IKA REVIEW SUMMER 2020

INSTITUT FÜR KUNST UND ARCHITEKTUR

ADP ANALOGUE DIGITAL PRODUCTION CMT CONSTRUCTION MATERIAL TECHNOLOGY

www.akbild.ac.at/ika

ESC ECOLOGY SUSTAINABILITY CULTURAL HERITAGE

INSTITUTE REVIEW FOR ART SUMMER AND 2020 ARCHITECTURE

ADP Wolfgang Tschapeller Damjan Minovski Charlotte Beaudon-Römer Lucas Fischötter Maximilian Gallo Jessie Gao Yingqi Christopher Gruber Armin Mayerhofer Jonathan Moser Dana Radzhibaeva Roxanne Seckauer Vincent Wörndl Reviewers and guests Hugo Dworzak Niels Jonkhans Jochen Käferhaus Hannes Mayer Daniela Mitterberger Niklavs Paegle Eva Sommeregger

Heat, Ice Cores, Manganese Nodules is a multi-part project consisting of three basic research projects, which are Earth, Global Climate History and Vienna, as well as ten individual subprojects, which are Wreck for Two by Charlotte Beaudon Römer, Livingscape by Lucas Fischötter, Halo by Maximilian Gallo, Algae by Jessie Yingqi Gao, 780nm Thermal Shadow

by Christopher Gruber, Chemosynthesis Cave by Armin Mayerhofer, Wir bauen ein Haus, dann fällt der Strom aus… by Jonathan Moser, Cloud by Dana Radzhibaeva, Writing 2100 by Roxanne Seckauer, and Six Degrees of Freedom by Vincent Wörndl.

Furthermore, the project consists of an analysis of an area, the oil port Lobau, and of the detailed exploration of rituals and routines in space and time, such as washing your hands, sleeping, eating and storing, as well as of the observation that the Earth has a diameter of some 84,314 kilometres, that it has existed for around 4.35 billion years, and that it could potentially continue to exist for 1.5 to 12 billion years more.

As if it were a game to put HEAT in relation to ICE CORES, and to force the HEAT that melts everything into entropy with the cooling cold of the ICE. If it is a game, then it is not mine, but that of history. Racing against time, researchers began in the last century first to drive holes into the ice, then to dig them and gradually to drill them. 10 metres at first, then 60 metres, and at the turn of the last century even boreholes with a depth of more than 3,600 metres. To dig for what?

TIME and the FUTURE is what they were digging for! Because depth at the same time also means years. In the case of the EPICA1 borehole that went 3,200 metres deep, it means 900,000 years – that cover the last eight Ice Age cycles, and with them the knowledge that a sudden increase in greenhouse gases means a sudden rise in temperatures, meaning in heat, and that the average temperature of the Earth could rise by about 4.5 degrees Celsius by the year 2100.2 That may not

seem like a lot, but it is, at least in geological terms, since such a temperature was last detected in the early Neogene, i.e. some 10 to 20 million years ago. This leap is so immense that the few thousand years of the history of building, long considered an eternity, could suddenly mutate into a ridiculously short, but potentially massively fatal3 phenomenon up for debate. Was the culture of building a mistake? Should we close architectural history at this point?

Should we open a new one? Should our own skin be enough? Moreover, is it enough for our own skin to be enough?

If it becomes a controllable breeding surface: “fig. 3.1 the body as a breeding surface of bacteria”; if it evaporates in a controlled way subject to our will: “fig. 4 main water evaporation areas – sweating: f. feet and toes; g. stomach and genitals; h. armpit l+r; i. head; j. hand l+r”; if it cultivates external organs, such as: “fig. 5 pocket water collection reservoir: k. connecting pipe+fabric system; l. water reservoir including bacteria cleaning system”; or if it is protected by semi-biological add-ons: “fig. 6 pocket heating element thermal circuit (warming or cooling): m. upper extremities; n. knee joints; o. foot including toes”; and is it enough if it protects subjective thoughts by means of: “fig. 7.1 counter surveillance top layer – thermal protection camouflaging the surface/behaviour/stealth wear”? 4 Is all that enough? And what if we lose this skin?

“If we lose it, we are not able to live!” 5 Can ice cores and manganese tell us something about the space around us, then? Yes, they can! As natural archives, they are data carriers in addition to their material appearance. They seem to know everything, and seem to be a sort of radar, a mirror of the future. Via transfer functions, knowledge can be extracted from them; knowledge about everything, apparently, if only the transfer function is intelligent enough. Enormous space-time continuums can be extrapolated. The radius of action and possibility, but also the space of responsibility is radically expanded, “macro-comprehensive/microincisive”, as Buckminster Fuller put it.

What, then, do the contributors to the project Heat, Ice Cores, Manganese Nodules call “macro-comprehensive”?

They begin with a definition of the Earth: “However, what do we call Earth? Is it the planet bounded by its atmospheric layers, or is it all the space that humans occupy by various instruments, calculations and devices? If that is the case, then our Earth has many further boundaries, which are defined by the satellites orbiting in space around our planet. In total, humans have sent up 4,987 satellites, out of which 1,957 are currently active. All of them have a purpose – 85 are for space science and observation, 137 are for navigation, 223 for technology development, 735 are for Earth science and observation, and the remaining 777 are for communication services, and some of them are not listed due to special military operations. Additionally, the unused “dead” satellites are also orbiting around and creating a graveyard; in this case, we enter Earth through a network of dead and alive machines. About half of all satellites are in low Earth orbit, just a few hundred kilometres above the surface; a twentieth is in medium Earth orbit, around 20,000 km up, and the rest are in geostationary orbit, at an altitude

of 35,786 km. Considering the depth of the planet and the geostationary altitude, Earth, in this case, has a diameter of 84,314 km.” 6 Then what do they call “macro-comprehensive” in terms of time? What can we expect? How are we doing for time?

“The beginning of Earth is defined by the formation of the Earth’s core with an error range of 50 million years. A time scale has to place year zero at the birth of Earth, which takes away the anthropocentric understanding, to measure anything and everything from the point in time we are at now […] that is, at around 4.543 billion years from the birth of Earth. The predicted death of Earth varies from 1.5 billion years to around 12 billion years from now, depending on unforeseeable developments like eruptions of volcanoes, collisions with massive asteroids, gradual convergence towards the sun, global warming, and so on. We have taken the most pessimistic approach and let Earth die in 1.5 billion years, but still leave open the opportunities […]. Then we have set up time and temperature on an axis and pieced together a multitude of graphs of temperature throughout the entire lifespan of Earth […]. The different natures of data sets pose a challenge: firstly, the data comes in different resolutions; secondly, most of the data does not refer to absolute temperatures but to deviations from the global baseline temperature; thirdly, data taken from paleoclimatological sources like fossils, ice cores or rocks do not come in temperature units but in concentrations of molecules and elements such as CO2. […] We have […] tried the best […] to translate them into one graph with the correct size in time and levels in temperature to a general overview of Earth’s climate history. And if we have applied the data correctly, in 2100 Vienna could reach a temperature mean value of approx. 28°C7 during summer while at the moment this value lies at around 24°C.” 8 And what do they think could be “micro-incisive”?

“Wien Energie currently supplies 380,000 households with district heating. That is one third of all Viennese households. District heating therefore plays a central role in the energy system and is projected to become even more important. In the future, most of the district heating energy comes from waste incineration and cogeneration plants and systems. The development of renewable energy sources, such as biomass, green gas, geothermal, solar thermal, heat pumps, and waste heat from production plants is essential for the expansion of environmentally friendly district heating.

The decarbonization potential for district heating is estimated at 100%, if fossil fuels were no longer used as sources of energy. This goal is set to be achieved

by Vienna by 2050.” 9 What else could “micro-incisive” mean?

“I looked around as usual and no one seems like they are awake yet, so I held on to the surface of the eating area and got myself up from the cleaning gel. I looked through the jelly down to my black sleeping cabin. As soon as I left,

HTC HISTORY THEORY CRITICISM GLC GEOGRAPHY LANDSCAPES CITIES

to save space, of course it shrank into a small piece, like a raisin. “Raisin”, the word popped up in my head, a form of dried grape with a lot of concentrated sugar, seems to be one of the nutrients we used to get from nature through eating, with lots of processing. Eating was very different back then […]. I walked down through my hallway to the position of eating. Like any day before, I stand there without much going through my brain, letting the pipes inside me naturally extend towards the gaps in the walls.

Soon, fellow Chlorella will pass on to me some nutrition and oxygen. I am waiting for the substances to pass through my body and be transferred to something useful for Chlorella in return […]. I can feel that I’m slightly moving around, because the whole space is moving the space. “The flood is still there.” I remember the storm yesterday, now we are higher up in the air, lifted by the water.

This happens quite often, and the water was simply refilled in every space. With the full sun and the remaining flood, it should be a happy day […]. 10 Wolfgang Tschapeller Design Studio BArch2, MArch

→ fig. 5 / p. 5 → fig. 14 / p. 8 → fig. 53-54 / p. 15 → fig. 58 / p. 17 1 European Project for Ice Coring in Antarctica 2 The year 2100, when according to RCP 8.5 an estimated increase of approx. 4.5°C average temperature measured against the average temperature of 1960-1990 is one of the likely scenarios (RCP 8.2).

3 IPCC WG1 Chapter 9 Buildings: “In 2010, the building sector accounted for […] 32% of global final energy consumption and 19% of energy-related CO2 emissions […]. This energy use and related emissions may double or potentially even triple by mid-century […].” https://www.ipcc.ch/site/assets/ uploads/2018/02/ipcc_wg3_ar5_chapter9.pdf [28/09/2020] 4 All quotes from: The Construction of Figures, in: 780nm Thermal shadows, Reports from another world, by Christopher Gruber (MArch4), p. 34 5 Last words, in: Writing 2100, by Roxanne Seckauer (BArch2) 6 Excerpt from: However, what do we call Earth then? by Christopher Gruber (MArch4), Jonathan Moser (MArch4), Dana Radzhibaeva (BArch2) 7 According to the ICPP AR5 RCP 8.5, which is the most pessimistic prediction.

8 Excerpt from: Global Climate History, a summary,

by Charlotte Beaudon-Römer (BArch2), Lukas Fischötter (BArch2), Maximilian Gallo (BArch2), Jessie Gao Yingqi (visiting) 9 Excerpt from: Vienna, Hitze today and tomorrow,

by Armin Mayerhofer (BArch2), Roxane Seckauer (BArch2), Vincent Xaver Wörndl (MArch4), quoting from: positionen.wienenergie.at; fernwärme.at; wienenergie.at 10 Excerpt from: Algae-Human Architecture, Narrative, by Jessie Gao Yingqi (visiting)

ADP Aristide Antonas Werner Skvara Olivia Ahn Pia Maria Bauer Christina Ehrmann Alexander Groiss Paula Hattenkerl Felix Knoll Diana Mudrak Maximilian Pertl

Anna-Elina Pieber Paul Schurich Ruben Stadler Sophia Stemshorn Marie Teufel Reviewers and guests Elina Axioti Gabu Heindl Nikolaus Hirsch Armin Linke Mona Mahall Heike Schuppelius

In this studio, an approach to the technical possibilities for cooling was put forward: the role of water, evaporation, shadow, wind, and the conversion of heat to energy were all investigated as options in several Viennese contexts. But then it became more important to refer to a changing social sphere. The characteristics of the social transformations to which more attention was channelled were recorded in a two-part process: it concerned the observation of the global transformation in regard to a generic social sphere, and a parallel investigation of a different local change of sociality in Vienna. In all these aspects, a remarkable effort was made to learn about different histories and global cultures of cooling.

The technical investigation, far from being merely neutral research of contemporary techniques, delved into the cultures of cooling, as already practiced in Southern Europe, Africa and Asia. The studio first explored ideas of updating the city with existing methods of cooling, which could be transferred and influence the sociality of Vienna, together with some new population groups that inhabit the city and are more familiar with warm environments. We could call this city update a “Mediterranisation of Vienna”, a concept that was meant to work in two directions: First, priority should be given to simple and already known technologies originating from the Southern subaltern cultures, with existing solutions taking precedence over sophisticated, complicated and energy-consuming Northern solutions when it comes to issues of heat. Revisiting some aspects of the social sphere following the logic of various cooling principles, wherever they came from, was an important analytical part of the studio.

On a second level, the studio explored ways in which this depressing investigation on climate change could be transformed into an experience that, in certain cases such as that of Vienna, could be combined with the social joys of good weather and a different social life to which it can give priority. The studio explored these questions in many different directions, concluding some of the appropriations of this exchange with a South that was already present in Vienna. Some examples of these strategies amounted to the use of imported ready-made technologies, to the idiosyncratic use of recorded structures of city life in the heat, and to understanding social heat as a further field of action, which was also interestingly juxtaposed with cooling as such.

The global social sphere is able to capture city life through a number of protocols that could slowly become part of the urban infrastructure, considered as a set of freer social rules for post-network Vienna. Since the Web 2.0, the Internet has mainly functioned as a stabiliser of

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the financial sphere of society. The studio extended its investigation to the possibilities of inscribing various typologies of protocols that could function in a social logic in the streets and courtyards of Vienna. A local transformation of some concepts of sociality would update the regulations and constructions of Viennese streets and the important network of city courtyards, and imagine a different logic of their possible functions when it is warm.

to find new ways to inhabit it, to gain a real appreciation for other elements of the organic world, in particular the soil itself, which is our most powerful tool.

The investigation of heat not only addressed the issue of the most challenging high temperatures, but also life when the weather is mild and welcoming. Extending sociality to the night-time during periods of heat, which is not impossible for social life, was also a topic. Some new concepts for changes in legislation were examined in relation to the experience in the streets and courtyards of Vienna.

Aristide Antonas Design Studio BArch2, MArch

→ fig. 6 / p. 5 → fig. 35 / p. 12 → fig. 57 / p. 16 → fig. 60-61 / p. 18

We began with research into Persian gardens where, in the most inhospitable of terrains (arid and treeless climates where water and enclosures could only be extracted from under and in the soil itself), places were created on a climatic scale that transformed an utterly stressed, critical zone into what has often been described as an earthly paradise. Our search for a comparably inhospitable terrain in Vienna was rewarded with an incredibly sad, desolate, loud remnant of unsealed soil in the 9th district of Vienna. Embedded in traffic noise and emissions, it is surrounded by every imaginable configuration of the built world and its infrastructure. We arranged a rental contract with the owners, Austrian Railways (ÖBB), and prepared to transform it into a garden using the Terra Preta6 we made in the previous semester. Working with trees, plants, insects, poultry, grubs, root systems, water retention, and a few wellplaced walls, we prepared to make a garden that would not only be sustainable (inadequate because sustainability only refrains from making things worse) but regenerative (to improve the capacity of the earth to sustain itself and us).

And then the whole of Europe went into COVID-19 lockdown and our dark, pungent, humid super soil languished abandoned, dried out in our deserted studio spaces, which are currently housed in the air-conditioned behemoth of the former University of Economics and Business in Vienna.

REKINDLING PARADISE CMT ESC Michelle Howard Antje Lehn Antonia Autischer Daniel Bracher Alexander Czernin Jakob Grabher Shrey Gupta Alice Hoffmann Ferdinand Klopfer Lisa Prossegger Normunds Püne Salome Schramm Sebastian Seib Johanna Syré Matias Tapia Fröhlich Johannes Wiener Reviewers and guests Maria Auböck Angelika Fitz Thilo Folkerts Karin Raith Francesca Guarascio Giulia Toscani Johannes Tintner Marie Louise Oschatz Father Martin Rotheneder

Burning Down the House II 1 addresses the state of crisis that architects currently find themselves in: should we use our skills to seal the earth with an impenetrable crust of constructions and effectively suffocate it, or could we punch through preconceived ideas about what we do, act and eventually regenerate our profession and our Earth? Architecture is political and we ignore that at our peril. In the words of Chantal Mouffe, “the political cannot be restricted to a certain type of institution or envisaged as constituting a specific sphere or level of society. It must be conceived as a dimension that is inherent to every human society and that determines our very ontological condition.”2 According to a study by The Nature Conservancy 3, just 5% of the Earth’s landmass outside of Antarctica is untouched by human activity. Effectively, 95% of the world’s land area has been modified by humans. By far the greatest force for the destruction of wilderness is the building industry. Images of the ongoing fragmentation of the Amazon4 rainforest provide a good example of how roads not only seal the surface of the earth, but also facilitate further exploitation. And the building industry is shockingly wasteful; it employs 40 billion tonnes of new materials per year, of which only 9 billion tonnes are built – the rest is waste.

In Down to Earth5 Bruno Latour reminds us that society is not centred solely on humanity; it has to become EARTHLY again if it wishes to land without crashing.

We took this to heart and realised that we needed to move toward the soil in order

Not to be thwarted, the students’ projects for this terrain went ahead while they each tended to a plant at home, which they chose according to pharmaceutical and historical criteria. Because of lockdown and our unprecedented reduction in mobility, the students were awarded the rare opportunity of connectedness with their plant subjects. Slowly we ceased to regard the earth as just a line on which our buildings sit and recognised it as a living organism of depth and complexity both above- and below-ground.

In the last semester, we had often spoken of the fact that when we build in a particular place, we need to acknowledge that it is not a blank slate or “tabula rasa”, but that our work is an intervention in an already existing ecosystem. Inspired by the origins of the term “tabula rasa” in the Roman wax tablets that could be renewed repeatedly by melting the wax in the tablet, we made wax models and experiments. The uncommon ability of wax to portray living tissue gave a particular quality to this series of models, many of which encased organic life and soil. They can be enjoyed, among site observations and quarantine assemblages, on the studio blog7.

Surreptitiously, and more and more often, on their own or in pairs, the students visited the site that, until the lockdown, had been a busy parking lot for employees of the Austrian Railways. A planned excursion to Al-Andalus (a Muslim caliphate in Southern Spain from 711 to 1492 through which the secrets of the Persian garden were transplanted and flourished, creating masterworks such as the Alhambra) was replaced by the observation of pioneer plants thriving, not because they were cared for, as in a garden, but because they were allowed to exist. This unique opportunity prompted us to perform a permacultural form of site analysis, where our observations, analyses and interactions were recorded in hybrid drawings that incorporated soil layers, plant species, human activities, sounds, weather conditions, hidden and visible water resources, using collage, line drawings and perspectives.

Self-regulation of the critical zone gained in importance as we sought to find a balance between care and stewardship. We gained experience in extracting feedback from soil, water, plants and other species, deciding when interaction was productive or when things were best let be. The old paradigms of use and use value that fuel capitalist societies were discussed, tested, and questioned extensively. This resulted in individual hypotheses for selfsustaining and resilient paradise gardens that would – in the year 2050, when Vienna is projected to have the climate

of today’s Skopje8 – not only survive, but thrive and regenerate themselves and their surroundings.

As the once inhospitable site blossomed without a gardener because it was freed from the burden of “use”, so too did the students’ projects which, though very different from what we had planned, gained in depth and appreciation of the complexity and importance of a small piece of unsealed soil.

Michelle Howard, Antje Lehn

Design Studio BArch4, MArch

→ fig. 7 / p. 5 → fig. 8-10 / p. 6 → fig. 40-42 / p. 13 → fig. 59 / p. 18 1 For Burning Down the House I see: IKA Review Winter 2019 2 Chantal Mouffe, Introduction to The Return of the Political, p. 2-3, Verso Books, London 1993 3 https://www.axios.com/newsletters/axiosscience-c0b81eb6-f82b-4507-82ef-aad68a42bcf1. html [16/09/2020] 4 https://www.nature.com/articles/s41598-01819358-2 [16/09/2020] 5 Bruno Latour, Down to Earth. Politics in the New Climate Regime, Polity Press, Cambridge 2018, p. 15-16 6 Terra Preta, a super soil made by construction and combustion: In a conscious effort of calibration between conjecture and activism, we embarked upon the step-by-step construction of soil using traceable and low-impact production processes. Together with a collier family, we selectively felled trees, cut, split and stacked wood, covered it with evergreen branches, charcoal dust and earth, carried flames up to activate the process of pyrolysis and transform wood into charcoal. We created a new home for worms and microorganisms in a composter, which we maintained and nurtured in the studio. Together, charcoal and compost made the enriched soil that is the primordial tool for this semester’s undertaking.

7 rekindling-paradise.at (user/password: ika/paradise) 8 https://orf.at/stories/3129860/ [16.09.2020]

FAUX TERRAIN VIENNA CMT ESC Hannes Stiefel Luciano Parodi Vincent Behrens Florian Berrar Tejas Chauhan David Degasper Alexander Klapsch Ji Yun Lee Rachel Tsz Man Lee Tsz Shing Liu Moritz Schafschetzy Helena Schenavsky Julia Wiesiollek Catherine Zesch Reviewers and guests Laura Allen Maria Auböck Christina Ehrmann Lydia Kallipoliti Golmar-Mina Kempinger-Khatibi David Lieberman Stepan Nesterenko Thomas Proksch Thomas Romm Franz Sam Mark Smout Brian Tabolt René Ziegler

The globally effective New Climatic Regime1 has come with problematic legacies that constitute precarious environmental situations – ubiquitously. One of them is the increasing overheating of our cities even in the temperate zones. The critical conditions of their ecological systems call for new types of spatial and environmental structures – forms of architectural interventions that allow us to adjust cities to shifting and persistently changing climates. These structures will be characterized by the needs and qualities of urbanity on the one hand, and those of “nature” and wilderness on the other.

RAUMPARKS serve as populated climatic devices, consequently orienting solar radiation, wind, precipitation and evaporation. They are constructions of various sizes, operating on diverse scales, offering multi-dimensional inhabited parks, gardens and (“wild”) forests in and above our cities. The conception of such structures will unavoidably expose and nego­ tiate dichotomies between the consequences of the need for more liveable spaces for a rapidly growing population (migration: another consequence of global

warming) and the importance of accepting human beings as an integral part of the larger ecosphere. RAUMPARKS with their pervasive flora and fauna will not only cool down the local and regional climatic conditions (micro-climates/mesoclimates); they also have the potential to thoroughly challenge the ecological function of architecture in densifying urban areas.

RAUMPARK – Faux Terrain Vienna2 is a proposal for an ecological megastructure. It provides multitudes of hybrid programmes – habitats for Raumparkians3 of a wide range of species. The programme includes dwellings and spaces for recreation, production and trade, agricultural areas, “urban” infrastructures etc. The structure connects the UNESCO Biosphere Park Wienerwald at Vienna’s western edge with the forests of Prater and the adjacent Nationalpark DonauAuen in the east of the city. It bridges Vienna over 12 kilometres, restoring a missing link of the natural habitat in Central Europe with a new, resilient urban typology of inhabited forestation that mitigates environmental harm on the city.

It thus establishes an urban counterpart to Austria’s most sustainable structure: the Donauinsel (Danube Island), 21 kilometres long, that is part of Vienna's highly sophisticated flood protection system.

The concept of RAUMPARK – Faux Terrain Vienna is of an intrinsically diverse, inclusive and collective nature. Drastically changing climates inevitably require radical changes of lifestyles, new concepts for sharing environments, and unprecedented forms of democratic, diverse communities. The proposed new structure’s relation to the existing city is spatially, atmospherically, organizationally and politically reciprocal and supportive, and together, they thus form a new entity: cultural heritage is understood as a transformative practice rather than a means of conservation. The collaboratively developed RAUMPARK Arrangements, a sort of dynamic building code for a megastructure growing semi-informally, provide for recycling economies and for an ongoing adaption of Vienna’s built/ growing environments in times of unstable climates and societies – towards ever changing Desirable Futures.

7 EXCERPTS FROM RAUMPARK ARRANGEMENTS: ON RAUMPARK’S CLIMATIC FUNCTION RAUMPARK bridges the city of Vienna from Wienerwald to Lobau, establishing a continuous network of green spaces with a supraregional impact; it affects microand meso-climates as well as flora and fauna far beyond its actual position and physical presence. HITZE becomes a resource, since RAUMPARK is conceived as a large-scale climatic device. HITZE requires novel strategies. Its inherent energy allows creation, communication and mobility. Architecture transforms heat into energy. Every element of the construction shall consider the needs of Raumparkians, of flora and fauna. Raumparkian animals and humans alike build and continuously, reciprocally develop a new ecological balance and diversity for future Vienna.

RAUMPARK has a maximum of 5% of sealed surfaces and a minimum of 5% of open water surfaces. RAUMPARK is built from 70% recycled or organic material. Urban mining, recycling of cruise ships, cars and other unused structures, chitosan and mycelium are part of this.

ON RAUMPARKIANS Raumparkians are terrestrials that act within the RAUMPARK zones. Their community consists of all living beings in the area, residents and guests.

ON COMMUNITY TASKS Communal services are delivered by every adult inhabitant of the new structure. There are working areas for physical and mental health, the wellbeing of living beings and – in order to guarantee the equilibrium of the ecosystems – for maintenance and repair, as well as for the programming of the robots, machines and infrastructures needed for the maintenance of individual, public and vegetative

spaces, and for teaching RAUMPARK’s ideas in workshops in order to create awareness and responsibility. The human residents among the Raumparkians contribute 20 hours per week to these communal endeavours. Everybody can participate in these workshops; the residents of the city of Vienna are explicitly welcome. The digital world represents the bridge between Raumparkians and machines.

ON INHABITATION AND DWELLING RAUMPARK provides spaces for a life more closely interwoven with nature. Most of this life takes place on the common grounds. Leisure and working activities like cooking, doing sports or making music are collectively experienced in shared spaces. Besides the shared grounds, Raumparkians can retreat individually to more intimate and private spaces, rented temporarily. Zones for dwelling are defined along RAUMPARK, and are interwoven with the park’s fabric.

ON ZONES OF INTERACTION AND CONTEMPLATION RAUMPARK is a multidimensional hybrid environment that creates various conditions for all the senses of the Raumparkians and guests. Among many other types of environments, RAUMPARK creates and offers individual temporal zones that can be rented for periods from one day to two years. These are quiet spaces – places of retreat. These areas partially settle in the existing city – on very hot days, for example, they can be found in the basements of Gründerzeit houses. These interiors have a longer life cycle than just the time rented. Common grounds provide a network of infrastructure and supply of water, electricity and digital resources. Here, Raumparkians find a place to construct short- or long-term temporary projects. A park becomes a workplace – a bar opens by the wayside. Space and supplies for basic needs like food preparation or hygiene pop up at frequent intervals, every 200 meters on average. Untouched areas form open spaces left to wilderness and remain untouched by humans. These areas will become Alpenwälder or Feuchtwaldgebiete – the natural forest typology in this region. Climatic sub-devices such as wind towers, vegetation, shade providers, water collectors or digging in the ground cool down RAUMPARK and the city’s surroundings.

ON THE RELATION TO THE EXISTING CITY RAUMPARK is an extension of the city and provides environments, spaces, programmes and climatic situations that allow the existing city to prosper in times of HITZE as well. RAUMPARK has a big impact on the city’s fabric. RAUMPARK and the existing city of Vienna form a new entity free of contest and competition, based on the principles of diversity, exchange and sharing. RAUMPARK is accessible to the living beings in Vienna at all times, except for the individual areas. The common grounds are accessible to the entire public. RAUMPARK functions as a catalyst for a more sustainable, communal and liveable Vienna: a new mélange of urban and forest conditions.

With its democratic design comes a well-developed public transport system consisting of drones, gondolas, cable cars and elevators, as well as pathways for slow traffic (pedestrians and cyclists), that allows accessibility between built Vienna – above- and below-ground – and RAUMPARK. RAUMPARK is not self-sufficient. Products that are not produced there are supplied by the existing city and its surroundings. RAUMPARK and Raumparkians live in symbiosis with the existing city.

NUTRITION Agriculture and crops are embedded in the park’s landscape and account for 20% of its surface. The beds created for this purpose are controlled by sensors embedded in the soil and then maintained by the RAUMPARK App. Every visitor can thus see which actions are required to support flora and fauna. Activities such as watering or weeding can also be carried out by farming robots. The harvest is available to everyone. Food can be

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prepared directly in shared kitchens, as they are placed in the immediate surroundings at regular intervals.

However, functional reasons are not the only aspects that are considered to be the main factors influencing the production of clothes; there is also people’s desire to decorate their bodies and, even more importantly, psychological factors such as the need for privacy and a sense of shame. Clothes cover our bodies to shield us from looks and protect our intimacy. They are also an expression of socialisation and politics. In public, they reveal who we are and provide information about our social status and our professional affiliation, which in our case is mainly represented by uniform clothing.

Clothing is a kind of language by which we communicate our individuality, our longing for otherness or, on the contrary, our need for belonging and community.

Hannes Stiefel, Luciano Parodi and the first generation of Raumparkians

fig. 15 / p. 8 fig. 55–56 / p. 16 Design Studio BArch4, MArch 1 Bruno Latour, Down to Earth: Politics in the New Climatic Regime, Polity Press, Cambridge 2018 2 Human population ca. 337,500 / base ca.

6,000,000 m² / 500 x 12,000 m / max. height 200 m / gross area ca. 20,000,000 m² / individual space 9% = ca. 1,800,000 m² / 25% temporary structures / 29% untouched wilderness = ca. 5,800,000 m² / ca.

290,000 trees, vegetation on the common grounds.

3 Raumparkians are terrestrials (humans and other beings) that settle within RAUMPARK.

CLOTHING AS A LAYER BETWEEN SKIN AND BUILDING HTC GLC Alessandra Cianchetta Daniela Herold Veronika Behawetz Philipp Behawy Jakob Czinger Katharina Eder Patricia Griffiths Oana Ionescu Maya Karska Lovisa Loren Adriana Nunez Zoe Pianaro Emilia Piatkowska Larissa Raith Pauls Rietums Fabian Schwarz Magdalena Stainer Ilinca Urziceanu Line Duus Vedsoe Reviewers and guests: Victoria Bartlett Christina Condak Marina Faust Ludo Groen Christina Jauernik Ebru Kurbak Antonia Leslie Elisabeth Niedermayer Rüdiger Suppin

What kinds of clothing will we wear in the future, when the climatic conditions of our environment become more severe and temperatures rise continuously? How can we protect ourselves from the thermal influences that will affect the physique of the human body?

The studio explored clothing as a mediator between body, space and climate.

Garments were designed and constructed to serve as shelters for individuals as well as for groups. Prototypes and fragments in various scales as well as 1:1 objects were produced. Sewing, stitching, tailoring, knitting, bonding, punching, blanking and cutting were the crafting skills to be learned; folding, layering, wrapping, pinning and darting were the various processing techniques of manufacture.

Wearing and performing the designs in the context of interior or urban exterior space, or their reference to the surrounding landscape, posed the challenge of examining the fundamental purpose and meaning of buildings, and the relation between clothing and architecture. The questions raised by the studio were: What if our clothes change – do the spaces in which we live have to change as well? In what way do buildings have to be adapted to respond to new formats of clothing?

Cultural theorists have defined and reflected on a broad spectrum of basic meanings, functions and origins of human clothing. First of all, it is a requirement for protection. Clothes keep us warm and shelter us from climatic and environmental conditions. They protect our skin from the cold and from solar radiation, and protect our internal organs from diseases and bacteria. The need to transport objects is assumed to be another initial point of the development of clothing. In order to carry hunted prey or to transport collected goods, the body was equipped with additional features that allowed us to move freely and to cover longer distances.

Pockets, bags and belts were attached to the body, adjusted and adapted to its shape.

Protection against environmental influences, decoration, protection of privacy and visual appearance are not only requirements or characteristics of our second skin – clothing; they also relate to the so-called third skin that surrounds us and offers us shelter – to architecture.

In his essay “The Principle of Cladding”, published in the volume Why a man should be well-dressed, Adolf Loos described the relation between buildings and clothing as follows: “In the beginning was cladding. Man sought shelter from inclement weather and protection and warmth while he slept. He sought to cover himself. The covering is the oldest architectural detail.

Originally it was made out of animal skins or textile products. This meaning of the word is still known today in the Germanic languages. Then the covering had to be put up somewhere if it was to afford enough shelter to a family! Thus the walls were added, which at the same time provided protection on the sides.

In this way the idea of architecture developed in the minds of mankind and individual men.”

With this text, and especially with its title, Adolf Loos was responding to the “principle of cladding” that Gottfried Semper had defined earlier in the mid-19th century. Semper attempted to identify the beginnings of architecture and found an analogy in the theory of clothing. For him, it was not the construction that was fundamental to the design and development of architecture; it was the envelope that he concentrated on. Especially its decorative aspect, not its protective function, played a central role in his ideas about the “clothing” of spaces. Semper rejected any construction-related design in his work. As he explained, “the cladding of the walls, then, was the original thing, essential due to its spatial, architectural significance; the wall as such was only of secondary importance.”

When we look at architectural and building practice today, the relation between clothing and space plays an important role in defining thermal comfort and identifying the conditions in which we feel comfortable and productive. Thermal comfort, as described in building physics, depends on many factors of influence. It means that a healthy climate is given when the heat balance of the human body is well adjusted and when heat emission is equal to heat generation. The body’s own heat production depends on workload and activity level, with factors like air temperature, surface temperature, air circulation, humidity and clothing being decisive for heat emission. From this, we can conclude that we are conditioned to a certain degree both by the materials and textures of the clothes we wear, and by the materials and textures of the spaces we are in.

The fabrics of architectural elements and those of human clothing are related.

Originally, clothing was defined as textiles woven from threads of natural materials.

Cotton, wool, linen, felt, silk, to name but a few, have different insulation values and are therefore suitable either as cooling or as warming textiles. Tight, transparent, matt, shiny, patterned, coloured, monochrome, rough, soft, stiff, heavy, light or even hairy are their surface qualities. The studio explored which materials could adapt to and resist heat, and which materials garments might be made of in the future.

The studio project Heterogene takes a stand against our dependency on the contemporary clothing industry. It is about testing, experimenting and developing alternative materials that form the basis

for the creation of an entire collection.

The artificial skins, made from a symbiotic culture of yeast and bacteria, correspond to two seasons: the artificial leather stands for the summer, because it has the properties of absorbing and removing perspiration from the body. The winter skin is lined with wool, which helps to maintain body heat and prevent heat loss. The skins made of bioplastics are intended to be worn in spring and autumn.

One skin introduces the element of coal.

It has the property of acting as a barrier against pollution due to activated carbon preventing the passage of smoke or fluids.

Another skin is reinforced with tapioca to act as a protective shield for windy days.

Made of a gelatine mixture, the outfit is intended for rainy days, as it is waterproof. → fig. 1–4 / p. 5 The project I am wearing Hedvig’s wool deals with clothing and fabrics made from natural resources. It is about wool as a material that has proven to be the cooling material par excellence. The project reflects on the value of the objects created and their identity, as well as on sustainability. It is a test to trace our individual usage of nature and its impact on the climate. The project’s outcome is a collage of about 25 to 30 woven, felted and knitted pieces, which can be worn in different combinations depending on temperature conditions. → fig. 43–52 / p. 14 The aim of the project HabitatClad is to redefine the body as a futuristic construct. Facing the realities of climate change caused by anthropogenic pollutants, the project imagines an exaggerated environmental context and exposes the human body to a highly contaminated environment. The focus is on dismantling the anatomical construct and on the functioning of the body’s systems, which are of great importance for protection against certain external hazards. Using thermal imaging technology, the body is analysed in terms of its thermoregulation and heat exchange in order to understand the mechanisms of sweating and of heat loss.

The results of these experiments were translated into the patterns and layers of a series of inhabitable membranes. → fig. 13 / p. 7 → fig. 16–19 / p. 9 Daniela Herold Design Studio BArch6, MArch

HTC GLC Angelika Schnell Lisa Schmidt-Colinet Annika Böcher Chiara Desbordes Lilli Gaigal Yoko Halbwidl Alma Kelderer Dila Kirmizitoprak Martin Kohlberger Diana Konovalova Valeriia Malish Anna Orbanic Mert Özcan Lisa Penz Hannah Rade Mona Steinmetzer Lukas Strigl Martin Sturz Reviewers and guests: Regina Bittner Christina Condak Simonetta Ferfoglia Antje Lehn Stephan Pinkau Andreas Spiegl Imke Woelk Students from the MSc programme COOP Design Research at Stiftung Bauhaus Dessau/ Hochschule Anhalt Dessau

In March 2020, students of the GLC/ HTC studio Heat Takes Time began to explore and to draw the underground vaults, cellars and corridors of Vienna’s first district. The idea was to scan this district, which has a high density of people and stony walls, and is one of the hottest districts during the summer, for its potential for an alternative writing of history.

Keeping in mind the theories of Claude Lévi-Strauss about “cold” and “hot” societies, which challenged the Western model of progress, the students devised highly varied forms of depicting and conceiving the subterranean world of Vienna.

By descending into the darkness of cellars that in some cases extended down as deep as five levels, access to a conventional plan view suggesting spatial and temporal coherence was cut off. Instead, the students experimented during this first phase with means of reflecting the spaces as an experience in time, through sequential sketches, mobile phone videos, or short stories they wrote. If climate change has destabilized the accepted concept of time, always directed towards growth in our society, perhaps the instruments used to depict space and time will have to be reconsidered as well.

Then came Corona, and what had just been a rather abstract, theoretical concept now became concrete experience in a crisis. Prevented from the immediate experience of actual places and reduced to themselves, the stories that had been begun – part fictional, part real – started to become ever more autonomous, and to overlie and enrich the apparent reality of the first district of Vienna. The focus was always on finding a different idea of the past, the present and the future, and to smuggle it into supposed reality as theory and/or practice.

One group – Mert; Lilli – experimented with methods of historical thought in architecture and urbanism, and in their drawings, in which different timelines and unrelated events in the first district of Vienna overlapped, they challenged the treacherous safety of conventional planning and design methods that feign historical homogeneity. → fig. 24 / p. 10 → fig. 27 / p. 11 Another group – Dila, Anna, Alma; Diana, Martin, Martin; Lukas – searched for forgotten places in the first district that had literally been lost in the plans and were revived by the students in their drawings.

A Jewish garden, a subterranean entertainment establishment called Elysium and an old bastion suddenly reappeared as parts of contemporary history, but are only tangible in the form of such visualizations. → fig. 22–23 / p. 10 → fig. 28–30 / p. 11 The third group – Mona, Annika; Lisa, Chiara; Valeriia, Yoko – fully engaged with the movement itself of drawing and depicting. Only through this practice could spaces, the objects in them and above all their temporality be learned. The description of a continuous movement through the city in all its different intensities and speeds overlapped with sometimes abrupt shifts in narrative perspective. Their strategy was the narrative of filming and storytelling, with the possibility of switching between levels, both in terms of time and space, as a shift or transition between underground and aboveground worlds, or also between fictional, narrative and historical fragments. → fig. 20–21 / p. 10 → fig. 25–26 / p. 11 → fig. 31–32 / p. 11 In meetings in virtual space compelled by the Corona crisis, the stories and experiments were exchanged. Partly because they were tired from constant presence in front of computer screens, and partly because they did not have advanced graphics software available at home, the students used the enormous range of hand drawings as a symptom of and escape from the crisis. They have impressively demonstrated that thinking by means of the process of drawing is one of the most important instruments in architecture.

Angelika Schnell, Lisa Schmidt-Colinet

Design Studio BArch6, MArch

THESIS

VOICES ON THE PRESENT STATE Thesis project Silvester Kreil Advisors David Gissen Lisa Schmidt-Colinet

Are there alternatives to the conventional processes of how and for whom we produce architecture? This thesis project investigates the present and future role of architecture in the neoliberal context.

It seeks different perspectives in architecture that challenge the profession’s seemingly ‘necessary liaison’ with the financial market, its effects on the competitive working conditions of architects, and especially its consequences on urban space, which is becoming a precious and embattled resource. Furthermore, this thesis explores if contemporary architects even think about architecture’s relation to the neoliberal system, if it is relevant for them, or if they rather ignore it.

What is found through this research provides the material for a diverse collection of positions – gathered by interviewing both young professionals and experienced practitioners in architecture. These recorded and edited interviews, as well as other research materials, are made accessible for viewing on a Web platform (www.totale.sk). My own texts, which summarise, highlight or confront certain parts and discoveries of the interviews, are also available on this Web platform.

The project is designed as a pool of knowledge that deals with this conjunction of architecture and the neoliberal market – a ‘beginner’s guide’ to a complex field of opinions and theories, if you will – with the aim of highlighting possible alternatives, creating awareness and thereby fostering a broad discussion, and – definitely ‘only’ as an initial basis – identifying specific research subjects for future, more in-depth investigations. It is an ongoing project.

SPATIAL ACTIVISM: A MANIFESTO A short and highly idealistic manifesto on the role of the architect as a spatial activist.

I call upon more architects to actively and positively become spatial activists: Architects as AMBASSADORS for space as a shrinking resource, anti-capitalist, anti-monopoly and thus radically political.

Architects as EXPERTS with the knowledge and tools to contribute to the fight for an equal distribution of space, securing a broad range of spatial configurations.

Architects as WHISTLEBLOWERS who explain and represent through visual material.

Architects as ‘LOBBYISTS’ for scientifically based planning policies and the fair development of urban coexistence.

Architects as STRATEGISTS for an alternative way of financing and developing projects.

Architects as VISIONARIES with the aim of redefining the production of architecture under time pressure.

And Architects as CRITICS who challenge the way we evaluate architectural projects.

What makes an architectural project successful?

How could we evaluate the success of spatial activism? → fig. 33–34 / p. 12

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THESIS

THESIS

SYMPOIETIC RELATIONSHIPS WITHIN BODIES, ENVIRONMENTS AND SOCIETIES Thesis project Flavia Mazzanti Advisors Wolfgang Tschapeller Andreas Spiegl Damjan Minovski

Hybrids in Becoming deals with the disruption of social and physical boundaries in relation to the body, the environment and society. The project experiments with a post-anthropocentric scenario, where hybrid urban landscapes are generated through the interaction of humans – both as individuals and collectively – with nature and the built environment.

The thesis consists, on the one hand, of a theoretical part dealing with architectural and philosophical theories of hybrid bodies and urban systems. On the other hand, it consists of the short film Sympoietic Bodies, used as a medium of architectural narration to show the continuous growth, transformation and decay of hybrid landscapes, and of human and non-human bodies with them. Both body and city are destroyed in their pure definition, continuously constructing, disrupting and reconstructing each other in different forms and shapes, merging with one another. Boundaries between urban infrastructures, bodies and natural ecosystems dissolve. Space and time are assumed as the main perception marks, both hybrid figures of a deconstructed and fragmented world.

The project arises from an interest in combining a philosophical understanding of our bodies, and their interaction with other beings in and within the constructed environment, with the exploration of new technological possibilities.

Through the hybrid use of computergenerated animations and digital shots, it was possible to provide different perspectives on ourselves and our surroundings, while creating a continuous interplay between an anthropocentric and a post-anthropocentric point of view.

Indeed, everything that is shown in the short film comes from real, actual situations that were filmed or recorded using different techniques and further edited with 3D software. The different camera techniques (digital camera, motion capture, photogrammetry, point cloud scan and Kinect sensor) are then projected back onto the medium of film using a CGI rendering camera, which acts as a link between physical and digital space.

The narration of Sympoietic Bodies develops along three key elements – “Skin”, “Hybrid” and “Sympoiesis” – that are interconnected by questions of the body, transformation and fragmentation. Starting from a unitary vision of the body, the chapter “Skin” shows a body whose boundaries are permeable and continuously changing. In the second chapter, human and non-human bodies, city and environment are destroyed in their form and appearance, showing a society in continuous change and transformation.

Finally, in the chapter “Sympoiesis”, surfaces merge with no more strict divisions between different bodies, allowing a different view of the world we live in. The human eye disappears, and the anthropocentric cedes the place to symbiotic relationships. → fig. 36–39 / p. 13

COLLECTIVE MEMORY AS AN ARCHIVE OF URBAN IDENTITY Thesis project Joanna Pianka Veronika Suschnig Advisors Alessandra Cianchetta Antje Lehn

How can we experience the history of a site through our immediate senses? How can we perceive events that happened there in the past? Who and where are the witnesses of a place, and what are our means of uncovering, then depicting and triggering that atmosphere? How do we unveil its layers of transformation and reconstruction? Is that our job as artists and architects?

The former railway grounds of the Nordbahnhof in Vienna are a palimpsest of various eras. It is our area of investigation of the collective memory of a place. The urban wilderness that overgrows it – called Gstettn in Viennese – is per se an intermediate state of different forms of usage, where traces of the past are overgrown by time. Processes of transformation, forces of nature, wars and industry have all shaped this site and its witnesses.

We discuss processes behind the codification of history, and the significance of the preservation and mediation of the collective memory linked to a specific area.

Perception, cultural appropriation and memory are the foundations of its social constitution.

By using different imaging techniques, further processing, distortion, and rearranging past and present, we compose the imagines agentes (acting images) of individual and collective memory, from various perspectives. We create a recontextualisation of history and memory by making an exhibition as an archive of spatial perception and collective memory.

Photography, screen print, film and drawing were deliberately chosen as media for this project. Images and projections take on the function of bearers of memory and new levels of perception. The compilation sees itself as an archive of spatial perception and collective memory. → fig. 62–64 / p. 19 THESIS

Laniakea at the coordinates 1.352, 103.8198 (Singapore), one of the six space launch zones on Planet Earth.

A human body is given a virtual avatar in order to travel to space. The space launch complex Laniakea combines facilities for space flight preparations, acts as a kinetic docking point for launching and receiving spacecraft, and revolutionizes future space exploration.

The main research focus of the thesis is on the interdisciplinary field between architecture and space, materials and magnetism, computer science and 3D prototyping, space launch complex and city, science and fiction. In the event of environmental disasters, architecture in 2170 provides a solution in the form of Laniakea, an apparatus for transforming human consciousness into an avatar, a robotic AI system and a machine for creating the virtual reality of the world. Thus, Laniakea offers the possibility to travel to space and to live a sustainable life in the environment in the form of avatars. Laniakea is an artificial intellect constructed in the form of a space launch complex, enabling the preservation and survival of intelligent life in case of specific living conditions on Earth. → fig. 11–12 / p. 7 PUBLICATION

RADICAL DEMOCRACY IN ARCHITECTURE AND URBAN PLANNING A new book by Gabu Heindl, published by Mandelbaum Verlag, Vienna 2020

Politics are shaping urban space: through authoritarian security measures, through the alignment of urban planning with investment interests. And profits are being made: from housing shortages, from real estate investment, from urban space as a capital investment. Neoliberal governance and nationalist campaigns turn the city into a place of scarcity and insecurity.

What could politics be like, though, in a city oriented towards democracy and solidarity? The aim of this book is to explore an urban planning policy that is critical of capitalism, recognises conflicts and enters into alliances.

Stadtkonflikte formulates a radical democratic approach to architecture and urban planning – scrutinising the utopias realised in Red Vienna, critically exploring participatory planning, forming alliances with social movements. Between political theory, urban planning discourse and interventionist practice, it aims not only to defend, but also to expand the space and scope of democracy, especially in its time of crisis.

Thesis project Svetlana Starygina

Humans live in resource distribution centres of the space launch complex

Volume 3 concentrates on the exhibition Über Nature at the Botanical Museum Berlin (BGBM). In the age of the Anthropocene, the concept of “nature” increasingly stands in opposition to the realization that we influence, alter and destroy our environment in all spheres of animate and inanimate matter. The book looks back on the homonymous exhibition of mainly artistic works that address our relationship to nature, the biosphere and the non-human in the context of the Botanical Museum Berlin – and in this way, directly or indirectly, also deals with the institution as a project of modernity.

With contributions by: Tal Alon-Mozes, bankleer, Sandra Bartoli, Oliver Botar, Marcella Brunner & Prima Mathawabhan & Patricia Tibu, Gilles Clément & CCA, David H. Haney, Martina Hanusová, Michael Klein & Sasha Pirker, Aglaia Konrad, Joachim Krausse, Silvan Linden, Stefano Mancuso & LINV, Joaquín Medina Warmburg, Tone L. Nyaas, Alessandra Ponte, Daniel Spruth, Tal Sterngast, Gitte Villesen & Joerg Franzbecker, Florian Wüst Volume 2 Growing from the Ruins of Modernity / Aus den Ruinen der Moderne wachsen Edited by Marc Herbst, Michelle Teran Volume 3 Über Nature / Über Natur Edited by Sandra Bartoli, Kathrin Grotz, Silvan Linden, Florian Wüst, Patricia Rahemipour With contributions by: Böhler & Orendt, Book & Hedén, Joerg Franzbecker, Helen Mayer Harrison & Newton Harrison, Heidrun Hubenthal & Michael Wilkens, Katja Kaiser, Susanne Kriemann, Katarzyna Kukula, Kito Nedo, Kim Nekarda, Patricia Piccinini, New Territories_S/he with Mika Tamori & Štěpán Krahulec & Helvijs Savickis & Max Unterfrauner, Gitte Villesen

RESEARCH

PERSPECTIVES ON ECOLOGY AND MODERNITY A new book edited by Sandra Bartoli, Marco Clausen, Silvan Linden, Åsa Sonjasdotter, Florian Wüst, Kathrin Grotz and Patricia Rahemipour, published by adocs Verlag, Hamburg 2020

Licht Luft Scheiße. Perspectives on Ecology and Modernity summarizes a threepart exhibition project and event programme for the 2019 Bauhaus anniversary. The exhibition curators were Sandra Bartoli, Marco Clausen, Silvan Linden, Åsa Sonjasdotter, Florian Wüst (nGbK), Kathrin Grotz and Patricia Rahemipour (BGBM). Among many others, the exhibition also featured works by IKA students.

Volume 1 documents the exhibition Archaeologies of Sustainability at neue Gesellschaft für bildende Kunst (nGbK).

The ecological question is not new.

Over a hundred years ago, conceptual models and practices were developed in reaction to increasing industrialization and urbanization, which still resonate with

The intermediate meeting in June 2020, organised by the School of Architecture at the KTH Royal Institute of Technology in Stockholm, revealed the broad range and variety of the PhD projects. Some approaches were historical, for example looking for the implicit and at the same time manifest power of certain architectural images meandering through history.

Others seek to reveal the structurally based suppression of the labour of all kinds of co-operators in the design and production process. And some seek to experimentally retrace and/or enact the design process as such.

Paula Strunden’s PhD project is one of the few that address the role of contemporary technologies. It is called Simulating Atmospheres: Digitizing embodied design and decision-making processes in architecture. It explores the potential integration of soft design factors, to be understood as non-quantifiable, sensory and emotive values of spaces, in the creative architectural design process through the application of immersive technologies, such as Virtual, Mixed and Augmented Reality. This is how she describes it herself: “Nowadays, digital tools and drawing software are primarily employed in architecture offices to facilitate planning, fabrication and production processes, as well as to visualise selected stages of the building design in development. However, in crucial moments of the creative design process, such as initial ideation or decision-making, both digital design tools and representation methods lack implicit qualities that their traditional/analogue counterparts continue to offer. Thus, many practising architects proceed with handdrawn sketches, physical scale models and mock-ups (if affordable), allowing for an intuitive, iterative and ad-hoc way of working that remains open to the viewer’s interpretation and that supports an embodied, multisensory interaction with the designed content at different scales and levels of abstraction.

Due to this observed lack of embodied cognition in the contemporary digital architectural design process, this PhD project aims to uncover why and how immersive technologies and three-dimensional, interactive, real-time simulations could address the shortcomings of digital tools and workflows and (re-)integrate intuitive, emotive and soft design factors in the design and decision-making process. Finally, this interdisciplinary designbased research project investigates how immersive technologies can be applied to facilitate the communication of non-quantifiable architectural values, and thus help improve the atmospheric qualities of the built environment.”

As part of the training programme, Paula will start her first secondment at the Austrian office SOMA with Kristina Schinegger and Stefan Rutzinger in October 2020.

She will observe the office’s design processes and techniques, but will also start parts of her own VR setting in the context of the office’s work.

ARCHITECTURE AND ITS WAYS OF KNOWING Angelika Schnell Eva Sommeregger Paula Strunden Maria Trübenbach

AN INTERGALACTIC PHENOMENON

This episode takes place in the future: It is the year 2170, and Planet Earth is facing a shortage of resources for human existence. It has now become impossible to trace the history of biological evolution on Earth, and nature has disappeared completely. Celestial bodies such as Mars, the moons of Jupiter (Europa, Callisto, Ganymede) and Saturn (Titan, Enceladus) or Pluto are now explored by human civilization. Laniakea emerges as a new typology of intelligent beings capable of sustaining human civilization. Thus, architecture is a ritual of simulation of virtual reality, functioning on the basis of universal laws of magnetism. Magnetic structures organize the main part of Laniakea’s computer, and function as the building’s skeleton.

Volume 2 is dedicated to the teaching and event programme Growing from the Ruins of Modernity at the Neighbourhood Academy in Prinzessinnengarten in the Kreuzberg district of Berlin.

Volume 1 Archaeologies of Sustainability / Archäologien der Nachhaltigkeit Edited by Sandra Bartoli, Silvan Linden, Florian Wüst

PUBLICATION

Advisors Wolfgang Tschapeller Werner Skvara

our current ideas of sustainability. These approaches reflected not only a systematic understanding of the interactions between humans and the environment, and between nature and technology, but also a growing awareness of a modernity that is depriving itself of the basis of life.

The exhibition catalogue Archaeologies of Sustainability includes 171 contributions in the form of images, documents, texts and artworks from the last two centuries, which were shown at nGbK during summer and autumn 2019.

TACK / Communities of Tacit Knowledge: Architecture and its Ways of Knowing is a newly funded Innovative Training Network, as part of the Marie SklodowskaCurie Actions within the EU Framework Programme Horizon 2020. It trains young researchers in understanding the specific knowledge that architects use when designing buildings and cities. TACK gathers ten major academic institutions, three leading cultural architectural institutions and nine distinguished architecture design offices. Collaboratively, these partners offer an innovative PhD training programme on the nature of tacit knowledge in architecture, resulting in ten parallel PhD projects.

Tacit Knowledge started in October 2019 with a call for ten PhD candidates. After the selection – with Paula Strunden as doctoral student and member of the faculty at IKA – a first foundational meeting was set up in March 2020, the last time all partners met in person. Since then and due to the COVID-19 crisis, all meetings and encounters have taken place online.

The network consists of ten academic partners in eight European countries.

Every year, three of them will hold meetings, lectures and workshop programmes for the PhD candidates, accompanied by an external advisory board consisting of outstanding international experts. In fall 2021, IKA will be the host for Tacit Knowledge.

Angelika Schnell

www.tacit-knowledge-architecture.com

Summer Semester 2020 is part of the annual project HITZE TAKES COMMAND, generously supported by IMMOBILIEN PRIVATSTIFTUNG.

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fig. 1–4 Heterogene. Garment made of charcoal – bioplastic. Oana Ionescu, Maya Karska. Characteristics: antipollution and smog-resistant, worn in spring, outside temperature 15-20°C. Venus in Furs – Clothing as a Layer between Skin and Building → p. 3

fig. 5 Cleaning The Body Situation. Christopher Gruber.

Heat, Ice Cores, Manganese Nodules → p. 1

fig. 7 One square metre of xeric grassland.

Johannes Wiener.

Burning Down the House II – Rekindling Paradise → p. 2

fig. 6 The Cocoon for Waiting. Olivia Ahn. City Cooling → p. 1–2

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fig. 8 In-Between Enclosure.

Antonia Autischer. Detailed soil section. fig. 9 A Peek Underground.

Antonia Autischer. A handful of soil, roots and stones dug up on the site, held together by hot wax, usually invisible, shown here in relationship to the surface; a blade of grass reaching towards the light and breaking through the stony layer. fig. 10 Enclosed. Antonia Autischer. held together_frozen in time_ preserved_layered_half emerging_breaking through Bellis perennis (daisy)_Taraxacum sect.

Ruderalia (dandelion)_ Plantago lanceolata (ribwort)_Trifolium pratense (clover)_Ajuga genevensis (blue bugle).

Burning Down the House II – Rekindling Paradise → p. 2

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fig. 11–12 Laniakea. 3D Model and section.

Svetlana Starygina.

Laniakea 1.352, 103.8198. – An Intergalactic Phenomenon → p. 4

fig. 13 HabitatClad. Polluter. Jakob Czinger, Patricia Griffiths.

Dystopian environment.

Venus in Furs – Clothing as a Layer between Skin and Building → p. 3

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fig. 14 Let Me Introduce You To The Gardener. Charlotte Beaudon-Römer.

Heat, Ice Cores, Manganese Nodules → p. 1

fig. 15 RAUMPARK – Topview. Studio RAUMPARK. RAUMPARK – Faux Terrain Vienna → p. 2–3

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fig. 16 HabitatClad. Survival kit – collection of wearable membranes protecting from external hazards. Jakob Czinger, Patricia Griffiths. The survival kit consists of a sweat suit, a face filter, an armour shield and a habitat container.

Venus in Furs – Clothing as a Layer between Skin and Building → p. 3

fig. 17–19 HabitatClad. Habitat container.

Jakob Czinger, Patricia Griffiths.

Venus in Furs – Clothing as a Layer between Skin and Building → p. 3

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fig. 20-21 Take Your Time – Roaming the City in Times of Heat. Annika Böcher, Mona Steinmetzer. The disruption of everyday routines by COVID-19 caused a design studio to scrutinise its work routine, and made room for close observation and questions: What can we make time for?

How can we break the cycle of habits related to work and time? To whom do outdoor spaces belong, and how are they used – especially when cities are getting hotter?

Heat Takes Time → p. 3

fig. 22 The Book of Myths. Martin Kohlberger, Diana Konovalova, Martin Sturz. Exploring the concept of myths – based on the work of Claude Lévi-Strauss – challenges the contemporary idea of progress. In addition to theoretical reflection, images and interviews serve to explore if it is possible to recreate an ancient myth – Elysium.

Heat Takes Time → p. 3

fig. 23 Light-Time-Space – Transformation of a Forgotten Place. Lukas Strigl. A leftover place in the 1st district (Klostersteig). Nearly forgotten. The site is temporarily opened to the public; light and shadows are manipulated to evoke a deceleration of time.

Heat Takes Time → p. 3

fig. 24 Re-remembering. Lilli Gaigal. Linear maps follow a linear conception of time. What if specifically chosen events – some of them only indirectly related, or not at all; some causally related – were put on the same map?

What if cubic clocks, medieval fires, and the construction and demolition of the city wall were juxtaposed? What if an 18th century volcanic eruption in Indonesia influenced Danube regulation in the 19th and 20th centuries?

Heat Takes Time → p. 3

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11 fig. 25–26 Under Vienna – City of Fiction. Yoko Halbwidl, Valeriia Malish. This is a fictional city, which is connected to Vienna’s 1st district, its legends, stories and monuments. Fragments of mythical and historical Vienna are assembled while shifting between reality and fiction, and jumping freely in time.

This see-sawing is mirrored in the work process, where writing and translation into drawings was done while alternating between the two authors.

Heat Takes Time → p. 3

fig. 27 Epos and Topos. Mert Özkan. Imaginary scene of the crypt of Mary Magdalene Church: The reconstruction of its mythical past refers to the Little Ice Age in Europe and religious extremism as a consequence. The crypt was closed off after the murder of Protestants meeting secretly in the underground rooms of the church, and gave rise to a mythical garden. Two different time strategies (presentifying and pastifying) are used to combine two methods for reconstructing Mary Magdalene Church. Its material past is presentified by the outlines of the building, which was destroyed in 1781.

Heat Takes Time → p. 3

fig. 28-30 Fridges & Ovens. Alma Kelderer, Dila Kirmizitoprak, Anna Orbanic. Places around Judenplatz square in Vienna’s 1st district were mapped according to their physical and metaphorical temperature conditions. Extreme heat, the burning synagogue, the bombed Court Chancellery and the oven of a bakery were juxtaposed with metaphorical cooling effects, institutions or events that act like fridges and control development within society. The effect of cooling down, even freezing the city was perceived during the COVID-19 lockdown in spring 2020.

Heat Takes Time → p. 3

fig. 31–32 Network____Space Between. Chiara Desbordes, Lisa Penz.

Space To the right, before the kitchen entrance, there is a staircase. Five stairs down, a platform, turn to the right. Thirteen stairs down, a room with a barrel vault. The temperature is 21°C. Three steps to the right, turn right again, two stairs down.

A large room, called the well cellar.

Strings of small, glittering lights on the ceiling radiate warmth and comfort, the temperature is 21°C. [...] You arrive in a refectory, with paintings of the Twelve Apostles on the walls. The temperature is 20°C. A door to the left leads to the storeroom – dark, barely any light, 17°C. The further you walk towards the back of the room, the spookier it gets.

Time To the right, before the kitchen entrance, there is a staircase. The time is 16:00:00.0 precisely. A 25-year-old woman, walking, down the stairs.

16:00:02.5 turn to the right, down the stairs.16:00:09.0 a room with a barrel vault, 21°C. Nine seconds and we are already quite a bit further underground.

Walk to the right, the time is 16:00:10.8.

To the right again, down more stairs.

16:00:11.8, a large room, called the well cellar.

Heat Takes Time → p. 3

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fig. 33–34 Exhibition view and Web platform (www.totale.sk). Silvester Kreil.

Architects in the neoliberal age – voices on the present state → p. 3

fig. 35 Refreshing Points and Micro Legislatives. Max Pertl.

City Cooling → p. 1–2

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fig. 36-39 Stills. Sympoietic Bodies. Flavia Mazzanti.

Hybrids in Becoming – sympoietic relationships within bodies, environments and societies → p. 3–4

fig. 40-42 Pteridomania1 – The Time Garden.

Ferdinand Klopfer. An introverted sphere of slowed motion in a hostile and brisk cityscape, the garden evolves over a geological time scale. It uses measured processes of soil creation and distribution, the dripping of water, sedimentation and climate changes, the decay of organic matter and animation of mineral structures.

It oscillates between dry and swamp-like conditions – dreaming of the carboniferous and preparing for a post-anthropo­ centric chapter in Earth history. These living fossils emerge slowly in shaded and humid areas under the bridge, a gentle reminder of a nature striving for release from human control.

Burning Down the House II – Rekindling Paradise → p. 2 1 Pteridomania refers to the craze for ferns in the Victorian era. This “fern fever” emerged after the discovery, at the end of the 18th century, that ferns could be grown and propagated from spores. In the damp, cool climate and the primness of Victorian society, their shapes, colours and character allowed a tantalizing glimpse into an exotic and primitive world.

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fig. 43–46 I am wearing Hedvig’s wool. Felting. Lovisa Loren. I help to shear the wool from my neighbour’s sheep. I clean the wool.

I card the wool. I use three traditional techniques in order to benefit from the wool’s properties in different ways: I weave the wool to make it strong and durable. I felt the wool to make it warm and dimensionally stable. I knit the wool to make it breathable and flexible. I use my hands and simple tools to make a second skin for my body that can be adjusted depending on the climate around me. Its lifespan is infinite. Every stich has value.

Venus in Furs – Clothing as a Layer between Skin and Building → p. 3

fig. 47-52 I am wearing Hedvig’s wool. Lovisa Loren.

June 2, 2020, 1.00 pm; 23°C June 6, 2020, 11.00 pm; 10°C June 3, 2020, 3.30 pm; 15°C Venus in Furs – Clothing as a Layer between Skin and Building → p. 3

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Fig. 53 Algea-Human Architecture. Jessie Yingqi Gao. Heat, Ice Cores, Manganese Nodules → p. 1

fig. 54 The Diameter of Earth measures 84,314 km.

Christopher Gruber, Jonathan Moser, Dana Radzhibaeva.

Heat, Ice Cores, Manganese Nodules → p. 1

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fig. 57 Comparison and analysis of the sheltered, shady indentations along the facade of Thaliastraße. Pia Bauer, Ruben Stadler.

City Cooling → p. 1–2

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fig. 55–56 RAUMPARK – section and thermal section.

Alexander Klapsch.

RAUMPARK – Faux Terrain Vienna → p. 2–3

fig. 58 Writing 2100 – A digital Tale of the Future in 5 Scenes. Roxane Seckauer.

Heat, Ice Cores, Manganese Nodules → p. 1

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fig. 59 Open City Sponge. Lisa Prossegger. In 2050, the climate of Vienna will resemble that of today’s Skopje, with higher temperatures and an increase in periods of drought and heavy precipitation. In this garden, the topography is reshaped so that the hot dry hills are occupied by cypresses, and the basins retain rainwater.

Using the existing flyover as a support for climbing plants, an organic porous wall emerges, creating a semi-permeable edge, a third space, neither inside nor outside. In the same way, neither the perfume of the cypresses nor the cooling water particles respect any human barrier.

Burning Down the House II – Rekindling Paradise → p. 2

fig. 60 Interiour spaces.

Bed structures. Section. fig. 61 Mode of operation. Section.

LUV – An investigation on the limits between the introversion of a house and the exterior of the city. Max Pertl.

City Cooling → p. 1–2

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fig. 62 Memory Noise. Drawing: Veronika Suschnig. fig. 63 Production of Space, Serigraphy on Acrylic Glass, Projection. Photo: Joanna Pianka. fig. 64 Book Production, Book Fragments, Guillotine.

Photo: Joanna Pianka.

Joanna Pianka, Veronika Suschnig. Perceptual Grounds – Collective Memory as an Archive of Urban Identity → p. 4

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UNKNOWN AUTHOR

The ancient Greek word for school, σχολή, is the same as the differently accentuated word σχόλη, which has meant since ancient times “to do nothing”. This becomes an important fragment of the history of education if we consider it now; a school was not always immediately concerned with solving serious problems, but – from the very beginning of what could be considered education – it related to a way of being inoperative. A school was not a place where practical problems had to be solved, but a place where one could do nothing but delve into theoretical investigation.

Commented by Aristide Antonas, Christina Condak and Hannes Stiefel

Academy of Fine Arts Vienna Institute for Art and Architecture (IKA) Temporary premises of IKA: Augasse 2–6, 1090 Vienna 1st floor, core A

MANIFESTO

A position at a distance from the outside makes our relation to it increasingly theoretical (Θεωρία, the word from which theory derived, meant “view from a distance”). Remoteness, postponement or a constant state of procrastination of real encounters, drives us into the theoretical world of distances.

The constitution of what remains external to the infrastructure seems intangible to its users. Forms of reaction have to be found in the same infrastructural field. Politics of immobility are performed in a frame of controlled inefficiency by the operating infrastructure machine. Goods can reach us from far away; immobility beThe current shrinkage of human comes our field of action; we do not need any concept of experience is taking place in external reality to organize comthe new circumstance of a strange “escape into the house”. mon interactions.

The outside has increasingly come to look like a dangerous Experiencing art and architecplace. The constant mediation ture in an always-distant mode, of infrastructure, this interface, devoid of the immediacy of physical meetings, sabotages creates a world with which tactile experience. The concept we must exclusively deal. The of being present in a certain domesticated infrastructure is now not only chosen because place becomes exotic in the of its possibilities for driving to realm of image and sound. The traditional values of art and armore captivating worlds than chitecture are often inoperative this boring one, as had been the case till now. Today, medi- in the enclosure of a cell. ation organizes the defenses against the very dangers of the The strange double bind between autonomy and heteronooutside. Users are obliged to my in which we are now placed a confinement that had previimposes a law of withdrawal ously grown voluntarily, now protecting us from exposure to that becomes the omnipotent danger; all the while, our stay-in frame for the common function. mode of infrastructure is weak- Autonomy is not a chosen position, then, and it is not the ening our power to criticize.

effect of emancipation, but rather devoid of any state of sovereignty. Autonomy in the infrastructure is supported by a state of permanent distance, not only from the things we design, but also from the people we meet. In this sense, then, our autonomy is our inscription into an automatic community, which we have to learn how to address and how to receive.

Office: Room 1.3.11, 1st floor, core A Ulrike Auer +43 (1) 58816-5101 u.auer@akbild.ac.at Gabriele Mayer +43 (1) 58816-5102 g.mayer@akbild.ac.at

Chair / Deputies: Wolfgang Tschapeller Lisa Schmidt-Colinet Werner Skvara

www.akbild.ac.at/ika arch@ akbild.ac.at Postal address: Schillerplatz 3, 1010 Vienna, Austria

related to doing nothing. Our metaphysical concept of increasing distance due to technology must be addressed and explored, since the autonomy we find ourselves in is not one we chose. A heteronomous, obligatory setting organizes our isolated lives in our escape retreats. Inoperativeness is a new element of the social sphere to address.

Accepting the idea of a school – a place of learning – as a place of contemplation on a distant subject might radically challenge the contemporary understanding of learning, but even more so of teaching. The task of such a school might be to further increase the distance from the subject of contemplation, rather than reduce it. Not unlike in Brecht’s epic theatre, only the continuous (re-)establishment of distance from the subject would lead to cognition.

Such an academic concept of A resultant idiosyncratic view “un-teaching” would result in from a distance is required an alternative emancipation of to maintain the new real, and the student. When Giovanni the educational structure of a Michelucci was asked in his new school appears as a proold age what he would projection of the new “praxis of pose to young students if he staying theoretical”. To reiterwere still teaching, he would ate: a school was not always answer: well, the most imporimmediately concerned with solving serious problems, but – tant thing is to know nothing. from the very beginning of what For the emancipated student, could be considered educareading becomes the mode of tion – it related to a way of beeducation again in this condiing inoperative. tion of exile. And the new challenge is to construct different A different school concerning forms of reading. the new real will find its way through a different vigilance As inhabitants of such autonomous cells, we now receive the community and address it as in a cinematic experience. The figure of the urban hermit is the receiver of data, confined by the media of communication.

Their nature becomes decisive for understanding the norms of this distorted normality. The protocols of voluntarily accepted falsifications are now forming the banality of the new real.

Review Summer 2020 Editor: Linda Lackner Translation: Judith Wolfframm Proofreading: Judith Wolfframm Design: grafisches Büro