MUTBOARD & VOGEL
"Steirerteams are very good"
“The Rock,” conceived at both a physical and social junction in Vienna’s 2nd district, is a semi-public building with 179 hotel rooms, event space, public accessible rooftop and terrace, courtyard, hanging gardens, and bar/restaurant. It will be the first Radisson Red, the chain’s new lifestyle hotel brand, in a German-speaking region. The significantly exposed site, situated in a line of notable public highlights along the Danube and clearly visible from and across the river, required special attention. An approach with a strong focus on public expression and communication was used, resulting in characteristic shape and identity. Architecturally, a complimentary tension is formed between the building program’s regular raster of large hotel windows and tectonic folding of the facade likened to that of a rock formation. The folds follow site restrictions, permit light to reach neighboring buildings and the street, and visually initiate the building’s lively interaction with the public. This exchange is corroborated with a physical connection by way of the Schottenring metro station, directly in front of the building. From the street, one can see through the lobby to the courtyard due to the ground floor’s transparency, emphasizing the building’s public nature and social communication. This conceptual attitude stretches upwards from the courtyard into the vertical gardens and rooftop terrace, highlighting the societal nature within a semi-public building. Hanging gardens, trees, greenroof, and a variety of plants climb and grow amongst several cabins, each providing a unique function for the city. Together, the place can be likened to that of a park, interacting with the glass houses above both visually and aesthetically. The glass house terrace is a platform for further public expression, forming a dialogue with the adjacent street, the river, and Vienna. An additional “greenhouse” typology stands out as a clear attraction amongst the regularity and consistency of neighborhood residential buildings, all having similar heights and traits. Cantilevering slightly over a row of windows below, it clearly indicates an exceptional space intending to interact with the rest of the city. Façade cement is used on both vertical exterior walls and angled elements, merging façade and roof into one homogeneous volume and emphasizing a unified, rock-like nature. Gold-bronze, slightly mirrored windows extend slightly outside of the building, providing sun protection. They become pieces of furniture on their own, having the height of a bench and becoming “living windows,” communicating with nearby people and buildings and encouraging observation. In this way, even the hotel room windows have a subtle way of connecting with exterior public space.
Oliver Kupfner, Martin Lesjak, Michael Gattermeyer, Harald Glanz, Sidonie Muller, Michael Pleschberger