IKA PREVIEW WINTER 2021

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IKA WIN T E P R R E VIEW 20 INSTITUT FÜR KUNST UND ARCHITEKTUR

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INSTITUTE FOR ART AND ARCHITECTURE

www.akbild.ac.at/ika


IKA W2021 ADP ANALOGUE DIGITAL PRODUCTION CMT CONSTRUCTION MATERIAL TECHNOLOGY ESC ECOLOGY SUSTAINABILITY CULTURAL HERITAGE HTC HISTORY THEORY CRITICISM GLC GEOGRAPHY LANDSCAPES CITIES

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Content

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Design Studios Bachelor

Design Studios Master

Courses

1ST CMT HTC ADP ESC GLC

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Ways of knowing a Building Hook-Up

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Architecture and Ongoing Discontents

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Phantasmography II 10 Urban Scotoecologies

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Negative Landscapes

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ADP CMT ESC HTC GLC

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Electives / Others

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Research at IKA

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Lecture Series/ Events

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Calendar/Contact / Imprint

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By time’s very nature, every­ thing we see or experience is the past. There are different degrees of it, from the immediate past – the traces of just a moment ago – to the distant past inscribed in the multilayered cultural fabric that we experience all around us, history sedimented through reuse by generations. Our rou­ tine encounters with spaces, buildings and cities influence our lives and affect us in subtle ways. Without realizing it, we adapt to them, we work and live in them, we bend the present to the past and vice versa, each generation repeating patterns of behaviour, yet each seeking to unlock some new potential. It is not necessarily up to archi­ tecture to challenge what is set in stone, but rather to create a timely dialogue with it. Along with the other art institutes of the Academy of Fine Arts Vienna, our architec­ ture institute will be returning this fall to its home on Schiller­ platz in the grand 155-year-old building by Theophil Hansen, set back from Ringstrasse. Into this freshly renovated fortress,

the art institutes will squeeze, once again confronting the con­ straints of working in a historic building. Will we return to locking and unlocking every large door we pass through, return to the monastic, silent walks through empty corridors, measured by the succession of windows and doors to unknown rooms? And where might those gigantic stair­ ways lead us this time? For our design studio, the building on Schillerplatz 3 is under exploration. One of the main approaches of our design studio this semes­ ter will be to develop a better un­ derstanding of and relationship with existing and historic build­ ings. We aim to foster a sensi­ tive awareness of our resources, learning to think in terms of in­ ventive reuse, renovation, adjust­ ments and additions from within. With the first-semester students, we would like to engage in a playful dialogue with the heavy old building on Schillerplatz, and to re-explore its spaces – the anatomy room, the assembly hall, the library, the studios, the

stairwells, the corridors – by walking through them and opening doors, by observing, reading and draw­ ing, by recording, noting and documenting, by making and in­ terpreting, by discovering issues and conflicts that the building provokes. These topics can be explored through interventions and design ideas. Short design projects will deal with issues of use and the people working in these spaces, conflicts and site-specific issues, leading to small 1:1 interventions that address how to operate in the building at a small-scale level. Design projects should provoke and address a kind of resistance to the building, revealing poten­ tials and frictions, and maybe resolving some of the latter. So, upon our return, let’s not fall back into our old ways of doing things! Let’s wander the building and open the doors. We call on all the IKA platforms and teachers to join us in a dis­ cussion of our ideas. The studio will emphasize getting ideas out, drawing ideas up quickly, finding the tools for expressing those ideas, and communicating them.

Theophil Hansen, Floor plan of the Academy building at Schillerplatz 3

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Monday / Tuesday / Friday 14.00–18.00

Design Studio First Year Christina Condak Daniela Herold

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1ST FIRST YEAR


1:

a state of cooperation or alliance

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2:

an assembly or connection of components into a circuit, machine, or system

3:

a device for conveying substances or information from a source to a user1

A Hyperbolic Plane in Progress, 2021. Photo: Michelle Howard

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Monday / Tuesday / Friday 14.00–18.00

Design Studio BArch3 Michelle Howard Eva Sommeregger

What direction would technology have taken if the skills that are normally attributed to women and other anomalies2 were given the attention they deserve? Anthropologists are increasingly crit­ ical of their own biases and more recep­ tive to theories that challenge heretofore established dogmas. We now know that prehistoric diets contained much more grain than meat, and that our first tool was not a weapon, but a woven carrier bag. So then, we need no longer be defined by a grunting lone individual bashing a bone, his sedentary group cowed into submis­ sion as per Kubrick’s famous scene3, but rather by a sociable collective – gathering edible, beautiful and useless things to share, enjoy and construct to­ gether while telling stories and moving from place to place.

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CMT

CONSTRUCTION MATERIAL TECHNOLOGY

We will begin with mathematics and research into hyperbolic geometry, which even now is difficult to represent using standard technologies like computing. We will use the ancient and overlooked technology of crochet, following a method developed by the mathematician Daina Tamina in 1997, and used by the twins Margaret and Christine Wertheim to con­ struct models of coral reefs. While getting our hooks into our alternative home-made yarns, we will also observe the workings of that complex process of coordination between the yarn, the hook, the brain, the hands, the eyes and the upper torso, by hooking up to a bespoke machine that we will construct together.

In Kubrick’s scene, the aggressive bone bashing led to lone astronauts in satellites above the Earth monitoring the aggressive behaviour below. Where could we have been led if technology had taken the path of the carrier bag? The path of the line – walking, weaving, observing, storytelling, singing, drawing and writing all proceed along lines4. Lines can be interrupted, but they all have the potential to reconnect, inter­ weave and eventually become endless.

1 Adapted from various dictionaries. 2 “Women and other anomalies” – a term we use to describe those whose bodies, needs and skills are generally ignored. 3 2001: A Space Odyssey, 1968 by Stanley Kubrick – from bone to satellite scene. 4 From Lines: A Brief History by Tim Ingold, Routledge, London 2016


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Radio Palladio1 is back. With a new programme: TOP C (the elevation of the “C” of HTC) – a focus on architectural criticism. In the winter term of 2021/2022, the show will be dedicated to the instrumentalization of architecture in Austria and Germany in relation to a critical past. “National Socialism lives on!” Theodor Adorno postulated in 1959 in a radio feature entitled “Was heißt Aufarbeitung der Vergangenheit?” (What does it mean to come to terms with the past?)2 Adorno urgently pled for the memory of the Holocaust to be preserved, because its destruction would be a betrayal of the victims of the Nazi crimes, who in this way would be deprived even of their memory. The word “Erinnerungskultur” (culture of remem­ brance) is originally related to an emphasis on the perspective of the victims, which Adorno thus demanded and introduced.3 From the beginning, spaces, places, architectures and monuments have played a central and sometimes fatal role in this context: as instruments, as expressions, as media to promote memories of a completely different kind. Under the guise of dealing carefully with the past, efforts are increasing – especially in Germany, but also in Austria – to use architecture in order to reconstruct a seemingly unsullied past by harking back to a time before the Nazis. On the one hand, this has led to the recent emergence of a peculiarly pulpy mainstream architecture that seems to come from a neo-rational, neoclassical set of building blocks, allowing for interpretations ranging from “modern” to “fascistoid”. The sig­ nificance of buildings such as the new Weimar Bauhaus Museum by Heike Hanada, the Marbach

Coalition of Cultural Workers Against the Humboldt Forum

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Monday / Tuesday / Friday 14.00–18.00

Design Studio BArch5 Angelika Schnell Antje Lehn

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HTC HISTORY THEORY CRITICISM

Chipperfield, Museum of Modern Literature by David by Marte. y or the award-winning competition entr which was nau, Brau in e plac birth r’s Hitle Marte for to grasp. ult diffic is , site” the about “neutralising like the Berlin cts proje hip flags , hand r othe the On politics, are Humboldt Forum, driven by identity in terms of ble tiona ques completely out of touch: lsive and repu ally hetic aest ry, theo ural itect arch that, as ure itect arch An ble. politically implausi municates Bénédicte Savoye has pointed out, com to the outside that history can be Radio features by the students will dive into this undone, whereas the ethnological controversial and difficult situation: they will be de­ is e insid d ente pres ction colle critical, investigative, concrete, precise, and always ot cann ry histo that ing fended by argu focused on the architecture in question. be undone.

The studio is accompanied by a workshop on radio making, as well as literature lists and lectures.

1 The first edition of Radio Palladio was a BArch5 HTC design studio at the Institute for Art and Architecture at the Academy of Fine Arts Vienna, taught by Angelika Schnell and Eva Sommeregger in fall/ winter 2014/15. 2 Adorno, Theodor W. (1971): “Was bedeutet: Aufarbeitung der Vergangenheit.” In: Adorno, Theodor W.: Erziehung zur Mündigkeit. Frankfurt am Main: Suhrkamp, pp. 10-28. 3 Assmann, Aleida (2013): Das neue Unbehagen an der Erinnerungs­kultur. Eine Intervention. München: C.H. Beck, p. 189.


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SPACES OF ACCUMULATION


Monday / Tuesday / Friday 14.00—18.00

Design Studio MArch Michael Hirschbichler

Spirit Cloths, Michael Hirschbichler, 2021

The studio PHANTASMOGRAPHY II contin­ ues our critical engagement with the phantoms and phantasms that shape contemporary spaces and landscapes. While we dealt with spaces of extraction in the past semester, we will now focus on spaces of accumulation. Simply put, everything we make and build happens in a space between extraction and accumulation – between taking something away from somewhere, and gathering it somewhere (else). Extraction and accumulation thus mark the poles of our cultural, political and economic life, and underpin all forms of spatial production. Pro­ cesses of extraction and accumulation therefore per­ tain to material resources, commodities, capital,1 living and dead people (human and non-human), ideas, his­ tories, etc. To explore such spaces of accumulation, we will work with various landscapes and buildings, warehouses and fulfilment centres, graveyards and dumping grounds, bank vaults and the seemingly immaterial storage spaces of cryptocurrency, muse­ ums, collections and ar­ chives – with repositories of wealth, objects, bodies, hopes, dreams and fears.

Spirit Cloths, 2021. Photo: Michael Hirschbichler

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ADP ANALOGUE DIGITAL PRODUCTION

In doing so, we will employ and further develop the approach of “Phantasmography”,2 which com­ bines methods and techniques from architecture, art and anthropology. Following Anna Tsing and others,3 we embrace ghosts and phantoms as useful concepts that help us navigate between the visible and the invisible, the material and the immaterial, the living and the dead, the real and the imaginary. Starting with “re-search”4 and gradually turning to its speculative transformation (design), we will use reason and imagination to develop strong critical projects that bring manifold phantoms and phantasms to light, and offer new insights into contemporary production of space through accumulation. The studio will be accompanied by a sem­ inar hosting leading national and international contributors, so as to develop a multifaceted discourse, and anchor our studio work between critical thinking and critical making.

1 See Karl Marx, Das Kapital, Part VII: The Accumulation of Capital, 1867. 2 Building upon and expanding on: Robert Desjarlais, “Phantasmography”, in American Anthropologist 118 (2): 400-407. 3 Anna Tsing, Nils Bubandt, Elaine Gan, and Heather Anne Swanson, Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene, Minneapolis: University of Minnesota Press, 2017. 4 Tim Ingold, “Anthropology Between Art and Science: An Essay on the Meaning of Research”, in FIELD Journal 11, Fall 2018.


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Darkness is not shadow. Shadow is cast. recalibrating the way we live in sunlight. And most Darkness is not black. Black absorbs light. Dark­ probably, it’s not even about sunlight, but about ness is a change of state. We stop seeing and reduction of heat. Darkness is a necessary source of regeneration for our bodies start sensing. We cease to and for the planet. Darkness perceive light. We cease – it’s much harder to shoot is also a medium in which we to perceive with our eyes, someone when it’s completely can establish an exchange but perceive with all other Hour. t dark! In the Twiligh with other entities (alive or senses. not) on a basis beyond visual An Interview with Kjetil Trædal Thorsen, Snøhetta, by perception. To define darkness Rob Wilson. In: Uncube 29. beyond the semantics of What, therefore, is the negation, of lack of light, When our vision is compro­ nature of darkness?1 What we need to think outside mised, our imaginations run a deep-rooted cultural tra­ is the ecological function of and we become more darkness? How can archi­ dition of seeing light as a wild be source of benefit. Light is aware of things that cannot tecture benefit from it? With good – darkness is bad. seen directly, merely sensed. these questions in mind, we Light is safe – darkness Sigri Sandberg, An Ode to Darkness postulate that in darkness is dangerous. The onset may lie an opportunity to re­ of climate change and the invent our built environment, subsequent overheating of our environment and a rich source for speculation about post-good compel us to reconsider the positive connotation weather societies. In darkness, entities radiate of light and daylight. It goes without saying that heat and cool down. In darkness, visibility blurs for human life, a lack of sunlight would possibly but sensitivity sharpens. cause our bodies to deteriorate (although it wouldn’t kill us). It’s not about that. It’s about Luciano Parodi


Monday / Tuesday / Friday 14.00–18.00

Design Studio MArch Hannes Stiefel Luciano Parodi

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ESC

ECOLOGY SUSTAINABILITY CULTURAL HERITAGE

The work of astrophysicist Avi Loeb, Chair by photovoltaics from the day side to the night of the Department of Astronomy at Harvard side”.3 – Is it maybe just too hot to settle on the University, caught my attention when I heard that sunny side? he had suggested looking for urban lights on the Terrestrial building code regulations on the night side of Proxima b, an exoplanet orbiting in the habitable zone of the red dwarf star Prox- direct incidence of natural light are among the ima Centauri. Proxima b and c are the closest most powerful and decisive instruments shaping our cities – the ‘right to light’ has known exoplanets to seemed sacrosanct in European the solar system, only a sun’, and the also is ‘Night cities since modernism. And yet, about four light years absence of myth is also a myth: it might be worth considering the away from Earth. the coldest, the purest, the only ecological function of darkness in architecture and planning in On his mission to true myth. times of the new climatic regime. establish a space ar­ A regime that will inevitably lead chaeology, Loeb and Georges Bataille: The Absence of Myth, in André Marcel Duchamp: Le Surréalisme en 1947, us towards another architecture, his team are working Breton, by English from Maeght, Paris 1947 (translated towards new, surely surprising on the technology for Michael Richardson). By ‘Night is also a sun,’ Bataille a lightweight sail and is quoting Friedrich Nietzsche (Also sprach Zarathustra, forms of cities. a very powerful laser vol. 4, Leipzig 1891). Current conditions in the that would allow an ultra-fast, light-driven spacecraft consisting of world require us to go beyond established the sail (weighing about one gram) and its pay­ thresholds. Avi Loeb’s breach of a taboo – the load (camera, navigation and communication search for signs of extraterrestrial intelligence and devices – weighing about another gram) to travel civilizations, existing or extinct – has been met outside the Earth’s atmosphere at one-fifth the with deep scepticism in the field of astrophys­ speed of light. Proxima b would thus be reached ics, while he asserts that if we are unprepared to find exceptional things, we never will. This is within 20 years2. true everywhere, and even more so in the dark. We know that Proxima b is tidally bound to its star, so there is a temperature contrast Hannes Stiefel between its day side, which constantly faces the star, and its permanently dark side. “If a civilization existed there,” Prof. Loeb conjectures, “it might potentially transfer electricity generated

1 The phenomenon of darkness and its positive impact on an overheated city was first in­ troduced on the ESC Platform as a consequence of the research design project Raumpark Wien (2019-20), an as yet speculative design and planning proposal for an ecological megas­ tructure spanning the city of Vienna as a response to climate change. 2 It would take this nanocraft just a few days to reach Pluto. By comparison, the travel time of NASA’s New Horizon mission for the same journey was nine and a half years (2006-2015). 3 Interview with Avi Loeb by Rolf Dobelli, in: Neue Zürcher Zeitung, 23/06/2021.


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Monday / Tuesday / Friday 14.00–18.00

Line of connected arcades; agglomeration of empty shops. Aristide Antonas, 2017

How can the study of land­ scapes frame different political orders? What elements of a landscape lead to alternative writings, transforming given ar­ eas or complex interdependent systems?

Design Studio MArch Aristide Antonas

The studio will focus on representations and recon­ structions of landscapes based on readings that begin with the Romantics and their ag­ gressive commitment against nature, and end with the view of nature as a threatening element in more recent bibliography. The title Negative Landscapes indicates the dynamics of an in­ version rather than the descrip­ tion of a malevolent situation. At the same time, the studio marks a distance from the traditional bibliography analysing the city. The reading process, which is focused on text fragments, and discursive re­ search is intended to explore the conceptual framework. The theoretical reception of climate is projected onto different, existing landscape settings. The issue of climate is to be scaled down to the dimensions of human action in an already post-human world. The distance from the tradition of humanism is inherent in this problem of necessary human action in a post-human world, where the scale of action can­ not manage to respond to the magnitude of the question. In this context, the question of large scale is haunted by the ghost of infrastructure. Now­ adays, infrastructure dictates the philosophy of landscape in many ways and at different scales. How do landscapes relate to infrastructure? This question – addressed in par­ allel to a contemporary ar­ chaeology of nature – serves as background for the studio.

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GLC GEOGRAPHY LANDSCAPES CITIES

It is a question that is to be translated into possible forms of construction. The production of the stu­ dio will be finalised as a series of architectural drawings, dig­ ital imagery, gifs and videos, textual narratives and legislative literature. Virtual, constructed micro-environments such as unexpected water pools, wind machines, unlikely gardens, evaporation mechanisms or temperature regulators are intended as a proposed in­ ventory of possible additions to existing, concrete urban or rural landscapes, envisag­ ing some type of correction in the areas where they are introduced. Even though this research is driven by a range of artistic means, it originates from practical exploration and solid, fundamental observa­ tions. It combines the traditions of architectural design with various software or post-pro­ duction techniques in order to drive the new “great outdoors” towards fragmented narratives that translate it locally by re­ sponding to it.


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ADP DRAWING, 3D MODELLING AND GEOMETRY

Project Lecture BArch1 Rüdiger Suppin

203a_CAD LAB Thu 12.00–13.30

Toward sharpness – the project lecture is meant for making the first steps in architectural drawings, and understanding their spatial and tem­ poral dimensions, which are com­ municated through abstractions.

Throughout the semester, this course will simulate a workflow from measuring, 3D modelling and rep­ resentation to ultimately materializing geometrical ideas with CAM.

Based on an introduction to a CAD drawing tool, the craft of pro­ ducing artefacts for explicit commu­ nication between recipients, humans as well as machines, will be learned.

ADP 3D MODELLING AND ANIMATION II

ADP ANALYSIS, SIMULATION AND SCRIPTING

Seminar BArch3 Werner Skvara

The course will tackle the par­ ticipants’ project-specific challenges and require proactive contributions during that process.

203a_CAD LAB Thu 9.30–11.00

The course aims to significantly advance the students’ digital mod­ elling 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.

Seminar BArch3 Damjan Minovski

203a_CAD LAB Thu 15.30–17.00

Architecture is a dynamic disci­ pline that has tended to increasingly merge with others such as mathe­ matics, programming, engineering or fabrication and has the potential to become a more speculative and experimental field encouraging pro­ totypic 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 bot­

tom-up (generated, manipulated, simulated) operations. They will learn how to analyse different physical performances (e.g. structural be­ haviour, or light impact) and simulate self-emerging events in a digital en­ vironment 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.


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ADP VISUAL AND VERBAL COMMUNICATION Perspectives – Counter-Perspectives

Seminar BArch5 Marlene Rutzendorfer

209 Thu 14.30–16.00

visualization of information will be studied as a means of communi­ cation and analysis, but also as a generative tool.

narratives have been overlooked, and how can we decolonize our gaze and our archive of visualization in architecture? Students will work in various media, from hand-drawn sketches and research diagrams to photography, films, (counter-) map­ ping, and 3D renderings of their design projects.

The course trains students in effective visual and verbal commu­ nication. Forms and techniques of presentation and argumentation, as well as their use with different target groups, will be taught. The

Perspectives – Counter-Per­ spectives aims to analyse and ques­ tion historical and current forms and norms of representation in archi­ tecture. Who represents (what)? Who is (mis-) represented and how? Whose (counter-) perspectives and

ADP

Lecture MArch1 Werner Skvara

ADVANCED INTRODUCTION TO ANALOGUE PRODUCTION, DIGITAL PRODUCTION

ADP

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203a_CAD LAB Wed 09.30–11.00

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

203a_CAD LAB Wed 13.00–14.30

ALGORITHMS IN ARCHITECTURE Speculative_Apps: Fuzzy Logic and Abundance Refresh.

Instead of in zeros and ones, we are going to think spectrally. Instead of scarcity economics, we are going to navigate abundance. Necessarily in a hands-on way.

About being nice. Dominik Strzelec, 2021

This semester is going to be entirely about non-binary logic and network dynamics.


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CMT BUILDING STRUCTURES I

CMT BUILDING TECHNOLOGIES II

CMT BUILDING PHYSICS I

CMT BUILDING SERVICES I

18 Project Lecture BArch1 René Ziegler

211a Thu 14.00–15.30

The course teaches the fundamentals of building structures. Students learn about the different forces, which influence the planning of building structures, from gravity to wind, heat, mass and size. It introduces students to different construction systems and their structural logic, as well as basic calculations and dimensioning.

Project Lecture BArch3 Franz Sam

211a Wed 15.00–16.30

This course deals with interior finishes, building envelopes and technologies. Through the analysis of architectural precedents, students learn to develop a culture of detail­ ing and obtain an understanding

of the logic of technical problems. By exploring basic architectural el­ ements students learn about the interdisciplinarity of architecture, a skill essential for the implementation of an architectural idea.

Project Lecture BArch3 Jochen Käferhaus

209 Fri 10.30–12.00

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.

Project Lecture BArch3 Jochen Käferhaus

209 Fri 12.00–13.30

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 developments 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.


CMT

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Seminar BArch5 Jochen Käferhaus

209 Fri 9.00–10.30

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.

CMT

Lecture MArch1 Michelle Howard

211a Tue 12.15–13.45

The Shaping of Constructions, Materials and Technologies

that would be kinder to the world we live in? How could this knowledge enable us to use less material and contribute not only to the sustain­ ability, but also to the regeneration of the built world?

BUILDING SERVICES II

ADVANCED INTRODUCTION TO CONSTRUCTION MATERIAL TECHNOLOGY

“In ancient and modern times the store of archi­ tectural forms has often been portrayed as mainly conditioned by arising from the material, yet by regarding construction as the essence of architec­ ture we, while believing to liberate it from false accessories, have thus placed it in fetters.” Gottfried Semper, The Four Elements of Architecture, 1851

CMT PROFESSIONAL PRACTICE II The lecture introduces profes­ sional and legal topics relevant to the practice of architecture with a focus on the construction phase. We will

Keeping this warning by Got­ tfried Semper in mind, we exam­ ine works of architecture, ancient, modern, and contemporary, and discuss the ideas that enriched their construction and determined their materials. By looking closely, we will attempt to unearth the po­ tential inherent in the rediscovery of older practices seen through the lens of new technologies. We will explore how shaping and forming influences the shape and form of our constructions. We will discuss the practical, technical, historical, cultural, political and social factors that formed the background for the eventual form and standardisation of constructions, and the relevance of these factors today. Which factors will determine how we use, and most importantly re-use, materials and building sys­ tems in the future? How could we introduce a culture of manufacturing

Seminar MArch3 Thomas Schwed

209 Thu 10.00–11.30

analyse the complex process of the implementation of a building includ­ ing the detailed planning of construc­ tion work, construction supervision, and the project management of the construction phase. We will inves­ tigate the process of construction

work by means of concrete exam­ ples 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.

Saint-Ouen Abbey in Rouen, France, Photo: Michelle Howard, 2011

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ESC TIME IN ARCHITECTURE

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Project Lecture BArch1 Christina Condak

211a Fri 11.30–13.00

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.

ESC Die Grube / The Pit, Breitenbrunn, land-art project by Peter Noever, excursion S21. Photo: Gogo Kempinger

ECOLOGIES I

ESC CULTURAL HERITAGE I

Lecture BArch3 Hannes Stiefel

211a Wed 12.00–13.30

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 ecol­ ogy generally determines the co­ ordinates of architectural design and its genealogy. This course dis­ cusses 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 en­ vironmental function of architecture and subsequently towards an archi­ tectural practice of multidirectional ecological awareness.

Lecture BArch5 Golmar Kempinger-Khatibi

K5 Thu 12.30–14.00

The course gives an overview of cultural heritage in general, the diversity of its perception in cultures, and the international collaborations and institutions related to it. Our focus is on material heritage and the built en­ vironment, and the different approaches and significant movements dealing with that heritage throughout history. The practical part is about caring and critical con­ servation of built heritage. The application of theory in practice will be demonstrated by analyzing case studies, as well as short excursions and visits to exhibitions. Occasional guest lectures will round out the programme.


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ESC

Lecture MArch1 Peter Leeb

211a Thu bi-weekly 16.00–19.00

Ecology, Sustainability, and Conservation are an important part of a humanistic groundwork of architecture and this course pre­ sents issues currently debated in the field. It introduces contemporary lines of thought to issues such as, nature, energy, mobility, economics, community, food, material, construc­ tion, 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 sys­ temic predicament and suggests methodologies for detecting such interrelated problems. It also pro­ vides a means of evaluation of this complexity, and indicates future potentials.

ESC

Lecture MArch3 Aristide Antonas

209 Tue bi-weekly 10.00–13.00

LANDSCAPE URBANISM

Archaeology of Nature

ADVANCED INTRODUCTION TO ECOLOGY, SUSTAINABILITY, CULTURAL HERITAGE

Landscape and Infrastructure, Aristide Antonas, 2019

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The seminar analyses different concepts of nature, as found in frag­ ments of a history of the concept, while nature is increasingly seen as a threat to humans. The fragments of this idiosyncratic archaeology include isolated views by Friedrich Hölderlin, Mary Shelley, Oscar Wilde, Georg Simmel, Peter Sloterdijk, Bruno Latour, Quentin Meillassoux and others. An understanding of landscape as scenography requires contemporary reappraisal and reconstruction; it introduces a practical side of dealing with threatened environments. This dynamic concept of landscape seeks something different than the global set of “exotic places” destined for sightseeing, and a different kind of city than that of past urban studies. The touristic effect on landscapes, ensuring return trips to destinations, has served to idealize the landscape as a system of nodes in a network where one can visit stable atmospheres. In an exploration of present-day cities, we can address urban landscapes based on observations of changing city cells, and on the growing areas of modern remains haunting many city centres.


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HTC ARCHITECTURAL HISTORY I

22

Lecture BArch1 Angelika Schnell

Anatomiesaal Fri 9.30–11.00

Genealogy of Modernity I The lectures Architectural History I (winter term) and Architectural History II (summer term) build on each other. Under the title Genealogy of Modernity, they trace the direct and indirect origins, roots and ante­ cedents of architectural modernity. Consequently, they are not structured chronologically, because that would imply a linear and causal histori­ ography. Instead, they start from the present and look back from there along significant lines of development. In so doing, they respond to the methodological criticism of modernism and its simple model of progress, which ignores bridges, gaps, detours and one-way streets, but at the same time, they acknowledge the special significance that architectural modernism continues to have today. Thematically, the lectures essentially cover the European region and reach back to antiquity.

HTC

Lecture BArch3 Luciano Parodi

209 Thu 12.30–14.00

HISTORY, THEORY OF TECHNOLOGY

Vestiges of Ideas and Material Reflections

influences of other disciplines, such as medicine, on the development of a common language of architectural construction and into the close rela­ tionship between technology, culture and society.

The course surveys the history of construction technology, high­ lighting the reciprocal relationship between cultural development and technological innovation, and their respective effects on architecture. The lecture delves 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. Upon closer exami­ nation of constructed details, the potential knowledge, history and ideas beyond their materiality will be explored, compiled and displayed, thus depicting a speculative gene­ alogy of their creation. In addition, topics such as the history of tech­ nical drawings and construction books will provide insight into the

The point of departure will be construction and education draw­ ings from 18th century Central Eu­ rope: the Analytiques. These com­ plex plans were considered models for the planning and production of buildings, infrastructure and ma­ chines. However, they actually con­ tain almost no written instructions, and important information concern­ ing construction remains veiled or neglected. They disassemble the object of study through a series of representations, the complementari­ ness of which aims to reconstruct the entire original object in all its facets, mostly on a single sheet of paper.

Armin Maierhofer, History, Theory of Technology, 2021

Students should gain comprehensive knowledge of European ar­ chitectural history. They should learn to understand connections and contradictions, and at the same time develop their own points of view through in-depth historical knowledge.


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HTC

Project Lecture BArch5 Angelika Schnell

211a Fri bi-weekly 13.00–16.00

HISTORIOGRAPHY OF ARCHITECTURE

Key Texts of Modernist Criticism

Following and comparing lines and flaws of reasoning in works by different authors is important when analysing and interpreting architec­ ture and its theories. Therefore, a very heterogeneous mix of texts is planned.

For this lecture, key texts criti­ quing architectural modernism will be explored through joint reading and study, e.g. texts by Robert Venturi, Alexander Mitscherlich, Anthony Vidler, Michel Foucault, Beatriz Colomina, etc. The lecture thematically accompanies the BA Studio HTC and therefore offers historical background.

HTC

Project Lecture BArch5 Andreas Rumpfhuber

209 Thu 9.30–11.00

Lecture MArch1 Andreas Rumpfhuber

209 Wed 13.00–14.30

Seminar MArch3 Wolfgang Tschapeller

210 Fri 18.15–19.45

HISTORY OF THEORY

HTC ADVANCED INTRODUCTION TO HISTORY, THEORY, CRITICISM

HTC THESIS SEMINAR

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 Prosem­ inar 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.


GLC

24 Project Lecture BArch1 Lisa Schmidt-Colinet

URBAN FORM AND ANALYSIS

“Built envi­ ronments have live of their own: they grow, renew themselves, and endure for millennia. Conservations may serve to freeze works of art in time, resisting times effect. But the living environment can persist only through change and adaptation.” John Habraken, Jonathan Teicher (ed.), The Structure of the Ordinary. Form and Control in the Built Environment, MIT Press, 2000

GLC URBANISM I

Lecture BArch5 Christian Teckert

211a Wed 10.00–11.30

How and through which means did cities took shape and how are they continuously changing? The lecture investigates cities on a morphological and physiological level, following its development and the process of constant transformation. It explores urban form as an outcome of complex consolidating forces by untangling economic, political, social and climatic processes. A continuous shift of perspective is essential to this course: The view from the distance, understanding the fabric of cities, is as important as perceiving the city by moving through. Further we are discussing historical and contempo­ rary methods of analysis and representation of spatial urban elements and their performance.

209 Wed bi-weekly 9.30–12.30

The Rise and Decline of Urbanism as an Agenda in Architecture The lectures will address the emergence of urbanism as a science and discourse, and will focus on the role of the architect as an actor in this discipline, which was historically contested. What will be crucial in this will be the shift from scientific and functionalist approaches in mod­ ernism towards a critique of modernist urbanism (and specific forms of utopias and dystopias) – coming from within the discipline, 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 course aims to providing tools for understanding and analysing the discursive formations in the history of urbanism. It will include discussions from fields such as sociology, media theory, philosophy or critical geog­ raphy, which in turn have been crucial to the current debates in urbanism.

Marcella Brunner, videostill, summer term 2021

IKA W2021


Philipp Behawy, Hans Nikolaus Schmidt, performance, summer term 2021

25

GLC ADVANCED INTRODUCTION TO GEOGRAPHY, LANDSCAPE, CITIES

Lecture MArch1 Christian Teckert

IKA W2021

211a Thu bi-weekly 10.00–13.00

Cities as Urban Laboratories between Research, Intervention and Utopia In the lectures, the city will be considered as a dispositive, in which the interweaving of social, cultural and political paradigms is given an indicative function. We will analyse the evolution of specifically selected cities and read them as symptoms of urban concepts, which in turn repre­ sent crucial contemporary structural definitions of what we call the “urban”. Facing a situation where no hegemonic method in urbanism can be defined, the lectures will focus on concepts that help us understand the complex urban formations and furthermore might lead to new strategies for intervention and (re)design. Addressing key discourses of recent spatial theory, the topics will deal with questions of materiality, boundaries and limits to the urban implications of the immaterial dimensions of computation, algorithms and surveillance capitalism. The cities and symptoms we will discuss include: BARCELONA – The City as a Project of Modernist Urbanisation BERLIN – Negotiating the Boundaries of the Urban Archipelago TOKYO – The Metabolizing Polycentric Network SHENZHEN – The City of Exacerbated Difference LOS ANGELES – The Post-Political City as Scapes THE ZONE – Urbanism as an Archipelago of States of Exception

GLC CITIES, GROWTH, POLITICS AND POWER

Seminar MArch3 N. N.

Time and place to be announced


IKA W2021

ADP CMT ESC HTC GLC THESIS DOCUMENTATION SEMINAR

WORKSHOP

ELECTIVES / OTHERS

26

Seminar MArch4 Lisa Schmidt-Colinet

K5 Mon 17.00–18.30

This course focuses on the development of a thesis project. A continuous process of oral ar­ ticulation, writing, drawing and documenting enables students to make their research productive for a design thesis, to take a stance within a selected field of interest and to formulate a clear hypothesis. As the final synthesis of the graduation project, students submit the thesis documentation putting forward their position in book format. It presents

their hypotheses and methodology, and includes research materials, the process of production and the documentation of the final thesis project.

Seminar BArch3 Benjamin Grabherr

Studio + Workshop 17–20 November tba

WellOrigami We are all familiar with corrugated cardboard as a material used in our everyday lives. In pandemic times, we have come across it as packaging material time and again. As it is easily recyclable, we will be working with recycled cardboard as well. We will familiarize ourselves with the material and start getting a feel for the characteristics, variances and potential of different types of cardboard by means of simple folding techniques. Based on these experiences, we will evolve more complex structures, using origami techniques, designing joints, etc. As for making specific folds in our prototypes, fourteenwalls have developed several perforation and folding tools that are relatively easy to produce. Together, we will explore different ways of working with corrugated cardboard based on these tools. Eventually, we will de­ velop, produce and use new tools that meet the specific requirements for creating structures of our own design.


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ADP

Seminar BArch, MArch Damjan Minovski

CAMERA, LIGHT, PHOTOGRAPHY AND VIDEO FOR ARCHITECTURE STUDENTS I

Techniques of Analogue Photographic Equipment, Digital Photography and Video

K5 Wed 10.30–13.30

Useless (This is not an EPS Shredder). Photo: Benjamin Grabherr, 2020

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.


IKA W2021

28

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: arch@akbild.ac.at

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 disser­ tation 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.


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Current Dr. Techn. Candidates at IKA 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) NIKOLAS ETTEL The Architectural Parallels, Film-making as investigation method for urban oddities. (supervisor: August Sarnitz) ADAM HUDEC Epidermitecture: An exploration of the potential of the facades outermost skin. How patina, the shallow layer of deposits on their surface can be of benefit to the building and its environment. (supervisors: Michelle Howard, Katja Sterflinger) WALTRAUD INDRIST 5 Häuser. 5 Familien. 5 Freundschaften – Der photographische Akt im Werk des Archi­tekten Hans Scharoun zwischen 1933 und 1945. (supervisor: Angelika Schnell) LIM JAE HYUN Synthetic History: Unmasking the History of Tange and Isozaki. (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) ESTHER LORENZ The Corporeal City. (supervisor: Angelika Schnell) MAHSA MALEKAZARI Dancing to the Tune of Light. An investi­gation into ascertain­ ing 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) PAULA STRUNDEN Simulating Atmospheres: Digitizing embodied design and decision-making processes in architecture. (supervisor: Angelika Schnell; part of research project Communities of Tacit Knowledge)

RESEARCH PROJECTS Communities of Tacit Knowledge: Architecture and its Ways of Knowing1 2019–2022 Angelika Schnell Eva Sommeregger Paula Strunden Mara Trübenbach

For further information www.tacit-knowledge-architecture.com

Ambivalences Of Modernity The architect and City Planner Roland Rainer between Dictatorship and Democracy2 2021– Angelika Schnell Ingrid Holzschuh Waltraud Indrist Monika Platzer

1 This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 860413. 2 Stand-Alone Project, Funded by the Austrian Science Fund (FWF) P 34938-G


IKA W2021

LECTURE SERIES WINTER 2021/ SUMMER 2022

30

COMMUNITIES OF TACIT KNOWLEDGE:

grow. First of all, of course, there is the increased use of digitalisation tools in the design process, which promotes rationalisation. If the only physical activity in designing is click­ ARCHITECTURE ing a mouse, can something like tacit AND ITS WAYS OF knowledge emerge? And wouldn’t we KNOWING need it? By whom and how is archi­ tecture then explained? This leads The title and theme of the research project, and to the second point. In times of crisis, construction consequently of the lecture series, derive from the idea should critically engage with the public. Enigmatic of “tacit knowledge”, which was introduced by Michael explanations of beautifully drawn architectural visions Polanyi and Gilbert Ryle starting in the 1950s. They are no help. Conversely, an artistic process does not addressed the fact that there is a whole range of forms have to be described prosaically. Instead, awareness of knowledge that we learn and apply implicitly, mainly of and sensitivity to other kinds of knowledge should through immediate physical implementation, without be communicated in order to be able to promote pre­ being able to explain them precisely. For Polanyi, this cisely the creative power of unconventional projects. meant that, “we know more than we can say”. (Riding And furthermore, research into “tacit knowledge” in a bicycle is often cited as an example of “knowing architecture would at the same time be a contribution how” rather than “knowing that”.) Architecture, and to “artistic research” in architecture, a field that is yet especially the architectural design process, fits well into obscure and needs to be explored in greater detail, this thesis. For although many architects make great which task the ten doctoral students involved in the efforts to explain and (post-) rationalise their design research project are taking on in particular. approaches, the actual process remains unknown, even when working in a team. The physical activity of sketching, drawing, building working models, etc. is individual and collective at the same time, since in addition to the subjective choice of forms and structures, there is also recourse to the familiar, because it is easy to communicate: processes, images and jargon, which in turn also promote habitual prejudices.

The annual lecture series at IKA in the academic year 2021/2022 will be organised in partnership with the EU research project Communities of Tacit Knowledge (TACK): Architecture and its Ways of Knowing, in which we are involved as one of ten academic partners.1

It would be easy to say that this implicit knowledge need not become explicit. This attitude has in fact inten­ sified, especially as part of modernist criticism from the 1970s onwards: architecture should be autonomous again, should be art, and should do without rational explanatory patterns. But there are some points that, conversely, should make interest in tacit knowledge

The lectures will be organised as “TACK talks”, as discussions between the partners in a hybrid format, and streamed via YouTube on the TACK website. www.tacit-knowledge-architecture.com


Mondays All lectures start at 7pm

Angelika Schnell

31

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11 OCTOBER 2021 Lara Schrijver University Antwerp Tom Avermaete ETH Zurich NOVEMBER 2021 Klaske Havik TU Delft Janina Gosseye TU Delft JANUARY 2022 Tim Anstey Oslo School of Architecture Helena Mattsson KTH Stockholm Jennifer Mack KTH Stockholm MARCH 2022 Christoph Grafe Bergische Universität Wuppertal Peg Rawes Bartlett, UC London MAY 2022 Margitta Buchert Leibniz Universität Hannover Gennaro Postiglione Politecnico Milano Gaia Caramellino Politecnico Milano

1 The research project is an Innovative Training Network for doctoral students, as part of the Marie Sklodowska-Curie Actions of the European Framework Programme Horizon 2020. The research project has received funding since March 2020 and will run for three years. The project involves ten doctoral students at ten European universities, along with nine architecture firms, three cultural institutions, and an advisory board consisting of six renowned academics in the fields of architecture and urbanism.

This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 860413


Kick-off / semester start

4

Diploma presentation Diploma presentation Diploma salon Midterm reviews Diploma 2/3 Final reviews Diploma presentation

11 October 8 November 8 November 15–16 November 6 December 17–18 January 19 January

LECTURE SERIES AND TACK TALKS

Lara Schrijver, Tom Avermaete Klaske Havik, Janina Gosseye Tim Anstey, Helena Mattsson, Jennifer Mack

11 October November January

EVENTS

Ernst A. Plischke Study Prize Carl Pruscha Michael Hirschbichler Rundgang

23 November 29 November December 20-23 Janurary

IKA W2021 CALENDAR

Academy of Fine Arts Vienna Schillerplatz 3, 1010 Vienna www.akbild.ac.at/ika arch@akbild.ac.at Office: Room 213, 2nd floor Gabriele Mayer +43 (1) 58816-5102 g.mayer@akbild.ac.at Ulrike Auer +43 (1) 58816-5101 u.auer@akbild.ac.at

October

Institute for Art and Architecture Academy of Fine Arts Vienna Winter 2021 ANALOGUE MODEL WORKSHOP General machine hours (380 Volt) Mon–Thu, 2pm–6pm For individual support, please contact: Günther Dreger g.dreger@akbild.ac.at Rüdiger Suppin r.suppin@akbild.ac.at

Chair / Deputies: Wolfgang Tschapeller, Lisa Schmidt-Colinet, Werner Skvara Editor: Linda Lackner Proofreading: Judith Wolfframm Design: grafisches Büro


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