The Provostry of St. Gerold lies on a small plateau on the southern slope of the Walsertal and is rooted in the Benedictine heritage. Over the past 1,000 years, the original hermitage has grown into a multifaceted architectural ensemble. In recent decades it has been expanded and revitalized with high quality standards and careful guidance by HK-Architekten. The now complex structure and the sometimes high number of visitors require a wayfinding system for basic orientation.Atelier Andrea Gassner created a rather restrained signage concept, fully aware that the key lies not in visual loudness but in appropriateness, recognizability, and logical placement within the cartography of paths and decision points. A core element of orientation is the archway that marks the main entrance in a welcoming way, along with a stele placed in the center of the courtyard directing visitors to various locations and offerings.The cross – as the central symbol of Christianity – forms the constructive base module for steles, posts, and wall elements. The legendary Provostry emblem – a delicate, linear abstraction of a mythical creature – served as the basis for the graphic design of the pictograms. These fulfill the important task of providing memorable, language-neutral communication.The designations are typeset in a contemporary serif typeface. The materials and color palette integrate with the architectural culture of the provostry: aluminum blocks, steel constructions, and anthracite and silver-colored surfaces. Beyond all pragmatic functions, the aim of this signage intervention is to inform quietly and helpfully while fostering identification with this special place.

The new Eugen Bolz Student Residence by Cukrowicz Nachbaur Architekten, set within the inner-city park landscape of Weingarten, creates generous visual connections to the surrounding greenery. The interplay of red tones on the façade echoes the chromatic variation of the different shades of green in the tree canopy.

The three dominant tree species in the park—oak, pine, and plane tree—were translated by Atelier Andrea Gassner into a new graphic sign system for the building’s wayfinding concept. They serve as both a conceptual and visual basis for dividing the building into its three wings. Bold, graphic icons derived from these forms are used as wayfinding elements and also function as an ornamental carpet design. Along the building’s 90-metre length, the custom-developed carpet pattern transforms in response to each section of the building, offering subtle orientation for the entrances to more than 180 rooms. This intuitive wayfinding system is contrasted with striking elements: both outdoors and in the foyer, colorful posters provide orientation and act as informative accents on site.

On the exterior, directly above the elevated, semi-open ground floor, a typographic “façade band” communicates the name of the residence and is interwoven with quotations from its namesake, Eugen Bolz.

In close collaboration with pedevilla architects, Atelier Andrea Gassner developed a wayfinding system that renders the semantics and playfulness of the ornament visually tangible. The “cross motif” serves as a design ornament within the architecture and is derived from the region’s historical and traditional craftsmanship. The typographic system was further “stitched” using cross-stitch patterns. The signage oscillates between two- and three-dimensionality. The rough, porous plaster with its warm color tonality is contrasted in the interior spaces by the materialization of the custom-produced letters, numerals, and icons, while simultaneously being accentuated through pearl copper as the primary color. Through lighting and three-dimensional execution, enchanting patterns emerge in the interplay of light and shadow. The large-scale building signage is precisely milled into the wooden slats of the façade cladding. The ornament, as a system of signage, never appears as superfluous decoration but rather as an effective interweaving of narrative and architecture. The theme of the cross and cross-stitch is consistently continued at the entrances and façades.

After Osaka, the verywood installation is traveling to Tokyo. On September 9, the vernissage will take place at SHIBAURA HOUSE in Tokyo – an architectural icon by Kazuyo Sejima + Ryue Nishizawa / SANAA. It is a great honor to exhibit with verywood – Austrian Architecture Today in this unique, light-filled space. The exhibition runs until September 23, 2025.

Art objects created by Andrea Gassner

How is that even supposed to work? Presenting the astonishing renaissance of Austrian timber construction in Japan? It’s slowly making its way into international awareness: the so-called “forest-building pump” could become one of the vital lifelines in the urgent search for solutions to halt the catastrophic effects of climate change.

Andrea Gassner’s artistic intervention is tailor-made for this complex subject – and perfectly suited for presentation to the target audience of one of Japan’s most prestigious contemporary art venues. She created expansive folding objects made from slender three-layer boards, each in one of three different stages of unfolding. These nearly “floating figures” evoke the unique aesthetics and vibrancy of wood, its lightness, and the precision of assembling planar high-tech materials. It’s no coincidence that Andrea Gassner draws upon the well-known Japanese art of origami. After all, paper is ultimately derived from wood. With this formal reference, the designer establishes a dialogue between Japanese and Austrian art and culture.

The commission for this special exhibition on the occasion of EXPO 2025 was to draw attention to the remarkable development of timber architecture in Austria, presented within the popular cultural setting of the Nakanoshima Museum of Art in Osaka. We call the installation "verywood – Austrian Architecture Today."

The basic idea is to merge traditional Japanese paper folding art with the tectonics of contemporary timber architecture using new, planar wood-based materials—and to scale this fusion into a spatial experience. The wooden sculptures unfold in three sequences, alluding to the liveliness of the material. The magic of the breathing form thus merges with the beauty and flexibility of modern wood materials—their aesthetics, lightness, malleability, and structural strength. It is a coherent expression of the message suited to this occasion and space.

In addition to this key visual, interested viewers will find a selection of 26 current examples of modern timber architecture and statements from the architects, curated by Verena Konrad and Hermann Kaufmann, presented on three monitors and the exhibition website.

Wood is in motion. New wood-based materials are continually being researched and developed. Now is the time to reconnect with this globally renowned tradition of building with wood and to lead the constructive design, planning, and building with wood into the future. The goal was to avoid conventional industry marketing and instead give this new cultural building movement with wood the recognition and dignity it deserves.

Art objects created by Andrea Gassner

How is that even supposed to work? Presenting the astonishing renaissance of Austrian timber construction in Japan? And doing so in one of Osaka’s most renowned art temples, while simultaneously promoting cross-cultural knowledge exchange in this field? It’s slowly making its way into international awareness: the so-called “forest-building pump” could become one of the vital lifelines in the urgent search for solutions to halt the catastrophic effects of climate change.

Andrea Gassner’s artistic intervention is tailor-made for this complex subject – and perfectly suited for presentation to the target audience of one of Japan’s most prestigious contemporary art venues. She created expansive folding objects made from slender three-layer boards, each in one of three different stages of unfolding. These nearly “floating figures” evoke the unique aesthetics and vibrancy of wood, its lightness, and the precision of assembling planar high-tech materials. It’s no coincidence that Andrea Gassner draws upon the well-known Japanese art of origami. After all, paper is ultimately derived from wood. With this formal reference, the designer establishes a dialogue between Japanese and Austrian art and culture.

The objects are accompanied by floor-standing monitors displaying video loops with relevant architectural references and statements from leading figures in contemporary timber construction in Austria. Federal President Alexander Van der Bellen and his delegation visited the special exhibition at the Nakanoshima Museum of Art in Osaka at the end of May 2025. The exhibition is titled verywood – Austrian Architecture Today.

Atelier Andrea Gassner understands scenography as a perpetual process. Roger Boltshauser’s exhibition is based on this principle: it carries elements from one exhibition venue to the next and reinterpreting and overwriting them at the new location. The scenographic concept for České Budějovice is a development of the earlier exhibition in Boltshauser kiln tower in the grounds of the Brickwork Museum in Cham. There, inspired by the building’s folding iron door, Atelier Andrea Gassner developed tall, tilted elements, each consisting of three picture panels mounted one above the other. In the exhibition in České Budějovice these panels have grown, they extend across the ceiling, continue through doorways between the rooms or stand in space like vertical folding books. The scenography develops into an architecture that intervenes in space, allowing entirely new ways of seeing and new kinds of picture space. Renderings of current projects are shown alongside impressive black and white pictures by photographer Luca Ferrario and photographs from the series of images in earlier exhibitions. In contrast to the scenography that engages space, Boltshauser’s Artwork is presented in the classic way on the walls of the gallery, the pieces in their severe, uniform frames are hung close together. The scale models of the buildings stand like sculptures on individual podiums, suggesting a subtle link between the artistic and architectural work. In the spirit of re-cycle and re-build the basic elements such as shelving for material samples, picture panels and podiums are made entirely from untreated honeycomb cardboard.

The Swiss architect Roger Boltshauser has been working with sustainable building materials and innovative energy concepts for over 20 years. He is known, among other things, for his use of clay, which he also uses in complex buildings and combines with other materials. Roger Boltshauser was awarded the 2024 Semper Prize of the Saxon Academy of Arts. The exhibition provided an insight into the award winner's complex and multifaceted work.

The exhibition made the creative triggers and ways of finding ideas visible using numerous sketches and drawings, an extensive collection of materials in pictures and models. In relation to this, large-format atmospheric black-and-white photographs by various photographers were placed, reflecting Boltshauser's buildings and their materiality in their own way. For a more in-depth insight, plans, pictures, detailed floor plans, cross-sections and texts could be viewed in eight detailed project presentations