Studio X2732 is designed for maximum efficiency and functionality, reflecting Veech x Veech’s commitment to professional excellence. Utilizing an insulated prefab concrete construction system, the studio was completed within a remarkable 10-month timeline, minimizing delays.

A 30kW photovoltaic roof installation provides a sustainable and economically feasible power source for the foreseeable future.

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The heart of the project is the award itself—an elegant, helix-shaped object crafted from white Corian. The design is bold yet simple, capturing the essence of Franz’s belief in radical concepts and state-of-the-art media formats. Its tactile, sculptural form serves as a physical reminder of his commitment to the documentary genre, presented annually at the Diagonale Film Festival in Graz to honour excellence in cinema and television.

In conjunction with the award, the studio developed a visual identity that prioritizes simplicity and subtle evolution. The identity’s appearance—from event posters to various graphic applications—shifts slightly each year through the careful selection of paper grades, colour, and typography. By maintaining a consistent grid and layout, the assets remain grounded in a timeless visual language. Realized through the dedicated efforts of the Diagonale, AAFP, Film Austria, and the ORF, the project stands as a lasting homage to a pivotal figure in the industry.

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The team’s approach was to create a modern, lightweight system that responded to the surrounding historic architecture, producing an organically shaped design reminiscent of the human spine, which led to the name “Rückgrat-Pavillon” (Spine Pavilion). A steel-framed tube provided the framework for a transparent, pneumatic membrane, which included sophisticated lighting effects, allowing the pavilion to change colour and creating a series of different atmospheres to suit each performance.

All the services were integrated into the floor to enable the design’s transparency and deliver views to the surrounding city. A key part of the design task was to facilitate easy and cost-effective transportation and quick installation.

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The building houses a contemporary exhibition programme, an experimental theatre and an art house cinema, and the challenge was to create better connections between these diverse elements through an architectural intervention, taking into consideration how the next generation of digital users would interact with culture in the future.

Following numerous failed attempts over many decades to update this 19^th-century institution, Veech partnered with the media and broadcast expert Franz Grabner to initiate an extensive feasibility study, and delivered a strategy for catapulting the Vienna Künstlerhaus into the 21^st century.

It was conceived as an “urban public living room”, a platform operating at the convergence between art, culture, new media, broadcasting, education and business.

The team proposed to turn the institution into a new cultural media centre suitable for the rapidly changing demands of the 21^st century by creating a programmable building. The main feature was a hydraulically-supported, moveable floor in a new cuboid, glazed atrium: a “mobile lounge” that would flexibly extend the volume of the existing space as and when an exhibition or event demanded by moving up and down like an elevator that could dock at each floor.

The design included a horizontal video surface on the bottom of the box, onto which digital content could be screened that mirrored the respective current use of the space. Introducing a new media centre within the 2500sqm underground levels would allow this content to be created and broadcast from the site globally, enabling 24-hour digital arts programming to take place and thereby increasing the visibility of the institution but also engaging with younger audiences and signalling a new chapter for the organisation.

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As part of a larger corporate identity project initiated by the marketing agency WWP Group, Veech x Veech developed a concept to showcase a brand with a high-profile art installation that would act as a symbol for the company and become its key visual for the next decade.

The team collaborated with renowned sculptor Vadim Kosmatschof (http://www.kosmatschof.com) to create an 8.5m-tall steel sculpture in the shape of a trapezoidal window that appears to balance on one point and features four pivoting glass panels that slowly move in the wind, reflecting the sky.

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Its brief to Veech x Veech was to create a concept for a building that would be a place to engage with the brand and communicate its values in an educative but playful manner to a young urban audience. The building needed to be adaptable to the parameters of the respective urban sites while retaining its visual recognisability and architectural identity.

Veech x Veech’s solution was to create a building within a building that promoted a different way for people to interact with each other. An organically shaped structure floats inside a rigid, orthogonal glass envelope, meaning that there is a covered, public plaza and park – open 24 hours – that connects to the city.

Inside the free-form “cocoon” are interactive exhibition areas that explain the role insurance plays in daily life and connect with younger audiences through games, temporary exhibitions and lounge areas. The architectural strategy meant that the building would become part of the company’s corporate brand, with the building-within-a-building concept being adaptable to any site worldwide.

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Asked to design an exhibition demonstrating the correlation between math and music, entitled “Klingende Zahlen”, Veech x Veech devised a flexible series of rhomboid, double-height, modular elements that could be used multiple times across three different exhibitions, instead of proposing a one-time solution.

The modular system occupied the 48-metre long museum space. Children could explore the exhibition through three zones on the ground floor, as well as through a second level that was accessible at one end via a 25-metre ramp and at the other end via stairs and a 10-metre-long slide.

The designers’ primary aim was to play with circulation routes, challenging the traditional linear path often used in exhibition-making by creating a much richer, multi-layered environment. Inside the modules on the ground level were various pockets of space in which interactive installations awaited discovery.

The design was subsequently re-assembled in different configurations and used for two further exhibitions, one about Europe and one devoted to archaeology.

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The exhibition, which was curated by New York curator Joshua Decter and presented works by 70 artists responding to the influence of television, was shown in a large, vaulted, 900sqm space. In the same way that each artist interrogated the role of television in their work, the exhibition design examined how we view works of art; the design by Veech x Veech created unexpected viewpoints from which to engage with the works.

To achieve this, the team designed a layered space featuring multiple levels. This created unusual vantage points that allowed the works to be viewed from unconventional angles and perspectives. A scaffolded bridge covered in a translucent membrane ran the entire length of the space and created a temporary, elevated exhibition area that linked the upper-floor galleries. By playing with the circulation route, Veech x Veech provoked curiosity amongst visitors while at the same time giving them the impression that they were both viewers and being viewed: a unique four-dimensional spatial experience.

This project was nominated for the Joseph Binder Design Award.

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Veech x Veech’s 6x6x6m art installation highlighted the studio’s research in the field of pneumatic systems in connection with computational form generation and new materials.

The design team used synthetic rubber, a conventional, extremely robust building material with highly elastic properties, to generate a continually form-changing landscape. A pre-set cycle of varying air pressures in the individual rubber chambers slowly transformed the architectural space, blurring the boundaries between existing floor, wall and ceiling conditions and creating a seamlessly fluid, undulating landscape.

Monitors integrated into the installation documented the research processes undertaken by the studio: computer-generated test models and physical tests leading to this installation as well as other experiment-based projects across temporary, mobile, media, virtual/real and real/virtual environments.

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The structure was connected to the physical building by a series of cables on electric motors, which activated the surface, making the backlit membrane envelope appear as a living, breathing organism. The exhibited objects, which ranged from a prototype bed by Philips, which projected moving images onto the ceiling to encourage daydreaming, to a pill that acted as an internal medical camera when swallowed, were displayed in inflatable spheres integrated into the outer skin.

The skin also acted as a projection surface for topic-related documentary films. The transparent structure played with the idea of insights, translucency and access, and forced viewers to take certain routes while setting up relationships that questioned the power politics of being watched.

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