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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
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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
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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
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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