20 Must-See Buildings in Austria

The two parts of the 18th-century Schloss Belvedere, southeast of Vienna, were built for Prince Eugen of Savoy. The Lower Belvedere, built first, is a single-story pavilion with a mansard roof and a raised centerpiece containing the Marble Hall, with frescoes by Martino Altomonte. The Upper Belvedere, built about ten years later, stands on higher ground to the south and is a more complex structure with three stories and an attic in the center, winged by octagonal pavilions. The two palaces face each other on the main axis of formal gardens.

Johann Lucas von Hildebrandt, who trained in Rome with Carlo Fontana, was the chief successor in Austria to Johann Bernhard Fischer von Erlach, and he introduced the High Baroque style with French influence. He was at first a military engineer, working for Prince Eugen on his campaigns in northern Italy, whence many of his architectural mannerisms derived. Hildebrandt was, however, an accomplished master of space and form in his own right, and the Upper Belvedere is probably his finest work, with an especially fine entry sequence leading from the entrance up the stairs to the Sala Terrena, overlooking the gardens. The stuccowork of both buildings was completed by Giovanni Stanetti, of Venice, with a team of assistants. Both also feature allegorical or illusionistic ceiling paintings by Italian artists. The Upper Belvedere was severely damaged during World War II but later restored. (Alan Powers)

The Kunsthaus in Bregenz, in southern Austria, is an ethereally beautiful and technically masterful art gallery that offers visitors, admirers, and passersby an opportunity to indulge in the very essence of Swiss minimalist design. Winner of the Mies van der Rohe prize in 1998, the gallery also earned its creator, Peter Zumthor, the Carlsberg prize. The achievement of the Kunsthaus is not just in Zumthor’s seamless and elegant design, but in his technical skill at capturing natural daylight and filtering it through the galleries, thus removing the need for complex or unsightly lighting. The Kunsthaus, completed in 1997, has three levels of galleries joined by a simple circulation system of concrete stair and lift. The external skin of brushed glass is self-supporting, hung delicately from a steel frame, and is separate from the three main galleries. A separate floor—a light plenum—is constructed above each room, and varying natural daylight is diffused through a glass ceiling and spreads evenly into the space beneath. A distinctly separate and striking black concrete building is home to the messy business of administration, shops, and café. Every detail in the Kunsthaus, from the handrails to the finely designed metal frames supporting the glass ceiling, should be admired for its elegance and quality. This finesse is nothing less than could be expected from Zumthor, an architect who won the Pritzker Prize in 2009. (Beatrice Galilee)

When Austria’s second largest city, Graz, was awarded the honor of becoming European Capital of Culture for 2003, it needed something to celebrate the title, a gift to itself for the future. The Kunsthaus, a museum for contemporary art, was the result. Dubbed the “friendly alien” by locals, the Kunsthaus is a bluish, shimmering blob of fun that eschews the normal white box favored by galleries, and bursts from its otherwise historic setting. It was designed by Colin Fournier with Peter Cook, both professors of architecture at the Bartlett School in London, after they clinched the international competition held in 2000 as Spacelab Cook-Fournier. Cook in particular inspired many architects with the experimental work he did with Archigram in the 1960s—the Kunsthaus’s form owes something to that work. It is built primarily of reinforced concrete and clad in curvaceous, translucent, warm-blue acrylic paneling with white plaster and steel mesh on the interior. Its bulbous, biomorphic shape, which some people have likened to “mutant bagpipes,” nestles on its site next to the River Mur. Inside, “travelators” connect the galleries while daylight streams in through nozzles in the roof. Outside at night—thanks to Berlin-based designers BIX—the facade becomes a shifting, pulsating surface animated by images and film. The Kunsthaus has style, exuberance, and panache, and its form sets a tension between the old and the new. (David Taylor)

Social housing all over the world is one of the most neglected aspects of modern architecture. This often has disastrous results because these buildings stand as proof of how the urban environment influences social behavior. Social housing may even be considered to be an indicator of the health of a society or nation. It is therefore not surprising that one of the most successful housing projects of of the turn of the 21st century is to be found in Austria’s third largest city, Innsbruck, in a country that has so far largely resisted the concept of high-density, monofunctional public housing.

Masterminded by prominent local architects Guido Baumschlager and Dietmar Eberle, Lohbach Residences (completed in 2000) widens the perception of what housing can be. The complex is made up of an inspiring blend of well-laid-out apartments organized in six carefully placed building blocks, finished off with a high-quality facade that combines practicality with aesthetics. Mixed ownership ensures a balanced occupancy of different income brackets.

The facade is fitted with copper shutters that allow users to adapt their apartments to the different light conditions and take in views of the surrounding alpine landscape. All windows open up to the access balconies and terraces that continue around each house. Together with the partially open-plan layouts of the apartments, these simple interventions allow inhabitants easy access to contemporary living, with all rooms having access to the large exterior spaces. In addition, the housing blocks are designed for low energy consumption, setting the example of a more sustainable way of building in the future. (Lars Teichmann)

The work of Iraqi-born architect Zaha Hadid is often viewed as a complex, Deconstructivist collision of sharp angles and linear forms. With her Bergisel Ski Jump in Austria, this has given way to a necessarily organic, flowing form whose chief role is to throw skiers as far into the ether as possible.

Hadid won the competition for the project in 1999, with the jump opening in 2002. The building peers down from its lofty perch atop Bergisel Mountain over downtown Innsbruck, replacing the old, outdated ski jump built by Horst Passer, and forming part of a larger refurbishment project for the Olympic Arena. Hadid describes it in the following way: “The assemblage of elements was resolved in the manner of nature, developing a seamless hybrid, where parts are smoothly articulated and fused into an organic unity.”

Unlike other, one-dimensional ski jumps, this one includes specialized sports facilities and public spaces along with a café and viewing terrace in its cobra-like form. The jump is around 259 feet (90 m) long and at a height of some 164 feet (50 m). It is divided into a vertical, concrete tower and a café, which is reached by two elevators, and the jump section, which has a U-shaped profile. Bergisel Mountain, overlooking the town, was the venue of ski-jumping competitions during the Winter Olympics of 1964 and 1976. The jump is a stunning location from which to observe not only competing skiers but also the impressive Alpine landscape. (David Taylor)

For more than 900 years, Melk Abbey has been a stronghold of Roman Catholicism and at times a bastion against reformation. This impressive edifice on a cliff above the village of Melk is the work of architect Jakob Prandtauer, who was commissioned by the young abbot Berthold Dietmayr to replace structurally unsound parts of the old abbey buildings. After thorough investigation, it was decided to build a new church in their place together with a monastery. Originally trained as a sculptor, Prandtauer’s mastery undoubtedly lay in the composition and proportions of his designs. Unlike other Baroque monasteries, the church at Melk dominates the other buildings, but it also clearly serves as a backdrop for the impressive, palacelike outbuildings. Organized around a central axis 1,050 feet (320 m) in length, the south wing and its glorious marble hall alone are stretched 790 feet (240 m). Melk is the biggest Baroque abbey in Austria and Germany, but it is the quality of detail that makes this building truly outstanding. The decoration can be credited to Prandtauer’s nephew, Joseph Munggenast, who continued the work after his uncle’s death. Some of the decoration was entrusted to Antonio Beduzzi, a theater designer from Vienna, with frescoes and gilding by Paul Troger in the Austrian Baroque style.

Building work was practically completed in 1736, but in 1738 a fire destroyed all roofs, the towers, and several representative rooms. Repair work went on until 1746 when the abbey church was finally consecrated. Today, Melk Abbey remains a center of pilgrimage, and it is very much a living monastery where new religious life flows in its old veins. But it is without a doubt Jakob Prandtauer’s magnificent creation that draws thousands of visitors to Melk, providing a financial lifeline to the town in the 21st century. (Lars Teichmann)

Beginning in the 1970s, Austrian architect Günther Domenig intensively engaged with one site on an inherited family property at Steindorf on the shores of Lake Ossiach. Stein House, situated in a lush, one-acre estate, points toward the lake, and faces undulating hills and mountain ranges. Although construction started in 1986, it remained an ongoing project into the 21st century. With its beautiful shards of metamorphic rock that finger out to the lake—forming ridges, canyons, caverns—the building is inspired by the architect’s sketches of Austrian landscapes. The glowing red, lava-colored finishes of the interiors contrast with the stone and metal structure on the outside. In its dramatic physicality and poetic interpretation, the house itself is a private cosmos that gives radical architectural form to human relationships and interactions. Domenig approached his project as an opposition to the Neo-Romantic Alpine style—so widespread in this region—by providing architecture beyond the homely Gemütlichkeit that can be bought from do-it-yourself shops. As a manifestation of a very personal understanding of architecture, Stein House became the underlying theme of his work. Acclaimed by architectural critics, but perhaps not to the taste of many others, Stein House is one of the most poetic, unique, and intimate buildings the 20th century gave rise to. (Lars Teichmann)

Also known as the Karlskirche, this church is set in open space originally beyond Vienna’s walls, and it is one of the city’s landmarks. It was built to fulfil a vow made in 1713 by Emperor Charles VI, in recognition of the intercession of St. Charles Borromeo in saving the city from plague. The commission came to Johann Bernhard Fischer von Erlach, the favored architect of the Habsburg court in Vienna, and was completed by his son Joseph. The church has a grand, symmetrical facade, made especially wide to fulfill its scenic purpose as viewed from the Hofburg, the Royal Palace. The main portico is in a scholarly Corinthian order, its freestanding columns more Neoclassical in style than the Baroque forms of the rest of the building. There are open pavilions at each end of the facade, recalling the termination of Bernini’s colonnade in front of the Basilica of St. Peter. Two freestanding columns in the manner of Trajan’s column in Rome are a unique feature, carrying bas-relief narratives of St. Charles Borromeo’s life, based on reconstructions of the Temple of Solomon in Jerusalem. A complex iconography for the whole church was devised by Karl Gustav Heraeus. The main oval body of the church supports a tall dome, with its long axis toward the high altar. On the skyline of the west front are three figures, with Charity represented by the saint in the center (he was also Charles VI’s name saint), and Faith and Hope on either side. (Alan Powers)

The Burgtheater, or Imperial Court Theater, is one of a group of colossal buildings that define the Viennese Imperial style. Its architects, Karl von Hasenauer and Gottfried Semper, were responsible for a number of landmark buildings constructed during the brief Austro-Hungarian empire, including the Kunsthistorisches Museum (Museum of Art History) and the Naturhistorisches Museum (Natural History Museum), which show a strong Baroque influence. The Baroque style had blossomed in the 17th and 18th centuries, defined by curves, statues, and elaborate columns.

Von Hasenauer earned the title “Freiherr” for his work, which included being the chief architect for the 1873 Vienna World Fair. Semper had written texts such as Four Elements of Architecture (1851). Although his buildings refer to past styles and use an abundance of motifs, his written work has modern insights and influenced future generations of architects.

The Burgtheater was, after many years, completed in 1888 and was extensively restored after damage during World War II. The theater’s round facade is built to impress. Above the name of the building is a relief of Bacchus, the god of wine, in procession. The building‘s use as a space for performing arts is visually signposted by busts of writers and statues depicting allegorical figures such as Love and the muses of Tragedy and Comedy. The interiors are lavishly decorated with stucco ornament and frescoes by Gustav Klimt, one of the best-known Austrian artists of this period. The Burgtheater is a testament to its time, reflecting the opulence of 19th-century Imperial Vienna. (Riikka Kuittinen)

Even from today’s viewpoint, the Secession Building (Secessionhaus) is a bold, ambitious edifice with its open-fretwork cupola of golden laurel leaves and its pared down, regimented facade. This fin de siècle building is seen as an icon of the Viennese Secession—an anti-traditionalist group of artists—of which Josef Maria Olbrich was one of the founding members. With his fellow Secessionists Gustav Klimt, Otto Wagner, and Josef Hoffman, Olbrich looked to contemporary British architects such as Charles Rennie Mackintosh for inspiration. Determined to explore the possibilities of art outside the restrictions of academic tradition, Secessionists hoped to create a new style owing nothing to historical influence.

The ground plan and section of Olbrich’s Secessionhaus, which was completed in 1898, reveal the use of simple geometric forms, creating a unified, meditative space that was intended to serve as an “exhibition temple dedicated to the new art.” The motto of the Viennese Secession is carved in gold above the main entrance: “To Every Age, Its Art. To Every Art, Its Freedom.” The tendril-like motif of the Secession is a core part of the facade’s ornamental detailing, and it creates moments of delicacy and poise in the large swaths of white space that dominate the front elevation. In 1902 Klimt painted the Beethoven Frieze at the Secessionhaus, which predates the work he did at another Secession-inspired building, the Palais Stoclet in Brussels, designed by Josef Hoffman. Fittingly, the Secessionhaus functions today as an exhibition space for contemporary fine art. (Abraham Thomas)

A professor at the Vienna Academy of Fine Arts, architect Otto Wagner was highly influential for a whole generation of architects. He became famous for a lecture he gave in 1894 in which he advocated that Vienna’s architectural style should be radically renewed and spurn any imitation of classical architectural styles. In 1883 he was one of the two prizewinners of a competition to reconstruct parts of Vienna’s urban district. He went on to become an adviser for the Vienna Transport Commission and the Commission for the Regulation of the Danube Canal, and he was appointed to design the urban-rail network, the Stadtbahn. He designed the bridges and tunnels for the network, as well as the platforms, staircases, and ticket offices of the stations.

Karlsplatz Metro Station is one such station entrance and was opened in 1899. When the rail network changed from the Stadtbahn to the U-Bahn in 1981, the station entrance became defunct. However, the two facing buildings above the ground are still in use. The structures were built using a steel framework with marble slabs mounted on the exterior. Each building has a central curved entrance, flanked by symmetrical walls. Inside each entrance is a glass doorway and the sides of the buildings contain large windows. The green and gold painted metalwork that supports each building is exposed in the functional style that Wagner promoted. But what is most striking is the use of simple, flowing curved lines, gilded metal, and inset panels of decorative floral imagery to create an impressive facade. The buildings are an example of Viennese Jugendstil, a style of Art Nouveau developed from 1897 by members of the Vienna Secession art movement who influenced Wagner. (Carol King)

Derided as “hideous beyond measure” when it was first built, Otto Wagner’s Majolica House marks a pivotal point in the architect’s career. Turn-of-the-century Vienna was a crucible of artistic experiment, as architects such as Wagner, and his students Josef Maria Olbrich and Josef Hoffmann, turned away from the eclectic historicism that had marked Viennese architecture. It was in reaction to this that Art Nouveau—which developed as Jugendstil in the German-speaking regions of Europe—came to prominence in Vienna, and the Majolica House is Wagner’s best example of this style. Highly decorated, the house takes its name from the majolica tiles that face the building. The wrought ironwork of the first two stories gives way to a facade that is creepered with curving abstract flowers, spreading as if from a stem as they go up to meet lions’ heads, molded in relief beneath the overhanging eaves. The exuberance of the decorative tiles masks the clean modernist lines of the building. This was a radical architectural development at the time and would find its own high point in Vienna with the Loos House at Michaelerplatz, built in 1911 by Adolf Loos (and denounced as the “house without eyebrows” due to its lack of ornamental stuccowork). Majolica House, completed in 1899, is one of the earliest examples of the Gesamtkunstwerk, or total work of art, in which art, architecture, and interior design all conspire to create the perfect whole. (Gemma Tipton)

Adolf Loos was as much a cultural critic as an architect. His 1908 essay “Ornament and Crime” became a manifesto on the Modernist ideal. In it Loos argued that ornament should be eliminated from useful objects; he believed that beauty was in function and structure. Lack of ornament was, to him, a sign of spiritual strength, and excessive embellishment wasted materials and labor in an industrial age. His call for an unadorned style of building was a reaction to the decorative Secessionist movement at the turn of the century.

The Steiner House, completed in 1910, is one of the most emblematic buildings of European Modernism. Built for the painter Lilly Steiner, it was constructed in a Viennese suburb where strict planning regulations stipulated that the street front must be only a single story with a dormer window in the roof. The house extends to three stories at the rear, and Loos cleverly used a semicircular, metal, mansard roof to slope smoothly down to meet the second floor on the street facade. Loos’s belief that the exterior of a house is for public consumption is reflected in the sparse, white walls. One of the first private homes to be constructed from reinforced concrete, the Steiner House established Loos as the pre-eminent Modernist architect outside of Vienna. It became a compulsory reference point for other architects for its radical austerity and extreme functionalism. (Justine Sambrook)

When, in 1897, a group of architects and artists, including Otto Wagner, Josef Maria Olbrich, and Gustav Klimt, founded the Vienna Secession, their aim was to break away from both architectural historicism and from the excessive over-ornamentation that had characterized Art Nouveau’s illogical extremes. This intention did not stop Olbrich from running a frieze of topless dancing girls in relief around the exterior walls of his Secession Building of 1897, but nonetheless it was the ideals of the Secession, and Wagner’s own handbook, Modern Architecture (1895), that paved the way for the clean lines and practical nature of Modernist architecture.

Occupying an entire city block, the massive Post Office Savings Bank (Postparkasse) in Vienna is one of the cornerstone buildings in the transition from Classical and Historicist architecture to Modernism. It has ornamentation, including, for example, the cast-aluminum, winged female figures atop the cornices, and there are definite Classical elements to the design (evident from the grand symmetry of the facade), but it was the clean functionality of the architecture that proved highly influential. “Nowhere,” wrote Wagner in his design proposal, “has the slightest sacrifice been made for the benefit of any traditional form.”

Reached via a flight of stairs, the Kassenhalle (main public hall) is an atrium, lit by an enormous, arched, glass skylight above. The floor is made up of glass tiles, dispersing light into the sorting rooms below. Compared with the exuberance of some Secessionist decoration, this building, which was completed in 1912, is restrained. (Gemma Tipton)

Friedensreich Hundertwasser, sculptor, painter, and environmentalist, turned to architecture in the 1980s with a series of designs for various buildings including incinerators, train stations, hospitals, housing, and churches. His affection for organic shapes and helices and his strong opposition to what he called the “geometrization” of humankind resulted in his highly recognizable style, a long way from the common norms of scholastic architecture.

Hundertwasser House was one of his first commissions, and it remains one of the most distinguished. Sited in Vienna's Third District, this social-housing apartment building occupies a large portion of an old-town urban block. Most remarkable are the facades, which Hundertwasser broke down into small units, vastly differing in color and texture. The apartments have roof gardens with trees, bushes, and plants.

Although the layouts of the 52 apartments remained fairly conventional, Hundertwasser tried to avoid flat floors and straight corridors by introducing what he called “non-regimented irregularities,” and the “right of windows” and deliberately planting “beauty obstacles.” Opposed to traditional architects, he initially decreed everyone should be able to build as they pleased, taking responsibility for their own space—even if this meant self-made structures would collapse—in the process of acquiring structural knowledge. He later bowed to architects’ expertise in structure and stability, but he thought they should still be subordinate to the resident, who should take over in designing the external skin of a building.

Hundertwasser House, completed in 1986, is the three-dimensional application of an artist’s paintings, and Hundertwasser would apply this treatment to almost all of his architectural designs, making them highly personal and instantly loved or hated by the observer. (Lars Teichmann)

Like the Museum Moderner Kunst and the Leopold Museum built in 2001 alongside the former King’s Stables off Vienna’s Ringstrasse, Hans Hollein’s Haas House is a gesture against the architectural stagnation of the city and a refusal to allow it to become a crumbling museum to the past. Built on the Stephansplatz, the great square that houses the 12th-century Cathedral of St. Stephen, the Haas House was initially met with resistance from the local citizens. For centuries, the cathedral was the tallest church in the world, and it not only occupies Vienna’s geographical heart but its emotional heart, too.

However, Hollein was also a native of Vienna, and it was been his understanding of both the city and its inhabitants that enabled him to create a contemporary building that sits with the past while looking toward the future. The most immediately striking features of the Haas House, an office building that also houses restaurants and shops, are the curved facade and the architect’s use of glass. At street level the potentially stark lines of Postmodernity are relieved by asymmetry and with jutting stone-clad shapes. The building was completed in 1990. (Gemma Tipton)

Towering over a low-level business district, the Vienna Twin Tower (completed 2001) is a triumph of the slender high rise in a city that prohibited the construction of skyscrapers until the early 1990s. It is located in an urban development known as Wienerberg City.

Wienerberg, a brick-making firm, ran a competition to encourage development in the area. The winner was the well-known and prolific architect Massimiliano Fuksas, who took on the awesome responsibility of designing a new city skyline. As well as office space, Fuksas’s design included a 10-screen cinema, numerous shops, cafés, and restaurants.

Transparency underpins Fuksas’s design; the skin of the building is made from nonreflecting glass, allowing the public visual access to the inner workings of the building. To gain unrestricted views, the heating and air-conditioning units have been hidden in the ceilings and floors wherever possible. Fuksas wanted this openness to create a connection between Vienna’s inner urban areas and outer green areas.

The towers differ in height; one is 37 floors high and the other 35. Although they are connected by several glass multistory bridges, the two towers intersect at an odd angle, with the result that, to a moving viewer below, the shape and appearance of the towers appears to change and shift.

Fuksas also provided a master plan for additional infrastructure and social housing around the twin towers. These elegant glass forms symbolize Wienerberg City’s growth as an area of regeneration, and they are a lasting and artistic testament to Fuksas’s philosophy of “less aesthetics, more ethics.” (Jamie Middleton)

In the the Viennese district of Simmering, four ornate, brick cylinders survive from the 1890s gasworks. After ceasing operation in 1984, they were abandoned and used for rave parties and movie locations. A first attempt to generate interest in turning them into apartments was unsuccessful due of a lack of transport links. A more complete urban regeneration project was needed, so a new metro extension was built. Different architects were commissioned for each of the four gas holders. These included Jean Nouvel and the Vienna-based practice Coop Himmel(l)au.

Gasometer B by Coop Himmelb(l)au, completed in 2001, is the only one to include a substantial structure outside the cylinder, as well as building within the drum. The tall tower, bent in the middle and standing on slanted legs, was first described as a “back pack,” although later this was changed to a “shield.” There is a connection between the two about halfway up the building via a “sky lobby,” used as a social space by the residents. The outer face is smooth, with continuous bands of horizontal windows. In the base of the gasometer is a multifunctional events hall; the structure also houses offices. A shopping mall connects the new metro station with all four gasometers, and the integration of mixed uses has successfully generated a village feeling in the development.

The shape-shifting work of the late Modernist avant-garde rarely interacts with protected historic buildings, but in Gasometer B the result is mutually beneficial and worth a journey. (Florian Heilmeyer)

The GIG Building (Gründer-, Innovations-, und Gewerbezentrum, or Start-up, Innovation, and Business Center), completed in 1995, was the first to be built on a rededicated industrial park near Völkermarkt, located on a freshly flattened landscape with empty roads. Günther Domenig used the commission to build a strong gesture, incorporating an expression of both innovation and welcome. As much as Domenig’s buildings show his affection for complex Deconstructivist compositions of forms and materials in his sculptures and stage designs, his goal is always to be pragmatic and functional in the first place.

The starting point for the design was therefore a felicitous partition of the functions in a simple geometrical order: a horizontal slab containing a long workshop area, and a vertical slab with the administration. The design of the workshops with a steel structure, glass, and corrugated-iron plates is explicitly conventional. The workshops can be flexibly divided or expanded and are easily accessible from the surrounding parking lots. They are connected to the administrative wing by two small bridges, leading from the gallery of the workshops to the accentuated solid base of plain-faced concrete panels, a small ramp winding up to the main entrance.

From here loom eight rectangular concrete pillars and a tower housing the staircase and lift. Hung into this structure there are three floors of ample split-level offices and meeting rooms, accommodated in a building that sets itself apart with a filigree body of steel and glass. This explicitly light body cantilevers out of its concrete cage, dissolving and cambering around the concrete tower. It is a paradigm of an architecture that is staged as dramatically frozen movement, but at the same time it is cozy and handy. (Florian Heilmeyer)

Wolf D. Prix and Helmut Swiczinsky founded Coop Himmelb(l)au in 1968. This is the project that put the Vienna-based architects on the architectural Deconstructivist map.

The relatively small-scale commission—an office extension brief—came from Schuppich, Sporn, and Winischhofer. Among the clients’ requirements was a focus on the central meeting room and the creation of several smaller office units adjacent to this main space. With their construction site 69 feet (21 m) above busy street level, Prix and Swiczinsky decided to go for a radical solution that would make the rooftop space distinctive and unique. The glass-and-steel structure, completed in 1988, is bare of decoration or color and resembles a wedge-filled gap, split open by an explosion on the conventional rooftop line of the otherwise Neoclassical building. The fragmented form is visible from the street and creates an amazingly lit and spacious interior. Coop Himmelb(l)au’s Rooftop Remodeling took them to the Museum of Modern Art’s 1988 Deconstructivist Architecture exhibition in New York. (Ellie Stathaki)