P R E C E D E N C E S T U D Y

GRAZ, AUSTRIA 2003

PETER COOK &

COLIN FOURNIER
S T R U C T U R A L S Y S T E M S
The structure for the exhibition spaces is held
within the steel frame in the skin. This allows the space
to remain unobstructed by columns, giving absolute
freedom to the plan of the exhibits. The skin spans a
distance up to 60m.
Below the exhibition spaces, the freeflowing
public space is enclosed by a thin curtain wall of glass,
giving the space a feeling of transparency. This space
uses a more conventional piloti and brace beam
system, and in fact, it is the foundation for the free-form
structure above. The same rigid floor system that
resists the thrust from above, acts as a brace linking
the columns at the ground floor.

STRUCTURAL SKIN

H Y B R I D I Z A T I O N
KUNSTHAUS GRAZ GRAZ, AUSTRIA, 2003
PETER COOK
COLIN FOURNIER
P R O G R A M D I V I S I O N
The KUNSTHAUS houses a variety of programs. (1) ART EXHIBITION SPACE
What makes the museum space unique is the lack of a
CITY VIEWING PLATFORM
permanent collection. The galleries [1] were designed
to house travelling exhibits, as well as serve the other
art institutions within Graz, and the rest of Austria.

In addition to art exhibition, the KUNSTHAUS

hosts CAMERA AUSTRIA [2], an independant research
program exploring photography as an art medium and
historical tool. The research facilities are located above
the public floor at grade and within the bottom floors of
the curved structure.

The complex also is linked to historical (2) CAMERA AUSTRIA INSTITUTE

architecture in the THIENFELD PALACE [3]. This is
one of Austria's first steel structures, and has been (3) THIENFELD PALACE PUBLIC GATHERING SPACE
restored as part of the museum support facilities.

The excavated levels house a parking complex

which was constructed primarily to serve the nearby 5
commercial area, though the Kunsthaus staff will use 4
these spaces for their needs as well.

E
Two other traditional buildings [4,5] are part of LD PALAC
the complex, and at this time do not serve a direct
museum function, yet once refurbished, will house
cafes and other public entertainment spaces.
THIENFE

ART EXHIBITION SPACE

CITY
VIEW
ING P
LATFO
R M
4TH FLOOR

H Y B R I D I Z A T I O N PETER COOK
GRAZ, AUSTRIA, 2003 COLIN FOURNIER
P R O G R A M D I V I S I O N
THE SHARP CONTRAST OF FORM ON THE
EXTERIOR BLOCKS MELT AWAY WITH THE DESIGN
OF THE INTERIOR CIRCULATION. A TRANSPORTER
- ESCALATOR CALLED THE "PIN'' GRADUALLY
T

MOVES VISITORS TO THE EXHIBITION HALLS

R
N SUPPO

WHILE ALLOWING THEM TO SURVEY OVER THE

VARIOUS SPACES. tHIS CONTINUES THROUGH
THE LOWER EXHIBITION SPACE, GIVING A UNIQUE
EXHIBITIO

OVERVIEW TO THE PRESENTED ARTWORK.

ART EXHIBITION SPACE

)
OR (PIN
ALAT
NSC
TRA
CITY
VIEW

ENTERTAINMENT
ING P

FUTURE PUBLIC
LATF ORM

4TH FLOOR

RT
SUPPO
IA
S TR
AU
E RA ITIES
M
CA FACIL
)
(PIN
ENTRY TO R
SC ALA SUPPORT
N
TRA
PUBLIC READING AREA
ENTRY

PIN ENTERS TOP EXHIBITION SPACE 1ENTRY LEVEL

H Y B R I D I Z A T I O N
KUNSTHAUS GRAZ GRAZ, AUSTRIA, 2003
PETER COOK
COLIN FOURNIER
E N C L O S U R E S Y S T E M
Although the KUNSTHAUS complex connects with more traditional structures,
it is the striking form of the structural skin that creates the most excitement.
The design incorporates a triangular brace system, and hexagonal ports which
grow to self structured nozzles. These tilted extrusions act as light ports
bringing northern light into the exhibition halls. They also serve to highlight
the history of Graz, by their orientation to traditional heritage monuments, such
as the Clock Tower atop the Schlossberg.

In addition to the skin's structural role at the exhibition spaces, the designers
created multiple uses and multiple definitions for the "skin" beyond the
traditional role as merely the enclosure system.

This skin is a complex layering of form and systems, yet its construction is
made of typical materials, and is conventionally detailed resulting in a much
lower cost than would be assumed. The interior tensile layer forms easily to
the steel frame, while the acrylic panels are attached with a conventional pin
system.

The skin does have an added media function. 930 circular fluorescent bulbs
are placed behind the acrylic panels, forming what could be described a very
large very low resolution grayscale bitmap matrix. Each bulb can be controlled
independently, for intensity and duration. The skin can then be programmed
for signage, or for a programmed media exhibit.

H Y B R I D I Z A T I O N
KUNSTHAUS GRAZ GRAZ, AUSTRIA, 2003
PETER COOK
COLIN FOURNIER
U R B A N C O N N E C T I O N
The models to the
left illustrate the
connectivity the
structure would
have with the
surrounding
buildings, as
these structures
are incorporated
into the program.
The measured
facades of the
traditional Austrian
buildings act as
music bars upon
which the new
form is composed. The KUNSTHAUS is part of a greater community effort to revitalize the city
The city of Graz
center, by promotion of arts and cultural events. The complex is well
celebrates a rich
history of the Avant coordinated to act as the bridge into the district. The public spaces create
Gard, and a flow into the surrounding spaces, drawing in berger and visitor alike.
welcomed the new
form as a
compliment to their
Tyrolean
conservatism.
The form seems
strangly like an
artificial heart
being inserted into
the city, to give it a
re-birth, and new
life. The City has
taken charge of
this project in
coordination with a
large scale
revitalization effort.
It could then be
said that the
connection to an
artificial heart is Graz City revitalization corridor
accurate indeed.

H Y B R I D I Z A T I O N
KUNSTHAUS GRAZ GRAZ, AUSTRIA, 2003
PETER COOK
COLIN FOURNIER
P R O J E C T I N F O R M A T I O N
Formal name of Project:
Kunsthaus Graz
Location:
Graz, Austria

Gross square footage:

141,007 sq. ft.

Total construction cost:

$50 Million

Owner:
City of Graz

Architect:
ARGE Kunsthaus
Mariahilferstrasse 1
photo: M Nicol photo: Paul Ott 8010 Graz, Austria

ARGE Kunsthaus is the

joint veture between:

– spacelab cook-fournier GmbH

–Architektur Consult
–Bollinger+Grohmann
Bibliography:

Architectural Record Jan 2004: KUNSTHAUS GRAZ. p 146

article by Liane LeFaivre

ARCspace Foundation website: www.arcspace.com

article: Spacelab Cook-Fourier, Kunsthaus Graz

Graz, Austria City website: www.graz03.at

photo: Paul Raftney
article by Peter Pakesch, Artistic Director of the Regional
Museum, Joanneum: Kunsthaus Graz, A Friendly Alien.

H Y B R I D I Z A T I O N
KUNSTHAUS GRAZ GRAZ, AUSTRIA, 2003
PETER COOK
COLIN FOURNIER
 D C
B

A
CITY OBSERVATION "NEEDLE"
FOURTH LEVEL D

S P A T I A L O R G A N I Z A T I O N

A B C
PUBLIC READING AREA LOWER EXHIBITION SPACE UPPER EXHIBITION SPACE
GROUND FLOOR THIRD LEVEL FOURTH LEVEL

H Y B R I D I Z A T I O N
KUNSTHAUS GRAZ GRAZ, AUSTRIA, 2003
PETER COOK
COLIN FOURNIER
P R O G R A M A G G R E G A T I O N
3THIRD LEVEL 4 FOURTH LEVEL

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H Y B R I D I Z A T I O N
KUNSTHAUS GRAZ GRAZ, AUSTRIA, 2003
PETER COOK
COLIN FOURNIER
P R O G R A M A G G R E G A T I O N
1ENTRY LEVEL 2 SECOND LEVEL
ENTRY

A D M IN IS T
SHOP PUBLIC R AT IO N
GALLERY

ENTRY

CAI- CAI-
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LATION LATION
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H Y BKUNSTHAUS
R I D GRAZ
I Z A T I O N GRAZ, AUSTRIA, 2003
PETER COOK
COLIN FOURNIER