HARMONIOUS
Towards an interdisciplinary education
Studio White
Thank you for my parents, teachers, and the whole faculty for giving me a chance to study what I am passionate about, learn unique skills, and support me through my tough times.
TABLE OF CONTENTS
PREFACE MUSIC
CREATIVITY
6 12 22 28 40 COLLABORATION
WELCOME
Welcome to my train of thoughts!
Everything started with my dad and many others’ parents deciding to buy Legos for us, the millennial architecture students. Then, we decided to have a long & passionate love and hate relationship with architecture. This dynamic relationship and perfectionism lead me to ques tion our current architecture education and how we can improve it to adapt to our contempo rary professional life and create experimental architectural pedagogies.
FIGURE 1 John S., Anthony Vidler: The Invention of an Architec tural Pedagogy: Austin, Cambridge, Ithaca, Cornell APP
PREFACE
From the beginning of my first year to my last quarter at Cal Poly, I feel like I am com peting with my peers instead of competing with myself, unlike how all other self-improvement books recommend. This toxic trait [which I also realized many others had experienced the same problem] became a huge topic for Wednesday wine night discussions with my other “architect” roommates or friends from other architecture schools. We all talked about how we are having a hard time balancing our personal life with our school life or how it affects our mental health and creativity.
While I am writing my thesis on supporting a collaborative and interdisciplinary architectural pedagogy, I also have difficulty understanding col laboration. While I was working on my design pro cess, I especially felt like a hypocrite from time to time. Instead of asking for more opinions, I found myself hiding on my Papasan chair in the comfort of the room, enjoying listening only to my own opinion.
In my critique, I wanted to emphasize my own experience because I believe that the archi tecture education system will grow and change in time to adapt to individual voices. While some peo ple can relate to what I have gone through, I know it may not be the same case for some people. We can only learn from each other by sharing our per spectives to make the education system better for new generations. I also want to add that if I had to go back five years ago to the beginning of college, I would still choose Cal Poly SLO to study architec ture. I want to thank my parents, teachers, and the whole faculty for giving me a chance to study what I am passionate about, learn unique skills, and sup port me through my tough times.
Notes on my transparent existentialism for the architecture field.
While I am writing my thesis on supporting a collaborative and interdisciplinary architectural pedagogy, I also have difficulty understanding col laboration. While I was working on my design pro cess, I especially felt like a hypocrite from time to time. Instead of asking for more opinions, I found myself hiding on my Papasan chair in the comfort of the room, enjoying listening only to my own opinion.
In my critique, I wanted to emphasize my own experience because I believe that the archi tecture education system will grow and change in time to adapt to individual voices. While some peo ple can relate to what I have gone through, I know it may not be the same case for some people. We can only learn from each other by sharing our per spectives to make the education system better for new generations. I also want to add that if I had to go back five years ago to the beginning of college, I would still choose Cal Poly SLO to study architec ture. I want to thank my parents, teachers, and the whole faculty for giving me a chance to study what I am passionate about, learn unique skills, and sup port me through my tough times.
FIGURE 4 PROJECT BY Juan Fernandez and Selin Oner, Mural for the school, 2021There are many reasons architecture school is challenging, but there are so many reasons it is fun for the right crowd. Therefore, during my thesis year, I first wanted to brainstorm how the hierarchy works in the architecture field. All the anger and questions on “why architects do not get paid enough?” led me to have a harsh critique of the star architecture culture. Even though it is not called an “apprenticeship” any more, the new graduates in professional life are working as apprentice designers with a meager salary than other professions with the same workload. Ever since I learned about this fact, it reminded me of the hierar chies in the structures whereas monuments and how we almost consider star architects as the monuments and the soldiers who sacrificed themselves to the system. On the other hand, the knowledge and experience collected over the years almost gave older architects the right to keep this hierarchical system because of their hardship. In the end, this system got us into a vicious cycle of disappointment.
Another significant fact that I always question in the system is the insufficient work-life balance in our field. I believe that our creativity gets affected differently depending on our personal needs. Therefore, I wanted to design a curriculum in that students should not be forced into the school system but instead have individual freedom. Spending most of our time with architecture can be overwhelming from time to time, and our 20s are the time to learn about ourselves. So, we can also create our voice and lifestyle to explore our creativity.
FIGURE 5 PROJECT BY A. LAWRENCE KOSHER AND HOWARD DEARSTYNE FOR "THE ARCHITECTURAL CENTER: AN ORGANIZA TION TO COORDINATE BUILDING RESEARCH, PLANNING, DESIGN, AND CONSTRUCTION," (KOHSER&DEARSTYNE, 2012)
Emotional Influences on Creativity
Years of experimental research into the individual characteristics of highly creative people has re vealed a remarkably consistent set of basic char acteristics. According to experimental research about what characteristics are present in highly creative people, introversion, emotional sensitivi ty, openness to new experiences, and impulsivity are the most distinct of all. In this regard, mood disorders, both positive and negative, can accen tuate creative performance (Feist, 1998; Parke, 2017). Although some data indicates that a happy mindset boost creativity (for a review, see Isen, 1993 ), many other investigations have shown that negative emotions can also enhance crea tivity (Kaufmann, 2003). In some circumstances, powerful endurance caused by negative emotions can lead to better creativity skills (De Dreu et al., 2008).
Certain periods of challenging conditions and conflicting demands may well come up on the way of the course of creative thinking and design, which should be seen as the inevitable propellants of such a process. In fact, a brilliant idea is not found easily as it usually comes after a long and tedious intervals and struggles of thought (Diet rich, 2004). The crux of the matter is that training and educating the mind to accomplish creativity is wrapped up with such periods of challenges and stimulations so long as there is the creative poten tial.
In the representation of the archi tecture student’s daily life (Figure 6), there are nine variations of how a day can go depending on our emotional state and the workload. The outer circle serves as our activities. When there is a crack outside, it includes social events. If there is a crack in the inner circle, the activity includes more brainstorming and connecting with our soul [aka inner circle]. Those nine days can vary de pending on how the individual functions. For me, stress and work overload can negatively affect my productivity, while for some others, it motivates them to study harder. However, after discussing with my studio peers, most of them preferred a lifestyle where they could have a social life, a sleep schedule, and a more comprehensive archi tectural education system other than a fast-paced education timeline.
As a result, we all function differently to use the full potential of creativity. Suppose the architecture school system could introduce a flexible timeline for students and their needs and have enough extracurricular resources to intro duce students to a balanced lifestyle. In that case, one of the toxic traits of architecture school can be resolved for a better-balanced lifestyle.
Notes on the individual.
Many architecture programs uphold the ideal that the best work comes through independent work and feature a convention studio model that perpetuates this model. The Beaux-Arts ideology was foundational in this regard in the United States, because it em ploys teaching methods that rely on individual apprenticeship and cultivating the idea that individuals would become better through direct critique (Jernigan, 2015). While school pro vides resources, information, and light to the student, the individuals are expected to show their creative skills and experiences. This culture brings a competitive environment among
The main drive behind scientific, techno logical, and cultural research and innovation has often been associated with creativity, which is regarded as one of the basic features of our mod ern world in the 21st century” stated Ritter and Mostert (2016) who explored the impact of music on creative thinking. The recurrent problems that we are to tackle and deal with in our sophisticat ed and fast-changing world necessitate creative thinking by which we cope with crucial changes in our surroundings sufficiently and properly (Adaman and Blaney, 1995). People have con stantly been seeking ways to bring about creative cognition (Ritter and Mostert, 2016).
Looking back at the good old renais sance period, some distinguished individuals with genius minds such as Leonardo da Vinci, Michelangelo, Rafael were of course capable of generating creative thoughts. Whereas creativity was only peculiar to those inspired by the divin ity in the Middle Ages. Here, in this context, we cannot pass without referring to grand architect Sinan, the chief architect of Suleiman the Mag nificent, who built incredible structures such as bridges, mosques with spectacular designs and applications that are still standing today upright as monuments of grandeur despite many earth quakes and catastrophes for the last 600 years.
An assessment of contemporary literature in various disciplines reveals that defining creativity can be rather challenging, considering diverse and variety of definitions in terms of the literature on creativity. It is partly due to its being estimated on different grounds. Creativity is a multiplex and versatile notion. The ways in which creativity is comprehended and conceptualized can be mainly described as unique and applicable to sorting out the problem in existence (Cowdroy and Williams, 2007). Hence, their attribute is characterized by originality, nov elty, and unpredictability. The worth of the product is related to its expedience and functionality. It meets certain social needs with a specific utility within a certain situation for a specific social context.
invaluable and beneficial for the endurance of design organizations. It supports resourcefulness in connection with thoughts and resilience in cognitive ways to serve designers time ahead to adjust to continuous alterations and challenges in design practice. Thus, the evolvement of creative thinking in design practice is the core ingre dient of architecture education. Hence, making students ready for an inventive and effective utility of the mind regardless of anything in question to jump and barriers to overcome is the inevitable part of their education.
efficient in how they work when they work alone and to manage their own learning while they are in school. Cre ativity – being open-minded, curious, willing to try and see new things – also helps students be more multi-dis ciplinary in their approach and and supported as they merge among disciplines for invention thrive on creativity (Greene et al., 2019; Vally et al., 2019).
Mind
According to my iteration of daily routine (Figure 7), I focus on my tasks and spend less time on my head during a busy schedule. At the same time, I take breaks for self-care and miscellaneous events. I sleep less than usual. Busy days are usually the weeks of reviews and exams. A typical studio day is considered a regular schedule for my weekdays. While working out and eating a good breakfast helped my day, I spent longer breaks between my work hours. I'm usually more productive right before sleep because I procrastinate. I spent more time in my head during an easy day, sleeping, relaxing, and so cializing. Fridays are my usual easy days and sometimes Saturdays. I spend my time with my hobbies and overthink a lot when I have a more manageable schedule. First, I analyzed my negative moods: distracted stressed, and depressed. During these three typical days, I usually spent a lot of time in my head. During distracted days, I spent my day wandering around different tasks and not focusing on anything. I tend to go back into an overthinking zone during my stressed days while working. Lastly, when I'm depressed, I'm less efficient during working, and I usually feel like I'm stuck in my head. During positive days when I feel social, productive, or happy, I also spend a lot of time outside my head and work with others more than usual. I'm more able to multitask and spend more time with my hobbies.
There are two circles interlaced with each other. While the outer circle represents the task, the inner circle represents our mind. The size of the inner circle [mind] varies depending on time and intensity of our think ing. Its boundary is either transparent or solid regarding creative or personal needs. The boundary of outer circle is fractured when the task requires or contains social interaction. While the door’s rotation mainly signifies the flow of time, it also functions as our tendency to go into
COLLABO RATION
New accreditation procedures from the National Architectural Accreditation Board (NAAB), set forth in February 2020 and went into force in January 2022, emphasize that programs should train architect to be multi-disciplinary, to work well in teams incor porating the diverse perspectives of various members, and to create designs that serve the people who will live, work, or play in their spaces (NAAB, 2020).
The challenges of today’s world, and in which architects must situate their work, demand an approach that cross pollinates from the many disciplines of design. As the progress of technol ogy improves, a variation of professionals in the architecture field are needed to work together. As a result, multidisciplinary approach to design education is now becoming a requirement for developing more inventive solutions (Ruschet et al., 2008)
In architecture education, opposition to collaborative design is a repeating problem (Tzonis, 2014a; 2014b). The fundamental point to mention is because various scholars have unique licensing procedures.
The split between education and prac tice began in the mid-nineteenth century, when architects were trained through apprenticeships instead of formal, college courses. Many have called for architectural education to focus on “cooperative” and “practice-based” learning, rather than the traditional classroom and studio approach, so that students are more prepared for practicing the profession after they graduate (Jernigan, 2015).
"Current trends in higher education point to an increasing reliance on digital scholarship and communication. And while technology is at the center of im provements to the transmission of a vast and constantly-expanding body of in formation, physical interaction in real time is an invaluable component in the learning process."
Yet many students – and I count myself among them – prefer individual competition to collaboration, as it allows them to champion their perspectives and ideas in their designs. In the Ownership Revolution, Antoine Picon mentions the difficulty of competing because of a much larger fishpond (Picon, 2018). The meaning of owner ship may even create a revolution in creative and economic practice. One of the main reasons for this transition is the simplicity in collaboration in digital tools but the uncontrollable nature in design due to the collaboration. The reading differentiates the different sizes of practices. The era of one singular author ended in architecture. While big firms question the authorship, star- ar chitects or practices are trying to find a solution to perpetuate the authorship. Antoine also mentions the necessity of alteration in education due to the contemporary needs in entrepreneurial and communication abilities other than the design dis cipline. Therefore, the Bauhaus Ideology, created in the mid 20th century, proposes that the new studio culture has evolved the collaboration and connection at the school, it still needs to develop a little more to help students have a more effort less adjustment to collaborative work culture.
In the “After” iteration, I wanted to create a different illusion of connecting the outside work. While our minds are the center of our lives in in dividuality, collaboration plays a more crucial role than the individual mind.
Even though the new studio culture has evolved the collaboration and connection between students, it still needs a little push to help students have a more effortless adjustment to collabora tive work culture. Given how popular and useful collaboration can be, especially in an increasingly inter-connected and multi-variable world, edu cators, academicians, and practitioners need to understand better what factors lead to effective collaboration (Jernigan, J.A., 2015).
In the collaborative lifestyle iteration, I wanted to emphasize how individual life can be shared in an environment [whereas studio] with different activities including music, physical exercise, and architecture brought positive chaos and a communal lifestyle for architecture stu dents. The inner soul still plays an essential role in keeping personal space and a creative voice as an essential source for collaboration. Architecture school almost needs to emphasize the ideology of a home for us where we work hard, enjoy each other’s company, and meditate through music and personal space.
Music for Architecture
In the book Kissing Architecture, Sylvia Lavin mentions the importance of merging different disciplines to create super architecture (Lavin, 2011). Sylvia Lavin argues the necessity of different mediums corporation in architecture in order to expand its meaning.
She assimilates medium and architecture interaction with kissing in order to heighten the experience for the user. “The kiss offers to architecture, a field that in its traditional forms has been committed to permanence and mastery, not merely the obvious allure of sensuality but also a set of qualities that architecture has long resisted: ephemerality and consilience.”
FIGURE 9 Anthony t., The inaugural sampler concert at the renovat ed Alice Tully Hall included the virtuoso Jordi Savall and members of his Hespèrion ensemble, New York Tımes“That amazing revolution in tumult and splendor built on four tones based upon a rhythm a child could play on the piano with one finger. Supreme imagination reared the four repeated tones, and simple rhythms, into a great symphon ic poem that is probably the noblest thought-built edifice in the world. Moreover, architecture is like music in this capacity for the symphony.” -Frank Lloyd Wright (Wright, 2010)
The erotic act of kissing doesn’t signify the blend of medium but it manifests as unity with two distinct media by creating an experience that didn’t exist before. This ambivalence of the superimposition generates an emotive response by conquering architecture culturally, politically, and ecologically. This collision without a totality emerges the doubleness of super architecture, signifying the definition of the building’s conventional parameters and creating a hierarchy between the old and contemporary. It is produced by projecting an image on an architectural surface. Therefore, music’s ideology is one of the great examples of creating super archi tecture by seeing how both disciplines will exalt each other’s meaning. One of the great examples occurs in the project Architecture of Music (Hansen, 2009). Jan Henrik Hansen describes his version of the relationship between music and architecture. Seeking to build the relationship between music and architecture, Hansen and his team developed software that transforms music into geometrical forms (Hansen, 2009). As a result, they portrayed the melody of the song “My Song” by Keith Jarrett and a large-scale sculpture.
Like the architect, the composer is acknowl edged as the work’s author and is eligible to ownership and copyright protection according to Four Historical Definitions of Architecture (Parcell, 2012). To prevent imitation, the creation must be sufficiently unique re gardless the musician’s early compositions. The com position as well as the building has the capability to transfer us into our memories. It creates a space in people’s minds that serves as a haven from their wor ries. Both architecture and music are the manifestation of a notion conceived through the composer’s manipu lations.
The concept of built space is a common thread that runs across both music and architecture. Music and architecture are demonstrably different fields in many obvious ways, but both share the common drive to create and build new spaces.
Both architecture and music disciplines have three roles that can relate to one another: While the Art of music includes composer, listener, and musical work, architecture has the designer, the user, and the architectural structure (Kuloglu, 2015). The composer also might be present to perform and keep time. Re naissance architect Leon Battista argues that the iden tical qualities satisfy the eye also please the ear (Kulo glu, 2015). Attendees of a musical performance (both listeners and users) don’t listen but also interacts with the performance either by applauding or singing along. When you visit an architectural masterpiece, the inter action becomes more like communication and praises. There are also certain common topics in music and architecture design concepts; that is, the same terms exist in both fields with the same definitions but ex pressed in different ways.
Unlike music, in which numeric ratios and ge ometry can be essential elements of creation, contem porary architecture attaches little symbolic importance to mathematical proportions. But this was not always the case. In the eighteenth century, some considered such proportions “divine” and believed that they could be applied to designing buildings, facades, and any structure seeking harmony (Vergo, 2005). The arrange ment of the columns, for example, translates to a highly musical sound with a repeated frequency.
The similar phenomenon was mentioned in the article “Architecture Becomes Music” and the idea was also evident in classical civilization and the erecting of temples such as The Temple of Concord at Agrigento, Sicily in 450 BC (Jencks, 2013). There’s also a more structured incorporation of music and architecture in another representation. For example, when exploring with current music composition, Iannis Xenakis used compositional principles in his polyphonic architectural façade design for Le Corbusier on the Monastery at La Tourette.
Music for Architectural Pedagogy
Scholars have examined the connections between architecture and music for decades. Vitruvius’ 1960 study, The Ten Books on Architecture, argued that architects should study a range of disciplines, with music being key among them (Vitruvius, 1960). There are many ways to integrate music to architecture. While you can cooperate music with program and visual ideologies, you can also alternatively benefit from the emotional state of mind to induce creativity.
According to research made by Bilgi Olgen, Music as a conceptual starting point, or an inspiration, could be reflected in a design, and there are many alternative ways teachers have contributed music into architectural design (Olgen, 2020). One example is Maze’s workshop at the University of Florida, where music is used to develop students’ design and interpretation skills before starting a program in architectural design (Maze, 2002). In the program, students listen to music and tasked with creating two-dimensional drawings and three-dimensional models based on what they hear. As a result, the chosen melo dy was examined, expressed, and generated in a different media format.
Another approach is that taken by Ham, who uses digital games to highlight the rela tionship between music and architecture in his second-year design studio, employing both an interdisciplinary approach and allowing students to harness digital technologies to enhance their perspectives on architecture (Ham, 2005).
Another example is from Cal Poly 2018 Fall Quarter Studio by Michael Lucas where we designed a housing project and concert hall. First, we fabricated musical instruments out of recycled materials, later we researched precedent buildings that are inspired by music in especially in the last century.
Selın O., PANCHO, STUDIO LUCAS
FIGURE 17 Selın O., PANCHO, STUDIO LUCAS
Music for Creativity
The musical concept can also be turned into architecture with an emotional state of mind, as shown in Daniel Libeskind’s Jewish Museum. The museum se quence’s constructed holes resembled Schoenberg’s unfinished Moses and Aaron opera’s dismal melan choly (Jakopson, 2007). The opera was one of the mu seum’s founding conceptions, connecting the architec tural architecture with not only the abandoned mood of Jewish torment, but also giving it cultural meaning.
Charles Jencks argues have associative quali ties that evoke emotion, the senses, and intellectual ex pression; both are, he claims, “structures that heighten the senses and make one perceive more sharply and emotionally” (Jencks, 2013)
It has been illustrated by modern research that creative thinking is built-in constitutive and cognizable functioning as it depends on basic cognitive process es other than being an inborn merit peculiar to only a few brilliant minds (Ward TB, 1994). Various means and techniques have been employed in the past decades to promote and facilitate creative cognition for the better ment and acknowledgement of it (Ritter et al., 2012a and 2012b).
One of the most significant ways to render cre ative cognition for a long period of time is the contribu tion of music to creativity (Frith and Loprinzi, 2018). Any innovative design processes, scientific advertisements, and communication skills all require creativity. While music is a core creative discipline, there are many ben efits of learning or listening to music while working on the artistic phenomena.
The background music is an ambient stimulus that has been shown to improve mental skills and boost creativity in tasks requiring spatial abilities, such as architecture (Schellenberg, Nakata, Hunter, & Ta moto, 2007).
There are researches made that supports the benefits of music in our daily lives. It heals, relaxes, and helps with math and creativity. As a result, the term ‘Mozart Effect’ invented by the scientist and innovator Alfred Tomatis (Thompson and Andrews, 2000). He developed an innovative methodology, using modified music to stimulate the rich interconnection between the ear and the nervous system to improve human crea tivity.
Ritter et al. (2017) pointed out in one of his recent articles that the traits and abilities of the positive valence in relation to classical pieces have a considerable bearing upon divergent thinking in individuals. The skills and abilities to generate novel ideas have been explored and examined by means of applying divergent cognitive tests such as Guilford`s alternative usage of task (Guilford, 1967). It is known that the right lobe of brain represents divergent and creative thinking such as artistic and musical skills by imagining and expand ing thinking to generate novel ideas, as well as the left lobe of brain standing for logical and analytic intelli gence and convergent thinking by narrowing down available options to the best and optimal choice in the end. Naturally, the result of all these studies clearly indicates that one can improve one`s personal creativity.
Music for Collaboration
“The function of music is to enhance in some way the quality of individual experience and human rela tionships; its structures are reflections of patterns of human relations, and the value of a piece of music as music is inseparable from its value as an expression of human experience” (Blacking 1995, p.31).
While music is dominantly an act of creative passion, it is equally conscious of its collaborative set ting. Collaborative learning with music has become a significant focus for recent researchers; for example, in a research made by Vlahopol G. (2016), music help to negotiate while students are interacting with each other during music sessions. Recent breakthroughs in music psychology literature have begun to emphasize that music is a highly social activity (Hargreaves et al., 2003). It also makes it simpler for individuals to ex press thoughts, emotions, and ideas in a group setting. Some thinkers even suggested that speech and music may serve similar communication roles (Campbell, 1997). The researchers have also supported that mu sic students who are friends and share a collaborative environment produce much better creative ideas. Crea tive collaborations are also enhanced by students who have the same taste in music and increase the chance of having long-term friendships (Suttie, 2015). It also in creases emphatical connections and creates stronger bonds between intercultural relationships.
FIGURE 20 Peter R., Wien Konzerthaus,Wien Tourismus, Wien.info
Day after day, our civilization has become more complex and diverse during this historical period. Glo balization has led to more diversified communities than ever before. Collaboration is frequently the most suc cessful approach for “gathering together a broad varie ty of qualities and resources to solve an issue, establish a program, or create something entirely original” (Wil son, 2000). The variety of design styles influenced by technological advancements has prompted us to revise our architectural education.
Harmonious Pedagogy criticizes that one version of the contemporary model of architecture school can stress the importance of teaching architecture along side music. This new pedagogy idea will enhance the growth in the architectural practice while simultane ously exploring the creative interrelation between dif ferent art disciplines. The architectural imagination of students will also be enhanced by musical passion be cause of music’s positive effect on human creativity. This thesis is materialized in a design project: a new interdisciplinary school of music & architecture.
Located next to Wien Konzerthaus and its magnificent ice-skating arena, the Vienna School of De sign, will propose an interdisciplinary curriculum by uniting creative involvement in architecture and music disciplines.
While conservatory education in music can be a challenging pedagogy, in the Vienna School of Design, students should use their music knowledge in order to increase their creative and collaborative skills. While there are classes in order to enhance your music knowledge, the curriculum doesn’t propose any oblig atory graded classes for music. From Cal Poly’s cur riculum (figure 21) to Vienna School of Design, I have rescheduled the curriculum with the music classes, giv ing fourth year the freedom to go off campus like Cal Poly.
The school designed to separate public and pri vate spaces as well as quiet and loud spaces. As you enter the building from the north of the site, you can explore an open exhibition space. You walk in to see an open atrium and have a small peak to the relationship of the concert hall and open layout studios. The struc ture has flexible walls that you can sort out depend ing on your need for privacy or social interaction. The concert hall looks towards Vienna Konzerthaus and its ice-skating arena. The windows of the hall can open de pending on the weather, able to give a public concert to its neighbor. The first floor contains a big cafeteria, admissions hall, fabrication laboratory, and library, all looking towards the green atrium in the middle.
Is this song goog with my project?
Are you Inspired by Mozart?
I have to finish composing first.
There is chaos, there is music. Students run around, making their models, whereas there is a piano player in the music classrooms. There is the student who wants to show his/her new composition to his/her friends. Like Harvard Graduate School of design, the studios are designed as stepped and see-through.
Hey, do you wanna go to that con cert in the Konzerthaus tomorrow?
So much to do...
On the south of the studio, there is a big social staircase where all students can socialize and have a small study break sitting on small platforms with their peers. On the north, there are winter gardens on each floor. There, students can have a break with nature, looking towards the big public park, Stadt park.
You aren’t sure you are ready to perform? It is okay. On the north side of the school, there are numer ous double insulated private and group practice rooms for students. At the back, there are also studios that are considered quite zone where you just want to keep working by yourself, away from the chaos surrounding the rest of the school.
On the south, at the bottom of all studios, you can see individual teacher rooms as well as meeting rooms. All teachers can get out either from their small garden space looking towards the ice skating arena and connect to the main social staircase to meet up with their students.
The Vienna School of Design is double-skinned. The outside shell is an abstraction of the sheet music of Mozart’s Turkish March, supporting the similar ideology of harmony and repetition in both architecture and music disciplines. The façade’s shadows can be read through during the day, representing the rich connection between architecture and music and a monumental admiration for Mozart and his endeavors in music history.
The new idea of pedagogy will im prove and open up new ways we explore how we can teach architecture in innova tive ways to expand our discipline in an other level of creative collaboration in the architecture field.
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