Concert Hall - Architecture of Symmetry

CONCERT HALL Architecture of Symmetry Thomas Pukljak

Diploma Thesis of the requirements for the degree of Master of Architecture supervised by

O.Univ. Prof. DI M. Peter Trummer Jose Carlos L처pez Cervantes Institut f체r St채dtebau Institute of Urban Design at the Leopold Franzens-Universit채t Innsbruck Faculty for Architecture Innsbruck, June 2015

INDEX

ACT 01: INTRODUCTION

ACT 02: CONTEXT

ACT 03: METHOD

ACT 04: PROJECT PROPOSAL

INTRODUCTION

06

AESTHETIC VALUES

FEARLESS SYMMETRY

THE POTENTIAL OF SYMMETRY

SELF-REFERENTIAL SIGN

THING‘S R US

VITAL BEAUTY

COMPLEX GEOMETRY

C. HARTSHORNE

J. KIPNIS

G. LYNN

P. EISENMAN

L. LERUP

L. SPUYBROEK

P. EISENMAN

10

16

20

26

30

36

40

SYMMETRY

SYMMETRY

SYMMETRY

SYMMETRY

CREATING

CREATING

PHILHARMO-

INTRODUCTION

METHODOLOGY PART I

METHODOLOGY PART II

METHODOLOGY PART III

DEFINITION OF SITE

TATTOOING MEMBERSHIP

H. SCHAROUN

46

48

50

52

58

62

66

FORMAL EVOLUTION

ROOF

COLUMN

AUDITORIUM

FURNITURE

74

80

86

94

104

PATTERNS

TATTOO

JEWELRY

SITE

SQUARE

108

120

124

126

128

BIBLIOGRAPHY

PICTURE CREDITS

134

136

COHERENCE

COHERENCE

NIC BERLIN

ACT 01

INTRODUCTION

6 Introduction Introduction

‚Too much is never enough!‘ Morris Lapidus, 1996

The idea of using symmetry in architecture with the aim to create a special visual effect is not a new one.

Symmetry is a popular tool in the history of architecture. Since 200 years architects try to contest symmetry, especially in the last century this antipathy got a defining attribute of architectural modernism, a design no go.1 My work should be an attempt, if contemporary architecture could use symmetry. More as a kind of variation, seeing the potenial of it‘s visual effect instead of preventing to use it. The main question is: Could symmetry be used within new design tools as a production machine, instead of pure copying geometry? How to create an architecture of symmetry?

The project is embedded in an aesthetic context, which starts with the Diagram of Aesthetic Values by Charles Hartshorne from 1970, on which Lars Spuybroeks refers in his article The Ages of Beauty (2012) and in his book The Sympathy of Things (2011). It goes ahead to the definition of Vital Beauty by John Ruskin 150 years ago. The master‘s thesis continues by refering to texts of contemporary discussions about new ways of using symmetry in an architectural context as well as an architecture seen as a self-referential sign (Peter Eisenman).

My work is an attempt, which questions if there is still a place for symmetry in contemporary architecture. Probably in a slightly other way than we know it till now.

Hence, my design proposal is the generated output of different symmetry studies. The formal aesthetic is based on a design methodology, which has it‘s justification embedded in the idea of form follows form. The clear focus is nested in the design strategy itself, which should built the coherence between my interpretation of the site and the design proposal, which implies a congruent DNA in itself.

My straight forward design task was a concert hall in Innsbruck, because the idea of symmetry in architecture seems to be truly seeded in the design history of concert halls. The methodology is a clear defined design process. My design guide is the reuse of existing building parts of the so called Stadsäle in Innsbruck.

The building was designed in 1955 by the Tyrolean architect Franz Baumann as a multifunctional event and concert hall. For that matter, I tried to see the potential of symmetry as a Tool of Production, more than taking credit for it‘s powerful visual effect. It should be seen as an extreme and excessive framework for music. A concert hall.

top right: /fig01 Thomas Pukljak, Own Work, 2015

ACT 02

CONTEXT

10 Aesthetic Values Aesthetic Values Hartshorne‘s Diagram in Architecture

‚Things are not satisfied with being mere facts; they are the product of values, and they are in turn experienced as values, which is another way of saying that they are aesthetic.‘ Lars Spuybroek, Vital Beauty, 2012

In 1970 the process theologist Charles Hartshorne published a diagram of aesthetics, which is quite bold, because it classifies the qualitative values in the aesthetic realm of every object, every spoken word, painting, person, song, table, mountain. All things fit in, so finally it has the aim to value everything. While the upper part of the diagram classifies more structure oriented arts, such as architecture (superb, neat, commonplace), the bottom part defines the event-oriented

arts, such as drama or film (comic, ugly, tragic).2 This implicates that all our experiences are aesthetic experiences, and ‚that experience is declared as the pure stuff, that all things are made of.‘3 In his book Vital Beauty, the Dutch architect Lars Spuybroek states: ‚When things are aesthetically created just as much as they are aesthetically experienced, this symmetry no longer applies just to works of art but to peace treaties, mathematical formulas and management strategies as well. From here on as Hartshorne states in his opening

paragraphs, the beautful precedes the good and the true.´4 The diagram never reached any interest outside the discipline of process theology. However, Spuybroek took the birdsong as an example and his first question is: where did the bird get it from, from where did the bird get it‘s wonderful sound? Surely the bird is not mentally picturing the diagram in oder to choose the aesthetically correct coordinates for its song. The diagram seems to be one of many products, but not of production.5 But is there any possibility to use the diagram for production? How can we use and integrate it in architecture, for example in our design process, instead of using it for judging a final product? Obviously the main difference between the bird and an architect is that architects can understand or try to understand the meaning of the diagram in order to create connotations to the different values.

top right: /fig02 Charles Hartshorne, Diagram of Aesthetic Values, 1970 bottom right: /fig03 Movie Melancholia, Lars von Trier, 2011

UNDIVERSIFIED UNITY ABSOLUTE ORDER NEAT

SUPERB

ULTRACOMPLEX TOO PROFOUND TO GRASP

COMMONPLACE

BEAUTIFUL

SUBLIME

TRAGIC

PRETTY

ULTRASIMPLE TOO TRIVIAL TO NOTICE

COMIC

UGLY UNUNIFIED DIVERSITY ABSOLUTE DISORDER

SUBLIME

`A thing is charged and it‘s goal is to charge others.‘ Lars Spuybroek, Vital Beauty, 2012

The diagram of aestethic values got very important in the development of my project. I tried to use it as a kind of production machine. I looked at it not only after the product or design was done, I fancied it while producing, while the design process was going on. ‚Grace is not the moment when process overrules product, nor the reverse, but the point when we cannot keep them apart.‘5 Next to next standing values are often tight connected in the diagram. Like a picture of a destroyed landscape after an earthquake (sublime and tragic) or the cha12

racter of a superhero (sublime and tragic). The diagram got my attention because it made me maneuver between different values and helps me to understand and in a way to grasp what I have produced.

Amazed by how the assignable experience, effect or value can change quickly and can get significant during the design process, the diagram has the potential to create variety. Also process and product can be different. The following examples of my work are an extract of this examination.

top right: /fig04 Digital Art Destroyed City, Shadow Ying Zhi bottom right: /fig05 Movie Man of Steel, DC Cinematic Universe, 2013

/fig06 process: commonplace product: s​ uperb, near to beautiful and sublime

/fig07 process: commonplace product: pretty, near to beautiful and sublime

/fig08 process: commonplace product: c ​ omic, neat

/fig09 process: pretty product: s​ ublime, near to beautiful

16 Fearless Symmetry Fearless Symmetry The Potential of Symmetry

`The mark of the bad modern architect is the positive cultivation of asymmetry for decorative reasons.‘ Henry Russel-Hitchcock and Philip Johnson, The International Style, 1932

‚The profound subject of symmetry has a long history in architecture.‘7 But symmetry shows presence in many different disciplines as well, like sport (e.g. synchronised swimming, dance), visual arts, mathematics and different science. Over the last 200 years, architects tried to contest symmetry and during the last century the avoidance of symmetry got one of the defining attributes of architecural modernism. In 2009, the American architectural critic Jeffrey Kipnis wrote in his essay Fearless Symmetry: ‚Symmetry mutated into the knee-jerk taboo familiar today.‘8 Symmetry is often called a clichè nowon, an ineffective device for contemporary architecture. But why is there such an antipathy towards symmtery? We all know that symmetry engender great effect. We also know that ‚architects, schooled in the catalogue of formalist methods, are able to use asymmetries to produce a great architectural effect, interest, sophistication and depth.‘9 This effect often might be stronger than the effect of symmetry.

So, why are we afraid of using symmetry again, unless we know that we have nothing to loose, but a potenti-

al to win variety. ‚If today we prefer to discuss effects rather than meanings, should we not set aside fearful memories and revisit one of our most effective tools therein to discover even more of its powers, [...]‘10 A set of formal studies of mine, try to exhaust symmetry and it‘s produced effects. While looking at the objects I produced and realized how powerful the effect can be and how much potential you can find in this issue. Analysing the surrounding, when the president of the United States of Ameria is showing up and talking to his audience, we clearly see that symmetry has something to do with power.

This is visibile in parts of the sci-fiction-movie Jupiter Ascending as well, released in 2015. Symmetry and power seem to have kind of a reciprocity. The question is, if symmetry can not only produce a powerful effect, but rather has the ability to affect power. Here, sublime comes into my mind. Is perfect symmetry a form to show sublime? If yes, it is no hazard that powerful people appear on symmetrical stages to show power and their affinity to sublime at the same time.

top right: /fig10 Thomas Pukljak, Own Work, 2014 bottom right: /fig11 Jupiter Ascending, Sony, 2015

left: /fig12 Thomas Pukljak, Own Work, 2014 top right: /fig13 Inauguration of the US-president, 2004 middle right: /fig14 Linderhof Castle, 1886 Bavaria bottom right: /fig15 Orient Railway Station, Lisbon, 1998 19

20 The Potential of Symmetry The Potential of Symmetry A Tool of Production

`Whenever you lost infomation, you move back to symmetry, whenever you added information to a system you break symmetry.‘ Greg Lynn, Ted Talk, 2005

GENETICS AND GEOMETRY In 1913 the geneticist William Bateson published his book Problems of Genetics, in which he wrote amongst other about deformations within the human body. One interesting example is the deformation of a human hand, on which Bateson describes his concept of symmetry breaking. When we look at the example, we might have the first impression that there is kind of a higher symmetry in comparison to a normal hand.

Instead of a thumb, there are four more fingers, which are mirrored copies of the other four existing fingers.

Bateson argues, that the increase in symmetry causes a decrease in complexity and heterogenity and this causes a loss of information in general. Bateson points out that wherever you loose information in a system you revert back to symmetry. So symmetry isn‘t the sign of order and organisation, symmetry is the absence of information.11 However, Greg Lynn spoke in February 2005 as well about this phenomena at his Ted Talk. Lynn came to the reason that: ‚Whenever you lost infomation, you move back to symmetry, whenever you added infor-

mation to a system you break symmetry.`12 Let‘s have a look at two more examples of mutation by Bateson, we may have another conclusio. We assume that there is kind of an extra information at the point of mutation, which is added by the production of symmetry, which causes on one hand homogeneity and sameness, but on the other hand in some areas it has the chance to create some new formal qualities and developments.

When we look at Bateson‘s picture of a mutated lobster we can see, that on the right side, instead of one nipper there are three smaller nippers. The first, standing alone nipper has almost the form and function like the big nipper on the left, although it looses some pieces at the bottom. The interesting situation and the potential of winning information is located in the two symmetrical nippers at the bottom (marked pink).

There, where that two nippers share the outer shell of the lobsters body, is the possibility of new information, which is added to the ‚normal‘ appearance of a lobster‘s nipper.

top right: /fig16 William Bateson, Lobster Genetics, 1913 bottom left: /fig17 William Bateson, Deformation of a Human Hand, 1913 bottom right: /fig18 Greg Lynn, Mutation of a Human Hand, 2005

POTENTIAL IN THE DEVELOPMENT OF SYMMETRICAL GEOMETRY IN THE SUPERPOSITIONAL SPACE Early studies of mine show this possibility of generating new information or geometry in 3D. There are different mirroring techniques, which are able to create different kind of symmetries. These techniques are described in the diagram of the chapter Symmetry Methodology Part I of this book. It shows the potential of using symmetry as a tool of production or the adding of new information.

Symmetry is produced by different kind of mirroring. In this case the first set of objects shows a next to next mirroring, which creates symmetry, but is not important in this case, because there is no new information added at the point of the symmetry axis. In the second mirrored object, the area, where the two mirrored object overlap, is the part, where the potential of adding geometry and adding information automatically 22

happen. In the example we see easily that within this symmetry the two objects (base object and mirrored object) are sharing geometry in space, including the fact that information has to be added, to negotiate between the two objects. I call this space from now on ‚superpositional space‘: a space in which geometry has to negotiate.

The same fact happens in the third and the fourth set of objects, they differ only in their level of symmetry.

In nature, this is comparable with the occurrence of embryogenesis. The upcoming examples in nature and art should support the potential of the superpositional space, which got an important role in my further geometry studies and in my architectural proposal.

It should show a true potential in the development of symmetrical geometry .

top right: /fig19 Thomas Pukljak, Genetic Evolution, 2014 bottom right: /fig20 Abnormal Infant Head bottom left: /fig21 Teratologa, Animal Museum Granada

right: /fig22 Thomas Pukljak, Own Work, 2015 top left: /fig23 Matthew Barney, Cremaster II, 2014 bottom left: /fig24 Conjoined Twin Animals 24

26 Self-Referential Sign Self-Referential Sign Architecture as a Self-Referential Sign

`[...] an architecture as a self-referential sign, an architecture about architecture.‘ Peter Eisenman, Aura and Excess, 1994

In his book Aura and Excess from 1994, Peter Eisenman wrote about architecture as a self-referential sign, the potential of architecture beeing a self-referential sign. But what does he mean talking about a self-referntial sign? It is about architecture as the thought or idea of a human, which impersonates the human and it‘s conditions. Architecture implies a protective effect and a physical structure as imperative necessities for a building and not the idea which is in the architecture itself.13 Nevertheless since architecture, music or paintings aren‘t only a telling or a mimesis of human conditions anymore, they are more concerned about there own object status.14 Eisenman takes Le Corbusier‘s diagram Maison Domino as an example: Every column has it‘s predifened spot, but the columns can‘t be seen limited to their

carrying function. Every single column tells a story. A story about proportion, about it‘s relation to the other columns or about their horizontal section. Although a door, a wall or a window are imperative necessities for a buidling or for a function, they are not able to define architecture.15 There is something else as mere geometry or function in the game. I had a look on my geometry developments of my thesis and I started to realize that the envelope doesn‘t have it‘s raison d‘être in it‘s protective function. It tells more about the hierarchy of the different components or the many decisions I made during the design process. It tells more about the building and it‘s parts as a whole, than it‘s telling about it‘s inherent insulation role.

Is that bad? I think not.

top: /fig25 Thomas Pukljak, Own Work, 2015 bottom: /fig26 Le Corbuiser, Diagram Maison Dom-ino, 1914

left: /fig27 Thomas Pukljak, Own Work, 2014 top right: /fig28 Thomas Pukljak, Own Work, 2015 bottom right: /fig29 Thomas Pukljak, Own Work, 2014

30 Things R Us Things R Us About Function and Use of Prebuild Objects

‚But when by things we now include both humans and non-humans a new world emerges.

For the designer the previously domesticated environment steps forth and we must now contend with its enigmatic character.‘ Lars Lerup, Things R Us, 2014

In 2014, Lars Lerup held a lecture in Innsbruck about his new publication Things R Us. He gave an easy example of a normal chair, which is turned over and lying on the floor. Most of us would lift it, turn it and sit on it. But in the head of a toddler it‘s not clear that this object has it‘s predefined function in sitting on it.

Maybe the child would climb on it or starting to beat the drum on it.

So Lerup developed several objects, which consist of a handful predesigned objects to give grownups the same experience the toddler has. Objects are getting their own identity and the predefined function or the copyright issue are eroded. Sometimes the designer‘s or architect‘s predefined function overlaps in the end with the use of an object. In formal developments it‘s

kind of the same.

As described in the introduction, the starting point of my project proposal are existing building parts of the so called Stadtsäle in Innsbruck. The original building was designed in 1955 by the Tyrolean architect Franz Baumann as a multifunctional event and concert hall.

The building parts of the Stadtsäle in Innsbruck already had a predefined function, like envelope, infrastructure or decoration. But the function changes during my design process. A stair won‘t be the stair of the new building, the facade won‘t be facade anymore. That was not the only consideration. Taking existing parts from the in a few month demolished building should ensure an inherent coherence within the project and it‘s surroundings.

right: /fig30 Thomas Pukljak, Own Work, 2014

right+left: /fig31 Erwin Wurm, One Minute Sculpture

This is one example of the attempt, that Lars Lerup proposed. It is a defamiliarization of the object, which means that predesigned objects are taken and become a completely new print of use and function, the authorship is eliminated. In this case: columns, parts of the roof and lamps are taken from the existing Stadts채le in Innsbruck. With techniques of defamiliarization a new object with the potential of new use and function is created.

left: /fig32 Thomas Pukljak, Own Work, 2014 top right: /fig33 Thomas Pukljak, Own Work, 2014 bottom right: /fig34 Thomas Pukljak, Own Work, 2014 35

36 Vital Beauty Vital Beauty Vs. The Strange Object

‚Grace is not the moment when process overrules product, nor the reverse, but the point when we cannot keep them apart.‘ Lars Spuybroek, Vital Beauty, 2012

150 years ago, John Ruskin defined Vital Beauty, which is the overall term for an aesthetic of sympathies and affinities with life forms. We must keep in mind, that our need for beauty has not been reduced, even if modernists tried to seperate it from art and life. But nowadays the term Vital Beauty is renewed, when life forms can be technological as well as natural.16 In the past, a few architects and architecture students tried to hit that train by using kind of gothic techniques as a starting point for the formal development. Together with Patrizia Pfanzelt, I devlepoed the project Sheep Shelter in 2013 at the design studio of the Institute of Urban Design Innsbruck, supervised by Hernan Diaz Alonso. We applied the described techniques and used peoples affinity with life forms and the following aesthetics to develop our project. The so called

Sheep Shelter is a contemporary example of such a technological life form. The kind of effect, which it creates, is directly comparable with the drawing of John Ruskin Quivi Trovammo, The Dragon from Turners Garden of the Hesperides from 1861.

Starting point, process and product are able to be classified in the same aesthetic value, because they are creating the same effect. In my thesis, I tried to overpower this sameness of starting point, process and product. During the project I realized the importantness of how the starting point of the formal development is chosen. And further on I learned that in the demand of changing the aesthetic value and the effect, there is high potential of devoloping new formal qualities.

top: /fig35 Patrizia Pfanzelt & Thomas Pukljak, Sheep Shelter, 2013 bottom: /fig36 John Ruskin, Quivi Trovammo, The Dragon from Turners Garden of the Hesperides, 1861

top: /fig37 Patrizia Pfanzelt & Thomas Pukljak, Sheep Shelter, 2013

40 Complex Geometry Complex Geometry Vs. Simple Configurations

‚Although a ground slab, a door, a window or a wall are essential requirements for a building or a function, they aren‘t enough to define architecture.

Although all buildings have doors, windows, walls and floors, isn‘t every building architecture.‘ Peter Eisenman, Aura and Excess, 1994

The built facade of the existing Stadtsäle in Innsbruck is, according to the diagram of aesthetic values, for sure commonplace. They are also more simple configurations as complex geometry. But there is more potential in a complex geometry to produce or configurate architecture. A simple geometry has the aim to be decorated, getting an artificial envelope or a special function in order to become architecture.17 So the formal development of my studies and my proposal have to fullfill this arguement. Developing com-

monplace architectural elements, which are mostly simple configurations, to complex geometry. It is fact, that the detailing from the beginning, the detail depth of the initial element is responsible for the success.

The design methodology is based on the idea form follows form. The following examples show studies, where the existing facade of the Stadtsäle was the initial point. Through the design process, the facade becomes another function and use. The object is telling another story.

top: /fig38+39 Stadtsäle Innsbruck, 2014 bottom: /fig40 Thomas Pukljak, Evolution of the Facade, 2014

right: /fig41 Thomas Pukljak, Evolution of the Facade, 2014 top left: /fig42 Thomas Pukljak, Evolution of the Facade, 2014 bottom left: fig43 Thomas Pukljak, Evolution of the Facade, 2014 42

ACT 03 METHOD

46 Symmetry Symmetry Introduction

‚Architectural designs commonly show significant symmetries or contain repetitive patterns. These types of structural regularity are not accidental, but often the result of economical, manufacturing, functional, or aesthetic considerations. Whether by evolution or design, symmetry implies certain economies and efficiencies of structure that make it universally appealing. Symmetry also plays an important role in human visual perception and aesthetics. Arguably much of the understanding of the world around us, symmetry is based on the perception and recognition of shared or repeated structures, and so is our sense of beauty.‘18 Symmetry not only shows up in overall design of chur-

ches, castles and so on in the past. Symmetry was used in every scale of a building and every axis of it.

It was used either in the overall design of architecture, as it was used in details, for example in gothic decors.

For sure it was used in vertical and horizontal sections of a building. But symmetry isn‘t only an arguement in architecture, it is important in many fields of our lives: sports, art, mathematics etc. It‘s quite hard to talk about symmetry in a general way. Looking for example at synchronized diving and other synchronized sports, it is more about timing and looking the same. So here, the goal is symmetry in the movement.

top right: /fig44 Symmetry in Sports bottom right: /fig45 The Shining Movie, Stanley Kubrick,1980-

48 Methodology Part I Methodology Part I /fig46 Thomas Pukljak, Diagram of Symmetries, 2014

The diagram shows different symmetries produced be three different mirroring techniques (mirror symmetry, rotational symmetry, part symmetry). Symmetry has to do with repetition. So on the top of the diagram, I evolved kind of an evolution from a next to next repetition to a sharing space superpositional repetion, where the original geometry and the mirrored geometry overlap.

Exactly here, in the overlapping, which I call the ‚superpositional space‘, is the potential of evolving new geometrical DNA. In architectural projects in the past, the next to next repetion played a big role, probably because of lacking on digital tools. With this diagram I created a system of rules for myself in order to guaranty the coherence of my project with the initial geometry.

50 Methodology Part II Methodology Part II

By doing a visual animation as a study, I understood the potential of using symmetry to produce new geometrical formations. Although it was 2D first, it helped me to develope a methodology to evolve my project.

The aim was to use human faces and only the inherent parts of the face (eyes, lips, etc.) to produce new formations and new impressions without adding impurities. The output was kind of unfamiliar at first. But I realized that, within that coherent process, I created kind of a geometrical DNA, which evolves during the process while always going along with the initial object and it‘s aesthetics.

right: /fig47 Thomas Pukljak, Screenshots of Animation, 2014 left: /fig48 QR Codes for Animations by Thomas Pukljak

52 Methodology Part III Methodology Part III

This geometrical DNA starts with the initial object. Built parts of the existing Stadts채le in Innsbruck are an interesting initial point to develop my design proposal.

Staying coherent within the techniques is a by-product. On the right page, a part of the original facade of the Stadts채le was taken, the amount of the possible configurations is huge.

Some rules are attepted, it is very important to have some in this design process. For example: a piece of envelope as an initial point should not be a piece of envelope in the end. In this case I took an element of

the facade and generated a chair.

The change of scale is important to exploit the potential of this technique. The process stays coherent with my concept of symmetry production in the point that the geometry is evoluted through mirroring techniques. The following examples are studies of mine within the described geometrical process. In fact, there are many configurations possible. However, only one possibility is not randomly chosen, because of the continous selection according to the design rules and process.

top right: /fig49 Thomas Pukljak, Own Work, 2014 bottom right: /fig50 Thomas Pukljak, Own Work, 2014

left: /fig51 Thomas Pukljak, Own Work, 2014

formal evolution

top right: /fig52 Stadts채le Innsbruck, 2014 bottom right: /fig53 Thomas Pukljak, Own Work, 2015 55

right: /fig54 Thomas Pukljak, Own Work, 2014 top+middle+bottom left: /fig55+56+57 Thomas Pukljak, Own Work, 2014 56

58 Creating Coherence Creating Coherence Definition of Site

‚Since the mid-nineties, architecture has accelerated its move away from the discourse of the architectural object towards the discourse of the architectural field. [...] Architects today are preoccupied with considerations of architecture as a by-product of sociocultural milieus, as a conditional component of technocratic systems and networks, or even as the provisional end calculations of measurable parameters within the literal or construed environment. Even those architects that are primarily interested in form and aesthetics have had a peculiar tendency to search for external parameters and constraints to couch the legitimacy of the architectural object in relationship to a projected external milieu. [...] These days, it seems perfectly natural to think of architecture as a consequence of its context, however it is defined. The coordination of external force (sometimes measurable, sometimes hypothetical and sometimes downright imaginary) is

understood to be a central concern of contemporary practice. Those who love architecture remain ambivalent about this state of affairs. On the one hand, we see earnest desire for engagement in the affairs and conditions of the world. This desire for relevance and participation in current events has de-emphasized the architectural object and emphasized the application of architectural intelligence to a wider field of operations.‘19 To have an architectural relevant project, doesn‘t implicate to have a coherent project with it‘s site and vice versa. -Architecture students tend to analyze the building site and find some measurable parameters to generate, justify and legitimate their project. There won‘t be field studies or any site analysis to proof the coherence of my proposal with the building site. The coherence of the project is embedded in the context within the project is developed.

right: /fig58 Thomas Pukljak, Collage Maria Josepha of Austria, 2015

top left: /fig59 Giant Hall of the Imperial Palace Innsbruck, 2012 bottom left: /fig60 Landestheater Innsbruck, 2014 top right: /fig61 Thomas Pukljak, Translation of a Painting, 2015 bottom right: /fig62 Thomas Pukljak, Tattooing Studies, 2015

62 Creating Coherence Creating Coherence Tattooing Membership

The coherence of the project is embedded in the context, in which the project is developed. First coherence former is the methodology of the project, the way how the design proposal is generated. My mirroring technique involes a long architectural tradition of repetition in different scales, which are stated on the building at the Tiroler Landestheater and the Imperial Palace in Innsbruck. Both show us the application of this techniques in a quiet big time frame.

Within some graphical studies the idea of the ‚tattoo‘ was born. The art inside of the Imperial Palace next to the building site is tattooed on the facade of the design proposal. This idea is the second coherence former,

which produces a referential integrity of the building in the existing building essemble. It should create a kind of membership. Also the overall colour of the building is deeply connected with that.

The third and maybe the most powerful coherence former is the decision to take build parts of the old Stadtsäle in Innsbruck, which are going to be removed, as my starting point for the design process. Playing around with this kind of commonplace, the 1950s architecture should not only go along with my issue of the aggregation of objects, it should also produce a social-cultural integrity of the project.

top right: /fig63 Thomas Pukljak, Tattoo Studies, 2015 bottom right: /fig64 Thomas Pukljak, Pattern Studies, 2014

right: /fig65 Thomas Pukljak, Tattoo Studies, 2015 top left: /fig66 Barry X Ball, Portrait of Matthew Barney bottom left: /fig67 Alexander McQueen, Angel Shoes 65

66 Philharmonic Berlin Philharmonic Berlin Architectural Reference

The characterestic feature of Hans Scharoun‘s design proposal for the Philharmonic Berlin from 1956 was the centered concert hall. The origin of the idea came from improvised music on the street, where listeners always start to build a circle around the musicians. In the case of the philharmonic the seating rows of the audience are applied in a kind of multilevel. Scharoun always called this seating rows vineyard terraces. Everyone, who had the honor to listen to a concert at this architectural jewel, knows that the way how you experience the music is different depending on where you are sitting. Also the visual impression to sit behind the philharmonic looking in their music sheets and having this overwhelming view into the audience is something very special.

The maximum distance from the audience to the orchestra is minimised, so the bundling of the acoustic noise for the 2200 listeners isn‘t necessary. But not

only the concert hall, even the infrastructure is special. Critics could say that the infrastructure is a slightly overdone. But the foyer with it‘s open, but zoned character and it‘s huge amount of visual links is definitely aspace to meeting.

The concert hall defines the overall look of the building. The positioning of all other functions was proposed and build all around the auditorium, so the design was done from the inside to the outside. The space around the center is positioned according to city planning and infrastructural reasons. The diagrams on the next page show the infrastructural, functional and geometrical parts of the building. Even here we see that there is kind of a symmetry within the building, which is hidden at the very first view, but appears to the observer after a while. Several visits of mine at the Philharmonic Berlin influenced my design and built my notion of the perfect surrounding for music.

top right: /fig68 Berlin Philharmonic, Outside View bottom right: /fig69 Berlin Philharmonic, Concert Hall

all: /fig70 Thomas Pukljak, Analysis of the Berlin Philharmonic, 2014

ACT 04

PROJECT PROPOSAL

RO OF

TAT TO O

J E W E L RY

C OLUM N AU DI TOR I U M

SI T E

S QUA R E

PAT T E R N S

/fig71 Thomas Pukljak, Project Proposal

FURNITURE

Since the beginning of orthogonal projection, floorplan and section are the shelter of the principles, which are promoting a classical western understanding of architecture. This representation of architecture via floorplan, section and elevation is able to fix the draft.

But the circumstance has to be observed critically, because these three methods have predistined a lot of aspects of architecture as they covered.20 Therefore I made the decision to don‘t use common sections and floorplans as the right way of representation for my project. Please go to my blog http://thomaspukljak.blogspot.co.at/ (see QR code) to check my animated sections and floorplans.

74 Formal Evolution Formal Evolution

/fig80 Thomas Pukljak, Formal Evolution

top right: /fig68 Berlin Philharmonic, Outside View bottom right: /fig69 Berlin Philharmonic, Concert Hall

/fig72-74 Thomas Pukljak, Facade Details

/fig75-78 Thomas Pukljak, Stair Concept

80 Roof Roof

The project‘s golden roof is an agglomeration, which has it‘s origin in the facade of the Stadtsäle. The process changed the product and the function of the geometry. At the beginning it seemed to be pure geometry, the product is an ornamental agglomeration of small pieces. Looking from the inside or the outside, it‘s effect is a different one. The envelope is closed by the density of the pieces, which should guarantee a special sound experience in the auditorium.

/fig79 -81 Thomas Pukljak, Roof Studies

/fig82+83 Thomas Pukljak, Formal Evolution

/fig84-88 Thomas Pukljak, Agglomeration of an Ornament

86 Column Column

The column‘s geometry has it‘s initial point in a facade mirroring study. The main goal was to create a 3-dimensional structure out of a geometry oriented on more than two axis. The product has it‘s priority in it‘s pochè space, which comes automatically with the geometry. The connection of the columns with the ornamental roof isn‘t solved geometrical, it‘s solved via the material of the connecting geometry. The mirroring of the objects material negotiates the two totally different geometry. It connects the mirror images of both.

/fig89-91 Thomas Pukljak, Column Studies

/fig92 Thomas Pukljak, Evolution Column

/fig93 Thomas Pukljak, Roof/Wall Connection

top left: /fig94 Thomas Pukljak, Roof/Wall Connection bottom left: /fig95 Thomas Pukljak, Evolution Column

top left: /fig96 Thomas Pukljak, Roof/Wall Connection bottom left: /fig97 Thomas Pukljak, Evolution Column

94 Auditorium Auditorium

The auditorium should show frame the musicians in an eccentric way. The seatings are planned in order that every seat has a maximum distance about 37 meters from the stage. The seating arrangements are done on the purpose to create different impression and experience of the interaction between the music and the architecture. The architecture should frame events and should justify it‘s existence by the eccentric geometry at the same time.

top left: /fig98 Matthew Barney, Cremaster, 1994 bottom left: /fig99 Matthew Barney, Cremaster, 1994 right: /fig100 Thomas Pukljak, Stage Studies

/fig101 Thomas Pukljak, Proposal for Auditorium

/fig102 Thomas Pukljak, Proposal for Auditorium

/fig103 Thomas Pukljak, Mirroring Studies for Stage

/fig104 Thomas Pukljak, Mirroring Studies for Stage

104 Furniture Furniture

The auditorium chair and the outdoor benches are developed from the original Stadts채le facade. The goal was to make a big jump in scale in the elements size, which guarantee a weird impression at the first view.

Looking closer the geometry goes completely coherent with the building sites original look.

left: /fig105 Thomas Pukljak, Chair Studies right: /fig106 Thomas Pukljak, Chair Studies

/fig107 Thomas Pukljak, Bench Studies

108 Patterns Patterns

The creation of patterns to show the potential of an image or geometry caught my interest through the whole project process. Using patterns as a possibility to create coherence between things, which are already done and finished or already built shows one of the design strategies.

/fig108-110 Thomas Pukljak, Pattern Animation /fig111 QR Code for Animations by Thomas Pukljak

left: /fig112+113 Barry X Ball, Different Works right: /fig114+115 Thomas Pukljak, Tattooing

/fig116 Thomas Pukljak, Pattern Studies

left: /fig117+118 Justin Alexander Bartels, Different Works 2012 right: /fig119+120 Thomas Pukljak, Pattern through Pressure

/fig121 Thomas Pukljak, Royal Patterns

/fig122 Thomas Pukljak, Comic Patterns

120 Tattoo Tattoo

Tattooing as a way to make material decisions and create variation and coherence with the existing building site. The all over tattoos help to stay within the project‘s DNA.

/fig123-125 Thomas Pukljak, Tattoo Studies

/fig126 Thomas Pukljak, Material Studies

124 Jewelry Jewelry

The idea of jewelry has it‘s origin in the paintings of the Habsburg family, which are exhibit in the nearby Rokoko style Imperial Palace of Innsbruck. They should create a clichè coherence with the palace.

left: /fig127 Alexander McQueen and Philip Treacy, 2008 right: /fig 128 Thomas Pukljak, Jewelry Studies

126 Site Site

top left: /fig129 Landestheater Innsbruck, 2014

The site is not analyzed in a traditional way in architecture. The attention should be paid to the building site‘s hegemonic DNA. With it‘s tradition, especially the historic and formal qualities.

bottom left: /fig130 Giant Hall of the Imperial Palace Innsbruck, 2012

right: /fig 131 Thomas Pukljak, Analysis for Site

128 Square Square

The square has it‘s origin in elements from a formal study of the auditorium seating rows. It‘s developed with mirroring techniques. The look varies from highly reflecting the building to mere white with black patterns. The geometry is produced by a variety of mirroring techniques, which should be coherent with the building sites DNA.

left: /fig132-133 Thomas Pukljak, Square Details

right: /fig 134 Thomas Pukljak, Square Details

/fig135 Thomas Pukljak, Square Details

Thank you, for sharing this special time during my master thesis with me, making it possible in general and your support and courtesy: Stefan Dad & Mum my brother Christian

Thank you, for forming and sharpening my view on architecture sustainable: Jose Carlos López Cervantes Peter Trummer studio3

Thank you, for the shared time during my studies and your helping hands: Alexa Baumgartner Christian Bernardin David Fischer Andreas Glatzl Christian Hämmerle Patrizia Pfanzelt Pia Prantl Cynthia Sánchez Morales Andreas Zißler

134 Bibliography Bibliography

ITEMIZATION 1

2

3 4 5 6 7

8

cf. Kipnis, Jeffrey: Fearless Symmetry in: Choi, Jean; Sunwoo, Irene; Tidwell, Philip; Turnbull, Jessie; Wong, Thomas; Yorke, Christopher (ed.): Pidgin Magazin, Pidgin No. Seven. Princeton: Princeton University, School of Architecture, 2009. p. 19 cf. Spuybroek, Lars: The Ages of Beauty: Revisiting Harthhorne‘s Diagram of Aesthetic Values in: Brouwer, Joke; Mulder, Arjen; Spuybroek, Lars (ed.): Vital beauty: Reclaiming aesthetics in the tangle of technology and nature. Rotterdam: V2 Publ., 2012. p. 33 Ibid. p. 34 Ibid. p. 34 cf. Ibid. p. 34 Ibid. p. 35 Kipnis, Jeffrey: Fearless Symmetry in: Choi, Jean; Sunwoo, Irene; Tidwell, Philip; Turnbull, Jessie; Wong, Thomas; Yorke, Christopher (ed.): Pidgin Magazin, Pidgin No. Seven. Princeton: Princeton University, School of Architecture, 2009. pa. 18-21 Ibid. p. 19

9 Ibid. p. 18-21 10 Ibid. p. 21 11 cf. Lynn, Greg: Renewed Novelty of Symmetry, Ted talk, 2005.

12 cf. Ibid.

13 cf. Eisenman, Peter: Aura und Exzeß. Wien: Passagen Verlag, 1995. p. 48 14 cf. Ibid. p. 46 15 cf. Ibid. p. 53

16 cf. Brouwer, Joke; Mulder, Arjen; Spuybroek, Lars (ed.): Vital beauty: Reclaiming aesthetics in the tangle of technology and nature. Rotterdam: V2 Publ., 2012.

17 cf. Eisenman, Peter: Aura und Exzeß. Wien: Passagen Verlag, 1995. p. 55 18 Thompson, D. W.: On Growth and Form in: Mitra, Niloy J.; Pauly, Mark: Symmetry for Architectural Design, 2008. http://lgg.epfl.ch/publications/2008/ mitra_2008_SAD.pdf (18/05/2015, 22:50) 19 Ruy, David: Returning to (Strange) Objects, 2012. http://www.ruyklein.com/essays/Returning%20 to%20%28Strange%29%20Objects%20-%20Ruy. pdf (18/05/2015, 22:53) 20 cf. Eisenman, Peter: Aura und Exzeß. Wien: Passagen Verlag, 1995.

BOOKS, ARTICLES AND LECTURES Brouwer, Joke; Mulder, Arjen; Spuybroek, Lars (ed.) 2012 Vital beauty: Reclaiming aesthetics in the tangle of technology and nature. Rotterdam: V2 Publishing.

Kirschenmann, Jörg C.; Syring, Eberhard 1993 Hans Scharoun: die Forderung des Unvollendeten, Stuttgart: Deutsche Verlags-Anstalt.

Bürkle, Christoph J. 1993 Hans Scharoun, Zürich: Artemis Verlags-AG.

Lerup, Lars 2014 http://architecturaltheory.tv/architekturtheorieINFO/ vortrag-things-r-us-lars-lerup/

Choi, Jean; Sunwoo, Irene; Tidwell, Philip; Turnbull, Jessie; Wong, Thomas; Yorke, Christopher (ed.): Pidgin Magazin, Pidgin No. Seven. Princeton: Princeton University, School of Architecture, 2009.

Lynn, Greg 1998 The Renewed Novelty of Symmetry: Folds, Bodies & Blobs, Collected Essays, Bruxelles: La Lettre volé.

Cohen, Preston Scott 2001 Contested Symmetries and Other Predicaments in Architecture, New York: Princeton Architectural Press.

Lynn, Greg 2005 https://www.ted.com/talks/greg_lynn_on_organic_design?language=de

Coletti, Marjan 2013 Digital Poetics: An Open Theory of Design-Research in Architecture, London: Ashgate Publishing Limited.

Ruy, David 2012 Returning to the Strange Objects, http://www. ruyklein.com/essays/Returning%20to%20%28Strange%29%20Objects%20-%20Ruy.pdf (18/05/2015, 22:53)

Diaz Alonso, Hernan 2014

https://www.youtube.com/watch?v=0TwP3fK5UzI Eisenman, Peter 1995 Aura and Exzess zur Überwindung der Metaphysik der Architektur, Wien: Passagen Verlag.

Jones, Peter Blundell 1980 Hans Scharoun: Eine Monographie, Stuttgart: Karl Krämer Verlag.

Ruy, David 2013 https://www.youtube.com/watch?v=Gx55JR4U0ZE Spuybroek, Lars 2011 The Sympathy of Things: Ruskin and the Ecology of Design, Rotterdam: V2 Publishing.

135

136 Picture Credits Picture Credits p. 4-5: p. 8-9: p. 44-45: p. 70-71:

Pukljak, Thomas: Own Work, 2015 Pukljak, Thomas: Own Work, 2014 Pukljak, Thomas: Own Work, 2015 Pukljak, Thomas: Own Work, 2015

/fig01: /fig02:

Pukljak, Thomas: Own Work, 2015 Brouwer, Joke; Mulder, Arjen; Spuybroek, Lars (ed.): Vital beauty: Reclaiming aesthetics in the tangle of technology and nature. Rotterdam: V2 Publ., 2012. p. 36 http://njbrepository.blogspot. co.at/2013/05/a-spiritual-way-of-seeingby-peter-gabel.html (18/05/2015, 10:30) http://aquariushrconsulting. com/2015/02/24/the-end-of-the-world-aswe-know-it/ (18/05/2015, 10:35) http://www.matichon.co.th/news_detail. php?newsid=1375261449 (18/05/2015, 10:38) Pukljak, Thomas: Own Work, 2015 Pukljak, Thomas: Own Work, 2014 Pukljak, Thomas: Own Work, 2014 Pukljak, Thomas: Own Work, 2015 Pukljak, Thomas: Own Work, 2014 http://www.scoopnest.com/user/JupiterMovieUK/559439363105628161 (18/05/2015, 10:46) Pukljak, Thomas: Own Work, 2014 Choi, Jean; Sunwoo, Irene; Tidwell, Philip; Turnbull, Jessie; Wong, Thomas; Yorke, Christopher (ed.): Pidgin Magazin, Pidgin No. Seven. Princeton: Princeton University, School of Architecture, 2009. p. 22 https://mydeutschlandblog.wordpress. com/2014/10/13/german-forts-castles-linderhof-palace/ (18/05/2015, 11:01) https://www.pinterest.com/ pin/316307573802671094/ (18/05/2015, 11:02) https://books.google.at/books?id=8MGf0YXzANQC&pg=PP2&dq=william+bateson+problems+of+genetics&hl=de&sa=X&ei=2atZVdu9K4vuUtqogKgP&ved=0CB8Q6AEwAA#v=onepage&q=william%20bateson%20problems%20of%20 genetics&f=false (18/05/2015, 11:09) https://www.ted.com/talks/greg_lynn_ on_organic_design?language=de (18/05/2015, 11:05) Ibid.

Pukljak, Thomas: Genetic Evolution, 2014 http://www.glasstire.com/socal/2012/05/13/5-from-1-sasha-koozel-reibstein/abnormalinfanthead/ (18/05/2015, 11:18)

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http://www.jornada.unam.mx/2012/01/15/ sem-orlando.html (18/05/2015, 11:19) Pukljak, Thomas: Own Work, 2015 https://www.pinterest.com/ pin/476466835547186146/ (18/05/2015, 11:28) http://technochrist.deviantart.com/art/Inutero-1-187085293 (18/05/2015, 11:29) Pukljak, Thomas: Own Work, 2015 http://www.architectural-review. com/14-pivotal-architecture-drawings/8657619.article (18/05/2015, 11:36) Pukljak, Thomas: Own Work, 2014 Pukljak, Thomas: Own Work, 2015 Pukljak, Thomas: Own Work, 2014 Pukljak, Thomas: Own Work, 2014 http://publicdelivery.org/tag/sculpture/ page/3/ (18/05/2015, 11:43) Pukljak, Thomas: Own Work, 2014 Pukljak, Thomas: Own Work, 2014 Pukljak, Thomas: Own Work, 2014 Pfanzelt, Patrizia; Pukljak, Thomas: Sheep Shelter, 2013 http://www.victorianweb.org/painting/ruskin/drawings/31.html (18/05/2015, 11:47) Pfanzelt, Patrizia; Pukljak, Thomas: Sheep Shelter, 2013 Pukljak, Thomas: 2014 Pukljak, Thomas: 2014 Pukljak, Thomas: Evolution of the Facade, 2014 Ibid.

Ibid.

Ibid. http://footage.framepool.com/de/ shot/402878789-abgang-barren-sport-turner-handstand (18/05/2015, 11:54) http://www.wetpaint.com/2014-01-31the-shining-twins-then-now/ (18/05/2015, 11:56) Pukljak, Thomas: Diagram of Symmetries, 2014 Pukljak, Thomas: Own Work, 2014 http://thomaspukljak.blogspot.co.at/ (18/05/2015, 12:07) Pukljak, Thomas: Own Work, 2014 Ibid.

Ibid.

Pukljak, Thomas: 2014 Pukljak, Thomas: Own Work, 2015 Pukljak, Thomas: Own Work, 2014 Ibid.

Ibid.

Ibid.

Pukljak, Thomas: Collage Maria Josepha

/fig59: /fig60: /fig61: /fig62: /fig63: /fig64: /fig65: /fig66: /fig67: /fig68: /fig69: /fig70: /fig71: /fig72: /fig73: /fig74: /fig75: /fig76: /fig77: /fig78: /fig79: /fig80: /fig81: /fig82: /fig83: /fig84: /fig85: /fig86: /fig87: /fig88: /fig89: /fig90: /fig91: /fig92: /fig93: /fig94: /fig95: /fig96: /fig97: /fig98:

of Austria, 2015 http://www.hofburg-innsbruck.at/623/php/ detail.php (18/05/2015, 12:27) http://fabianirsara.com/set/innsbruck-architecture/ (18/05/2015, 12:28) Pukljak, Thomas: Translation of a Painting, 2015 Pukljak, Thomas: Tattooing Studies, 2015 Pukljak, Thomas: Tattooing Studies, 2015 Pukljak, Thomas: Pattern Studies, 2014 Pukljak, Thomas: Tattooing Studies, 2015 http://www.geomagic.com/it/products/ freeform/overview (18/05/2015, 12:33) https://www.pinterest.com/lulunation/ shoes/ (18/05/2015, 12:34) https://www.get2card.de/angebot/3209-tugan-sokhiev-2for1 (18/05/2015, 12:37) http://www.marchanzeiger.ch/index. cfm?ressort=home&source=sda&id=201812 (18/05/2015, 12:51) Pukljak, Thomas: Analysis of the Berlin Philharmonic, 2014 Pukljak, Thomas: Project Proposal, 2015 Pukljak, Thomas: Facade Details, 2015 Ibid.

Ibid.

Pukljak, Thomas: Stair Concept, 2015 Ibid.

Ibid.

Ibid.

Pukljak, Thomas: Roof Studies, 2015 Ibid.

Ibid.

Pukljak, Thomas: Formal Evolution, 2015 Ibid.

Pukljak, Thomas: Agglomeration of an Ornament, 2015 Ibid.

Ibid.

Ibid.

Ibid.

Pukljak, Thomas: Column Studies, 2015 Ibid.

Ibid.

Pukljak, Thomas: Evolution Column, 2015 Pukljak, Thomas: Roof/Wall Connection, 2015 Ibid.

Pukljak, Thomas: Evolution Column, 2015 Pukljak, Thomas: Roof/Wall Connection, 2015 Pukljak, Thomas: Evolution Column, 2015 http://www.marthagarzon.com/contemporary_art/2011/02/matthew-barney-cremas-

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ter-films/ (18/05/2015, 18:56) http://mattwallin.com/i-die-daily/ (18/05/2015, 18:57) Pukljak, Thomas: Stage Studies, 2015 Pukljak, Thomas: Proposal for Auditorium, 2015 Ibid.

Pukljak, Thomas: Mirroring Studies for Stage, 2015 Ibid.

Pukljak, Thomas: Chair Studies, 2015 Ibid.

Pukljak, Thomas: Bench Studies, 2015 Pukljak, Thomas: Pattern Animation, 2015 Ibid.

Ibid. http://thomaspukljak.blogspot.co.at/ (18/05/2015, 20:29) https://www.louise-alexander.com/artist/ barry-x-ball/ (18/05/2015, 20:36) https://www.pinterest.com/ pin/146085581637339841/ (18/05/2015, 20:37) Pukljak, Thomas: Tattooing, 2015 Ibid.

Pukljak, Thomas: Pattern Studies, 2015 http://justinalexanderbartels. com/90477/962710/gallery/impression (18/05/2015, 20:40) Ibid.

Pukljak, Thomas: Pattern through Pressure, 2015 Ibid.

Pukljak, Thomas: Royal Patterns, 2015 Pukljak, Thomas: Comic Patterns, 2015 Pukljak, Thomas: Tattoo Studies, 2015 Ibid.

Ibid.

Pukljak, Thomas: Material Studies, 2015 https://www.tumblr.com/search/philip%20 treacy%20hat (18/05/2015, 21:04) Pukljak, Thomas: Jewelry Studies, 2015 http://fabianirsara.com/set/innsbruck-architecture/ (18/05/2015, 12:28) http://www.hofburg-innsbruck.at/623/php/ detail.php (18/05/2015, 12:27) Pukljak, Thomas: Analysis for Site, 2015 Pukljak, Thomas: Square Details, 2015 Ibid.

Ibid.

Ibid.

137

EIDESSTATTLICHE ERKLÄRUNG Ich erkläre hiermit an Eides statt durch meine eigenhändige Unterschrift, dass ich die vorliegende Arbeit selbstständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Alle Stellen, die wörtlich oder inhaltlich den angegebenen Quellen entnommen wurden, sind als solche kenntlich gemacht.

Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Magister-/Master-/Diplomarbeit/Dissertation eingereicht.

Innsbruck, Juni 2015

______________________________________ Thomas Pukljak