P ORTFOLIO D AV I D S C H I L D B E R G E R 2012
2007 - 2012
S H O PPI NG I N PAR I S
F O RT H C O M I N G R E S E A R C H A N D P RO J EC TIVE DIP LO MA TH ES IS 2012
Enlightenment, revolution, industrialization, capitalism. Paris was the hometown of several developments towards a modern society. Passages, boulevards, Haussmann, the break up of the medieval city, Corbusier. Ideas on the way to a contemporary city. Parc de la Vilette, la Defense, national library as responds to „le metropole sans fin“ at the banlieues. „Le Grand Pari de l‘agglomération Parisienne 2030“ as a collection of visions, but which parameters are relevant for urbanism today, which genotype serves as the basis for a french evolution of the city and which environmental and socioeconomical conditions build the context and input for a realistic morphological model of urbanism in Paris? I started to do my research on the evolution of shopping which has it‘s origin in the passages of Paris. Over a period of three months i did an extensive field work in Paris and the Ile de France. The analysis focused on the spatial development of the passages, the department stores and the shopping centers and the context in which the evolution ot these types had happened. The type of the passage which emerged during the French Revolution was the allegory of a new french bourgeoisie and provided space for the imitation of the nobility as a life full of luxury and exuberance. Passages have been retreat havens within a chaotic city at the beginning of the 19th century. A public space on private ground built for reasons of speculation. Small shops controlled by guilds, united to a serial field which acts as space of transition within the city. As the Industrial Revolution proceeded the success of the passages declined due to the fact that more and more commodities were available. These goods for the masses needed new forms of disposition. The department store, a huge volume within the urban fabric arrised and formed a complete new world for the masses. Shopping as we know it today came into being. After the Second World War Paris grew extremely fast into all directions and the banlieus where in search of their centers. In the late 60th the idea of the shopping center was at the first time installed in a new developed area. In the following years dozens of them emerged arround Paris. With this context in mind i analysed the figure/ground configurations of the mentioned types as well as their internal organisation and the assembly of their functions. I focused on the spatial code which shopping emerged over the last two hundred years. Detailed maps and drawings were the result. Having this background i started to develop a projective design proposal for „les Halles“, the center of Paris, which is near completition.
3.7 96.8 131.2
functions anchor durable non-durable
others unknown - empty
45.3 78.5 107.6
Passage de Panorames
functions anchor durable non-durable food
others unknown - empty
Department Store Le Bon Marche
functions anchor durable non-durable food others unknown - empty
hierarchy high mid low
90.1 321.9 7.9
40.8 26.3 1480
73.0 24.2 7.4 4.4 1220
Shopping Center Parly2
135.8 71.8 17.0
4.0 26.7 56.1
231.8 8.5 138.5
53.2 3.5 11.7
16.9 7.5 29.9
24.8 257.9 8.9
5.3 8.0 2.9
4.0 13.2 3.1
11.3 63.4 21.2
7.6 3.9 21.9
8.0 4.5 7.8 2.8
83.9 82.5 4.1 3.9
74.1 10.4 4.6
49.2 26.9 11.0 2.9
3.7 5.1 3.2
66.4 34.1 6.8
3.7 9.4 4.0
43.6 46.7 101.1 275.0
My forthcoming diploma thesis is produced at the Studio for Urbanism and Spatial Planning/Prof. Peter Trummer at the University of Innsbruck/Austria Tutor: Prof. Peter Trummer 2012
f.a.: evolution and subdivisions, infrastructure and pochĂŠ of shopping typologies / Ile de France
A L M OST NO THI NG
A R C H I T E C T U R A L MU TA N TS A N D U RBA N MO N S TERS
Mutations provide the raw material for evolution, fuel for the Darwinian factory. They arise from random errors in the translation of the genetic code and are the method devised by nature to ensure the survival of living species subjected to unpredictable environmental changes. Architecture and urbanism face the same question as nature does: how can one design for a changing world? Perhaps the answer is also the same: that, paradoxically, the only way to develop robust design solutions is to encourage “mistakes” in the transmission of established design rules, so that the architectural and urban gene pools can become more diverse, enriched by freak mutations, architectural mutants and urban monsters that may prove better adapted to new circumstances. Complex systems, whether natural or artificial, thus have to maintain themselves “on the edge of chaos”, sufficiently stable to ensure continuity and sufficiently unstable to allow for change. The programme for Studio 3 stemed from these fundamental considerations; it called for the exploration of architectural and urban mutations, design processes that imitated Nature not so much in her forms but rather in her mode of operation, her reliance on chance to ensure change and challenge the unknown. The initial studio exercise was to design and construct a device that investigates, precisely and playfully, the working principles of mutations. It was executed as a live demonstration of a mutation process happening “in real time”, the partially unpredictable unfolding of a chance event. It was not so much the end result as the on-going process of mutation that was interesting, the desire to trigger new events, to seek surprises, to induce radical change. This initial exercise seted the intellectual ambitions for the studio and explored different ways in which these ambitions could have been materialised. The design project that followed the conceptual exercise and lasted for the whole semester was a project in which we were invited to demonstrate processes of mutation both at the architectural scale and at the urban scale. We were asked to look at a significant fragment of London (area between Tate Modern and St. Pauls Cathedral), analyse its genetic code, the design DNA of its urban fabric and of its buildings, and to explore ways in which stochastic manipulations of this genetic code can lead to design mutants that are radically different, and from which a completely unexpected form of architecture as well as a new urban typology could emerge. The design of buildings changes very slowly and cities change even more slowly. The aim of this studio was, through experimentation and through the analogical use of mutation processes, to accelerate this process of change and, in doing so, to bridge the gap between architecture and urbanism: it was, through the evolution of its architectural components, the city itself that had to evolve radically. „We must show sympathy for the future and allow it to happen.“ Colin Fournier
God vs. Darwin or pon
g and the gene mac hine Two quite different theo ries meet at a certain point of each proces the user, which has s. God is represented the possibility to play the game „pong“. It by consists of a ball (ma is a game for a sing n) and a bar (woman le player and ). If the player makes ball falls out of the scre a mistake with the bar, en, the process of mu as the tation starts. At the evolution, there has beginning of the theo been a virgin gene whi ry of ch established itself the universe of which as the replicator (“an copies are made”, Ric ything in hard Dawkins). The empty space on the replicator is represe surface of the scanne nted by the r. It acts as the met able to absorb informa apher of almost not tion. Changes in the hing which is environment afford Therefore a sensor the fundamentals of (webcam), has to obs mu tations. erve the surrounding nearby the device), s (things moving or mutate the information being moved (processing 1.0) and impulse emitter ont write it via the visual o the replicated gen mutagenic e (data projection on scanned and printed the sheet of paper whi ). The gene machine ch gets , which acts as a coh produce many variatio erent system of org ns of gene junk (new ans, will genotype), which will selections, in the end allow „god“ to make . The best ones will specific survive.
Device: God vs. Darwin or pong and the gene machine; notebook, webcam, scanner, printer, processing
Images of the device and the gene machine and its impact on the city
ts blas risis ate. c l t s cia y nan to the nom k he fi eco at t it bac h e t h , t e T ac giv he f as to to t h Due er and pow wer
The economy loses its power
, th ney
on e ec
The power station museum of modThe Tate modern, which already mutated from a power station to a with electricty. ern art, re-mutates partly to an algae power station to power the city bags they grow The algaes are spaned over the river in translucent bags. Inside these the co2 directly where they get CO2, in the middle of the city. The algaes transform electricity. into H into oxygen and hydrogen. Power cells transform O2 and
The algae power station
The censor The state, with his new gained powe r, is in need to get information of the limp system and his citizen. As the state is the owner of the Milleniumbridge and the bridge is a well frequented zone, it is the starting point of the observation. An old builde rÂ´s container which was used for the repair work of the bridge, is now used as the collection point of the information. Different senso rs get added to the bridge. Some senso rs check the environment and shall get more inform ation about the external condition of the city. Hairs get collected on the bridge and are assigned to the particular identit y through an iris scanner. These hairs get check ed and via a gen-check the state will find out more about the inner conditions of the societ y. A GPS controlling system follow s the behavior of the humans. The neurologica l sensors finds out more about the thoughts of the people. All these data are collected and used to produce individual portfo lios of every citizen. The portfolios are open sourc e with the aim to improve the gener al conditions with collective power. Furthermore , the state advices all institutions of the city to cope with there original challange and to improve that what they are used to do best. In the name of common weal.
masses. titution for the to a religious ins lisation, that led thedral acts as ua Ca ivid uls ind Pa the St. The enon of ge bureau. to the phenom rt up a marria sta d an get ion They react on to lat ndard way the whole popu ention. The sta an isolation of portfolios types of interv nt the t fer jus dif ad ee to thr is They offer of the dreams marriage h the partner assigned, the in contact wit dy rfect partner is to get somebo rs. After the pe ity de ibil en ss att po the of o the for tely. There is als ional. This is an alternative starts immedia ss is ecisive, there blinddate confe se who are ind to know via the yard. Under ck domly. For tho ba ran it the in like o those wh lygam(i)e of life partner to attend a po can test several nts the possibility ery attendant other participa game of life ev 26 to the of up re es gu rul the confi tellation It is possible to s the best cons ce cti pra s configurations. tio itu to satisfac n and in quick co riations led up into one entity these three va of ony you rise up e rem on If ce . ort nd sh . After a can be fou wedding night ar is very close tes alt nu the mi to 15 y ur the wa end yo iness you ppiness and sp the burst happ the stairs of ha dral. Towards safety way le of the cathe the quick and by le tab the under the coup dic pre ays followed by ck into the un e rules are allw have to get ba parachute. Th mde tan ur using yo unpredictable.
The mariage bureau
The rest kindness towards the Soup, soap and salvation. The three S are offered by the Salvation Army. Well known for their those hot party nights underclass. They organize famous roof top concerts and offer enough soup and soap during that everybody who attends will get on his way down into the rescue net of his salvation.
The elite Scientology is well kno wn for the fact, that they reach the elite. Due to the fact of a huge amount of info rmation about everything, it is now quite easy, for those who have the money , to reach the thetan, the earthly superego. The formally used E-Meter is replaced by the E-le vator which brings you quic kly up to your thetan. The further way of life is unpred icable, too but definitely up to you.
In the end Rules and informa tion always come to an end, which is the beginning of the wonderful and unpredictable part of life.
to use Micro algae power station or a how g something precious for almost nothin ht and A sodium damp lamp spends daylig chlorella offers the best conditions for the algae gen hydro to grow. It produces oxygen and to produce which is used in the small fuel cell city is electricity. This small amount of electri a poem of used for a small speaker which plays n“. TransErnst Jandl which is called „7 Frage nononlated into enlish, the poem says „nono End. „on“. like onono“ which sounds also
Device: Micro algae power station; wood, glass, plastic, electronics, fuel cell
Images of the device
A l mo st No thi n g wa s do ne a t t h e S t u dio 3/Prof. Co lin F o ur n i e r a t t h e U n iversi ty o f Inns br uc k / A u s t ri a a n d the B artl e tt S c ho o l o f A rc h i t e c t u re / L o n don Tutors: Pro f. C o lin F o ur nier
Almost Nothing was done at the Studio 3/ Prof. Colin Fournier at the University of Innsbruck/Austria and the Bartlett School of Architecture/London Tutor: Prof. Colin Fournier 2009
T H E O L D MAN AND THE SE A
AL GA E P OWE R S TAT I O N A N D V I G I L A N C E A BS O RBER WITH IN A LEIGH TWEIGH T RO O F S TRU C TUR E
Once upon a time there was an old man who fished alone in his small boat in the Adriatc sea. 84 days in a row he did not catch a fish. After this lean period of time he caught the biggest fish ever but as he was still very far away from the coastline it took him a long time to go back home. When he reached the coast there was only the skeleton of the big fish on his tang. The fisherman had lost the battle with nature. This is the story of the old man and the sea from Ernest Hemingway and it stands for the continious battle between man and nature. With this story in mind and the ongoing discussion about sustainability in architecture and urbanism we started to question the notion of sustainability on several different levels. As a result we designed a hybrid building which combines the functions of a rational constructed algae power station within a tensegrity roof structure and the vigilance absorbing bouncy castle which also functions as a hydrogen storage. Algaes are a large and diverse group of simple, typically autotrophic organisms, raging from unicellular to multicellular forms. Chlorella is a genus of single-celled green algae, belonging to the phylum Chlorophyta. The name Chlorella is taken from the Greek word chloros meaning green and the Latin diminutive suffix ella meaning „small“. It is spherical in shape, about 2 to 10 μm in diameter, and is without flagella. Chlorella contains the green photosynthetic pigments chlorophyll-a and -b in its chloroplast. Through photosynthesis it multiplies rapidly requiring only carbon dioxide, water, sunlight, and a small amount of minerals to reproduce. Depending on the luminance algae grow slower or faster , accordingly they produce a different amount of hydrogen. These facts have a different impact on architecture and environment. The roof becomes a “performative skin”, that is able to change the transmissibility. The amount of hydrogen produced, influences the shape of the hydrogen tanks (moon bounce) and the coefficient of reproduction affects the amount of algae biomass. Based on the structural idea of the ´Blur Building´ by Diller and Scofidio we tried to develope a realizable tensegrity structure that is even more reduced and lightweight but able to solve double curved geometries. Following the ideology of tensegrity, we reduced beams by transfering loads as tensile forces via much slimmer cables. The tensile structure that forms the moon bounce, on top of the existing building, distributes the loads of the new roof steady into the walls beneath. A grid of ties is clamped across the house top, similar to a saddle that absorbes the loads of the horseman.
Components and assemblies
Implementation and integration
The old man and the sea was done at the Studio Hochbau/Prof. Patrick Schumacher at the University of Innsbruck/Austria Cooperation with Barbara Springer Tutors: Volker Flamm and Prof. Franz Sam 2010
Y O U R PR I VATE SKY S T R U C TU RA L MO RP H O LO GY
The main idea of a tensegrity system is the separation of pressure and tension within a structural system. Buckminster Fuller compared this system to „islands of pressure in an ocean of tension“. The elements of pressure (struts), which are in most cases discontinuous are within a continuous system of tension (cables). Réne Motro pushed this idea further and states „a Tensegrity system is a system in a stable self equilibriated state, comprising a discontinous set of compressed components inside of tensioned components. Following Réne Motro we developed a surface structure which reacts on different structural conditions and makes the static load within the structure visible. This gradient changes of the membrane surface generate different field conditions. The verctical towers are implemented at the maximum height points of the surface structure and act as static subsystems. An intern membrane forms the interior spatial conditions.
Analysis of tensegrity systems
Design research project
Your private sky was done at the Studio Hochbau/Prof. Patrick Schumacher at the University of Innsbruck/Austria Cooperation with Barbara Springer Tutors: Prof. Patrick Schumacher and Markus Malin 2008
B L A S B I C H L E R S TWE NTYO NE T O DO A BA N K J O B
To do a bank job describes the practice of employes in a bank. It says, they create values. Language permits itself a speculative moment, when it also describes with these words the activity of robing a bank. With the instruction to spaces of action this sentence has a third meaning, one of an immaterial architecture. According to a replacement of values, this instruction speculates with the role of an architect as a manipulator of bank robberies. 21 students of the University of Innsbruck observed 21 bank offices within the city of Innsbruck. We tried to find out leaks lecks within the system of a bank and developed hypothetical scenarios to provide different values. The results are emergency plans for banks and their clients. „What is the burgling of a bank to the founding of a bank?“ Bertolt Brecht „What is the burgling of a bank to the founding of a hedgefond?“ David Schildberger 014. I propose the founding of a hedgefond to generate a win-win situation between a potential bank robber and the hedgefond. It works similar to weather derivatives via the issuance of stock options with contractual apointed actuals. If the bank robber fails, he gets money from the hedgefond. If he succeeds he has to pay a certain amount. The insurance of a bank robbery should decrease the inhibition threshold and increase the amount of executed bank jobs. There was an exhibition at the Kunstraum Innsbruck and a book published at the innsbruck university press. Edited by Armin Blasbichler and Stefano de Martino, Institute of Design/Studio 1 with contributions of Otto von Busch, Hubert Salden and Klaus Schönberger. 2011
Bank job 014
Exhibition Kunstraum Innsbruck
T I N Y K U N S TL ANDSCHAFTE N
f.a: The Paradise and „the Fall of Man“ or at the beginning of the last match; Utopia or „the island“ which is angry with reality; Heterotopia or the „other place“ to laugh; Dystopia or the bad dream with an unbearable density; Entropia or the place where you have to exercise your life. 2009
B R O WNI AN MO TI O N
P OI NT L I NE FI E LD CLI P: 4‘33“ , 2009
M ANUAL B L O G EN VIRO N MEN TS
The „Manual Blog“ emerged within a team of five persons in a seminar with the working titel „Environments“. Within this rather vague field we tried to develope a strategy that enables us to involve all participants and at the same time to create a specific environment. Thereby three categories, namely interaction, density and perception were put in the center of our observations. Interaction appears on different levels of the project. As already hinted, the aim was to provide the opportunity to take part in the project for all the members of the team in their own manner, thus to offer the possibility to deal with ones own interrests. Likewise we tried to achieve an intense interaction among one another to take ideas up within the group, to jointly develope the project further and to record it. Finally we initialized the interaction between the group and outsiders via calls to creative and reflective actions. The aspect of density emerged from the problem to catch and involve a broad audience. It was not the aim to look for similarities or to make categorizations and reductions, but to get the chance to take up all the different thoughts and ideas. Through this, a dense image of our surrounding occured. The subject of perception automatically follows the above-mentioned aspects. Interaction and reflection on several levels increased the awareness of our environment. The group, as well as the individual, has the possibility to systematically direct the project. To keep the communication alive there is always the question about interesting topics which are worth it to incorporate. The perception is target-oriented and by positioning a new aspect a statement is formulated and issued. By comparing individual postions and aspects, equal to a mosaic, a picture is arising from different components. Post-it notes served as the (communication-) medium. They have the ability to transport single informations, withal they can be put into different contexts. The intervention was positioned, in dependence to the level of interaction, in our private or our shared environment. The final presentation of our blog, or lets say the launch of our blog took place in the porch of the building of the University of Innsbruck. „Manual Blog“ was done at Studio1, Karen Lohrmann / Stefano de Martino at the University of Innsbruck. Collaborators were Stefanie Budweiser, Alexandra Gasser, Barbara Springer and Christian Flatscher. Sponsored by 3M. 2009
L OO SE L I NE S
I made seven short essays while going by bus through Innsbruck. They formulate observations about people moving within certain territories and try to concretize relationsships between subjects and objeccts within time. 2008
(Pic.: Utopia, Thomas Morus, Tafel 53)
T H E C I TY AND UTO PI A
E S S AY O N I N TERS EC TIN G REA LITIES
Utopia as a fascinating place, the city as a complex system and the virtual as a space of possibilities have always been topics i have been interested in. Does the virtual take over the reality. More and more functions drift into a paralell reality and create their own utopias. The city, which formerly had been the reason for the development of utopias, just remains the starting point for journeys into virtual spaces. Social networks like Facebook, whole virtual worlds like Second life and World of Warcraft attract and fascinate many users. Leisure activities, as well as whole working environments already exist within the virtual. The essay questions the impact of the evolution of the virtual on the city and its future development. Will utopia be reality? Can their be new possibilties for the city and urbanism. What can we learn from the designers of those perfect realities. Utopia is enjoying a real renaissance as it seems as close as never before. The essay focuses on the connection and intersection of the city, utopia, reality and virtuality and links the utopias of the 60th and 70th to the cyberspace. It questions if it could still be possible to seperate those different realities and draw a clear dividing line between them. Furthermore the essay examines the impact of media on the city and introduces new possibilites for urbanism through further technological progress. As detailed literature on this topic is rare i compared the ideas of Paul Virilio and Vilem Flusser and developed my ideas out of their theories. The essay was published in german language in the Surui edition09, innsbruck university press, edited by Eva Lopez, institue of urbanism and spatial planning. Essay available on www.platzhalter.li. 2010
C A M PAG NE R E I TE R
URBA N R E S E A R C H A N D F U T U R E S C EN A RIO S FO R TH E C ITY O F IN N S BRU C K
The riding school Campagne Reiter moved to a new site outside of Innsbruck. The remaining area and its surrounding with over 30 tennis courts, three tennis clubs and a total surface area of 110 000 m2 are the basic conditions of the program for a future urban development of the whole neighbourhood. A wide association scenery on the site provides a huge potential. As potential areas for housing are rare in Innsbruck the political pressure on the program of this site is enormous, due to the fact that a shift in the use of land might be possible. A detailed analysis should give information about the complex socioeconomic and political context of the site. The fusion of sports facilities and housing became the main parameters of a future development. Several possible scenarios were developed and are now subject to negotiation at the municipal of Innsbruck. The research project was done at the Institute of urbanism and spatial planning at the University of Innsbruck in collaboration with Barbara Springer (platzhalter.li), Ursula Faix, Paul Burgstaller (bad architects group) and Wolfgang Andexlinger (yean). 2010
T R A N S I T WI TH O NE STO P
Almeria is a small city in the south of Spain, close to the Mediterranean Sea and well known for its beaches as well as for its agriculture. Furthermore it is one of the hotspots of illegal migration for Africans migrating to Europe. As confidental data and analyses about the impact of migration on this region are not available, this storyboard tries to explain present facts embedded in a narrative story of an African migrant and an English tourist who come to Almeria for very different reasons. 2008
D I E B L U M E A U S DE M G E ME I NDE B AU
Inspired by a song interpreted as the flower of the council house. Nature follows conditions. Furniture seen as living nature spreading over existing structures, branching into multiple directions and provider of multiple possibilties. Renovation of a council house in Vienna including design and production of the interior. Furniture made of solid wood, ash tree, oiled. Cooperation with Barbara Springer. 2009
2003 - 2007
EUTO PI A
DI P L O M A T H E S I S TH E O TH ER FIELD C O N DITIO N
Since the beginning of modern ages man has been in constant movement. The seperation of working, living, and leisure produces heavy traffic. The invention of the single-room apartment provided space for recreation, retreat and the freedom to expand one’s individuality. Inventions, like the phone and the internet, dissolved the defenition of place and time and everything seemed to be available at any time. The completition of imaginations and dreams take place within the real utopias of shopping centres and leisure parks. They are said to be the last public spaces but they force people to comsume and induce passivity. Ever since public space has been the place for self-expression and self-realization. Modern media absorbe these desires and man gets frozen within his apartement. There is no longer a reason for leaving it. Communication became a technical problem and remains as a part of the infrastructure. Phase one: Fireplaces are transfered into the public field and therefore gets back it’s original sideeffect as a producer of communication. Voids are ready for temporary use of the surrounded dwellers. Small islands with different sizes form the starting basis for several different utilizations. Benches under trees, vegetable patches and small garden plots are considered as functionalities. The dwellers get the possibilty to leave their flats and design their surrounded environment. These private islands are embedded within the public space and provide a plattform for communication and an interface between public and private. The user obtains responsibility for the formation of his public sphere. Phase two: The street as a former place for communication gets back the possibility to accomodate its former function by the removal of cars. The installation of different environments attache new qualities. Sand dunes, water basins and small forests – everything seems possible. These new territories are used for temporary activities and provide useful conditions for the surrounding dwellers. A promenade connects the different natures and animate the people to „dérivé“. To see and to be seen can be completely enjoyed. The neighbours get a closer relationsship with their quarters and become „gestalter“ of their own environment. Phase three: The installed islands and temporary structures get overbuild by small volumes which absorb the functions knocked down of the existing buildings. The existing housing structures and their functions are broken up and reformed. The user is able to relocate selected functions and integrate these within a new urban context. The new emerging functional mix induces discussions and communication between the users. The alteration of the existing urban patterns and ist adaptability to new interests and actions lead to alternative behaviours. The boundaries between public, semi-public and public spaces blur and open fields of living emerge. Phase four: Natural environments get expanded by artificialy built ones which provide additional utilities. The build structures absorb further functions of the surrounded dwellings. The inhabitants get the possibility to push their habitus into the field condition. The expansion and individualisation of their living conditions generate an unpredictable complex system and lead to an enrichment of the whole urban fabric. Phase five: At present the buildings of the field grew into the vertical direction and accomodate further functions. The aparment is part of the ancient public space. The user lost its dread of the public and develops new behaviours of living. There is a gradual decrease of privacy in the vertical direction. The fassade acts as the profile of everyone’s individuality. The kinky ancient building gets useless, as soon as it got rid of its primary functions. Phase six: The movement within the new field condition produces temporary residences. Everything flows. The ancient buildings partly dissolve and become virtual. The reality as virtual space. A not-yet-space, contains a not-yet-reality, in a not-yet-time. The movement into a new field condition allows an alternative view onto the existing reality. Utility and action become pleasure. Everybody moves. The actioncloud appears on the horizon. Eutopia is out there. The ancient buildings got rid of their functions. Space lost its task to serve man. Architecture as a virtual action. As a result of absolut individualisation and man’s narcissism people want to build new formations among each other. Hereupon architecture and urbansim will be able to develope new systems of living.
Phase one to three
Phase four to six
Phase seven and final field condition
Eutopia was done at the Studio Brandst채tter at the University of Applied Sciences Rosenheim/Germany Tutor: Prof. Friedrich Brandst채tter 2007
Lageplan M 1:5000
Inmitten eines We i n b e rg s , o b e r h a l b d e r K re m s , i s t e i n Grundstück für den Neubau v o rg e s e h e n . Vo n d i e s e m P u n k t a u s e r s t re c k t sich der Blick des Betracht e r s ü b e r d a s Ta l z u r B u rg r u i n e S e n f t e n b e rg . O r t s a n s ä s s i g e W i n z e r h a b e n h i e r b e re i t s einen Einschnitt hinterlassen u n d i h re K e l l e r, i n F o r m e i n e r K e l l e rg a s s e , e n t l a n g d e m B e rg a u f g e re i h t . Darunter soll sich das neue P ro d u k t i o n s g e b ä u d e a l s z w e i t e r E i n s c h n i t t d e r K e l l e rg a s s e u n t e ro rd n e n . W i e e i n e F e l s wand wächst das Bauwerk aus d e m We i n b e rg u n d v e rd r ä n g t d a m i t d i e N a t u r. D e r F u n k t i o n des Gebäudeteils angepasst, s c h i e b t s i c h d a s Vo l u m e n i m m e r w i e d e r u n t e r d i e E rd e . A u s dieser Logik entwickelt sich die Hülle für das Gebäude.
We g f ü h r u n g
F re i f l ä c h e
Win - Win Situation
Winzer der Kellergasse
Um ein ungestörtes Zus a m m e n t re ff e n z u e r m ö g l i c h e n , i s t d i e We g f ü h r u n g v o n P ro d u k t i o n , B e s u c h e r n und benachbarten Winzern v o n e i n a n d e r g e t re n n t u n d überschneidet sich nur an bewusst platzierten Stellen. D i e Tre n n u n g e r f o l g t a m A n f a n g d e r K e l l e rg a s s e . D a s Ve r a n s t a l t u n g s g e b ä u d e bildet zusammen mit dem E r s t e n H a u s d e r K e l l e rg a s s e d a s To r z u m D o r f .
H i n t e r d e m Ve r a n s t a l t u n g s gebäude befindet sich ein L e h r - We i n g a r t e n . D i e n ä c h s ten beiden Gebäuderiegel bilden einen kleinen, intimen Platz, den sogenannten Nigl Hof. Er ist angelehnt an eine bäuerliche Hofsituatio n . I m G e g e n s a t z d a z u ö ff net sich der nächste Platz w e i t z u r K e l l e rg a s s e . H i e r i s t R a u m f ü r d e n I d e e n re i c h t u m der Winzer oder ein Picknick der Gäste.
Um die zwei Einschnitte in d a s G e l ä n d e z u re c h t f e r t i g e n , müssen sie einen deutlichen Mehrwert für den Menschen und seine Umgebung erzeug e n . D u rc h d i e E i n o rd n u n g d e r ö ff e n t l i c h e n G e b ä u d e t e i le, vertikal, als Naht zwischen den beiden Einschnitten, soll e i n e d ö r f l i c h e S t r u k t u r p ro v o z i e r t w e rd e n . E s e n t s t e h e n F re i r ä u m e , d i e d e n B e s u c h e r einladen zu verweilen.
Raumkomposition Mit dem Blick von der Auss i c h t s p l a t t f o r m w i rd d i e K o m plexität der Anlage deutlich. Vielfältige Raumkomposition e n m i t D u rc h d r i n g u n g e n u n d Ve r s c h n e i d u n g e n s c h a ff e n spannende Gefüge mit immer wieder neuen Ein- und Ausblic k e n . D u rc h S i c h t b e z ü g e w a c h sen die Gebäudeteile zusammen, der Besucher bekommt E i n b l i c k i n d i e P ro d u k t i o n , o h n e i n d e n A b l a u f e i n z u t re ten. Andersherum kann von der P ro d u k t i o n a u s Ü b e r b l i c k ü b e r B e s u c h e r u n d P ro d u k t i o n s g e s c h e h e n b e w a h r t w e rd e n .
B l i c k v o m Tu r m ü b e r d a s G e l ä n d e z u r R u i n e S e n f t e n b e rg
D e r P ro d u k t i o n s w e g D a s P ro d u k t i o n s g e b ä u d e e n t w i c k e l t s i c h g e o rd n e t , n a c h d e m Betriebsablauf, auf einer Ebene. N a c h d e r A n l i e f e r u n g w e rd e n d i e Tr a u b e n s o r t i e r t u n d g e p re s s t , v o m P re s s h a u s w i rd d e r We i n i n d i e Ta n k s , b z w. F ä s s e r g e l e i t e t . A n d i e Ta n k r ä u m e i s t d i e A b f ü l l halle angeschlossen. Nach dem abfüllen kommen die Flaschen i n d a s We i n l a g e r. A b f ü l l h a l l e , We i n l a g e r, e i n e H a l l e f ü r d e n Außenbetrieb und ein allgemein e s L a g e r b i l d e n m i t i h re n B a u körpern einen Betriebshof, zur wechselseitigen Erschließung. Lieferanten haben hier die Möglichkeit des Be- und Entladens. Ve r k o s t u n g m i t B l i c k a u f F a s s k e l l e r u n d Ta n k r a u m
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V I N E YAR D NI G L
A new winery with an office and a sales room embedded in a vineyard. Together with the wine cellars of other winegrowers this new ensemble forms a new wine route for gourmets. Collaboration with Barbara Springer at the studio Prof. Friedrich Brandstätter at the University of Applied Sciences Rosenheim/Germany. 2006
Der Besucherweg Der Besucher gelangt mit s e i n e m A u t o i n e i n e t i e f e rg e l e g t e P a r k g a r a g e u n t e rh a l b d e r F re i f l ä c h e , v o n h i e r a u s s t e h e n i h m m e h re re Va r i a n t e n o ff e n . E i n e k l a re We g führung gibt ihm die Möglichkeit zur selbständigen E r k u n d u n g d e s We i n g u t s . E r w i rd a u f e i n e r z w e i t e n E b e n e i m m e r w i e d e r i n d i e P ro duktionsräume geführt. Am E n d e d e s We g e s s t e h t d i e Ve r k o s t u n g . D e r e i l i g e K u n d e k a n n v o m P a r k p l a t z d i re k t ü b e r e i n e Tre p p e b z w. ü b e r e i n e n A u f z u g z u r Ve r k o s t u n g u n d z u m Ve r k a u f g e l a n g e n .
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Grundriss M 1 : 500 Ve r w a l t u n g , B e s u c h e r, Tu r m
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D a s LD i cahst Lwi icrd i s tm e i s t ht m w ei rd v o n ovboenn oi nb edni ei nGd e ibeä G u deeb ä u d e g e f ü hgr te fuüm l i tohni -o l i t h i h rd t eunmmdoennom s c h e ns, cshteanr k, esnt aC r kheanr aCk ht earr adket re r d e r GebäG u deeb äz u duen zt eur sutnetiecrhset e n i. c h e n . P r i v a tPerre bäG u deebtäeui ldee h i v aGt eere t eai-l e h a b e n wbeenni gweesnei g i tel i csheei t lÖ n -ff n u n i cffhneuÖ gen, w h ,i nwgoehgienng eVe s t ur knogs, t u n g , go en g er knoVe Ve r k aVe u f ruknadu fVe s t ar a l tnusntga sl t-u n g s u nr adnVe g e b ä ugdeeb äs ui cdhe dsei cnhBdeesnu cBheesrunc h e r n ö ff n e nö.ffD r .Wo turm nen D ehrnWo hnd t uerrm d e r F a m i l Fi ea m N i lgi el hNaitg vl iheal et , vdi eelre , d e r F u n k tFi ounn kdtei or nI ndneernIrnänuemner ä u m e a n g e paansgset e ng i en . D i e p aÖs sfftneuÖ ffennu.nD ge F e n s tFeer nnisstcehrenni s cehr iennn eerrni nanne r n a n S c h i eS s scshci h e as sr tsec n h aeritneenr eBi u n rg e r . B u rg . Die FD e ni es tFeer lnasi b t eurnl agi bi sutnngaicsht n a c h i n n e ni nanbegne sacbhgr e äg . rägt. s ct h
Die o Dri tes a nosrät ssas n i gseäns s i gWeinn z eW r inzer g e l a nggeelna nwgeei n t ew r hei int eürb he i nr ü db i ee r d i e K e l l e rg K ealsl es e rg a z us s ei h re z un i hGre r unn dG- r u n d s t ü c k es tnü. cFk üe rn .s iFeü rb es si et ebhet sdt e ah s t das Angeb Aontg, ei hbre o tK , iehlre l e r,K e glel emr,egi ne-m e i n s a m ms iatmd emni tödffeenn töl ff i cehnetnl i cAhne- n A n l a g e nl,a gf ü e rn , n feüure nIedueee nI duenedn u n d P ro j e kPtro e jzeuk tneu zt zuen u. t z e n . H i e r f üHr i esr if nü d r sei innd Ve e irna nVe s t ar a l -n s t a l t u n g stguenbgäsugdeeb ä u d nd e u en i nd öefi-n ö f f e n t l i cf ehnetrl i cPhl aetrz Pvloa rg t z evsoerg h eens.e h e n . D a s We D a si n gWe u t i nN g iugtl N f ui g n lk t ifou-n k t i o niert d n iaebr et idaalbs ePi uabl sl i kPuum b lsim k uam - smagnet u gn d e tPul antdt f P o lramt t. f o r m .
A m E nAdme Ednedr eS tdreurk tSutr uekrthuerbet r h e b t s i c h es ti cwha se tawbasse i a t sb sveoi m ts G v oem - Ges c h e hsecnh,e hi n e n ,K oi n r re K s poor re n dsepnozn d e n z m i t dm e irt Bduerg r rB uu i nrg e r uSiennef t e Sn e -n f t e n b e rg , bdeerg r ,Wo d ehr nWo turm h n tduerrmF d a -e r F a m i l i e mNi li igel . NSiigel . oSrd i en eonrdsni cehn s i c h a l s I nai ltsi a tI o n ire t in a t odre e nn adnedne re a nnd e re n W i n z eW r ni n züebrenr. üM b ei tr.t e M l s i tet ienl es s e i n e s We h rg We a nhgrg s e a rnre g si cehrere ni d c hi ee nB ed-i e B e s u c h esrudc ah se rö d ffaesn töl ff i cehnbt lei cghe hb-e g e h b a re bDaare c h Ddaecsh Tu d er m s eTu s .r m Vo en s . Vo n h i e r hhai te rmhaant fm reai n e nf re B li iecnk Ba lui fc k a u f d a s Ddoarsf D uo n rdf suenid n e s eUi m n eg eU- m g e b u n g .b u n g .
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Schnitte M 1 : 200
Ansicht M 1 : 500
Materialität Die Gebäudefunktionen sind d u rc h d a s M a t e r i a l a b z u l e s e n . D i e We i n p ro d u k t i o n b ä u m t s i c h a u s d e m E rd re i c h als monolithe Steinmauer auf. Glimmerschieferplatten i m Ve r b u n d m i t B e t o n s t a peln sich vertikal in die Höhe und glitzern im Sonnenlicht. Ü b e r d i e J a h re w i rd s i c h e i n e Ve r m o o s u n g e i n s t e l l e n , d i e dennatürlichen Charakter u n t e r s t re i c h t . D i e ö ff e n t l i chen Gebäudeteile sind in Blockbauweise erstellt. Die massiven, horizontal gelag e r t e n S t ä m m e , a u s We i ß t a n n e s c h a ff e n e i n e n B r ü c k e n s c h l a g z w i s c h e n K e l l e rg a s s e u n d P ro d u k t i o n . D e r Tu r m kombiniert beides, Holz für d e n ö ff e n t l i c h e n Te i l , S t e i n für den Privaten. P ro j e k t b e t re u t v o n P ro f . F r i e d r i c h B r a n d s t ä t t e r
Fassadendetail Blockbauweise M 1:25
Dachaufbau Balken 120/180 mm Sperrholzplatten 20 mm Wä r m e d ä m m u n g 1 4 0 m m Hinterlüftung 100 mm OSB Platte 30 mm Dachabdichtung Bitumen Gefälle 2 % 40 - 160 mm Ausgleichsschicht Tr ä g e r 3 5 m m Lattung 200/30 mm
Wa n d a u f b a u We i s s t a n n e b o h l e n m i t N u t und Feder 200/200 mm Windabdichtung Filz Ve r t i k a l e Z u g s t ä b e 1 0 m m
Bodenaufbau Balkenkranz 200/200 mm Hartfaserplatte 30 mm Tr ä g e r 1 8 0 / 2 0 0 m m Zwischendämmung 140 mm OSB Platte 30 mm D a m p f b re m s e Spanplatte 20 mm S c h i ff s b o h l e n 1 0 0 / 2 0 m m
Fassadendetail Steinmonolith M 1:25
F a s s a d e n d e t a i l Wo h n t u r m M 1:25
Dachaufbau Ringanker 250/250 mm Sperrholz 20 mm D a m p f s p e r re Dämmung 140 mm Balken 200/180 mm OSB 30 mm Hinterlüftung 100 mm Gefälle 2% Dachabdichtung Bitumen Glimmerschieferplatten
Dachaufabu Sperrholzplatte 20 mm Abhängung 35 mm B re t t s t a p e l d e c k e 1 5 0 m m Schüttung 45 mm Gefälledämmung 40-140 mm PE - Folie Z e m e n t e s t r i c h g e s c h l i ff e n 5 0 m m
Wa n d a u f b a u Glimmerschiefer 45 mm Mörtelbett Ve r t i k a l e u n d h o r i z o n t a l e Stahlbewehrung
Bodenaufbau Kies 300 mm Sauberkeitsschicht 100 mm Stahlbeton 400 mm PE- Folie Industrieestrich 30 mm
Wa n d a u f b a u Glimmerschieferplatten 300 mm Holzständerkonstruktion 180/160 mm D a m p f s p e r re Konterlattung 80/20 mm Zwischendämmung 80 mm Spanplatte 20 mm Gipskartonplatte 15 mm
Bodenaufbau Kies 300 mm Sauberkeitsschicht 100 mm Dämmung 80 mm Stahlbeton 20 mm Dichtungsbahn Dämmung 40 mm PE - Folie Estrich 30 mm Spanplatte 20 mm Holzdielen 20 mm
AT E L I E R FO R A MUSI CI AN
72 hours design workshop in Constance. Several designs were developed with the material argil and the final proposal was elaborated as an atelier for a musician in Constance. 2006
A² + B² = C² Auf diesen Satz, einst von Pythagoras aufgestellt und bewiesen, gründet sich für uns eine Entwurfsmethode die eine neue, experimentelle Art des Wohnens ermöglicht. Abkapselung
Grundriss unter Erde
Grundriss bei drei Meter
Um sie gruppieren sich unterschiedliche Beziehungen bestehend aus unterschiedlichen Größen. Bildet man aus den Linien quadratische Scheiben gelangt man in die Dreidimensionalität. Verbindet man die Eckpunkte der Scheiben gleicher Ordnung miteinander entstehen drei raumbildende Hüllen die sich spannungsvoll ineinander verschränken und ein komplexes Ganzes ergeben
Entstehung der Volumen
Weg in die 3te Dimension
Grundriss bei einem Meter
Die Betrachter stehen in der Konstellation der Vereinigung zueinander, sozusagen an den Endpunkten eines Pythagoräischen Dreiecks.
Als einzelne lineare Elemente haben wir die drei Zahlen aus der Sicht von mehreren Betrachtern in unterschiedliche, definierte Beziehungskonstelationen wie Annäherung, Abkapselung, Abneigung, und Ablehnung zueinander gesetzt.
Ausgegangen von der einfachsten Zahlenkonstellation 3² + 4² = 5² haben wir den Satz des Pythagoras in ein architektonisches Konzept übersetzt. In der griechischen Mythologie besitzen diese Zahlen eine übergeordnete Bedeutung, die drei steht für das Männliche, die vier entspricht dem Weiblichen und die fünf ist schließlich die göttliche Vereinigung der beiden ersten Zahlen.
Grundriss bei drei Meter
Auflösung In der weiteren Ausführung lösen sich im Inneren die maßgebenden Wände auf und bilden Wanddurchbrüche, während sie an den exponierten Gebäudeteilen zu Glasflächen werden. Durch die Durchbrüche entstehen Sichtachsen die sich durch das ganze Gebäude erstrecken. Der Körper erster Ordnung, wölbt sich als größter Körper über die beiden anderen Volumen und kragt an beiden Seiten über einer Flussgabelung aus. Der Körper zweiter Ordnung verdrängt den Körper erster Ordnung, dieser wiederum gräbt sich in die Erde und bildet dort ein Untergeschoss aus. Sein Raumabschluss formt das Obergeschoss. Die Erschließung der Stockwerke erfolgt über Rampen die sich in die Form des Gebäudes einfügen. Es ensteht somit ein Raumgeflecht aus Durchdringungen, Überschneidungen, Auskragung und Sichtbezügen welches dem Gebäude einen schwer durschaubaren, spannungsreichen Charakter gibt. Von außen wirkt das Gebäude wie ein riesiger Findling der von Wasser umspült wird. Um diesen monumentalen Charakter zu unterstützen besteht das Gebäudes aus kerngedämmten Sichtbeton. Barbara Springer David Schildberger bei Prof. Friedrich Brandstätter Pläne Maszstab 1:200
E X P E R I ME NT HO USI NG
Developement of an algorithmic design method. Collaboration with Barbara Springer at the studio Prof. Friedrich Brandstätter at the University of Applied Sciences Rosenheim/Germany. 2005
W H I C H SKI RT TO WE AR ?
Conversion of an old university building into a residental housing unit. Tetris like the dwellings are inserted into the old existing structure. The LED-facade allows the resident to design its own „skirt“. Collaboration with Barbara Springer at the Studio Prof. Ulrike Förschler at the University of Applied Sciences Rosenheim/Germany. 2005
F O X L FUR NI TUR E
from above: La lentille or the convertible white lounge chair; My home is my castle or the divan for a power nap; Viper room or our favourite club in town. Projects were designed and fabricated together with Ole Oehrn. 2004-05
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L I C H T U N G AND L I CHTB L I CKE
A small group of students and I wanted to broaden our horizon and invented the platform „Lichtung“ in an old mill close to Rosenheim togehter with the architectural office of Finsterwalderarchitekten. We setup an atelier and a place for public events which gave us the possibility to invent a new cultural institution in a small bavarian city which suffered from a lack of initiatives like that. We did a lecture series with young innovative architects from Austria and Germany. 2006-08
L I C H T U N G A N D CO MPE TI TI O N VATNSMÝRI
Competition. Vatnsmýri is a large (150 ha) area near the centre of Reykjavík, the capital of Iceland and the northernmost capital in the world. In this Call for Ideas, the goal is to maximize the opportunity offered by Vatnsmýri to strengthen and consolidate the city for the 21st century, providing quality and a strong sense of community. By creating a contemporary and robust urban fabric with the flexibility required for research, technology and knowledge based enterprises mixed with significant housing, services and new residential forms, Reykjavík will strengthen its international role and competitive edge. 2007
C U R RI CUL UM V I TAE
David Schildberger *1981 in Ried im Innkreis/Austria, currently lives in Vienna/Austria Email: email@example.com, Phone: +43 650 2839452 Education 2003 - 07 University of Applied Sciences Rosenheim/Germany, diploma 09/2007 2007 - 12 University of Innsbruck/Austria, diploma expected 06/2012 Work Experience 1995 Several craftsman‘s establishments such as cabinet maker, metalworker and trade fair constructor in Bavaria, Upper Austria and Vienna 2005 - 06 Finsterwalder Architekten/Stephanskirchen/Germany 2009 - 10 University of Innsbruck/Austria, Institute of Urban Design & Spatial Planning, Research Project „Campagne Reiter Areal“ Projects and Works 2004 - 05 Foxl-furniture together with Ole Oehrn, furniture and interior design 2006 - 07 Lichtung together with Finsterwalder Architekten, competitions and curating of lectures and exhibitions 2007 Platzhalter founded together with Barbara Springer 2008 Symposium: „what ever happened to urbanism“, Vierte Architekturwoche Bayern in Stephanskirchen with Prof. Angelika Schnell, Robin Nolasco, Prof. Jorg Sieweke, Rudolf Finsterwalder and David Schildberger 2010 Research study in Paris Awards 2008 2008 2010 2011
Recognition award, Klaus-Humpert-Preis, TU Stuttgart/Germany 1. Prize, Newtopia, HCU Hamburg/Germany Recognition award, Bauhaus Solar Award, Erfurt/Germany Diploma scholarship TU Innsbruck
Exhibitions 2009 Best of TU im Archiv für Baukunst TU Innsbruck/Austria 2009 Exhibition Manual Blog, TU Innsbruck/Austria 2010 Exhibition at the Bauhaus Solar Conference, Erfurt/Germany 2011 Blasbichlers Twentyone, Kunstraum Innsbruck/Austria Publications 2008 in Vatnsmýri/ 102 Reykjavík, competition entry 2008 in Wettbewerbe Aktuell, „Klaus-Humpert-Preis Sehnsucht Stadt“ 2009 in „Newtopia“ Stadt der Zukunft 2009 in SuRUI Edition, essay „Stadt und Utopie, ein Andocken der Realitäten“ 2011 in Blasbichlers Twentyone, exhibition catalogue 2012 in City Sense - Shaping your environment with real-time data, IAAC Publication, competition entry Web www.platzhalter.li
© 2 0 1 2 DAVID S C H ILDBERGER
Portfolio of David Schildberger