Current Ongoing Projects:
RIC, Conversion of an apartment, PT
GH, Garden pavilion, AT
LO, Interior, AT

 

( Studio )       Bonfim

( 1 )
The spatial configuration as found and its contextual setting, 2023 ( 2 )
Reference Landhaus Khuner, 1933, Adolf Loos( 3 )Spatial breadth and intimacy, a meandering dialogue, 
where material and space intertwine( 4 )
Reference Guilhotina, Arquitectura Popular em Portugal, Ordem dos Arquitectos, 1988( 5 )
The spatial configuration as found, 2023 ( 6 )The emphasis on moments of transition 
and spatial in-betweenness( 7 )Reference A Casa de Quem Faz as Casas, Manuel Graça Dias, 2016  ( 8 )The emphasis on moments of transition 
and spatial in-betweenness ( 9 )Sketch of the wall sequence, 
at the street side

( RIC ) Rua da Igreja de Cedofeita

Apartment renovation
L:    Porto, PT
Y:    ongoing since 2024 An apartment within a narrow, elongated building, nestled between a quiet side street and a lush courtyard in the heart of Porto. Built in the 1970s, its design, layout, and structure strongly reflect the architectural language of its era and the character of the surrounding neighborhood.
   The renovation reorganizes the interior to emphasize two spacious, light-filled rooms at either end of the unit. These serve as the primary spaces for living, working, cooking, and dining—places where people come together. In contrast, the sleeping areas are reduced to simple alcoves which, together with the bathroom, meander along a functional corridor embedded in the depth of the floor plan.
( 1 )
The approach to the house( 2 )
living–dining–kitchen
( 3 )
level +3, +2, +1, +/-0 ( 4 )
Interweaving spatial sequences,
photo by Lukas Walcher ( 5 )
 Sections( 6 )
Threshold between interior and exterior, photo by Lukas Walcher ( 7 )
Outer skin, photo by Lukas Walcher

( AS ) Am Salvenberg

Single-family home
L:     Westendorf, Tyrol, AT
P:    Studio Bonfim, Lukas Walcher
Y:    2018–2020Perched high above the village on the steep southern slope of the Salvenberg, the house stands at the edge of a small hamlet. Designed as elongated and compact as possible in its form, the building follows the natural topography, fully embracing the sloping site.
    The four levels are organized with a clear spatial hierarchy: a slender service zone runs along the back of the floor plan, while the primary living spaces occupy the front. This organization, together with the narrow footprint, allows for optimal orientation—maximizing natural light, views, and connection to the surrounding landscape.
    Vertically, the program responds directly to the terrain. More inward-facing, intimate functions are anchored deep into the hillside, while the main living areas rise from the slope, engaging with the exterior space and opening outward. A partially double-height volume further weaves the living area together with the floor above, creating a sculptural and spatial interplay.
    The materiality of the house is a direct expression of its setting. The base, formed of overlapping mineral walls, creates a forecourt nestled into the rocky terrain. Above, the dark timber cladding merges with the forest backdrop in both color
and texture, while also recalling the sun-weathered façades of traditional alpine farmhouses so typical of the region.
( 1 )
The „Bürgerstadl“ and its unfolding textile canopy – the „Himmel von See“( 2 )
Reference The Compression of Space, 
Dzieduszycki Palace
( 3 )
Reference “Himmel der Bayern”, Sebastian Lehner
( 5 )
The idea of spatial layering in both 
vertical and horizontal registers

( LUP ) See bei Lupburg

Fire station and public ‘Bürgerstadl’, competion
L:     See bei Lupburg, DE
Y:    2024In addition to the new fire station building, a central aspect of the competition was the adaptive reuse of an old barn into a public ‘Bürgerstadl.’ The barn features rooms of varying sizes and thermal conditions, which can be flexibly configured
and layered using sliding walls, curtains, and a retractable tent—the ‘Himmel von See.’ This design allows the public barn to expand or contract with the seasons, enabling insulation of only select areas without compromising the distinctive wooden structure, while creating a unique spatial experience.
( 1 )The Nomadic Table, unfolding and refolding in a sequence of transformations
( 2 )
Reference m26, Adolf Krischanitz, Color concept Oskar Putz, 1989 ( 3 )
The Nomadic Table, unfolding and refolding in a sequence of transformations
( 4 )
The Nomadic Table, manifold inner life( 5 )
The Nomadic Cabinet – shifting between states of closure and openness( 6 )
Reference Triptych Madonna del Popolo, 1514( 7 )
The Nomadic Cabinet, revealing the inner( 8 )
The Nomadic Box, in two states

( KH ) Kunsthalle

Furnishing of the reception area of KH Wien, invited competion
L:     Kunsthalle MuseumsQuartier, Kunsthalle Karlsplatz, Wien, AT
Y:    2024
The nomadic furniture designed for the two Kunsthalle Wien locations responds to their specific spatial and functional contexts while following a unified formal language.
    Kunsthalle Wien Karlsplatz, proposed elements: (Two) table(s). Inspired by Adolf Krischanitz’s notion of “letting the box fly,” the design seeks to strengthen the spatial cohesion that is absent from the exterior by introducing adaptable elements within the interior, all while maintaining horizontal spatial continuity. Informally conceived, the table serves as the communicative center
of the space. It accommodates a variety of uses—ticketing, working, exhibitions, presentations, sales, and storage. Its form is flexible, transformable, and mobile— nomadic in spirit. When fully unfolded, the table becomes the central actor in daily operations; when closed, it serves as a projection surface for special occasions—or simply as a clean, minimalist desk.
    Kunsthalle Wien MuseumsQuartier, proposed elements: one cabinet, two roller cabinets. The proposed elements adhere to the same design logic but are tailored to the distinct atmosphere of the space. Here, the furniture takes on a more introverted character. It can quickly close itself off and contain activity when needed, yet remains adaptable and mobile. Shelving heights are adjustable, the pieces are accessible from multiple sides, and they can be freely reconfigured. Special care was taken to ensure that the furniture remains functional and usable even if the sales area is relocated— reinforcing the overall nomadic concept: versatile, responsive, and unbound by fixed context.
( 1 )
Exhibition design as a reflector and catalyst of color, lamp and table
( 2 )
Panels that both display and absorb color( 3 )
The interpenetration of color and the dissolution 
of material and surface, photo by Simon Oberhofer
( 4 )
Reference Cruciform column, 
Mies van der Rohe, 1929( 5 )
Cruciform bases and panels that both display and absorb color, photo by Simon Oberhofer

( C ) Colors

Exhibition Diskursiv No. 2 Colors with Lecture series and Symposium
C:    in collaboration with Julian Brües and Philipp Sternath 
P:    Studio Bonfim, Simon Oberhofer
L:    Forum Stadtpark Graz, AT
Y:    2023Color has always been a powerful tool in architecture—it shapes our perception of space and form, communicates ideas or intentions, and guides the sensory experience of the observer. Yet despite its significance, color has gradually lost prominence in both architectural practice and education.
    With Diskursiv No.2, Colors, we place color back at the center of architectural discourse, aiming to restore its relevance. To give the theme the presence it deserves, the exhibition design intentionally withdraws from the color spectrum— allowing the space to absorb and reflect the surrounding hues, amplifying them in return.
    The various perspectives, approaches, and methods related to the topic were explored through a series of lectures and a symposium featuring Jan De Vylder, among others. These contributions are brought together in the exhibition and the accompanying publication, Diskursiv No.2, Colors. The show includes works by Nuno Melo Sousa, Nikola Hergovich, Michael Reindel, Institut Vierzehn, and Luca Tommasi, along with 90 submissions from international architecture studios.
( 1 )
Reference Vale Abraão,
Manoel de Oliveira, 1993 ( 2 )
The fabric of the village and the architectural interventions,
photo by Tom Biela ( 3 )Interwoven structural and spatial layers, 
photo by Tom Biela ( 5 )A spatial interplay between interior and exterior realms, photo by Tom Biela( 4 )Reference Vale Abraão, Manoel de Oliveira, 1993( 6 )Façade with references to the vernacular,
photo by Tom Biela( 7 )A spatial narrative through sections( 8 )Reference Arquitectura Popular em Portugal, 1988( 9 )The narrative power of spatial geometries, visualisation( 10 )Reference Igreja de Santa Maria Álvaro Siza Vieira, 1996

( AdM ) O Douro e as Águas do Moledo. A topological approach.

Rehabilitation and expansion of the thermal baths
L:    Caldas do Moledo, PT
P:    Tom Biela
M:    1:25, 1:200
Y:    2021This project is rooted in a comprehensive topological study of the Douro Valley, focusing specifically on the abandoned thermal baths located between the towns of Peso da Régua and Mesão Frio, along the riverbank at Caldas do Moledo. The design reimagines these neglected structures within and along the edge of the thermal park, seeking to extend the ensemble while tracing and reviving its sunken historical footprints.
    Several interventions are proposed: a communal pavilion that functions as a new village square, seamlessly integrated with the thermal park; the restoration of the river baths to reconnect visitors with the water; and most prominently, the expansion of the thermal baths themselves. Drawing on the surrounding context, the design highlights the character of the landscape and responds thoughtfully to the unique linear topography and dynamic flow of the valley.

( Studio )



( Studio )       Bonfim

Architectural practice
AT:    Aichhorngasse 4/3, 1120 Wien
PT:    Rua da Igreja de Cedofeita 19/andar 2, 4050–306 Porto
M:     mail@studiobonfim.com
I:        @studiobonfim

Studio Bonfim
Katharina Hohenwarter
Aichhorngasse 4/3, 1120 Wien
mail@studiobonfim.com
ATU82208736

Katharina Hohenwarter (Arqta Dipl.-Ing.) Diploma Engineer and licensed Architect. Member of the Ordem dos Arquitectos, PT.
EU-authorized architect acc. EU Directive 2013/55/EU. 

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Katharina Hohenwarter, Arqta Dipl.-Ing., is an architect based in Vienna and Porto. She studied architecture at Graz University of Technology and completed a research residency at the Faculdade de Arquitectura da Universidade do Porto. Following her graduation, she worked with Claudia Cavallar, among others, and held teaching positions at TU Vienna — at the Institut für Gestaltungslehre and Institut für Gebäudelehre. Since 2019, Hohenwarter has been collaborating with Michael Hafner as part of Studio Bonfim and joined the architectural research association Diskursiv in 2021. Previously a university assistant at the Chair of Integral Architecture, she now teaches at the Institut für Gebäudelehren (TU Graz). Alongside her academic work, she runs her own architectural practice. 
M:    hohenwarter@studiobonfim.com

Michael Hafner, Arqto Dipl.-Ing., is an architect based in Vienna and Porto. He studied architecture at Graz University of Technology and at the Faculdade de Arquitectura da Universidade do Porto. After completing his studies, he worked in several architectural offices in Austria, including ARTEC Architekten. Since 2022, he has been teaching and conducting research at the Institut für Entwerfen im Bestand und Denkmalpflege at Graz University of Technology. Alongside this academic work, he has collaborated with Katharina Hohenwarter as Studio Bonfim since 2019. In 2021, he joined the architectural research association Diskursiv, and in 2023, he was awarded the Start Scholarship for Architecture and Design.
M:    hafner@studiobonfim.com

Exhibitions, Publications (a selection) 
  • 100,00 Jahre Tanken, with ENBEDE (TU Graz), Graz 2024
  • Vom Ersten Strich bis zum Letzten Stein, ZTK Steiermark/Kärnten, 2023
  • Ortstermin Galerie Konzett and Bar Limarutti, with ENBEDE (TU Graz), 2023
  • Colors, Forum Stadtpark Graz, 2023
  • Modelle, ZT-Kammer für Steiermark und Kärnten, 2022
  • Spurensuche zu Günther Domenig, with ENBEDE (TU Graz), Graz, 2022
  • Models Diskursiv No.1, Co-publisher and Author of the Epilogue, 2022
  • Kino Welt Wien, Filmarchiv Austria, mit BUERO41A, 2020
  • Graz Architectural Guide, DOM publishers, Co-author, 2019
Teaching (a selection) 
  • Open Design Academy, Institut für Gebäudelehre, TU Vienna, WS 23/24
  • Re-used Density, with Avenier Cornejo architectes, TU Vienna, SS 23
  • Open Design Academy, Institut für Gebäudelehre, TU Vienna, WS 22/23
  • Grundlagen des Entwerfens, Institut für Gestaltungslehre, TU Vienna, WS 2022/23
  • Exterior Spaces of the City, International Design Workshop, at RWTH Aachen, 2022
Awards, Prizes, Scholarships (a selection)
  • Start Scholarship for Architecture and Design, 2023
  • GAD Awards, Graz Architecture Diploma Awards, 3. Prize, 2021
  • Herbert Eichholzer Architecture Award, 2. Prize, 2019

( RIC )
( AS )
( LUP )
( KH )
( C )
( AdM )