IKAS 2 P U 0R M2E M1 V E I R E W INSTITUT FÜR KUNST UND ARCHITEKTUR
INSTITUTE FOR ART AND ARCHITECTURE
ADP ANALOGUE DIGITAL PRODUCTION CMT CONSTRUCTION MATERIAL TECHNOLOGY ESC ECOLOGY SUSTAINABILITY CULTURAL HERITAGE HTC HISTORY THEORY CRITICISM
Photo: Christina Ehrmann, 2020
GLC GEOGRAPHY LANDSCAPES CITIES
Design Studios Bachelor
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Phantasmography 10 SMASHUP TOO
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Space_Being 4-handed, 2017. Photo from: INTRA, INTRA, Jauernik/Tschapeller
IKA S2021 4
Monday / Tuesday / Friday 14.00–18.00
Design Studio BArch2 Wolfgang Tschapeller Damjan Minovski
ADP ANALOGUE DIGITAL PRODUCTION
These thoughts are about Space-Beings1, about beings neither anchored in Vitruvian confinements, nor in symmetries, nor in anthropomorphic proportions. They are shape-shifters. Their limbs do not fit into cubes measuring 220 cm, and their feelings – if any – are not at a height of 250 cm. Instead, their limbs are endless. Arms like those of Marvel’s Super Avenger successor, young Kamala Khan, equipped with shape-shifting abilities, stretching out 35,786 km to the Clarke Belt, an area where the atmosphere has thinned out completely and merges with interplanetary space. Here, the Space-Being’s ears and eyes rotate in geostationary orbits, in perfect harmony, synchronized precisely with the spin of the Earth. This is the size of the house, and the size of the Space-Being today and in the future. 37,386 km plus 12,724 km plus 37,386 km, thus 87,496 km in total is the height of the figure’s whole body. Once crouched between the “Introduction” and the “Classification of Temples” in Vitruvius’s Ten Books on Architecture, the figure has expanded enormously. So much that the proportion of the face – once “from the chin to the top of the forehead and the lowest roots of the hair, a tenth part of the whole body height”2 – is now a 397,709,090th part of the total body height. Such is the size of the Space-Beings. And such is the size of architecture: 87,496 km on average. Imagine a drawing of the Modulor showing the well-known contours of an upright male body with a somewhat clumsy and disproportionate arm reaching up not 220 cm but 37,386 km, right into the Clarke Belt. And imagine what that means for Spaceship Earth3, imagine what it means for “macro-comprehensive and micro-incisive”4. Then there is virtual space and physical space. Space-Beings are both Space and Being, and they are both virtual and physical, as if it were a metaphysical condition. In the late 1970s in Vienna, Arnold Keyserling , himself a metaphysician, practiced a method of analysis called “Rückführung”, which is remotely comparable to psychoanalysis6. Typically, the analysand has to imagine certain situations, such as standing before their own front door and looking through their own eyes as if looking through a camera, to map this very familiar surface in detail. And yes, everyone is able to map certain portions of their front door. Certain portions, yes, sometimes more and sometimes less, but never all, and doubt arises … and exactly here, at these points of doubt, invention – that is, design – takes over. After one such session, Keyserling himself spoke of “incredibly beautiful beings who produced by every movement of their hands a geometrical piece of art.”7
1 Space-Being is a term introduced by Vera Bühlmann on the back cover of INTRA! INTRA!: Towards an INTRA SPACE, Christina Jauernik, Wolfgang Tschapeller, Sternberg Press, Berlin 2021. Much of this article is written in reaction to Vera Bühlmann’s Space-Beings. 2 Frank Granger (ed.): Vitruvius on Architecture, 2 volumes, edited from the Harleian Manuscript 2676, Harvard University Press, Cambridge 1931, pp. 158-161 3 Richard Buckminster Fuller: Operating Manual for Spaceship Earth, Southern Illinois University Press, Chicago 1969 4 Ibid. 5 Arnold Keyserling (1922-2005) was a religion scholar and metaphysician. He was a student of Georges I. Gurdjieff, Josef Matthias Hauer and Yogi Maharishi, and taught at the University of Applied Arts in Vienna. 6 More precisely, “Rückführung” is a method relating to the practices of Stanislav Grof and the rituals of American Indigenous tribes performed in order to communicate with their existences before birth. Arnold Keyserling: Der Traum vom Paradies, IV. Inkarnationserinnerungen, Der Weg der Rückführung, source: https://schuledesrades.org/ (17/01/2021) 7 Ibid.
A Building?? – You’re kidding, right? Elephant in the room
Just what is it that makes the imagination of a building today so different, apparently so unappealing?
Let’s look at the subject from the end for once, from the “end of studies”. For many members of the IKA community, this end – by its very nature also a beginning – is the thesis project of the IKA Master’s Programme in Architecture.
Free adaption of a Richard Hamilton collage title: Just what is it that makes today’s homes so different, so appealing? (1956)
Over the past three years, 14 out of 44 master thesis projects at IKA focused, in one way or another, on the design of a (terrestrial) building, or buildings. In this period, the number of building designs gradually decreased from year to year. (The term “building” is used here in its broadest sense). In 2020 twelve master thesis projects qualified for the IKA’s internal nomination procedure for the prizes of the Academy. None of them were projects that investigated the potential functions of a building in contemporary societies and actual environments, or in nearby futures, in terms of design. The eligible projects didn’t include any plans for architectural structures or constructions that would have expressed, by all the available means of architectural conception and representation, their authors’ true desire to realize these plans in the actual physical world. Hence, the elaboration of building proposals presently does not seem to be of overwhelming interest to a majority of IKA students when facing their final project in architectural studies. This is remarkable. It needs to be acknowledged and considered. And yet, it would be worthwhile – for students and faculty – to thoroughly explore what it is that constitutes this phenomenon, and to draw conclusions from the resulting findings.
Monday / Tuesday / Friday 14.00–18.00
Design Studio BArch4 Hannes Stiefel N. N.
ECOLOGY SUSTAINABILITY CULTURAL HERITAGE
In 2019 alone, 27,681 new buildings were erected in Austria.1 It’s evident that not all of these buildings can be considered works of architecture per se. And yet, all of them, as we know, have a tremendous impact on their manifold environments. While under the current regime of extreme climates, all of us in the field of architecture finally have the chance (or, to put it bluntly, are forced) to become aware of the relational nature of all objects, subjects and spaces, grown and constructed, questions of buildings obtain new significance. Such questions do not focus on buildings as functional objects, but rather on their complex function in interplay with their environments (Umwelten). The environmental function of architecture needs to be addressed, investigated, studied and reformulated by design – today more than ever. And what, if not an anticipated future building structure, operating in specifically complex critical environments, is practically predestined to serve as a model for such research by design? In the fields of academic architectural studies, arts-based research in architecture and experimental architectural practice, the idea of a model is constantly pushed to its limits. A model (from the Latin modulus = measure) is by definition a measuring device, a plumbing tool, a mediating structure, a research instrument. And architecture, through building, is capable of testing, observing and further developing these models in full scale in particular physical realms and specific societal and environmental contexts. That’s why we so urgently need more buildings whose conceptions are rooted in the above-mentioned fields of architecture. Consequently, an experimental building practice must finally be recognized and fostered as an environmental research practice – also and especially by and within the relevant academic institutions. 1 Source: Statistics Austria (www.statistik.at/web_de/statistiken/ menschen_und_gesellschaft/wohnen/ wohnungs_und_gebaeudeerrichtung/ fertigstellungen/026021.html)
IKA is the Institute of Art and Architecture. And the highest art of architecture is the art of building: building as applied art-based environmental research practice. It is worth striving for, constantly and continuously.
High Angle View Of People On Street, 2018. Photo: Orion Alija/iStock
IKA S2021 8
Monday / Tuesday / Friday 14.00–18.00
Design Studio BArch6
Christina Condak Daniela Herold
Today, we know that the task of the architect is to work as much as possible with existing conditions and to find the capacity and potential of any site, landscape or building. The desire is to intensify all possible interrelations between the environment, nature, the built fabric and living beings in meaningful and holistic ways. As we continue to be confronted with accelerated urban growth, and all that this entails, we ask: how can urban and suburban areas be “retrofitted” for sustainable, inclusive public life? And how can our communal spaces be prepared for what is to come, for the unknown? To the term Ecological Urbanism, we add Renovative Urbanism. We are looking for an urban framework, a strategy for the future that confronts growth/change and all that involves public life. Our living urbanity, in the best sense, is at risk without repositioning. Life on the ground, our mobility and freedom before, during and soon after this current pandemic, has changed and revealed the fragility of our sociopolitical and ecological systems. It has also further revealed the importance of open, indeterminate spaces in the city. It was not that long ago that the raised ground of modernism promised to give a platform to its citizens by separating harmful urban functions to create safer, conflict-free environments. And yet, with all the good intentions of modernism – and, as Jane Jacobs has pointed out, its failures – the separation of functions at the city level has inadvertently led to the shrinking of the human scale, sterilizing urban streets and reducing everyday human contact. This is true of American cities as well as European cities. Our upcoming site investigations will explore themes of the ground (and ground levels) at various scales. The ground is the material connector where people, plants, animals and buildings meet. How do we meet the ground? The projects will probe territories – fragmented sites, neighbourhoods, suburban conditions,
GLC GEOGRAPHY LANDSCAPES CITIES
leftovers, reserves of urban space and infrastructures – to find weaknesses and potentials for the liberation of the ground, connectivity, restoration and the creation of a public sphere that extends horizontally, inside and outside. Interpretations and the subtle restructuring of a territory through our ensuing definitions of sustainability allow us to focus – and ask what this means for us now, in 2021, and for the next 100 years. The street, the sidewalk, the ground floor, das erdgeschoss, das mezzanin, the basement, the base, the foundations – all of these elements and materials are part of this thick ground for investigation. In the field of landscape urbanism, at a larger scale, the ground is referred to as the “urban surface”, the “connective tissue”, “terra fluxus”, the “constructed ground”, the “living mat”, the “field”, the “synthetic surface” or a “drossscape”. These terms imply movement, time and a process of transformation. This ground includes architecture, the city, the landscape, open space and nature in continuity and as one interrelated living “surface”. *Groundswell – a growth of a strong feeling among a large group of people – a long, deep wave in the sea, sometimes caused by distant winds – a broad, deep undulation of the ocean caused by a distant disturbance
Monday / Tuesday / Friday 14.00—18.00
Design Studio MArch
ADP ANALOGUE DIGITAL PRODUCTION
Spirits, spectres, ghosts and phantoms have come to play a central role in contemporary discourse and imagination. This may in part be explained by the new unfamiliarity and uncanniness of nature, by rapid technological developments, and by political, economic and cultural constructions that often transcend the realm of the rational. The logics of global financial markets, recent scientific discoveries and man-made “natural” disasters similarly challenge Western rationalism and its clear distinction between nature and culture, humans and non-humans, active and passive matter, secular and non-secular, the real and the imaginary.
Theater of Combustion (Sumqayıt), Michael Hirschbichler, Lukas Raeber, 2017
In order to engage with contemporary spaces and landscapes that are characterized by the erosion of such established categories, we want to develop the approach of a “phantasmography”.1 Phantoms and phantasms have always been situated in between the clear-cut areas of space and thought, and thus offer powerful concepts to rethink our complex reality from a different vantage point. Understood in a very general sense, phantoms and phantasms are invisible or hard-to-grasp agents – real or imaginary – that nonetheless shape our material world. They can be formerly existing persons or species, very small or very big things or beings, mental images and sociocultural narratives, neglected pasts and imagined futures (of progress or ruination?), hopes, dreams and fears. The practice of “phantasmography”, as we envision it, is concerned with tracing and uncovering the phantoms and phantasms that we need to better understand and design the present. In order to do so, we will combine methods and techniques from architecture, art and anthropology. Employing a multisensory set of media and various forms of writing and drawing, we will investigate concrete places in and around Vienna in fieldwork. In the summer semester we will thereby focus on spaces of extraction – on places and landscapes that are defined by acts of removal: of resources, of former structures, habitats or inhabitants, of planned futures or forgotten histories. This investigation necessarily has a speculative dimension and therefore depends on interpretation and invention. Moving between research and design, modern and non-modern perspectives, and facts and fictions, we aim to develop strong experimental projects that curiously engage with the environment around us. 1 Building upon, but largely diverging from: Robert Desjarlais, “Phantasmography”, in American Anthropologist 118 (2), pp. 400-407
Monday / Tuesday / Friday
Füchsel baldachin in Vienna’s St. Stephen’s Cathedral, SMASHUP studio winter 2020. Anna-Elina Pieber
Design Studio MArch
Michelle Howard Luciano Parodi
CONSTRUCTION MATERIAL TECHNOLOGY
SMASHUP TOO is the second part of a yearlong project that seeks to unearth what architecture has ceased to offer: the savageness, changefulness, naturalism, grotesqueness, rigidity and redundancy1 of the Gothic cathedral, and with it a more Thus, though savage, changeful, naturalistic, groconnected approach to our critically tesque, rigid and redundant, Gothic cathedrals were endangered environment. also inherently sustainable and intimately connected Too often, when something has to the place in which they dwelled. Indeed, the Gothic ceased to function in line with our cathedrals of the Middle Ages were usually scaled to expectations, whether it is a smart- house every citizen of the town and, contrary to sucphone or a shopping mall, it is dis- ceeding superlative edifices, they were erected by an carded rather than renovated. Even ambitious citizenry rather than the reigning monarch or the greatest works of architecture ruling party. In this respect, they not only represented have fallen prey to this tendency, a shared ambition and civic pride, but also a dwelling and the multitude of ruins above within which all could shelter. and beneath the earth attest to In the Middle Ages, when the average life expectancy our aversion to repair. was 43 years and the whole town could be wiped out by But this was not always so. a fire or an invading (Gothic) horde in a matter of days, To start from scratch on virgin the building of a cathedral represented an extraordinary ground would have seemed a collective ambition. Now more than ever, such collective strange and curious undertak- ambition is needed if we are to enable the Earth to remain ing in the Middle Ages. Existing a good dwelling.2 church buildings would have RIGIDITY/SMASHUP TOO perceives all entities as provided not only a connection to the ideas and building tech- elastic, exchanging mutual influences and energies, and niques of their forebears, but exerting attractive powers. also valuable building materiCHANGEFULNESS/SMASHUP TOO supercharges als and good, solid foundations. Even an awe-inspiring arguments to bounce against taste, preconceived ideas, addition would never have prejudice and laissez-faire politics. been considered as having 1 These were the terms NATURALISM/SMASHUP TOO is not that, in 1852, John Ruskin “finished” a building, but rather as part of an ongoing aggressive or threatening; it confronts strong used to lovingly describe propositions with one another and asks them The Nature of Gothic process of maintenance. Architecture in the second not only to coexist but to improve. volume of three of The SAVAGENESS/SMASHUP TOO is antifragile.3 GROTESQUENESS/SMASHUP TOO wears the badge of imperfection with pride. REDUNDANCE/SMASHUP TOO is a dialogue between balance and awareness, flying buttresses, custom-made tools and stereotomy …
Stones of Venice, entitled The Sea Stories, published between 1851 and 1853, Smith, Elder & Co., London. 2 To paraphrase Bruno Taut: Die Erde eine gute Wohnung, in: Die Volkswohnung. Zeitschrift für Wohnungsbau und Siedlungswesen 1, no. 4, 1919, p. 45–48. 3 Term coined by Nassim Taleb: Antifragile. Things that gain from disorder, Penguin Random House Trade, 2014.
If we rehearse producing the affect “joy”, will we generate “paradise”? A question, too naive, absurd and lofty to be contemplated as an applicable strategy for place-making. However, affect as a constituent material agent has been studied extensively in philosophy and critical theory and is one of the central concerns of New Materialism (Spinoza 1992; Bergson 1998; Deleuze 1988, 1992; Massumi 2002; Brennan 2004; Thrift 2007; De Landa 2006; Braidotti 2013).
While theories of affect have become an integral part of today’s discourse in art, (Bishop 2012; Ranciére 2009), the ethical and spatial implications involved in the application of a post-human ontology through the production of affect have not been sufficiently exploited yet through architectural practice. In the wake of current global challenges, how do we engage in the production of space? What is the role of contemporary architects – is s/he a social reformer, environmentalist, artist,
Monday / Tuesday / Wednesday 9.00–14.00
Design Studio MArch Margit Brünner
Photo: Margit Brünner
inventor, builder, acrobat, politician, entertainer, civilian, poet, alchemist or all at once? While the scientific world has long been confronting us with a fundamental participatory reality, it still comes as a shock to most perceptive faculties long conditioned by Aristotelian logic, Euclidian geometry, and Newton’s mechanical universe. We could accept the invitation to move beyond the mind’s persistent dream of being all by itself and make ourselves available to more cosmic bandwidths.
GLC GEOGRAPHY LANDSCAPES CITIES
Thinkers like Bruno Latour and Peter Sloterdijk repeatedly emphasised the need for other strategies to get closer to the heart of our problems. Decided optimism, empathy and co-creativity might be helpful tools to respond to the current global, ecological, economic and socio-political crisis. We become and coemerge in relation to (other) environments and the course of our becoming matters. We will engage in experimentation with joy productions and their material configurations, and explore how joy-based exercise enables us to access the faint levels of creativity. Protoyping Paradise asks critical questions about performance as a research tool and a way of translating embodied experiences into tangible constellations of “paradise”. What happens spatially and materially if joy is given priority?
ADP 3D MODELLING AND ANIMATION I
ADP INTERACTIVE DESIGN, FILM EDITING AND SOUND, SCRIPTING
ADP 3D MODELLING AND ANIMATION III
Project Lecture BArch2 Werner Skvara
Zoom / AU_1.16A Thu 9.30–12.45
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 BArch2 design studio.
Project Lecture BArch2 N. N.
Time and place to be announced
The course provides an introduction to time-based forms of representation and the fundamentals of interactive design. It complements the introductory course on 3D Modeling and Animation I, and provides skills for post-production and editing. The course is closely integrated with the design project.
Seminar BArch6 René Ziegler
Zoom / AU_1.16A Thu 16.00–17.30
In this course we will add live physical properties to our digital Rhino with Grasshopper models. The course will introduce Kangaroo, a live physics engine for interactive simulation, form-finding, optimization and constraint solving. We will apply the solver library and a set of
Grasshopper components to model structural properties. Furthermore, we will use Ladybug to import and analyse standard weather data in Grasshopper, draw diagrams such as sun-paths and run basic radiation analysis, shadow studies, and view analysis.
Daniel Kerbler, 2019. Heat Source
ADP PARAMETRIC MODELLING AND DIGITAL FABRICATION
Seminar MArch2 Daniel Kerbler
Zoom / AU_1.16 Fri bi-weekly 9.30–12.30
think parametric What impact could a parametric process have on the way designing architects think? In this seminar we will investigate this question by taking the parametric approach out of the box it has been originally conceived for. We will use software that is not exclusively streamlined to solving a predefined set of problems as found in building construction but that is equipped to process a much wider scope of input data. The student will have a chance to research how parametric concepts can be applied to the architectural design-process. Such research will also extend the boundaries of our intellectual approach, of our way we think. Parametric modelling means to “think parametric”. Eventually the parametric concept provides us with a new mindset, that has the potential to remove certain barriers from our thought processes. It can empower us to tackle problem definitions that previously seemed to be inconceivable.
Lecture BArch2 Franz Sam
BUILDING TECHNOLOGIES I
Zoom / AU_1.15A Wed 15.30–17.00
The course offers insight into fundamental aspects of the construction of a building, materials and technologies. 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 structure 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.
Bündelpfeiler. Olivia Ahn, 2020
CMT BUILDING TECHNOLOGIES II
Lecture BArch2 René Ziegler
Zoom / AU_1.15A Thu 14.00-15.30
The course develops the students’ understanding of structural and material behaviour. Here, the teaching of building structures is integrated into the design process. This allows students to apply this knowledge directly to their design and receive professional advice for their specific projects.
Seminar BArch4 Luciano Parodi
BUILDING TECHNOLOGIES III
Zoom / AU_1.16 Thu 13.00-14.30
Building Technologies III aims to consolidate students’ knowledge of materials, construction and planning. The courses subjects of discussion are the production of details and the reciprocity between construction and detailing processes. Details and its presence or necessity for the production of buildings have been uttermost discussed in architectural discourse, but so far only on a visual level. Thus remaining the discussion on the surface of things. We intend therefore to explore the genesis of ideas and architectures departing from the very core and intrinsic characteristics of the discreet detail.
Seminar MArch2 Thomas Schwed
PROFESSIONAL PRACTICE I
Zoom / AU_1.16 Thu 10.00–11.30
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. 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. 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.
Project Lecture BArch4 Franz Sam
Zoom / AU_1.15A Wed bi-weekly 17.15–20.15
SUSTAINABILITY I The course Sustainability I is set up in a holistic way. It starts with aspects of materials, technology and expected form, 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
Zoom / AU_1.15 Wed bi-weekly 17.00–20.00
Sufficiency – what is essential? Less is more durable. Durability means robustness. What are the basic needs behind the task, what are its adequate means of construction in the Anthropocene?
Efficiency – does a circular architecture mean optimizing input and output, or the effective regeneration of resources? 70% of the total material flow and 70% of all waste is due to construction. Only 10% are closed loops. A circular economy is not just based on even more intelligent technologies to become a purpose economy. Are we headed for an architectural culture with artificial intelligence at its end point?
Resilience – climate change is putting existing structures under stress. The importance of various regions and cities is shifting, even vanishing after global peak oil. 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 universal setting of our collective existence (Bruno Latour).
Lecture BArch6 Golmar Kempinger-Khatibi
Zoom / AU_1.15 Thu 13.30–15.00
It was possible to work from any location and to show diverse perspectives on the topic of cultural heritage from other cultures around the world. Guest lecturers from a non-European cultural background (Iran) were invited to show their work and to talk about their ideas, challenges and working methods when dealing with issues of cultural heritage from another point of view and in a different cultural, social, political and also economic context. It was
also possible to invite interested external viewers and have discussions with them, the lecturers and the students.
Sufficiency, efficiency and resilience are those aspects of sustainability that we will rethink in terms of architecture in this course: cogitamus.
CULTURAL HERITAGE II
Another View Despite all its downsides, most of all not being in direct contact with and in the presence of the students, the experience of online classes in the last winter term opened up new opportunities as well.
This semester, the lectures will continue with the theoretical and practical basics of material cultural heritage, and guest lecturers will again be invited to share their personal and professional experience with the class.
Cracks on a bowl at a Café, 1927. Kon Wajiro, Shozo Ozawa
ESC SUSTAINABILITY II
Lecture BArch6 Thomas Proksch
Zoom / AU_1.16 Wed bi-weekly 17.00–20.00
Models of Sustainability – Sustainable Urbanism and Architecture between Claims and Reality
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.
“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
ESC WELL-TEMPERED ENVIRONMENTS
The starting point for the lectures is my experience as a landscape architect and ecologist. For
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.
Seminar MArch2 Peter Leeb
Zoom / AU_1.16 Wed bi-weekly 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.
HTC ARCHITECTURAL HISTORY II MODERNISM AND CONTEMPORARY TOPICS
HTC WRITING ON ARCHITECTURE, LANDSCAPES AND CITIES
Lecture BArch2 August Sarnitz
Zoom / AU_1.16 Wed 13.30–15.00
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
Zoom / AU_1.16 Wed 15.15–16.45
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. 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.
HTC HISTORIES AND THEORIES OF CITIES
Lecture BArch6 Angelika Schnell
Zoom / AU_1.15A Fri 10.00–11.30
The lecture deals with the history of the city and its development, from its origins and early forms of coexistence to industrialisation. At the same time, however, it is a history of theories about cities, often originating from other disciplines, such as philosophy, political science, sociology or archaeology. Theories about cities are, at the same time, theories of society. These will be discussed in the context of architectural theories and projects.
Seminar MArch2 Andreas Rumpfhuber
CONTEMPORARY DEBATES ON ARCHITECTURAL THEORY
Virus gone Viral The Pandemic in Architecture and Urbanism
Seminar MArch3 Christina Condak
Zoom / AU_1.16 Fri bi-weekly 9.00–12.00
This term’s seminar takes up the currently inevitable and omnipresent topic of the COVID-19 pandemic. It will look into and discuss a series of texts produced around the topic of the pandemic in relation to architecture and urbanism. In the seminar, we will try to understand what is at stake in the current debates in architecture and urbanism.
Zoom / AU_1.16 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 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.
“Social distancing” in Las Vegas, 2020. Photo: Steve Marcus/Reuters
Wall fresco from the Neolithic settlement of Çatalhöyük (in present-day Turkey), which may represent an early example of a city plan (though that is not certain), Source: www.sci-news.com.
Seminar BArch2 Lisa Schmidt-Colinet
Zoom / AU_1.15A Wed 9.30–11.00
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 requires inventive interpretations of and a position towards the terrain observed.
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 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. “The map is positioned between creating and recording the city. It is this dual function, that release the imaginative energy of mapping, and which has consistently attracted the attention of artists as well as technicians to urban mapping.“
Lecture BArch4 Maria Auböck
Zoom / AU_1.15 Thu 15.00–17.00
This module offers a lecture series about landscape architecture and garden art. In times of climate change, students shall train their creativity for sensible matters of design in public spaces and on private
sites. I want to offer the students insights into the conceptual quality of landscape architecture: In a global context, we must consider the qualities of local sites, and learn how to select vegetation and material structures. The main goal of this unit is to learn to understand issues of urban design, housing, and garden history. The lectures inform about cultural history, natural science, and project
relevant issues, including a field trip to relevant recent landscape projects in Vienna. Selected materials, such as 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. As Christopher Alexander wrote, “the thing which you make takes its place in the web of nature, as you make it.”
Lecture BArch4 Bernd Vlay
Zoom / AU_1.15 Fri bi-weekly 10.00–13.00
questioned how things are and should be related to one another, 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 through conditions already present, predetermined
by the infrastructural elements. In this class, we will explore and question this hierarchy, looking at different phenomena of infrastructure and networks. We will study the intricate relationships between physical and virtual conditions, revealing their influence on the power, responsibility and limitations of architectural thinking and doing that is at the very heart of architecture.
DOCUMENTATION AND REPRESENTATION IN GEOGRAPHIES, LANDSCAPES, CITIES
LANDSCAPES AND GARDENS Fit for Benefit
INFRASTRUCTURE AND NETWORKS “Hardly anything is more depressing than going straight to the goal.” Cedric Price
This course uses (and abuses) the concepts of infrastructure in order to discuss the potential of urban and architectural design. Cedric Price fundamentally
Denis Cosgrove, CartoCity, in Janet Abrams, Peter Hall (Eds.): Else/Where: Mapping: New Cartographies of Networks and Territories, University of Minnesota, Minneapolis 2006
Giardini, Biennale di Venezia, 2019. Photo: Bernd Vlay
Project Lecture BArch6 Gabu Heindl
Zoom / AU_1.16 Mon 9.00–12.00
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?
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.
STRATEGIES FOR CITIES Challenging from Within 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
Through knowledge and understanding of the factors and actors, the laws and contracts determining
Project Lecture BArch6 Christian Teckert
Zoom / AU_1.16 Thu bi-weekly 10.00–13.00
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.
Project Lecture MArch2 N. N.
Time and place to be announced
URBANISM II Rethinking Urban Futures of the Recent Past
MAPPINGS The course discusses cartography and mapping as a medium for understanding broad, societal patterns and forms of organization. It differentiates between intensive and extensive cartography and provides an insight into topology. It addresses issues related to topography and city planning.
ELECTIVES / OTHERS
CAMERA, LIGHT, PHOTOGRAPHY AND VIDEO FOR ARCHITECTURE STUDENTS II
Seminar Elective Damjan Minovski
WOMEN AND OTHER ANOMALIES: AN EXPLORATION OF GENDER BIAS IN THE BUILT ENVIRONMENT
Seminar Elective Michelle Howard Luciano Parodi guest: Aristide Antonas
Zoom / AU_1.16 Tue bi-weekly 9.30–11.30
Imagine a world where the door handle is too big and too difficult to operate, your heart attack is misdiagnosed, you are 73% more likely to be seriously injured in a car accident. If any of this sounds familiar, chances are that you’re not a white western male.
the staircase and the windowsill, warming and ventilating, and ask how people of other backgrounds and genders would have gone about designing them. On the basis of these explorations we will make proposals for permanent changes to the Academy’s main building at Schillerplatz in the first district.
of the built environment that we currently inhabit. Perhaps this workshop addresses and challenges standardisation itself. Our built environment can and should accommodate more of us, whatever our gender or abilities. Moreover, new advances in technology will allow customisation to become cheaper and far more common if we insist that they do.
Zoom / Media Lab Wed bi-weekly 10.30–13.30
Crashtest-Dummys. Source: https://de.ergonengineering.com
We will create and work with 3D scans, analyze and apply techniques borrowed from the film, vfx and game industry. Furthermore we will establish a solid foundation on the topics of image synthesis, pointcloud/image/ video capture and physics of lights and materials.
Inspired by the book, Invisible Women: Exposing Data Bias in a World Designed for Men, by Caroline Criado Perez, we will investigate
One may expect these changes to feel uncanny at first, they could alternatively expose the peculiarity
This seminar is open to all students and faculty in the Academy.
Seminar MArch4 Lisa Schmidt-Colinet
Zoom / AU_1.15 Mon 14.15–15.45
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 proposals. 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.
HOW ARE OUR CITIES SEXIST?*
Christina Ehrmann Christopher Gruber Mona Steinmetzer
Envisioning the city from the perspective of the flâneuse
In a series of guided tours – Stadtspaziergänge – we will explore our city from a feminist perspective, taking on the role of flâneuse1. This will help us extend our understanding of the urban domain, and of the tension between city-as-barrier and city-as-possibility2. The programme explores themes ranging from mobility, security and public space to housing, work and consumption. We will be accompanied by experts on these walks through the city and engage in discussions with the participants – the flâneuses.
Time and place to be announced
Photo: Christina Ehrmann, Christopher Gruber, Mona Steinmetzer
1 flâneuse: from the French verb flâner, the flâneur is “one who wanders aimlessly’”(Wiktionary), “not doing anything in particular but watching people and society” (Cambridge Dictionary); used as a gendered noun. 2 Kern, Leslie. Feminist City. London: Verso Books, 2019.
*This series of events takes place within the framework of the 100th anniversary of the admission of women to the Academy of Fine Arts Vienna. The participation is open to the public.
DOCTORAL STUDIES (DR. TECHN.)
There is no application deadline and no admission fee. Further information on the program: ika.akbild.ac.at/school/ admission/Dr_techn For queries concerning the program, please contact: email@example.com
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 rational-analytic 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.
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) SONY DEVABHAKTUNI Dancing Through Architecture: The Impact of Collaboration in Practice. (supervisor: Angelika Schnell) OLIVER DOMEISEN The four elements of architectural ornament - foundations for a contemporary ornamental practice. (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. Entanglements 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) BERTAN KOYUNCU Re-reading Henri Lefebvre Through Inside and Outside the Refugee Camps in Lesvos. (supervisor: Angelika Schnell)
JAE HYUN LIM Synthetic History: Unmasking the History of Tange and Isozaki. (supervisor: Angelika Schnell) ESTHER LORENZ The Corporeal City. (supervisor: Angelika Schnell) MAHSA MALEKAZARI Dancing to the Tune of Light. An investigation into ascertaining discrete visual conditions through the active behaviour of the occupants. (supervisor: Michelle Howard) MAX MOYA Adolf Loos — a reflected, constructed narrative. (supervisor: August Sarnitz) SIGRID PRINZ Das Phänomen SPLITTERWERK. (supervisor: August Sarnitz) ACHIM REESE Architektur nach dem Subjektverlust. Zum Verhältnis zwischen Mensch und Architektur bei Charles W. Moore und O.M. Ungers am Beispiel ihrer Konzepte zum “Haus im Haus”. (supervisor: Angelika Schnell) PAULA STRUNDEN Simulating Atmospheres: Digitizing embodied design and decision-making processes in architecture. (supervisor: Angelika Schnell; part of research project Communities of Tacit Knowledge) MARA TRÜBENBACH A Loom’s Influence: Handcraft and the Role of Contemporary Aesthetic Education in British Architecture. (supervisor: Tim Anstey, Oslo School of Architecture; second supervisor: Angelika Schnell; part of research project Communities of Tacit Knowledge)
RESEARCH PROJECT Communities of Tacit Knowledge: Architecture and its Ways of Knowing1 2019–2022 Angelika Schnell Eva Sommeregger Paula Strunden Maria Trübenbach For further information www.tacit-knowledge-architecture.com
1 This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 860413.
Jaya Klara Brekke Philippe Parreno Ursula Schmidt-Erfurth Katja Sterflinger + Federica Cappa Jutta Weber
Mondays All lectures start at 7pm*
OUT OF THE EYE DRAWING PERSPECTIVES AND PROFILING FIGURES IN ARCHITECTURE
What if seeing with the eyes is accomplished or substituted by cameras that provide data for algorithms to profile patterns and figures? What if the visualization of these figures and patterns is no longer related to the realms of visibility and perception? What if the production of data-based images masks the very disappearance of visual qualities?
recognition of patterns and quantifications. The (visual) perspective is substituted by an algorithmic process of reading data. The results are perceived as (visual) images to a lesser extent, even if that is what they look like, because the identification of objects or situations is based on (ir-)regularities of and in patterns. The (earlier) notions of view and perspective thus appear redundant. What is left of perspective is the point of view that reality and presence appear as a thread. The question of forecasting and planning is not so much a political issue as a task of programming and tinkering with data. Out of the Eye looks at politics out of the political.
Architecture structures space and its perception, not least on the basis of the points of view and perspectives that it offers. Architecture is and always has been a viewing machine that wants to be looked at as well. Yet the issue of seeing and the capacity of the (human) eye is challenged by processes of digitalisation and artificial intelligence that offer new perspectives – or, to put it in more radical terms: a mode of perception that is related less to seeing than it is based on the
The lecture series wants to reflect on the concept of perspective in the context of media technologies that substitute the actual performance of seeing and looking with the rec- The lecture series winter 2020/ 2021, a collaboration beognition of patterns that summer tween IKA and IKW, is organized only algorithms can “see”, and curated by Christina Jauernik, which they do by “profil- Andreas Spiegl and Wolfgang ing (e-merging) figures”. Tschapeller.
Reality doesn't need me, 2020. Fabian Puttinger
IKA + IKW LECTURE SERIES WINTER 2020/ SUMMER 2021
100 YEARS OF ADMISSION OF WOMEN TO THE ACADEMY OF FINE ARTS VIENNA In 2021, we celebrate 100 years of admission of women at the Academy of Fine Arts Vienna. This accomplishment of equality should not stop at the boundaries of our institution. Does this important step towards equality in architecture also manifest itself in the urban space of Vienna? Where can we find gender-biased implications in the built environment?
INTERVENTION AT SCHILLERPLATZ
HOW ARE OUR CITIES SEXIST?
Michelle Howard, Luciano Parodi and the participants in this semester’s IKA elective course WOMEN AND OTHER ANOMALIES: AN EXPLORATION OF GENDER BIAS IN THE BUILT ENVIRONMENT
STADTSPAZIERGÄNGE Envisioning the city from the perspective of the flâneuse Christina Ehrmann Christopher Gruber Mona Steinmetzer and guests
* All dates and locations will be announced during the semester
Academy of Fine Arts Vienna Schillerplatz 3 1010 Vienna
HITZE TAKES COMMAND AN EXHIBITION BY THE INSTITUTE FOR ART AND ARCHITECTURE 30 APRIL – 28 MAY 2021 Dealing with COLD has so far been the dominant climatic condition for architectural design in Central European latitudes. HEAT has now taken over this position. Architecture and urban planning are the focus of a competition for efficient, resource-saving contributions. Technological solutions aimed at maintaining our prevailing climatic and energy standards are expected. The maintenance of our accustomed lifestyles as such, especially with regard to climatic comfort, is not questioned. Instead of merely acting in a system-maintaining way, architecture and architects should assume a critical, opinion-forming role with regard to the way we live. The students and teachers of the Institute for Art and Architecture (IKA) at the Academy of Fine Arts Vienna addressed this necessary paradigm shift as part of the annual theme HITZE TAKES COMMAND in the academic year 2019/2020. The focus of the investigations was the city of Vienna as a common field of observation and investigation. A systematic mapping of the local climate and particularly affected neighbourhoods commissioned by the city, the Urban Heat Island Strategy for Vienna1, is contrasted by IKA with projects from an architectural, artistic perspective.
EXHIBITION OPENING 30 APRIL 2021 HITZE LECTURES* Claudia Bosse Brian Cody Peter Sellars Kim Sohyi HITZE SYMPOSIUM* FINISSAGE 28 MAY 2021
Based on specific questions, an extensive collection of projects and outlines of possible futures will be shown, which reference each other, overlap thematically and emphasize mutual relations as well as contradictions. In addition to the exhibition itself, a public symposium and the lecture series HITZE LECTURES will open up and discuss further perspectives. The exhibition HITZE TAKES COMMAND will occupy the building of the Academy at Schillerplatz with a spatial installation, which will also be the first public event after the general renovation.
Rendering: Werner Skvara
in accordance with the applicable assembly regulations.
IKA S2020/21 CALENDAR
Kick off / semester start
Diploma presentation Diploma salon Diploma presentation Midterm reviews Diploma 2/3 Diploma presentation Final reviews Diploma exhibition
15 March 22 March 12 April 19–20 April 17 May 14 June 15–16 June 15–26 June
LECTURE SERIES OUT OF THE EYE
Jutta Weber Philippe Parreno Katja Sterflinger + Federica Cappa
31 May Date to be announced Date to be announced
HITZE Exhibition HITZE Lectures HITZE Symposium
30 April – 28 May Date to be announced Date to be announced
MArch online registration BArch online registration MArch portfolio submittal BArch portfolio submittal + exercise works MArch + BArch Interviews
19 April – 7 May 17 May – 4 June 11 May 17 June 5–6 July
Academy of Fine Arts Vienna Temporary premises of IKA: Augasse 2–6, 1090 Vienna www.akbild.ac.at/ika firstname.lastname@example.org
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
Office: Room 1.3.11, 1st floor, core A Ulrike Auer +43 (1) 58816-5101 email@example.com Gabriele Mayer +43 (1) 58816-5102 firstname.lastname@example.org Postal address: Schillerplatz 3, 1010 Vienna, Austria
ANALOGUE MODEL WORKSHOP General machine hours (380Volt) MON – THU 2pm – 6pm For individual support, please contact: Günther Dreger email@example.com Rüdiger Suppin firstname.lastname@example.org
Institute for Art and Architecture Academy of Fine Arts Vienna Summer 2021 Chair / Deputies: Wolfgang Tschapeller Lisa Schmidt-Colinet Werner Skvara Editor: Linda Lackner Proofreading: Judith Wolfframm Design: grafisches Büro