nathaniel.dekens evda 621: introduction to design theoires compiled case study analysis

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1 nathaniel.dekens evda 621: introduction to design theoires kunsthaus graz compiled case study analysis

2 contents: body pg: 1-5 form pg: 6-10 technique pg: space pg: kunsthaus graz compiled case study analysis

3 formal logic comparison > logarithmic spiral. strategy: natural/organic form 1. external appearance of a clearly defined area, asdistinguished from color or material; configuration: 2. the shape of a thing or person. 3. the organization, placement, or relationship of basicelements, as lines and colors in a painting or volumes and voids in a sculpture, 4. three-dimensional quality or volume, as of a representedobject or anatomical part. 5. an object, person, or part of the human body or theappearance of any of these, especially as seen innature: Form. In architecture, like art, is the quintessential determinate. Throughout architectural history and its relating theoretical endeavours, the concept of form has undergone a number of paradigm shifts; ranging from the Modernist axiom of form follows function, to the contemporary lens of understanding it as a complex set of ideas that progresses an ideology, form is what determines a constructs relationship with its surrounding environment and defines our perception and interaction with it. Due to the innate conflict regarding the intention and specific connotation of form, there is an undefined ambiguity regarding its essence; this uncertainty, when exploited, results in an infinite number of possibilities and permutations vis-à-vis architectural expression and manifestation. The Kunsthaus in Graz then makes use of this paradigm as it unapologetically inserts its organic mono-structure into the surrounding classical urban setting of Austria. This bold insertion demands attention not only due to its conspicuousness, but also because of the distinctive treatment regarding form that it employs. + formal logic comparison > buckminster fuller geodesic dome. strategy: cartography/atomism/gravitation + final_composition //one

4 1. external appearance of a clearly defined area, asdistinguished from color or material; configuration: 2. the shape of a thing or person. 3. the organization, placement, or relationship of basicelements, as lines and colors in a painting or volumes and voids in a sculpture, 4. three-dimensional quality or volume, as of a representedobject or anatomical part. 5. an object, person, or part of the human body or theappearance of any of these, especially as seen innature: form The unique form of the Kunsthaus owes itself to the procedural and diagrammatic genesis of its inception. The curvaceous, free form surface that comprises its outer shell is the result of embedding the structure into the surrounding buildings and allowing the from itself to emerge as an answer to the adjacent topology. To accomplish this, various iterations and methodologies were incorporated into the preliminary design, and function as diagrammatical studies which were dominant in its development and realization. This notion reflects Allen s approach who regards the idea of diagram as instrumental where, it is useful by way of expressing 1 abstract ideas and concepts. The Kunsthaus form shows the power of diagrammatical programming by creating an explanatory framework that creates a set of instructions for realizing a building. This process shows a purity in form that was strictly resultant from a specific methodology and was vital to the designers of the Kunsthaus as they strove to avoid post rationalization from other disciplines instead it 2 was desired to communicate an arbitrariness regarding its form. What this diagrammatical approach also dictated was as Kwinter described an undulating topographical model, whose surface shifts and 3 evolves based upon any action or body acting upon it. The Kunsthaus can be seen as a mouldable blob whose form is determined by the environmental factors that engage it, such as urban density, population, infrastructure, and movement. These influences are ultimately used to capture or create event-generated diagrams, capturing the multitude of forces across all the dimensions of space and time in their modalities of convergence form generation logic > contour: methodology + iterations form generation logic > profile: methodology + iterations //two

5 The idea of an evolving and responding form such as the Kunsthaus then inevitably raises the idea of a new typology, an idealistic type of form that encompasses 5 an ideological perfection of that form. The ideology which the Kunsthaus then exemplifies is a natural, organic analogy which specifically relates to biological 6 conditions. Inevitably, the assertion or insertion of a new form will come into conflict with existing preconceptions of suitability and correctness. As such, the Kunsthaus is not without its detractors, specifically those who echo the determinants of Rudolph and insist that a building must relate..to its site, based on scale, relationship, 7 and appropriateness to that which is around it. The error with this viewpoint is rather obvious as it is entirely based on subjectivity: who, and by what merit or measure, is to say what is appropriate or suitable? The Kunsthaus is entirely effective in its situation as it 8 encompasses the concept of the in-between. It is a reflection upon the space created unintentionally by other spaces, it is a manifestation of the forgotten, and as such is positioned in a way that underlies its specificity and place. 1. external appearance of a clearly defined area, asdistinguished from color or material; configuration: 2. the shape of a thing or person. 3. the organization, placement, or relationship of basicelements, as lines and colors in a painting or volumes and voids in a sculpture, 4. three-dimensional quality or volume, as of a representedobject or anatomical part. 5. an object, person, or part of the human body or theappearance of any of these, especially as seen innature: existing_solution + = existing building + infrastructure = resultant border condition form possible design permutations > iterations //three

6 form 1. external appearance of a clearly defined area, asdistinguished from color or material; configuration: 2. the shape of a thing or person. 3. the organization, placement, or relationship of basicelements, as lines and colors in a painting or volumes and voids in a sculpture, 4. three-dimensional quality or volume, as of a representedobject or anatomical part. 5. an object, person, or part of the human body or theappearance of any of these, especially as seen innature: The formal development of the Kunsthaus embodies a pragmatic solution to questions of sprawl, and densification, but also illustrates a new stylistic development, one of procedure, comprehension, and poignant contemporary sensibility. This fluidity of adaptation is itself echoed in the design of the Kunsthaus which encompasses works in the fields of; architecture, design, media art, film, and photography. Like the society which it parallels, the Kunsthaus offers no permanent exhibitions or collections but instead modifies and amends itself temporally. This poetic symbolism can be thought of then as a figural gesture, not necessarily a style, but an expression of a complex set of ideas which in not inherent in the basic structural form 9. This comprehension leads to the Kunsthaus being a projective architecture, one which points to an emergence of a new social arrangement 10. By encompassing the ideologies of contemporary understandings of space, diagram, and suitability, the Kunsthaus emerges with a unique form that is self expressive, thoughtful, and reflective. design_resolution + + applied formal strategy + speculative iterations + //four

7 references: form 1. external appearance of a clearly defined area, asdistinguished from color or material; configuration: 2. the shape of a thing or person. 3. the organization, placement, or relationship of basicelements, as lines and colors in a painting or volumes and voids in a sculpture, 4. three-dimensional quality or volume, as of a representedobject or anatomical part. 5. an object, person, or part of the human body or theappearance of any of these, especially as seen innature: i. Stan Allen, Urbanims in the Plural in Practice: Architecure, tehnique + representation. Pg: 41. ii. Accessed on iii. Stanford Kwinter, Landscapes of Change in Assemblae, No. 19 MIT Press. Pg: 63 iv. ibid v. Giulio Carlo Argan, On the Typolog of Architecture in Kate Nesbitt, ed. Theorizing a New Agenda for Architecture. Pg 242 vi. Peter Collins, The Biological Analogy in Changing Ideals in Modern Architecture. Pg 152 vii. Paul Rudolph, The Six Determinants of Architectural Form in Theories and Manifestoes of Contemporary Architecture. Pg 213 viii. Elizabeth Grosz, In-Between: The Natural in Architecture and Culture in Architecture from the Outside. Pg 92 ix 9. Alan Colquhoun, Form and Figure in Essays in Architecural Criticism. Pg: 200 x. Jeffrey Kipnis, Towards a New Architecture in Architectural Design. Pg: 49 //five

8 1. the physical structure and material substance of an animal or plant, living or dead. 2. a corpse; carcass. 3. the trunk or main mass of a thing: the body of a tree. 4. anatomy, zoology. the physical structure of a human being or animal,not including the head, limbs, and tail; trunk; torso. 5. architecture. the principal mass of a building. body The term body in architecture has its genesis in the classical culture of Vitruvius. As expressed by Vidler, this era saw the body as directly projected onto the building, which both stands for and represents its ideal perfection. In this sense, architecture, by its very nature, is merely an extension of the human body. This connection is furthered by how we then interact with the architectural form. Due to this inherent interface we cannot then make architecture without it being an extension of ourselves, as everything we make broadens our experience by replicating aspects of our own body, both physically and metaphysically. This can be seen in common parlance and expressionisms such as building skin, and heart, and analogies in architecture such as the buildings nervous system or brain. The Kunstahs Graz, while denying the direct classical analogies of human proportion, is perhaps more aligned with the notion of body than one would initially suspect, though not in a traditional sense. As stated by its architects Peter Cook and Colin Fournier, it is a biomorphic structure [with a] symbiotic interactive architecture...embedded onto its skin. This formal symbiotic analogy is embedded into the Kunsthaus very facade; it reaches into the realm of the cybernetic by employing an articulating and constantly changing programmable exterior membrane used to display visual messages. interaction > use with body topography This creates an aspect of Kunsthaus body that is itself a point of interaction with the environment and the people that occupy it. By employing a shifting membrane, it takes on an unmistakeable anthropomorphized quality, and like human beings, appears to change, or age almost in direct contradiction to the idea of the stagnant and intimidating dead house or building described by Vidler. surface generation > subdivision technique strategy: division/bifurcation/splitting //six

9 shell > cross section of building 1. the physical structure and material substance of an animal or plant, living or dead. 2. a corpse; carcass. 3. the trunk or main mass of a thing: the body of a tree. 4. anatomy, zoology. the physical structure of a human being or animal,not including the head, limbs, and tail; trunk; torso. 5. architecture. the principal mass of a building. body body > environmental interaction strategy: negative vs. positive space The buildings skin achieves its quality by being a compound construction that consists of an acrylic facade covering an intermediate electronic membrane that sits on top of the buildings triangular structural frame. The illuminated shell is a BIX (big pixel) screen developed in Berlin by Realities:United, it comprises a field of more than 900 simple circular 40W fluorescent tubes (pixels) that cover an area of 60 by 150 feet. This relatively low resolution facade (only 930 dpi) however coveys a strong message, its coarsens and monochromacity is an advantageous limitation which allows the Kunsthaus to constantly reinvent itself and ironically represent the idea of the high-tech media facade. This technology is an importance exercise in the definition of body in architecture, as the facade, or skin of the Kunsthaus is what itself appears to render images, pictures, and messages, not the technology it employs. interaction > relative scale vs. position strategy: relation in varying areas In this way the Kunsthaus is a cyborg it compounds the organic (skin) and technical (lighting facade) into a singular entity. One of the most intriguing aspects of the BIX screen on the Kunsthaus is the ability for constant, purposeful change over time. This facade treatment allows the facade of the building to radically shift, change, and adapt over time, much like the epidermis of human being. As Cook explains, the intent imbued upon the architecture by him and Fournier was a sequential narrative of events and revelations. One that should not be static but instead envisaged...as a chameleonic, interactive skin,...a solution that allows for the life of the building to contribute to its meaning, rather than being a over arching aesthetic formula visitors take in passively. These possible iterative patterns of communication can then be considered populations, as they have a specificity and uniqueness about them, and our interaction with them, then involves us into that populace. //seven

10 matrix > complete BIX layout 1. the physical structure and material substance of an animal or plant, living or dead. 2. a corpse; carcass. 3. the trunk or main mass of a thing: the body of a tree. 4. anatomy, zoology. the physical structure of a human being or animal,not including the head, limbs, and tail; trunk; torso. 5. architecture. the principal mass of a building. body permutation > possible BIX message In this way, the body of the Kunsthaus is, as suggested by Ponty, tied to a specific experience, and creates the sense that the body is not primarily the space (itself), as it is more of the space. The Kunsthaus creates populations of interaction by changing its facade and appearance and as such engages the environment and its occupants in a non traditional manner. The change in moods of interaction with the Kunstahus as compared to other buildings can be seen in the light of a paradigm shift from the age of the mechanical to the age of the electronic. This is epitomized by the BIX facade enabling the institution to present a transparency of information and content, and to further develop methods for dynamic communication between building and surroundings and between content and outside perception. This was demonstrated by the implementation of the Eintönen installation piece, a series of sound sculptures that were synchronised with the lighting program. This combination of visual and audio communication engage the user with the Kunsthaus in way that increases it anthropomorphic character and extends the analogy of a building as a living organism by incorporating several natural biological traits, such as visual mimicry and audible communication. permutation > possible BIX pattern //eight

11 observation deck circulation 1. the physical structure and material substance of an animal or plant, living or dead. 2. a corpse; carcass. 3. the trunk or main mass of a thing: the body of a tree. 4. anatomy, zoology. the physical structure of a human being or animal,not including the head, limbs, and tail; trunk; torso. 5. architecture. the principal mass of a building. body 4th level 3rd level service core exhibition space administration circulation exhibition space service core circulation children s exhibits traveling exhibits support As we have seen with the Kunsthaus intelligent skin, the notion of body permeates throughout the building. This concept carries on into the interior and exhibition halls of the building by acting as a noticeable buffer between the body of the Kunsthaus and the rest of the city. Traversing the galleries and exhibition halls of the Kunsthaus again reinforces the idea of the body, as moving through the space is intended to feel like traveling into the unknown, being swallowed and directed through the whale-like belly of the main building. The Kunstahus is laid out and intended to mimic its biological formal origins. Passages and halls guide one through the space and emerge into large open exhibition spaces that constantly change and evolve, conjuring images of anatomy and internal organs. The Kunsthaus in Graz is representative of a major paradigm shift in the way contemporary architecture deals with the notion of the body. While the classical Vitruvian notions of proportion and scale are still universally relevant, what they are proportional to is challenged and exploited by the Kunsthaus. The organic from and nature of the Kunsthaus act to unapologetically separate the occupants from the exterior environment and make us aware of its presence as it envelops and swallows those who enter. However, undoubtedly, the most intriguing and successful analogy to the idea of body in architecture is made by the Kunsthaus constantly changing and evolving outer skin. By analogizing its shell to a protective natural membrane, the Kunsthaus takes on metaphor of aging, change, and adaptability. We not only see this change, but are ourselves able to interact with it. The Kunsthaus engages and interacts with its occupants in an unexpected and revolutionary way, and it is this characteristic that perhaps best defines it and acts as a formal analogy to the notion of body in architecture. permutation > BIX populations 2nd level gallery circulation public area 1st level support cafe //nine

12 references: 1. the physical structure and material substance of an animal or plant, living or dead. 2. a corpse; carcass. 3. the trunk or main mass of a thing: the body of a tree. 4. anatomy, zoology. the physical structure of a human being or animal,not including the head, limbs, and tail; trunk; torso. 5. architecture. the principal mass of a building. body i. Anthony Vidler. The Building in Pain: The Body and Architecture in Post-modern Culture in AA Files 19, Architectural Association. Pg: 4. ii. Cook, Peter & Fournier, Colin. A Friendly Alien: Ein Kunsthaus fur Graz. Hatje Cantz Publishers. September 30, Pg: 45. iii. Architectural Design Volume 75, Issue 1, Article first published online 14 FEB 2005 iv. Anthony Vidler. Unhomely Housesin The Architectural Uncanny, MIT Press, 1992, Pg: 40. v. Architectural Record Jan 2004: KUNSTHAUS GRAZ. p 146 article by Liane LeFaivre vi. Kunsthaus Graz, Archiectural lighting; May 2004: 19, 3: ABI/INFORM Trade & Industry. Pg. 20. vii. Donna Haraway, When Man Is on The Menu, in J. Crary and S. Kwinter, ed Zone 6: Incorporations. Pg: 42. viii. Cook, Peter & Fournier, Colin. A Friendly Alien: Ein Kunsthaus fur Graz. Hatje Cantz Publishers. September 30, 2004 ix.m. Merleau-Ponty. The Synthesis of One s Own Body, in Phenomenology of Perception, Pg: 149. x. Peter Eisnenman. Visions Unfolding: Architecture in the Age of Electronic Media. In Kate Nesbit, ed. Theorizing a New Agenda for Architecture, Pg: 557. xi. Lights Kamera Action! Introducing Graz s Friendly Alien. Damian Lentini, emaj issue # xii. Ibid xiii. Cook, Peter & Fournier, Colin. A Friendly Alien: Ein Kunsthaus fur Graz. Hatje Cantz Publishers. September 30, 2004 xiv. Dyckhoff, 2003: T. Dyckhoff, 'The Blob Has Come to Earth', The Times, September 16, Pg: 15. //ten

13 nozzle location 1. the manner and ability with which an artist, writer, dancer, athlete, or the like employs the technical skills of a particular art or field of endeavor. 2. the body of specialized procedures and methods used in any specific field, especially in an area of applied science. 3. method of performance; way of accomplishing. 4. technical skill; ability to apply procedures or methods so as to effect a desired result. technique In architecture, perhaps nothing is more intriguing and critical than the process of how a building is designed. This development can be called technique: a totality; an all encompassing methodology of how and why choices are made. Technique entails the creative imputes, formal logic, and systems of execution and populations that shape and give birth to the final building in its entirety. The Kunsthaus is in its sum a creation driven by varying techniques. Its abstract contours, interaction with the environment, and material composition are all directly derivative and resultant of the processes that drove its design. Architects Cook and Colin embrace this paradigm completely as exemplified by the Kunsthaus very nature to draw its form symbiotically by inserting itself into the urban fabric and letting the existing geometry...shape it. In this manner, the Kunsthaus echoes the idea that Balmond espouses in using informality as a technique. The Kunsthaus appears to have no differentiation between wall and roof or where boundary meets boundary. Its generative form is based on existing topologies and produces a new collegial structure where the geometry itself is animated. This technique follows guidelines such as the size of interior spaces and required distances to adjacent buildings, but has no rigid rules or preconceived determinates; instead it is respondent to the factors imposed upon it by the environment. This technique essentially echoes Tafuri s views concerning the idea of architecture posited in the macro environment, versus the notion of architecture relating to urban planning. body generation > surface interaction methodology strategy: division/bifurcation/splitting //eleven

14 1. the manner and ability with which an artist, writer, dancer, athlete, or the like employs the technical skills of a particular art or field of endeavor. 2. the body of specialized procedures and methods used in any specific field, especially in an area of applied science. 3. method of performance; way of accomplishing. 4. technical skill; ability to apply procedures or methods so as to effect a desired result. technique In a modern manifestation of Cook's and Fournier's adventures in technological optimism with Archigram, they held an intentional avoidance of Cartesian rigidity and unimaginative patterning that was resultant from the Modernist era. They felt it essential to espouse a new way of thinking about form that was separate from a strict scientific or mathematical approach that as Perez-Gomez states lead architecture to lose its artistic imputes. surface topography strategy: curving/folding The idea of artistic purity and spontaneity is epitomized in the Kunsthaus by the denial of the rigid and an embrace of the ever changing, this can be seen in the treatment and technique for designing the skin of the Kunsthaus; which was executed before exact positions or material composition of the final form was known. The predetermined blob shape was treated as a solid body that needed to be split and bifurcated in a logical manner that would intuitively be conducive to possible manufacturing processes. In this way, the technique was experimental and fluid; a process by which assumptions were made and an internal logic dictated by the existing formal solution drove the method that determined the outer shell. The body of the Kunsthaus was composed by creating complimentary curves that would flow and allow it to fit into the existing urban fabric. The surface was split into intersecting linear and longitudinal strips that created the initial subdivision framework for the facade panels. body generation > surface interaction methodology strategy: division/bifurcation/splitting //twelve

15 1. the manner and ability with which an artist, writer, dancer, athlete, or the like employs the technical skills of a particular art or field of endeavor. 2. the body of specialized procedures and methods used in any specific field, especially in an area of applied science. 3. method of performance; way of accomplishing. 4. technical skill; ability to apply procedures or methods so as to effect a desired result. technique Following this, arranged reference points were established which created a network of longitudinal and transversal divisions. This created the opportunity for the longitudinal strips to be superimposed over the transverse dimensions and resulted in a triangular mesh that provided support laterally as well as acting to stiffen against shearing. The triangular brace system itself expands into hexagonal ports which grow to self structured nozzles. These tilted extrusions act as light ports bringing northern light into the exhibition halls while also serving to highlight the history of Graz, by their orientation to traditional heritage monument. The approach to the Kunsthaus s envelope is then a new paradigm of how a technique can be appropriated. By responding directly to already present conditions the solution and methodology for producing the surface was articulated and driven by existing factors. This approach then eliminates ideas of bias and preference by creating a modality that is directly driven by formal inputs. A vital technique that acted to shape the Kunsthaus was the synchronization of architecture and information technology. Cook and Colin articulated this by combining the ideas of old reality with immaterial new reality. This combination then creates a sense which increasingly overlays and augments the present. This technique of integration is realized in the Kunsthaus by the BIX lighting facade composed of the 900 circular fluorescent lamps set under the acrylic panels. This acts as an audiovisual media communication outlet that constitutes a synthetic fabric that reaches out from the Kunsthaus into the surrounding environment. By employing integration as a technique for design and execution the Kunsthaus develops an amalgamated pattern of design that is inherently a semantic exchange of sensory inputs. The facade, driven by this technique, grows to function as being emergent from the overall form, emanating from the Kunsthaus to give the impression that the biomorphic shape itself creates the light patterns from within essentially extending the building into the surrounding city and dissolving notions of boundary and edge. permutation > possible surface subdivision //thirteen

16 1. the manner and ability with which an artist, writer, dancer, athlete, or the like employs the technical skills of a particular art or field of endeavor. 2. the body of specialized procedures and methods used in any specific field, especially in an area of applied science. 3. method of performance; way of accomplishing. 4. technical skill; ability to apply procedures or methods so as to effect a desired result. technique The Kunsthaus is a structure that is in essence driven by technique. Be they generative as in the form, respondent, as in the skin, or integrative, as in the facade, the Kunsthaus is a combination of methodologies. This array of techniques however has an encompassing characteristic that can be ascribed to the overall process of the Kunsthaus, that is a technique of evolution. The Kunsthaus metaphors its biomorphic form by being driven by adaptation: the Kunsthaus form evolved and responded to the environment, its shell emerged due to requirements of functionality and pragmatics, and its facade is an ever changing chameleon, constantly interacting and adapting to the city that houses it. surface generation > permutation populations strategy: division/subdivision/ permutation > nozzle alternative treatment //fourteen

17 references: 1. the manner and ability with which an artist, writer, dancer, athlete, or the like employs the technical skills of a particular art or field of endeavor. 2. the body of specialized procedures and methods used in any specific field, especially in an area of applied science. 3. method of performance; way of accomplishing. 4. technical skill; ability to apply procedures or methods so as to effect a desired result. technique i. Cook, Peter & Fournier, Colin. A Friendly Alien: Ein Kunsthaus fur Graz. Hatje Cantz Publishers. September 30, ii. Cecil Balmond, New Structure and the Informal, in Pierluigi Nicoln, ed. Lotus International 98, 1998, ISBN: Pg: iii. Ibid iv. Lights Kamera Action! Introducing Graz s Friendly Alien. Damian Lentini, emaj issue # v. Architectural Design Volume 75, Issue 1, Article first published online 14 FEB 2005 vi. M. Tafuri, Towards a Critique of Architectural Ideology, in K.M. Hays, ed., Architecture and Theory since 1968, MIT Press, 2000, ISBN Pg: vii. Lars Spuybroek, The Structure of Vagueness, in L. Spuybroek, ed. NOX Machining Architecture, 2004, ISBN: Pg: viii. Alberto Perez-Gomez, Architecture and the Crisis of Modern Science in K.M. Hays, ed. Architecture Theory since 1968, ISN: Pg ix. Architectural Record; Jan 2004, Vol. 192 Issue 1, Pg: x. The Architectural Review (Mar. 2004): Pg: 38.t xi. Ibid. xii. Cook, Peter & Fournier, Colin. A Friendly Alien: Ein Kunsthaus fur Graz. Hatje Cantz Publishers. September 30, xiii. Kalcic, 2005: S. Kalcic, 'A Spectacle of Everyday Life', Oris, 26, December, 2005, Pg: //fifteen

18 1. the unlimited three-dimensional expanse in which all material objects are located. 2. an interval of distance or time between two points, objects, or events. 3. a blank portion or area. 4. unoccupied area or room. 5. the region beyond the earth's atmosphere containing the other planets of the solar system, stars, galaxies, etc; universe. space The Kunsthaus in Graz, perhaps more than most, is a building that is oriented specifically in a manner dealing with spatiality. To investigate the formal and cultural logic of the spaces created by the Graz, it is important to investigate how it introduces its biomorphic shape into the existing urban fabric and how it lets this condition shape its spatial logic. To do this, permutations of the Graz s from will be created to fit into its existing location. This diagrammatic investigation will be followed by a study on the governing of the spaces within the Kunsthaus. These spaces, created to be flexible and adaptive, will be examined as to how they can accept, and mold the experience of visitors to the gallery by tracing and offering possible interactions within the space. The Kunsthaus Graz was designed by Cook and Fournier to interact and shape the environment around it. In this way, how the Kunsthaus shapes and deals with space and time is one of its most engaging aspects. In order to research this methodology, a diagram illustrating permutations of human interactions with the Kunsthaus skin and facade will be created by tracing stay, interaction, and duration. possible layout configuration > permutations What this investigation illustrates is the nature of the formal logic resulting in what Deleuze and Guattari refer to as a smooth space. The underling condition of the existing urban fabric demands an amorphous non-formal space that configures itself into the set condition. The Kunsthaus in a sense then creates its own space within an existing space transforming the benign and unrealized into a productive context of space. possible design permutations > iterations //sixteen

19 = path of travel (intensity = frequency) = media exhibits 1. the unlimited three-dimensional expanse in which all material objects are located. 2. an interval of distance or time between two points, objects, or events. 3. a blank portion or area. 4. unoccupied area or room. 5. the region beyond the earth's atmosphere containing the other planets of the solar system, stars, galaxies, etc; universe. space The openness of the Kunsthaus exhibitions space were purposely constructed to allow for maximum flexibility an adaptability. + + Similarly, it s programmatic requirement to not house any permanent exhibitions or collections but instead cycle and constantly change displays relates to the Kunsthaus nature to govern its own spatial quality to whatever may come and encompass its personal internal space. What is learned by examining how the Kunsthaus could be occupied and navigated is that its spatial allocation acts as an assemblage that is it creates its own private territories. + + This population of territories is carved and claimed by the temporary exhibits that inhabit it and, in doing so briefly, but constantly, forces an evolution of the space within the Kunsthaus. navigation assemblages > populations //seventeen

20 1. the unlimited three-dimensional expanse in which all material objects are located. 2. an interval of distance or time between two points, objects, or events. 3. a blank portion or area. 4. unoccupied area or room. 5. the region beyond the earth's atmosphere containing the other planets of the solar system, stars, galaxies, etc; universe. space + + engagement interest versus duration In dealing within the confines of space, one must first acknowledge the essentialism that both space and time are the fundamental, material dimensions of human life and are as such inseparable. What the Kunsthaus manages to do is control space and time, by controlling the flow of information that it creates through its media facade. What this leads to is a condition created by the Kunsthaus that continually evolves and shapes space by itself creating and interacting with it through its ever changing nature. Through diagramming and investigation what is apparent is that e Kunsthaus is shaped by space, but also creates, manipulates, and changes the space it occupies, and the setting it is in. The Kunsthaus ever changing facade and programmatic requirement to constantly alter its exhibitions leads to an entity that honours its evolutionary biomorphic form. //eighteen

21 references: 1. the unlimited three-dimensional expanse in which all material objects are located. 2. an interval of distance or time between two points, objects, or events. 3. a blank portion or area. 4. unoccupied area or room. 5. the region beyond the earth's atmosphere containing the other planets of the solar system, stars, galaxies, etc; universe. space i. Cook, Peter & Fournier, Colin. A Friendly Alien: Ein Kunsthaus fur Graz. Hatje Cantz Publishers. September 30, ii. Lights Kamera Action! Introducing Graz s Friendly Alien. Damian Lentini, emaj issue # iii. Gilles Deleuze and Felix Guattari, 1440: The Smooth and the Striated, in A Thousand Plateaus, University of Minnesota Press, iv. ibid v. Architectural Record; Jan 2004, Vol. 192 Issue 1, Pg: vi. J. Macgregor Wise, Assemblage in C.J. Stivale, ed. Gilles Deleuze: Key Concepts, McGill-Queen s Univ. Press, vii. M. Castelles, The Space of Flows, in The Rise of the Network Society, John Wiley and Sons, viii. M. Castelles, The Space of Flows, in The Rise of the Network Society, John Wiley and Sons, night.html //nineteen