IKA PREVIEW Summer 2019

IKA SUMMER 2019 INSTITUT FÃœR KUNST UND ARCHITEKTUR

INSTITUTE FOR ART AND ARCHITECTURE PREVIEW

www.akbild.ac.at/ika

ADP ANALOGUE DIGITAL PRODUCTION CMT CONSTRUCTION MATERIAL TECHNOLOGY ESC ECOLOGY SUSTAINABILITY CULTURAL HERITAGE HTC HISTORY THEORY CRITICISM GLC GEOGRAPHY LANDSCAPES CITIES

Content

IKA S2019

Design Studios Bachelor

ADP ESC GLC

HOW TO LIVE IN AN AIR HANDLER / BArch2 4 CORREALITIES UNDER CONSTRUCTION / BArch4 6 MASTER/PIECES / BArch6 8

Design Studios Master

CMT HTC GLC

CRUMPLE SINN SKIN

10

STILL COLD?

12

SPHERES, PEDESTALS, VITRINES

14

Courses

ADP CMT ESC HTC GLC

16 18 20 22

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Doctoral Studies

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Excursion ISRAEL Symposium TRANSFORMING PRACTICE Symposium WELTBÜRGERMODERNE Lecture Series USELESSNESS Lecture Alessandra Cianchetta WORKS

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Calendar / Contact / Imprint

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Just before the Hayward Gallery at London’s Southbank Centre was closed for renovations in 2015, it was where I happened to stumble into an assemblage of the most diverse experiments, called DECISION, in which the artist Carsten Höller seemed to test the building, the technology and the visitors on a variety of levels. Before being admitted to the exhibition, I was asked if I suffered from claustrophobia, was afraid of the dark, or had a propensity to panic. If the answer was yes, I would be guided into the exhibition through a side entrance; if it was no, like most visitors, I would get to enter the exhibition through a very small main entrance. That was not quite what it was, however. First, we had to pad through a narrow, pitch-black, metallic labyrinth of tunnels, vaguely up and down through several

Carsten Höller, Snake Photo: Wolfgang Tschapeller

IKA S2019

meanderings, then steeply downwards until we were finally discharged into the exhibition through a lock, feeling as if we had traversed hundreds of metres, only to realise that the labyrinth’s exit was actually right next to its entrance, no more than a metre away, and that we had simply travelled a dead distance in metal ventilation ducts, in labyrinthine corridors normally used to funnel fresh, used, cleaned, filtered, heated, cooled, contaminated, pure or humidified air.

1 Excerpt from the description of the exhibition “Decision”, 2015, Hayward Gallery, Southbank, London 2 German Wikipedia, original text downloaded on 8 Jan. 2019, slightly modified 3 English Wikipedia, original text downloaded on 8 Jan. 2019, slightly modified

Monday / Tuesday / Friday 14.00—-18.00

Design Studio BArch2

5

Wolfgang Tschapeller Werner Skvara

“…exploring perception and decision-making …and…immersing visitors in a series of experimental environments…”1

ADP ANALOGUE DIGITAL PRODUCTION

Air handling units are technical installations for supplying external air to and discharging “used” or contaminated exhaust air from various rooms.

Depending on application, there are units with controlled air supply (air intake installations), controlled exhaust air (exhaust air units) and combined air intake and exhaust systems. An air handler is a technical installation adapted to the building that gauges the air throughput required depending on needs. […] Using air handlers, air can be conditioned by components such as heat recovery units with or without moisture transfer, mixing chambers, heating registers/air heaters or re-heaters. If the air is cooled or humidified, the unit is a partial air conditioning system. If the system fulfils thermodynamic functions such as heating, cooling, humidifying and dehumidifying, it is an air conditioning unit.

Air intake installations may comprise air filters and electric filters to keep out dust, pollen, air-borne particles and insects. 2

Autumn 2018, about 5 p.m., at the New York office of Transsolars; the weather outside is humid and oppressive, the sky somewhat darkly overcast. We were discussing the positioning of exhaust air ducts for Cornell’s Fine Arts Library in upstate New York with Eric Olsen, and I said that the building would be like the inside of an air handling unit, and Eric said, yes, that’s the principle, we always try to design buildings and envelopes like air handlers and filters anyway, and then he told me about a project in Beijing that had no programme, where the entire point was to construct, in Beijing’s heavily contaminated atmosphere, a space of absolutely pure air ...

An air handler, or air handling unit (often abbreviated to AHU), is a device used to regulate and circulate air as part of a heating, ventilating, and air-conditioning (HVAC) system. An air handler is usually a large metal box containing a blower, heating or cooling elements, filter racks or chambers, sound attenuators, and dampers.

Air handlers usually connect to a ductwork ventilation system that distributes the conditioned air through the building and returns it to the AHU. Sometimes AHUs discharge (supply) and admit (return) air directly to and from the space served Text: Wolfgang Tschapeller without ductwork. 3

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Frederick Kiesler, Battle of San Romano – memory sketch, Paolo Uccello, Uffizi, Florence © 2019 Austrian Frederick and Lillian Kiesler Private Foundation, Vienna

IKA S2019

(…) / We are making the catastrophic error of / basing our wisdom on a past, its facts / questionable indeed, while in truth / the present is a marriage of the nuclei / of the bearers of the past and the / standards of the future, simply because / no future can evolve that has not its real roots / in the values of the past (no matter how far apast). / We work with myths of facts instead of / with facts of a myth. // Events and memory of events are / continually transformed by the present / to procreate the future. This is the / correalism of nature, and it is / a pluralistic genesis. And it is not / a monotheistic configuration but a unity / of a constantly changing diversity. // (…)

Frederick Kiesler (The Correalism of Nature, 1960) 1

Monday / Tuesday / Friday 14.00—-18.00

Design Studio BArch4

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Hannes Stiefel Luciano Parodi

ESC

ECOLOGY SUSTAINABILITY CULTURAL HERITAGE

(…) // The traditional art object / be it painting, a sculpture / a piece of architecture / can no longer be seen as an isolated unit / but must be considered within the context of changes in time and space / moving physically and percepted visually / in all directions of environment / be it man-built or part of nature. / Thus we are stimulated constantly by split seconds / physically or emotionally with a world / already existent or in the making. / Object and environment remain / constantly one in unison with past and future. / Consequently the environment becomes / equally as important as the object / if not more so / because the object breathes with the surroundings / as we do. // No object of nature or of art can ever exist / or has ever existed without environment. / As a matter of fact / the object itself can expand to a degree / where it becomes its own environment. / (…)

Frederick Kiesler (The Correalism of the Plastic Arts, 1960)2

On Correalism and Biotechnique – A Definition and Test of a New Approach to Building Design was a lecture that Frederick Kiesler contributed to a Symposium on Science and Design held by the Alumni Association of the Massachusetts Institute of Technology in June 1938. He called for the implementation of a new transdisciplinary science in order to establish architecture as a socially constructive factor in everyday life. According to Kiesler, reality and the forms in which reality presents itself visually were the result of a constant battle for predominance between integrating and disintegrating forces. As he put it, “This exchange of inter-acting forces I call CO-REALITY, and the science of the laws of interrelationships, CORREALISM. The term ‘correalism’ [a neologism composed of the words ‘correlate’ and ‘realism’ – author’s note] expresses the dynamics of continual interaction between man and his natural and technological environments.” 3

1 Inside the Endless House – Art, People and Architecture: A Journal, by Frederick Kiesler, Simon and Schuster, New York 1964, p. 144-145 2 Ibid., p. 151-152 3 Frederick Kiesler, On Correalism and Biotechnique – A Definition and Test of a New Approach to Building Design, first published in: Architectural Record 86/3, September 1939

The question of the part of each individual (or also that of particular communities) in the production (and orientation) of such ecologies is a recurrent topic in our platform’s classes. It was discussed, in particular, with reference to Jacques Rancière’s proclamation of the emancipated spectator as a creator rather than a consumer. In his article Correalist Vision, Sanford Kwinter offers an expansion of this discussion about productive (visual) perception as a means of conceptual design, namely with reference to a particular connection between Kiesler’s work and that of perceptual psychologist James J. Gibson. “The work of Frederick Kiesler,” Kwinter writes, “may be said in certain ways to have provided a precocious precognition of Gibson’s game-changing conceptions of the relations of perception, sense organs, and the sensed objects and events that together, and in concert, comprise the environment(s) in which we live. Kiesler’s concept of ‘endlessness’ was in essence an expression of the continuity of every point and object in the world with what operates beyond it, in fields both proximate and remote. (…) The doctrine of Correalism projects a seamless ecological vortex that permits no essential division between worldly objects, their structural deployments, or the motives, habits and desires that brought them to be.” 4 In this respect – and from a contemporary point of view – some anthropocentric aspects of Kiesler’s concept of Correalism and its formulation (e.g. the declaration of “Man as the Nucleus of Forces”) can be bewildering. This alone is reason enough to radically rethink Kiesler’s stunning work today – by design, naturally by design.

4 Sanford Kwinter: Correalist Vision, in: Endless Kiesler, edited by Klaus Bollinger, Florian Medicus and the Austrian Frederick and Lillian Kiesler Private Foundation, Birkhäuser / Edition Angewandte, Basel 2015, p. 215-216 / 217

The Keeper at the New Museum, New York, 2016. Photo: Alessandra Cianchetta.

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Monday / Tuesday / Friday 14.00—-18.00

Design Studio BArch6

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Alessandra Cianchetta Daniela Herold

The studio will explore the relationship between art and architecture by looking at the interdependency between different forms of art and the space in which art is exhibited.

Furthermore, it will investigate the techniques of various art forms and their correlation to space production and the development of architectural structures.

GLC GEOGRAPHY LANDSCAPES CITIES

In appearance, this locus is a simple one; a matter of pure reciprocity: we are looking at a picture in which the painter is in turn looking out at us. A mere confrontation, eyes catching one another’s glance, direct looks superimposing themselves upon one another as they cross. And yet this slender line of reciprocal visibility embraces a whole complex network of uncertainties, exchanges, and feints. The painter is turning his eyes towards us only in so far as we happen to occupy the same position as his subject. We, the spectators, are an additional factor.

Michel Foucault (The Order of Things, Part One, 1 Las Meninas, 1966)

In the beginning, the focus will be on the rich terrain of Viennese art spaces. We will explore historical as well as contemporary art spaces to reflect on the change in ideas as to what a space for art should offer, and what it should look like. By analyzing and drawing various spaces, we will find out more about their composition and arrangement, their orchestration and organisation, their materialization and details. We will learn about the urban contexts and/or landscapes in which they are embedded, the rules of accessibility and the guidance of spectators. We will look at light, circulation, access, display, storage, proportions, details, projection and representation.

Further, we will direct our attention at a range of works of art both old and contemporary, and learn about their different modes of production. Out of a given collection including works from different eras, paintings, sculptures, drawings, films, installations and photographs will be traced or reproduced, whether entirely or in part, in order to explore their creative principles and to examine to what extent they are able to transgress the boundaries of their discipline. The question will be: How can they be applied in other fields of art?

Building on the knowledge thus accumulated, students will start to act as curators and designers in parallel, by selecting works of fine art either from the given collection or added by individual interest, by putting them in context to one another, by developing a conceptual framing and finally by generating a space to host them.

Detail: A self-supporting 3cm thin wall from textile concrete using a crumple technique developed by CMT, winter semester 2016

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In the winter semester of 2016/17, the Lower Austrian city of Sankt Valentin commissioned the CMT platform with the development and construction of prototypes for six bus stops in the city. We used an exciting new composite of textile reinforcement and ultra-high-performance concrete because of the thinness possible (3cm) and because material resources are finite. With thinness in mind, we began by folding large sheets of paper using diverse techniques and discovered the rich potential of crumpled structures. This studio will concentrate on the crumple and explore how this state can increase the strength of fragile materials and release the inherent beauty of the wrinkled surface, while creating material manifestations that are closely related to our most powerful sensory organ, the skin.

The artist, computer scientist and applied geometrist Ronald Resch began his work involving folding paper in the 1960s by crumpling sheets of paper. These observations led him to believe

Monday / Tuesday / Friday

Michelle Howard

11

CMT

CONSTRUCTION MATERIAL TECHNOLOGY

A zigzag rests on a crumple, detail of the 1:1 prototype

14.00—-18.00

Design Studio MArch

Crumple /’kr mp( )l from the Collins English Dictionary To crush or cause to be crushed so as to form wrinkles or creases in the existence of a type of order that carried through all of his work in the following years. He developed a structuring logic using the analogue and computational methods available to him at the time, producing kinematic polyhedrons, polygons and the Resch Curve. In the early 2000s, artists, scientists and engineers in computing and physics started to look at the crumple again, this time with computational power capable of analysing analogue models.

In 2016, Thomas Witten, a physicist at the University of Chicago, showed that every material crumples in roughly the same way – a tectonic plate, a cell membrane, graphene, or the fabric of Mona Lisa’s right sleeve, which, for Dr. Witten, folds in a way reminiscent of the human ear. In

Experiments in the form-finding process for the crumple in 1:1

November 2018, Omer Gottesman, a physicist at Harvard, scanned crumpled sheets of paper into his computer, and then, with an algorithm, he measured the sum total of all the creases. He found that each crumpled sheet was unique, but the total crease lengths of any two sheets stayed remarkably similar.

This is probably the greatest advance that computing and computer scientists have made: rather than translating complex phenomena into a language the computer can understand, the analogue model can now be used to teach the computer new algorithms.

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The fatherland is in decline. We are learning Esperanto. We are becoming citizens of the world.

Hannes Meyer, 1927

Detail of the joint of the duplex “master house”, which separates Lyonel Feininger’s half on the left (original functionalism) and the recently re-interpreted half (originally inhabited by László Moholy-Nagy) on the right (contemporary minimalism).

Photo: Angelika Schnell.

Monday / Tuesday / Friday 14.00—-18.00

Design Studio MArch Angelika Schnell

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HTC

HISTORY THEORY CRITICISM

that dialogue between philosophers/scientists on the one side and artists/architects on the other side appeared difficult. Even though they shared common goals – a rational, elementary and logical constitution of a modern world – they apparently had different foundations on which they built their rules and modern positions.

After Hannes Meyer had succeeded Walter Gropius as director of the Bauhaus in 1928, he started a comprehensive lecture series that was intended to bring philosophical and scientific impulses and debates to the students. Among others, he invited members of the Vienna Circle, an informal group of philosophers and scientists who met from 1924 until 1936 in Moritz Schlick’s mathematical seminar at Boltzmanngasse 5.

The Vienna Circle – core members were Rudolf Carnap, Herbert Feigl, Kurt Gödel, Hans Hahn, Richard von Mises, Otto Neurath and Philipp Frank, brother of the architect Josef Frank – rejected metaphysics and instead propagated the idea of a unity of science, based on logical positivism or empiricism. The neusachlich architecture of the Bauhaus seemed to be closely related to these ideas.

Unsurprisingly, the lectures by Neurath, Feigl and Carnap were welcomed at the Bauhaus, but were also controversially discussed. It turned out

The political circumstances in fascist Germany and Austria terminated this unique intellectual exchange, leaving behind many questions: How close could the relationship between a philosophical system and an architectural system be?

Can a common language be established? Can “thinking tools” for designers be created? What exactly were the differences between a rational architecture and a rational philosophical system?

Was the idea of a unity of science and a unity of art perhaps naïve and apolitical? Should architecture be based on elements or not? On geometry?

Standardised components? Digital codes? Did the Bauhaus and the Vienna Circle really overcome individualistic approaches? What would a politically and socially engaged architecture be today? Is it still appropriate to be a “citizen of the world” in postcolonial times?

Students will prepare essays, which are to be given as lectures in May and later submitted as texts for print. The topics may be generated by the students themselves, but should be related to the overarching studio topic. The Bauhaus celebrates its 100th anniversary in 2019. Numerous events – exhibitions, conferences, etc. – will take place in Weimar, Dessau and Berlin, the three locations of the famous school that only existed for fourteen years. On the occasion of the anniversary, the IKA, together with the IWK (Institute for Science and Art) at the University of Vienna, will organize a symposium on 16th and 17th May 2019 about the encounters and exchanges between the Bauhaus and the Vienna Circle. This is also the date for the students’ midterm presentations.

Sphere, Pedestal, Vitrine. David Gissen, 2018.

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Monday / Tuesday / Friday 14.00—-18.00

Design Studio MArch David Gissen

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GLC GEOGRAPHY LANDSCAPES CITIES

In this studio, we will ex­ amine three abstract architectural formations – the sphere, the pedestal and the vitrine – and their ability to physically shape natural, social and cultural history.

What we will call “spheres” are rooms that reconstruct natural and environmental history – like a palm house or planetarium.

“Pedestals” – in the form of stelae, plinths and socles – are platforms created to recall human lives and deeds, and “vitrines” maintain the fragile artefacts of culture. We will be making an architecture out of this spatial vocabulary and its historical flux.

Each of the above forms of architecture is indeterminate in scale and shape – the sphere can span from small square terrariums to enormous greenhouses. The pedestal can be the size of a paperweight or an urban plaza, and the vitrine can be a small block of resin holding an artefact or a large gallery hall like the Pergamon Museum in Berlin.

We will conduct a series of short projects on spheres,

pedestals and vitrines before designing a final building. In our first short project, we will develop a taxonomy of this architecture – from Boullée’s Cenotaph to the Sackler Wing of the Metropolitan Museum of Art. In our second exercise, we will consider artefacts of natural, social and cultural history that are drawn from a series of local institutions and will become the objects of our architectural explorations. This material will be modelled (and scanned, if need be) and printed in an enormous assemblage of stuff – from mastodon skeletons to endangered species of trees to works of art.

In our main project, we will redesign a section of the Heldenplatz stretching from the walls of the Hofburg to the north face of the Natural History Museum. We will each imagine a

building and/or landscape that not only connects these institutions physically, but their missions as well – something that can constitute a series of spaces in which natural, historical and cultural histories are given form in the city. In effect, we will design some type of museum of culture and environment that draws on our explorations of spheres, pedestals and vitrines, as well as on the collections of the surrounding institutions.

The studio will include workshops by Patrick Monte.

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ADP

Project Lecture BArch2 Werner Skvara

3D MODELLING AND ANIMATION I

The course covers the fundamentals of 3D modelling in computer-aided design. It provides students with an understanding of different types of modelling techniques and the skills to construct virtual models, extract two-dimensional visualizations and design basic animations. The course is closely connected to the BArch2 design studio.

ADP

Project Lecture BArch2 Eva Sommeregger

AU_1.16A Tue bi-weekly 9.30—-12.30

History and her story in the city

characteristics will be captured by students using the means of video, resulting in spatial and time-based drawings that exceed the limitations of two-dimensional architectural representations.

INTERACTIVE DESIGN, FILM EDITING AND SOUND, SCRIPTING

We will dive into the world of film and investigate spaces that may only come into existence in film, as well as the constructs that are necessary to realise them, using off-the-shelfsoftware in imaginative ways. Unlike other architectural communication tools, time-based media produce fluid and genuinely dynamic spaces.

Moving images will be employed to produce time-based spaces: Taking the city as a film’s protagonist, its

ADP

Seminar BArch / Elective Werner Van Hoeydonck

GEOMETRY II

Connections in space

AU1_1.16A Thu 9.30—-12.45

Architectural designers may switch between consumer and producer modes of interacting with media spaces – could this creative misuse be understood as yet another form of interactivity within the vast field of visual culture?

AU_1.16 Mon 11.30—-13.00

Descriptive geometry may seem antiquated due to computers’ ability to capture spatial forms in perfectly photorealistic simulations. Unsurprisingly, an architect’s ability to communicate space by means of artistic, sensitive, freehand perspective drawings that open up the observer’s imagination has become a rare and sought-after skill. Architectural education in fundamental geometrical principles – whether hand-drawn or mouse-clicked – will always be crucial for any formal expression. Geometry is not only the abstract constructive framework of both microcosm and macrocosm, but also the catalyst of humankind’s endeavour to express its fascination with spatial connections in buildings and ornamental art. Geometry again provides essential combinatorial spatial possibilities culminating in the fascinating world of polyhedrons. The Platonic, Archimedean, Catalan and Johnson solids, their intrinsic relationships and transformational, combinatorial potential offer an interesting area of study, providing reference points for understanding and studying space. Seizing and transforming the reference points of these highly symmetric solids in accurate drawings and 3D models enables us to probe unexplored spaces, connecting what was previously geometrically unconnected.

Turntable animation or walk-through, Eva Sommeregger

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ADP

Seminar MArch2 Daniel Kerbler

PARAMETRIC MODELLING AND DIGITAL FABRICATION

AU_1.16A Fri bi-weekly 9.30—-12.30 The research will not only focus on physical results such as plans, digital images or rapid prototyping models. It will also extend the boundaries of our intellectual approach, of the way we think.

How can the idea of parametrically driven data sets be utilized at the more conceptual and creative stages of design development?What impact could a parametric process have on the way designing architects think?

In this seminar, we will investigate these questions by taking the parametric approach out of the box it was originally conceived for. We will use software that is not exclusively streamlined for solving a predefined set of problems, but equipped to process a much wider scope of input data. The students will have a chance to research how parametric concepts can be applied to the architectural design process.

Cathedral of the Universe, Sacred Architecture, Svetlana Starygina, 2016/17

IKA S2019

The term “modelling” hints at a structure that can be described in 3D space. But this structure is only the result of processing input data by conditions, rules and constraints, recursive calculations and simulations. That simultaneous processing of information and the visual output generated in real time can have a strong influence on the way our ideas unfold within a design process.

Parametric modelling means to think in a parametric way. Eventually, the parametric concept provides us with a new mindset that has the potential to remove barriers from our thought processes. It can empower us to tackle problem definitions that previously seemed inconceivable.

ADP

Seminar BArch6 René Ziegler

3D MODELLING AND ANIMATION III

The course develops students’ modeling and animation skills, including solid-modeling und surfacemodeling techniques across diverse software applications. It teaches advanced animation techniques, shading and lighting simulation.

ADP

Seminar BArch + MArch / Elective Ludwig Löckinger

Media Lab Tue bi-weekly 10:30—-13.30

Course participants will learn how to capture photos suitable for creating stereoscopic images.

Those images will be edited and made ready for 3D display. Different techniques of capturing and displaying stereoscopic images will be discussed.

In addition, we will shoot slowmotion video clips and discuss what has to be considered in this context (camera set-up, light set-up, post-production).

CAMERA, LIGHT, PHOTOGRAPHY AND VIDEO FOR ARCHITECTURE STUDENTS II

AU_1.16A Thu 16.00—-17.30

Students can also get support for their own photo and video projects during the course.

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CMT

Lecture BArch2 Franz Sam

AU_1.15A Wed 15.30–17.00

BUILDING TECHNOLOGIES I

Construct Architecture

basic structure and technologies, as well as about their architectural relevance in a broader sense. We will discuss historically important applications and put them in relation to contemporary and cutting-edge technologies. In doing so, we will reflect on building practices and architectural construction, providing a comprehensive overview of construction technologies.

CMT

Lecture BArch2 René Ziegler

BUILDING STRUCTURES II

The course offers insight into fundamental aspects of the construction of a building. It starts from a basic range of materials and their various roles in building construction in its different historical contexts.

Students will explore the relationship between material properties, technology and form as a defining principle. In this, the aim is to develop essential knowledge about

AU_1.15A Thu 14.00–15.30

The course developes students’ understanding of structural and material behavior. Here, the teaching of building structures is integrated into the design process. Thus, the students can directly apply this knowledge to their design and obtain professional advice for specific projects.

CMT

Seminar BArch4 Luciano Parodi

AU_1.16 Thu 13.00–14.30

BUILDING TECHNOLOGIES III

In Detail

discussed in architectural discourse, but only on a visual level so far. Thus, the discussion has remained on the surface of things. We therefore intend to explore the genesis of ideas and architectures, departing from the very core and intrinsic characteristics of discrete details.

Building Technologies III aims to consolidate students’ knowledge of building technology. The course’s subjects of discussion are the production of details and the reciprocity between construction and detailing processes. Details and their presence or necessity for the production of buildings have been exhaustively

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CMT PROFESSIONAL PRACTICE I

Seminar MArch2 Thomas Schwed

IKA S2019

AU_1.16 Thu 10.00–11.30

The lecture introduces the professional and legal foundations necessary for the practice of architecture. With a focus on the planning phases, we will analyse the complex process of project evolution from the preliminary design stage to the planning application and building permit, followed by the technical design for construction in conjunction with the required project management.

By looking at examples, we will understand the process of design development. Informative site visits and the opportunity to talk to experienced architects at various offices will further add to our understanding of the design and building process, and of how it is structured and managed.

Carlos Fuentes, On Karlsplatz Pavilion by Otto Wagner, 2018

In addition, we will discuss the objectives of the planning phase, of building laws and regulations, building standards and various required calculations in relation to the design process.

IKA S2019

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ESC SUSTAINABILITY I

ESC

Project Lecture BArch4 Franz Sam

AU_1.15A Wed bi-weekly 17.15–20.15

The course Sustainability I is set up in a holistic way. It starts with aspects of materials and technology, and leads to questions of social behaviour and its impact on the sustainable development of structures and construction. It provides an overview of aspects of and motives for sustainable behaviour by looking at projects concerned with recycling and upcycling. This will help students understand interactions and processes of negotiating between social, functional and structural requirements.

Developing sustainable solutions under specific, social and technical conditions encourages flexibility and creativity in making use of formal possibilities, materials and technologies.

Project Lecture BArch4 Thomas Matthias Romm

AU_1.15 Wed bi-weekly 17.00–20.00

ECOLOGIES II

ESC WELL–TEMPERED ENVIRONMENTS Countless technological inventions have expanded the field of possibilities for shelter production. For coping with heat and cold, protection from wind and humidity, and regulating sunlight and shade, the new tools have been helpful and have inspired us to push the limits

Efficiency – optimizing input and output: 70% of the entire material flow and 70% of all waste are due to construction. Only 10% are closed loops. A circular economy is based on ever more intelligent technologies for continued growth. Are we headed for an architectural culture of efficiency with artificial intelligence at its end point?

Resilience – climate change is putting existing structures under stress. The importance of various regions and cities is shifting, even vanishing after peak oil. Millions of people’s lives are affected by this change.

A one-world-architecture needs parameters enabling us to act so as to affect the setting of our collective existence (Bruno Latour).

Seminar MArch2 Peter Leeb

AU_1.16 Thu 16.00–17.30

of architectural imagination. Yet economic and ecological considerations of resources, as well as their relationship with thermal comfort and mobility, have raised questions with far-reaching implications for architecture. These questions, relating to the history, the methods and the scale of providing comfort in buildings, have moved to the centre of our discipline’s attention.

In the course of the seminar, the interdependencies between technology, environment and human expectations of comfort will be portrayed as essentials for architecture, both conceptually and constructively. Historical and contemporary examples will be introduced, and perspectives on future developments will be considered in a critical fashion.

Start of construction work in 2014 in Aspern Seestadt Vienna, showing building materials processing on site. Copyright: Wien 3420 AG

Sufficiency, efficiency and resilience are those aspects of sustainability that we will rethink in terms of architecture in this course: cogitamus.

Sufficiency – what is essential? Can we, for instance, build a house from the resources we can find in a 20-mile radius? What are the basic needs behind the task, and what are adequate means of construction in the Anthropocene?

ESC CULTURAL HERITAGE II Forever Young? ”Buildings and towns enable us to structure, understand, and remember the shapeless flow of reality and, ultimately, to recognize and remember who we are. Architecture enables us to place ourselves in the continuum of culture”.

Lecture BArch6 Golmar Kempinger-Khatibi

AU_1.15 Thu 13.30–15.00

The lecture courses Conservation I & II deal with theoretical and practical aspects of modern conservation. They explain the meaning and importance of cultural and natural heritage today, the fields they cover, and the values and definitions they relate to. The courses will provide an overview of the field’s history, its significant movements and international guidelines and institutions.

It discusses sustainable retrofitting and also looks at management issues.

The application of theory in practice will be shown by analysing case studies, short excursions and visiting exhibitions. Occasional guest lectures will round out the program.

– Juhani Pallasmaa, The Eyes of the Skin (1996)

The practical part looks at the interaction between the building systems, materials, their surroundings and causes of deterioration.

ESC

Lecture BArch6 Thomas Proksch

SUSTAINABILITY II

IKA S2019

Caravaggio, The Incredulity of Saint Thomas, 1602

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AU_1.16 Wed bi-weekly 17.00–20.00

“At the beginning of every project there is maybe not writing but a definition in words – a text – a concept, ambition, or theme that is put in words, and only at the moment that it is put in words can we begin to proceed, to think about architecture; the words unleash the design [...].” – Rem Koolhaas The starting point for the lectures is my experience as a landscape architect and ecologist.

For many years, I have been contributing – as a consultant for landscape design and together with architects – to urban designs and architectural solutions regarding the site of a project, the specificities of its urban structure, its landscape situation and its socio-spatial conditions.

By means of reference projects, we will discuss whether incorporating the principles of sustainability into the planning process can contribute to improving planning results. The lecture will be conversational, and will be accompanied by excursions and city walks.

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HTC

Lecture BArch2 August Sarnitz

ARCHITECTURE HISTORY II – MODERNISM AND CONTEMPORARY TOPICS

The following position is to be discussed: Architecture is a semi-autonomous discipline aiming to design and enhance our built environment.

The term “semi-autonomous” reflects the different parameters on which the production of architecture depends, e.g. cultural, socio-economic and technological aspects. In addition, there will be a historical and theoretical discourse on aspects of historiography. The aim of the course is to promote a profound understanding of relevant background history as an introduction to modern and contemporary architecture.

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Seminar BArch4 August Sarnitz

AU_1.16 Wed 15.15–16.45

WRITING ON ARCHITECTURE, LANDSCAPES AND CITIES

decelerates, historical studies are of crucial importance to the architect in that they enable a broader sense of cultural judgment about one’s own time.

The question of “notation” is of great relevance in teaching history and theory of architecture: In a rapidly changing environment, where the pace of modernization never

This seminar addresses the classic themes of architecture and urbanism in the 20th century. After reading authentic texts, different positions of early modernism, classical modernism, postmodernism and other “isms” will be discussed.

Some seminar sessions will revolve around a selection of texts and books or will be concerned with the production of exhibitions. Readings include, among others, Camillo Sitte, Georg Simmel, Erich Mendelsohn, Lewis Mumford, Kenneth Frampton and Peter Eisenman. The aim is to present various positions on “notations” of architecture as a basis for an interdisciplinary discussion.

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Seminar MArch2 Andreas Rumpfhuber

AU_1.16 Wed bi-weekly 9.30–12.30

CONTEMPORARY DEBATES ON ARCHITECTURAL THEORY

Performing Fiction, Performing Architecture

interaction with the public. The seminar intends to analyse a practice of architect performance, challenging the traditional, authoritative speech acts of architects and their current status in public debate.

The aim of Performing Fiction, Performing Architecture is to theoretically explore architect performance in public discourse.

In this seminar, we will understand architect performance literally as the speech acts (Butler: 1997, 2004) of architects in public discourse. In doing so, we will focus on the figure of the architect and their

AU_1.16 Wed 13.30–15.00

The seminar will proceed by mapping as well as critically and theoretically reflecting on architect performance in public. Together with external experts from the performative arts, the aim will be to develop experimental performative formats.

Friedrich von Borries: RLF

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Lecture BArch6 Angelika Schnell

AU_1.15A Wed 10.00–11.30 of cities) always imply a political vision of society.

Starting chronologically with prehistoric and ancient cities, the lecture will give both an overview of the history of cities and of the history of theories of cities up to the present day.

In an alternating rhythm, the lecture will explain the historical, social and built reality of cities by means of selected examples and the theories that have determined or used them. The lecture discusses not only standard theories by architects and urban historians such as Leonardo Benevolo, Lewis Mumford and Ernst Egli, which describe the structural development of cities, but also theories and narratives that are based on their social, political, economic and narrative aspects. The lecture aims to show that theories of cities (even architectural theories

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Seminar MArch Christina Condak

AU_1.15 Fri 11.30–13.00

HISTORIES AND THEORIES OF CITIES Weltbürgermoderne – What is Left of the Dialogue Between Bauhaus and Vienna Circle

THESIS SEMINAR

THESIS DOCUMENTATION SEMINAR

The aim is to foster a basic knowledge of the historical development of cities; furthermore, to understand what theories of cities are and to raise awareness of the theories of the society we live in, promoting an understanding that ultimately enables us to challenge the theories of architecture.

The Thesis Seminar offers seminars and guidance for independent student research, which should result in the comprehensive development of a thesis proposal. The course provides general instruction in the definition, programming and development of a thesis project. Students will prepare their thesis proposals by specifically defining a question, developing a working knowledge of related research in that field, and producing an architectural hypothesis. The collected work of the seminar will provide the necessary materials for the subsequent semester’s design experimentation, testing, critical appraisal of the hypothesis and eventual thesis project.

The thesis argument will ultimately couple the specific resolution of an architectural proposition with the response to a larger question within architectural discourse.

Seminar MArch4 Christina Condak

AU_1.16 Mon 14.00–15.30

The course focuses on the representation and documentation of the thesis project. It challenges the students to develop their theses through a continuous process of oral articulation, writing, drawing and documenting, and enables them to formulate and structure their proposals. As the final synthesis of the graduation project, students submit their thesis documentation in the form of a book putting forward their thesis. It presents their hypotheses and methodology, includes research materials, the process of production and documentation of the final thesis project.

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Seminar BArch2 Lisa Schmidt-Colinet

DOCUMENTATION AND REPRESENTATION IN GEOGRAPHIES, LANDSCAPES, CITIES

Visual representation, as a project in itself, has the potential to reveal and uncover surprising realities of places. The complexity of a site obliges us to make clear decisions and rigorously sort information, but more importantly, it requires inventive interpretations of and a position towards the terrain observed.

AU_1.15A Fri 9.30–11.00

Denis Cosgrove, CartoCity, in: Else/Where Mapping

This seminar explores how techniques of representation, the selection of materials and the intentions of a site’s description are strongly interrelated. Gradual differences between tools of representing architecture as built form and modes of representing intricate interdependencies of a city fragment will be investigated. The course opens the scope from small-scale observation to the complexity of the urban terrain, focusing on the forces and processes that are the basis of urban form. Students will discover how a small site influences and affects the larger scale of a city. They will experiment with the visualization of underlying processes – starting from phenomenological observations and moving towards an understanding of effects, describing the territory as a complex set of relations. In addition, lectures will formulate a genealogy of urban representations.

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Lecture BArch4 Maria Auböck

AU_1.15 Thu 15.00–17.00

As Christopher Alexander wrote, “the thing which you make takes its place in the web of nature, as you make it.”

This module offers a lecture series about landscape planning and landscape architecture, including a field trip to relevant recent landscape projects in Vienna. The main objective of this unit is to understand the design of private and public spaces.

I want to offer the students insights into the structure and conceptual quality of landscape architecture: In a global context, we have to con-

sider the qualities of local sites, and learn how to select vegetation and material structures. The lectures inform about cultural history, natural science and project-relevant issues. Selected materials i.e. steel, glass, stone and wood, and their application in open spaces, will be discussed. We have to learn from today’s issues in order to project future landscapes.

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Seminar MArch2 Antje Lehn

AU_1.16 Wed bi-weekly 9.30–12.30

“The map is positioned beween creating and recording the city. It is this dual function, that release the imaginative energy of mapping, and which has consistently attracted the attention of artists as well as technicians to urban mapping.“

LANDSCAPES AND GARDENS Bliss and Beauty for All

MAPPINGS Mapping the Image of the City The focus of this course is to discuss historical and contemporary cartography and mapping as tools to describe and understand spatial patterns and forms of organization in society at large. It gives an introduction to intensive and extensive cartography, as well as issues related to topology, topography and city planning.

We will analyse maps as representations of surfaces and space, and expose their ability to show time-based and topological relationships. Filtering information and choosing formal and strategic parameters will help us to develop strategies of representation taking into account social behaviour, orientation and territories.

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Lecture BArch4 Bernd Vlay

AU_1.16 Fri bi-weekly 10.00–13.00

Cedric Price fundamentally questioned how things are and should be related to one another, addressing the framework itself as a fundamental issue of architectural intervention.

determined by the infrastructural elements.

This course uses (and abuses) the concepts of infrastructure in order to discuss the potential of urban and architectural design.

Infrastructures are infamous for FRAMING architecture: they have to be there BEFORE architecture can start its operation. The architect usually has to navigate conditions already present, pre-

In this class, we will explore and question this hierarchy, looking at different phenomena of infrastructure and networks. We will consider very diverse networks and infrastructures, revealing their influence on the power, responsibility and limitations of architectural thinking and doing that is at the very heart of architecture.

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Project Lecture BArch6 Gabu Heindl

AU_1.16 Fri 10.00–13.00

STRATEGIES FOR CITIES By looking at different cities and through the close reading of contemporary projects, competition briefs and urban situations, we will try to understand the embeddedness of

urban developments in their specific historical, political, economic and ecological circumstances. Can these conditions be challenged from within? Can we as planners use rules and regulations to other ends, find gaps in between areas of responsibility, misinterpret expectations precisely by taking them seriously?

Through knowledge and understand-

ing of the factors and actors, the laws and contracts determining our cities, perhaps we can find the means to shape the urban fabric and the ways in which people are allowed to inhabit it. In this context, a specific focus will be put on the question of housing, as the main “mass” of city building, regulated and controlled by manifold forces outside the realm of planning.

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Project Lecture BArch6 Christian Teckert

AU_1.16 Thu bi-weekly 9.30–12.30

“Hardly anything is more depressing than going straight to the goal.“ Cedric Price Amsterdam Centraal. Photo: Bernd Vlay, 2018

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Challenging from Within

URBANISM II Rethinking Urban Futures of the Recent Past The analysis of discursive formations in contemporary urbanism will be at the core of the lecture series.

It will include fields like sociology, art, media theory, philosophy and critical geography, which have been decisive for the current debates.

In a situation where no hegemonic method or unitary approach can be detected in urbanism, and

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after it has been claimed that urbanism as a discipline is facing irrelevance, this lecture series will be based on a critical discussion of the crucial theoretical debates and key terms in contemporary urbanism, like “network urbanism”, “tactical urbanism,” the “city within the city” or the “city of exacerbated difference.” At the same time, it will consider new methodological approaches to the realm of urban research, analysis and mapping, which increasingly represent an urbanistic practice in their own right.

Seminar BArch + MArch / Elective Birge Krondorfer

GENDER/QUEER/ DECOLONIAL Stadt/Raum - Macht - Geschlechterverhältnisse

SR_1.15 Block: 3 March, 4-5 April

at INTK Institute for Natural Sciences and Technology in the Arts

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There is no application deadline and no admission fee. Further information on the program: ika.akbild.ac.at/school/ admission/Dr_techn

DOCTORAL STUDIES (DR. TECHN.)

For queries concerning the programme, please contact: arch@akbild.ac.at

Architecture, as a discipline situated between the Arts and Sciences, finds itself in a unique position. Even if classified as scientific program of study by statute, the design process and therefore creative-artistic thinking forms the core of its education, thus architecture cannot be understood solely as an applied science. Architecture cannot be considered as a purely artistic discipline either since its practice involves a wide range of scientific aspects that require a rational-analytic and/or interpretive approach. These aspects are prerequisites to, as much as immanent societal obligations of the discipline.

Making research visible by means of a PhD program at the IKA emphasises the particular position of the discipline. This has given rise to a distinctive, highly original, concept of research which allows for both strict scientific research formats – i.e. within the field of architectural history or material technology – and artistic research at the intersection of design practice. Consequently, Doctoral theses may include and focus on theoretical, historical, technical as well social themes. Additionally, Design based research equally qualifies as a research path.

The IKA has offered a doctorate study program in architecture (Dr. Techn.) since 2011 which is open to students holding an appropriate university degree in architecture (master, diploma). Candidates who wish to apply for the program are required to write a synopsis of their proposed dissertation project and are encouraged to approach a professor at the institute who could act as a supervisor for their intended doctoral thesis. Once a supervisor is found the program normally stretches over six semesters.

Current Dr. Techn. Candidates at IKA ANAMARIJA BATISTA ‘Krise’ als Denkfigur und Ihre Manifestation im städtischen Raum: Ein Blick auf die künstlerische, architektonische und urbane Praxis. (supervisors: Diedrich Diederichsen, Angelika Schnell) WALTRAUD INDRIST 5 Häuser. 5 Familien. 5 Freundschaften – Der photographische Akt im Werk des Archi­tekten Hans Scharoun zwischen 1933 und 1945. (supervisor: Angelika Schnell) CHRISTINA JAUERNIK The figure is not with herself. En­tangle­ ments of the digital, technical and physi­cal self in the artistic research project INTRA SPACE, the reformulation of architec­tural space as a dialogical aesthetic. (supervisor: Wolfgang Tschapeller)

SOLMAZ KAMALIFARD A Study of Natural Lighting in Interior Spaces as a Human-Space Interaction Stimulus. (supervisor: Michelle Howard) BERTAN KOYUNCU Re-reading Henri Lefebvre Through I­nside and Outside the Refugee Camps in Lesvos. (supervisor: Angelika Schnell) ESTHER LORENZ The Corporeal City. (supervisor: Angelika Schnell) MAHSA MALEKAZARI Dancing to the Tune of Light. An investi­ gation into ascertaining discrete visual conditions through the active behaviour of the occupants. (supervisor: Michelle Howard)

MAX MOYA Adolf Loos — a reflected, constructed narrative. (supervisor: August Sarnitz) SIGRID PRINZ Das Phänomen SPLITTERWERK. ­(supervisor: August Sarnitz) ACHIM REESE Architektur nach dem Subjekt­verlust.

Zum Verhältnis zwischen Mensch und Architek­tur bei Charles W. Moore und O.M. Ungers am Beispiel ihrer Konzepte zum “Haus im Haus”. (supervisor: Angelika Schnell)

EXCURSION SPRING 2019

Shrine of the Book, Israel Museum. Frederick Kiesler.

Photo: Luciano Parodi

APRIL 30 – MAY 5, 2019

Luciano Parodi Hannes Stiefel

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ECOLOGY SUSTAINABILITY CULTURAL HERITAGE

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SYMPOSIUM 29-30 March 2019

TRANSFORMING PRACTICE ARCHITECTS ARE DEAD – LONG LIVE ARCHITECTS

Many students of archi­t ecture have seemingly become disillusioned with the notion of being an architect. The classical idea of working in hierarchical office-based practices, continually submitting applications to competitions, and having a career largely defined from graduation, has somewhat lost its appeal to many young architects of today.

This comes at a time, though, when these traditional processes are being challenged, subverted and abandoned for alternatives, internationally and in multiple ways.

2 days of lectures and workshops organized by students of the Institute for Art and Architecture at the Academy of Fine Arts Vienna with: dpr Barcelona STORE CIC Meriem Chabani from TXKL + New South Guerilla Architects and more

As we depart from the traditional notion of what ar­chitects can create, how they work, with whom they collaborate and what function their way of work has, we invite an eclectic range of speakers to discuss their practice and philosophy. In order to deconstruct the architect, architectural education must also be deconstructed, and so, alongside lectures and keynotes, the programme will include workshops and seminars to discuss different approaches addressing the question: What is an architect today?

Lecture series setting (2019) Photo: Christina Ehrmann

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Entrance to the Bauhaus building in Dessau. Photo: Angelika Schnell.

Entrance to Moritz Schlick’s mathematical seminar at Boltzmanngasse 5, where the members of the Vienna Circle met between 1924 and 1936

HISTORY THEORY CRITICISM

Angelika Schnell Contact: a.schnell@akbild.ac.at karoly.kokai@univie.ac.at

WELTBÜRGERMODERNE – THE DIALOGUE BETWEEN ART AND SCIENCE AT THE BAUHAUS

SYMPOSIUM 16-17 May 2019 Atelierhaus (ehem. Semperdepot) Academy of Fine Arts Vienna Lehargasse 8 1060 Vienna

The Fatherland is in decline.

We are learning Esperanto.

We are becoming citizens of the world.

Hannes Meyer, 1927

There were connections between Austria and the Bauhaus: Walter Gropius, the founding director of the Bauhaus, invited Johannes Itten to Weimar because of his art pedagogy at the Vienna art school. Itten then shaped the educational programme of the Bauhaus with his preparatory course. Moreover, between 1928 and 1930, members of the Vienna Circle, a group dedicated to the philosophy of science, were invited by Bauhaus director Hannes Meyer for several lectures on the scientific worldview, which appeared to correspond to the modern idea of a unity of art. Despite their shared goals, however, these encounters between artists and scientists also made apparent their differences.

At a jointly organized conference, the Vienna Circle Society, the Institute for Science and Art at the University of Vienna and the Institute for Art and Architecture at the Academy of Fine Arts Vienna will discuss the place of science at the Bauhaus in its various forms, from education to bio-romanticism, psychology and sociology to logical empiricism, and in particular how these topics have continued to develop to the present day. With contributions, inter alia, by Peter Bernhard, Dieter Bogner, Hans-Joachim Dahms, Károly Kókai, Philipp Oswalt, Angelika Schnell, Detlev Schöttker, Anne Siegetsleitner, Friedrich Stadler and IKA students.

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Michelle Howard Luciano Parodi

LECTURE SERIES 2018/19

CONSTRUCTION MATERIAL TECHNOLOGY

USELESSNESS: IS THIS HUMANKIND’S MOST VALUABLE TOOL? 18 March EVA BUCHINGER Sociologist 8 April DIEDRICH DIEDERICHSEN Author, Critic 29 April KERSTIN MEYER Economist, Activist 13 May SONIA LEIMER Architect, Artist 3 June RUTH SONDEREGGER Philosopher All lectures start at 7pm IKA Forum

supported by zt Kammer der ZiviltechnikerInnen | ArchitektInnen und IngenieurInnen Wien. Niederösterreich. Burgenland.

Our use of tools has often been portrayed as the definitive attribute that led to our current position at the top of the animal hierarchy by provoking us to stand upright and walk. As a direct result, our brains developed at an exponential rate, allowing us to express ideas, tell stories and make objects whose uselessness still confounds us today.

Uselessness rarely matches our expectations and disappoints a priori, but it can also fascinate and liberate because it contradicts the logic of use equals value. A depository of neglected ideas can also be a treasure trove, an alternative Pandora’s box that can trigger creativity and free the imagination. Since the advent of modernism, we have been preoccupied with usefulness and employability, be it in terms of space, energy, production or, indeed, education. Historians predict that the rise of artificial intelligence will produce a “useless” class that will not only be unemployed, but unemployable. Karl Marx, in his Economic and Philosophical Manuscripts written in 1844, said that the production of too many useful things results in too many useless people. Uselessness is an uncharted phenomenon that may lead us to a better understanding of what our common values are and prepare us for a new future. If our future will be defined by our uselessness, then it is time for this state and our judgements of it to be reappraised. This lecture series brings together people with very differing approaches to uselessness and attempts to shed light on what our new future could hold.

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Alessandra Cianchetta

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IKA Forum 7pm

GEOGRAPHY LANDSCAPES CITIES

ALESSANDRA CIANCHETTA WORKS

Poissy Galore, Insects Museum and Observatory in a Park. AWP (2017) Photo: Iwan Baan

I Need More Iggy Pop (1980)

LECTURE 24 June 2019

Alessandra Cianchetta is an architect, urbanist and founding partner of AWP, an architecture practice based in London (formerly in Paris). Born in Italy, Cianchetta studied architecture at La Sapienza in Rome, ETSA Madrid and ETSA Barcelona before cofounding AWP in Paris. Recent projects include Poissy Galore, a museum and observatory which is part of a 113 hectare park on the Seine near Paris (with HHF); the masterplan for Paris-La DĂŠfense, a grand-scale public realm project; an arts district in Liverpool, UK; a masterplan and office buildings in Lausanne/ Crissier, Switzerland; the regeneration of Malmo Quay in Newcastle-Upon-Tyne; a 51 ha masterplan for an Arts and Creative District set in a Unesco heritage site in Liverpool, and exhibition designs for the Louvre and the Italian Embassy in Paris. Her projects have been presented at and are part of the collections of museums and venues worldwide such as MAXXI in Rome, City of Architecture and Heritage, Paris, MoMA Museum of Modern Art, New York, the Storefront for Architecture & Art and Architecture, the Design Museum in London. Cianchetta has taught architecture and urban design at Cornell University, University of Virginia, Columbia University NY/Paris Program, Carleton University and The Berlage. awp-architecture.com

Kick off / semester start

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Diploma week Diploma salon Diploma week Midterm reviews Diploma 2/3 Diploma week Final reviews Diploma exhibition

11–15 March 8 April 8–12 April 6–7 May 13 May 12–14 June 17–18 June 18–28 June

LECTURE SERIES: USELESSNESS

Eva Buchinger Diedrich Diederichsen Kerstin Meyer Sonia Leimer Ruth Sonderegger

18 March 8 April 29 April 13 May 3 June

EVENTS

Symposium TRANSFORMING PRACTICE Symposium WELTBÜRGERMODERNE Bilder der Stadt kartieren, Hauptbücherei Alessandra Cianchetta IKA featured by „Donnerstags in der Bibliothek“

29–30 March 16–17 May 16 May 24 June 21 March 16 May 23 May 6 June

APPLICATIONS

MArch online registration BArch online registration ­ MArch + BArch interviews

29 April –17 May 20 May – 7 June 8–9 July

EXCURSION

Israel

30 April – 5 May

Academy of Fine Arts Vienna Temporary premises of IKA: Augasse 2–6, 1090 Vienna 1st floor, core A, www.akbild.ac.at/ika arch@ akbild.ac.at

IKA spaces: Admin: 1st floor, core A / Studios, seminar & lecture rooms, computer lab: 1st floor, core N / Doctoral students’ room: 1st floor, core C / Media lab: basement floor (UG) 1, core B / Model workshop: basement floor (UG) 2, core A

IKA S2019 CALENDAR

Office: Room 1.3.11, 1st floor, core A Gabriele Mayer +43 (1) 58816-5102 g.mayer@akbild.ac.at Ulrike Auer +43 (1) 58816-5101 u.auer@akbild.ac.at Postal address: Schillerplatz 3, 1010 Vienna, Austria

ANALOGUE MODEL WORKSHOP General machine hours (380Volt) MON – THU 2pm – 6pm For individual support, please contact: Rüdiger Suppin r.suppin@akbild.ac.at Günther Dreger g.dreger@akbild.ac.at

March

Institute for Art and Architecture Academy of Fine Arts Vienna Summer 2019 Chair / Deputies: Wolfgang Tschapeller Lisa Schmidt-Colinet Werner Skvara Editor: Christina Jauernik Proofreading: Judith Wolfframm Design: grafisches Büro