Everything is conversion – after Hermann Czech

In the world of architecture and urban design, a revolutionary idea has taken hold, one that questions conventional notions of permanence and immutability. Under the motto “Everything is conversion”, this approach offers a fresh perspective on how we shape our urban environments and buildings. A pioneer in this field is the renowned architect Hermann Czech, whose ideas are bringing about an inspiring change in the profession.

The basic premise of “Everything is conversion” is the conviction that architecture and urban design should not be regarded as static elements but as dynamic concepts in constant flux. Czech calls on us to rethink the traditional view of buildings and urban spaces and to open ourselves to the idea that change is an inherent part of their existence.

A central concept of this approach is the notion of buildings as living organisms that evolve and adapt over time. This opens the door to an architecture designed not only for the present moment but also for the future. It is about creating structures flexible enough to meet the changing needs of society.

The article looks at the social implications of this dynamic view. Urban design is no longer seen as an isolated arrangement of buildings but as an ongoing social process. This approach allows urban centres to develop organically and to adapt to the changing needs and dynamics of society.

Hermann Czech also emphasises the environmental compatibility of this approach. Sustainability is no longer confined to ecological aspects; it also encompasses the ability of buildings and urban spaces to adapt and transform rather than being demolished and rebuilt. This holistic view of sustainability produces an architecture that is not only resource-efficient but also meets the long-term needs of our evolving communities.

“Everything is conversion” is more than a philosophical assumption; it is a call for creative innovation. It encourages us to think beyond the boundaries of the familiar and to explore the potential of continuous architectural and urban change. This way of thinking represents a pioneering direction for the architecture of the future, one that not only meets the needs of the present but also opens the door to a flexible, sustainable and vibrant future. “Everything is conversion” – a call to shape worlds that develop as dynamically as the society that forms them.

Architecture and urban design are shaped by constant change, by a ceaseless adaptation to new requirements, technologies and ways of living. Hermann Czech, an Austrian architect, sums up this dynamic when he says: “A conversion is more interesting than a new building, because fundamentally everything is conversion.” This statement opens the door to a profound philosophical reflection on what it means to respect existing structures, to transform them and, at the same time, to give them contemporary meaning.

The philosophy of conversion

Architecture is more than the mere erection of buildings. It is a living expression of history, culture and social change. Hermann Czech’s approach emphasises that every architectural scale is a configuration of the next larger one. This hierarchy of decisions taken at higher levels leads to an organic order that respects what has grown over time while creating room for progress.

The question of how to approach what already exists becomes decisive. Is it the creation of something new, set against the existing, or is it the continuation of the existing by new means? According to Czech, the answer lies in a synthesis of both approaches, whereby the continuation of the existing consists in forming a new unity at a higher level. Here it becomes clear that conversion means not only structural change but also a profound re-evaluation and reinterpretation of space and function.

Conversion as a key theme of architectural theory

Czech stresses the importance of conversion as a significant theme in architectural theory. It is not merely a question of the art of building but a philosophical engagement with the history, identity and development of spaces. Czech even goes so far as to say that conversion is perhaps the central theme in architecture altogether. It is about how we imagine built space, how we deal with what exists and how we can create a synthesis between tradition and innovation.

To put these theoretical considerations into practice, we take a look at three projects we have had the privilege of realising in recent years. These projects serve as concrete examples of the philosophy “Conversion is everything” put into action.

1. Refurbishment: House with Chapel

The House with Chapel on the western edge of the village of Gärberbach, above Innsbruck, is an architectural gem whose roots probably reach back to the 16th century. The refurbishment of this historic building illustrates why “Conversion is everything” is not just a slogan but a creative challenge that combines respect for history with contemporary design.

The architects decided not only to preserve the building fabric but also to transform it into a contemporary home. The chapel, once the place where mass was celebrated with Andreas Hofer, becomes an open kitchen space. The decision to open up the chapel’s punched windows and replace them with narrow balcony doors creates a seamless connection to the south-facing terrace. Here conversion becomes a creative synthesis of old and new, in which the boundaries between inside and outside blur.

The interior is drawn together into a single whole by the restored timber frame. Instead of clear separation, the design relies on permeability and an organic arrangement of spaces. Fewer rooms were created; instead, atmospheres and niches emerged that layer permeably one behind, beside and above the other. New elements are carefully fitted into the old, not through architectural articulation but by clearing the spaces. Light, daylighting, high-quality interior fittings and a reduced colour concept characterise this transformation, which is less about creating space than about making space visible.

2. Redesign of the village square and bandstand – Innichen

In Innichen, the significance of conversion as a creative process and as a reinterpretation of the existing fabric becomes particularly clear. The redesign of the village square and the bandstand is not merely an urban design measure but a homage to the history and identity of the place.

The essential elements that distinguish Innichen – stone, water and history – are integrated into the design. The use of stone as a durable and lasting element reflects the permanence of the place. The square is divided into sub-areas and provided with an infrastructure grid for water, electricity and light. Here it becomes clear that conversion is not only a question of aesthetics but also a planning challenge that takes the needs of the community into account.

Water is introduced to the square as a dividing and shaping element. The line of the former mill channel (Wiere) is taken up as a symbol of the Via Claudia Augusta Altinate. It marks not only historic routes but also the separation between secular and spiritual power. A second line runs perpendicular to it and represents the Via Iulia Augusta. The intersection of these two axes becomes the site of the new pavilion which, formed in stone by water, creates a link between historic routes, contemporary design and community.

The bandstand itself becomes the focal point of the square. The architects considered not only the visual aesthetics but also the acoustic requirements of a brass band. The stage is designed so that it serves not only as a venue for musical performances but can also be used as an event space. The adjoining kiosk animates the street space and the newly created square in front of the Postkapelle. The drinking fountain on the Pflegplatz becomes the new attraction, where the five springs of Innichen can be sampled.

This redesign of the village square illustrates that conversion is not only a physical alteration of space but also a staging of history and identity. The lines on the square tell the story of the place, the axes symbolise historic routes, and the pavilion becomes the cultural centre that preserves the past while opening up a view of the future.

3. Municipal offices and apartments in the listed Pfleghaus

The third project, the “Pfleggerichtshaus Schloss Anras”, the former court house of the Prince-Bishops of Brixen, is an outstanding example of the restoration and revitalisation of an important cultural monument. The castle is not only of great cultural significance but also defines the townscape.

Since 1989, part of the building has been owned by the Messerschmitt-Stiftung. Following a comprehensive general refurbishment in 1997, the castle was used as a museum and gallery. This made it a popular cultural attraction for the municipality.

The project began with a thorough needs assessment in the municipality to identify cultural potential and interests. Analysing the concerns and wishes made it possible to tailor the project as closely as possible to the needs of the municipality.

The focus of the effort lay in a careful appraisal of the Anras site and the unique character of the Pfleghof. The planned use of the individual floors reflects the versatility of the castle. From the cosy café on the ground floor to exhibitions and events in the attic storey, the historic building is being revitalised as a living cultural centre.

Decisions on the use of the rooms were made after intensive examination of architectural, building-historical and building-physics aspects. The aim was not only to make the best use of the rooms but also to exploit the full potential of the castle.

The first floor is used for municipal activities and events, in order to involve the local community in the life of the castle and create a lively meeting place. The second floor and the attic storey are reserved for exhibitions and events that present the cultural heritage of the castle and make it accessible to visitors.

The heart of the concept is the planned use of the individual floors. According to our plans, the ground floor of the castle will house a cosy café and three stylish apartments, creating a harmonious mix of cultural atmosphere and contemporary living.

This project in Anras aims to revitalise the historic building as a living cultural centre that preserves its past while offering the people of today and tomorrow a special experience. It is a living example of how conversion means not only preservation but also a contemporary use that involves the local community and places the historic heritage in a modern context.

Conclusion: conversion as a creative challenge

Taken together, the three projects show that conversion is more than mere refurbishment. It is a creative challenge that respects history while creating new possibilities. The dynamic of change in architecture and urban design reveals itself in the art of combining old and new in a harmonious way – a process that preserves the identity of a place while opening it up to future generations.

The philosophy “Conversion is everything” is evident not only in Czech’s theoretical considerations but also in the concrete realisation of these ideas in real building projects. It is about more than buildings; it is about creating spaces that tell living stories and in which people can live, work and flourish.

The refurbishment of the House with Chapel, the redesign of the village square and bandstand in Innichen, and the municipal offices and apartments in the listed Pfleghaus in Anras are examples of the diversity and creativity that can emerge in the process of conversion. The projects illustrate that conversion is not only a question of architecture but also has a cultural, social and identity-forming dimension.

In a world that is constantly changing, the principles of conversion are of decisive importance. The ability to preserve traditions while responding to the needs of the present and the future makes conversion a key instrument for sustainable and liveable towns and buildings. Hermann Czech’s legacy lies not only in his words but also in the real changes he has brought into the world through his projects – changes that show that in architecture, everything is conversion.