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IKA S2018

Design Studios Bachelor

Design Studios Master



Do We Need Buildings … And Who Are We? / BArch2 4 Translation from Drawing to Drawing / BArch4 6 The City’s Future Natural History / BArch6 8

UNTITLED (Mixed Media)


Six Characters in Search of an Author


Project Capital(s): Cities of Hedonism




18 20 22 25


Doctoral Studies


Excursion: Tracing Sterling


Lecture Series: What Beings Are We?


Calendar / Contact / Imprint


IKA S2018


Here are some situations to “chew” on: 1 – Continuous rain / 2 – Underwater / 3 – Water surface / 4 – Wind / 5 – Draft / 6 – In the air / 7 – In the mist / 8 – Dew / 9 – Fire / 10 – Freezing cold / 11 – Artificial light / 12 – Daylight / 13 – Near dark / 14 – 27 Humans / 15 – Long spans / 16 – Explosion / 17 – Somebody jumping in the water / 18 – Monitored environment

Monday / Tuesday / Friday 14.00—18.00

Design Studio BArch2 Wolfgang Tschapeller Werner Skvara

No, we do not! The entire architecture industry is on autopilot. Yes, there is the distrust I have towards the elements of buildings; I question the necessity of floors, closets, drawers, box-like forms, the convention of windows and the agreement on doors, the contracts on rooms and the articles on ceilings, the punctuation marks of wallpaper and paint. Hans Hollein did away with all that when he said that architecture is about keeping the human body at an operating temperature of 37°C. This is quite an open and generous definition of architecture; at the same time, it is a surprising and incredibly precise statement that renders architecture entirely independent from its own history. From now on, we do not need buildings anymore. We are free. It’s not about building anymore. We don’t need buildings; yes, there is a contradiction, Hollein’s mobile office was an envelope, but then again, it was about the thinnest possible envelope, suggesting the complete annulment of the envelope, pointing towards “situations”1 or “moments” rather than space, towards zones of conditioned fluid matter stabilized by the psychic vibrations of the beings breathing from it, an ephemeral psychoclimatic figuration. Look at the photographs: it’s not even a membrane, it is a hue, a change in colour; maybe it is not even there, maybe it is effected by the old photographs dying. Floors, walls and enclosures are gone.

Esther + Bob, INTRA SPACE, 2017




And then, who are we, me; us, the unstable bodies?2 Are we still the exquisitely isolated, well tempered corpse living – in book 3, chapter 2 – in between the letters of Vitruvius’ fantasies? Are we products of software, hardware, optical devices … and human stimulation? Do we have holographic friends? Or can we ­refer to Solaris,3 the mysterious intelligence embodied in an ocean, which, upon human stimulation, produces illusive beings out of traces of human memory? Or can we agree to be part of a conglomeration, a companion species,4 a montage of ourselves and of humans or humanoids, machines, possibly animals, especially dogs, and maybe others? And then, will our operating temperature still be 37°C?

1 Situations, explained by the ­ ituationist I­nter­national (SI) as “an S integrated ensemble of b ­ ehavior in time”, Guy Debord, “Preliminary ­Problems in Constructing a Situation,” in: Situationist International ­Anthology, ed. and trans. Ken Knabb (Berkeley, CA: Bureau of P ­ ublica ­Secrets, 2006). 2

Christina Jauernik

3 Stanislaw Lem, Solaris (Warsaw: MON, 1961); Andrei Tarkovsky, Solaris (USSR, 166), 1972

4 Donna Haraway, The Companion Species Manifesto: Dogs, People, and Significant Otherness (Chicago: Prickly Paradigm Press, 2003).

Bottom: Ivan Leonidov, Lenin Institute, Moscow, 1927

Top: Jakob Jakubowski, Librarian City Club, Vienna, 2016 (a translation of Ivan Leonidov’s proposal for a Lenin Institute)

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Monday / Tuesday / Friday 14.00–18.00

Design Studio BArch4 Hannes Stiefel Luciano Parodi




1 The possible functions of drawings in the development of Cross Media Models, the main design tool of the ESC Platform, and for Cross Media Models as such have not yet been comprehensively discussed. While animations and combinations of physical and digital 3D models are used and understood as transformative design vehicles that investigate relational spaces, relational fields and performances, drawings are often used or perceived as mere means of representation. It’s time to challenge and to augment the reciprocal functions of drawings in this context.

On these planes there is no concern to represent … it is a task of multiplying a single intuition: of ­seeing it appear in all its possible forms… — Enric Miralles, Lugar / Place

2 Robin Evans’ seminal essay “Translations from Drawing to Building” (AA Documents 2, The MIT Press, Cambridge, Massachusetts 1986) provokes a series of questions that are of particular interest for our challenge. The nature of architectural drawings has decisively changed and expanded through digitalization since 1986. And so has the nature of the spaces through which meaning moves (and is refracted) by translation from drawing to model, from model to drawing, from drawing to building (another model), from drawing to drawing, from all the diverse media e.g. to film and back. Our interest lies in the productive distinctions between source and translation, and in the conditionalities of these distinctions. The relation between the “original” and its translation is inevitably ambiguous, and it is interesting that the Austrian author, translator and Nobel Prize winner Elfriede Jelinek, who has repeatedly stated that as a translator, she supports methods of relatively literal translation, nevertheless concludes, “The translation cuddles up to the original like the sheep to the wolf” (Wespennest 73 (1988), pp. 24-26, with Karin Fleischanderl). Such coexistence and productive reciprocity requires not only a strong source, but a translator who will take a stand. 3 In the above-mentioned essay, Evans offers other identically prefixed nouns to be used in addition to the term translation, depending on the particularities of each individual act of conveying: transfiguration, transformation, transition, transmigration, transfer, transmission, transmogrification, transmutation, transposition, transubstantiation, transcendence (pp. 181-182). Many terms on this incomplete list – to which we would like to at least add transcription – were widely discussed in previous ESC BArch4 Studios (Vienna Reflections (2014), On Stage (2015), Facts and Fictions (2016) and Vorgriff (2017)), particularly with regard to the platform’s understanding of the function of cultural heritage as a transformative practice, in strong contrast to a duty of conservation. This controversial debate will be intensified. 4

To translate is to draw a distinction.

Nymphaeum in Genazzano, photo: Sandra Bartoli, 2014

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Monday / Tuesday / Friday 14.00—18.00

Prater is an artefact grown out of the histories of Vienna: a floodplain forest along the Danube. For many centuries, it was a royal hunting ground, and access for the public was as often forbidden as it was trans­ gressed. The vast plan to control the flow of the Danube terra­ formed this space. To the north, it features a fairground, the location of the World Fair, an atomic reactor and an amusement park. It becomes a wild swamp forest to the south, not so far from an extensive refinery and tanks. Prater’s territories

Design Studio BArch6 Sandra Bartoli Daniela Herold

and jurisdictions shape-shift between wild, human and more than human, becoming the expression of a different city and triggering visions of unexpected urban models. It is not a contradiction to view Prater as the most urban place of Vienna. The hypo­ thesis is that Prater is also a model where the antagonism between city and nature is dissolved, conceiving of human and more than human creatures as equal and mutually dependent.



The design studio takes into consideration the context of the Anthropocene – an era that marks a fundamental shift in the concept of modernity as well as of humanity, which we are only beginning to understand. This calls for an alternative history to feed the present moment and offer trajectories for different futures. The studio includes a research and mapping part about Prater, excursions with experts, and formulating hypotheses of urban models for the Anthropocene.

Nocturnalia Flag, amid.cero9, Cristina Díaz Moreno & Efrén García Grinda, 2017

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Monday / Tuesday / Friday 14.00—18.00

Design Studio MArch Cristina Díaz Moreno Efrén García Grinda



This semester, the ADP platform proposes to intensify contact with reality as it is, to critically address the problem of the new and, by extension, that of the production of novelty from the perspective of the discipline of architecture. We will approach the world around us consciously, acting with a mixture of intellectual curiosity, creative practice and an inquisitive attitude. Students will examine the mechanisms involved in the emergence of the new, and will study the cultural, social and technological processes to which the creation of any cultural artefact is inevitably linked today. As a necessary step in reconnecting the discipline with the reality out there, we propose to act as technological inquirers, examining the processes of technological and cultural production in the digital era; approaching them critically without any kind of nostalgia, with the conviction that the practice of architecture is an activity of a public nature and – perhaps – one of the last physical manifestations of this nature. Students will explore how to assemble new forms of beauty that overcome the usual intrinsic contradictions of practices based purely on subjective individuality and arbitrariness. The studio’s approach will reject nostalgic entrenchment and will, at the same time, open every aspect of the definition of our artificial environments to the complex scenarios that surround our practice. Manifestations of the new in our discipline will be found by embracing the complexity and inextricability of our world, not refraining from studying it in depth, and connecting them in significant ways with a vast array of technological and cultural materials, in a multiplicity of links with the things out there, without privileging their origin or affiliation. For this purpose, we propose to recover the power of spatial organizations, to explore the problems deriving from their material nature and tectonic behaviour, to work with an aura of beauty, and to understand questions of human perception, geometry and colour as intrinsic problems of our discipline, but also to consider architecture as a fundamental basis for human activities. Playfully embracing the most radical experimentation, and introducing several levels of reading and heteroglossia (discursive multiplicity), students will develop spatial modifications of our environment as small cosmologies that will be both a reflection and an alternative to the complexity and inextricability of the contemporary condition of the world around us, of its precariousness and brutality, but also of its strange and fascinating beauty.

Photos: Michelle Howard

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Monday / Tuesday / Friday 14.00—18.00

RAGUSA, THE GREENHOUSE CAPITAL The scene is the province of Ragusa in Sicily, the centre of Italian greenhouse cultivation. A workshop is planned there from the 6th to the 15th of April with students from the Faculty of Architecture, Syracuse, and the University of the Arts, Bremen. An exceptionally mild winter climate and fertile soils permit at least two harvests per year, and make it possible to use simple and cheap structures made from wood and plastic film. Some have emergency heating systems, but most lack heating altogether, and very few are equipped with ventilation. The greenhouse industry favours southern regions due to climate, lower cost of land and labour, less severe legal constraints on greenhouse building, and the availability of public development funds. It is nevertheless a precarious and low-profit undertaking because the properties are small, never more than a hectare, and privately owned

Design Studio MArch Michelle Howard

without effective cooperatives. It is a completely different form of cultivation compared to the northern neighbours in the Euro­pean Union. HUMAN FLOW Sicily has become one of the first ports of arrival for refugees, especially since 2015, when the routes via Turkey were effectively closed by a pact with the European Union. It has been remarkable in that, although it receives far more than its share of refugees, its people have not developed the same level of xenophobia as their northern neighbours, who use migration as a scapegoat for expressions of hate despite booming economies. It has often been the case that migrants arrived on the coast of Sicily, were processed as refugees, and went straight to work in the greenhouses, providing much-needed cheap labour. As of 2015, humanity had produced over 8.3 billion metric tons of plastic.




Of this total, 6.3 billion metric tons have become waste, representing almost one metric ton per human being. Most plastics don’t really biodegrade, and can hang around for hundreds or thousands of years. The greenhouses made from plastic film are a major source of plastic waste on the island of Sicily; another is the sea, which brings new flotsam with every tide. The volume increases exponentially with freak hailstorms and tornadoes, which are on the rise due to climate change. Greenhouses made of plastic film are also more susceptible to damage in such storms. Finally, corruption and the mafia play a not insig­ nificant part. 1 From: Luigi Pirandello, Sei personaggi in cerca d’autore: commedia da fare (Firenze: Bemporad & Figlio, 1927).

A-Z brief, map of words, Alessandra Cianchetta with Ania Soliman

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Monday / Tuesday / Friday 14.00–18.00

Design Studio MArch Alessandra Cianchetta



A-Z brief, islands maps drawing #01, Alessandra Cianchetta with Ania Soliman

The studio explores the kaleidoscopic assemblage that shapes every great modern city, the interrelation between urban dimensions and the scale of architectural elements, and the question of public architecture and what of it remains public. It draws on Walter Benjamin’s assemblage technique, a collage of scattered observations of urban life, aiming to record and let connections form in an experimental fashion.1 Globalization, displacement and technology have radically changed the relationships between individuals, social groups and the physical space they inhabit. Under currently fast-changing conditions, the question is how architecture and urban design may or may not allow us to imagine new possible spaces and places for the public beyond the logic of commodification. The studio will start by examining an extensive area described by Benjamin and located on Paris’ Right Bank, from the ancien régime pleasure palace, the Palais-Royal, to the primordial landscapes of consumption in the Arcades. The studio will then explore and map New York’s Lower East Side, examining its stealth aesthetics and gentrified culture, as well as – possibly – London’s Soho district and its post-punk culture. Comparative analysis will provide the urban context for the projects. Examining different contexts and their cultural history, students will question and elaborate established theoretical knowledge, urban design concepts and methods. This research and design-based course draws on design methods that enable a cross-cultural design practice. We will consider inspirations as diverse as Walter Benjamin, Bruno Latour2, Lou Reed and Kenneth Goldsmith3. Students will explore the tension between particularism and globalization through architecture, literature, music, and culture in general. Although the Internet, technologies and luxury items are identical all over the world, the specific qualities of each place and culture do not allow the use of generic spatial strategies. How can architects and urban designers address local challenges of specific demographics in a world that is undergoing tremendous global change? The first part of the studio is devoted to research, and analytical and conceptual mapping. In the second part, students will choose a site in or related to the above-mentioned areas, and engage with the critical issues discovered there. Are trade and commodification inherent in every urban fabric? Can new typologies of public space and (public) architecture be invented? What are the present-day inter­ relations between the economic activities that occur in such places (globally/locally) and the resulting nature of the places, and of space in general? What new practices and typologies can emerge? What is the role of architecture in the “experience economy”?

1 See: Walter Benjamin, “Paris: Capital of the N ­ ineteenth Century.” Perspecta 12 (1969): 165-72; ­ Walter Benjamin and Howard Eiland, The Arcades Project (­ Cambridge, MA: The Belknap Press of Harvard Univ. Press, 2002). 2 Bruno Latour and Emilie Hermant, trans. Liz Carey-Libbrecht, Paris: Invisible City (2006), http:// downloads/viii_paris-city-gb.pdf. 3 Kenneth Goldsmith, Capital (London, Brooklyn, NY: Verso, 2016).

IKA S2018



If in all ideology men and their circumstances ­appear upside-down as in a camera obscura, this ­phenomenon arises just as much from their historical life-­process as the inversion of objects on the retina does from the physical life-process. — Karl Marx

Monday / Tuesday / Friday 14.00—–18.00

Book cover, Manfredo Tafuri, Vienna rossa. La politica residenziale nella Vienna socialista 1919-1933 (Milano: Electa, 1980).

In the 1970s, a group of architects and theoreticians from Istituto Universitario di Architettura di Venezia went to Vienna in order to study the communal housing blocks of “Red Vienna” from the period 1919–1934. According to one of their main exponents, Manfredo Tafuri, these had been neglected by the master historians of modern architecture, since their architectural language was considered to be conservative and not appropriate for a socialist, progressive residential housing programme. While Tafuri and his colleagues were not so much interested in the architectural appearance of these massive building blocks with their sculptural decorations, their criticism was even harsher. Trained by longstan­ ding political activism and

Design Studio MArch Angelika Schnell

neo-Marxist debate in Italy, they criticised the design of early Viennese Gemeindebau as ideological. The fact that the blocks seemed to be integrated typologically into the urban fabric of Gründerzeit blocks concealed their actual political and economic isolation. The Social Democratic party had not succeeded in creating comprehensive social­ ist planning for the whole city. In a capitalist society, architecture appeared unable to overcome inner contradictions of a social and political nature through the architectural project – Tafuri “killed” architecture, as many contemporary architects complained. However, it was for a very good reason that Tafuri chose to look at fin de siècle Vienna. It was the perfect place to execute a “critique of ideology”; to establish a new method of architectural historiography, in opposition to traditional historicism or “operative history”. For Tafuri, the cliché of Viennese modernism – a prolific sphere of culture and innovation exemplified by the works of Ludwig Wittgenstein, Adolf Loos, Karl Kraus, Sigmund Freud et al. – had actually been the centre of “negative thought” (or of discovering the false consciousness of the capitalist bourgeoisie), applied by modern artists and architects in their critical confrontation with the modern metropolis.



Hence, Tafuri’s analysis of Vienna between 1890 and 1930 seems to reveal a complex network of conscious and subconscious relations that still affect the present, rather than a singular moment in history. Vienna Rossa might be read in comparison to Delirious New York by Rem Koolhaas or Learning from Las Vegas by Robert Venturi, where not individual architects or theoreticians, but rather a city and a certain period created a completely new understanding of architecture and its history. But in contrast to the celebrated works about these two unique American cities, Vienna Rossa caused unease. It became legendary, yet it has not been translated into German or English. Since then, a spectre has haunted architecture... The students will work as a research team. The studio will be accompanied by several lectures and workshops about Marxist theories in and beyond architecture. The results will be exhibited at AzW. The studio will be held in German.

IKA S2018



Project Lecture BArch2 Werner Skvara


The course covers the fundamentals of 3D modelling in computer­ aided design. It provides students with an understanding of different types of modelling techniques and the skills to construct virtual models, extract two-dimensional visualizations and design basic animations. The course is closely connected to the BArch 2 design studio.


Project Lecture BArch2 Eva Sommeregger


AU_1.16A Thu 9.30—-12.45

AU_1.16A Tue bi-weekly 9.30—-12.30

We will dive into the world of film and investigate spaces that may only come into existence in film, as well as the constructs that are necessary to realise them, using off-the-shelf-software in imaginative ways. Unlike other architectural communication tools, time-based media produce fluid and genuinely dynamic spaces. Moving images will be employed to produce time-based spaces: Taking the WU as a film’s protagonist, its characteristics will be captured by students using the means of video, resulting in spatial and time-based drawings that expand the limitations of two-dimensional architectural representations. Architectural designers may switch in between consumer and producer modes of interacting with media spaces – could this creative misuse be understood as even another form of interactivity within the vast field of visual culture?


Seminar BArch6 Peter Bauer

AU_1.16A Thu 16.00—-17.30

The best starting point for ­ esigning load-bearing structures d is to explore the underlying, fundamental concepts of an architect’s work. To start with, it is not necessary to calculate the structure; however, it is essential to know the requirements resulting from the chosen design parameters.

f­undamentals like mass, velocity, acceleration and forces will be modelled. From these initial concepts, form-finding processes for trusses, cables and membrane structures will be developed, and the internal as well as external forces of the resulting geometry will be analysed.

This lecture practises the parametric investigation of structural systems using Rhino, Grasshopper, Kangaroo and several other extensions. To begin with,

Finally, a special chapter will be dedicated to double-curved surfaces in relation to planar – best fitting – elements.




Creative Geography, Ilinca Urziceanu, 2017


IKA S2018

Seminar MArch2 Daniel Kerbler

AU_1.16A Fri bi-weekly 9.30—-12.30

Drafting has always been an integral skill architects have had to master in order to develop and convey their ideas. Today the discipline has shifted from the analogue use of pen and paper to the digital processing of data streams. A once sequential and linear process that made use of simple tools is now an interactive and generative one emerging from a set of rules.

we will build algorithmic setups where intentions are represented by values of variables that interact with each other.

The aim of this periodic summer term seminar is to help students translate their ideas into the world of dynamic, parameter-driven concepts. By using rule and node-based software approaches,

Driving these variables in a dynamic environment allows us to visualize our ideas with much better feedback than classical, static 3D modelling can provide. Maths and shape are fused together by logical operations. In a world where numerically and parameter-driven machines are already producing much of what we see around us, it is our task to further research the potential of that fusion for the architectural design process itself.

Seminar Free Elective Ludwig Löckinger

Media Lab Tue bi-weekly 10.30—-13.30

Video post-production techniques, 3D photography

We will focus on issues of filming and editing as regards camera position, camera angle and sight line. We will use DaVinci Resolve software, a high-end standard programme for colour grading, to edit, enhance and alter video footage. In addition, students will learn how to capture photos suitable for creating 3D images with a standard digital camera.

This course teaches post-production skills in video editing, colour grading and basic visual effects. Students will learn how to assemble a basic sequence, ingest media, organize media, synchronize video and audio, and export media and timeline sequences.



Lecture BArch2 Franz Sam


Construct Architecture


Lecture BArch2 Peter Bauer


AU_1.15A Wed 15.30—-17.00

The course offers insight into fundamental aspects of the construction of a building. It starts from a basic range of materials and their various roles in building construction in its different historical contexts. Students will explore the relationship between material properties, technology and form as a defining principle. In this, the aim is to develop essential knowledge about basic structures and technologies, as well as about their architectural relevance in a broader sense. We will discuss historically important applications and put them in relation to contemporary and cutting-edge technologies. In doing so, we will reflect on building practices and architectural construction, providing a comprehensive overview of construction technologies.

AU_1.15A Thu 14.00—-15.30

In this lecture, we will learn about structural concepts that are suitable for covering large areas. Expanding our knowledge of linear elements like beams and cables (the subject of Building Structures I), we will develop two-dimensional load-bearing structures, e.g. shells and membranes. Several (digital) form-finding methods will be studied, improving our command of Rhino and Grasshopper. These tools will be used to investigate structural fundamentals using the method of parametric modelling. Furthermore, the lecture examines design strategies for the optimization of building structures. Lastly, the structural behaviour of air-supported structures, pneumatic structures and bionic structures will be presented.

Drawing: Nils Neuböck, Building Technologies III, summer term 2017

IKA S2018



Seminar BArch4 Luciano Parodi

IKA S2018

AU_1.16A Thu 13.00—-14.30

In Detail Building Technologies III aims to consolidate students’ knowledge of materials, construction and planning. The course’s subjects of discussion are the production of details and the reciprocity between construction and detailing processes. Details and their presence or necessity for the production of buildings have been exhaustively discussed in architectural discourse, but so far only on a visual level. Thus the discussion has remained on the surface of things. We therefore intend to explore the genesis of ideas and architectures starting from the very core and the intrinsic characteristics of discrete details.


Seminar MArch2 Thomas Schwed

AU_1.15 Thu 10.00—-11.30


Project Evolution

By looking at examples, we will understand the process of design development. Informative site visits and the opportunity to talk to experienced architects at various offices will further add to our understanding of the design and building process, and of how it is structured and managed.

The lecture introduces the professional and legal foundations necessary for the practice of architecture. With a focus on the planning phases, we will analyse the complex process of project evolution from the preliminary design stage to the planning application and building permit, followed by the technical design for construction in conjunction with the required project management.

In addition, we will discuss the objectives of the planning phase, of building laws and regulations, building standards and various required calculations in relation to the design process.

IKA S2018




Project Lecture BArch4 Franz Sam

AU_1.15A Wed bi-weekly 17.15—-20.15

The course Sustainability II is set up in a holistic way. It starts with aspects of materials and technology, and leads to questions of social behaviour and its impact on the sustainable development of structures and construction. It provides an overview of aspects of and motives for sustainable behaviour by looking at projects concerned with recycling and upcycling. This will help students understand interactions and processes of negotiating between social, functional and structural requirements. Developing sustainable solutions under specific, social and technical conditions encourages flexibility and creativity in making use of formal possibilities, materials and technologies.

Project Lecture BArch4 Thomas Matthias Romm

AU_1.15 Wed bi-weekly 17.00—-20.00

Efficiency – optimizing input and output: Highly industrialized production is providing food and energy for more and more people, and a circular economy is based on ever more intelligent technologies for continued growth. Have we headed for a civilization of efficiency (such as Japan) with artificial intelligence at its final point?

Resilience – climate change is putting existing structures under stress. The importance of various regions and cities is shifting, even vanishing. Millions of people’s lives are affected by this change. A one-world-architecture needs parameters enabling us to act so as to affect the setting of our collective existence.

Sufficiency, efficiency and resilience are those aspects of sustainability that we will rethink in terms of architecture in this course: cogitamus. Sufficiency – what is essential? Can we, for instance, build a house from the resources we can find in a 20 miles radius? What are the basic needs behind the task, and what are its adequate means of construction?

Photo: Thomas Matthias Romm




Lecture BArch6 Golmar Kempinger-Khatibi


Forever Young?

IKA S2018

AU_1.15A Thu 12.30—-14.00

Buildings and towns enable us to structure, understand, and r­emember the shapeless flow of reality and, ultimately, to recognise and remember who we are. Architecture enables us to place ourselves in the continuum of culture. – Juhani Pallasmaa The lecture courses Cultural Heritage I & II deal with theoretical and practical aspects of modern conservation. They explain the meaning and importance of cultural and natural heritage today, the fields they cover, and the values and definitions they relate to. The courses provide an overview of the field’s history, its significant movements and international guidelines and institutions. The practical part looks at the interaction between the building systems, materials, their surroundings and causes of deterioration. It discusses sustainable retrofitting and also looks at management issues. The application of theory in practice will be shown by analysing case studies, short excursions and visiting exhibitions. ­Occasional guest lectures will round out the program.


Lecture BArch6 Thomas Proksch

AU_1.16 Wed bi-weekly 17.00—-20.00

Models of Sustainability – Sustainable Urbanism and Architecture between Claims and Reality At the beginning of every project there is maybe not writing but a definition in words – a text – a concept, ambition, or theme that is put in words, and only at the moment that it is put in words can we begin to proceed, to think about architecture; the words unleash the design [...]. – Rem Koolhaas The starting point for the lectures is my experience as a landscape architect and ecologist. For many years, I have been contributing – as a consultant for landscape design and together with architects – to urban designs and architectural solutions regarding the site of a project, the specificities of its urban structure, its landscape situation and its socio-spatial conditions. By means of reference projects, we will discuss whether incorporating the principles of sustainability into the planning process can contribute to improving planning results. The lecture will be conversational, and will be accompanied by excursions and city walks.

IKA S2018


24 Seminar MArch2 Peter Leeb

AU_1.16 Thu 16.00—-17.30

Countless technological inventions have expanded the field of possibilities for shelter production. For coping with heat and cold, protection from wind and humidity, and regulating sunlight and shade, the new tools have been helpful and have inspired us to push the limits of architectural imagination. Yet economic and ecological considerations of resources, as well as their relationship with thermal comfort and mobility, have raised questions with far-reaching implications for architecture. These questions, relating to the history, the methods and the scale of providing comfort in buildings, have moved to the centre of our discipline’s attention. In the course of the seminar, the interdependencies between technology, environment and human expectations of comfort will be portrayed as essentials for architecture, both conceptually and constructively. Historical and contemporary examples will be introduced, and perspectives on future developments will be considered in a critical fashion.


Seminar Free Elective Karin Reisinger

AU_1.16 Thu 10.00—-12.00

Feminist, queer and postcolonial ecologies for architects and everyone interested in how feminisms and space correlate. We will address ecologies in the plural to show the abundance of approaches. As a response to a hegemonic debate of sustainability (who speaks in this debate?), different approaches will be introduced, starting from feminist positions and aims by Merchant, Carson and Shiva to Braidotti, Stengers and of course Haraway. We will discuss queer concepts of ecologies, and what postcolonial critique can contribute to re-historicizing and re-politicizing ecologies. Thus, this seminar follows current developments of feminist political ecologies and a feminist new materialism in order to relate them to architecture and architectural research projects, as well as student projects. Based on our material, marginalised participants, environments experienced, and new perspectives on known and built narratives, we will create an archive that enables us to think differently about ecologies. See also the conference Architecture & Feminisms: Ecologies, Economies, Technologies at



Seminar BArch2 Lisa Schmidt-Colinet

AU_1.15 Fri 9.30—-11.00

r­equires inventive interpretations of and a position towards the terrain observed.

the complexity of the urban terrain, focusing on the forces and processes that are the basis of urban form. Students will discover how a small site influences and affects the larger scale of a city. They will experiment with the visualization of underlying processes – starting from phenomenological observations and moving towards an understanding of effects, describing the territory as a complex set of relations. In addition, lectures will formulate a genealogy of urban ­representations.

Visual representation, as a project in itself, has the potential to reveal and uncover surprising realities of places. The complexity of a site obliges us to make clear decisions and rigorously sort information, but more importantly, it

This seminar explores how techniques of representation, the selection of materials and the intentions of a site’s description are strongly interrelated. Gradual differences between tools of representing architecture as built form and modes of representing intricate interdependencies of a city fragment will be investigated. The course opens the scope from small-scale observation to


Lecture BArch4 Maria Auböck

LANDSCAPES AND GARDENS Bliss and Beauty for All As Christopher Alexander wrote, “the thing which you make takes its place in the web of nature, as you make it.”

GLC INFRA­STRUCTURE AND NETWORKS Hardly anything is more depressing than going straight to the goal. – Cedric Price The lectures will include two short field trips.

IKA S2018

AU_1.15 Thu 15.00—-17.00

This module offers a lecture series about landscape planning and landscape architecture, including a field trip to relevant recent landscape projects in Vienna. The main objective of this unit is to understand the design of private and public spaces. I want to offer the students insights into the structure and conceptual quality of landscape architecture: In a global context, we have to consider the qualities of local sites, and learn how to select vegetation and material structures. The lectures inform about cultural history, natural science and project-relevant issues. Selected materials i.e. steel, glass, stone and wood, and their application in open spaces, will be discussed. We have to learn from today’s issues in order to project future landscapes. Lecture BArch4 Bernd Vlay

AU_1.16 Fri bi-weekly 10.00—-13.00

This course uses (and a­ buses) the concepts of infrastructure in order to discuss the potential of urban and architectural design. Cedric Price fundamentally questioned how things are and should be related to each other, addressing the framework itself as a fundamental issue of architectural intervention. Infrastructures are infamous for FRAMING architecture: they have to be there BEFORE architecture can start its operation. The architect usually has to navigate conditions already present, predetermined by the infrastructural elements. In our class, we will explore and question this hierarchy, looking at different phenomena of infra­structure and networks. We will look at very diverse networks and infrastructures, revealing their influence on the power, responsibility and limitations of architectural thinking and doing.

IKA S2018



Project Lecture BArch6 Gabu Heindl


Challenging from Within


Project Lecture BArch6 Christian Teckert

AU_1.16 Wed bi-weekly 16.00—-19.30

The analysis of discursive formations in contemporary urbanism will be at the core of the lecture series. It will include fields like sociology, art, media theory, philosophy and critical geography, which have been decisive for the current debates.

In a situation where no hegemonic method or unitary approach can be detected in urbanism, and after it has been claimed that urbanism as a discipline is facing irrelevance, this lecture series will be based on a critical discussion of the crucial theoretical debates and key terms in contemporary urbanism, like “network urbanism”, “tactical urbanism,” the “city within

the city” or the “city of exacerbated difference.” At the same time, it will consider new methodological approaches to the realm of urban research, analysis and mapping, which increasingly represent an urbanistic practice in their own right.


Seminar MArch2 Antje Lehn

AU_1.15 Wed bi-weekly 9.30—-12.30

AU_1.16 Wed 10.30—-13.30

By looking at different cities and through the close reading of contemporary projects, competition briefs and urban situations, we will try to understand the embeddedness of urban developments in their specific historical, political, economic and ecological circumstances. Can these conditions be challenged from within? Can we as planners use rules and regulations to other ends, find gaps in between areas of responsibility, misinterpret expectations precisely by taking them seriously? Through knowledge and understanding of the factors and actors, the laws and contracts determining our cities, perhaps we can find the means to shape the urban fabric and the ways in which people are allowed to inhabit it. In this context, a specific focus will be put on the question of housing, as the main “mass” of city building, regulated and controlled by manifold forces outside the realm of planning.

URBANISM II Rethinking Urban Futures of the Recent Past


Mapping the Image of the City The focus of this course is to discuss historical and contemporary cartography and mapping as tools to describe and understand spatial patterns and forms of organization in society at large. It gives an introduction to intensive and extensive cartography, as well as issues related to topology, t­opography and city planning. We will analyse maps as representations of surfaces and space, and expose their ability to show time-based and topological relationships. Filtering information and choosing formal and strategic parameters will help us to develop strategies of representation taking into account social behaviour, orientation and territories.


IKA S2018


Lecture BArch2 August Sarnitz


The following position is to be discussed: Architecture is a semi-autonomous discipline aiming to design and enhance our built environment. The term “semi-autonomous” reflects the different parameters on which the production of architecture depends, e.g. cultural, socio-economic and technological aspects. In addition, there will be a historical and theoretical discourse on aspects of historiography. The aim of the course is to promote a profound understanding of relevant background history as an introduction to modern and contemporary architecture.


Seminar BArch4 August Sarnitz


The question of “notation” is of great relevance in teaching history and theory of architecture: In a rapidly changing environment, where the pace of modernization never decelerates, historical studies are of crucial importance to the architect in that they enable a broader sense of cultural judgment about one’s own time.


Lecture BArch6 Angelika Schnell

AU_1.15A Fri 10.30—-12.00

In an alternating rhythm, the lecture will explain the historical, social and built reality of cities by means of selected examples and the theories that have determined or used them. The lecture discusses not only standard theories by architects and urban historians such as Leonardo Benevolo, Lewis Mumford and Ernst Egli, which describe the structural development of cities, but also theories and narratives that are based on their social, political, economic and narrative aspects. The lecture

aims to show that theories of cities (even architectural theories of cities) always imply a political vision of society.


Starting chronologically with prehistoric and ancient cities, the lecture will give both an overview of the history of cities and of the history of theories of cities up to the present day.

AU_1.15 Wed 13.30—-15.00

AU_1.15 Wed 15.15—-16.45

This seminar addresses the classic themes of architecture and urbanism in the 20th century. After reading authentic texts, different positions of early modernism, classical modernism, postmodernism and other “isms” will be discussed. Some seminar sessions will revolve around a selection of texts and books or will be concerned with the production of exhibitions. Readings include, among others, Camillo Sitte, Georg Simmel, Erich Mendelsohn, Lewis Mumford, Kenneth Frampton and ­Peter Eisenman. The aim is to present various positions on “notations” of architecture as a basis for an interdisciplinary discussion.

The aim is to foster a basic knowledge of the historical development of cities; furthermore, to understand what theories of cities are and to raise awareness of the theories of the society we live in, promoting an understanding that ultimately enables us to challenge the theories of architecture.

IKA S2018



Seminar MArch2 Andreas Rumpfhuber

AU_1.15A Wed bi-weekly 9.30—-12.30

The provocation of automation is a question of human agglomeration; a provocation to rethink housing as a building type dedicated

to dwelling. The challenge is to go beyond the (modern) conception of housing as reproductive space in the face of the disappearance of its dialectical opposite: spaces of production. How, then, are we to organize life by means of architecture in an increasingly automated, and thus formally determined, technological environment? The question of technology is not how we might escape it, but rather how we will affirm it, and what it portends for the way we conceive of dwelling and living.

In order to be able to frame these questions, we will research the relationship between housing and labour, as one that emerged with the advent of industrialization, and transformed as the result of post-war economic and urban reorganization. Through close readings, we can grasp what is at stake in the contemporary transition to an increasingly automated economy, and challenge the very idea of housing as the exclusive space for living.


Seminar MArch 3 Christina Condak

AU_1.15 Fri 11.30—-13.00

The Thesis Seminar offers seminars and guidance for independent student research, which should result in the comprehensive development of a thesis proposal. The course provides general instruction in the definition, programming and development of a thesis project. Students will

prepare their thesis proposals by specifically defining a question, developing a working knowledge of related research in that field, and producing an architectural hypothesis. The collected work of the seminar will provide the necessary materials for the subsequent semester’s design experimenta-

tion, testing, critical appraisal of the hypothesis and eventual thesis project. The thesis argument will ultimately couple the specific resolution of an architectural proposition with the response to a larger question within architectural discourse.


Seminar MArch 4 Christina Condak

AU_1.15 Mon 14.00—-15.30


Housing Labour


The course focuses on the representation and documentation of the thesis project. It challenges the students to develop their theses through a continuous process of oral articulation, writing, drawing and documenting, and enables them to formulate and structure their pro­ posals. As the final synthesis of the graduation project, students submit their thesis documentation in the form of a book putting forward their thesis. It presents their hypotheses and methodology, includes research materials, the process of production and documentation of the final thesis project.



The IKA offers a doctorate study program in architecture (Dr. Techn.) which is open to students ­holding an appropriate university degree in architecture (master, diploma). Candidates who wish to apply for the program are required to write a synopsis of their proposed dissertation project and are encouraged to approach a professor at the institute who could act as a supervisor for their intended doctoral thesis. Once a supervisor is found the program normally stretches over six semesters.

There is no application deadline and no admission fee.

Current Dr. Techn. candidates at IKA

EVA SOMMEREGGER Ways in which to draw where you can be? Re-enacting Drawings of Loco­ motion (supervisors: Angelika Schnell, Nic Clear)

ANAMARIJA BATISTA ‘Krise’ als Denkfigur und Ihre Manifestation im städtischen Raum: Ein Blick auf die künstlerische, architektonische und urbane Praxis (supervisors: Diedrich Diederichsen, Angelika Schnell) RUTH GERBER Spielstätten der Sprache und des performativen Handelns in den Stadträumen des heutigen Wien (supervisor: August Sarnitz) WALTRAUD INDRIST 5 Häuser. 5 Familien. 5 Freundschaften — Der photographische Akt im Werk des Archi­tekten Hans Scharoun zwischen 1933 und 1945 (supervisor: Angelika Schnell) CHRISTINA JAUERNIK The figure is not with herself. En­tangle­ ments of the digital, technical and physi­cal self in the artistic research project INTRA SPACE, the reformulation of architec­tural space as a dialogical aesthetic (supervisor: Wolfgang Tschapeller) SOLMAZ KAMALIFARD Study of Light in Architectural Spaces as a Stimulus for Occupants’ Awareness and Behavior (supervisor: ­Michelle Howard)

BERTAN KOYUNCU Re-reading Henri Lefebvre Through Inside and Outside the Refugee Camps in Lesvos (supervisor: Angelika S ­ chnell) ESTHER LORENZ The Corporeal City (supervisor: Angelika Schnell) MAHSA MALEKAZARI Dancing to the tune of the light: Examining the effectiveness of physical environment on energy conservation through behavioral change in office environments in Tehran (supervisor: ­Michelle Howard) SEMIR POTURAK Challenging the Tragedy of Immobility: Passive Aggressive Building (visiting student, supervisor: Michelle Howard) SIGRID PRINZ Splitterwerk (supervisor: August ­Sarnitz) ACHIM REESE Architektur nach dem Subjekt­verlust. Zum Verhältnis zwischen Mensch und Architek­ t ur bei Charles W. Moore (super­visor: Angelika Schnell) HOLGER SCHURK Projekt ohne Form. Die Über­blen­dung von Abstraktion und Repräsentation bei OMA/Rem Koolhaas im Jahr 1989 (super­visor: Angelika Schnell)

Further information on the program: For queries concerning the programme, please contact:

CHRISTIAN TONKO Engineering the creative process. A comparison between the office work of OMA/AMO and Olafur Eliasson (supervisor: Angelika Schnell) JIE ZHANG: An Interpretation of the Renaissance in Post-war Italian Modern Architectural Dis­course (supervisor: Angelika Schnell )

BArch4 Hannes Stiefel Luciano Parodi



Engineering Building, University Road, Leicester, photo: Stephen Richards

IKA S2018

23.04. Johann Wojta Getting to the Heart of the Matter – a Scientist’s Try Chair: Eva Horn

Wolfgang Tschapeller Christina Jauernik



30.04. Johannes Paul Raether Identitecture Chair: Gabrielle Cram 14.05. Michael J. Black The Digital Body: Capturing, Modelling and Animating Realistic 3D Human Avatars Chair: Robert Trappl 27.05. at 12.00 Movie matinee at Filmmuseum Donna Haraway: Story Telling for Earthly Survival (2016) Directed by Fabrizio Terranova Talk: Fahim Amir 28.05. Lucia Melloni Perception as Controlled Hallucination: On how We Construct Reality Chair: Vera Bühlmann

Esther + unknown-2 and Christina + snapPose Skeleton-6, image: INTRA SPACE, 2017

Beyond Speech – Oral Communi­ cations. All lectures are accompanied by culinary interventions by Christoph Fink and Christian Mezera. all lectures start at 19.00 IKA Forum

In the third of the Ten Books on Architecture, dedicated to the design of temples, in the second chapter, entitled “On Symmetry: In Temples and in the Human Body”, Vitruvius incorporates a small, niche-like cavity wherein huddles a being about which we know no more than the proportions of its body parts to one another. The being cannot simply be; it is planned, engineered, “so designed by nature that the face, from the chin to the top of the forehead and the lowest roots of the hair, is a tenth part of the whole height; the open hand from the wrist to the tip of the middle finger is just the same; the head from the chin to the crown is an eighth, and with the neck and shoulder from the top of the breast to the lowest roots of the hair is a sixth; from the middle of the breast to the summit of the crown is a fourth.” And so on, until all the proportions have been defined, but no size as yet.

Thus begins the cycle, some 2000 years before our time – the cycle of human bodies quantified, designed, constructed and planned: in Bosch’s Garden of Earthly Delights circa 1500, the phantasmagorical precursors of Constant’s New Babylon; in 1924, Vertov’s “I am kino-eye, I am a mechanical eye. I, a machine, show you the world as only I can see it”; in 1951, Corbusier’s Modulor; in 1961, Lem’s Solaris, an intelligent being that breaks the human mould, shapeless and boundless, a swaying mass, an ocean capable of materializing deceptively real-seeming reflections of people from human beings’ traces of memory; in 1968, a woman and a man set on a blanket by Ray and Charles Eames; in 1984, A Cyborg Manifesto by Haraway; in 1993, Kwinter’s Figure in Time; in 1999, MAKEHUMAN – a soft­ware; “2000, L’Intrus by Nancy;” in 2003, From Cyborgs to Companion Species, Haraway again; in 2012, The Building of Bodies by Alex Schweder La. The lecture series chronicles the nature of our bodies circa 2018. After “WORLD, VERSION 1 + 2” (2004), “HANDS HAVE NO TEARS TO FLOW” (2012) and “INTRA­SPACE” (2014/2017), WHAT BEINGS ARE WE is the fourth project that experiments with the substances, constructions and manifestations of our bodies in a near future.


Kick off / semester start Diploma presentation Diploma presentation Mid-term presentations Diploma presentation Final presentations Diploma exhibition

5 March 19 March 23 April 7—8 May 12 June 25—26 June 21—29 June


Johann Wojta & Eva Horn Johannes Paul Raether & Gabrielle Cram Michael J. Black & Robert Trappl “Donna Haraway” (2016) & Fahim Amir at Filmmuseum Lucia Melloni & Vera Bühlmann

23 April 30 April 14 May 27 May


Johan Hartle Marcel Bois Wolfgang Maderthaner

19 March 17 April 15 May


Otto Wagner Lecture: Antonio Negri Performative reading of texts by Otto Wagner and others, at Wien Museum

4 June 8 June


Lecture Hélène Frichot Book presentation “Relationen: Texte und Bauten”, at Depot

15 March


Temporary premises of IKA: Academy of Fine Arts Vienna Augasse 2–6, 1090 Vienna 1st floor, core A For general inquiries please contact: Ulrike Auer, Gabriele Mayer +43 (1) 58816-5101 / -5102 Office: room 1.3.11, 1st floor, core A

28 May

19 June

BArch entrance dates online registration submission of application

21 May — 8 June 18 June

MArch entrance dates online registration submission of application

30 April —18 May 23 May

IKA spaces: Admin / 1st floor, core A Studios, seminar & lecture rooms, computer lab / 1st floor, core N Doctoral students’ room / 1st floor, core C Media lab / basement floor (UG) 1, core B Model workshop / basement floor (UG) 2, core A Postal address: Schillerplatz 3, 1010 Vienna, Austria

Institute for Art and Architecture Academy of Fine Arts Vienna Summer 2018 Head / deputy head of institute: Wolfgang Tschapeller Lisa Schmidt-Colinet Werner Skvara Editor: Julia Wieger Design: grafisches Büro

IKA PREVIEW Summer 2018  

The semester booklet contains information on design studios, courses and public events taught or organized at the Institute for Art and Arch...

IKA PREVIEW Summer 2018  

The semester booklet contains information on design studios, courses and public events taught or organized at the Institute for Art and Arch...