KUNSTHAUS GRAZ AUSTRIA
DESIGNED BY PETER COOK AND COLIN FOURNIER …
The Kunsthaus Graz, designed by Peter Cook and Colin Fournier, boldly redefines
contemporary architecture in a historic city. Completed in 2003 as a
centerpiece of Graz's European Capital of
Culture celebrations, its biomorphic form, nicknamed the
"Friendly Alien", captured global attention. Amidst Baroque and Medieval surroundings, it bridges
past and future, standing as a testament to the city's cultural ambitions.
Situated along the River
Mur in the Lend district, the Kunsthaus challenges traditional architectural
norms with its organic, free-flowing design. Rejecting orthogonal geometry,
the museum seamlessly merges art,
architecture, and public interaction, redefining the concept of a cultural
institution. Its impact extends beyond aesthetics, sparking urban revitalization in a
once-overlooked neighborhood, and bringing cultural vibrancy and economic
activity.
Much like Archigram's visionary
"Instant City", the Kunsthaus revitalizes its urban fabric, embodying
experimentation and forward-thinking design. It has become an iconic landmark in Graz,
intertwining architectural audacity with a deep engagement in public life.
The Vision Behind the
Design
The Kunsthaus Graz emerged as a response to the city's designation as
the European Capital of Culture in 2003, a moment that provided an
unprecedented opportunity for urban and cultural transformation. At the heart
of this initiative was an international competition, launched in 1999, intending to
design a museum gallery that would incorporate the historic Iron House (Eiserne
Haus) and reimagine Graz's identity. The competition received 102 submissions
from internationally acclaimed architects, including Zaha Hadid, Coop Himmelb(l)au, Morphosis, and Klaus Kada, showcasing
a wide array of architectural philosophies. Chaired by Austrian architect
Volker Giencke, the jury comprised esteemed figures such as Odile Decq, Kasper König,
and Harald Szeemann, among
others. After rigorous deliberation, the panel unanimously selected Peter Cook and Colin Fournier's bold design. Their
proposal stood out not for conforming to the city's architectural traditions
but for boldly defying them. As the jury remarked:
‘’The Kunsthaus is not a
conventional building, not a building that should or could be compared with
existing buildings. It evades current architectural interpretations with
bravura, in that it does not follow any prevailing trends, but rather sets
them. Its function as a magnet for distinctiveness shows itself in the playful
lightness of artistic creativity.’’ Jury Report
Cook and Fournier's
vision, deeply rooted in the radical experiments of the 1960s and 70s, drew
inspiration from speculative ideas like Archigram's Instant City — a nomadic cultural hub
transported by airship. True to this concept, the Kunsthaus appears to have
"landed" in Graz's historic Lend district, its futuristic, biomorphic
form standing in bold contrast to its surroundings.
The
design prioritizes openness and adaptability.
Elevated above the ground, the structure creates a transparent public space beneath.
Two main exhibition decks, connected by mezzanines, are enclosed in a
cocoon-like membrane that varies in transparency, allowing natural light while providing environmental control. Visitors are guided by a long,
low-pitch travelator running through the building's underbelly to reach the
upper levels.
Inside,
modular partitions enable the creation of column-free, flexible spaces that
accommodate diverse curatorial approaches, from large-scale installations to
experimental multimedia displays. The central gallery, the "Space of
Ideas," exemplifies this adaptability, offering a canvas for unbounded
creativity, reflecting the museum's commitment to meeting diverse curatorial
needs.
Lighting
design plays a pivotal role in the museum's spatial dynamics. The top gallery
is naturally lit through an array of north-facing daylight nozzles, whose
orientation can be adjusted to control illumination and integrate artificial
lighting when needed. These biomorphic skylights optimize light conditions and
enhance the building's organic aesthetic. The lower gallery, in contrast,
relies primarily on artificial lighting, supplemented by occasional natural
light from the building's semi-opaque outer skin.
‘’ The top gallery is essentially naturally lit, by means of an array of North-facing daylight nozzles. Some of these nozzles have the capacity to vary their orientation, tuning levels of illumination to the specific needs of different art installations. They could also be programmed to track the movement of the sun or other celestial bodies. The nozzles incorporate lovers, filters, and diffusers to control the light quality and include artificial light sources to supplement or override the natural lighting. [...] The outer skin facing east and north is of variable opacity, primarily opaque but offering occasional views out and intermittent pools of natural light. - Cook and Fournier, Skin and Pin, A Project Description, 1999’’
Central to the building's identity is the BIX media facade, an interactive installation designed by Berlin-based realities: united. Comprising 1,288 iridescent acrylic panels, the facade functions as a low-resolution screen, transforming the museum into a communicative entity. Animations, patterns, and messages displayed on this screen blur the boundaries between architecture and digital media, allowing the building to engage directly with its urban surroundings. In this way, the Kunsthaus transcends its role as a static object, becoming an active participant in Graz's cultural life. The building, in essence, behaves like a living organism, reacting to its environment and inviting interaction in unexpected ways.
Technological Innovation and
Craftsmanship
A blend of ambition,
ingenuity, and collaboration marked the journey from concept to construction of
the Kunsthaus Graz. From the outset, architects Peter
Cook and Colin
Fournier faced skepticism about the feasibility of their avant-garde
design. The biomorphic form, with its fluid curves and
unconventional geometry, demanded cutting-edge solutions from architects,
engineers, and fabricators alike. Renowned engineering firm Bollinger + Grohmann played a pivotal role in
transforming this bold vision into reality. To reassure the competition jury,
Engineer Klaus Bollinger drew upon smaller-scale precedents, such as the IAA Frankfurt Pavilion (1999),
showcasing how such experimental designs could be achieved. This strategic
persuasion and the team's technical prowess secured unanimous approval for the
project.
‘’ When the competition project was presented in a council
meeting, Peter Cook was
asked: 'You have just described all the things the building should be able to
do, but how do you intend to implement it?' Peter replied: 'This is our
engineer, he will explain it to you.' After I had recovered from my initial
shock, since the project was still totally new to me, I was forced to improvise
by saying that we had already built a 'bubble once on a smaller scale for the
IAA in Frankfurt in 1999. The architect was Bernhard Franken, one of the first
to develop free forms with film software. And so confidence was created. I did,
however, add: 'We usually don't know at the beginning how we are going to build
it, but we investigate many different ways.' There were no further questions. -
Klaus Bollinger, engineer, Bollinger + Grohmann Ingenieure, Frankfurt/Main, in conversation
with Barbara Steiner, 15.05.2017)’’
Advanced computational tools were instrumental in translating Kunsthaus's complex
geometry into a precise, buildable form. This digital craftsmanship allowed the
smooth, bulbous facade to be fabricated and assembled with unparalleled
accuracy, ensuring that the vision of a "Friendly Alien" in the heart
of Graz could
be realized without compromise.
‘’ At
the time of our competition entry as well as later on, I wrote a number of
texts about all the dreams we were seeking to explore. One of the key formative
ideas we were most fond of pursuing was that the outer envelope of our building
would, like the skin of a chameleon, be able to mutate, change color,
transparency, reflectivity, etc. From the emerging technology of high-performance
yachting sails, we drew the inspiration that the skin could be a seamless
laminated membrane within which embedded photo-voltaic cells could capture
solar and wind energy as well as contain light-emitting diodes that would allow
it to function as a digital electronic display screen. Several of these
ambitious ideas could be implemented in the final design, while others will
have to wait for state-of-the-art technologies to evolve further. (Colin
Fournier, project author, Spacelab Cook/Fournier, London, in conversation
with Barbara Steiner, 08.04.2017)’’
The
Kunsthaus Graz's facade exemplifies the seamless fusion of architectural
ambition and engineering ingenuity. Constructed from a vacuum-formed, laminated
membrane, the outer shell incorporates tensile threads and compression ribs,
ensuring both structural stability and the ability to accommodate the
building's undulating, biomorphic form. Inspired by high-performance yachting
sails, this advanced material balances aesthetic fluidity with technical
precision. Fabricated using articulated molds for accuracy and assembled in
modular components, the facade stands
as a testament to cutting-edge craftsmanship. Beyond its striking appearance,
the laminated skin integrates functional innovations, including light control
and projection capabilities, transforming the museum into an interactive
presence within the urban landscape.
Beyond
its structural sophistication, the Kunsthaus embraces environmental
responsibility through the integration of sustainable technologies. Photovoltaic panels on the roof contribute to the building's energy needs, aligning
with contemporary architectural priorities that balance aesthetic ambition with
ecological awareness. This convergence of form, technology, and sustainability underscores
the Kunsthaus's role as a forward-thinking cultural institution.
A Monument of Contradictions
Philosopher Jean
Baudrillard once remarked that "interesting architectures are like
monsters", singularities that disrupt the norm. The Kunsthaus Graz perfectly
embodies this philosophy. With its alien, biomorphic form, it stands as a
striking anomaly within Graz's traditional urban fabric nearly two decades
after its completion. Yet, it is profoundly "friendly," inviting
exploration, dialogue, and interaction.
Cook and
Fournier envisioned the Kunsthaus not only as a singular architectural object
but also as a malleable stage for contemporary art and urban life. This dual ambition — a bold aesthetic statement
and a flexible cultural hub — remains central to its enduring significance. As
a case study in experimental architecture, the Kunsthaus Graz prompts
a reevaluation of the relationship between buildings and cities, history and innovation, art and technology. It is a symbol of architectural
audacity, seamlessly bridging the historical landmarks of Graz with a vision
for the future.
‘’ The
Kunsthaus stands at a turning point: it defines only the beginning of an
architecture that is analogous to nature not only in terms of form but also in
terms of behavior—an architecture that, with the aid of robotics and artificial
intelligence, might one day become truly alive and responsive to environmental
forces and human needs as well as desires. - Colin Fournier,
project author, Spacelab Cook/Fournier, London, in conversation
with Barbara Steiner, 08.04.2017’’
While it
does not yet fully embody the utopian dream of architecture as a living organism, the Kunsthaus represents a
significant step in that direction: It bridges the experimental ideals of the
past with the technological possibilities of the future. Its biomorphic design, interactive technologies, and
reconfigurable spaces offer a glimpse into the potential for responsive, human-centered architecture, as Colin Fournier explained.
https://www.archdaily.com/1024004/kunsthaus-graz-a-friendly-alien-among-historic-landmarks
This news writing quoted
from Archdaily web page written by Diogo Borges Ferreira.
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ABOUT COLIN FOURNIER
(1944-2024)
Insightful
educator, urban designer and architect, and associate member of Archigram, who
inspired generations of architects
Professor
Colin Fournier, who has died aged 79, was an associate member of
Archigram, an architect, urban designer and prolific writer whose innovative
ideas inspired generations of students. His vision and boundless creativity,
coupled with a magnetic personality, has left an indelible mark on the
architectural and academic worlds and in the hearts of those who knew
him.
Fournier
displayed an early passion for the built environment. After completing his
studies at the Architectural Association in London, he further developed his
expertise in urban design in California as planning director at Ralph M Parsons
Company, leading major projects including the new town of Yanbu in Saudi
Arabia. Throughout his life he was driven by a desire to improve the
relationship between human life and the cities we inhabit.
Fournier
continued to practise even as his commitment to teaching grew over the course
of his career. With former Archigram colleague Peter Cook he designed the
Kunsthaus Graz gallery (2003) – the ‘friendly alien’ – for which he received
Austria’s Goldener Ehrenzeichen medal. ‘The Kunsthaus is biomorphic’, he
said. ‘It is not clear what animal it is. It is not really a museum; it is an
impatient building demanding for things to happen’. He partnered with Bernard
Tschumi on the planning and urban design of the Parc de la Villette in Paris
(1987), and designed the acclaimed Open Cinema in Guimarães, Portugal.
‘Colin
combined a brilliant intellect, a poetic mind and superb diplomatic skills,’
remembers Tschumi. ‘He used all three with consummate ability on everything he
did, including being invaluable to the project for the Parc de la Villette. Besides
being a remarkable urban designer, Colin was one of the most dedicated
educators I’ve ever met, challenging several generations of students to
discover unexpected horizons in architectural thought and practice.’
In 1998
he joined the Bartlett School of Architecture, where he taught for 17 years,
initiating the Urban Design MArch programme and developing into it a course of
international repute. With his vast knowledge, infectious enthusiasm and
insightful critiques, he pushed students to think beyond conventional
boundaries and develop their own individual approaches. The response Fournier
sought was never solely cerebral; he placed equal emphasis on the poetic and
emotional content of their work.
From
2013 Fournier was a visiting professor at the Chinese University of Hong Kong,
where he also acted as chief curator of the Bi-City Biennale of
Urbanism/Architecture, and president of the jury for the M+ Museum competition.
Latterly he taught at Confluence Institute in Paris, having returned to live in
the city of his childhood.
Known
for his charm and approachable demeanor, Fournier built deep connections with
his students, many of whom went on to become leaders in their fields. His
mentorship was a treasured gift, inspiring creativity and cultivating
intellectual curiosity.
Colleagues
recall a man who could effortlessly move between topics with deep insight and a
lightness that made even the most complex ideas accessible. His distinctive
sense of humour and unique perspective on life drew people in, making him a
beloved figure in both academic circles and social gatherings. To his friends,
he was a trusted confidant, a captivating storyteller, and a person whose
company was always enriching.
Fournier
also found immense joy in life outside work. He loved travel and art, and
never stopped learning. Whether walking the streets of a bustling city or
exploring a serene landscape, he was always observing, analysing, and drawing
inspiration from the world around.
In
remembering Colin Fournier, we celebrate not only his remarkable contributions
to architecture and urban design but also the life of a truly exceptional human
being – a thinker, a teacher, and a friend who made the world more beautiful
with both his ideas and presence. He is survived by his wife, Dominique
Piwnica, and his son from his first marriage,Neil.
https://www.ribaj.com/culture/obituary-colin-fournier-archigram-1944-2024
ABOUT PETER COOK
As a founder member of
the visionary group Archigram in the early 1960s, Peter Cook helped to project
radically new possibilities for architecture.
But it was not until
2003, with the opening of the Kunsthaus in Graz, designed with Colin Fournier,
that these visions were manifested in large and prominent building. In the
meantime he had become the pre-eminent architectural educator in the UK, run
the Institute of Contemporary Arts (1969-71), established and directed Art Net
from 1972-9, and continued to expand the techniques and redefine the imagery of
architectural drawings.
Archigram mixed Pop Art’s
fascination with found objects with emerging technical possibilities to imagine
an architecture where the necessary guts of a building determined its imagery.
The influence on buildings like Piano + Rogers’ Pompidou Centre was obvious,
though several Archigram members declared themselves disappointed that it
didn’t move. Transience and impermanence were other interests, and although the
Kunsthaus is a large and permanent structure, it has the possibility of almost
endless redefinition through a varied exhibition programme.
With the flamboyance of a
showman, Cook turns his fascination with “the puzzlement of the strange thing”
into spectacles. As an art-impresario at the ICA and Art Net, he introduced new
ideas and people to London audiences, and stimulated discussions about the
nature of art and contemporary culture which has a modern counterpart in the RA
Forum. His drawings at Archigram and since have captivated people with their
depictions of an architecture freed from conventions of style and construction,
and students who came under his influence include Zaha Hadid and Rem Koolhaas.
Discussion and collaboration lie at the heart of his creative practice, and he
is an articulate advocate of cross fertilisation between architectural schools
and offices. “Before it is too late, let’s get the creative architects back
into schools.”
As professor of
architecture at the Bartlett School, part of UCL since 1990, he brought in
staff and attracted students from across the world, turning an academically
solid school into a leading centre of creative design. London, he announced,
was now a centre for “concepts, metaphors, images and design”. Before that he
was long associated with the Architectural Association in London, where he had
completed his studies after starting at the Bournemouth College of Art. He was
also a professor at Frankfurt’s Stadelschule from 1984-2002 and visiting
professor at various universities across the world.
https://www.royalacademy.org.uk/art-artists/name/peter-cook-ra
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