winter semester 16-17 compendium

WINTER SEMESTER 2016-17

COMPENDIUM

COMPENDIUM WINTER SEMESTER 2016-2017 PAGE 3

Dear Students,

DIA welcomes you to the Winter Semester 2016-17 in its Master Program which has taken up speed from having initially 10 students more than a decade ago to now about 220 participants from over 50 countries. The trademark of DIA is a multi facetted atmosphere within the course. And all this is mostly created by you.

As of 2010 the Directory Board at DIA decided to introduce a division of teaching into the First and Second Year. This is necessary to insure competent and thoughtful teaching at Mastercourse Level at DIA with its 200+ students. This means there are separate teaching units for the Compulsory Courses for each of the two years with a list of common electives which are offered and open for both years (First Year = 1st and 2nd Semester and Second Year = 3rd and 4th Semester). In the First Year, Studios offered run only over the period of one semester. This should give students a chance to experience different thematic possibilities before focussing on the Thesis Year.

I hope you can enjoy your time here in Dessau and take back both a unique academic experience and a valuable degree when you return to your home country.

The DIA teaching staff is looking forward to sharing this experience with you. If you should run into difficulties of any kind and at any time during your stay here, do not hesitate to contact us.

Kindly yours,

Prof. Alfred Jacoby, Director DIA

WELCOME W

COMPENDIUM WINTER SEMESTER 2016-2017

Campus Plan 4

Calendar 6

Modules & Credits 7

Compulsory 9

Studios First Year 15

Studios Second Year 29

Electives 41

Teachers & Team 57

Information & Imprint 74

CONTENTS


CAMPUS CADIA Academic Coordination & Administration Office:Bulding 08, Room 171 [email protected]

DIA Academic CoordinatorBeeke Bartelt

+49 340 [email protected]

DIA Media & PR CoordinatorLarisa Tsvetkova


DIA AdministratorUlrike Jost


CanteenExamination Office / Department of Students AffairsStudents Café Blue OrangeExpo WormDesign Faculty Desing Deans Office / Lecture Hall, Seminar Rooms Digital Workshop, Plastic WorkshopFacility Management Faculty Computer Pools / Virtual Reality LabWood Workshop, Synthethik Workshop Photo and Video Studio Modeling Workshop / Building Equipment Lab Graphic Workshop / Print Shop StudiosSecurity Office / University Post Office Lecture Hall, Seminar RoomsBuilding Material Lab / Metal WorkshopStudents Body / Students HouseGeoinformation und Measurement Faculty Lecture Hall, Seminar RoomsArchitecture Faculty AFG Deans Office / DIA Coodination Lecture Hall, Seminar Rooms, StudiosMedia Center, Computer Pools Time Lab / Digital Publishing, Interaction DesignGuest HouseStudienkolleg / University SportsAteliers Cutting und Laser Lab / 3D Printing LabTechnical Administration / Language Center MMH CoordinationLibrary

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CALENDERCA MODULES & CREDITS MSEMESTER MODULES 120 credits

SEMESTER I 30 credits

Studio I 10 credits

Urbanism I 5 credits

Compulsory Module I 5 credits - Arch. History and Theory I - German Culture and Language I

CAD logic I 5 credits

Electoral Compulsory Module I 5 credits - two electives

SEMESTER II 30 credits

Studio II 10 credits

Urbanism II 5 credits

Compulsory Module II 5 credits - Arch. History and Theory II - German Culture and Language II

CAD logic II 5 credits

Electoral Compulsory Module II 5 credits - two electives

SEMESTER III 30 credits

Studio III 10 credits

Urbanism III - Research Methods 5 credits

Compulsory Module III 5 credits - Arch. History and Theory III - German Culture and Language III

CAD logic III 5 credits

Electoral Compulsory Module III 5 credits - two electives

SEMESTER IV 30 credits

Master Thesis 25 credits

Master Colloquium 5 credits


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COMPULSORY COURSES

C1.01 Prof. Dr. J. Cepl Theory of Architecture I

C1.02 Prof. Dr. A. Haase Urbanism I

C1.03 Prof. A. Jacoby History of ArchItecture I

C2.01 Prof. Dr. J. Cepl Reasearch Methods III

C.01 A. Bokhari, Prof. E. Helter, CADlogic I / III Prof. K. Krastev, K. Soliman

C.02 S. Tauber German Language and Culture I / III

COMPULSORY COURSES 1ST YEAR

COMPULSORY COURSES 2ND YEAR

COMPULSORY COURSES 1ST & 2ND YEAR


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COMPULSORY COURSES

The act of architecture is, first and foremost, an act of mediation. Architects build ideas about buildings not buildings themselves; we construct sets of documents that in turn construct buildings. We dwell in media that we cannot claim as our disciplinary property; This lack of a clear self-image is where architec-ture is both empowered and weakened.

This inherent diversity of architectural mediations, from drawing to building to modeling is precisely where we find our disciplinary specificity: in the uncanny relationships and the bleeding of effects bet-ween these mediations. This produces a body of knowledge that is well separated from other disciplines, that has its own set of questions, its own history and its own community of obsessed individuals.

From the “Croissant problem” (Enric Miralles) to the “Potato problem” (Greg Lynn) to contemporary drawi-ng problems (Elena Manferdini) the history of the architecture of buildings also establishes a rich parallel history of the meditations that architecture takes part in as a disciplinary question.

The realm of drawings, the realm of paintings, the realm of renderings and realm of 3d models today are collapsing into strange forms of imagery precisely because of the use of contemporary media in the production and representation of architecture. Images of images of images, copies of copies of copies, abstractions of abstractions of abstractions; that is the contemporary situation of our discipline, where the concept of the “original” or the “real” becomes an almost nostalgic idea.

In this course the students will learn to produce and question the medium specificity of architectural drawings. Starting off from traditionally “non-architectural” objects we will begin to dismantle layers of mediation through 3d scanning, modeling and drawing exercises to point out and exacerbate moments within the whole spectrum between the representation and its object; addressing the “truth” content of every mediation. Consequently we shall bastardise and accelerate the mediums that signify architecture as a discipline and a practice. The course shall also include seminars addressing a few seminal texts out-lining the politics and history of the media that students will be working with.

C.01A CADLOGIC - THE MAP AND THE TERRITORY

ADIL BOKHARI

The crafts are elegant, sophisticated and futuristic - but are based on familiar aeronautical, sailing and wind technology principles. They use solid sails, much like an aircraft wing. The crafts‘ design achieves staggering efficiency.

We are talking about wind powered vehicles.

This year the compulsory cad logic course focuses on designing and modelling of three-wheeled wind powered vehicles. These amazing vehicles will have to take in consideration the aerodynamics and all the external forces acting on the design.

The final product will be presented in a short video and 3d printed. This video will present the project through all the different stages of our process. Starting from research, the first sketch, form finding, mo-delling, simulating till we come up with the final renders and animations.

C.01BCADLOGIC - WIND POWERED VEHICLEPROF. ERIC HELTER


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COMPULSORY COURSES

As the Earth’s population steadily grows, the availability of land and natural resources diminishes. En-vironments that are scarcely populated and have been traditionally considered impossible or harsh for habitation: the desert, the jungle, the subarctic zones, the ocean, or even extra-terrestrial environments, are now more accessible and prototypes for their habitation are being developed.

The students will explore an extreme environment of their choice, studying the strategies for survival, adopted by local species or ecosystems. Urbanization patterns and architectural strategies of local cultu-res, that have historically inhabited those areas, will also be a valuable source to learn from. While under-standing the limitations and potentials of the chosen environment, and exploring the possible methods to respond to the extreme conditions, the students will eventually develop innovative concepts for en-vironment-driven architecture and infrastructure. CAD software for modeling and environmental analy-sis will be used to construct, visualize, analyze and reproduce the formations that emerge within these extreme conditions, enriching the students’ skills and knowledge, while challenging their creativity.

C.01C CADLOGIC - EXTREME ENVIRONMENT

PROF. KRASSIMIR KRASTEV

This Semester the compulsory CAD-Logic course will be focusing on modeling the evolution of one site through time. In another words we will travel through time till the origin of a place. Particularly the famous Kottbusser Tor in Berlin.We will learn how to model using the tools Rhino and Grasshopper a very detailed buildings goes back till 20’s centuries. We will learn how to render them in a very high quality images / animations and how to prepare this material to be views in 3D with Virtual Reality Glasses. While in the Green studio the students are designing the future of the site, you in CAD-Logic course will be producing its past and present.In the end all of these footage will create a 3D moving pictures that the audience can experience them with the VR glasses and slide to move from one time to the other Virtual reality together with advanced modeling and rendered animation are a basic tools that each architect need to be equipped with to express their designs.

C.01DCADLOGIC - TIME TRAVELLING AND ADVANCED MODELING KARIM SOLIMAN


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STUDIOS | FIRST YEAR

S. Chermayeff Toilet Ideology

Prof. N. Fritz WE - Living at Oberhaven HH

Prof. A. Jacoby You will not get my Hate - Square Bataclan Paris

Prof. J. Kalvelage INEX - All Inclusive

Prof. J. Kister Cultural Center Zagreb

Prof. Dr. M. Kretzer Sensual Space - Adaptive Architecture of the Near Future

J. Meyer-Grohbrügge House of Welcome

Prof. R. Niebergall Island of Times

Prof. M. Rein-Cano Berlin Kulturforum - 20th Century Art Museum

K. Soliman Green Studio Vol.2 - Time Portal

A. Terragni Learning from Water - Contemporary Art Gallery Como Italy

J. Tratz, S. F. Ernst Law of the Jungle

STUDIOS 1ST YEAR

S1.01

S1.02

S1.03

S1.04

S1.05

S1.06

S1.07

S1.08

S1.09

S1.10

S1.11

S1.12


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“In a traditional German toilet, the hole into which excrement disappears after we flush is right at the front, so that excrement is first laid out for us to sniff and inspect for traces of illness. In the typical French toilet, on the contrary, the hole is at the back, i.e. excrement is supposed to disappear as quickly as possible. Finally, the American (Anglo-Saxon) toilet presents a synthesis, a mediation between these op-posites: the toilet basin is full of water, so that the excrement floats in it, visible, but not to be inspected. [...] It is clear that none of these versions can be accounted for in purely utilitarian terms: each involves a certain ideological perception of how the subject should relate to excrement. Hegel was among the first to see in the geographical triad of Germany, France and England an expression of three different existen-tial attitudes: reflective thoroughness (German), revolutionary hastiness (French), utilitarian pragmatism (English).

And this quote goes on.

We’re going to talk about how we live. We’re going to talk about assumptions. We’re going to talk about open living from detail into neighborhood. We’re going to do HOMES. We’re going to build things: mo-dels and plumbing.

S1.01STUDIO - TOILET IDEOLOGY

SAM CHERMAYEFFASSISTANT LENA POZDNYAKOVA

S1.02STUDIO - WE - LIVING AT OBERHAFEN HHPROF. NICOLAS FRITZASSISTANT ELEONORA POPOVSKA

Students make city centers lively and influence neighborhoods or even cities, such as Quartier Latin and Heidelberg. Living in cities is on the other hand side not affordable for many, including students. This crisis is often compensated by creativity, renunciation of comfort und living and shared flats.

Politics and cities see the necessity of providing inexpensive plots und making agreements with inves-tors to provide affordable housing. The City of Hamburg managed to keep an available plot in Oberha-ven away from luxurious housing investors. In this area, we can see a development with a creative center with ateliers, workshops and events location. Oberhaven has a central location, close to the Hafen City University, south from the Central Station und from St. Georg, in an area with a special milieu atmosphe-re, local culture and individual living concepts, still not destroyed by gentrification.

This extraordinary place should get additional, affordable housing. A special difficulty in this context is dealing with the high tide.

In the last years, the harbor in Hamburg had to reduce its´ functions such as trading and ship construc-tion. A lot of fallow land still has no future planning. This potential could be used for a special living and housing situation of students.

Unconventional construction concepts need to be developed, as students have special needs and ways of living. They could have a positive influence on the environment around them and contribute to res-ponsible, socially oriented city development.

Oberhafen as the chosen site is an example for many other plots in the harbor of Hamburg. A preliminary study has shown that living at the waterfront makes interesting and affordable concepts for construction and for housing possible. Students housing at the waterfront and on the water at Oberhafen needs to be developed with ambitious, experimental planning ideas. The results should become model projects, which are applicable to other areas of the harbor.


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In the past year, France has born the brunt as the country in Western Europe, that faced most of the deadly attacks orchestrated by radical terrorists:

In a first attack on Paris, 11 journalists of Charlie Hebdo a bi-weekly satirical comics magazine, were mur-dered alongside 6 people in a Jewish supermarket.

Not long after, on 15th November 2015 terror took Paris hostage once again: In 4 different locations wi-thin the heart of the city, terrorists attacked and massacred more than 100 young people who had gone out Friday night to start their weekend.

Finally on 14th July 2016, the French National Holiday, 80 people were killed by an Islamist terrorist truck driver in Nice.

On all these occasions, hundreds of thousands of Frenchmen and women took to the streets to protest the violent attacks.

Their intention was to defend a European Way of Life as well as to show respect to all the innocently slain.

The roots of such terror are a deep hatred of life, expressing itself through increasingly cruel horror.

Deep down, this contemptuous terror aims to ruin Rousseau‘s Social Contract, which has been the basis of our European humanistic traditions ever since the Age of Enlightenment.

Studio Task

This DIA studio will search for an architectural response to these cruel events.

Students in this Studio are asked to formulate and find their reply by designing their own architectural answers.

As a site for this endeavor, the studio will use Bataclan Square, located as a strip of green between Boule-vard Voltaire and Boulevard Richard Lenoir, directly across from the Event Hall Bataclan.

There, almost 100 young people were brutally slaughtered during a pop concert.

After the death of his wife at Bataclan, the French author Antoine Leiris wrote a moving letter on Face-book where he refused to hate. Under the title „You will not get my Hate“ his book has been published in 20 countries.

Excursion

The project will be accompanied by an 3-4 days excursion to Paris.

S1.03STUDIO - YOU WILL NOT GET MY HATE - SQUARE BATACLAN PARIS

PROF. ALFRED JACOBYASSISTANT ELEONORA POPOVSKA

INclusion and EXclusion both refer to the functional differentiation of our modern societies and, since functional systems are for the most part globalised, to a possible world society. This means they are relevant and applicable to almost any scale of human civilisation and to the various fields of planning, from local to global.

Inclusion is a sociological concept that belongs to system-theory. The term was probably introduced by Talcott Parsons. It cannot be detached from the complementary idea of exclusion Michel Foucault for example has described in detail. It has almost become common sense that architecture, urban design and urban planning need to consider and observe social actuality in the context of this dichotomy.

A very common and significant factor in this discourse is gentrification in urban areas caused by urban transformation, concentration of investments and the resulting changes in the real estate sector, which eventually leads to exclusion of those who are unable to keep up with advancing prices. Another field of application is accessibility, may that be to education or to built and urban environment for those with limited mobility, including people with disabilities, children and elderly people. On a large scale we can observe a correlation between spatial differentiation and exclusion, between formation of ghettos and segregation.

Like in other global cities, the population of Berlin, is increasing in quantity and diversity. Looking at the Neukölln district, we can see that a mix of different people is engendering challenges and potentials at the same time. While gentrification and shortage of housing are putting pressure on the local peo-ple, cultural projects and urban gardens, start-ups and neighbourhood initiatives are developing and forming a dynamic and exciting neighbourhood around our site. Tempelhof Airport in Berlin is a very interesting backdrop and cultural matrix for a project in this context, since its history and actual situati-on represents various aspects of a possible world society. The Berlin Airlift or the fact that the historical airfield today is an undetermined area of freedom for all who live in Berlin underline the conceptual importance of this place.

The studio site is flanking the airfield on a terrain in the former lane of approach east of the southern lan-ding strip. The lane of approach demanded a green zone without buildings, which still exists and offers an interesting challenge for landscape design. The adjacent “Schillerkiez” is one of the most interesting residential neighbourhoods of Berlin, incrementally shaped by the above-mentioned circumstances and forming a unique context for a new architectural and urban intervention.

Studio INEX looks at how architecture and planning can deal with diversity and what we as professionals can contribute to integrative neighbourhoods, including people of all ages and family structures, with different financial situations, those with and without disabilities, with and without refugee experience. The studio-project will focus on both an architectural and urban scale and a diversity of functions of human life, mixed use – all inclusive.

S1.04STUDIO - INEX_ALL INLUSIVE PROF. JOHANNES KALVELAGEASSISTANT HENRY MCKENZIE


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A place of culture, of arts is to be developed - a place where talents in the fields of fine art, architecture, literature and music live, work and come together. The stay in Zagreb should be an inspiration and arti-stic orientation for them. Centrally located and still surrounded by nature, with a courtyard and garden, the CULTURAL CENTER ZAGREB will be a place of creation and exchange, accompanied by events such as readings, concerts, exhibitions ..To learn about people, culture and architecture of Croatia, there will be an excursion to the capital and the country. For the studio excursion, we will go to Zagreb … then through the mountains and along the coast to Dubrovnik.

S1.05STUDIO - CULTURAL CENTER ZAGREB

PROF. JOHANNES KISTERASSISTANT DJAMILA PIETZNER

“In any creative medium, there has to be substance for the work to hold up. For example, a piece of music is not an answer. It’s a stimulus. It leads you to thinking and feeling a certain way, which you wouldn’t have done without that particular experience.”

Lebbeus Woods, The Reality of Experimental Architecture, 2004

Architecture, just as about everything else, is subject to continuous change and technological advance-ment. In order to remain visionary and challenge the status quo, architects not only have to keep up with current developments, improve their skills for cross-disciplinary collaboration but also be fluent in telling compelling and convincing stories.

Within this studio we will follow two distinctive lines, which will form the foundation for our architec-tural narrative. Line one aims at the macro level, contemporary global challenges or advances and their potential evolution in the next ten to twenty years. Analyzing these developments, their cause and ef-fect, we will find certain phenomena and consecutively extract a particular situation. If the challenge for example were global warming the phenomenon could be the melting of Siberian permafrost and the situation the spontaneous occurrence of sinkholes. In parallel we will look at the micro level, in particular systems and substances, which can change their properties in response to external events, often referred to as smart materials. Investigating a variety of such materials we will then make our own or adapt exis-ting ones to specific needs. These two lines are finally to be brought together in the form of a speculative adaptive architectural scenario, set within a near-future version of the selected context and enhanced by a - part real, part fictional - materiality that is capable of responding to changing conditions.

Equally or even more important than the final design will be the narration of the architectural vision and how this story has the strength to enthuse and inspire its audience. Just as the imagined future scenario, be it utopian or dystopian, the narrative should be able to touch and move on a sensual, emotional level and encourage its viewers to identify with the proposed design. Therefore context and content are to be emphasized. The results should be communicated in the form of short teaser-like video clips as well as physical, models and prototypes and possibly supplemented by plans and posters.

Depending on the amount of participants, students can work in groups of two to three. Additionally the elective course ‘Vermillion Sands – alive in dystopia ’ should be chosen, which focuses on the telling of architectural stories.

S1.06STUDIO - SENSUAL SPACE - ADAPTIVE ARCHITECTURE OF THE NEAR FUTUREPROF. MANUEL KRETZERASSISTANT ADIL BOKHARI


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This studio is concerning itself with one of the most urgent political and social question of today’s soci-ety: Migration.

The world has always been on the move. Migration, triggered by threats such as famine, war or natural disasters, political and religious persecution, but also by the hope for better economical conditions co-mes with each phase of history. At first those migrations were the response to historical events but then they themselves became the motor of change and historical development, both for the country of origin as well as the host country.

Population growth, global transport and media networking, but especially the intensification of violent conflicts and the widening gap in living conditions, has led to a Global Migration with unknown extent in recent decades.

The recent worsening of the Syrian war has expelled Millions of People out of their home country.

In search of a dignified life in piece and freedom many were and still are fighting their way to Europe - risking death, capture and deportation.

The politic of german Chancellor Angela Merkel among other reasons made Germany one of the top destinations for immigrants. It is now confronted with their biggest challenge of the century. If handled rightly this can be a big chance. Most of those refugees have a good education and could boost the economy on the long run. They could bring new blood and a refreshing exchange of ideas to the aging German society.

Still it comes with big challenges, social and infrastructural. Besides the urgent demand for new accom-modation the places of administration services, such as first registration, application for Asylum or Citi-zenship, Jobs and social services have to be upgraded.

The new House Of Welcome-Berlin should not only provide new capacities but be a welcome sign. It is not only for refugees and those seeking asylum but be for all people that come to Berlin and want to stay, also those applying for citizenship, students and temporary visitors. It also houses programs such as a Restaurant, an exhibition space, a library and event hall and workshop spaces.

The result is a place of cultural exchange for new arrivals and people who live in Berlin for a long time . It should draw attention to the fact that Migration plays and important role in Berlin and Germany. The diversity in our society should be seen as a normal state.

It is a truly public building, rendering services in its deepest meaning. The site in central location illustra-tes the value of cultural diversity for the urban development and gives the integration model a visible sign in the urban space. It should connect to the city and even more become a natural part of it. It should be a building that Berliners can be proud of.

How does our society encounter the influx of people with divers cultural background? How can pro-blems of acculturation be limited or avoided and the potential of immigration be used? How can im-migration be an advantage for he new arrivals and the natives? How can the German Willkomenskultur be expressed in a building?

S1.07STUDIO - HOUSE OF WELCOME

JOHANNA MEYER-GROHBRÜGGEASSISTANT LENA POZDNYAKOVA

Zeiteninsel – “island of times” is the name of an archaeological open-air museum which will provide insights into 11,000 years of the human and landscape history. The Museum is located in Hessen, Ger-many in the Lahn-valley. In the vicinity of the spot archaeologists found relics and artifacts of human settlement of all times: from the Mesolithic, the Neolithic, the Bronze Age up to the German Roman Iron Age. Construction works at the site and planting activities started in 2010/2011. In five “time stations” living history will be displayed. Each station consists of both building and fields and is placed into the reconstructed landscape of the relevant era. Workshops and demonstrations that make ancient times come alive are part of the concept. The task of the studio is simple: to design a small visitor centre for this open-air-museum. But the objective of the studio goes beyond. Visitor centres of an archaeological site are singular buildings which often obtain their uniqueness by referring to the special content of the exhibition. In our case several topics can be addressed, leading us to the essence of architecture. Ele-mentary needs had been the reasons to build over all times: shelter that protects people, livestock and goods against climate and threats, posed by wild animals or enemies. The need for warmth, fire as one of the first human inventions, shaped a “thermal space” that made community possible. The creation of architectural spaces had always been dependent on both, the technological knowledge and skills of the builder and the social, cultural and economic status of a community. The necessity to use local materials and the inventive genius of our ancestors bore highly reasonable constructions of simple beauty. How to transpose these essential drivers of civilisation and architecture into a contemporary building of a serving character? The visitor centre does not host the exhibition itself. Therefore it should not compete with the exhibits displayed in the outside area. But it should be a distinctive sign for the “Island of Times”, perceptible over a long distance in the gentle landscape, creating an unobtrusive but memorable brand.

S1.08STUDIO - ISLAND OF TIMES PROF. RALF NIEBERGALLASSISTANT ANDJELA BRASANAC


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The studio task is the design of a museum building of 20th century art located in central Berlin. Based on a current international architectural competition, the building site is the Kulturforum, which poses an array of urbanistic, and site specific complexities related to a dynamic architectural and historical context specific to the city.

Located in the direct vicinity of two of Germany’s most important architectural icons of the 20th century (Neue Nationalgalerie, Ludwig Mies van der Rohe, 1968 and Philharmonie, Hans Scharoun, 1963), as well as in the environs of further architectural monuments (St. Matthew‘s Church, State Library), the design calls for a particularly attentive architectural approach. Within this cluster of architecturally unique and historically divergent buildings, the new museum design is to appropriately intermingle while genera-ting a strong identity within this complex context. Further, as a museum to house 20th century artwork, including new media forms of video and installation, the new design will consider the interior spacial necessities of contemporary art exhibition and the corresponding flows and circulation.

Zooming out to the larger city picture, characterised by the collection of unique yet mutually comple-mentary urban architecture in a “flowing“ urban space, the exact placement of the new building needs to thoughtfully interweave within the urban context, aiming to improve the circulation, urbanistic situa-tion and open space quality within the area.

S1.09STUDIO - BERLIN KULTURFORUM - 20TH CENTURY ART MUSEUM

PROF. MARTIN REIN-CANOASSISTANT ANDJELA BRASANAC

The Green Studio is a design studio that experiments using the computational tools to design built en-vironment that can be rendered in all kind of medium. Following the footsteps of last semester we are will design the built environment that replace the green Chroma in post-production of movies

Last year we were realizing the utopias and dystopias from our favorite Sci-fi novels and our favorite super hero comic books. This semester we will travel in one place through time starting from its origin to understand why the place was created in the first place, how it ended up as it is today. So we can predict how it should be in the future. In another words, we will have to travel to the past to know where we should head to in the future.

We will travel through time in Berlin, particularly in the famous Kottbuser Tor. Our Design challenge is to design this plaza according to our needs in year 2100. All the studio will work together to put a vision for the site in 2100 reflecting the change that will be happening in communication, transportation, building typologies and building programs. Also dealing relationship between public and private spaces. After setting the vision all together, each students will design fully detailed building / part of the masterplan. Finally will combine all your work together to produce the studio’s vision of the future.

You will be introduced to an algorithmic design flow that we will expect you to design entirely your building with in Grasshopper. Shape, structure optimizations is part of your task to deliver high quality detailed building.

In order to predict the future, we will need to intensively investigate all the technologies that would affect our daily life from mobility, communication, leisure, business. Also topics such as Robots and Arti-ficial intelligence, human cloning, augmented reality and many others.

We are lucky enough to live in a time where a shifting paradigm is happening in our life may be more radical than modernism in its time.

Today our reality won’t be confined by what we can touch only. You will be able to slide between one time to the other to experience the same space in different time intervals (past-present-future). Through virtual reality glasses. So this semester in our final product we will take the experience to the next level. Instead of designing for 2D movies trailer, we will produce footage for a fully immersed 3D experienced with Virtual Realities glasses.

We will visit the site during the excursion week together with other related sites and museums in Berlin to understand the layers of the city.

In the Green Studio, intensive group work in the studio space is a common culture. using the computa-tional tools and advanced modeling software such as Rhino and Grasshopper , gaming software such as Unity 3D or Unreal engine to create interfaces and VR experience, and post production, editing tools such as adobe Photoshop, Premiere and After Effects is compulsory, previous knowledge of these tools is highly appreciated.

If you won’t design your future, you won’t have one!

S1.10STUDIO - THE GREEN STUDIO VOL.2 - TIME PORTAL KARIM SOLIMANASSISTANT KSENIA KALACHEVA


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STEEP GREEN MOUNTAINS PLUNGE INTO THE MIRROR OF WATER THAT

CONSTANTLY TRANSFORMS THEIR POWER AND THEIR FATE IN A FLUID AND

REFLECTIVE SUBSTANCE.

Mixing Fluidity Fade Double Support Graft Scroll Faithful Life Unfinished Regenerate Tears Reflect Fun Elusive Dissolving Sensual Matches Ghosts Living Imagination Content Source Eco Sublimation Appea-rance Irreality Evasions Dynamic Virtual Intangible Delicate Fragile Future

The proposed project for this semester is a contemporary art gallery in the city of Como in Italy. The project area is located in one of the most extraordinary squares in the world, for the presence of all the historical periods of architecture. We are in the land of the ancient Comacini Masters and of classical and modern builders, with unique buildings as the Cathedral, the theatre and the Casa del fascio!!

Around the irregular shape of the central square, cut in two by the local railway, there are:

1-the ruins of the ancient roman city 2- the nineteenth-century arcades, 3- the medieval cathedral with dome by baroque architect Filippo Juvarra 4- the neoclassical theater 5- the Casa del fascio, built in 1932-1936.

A historical arc of impressive unique pieces, whose living forces produce a sensational dialogue through the time of formal imaginations and materials.

To the side, above the sediment of the railroad, the area of the project for a contemporary art gallery, that th city really needs. This new building should have a new character which can arise next to the past mas-terpieces from the knowledge of the contemporary world and the new character of the XXI century city.

The city has an urgent need for an exhibition space that can also be the a new poetic seed for the revi-talization of the existing.

The Comacini Masters have built the medieval volumes, the Renaissance and the Baroque in Rome, the arcades of the neoclassical fantasy. All this buildings are magic rational, built in a spirit of CONTINUITY largely innate and due to the special geography of Italy.

The project involves an initial phase of historical and geographical study of the water of the lake as a material and as psychological element for an architectural composition.

Think of a beverage of success like the Coca Cola. What is it? It is a mixture of substances that colors the water giving it a unique and recognizable flavor, new and old.

The right combination for the success of a new taste!

The new contemporary art gallery aspires to be a combination of architectural histories

into a psychology of water: making the taste of our age!

S1.11STUDIO - LEARNING FROM WATER -

CONTEMPORARY ART GALLERY COMO ITALYATTILIO TERRAGNI

ASSISTANT KSENIA KALACHEVA

Retrofitting Berlins green Belt!

Whereas the law of the jungle constitutes an idea of “anything goes”, the Berlin building code is quiet the opposite. Without going all “survival of the fittest” we want to explore the power of law and legislation. Different semi urban settings on the edge of Berlin are confronted with re-densification and changing social needs / models of living. Every student will analyze the current situation and inscribed potentials and possibilities within the Berlin building code. To develop his or her idea of living, one is allowed to alter the existing rule set. One rule can be altered, changed or added and the resulting architectural and urban effects will be developed in designs and drawings in different scales!

S1.12STUDIO - LAW OF THE JUNGLE SEBASTIAN FELIX ERNST, JONAS TRATZASSISTANT HENRY MCKENZIE


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STUDIOS | SECOND YEAR - THESIS

Prof. A. Buchholz, BAR Architects Building Platform

Prof. R. Bundschuh Social

Prof. Dr. J. Cepl The Office Building, Artistically Reconsidered

J. Fach, I. Boscolo Recovery

Prof. Dr. A. Haase Rural towns – Urban Villages

Dr. G. Hartmann Urban Design in Times of Environmental Policies

Prof. E. Helter Smart Future Factory

Prof. K. Krastev Nathan’s House

Prof. I. Kucina Made of Crisis

Prof. Dr. S. Reich, Prof. S. Worbes Smart Bridge

Prof. P. Ruge SR Special

STUDIOS 2ND YEAR

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We will explore the future direction of the contemporary city, through the example of Berlin, and its rapid physical and social transformation. Our focus will be the notion of the everyday in a post-fordistic age, where new overlaps of work/live situations evolve, combined with the need to have good access to education, culture and social facilities. The question is, whether these new overlaps of uses will create a new culture of integration and ‘platforms for exchange‘. To reflect this, our approach in the 1st semester will be twofold: to study everyday activities, building up our knowledge and finding ways to represent this knowledge; and to develop a physical frame which, by means of scenario planning, will be used as a testbed for integrative building structures. We are interested in an alternative form of development, where architecture is not merely a ware, but a living structure with the ability to adapt to changes in the life of its inhabitants/communities. Thus building platform aims to develop strategies for a spatial frame as well as an understanding of the underlying social networks and the potential for social interactions.

In the 2nd semester we will elaborate the prototypes of building platform and place them into the exis-ting fabric of Berlin. We will identify (specific) sites in Berlin at the edge of an inner-city area with a diversi-fied building stock, that is currently in a state of transition. This experimental confrontation between our abstract concepts and the concrete necessities of a place will allow us to speculate on the catalytic effect of your design. The design process will be consolidated through an examination of the urban context in its physical and social structure on one side, and the application of experimental representational tools such as modelmaking and the animation of changing spatial situations. We will look at how the new spatial configurations, interlock with everyday life and investigate their potential to directly inform the future of the urban milieu.

Studio method – The working process will be organised in different steps and will use different repre-sentational tools, as well as going on studio trips. During our first excursion to Berlin we will build a 1:1 project and create a social event around it. In the course of the project each student is free to develop her/his own design. The concentration on the individual design project will alternate with collective workshops and studio discussions. Theory will be introduced through discussing key-texts on relevant topics. Over the course of a year we aim to create a vivid studio culture, with students who are passionate to engage with the urban everyday.

S2.01STUDIO - BUILDING PLATFORM

PROF. ANTJE BUCHHOLZ, MICHAEL VON MATUSCHKA, JÜRGEN PATZAK-POOR

More than ever, the concept of the individual and his role in the social collective is being debated - and fought over – around the world. The idea of establishing rigid normative standards of social interaction (which includes – by definition – the negatively connotated concept of deviancy) is as popular as it has seldomly been before.

All around us, we can observe these concepts clashing. On the political scale we observe religious wars raging in many parts of the world where the protagonists claim hegemony not only over physical areas but, more essentially, over what constitutes acceptable normative behaviour in these areas. On the ar-chitectural scale, we see hermetically sealed ultra-high-end condo towers sprout up next to wide-open community gardens, new extremes of spatial proximity and seperation develop more or less side by side.

All of these phenomena revolve around the rather simple question: how do we live as individuals in a group? On the level of architectural design, we have to ask ourselves how the spaces of interaction shape the way we treat each other in the social sphere. What are the possibilities, but also the limitations of social space?

This central question of architectural thought and practice will be addressed through an extensive col-laborative research phase in which we will examine the historical development of spatial strategies re-volving solely around the concept of public interaction, of explicit “socializing”. We will concentrate on spaces whose primary, if not perhaps sole, purpose is social exchange and will delve deeply into the spatial characteristics of such diverse social spaces as the political meeting hall, the ballroom, the bar, etc. Our interest will be in identifying the social and political context in which these spaces evolved, how they were shaped by this context and to apply this knowledge to formulating both spatial strategies and possible social spaces of the future.

As in all Studio Bundschuh thesis projects, we are interested in the underlying question of the possibi-lities and limitations of architectural thought and practice in itself, both as an abstract discipline and as the very immediate and personal practice of each student.

You will be challenged to formulate a very personal approach to the problem solving process and to develop an elegant and highly coherent narrative before translating this narrative into a major architec-tural project. Program formulation and site selection will be done individually and will develop out of the specific narrative.

S2.02STUDIO - SOCIAL PROF. ROGER BUNDSCHUH


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Though office buildings play an important role in contemporary practice, they are rarely explored in the design studio. This is even less comprehensible if one recalls that office buildings have also been of seminal importance for the development of modern architecture.

Describing his 1923 prototype for an office building made of concrete, Ludwig Mies van der Rohe decla-red that one had to “Create form out of the nature of the task with the means of our time.” The office building allowed him to exemplify this claim: It was a decisive typology to show what modernity meant. And he wasn’t the first to realise this: The need to find a new formal language that would express the tasks and means of the time had already been declared by Louis Sullivan, about a generation earlier. In his seminal essay “The Tall Office Building Artistically Considered” (1896), Louis Sullivan argued for sol-ving the then novel task of finding appropriate forms for huge structures solely dedicated to business and administration. He held that “form ever follows function” and called for a design approach in which the repetitive nature of the office building would find proper expression.

In principle, office buildings haven’t changed much since. Most of them are still mainly defined by grids of structural supports that facilitate the flexible placement of interior partitions, while the exteriors re-flect this indeterminate arrangement in more or less monotonous facades. But in recent years we have both gained in understanding the nature of the workplace, and, with the digital increasingly taking hold of our lives, we are probably facing more pervasive changes in the way offices are set up. Hence it is about time to have the office building artistically reconsidered.

In order to do so we will have to explore the office building in several respects: in its interaction with the urban context, the arrangement of its floor plans and the design of its interiors, and, last but not least, in the formal representation of ‘business’. We will start with exploring the current practice and theory of office building. In order to produce a variety of examples to be explored and compared, students will then have find their own case studies and propose an office building for a (fictitious) client, so that we can jointly explore the design principles we want to develop, down to the handling of the facades and the details of interior design. Thus the office building will serve as design task that is both realistic and sufficiently generic to allow for in-depth inquiries into built form. Getting acquainted with this task should, hopefully, also provide students with a specific expertise that will ease their entry into practice.

S2.03STUDIO - THE OFFICE BUILDING, ARTISTICALLY RECONSIDERED

PROF. DR. JASPER CEPL

In a health obsessed society, in which fitness clubs and organic food stores spring up at every street cor-ner, the loss of agility and productivity is not an option. Hence, whenever bad luck does strike, it causes daily routines to collapse. Recovery always takes too long and lasting dysfunctions are ruinous. As such, our health has become part of a social equation, differentiating often underfunded public care from exclusive private rehabilitation centers. Additionally, the ownership of health-related data has become highly sensitive, as it is utterly valuable to both pharmaceutical companies, as well as future employers.

Overall, however, the health care industry is one of the most reliably growing ones of recent years. Hos-pitals have expanded into imposing conglomerates of impenetrable bigness that often fail to connect to their context on almost every level. Pharmaceutical enterprises treat themselves to lush campuses, marking their newly acquired power and influence.

Keeping all of the above in mind, we will commence the semester by looking at the human body itself, understanding its organic functions and amazing resilience, but also study sports injuries, chronic disea-ses, psychological instabilities, drug addictions and their respective treatments. As the radius of mobility become restrained, the design of immediate surroundings becomes crucial. We will thus speculate on productive environments for recovery, imagining paradisiacal states of urban arcadia in which physical rehabilitation overlaps with exciting cultural programs, making every step of a recovery an exciting one for both body and mind.

S2.04STUDIO - RECOVERY JORIS FACH, IGNACIO BOSCOLO


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Theme - The theme „Rural towns –urban villages” faces a continuous phenomenon of urban change with the consequence of losses. The loss of the legibility of spatial contexts, the loss of small-spatial changea-bility and accordingly the loss of a varied usability. The statement of these losses is backed by the notion of the uncontrolled growth of functions and their shape in built form. This relates to the immigration of people into cities according to their search for labor and relative to the closing of agriculture in periphe-ries which were last offers of labor there. Such processes result in fragmented urban and fragmented rural spaces. The form-giving of spaces might be a key to a comprehensive vision for the formation of contexts.

Stage of knowledge - The international discourse about the theme can be taken from the slogan „Bring the village back into the city“ (s. Boris Johnson, Mayor of London, during the opening reception of the London Pavilion, MIPIM International fair for Real Estate Management, Cannes, 2013). This implies the – even economically reasoned - understanding that villages still represent traditional contexts of land-use, use-related communities and built form arrangement, whereas towns had to quit such qualities during industrial development. Informal settlements have therefore become a subject in the field of urban transformation, as they show a more definite differentiation of spaces than regularly planned, by public money implemented, functionally optimized urban spaces, specifically those ones from the time of restructuring industrial development in the 1960ies and 1970ies in Europe, - when the industrial crisis was well known already. Un-built interim-spaces, walled gardens, outlooks into the landscape … are an expression of resources for change, also phenomena of an enduring culture of dealing with urban open spaces and their recognition as the highest good of a culture in densely built and used urban areas.

Aim - Phenomena of fragmentation under the pressure of investment can be localized and identified. The major aim is to create more authentic and, this way, also better perceivable conditions of space – by means of transformation design for structuring new units of use and transformation, which are

- innovative in built form arrangement and differentiation of spaces - preservative in applying rules of construction and local material in the making of architecture and open spaces with benefit for land use, image and atmosphere.

The balance between contextual design and innovation needs to be discussed, tested, evaluated and creatively responded to.

Method - Research in the studio about Rural towns – Urban Villages will be introduced by an excursion/ workshop to Gozo, focusing there only on the case of Gozo in rural conditions This research will be star-ted and carried out in cooperation with the Department of Agriculture, Ecotrophology and Landscape Development, Bernburg and the Master of Monumental Heritage, Dessau, covering the aspects of

- shaping land use and built form arrangement – originally for agriculture, based on knowledge about the environment and society- understanding and respecting the historically valid rules of composing a village - by heritage and pre-servation as well as by continuing traditions innovatively according to contemporary needs.

On this basis, individual case-studies in the countries of origin of the students can be started and led to positions about urban transformation in between towns and villages.

S2.05STUDIO - RURAL TOWNS - URBAN VILLAGES

IN COOPERATION OF DIA AND MMH, DESSAU AND LANDSCAPE DESIGN, BERNBURG

PROF. DR. ANDREA HAASE

In the present age, humanity has affected the planet by altering its climate, depleting its resources, and eroding its biodiversity. This demands long-term thinking and challenges us to find systemic and sus-tainable approaches. In particular, Urban Designers ought to acknowledge that the familiar sphere of their profession is changing rapidly. Urban implementations are nowadays steered by a wide variety of specialized planners, each guided by their own value assumptions, resulting in a diverse matrix of (claimed) truths. In consequence, for the Urban Designer, the question arises, how to engage in the in-creasingly complex design process?

Throughout the fall semester our studio discussions and collective research will collate data on a wide range of environmental policies and programs that address climate change, i.e., energy transformati-on, urban resources and consumption, land use, transportation and mobility, and outdoor air quality. In conjunction with the elective “Urbanization, Cities and Environment,” a number of workshops and lectures by various experts from the German Environment Agency (UBA) will be offered. The aim of the studio’s collective research is to produce a source book for urban design that synthesizes between the di-verse knowledge of professionals in their fields. Our collective studio discussions shall build a framework from which each student is asked to depart. You are encouraged to work problem-oriented and develop your own thesis topic by the end of the semester. The aim of this semester is to produce a wide variety of urban studies within various cultural contexts.

S2.06STUDIO - URBAN DESIGN IN TIMES OF ENVIRONMENTAL POLICIESDR. GUNNAR HARTMANN


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What would happen, if we consider in the future buildings as raw material depots?

How do we achieve greater flexibility in the infrastructure, the building and the interior design?

What if manufacturer take-backs and leasing come to the center of attention in building design?

What would a factory look like, if the future production no longer works according to the timing cycle of the assembly line, but more under the consideration of job contents?

What is the design of a factory, if autonomous, intelligent robots transport the cars from one workstation to the next?

Together with one of the most successful and well-known automotive manufacturers in the world, the Audi AG, we start an extraordinary collaboration this semester, to work on solutions for this challenge.

The aim of this cooperation is to develop the factory of the future.

Thus, our revolutionary beginning will be in an absolute contrast to our current way of designing buil-dings and material handling. It’s time to strike a new path!

This studio provides students the opportunity to work with and for a global company. It is also possible to use this topic for a masterthesis.

In this studio everything is ambivalent and without borders, everything is possible.

An excursion to the Audi headquarter including a visit of the Audi Forum and the car pro-duction halls in Ingolstadt / Bavaria is scheduled!

S2.07STUDIO - SMART FUTURE FACTORY

PROF. ERIC HELTER

Ex Machina is a 2015 science fiction thriller, set mostly inside one house. Nathan is the creator of an in-telligent humanoid machine, called Ava. Caleb is a talented young coder, whose task is to interact with Ava and conclude whether she possesses consciousness, or in other words, perform a Turing test on her.

The architecture of the house plays an important role in the evolution of the plot, as each of the cha-racters exhibits a unique personal relationship with the house. The building itself is stylish and sleek, equipped and technically customized to perfectly serve the needs of its owner, Nathan; while completely confining Ava; and creating a staged, somehow restrictive environment for Caleb.

The students are challenged to develop architecture, conceived and designed to interact with both hu-man and artificial intelligence. It can be a single building or many; a public space, a landscape, or larger urban formations. The title of the studio, “Nathan’s House”, refers to a symbolic embodiment of the relati-onship between the built environment and the intelligence of its designers and its users. For this studio, movie characters themselves are viewed as embodiments of the different forms of intelligence involved in the life cycle of architecture.

Nathan Bateman is imperfect: he drinks and is accused of “lying”. But he is also the designer and architect behind Ava - he is her “creator”. He is the one that seems to control the performance of all systems in the house. For the purpose of this studio, Nathan would embody the architect’s intelligence, and all the tools and aids used in the design process. In other words, this is the student himself. Someone very creative, but also imperfect: with unique skills, habits, lifestyle, aesthetic taste and beliefs.

Ava, the intelligent machine in the movie, is confined within the house, but desires freedom, especially because she fears her chance for survival if she fails the Turing test. It seems that her self awareness of her imperfection makes her adaptable and ultimately helps to win her freedom. For the purpose of this studio, Ava would be the embodiment of artificial intelligence that interacts both with buildings and their users. Other than humanoid form, she could be the intelligence of any technology that is integra-ted into the fabric of the built environment, as well as robotic toys, computers, apps. For this studio, the significance of her role is that she stands at the front end of a feedback connection between the user and the built environment.

Performing the Turing test on Ava, Caleb is actually the user for whom she was designed. He actively engages in dialogues with Ava and the house seems to stage, as well as restrict their interaction. For the purpose of this studio, Caleb is the intelligence of the user and the client. To embody this intelligence, the students would develop the profile of a close friend, perhaps a classmate, or the collective profile of a group of people. Caleb embodies the unique knowledge, habits, desires, and above all - the intelligent criticism which closes the feedback loop between designers, built environment, and users.

S2.08STUDIO - NATHAN’S HOUSEPROF. KRASSIMIR KRASTEV


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This studio has been generated from the initiative of a group of DIA students who wanted to join Haiti Project which has been developed at HS Bachelor Program. Since the goal of Haiti Project to fund-raise, design, and build an ambulance in Jacmel does not offer enough complexity for thesis project, elective course Architecture of Informality was organized last semester as a platform for debates which would help students to formulate their briefs for the future Thesis Studio. Questions that were discussed during the course inspired students to think beyond specific post-disaster rebuilding process in Haiti and to spread their researches on other cases and with other priorities in mind. Common matter to all their questions was a thrill to find architectural respond to the emergence of crisis, such as natural catastro-phe, but also, financial crisis, political crisis, social crisis, environmental crisis, humanitarian crisis, ideo-logical crisis, debt crisis, urban crisis, housing crisis, demographic crisis, job crisis, human crisis, refugee crisis, health crisis, mental crisis, identity crisis, emotional crisis, artists’ crisis, architecture crisis… In order to respond to students’ shifting interests, Thesis Studio is formatted in such way to provide space for personal briefs about various manifestations of crisis. Studio is open to students who were taking part in the debates during last semester but also to all other students who want to join. We will study crisis that are determining our existence and look for the ways to make our living environment more responsive, more resilient, and more regenerative to unforeseen rushes.

S2.09STUDIO - MADE OF CRISIS

PROF. IVAN KUCINA

Aim is to establish a lighthouse project in the city of Chemnitz by the design of an cutting edge bridge concept including the use of high performance building-materials and innovative materials like textile reinforced concrete or glass fiber lightweight construction.

These modern materials will be a specific influence on your work with regard to weight, span width and way of construction for both the formal and economic acceptance of this project.

The bridge will become a crossing of a railway area as a connection for bike and pedestrian traffic as well as for winter road clearance or e-mobility between Altchemnitzer Str. and the University Campus at Reichenhainer Str.

This workshop represents the start for a feasibility study and will be a initial point for a preplanning to the bridge building.

S2.10STUDIO - SMART BRIDGE

PROF. DR. STEFAN REICH, PROF. STEFAN WORBES

The Silk Road or Silk Route was the greatest route known in the history of mankind and formed the first land and water bridge between the east and the west connecting China to the Mediterranean Sea. Trade on the Silk Road played a significant role in the development of the civilisations of China, the Indian subcontinent, Europe and Arabia, opening long-distance political and economic relations between the civilisations and cultures. Mahayana, Theravada, and Tibetan Buddhism are the three primary forms of Buddhism that spread across Asia via the Silk Road.

Forgotten over centuries the New Silk Road as Eurasian Land bridge started 2011 to connect Chongqing, China with Duisburg, Germany cutting travelling time from 36 days by container ship to 13 days by freight train.

Studio SR Recall stimulates key strategies and actions for a sustainable development of the Silk Road and the region, safeguarding its cultural and environmental resources. Already 33 countries are participating in the UNWTO Silk Road programme focusing on a touristic development of the region.

Not limited to a tourist‘s feature a sustainable development could be a trade mission, a passive house, training and education centre, a museum, a garment production, a piece of infrastructure, a new way of living...

Studio SR Recall fosters collaboration between the cultures and stakeholders. It endorses and drives implementation of best concepts to stimulate a sustainable development in order to reduce poverty and create comfort, safeguarding the cultural and environmental resources of these unique destinations linked by a shared history.

S2.11STUDIO - SR RECALLPROF. PETER RUGE

COMPENDIUM WINTER SEMESTER 2016-2017 PAGE 41ELECTIVES

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K. Soliman Building DIA 3D jewelry pavilionE.18-W

Dr. R. Bittner Architecture of Everyday

Prof. A. Buchholz, BAR Architects How Architects Work

Prof. R. Bundschuh Dance! Dance? Dance!!

Dr. L. Busse (UBA), Dr. G. Hartmann Urbanization, Cities and Environment

S. Chermayeff Conceptual Plumbing and Radical Practicality

J. Fach Old & New - Practice of Transforming Architecture

Prof. N. Fritz Student Housing

Prof. Dr. A. Haase Research by Design: Grounded theory

Prof. K. Krastev Design by Algorithm

Prof. Dr. M. Kretzer Vermillion Sands - Alive in Dystopia

Prof. I. Kucina House of Statistics: Convertible Boundaries

Prof. I. Kucina Architecture of Informality: What Architects Can Do?

J. Meyer-Grohbrügge The Architecture of Borders

Prof. P. Ruge SDM IX: simsalaBIM

A. Terragni Learning from Photography

J. Tratz & S. Ernst Drawing Rules

Prof. C. C. Weber Concrete Sculpture - Organic Volume, Curve, Bowl

ELECTIVES

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EWhat buildings do, is questioning the Architectural scholar Thomas Gieryn. He claims that buildings sta-bilize social life by giving structure and durability. At the same time, buildings exists only within their usage, they are inhabited, changed and transformed by its users within the everyday life. Furthermore we tend to think in building metaphors: our conception of the human is strongly associated with modes of building and settling. Departing from the alliance between architecture and anthropology as foun-dation for that discipline the seminar undertake a journey through architectural discourses of the 20th century. In the architectural history of the 20th century the notion of the Everyday became an important referential category within the discourse on modernism. The dissatisfaction with the International Styles impact on the built environment and its failure to address the “man on the street” stimulated a growing interest in the vernacular and indigenous building traditions. An epistemological shift occurred, when new sorts of knowledge like Ethnography and Anthropology has been introduced. The Vernacular al-ready a theoretical construct within the ”heroic phase of modern architecture” that stand in opposite to the modernist project of rationalization, mobilization and standardization, as a “traditional modern” contributed to a rethinking of the modern project in the middle of the 20th century. Over the course of the growing criticism of the premises of the modern movement in the post-war era, ethnography opens up a new sphere of knowledge for architects and designers: the interest in the everyday, in social practice, introduces an epistemological shift in the discipline. The architects’ knowledge now also inclu-des insights into communal life, shared usage, cultural interpretations and the utilisation of the material and built environment. Architects pursue the example set by ethnologists and make their own study trips to Asia, Africa and South America. In the name of everyday, various positions of critique within the architectural discipline have been formulated: Ventury Scott and Browns discovery of the rich semiotic landscape of the strip in Las Vegas, here the everyday addressed the rise of the popular culture; Bernhard Rudowsky brought the “architecture without architects” into the fore by researching on the building and dwelling practice of indigenous cultures, and ethnographic knowledge became a important source for modern architectural projects. The seminar examines different concepts of architecture of the everyday in the architectural and cultural theoretical discourse in lectures, reading assignments and exercises. The knowledge introduced in the seminar are considered as a fundament for reflecting contemporary cate-gories present in the architectural discourse like informal architecture or architectural/urban interven-tions, that signals a shift in the understanding of the relationship between architecture and the everyday life of a society.

E.01ELECTIVE - ARCHITECTURE OF THE EVERYDAY

DR. REGINA BITTNER

The production of architecture today takes place under growing economic pressure and increasingly stringent requirements, not only in terms of technology but also in terms of procurement and liability. Against this background, the role of the architect is a matter of discussion.

Architects face a paradox: on one side, they need to specialize and work within the tight frame of buil-ding regulations and economic constraints; on the other side, they are challenged to find new answers to the problem of housing our society in a time of transformation. Architects therefore need a working environment that allows a certain degree of autonomy and encourages fresh dialogues and experiments – all difficult to find in the day-to-day business of architecture, as well as in the traditional client/architect relationship.

In this elective we will get to know architecture practices (known and unknown, past and present) that break new ground in the way they engage with architecture production.

You will be asked to identify an architect, preferably from your own cultural background – an architect, whose way of practising you consider to be innovative/experimental and want to explore. Over the cour-se of your presentations we will identify different criteria and visualize them in a matrix that confronts the various approaches.

E.02ELECTIVE - HOW ARCHITECTS WORKPROF. ANTJE BUCHHOLZ, MICHAEL VON MATUSCHKA, JÜRGEN PATZAK-POOR


EDancing is a cultural, social and artistic expression as old as humanity itself. In this semesters‘ elective, we will examine the evolution of dedicated spaces revolving around dance. We will trace the beginnings of spatial and architectural specificity in spaces for dancing on both an urban and architectural level. We will examine the social, political and economic context of these spaces at the time of their creation and will seek out similarities and disparities among a wide spread of cultures and geographic areas.

The elective is very much an exploratory course about a subject not yet researched widely. As the Phy-sicist Richard Feynman once famously said, it‘s about “the pleasure of finding things out”. While clearly a typological research, past electives have shown that the presentation of case studies from the wide array of cultures mirroring our DIA student body has provided unique and fascinating insights that go far beyond the spatial and architectural realm.

The elective will be divided into three parts: A few informal lectures by myself and one or two guest spea-kers to introduce the subject. The main body of the course are case studies presented by students. A field (day-)trip will be offered. Finally, a graphic result will be produced that is then presented at the end of the semester in a small exhibition at an art venue in Berlin. For the presentation we will have guest judges.

E.03ELECTIVE - DANCE! DANCE? DANCE!!

PROF. ROGER BUNDSCHUH

In conjunction with the design studio “Urban Design in Times of Environmental Policies,” a number of lectures by various experts from the German Environment Agency (UBA) will be offered. The elective will bring together the diverse knowledge of professionals in their fields. Our collective seminar discussions shall build a framework from which each student is asked to depart. You are encouraged to choose your own research topic. The aim of this elective is to produce a wide variety of urban studies within various cultural contexts.

Wednesdays 17:00 – 18:30, lecture series:

01. Introduction into Environmental Policy (UBA Division I)

02. Climate Change and Cities – Energy (UBA Division I)

03. Climate Change and Cities – Adaption (UBA Division I)

04. Cities, Transport and Mobility (UBA Division I)

05. Energy Transformation (UBA Division I)

06. Cities and Resources (UBA Division I)

07. Resource-conserving and Greenhouse Gas-neutral Germany (UBA Division I)

08. Cities and Consumption of Land Use (UBA Division I and II)

09. Cities and Outdoor Air Quality (UBA Division II)

10. Cities and Environmental Justice (UBA Division II)

11. International Projects (UBA Division I and II)

12. Transformation (UBA Division I)

13. Ecological Control Options – finance reform (UBA Division I)

14. Wrap-up (UBA Division I and II)

UBA Division I – Environmental Planning and Sustainable Strategies

UBA Division II – Environmental Health and Protection of Ecosystems

E.04ELECTIVE - URBANIZATION, CITIES AND ENVIRONMENTDR. LILIAN BUSSE (UBA), DR. GUNNAR HARTMANN


ESo many things in buildings seem so far away from architects. Everything is hidden literary and figura-tively by the DIN. We’re just expected to decorate. But to achieve openness we have to open buildings and ourselves up, literally. We can and should be less afraid of things. We do not need so much privacy. We need new connections. We’re going to think about ideology and culture. With this we will rethink the way we live by asking what standards really mean to us.

E.05 ELECTIVE - CONCEPTUAL PLUMBING AND RADICAL PRACTICALITY

SAM CHERMAYEFF

Student Housing is a special type of living, maybe even an exceptional situation, which requires and allows something different rather than traditional dwelling standards. This freedom of planning should lead to experimental concepts for housing and unusual construction forms.

Buildings and students apartments should be analyzed, personal experiences in students living from different countries and environments should be described. The task is to research how this special living form can be articulated in architecture, if cultural and socio-political issues influence it, and which special typologies and structures can be identified.

E.07ELECTIVE - STUDENT HOUSING

PROF. NICOLAS FRITZ

More than half of today’s architectural projects in Europe are transformations. This includes extensions, renovations, additions, reconstructions, conservations, in short, any project that somehow alters existing building stock. Accordingly, architect’s salaries are predominantly derived from projects that deal with old buildings, not new ones. As transforming has become the rule, and building anew the exception, the contemporary European architect is not simply a builder, but a re-builder.

The course briefly traces the European history of architectural transformations and focuses on a few so called masters and their handling of existing building stock. The record of transformations in the work of modernists Mies and Corbusier, as well as the contemporaries such as OMA and H&deM will be discussed and their approaches to existing matter analyzed.

Additionally, Pritzker Prize winners like Wang Shu, who was honoured predominantly for his history-sen-sitive designs, finally shift the focus eastwards. In a region that currently experiences the realization of the largest volumes of construction worldwide, the Pritzker jury’s commendation of Shu’s work “… His buildings have the unique ability to evoke the past, without making direct references to history” ads a critical outlook to the subject.

E.06 ELECTIVE - OLD & NEW -

THE PRACTICE OF TRANSFORMING ARCHITECTUREJORIS FACH

The elective course supports setting up methods for the master-thesis. It accompanies the compulso-ry course of Research Methods, strengthening a very specific field of research: one, which is based on assumptions for design approaches to spatial solutions. The assumptions have their roots in intellectu-al approaches to values and related criteria for resolving stated problems according to a position. The course will be related to social, economic and ecological items bringing across the width and the depth of necessary investigations in the process of seizing and testing conditions, parameters and values for appropriate solutions to a complex task: Transformation design.

Research by design means to define problems and potential solutions in all phases of perception, ana-lysis and evaluation and recognition as well as solution visually by illustrating the associated stages of knowledge. The process of illustrating replaces mainly text, however not thought. The process of develo-ping an idea, a vision, a thorough consideration can be enfolded and can be told … like a story. Advan-tage for spatial concepts: Images include immediately the spatial dimension!

Grounded theory means a framework for research which links phases and interim-results, -(like isolated information of data and partial theories), of research qualitatively in relationship with a starting point of a position towards a task.

The position is a guiding thread between design and research, firstly a hypothesis and gradually the result of the process of research; it might get slightly changed or modified or confirmed. In order to come to valid conclusions by research and design, the position might be applied in order to de-code different aspects of the very complex reality of socio-spatial and cultural situations. On the basis of the outcomes of de-codification, a synthesis might be introduced for a different set of conditions. This way, system-thinking is part of the process of positioning. Opening up encrusted systems is one of the most important essence of building up and developing knowledge.

The course follows up the questions of “How to find and link relevant informations qualitatively for a spatial answer to a complex question? This way, the products of space to be worked on theme-wise and project-based are the target-goals to be investigated by representing, modeling and testing structure, texture and materiality and their performances relative to the parameters of environmental conditions and cultural values to be argued for.

Teaching input and exercises in relationship with studio-themes will focus on two interlinked approa-ches:

- Working rationally/ Founding a position and outlining an argument

- Working intuitively/ Developing knowledge holistically by design solutions

Basic requests: Very good illustrative skills (sketching by hand and digital media) and a deep pleasure to apply these skills for “telling a story” of which the end is not clear in the beginning...

Start on Tuesday the 11th October 2016, room 23/08, 16:30. 2-weekly-meetings in group, individual su-pervision in between.

E.08ELECTIVE - RESEARCH BY DESIGN: GROUNDED THEORY PROF. DR. ANDREA HAASE


EMaterials possess the innate property to generate structures. Soap film inherently “computes” the mini-mal surface and lends itself into a form that minimizes the force of tension within the membrane. Sand particles form dunes when interacting with wind, and vaults and canyons when interacting with flowing water. In Design by Algorithm, we will exploit these form and structure generative potentials of different materials as they are found in nature, and as they are used in the construction industry. Furthermore, research on contemporary manufacturing and assembly technology will inform the design of innovative structural prototypes.

The students will develop structural and/or cladding systems for buildings of their choice. The elective will be conducted in a laboratory environment. Analogue and digital experiments will be carried out, as the resulting data will be recorded and used to improve the performance of the prototypes. The projects are expected to demonstrate both aesthetic and performance driven qualities. Digital sketches and phy-sical mock-ups of details and interfaces, accompanied by physical or computational simulations of the system’s performance will aid the design process. Ultimately, analysis and experimentation will lead to the development of computational algorithms that generate complex building constructions.

E.09ELECTIVE - DESIGN BY ALGORITHM

PROF. KRASSIMIR KRASTEV

“Lively responses, aren’t they, Mr. Talbot?” He put his hand on the wall behind us. The plastex swam and whirled like boiling toothpaste, then extruded itself into a small ledge. Stamers sat down on the lip, which quickly expanded to match the contours of his body, providing back and arm rests.

Ballard, J. G., The Thousand Dreams of Stellavista, 1962

In 1971 the English novelist James G. Ballard published a collection of short stories entitled Vermillion Sands, which describe an imaginary decaying resort town on the edge of a desert and the lives of the few people inhabiting the place. Each of the chapters follows a different group of characters and their encounters with various kinds of media and technologies. ‘The Thousand Dreams of Stellavista’ for ex-ample tells the story of Mrs. and Mr. Talbot and the couple’s experience with a ‘psychotropic house’, which they inhabit. Through continuous exchange with its occupants the building over time learns to evolve its personality and adapt its material structure. Despite its tragic ending, during which the house, enabled through its senso-cells that allow it to read every physical and mental change of its tenants, attempts to kill them in an act of despair and traumatic memories, the notion of a fully responsive, essentially alive building raises a number of highly appealing possibilities. This kind of emotional dilemma is cha-racteristic for Vermillion Sands, which continuously blurs the boundaries between utopia and dystopia, excitement and anxiety, technophilic euphoria and traumatic delusion.

Within this elective we will be reading the various stories of Vermillion Sands and attempt to analyze and understand the exotic and bizarre landscapes Ballard draws and the methods he uses to engage us in their nightmarish beauty. We will then set out to dream our own dystopian stories, following Ballard’s example and using the structure of the Greek Drama as a base. The results will be told in the form of short video clips with a maximum length of 90 seconds. Within this timeframe a compelling yet disturbing, encouraging but thought-provoking, real and fantastic glimpse of a possible near-future should be pre-sented. Methods for creating the clips are free and can involve stop-motion or 3D animation, sketches, drawings, paintings, collages, physical models, photographs, etc. Examples and additional helpful infor-mation will be provided during the introduction to the course.

Depending on the amount of participants, students can work in groups of two to three. Additionally the studio ‘Sensual Space - adaptive architecture of the near future’ should be chosen.

E.10ELECTIVE - VERMILLION SANDS - ALIVE IN DYSTOPIAPROF. DR. MANUEL KRETZER


EThis course looks for ‘ready- made’ design strategies to convert spatial, cultural, and mental boundaries of the abandoned House of Statistics in Berlin, into spaces for the social exchange. Boundaries represent a break in-between fulfilled domains, ambitions and interests. They appear at many levels, shapes and scales.

Redevelopment of the former GDR House of Statistics (50 000 sqm vast complex that occupies the whole city block close to Alexanderplatz in the center of Berlin) has been continuously delayed. ‘Academie der ZUsammen KUNFT’ is the newest initiative made by 30 local artistic associations, architects’ collective, and public institutes, such as ZKU, Raumlabor, City Rethinking, Berlin University of Arts, German Red Cross in order to transform abandoned House of Statistics into a platform for the exchange of artistic practices and other forms of knowledges, skills and experiences. They aim to establish a Center for Refu-gees - Social Action - Art and Communal Democracy.

Activities:

You will propose serial of interventions that could transform abandoned spaces with the infusion of ‘ready-made’ elements. Proposals should provide opportunities for the new relationships rather than creating new things. Taking a multiplicity of boundaries as starting point, you will firstly identify and map one of them. In order to convert lines of division into spaces of exchange, you will design comprehensive ‘ready- made’ intervention. You will learn how to do it in three steps: the first determines programmatic elements and their relations, the second structures spatial capacity for the activities that are program-med; the third translates spatial relations into ‘ready-made’ installation. Outcomes will be diverse in pro-grams and shapes; however, each intervention will be resumed in the form of montage.

E.11ELECTIVE - HOUSE OF STATISTICS: CONVERTIBLE BOUNDARIES

PROF. IVAN KUCINA

Elective Course „Architecture of Informality: What Architects Can Do?“Lecture Series „When Architecture is Done by Everyone“

Many concurrent builders are participating in the massive transformations of cities around the world every day. According to UN statistics in 2030 such informal building productions will dominate in the developing world. More then a half of world urban population will permanently live in the buildings done by them. It is the realm of make-shift urbanity, broken places and run-down houses, but also a potential of improvised activities, unlimited flexibilities and uncomputable resilience. Studies of infor-mal systems offer remarkable possibilities in making architecture more responsive to emerging urban conditions.While architecture patterns of informal buildings could be fairly basic, the complexity that arose from blends of non-regulated and regulated operations maintains a time-based character of dy-namic open-ended system. In nearly all informal objects pulsating and flexible structures are achieved, resembling profoundly hybrid spaces.

Activities:

In order to provide coherence to the class, three specific methodological phases will be followed th-rough semester in the format of discussions:- Divergence - each student will put one respective question and brainstorm around it with others. Stu-dent who made a question will take notes that will help him/her to identify relevant references.- Archiving – students will organize references following the notes from the brainstorming discussions in order to create a provisional archive.- Convergence –students will write an essay that resumes their references. It should be no longer than 3000 words. Written essay will be posted on the blog: www.architectureofinformality.blogspot.com

Lectures: When Architecture is Done by Everyone

This lecture series will provide additional knowledge to discussions during the elective course Archi-tecture of Informality but it will also be open to all students. It will try to bring us closer to the under-standing of informal building practices, their inherent logic, limits and potentials. It will also elaborate alternative urban development model based on collaboration among architects, citizens, city authorities and developers. Platform in which diverse bottom up building initiatives meet with the top down frame-works provides participatory alternative to exclusive market based speculations and hopes to reclaim city for the public good. New civic organizations, cooperatives and enterprises have a chance to develop self-sustainable economy either by providing cohousing, public services, or by managing cultural and social production in the form of urban commons. Following are the lectures:

- Self-Made Cities- Perspectives of Vernacular Architecture- Slums and Beyond- Self Regulated Building Practice- FormalInformal- Participatory Design: Care and Share- Art of Commoning

E.12ELECTIVE - ARCHITECTURE OF INFORMALITY: WHAT ARCHITECTS CAN DO?PROF. IVAN KUCINA


EIn a world of rising inequalities and growing conflict, borders are multiplying and becoming increasingly complex. Whilst the border as spacial metaphor is used extensively in architecture, borders as political and material realities are often overlooked.

A border is a complex social and cultural institution that operates topologically. Yet, the political border is usually represented as a line and is predominantly viewed as such in policymaking through a top-down international relations perspective.

In this elective we will try to get a more nuanced image on the nature of boarders by analyzing and un-derstanding its architectures around the world.

E.14 ELECTIVE - SDM IX: SIMSALABIM

PROF. PETER RUGE

Sustainable Design Methods explores the invocations of magic: (simsala)BIM. Building Information Mo-delling seems to be the open sesame to an easier and more efficient way to design, construct and as-semble buildings.

SDM IX will analyse and test the software, collaborate with project managers, producers and craftsmen in order to develop and built a small scale pot - a shelter for one or two at an impressive site in the Haute Provence in France. This project will be realized in upcoming May 2017.

E.13ELECTIVE - THE ARCHITECTURE OF BORDERS

JOHANNA MEYER-GROHBRÜGGE

Photography is an art that can contribute to the knowledge of architecture if it not only use to represent reality as a postcard o as a cinematographic set.

Traditionally architects take photos of their work during construction site, for legal purpose, and when the building is completed, to publish the work done, usually with a big chancing from reality due to all the computer programs to erase all the effects of reality. More like: how to Photograph the exterior of Architecture.

This requires a learning curve. 1. Walk Around The Place: Look for line and pattern: 2. Use a Tripod. 3. Add a Human Element. 4. Wait For The Right Light. 5. Watch Your White Balance. 6. Look For Converging Lines. 7. Embrace Distortion: 8. Be Aware Of (But Not Intimidated By) The Weather.’ll need to supplement with inside strobe.9. Look For Reflections (And Don’t Get Caught In One). Mirrors and windows reflect light and photographers! 10. Look For Details: 11. Use The Best Image Quality Settings.

Since I found photography at the beginning of my professional carrier, I have learned different things which I would like to share with you in this elective. These lessons have made me richer and I hope that you will find them refreshing and inspiring on your journey from photography as Photography of archi-tecture to Photography as a tool for making architecture.

E.15ELECTIVE - LEARNING FROM PHOTOGRAPHYATTILIO TERRAGNI


EUrban rules as design instruments!

Together we will explore how rules and building code are shaping our cities. By understanding the rules and abstractly drawing them / find ways to aesthetically express them, we will understand the powerful potentials of drawing urban rules. In the tradition of references like the well-known work of Hugh Ferris, we will test different graphical and planimetric options for a set of different existing rules. Each student of the studio „Law of the Jungle“ is invited to this elective and will focus his graphic tests and work on one assigned rule.

E.16ELECTIVE - DRAWING RULES

JONAS TRATZ & SEBASTIAN FELIX ERNST

Teaching method: modelling, Material: clay, plaster, concrete Usability of the module: Application of three-dimensional criteria, volume in motion. Awareness in using curves content

In this elective you will have the chance to make experience by creating a free sculptural object. The content of this class is continuing directly the impressions from the sculptural workshop during the wel-come week.

Superficial, the change of subject, from Architecture to sculpture, is a relaxing and diverse experience.

The background of this idea, the shift into another subject, offers an easer way to win three-dimensional criteria, more than by designing a building with functions.

The relationship between large volume and small detail and the noticeable scale of that object is one thing. The visual potency from curve and bowing another aspect.

By the way, the bowl, as an static principle, allows us to be economical with material and to reach a maximum in vitality.

The first step is the modelling of a free ceramic sculpture. The second step is, that we will transform the model into concrete, after accomplishing. We produce casting shells and so on...

Both objects, the clay model and the concrete object are hollow. For the modelling and the designing process the hollow ceramic technique has unique influence to make the object vivid.

When you build a hollow clay sculpture, from the bottom to the top, you have to think in every moment in sections, like architects have to.

You find all materials like clay, plaster and concrete in the artist workshop 15, room 120 (sculpture work-shop). Find out more on the 12th of October, 10 am, room house 15, room 120 [sculpture workshop]

Have fun!

E.17ELECTIVE - CONCRETE SCULPTURE-

ORGANIC VOLUME, CURVE, BOWLPROF. CARL CONSTANTIN WEBER

Last semester After we have designed in Cadlogic course the 3D jewelry which was build in the campus fest, this time we will build another one in Kothen as a part of the celebration of 125 anniversary of our university. This workshop will take part on 12th-13th October in Köthen, the participants will be working with me and the 3 designers from the second year to build the pavilion out of cardboard and paper clip-pers. We will meet in Dessau on 12th October. At 10 am where will take the school bus to go to Köthen. Workshop is limited to 15 students maximum.

E.18-WELECTIVE - WORKSHOP - BUILDING DIA 3D JEWELRY PAVILIONKARIM SOLIMAN

COMPENDIUM WINTER SEMESTER 2016-2017 PAGE 57TEACHERS

TTEACHERS & TEAM

Beeke Bartelt

Dr. Regina Bittner

Adil Bokhari

Andzela Brasanac

Prof. Antje Buchholz

Prof. Roger Bundschuh

Prof. Dr. Carlos Campos

Prof. Dr. Jasper Cepl

Sam Chermayeff

Sebastian Felix Ernst

Joris Fach

Prof. Nicolaus Fritz

Prof. Dr. Andrea Haase

Dr. Gunnar Hartmann

Prof. Eric Helter

Prof. Alfred Jacoby

Ksenia Kalacheva

Prof. Johannes Kalvelage

Prof. Johannes Kister

Prof. Krassimir Krastev

Prof. Dr. Manuel Kretzer

Prof. Ivan Kucina

Henry McKenzie

Johanna Meyer-Grohbrügge

Prof. Ralf Niebergall

Jürgen Patzak-Poor

Djamila Pietzner

Eleonora Popovska

Lena Pozdnyakova

Prof. Dieter Raffler

Prof. Dr. Stefan Reich

Prof. Martin Rein-Cano

Prof. Peter Ruge

Karim Soliman

Prof. Attilio Terragni

Jonas Tratz

Larisa Tsvetkova

Michael von Matuschka

Prof. Carl Constantin Weber

Prof. Stefan Worbes


T

Adil Bokhari has been a Tutor and Research Associate at the Städel-schule Architecture Class since 2015. He finished the post-graduate Master of Arts in Architecture degree at the Städelschule with a the-sis in the Architecture and Urban Design (AUD) specialisation with Prof. Peter Trummer. Adil finished his Bachelor‘s in Architecture from the National College of Arts in Lahore, Pakistan in 2010. Since then he has worked in offices in Karachi, Berlin and Los Angeles. His cur-rent academic interests lie in the exploration of architecture through its existence as pure property and its effects on the city at large and the cross over effects between the architectural media of producti-on and representation. He has taught at the National College of Arts in Lahore and the Städelschule Architecture Class in Frankfurt and has been invited as a juror in Pakistan, Germany and the U.S.

ADIL [email protected]

Dipl.Ing. Beeke Bartelt, academic coordinator at DIA and member of „Unity“, the departments initiative for international development cooperations where she has been involved in the realisation of pro-jects in Guatemala, Nepal and recently in Haiti with Bachelor and Master Students of Architecture and Design. Her research is based on these experiences in combination with her interests in Design Methodology / Participatory Design Processes / Commons and ur-ban space as global-local intersection.

BEEKE [email protected]

Studied cultural theory and art history at Leipzig University, recei-ved her doctorate from the Institute for European Ethnology at Humboldt University Berlin. As head of the Academy of the Bau-haus Dessau Foundation, is responsible for conceptualisation and teaching of the postgraduate programme for architecture and mo-dern research. Curated numerous exhibitions on architectural, ur-ban and cultural history of modernism. Deputy Director of Bauhaus Dessau Foundation since 2009. Main focus in research and teaching are international architectural and urban research, modern era and migration, cultural history of modernism and heritage studies. Recent publications: „In Reserve: The Household“ (in collab. with E. Krasny) 2016 and „The Bauhaus in Calcutta. An Encounter of the Cos-mopolitan Avant-garde“ (in collab.with K. Rhomberg) 2013.

DR. REGINA BITTNER bauhaus-dessau.de [email protected]

academic coordinator, international coordinator

lecturer

cad lecturer, studio assistant

Antje Buchholz lives and works in Berlin. She studied architecture at the Universität der Künste in Berlin and at the Architectural Associa-tion in London. She has taught at the Freie Universität Berlin (2000) and at the Technische Universität Berlin (2004/2005). In 2012 she was a fellow of the Villa Massimo, German Academy in Rome, where she cooperated with Jürgen Patzak-Poor. Antje is a founding mem-ber of BARarchitekten. BAR works on the intersection of architecture and research with a focus on the development of urban prototypes informed by everyday studies.

PROF. ANTJE [email protected]

After finishing Undergraduate Studies in Architecture at The Univer-sity of Belgrade, Serbia, in 2012, moves to Dessau where she com-mences her Postgraduate Studies at the DIA. In 2013, receives the DAAD Scholarship for Architects. In 2014, she moves to Berlin and undertakes an internship at Bundschuh Architekten, whilst com-pleting her Master Thesis. Continues cooperation with Bundschuh Architekten from Belgrade, working on an exhibition design project. In she 2015 moves to Basel, Switzerland, to undertake internship at Focketyn del Rio Studio where she assists with a number of architec-tural competitions. Returning to Berlin at the end of 2015 goes on to collaborate with Rimpau & Bauer Architekten and Jan Derveaux in January 2016. In 2016 she continues freelancing for Focketyn del Rio Studio by correspondence, from Berlin. Currently settled in Berlin.

ANDJELA [email protected]

studio master, lecturer

studio assistant


TDiplom University of Stuttgart, 1993. Bundschuh Architekten since 1996. Has taught and lectured at Universities incl. UdK Berlin, TU Berlin, Staedelschule Frankfurt, University of Skopje and others. Cur-rently a visiting Professor at the Dessau Institute of Architecture in Dessau. Bundschuh Architekten is an international architecture and design firm based in Berlin. „All Life is problem-solving“ Karl Pop-per’s famous dictum provides insight not only into their method of approaching architecture, but also into the underlying aim that drives their practice. Bundschuh Architects understand ourselves as problem solvers, unhindered by preconceived notions of form, ae-sthetics, or the necessities of historic contextualism. Their work has been published widely.

PROF. ROGER BUNDSCHUH bundschuh.net [email protected]

Jasper Cepl studied architecture at RWTH Aachen and TU Berlin (where he also taught from 2003–13). He is now Professor for Ar-chitecture Theory at Hochschule Anhalt, Dessau. He is the author of Oswald Mathias Ungers. Eine intellektuelle Biographie (2007) and other publications on 20th Century Architecture.

PROF. DR. JASPER [email protected]

[email protected]

Sam Chermayeff is an architect and cofounder of the office June14 Meyer-Grohbrügge & Chermayeff. Sam worked for SANAA in Tokyo for five years, leading projects such as the Serpentine Pavilion and curation of the Venice Biennale. He has taught at the Dessau ins-titute of Architecture and at Columbia University, is recipient of a Graham Foundation grant and has lectured and exhibited interna-tionally.

SAM CHERMAYEFF




Sebastian Ernst, born in Berlin, studied architecture at the TU Berlin until 2009 and did his Master Thesis at the Swiss Federal Institute of Technology ( ETH Zurich) in 2013, while being supported with a scholarship from Studienstiftung des deutschen Volkes. Following occupations as student assistant at the chair of Prof. Christ and Gantenbein and Prof. Kees Christiaanse he has been a researcher at the FutureCitiesLab in Singapore in 2012. He worked at the chair of Gramazio Kohler as research assistant and teacher for several cour-ses in 2013 and 2014. In 2015 he taught architectural design at the university of Kassel at the chair of Prof. Georg Augustin. In 2011 he established FAKT.

SEBASTIAN FELIX [email protected] studio master, lecturer

Architect, PhD in architecture: inter semiotic translations. Visiting professor at university of Florida USA, DIA Dessau, iuav Venezia, Napoli II, Marchi Moscow. Works: Argentinian pavilion at XI biennale DI architettura DI Venezia, Museum ESMA at Buenos Aires. Full pro-fessor UBA and UTDT Argentina. Studio ccyza together with Yamila Zynda Aiub.

PROF. DR. CARLOS CAMPOS [email protected] master, lecturer


TSince the beginning of his studies in Darmstadt in 1967, Nicolas Fritz was interested in architectural aspect of city planning and analysis as well as it’s the interface with arts. This is the basis of his architec-tural practice and teaching until now. Cooperation with g.candilis in 1975 in Paris resulted in international connections and experien-ce in Saudi Arabia, Lebanon, Greece, and the last team meeting in southern France, which still has a significant influence on the cur-rent work. Numerous publications, exhibitions, lectures, workshops and realized projects as well as 35 years in teaching.

PROF. NICOLAS [email protected]

Prof. Dr. Ing. Andrea Haase, architect and urban planner (registered in FRG and UK), became Professor of Urban Development and Ur-ban Design in 2000, after a sequence of academic and professional experiences like several stages of self-employment, 2 years training in Civil Service for Urban Planning and 12 years of teaching, research and planning practice at the Technical University in Aachen, where she was a member of the working group of “Land Use. Built Form and the Environment” in the research project URBINNO (The role of social and technological innovation in urban development). In 2006 she found “WERTESTRUKTUREN – Office for cross-disciplinary wor-king” in Dessau, and has moved the office to Munich in 2011, where she is cooperates with R. Schmidt Landscape Architects and Urban Planners, focusing on “creating a location”.

PROF. DR. ANDREA HAASE ah.raumstruktur.de [email protected]

[email protected]

Gunnar Hartmann is a registered architect and teaches at the DIA Architecture School in Dessau and researches at the Cluster of Excellence Image Knowledge Gestaltung at Humboldt-Universität zu Berlin. He studied fine arts (BFA) at the University of Wisconsin, Architecture (MArch) at Rice University, and cultural science (PhD) at the Department of History and Theory of Culture at Humboldt-Uni-versität zu Berlin. Since 2001 he has taught in the United States, Switzerland, and Germany; among other things, as Adjunct Pro-fessor at the College of Architecture at the University of Minnesota (2004), programme director of the master course at the Chur Institu-te of Architecture in Switzerland (2005-2009) and guest professor at the Dessau Institute of Architecture in Germany (2007–2010).

DR. GUNNAR HARTMANNstudio master, lecturer



[email protected]

Eric Helter studied and gained professional degree at the Universi-ty of Stuttgart for Aerospace Engineering and Münster for Civil En-gineering and owns a diploma for both disciplines. He is a partner and managing director of the ahw - Ingenieure Company, where he works as a Structure Designer since 1996. As a Project Director and Lead Designer for numerous projects he won national and in-ternational industrial design and architectural design competitions. Together with famous artists and architects like T. Cragg, M. Lüpertz, J.Kister, P. Kulka, P. Wilson, N. Forster etc., he works on projects world-wide. His bionics studies and works are exhibited in different muse-ums. He is Red Dot Design Award Winner and Design Award Winner of the German economy. A current special project is engineering support of many German top athletes of the national ski team.

PROF. ERIC HELTERstudio master, lecturer

[email protected]

Joris Fach, a graduate from the AA and Harvard GSD, worked for OMA, MVRDV, and Herzog & de Meuron before setting up his own practice in 2013. He also taught at Harvard, MIT, and Cambridge Uni-versity before joining DIA in 2012.

JORIS FACHstudio master, lecturer


TSince 1992 Professor Johannes Kister is one of the three partners of the architecture office „ kister scheithauer gross architekten und stadtplanner” based in Cologne and Leipzig. Since the 38th edition of the Neufert´s “Building design guide” Prof. Kister and his team are responsible for the editing and publishing. Since 1994 he is teaching architectural and structural design at the Anhalt University in Des-sau. He graduated with his degree in architecture in 1982 with Prof. Gottfried Böhm at the RWTH Aachen University.

PROF. JOHANNES [email protected]

Johannes Kalvelage is Professor of Architecture, Urban and Regional Design at Anhalt University/Dessau where he has been teaching sin-ce 2006 and prior to this at Magdeburg University since 1996. He has also taught as visiting Professor at ENSA Nantes, Politecnico di Mila-no, University of Volos and Universidade Lusofona Lisboa. Johannes Kalvelage is Director of DAF/Dessau Institute of Architecture and Fa-cility Management and a member of the DIA executive board in DIA/Dessau International School of Architecture. His research areas are Urban Morphology, Public Space, and Environmental Design. He is a practicing architect and urban planner with an office in Magdeburg.

PROF. JOHANNES [email protected]

Ksenia was born in Russia in 1991, is a graduated Architect with a Diploma of Architecture from Kuban State University in Krasnodar, Russia, followed by Master of Arts in Architecture from DIA Dessau International Architecture Graduate School in Dessau, Germany.Currently based in Leipzig and starting her professor assistant posi-tion in studio of Attilio Terragni and Karim Soliman, and is a freelan-cer architect. She is interested in Arts, Media, Computational design, Photography and Product Design. Also Ksenia was an organization member of university international traditional nights - project PLUM (2014-2015).

KSENIA [email protected] assistant



Krassimir Krastev graduated from DIA in 2005 with work on com-putational algorithms and simulations. As teaching assistant in 2005-06, Krassimir established the Design by Algorithm elective and initiated coding as a design method in DIA. Krassimir worked on a wide range of designs as project leader in his professional career as architect. He developed computational methods to generate and optimise intelligent architectonic formations responsive to multip-le design constraints such as structural, environmental, as well as aesthetic requirements. He worked for Foster + Partners and Marks Barfield Architects in London before founding his own architecture and design practice. Since 2011, Krassimir is back in DIA, leading the Material Performance Studio and teaching CAD-Logic and Design by Algorithm.

PROF. KRASSIMIR [email protected] studio master, cad lecturer

[email protected]

Dipl. Arch. ETH, MA Cambridge1974 - Master of Architecture, Cambridge University, UK1977- Diploma in Architecture, ETH Zurich , CH1980- Architecture Office in Frankfurt/M1998 - Professor of Architecture, Anhalt University2000- Founder and Director DIA, Anhalt University2012 - Head of Research Health and Design, Excellence Cluster Image Knowledge Gestaltung in cooperation with Humboldt Uni-versity Berlin 2016 - Dean of Studies, Faculty of Architecture, Facility Manage-ment & Geoinformation at Anhalt University

PROF. ALFRED JACOBYdean of studies faculty afg, director dia, studio master, lecturer


TJohanna Meyer-Grohbrügge is an architect from Germany who lives and works in Berlin. After graduating from the ETH Zürich she worked for SANAA in Tokyo from 2005 to 2010. The projects of her practice Büro Johanna Meyer-Grohbrügge and the joint of-fice June14 Meyer-Grohbrügge & Chermayeff range from gardens, small bridges and bespoke furniture to office renovations and ap-partment buildings. Johanna teaches at DIA since 2010. She also taught at Columbia GSAPP, the Northeastern Univerisity Boston and the Washington University St. Louis.

JOHANNA MEYER-GROHBRÜ[email protected]

Henry McKenzie is an architect from Melbourne, Australia. He holds a Bachelor degree in architecture from Deakin University in Aust-ralia and a master of arts in architecture from Anhalt University of applied sciences in Germany. He is currently working as a research associate at the Dessau Institute of Architecture. His final thesis pro-ject explored the ‚Internet of Things,‘ and its impact on the architec-ture profession. He enjoys reading, writing, people-watching and avoiding German classes in his free time.

HENRY MCKENZIE henrymckenzie.com [email protected]

Ivan Kucina worked as assistant professor at Faculty of Architecture University of Belgrade. He is guest professor at the Parsons New School for Design, New York, Polis University, Tirana, KTH Stockholm, GUtech Muscat. His research is focused on self-organized building and participatory transformations of the cities. From 2012 he estab-lished School of Urban Practices in Belgrade to connect his educati-onal work, researches and activism. His papers are published inter-nationally in magazines, catalogs, and monographies. Ivan Kucina is also a practicing architect in Belgrade with projects spanned from urban and architecture design to exhibition design and furniture. In 2006 he co-founded Belgrade International Architecture Week.

PROF. IVAN [email protected] master, lecturer

studio assistant


Studied architecture at the Bauhaus University, Weimar and worked after his studies in big architectural and town planning offices in Berlin, Halle/S. and for the episcopal administration in Magdeburg. Since 1990 he is running his own practices in Halle and Magdeburg. In 1995 he was appointed to a Professor for architectural design and building theory at the University of Applied Sciences Magdeburg and was the Dean of the Department of Architecture and Civil En-gineering from 2002 to 2005. Since 2006 he is Professor in Dessau. Since 1991 he is President of the Chamber of Architects Saxony-An-halt and from 2013 Vice-President of the Federal Chamber of Ger-man Architects for International Affairs.

PROF. RALF [email protected] studio master, lecturer

[email protected]

Dr. Sc. ETH Zurich Manuel Kretzer is an architect, researcher and educator. He is currently visiting professor at the Braunschweig University of Art, leading and teaching the subject ‘Digital Craf-ting’. Manuel is the founder of the ‘materiability research network’, an educational platform that provides open access to cutting edge new material developments and technologies. He is also founding partner of ‘responsive design studio’ based in Cologne, a design office that works on various scales, including architecture, interior architecture, landscape architecture, furniture and object design.

PROF. DR. MANUEL KRETZERstudio master, cad lecturer


TLena Pozdnyakova graduated with BA in Architecture from Sheffield University and MA in Architecture with distinction from DIA. Both programs were completed with full funded scholarships. She has worked for 2 years in UrbanDATA Architectural and Urban Design Buro in Shanghai and as part of 3Gatti Architectural Office, Shang-hai, as well as Pier Loti Architectural Buro, Almaty. Deciding to go further into temporary and spatial installations, she became part of the2vvo art duet, having architecture and interior design as free lance job. Since 2014 she exhibited spatial installations in Germany (Bauhausfest), Kenya and Kazakhstan (Art Residency), USA (Beyond the Lines Art Show in LA; Collective Solutions in Santa Monica Arts District). In 2014 received the DIA Robert Oxman Prize, and in 2016 as part of the 2vvo, Independent Projects Award by CEC Artslink.

LENA [email protected]

Eleonora Popovska is a recently graduated DIA alumna. She was born in Skopje, Macedonia. There, from 2009-2014 she studied ar-chitecture at the University of St. Cyril and Methodius, Faculty of Ar-chitecture. During 2013 she was an active member of the teaching staff of the Faculty of Architecture, Arch.Studio II + III department. In 2014 she received the 3rd prize at „ Learn with BAUHAUS, be part of DIA „ student competition, winning a scholarship to the Interna-tional M.Arch. DIA program. From 2014-2016 while being a part of the DIA course she received the 2nd Lars-Lerup prize for best Arch.Studio project and the 1st Robert Oxman prize for best M.Arch. The-sis project.

ELEONORA [email protected]

Djamila Pietzner studied architecture at the Anhalt University in Dessau, and meanwhile have been gaining practical experien-ces while working for different clients as a freelancer, for example rebuilding of the sugar fabric to the club „Kulturfabrik-Kufa Dessau“ in 2012-13 in collaboration with Bau AS Dessau-Roßlau. At the com-petition “Ideenwettbewerb für die Talstadt Bernburg” (Landscape ar-chitecture), she won the 1st price for the site „Wachgasse“ as well as an idea purchase for „Kaiplatz“ in 2013. Graduated from DIA with the master degree in 2016 with the thesis topic „Workspaces for the 21st century - Artificial Intelligence in mental health care- design stra-tegy for people“ with Prof. K. Krastev and A. V. Sosa. Till September 2016 has been positioned as a deputy project manager during the Internship for the Bauhausfest 2016 .

DJAMILA [email protected] assistant

studio assistant

studio assistant

Jürgen Patzak-Poor lives and works in Berlin. He is a trained carpen-ter, studied architecture at the Universität der Künste in Berlin and at the Architectural Association in London. He has taught at sever-al universities, including the Freie Universität Berlin (2000), Oxford Brooks University (2000-02), the Technische Universität Cottbus (2008), and was lecturer in Architecture at the University of Ulster in Belfast (2003-06). Jürgen is a founding member of BARarchitek-ten. BAR works on the intersection of architecture and research with a focus on the development of urban prototypes informed by everyday studies.

JÜRGEN PATZAK-POOR bararchitekten.de [email protected] master

Dieter Raffler is Professor at the Design Faculty of Anhalt University in Dessau with a focus on 2d and 3d design. He plays an important role in DIA’s PreCourse as a experienced workshop Master, who acts as an academic hinge to Albers’ Vorkurs ideas and methods. This goes back to his own student years at the Ulm School of Design, where Dieter nRaffler studied the work of Josef Albers and became fascinated by his work with paper. In the past years, Prof. Raffler has intensified his research of this historical work employing paper, which lead him to even recreate some of the models made by Al-bers students at the Bauhaus School. Consequently, in Prof. Raffler’s Workshop, he asks students to create complex objects only with the use of a pencil, a simple ruler and plain paper.

PROF. DIETER [email protected] workshop master, lecturer


T

Jonas Tratz, born in Berlin 1988, studied Architecture at the TU Ber-lin, at EAPLV Paris and at the Ecole Polytechnique Federale de Lau-sanne ( EPFL). His Bachelor thesis 2010 got awarded 1st place Bau-netz Award. His further studies were supported with a scholarship from Studienstiftung des deutschen Volkes. After work experience in several offices, including Mila and LIN architectes, he also worked as a student assistant for the Chair of Prof. Finn Geipel. In 2011 he established FAKT.

JONAS TRATZfakt-office.comtratz@ fakt-office.com

Prof. Attilio Terragni runs his own studio Attilio Terragni ingegnere architetto artista since 1989. After graduating from the Polytechnic of Milan, he has been an assistant and partner of Daniel Libeskind, starting his career as an architect with the winning design for the Jewish Museum in Berlin, between 1989 and 1991. Since 1997 he has lived for three years in Melbourne for the construction of the international winning competition for Federation Square. After re-turning to Italy he founded Cityedge italian partners of Daniel Li-beskind, with which he made, among others, the Citylife project in Milan, the biggest in Europa, and the City Park project at Brescia. He currently teaches at the Master Pesenti at the Polytechnic of Milan and has been a visiting professor in Australia, Germany and Spain.

PROF. ATTILIO TERRAGNIstudioterragni.com [email protected]

Born in Cairo, he is an Architect and Designer with a B.Sc in Archi-tecture and urban design from Ainshams University in Cairo, Egypt followed by M.Arch from DIA Dessau International Architecture Gra-duate School in Dessau, Germany. Karim is currently based in Berlin, he started to teaching at DIA in 2012, where he is Studio Master in Computational Design and CAD-Logic lecturer. In 2013 he founded IDRMLab, Laboratory for Interactive Dynamic Responsive Mediums, working and experimenting with architecture and space as an adap-tive mediums rather than static containers. He is currently focusing his research in the application of algorithmic designing in augmen-ted and virtual reality and its integration to the physical reality in build environment and sci-fi movies.

KARIM SOLIMAN karimsoliman.com [email protected] master, cad lecturer



Prof. Peter Ruge is a practicing freelance architect and has more 20 years experience realizing buildings and urban developments across Europe and Asia. He is an certified Passive House Planner. He has lectured at various locations. Currently he teaches Sustainable Design at Hochschule Anhalt / Dessau Institute of Architecture and is visiting professor at the Zhejiang Sci-Tech University in Hangzhou. A wide range of projects has opened up concerning sustainable optimization of existing portfolios, residential developments and city planning. Recent Awards include in 2015: DGNB Gold Medal for Sustainability, DGNB Platinum Medal for Sustainability, Elite Award of Ministry of Science and Technology, World Green Design Award - Silver Medal, Mirror Award - Top 10 Hotel Designer and in 2014 the World Green Design Award - Gold Medal.

PROF. PETER RUGE [email protected]

Studied Art History at Frankfurt University and Landscape Archi-tecture at the Technical Universities of Hannover and Karlsruhe. He trained in the office of P. Walker and M. Schwartz in San Francisco. In 1996 he founded TOPOTEK 1. Martin Rein-Cano has been appointed as a guest professor in different academic institutions in Europe and North America, such as the University of Pennsylvania and Harvard University. Currently he teaches at the DIA and frequently lectures at internationally renowned universities and cultural institutions and regularly serves on competition juries. TOPOTEK 1 partakes in a wide variety of international projects and has achieved the first prize in various competitions. The office has been honoured with many awards and prizes. Several professional books and articles have been published exclusively on TOPOTEK 1.

PROF. MARTIN REIN-CANO [email protected]




TSculptor and since 2006 Professor at the Department AFG, Anhalt University in Dessau. Focus of the work is on of arts in public space. Numerous realized projects based on competitions and or direct contracts. Current work includes the opening of a public monumen-tal sculpture in Schleswig, North Germany and 1st prize in the com-petition for implementation of two municipal fountain sculptures in Hamburg city centre.

PROF. CARL CONSTANTIN [email protected]

Graduated in 1988 at the TU Braunschweig with a new concept of industrial production buildings. During his studies worked as a freelancer for GMP and other architectural offices. In 1993 became Partner of Helmut C. Schulitz and worked on different topics, most-ly technical buildings (i.e. Hannover Soccer World Championship Stadium, bridge „Skywalk“ Expo Fairground, Oker Bridge in Braun-schweig). Worked with famous engineers like RFR in Paris or W. Sobek in Stuttgart. With his team, he won several competitions and architectural prizes, which resulted in professorship at Magdeburg University in 1997. Organized many international architectural ex-cursions for students. Since 2007 Professor at Anhalt Universitry, Stefan Worbes supervises milling and lasercutting lab and works as an academic advisor for architecture students.

PROF. STEFAN [email protected]

workshop master, lecturer


After studying and gaining professional experience in Saint Petersburg, graduated with her Master Degree from the DIA. Since 2012 working in Berlin with id22: Institute for Creative Sustainabi-lity, since 2013 in the Board of Directors. A focus is on the theory and practice of creative sustainability, emphasizing self-organization and local urban initiatives. The Institute coordinates educational services, networking events and publications, exploring and promoting CoHousing, CoWorking and community gardening. Currently working on a new publication “CoHousing Inclusive”. Since 2015 Larisa Tsvetkova is working at the DIA as a research associate, academic coordinator, PR and media coordinator. Research and teaching activities in cooperation with Prof. J. Kalvelage focus on inclusion, sustainable architecture and participatory planning.

LARISA TSVETKOVA [email protected]

bararchitekten.de [email protected]

Michael von Matuschka lives and works in Berlin. He is a trained carpenter, studied industrial design at the Gesamthochschule Essen and the Hochschule für Angewandte Kunst Vienna and architecture at the Universität der Künste in Berlin. Michael is a founding mem-ber of BARarchitekten. BAR works on the intersection of architecture and research with a focus on the development of urban prototypes informed by everyday studies.

MICHAEL VON MATUSCHKAstudio master

research associate, academic coordinator, media coordinator


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