#the leonharde arg

[vampirethereal]

man it sucks how a lot of information about our old lore on the internet (and irl sometimes) is like. cult manifestos or some shit. and almost none of it sounds particularly credible because of that,

the cam really do be reenacting the burning of the library of alexandria every goddamn night and all i know bc of that is that there's some guy named absimiliard (or smth like that, not sure if i spelled it right). and he fuckin blames all his vampire grandkids for making him ugly BY being ugly themselves. but everything about him beyond that (which i know, anyway) is covered in a bunch of layers of cult embellishment. so,, its hard to really know what about it is actually true. and what i said about absimiliard might even be an old sires' tale or smth.

really love how no matter how deep i dig, i always come out with nothing :/ but ah well. ill figure it out someday. maybe.,,.

[dromik]

Museu Íbex de St. Leonhard by Atelier Köberl + Daniela Kröss Architektin + ARGE Architekten. Pitztal, Austria 2020. Photo by Lukas Schaller.

[ztlawton]

Complex Numbers

One of the more poorly-named concepts in mathematics, “complex” or “imaginary” numbers are neither overly complicated nor any less valid than the “real” numbers. The name “imaginary” comes from René Descartes in the 17th century as a derogatory term, as he regarded such numbers as fictitious or useless. Rafael Bombelli was the first to set down the rules for multiplication of complex numbers in 1572. The concept gained wide acceptance among mathematicians following the work of Leonhard Euler in the 18th century and Augustin-Louis Cauchy and Carl Friedrich Gauss in the early 19th century. Today, complex numbers are a powerful tool with many uses across mathematics, engineering, and physics. Yet many people have no idea what they are.

To begin understanding the complex numbers, let us first review the real numbers. “Real” numbers include:

the counting numbers, like one, two, and three;

rational numbers, like ½ and ¾;

irrational numbers, like √2 (the square root of two) and 𝜑 (phi, the golden ratio);

transcendental numbers, like 𝜋 (pi, the circle constant) and 𝑒 (Euler’s number, the exponential constant);

negative numbers, which are duplicates of the positive numbers but in the “opposite direction”, so to speak;

and zero, which is neither positive nor negative.

All these numbers can be drawn on the real number line:

The existence of zero, which represents the concept of “nothing”; of negative numbers, which do not correspond to a physical quantity of something you could hold in your hand; of irrational numbers, which cannot be represented as a ratio of integers; and of transcendental numbers, which cannot be the root of any polynomial with rational coefficients; all gave mathematicians much consternation before they eventually gained widespread acceptance. All proved to be useful concepts, despite their novelty. Such is the case for the complex numbers, as well.

The imaginary unit 𝑖 is a solution to the equation 𝑥² + 1 = 0. Solving for 𝑥 gives 𝑥² = −1, or 𝑥 = √(−1). No real number satisfies this. The square operation multiplies a number by itself, and no real number, when multiplied by itself, gives a negative result. A positive real number multiplied by a positive real number gives a positive result, and a negative real number multiplied by a negative real number also gives a positive result. So 𝑖 cannot sit on the real number line. Where are we to put it then?

The answer is to create a new number line perpendicular to the real number line, creating a two-dimensional space called the complex plane:

A complex number is a number that can have a real part and an imaginary part, written as 𝑧 = 𝑎 + 𝑏𝑖, where 𝑎 and 𝑏 are real numbers and 𝑖 is the imaginary unit. This works like rectangular coordinates in the complex plane, where 𝑎 is the number’s horizontal (real) position and 𝑏 is the number’s vertical (imaginary) position. Both 𝑎 and 𝑏 can be zero, making a purely real or a purely imaginary number.

Every complex number 𝑧 has two additional quantities associated with it: the distance from zero, known as the absolute value or magnitude, represented as |⁠𝑧⁠| or abs(𝑧) and equal to √(𝑎² + 𝑏²); and the angle measured from the real axis, known as the argument or phase, represented as arg(𝑧) and measured over the interval –𝜋 < 𝜃 ≤ �� in radians or –180° < 𝜃 ≤ 180° in degrees, where positive values are counterclockwise rotations. This is typically shown by drawing a vector between zero and the complex number.

We can think of multiplying by 𝑖 as a 90° counterclockwise rotation about zero: multiplying any real number by 𝑖 rotates it 90° from the real number line onto the imaginary number line. Multiplying by −1 can be thought of a 180° rotation, rotating a number to the opposite side of zero. Multiplying by 𝑖 twice, or 𝑖², is two 90° rotations, equivalent to multiplying by −1 for a 180° rotation, supporting the definition that 𝑖² = −1. Integer powers of 𝑖 cycle through four values: 1, 𝑖, −1, and −𝑖. Dividing by 𝑖 goes in the opposite direction, equivalent to multiplying by −𝑖.

We can perform all the normal algebraic operations on complex numbers exactly as we can on real numbers if we treat 𝑖 as a variable and remember that 𝑖² = −1.

We add two complex numbers 𝑎 + 𝑏𝑖 and 𝑐 + 𝑑𝑖 by separately adding their real components and their imaginary components to get (𝑎 + 𝑐) + (𝑏 + 𝑑)𝑖. For example, 4 + 2𝑖 plus 6 + 5𝑖 equals 10 + 7𝑖. We can subtract two complex numbers in the same way, but we have to remember to distribute the negative sign across both terms to get (𝑎 − 𝑐) + (𝑏 − 𝑑)𝑖. For example, 4 + 2𝑖 minus 6 + 5𝑖 equals −2 − 3𝑖. We can also think of subtraction as adding the negation of the subtracted number. For example, 4 + 2𝑖 minus 6 + 5𝑖 becomes 4 + 2𝑖 plus −6 − 5𝑖. Visualized in the complex plane, addition (and, using negation to convert it to addition, subtraction) has the effect of stacking the vectors of each complex number end-to-end.

We can multiply two complex numbers 𝑎 + 𝑏𝑖 and 𝑐 + 𝑑𝑖 with standard binomial multiplication techniques like FOIL (first, outer, inner, last) to get 𝑎𝑐 + 𝑎𝑑𝑖 + 𝑏𝑐𝑖 + 𝑏𝑑𝑖². Remembering that 𝑖² = −1, we can rearrange that to get (𝑎𝑐 − 𝑏𝑑) + (𝑎𝑑 + 𝑏𝑐)𝑖. For example, 3 + 1𝑖 times 2 + 2𝑖 equals 4 + 8𝑖. Visualized in the complex plane, multiplication has the effect of adding the numbers’ arguments (rotations) and multiplying their magnitudes (absolute values).

Division is a little trickier. To divide by a complex number, we first multiply the dividend 𝑎 + 𝑏𝑖 and the divisor 𝑐 + 𝑑𝑖 by the complex conjugate of the divisor. The conjugate of 𝑐 + 𝑑𝑖 is 𝑐 – 𝑑𝑖, with the same real part but with the imaginary part multiplied by negative one. Multiplying the divisor by its conjugate cancels out the imaginary term, making it a purely real number. We then divide the new complex dividend by the new real divisor, giving us ((𝑎𝑐 + 𝑏𝑑) + (𝑏𝑐 – 𝑎𝑑)𝑖) / (𝑐² + 𝑑²). For example, to calculate 3 + 1𝑖 divided by 2 + 2𝑖, we multiply both numbers by 2 – 2𝑖, giving us 8 – 4𝑖 divided by 8, which equals 1 – ½𝑖. Visualized in the complex plane, division has the effect of subtracting the numbers’ arguments and dividing their magnitudes.

What about the square root of 𝑖? Do we need to invent even more new concepts for this just like we invented 𝑖 to be the square root of negative one?

Nope! We already have everything we need. The square root operation asks what number, multiplied by itself, gives the input number. Because multiplying two complex numbers has the effect of adding their arguments (rotations), and because 𝑖 can be thought of as a 90° rotation, all we need to do to find the square root of 𝑖 is find an angle that, added to itself, gives 90°. Thus, the square root of 𝑖 is a 45° rotation, which (with a little trigonometry) is (√2 / 2) + (√2 / 2)𝑖. The negative square root −(√2 / 2) − (√2 / 2)𝑖 can be thought of as a −135° rotation which, when applied twice, puts us at −270°, equivalent to 90°. The same thought process works for higher order roots, and for complex numbers other than 𝑖. In general, there are 𝑛 solutions for the 𝑛th root of a complex number. The magnitudes of a complex number 𝑧’s 𝑛th roots will all be the 𝑛th root of the magnitude of 𝑧, while the arguments will be (2𝜋𝑘 + arg(𝑧)) / 𝑛 for integer values of 𝑘 in the interval 0 ≤ 𝑘 < 𝑛, making the roots equally spaced in a circle around the origin.

So far, we have been discussing complex numbers in the rectangular form 𝑧 = 𝑎 + 𝑏𝑖, listing their horizontal and vertical positions in the complex plane. Sometimes it is easier to use a polar form, listing a number’s magnitude (distance from zero) and argument (angle from the positive real axis). This form is written as 𝑧 = 𝑟 𝑒ᶿⁱ, where 𝑟 is the number’s magnitude and 𝜃 is the number’s argument. The polar form uses the infinite series exponential function 𝑒ˣ = exp(𝑥) = 1 + 𝑥 + 𝑥² / 2! + 𝑥³ / 3! + … + 𝑥ⁿ / 𝑛! where 𝑛 goes to infinity (the exclamation marks denote the factorial operation). The formula 𝑟𝑒ᶿⁱ = 𝑟 (cos(𝜃) + sin(𝜃) 𝑖) gives the relationship between the polar and rectangular forms. For more information about where this polar form and connection to trigonometric functions come from, see my post on Euler's Formula.

While the rectangular form 𝑧 = 𝑎 + 𝑏𝑖 is unique for every complex number, the polar form 𝑧 = 𝑟 𝑒ᶿⁱ gives infinitely many ways of writing any given complex number by adding or subtracting integer multiples of 2𝜋 radians from the argument. The value with an argument in the interval –𝜋 < 𝜃 ≤ 𝜋 in radians or –180 < 𝜃 ≤ 180° in degrees is called the principal value.

This polar form 𝑒𝜋𝑖 = −1 + 0𝑖 gives rise to Euler’s Identity 𝑒𝜋𝑖 + 1 = 0, a single equality that unites five fundamental mathematical constants: the additive identity 0, the multiplicative identity 1, the imaginary constant 𝑖, the circle constant 𝜋, and the exponential constant 𝑒.

Multiplication and division of complex numbers are simpler in polar form than in rectangular form, following standard rules for working with exponents. To multiply two numbers 𝑎 𝑒ᵝⁱ and 𝑏 𝑒ᵞⁱ, we multiply the coefficients (magnitudes) and add the exponents (arguments) to get 𝑎 𝑏 𝑒⁽ᵝ⁺ᵞ⁾ⁱ. To divide them, we divide the coefficients and subtract the exponents to get (𝑎 / 𝑏) 𝑒⁽ᵝ⁻ᵞ⁾ⁱ.

Because multiplication and division of complex numbers are analogous to rotation and scaling, complex numbers are closely related to trigonometry. As a result, complex numbers can be used to derive trigonometric identities. For example, the angle-addition identities: since multiplying two complex numbers gives us the sum of their arguments, we have 𝑒⁽ᵝ⁺ᵞ⁾ⁱ = 𝑒ᵝⁱ × 𝑒ᵞⁱ, which can be written as cos(𝛽 + 𝛾) + sin(𝛽 + 𝛾) 𝑖 = (cos(𝛽) + sin(𝛽) 𝑖) × (cos(𝛾) + sin(𝛾) 𝑖). The right side expands into (cos(𝛽) cos(𝛾) − sin(𝛽) sin(𝛾)) + (cos(𝛽) sin(𝛾) + sin(𝛽) cos(𝛾)) 𝑖, giving us the horizontal component cos(𝛽 + 𝛾) = cos(𝛽) cos(𝛾) − sin(𝛽) sin(𝛾) and the vertical component sin(𝛽 + 𝛾) = cos(𝛽) sin(𝛾) + sin(𝛽) cos(𝛾). A similar process can be used to derive other identities, such as the double-angle identities (by squaring) and the angle-subtraction identities (by dividing).

Just as the complex numbers extend the real numbers into two dimensions, we can keep going into even higher dimensions — specifically, powers of two. Quaternions, first described in 1843 by Irish mathematician William Rowan Hamilton, extend into four dimensions with two additional “imaginary” units 𝑗 and 𝑘 in the form 𝑎 + 𝑏 𝑖 + 𝑐 𝑗 + 𝑑 𝑘. Just as complex numbers describe rotation and scaling in two dimensions, quaternions describe rotation and scaling in three dimensions, making them very useful in computer graphics and 3D modelling/animation. Multiplication of quaternions is not commutative, meaning that the order of operations matters: A × B is not the same as B × A. This reflects the fact that when rotating an object in three dimensions, the order in which you perform the rotations affects the final orientation: a 45° rotation about the x-axis and then about the y-axis leaves you pointing in a different direction than a 45° rotation about the y-axis and then about the x-axis. For more on quaternions, see this interactive lesson by Grant Sanderson (3blue1brown) and Ben Eater.

We can keep constructing number systems with higher powers of two, like the 8-dimensional octonions and the 16-dimensional sedenions, but these systems are rarely used — and much more deserving of the name “complex” than the simple 2-dimensional complex numbers.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[vampirethereal]

man god is real and he fuckin hates all of us huh. buck wild,

[vampirethereal]

hi! sorry i havent been active. just breached containment., :3c

[vampirethereal]

hello everyone! welcome to my stupid blog. im leonharde, my pronouns are she/her, and im. ace cis lesbiamb :3c

might not be super active on here since im busy and also probably on a watchlist. i pretty much just rb things i like, but i also post about my life and shitpost abt my misery :') im also autistic, im a big fan of evangelion and bloodborne, and i may or may not be a bit of a lain iwakura kinnie ,, i also have 2 pet possums (yes, i do mean possums!) named marge and shinji. andthey are my babies and i love them. pls ask me abt them,

also think it's important to mention that uhhhh im a vampire! a real ass bona fide vampire. ik it sounds like im lying out my ass but ,, yea. i do drink blood. we're not supposed to let people know abt that unless they've been vetted heavily (and even then there's no guarantee you won't be conveniently disappeared when you stop being useful). but i kinda don't really give a rat's ass. most people who do care are too old to know how to use a toaster, let alone a phone ,

anyway. if the witch hunters get my ass, the witch hunters get my ass, and that's on me. soooo uhhh any other vampires out there, if you're also tired of the bullshit we have to deal with, feel free to come on by and meme with me! everyone who isnt a vampire is welcome here too. just,, be chill about it ok? im not one of the hot ones. im actually one of the ugly ones, in fact. and i dont want to cause another [if you know you know] incident pls,,,,,,

so if ur a fed or a cammie, this is just an rp blog. it isn't real, so it doesn't matter. move along and don't come back. <3

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.

[architectnews]

Red concrete museum tells the story of Alpine ibexes in Pitztal valley

Swiss architects Daniela Kröss and Rainer Köberl have completed a red building "like a small castle" to celebrate the history of wild ibex in the alpine region of Pitztal, Austria.

The Ibex Museum St Leonhard charts the history of a native ibex goat species that became extinct from the area but was successfully reintroduced in the 1950s.

The museum was designed as a four-storey tower with a bridge

Kröss and Köberl wanted to make the building feel like a landmark, so they designed it as a four-storey tower, connected to the hillside by a monumental bridge.

They also chose a red-toned materials palette, comprising pigmented concrete and powder-coated steel, to allow the building to stand out against its green backdrop.

Precast panels of red concrete clad the exterior

"Up on a wooded mountainside, you see a reddish building, somehow appearing like a small castle," said Kröss.

"The red/brownish colour puts the building in a harmonious coexistence with the nature surrounding it," she told Dezeen.

The red colour helps the building stand out as a landmark

The Ibex Museum is located in the parish of St Leonhard, next to one of the oldest farmhouses in the valley. It sits on a site that previously housed a barn.

The new building is designed to reference both the wooden farmhouse and the original barn, with a precast concrete facade featuring a texture that resembles timber boards.

The reception is located on the upper ground floor

"When we first visited the site, we found a very harmonious ensemble between the historic building and an old barn," said Kröss. "We wanted to develop the new building in the same place and on the same footprint of the barn."

"The idea of maintaining the wooden structure of the barn led to the wooden cast in the prefabricated concrete elements of the facade."

Windows frame specific views of the surroundings

The two lower levels of the museum both have ground-level entrances, thanks to the way the building nestles into the slope.

A cafe and bar are located on the lower ground floor, while the upper ground floor contains the main reception.

Visitors move up through the building, finding the main exhibition spaces on the two upper levels.

The bridge extends out from the top-floor terrace, leading visitors to a hillside enclosure where they can encounter seven ibexes.

The bridge connects the exhibition galleries with an ibex enclosure

The layout of the building was largely influenced by the desire to make the museum accessible to all. The idea was to help all visitors "climb the mountains and see the ibex face to face."

With this in mind, many of the windows are positioned to offer specific views of the landscape and surrounding buildings.

Pine wood lines the bar and cafe on the lower ground floor

Interior finishes follow the colour palette of the exterior, with red-speckled terrazzo floors, red-painted service ducts and soft-red-grey walls.

The bar has a more cabin-like aesthetic, with walls lined in locally sourced pine wood.

Other notable recent Austrian projects include a geometric timber house in a traditional Austrian village and a private spa made from stone blocks.

Photography is by Lukas Schaller.

Project credits

Client: Gemeinde St Leonhard im Pitztal Architecture: Rainer Köberl, Daniela Kröss Planning: ArGe Architekten, Rainer Köberl, Daniela Kröss Project management: Julian Gatterer Construction management: R&S Planbau Structural consultant: Georg Pfenniger Landscape design: ArGe Architekten, Rainer Köberl, Daniela Kröss Exhibition planning: Rath & Winkler Exhibition design: Himmel Studio für Design und Kommunikation Electrics: Technisches Büro Schwienbacher Building services: Technisches Büro Pregenzer

The post Red concrete museum tells the story of Alpine ibexes in Pitztal valley appeared first on Dezeen.