First Semester Group
Tutor Damjan Jovanovic
Physical objects workshop: Stefan Wieland and Sebastian Stöhrer
Dürerstrasse 24, studios second floor
JUNK CITY + COLLECTIONS OF DRAWINGS AND OBJECTS
During the first semester in SAC’s two-year programme, students are introduced to select design strategies and a discursive approach to architectural design. The exhibition of the First Semester Studio features three distinct parts:
- An interactive installation, Junk City, presents a computer game environment composed of a series of landscapes which are dynamically populated by digital architectural debris, leftovers, ready-mades and found objects.
- A selection of speculative drawings made through protocols for the translation of paintings into three-dimensional volumes.
- A collection of clay models that serve as a physical counterpart to the image projects.
Junk City and the exhibited drawings have been produced on the basis of a conceptual interest in “difficult images” in architectural design (collections, aggregations, strange wholes) and focus on the engagement of architecture with the contemporary digital image regime through protocols of translation, contamination and strategies of combinatorial modelling. The clay sculptures were developed in a workshop before they were scanned and their forms and surfaces digitally processed into the exhibited drawings.
Students: Thoufiq Ahmed, Sara Ather, Prateek Bajpai, Soubhi Baraghit, Jeevika Bassan, Dua Nur Ciftci, Aruna A. Das, Yunus Emre Demirkiran, Gencay Derbentogullari, Mijail Alexei Franulic Sippa, Fiorella Gomez Silva, Harshita Gowda Chamaraja, Tong Guan, Hasan Hamdan, Haewook Jeong, Suyoung Ko, Divya Kumar, Soonam Lee, Amelia Marek, Panagis Marketos, Sogol Moaven, Aniruddha Mukherjee, Yeon Joo Oh, Chiraag Punjabi, Jun Eui Song, Ashwin Bharathi V.S. Velupillai Sugumar, Chawapol Watcharasukarn and André Zakhia.
MASTER THESIS GROUPS:
Architecture and Aesthetic Practice
Professor Daniel Birnbaum, Professor Johan Bettum, Tutor Damjan Jovanovic
Dürerstrasse 24, Project Room, first floor
THE ARCHITECTURE OF VIRTUAL REALITY
During the academic year 2017-18, Architecture and Aesthetic Practice continues its exploration of architectural design through specific engagement of select tools and techniques. Medium-specific architectural design is at the heart of the discipline and has enabled historically many of its greatest inventions.
For the second year running, the studio works with virtual reality and invites its students to speculate on what architectural experiences this technologically-enabled realm makes possible. This includes, for instance, students exploring immerse space, the status and role of images as a cultural artefact in and for architectural design, multiple perspectives, and more.
At Rundgang AAP presents the first environments for virtual reality that have been produced in the studio this year.
Students: Kubat Aiupov, Nattabowonphal Cievanard, Ömer Kirazoğlu, Nur Faiza Mohamad Sadik, Isha Pundir, Sarath Saitongin, Adarsh Saravanan, Shuruq Tramontini, Nataly Voinova.
Advanced Architectural Design
Professor Theodore Spyropoulos
Dürerstrasse 10, I9, first floor
'There is a space between the individual idea and ideas shared by a collection of individuals that may only be understood through participation.’ Warren Chalk, People, Robots and Trees
The AAD Studio examines space as an interface. The work explores the human body as a conceptual apparatus to construct new relationships with an evolving ecology of interacting things. Unlike models of the past that abstracted the body as a measure of proportion as in the Vitruvian man, the body today is not holistic and singular. It is paradoxical, political and collective. The attempt here is to develop a methodology to explore the body as a site for examining communication, behaviour and the physiological entanglements that influence our experience of the world.
The projects are research-based and experimental investigations that commence with a conception of the body and extend this to other bodies and the city. The attempt is to construct architecture as an instrument that affords spatial models which challenge fixed and finite models towards the emotive and scenario-driven concept of a time-based architecture. The studio embraces what Archigram’s Warren Chalk once said: ‘We must construct a living paradox which is able to recognise conflict without emotion. The experience of what is, without naming it, brings about the freedom of what is.’
Students: Zi Yi Chua, Selin Erbay, Roberto Josemaria Saldana Gutierrez, Annalena Katharina Henssen, Istenc Ozge Kurnaz, Kishan Kumar Thasma Seshier Kuppusamy, Eda Tekirli and Fion May Yan Yim.
Architecture and Urban Design
Guest-Professor Peter Trummer
Dürerstrasse 24, seminar room, ground floor
DEEP READING OF BUILDINGS
In deep-hermeneutics, reading buildings as material objects is used to unfold a psychoanalytical reading of the particular culture that they belong to. In extension of this, a series of questions arise: How can we read a building through the objects that we can associate to it? Can we at all read a building or a city through objects rather than the intentions of their respective authors, the buildings’ respective contexts or programmes, or the immediate critical assessment of the work?
By proposing an object-oriented reading of buildings, this exhibition poses the question of authorship within the post-human Zeitgeist.
The exhibition presents a deep reading of the following buildings: Richard Meier’s Getty Center, Los Angeles, USA (1997) ; Arata Isozaki’s New Tokyo City Hall, Tokyo, Japan (1986) ; Le Corbusier’s La Couvent De La Tourette, Eveux, France (1957) ; Bernard Tschumi’s ZKM Center for Art and Media Technology, Karlsruhe, Germany (1989) ; Enric Miralles’ Olympic Archery Range, Barcelona, Spain (1992) ; Daniel Libeskind’s Edge City, Berlin, Germany (1987) ; Lebbeus Woods’ Underground Berlin, Berlin, Germany (1988) ; Morphosis’ 41 Cooper Square, New York, USA (2006) ; Álvaro Siza Vieira’s Iberê Camargo Foundation, Porto Alegre, Brazil (1995) ; Paolo Soleri’s Babel IID, Arizona, USA (1970) ; SANAA’s 21st Century Museum of Contemporary Art, Kanazawa, Japan (2004) and John Hejduk’s Wall House 2 (Bye House), Groningen, The Netherlands (2001).
Students: Leyla Aghayeva, Anna Arlyapova, Zeynep Beyza Danacioglu, Seyyed Saeed Hosseini, Felipe Antonio Mejia Huerta, Subin Jameel, Young Kang, Berk Ozata, Jose Luis Arias Reynoso, Mahima Koteshwar Suresh, Minnu Varghese and Marco Vargas Weers.