At Lasserhaus, history literally permeates the building, bridging the past and present, seeping into modernity, blending with the new, and becoming a continuation of the lived past. Architecture, art, and culture serve as vessels for these transitions, giving shape and substance to these seemingly intangible places. Arthotel Lasserhaus is not just a hotel; it’s a historical retreat with incredible architecture and energy at the very heart of the city (yes, I mean Bressanone). The hotel is housed in a 15th-century historic building, picturesquely located in the artistic quarter of Stufels. It features 10 stylish rooms, some of which offer views of the Adlerbrücke Bridge, the parish church, and the Bressanone Cathedral. Guests can also enjoy a private sauna with a jacuzzi and cozy lounge areas. But let’s take it step by step.
The house was first mentioned in the early 15th century and originally belonged to the Bischof or Pischöffl von Stufels family. It is one of the few noble residences in Stufels that has preserved its historic appearance. Decorative and figurative frescoes are still visible on its facade, depicting the Queen of the Rosary, the Annunciation, the Flight into Egypt, Adam and Eve, as well as Saints Florian and Ulrich. Above the stone archway, the date 1642 is inscribed, marking the renovation of the house by its former owner, Georg Kempter. In 1659, Kempter acquired the neighboring Schützenhäusl (marksman’s house), which he later rebuilt and merged with the main building to form a large ensemble. Additionally, the impressive four-story structure of the neighboring Glaserhaus (glassmaker’s house) was eventually integrated into the building complex over time.
In 2024, Vudafieri-Saverino Partners, led by Claudio Saverino and Tiziano Vudafieri, breathed new life into this historic home, striking a balance between respect for the existing structure and a modern lifestyle. The first two floors of the ancient palace were transformed into a top-tier, four-star art hotel. Ten rooms—including two suites—exude an intimate and refined atmosphere where the family’s classical painting collection meets contemporary artworks, turning the space into a new cultural landmark. The top two floors, in contrast, were dedicated to private residences.
With sensitivity to context and respect for the genius loci, the original elements of the residence were reinterpreted, creating a harmonious coexistence with contemporary design solutions. To enrich the interiors of Lasserhaus, works by five contemporary artists were integrated, alongside the family’s valuable classical art collection, adding layers of history and modernity to the space.
A unique feature of the house is the presence of two staircases, which is explained by the merging of several structural units. Like all patrician houses, this residence had its own chapel. In 1895, the house was inherited by Ida von Lasser. Remarkably, for over 200 years, the house has had no descendants.
Petra Polli Expect the best, 2023 (In the photo below in the center)
For the Lasserhaus, the artist Petra Polli has conceived works that are related to each other. The works are to be understood as a triad in which the theme of memory plays a central role. Each work illuminates a different aspect of memory and at the same time provides a positive outlook on the future. Two works are designed especially for the Lasserhaus. Expect the best is from the series Lived Traces. In this se-ries, the artist deals with consumer behaviour. The scrap yard is the backside of the throwaway society. It is here that the discarded, the used, the con-sumed, the leftover disappears – seemingly without a trace. The artwork expect the best was made especially for the Lasserhaus. Memory is at the centre of this work. The metal piece comes from the building itself. It was part of the roof. There it protected the house and its inhabitants from the rain for decades. During the renovation work, it lost its original purpose and was disposed of. The artist secures the piece of metal and integrates it into her artwork. It is a memento, a document of the house that has absorbed the history of its in-habitants. Now the raw piece of metal is complemented by the following lettering: expect the best. When entering the room, the artwork triggers a positive expectation in the guests.
Petra Polli M, 2023 (In the photo below on the left)
The neon work consists of lines that are formed into peaks and connected to each other. The seven peaks stand for the seven generations that have lived in the Lasserhaus over a period of 200 years. The interesting thing is that all seven generations remained childless. The neon work keeps the memory of this alive. The quick stroke of the lines refers to children’s scribbles. At the same time, these lines form an M, which stands for mother. The neon work glows white-blue. The colour symbolises harmony and helps to find inner and outer peace.
By the way, this inscription is located near room #6, the room we stayed in (and in my opinion, this is the most beautiful room in the entire hotel).
Petra Polli. LIKE, 2016 (In the photo below on the right)
The concrete LIKE lettering, in-stalled in the reception area, encourages visitors to rate the hotel positively on social media. Social media have become a central communication tool for the hotel industry. Playing with emotions provides a basis for successful social media marketing. Guests share their experiences and like the hotel’s photos on social media. This interaction creates a strong connection between the guest and the hotel. LIKE was made in the aesthetics of TAGs. The tags are abbreviations used by graffiti sprayers to mark their territory and leave coded messages that are only understood by insiders. The concrete lettering LIKE is to be understood in a similar way to the tags. It picks up on this aesthetic and thus creates a connection between public and private.
Peter Kogler untitled, 2023 (The room In the photo below on the left)
Peter Kogler’s works often consist of repetitive pattern systems and illusionistic labyrinths that stretch across walls, ceilings, floors and room alignments. Dis-tances, heights, corners or edges are abolished and rewritten. For the large-scale works, Kogler uses repetitive image codes generated on the computer that extend in an endless loop over the entire surface of the work. For the wine cellar in the Lasser-haus, Kogler has created a work that nestles against the architecture of the room like a second skin, covering the walls, vaults and floor in their entirety. Vine-like forms and seemingly circling spheres evoke a slightly psychedelic sensation in the viewer.
Alexander Wierer Songs About Time, 2023 (The mechanism on the staircase, iIn the photo below on the right).
In the small, triangular atrium, a staircase connects the originally northern main house with the southern rooms. The staircase with railing extends helically over two floors. The wooden railing consists of vertical bars that connect the handrail with recessed grip and the joist of the construction. Alexander Wierer has taken these architectural circumstances as the impulse for his artistic reflection. In his works, the artist often deals with everyday objects that serve a specific purpose. As objects of daily use, handrails and handles guide and lead us. They suggest safety. At the same time, a handrail can be a first point of contact with space, a first haptic impression. This functionality is directly related to the history of the house in Songs About Time by Wierer. Here, Wierer interprets the staircase as a timeline, as a visualisation of time in beats. The element that directly relates space and time is the first rung of the balustrade. This rung can now be wound up counter-clockwise like a music box. The integrated striking mechanism discharges bar by bar, knocking against the wooden railing. “My artistic practice consists to a large extent of sleeping. It is a method that allows me to bring my body and my mind into a unified weightlessness to better contemplate various problems in life.” Alexander Wierer
In addition to contemporary works, the Arthotel Lasserhaus also houses several works from the Faller Collection. The father of the current owner of the house, Barbara Faller, had already built up an impressive art collection during his lifetime. Fascinated by Baroque painting, Klaus Faller (Brixen 1943-2017) acquired a large number of outstanding works from this period, particularly from Tyrol, unlike any other South Tyrolean collector of his generation. In addition to the Baroque works, the Faller Collection also includes other paintings from the 19th and 20th centuries. Nine portraits of the Thurner von und zu Thurnstein family from the 17th and 18th centuries, created by Stephan Kessler’s and Ulrich Glantschnigg’s studio are particularly noteworthy. The “Südtiroler Stadtansichten” (South Tyrolean City Views) by the artist Lesley de Vries, who lived in Klausen between 1945 and 1957 and captured views of Brixen and the surrounding area, are unmistakable with their colourful brushstrokes. In the inner courtyard of the building, a work by the artist Johann Georg Dominikus Grasmair (Brixen 1691-Wilten/Innsbruck 1751) captivates with its harmonious composition. The depiction of the “Conception of the Virgin Mary” dates from 1738.
In addition to this work, another piece in the collection catches the eye, namely the “Baroque magnificent sleigh”, which today welcomes guests with its “dragon head” in the entrance area of the hotel.
Next, I’ll show you our room (Suite 6 cat.E) on the second floor, with two bay windows, a desk, a wonderful round bathtub, and a view of the river and the old town. An amazing room!
I fell in love with this bay window from the first second!
My favorite workspace, where I wrote posts and my guide to “South Tyrol” (it will be released next year).
I love such attention to detail. The ancient clock, the good sound system, the marble countertops…
But perhaps my favorite place in this hotel-room is the bathroom.
It was a great pleasure for me to relax in the large bathtub with a view of the old town, and then head to the private sauna in the building.
The rooms feature cosmetics from the hotel’s own brand, Lasser Formacia Dobbiaco (which can be purchased at the reception, along with the branded bag).
And when I looked out the window, I discovered a wrought-iron dragon – it was simply delightful!
The hotel has parking, but it’s located in a different building, which I mentioned in another post of mine (it’s very unique). Breakfast is also served in a different location – at the Badhaus hotel. However, the hotel has a small kitchen with free snacks, pastries, and a coffee machine.
By the way, the hotel has made it to the top hotels in the world list at “The World Architecture and Design Award” in the “Hotels” category, winning the Prix Versailles 2024 (Versailles Prize).
The Prix Versailles Awards celebrate the best architectural commercial projects in the world: shops, airports, museums, restaurants, hotels, and sports facilities. The winners are selected by UNESCO specialists to promote the best combination of creativity, art, and economics. The recognition of the “World’s Most Beautiful Achievements,” awarded by the Versailles Prize, emphasizes the key role of the winners in improving and enhancing living environments. These achievements, presented to the world annually through the Prix Versailles, are exemplars of exceptional architecture and design.
I am incredibly happy that fate led me to this wonderful hotel.
This hotel is definitely going into my top list of hotels in South Tyrol, and I would happily stay here again next time!
