coverstory close-up biennale di venezia
featured.
my i pod tracks 03 models&models 03 timeline re-member featured architect imprint 02 02 04 04 04 04 poster-cover editorial news reder`s reader what´s next special how to survive a crit
regulars.
01 02 02 02 02 02
contents.
10 Issue N°
Angewandte»Glamour»Architecture»Culture April 2006
Nachrichten aus dem Institut für Architektur Institute of Architecture University of Applied Arts Vienna
PEB 10.2006
prinz eisenbeton april Roemer van Toorn head of the history & theory program at the Berlage Institute Postgraduate Laboratory of Architecture Rotterdam
close-up.
DELUGANMEISSL Associated Architects by Daniel Kerbler
DELUGAN MEISSL ASSOCIATED ARCHITECTS
Elke Delugan-Meissl Roman Delugan Wolfdieter Dreibholz Dietmar Feistel
Martin Josst Christoph a. Kumpusch Damjan Minovski Franz Morak
www.dieangewandte.at/architecture
Oscar Niemeyer Gerli Orthacker Paul Petritsch Carl Pruscha
Wolf D. Prix Christian Reder Nicole Six Christopher Schweiger
Gerfried Sperl Roemer van Toorn
editorial.
Dear princes of the world we made it! you are holding the golden 10th issue of Prinz Eisenbeton in your very own hands. Since the life of a student magazine is unpredictable we take the opportunity and celebrate big times. Maybe it was the colour that got us all through or the beaux and beauties, who posed with the little yellow fellow. Probably you were turned on by our name, or the many party
news.
Wolf D. Prix elected as Honorary Fellow of the American Institute of Architects (AIA) Wolf D. Prix to receive the „International Fellowship“ of the Royal Institute of British Architects (RIBA)
pics without words that make reading more fun. Whatever the reasons are, it is time to throw the prince a big birthday bash, with cake, beautiful people and even more champagne. Once a wise man told us to keep our secrets, but this one is meant for sharing: honestly it is the 11th issue of Prinz Eisenbeton. Once upon a time there was the issue no.0, when the Prinz Eisenbeton was
Bond, 40 Bond Web site of 40 Bond, Ian Schrager's new luxury apartments designed by Herzog & de Meuron, shows a movie. Ian says; "now, more than ever, I feel the status quo is unacceptable." … watch the movie and see the status quo busting condos. (www.40bond.com)
Alsop Sells Himself
'Evil Can also Be Beautiful' Dutch architect Rem Koolhaas talks about Prada and politics, building in autocratic states and the allure of the ugly. Read the interview @ der spiegel
Will Alsop has sold the rights to his architecture firm to SMC Group for £1.8 million. Aslop will retain creative control.
slightly smaller and the yellow was slightly darker. So that makes it eleven issues, which is even a better reason to party, since we are dealing with a Schnapszahl, the german expression for a number that makes you drink a lot. We will, not without you though, so prick up your ear’s for upcoming information on the Grande Fiesta Eisenbetona. Until then enjoy another
The Revolution in Building Materials Architect Blaine Brownell, the author of Transmaterial, talks about innovative new products in the construction industry, in Business Week. (www.businessweek.com)
Architecture in Pasadena CA Pasadena Goes Modern Morphosis, OMA, Gehry and DalyGenik design in the land of Greene&Greene; but the historic tradition is still strong - Historic Bungalows Rise from Ruin; and mixed-use projects are emerging across the San Gabriel Valley Skyline takes Shape.
Harry Seidler Dead Famed Austro-Australian architect Harry Seidler of Harry Seidler & Associates has died in his Sydney home, aged 82.
special.
effect 1 a: PURPORT, INTENT b: basic meaning : ESSENCE 2: something that inevitably
instant Etymology: Middle English, from Medieval Latin instant-, instans, from instant-, instans, adjective, instant, from Latin 1: an infinitesimal space of time; especially : a point in time separating two states <at the instant of death> 2: the present or current month
my ipod tracks. Gerli. Orthacker. 01.
cocorosie. butterscotch
02.
03.
Zeitgeschichte Wolfgang Schivelbusch: Entferne Verwandte. Faschismus, Nationalsozialismus, New Deal 1933-1939 Hanser. München 2005, ISBN: 3-446-20597-7
„Was wir brauchen sind Feinde, denn die werden für uns zu einer ökonomischen Notwendigkeit“ (US-Grundsatz laut John T. Flynn, 1944) Orientierungswissen Peter Sloterdijk: Im Weltinnenraum des Kapitals Suhrkamp, Frankfurt am Main 2005, ISBN 3-518-41676Es ist kein sprachgeschichtlicher Zufall, dass bis zum 16. Jahrhundert das Wort ,entdecken’ nichts anderes als die Entfernung einer Hülle über einem Objekt, also ein Entblößen des Bekannten, bedeutete und erst danach das
Sperl: Like the architect, architecture has to finally gain flexibility. Architects have to acquire a broad area of knowledge and carry it into the field of architecture. To engage further in discussions about the basics of urban planning is rather regressive. This is not a matter of politics but of the schools of architecture and the professors. It is necessary to ask questions of urban planning that are somehow radical like a central station. Young architects need utopias. They need to cut back from something. Neoliberalism brought them into that position and it is not interesting to provide them with any jobs. By keeping the unemployment rate high, it forces them to be more disciplined. The word is: be decent, finish quick, and you get a job, rather than being rebellious. Neoliberalism also means to tame the young, not through authorized arrangements, but to bring them into the position to fulfil their duty, to study and not to politicise. It needs someone again, who says he’s not okay with what the elderly are doing. Young architects have to interfere with the theory and
Auffinden eines Unbekannten meinte.“
Lesebuch Projekte Christian Reder (Hg.): Vorgriffe, Ausbrüche in die Ferne Edition Transfer bei Springer Wien - New York 2006 / ISBN-3 211-28587-3 Ein “Reader on Projects” mit weit gefächerten Positionen zum Thema Projektarbeit und Projektwelten. “Tatsächlich aktivierende Projektkulturen mitzugestalten und ernst zu nehmende Projekte zu realisieren, ist daher ein ganz entscheidender Faktor. Die Vielfalt beruflicher Orientierungen wird und muss zunehmen; zugleich wird Integratives immer wichtiger.” Mit Beiträgen von Alexander Kluge, Peter Sellars, Zaha Hadid, Anselm Kiefer, Wolf D. Prix / Coop Himmelb(l)au, Brigitte Kowanz, Fons Hickmann, Christoph Schlingensief u.a.
CLOSE UP@DELUGANMEISSL Associated Architects Office since 1993 Elke Delugan-Meissl Thesis at tu innsbruck Roman Delugan Thesis at umiversity for applied arts vienna Collaborateurs since 2004 Dietmar Feistel Christopher Schweiger Martin Josst Employees: about 10-15 office space: aprox. 260m2
institute of architecture meets deluganmeissl associated architects march. 2006
socio-political situation. Prix: There is nothing worse but progressive tolerance. It is difficult for young people to arise against professors who demand progressivism except if they call themselves absolutely conservative. Critic can never be requested from above but has to emerge from an attitude towards life. These are the problems in times of neoliberalism. The danger of the media is the enforcement of renewal, the constant demand after a new, young wave. Sperl: however the young have to always notify the public. This is not only about the right to exist, but to make it difficult for the politics and business to waive qualitative architecture and its arguments. It is the responsibility of the media to seed the economic impact of architecture into the publice mind. Prix: The discrepancy is that the media pretends to look for quality but only publishes the decent middle. It would be too far off to talk about a Meta level here.
How did you start your architecture career? We won the masterplan for the DONAUCITY
We come from the promoted housing sector, which has itself simply in such a way resulted in. We have always tried to increase the quality of the architecture in these segments. On this basis much has developed itself. If is really tough, if one has architectural conceptions, which are great but are reduced gradually during the design-process. IF one can still say then however at the conclusion that the house corresponds in principle to the intention, which one had with the design-process, is the interesting part of the story. And now the spectrum opens. We have always tried to stay with doing competitions. That was an important decision. We solved that quite well, however one will judge these things. With the house RAY1 we had been able to convert 90% of what we wanted. Suddenly one gets stuck with the same thing. We were doing nothing but Social Housing over and over again. That’s where we remained. Therefore also the Monography. That was strategically important. It was necessary to be portrayed differently, not just with the highrise.
How did you continue after that project was coming to an end? Almost all the projects we had were competitions, there were barely any direct commissions. So the high-rise only seemingly paid off because we had no clue how to make a good contract. Both projects helped staying alive and work on other competitions. And all the idealism that got lost with the high-rise now went into these projects. Everything was possible, getting dismissed in the first round and many second prices. Now fortunately there are more first prizes. Since we could prove our name we get invited to competitions more often which gives us a better chance to get a commission. Being in one of those competitions we have the ability to uncompromisinlgy show what we think is right because the client knows wat he can expect from us. A little while ago we found that the workload was getting quite big so we decided to get three partners (Christopher Schweiger, Martin Josst and Dietmar Feistel). But this also meant to pass on responsibilities. I had always thought that we could still handle it like in university, everyone works with everyone, but that didn’t work. There are hierarchies , but it’s particularly respect which you have to earn over the years. When I was teaching in Switzerland I told the students to call me Roman. I also told them that I was investing incredibly much energy and that if i didn’t get any back I would have left right away. That was the key and we could work perfectly well together. We are a very well working team which is essential when you are agitating in the outermost feasible fields. Elke has a very good grip on that. It requires an unbelievably good structure, also, which concerns project archiving. The computers are all clean. From A-Z everything is through-structured. But with a certain ease. If it were overly organized, one would only concentrate on these things. There is no over-administered office. Organization is already a topic. One is always also generalist. One must be able to act within many ranges well. There is a core team of 10 people, we know already who to put where, in order to get good results. Meanwhile we also have the luck that we get top people from everywhere not like ten years ago. This results in a very good output even though we only have small teams. Our partners and us we work on seperate competitions but we also discuss them together on the table.
How does a space feel like if you create it youself and if you are participated in its genesis? That is an incredible feeling. That is fantastic. Since we live up there, we somewhat have the feeling that we don’t need more vacation. We really created something like a tailored suit. That is a place of relaxation. The development goes in the head, that continues to be however no problem, since we are both like the nomads concerning that topic. If it doesn’t please us any longer, we can also pack the suit-cases and go to a different place. If it doesn’t meet all the requirements or intentions any longer. One keeps on believing that as an architect, wow, high-life, but all the money always goes into the idealism of architecture. It goes there for many years. One part are also the competitions which we have been doing for 13 years already on a very high level. It is okay like that, it is not so much of an issue if one measures it according to the realizations. I resist however to always purge into this misery story. It is time intensive, it is labor intensive, one must be ready to some sacrifice. Despite all that it is an amazing profession. No question.
together with the architects Cufer, Loudon and Steiner. With the graduate competition for the EXPO we won the second prize and the clients wanted young offices to participate in the competition. Thus we came to the highrise and to the bar (balken) staying at home drawing on our desks. Roman had just finished straight with his studies, the consequence was a small chaos. We had to build up an office inter network right away, which paid off and finally lasted for seven years. It was clear that that was a little risky. Concerning the employees, I was the youngest in the office. I had no idea how to deal with construction documents. Elke was familiar with that because she had worked for seven years already. I ended up bringing the coffee for the employees. That was when we learned how to structure an office. We had never built any small projects before and started right away with the high-rise and the bar. It was a tough period.
Was the house REY 1 a turning point in the whole design-proces? I would not say that in such a way. It was not a step in the design-process, it was a step towards the public. There was already a constant development during the design-process. The house was not a completely different direction, in the sense, how architecture was generated. Nevertheless we could make everything there. 2003 was the Biennale in China, for which 10 teams from the west were invited; we supposed to do the Interior Design. That was very interesting for us. The first jump in this direction. The house was the "eye catcher". We are more frequently asked now to also take care of the Design. It catches on with the chair and reaches up to the doorknob. That makes it a lot more fun. The field opens ever more, also concerning the content.
Biennale di Venezia. International Exhibition of Architecture 2006
The State Secretary for the Arts and Media, Franz Morak appointed Wolf D. Prix as curator for the Austrian contribution of the Biennale di Venezia, International Exhibition of Architecture 2006.
kate bush. moving
3 examples for my current preferences for women voices
Gerli Orthacker studies Architectue at the University of Applied Arts, Studio Hadid
P.P.P.P.S. Desperate for more pages of hot, sexy, beautiful faces? Be free to make donations and write to prinzeisenbeton@uni-ak.ac.at
reder`s reader.
models&models. Damjan. Minovski. juliette & the licks. I never got to tell what i wanted to
P.P.P.S Want to move your company into the headlight? Advertise your logo or yourself in the next issue. Send us your information to prinzeisenbeton@uni-ak.ac.at
conversation to the lecture series “architecture and politics” Wolfdieter Dreibholz and Gerfried Sperl (chief editor “Der Standard”) with Wolf D. Prix
manifold Etymology: Middle English, from Old English manigfeald, from manig many + -feald -fold 1 a: marked by diversity or variety b : MANY 2: comprehending or uniting various features : MULTIFARIOUS 3: rightfully so-called for many reasons <a manifold liar> 4: consisting of or operating many of one kind combined <a manifold bellpull
DELUGANMEISSL ASSOCIATED ARCHITECTS
P.P.S. Want to move some interns around in your office during the summer? We advertise all your demands for interns and offered jobs. Please send us your requests to prinzeisenbeton@uni-ak.ac.at
what‘s next ?
Part 02
follows an antecedent (as a cause or agent) 3: an outward sign : APPEARANCE 4: ACCOMPLISHMENT, FULFILLMENT 5: power to bring about a result : INFLUENCE <the content itself of television ... is therefore less important than its effect -Current Biography> 6 plural : movable property : GOODS <personal effects> 7 a: a distinctive impression <the color gives the effect of being warm> b: the creation of a desired impression <her tears were purely for effect> c (1) : something designed to produce a distinctive or desired impression -- usually used in plural (2) plural : SPECIAL EFFECTS 8: the quality or state of being operative : OPERATION <the law goes into effect next week> - in effect : in substance : VIRTUALLY <the ... committee agreed to what was in effect a reduction in the hourly wage -Current
DIE REDAKTION P.S. If you still can’t get enough from Prinz Eisenbeton and like to receive him fast via mail please register at prinzeisenbeton@uni-ak.ac.at
special.
1001words to survive a crit affect Etymology Middle English, from Latin affectus, from afficere 1 obsolete : FEELING, AFFECTION 2: the conscious subjective aspect of an emotion considered apart from bodily changes usage see EFFECT "Affect" (latin affectus) is a concept used in philosophy by Spinoza and Deleuze. According to Ethics III, 3, Definition 3, an affect is an empowerment, and not a simple change or modification. Affects, according to Deleuze, are not simple affections, as they are independent from their subject. Artists create affects, "blocks of space-time", whereas science works with percepts, according to Deleuze, and philosophy creates concepts.
ultimate Prinz Eisenbeton space experiment or the physical possibility of placing 40 students into Delugan Meissl Associated Architects 18qm conference room. Thanks again and howdy to Elke, Roman, Christopher, Martin and Dietmar. This was an excellent opportunity for getting closer to you, your work and each other. We’ll be back.
coverstory. close-up
Damjan Minovski studies Architecture at the University of Applied Arts, Studio Prix.
Roman Delugan
How does the design-process run off? You are invited to competitions, which follows then? First we consider whether it makes sense to participate or not. A competition costs energy. It has to fun, because one cannot work towards a jury. It is a cooperative process. Not everyone does everyhing. We discuss the fundamental questions, but we do not decide over details together. That is a conception which doesn’t exist in reality. Someone who is not involved in the project so much can always contribute and bring it to the point. Concerning our architectural intentions we are already very unanimous. What about model making? Model making is essential. Without model making nothing would work at all. About 5 years ago the instrument of 3D-Drawing was introduced and the dialogue between physical and computer model takes place again and again. Because only at the physical model one can see and grasp the things. That is the process. The factor coincidence is also added. To permit coincidence, is completely important. One builds the model and all of a sudden a wall tilts. That is a development process, which is very interesting. Especially with new tasks a tremendous amount of analyses is necessary. Due to the basis of the analysis and the place one begins to dream. One analyzes the other projects related to functionality. What's next? Sometimes we have to pass competitions. Meanwhile we must segregate. A goal is to keep the office as small as possible. We don’t want to expand. If we still had to make the construction documents, we would have around sixty people to work here. That is good strategy instead of everything having planned here. We have the "Controlling". We look at, what is made outside the office and then give the green light.
Elke Delugan-Meissl
The 10th Biennale di Venezia in 2006 is held from September till November. The central theme is „Meta-Cities“ and covers four different exhibitions: an international exhibition curated by Richard Burdett, a presentation of contemporary Italian architecture in the Italian pavilion, an exhibition of Claudio d´Amato Geurrieri with the theme Transformations in South Italy and a show about Italian Models of Urban Transformation in a city in South Italy with the curator Rinio Bruttomesso.
dates. good for you to meet us at.
25.04 26. 27. 28. 29. 30. 01.05 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 01.06 02. 03. 04. 05. 06. 07. 08. 09.06
angewandte. 28.04. MIDTERM.
STUDIO PRIX: at the architecture studio. 28. april 2006 11am Universität für angewandte Kunst www.dieangewandte.at
lecture. 26.04. Hannes Stiefel. Stiefel Kramer
17.03. XY +Z.
Lawrence Weiner 17.03-27.05.2006 mo-sa 10-18h Bawag Foundation www.bawag-foundation.at
26.04.2006. 12am - 2pm hörsaal 14a tu wien hb2 www.@hb2.tuwien.ac.at
27.04. Beauty cuts.
zur pornographisierung körperlicher eingriffe 27.04.2006. 7pm hörsall 1 www.dieangewandte.at
04.05. BRIAN CODY.
ENERGY DESIGN/ presentation 04. may 2006 seminarraum a. 11am Universität für angewandte Kunst www.dieangewandte.at
exhibition.
15.03. Yves Klein. air architecture 15.03-24.09.2006 di-so 10:00 - 18:00h mak galarie www.mak.at
27.04. landscape-x-periments. inter. Symposium of landscape architecture
party. 25.04. Crazy @ Flex.
Dirty Princess (live) Dj Djoint + Crazy Sonic + Spook Sa 25.04.2006 Flex www.flex.at
26.04. Sophia. UK
Mi, 26.04.2006 B72 www.b72.at
28.04. I AM X. UK
25.04. Alexander Waltner.
27.04.2006. 8am Boku Wien www.rali.boku.ac.at
30.04-07.05.2006 di-so 10-18h Künstlerhaus Obergeschoss www.kuenstlerhaus.at
sprechen über Architektur. at bene_renngasse 6/ 1010 Wien
Di 28.04.2006 Flex www.flex.at
29.04. Club Beton.
DJ Makotter + Koal + Patricio Salgado Sa 29.04.2006 Fluc www.fluc.at
Klaus Kada 27.04.2006. 7pm
17.05. ADLMÜLLERSTIPENDIUM. abgabetermin 17. - 19. may. 12am-3pm. heiligenkreuzerhof Universität für angewandte Kunst www.dieangewandte.at
17.05. XX Jenny Holzer.
Rainer Köberl 04.05.2006. 7pm
Ausstellung 17.05-17.09.2006 di-so 10:00 - 18:00 h mak www.mak.at
splitterwerk 08.06.2006. 7pm
08. - 09. june. 8:30 pm halle 10. messegelände. 1020 vienna www.dieangewandte.at tickets ab ende mai/ studio branquinho
at least on 16. june. at the prix studio. Universität für angewandte Kunst www.dieangewandte.at
at the architecture studios. 21. june 2006 Universität für angewandte Kunst www.dieangewandte.at
29.06. ESSENCE.
04.05. Architecture in Helsinki 05.05. Echo Depth Finders
23.05. public lecture. Jeffrey Kipnis
06.05. Kammerflimmer Kollektief + Silver Mt. Zion
23.05.2006. 7pm Mak Vortragssaal www.mak.at
07.05. Calexico.
29.05. public lecture. Shigeru Ban
USA
Sa 07.05.2006 Arena www.arena.co.at
hb2 + Helmut Richter 29.05.2006. 7pm Audimax TU Wien www.tuwien.ac.at
21.06. FINAL THESIS.
08.05. Kapitalband1.
26.06. public lecture. Hemma Fasch + Jakob Fuchs
live
Sa 08.05.2006 Rhiz www.rhiz.org
hb2 + Helmut Richter 26.06.2006. 7pm Audimax TU Wien www.tuwien.ac.at
29. june mak www.mak.at
So 30.04.2006 Club U www.club-u.at
Special week 3 / Korneuburg
02.05.2006. 7pm AZW www.azw.at
16.06. FINAL REVIEW.
Dj Ali Karibik + Frost + Gex Botas + Rob Berry
Donau Festival.
02.05. public lecture. Eric Owen Moss 08.06. SHOW ANGEWANDTE.
30.04. Circus Collective.
21.06. architecture still alive. Mi 21.06.2006 University for applied arts www.dieangewandte.ac.at
Nicole Six & Paul Petritsch
do you remember.
Biography
Wolf D. Prix Oscar Niemeyer Carl Pruscha
cooperation since1997 exhibition selection 2005 Tu Felix Austria…Wild at Heart, KUB Kunsthaus Bregenz; Wisdom of Nature, Nagoya City Art Museum, Nagoya; Das Neue 2, Atelier im Augarten, Zentrum für zeitgenössische Kunst der Österreichischen Galerie Belvedere, Wien; 2004 Open Studio, ISCP, New York; Transgressing-Systems, Ausstellen zu Bauen und Kunst, Innsbruck; Permanent Produktiv, Kunsthalle Exnergasse, Wien; White Spirit in Public Spaces, Fonds régional d`art contemporain de Lorrain, Metz;
Excursion Feb 1998
imprint. editing.
Sophie Grell, Tim Altenhof, Florian v. Hayek,Thomas Hindelang, Daniel Kerbler, Christoph a. Kumpusch, Katharina Oechtering, Daniel Stockhammer
special contributions.
Christian Reder, Nicole Six/ Paul Petritsch, Gerfried Sperl, Christoph a. Kumpusch
photographer.
Daniel Kerbler, Bengt Stiller, Reiner Zettl
publisher.
Wolf D. Prix, Institute of Architecture, University of Applied Arts Vienna
pr-management.
Eva Diem,Felix Gmeiner prinzeisenbeton@uni-ak.ac.at
graphicdesign.
Sophie Grell, Thomas Hindelang, Daniel Kerbler, Bengt Stiller
text editor.
Roswitha Janowski-Fritsch
printing
Daniel Breyer / Stefan Schmid at Holzhausen GmbH, Wien
editorial.
Networking is big nowadays. How to live without one was once the story of Pauhof, who started with their work completely isolated back in 1986. Today they are not only an important part of the professional network, but also exercise it very disciplined, since the two communicate between three different locations, Vienna, Linz and Gramastetten. Pauhof developed their personal system of communication, which generates the essence of
a network, and which showed during the time of the interview, when information was floating back and forth in various forms. During the Kipnis seminar auf der Platte, our three day link to overseas, we had a great time picking from his brain and are already waiting for the return of Kipnis, hopefully with more stories about the network of the big ones. Create your own event network! Lots of opportunities are coming up, starting with the belly in, breasts out event, the yearly
fashion show. Follow up is the adventurous week at the Angewandte with the highlight, the fiest of festivals, architecture live, where the faculty is tuning the event from zero to hundred in 120 secs. To keep you on track, we created a colourful event map which locates the fun, means the bars and the battles between students, critics and profs at the studio and diploma finals. Save the date to celebrate. cheers and see you soon DIE REDAKTION
sex in the city. the world according to knecht Peter Westenthaler ist wieder da. Der Ex-FPÖler ist jetzt Parteiobmann und Spitzenkandidat des BZÖ und das bedeutet: Die Rückkehr des Ekelhaften in die Politik. Nein, halt, da würde man der jetzigen Politik zu schön tun, das ist ja jetzt schon alles schlimm genug, und man braucht kein Studierender zu sein, um sich täglich zu fragen, was für Figuren da über das Land und damit das eigene Leben bestimmen und mit welch fragwürdiger Kompetenz.
Wahlkampf, der auf dem Rücken von Flüchtlingen und Immigranten stattfinden wird, in dem sich BZÖ und FPÖ in Rassismus und Fremdenfeindlichkeit überbieten und die anderen Parteien, ausser vielleicht den Grünen, sich auch nicht mit Xenophilie hervortun werden, das kommt ja bei manchen Wählern nicht gut an.
Nun wird es schlimmer, denn Westenthaler ist wieder da, und man braucht kein Ausländer zu sein, um das Schlimmste, noch Schlimmeres als der derzeitige österreichische Umgang mit Fremden zu befürchten: einen
special.
news.
architecture + technology award 2006
Klaus Bollinger and Niels Jonkhans of the Angewandte are in the winning team for the Architecture + Technology Award 2006 ( read more on page 3).
Angewandte wins Austrian Baupreis!
In the category “Diplom” Kristina Schinegger’s project “Sonic Tower”, (studio prix), was awarded. In the category “Institute und Fakultäten” the project “Sharkskinn” of Sebastian Gallnbrunner, Mario Gasser, Peter Schamberger, (studio hadid), was awarded.
Zaha Awarded in Cincinnati
Home of Hadid's first building in the USA, Cincinnati will give ZH the Fine Arts Fund’s $15,000 Rosa F. and Samuel B. Sachs Fund Prize. The periodic award recognizes “artists who have made an important contribution to the artistic life of Cincinnati” and also brought distinction to themselves and the region.
It's Renzo Time
Time Magazine picked their annual 100 people who shape our world. Architects were few and far between with Renzo Piano and Steve Wynn making the list. The write up on Renzo was done by his Pompidou pal Richard Rogers.
Ben van Berkel for Mercedes
On may 14th Mercedes-Benz opend the world's largest automobile museum (150 million euro) design by UN- Studio.
reder`s reader. by christian reder gegen unseren Willen, ihr Westenthalers und ihr Straches. Wir sind da, und wir passen auf.
Jetzt heißt es: wachsam sein. Sich das auch und gerade als Österreicher nicht gefallen lassen, dass diese Figuren wieder das Maul aufreißen und eine Stimmung erzeugen, in der jede Andersartigkeit und dann ja auch alles Unkonforme verdächtig ist. Jetzt heißt es: aufpassen, mitdenken und selber das Maul aufreissen. Und sagen: Nicht mit uns, ihr. Nicht
Globale Sichtweisen Joseph Stiglitz: Die Schatten der Globalisierung New York 2002 / Goldmann Verlag, München 2004 ISBN: 3-442-15284-4 „Die Globalisierung in ihrer heutigen Form ist keine Erfolgsgeschichte. Sie hat das Schicksal der meisten Armen in der Welt nicht gelindert. Sie ist ökologisch bedenklich. Sie hat die Weltwirtschaft nicht stabilisiert…“ Urbanität Eric Hazan: Die Erfindung von Paris Kein Schritt vergebens Amann Verlag, Zürich 2006 ISBN 3-250-10433-4 Detailreiche Darstellung von Stadtentwicklung und urbaner Strategien, um das Volk unter Kontrolle zu halten
Arbeitswelt Wolfgang Engler: Bürger, ohne Arbeit Für eine radikale Neugestaltung der Gesellschaft Aufbau Verlag, Berlin 2005 ISBN 3-351-02590-4 Argumentation zu einem generellen Basiseinkommen Praxis Markus Krajewski (Hg.): Projektemacher Zur Produktion von Wissen in der Vorform des Scheiterns Kadmos Verlag, Berlin 2004, ISBN 3-931659-56-9 „Was kurz davor noch Projekt heißt, wird durch das Gelingen zum Produkt, zur glänzenden Leistung, zur gelobten Erfindung, zum funktionierenden Geschäft promoviert. Allein das, was scheitert, muss weiterhin ,Projekt’ heißen.“
2_ The Viennese “XXX Parties”
d_ Vienna. Intensities: The
city = form space network text by reiner zettl
Biennale di Venezia, international Exhibition of Architecture 2006 Austrian pavilion The terms form, space and network express the three ideas that have shaped our view of the city’s organization since early modernism. Without intending to imply completeness, by thematizing these terms reference is made to works by Austrian architects that have been capable of achieving a concise visualization of their era’s contemporary architectural discussion. Additionally, this selection of exhibits also evokes Austria’s spectrum of possibilities, offering a description of its culture based on three examples, which can be considered paradigmatic attempts to understand the mechanics of the city and comprehend its specific effects with the help of a concise picture.
a_Friedrich Kiesler’s “City in
Space” from 1925 is representative of the experiential space of the modern metropolis, as influenced by the dramaturgy of the stage. Built in the Grand Palais, it was part
of Austria’s presentation at the Exposition Internationale des Arts Décoratifs in Paris. The previous year, Kiesler had already caused a stir at the Internationale Ausstellung neuer Theatertechnik (International exhibition of new theater technology) in Vienna with his Raumbühne or “space-stage.” In the spiral-shaped space of what he called the Theater der Geschwindigkeit (Speed theater), he drew the urban viewer’s gaze, accelerated through mechanization, onto the stage. According to Kiesler, City in Space was the first demonstration of his visionary version of a time-space architecture. For Alfred Barr, it presented the technically and conceptually most daring spatial realization of De Stijl ideas.
b_Hans Hollein’s “Flugzeugträger” (aircraft carrier) of 1964 comprehends the city as a functional form. Hollein recalls Le Corbusier’s use of a ship as a model for the city’s
spatial complexity and economy. In the aesthetics of the ocean liner, Le Corbusier celebrated the liberation of outdated images in architecture in 1923. The re-contextualization of an aircraft carrier, transplanting it onto a green field, is, however, a more complex, in part also ironic commentary on the relationship of city and nature as a reflection on Pop Art’s concurrent experiments. Hollein finds expression for the city’s energy by condensing it to an extremely technical object. The economical way of dealing with the landscape that is thereby enabled, appears as a surprising balance of opposites in terms of the future’s technical feasibility.
c_Gregor Eichinger’s Network
1- In a group of bridges across the Danube Canal in the center of Vienna, the 2005 project “Trialto” connects a number of directions and brings together the urban network that has long been missing.
my ipod tracks. Anna. Stürzenbacher. 01.
Two guys for every girl – peaches
Because i´m a nasty girl too
Anna Stürzenbacher studies Architectue at the University of Applied Arts, Studio Prix
activated left-over urban space and expanded the city into event culture’s new patterns of usage. In 1982, the workshop “For Sale,” co-organized by Christian Knechtl, Bepi Maggiori, and Marco Zanuso Jr., gathered almost an entire generation of European designers around a copy machine in a remote gas station in no-where’s land, fifty kilometers east of Vienna. 3_ In Venice, a network will be realized with the help of a communication card and a telephone number, which will generate a moving festival during the pavilion’s opening. The festival begins as soon as one uses the number and moves toward the party. The intensity of making contact as an indicator of a society that is being set up will be visible as a structure in the pavilion. A newly opened bar in Venice serves as a meeting point for this community during the entire duration of the Biennale.
models&models. Alexander. Diem. 02.
Sex with a fly – the tiger lillies
There is nothing else like them, any description is an injustice – they are totally peerless. Thanks for helping me grow
03.
Bei mir bist du schön – the andrew sisters
Rockstar Hotel. Thesis summerterm 2006 Studio Lynn
Yiddish boggy woggy realy rocks
progress is the combination of dynamism and enrichment of information
Alexander Diem studies Architecture at the University of Applied Arts, Studio Lynn.
coverstory. close-up
ordinary city reveals a wealth of unexpected relations and possibilities when it is examined based on unusual parameters. Quality, quantity and dynamics of these energies are influential in shaping the character and intensity of a city. The exhibition undertakes the attempt to comprehend Vienna’s latent intensities, giving them shape and comprehensible presence in a three-dimensional depiction.
e_ Rock over Barock: This
exhibition in the Magazzini del Sale supplements the program shown in the Austrian pavilion. The desire to celebrate space : based on 7+2 examples, the exhibition will convey what could comprise a specific, shared, distintive Austrian Architecture: the Architecture of the spacial sequence. by Wolf Prix
PAUHOF. Interview with Michael Hofstätter May 2006
After talking on the phone we met Pauhof Architects in Cafe Prückel opposite the MAK and agreed on doing the interview using writing. Pauhof had made good experiences with this mode of communication preparing an exhibition catalogue in the early 90s. We sent them a loose collection of cues to start things. What followed is the impressive story of Pauhof´s formation interwoven with pointed political observations of two smart acteurs of the Austrian architecture scene.
studies/ communication/ office structure/ networks/ etc. The 3 years of teaching at the Institute for Housing was much more formative. The very inspiring team comprised Sigrid Hauser, Michael Hofstätter, Wolfgang Pauzenberger, Jan Turnovský and later Andras Pálffy. We were dissatisfied with the selfreferential Viennese networks and felt as outsiders. That meant we were free for contrasting debates, had time for interest in other cultural fields and for types of architecture that were overlooked in Vienna. We had a theoretical agenda. The PRO LEGO MENA - MONO GRAPHS were conceived and connected with them, small exhibitions that unfortunately did not get much attention. After a while the context of the institute became to narrow and everybody focused on their own project. Sigrid Hauser published ‚SPRACHE – Z.B. ARCHITEKTUR’, Jan Turnovský published his essay ‚Die Poetik eines Mauervorspungs’ and we turned to practical experience and founded PAUHOF. Since 1986 PAUHOF consists of two small studios: Michael Hofstätter in Vienna and Wolfgang Pauzenberger in Linz and, very important, the metal workshop in Gramastetten. There we built the objects of rubber and metal. At that time we had neither orders, nor a financial basis or a network. The first years we worked in total isolation and had, to be honest, no clearly formulated aim. PAUHOF should get credit with ideas and concepts and the upcoming projects. The two locations, the autonomy of the partners and the degree of freedom that is connnected with it, were calculated although this context makes internal communication difficult and asks for concentration and a certain amount of discipline. Our distrust of networking strategies most likely is a consequence of this office structure. Networks make careers easier but they also have a tendency towards academism and strategies of exclusion. Especially in Austria, the country of associations, chambers, parties, circles and clubs we rather need the solidarity of an "open field with symbolic capital" as defined by Pierre Bourdieu. Maybe the ArchiLab series and its shows and symposia with architects and theoreticians from all continets met all the requirements necessary. We participated four times and appreciated its lean and open structure. The focussed discussions, and the total lack of any representation in the informal atmosphere of Orleans which is not so big. It had an enormous impact. At least at the beginning. We are critical of the contemporary tendencies towards elite schools after the angloamerican model that are supported by sponsors with economic interests, that ask for high fees and are connected to prestigious institutions and have a network of powerful alumni. These privileged facilities of the establishment elate back to the class society of the 19th century with its restrictive cultural codes and tendencies for segregation. This fragmentation will have reverberations on the structure of the city. Already today important cultural segments are dominated by concentrations of economic power. But control is not visible but recedes behind subtle institutional precepts.
Felix Gmeiner Michael Hofstätter
Michael Hofstätter
Sophie Grell Florian von Hayek
Juries, sponsored architectural prizes, advisory committees are the instruments. And the Biennale in Venice is a good proof that architecture is very susceptible. Waiting for your objections, Pauhof
exhibitions At the moment we work on a show called "The Wrong House", Stephen Jacobs is the curator. Condensed in film compilations (topics like frames and peep holes oder stairs or the trouble with empty Spaces, etc.) it shows architecture in the work of Alfred Hitchcock. Pauhof is asked to construct a new specific reality within a new spatial situation that uses these compilations. You will be able to see the results in autumn 2007 in the gallery De Singel in Antwerp. That would be another of our objects of fear from the black series. Architecture exhibitions are only interesting for us when in connection with theory, architecture becomes an abstract concept. "Application & Implication" (Magasin Grenoble, 1993) was a concept that asked for something precise but was very open at the same time. dECOi built its first blob. We contributed an architectural fragment with 12 bottles of Whisky that was clad in black leather and hung precariously on the wall. The show ‚Patition’ in the Gallery Museum Bolzano fits also. The project was hybrid and confronted as well as combined the work of our office with various intervening installations on site. Architecture was not static and final but was a dynamic result, subject to temporal changes. The artist Walter Niedermayr took pictures of the transformations and his photographs were incorporated in the show following their own spatial logic.
regarding........the paradigms of home are being relocated... .
Architecture is not being made to be published or exhibited but to be built. We were not very lucky with juries and advisory committees. That means, we could not build adequately (to our urban ideas of scale). But PAUHOF was invited to participate in exhibitions. That means we predominately operate in the space of art without having the intention to produce art. Contrary to many of our collegues we do not think, that architecture is art. Therefore we had to present an examination of architecture that was equal to building. With our sometimes pretty extensive contributions we tried to translate our vocabulary into factual though temporary architecture. This contradictory procedure was meant to objectify the mental process ...and abstract architecture. To answer your question about the connection of oppositions (the homely correlates with the uncanny, becomes a threat and fear is the result) lets talk briefly about Angst II, an Installation we did in Brussels. We built a tablelike structure along the walls of the 350 m2 big space, sometimes also reaching into space. The height was of a bar, approximately 120 cm. It was the fictive site for our integrated metal models in the scale of 1:75. On the walls behind the models we hung sections (1:75) of our large projects (Synthese Museum, Bibliotheca Alexandrina, Souks of Beirut, …) with hundreds of stencilled people. On one table reaching into the space, on feet that are 20 cm high, we placed the object ANGST II, that has a volume of
about 30 m3. It is a good natured volume that is open at the front and exerts suction (contrary to the tense repelling twin structure ANGST I in Grenoble) but has a narrow cut in the back. 2 meters behind, in the same height, hung a 20 m2 print of the city profile of the project Vienna North (scale 1:75). Let's say a conventional architecture exhibition with cute metal models, nice plans, images on the wall, one object and all in B/W. But the audience was disturbed and responded aggressively. The reason? We assume it were the 1000 figures cut out of iron (scale 1:75) that populated the tables, between the models and in the models, that were in the object and under it, always at eye level with the spectators. Everything became suddenly alien and the object transformed into a threatening, metropolitan monster - a rather existential situation. Some well meaning guests at the final dinner remarked that the installation could only have been done by Viennese; morbid decadence, slawic, you know. And we always thought we stood apart...
to...reception, elites, stereotypes, future The contemporary production of architecture in most European countries shows a similar cultural contradiction. There is the routine of production on a national level that suffers from economic constraints of developers and interferences from the controlling bureaucracy. And there is a chosen and elitist group of architects as personalities that work under very favourable circumstances on an international level. These architects that are also established in major universities see architecture as an autonomous disciplin that does not engage in the dialog with society any more. Which means that on the routine level there are no fundamental discussions about the role of architecture (as event, as essential potential for new or unexpected visual information, as katalyst for new urban tissue) or the dilemma that the real new ideas and fashions are recognized belatedly. Ideal circumstances seduce some architects to think that the cultural significance of architecture might be regained in these protected niches and that out of formulating complex theories and design methods a notion of architecture might be developed. We are critical of both tendencies. Theoretical cognition, emotional creation and social feedback and reception must complement each other, in order to guarantee far reaching architectures and focussed humane urban developments. The question about the future of PAUHOF is an opportunity to finally risk an optimistic forecast, namely that within these fields of tension our architecture of objective targets should survive. Optimistic also because our specific situation has led us to a very fundamental attitude towards architecture; a slow approach, in time as well as content, to the production and implementation of architecture. This process alone reflects contradictory social phenomena, but insists in its concept on an independent creative force.
architecture + technology award 2006 Klaus Bollinger and Niels Jonkhans of the Angewandte are in the winning team for the Architecture + Technology Award 2006
The international jury for the prestigious European Architecture+Technology Award has decided upon two projects as joint winners. Europe's highest prize money for an Architecture and Engineering Award, amounting to € 75,000, will be shared by the teams who submitted the materials for two development projects: the administration building of SOKA-BAU in Wiesbaden and the Gallery and Art Centre in Graz Kunsthaus Graz. For the new SOKA-BAU building, the architects Professor Thomas Herzog and Hans Jörg Schrade of Herzog+Partners from Munich and the project involved engineering offices will receive prize money to the tune of € 37,500. For the Kunsthaus Graz, the architects from Spacelab/UK and the engineering partnership Bollinger+Grohmann will also receive a winner's cheque of € 37,500. From 08 May to 04 June 2006 the projects will be on display in an exhibition at the German Museum of Architecture in Frankfurt.
Manfred Grohmann Klaus Bollinger
Bundesminister für Verkehr, Bau und Stadtentwicklung Wolfgang Tiefensee
Niels Jonkhans Colin Fournier
Michael Peters Deyan Sudjic
Why Pictures Now. fotographie/film/video 09. june - 01. sept. mumok wien www.mumok.at
21.06.06 - 28.06.06 exhibition.
improved networks ministery of contemporary art
featured.
my i pod tracks 03 models&models 03 timeline re-member featured artist 02 02 04 04 04 poster-cover editorial news reder`s reader sex in the city
regulars.
01 02 02 02 02
contents.
12 Issue N°
Angewandte»Glamour»Architecture»Culture October 2006
Nachrichten aus dem Institut für Architektur Institute of Architecture University of Applied Arts Vienna
PEB 12.2006
prinz eisenbeton october Sanford Kwinter Professor of Architecture Rice University, Texas
networks. improved.
regulars. 01 02 02 02
poster-cover editorial news reder`s reader
02 mulit-scale networks 02 contemporary art into government 02 my i pod tracks 04 timeline 04 re-member 04 featured artist 04 imprint
featured. 03 improved networks 03 ministery of contemporary art
Greogor Eichinger by Sophie Grell
+ absolut biennale
Gerald Bast Klaus Bollinger Elke Delugan-Meissl Gregor Gregor Eichinger
Paulus Dreibholz Wolfdieter Dreibholz Gregor Eichinger Elizaveta Fateeva
Ernst Fuchs Bettina Götz Marie-Therese Harnoncourt
www.dieangewandte.at/architecture
Max Hollein Hans Hollein Cynthia Kahlmeier Daniel Kerbler
Thomas Kramer Sanford Kwinter Markus Pillhofer Giulio Polita
Carl Pruscha Wolf D. Prix Andreas MailathPokorny
Peter Noever Isabelle Steger Hannes Stiefel Reiner Zettl
news.
editorial.network.
Groundbreaking
Tom Hindelang Felix Gmeiner Sophie Grell
COOP HIMMELB(L)AU is pleased to announce that the groundbreaking of the Central Los Angeles High School #9 for the visual and performing arts in Los Angeles, California, USA will take place on September 9th.
Toyo Ito
UC Berkeley Art Museum and Pacific Film Archive (BAM/PFA) selected Toyo Ito & Associates Architects to design a new center for the visual arts in downtown Berkeley
Gehry plans for LVMH You are a Hub! I am A Hub! DIE REDAKTION
special. multi-scale networks.
(1001 words to survive a crit)
Excellence (lat. excellentia, "delightfulness") Complexity (lat. complectari = "embrace") excellent networks are complex networks. the structure of these networks is determined by different scalable parameters.
The parameter of efficiency
(y-axis, properties of relations) Proximity : Parameter for average distances in a network. The bigger the distance (path length) the higher the fragmentation of the network - up to its disintegration into unconnected components. The higher the parameter of proximity in the overal network the lower are its transaction costs. Fragmentation : The percentage of components in the overal
network that cannot be linked through direct and indirect paths. Hub attribute : Degree to which central components, so called hubs, are linked with each other (degree correlation). The bigger the attribute, the more efficient it is, because direct links between the hubs can shortcut through the network. Few direct links guarantee a maximum of indirect links.
fragment the network. The higher the number, the more stable (minimum cutset) Multiplexity: degree of different levels of connection between actors. Number of levels increase stability (gearing)
The parameter of diversity
(z axis: the properties of actors) Entropy: degree of diversity of actors. The more diverse the properties of the actors the greater the variety of experiences and strategies generated. This favours radical breakthroughs. A very divers network consumes a lot of energy for control and translation. Niche width: is closely related to diversity in ecology and tells about kind and amount of resources used by the actor.
The parameter of stability
(x-axis: properties of relationships) Transitivity: degree to which actors in a network are embedded in stable triangles; the more common partners the more stable the relationships since actors are forced to establish good relations (transitivity rule) Connectivity: number of actors that have to be removed to
special.manifest.
according to FAS. research http://fas-shop.at/catalog/index.php
Vuitton plans a Gehry-designed Arts Center in Paris: “The idea is of a cloud made of glas. The French luxury goods company LVMH Moët Hennessy Louis Vuitton has now opted for a more permanent place in the art world by
unveiling a striking design by Frank Gehry for a glass-covered complex housing a new cultural foundation in western Paris.
New architecture studio at the university of applied arts, vienna Kivi Sotamaa, guest professor drawn from the international field of architects and theoreticians, from ocean north architects leads the insitut´s 4.th design studio.
Betsky to Cincinnati
Aaron Betsky, former director of the world biggest architecture museum NAI, Rotterdam is going to be the new director of the Cincinnati Art Museum.
reder`s reader. by christian reder Globale Sichtweisen
Arbeitswelt
New York 2002 / Goldmann Verlag, München 2004 ISBN: 3-442-15284-4 „Die Globalisierung in ihrer heutigen Form ist keine Erfolgsgeschichte. Sie hat das Schicksal der meisten Armen in der Welt nicht gelindert. Sie ist ökologisch bedenklich. Sie hat die Weltwirtschaft nicht stabilisiert…“ Urbanität
Für eine radikale Neugestaltung der Gesellschaft Aufbau Verlag, Berlin 2005 ISBN 3-351-02590-4 Argumentation zu einem generellen Basiseinkommen Praxis
Joseph Stiglitz: Die Schatten der Globalisierung
Eric Hazan: Die Erfindung von Paris Kein Schritt vergebens Amann Verlag, Zürich 2006 ISBN 3-250-10433-4 Detailreiche Darstellung von Stadtentwicklung und urbaner Strategien, um das Volk unter Kontrolle zu halten
Wolfgang Engler: Bürger, ohne Arbeit
Markus Krajewski (Hg.): Projektemacher
Zur Produktion von Wissen in der Vorform des Scheiterns Kadmos Verlag, Berlin 2004, ISBN 3-931659-56-9 „Was kurz davor noch Projekt heißt, wird durch das Gelingen zum Produkt, zur glänzenden Leistung, zur gelobten Erfindung, zum funktionierenden Geschäft promoviert. Allein das, was scheitert, muss weiterhin ,Projekt’ heißen.“
contemporary art into government. Peter Noever Gerald Bast Austria is facing an unbearable peak of cultural-political depression. On October 1, 2006, there are parliamentary elections, and once again any serious confrontation with the concerns of contemporary art is cut out of the political debate. What is on the agenda instead is administration and preservation. Contemporary art remains pigeonholed to be later politically reclaimed for the cultural heritage. The future is not behind us. There must be an end
by EBERHARD TRÖGER
He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time. We do not exist in the majority of these times; in some you exist, and not I; in others I, and not you; in others, both of us. Jorge Luis Borges, the Garden of Forking Paths(1) The concept of the net is one of the most commonly use images of our times. It is a symbol of our longing for a non-hierarchical society in which a network of supply, traffic and information channels enables every person to have access to everything and in which the individual is thereby integrated into a web of relationships with the universal. Thanks to the WorldWideWeb, which has at least linguistically become a synonym for “the net”, we seem to come unexpectedly close to achieving this dream of the simultaneity of all subjects and objects. In the same breath we are haunted by the fear of the implicit anarchy of an all-encompassing, uncontrollable system that includes good and evil indiscriminately and is free of judgement: on the one hand that offers us boundless possibilities but on the other threatens to trap us in its powerful netted structure like a floundering fish. Jorge Luis Borges was one of the first to describe this netlike simultaneity of an infinite number of times, which he did as early as 1941 in his short story The Garden of Forking Paths with a poetic clarity that has remained virtually unmatched to the present day. Here, the great tale of the modern age is superceded by the “chaotic novel”(2) in whose “dizzying net” that embraces “all possibilities” things and people who are friends or enemies or both at the same time can now be connected by means of short circuits. After Word War II architects an town planners also began to feel increasingly uneasy about the anachronism of the moral imperative of the unity of the modern age. In 1950 Philip Johnson caused a minor scandal by provocatively thinking his “Glass House”, now an icon of modern architecture, to no less than 17 architectural references from all periods of architectural history in a commentary consisting of 22 points. By so doing he questioned the morally objective autonomy of subjects an objects in the modern age.(3) In 1962 Robert Venturi aired his displeasure at the “puritanically moral gesture of orthodox modern architecture”(4) and town planning in his manifesto “Complexity and Contradiction”: Only through the “priority for the inclusive” can the “elusive unity in multiplicity” be achieved. “More is not less!”(5) I thougt of a labyrinth of labyrinths, of one sinuous spreading labyrinth that would encompass the past and the future an in some way involve the stars. Jorge Luis Borges, the Garden of Forking Paths(6)
It was not until three and a half decades after the publication of Borges´s “Garden” that the idea of the net became the subject of extensive scientific research and philosophical reflection. In 1977 Gilles Deleuze and Felix Guattari raise the theory of the “rhizome”(7) as a non-hierarchical, infinite and flat net consisting of lines to the status of universal explanatory model on the basis of analyses of animal and vegetable organization forms. The multiplicity already seen by Johnson and Venturi is now nominalized and “the predomincance of the significant is cast into doubt”. Deleuze and Guattari require that subject and objects be “abstract machines” that are linked as “tools” to numerous other “machines” in gigantic “machine interconnection” of external referentialities.(8) Rhizomatic though subsequently developed considerable influence on architecture and town planning. Architects such as Zaha Hadid and Daniel Libeskind suddenly found that an all-embracing, multilayered, abstract and highly aesthetic network of lines had been laid over the apparently aimless postmodern world, and they wove their buildings and towns into this network which still serves as a matrix for the unchecked and increasingly rampant spread of the centreless town. And it is true that the complexity of the postmodern town can no longer be envisages in closed systems; instead it must be though of in open, flexible and interrelated systems. Centuries of centuries and only in the present do things happen; countless men in the air, on the face of the earth and the sea, andallthat really is happening is happening to me… Jorge Luis Borges, the Garden of Forking Paths(9) Unlike the subjectivized authorial architecture of the present day, in Deleuze´s and Guattari´s rhizome "every one of us is several..." "To attribute the book (or the architectural plan) to a subject is to overlook this working of matter, and the exteriority of their relations.“ (10)
Gregor Eichinger is several as well, and his often performative works (11) depend unquestionably on the diverse net of external referentialities that surrounds them. So how is it still possible to identify them clearly as the work of one person? One possible way to explain this is by means of a kind of constructivisic notion of perception. (12) According to this conception, every person creates his or her own subjective inner network from the objective fabric of external referentialities with which he or she perceives the external, thus inverting the abstract nonsubjectivizable external network of the rhizome. From this sensitive network of feelings, experiences and memories the complicated and fragile fabric of our own entirely personal perception (the sensibility, the taste) envolves with which we view the word. “To patronize the faculty of taste is to patronize oneself. For taste governs every free – as opposed to rote – human respose. Nothing is more decisive” (13) Here, sensibility or taste is the inner, subjective counterpart of the external, abstract, mechanical “machine” of the rhizome and is such is reciprocally to it.
So architecture and urban development as a means of shaping the world that is linked to people and time is also always necessarily subject to one´s own time is also always necessarily subject to one´s own personal world view. When Gregor Eichinger constructs a network of bridges carrying structures across the Danube
canal in Vienna he creates not just a traffic link between two of the city´s districts of the formal manifestation of a universal, theoretical or abstract net; the network originates as a figure in his own unique and at the same time permanently open network, which contains personal experiences, memories, preferences, free associations, images and a multitude of contacts and forms of input from a huge variety of people and their own networks. The resulting system of bridges can, as an external objectivizable product, form a connection to the city in the sense of an “abstract machine” and trigger further proliferation in its labyrinth. In the process the city condenses its plurality and the simultaneity of personal definitions, “which approached one another, forked, broke off, or were unaware of one another for centuries” and embrace “all possibilities”. (14) In Austria´s pavilion at this year´s Architecture Biennale we enter one of Eichinger´s constructions: a room made of wooden planks, which in its simplicity is reminiscent of Panama Joe´s bar in the film Port of Shadows (Le Quai des Brumes) or of the charm of a builder´s hut, the starting point for every new building. In the middle of the room there is a simple table, also made of planks. The table is the essential access point and centre of a network. It creates the simultaneity of space, time and subjects, thus making community and communal planning, but also creativity and enjoyment possible. We sit down with the virtual party gathered round the table, synchronize ourselves briefly with its members and “become rhizome” (15) with the multiplicity of the labyrinthine, open and entirely personal network constructed by Gregor Eichinger. 1 Jorge Luis Borges, Ficciones, Frankfurt 1994, S.88 2 Borges, p.85 3 In this commentary Johnson cunningly plays with the simultaneity of historical events: in the 22 points he refers, among other things, to Mies von der Rohe´s Farnsworth House. Johnson had been present in Mies´office when the first plans for the building were being made. But he beat Mies to it by finishing his own “Glass House”, although he started it later, before Farnsworth House was completed and can therefore make a rhetorical nonsense of the latter in his criticism even before it exists. 4 Robert Venturi, Complexity and Contradiciton in Architecture, The MoMA Press, NY 1966 5 Venturi, p.24 6 Borges, p.81/82 7 Gilles Deleuze and Felix Guattari, Rhizom, Berlin 1977 8 Ibid. 9 Borges, p. 78 10 Deleuze/ Guattari, Rhizom 11 A considerable part of Gregor Eichinger´s work consists of ephemeral urban interventions such as parties and exhibitions that enter into a relationship with the often forgotten places where they are held. 12 On this subject, see among others, Paul Watzlawick, The Invented Reality, 13 Susan Sontag, Notes on ´Camp´ in Against Interpretation, NY 1964, p. 276 14 Borges, p. 88 15 “ Be rhizome,… Be the Pink Panther, and let your loves be like the wasp and orchid, the cat and the baboon.” Deleuze/ Guattari, Rhizom
from the exhibition magazine
STADT = FORM RAUM NETZ/ CITY = SHAPE SPACE NET
An Exhibition at the Austrian Pavilion for the 10. International Exhibition of Architecture, La Biennale di Venezia 2006 Wolf D.Prix, Commissioner austrian pavilion SpringerWienNewYork ISBN-10 3-211-39498-2
Gregor Eichinger jumps in his personal network .
(see cover) austrian pavillion. opening 8 september 06
to the discrimination of contemporary art. Art is not a trophy; as a motor of social developments, it deserves attention here and now. Political responsibility for art also includes responsibility for contemporary art-making. We expect the new Austrian Federal Government to initiate an urgently necessary CHANGE OF COURSE IN CULTURAL POLICY. We demand
The establishment of a Ministry of Contemporary Art and hence greater political weight for present-day art, in particular for the visual arts,architecture, and design. The new ministry should have its seat in Günther Domenigs disused “Z” branch-bank building in Viennas 10th district. The establishment of an Austrian National Foundation for Contemporary Art which, like the Austrian Science Fund and with adequate financial appropriation,
my ipod tracks. Isabelle Steger. Kelis - Bossy
YOU ARE THE NET! I AM THE NET!
Rector, University of Applied Arts Vienna
C.E.O. and Artistic Director, MAK
01.
coverstory. networks. improved.
promotes the development of contemporary art positions. A “Design Award” of the Year for the new generation of designers to be awarded by the MAK and the University of Applied Arts. A public service broadcasting system with a binding mandate for art and culture. The current triviality of the programs must be countered by a new concept including competent coverage of present-day art.
Art-makers must be invited to participate in the programming. A reorientation of art education in schools with a strong focus on contemporary art, architecture, and design. AUSTRIA MUST NOT STAND ASIDE WHEN UP-AND-COMING ART EMERGES. September 2006
models&models. Daniel. Kerbler. 02.
Who the fuck are the Neptunes? Thats how Pop - Avantgarde sounds like.
Isabelle Steger studies Fashion at the University of Applied Arts, Studio Veronique Branquino
Various Production - Home Mysterioses Duo from London, that doesn´t want to decide between Folk und Grime.
03.
ESG - You're no good
Even 25 Years ago women were the thrue rockstars!!!
Angewandte Neu. summerterm 2006 Studio Prix “..new shapes cannot solely arise out of aesthetic assortment, but have to be a consequence of formerly invisible forces.”
Daniel Kerbler studies Architecture at the University of Applied Arts, Studio Prix.
Manfred Walkolbinger Gregor Eichinger
Cynthia Kahlmeier August Kocherscheid Eva Diem Michael Volk
contemporary art into government
Anna Stürzenbecher Marc Hoffenscher Manfred Walkolbinger Gregor Eichinger
Monday, September 4, 2006, 10:30 a. m. Venue University of Applied Arts, Vienna Speakers : Gerald Bast, Rector, University of Applied Arts Vienna Peter Noever, C.E.O. and Artistic Director, MAK
Bast and Noever see an urgent need for action to prevent the perpetuation of an art policy of administration and preservation, and demand that There
Gerald Bast and Peter Noever Launch Art Offensive
must be an end to the depression of art policy in Austria.
With the kickoff of the initiative Contemporary Art Into Government, Gerald Bast, Rector of the Vienna University of Applied Arts Vienna, and MAK Director Peter Noever start a campaign for a progressive turn in Austrian art policy. The political debate in the run-up to the 2006 parliamentary election deals with art only in passing. Once again, contemporary art is in danger of being marginalized in the next legislative period. Gerald Bast
Peter Noever
From the Press Release for the Launch Art Offensive 0904, 2006 For information updates www.MAK.at, www.MAK.at/presse, or www.dieangewandte.at. For information updates on the initiative Contemporary Art Into Government
dates. good for you to meet us at.
01.10. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 01.11 02. 03. 04. 05. 06. 07. 08. 09. 10.11.2006
angewandte.
lecture.
exhibition.
party.
28.09. CROSSOVER STUDIO. new 4th studio starts.
09.10. Design 06. zeitzonen.
15.09. CHINA now. kunst in der zeit des umbruchs.
10.10. STEVE BUG.
dialogues about time and design. 09.10.-10.10.2006 university of applied arts www.designzerosix.at
erotech skin design research studio with KIVI SOTAMAA wintherterm 2006 university of applied arts www.dieangewandte.at
22.09. PICASSO. malen gegen die zeit.
08.10. WORKSHOP. studio prix.
17.10. Hernan Diaz Alonso. changing architecture. MAK lectureseries 17.10.2006 7pm www.mak.at
13.10. Raymond Pettibon. whatever it is vou‘re looking for you won‘t find it there. 13.10.2006-25.02.2007 kunsthalle wien halle 1 www.kunsthallewien.at
20.10. public lecture. Marcos Novak. hb2 + helmut richter 20.10.2006 7pm audimax tu wien www.hb2.tuwien.ac.at
munich 15.10.2006 university of applied arts www.dieangewandte.at
28.10. STUDIO HADID goes to 10th biennale architecture di venezia.
vienale zentrum.
sa 21.10.2006 urania www.viennale.at
22.10. DER SCHWIMMER. cd - präsentation Poplawok.
north italiy 09.10.-14.10.2006 university of applied arts www.dieangewandte.at
15.10. BMW WELT. meet all 3 studios.
21.10. Bernhard Fleischmann.
22.09.2006-07.01.2007 albertina www.albertina.at
motovun croatia + fieldtrip to venice biennale 08.10.-14.10.2006 university of applied arts www.dieangewandte.at
09.10. EXCURSION. studio lynn.
tue 10.10.2006 flex www.flex.at
15.09.2006-28.01.2007 sammlung essl www.sammlung-essl.at
24.10. BOY OMEGA. tue 24.10.2006 chelsea www.chelsea.co.at
13.10. viennale 2006.
vienna international film festival. 13.10.-25.10.2006 www.viennale.at
25.10. ED RUSH + OPTICAL.
20.10. Erwin Wurm. retrospective.
wed 25.10.2006 the zoo www.thezoo.at
20.10.2006-11.02.2007 mumok www.mumok.at
23.10. Focus USA. symposium.
31.10. LAOKOON GRUPPE.
kunsthalle wien + kunsthalle projekt space 23.10-24.10.2006 www.kunsthalle wien.at
28.10.2006 studio hadid university of applied arts www.dieangewandte.at
sun 22.10.2006 fluc www.fluc.at
klaus makotter + fritz ostermayer tue 31.10.2006 rhiz www.rhiz.org
08.11. performance. appropriated.
18.11. RONI SIZE + MC DYNAMITE.
performative aneignung in tanz und bildender kunst 08.11.-18.11.2006 mumok www.mumok.at
sa 18.11.2006 arena www.arena.co.at
23.11. MOCKY. thu 23.11.2006 planet music www.planet.tt
do you remember.
Elizaveta Fateeva Biography 1983 – was born in family of artists in Tomsk, Sibiria, Russia 1990 – moved with family to Riga, Latvia 1995 – family exhibition in Ars Moderna Gallery, Riga, Latvia 1995 – first personal exhibition as free lance artist in Hotel de Roma, Riga , Latvia 1998 – family exhibition in Chicago, USA 2001 – moved to Vienna, Austria 2001 – 2003 – study in Michelbeuern College for Fashion and Textiles, Vienna, Austria 2003 – 2005 – study in University of applied Arts in Vienna, fashion design department (Prof. Raf Simons) since 2005 - study in University of applied Arts in Vienna, fashion design department (Prof. Veronique Branquinho)
studio prix meets Günther Domenig. June 1991. exkursion Funder-Werk, St. Veit/ Glan and Steinhaus am Ossiachersee
Prinz Eisenbeton. Topic: surfaces in contemporary architecture Silhouette: a knight's armour Concept: to protect the body with fabrics that are treated to look like iron and concrete (eisenbeton) and empower the wearer. The silhouettes are massive, especially in the tops to impress by conveying an almost building-like feeling. I used many layers of fabric that can be removed by peeling them of with a multitude of zips. These clothes are armours influenced by contemporary surfaces in architecture that protect and transform the body.
imprint. editing.
Sophie Grell, Felix Gmeiner,Thomas Hindelang
special contributions. Christian Reder, Elizaveta Fateeva
photographer.
Sophie Grell, Alexandra Pawloff Reiner Zettl
publisher.
Wolf D. Prix, Institute of Architecture, University of Applied Arts Vienna
pr-management.
Felix Gmeiner, Eva Diem prinzeisenbeton@uni-ak.ac.at
graphicdesign.
Sophie Grell, Thomas Hindelang
text editor.
Niels Jonkhans
printing
Daniel Breyer / Stefan Schmid at Holzhausen GmbH, Wien
Friedrich Kiesler’s “City in Space” Austrian Pavilion Giardini della Biennale
ABSOLUT. BIENNALE.
ABSOLUT.BIENNALE.
rock over barock.
opening at the 8 September 2006. Ikona Gallery Salone no. 2 dei ´Magazzini del Sale´
Peter Sellars Wolf D. Prix Andreas Mailath-Pokorny
austrian. pavillion.
opening at the 8 September 2006.
Wolf D. Prix
Franz Morak
Elke Delugan-Meissl Eva Schlegel Jeffrey Kipnis Wolf D. Prix
Gerald Bast
Gregor Eichinger
Hans Hollein
Ernst Fuchs Marie Theres Harnoncourt Markus Spiegelfeld
Ute Woltron
Thomas Kramer Wolfdieter Dreibholz Marie Theres Harnoncourt Bettina Götz
Bettina Götz
Thomas Kramer
Hannes Stiefel
Giulio Polita
Gregor Eichinger
Odile Decq Wolf D. Prix
Oskar Hanstein
Eva Diem
Peter Cook
Hans Hollein
Wolf D.Prix
Peter Noever
Wolf D. Prix
Rupert Zallmann
Giulio Polita
Jean-Pierre Bolivar
urban strategies
opening at the 9 September 2006. S.N. Gallery S. Marco 2382 Sartor de Veste
Alexander Diem Gregor Eichinger Mark Hoffenscher Michael Satke
Francois Burckhardt
Carmen Pinos
Katharina Müller
Elisabeth Ginthör
Anastazia Tzaka Bruno Juricic Monica Lyzyczka Wolf D. Prix Max Hollein Wolfdieter Dreibholz Michael Volk Mona Bayr
Felix Gmeiner
Zaha Hadid Wolf D. Prix Bernhard Tschumi
Günter Feuerstein
Katharina Müller Cynthia Kahlmeier
Gregor Eichinger Wolf D. Prix
Florian Prix
Wolf D.Prix
Cynthia Kahlmeier
Wolf D. Prix Karl Pruscha
Wolf D. Prix Mona Bayr Cynthia Kahlmeyer Wolfdieter Dreibholz
Gerald Bast
Reiner Zettl
Sophie Grell
Katharina Müller Sophie Grell Christos Stremmenos Anastasia Tzaka
Klaus Bollinger
Jan 07
+ Thesis and Final Reviews
coverstory. part II coverstory. part III fluc wanne
featured.
re-member 03 featured architect 03 imprint 03
02 02 04
02 02 02 02 02
editorial news reder`s reader coverstory. part I what´s next? by wolfgang fiel my i pod tracks models&models timeline
04 04 04 poster-cover
regulars.
01
contents.
15 Issue N°
Angewandte»Glamour»Architecture»Culture February 2007
Nachrichten aus dem Institut für Architektur Institute of Architecture University of Applied Arts Vienna
PEB 15.2006
prinz eisenbeton february Christine Hawley Dean of the Faculty of the Built Environment Head Of School Bartlett School of Architecture, London
regulars. 01 poster-cover 02 02 02 02 02 02 02
editorial news reder`s reader coverstory. part I what´s next? by wolfgang fiel tat ort my i pod tracks models&models
04 04 04 04
timeline re-member featured architect imprint
featured. 03 coverstory. part II 03 coverstory. part III 03 fluc wanne
Thesis
and Final Reviews Jan 07
new crowned hope. PETER SELLARS.
Simon Alford Cornelis van Almsick Hernan Diaz Alonso Alisa Andrasek
Klaus Bollinger Roland Burgard Petra de Colle Wolfgang Fiel
Kieran Fraser Mark Gage Zaha Hadid Oskar von Hanstein
Christine Hawley Iris Hercher Gregor Holzinger Ulrika Karlsson
www.dieangewandte.at/architecture
Greg Lynn Ernst M.-Mateovics Valerie Messini Bärbel Müller
Bence Pap Rainer Pirker Rodney Place Giulio Polita
Wolf D Prix Ali Rahim Patrik Schumacher Peter Sellars
Kivi Sotamaa Klaus Stattmann Hannes Stiefel Peter Trummer
Peter Sellars by Reiner Zettl
+
Stuart A. Veech Mascha Veech-Kosmatschof Bostjan Vuga
editorial.
Cultural Overkill
picture by Katharina J. Oechtering
Felix Gmeiner Anna Stürzenbecher Jörg Lonkwitz Sophie Grell Thomas Hindelang
news. Abu Dhabi’s Tourism Authority introduced plans for a cultural district on Saadiyat Island. The desgin of four major venues of the island’s cultural district is undertaken by four very familiar names: Guggenheim Abu Dhabi by Frank Gehry, Performing Arts Center by Zaha Hadid, Museum of Classical Art by Jean Nouvel and Maritime Museum by Tadao Ando.
Foster & U2's Bono
Foster and Partners and Bono partner an Irish hotel project. Dublin's Clarence Hotel is about to undergo a renovation, which is being designed by a rather strange association.Norman Foster described the Clarence in the Irish press as "an ambitious project" that will create "a bold new addition to Dublin's skyline”..
DIE REDAKTION
coverstory.new crowned hope. part I
OMA feat. Porsche
Positionen zu Urbanität Marc Angélil: Indizien. Zur politischen Ökonomie urbaner Territorien ETH Zürich / Verlag Niggli AG Zürich 2006 ISBN10: 3-7212-0590-1
roof garden Integrationshaus Vienna A cooperation with New Crowned Hope Festival and Studio Prix, developed in the Studio Enlightment, Theory and Practice at the University of Applied Arts, Vienna. Artistic Directors: Peter Sellars, Wolf D. Prix Design-, Projectarchitect: Gregor Holzinger Landscapedesign: Kieran Fraser, Iris Hercher Projectmanagment: Bärbel Müller, Hannes Stiefel
picture by Doris Mikolas
what´s next?
„Ein Lesebuch zur Stadt“: „Untersucht werden die sichtbaren Zeichen der wirksamen Kräfte aus Gesellschaft, Politik und Wirtschaft“ – ob in Slums, in Los Angeles, New Orleans, Shanghai oder Lagos, auf Flughäfen oder in Shopping Centers Positionen zu Urbanität Kevin Lynch: Das Bild der Stadt M.I.T. 1960 / Birkhäuser Verlag Basel 2001 ISBN 3-7643-6360-6 Ein Klassiker zum Vergleich: Sichtweisen um 1960
Angewandte displayed
The institute of architecture is planing a gallery program to expose the work of the three design studios. Two or three shows per semster are planned starting in the summer term 2007. This exhibitons would promote exchange within the school and would provide publicity outside the school.
Wie es funktioniert Peter von Matt: Die Intrige. Theorie und Praxis der Hinterlist Hanser Verlag, München 2006 ISBN-10: 3-446-20731-7 Für alle, die sich – auch kulturgeschichtlich – damit genau auskennen wollen und Energie für 500 Seiten aufbringen Essays aus Wien | zu Wien Franz Schuh: Schwere Vorwürfe, schmutzige Wäsche Zsolnay Verlag, Wien 2006 ISBN-10: 3-552-05370-0 z. B. „Negative Utopie. Sie erleidet alle ihre Hoffnungen als Sorge“ | „Seit Jahrzehnten befasse ich mich mit der Langeweile; das heißt, die Langeweile befasst sich mit mir…“.
form and structure. by wolfgang fiel tat ort In his book entitled “What is life?”, Schrödinger (1944) has speculated about the basic principle at work, that keeps the entropy of a living organism relatively constant and would comply to the second law of thermodynamics. He coined the term “negative entropy”, that each living organism would have to detract from the environment continually. Subsequently for him the key to life was: “Order by Order”. Complemental to Schrödingers concept Foerster (1960) proposed what he called “second key to life: Order by disturbance”. If the concept of `random´ disturbance as genetic imperative is appropriate, the foundation for a better understanding of the evolutionary dynamics of cognitive processing might be provided. In how far this concept bears artistic relevance is inextricably linked with a proper understanding of the dialog between an organism and its environment and the implicit necessity for a strict definition of the term `form´ qua `structure´ with respect to the following assumptions:
If – using an analogy to the etymological roots of the term structure and contrary to a common understanding – form isn´t understood as the outer appearance of a physical entity (for which the term `Gestalt´ seems more appropriate), the main focus is shifted towards the regularities that determine the outer appearance. Subsequently we gain a comprehensive insight into the act of formalising a problem. Once a concrete problem is put on a level with one of the above mentioned random disturbances, creative (intuitive) problem solving effectively is the modification and re-organisation of already existing internal models in order to gain a sufficient (operable) but transitory arrangement. For a useful description of the processes at work the tools offered by Analytical Linguistics fall short, since the conjunction of signifier and signified offers no operational aspect for a process that is assumed to be on the whole dynamic (organism – environment interaction). Having specified the term form as the `tentative´ process of analysing the
structure of a physical entity presented to the perceiving organism one will often experience, that different objects can share the same aspects or a single object may be seen from different angles (association). It is exactly this process within the framework of the subject – object interaction that is of specific interest. A decisive quality of internal models is the nature of their heterarchical organisation. Accordingly the capacity of the entire system can not be reduced to the mere sum of the information contained in each of the models. The elements are connected among one another by a large number of functional links and therefore are relational by nature. Bottom line for an artistic practice are the transitions possible because of the relational nature of the entire system and for which Freud has coined the term “Verdichtungsarbeit” (1900). Relations between objects and/or events suddenly become manifest because of the unexpected emergence of structural congruence and bring about the important moment of surprise. The
models&models. Valerie. Messini.
my ipod tracks. Oskar von Hanstein. 01. ibizaglogalradio.com
02 Pygmy Part 2. Billy Larkin
03. We kiss in the shadow. Ahmad Jamal.
crappy name, awesome music.
may I change your life tonight...?
listening to that music I imagine beatiful women coming closer and closer.
Oskar von Hanstein studies architecture at the University of Applied Arts, Studio Sotamaa 06/ 07.
specific challenge is how to organise the discrete elements at hand in such a way, that within the manifold interplay of given context and actor (observer) a reference can be drawn to the already known, leaving room though for `interstitial spaces´, that necessitate individual structuring intervention. Through these interventions individual meaning is constituted. Already indicated by the term actor, her/his part is rendered active and of integral bearing for the anticipated chain of events. Subsequently the process of affirmative appropriation effects the present condition of the `field of action´. A programmatic approach or the sheer technical expression of functional requirements does not offer sufficient criteria to initiate the procedures that are key to the act of `tentative´ accomodation in the course of the internal processing of sensual stimuli. Hence the results of the form finding process become manifest by structural properties without predetermining any morphological features. The specific quality of a concrete intervention is identified by the
Interview with Peter Sellars Künstlerhaus 05 Dec 2006
Rem Koolhaas´s OMA and the Porsche Design Studio ally for a pair of towers in Dubai`s Business Bay. OMA will act as architects, while Porsche Design Studio will handle interiors. Completion of the 80m-high cylindrical apartment towers should be due in 2009.
reder`s reader. by christian reder
project welcome to vienna by Gregor Holzinger, Kieran Fraser, Iris Hercher
coverstory. new crowned hope. part II
constitution of an operable framework, that consists of the fuzziness and multiplicity of meanings `accepted´ individually through the transformation of the existing heterarchy. To name one example, the concept of a dynamic heterarchy of individually constituted internal models is transposable into the functional properties of web-communities, which embody a form of intelligence beyond the sheer multiplicity of their users and is realised through semantic links (Semantic Web) that are based on structural characteristics (e.g. connectivity, robustness, clustering). To make active use of this enormous potential for collective creative processes in art and architecture is a key challenge of the future. Foerster, Hv. (1960) Über selbst-organisierende Systeme und ihre Umwelten. In: Sicht und Einsicht. Heidelberg, Carl-Auer-Systeme Verlag, pp.115-30. Freud, S. (1900) Die Traumdeutung. Leipzig, Wien, Franz Deuticke. Schrödinger, E. (1944) Ordnung, Unordnung und Entropie. In: Was ist Leben? München, Piper, pp.120-32. Thanks to Oswald Wiener for his advise on a deeper understanding of the term structure. Wolfgang Fiel/tat ort, Vienna January 2007
Sequences. winterterm 2006/ 07 Studio Prix
Artistic Director of New Crowned Hope (A festival within) Wiener Mozartjahr 2006 Executive Producer: Wiener Festwochen Guest professor at the University of Applied Arts, Vienna. Director of the Studio Enlightment, Theory and Practice 2005/ 06
What potential do you see in architecture in our days? One of the most important things is re-imagining social structures, which have in Europe recently been classified in a really disastrous direction. Society warps itself into a disastrous closed shape and Europe itself puts up higher walls than ever to try to keep the rest of the world out. So literally the question of building walls is very real. Walls are mental, walls are emotional, walls are cultural. So what does it mean to create openings and create structures, which are welcoming and inclusive; which redirect people´s closed turned in attitudes outwards. Create for example, through this Integrationshaus roof-project, a longer view towards inclusive views, towards what actually opens, expands again, recognises distance and proximity. Recognises the immigration of near and far. This is the key to cultural flourishing and rich social, political economic life span. You know that I come from a country that was made by immigrants, that was made by refugees; that was made by people who were desperately looking for some other future and rejected what was ahead of them in their own country and could only flourish outside of their own country. And you know, these are the most highly motivated; the most talented; the most determined and the most resourceful people. So for me, the question of new architecture for Europe would be moving past these structures of concentration of power, concentration of prestige, of exclusivity and to create structures that promote equality. This is the real challenge because we are talking about democracy. But democracy is in trouble all over the world, not only in the developing world, but also in the established world. Try to form a government in Austria or in my own country, where democracy is for sale every day and goes to the highest bider! And so we have to say, democracy is actually a very young idea. The reason why I called this New Crowned Hope was in part because Mozart was part of that group of people, who were saying: “Wait a minute - Europe needs to have democracy! How do we do that?” And then, that was the real discussion Mozart was engaged with for 20 years of his life. And for me that is the legacy.
Valerie Messini studies Architecture at the University of Applied Arts, Studio Prix.
How can an architect deal with social responsibility? How do you deal with the everyday struggle of our profession? You know, I think, if you are going to be an architect, just get used to it! Yes, I am sorry but that is built in. You know, Wolf Prix, who is perfectly well known, fights 8 years to put up a building. This is just a given. And once you are building, it is nice to dream, but once you are building it is a long and difficult process. On the other hand, if I may say, this is also the power of real democracy. By the time you end up having convinced all the people that you need to convince, your project has had to really deepen and you really have to look at your ideas very profoundly and in some cases make real, if I can say, democratic compromises and really need people half way and find a way in which your project is not only your project but also other people take ownership of it so it becomes shared and it becomes something that does represent a wider range of voices. This process of fundraising and that process of convincing people is for me a very crucial stage of project development. I come from the United States where nothing is funded and so for me I am used to that, I have grown up with that. But in fact over the years as an American, I really learned to value what it means to have to talk to everybody in the community, what it means to have to really go from door to door or whatever you need to do. All kinds of people have a piece of this and all kinds of people are saying: “This represents something that is important,” and all kinds of people say: “I am going to make a sacrifice to make this happen, because it is worth it!” And so by the time it is done the project becomes socially and politically so much deeper than if it would have been only your idea and you would have realized the magic. You know the non magic part is actually really crucial to the foundation of creative coalition building and democratic solidarity. I do not resent this and I am not afraid of it. I actually think it is an extremely important part of the process and we are long finished with the day that an artist can say „I am genius and you should build this“. You know I think it is very important to have this other engagement and you should definitely be a genius and it should be built but you
should take the trouble to engage with a lot of people. And why is that? That’s because you have to learn how to depend on other people, You have to be part of an other echo system; you have to be a participant in a much bigger picture when you are on survival. For me that is the power of architecture, so the actual process of gathering the money is going to be one of the most important parts of the project.
But we think we need to be more actionists. What are helpful tools? Knowing wealthy people with connections. That is a traditional approach of artists and that is not a bad thing. On the other hand you know, in the 1990 Los Angeles Festival, we raised 50.000 Dollars in 25 and 35 Dollar checks from small black churches at prayer breakfasts in South Central Los Angeles for five months and you know one bank could have just written this check in one afternoon. But hundreds of people wrote the 25 Dollar check because the project represented something they wanted to see in their lifetime. That also has power and so for me it is ideally both. You know, I really encourage students to recognize the power of fundraising, that it is a really important process for your whole life and nothing you should resent or be depressed by, but it is actually in some amazingly beautiful way the fruit of your practice.
How does your network influence your work? Two things: it never hurts to know the best people. In architecture there is a hand full of people that you really want to know. In my life it has been Wolf Prix and Frank Gehry. And working with both of them has been really really important in my life. Just because they are practising at such a high level; and it is the very high level that is the most open perceptive and the most perceptible to change wand what totally different way we could do this. People working at the middle level are more cautious and panic. Wolf is a very open horizon when you are working with him. Frank, there is no such thing as impossible. He is like: “Sure we can do that” and he is up for it and in this kind of sense he is truly up for. But at the same time, both men are serious artists and real poets. There really is poetry in the work and it is reaching into another zone. That is very important for me. Because architecture is not my field, but when I am crossing over, I am looking for a place where people also speak the language of poetry. So it is logical to cross over to Wolf Prix, so it is logical to cross over to Frank Gehry, because we do share an interest in poetry, an interest in music. This kind of artistic networking is for me really important. To decide who you want to meet and then meet them and decide whom do you admire and then hang out with them. Because all of us need people to admire and people who unlock our own potential exactly. Because they are fearless and open. I think in every art form there are artists that you really admire and so my strategy always was: go out and meet them. You know, have some conversation, sometimes it does not go anywhere and sometimes it goes very far, but it is always very important to meet them. At the same time charmingly that also means: go out and talk to the homeless person sitting next to you at the tram stop because that is also going to be an important conversation. This could also be going to change your life and recognizes the important function both of the people who are well renowned and the person sitting at the tram stop. Both of them will change your life and are also part of your network.
coverstory. new crowned hope. part III Conversation between Bärbel Müller and Hannes Stiefel about the roof garden project welcome to vienna (page 02)
Studio Enlightment, Theory and Practice 05/ 06
Project Managers: Bärbel Müller, Hannes Stiefel who were teaching at the Studio Enlightment, Theory and Practice, the interdisciplinary studio led by Peter Sellars. They are now project managers of the roof garden project (realization 2007/ 2008) .
www.newcrownedhope.org www.studionewcrownedhope.org HS:
It’s a good sign – the criticism is raising now, all that predictable questions: How come that it is the Integrationshaus; why that focus; why not a simpler configuration; why just here and now and – above all – why not cheaper? Those reactions show that the project makes an impact – already now in its pre-realisation stage. Long-term effect doesn’t evolve from a complete understanding nor from a totally transparent conceptual derivation, it does make rather an impact if one is demanded again and again to think about the meaning of something, if it keeps the people’s mind busy, if it seriously encroaches upon life.
BM:
I wonder why, as soon as you deal with cross-cultural and social situations in architecture, you are immediately pegged in the direction of "development aid" or neo-colonial attitudes. Immediately the qualitative and artistic slat is set elsewhere - namely lower: Also and particularly within the profession, which I sense as extremely critical. For exactly this approach then implies neo-colonial paths, finally manifesting physically this horrific understanding of inequality as something given.
fluc wanne.
Klaus Stattmann.
An unused pedestrian tunnel in Vienna has become center stage for Fluc art and music performances.The project was nominated for the european union prize for contemporary architecture - mies van der rohe award 2007. “...la favorita escaping malaparte ”
And then in our generation we would ask again the question: “Where is democracy and how does it work? Or can it work better than it is working?” Now there is a crisis of representative democracy that in fact a huge number of the population is still unrepresented and so for me to see that we as artists need to create the structures for real democracy. A kind of democracy in which there is representation of a range of the population, in which there is the possibility of encounter and discussion, of debate and of permanent engagement rather than denial, refusal and embarrassment. So much of it is about building environment. This fact makes Vienna so hard to deal with, because so much of the built environment here is from a really close time in terms of attitude, and historical realities. And for me this generation in Vienna is an unbelievable exiting generation, because it is not like their parents. Most of my friends and lots of my students have been in Mexico more often than me; or they are actually totally engaged with the world and engaged of being citizens of the world. This project and the point of the Angewandte class, the enlightment class, was to ask this generation of people to build the world they want to live in on their terms. So for me this was the important thing, why we are dealing with “Welcome to Vienna”. And of course this will be part of the “Next Vienna”; and of course the question of Vienna itself is changing. That means there have to be visible signs and symbols and public indicators that something is shifted and something will be different and so for me this Integrationshaus roof-project is a public emblem of a different attitude.
NO RISK, NO FORM!!!
Tatia Skhirtladze Eva Radlherr Verena Holzgethan Grogor Holzinger Kieran Fraser Elena Valcheva
HS:
If you believe that the utopian moment may also lie in the form and if you work with that conviction today in this context – you will be instantly marked as a cynic. Yes, and for sure you are not able to measure, compute or prove the social impact of Gestalt – least of all with an unbuilt project. This project presumable is a representative of a transition - in a time of transformation, even more at a place of transformation with a program that is predestined to act as a catalyst for change, development and transformation.
BM:
I remember a conversation with Andrea Eraslan Weninger, where we talked about the roof project as a sign and symbol, as a promise. We talked about how the public and the press would react on it and she said, "You know, in the very first years of the Integrationshaus, somebody said we are the ORCHID in the field of this kind of institutions, only because we offered educational program, which anyway should be self-evident for every asylum seeker!" Then we all smiled and agreed that we love the idea of the orchid and take it as a goal, even in architectural terms.
HS:
Yes, and then we were talking about the term “perspective”, its meaning for the institution’s goals and for the people’s living there – but also how it is used
Martha Rego, Sandra Häuplik
Hannes Stiefel Peter Sellars Bärbel Müller
as a tool for the design of the rooftop garden. The programmatic conception of the Integrationshaus is so much about multiperspectivity and multifaceted approaches that an architectural intervention has to extend and enrich the spatial range with great respect for such diversity. By understanding that, we consequently stop to talk about the project as a primarily political issue, as an abstract configuration etc., but start to focus on the future user and his or her future – as it should be the normal case.
BM:
But if you claim this, you have to know the user and involve him or her in the design process. Therefore you have to invent intelligent and sensitive strategies (if you want to avoid a participatory drawing process with people who are not trained to draw and design). I really liked the strategy the three students came up with: Spending a lot of time with the kids, families and teens living in the house, listening to their life stories, their “perspectives” and transferring these experiences into the design concept afterwards – concerning the program as much as the form. If you are engaged in cross-cultural, social and political topics, applied research anyway is the only way to start a project with. Then you need a more dissociated phase to come up with a strong visionary proposal, and then the tough and wonderful journey towards realisation starts …
dates.
angewandte.
04.03. MAK - SCHINDLER. 01.03. Scholarship. 02. 03. 04.03.2007 closing date for applycations 04. www.dieangewandte.at 05. www.mak.at 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 01.04. 02. 03. 01.04. EXCURSION. 04. Studio Prix. 05. 06. 01.04.-14.04.2007 BRASIL 07. university of applied arts 08. www.dieangewandte.at 09. 10.04.2007 26.04. BRIAN CODY. Energydesign.
lecture.
23.02. Elastic Taboos.
06.03. John Cale. tue 06.03.2007 flex www.flex.at
23.02.-10.06.2007 kunsthalle wien www.kunsthallewien.at
08.03. Eleni Mandell. thu 08.03.2007 wuk www.wuk.at
03.03. Werner Reiterer. Auge lutscht Welt.
13.03. Michael Fried.
03.03.-13.05.2007 kunsthaus graz www.kunsthausgraz.at
Lecture Series.
13.03. Jeff Wall 14.03. Thomas Struth 15.03. Bernd + Hilla Becher
10.03. Trentemöller. Live.
sa 10.03.2007 flex www.flex.at
mumok auditorium 7pm www.mumok.at
14.03. a_schaufenster 01. Josef Lackner.
09.03. Yves Klein. Blaue Revolution. 09.03.-03.06.2007 mumok www.mumok.at
by ARTEC Architekten. 14.03.2007 6pm azw www.azw.at
16.03. Damien Hirst.
the stations of the cross 2004.
12.03. Hubert Noi/ Howie B.
music for astronauts and cosmonauts. mo 12.03.2007 flex www.flex.at
14.03. Naked Lunch. we 14.03.2007 arena wien www.arena.co.at
16.03.-28.05.2007 sammlung essl www.sammlung-essl.at
26.03. John Pauline. PTW Architects. Lecture.
16.03. Dotmatrix.
26.03.2007 7pm audimax tu wien www.hb2.tuwien.ac.at
Live.
fr 16.03.2007 rhiz www.rhiz.org
28.03. Günther Domenig. Das grafische Werk im MAK. 28.03.-15.04.2007 mak www.mak.at
28.03. BIG AzW. Gut beraten...
23.03. Laurent Garnier. fr 23.03.2007 flex www.flex.at
28.03.2007 7pm azw www.azw.at
29.03. Nine Inch Nails.
16.04. Maximiliano Fuksas.
thu 29.03.2007 gasometer www.gasometer.at
Lecture.
16.04.2007 7pm audimax tu wien www.hb2.tuwien.ac.at
start 11.05.2007 university of applied arts www.dieangewandte.at
featured architects.
party.
Koreanische Kunst der Gegenwart.
start 26.04.2007 university of applied arts www.dieangewandte.at
11.05. Holger Hagge. strategy of property.
exhibition.
do you remember.
Veech Media Architecture
Kaufhaus des Glücks. Studio Prix 1995/ 96 Idea competition for the development of a future orientated event- and retailworld. Hannes Swoboda Hannes Stiefel Wolf D. Prix André Rhettberg
VMA (Veech Media Architecture) was founded in 1993 in Vienna, Austria as an interdisciplinary unit of architects, media designers and artists. VMA 2007 Activities 2007: Participating in the Moscow Biennale Feb. 28 - March 31, 2007 2007: “Victory Over the Sun” Exhibition at the National Center for Contemporary Art - Moscow with Vadim Kosmatschof 2007: “Motion in a Square” Exhibition at the Museum Ritter - Stuttgart with Vadim Kosmatschof VMA has won numerous awards for various projects, such as, the Adolf Loos Staatspreis in 2003 for the ORF Newsroom and honorable mention for the 2001 Kunsthalle Wien exhibition design “Televisions”. VMA has been recognized also by PROMAX Europe and Eyes and Ears of Europe for their work in television design. VMA has exhibited and published projects worldwide and has lectured at numerous international universities and symposiums. Biography Mascha Veech-Kosmatschof 1964 Born in Moscow, Russia 1984-87 Studied at the University of Applied Arts - Vienna 1988-91 Studied at the Architectural Association - London with Zaha Hadid, Ron Herron and Jan Kaplicky 1993 Founded VMA- Veech Media Architecture in Vienna with Stuart A. Veech Since 2001 Teaching assistant at the University of Applied Arts - Vienna with Zaha Hadid Stuart A. Veech 1964 born in Chicago, USA 1982-87 Studied at the University of Cincinnati, USA. Diploma in Urban Design 1987-88 Studied at the Architectural Association - London 1993 Founded VMA- Veech Media Architecture in Vienna with with Mascha Veech-Kosnatschef 1998-2001 Guest lecturer at the University of Technology - Vienna with William Alsop 2004-2007 Smart Technologies-Innovative Building lecturer at the University of Technology - Graz 2006 Deployable Structures workshop at the University of Innsbruck Department of Architecture - Patrik Schumacher 2006 Appointed Senior Research Fellow at the Royal College of Art London - Department of Industrial Engineering
BMW Mobile Pavilion
Museumsquartier Competition Vienna, Austria 2003
MOZART Urban Interface
MOZART 2006 Festival - Vienna, Austria 2005
Artist´s Residence
BMW Group - Munich, Germany 2002
Lower Austria 2004 - currently on site
imprint. editing.
Sophie Grell, Felix Gmeiner,Thomas Hindelang Anna Stürzenbecher
special contributions. Wolfgang Fiel, Bärbel Müller, Christian Reder, Peter Sellars, Hannes Stiefel
photographer.
Sophie Grell, Tom Hindelang, Kadri Kerge, Martin Krcha, Katharina Oechtering, Reiner Zettl
publisher.
Wolf D. Prix, Institute of Architecture, University of Applied Arts Vienna
pr-management. Felix Gmeiner
prinzeisenbeton@uni-ak.ac.at
graphicdesign.
Sophie Grell, Felix Gmeiner, Thomas Hindelang, Anna Stürzenbecher
text editor.
Roswitha Janowski-Fritsch Reiner Zettl
printing
Daniel Breyer / Stefan Schmid at Holzhausen GmbH, Wien
party by philipp waltner/skug
good for you to meet us at.
Thesis Jan 07
+ Final Reviews
Picture by Martin Krcha
STUDIO HADID. STUDIO LYNN. STUDIO PRIX. Institute of Architecture University of Applied Arts Vienna 24 th January 2007
Wolf D. Prix , Greg Lynn Thesis Presentation Studio Hadid
www.dieangewandte.at/architecture
THESIS JAN 07 studio Hadid. studio Lynn. studio Prix. 25.01.07 University of applied arts,
Vienna
Klaus Bollinger Wolf D. Prix Greg Lynn Patrik Schumacher
diploma studio Lynn Bence Pap
Patrik Schumacher Kivi Sotamaa Cornelis van Almsick Greg Lynn Wolf D Prix
Giulio Polita
Greg Lynn
Petra De Colle
Kivi Sotamaa
Patrik Schumacher
Greg Lynn
Greg Lynn
diploma studio Prix Giulio Polita
Giulio Polita Jean-Pierre Bolivar
Katharina j Oechtering
Liane Lefaivre Zaha Hadid Patrik Schumacher
FINALS
3 + 1 ARCHITECTURE STUDIOS WINTER 06/07
Wolf D Prix
Roland Burgard Ernst Maczek-Mateovics Alisa Andrasek Kivi Sotamaa Wolf D Prix Greg Lynn Patrik Schumacher
Ernst Maczek-Mateovics Alisa Andrasek Kivi Sotamaa
Bence Pap
FINAL studio Prix 20.01.2007 Simon Alford
Kivi Sotamaa Klaus Bollinger Gerg Lynn Niels Jonkhans Patrik Schumacher
Wolf D Prix
Bence Pap
FINAL studio Hadid 23.01.2007 Rodney Place Bostjan Vuga Judith Reitz Alisa Andrasek
FINAL studio Lynn 25.01.2007 Greg Lynn Mark Gage Peter Trummer Hernan Diaz Alonso Ulrika Karlsson Ali Rahim
FINAL studio Prix 20.01.2007 Niels Jonkhans Christine Hawley Rainer Pirker
FINAL studio Prix 20.01.2007 Simon Alford
FINAL studio Sotamaa 23.01.2007 Hernan Diaz Alonso
coverstory. crossover studio 2 clients' award ´07 the next enterprise architects editorial news reder`s reader sex in the city. sliver gallery. Technicolor Bloom my i pod tracks models&models 02 02
02 02 02 02 02
featured.
03 03 timeline re-member featured artist imprint 04 04 04 04 poster-cover
regulars.
01
contents.
18 Issue N°
Angewandte»Glamour»Architecture»Culture November 2007
Nachrichten aus dem Institut für Architektur Institute of Architecture University of Applied Arts Vienna
PEB 18.2007
Christian Reder "Architektur = Urbanes Denken plus… plus… plus…"
regulars. 01 poster-cover 02 02 02 02 02
editorial news reder`s reader sex in the city. sliver gallery. Technicolor Bloom 02 my i pod tracks 02 models&models 04 04 04 04
timeline re-member featured artist imprint
featured. 03 coverstory. crossover studio 2 03 clients' award ´07 the next enterprise architects
Hernan Diaz Alonso by Tom Hindelang
3 plus 1
cross over studio 2 university of applied arts vienna 2007/ 2008 Hernan DiazAlsonso
+ CHB(L) BMW WELT. MUNICH Hernan Diaz Alonso Hans-Peter Achatzi Francoise Burkhardt Erick Carcamo Dum:ene Comploi
Eva Diem Wolf Dieter Dreibholz Vojislav Dzukic Pola Dietrich Elke Delugan-Meissl
Gregor Eichinger Sergio Gonzales Sophie Grell Alexander Haid Ivana Jug
www.dieangewandte.at/architecture
Jeffrey Kipnis Rem Koolhaas Peter Noever Adam Orlinski Wolf D. Prix
Rainer Pirker Carmen Pinos Carl Pruscha Christian Reder Zosia Sobolewska
Kiki Smith Wolfgang Vasko Peter Vikar
editorial. Jörg Lonkwitz Sophie Grell
Anna Stürzenbecher
Felix Gmeiner
news.
Michael Wallraff in Graz
Thomas Hindelang
The European-wide, open, two-stage competition for the Landesberufsschulzentrum in Graz St. Peter was won by Michael Wallraff last week. The first phase of construction will house laboratories, workshops and a parking garage. The winning design describes a piece of an artificial, urban landscape.
Olympic Stadium by Peter Cook
The Olympic Delivery Authority has confirmed that Peter Cook is spearheading HOK Sport's design of the stadium, the centrepiece of the Olympics. Cook promised a 'chirpy solution'. The design features a ‘stadium bowl’ holding the 25,000 permanent seats, surrounded by 55,000 demountable seats that will be taken away after the Games and will be transformed into an Athletics stadium and will host a variety of sporting, educational, cultural and community events. An Olympic Stadium with
DIE REDAKTION
sex in the city. the world according to Lukas Feireiss "Nibble, nibble, little mouse, who is nibbling at my house?" "The wind, the wind, the heavenly child." To the pristine mind these words are nothing but the innocent echo of bitter-sweet fairy childhood memories. But - Alas! - to the windswept souls amongst us, who carry for ever on the mark of Zephyr, these rhymes resonate relentlessly, for they know all to well their inherent thruth. Disguised in naive metaphors of domestic decadence, the fatal affect of aeolian processes on the mind’s sanity is the subject matter. Speaking of winds and houses, isn’t it a strange coincidence that of all places it is Vienna, where a prominent architect speaks
enthusiastically, in Ahab-like ambition, of giving a shape to the winds and of ultimately constructing flying buildings? And he means it. No name will be mentioned. Just follow the signs.
etc. Name it, they got it – in airy abundance –, here, in the native city of psychoanalysis. Go figure! And the wind cries mary!
As I said, there’s something strange about this city and the winds surely have their finger in the pie. Especially in the winter. They catch you off guard and stop you dead in your tracks. Your smited forehead in a freeze. Take a blow: Studies in Austria show that high winds lead to an increase of mental disorders and that more than one in three people said wind affected their overall health. And this doesn’t even take the naturally caused intestinal winds into account! Anyway, think again: Somatic depression, psychosis, schizophrenia
Nouvel’s new highrise in New York
Globale Sichtweisen Anthony Giddens: Jenseits von Links und Rechts Die Zukunft radikaler Demokratie (London 1994), Suhrkamp, Frankfurt am Main 1999, ISBN: 351840864X
Praxis Krajewski, Markus (Hg.): Projektemacher Zur Produktion von Wissen in der Vorform des Scheiterns Kadmos Verlag, Berlin 2004, ISBN 3-931659-56-9 „Was kurz davor noch Projekt heißt, wird durch das Gelingen zum Produkt, zur glänzenden Leistung, zur gelobten Erfindung, zum
Interview. 09.10.07 University of Applied Arts Vienna
Studio introduction. 05.10.07 University of Applied Arts Vienna
Jean Nouvel designed a 75-story tower which will house a hotel, luxury apartments and three floors that will be used by the Museum of Modern Art to expand its exhibition space. MoMA would get roughly 4.000 m2 of additional gallery space in the new tower, which will connect to its second-, fourth- and fifth-floor galleries.
COOP HIMMELB(L)AU olé
The Mayor of Zarautz, Jon Urien, just announced that out of the entries by co-finalists Zaha Hadid, Eduardo Arroyo, FOA and Kenzo Kuma the design by COOP HIMMELB(L)AU had been elected as the winning project.
reder`s reader. by christian reder „Ein Projekt für radikal-demokratische Politik“… „utopischer Realismus“… „erfinderische Politik“…
As teacher, writer and curator for various international projects Lukas Feireiss is deeply involved in the discussion and mediation of architecture, art and media beyond its disciplinary boundaries. He's the editor of the recently published book on temporary architectures "Spacecraft. Fleeting Architecture and Hideouts" (Die Gestalten Verlag, 2007)
such a large demountable element and mix of temporary and permanent seating has never been attempted before.
coverstory. crossover studio2
Hernan Diaz Alonso
funktionierenden Geschäft promoviert. Allein das, was scheitert, muss weiterhin ,Projekt’ heißen.“ Zeitgeschichte Mark Mazower: Der dunkle Kontinent Europa im 20. Jahrhundert (London 1998), Alexander Fest Verlag, Berlin 2000, ISBN 3-8286-0080-8 Kompakter Überblick Praxis Peter Heintel / Ewald E. Krainz: Projektmanagement Eine Antwort auf die Hierarchiekrise? Gabler Verlag, Wiesbaden 2001, ISBN 3-409-43201-9 Intelligentes Standardwerk zu Projektarbeit
Sliver Gallery. Technicolor BLOOM.
Anna Stürzenbecher
Felix Gmeiner
Prinz Eisenbeton interview with Hernan Diaz Alonso 09.10.07 University of Applied Arts Vienna
What do you expect from the Cross Over Studio? Nothing. You don’t expect anything? What you can talk about is ambitions. What I expect is difficult to say. The mix of the students makes it very interesting but I am interested to see how it would work and the people would see architecture with fresh eyes and would have more experience now. In terms of that the studio is part of what I call trilogy. There are similar studios like I am doing in Columbia and SCI-Arc so I am interested to develop. What I expect is that each of the schools and each of the studios produce different work and they will have different focus and different problems. The SCI-Arc tradition is about making certain rationality and in Columbia the work is usually more irrational and more abstract. And here I am not so sure because I don’t know the school so well but my sense since I am here is really interesting because of the innovation and the kind of hard core understanding of the tradition of tectonics. So I am interested to see how we can work on that and in the fiction that the people can have fun and have the possibility to discover what architecture can be. And what do you think architecture can be? Or what do you think is the future of architecture? Well, I don’t think that there is one single future. I think there are multiple futures so I think one of the fundamental points and problems about architecture is that everybody seems to claim to know what the truth is.
31st November 2007 Technicolor BLOOM
Brennan Buck with Rob Henderson, Dumene Comploi, Elisabeth Brauner ,Eva Diem, Manfred Herman, Maja Ozvaldic, Anna Psenicka, Bika Rebek
Do you know what is the truth? No I don’t, in a way. I am very arrogant about my own work like most of architects are, but what I am saying is not the absolute truth, it is my truth and I think there is something interesting to it and it is worth to discuss it. I hope that one of the futures for architecture start to deal with the notion of species, but ultimately I hope that starts to break the relation that if you do something for people it is only something like social housing. And the notion of beauty and the notion of aesthetics can be a more dramatic way to see the possibility of architecture that provocates people. I think many people are building in that way, that it claims more and more the provocation that begins more at the forefront of shaping culture. I think what was built in the last fifty years has become interesting. The Angewandte is led by three people who have done more for architecture to be again on the forefront. So that is why I am excited to be in a place like this. I think it is the most complex of this discipline. I think Zaha Hadid, Wolf D. Prix and Greg Lynn are among the most important figures that have more responsibilities and this changes a lot with society and culture.
Technicolor BLOOM is an installation of layered spaces and flourishing surfaces blossoming with pattern and color. Taking on the contemporary architectural problem of applying detail, structure and aperture to topological geometries, the project exploits the integration of surface morphology and pattern for its structural and aesthetic potential. Like the proliferation of a bloom of algae on a smooth surface of water or a blooming rash on unblemished skin, the installation favors intense detail over seamless elegance. Maintaining precise control of visual effects such as blur, depth and figure, Technicolor BLOOM is a kaleidoscopic study of the literal and phenomenal effects of 3-dimensional pattern.
And the future of education?
Eva Diem
my ipod tracks. Adam. Orlinski.
models&models. Dum:ene. Comploi. Peter. Vikar.
01. We Are Your Friends Justice vs. Simian
02. Namenlos Hinterland feat. DJ Dan
03. Melpomene Kashmir
landed my first tail whip to that track....
good friends from Linz, you tube them out.
cause there is just one melpomene...
Adam Orlinski studies architecture at the University of Applied Arts, Studio Prix.
Well on one hand I don’t consider myself as a teacher, I consider myself more like a labdirector than a teacher. I always feel that there should be no teacher. I think the future of education and
Resoloom Design project summerterm 07 Studio Peter Testa / Sciarc Dum:ene Comploi and Peter Vikar study Architecture at the University of Applied Arts, Studio Lynn.
“ there is something going on in the sculptureclass... ”
Anna Stürzenbecher Zosia Sobolewska
Erick Carcamo Hernan Diaz Alonso
Hernan Diaz Alonso
teaching should find a way to interact with the real world: with companies, with developers, with investors. I hate that, when people go to exhibitions and they say well this is the future architecture. Fuck that! This is the present of architecture. The problem is what we consider the present architecture is really past architecture. I hope that the students become a little more responsible about their own education. I think it is kind of paradox, because my feeling is that we have more and more tools and techniques developed and in the same time the students becoming less and less independent and they can be much more dependent when the teachers tell them what to do. And that is for me kind of paradox. Because we have more tools to be free and at the same time some tools lock the freedom, makes you slave, so waiting to be told what to be done. So the more options you have the more difficult it is to make a conscious decision what is to do. I wrote in a magazine recently. They were asking what is the current state in the future of design and I was talking that for me the most interesting thing in design today is that, this moment where we are, is the redefinition of space and sensibility. In the past we used to be in the paradigm in perfect method trying to produce an image of perfection now we have perfect methodologies but they produce something that doesn’t look perfect. So we are attracted by multiple things so a lot of more things are considered to be beautiful and many more things I consider ugly. And here everything is tight. All the education is about the multiplicity of choices, so it makes it more complex how you choose. At the same time it begins a more exciting time. But at the same time architecture is just a game. We are not changing the world, just make it nicer. At least I believe that. I know that my friend Kivi Sotamaa still thinks that architecture and music can change the world. I don’t. Architecture is trying to wake up and I am happy with what I am doing and don’t have more ambitions than that, but I think if you care about doing that, some way you can help to change something else. As you mentioned Kivi. What do you think how important are networks, networking in architecture? I think networks are good when they are spontaneous and between human relationships. I think conversations and intellectual friendships are more important than networks. What about office structure? Do you think you need a big office to be competitive? My office is small. I think you can do a lot of stuff with a small amount of people. Right now we have two solo shows taking place: one in the MAK and the other one in the Art Institute of Chicago and we have another three or four projects. My office is very tiny but we manage to produce a lot. I like it because you have a lot of control, but the truth is we are not doing buildings right now. We are doing a lot of design. What I know is that you can compete well with a small office, depends on what your mission is. I consider myself as an architect. I mean I am an architect because I like to work in all the scales and I like to design everything. Like yesterday when we finished putting these spiders up, they are small but it produced me the same happiness when we finished PS1, the biggest pavilion that we built. So for me it is the same feeling. I want to do what ever I want. I don’t like to compromize my work. I want to go more into filmmaking, which is something that we are slowly moving into. I think it is fun. I don’t have a gigantic scheme to take over the world. I don’t want to build a big museum or something, because right now I don’t think that I am ready to do it, so far every year we can produce something a little bit bigger than the year before. That would be good. Enjoy what you have. You only live once. We will see
where we go. And how was your time working in the office of Miralles and Eisenman? Was there an influence from them and how was your time there? I worked for Miralles and I worked for Eisenman, both amazing experiences. Enric was my hero, my mentor, not only as an architect but the way he lived life. Then when I went to Columbia, Greg Lynn and Jeff Kipnis were a gigantic influence. I think there are a few guys in the history of architecture where you can say there is a before and after. Greg is one of them. I always said having Jeff as a teacher was a lot like doing psychoanalysis. Because he was the guy who allowed me to understand and articulate what I was interested doing. Working for Peter is a whole different story. It is like going to a Mafia. There is no way out and I said that in the best way. I don’t think that my work has a lot of direct influence from Peter. But I learned from Peter a lot how to think and operate in architecture. You as a person or as an architect you only have the collection of your memory. Fuck, that is what you are, that is you, makes your DNA. So the influence of those guys was obvious and big. But ultimately these are people that do not compromize. And what Peter, Enric and Greg have in common, I think they never compromize and they think that architecture is religion and sometimes they are more careful and sometimes less, but they feel in a particular way they remain to it. The lesson from people like Thom Mayne, Wolf Prix, Eric Owen Moss and Zaha Hadid is that you don’t sell out and you don’t compromize. Sooner or later you get work, even if you have to suffer. Lets talk about the studio, about speciation. What do you think is speciation? One, I think there has been a series of shifts: presentation to simulation, the other one is typology to topology, composition to edition for example, that is something that interests me a lot. Species interests me because species are in constant change, mutation and evolution and adaptation. And the third part that interests me is that species are a possibility to create to eliminate the notion of the whole and the part, so the whole will be the part and the part will be the whole. So like organs, they will relate to each other, like your heart, your stomach, your liver they are all different but then they create a secondary intelligence that allows them to interact. If the speculation goes back to where you were asking what the future of architecture is. I don’t know, for me the notion of species is the association with something that interests me a lot. But ultimately it is always about the production of how you can prepare a new vehicle for the evolution of architecture. All the studios that I do, are never based on what you do in the office, but it is based on where I want to go. That is why I don’t consider myself so much as a teacher, more as a lab explorer. So we will see.
Hernan Diaz Alonso is the principal and founder of Xefirotarch, an award winning design firm in Architecture, Product and Digital Motion based in Los Angeles, considered one of the most influential voices of this generation. For the last several years has been, a studio design and visual studies professor and is the Thesis coordinator at SCI-Arc, Los Angeles, he is also design studio professor at the GSAPP - Columbia University, New York and visiting professor at the University of Applied Arts Vienna.
Clients' Award 2007 goes to: the next ENTERprise and Grafenegg Kultur Betriebsges.m.b.H. for the Wolkenturm
C
LUKAS SCHALLER
C
LUKAS SCHALLER
dates. 13.11. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 01.12. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 17. 18. 19. 20. 21. 22. 23. 24.12.2007
angewandte.
lecture.
exhibition.
22.11. TastDuftWien.
14.09. Monet to Picasso.
ringvorlesung.
17.11. MIDTERM REVIEW. Studio Lynn.
collection Batliner.
22.11.2007 Hans-Jürgen Wenzl parfumerie.kreativität.kunst
17.11.2007 university of applied arts vienna www.dieangewandte.at
29.11.2007 Masayo Ave make-do it haptic
14.09.2007 - 06.04.2008 albertina www.albertina.at
05.10. Omer Fast. the casting.
university of applied arts vienna www.dieangewandte.at
25.11. MIDTERM REVIEW. Studio Hadid in london.
25. / 26.11.2007 university of applied arts vienna www.dieangewandte.at
party.
26.11. You say Party! We say Die!
05.10.2007 - 20.01.2008 mumok www.mumok.at
mo 26.11.2007 flex www.flex.at
26.11. hb2 - studio. lecture series. 26.11.2007 Rainer Pirker 03.12.2007 Wolfgang Tschapeller
27.11. MIDTERM REVIEW. Cross-over Studio guest professor Hernán Diáz Alonso.
10.12.2007 Christoph M. Achammer Peter Bauer
thu 29.11.2007 blue tomato www.bluetomato.cc
10.10.2007 - 02.03.2008 mak www.mak.at
14.01.2008 Michael Hofstätter
27.11.2007 at columbia university, new york university of applied arts vienna www.dieangewandte.at
29.11. C. Bauer + H. Bennink.
10.10. Hernán Diáz Alonso. Pitch-Black.
audimax, tu wien www.hb2.tuwien.ac.at
30.11. klub beton. fr 30.11.2007 fluc www.fluc.at
16.10. Late Titian. 29.11. MIDTERM REVIEW. Studio Prix.
30.11. MODELLING SPACE.
16.10.2007 - 06.01.2008 khm www.khm.at
symposium.
with Ben Van Berkel, Olafur Eliasson, Kurt W Foster, Antje von Graevenitz, Hani Rashid
29.11.2007 university of applied arts vienna www.dieangewandte.at
17.10. from grotesquerie to the grotesque.
30.11.2007 kiesler private foundation at azw www.kiesler.org
01.12. John Peel Tribute. electric assembly live.
17.10.2007 - 02.03.2008 mak www.mak.at
sa 01.12.2007 fluc www.fluc.at
04.12. painting + affect.
03.12. Ravissa Birthday Bash.
artist‘s talks
07.12. WORKSHOP. Norman Klein. cultural tourism
04.12.2007 David Reed, Josh Smith, Heimo Zobernig 11.12.2007 Glenn Ligon, Elke Krystufek
studio lynn 07.12.2007 university of applied arts vienna www.dieangewandte.at
mo 03.12.2007 fluc wanne www.fluc.at
11.12. COOP HIMMELB(L)AU. Beyond The Blue.
mumok www.mumok.at
11.12.2007 - 11.05.2008 mak www.mak.at
06.12. Bernhard Fleischmann. thu 06.12.2007 rhiz www.rhiz.at
featured artist.
do you remember.
Hans Schabus
construire le ciel installation l´objet centre pompidou 1992
lebt und arbeitet in wien geboren 1970 in watschig
Francois Burkhardt Rem Koolhaas
hans schabus schacht von babel 2002l
imprint. editing.
Sophie Grell, Felix Gmeiner,Thomas Hindelang Jörg Lonkwitz, Anna Stürzenbecher
special contributions. Lukas Feireiss, Hans Schabus
photographer.
Thomas Hindelang, Lukas Schaller, Reiner Zettl
publisher.
Wolf D. Prix, Institute of Architecture, University of Applied Arts Vienna
pr-management. Felix Gmeiner
prinzeisenbeton@uni-ak.ac.at
graphicdesign.
Sophie Grell, Thomas Hindelang Anna Stürzenbecher
text editor.
Roswitha Janowski-Fritsch
printing
Daniel Breyer / Stefan Schmid at Holzhausen GmbH, Wien
party by philipp waltner/skug
good for you to meet us at.
c Hannes Stiefel
Munich October 24 2007
opening party.
Institute of Architecture University of Applied Arts Vienna Munich October 25 2007
CHB(L) BMW WELT. MUNICH fieldtrip.
CHB(L) BMW WELT. MUNICH
CHB(L) BMW WELT. MUNICH BMW WELT. fieldtrip.
Institute of Architecture University of Applied Arts Vienna Munich October 25 2007.
facts. location: Munich, Germany architect: Wolf D. Prix Coop Himmelb(l)au site area: 25 000 m² gross floor area: ca. 73 000m² competition: 2001 start of construction: 08/2003 date of completion: 10/2007
Anna Stürzenbecher Peter Vicar Dumene Comploi
Alexander Haid
BMW WELT. opening. party.
c Aleksandra Pawloff
c Aleksandra Pawloff
Carl Pruscha Wolfdieter Dreibholz
Munich October 24 2007
Wolf D. Prix Hans-Peter Achatzi c Aleksandra Pawloff
Sergio Gonzales Vojislav Dzukic
Gregor Eichinger
Ivana Jug
c Aleksandra Pawloff
c Aleksandra Pawloff
Wolf D. Prix Kiki Smith
c Aleksandra Pawloff
Rainer Pirker
c Aleksandra Pawloff
Eva Diem
c Aleksandra Pawloff
Carmen Pinos
Sophie Grell
Pola Dietrich
c Aleksandra Pawloff
Peter Noever
Adam O...............
Adam Orlinski
Jeffrey Kipnis Wolf D. Prix
Wolfgang Vasko
Elke Delugan-Meissl