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WJ O R K UDITH WIDAUER
DIPLOMA
KUNSTANGER 2017 DIPLOMA Institute for Experimental Architecture ./ studio3 supervisor: Walter Prenner
Nowadays, many arthouses have become part of high culture, usually only frequented by a specific audience. This project acts as a mediator between high and sub culture. This building not only serves the purpose of an art house. Rather, it’s primarily used as a public space and serves as a breeding ground for new ideas. Since the public space known to us continues to lose its attraction and only sporadically exists in the few remaining spaces, a vertical public space is created by adding the third dimension. In addition to the conventional exhibition areas, which are located underground, there are some further characteristics. The “tiefenraum” drills its way into the deep
IDEENSCHMIEDE STUDIOGALERIE
KUNST IM ATRIUM
SCHAUPLATZ
RAD- & FUSSGÄNGERBRÜCKE
AUSSTELLUNGSRAUM TIEFENRAUM
and conceals an ephemeral action space, which is open continuously, day and night. Above ground you will find an open studio which can be “plugged in” depending on the use. This space repeatedly allows glimpses into the exhibition space below. Unintentionally the city dweller becomes a voyeur. This serves as a social strategy and link between art and architecture: The passive viewer becomes an activist and is drawn from the city into the architecture and its art. There were several reasons for planning a bridge. Firstly, it expands the public space again through the junctions at the bridgeheads. Furthermore, the bridge functions as a merger of two actually separate parts of the city. Making it possible to quickly reach the Kunstanger on foot. A former ‘dead end’ becomes a closed footpath within Innsbruck. Innsbruck as a city itself has commissioned
numerous studies for a contemporary museum since 1985. As of today none of these studies had ever been taken further nor an arthouse has been realised. This project is also intended to be a link between the numerous institutions in Innsbruck. The gallery scene in relation to the city residents is remarkable high. And several platforms have been trying to connect these institutions with each other for quite some time now. Unfortunately, this only happens through isolated collaborations or on a few days of the year (see Innsbruck Contemporary, Long Night of Museums or premiere days) Like the “Anger” in the past, the ‘KUNSTANGER’ serves as a platform for all sections of society. It is the connecting link for high and subculture of the city. It deliberately shows its presence in public space. But in turn the exhibition space is deliberately withdrawn in the shaping, thereby drawing attention to the actual attraction: The Art itself.
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conceptual modells development - public space/ building structure
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EINGANG 11 EINGANG STUDIOGALERIE 22 STUDIOGALERIE TIEFENRAUM 33 TIEFENRAUM KUNST IM IM ATRIUM ATRIUM 44 KUNST
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AUSSTELLUNGSRAUM 55 AUSSTELLUNGSRAUM ZUGANG KUNSTANGER KUNSTANGER 66 ZUGANG ANLIEFERUNG 77 ANLIEFERUNG
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VIE W LEF T BANK OF RIVER
VIE W TIEFENRAUM
BIRDVIE W KUNSTANGER
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WORK
2009 INTERNSHIP AT SCHLÖGL & SÜSS ARCHITEKTEN, INNSBRUCK 2008- 2013 ART GALLERY JOHANN WIDAUER 2014 INSTITUT F. EXPERIMENTELLE ARCHITEKTUR ./STUDIO3 STUDENT ASSISTANT 2011 INTERNSHIP PHILIPP SCHAERER, ZUERICH 2012 FREELANCER ARCHITEKT DANIEL FÜGENSCHUH 2014 COMPETITION WITH SNOHETTA, BEETHOVEN FESTSPIELHAUS BONN SINCE 2012 PART OF COLLECTIVE COLUMBOSNEXT SINCE 2017 ARCHITECT AT COLUMBOSNEXT | PRENNER RAUCH GSNBR 2019 FOUNDING MEMBER OF MUSIC LABEL VERSCHUBU RECORDS SINCE 2019 BOARD MEMBER OF P.M.K - MOBILE CULTURAL INITIATIVES
STAMS UNDE
R CO
UC T NST R
ION
2021 columbosnext
A small infrastructure building for the skiing school on the sports field in stams, austria. In addition to storage facilities and toilets this building provides room for exercises and the 120m² roof can be used to host events on the field. Due to the historical building ‘stift stams’ the building is located in the hill with an green roof.
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C T IO S T RU
N
HYBRID
H RYCOBN R I D G E B Ä U D E UNDE HÖT
2018
columbosnext with arch. a.tschapeller & arch. T I N G E R A Um. steinlechner
2018 | WETTBEWERB 1.PREIS mit columbosnext
Hybrid character inside and outside: The architectural design, which follows the inner Hybrider Charaker innen und aussen: Die logic of free playability, permeates the entire architektonische Gestaltung, die der inneren building structure and is consciously reflected in Logik der freien Bespielbarkeit folgt, durchdringt die the gesamte Gebäudestruktur spiegeltcharacter sich external appearance.und A special for bewusst im äusseren Erscheinungsbild this special building task: a hybridwieder, and soum a clear dem Charakter der besonderen Bauaufgabe eines coporate identiy is given to urban space. Hybriden gerecht zu werden und somit dieser eine The selected room height übergeordnete klar lesbare C.I. im(standard Stadtraumfloor zu 2.8m) geben.opens up the possibility of a mix of residential Die gewählte Raumhöhe (regelgeschoss and non-residential uses. Thanks to2.8m) the skeleton eröffnet die Möglichkeit einer Durchmischung construction, a cross-storey configuration of von Wohnen und Nichtwohnnutzungen. Durch die rooms can be implemented anywhere and is Skelettbauweise ist eine geschossübergreifende Raumkonfiguration allenortssuggested realisierbaras undan example. exemplarisch vorgeschlagen.
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SATELLITE
2015
columbosnext with bollinger grohmann for the HEART OF NOISE Festival
The project Satellite is a mobile platform created as a part of the music festival ´Heart of Noise´ for the city of Innsbruck (Austria) and their cultural and musical initiatives. It is not the stage/ platform in the traditional sense, but an urban spatial sculpture accessible to all the visitors during its endurance. In the summer months ´Satellit´ provides a public space for concerts, performances, discussions, film screening and urban picnics. The structure consists of 10 prefabricated modules which are connected by pre-stressed screw connections. Core of the structure forms a compact frame with its three standing legs (plate thickness 5mm). Attached to the frame are three collar wings that cantilever to the three different directions.
FOTOS: GUENTHER WETT
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EXHIBITION DESIGN “BETWEEN IDEOLOGY, ADJUSTMENT AND I S PERSECUTION C H E N - ART AND NATIONAL
ZW IDEOLOGIE UND A N P A S S U N G columbosnext KUNST UND NATIONALSOZIALISMUS IN TIROL In 2018 Tyrolean State Museum Ferdinandeum
2018 | AUSSTELLUNGSKONZEPT addressed the influence of National&Socialism on ARCHITEKTUR the Tyrolean art landscape with the exhibition “Between Ideology, Adjustment and Persecution -
TIROLER LANDESMUSEUM Art and National Socialism in Tyrol”. Among other FERDINANDEUM things, pictures from the Gau art exhibitions that took place in Tyrol between 1940 and 1944 had
MITbeen COLUMBOSNEXT shown from december 2018 till april 2019.
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AUTOSTRADA - THOMAS BAYRLE | LENBACHHAUS 2018 (FOTO ERNST JANK)
AUTOSTRADA 2018 LEHNBACHHAUS MUNICH THOMAS BAYRLE
Left Side: Development of the exhibition concept for the permanent exhibition “Autostrada” by Thomas Bayrle at the Lenbach Haus in Munich. Right Side: Conception and construction drawings of ‘Automobile’ by Thomas Bayrle EXHIBITION RENDERING LEHNBACHHAUS
& EN
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NGEN AYRLE -
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2009 - 2012
BACHELOR PROGRAM AT ARCHITECTURE FACULTY INNSBRUCK
2013 - 2014 RMIT UNIVERSITY MELBOURNE, AUSTRALIA EXCHANCE STUDENT MASTER PROGRAM 2014 - 2017
MASTERS AT ARCHITECTURE FACULTY INNSBRUCK
2017
DIPLOMA KUNSTANGER INNSBRUCK
TEACHING 2017 - 2019 INSTITUT F. EXPERIMENTELLE ARCHITEKTUR ./STUDIO3 EXTERNAL LECTURER WS 17-18 ORIENTIERUNG - BODY SLAM MIT DI CHRISTIAN DUMMER SS 2018 ENTWERFEN 1 - KITBASHING MIT DI STEOHAN WIMMER WS 18-19 EXPERIMENTELLE ARCHITEKTUR MIT JAKOB BREITENLECHNER,DI CHRISTIAN DUMMER, KARIN PERNEGGER
STUDENTWORK &
EDUCATION
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TEACHING ELECTIVE AND DESIGN STUDIO Institute for Experimental Architecture ./studio3
BODYSLAM 2018
EXHIBTION AT THE END OF SEMESTER STUDENTWORK - FIRST DESIGN STUDIO WITH CHRISTIAN DUMMER
‘WHAT HAPPENED HERE?’ 2019
EXHIBTION ATKUNSTRAUM INNSBRUCK STUDENTWORK OF EXPERIMENTAL ARCHITECTURE WITH KARIN PERNEGGER, JAKOB BREITENLECHNER & CHRISTIAN DUMMER
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BUILT CR ACK 2014 GRADUATE DESIGN STUDIO
WORK MODEL - BUILT CRACK
Institute for Experimental Architecture ./ studio3 supervisor: Julian Busch, Teresa Stillebacher & Pia Sandner
The crack serves as the starting point for architecture. It is articulated as a gap or joint in an urban context or as a functional break that allows something unexpected to happen, surreal moments, interfaces between realities and spheres. The crack is a space that creates tension. It provokes a positive change - SUNNY SIDE UP! There is a crack in everything. That is from where the light comes in!
CONCEPTUAL MODEL - “THERE IS A CRACK IN EVERYTHING - THAT’S WHERE THE LIGHT COMES IN!”
FLOOR PLAN - FACULTY OF ARCHITECTURE
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GRUNDRISS 2 grundRISS.01
grundRISS.02 GRUNDRISS 1
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grundRISS.02
FLOOR PLAN - FACULTY OF ARCHITECTURE
GRUNDRISS 2 grundRISS.01
grundRISS.02 GRUNDRISS 1
PHYSICAL MODEL
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HIGHWAY STUDIO 2013 GRADUATE DESIGN STUDIO RMIT MELBOURNE supervisor: Roland Snooks
The Highway studio explored the negotiation of excess and necessity. The studio engaged algorithmic design and digital fabrication techniques to re-imagine the structures that define the highway, in particular bridges and sound attenuation walls and their possible inhabitation. Contemporary algorithmic processes are capable of generating highly intricate and excessive geometries, patterns and organisation. The focus of the studio will be on the negotiation of these excesses with the structural and performative requirements of highway structures. Students will fabricate small prototypes of parts of their projects using RMIT’s digital and robotic fabrication tools, with the intention that material and fabrication experiments will feedback and influence the design. The studio explored advanced composite materials and examine their performative and expressive capacities. VicRoads consulted to the studio regarding the site and brief, while Bollinger+Grohmann consulted on computational structural analysis and optimisation.
FIBERGLAS & RESIN
STRUCTURAL REINFORCEMENT
NEGATIVE MOLD
FABRICATION STEPS OF THE PROTOTYP
REINFORCED PROTOTYP - 1:2 SCALE
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PILLOW TALK 2014 GRADUATE DESIGN STUDIO RMIT MELBOURNE supervisor: ARM OFFICE Melbourne Critical Essay about Sex and Architecture, in particular about Transgender and Architecture
Architecture and Transgender By Judith Widauer part of RMIT design studio “Pillow Talk”
To find an origin for transgender in architecture we can go back to Vitruvius’s De Architectura, the earliest surviving treatise of Roman Architecture. He defines the three orders of Roman columns, Doric, Ionic and Corinthian. Beside the first two, the third form, appears to be a queer hybrid of the
Jenny Saville | Matrix (1999)
male Doric and the female Ionic column. Despite that, even though you will find a more obvious relation in the history of Art,you can go back very far in the history of Architecture to find really close relations to transgender or even hermaphroditism. Beside the very beginning of Vitruvius texts, the revolutionary architect JeanJacques Lequeu studies the transformation from male into female in his buildings and self portraits, where he modified himself by adding female features to his paintings.1 Are transgendered people outside or in-between 1 Axis Lequeu – Duchamp_?, Pablo Meninato
the binary gender system and therefore claiming a third gender? Rather than being seen as a sexuality itself or creating their own, they are in-between sexes, genders and sexuality or a linking of sexual opposites. The female and male toilet signs are definitely a manifestation of the gender binary system, but rather than only using these facts as critique on our society, we could use the idea of transgender, especially the journey, to find alternative formations that challenges our current understanding of relationships among spaces. Trying to design a visual journey through gender, almost a gender landscape. And maybe transgender is the very basis for thinking of bodies architecturally? As Robert Venturi already wrote in “Complexity and Contradiction in Architecture” that oppositions can make the space richer, and “both-and” architecture is way more interesting than the modernism - mainstream “either-or”.
“Now, we’re coming out, Out of our closets, Out on the streets Yeah, we’re coming out” 2
They want to claim a public space, above all a space which protects individuals from political pressure, a “save space”. When you look at the expansion of gay public life, the gathering areas which queers are forced to claim in urban space - underground communities, they are mostly understood as both hetero- and homosexual.
“… staked out in the overlapping territories where gay and straight cannot be separated. Because it is neither one nor the other it is presumed to transcend both categories, insofar as it is not limited be the boundaries of either.” 3 As everybody feels the desire to be at home in ones skin, some people can feel that straight away and some have to go on a journey to please their longing.
The in-between space Transgender addresses an issue between you and your body. Someone could say you are betrayed by your own body. So a queer space can be seen as an in-between space, the excluded middle in the binary 2 Lyrics of Make up, Lou Reed 3 Bisexual Spaces: A Geography of Sexuality and Gender. p3 43
system. Its reflecting upon a position, a relation, a place related to other places but with no place of its own. A strange place, a position in-between with lacks of fundamental identity and translated to architecture with lacks of form.
“ Space in between is the locus for social, cultural, and natural transformations: it is simply a convenient space for movements and realignments but in fact is the only place - the place around identities, between identities where becoming, openness to futurity, outstrips the conservational impetus to retain cohesion and unity.”4
It is a temporary space, a space for movement, a place where things are undone but it dismantles all hierarchies and its resisting discrimination. Most importantly its more than a place of simple co-existence, it sets itself to blur out the clear distinction between sexes. A cross-over of two spaces, which is free from gender and allows things to happen and doesn’t dictate it. The point where those spaces blend into each other, is highly charged, inside and outside are getting confused. The moment of being half protected and half exposed. The queer moment, a moment of disorientation, where you try to get reorientated. Being an outsider in your environment or even more in society, looking for like-minded people which can join your journey, accompany each other to occupy domestic space. The morphing of that space by the outside creates a temporary space which will than reveal intimate immensity of sexual overflow. It could be that this experience is uncomfortable, in a way uncanny. Imagine you are a “foreigner”, a person from the outside of the “mainstream” community, but being right in its inside. Space without boundaries of its own, which takes on and receives itself and its form from the outside but which can’t be defined as its own possessed outside. Quite different to commonly known places, it will encourage you to get lost, enter trapdoors and linger in the in-between space. This may lead to a strong rise of someone’s sense of place and increase your spatial perception. As always in life, good things will come along when you start to thing outside the box and try out things where you may feel uncomfortable with in the first place, breaking out of the constant framework (in
4 Architecture from the Outside, Essay on Virtual and Real Space by Elizabeth Grosz
this case the gender binary) can open up your mind and free up your thinking. In my project the in-between space will gather like-minded people, lead them into a highly private space, where than suddenly it turns into a public space. The most private moment becomes the most
Michelangelo, Fall and Expulsion from Garden of Eden
shared moment in a sudden - what an awkward situation. But no, as you already admitted to this experience before you will end up at this pleasant place. A modern version of the Garden of Eden. An idealized place of safety and comfort, especially in this case with an overtone of regenerative powers of sexuality.
“The Garden is metaphor of our minds and our thinking in terms of pairs of opposites: man and women, good and evil, are as holy as that of god.” 5 Religion in general ranges between condemning any gender-variant behavior to honoring transsexuals as religious leader. In the Catholic Church transsexualism is a rejection of how God made us and a decision to deny that. They say e.g. that any sex-change procedures do not change a persons gender. In this “Garden of Eden” the two rivers representing the diversity of female and male, slowly blending into each other, creating a new genderless neutral space.
Swelling Skin/Paradise Niches The nude body lacks nowadays in sensuality. With all its flaws it leaves scarcely anything to be desired. Lingerie, jewelery, tattoos or even plastic surgery 5 Joseph Campbell, That art that: Transforming religious metaphor
will help through acts of ornamentation to flare up the passion. This decoration will turn the body/ building into something sexual and seductive. I shall limit myself to pointing out two different ways to tread the skin/space. Niches or any form of crannies are creating protective zones. The poché is a good example where anonymous gazes and curiosity are coming together. Rather than building always thinner and thinner walls the poché deals with the space between interior and exterior and can be compared with a niche or champed within a wall. It is again a zone between protection and exposure. People were served, observed, watched over or simply shadowed by these shallow hollows. In contrast to that, the swelling skin/building is way more haptic than visual and tries to please and produce erotic and sensual erection within a different way.
but its impact on your spatial feeling will be way more intense than before. You will not be aware of the impact or change on you as long as the release will happen, because before you will slowly adapt to the situation. The intention is not to create an unpleasant experience that you than can enjoy the relief more than before. It is about the overall experience and an aid to develop another unknown feeling for space. As well it will encourage people to move on and not linger in the compressed space. Additionally to this mainly inner application of “compression and release” it could also have an implantation on the outside. Referring back to Robert Venturis “Complexity and Contradiction in Architecture” the outside of the building is kept rather simple in contrast to the complex inside. In some parts the internal intricacy manages to break out and expresses it on the outside.
Compression and Release Frank Lloyd Wright used the concept of “embrace and release” or “tension and resolution” to design his buildings. He created narrow hallways and extremely low ceilings, to than open up the whole space to create a memorable moment of release for the visitors. Caught in the wrong body, transgendered people will have the constant feeling
Jordanian ancient city, Petra
of compression, and they will not be relieved until they have their come out and make the decision of their life’s. You may feel uncomfortable within an unusually low room or an extreme narrow way,
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LEVIATHAN LEVIATHAN GRADUATE DESIGN STUDIO 2013 2013| ARCHITECTURE ELECTIVES GRADUATE DESIGN STUDIO RMIT MELBOURNE RMIT MELBOURNE supervisor: Gwyllim Jahn Jahn BETREUUNG: Gwyllim Massive Simulation, Meta Design and Programming withMeta Python. Massive Simulation, Design and Programming in Python
Aim of this elective at RMIT was to pythonwas & than translate Aimcode of thisinelective to code in python and geometry between different than translate geometry between different software platforms to get printable software platforms to get printable geometry geometry. in the end.
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3D PRINT | 25cmx25x20cm
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