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Christopher Ghouse: Projects 2009 -2013

Studio and Seminar projects done in the: Academy of Fine Arts Vienna Institute of Art and Architecture


2012 THE RESILIENT PALACE Hybrid garage page 4 A USUAL PATH THROUGH THE DISTRICT Temporary use as a catalyst for urban renewal page 8 A JOURNEY ALONG THE RIVER DELTA A portrait of the Matanza-Riachuelo river delta in 11 images page 12

2011 SIGN[O]THE HOUSE iucn category Ia page 14 BIG! BAD? MODERN: (2) Metamorphosis FOUR DESIGN PROPOSALS page 18 FROM DETAIL TO MOMENT The Weather Project Reenactment page 25

2010 BIG! BAD? MODERN: A year theme page 15 BIG! BAD? MODERN: (1) The Audacity of Preservation and Continuous change RESEARCH page 16 WINDOWS AND CASINGS From a window to a spacial context page 27

2009 ZOO HABITAT Design for a Red panda Enclosure page 31

CV page 33

Fig. 12III-01 - Sketch of the first thoughts - site ties 01.


THE RESILIENT PALACE Hybrid garage Ecology, Sustainability and Conservation - Studio WINTER 2012

SITE TIES The existing site reveals certain influences regarding the design. First of all the structural possibilities become clear when looking at the existing Wienfluss and subway structures. Besides that, the historic context - given by Otto Wagner´s architecture: from the building to the small detail and other significant buildings in the surrounding-, an re-evaluation of the traffic regulation on the site, as well as thoughts about the connectivity of the structure to existing conditions guided the design steps throughout the project. ADAPTIVE ARCHITECTURE A. STRUCTURAL BASIS The layout of the structure follows the outlines of the existing structural walls of the Wienfluss, which leads to a structural depth of around 25 meters. Looking closer at the section of the Wienfluss a carving out of the ground seemed a logic step to take, as there is not only a gain regarding 2.30 meters in height, it would also reveal a new ground (Re[dis]covered Ground) by doing so and would thereby put oneself in direct relation to an until now hidden mega structure of the city. The revelation of it nevertheless is ensued in a sensitive way. Further the span of 25 meters is also applied in the length of the structure creating 25x25 meter modules. This module gets, in the course of the design, a structural pattern. B. TRAFFIC REGULATION With the site having five access points for cars, two of them are considered to be closed and a third to be closed for the transformation of the garage into a multi-use structure. With a depth of 25 meters a parking arrangement with 4 tilted parking rows is possible.

C. ARCHITECTURE The design aims to keep the ground, as well as the roof free. Two so-called infrastructural levels are forming the load bearing structure. These two, built compressed in height, are supported by an array of extremely thin 10x10 cm columns. Setting the height of the building at 23.0 meter, the maximum height that can be built in respect for the sunlight angle regarding the surrounding buildings, the infrastructural levels form together with the ground level an enclosed space with a height of 16.20 meter. Here for the garage, two additional levels a drawn in. They are set so that they can remain untouched in course of the transformation. These levels are hung from the infrastructural levels. The height of the structure reflects the surrounding buildings and the public ground on the roof is not only hovering above the city but is also taking the existing condition of the site literally - the fact that the site is an vast empty space within the city - and projects it onto the roof top, saving so this characteristic of the Naschmarkt site. D. CONNECTIONS With the module of 25x25 meters a standard vertical connection is created that hosts a staircase and an elevator within 3.60x5.65 meters. According to what ever after use this basic vertical connector can be easily altered. Besides these, the structure hosts seven special vertical connectors, with each responding to its location: 1. Located at the beginning of the structure - the continuation of the Naschmarkt – changing, multifunctional platforms are installed that can change easily. Hung from the infrastructural level these platforms can host a vertical flea market or a theater like scene. 2. Point two marks a tower, connecting all levels. The U4 subway station Kettenbrückengasse becomes part of the structure. An escalator connects to the public rooftop. This escalator perforates the tower. At the same time the tower includes, a narrow bridge, deriving from an small stair at the other side of the ´subway valley´, building a

first connection between the Linke Wienzeile and the Rechte Wienzeile – as currently the part of the Rechte Wienzeile is not in any use, opposed to the 1980´s. This at first modest connection should grow over time and get adapted. On the Rechte Wienzeile is a platform foreseen that on the one hand could build a lager market roof and on the other serves as a platform for art. At the position of the tower and the escalator, the sensitive handling of excavating the Wienfluss structure becomes visible. A stair, a continuation of the helix, cuts the slab (new ground) at -2.30 meters and reveal the vault of the Wienfluss. Further the Tower cuts into the wall that separates the Subway from the Wienfluss earth fill, opens it and makes the vault experience able in its full scale. 3. The third is a round tower. It connects the current ground level with the new. With an expressionist ground floor opening the tower is merely closed towards the top, only open to the sky and to the weather changes. 4., 6. Two helixes, one on the middle and one at the end, build the vertical circulation points for the cars in the first step of the life of the structure. Later, after the conversion of the garage, the first helix is closed for car traffic and opened up for pedestrians. Walking up to the roof, passing by different programs that can be integrated into the helix form. Positioned nearly in the middle of the structure, at the rear exit of the subway, its visibility is good from some side streets. 5. The fifth tower marks a filigree structure itself. Placed at the street leading directly to the Esterhazypark and further to the Mariahilferstrasse, it has an important role as an attractor. 7. The last tower is symbol for all those entering Vienna. Set of the main structure by a part of the grid it is connected to it via bridges. The stairs leading up to each floor are always located in the middle of the tower. With this accrues a felling for the height of the different floors.

Fig. 12III-02 - Floor plans of the structure. top from left: subway level, re[dis]covered ground, actual ground. bottom from left: first and second floor - felxible levels, third and fourth floor - infrastructural level, roof top.

Fig. 12III-01 - Section with site analysis - site ties 02.

INHABITATION - TOWER 2 The tower is being perforated by an escalator, which is slightly rotated in floor plan. On the Subway level the vault of the Wienfluss is excavated and can be approached by the people. Within the tower a spiral staircase leads up to the new ground level. Above that, in a mere solitary working space with a room height of 5.0 meter an artist can find his workspace. Access to the space is via a hidden staircase at the first floor, transport to and from the atelier for his material is provided with an open able wall. Windows at a level of 3.0 meter bring in light. On the first floor the largest space can be found, regarding the m3. It serves as a small exhibition space for an art institution located next to the tower, where installation artists can transform

this vast space. Larger exhibitions could happen in Tower 1 – ´Moving platforms´. The tube with the escalator begins to perforate the tower. The outer wall of the tower can be used as a wall for projections. Level two serves as a transition space, with its larger opening towards the inside of the structure. Additionally it is the access point for a flat, with the entrance area and a library. Via the stair a level up one arrives at the living room. The stair thereby separates the kitchen from the living room. The next level brings the working area, sleeping place, bath and the stair to the roof top garden. The level is partly illuminated by skylights. The roof garden can serve for homegrown food and furthermore a magnificent view be enjoyed.

Fig. 12III-05 - Floor plans tower 2. S = 1:500

Fig. 12III-06 - Section throught tower 2. S = 1:200


A USUAL PATH THROUGH THE DISTRICT Temporary use as a catalyst for urban renewal Geography, Landscapes and Cities - Studio SUMMER 2012

The studio project “Taking the Academy to the street”, by the GLC Platform, deals with the hypothetical scenario for a temporary relocation of the Academy of Fine Arts Vienna, during the renovation of its main building at the Schillerplatz. Through using vacant shops, all in close relation to the street, the project aims towards activating hidden resources within the city and perceiving urban renewal as a protagonist rather than a planner. In the course of taking a closer look at the district and its inhabit- ants, as well as the interest in seeing what happens behind the housing blocks, the decision, that it is not sufficient enough to deal with the vacant spaces, which orient themselves towards the streets, was made. Instead one also has to consider the spaces adjacent to the courtyards and investigate their potentials, including the courtyards themselves. A first site-visit is deceptive. A large amount of spaces, seemingly unoccupied, are used for storage. Next to that, some of the spaces, located on the ground floor of the rear houses are used commercially or privately (next to small companies, some art institutions are already present) and form thereby a loose network within the district, from that the Academy could benefit. The courtyards them self, could be depicted as simply ´leftovers´, as on the one hand, the inhabitants are barely using them and on the other, separated due to plot boundaries, the courtyards are being prevented in becoming another network layer, overlaying the al- ready existing one and so allow for more possible interactions between the inhabitants. Through a selective opening up and activating the courtyards for the public, a new path network is created. Aim is to reveal and show the hidden and perhaps forgotten qualities of these spaces to the inhabitants by using the Academy pro-

gram and start a dialogue with the inhabitants about other and better uses of the given spaces. We see this possible interrelationship between the inhabit- ants of the 15th district and the Academy as a long term project, going beyond the years of the renovation of the Schillerplatz building. The final presentation of the project resembles a path through houses, courtyards and even roofs. In doing so, this fictive path picks up several topics, which are directly related to the life of the inhabitants. The presentation itself should be seen as the first intervention towards the mentioned interrelationship, as the path reflects first contacts and negotiation processes with residents and landlords and while the group will walk along this path for sure the group will be seen as an intruder from time to time.

Fig. 12I-01 - By opening the courtyards, they become another network layer. Infinite paths are created - the district becomes porous. All buildings establish new relationships = new possibilities for interaction. other side: Fig. 12I-02 - Courtyard detail, fruther see > booklet

A USUAL PATH THROUGH THE DISTRICT. <1345hrs> [Students from the Academy enter the garage of the Geibelgasse 5, Arnsteingasse 2-6 with the help of the `Hauswart` and will wait there till the group will pass the plot - around 1658 (ACT THREE, Scene 1).] <1630hrs> Start of: A usual Path through the District <BEGINNING OF THE FIRST PART OF THE WALK.> A STROLL ALONG THE PATH. (The participants (approx.30) arrive loosely at the given destination Sechshauser Strasse 36 - from the previous presentation) [Those, who can not climb ladders, will be guided along an alternative path in order to experience as much as possible of the performance.] [Call the mechanic of the car repair shop to remind him that we are coming (ACT SIX, Scene 1).]

The introduction to the project will take place (- open air lecture).// The reaction of the inhabitants will be tested, for the first time, as ´strangers´ at this very moment (beginning of implementing AKBILD program into the district) occupy their space.//

----ACT ONE ---->For Courtyard Number 1< Staging: - 1 Wooden ladder (provided by the house) - Red tape - Love letter, A2 Scene 1 Sechshauser Strasse 36, The Untapped Potencial The loosely arriving participants will be briefly welcomed by one (or two) members of the group, only to be instructed to go inside the hallway and follow the red tape pasted on the ground leading to a ladder.// Participants will climb up the ladder and reach the next courtyard. >Kranzgasse 5, The Communal Oasis<.// [For those who can not cross the wall by climbing the ladder. One person of the project group is guiding them along the street in order to enter the first courtyard via the entrance of Kranzgasse 5.]

Kranzgasse 7, The Leftover Participants climb over the fence by using the two installed ladders.//

(see: a usual path

(In the empty, unused courtyard covered with gravel a plant - vegetable - is planted and so the participants can perceive the strangeness of this courtyard as the inhabitants themselves have no access to it. Who planted it or did it grow from from a random seed?)

(Advice to let the booklet guide one through the respective courtyards.)

To trespass to the next courtyard the participants will use the ladder leaning to the wall.//

following is the: >project description< through the district/manual)


End of introducing the project.// <1647hrs> [Looking at the courtyard of Kranzgasse 7 via Kranzgasse 5, then leading them back out as they went in and along the street to Geibelgasse 8.]

Scene 4 Geibelgasse 8, The Forgotten Beauty The participants will enter Geibelgasse 8 via a stair created out of beer crates.// [Arriving at Geibelgasse 8.]

Scene 3 (10min time till everbody crossed and group leaves Geibelgasse 8. To wander freely between Kranzgasse 5, 7 and Geibelgasse 8. The Booklet should be a helper)

An artist will work there and will show the participants an implemented AKBILD atelier situation in the courtyard.//

- 1 Tripod, to fix binocular on it >For Courtyard Number 7/Interior Space< Staging: - 1 Ladder (Gebäudetechnik, to climb down the wall 400cm, coming from the roof top) - 1 Beamer - 1 PC - Sound-system - Love letter, A2

[Being not able to go up to the roof, persons will be guided back out to the Sechshauser Strasse into the Reindorfgasse where the plans are exhibited.]

Scene 1 Sechshauser Strasse 48, The to See but not to See <1705hrs> Participants are guided through the tunnel till reaching the gates at the very back of it, without any explanation.// [A member of the house administration opens the gate.] After everyone has entered a surprisingly hidden courtyard nobody would have imagined in the back of the Zielpunkt, the group will get short direction of what act follows.// <1710hrs> Instruction to climb up the existing fire ladder and to take a look around at the various courtyards attached.//

----ACT FIVE ---->For Courtyard Number 8< Staging: - Love letter, A2 Scene 1 Sechshauser Strasse 48, The Architecture of the Inhabitants <1723hrs> Walking along the Sechshauser Strasse the participants will enter the courtyard of Sechshauser Strasse 43.// (Leaving the courtyard, entering again Sechshauser Strasse to house number 74.) <1726hrs> ----ACT SIX ---->For Courtyard Number 9< Staging: - 1 Ladder (Gebäudetechnik, to climb down the wall 300cm, to Grimmgasse 12) - Love letter, A2 Scene 1 Sechshauser Strasse 74, The Backbone <1727hrs>

(After 10min gathering point = Exit Geiblgasse 8.//

(10min time to wander freely in the courtyard, on the roof and climb down the ladder to enter the na daLokal and to take a look at the plans, section and video and audio examples.) (A binocular fixed on a tripod is waiting installed on the roof.) Those, first arriving on top of the roof, will take a look around and by using the provided binocular they are even able to look closely into flats/roof gardens.// By wandering on the roof and getting an insight to the various ´small private´ courtyards the booklet serves again as a activator as it provides selected details that show traces of the past and by that the participants should think of a possible future for the hidden courtyard as well as for the roof.// (Standing on the roof with approx. 30 people, the group again, as in the courtyard of Kranzgasse 5 act as a by now

The courtyard, where an auto mechanic is located, is only used as a go-through by the participants.// [The mechanic is so kind to stay longer than his working hours and let the group use the stair inside of the repair shop.] The stair in the workshop, which leads up to the roof, is used.// [Going out again to the street again and entering Grimmgasse.] (A ladder is leaning to the wall facing to the Grimmgasse 12.// Having reached the roof, the participants hear someones voice, reading out the love letter of the Grimmgasse 12.) <1735hrs> Once on the roof the participants look around and start climbing down the ladder to reach the final destination - the sport field of the Grimmgasse 12.// ----ACT SEVEN ---->For Courtyard Number 10<

----ACT TWO ---->For Courtyard Number 2< Staging: - 15 Beer crate (height ca.135cm, entering from Sechshauser Strasse 36) - Cable fasteners (1/2) - 1 White Academy pedestal - Booklets and folders (on pedestal) - 2 Ladders (Gebäudetechnik, to cross fence 150cm, to Kranzgasse 7) - Love letter, A2 >For Courtyard Number 3< Staging: - 1 Ladder (Gebäudetechnik, to cross wall - 175cm, to Geibelgasse 8) - 1 Vegetable plant - Love letter, A2 >For Courtyard Number 4< Staging: - 21 Beer crate (height ca.162cm, coming from Kranzgasse 7) - Cable fasteners (2/2) - 1 Artist plus his/her equipment - Love letter, A2

sis on the constructed stair of beer crates, finding firstly folders and booklets, placed on a pedestal of the Academy, that each grabs as he/she climbs over the wall.// (The folder, booklet will serve as a backbone of the ´tour´. Participants will find the outlines of the project in it as well as homages - poetical, architectural and photographically - which should trigger the participants imagination for the space. At the end of the walk the booklet should serve for referring back to experienced moments.) Having reached Kranzgasse 5 participants will take a first look at the courtyard and the booklet till everybody has arrived.//

Scene 1 Kranzgasse 5, The Communal Oasis The participants enter the Communal Oa-

Scene 2 <1637hrs> (Once everyone has arrived.// Due to time pressure some of the participants, together with those who can not climb ladders, will be guided through the main entrance of the Kranzgasse 5, also for those who are not able to climb walls)

It is of utter importance that the group a as hole leaves and enters Geibelgasse 5/Arnsteingasse 2-6.) <1657hrs>

this time - and wait in the garage till the group is passing the plot.// The students will open the garagedoor from the inside.]

The group will be directed to Geibelgasse 5.

(Walking through the participants experience the change in the ground use, the courtyard is lifted to the floor. Pictures of the courtyard shown in the garage and giving an of what is resting on top.)

----ACT THREE ---->For Courtyard Number 5< Staging: - Pictures of courtyard - Love letter, A2 Scene 1 Geibelgasse 5/Arnsteingasse 2-6, The Green Abundance <1658hrs> Walking along the Geibelgasse the participants will enter the garage of Geibelgasse 5.//

will floor first are idea

The participants will pass by the pictures as the group paces the garage and enters the hallway of Arnsteingasse 2-6, only to leaf it collectively and reach Sechshauser Strasse.// <1703hrs> Walking along the Sechhauser Strasse, turning at no. 48 towards the dark tunnel, not knowing what is at the very back.//

[Access is only granted by the housing administraion when an official, like the ´hauswart´, is present.// Negotiating with the Hauswart, he agreed that students from the Academy can arrive at latest 1400hrs - he leaves at

----ACT FOUR ---->For Courtyard Number 6< Staging: - 1 Binocular

unknown intruder to the inhabitants which perhaps, sporadic will watch the group.)

Audio, examples being played for each courtyard ´looking´ into the future are supporting the drawn martial and should speak the participants imagination on aother level.)

Scene 2 [Entering courtyards in the Reindorfgasse 10, 12 was not allowed - although FROFF would have announced interest to participate.// Going through the courtyard of Reindorfgasse 8 would have been possible but the people of na daLokal are taking a summer break.// A way without allowance has to be considered.] Reindorfgasse 8, The na daLokal Climbing down the ladder and arriving in the small courtyard of Reindorfgasse 8, it can be observed how the inhabitants use the tiny space.//

Entering the na daLokal, the participants will go trough the `exhibition space` and view the material to retrospect the seen and experienced path.// [Meeting the rest of the group again.] <1720hrs> (After 10min gathering point = Exit Reindorfgasse 8.// Leafing together and staying together is important as we have to pass the car repair shop by 1730hrs.) The participants will be guided to the Sechshauser Strasse 43.

(na daLokal; displaying the plans, section and video and audio examples.// The plan, 4x A0 is mounted on the floor and above hanging the section; Scale = 1:200.// Video of love letter reading - conversation captured in the Geibelgasse 8 with the children and the elderly.//


Staging: - 1 Ladder (Gebäudetechnik, to climb down the wall 300cm, to Grimmgasse 12) - Love letter, A2

----<script: 120624 1400hrs/latest.> -----

Scene 1 Grimmgasse 12, A Roof above the City (The participants will enter the courtyard at a very specific location within the Sportplatz of Grimmgasse 12.) Entering, the participants face a `Schrebergarten` situation, having previously just been walking on the higher frequented Sechshauser Strasse.// The participants will be guided to the sportfields and should absorb the vibe of the space - A Roof above the City.// [Accessing way.]





(After a round the conclusive discussion starts.// Brief drinks.) <END OF THE SECOND PART OF THE WALK.> End of: A usual Path trough the District <1750hrs>

# The Communal Oasis

Liebster Innenhof, als ich dich das erste mal gesehen habe war ich sofort von deiner Größe überwältigt. Wie der Weg langsam durch dich hindurch führt, die großen, alten Bäume ihre starken Äste über dich legen, wie sich Tisch und Bank heimlich hinter dem Gebüsch verstecken. All das waren meine Gedanken als ich dich das erste mal besucht habe.

Doch auf den zweiten

Blick fällt auf, dass das frische Grün der Blätter mehr von einem dunklen Grün hat, und die Büsche ihre saftigsten Tage auch schon hinter sich haben. Blickt man sich dann weiter um, sieht man auch, dass sich die Platten des Tisches und die kleinen Bänke schon langsam ihren Lebenswillen aufgegeben haben und sich nur noch der Witterung aussetzen. Ich kann mir gut vorstellen, dass früher regen Treiben in dir geherrscht hat. Kinder, Hunde, Familien, die Feste feierten und sonstige gemeinsame Nachmittage miteinander verbracht haben. Passiert das heute auch noch? Ich weiß es nicht, aber ich kann mir auch nur schlecht vorstellen, dass noch sich jemand an den traurigen Tisch setzt. Ich würde mir so sehr für dich wünschen, dass du wieder die Energie hättest, dich auf zu rappeln, dem

above: Fig. 12I-04 - Beginning of the parkour´: A usual Path through the District. left: Fig. 12I-05 - Excerpt of the original booklett given to each participant of the walk. It is an homage to each courtyard, with photographs, short descriptive texts and loveletters (following page and Fig. 12I06), as they where integral part of the reading in the respective courtyrds. S = 1:66 other side: Fig. 12I-03 - Script describing the procedures while walking through the district during the final presentation.

Grün wieder etwas Frische hinzuzufügen, dir selbst wieder etwas Leben einzuhauchen. Ich hoffe wir hören in Zukunft noch voneinander. Nur das Beste für dich. In Liebe

Courtyard no. 2 | 7

# The Untapped Potencial

# The Communal Oasis

ich habe schon viel von dir gehört. Deine Bewohner sollen sich ja reizend um dich kümmern. Schon als ich das erste Mal von dir gehört habe, wollte ich dich unbedingt besuchen kommen. Aber ich muss sagen, ich war ein wenig enttäuscht. Waren es nur leere




mehr Freiraum, eine Spielwiese für die Kinder. Doch es scheint mir so als würden die kalten Mauern wieder Überhand nehmen. Hast du dich schon mal gefragt was sich hinter diesen Mauern befindet? Man kann es nur vage erkennen, aber es scheint sich ein beinahe paradiesischer Garten dahinter zu erstrecken. Bäume, Büsche, Wiese, Kinder - Leben. Hast du dir jemals gewünscht auch eine grüne Oase inmitten des Großstadtdschungels zu sein? Was wäre wenn es keine Mauern mehr geben würde? Würdest du dich Ich hoffe ich habe dich jetzt nicht zu sehr vor den Kopf gestossen? Aber ich mache mir Sorgen um dich. Vielleicht genießt du auch das stille, tende

angenehme, Dasein






wünschen in Zukunft mehr von dir zu Hören.

# The Forgotten Beauty ich erinnere mich noch gut. Ich musste dich damals nur ein einziges Mal betreten um deinem Zauber zu verfallen. Nicht dass ich nicht auch andere Innenhöfe vor dir gesehen hätte aber bei dir war es anders. Ich muss mir eingestehen, du hast in mir etwas hervorgerufen, mit dem ich hinter dieser alten Holztür nicht mehr gerechnet hatte. Es macht mich wahrlich glücklich dich entdeckt zu haben. Wie du von der Natur umgrenzt und eingenommen wirst, das hat schon seinen ganz besonderen Charme. Die kleinen Häuschen hast du im übrigen auch ganz wunderbar integriert. Ein bisschen verfallen kommen sie schon daher aber ich kann es irgendwie ja verstehen. Für wen sollen sie sich auch schick machen, wenn eh nur so wenige kommen um sie zu besuchen. Jedoch ohne sie wärest du wohl nicht der selbe; das musst du sicher eingestehen. Zumal es scheint, als hättet ihr einander ja gern, so friedlich wie ihr miteinander wirkt. Ich könnte ewig von dir schwärmen. Sei es der Efeu der sich scheinbar mühelos um die zerbrochene Statue rankt oder die alten Bäume, die sicher schon so manche Geschichte erzählen können. Ja du bist schon etwas Besonderes. Wie eine preziöse Schmuckschatulle inmitten von Trödel. Schade dass man dich schon ein wenig einstauben hat lassen. Es ist dennoch beruhigend zu wissen dass du zumindest nicht alleine bist, denn ich hab schon gemerkt, dass die Kinder aus eurem Haus gerne in dir spielen. Kinderlachen ist immer etwas Schönes. Würde das deinem Nachbarn, der sich direkt hinter deiner Mauer befindet, nicht auch gut gefallen?. Ihr würdet euch sicher gut verstehen. Ich denke ich werde euch bei Zeiten einmal einander vorstellen. Ihr hättet beide etwas davon.

# The Leftover

als ich dich das erste mal gese-

ich hatte dich nicht gesucht und

hen habe war ich sofort von deiner

hen habe war ich sofort von deiner

trotzdem gefunden. Zwischen all den

sam durch dich hindurch führt, die

sam durch dich hindurch führt, die

steckt, obwohl du es wahrlich nicht

Größe überwältigt. Wie der Weg langgroßen, alten Bäume ihre starken Äste über dich legen, wie sich Tisch und

Bank heimlich hinter dem Gebüsch verstecken. All das waren meine Gedanken als ich dich das erste mal besucht habe.

Doch auf den zweiten Blick

fällt auf, dass das frische Grün der

Blätter mehr von einem dunklen Grün hat, und die Büsche ihre saftigsten

Tage auch schon hinter sich haben. Blickt man sich dann weiter um, sieht man auch, dass sich die Platten des

Tisches und die kleinen Bänke schon langsam ihren Lebenswillen aufgegeben haben und sich nur noch der Witterung aussetzen.

Ich kann mir gut vorstellen, dass

Größe überwältigt. Wie der Weg langgroßen, alten Bäume ihre starken Äste über dich legen, wie sich Tisch und

Bank heimlich hinter dem Gebüsch verstecken. All das waren meine Gedanken als ich dich das erste mal besucht habe.

Doch auf den zweiten Blick

fällt auf, dass das frische Grün der

Blätter mehr von einem dunklen Grün hat, und die Büsche ihre saftigsten

Tage auch schon hinter sich haben. Blickt man sich dann weiter um, sieht man auch, dass sich die Platten des

Tisches und die kleinen Bänke schon langsam ihren Lebenswillen aufgegeben haben und sich nur noch der Witterung aussetzen.

Ich kann mir gut vorstellen, dass

früher regen Treiben in dir geherr-

früher regen Treiben in dir geherr-

die Feste feierten und sonstige ge-

die Feste feierten und sonstige ge-

scht hat. Kinder, Hunde, Familien,

meinsame Nachmittage miteinander verbracht haben. Passiert das heute auch noch? Ich weiß es nicht, aber ich

kann mir auch nur schlecht vorstel-

dann wohler fühlen?


# The Communal Oasis

als ich dich das erste mal gese-

len, dass noch sich jemand an den traurigen Tisch setzt. Ich







scht hat. Kinder, Hunde, Familien,

meinsame Nachmittage miteinander verbracht haben. Passiert das heute auch

Nur das Beste für dich.








du bist wirklich etwas Besonderes. Ich weiß nicht, ob du dir darüber im Klaren bist, weil früher war noch alles anders. Eigentlich könnte man ja glauben, dass es irgendwie komisch ist, so wie du da stehst. Könnte man im





Sachen machen als Parken? Früher hat man ja noch tiefe Löcher gegraben um die Autos im Untergrund zu verstecken, aber du, du bist anders. Fragst du dich manchmal wieso du im Erdgeschoss bist? Und Fragst du dich manchmal, ob das den Bewohnern deines Hauses so gut gefällt, dass sie ihren Innenhof ein Stockwerk höher haben? Oder macht das allen eh nichts aus? Und was denken die Passanten denn von dir?





wohl, oder





ist. Da wohnt niemand, da arbeitet niemand, nur das große Tor gibt manchmal





Aber man kann dir ja nichts vorwerfen. Oft ist es die einfachste Lösung dich einfach in ins Erdgeschoss zu setzten. Vielleicht könntest du dich ja einmal mit dem schönen Hof oberhalb von dir zusammentun. Warum nicht einmal ein Picknick oder Ähnliches in der Garage veranstalten, eine Art Rollentausch. Vielleicht können wir ja ein paar dieser Ideen gemeinsam verwirklichen. Mit den besten Wünschen für deine Zukunft.

gie hättest, dich auf zu rappeln, dem

gen, dir selbst wieder etwas Leben

einzuhauchen. Ich hoffe wir hören in









Oft, wenn im Nachbarhof die Kinder

spielen, sehe ich wie es dich zermürbt dass du alleine bist und wie

du innerlich strahlst wenn sich dir jemand nähert. Umso schöner ist es, zu sehen wie adrett du seit Kurzem

wieder dastehst. Du hast dich schon gewandelt,





kann Keinem entgangen sein. Also warum hörst du nicht endlich auf dich

abzugrenzen? Du kannst doch auch mal wieder was Buntes tragen; nicht nur

dieses Kiesgrau. Das bist doch nicht du; das passt doch gar nicht zu dir. So hab ich dich nicht wahrgenommen. Du





dich nun noch diesen kleinen Schritt machen?




und dabei dir und den Menschen in

deiner Umgebung soviel Gutes tun, so wie du es eigentlich immer wolltest. Nimm Hilfe an; du hast sie verdient.

Viele würden dir helfen; ich würde dir helfen.

Meine Gefühle für dich haben sich

Zukunft noch voneinander.

nicht geändert, aber das Warten zer-

# To See but not to See

# The na daLokal

Nur das Beste für dich.

# The Green Abundance

dir beschert ist; Wie schön du bist?


traurigen Tisch setzt.

Grün wieder etwas Frische hinzuzufü-

Zukunft noch voneinander.

du denn eigentlich welch ein Glück

len, dass noch sich jemand an den

kann mir auch nur schlecht vorstel-

Grün wieder etwas Frische hinzuzufüeinzuhauchen. Ich hoffe wir hören in

etwas? Ich wüsste nicht wofür. Weißt

sein, offen für Alles. Was hindert

wünschen, dass du wieder die Ener-

gen, dir selbst wieder etwas Leben

nötig hast. Oder schämst du dich für

noch? Ich weiß es nicht, aber ich

wünschen, dass du wieder die Energie hättest, dich auf zu rappeln, dem

großen grauen Riesen hast du dich ver-

mürbt mich langsam.

ich weiß du kennst mich kaum und

dennoch schreibe ich dir. Ich






bedrängt, doch ich muss es zu Papier bringen;

Niederschreiben, was mich so be-

schäftigt seitdem wir uns das erste mal begegnet sind. Ich






zeitgleich gibst du mir Rätsel auf.

Du scheinst so verschlossen; Selb-

st die Menschen in deinem nahen Umfeld können nur teilweise erfahren was in dir vorgeht, doch den größten

Teil verbirgst du vor ihnen. Warum du dich da so verhältst ist mir ein

wenig schleierhaft, denn ich sehe so

belebt und inspirierend. Das sind die Wörter, die dich wohl am besten beschreiben.





ladest du mit deinem freundlichen Dasein zum Aufenthalt im Freien ein. Anderseits stört es überhaupt nicht, dass du auch teilweise zur Aufbewahrung dienst. Die Wäsche, die Tische und Stühle, die Pflanze, diese ganze Vielfalt







großes Potential in dir. Deine mas-

Ich habe erst einmal einen kurzen

auf den erste Blick nicht attraktiv

Blick auf dich geworfen, aber es war

siven Tore und dunklen Wege mögen ja

wirken, jedoch umso erfreulicher ist

sofort um mich geschehen. In diesem

Ich war so begeistert als ich er-

Moment hätte ich mir nichts schöneres

dann der Blick hinter die Fassade.

kannt habe, wie groß du eigentlich bist und dass nur diese Abgrenzungen

und unterschiedlichen Niveaus dich so klein wirken lassen. Doch gerade dank

dieser Anomalie hast du doch letztendlich die Chance anders zu sein als die Anderen. Ein paar Treppen um

vermeidliche Hindernisse zu überwind-

vorstellen können, als den Nachmittag noch mit dir zu verbringen. Aber du hättest sicher viele andere Besucher und Benutzer die auch gerne mal den ein oder anderen Sonnenunter-

en, ein wenig Grün und schon könntest

gang mit dir betrachten wollen. Aber

doch einmal darüber nach. Es gibt si-

man kann es ihnen ja auch nicht übel

du um so vieles lebendiger sein. Denk

cher eine Menge netter Menschen in

nehmen, bei deinem Auftreten. Viel-

würden wenn du sie dann auch öfter

leicht hören wir ja in Zukunft mehr

deiner Umgebung, die dir gerne helfen an deinen schönen Seiten teilhaben ließest.

Lass sie nicht zu lange warten.

voneinander. Ich würde es mir sehr wünschen.

# The Architecture of the Inhabitants du bist ja wirklich zuckersüß. Ein wahres Paradies für Zuckerbäcker und Nostalgiker. Bei dir gibt es nichts, dass es nicht gibt. Der alte Familienbetrieb für Zuckerliebhaber und die Werkstatt für „Oberflächenbehandlung“ verleihen dir jeden Tag etwas Leben. Der Zuckerlhändler, dessen Auslagen zur Straße hin schon etwas altbacken und verstaubt wirken, öffnet

# The Backbone

# A Roof above the City

du hast ja einiges zu bieten. Da stehen









werden müssen, Garagen die befahren werden Hütte,

müssen, bei


und man

diese nicht

kleine wirklich

weiß ob sie überhaupt benutzt wird. Aber gerade die hat es mir angetan. Die alten Stiege die ins Obergeschoss führen und so wirkt als würde sie

seine Pforten zu einem Schlaraffen-

schon lange nicht mehr sehr viel Last

land für Hobbybäcker und Konditoren.


Es scheint ja als wärest du reichlich besucht





MieterInnen. Und kann man sich erst einmal losreissen von der Vielfalt an Süßigkeiten, und dreht man sich langsam um, um den Rest von dir zu begutachten, fällt der Blick auf den hölzernen Laubengang im zweiten Obergeschoss. Das alte, grüngefärbte Holz




Fenstern laden ja gerade zu dazu ein, sich in die Hütte zu schleichen und ihre alten Geheimnisse zu entdecken. Und die Mauer, die erscheint fast wie eine Burgmauer. Wie sie da fest und beinahe unbezwingbar steht. Der Efeu, der seine Äste um sie legt. Weißt du eigentlich was da dahinter steckt? Es

wirkt fast wie ein romantisches Tur-

sollen sich ja riesige, grüne Flächen

mzimmerchen da oben. Es gibt dir so


viel Persönlichkeit und Charme, dass

gendliche, ja auch Erwachsene, her-

man jedem eigentlich nur raten kann, dass man dich besuchen kommen sollte. Du bist ja wirklich ein tolles Exempel






zu reden. Pflanzen, Autos, Verkauf, eine Werkstatt. All das macht dich zu diesem kunterbunten und sympathischen Hof, der du bist. Es sollte wohl noch viel mehr von






umtoben. Ihre Freizeit da verbringen. All diese Dinge machen dich so interessant. Am Liebsten würde ich viel Zeit mit dir verbringen um noch mehr von deinen Sonderheiten zu entdecken. Vielleicht passiert das ja in naher Zukunft. Und wir können uns gemeinsam lustige Geschichten zu der alten

deiner Art geben. Mach weiter so. Ich

Mauer überlegen oder die kleine Hütte

glaube an dich.


du bist ja umgeben von so vielen unterschiedlichen Charakteren, und Innenhöfen. Das Ganze bildet ein riesiges Netzwerk an Höfen und Menschen und Natur. Von Montag bis Freitag, von Früh bis Spät, bei dir ist immer etwas los. Kinder, Jugendliche und auch Erwachsene, sie alle kommen dich regelmäßig besuchen. Doch dann am Wochenende, da ist Stille. Da kommt dich niemand mehr besuchen. Gefällt dir das? Genießt du die Ruhe vor dem Sturm? Oder wünscht du dir manchmal, dass deine vielen Besucher und Freunde auch am Wochenende vorbei kommen? Und was ist mit deinen Nachbarn, dem Altersheim, dem Kindergarten, die Werkstätten und all die anderen angrenzenden Innenhöfe. Zusammen bildet ihr ja eine riesige Fläche an Freiraum und Natur. Platz zur Entspannung, zur Erholung und auch zum Arbeiten. Du allein bist ja schon außergewöhnlich Ein so großes Stück freie Fläche in der Stadt. Ja das ist sehr wohl besonders. Die riesigen, alten, weisen Bäume, der kleine Teich mit seinen Bewohnern, die Jugendlichen die jeden Tag Leben auf diesen Platz bringen, die netten Menschen, die sich rührend um dich kümmern, all das macht dich zu dem was du bist. Eine riesige Oase inmitten von engen, hohen, grauen Wohnblöcken. Wenn man dich betritt, ist man zuerst überwältigt von dieser Weite, dem Gefühl, sich auf den Dächern der Stadt zu befinden. Und spaziert man umher bekommt man unglaubliche Einblicke in Innenhöfe, jeder anders genutzt als sein Nachbar. Vielleicht könntest du all diese Eindrücke und Erlebnisse in Zukunft mit mehr Menschen teilen? Ich hoffe in Zukunft mehr von dir zu hören und vielleicht können wir ja die ein oder andere Erinnerung miteinander teilen.

Fig. 12I-06 - Poster to anounce the loveletter readings.

Eine Lesung im Hof. hier und nebenan eine heimliche liebeserklärung.

In Ihrem Hof Sechshauser Strasse 36 am 12.06.2012 um 17.30 Uhr Lesungen im Anschluss: Kranzgasse 5, 18.15 Uhr Geibelgasse 8, 19.00 Uhr

Eine Veranstaltung von Architekturstudierenden am Institut für Kunst und Architektur an der Akademie der bildenden Künste Wien.

Fig. 12I-07 - Photographs taken during A USUAL PATH THROUGH THE DISTRICT. The presentation was held in the district, a parkour led through houses, courtyrds and over roofs, bridging boarders. The parkour was reenacted for the Urbanize festival in autumn 2012, together with an exhibtion of all studio projects.


Fig. 1 “Where the ships enter the city“

Fig. 2 “Infrastructure, shanty towns inbetween factories“

Fig. 3 “Workers dewllings“

to Rio de la Plata = 0km

to Rio de la Plata = 4,7km

to Rio de la Plata = 7,1km

Fig. 4 “Contrast between districts“

Fig. 5 “The river as a social border“

Fig. 6 “Regulation of the river ends“

to Rio de la Plata = 16,6km

to Rio de la Plata = 21,4km

to Rio de la Plata = 25,3km

Fig. 7 “Endless grid“

Fig. 8 “Countryside“

Fig. 9 “Solitary living“

to Rio de la Plata = 29,0km

to Rio de la Plata = 49,3km

to Rio de la Plata = 77,0km

Fig. 10 “Farm land

Fig. 11 “The beginning is the end“

to Rio de la Plata = 80,6km

to Rio de la Plata = 83,5km


A JOURNEY ALONG THE RIVER DELTA A portrait of the Matanza-Riachuelo river delta in 11 images Geography, Landscapes and Cities - Seminar SUMMER 2012

In 11 steps, from La Boca to one of the river’s origins, the produced booklet shows a portrait of Buenos Aires along the Matanza-Riachuelo taking into account topography/landscape/morphology, demography/economy/politics and water quality measurements. Depicting local players and interrelating their various actions, impacts and responsibilities in space suggests a different reading of data where any figure materializes in its physical reality. The Matanza-Riachuelo is fed by twelve municipalities and influences these (basin boundary). Thereby the river runs through ten of the municipalities and parts of the city of Buenos Aires, before emptying into the Rio de la Plata. As such, it falls under national, provincial, and municipal jurisdictions. Pollution levels in the Matanza-Riachuelo river are so high that they could be considered “open sewers”, making pollution the greatest environmental risk for the metropolitan area. 25 % of this stems from industrial sew-

age and waste, the remaining 75 % originates from domestic sources due to insufficient infrastructure. The high levels of contamination in the delta are the result of unregulated meat processing and industrial activities which began almost 200 years ago and has continued uninterrupted to the present because of the absence of public policies to coordinate the more than fifty standards that exist across the diverse jurisdictions. Corruption and the lack of enforcement capacity by state agencies continuously impairs efforts to reduce illegal dumping of industrial waste. Since 2009 the World Bank, with it´s Matanza-Riachuelo (MR) Basin Sustainable Development Project, is supporting local and national organizations (ACUMAR) with $1 mrd. USD in order to improve sanitation, pollution management and environmental health, other urban developments and so forth.

Fig. 12II-01 - The Matanza-Riachuelo to one of river origins, with the allocation of the 11 portraits. other side: Fig. 12II-02 - Index of Figures, depicting the shape of the river, each with a specific title and the distance to the Rio de la Plata. next page: Fig. 12II-03 - Excerpt out of the final booklet, Fig. 5:“The river as a social border“.

Aim is to illustrate the history, needs and the condition of the city but also of its inhabitants. Therefore each drawing is addressed with a title. This title and the drawing itself, supported with a descriptive text and data, show only parts of the 64km long Matanza-Riachuelo, but these draw a picture of how people (and the city) relates and adapts themselves to the river, but also adapted the Matanza-Riachuelo in certain parts to their needs.

Fig. 1 Fig. 3 Fig. 2

Fig. 4 Fig. 6 Fig. 7

Fig. 8

Fig. 10

Fig. 9

Fig. 11

Fig. 5

â&#x20AC;&#x153;The river as a social borderâ&#x20AC;&#x153; to Rio de la Plata = 21,4km

The geographical separation

drinking water. And even 51.516 large industrial area alongside (81,87%) households have no

the south of La Matanza-Ria-

sewage hook-up. Esteban Ech-


everria again is separated into

When you follow the river

is at the same time a social bor-

smaller districts. The here seen

from its end to the origin you

der. In this part the river clearly

area is part of Nueve de Abril

can see that the La Matanza-Ri-

separates the Partido Esteban

and has a population of around

achuelo is partly regulated. The

Echeverria into the existing

40.656 inhabitants

area of the picture shows the

social classes of Buenos Aires. Esteban Echeverria, with its

The image shows the social

differences in Buenos Aires. The fore it follows its original course

120km , is part of Greater Bue- strong social contrast can be nos Aires. It has a population seen by the Gated Community 2

of about 330.959 Inhabitants.

facing the north of the river and

34.218 (54,38%) households

the Shanty Town in between the

have no direct connection to

last part of the river where bein the west.

Fig. 5

Gated Community Country Club (Club de Chacars) Obra Social Personal del Automovil Club Argentinia House for sale: $260.000 USD Rent/Month: $5.000 USD



Logistic Centre Exo Logistica since 1999; market leader

Population total 40.656

650.000sqm 90.000 pallets storage space


Population total 330.959 Houses total 62.922 Households unprovided with drinking water 34218 (54,38%) Households with no connection to wastewater system 51516 (81,87%)


SIGN[O]THE HOUSE iucn category Ia Analog and digital Production - Seminar WINTER 2011

In the city of Vienna a lot of roof capes are used to communicate visually and verbally with their surroundings. These billboards, with their independent construction could easily be seen as a house on top of house. In the course of the seminar, one of these billboards will serve as an example on how to communicate between architecture and its users. The structure builds the basis for the design proposal in which the billboard gets a new meaning. Running under the title: iucn category Ia, the project should explore the way MANKIND interacts with nature. The title thereby refers to the International Union for Conservation of Nature, in the case of category Ia to: Strictly protected areas set aside to protect biodiversity and also possibly geological/geomorphological features, where human visitation, use and impacts are strictly controlled and limited to ensure protection of the conservation values. Such protected areas can serve as indispensable reference areas for scientific research and monitoring. Following the description of ´nature´, nature can’t be found within the city of Vienna. Searching for it someone would have to leave and enter the outskirts of Vienna (i.e. Nationalpark Donau Auen, Wiener Wald). But, the way we engage with our environment, the function of nature and mankind’s understanding for dividing nature into - #economic [resources], #social - human [recreation, leisure], #ecological [preservation] - shall be questioned. The observer should question the value of natural resources (Gund Institute Robert Costanza) and in the context of urban growth question why it is obviously necessary that over 40% of Austrians federal territories be directed under a certain conservation guideline.

The steel structure, as also parts of the roof, will serve therefore as a natural habitat, open only to flora and fauna - an unobtainable space - as the roof will only be reachable for scientists. Nevertheless the neighborhood - local residents, students, workers (ect.) - will benefit by looking out of their window (or else), as the enclosure serves as an extended garden. With this, the roof forms thereby a perimeter + an exclusion at the same time. Beginning in a first step with ´implanting´ container on the steel structure as also on defined parts of the roof (roof acts as the ´backbone´), a slow growth will transform the appearance the structure – and convert it into a wilderness area.

Fig. 11III-01 - Collage of the transformed billboard. other side: Fig. 11III-02 - Model photo.


BIG! BAD? MODERN: A year theme WINTER 2010 / SUMMER 2011

The Institute of Art and Architecture has decided to work collectively for a hole academic year on the theme of Re-Visioning Bigness and the Politics of Conversion. To do so, the institute has chosen four Viennese post-war structures to investigate: The University of Economics (WU), the General Hospital of Vienna (AKH), the headquarter of Austria’s public broadcasting (ORF) and the housing estate of Alt Erlaa. Although these four big buildings - built between the 1960s and the 1980s - are singular projects , each with its characteristic qualities, all of them share specific properties attributed to big structures. Today, some of them are facing discussions regarding their conversion, renovation or even demolition. In the course of the year theme, the Institute of Art and Architecture has decided to take up on the current debate and propose scenarios on how to continue. Thereby the first semester was dedicated to research on the four ´agents´, while the second semester resulted in concrete design proposals. The resulting projects where presented in two exhibitions: “BIG! BAD? MODERN:” in February 2011 and October 2011.



eat / drink

information about adaption of the ORF module

student spaces

ceremonial hall


performance inside ORF choosing which spaces

administration xxl (audimax)

lecture room

xl l

placing significant parts of WU in ORF s


does the WU fit into the ORF without any changes?


copy & paste: findings?


monument castle

light, might fly away any moment

vertical building

feeling of easy / endless building

hoizontal building

pillars under the shed project. 1975


limits of structure? (statics)

rainers notation

walter pichler

today´s notation


media center of 21st century?

structure = sculpture?

fast building & efficiency

future of ORF?

›no monumental appearance‹ utopias of today inside the ORF

neither long term nor final assignment of room functions are desirable

unsatisfying working conditions

utopias / ideals of the›jungen wilden‹ 19070´s


open office

constant change of science & teaching methods


continuous change


[vienna university of economics & business]

other universities

private office

qualities (+ / -)


[ORF österreichischer rundfunk]

kurt hlawenicka

roland rainer

optimal use?

new use? (why)


new wu campus

what does a modern university need?

1970´s / 80´s / 90´s / 2000´s



new ones through today´s advances?

adding / subtracing?

change inside the constructed space?

future needs?


what modules are in the module?



(minimal changes with large impact)

defines spaces


prefab still up to date?

inside the module



defines modules

analysing parts demount / reassamble grid: 7.20m x 7.20m

what gets destroyed?




grid: 15.0m x 7.50m based on the car

optimised prefab

MODULE can it be used again?

concrete casing

based on the max. measurements of transportation recess of lower stressed parts


today? man power machines


head mounted display

tv-helm 1967

install a ›machine‹ module?

superlifts containing many compartments, almost all installations weigh 80-800t

utopian ideas? or reality


mobiles büro 1969

›all in one‹

e. g. aircraft carrier

cloud by monica förster 2003

hans hollein transformations project. 1963-68


BIG! BAD? MODERN: (1) The Audacity of Preservation and Continuous change RESEARCH Construction, Material and Technology - Studio WINTER 2010

For the studio, two of the four case studies where chosen to be focused on for a closer investigation. The University of Economics (WU) and the headquarter of Austria’s public broadcasting (ORF). Both conceived in about the same time period, are facing a discussion about their possible demolition. My project makes a connection between these two buildings and the ideas of the architects who conceived them. In 1972 Kurt Hlaweniczka, the architect of the University of Economics had drawn up an assessment of an existing, required & future needs on behalf of its trustees (Kuratorium zur Förderung der Wirtschaftsuniversität Wien). His findings were printed in the report: „Hochschule für Welthandel Wirtschaftsuniversität Wien - Grundlagen und Projektstudie“. These results formed the basis of his concept for the site. They argued that a constant change in teaching makes it necessary to pay special attention to external and internal flexibility; in drawing up the plans the subject should consider that the building will be exposed to a constant change1,2.

This notion of a building which is subject to continuous change1,2, I chose to examine in dealing subsequently with the ORF media centre by the architect Roland Rainer in conjunction with his concept of the building as an organism. In order to facilitate this study which was subject to many a to and from between spatial ideas, I chose to use the tool of a mind map. I could thus show the connections my investigation had lead me to as well as the new references they revealed. It was the intention to determine to what degree the thoughts of RR on architecture could serve as a guideline in the intelligent preservation of his work. Footnotes: 1. Hochschule für Welthandel – Wirtschaftsuniversität Wien // Grundlagen und Projektstudie; pages 15, 109 2. UZA Festschrift zur Eröffnung der Wirtschaftsuniversität Wien

Fig. 10II-01 - Minimalistic prefabrication, clear forms and reduction to basic geometry - STRUCTURE = SCULPTURE?; the ORF is a workshop = working means change > strict funktionalism and simple form language other side: Fig. 10II-02 - Mindmap 02 regarding continuous change

Fig. 10II-03 - Mindmap 02 regarding continuous change. Roland Rainer´s thoughts on architecture.


BIG! BAD? MODERN: (2) Metamorphosis FOUR DESIGN PROPOSALS Ecology, Sustainability and Conservation - Studio SUMMER 2011

Under the title: â&#x20AC;&#x153;Allotment City - From Mono-Use To Multi-Useâ&#x20AC;?, the University of Economics (WU) has been chosen to serve as a testing ground of ideas on how to approach large scale post-war structures. With the WU moving in fall 2014 to their new campus, the fate of this large complex is still open. In the course of this studio it is assumed, that the concrete structure - the slabs, the columns and beams - are stripped from its entire facade, all mechanical equipment and cladding. The shell construction builds thereby the structural and constructive point of departure. Without aiming at a overall project four different topics will be elaborated. Firstly the general access from the urban surrounding onto the site. Secondly the flat roofs, which until now build only a protective element but potentially can build a multi-faceted space. Thirdly, the side by side of living and working. And fourthly, the facade. An interface between public, semi-public and private.

Fig. 11I-01 - University of Economics (WU) after ist completion in 1982.


University of Economics - WU

Section line of the actual ground level



OEBB railway Althansstrasse

Heiligenst채ttestrasse Nordbergstrasse Spittelauer L채nde Subway U4 OEBB railway Subway U4

Heiligenst채tter L채nde

Concrete slab of UZA 1

Concrete slab of UZA 2

above: Fig. 11I-02 - Current accessibility situation. other side Fig. 11I-03 - Proposed landscape that mediates between all the differnt levels of the site.

ACCESS Taking a closer look at the WU and its surroundings, the site actual shows an isolated situation. Being surrounded by a belt of streets, that crosses routes of the pedestrians, making it necessary for them to cross these highly frequented streets as they want access to the WU. The access situation from the subway station Spittelau is actually an important route for students. The accessibility via the north entrance will also stay important regarding the future development of the WU site (UZA 1). The intention is a landscape connecting the different levels of the site: subway (U4/U6)- WU - Verkehrsamt - Donau - UZA 2 - neighbourhoods (9. + 20. district) - train-level (actual ground)

Section line of the actual ground level


To do so and also avoid making the mistake again of simply covering â&#x20AC;&#x153;groundâ&#x20AC;? (in this case: covering already artificial ground) vertical connections are necessary. These openings will not only have the purpose to bring light down, as the actual train-level will get new functions (market - using existing storage boxes, cafe, ect.), but will also create different kinds of visual connections. The levels and these openings will allow different kinds of use (lying, sitting, standing, no view down). The introduction of a landscape allows or requires to rethink exist- ing paths (restructuring) + new possible connections.


Fig. 11I-04 - Landscape section S = 1:666


“leafs” of garden house > use whole year/ open in summer, closed in winter: green house

40.000 einwohner 9. bezirk (10.000 = 55-70 jahre)

community gardening (used also by restaurant / back-up)

recreation area view above the roofs students/office people/...

ing p




seniorentreff? sports summer + winter: - street soccer 15x9m - baskettball 24x13m - volleyball 18x9m

running track

open kindergarten/ school

indoor: verteilung / community read - talk - meet

way up to +4th floor: HOUSING below: storage - summer/winter stuff



sun deck winter: ice-scating

removement ceeling of festsaal “floating roof” freeform breaking geomentry of former WU

above and other side: Fig. 11I-05, Fig. 11I-06 Depiction of summer and winter activities.

ROOF One can enjoy the day on the WU-roofs, as the building is lifted up from the actual ground, creating its own 360° view over Vienna. But the roofs located on the third and sixth floor are either not accessible or not been used. By transforming the WU and giving it new functions, the roofs will play an important role in doing so. The proposal is to create out of the unused roof-surfaces a public space/semi-public space. To strengthen the idea, the whole third floor will be open to the public, inhabited with various of activities - summer + winter: sun deck (ice rink)- running track - sport fields - cafe/restaurant - community gardening (summer/winter) - park - school/ kindergarten (...)


heavy snowfall? winterlandscape above the city building snowman / iglu?



indoor: activities inside in winter ice-scating

The interior space of the third floor therefore acts as the main connector between the wing-roofs, as the access will continue to be with the existing construction of the WU. But the wing-roofs are also connected with each other, either due to activity or connectivity. On top of the public floor - from the fourth to the top - housing units will be placed. These private spaces will be pervaded by public space - the connection from the third to the top public roof (task 4).






LIVING AND WORKING As the 9. district is lacking cultural institutions, the task of the design - relational inhabitation: three persons life and work together - transforms the western wings of the former WU complex in an art gallery. This art institution will furthermore occupy a wing of the building, that is orientated to the east and is dedicated to artists who finished their studies and get a scholarship for one year living and working at WU. This scholarship asks for living and working in the former WU and exposing their work within the gallery spaces to the public. The cluster that the artists studios form, can enrich the urban fabric of the 9. district and the former WU site. A flat for three wood sculptors with their living and atelier spaces illustrates this idea. The flat occupies two floors (each two modules: 7.20m x 7.20m ), +1 floor for work and the +2 floor for living. Using the existing staircase on the east side as a private entrance to the flat, the atelier will also have a large door, orientated to the gallery spaces. It is used to open up to the public but also to bring in the material they are working with. Having on the first floor the atelier - orientated to the north - the existing wing-connecting roof on the second floor will be demolished

and is set one level lower to the first floor. The new roof, accessible from the sculptors-atelier, the gallery and the wing next to it, provides a green roof landscape which takes care of the different needs of privacy. Entering, the atelier one will move through a spatial sequence of: drawing - relax - workspace. The stairs, leading to the living spaces, thereby acts as the separating element between theory and practice. Going up, the living area is orientated south-east to north-west. Every sculptor finds his own little hut with a ´garden area´ in front. Each hut, that will be built with plywood, has its own entrance height, according to its location within the common space. - Sleeping cell 1, orientated to the north, already provided with privacy, is one step higher to the living area. - Sleeping cell 2, cuts into the atelier space and reduces its room height and thereby forms a sitting zone for the artists. - Sleeping cell 3, closest to the dining and cooking is lifted up five steps.





Fig. 11II-08 - atelier, floor +1 other side: Fig. 04-07 - living, floor +2 S = 1:100

Fig. 11I-08 - Section 1 S = 1:50

Fig. 11I-09 - Section 2 S = 1:50

Fig. 11I-10 - Sketch of the facade, public space bridging floors. S = 1:333 other side: Fig. 11I-11 - Floors +3 to +6. Public space pervading private, public roof floor +3 and +6, rough arrangement of flats. Rearranged stairs on the 3rd floor influencing upper floors. S=1:1000

FACADE On top of the public floor - from the fourth to the top - housing units will be placed. These private spaces will be pervaded by public space, leading to the top public roof. With housing units in between two public floors the focus with task four: the perpetual interface is on:

- How to get from the third floor to the roof top? - How does the public space pervade the private space? - How to unfold the different usage of the private space (balcony, ect.) and also the different activities which inhabit the public space/semi-public space via the facade to the outside?



a weather survey among the participants of the seminar building technology 3


FROM DETAIL TO MOMENT The Weather Project Reenactment

1. On an average day, how often would you discuss the weather? NO OPINION 13%

Five times a day or more 9% 0%

Three times a day 44% 20%

Once a day

15 minutes

5 minutes


46% 54%

1% 13%

2. If so, for how long?

Construction, Material and Technology - Seminar SUMMER 2011


30 minutes or more 0% 0%

0% 0%

1 minute or less 86% 80%

14% 13%

3. If you meet a person of the opposite sex, unknown to you, how likely are you to discuss the weather with them?

Within the seminar of Building Technologies 3, a closer look is taken on several projects that tries to establish an interaction between architecture and its users. My selected project was Olafur Eliason´s The Weather Project.


Always 1% 0%

Likely 44% 13%

Unlikely 44% 80%

4. If you meet a person of the same sex, unknown to you, how likely are you to discuss the weather with them? Always 2% 0%

Very Likely 15% 0%

Likely 49% 40%

Unlikely 34% 60%

5. If you discuss the weather, is your encounter likely to turn into a friendship or are you more likely never to talk to them again? NO OPINION


Never talk again 71% 33%

29% 47%


A short written essay about the Weather Project and Eliasson´s work builds the basis for investigating on how technology, or in this case an illusion, changes the behavior of the human. The final presentation included an reenactment of the Weather Project by building and life size model out of wood, aluminum foil, the sun out of fabric and behind a light bulb. Besides that, the survey that Eliasson made in the Tate Modern, was also made among the participants of the course.

Very Likely 11% 0%

6. How would you interpret the following weather description: London, 12pm, 5°C, light winds, few high clouds, sunny Very good 7% 7%

Good 47% 53%

Fair 42% 40%

Bad 4% 0%

7. How would you interpret the following weather description: London, 12pm, 18°C, no wind, low high clouds, heavy rain Very good 3% 20%

Good 5% 13%


Bad 87% 40%

5% 27%

8. To what extent do you find the weather affects your mood? (Please tick the most relevant answer to you) It has no affect on my mood/wellbeing

It mildly affects my mood/well-being

1% 0%

26% 33%

It significantly affects my mood (well-being but i don´t think I suffer from Seasonal Affective Disorder (SAD) 59% 53%

I sometimes suffer from/have Seasonal Affective Disorder (SAD) 14% 13%

9. Do you think what the weather or climate in any way impacts on your salary? NO OPINION


No 19% 13%


81% 74%

10. Has a weather phenomenon ever changed the course of your life dramatically? NO OPINION


No 25% 40%


75% 53%

11. In which season do you think you eat the healthiest? NO OPINION 13%

Spring 15% 13%

Summer 77% 74%

Autumn 4% 0%

Winter 4% 0%

Autumn 1% 0%

Winter 36% 13%

12. In which season do you kiss your partner the most? NO OPINION 33%

Spring 30% 27%

Summer 44% 27%

13. In which season do you kiss someone other than your partner the most? NO OPINION 33%

Spring 13% 27%

Summer 43% 20%

Autumn 8% 7%

Winter 36% 13%

14. Do you think tolerance to other individuals is proportional to the weather? NO OPINION


No 79% 40%


21% 47%

15. Do you think that the idea of the weather in our society is based on Nature or Culture? NO OPINION 7%

Nature 47% 47%

Culture 53% 47%

16. To what extent are you aware of the weather outside your workplace? Completely 29% 13%

Very 53% 60%

Little 15% 27%

Never 3% 0%

17. Do you think there is a hierarchy of daylight in society? Yes

No 41% 47%

15% 13%

Don´t know 44% 40%

18. Which do you prefer – paintings with clouds or paintings with blue skies? NO OPINION 7%

Clouds 56% 93%

Blue skies 44% 0%

19. Do you have a “weather response“ gene? Yes

No 39% 20%

17% 20%

Don´t know 44% 60%

20. If you could, would you like to control the weather? Yes

No 45% 60%

right: Fig. 11II-01 - Survey among the participants of the seminar building technology 3, according to Eliassion´s survey made in the Tate Modern. above Fig. 11II-02 - Original Poster used for advertising the installation. other side: Fig. 11II-03 - Reenacted Poster, results given by the building technology 3 seminar survey.

55% 40%

21. Do you think televised weather forecasts sponsored by companies tend to alter the weather prediction in favor of the sponsor? NO OPINION 13%


No 13% 47%

87% 40%


WINDOWS AND CASINGS From a window to a spacial context Analog and digital Production - Studio SUMMER 2010

Task is to analyze the rear window of the Barcelona pavilion and transformation of its key elements into a spatial arrangement. The result should be a building inhabited by a family of three. In the analysis of the pavilion, two texts are influencing. Firstly Josep Quetglas “The Fear of Glass” and secondly Toyo Itos “Tarzans in the Media Forest”. An interpretation is guiding the design of the family structure. Reflections, creating a virtual landscape and the fluid space become integral part of the building.

Fig. 10I-01 - Night rendering, design proposal for a single family home

THE FEAR OF GLASS, 2001 Josep Quetglas The Fear of Glass, by Spanish architectural historian Josep Quetglas, was published at first as an article bevor he turned it into a book in 2001. Quetglas built up his book as a tragedy: three acts with each three scenes. The refreshing about Quetglas drama is that he brings in a new way of how to see the Barcelona pavilion. Thereby his theses are often unconventional, provocative and also often hard to follow as he brings in his own opinion/argumentation or sometimes just vague hints. Quetglas compares the Barcelona pavilion with a doric temple. But with that he is not thinking of the classical order or its rules of organisation. To what Quetglas correlates is the â&#x20AC;&#x153;house of godâ&#x20AC;? which excludes the faithful. The eight ionic engaged columns plus the base of the Barcelona pavilion are the elements which liberates the building from its surrounding. The pavilion turns into a tragic theatre play, in which the visitor takes a special role. Quetglas is explicit against the designation of flowing space. Despite the missing limitations, the Barcelona pavilion is closed through the horizontal elements: the base and the ceiling. Also important are the columns. The cross-shape of the columns transform them into a machine, splitting the room. Thus this, the visitor moves from space to space. Quetglas also raises the question, what material where used and names beside the stone, glass and steel also the water of the pools and the material of the flags. The water is the most significant material, because without it the sheen would just be statically. These reflections are creating a virtual landscape, which imbibes every figure. The visitor stands before the mirror. The mirror voids the space, the visitor know where he wants to go, but he can not reach.

other side: Fig. 10I-02 - Rendering sequence trough out the day - reflections I

TARZANS IN THE MEDIA FOREST, 1997 Toyo Ito For Toyo Ito, the Barcelona pavilion is the outstanding building in the whole of the 20th century architecture. Nowhere else, even in following works by the same architect, we are able to find a space filled with such “fluidity”. Itos study about the Barcelona pavilion is lesser scientific/research based; rather a personal analyse about experiences that are of importance for him as an architect. Beneath the pavilion, the text deals also with the Sendai Mediatheque and the relation between human, nature and new media. Toyo Ito continues with the term that understands the Barcelona pavilion space as “Fließender Raum”, but develops it further and implements terms as “fluidity”, “fluid” and “liquid”. Thereby these terms are not simply another expression for him. With “the space is liquid” Ito lays the focus on possible movements under water. Like sea anemones, the visitor himself is not actively moving, but, like the sea anemones, gets moved by water. The understanding for floating under water - as an element of nature and therefore life in general - is essential for Toyo Itos philosophy. The human body consists mostly of water and so he is connected to the world. Ito differentiate between a real body, linked to nature and his society and a artificial, virtual body, detached from a specific place and time, liked with the world of electrons.

other side: Fig. 10I-03 - Rendering sequence trough out the day - reflections II

Fig. 10I-05 - Final design casing for a family of three. Openings placed according to reflection studies. other side: Fig. 10I-04 - Rendering, showing part of the intervetion in the Barcelona pavilion.

Fig. 09I-02 - Drawings showing the first attempts to design an enclosure with the visitors up in the trees to view the pands


ZOO HABITAT Design for a Red panda Enclosure

of the tree, the trunk and the crown, and sees the red panda in his different movements and activities.

First Semester - Studio

Since the red panda are dependent on bamboo plants, some are planted in his enclosure at the In the first semester studio the task was to base to bring him down to eat. design a habitat for an animal upon free Many spruce trees together make a forest and he enclosure wraps around the trees in various choice. This project deals with the design of a ways. red panda enclosure. The pandas behavior The visitor has the possibility to walk on two was studied in the Vienna Zoo. platforms, the first at a level of 7.5m where The red pandas natural habitats are the for- the animal can be watched climbing. The secests in the Himalaya. From western Nepal to ond at a level of 10.0m, there the crown of northern Myanmar and the southwest China the tree is best to see. At each of these three he lives at elevations between 1.500 â&#x20AC;&#x201C; 4.000 levels the visitor gets a feeling for the animal, especially for the hight it can reach. meters. The space between the tree and the platIn his movement, the mammal is slow but very skilled in climbing on trees, where he form at 7.5m is set with a radius of 3.0m. The spends most of the day and night. Up there second platform with a radius of 5.0m. With the red panda moves very elegantly even on this, there is enough space between tree and the thinnest of branches. Most helpful is his platform, viewer and animal. As supporting tail, about 40 â&#x20AC;&#x201C; 50cm long which balances his structure, columns made out of steel, concrete body (60-70cm long) and his paws, which have and wood, are placed in order of the radius a kind of false thumb. A bone in between two of 5.0m. WINTER 2009

muscles not only helps him to climb better, but also to be able to hold food only in one paw. The ideal enclosure in a zoo environment should be similar to the panda´s natural habitat. Therefore the visitors should enter at the elevation where the red panda is most comfortable, up in the trees. A spruce tree with an average height of 15m provides the best conditions for the enclosure. The visitor experiences the ground

Fig. 09I-01 -The red pandas long tail balances him in all climbing situations and its compley paws grip the trees, making him vertical climbing easy.

Fig. 09I-03 - The section and plan present the boundaries between red pandas in the trees and the visitor´s path. below: Fig.09I-04 to 05 - Model photographs of the final enclosure.

Second Floor +10.0m

First Floor +7.50m

Ground Floor +0.00m

Fig. 09I-06 - The visitor viewing platform is like a tree house, but has an independat structure to hold it up. At the ground the pandas are enclosed by a low slippery wall that they can not scale. S = 1:666

CV Christopher Ghouse Argentinierstrasse 50/20 A - 1040 Wien Date and place of birth March 18, 1988 in Oberndorf bei Salzburg

Education 2007 A-level, Higher Technical Institute (HTL) Hallein, Dept. for Interior Design and Carpentry 2007 - 08 Militaray Service 2008 - 09 Carinthia University of Applied Sciences, Dept. of Architecture 07.2009 Carinthia University of Applied Sciences, Workshop IP Varallo/Italy “The green City“ 2009 - 12 Bachelor of Architecture, Academy of Fine Arts Vienna, Institute for Art and Architecture 02.2012 Artesis Hogeschool Antwerpen Workshop “Transformer - H is for house“ 2012 - present Master of Architecture, Academy of Fine Arts Vienna, Institute for Art and Architecture 02.2013 Artesis Hogeschool Antwerpen Workshop “Dissolution - The Making of Nothing“

Work 2003, 2004 Internship, Tischlerei Candido Salzburg, Großgmain 2005 Internship, Bebek Architektur und Modellbau Salzburg Stadt 2008 - 12 Architekten Lechner & Lechner Salzburg Stadt

German (Native language), English (Working language) AutoCad, ArchiCAD, Rhino, 3ds Max (Maxell), Maya (basics), Adobe Creative Suite (Photshop, Illustrator, InDesign, Premiere)

P +43 664 92 72 200 E


portfolio-Ghouse Christopher  

Academy of Fine Arts Vienna Institute of Art and Architecture 2009-2013

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