The facade acts as the signature of the hotel.
It acts to communication the hotel's symbolic identity, the hotel as a context for art.
Authenticity is a principle of originality.
ARCHITECTURAL THEORETICAL RELEVANCE
According to Gottfried Semper regarding ornament, the formation conditions of an architecture are dependent on their making for expression. The facade is generated as an emergent system; consisting of individual components created through digital processes. The digital logic is translated into the architectural, structural, and aesthetic. Within the current environment of digital and algorithmic design processes, a new form of structural ornamentation has developed in the current discourse. The angles within the facade are rounded, in accord with historical precedents of façade structure, in which the components expand and compress along the facade. This creates an aesthetic which is both animated and dynamic. This slight measure ensures that the building is perceived as a homogeneous body. The physical realization of this cladding system is available both as a profile system, where the elements exist within the plane of the glass, as well as a secondary layer attached at the balcony level.
The hotel acts as a context for art. Authenticity acts as a principle of originality.
The hotel gallery exists as a manipulable, curated context.
The public areas of the hotel, such as the lobby, have been designed as a gallery, wherein the art is contemporary, the physicality temporarily. Here you will find exhibitions, artist talks, art exhibitions, and guided tours taking place.The rooms flow into each other and overlap. The gallery extends from the lobby up as a vertical, sculptural space to the roof. An additional truncated cone of glass penetrates the open area. Sculptures and video installations can be accommodated, as well as classical mediums.
Kathrin Aste, Frank Ludin, Benjamin Ennemoser, Thomas Feuerstein, Peter Griebel,
Phillipe Grotenrath, Daniel Luckeneder