Drawing inspiration from the intersection of contemporary sportswear and the functional logic of Alexander Rodchenko’s Workers’ Club, the environment is engineered to be extremely compact, devoid of decorative elements, and as functional as possible. By prioritizing a system that allows for several configurations to serve various practical purposes, the design navigates rigorous spatial and budget constraints while maintaining an authoritative brand presence. This “toolkit” approach mirrors the rapid evolution of the Livesport brand, optimized for logistical efficiency and long-term scalability.

The bespoke furniture modules are conceived to be expanded and reconfigured to meet varying on-site demands, allowing the system to travel seamlessly across diverse international event locations. A streamlined framework and integrated digital interfaces create a direct and sophisticated brand presence. The resulting environment acts as a scalable interface built to evolve alongside the brand’s global trajectory.

The post Livesport appeared first on Veech x Veech.

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.

The post Studio X2732 appeared first on Veech x Veech.

The proposal reimagines the former aircraft hangar as a layered event architecture — a multi-dimensional infrastructure embedded within the raw industrial shell. Across approximately 1,600 sqm of flexible event space, the concept establishes a powerful spatial framework that accommodates large-scale gatherings while allowing for intimate and highly curated moments.

Rather than concealing the building’s history, Veech x Veech deliberately preserves its scale, structure and patina. The existing hangar aesthetic becomes the spatial counterpoint to the refined, iconic design language of the Mercedes-Benz G-Class. This dialogue between industrial robustness and automotive precision defines the architectural narrative.

Within this envelope, a vertically articulated interior landscape unfolds. Inserted platforms, galleries and transparent volumes create a multi-level environment that integrates conference and hospitality spaces, educational facilities and exclusive VIP areas into one coherent system. The spatial layering allows simultaneous programming while maintaining clarity, orientation and experiential quality.

Dynamic media installations are strategically embedded throughout the architecture. Large-scale digital surfaces, immersive projection zones and responsive lighting concepts transform the hangar into a living stage. Content can be adapted in real time — highlighting keynote moments, product presentations or brand storytelling — and turning the entire 1,600 sqm into an atmospheric communication platform.

The result is more than an event venue: it is an immersive brand environment where architecture, media and movement converge — creating a memorable, emotionally charged experience that extends far beyond the event itself.

The post Mercedes G-Class Event Center – Graz appeared first on Veech x Veech.

“Vadim Kosmatschof work addresses universal values of harmony, balance, dynamics, and force, and has evolved from rigid industrial modernism to an understanding of sculpture as a living organic form.

By interacting with both the urban landscape and elements of nature, his creations open a new perspective on the role of sculpture in the 21st century.

The exhibition at the New Tretyakov Gallery will be the first major solo show of Vadim Kosmatschof in Russia.

The artist, who emigrated from the Soviet Union in 1979, made his reputation with a series of pioneering works in industrial porcelain before becoming one of the main proponents of Modernism in Soviet Monumental Art. Producing metal sculptures of unprecedented size and freedom, Kosmatschof’s aim was always to overcome the static character of traditional sculpture. Over the years, he created more than 40 large-scaled sculptures for public spaces in Germany, Austria, Russia and the United States. In his recent projects he is focusing on the mutual influence between art and science, and exploring the notion of ‘breathing forms’ and ‘solar sculptures’ that move through exposure to sunlight.

The display of over 60 works will cover all periods and aspects of the artist’s creative output – ranging from porcelain works, metal reliefs, paintings, graphics, interior sculptures, models of public art objects and sculptures, original layout, photo and video materials.

The exhibition is organized chronologically in two parts, Retrospective and Perspective; spread over two floors of the New Tretyakov Gallery. Exemplary of Kosmatschof’s early work is the landmark 65-foot abstract sculpture Konstrukta (http://www.kosmatschof.com/artwork/large-scale-sculptures?image=242), installed in front of the Turkmenistan State Library in Ashkhabad in 1975. In the exhibition original mock-ups, a video, and a series of photographs of its installation will be on view. Furthermore, a number of large-scale German commissions are featured in a film by Andreas Waldschütz that explores the integration of Kosmatschof’s sculptures into urban and rural environments.

Highlights of the section showing Kosmatschof’s recent projects in Austria will be works such as Urban Heart, Four Cylinders, Breathing Form and Unfolding Square. By interacting with the viewer, environment and surrounding architecture, the works steer sculpture on a new course. Incorporating the latest energy technology, they move according to changes in the weather or variations in sunlight – enabling us to feel the energies of the universe on a new, different level, and to feel ourselves an integral part of it.

Kirill Svetlyakov, curator of the exhibition and a senior researcher at the New Tretyakov Gallery, states that “Vadim Kosmatschof’s oeuvre is a discovery in the history of Russian and contemporary sculpture. His creations back in the time of the USSR were an alternative to traditional monuments associated with ideology. Kosmatschof’s contemporary works are interdisciplinary and combine different practices: industrial aesthetics from the 20th century and bioengineering, which stimulates techno-organic ideas in sculpture of ‚breathing forms“.

For Peter Noever, curator and designer, and director of MAK Vienna / Los Angeles from 1986 to 2011, “this exhibition is a bold and significant step, marking a new discovery of Vadim Kosmatschof’s work, which gained international recognition already. Therefore it’s time to represent his work in a large scale in Russia”.

“The exhibition of my work at the New Tretyakov Gallery symbolizes the return of my name to the field of Russian Culture – a sign both of fidelity to all participants in its unprecedented Avant-Garde scene, and of hope for the revival of its spirit of discovery “, says Vadim Kosmatschof.

Vadim Kosmatschof: “Breathing Sculpture“ will be accompanied by an extensive publication by TATLIN Publishers, covering all aspects and periods of the artist’s career. Released on the occasion of the exhibition the publication includes contributions by Kirill Svetlyakov, Georg Schoellhammer, Peter Noever, Markus Mittringer, Matthias Boeckl, Alexander Lavrentjev, Anna Māpolis and Vitaly Patsukov”

Tretyakov Gallery website: https://www.tretyakovgallery.ru/en/exhibitions/vadim-kosmachyev-dykhanie-skulptury/

Vadim Kosmatschof website: http://www.kosmatschof.com/

The post Vadim Kosmatschof at New Tretyakov Gallery appeared first on Veech x Veech.

The post Radionight2000 appeared first on Veech x Veech.

The post Making It Exhibition appeared first on Veech x Veech.

The backlit glass surface introduces an ambient color branding for each program event while the large format video wall frames the stage activities. The video wall is split into two separate moveable units which are flexible to create different spatial configurations for animated video content.

The complex spatial asymmetry of the space is softened by the introduction of convex and concave shaped printed textile walls providing both a subtle branding and surfaces for effect lighting projections.

In 2013, Veech X Veech designed the new foyer / event space to add more space for simultaneous events.

link https://veechxveech.com/project/exhibition-event/studio-44-loft/

The post Studio44 Event Space appeared first on Veech x Veech.

Located within an existing structure of no architectural merit, the design team responded by concealing the outer construction and arriving at a design inspired by the faceted structure of cut jewels. Veech x Veech designed a pneumatic membrane to create a back-lit faceted interior, and teamed this with a specially created soundscape and ambient lighting that moved through a repeating cycle of colours throughout the day to create different atmospheres.

The widely respected British graphic designer Neville Brody was invited by Veech x Veech to create a series of animated graphics to highlight key elements of the new brand.

The post Swarovski Ambient Gem appeared first on Veech x Veech.

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.

The post Spine Pavilion appeared first on Veech x Veech.

Veech x Veech’s approach was to integrate numerous technical upgrades into the new perimeter wall, floor and ceiling surfaces. The design team enhanced flexibility through innovative textile acoustic walls to screen digital media, a retractable bar, and rotating and sliding video panels that act as partitions as well as presentation screens.

A key element of the space is the programmable feature lighting, which includes three large, dramatic, custom-made lights that hover over the double-height atrium. These can be animated as well as change colour, providing the space with a central focus. The scheme was nominated for a prestigious German Prize for Lighting Design in 2014, in recognition of Veech x Veech’s technologically advanced lighting design.

The post Studio 44 Loft appeared first on Veech x Veech.

The dramatic building was to be raised on a giant scissor jack that took this pavilion from flat-pack to completed structure within hours. The central element of the design was a hydraulic car lift within its core, which would allow cars to be brought down from the pavilion’s interior to the track for test driving. The aerodynamic form, which would give impressive views of the race track above which it hovered, was designed as an aluminium frame covered in a translucent, waterproof textile. Access would be provided by a ramp, leaving space underneath to accommodate a large number of visitors. The interior was to be zoned into different areas to host an exhibition as well as for entertaining.

The post BMW Pavilion appeared first on Veech x Veech.

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.

The post Zoom Exhibitions appeared first on Veech x Veech.

The post Trevision appeared first on Veech x Veech.

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.

The post Televisions – Kunsthalle Wien appeared first on Veech x Veech.

The alien-like structure, which featured multiple air vents that created a striking outline, lit up artificially at night to create a dramatic effect, glowing against each location’s existing architecture. The pavilion provided a physical pop-up space for various events, including TV and radio programmes, which drew attention to Europe’s cultural richness.

The interior featured an interactive terminal that displayed multi-layered text in multiple languages on the transparent perspex layers. The design acted as an icon for integration; notably, it did not employ any branding, but instead created a brand through the architecture itself.

The post Sprachpavilion appeared first on Veech x Veech.

The team designed a unique presentation tool in the form of a truck made of fibreglass with Perspex side walls to reveal the car inside. These high-end mobile showcases were equipped with embedded LED lighting, as well as on-board cameras to track the route and relay stories gathered en route to a dedicated event website.

The post Seat Mobile Showcase appeared first on Veech x Veech.

The team’s response was to create a dramatic, pneumatic stage set that hovered seven metres above the floor and allowed the audience to gather around the stage at an intermediate floor level and become physically part of the proceedings.

The ground floor was not open to the public, and instead presenters and actors entered at this level and used two hydraulic platforms to access the stage, adding to the drama of the event. The stage slowly rotated, and textural lighting effects created a magical concert environment.

The post Radionight appeared first on Veech x Veech.

The challenge was to create a coherent visual identity that reflected the umbrella organisation, OPEC, as well as the distinctive individual cultural identities of the member countries, which required complex and sensitive negotiation and management.

The design challenge was to introduce a contemporary multimedia show to the Kursalon building in a sensitive manner. Veech x Veech developed a flexible modular system that was prefabricated with printed backgrounds and teamed with custom-designed, streamlined furniture.

The logistics of the space meant that the exhibition had to be set up in only 48 hours, and the design was conceived to make this possible. Six production teams with more than 80 technicians working in shifts were directed by Veech x Veech to deliver the event space on schedule.

The post OPEC 50th Anniversary Exhibition appeared first on Veech x Veech.

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.

The post Latent Utopias appeared first on Veech x Veech.

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.

The post Global Tools Künstlerhaus appeared first on Veech x Veech.