Beruflich Dokumente
Kultur Dokumente
LIGHT
The Architecture of
ARKAN ZEYTINOGLU
Editor
Editor-in-chief
Editing assistant
Arkan Zeytinoglu
Manuela Htzl
Michael Hasslacher
Office team
www.zeytinoglu-architects.com
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Special thanks to
Content
Manuela Htzl
13
Arkan Zeytinoglu
17
Project
18
Florian Medicus
On Useful Doubts
21
Projects
30
52
Wolfgang Pauser
65
Project
72
Wolfang Pauser
Concepts of Reason
79
Projects
86
112
116
118
122
124
126
132
Content
Projects
Bar Italia
Restaurant Do & Co Albertina
City on the River Mur
Courthouse Graz West
Courthouse Klagenfurt
bwin Lounge
bwin Sportsbar
Penthouse S
The Austrian Pavilion at the EXPO 2010 Shanghai
Hotel Rural La Donaira
Restaurant Glacis Beisl
Hotel White Rock
Business Hotel Kiev
Hotel Falkensteiner Carinzia
Business Hotel Leoben
Hotel Acquapura Funimation
Rooftop MH1
Sky Ofce Sperl
Penthouse FILL15
Rooftop HOMA
Center of Research and Technology Flak Tower
Convention Center St. Marx
Obscura 360
Jewelry Design Max
University of Economics and Business
Integrated Resorts Singapore
136
146
156
162
174
184
190
194
196
206
212
218
222
224
242
250
264
284
292
300
302
304
306
308
310
318
List of Works
Team Members
Authors
Image Credits
About Arkan Zeytinoglu
327
331
332
333
335
10
11
Manuela Htzl
Geometry is both ideal image and abstract order, which is given a reciprocal
embodiment in architecture through constructed image and material form. 1
The book on hand illuminates the work of the Turkish-descent architect
Arkan Zeytinoglu under the aspect of geometrized light: drawings,
studies of space, landscapes, projects and buildings from 1995 until
today (2011) are shown in this light of geometry, Arkan Zeytinoglus
source of inspiration. Geometry in connection with architecture is no
surprising term nor has it been a fashionable one since the last hype
in the 1990s when the computer became an important instrument of a
new formal design. It facilitated calculating new geometries, leaving the
architect behind as a drawing constructor. Command and understanding
of geometry, ever a vital matter for architects, ceased to be a necessity.
Responsibility for the design was transferred to the drawing tool
computer, thus bringing architecture as a whole into a conflict of authority.
In his essay, A Machine Epistemology in Architecture;2 Andrew J. Witt
describes design techniques in connection with the development of tools
and instruments, rightfully maintaining that such machines (including
computers) raise certain epistemic challenges: they abstract systems
and detach the user from operative logic. Consequently, if the computer
takes over the act of designing, more instrumental and less design
knowledge is required from the architect. According to this, architecture
no longer is on the hunt for geometry as science and inspiration, as
Peter Davidson and Donald L. Bates describe it in the magazine
Architectural Design of 19983, but they observe each other from
a distance. Architecture and geometry have disengaged from their
inspiring, centuries-old embrace. With this detached view of geometry
and form finding, architecture also has lost something: the pleasure of
designing as a whole, encompassing action. Moreover, this also makes
drawing irrelevant. Jeffrey Kipnis declares the collage as the best (and
logical) depiction of a heterogeneous, postmodern architecture which now
has been replaced by a rendering generation. These new architects are
not searching for a representation of actual space but trying to
adapt reality to the virtual perfection however, thats another story.
Along with the loss of pleasure in design and drawing as a process, the
relationship of architecture and geometry has also given up its emotional,
passionate character.
1
2
Peter Davidson and Donald L. Bates, Editorial, in AD, Architectural Design, Architecture after Geometry (February 1998) p. 7.
Andrew J. Witt, A Machine Epistemology in Architecture, Encapsulated Knowledge and the Instrumentation of Design,
in: Candide Journal for Architectural Knowledge (No. 3/2010) p. 37.
ibid.
13
14 I EDITORIAL
basic doubts in the topic, underlining the courage to use the tools of the
trade and his love for the drawing in architecture. Cultural philosopher
Wolfgang Pauser elaborates the importance of light in architecture, and
in his second essay explains the long history of the relation of geometry
and architecture. And in a conversation with Arkan, Dietmar Steiner
asks him about his motivations for becoming an architect, and about his
relationship with music
The book Geometry of Light tells a story Arkan Zeytinoglus story ,
but it also tries to retrace the relationship of geometry, architecture, and
light, and to point out their various influences on science and philosophy.
Still, the question remains what the role of this relationship is today, not
only for Arkan Zeytinoglu.
15
Arkan Zeytinoglu
I dont search for the content of architecture through the abstraction of the
score. I dont need this story board to develop architecture. For me it is
the perception of music when played that is of primary importance, the kind
of sound-space that it constructs. And I find that this sound-space is extremely
graphic. Vice-versa the geometry of spaces produces a sound for me.
From this sound, i.e. out of these tones, geometries are constructed which are
indeed related to mathematics that together with proportion shapes/create
spaces. And this is how the design of the D-House developed D stands for
D major which, looking back, I might perhaps see as a condensate of this
approach. But then other abstract dimensions of architecture are also involved.
There is the light, the construction, the horizon, the perception of space in
perspective which is related to the position of the eye. And out of all these
influences and determining factors the design for my 'first house' arose. That
was the start and it was an attempt to define myself. To find an answer to the
question: where does the form, the geometry of my architecture come from?
Arkan Zeytinoglu (quotation from the interview with Dietmar Steiner: There is no such thing as abstract
architecture. On the career of an architect. An encounter, see p. 132)
17
Architecture and music have a long joint history. From ancient times
the theory of proportions in architecture and of harmony in music has
dealt with relationships and ideals. The projective house is based on
the idea of geometrizing music and giving spatial form to a relationship
between vibrations. The interstitial space that results is constructed in
projective space.
In Euclidean geometry the definition is as follows: two straight lines are
parallel if they lie on the one plane and do not intersect each other and:
parallel lines intersect in infinity. If one expands Euclidean space into
a projective space the projective house can be understood as an
approach to the infinite horizon, a projective depiction as affinity
between Euclidean and projective space. An architecture made of rays of
light in D major.
D-House, 1986
pencil on paper, 29.6 x 21 cm
19
Florian Medicus
On Useful Doubts
It seems strange, having arrived at the end of a project, to still feel traces
of the doubts you had experienced when starting it. After all, every
examination of a theme should at least attempt to remove doubts, and
indeed should aim, as far as possible, to dispel them. Far too much
nonsense has been written already, designed, built and sung for payment,
for me to embark upon an allegedly decisive introduction to
Arkan Zeytinoglus Geometry of Light. No, dear ladies and gentlemen,
you can rest assured that I really had to slave away! In fact, initially I
rejected the claim implicit in the title and with it the far too constructed
aspect. This urge to fabricate a theory based on a practice that was, in
any case, already successful. However, this fact should not be seen as an
attempt to diminish its possible value but should be welcomed as an
occasion for everyone to engage in self-examination: what, I ask you,
do the terms geometry and light actually mean to us and how might
a causal link, in the sense of the geometry of light be undertaken,
logically and (ideally) entertainingly? Lets start with the big words:
geometry and light. These are certainly difficult concepts and ones
which, I believe, should not be used lightly. Most likely everyone, whether
through ignorance or partial knowledge of the factual material, has
an oddly clear image, an actual idea of the purpose.
But what, in fact, is geometry, what can it do, what does it want to do?
An area forming part of mathematics that developed from studying the
characteristics and contents of the physical space that surrounds us, as
well as the form of spatial and plane formations and calculations
of lengths, surfaces and contents of figures.1 This is a translation of the
definition in my dear fathers Brockhaus encyclopedia. It may
initially sound coherent but, like almost everything that at first sounds
coherent, it subsequently seems unsatisfactory. Consequently, I try to
encourage myself with the beautiful Ludwig W., i.e. I attempt to separate
the complex into its elements.2
If geometry deals with the characteristics and, above all, the facts of the
physical space that surrounds us, i.e. if it can be not only thought of but also
depicted, then at least we can form an image of it.
Excellent! That in itself is something. But, whether light is a fact that is
essentially immanent to space, i.e. of equal value, is something that I
question at this point. As we know, there are many spatial conditions
1
2
Geometrie in Brockhaus Enzyklopdie, 19th ed., vol. 8 (Mannheim, 1989), entry tr. J.R. ODonovan.
Ludwig Wittgenstein, Tractatus logico-philosophicus, 2.0201 (Frankfurt/Main: Suhrkamp, 1997), p. 13, quote tr. J.R. ODonovan.
21
that have to manage entirely without light. While this lack may not make
geometry any more pleasing/any easier, it does not (yet) mean
that it cannot be imagined. The idea that no light is just a tragic (because
underexposed), special form of light, i.e. a form of electromagnetic
radiation that is not perceptible and therefore not perceived which,
although it can itself exist in space cannot make the geometry of space
perceptible (at least not visually), seems of as little help as the bizarre
formulation of wave-particle duality, i.e. the theoretical formulation
of light quanta (photons) with curious wave characteristics. Wave-particle
duality is also one of those historically loaded facts if we wish
to continue using this term which, whenever the opportunity arises,
I refuse to understand, pleading insufficient mental capacity. Now
Einstein, as well as Heisenberg, Schrdinger and Bohr were only able to
think their theories of relativity or quantum mechanics on the basis of
non-Euclidean geometry (sic!), and, as a result, substantially expanded
the way of looking at things and the course they took.
22 I ON USEFUL DOUBTS
initially defined as the fact that in the latter the parallel axiom does not
(any longer) exist. But precisely this was the decisive step, the fruitful
questioning of certainties undertaken around the same time by
Nikolai Ivanovitch Lobachevsky and Jnos Bolyai, and then generalized
by Bernhard Reimann in 1845.
The greatest of all architects wanted to see what he had created without
form and void and so, on the very first day, he let it become light.
An understandable decision and an excellent one; and didnt the second
greatest architect write: Our eyes are created to see forms in light! 5
So there you have it! And, around 1150, wasnt it said loud and clear:
God is light! And light was conveyed as wandering along the traces
of God become man6 and thus as a very central characteristic of
scholastic aesthetics? In the Gothic we see the building mass dissolving
3
4
5
6
Peter Tallack, Meilensteine der Wissenschaft (Heidelberg-Berlin: Spektrum Verlag, 2002), p. 114, quote tr. J.R. ODonovan
Genesis 1: 14, King James Bible online version http:// www.kingjamesbibleonline.org
Le Corbusier, Bauwelt Fundamente 2 Ausblick auf eine Architektur, (Braunschweig: Vieweg, 1995), p. 21, quote tr. J.R. ODonovan.
Georges Duby, Die Zeit der Kathedralen, Kunst und Gesellschaft 9801420 (Frankfurt/Main: Suhrkamp, 1992), p. 218, quote tr. J.R. ODonovan.
23
for the first time; naturally, these geometries also represent a slimming
down of the load-bearing system for economic reasons, as well as being
insane monuments to the vanity of princes of the church, but they also
pursue the clear binding goal to allow more and above all better light
to flood the interior. The idea of light and the right way of directing it
determines the (at times terrifyingly delicate) geometries of
Gothic cathedrals [a word of advice: its best to look at them from
outside, on account of the horizontal forces]. And dont we find similar
(but of course entirely different) approaches in the work of James Turrell
(ladies and gentlemen let us rise from our seats!)? It is precisely
James Turrell who repeatedly shows us such fantastic spaces and
geometries in, or to put it better, made out of the strengths and the colors
of light which not only extend to the very limits of familiar visual codes
but even strain these comforts in the most wonderful way. There is a very
beautiful book on a Turrell project in Germany with the illustrious
title Geometrie des Lichts.7 For this artist such a title sounds truly plausible,
but what the title ultimately ought to be, could be and must be:
the explanation of the Geometry of Light is here not questioned decisively
enough and thus not answered. Things remain much the way Turrell
himself has described them elsewhere: One of the difficulties with light is
that we dont have a very good vocabulary for describing it.8
I like the passage in Poseners Vorlesungen zur Geschichte der neuen
Architektur, where he says: History never starts at zero. We have ()
discussed the question what the architect can learn from the history of
building. We have reached the conclusion: directly the architect can learn
absolutely nothing from history, not by imitation and not by discovering
universally valid principles. There are no such principles, neither in
architecture nor in town planning.9
Now both of these, geometry and light, are also (but not just) physical
laws and thus principles of space, and as such they are also important
preconditions of general as well as particular perception.
I can appreciate Posener while not always having to agree with him. For
in principle the use of geometry and light is (and certainly will remain)
a central yardstick in the planning and production of spatial contents; and
the way these are used, as well as fortunate external circumstances (which
are always essential) will still allow us to tell the virtuosi from
the dilettante architects (it is only among dilettantes that a person is his
or her profession!).10 I did not invent the title Geometry of Light, nor was
7
8
9
10
See James Turrell, Geometrie des Lichts (Ostfildern: Hatje Cantz, 2009).
James Turrell in conversation with Ana Maria Torres, exh. cat. IVAM, Valencia, 2004, p. 15.
Julius Posener, Rckblick in die Geschichte Heinrich Tessenow in ARCH + 53, quote tr. J.R. ODonovan.
Egon Friedell, Ecce Poeta, (Berlin: Fischer Verlag, 1912), p. 133, quote tr. J.R. ODonovan.
24 I ON USEFUL DOUBTS
However, Arkan says thats the way it is: this is what he has been so
pleasurably torturing himself with for many years, this is what brings
everything together, and holds it together. For him the Geometry of Light is,
he says, the big picture, a very private and also very influential cosmos and
as such it should, he says, be accepted and taken seriously!
In the course of these reflections there was another question that also
engaged my interest: the motive for wanting to show drawings.
For a number of reasons this theme is very important/dear to me, and it
resonates with me; but I still ask: why attach it this unusually high value,
why this presentation of what is, ultimately, histories and stories of
the most personal kind? I find this decision not only unusual and fortunate,
but also courageous, because something of this kind is, of course,
dangerous and could go seriously wrong. After all, hasnt Arkan recently
attracted the attention of a broader public as an established architect in
the high-price sector and also through the successful collaboration with
SPAN in that case using a highly digitalized, biomorphic11 architectural
language which (at times entirely legitimately) focuses primarily on
overcoming all the burdens of historical conventions by means
of technical virtuosity? But this doesnt seem to be Arkans real past, nor
(which is ultimately more important here) is it his long-term future.
See http://blog.span-arch.com/projects/the-austrian-pavilion-at-expo-shanghai-2010/
If one wishes to believe Patrik Schumacher; see SchumacherThe Autopoiesis of Architecture (London: Wiley&Sons, 2011).
25
method of functioning. You can still call this architecture but nothing
about it is certain.13 And this is tangible everywhere! Emanating from the
globalized architecture schools, since the day before yesterday
all the parametric CAD stuff has been tilting into an unthinking trendiness.
The revolution is devouring its children, in the same way that every
revolution has eaten its young; instead of producers today all we see is
representatives, as Karl Kraus said.14 The digital overwhelming
is becoming increasingly unsatisfactory and every garish animation just
serves to feed our doubts. The richly visual enchantment that
we were promised would follow Avatar now manages to conceal the lack
of content and the hypocrisy of the plot only for certain, albeit lengthy,
stretches; but for anyone who wants a good story as well as good
pictures, well
But lets go back to dear old building and, because it just occurred to me,
I would like here to recall the crazy constructions at the Paris Worlds Fair
in 1889. What we vividly honor in the work of Eiffel, and in particular
Dutert and Contamin, was the most sophisticated and without doubt the
best that the late 19th century was able to provide and exhibit. But we
also know that these masterpieces, although a highpoint in terms of the
development of technology and construction, were by no means a linear
further development or the influential fireworks of a recently founded
tradition in terms of content or even esthetics. In fact they were followed
by restoration tendencies in major and minor areas, the major and minor
restoration tendencies that are so typical of the 19th century: even the
iconic column foot of the three-pin trusses in the Galerie des Machines
were defused only four years later in the madness of Chicago by using
non-structural and therefore senseless blind chords and, to top it
off, were sunken into the floor. Sempers echo or as David Bowie sang:
Theres a brand new dance, but I dont know its name 15
Jean Baudrillard, Architektur: Wahrheit oder Radikalitt? (Graz-Vienna: Droschl, 1999), quote tr. J.R. ODonovan.
C. Wagenknecht (ed.), Karl Kraus fr Gestresste (Frankfurt/Main: Insel TB, 1997), p. 63, quote tr. J.R. ODonovan.
David Bowie, Fashion, 1980.
Egon Friedell, Kulturgeschichte der Neuzeit (13th ed., Munich: dtv, 2000) p. 1112.
26 I ON USEFUL DOUBTS
already there: the 2010 Venice Biennale and the Small Scale Big
Impact exhibition at around the same time at the MoMA in New York.
Perhaps the mannered, illustrious Bugatti-Veyron Years with 1001 PS
are truly numbered and will inevitably be followed by a shift
(wrongly dismissed as mediocre and narrow-minded) to factual,
i.e. more content-focused, tasks and solutions. And it may be that some
people who are endearingly nave as regards the characteristics of
the process again want to leave the machine, i.e. want to confine
themselves to the theme that Raimund Abraham used to conclude
what turned out, sadly, to be his last lecture: All you need is a piece of
paper, a pencil, and the desire to make architecture!17
I am doing my utmost here to avoid historical restoration tendencies and
other sentimentalities, although I can imagine that a current visit to Ikea
with, for example, William Morris would be highly entertaining. But in the
history of architecture jokes of this kind have inevitably
turned out to be fatal. However, if back in 2003 we could read from
Hollein the Younger that naturally the digital revolution does not
stop short of architecture. Paper and pencil are being put aside and
highly qualified software programs used in order to be able to develop
the most complex structures. At a time such as this the architecture
drawing, the architectural sketch finds itself in a fundamental state of
transition with regard to its function, reception and value.18 We are
forced to reflect upon how the historic image of the architect has changed
and increasingly disintegrated since the introduction and spread of
the computer. The influence of what is known in German as the
Fachplaner (specialist planner, in any case a shabby term) has recently
expanded to such an extent that it seems a good idea to look more
closely at the role of the architect in function, reception and value. But
that would take us too far away from our topic.
Quoted by Peter Noever in: (Vienna Architecture Conference) in the Absence of Raimund Abraham (Ostfildern; Hatje Cantz, 2011), p. 21.
Max Hollein Visionen und Utopien, (Schirn Kunsthalle/Prestel Munich, 2003), p. 6.
27
hand drawing, if it still has any function at all, has only a diminutive
one, generally as an illustrational gag added at a later date. I mean,
who still really draws and if they do: when and what and how and
for whom? And yet I have the impression that in the last two years the
numbers of wonderful half-lunatics, who draw hatching lines by sliding
their triangles parallel and, late at night, sharpen coloring pencils into
ashtrays, are growing again. And recent exhibitions, such as the one in
Paris (la ville desine!) and large-scale drawing competitions (such as
the one organized by the Danish Larsen foundation or drawing in the
post-digital age from Woodbury University)19 indicate a lively and entirely
unsentimental interest in this medium.
The digital revolution has been completed, its consequences are irreversible
and the full extent of its implications is not yet apparent; every stubborn
approach, every attempt at doing entirely without such media would be simply
ridiculous, and, in the end, also impractical.
But I do believe that it would be no harm (indeed quite the opposite)
if certain handcraft facets were to return, even if only as a kind of
supplement, or better still opposition, just as a gentle warning to
all those who are far too self-confident to polish their spectacles!20,
as the great Arno Schmidt demanded in a different context. And after all,
hasnt the good old record player or turntable experienced an illustrious
renaissance? And wasnt it precisely at the time when the digitalization of
music was experiencing its first highpoint through Napster & Co.
that the emergent DJ culture or rather its high priests again began
carrying around vinyl records and wanted to be watched as they worked
or, in common parlance, DJ-ed? The analogous, i.e. the original, justifies
its existence by offering tangible and visible proof of manual work.
After all, despite everything, we still want to be served individually
and caringly!
And also from time to time we want to know what something is and why
something is the way it is! It simply cannot be the case that even great
minds like Thom Mayne can no longer figure things out: because theres
less and less differentiation between the things you show us as a desire
and its potential for realization, and the real thing. 21
So, please: whats the real thing?
19
20
21
http://wuho.org/2d3d
Arno Schmidt, Deutsches Elend (Zurich: Haffmanns, 1984), p. 96.
(Vienna Architecture Conference) in the Absence of Raimund Abraham (Ostfildern: Hatje Cantz, 2011), p. 84.
28 I ON USEFUL DOUBTS
And yet is also very topical: the one sketch, the idea formulated back
then that was kept for later use: if we can see how the formal requisites
repeatedly surface in buildings and projects and yet are presented and
used very differently.
Arkan will never rid himself of these spirits; so why leave them to grow
dusty in plan chests; why not publish them in a suitable way? What is
happening here, and ultimately everywhere, is a form of self-plundering
at, in the best case, a high and also touching level. Ones own story (and
also the history of others) is an unerring treasure trove, the housing of
the motor of development and as such it is a fundamental requirement,
essentially a tool. Nothing here is done out of truculence or, I hope, as
the result of calculating what might be fashionable. For that kind of thing
there are a number of Arkans buildings that might be suitable, but less so
the drawings, these very old geometries and the visible and useful doubts
and hopes about space possibly the all-decisive aspect. What we see
here is a virtuoso retrospective, an exploration of his own origins, offered
as an explanation and not as a cheap, transparent sales vehicle in the
sense of I can do that, too! Themes that are old, new, large, and small,
and, as such, perhaps eternal; among them, as the spiritual center, The
Geometry of Light, also as a form of the weightless, the changing and the
transient; in contrast to the unavoidable heaviness of the shadow, trying
out the masses and possibilities of ones own horizons. It must have been
especially beautiful this evening at the House with two Horizons!
29
31
Landscape, 1989
photo-collage , 14.5 x 11 cm
33
page left
Earth-break,1989
pencil on paper, 21 x 29.7 cm
right page
Drawing, 1989
pencil on paper, 21 x 14 cm
35
Erosion, 1989
pencil on wrapping paper, 21 x 29.7 cm
37
left page
Geometrized Condition I, 1989
colored pencil on paper, 63 x 45 cm
right page, left
Geometrized Condition II, 1989
colored pencil on sketching paper, 7 x 27 cm
right page, right
Geometrized Condition III, 1989
colored pencil on sketching paper, 7 x 27 cm
39
left page
Chronometer with Time Levels, 1989
pencil on paper, 63 x 45 cm
right page, above
Time poles, 1989
pencil on paper, 63 x 45 cm
right page, below left
Chronometer I, 1989
charcoal pencil on paper, 63 x 45 cm
right page, below right
Chronometer II, 1989
charcoal pencil on paper, 63 x 45 cm
41
Peter Eisenman, Visions Unfolding: Architecture in the Age of Electronic Media, in Kate Nesbitt,
ed. Theorizing a New Agenda for Architecture, 1996, 556-561.
Ibid.
left page
Sundial I, 1989
pencil on paper, 29.7 x 42 cm
right page, above
Artificial Layers I, 1989
pencil on paper, 21.7 x 29.7 cm
right page, below left
Sundial II, 1989
pencil on sketching paper, 30 x 84 cm
right page, below right
Sundial III, 1989
fineliner on sketching paper, 20 x 20 cm
43
With the start of Cubism (around 1908) which emerged from painting,
humankind (as subject) distanced itself from its central standpoint
(towards the object). The concept of space in art was expanded. Cubism
(finally) made a break with the perspective-based understanding of the
Renaissance and recognized that a single viewpoint does not suffice to
view an object (or space) or to fully understand it. Because the essence
of space as understood in its diversity consists of infinite possibilities
of internal relationships, an exhaustive description from a single eyepoint becomes impossible.3 The Cubists dismantled space into its
constituent elements and looked at it from all sides; they also added the
fourth dimension to it. At the same time as the discovery of the physical
relationship between space and time (theory of relativity, Albert Einstein)
and psychoanalysis (Sigmund Freud, who, incidentally, also used
photography as a way of defining terms)4, time is added as a term for
the perception of space. Whereas in the Renaissance artists were split
into two groups on the issue of whether perspective should be depicted
by means of lines or colors, Futurism developed alongside Cubism,
adding movement to the spatial depictions.
Nevertheless, time cannot be experienced in the same way as space.
Although the concept of time is derived from Plato and Aristotles
definition of movement in space, even after Kant (who regarded it as the
experience that first makes being human possible) and Einstein, who,
through his theory of relativity, defined time as the fourth dimension of
space, time is not a fixed dimension; time-space remains a relationship
that must be constantly defined anew.
3
4
left page
Spatial Curvature and Time Levels, 1989
pencil on paper, 29.7 x 42 cm
right page, above
Space and Time, 1989
pencil on paper , 29.7 x 42 cm
right page, below
Artificial Layers II, 1989
pencil on paper, 21 x 29.7 cm
45
left page
Section of Timetower, 1989
pencil on paper, 31 x 44 cm
right page, left
Elevations I Timetower, 1989
pencil on paper, 31 x 44 cm
right page, right
Elevations II Timetower, 1989
pencil on paper, 31 x 44 cm
47
Idea of a Space
left page
Interior of the Earth, 1989
pencil on paper, 21 x 29.7 cm
right page
Artificial Layers III, 1989
pencil on paper, 21 x 29.7 cm
49
Shadow is the removal of light and the pure contrast between the dense
volume and brightness: shadows belong to the nature of darkness, brightness
to the nature of light. One conceals, the other reveals: they are connected in
permanent communion to the volumes, and shadow is more powerful than
light, as it completely excludes the volumes from light and robs them of it,
whereas light can never completely drive the shadows away from the volumes,
that is from the dense volumes.
Leonardo da Vinci
51
52 I LENDKANAL
Allegories of stations
where places freeze
open and close
where waves
break and disappear
meet
allegories of memories,
where waves lift boats
carry ships
allegories of water,
where waves trickle out
and trickle out
condense
and dry up
left page
Study Lendkanal, 1994
pencil on sketching paper, 75 x 30 cm
right page
The Harbor, 1994
pencil on paper, 42 x 29.5 cm
53
54 I LENDKANAL
left page
Canon of Water I, 1994
pencil on paper, 90 x 63.5 cm
right page, left
Canon of Water II, 1994
pencil on paper, 126 x 60 cm
right page, right
Canon of Water III 1994
pencil on paper, 90 x 60 cm
55
56 I LENDKANAL
Deep place
buried
in the earth
draws its lines
separates
ring by ring
covered
runs the path
left page
The Bar, 1994
pencil on paper, 42 x 29.5 cm
right page
The Dike, 1994
pencil on paper, 42 x 29.5 cm
57
Water weir
forcing itself
through the gate
taking form
in the profile
digging the ditch
it stabs into the earth
above the water
carrying
58 I LENDKANAL
59
Sides
shore
memory
the touch
the opposite
the squares
the time
62 I LENDKANAL
63
Wolfgang Pauser
65
Immanuel Kant, translation by Thomas Kingsmill Abbott: The Critique of Practical Reason (1788).
which, while not illuminating the city, still clearly outlines it and
thus reveals it as a built object, the sea of light blurs all contours. Its
innumerable sources of light do not illuminate the city and its buildings
but merely suggest their presence, in that they present nothing other
than their own light. In contrast to the silhouette, the metaphor of the
sea dematerializes the borders of the city as an architectural object into
an animated infinity of living, flickering light. Whereas the skyline is the
result of a shortage of light, the imposing aspect of the sea of light is that
there are too many sources of light for the perception to synthesize them
into an architectural object. The sea of light is also a counter image of the
city, but, in contrast to the silhouette, here light and dark have swapped
places: what appears against the dark background is just the light of the
city, but not its architecture. The night-time form of the city consists solely
of light that does not brighten or clarify anything but leaves things in the
dark, spreads in an inflationary way, and diffuses the boundaries of all
objects. Nevertheless, or precisely on this account, we can talk here of
light-architecture in the narrower sense of the term.
In the modern big city the intensity of night-time lighting has reached
a level that doubles the sea of light upwards, reflecting it in the air
and further diffusing it. Like a mirage, the sum of all the architectural
illuminations appears to hover above the city in a form resembling
a dome of light. This neither illuminates nor is illuminated itself. Its
appearance is the result of scattered light that breaks against particles
floating in the air and thus produces the image of a cloudy object
consisting solely of light. This epiphenomenon, a summary of architecture
illumination, surpasses the sea of light in terms of both inflation and
diffusion. But, unlike the skyline, it is not interpreted as a glorious super
symbol of that energetically densely built formation, the city, but is
increasingly becoming caught in the crossfire of political criticism. In the
Czech Republic a law has even been passed against light pollution.
Interpreting light as a pollutant is not only historically new. This idea
questions the direction taken by the continuous development of the
architecture of light and way of thinking about light over thousands of
years. Purity, clarity and increasing visibility are the qualities that have
been traditionally attributed to light as core elements of its very nature,
without an opposite attribution ever seeming remotely conceivable. In the
symbolic order light and dirt are diametrical opposites, and, so far, the
fact that light can hinder sight has been a theme only in the rare case of
67
dazzling glare. However, the debate about light pollution shows that
things are now different.
Sources of artificial light pollute the natural darkness at night and can
therefore be seen as a special kind of environmental pollution. It is still a
matter of debate whether the artistic aspects such as the illumination of
monuments justify this. Just as polluted seas, ground or air are no longer
habitable for many species, the destruction of the night also has far
reaching consequences. 2
If one ignores for the moment the green fundamentalist overtone in
which such assessments are delivered with all the fervor of an apostle
of nature, the question still remains whether there are any possible or
necessary limits to historic development and whether they increase in the
amount of artificial lighting. Sometime in the future, will it be possible to
explain the history of light in terms of a continuous path culminating in
full illumination? Or will we be witnesses of a break that fundamentally
corrupts not just the dosage but also the cultural metaphors and meaning
of light?
Phenomena of inflation are found not only at the outer edges of the area
of encounter between light and architecture but also in its minimum. 3D
architecture renderings consist solely of light and two dimensions: They
are generally presented in a glowing light, peopled by slender office
employees and couples with children. No dark corners, always warm
light, no grayish-blue tones strolling through ArCAADia.3
The biblical vision of a Heavenly Jerusalem, a city built of transparent
gems, in such a way that God descends shining to earth, also shines
out of our idealized images of architecture. These images are used to
seduce investors, and consequently, if it wishes to avoid subsequently
disappointing people, architecture must adapt to match them. Where the
architecture of light consists only of light, it can hardly resist the seductive
appeal of a utopian totalization of light.
A further minimum of the cultural configuration of light and architecture
is the solarium. It is usually not included under architecture but, like air
conditioning or the elevator, it belongs to the ensemble of technical
facilities that makes a decisive contribution to making modern architecture
possible and to structuring it. Whereas air conditioning separates the
warming and the illuminating dimensions of sunlight from each other, the
2
3
solarium has a function that compensates for and augments the function
of buildings as a filter against the sun. It is a coffin-like casing, a technical
shell that encloses the human body; in relation to sunlight, however, it can
be seen as a functional inversion of every form of habitation. Its function
is to compensate for the effectiveness of buildings in keeping the sun out.
For buildings are designed not only to offer protection against the night.4
In hot climates architecture is also a bulwark against sun and light. The
radiation which the macro-body-shell of the building deprives human
beings of is doubly returned by the micro-body-shell of the solarium.
Architecture and solarium together form a system of light politics that
grows within an energy-rich movement between reciprocal escalation
and over-compensation. The increasing use of relatively energy-saving
lamps does nothing to limit this escalation but merely smoothes its path in
cultural terms.
The increase of light leads to a reduction of the night, darkness and
shadows. In interior design light sources start to overlay and to compete
with each other.5 Consequently shadows are in short supply, yet are
increasingly needed because the task of designing interior spaces is
moving closer to the world of the theater, where drama is required
to stage a piece. Lighting needs shadow as a means of contrast. In
contemporary interiors we experience a duel between the imperative of
complete illumination and the imperative of staging or presenting.
The inflation of the amount of light is further fueled by the variation of
its sources. Whereas the accentuating spotlight competes with the wallwasher, in addition to light fittings that illuminate, more and more selfilluminating lights are being developed. Advertising light illuminates our
ability to desire; back-lit monitors encourage concentration and offer
distractions. Artificial light with the color of daylight is increasingly joined
by daylight artificially introduced into buildings by means of glass fibers
and mirrored shafts. Intentionally or unintentionally, they all add to a
diffuse, excessively bright atmosphere of light, the indoor pendant to the
cloud of light over the city.
Complete glazing is now standard for inner city office buildings. However
dark blue these obelisks of an economy that has become opaque may
be, they still sing the old song of the victory of light and its effect on
human civilization in terms of enlightening and making transparent. But
behind these smooth faades a technical and architectural change is
taking place. Whereas removing the window originally created monoliths
4
Walter Seitter, Zur Physik der Nacht in Gernot Bhme, Reinhard Olschanski (eds.), Licht und Zeit
(Munich: Wilhelm Fink Verlag, 2004).
Bruno Haldner in: Marcel Schmid, Licht, exhibition catalog, (Basel 1991).
69
See, for example, the biomorphic architecture visions of Vincent Callebaut, www.vincent.callebaut.org
LIGHT AND DARKNESS I Studies on NYC, Pier for Coney Island, 1994
left page
Entity of the Dark, 1995
pencil on paper, 91.5 x 61 cm
right page, left
Black out, 1994
pencil on paper, 25 x 25 cm
right page, right
Sparks, 1994
pencil on paper, 25 x 25 cm
73
75
77
Wolfang Pauser
Concepts of Reason
Geometry and Light
79
80 I CONCEPTS OF REASON
The term spiritual is used here in the sense of an abstraction of humankinds intellectual achievements.
81
found reflected in the celestial lights that appear against the night sky.
In Greek the term cosmos means both order as well as ornament. It is
the musical beauty of harmonious sound whose mathematical equivalent
is seen in the order of the stars.
Against this background we can understand why Vitruvius derives the
proportions of architecture from reflections on the theory of music. The
additional aesthetic value of integral intervals was regarded as proof of
the general validity of a cosmic law, a kind of world formula of creation,
described by Plato in the dialogue Timaeus as Lambdoma. In this system
the number 1 stands for the whole, all further values are derived from the
division/fraction of whole numbers.
For Pythagoras the issue is not numbers used for counting, but the
relationship between numbers. The term proportion is still used today
in architecture and the visual arts and means nothing other than that
the relationships between dimensions relate to the Pythagorean theory
of numbers. Such proportions are described as harmonious, as it is
assumed that the beauty of musical consonance can be transferred to
visual phenomena by means of the relevant ratios. This can only succeed
if one assumes that a cosmological building law of integers forms the
basis for the audible as well as the visual. Thus, conveyed by means
of mathematics, the geometrical division of the lengths of the strings is
projected into the geometry of the celestial bodies, from where, as a
divine law, it structures, produces and shapes the world of appearances.
An attempt is then made to discover the inaudible sound of the harmony
of spheres in the regularities of natural phenomena (such as, for
example, the laws of the way leaves are arranged on a stem, the angles
of crystals or the human form).
Johannes Kepler discovered that the orbits of the planets are elliptical
because, as a Pythagorean, he was convinced that circular orbits could
not reflect the beauty of cosmic music, as integral ratios of division are
not to be found in circles. It is only in an ellipse that every point be
described by a relationship, namely its distance from two focal points.
Kepler used a telescope that he developed and built himself to examine
the thesis of harmonious number relationships, developed from music
theory. Even though the theory behind his reasoning was wrong,
verifying it by means of the observation of nature represents a decisive
step in modern natural sciences. In Keplers model of the cosmos,
which was derived from Platos spindle, there was also a place for the
82 I CONCEPTS OF REASON
83
84 I CONCEPTS OF REASON
LIGHT AND DARKNESS I Studies on NYC, Pier for Coney Island, 1994
left page
Light rays changing media, 1994
pencil on paper, 25 x 25 cm
right page
Light rays changing media, 1995
acrylic on canvas, 91 x 122 cm
left page
Opening, 1995
acrylic on canvas, 91 x 122 cm
right page
Opening, 1994
pencil on paper, 30 x 30 cm
89
left page
Transition, 1994
colored pencil on paper, 25 x 25 cm
right page
Transition, 1995
acrylic on canvas, 91 x 122 cm
91
left page
Window, 1995
acrylic on canvas, 91 x 91 cm
right page
Window, 1994
pencil on paper, 30 x 30 cm
93
95
Papillon, 1995
acrylic on canvas, 91 x 91 cm
97
The Inversion
left page
Development of Poles, 1995
pencil, colored pencil on paper, 91.5 x 61 cm
right page
Poles, 1995
acrylic on canvas, 91 x 91 cm
99
101
above right
Conceptual Drawing of Poles, 1995
pencil on paper, 25 x 25 cm
Construction Drafts of Poles, 1995
pencil on paper, 25 x 25 cm
103
105
107
109
111
112 I POOL
Pool, 1997
photos
113
114 I POOL
Pool, 1997
photo
left page
Folding Horizons, 1995
pencil on paper, 30 x 30 cm
115
Waterline
The Waterline housing project in Carinthia is conceived as a
190-meter-long residential street. The rhythm of the building offers habitat,
squares and intermediate spaces, always focused on the individual
resident. The viewer is moved into a central position. In the intermediate
space there is a watercourse, the climate zone. The proportions and
relationships of the building volumes are constructed around people:
a human geometry.
117
CONDENSED CITY I Studies on the Typology of the City, Vienna, Austria 1992
The Void
Condensed City analyzes Viennas structure of concentric rings in
six steps: inner city/Ringstrae (ring-road)/inner urban districts/Grtel
(outer ring-road)/outer urban districts/suburbs (as far as the Vienna
Woods). The development, density, traffic routes and empty spaces of
the individual parts are reconstructed and interpreted in a metaphoric
plan. The studies on topological densification and void are themselves
condensed in a building. Condensed City compresses the city in
one of its in-between spaces.
left page
The Void, 1992
pencil on sketching paper, 60 x 41.5 cm
right page
Ring of Vienna, 1992
pencil on sketching paper, 65 x 41.5 cm
119
The cross-section of
Vienna from the core
to the fringe is
programmatically
compressed into the
emptiness to the
Ring.
right page
Chronology of the Forms, 1992
pencil on sketching paper, 110 x 90 cm
left page, above
Section - Floor Plan, 1992
pencil on sketching paper, 110 x 50 cm
left page, below
Floor Plan-Section-Elevation-The Grid, 1992
pencil on sketching paper, 110 x 70 cm
121
Green Tower
This space installation was developed in the course of the refurbishment
of the bank (1964) and deals with an open space extending through four
stories. The green tower twists gently, shaping vessels within a spatial
cage, allowing a sculptural space to develop.
right page
Perspective Green Tower, 1992
pencil on sketching paper, 64 x 33.5 cm
left page
Green Tower with Vessels and the
Construction of the Cage, 1992
pencil on sketching paper, archive Gnther Domenig
123
Light Cross
The chapel of rest faces towards the center of Saak and closes the public
open space in front of the church and presbytery. The symbolic floor plan
of a cross is repeated in the construction. The load-bearing cross rests
above the recumbent one and forms an entity in the cross of light in the
hall. An interpretation of inner contemplation in an archaic form; symbolic
and illuminating.
124 I SAAK
125
Gestures
In 1989 the Director of the Museum of Applied Arts set up an invited
entry ideas competition. This was to address the terrace plateau he
had designed himself for the museum garden of MAK, which makes a
clear sign in the direction of the River Wien and Viennas third district:
the flight of steps oriented towards the garden is on the one hand an
articulation and dissolution of the site boundary, while on the other
it invites the visitor to ascend these steps. From different heights there
are various views and perspectives of objects and exhibits that can be
displayed in the museum garden. Seen from the Stubenbrcke (bridge
over the River Wien) and Vordere Zollamtstrae it signalizes the access
to the museum garden and, as a viewing terrace looking towards the
Stadtpark, it enriches the urban fabric. (http://peternoever.mak.at)
126 I MAK
Sketch, 1989
collage / pencil on paper, 42 x 29.7 cm
127
Drawing, 1989
pencil on paper, 65 x 36.5 cm
left page
Balcony and Spaces, 1989
pencil on paper, 65 x 30 cm
128 I MAK
129
left page
The Point, 1989
pencil on paper, 65 x 30 cm
right page
The Threshold Beam, 1989
Pencil on paper, 65 x 30 cm
130 I MAK
131
DS: Of course, but if you lear ned about this profession from
your father, didnt this instill
fear in you being faced with the
many obstacles and pressures
that an architect has to deal with
every day?
DS: But this creates the dilemma that architecturally autonomous sculptures without
any practical value could deveDS: You are very attached to this lop from this emotional musical
first design for a house. Was that sensibility. However you place
in some way or other the comthe people af fected by your ar pressed form or the beginning
chitecture at the center of attenof your calling as an architect?
tion. You feel an obligation not
Did you say to yourself: without to develop an architecture that
having a client I focused all my
disconcerts or is alien to peocreative strength and knowledge ple. You dont shy away from
on a fundamental statement, and talking about feel-good ar in all my subsequent projects up chitecture, about atmospheres,
to the present day I have benemoods and vibrations of the mafitted from this radical position, terial or about proportions. You
as a kind of benchmark for my
stress the idea of the melting pot
architectural desires?
of architecture that blends all
the influential material elements
AZ: Yes, because I still like to
in order to achieve a coherent
sit down at the piano and play . built result. We find ourselves
And I don t mean playing sohere in a rather abstract space
meone elses work, I don t play of argumentation that ultimatefrom a score, Im talking here
ly only fellow architects and
about my own im provisation
experts can understand. But
if you want to put it like that. For how does one communicate
a long time, perhaps 30 years, I
this position and strategy to
havent played someone else s potential clients who may well
music. And I regularly develop
have entirely different associa-
133
135
143
149
Sightway
The museum cafe of the
Albertina is located above the
original ground floor of Viennas
city bastion. The long narrow
space is newly oriented along a
historic transverse axis of this domstic palace. The space-shaping
element, a dugout clad with
palisander wood, crosses this
axis, dividing the space into two
functional areas. The individual
functional zones rotate around
the long axis. The open kitchen
and ancillary spaces are on the
inner side, the restaurant and
bar form an open, southwestfacing space. The area for
guests is defined by continuous
leather bench seating. The composition of materials refers to
the opulence of the neighboring
state rooms in the palace.
153
155
159
165
Mur Stone
As a strikingly placed riverside
rock, the free-standing building
is an important urban feature
that transforms the silhouette of
the River Mur. Eight stories high,
the interlocking building elements both open and close the
building. A glowing urban ship
for the surroundings, a protected
office atmosphere in the interior.
The building, a Mur clasp,
engages the nearby courthouse
building in an urban dialogue.
The three-story entrance hall provides the internal circulation to the courts
and the office areas and adopts the generous gesture of the semitransparent external skin. Walkways and bridges as waiting or circulation
areas give the light-flooded hall an open character.
167
171
Sensitive Identity
The urban planning competition,
set up in 2003 by the City of
Klagenfurt, aimed at establishing
a link between the area to be
developed and the core city. The
green recreation area of two city
parks was to be continued into
the plot in the form of an open
development of the planned
building volumes (courthouse,
police commando, office and
commercial complex, housing).
The building heights are derived
not solely from functional and
economic considerations, i.e.
the uses and the various court
departments to be accommodated, but also define the (new)
courthouse as a center of identification in the new development.
The lightness of the multi-story
foyer is particularly emphasized
by the mesh of footbridge and
passageway-like circulation and
waiting areas.
177
The combination of glass and highly polished stainless steel as the leading
elements in the corridor and footbridge areas creates overlays of space
in space, the spatial boundaries alternately open and close. Massive
elements such as the stone plinth or wall are dissolved.
181
183
Moving Playground
The long narrow spatial situation of the bwin Lounge and
the concentrated workstations
were both playfully eliminated
by a dynamically spatial design. The central element of the
metaphor of movement: the ball
race. This glowing yellow body
defines built dynamism.
A reduced form in which speed
is addressed thematically,
caught in the full-height hemisphere as the termination of the
space and a light fitting. The
proportions and dynamism of
the inserted ball race repeat the
energy of movement from inside
to outside.
The metaphor of the motion is the ball race.
189
Loop Space
The Sportsbar winds through the
space in the form of a three-dimensional loop, forming the bar
and seating, hollows and niches
to linger and communicate in.
Sporty, dynamic and, in terms of
color, tailored to the corporate
design black, white and
yellow the bar makes its way
through space and time.
193
Spiral Case
Only God knows what there is in between. He created the distance between
the sun and the earth. Since then we have been trying to measure it, but are
still unable to define this relationship and what it means.
Arkan Zeytinoglu
194 I PENTHOUSE S
THE AUSTRIAN PAVILION AT THE EXPO 2010 I Shanghai, China 2008 2010
with SPAN Architecture & Design
Bent Geometry
Music and architecture have
long been engaged in a stimulating relationship with each
other. For the Austrian Pavilion
in Shanghai the sound was
the driving force that reflects the
harmonious continuity of music
in the form of the architectural
volume. The basic conflict of the
weightiness and rigidity of architecture seems to be dispelled
outside and inside flow together
and the seamless transitions
between the individual sequences of space allow a flow of
movement to develop that leads
the visitor from the entrance area
through the exhibition site to the
exit. The resonance room forms
the centre of the pavilion, in
which Austrias musical legacy
from classical to the present day
is presented by means of audiovisual stimulation. The complex
curved surfaces could be precisely calculated and produced
only by means of topology, a
branch of mathematics. Spatial
vaulting as rhythmical movement
within a body of sound.
199
201
203
205
207
Sustainable Leisure
209
211
Just Traditional
The Glacis Beisl was established
on the site long before the
opening of Viennas Museumsquartier. It was redesigned in
2004. The layout and choice of
materials for the interior is based
on the traditional Viennese Beisl.
The planted garden for guests
in front of the restaurant has a
number of mature walnut trees;
thanks to the pergola and winter
garden it forms an entity with
217
219
Falling Water
223
227
235
237
And still we continue trying to find out how to master the in between,
so we could control and understand the existence of earth and sun, because
only the distance created sun and earth, the one and the other. The distance
is the light, invisible and not being heard, making things exist by putting
them into relation.
Arkan Zeytinoglu
241
247
249
Material of Landscape
The language of the Acquapura
Funimation in the high Alpine
region on the border between
Carinthia and Salzburg is the
diversity of the landscape, the
poetry of its elements. River and
water, earth and stones, light
and air. The building reacts to
the topography of the site, absorbs the surrounding landscape
and repeatedly reveals the
view. The existing hotel and the
new building interlock and are
connected by two circulation
towers. Planted terraces and tectonic building volumes that follow the level of the slope, create
a wellness landscape that relates
to nature and opens towards
the valley and the mountains.
Inwards the guest has more
253
257
Inwards the guest has more intimate areas: beauty and massage areas
are grouped around protective light-wells that offer a view of the outdoor
facilities, sauna and meditation area create their own closed landscape
with Kneipp pools, whirlpool and a cold water channel embedded in an
artificial gorge.
259
261
263
The wing-like shape of the sky-lobby results from the dissolution of the
group of chimneys. This was aimed at in order to articulate the resulting
roof space horizontally, to separate it from the main roof and to prevent
the ridge running into the group of chimney tops.
267
271
Light is neither dark nor bright, neither colorful nor gray, only when it
touches something, it gives the something a shape, a color, a body
a soul and it discovers everything, not being locked by any door, making
its way into the very heart of anything, giving something value, worth
being remembered.
Arkan Zeytinoglu
273
279
283
Crown
The existing late 19th century
building occupies a prominent
position in an inner city
streetscape. The new offices added on top combine the traditional language of a mansard roof
with a contemporary idiom to
form a unified entity. A second
cornice determines the structuring of the new faade, horizontal articulation is employed. The
scale of the three new stories is
concealed by the rhythm of the
faade, the cornice and the roof
pitch. In terms of height the new
roof is in general adapted to the
silhouette of the street, but the
existing corner tower is extended
upwards by a glazed volume
that defines a new crowning
urban element. In this way the
proportions of the original roof
are recreated. The use of a loadbearing primary structure and
non-load bearing secondary
structure creates a maximum of
space and light and a feeling of
generosity in the interior. Steel
frames like the metal hull of a
ship encompass the office space
and allow it to open permeably
into the roofscape.
287
291
295
299
On the Top
A recessed attic story without
dormer windows blends with
the existing eaves point but
without meeting it, leaving the
structural form of the existing
building untouched. The shape
and detailing were chosen so as
not to injure the character of the
horizontally articulated facade
and to match the heights of its
external appearance.
301
Lateral Thinking
Between 1942 and 1945 six
reinforced concrete flak towers
(anti-aircraft defense towers)
were erected in Vienna, three
G-towers (gun or combat
towers), each with a nearby
L-tower (lead or command
tower). After the war it proved
impossible to demolish them and
today they are protected monuments. Repeated attempts have
been made to find new functions
for them, but a suitable permanent use could only be found in
the case of the tower in the
Esterhazy Park, which houses the
Haus des Meeres (Aqua Terra
Zoo). The tower in the Arenberg
Park (footprint 47 x 47 meters,
height 42 meters) is used as an
303
Inside Outside
The cattle sheds (Rinderhallen)
in the urban district of St. Marx
represent a unique gem of Viennese architectural history that
are intended to function in the
future as symbols of identity for
the St. Marx development center.
The goal is to develop this area
of the city as an office and
technology district with suitable
cultural and leisure facilities and
to use and design it with a new
urban identity. In May 1877 the
municipal council passed a decision to erect the Viennese Central Abattoir Market. The central
building, known as the Rinderhalle (cattle shed), was the first
wrought-iron structure in the city.
It consists of two independent
triple-aisled halls. On their long
sides they are connected with
each other by a roofed street
(street aisle). The hall is characterized by the lightness of
305
307
309
313
Impact
315
317
321
The Tower
The Bridge
323
Vanilla Sky
325
List of Works
Buildings
327
HOTEL & SPA BAD WALTERSDORF I Interior Design, Waltersdorf, Austria 2006 2009
ROOFTOP F12 I Vienna, Austria 2006 2011
MARINA ESTON DENIZ I Turkey 2007
HOTEL AM SCHOTTENFELD I Vienna, Austria 2007 2009
PENTHOUSE FILL15 I Vienna, Austria 2007 2010
COURTHOUSE INNSBRUCK I Innsbruck, Austria 2008
HOTEL 25 HOURS I Vienna, Austria 2008
HOTEL BODEGON I Cartagena, Columbia 2008
MEDICAL PRACTICE Z I Klagenfurt, Austria 2008
EMERALD SUITE I Velden, Austria 2008 2009
VILLA R I Vienna, Austria 2008 2009
THE AUSTRIAN PAVILION AT THE EXPO 2010 SHANGHAI I Shanghai, China 2008 2010
FEDERAL OFFICE BUILDING I Lienz, Austria 2009
ITALIC BAR RESTAURANT I Vienna, Austria 2009
SERVICED APARTMENT SCHLG I Vienna, Austria 2009
PENTHOUSE LF15 I Vienna, Austria 2009 2010
RESTAURANT INDOCHINE I Vienna, Austria 2009 2010
TSW TAUERN SPA WORLD I Interior Design, Kaprun, Austria 2009 2010
RESIDENCES TS I Vienna, Austria 2009 2011
HOTEL & RESORT MIVKA I Bled, Slovenia 2010
PALAIS PRINCIPE HM12 I Vienna, Austria 2010
SANITARY FACILITIES VIENNA AIRPORT I Vienna, Austria 2010
THE GUEST HOUSE, HOTEL FUEG I Vienna, Austria 2010
RESTAURANT KITZSTEINHORN I Kaprun, Austria 2010
VILLA S I Trofaiach, Austria 2010 - 2011
AQUA DOME THERMAL SPA I Lngenfeld, Austria 2011
HOUSE B I Vienna, Austria 2011
HOUSE K I Vienna, Austria 2011
ROOFTOP F9 I Vienna, Austria 2011
THERMAL SPA GEINBERG I Geinberg, Austria 2011
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List of Works
Projects / Studies
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Team Members
Slaven Beric, Jakub Bruer, Wolfgang Ennser, Ariana Grll,
Petra Gschanes, Alexander Jarau, Regina Kiem, Brigitte Marschall,
Christa Panzenberger, Jrgen Rgener, Pia Zippermayr
Past
Dijana Arapovic, Engelbert Auer, Glhan Aydintan, Susy Baasel,
Thomas Brtl, Harald Bittermann, Michaela Dimmel, Doris Fritz,
Martina Gadotti Rodrigues, Rdiger Ingartner, Kristof Jarder, Mia Kim,
Georg Kolmayr, Markus Korak, Thomas Kuscher, Florian Lohberger,
Nikolaus Passath, Nicholas Perdula, Thomas Platzer, Manuel Singer,
Matthias Schindegger, Barbara Stoiber, Michael Stoiser,
Claudia Swoboda, Stephan Vary
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Authors
MANUELA HTZL, who was born in Graz in 1972, is an author, curator and editor. She has worked since 1992 as an architecture critic for
national and international architecture magazines. She develops concepts
for publications and communications ideas that focus on the area of
architecture (redaktionsbuero architektur).
FLORIAN MEDICUS, who was born in Salzburg in 1977, is an architect
and curator and also teaches Load-bearing Constructions at the University of Applied Arts in Vienna and History and Theory of Architecture at
the Leopold-Franzens University in Innsbruck.
WOLFGANG PAUSER, who was born in Vienna in 1959, works as a
free-lance essayist. He writes cultural analyzes of markets, products and
brands and is a consultant, conceptionist and copywriter for the Viennese
branding agency Brainds.
www.pauser.cc
DIETMAR STEINER, who was born in Wels in 1951, is the Director of
the Architekturzentrum Wien, President of the World Association of
Architecture Museums, a profound observer of worldwide developments
in architecture, and an experienced moderator of the dialogue between
architects and their clients.
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Image Credits
MARCUS BUCK 184189
GISELA ERLACHER 174183
FALKENSTEINER HOTELMANAGEMENT GMBH 228
HERTHA HURNAUS 264269 I 274277 I 282283
isochrom I ARMIN HESS 148 I 300301 I 302303 I 314317 I 318319 I 325
ANGELO KAUNAT 146147 I 149 I 150155 I 194195 I 242243 I 246249
ALEXANDER EUGEN KOLLER 140145 I 190193 I 212216 I 224225 I 229 I
230240 I 252253 I 255 I 256257 I 260263 I 284291
BASTIAN KIESLER 310313
GERALD LIEBMINGER 162165 I 170173
MAK AUSTRIAN MUSEUM OF APPLIED ARTS/CONTEMPORARY ART I
NATHAN MURRELL 128131
miss 3 s.r.o. 209211 I 218219 I 222223
PAUL OTT 166169
RALPH RICHTER 270272 I 278 I 280281 I 292293 I 294 I 296299
CHRISTIAN ROIDER 204205
WOLFGANG STADLER 136139
RUPERT STEINER 308309
MARIA ZIEGELBCK 198203
ARCHIV ZEYTINOGLU 1011 I 1819 I 3063 I 7278 I 86127 I 133 I 144 I
156161 I 206207 I 217 I 220221 I 227 I 244245 I 250251I 254 I
258259 I 304305 I 306307 I 320323
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