Academy of Fine Arts Vienna Institute for Art and Architecture
architecture portfolio
Nathaniel Loretz
2015 - 2018
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Curriculum Vitae
Nathaniel Loretz BORN
information
NATIONALITY CURRENTLY BASED IN MAIL
SEP 2015 - NOW
September 3rd, 1995 Austrian Vienna, Austria nate.loretz@hotmail.com
Architecture, Bachelor’s degree program Academy of Fine Arts Vienna, Institute for Art and Architecture
educational background
SEP 2010 - JUN 2014
High School, higher cycle, focus on Informatics Realgymnasium Stockerau
SEP 2006 - JUN 2010
High School, lower cycle Gymnasium Stockerau
OCT 2018 - NOW
Intern, the next Enterprise, Vienna urban design, competitions, architectural projects, exhibition design range of work: research, 3d modeling, architectural drawing, rendering, model building
SEP 2018 - DEC 2018
Collaboration with V. Dirnhofer & J. Jakob competitions for art in public space range of work: 3d modeling, model building, architectural drawing
work experience AUG 2017 - SEP 2018
Intern & Minor Deployment, Strabag, Vienna at the department for BIM - Development (Building Information Modeling) range of work: conceptual study for a Mixed Reality Space, research, architectural drawings
OCT 2014 - JUN 2015
Civilian Service as a Paramedic Red Cross, Korneuburg
SEP 2018
Living Lab: Constructing The Commons workshop & exhibition, Vienna, Austria cooperation of Academy of Fine Arts Vienna & TU Delft & IBA_Wien
JAN 2018
exhibitions workshops awards
Inhabiting the City, ]a[ Rundgang exhibition of student work, Academy of Fine Arts Vienna
JUN 2017
Pfann Ohmann Preis fĂźr Architektur 2017
JAN 2017
Fabric of Place, ]a[ Rundgang exhibition of student work, Academy of Fine Arts Vienna
JAN 2016
Intuitive Trajectories, ]a[ Rundgang exhibition of student work, Academy of Fine Arts Vienna
DIGITAL
computer proficiency ANALOG
language ability
Rhino + Grasshopper VRay 3dsMax
AutoCAD Maya Illustrator
Photoshop InDesign Premiere
LaserCutting
3D Printing
CNC Milling
German (mother tongue) English (fluent) Italian (basics)
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Hello, i am Nathaniel from Austria, a 23-year-old architecture student at the Academy of Fine Arts Vienna. Currently I am seeking for a 3 to 6 month internship.
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Content
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Oscillating Spaces Platform ADP Analog & Digital Production
p.12
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Tense Folding Platform CMT Construction, Material, Technology
p.20
Fabric of Place Platform CMT Construction, Material, Technology
p.26
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Hylozoic City Platform ESC Ecology, Sustainability, Cultural Heritage
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Mapping Living Environments
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Platform GLC Geography, Landscape, Cities
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Architectural education at the Academy of Fine Arts Vienna is based on five research platforms
ADP Analog & Digital Production CMT Construction, Material, Technology ESC Ecology, Sustainability, Cultural Heritage HTC
History, Theory, Criticism
GLC Geography, Landscape, Cities discussing spatial, cultural, social, technological and political questions. In each studio project, fields of knowledge and potentials pertaining to the five platforms are developed and discussed in detail.
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Analog & Digital Production
1 Platform ADP
Oscillating Spaces
individual project Advisors Wolfgang Tschapeller Werner Skvara Review Guests Nic Clear Angelika Schnell Hannes Stiefel Michael Hansmeyer full studio brief see p.40
‘Why not plastic forms in motion? Not a simple translatory or rotatory motion, but several motions of different types, speeds and amplitudes composing to make a resultant whole.‘ - Alexander Calder The studio’s task was to design an architecture studio for 20 students. The project kicked off by building a space allocation model and turning the spaces upside down to build a hanging model, following the principle that an optimal arch follows an inverted catenary curve.
These upside-down hanging models didn’t serve to create a physical recomputation, but were rather used as an experimental design method to find new designs for a space for architectural production. Oscillating Spaces is an inversion of a hanging model working similiar to the mobiles of Alexander Calder. The spaces are not suspended, but balanced on one pivot point. ‘Several motions of different types, speeds and altitudes’ compose to make a resultant whole.
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Analog & Digital Production
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space allocation model
suspended model
an archtiecture studio for 20 students
inspired by the Mobiles of Alexander Calder; every space is suspended from one pivot point
modelscale 1:250
modelscale 1:25
translation of a suspended hanging model into an inversed standing model
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sketch models of standing model
kinetic standing model
a sequence of spaces are put on top of each other. Sketch Models helped to find out how much weight had to be distributed to each pendulum modelscale 1:250
final physical model as an inversion of a Mobile: spaces are oscillating with every force that acts on it modelscale 1:25
Oscillating Spaces
PROCESS
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Analog & Digital Production
^ detail of kardan joint - the pivot point of each space
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Oscillating Spaces
^ kinetic standing model modelscale 1:25
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Construction, Material, Technology
2 Platform CMT
Tense Folding
individual project Advisors Michelle Howard Luciano Parodi Review Guests Tom Avermate Benni Eder Ernst Fuchs Simonetta Ferfoglia Michael Hansmeyer Stefan Rutzinger Wolfgang Tschapeller full studio brief see p.40
‘Folding is at work everywhere. it bends and weaves, it manifests and creates, it nourishes and is nourished, it operates materially and materializes operationally.’ ¹ The city of Sankt Valentin asked the CMT platform to design and build prototypes for 6 busstops throughout the city. We started by experimenting with the folding of Ultra High Performance Concrete. By the means of folding, the material increases its bearing strength and
is able to enclose and encompass whole three-dimensional spaces. Therefor every student enganged into paper folding and experimented with the possibilities of one folding technique to later use this knowledge to design the busstops. > also see ‘The Fabric of Place’ ¹ Michael Friedman, Wolfgang Schäffner: On Folding, Introcution into a New Field of Interdisciplinary Research,
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Construction, Material, Technology
> curved crease folding by David Huffman A flat sheet of paper is scratched with curved creases on both sides, folded and then pushed into shape.
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A string pulls two diagonal corners together and creates a momentum inside the paper. The ‘concertina’ folding thus becomes a stable form in itself.
CURVED FOLDING
Tense Folding
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The formwork consists of a substructure and a creased and folded PVC linoleum sheet. Both can be reused after formwork stripping.
FORMWORK
Construction, Material, Technology
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Tense Folding
curved folding UHPC (ultra high performance concrete) ĚŒ
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Construction, Material, Technology
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Tense Folding
< formwork construction plan
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Construction, Material, Technology
3 Platform CMT
Fabric of Place
group project 14 students Advisors Michelle Howard Luciano Parodi Review Guests Tom Avermate Benni Eder Ernst Fuchs Simonetta Ferfoglia Michael Hansmeyer Stefan Rutzinger Wolfgang Tschapeller full studio brief see p.40
The City of Sankt Valentin in lower Austria has asked the CMT platform to design and build prototypes for 6 bus-stops throughout the city. This research project uses the technology of woven textile reinforcement, which replaces steel and its associated corrosion problems. Offering myriad possibilities of
form through folding and shaping, extremely strong, thin skins become possible. With it, we constructed the fabric of place in Sankt Valentin and one of the first free-standing textile concrete structures in Europe. This project is a continuation of the project â&#x20AC;&#x2DC;Tense Foldingâ&#x20AC;&#x2122; (p.12)
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Construction, Material, Technology
The busstops consists of two pieces of different folding techniques. The ‘star‘ as a simple fold and the ‘wall‘ as a crumpled fold. The two were built seperately and in the end fit together, supporting one another.
PROCESS
The bus stop itself was made out of UHPC (Ultra High Performance Concrete) reinforced with Carbon Fibre. Wood and Milchkarton were used to construct the formwork
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Fabric of Place
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physical standing model modelscale 1:25
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Ecology, Sustainability, Cultural Heritage
4 Platform ESC
Hylozoic City
individual project Advisors Hannes Stiefel Luciano Parodi Review Guests Francois Roche Karolin Schmidbaur Günther Feuerstein Wolfgang Tschapeller Christian Teckert full studio brief see p.41
This studio dealt with the transcription of seminal unbuilt projects of the past into our time. In contrast to the duty of restoration and conservation it understands Cultural Heritage as a transformative practice, one that engages with the critical conditions of our dynamic environments. This process does not only consider the project’s (retrospectively) anticipated effect on the future of its own time, but also examines the unbuilt project’s role in the architectural discourse since.
I engaged with ‘Floraskin’ of 1931, by Günther Domenig and Eilfried Huth. It was proposed to be a living and mutating hotel for ‘alternative tourism’ located in the area of Sidi Ifni in Morocco. It’s a modular superstructure that spans 30 km along the coast, accommodating 25.000 people at once. I reconsidered the idea of an organic structure that can grow and adapt to any daily spatial needs. ‘Hylozoic City’ allows humanity to inhabit misanthropic territories on earth and other planets.
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Ecology, Sustainability, Cultural Heritage
^ Grasshopper-simulation expansion and contraction of a mutable substructure
Architectural culture is represented not just by buildings and objects, but more so by ideas and concepts, which in architecture means by drawings, models and other media. Through these means the unbuilt precedents are critically appropriated and transcribed into a possible future.
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Hylozoic City
model of the colonisation of the substructure scale 1:50 Ě&#x152;
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Section Hylozoic City
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Geography, Landscape, Cities
5 Platform GLC
Mapping Living Environments
group project with Philipp Behawy Advisors Sandra Bartoli Daniela Herold Review Guests Ulrich Huths Michael Kubik Silvan Linden Maik Nowotny Karin Reisinger Andreas Spiegel full studio brief see p.41
The design studio takes into consideration the context of the Anthropocene â&#x20AC;&#x201C; an era that marks a fundamental shift in the concept of modernity as well as of humanity, which we are only beginning to understand. This calls for an alternative history to feed the present moment and offer trajectories for different futures. The studio investigated in the area of Prater, a floodplain forest along the Danube. the vast plan to control the flow of the Danube terraformed this space. Today it is not a contradiction to view Prater as the most urban place of Vienna.
This project deals with Mapping of Living Environments in a human scale, conceiving human creatures and more than human creatures as mutually dependent, and trying to dissolve the antagonism between city and nature. This project puts a focus on the Stadion and Stadionbad of Prater. Due to its ability to accomodate thousands of people at once, extreme variations of usage emerge in these areas and thus a diverse range of living environments for human creatures and more than human creatures arise.
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Mapping Living Environments
â&#x20AC;&#x2DC;Kabanenâ&#x20AC;&#x2122; are quite common in Vienna. These summer houses in open air bath are only accessible during the season. In winter they are completely abandoned. Thus different living environments emerge over the year. The drawing is an attempt to map the usage by human and non human creatures.
Geography, Landscape, Cities
The stadium is surrounded by a big empty square, on which different human and non human living environments occur. If there is a happening in or around the stadium, the whole setup (snack bars, shops, etc) is removed right after the event. The street-lights are the only permanent objects in this area. Through its usage one can read the stark change in living environments there.
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Mapping Living Environments
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Thank you for taking time!
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Studio Briefs
01 Studio ADP
Deep Spaces Laboratories, studios, seminars, desks and archives are some of the spaces where knowledge is produced: laboratories are spaces for experimentation in the natural sciences, studios are workshops for artists, seminars and — earlier — desks are places for knowledge production in cultural studies, and archives are the realm of historians. There appear to be at least fragmentary guidelines for the concrete physical aspects, dimensions and properties of some of these spaces. A laboratory has to be devoid of properties. Its spatial contours are a product of the measurements of experimental equipment, and its shell
02 Studio CMT
The Fabric of Place Six Bus Stops for Sankt Valentin Following the previous two CMT studios, we will continue our investigation into woven architecture. The Four Elements of Architecture, by the architect Gottfried Semper (1851), posits that the woven mat, and its use interchangeably as floors, walls, and draped over frames, constitutes where architecture begins. Semper argued that architecture is like a garment; it shares the same root and meaning in Germanic languages (Wand = wall, Gewand = garment). For many years, this treatise was seen as fanciful and antiquated, but as is often the case, all it needs to become relevant again are the corresponding
is a composite of filters, controlled intake and exhaust conduits, and screens for and against magnetic fields. Its contact points with the ground are constructed in such a way that not even the slightest vibration from real space can enter into the experiment space. Then take archives. An archive is often a space constructed from a multiple of the archived material and has clear climatic requirements as well as the main task of conserving the material’s original state. As for traditional artists’ studios, we know that they had to have high ceilings and that a certain kind of light was achieved by means of large, north-facing windows. Can traditional studios be considered as optical instruments? What do we know, though, about the experimental space of architecture, where architecture is learned and
produced? What are its proportions, what materials does it have to be made of, what are its properties and what is its content? What is its name? Studio? Workshop? Atelier? Let’s delete these names; let’s consider the state of the art of cultural studies and neurosciences; let’s take into account that our brains and our production tools are converging, and let’s start a project — let’s be as ambitious as possible; let’s take a working title, let’s call it »Deep Spaces«, in reference to the NASA programme of the same name that has the mission of studying and exploring the limits of space, the solar system and the universe as conceivable for humans. Deep Spaces, then, is the project of exploring the new experimental space of architecture: no more studios, no more laboratories — from now on, Deep Spaces.
materials and technology. We will experiment with the exciting new technology of textile concrete, which replaces steel and its associated corrosion problems as reinforcement. Woven reinforcement permits extremely strong, thin skins, the free movement and integration of data, and myriad possibilities through folding and shaping. With it, we will construct the fabric of place in Sankt Valentin. The City of Sankt Valentin in lower Austria has asked the CMT platform to design, build prototypes and submit construction documents for 6 bus stops. Their positions in the city and their programme (social, environmental, technological) will be determined by the students attending the free elective workshop there in September. The workshop moves individual characteristics into focus, reveals new potential for these stops as places, and generates new
opportunities for the urban community. The new places will be strongly connected to the social and climatic environment, providing shelter from or immersion into the elements and opportunities for connectivity. Sankt Valentin, although the wealthiest city of the region, manifests as a collection of diverse and disparate areas lacking in centre and space. At the same time, it has an important train station with direct connections to both Vienna and its airport. It is home to many historic manufacturing firms that have reinvented themselves and flourished, just as the foremost manufacturer of textile reinforcements is an historic scarf maker. In a city where most people use cars to move around, and buses are underused, unearthing new usefulness is paramount to these new bus stop structures, just as a great manufacturer must reinvent itself to remain pertinent, survive and flourish.
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03 Studio ESC
Vorgriff Another Attempt at Cultural Heritage “...the old will thus yield something new, and the very newest will show its ancient face.” - Karl-Markus Gauss There is a sentence that has been haunting me for quite a while. It might have been spoken or written by Alexander Kluge, by Heiner Müller or even somebody else; however, the original wording may be different anyway: KUNST LEBT IM VORGRIFF AUF DIE ZEIT IHRER WIRKUNG. This applies to architecture, too: an architectural idea or design exists in anticipation of its impact on a variety of environments, and by its capacity to engage the human condition. I further recall Hans Robert Jauß’
04 Studio GLC
In the Beginning and End, There Was Prater Prater is an artefact grown out of the histories of Vienna: a floodplain forest along the Danube. For many centuries, it was a royal hunting ground, and access for the public was as often forbidden as it was transgressed. The vast plan to control the flow of the Danube terraformed this space. To the north, it features a fairground, the
insight that the historic entity of an artwork lies not only in its representative and/or expressive function, but inevitably in its effect, too – and thus in its manifold reciprocities with individuals, communities and/ or societies. According to Jauß this understanding requires ongoing questioning and active reproduction of the past with a focus on the interaction between the work and mankind rather than on the work itself. The predominant culture of cultural heritage in Western architecture is one that focuses on the faithful restoration or conservation of the built object. These current practices of cultural heritage essentially belong to the realm of a material culture. They lead to results that are highly questionable in terms of the object’s authenticity and performativity in today’s constantly changing environments. Instead, we propose a notion of cultural heritage that is
rooted in architectural culture – a culture that lives in anticipation of its impact on a potential future. Such a culture is represented not just by buildings and objects, but more so by ideas and concepts, which in architecture means by drawings, models and other media such as film, installations etc. Imagine the transcription of seminal unbuilt projects of the past into our time. This process will not only consider the project’s (retrospectively) anticipated effect on the future of its own time, but will also examine the unbuilt project’s role in the architectural discourse since. The future (of architecture) becomes possible, a future that the past could not think and that the present – in dialogue with the past – could finally dare to realize. We understand the function of cultural heritage in architecture as a transformative practice, in contrast to a duty of conservation.
location of the World Fair, an atomic reactor and an amusement park. It becomes a wild swamp forest to the south, not so far from an extensive refinery and tanks. Prater’s territories and jurisdictions shape-shift between wild, human and more than human, becoming the expression of a different city and triggering visions of unexpected urban models. It is not a contradiction to view Prater as the most urban place of Vienna. The hypothesis is that Prater is also a model where the antagonism between city and nature is dissolved, conceiving of human and more
than human creatures as equal and mutually dependent. The design studio takes into consideration the context of the Anthropocene – an era that marks a fundamental shift in the concept of modernity as well as of humanity, which we are only beginning to understand. This calls for an alternative history to feed the present moment and offer trajectories for different futures. The studio includes a research and mapping part about Prater, excursions with experts, and formulating hypotheses of urban models for the Anthropocene.
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Nathaniel Loretz Vienna, Austria nate.loretz@hotmail.com