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which in turn provoke abundance of movement. Our Studio Experiment began in a room of 72 m² floor area and 8m in height, a little too small in floor area but with an abundance of volume. The design of a series of architectural devices interacted with and gradually formed networks throughout the Academy building, itself perceived as a construction from which to hang and build.3

Design studio the Next college_DESIGNING THE NEW SCHOOL OF THOUGHT, Ernst J. Fuchs

The focus of your work at IKA is on construction, material and technology. In the current project, the programming, use and dedication of spaces also play an important role. Where do you see the relevant roots of your teaching of architecture? Where would you start when you think about future and new practices of teaching and producing architecture? What do you consider “New Schools of Thought”? Michelle Howard New Schools of Thought often emerge from very old schools of thought. Our experiment begins with the Peripatetic, founded in Athens around 335 BC by Aristotle. It derives from the Greek word for the colonnades of the Lyceum, and also refers to the act of walking. Aristotle liked to walk about as he thought and taught, so that his pupils literally had to follow him. One of the greatest changes in spatial thinking occurred in the 18th century with the emergence of the knowledge worker and the dominance of the sitting position. So much so that the most advanced (and fetishised) piece of furniture today is arguably the office chair. Working environments that require of us to remain within a reduced spatial terrain in a sitting position are efficient solely at the level of square meterage. We posit that real creative efficiency derives from the polar opposite, from dynamic interaction with an abundance of spaces. We propose that the only real efficiency lies in abundance of space and spatial qualities,

2 the NEXT college _ DESIGNING THE NEW SCHOOL OF THOUGHT, design studio, Master’s programme Platform Analogue | Digital Production Faculty: Ernst J. Fuchs Students: Kristyna Sevickova, Max Ganter, Anna Götte, Bahareh Mohammadi, Julia Obleitner, Severin Goidinger, Ronja Hye, Wolfgang Novotny, Veronika Suschnig, Raffael Schwaerzler, Anna Valentiny 3 THE PERIPATETIC ENVIRONMENT, design studio, third semester, Bachelor’s programme Platform Construction | Material | Technology

Wanderlust — Reciprocity Project, Christopher Gruber, design studio THE PERIPATETIC ENVIRONMENT. Photo: Christopher Gruber

Your understanding of buildings is frequently overlaid by regularities of landscapes. At the same time, you are interested in methods of representation and presentation of architecture. In the current studio project, the Academy building becomes a model and field for experimentation to try out architectural action and make the building legible as a landscape. Can you tell us how these approaches are reflected in your way of learning and teaching architecture? Kathrin Aste The Academy building is the embodiment of a hypercontext.4 The building as such and the different spatial situations give an insight into architectural, artistic and intellectual creation at the Academy over more than a century. How does such an interdisciplinary environment impress and influence the attitudes of entire generations of architects and artists? If we understand the Academy of Fine Arts as a self-perpetuating, built context, it raises the question of how we read that context and what we learn in the process. In the design studio, new interpretations have emerged from the exploration of sculptural modelling techniques, from the digital transferral of the art of engraving, or from the insight that a door as

Faculty: Michelle Howard, Luciano Parodi Students: Loreto Llanos Angulo, Marija Katrina Dambe, Aleksandra Dobicka, Clara Fickl, Elisabeth Fölsche, Burak Genc, Christopher Gruber, Sophie Hartmann, Simon Hirtz, Jakob Jakubowski, Simon Lesina-Debiasi, Marta Llop Santamaria, Madeleine Victoria Malle, Brina Meze Petric, Stepan Nesterenko, Urban Niedermayr, Mikail Smolski, Aysen Sulmaz, Antoine Vercoutere 4 Hyper — prefix; from the Greek ὑπέρ (hyper): “beyond”; context — noun; from the Latin contextus: “connection, conjunction”, correlation