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IKA W2017

Design Studios Bachelor

Design Studios Master





Useless / BArch3


Inhabiting the City / BArch5


UNTITLED: Critical Environments IV


Indexing: Die Kunst des Verzeichnens


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Elective + Thesis

Doctoral Studies

16 18 20 22

24 26


Lecture 30 Calendar / Contact / Imprint


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Monday / Tuesday / Friday 14.00—–18.00

Design Studio BArch1


Christina Condak Eva Sommeregger


In the opening sequence of Alfred Hitchcock’s film Rear Window, the automatic blinds of Jeff’s apartment rise, and the camera leads us into the courtyard. It draws our vision into the backyard, looking around, introducing us to the neighbours and the built features of the set. For the rest of the film, this backyard is viewed from Jeff’s apartment. Hitchcock (who thought that architecture was very important for film directors) constructed the set entirely so that he could control the camera shots; for example, the choreographed moments of seeing the actions of all the inhabitants in their apartments, a play of simultaneous action in space, a kind of architectural section. The courtyard is an outdoor space, yet it is also an interior. And it is a main character of the film. The walls and windows of the buildings around it contribute to the sense of spatial layering from one side to the other. It is not about an individual building as an object, but rather about space and architecture as a device, an organizing structure supporting the life of the inhabitants. People sleep on balconies, windows are mostly open, and the situation is summer and a heat wave. It is the relationships between all these things that make up this environment. Jeff, a professional photographer, is the main protagonist of the film, and we are forced to experience everything through his eyes, from the compressed space of his apartment (the interior of his camera?), through the window (its aperture?). Our work begins here. The camera. The eye. The moving eye. A protagonist. A space. A sequence through IKA’s new location. Recordings. Revelations. Realizations. A space to retreat for a protagonist. A window. A viewing device. All these exercises add up – recording, drawing, designing, building – and synthesize into one spatial matrix. An assembly of planes, walls, stairs, windows and devices confronts the matrix. Fragments pile up in the matrix. This is a testing ground for giving your protagonist a place to exist in the world, a place to extend and move, and above all to negotiate with his/her neighbours. Space is understood as transforming, subject to movement and time. Space is something in-between. Space is made through a series of relationships.

IKA W2017


In the last three years, the CMT studio has conducted studios with a background idea derived from a proposal by Gottfried Semper, where he argued that architecture should be like a garment, WAND-GEWAND: “The terms Wand and Gewand [garment] derive from a single root. They indicate the woven material that formed the wall.� His preoccupation with the once distinguished and now extinguished profession of the wall-fitter, whose skills have migrated to the most disparate cultures, has intrigued us. Such seemingly antiquated, or use-

less, propositions could very quickly become incredibly useful if re-examined and developed with new knowledge and technologies. This semester, the wall-fitter occupies the forefront of the studio. The arrival of many migrants to our shores has simultaneously sparked calls for integration and assimilation. This practice ignores the unfathomable wealth of ideas and skills derived from other cultures, other climates, other economies that they bring with them, especially

Monday / Tuesday / Friday 14.00—–18.00

Design Studio BArch3 Michelle Howard Luciano Parodi

Photo: Michelle Howard

those that at first glance seem useless. What can we learn from studying how to construct and erect a goat hair tent, collect water in the desert, weave a fan from palm fronds or milk a camel? Current studies try to determine which skills, with the advent of a robotic world, will still need to be exercised by human beings. There are even articles warning us not to demand too much remuneration, for fear of speeding up the process of our replacement. Leaving the




obviously terrifying injustices of such proposals aside, it is surprising that little has been written on the value of the seemingly useless. The skills of the architect have experienced transformation on myriad levels in modern times, from their division into “specialisations” and ensuing funnelling towards the digital. This semester, we will explore the fertile ground offered to us by unearthing the skills of the migrant wall-fitter, seeking to interpret and perhaps transform them, and perhaps produce something seemingly useful.

Housing estate in Cardeurs-Vitruve, sector Saint-Blaise, Charonne quarter, Paris, photo: Lisa Schmidt-Colinet, 2017

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Monday / Tuesday / Friday 14.00—–18.00

Design Studio BArch5


Lisa Schmidt-Colinet Daniela Herold



Rooftop community garden, Charonne quarter, Paris, photo: Lisa Schmidt-Colinet, 2017

tions that dominate subsidised housing production today.2 By which means can we reintroduce spaces that bypass such controlled practices? How can planners enable autonomous and self-determined ways of inhabiting space? And do we need massive deregulation? Or do we need to introduce different regulations to create spaces where inhabitants exercise their agency? Further, through which spatial settings is it possible to expand such an idea of “Wohnen” into the surrounding city?

This semester, we will continue to explore the relationship between housing and the city by asking the question: How can housing contribute to the spaces of the city, and vice versa?

To explore the potential of living spaces extended into the city, we relinquish the notion of the housing complex as an enclosed entity. Diluting the structure of the block and assuming a more fluid state of housing and the city, we ask which new spatial correlations will crystallise. Extended into the urban realm, these proposed habitats transgress the spatial conventions of private/housing and public/street. We will work on transitions between the room (as the smallest unit), the street and the neighbourhood. We propose these transitions as an entity in its own right. Thus, the disciplines of architecture and urbanism are understood not as a series of consecutive planning stages, but rather as a common design process. What formats and tools do we need to generate visions for cities and models for living in a vibrant exchange?

The following thoughts and questions will guide our work: The distinction between the German terms “Wohnen” (housing, living) and “Unterbringung” (accommodation), as Joachim Krausse formulates it in his article “Henry David Thoreau – Oder: Ist das Wohnen dem Experiment zu­gäng­ lich? 1, puts forward the quality of housing as space for the individual, free from observation and control. The term “Wohnen” is etymological­ ly connected to terms such as “unbekümmert sein” (being carefree), “zufrieden sein” (being content) and “nicht unwohl sein” (not being uncomforta- 1 Joachim Krausse, Henry David Thoreau – Oder: Ist das Wohnen ble). “Unterbringung”, on the dem Experiment zugänglich?, ARCH+ 218 (2014): 18–19. other hand, describes a controlled environment and an in­- 2 Regulations on subsidised housing production stipulate precisely how much space is allowed for one, two or three persons; they prescribe strument of repression. This the sizes of apartments and how efficient the various spaces have to primary meaning of “Wohnen” be, and even prescribe function, i.e. how we have to use the specifically has lost its predominance, if we tailored rooms. They regulate the sizes of windows, determining how call to mind the regime of the much light is necessary and sufficient in our private environment. standardised floor plan, produced by restrictive regula-

IKA W2017


I am here, and there is nothing to say. (…) What we require is silence; but what silence requires is that I go on talking. Give any one thought a push: it falls down easily; but the pusher and the pushed produce that entertainment called a discussion. (…) All I know about method is that when I am not working I sometimes think I know something, but when I am working, it is quite clear that I know nothing. John Cage, Lecture on Nothing, 1949/50

Where would I go, if I could go, who would I be, if I could be, what would I say, if I had a voice, who says this, saying it’s me? Answer simply, someone answer simply. It’s the same old stranger as ever, for whom alone accusative I exist,

in the pit of my inexistence, of his, of ours, there’s a simple answer. It’s not with thinking he’ll find me, but what is he to do, living and bewildered, yes, living, say what he may. Samuel Beckett, Stories and Texts for Nothing, 1967

My friend, I am thinking about some conversations we’ve had. About radical work. And about the larger picture. A distant world. I think there is no need – and I also don’t want – to teach a subject any longer. Not now. Not here. We talked about Beckett the other day. And all the while, I’ve since realized, we were contemplating Cage. With both of them: So much Nothing. So much! I then grasped that battered little book with the conversations between John

Cage and Daniel Charles, and I coincidentally opened it to where Charles reports a random happening: One day at the University of Paris VIII, Charles’ seminar on the composer Messiaen was accidentally scheduled in the same lecture room concurrently with a seminar on Mao Tse-tung. Two languages were spoken in that room, and it was impossible to understand a thing. Striving for acoustic sovereignty, the historians began to recite their texts collectively. Then the musicians fell in with an improvisation for flutes and chairs, and the event went on for an hour. Addressing Cage, Charles noted that though nobody learned much on Mao or Messiaen that day, the experience had been far from “pedagogical hollowness”. Cage was excited. He saw in this event the first steps

Monday / Tuesday / Friday

Hannes Stiefel




The Non-Tilted Files, Otaku, Josh Müller, 2011


Design Studio MArch

toward implementing Buckminster Fuller’s conception of an Open University: a university without walls, where students can transgress the boundaries of courses however they wish: “That seems to me the real experience of daily life in the most general sense. Just walk around a city! What happens there is similar to those seminars and professors that let us study what we want.” Well, it’s been 33 years since. I came to rest upon your Non-Titled Files and lost myself in Otaku. I read: “Quand on vous donne un sujet c’est plus facile parce que même si vous n’avez rien à dire vous pouvez le dire et vous consa-

crer à la forme, à la manière de le dire. Le sujet vous produit un cadre. Un cadre qui devient un cache.” There won’t be any hideouts. This summer, IKA moves from its 19th century aca­demy spaces to an open-plan office from the 1970s, where a good hundred students will work in one large studioscape – without walls. On the part of the ESC platform, there will be no studio subject beyond the frame given by its name: Ecologies / Surprises / Criti­ cal Environments. And yet I wanted to ask you if you might provide us with Otaku – as a voice from the off, from inside the Non-Titled Files. That’d be awesome! h / Vienna, July 2017

1 John Cage, “Lecture on Nothing” [1949/50], in Silence: Lectures and Writings by John Cage (Middletown, CT: Wesleyan University Press, 1961), 109-26. 2 Samuel Beckett, Stories and Texts for Nothing (New York: Grove Weidenfeld, 1967), 91. 3 John Cage and Daniel Charles, Für Die Vögel: Gespräche mit Daniel Charles (Berlin: Merve-Verlag, 1984), 259. 4 Ibid., 259. 5 Ibid., 259, translation by the author 6 Gaëlle Obiégly, “Le monologue intérieur,” in The Non-Titled Files, ed. Josh Müller, vol. 2 of Müller Josh 1–5, (Vienna, 2014). English translation (by Bruce Benderson): “When you’re given a subject, it’s easier, because even if you have nothing to tell, you can tell it and devote yourself to form, to the way it’s told. The subject creates a framework. A framework that becomes a way to mask out.”


1 The progressive digitization of planning processes has led to a deluge of lists, and to an understanding of planning based on CAD applications that register presumably relevant data in digital libraries and promise informed building models. Is an architectural plan a system of classification? No different from the visualization of a list. The better the lists are managed, the more conclusive the design? And what happens outside the format of the plan? 2 In German, the prefix “ver” before the word “zeichnen” (to draw) lends the word “verzeichnen” diametrically opposed meanings. Thus, the word “verzeichnen” means to enter something in a list, to register something, but also to draw something wrongly or to depict it in such a way that it no longer fully corresponds to reality.1 Perhaps this ambiguity can help to challenge our understanding of lists, to take the word “verzeichnen” literally, and to give the order of things its discursive space.2

3 A fundamental and also fascinating quality of lists is their infinity, according to Umberto Eco. He discusses lists as an intellectual response to the problem of categorisation. This understanding is guided by the epistemological assumption that it has never been possible to rely exclusively on the classification of specific things. In this context, Eco replaces practical lists (footnotes in a scientific paper, a museum’s collection catalogue or a shopping list) with the counter-model of poetic lists: lists that follow arbitrary criteria, lists that can be extended or amended indefinitely.3 An example of such a list is Borges’ classification of animals, which famously features the following taxonomy: “animals are divided into (a) those that belong to the Emperor, (b) embalmed ones, (c) those that are trained, (d) suckling pigs, (e) mermaids, (f) fabulous ones, (g) stray dogs, (h) those that are included in this classification, (i) those that tremble as if they were mad, (j) innumerable ones, (k) those

The Man Who Flew into Space from His Apartment, Ilya Kabakov, 1988, photo: Svenn Sivertssen

IKA W2017

Monday / Tuesday / Friday 14.00—–18.00

Design Studio MArch


Kathrin Aste


drawn with a very fine camel’s hair brush, (l) others, (m) those that have just broken a flower vase, (n) those that resemble flies from a distance.” 4

varied visual formats such as photographs, quotes, pop-ups, pasted-in objects and more, it very vividly registers Warhol’s interacting world. 5

4 A work on the topic of registers that is particularly interesting in terms of methods is Andy Warhol’s Index, published in 1967. The book is much more than index. Consisting of the most

5 The GLC studio explores if and how things can be put into relation to one another through indexes/registers, thus creating a “topos of unspeakability”.

1 2 3 4,6 5

verzeichnen, Wiktionary, Michel Foucault, The Order of Things (New York: Pantheon Books, 1971). Steffen Bogen, review of Die unendliche Liste, by Umberto Eco, Sehepunkte 11 (2011), No. 6. Umberto Eco, The Infinity of Lists (London: MacLehose, 2012). Andy Warhol, Andy Warhol’s Index (New York: Random House, 1967).


IKA, newT, Last makation BKK, May 2017, 1 ton of fibre concrete, robot 7 axes, movie under editing

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Monday / Tuesday / Friday 14.00—–18.00

Design Studio MArch _‘’s/he”_ newT Personal secretaries: François Roche Damjan Minovski



Preamble / The studio invites students to participate in developing a counter-proposal to urban master-planning through 7 axes robots / Arduino open-source electronics platforms / bio-plastic... cutting edge technology. Scenario / In an abandoned street or area of the future city of… a group of citizens, students, workers, the unemployed, LGBT persons, crypto-anarchists, or just tourists coming from the past or the future, are facing a diffuse enemy. Every day, they prepare their defence against any possible aggression, and work continuously on the consolidation and extension of their barricade. The barricade is the origin and the core of the group’s political and aesthetic organization. Nobody remembers clearly when they discovered that they were under threat, nor how this paranoid obsession settled in their minds. At times, they doubt the reasons at the origin of their daily routine… but they have become used to the idea that the artefact the routine produces is the true agenda of their adventure. All of them have agreed to perpetuate this endless task; that is the cement of their small society made of traps and lines of escape. To pursue their everyday routine of city-making, questioning what a city should be, they use computation, robots, procedures, apparatuses… Buckminster Fuller’s Geodesic Domes of the 70s have been bartered for 7 axes robots… References / “The Communards defending their revolutionary Paris against the government forces attacking from Versailles roam about the city like ants in Rimbaud’s poetry and their barricades bustle with activity like anthills. Why would Rimbaud describe the Communards whom he loves and admires as swarming ants? When we look more closely we can see that all of Rimbaud’s poetry is full of insects, particularly the sounds of insects, buzzing, swarming, and teeming. ‘Insect-verse’ is how one reader describes Rimbaud’s poetry, ‘music of the swarm’. The reawakening and reinvention of the senses in the youthful body – the centerpiece of Rimbaud’s poetic world – takes place in the buzzing and the swarming of the flesh. This is a new kind of intelligence, a collective intelligence, a swarm intelligence, that Rimbaud and the Communards anticipated.”1 Trip and workshop / We will go to Bangkok in December 2017 to realize a “barricade production” including scenarios, movies and editing. Students will have to pay the costs of the flight (ca. 500 euros), the hotel (ca. 10 euros/day) and food (ca. 10 euros/day) themselves. Tooling / From New-Territories Extruder PLA / PVA / Bio-Plastic / Bamboo Fibre KUKA robot 7 axes (10kg payload) PVA pellets to be defined for production to scale

1 Michael Hardt and Antonio Negri, Empire (Paris: Exils, 2000).

IKA W2017


16 Seminar BArch3 Moritz Heimrath, Adam Orlinski

AU011.16A Thu bi-weekly 15.00—-18.00

ANALYSIS SIMULATION AND SCRIPTING Architecture is a dynamic discipline that has tended to increasingly merge with others such as mathematics, programming, engineering or fabrication and has the potential to become a more speculative and experimental field encouraging prototypic explorations. Students will explore how new digital approaches to architectural concepts can be developed. The main focus of the course will be on applications that feed on numeric information and create forms through assigned rules. Students will



manoeuvre between top-down (preconception) and bottom-up (generated, manipulated, simulated) operations. They will learn how to analyse different physi­ cal performances (e.g. structural behaviour, or light impact) and simulate self-emerging events in a digital environment by means of parametric models. The digi­tal experiments will result in a series of 3D printed structures that capture the topics of the seminar. The general aim of the course is to understand the performative properties of models in digital space.

Seminar BArch5 Waltraud Paula Indrist

AU011.16, AU011.16A Mon bi-weekly 10.00—-13.00

Visual and verbal means of communication are a vital part of our culture, and the seminar will work with several means and methods. Within this semester’s framework, each student will focus on his/her personal portfolio. We will develop a base of theoretical knowledge and graphic tools to then explore its effects, because a portfolio’s purpose is not only to be a tool to communicate your work and your expertise as precisely and compactly as possible; it represents your personal artistic ideas as well.

Project Lecture BArch1 Daniela Mitterberger

AU011.16A Tue 10.00—-11.30

Software is a tool to outsource our brains, to abstract from and materialize our thoughts. Our discipline requires the capability to learn new ways of articulating spatial and architectural systems using a variety of analytical and generative tools. Digital production, both in 2D and 3D, has become a language to describe and access a multitude of territories of architectural production. The aim of this course is twofold: Students will explore the fundamentals of digital production, ranging from 3D modelling to 2D representation, from NURBS and Mesh modelling to algorithmic design methodologies. Further, students will learn how to establish appropriate workflows between different software to articulate and solve specific design questions.





Seminar BArch3 Werner Skvara

IKA W2017

AU011.16A Thu 9.30—-11.00

The course aims to significantly advance the students’ digital modelling skills. It introduces them to advanced modelling techniques for the development of complex geometries. Focusing on image processing and rendering, it explains relevant principles of human perception and cognition and the implications of abstraction versus photorealism.

Lecture MArch1 Werner Skvara

AU011.16A Fri 9.30—-11.00

The course introduces state-of-the-art modelling applications and ad­vanced animation. It gives students an understanding of simulation techniques, new tracking technologies and fabrication methods. The fluid transition from one software application to another is a central concern.

Seminar MArch3 Dominik Strzelec

AU011.16A Wed 13.00—-14.30

Utilizing images, animation, sound, immersion and augmentation simultaneously certainly allows us to express questions relevant to architecture in unprece­dented ways or, following McLuhan, to envisage entirely new topics and contexts.

Reflecting on the intended audience and desired exposure requires both exploration of publishing strategies for mobile applications, and a balance between precision and accessibility. Is being serious necessarily a contradiction to being fun?


Dominik Strzelec

Architectural discourse is traditionally shaped by drawings and critical writings. What happens if the modes of exchange fuse into interactive new media content?

IKA W2017




Project Lecture BArch1 Peter Bauer

AU011.15A Thu 14.00—-15.30

In these lectures we learn about fundamental structural concepts. We study simple linear elements like beams and cables, and derived structures like frames, truss-works and cable-beams. We investigate actions on these design elements, the materials of which they are made of, and discuss the need of safety-concepts. Further, we will study several digital methods of analysis, improving our command of the Rhino and Grasshopper modelling programs. These tools will be used to examine structural fundamentals by means of parametric modelling.

Lecture MArch1 Michelle Howard

AU011.15 Tue 09.00—-10.30 real contribution to the sustainability of constructions. We will discuss the practical, technical, historical, cultural and social factors that formed the eventual form and standardisation of constructions and their relevance today. Which factors could determine the future of today’s use of materials and building systems?

Gottfried Semper, The Four Elements of Architecture

In these lectures and the ensuing experiments, we explore how constructions and technologies are influenced by the materials that constitute them. We examine works of architecture, ancient, modern and contemporary, and discuss the ideas that enriched their construction and determined their materials. In the case of some materials, we have not even skimmed the construction possibilities inherent in them. Sometimes our understanding of their technology is still limited, or perhaps their supports still take precedence. We will explore how shaping and forming influences the shape and form of our constructions, and how the resulting need for less material can make a


Project Lecture BArch3 Jochen Käferhaus

AU011.15 Fri 09.00—-10.30

ADVANCED INTRODUCTION TO CONSTRUCTION MATERIAL TECHNOLOGY The Shaping of Construction and Technology by Materials In ancient and modern times, the store of architectural forms has often been portrayed as conditioned by and arising from the material. Yet by regarding construction as the essence of architecture we, while believing to liberate it from false accessories, have thus placed it in fetters.


Building physics – often considered a dry course by architects – is a fascinating scientific investigation into how materials transfer heat, air, noise and light. The lectures explain how to protect against humidity, heat loss, unwanted noise and, importantly, against fire in a building. Every architect should have basic knowledge of a building’s physics in order to create them and to treat their inevitable deterioration.



IKA W2017

Project Lecture BArch3 Jochen Käferhaus

AU011.15 Fri 10.30—-12.00

The quality of a building is determined, not only by its design, but also by its services. They supply the building with fundamental resources such as water, air, or

electricity and help to dispose of a building’s waste. They are an integral part of the architectural planning process. In order to achieve a useful, functioning and sustainable building, services need to be considered in the design process from the very beginning. Knowledge of both recent technological devel-

opments and tried and true older systems is vital in order to evaluate the best system for the given task. Only in this way can low investment and running costs of buildings be achieved – an aspect that nowadays is more important than ever in the design process.


Seminar BArch5 Jochen Käferhaus

AU011.15 Fri 12.00—-13.30





Building services are an integral part of sustainable buildings. These discussions deepen students’ knowledge of intelligent housing services and electronic systems. They demonstrate how one can increase comfort in a building while reducing the consumption of energy and material. The seminar will focus on smart planning strategies for office buildings and low energy consumption buildings and will discuss different kinds of ventilation systems as well as the latest developments in the field of integrated housing services.

Project Lecture BArch3 Franz Sam

AU011.15A Wed 16.00—-17.30

This course deals with interior finishes, building envelopes and technologies. Through the analysis of architectural precedents, students learn to develop a culture of detailing and obtain an understanding of the logic of technical problems. By exploring basic architectural elements students learn about the interdisciplinarity of architecture, a skill essential for the implementation of an architectural idea.

Seminar MArch3 Thomas Schwed

AU011.15 Thu 10.00—-11.30

The lecture introduces professional and legal topics relevant to the practice of architecture with a focus on the construction phase. We will analyse the complex process of the implementation of a building including the detailed planning of construction work, construction supervision, and the project management of the con-

struction phase. We will investigate the process of construction work by means of concrete examples and site visits. Furthermore, we will discuss the objectives of a building phase, building laws and regulations, building standards and building calculations in relation to the design process.

IKA W2017


20 Seminar MArch3 Kathrin Aste

AU011.15 Tue bi-weekly 11.00—-13.30

Observing – Absorbing – Composing Part III: Composing Each sensory organ has a limited range of perception. With the support of suitable apparatus and instruments, it is possible to exceed these limits. This in turn opens up new perspectives and insights that were previously not detected. This new perceptual space can appear like a hallucination and expand our imagination. Part I “Observing” was concerned with the sensitization of perception by observation. Part II “Absorbing” detected hidden qualities of objects and spaces through a variety of illustrations produced by various repurposed technical instruments. Techniques and ways of observing and absorbing were analysed and collected in a small catalogue. Based on this catalogue, Part III “Composing” attempts to extend this study of visual perception by means of digital image processing methods and to complete the catalogue.


AU011.15A Fri 12.00—-13.30

This lecture course introduces the subject of time in architecture with regard to the design, life and use of buildings. Time is discussed in terms of a building’s relationship to its environment, climate, site, and program. Why do some buildings last and what does it mean for a building to be “robust” or “resilient”? We have almost always considered buildings to be permanent while maintenance and adaptability have become crucial issues in order to preserve them. Should we design buildings for their future lives or an orchestrated death? A building is a complex endeavor and an architect should invest energy in seeking the essential problem that he or she seeks to solve. Buildings, important examples past and present, so called successes and failures, existing and extant, will be discussed theoretically and practically in order to build up a more complete picture of the factor of time at all stages of planning, constructing, inhabiting and maintaining.

Magnifier glasses, Blerim Kurtish, 2017


Project Lecture BArch1 Christina Condak



Lecture BArch5 Golmar Kempinger-Khatibi

AU011.15A Thu 12.30—-14.00 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.

Juhani Pallasmaa

The lecture courses Conservation 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


Lecture MArch1 Peter Leeb

AU011.15A Thu bi-weekly 16.00—-19.00

Ecology, Sustainability, and Conservation are an important part of a humanistic groundwork of architecture and this course presents issues currently debated in the field. It introduces contem­ porary lines of thought to issues such as, nature, energy, mobility, economics, community, food, material, construction, life style, resilient practices and cultural heritage. Their influence on architecture, in theory as well as in practice, will be subject to critical

reflection. Strategies of adaptation and mitigation will be discussed and supported by references to current conceptualised and built examples, publications and case studies. The course provides the students with a deeper understanding of our systemic predicament and suggests methodologies for detecting such interrelated problems. It also provides a means of evaluation of this complexity, and indicates future potentials.

Lecture BArch3 Hannes Stiefel

AU011.15A Tue 11.00—-12.30

CONSERVATION I Forever Young? “Buildings and towns enable us to structure, understand, and remember the shapeless flow of reality and, ultimately, to recognize and remember who we are. Architecture enables us to place ourselves in the continuum of culture.”


ESC Sky, Burgenland 2017, photo: Hannes Stiefel

IKA W2017


Ecology is about the interplay and the reciprocities of all organisms and their environments – in which architectural culture is dynamically embedded. Thus, the topic of ecology generally determines the coordinates of architectural design and its genealogy. This course discusses the subject from A-Z, from “air” and “atmosphere” to “zone” and “zoology” in an essay format. It seeks to guide towards a broader understanding of the complex environmental function of architecture and subsequently towards an architectural practice of multidirectional ecological awareness.

IKA W2017




Lecture MArch1 Andrea Börner

AU011.15 Wed bi-weekly 11.00–14.00

Cities as Urban Laboratories between Research, Intervention and Utopia The city will be considered as an epistemological system in which the interweaving of social, cultural and political paradigms are given an indicative function. We will analyse the evolution of specifically selected cities, read them as symptoms of urban concepts and discuss the influence of fields such as Sociology, Media Theory, Post-Colonialism or Critical Geography, which form an inherent part of current urban debates. Alongside the central terms of urban theory of the 20th century, key discourses of contemporary debates in Urbanism will be examined in relation to new methodological approaches to research, analysis and design. Facing a situation where no hegemonial method in Urbanism can be detected, the lectures will focus on concepts that help us understand the complex urban realities and discuss possible strategies of intervention.

Seminar MArch3 Gabu Heindl

AU011.15 Thu bi-weekly 16.00—-19.00

cluding projects of deviant usages and aesthetics of resistance.

porary short films. We will base our discussions on close readings of seminal texts by authors such as Pier Vittorio Aureli, Susan Fainstein, Silvia Federici, David Harvey, Henri Lefebvre, Manfredo Tafuri, Sharon Zukin etc.

CITIES, GROWTH, POLITICS AND POWER The Post-Political City The seminar focuses on the relationship between cities and power: Who is and has been making cities? What are the crucial aspects of today’s uneven development and injustice in urbanization? And what planning tools are there to resist it? How is architecture confronted and involved with strategies of surveillance, exclusion and gentrification? Through the lens of the concept of the post-political city, we will engage with issues of spatial justice, with urban spaces of conflict, with historical and contemporary sites of negotiations among different parties claiming access to space. This involves discussing practices and politics of “city-making” that are non-hegemonic, in-

As an audiovisual impetus for the reflection on city politics and power structures, some seminar sessions will be kicked off by screenings of historical or contem-



Lecture BArch5 Heidi Pretterhofer

AU011.16 Thu bi-weekly 16.00—-19.00

The Rise and Decline of Urbanism as an Agenda in Architecture

and relating to discursive shifts in arts and philosophy. Urban space is considered as an epistemological set, in which the interweaving of social and political paradigms is given an indicative function.

The lectures will address the emergence of Urbanism as a science and discourse. It will focus on the role of the architect as one actor in this discipline, which was historically contested. Crucial will be the shift from scientific and functionalist approaches in Modernism towards a critique of modernist Urbanism (and specific forms of utopias and dystopias) – coming from within the discipline


The course aims at providing tools to understand and analyse the discursive formations within the history of Urbanism. It will include discussions from fields like Sociology, Media Theory, Philosophy or Critical Geography, which in turn have been crucial for the current debates within Urbanism.

Project Lecture BArch1 Lisa Schmidt-Colinet

AU011.15A Fri 10.00—-11.30

“Built environments have lives of their own: they grow, renew themselves, and endure for millennia. Conservation may serve to freeze works of art in time, resisting time’s effect. But the living en­ vironment can persist only through change and adaptation.”

and grain of urban fabrics. We will study the city in relation to its environment and surrounding territories. How were boundaries defined in different eras? How does their definition change when physical and visible borders are dissolving? The view from a distance, discovering the fabric of cities, is as important as perceiving it by moving through them. Discussing historical and contemporary examples of city analysis, the course offers students tools for the analysis and representation of spatial elements of the city and their performance. Sessions of directed “fieldwork” will serve to apply this knowledge.

John Habraken, The Structure of the Ordinary: Form and Control in the Built Environment. Jonathan Teicher (edit.), MIT Press 2000

Panorama of the City of New York, Queens Museum of Art, photo: Chris Denvers, 2012, CC BY-NCND 2.0

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How and by which means did cities take their shape, and how are they continuously changing? The lecture explores urban form as a product of the complex interactions of consolidating forces and conditions. It investigates cities on a morphological and physiological level, explaining their development and the process of constant transformation, their different organizational layers, and the scale

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Lecture BArch3 Luciano Parodi


Vestiges of Ideas and Material Reflections

AU011.15 Thu 13.00—-14.30

The course surveys the history of construction technology, highlighting the reciprocal relationship between cultural development and technological innovation, and their respective impact on architecture. We will take as our point of departure the construction and education drawings in the Analitique from 18th century Central Europe. These complex plans were considered models for the planning and production of buildings, infrastructures and machines. However, they actually contain almost no written instructions, and important information concerning construction has been veiled or neglected. Further on, the lecture will expand into the history of the use of a series of exemplary materials (glass, wood, metal, plastic etc.) and production techniques (solid, layered etc.) in architecture. Looking closely at constructed details, we will question, assemble and display potential knowledge, history and ideas beyond their materiality, thus developing a speculative genealogy.


Project Lecture BArch5 August Sarnitz

AU011.15 Wed 14.00—-15.30

Historiography is discussed as a differentiated notation of historical realities and developments. Institutions, theories, and authors are presented within their social-economical-cultural context as a basis for an architectural discourse and the various contexts for architectural development will be discussed.

Wartehäuschen - Schubertring, Florian Hofer, 2016






Project Lecture BArch5 August Sarnitz

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AU011.15 Wed 15.45—-17.15

This course discusses how architectural theory is related to the production of the built environment. Different theories – mainly of the 19th and 20th century – will be discussed and put into relation with discussions which will take place concurrently in the HTC studio to which the course is linked.

Lecture MArch1 August Sarnitz

AU011.15 Wed bi-weekly 10.00—-13.00

Paul Feyerabend’s critical positivism offers a differentiated reflection on relevant architectural topics. Taking up his school of thought, we will re-evaluate positions by means of reading, analysing, and discussing a wide range of 20th century architects and their theories: Adolf Loos, Mies van der Rohe, Robert Venturi, Peter Eisenman, Aldo Rossi, Frank Gehry, and Bernard Tschumi among others.

Project Lecture Barch1 Angelika Schnell

AU011.15A Wed 10.30—-12.00

These lectures provide a basic introduction to the history of architecture and in so doing expose the many paths, ideas, projects, theories and inventions of modernism. They avoid a rigid chrono­ logical order to better discuss the evolution of building styles and discourses.

Starting in the 17th century with the notorious “Querelles des anciens et des modernes” in Paris the lectures will travel through the centuries from ancient Egypt, Greece, and Rome via the architecture of the Enlightenment and Romanticism until the late 19th century. These journeys will consistently follow the theoretical paths of “pre-modern” architecture. Hence, the lectures will also discuss the term modernism itself and its career in architectural his­ tory, architects’ struggle for the correct interpretation of ancient archi­tecture and its language, the notion of history itself, autonomy, the Picturesque, polychromy and histori­ cism, the first social uto­pias and the beginning of the modern issues of functionalism and rationalism.

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26 Seminar BArch3 Irene Zavarsky

AU011.15 Mon 10.00–13.00 (Block)

Presentation Technique: Find Your Style Find your style, master your presentation! We will focus on techniques and methods to improve our presentation style, and maybe even find a way to enjoy presenting and defending ideas in front of others. We will use examples from your own practice and real presentations to experiment with different techniques. The aim is to find tools for everybody that help shape your individual approach to a presentation.



Seminar MArch4 Antje Lehn

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 proposal. As the final synthesis of the graduation project, students submit the thesis documentation in the form of a book, putting forward their thesis. It presents their hypotheses and methodology, includes research material, the process of production, and documentation of the final thesis project.

AU011.16 Wed 10.00—-11.30



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Seminar MArch3 Wolfgang Tschapeller

AU011.16 Mon 18.15—-21.15 (Block)

The Thesis Proseminar offers seminars and guidance to independent student research which should result in the comprehensive development of their thesis proposal. The course provides general instruction in the definition, programming, and development of a thesis project. Students will prepare their thesis proposal 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 Proseminar will provide the necessary materials for the subsequent semester’s design experimentation, 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 BArch + MArch Ludwig Löckinger

AUU1SR01.12.20 Tue bi-weekly 10.00—-13.00


Techniques of Analogue Photographic Equipment, Digital Photography and Video This is an introductory course on photographic image-making and video. Students will be familiarised with fundamental concepts and techniques of analogue photographic equipment, digital photography and video. Topics include understanding and use of the camera, lenses, light meters, lights and other basic photographic and video equipment. Through a series of exercises, students will learn creative and practical skills. It will be a class about translating one’s vision into images.

Model: Anna Valentiny, photo: Ludwig Löckinger, 2016


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DOCTORAL STUDIES Architecture, as a discipline situated between the Arts and Sciences, finds itself in a unique position. Even if classified as scientific program of study by statute, the design process and therefore creative-artistic thinking forms the core of its education, thus architecture cannot be understood solely as an applied science. Architecture cannot be considered as a purely artistic discipline either since its practice involves a wide range of scientific aspects that require a rationalanalytic and/or interpretive approach. These aspects are prerequisites to, as much as immanent societal obli­gations of the discipline. Making research visible by means of a PhD program at the IKA emphasises the particular position of the discipline. This has given rise to a distinctive, highly original, concept of research which allows for both strict scientific research formats – i.e. within the field of architectural history or material technology – and artistic research at the intersection of design practice. Consequently, Doctoral theses may include and focus on theoretical, historical, technical as well social themes. Additionally, Design based research equally qualifies as a research path. The IKA has offered a doctorate study program in architecture (Dr. Techn.) since 2011 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. Further information on the program: school/admission/ Dr_techn For queries concerning the programme, please contact:

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Current Dr. Techn. Candidates at IKA 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) 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 A Study of Natural Lighting in Interior Spaces as a Human-Space Interaction Stimulus (supervisor: Michelle Howard) ESTHER LORENZ The Corporeal City (supervisor: Angelika Schnell) MAHSA MALEKAZARI Dancing to the Tune of Light. An investi­ gation into ascertaining discrete visual conditions through the active behaviour of the occupants (supervisor: Michelle Howard) SEMIR POTURAK Existential Phenomenology of Security in Architectural Space (visiting student super­vised by Michelle Howard) ACHIM REESE Architektur nach dem Subjekt­verlust. Zum Verhältnis zwischen Mensch und Architek­ t ur bei Charles W. Moore und O.M. Ungers am Beispiel ihrer Konzepte zum “Haus im Haus“ (supervisor: Angelika Schnell)

HOLGER SCHURK ProjektohneForm.DieÜber­blen­dungvon Abstraktion und Repräsentation bei OMA/Rem Koolhaas im Jahr 1989 (super­visor: Angelika Schnell) EVA SOMMEREGGER Ways in which to draw where you can be? Re-enacting Drawings of Loco­ motion (supervisors: Angelika Schnell, Nic Clear) 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 )



Room AU011.15A

FLASHBACK 1993–2050

_”s/he”_newt, François Roche

16 OCT 19.00

FRANÇOIS ROCHE IKA Visiting Professor 2017/18 personal secretary of s/he

…Experimental architecture has shifted toward a new corpus of instrumentations, made out of tools, computation, mechanization, as well as of fictions and lines of subjectivity, synchronous with our symptoms of fears and fantasies of escape from the here and now. The purpose of this 1993-2050 flashback is to explore correlations and interdependencies between attitudes and the forms they underpin. It is to discover a post-digital, posthuman, post-activist, post-demo­ cratic, post-feminist world … a queer, androgynous, carnal, dis­turbing, disenchanted, porno­ graphic, transient, transactional world … where scenarios, mechanisms, misunderstandings, and psychological and physiological fragments are what make up walls and ceilings, cellars and attics … schizoid and paranoid, between the lines of operative and critical fictions … the androgynous folds and recesses behind which … he/she/they … hide(s), trigger(s) confusion and gut reactions, hostilities, fantasized idealization, and


even premeditated oblivion. We must use paradoxical postures and aesthetic mechanisms to highlight bio-political challenges, the potentials and disorders of contemporary technologies, from their early stages to their merchandising, and suspect them of not being so harmless, beyond conventional discourses and self-conscious aesthetics … S/He consider architectural identity as emanating from uncertainty principles, defined through provisional processes and forms in which animism, vitalism and mechanism become vectors of dynamic mutations. S/He critically


engage contemporary technology in experiments, alchemically mixing Eros and Thanatos to develop deliberately ambiguous scenarios that fuse realities that would seem immiscible. Her/His synthetic devices work out possibilities somewhere between attractions and aversions, mixing obstacles and possibilities, waste material and efflorescence, threats and protections, mechanical powers and natural forces. Here everything is intertwined and knotted, in the process of becoming, in a movement of becoming. “Let yourself slip through their work and feel its silky and strange texture as it terrifies and caresses you.”



Kick off / semester start & Welcome evening



Diploma week

9–13 October

Strategies of Digital Disobedience “S/He would rather do Fiction Maker”

16 October

Diploma week

13–17 November

Midterm reviews

13—14 November 2018

Final reviews

22—23 January

Diploma week

22—26 January

Open days

25—28 January

For general inquiries please contact: Academy of Fine Arts Vienna

IKA spaces: Admin: 1st floor, core A

Temporary premises of IKA: Augasse 2–6 1090 Vienna

Studios, seminar & lecture rooms, computer lab: 1st floor, core N

Office: R1.3.11, 1st floor, core A Gabriele Mayer, +43 (1) 58816-5102 Ulrike Auer, +43 (1) 58816-5101

Media lab: basement floor (UG) 1, core B

Doctoral students’ room: 1st floor, core C

Model workshop: basement floor (UG) 2, core A

Institute for Art and Architecture Academy of Fine Arts Vienna Winter 2017 Editor: Julia Wieger Design: grafisches Büro

IKA PREVIEW Winter 2017  

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

IKA PREVIEW Winter 2017  

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