Austrian roots, Swiss growth

MF: For us, the connection to Swiss architecture began during our studies in Graz and Vienna in Austria. During that time, a lot was happening in Switzerland––we closely followed the open culture of discussion, the media presence, and the variety of approaches. Projects from Switzerland often served as reference projects, and many examples of excellent design came from here. It was always our goal to work here and to be part of it.  

EH: After attending a summer school at ETH Zurich during our studies, we decided to work here. After completing our diplomas, we moved to Zurich, found jobs, and settled here. We started at the same office, working for Bétrix & Consolascio Architekten. Eraldo Consolascio was formerly an assistant to Aldo Rossi, and during our time there, we were able to deeply immerse ourselves in architecture and learned a lot. After some time, we moved to different well-known offices and worked on large projects for several years. After many years of learning, it was finally time to start our own atelier.  

MF: During this transition, I had the opportunity to work as an assistant at ETH Zurich. This role helped with knowledge transfer and gave me a strong foundation for founding our office. It allowed us to work on competitions with a carefree approach at the beginning. Additionally, it gave us the confidence to tackle ambitious projects and broaden our professional network.  

EH: Meanwhile, we stayed connected to Austria, participating in competitions and small projects there. It was an open question for us—whether to return to Austria or stay in Switzerland. Ultimately, we found the work here more diverse, and the unfolding opportunities allowed for much more. So we decide to stay.  

I think this is a path many young architects take—first gaining experience and then becoming independent. Many end up staying in Zurich because there are so many opportunities here.  There’s a lot of construction, a vibrant discussion about architecture, and a sense of growth. It’s almost like a quiet street with just one restaurant—no one comes. But when there are several, people gather, creating a buzz of activity and conversation. The same goes for architects—more of them means more dialogue and development.

MF: In addition, Switzerland has a strong tradition of high-quality architecture. That’s one reason many architects, including us, come here from abroad—we want to be part of that.

Another reason for the high number of architects in Zurich is the city’s rapid development. Everywhere you look, there are cranes and building sites. Large areas, like those previously used by SBB, the railway company, are being transformed into housing, offices, and other developments. This constant activity creates opportunities for architects. This trend isn’t unique to Zurich—it’s similar across all of Europe.

However, what sets Zurich apart is the density of these developments. The city is compact, and the projects are tightly woven into the urban fabric, making it a particularly dynamic environment for architects.

A distinct educational background

EH: The architectural education in Austria and Switzerland is quite different. In Austria, there weren’t typical studio professors like at ETH, which had its advantages. It allowed us to experiment more broadly, but one wasn’t guided as strongly as at ETH. I think both approaches have their pros and cons.

MF: Having studied in Austria and taught at ETH, I noticed the ETH curriculum is more intense and specialised. Courses are focused on specific themes, and the gap between education and professional practice is smaller than in Austria. At ETH, projects are more rooted in real-world contexts, with critiques and topics that directly connect to professional work. That precision and depth make ETH education stand out.

It’s been an intense journey—from studying and working in an office to getting the chance to teach at ETH and transitioning from finishing my academic career to teaching others. The core topics in architectural education remain largely the same, but sustainability has become a significant addition. It’s a crucial topic with a big impact on the teaching process and design studios at ETH. Students graduating now are at a similar level of understanding of sustainability as offices that have been integrating it for decades. Universities now provide a strong foundation in these processes, so students enter the field well-prepared.

EH: When we have the opportunity to teach, we always focus on a very specific topic. Recently, we led a seminar at the university on colour. It was important to us that the students not only learn the theory (which can sometimes feel quite dry) but also dare to experiment. They were encouraged to paint spaces, mix colours, explore their effects, and engage in lively discussions. The results that emerged from this approach were far more tangible and impactful than anything that could have been captured on paper; the spatial experience proved to be much richer and more insightful.

Sustainability at the core

EH: We started working together a few years ago, but it wasn’t full-time at first. We worked separately in different offices and with other colleagues while collaborating on competitions. About two years ago, we decided to commit 100% to our own practice.

MF: At the start, it was more of an experiment. During this time, our first daughter Alma was born, so we had a baby and an office without clients, but also a job at ETH that allowed us to work on competitions and gradually build our office independently. It was a very intense time.

EH: One major milestone for us was a competition in Chur, Switzerland. The project required meeting strict sustainability parameters, and we collaborated with specialised planners. This experience really opened our minds and changed how we approached our work.

MF: This project placed sustainability at the forefront of the design, which was a shift for us. Collaborating with a sustainability planner taught us so much—not just about specific techniques but also about adopting a new mindset. The competition theme pushed us to think differently. Instead of simply following a typical room program—this room here, that room there—we flipped the approach. Sustainability became the foundation, with all other aspects fitting into it. The resulting design was unconventional and surprising, even to us. 

In the end, we came in third place. The winner was a relatively conventional building. The jury said our project was too sustainable. This was just three years ago, which feels absurd now. However, fortunately, things are starting to change here.

EH: Ten years ago, you couldn’t win a competition with timber construction—it wasn’t taken seriously. Everything was concrete, and sustainability wasn’t much of a discussion. Now, competitions seriously consider reused elements, green facades, and innovative solutions.

MF: During that early project proposal in Chur, we learned that sustainability isn’t just about technical add-ons like solar panels or greenery. It’s also about the design itself—building orientation, heating and cooling buffers, material choices, and minimising technical interventions to maximise sustainability.

The broader context is also important. Initiatives like the energy path for 2030-2035 are driving cities like Zurich to prioritise sustainability in housing, transport, and urban development. Competitions now require detailed sustainability calculations, including a building’s lifecycle impact. This has made sustainability a central theme across architecture—incorporating visual, conceptual, social, and urban design elements.

EH: Today, sustainability is embedded in the architectural process—it’s no longer an afterthought. Public and private clients now demand comprehensive strategies: material reuse, green facades, solar integration, and more. It’s a deeply integrated part of the design process, shaping every aspect of a project.

MF: It’s great to see how far the field has come. Now, sustainability is treated as a serious discipline, requiring architects to work across multiple themes to create holistic, sustainable buildings.

Competition, collaboration, conservation

MF: Our work isn't tied to a specific theme; instead, we take on projects that spark our interest and align with opportunities. Above all, the focus here is on renovations. 

EH: Most of our projects so far have involved refurbishment—continuing work on existing buildings. These include apartment buildings, single-family houses, and office buildings. It’s not about starting from scratch on a greenfield site — it’s about engaging with what already exists.

We find it much more exciting to work with old or existing buildings, where a structure is already in place, allowing us to build upon it.

MF: Even in competitions, the mindset has shifted. Five years ago, it was common for organisers to encourage demolition and new construction. Now, most competitions require you to preserve and enhance existing buildings. It’s a reflection of how the value of existing structures has grown.

MF: The competitions we work on typically imply thousands of hours of work. We collaborate closely with partners specialising in areas like sustainability, technical systems, and engineering. In the second half of 2024, we worked on two large competitions, gathering data and assembling a team of experts for each field. We take on the role of general planners, bringing together specialists to support our vision.

From sites to furniture 

EH: In the office, both of us contribute to every project to ensure fresh ideas and continuous discussion. Our team is small, and we involve our employees as well, fostering collaboration and open exchanges throughout the process. We engage in frequent discussions—both between ourselves and with our staff—to refine ideas and ensure the best possible outcomes.  

I love working on-site because it’s much more dynamic than being at the office and at the computer. You interact with people, learn something new every day, and see designs come to life. Sometimes, what looks good on paper doesn’t work as well in reality, so we adapt on-site—like working with a one-to-one model.

MF: It’s much easier to make last-minute changes when we manage the building site ourselves rather than relying on a third-party site manager.

EH: Exactly. If you hand off everything to a site manager, decisions are fixed once the plans are finalised. When we manage the site ourselves, we can adjust even at the last moment. Of course, we plan meticulously beforehand to ensure functionality, but we leave room for improvement if something better emerges on-site.

MF: We take detailing, materials, and every aspect of a project seriously. But if something unexpected arises on-site or doesn’t work as intended, we’re flexible enough to adapt.

EH: We experiment a lot during construction—testing materials, colours, and shapes. Seeing these elements full-scale on-site helps us make better decisions, often leading to refinements that aren’t possible in the design phase.

MF: Ultimately, it’s about staying hands-on and adaptable to ensure the best possible outcome for each project. We also take on smaller projects, such as designing furniture, which are quicker and satisfying to work on. For example, we designed a stool as a gift for a client, following an apartment renovation we completed for them. We experimented with different colours and materials, and the result was a unique piece the client was thrilled with. And so we started designing different pieces of furniture.  

EH: For another project, we had the opportunity to design different types of tables. For that project, we collaborated with a furniture factory that had a surplus of leftover wood—pieces they couldn’t use and would normally discard. We decided to repurpose this wood. The idea was to use these smaller, discarded pieces to create something durable, something that could last forever. 

MF: It’s a small showcase of our interest in design and attention to detail. It’s a refreshing contrast to our more time-consuming projects, allowing us to focus on finer elements, which we find a lot of fun.

EH: This approach reflects how we work with materials and interior design in general. We aim to create spaces that are not only functional but also surprising. We spend a lot of time in the design phase, experimenting with materials and colours. Colours are especially important to us. Each colour affects a room differently—absorbing, reflecting light, and creating atmosphere. It’s an impactful yet cost-effective way to transform a space, leaving it not just altered, but truly reimagined.   

MF: It’s always exciting to see what happens when you take a different path and embrace an experiment. When you leave behind familiar thinking, use materials in new ways, apply colours unconventionally, and think about spaces differently. It’s in these moments, when you step off the beaten path, that architecture is born.