- Materials, light and topography determine the design language of alpine architecture.
- Interior design translates the character of the surroundings into atmosphere, texture and shape.
- Projects like the Hotel Bergfried in Lanersbach, Bergmähder in Oberlech and the Sonnen Resort in Naturns show a strong connection to the surrounding landscape.
- The aim is not imitating nature, but resonating with it.
Architecture and interior design
in harmony with the landscape
Working in the hospitality sector, we always collaborate with leading planners and architects in the field, bringing their concepts to life. In doing so, we see different approaches and how the surrounding landscape shapes these projects. These insights shape our own work – and today, we’d like to share them with you.
Landscape as a point of reference
When building in the mountains, you don't just design spaces; you react to your surroundings. Rocks, light, weather, and wind all have a say.
At the Hotel Bergfried in Lanersbach in the Zillertal, this dialogue is especially present. Situated on a hillside above the valley, the building opens up to the south, with the rocks of the Sella Group within reach. The architecture remains understated, the lines clear, the materials earthy. No loud display, no spectacle, but rather a quiet harmony with the landscape.
It is a connection that subtly becomes apparent thanks to a great deal of expertise. It demands that design be understood as more than just decoration, but rather as an extension of nature in built structures.
Key Facts
Context and contrast
The language of architecture
Alpine architecture exists between two extremes: embedding and independence.
Buildings like the Bergfried benefit from their location both structurally and in terms of atmosphere: the landscape shapes the view. Window openings follow elevations, whilst roof angles mirror the topography. Wood and stone are the materials used, which feel familiar yet sometimes novel.
PROJECT FLASH
The Bergmähder alpine residence project in Oberlech shows how minimalism and a sense of the open landscape can work hand in hand: monolithic forms, carefully balanced materials, and textiles that do not obstruct the view but rather frame it. Nature Vibes looks to create a dialogue of organic lines, softer transitions and less austere elements.
Each project provides its own answer to the same question: how much of the landscape should, must, or may be felt? Sometimes the answer is: contrast. When maybe a glass front is set against dark rock, or a delicate curtain against solid wood.
Architecture can extend the landscape or counterbalance it. Both approaches are legitimate, provided their relation is consciously designed.
The interior
a echo chamber of the landscape
Interior design in the Alps is a matter of translating ideas. What appears monumental outdoors should be reflected indoors – but on a human scale.
At the Hotel Bergfried, this translation is accomplished with the help of extraordinary materials: heavily veined marble, fine, light-coloured wood and, especially, beautiful fabrics. They reduce noise, filter light and create depth. This interior design reflects feelings: simplicity, warmth and a sense of protection.
PROJECT FLASH
This approach has also been adopted at the Sonnen Resort in Naturns – an area characterised by both Alpine and Mediterranean influences. For the interiors, the designers have opted for a ‘Soft Modern’ aesthetic: monochrome tones, interesting textures and textile elements which create a sense of calm. Rather than any Alpine references, it offers a contemporary interpretation of one aspect of the region.
The same applies at the Das Ludwig Hotel in Lindau. Although it is urban in character, it is defined by a sensitive use of materials and light inspired by its location on Lake Constance. Interior design as a reflection of the surroundings. It conveys a mood without imitating it.
Reproduction & Reinterpretation
Alternating
Being close to nature raises a question: should we imitate it or reinterpret it? Both approaches can be wrong, and both can be right.
“Projects that do not just imitate the concept of mountains work best,” says Andreas Zaderer, junior managing director with his wealth of experiences in realiszing numerous hotel projects in South Tyrol. “With their shapes, colours and light, they are inevitably an important point of reference. It is always fascinating to see how architecture translates this language into the interior.”
PROJECT FLASH
At the Bergmähder, Aliva’s interior design team worked with textures that recall nature without explicitly referencing it: coarsely woven fabrics, matt surfaces, earthy tones.
At the Hotel Bergfried, the approach is subtle: clean shapes, calm lines, windows that allow the landscape itself to become a design element. Spaces that do not impose themselves.
This gives rise to a new form of mountain aesthetics that is not just a style, but a relationship between location and design.
Light, Space & Silence
Stakeholders in the design process
- In the mountains, light is an integral part of the landscape. Its movement sets the mood; its intensity shapes our perception. In the Dolomites, the light is often clear and sharp; it falls steeply, casts shadows, and changes abruptly with the clouds. During certain months, it is soft and filtered
In the newly designed spa lounge at the Hotel Bergfried, the lighting is designed to support rest and relaxation. Views of the outdoors, of nature and the light, are counterbalanced by a soft, subdued lighting atmosphere within the interior. - Spatial and visual vastness is an important design principle. This is reflected and emphasised at the same time in the floor plans that incorporate visual axes extending to the horizon.
At the Bergmähder, spaciousness is created using minimal furnishings; at the Sonnen Resort, it is created using a monochromatic colour scheme, which dissolves the boundaries within the space. - Silence originates from materials, shapes and sounds – or from their absence. A curtain made of heavy bouclé, a wall covering made of felt – there are many ways to achieve subdued acoustics. Silence is a modern form of luxury, and it isn’t even expensive.
Aesthetic concepts
Beziehung statt Stil
Hotel projects in the mountains always should focus on how architecture and landscape interact.
Mountains aren't just a backdrop; they're a counterpart – and one you can of course challenge. Every space responds to them by using wood, stone, carefully chosen textiles, colours and shapes.
The more the design takes a back seat, the more intensely the landscape comes to life.
Your residential project
- Overall duration of the process: 3–8 months, depending on the scope of the project
- Investment: Transparent calculations show the cost incurred starting from the planning stage (step 2), which will be offset once the project is commissioned.
- Your next step: Arrange your free initial consultation and find out what the 5-step process could look for you.
Teresa Gruber
BSc.; Interior Design
With her keen eye for textures, colours and the delicate balance of functionality and design, she contributes to interior design in a wide variety of projects. In her articles, she shares insights from her professional experience, inspiration from the world of interior design and tips for thoughtful planning.
‘For me, good interior design begins where materials have a very subtle effect and shape the ambience.’
Projects from this article:
DAS LUDWIG, Lindau (D)
A boutique hotel in a historic building in Lindau: unique rooms, a sophisticated colour concept, lots of textile design. History meets design. ☀
SONNEN RESORT, Naturno (I)
Hotel furnishings in Tyrol: soft ambience, monochrome colours, structured textures. Rooms for retreat, holidays, relaxation. ☀
BERGMÄHDER alpine residence, Oberlech
Five apartments, thoughtfully designed – using colours, materials and lighting that reflect nature. Interior design, creating a sense of tranquillity. ►
Images: Nussbaumer Photography, Adobe Stock, home INTERIOR