IKA REVIEW WINTER 2018

INSTITUT FÜR KUNST UND ARCHITEKTUR

ANALOGUE DIGITAL PRODUCTION CONSTRUCTION MATERIAL TECHNOLOGY ECOLOGY SUSTAINABILITY CULTURAL HERITAGE HISTORY THEORY CRITICISM GEOGRAPHY LANDSCAPES CITIES

1ST CMT HTC ADP GLC

BArch1 2 FLUSH! BArch3 4 A Wall around a Public Building BArch5 6 (Anti)Mimesis MArch Together in Public

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MArch Global Artscapes

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www.akbild.ac.at/ika

Thesis project Dimension X_ The society of the drones

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Research 16 halfway. On spatializing urban conditions

Thesis project Belgrade’s radical margins

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Building Visit Construction Site Winter 2018

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Living Lab Constructing the Commons

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Dr. techn.

Eva Sommeregger, Jie Zhang

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Exhibition Az W Vienna Rossa: The Magic Mountain of Austro-Marxism

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Gender/Queer Studies Accessing Film Frames – Staging Language

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Ji Yun Lee: Toilet drawing, pencil on paper

REVIEW WINTER 2018

toilet Middle French toilette (“small cloth”), diminutive of toile (“cloth”), from their use to protect clothing while shaving or arranging hair. From its use as a private room, toilet came to refer euphemistically to lavatories and then to its fixtures, beginning in the United States in the late 19th century. from: “toilet, n.” Oxford English Dictionary, Oxford: Oxford University Press, 2014.

baed Old English; idea of “heat” originally prominent in bath from: toilet. Elements of Architecture, Rem Koolhaas, Irma Boom. Marsilio, 2014.

THE TOILET AS LABORATORY AND INTERFACE FOR AN INVESTIGATION BETWEEN INNER AND OUTER SPACE

PARIS: OCTOBER 21-26, 2018

Ji Yun Lee: Sketch of canal, while on boat

WALKS AND TALKS Gaëlle Breton, architect Ecole Nationale Supérieure d’Architecture de Paris-Belleville Françoise Fromonot, architecture critic Ecole Nationale Supérieure d’Architecture de Paris-Belleville Solenn Guével, architect Ecole Nationale Supérieure d’Architecture de Paris-Belleville Ariela Katz, architecture historian Ecole Nationale Supérieure d’Architecture de Paris-Malaquais Nasrine Seraji, architect The University of Hong Kong – Professor of the Department of Architecture Lisa Schmidt-Colinet, architect Institute for Art and Architecture, Academy of Fine Arts Vienna

BUILDINGS Villa la Roche (Le Corbusier) Maison de verre (Pierre Chareau) Villa Savoye (Le Corbusier) Studio of Le Corbusier WALKS AND SITES Three islands of Paris, Ile de la Cité, Ile Saint-Louis, Ile Seguin Boat ride down the Canal Saint-Martin, from Bassin de la Villette to Bassin de l’Arsenal Historical walk along Canal Saint-Martin Walk from Centre Pompidou to Jardin du Palais Royal via Les Halles Walk through housing developments of Ivry-sur-Seine and Les Olympiades BONA FIDES JOHN “It sounds like you have a good project sketched out for Paris – for your students – and the perpetually urgent question of what to do for toilets in public space. One thing I noticed as I hung around waiting for the annoyingly exacting cleaning mechanism to finish its four-minute cycle at the public, automatic, Bona Fides john in the Jardin des Plantes, just yesterday, was what a great chance the entire ritual provided for getting to know several fellow wanderers lined up around it. Several ladies were really terrified what their fates might be after the self-sealing doors would rotate closed behind them. Somehow, those who returned consistently unscathed brought them no solace. I had to promise to rescue them, not that I could imagine what I could possibly ever do on their behalf. But, where to wait, with others, in a friendly and not intrusive way, might be an important part of some future utopian design? Perhaps an entirely un-shy design would even have a special spot for those who consider themselves frantically on the brink?”

Robert Hullot-Kentor

READING LIST / REFERENCES Chun, Allen. Flushing in the Future, 2002 Colomina, Beatriz; Wigley, Mark. Toilet Architecture: An essay about the most psychosexually charged room in a building, 2017 Fuller, Buckminster. Dymaxion Bathroom, 1999 Hudson, Jennifer. Restroom, 2008 Loos, Adolf. Plumbers, 1898 Junichiro, Tanizaki. In Praise of Shadows, 1977 Kallipoliti, Lydia. From Shit to Food.

Graham Caine’s Eco-House in South London, 1972-1975, Buildings and Landscapes 19, No1, 2012 Koolhaas, Rem; Boom, Irma. toilet.

Elements of Architecture, 2014 Losman, Hugo. On toilets and modernity.

An interview with Mary Vaughan Johnson.

PAPER (Platform for Architectural Projects, Essays & Research), 2015 Pastore, Maria Chiara. Sewers. San Rocco, Ecology No. 10, 2014 Payer, Peter. Unentbehrliche Requisiten der Großstadt, 2000 Rudofsky, Bernard. The unfashionable human body, 1986 Ryn, Sim van der. Mach Gold daraus, 1980 Samuel, Flora. Le Corbusier and the Architectural Promenade, 2010 Sanders, Joel. Stalled! Transforming Public Restrooms. FOOTPRINT Delft Architecture Theory Journal Vol. 11, No. 2, 2017 GUESTS Harald Gründl, one of the three founders of the product design office EOOS, talking about sustainability and their inventions “Blue Diversion Toilet” and “Urine Trap”. Liquid Gold, 18/10/18 – 13/01/19, Exhibition at Kunsthaus Vienna Roberto Zancan, Interior Design Department, HEAD Genève, Curator and Scientific Deputy of the Conference “Intimacy Ex­posed: Toilet, Bathroom, Restroom”, 2018

Christina Condak Christina Jauernik Rüdiger Suppin

REVIEW WINTER 2018

Design Studio BArch1

FIRST YEAR

Tanizaki Junichiro, In Praise of Shadows, 1977

And then: “Modern architects spent a lot of time in the toilet – not simply searching for modern plumbing but seeing the toilet as crucial a way of modernizing architecture. For them, the question was not so much what it meant to enter the toilet as what it meant for the toilet to enter architecture. In that sense, the history of Modern architecture could be written from the point of view of the toilet.”

The concept of the toilet that is most prominent in the house is the one that goes back to the French latrine in the chateau.

In English we borrow the French word garde-robe. When we talk about toilets we generally do not want to say what it is and so we borrow words from other languages or meanings. The word toilet for example comes from the French toile (cloth), which can be traced back to the ladies’ toilette where the woman would prepare her makeup.

Colomina, Beatriz; Wigley, Mark. Toilet Architecture: An essay about the most psychosexually charged room in a building, 2017

Losman, Hugo. On toilets and modernity. An interview with Mary Vaughan Johnson. PAPER (Platform for Architectural Projects, Essays & Research), 2015

Students: Antonia Autischer Vincent Behrens Daniel Bracher David Burkhardt Sidika Cupuroglu Alexander Czernin David Degasper Alice Hoffmann Ji Yun Lee George Mintas Lisa Prossegger Normunds Püne Moritz Schafschetzy Helena Schenavsky Julian Schönborn Salome Schramm Sebastian Seib Johanna Syré Matias Tapia Johannes Wiener Julia Wiesiollek Catherine Zesch

Antonia Autischer: Collage of public toilet, with washing and recreational facilities

Advisors: Christina Condak Christina Jauernik Rüdiger Suppin

David Degasper: Detail of lock mechanism and water flow

They begin, “The toilet is technology.

More precisely, it is a pipe that has been shaped into a piece of furniture so it can be occupied. It is the space where the hidden interior of the body comes into intimate contact with the hidden interior of the building, two plumbing systems temporarily connected.”

As I have said there are certain prerequisites: a degree of dimness, absolute cleanliness, and quiet so complete one can hear the hum of a mosquito. I love to listen from such a toilet to the sound of softly falling rain, especially if it is a toilet of the Kantō region, with its long, narrow windows at floor level; there one can listen with such a sense of intimacy to the raindrops falling from the eaves and the trees, seeping into the earth as they wash over the base of a stone lantern and freshen the moss about the stepping stones. And the toilet is the perfect place to listen to the chirping of insects or the song of the birds, to view the moon, or to enjoy any of those poignant moments that mark the change of the seasons.

Sidika Cupuroglu, George Mintas: An exercise of in-between space with two bodies and a toilet bowl

Detail of collective model of canal sites.

Photo: Christina Ehrmann Final installation, collective canal model. Photo: Christina Ehrmann

Points, lines, curves, planes, shapes, surfaces, directions, pathways ... knee, ear, toe, elbow, neck ... use your hand to register a specific body shape, its position in space.

Hold. Then move on to another body part.

Explore ideas of voids, negative and positive space, distances and proximities. Speed up.

The CANAL was the central piece of the exhibition, made of a minimalistic wooden structure that represented the spatial segment along the Canal Saint-Martin from Basin de La Villette until Pont d’Amélie on a scale of 1:200. The structure, hung from the ceiling, carried the study models that were built over the semester. Each project had a specific location next to the canal.

This element, 15 metres long, became a multi-scale collage of spatial analytics and interventions in itself – about 100 models by 22 students.

David Degasper: Three-part public toilet with viewing angles

FLUSH! is a series of studies on the human body in small spaces. The intimate cabinet of the toilet sets the architectural programme and interface for the meeting of body and city, private and public. In order to investigate questions of what is hidden and private, and what is exposed and public, the Canal Saint-Martin in Paris provided the framework to design a public toilet in urban conditions. The terrain of the canal edge allowed for a negotiation of height differences to make connections from street to water level. Body, Toilet, Paris provided us with triadic questions around behavioural rituals, technology and cultural contexts.

Close your eyes. Bring your awareness to your body, your breathing. Notice how your body volume changes in all directions with each inhalation and exhalation. Inhale.

Hold your breath. Swallow. Exhale. Repeat.

Then bring your attention to your feet. Notice how your feet touch the ground, how your weight is distributed. Just notice, don’t change anything. Keep breathing. With your inner eye, take a journey up the legs, passing each joint; imagine the rotating, bending capacities of each body part to the next. Just imagine. Keep travelling upwards. Notice the orientation of body parts, the proximities and distances, notice how your upper arm and the curve of your ribcage are almost touching each other, register the heat under the armpit, keep going until you arrive in your head. Open your eyes. See the others around you. See your body in relation to the others. Change your focus. See the spaces between bodies.

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Installation at final review. Photo: Christina Ehrmann

The Burrow - axonometric, a project by Yoko Halbwidl, Martin Kohlberger

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Advisors: Michelle Howard Luciano Parodi Guests: Benni Eder Gogo Kempinger Theresa Krenn Mario Kubista and Vanessa Rausch (Wienerberger) Anupama Kundoo Franz Sam Werner Skvara Markus Vogl Technical support: Michael Herbst

CLAYGROUND Lisa Penz, Jákob Czinger With the project “Clayground”, we wanted to create walls that traverse boundaries rather than erecting them and encourage interaction through play. We used hollow forms made from bent plates, soaked and burned foams and layering, to create areas that filter movement and light, casting complex shadows that connect them to the landscape.

FABRICKATED Anna Orbani´c , Alma Kelderer We have proposed an experimental linen laboratory that unravels and reveals ways of ecological flax production and biodegradable construction. We use linen as the matrix that contains clay and lends it form until the burning process, where it disappears, leaving indelible traces in the form and behaviour of the ensuing ceramic pieces.

Michelle Howard Luciano Parodi

Design Studio BArch3

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CMT

CONSTRUCTION MATERIAL TECHNOLOGY

Because of the way they are used, train stations have always been perceived as public buildings. In reality, they have almost always been the property of railway companies. When these train stations were sold, entire populations felt the pain of their loss.

Our studio project approached this international dilemma by looking very closely at one station house for sale in Zehdenick, 75 minutes north of Berlin by train. Perhaps the strangest of the conditions of sale is that the site perimeter must be enclosed, something clearly at odds with the use of a public building. Using the enclosure as a tool, our projects propose a future for the station house and its environs by proposing a wall that addresses its publicness. With the construction of this railway line in the late 19th century, enormous deposits of clays were found. They became the largest clay pits and brickworks in Europe, and provided the bricks with which Berlin’s sudden growth was nourished. Clay was our material of discovery and innovation this semester. The aim of the experimental research was to rediscover a rich and ancient construction material with today’s technologies in mind. Clay exceeded our expectations. Wienerberger supplied us with raw clay which needed to be prepared by sorting, throwing, soaking and kneading before being formed, smashed, cut, moulded and burned. It was excavated, modelled and burned on site, rendered to extreme thinness, combined with natural and artificial fibres and in new clay compounds. Wetness and dryness were put to work together, fragility was transformed into strength and fire became a powerful tool. Since their almost simultaneous appearance in the late nineteenth century, railways and cinema have been intimately connected. Using the moving image, each group moulded a short film related to their ideas.

Photo: Christina Ehrmann

Students: Veronika Behawetz Jákob Czinger Martin Eichler Patricia Griffiths Yoko Halbwidl Oana-Alexandra Ionescu Alma Kelderer Dila Kirmizitoprak Martin Kohlberger Diana Konovalova Valeriia Malysh Anna Orbani´c Lisa Penz Zoe Pianaro Fabian Schwarz Magdalena Stainer Martin Sturz Carla Veltman Louis Zurl

With these tools, each group devised a Wall around a Public Building.

FISHWORKS Magdalena Stainer, Zoe Pianaro, Dila Kirmizitoprak Surrounded by lakes teeming with fish, formed by the old clay pits and connected by train to Berlin, the environment of the train station house lends itself perfectly as a place to smoke, process and sell fish.

The smoking process is a public spectacle where conical chimneys provide the smoke and heat that are channelled through clay tiles above which the fish hang.

MUSHROOM EQUILIBRIUM Veronika Behawetz, Fabian Schwarz Because of the presence of so many bodies of water, this area seems to be continually shrouded in fog, altering our sense of equilibrium. Mushrooms love humidity and break through asphalt and earthworks. We designed a landscape that embraces these tendencies and renders the habitat of the organism mobile, sometimes by simply letting the mushrooms destroy their own homes.

THE BURROW Yoko Halbwidl, Martin Kohlberger Our explorations in digging our own pits and harvesting our own clay led us to imagine a film studio where the sense of this place is altered by modelling the landscape; earth taken from the site by burrowing down is deposited on the site to create a new topography.

Worm-like tunnels constructed or resulting from burning off vegetation create new paths.

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REVIEW WINTER 2018

Nyima Murry / Thea Ringmann Madsen / Luna Villanueva-Pangaud: Constructing/Deconstructing

Photo: Pia Bauer

In 1896, Oscar Wilde provoked controversy in “The Decay of Lying” by stating that art should not imitate life, but vice versa. Nyima, Luna and Thea confronted this statement with Kevin Kelly’s blurring of any boundary between art and nature. They created a fictional dialogue, which became the basis for their own attempts to investigate the merging of art and nature in architecture.

Luna mapped the soundscape of different cities, Thea produced digital romantic landscapes, and Nyima sought to understand how parametric programmes capture the design of nature as such. (large drawing)

Daron Chiu / Paul Knopf: Architecture between Windmills and Giants

Filmstill Snippet Control

Photo: Prima Mathawabhan

Large Drawing: Visual Score Vienna, Luna Villanueva-Pangaud

Daron and Paul chose a short story told by Jorge Luis Borges. “Pierre Menard, Author of the Quixote” (1939) describes the desperate efforts of a French writer re-writing Cervantes’ famous novel line by line. The failure to copy a master brought Daron and Paul to the question of the role of the icon in architecture. Their studiolo became a blog (which was represented as a white “block”), consisting of an ongoing philosophical debate on de-iconisation in architecture. Link: https://www.architektonischeriesen.wordpress.com

Hannah Rade / Tamar Ben-Israel / Prima Mathawabhan: Ceci n’est pas un hôtel “Ceci n’est pas une pipe” (1929) is the title of a famous painting by René Magritte. Michel Foucault analysed the different levels of arbitrary representation evoked by the painting. Hannah, Tamar and Prima addressed the topic by looking at the different interpretation modes of a common building type: the hotel. Even though it consists of standardised circulation systems and rituals, motion in this space can be represented as a movie (Prima), as a dance notation (Tamar) or as a verbal description (Hannah) without being captured as such.

Diana Cuc / Emilia Piatkowska: Snippet Control Movies such as “Lola rennt” (1998) or the “Star Diaries” (1957) by Stanislaw Lem create their fictional stories on what was later called the butterfly effect: if the starting conditions were only slightly altered, the whole story would result in something completely different. Architectural design processes might also be interpreted as a virtual game with 1001 possible beginnings and paths. Diana and Emilia created the script for a game by reflecting their own working space and process.

Photo: Joanna Pianka

Ana Maria Chiriac / Florian Berrar: I Reflection Ana Maria and Florian chose Jacques Lacan’s essay “The mirror stage as the formative function of the I” (1949), which is basically about a simultaneously triumphal and traumatic moment when a child realises its coherent body shape in a mirror. From that moment on, a lifelong struggle with this virtual imago accompanies human beings on their personal stage (arena). The peak of this psychoanalytical reading has become contemporary selfie culture. Ana Maria’s and Florian’s studiolo developed a constant self-portrait of their work, their thoughts and everyday practices.

Angelika Schnell Antje Lehn

Since its first theorisation in ancient times, the idea of mimesis or imitation has been a philosophical, an anthropological, a psychological, a political and in particular an aesthetic topic. It has constantly changed meanings and techniques – and as a result, the act of imitating is no longer seen as something simply innocent (e.g. a learning child) or purely submissive (e.g. copying a master). Instead, it is seen as a socio-technical practice, challenging humanity’s superiority, or as an aggressive practice of power, conquest and even revenge.

However, copying, borrowing, adopting and adapting ideas from others – consciously or not – is something completely normal in every architectural design process, the most basic and simple thing. But it is also the most complex one.

Teams of students were asked to choose one iconic text or project on mimesis theory and to transform it into a design project, which was itself a mimesis object, since it was meant to be a contemporary interpretation of a Renaissance studiolo – a room to study, work and collect pieces of art, which at the same time reflects a way of working. The students’ work was not only dedicated to literature research and writing; they were also asked to reproduce or reconstruct the idea of a studiolo by constantly oscillating between physical and virtual space.

Design Studio BArch5

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HTC HISTORY THEORY CRITICISM

Pia Bauer / Ida Fröhlich: INGRID – Research Laboratory for Sustainable Image Referencing The project is based on Kevin Kelly’s seminal book “Out of Control” (1994), where a famous cybernetic riddle is explained, according to which there are at least six possible reactions of a chameleon that is placed in a mirror box. Pia and Ida constructed a laboratory (their studiolo) that was based on contemporary search engine processes.

They used given pictures of architectural designs and inserted them into several search engine platforms such as Google, Baidu and Pinterest, which produced different but also similar results. They all confirmed the basic input, i.e. the personal prejudices of the person who produced the image.

Based on this result, a fictional machine for image referencing called RM-711360 was constructed. (large drawing)

Photo: Antje Lehn

REVIEW WINTER 2018

Felix Kofler / Nuria Keeve: OCTV – Open circuit television The Kuleshov effect is well-known amongst filmmakers and describes how a picture in a movie is interpreted not by its content, but rather by its context, for example the following picture. Felix and Nuria placed a multi-media setup in a room, which constantly produced pictures of itself. Every picture produced created the context for another picture, so that an endless chain of virtual and analogue rooms appeared. Link: https://www.pscp.tv/w/1zqKVOAkbwaGB.

Reading workshops on Gilles Deleuze, Michel Foucault and Theodor Adorno’s theoretical writings in the context of mimesis accompanied the studio. With thanks to Lisz Hirn and Ryan Crawford.

Advisors: Angelika Schnell Antje Lehn

Oscar Wilde’s essay “The Decay of Lying” (1896) praised lying as the only possible instrument for artistic work – as opposed to any attempt to imitate life and nature. Ilinca and Katharina reflected Wilde’s statement from a contemporary standpoint. On the one hand, through the topic of fake news, lying has become even more normal, but at the same time problematic; on the other hand, many artists such as Cindy Sherman or theoreticians have played with the impossibility of finding something like a natural identity. In their studiolo box, they collected several examples of lying, leaving the debate open.

Photo: Joanna Pianka

Oscar Binder / Nikolaus Podlaha: An Indefinite Reconstruction In the 1980s, filmmaker Peter Greenaway created an alter ego, called Tulse Luper, about which he made several documentaries. Similarly, Nikolaus and Oscar created James Clarke, an architect who became famous for a project in Tokyo. Unfortunately, the drawings and documents were almost completely lost. By reflecting the methodological problems of the hermeneutic circle, Nikolaus and Oscar demonstrated in their little archives the infinite struggle to correctly reproduce and understand James Clarke’s work.

Photo: Christina Ehrmann

Ilinca-Rona Urziceanu / Katharina Eder: The Ascent of Lying

Leah Dorner / Sophia Stemshorn: UNITX Gayatri Chakravorty Spivak’s postcolonial essay “Can the Subaltern Speak?” (1988) questions the possibility of reproducing someone’s thoughts and practices as such. Leah and Sophia created a space that was literally constructed out of a text itself, through which people were meandering without being able to understand its complete meaning. The text was authored by them; it contains their personal doubts and questions as architects and privileged persons speaking and working for someone else.

Large Drawing: INGRID RM 711360, Pia Bauer / Ida Fröhlich

Students: Pia Bauer Tamar Ben-Israel Florian Berrar Oscar Binder Ana Maria Chiriac Daron Chiu Diana Cuc Leah Dorner Katharina Eder Ida Fröhlich Nuria Keeve Felix Kofler Paul Knopf Prima Mathawabhan Nyima Murry Emilia Piatkowska Nikolaus Podlaha Hannah Rade Thea Ringmann Madsen Sophia Stemshorn Ilinca-Rona Urziceanu Luna Villanueva-Pangaud

Photo: Katharina Eder

Guests: Christina Jauernik August Sarnitz Lisa Schmidt-Colinet Nasrine Seraji Andreas Spiegl Hannes Stiefel Seth Weiner Julia Wieger

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Advisors: Cristina Díaz Moreno Efrén García Grinda Guests: Andrea Börner Andrew Holder Gregorio Lubroth Niklavs Paegle Hannes Stiefel Wolfgang Tschapeller Students: Iklim Dogan Ella Felber Clara Fickl Burak Genc Christopher Gruber Sara Hozzankova Paula Lopez-Gomez Flavia Mazzanti Catherine McCartney Pablo Mera-Hernando Ondrej Mráz

experience (outside), Christopher Gruber

LONDON PLEASURE GARDENS

REVIEW WINTER 2018

Cristina Díaz Moreno Efrén García Grinda

Design Studio MArch

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ADP

Public space for the MTV generation.

Paula Lopez Gomez, Pablo Mera Hernando

Experience. Paula Lopez Gomez, Pablo Mera Hernando

forms of publicness, Christopher Gruber

ANALOGUE DIGITAL PRODUCTION

The notion of the building as a Third Nature explores the possibility of artificially modifying our environments to form complex assemblies or ecologies in which living and inert materials, different social groups and technological objects are brought together in a state of constant interaction. Integrating strange subcultures, classical temples, natural ecologies, all kinds of emergent technologies, rituals and contemporary culture into architectural proposals, the studio has tried to redefine the notion of publicness, offering a counter-model to the ever-present spaces of spectacle and consumption, being creative and at the same time critical while exploring alternative forms of being together.

Conceived as distinct enclaves within the city dedicated to pleasure, the Pleasure Gardens along the banks of the Thames were walled-in worlds of small wonders where social classes and hierarchies were put up for discussion and flattened. Shifting programmes and types from the private to the public realm, they became a fertile ground for extravagance, alternative activities and social constructs. During their two hundred years’ existence beginning in the 17th century, they publicly redefined leisure and pleasure by putting together and reinventing menageries, rotundas, music halls, supper-boxes, kitchen gardens, pavilions, lighting and fireworks, public houses, lay temples, fountains, panoramas,

immersive world maps and conservatories to recreate a series of alternative counter-microcosms opposed to the daily routines and miseries of the big city.

By revisiting the notion of pleasure gardens, the studio has tested the relevance of activities, typologies, languages, organizations and spatial conditions to create a family of rare new species of public artefacts in the form of renewed pleasure gardens. To be located in Hoxton, London, these experiments subvert the idea of the spectacular banal that has dominated most recent examples of public space by understanding and exploring the cultural and political nature of public space and studying relevant public interiors throughout history. This public species will try to explore what public means nowadays in post-Brexit London and what role the spaces of physical interaction between individuals can have in the definition of the public sphere. The objective was to define new radical forms of publicness in an era where previous forms of creation and transmission of knowledge have been substantially eroded by the rise of parallel and virtual realities, in which new notions of realism, collective identity and public discontent are resulting in unprecedented political events.

Founded on abstract and theoretical aspects, Together in Public: London Pleasure Gardens was set up as a design studio committed to the architectural project as a form of knowledge in itself. It has been dedicated to exploring new languages that would overcome the antithetical notions of abstraction and figuration, in favour of processes of accumulating links with all kinds of cultural material throughout history and social practices, to be finally submitted to a process of formal and conceptual synthesis, with the aim of defining new, subtle and rich forms of beauty.

experience (garden), Christopher Gruber

What happens to public space if the traditional criteria of credibility and truth have simply become obsolete, and at the same time, we replace physical interaction with technologically mediated experiences? What if increased computation capability and the development of immersive digital media make the simulation hypothesis plausible? Where does creativity lie if we can search for and supposedly have instant access to anything, to any supposedly reliable information, to any image?

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THE TRANSFORMATION OF LANDSCAPES AND CITIES IN THE CONTEXT OF GLOBAL ART COLLECTIONS

Florian Hofer, Fabian Puttinger. Stills from video.

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Alessandra Cianchetta

Design Studio MArch

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GLC GEOGRAPHY LANDSCAPES CITIES

Advisor: Alessandra Cianchetta

WALTER PICHLER, STUDIO AND HOUSE ST. MARTIN AN DER RAAB, BURGENLAND 1972–2012 The Austrian artist Walter Pichler was trained as an architect and worked mostly on the threshold between architecture and sculpture. During the 1960s, he initially worked on architectural designs for utopian city models and plastic projects that dealt with space and its individual perception. He devised visionary architectural ideas, on which he worked in part with Hans Hollein.

His magnum opus can be found in St. Martin an der Raab, a town close to the Slovenian border.

Here, in a rather poor, rural area between forests and gentle hills, Walter Pichler bought an old farm in 1972, where he lived and worked from then on. His idea was to build the ideal surroundings for his work as well as his works. This meant that for 40 years, Pichler created small edifices to house his sculptures. The latter were not sold in principle, but Pichler built their own houses for them. Thus, in addition to the residential building in St. Martin, there are, among others, the house for the trunk and the skull, the house for the wagon, the house for the big cross and the house for the two troughs.

St. Martin was the ideal place for his sculptures, Pichler said, and he was reluctant to send them travelling to exhibitions.

Another peculiarity of this artist was that he worked extremely slowly and sometimes took decades to complete a sculpture, making many sketches, accurate drawings and plans, and building models. Time was an important material for him, on an equal footing with materials such as plastic, clay, wood and various metals such as lead, tin and zinc. Pichler placed great emphasis on quality craftsmanship and accuracy, repeatedly combining materials that are difficult to combine.

Pichler made a living by selling sketches, plans and drawings on the one hand, and on the other, he designed books for many years, initially for Residenz Verlag, then for Jung & Jung. He almost always turned down teaching assignments at universities and state awards. An exception was the Austrian State Prize.

His drawings show the intensity and extensiveness of the design of these buildings. The houses were not only intertwined with the history of his sculptures, but apparently also with Pichler’s personal history. One of Pichler’s major subjects in his sculptural work was the human figure. Many of his sculptures show the core of humanoid bodies. Figures appear in his drawings as well, ghosts as it were, either actively participating in the process of drawing as ‘The Draughtsman’ or more passively taking part as ‘The Beholder’.

Sometimes these figures appear without mention; in these instances, they seem to be part of the foundations or buried in the ground. Partly, it seems as if they merely serve to depict a human scale within the constructions around them.

Text: Florian Hofer, Fabian Puttinger

Bibliography: Walter Pichler, Austria, Biennale di Venezia 1982, published by the Ministry for Culture, 1982 Skulptur: Walter Pichler, exhibition catalogue, MAK Museum Vienna, Residenz Verlag, 1990 Walter Pichler, Passage, Jung & Jung, 2004 Walter Pichler, Skulptur Architektur, Jung & Jung, 2005

Florian Hofer, Fabian Puttinger. Model

Students: Maximilian Aelfers Bahar Akbari Fabian Buxhofer Elisabeth Fölsche Florian Hofer Jakob Jakubowski Nathalie Kerst Silvester Kreil Tringa Metushi Brina Meze-Petric Naomi Mittempergher Davide Porta Fabian Puttinger Maximilian Unterfrauner

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Thesis Project Raffael Schwärzler

Advisors: Wolfgang Tschapeller Werner Skvara

THESIS PROJECT

DIMENSION X – THE SOCIETY OF THE DRONES

The origin of civilian drone technology is deeply rooted in military programmes of the 20th century. It has not only changed the strategies of warfare, but also its ethics, since remote warfare is rapidly advancing.

Drones available to the public today are remotely controlled or autonomous flying machines, mostly piloted with the help of video goggles, allowing users to see what the drone sees. At the same time, autonomous flight modes are rapidly evolving and are already implemented in almost every drone accessible to the public.

MDX avalanche disarming drone

“Dimension X” shows a scenario of drone deployment, situated in the high alpine environment of Galtür in western Tyrol. The project includes the design of a variety of different autonomously flying drones, where each typology addresses a specific task and a design approach for a facility: a drone port, specially adapted to utilize autonomous drones in a high alpine environment – an environment where humans face natural hazards specific to the landscape like avalanches, erosion and landslides. It is a hazardous environment for humans, where human physical action is sometimes limited, but the action of the drones is only beginning.

Developments of the last decade, like the cheap production of potent, yet small and light electronics, have made drone technology affordable for the public. It is a technology accessible to everybody, and specialists are no longer required to assemble and operate drones, creating a multimillion-dollar market for everything from toy drones to high-end equipment for filmmakers.

The anatomy of the drone

Main module of the drone port (section)

DX1 excavation of avalanche victim

As the number of drones used by civilians is constantly rising and applications for drones are getting more and more sophisticated, my hypothesis is that drone ports as the necessary infrastructure for using autonomously flying drones will be widespread in the coming years. Therefore, design solutions will be required.

Thesis Project Linda Lackner

REVIEW WINTER 2018

Advisors: Angelika Schnell Wolfgang Tschapeller

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THESIS PROJECT

BELGRADE’S RADICAL MARGINS Belgrade's radical margins, inside the book 1

THE POLITICAL PAST AND THE POSTPOLITICAL CITY

Belgrade's radical margins, inside the book – digital wall of book pages / setup for installation

Belgrads radikale Ränder Vergangenheitspolitik und die post-politische Stadt

Although often located in the middle of the city, they – but especially the people who were often forced to live there – are placed outside the neoliberal, “normal”2 order of the city, so that their perception is severely limited. The places and people were each remembered for different purposes, but as they no longer had a function in stabilizing domination, they were pushed – mostly by political motivations – into institutional oblivion. In the process, it hardly matters which ideology, which government or which regime was and is involved in the construction of the respective hegemonic and thus valid memories and truths. While under Tito, it was the community-building credo of fraternity and unity that blocked out all non-communist forces, it was under Milošević that all non-ethnic Serbs were excluded from public remembrance, and in today's turbo-capitalist Belgrade, it’s all the people who cannot be capitalized on in any way, or who stand in the way of the total commercialization of urban space.

The radical margins have in common that they and their inhabitants (still) do not live up to the paradigm of the city’s neoliberal order and avoid the system of allocation that does not provide them a stake in society and places them on the outskirts of the city. In a system that pursues the total commercialization of urban space, they seem like errors in the system. As far as the current city government of Belgrade is concerned, these errors

The sites investigated in this work are the former WW2 Sajmište concentration and detention camp, whose remnants are still in the middle of New Belgrade today; however, due to neglect of the location since the end of the Second World War,

should be corrected as soon as possible and replaced by suitable and, above all, profitable functions and uses.

The progressive cleansing of the city of such places results in a serious curtailment of the cultural memory of the city, as the last remaining fragments of the less popular memories of previous hegemonies and, above all, memories of marginalized groups are completely expunged from the city’s archives. Establishing any counter-hegemonic narratives is thereby made almost impossible.

1 Cf. Jovanović Weiss, Srdjan (2006): Almost Architecture, Stuttgart: Akademie Schloss Solitude, p. 35.

At the same time, however, it is precisely this remaining disorder that offers the opportunity to disrupt the propagated, post-political order – which is based on the consensus that everything and everyone can be heard and counted – by demonstrating who is actually excluded from this consensus. According to the French philosopher Jacques Rancière, this designation of exclusion, which removes a body from its invisible and inaudible place, is the “political activity”4 per se, as the excluded are named and demand their inclusion into the “common world”. 5

4 “The political activity is that which removes a body from the place it was assigned to or changes the destiny of a place: it lets see what had no place to be seen, lets hear a speech that was heard only as noise.” Rancière, Jacques (2002): Das Unvernehmen - Politik und Philosophie, Berlin: suhrkamp, p. 41.

A close analysis of these radical margins reveals what is intended to be banned from the authoritarian historiography of the current Serbian government under President Aleksandar Vučić, and shows those people who are not to be seen and heard as those who have no part in society (la part des sans-part).

(Excerpt from Belgrade's radical margins)

Belgrade's radical margins, inside the book 3

it is not really perceptible or no longer recognizable as such due to transformed uses. Furthermore, the tower of the former headquarters of the Central Committee of the League of Communists of Serbia is considered in terms of the strategy of disguising the signs of previous hegemony. In contrast, the ruins of the former General Staff Building in Old Belgrade, which suffered significant bomb damage in 1999, serve as an example of deliberate preservation of ruins if they allow for political mobilization and stabilization. Beograd Gazela, one of the formerly largest but now evacuated Roma settlements on the shores of New Belgrade, as well as the destroyed railway workers’ barracks on the Belgrade Waterfront building site, represent tangible forms of the exercise of power through the distribution of places that assigns each person a specific place within the city – metaphorically as well as spatially.3 Finally, the mega-urban development project Belgrade Waterfront, which is currently under construction, will highlight the mechanisms that render this project, and thus Belgrade itself, a post-political city.

Belgrade's radical margins, inside the book 2

Belgrade’s history as the capital of different states and regimes is characterized by radical incisions into its urban development and planning due to political shifts and ideological alternations. The transformations of the city due to changing hegemonies and the various concomitant wars have left behind blind spots in the urban fabric of Belgrade. In the 1990s, the vacancies of the immense modern axis within the city of New Belgrade, which under Tito was to provide free spaces for the Yugoslav workers, were filled up under Slobodan Milošević . The formerly empty spaces were built-up with shopping centres, kiosks and innumerable additions and conversions, most of which were built illegally on public land and still characterize the image of New Belgrade today.1 In between the originally strict, grid-like, socialist city structure of New Belgrade, divided into 72 blocks, spaces can be found that seem like remnants of the diverse political, economic and social transformations of the city, but have been removed from the present, neoliberal perception. These places are referred to in this work as radical margins.

2 Jacques Rancière uses the term “normal order” to describe the division of society used by the respective system of rule and repression, which assigns all persons a place inside or outside of it. This order is by no means “natural”; rather, it serves to maintain the supremacy of the respective rulers.

3 Rancière names this order the “distribution of the sensible” (partage du sensible).

5 Cf. Rancière, Jacques (1997): Demokratie und Postdemokratie, in: Badiou, Alain; Rancière, Jacques; Riha, Rado; Sumic-Riha, Jelica (ed.), Politik der Wahrheit. Wien: Verlag Turia & Kant, p. 107, quoted in: Rosemann, Till (2013): Planning in the Face of Democracy. Mit Jacques Rancière über Raumplanung und Demokratie nachdenken, in: sub\urban. zeitschrift für kritische stadtforschung, 2013, No. 02, p. 49.

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Daniela Herold Lisa Schmidt-Colinet Tom Avermaete

GLC

Exhibition Workshop Debate

GEOGRAPHY LANDSCAPES CITIES

LIVING LAB: CONSTRUCTING THE COMMONS

HTC HISTORY THEORY CRITICISM

LIVING LAB: CONSTRUCTING THE COMMONS was a cooperation between the IBA_Vienna 2022, International Building Exhibition – New Social Housing, the IKA, Institute for Art and Architecture, Academy of Fine Arts Vienna and the Technical Uni­versity Delft.

Exhibition / Workshop / Debate

LIVING LAB: CONSTRUCTING THE COMMONS which took place in September 2018, comprised an exhibition, a workshop and a debate. Point of departure was the question of what is to be considered as common in the city. More specifically, questions were raised about how commonality can be defined in relation to housing and the urban environment.

How can architectural interventions play a role in unlocking common grounds in our contemporary cities, and how might new theoretical concepts of thinking the commons in relation to the con­temporary city emerge from this?

The exhibition Constructing the Commons was based on the results of three research and design studios that took place at the Institute for Art and Architecture at the Academy of Fine Arts in Vienna between 2016 and 2018. It combined present-day and historical architectural projects and explored in a broad way the question of what we can share in the contemporary city: What can be held in common between different neighbourhoods and between different citizens? How can architecture and spatial design contribute to the unlocking of spaces, and to their maintenance in the long term?

Seven new thematic fields emerged from these questions: Common Ground focussed on the accessibility of the ground level of our cities; Collective Structure examined the ways in which a common building code allows for individual appropriation; Shared Knowledge dealt with the common role of practical and intellectual skills; Unlocking Spaces looked at the forgotten rooms in our cities as a joint spatial resource; Multiplicity of Communities was engaged with places of encounter for various groups; Ambiguous Edges investigated the role of undefined urban loci, and Rights of Way explored urban porosity as a condition for common practice.

LIVING LAB started from two different, but overlapping agendas: In 2016, Tom Avermaete began his lecture series “Constructing the Commons – Another Approach to Architecture and Urbanism” at the IKA, claiming that the new conception of the “commons” can radically alter the way we think about the role of the architect, the character of the project, and the relationship between architecture and the city. In parallel, Lisa Schmidt-Colinet and Daniela Herold had launched a research and design studio on the platform History | Theory | Criticism, exploring transitions,

interlocking and threshold spaces between housing and the surrounding spaces of the city. This studio set-up aimed to contribute to the housing debate in Vienna, which had gained momentum with the announcement of the IBA Vienna for 2022. The proposal of Wolfgang Förster and the IBA team for a workshop on the area of Sonnwendviertel and the adjacent neighbourhood was the occasion that brought these two interests together.

The workshop, entitled Ambiguous Edges, extended the knowledge presented in the exhibition through artistic interventions in urban space. During a one-week workshop, real-life scenarios for recognising, marking and enhancing potentials of the commons along Sonnwendgasse and Gudrunstrasse in Vienna’s 10th district were developed: Students explored points of transition, ruptures and connections between two differently shaped urban environments, the recently completed housing development Sonnwendviertel and the existing block structure of the district.

The project was rounded off by the Commons Debate. Relying on experiences in the Netherlands and Austria, the debate explored how architectural interventions can play a role in unlocking common resources (be they spatial, practical or material) in our contemporary cities.

LIVING LAB: CONSTRUCTING THE COMMONS has explored a variety of issues concerning the relationship between the commons and the architecture of the city. Many of these issues need to be further explored and discussed in future projects, also – we hope – within the context of the IBA Vienna 2022.

Common Green, Installation Sonnwendgasse, Martin Eichler, Ferdinand Klopfer, Nathaniel Loretz, Patricia Tibu

The commons are intensively discussed in the contemporary debate on the city. New social, economic and political perspectives on urban life have emerged. However, it is less clear what role the architecture of the city – as a common resource par excellence – can play in processes of commoning.

Participants: Pia Bauer, Anna Barbieri, Oscar Binder, Marcella Brunner, Iklim Dogan, Martin Eichler, Ella Felber, Clara Fickl, Elisabeth Fölsche, Burak Genc, Christopher Gruber, Sophie Hartmann, Maria Heinrich, Simon Hirtz, Jakob Jakubowski, Amina Karahodzic, Mira Keipke, Ferdinand Klopfer, Silvester Kreil, Simon Lesina Debiasi, Nathaniel Loretz, Jean Makhlouta, Madeleine Malle, Naomi Mittempergher, Madina Mussayeva, Nils Neuböck, Stepan Nesterenko, Julia Obleitner, Maximilian Pertl, Katja Puschnik, Fabian Puttinger, Tobias Römer, Mikkel Rostrup, Doris Scheicher, Svetlana Starygina, Martin Sturz, Aysen Sulmaz, Patricia Tibu, Sonia Wipfler, Daniel van der Woude Guests: Tamara Brajovic (GB* Urban Renewal Office), Simonetta Ferfoglia (gangart), Hannes Gröblacher (landscape architect), Kristian Koreman (ZUS, Rotterdam), Marthijn Pool (Space&Matter, Amsterdam), Wolfgang Förster (initiator of IBA_Vienna 2022), Bernd Vlay (StudioVlayStreeruwitz) The project was supported by: IBA_Vienna 2022, International Building Exhibition – New Social Housing, Academy of Fine Arts Vienna, GB* Urban Renewal Office

Of terrains vagues and dancing trees. Filmstill Maria Heinrich, Naomi Mittempergher, Katja Puschnik, Fabian Puttinger

Exhibition view. Photo: Lisa Schmidt-Colinet

Curators: Tom Avermaete, Lisa Schmidt-Colinet, Daniela Herold

Angelika Schnell

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Exhibition Design Studio MArch

HTC HISTORY THEORY CRITICISM

HAPPY BIRTHDAY KARL MARX! VIENNA ROSSA: THE MAGIC MOUNTAIN OF AUSTROMARXISM

Showcase – the Schaufenster – at A zW. Photo: Christina Ehrmann

The students’ work from the HTC Master design studio “Vienna Rossa: The Magic Mountain of Austro-Marxism” has been shown at the Az W until summer 2019. It consisted of two parts. The first one was visible from the outside: it was a large showcase – the Schaufenster – next to the entrance of the Az W. It showed a stage-like collage of Viennese Gemeindebauten and was opened on September 26th, 2018, with a reading of a fictional dialogue written

by Iklim Dogan, one of the students. “Ideology – So Be It” is about two architectural historians – apparently Manfredo Tafuri and Eve Blau – who are sitting in front of Karl-Marx-Hof and discussing the validity of the notion of ideology for contemporary architecture. The second part of the exhibition was a huge installation placed diagonally in the permanent ex­hibition of the Az W. It was

Red Vienna’s red, abstract icon, the tower motif of Karl-Marx-Hof, which Hans Hollein had used for his 1985 exhibition Dream and Reality. But in its oblique position, it became less triumphal, serving rather as an exhibition wall for the students’ video podcasts. The show was opened on January 30th, 2019, with a lecture by Angelika Schnell on Manfredo Tafuri’s legacy and with short presentations by the students Silvester Kreil, Fabian Buxhofer, Naomi Mittempergher, Adrian Man, Luka Sola, Flavia Mazzanti and Iklim Dogan. The students questioned the consequences and meaning of Tafuri’s ideological critique through readings, audio plays, essays, installations and dialogues on the “magic mountain”.

Exhibition opening. Photo: Christina Ehrmann

Exhibition at the Az W (Architekturzentrum Wien)

SILVESTER KREIL: How Red is Vienna Municipal Housing Still?

FABIAN BUXHOFER: Six Characters in Search of ... The Stories of the “Tragic” Builders NAOMI MITTEMPERGHER: The Grossform – Political Architecture

Idea and project design: Angelika Schnell Monika Platzer, head of the Az W collection Installation design and set-up: Fabian Buxhofer, Iklim Dogan, Silvester Kreil, Adrian Man, Flavia Mazzanti, Naomi Mittempergher, Luka Sola Exhibition set-up Az W: Philipp Aschenberger, Wolfgang Ahrer Exhibition set-up IKA: Günther Dreger, Rüdiger Suppin

ADRIAN MAN: Heavenly Objects. From Anthropological Abstraction to Architectural Reification LUKA SOLA: About Women and the Gemeindebauten – The Potential to Subvert Through Feminist Minded Ecologies FLAVIA MAZZANTI: The Red Psyche: A Bridge Between Psychoanalysis, Education and Architecture IKLIM DOGAN: Ideology – So Be It

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Arts-based Research Project FWF (PEEK)

halfway

Project team: Christina Nägele, Heidi Pretterhofer, Christian Teckert and Linda Lackner

ON SPATIALIZING URBAN CONDITIONS halfway understands urban issues as questions of the spatialization of interests, agendas, discourses and conflicts. halfway uses the method of exhibiting as a way of thinking about urban issues and problems. halfway understands the display as part of the urban architecture. halfway is a place of artistic and curatorial production of a laboratory-like urbanism. halfway is the framework for the radical imagination of different social models. halfway sees itself equally as a place of research, production and publication. halfway is a place for the spatialization of acute urban phenomena; a space in which methods of artistic research realize a practice of urban curating; a laboratory in which social relationships are translated into design. Space production understood as a dialogical form of showing and exhibiting is a crucial aspect of research and knowledge production here.

In a three-part series of projects, halfway examines the spatial effects of cognitive capitalism characterized by immaterial labour, deregulation and precarious concepts of identity. The corresponding urban form is that of the project-based polis, in which the constant call for self-optimization and performance mixes with the algorithmic figures of (in-)dividualization.

Exterior view halfway / all images © Wolfgang Thaler / 2019

To this end, three interlinked urban phenomena will be examined, which will be analysed as case studies in Vienna, Tokyo and Vancouver in cooperation with selected research partners. The research discourse will then be translated into cumulative, successive spatializations. The spatializations function not only as displays, but as platforms for negotiations, which are repeatedly reconfigured in the course of the discursive work. This curatorial method is based on a participatory form of knowledge production based on a hybrid of spatial arguments by various actors from the fields of urbanism, art and architecture, as well as intermittent interventions by actors from heterogeneous fields of knowledge.

Dividuality of Spaces / Spaces of Dividuality utilizes urban case studies with prototypical, extreme examples of spatial typologies that are symptomatic of an increasingly “dividual” form of contemporary subjectivity. Dividual spaces cause a fundamental transformation of our spatial concepts that can be observed everywhere. The divided and divisible space corresponds to the “prosumer” subjects and their multiple roles, which always seem to be algorithmically pre-determined.

Migration of Forms / Forms of Migration addresses conditions of (ex-)change and thus the dimension that is a fundamental prerequisite for contemporary (individual) subjectivity and spatiality. In the parallel consideration of architectural and urban forms as symptoms of transcultural transfers as well as the corresponding identity designs, which are increasingly hybrid in nature, possibilities of appropriation and an associated temporality are investigated.

Economy of Architecture / Architecture of Economy will address the economic dimension of spatial production, in which different forms of the speculative allow for a decisive turn of the urban discourse. The algorithmic culture of individual spaces and subjects has long been part of the economic production of spatial bubbles, special zones, states of emergency and spatial projections into a future from which resources are borrowed.

Cooperation partners: Urban Subjects Jorge Almazán Photos: Wolfgang Thaler halfway was initiated by Christina Nägele, Heidi Pretterhofer and Christian Teckert as part of the research project Curating the Urban. The project is funded by the Programme for Arts-based Research (PEEK AR00405) of the Austrian Science Fund FWF and is hosted by the Institute for Art and Architecture at the Academy of Fine Arts Vienna. www.halfway.at

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halfway The halfway space is simultaneously a space for display/representation and for agency/production.

In this context, the display forms an essential zone of interaction, communication and performance.

The elements in the space have all been adopted and transformed from parameters encountered in the architecture. The complex where halfway is located embodies an idea of spatiality in which the image of precisely the societal formation we are exploring emerges in broad lines: it is the economy of cognitive capitalism based on immaterial labour, and it is no accident that at its origin, the themes of matrix, cybernetics and modulations were essential design elements.

SPATIALIZATION AS A METHOD “Where are the (…) tools that allow the contradictory and controversial nature of matters of concern to be represented?”

Bruno Latour

Here, Latour points to the increasing significance of visual artists in contemporary society, to whom the essential ability to chart and visualize complex social and cultural contexts is attributed.

By this, he also suggests a fundamental challenge of design and especially of architecture: that faced with a fundamental crisis of representing the complexity of the present (and its crisis-prone economy), the point should be to specifically represent its contradictions, in the sense of a different form of criticism that presents not primarily as text-based, but as a design problem.

Model-like, metaphorical and concrete configurations in space are the medium of urbanistic production intended by halfway. In this context, the format of the exhibition is considered as a laboratory and a stage just as much as a place for presentation, in which discourses are represented spatially, making them accessible and negotiable.

The Spatial Table (Serial Project 1,2,3,4) is an instrument for conveying a series of selected typologies of dividual spaces explored in Tokyo.

These were used as the locations of a fictional film about 24 hours in the life of a protagonist, whose everyday life is shaped by using these spaces of temporary access. The Spatial Table continually serves as a model-like backdrop for filmed conversations that are retransmitted into the setting as feedback.

In the course of the spatializations, Prop-Talks are repeatedly held, in which specially selected spatial situations in the halfway building complex are used as “stages” for discourses and equipped with specially developed props (models of symptomatic objects).

In Archive on Display 2,3,4, the three thematic fields of a Prop-Talk with Roman Seidl and Felix Stalder are interlinked along model-like settings and supplemented by audio documentation: Platform Capitalism and Disruptive Technologies; Subjectivization and Staging; Smart Cities and Ubiquitous Computing.

Two spatial settings are designed as emulations or derivatives of dividual spaces that are also instruments of communication and references: The Spacee (Derivat) emulates a sharing platform for the temporary use of residual spaces for work purposes such as meetings, photo shoots, conferences, etc. Roller blinds form the space, or dissolve it when it is not needed. In the course of Spatialization 1, the blinds became canvases for the video installation Food only exists on pictures

by Marlene Maier, which tells of three figures whose identities and actions are characterized by vagueness and volatility.

The Manga Kissa (Derivat), which refers to an analogue form of the temporary access economy and the dividualization of spaces, houses the digital project archive. For Spatialization 1, it houses the video The Trial of Superdebthunterbot

by Helen Knowles, which explores ethical issues and questions of liability in view of the increasing and invisible algorithmization.

Archive on Display 2,3,4

Spacee Derivat: Videoinstallation Food only exists on pictures, Marlene Maier

Spatial Table (Serial Project 1,2,3,4)

RESEARCH

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CMT

Building Visit

CONSTRUCTION MATERIAL TECHNOLOGY

WINTER 2018 CONSTRUCTION SITE Schillerplatz 3 1010 Vienna Photos: Luciano Parodi

Courtyard

Courtyard

Building visit as part of Building Technologies III - ‚In Detail‘.

A BArch4 seminar by Luciano Parodi.

Hallway

Hallway to office

REVIEW WINTER 2018

Dr. techn.

October 2018

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DOCTORAL STUDIES

WAYS IN WHICH TO MODEL SPATIAL PRACTICES – CERTEAU’S VEHICLES AND LEFEBVRE’S BALCONY Supervisors: Angelika Schnell Nic Clear

PhD project: Eva Sommeregger

This work is built around the notion of spatial practices. Spatial practices can define spatiality that is not necessarily tied to a place or territory; they are based on the notion of mobile bodies, and therefore produce mobile conceptions of space. Spatial practices function through active engagement, understanding spaces not for what they are, but through what they do. The process of writing this text involved looking at projects I had done at different scales and in different media, ranging from film and installation work to interactive digital pieces.

and space, as well as between language and space, were questioned and fundamentally rethought. The work thoroughly looks at the spatial motifs to identify a model within each of their theories: in Certeau’s case the vehicle, or the metaphor; in Lefebvre’s case the balcony.

Certeau’s text sets the scene in Manhattan (Certeau 1977: Pratiques d'espaces. La ville métaphorique). City space in the form of an island was carefully chosen, as it physically exemplifies the notion of a city in a framed or isolated form. In the course of the article, Certeau demonstrated how the notion of the city is impossible to A particular problem arose: how can freeze, and always exceeds and eswe learn from practice, even though capes its framing or isolation. The what has been learned is not scalable? question of how to isolate a so-called How can we work iteratively with object of study is approached as a different mediums, in my case timespatial problem. The text describes the based ones and text, which greatly vary in terms of temporality and mobility? fugitive city of Manhattan as a metaThinking more conceptually about what phorical city, as Certeau viewed the metaphor as both a linguistic and a links the projects led to the identificaspatial concept, able to carry fugitive tion of an underlying relational model instances – a vehicle. In Lefebvre’s that combines the notions of moving text, a distinct spatial model may also body, conceptions of space and the be discerned: the balcony (Lefebvre ways in which a means of articulation 1992: Éléments de rythmanalyse. can be employed accordingly. In this model, they are all treated equally, but Introduction à la connaissance des rythmes). For the purpose of perforstill inform one another. ming rhythm analysis, a balcony overlooking a junction in the centre of Why am I calling these relations a model, and not just interrelationships? Paris is selected. A body occupying the balcony cannot be seen as partial This idea is informed by reflecting on the underlying conceptual models we occupation of space or an individual unit: it is part of the same dynamics as work with on an everyday basis and space, which can no longer be seen are often not aware of. The notion of as an empty container indifferent to its the conceptual model can help with content; rather, this understanding of the pivotal questions of ‘How does space is based on forces that form an thought move between mediums?’ and ongoing dynamic of repetitions shaping ‘How can aspects be distilled and carand delimiting space (rhythms), which ried from one medium to another?’ – as thought is an entity that may travel. are explored through an open-ended, never-ending practice of investigation (analysis), never leading to a synthesis.

This architectural approach is used to identify conceptual models within the Finally, the work investigates how notion of spatial practices, as coined by the two theorists Michel de Certeau the two models travel between the different sites of the body, the text and and Henri Lefebvre. They built comprehensive conceptual models of spatiality the Centre Pompidou. The ways in which the models become effective around a particular historical moment within these three sites could not be in the 1970s, when well-­established more different. methods of relating between history

INTERPRETATIONS OF THE RENAISSANCE IN THE POST-WAR ITALIAN MODERN ARCHITECTURE DISCOURSE Supervisor: Angelika Schnell

PhD project: Jie Zhang

The development of modern architecture in Italy was always in turmoil, and it was the postwar era – especially the period from 1944 to the early 1970s – that witnessed its ultimate difficulty as well as its particular creativity.

For one thing, the Modern movement was not very well rooted in pre-war Italy. Under the Fascist government, it was recognized, on the strength of its formal elements, as a symbol of modernization rather

than a new way of practising architecture in line with modern society and industrial production. For another thing, the troublesome social reality posed a further obstacle. Italy faced a great burden of reconstruction right after the war. Besides, apart from several northern industrial cities, Italy was basically an agricultural country with no industrial base for modern architecture. Meanwhile, the political reality was not encouraging, either. The American-backed Christian Democratic Party delayed legislation on urban planning in favour of economic interests by selling plots to speculators. This led directly to an urban crisis with the advent of the first “ economic miracle” in the 1950s 1960s. First, the old city centres were ruined. Gradually, urban sprawl grew entirely out of control. Together with a high rate of unemployment in those years, it finally grew into fierce political turbulence towards the late 1960s. During this process, architectural students and architects stood out, for they were not only deprived of the responsibility for the physical environment, but also of a proper job by the excesses of the real estate industry.

Given this situation, it stands to reason that the Modern movement, as a new civil architecture, was required to readjust its relationship with a comparatively old culture, as well as with progress in economics and technology in post-war Italian society. In this process, tradition was a hindrance, but also an opportunity. The Renaissance emerged as an irreplaceable model, since it was recognized as the origin of a rational examination of an ancient legacy for the acculturation of the present. It was both culture and instrument. This thesis deals with various interpretations of the Renaissance to explore how it was integrated into the transition to modern architecture in post-war Italy.

It starts with a depiction of the general course in discussing the Renaissance so as to define what aspects proved helpful for the contemporary scene. The Renaissance was used as a way to talk about the relationship between modern architecture and human beings during the 9th Triennial held in Milan in 1951 after recon-

1 Rossi, Aldo. A Scientific Autobiography. Massachusetts: The MIT Press, 1981, p. 19

struction. The heated debate on whether proportion should be applied to today’s design could not be taken literally, but would lead to a profound investigation of the measure of the human body, the characteristics of new materials and the psychological perception of the two. By the late 1950s and the early 1960s, in the wake of the urban crisis, the Renaissance was used as a way to talk about the relationship between modern architecture and the city at the Andrea Palladio International Centre for Architectural Studies. Following the example of Palladio in the 16th century, the city was not seen as a spreading, open system, but as a big house, within which exists a harmonious extension from architecture via urban public space to the landscape. Towards the late 1960s, following ideological turbu­lences, the Renaissance was used as a way to talk about the relationship between the discipline of architecture and society. The birth of the intellectual class in the Quattro­ cento made architecture one of the branches of the liberal arts, the formal experience of which conversely promised the enduring legitimacy of its independent existence.

Despite the fragmentation of reality and the unreliability of politics, the full picture of interpreting the Renaissance built up an ideal image of modern architecture: an autonomous and fully controlled built environment based on human scale and psychology. This thesis therefore goes on to explore this intellectual world by analyzing eight individual architects and architectural historians in order to explore how each of them attempted to drag the disrupted reality back on track.

The interpretation of the Renaissance did not escape the scope of Tafuri’s “operative history”.

Still, it expressed a typically Italian way of facing the angst that was perhaps already expressed in Rossi’s autobiography: “Every summer seemed to me my last summer, and this sense of stasis without evolution may explain many of my projects. Nonetheless, to understand or explain my architecture, I must again run through things and impressions, must again describe them, or find a way to do so.”1

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ACCESSING FILM FRAMES – STAGING LANGUAGE “I am the space where I am.”

Gaston Bachelard, The Poetics of Space

“The resignification of speech requires opening new contexts, speaking in ways that have never been legitimated, and hence producing legitimation in new and future forms.”

GENDER QUEER DECOLONIAL STUDIES

Sabine Marte

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Lecturer: Sabine Marte Students: Ye La An Katharina Maria Eder Anna-Sofie Lugmeier Doris Elisabeth Maier Ilinca-Rona Urziceanu

Judith Butler, Excitable Speech: A Politics of the Performative

“The category of ‘sex’ is itself a gendered category, fully politically invested, naturalized but not natural.”

Judith Butler, Gender Trouble

The Seminar “Accessing Film Frames – Staging Language” gave students an opportunity to create spatial and media situations, and to stage them performatively using abstract projections.

The aim was to develop, in the course of the semester, scenes that use techniques related to space, media and experimental linguistics in order to position the students’ own content in relation to these parameters. While students were free to choose their texts, the textual and linguistic material for the scenes to be developed consisted, in part, of individual chapters of “Gender Theory” by Riki Wilchins, short documentaries about Michel Foucault and Jacques Derrida, and selected quotations from Judith Butler and Maurice Merleau-Ponty.

Film in its simplest form – as a projection of geometric shapes or frames of light – can always also be understood as an architectural element capable of articulating and changing a space.

Moreover, the projection forms a dispositif that enables us to reflect on power relationships

between space, the media field, language and the body.

By means of targeted, mobile projections tailored to the spatial conditions, the students were able to redefine a place in the space in question, and charge it with language.

The projected fields marked an inside and an outside, becoming visible or invisible.

They made it possible to act on the edges, where bodies transition from real space to media space, where language moves from brief vocal utterance to concrete pronouncement, or deliberately refuses to do so. In this complex field, students acted in the exercises, interacted, surveyed spaces, found positions, and ultimately designed scenes with their own text material. An important aspect of this was exploring their own voice.

space and, in turn, to experience the space itself as a medium reflecting the voice, and to use it in the design of their own scenes. Voices were often doubled, changed with effects or in pitch, or recorded in a place with completely different acoustics, such as a stairwell, so as to encounter them anew in the scene.

For the final presentation, the students defined a sequence of scenes, which was then performed. It coalesced into an accessible piece in which language “performed” in manifold ways, making it possible to experience its nature as both material and event.

Deliberately working with voiceover and texts spoken live enabled students to explore the gap between body and voice, to experience their voice as an autonomous element in the

Video stills from the final presentation on 28 January 2019 at the IKA Copyright: Sabine Marte Light drawing, Sabine Marte and Oliver Stotz Copyright: Sabine Marte

IMPRINT Institute for Art and Architecture (IKA) Academy of Fine Arts Vienna

Augasse 2–6, 1090 Vienna Office: room 1.3.11, 1st floor, core A arch@akbild.ac.at

+43 (1) 58816-5102, g.mayer@akbild.ac.at, +43 (1) 58816-5101, u.auer@akbild.ac.at

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

Editor: Christina Jauernik Proofreading: Judith Wolfframm Design: grafisches Büro