IKA
INSTITUTE FOR ART AND ARCHITECTURE
PREVIEW SUMMER 2020
www.akbild.ac.at/ika
INSTITUT FÃœR KUNST UND ARCHITEKTUR
ADP ANALOGUE DIGITAL PRODUCTION CMT CONSTRUCTION MATERIAL TECHNOLOGY ESC ECOLOGY SUSTAINABILITY CULTURAL HERITAGE HTC HISTORY THEORY CRITICISM GLC GEOGRAPHY LANDSCAPES CITIES
Content
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Editorial HITZE TAKES COMMAND 4
Design Studios Bachelor + Master
ADP ADP ESC CMT ESC CMT GLC HTC GLC HTC
Heat, Ice Cores, Manganese Nodules
City Cooling 8 BURNING DOWN THE HOUSE II
Ludwig Löckinger with students, Augasse 2019
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RAUMPARK 12 Venus in Furs
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Heat Takes Time
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HITZE 2 Lecture Series
Courses
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ADP CMT ESC HTC GLC
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Research at IKA
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Calendar / Contact / Imprint
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–273.15°C is the coldest there is. At this temperature, nothing moves anymore. It is “absolute zero”, 0 Kelvin. No mass particle vibrates anymore. When it gets warmer, when mass particles begin to move, when mass particles vibrate excessively, that is heat. As we can see, temperature not only measures warmth, it can also be a measure of movement. Since the vibration velocity of mass particles can be infinitely high, heat can also become infinitely hot. There is no such thing as the hottest temperature. There is only the hottest temperature produced. It is man-made and was generated in 2010 in a particle accelerator of Brookhaven Laboratories in the United States by colliding gold ions. That temperature is 4,000,000,000°C (4 billion °C).1 By way of comparison: that is 250,000 times hotter than the core of our Sun, which comes to 16,000,000°C (16 million °C). The heat in the Sun’s corona reaches 1,000,000°C (1 million °C), its filaments measure 10,000°C, and its surface curiously has an earthly 6,000°C, corresponding to the heat in our Earth’s core. Liquid iron still has a temperature of 1,540°C,2 and the ignition temperature of paper – at least according to Ray Bradbury – is 233°C, or Fahrenheit 451.3
Our immediate environment is considerably cooler. In the summer of 2017, the administrator of the Vienna Imperial Palace gave a tour of the new conference centre. The rooms were icy cold, all of 18°C. Apparently, that is the temperature agreeable to a well-dressed Central European man in a three-piece suit in any place or season and at any time of day. As we can see, temperatures are controlled not only to make life possible, but also to assert a selective, formalized and sometimes fossilized lifestyle. Producing cold and heat means a command of temperature, lifestyle and culture, and moreover, in this case, a gender-specific hegemony over a space that was a political and cultural instrument of power even before climate control. As we can see, culture and temperature are also closely linked. Temperature can be a measure of culture. Heat and cold drive culture. In his “Cultural History of Climate”4, Wolfgang Behringer shows that cultures have their specific temperatures, and that any shift in temperature is a cultural shift. That was also the case at the beginning of the Holocene: “The transition from the Upper Palaeolithic to the Mesolithic economy happened relatively quickly; it was induced by climatic upheaval”5 ... “Global warming meant an end to the previous human economic system” and “global warming is linked to a fundamental change in human culture…”6 Now, we could let these sentences stand as they are, a concise commentary on the beginning of the geo-
Introduction Wolfgang Tschapeller
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chronological epoch in which we live, the abovementioned Holocene. However, the phrasing chosen by Behringer for the early Holocene is suggestive. It sounds as if it was meant for the here-and-now, as if it was written for our time. Let us then take these sentences and write, from the perspective of the future, about the late Holocene. Not much needs to be changed. It would read like this:
HITZE TAKES COMMAND is the annual project 2019/2020 of the IKA, Institute for Art and Architecture at the Academy of Fine Arts Vienna.
“Hot Quark Soup Produced at RHIC”, still from an animation to visualize the generation of 4,000,000,000°C Source: https://phys.org/news/2010-02-liquid-hot-quark-soup-video.html 2019-08-25
“The end of the Anthropocene 7 economy embedded in the Holocene happened relatively quickly; it was induced by climatic upheaval. Global warming meant an end to the previous growth-based, capitalist human economic systems and a fundamental change in human culture.” If we follow this suggestion, and if we know which changes induced and accompanied the Holocene, it becomes clear in which dimensions, categories and terrains architecture can now be imagined.
1 Ibid. 2 Information from Wikipedia, 2019-08-25 3 Ray Bradbury, Fahrenheit 451, New York 1953 4 Wolfgang Behringer, Kulturgeschichte des Klimas (A Cultural History of Climate), Munich 2011, 6th edition 2018 5 Ibid. p. 64, own translation. W. Behringer quotes Alfred Heuss and Golo Mann in Propyläen World History of the 1960s. 6 Ibid. p. 64f, own translation. 7 No formal determination has yet been made on whether we are still living in the Holocene or already in a new era, the Anthropocene. In any case, there is an overlap of characteristics between the two, hence the phrasing “Anthropocene economy embedded in the Holocene”. 8 Municipality of Vienna, Vienna environmental protection department – Municipal Department 22
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HITZE TAKES COMMAND is an attempt to understand a phenomenon that was previously an exceptional situation and has since become the new normal, with unlimited potential for escalation. HITZE TAKES COMMAND is a reaction to increasing climate shifts, the contours of which became visible in the past century and are now extremely critical. HITZE TAKES COMMAND is a reaction to the publication “Urban Heat Islands – Strategy Plan Vienna”8. The IKA wants to juxtapose this strategy plan with projects from an architectural and artistic perspective, both in a supportive and a productively critical sense. HITZE TAKES COMMAND and the curriculum: Are our curricula heat-appropriate? Is our education such that students and teachers develop the knowledge needed to deal with heat phenomena and climate change? HITZE TAKES COMMAND is the result of an in-depth debate. Structurally, the title alludes to Sigfried Giedion’s book “Mechanization Takes Command”. The title is ambiguous. On the one hand, it means that heat has taken the helm. On the other hand, it means that heat requires control. The HITZE TAKES COMMAND project 2019/2020 is generously supported by IMMOBILIEN PRIVATSTIFTUNG.
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Using instruments to measure temperature – whether of objects or living beings, of the earth or the atmosphere – has only been possible for a relatively short time. Although experiments with appliances and scales date back to the days of classical antiquity, precise measurements only became possible around 1654 in Florence when the first thermometer was built, commissioned by the Medici. This was an astonishing fragile instrument, a glass tube in which an amount of alcohol, sealed off from the air, expanded or shrank, depending on the temperature.1 This instrument allowed measurement to be made and compared, not just in Florence but at the same time in Pisa, Bologna, Paris, Innsbruck and Osnabrück. Ideally always employing the same method, regularly, at the same time using at least two thermometers, one of them facing north,
the other south. In addition, notes were made as well as ‘drawings of hailstones or of flowers that were just starting to blossom’. The concern was to link and record scientific observations with the help of a measurement network, in order to arrive at an objective, ordered understanding of the world. Not everyone wished for this ordered understanding. Above all it was not ‘willed by God’. Temperature, heat and cold appeared to be ‘the concern of God’. To deter the Medici from further such undertakings the Church gave them a bishopric and in return they stopped taking the measurements in 1670, after just 16 years2, until around 1760, a Europe-wide measurement network was established, followed around 1870 by a worldwide network which for the past 150 years has supplied data measured by instruments, with increasingly greater precision and detail.3
Monday / Tuesday / Friday 14.00—-18.00
Design Studio BArch2, MArch
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Wolfgang Tschapeller Damjan Minovski
ADP ANALOGUE DIGITAL PRODUCTION
„…ice cores are stored in 1m portions, heat sealed in transparent synthetic material, additionally protected by stainless steel tubes at temperatures below 20°C. Note the black discoloration of the ice core next to the researcher´s left hand. The black speckle indicates volcanic activity…” Still from video: “About ice cores” Source: https://icecores.org/about-ice-cores, 2020-01-25
Is that sufficient? Not really! We have temperature data recorded worldwide by instruments over the last 150 years. For remaining 4.54 billion years – that is minus these 150 years – there are no such temperature measurements. There are, however, natural climate archives such as tree rings, stalagmites, ice cores, corals, sea or ocean sediments, and pollen, which have an innate chronicle of the world that can be decoded by means of transfer functions4 and that provide information on many themes, including temperature and including HITZE. But of course, only for as long as these natural climate archives still exist, as long as they are not destroyed as the result of melting or are removed from the data context of deep-sea sediments as collateral damage caused by the process of extracting manganese nodules. We see that not only might the future slip out of our hands; the past can also slide away. But there could also be a brief and fortunate contact in which information can be rubbed off and transferred from one medium to the other, from natural climate archives that carry the entire text of the past to digital media that are absorbent enough to take up the entire text and to transfer it to another way of being. Is this, then, enough? Possibly! We have a small amount of directly measured data. And then we have an enormous mass of data from natural climate archives. Together they produce comprehensive models which, due to the sheer overweight of the past, shove the present and the future ahead of them as just the foremost edge - like a terminal moraine, as it were. As if there were no future! But then there is one. The graphs produced5 show for the next 100 years at least ‘a little future’. For 2050 they show a steep swing upward –
and upwards here means HITZE – which was reached briefly about 115 000 years ago in the Eemian Period or, for a longer period, around 3-5 million years ago in the Pliocene. For 2100 then a steeper swing upwards, which means even more HITZE. To find an equivalent in the history of the earth we have to look back even further, around 15-35 million years ago in the Miocene and Oligocene6. For these geological eras, whether it be the Eemian Period, Pliocene, Miocene or Oligocene, there are good and, in some cases, surprising detailed descriptions. Do these provide sufficient coffee grounds to read the future from? Wolfgang Tschapeller 1 https://de.wikipedia.org/wiki/Thermometer, 2019-12-15 2 www1.wdr.de/stichtag/stichtag-temperaturaufzeichnungflorenz-100.html, 2019-12-15 3 www.zamg.ac.at/cms/de/klima/informationsportal-klimawandel/ klimaforschung/klimamessung/geschichte, 2019-12-15 4 https://de.wikipedia.org/wiki/Klimaarchiv, 2019-12-15 5 …” the graphs produced … “ refers to IPCC AR5 RCP8,5. AR5 stands for Assessment Report of the IPPC. RCP stands for Representative Concentration Pathway and RCP8,5 (one of the four RCPs that were taken from the IPCC) stands for the pessimistic assumption that the CO2 emissions will increase throughout the entire 21st century, see https://en.wikipedia.org/ wiki/Representative_Concentration_Pathway. The AR5 of the IPPC also describes scenarios that extend to the 23rd century. 6 W. Bölsche et al. Leben in der Warmzeit der Erde, Aus den Urtagen vor dem heutigen Klimawandel, 2019.
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Vienna is seen as a system of different areas of microclimate. Among them, some island-like areas suffer more from the heat than the rest of the city. The studio works on this agglomeration of warm islands in Vienna. Mapping the heated areas requires the first representation of the character of these islands. In this regard three elements appear particularly crucial: the functions of the wind currents, the possibilities of using recycled water, and the planted areas added. These three elements can be re-organized in pursuit of a realistic dream of large-scale apparatuses that could have a positive effect in cooling areas of the city. While avoiding invoking any out-dated ideas of ‘nature’, the studio explores architectures of the fake and the artificial in the form of designed enquiries related to the city, the garden and their common histories. In order to enter the field of possible interventions it is crucial to work with protocols: in this regard such protocols could formalize fragmented, scripted answers
to HITZE. Garden towers, wind influence and air-cooling technologies tested at an urban scale can produce different mechanics of urban cooling. The question examined by the studio looks at a major conceptual problem of architecture as regards its ability to consider issues of a larger infrastructural scale or to transform the small scale rationale of cooling traditions to bigger structures; avoiding a reverential understanding of technology (today sometimes seen as easily capable of stopping or reversing its own effects), the studio investigate in a local framework punctual strategic interventions that can positively affect the microclimate of the warmest areas of Vienna. The questions that are asked will, naturally, be local, accurate and also fragmented, but the answers to them may appear as a fleet of different urban apparatuses related to urban cooling. The extra energy for cooling also opens up another important field of investigation for the studio. Aristide Antonas
Aristide Antonas, Vertical Village, 2016. Copyright Aristide Antonas
IKA S2020
Monday / Tuesday / Friday 14.00—-18.00
Design Studio BArch2, MArch Aristide Antonas Werner Skvara
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ADP ANALOGUE DIGITAL PRODUCTION
Athanasius Kircher’s ‘Topographia Paradisi Terrestris 1675’ – an earthly image of Paradise illustrated as a walled domain located between the rivers of Tigris and Euphrates in Persian territory. The tree of life is located in the middle of the domain where the rivers meet. In the foreground to the left Adam and Eve talk under the tree of knowledge.
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The peach orchards of Montreuil-sous-Bois in Paris, now endangered by the plans for Grand Paris.
Monday / Tuesday / Friday 14.00—18.00
Design Studio BArch4, MArch Michelle Howard Antje Lehn
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ESC
ECOLOGY SUSTAINABILITY CULTURAL HERITAGE
CMT
CONSTRUCTION MATERIAL TECHNOLOGY
Paradise is shut and locked, barred by angels; so now we must go forward, around the world, and see if somehow, somewhere there is a back-way in. Heinrich von Kleist, 1881
Our house is burning down, HITZE has been unbridled. While both burning and fire produce HITZE, they are different chemical processes. Burning occurs when two atoms or molecules combine with each other to release heat and often light; hydrogen, for example, burns with oxygen to produce water. Contrary to Western theories on the origins of architecture, the first large human societies arose in arid and treeless climates where water could only be extracted from under the ground. In the 11th century Persian geologist Al Kharaji wrote the first text devoted solely to hydrogeology, which was called ‘The Extraction of Hidden Waters’.1 Hydrogeology shaped the Persian landscape and provided the basis for inhabitation, construction and prosperity. The Persians devised methods of enclosure on a climatic scale and constructed spaces that not only coped with stressed places but transformed them into what has often been described as an earthly paradise.2
The word ‘Paradise’, which is Persian in origin (pairi-daêzã), refers to the enclosed garden and, consequently, the ideal city. In the 4th century BCE, the Spartan General Lysander recounted how Persian kings ‘excelled not only in war but also in gardening’. Surviving descriptions consistently emphasize the gardens’ exquisite beauty, their abundance of trees, water, plants and animals. The city and the garden were cultivated with equal care, employing great feats of engineering to enclose and irrigate, provide shelter, sustenance and places of respite from the blazing heat. Water was used as a cooling agent by creating air currents through alternating sun and shadow, with the air passing over moving and spraying water, and exuberant perfumed plants, whose primary purpose was to induce a sense of well-being. Paradise was built on extremely sensitively constructed wall and hydraulic systems, which activated materials whose seeming impermanence was countered through careful awareness and protection from the elements. Similarly, in northern climates in the 1600s, fruit walls such as the peach orchards of Montreuil allowed people to taste the fruit and experience the paradise of stewarded HITZE. This semester we will extract knowledge of hidden gardens and waters in Vienna to propose an alternative basis for inhabitation, construction and prosperity. The biochar3 we made last semester could constitute our secret weapon. Michelle Howard
1 ‘The Extraction of Hidden Waters’ by Abubakr Mohammad Ebn Al-Hassan Al-Haseb Al-Karaji, is a pioneering text on hydrogeology. The book is in Arabic, the scholarly language of Persia in the medieval Islamic civilization era. 2 Athanasius Kircher’s ‘Topographia Paradisi Terrestris 1675’ – an earthly image of Paradise illustrated as a walled domain located between the Tigris and Euphrates rivers, in Persian territory. 3 Biochar, a super soil made by construction and combustion: Forest clearings are central to European theories on the origins of architecture: a primitive tribe arriving in such a clearing finds fallen trees scattered there. The parable invariably describes only two possible outcomes, the tribe members use the wood to construct a shelter or to build a bonfire. Last semester we looked at other possibilities and took an unbiased journey through the phenomena of the wildfire, following its lead in the forest and in the city. In a conscious effort of calibration between conjecture and activism, we embarked upon the step-by-step construction of soil using traceable and low impact production processes. Together with a collier family we selectively felled trees, cut split and stacked wood, covered it with evergreen branches, charcoal dust and earth, carried flames up to activate the process of pyrolysis and transform wood into charcoal. We created a new home for worms and microorganisms in a composter, which we maintained and nurtured in the studio. Together, charcoal and compost made the enriched soil that is the primordial tool for this semester’s undertaking.
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Florian Berrar & Lucas Fischötter, Cor(a)lescence. 2020
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HITZE TAKES COMMAND3 HITZE CHALLENGES4 HITZE TO BE CHALLENGED5 RAUMPARK TAKES COMMAND RAUMPARK CHALLENGES RAUMPARK TO BE CHALLENGED Hannes Stiefel, Luciano Parodi
1 RAUMPARKS are climatic devices; they are constructions of various sizes, operating on diverse scales, offering multi-dimensional populated parks, gardens and (*wild’) forests in and above our future cities. 2 ‘As perhaps the most fundamental condition of a possibility for architecture, and thus also its most definitive constraint, the notion of ground cuts across time and space to unite all buildings. Digitally-generated architecture has produced radical advances in virtual representations of space in which any grounding in gravity, materiality and tectonics is malleable (but often experiences difficulty in translating the resultant forms back into the material world). This falsification of reality, in a way the fundamental condition of all systems of representation, is a generative process, and in a sense it is the very structures of falsification that we wish to investigate. Doing so may allow architecture to simultaneously increase both its liberation from reality and its impact on the concrete world.
Monday / Tuesday / Friday 14.00—-18.00
Design Studio BArch4, MArch Hannes Stiefel Luciano Parodi
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ESC
ECOLOGY SUSTAINABILITY CULTURAL HERITAGE
CMT
CONSTRUCTION MATERIAL TECHNOLOGY
Jonathan Moser, ... about the logic of the vague... 2020
In order to explore these ideas, we propose the theme of Faux Terrain, or False Ground. The term originally described the three-dimensional artificial landscape designed to mask the transition between the viewing space of the spectator and the representational space of 360° panoramas built in the late 18th and 19th centuries. Ultimately, False Terrains can describe any artificial construct, but it is perhaps better to say that they obliterate the hierarchy between the real and the virtual in favour of a system of exchange between multiplicities of possible realities. Accordingly, we propose the notion of Faux Terrain both as an approach to design and as the description of a possible role for the architectural object. This approach embraces rather than denies the inherent distance between architect and building, and between building and public as precisely the territory of productive interpretation. Like the faux terrain, the building becomes a mediating body, a material thingforeign in some way to both designer and public, artist and spectator, which both links and separates them. Here we refer to Jacques Rancière’s notion of the ‘emancipated spectator’ as one who ‘dismiss[es] the opposition between looking and acting and understand[s] that the distribution of the visible itself is part of the configuration of domination and subjection. It starts when we realize that looking is also an act that confirms or modifies that distribution, and that “interpreting the world” is already a means of transforming it.
As a method of design, the Faux Terrain indicates the wilful insertion of a mediating structure between the designer and the reality that he or she observes. In this sense, the concept of Faux Terrain produces a kind of double-bind inscribed by the distance between its two terms - it asks the designer to examine very closely an existing terrain, while simultaneously using these observations to produce a novel construct, a false site, non-site, or virtual terrain that can both mediate and be reinserted into the real. To the extent that the imagination implied in the false is reinserted into the concreteness of the terrain, any essential difference between these two realms is destabilized. This approach allows designers to imagine radical new possibilities for architecture through intense observation of the world as it is, while acknowledging its fundamental contingency as its greatest opportunity.’ Hannes Stiefel / Brian Tabolt: Faux Terrains (2011). First published in Positions: Unfolding Architectural Endeavors, ed. by Maja Ozvaldi / Bence Pap / Indre Umbrasaite / IoA Institute of Architecture, Edition Angewandte, Birkhäuser, Basel 2020. Faux Terrain – Investigations on Critical Environments is the title of a research proposal by Luciano Parodi and Hannes Stiefel 2017/18. 3 see IKA, HITZE TAKES COMMAND, Preview Winter 2019, p.8 4 see ibid. 5 see ibid.
Sewing pattern, attached to „Das Buch der Wäsche“, Brigitte Hochfelden, ca. 1900 Tizian, Venus with a Mirror, 1555.
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CLOTHING AS A LAYER BETWEEN SKIN AND BUILDING
Monday / Tuesday / Friday 14.00—18.00
Design Studio BArch6, MArch
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Alessandra Cianchetta Daniela Herold
GLC GEOGRAPHY LANDSCAPES CITIES
HTC “She sat in an armchair and had kindled a crackling fire, whose reflection ran in red flames over her pale face with its white eyes, and from time to time over her feet when she sought to warm them. Her head was wonderful in spite of the dead stony eyes; it was all I could see of her. She had wrapped her marble-like body in a huge fur, and rolled herself up trembling like a cat. “I don't understand it,” I exclaimed, “It isn't really cold any longer. For two weeks past we have had perfect spring weather. You must be nervous.” “Much obliged for your spring,” she replied with a low stony voice, and immediately afterwards sneezed divinely, twice in succession. “I really can't stand it here much longer, and I am beginning to understand.”
HISTORY THEORY CRITICISM
Leopold Sacher-Masoch, Venus in Furs, 1870
Thermal comfort as described in building physics, depends on many influential factors. A climate is said to be healthy when the heat balance of the human body is well adjusted and when heat emission equals heat generation. Further, physics explains that the body`s own heat production is dependent on the workload and the level of activity, whereas factors like air temperature, the surface temperature of the space one is in, air-speed, humidity as well as clothing are decisive for heat emission. Where heat emission and heat generation are out of balance, we speak of a bad atmospheric environment.
wrapped in several layers of heavy fabrics in ill-proportioned shapes. It is said that hats and gloves were invented at that time and were used not only outdoors to keep warm, but also inside the house.
Hence our well-being is to a certain extent conditioned by the kind of clothes we wear in relation to the qualities of the spaces we spend time in. Both, the clothing as well as the space, protect our bodies from external climatic impacts, both are given a specific materialization, construction, and form so that the human physics can adapt to environmental conditions.
In this sense, we will devote the semester to clothing as a mediator between body, space, and climate. Along with the skin and the facade, cloth is seen as the second layer of protection.
Through looking at artworks throughout the centuries and relating them to the history of our planet’s climate cultural theorists argue that there is a close relation between climatic changes and the evolution of clothing. While in the warmer period of the early Middle Ages we note that the clothing is lighter, and that parts of the body are uncovered, later, until the end of the 17th century, during what is called the Little Ice Age, we see that bodies were
In his ‘Prinzip der Bekleidung’ Gottfried Semper places clothing in a different context to architecture, its history, and theory. In his text written in the 19th century, Semper states that clothing, rather than the construction of space, represents the beginning of architecture,. For him the envelope has the greatest significance, it is the main element in giving shelter.
We will initially approach the topic by looking at spaces in the city of Vienna that are characterized by specific temperature conditions, ranging from very hot to very cold. Then we will learn about the materials used to make clothes, from furs to silks, about their insulation values and the different techniques for processing them. Finally, we will design and produce shelter for the body in chosen climatic conditions at a scale of 1:1. The question is: what kind of clothes will we wear in the future to protect ourselves from increasing heat peaks? Alessandra Cianchetta, Daniela Herold
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“What could a utopic architecture be, if architecture remains grounded in the spatial alone? How can architecture open itself up to the temporal movements that are somehow still beyond its domain?”1 At the beginning of the 1960s Claude Lévi-Strauss suggested distinguishing between ‘cold’ and ‘hot’ societies in order avoid judgemental characterisations that separate supposedly ‘a-historic peoples’ that attempt to ‘annul the effect that historical factors could have on their balance and their continuity’ from those peoples that ‘decisively internalise historical growth in order to make it into the motor of their development.’2 According to this definition it seems logical to describe modern Western states and their populations as ‘hot societies’, after all, climate change appears to reveal just how incompetent these societies are as regards reversing their motor of development that is constantly focussed on acceleration and growth.
Jan Assmann has undertaken an important differentiation of this concept. Lévi-Strauss’ definition assumes that a ‘cold society’ can develop into a ‘hot’ one, but not the other way around, as it is taken for granted that the invention of written and visual media, which make it possible to exteriorise knowledge of the environment and therefore to disseminate it rapidly, cannot be forgotten. Assmann, however, points out that there have been both highly developed cultures of writing unfamiliar with any motors of progress (for example ancient Egypt), as well as ‘cold’ institutions such as the Church or the military which can ‘freeze’ social change in ‘hot societies’. For him cold and heat are to be understood as 'cultural options which at any time exist independently of writing, calendars, technology and rule’.3 Although every society has a tendency towards the ‘hot’ or the ‘cold’ pole, it can avail of ‘cooling and heating systems’, with which it can shape its existence and development.
Vienna's St. Stephen Cathedral, Photo: Lisa Schmidt-Colinet
IKA S2020
Monday / Tuesday / Friday 14.00—18.00
Design Studio BArch6, MArch
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Angelika Schnell Lisa Schmidt-Colinet
GLC GEOGRAPHY LANDSCAPES CITIES
HTC HISTORY THEORY CRITICISM
Behind this concept is a questioning of the idea of linear and teleological progress that is still widely seen as self-explanatory and that appears to be inscribed in the architectural design process as long as it is assumed that a bad present must be overcome to provide a better future. However, the design process itself has an entire series of internal and external time strategies with which it is possible to shift between forwards and backwards, cyclical, chaotic or stagnating; it is an ‘ … action time that is associated with action and is more richly structured’ and can be described as ‘time gestalt’.4 Equipped with this knowledge architectural thought can ‘implant itself’ not only in space but also in time in order to develop new ways of looking at critical situations. Two consequences of the progress model that illustrate where the latter has arrived at its ‘turning point’ are to be examined. The phenomenon of ‘overtourism’ and the increasing heat in cities create immense problems for Vienna’s First District in particular. It is one of the densest (buildings, people, history), and also, despite (or because of) the fact that it is bustling with tourists, one of the most saturated or ‘most frozen’ urban districts – who would want to build here? On this account it offers a suitable example for reflecting both metaphorically and in concrete terms about how ‘hot’ and ‘cold’ zones could be newly designed in accordance with other temporal models. Must the same temperature conditions prevail everywhere and anytime, or can temperatures be adapted to imagined
functions? Or could entirely different temporal cycles for the functions of existing buildings and urban spaces be developed? Would this, in turn, demand more or less movement between temperature zones that change rapidly and those that hardly change at all? Could the streams of tourists that are limited as regards when they occur but are permanently registered offer a possibility for new design ideas? Should densities of use be rectified spatially and temporally, and should the use of certain areas be abandoned so that they can be made temporarily ‘fallow’? Might existing climatic zones such as St Stephen’s Cathedral, which have been stable over cycles of seasons and through centuries, contain a ‘cooling system’ strategy? And, must we ourselves reorganise our thinking about the future as a kind of Future Perfect: something will have been? Angelika Schnell, Lisa Schmidt-Colinet 1 Elizabeth Grosz, ‘Embodied Utopias: The Time of Architecture’, in: ead., Architecture from the Outside. Essays on Virtual and Real Space, MIT Press, Cambridge/Mass. 2001, p. 13 2 Claude Lévi-Strauss, Das wilde Denken (La pensée sauvage, Paris 1962), Suhrkamp, Frankfurt am Main 1968, p. 270 3 Jan Assmann, Das kulturelle Gedächtnis. Schrift, Erinnerung und politische Identität in frühen Hochkulturen (1992), C.H. Beck, München 2002, p. 69 4 Karen Gloy, Zeit. Eine Morphologie, Karl Alber Verlag, Freiburg/München 2006, p. 75
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LECTURE SERIES SUMMER 2020
HITZE 2 HITZE [heat] as a property of bodies, spaces and regions has shaped and continues to shape our thinking about architecture and cities. The lecture series HITZE, part of IKA’s 2019/20 special programme HITZE TAKES COMMAND , examines the spatial culture of temperature, and its broader social and political implications, through the eyes of a number of contemporary thinkers. The historians, artists, scientists and architects assembled in this lecture series will explore the topic of HITZE in dimensions ranging from the soup pot to the troposphere. Who can think of the future today without consideration of HITZE? Every exceptionally warm day is imagined as portending future disaster, while a sudden cold day provides hope that the ravages of climate change might be mitigated. Our experience of HITZE is overburdened with dread and yet, HITZE is also a form of pleasure – integral to sensations of taste, comfort and sexuality. We hope to discover and understand more about the realm of HITZE in explorations of fields that will shape the future of architecture and urbanism. The Lecture Series is organised and curated by Hannes Stiefel.
16 March 2020
HITZE – KOCHEN – ESSEN Sohyi Kim, Chef, restaurant Kim kocht, Vienna 30 March 2020
FORM FOLLOWS ENERGY Brian Cody, Head of the Institute of Buildings and Energy, Graz University of Technology
Academy of Fine Arts Vienna Institute for Art and Architecture Augasse 2-6, 1090 Vienna IKA Forum / 1st floor, core N
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all lectures start at 7pm
20 April 2020
THE HEAT OF INNER ORGANS_MICROCOSMIC AND MACROCOSMIC CONSTELLATIONS Claudia Bosse, Choreographer and Director, theatercombinat, Vienna 25 May 2020
THE ARCHITECTURE OF INJUSTICE, AND THE ARCHITECTURE OF JUSTICE Peter Sellars, Distinguished Professor, UCLA Department of World Arts and Cultures/Dance
RELEASE: BLANK #2!! blank is an international students publication, initiated by a group of students of the IKA, that serves as a blank space for everyone’s ideas. It might be nothingness and emptiness, but it also is the potential to be filled by our imagination. We see it as a free space, as a start, perhaps a challenge - an opportunity for sure! The second issue on the topic of crisis compiles more than 60 literary, visual, critical and artistic turning points from all around the world. Collectively selected from more than 100 entries in response to our Open Call, they will give multiple perspectives on moments of crisis. On 23 April 2020 our crisis issue will be festively released! (location tba) Edited by Ella Felber, Stepan Nest, Lisa Penz, Sebastian Seib, Martin Sturz, Carla Veltman; graphics by David Gallo. fb: @blankpublications ig: @blank_publication
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ADP 3D MODELLING AND ANIMATION I
ADP INTERACTIVE DESIGN, FILM EDITING AND SOUND, SCRIPTING
ADP 3D MODELLING AND ANIMATION III
Project Lecture BArch2 Werner Skvara
AU_1.16A Thu 9.30–12.45
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 studios.
Project Lecture BArch 2 Eva Sommeregger
AU_1.16A Tue 10.00–11.30
Let’s draw a thermostat: a thermostat and the space it generates. Manifold ways exist in which this task may be realised – each of them carries its own set of assumptions, presets and ways to look at the world. We will dive into some of these ways to explore their potential, investigating spaces that may only come into existence in 3D CAD. Or in film. Or in a 2D drawing. Or in AR. We will examine the constructs that are nec-
essary to realise those spaces using off-the-shelf-software in imaginative ways. Ultimately different tools will be employed to produce interactive spaces: their fluid and genuinely dynamic characteristics will be captured by students using the means of AR, resulting in spatial and timebased drawings that expand the limitations of two-dimensional static architectural representations.
Seminar BArch6 René Ziegler
AU_1.16A Thu 16.00–17.30
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.
Diploma Salon 2019. Photo: Lisa Penz
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Daniel Kerbler, Think Parametric, 2018
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ADP PARAMETRIC MODELLING AND DIGITAL FABRICATION How can the idea of parametrically driven data sets be utilized at the more conceptual and creative stages of design development?
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Seminar MArch2 Daniel Kerbler
AU_1.16A Fri bi-weekly 09.30–12.30
We will use software that is not exclusively streamlined to solving a predefined set of problems but equipped to process a much wider scope of input data. The student will have a chance to research how parametric concepts can be applied to the architectural design-process.
by conditions, rules and constraints, recursive calculations and simulations. That simultaneous processing of information and the real time generated visual output can have a strong influence on the way our ideas unfold within a design process. Parametric modelling means to think parametric.
In this seminar we will investigate these questions by taking the parametric approach out the box it has been originally conceived for.
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 our way we think. 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
ADP
Seminar Elective Damjan Minovski
CAMERA, LIGHT, PHOTOGRAPHY AND VIDEO FOR ARCHITECTURE STUDENTS II
We will create and work with 3D scans, analyze and apply techniques borrowed from the film, vfx and game industry. Furthermore we will establish a solid foundation on the topics of image synthesis, pointcloud/image/ video capture and physics of lights and materials.
What impact could a parametric process have on the way designing architects think?
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 to be inconceivable.
Media Lab Wed bi-weekly 10.30–13.30
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CMT
Lecture BArch2 Franz Sam
AU_1.15A Wed 15.30–17.00
BUILDING TECHNOLOGIES I
Construct Architecture 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 de-
velop essential knowledge about 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 Rene Ziegler
AU_1.15A Thu 14.00-15.30
BUILDING STRUCTURES II
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
BUILDING TECHNOLOGIES III
In Detail
AU_1.16 Thu 13.00–14.30
Building Technologies III aims to consolidate students’ knowledge of building technology. The courses subjects of discussion are the production of details and the reciprocity between construction and detailing processes. Details and its presence or necessity for the production of buildings have been uttermost discussed in architectural discourse, but so far only on a visual level. Thus remaining the discussion on the surface of things. We intend therefore to explore the genesis of ideas and architectures departing from the very core and intrinsic characteristics of the discrete detail.
Liquid Compost. CMT ESC Studio Burning Down the House, Winter 2019. Photo: Lisa Penz
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CMT
Seminar MArch2 Thomas Schwed
PROFESSIONAL PRACTICE I
Project Evolution
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.
CMT ESC Studio Burning Down the House, Winter 2019. Photo: Lisa Penz
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.
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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 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 its adequate means of construction? Efficiency – optimizing input and output: Highly industrialized production is providing food and energy for more and more people, and a circular economy
is based on ever more intelligent technologies for continued growth. Are we headed for a civilization of efficiency (such as Japan) with artificial intelligence as its final point? Resilience – climate change is putting existing structures under stress. The importance of various regions and cities is shifting, even vanishing. Millions of people’s lives are affected by this change. A oneworld architecture needs parameters enabling us to act so as to affect the universal setting of our collective existence (Bruno Latour).
ESC
Lecture BArch 6 Golmar Kempinger-Khatibi
AU_1.15 Thu 13.00–14.30
CULTURAL HERITAGE II
Forever Young?
It discusses sustainable retrofitting and also looks at management issues.
“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”. Juhani Pallasmaa, The Eyes of the Skin (1996)
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. The practical part looks at the interaction between the building systems, materials, their surroundings and causes of deterioration.
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.
Model of Vienna. CMT ESC Studio Raumpark, Winter 2019. Photo: Lisa Penz
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ESC SUSTAINABILITY II Models of Sustainability – Sustainable Urbanism and Architecture between Claims and Reality
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Lecture BArch6 Thomas Proksch
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
architectural solutions regarding the site of a project, the specificities of its urban structure, its landscape situation and its socio-spatial conditions.
The starting point for the lectures is my experience as a landscape architect and ecologist.
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.
For many years, I have been contributing – as a consultant for landscape design and together with architects – to urban designs and
ESC WELL-TEMPERED ENVIRONMENTS
Seminar MArch2 Peter Leeb
AU_1.16 Thu 16.00–17.30
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 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.
HTC ARCHITECTURAL HISTORY II MODERNISM AND CONTEMPORARY TOPICS
HTC WRITING ON ARCHITECTURE, LANDSCAPES AND CITIES
HTC
26 Lecture BArch2 August Sarnitz
AU_1.16 Wed 13.30–15.30
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.
Seminar BArch 4 August Sarnitz
AU_1.16 Wed 15.15–16.45
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 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.
positions of early modernism, classical modernism, postmodernism and other “isms” will be discussed.
This seminar addresses the classic themes of architecture and urbanism in the 20th century. After reading authentic texts, different
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.
Lecture BArch 6 Angelika Schnell
AU_1.15A Fri 10.00–11.30
HISTORIES AND THEORIES OF CITIES 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 of cities) always imply a political vision of society. 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.
Diploma Salon Winter 2019. Photo: Lisa Penz
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HTC
Seminar MArch2 Andreas Rumpfhuber
AU_1.16 Block
CONTEMPORARY DEBATES ON ARCHITECTURAL THEORY
Performing Fiction, Performing Architecture
inar 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 interaction with the public. The sem-
HTC THESIS SEMINAR
ALL PLATFORMS THESIS DOCUMENTATION
Seminar MArch3 Christina Condak
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.
AU_1.16 Fri 11.30–13.00
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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GLC DOCUMENTATION AND REPRESENTATION IN GEOGRAPHIES, LANDSCAPES, CITIES In collaboration with the course Mappings. Participation in the exhibition “Boden für Alle” at the AzW. Opening 18.11.2020.
“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.”
Seminar BArch2 Lisa Schmidt-Colinet
AU_1.15A Wed 9.30–11.00
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.
pendencies 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.
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 interde-
GLC
Lecture BArch4 Maria Auböck
AU_1.15 Thu 15.00–17.30
LANDSCAPES AND GARDENS
Bliss and Beauty for All
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 consider 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.
GLC
Lecture BArch4 Bernd Vlay
AU_1.15 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.
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.
INFRASTRUCTURE AND NETWORKS “Hardly anything is more depressing than going straight to the goal” Cedric Price
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, predetermined by the infrastructural elements.
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Project Lecture BArch6 Gabu Heindl
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AU_1.16 Mon 9.00–12.00
STRATEGIES FOR CITIES Challenging from Within 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,
GLC
misinterpret expectations precisely by taking them seriously? Through knowledge and understanding 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.
Project Lecture BArch6 Christian Teckert
AU_1.15 Thu bi-weekly 9.30–12.30
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 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.
GLC
Seminar MArch2 Antje Lehn
AU_1.16 Wed 9.30–11.00
Mapping the Image of the City
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.
Rethinking Urban Futures of the Recent Past
MAPPINGS 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-
In collaboration with the course Documentation and Representation in Geographies, Landscapes, Cities. Participation in the exhibition “Boden für Alle” at the AzW. Opening 18.11.2020.
Photo: Christian Teckert
URBANISM II
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DOCTORAL STUDIES (DR. TECHN.)
There is no application deadline and no admission fee. Further information on the program: ika.akbild.ac.at/school/ admission/Dr_techn For queries concerning the program, 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 rationalanalytic and/or interpretive approach. These aspects are prerequisites to, as much as immanent societal obligations of the discipline.
Screening Earth Others at Filmmuseum Wien, with Vandana Shiva. Winter 2019. Photo: Lisa Penz
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.
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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) OLIVER DOMEISEN The four elements of architectural ornament - foundations for a contemporary ornamental practice (supervisor: August Sarnitz) PATRICIA GRZONKA Das Paradox der autonomen Architektur. Eine Untersuchung der kunst- und architekturtheoretischen Position Emil Kaufmanns in der Architekturtheorie ab 1930 (supervisor: Georg Franck, TU Wien; second supervisor: 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. Entanglements 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)
BERTAN KOYUNCU Re-reading Henri Lefebvre Through Inside and Outside the Refugee Camps in Lesvos. (supervisor: Angelika Schnell)
Communities of Tacit Knowledge Architecture and its Ways of Knowing1 For further information https://tacit-knowledge-architecture.com/
ESTHER LORENZ The Corporeal City. (supervisor: Angelika Schnell) MAHSA MALEKAZARI Dancing to the Tune of Light. An investigation 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) PAULA STRUNDEN Virtual and Augmented Reality as a Tool for Design (supervisor: Angelika Schnell; part of research project Communities of Tacit Knowledge)
SOLMAZ KAMALIFARD A Study of Natural Lighting in Interior Spaces as a Human-Space Interaction Stimulus. (supervisor: Michelle Howard)
RESEARCH PROJECT START 1 MARCH 2020
JAE HYUN LIM Synthetic History: Unmasking the History of Tange and Isozaki (supervisor: Angelika Schnell)
MARA TRÜBENBACH A Loom’s Influence: Handcraft and the Role of Contemporary Aesthetic Education in British Architecture (supervisor: Tim Anstey, Oslo School of Architecture; second supervisor: Angelika Schnell; part of research project Communities of Tacit Knowledge)
1 This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 860413.
IKA S2020 CALENDAR
HITZE 2 Lecture Series:
HITZE TAKES COMMAND semester start
2
Diploma presentation Diploma salon Diploma presentation Midterm reviews Diploma presentation Final reviews Diploma exhibition
16 March 21 April 20 April 4–5 May 15 June 16–17 June 16–26 June
March
Sohyi Kim 16 March Brian Cody 30 March Claudia Bosse 20 April Peter Sellars 25 May 4 May
OTTO WAGNER LECTURE APPLICATIONS
MArch online registration BArch online registration MArch + BArch interviews MArch portfolio submittal BArch portfolio submittal + exercise works
27 April–15 May 18 May – 5 June 6–7 July 19 May 18 June
RESEARCH
Communities of Tacit Knowledge: project start
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Academy of Fine Arts Vienna Temporary premises of IKA: Augasse 2–6, 1090 Vienna 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
Office: Room 1.3.11, 1st floor, core A Ulrike Auer +43 (1) 58816-5101 u.auer@akbild.ac.at Gabriele Mayer +43 (1) 58816-5102 g.mayer@akbild.ac.at 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 2020 Chair / Deputies: Wolfgang Tschapeller Lisa Schmidt-Colinet Werner Skvara Editor: Christina Jauernik Proofreading: Roy O’Donovan Design: grafisches Büro
