SS18 Course Catalogue by Architekturtheorie und Technikphilosophie TU Wien

SS 18 COURSE CATALOGUE KURSVERZEICHNIS FACHBEREICH ARCHITEKTURTHEORIE UND TECHNIKPHILOSOPHIE

INSTITUT FÜR ARCHITEKTURWISSENSCHAFTEN TU WIEN

WIEDNER HAUPTSTR. 7 A–1040 WIEN AUSTRIA

T + 43 158 80125103 F + 43 158 80125197 ATTP.TUWIEN.AC.AT

BACHELOR

253.568 Orientation Course Orientierungskurs 251.057

LECTURES VORLESUNGEN

Architecture Theory Architekturtheorie 251.058 Gender Studies

251.017 Wahlseminar

SEMINARS SEMINARE

Current Issues in Architectural Theory

251.117 Wahlseminar Architecture Theory

251.071 Wahlseminar Topos in Architectural Theory

MASTER DESIGN STUDIOS ENTWERFEN

259.485 8H Design Studio 8H Entwerfen Other, Same and Odder Spaces

259.486 8H Design Studio 8H Entwerfen Success

259.484 4H Design Studio 4H Entwerfen Mobile Statues

259.338

SUPPLEMENTARY COURSES ZUSÄTZL. LEHRANGEBOT

VO Theory of Film VO Theorie des Films 251.096 UE Theory/Film UE Theorie des Films

DIPLOMA DIPLOM DOCTORATE DOKTORAT

251.093 Privatissimum Privatissimum 251.092 Privatissimum for Doctorate Students Privatissimum für Dissertanten 251.044 Lecture Vorlesung

Methodologie für DoktorandInnen 251.038 Seminar for Doctorands Doktorandenseminar 259.489 PhD Seminar Diplomanden- und Doktorandenseminar Further information at the department! Weitere Informationen an der Abteilung!

251.057 VO Architecture Theory Architekturtheorie Lecturer Vortragende Prof. Dr. Vera Bühlmann Univ.Ass. M.Sc. Georg Fassl

Time & Place Zeit & Ort Fridays 12-2pm, HS 7 Schütte-Lihotzky

Still from Peter Greenaway, The Draughtmans Contract, 1982

Architecture Theory

Architekturtheorie

Aim of course The objective of this course is to introduce the students to architectonic thinking, and to the history of architectural theory.

Ziele der Lehrveranstaltung Das Ziel dieser Lehrveranstaltung ist es, den Studierenden eine Einleitung in das architektonische Denken und in die Geschichte der Architekturtheorie zu vermitteln.

Subject of course “Theory is something one does not see” (Hans Blumenberg) - this sounds mystic and irritating: is not theory what affords us a concsious, rational (reasonable and reflected) and communicable manner of thinking and seeing? The important architects all have more or less clear ideas about what they are doing. They are masters of what is happening in their time. This course provides an introduction in architectural theory. Thereby, we will be concerned also with the question of what theory is capable of, how it is often an impertinence, what it is being accused of, and what is being expected from it.

Inhalt der Lehrveranstaltung “Theorie ist etwas was man nicht sieht” (Hans Blumenberg) - das hört sich mystisch an und irritiert: ist es nicht Theorie, die uns ein bewusstes, vernünftiges (begründbar und reflektiert) und kommunizierbares Denken und Schauen ermöglicht? Die wichtigen Architekten wissen, was sie tun. Sie sind Meister ihrer Zeit. Diese Lehrveranstaltung gibt eine Einführung in Architekturtheorie. Dabei werden wir uns durchwegs auch die Frage beschäftigen, “was” Theorie “kann”, inwiefern sie oft eine Zumutung ist, was ihr selbst zugemutet wird, wofür sie angeklagt wird, oder was von ihr erwartet wird. Nichts bringt vielleicht heute den verwirrenden Status von Theorie schärfer auf den Punkt als Donald Trump s Schachzug im Wahlkampf

We will depart from a selection of texts that have proved to be imporant for architectural theory throughout the 20th century. We will read them as stage plays and number

works, in which concepts that are central to architectonic thinking - like structure, system, element, form, style, metrics, magnitude, proportion, module, partition, generalization, specification, criterium - are being dramatized in various manners. We will be thinking about the stakes of such stage plays: Where is the action and what is happening? With such questioning we can get familiar with different articulations and organizations of these powerful concepts, without commiting ourselves to any one school in particular (as for example analytics, cybernetics, pragmatism, constructivism). Any of those render graspable, in particular manners, the technical capacities that characterize a particular a time (by rationalizing the power of what counts as possible). They all formulate thereby, inevitably, also a particular stance towards what counts as irrational and impossible in a particular time (by symbolizing, and constraining, these capacities). We will learn how to place key texts in their historical context - this is how we can exercise ourselves in learning how to think architectonically.

vergangenen Jahres: “I love all the poorly educated!” Wir gehen von ausgesuchten Texten aus, die im 20.Jahrhundert für die Architekturtheorie wichtig waren. Wir lesen diese Texte als Bühnenspiele und Zahlenwerke, in denen für das architektonische Denken zentrale Begriffe wie Struktur, System, Element, Form, Stil, Metrik, Grösse, Proportion, Modul, Teilbarkeit, Verallgemeinerung, Spezifikation, Kriterium zur Aufführung gebracht werden. Es wird darum gehen, sich eine Vorstellung zu machen, worum es in solchen “Stücken” eigentlich geht: Was geschieht hier, was wird verhandelt, was steht auf dem Spiel? Durch solches Fragen können wir unterschiedliche Gliederungen und Organisationen dieser mächtigen Begriffe kennenlernen, ohne uns einer bestimmten Schule zu verschreiben (wie etwa Analytik, Kybernetik, Pragmatik, Konstruktivismus). Sie alle machen in vielfältiger Weise die technischen Vermögen begreifbar (rationalisieren sie), die eine Zeit charakterisieren. Sie alle formulieren damit aber auch immer eine bestimmte Haltung gegenüber dem Irrationalen (symbolisieren, beschränken diese Vermögen). Es gilt daher, jeden Text im grösseren Kontext eines Zeitgeschehens zu platzieren, so können wir uns im architektonischen Denken schulen.

The aim of this course is to help the students in developing and relating vivid ideas with words such as “structuralism” or “poststructuralism”, “modern” or “postmodern”, “historical”, “classical” or “original” - words that often come along in today s discourses as rather empty ( jargon) or clumsy (dogmatic). What are words, such as “epoch”, “canon”, “program”, “type”, “grammar”, “rule sets”, capable of? Why are we inclined to like certain ones better than others? What are the preassumptions when speaking of “systems theory”, “technology” or “ontology”, or “authority”, “expertise”, or “authorship”? What are the promises of words such as “dispositiv”, “facticity” or “paradigm” ?

Das Ziel dieser Vorlesung ist es, die Studierenden dabei zu unterstützen, mit den heute oft so inhaltsleer ( jargon) und hölzern (dogmatisch) daherkommenden Worte wie “Strukturalismus” oder “Poststrukturalismus”, “Modern” oder “Postmodern”, “historisch”, “klassisch” oder “ursprünglich” wieder lebendige Vorstellungen verbinden zu können. Was können Worte wie “Epoche”, “Kanon”, “Programm”, “Typ”, “Grammatik”, “Regelwerk” leisten? Was setzen Worte wie “Systemtheorie”, “Technologie” oder “Ontologie” voraus, und ebenso “Autorität”, “Expertise” oder “Autorschaft”? Was sind die Versprechen von Worten wie “Dispositiv”, “Faktizität” oder “Paradigma”?

Programm (Änderungen vorbehalten): 16. März 2018 (12:15-14:00 Uhr):   Einführung. Architektur und Theorie

René Girard, “The Origins of Myth and Ritual”, in: Violence and the Sacred (John Hopkins UP, 1977). (pp.89-118.)

Roland Barthes, “The Death of the Author”, in: Image-Music-Text (Hill&Wang, 1977).

Michel Serres, “The Secret of the Sphinx”, in: Statues, Second Book on Foundations (Bloomsbury, 2015).

Kate Nesbitt, “Introduction”, in: Theorizing a New Agenda for Architecture, (Princeton, 1996).

23. März 2018 (12:15-14:00 Uhr)   Theorie und Universalität (Zahlenwerke und das Labyrinthische)

Jocelyn Godwin (ed.), The Harmony of the Spheres - The Pythagorean Tradition in Music (Inner Tradition Press, 1993). (selected sources)

Carroll William Westfall: Architecture, Liberty and Civic Order (University of Notre Dame, 2015). (Chapters 1, 2, 3 (pp.1-38))

Catherine Goldstein, “Working with Numbers in the 17 and 19th century”, in:

Michel Serres ed., Elemente einer Geschichte der Wissenschaften (Suhrkamp, 1998). (pp.343-371)

20. April 2018 (12:15-14:00 Uhr)   Europa und Humanismus Ovid, Metamorphosen (Kapitel 14, “Europa”).

Gustav Schwab: Sagen des klassischen Altertums (Kapitel 6, “Europa”).

Massimo Cacciari, “The Geophilosophy of Europe”, in: The Unpolitical, On the Radical Critique of Political Reason (Fordham, 2009).

Rodolphe Gasché, “Which Earth?”, in:

Geophilosophy: On Gilles Deleuze and Felix Guattari’s What Is Philosophy? (Northwestern UP, 2014).

Pier Vittorio Aureli, “The Geopolitics of the Ideal Villa”, in: The Possibility of Absolute Architecture (MIT Press, 2011). (37 S.)

Rosi Braidotti: Europe and the University, A Concerned Statement. (Video Lecture, 15 min, ATTP youtube channel).

27. April 2018 (12:15-14:00 Uhr)   Adäquatheit und Architektur - Baukunst, Profession, “Zweckmässigkeit”

Jay Kappraff, “Musical Proportions at the Basis of Systems of Architectural Proportion both Ancient and Modern”, in:

Kim Williams, Michael J. Ostwald (eds.) Mathematics and Architecture from Antiquity to the Future (Birkhäuser, 2015).

Walter Gropius, The New Architecture and the Bauhaus (MIT Press, 1965).

Paul Benoit, “Algebra, Commerce and Calculation”, in:

Michel Serres (ed.), Elemente einer Geschichte der Wissenschaften (Suhrkamp, 1998).

4. Mai 2018 (8:15-10:00 Uhr)   Wissenschaft und Globalisierung

Geof Bowker, “Manufacturing Truth: The Development of Industrial Research”, in:

Michel Serres (ed.), Elemente einer Geschichte der Wissenschaften (Suhrkamp, 1998).

Walter Benjamin, “Über den Begriff der Geschichte”, in: Illuminationen (Suhrkamp, 2001 [1920-1940]).

Vera Bühlmann, “Chronopedia I: Counting time”, in:

Mathematics and Information in the Philosophy of Michel Serres (Bloomsbury, 2018 forthcoming).

Programm (Änderungen vorbehalten): 18. Mai (12:15-14:00 Uhr)   Mathemata. Struktur und Lernbarkeit

Clara Silvia Roero “Relationships Between History of Mathematics and History of Art”, in:

Kim Williams, Michael J. Ostwald (eds.) Mathematics and Architecture from Antiquity to the Future

(Birkhäuser, 2015). (pp.59-67)

Vladimir Tasic, “Introduction” & “Ch.1, Around the Cartesian Circuit”, in:

Mathematics and the Roots of Postmodern Thought (Oxford University Press, 2001), (pp.3-6; pp.7-19.)

Niels Bandholm, “The Celestial Key: Heaven Projected on Earth”, in:

Kim Williams, Michael J. Ostwald (eds.) Mathematics and Architecture from Antiquity to the Future (Birkhäuser, 2015).

25. Mai 2018 (12:15-14:00 Uhr)   Das Gnomon (Sonnenuhr) und die Artikulation. Encryption, Form und Key

Indira Kagis McEwen, “Anaximander and the Articulation of Order”, in:

Socrates’ Ancestor: An Essay on Architectural Beginnings (MIT Press, 1993).

Michel Serres, “Das Gnomon”, in: Michel Serres (ed.), Elemente einer Geschichte der Wissenschaften (Suhrkamp, 1998).

Susanne K. Langer, Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art (Harvard, 1996 [1957]).

1. Juni 2018 (12:15-14:00 Uhr)   Anstoss, Nachahmung und Abbild

James J. Williams, “Foreword to: Rene Girard, I See Satan Fall like Lightning”, in:

Rene Girard, I See Satan Fall like Lightning (Orbis, 2001). (pp ix-xxiii)

Rene Girard, “From Mimetic Desire to the Monstrous Double”, in: Violence and the Sacred (John Hopkins UP, 1977) (pp.143-167)

Michel Serres, “Das Quasi-Objekt”, in: Der Parasit (Suhrkamp, 1987).

8. Juni 2018 (12:15-14:00 Uhr) Rechteck und Kreis: Rationalität und Irrationalität

Cathrine Goldstein, “Stories of the Circle”, in: Michel Serres (ed.), Elemente einer Geschichte der Wissenschaften (Suhrkamp, 1998).

15. Juni 2018 (12:15-14:00 Uhr)   Parallelogram: System und Programm

Massimo Cacciari, “The Project”, in: The Unpolitical, On the Radical Critique of Political Reason (Fordham, 2009).

Manfred Tafuri, “Introduction: The Historical Project”, in: The Sphere and the Labyrinth (MIT Press, 1987).

22. Juni 2018 (12:15-14:00 Uhr)   Code: Diskretion und Kontinuität im Typischen

Michel Serres, Thumbelina. The Culture and Technology of Millennials (Rowman & Littlefield, 2015).

Mario Carpo, “Variable, Identical, Differential”, in: The Alphabet and the Algorithm (MIT Press, 2011).

Ludger Hovestadt, “A Phantastic Genealogy of the Printable”, in:

Vera Bühlmann, Ludger Hovestadt, eds., Printed Physics (Birkhäuser, 2012).

251.058 VO Gender Studies Lecturer Vortragende Prof. Dr. Vera Bühlmann Univ. Ass. M.Sc. Riccardo Villa

Time & Place Zeit & Ort Fridays 3-5pm, HS 7 Schütte-Lihotzky

Manifesto on Xenofeminism: A Politics for Alienation by Laboria Cuboniks (2015)

Subject of course This course provides an introduction for architects into Gender Studies from a philosophical point of view. The central themes of this discourse lend themselves well for discussing how order in architecture is always also social order.

Inhalt der Lehrveranstaltung Diese Vorlesung bietet eine Einführung für ArchitektInnen in die Themen der Gender Studies. Im Zentrum dieser Diskurse steht, wie sich Raum, Sichtbarkeit und Macht zueinander verhalten, und wie Ordnung in der Architektur immer auch soziale Ordnung ist.

Gender Studies are a field of growing importance – and dispute – in contemporary academic discourses, among them also that of architecture and architecture theory. Gender Studies emerged out of Feminism, but its scope is not only socio-political. It also concerns philosophical assumptions on very elementary scales. Gender studies critically interrogates the foundations and systematicity of how knowledge is established, and how the members of society organise political, economical, professional, and domestic power. Equality and the absence of discrimination in social relations are key values of modern societies; but how can they be established, and what are the problems involved? What is at stake when we speak of “minorities”, of “political correctness”, or “identity politics”, “situated knowledge”?

Die Gender Studies werden in den heutigen akademischen Diskursen immer wichtiger und sie werden immer mehr zum Gegenstand von Disputen. Dies gilt auch in der Architektur und der Architekturtheorie. Erwachsen sind die Gender Studies aus dem Feminismus, aber die Anliegen beschränken sich nicht auf sozialpolitische Aspekte, sondern beinhalten grundsätzliche philosophische Themen: die Gender Studies befragen auf kritische Weise die Grundlagen von Systematizität in der Etablierung von Wissen. Sie beleuchten, wie politische, ökonomische, professionelle und “häusliche” (domestic) Macht und Gewalt jeweils organisiert – und akzeptiert – wird. Egalität und das Entkräften von Diskriminierung in sozialen Verhältnissen sind Kernwerte moderner Gesellschaften; aber wie werden sie etabliert, und welche Probleme stehen dabei auf dem Spiel? Worum geht es, wenn wir von “Minoritäten”, von “politischer Korrektheit”, von “Identitäts-Politik” oder von “situiertem Wissen” sprechen?

Vorläufiges Programm: 16. März 2018 (15:15-17:00 Uhr) Einführung

Carroll William Westfall, Architecture, Liberty and Civic Order (University of Notre Dame, 2015). (Chapters 1, 2,3.)

Indra McEwen, “The Angelic Body”, in: Vitruvius: Writing the Body of Architecture (MIT Press, 2003).

Niels Bandholm, “The Celestial Key: Heaven Projected on Earth”, in:

Kim Williams, Michael J. Ostwald (eds.) Mathematics and Architecture from Antiquity to the Future (Birkhäuser, 2015).

23. März 2018 (15:15-17:00 Uhr) Gender, Sex, und genetische Identität

René Girard, “The Victimage Mechanism at the Basis of Religion”, in: Things Hidden since the Foundation of the World (Stanford UP, 1987).

Michel Serres, “The Secret of the Sphinx”, in: Statues, Second Book on Foundations (Bloomsbury, 2015). (p. 180-194)

Gilles Deleuze / Felix Guattari: “587 B.c.-A.D. 70: On Several Regimes of Signs”, in:

Tausend Plateaus: Kapitalismus und Schizophrenie (Suhrkamp, 1993 [1980]). (37 S.)

20. April 2018 (15:15-17:00 Uhr) Universelle Ordnung (Geometrie) und Architektonische Ordnung (Säulen)

Mario Carpo, “Variable, Identical, Differential”, in: The Alphabet and the Algorithm (MIT Press, 2011).

Roland Barthes, “The Death of the Author”, in: Image-Music-Text (Hill&Wang, 1977).

Morny Joy, “And What if Truth were a Woman?”, in:

Morny Joy and Eva K. Neumaier-Dargyay (eds.), Gender, Genre and Religion. Feminist Reflections

(Wilfried Laurer University Press, 1995).

Karen Barad, What is the Measure of Nothingness? Infinity, Virtuality, Justice (Hatje Cantz, 2012).

27. April 2018 (8:15-10:00 Uhr) Häusliche Ordnung: Genus und Generation, Produkt und Produktion

Ernst H. Kantorowitz “The Problem”, in: The King’s Two Bodies (Stanford University Press, 1997). (17 S.)

Indra McEwen, “The Body of the King”, in: Vitruvius: Writing the Body of Architecture (MIT Press, 2003). (73 S.)

Emile Benveniste, “Introduction”, in: Indo-European Language and Society (University of Miami Press, 1973).

4. Mai 2018 (15:15-17:00 Uhr) Person und Ding. Mündigkeit, Emanzipation, Interpellation (Ansprache)

Alain Pottage “Introduction”, in:

A. Pottage, R.A,; Mundy, M. (eds.), Law, Anthropology, and the Constitution of the Social: Making Persons and Things

(Cambridge University Press, 2004).

Immanuel Kant, “Beantwortung der Frage: Was ist Aufklärung” (Berlinische Monatsschrift, 1784).

Michel Foucault, “What is Enlightenment?”, in: Rabinow (P.), ed., The Foucault Reader (New York, Pantheon Books, 1984).

Louis Althusser, “On Ideology”, in:

On the Reproduction of Capitalism. Ideology and Ideological State Apparatuses (Verso, 2013 [1971]).

Karl Marx, “Critical Criticism as Mystery-Monger”, in:

Friedrich Engels, “The Thoroughness of Critical Criticism”, in:

Karl Marx, Friedrich Engels, The Holy Family. Critique of Critical Critique (Foreign Languages Publishing House, 1956).

Friedrich Engels, Karl Marx, “Critical Criticism and the Calm of Knowledge”, in:

Karl Marx, Friedrich Engels, The Holy Family. Critique of Critical Critique (Foreign Languages Publishing House, 1956).

Vorläufiges Programm: 18. Mai 2018 (15:15-17:00 Uhr) Rational und Irrational, Normalität und Irregularität

Michel Foucault “Vorrede zur Überschreitung” (1963); “Die Sprache, unendlich” (1963); “Das Denken des Außen” (1966), in:

Michel Foucault, Dits & Écrits (Suhrkamp, Bd. 1, 2001).

Jacques Lacan, “Introducing the big Other, Seminar XIX”, in:

Book II, The Ego in Freud’s Theory and in the Technique of Psychoanalysis 1945-1955

(W.W. Norton & Company, 1988). (pp.235-247)

Jacques Lacan, “The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience”, in:

Jacques Lacan: Écrits. (W.W. Norton & Company, 1988). (pp.502-509)

25. Mai (15:15-17:00 Uhr) Das Unheimliche

Sigmund Freud, “Das Ich und das Es”, in: ders. Das Ich und das Es (Internationaler Psychoanalytischer Verlag, 1923).

Sigmund Freud, “Das Unheimliche”, in: ders. Kleine Schriften II (1919).

Sigmund Freud, “Eine Schwierigkeit der Psychoanalyse”, in:

Imago. Zeitschrift für Anwendung der Psychoanalyse auf die Geisteswissenschaften (Bd. V (1917)).

1. Juni 2018 (15:15-17:00 Uhr) Das Ausgesonderte (Abject) und die Verschmutzung: Religion, Gender, Horror (und das Environment)

Julia Kristeva, “Approaching Abjection”, in: dies. Powers of Horror. An Essay on Abjection (Columbia University Press, 1982). (pp.1-31)

Michel Serres, Appropriation Through Pollution? (Stanford University Press, 2010). (ca. 40 S.)

8. Juni 2018 (15:15-17:00 Uhr) Digital “Natives”

Michel Serres, Thumbelina. The Culture and Technology of Millennials (Rowman & Littlefield, 2015).

15. Juni 2018 (15:15-17:00 Uhr) Situiertes Wissen

Donna Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective”, in:

Feminist Studies, Vol. 14, No. 3. (Autumn, 1988). (pp. 575-599)

Rene Girard, “From Mimetic Desire to the Monstrous Double”, in: Violence and the Sacred (John Hopkins UP, 1977). (pp.143-167)

22. Juni 201 (17:15-19:00 Uhr) Posthumanismus und der Körper

Michel Foucault, “Man and his Doubles”, in:

ders. The Order of Things. An Archaeology of the Human Sciences (Routledge, 1970 [1966]). (pp.330-374)

Donna Haraway, The Companion Species Manifesto: Dogs, People, and Significant Otherness (Prickly Paradigm Press, 2007).

Donna Haraway, “Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in: the 1980’s”, in: Socialist Review 80 (1985).

Laboria Cubronics, Xenofeminism: A Politics for Alienation (www.laboriacuboniks.net).

251.071 SE Current Issues in architectural theory Lecturer Vortragende Senior Scientist Dipl.-Ing. Dr.Techn. Oliver Schürer

Time & Place Zeit & Ort Tuesdays 2-4pm, Seminar room ATTP

Doppelgangers in social space; man and humanoids Aim of Course For decades, robotic technologies and science fiction have promised liberation from dangerous and unpleasant work in the field of industrial production and some of this has come true. Coming from science fiction to the factories, humanoid robots are now start to show their presence in our daily lives and spaces of the everyday.

Ziele der Lehrveranstaltung Robotertechnologien und Science-Fiction versprechen jahrzehntelang Befreiung von gefährlichen und unangenehmen Arbeiten auf dem Gebiet der industriellen Produktion, und einige davon haben sich bewahrheitet. Von der Science-Fiction zu den Fabriken kommend, beginnen humanoide Roboter ihre Präsenz in unserem täglichen Leben und Räumen des Alltags zu zeigen.

According to the research agendas of the major industrial nations, robots, especially humanoid robots, will soon take over a large variety of chores in our daily lives. But humanoids will not only take over chores. A fusion of Artificial Intelligence with robotics will provide services for everyday life which will not only satisfy individual desires but also tackle social issues.

Auch nach den Forschungsagenden der großen Industrienationen werden Roboter, insbesondere humanoide Roboter, in unserem täglichen Leben bald eine Vielzahl von alltäglichen Aufgaben übernehmen. Aber Humanoide übernehmen nicht nur mühselige, unangenehme Erledigungen. Eine Verschmelzung von Künstlicher Intelligenz mit Robotik wird Dienste für den Alltag bieten, die nicht nur individuelle Wünsche befriedigen, sondern auch soziale Probleme angehen.

Architecture, so fare is concerned with fabrication robotics only. It’s time to take

care about the social and cultural aspects of robotics – of social and humanoid robots.

Die Architektur betrifft beschäftigt sich bislang nur mit Fertigungsrobotik. Es ist an der Zeit, sich um die sozialen und kulturellen Aspekte der Robotik - um soziale und humanoide Roboter - zu kümmern. Humanoide Roboter werden zu wesentlichen Bestandteilen unserer Lebenswelt. Menschliche Wünsche für Humanoide werden in einer Vielzahl von Phantasien ausgedrückt, von Butlern zu Unterhaltungskünstlern, Sexpartnern und Freunden. Im Vordergrund der Forschungsagenden stehen jedoch die so genannten Assistenzroboter für die Altenpflege.

Humanoid robots will become essential parts of our lifeworld. Human wishes for humanoids are being expressed in a variety of phantasies, from butlers to entertainers, sex partners and buddies. But in the forefront of research agendas are the so-called assistive robots for care of the aged. This allows a new autonomous and mobile kind of technology to penetrate deeply into the private and intimate spaces of human life. In urgency to govern the emergent robot development, the European Committee published a draft report on “Civil Law Rules on Robotics”. Here privacy, general well-being, and job-loss through automation are the main issues raised. Surprisingly, there is next to nothing on changes in public, semipublic, private, and intimate spaces – that is, of cultural spaces.

Dadurch kann eine neue autonome und mobile Technologie tief in die privaten und intimen Räume des menschlichen Lebens eindringen. In der Dringlichkeit, die entstehende Roboterentwicklung zu regeln, veröffentlichte das Europäische Komitee einen Berichtsentwurf zum Thema “Zivilrechtliche Regeln zur Robotik”. Hier werden Privatsphäre, allgemeines Wohlbefinden und der Verlust von Arbeitsplätzen durch Automatisierung in den Mittelpunkt gestellt. Überraschenderweise gibt es so gut wie keine Veränderungen in öffentlichen, halböffentlichen, privaten und intimen Räumen - das heißt in kulturellen Räumen.

Subject of course The course ultimately is probing the introduction of humanoid robotics technology in cultural spaces. It invites to sketch out concepts on living with robots that might lead to various kinds of robot cultures. Anthropomorphic machines are understood in being able to support humans without requiring changes in the human environment. For example, the human like shape and motion is supposed to allow for behavior similar to humans in the intimate physical and social spaces. Crucial for the acceptance of robot assistants are their social abilities, which in turn are situated in space.

Inhalt der Lehrveranstaltung Der Kurs erforscht die Einführung der humanoiden Robotertechnologie in kulturelle Räume der Architektur. Es lädt dazu ein, Konzepte zum Leben mit Robotern zu skizzieren, die zu verschiedenen Arten von Roboterkulturen führen können. Anthropomorphe Maschinen werden verstanden, um Menschen zu unterstützen, ohne Veränderungen in der menschlichen Umwelt zu erfordern. Zum Beispiel soll die menschliche Form und Bewegung ein menschliches Verhalten in den intimen physischen und sozialen Räumen ermöglichen. Entscheidend für die Akzeptanz von Roboterassistenten sind ihre sozialen Fähigkeiten, die wiederum auf ihren Verhalten

Here we find new challenges for architecture: Is it indeed likely that human spaces will not change with the advent of the new technology? What kind of relationships can we enter with such a creation of human phantasies - in addition to our relationships with other humans, machines, animals and plants? What cultural biases could these contraptions help to form as compared to

existing cultures? How will the elements of our daily lives transform when robots become autonomous partners for the most of the people? What properties does a space have that is housing not only living organisms but also autonomous, mobile machines?

im soziokulturellen Raum basieren. Hier finden wir neue Herausforderungen für die Architektur: Ist es tatsächlich wahrscheinlich, dass sich die menschlichen Räume mit dem Aufkommen der neuen Technologie nicht verändern werden? Welche Art von Beziehungen können wir mit einer solchen Schaffung menschlicher Phantasien eingehen - zusätzlich zu unseren Beziehungen zu anderen Menschen, Maschinen, Tieren und Pflanzen? Welche kulturellen Vorurteile könnten diese Apparate im Vergleich zu bestehenden Kulturen bilden? Wie werden sich die Elemente unseres täglichen Lebens verändern, wenn Roboter für die meisten Menschen autonome Partner werden? Welche Eigenschaften hat ein Raum, der nicht nur lebende Organismen beherbergt, sondern auch autonome, mobile Maschinen?

These questions are broad and there a many more of them to answer today. In the course we will break those questions down, by means of literature and debate, to develop architecture ideas. Those will be turned into visions of a joyous and augmented life with this new breed of technology call humanoids. Writing your vision into a seminar paper concludes this course. The course can be held bilingual (German/ English). As an introduction into the subject, a few texts will be read and discussed in the seminar during the first weeks. These texts (mostly English) are continually updated on TISS.

Diese Fragen sind breit und es gibt noch viele weitere, die wir heute beantworten müssen. In diesem Kurs werden wir diese Fragen anhand von Literatur und Debatten lösen, um Architekturideen zu entwickeln. Diese werden in Visionen eines freudigen und erweiterten Lebens mit dieser neuen Art von Technologie namens Humanoiden verwandelt werden. Das Schreiben Ihrer Vision in eine Seminararbeit schließt diesen Kurs ab.

Phases of the semester for the preparation of the term paper: – Development of a research question accompanied by individual research. – A presentation on a selected text from the bibliography. – Writing a scientific abstract (Exposée) and its presentation. – Short, recurring interim presentations on the state of work and the structure of the argument (developing and detailing exposé). – Preparation of the term paper (submission in July).

Die Lehrveranstaltung kann ein- oder zweisprachig gehalten werden (Deutsch/ Englisch). Zur Einführung in die Thematik werden in den ersten Wochen Texte gelesen und im Seminar diskutiert. Diese Texte (meist englisch) werden laufend auf TISS online gestellt. Die Seminararbeit wird nach folgendem Ablauf erarbeitet: – Begleitete Recherche und Finden einer Forschungsfrage. – Ein Referat über einen gewählten Text aus der Literaturliste. – Verfassen einer wissenschaftlichen Kurzdarstellung (Exposée) und deren

Präsentation. – Kurze, wiederkehrende Zwischenpräsentationen zum Stand der Arbeit und zur Strukur des Argumentes (Exposée detaillieren). – Ausarbeitung der Seminararbeit (die Abgabe im Juli).

251.117 SE Architecture Theory Lecturer Vortragende Univ. Ass. M.Sc. Riccardo Villa Univ. Prof. Dr. Vera Bühlmann

Time & Place Zeit & Ort Wednesdays 5-7pm, Seminar room ATTP

Archizoom Associati, No-Stop City, 1969

Order[s] in Architecture The Cosmic Play of Constitutions and Foundations Aim of Course The image that comes to our mind today when faced with the idea of cosmos is indeed one related to the outer space, of planets, stars and galaxies – what we might also call by the name of « universe ». Yet, the cosmos has much rather “earthly” roots, as the etymology of the word binds it with the concepts of order and ornament: it is not by chance that we often refer to the latter as something “cosmetic”. These two terms, opposed to the idea of chaos and of the chaotic, can be seen as closely interwoven with architecture, as a practice that at the same time orders and adornates the space. Tracing a line in

the earth (nemein), cutting an enclosure (temenos) out of an undefined space and materializing it through a set of codified signs (the orders): these are the fundamental operations of erecting one of the epitomes of all architecture, the temple. Rising order out of chaos is an act shared both by the human and the divine, to such an extent that, in the creational moment of the cosmogony, God himself is often referred to as « architect » of the universe. Subject of Course The course will take on an investigation of

such “cosmic” dimension of architecture, in the kaleidoscope of its different manifestations. First it will approach the foundations of the order: the “meaning” of orders in classical temples, the finitude of architecture as an opposition to indefiniteness and chaos, and the question of the Origin – the “primitive” order. Then, we will look at the disentanglement of order and ornament, and the acquisition by the latter of an independent status as a sign, be it disguised as useless, coded as a “language”, or deprived of any reference. As a counterpart to that, we will trace a phenomenology of order as political forms and power are rearranged, and representation leaves the ground to abstraction.

21.03.2018 Ordnung und Ortung: Aureli and Schmitt 11.04.2018 The Primitive Hut: Laugier and Rousseau 18.04.2018 Aesthetical Grammar: Summerson and Tatarkiewicz 25.04.2018 No Other: Loos and Wittgenstein 02.05.2018 Seminar Papers Abstracts 09.05.2018 On Display: Johnson and Debord

Such “quest” will follow a double path, always coupling one excerpt of literature from the field of architecture theory with one belonging to philosophy; one part of the weekly meeting will be dedicated to the lecture, the other to discussion. Our path will be guided by authors such as René Girard, George Hersey, Carl Schmitt, Pier Vittorio Aureli, Jean-Jacques Rousseau, Adolf Loos, Philip Johnson, Guy Debord, Le Corbusier, Michel Foucault, Jeremy Bentham, Michel Serres, Jean Baudrillard and others.

16.05.2018 Revolution: Le Corbusier and Benjamin 23.05.2018 Abstract Machines: Vidler and Foucault 30.05.2018 Seminar Papers discussion 06.06.2018 Orders of Magnitude: Koolhaas and Heidegger

Attendants of the course are expected to follow the lectures and develop and write a short seminar paper on their own based on the contents discussed during the lectures; a couple of meetings will be dedicated to the discussion and the presentation of the abstracts.

13.06.2018 The Return of the Double: Baudrillard and Serres 20.06.2018 Seminar Papers presentations

The course will be provided in English, but final papers might be delivered both in English or German. Program 14.03.2018 Occult Foundations: Hersey and Girard

251.071 SE Topos in Architectural Theory Lecturer Vortragende Univ.Lektor Dipl.-Ing. Dr.phil. Kristian Faschingeder

Time & Place Zeit & Ort Wednesdays 10.30-12pm, Seminar room ATTP

the Map. Machine, Architecture, Politics Aim of the course In 2016, renowned New York Times journalist Thomas Friedman subsumed the accelerating changes in »technology, globalization, and climate change« (especially in the last ten years) as »the Machine«, claiming that »the power of many—that be us—is now the dominant factor shaping and reshaping Earth systems and pushing out planetary boundaries«. As as consequence, »We as a has never been said of humans before the twentieth

Ziel der Lehrveranstaltung 2016 bezeichnete der renommierte New York Times-Journalist Thomas Friedman die beschleunigten Veränderungen in »Technologie, Globalisierung und Klimawandel« (vor allem der letzten zehn Jahre) als »die Maschine« und behauptete, dass »die Macht vieler – das wären wir – nun der bestimmende Faktor bei der Gestaltung und Neugestaltung von Erdsystemen und beim Verschieben planetarer Grenzen« sei. Als Folge sind »Wir als Spezies […] jetzt eine Kraft der, in

century, but starting in the 1960s and 1970s, when the

und an der Natur. Dies wurde vor dem 20. Jahrhundert

Industrial Revolution reached many new parts of the

noch nie vom Menschen behauptet, aber ab den 1960er

globe with full force, particularly places such as China,

und 1970er-Jahren, als die industrielle Revolution viele

India, and Brazil, populations and middle classes started

neue Teile des Globus mit vollem Umfang erreichte,

to expand together.«

vor allem in China, Indien und Brasilien, begann zur

species are now a force of, in, and on nature. That

gleichen Zeit die Bevölkerung und die Mittelschicht zu

Friedman hereby echoes Michel Serres, who some decades ago wrote that human societies have grown to a size where »the decisive actions are now, massively, those of enormous and dense tectonic plates of humanity.« Especially »megalopolises are becoming

expandieren.« 1

Friedman erinnert hierin an Michel Serres, der vor einigen Jahrzehnten geschrieben hat, dass die menschlichen Gesellschaften zu einer Größe angewachsen seien, »in

physical variables: they neither think nor graze, they weigh.« Thus, »globalization forms a new universe«, as we have created objects of a new scale, thereby putting into question our conception of an object as a distinctive entity:

increasingly so, on things that depend on actions that

der die entscheidenden Handlungen jetzt massiv sind, jene von enormen und dichten tektonischen Platten der Menschheit«. Vor allem »Megalopolen werden zu physischen Variablen: Weder denken sie, noch grasen sie, sie wiegen.« Damit bildet die «Globalisierung […] ein neues Universum«, in dem wir Objekte in einem Maßstab geschaffen haben, die unsere Vorstellung von einem Objekt als abgegrenztes Gebilde in Frage stellen:

we undertake. Our survival depends on a world that we

»Geben wir Artefakten, die mindestens eine globale

create with technologies whose elements depend on

Dimension haben, den Namen Weltobjekt. [...] Wir leben

our decisions.«

jetzt in diesen Weltobjekten, so wie wir in der Welt

»Let’s give the name world-object to artifacts that have at least one global-scale dimension [...] We now live in those world-objects as we live in the world. As a consequence »we ourselves suddenly depend, and

leben.« Als Folge davon »sind wir selbst plötzlich, und

So the future is up to us! But to understand , and deal with, the changes that are happening now, globally and networked, we need to rethink some of the basic concepts that inform our dealing with what Friedman calls »the Machine«.

zunehmend, von Dingen abhängig, die von Handlungen abhängen, die wir unternehmen. Unser Überleben hängt von einer Welt ab, die wir mit Technologien erschaffen, deren Elemente von unseren Entscheidungen abhängen.« 2

Die Zukunft liegt also an uns! Aber um die Veränderungen, die jetzt, weltweit und vernetzt, stattfinden, zu verstehen, müssen wir einige grundlegende Konzepte überdenken, die unseren Umgang mit dem, was Friedman »die Maschine« nennt, beeinflussen.

We will examine these topics from the point of view of architecture. Our profession regularly deals with objects in which we live, and has a penchant for working on different scales, ranging from the local to the global. We will especially ask for the political and ethical implications of those changes within architecture. To do so, we will read and discuss texts that range from their downright euphoric approval to more substantial and philosophical ones.

Wir werden diese Punkte aus dem Blick der Architektur untersuchen. Unser Beruf beschäftigt sich regelmäßig mit Objekten, in denen wir leben, und sie arbeitet naturgemäß in unterschiedlichen Maßstäben, die vom Lokalen bis zum Globalen reichen. Wir werden auch nach den politischen und ethischen Implikationen dieser Veränderungen fragen. Dazu werden wir Texte lesen, die von der geradezu euphorischen Zustimmung zu substanzielleren und philosophischeren reichen.

[1] Friedman, Thomas L. Thank You for Being Late: An Optimist’s Guide to Thriving in the Age of Accelerations. Penguin Books, 2017.  [2] Serres, Michel. Le contrat naturel. Paris, 1992. http://www.ctheory.net/articles. aspx?id=515 Subject of course We will discuss the following topics, and how they are presented:

- on the map and on the new (Thomas Friedman, Jorge L. Borges, Arthur C. Danto)

- on the machine and on the plan (Michel Foucault, Le Corbusier, Bill Hillier, Keller Easterling)

Inhalt der Lehrveranstaltung Wir werden die folgenden Themen diskutieren, auch wie sie präsentiert werden:

- on the object and on ethics (Michel Serres, Bruno Latour, Peter-Paul Verbeek)

- über die Karte und das Neue (Thomas Friedman, Jorge L. Borges, Arthur C. Danto)

- on work and on exchange (Marcel Hénaff, Daron Acemoglu, Michel Serres)

- über die Maschine und den Plan (Michel Foucault, Le Corbusier, Bill Hillier, Keller Easterling) - über das Objekt und die Ethik (Michel Serres, Bruno Latour, Peter-Paul Verbeek)

The course is bilingual (German/English) and subdivided into three main parts. The units will be detailed further at the beginning of the semester.

- über die Arbeit und den Tausch (Marcel Hénaff, Daron Acemoglu, Michel Serres)

a) Supervised research and formulation of a research question

Die Lehrveranstaltung wird schon aufgrund der Literatur zweisprachig sein (Englisch optional). Ein Programm wird zu Semesterbeginn bekanntgegeben. Während in der einen Hälfte des Seminars relevante Literatur diskutiert wird, gliedert sich die andere in drei Teile:

b) Independent research and writing of an academic abstract c) Oral presentation of the state of the art, construction of the argument and writing of the final paper

a) Begleitete Recherche und Finden einer Forschungsfrage b) Eigenständige Recherche und Schreiben einer wissenschaftlichen Kurzdarstellung (Abstract) c) Zwischenpräsentation (in Form eines Referats) zum Stand der Dinge, Konstruktion des Argumentes und Erarbeiten der schriftlichen Arbeit

259.485 UE Design Studio Großes Entwerfen Time & Place Zeit & Ort Thursdays 9am-6pm, Seminar room ATTP

Lecturer Vortragende Dr. Michael Doyle, External Lecturer Carlos Marchi, Architect / PhD Candidate Univ. Prof. Dr. Vera Bühlmann

Other, Same and Odder Spaces Aim of Course This studio will allow students to acquire a novel approach to addressing building types, develop their own sense of what constitutes the typicality of a building and to be able to articulate this sense in capturing the qualities of a typicality that cannot “properly” be named. In doing this, students will work iteratively with both words and images in formulating their own stance towards the essential and invariant qualities of a building type, what makes a building same, other and odder in relationship to all the other buildings of its type. In designing a particular building type for a site situated in Vienna, students will learn to apply this stance in the design process and in the graphic articulation of their final presentation boards.

Subject of Course Statuesque buildings will explore the spectral nature of building types. From the words used to describe what constitutes a particular building type to the images that seem to capture its principal qualities, type tends to remain somewhat elusive. What is it about a house that constitutes its house-ness? A bank about its bank-ness? Types also evolve and tend to blend into each other over time. Yet there is something invariant about type and the way that buildings articulate typicality without exhausting it fully. The etymology of the word ‘type’ suggests that it, through Greek and Latin, can be understood as a figure, form or statue. A building can be partially understood as a statue to a particular type—that is, as something that is present, yet

absent. What interests us then is not that a house has bedrooms or that a bank has a vault (to return to but two examples), but that there is something about house-ness and bank-ness that one cannot put their finger on—a quality that only be ‘entitled’, but cannot be properly named. Over the course of the semester, we will explore the statuesque nature of buildings and the types for which they, vicariously, stand in. The first six weeks will be devoted to two exercises. The first exercise will look at the words used by certain architects, even as far back as Vitruvius, to describe building in terms of type and specifically to look at the words used by the architects in describing type. Each student will constitute their own word bank around a specific type articulating for themselves a vocabulary and grammar about a particular type. In the second exercise, students will begin to collect images that seem to be the most similar or the most different from the qualities they believe to characterize their type. These images will then be posed as ‘questions’ to a custom algorithm having learned the pixel content of several thousand images sourced from Tumblr. Students will receive a spectrum of images of buildings that the algorithm thinks are closest to the ones it was given. Working iteratively in this way, students will refine their own stance towards a particular type and its spectral nature. In the final half of the studio, students will choose a building in Vienna that corresponds to their building type and will design a new building for the site as if the existing one were gone. The new building will therefore be a statue to the type and should articulate architectonically the quality of the type that cannot properly be named, but with which students will have become familiar by training with the first two exercises.

259.486 UE Design Studio Großes Entwerfen Lecturer Vortragende Valle Medina & Benjamin Reynolds, Visiting Prof. at ATTP Univ. Prof. Dr. Vera Bühlmann

Time & Place Zeit & Ort Fridays 9.30am-6pm, Seminar room ATTP

Success Aim of Course “I am Warhol. I am the No. 1 most impactful artist of our generation. I am Shakespeare in the flesh” Kanye West

to create motivational architectural projects. We’ll also consider the idle, useless, backward, retrograde. In particular, we will examine successful through their processes of variation, mutation, competition and inheritance. Possible strategies of architectural projects could be: acquiring their own language considered as market strategy (ie. concrete words can produce neutrality to attract), thematized images as per a culture’s code of behaviour; the quality and fetish of being a limited edition etc.

Such that modern life insists that we participate, we share an unfailing impetus to do well. An album is considered a bestseller if it goes platinum, a saturated web presence means a career can proliferate, the curricula vitarum (course of life) is a space for promotional propaganda, institutions seek olympians to legitimize budgets, hygienics means trust and safety.

The course will run in a sequential set of assignments as a handbook, but not as a recipe. Each student is required to follow closely this handbook to deliver at the end a building.

Since the criteria for success may be relative to a particular observer (critically acclaimed does not mean profitable), we will not debate the markers of a successful project, instead we will deliver a spectrum of effective criteria

PART 0 CONCEPTION Week 1 (AM) – Utopos (I) repertoire

Week 1 (PM) – Flows Week 2 – Premises  Week 3 – Excursion Week 4 – Birth Certificate

have an openness to elaborate rich and personalised creative mediums to realise their position and ideas; Participants must demonstrate: An interest to develop experimental and conceptual work; an endeavour to use the opportunity of the studio to generate an original work; an interest to engage in discursive sessions to develop a theoretical basis of their project.

PART 1 ORIGINATION Week 5 & 6 – Material-that-Never-Existed  Week 7 – Utopos (II)  PART 2 TRANSFORMATION Week 8 & 9 – “Positions”  Week 10 – “Ultra-Resolution” Week 11 – “In Flesh and Shadow”

Attendance every Friday and punctuality are a must.

PART 3 STAGE Week 12 – “Alchemy” Week 13 - Stage

Start of the studio: Friday 09/03/2018, 9:30 am. Regular presentations or ‘Pin-Ups’: Fridays, 9:30-12:00. Workshops: Fridays 13:00, plus (irregularly) Saturday’s / Guest critics will be invited for mid-term and final reviews.

Subject of Course In “Success”, we will create radiographies of buildings to measure how they project themselves--after the classical orders--to the street, the city, and indeed the nation. We will be designing one building per person based on a study of some of the above mentioned cases. Notions of success will be dealt with case by case. The focus will go towards creating physical models, drawings and “promotional videos” of each participants design.

A studio excursion is scheduled to Ljubljana 23rd to 26th of March. For more information please enquire with Susanne Stöller: sekretariat@ attp.tuwien. ac.at “Success” is a studio run by Dom Gross (domgross.com) with Valle Medina and Benjamin Reynolds (Pa.LaC.E, palacepalace. com) and supported by Vera Bühlmann.

The final delivery will be an individual “Success” project, comprised of: a “radiography” of a precedent space, a Material-That-Never- Existed (MTNE ie. a video, collage or physical fragment), a project text, sections/plans/volumetry and five images of a fully accomplished building. Knowledge of Adobe Creative Suite (eg. Illustrator, Photoshop, InDesign), Rhinoceros (Grasshopper is an advantage) is a minimum requirement. We are interested in participants that: want to question the manner and method of generating architectural work; possess a willingness to convert a scepticism of existing discourses into their own forthright position and ideas;

259.484 UE Design Studio Kleines Entwerfen Lecturer Vortragende Univ.Ass. M.Sc. Georg Fassl Univ. Prof. Dr. Vera Bühlmann

Time & Place Zeit & Ort to be held in blocked form (dates on TISS), Team room ATTP

Mafalda Millies & Roya Sachs, Virtually There - A performance inspired by Oskar Schlemmer’s Triadic Ballet, 2016 © Eliza Soros / Rework: Daedalus Observatory, 2018

Mobile Statues Aim of Course In this design studio we will exercise in many things: we will observe and speculate, explore and invent; and we will craft and characterize ‘mobile yet immobile’ furniture-designs – a collection of architectonic objects composed and put into play within our contemporary cosmos. The course will be organised in groups consisting of two people. Several guided tasks, mixing various materials (texts, images, drawings, objects) and combining different techniques (analogue and digital), will result in a rich catalogue comprising each group’s work.

Ziele der Lehrveranstaltung In diesem Entwerfen üben wir uns in vielem: wir werden observieren und spekulieren, erkunden und erfinden; und wir werden ‘mobile yet immobile’ Möbel-Entwürfe gestalten – eine Kollektion architektonischer Objekte komponiert und ins Spiel gebracht in unserem kontemporären Kosmos. In Gruppen zu je zwei Personen ver- und erarbeiten wir in mehreren angeleiteten Aufgaben verschiedenste Materialien (Texte, Bilder, Zeichnungen, Objekte) und kombinieren dabei ausgewählte Techniken (analog und digital) – das finale Produkt / die finale Abgabe wird ein reicher Katalog der gesammelten Arbeit jedes Teams.

Subject of Course He has waited for a very while, before “he paced twice, slowly and in silence, from the fireplace to the window and from the window to the fireplace, traversing the whole length

Inhalt der Lehrveranstaltung Er wartete eine ganze Weile bevor er sich auf den Weg machte, “langsam und schweigend

of the room, and making the polished floor creak as though he had been a stone statue walking.”1 A guest in Hermes’ and Hestia’s home and well, ‘as though he had been a statue’, right!? Mobile Statues, “these things cannot happen: a statue cannot move or speak; it cannot open its eyes, nod, or call out, cannot tell a story, dance or do work; it cannot turn on the viewer or run away, banishing its solidity and repose, shedding its silence. A statue is almost by definition a thing that stands still. [...] Yet these things happen”2 and we can also, almost by definition, say that statues are ‘set up to keep things present’: “to represent them in our space (not to represent ourselves in their space) [...] they step into our life.”3 By chance or invited, they are daedalic guests, finite yet unbounded.

vom Kamin bis zum Fenster, so schwer, daß die Dielen krachten, wie eine Statue aus Stein.”1 Ein Gast in Hermes und Hestias Heim und ja, ‘wie eine Statue’, richtig!? Mobile Statuen, “diese Dinge gibt es nicht wirklich: eine Statue kann sich nicht bewegen oder sprechen; kann keine Geschichten erzählen, tanzen oder Arbeit verrichten; sie kann sich nicht zu ihrem Betrachter wenden und auch nicht von ihm entfernen, nicht ihrer Starrheit entkommen noch ihrer Ruhe verwehren. Eine Statue ist nahezu per Definition im Stillstand begriffen. [...] Und dennoch, diese Dinge passieren”2 und wir können ebenso, nahezu per Definition, sagen ‘Statuen sind gebaut um Dinge zu vergegenwärtigen’, um “sie in unserem Raum (nicht uns in ihrem) vorzustellen [...] sie treten in unser Leben.”3 Ob überraschend oder erwartet, sie sind daedalische Gäste, endlich und unbegrenzt zugleich.

The Mobile Statues design studio is an architectonic furniture project seeking to embody chance and necessity in contemporary figures of purposefulness. We will train ourselves in a critical and inventive practice and work within a series of speculative design methods to inform a multimaterial choreography – an abstract roundelay, an eclectic show of pygmalionian power.

Cornell University Press, 1992

Das Mobile Statues Design Studio ist ein architektonisches Möbel-Projekt auf der Suche nach zweckmäßigen Kompositionen – zeitgenössischen Figuren mit dem Vermögen Zufall und Notwendigkeit in sich zu vereinen. Wir trainieren uns in einer kritischen sowie erfinderischen Praxis und werden in einer Serie von spekulativen Methoden eine multimaterielle Choreographie erarbeiten – einen abstrakten Reigen, eine eklektische Show pygmalionischer Kraft.

3 Benjamin Alexander, The Arcade Project, Harvard

1 Victor Hugo, Les Miserable, Karl Vogels Verlag, 1920

University Press, 1999

2 Kenneth Gross, The Dream of the Moving Statue,

1 Victor Hugo, Les Miserable, Planet eBook onlinepublication, 2018 2 Kenneth Gross, The Dream of the Moving Statue,

Cornell University Press, 1992

This course is part of the: Mobile Yet Immobile Series – Have a look here: www.daedalusobservatory.net

3 Benjamin Alexander, Das Passagen-Werk, Suhrkamp Verlag, 1991

Dieser Kurs ist Teil der: Mobile Yet Immobile Series – Mehr dazu hier: www.daedalusobservatory.net

259.338 VO Theory of Film Theorie zum Film Time & Place Zeit & Ort Mondays 2-5 pm, Seminar room ATTP

Lecturer Vortragende Univ.Lektor Mag.arch. Arturo Silva

from Sans Soleil, Chris Marker, 1983

Facts and Figurals: Contemporary Documentary Subject of course Cinema was the art form of the twentieth century. In the twenty-first, the rules of the image/screen/projection game have changed. Nonetheless, the contemporary screen— from your mobile to IMAX—is haunted by its predecessor (as a film such as 2001 A Space Odyssey foresaw). We are still and always learning to see Documentary film always has partaken of the fictional and the delirious—only think of its two foundational works: Nanook of the North (Flaherty, 1922) and Man with a Movie Camera (Vertov, 1929)—while also purporting—believe it or not!—to have some sort of close relationship with “the truth.” Somewhere along the line—60s’ French Cinema Verité or Chris Marker’s “ciné, ma verité”?—the pretense was given up. Documentary today is wide open: fantastic, aleatory, minimal, constructivist, personal, assaultive ... and all those other groovy qualities.

This course will focus on a few of those films, made within the last decade. Get ready. PS. As each class meeting is rather long we will not meet every week (the schedule will be discussed at the first meeting). Therefore, attendance at every class is a must. (I know you have other classes to attend, but do not make scheduling conflicts for yourself. If you do, well, my class is your priority.) NB: Attendance at the first class is required; no one admitted after the first class (and please, don’t even ask – there are no exceptions).

251.096 UE Exercise Theory/Film Übung zur Theorie des Films Lecturer Vortragende Martin Burr, External Lecturer

Time & Place Zeit & Ort to be held in blocked form (dates on TISS), Seminar room ATTP

clicks, clips and bits

Clicks, Clips und Schnipsel

Inhalt der Lehrveranstaltung The short movie «Gugusse et l’Automate» by Filmpioneer Georges Méliès shows in 1897 probably for the first time a robot on cinema screen. Lost today, the film is about a conflict between Clown Gugusse and «an automatic device». 1911, Walter R. Booth publishes a ten minute short movie «The Automatic Motorist», in which a robot-chauffeur appears. The 1919 published anthology film «The Master Mystery», starring circus artist Harry Houdini, there’s another early example of a robot’s staging. The italian movie «L’uomo meccanico» (1921) by André Deed portraits a bunch of criminals who take over a remotely controlled robot for committing their crimes. Most famous robot appearance during the silent film era is the female humanoid in Fritz Lang’s «Metropolis», dating 1927. The first robot in a TV show is I Tobor in the sciencefiction series «Captain Video and His Video Rangers» (from 1949).

Inhalt der Lehrveranstaltung Der 1897 entstandene Kurzfilm «Gugusse et l’Automate» des Filmpioniers Georges Méliès zeigt wahrscheinlich zum ersten Mal einen Roboter auf der Kinoleinwand. Heute verschollen, handelt der Film von einer Auseinandersetzung zwischen dem Clown Gugusse und einem Automaten. 1911 erscheint der zehnminütige Kurzfilm «The Automatic Motorist» von Walter R. Booth, in dem ein Roboter-Chauffeur vorkommt. Im 1919 erschienenen Episodenfilm «The Master Mystery» mit dem Zirkuskünstler Harry Houdini findet sich ein weiteres frühes Beispiel für den Auftritt eines Roboters. Der 1921 veröffentlichte italienische Film «L’uomo meccanico» von André Deed handelt von Ganoven, die einen ferngesteuerten Roboter in ihre Gewalt bringen, um mit seiner Hilfe Verbrechen zu begehen. Zu den bekanntesten Roboterdarstellungen der Stummfilmära gehört der weibliche Maschinenmensch in Fritz Langs «Metropolis» von 1927. Der erste Roboter, der im Fernsehen auftrat, war I Tobor in der Science-Fiction-Serie «Captain Video and His Video Rangers» (ab 1949).

Cinema shapes our perception of possible robots - as threat, assistance, seduction. The mechanic or magic-organic parallel-human probably exists since humans tell stories.

Movies in the last five years are characterized by hope for friendship between human and machine: „Robot & Frank» (2012) tells about a wonderful friendship between an old man and a robot, which however releases a certain criminal energy. In «Her» (2013) by Spike Jones, Joaquin Phoenix falls in love with the voice of a computer system (originating from Scarlett Johansson). In «Transcendence» (2014), Jonny Depp continues to live as a human within a computer after his death. «Chappie» (2015) tells the story of a highly talented orphan being kidnapped and abused by a villain, however is Chappie a robot with extraordinary abilities. «Automata» and «Ex Machina» decline the virtue of Asimov’s laws of robotic and perceive an inevitable jump from artificial intelligence to consciousness - and through this desire for self-determination.

Das Kino prägt unsere Vorstellung von Robotern – als Bedrohung, als Hilfe, als Verlockung. Den mechanischen oder magischorganischen Parallelmenschen gibt es wohl, seit die Menschen erzählen. Die Filme der letzten fünf Jahre sind geprägt von Hoffnung auf Freundschaft zwischen Mensch und Maschine: „Robot & Frank» (2012) erzählt von der wunderbaren Freundschaft zwischen einem alten Mann und einem Roboter, die allerdings eine gewisse kriminelle Energie freisetzt. In «Her» (2013) von Spike Jones verliebt sich Joaquin Phoenix in die Stimme eines Computersystems (die von Scarlett Johansson stammt). In «Transcendence» (2014) lebt Johnny Depp nach seinem Tod als Mensch in einem Computer weiter. «Chappie» (2015) erzählt die Geschichte vom hochbegabten Waisenkind, das von Bösewichten entführt und missbraucht wird, allerdings ist Chappie ein Roboter mit aussergewöhnlichen Fähigkeiten. «Automata» und «Ex Machina» spielen noch einmal die Wirksamkeit der Asimov‘schen Gesetze der Robotik durch und erkennen, dass der Sprung der künstlichen Intelligenz zum Bewusstsein und damit zum Verlangen nach Selbstbestimmung unabwendbar ist.

During the exercise «clicks, clips and bits», we create a montage of encounters between robots, humanoids, androids, automats and humans. Which means collecting samples and citations («clicks»), assembling them to position them among each other («clips»), and set them into a context of human-robot interactions in short «bits».

In der Übung «Clicks, Clips und Schnipsel» montieren wir Begegnungen zwischen Robotern, Humanoiden, Androiden, Automaten und Menschen. Das heisst sammeln von Ausschnitten und Zitaten («Clicks»), sie einander gegenüberstellen («Clips») und in kurzen «Schnipseln» fürs Thema Interaktionen zwischen Menschen und Menschmaschinen aufbereiten.

Montage 3 times 3 days from 10h to 17h Projections in the evenings from 20 to 22h The course will take place in May and July 2018. (The exact dates will be announced shortly.) Requirements: – experiences in video editing – soft- and hardware for video editing

Schnitt 3 Mal 3 Tage von 10 bis 17 Uhr Projektionen jeweils abends von 20 bis 22 Uhr Der Kurs findet im Mai und im Juli 2018 stattfindet. (Die genauen Termine werden in Kürze bekannt gegeben.) Mitbringen: – Erfahrungen mit Videoschnitt – Soft- und Hardware für Videoschnitt

251.044 VO Methodology for PhD Students Methodologie für DoktorandInnen Lecturer Vortragende Dr. Michael Doyle, External Lecturer

Time & Place Zeit & Ort Mondays 6-8pm, Seminar room ATTP

Technics & Invention I Research Methods in Architecture and Urbanism Aim of Course To obtain an overview of methods employed by scientific research conducted on buildings, cities and their inhabitants. Although an exhaustive overview is outside the scope of this course, participants will acquire a general sensibility for how methods ‘operate’ as technical tools of discovery and learn to apply a general framework that will allow them to decipher the workings of any method, independent of methodological tradition or convention. The skills developed through the semester work will aid in the writing of the state of art of one’s own method(s) and in examining other methods that are commonly applied to their object of research.

as an informational motor, which constitutes a ‘reservoir’ of data (or accounts, axioms, measurements etc.) and ‘processes’ its contents in a formalized and systematic way.

Subject of Course This bi-weekly lecture course will combine an hour of lecture with an hour of discussion on a selection of methods employed by research in architecture and urbanism. These include methods from both qualitative and quantitative traditions as well as those that are somewhat novel in their fields of application— Digital Humanities, Research as Design and Urban Data Sciences. The course will thereby focus less on such conventions and the types of judgments they produce about inventive modes of inquiry and more on a general model to address any method as a technic or, with regard to the work of Michel Serres,

28.05.2018 Simulating Possible Past States

Program 12.03.2018 Methods as Technics (Introduction) & Numbers: Quantities and their Relations 16.04.2018 Text: Mining and Structuring 14.05.2018 Words: Meaning in Discourses

11.06.2018 Images: Pixels and Perceptions 25.06.2018 Models: Simulating Possible Future States Course participants will develop a state of the art for the chapter of their dissertation where they will present their methodology. The precise content and form will vary from participant to participant depending on where they currently are in their doctoral studies,

but the semester work should enable each participant to advance in the definition and articulation of his or her methods. This seminar is a companion course to Technics and Invention: Exercises in Methodical and ‘Exodic’ Thinking. Although participation in the seminar course is not obligatory, the two are complimentary, with weekly lecture topics corresponding to the methods covered in the other course. Each course will alternate weeks and be held in the evenings. Language of discussion and semester work will be in English.

251.038 SE Seminar for doctorands Doktorandenseminar Lecturer Vortragende Dr. Michael Doyle, External Lecturer

Time & Place Zeit & Ort Mondays 6-8pm, Seminar room ATTP

Technics & Invention I Exercises in Methodical Thinking Aim of Course To apply and practice with a general framework for approaching research methods as technics. Upon completing this course, participants should be able to better situate their own method(s) within those applied by fellow researchers or practitioners in their own field as well as those in other fields who share the same object of research. The skills developed here will be particularly useful, not only for one’s own dissertation, but also for writing for and applying to academic conferences or journals, as well as peerreviewing and situating the methods employed by other researchers.

practice with the skills developed over the course of the semester in the writing of three abstracts to present their own application of methods in an international conference. Program 19.03.2018 Methods as Technics (Introduction) and Exercises: Quantities and their relations 23.04.2018 Exercises with Method: Mining and Structuring (Text) 21.05.2018 Exercises with Method: Meaning in Discourse (Words)

Subject of Course This seminar course will be organized around bi-weekly discussions on a selection of published studies or scientific articles applying different research methods employed in architecture and urbanism. It will look at each method as an informational motor, which constitutes a ‘reservoir’ of data (or accounts, axioms, etc.) and ‘processes’ its contents in a formalized and systematic way. Rather than focus on methodology—the conventions by which particular methods are to be adopted and employed—the seminar will address how the methods are applied in different research contexts as technical tools of discovery. As tools, they can be invented or used in inventive ways. Participants, in reflecting upon their own research activities, will be asked to

04.06.2018 Exercises with Method: Simulating Possible States (Models) 18.06.2018 Exercises with Method: Pixels and Perceptions Course participants will develop three abstracts in English for conferences in their field. Depending on the conference, abstracts may be short (250 words) or longer (up to 1000). The exercise will serve to apply the general framework presented during the semester and to help participants present their research projects succinctly and with clarity.

This seminar is a companion course to Technics and Invention: Research Methods in Architecture and Urbanism.Â Although participation in this lecture course is not obligatory, the two are complimentary, with weekly lecture topics corresponding to the methods covered in the seminar course.Â Each course will alternate weeks and be held in the evenings.Â Language of discussion and semester work will be in English.

259.489 SE PhD seminar Diplomanden- und Doktorandenseminar Lecturer Vortragende Univ.Lektor Dipl.-Ing. Dr.phil. Kristian Faschingeder

Time & Place Zeit & Ort Tuesdays 5-7pm, Seminar room ATTP

Longform Aim of Course ‘Longform’, ‘Longread’ – these are dedicated pages on the net which, to the urgency of short messages, oppose long, selected texts. As Rem Koolhaas stated in “Bigness and the Problem of Large” sheer size can already be a program in itself. Long research papers, some of them known as Dissertations, often seem like a literary genre in their own right: they appear as something unknown, difficult, but also holding a particular reward. Their accomplishment is associated with an enormous amount of work. Its anticipated result is a paper that is serious, easy to read and comprehensible – no easy task. Difficulties arise not only in connection to methodological problems in the narrow sense, but also in relation to the structure of the paper and the organization of a workflow, which is a methodology in its own right. These are the main aspects that will be covered in the seminar.

Ziele der Lehrveranstaltung ‚Longform‘, ‚Longread‘ – das sind Seiten im Netz, die der Gedrängtheit kurzer Nachrichten lange, ausgesuchte Texte gegenüberstellen wollen. Schon Rem Koolhaas stellte in „Bigness and the Problem of Large“ fest, dass die schiere Größe ein Programm für sich sein kann. Lange wissenschaftliche Arbeiten wiederum, worunter bekanntlich auch Dissertationen fallen, erscheinen oft wie ein eigenes literarisches Genre: unbekannt, schwierig, aber auch sehr bereichernd. Ihre Bewältigung ist mit einer enormen Kraftanstrengung verbunden, als dessen Endprodukt eine (zugleich) ernsthafte, gut lesbare und nachvollziehbare Arbeit erwartet wird. Offene Fragen entstehen dabei nicht nur im Bereich der Methodologie, sondern auch in der Strukturierung der Arbeit, sowie in der Organisation einzelner Arbeitsschritte und Argumentationsweisen, die eine Methode für sich bilden.

The course provides the opportunity to apply different scientific methods in practice. We will focus on various research methods and their application in relation to a particular problem.

Ausgehend von unterschiedlichen methodischen Ansätzen wird ein spezifisches Thema selbständig ausgearbeitet, wobei die wissenschaftliche Methode und die Organisation der Arbeit im Mittelpunkt stehen. Dabei sollen praktische Erfahrungen in der Auswahl und im weiteren Umgang mit wissenschaftlichen Arbeitsweisen für eine konkrete Problemstellung erlangt werden.

The course is basically open to everybody. It is addressed in particular to doctoral candidates and graduate students. Subject of Course Practical excercises in: – finding a research question – finding the appropriate method for a particular problem

Die Übung steht grundsätzlich allen offen und wendet sich insbesondere an DissertantInnen und DiplomandInnen.

– applying that method in a short research thesis – organizing a workflow – organizing a (long) text and (short) passages – presentation and defense

Inhalt der Lehrveranstaltung Praktische Übungen zu: – Relevante Fragestellung – geeignete wissenschaftliche Methode für eine spezifische Fragestellung – Anwenden der Methode(n) im Rahmen eigener Ausarbeitungen – Organisation von Arbeitsschritten – Organisation von (langen) Texten und (kurzen) Absätzen – Präsentation bzw. Verteidigung

Additional Information each Tuesday, 5:00-7:00 pm 1st meeting: 13.03.17 At the Seminarraum Architekturtheorie (If necessary, other appointments are possible) Literature Articles and literature are selected according to the respective topics and made available during the course.

Weitere Informationen jeweils Dienstag 17:00-19:00 h Beginn: 13.03.18 (1. treffen) Ort: Seminarraum Architekturtheorie (bei Bedarf auch andere Termine möglich) Literatur Artikel und Literatur werden entsprechend der jeweiligen Themen ausgewählt und im Laufe der Lehrveranstaltung zur Verfügung gestellt.