What was the main concept behind the Graz Music Theatre design? We always aimed for it to be, on one side a place where you listen tomusic – the part including the main hall and stage - and on the other,the space where you come in and embrace music – the foyer, receptionand rehearsal space etc. So, in one building you have first the spacewhere you look at music, and then, the space where you listen to it. How long did it take you to develop the Theatre’s proposal? Did the concept/design change much during that time?Oh yes, it changed a lot! It was almost another design when we enteredthe competition. It took about 8 years for the project to reachconstruction stage. A lot of changes were made to the design while wewere developing the concept and waiting for the necessary funds torealise it. It changed a lot during that time. What were the challenges of designing a theatre, taking intoconsideration that this one had very specific technical and acousticalrequirements? The technical requirements influenced the design a lot. We had to do alot of computer tests, as the space needed to deliver top performancesof all kinds of music, from classical to contemporary. It took us awhile to get all the elements right, but in the end we did, and manyinteresting construction elements evolved from the use requirements,like the cantilevered box, for instance. What were the challenges and benefits of designing in Graz? I know Graz very well and I’ve always liked it. Not many people knowthe great architecture and history of Graz, and the Graz ArchitectureSchool. The cityscape may look rather classical and historical at firstglance, but there are actually many modern buildings to discover. Butyou have to know where to look for them. Two of my favourites are theBotanical Gardens, and the nearby Steinhouse by architect GuntherDomenig {featured in W62}.When designing, is there something in particular that you focus on? {Material, form, use etc}Ido all-round disciplined architecture. I graduated from the AA in the1980s – a sublime period for architecture – and that plays a big rolein how I work. External influences can always play a role but then youhave to bring your own, new ideas. I pay attention to everything; forinstance sustainability, public use, I try not to have too many signsin the building, and I pay attention to light. I like to work with allthe classical elements of architecture, even though the result hasoften been described as cutting-edge! I often also focus on 1-2 maindetails or characteristics, and try to make them as strong as possible.What is your favourite method of working?I work with a lot of different techniques. I definitely like modernmethods and computers; it is after all the way forward. However youhave to remember that they help but they are not the answer toeverything. We always do a lot of research on many levels, and we alsotalk a lot. There were about 10-16 people working on the Graz projectat any one time and, like in every project, we worked interactively anddiscussed a lot. I personally spend time on every project.How do you choose the projects you will work on? What is the main criterion?Thatthe client can pay us! It is occasionally helpful to know whom, andwhich architects, the client has worked with in the past. What would your ideal project be?I don’t have one. I like variety and love designing on differentscales; from furniture and products to large-scale architecture, likebridges. For example, I am currently speaking with Moroso about apossible collaboration. You both teach and practice architecture; which one do you prefer? I absolutely love teaching. It is one of my favourite activities. Iteach now in Frankfurt, at the Staedelschule, which is one of the topschools at the moment for art and architecture. It is also veryexclusive, even though they are now deciding to open up a bit m
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