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Ιστορία και θεωρία 6 2006-2007 μάθημα δέκατο Η νέα αρχιτεκτονική του Graz Μια τοπικότητα χωρίς τοπικισμό Γενική βιβλιογραφία: Peter Blundell Jones, Dialogues in Time: New Graz Architecture, Graz, Haus der Architektur, 1998. Eeva-Liisa Pelkonen, Achtung Architektur! : image and phantasm in contemporary Austrian architecture, Cambridge, Mass., MIT Press, 1996. Architecture : Vienne et Graz, L’architecture d’aujourd’hui, Σεπτέμβριος 1989. Werkgruppe Graz Συγκρότημα 552 κατοικιών «Terrassenhaussiedlung», Graz, 1965-1978 Ralph Erskine (1914-) και Hubert Rieß (1946-) Συγκρότημα κατοικιών στο Wienerbergergründe, Graz 1987-1997. Mats Egelius, Ralph Erskine, architect, Στοκχόλμη, Byggförlaget, 1990. Peter Collymore, The architecture of Ralph Erskine, Λονδίνο, Academy Editions, 1994. Hubert Rieß (1946-) Συγκρότημα κατοικιών στη Strassgang, Graz. Günther Domenig (1934-) RESOWI: Σχολές Νομικών, Kοινωνικών και Οικονομικών Επιστημών του Πανεπιστημίου του Graz, 1994-1996 Mathias Boeckl, Günter Domenig: Recent Work, Νέα Υόρκη, Princeton Architectural Press, 2004. Paolo Vincenzo Genovese, Günther Domenig : lanci di masse diroccate, Torino, Testo & immagine, 1998. Klaus Kada (1940-) Κατοικία Dr. Tögl, Graz, 1990-1992. Γηροκομείο (Altenpflegeheim), Leibnitz, 1993-1995. Ινστιτούτο Φυσιολογίας των Φυτών, Πανεπιστήμιο του Graz, 1994-1998. Προσθήκη στην κατοικία G. Kada, Leibnitz, 1997. Stadthalle, Messeplatz, Graz, 2002 Otto von Kapfinger, Klaus Kada, Βιέννη, Springer, 2000. Maurizio Bradaschia, Klaus Kada : complessità e astrazione, Modena : Logos, 2002. Volker Giencke (1947-) Θερμοκήπιο (Glasshaus) στον Βοτανικό κήπο του Πανεπιστημίου του Graz, 1990-1995. Συγκρότημα κατοικιών στη Spitzweg, Graz, 1992-1993. Roger Connah, Volker Giencke : Projekte = Projects, Βιέννη, Springer, 2001. www.giencke.com www.giencke.com/pdf/essay.pdf 2 Wolfgang Kapfhammer (1938-), Johannes Wegan (1939-), Gert Koßdorff (1940-), Adolph Keltz (1957-) Σχολές Μαθηματικών, Γεωγραφίας και Αγγλικών του Πανεπιστημίου του Graz, 1986-1990 Michael Szyszkowitz (1944-) και Karla Kowalski (1941-) Andrea Gleiniger, Szyszkowitz + Kowalski 1973-1993, Tübingen, Wasmuth, 1994. Karin Wilhelm, Idea and form : Häuser von Szyszkowitz + Kowalski = Houses by Szyszkowitz + Kowalski, Βασιλεία, Birkhäuser, 2003. Ernst Giselbrecht (1951-) Συγκρότημα κοινωνικής κατοικίας στη Strassgang, Graz, 1994. Ανωτέρα τεχνική σχολή ηλεκτρονικής στο Kaindorf, 1992-1993. Patricia Zacek, Ernst Giselbrecht : Architekturen = Architectures, Βασιλεία, Birkhauser, 1997. Alessandro Gubitosi, Ernst Giselbrecht : architecture as intelligent hardware, Μιλάνο, L'arca, 1999. www.giselbrecht.at Florian Riegler (1954-) και Roger Riewe (1959-) Συγκρότημα κοινωνικής κατοικίας στη Strassgang, Graz, 1992-1994. The preconditions for this low cost project were almost unique. The commission was made directly by the client, there were no aesthetic preconditions nor was it necessary to react during the planning phase to design interventions by the tenants - which can often be so wearing. Only such as the rust-red coloured painting of the staircases, originally the anthracite coloured painting of changes did not reduce or weaken the specific character of the building. This character is a result of the severe language both of form and materials and of the self-confident placing of the building in the semi-urban area of the Graz suburbs, which exudes peace and a selfevident quality. The sliding elements used as sun and visual protection, made either of galvanised expanded metal or strung with a nylon fabric, are the moments of movement in the static system of the building. Riegler/Riewe deliberately did not create a relationship between the building and its surroundings by, say, laying out small gardens or making balconies as, firstly, they wanted to give all storeys equal significance and secondly, due to the location of the housing block in relatively green surroundings, they saw no necessity to create individual gardens. Instead the block was placed on a two metre wide concrete strip which runs around the building in order to provide space for (semi)public functions. A green strip was laid out on one of the long sides of the building which, separated form the level of the building by a wall, merges into a large concrete area beneath which the car parking spaces are located. Ινστιτούτο πληροφορικής του Πολυτεχνείου του Graz, 2000. Riegler/Riewe base almost all their projects on the openness of orthogonality with its inherent possibility of addition and ordering, through which drama and rhythm can be produced. (...) These eight three-storey buildings form a small scale urban network with pathways, streets and individual squares which are each planted with different species of trees. The buildings consist of a two blocks with a void between. (...) The individual units are connected by bridges linking the various institutes and professorships which are grouped according to level or building. The structural system is based on columns on the inside of the outer skin and a load-bearing wall between offices and access areas allowing a 3 high degree of flexibility. The concrete facade is non load-bearing. The ground floor is open so that, despite the strict grid pattern of the layout, the free flow of movement is unimpeded. Österreichische Gesellschaft für Architektur, Riegler, Riewe: Definite indefinite, Βιέννη, Springer, 2002. Architekturzentrum Wien, TransModernity : Austrian architects : Henke und Schreieck, Jabornegg & Pálffy, Riegler Riewe, κατάλογος έκθεσης, Salzburg, Anton Pustet, 2002. Beyond the minimal, Λονδίνο, Architectural Association, 1998 (ΕΜΠ 720.9436 BEY). www.rieglerriewe.co.at Spacelab Cook-Fournier: Peter Cook (1936-) και Colin Fournier (1944-) Kunsthaus Graz, 2000-2003. A friendly alien Graz now has a new architectural symbol: the Kunsthaus Graz. The exciting interplay between the new biomorphic structure on the bank of the Mur and the old Clock Tower on the Schlossberg will become the trademark of a city which strives to achieve a productive dialogue between tradition and the avant-garde. With respect both to urban planning and to its purpose, the Kunsthaus functions as a bridgehead at a point where the past and the future meet. Like a bubble of air, the bluish, shimmering skin of the Kunsthaus floats above its glass-walled ground floor. Spanning up to 60 metres in width, the biomorphic construction envelops two large exhibition rooms without additional supports. From the surface of the acrylic glass outer "skin", strikingly shaped "nozzles" project outwards to admit daylight: they are inclined to the north and thus provide optimum natural lighting. In the upper storeys, bridges link the 23-metre-high new structure with the "Eisernes Haus" whose cast-iron construction - which is the oldest of its kind in Europe and is classified as a historical monument - was carefully and skilfully renovated as part of the construction work on the Kunsthaus. The glass-walled ground floor contains a bar, a function rooms and various communications amenities as well as the foyer, from which the "Pin", a moving ramp, leads to the upper exhibition rooms. Isolated, transparent window areas in the "skin" allow visitors to look out and gain their bearings, while the "Needle", a projecting, glass-enclosed structure, offers a spectacular view of the Old Town of Graz from a height of about 16 metres. The unique, biomorphic shape of the building owes its existence partly to the manifest fascination of its creators with the "animal presence of architecture" and partly to an idea which goes back to the chequered history of the design competition for the Kunsthaus. Originally, the Kunsthaus was to have been built within the Schlossberg of Graz, where the project's designers would have used an organically shaped membrane to smooth out the coarse, complex structure of the walls within the mountain. Ultimately, the membrane would have protruded out of the mountain and into the city like a dragon's tongue. After the relocation of the construction site, the concept of the dragon's tongue was transformed into the shape of the "friendly alien" which now rests on the right bank of the Mur between the brick roofs of the surrounding historical buildings. The reason the Kunsthaus was finally built in the western part of the city is partly due to considerations of urban design: in its present location, the Kunsthaus can serve as an efficient catalyst for positive changes in the previously disadvantaged half of the city. Spatial concept Functionally and technically, the Kunsthaus meets the most up-to-date requirements for museums on the international loan circuit. Its 11,100m2 of usable space provide everything its managers need to 4 participate in the global exhibition business on the highest level. An innovative and cost-effective airconditioning system meets all the demands of the most important art owners. A generous delivery area, depots and workshops, and modern lighting and security systems are available to ensure the professional handling of exhibition projects. The underground car park offers space for 146 vehicles. As a multi-disciplinary venue for exhibitions, events and other means of presenting contemporary art, new media, and photography, the Kunsthaus Graz has a complex palette of features and functions. While the building's interior is meant to inspire its curators as a "black box of hidden tricks" (Colin Fournier), its outer skin is a media façade which can be changed electronically. Media façade This 900 m2 BIX media façade - an installation of light rings - is a special feature of the Kunsthaus in both aesthetic and functional terms. By integrating architecture, technology and message, the façade sets a new international standard. Following a concept developed by the Berlin group realities:united, a total of 925 conventional, circular fluorescent tubes of 40 Watt were integrated into each section of the façade. These tubes turn the blue bubble into a house-sized low-resolution screen which can display simple image sequences and varying text streams. Each ring of light functions as a pixel which can be controlled by a central computer. Thus the skin of the Kunsthaus constitutes an extraordinary medium for presenting art and related information transfers. "With BIX, the Kunsthaus projects its communicative claim into public space", says realities:united. Purpose The Kunsthaus Graz was developed to house international exhibitions of multi-disciplinary modern and contemporary art. It will not maintain a collection of its own or a permanent exhibition and it has no permanent depots or research facilities. Its only purpose - albeit one which it fulfils in a variety of ways - is to present and propagate the output of contemporary artists. The exhibitions in the Kunsthalle will be organised in cooperation with the Neue Galerie at the Regional Museum Joanneum, Styria's long-established museum of modern and contemporary art. The Kunsthaus will officially open on 25 October [2003] with the exhibition Einbildung. The theme of this exhibition is perception, our knowledge of perception, and the conditions to which the phenomenon is subject. Perception stands at the beginning of art. In other words, the exhibition deliberately examines art from the opposite perspective: as the creative science of the processes within our brains and of the ways in which our brains create images and ideas. Dieter Bogner, “A friendly alien” – Ein Kunsthaus für Graz, Graz, Verlag Hatje-Canz, 2003 www.kunsthausgraz.at www.kunsthausgraz.at/projekt/index.htm www.realities-united.de Vito Acconci (1940-) Νησί στον ποταμό Mur (Murinsel), Graz (2003) www.art-idea.com/pages/murinsel/murinsel.html