Clemens Aniser
PORTFOLIO
2012-2018
CLEMENS ANISER, MArch
PORTFOLIO: 2012 - 2018
- PART 1 -
M OTION / EM OTION The Essence of Gard ens 201 7 - 201 8 an immersive audio-visual installation ( master thesis )
- PART 2 -
COL L ECTED ACADEM IC WORK 201 2 - 201 8 Conceptual Design Projects ( chronological order )
PORTFOLIO PART 1
MASTER THESIS
2017 - 2018
MOTION / EMOTION
THE ESSENCE OF GARDENS A POETIC EXPLORATION OF INTERPRETING & EXPERIENCING DYNAMIC SPACE The essence of gardens, an immersive audio-visual installation, probes into a poetic exploration of comprehending and experiencing gardens as multidimensional and spatiotemporal entities. It is an attempt to analyse and describe the intrinsic nature and essential qualities of gardens in a complex and at the same time reduced way. The most basic characteristics of gardens, based on C.C.L. Hirschfeld’s Theory of Garden Art, the role of movement and the beholders’ experience will be examined: Movement with its dual components: motion and emotion. The work tries to explore these notions of movement (Bewegung) simultaneously – the physical motion (sich bewegen), as well as the emotional affection (von etwas bewegt sein). The project claims that the essence of gardens is created by motion and emotion – by the relation of movement and rest, and by a certain capacity for emotional affection. Thus, suggesting a concept of space that is exceeding the general 3-dimensions by including intangible aspects such as memory, imagination, and association. The garden acts as a dynamic Raummodell that is shifting from a spatially (x,y,z) based understanding to a spatiotemporal and multidimensional (x,y,z,t,+) conception of space. Therefore, not only dealing with physical aspects of space but also with the idea of an emotional spatialization.
ADVISORS KATHRIN ASTE EVA SOMMEREGGER
GLC
GEOGRAPHY | LANDSCAPES | CITIES
MOTION ANALYSIS PALM LEAVES IN WIND
THESIS
2017 - 2018
VISUAL ANALYSIS TEXTURE & GROWTH
GLC
GEOGRAPHY | LANDSCAPES | CITIES
TOP
ANIMATION STILL MOTION & COLOUR CHANGE
THESIS
2017 - 2018
INSTALLATION VIEW photo credit : clara m . fickl , 2018 .
INSTALLATION
THE ESSENCE OF GARDENS an immersive audio-visual installation
The Essence of Gardens is an attempt to analyse and describe the intrinsic nature and essential qualities of gardens in a complex and at the same time reduced way Assembled in the form of an immersive audio-visual installation, it probes into a poetic exploration of decoding and experiencing dynamic space. The installation acts as a cabinet of curiosities, a dynamic collection of essentials that contribute to a fragmented encyclopaedia. Relations between all entities, including the beholder, constantly change. Translated into vitalised triangulations, fluid topologies, their dynamics continuously create new spatial relations and perspectives with contrasting motions, speeds, and durations inscribed. The individual animated fragments illustrate these various degrees of slower and faster rhythms: vivid movements are depicted in real time, gradual change and subtle transitions are shown in time lapse, or as observed over time in montage sequences. Abstraction provides assistance in order to prevent the experience of processes and behaviours as simply natural. Yet, they cannot be regarded as purely abstract either. By including aspects such as imagination, association, and memory, the work exceeds the general order of three dimensions (x,y,z), and the essence becomes an open process, an understanding, and a way of thinking, of walking, of experiencing space – integrating and abstracting at the same time. The essence of gardens is created by the relation between slowness and speed, motion and rest; yet, also by a certain capacity for emotional affection. The work alludes to an approach of comprehending space as dynamic. It forms an open dialogue that involves interpretation and imagination, because after all, it is a poetic exploration of space itself, and further questions will become fragments on their own. Clemens Aniser, 2018
GLC
GEOGRAPHY | LANDSCAPES | CITIES
INSTALLATION VIEW 2 WAY MIRROR CUBES photo credit : clara m . fickl , 2018 .
THESIS
2017 - 2018
INSTALLATION VIEW 2 WAY MIRROR CUBES photo credit : clara m . fickl , 2018 .
GLC
GEOGRAPHY | LANDSCAPES | CITIES
top & right
INSTALLATION VIEW photo credit : clara m . fickl , 2018 .
GLC
GEOGRAPHY | LANDSCAPES | CITIES
INSTALLATION VIEW photo credit : clara m . fickl , 2018 .
THESIS
2017 - 2018
INSTALLATION VIEW photo credit : clara m . fickl , 2018 .
CONTENT PART 2 first semester - BA UP | DOWN | OVER | UNDER
BARCH - WS 2012/13
second semester - BA ORCHIDS
BARCH - ADP - SS 2013
third semeste - BAr GARDEN OF LIGHT BARCH - CMT - WS 2013/14
fourth semester - BA VIENNA REFLECTIONS BARCH - ESC - SS 2014
fifth semester - BA RADIO PALLADIO BARCH - HTC - WS 2014/15
sixth semester - BA VIENNA - 3OOO BARCH - GLC - SS 2015
seventh semester - MA HYPERCONTEXT MARCH - GLC - WS 2015/16
eight semester - MA COLLABOCRACY
MARCH - GLC - WS 2015/16
1 2 3 4 5 6 7 8
CLEMENS ANISER, MArch
COLLECTED ACADEMIC WORK 2012 - 2016
BA-1
WS 2012 / 2013
1 foundation studio
UP | DOWN | OVER | UNDER Elements of vertical and diagonal transition in buildings and the urban terrain are the subject of our research and design this semester. Climbing ladders, climbing stairs, walking ramps and taking escalators are some ways we move from one level to another with varying degrees of physical challenge. These devices are manifestations of our movement that frame a transition in space, and are more or less strictly programmed for that movement and place. These transition passages are part of our everyday experience as we move up and down them almost unconsciously within the walls of buildings, and across open spaces. In cities we experience changes in ground level through zigzagging ramps, sequential stairs that sometimes disappear and reappear through buildings, helping us over come difficult topography. Old stairs in cities are often integrated with buildings, or extending into sidewalks and are enhanced by accidental or planned activities from landing to landing. Structured by scale, from urban to the individual, the 5 platforms of the Institute will approach the topic with a series of assignments for basic skills in all areas of the curriculum.
SUPERVISORS CHRISTINA CONDAK MANUEL SINGER
FS1
FOUNDATION STUDIO | 1ST YEAR
SOFT STAIR
–
design project LOCATION DANUBE CANAL VIENNA
INTEREST NATURAL APPEARANCE
METHODE INDIVIDUAL WORK
The given location of the Danube canal in Vienna appears as a very hard and constructed form within the city. The aim of the design proposal should soften the edges of the canal and remember the city’s people how a natural riverbed looks like by taking natural elements like reed in an abstracted form of long bamboo tubes that are able to move in the wind. The tubes are arranged on the lower walkway as well as in the water of the Danube canal to create a raw appearance. By using different hights of the tubes - verstatile situations are created. Down at the canal the design appears like a forest but viewed from the street level of the city the tubes appear like waving grass or reed and attract people to look at it closely. A wooden path leads through this forest of bamboo tubes like a serpentine and rises in form of a stair that negotiates the different hights. The stair as well as the long tubes are able to move in the wind. The design can be seen as a module, it could be arranged on the whole canal.
BA-1
WS 2012 / 2013
modell 1:200
FS1
FOUNDATION STUDIO | 1ST YEAR
TOP
diagrammatic plans & section (hand drawing) RIGHT
collection of produced material
BA-1
WS 2012 / 2013
FS1
FOUNDATION STUDIO | 1ST YEAR
TOP
movement model 1:50 RIGHT
plan & sections (hand drawing)
BA-1
WS 2012 / 2013
BA-2
SS 2013
2 analogue & digital production
ORCHIDS Flowers are beautiful. They are colorful. They change shape and size; some contract at night and open wide during the day. They grow, wither, change from green to brown, from taut to wilted, from blossom to poll, they disappear and reappear. Fascinating things. To be beautiful seems to be their primary purpose. However, reading up on the basics of botany will disabuse you of that notion. Flower “is an ecologically and functionally defined term”. From the perspective of botany, a flower is a strictly functional entity defined by its function of pollination. It is described as a “technical and functional entity”, more specifically as the “the biological entity of flowering plants serving pollination, the purpose of which is to attract pollinators” and to provide everything needed for pollination. A flower is an interdmediate entitity. Then, something between signaling machine, communication device, apparatus, construction and space. Its substance formed from an extraordinarily vast range of colours, structures, offshoots, transparencies, patterns, changes in form, contractions, diversifications, micro-space formations, granules and liquids. Flowers are intermediate entities that, like architecture, can be read as precisely calibrated, technical and functional entities, as signaling machines or as aesthetic organisations. The callenge for the coming semester is to expore the context of aesthetic organisation, morphology, and technical and functional entities. This will be done by digitally and physically recreating selected flowers, more specifically - Orchids.
SUPERVISORS
Wolfgang Tschapeller Werner Skvara
ADP
ANALOGUE | DIGITAL | PRODUCTION
MORPH FRILL
–
design project ORCHID PSYCHOPSIS KALIHI (HYBRID) INTEREST 3D MODELLING & TRANSFORMATION METHODE GROUP RESEARCH INDIVIDUAL DESIGN GROUP CLEMENS ANISER MARLENE LÜBKE-AHRENS KRISTINA SEVCIKOVA
The most characteristic elements of the Psychopsis Kalihi are the wavy and curvy edges of its blossom. The aim of the project was to understand this geometry of the curves and how they could provide a kind of shelter or protection. By examining the movement or by creating transformations of the edge curves versatile spaces had been found. The design is defined by multiple factors. External factors on one hand and internal factors on the other. The idea was to create an outer shell which is interacting with this external factors like weather, rain, sun and wind. The outer shell is hosting and controlling an inner structure, which is able to interact with the needs of an user. That for the inner structure has to be flexible and moveable but stable enough to handle activities. The form of the outer structure was directly taken from the wire reproduction of the orchid model (scale 10:1) and was transformed just in a minimal amount to create an efficient shape and a solid shelter construction.
RIGHT PSYCHOPSIS KALIHI PHOTOGRAPHY & BOTANY
ADP
ANALOGUE | DIGITAL | PRODUCTION
TOP
remodelled orchid - 3D (individual work) RIGHT
3D surface modelling & uv-mapping using Maya & Mudbox (individual work)
BA-2
SS 2013
production/presentation via multiple sided projection (group work)
LEFT
scale model - 10:1 (group work)
ADP
ANALOGUE | DIGITAL | PRODUCTION
physical transformation model (individual work)
BA-2
SS 2013
transformed digital model (individual work)
ADP
ANALOGUE | DIGITAL | PRODUCTION
TOP
atmospherical collage (individual work) RIGHT
plan & section (individual work)
BA-2
SS 2013
BA-3
WS 2013 / 2014
3 construction, material & technology
GARDEN OF LIGHT To imagine buildings as Gardens of Light, concrete and everyday paradises, walled orchards of wild, toxic and artificial species, intoxicated with the air of new and unexpected forms of beauty and pleasure. Therefore, during this semester we will be engineers of artificial paradises populated with weird species and programs that construct pools of light, lattices of shadows and light or even artificial sunstets. The work will be highly contextual, extending the notion of context beyond the conventional limits. Since the fundamental work is the definition of a public building (small/medium) the context will change from a simple physical place to be associated with a complex scenario, comprising a physical location, and a conflictive cultural situation, generally a cultural clash or encounter between different cultures. The congegational must be understood beyond the usual meaning attached to single culture - commonly associated with places of worship or politics - establishing links with other cultures, natural species, ecosystems and objects, including technological ones. The congregational public spaces will become assemblies, meetings of members of numerous communities of different backgrounds. We will try to change the way of understanding space as assemblies of materials and elements from different origins that coexist and that are progressively incorporated into the project. As both, the set of relationships and the field of interaction between them, between people and their actions, between the specific culture of social groups and subcultures, the technologies associated to them, in order to link the public space as a space for confrontation.
SUPERVISORS AA-SCHOOL LONDON GUEST PROFESSORS: CRISTINA DIAZ MORENO EFREN GARCIA GRINDA
CMT
CONSTRUCTION | MATERIAL | TECHNOLOGY
BONFIRE BATHS
–
design project The design attempt for the garden of light is an artificial island of fire - as a cross-cultural sauna and hammam dome cluster set in the archipelago sea. LOCATION STOCKHOLM ARCHIPELAGO
INTEREST BONFIRE & BATHING RITUALS
METHODE GROUP RESEARCH INDIVIDUAL DESIGN
GROUP CLEMENS ANISER KLARA JÖRG ANNA KRUMPHOLZ
The project is based on group research and the analysis of Scandinavian and Nordic Bonfire Rituals but also on examining the Burning Man festival in the United States and the Rinkeby (fire) riots in Sweden that have been a reaction to the lack of inclusion of migrants and the increasing gap between social classes in Sweden. For the individual design project a close analysis of the different cultures and their heritage was done. The design proposal acts as a communication line between the migrants and the Swedish. Both cultures have ancient bathing traditions like hammam bathhouses or saunas. By offering a sauna and hammam dome cluster a space for cross-cultural exchange is created. The dome cluster is set in a structure that acts as a cage for bonfires. The bath is receiving its heat through individual fires but also by the burning of the surrounding bonfire set in the exterior structure. Therefore a special event, and by that a new and unique experience of bathing rituals but also bonfire rituals, is created.
RIGHT ATMOSPHERIC COLLAGE (INDIVIDUAL WORK)
CMT
CONSTRUCTION | MATERIAL | TECHNOLOGY
BA-3
WS 2013 / 2014
understanding the meanings of construction & destruction “architecture must burn�
LEFT
randomly constructed structure (group work) RIGHT
semi-destroyed structure (group work)
CMT
CONSTRUCTION | MATERIAL | TECHNOLOGY
group model - burning (group design proposal)
BA-3
WS 2013 / 2014
group model - embers (inspiration for individual approach)
CMT
CONSTRUCTION | MATERIAL | TECHNOLOGY
BA-3
WS 2013 / 2014
TOP
atmospherical references (individual work) LEFT
spatial diagram “cross-cultural bathing rituals� (individual work)
CMT
CONSTRUCTION | MATERIAL | TECHNOLOGY
TOP
night visualization of bathing structure (individual work) RIGHT
site plan - diagram (individual work)
BA-3
WS 2013 / 2014
BA-4
SS 2014
4 ecology, sustainability & cultural heritage
VIENNA REFLECTIONS Outstanding exambles of the most recent Viennese history of architecture face major problems in front of the rapid change of our societies’ structures. Some of these buildings no longer fulfill their requirements as sucessfully operating entities - in terms of space requests of their users, technological means, regarding deficiencies of structural physics, with respect to maintenance and economic perspectives, or with reference to the further development of its urban contexts. We will explore, describe and rethink such buildings and develop concepts for their adaption or conversion, for possible extensions and further (re-)formations. Studio projects shall reflect multifacetted approaches towards these seminal buildings and shall invite a new dialogue with the public. Thus we aim to re-position them within current societal contexts and within the discourse on the younger Viennese “Baukultur”. So the theme of the studio is a topical subject of Cultural Heritage in the field of architecture. It provokes questions of the cultural dimensions of sustainability, and it aims to unleash resources that can be found in those (spatial, formal, constructive, interactive, etc.) reserves that constitutes seminal work. The study of such buildings shall lead to an extended understanding of the complex environmental function of architecture. In this early stage of the platform’s reconfiguration, the formulation of anticipative questions and speculative assumptions outrank answers or solutions that seem to be familiar for far too long. The studio is supposed to reflect the platform’s current searching character.
SUPERVISORS HANNES STIEFEL LUCIANO PARODI
ESC
ECOLOGY | SUSTAINABILITY | CULTURAL HERITAGE
THEATRE OF EPHEMERALITY
–
design project LOCATION VIENNA AUSTRIA
INTEREST TRANSIENCE EPHEMERALITY CONSERVATION
METHODE GROUP RESEARCH INDIVIDUAL DESIGN
GROUP CLEMENS ANISER MICHAEL GLECHNER CENK GÜZELIS STASA KOLAKOVIC ANNA KRUMPHOLZ PAUL SONNLEITNER KAI TRAUSENEGGER
The former Z-Bank building by the Austrian architect Günther Domenig is a very strong and in itself cohesive building. The design proposal should act as a partner for conversation or as an opponent to get in balance. The building appears like a dead and conserved body that is not allowed to decompose. Therefore the design is inspired by a story by Oscar Wilde, the story of Dorian Grey and his portrait, which is aging instead of him and revealing his true personality. The project is a critical reflection, a personal portrait of the former Z-Bank building (as it appears to me). As a location for the project the site opposite the street was chosen. Inspired by the story by Oscar Wilde, topics like transience, ephemerality and the unnaturalness of conservation had been examined through experiments. The design should act as a stage for ephemerality and the former Z-Bank acts both as an observer as well as an stage scenery. The form of the opponent structure was created through mirrored imitation and mutation with a process inspired by natural growth and decay. Therefore the design appears as an artificial ruin or the decomposing body of the former Z-Bank. The design is facing the original building by Günther Domenig to create a conflict and raise the question - “ how natural is conservation?”
RIGHT VISUALIZATION OF DESIGN PROPOSAL (INDIVIDUAL WORK)
BA-4
SS 2014
TOP
former Z-Bank today (2014) LEFT
building during construction (1975 - 1979)
RIGHT
ESC
ECOLOGY | SUSTAINABILITY | CULTURAL HERITAGE
TOP
surreal atmosphere model of decay (individual work)
3D print of designed opponent structure (individual work)
ESC
ECOLOGY | SUSTAINABILITY | CULTURAL HERITAGE
BA-4
SS 2014
section of former Z-Bank & its facing opponent as a reflection or portrait of its own decay
ESC
ECOLOGY | SUSTAINABILITY | CULTURAL HERITAGE
TOP
cross-section (individual work) RIGHT
floor plans (individual work)
BA-4
SS 2014
BA-5
WS 2014 / 2015
5 history, theory & criticism
RADIO PALLADIO “no pictures allowed!” is the motto of the BArch HTC studio winter 2014/15. We will merely read, talk and write about architecture. Words will be our only mean. Using words for a visual discipline such as architecture seems to be at first glance a certain artificial difficulty. However, having words for architectural topics is not only a “cruel” necessity in order to communicate your ideas for people who cannot read drawings. It also validates that part of your work which is perhaps inadequately described as “thinking”. Having words for your architectural work means that you yourself did understand your work. It is first of all a dialogue with yourself and only at second stage a dialogue with other people. Hence verbalising in architecture is an intimate process, comparable to the design process itself. However, the words can be written, spoken and read. The studio’s goad is a comprehensive exercise in verbalising architectural topics. In order to encourage many different roles students are asked to create a radio format that provides moderators (writing and speaking), interview partners (argueing), listeners and readers altogether at the same time. The topic will be a notorious quarrel, debate or controversy in architecture history. Students will do research on it and present it finally as if it was a current debate.
SUPERVISORS ANGELIKA SCHNELL EVA SOMMEREGGER
HTC
HISTORY | THEORY | CRITICISM
SCHRÄGE PERLEN
–
research project “Borromini’s Rome” An Audio-Play based on the rivalry between the two most famous Roman Baroque Architects, Gian Lorenzo Bernini and Francesco Borromini (in German Language) MEDIA AUDIO-PLAY 18:00 MIN. (IN GERMAN)
INTEREST RIVALRY BETWEEN BORROMINI & BERNINI
METHODE INDIVIDUAL WORK
“Im Barock ist das so. Von zur Schau getragener und überspitzter Dekadenz bis hin zu haarsträubenden Rivalitäten. Das Wort “Barock” entstammt der portugiesischen Sprache - in der unregelmäßig geformte Perlen als “barroco” bezeichnet wurden. Dieses Hörspiel widmet sich den wahren schrägen Perlen dieser Zeit, den extravaganten, betörenden und teils unschlüssigen Charakteren der Epoche - Barock. Im Fokus ist die Rivalität zwischen den beiden römischen Barock-Architekten Gian Lorenzo Bernini und Francesco Borromini. Das Hörspiel “Schräge Perlen: Borrominis Rom - eine Collage aus Text und Ton” verbindet fiktive Textaussagen Borrominis und Beschreibungen des barocken Roms verschiedener Autoren zu einer völlig neuen Text-Ton-Collage.”
RIGHT PHOTO OF FINAL PRESENTATION
HTC
HISTORY | THEORY | CRITICISM
PHOTO
final presentations of the individual projects
BA-5
WS 2014 / 2015
https://soundcloud.com/radio-palladio/schraege-perlen
HTC
HISTORY | THEORY | CRITICISM
(left page)
BA-5
WS 2014 / 2015
BA-6
SS 2015
6 geography, landscapes & cities
VIENNA - 3OOO “Can you see the Superfuture?” - until the year 2000 projects related to future developments were often labelled. Still in the Nineties, the millennium meant future. Little time passed and the new millennium showed serious signs of teething troubles. While architecture is highly dependent on money, conceptualising both architecture and the city within an academic realm should allow for freedom and optimism s an alternative to the outer gloom. However, obsessed with the idea of turning our thoughts into buildings quickly, the reality of restrictive budgets permeates the criteria for the design reviews. Thus, a condition no one welcomes starts to define the future. “Adequate” and “Appropriate” become words of appraisal and design excellence without clarifying their reference. We should ask: If we judge our thoughts by the condition of today, are they adequate for the condition of tomorrow? Development and change is frequently defined by targets and percentages. Therefore, is 2050 being only 35 years ahead of us, too close to break from thinking increments? Wheter 3% or 15% of all cars are electric and therefore emit neiter noise nor pollutants make a difference for the environment but little difference for the built environment. While we can debate whether this will happen until 2050 we can be certain that the world will be a different one in the year 3000. Vienna of the far future will always remain hidden to us. Yet, if we start to speculate, no one will proof us wrong for the next 984 years. A smart calculation and enough freedom to go and make the most out of our creative energy.
SUPERVISORS HANNES MEYER DANIELA HEROLD
GLC
GEOGRAPHY | LANDSCAPES | CITIES
URBAN STIMULUS
–
design project LOCATION VIENNA AUSTRIA
INTEREST HUMAN PERCEPTION
METHODE GROUP WORK
GROUP CLEMENS ANISER WOLFGANG NOVOTNY
Urban Stimulus is the description of an artificial paradise driven by the stimulation of senses and sensations, envisioning an urban future based on perception. Urban Stimulus is recording and storing sensorial data, distributing information like radiant visuals and vibrating sounds; vaporing essences of aromatic memories via haze and mist; achieving a tactile deversity through its ever changing surface and skin, shifting from oily to rough, from hairy to hard, constantly blurring the borders between object and subject until they merge and create a complex unity. Urban Stimulus was exhibited at the ARS Electronica Festival 2015 (Sep. 3-7.2015) at the “Post-City” department (Habitats for the 21st Century) and afterwards at the ARS Electronica Centre in Linz (Sep. 2015 - Jun. 2016).
RIGHT OBJECT OF PERCEPTION “FEATHERS & FOG” (GROUP WORK)
GLC
GEOGRAPHY | LANDSCAPES | CITIES
BA-6
SS 2015
TOP
object of perception “the indulger” (by Wolfgang Novotny)
GLC
GEOGRAPHY | LANDSCAPES | CITIES
TOP
object of perception “vanilla fog” (group work) RIGHT
object of perception “ feathers & fog” (group work)
BA-6
SS 2015
GLC
GEOGRAPHY | LANDSCAPES | CITIES
BA-6
SS 2015
TOP & LEFT
movie stills “Urban Stimulus” (by Clemens Aniser)
GLC
GEOGRAPHY | LANDSCAPES | CITIES
TOP & RIGHT
diagrams “aromatic haze & mist” distribution & pooling (group work)
MA-1
WS 2015 / 2016
7 geography, landscapes & cities
EMBODIMENT OF A HYPERCONTEXT Ever since the Academy of Fine Arts Vienna was established in the 17th century it was a place where interdisciplinary research could blossom. It was a place that both perpetuated and gave discipline to the ability of imagination. As one research unit confronting the overarching semester theme. Architecture of Learning - Learning Architectures, our studio will explore the educational landscape of the Academy, designing within the hypercontext of a centuries-old institution, the history of its building, its institutes, its protagonists and their teaching ideaologies. We ask to which extent such a specific environment has influenced and continues to influence the positions and perspectives of generations of architects and artists. We will barricade ourselves into the premises of the Academy until we have uncovered and disclosed the secrets of this place. Exemplary for one of these hidden places, is the old “Theatricum Anatomicum�. Less prestigious but equally important is the life-drawing room positioned on the opposite corner of the same level. In so doing, the architect of the Academy, Theophil Hansen, placed the study of life and death in opposition to each other, thus creating an inner tension within the foundations of the school. It is the aim of the studio to study and portray such intersections between different fields of knowledge, to analyze the complex interplay between disciplines, between art and science and architecture. Taking the spaces of the Academy as a starting point.
SUPERVISORS KATHRIN ASTE ALOIS HEHENBERGER
GLC
GEOGRAPHY | LANDSCAPES | CITIES
GLYPTO THEQUE NOW
–
design project LOCATION VIENNA AUSTRIA
INTEREST SCULPTURAL METHODOLOGY & RAPID PROTO-TYPING
METHODE INDIVIDUAL WORK
Plaster casts had been collected since the beginnings of the Academy of fine Arts in Vienna as an available source of teaching materials for the art & architecture students. Today the Plaster Cast Museum is neglected, abandoned and more or less hidden away in the basement of the Semper Depot, one of the Academy’s buildings. It is no longer a museum but rather an archive or depository of remaining sculptural objects and casts. Some of them being in a fairly bad condition. Today the single individual object is no longer of importance but the mass and mess, the density of objects, the collection of information for the educational purpose and the methods of copying and creating are important. The design acts as a museum for the Plaster Casts but also redefines the importance of a depository in contemporary times that could be used as a source of teaching materials exploiting the methodology of rapid prototyping and production technologies. It is a base where everyone can gain physical information and is able to observe, see and feel the object that is true to its purpose in an exciting denseness that challenges the observer to view them critically and from various angles.
RIGHT PLASTER CAST COLLECTION ACADEMY OF FINE ARTS - VIENNA
GLC
GEOGRAPHY | LANDSCAPES | CITIES
TOP
Aula of Academy before 1935 Aula of Academy after 1935 RIGHT
transformational diagram of plaster cast museum
MA-1
WS 2015 / 2016
GLC
GEOGRAPHY | LANDSCAPES | CITIES
MA-1
WS 2015 / 2016
TOP
atmospherical visualization of design proposal LEFT
diagram of spatial program
GLC
GEOGRAPHY | LANDSCAPES | CITIES
TOP
models 1:500 mass transformation
RIGHT
diagram of mass transformation visualizing various methodologies
MA-1
WS 2015 / 2016
GLC
GEOGRAPHY | LANDSCAPES | CITIES
MA-1
WS 2015 / 2016
1:200 section model of design proposal & chosen site opposite of the academy
GLC
GEOGRAPHY | LANDSCAPES | CITIES
MA-1
WS 2015 / 2016
TOP & LEFT
section model 1:200
MA-2
SS 2016
8 geography, landscapes & cities
COLLABOCRACY The last few years have seen the rise of alternative ways of organising society, where networks replace hierarchies and collaboration replaces competition. This new epoch will have a profound impact on how we live, work and socialise; it is an era that will require new forms of individual and collective agency, and new types of space. Crucially, it will require new attitudes to making and inhabiting spaces. We are entering the era of the ÂťcollabocracyÂŤ. The design research of the studio will be addressing issues around forms of collaborative and open source ways of working, as well as their effects on identity, agency and subjectivity and on the physical, social, technological and spatial transformations that are taking place. The effects of these transformations will be discussed in terms of their impact on the spaces used by individuals, groups and organisations, and will be read through the lens of developments in contemporary theory, economics, speculative fiction and the moving image, where such ideas have become a key issue in the reframing of these discourses. The focus will be the city of Vienna, drawing on its rich history in avant-garde and social activist design and intervention. Through an engagement with radical practice, the studio will look at how the city might reclaim an open system of action and organisation, and speculate on what type of architectures might take place there.
SUPERVISORS NIC CLEAR DANIELA HEROLD
GLC
GEOGRAPHY | LANDSCAPES | CITIES
LABORATORY OF THE LANDSCAPE
–
animation project LOCATION VIENNA AUSTRIA
INTEREST FUTURE SCENARIO CONSCIOUSNESS OF PLANTS COLLABOCRACY
METHODE INDIVIDUAL WORK
In this new era of “Collabocracy” mankind has given up the idea of being the most developed species on this planet and stopped its self-congratulation. It has acknowledged the consciousness and sentience of its surroundings, be it nature or complex non-human entities. In this fictional scenario, exotic bio-engineered structures appear in the landscape and form a harmonious unity in symbiosis with nature. On a molecular scale, they record nature’s processes, stimulate plants and retain the plants’ very different memory and unveil this new information in an allaccessible way to learn from it. Through this collaboration of mankind, its surrounding nature, and plant systems – new collective structures appear and form the symbiotic landscape of this innovative epoch. The “gardens” of Neuwaldegg in Vienna act as the laboratory of this imaginary landscape. Since the park has always been open for the public it embodies the perfect starting point for this fictional scenario set in the era of “Collabocracy”. The park was the first English Landscape Garden in Austria, offering exotic attractions like Chinese pavilions in a picturesque manner. Today most of these attractions are long gone and mainly forgotten. But could the aura of the park be recalled by the memory of the plant systems? RIGHT MOVIE POSTER / CHRONOGRAM
GLC
GEOGRAPHY | LANDSCAPES | CITIES
MA-2
SS 2016
TOP & LEFT
story board first sketches
GLC
GEOGRAPHY | LANDSCAPES | CITIES
MA-2
SS 2016
TOP & LEFT
selected sequences of final animation
GLC
GEOGRAPHY | LANDSCAPES | CITIES
MA-2
SS 2016
TOP & LEFT
selected sequences of final animation
GLC
GEOGRAPHY | LANDSCAPES | CITIES
MA-2
SS 2016
TOP sequence 16 - glass house “reading nature”
VIDEO LINK:
https://vimeo.com/clemensaniser
End Sequence collaboration Nature-City
Š Clemens Aniser, 2018.