Work Volume
Xaver Roos
Work Volume
Las Vegas Las Vegas 4–11
Stranger Realism
Catwalks on busstops 12–23
Design by Numbers
Bungee Gum 24-33
Interface Architecture
Parody of a paradox 34-43
Stranger Realism
Conduta 44-47
Porto Academy
Architectural theory, University of Innsbruck Instructor/ Giacomo Pala, Tim Altenhof Tutor/ Mehmet Ali Cakir 2023
IOUD, University of Innsbruck Instructor/ Zeynep Cinar, Simeon Brugger Tutor/ Sara Lauton 2022
I.sd, Structure and Design,University of Innsbruck Instructor/ Nicolas Stephan, Johannes Schlusche, Nina Hütter 2021
Architectural theory, University of Innsbruck Instructor/ Giacomo Pala 2022
Porto Academy, Porto school of Architecture Instructor/ Metteo Ghidoni, Salotto Buono 2022
Machinic Landscapes
What is Architecture in the Age of Anthropocene?
48–53
A Criticism on Neom 54–55
Methods of Construction and Design
Acoustic Panel 56–61
Methods of Construction and Design
IOUD, University of Innsbruck Instructor/ Ferda Kolatan, Zeynep Cinar, Simeon Brugger 2021 & 2022
Architectural theory, University of Innsbruck Instructor/ Eleni Boutsika 2023
I.sd, Structure and Design, University of Porto Instructor/ Maximilian Wacker, Johannes Megens 2021
LAS VEGAS LAS VEGAS
w/ Mauritz van der Vliet
Like the simplicitytm building we want to voice a criticism towards the surrounding built madness. In contrast to OMA´s approach we decided to use exaggeration and sampling instead of abstraction and simplification as a tool of criticism. Over time, Las Vegas hotels have grown into a distinct icon of excess, and entertainment.
A fascinating feature of these hotels is their ability to reference different cultures and styles in their architecture and design. As a result of this, we designed the hotel “Las Vegas Las Vegas” that refers to its own city like the hotel “New York New York” refers to New York.
By analyzing the strip, we created a library of iconic moments, that serves as a foundation. These are also the elements we will use to assemble the design. During the development, the outlines of different hotel massings were used to generate an overall massing for the hotel “Las Vegas Las Vegas”. The chunk models include different aspects of stereotypical Las Vegas hotels, while they are getting distorted by the different clashing styles. By rotating the individual programs, high class buildings get paired with basic programs, resulting in contradictory moments.
»The essential element of architecture for our time is no longer space; it‘s no longer abstract form in industrial drag; the essential architectural element is iconography.«
– Robert Venturi
Architectural theory, University of Innsbruck Instructor/ Giacomo Pala, Tim Altenhof Tutor/ Mehmet Ali Cakir
french Ventian“ front view
„the
„Las Vegas Las Vegas Casino“ front view
french Ventian“ back view
„the
„Las Vegas Las Vegas Casino“ back view
„park my ride, Libeskind“ front view
CATWALKS ON BUSSTOPS
w/ Paul Riedt
The aim of the studio was to design a pedestrian plaza in the Alhambra district of greater Los Angeles.
Currently, there exists a sharp border between residential, commercial, governmental programs and proportionally large open parking lots. To meet the pedestrian potential of the historical district the intention was to design an open-air mixed-use plaza for recreational purposes. This plaza can be an area that can be used by government officers, the general public, office workers, university students as well as residents, etc.
»At the heart of the third LA concept is the idea that the city is not longer pushing out at the edges, expending by building new subdivisions and gobbling up empty land, but the city folding back at itself.«
– Christopher Hawthorne
Ioud, University of Innsbruck Instructor/ Simeon Brugger, Zeynep Cinar Tutor/ Sara Lauton
Entrance area, Catwalks on busstops
Different levels, Catwalks on busstops
BUNGEE GUM
w/ Jana Kopp, Jitka Runge
The project investigates the potential of reconfigurable and responsive space, through the implementation of an interface between public and private space using the elastic properties of bungee gum material. The building site is surrounded by exclusive architecture and cultural institutions such as a concert hall, a theater and an opera. All these institutions are private, elitist, charge admission, and require a high level of education. Moreover, the buildings each serve only one purpose and offer little flexibility. To counter this status quo, public space and multi-functionality would have to be created to provide space for young, emerging artists and alternative cultural activities far from the established art world.
Inspired by humorous and exaggerated representations of rubber materials in anime productions, the building addresses the opposition between private and public space, high culture and pop culture.
Video: https://youtu.be/omijrJrhS74?si=HUsSykfC_NXv2faG
I.sd,Structure and Design,University of Innsbruck Instructor/ Nicolas Stephan, Johannes Schlusche, Nina Hütter
»This is my elastic love. Also known as bungee gum. It can expand and contract. And attach and detach as I desire. Bungee gum has the properties of both rubber and gum.«
– Hisoka, Hunter x Hunter
Public spaces are essential because they give a platform to voices and ideas that don’t usually get attention. They’re accessible places where people from all walks of life can share their passions, whether it’s through art, performance, or discussion. Unlike mainstream venues, which often highlight only popular or established voices, public spaces allow anyone to express themselves and be heard.These spaces are also great for bringing different communities together, leading to fresh ideas and new collaborations. By making room for creativity and diverse perspectives, public spaces help build a more inclusive and connected society.
The building is covered with rubber and has the ability to move the floors vertically, extending a rubber that changes the characteristics of the building. This shape shifting architecture increases spacial flexibility such as the expansion of public space and the modification of pathways. Further, the transparency of the material enables indirect lighting for the interior of the building. The newly gained public space offers room for events from rave-parties to cosplay conventions.
GUM 3, front view
Parody of a paradox
By using a set of archetypal forms to transform the architecture of the Maison à Bordeaux into a simplified version, this extreme abstraction makes it possible to induce the imagination of observers and access the essence of the building through the naive viewports of children.
As I refer to the metaphysical paintings by de Chirico, I wanted to revive certain aspects in the transformation:
First, sosing the scale by using perspective in an exaggerated, unreal forms. And second, the theme of the clock as the paradox of an “eternal present“.1
Looking at the Villa dall`Ava, familiar objects like the orange construction fence, create a play of stereotypes which support the idea of the Parody. The transformation of the Elevator makes use of this method by increasing the number and changing the form of the hydraulic pistons. By treating the pistons as if they were Greek columns, they create an appearance of stability. Due to the vertical movement the columns get stretched and the expectation of the ratio between architrave (Platform) and the columns (hydraulic pistons) gets disturbed. The transformed elements keep the Paradoxes alive or make them even more paradoxical.
The Transformation intentionally makes fun of the Maison à Bordeaux: a parody of Koolhaas, as he did a parody of Le Corbusier.
A parody of a parody, or maybe a parody of a paradox. In any case, the new house is an alternative reality: a paranormal house; a reinvention of our contemporary canon, as if it were in an alternative universe.
1 Cottini, Luca, The Art of Objects: The Birth of Italian Industrial Culture
Full text: https://issuu.com/xaverroos/docs/essay_xaverroos.docx?fr=xKAE9_zU1NQ
Architectural theory, University of Innsbruck Instructor/ Giacomo Pala
Conduta
w/ Porto Academy
The project tries to rethink and reinvent the Quinta da Malagueira Complex Housing by Álvaro Siza. Concerning the infrastructures, instead of being located underground, Siza draw a kind of gallery, called “conduta”, inspired by the Roman acqueduct of the city, which accumulates all the substructures in a high conduit, gathering a network of distribution pipes (water, electricity, gas, telecommunications, etc.). By transforming it, the conduta becomes accesible and provides a lot of new possibilities of use.
Porto Academy, Porto School of Architecture Instructor/ Matteo Ghidoni, Simone Fagini, Francesca Mavaracchio, Samuele Bertoni
Machinic Landscapes
What is Architecture in the Age of Anthropocene?
The discovery of the Anthropocene, its presence as a fact, has exposed the strict categorical distinctions between culture, technology, and nature as fiction. “Reality”, as it turns out, is manifested in the Anthropocene by complex planetary ecologies where human and nonhuman objects, forces, and protocols mesh into new types of hybrids. In this new reality, the old rules and classifications through which we understood, engaged, and “designed” the world need radical rethinking and retooling.
Ioud,University of Innsbruck Instructor/ Ferda Kolatan, Zeynep Cinar, Simeon Brugger
»The emergence of the Anthropocene has irrevocably altered our relationship to the planet. The technological effects of our actions do not dissolve into air but register deep in the atmospheric and material aggregation, we call Earth.«
– Ferda Kolatan
A criticism on NEOM
w/ Marc Rinaldis
Neom, an innovative megacity in Saudi Arabia, reflects the imaginative landscapes and objects of sci-fi narratives in its architectural design. Every aspect of Neom’s construction seems deeply connected to speculative fiction, with initiatives like zero-gravity urbanism mirroring sci-fi themes. Critics question whether Neom’s reliance on sci-fi imagery overshadows real architectural innovation, as visually appealing renderings often lack detailed substance. This strategic use of sci-fi aesthetics may prioritize selling a futuristic image over presenting genuine architectural advancements, what could be called „developer fiction“. The concern is that if realized, Neom’s bright graphics could end up as mere decoration on conventional buildings, blurring the line between speculative visuals and practical architecture.
Architectural theory, University of Innsbruck Instructor/ Eleni Boutsika
Full text: https://issuu.com/xaverroos/docs/a_criticism_on_neom?fr=xKAE9_zU1NQ
Video: https://youtu.be/xiO0ck5VQNg?si=tJmadk1re8G3qKEu
Acoustic Panels
w/ Katharina Tollinger
The idea of geometry is based on the phenomenon of the interference of waves. So our panel represents the water surface which is deformed by the hitting rain drops.
When waves collide, they superimpose, and their amplitudes add up. The waves retain in their original direction and shape. Interference generally refers to the superposition of waves of any frequency. of waves of arbitrary frequencies. The simulation with Grasshopper resulted in a smooth texture, in which we reduced the number of faces in the 20 x 20 cm grid to give the panel a pixel-like design.
The now rough, angular surface texture allows the sound to be better dispersed and the acoustics improves.
Biomaterials are being explored for use in soundproofing and acoustic applications due to their sustainable and customizable properties. Natural fibers like hemp, cork, and cellulose, as well as bio-based composites, can be engineered to absorb or block sound, offering eco-friendly alternatives to traditional soundproofing materials while providing effective noise control.
I.sd,Structure and Design,University of Innsbruck Instructor/ Maximilan Wacker, Johannes Megens
Materials: Cotton, Hemp, bone glue
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