Diploma Jury: Greg Lynn (Head), Klaus Bollinger, Brian Cody, Sanford Kwinter, Zaha Hadid, Hani Rashid, Kazuyo Sejima
Thursday, 21st of January
11 am: Studio Lynn (4th floor)
3 pm: Studio Sejima (1st floor)
External juror: Patrik Schumacher
Friday, 22nd of January
10 am: Diploma Reviews Studio Sejima (1st floor)
2 pm: Diploma Reviews Studio Rashid (3rd floor)
Art and Architecture have always been in conversation throughout the history. Buildings used to be adorned by artistically sculpted objects or manipulated by extraordinary paintings, while today artists like Anish Kapoor and Olafur Eliasson produce work of architectural scale and condition. We still talk about art and architecture as distinct sherds, but looking at their artistic/architectural production we see the boundaries between the two being blurred for decades especially by the notion of transgression and multi-disciplinarity and today we are caught between building-sized artworks and artistic buildings.
Antony Gormley is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Gormley continually tries to identify the space of art as a place of becoming in which new behaviours, thoughts and feelings can arise.
Gormley’s work has been widely exhibited throughout the UK and internationally with exhibitions at Forte di Belvedere, Florence (2015); Zentrum Paul Klee, Bern (2014); Centro Cultural Banco do Brasil, São Paulo, Rio de Janeiro and Brasilia (2012); Deichtorhallen, Hamburg (2012); The State Hermitage Museum, St Petersburg (2011); Kunsthaus Bregenz, Austria (2010); Hayward Gallery, London (2007); Malmö Konsthall, Sweden (1993) and Louisiana Museum of Modern Art, Humlebæk, Denmark (1989). He has also participated in major group shows such as the Venice Biennale (1982 and 1986) and Documenta 8, Kassel, Germany (1987). Permanent public works include the Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia) and Exposure (Lelystad, The Netherlands).
Gormley, born in London in 1950, was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, the Bernhard Heiliger Award for Sculpture in 2007, the Obayashi Prize in 2012 and the Praemium Imperiale in 2013. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year’s Honours list in 2014. He is an Honorary Fellow of the Royal Institute of British Architects, an Honorary Doctor of the University of Cambridge and a Fellow of Trinity and Jesus Colleges, Cambridge. Gormley has been a Royal Academician since 2003.
Sven-Olov Wallenstein is Professor of Philosophy at Södertörn University, Stockholm, and editor-in-chief of Site. He is the translator of works by Baumgarten, Winckelmann, Lessing, Kant, Hegel, Frege, Husserl, Heidegger, Levinas, Derrida, Deleuze, Foucault, Rancière and Agamben, as well as the author of numerous books on philosophy, contemporary art, and architecture. Recent publications include Biopolitics and the Emergence of Modern Architecture (2009), Swedish Modernism: Architecture, Consumption and the Welfare State (ed. with Helena Mattsson, 2010), Nihilism, Art, Technology (2011), Translating Hegel: The Phenomenology of Spirit and Modern Philosophy (ed. with Brian Manning Delaney, 2012), Foucault, Biopolitics, and Governmentality (ed. with Jakob Nilsson, 2013), and Madness, Religion, and the Limits of Reason (ed. with Jonna Bornemark) Forthcoming in 2016: Architecture, Critique, Ideology: Essays on Architecture and Theory.
IoA Sliver Lecture Series
Tomás Saraceno & Sanford Kwinter in conversation with Reiner Zettl about Art and Architecture
Art and Architecture have always been in conversation throughout the history. Buildings used to be adorned by artistically sculpted objects or manipulated by extraordinary paintings, while today artists like Anish Kapoor and Olafur Eliasson produce work of architectural scale and condition. We still talk about art and architecture as distinct sherds, but looking at their artistic/architectural production we see the boundaries between the two being blurred for decades especially by the notion of transgression and multi-disciplinarity and today we are caught between building-sized artworks and artistic buildings.
After attaining his architecture degree at Universidad Nacional de Buenos Aires in Argentina, Tomás Saraceno received postgraduate degrees in art and architecture from Escuela Superior de bellas Artes de la Nación Ernesto de la Carcova, Buenos Aires (2000) and Städelschule, Frankfurt am Main (2003). In 2009, he attended the International Space Studies Program at NASA Ames; the same year he presented a major installation at the 53rd Biennale di Venezia, and was later on awarded the prestigious Calder Prize.
In the last years, Saraceno’s work has been shown in international solo and group exhibitions such as Une brève histoire de l’avenir at Louvre, Paris (2015), Arachnid Orchestra. Jam Sessions at NTU CCA, Singapore (2015), In orbit at Kunstsammlung Nordrhein-Westfalen K21 in Düsseldorf (ongoing) and On Space time foam at Hangar Bicocca in Milan (2012-13), amongst others. His work has also been exhibited in public museums like The Metropolitan Museum of Art in New York (2012), the Kemper Museum of Contemporary Art in St. Louis (2011-12), and Hamburger Bahnhof, Berlin (2011-12).
Saraceno's oeuvre could be seen as an ongoing research, informed by the worlds of art, architecture, natural sciences and engineering; his floating sculptures and interactive installations propose and explore new, sustainable ways of inhabiting and sensing the environment towards an aerosolar becoming. Tomas Saraceno lives and works in and beyond the planet Earth.
Sanford Kwinter heads the Architectural Theory section at the University of Applied Arts Vienna. He holds a PhD in Comparative Literature from Columbia University. A theorist and writer, he has held positions at Harvard, MIT, Columbia and Rice universities in the U.S. as well as at the Staedelschule in Frankfurt and the Architectural Association in London and is Professor of Science and Design at Pratt Institute in New York. He was cofounder and editor of the journal ZONE and Zone Books for 20 years. He has written widely on philosophical issues of design, architecture and urbanism, science and technology and was an editorial member of the ANY conferences and publications in the 1990s as well as of the journal Assemblage. He is the author of over a hundred and fifty articles in a dozen languages. His books include Architectures of Time: Towards a Theory of the Event in Modernist Culture (MIT Press, 2001), Far From Equilibrium: Essays on Technology and Design Culture (Actar, 2008) and Requiem: For the City at the End of the Millennium and the forthcoming Soft Systems on the life sciences and their impact on design and What is Energy and How [Else] Might we Think About it? (with Kiel Moe). He writes frequently on the work of young and emerging practitioners in the nascent and transdisciplinary field of experimental spatial practice. He recently curated a University-wide exhibition at Harvard entitled "The Divine Comedy." He was the recipient of an Arts and Letters award in 2013 from the American Academy of Arts and Letters. His current work focuses on recent developments in neurobiology and experience, and paleoanthropology and the origins of form-reading.
Universität für angewandte Kunst, Lichthof B
Oskar-Kokoschka-Platz 2, 1010 Vienna
Upcoming Sliver Lectures:
January 12, 2016: Antony Gormley and Sven-Olov Wallenstein
Guests: Fidel Peugeot, Marie-Therese Harnoncourt
IoA Sliver Lecture Series
Greg Lynn & Sanford Kwinter in conversation with Reiner Zettl about Art and Architecture
Art and Architecture have always been in conversation throughout the history. Buildings used to be adorned by artistically sculpted objects or manipulated by extraordinary paintings, while today artists like Anish Kapoor and Olafur Eliasson produce work of architectural scale and condition. We still talk about art and architecture as distinct sherds, but looking at their artistic/architectural production we see the boundaries between the two being blurred for decades especially by the notion of transgression and multi-disciplinarity and today we are caught between building-sized artworks and artistic buildings.
Greg Lynn was an innovator in redefining the medium of design with digital technology as well as pioneering the fabrication and manufacture of complex functional and ergonomic forms using CNC (Computer Numerically Controlled) machinery. The buildings, projects, publications, teachings and writings associated with his office have been influential in the acceptance and use of advanced materials and technologies for design and fabrication. As design opportunities today extend across multiple scales and media, his studio Greg Lynn FORM continues to define the cutting edge of design in a variety of fields. His work is in the permanent collections of the most important design and architecture museums in the world including the CCA, SFMoMA, ICA Chicago and MoMA. Because of his early studies in philosophy and architecture he has been involved in combining the realities of design and construction with the speculative, theoretical and experimental potentials of writing and teaching. This unique and innovative approach to design has also established him as an influential figure across many disciplines and led to consultations and collaborations with companies like BMW, Swarovski, Alessi, Vitra, Disney and Imaginary Forces. In 2002, he left his position as the Professor of Spatial Conception and Exploration at the ETHZ (Swiss Federal Institute of Technology Zurich) and became an Ordentlicher University Professor at the University of Applied Arts in Vienna. He is a Studio Professor at UCLA’s school of Architecture and Urban Design where he is currently spearheading the development of an experimental research robotics lab. Since the turn of the century he has been the Davenport Visiting Professor at Yale University.
Sanford Kwinter heads the Architectural Theory section at the University of Applied Arts Vienna. He holds a PhD in Comparative Literature from Columbia University. A theorist and writer, he has held positions at Harvard, MIT, Columbia and Rice universities in the U.S. as well as at the Staedelschule in Frankfurt and the Architectural Association in London and is Professor of Science and Design at Pratt Institute in New York. He was cofounder and editor of the journal ZONE and Zone Books for 20 years. He has written widely on philosophical issues of design, architecture and urbanism, science and technology and was an editorial member of the ANY conferences and publications in the 1990s as well as of the journal Assemblage. He is the author of over a hundred and fifty articles in a dozen languages. His books include Architectures of Time: Towards a Theory of the Event in Modernist Culture (MIT Press, 2001), Far From Equilibrium: Essays on Technology and Design Culture (Actar, 2008) and Requiem: For the City at the End of the Millennium and the forthcoming Soft Systems on the life sciences and their impact on design and What is Energy and How [Else] Might we Think About it? (with Kiel Moe). He writes frequently on the work of young and emerging practitioners in the nascent and transdisciplinary field of experimental spatial practice. He recently curated a University-wide exhibition at Harvard entitled "The Divine Comedy." He was the recipient of an Arts and Letters award in 2013 from the American Academy of Arts and Letters. His current work focuses on recent developments in neurobiology and experience, and paleoanthropology and the origins of form-reading.
Universität für angewandte Kunst, Lichthof B
Oskar-Kokoschka-Platz 2, 1010 Vienna
Upcoming Sliver Lectures: December 17, 2015: Sylvia Lavin and Tomás Saraceno January 12, 2016: Antony Gormley and Sven-Olov Wallenstein