Chris Precht from Studio Precht introduces his conceptualization of light in architecture with the tagline being Wonderlust. According to Precht, this catchphrase encompasses the playfulness that light gifts to architecture as well as to architects themselves. 

As part of a rather young studio Precht emphasizes some of the advantages that come with that – which is approaching architecture in a more light-hearted way. Indeed, it seems that their process unfolds as follows: self-funded longer development, finding a client and then transforming the project into a commissioned work. Tying into the paradigm of playfulness Precht commences with the point of view of a naïve child – a perception of the world that allows for unhindered creativity – paired with the frameworks of fairytales, which paradoxically goes beyond the scope – or framework. In accordance, Precht also mentions the manner in which they refer to “their building”, as they personified it, naming it Bert – this allows for a more complex understanding of “his architecture” and also helped bringing politicians, the authorities, and clients on board. The material chosen for this project was structural wood, as it has a longstanding tradition and history in Austria and also fits into the setting, as different Berts were constructed in forestlands. This was paired with glass – grande and seamless pieces of glass - that allows for the sunlight to enter and bouncing off the rounded interior, therefore immersing the building as well as its habitants to the environment. There are different mechanisms helping with the regulation of the natural light with movable elements and skylights positioned strategically. Precht consolidates that Bert is a rather personal, naïve, and small project “and just that”, but that its approach, its make-up as well as its narrative and symbolical elements can serve as inspirations for upscaled projects and issues of the “bigger picture”.