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Sigmundskron is a symbol found in South Tyrol's early history. It was first mentioned in 945 and was built into a fortress in 1473 by Duke Sigmund. In 1996 the ruins were taken over by the Autonomous Province of Bolzano-Bozen and in 2003 they were handed over to Reinhold Messner to be transformed into the Messner Mountain Museum. The preservation of the character and protection of the ruins was the main concern during the conversion building works. The steel constructions which were developed for this purpose were positioned at a distance with as few contact points as possible with the outer stone walls and the interior of the towers and rooms, so that these seemingly light architectural elements can be removed at any time. The design of these sections of the building has been kept as simple as possible, and they are clearly set apart from the historical parts of the building. This allows for a distinct demarcation of the old and the new.

Directly along the bike route into the Pusteria Valley you’ll find Lanz Bike Station, next to the busy street, right at the entrance to the valley. Due to its extremely convenient location the station has also developed into a popular meeting place for vehicle drivers, who find ample parking here. An elongated structure made of plastered reinforced concrete has been created out of an earlier makeshift wooden vendor stand, which is set into the steep hillside. The owner of the station is so connected to it that he had his own house built as a white cube with terrace on the roof of the ground-floor service area. The residence is decorated in a varied way: floor-to-ceiling glass walls for the sales and guest areas, a sheltered garden courtyard and adjoining rooms that seem to be closed off. Everything is painted in gray-brown earth tones in order to emphasize the integration into the area.

The Hospital Church of the Holy Spirit is one of Merano’s most important spiritual centers and art monuments. So it was deliberately a provocation towards the German-speaking religious population when the city’s fascist Italian-speaking government built its Casa del Fascio right next door, in order to obstruct the view of the historical church as you approach the old town. Even worse, the old hospital had to be demolished to make way for the new construction. Despite this architectural history, which is rather inglorious for the Italians, the building ranks among the masterpieces of Italian rationalism, architecturally speaking. The widely visible open tower, the horizontally layered facades, the bands of brick and loosened floor plan make this building one of the most interesting construction works of its time.

Brunnenplatz Square is situated between the Reichenbach, Rosenstein and Rundegg manors, on a noisy street intersection that was long without an eastern border. Urban planning considerations thus played an important role in the idea of closing the square off again. This was achieved with the early positioning of the main facade, which also had to take the height of the adjacent residences into consideration and was supposed to offer a timely addition. The bank's two-story glass front was thus intended as a stone facade of travertine, with irregular openings, to match the manor walls in a way and, similar to a trompe l’oeil, make it look like a five-story structure. A shed roof marks the main entrance to the bank and to the passageway, with a store, apartments, offices on the upper floors, and a public parking garage.

The square of Lasa/Laas, a village known for its marble, is fancily paved with white marble. In the same square stands a bust of Emperor Franz Josef, done likewise in white marble – and somewhat deserted, having been unclaimed due to the First World War. The traditional tavern situated here is a popular meeting point, and has developed into a popular event venue. The original character was unequivocally to be retained during conversion: wooden floors, brightly painted wooden paneling on the walls, circular benches, simple furniture of widely varying origin and a bar made of matte stainless steel all yield a mixture that seems random, yet was calculated in a sophisticated way in order to create a relaxed atmosphere. The centerpiece of the expansion is the vaulted medieval wine-storage area, which is now used as a restaurant and meeting facilities.

The horse racecourse in Maia Bassa/Untermais is one of the largest and most beautiful in Europe. It is very centrally located, but also divides the urban body sharply. In 1886, the first horserace took place for Merano’s aristocratic visitors. But the modern-day period began only in 1936, when the Fascist regime had the new racecourse built by the star architect of the day, Vietti Violi. With stepped staircases, flat roofs and clear design features, its plastered buildings are excellent examples of the Italian rationalist style, which was developed out of the classical modernism of the Bauhaus school. At two stories high, 150 meters long and 20 meters high, the main grandstand seats 15,000 spectators. After its renovation, the building received the 2011 South Tyrolean Architecture Award.

Urban planning considerations led to three parallel, elongated wings of varying heights, the two-story covered entrance which is situated on Lazzeriniplatz Square. Its use of the same materials: exposed concrete, steel and glass throughout, and consistent design, convey an architectonically heterogeneous environment of tranquility and space. From the entrance you walk into a spacious, light-flooded hall between the first and second wings, which reaches all of the floors. Underneath there is the sports hall, with stair towers at the ends. The glazed steel bridges, designed by Heimo Zobernig, allow for open access to the third wing and to the break area of the roof terrace.

A very reserved building structure was created on a narrow building site between the multiform heritage-listed building of the former Grand Hotel Savoy and some simple row houses. The basic cubic shape tapers slightly at both of the lower floors, lending the solid building a floating feeling. Staggered windows in the facades, uniform in size, break up the building’s austerity. A transparent, visually light glass bridge elegantly links the new building with the facade of the old Savoy. The simple form of the new concrete structure, with flat roof, lends both buildings a contrapuntal aesthetic appeal. The cool clarity of the design is also reflected in the interior of the new building, which has a transparent and fluidly designed sequence of rooms.

Anyone who approaches Bolzano/Bozen from the south along the A22 will see the Salewa building, to the right of the highway, a modern gateway to the city. Three office towers, with four, seven and twelve floors respectively, are set in a urban dialogue one with the other and with the surrounding mountain landscape. Through the freely formed designs as well as the facades of dark glass and gray aluminum, the building mass retreats and yet, at the same time, matches the colors of the mountain. In the seemingly unusually shaped building volumes made of a reinforced concrete structure with curtained glass and/or metal facades, South Tyrol’s largest climbing gym is housed in addition to the company warehouse and administrative offices. This structure adjoins a small recreational park with a garden area and a restaurant, which matches Salewa’s sporting goods production nicely.

The housing complex is situated north of the racetrack in a quiet residential area. The rectangular plot of land is reflected in the geometric lines of the four-story block of apartments containing sixteen flats: The outlines and facade are simple and clear, without any design effects. A large protruding attic forms a concise end to the roofline. The division of the front of the lightly plastered walls occurs through two types of window: full length balcony windows, and the windows of the rooms reaching up to the ceiling, which are placed in alternation, creating a lively structural arrangement. The colorful balcony parapets add to the visual effect. The clear design is of particular benefit inside the well laid out apartments − everything is light, friendly and easy to furnish.

The new Nives construction is another building block towards a focal point for the tourist village of Solda/Sulden, which is unstructured from an urban planning point of view: this is true spatially, with its compact volumes, and in the surface with a new square design, and functional, with a variety of dining options. The seven different restaurants, bars, cafes and clubs alone offer a lively atmosphere with a sun terrace. Two hotel categories, the simple Base Camp and the Base Camp de Luxe, are available for overnight guests. These very different offerings for tourists are housed in a solid construction made of plastered masonry, natural stone and wood right on the edge of the slope behind the square. The interior design is adapted to the various functions and, with lots of wood, is robust yet elegant. The arrangement of the floor plans into freestanding buildings allows for beautiful views in all directions.

The pre-Romanesque Church of St. Sisinius (ninth century), which has a tower above the choir, is one of the Vinschgau Valley's most important monuments, but is used only for Easter worship. In the immediate vicinity, a sports complex that had been built earlier was extended in line with the historical monument protection and now, as a sports and recreational area, is under communal protection. Through the construction of a horizontally supported sports venue, the conditions on the monument listing could be met. An undulation at the ground level allowed for the changing rooms to be housed on the floor below the restaurant, which is located at the level of the pool. The glass-enclosed restaurant looks very transparent, stands upon slender steel supports, and is covered with a thin shed roof, which lends the construction a floating lightness and at the same time functions as a canopy for the stands at the football field. A very elegant solution.

Museion and its bridge link the old Austrian and the new Italian neighborhoods of the city, creating a built connection to a new era opposite the divisive Fascist architecture of the victory monument. The stylistic idiom of the mostly closed building, wrapped in its aluminum armor and with its far-reaching right angles, opens onto both parts of the city with its glassed narrow sides, encouraging one to enter. These glass facades are transformed into projection screens in the urban setting when darkness falls. The purely white architecture takes over the clear rooms inside, without dominating: a function to serve diverse exhibitions. The two swaying parts of the bridge over the Talvera/Talfer River form part of the museum’s concept: they symbolize the crossover of the two cultures that coexist here.

In the vineyards above the village this structure comprising four staggered terraces, was graded into the hillside. The building was integrated so harmoniously into the vineyards that it has become a part of them. This integration is still underlined by the dry-stone retaining walls, which likewise carry forward the vineyard structure. The building’s concrete structure remains invisible, covered by wooden paneling and by the wooden grating set in front of portions of the glass facades. Floor-to-ceiling glazing of the spaces lends the terraces a transparency, covered by the wooden pergolas, with the shadowy effect of over-grown foliage. The reception and breakfast room, paneled entirely in wood, are good examples of a modern interpretation of rural Stube parlors. The apartments are also of high aesthetic quality.

The rather unattractive post office of the 1950s was converted into a passive house to be used as an administration building. The addition of two more stories improved its size, also in relation to the surrounding area. Next to the elegant station tower, the stairwell of this old building no longer fit in and was covered with solar panel elements during the conversion. The bulky body of the building was brought to life through various window designs, which allow for an interplay of shadow and light. The 3% extra costs spent on energy-saving technology for the building has paid itself within five years: this gold low-energy house only costs 45 euro per worker on heating, as opposed to the 270 euro buildings in category C pay. This is, in fact, the first office block in Italy that meets passive house standards. The interior, with its wide corridors for special uses, is light and friendly, using only the simplest materials.

The house and workshop are located on the steep slope just outside the center of the village. The two buildings which run into each other at an angle, open out onto the mountain slope behind, forming an entrance. The workshop and the gallery are situated on the ground floor of the side of the building facing the slope. The concrete construction of this base is partially built into the slope, therefore part of the light for the workshop is provided by openings onto the ground floor which let in indirect light.

Above the basement a wooden construction rises up with interlocking supports, between which the wooden fronting of the facade is inserted; this is where the bedrooms are to be found. In contrast to this the ground floor, home to the living rooms, is predominantly constructed from glass. The shapes formed by the roof seem to evoke the dramatic Dolomite formation of the Schlern Massif, which can be seen in the background.

While nursing homes were formerly often pushed “into the green” on the outskirts of the village, it was decided in Valdaora/Olang to attach the elderly to the major facilities within the town center, where the school, kindergarten and other public institutions are to be found. The new nursing home has become an important meeting point. The four-story, wood-paneled structure houses two nursing units with 20 beds and associated spaces. Around the spacious foyer on the ground floor there is a café, a chapel, and a multipurpose room for events. In addition, an outpatient medical clinic and the offices of the district community are housed here. Glazed notches across the entry hall provide for good illumination; a partition of a pleasantly light, inviting architecture further emphasizes this impression through color, light natural stone and wood.

The pharmacy museum housed in the Apotheke Peer is housed in one of the oldest private residences in Bressanone/Brixen. The display windows and the entrances with their dark metal outlines and steel plates were very carefully inserted into the plastered front of the ground floor. A passageway leads to the museum, where elegant display cabinets with dark metal frames are to be found under the gothic arches. The historical structure with its staircases leading to the upper floors was worked upon, and simple modern details were added, which are instantly recognizable. This has also occurred in the partly historically paneled exhibition rooms, in which 400 years of pharmaceutical history is presented in modern, carefully detailed glass display cases.

At the southern entrance to the Old City, this building creates a three dimensional town with a city gate, pathways and open spaces which connect the various business areas internally as well as vertically. The large glass surfaces of the otherwise smooth and forbidding aluminum and glass facade create an individual setting for the way into the city of Bolzano – the openness and exclusivity of commercial activities are recorded here. The corner building marks clearly the city's border; all that is missing is an adjoining building to complete this effect. The interior spaces are of an ideal temperature, using very little energy altogether. A closed office atmosphere is avoided by the transparency of the succession of rooms created by elegant glass walls and light corridors; teamwork is encouraged and the visitor is openly welcomed.

The University of Bolzano’s Faculty of Education was built in Bressanone/Brixen. At first glance, the rigid modern architecture may be jarring opposite the Bishop's Palace, but its urban development and architectural qualities evolve upon closer examination. The square building corresponds approximately to the dimensions of the Bishop's Palace, and Bressanone’s Lauben arcade motif recurs on the ground floor, underneath the three glazed upper floors of offices. For its structure, the inner courtyard takes up the alleyways and atriums of the Bressanone Old Town. The materials used for the exterior and interior are consistently reduced to glass and concrete. The cool impression of the interior spaces fits in with the intentionally quiet, almost monastic educational system.

Magnificent buildings were created long the Passer Promenade, intended for the noble audiences of the Hapsburg Monarchy. The architect Martin Dulfer, who was 40 years old at the time, was able to build his first theater here, which became one of the most important representatives of the Baroque-style Art Nouveau; he followed this theater with three others. The theater in Merano was built in just fourteen months, under the supervision of Wilhelm Kürschner, who would later become Bolzano’s city architect. The iron construction of the stage area came from Munich, the stage equipment from Vienna and the seats from Berlin. Important details of the original structure have been changed, but the building remains one of South Tyrol’s few preserved Art Nouveau buildings. The theater’s clear plan is functionally divided into the stage area, auditorium, and foyer; it seats 500 spectators.

The new building was planned on the site of the monastery garden, next to the Capuchin Monastery, as a public facility near Lana's town center. The austere rectangular building, with two plastered massive constructions on the upper floors, appears as if floating on the fully glazed ground floor. The windows articulate the two stories, each floor shifted. The transparent ground floor, on the other hand, signaled a welcoming openness to visitors. The building is freestanding in the beautifully landscaped and well-manicured monastery garden, which is open to the public. Inside, the upper floors are connected by a whitewashed staircase, which gets illumination from above. The walls of the offices are paneled from floor to ceiling with light wood. All the details have been meticulously developed.

The Neustift vineyards have distinctive long, dry stone walls. There is a group of three-family houses that rises up out of these stone walls. The wooden construction of the larger building rests on a ground floor made of stone work; the smaller building is an all-wooden structure sitting on terraces built from dry stone walls. An open expanse of garden stretches between them with a naturally formed pond. The slanting exterior walls that rise up, covered in wooden slat, are designed to protect the facade from driving rain. Windows are cut deep into this slanting wall, forming loggias. The interior reveals an unusual, imaginative sequence of rooms with white and partially colorful walls, and many wooden structures. The construction manager covers the heating requirements of both houses with waste wood from his carpentry business.

A few minutes on foot from Sand in Taufers, near the Ahr, the Rein Valley waterfalls and a naturally formed swimming pool, stands a sports center, which is recognizable by the building's elongated, lightly curved roof. The interlocking of exterior and interior space defines the design. Light shines in from all sides through the glass panelling of the building, providing views of the surrounding area and of the outdoor pool which blends into the landscape. The terraces of the pool are reminiscent of the waterfalls. The interior rooms form a walkway between the areas and provide the required fixed points in the building that simultaneously offer stability next to the seemingly freely swaying roof. Few materials were used in the design: stainless steel basins, rough concrete for the walls, non-slip stone for the flooring, light acoustic ceilings, and the steel and glass facades which are very light in appearance.

Merano’s curative water contains a small amount of radon, and is suitable for therapeutic bathing. Thermal baths were built early on in order to expand the therapeutic offering. After 2000, this outdated facility was demolished and a beautiful urban planning solution, comprising outdoor pool with park, bathing complex and hotel, was designed by Berlin architects in a collaboration with Rüdiger Baumann, thus enhancing the promenade with a central square. Matteo Thun continued the planning in a restrained, almost severe, modern style and produced two successfully scaled buildings on the square, by now always lively; they offer a beautiful panoramic view of the landscape and city. The continuous use of natural stone in warm tones softens the rigid perpendicularity of the building, which is also loosened by rhythmically placed glass surfaces. This architecture allowed for the successful creation of a modern counterpart to the Kurhaus.

This vocational school underneath Mount Virgl in Haslach was created through a competition in 1975. The compact building complex comprises four units: the three-part office and classroom wing, the two wings of the workshops, the auditorium and the gym. The concrete construction with exposed brick infill forms a very sustainable structure for which an expansion program was developed in the 1990s, which led to the addition of another story onto the previously built three-story class and office building. On the ground floor a meeting room for 150 people was built, with foyer and control room. At the same time, the technical infrastructure – heating, sanitary facilities, water treatment system with solar collectors – was renovated and upgraded. The addition of the new story matches the existing building structure, but is clearly recognizable as an extension.

The building is situated in a key position on the edge of town. It forms a gateway  between the historical series of façades and the newer neighboring buildings. It is a clear and contemporary structure that asserts itself within its environment, plays with the proportions of the surrounding buildings, and generates excitement through its cubic nesting. The reinforced concrete construction, coated with special weather-resistant plaster, allows for large projections and recesses in the three-story building structure. As a result, open spaces are created in front of the hotel rooms, some of which are illuminated above like little yards, and thus feel very protected and intimate. Another roof opening also allows daylight into the interior of the building. The planted roof terrace offers a beautiful view over the rooftops of the city and onto the mountains around Bressanone's valley basin.

A sports ground with an outdoor and indoor pool, the Aquarena, was built north of the Bressanone Old Town. It is the result of a competition provided for the extension, which was to include a music school, underground parking and an indoor climbing gym; the latter has now been built. The climbing gym had to be of a certain height: a cube that is highly visible amongst the surrounding buildings thus emerged, which can also be viewed as a landmark. It not only affords good views of the city, but also allows one to see into the hall, and meets ecological considerations. The reinforced concrete structure, which has a steel-and-glass façade, also has a second façade level of corrugated gold-colored perforated plate elements that give the interior soft light without harsh shadows. The hall is accessed along a monumental staircase, which is also planned to serve as the entrance to the music school that will be built next door.

Copper was once mined in the Aurina/Ahrntal Valley, and even today the tunnels can be visited and are used for the medicinal purpose of relieving asthma. The granary next to the church in Steinhaus has long served for the storage of food, with which the miners were partially remunerated. In 2000, it was rebuilt into a museum in order to exhibit the Enzenberg Collection comprising wood models, paintings, mine maps, documents and finds from the mines at Predoi/Prettau. In addition to a pavilion as foyer, which is made of a steel structure with stone slabs and connected with the exhibition rooms through a glass atrium, the renovation operation focused mainly on the central section of the elongated building structure. A wooden staircase, lift access, emergency stairs, and sanitary facilities were also installed here. The encased staircase represents a type of watershed between everyday life and the world of the museum.

Situated in the park of the Baroque seminary, Cusanus Academy emerged as a widely acclaimed South Tyrolean pioneer project in postwar architecture. The three-story building closes the courtyard, urbanistically speaking, behind the historical seminary building with the church. It interpreted a theme of Bressanone’s Old Town in a contemporary way: arcades and bays run down the whole length of the eastern facade. The materials, exposed concrete and hard-burnt brick, consistently shape both the outer shell and the interiors with a quality that, even half a century later, shows no structural damage. In the center of the building is a large hall from which all the spaces on the upper floors are accessed via galleries. Because it has good acoustics the hall is often used as a large lecture room. It is vaulted and has a structurally interesting exposed concrete ceiling, the arches of which give the space good illumination.