PORTFOLIO
Dipl.-Ing. Clemens Hochreiter Tel.: 0043 660 / 55 90 784 Email: clemens.hochreiter@gmx.at
Schmiedgasse 12b, Top 14 A-6020 Innsbruck R端storf 33 A-4690 Schwanenstadt
EDUCATION October 2014 October 2011 - October 2014
Graduate Master Studies Architecture Master Studies Architecture at the Faculty for Architecture at the University of Innsbruck, Austria
September 2012 - June 2013
Master Studies Architecture as an ERASMUS exchange student at the Lunds Tekniska Högskola in Lund, Sweden
October 2008 - July 2011
Bachelor Studies Architecture at the Faculty for Architecture at the University of Innsbruck, Austria
October 2007 - June 2008
fulfilling the convened civilian service at “pro mente upper austria” in the “Clubhouse Vöcklabruck”, 4840 Vöcklabruck, Austria
June 2007 September 2002 - June 2007
degree with the general qualification for university entrance Higher Technical Institute for building construction HTL1 Bau & Design in Linz, Austria
SKILLS Languages Computer Literacy
German - first language English on an advanced spoken and written level Swedish on a basic level (A2 according to CEFR standards) MODELLING
Rhino Grasshopper Autodesk Maya RENDERING
Mental Ray Artlantis Render
CAD
ArchiCAD AutoCAD Vectorworks ADOBE
Adobe Photoshop Adobe Illustrator Adobe InDesign Adobe After Effects
ANALYSIS
Autodesk Ecotect Autodesk Vasari OFFICE
Microsoft Office Apple iWork
PERSONAL INFORMATION First Name Surname Adress
Clemens Franz Hochreiter Schmiedgasse 12b, Top 14 6020 Innsbruck Austria R端storf 33 4690 Schwanenstadt Austria
Date Of Birth Place Of Birth
December 5th, 1987 Ried im Innkreis Austria
Nationality Sex Marital Status Telephone E-Mail Hobbies
Austria male single 0043 660 / 55 90 784 clemens.hochreiter@gmx.at Travelling, Mountainbiking, Snowboarding, Photography
EXPERIENCE AND REFRENCES November 2014
Institute for gestaltung.studio2 Leopold-Franzens-University Innsbruck, Austria
October 2010 -June 2014
Institute for experimental architecture.hochbau
Lecturer in workshop series for first year students in the bachelor studies of architecture. The aim is to give the first year students a overview of the variety of digital methods for a design process and to teach them the basics of a couple of software tools to enable them to choose the right design tool for specific needs. My part was to teach them Autodesk Maya, giving them an understanding what the possibilities of this software are. Tutor at the faculty of architecture at the University of Innsbruck. Assistance for the department’s external lecturer, preperation of lecture series and preperation of gaphical announcements.
Leopold-Franzens-University Innsbruck, Austria
December 2013 - January 2014 sommerarchitektur
Schlerngasse 3a 6020 Innsbruck Austria
2007 - 2013
F2 Architekten ZT GmbH
Kirchengasse 1 4690 Schwanenstadt Austria
March 2012 - August 2012
Institute for experimental architecture.hochbau
Leopold-Franzens-University Innsbruck, Austria
August - September 2011
Kleboth Lindinger Dollnig ZT GmbH Ferihumerstraße 9 4040 Linz Austria
2003 - 2007
Schmid Holzbau GmbH
Lebertsham 6 4690 Oberndorf bei Schwanenstadt Austria
July - August 2005
ZT Planungsges.m.b.H DI Arch. Hans Roth
Schubertstraße 16 4600 Wels Austria
Part of the design team for a competition of an alpine restaurant in Innsbruck’s alpine surrounding at sommerarchitektur, Innsbruck. Gilbert Sommer, principal of sommerarchitektur, and I had a quite fruitful collaboration. From a design process on an equal level, him working 2D and me working in 3D, in the final stage the handling of the 3D data for model building and visualizations were in my responsibility while he was working out the plans and financial requirements. Employeed as an intern beside my civilian service and during holidays. My field of work was ranging from preliminary design drafts over collaboration on competitions to permission and construction plans. Whenever it was possible, I got my own projects or parts of projects and the responsibility, which I was handling mainly on my own, according to the offices practice. In a total time of nine months as a part-time employee and around 40 weeks as a fulltime intern, this rather regional acting office gave me the opportunity to understand the correlations between the architectural and technical aspects as well as the building process in practice. Assistant lecturer for the first year student’s “Building Constructions” course. The main focus in this course is set onto the understanding and practice of technical drawings. By practicing the theoretical contents which were taught in a seperate lecture, my group of students learned step by step, first by drawing by hand and lateron by CAD, how to draw technical plans on a level, ready for permission. As an intern at KLD I got in contact with bigger scale projects in realization as well as in competitions. Starting with rather conceptual studies for a company’s headquater, during my internship I got the chance to work on competitions for a reconstruction of a secondary school and a redevelopement of whole university campus.
During the education at the Higher Technical Institue for building construction, it is mandatory to fulfill at least four weeks as an intern at the construction site. I chose to work in a carpenters’ workshop during three summer holidays, which brought me a profound understanding how to use and manifacture wooden constructions in the building industry.
The Higher Technical Institute also requires another mandatory internship of at least four weeks in a technical planning office, which I accomplished in the summer holidays 2005. Due to the rather low level of knowledge at this stage of the education it served more as a first opportunity to get a glance in the daily office routine.
PUBLICATIONS & AWARDS Oktober 2013
April 2013
2012
August - November 2012
May 2011 February 2011 May 2010
Publication of “Redesign Marktplatz”, “Cornu Stockerau” and “Maribor 2112 - Bio(tro)nic Gardens” in the “Research And Project Almanac” of the Institute for Experimantal Architecture. Hochbau (ISBN: 978-3902936097) A part of our “Advanced Architectural Design” studio’s work got published on the bldg-blog, including my “biomimicry of polar plants” project on Svalbard (http://bldgblog.blogspot.co.at/2013/04/arctic-instruments.html) Publication of „Maribor 2112 - Bio(tro)nic Gardens“ in “2112Ai I 100YC”, the catalogue of the 100YC projects at Architecture Biennale in Venice 2012 (ISBN: 978-961-93338-1-5) Exhibited at the Architecture Biennale in Venice 2012 in the Slovenian pavilion with the project „Maribor 2112 - Bio(tro)nic Gardens“ in collaboration with Gregor Loewit Nominated for the OUT OF BOX AWARD 2011 in the category „Urban Style - Architecture“ with the project „FUGU“ Awarded in the category „Art“ at the „Timberconstruction Award Tyrol 2011“ with the project „FUGU“ Winner of the students competition „Architektur die brennt“ rewarded by the faculty for architecture of the University Innsbruck with the project „FUGU“ (http://projectfugu.blogspot.com) in collaboration with Harrytasch Ahmadian Neco and Alexander Topf
November 2009
Achievement scholarship for the academical year 2008/09
June 2007
Winner of the Upper-Austrian award for building techniques in collaboration with Bernhard Mayr
ONLINE
For further information concerning my projects I have published some of my work online. Therefore please visit my issuu-page: http://issuu.com/clemenshochreiter/docs
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DESIGN PROJECTS Masterthesis “Recultivating Intensities” “Svalbard 78°N” “Bio(tro)nic Gardens” “Cornu”
RECULTIVATING INTENSITIES A XENO-ORGAN BREEDING STATION
masterthesis at the institut f端r experimentelle architektur.hochbau I october 2014 supervisor: Marjan Colletti Univ.-Prof., Dipl.-Ing., MArch., Dott.Arch., PhD, ARB. further information on http://issuu.com/clemenshochreiter/docs/recultivatingintensities_clemenshoc
The proposal for a design strategy is a system, which is addressed to the infrastructural aspects of the body and a hospital. The architecture of a hospital and the human body share a lot of similarities in terms of their topological structure, of their units and functional spheres. But still a human body, with all its requirements and capabilities, would look different, if it was planned by mankind from scratch because our human, rather rational, logically structured understanding of our environment distinguishes essentially from how evolution has evolved. Nowadays we have reached a level of understanding, where we are able to observe the smallest parts within our body, cultivating them and reproducing body parts in a semi-artificial way. Contrary to this development our way of constructing, organizing and in the end building hospitals made an evolution from an open and spacious agglomeration of buildings to a compressed, spatially structure out of boxes, perfectly nested into each other. Of course there are reasons for optimizing travel distances
or reducing the footprint within an urban environment but by doing this, mostly the building itself lost architectural qualities. Historical hospitals were a cluster of buildings with open spaces in between to offer enough fresh air and to prevent an outbreak of epidemics within the hospital. This allowed visual relationships, allowing to experience the architecture also from the outside of the building, created more open or rather closed spaces and made it easier to orientate in the set of buildings. This set of buildings were in some kind an array of organs, connected by a vascular system of paths. Every organ fulfilling a certain task is connected in a rather linear order to its predecessor and its successor. It is not about propagating a strictly linear way of organization, but modern hospitals with their requirement of multi use of spaces, even though they are path wise almost perfectly planned, produce a lot of back and forth as well as cross traffic. Compared to our body, the only thing which enters and exits
our body through the same way is the air. All other substances we bring into our body get modified, used, filtered and discharged in a linear way. The backside of the medal of this multi use architecture, which implies somehow a repetitive box type of planning, is a bad architectural articulation in terms of identity whereas in the human body there is nothing like a repetition. But through mutation and modification of cells, an adaptation to different functions and demands is possible. Another point of critique of modern clinics is that they work with one of the most efficient, complex, adaptable and at the same time delicate and vulnerable organism we know and not even consider to somehow showing how they work or how the building works. The proposal for an architectural articulation of a clinic for organ transplantation tries to liberate the built thing from its corset of strictly functional, organizationally requirements. Similar to the human body, it
should act and be stimulated by intensities, flows and movements. Creating a circulation system of supply, use, filtration and removal which still allows an interlocked acting between the functional units, the protagonists, the organs. Freed from an architectural modularity, open spaces in between provide visual connections, easy orientation and let one experience the architecture. Different densities of intensities, different speeds and separation of flows will be articulated. Not only circulation paths but also everted infrastructure will make it possible to distinguish certain parts by transferring the development of understanding our body into an understanding of architecture. Like under an electron scan microscope the delicate architecture should be perceived with all its layers and its complexity in a high resolution, in High Definition.
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FLOORPLAN LEVEL+2 1_500
HELIPAD
STATICAL STRUCTURE
BUILDING’S FIRST SKIN INFRASTRUCTURE SEMINAR SPACE SURGERY ROOMS
STERILE SECOND SKIN INTENSIVE CARE DIAGNOSTIC WING RESIDENCE CLINIC ADMINISTRATION INTERMEDIATE & NORMAL CARE KITCHEN & STORAGE STERILE CORRIDOR
CIRCULATION PATHS DNA EXTRACTION ORGAN BREEDING REHAB STORAGE & STERILE STORAGE
UNDERGROUND CAR PARK SITE
GREEN FACADE
ELEVATION SOUTH
The new built architecture in an existing environment - especially with an extraordinary appearance can be described as an alien element. Similar to a 3D-printed medical implant which gets planted into a human body, the architecture becomes used by the existing vegetation as growth support. The natural environment takes over the implanted structure and adopts it into its system. By growing together the alien becomes a part of the existing system enhancing qualities already being there bringing in new possibilities.
This hybrid facade describes a symbiosis between the building and the surrounding nature. Besides concealing the buildings mass volume, allowing the greenery to expand onto the buildings structure brings some further benefits to building as the plants are acting as shading elements and greenery supports the patients’ healing process.
HEATING/ COOLING HEATING/ COOLING BACK FLOW ELECTRICITY
OUTER SHELL PATIENT’S ROOM
INNER SHELL PATIENT’S ROOM
VENTILATION INERT GASES SEWAGE SUN SHADING PANELS
STATICAL STRUCTURE
PATIENTS’ ROOMS The further one moves to the eastern end of the building, a change of its embracing structure is visible. The infrastructural pipes are branching out to supply the patients’ rooms with all necessities and so does the statical system. The rooms themselves are organized in modules - one module houses two rooms. The rooms are arranged around central roofed yards being connected to the rest of the building via a plug-in gate.
Every single module has its own statical structure which carries the load of it. The infrastructure is extended from the buildings skin onto the modules where it intrudes into the shell through defined ports. So the entire section of the building for the patients consists out of cells being placed within a scaffold of statical and infrastructural elements. Just by the formation of elements one can read the rough shape of the building and is able to assume which cell could fit into the scaffold.
The interior is designed in a rather clean and reduced manor in order to create a calm atmosphere. Through the combination of slik and shiny materials, the room provides both, a cozy ambience as well as the feeling of being in an secure, neat place.
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EX Since the economy on Svalbard is already moving from mining towards tourism and C will continue TR ITE E this trend in the future, the ways of people approaching to Svalbard respectivelyCHLongyearbyen is an important topic. Although the city is very close to the Andventfjord no entrance from the town to the waterfront is provided and independent from the way of reaching the island one always needs to pass D the unattractive an not well defined industrial and storage areas at the coast. AR B ALthe coal This might be related to the fact, that the centre of Longyearbyen, as an old mining townVwith S mines in the mountains, has always been in the Longyear valley away from the sea. Times and economy change but there is still a lack of access of the coastal area and sites close to the waterfront with big potentials are neglected. The aim for the built environment is to create space which simplifies the arrival of Svalbard‘s most OF important customer as well as it uses fallow parts of the town, reuses them and gives back common OL HO URE C S EC areas. ND T LU RCHI A Like central stations the in cities, a terminal for cruise ships could become the portal for the tourists to enter Longyearbyen and Svalbard, being situated as close as possible to todays city centre so that visitors get the possibilty to experience Longyearbyen, the landscape and the climate by feet. Due to its weather conditions Longyearbyen also lacks an informal place where the inhabitants can meet and spend some time. The two public facilities “Huset” and “Kulturhuset” are places where events meetings take place but a common open space like a town square is naturally missing. The center of the town is aligned along a public axis in north-south direction, characterized by the motion of people walking there. During the wintertime when no cruise ships are landing onto Svalbard, big parts of the terminal building get open up and accessible for the inhabitants of Longyeabyen offering them space to meet informally and giving them indoor spatial qualities of outdoor. The site for the project is on the waterfront in the north of Longyearbyen. At the moment one of the best piece of land on a plateau ten meters above the sealevel is used as an storage area. Hidden by a row of houses but very close to the city centre the terrain at this place offers a stunning view over the adventdalen before its bluff bank goes down to the sea. This plot provides a good point of departure for a development bringing the city closer to the sea - a so far neglected part in the relationship of Longyearbyen to its surrounding.
- MILJA LINDBE R R G ITE RE ONMENT D CH VIR O EN
design project in the „Advanced Architectural Design“ studio at LTH, Lund summer term 2013 GARCIA - CLE ME VID A NS further information on http://issuu.com/clemenshochreiter/docs/aad-portfolio_clemenshochreiter D AND THE TURE
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SECURITY ZONE
PANORAMA GANGWAY
INDOOR PARK AND RESTAURANT SHOP
PORT AUTHORITY
HUB BOATS
SVALBARD EDUCATION PATH
CRUISE SHIP
150m2
SECURITY ZONE 150m2
WAINTING AREA 1500m2
RESTAURANT & CAFE 500m2
INFO POINT TOURISM 200m2
COMMON PLAZA & INDOOR PARK 2000m2
SHOP SVALBARD MUSEUM & EDUCATION PATH 1500m2
200m2
HARBOUR AUTHORITY 500m2
BUS ROUTE CITY CENTER INDUSTRIAL AND STORAGE AREA EXISTING CRUISESHIP TERMINAL
HUB BUS & TAXI 250m2
PASSANGERS ARRIVAL PASSENGERS DEPARTURE LONGYEARBYEN INHABITANTS
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SEA LEVEL
ELEVATION NORTHEAST
As starting point for developing the waterfront and offering the future customers a new way of approaching Longyearbyen a terminal for cruise ships will be the new gate to Svalbard. A cruise ship terminal has certain requests concerning movement flows of the huge amount of people using it in a very short period when leaving and entering the ships. Further more regulations for security and customs are compareable with aircraft terminals which means that areas for passport check, security check and customs have to considered. Since those 300m long cruise ships with up to 3500 passengers visit Svalbard only from may to august this building must, beside from the for tourism necessary infrastructure, provide other possible uses all year round and for the people living there. While the indoor park, one of the key elements of the building, might be a pretty crowded space when the ships are anchoring at Longyearbyen it becomes a much more quiet area during the rest of the year. When the weather conditions get more uncomfortable it acts as an extended living room for the
SPECIAL REQUIREMENTS
inhbitants of Longyearbyen where they can spend their spare time in this recreational space. Lying in between greenery inside a controlled environment whereas the winter is comming back outside, after this very short period of warmer temperatures. The main waiting area for the passengers changes into a promenade, where people can use the seating steps as a place to observe the extraordinary landscape. The passport, security and customs checks get removed and the torus-like shape offers a running track where the inhabitants can pursue activities they cannot do when the landscape gets covered by snow and ice again. The museum would act as a part of an educational area to inform the visitors and make them more conscious about this extraordinary piece of land they enter. A restaurant on the edge of the bluff and will serve beside the meals a great view over the Advendfjord and the unique landscape.
BIO(TRO)NIC GARDENS
5th design project „Bio(tro)nic Gardens Maribor“ l summer term 2012 in collaboration with Gregor Loewit
The Biotronic Gardens are situated opposite the historic town on the south bank of the Drava, upriver from the old bridge. The topology of the place is defined by a strong, verdant green embankment that lifts the distance to the city owing to the river into the vertical. The Biotronic Gardens were largely taken underground to oppose the already beginning agglomeration on the banks and to preserve green space. The project concentrates on preserving this view and an intensified perception of the city and nature - from the north bank multiple slanted concrete masses are visible, engulfed by trees and bushes. The overgrown free space on the way to the next volume forms a funnel-shaped incision in the terrain. Just like the trees and bushes the visitor is attracted by this opening, one finds itself in a cave - the ‚cathedral‘. Lenticular objects floating in the Drava bundle the light and channel it via polymere optical fibers towards the light dispersing archings on the ceiling of the cathedral, brightly illuminating it.
At the same time, water is lead through capillaries in the threads into the storage tank and distributed for irrigation as needed. The originally not cropped underground garden begins to densify because of visitors and natural seed distribution. Therefore the visitor can become a co-designer of the underground park, consciously and unconsciously at the same time. This artificial casing for nature allows the consumer to intensely experience the local botany and conserves the embankment as a publicly accessible, natural landscape. Structures winding through the walls of the cave into the interior in multiple places generate hallways or balconies. Various path constellations lead to the volumes, which, depending on positioning and solar radiation, offer diverse growing conditions for the plants inside and climate zones. Besides the public park developing in the cave, exotic crop and ornamental plants grow in these green houses.
CORNU
Building Construction M „Observation tower in Stockerau“ l winter term 2011 in collaboration with Harrytasch Ahmadian Neco
Cornu (lat. „wing“) is the town‘s landmark for Stockerau. A lookout which not only impresses because of the sight, Cornu also revitalises the Marienhöhe for everybody, because it’s motto is: „The journey is the reward.“ The initially unimpressive site in a little forest on top of the Marienhöhe, which is almost not apparent for pedestrians, provides the possibilities to revitalise the surrounding for the people and the nature. Cornu is using all of the potential of its conditions - it offers a great sight, an area to stay, to stroll and to relax. As reminiscence to the old tower, which stood until 1998, the site is the same, but is going to be upgraded by its surrounding - also the way up to the observation platform becomes longer. The first part is a ramp from which you can see the activities around the water basin, the seating-accommodations and the haunt. Reaching the tower you are at the low end of the staircase, which is designed to be open to three sides - nothing blocks the sight during the way up. The observation platform is arranged in 27,5m height and is designed as a cantilevered gesture.
CONSTRUCTION To improve the constructional performance, the static element, the „wing“, is folded so vibrations caused by the wind or persons become reduced by the higher stiffness. In areas, where the wing has a strong curvature, we set additional ribs weld onto the wing, which increase the static height by using a minimum amount of material. To simplify the production of the whole construction, all surfaces are ruled surfaces, which means that they all, including the surfaces from the ramp and the staircase, can be cut out of planar surfaces - this helps reducing the costs of the construction. To permit prefabrication, the wing is segmented into three pieces, built in the factory and getting joined at the building site, sitting on a solid concrete basement. The ramp and the staircase are also prefabricated and become assembled in segments. The cantilevered observation platform is hold up by the last segment of the staircase at one side, at the other side it is lowered from the wing by a highly tear-resistant membrane out of Kevlar. To avoid an uncontrolled bending, caused by the induced load of the platform, an arc-like element is formed and the wing becomes opened for a better sight.
TOP VIEW
SITE PLAN
STAHLBLECH FLÜGEL STEIFENBLECH
T-PROFIL BOLZEN/VERSCHRAUBUNG WANGE/PODEST UNTERKONSTRUKTION/BLECH PODEST
ZUG-MEMBRAN KEFLAR
STAHLBLECH FLÜGEL SEGMENT 3 WINKELFÖRMIGE STAHLSPANDE STEIFENBLECH
SCHRAUBBOLZEN bündig mit Klemmplatte STAHLWANGE AUSSICHTSPLATTFORM GEGENELEMENT KLEMMPLATTE
MONTAGEFUGE SCHRAUBBOLZEN WINKELFÖRMIGE STAHLSPANDE STAHLBLECH FLÜGEL SEGMENT 2 STAHLBLECH FLÜGEL STEIFENBLECH WANGE/STIEGE BODENBELAG/EPOXY-BESCHICHTUNG PODEST UNTERKONSTRUKTION/BLECH T-PROFIL BOLZEN/VERSCHRAUBUNG
CROSS SECTION
KEDER
STAHLWANGE AUSSICHTSPLATTFORM
KLEMMPLATTE STAHL
SOUTHERN VIEW
NORTHERN VIEW
INSTALLATIONS Student Competition “Fugu” “Can we use this?”
FUGU - ANGRIFF IST DIE BESTE VERTEIDIGUNG [engl. FUGU - ATTACK IS THE BEST FORM OF DEFENCE] student competition „burning architecture“ l summer term 2010 in collaboration with Alexander Topf and Harrytasch Ahmadian Neco BSc
An old concrete structure, not much noticed by the pedestrians, marks the entrance at the eastern end of the Waltherpark in Innsbruck. Its exposed location, opposite to the historical centre of Innsbruck, got used to attract people into the Waltherpark during the festival of “ the architecture days”. The Genius Loci should be reanimated and the potential of the existing structure reactivated. FUGU nests itself into the existing concrete ribs without damaging it - the original form is still noticeable and a new form gets injected. FUGU is the built defence reaction of a site against decline and inconsiderable. FUGU is intended to illustrate the transition between street and park – so the visitors should be forced to focus on the activities in the park. Due to the wind, every single bar starts to swing and the people get the illusion of a living character. During the night, the installation is an additional source of light and the pavilion becomes focussed and shows the convertibility of existing structures.
“CAN WE USE THIS?”
2-weeks assignment in the „Architecture as Performance“ studio at LTH, Lund winter term 2012 in collaboration with Cornelia Steiner, Jay Kim and Kamilla Stojanow
In this assignment we were working with an nocturnal installation. By using certain methods; dérive, emotional mapping and spatial practise in form of an installation, we examined, explored, expressed and executed the problems and possibilities of a certain site, using both analysis and intuition. The process of the project, the performance and the main arguments and reflections were documented as a film. Our investigartions, indicating that this left-over area was unorganized, unused and neglected, were confirmed by the residents and passing pedestrians. People were curious about our installation, and were pleased this weak point in their neighbourhood was used in an intriguing way. For the duration of our installation, this area got a new, abstract usage. People were gathering to gain a new perception of their surroundings. While the neighbourhood had their own facebook page for this event and they are sharing pictures of it on the internet, we suggest the effect of our installation has lasted longer than just the 15 minutes of presentation.