Page 1

PORTFOLIO

CLEMENS ANISER

COLLECTED WORK

2012 - 2016


C

PORTFOLIO

CLEMENS ANISER, BArch

VIENNA / AUSTRIA


CONTENTS

first semester UP | DOWN | OVER | UNDER

BARCH - WS 2012/13

second semester ORCHIDS

BARCH - ADP - SS 2013

third semester GARDEN OF LIGHT BARCH - CMT - WS 2013/14

fourth semester VIENNA REFLECTIONS BARCH - ESC - SS 2014

fifth semester RADIO PALLADIO BARCH - HTC - WS 2014/15

sixth semester VIENNA - 3OOO BARCH - GLC - SS 2015

seventh semester HYPERCONTEXT MARCH - GLC - WS 2015/16

1 2 3 4 5 6 7


BA-1

WS 2012 / 2013

1 foundation studio

UP | DOWN | OVER | UNDER Elements of vertical and diagonal transition in buildings and the urban terrain are the subject of our research and design this semester. Climbing ladders, climbing stairs, walking ramps and taking escalators are some ways we move from one level to another with varying degrees of physical challenge. These devices are manifestations of our movement that frame a transition in space, and are more or less strictly programmed for that movement and place. These transition passages are part of our everyday experience as we move up and down them almost unconsciously within the walls of buildings, and across open spaces. In cities we experience changes in ground level through zigzagging ramps, sequential stairs that sometimes disappear and reappear through buildings, helping us over come difficult topography. Old stairs in cities are often integrated with buildings, or extending into sidewalks and are enhanced by accidental or planned activities from landing to landing. Structured by scale, from urban to the individual, the 5 platforms of the Institute will approach the topic with a series of assignments for basic skills in all areas of the curriculum.

SUPERVISORS CHRISTINA CONDAK MANUEL SINGER


FS1

FOUNDATION STUDIO | 1ST YEAR

SOFT STAIR

–

design project LOCATION DANUBE CANAL VIENNA

INTEREST NATURAL APPEARANCE

METHODE INDIVIDUAL WORK

The given location of the Danube canal in Vienna appears as a very hard and constructed form within the city. The aim of the design proposal should soften the edges of the canal and remember the city’s people how a natural riverbed looks like by taking natural elements like reed in an abstracted form of long bamboo tubes that are able to move in the wind. The tubes are arranged on the lower walkway as well as in the water of the Danube canal to create a raw appearance. By using different hights of the tubes - verstatile situations are created. Down at the canal the design appears like a forest but viewed from the street level of the city the tubes appear like waving grass or reed and attract people to look at it closely. A wooden path leads through this forest of bamboo tubes like a serpentine and rises in form of a stair that negotiates the different hights. The stair as well as the long tubes are able to move in the wind. The design can be seen as a module, it could be arranged on the whole canal.


BA-1

WS 2012 / 2013

modell 1:200


FS1

FOUNDATION STUDIO | 1ST YEAR

TOP

diagrammatic plans & section (hand drawing) RIGHT

collection of produced material


BA-1

WS 2012 / 2013


FS1

FOUNDATION STUDIO | 1ST YEAR

TOP

movement model 1:50 RIGHT

plan & sections (hand drawing)


BA-1

WS 2012 / 2013


BA-2

SS 2013

2 analogue & digital production

ORCHIDS Flowers are beautiful. They are colorful. They change shape and size; some contract at night and open wide during the day. They grow, wither, change from green to brown, from taut to wilted, from blossom to poll, they disappear and reappear. Fascinating things. To be beautiful seems to be their primary purpose. However, reading up on the basics of botany will disabuse you of that notion. Flower “is an ecologically and functionally defined term”. From the perspective of botany, a flower is a strictly functional entity defined by its function of pollination. It is described as a “technical and functional entity”, more specifically as the “the biological entity of flowering plants serving pollination, the purpose of which is to attract pollinators” and to provide everything needed for pollination. A flower is an interdmediate entitity. Then, something between signaling machine, communication device, apparatus, construction and space. Its substance formed from an extraordinarily vast range of colours, structures, offshoots, transparencies, patterns, changes in form, contractions, diversifications, micro-space formations, granules and liquids. Flowers are intermediate entities that, like architecture, can be read as precisely calibrated, technical and functional entities, as signaling machines or as aesthetic organisations. The callenge for the coming semester is to expore the context of aesthetic organisation, morphology, and technical and functional entities. This will be done by digitally and physically recreating selected flowers, more specifically - Orchids.

SUPERVISORS

Wolfgang Tschapeller Werner Skvara


ADP

ANALOGUE | DIGITAL | PRODUCTION

MORPH FRILL

design project ORCHID PSYCHOPSIS KALIHI (HYBRID) INTEREST 3D MODELLING & TRANSFORMATION METHODE GROUP RESEARCH INDIVIDUAL DESIGN GROUP CLEMENS ANISER MARLENE LÜBKE-AHRENS KRISTINA SEVCIKOVA

The most characteristic elements of the Psychopsis Kalihi are the wavy and curvy edges of its blossom. The aim of the project was to understand this geometry of the curves and how they could provide a kind of shelter or protection. By examining the movement or by creating transformations of the edge curves versatile spaces had been found. The design is defined by multiple factors. External factors on one hand and internal factors on the other. The idea was to create an outer shell which is interacting with this external factors like weather, rain, sun and wind. The outer shell is hosting and controlling an inner structure, which is able to interact with the needs of an user. That for the inner structure has to be flexible and moveable but stable enough to handle activities. The form of the outer structure was directly taken from the wire reproduction of the orchid model (scale 10:1) and was transformed just in a minimal amount to create an efficient shape and a solid shelter construction.

RIGHT PSYCHOPSIS KALIHI PHOTOGRAPHY & BOTANY


ADP

ANALOGUE | DIGITAL | PRODUCTION

TOP

remodelled orchid - 3D (individual work) RIGHT

3D surface modelling & uv-mapping using Maya & Mudbox (individual work)


BA-2

SS 2013

production/presentation via multiple sided projection (group work)

LEFT

scale model - 10:1 (group work)


ADP

ANALOGUE | DIGITAL | PRODUCTION

physical transformation model (individual work)


BA-2

SS 2013

transformed digital model (individual work)


ADP

ANALOGUE | DIGITAL | PRODUCTION

TOP

atmospherical collage (individual work) RIGHT

plan & section (individual work)


BA-2

SS 2013


BA-3

WS 2013 / 2014

3 construction, material & technology

GARDEN OF LIGHT To imagine buildings as Gardens of Light, concrete and everyday paradises, walled orchards of wild, toxic and artificial species, intoxicated with the air of new and unexpected forms of beauty and pleasure. Therefore, during this semester we will be engineers of artificial paradises populated with weird species and programs that construct pools of light, lattices of shadows and light or even artificial sunstets. The work will be highly contextual, extending the notion of context beyond the conventional limits. Since the fundamental work is the definition of a public building (small/medium) the context will change from a simple physical place to be associated with a complex scenario, comprising a physical location, and a conflictive cultural situation, generally a cultural clash or encounter between different cultures. The congegational must be understood beyond the usual meaning attached to single culture - commonly associated with places of worship or politics - establishing links with other cultures, natural species, ecosystems and objects, including technological ones. The congregational public spaces will become assemblies, meetings of members of numerous communities of different backgrounds. We will try to change the way of understanding space as assemblies of materials and elements from different origins that coexist and that are progressively incorporated into the project. As both, the set of relationships and the field of interaction between them, between people and their actions, between the specific culture of social groups and subcultures, the technologies associated to them, in order to link the public space as a space for confrontation.

SUPERVISORS AA-SCHOOL LONDON GUEST PROFESSORS: CRISTINA DIAZ MORENO EFREN GARCIA GRINDA


CMT

CONSTRUCTION | MATERIAL | TECHNOLOGY

BONFIRE BATHS

design project The design attempt for the garden of light is an artificial island of fire - as a cross-cultural sauna and hammam dome cluster set in the archipelago sea. LOCATION STOCKHOLM ARCHIPELAGO

INTEREST BONFIRE & BATHING RITUALS

METHODE GROUP RESEARCH INDIVIDUAL DESIGN

GROUP CLEMENS ANISER KLARA JÖRG ANNA KRUMPHOLZ

The project is based on group research and the analysis of Scandinavian and Nordic Bonfire Rituals but also on examining the Burning Man festival in the United States and the Rinkeby (fire) riots in Sweden that have been a reaction to the lack of inclusion of migrants and the increasing gap between social classes in Sweden. For the individual design project a close analysis of the different cultures and their heritage was done. The design proposal acts as a communication line between the migrants and the Swedish. Both cultures have ancient bathing traditions like hammam bathhouses or saunas. By offering a sauna and hammam dome cluster a space for cross-cultural exchange is created. The dome cluster is set in a structure that acts as a cage for bonfires. The bath is receiving its heat through individual fires but also by the burning of the surrounding bonfire set in the exterior structure. Therefore a special event, and by that a new and unique experience of bathing rituals but also bonfire rituals, is created.

RIGHT ATMOSPHERIC COLLAGE (INDIVIDUAL WORK)


CMT

CONSTRUCTION | MATERIAL | TECHNOLOGY


BA-3

WS 2013 / 2014

understanding the meanings of construction & destruction “architecture must burn�

LEFT

randomly constructed structure (group work) RIGHT

semi-destroyed structure (group work)


CMT

CONSTRUCTION | MATERIAL | TECHNOLOGY

group model - burning (group design proposal)


BA-3

WS 2013 / 2014

group model - embers (inspiration for individual approach)


CMT

CONSTRUCTION | MATERIAL | TECHNOLOGY


BA-3

WS 2013 / 2014

TOP

atmospherical references (individual work) LEFT

spatial diagram “cross-cultural bathing rituals� (individual work)


CMT

CONSTRUCTION | MATERIAL | TECHNOLOGY

TOP

night visualization of bathing structure (individual work) RIGHT

site plan - diagram (individual work)


BA-3

WS 2013 / 2014


BA-4

SS 2014

4 ecology, sustainability & cultural heritage

VIENNA REFLECTIONS Outstanding exambles of the most recent Viennese history of architecture face major problems in front of the rapid change of our societies’ structures. Some of these buildings no longer fulfill their requirements as sucessfully operating entities - in terms of space requests of their users, technological means, regarding deficiencies of structural physics, with respect to maintenance and economic perspectives, or with reference to the further development of its urban contexts. We will explore, describe and rethink such buildings and develop concepts for their adaption or conversion, for possible extensions and further (re-)formations. Studio projects shall reflect multifacetted approaches towards these seminal buildings and shall invite a new dialogue with the public. Thus we aim to re-position them within current societal contexts and within the discourse on the younger Viennese “Baukultur”. So the theme of the studio is a topical subject of Cultural Heritage in the field of architecture. It provokes questions of the cultural dimensions of sustainability, and it aims to unleash resources that can be found in those (spatial, formal, constructive, interactive, etc.) reserves that constitutes seminal work. The study of such buildings shall lead to an extended understanding of the complex environmental function of architecture. In this early stage of the platform’s reconfiguration, the formulation of anticipative questions and speculative assumptions outrank answers or solutions that seem to be familiar for far too long. The studio is supposed to reflect the platform’s current searching character.

SUPERVISORS HANNES STIEFEL LUCIANO PARODI


ESC

ECOLOGY | SUSTAINABILITY | CULTURAL HERITAGE

THEATRE OF EPHEMERALITY

design project LOCATION VIENNA AUSTRIA

INTEREST TRANSIENCE EPHEMERALITY CONSERVATION

METHODE GROUP RESEARCH INDIVIDUAL DESIGN

GROUP CLEMENS ANISER MICHAEL GLECHNER CENK GÜZELIS STASA KOLAKOVIC ANNA KRUMPHOLZ PAUL SONNLEITNER KAI TRAUSENEGGER

The former Z-Bank building by the Austrian architect Günther Domenig is a very strong and in itself cohesive building. The design proposal should act as a partner for conversation or as an opponent to get in balance. The building appears like a dead and conserved body that is not allowed to decompose. Therefore the design is inspired by a story by Oscar Wilde, the story of Dorian Grey and his portrait, which is aging instead of him and revealing his true personality. The project is a critical reflection, a personal portrait of the former Z-Bank building (as it appears to me). As a location for the project the site opposite the street was chosen. Inspired by the story by Oscar Wilde, topics like transience, ephemerality and the unnaturalness of conservation had been examined through experiments. The design should act as a stage for ephemerality and the former Z-Bank acts both as an observer as well as an stage scenery. The form of the opponent structure was created through mirrored imitation and mutation with a process inspired by natural growth and decay. Therefore the design appears as an artificial ruin or the decomposing body of the former Z-Bank. The design is facing the original building by Günther Domenig to create a conflict and raise the question - “ how natural is conservation?”

RIGHT VISUALIZATION OF DESIGN PROPOSAL (INDIVIDUAL WORK)


BA-4

SS 2014

TOP

former Z-Bank today (2014) LEFT

building during construction (1975 - 1979)


RIGHT

ESC

ECOLOGY | SUSTAINABILITY | CULTURAL HERITAGE

TOP

surreal atmosphere model of decay (individual work)

3D print of designed opponent structure (individual work)


ESC

ECOLOGY | SUSTAINABILITY | CULTURAL HERITAGE


BA-4

SS 2014

section of former Z-Bank & its facing opponent as a reflection or portrait of its own decay


ESC

ECOLOGY | SUSTAINABILITY | CULTURAL HERITAGE

TOP

cross-section (individual work) RIGHT

floor plans (individual work)


BA-4

SS 2014


BA-5

WS 2014 / 2015

5 history, theory & criticism

RADIO PALLADIO “no pictures allowed!” is the motto of the BArch HTC studio winter 2014/15. We will merely read, talk and write about architecture. Words will be our only mean. Using words for a visual discipline such as architecture seems to be at first glance a certain artificial difficulty. However, having words for architectural topics is not only a “cruel” necessity in order to communicate your ideas for people who cannot read drawings. It also validates that part of your work which is perhaps inadequately described as “thinking”. Having words for your architectural work means that you yourself did understand your work. It is first of all a dialogue with yourself and only at second stage a dialogue with other people. Hence verbalising in architecture is an intimate process, comparable to the design process itself. However, the words can be written, spoken and read. The studio’s goad is a comprehensive exercise in verbalising architectural topics. In order to encourage many different roles students are asked to create a radio format that provides moderators (writing and speaking), interview partners (argueing), listeners and readers altogether at the same time. The topic will be a notorious quarrel, debate or controversy in architecture history. Students will do research on it and present it finally as if it was a current debate.

SUPERVISORS ANGELIKA SCHNELL EVA SOMMEREGGER


HTC

HISTORY | THEORY | CRITICISM

SCHRÄGE PERLEN

research & representation “Borromini’s Rome” An Audio-Play based on the rivalry between the two most famous Roman Baroque Architects, Gian Lorenzo Bernini and Francesco Borromini (in German Language) MEDIA AUDIO-PLAY 18:00 MIN. (IN GERMAN)

INTEREST RIVALRY BETWEEN BORROMINI & BERNINI

METHODE INDIVIDUAL WORK

“Im Barock ist das so. Von zur Schau getragener und überspitzter Dekadenz bis hin zu haarsträubenden Rivalitäten. Das Wort “Barock” entstammt der portugiesischen Sprache - in der unregelmäßig geformte Perlen als “barroco” bezeichnet wurden. Dieses Hörspiel widmet sich den wahren schrägen Perlen dieser Zeit, den extravaganten, betörenden und teils unschlüssigen Charakteren der Epoche - Barock. Im Fokus ist die Rivalität zwischen den beiden römischen Barock-Architekten Gian Lorenzo Bernini und Francesco Borromini. Das Hörspiel “Schräge Perlen: Borrominis Rom - eine Collage aus Text und Ton” verbindet fiktive Textaussagen Borrominis und Beschreibungen des barocken Roms verschiedener Autoren zu einer völlig neuen Text-Ton-Collage.”

RIGHT PHOTO OF FINAL PRESENTATION


HTC

HISTORY | THEORY | CRITICISM

PHOTO

final presentations of the individual projects


BA-5

WS 2014 / 2015

https://soundcloud.com/radio-palladio/schraege-perlen


HTC

HISTORY | THEORY | CRITICISM

(left page)


BA-5

WS 2014 / 2015


BA-6

SS 2015

6 geography, landscapes & cities

VIENNA - 3OOO “Can you see the Superfuture?” - until the year 2000 projects related to future developments were often labelled. Still in the Nineties, the millennium meant future. Little time passed and the new millennium showed serious signs of teething troubles. While architecture is highly dependent on money, conceptualising both architecture and the city within an academic realm should allow for freedom and optimism s an alternative to the outer gloom. However, obsessed with the idea of turning our thoughts into buildings quickly, the reality of restrictive budgets permeates the criteria for the design reviews. Thus, a condition no one welcomes starts to define the future. “Adequate” and “Appropriate” become words of appraisal and design excellence without clarifying their reference. We should ask: If we judge our thoughts by the condition of today, are they adequate for the condition of tomorrow? Development and change is frequently defined by targets and percentages. Therefore, is 2050 being only 35 years ahead of us, too close to break from thinking increments? Wheter 3% or 15% of all cars are electric and therefore emit neiter noise nor pollutants make a difference for the environment but little difference for the built environment. While we can debate whether this will happen until 2050 we can be certain that the world will be a different one in the year 3000. Vienna of the far future will always remain hidden to us. Yet, if we start to speculate, no one will proof us wrong for the next 984 years. A smart calculation and enough freedom to go and make the most out of our creative energy.

SUPERVISORS HANNES MEYER DANIELA HEROLD


GLC

GEOGRAPHY | LANDSCAPES | CITIES

URBAN STIMULUS

design project LOCATION VIENNA AUSTRIA

INTEREST HUMAN PERCEPTION

METHODE GROUP WORK

GROUP CLEMENS ANISER WOLFGANG NOVOTNY

Urban Stimulus is the description of an artificial paradise driven by the stimulation of senses and sensations, envisioning an urban future based on perception. Urban Stimulus is recording and storing sensorial data, distributing information like radiant visuals and vibrating sounds; vaporing essences of aromatic memories via haze and mist; achieving a tactile deversity through its ever changing surface and skin, shifting from oily to rough, from hairy to hard, constantly blurring the borders between object and subject until they merge and create a complex unity. Urban Stimulus was exhibited at the ARS Electronica Festival 2015 (Sep. 3-7.2015) at the “Post-City” department (Habitats for the 21st Century) and afterwards at the ARS Electronica Centre in Linz (Sep. 2015 - Jun. 2016).

RIGHT OBJECT OF PERCEPTION “FEATHERS & FOG” (GROUP WORK)


GLC

GEOGRAPHY | LANDSCAPES | CITIES


BA-6

SS 2015

TOP

object of perception “the indulger” (by Wolfgang Novotny)


GLC

GEOGRAPHY | LANDSCAPES | CITIES

TOP

object of perception “vanilla fog” (group work) RIGHT

object of perception “ feathers & fog” (group work)


BA-6

SS 2015


GLC

GEOGRAPHY | LANDSCAPES | CITIES


BA-6

SS 2015

TOP & LEFT

movie stills “Urban Stimulus” (by Clemens Aniser)


GLC

GEOGRAPHY | LANDSCAPES | CITIES

TOP & RIGHT

diagrams “aromatic haze & mist” distribution & pooling (group work)


MA-1

WS 2015 / 2016

7 geography, landscapes & cities

EMBODIMENT OF A HYPERCONTEXT Ever since the Academy of Fine Arts Vienna was established in the 17th century it was a place where interdisciplinary research could blossom. It was a place that both perpetuated and gave discipline to the ability of imagination. As one research unit confronting the overarching semester theme. Architecture of Learning - Learning Architectures, our studio will explore the educational landscape of the Academy, designing within the hypercontext of a centuries-old institution, the history of its building, its institutes, its protagonists and their teaching ideaologies. We ask to which extent such a specific environment has influenced and continues to influence the positions and perspectives of generations of architects and artists. We will barricade ourselves into the premises of the Academy until we have uncovered and disclosed the secrets of this place. Exemplary for one of these hidden places, is the old “Theatricum Anatomicum�. Less prestigious but equally important is the life-drawing room positioned on the opposite corner of the same level. In so doing, the architect of the Academy, Theophil Hansen, placed the study of life and death in opposition to each other, thus creating an inner tension within the foundations of the school. It is the aim of the studio to study and portray such intersections between different fields of knowledge, to analyze the complex interplay between disciplines, between art and science and architecture. Taking the spaces of the Academy as a starting point.

SUPERVISORS KATHRIN ASTE ALOIS HEHENBERGER


GLC

GEOGRAPHY | LANDSCAPES | CITIES

GLYPTO THEQUE NOW

design project LOCATION VIENNA AUSTRIA

INTEREST SCULPTURAL METHODOLOGY & RAPID PROTO-TYPING

METHODE INDIVIDUAL WORK

Plaster casts had been collected since the beginnings of the Academy of fine Arts in Vienna as an available source of teaching materials for the art & architecture students. Today the Plaster Cast Museum is neglected, abandoned and more or less hidden away in the basement of the Semper Depot, one of the Academy’s buildings. It is no longer a museum but rather an archive or depository of remaining sculptural objects and casts. Some of them being in a fairly bad condition. Today the single individual object is no longer of importance but the mass and mess, the density of objects, the collection of information for the educational purpose and the methods of copying and creating are important. The design acts as a museum for the Plaster Casts but also redefines the importance of a depository in contemporary times that could be used as a source of teaching materials exploiting the methodology of rapid prototyping and production technologies. It is a base where everyone can gain physical information and is able to observe, see and feel the object that is true to its purpose in an exciting denseness that challenges the observer to view them critically and from various angles.

RIGHT PLASTER CAST COLLECTION ACADEMY OF FINE ARTS - VIENNA


GLC

GEOGRAPHY | LANDSCAPES | CITIES

TOP

Aula of Academy before 1935 Aula of Academy after 1935 RIGHT

transformational diagram of plaster cast museum


MA-1

WS 2015 / 2016


GLC

GEOGRAPHY | LANDSCAPES | CITIES


MA-1

WS 2015 / 2016

TOP

atmospherical visualization of design proposal LEFT

diagram of spatial program


GLC

GEOGRAPHY | LANDSCAPES | CITIES

TOP

models 1:500 mass transformation

RIGHT

diagram of mass transformation visualizing various methodologies


MA-1

WS 2015 / 2016


GLC

GEOGRAPHY | LANDSCAPES | CITIES


MA-1

WS 2015 / 2016

1:200 section model of design proposal & chosen site opposite of the academy


GLC

GEOGRAPHY | LANDSCAPES | CITIES


MA-1

WS 2015 / 2016

TOP & LEFT

section model 1:200


Portfolio C. Aniser 02  

Version-2 18.05.2016

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