IKA PREVIEW Winter 2018

IKA

INSTITUT FÃœR KUNST UND ARCHITEKTUR

INSTITUTE FOR ART AND ARCHITECTURE

PREVIEW

WINTER 2018

www.akbild.ac.at/ika

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

IKA at Augasse 2018. Photo: Ludwig Lรถckinger Antonio Negri, Otto Wagner Lecture 2018. Photo: Christina Ehrmann

ADP ANALOGUE DIGITAL PRODUCTION

Content

IKA W2018

Design Studios Bachelor

Design Studios Master

Courses

1ST CMT HTC ADP GLC ADP CMT ESC HTC GLC

FLUSH! / BArch1

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A WALL AROUND A PUBLIC BUILDING / BArch3 6 (Anti) Mimesis / BArch5

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TOGETHER IN PUBLIC

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GLOBAL ARTSCAPES

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14 16 18 20

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Workshop 24 Thesis 25 Electives 26 Doctoral Studies 28 Lecture Series: USELESSNESS 30 Calendar / Contact / Imprint 32

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

ABRAHAM: It is very true that architecture in that sense is more difficult than any other discipline in the arts, to reach that level of abstraction because you have to think about a toilet and the most trivial functional s­ upports. But you can also make a toilet that has s­ acredness; the toilet in my house in Mexico is a toilet that is a chapel.

MEKAS: A Japanese writer, Tanizaki wrote a little book, a b ­ eautiful ­essay, In Praise of Shadows, is ­exactly about Japanese toilets.

ABRAHAM: Ah, yes I know this book, but I lost it!

MEKAS: I bought a few of them and I am giving them to friends.

ABRAHAM: You gave me the one I lost.

— Raimund Abraham in ­conversation with Jonas ­Mekas.

The Brooklyn Rail, Critical Perspectives on Arts, ­Politics, and Culture (12/2003)

Raimund Abraham, Toilet with Empire State Building (section) 1970/71 from: Groihofer, Brigitte (ed.), Raimund Abraham: [Un]Built, Vienna: Springer-Verlag, 1996.

PARIS EXCURSION 21ST TO 26TH OF OCTOBER 2018.

Monday / Tuesday / Friday 14.00—-18.00

Design Studio BArch1 Christina Condak Christina Jauernik Rüdiger Suppin

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1ST FIRST YEAR STUDIO

Le Corbusier was so proud of the new plumbing technology in the 1920s that he placed a standing sink at the entrance of the Villa S ­ avoye and a No architectural treatise cites the toilet as the primor- bidet in the middle of his apartment in dial element – unlike the fireplace, the roof, or the wall Paris. We see the toilet as the most – but the toilet might be the ultimate element. Gradually incorporated into buildings, plugged into plumbing, turned essential interfacial site between the into a technological device, placed in counterintuitive body and the building. The two are proximity to baths and showers, and enshrined as a temporarily and literally joined. Flush, very private room […] the toilet is a mini-arena with an audience of one, the architectural space in which and you connect your everyday conbodies are replenished, inspected, and cultivated, tents to a greater system of waterways, and where one is left alone for private reflection […] from your own pipes to those of the — sewage system and beyond. We Toilet, volume 11 of Elements of Architecture, a series of 15 books accompanying the exhibition Elements of cannot escape the human body, but Architecture at the 2014 Venice Architecture Biennale / our connection with our imme­diate Rem Koolhaas, AMO, Harvard GSD, Irma Boom, Venice: ­environment is an open design quesMarsilio, 2014. tion and up for alterations. These interfaces and relationships will be the focus of our investigations, which will go beyond the artefact of the toilet bowl and its potential forms to the movement of our bodies in limited space, the way we use w ­ ater, and how we create discreet spaces in domestic 1 ADP spheres as well as privacy in public realms. The space ANALOGUE of the toilet and its development will be studied DIGITAL using technological, phenomenological and architectu­ PRODUCTION ral ­parameters, including forces of the environment, CMT ­material and time. Our investigations will be shaped CONSTRUCTION by the different modes of reflection on the topic, MATERIAL ­enriched by the foci of and overlapping nature of the TECHNOLOGY five platforms1, accompanied by research ranging from ESC the history of toilet spaces to contemporary ­issues ECOLOGY regarding gender, sewage networks, and the cultural SUSTAINABILITY CULTURAL HERITAGE and social aspects of the city.

HTC HISTORY THEORY CRITICISM GLC GEOGRAPHY LANDSCAPES CITIES

Top: Zehdenick Neuhof Train Station, view from the tracks.

Photo: Michelle Howard Bottom: Transporting clay from the pit to the brickworks at Zehdenick.

Photographer unknown.

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Because of the way they are used, train stations have always been perceived as public buildings. In reality, they have almost always been the property of rail companies, and when they started selling them, whole popula­ tions felt the pain of having a public building snatched away. Many railway buildings have been protected as historical monuments; they were often constructed using the best brickwork and bricks made from the finest clays. Clays, fine and rough, fired and enamelled, now thrown into the shadows due to the prominence of concrete, will be our material of discovery and innovation this semester.

Monday / Tuesday / Friday 14.00—-18.00

Design Studio BArch3 Michelle Howard Luciano Parodi

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CMT

CONSTRUCTION MATERIAL TECHNOLOGY

EXCURSION AND SITE VISIT TO BERLIN AND BRANDENBURG: 7TH TO 11TH OF OCTOBER 2018.

What we assume today to be “natural” landscape often reveals itself to have been moulded by industry. Nowhere is this truer than in Germany, where from the 1750s onwards, marshes and lakes were drained, rivers straightened and tamed, and towns submerged forever by dams and dykes. This time also heralded the birth of the German Romantic movement, the odes to trees and valleys of Goethe, Schiller and Caspar David Friedrich. Our site is situated 65 minutes by train northwards from the city of Berlin, in the centre of a landscape dominated by its history as the site of the largest clay pits and brickworks in Europe.

From here came the bricks with which Berlin’s biggest growth spurt was nourished. This former industrial landscape, once clogged by black

smoke, now resembles a lake district connected to the River Havel, and is used by anglers, cyclists, boating tourists and birdwatchers. Our studio design project will approach the international dilemma of the abandoned railway building by looking very closely at one station house which is being sold by the German Railways (Deutsche Bahn) and studying its surrounding environment.

Perhaps the strangest of the conditions of sale (a condition shared internationally) is that the site must be enclosed after having been surveyed, something clearly at odds with the use of a public building. We will focus on that required wall to propose a future for this public building and the landscape it serves. – Michelle Howard

Photo: Dagnija Smilga, Studio HTC “Copy:Right”, Summer 2010

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Monday / Tuesday / Friday 14.00—-18.00

Design Studio BArch5 Angelika Schnell Antje Lehn

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

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HTC HISTORY THEORY CRITICISM

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

The HTC studio will benefit (borrow!) from the experiences the group made during the last semester in the ESC studio, where the students borrowed a drawing from someone else, and translated and transformed it in order to create a new design, a new project, that was to be considered totally their own. We will use this excellent opportunity to continue and deepen this work both practically and theoretically, first by reading and discussing various theories and techniques of mimesis in the 20th and 21st centuries (e.g. texts by Theodor Adorno, Walter Benjamin, Luc Boltanski, Gilles Deleuze, Konrad Fiedler, Michel Foucault, Sigmund Freud, Alfred Hitchcock, Kevin Kelly, Jacques Lacan, Gayatri Chakravorty Spivak, Aby Warburg, Oscar Wilde and others), and then by suffering what you have done to others: someone will imitate you!

The studio programme is split in two parts: until midterms, students will work theoretically by reading, discussing and writing about mimesis techniques. Through several workshops, they will learn to find words and presentation techniques (e.g. in video tutorials). After midterms, they will continue with (someone else’s) design work, and will use visual techniques (diagrams etc.) in order to reflect on and explain their working methods.

Ian Cheng, “The narrative agents and wildlife of Emissaries (2015–2017)”.

Courtesy Ian Cheng, Pilar Corrias, Standard (Oslo), Gladstone Gallery

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AN ENQUIRY INTO CONTEMPORARY PUBLICNESS

Monday / Tuesday / Friday 14.00—-18.00

Design Studio MArch

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Cristina Díaz Moreno Efrén García Grinda

In spite of all the discussions and rhetoric accumulated around the notion of the commons and other similar terms, the idea of working on public space, as a place of real-time physical interaction and a pool of shared resources where verbal and non-verbal exchange helps to shape the set of interests, hopes and desires of a commu­ nity, seems impossible nowadays.

The notion that the public – a kind of commonplace term that ranges from metaphors about the space of political exchange to references to commodities shared by a community – can physically be materialized in freely accessible places, open to and for all, where anonymity promotes the possibility of total equality ­between individuals, is constantly contradicted by the daily experience of our urban environments. In short, the notion of the void as the ultimate project through which public space can be materialized is no longer relevant nowadays.

This winter semester, the ADP platform will work on trying to investigate the conditions in which new notions of the public can emerge to promote physical exchanges and interactions, as well as the architectural languages and o ­ rganizations

ADP ANALOGUE DIGITAL PRODUCTION

that can make this possible, without any kind of nostalgia, absolutely anchored to the strictly contemporary condition of our cities.

If, in the previous semester, the question of how we can live together nowadays was the basis that guided the work on defining the domestic interior, examining the house and its possible expansion to intentional groups and communities, as a space belonging to a shared domain, and therefore of a potentially public nature, during this winter semester, the terms will be inverted.

Taking Hannes Meyer’s notion of the act of construction as the deliberate organization of the processes of life, and the twelve unique points to be considered in relation to the house, published in 1928 shortly after he was nominated as the new director of the Bauhaus, we will use the basic, mundane activities of the domestic sphere to induce new notions of the public.

With the conviction that both the question of digital technologies and our continuous exposure to new habits necessitate a redefinition of the limits of privacy and contemporary notions of the public, we will pay attention to sexual life, sleep habits, domestic animals, diseases, gardens, hygiene, cooking and protection from the weather, shifting from the space reserved for family routines to full exposure to the public.

The studio will be based on exploring contemporary cultural, technological and social conditions through architectural design, and will be firmly committed to non-conventional ideas of beauty and to the project, understood as research and as a knowledge tool.

Pixel Forest, Pippilotti Rist, Luma Foundation, Arles 2018 Photo: Alessandra Cianchetta

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

This design studio and seminar explores the radical transformation of landscapes, territories and cities in the context of global art collections.

The project develops as a dialogue and collaboration with the Swiss art gallery Hauser & Wirth, and with a number of stakeholders and agents operating in the art world.

The studio explores how the global art market triggers and generates new spatial forms and relationships both on a large scale (a network of intertwined territorial relationships) and a small scale (galleries, museums, foundations). It also investigates how new urban and economic models related to the global art trade may impact and be used to the benefit of larger regions and populations.

According to the report The Art Market 2018 released by Art Basel and UBS in June 2018, the global art market grew to 63.7 billion dollars in 2017, directly employing 3 million people and rising to new heights after years of decline.

In her thorough exploration of the art market, cultural economist Clare McAndrew illustrates how, despite the prevalent political and economic volatility in most regions of the world, a steady increase in unevenly distributed global wealth, particularly at the high end, as well as stronger consumer confidence and increased supply are now driving new growth. Global auctions achieve record prices at the high end: Leonardo da Vinci’s “Salvator Mundi” was sold at Christie’s for 450 million dollars; dealers’ sales are increasing

Monday / Tuesday / Friday 14.00—-18.00

Design Studio MArch Alessandra Cianchetta

following the Trump administration’s recent tax reform; global art fairs such as Art Basel, Art Basel Miami Beach, Frieze, Art Stage Singapore and Art 021 in China have grown to be a central part of the global art market, accounting for an estimated 46% of dealers’ sales.

of collectors, curators, dealers, artists, advisors and others are generating new physical and cultural landscapes as well as radical territorial transformations – economic and otherwise – at all scales by injecting capital into otherwise secluded and forgotten areas of the world.

A recent UBS survey found that wealthy investors spend a considerable amount of their personal resources on building up meaningful collections, driven by passion, not (just) plain profit.

China and the US are still the largest markets, yet art dealers, investors and art patrons are already looking at new, less explored, yet to be developed and therefore alluring markets and economies in Africa, Southeast Asia and beyond.

This recent tendency to occupy unexpected territories had been tested, though with a different agenda, by non-commercial art events such as the seminal 2012 dOCUMENTA (13). Led by Carolyn ChristovBakargiev and a team of agents and advisors, it created bridges between Kassel, Breitenau and distant places such as Kabul and Bamiyan in Afghanistan, Cairo and Alexandria in Egypt, and Banff in the Canadian Rocky Mountains. The underlying theme – “Collapse and Recovery” – was to heal the trauma of war through art, and to reach war-stricken, otherwise forgotten territories with art and its powerful market.

Around the same time, in 2011, one of the world’s most prominent art collectors and patrons, Francesca von Habsburg, set herself the task of looking at other unexplored territories, the oceans, and established an academy, TBA21, whose mission is to promote environmental and ocean conservation and preservation, bridging oceans, art and technologies.

The stakes are various: for dealers, it is key to anticipate and open up to new emerging markets; for buyers and collectors, new venues are exciting and entertaining, and allow the reinvention of new relationships and the emergence of cultural, social and economic playgrounds (from Klaipeda to Kochi or Palermo).

Global art powerhouses and dealers like Iwan and Manuela Wirth, Larry Gagosian, David Zwirner and Emmanuel Perrotin have been moving beyond art and into other fields such as hospitality. A nomadic circle

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GLC GEOGRAPHY LANDSCAPES CITIES

The Swiss contemporary art gallery Hauser & Wirth has pioneered a new model of venue, opening beyond the “usual” world capitals such as New York, London or Los Angeles. Their Durslade Farm in Somerset, a gallery hotel venue soon to be opened in Braemar, Upper Deeside, Scotland, or a fort island gallery and hotel in Menorca effectively illustrate this trend.

The aim of the design studio and associated seminar is to reconsider and rethink the whole concept of private art galleries and foundations, and to explore new forms of museums (private or not) and cultural institutions at large. It considers interrelations with less explored territories, and the many opportunities and transformations that may be triggered and generated by the contemporary art market.

The studio will embark on a benchmark study and projection of new models and venues, taking new potential locations for Hauser & Wirth galleries (following the model of Durslade Farm) as case studies to generally examine new models, and look at their transformative impact on a territorial and geographic scale. The research and projection phases will merge and be closely intertwined.

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ADP

14 AU01_1.16A Thu 15.00—-16.30

Architecture is a dynamic discipline that has tended to increasingly merge with others such as mathematics, programming, engineering or fabrication and has the potential to become a more speculative and experimental field encouraging prototypic explorations. Students will explore how new digital approaches to architectural concepts can be developed. The main focus of the course will be on applications that feed on numeric information and create forms through assigned rules.

Students will manoeuvre between

top-down (preconception) and bottom-­­u p (generated, manipu­ lated, simulated) operations. They will learn how to analyse different physical performances (e.g. structural behaviour, or light impact) and simulate self-emerging events in a digital environment by means of parametric models. The digital experiments will result in a series of 3D printed structures that capture the topics of the seminar. The general aim of the course is to understand the performative properties of models in digital space.

Seminar BArch5 Seth Weiner

AU_1.16 Thu 14.00—-15.30

The course trains students in effective visual and verbal communication as well as presentation techniques. The course offers methods for developing and structuring clear arguments and compelling narratives for a variety of situations and audiences. It provides skills for visual

explanations and envisioning information as communication, analytical and generative tools.

ADP

Project Lecture BArch1 N.N.

AU_1.16A please check AkademieOnline

DRAWING, 3D MODELLING AND GEOMETRY

The course introduces students to architectural representation and computer-aided design. It provides skills to draw plans, sections and elevations as well as three-dimensional representations based on models and an understanding of geometry.

ANALYSIS, SIMULATION AND SCRIPTING

ADP VISUAL AND VERBAL COMMUNICATION

speculative_apps, Dominik Strzelec, 2017

Seminar BArch3 Damjan Minovski

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ADP

Seminar BArch3 Werner Skvara

3D MODELLING AND ANIMATION II

The course aims to significantly advance the students’ digital modelling skills. It introduces them to advanced modelling techniques for the development of complex geometries. Focusing on image processing and rendering, it explains relevant principles of human perception and cognition and the implications of abstraction versus photorealism.

ADP

Lecture MArch1 Werner Skvara

ADVANCED INTRODUCTION TO ANALOGUE, DIGITAL PRODUCTION

The course introduces state-of-the-art modelling applications and advanced animation. It gives students an understanding of simulation techniques, new tracking technologies and fabrication methods. The fluid transition from one software application to another is a central concern.

ADP

Seminar MArch3 Dominik Strzelec

ALGORITHMS IN ARCHITECTURE

Speculative Apps

AU_1.16A Thu 9.30—-11.00

AU_1.16A Wed 9.30—-11.00

AU_1.16A Wed 13.00—-14.30

Architectural discourse is traditionally shaped by drawings and criti­ cal writings. What happens if these modalities fuse into interactive new media content?

Simultaneously utilizing images, animation, sound, immersion and augmentation certainly allows us to formulate architecturally relevant questions in unprecedented ways or, following McLuhan, to explore entirely new topics and contexts.

The seminar engages with both analogue (relational) and digital (language-based) aspects of design communication (in Watzlawick’s sense), with a strong emphasis on its material (media) substrate.

Changing our attitude from user to maker, i.e. changing individual performance from confirmatory to potentially transformative, is the main objective of this course.

CMT BUILDING STRUCTURES I

CMT ADVANCED INTRODUCTION TO CONSTRUCTION MATERIAL TECHNOLOGY

16 Project Lecture BArch1 N.N.

The course teaches the fundamentals of building structures. Students learn about the different forces, which influence the planning of building structures, from gravity to wind, heat, mass and size. It introduces students to different construction systems and their structural logic, as well as basic calculations and dimensioning.

Lecture MArch1 Michelle Howard

AU_1.15A Tue 9.00—-10.30

The Shaping of Construction and Technology by Materials

not even skimmed the construction possibilities inherent in them. Sometimes our understanding of their technology is still limited, or perhaps their supports still take precedence.

We will explore how shaping and forming influences the shape and form of our constructions, and how the resulting need for less material can make a real contribution to the sustainability of constructions. We will discuss the practical, technical, historical, cultural and social factors that formed the eventual form and standardisation of constructions and their relevance today. Which factors could determine the future of today’s use of materials and building systems?

In ancient and modern times, the store of architectural forms has often been portrayed as conditioned by and arising from the material. Yet by regarding construction as the essence of architecture we, while believing to liberate it from false accessories, have thus placed it in fetters. (Gottfried Semper, “The Four Elements of Architecture)” In these lectures and the ensuing experiments, we explore how constructions and technologies are influenced by the materials that constitute them. We examine works of architecture, ancient, modern and contemporary, and discuss the ideas that enriched their construction and determined their materials. In the case of some materials, we have

CMT BUILDING PHYSICS I

AU_1.15A please check AkademieOnline

Project Lecture BArch3 Jochen Käferhaus

AU_1.16 Fri 9.00—-10.30

Building physics — often considered a dry course by architects — is a fascinating scientific investigation into how materials transfer heat, air, noise and light. The lectures explain how to protect against humidity, heat loss, unwanted noise and, importantly, against fire in a building. Every architect should have basic knowledge of a building’s physics in order to create them and to treat their inevitable deterioration.

Photo: Alessandra Cianchetta

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CMT BUILDING SERVICES I

CMT BUILDING SERVICES II

CMT BUILDING TECHNOLOGIES II

CMT PROFESSIONAL PRACTICE II

Project Lecture BArch3 Jochen Käferhaus

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AU_1.16 Fri 10.30—-12.00

The quality of a building is determined, not only by its design, but also by its services. They supply the building with fundamental resources such as water, air, or electricity and help to dispose of a building’s waste.

They are an integral part of the architectural planning process. In order to achieve a useful, functioning and sustainable building, services need to be considered in the design process from the very beginning. Knowledge of both recent technological developments and tried and true older systems is vital in order to evaluate the best system for the given task. Only in this way can low investment and running costs of buildings be achieved — an aspect that nowadays is more important than ever in the design process.

Seminar BArch5 Jochen Käferhaus

AU_1.16 Fri 12.00—-13.30

Building services are an integral part of sustainable buildings. These discussions deepen students’ knowledge of intelligent housing services and electronic systems. They demonstrate how one can increase comfort in a building while reducing the consumption of energy and material.

The seminar will focus on smart planning strategies for office buildings and low energy consumption buildings and will discuss different kinds of ventilation systems as well as the latest developments in the field of integrated housing services.

Project Lecture BArch3 Franz Sam

AU_1.15A Wed 16.00—-17.30

This course deals with interior finishes, building envelopes and technologies. Through the analysis of architectural precedents, students learn to develop a culture of detailing and obtain an understanding of the logic of technical problems. By exploring basic architectural elements students learn about the interdisciplinarity of architecture, a skill essential for the implementation of an architectural idea.

Seminar MArch3 Thomas Schwed

AU_1.15 Thu 10.00—-11.30

The lecture introduces professional and legal topics relevant to the practice of architecture with a focus on the construction phase.

We will analyse the complex process of the implementation of a building including the detailed planning of construction work, construction supervision, and the project management of the construction phase.

We will i­nvestigate the process of construction work by means of concrete examples and site visits.

Furthermore, we will discuss the objectives of a building phase, building laws and regulations, building standards and building calculations in relation to the design process.

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ESC TIME IN ARCHITECTURE

ESC ADVANCED INTRODUCTION TO ECOLOGY, SUSTAINABILITY, CULTURAL HERITAGE

ESC ECOLOGIES I

18 Project Lecture BArch1 Christina Condak

AU_1.15A Fri 11.30—-13.00

This lecture course introduces the subject of time in architecture with regard to the design, life and use of buildings. Time is discussed in terms of a building’s relationship to its environment, climate, site, and program. Why do some buildings last and what does it mean for a building to be “robust” or “resilient”?

We have almost always considered buildings to be permanent while maintenance and adaptability have become crucial issues in order to preserve them. Should we design buildings for their future lives or an orchestrated death?

A building is a complex endeavor and an architect should invest energy in seeking the essential problem that he or she seeks to solve. Buildings, important examples past and present, so called successes and failures, existing and extant, will be discussed theoretically and practically in order to build up a more complete picture of the factor of time at all stages of planning, constructing, inhabiting and maintaining.

Lecture MArch1 Peter Leeb

AU_1.15A Thu bi-weekly 16.00—-19.00

Ecology, Sustainability, and Conservation are an important part of a humanistic groundwork of architecture and this course presents issues currently debated in the field. It introduces contemporary lines of thought to issues such as, nature, energy, mobility, economics, community, food, material, construction, life style, resilient practices and cultural heritage. Their influence on architecture, in theory as well as in practice, will be subject to critical

reflection. Strategies of adaptation and mitigation will be discussed and supported by references to current conceptualised and built examples, publications and case studies. The course provides the students with a deeper understanding of our systemic predicament and suggests methodologies for detecting such interrelated problems. It also provides a means of evaluation of this complexity, and indicates future potentials.

Lecture BArch3 Hannes Stiefel

AU_1.15A Tue 11.00—-12.30

Ecology is about the interplay and the reciprocities of all organisms and their environments — in which architectural culture is dynamically embedded. Thus, the topic of ecology generally determines the coordinates of architectural design and its genealogy. This course discusses the subject from A–Z, from “air” and “atmosphere” to “zone” and “zoology” in an essay format. It seeks to guide towards a broader understanding of the complex environmental function of architecture and subsequently towards an architectural practice of multidirectional ecological awareness.

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ESC LANDSCAPE URBANISM Mapping Artscapes This design seminar will be developed in parallel with the design studio reconsidering and rethinking the whole concept of private art galleries and foundations, and will explore new forms of museums (private or not) and cultural institutions at large. It considers interrelations with less explored territories, and the many opportunities and transformations that may be triggered and generated by the contemporary art world and the related market.

ESC CULTURAL HERITAGE I

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Seminar MArch Alessandra Cianchetta

AU_1.16 Tue bi-weekly 09.30—-12.30

The objective of this seminar is to explore potential new territorial developments and forms of urbanism triggered by the art market, and to produce a collective benchmark and a critical mapping atlas for a series of locations – both in cities and in rural contexts – organized by themes. We may look at locations as diverse as Somerset, Addis Ababa, Menorca, North Tyrol, Colombo or Yangon.

The final aim is to produce a collective atlas of maps and a book. The preliminary research is collective; then, each student will individually develop a set of analytical and creative cartographies and texts on a chosen location using the collective research. For each of the assigned locations, we will explore both the local scale (city/region/country) and the regional scale (neighbouring countries) with a key focus on the art world – the main cultural institutions, museums, public and private art galleries, local artists, curators and art dealers, other cultural institutions or

public and private foundations, other stakeholders such as collectors or patrons – in parallel with an in-depth exploration of the landscape and geographic features, heritage and cultural assets of each place.

Lecture BArch5 Golmar Kempinger-Khatibi

AU_1.15A Thu 12.00—-13.30

These data will be cross-referenced and overlaid with a series of socio-demographic and economic parameters, such as real estate indicators, to explore risks and oppor­ tunities. The creative analysis and research will generate a development hypothesis and a final report composed of cartographic maps, diagrams, benchmarks, precedents, statistics and a set of concise, criti­ cal texts.

“Buildings and towns enable us to structure, understand and remember the shapeless flow of reality and, ultimately, to recognise and remember who we are. Architecture enables us […] to place ourselves in the continuum of culture […]” – Juhani Pallasmaa

Photo: Alessandra Cianchetta

“Cultural Heritage I” explores theoretical and practical aspects of dealing with the built environment. It describes the meaning and importance of cultural heritage today, the fields it covers, related values and definitions, and provides an overview of its history, significant movements, and international guidelines and institutions.

The practical section looks at the interaction between building materials and systems, and their surroundings and causes of deterioration. It discusses sustainable retrofitting and covers building materials ranging from ancient to modern, as well as management issues.

The application of theory in practice will be demonstrated by analyzing case studies, as well as by short excursions and visits to exhibitions.

Occasional guest lectures will round out the programme.

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HTC

Lecture BArch3 Luciano Parodi

AU_1.15 Thu 13.00—-14.30

HISTORY AND THEORY OF TECHNOLOGY

Vestiges of Ideas and Material ­Reflections

Further on, the lecture will expand into the history of the use of a series of exemplary materials (glass, wood, metal, plastic etc.) and production techniques (solid, layered etc.) in architecture. Looking closely at constructed details, we will question, assemble and display potential knowledge, history and ideas beyond their materiality, thus developing a speculative genealogy.

The course surveys the history of construction technology, highlighting the reciprocal relationship between cultural development and technological innovation, and their respective impact on architecture.

We will take as our point of departure the construction and education drawings in the Analitique from 18th century Central Europe.

These complex plans were considered models for the planning and production of buildings, infrastructures and machines. However, they actually contain almost no written instructions, and important information concerning construction has been veiled or neglected.

HTC HISTORIOGRAPHY OF ARCHITECTURE

HTC HISTORY OF THEORY

Project Lecture BArch5 August Sarnitz

AU_1.15 Wed 14.00—-15.30

Historiography is discussed as a differentiated notation of historical realities and developments. Institutions, theories, and authors are presented within their social-economical-cultural context as a basis for an architectural discourse and the various contexts for architectural development will be discussed.

Project Lecture BArch5 August Sarnitz

AU_1.15 Wed 15.45—-17.15

This course discusses how architectural theory is related to the production of the built environment. Different theories – mainly of the 19th and 20th century – will be discussed and put into relation with discussions which will take place concurrently in the HTC studio to which the course is linked.

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Leonie Link, On Otto Wagners Karlsplatz Pavilion, WS2017, History and Theory of Technology

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HTC

Lecture MArch1 August Sarnitz

ADVANCED INTRODUCTION TO HISTORY, THEORY, CRITICISM

Paul Feyerabend’s critical positivism offers a differentiated reflection on relevant architectural topics. Taking up his school of thought, we will re-evaluate positions by means of reading, analysing, and discussing a wide range of 20th century architects and their theories: Adolf Loos, Mies van der Rohe, Robert Venturi, Peter Eisenman, Aldo Rossi, Frank Gehry, and Bernard Tschumi among others.

HTC

Project Lecture BArch1 Angelika Schnell

AU_1.15A Mon 09.30—-11.00

These lectures provide a basic introduction to the history of architecture and in so doing expose the many paths, ideas, projects, theories and inventions of modernism. They avoid a rigid chronological order to better discuss the evolution of building styles and discourses. Starting in the 17th century with the notorious “Querelles des anciens et des modernes” in Paris the lectures will travel through the centuries from ancient Egypt, Greece, and Rome via the architecture of the Enlightenment and Romanticism until the late­ 19th century.

These journeys will consis­ tently follow the theoretical paths of “pre-modern” architecture. Hence, the lectures will also discuss the term modernism itself and its career in architectural history, architects’ struggle for the correct interpretation of ancient architecture and its language, the notion of history itself, autonomy, the Picturesque, polychromy and historicism, the first social utopias and the beginning of the modern issues of functionalism and rationalism.

ARCHITECTURE HISTORY I – PREMODERNISM

AU_1.15 Wed 12.00—-13.30

GLC ADVANCED INTRODUCTION TO GEOGRAPHY, LANDSCAPES, CITIES

GLC CITIES, GROWTH, POLITICS AND POWER

22 Lecture MArch1 Christian Teckert

AU_1.16 Wed bi-weekly 16.00—-19.00

Cities as Urban Laboratories between Research, Intervention and Utopia The city will be considered as an epistemological system in which the interweaving of social, cultural and political paradigms are given an indicative function. We will analyse the evolution of specifically selected cities, read them as symptoms of urban concepts and discuss the influence of fields such as Sociology, Media Theory, Post-Colonialism or Critical Geography, which form an inherent part of current urban debates. Alongside the central terms of urban theory of the 20th century, key discourses of contemporary debates in Urbanism will be examined in relation to new methodological approaches to research, analysis and design. Facing a situation where no hegemonial method in Urbanism can be detected, the lectures will focus on concepts that help us understand the complex urban realities and discuss possible strategies of intervention.

Seminar MArch3 Gabu Heindl

AU_1.15 Fri bi-weekly 10.30—-13.30

The Post-Political City

This involves discussing practices and politics of “city-making” that are non-hegemonic, including projects of deviant usages and aesthetics of resistance.

The seminar focuses on the relationship between cities and power: Who is and has been making cities? What are the crucial aspects of today’s uneven development and injustice in urbanization? And what planning tools are there to resist it?

How is architecture confronted and involved with strategies of surveillance, exclusion and gentrification?

Through the lens of the concept of the post-political city, we will engage with issues of spatial justice, with urban spaces of conflict, with historical and contemporary sites of negotiations among different parties claiming access to space.

As an audio-visual impetus for the reflection on city politics and power structures, some semi­ nar sessions will be kicked off by screenings of historical or contemporary short films. We will base our discussions on close readings of seminal texts by authors such as Pier Vittorio ­Aureli, Susan Fainstein, Silvia ­Federici, ­David Harvey, Henri Lefebvre, Manfredo Tafuri, Sharon Zukin, etc.

Cité Ouvrière, Mulhouse Photo: Lisa Schmidt-Colinet

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GLC URBANISM I

Lecture BArch5 Christian Teckert

AU_1.16 Thu bi-weekly 16.00—-19.00

The Rise and Decline of Urbanism as an Agenda in Architecture

Urban space is considered as an epistemological set, in which the interweaving of social and political paradigms is given an indicative function.

The lectures will address the emergence of Urbanism as a science and discourse. It will focus on the role of the architect as one actor in this discipline, which was historically contested. Crucial will be the shift from scientific and functionalist approaches in Modernism towards a critique of modernist Urbanism (and specific forms of utopias and dystopias) – coming from within the discipline and relating to discursive shifts in arts and philosophy.

GLC URBAN FORM AND ANALYSIS

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Project Lecture BArch1 Lisa Schmidt-Colinet

The course aims at providing tools to understand and analyse the discursive formations within the history of Urbanism. It will include discussions from fields like Sociology, Media Theory, Philosophy or Critical Geography, which in turn have been crucial for the current debates within Urbanism.

AU_1.15A Fri 09.30—-11.00

“Built environments have lives of their own: they grow, renew themselves, and endure for millennia. Conservation may serve to freeze works of art in time, resisting time’s effect. But the living environment can persist only through change and adaptation.”1 How and by which means did cities take their shape, and how are they continuously changing? The lecture explores urban form as a product of the complex interactions of consolidating forces and conditions. It investi­ gates cities on a morphological and physiological level, explaining their development and the process of constant transformation, their different organizational layers, and the scale and grain of urban fabrics. We will study the city in relation to its environment and surrounding territories.

How were boundaries defined in different eras? How does their definition change when physical and visible borders are dissolving? The view from a distance, discovering the fabric of cities, is as important as perceiving it by moving through them. Discussing historical and contemporary examples of city analysis, the course offers students tools for the analysis and representation of spatial elements of the city and their performance.

Sessions of directed “fieldwork” will serve to apply this knowledge.

1 John Habraken, The Structure of the Ordinary: Form and Control in the Built Environment. Jonathan Teicher (ed.), Cambridge: MIT Press, 2000.

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CMT WORKSHOP

24 Seminar BArch Thomas Schwed The focus of this workshop lies on the analysis of the professional and legal foundations of current projects in the metropolitan area of Vienna.

We will look into the process of planning and construction work based on concrete examples. To this end, field trips to selected projects and construction sites, as well as discussions with architects, builders and authorities will be conducted.

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THESIS SEMINAR

THESIS DOCUMENTATION

Seminar MArch3 Wolfgang Tschapeller

AU_1.16 Mon 18.15—-21.15

The Thesis Proseminar offers seminars and guidance to indepen­ dent student research, which should result in the comprehensive develop­ ment of their thesis proposal. The course provides general instruction in the definition, programming, and development of a thesis project.

Students will prepare their thesis proposal by specifically defining a question, developing a working knowledge of related research in

that field, and producing an archi­ tectural hypothesis. The collected work of the Proseminar 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 Lisa Schmidt-Colinet

AU_1.16 Mon 16.30—-18.00

This course focuses on the development of a thesis project. A continuous process of oral articulation, writing, drawing and documenting enables students to make their research productive for a design thesis, to take a stance within a selected field of interest and to formulate a clear hypothesis.

As the final synthesis of the graduation project, students submit the thesis documentation putting forward their position in book format. It presents their hypotheses and methodology, and includes research materials, the process of production and the documentation of the final thesis project.

Midterm HTC MArch Summer 2018.

Photo: Clara Maria Fickl

HTC

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Photo: Anna Valentiny, 2017

ELECTIVES

ADP CAMERA, LIGHT, PHOTOGRAPHY AND VIDEO FOR ARCHITECTURE STUDENTS I

CMT SEMINAR LECTURE SERIES

Seminar BArch + MArch Ludwig Löckinger

AUU1SR01.12.20 Tue bi-weekly 10.30—-13.30

Techniques of Analogue Photographic Equipment, Digital Photography and Video This is an introductory course on photographic image-making and video.

Students will be familiarised with fundamental concepts and techniques of analogue photographic equipment, digital photography and video. Topics include understanding and use of the camera, lenses, light meters, lights and other basic photographic and video equipment. Through a series of exercises, students will learn creative and practical skills. It will be a class about translating one’s vision into images.

Seminar BArch + MArch Michelle Howard

AU_1.15 Mon bi-weekly 18.15—-20.30

Uselessness This seminar will accompany the lecture series, please refer to page 30 and 31 for further description.

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GEOMETRY I

Seminar BArch Werner Van Hoeydonck

AU_1.16 Mon 11.30—-13.00

Connections in space

Architectural education in fundamental geometrical principles –w ­ hether hand-drawn or mouseclicked – 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 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.

Seminar BArch + MArch Sabine Marte

AU_1.15A Mon bi-weekly 10.00—-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.

Film screening at Filmmuseum Wien, May 2018. Photo: Christina Ehrmann

ACCESSING FILM FRAMES — STAGING LANGUAGE

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This seminar gives students an opportunity to explore language as an artistic medium at the site of its divide and difference, in its indecipher­ ability and ambiguity, by means of clearly defined exercises. In the process, we consider language as agency, as described, for instance, by Judith Butler in “Excitable Speech”. How can language evolve beyond systemic narrowness; how can mechanisms of power be disrupted, agitated and subverted with the aid of language?

The seminar facilitates work on language and performance in a multi­ media setting. The stage-like setting consists of two microphones, two stands, spotlights, and abstract video projections that function like empty frames of a film yet to be made. Working with projections (white, fixed and animated light fields) permits flexible use of the space. The projected fields can be positioned at any point in the space; they can be accessed or left empty. They generate a desire – the desire for linguistic expression in this heterogeneous media ensemble (dispositif).

The empty, projected frames are part of a mobile field of reference consisting of bodies, objects, sound and light, always showing only an excerpt that denotes inside and outside, visibility and invisibility. The students act on these oscillating lines, points and surfaces. They act on the edges, where bodies pass from real space to media space, where language can move from brief, phonetic expression to something concrete being said.

1 Dieter Mersch, “Life-Acts. Die Kunst des Performativen und die Perfor­ mativität der Künste”, in: Klein Gabriele, Wolfgang Stingl (eds.), performance, transcript Verlag, Bielefeld 2005, p. 44. and p. 45.

2 Judith Butler: Haß spricht: Zur Politik des Performativen. Verlag Suhrkamp, Frankfurt a. Main, 2006

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DOCTORAL STUDIES 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.

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.

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 programme, please contact: arch@akbild.ac.at

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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) 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 I nside 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 Architek­ t ur bei Charles W. Moore und O.M. Ungers am Beispiel ihrer Konzepte zum “Haus im Haus” (supervisor: Angelika Schnell) CHRISTIAN TONKO Engineering the creative process. A comparison between the office work of OMA/AMO and Olafur Eliasson (supervisor: Angelika Schnell)

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DOCTORAL STUDIES (DR. TECHN.)

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Lecture series 2018/19 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

­ roduction of too many useful p 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.

Monday 15.10.

19.11.

10.12.

Michelle Howard Luciano Parodi

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LECTURE SERIES 2018/19

07.01.

18.03.

08.04.

29.04.

13.05.

03.06. all lectures start at 19.00 IKA Forum

15 OCTOBER

EBRU KURBAK ARTIST, DESIGNER

18 MARCH

EVA BUCHINGER SOCIOLOGIST

19 NOVEMBER

GUTA MOURA GUEDES CURATOR, STRATEGIC DESIGNER 10 DECEMBER

FRIEDEMANN SCHRENK

PALAEOANTHROPOLOGIST 07 JANUARY

OWEN HATHERLEY AUTHOR, JOURNALIST

8 APRIL

DIEDRICH ­ IEDERICHSEN D AUTHOR, CRITIC 29 APRIL

KERSTIN MEYER

ECONOMIST, ACTIVIST 13 MAI

SONIA LEIMER

ARCHITECT, ARTIST 3 JUNE

RUTH ­ ONDEREGGER S PHILOSOPHER

IKA W2018/19 CALENDAR

Kick off / semester start & Welcome evening

1

Diploma week Diploma salon Midterm reviews Diploma week Diploma 2/3 Pre-Thesis Diploma week Final reviews Open house

8–12 Oct 29 Oct 12–13 Nov 12—16 Nov 10 Dec 7 Jan 21—25 Jan 21—22 Jan 24—27 Jan

LECTURE SERIES: USELESSNESS

Ebru Kurbak Guta Moura Guedes Friedemann Schrenk Owen Hatherley

15 Oct 19 Nov 10 Dec 7 Jan

EVENTS

Living Lab: Constructing the Commons Workshop Final presentation workshop Opening exhibition and symposium Exhibition

18–24 Sep 25 Sep 24 Sep 24 Sep – 4 Oct

Temporary premises of IKA: Academy of Fine Arts Vienna Augasse 2–6, 1090 Vienna 1st floor, core A www.akbild.ac.at/ika arch@ akbild.ac.at For general inquiries please contact: Ulrike Auer, Gabriele Mayer +43 (1) 58816-5101 / -5102 u.auer@akbild.ac.at g.mayer@akbild.ac.at Office: Room 1.3.11, 1st floor, core A

Oct

Exhibition opening at AzW: Vienna Rossi: The Magic Mountain of ­ Austro-Marxism, as part of the exhibition: Happy Birthday Karl Marx

26 Sep

Lecture Nic Clear

8 Oct

Roland Rainer Symposium AzW

19 Oct

Lecture Tomas Saraceno Aerocene Foundation

13 Nov

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 Postal address: Schillerplatz 3, 1010 Vienna, Austria

Institute for Art and Architecture Academy of Fine Arts Vienna Winter 2018 Chair / deputies of Institute: Wolfgang Tschapeller Lisa Schmidt-Colinet Werner Skvara Editor: Christina Jauernik Proofreading: Judith Wolfframm Design: grafisches Büro