IKA

INSTITUT
FÜR KUNST
UND
ARCHITEKTUR

INSTITUTE
FOR ART
AND
ARCHITECTURE
PREVIEW
SUMMER 2020

www.akbild.ac.at/ika
 Content IKA S2020

Editorial HITZE TAKES COMMAND

COMMAN D 4

Design Studios
Bachelor + ADP Heat, Ice Cores,
Manganese Nodules 6
Master
ADP City Cooling 8

ESC CMT BURNING DOWN

THE HOUSE II
10

ESC CMT RAUMPARK 12

GLC HTC Venus in Furs 14

GLC HTC Heat Takes Time 16

HITZE 2 Lecture Series 18

Courses
ADP 20

CMT 22

ESC 24
ADP
ANALOGUE
HTC 26
DIGITAL
PRODUCTION GLC 28

CMT
CONSTRUCTION
MATERIAL Research at IKA 30
TECHNOLOGY
Calendar / Contact / Imprint 32
Ludwig Löckinger with students, Augasse 2019

ESC
ECOLOGY
SUSTAINABILITY
CULTURAL HERITAGE

HTC
HISTORY
THEORY
CRITICISM

GLC
GEOGRAPHY
LANDSCAPES
CITIES
IKA S2020 4 Introduction
–273.15°C is the coldest there is. At this tem-
perature, nothing moves anymore. It is “absolute
zero”, 0 Kelvin. No mass particle vibrates anymore.
When it gets warmer, when mass particles begin
to move, when mass particles vibrate excessively,
that is heat. As we can see, temperature not only
measures warmth, it can also be a measure of
movement.
Since the vibration velocity of mass particles
can be infinitely high, heat can also become in-
finitely hot. There is no such thing as the hottest
temperature. There is only the hottest temperature
produced. It is man-made and was generated
in 2010 in a particle accelerator of Brookhaven
Laboratories in the United States by colliding gold
ions. That temperature is 4,000,000,000°C (4
billion °C).1 By way of comparison: that is 250,000
times hotter than the core of our Sun, which comes
to 16,000,000°C (16 million °C). The heat in the
Sun’s corona reaches 1,000,000°C (1 million °C),
its filaments measure 10,000°C, and its surface
curiously has an earthly 6,000°C, corresponding
to the heat in our Earth’s core. Liquid iron still
has a temperature of 1,540°C,2 and the ignition
temperature of paper – at least according to Ray
Bradbury – is 233°C, or Fahrenheit 451.3
5 IKA S2020
Wolfgang Tschapeller
chronological epoch in which we live, the above- HITZE TAKES COMMAND
mentioned Holocene. However, the phrasing chosen is the annual project 2019/2020
by Behringer for the early Holocene is suggestive. of the IKA, Institute for Art and
It sounds as if it was meant for the here-and-now, as if Architecture at the Academy of
it was written for our time. Let us then take these sen- Fine Arts Vienna.
tences and write, from the perspective of the future,
about the late Holocene. Not much needs to be changed. HITZE TAKES COMMAND
It would read like this: is an attempt to understand a
phenomenon that was previously
an exceptional situation and has
“The end of the Anthropocene 7 economy embed- since become the new normal,
ded in the Holocene happened relatively quickly; it with unlimited potential for esca-
was induced by climatic upheaval. Global warming lation.
meant an end to the previous growth-based, capitalist
human economic systems and a fundamental change HITZE TAKES COMMAND
in human culture.” is a reaction to increasing
climate shifts, the contours of
Our immediate environment If we follow this suggestion, 1 Ibid. which became visible in the past
is considerably cooler. In the and if we know which changes 2 Information from Wikipedia, 2019-08-25 century and are now extremely
3 Ray Bradbury, Fahrenheit 451, New York
summer of 2017, the administra- induced and accompanied the 1953
critical.
tor of the Vienna Imperial Palace Holocene, it becomes clear in 4 Wolfgang Behringer, Kulturgeschichte
gave a tour of the new confer- which dimensions, categories des Klimas (A Cultural History of Climate), HITZE TAKES COMMAND
ence centre. The rooms were icy and terrains architecture can Munich 2011, 6th edition 2018 is a reaction to the publication
“Urban Heat Islands – Strategy
“Hot Quark Soup Produced at RHIC”, still from an animation to visualize the generation of 4,000,000,000°C
5 Ibid. p. 64, own translation. W. Behringer
cold, all of 18°C. Apparently, that now be imagined.
is the temperature agreeable to
quotes Alfred Heuss and Golo Mann in Plan Vienna”8. The IKA wants to
Propyläen World History of the 1960s. juxtapose this strategy plan with
a well-dressed Central European 6 Ibid. p. 64f, own translation.
projects from an architectural
man in a three-piece suit in any 7 No formal determination has yet been
and artistic perspective, both in
made on whether we are still living in the
place or season and at any time of day. As we Holocene or already in a new era, the a supportive and a productively
can see, temperatures are controlled not only to Anthropocene. In any case, there is an critical sense.
make life possible, but also to assert a selective,
Source: https://phys.org/news/2010-02-liquid-hot-quark-soup-video.html 2019-08-25
overlap of characteristics between the two,
formalized and sometimes fossilized lifestyle. hence the phrasing “Anthropocene econ- HITZE TAKES COMMAND
omy embedded in the Holocene”.
Producing cold and heat means a command of 8 Municipality of Vienna, Vienna environ-
and the curriculum: Are our
temperature, lifestyle and culture, and moreover, mental protection department – Municipal curricula heat-appropriate? Is our
in this case, a gender-specific hegemony over a Department 22 education such that students and
space that was a political and cultural instrument teachers develop the knowledge
of power even before climate control. needed to deal with heat
phenomena and climate change?
As we can see, culture and temperature
are also closely linked. Temperature can be a HITZE TAKES COMMAND
is the result of an in-depth debate.
measure of culture. Heat and cold drive culture. Structurally, the title alludes to
In his “Cultural History of Climate”4, Wolfgang Sigfried Giedion’s book “Mech-
Behringer shows that cultures have their specific anization Takes Command”. The
temperatures, and that any shift in temperature title is ambiguous. On the one
is a cultural shift. That was also the case at the hand, it means that heat has taken
beginning of the Holocene: “The transition from the helm. On the other hand, it
the Upper Palaeolithic to the Mesolithic economy means that heat requires control.
happened relatively quickly; it was induced by
climatic upheaval”5 ... “Global warming meant
an end to the previous human economic system”
and “global warming is linked to a fundamental
change in human culture…”6 Now, we could
let these sentences stand as they are, a con-
cise commentary on the beginning of the geo-

IKA S2020 6 Monday / Tuesday / Friday
Using instruments to measure temperature –
whether of objects or living beings, of the earth or the
atmosphere – has only been possible for a relatively
short time. Although experiments with appliances and
scales date back to the days of classical antiquity,
precise measurements only became possible around
1654 in Florence when the first thermometer was built,
commissioned by the Medici. This was an astonishing
fragile instrument, a glass tube in which an amount of
alcohol, sealed off from the air, expanded or shrank,
depending on the temperature.1 This instrument allowed
measurement to be made and compared, not just in
Florence but at the same time in Pisa, Bologna, Paris,
Innsbruck and Osnabrück. Ideally always employing
the same method, regularly, at the same time using
at least two thermometers, one of them facing north,
the other south. In addition, notes were made as well
as ‘drawings of hailstones or of flowers that were just
starting to blossom’. The concern was to link and record
scientific observations with the help of a measurement
network, in order to arrive at an objective, ordered un-
derstanding of the world. Not everyone wished for this
ordered understanding. Above all it was not ‘willed by
God’. Temperature, heat and cold appeared to be ‘the
concern of God’. To deter the Medici from further such
undertakings the Church gave them a bishopric and in
return they stopped taking the measurements in 1670,
after just 16 years2, until around 1760, a Europe-wide
measurement network was established, followed around
1870 by a worldwide network which for the past 150
years has supplied data measured by instruments, with
increasingly greater precision and detail.3
Design Studio
BArch2, MArch
14.00—-18.00
Wolfgang Tschapeller
Damjan Minovski
„…ice cores are stored in 1m portions,
heat sealed in transparent synthetic
material, additionally protected by stain-
less steel tubes at temperatures below
20°C. Note the black discoloration of
the ice core next to the researcher´s left
hand. The black speckle indicates vol-
canic activity…”
Still from video: “About ice cores”
Source: https://icecores.org/about-ice-cores, 2020-01-25
Is that sufficient? Not really! We have temperature
data recorded worldwide by instruments over the last
150 years. For remaining 4.54 billion years – that is
minus these 150 years – there are no such temperature
measurements. There are, however, natural climate
archives such as tree rings, stalagmites, ice cores,
corals, sea or ocean sediments, and pollen, which
have an innate chronicle of the world that can be de-
coded by means of transfer functions4 and that provide
information on many themes, including temperature
and including HITZE. But of course, only for as long
as these natural climate archives still exist, as long as
they are not destroyed as the result of melting or are
removed from the data context of deep-sea sediments as
collateral damage caused by the process of extracting
manganese nodules. We see that not only might the
future slip out of our hands; the past can also slide
away. But there could also be a brief and fortunate
contact in which information can be rubbed off and
transferred from one medium to the other, from natural
climate archives that carry the entire text of the past to
digital media that are absorbent enough to take up the
entire text and to transfer it to another way of being.
Is this, then, enough? Possibly! We have a small
amount of directly measured data. And then we have
an enormous mass of data from natural climate ar-
chives. Together they produce comprehensive models
which, due to the sheer overweight of the past, shove
the present and the future ahead of them as just the
foremost edge - like a terminal moraine, as it were. As if
there were no future! But then there is one. The graphs
produced5 show for the next 100 years at least ‘a little
future’. For 2050 they show a steep swing upward –
ADP
7
ANALOGUE
DIGITAL
PRODUCTION
and upwards here means HITZE – which was reached
briefly about 115 000 years ago in the Eemian Period
or, for a longer period, around 3-5 million years ago in
the Pliocene. For 2100 then a steeper swing upwards,
which means even more HITZE. To find an equivalent
in the history of the earth we have to look back even
further, around 15-35 million years ago in the Miocene
and Oligocene6. For these geological eras, whether it
be the Eemian Period, Pliocene, Miocene or Oligocene,
there are good and, in some cases, surprising detailed
descriptions. Do these provide sufficient coffee grounds
to read the future from?
Wolfgang Tschapeller
1 https://de.wikipedia.org/wiki/Thermometer, 2019-12-15
2 www1.wdr.de/stichtag/stichtag-temperaturaufzeichnung-
florenz-100.html, 2019-12-15
3 www.zamg.ac.at/cms/de/klima/informationsportal-klimawandel/
klimaforschung/klimamessung/geschichte, 2019-12-15
4 https://de.wikipedia.org/wiki/Klimaarchiv, 2019-12-15
5 …” the graphs produced … “ refers to IPCC AR5
RCP8,5. AR5 stands for Assessment Report of the IPPC. RCP
stands for Representative Concentration Pathway and RCP8,5 (one
of the four RCPs that were taken from the IPCC) stands for the pes-
simistic assumption that the CO2 emissions will increase throughout
the entire 21st century, see https://en.wiki-
pedia.org/wiki/Representative_Concentration_Pathway. The AR5 of
the IPPC also describes scenarios that extend to the 23rd century.
6 W. Bölsche et al. Leben in der Warmzeit der Erde, Aus den
Urtagen vor dem heutigen Klimawandel, 2019.
Note: the references are to Wikipedia (German)

IKA S2020 8 Monday / Tuesday / Friday
Vienna is seen as a system of different
areas of microclimate. Among them, some
island-like areas suffer more from the
heat than the rest of the city. The studio
works on this agglomeration of warm
islands in Vienna. Mapping the heated
areas requires the first representation
of the character of these islands. In this
regard three elements appear particularly
crucial: the functions of the wind currents,
the possibilities of using recycled water,
and the planted areas added. These three
elements can be re-organized in pursuit
of a realistic dream of large-scale appa-
ratuses that could have a positive effect
in cooling areas of the city.
While avoiding invoking any out-dated
ideas of ‘nature’, the studio explores ar-
chitectures of the fake and the artificial
in the form of designed enquiries related
to the city, the garden and their common
histories.
In order to enter the field of possible
interventions it is crucial to work with pro-
tocols: in this regard such protocols could
formalize fragmented, scripted answers
ADP
Design Studio 9
BArch2, MArch
14.00—-18.00
Aristide Antonas ANALOGUE
Werner Skvara DIGITAL
PRODUCTION
to HITZE. Garden towers, wind influence
and air-cooling technologies tested at
an urban scale can produce different
mechanics of urban cooling.
The question examined by the studio
looks at a major conceptual problem of
architecture as regards its ability to con-
sider issues of a larger infrastructural scale
or to transform the small scale rationale
of cooling traditions to bigger structures;
avoiding a reverential understanding of
technology (today sometimes seen as
easily capable of stopping or reversing
its own effects, the studio investigate
in a local framework punctual strategic
interventions that can positively affect
the microclimate of the warmest areas
Aristide Antonas, Vertical Village, 2016.
of Vienna. The questions that are asked
will, naturally, be local, accurate and also
fragmented, but the answers to them
Copyright Aristide Antonas
may appear as a fleet of different urban
apparatuses related to urban cooling. The
extra energy for cooling also opens up
another important field of investigation
for the studio.
Aristide Antonas
 ESC
IKA S2020 10 Monday / Tuesday / Friday Design Studio 11
BArch4, MArch
14.00—18.00

The peach orchards of Montreuil-sous-Bois in Paris, now

Michelle Howard ECOLOGY
Antje Lehn SUSTAINABILITY
CULTURAL
HERITAGE

endangered by the plans for Grand Paris.

CMT
CONSTRUCTION
MATERIAL
TECHNOLOGY

Paradise is shut and locked, barred by The word ‘Paradise’, which is Persian in origin
(pairi-daêzã), refers to the enclosed garden and, con-
angels; so now we must go forward, sequently, the ideal city. In the 4th century BCE, the

Athanasius Kircher’s ‘Topographia Paradisi Terrestris 1675’ – an earthly image of Paradise illustrated as a walled domain located between
the rivers of Tigris and Euphrates in Persian territory. The tree of life is located in the middle of the domain where the rivers meet. In the
around the world, and see if somehow,
somewhere there is a back-way in.
Heinrich von Kleist, 1881
Our house is burning down, HITZE has been un-
bridled. While both burning and fire produce HITZE,
they are different chemical processes. Burning occurs
when two atoms or molecules combine with each other
to release heat and often light; hydrogen, for example,
burns with oxygen to produce water.
Contrary to Western theories on the origins of
architecture, the first large human societies arose in
arid and treeless climates where water could only be
extracted from under the ground. In the 11th century
Persian geologist Al Kharaji wrote the first text de-
voted solely to hydrogeology, which was called ‘The
Extraction of Hidden Waters’.1 Hydrogeology shaped
the Persian landscape and provided the basis for in-
habitation, construction and prosperity. The Persians
foreground to the left Adam and Eve talk under the tree of knowledge. devised methods of enclosure on a climatic scale and
constructed spaces that not only coped with stressed
places but transformed them into what has often been
described as an earthly paradise.2
Spartan General Lysander recounted how Persian
kings ‘excelled not only in war but also in gardening’.
Surviving descriptions consistently emphasize the
gardens’ exquisite beauty, their abundance of trees,
water, plants and animals. The city and the garden
were cultivated with equal care, employing great feats
of engineering to enclose and irrigate, provide shelter,
sustenance and places of respite from the blazing
heat. Water was used as a cooling agent by creating
air currents through alternating sun and shadow, with
the air passing over moving and spraying water, and
exuberant perfumed plants, whose primary purpose
was to induce a sense of well-being. Paradise was
built on extremely sensitively constructed wall and
hydraulic systems, which activated materials whose
seeming impermanence was countered through careful
awareness and protection from the elements. Similarly,
in northern climates in the 1600s, fruit walls such as the
peach orchards of Montreuil allowed people to taste the
fruit and experience the paradise of stewarded HITZE.
This semester we will extract knowledge of hidden
gardens and waters in Vienna to propose an alternative
basis for inhabitation, construction and prosperity. The
biochar3 we made last semester could constitute our
secret weapon.
Michelle Howard

1 ‘The Extraction of Hidden Waters’ by Abubakr Mohammad Ebn Al-Hassan Al-Haseb Al-Karaji, is a pioneering text on hydrogeology. The book
is in Arabic, the scholarly language of Persia in the medieval Islamic civilization era.
2 Athanasius Kircher’s ‘Topographia Paradisi Terrestris 1675’ – an earthly image of Paradise illustrated as a walled domain located between the
Tigris and Euphrates rivers, in Persian territory.
3 Biochar, a super soil made by construction and combustion: Forest clearings are central to European theories on the origins of architecture:
a primitive tribe arriving in such a clearing finds fallen trees scattered there. The parable invariably describes only two possible outcomes, the
tribe members use the wood to construct a shelter or to build a bonfire. Last semester we looked at other possibilities and took an unbiased
journey through the phenomena of the wildfire, following its lead in the forest and in the city. In a conscious effort of calibration between con-
jecture and activism, we embarked upon the step-by-step construction of soil using traceable and low impact production processes. Together
with a collier family we selectively felled trees, cut split and stacked wood, covered it with evergreen branches, charcoal dust and earth, carried
flames up to activate the process of pyrolysis and transform wood into charcoal. We created a new home for worms and microorganisms in a
composter, which we maintained and nurtured in the studio. Together, charcoal and compost made the enriched soil that is the primordial tool
for this semester’s undertaking.

IKA S2020 12 Design Studio
BArch4, MArch
Hannes Stiefel
Luciano Parodi
1
2
In order to explore these ideas, we propose the
theme of Faux Terrain, or False Ground. The term
originally described the three-dimensional artificial
landscape designed to mask the transition between the
viewing space of the spectator and the representational
space of 360° panoramas built in the late 18th and
19th centuries. Ultimately, False Terrains can describe
any artificial construct, but it is perhaps better to say
that they obliterate the hierarchy between the real and
the virtual in favour of a system of exchange between
multiplicities of possible realities. Accordingly, we
Florian Berrar & Lucas Fischötter, Cor(a)lescence. 2020
propose the notion of Faux Terrain both as an approach
to design and as the description of a possible role for
the architectural object.
This approach embraces rather than denies the
inherent distance between architect and building,
and between building and public as precisely the
territory of productive interpretation. Like the faux
terrain, the building becomes a mediating body, a
material thingforeign in some way to both designer
and public, artist and spectator, which both links and
separates them. Here we refer to Jacques Rancière’s
notion of the ‘emancipated spectator’ as one who
‘dismiss[es] the opposition between looking and acting
and understand[s] that the distribution of the visible
itself is part of the configuration of domination and
subjection. It starts when we realize that looking is
also an act that confirms or modifies that distribution,
Jonathan Moser, ... about the logic of the vague... 2020
and that “interpreting the world” is already a means
HITZE TAKES COMMAND3 1 RAUMPARKS are climatic devices; they are con- of transforming it.
HITZE CHALLENGES4 structions of various sizes, operating on diverse scales,
HITZE TO BE CHALLENGED5 offering multi-dimensional populated parks, gardens
and (*wild’) forests in and above our future cities.
RAUMPARK TAKES COMMAND 2 ‘As perhaps the most fundamental condition of
RAUMPARK CHALLENGES a possibility for architecture, and thus also its most
RAUMPARK TO BE CHALLENGED definitive constraint, the notion of ground cuts across
Hannes Stiefel, Luciano Parodi time and space to unite all buildings. Digitally-generated
architecture has produced radical advances in virtual
representations of space in which any grounding in
gravity, materiality and tectonics is malleable (but often
experiences difficulty in translating the resultant forms
back into the material world). This falsification of reality,
in a way the fundamental condition of all systems of
representation, is a generative process, and in a sense
it is the very structures of falsification that we wish to
investigate. Doing so may allow architecture to simul-
taneously increase both its liberation from reality and
its impact on the concrete world.
ESC
13
ECOLOGY
SUSTAINABILITY
CULTURAL
HERITAGE
CMT
CONSTRUCTION
MATERIAL
TECHNOLOGY
As a method of design, the Faux Terrain indicates
the wilful insertion of a mediating structure between
the designer and the reality that he or she observes.
In this sense, the concept of Faux Terrain produces a
kind of double-bind inscribed by the distance between
its two terms - it asks the designer to examine very
closely an existing terrain, while simultaneously using
these observations to produce a novel construct, a false
site, non-site, or virtual terrain that can both mediate
and be reinserted into the real. To the extent that the
imagination implied in the false is reinserted into the
concreteness of the terrain, any essential difference
between these two realms is destabilized. This approach
allows designers to imagine radical new possibilities
for architecture through intense observation of the
world as it is, while acknowledging its fundamental
contingency as its greatest opportunity.’
Hannes Stiefel / Brian Tabolt: Faux Terrains (2011).
First published in Positions: Unfolding Architectural
Endeavors, ed. by Maja Ozvaldi / Bence Pap / Indr
Umbrasait / IoA Institute of Architecture, Edition An-
gewandte, Birkhäuser, Basel 2020.
Faux Terrain – Investigations on Critical Environments
is the title of a research proposal by Luciano Parodi
and Hannes Stiefel (207/18).
3 see IKA, HITZE TAKES COMMAND, Preview
Winter 2019, p.8
4 see ibid.
5 see ibid.
 GLC
IKA S2020 14 Monday / Tuesday / Friday Design Studio 15
BArch6, MArch
14.00—18.00
Alessandra Cianchetta GEOGRAPHY
Daniela Herold LANDSCAPES
CITIES

HTC
HISTORY
Tizian, Venus with a Mirror, 1555.

THEORY
“She sat in an armchair and had kindled a crackling fire, CRITICISM
whose reflection ran in red flames over her pale face with
its white eyes, and from time to time over her feet when
she sought to warm them. Her head was wonderful in spite
of the dead stony eyes; it was all I could see of her. She
had wrapped her marble-like body in a huge fur, and rolled
herself up trembling like a cat. “I don't understand it,” I ex-
claimed, “It isn't really cold any longer. For two weeks past
CLOTHING AS A LAYER we have had perfect spring weather. You must be nervous.”
“Much obliged for your spring,” she replied with a low stony
BETWEEN SKIN voice, and immediately afterwards sneezed divinely, twice
in succession. “I really can't stand it here much longer, and
AND BUILDING I am beginning to understand.”
Leopold Sacher-Masoch, Venus in Furs, 1870

Thermal comfort as described in building phys-
ics, depends on many influential factors. A climate
is said to be healthy when the heat balance of the
human body is well adjusted and when heat emission
equals heat generation. Further, physics explains
that the body`s own heat production is dependent
Sewing pattern, attached to „Das Buch der Wäsche“, Brigitte Hochfelden, ca. 1900
wrapped in several layers of heavy fabrics in ill-pro-
portioned shapes. It is said that hats and gloves
were invented at that time and were used not only
outdoors to keep warm, but also inside the house.
In his ‘Prinzip der Bekleidung’ Gottfried Semper

on the workload and the level of activity, whereas
factors like air temperature, the surface temperature
of the space one is in, air-speed, humidity as well as
clothing are decisive for heat emission. Where heat
emission and heat generation are out of balance, we
speak of a bad atmospheric environment.
places clothing in a different context to architecture,
its history, and theory. In his text written in the 19th
century, Semper states that clothing, rather than the
construction of space, represents the beginning of
architecture,. For him the envelope has the greatest
significance, it is the main element in giving shelter.

Hence our well-being is to a certain extent
conditioned by the kind of clothes we wear in re-
lation to the qualities of the spaces we spend time
in. Both, the clothing as well as the space, protect
our bodies from external climatic impacts, both
are given a specific materialization, construction,
and form so that the human physics can adapt to
environmental conditions.
Through looking at artworks throughout the
centuries and relating them to the history of our
planet’s climate cultural theorists argue that there is
a close relation between climatic changes and the
evolution of clothing. While in the warmer period of
the early Middle Ages we note that the clothing is
lighter, and that parts of the body are uncovered,
later, until the end of the 17th century, during what
is called the Little Ice Age, we see that bodies were
In this sense, we will devote the semester to
clothing as a mediator between body, space, and
climate. Along with the skin and the facade, cloth
is seen as the second layer of protection.
We will initially approach the topic by looking at
spaces in the city of Vienna that are characterized
by specific temperature conditions, ranging from
very hot to very cold. Then we will learn about the
materials used to make clothes, from furs to silks,
about their insulation values and the different tech-
niques for processing them. Finally, we will design
and produce shelter for the body in chosen climatic
conditions at a scale of 1:1. The question is: what
kind of clothes will we wear in the future to protect
ourselves from increasing heat peaks?
Alessandra Cianchetta, Daniela Herold

IKA S2020 16
“What could a utopic architec-
ture be, if architecture remains
grounded in the spatial alone?
How can architecture open itself
up to the temporal movements
that are somehow still beyond its
domain?”1
At the beginning of the 1960s Claude Lévi-Strauss
suggested distinguishing between ‘cold’ and ‘hot’
societies in order avoid judgemental characterisations
that separate supposedly ‘a-historic peoples’ that at-
tempt to ‘annul the effect that historical factors could
have on their balance and their continuity’ from those
peoples that ‘decisively internalise historical growth in
order to make it into the motor of their development.’2
According to this definition it seems logical to describe
modern Western states and their populations as ‘hot
societies’, after all, climate change appears to reveal
just how incompetent these societies are as regards
reversing their motor of development that is constantly
focussed on acceleration and growth.
Monday / Tuesday / Friday Design Studio
BArch6, MArch
14.00—18.00
Angelika Schnell
Lisa Schmidt-Colinet
Behind this concept is a questioning of the idea of
linear and teleological progress that is still widely seen
as self-explanatory and that appears to be inscribed in
the architectural design process as long as it is assumed
that a bad present must be overcome to provide a
better future. However, the design process itself has
an entire series of internal and external time strategies
with which it is possible to shift between forwards and
backwards, cyclical, chaotic or stagnating; it is an ‘ …
action time that is associated with action and is more
richly structured’ and can be described as ‘time gestalt’.4
Jan Assmann has undertaken an important dif- Equipped with this knowledge architectural thought can
Vienna's St. Stephen Cathedral, Photo: Lisa Schmidt-Colinet
ferentiation of this concept. Lévi-Strauss’ definition ‘implant itself’ not only in space but also in time in order
assumes that a ‘cold society’ can develop into a ‘hot’ to develop new ways of looking at critical situations.
one, but not the other way around, as it is taken for
granted that the invention of written and visual media, Two consequences of the progress model that
which make it possible to exteriorise knowledge of the illustrate where the latter has arrived at its ‘turning point’
environment and therefore to disseminate it rapidly, are to be examined. The phenomenon of ‘overtourism’
cannot be forgotten. Assmann, however, points out and the increasing heat in cities create immense prob-
that there have been both highly developed cultures lems for Vienna’s First District in particular. It is one
of writing unfamiliar with any motors of progress (for of the densest (buildings, people, history), and also,
example ancient Egypt), as well as ‘cold’ institutions such despite (or because of) the fact that it is bustling with
as the Church or the military which can ‘freeze’ social tourists, one of the most saturated or ‘most frozen’
change in ‘hot societies’. For him cold and heat are to urban districts – who would want to build here? On
be understood as 'cultural options which at any time this account it offers a suitable example for reflecting
exist independently of writing, calendars, technology and both metaphorically and in concrete terms about how
rule’.3 Although every society has a tendency towards ‘hot’ and ‘cold’ zones could be newly designed in
the ‘hot’ or the ‘cold’ pole, it can avail of ‘cooling and accordance with other temporal models. Must the
heating systems’, with which it can shape its existence same temperature conditions prevail everywhere and
and development. anytime, or can temperatures be adapted to imagined
GLC
17
GEOGRAPHY
LANDSCAPES
CITIES
HTC
HISTORY
THEORY
CRITICISM
functions? Or could entirely different temporal cycles
for the functions of existing buildings and urban spaces
be developed? Would this, in turn, demand more or
less movement between temperature zones that change
rapidly and those that hardly change at all? Could the
streams of tourists that are limited as regards when they
occur but are permanently registered offer a possibility
for new design ideas? Should densities of use be
rectified spatially and temporally, and should the use of
certain areas be abandoned so that they can be made
temporarily ‘fallow’? Might existing climatic zones such
as St Stephen’s Cathedral, which have been stable
over cycles of seasons and through centuries, contain
a ‘cooling system’ strategy? And, must we ourselves
reorganise our thinking about the future as a kind of
Future Perfect: something will have been?
Angelika Schnell, Lisa Schmidt-Colinet
1 Elizabeth Grosz, ‘Embodied Utopias: The
Time of Architecture’, in: ead., Architecture
from the Outside. Essays on Virtual and
Real Space, MIT Press, Cambridge/Mass.
2001, p. 13
2 Claude Lévi-Strauss, Das wilde Den-
ken (La pensée sauvage, Paris 1962),
Suhrkamp, Frankfurt am Main 1968, p. 270
3 Jan Assmann, Das kulturelle Gedächtnis.
Schrift, Erinnerung und politische Identität
in frühen Hochkulturen (1992), C.H. Beck,
München 2002, p. 69
4 Karen Gloy, Zeit. Eine Morphologie, Karl
Alber Verlag, Freiburg/München 2006, p. 75
IKA S2020 18 LECTURE SERIES Academy of Fine Arts Vienna 19 IKA S2020
SUMMER 2020 Institute for Art and Architecture
Augasse 2-6, 1090 Vienna
IKA Forum / 1st floor, core N

all lectures start at 7pm

HITZE 2
20 April 2020 RELEASE:
THE HEAT OF INNER BLANK #2!!

ORGANS_MICRO- blank is an international stu-

dents publication, initiated by a

HITZE [heat] as a property of bodies, 16 March 2020 COSMIC AND group of students of the IKA, that
serves as a blank space for every-
spaces and regions has shaped and con-
tinues to shape our thinking about architec- HITZE – KOCHEN – MACROCOSMIC one’s ideas. It might be nothingness
and emptiness, but it also is the
ture and cities. The lecture series HITZE,
part of IKA’s 2019/20 special programme
HITZE TAKES COMMAND , examines the spa-
ESSEN CONSTELLATIONS potential to be filled by our imagi-
nation. We see it as a free space,
as a start, perhaps a challenge - an
tial culture of temperature, and its broader opportunity for sure!
social and political implications, through the Sohyi Kim, Chef, restaurant Kim Claudia Bosse, Choreographer and
eyes of a number of contemporary thinkers.
kocht, Vienna Director, theatercombinat, Vienna The second issue on the topic
The historians, artists, scientists and architects of crisis compiles more than 60
assembled in this lecture series will explore literary, visual, critical and artistic
the topic of HITZE in dimensions ranging turning points from all around the
from the soup pot to the troposphere.
30 March 2020 25 May 2020 world. Collectively selected from
more than 100 entries in response
Who can think of the future today without
consideration of HITZE? Every exceptionally FORM FOLLOWS THE ARCHITECTURE to our Open Call, they will give
multiple perspectives on moments
warm day is imagined as portending future
disaster, while a sudden cold day provides ENERGY OF INJUSTICE, AND of crisis.

hope that the ravages of climate change

might be mitigated. Our experience of HITZE
Brian Cody, Engineer, Graz
THE ARCHITECTURE On 23 April 2020 our crisis
issue will be festively released!
is overburdened with dread and yet, HITZE
is also a form of pleasure – integral to sen- OF JUSTICE (location tba)

sations of taste, comfort and sexuality. We Edited by Ella Felber, Stepan

hope to discover and understand more about Peter Sellars, Distinguished Professor, Nest, Lisa Penz, Sebastian Seib,
the realm of HITZE in explorations of fields Martin Sturz, Carla Veltman; graph-
that will shape the future of architecture and UCLA Department of World Arts and ics by David Gallo.
urbanism. Cultures/Dance
fb: @blankpublications
The Lecture Series is organised and curated by Hannes Stiefel. ig: @blank_publication
IKA S2020 20 21 IKA S2020

Daniel Kerbler, Think Parametric, 2018

ADP
Project Lecture AU_1.16A
BArch2 Thu
Werner Skvara 9.30–12.45
3D MODELLING
AND ANIMATION The course covers the fundamentals of 3D modelling in computer-aided
design. It provides students with an understanding of different types of
I modelling techniques and the skills to construct virtual models, extract
two-dimensional visualizations and design basic animations. The course
is closely connected to the BArch2 design studios.

ADP
Project Lecture AU_1.16A
BArch 2 Tue bi-weekly
Eva Sommeregger 9.30–11.00
INTERACTIVE DESIGN,
FILM EDITING AND Let’s draw a thermostat: a ther- essary to realise those spaces using
mostat and the space it generates. off-the-shelf-software in imaginative
SOUND, SCRIPTING Manifold ways exist in which this task ways. Ultimately different tools will

may be realised – each of them car-
ries its own set of assumptions, pre-
sets and ways to look at the world.
We will dive into some of these ways
to explore their potential, investigat-
ing spaces that may only come into
existence in 3D CAD. Or in film. Or
in a 2D drawing. Or in AR. We will
examine the constructs that are nec-
ADP
Seminar AU_1.16A
be employed to produce interactive
MArch2 Fri bi-weekly
spaces: their fluid and genuinely
Daniel Kerbler 09.30–12.30
dynamic characteristics will be cap-
tured by students using the means PARAMETRIC
of AR, resulting in spatial and time- MODELLING AND We will use software that is not by conditions, rules and constraints,
based drawings that expand the exclusively streamlined to solving recursive calculations and simula-
limitations of two-dimensional static DIGITAL a predefined set of problems but tions. That simultaneous process-
architectural representations. FABRICATION equipped to process a much wider ing of information and the real time
scope of input data. The student generated visual output can have
will have a chance to research how a strong influence on the way our
How can the idea of parametri- parametric concepts can be applied ideas unfold within a design process.
cally driven data sets be utilized at to the architectural design-process.
the more conceptual and creative Parametric modelling means to

ADP
Seminar AU_1.16A stages of design development? The research will not only focus think parametric.
BArch6 Thu on physical results such as plans,
René Ziegler 16.00–17.30 What impact could a parametric digital images or rapid prototyping Eventually the parametric con-
process have on the way designing models. It will also extend the bound- cept provides us with a new mindset,
3D MODELLING architects think? aries of our intellectual approach, of that has the potential to remove bar-
AND ANIMATION The course develops students’ modeling and animation skills, including
solid-modeling und surfacemodeling techniques across diverse software our way we think. riers from our thought processes. It
III applications. It teaches advanced animation techniques, shading and
In this seminar we will investi- The term “modelling” hints at a can empower us to tackle problem
gate these questions by taking the structure that can be described in definitions that previously seemed
lighting simulation. parametric approach out the box it 3D space. But this structure is only to be inconceivable.
has been originally conceived for. the result of processing input data

ADP
Seminar Media Lab
Elective Wed bi-weekly
Damjan Minovski 10.30–13.30
CAMERA, LIGHT,
Diploma Salon 2019. Photo: Lisa

PHOTOGRAPHY We will create and work with 3D scans, analyze and apply techniques
borrowed from the film, vfx and game industry. Furthermore we will establish
AND VIDEO FOR a solid foundation on the topics of image synthesis, pointcloud/image/
ARCHITECTURE video capture and physics of lights and materials.
STUDENTS II
IKA S2020 22 23 IKA S2020

CMT
Lecture
BArch2
Franz Sam
BUILDING
TECHNOLOGIES Construct Architecture
I The course offers insight into
fundamental aspects of the con-
struction of a building. It starts from
a basic range of materials and their
various roles in building construction
in its different historical contexts.
Students will explore the relation-
ship between material properties,
technology and form as a defining
principle. In this, the aim is to de-
CMT
AU_1.15A Seminar AU_1.16
Wed MArch2 Thu
15.30–17.00 Thomas Schwed 10.00–11.30
PROFESSIONAL
velop essential knowledge about PRACTICE Project Evolution
basic structure and technologies,
as well as about their architectural I The lecture introduces the professional and legal
relevance in a broader sense. We foundations necessary for the practice of architecture.
will discuss historically important With a focus on the planning phases, we will analyse the
applications and put them in relation complex process of project evolution from the preliminary
to contemporary and cutting-edge design stage to the planning application and building
technologies. In doing so, we will permit, followed by the technical design for construction
reflect on building practices and in conjunction with the required project management.
architectural construction, provid-
ing a comprehensive overview of By looking at examples, we will understand the
construction technologies. process of design development. Informative site visits
and the opportunity to talk to experienced architects
at various offices will further add to our understanding
of the design and building process, and of how it is
structured and managed.

CMT
Lecture AU_1.15A
BArch2 Thu In addition, we will discuss the objectives of the
Rene Ziegler 14.00-15.30 planning phase, of building laws and regulations, building
BUILDING standards and various required calculations in relation
The course developes students’ understanding of structural and to the design process.
STRUCTURES material behavior. Here, the teaching of building structures is integrated
II into the design process. Thus, the students can directly apply this knowl-
edge to their design and obtain professional advice for specific projects.

CMT
Seminar AU_1.16

Liquid Compost. CMT ESC Studio Burning Down the House, Winter 2019. Photo: Lisa Penz
BArch4 Thu
Luciano Parodi 13.00–14.30
BUILDING
TECHNOLOGIES In Detail

CMT ESC Studio Burning Down the House, Winter 2019. Photo: Lisa Penz
III Building Technologies III aims to consolidate stu-
dents’ knowledge of building technology. The courses
subjects of discussion are the production of details
and the reciprocity between construction and detailing
processes. Details and its presence or necessity for the
production of buildings have been uttermost discussed
in architectural discourse, but so far only on a visual level.
Thus remaining the discussion on the surface of things.
We intend therefore to explore the genesis of ideas and
architectures departing from the very core and intrinsic
characteristics of the discrete detail.
IKA S2020 24 25 IKA S2020

Model of Vienna. CMT ESC Studio Raumpark, Winter 2019. Photo: Lisa Penz
ESC
Project Lecture AU_1.15A
BArch4 Wed
Franz Sam 17.15–20.15
SUSTAINABILITY I
The course Sustainability I is set up in a holistic way. It starts with
aspects of materials and technology, and leads to questions of social
behaviour and its impact on the sustainable development of structures
and construction. It provides an overview of aspects of and motives for
sustainable behaviour by looking at projects concerned with recycling and
upcycling. This will help students understand interactions and processes
of negotiating between social, functional and structural requirements.
Developing sustainable solutions under specific, social and technical
conditions encourages flexibility and creativity in making use of formal
possibilities, materials and technologies.

ESC
Lecture AU_1.16
BArch6 Wed bi-weekly

ESC
Project Lecture
BArch4
Thomas Matthias Romm
ECOLOGIES II
Sufficiency, efficiency and resilience are those
aspects of sustainability that we will rethink in terms
of architecture in this course: cogitamus.
Sufficiency – what is essential? Can we, for in-
stance, build a house from the resources we can find in
a 20 mile radius? What are the basic needs behind the
task, and what are its adequate means of construction?
Efficiency – optimizing input and output: Highly
industrialized production is providing food and energy
for more and more people, and a circular economy
AU_1.15 Thomas Proksch 17.00–20.00
Wed bi-weekly
17.00–20.00 SUSTAINABILITY II
“At the beginning of every project architectural solutions regarding the
Models of Sustainability there is maybe not writing but a site of a project, the specificities of its
– Sustainable Urbanism definition in words – a text – a con- urban structure, its landscape situa-
is based on ever more intelligent technologies for and Architecture between cept, ambition, or theme that is put tion and its socio-spatial conditions.
continued growth. Are we headed for a civilization of Claims and Reality in words, and only at the moment
efficiency (such as Japan) with artificial intelligence that it is put in words can we begin By means of reference projects,
as its final point? to proceed, to think about architec- we will discuss whether incorporat-
ture; the words unleash the design ing the principles of sustainability
Resilience – climate change is putting existing [...].” – Rem Koolhaas into the planning process can con-
structures under stress. The importance of various tribute to improving planning results.
regions and cities is shifting, even vanishing. Millions The starting point for the lec- The lecture will be conversational,
of people’s lives are affected by this change. A one- tures is my experience as a land- and will be accompanied by excur-
world architecture needs parameters enabling us to act scape architect and ecologist. sions and city walks.
so as to affect the universal setting of our collective
existence (Bruno Latour). For many years, I have been
contributing – as a consultant for
landscape design and together with
architects – to urban designs and

ESC
Lecture AU_1.15
BArch 6 Thu
Golmar Kempinger-Khatibi 13.00–14.30

CULTURAL
HERITAGE
II
“Buildings and towns enable us
to structure, understand, and
remember the shapeless flow of
reality and, ultimately, to recog-
nize and remember who we are.
Architecture enables us to place
ourselves in the continuum of
culture”.
Juhani Pallasmaa, The Eyes of the Skin
(1996)
Forever Young?
The lecture courses Conserva-
tion I & II deal with theoretical and
practical aspects of modern conser-
vation. They explain the meaning and
importance of cultural and natural
heritage today, the fields they cover,
and the values and definitions they
relate to. The courses will provide
an overview of the field’s history, its
significant movements and interna-
tional guidelines and institutions.
The practical part looks at the
interaction between the building
systems, materials, their surround-
ings and causes of deterioration.
ESC
Seminar
MArch2
It discusses sustainable retrofit-
Peter Leeb
ting and also looks at management
issues. WELL-TEMPERED
ENVIRONMENTS Countless technological in-
The application of theory in ventions have expanded the field
practice will be shown by analysing of possibilities for shelter produc-
case studies, short excursions and tion. For coping with heat and cold,
visiting exhibitions. Occasional guest protection from wind and humidity,
lectures will round out the program. and regulating sunlight and shade,
the new tools have been helpful and
have inspired us to push the limits
of architectural imagination. Yet eco-
nomic and ecological considerations
of resources, as well as their rela-
tionship with thermal comfort and
mobility, have raised questions with
far-reaching implications for architec-
ture. These questions, relating to the
AU_1.16
Thu
16.00–17.30
history, the methods and the scale
of providing comfort in buildings,
have moved to the centre of our
discipline’s attention.
In the course of the seminar, the
interdependencies between technol-
ogy, environment and human expec-
tations of comfort will be portrayed
as essentials for architecture, both
conceptually and constructively. His-
torical and contemporary examples
will be introduced, and perspectives
on future developments will be con-
sidered in a critical fashion.
IKA S2020 26 27 IKA S2020

HTC
Lecture AU_1.16

Diploma Salon Winter 2019. Photo: Lisa Penz

BArch2 Wed
August Sarnitz 13.30–15.30
ARCHITECTURAL
HISTORY II The following position is to be discussed: Architecture is a semi-au-

HTC
tonomous discipline aiming to design and enhance our built environment. Seminar AU_1.16
The term “semi-autonomous” reflects the different parameters on which MArch2 Block
MODERNISM AND the production of architecture depends, e.g. cultural, socio-economic and Andreas Rumpfhuber
CONTEMPORARY technological aspects. In addition, there will be a historical and theoret-
ical discourse on aspects of historiography. The aim of the course is to CONTEMPORARY
TOPICS Performing Fiction, Performing inar intends to analyse a practice of
promote a profound understanding of relevant background history as an DEBATES ON Architecture architect performance, challenging
introduction to modern and contemporary architecture.
ARCHITECTURAL the traditional, authoritative speech
THEORY The aim of Performing Fiction, acts of architects and their current
Performing Architecture is to theoret- status in public debate.
ically explore architect performance

HTC
Seminar
BArch 4
August Sarnitz
WRITING ON
ARCHITECTURE, The question of “notation” is of
great relevance in teaching history
LANDSCAPES and theory of architecture: In a rap-
AND CITIES idly changing environment, where
the pace of modernization never
decelerates, historical studies are of
crucial importance to the architect
in that they enable a broader sense
AU_1.16
Wed in public discourse. The seminar will proceed by
15.15–16.45 mapping as well as critically and
In this seminar, we will under- theoretically reflecting on architect
stand architect performance literally performance in public. Together with
positions of early modernism, clas- as the speech acts (Butler: 1997, external experts from the performa-
sical modernism, postmodernism 2004) of architects in public dis- tive arts, the aim will be to develop
and other “isms” will be discussed. course. In doing so, we will focus on experimental performative formats.
the figure of the architect and their
Some seminar sessions will re- interaction with the public. The sem-
volve around a selection of texts and
books or will be concerned with the
production of exhibitions. Readings

of cultural judgment about one’s
own time.
This seminar addresses the
classic themes of architecture and
urbanism in the 20th century. After
reading authentic texts, different
HTC
include, among others, Camillo Sitte, Seminar AU_1.16
Georg Simmel, Erich Mendelsohn, MArch3 Fri
Lewis Mumford, Kenneth Frampton Christina Condak 11.30–13.00
and Peter Eisenman. The aim is to
present various positions on “no- THESIS
tations” of architecture as a basis SEMINAR The Thesis Seminar offers seminars and guidance for independent
for an interdisciplinary discussion. student research, which should result in the comprehensive development of
a thesis proposal. The course provides general instruction in the definition,
programming and development of a thesis project. Students will prepare
their thesis proposals by specifically defining a question, developing a
working knowledge of related research in that field, and producing an

HTC
Lecture
BArch 6
Angelika Schnell
HISTORIES
AND THEORIES
OF CITIES
Starting chronologically with prehistoric and ancient
cities, the lecture will give both an overview of the
history of cities and of the history of theories of cities
up to the present day.
In an alternating rhythm, the lecture will explain the
historical, social and built reality of cities by means of
selected examples and the theories that have determined
or used them. The lecture discusses not only standard
theories by architects and urban historians such as
Leonardo Benevolo, Lewis Mumford and Ernst Egli,
which describe the structural development of cities,
AU_1.15A
Fri architectural hypothesis. The collected work of the seminar will provide the
10.00–11.30 necessary materials for the subsequent semester’s design experimentation,
testing, critical appraisal of the hypothesis and eventual thesis project.
The thesis argument will ultimately couple the specific resolution of an
architectural proposition with the response to a larger question within
architectural discourse.
but also theories and narratives that are based on
their social, political, economic and narrative aspects.
The lecture aims to show that theories of cities (even THESIS Seminar AU_1.16
architectural theories of cities) always imply a political MArch4 Mon
DOCUMENTATION Christina Condak 14.00–15.30
vision of society.
The aim is to foster a basic knowledge of the histor- The course focuses on the representation and documentation of the
ical development of cities; furthermore, to understand thesis project. It challenges the students to develop their theses through a
what theories of cities are and to raise awareness of continuous process of oral articulation, writing, drawing and documenting,
the theories of the society we live in, promoting an and enables them to formulate and structure their proposals. As the final
understanding that ultimately enables us to challenge synthesis of the graduation project, students submit their thesis documen-
the theories of architecture. tation in the form of a book putting forward their thesis. It presents their
hypotheses and methodology, includes research materials, the process
of production and documentation of the final thesis project.
IKA S2020 28 29 IKA S2020

GLC
DOCUMENTATION AND
REPRESENTATION IN
GEOGRAPHIES,
LANDSCAPES, CITIES
In collaboration with the course Mappings.
Participation in the exhibition “Boden für
Alle” at the AzW. Opening 18.11.2020.
“The map is positioned beween
creating and recording the city. It
is this dual function, that release
the imaginative energy of map-
ping, and which has consistently
attracted the attention of artists
as well as technicians to urban
mapping.”
Seminar
BArch2
Lisa Schmidt-Colinet
Visual representation, as a pro-
ject in itself, has the potential to re-
veal and uncover surprising realities
of places. The complexity of a site
obliges us to make clear decisions
and rigorously sort information, but
more importantly, it requires inventive
interpretations of and a position to-
wards the terrain observed.
This seminar explores how tech-
niques of representation, the selec-
tion of materials and the intentions
of a site’s description are strongly
interrelated. Gradual differences
between tools of representing ar-
chitecture as built form and modes
AU_1.15A
Wed
9.30–11.00
pendencies of a city fragment will
be investigated. The course opens
the scope from small-scale obser-
vation to the complexity of the urban
terrain, focusing on the forces and
processes that are the basis of urban
form. Students will discover how
a small site influences and affects
the larger scale of a city. They will
experiment with the visualization of
underlying processes – starting from
phenomenological observations and
moving towards an understanding of
effects, describing the territory as a
complex set of relations. In addition,
lectures will formulate a genealogy
of urban representations.
GLC
Project Lecture
BArch6
Gabu Heindl
STRATEGIES
FOR CITIES
Challenging from Within
By looking at different cities and through the close
reading of contemporary projects, competition briefs
and urban situations, we will try to understand the
embeddedness of urban developments in their specific
historical, political, economic and ecological circum-
stances. Can these conditions be challenged from
within? Can we as planners use rules and regulations to
other ends, find gaps in between areas of responsibility,
AU_1.16
Mon
9.00–12.00
misinterpret expectations precisely by taking them se-
riously? Through knowledge and understanding of the
factors and actors, the laws and contracts determining
our cities, perhaps we can find the means to shape the
urban fabric and the ways in which people are allowed
to inhabit it. In this context, a specific focus will be put
on the question of housing, as the main “mass” of city
building, regulated and controlled by manifold forces
outside the realm of planning.

GLC
Denis Cosgrove, CartoCity, in: Else/Where
Mapping of representing intricate interde- Project Lecture AU_1.15
BArch6 Thu bi-weekly
Christian Teckert 9.30–12.30

GLC
Lecture AU_1.15 URBANISM II
BArch4 Thu
Maria Auböck 15.00–17.30 Rethinking Urban Futures of the In a situation where no hegemon- the “city within the city” or the “city
LANDSCAPES AND Recent Past ic method or unitary approach can of exacerbated difference.” At the

Photo: Christian Teckert

GARDENS
As Christopher Alexander wrote,
“the thing which you make takes
its place in the web of nature, as
you make it.”
Bliss and Beauty for All
This module offers a lecture se-
ries about landscape planning and
landscape architecture, including a
field trip to relevant recent landscape
projects in Vienna. The main objec-
tive of this unit is to understand the
design of private and public spaces.
I want to offer the students insights
In a global context, we have to con-
sider the qualities of local sites, and
learn how to select vegetation and
material structures. The lectures
inform about cultural history, nat-
ural science and project-relevant
issues. Selected materials i.e. steel,
glass, stone and wood, and their
application in open spaces, will be
discussed. We have to learn from
The analysis of discursive forma-
tions in contemporary urbanism will
be at the core of the lecture series.
It will include fields like sociology,
art, media theory, philosophy and
critical geography, which have been
decisive for the current debates.
be detected in urbanism, and after
it has been claimed that urbanism
as a discipline is facing irrelevance,
this lecture series will be based on
a critical discussion of the crucial
theoretical debates and key terms
in contemporary urbanism, like “net-
work urbanism”, “tactical urbanism,”
same time, it will consider new
methodological approaches to the
realm of urban research, analysis
and mapping, which increasingly
represent an urbanistic practice in
their own right.

GLC
into the structure and conceptual today’s issues in order to project Seminar AU_1.16
quality of landscape architecture: future landscapes. MArch2 Wed
Antje Lehn 9.30–12.30

GLC
INFRASTRUCTURE
AND NETWORKS
“Hardly anything is more depressing
than going straight to the goal”
Cedric Price
This course uses (and abuses)
the concepts of infrastructure in
order to discuss the potential of
urban and architectural design.
Lecture
BArch4
Bernd Vlay
Cedric Price fundamentally
questioned how things are and
should be related to one another,
addressing the framework itself as
a fundamental issue of architectural
intervention.
Infrastructures are infamous for
FRAMING architecture: they have
to be there BEFORE architecture
can start its operation. The architect
usually has to navigate conditions
already present, predetermined by
the infrastructural elements.
AU_1.15
Fri bi-weekly
10.00-13.00
In this class, we will explore
and question this hierarchy, look-
ing at different phenomena of in-
frastructure and networks. We will
consider very diverse networks and
infrastructures, revealing their influ-
ence on the power, responsibility and
limitations of architectural thinking
and doing that is at the very heart
of architecture.
MAPPINGS
Mapping the Image of the City
The focus of this course is to
discuss historical and contemporary
cartography and mapping as tools
to describe and understand spatial
patterns and forms of organization
in society at large. It gives an intro-
duction to intensive and extensive
cartography, as well as issues related
to topology, topography and city
planning.
We will analyse maps as rep-
resentations of surfaces and space,
and expose their ability to show time-
based and topological relationships.
Filtering information and choosing
formal and strategic parameters
will help us to develop strategies
of representation taking into account
social behaviour, orientation and
territories.
In collaboration with the course Documen-
tation and Representation in Geographies,
Landscapes, Cities. Participation in the exhi-
bition “Boden für Alle” at the AzW. Opening
18.11.2020.
 IKA S2020 30 There is no application deadline and 31 IKA S2020
no admission fee. Further information
on the program: ika.akbild.ac.at/school/
admission/Dr_techn

DOCTORAL STUDIES For queries concerning the program,

please contact: arch@akbild.ac.at
Current Dr. Techn. Candidates at IKA

(DR. TECHN.) ANAMARIJA BATISTA

‘Krise’ als Denkfigur und Ihre Manifestation im städtischen
JAE HYUN LIM
Synthetic History: Unmasking the History of Tange and
Raum: Ein Blick auf die künstlerische, architektonische und Isozaki
Architecture, as a discipline situated between the Arts and Sciences, finds urbane Praxis. (supervisor: Angelika Schnell)
itself in a unique position. Even if classified as scientific program of study by (supervisors: Diedrich Diederichsen, Angelika Schnell)
statute, the design process and therefore creative-artistic thinking forms the core ESTHER LORENZ
of its education, thus architecture cannot be understood solely as an applied OLIVER DOMEISEN The Corporeal City.
science. Architecture cannot be considered as a purely artistic discipline either The four elements of architectural ornament - foundations for (supervisor: Angelika Schnell)
since its practice involves a wide range of scientific aspects that require a ration- a contemporary ornamental practice
(supervisor: August Sarnitz) MAHSA MALEKAZARI
al-analytic and/or interpretive approach. These aspects are prerequisites to, as Dancing to the Tune of Light. An investigation into ascertain-
much as immanent societal obligations of the discipline. PATRICIA GRZONKA ing discrete visual conditions through the active behaviour
Das Paradox der autonomen Architektur. Eine Untersuchung of the occupants.
Making research visible by means of a PhD program at the IKA emphasises der kunst- und architekturtheoretischen Position Emil (supervisor: Michelle Howard)
the particular position of the discipline. This has given rise to a distinctive, highly Kaufmanns in der Architekturtheorie ab 1930
original, concept of research which allows for both strict scientific research for- (supervisor: Georg Franck, TU Wien; second supervisor: MAX MOYA
mats – i.e. within the field of architectural history or material technology – and Angelika Schnell) Adolf Loos — a reflected, constructed narrative.
artistic research at the intersection of design practice. Consequently, Doctoral (supervisor: August Sarnitz)
WALTRAUD INDRIST
theses may include and focus on theoretical, historical, technical as well social 5 Häuser. 5 Familien. 5 Freundschaften – Der photographis- SIGRID PRINZ
themes. Additionally, Design based research equally qualifies as a research path. che Akt im Werk des Architekten Hans Scharoun zwischen Das Phänomen SPLITTERWERK.
1933 und 1945. (supervisor: August Sarnitz)
The IKA has offered a doctorate study program in architecture (Dr. Techn.) (supervisor: Angelika Schnell)
since 2011 which is open to students holding an appropriate university degree ACHIM REESE
in architecture (master, diploma). Candidates who wish to apply for the program CHRISTINA JAUERNIK Architektur nach dem Subjektverlust. Zum Verhältnis
are required to write a synopsis of their proposed dissertation project and are The figure is not with herself. Entanglements of the digital, zwischen Mensch und Architektur bei Charles W. Moore
technical and physical self in the artistic research project und O.M. Ungers am Beispiel ihrer Konzepte zum “Haus im
encouraged to approach a professor at the institute who could act as a super-
INTRA SPACE, the reformulation of architectural space as a Haus”.
Screening Earth Others at Filmmuseum Wien, with Vandana Shiva. Winter 2019. Photo: Lisa Penz

visor for their intended doctoral thesis. Once a supervisor is found the program dialogical aesthetic. (supervisor: Angelika Schnell)
normally stretches over six semesters. (supervisor: Wolfgang Tschapeller)
PAULA STRUNDEN
SOLMAZ KAMALIFARD Virtual and Augmented Reality as a Tool for Design
A Study of Natural Lighting in Interior Spaces as a Hu- (supervisor: Angelika Schnell; part of research project
man-Space Interaction Stimulus. Communities of Tacit Knowledge)
(supervisor: Michelle Howard)
MARA TRÜBENBACH
BERTAN KOYUNCU A Loom’s Influence: Handcraft and the Role of
Re-reading Henri Lefebvre Through Inside and Outside the Contemporary Aesthetic Education in British Architecture
Refugee Camps in Lesvos. (supervisor: Tim Anstey, Oslo School of Architecture;
(supervisor: Angelika Schnell) second supervisor: Angelika Schnell; part of research
project Communities of Tacit Knowledge)

RESEARCH PROJECT START 1 This project has received fund-

ing from the European Union’s
1 MARCH 2020 Horizon 2020 research and
innovation programme under grant
agreement No 860413.
Communities of Tacit Knowledge
Architecture and its Ways of Knowing1

For further information

https://tacit-knowledge-architecture.com/
IKA S2020 HITZE TAKES COMMAND 2 March
CALENDAR semester start

Diploma week 9–13 March

Diploma salon 21 April
Diploma week 20–24 April
Midterm reviews 4–5 May
Diploma week 8–12 June
Final reviews 15–17 June
Diploma exhibition 16–26 June

HITZE 2 Lecture Series: Sohyi Kim 16 March

Brian Cody 30 March
Claudia Bosse 20 April
Peter Sellars 25 May

APPLICATIONS MArch online registration 27 April–15 May

BArch online registration 18 May – 5 June
MArch + BArch interviews 6–7 July
MArch portfolio submittal 19 May
BArch portfolio submittal + exercise works 18 June

RESEARCH Communities of Tacit Knowledge: 1 March

project start

Academy of Fine Arts Vienna
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Institute for Art and Architecture
Academy of Fine Arts Vienna
Summer 2020
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Lisa Schmidt-Colinet
Werner Skvara
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