is a dark gray, the elevation facing the village square appears small in scale and unobtrusive. To preserve the single-family residence and to minimize the building's impact on the scale of the surrounding fabric, the architect decided to bury auxiliary program elements underneath the new square. Embedding the large multipurpose space into the ground reduces the building's volume and does not obstruct the spectacular views. The building's actual scale can only be experienced from the west elevation which faces the valley. Views and lighting are directed through the building and correspond to the sloped terrain . Through an extensive glass facade, the interior opens up to a large green outdoor space which can be used for community events. Additional functions including a library, bar, and cloakroom are combined in a long and narrow single-story volume . In conjunction with the remodeled community center, the L-shape configuration defines the edges ofthe square and provides the new addition with a presence on the village's main street. Three and a half years after completion of the first phase, the single-family residence was demolished to make room for the implementation of the entire village square design. Following proposals by architect Markus Cukrowicz, the large-format sandblasted precast concrete pavers were continued across the whole square, seating elements were installed, and Japanese cherry trees were planted, which will frame Obersaxen's center in a bold pink when they bloom in the spring . The space now provides access to all functions of the two buildings, and offers room for curricular and extracurricular activities, as well as community events.

construction The design of the hard-edged cubic building volume of reinforced concrete was derived from the village's name - evolved from the Latin word saxum, which means stone or rock . This became especially evident when more rock had to be blasted out of the ground than expected during excavation for the new addition. The concrete mixture used contains 7 percent dark gray pigment and has a rough and porous finish, similar to pervious concrete commonly found in road construction. No contractor in the area had any experience with this type of concrete, and many experiments and trials were conducted to correctly evaluate the effect of the retardant, which was applied to the inside of the formwork and was responsible for the creation of the grainy surface texture. The site-cast concrete structure appears simple at first glance, but proved to be a challenge for the experienced engineers because of the arrangement of the openings and the choice of relatively slender columns. Asa result, the columns were prefabricated out of high-strength concrete, while the roof consists of 320 mm deep hollow core slabs that span 13 m. Supporting the externally insulated slabs on the walls with internal insulation was equally difficult. While the building's shell appears rough and hard on the outside, the inside reveals more refined surfaces. The interior of the multipurpose space is dominated by warmer and softer finishes, achieved by using various grades of oak. A darker, rustic, more figured species is used for the flooring; lighter, smoother parquet is applied to the walls; and the ceiling is clad in very light colored and plain perforated veneered panels. Through this variation of finishes, the architect breaks the uniformity of the material and is able to place an emphasis on the darker flooring surfaces. During evening events, the light reflected from the wooden interior is visible from afar and creates an inviting atmosphere . The surface finishes in the subterranean auxiliary spaces are kept bright white with the exception of a black mastic asphalt floor. This emphasizes the impression

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134 Construction Systems

Vernacular Timber Construction

, rrn Fang housing development, Hlichs . 1979 (Arch ,tektengeme ,nschaft coocerauve) Page 132: Halde II housing development Bludenz H~avy masonry walls filled in with a lightweight limber framed floor and wall system (Hans Punn)

Dueto the prevalence of timber and the region's carpentry tradition, several vernacular construction techniques were developed in vorarlberg. The careful evolution of these principles over centuries led to buildings with life spans of 200 to 300 years, and many outstanding structures haveendured the test of time and are still standing. The "Standerbohlenbau," a post-and-beam construction method , is the oldest timber construction technique in Vorarlberg, and only a few examples have survived . [4] Derived from a construction practice where vertical posts were simply driven into the ground, later techniques rested the posts on a masonry foundation in order to keep timber elements away from moisture. Postsand beams make up the structural framework, and horizontal timber planks 80-120 mm in width form the walls. Theseare slotted into vertical grooves which have been cut into the posts. [IJ The standerbohlenbau uses considerably less wood than the much larger log construction, and was therefore mostly used for outbuildings such as hay barns and stables. [III The "slockbau," or log construction, is the building technique most commonly used for traditional farmhouses in Vorarlberg. Timber members are stacked horizontally and linked in the corners using cogged joints. The "Kopfstrick," or locked lap joint, is the oldest cornering technique, and the members extend beyond the wall faces at the corners . [2] By the end of the eighteenth century, this type of connection was gradually replaced by the "Schwalbenschwanzstrick" or dovetail joint, which featured a flush corner. [31 Hardwood pegs were inserted into the logs to int erlock the individual courses, creating a structure of great rigidity. [III] With increasing industrialization, the availability of mass-produced inexpensive nails allowed the facades to be clad with a scale-like shingle skin that effectively protected the structural members from rain. When thinking of traditional European houses, the typical "Fachwerkbau," or timberframe construction, usually comes to mind. This system consists of a structural framework which is filled in with wattle, clay, and chopped straw. Vorarlberg is, in fact, the only Austrian province that possesses a significant number of these types of buildings, due to its geographical location at a point where different construction techniques meet, making for an interesting mix of styles. However, timber-framed houses were mostly built in areas rich with deciduous trees, since these predominantly produced short structural members. construction systems such as post-and-beam construction and log construction were prevalent in Vorarlberg, taking advantage of the abundance of coniferous trees which provided long and straight members. [IV]

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136 Construction Systems

Change in Tradition

The building codes of various periods in history appear to have discouraged timber construction. In the Middle Ages, many cities introduced bans against the use oftimber as a building material and roof covering, mainly as a means of fire prevention. These regulations had little success, since entire cities burned down time and again. Meanwhile, most houses in the countryside continued to be built exclusively out of timber until the end ofthe nineteenth century. [v)

5 Stucco hides the limber framework of a farmhouse In R6this

6-8 Estate houses built with the tradnional log construction technique. Altach. 1934-35 (Hermann xeckers)

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Vorarlberg's timber construction tradition was put to the test with the rise of the bourgeoisie and the establishment of new values in the late nineteenth century. Suddenly, timber houses conveyed an image of poverty and were out of fashion, since they were considered a sign of belonging to the working class. In addition, it became popular belief that timber was an ephemeral and perishable building material, even though thousands of historic timber buildings proved otherwise. Masonry homes were the new status symbol ofthe middle and upper classes and became the prevalent building type. As a result, many timber houses were covered up with stucco after the fact in order to make them look like their more expensive masonry neighbors . [VIJ(S.9 ) The advantages of timber construction were rediscovered in times of economic hardship. Between the First and Second World Wars, the distinguished Austrian architect Clemens Holzmeister published his essay "Der Holzhausbau," or "Timber House Construction," which discussed the decline of the timber construction tradition. In his publication, Holzmeister presents numerous encouraging examples of successful old timber buildings, many of them in Vorarlberg, and points the way to a new era of t imber construction . Above all, he points out the positive impact of managed forestry and the use of locally available resources on the economy in times of crisis. In the 19 3 0 S, the Austrian federal government launched a building program to battle the housing shortage and rising unemployment. Across the country, the creation of new housing estates at the perimeters of existing settlements was aimed at providing jobs and housing for the unemployed and short-term workers. Eight of these estates were developed in Vorarlberg, and all of the homes were built using traditional log construction techniques with members 120 mm thlck.nv-zo) The large amount of readily available labor allowed for cost-effective prefabrication. Additionally, the chosen timber system allowed future owners to contribute approximately 1,500 hours of their own time and labor to the construction of their home. This set a new precedent, and architects in Vorarlberg would use this combination of professional, industrialized prefabrication with unskilled do-it-yourself labor for the construction of residential projects in the future . [VIIJ( 6- 8)

137

9 Careles s masonry addition t o an exrsnng timb er structure

138 Construction Systems

A New Era

10 11 rrn Fang hOUSlnR development. Hochst. 1979 (Arch.tektengemeinschaft Cooperative)

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Timber construction finally experienced a revival in the 1960s, when a group of young architects started practicing in Vorarlberg . Hans Purin, Rudolf Wager, Jakob Albrecht, Gunter Wratzfeld , and Leopold Kaufmann designed timber houses, which, through their lack oftraditional elements in combination with open floor plans, flat roofs, and unusually large windows, received a lot of criticism among the general population . Leopold Kaufmann remarks : "My first projects - in the sixties - had neither the proper roof, nor the proper form, nor the right windows . The result was that my neighbors no longer greeted me after attending Sunday Mass." [VIII) With their designs, they formulated alternatives to the prevalent local provincialism, which was the result of misguided formal interpretations of the historic building stock. [IX) Rudolf Wager states : "I consciously attempted to build in opposition to traditional tendencies. During my apprenticeship as a carpenter, I realized how thoughtless the so-called traditional construction had become. These stereotypical houses were not really traditional buildings ... I did not want to derive new possibilities and variations in a well-behaved and consistent manner, but needed to oppose th is thoughtlessness." [X)[12) The architects established a dialogue with the region's rich timber building tradition and used the carpentry trade's craftsmanship skills as a basis for their new timber-frame construction systems. Working with timber also meant that buildings had to be well constructed, and particular attention had to be paid to the correct assembly of walls and roofs . Space-making began with designing the structural system, which played an important role as an expressive visual element. Vorarlberg's population is known as being thrifty and hardworking, and its motto "schaffa, schaffa, HOsIe baua" translates to "Work, work, and build a little house." While the single-family home continued to be the prevalent housing type, the strong desire for home ownership contributed to urban sprawl and put home owners under enormous financial pressure. An important question arose among architects: who are we building for if most people cannot afford their own house? Hans Purin, one of the pioneers of the new architecture movement, offered a solution to the problem with the design of the housing estate "Halde" in Bludenz in 1964. A framework of massive masonry walls was provided, which could then be filled in by future residents using a system of lightweight timber-framed floors and walls, allowing the owners to complete approximately 20 percent of the construction themselves. The project served as an excellent example for simple, cost-efficient, and collaborative building. According to Austria's most wellknown architectural critic Friedrich Achleitner, the Halde housing estate "still belongs to the most respectable achievements in Austrian residential construction." (XI] [13-1S] The newly formed Cooperative, a group of young architects consisting of Dietmar Eberle, Wolfgang Juen, Markus Koch, and Norbert Mittersteiner, used a similar approach in 1979 when designing the " lrn Fang" housing estate. In cooperation with their clients, they were looking to develop alternative ways of living and building together. Timber was the building material of choice, since it was easy to process without the need for heavy machinery or highly skilled workers, and also allowed for simple structural systems

139

140 Construction Systems

with a large amount of flexibility. While professional carpenters erected the primary timber-framed structure, the floors, walls, glazing, winter gardens, and cladding were completed by the young architects and future residents. This made the project financially viable for everyone involved and allowed for individual variations and the creation of communal living spaces unprecedented on the housing market at that time. [XIII][1.10- 11)

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At times, the simplest, most efficient way to produce a particular building element influenced design decisions more than purely formal aspects, which resulted in a new aesthetic that was initially rejected by the general population and the building authorities. Although the new timber houses were disparagingly called chicken coops or barns, since their appearance contradicted the popular expectations of a privately owned home at that time, the experience gained in working on these low-cost projects allowed the architects in Vorarlberg to develop professional and logistic skills that addressed all aspects of the building process. The quality of the built environment reached a new level, which ultimately impressed and increasingly convinced the large building cooperatives, construction companies, and local authorities. The resulting simplicity, rationality, and minimal aesthetic were not the product oftheoretically applied ideas, but the outcome of a profession aspiring to make a step-by-step transition from traditional craftsmanship to customized industrial fabrication. Straightforward modern construction methods were employed , with the goal of minimizing the use of material while generating a maximum amount of enclosed space. Once understood, this approach suited the native population's highly developed sense of value for money. [ XIV) The architects' approach was supported by local building law which differed from the rest of Austria, since Vorarlberg did not require an architectural license to submit a building permit for approval. As a result, the members of the Cooperative, as well as many other individuals including Hermann Kaufmann, Helmut Dietrich, Carlo Baumschlager, and Wolfgang Ritsch, were able to start building right out of architecture school without having to go through any type of extended internship training. Eventually, the new movement became so popular and successful that the Austrian architects' registration board felt the need to intervene, since the designers neither sat the state registration exam nor paid any of the high membership fees. In an act of civil disobedience, a group of sixteen rebellious planners united to form the "Gesellschaft Vorarlberger BaukOnstler" (Society ofVorarlberg Building Artists). Three of its members were already facing legal action, and the newly founded association consolidated funds to cover their legal fees. The entire controversy about the right to practice was widely debated in the media, and in the end resulted in a compromise between the national board and the group. [xv)

141

The new timber construction movement can be considered a contemporary answer to Vorarlberg's existing building traditions, and it served asthe basis for the region's unique architectural renewal. With wide acceptance in the population, the local architects have moved away from merely designing and building single-family houses and are taking on larger commissions including schools, office buildings, industrial facilities, fire stations, museums, and multi-family housing. Since timber does not always offer the most suitable solutions for many of these building tasks, the architects are increasingly looking to steel, concrete, and masonry. Through building predominantly with timber, they have developed a rigor and expertise as part of their disciplined design process that has proven useful when employing other building materials and construction techniques. This also applies to the building trades, and it is particularly evident in the carpenters' skillful design of concrete formwork, which leads to fair-faced finishes of exceptionally high quality. While a large percentage of new buildings continue to be primarily constructed out of timber, the impulses initiated by the second generation pioneers in the 1980s and 1990Sserve as fertile ground for further advancement, allowing young architects freedom for experimentation and innovation . Today, they continue to build upon these solid foundations . Numerous municipalities have established design advisory committees to serve as an interface between building professionals, the local authorities, and the overall population. As active members of these bodies, architects advise the local communities on planning and building matters and play an integral role in the shaping of the future built environment. Due to an increase in population, the fabric of Vorarlberg's urban landscape has changed dramatically since the 1960s. The 29 independent municipalities in the Rhine river valley in particular have transformed into an almost continuous, lowdensity agglomeration of villages and towns. Over the last few decades, the population has come to realize that the social, ecological, and economical concepts and principles the architects have developed for individual buildings need to be applied on an urban scale. The local government has therefore launched the research project " Vision Rheintal," which looks at settlement patterns, transportation, economy, landscape, and social infrastructure in order to ensure sustainable growth in the future. The region's unique and sensitive approach to building provides convincing evidence ofthe architects' involvement in solving the problems and addressing the needs of the society in which they live. As a result, many ofVorarlberg's architects enjoy an international reputation today, and they teach at universities and build in, among other countries, Germany, Switzerland, Liechtenstein, and China.

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142

Housing Development Miihlweg, Vienna Hermann Kaufmann + Johannes Kaufmann

Exporting Expertise In 2003 , the Vienna Land Procurement and urban Renewal Fund held an open competition with the goal of constructing a zso-unrt housing development using timber or hybrid timber construction. Within the framework of its climate protection program, the city wanted to demonstrate that it was feasible to employ timber construction techniques for the construction of affordable housing in urban settings while adhering to low-energy standards . Besides the consideration of urban planning, ecological , and financial aspects, the appropriate use oftimber as building material was to be explored and evaluated. The local building regulations had only recently been amended to allow the construction of multistory timber buildings within the city limits of Austria's capital. This new development at Vienna's outskirts is Europe's largest housing estate employing timber construction techniques to date. The site had been divided into three separate parcels , and two of the three winning architecture firms were from Vorarlberg. Each of them brought a remarkable amount of t imber construction experience to the table, thus contributing to the export of local expertise to other parts of the country. In addition to the submissions by Graz-based architect Hubert Riess and the architecture office of Dietrich Untertrifaller, Johannes Kaufmann and Hermann Kaufmann's joint design project was selected for implementation . Their proposal puts forward urban considerations and demonstrates the potential of timber as building material in the creation of high-quality living spaces. Johannes and Hermann Kaufmann's site-specific solution forms a permeable link between the monotonous 1960s residential blocks to the west and the adjacent open green fields to the east. Three building volumes have been pushed to the perimeter of the site and create an internal courtyard in the center, which, even though well-defined , opens up to the surroundings. Through this , the transition to the landscape of the adjoining Marchfeld area is not cut off but retained. One of the outdoor spaces formed by the buildings ' massing is a quaint and sunny playground which can also be enjoyed by residents in the adjacent existing neighborhood across the street.

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Urban planning strategies were elemental in generating the geometry and positioning of the building volumes on the site, and the variation of dwelling unit typologies reacts to these site-specific conditions. The architects' goal was to provide as many south and west-facing apartments as possible and to offer a range of different floor plan layouts. The buildings' circulation typologies vary and form spatially compelling and inviting spaces which offer numerous opportunities for interaction between residents. The creation of unappealing and monotonous circulation spaces, which are often found in affordable housing developments, can be avoided. The two L-shaped structures are accessed through external stairs and walkways, where one of each of the buildings' wings has a double-loaded corridor. The third building consists of an elongated rectangular volume which houses multistory units . Each apartment unit features a generous private outdoor space in the form of a terrace or loggia. All of the buildings' main entrances open up to the surround ing streets as well as the interior courtyard , which fosters the site's permeability and allows residents easy access to the central open space. Even though an additional rooftop level had been approved, the architects refrained from its addition, and thus each of the buildings consists of merely four stories . Their restrained volumes and simple vocabulary are in harmony with the urban concept.

construction The housing development's basement and ground floor levels are made of site-cast reinforced concrete while the three upper floors are entirely constructed out of timber. The upper-level floor slabs and loadbearing interior walls consist of large-format prefabricated laminated timber panels. Vertical loads are transferred by these wall elements while the solid floor slabs function as continuous beams and span perpendicularly across. Their exposed wooden undersides form the ceiling finish inside the individual apartment units. These timber wall and floor panels possess excellent material properties . Their multilayered cross-laminated structure makes them particularly resistant to deformation through temperature and humidity changes typically experienced with solid timber products. In addition, their large formats of up to 3 m by is m allow for a high level of prefabrication, easy installation, and reduce the amount of necessary joints which proves advantageous for fire protection purposes . Most of the exterior walls do not have to carry any loads, which made it possible to use non-load bearing, highly insulated timber facade panels. These prefabricated lightweight elements are clad with rear-ventilated vertical larch boards on the outside and are finished with gypsum board on the inside . wood windows and cladding systems are pre-installed in the factory. The external circulation walkways are steel structures and sit in front of the timber structure, while their non-flammable decks are made of precast concrete elements.

145

146 Housing Development Milhlweg. Vienna

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