1. art and entertainment
2. visual art and design
3. design

www.dieangewandte.at
Index
A
B
C
5
6
9
10
12
14
16
Preface
History
The Angewandte Today
Events
Edition Angewandte
Studying at the Angewandte
Postgraduate Programmes
23
25
27
29
30
30
30
31
32
32
33
33
Architecture
Architectural Design 1 (Studio Zaha Hadid)
Architectural Design 2 (Studio Greg Lynn)
Architectural Design 3 (Studio Hani Rashid)
Integrated Design
Integrated Design / Building Design
Integrated Design / Energy Design
Integrated Design / Structural Design
Theory and History of Architecture
Digital Fabrication
Special Topics in Architecture
[applied] Foreign Affairs
35
37
39
41
43
45
47
49
51
53
55
57
58
Fine Arts and Media Art
Art & Science
Stage and Film Design
Digital Art
Photography
Graphics and Printmaking
Landscape Art
Painting
Painting and Animated Film
Sculpture and Space
TransArts – Transdisciplinary Art
Transmedia Art
Media Theory
61
63
65
67
69
71
73
74
Design
Applied Photgraphy and Time-Based Media
Industrial Design 1 (Paolo Piva)
Industrial Design 2 (Fiona Raby)
Graphic Design
Graphics and Advertising
Fashion
Theory and History of Design
74
75
Computer Studio
Video Studio
D
77
Conservation and Restoration
E
79
81
83
Arts and Society
Art and Knowledge Transfer
Social Design – Arts as Urban Innovation
F
85
86
86
87
88
88
89
89
90
90
91
Art and Technology
Life Drawing
Archaeometry
Conservation Sciences
Book Art
Geometry
Ceramics Studio
Wood Technology
Metal Technology
Technical Chemistry and Science Visualisation
Textile Technology
G
93
95
97
99
100
101
101
102
102
Art Sciences and Art Education
Design, Architecture and Environment for Art Education
Art and Communication Practices
Textiles – Free, Applied and Experimental Artistic Design
Art, Design, Textile Didactics
Art History
Art Theory
Cultural Studies
Philosophy
H
103
Gender Art Lab
I
105
Language Arts
J
107
Collection and Archive
110
111
116
118
121
123
University Library
Strategy, Service and Administration
Organisational Chart
Organisational Units
Picture Credits
Imprint
Preface
Preface
The University of Applied Arts Vienna is home to nearly 2.000
students, many of whom come from other countries, both within
Europe and abroad. The broad spectrum of artistic disciplines,
complemented by a large number of scientific subjects, certainly
enriches the special atmosphere that prevails at the »Angewandte«.
The concept of the university as a place for critical re­flection upon one’s personal thought and action, a place where questions are more important than patent solutions – this idea flourishes
at the Angewandte. Studies are not limited to the mere conveyance
of artistic techniques and skills. Rather, the development of individual artistic creativity and critical reflection upon one’s work on the
basis of theories and concepts are our foremost priorities. Students
learn and experience art not just as an end in itself, but fundamentally as a departure point and medium for communication, where
the analysis of the significance and effects art has in society play
an important role. Encouraging the development of creative visions
and facilitating artistic experiments, in tandem with a commitment
to technical excellence and conceptual brilliance, are the basic
elements of the quality standard the Angewandte sets for both
teachers and students alike.
The Angewandte sees itself as a place for free artistic and
academic expression, as a forum for open debate, and as a labo­
ratory for artistic visions, which unfold their potentials in the society
of the future. Our goal to remain one of the best art schools in the
world is inextricably linked to the consistent effort invested into continually increasing our quality standards, the ongoing renewal of
creative potential, and our uncompromising advocacy of artistic and
academic freedom.
Gerald Bast, Rector
4 — 5
History
From the Imperial Royal Arts and Crafts School to the
»Angewandte« of Today
In the heart of Vienna, the capital of the Danube monarchy, the predecessor institution of the current University of Applied Arts, the
Imperial Royal Arts and Crafts School, was founded in 1867. It was
closely affiliated with the Imperial Royal Austrian Museum of Art
and Industry (today the MAK), the first Arts and Crafts museum on
the European continent. It was established in 1863 following the
example of the South Kensington Museum in London, now the
Victoria & Albert Museum, and was to serve as a collection of models
for artists, industrialists, and the general public. At the time, earlyindustrialised England played a pioneer role in supporting a
reformed Arts and Crafts movement in order to prevent its decline
in the »Machine Age«. In the spirit of Historicism, the aim was to
make it possible, also in Vienna, to study the great styles of the past
by example
of Arts and Crafts objects in the museum and to set up a place of
advanced education for designers and craftsmen with the Arts
and Crafts School in Vienna. It should train artists and teachers in
equal measure to serve the demands of the »art industry«.
Heinrich von Ferstel, the architect of the museum building,
was commissioned with the design for a separate building for the
school. In 1877, the main building of our university, still in use to
the day, was festively opened at its prominent location on the Ringstraße. In contrast to the Academy of Fine Arts, female students
were allowed to study there from the very beginning. Gustav Klimt
was but one of the numerous graduates from this era.
Along with the artistic development towards nature observation and free design, a break with work on the basis of historical
precedents also took place at the Arts and Crafts School around
the end of the nineteenth century. In 1899, Felician von Myrbach,
a member of the newly-formed Viennese artists society Secession,
was appointed as the director of the school, which was liberated
from the administration of the museum in the following year. In
Myrbach’s term as director, there were numerous reforms and teacher
appointments that made the Arts and Crafts School into one of the
birthplaces of Austrian Jugendstil and founded its reputation as an
institution committed to the modern. As a member of the curatorial
History
board, Otto Wagner played a significant role in the implementation
of the reforms. The teaching staff at that time reads like a Who’sWho of the today highly regarded »Vienna around 1900« with names
such as Kolo Moser, Josef Hoffmann, Alfred Roller – who began his
highly influential term as director in 1909 – and students with the like
of Oskar Kokoschka.
The end of the monarchy also meant the end of the
»Imperial Royal« Arts and Crafts School, although Roller’s long term
in office (until 1934) ensured the continuity of the high standard of
artistic quality. Franz Cizek realised an educational reform programme
with his highly regarded youth art courses. From Cizek’s course
for theories of ornamental form emerged »Viennese Kinetism«, which
only recently has (again) attained its international art historical recognition, where female artists – such as Erika Giovanna Klien – set
the tone for the first time. Architects like Josef Frank, Oskar Strnad,
and Oswald Haerdtl continued the tradition of »Wiener Raumkunst«
(Viennese Spatial Art) and transformed it. Margarete SchütteLihotzky, graduate of the Arts and Crafts School, went on to invent
the first serially-produced so-called »Frankfurt Kitchen«, which had
a sustainable effect in social housing.
During the National Socialist regime, the Vienna Arts and
Crafts School was under the direct supervision of the »Reichskammer
der bildenden Künste« (Reich Chamber of Visual Arts), numerous
teachers and students were banned from studies, threatened and
persecuted, the teaching activities brought into line. The graphics
class, in particular, under the direction of Paul Kirnig, delivered visual
propaganda for the purposes of the »Third Reich«, which contributed
to the Arts and Crafts School’s elevation to the »Reichshochschule
für angewandte Kunst in Wien« (Reich College of Applied Arts in
Vienna).
After 1945, the now »College of Applied Arts« had a
difficult start under the direction of Maximilian Fellerer. Its orientation
along the lines of an art academy was also reflected in the name
»Academy of Applied Arts« (between 1948 and 1971, thereafter
»College« again). The broadened scope of the educational programme, the increasing number of students, and an extension to the
school along the Vienna Canal following the plans of Karl Schwanzer
(1965) were signs of expansion in a new age of economic upswing.
6 — 7
The Angewandte Today
Between 1979 and 1995 the »Angewandte« transformed
into a progressive institution under the direction of Oswald Oberhuber
and Rudolf Burger, who (briefly) guided the academy from 1995 to
1999.
Amongst the teachers in the fields of architecture, design,
fine art, and theory in these decades were personalities such as
Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander
Bertoni, Joseph Beuys (as guest lecturer), Rudolf Burger, JeanCharles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen,
Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka, Wolfgang Hutter,
Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Lürzer,
Axel Manthey, Paolo Piva, Wolf D. Prix, Christian Reder, Jil Sander,
Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter
Weibel, Manfred Wagner – to name but a few.
Rector Gerald Bast has been guiding the University of
Applied Arts Vienna since 2000 – one year after a new legislative
regulation transformed Austrian art colleges into universities. Gerald
Bast’s ambitious plan for an art university with flourishing content
and a growing number of students keeps stride with this age of globalisation, a fact reflected by new study programmes and changing
professorships.
Patrick Werkner
The Angewandte Today
Today the Angewandte is regarded as a dynamic, nationally and
internationally recognised competence centre for architecture, fine
arts and media art, design, conservation and restoration, art education and sciences, and language arts, with a special focus on interlinking artistic and scientific disciplines. This is particularly apparent
in the new fields of study Art & Science, TransArts, Landscape and
Public Space, Social Design, and Sculpture and Space.
The teachers, students, and graduates make a significant
contribution to the development of the artistic and scientific dis­
ciplines represented at the Angewandte. In a world of continuous
and accelerated professional and intellectual specialisation and
fragmentation, art, architecture, and design form a counter model
that draws its efficacy and innovative potential from a strategy characterised by multidisciplinarity, interconnectivity, networking, and
the transcendence and expansion of disciplines. These disciplines
must also serve as a societal communication tool in order to be
effective as a newly defined and contemporary understanding of
applied arts. Through the exploration of novel practices in teaching,
research, and the development of art, the Angewandte faces the
challenges society presents.
The individual disciplines form the basis of its actions.
They not only provide a very broad spectrum of refined content; the
developments triggered in recent years have also generated an
internal project culture, where interdisciplinary and transdisciplinary
working methods have become a constituent principle. The aim is
to investigate societally relevant developments not only from an
academic perspective but also by working together with the social
groups involved, contributing to the emergence of international
peer communities, and acting as a hub between diverse partners
in the academic realm, the artistic community and cultural industry,
business, the creative industries, and other areas of society. The
Angewandte has always benefited from such strategic and longterm collaborations; they are an essential prerequisite for external
impact and thereby participation in the shaping of society. Its guiding principle is openness and flexibility, with a view to effectively
make use of opportunities, as well as quality and reliability in the
safeguarding of existing partnerships in the long term.
8 — 9
Events
Open House
For all those interested in the university of the arts, especially potential applicants, the Open House provides insights into life in the
studios, workshops, and labs of the Angewandte. The departments
of the Institute of Architecture, Fine Arts and Media Art, Design,
Conservation and Restoration, Artistic Sciences, Art Education and
Communication, Art and Technology, Language Art and the Centre
for Art and Knowledge Transfer offer expert talks, guided tours, and
presentations of projects, theses, and films. Students and teachers
are available for questions and talks, and can give information about
the entrance examinations, the study programmes, and the curricula.
Also the University Library and the Collection and Archive are open
for visitation.
The Essence
The highlight of an academic year at the Angewandte is the annual
exhibition The Essence. The Essence showcases the origins and
development processes of selected individual and group projects
by students and graduates from the preceding winter and summer
semesters. They represent the various art departments as extra­
ordinary idea workshops with their own unique profiles, in exemplary
fashion. In collaboration curators organise together with lecturers
and students an exhibtion of the most intriguing projects from the
study programmes Architecture, Industrial Design, Fine Arts, Stage
Design, Design, Conservation and Restoration, Media Art, and Language Art, staging them in a prominent museum context in Vienna.
The works exhibited are arranged within the setting of the Angewandte: art as a seismograph of a changing society, as a form-giver
of society, as an institution that provokes change.
Events
Show Angewandte
The Show Angewandte – the fashion department’s fashion show –
has become one of the highlights of the Viennese fashion scene in
recent years. Each June, students present their creative collections
in their own fashion show. It displays around 200 of the outfits
designed and sewn the previous winter and current summer semester
under the artistic guidance of the fashion instructor. Witty or experimental, clean lines or purism – originality is a must. Not least because
of the continuous high quality of presented works and numerous
successful graduates, including Bless, house of the very island’s,
Petar Petrov, Ute Ploier and Wendy&Jim, the Show Angewandte has
become internationally renowned.
10 — 11
Edition Angewandte
Edition Angewandte
The University of Applied Arts Vienna, in cooperation with
Springer Verlag Wien/New York has been publishing Edition
Angewandte since autumn 2007 and since 2013 in cooperation
with Birkhauser. The series consists of anthologies, dissertations, documentaries, and monographs in the areas of architecture, fine and media arts, design, conservation and restoration,
and aesthetics and art history, pedagogy, and communication.
Complete Overview about all published books:
www.dieangewandte.at/editionangewandte
Jan Svenungsson (Ed.):
Ein Künstler-Text-Buch, 2012
Sabine B. Vogl (Ed.):
Biennalen – Kunst im Weltformat, 2010
Florian Bettel, Julia Mourão
Permoser, Sieglinde Rosen­
berger (Eds.): living rooms –
Politik der Zugehörigkeiten
im Wiener Gemeindebau, 2012
Alison Clarke (Ed.): Design
Anthropology. Object Culture
in the 21st Century, 2011
Franz Schuh (Ed.): Nita
Tandon. Dimensions of
the Surface / Dimensionen
der Oberfläche, 2014
Petra Maitz: ­Visualisation
of Evolution molecule/
calculus, 2014
Barbara Imhof, Petra Gruber
(Eds.): What is the architect
doing in the jungle? Biornametics, 2013
Georg Glaeser: Nature and
Numbers. A Mathematical
Photo Shooting, 2013
Esther Dischereit: Groß­
gesichtiges Kind / The Child
With the Big Face, 2014
Patrick Werkner (Eds.), Anita
Kern, Bernadette ­Reinhold :
Grafikdesign von der Wiener
Moderne bis heute, 2010
Klaus Bollinger, Florian Medicus
(Eds.): Unbuildable Tatlin?!, 2012
Wolf D. Prix: IOA Studios. Zaha
Hadid, Greg Lynn, Wolf D. Prix.
Selected Student Works 2009, 2011
Mathias Fuchs, Ernst Strouhal
(Eds.): Das Spiel und seine
Grenzen. 2011
Gerald Bast, Agnes
­Husslein-­­Arco, Patrick
­Werkner (Eds.): Wiener
Kinetismus, 2011
12 — 13
Stephan Hilge, Roman
Pfeffer, Nita Tandon (Eds.)
TransArts, 2013
Sabine Scholl (Ed.): lautschrift
2011. angewandte literatur
Bernadette Reinhold, Patrick
Werkner (Eds.): Oskar
Kokoschka – ein Künstlerleben
in Lichtbildern / An Artist‘s Life
in Photographs, 2013
Gerald Bast, Brigitte Felderer
(Eds.): ART AND NOW, 2010
Janet Ritterman, Gerald
Bast, Jürgen Mittelstraß
(Eds.) Kunst und Forschung.
Jan Svenungsson (Ed.):
Thought Machines, 2013
Jacques Carrio (Ed.):
Roman Pfeffer. Umordnung.
Rearrangement, 2012
Franziska Bruckner: Malerei
in Bewegung, 2011
Wolf D. Prix (Ed.):
The Mexican Roof Revisited
(Techo en Mexico 2), 2011
Gloria Withalm, Anna
Spohn, Gerald Bast (Eds):
Kunst/Kontext/Kultur, 2012
Peter Sellars, Gerald Bast,
Christian Reder, Willi Resetarits:
Kosmopolitische Impulse, 2010
Michael Ehn, Ernst Strouhal
(Eds.): EN PASSANT –
ruf & ehns Enzyklopädie des
Schachspiels, 2010
Studio Zaha Hadid (Ed.):
Total Fluidity.
Projects 2000–2010, 2011.
JENNY II, Jahresanthologie
des Instituts für Sprachkunst, 2014
Gerald Bast (Ed.): Josip Kaiser:
Segmente / Segments, 2009
Georg Russegger, Matthias
Tarasiewicz, Michal Wlodkowski
(Eds.): Coded Cultures, 2011
Studying at the Angewandte
Over the last years the study programmes offered at the Angewandte
have not only been enhanced and updated in their content; they have
also been complemented with new formats. Prospective students
can now choose from a broad spectrum according to their interests
and skills: be it traditionally structured programmes completed with
a diploma degree or ones that formally correspond to the Bologna
system (bachelor and master degrees) yet represent an antithesis to
classroom-style teaching and fragmentation in their structure.
The increasing cross-linking of content from different dis­
ciplines and the wide range of courses provide students with
diverse opportunities to shape an individual path of studies, while
being intensively supported and supervised by a teaching staff from
various fields in art and science.
Besides conveying specific artistic and scientific competences, all study programmes offered at the Angewandte aim
to stimulate critical reflexivity and self-determination so that the
graduates are able to make a significant contribution to the further
development of our society.
In post-graduate studies the Angewandte offers the
opportunity for further immersion and qualification in the framework
of doctoral degree programmes. The Angewandte’s content scope
and international network provide excellent supervision capabilities
and lead to a wide variety of possible topics. Three post-graduate
programmes complement the offered studies: Art & Economy, ecm
– educating/curating/managing, and Urban Strategies.
Studying at the Angewandte
Diploma Programmes
Conservation and Restoration (10 semesters)
Design (8 semesters)
Majors: Applied Photography and Time-based Media
Fashion Design
Graphic Design
Graphics and Advertising
Fine Arts (8 semesters)
Main Artistic Subjects:
Graphics
Landscape Art
Painting
Painting and Animated Film
Photography
Sculpture and Space
Industrial Design (10 semesters)
Media Arts (8 semesters)
Majors: Digital Arts
Transmedia Arts
Stage Design (8 semesters)
Master Programmes
Architecture (6 semesters)
Art & Science (4 semesters)
TransArts (4 semesters)
Social Design – Arts as Urban Innovation (4 semesters)
Bachelor Programmes
Language Arts (Creative Writing) (6 semesters)
Teacher Training (8 semesters)
Subjects:
kkp: Art and Communication Practices
(Teacher Training in Fine Arts)
dae: Design, Architecture and Environment
(Teacher Training in Design and Technology)
tex: Textiles - Free and Contextual Artistic Practice and
Material Culture (Teacher Training in Textile Design)
TransArts (6 semesters)
Doctoral Programmes
Natural Science
Philosophy
Technical Sciences
14 — 15
Postgraduate Programmes
In addition to the degree programmes, the Angewandte currently
offers three post-graduate programmes oriented towards different
target groups:
Art and Economy (Master of Advanced Studies/MAS, 4 semesters)
The increasing pressure on artists and cultural workers to professio­
nalise on the one hand, and the desire of many creative persons
to become established in the private sector economy on the other,
triggered the development of transdisciplinary educational programmes with direct practical relevance. With the art & economy
postgraduate programme, the Angewandte has met the demands
for a course that combines artistic and economic aspects.
Management between creative and economic skills links
artistic sensitivity and originality with fundamental competencies
in the fields of business, law, self-organisation, management, and
marketing and paves the way for the advancement of future-oriented
professional fields. Extraordinary ideas and visionary projects
with high standards in terms of content and economics represent
a sustainable and valuable contribution to the economy.
This postgraduate study programme is intended for all
those who are interested in the field of art and cultural management
as well as artists and cultural workers who are planning to become
self-employed or wish to work with cultural enterprises and gain
practical know-how in management.
www.art-economy.net
www.kunst-kultur-management.at
Head: Univ.-Prof. Mag. Silke Vollenhofer
T: +43-1-71133-2790, [email protected]
Contact: Viktoria Prokschi, T: +43-1-71133-2791, [email protected]
Studying at the Angewandte
ecm − educating/curating/managing (Master of Advanced
Studies/MAS, 4 semesters)
ecm is a 4-semester postgraduate master programme in exhibition
theory and practice at the University of Applied Arts Vienna.
ecm stands for educating: reflexive knowledge transfer;
curating: exhibiting and curatorial strategies; managing: efficient
tools in the field of exhibition.
ecm focuses on the development, the presentation, and
the transfer of knowledge in the fields of art and cultural history,
contemporary art, technology, nature, and science. In the experimental field of »applied exhibition«, the perpetual interconnection of
theory and practice is ecm’s guiding principle. Local and international
experts mediate challenging teaching and learning objectives in
innovative formats. The elaboration of methods for spatially visualising content is an important aspect. The diverse approaches of the
programme team, the involvement of participants’ personal profiles,
and the continuity of the collective work throughout the course
ensure topicality, quality, and transdisciplinary knowledge production.
It culminates in a curatorial project that is presented to the public
by the participants in collaboration with the Collections Department
of the Angewandte.
In-depth reflection on contemporary discourse, as well as
excursions and collaborations with programmes in Germany, Poland
and Slovenia, substantiate the international network character of the
ecm programme. Its comprehensive theoretical and practical orientation qualifies ecm graduates for sophisticated tasks in the fields of
art and culture.
www.ecm.ac.at
Head: Mag.phil. Beatrice Jaschke, [email protected]
Contact: Frank Müller, T: +43-1-71133-2752, [email protected]
16 — 17
Urban Strategies (Master of Science/MSc, 3 semesters)
Urban Strategies is a post-professional design studies addressing
the city as the central field of action in today‘s production of architecture. Strategies in this regard refer to the synthesis of research,
speculative design and implementation.
The program investigates the conditions of the future of
urbanity using state of the art data modeling as well as generative
and representational techniques for developing strategies of spatial
interventions. Teaching in the design studio is combined with education in the fields of computing and digital production.
The curriculum is designed to offer guidance toward independence through an open and intensive discourse that puts every­
thing up for discussion. To facilitate a wide-ranging dialogue between
teachers and participants, workshops are held by cutting-edge architects and theorists from well-known international institutions.
During three semesters recent graduates in architecture,
urban design and related professions as well as young professionals
are encouraged to push the envelope of their discipline in two different core areas: URBAN TECHNIQUE and EXCESSIVE, which both
focus on the overlap of architecture and urban design starting from
opposite ends.
www.urbanstrategies.at
Head: AProf. Reiner Zettl
Contact: Mag. phil. Sabine Hochrieser
T: +43-1-171133-2336, [email protected]
A
Architecture
Architecture
The Angewandte is different. The system of vertical studios – that
means an exchange between various generations of students – is
a model for success and a hallmark of the Institute of Architecture.
The system of design studios, where each studio serves as a sort
of home base over the three-year period of the master’s degree
programme, provides space for the development of the individual
student within the setting of a creative workshop. This process is
backed by technical and theoretical fields and the input of international external experts. In this approach, autonomy and solutionorientation make for a dynamic balance, offering space for formal
creation and technical innovation.
The three design studios, directed by Zaha Hadid, Greg
Lynn, and Hani Rashid, collaborate in an integrative way with tech­
nical and theoretical areas of knowledge. They cultivate architecture
as innovative design and its implementation.
— Architectural Design 1 (Studio Zaha Hadid)
— Architectural Design 2 (Studio Greg Lynn)
— Architectural Design 3 (Studio Hani Rashid)
— Integrated Design
— Integrated Design / Building Design
— Integrated Design / Energy Design
— Integrated Design / Structural Design
— History and Theory of Architecture
— Digital Fabrication
— Special Topics in Architecture
— [applied] Foreign Affairs
www.i-o-a.at
22 — 23
Sergiu-Radu Pop, »Transformable Antarctic Research Facility«, 2014, presented at the 14th International
Architecture Exhibition in the exhibition »The Antarctic Pavilion – Antarctopia« in Casa Marcello, Venedig
A
Architecture
Architectural Design 1
Studio Zaha Hadid
The design studio pursues and conveys the continuous innovations
of the concept and discipline of architecture. The idea of design
is constantly expanded and tested in contemporary contexts as an
expression of permanent advancement, both on the part of tasks
constituted by society and with regard to conceptual, methodological, and formal means of problem-solving.
A critical approach to fundamental concepts and the
systematic appropriation of these principles are simultaneously the
foundation and the objective of research and teaching. The main
focus of the programme is placed on understanding architecture as
a complex system of correlations and differentiations.
Informed by the paradigm of Parametricism, the design
projects deal with large-scale urban concepts and the functional
organisation of complex buildings, while related architectural expertise such as construction, tectonics, and energy design are already
extensively integrated in the design methodology phase.
The studio sees itself as a node and an engine in a network
of international institutions with the same high standards, stimu­
lating and promoting exchange with qualified experts in the field.
www.studio-hadid-vienna.com
Head: Univ.-Prof. Zaha Hadid, AADipl.
Contact: Susanne John, T: +43-1-71133-2310, E: [email protected]
Daniel Zakharyan, »Syntactic Sensations«, 2014
MiNa Bae, »Symbiotic Green City in Seoul«, 2014
Eva Blsakova, Aiste Dzikaraite, Yulia Karnaukhova, Aleksandra Mnich,
»Equilibrium«, 2014
24 — 25
Marta Piaseczynska,
Banafsheh Fahimipour,
Marie Liechtenwagner
»Dam«, 2014
A
Architecture
Rangel Karaivanov, »Dam«, 2014
Igor Szuba, »Skate up«, 2014
Architectural Design 2
Studio Greg Lynn
Studio Greg Lynn is focused on the development of a new aesthetic
that addresses the entire spectrum of architectural performance.
Because this work is an investigation into fields that are not yet
completely known, the studio maintains an awareness of a greater
cultural context. Design work is done in a dialogue between historical
and contemporary architectural precedents, as well as a continuous
exchange with other disciplines such as industrial design, fashion,
music and film.
The aesthetic of our studio shifts architecture from a
modernist paradigm of identical, modular elements that emerged
in the context of mechanisation, toward compositions of varying,
complexly-­linked individual elements. The premise of this new aesthe­
tic is the development of a new design sensibility, an expertise
in rhythmic, soft forms and patterns that have been made possible
through the use of computers and calculus-based geometry. In
order to master these tools completely, the studio uses state-of-­
the-art computer and CNC technologies both in design and model
fabrication.
The work of the studio is done in reference not only to
the professional work of Greg Lynn and his office Greg Lynn Form,
but in relation to progressive forces in architecture, design, art and
other cultural fields. Through regular exchange with international
guests who are invited to discussions, midterm critiques, finals and
diploma juries, students begin to understand their own position
within a worldwide context. The students learn to both defend their
work based on a diverse set of arguments and develop persuasive
presentation techniques. To ensure that a variety of ideas infuse
the studio, theory meetings are periodically held to introduce and
critically discuss relevant texts and current architectural questions.
Instruction topics are further supplemented by study trips, at least
once per year. These experiences are intended to address both
architecture and urbanism, as well as a broader range of social and
cultural concerns.
www.studiolynn.at
Head: Univ.-Prof. Mag.arch. Greg Lynn
Contact: Diana Geisler, T: +43-1-71133-2320
E: [email protected]
Studio Lynn group photo, excursion in Switzerland, 2014
26 — 27
Daniel Prost, Stephan Ritzer, »Binary Cycles, Deep Futures Expo«, 2013/14
A
Architecture
Ewa Lenart, Viktoria Sandor,
»Plug in Park Avenue, Uber Hq,
Bitcoin Hq«, 2014
Architectural Design 3
Studio Hani Rashid
Hani Rashid’s studio will focus on students working to develop
conceptual, practical and critical skills and means for the making
of new, compelling and forward thinking architecture. The studio
focus will move between architecture as object to environment and
phenomena. Operative terms in this studio include architecture as
atmospheric experience, architecture as fetishized artifacts, architecture and new forms of dwelling and being, and architecture as an
aesthetic, philosophical and metaphysical experience.
Students will consider spatiality in terms both being geo­
metric and formal as well as experiential and experimental, model
making both within the realm of the digital (proficiency and interest
in computing is very important) and as physical. The studio will place
a great deal of emphasis on »proof of concept« approach of presenting physical models of varying scales, animations and computer
generated images, diagrams and data to support arguments and
design concepts.
www.studio-hani-rashid.at
Head: Univ.-Prof. ABrch. March. Hani Rashid
Contact: Andrea Tenpenny, T: +43-1-71133-2330
E: [email protected]
Moritz Hanshans, Lenka Petrakova, »Plug In Park Avenue,
Uber Hq Fitbit Hq«, 2014
Arpapan Chantanakajornfung, Noemi Polo,
»Plug in Park Avenue, Uber Hq H+/Amgen Hq«, 2014
Ursula Trost, »Sonosphere«, 2013/14
28 — 29
Integrated Design
A
Head: Univ.-Prof. Dipl.-Ing. Dr.techn. Klaus Bollinger, T: +43-1-71133-2360
E: [email protected]
Building Design
Social and cultural transformations demand and evoke the permanent
conceptual advancement of architecture; technical progress and
material innovations accompany this process and introduce new
design possibilities. Given this technological dynamic, the discipline
of Building Design is also in a state of constant change. Thus, the
task of the programme is not only to convey the principles of construction from a holistic perspective but also to enhance the students’
capacity to find innovative and customised technical solutions
through problem analysis and the consequent evolution of the
design idea.
The key objective of the Department of Building Design
is to technically support the conceptual and formal renewal of architecture as propelled in the design studios through teaching and
research. Building Design is integrative – that means it is taught as
an embedded aspect of architectural design. In this way students
acquire technical expertise parallel to design competence.
In addition to the correct application of established construction solutions and details, the didactic goal is the development
of constructions with a logical relationship to the architectural concept. Building is seen as a chance to underline and refine the carrying ideas of a design.
Contact: ao. Univ.-Prof. Dipl.-Ing. Dr.techn. Karin Raith, T: +43-171133-2350
E: [email protected]
Energy Design
Designing buildings that engage the environment head-on through
dynamic action rather than passive reception is the core subject of
research and teaching at Energy Design.
A significant focus of the department is investigation into
the relationship between form and energy efficiency. The early
employment of techniques during the architectural design process,
such as computer simulation or parametric design strategies, make
development of a radical new approach to sustaining human habitats
possible.
Coordinating and integrating different disciplines has
always been an essential and fundamental architectural enterprise.
At Energy Design, architects will develop strategies to balance
on-site resources with evolving demands.
Architecture
For politicians and developers as well as for business
and private clients, ecologically innovative architectural environments must become objects of desire. If sophisticated new systems
of inhabitation are to be realised, the only promising strategy is to
make them appealing seductive and sought-after. Once more, the
skills and passions of the best architects and designers must
engage this challenge.
www.energy-design.tumblr.com
Head: Univ.-Prof. B.Sc.(Hons). CEng MCIBSE Brian Cody, T: +43-1-71133-2372
E: [email protected]
Structural Design
The state of the art in designing engineering structures depends
to a large degree on procedures and assumptions that date back
to the 19th century. That era saw the advent of a new construction
material with considerable tensile strength: steel.
In the wake of and in combination with this innovation,
new static calculation methods gave rise to buildings of hitherto
unknown height or free span. These calculation procedures rest on
a categorisation of static systems that still influences present-day
thinking: More or less all effective load-bearing structures exhibit
a high degree of regularity: They usually have one or more axes of
symmetry, some utilise arch or catenary shapes, most consist of a
large number of similar or identical elements. Structural geometry
was and is heavily influenced by what engineers are able to handle
and thus calculate efficiently. Three recent developments in the
field of civil engineering will help to overcome the above-mentioned
limits: First, advances in soft- and hardware make it possible to easily and swiftly assess a structure’s static properties. Second, stateof-the-art optimisation procedures that are partly inspired by nature
enable the searching of large solution spaces within reasonable
periods. Third, computer-aided fabrication methods facilitate the
economic production of customised structural components. These
three developments can be combined to generate structures with
intrinsic load-bearing mechanisms. Their design contradicts the
traditional conception of an engineering approach, which consists
of an a priori selection of the main structural components according
to external boundary conditions. Instead, the static system emerges
from the design process according to intrinsic principles of the optimisation algorithm and given boundary conditions. There is a high
density of individuals in the vicinity of the best solution so far. Given
enough computational resources, the globally best solution will
eventually emerge from the optimisation process.
Head: Univ.-Prof. Dipl.-Ing. Dr.techn. Klaus Bollinger, T: +43-1-71133-2360
E: [email protected]
30 — 31
Theory and History of Architecture
A first task is to demystify the overly complicated languages that
have in the last decades surrounded the world of contemporary
theory by focusing directly on foundational concepts and patterns
of modern thought and to root these as broadly as possible in the
context of historical practice. There is growing misunderstanding in
the design disciplines today as to where theory »comes from«,
how and why it is to be used, and what the nature of its urgency is.
Through a series of focused lectures and seminars an account of
contemporary »thought« (as a corrective to the platitudes to which
we are too often led by »common sense«) is provided primarily
with respect to the systems of thought and culture that generated it:
Marx, Freud, and Nietzsche.
The programme at the Angewandte addresses emerging
developments in science, philosophy, urban and technological culture and acknowledges that a new cosmopolitan, transdisciplinary,
and experimental approach is in great need today as architecture
and design engage increasingly more aspects of cultural, technical,
and aesthetic speculation.
Head: Univ.-Prof. PhD Sanford Kwinter, T: +43-1-71133-2340
E: [email protected]
Digital Fabrication
While digital techniques are commonly used in the production of
design, they are rarely applied in the production of buildings, making
the realisation of advanced design demanding and costly. The
research lab at the Institute of Architecture has been established to
support, integrate and explore digital production and fabrication
methods within the design process and beyond. The facility attempts
to link and explore digital design conception with non-standard
fabrication as a linear process.
CNC, laser cutting and 3D printing technology are applied
to experimental model building as well as to large-scale project
production. Instructors participate in research and development of
new digital fabrication technologies, provide support in fabrication
techniques and work closely and collaboratively with faculty in the
architectural studios of Zaha Hadid, Greg Lynn and Hani Rashid, as
well as the postgraduate programme.
The staff works conjointly and creatively with project
and research groups providing consultative direction in support of
specific course and research needs.
Head: Peter Strasser, T: +43-1-71133-2334, E: [email protected]
A
Architecture
Special Topics in Architecture
Special Topics in Architecture (STARch) focuses on the theoretical
and practical implementation of interdisciplinary research strategies
in the design process – in the spirit of research by design.
The issues addressed range from theoretical proposals
such as the Floating City to strategies of materiality and material
speculation. From the Aspects of Space programme – developing
tools shaping and transforming the idea of space – to the Notation
Projects, which explore the representation of the city’s physical
body through its construed perception.
The aim of this experimental studio is to develop tools
and strategies for the realisation of one’s own architectural
demands. Formulating these demands offers students the chance
to understand architecture as a means to take a [spatial] position.
Head: ao. Univ.-Prof. Mag.arch. Anton Falkeis
T: +43-1-71133-2321
E: [email protected]
[applied] Foreign Affairs
[a]FA is a lab that investigates spatial, infrastructural, environmental,
and cultural phenomena in rural and urban sub-Saharan Africa.
A series of lectures introduces students to the spatial diversity
and cultural vibrancy of the contemporary African condition and is
followed by workshops that focus on the status and potential of
specific regions/situations. Each lab centres on a distinct question
and clear mission and culminates in a field trip through which mappings, rural growth patterns, urban art spaces, and relational physical interventions are produced. Thereby, the process of production
corresponds with the given human and material resources and is
con­ceptualised in a reactive and decelerated manner. Artistic, spatial,
and programmatic hybrids of diverse authorships emerge. [a]FA is
performed in collaboration with international guests, teaching staff
at the Angewandte, and partner universities. A select number of
students can participate after application. [a]FA is commissioned
by NGOs, cultural institutions, artist collectives, and individuals.
Thus, the conventional relationships between client, community and
architect, teacher and student, university and field are negated.
The outcome of each lab is presented in different formats and contexts, both on the African continent and in Europe.
Head: Univ.- Ass. Mag. arch. Baerbel Müller
T: +43-1-71133-2331
E: [email protected]
32 — 33
B
Fine Arts and Media Art
Fine Arts and Media Art
The Institute of Fine Arts and Media Art comprises twelve departments, each with a focus on a different set of artistic priorities. As
a whole this structure circumscribes the relevant currents within
contemporary fine arts and digital and transmedia art. Education
in the art forms offered at this institute is informed by the current
augmentation and dynamisation of artistic disciplines, the artistictheoretical convergence of diverse visualisation cultures in art and
science,
and the investigation of the corresponding theoretical and historical
foundations.
Its principal goal is the solid education of artists in an atmo­
sphere of intense exchange and communication. The programmes
incorporate a broad spectrum of advanced artistic content and
methods, and stress in equal measure the synergies of a trans-dis­
ciplinary approach and the necessary differentiation between artistic
disciplines. The heightened support of collaborative projects with
international universities and cultural institutions makes greater student mobility possible, fosters participation in international discourse
and lays important cornerstones for artistic positioning in society.
— Art & Science
— Stage and Film Design
— Digital Art
— Photography
— Graphics and Printmaking
— Landscape Art
— Painting
— Painting and Animated Film
— Sculpture and Space
— TransArts – Transdisciplinary Art
— Transmedia Art
— Media Theory
34 — 35
Václav Pelousek, »Basic Research in Translating Biological,
Mechanical and Chemical Principles into Electronic
Musical Instrument Language and Vice Versa«, 2014
B
Fine Arts and Media Art
Anita Peretti, »Artefakte«, 2014
Art & Science
The Art & Science department serves as a an interface between art,
science, technology, and society.
The objective of the master’s degree programme is to
investigate the relationships between different artistic and scientific
representational cultures and their respective cognitive and research
methods. An inter- and transdisciplinary approach and project-­
oriented education should stimulate interaction between model and
theory construction and create synergies in the application of different methods, particularly in the arts and natural sciences. The programme is based on the investigation of social and political proces­
ses, the relation, application, and development of artistic and
scien­tific positions, methods, media, and organisations. Thus, it
implies researching an oft-controversial societal thematic space,
where the disciplinary, scientific-artistic ivory tower is infiltrated,
where students locate and explore – and possibly generate themselves – more or less conspicuous socio-technical ruptures in
our society. Students are given practical insights into latest research
through cooperations with external partners. In the past guest
teachers and scientific co-supervisors from the University of Vienna,
the Institute of Science and Technology Austria, the University of
Veterinary Medicine Vienna, the Medical University of Vienna, and
the University of Natural Resources and Life Sciences, Vienna have
been involved in the development of project works.
www.dieangewandte.at/artscience
Head: Univ.-Prof. Virgil Widrich
Contact: Sonja Orman, T: +43-71133-2250, E: [email protected]
Margit Busch, Mathias Kirchner,
Bernd Kräftner, Hermine Mitter,
Christian Müncher, »Metaphysics
of Opportunity Costs«, 2014
36 — 37
Jakob Brossmann, »Schwanzertrakt«, Essence 2013
B
Stage and Film Design
Fine Arts and Media Art
Theatre – Spaces: Creating Space, Giving Free Room
Otto Oswald Krause,
»enclosed pleasure«, 2013
The Stage and Film Design Department is a laboratory for investigating existing as well as still-unexplored dimensions in scenography.
In the design and realisation of scenic spaces for stage and film,
special emphasis is placed on the historical and contextual relationships between theatre and fine arts.
Students are trained in the development of artistic and
scientific concepts and their implementation in theatre (plays, opera,
dance theatre, musicals), film, performance, exhibition architecture,
events and installations.
Creative activities and the design process are informed
by the critical examination of the diverse content-based, medial
and formal approaches, forming the basis for the methodological
development and technical realisation of designs for the stage,
dramaturgy, costumes, lighting, sound, film, video, installations and
projects in the virtual realm. This discourse deepens the analytical
understanding of artistic relationships and is preparation for independent work in all branches of stage and film design.
Seek Spaces for Moments, Find Moments for Spaces.
angewandte.uni-ak.ac.at/bildendeundmedialekunst/buehne-film
Head: Univ.-Prof. Mag.art. Bernhard Kleber
Contact: Johanna Noichl, T: +43-1-71133-2523, E: [email protected]
»Dido und Aeneas«, cooperation with the Max Reinhardt Seminar,
production photo, set design: Wiessbauer, Sramek, Kemp,
Hägebarth, Jäger, 2012
Andrea Cozzi, »Die Zukunft ist auch nicht mehr das,
was sie mal war«, Don Quixotte, 2014
Diego Rojas Ortiz, »M.T. Filmstill
Foto Diegoror«, 2012
38 — 39
Digital Art
B
Annika Sophie Müller & Noah Rieser, »mostly cloudy with occasional rain«,
2013, sound installation
Karl Salzmann, »Ignotorumori«, 2013, sound
installation
Fine Arts and Media Art
Patrícia Reis und Vasco Bila, »Odaliques#2«,
2013, participative installation
The Department of Digital Art is a place of artistic education and
research that opens up new fields of practice to explore changes
in our perception and understanding of reality induced by media
technology.
Digital art is defined by code and time-based unstable
media. Digital art subjects media technologies and devices to critical
questioning by conceiving and using them in ways contrary to how
they were intended. The diploma degree programme focuses on the
development of corresponding design methods and experimental
approaches, the appropriation of technical know-how in combination
with artistic design, and the formation of a distinct artistic position.
The education is project-oriented, theory-based and transdisciplinary,
and takes place in collaborative settings.
Key areas of the programme are, amongst others, the convergence of photography, film, video, sound, and computer, inter­
active installations, dynamic projections, immersive environments,
sound art, robotics, wearable art, interaction design, pervasive gaming, performance, interventions in public space, and the exploration
of relevant production methods in society such as open source and
DIY culture.
The Department of Digital Art has express interest in the
intensification of artistic research and strengthens its international
contacts via project cooperations. Examples are the »EMDL –
European Mobile Dome Lab for Artistic Research« (emdl.eu), a project supported by the EU’s Cultural Programme, the PEEK project
»FWF DIGITAL SYNESTHESIA« (digitalsynesthesia.net), the artistic
research project by teachers from the Department of Digital Art in
the field of 3D printing (digitalekunst.ac.at/bits-to-pieces), and the
cooperation with the Institute of Contemporary Art/ICA Moscow
with a focus on teacher/student exchange and collective exhibition
projects (digitalekunst.ac.at/contemporaries-of-the-near-future).
www.digitalekunst.ac.at
Head: Univ.-Prof. Mag.art. Ruth Schnell
Contact: Gabriele Pichler, +43-1-71133-2640, E: [email protected]
Jan Perschy, »Flash Dress«, 2012, interactive installation
40 — 41
B
Fine Arts and Media Art
Leonard Mandl, »nicht amerika«, photographic emulsion on wall, 126 x 189 cm, 2014
Photography
Discourse and critical analysis are central aspects of the teaching
in the Department of Photography, founded in 2001 and since then
under the direction of Gabriele Rothemann. Especially in light of
accelerated technological developments, there are new challenges
in the understanding and handling of the photographic medium,
which is now prevalently employed in all fields.
Free exploration of the medium of photography implies
experiments with neighbouring forms of expression such as drawing,
video, performance, and spatial installations. Students investigate
and develop their own artistic concepts and strategies, thus creating
new free spaces and visual languages. These are discussed with
the teachers in personal talks, further elaborated, and introduced
in weekly meetings with the entire class. This cultivates discursive,
linguistic competence and content analysis.
Continuous personal reflection on topics relevant to society becomes an orientation point in the artistic work. To this end,
the close collaboration with the Angewandte’s diverse workshops
is of great importance. The technical requirements for the realisation
of photographic projects are integrated into the training in the professionally equipped workshops.
Other important facets of the programme are the interna­
tional collaborations with public and private institutions, teachers
from other artistic and theoretical disciplines, and project work with
independent artists, which manifests in collective exhibition projects, publications, and symposia. National and international work
excursions enhance cultural and artistic education and have a
productive influence on the artistic discourse and the production
of new artistic works.
Cooperation partners 2013/2014: San Francisco Art Institute; California State University,
Fresno; West Coast Imaging, California; Eyes On; Vienna Art Week; Verbund Österreich;
Vienna Fair; Vienna Photo Book Festival; Accademia di Belle Arti di Venezia
fotografie.dieangewandte.at
Olena Newkryta, »worn out
landscapes«, video installation, 2014
Head: Univ.-Prof. Gabriele Rothemann, T: +43-699-121-504-03
Contact: Christina Tonninger, T: +43-1-71133-2661
E: [email protected]
42 — 43
Simon Goritschnig, »Der Archivar 2«,
mobile with flat wood prints and drawing
B
Fine Arts and Media Art
Olga Georgieva, »Ausweitung der Vernunftzone«,
installation with drawings and printing block
construction
Graphics and Printmaking
Drawing is the foundation of the visual arts. It is the beginning of all
visualisation and the most immediate expression of art. Departing
from drawing, the realm of graphics comprises a vast and complex
field. Printmaking is the original media art and forms a unique interface for the discovery of creative potentials in a dialogue with technology and machine.
Artistic forms of expression in the Department of Graphics
and Printmaking span from pure drawing through traditional techniques and printing processes to computerised printmaking and
beyond. The aim of the programme is to aid students in the definition
and development of their own approach as contemporary artists,
regardless if they are working with drawing or printmaking or decide
later for other forms of expression.
In the framework of group and one-on-one critique, in
dialogue with guest lecturers, and through excursions and special
projects, issues relevant to society are explored in an attempt to
make substantial contributions to the discourse on contemporary art.
The department has four workshops and two studios for
relief printing, letterpress printing, intaglio, lithography, alugraphy,
silkscreen printing, and digital printing. These workshops are open
to all students of the university. International cooperations facilitate
the exchange of know-how about new research approaches and
enhance networking and orientation in different art contexts. The
department maintains, for example, a longstanding cooperation with
Tokyo University of the Arts.
www.grafik.ac.at
Head: Univ.-Prof. Jan Svenungsson
Contact: Karin Regner, T: +43-1-71133-6201
E: [email protected]
Linda Berger & Jeremias Altmann,
wall drawing and drypoint etching
Assunta Abdel Azim Mohamed, »Untitled«, drawing
44 — 45
Francesca Aldegani, »Childwood«, 2015
B
Fine Arts and Media Art
Benedikt Meixl, »Non-Space?«, 2014
Landscape Art
Landscape and Public Space
Following a transition phase led by international guest teachers, the
profile of the department has been fine-tuned in conceptual and
practical terms under the guidance of Paul Petritsch (Six & Petritsch).
The aim of the programme is to re-imagine landscape as a lively
cultural and social space and as a subject embedded within a network of other disciplines.
Starting the first semester under the working title »Landscape is Dead, Long Live the Landscape« we have been focusing
on the questions that the »landscape« poses: What does landscape
mean to us, what interests us about certain places, spaces, and
areas? How do we experience it? How do we document it, how can
we represent it? How do we communicate what interests us about
it? How do the landscapes we desire, we dream of, look like?
How do we act, interact, and position ourselves with our bodies
intuitively, directly, and in a 1:1 relationship?
Furthermore, a variety of formats have been established
in the department to position »landscape« as a subject of artistic
research in the class: At the »round table« experts from different
disciplines are invited to discuss a focal theme that accompanies
the semester as knowledge input. This year’s theme is »Landscape
in the Anthropocene – Humans Make Nature«. In »statements«
guests present their work and exchange experiences with the students. A central element in the new orientation of the programme is
the provision of an exhibition space: Here students have the opportunity to put their work up for discussion within the department and
to develop their artistic position through actual experiments and
by exploring the exhibition practice. Key topics in the next years are
the development of cooperative work formats and an appropriate
exhibition practice to promote internal and external communication
and to place the subject of landscape in a contemporary discourse
that incorporates it as a space of the possible and conceivable.
www.dieangewandte.at/landschaftskunst
Head: Univ.-Prof. Paul Petritsch
Contact: Univ.-Ass. Mag. art. Katrin Hornek, T: +43-1-71133-2430
E: [email protected]
Friedrich Engl, »Wien, 2055«, 2015
46 — 47
Stephanie Kaiser, »Zeichnung zu einer Arbeit«,
ink on paper, 210 x 297 mm, 2013
B
Fine Arts and Media Art
Niclas Schöler, »Käfig«, oil paint on canvas, 150 x 125 cm, 2014
Painting
The aim of the programme is to foster and develop independent
artistic positions that view painting as an open discipline without
restrictive genre boundaries. To this end, practical support and
the refinement of a personal artistic approach are combined with
art-theoretical knowledge in the teaching. This includes acquiring
knowledge of the contemporary art context and of approaches
that enable its critical analysis in the first place. In the beginning
the underlying question is why and what to paint and produce.
Amongst the regular activities of the class are group and personal
discussions, exhibition visits, excursions, film screenings, guest
lectures, and the collective reading and discussion of texts.
www.dieangewandte.at/malerei
Head: Univ.-Prof. Henning Bohl
Contact: Christina Androsch, T: +43-1-71133-2613
E: [email protected]
Wolfgang Matuschek, »KLPP«, wood, hinges, wheels, screws,
variable dimensions, 2014
48 — 49
B
Fine Arts and Media Art
Anna Schmoll Show, 2014
Painting and Animated Film
The diversity of applied media is a distinctive feature of the Painting,
and Animated Film Department. Films are developed from paintings
or drawings. Students are encouraged to position their work in
the context of contemporary art and art theory, and, at the same time,
to scrutinise it with a critical eye. In the application of various
­techniques and media, we concentrate on innovation and experimentation in the practice of painting. Technical and c
­ onceptual
vocabularies are cultivated through individual and group critiques,
guest lectures by artists and curators, and visits to museums,
­galleries and artists’ studios.
Maria Lassnig, the first professor of this class in 1982 who
combined painting and film, greatly influenced the department’s
profile. Since then, the University of Applied Arts has hosted the first
artistic teaching studio for animated film in Austria. Here, painting
forms the basis for the transformation of single-frame animations and
storyboards into complete films with sound. Students have access
to a sound studio, interactive media and both analogue and digital
techniques.
manta.uni-ak.ac.at
Head: Univ.-Prof. Judith Eisler
Contact: AProf. Mag.art. Ruth Labak, T: +43-1-71133-4630
E: [email protected]
The Painting Studio
Installation view, group work, The Essence 2014
50 — 51
B
Fine Arts and Media Art
Sculpture and Space
We are interested in the circumstance of sculpture, in its environment, its materials, its structure, its form, and the relations that
emerge in-between. We understand sculpture as a tool to discuss
society and vice versa. Space is order and context. Space is location.
The notion of sculpture is quite open, and the employed
materials are continuously questioned and investigated anew with
the students. Collective observation, research, analysis, reflection,
and verbalisation sharpen personal artistic perception and thereby
assign a central role to inquisitive strategies.
The »Skulpturinstitut« is a project by the department that
serves as an open space for public lectures, talks, readings, and
exhibitions with external artists – hence, we create possibilities to
intertwine with the public, and the different activities are also an
occasion to intensively explore the content and formal aspects of
the respective themes.
www.skulpturundraum.at
www.skulpturinstitut.at
Franz Part, »Schule«
The department is newly founded and under
construction
Head: Hans Schabus
Contact: Ludwig Kittinger, T: +43-1-71133-2400,
E: [email protected]
Collaborative project for »La force du changement –
A Winter School« by the collective Hotel Charleroi
during a study trip in Belgium, 2014
52 — 53
Leander Schönweger, »The Creator Has a Master Plan«, 2014,
installation
B
Fine Arts and Media Art
TransArts –
Transdisciplinary Art
TransArts is an artistic discipline with teaching content and forms
that reflect the dynamics in the arts today. The segregation of artistic
practice and theory is a topic of critical discussion: It is disassembled,
reinstalled, renegotiated. TransArts teaches unity and diversity in
theory and practice while keeping in mind that the various disciplines
(fine arts, media art, literature, sound, architecture, performative
arts, etc.) need and enhance one another, enter into a dialogue, and
mutually influence and inspire each other.
Such plurality in content demands an organisational form
of teaching and teachers, which ensures both continuity as well as
change in the personnel. In addition to the ongoing mentoring of
the students by the artistic and directorial team, lectures and workshops are held by guest professors and internationally renowned
visitors. In this way, the diversity of contemporary art and art theory
is conveyed concisely and practically. This combination of continuity
and changing perspectives in TransArts enables students to acquire
a project-oriented, contemporary, and cutting-edge education in art.
www.transarts.at
Head:
Sen.Lect. Mag.art. Ricarda Denzer
Sen.Lect. Mag.art. Jo Schmeiser
VAss. Mag.art. Nita Tandon
Contact: Ulrike Holper, T: +43-71133-2716,
E: [email protected]
Sebastian Gärtner, »19 days (handbred quail)«, 2013, performance
Eugen Wist, »Untitled«, 2013, Schipboard, wood, dried fish,
3 x 2,56 x 0,25 m
Uli Kühn, »Parabellum«, 2012, paper, glue, metal, LEDs,
installation 3,5 x 3,5 m
54 — 55
B
Fine Arts and Media Art
Transmedia Art
The Department of Transmedia Art focuses primarily on artistic
concepts and projects based on space and time, allowing as much
scope as possible for experimental approaches.
Transmedia Art is concerned with transdisciplinary initiatives in the conceptualisation and implementation of art. It involves
a critical study of theoretical and practical methods and also inve­
stigates the communicative, performative and processual aspects
of art.
We work with a variety of chemical and physical systems:
light and colour, photography, film, video, numerical and linguistic
systems, digital cinema, writing, language, colour diagrams, concepts of time and space, perceptual patterns; also with mathematical, physical, psychological, neurological, and other models in the
natural sciences, in order to support, advance, and experimentally
promote the formal implementation of ideas.
Transmedia Art also addresses social aspects. Our main
focus here is on sociopolitical and cultural subjects, above all interferences and interactions between bodily, spatial, and temporal
concepts.
www.transmedialekunst.com
Maja Iskra Vilotijevic, »Strange Fruits«, 2014
Head: Univ.-Prof. Mag.art Brigitte Kowanz
T: +43-1-71133-2530
E: [email protected]
Laura Wolfsteiner, »Translation of a Room«, 2014
Barbis Ruder, »Wertschöpfungskette«, H13 / 2014
56 — 57
B
Media Theory
Within the scope of teaching and research, Media Theory examines
the history of audiovisual forms of perception up to the aesthetics
of virtual realities and thematises the principles of processes with
which the social, communications systems of these forms of media
operate. This process extends to their parameters of influence on
the respective structures of physical, social and economic systems
and analyses the various media theory approaches.
Medial realities are examined with regard to their production
methods, intentions, effects and significance for social practice and
artistic production processes. The acceleratory interdependencies
between (media) technology, which is changing rapidly in a quantitative and qualitative regard, social-cultural processes, and the productive and receptive mechanisms in art, represent a further working
area. Inter- and trans-disciplinary activities are of major importance
in both the research area and in relation to curriculum design.
Univ.-Prof. Peter Weibel (emeritus)
Contact: Ulrike Rieger, +43-1-71133-3550, [email protected]
Fine Arts and Media Art
58 — 59
C
Design
Design
Artistic creativity and scientific discourse play decisive roles in shaping the relationship between science and society. The application
of theories, methods, and skills in response to real problems and in
the design of communication, surfaces, objects, and space takes
place in a constant interplay with social and economic demands.
The Institute of Design is an academic teaching and
research centre with an interdisciplinary practice in diverse fields
of contemporary design. Studies are structured as diploma degree
programmes, however the individual departments are organised
as »vertical studios«, where students from all semesters work and
research on projects together. The title »Magister/Magistra« is
awarded upon completion of studies with a successful diploma
degree examination.
Studies are characterised by knowledge transfer in small
groups and intense contact between teachers and students, by
experimental and freely chosen projects, as well as workshops and
lectures held by national and international experts.
The Institute of Design is one of the most important educational institutions in the European region and reinforces the
national and international cluster of design competence in Vienna.
— Applied Photgraphy and Time-based Media
— Industrial Design 1 (Paolo Piva)
— Industrial Design 2 (Fiona Raby)
— Graphic Design
— Graphics and Advertising
— Fashion
— Theory and History of Design
— Computer Studio
— Video Studio
www.instituteofdesign.at
60 — 61
C
Design
Applied Photography and
Time-based Media
Ideas and Designers
The Photographer
Design means establishing a correlation between thinking and doing.
Aesthetics without ethics may tend towards deception – what really
counts is the product as a whole, not just its external shape. Usage
as a criterion also comprises social and ecological repercussions.
The aim of the programme is to develop the creative
personality of each individual student on the basis of a certain attitude to teach them to identify responsibilities in a social and economic context but also to assume and, most importantly, continually
reassess these responsibilities. For this purpose, it is necessary to
break with old habits and achieve a greater awareness for patterns
of thinking and perception. The focus is neither on the adequate use
of photographic means nor organising principles, rather how to
approach a creative task. What is an idea, actually? What role does
coincidence play, or error? What does movement mean?
Once a creative approach has been found, it is further
developed in extensive processes, and projects are realised on
the highest technical and professional level. Photography is always
connected to other creative processes. Life itself is a creative
process, which is why photography is an inherently interdisciplinary
form of art. What is important is not the high-tech camera that is
used but the person who is pressing the shutter, finding the right
moment, moving the pen or brush, constructing objects or making
music, etc. – and what the person is thinking at that moment.
Teaching the technical and professional basics of photo­
graphy and design as well as encouraging students to experiment
freely with artistic techniques that may lead to a keener perception
are central in the programme. Another key factor is the involvement
of real clients, as economic aspects and communication between
designer and client are introduced through the creative content and
tasks. Lectures and workshops held by international designers from
various fields shed light on the entire spectrum of this fascinating
profession on a technical as well as an intellectual/philosophical
level. Interdisciplinary projects, collaborations, student exhibitions,
and publications complete the study programme.
www.dieangewandte.at/institute/design/
www.applied-photography.at
Head: Univ.-Prof. Matthias Koslik
Contact: Anneliese Viehauser, E: [email protected], T: +43-1-71133-2301
62 — 63
C
Johanna Riedl & Emanuel Gollob, »Luftmaschenhäkelmaschine«, 2013
Design
Industrial Design 1
Paolo Piva
At the Department of Industrial Design, headed by Paolo Piva,
industrial design is taught with an awareness of the responsibility
for cultural and societal development.
Conceptual thinking and practice as well as the act of
designing itself come to the fore in all aspects of teaching. Departing
from applied knowledge of materials, production methods and
modes of presentation and transfer, the programme is distinguished
by its theoretical and scientific approach. Practice-oriented design
questions concerning the environment, whether in relation to
objects, products, spatial design, or temporary events, prepare
graduates for the challenges of an international working environment,
where their economic and social competencies will enable them
to have a positive and constructive influence on technical, economic
and social developments.
www.dieangewandte.at/institute/design/industrialdesign1
Head: o. Univ.-Prof. Mag. arch. Paolo Piva
Contact: Mag.art. Doris Grossi, T: +43-1-71133-2411, E: [email protected]
Ines Fritz, »Gloriole«, 2014
Johanna Mossbauer,
»Bekleidetes Sitzobjekt«,
2014
64 — 65
C
Design
Daniel Riegler, »Habitat«, 2014
Johanna Pichlbauer & Maya Pindeus,
»Beautification«, 2013
Katharina Unger, »Farm432«, 2013
Industrial Design 2
Fiona Raby
Change is what designers do. Instability a prerequisite.
Projects are situated within a complex technologically mediated
global society. The solutions are no longer straightforward. Small
very precise design investigations can illuminate much bigger
philosophical questions. Design is in itself, a creative process of
finding things out, a process of investigation, as much as a final
result. The course shifts from applications to implications, using
tangible problem solving design skills to ask questions, interrogate
existing frameworks and generate a broad range of diverse alternatives, both positive and negative.
Invention is key, an essential tool for learning.
We experiment and explore through many different layers and filters.
Students create and understand intellectual frameworks to position
their ideas. They learn about synthesis and decision making; What
to leave out. What to keep in. Who is doing what and why? Students
learn what they don’t know and how to find the people who do know.
Perhaps it is disruptive? But new methods and processes,
new technologies constantly arrive at our door, they are surprising
and unexpected. We bring them in, domesticate them, enjoy their
wildness, integrate them into our study. We like curiousity, imagi­
nation, the unexpected, We like to ask questions, We like to think
about emerging technologies and science. We like contrasting things.
contradictions; playful analysis, analytical playfulness, simple complexity, complex simplicity, irrational logic, logical irrationality.The
aim for all projects within the studio is to challenge; Make us think
differently.
www.id2studio.at
Head: Univ.-Prof. Mphil (RCA) Fiona Raby
Contact: Orna Baumgartner
T: +43-1-71133-2420, E: [email protected]
Alexandra Fruhstorfer, »Derive«, 2013
66 — 67
Graphic Design Department, »What needs
to be told«, brochure, 2014
C
Design
Francesco Ciccolella, »POSTSNOWDENCARDS«, postcards, What needs to be
told, 2014
Graphic Design Department, »What needs to be told«, exhibition, The Essence 2014
Graphic Design
Our vision of a contemporary and future-oriented professional
profile of graphic designers involves the development of designers
as independent personalities, who are able to work in all current
and future media and take a serious and critical approach to their
responsibilities in social and economic matters.
The service of responsible designers does not entail delivering complaisant propaganda. Hence, it does not consist of visual
communication alone. Responsible design is permeated by a value
system based on a sustainable and positive service to people of all
cultures. Accordingly, the importance of social, economic, and ecological competence is growing.
The spectrum of tasks in the Graphic Design Department
includes conceptual thinking and content research, developing an
awareness of global contexts, and a sense of personal responsibility
in the shaping of our environment. In our definition, graphic design
as a discipline is not a separate field of work but an attitude towards
life.
In this way, students learn to work with time-based media,
interactive media and print, installation, performance, photography,
illustration, brand and corporate design, typography, packaging,
information and exhibition design as well as sound design.
Soft and hard skills are taught in the context of changing
semester themes. Interdisciplinary projects are realised in collabo­
ration with other departments of the University of Applied Arts to
expand the methodological skills of the class.
Research and commissioned projects train the students to
develop professional relations with public and private institutions.
Regular lectures held by graduates of the department offer further
preparation for a professional life after graduation. Workshops and
lectures by national and international experts from various disciplines enrich the study programme on the levels of craftsmanship,
design, and intellectual discourse.
www.klassekartak.com
Head: Univ.-Prof. Oliver Kartak
Contact: DI (FH) Mitra Kazerani, T+43-1-711-2442, E: [email protected]
Office: Monika Wenger, T+43-1-711-2441, E: [email protected]
Jana Frantal, »either/or/neither/nor«,
installation, What needs to be told, 2014
Christian Schlager, »Austrian Cultural Poster
Generator«, web platform, 2013
68 — 69
Jeffrey Guan, Johanna Kleedorfer, Doris Lang, Christoph Schütz,
advertising video for an educational campaign about nursing care
Graphics and Advertising
C
See it here:
The Graphics and Advertising programme equips its students with
a variety of skills within the field of design, but focuses on the connection and relation between the idea and the design.
Its objective is to provide students with the best possible
theoretical and practical preparation to meet the challenges they
experience when entering the creative industries. Their qualifications
enable them to work as graphic designers, copywriters, illustrators,
art directors, creative directors, advertising managers and many
other positions whether as a part in large companies or as freelancer.
The programme comprises the methodological development of ideas and their visualisation, the analysis and improvement
of advertising communication techniques, typography, layout, scribbles, illustrations, photography, packaging design, TV spots and
web design. The Graphics and Advertising curriculum also includes
marketing, advertising psychology, cultural sociology, colour theory,
communication theory, semiotics, typography, design and drawing
techniques, and the basics of film design.
In each semester, projects are realised together with actual
clients to address commercial themes as well as social and environmental issues. Internationally renowned experts are regularly invited
to impart their knowledge and to provide further insights into the
field.
Design
www.klassefuerideen.at
Katharina Götzendorfer, Christina Hosiner, advertising campaign for ASHOKA, support for social entrepreneurs
Head: Univ.-Prof. Matthias Spaetgens
Contact: Manuela Hausmann, M.A., T: +43-1-71133-2454
E: [email protected]
See it here:
Patrick Pichler, Wolfgang Warzilek, rotatable bottle label for Mari,
distinguished by the Red Dot Design Award and Art Directors Club
Philipp Comarella (Salon Alpin), storyboard, production, advertising film, animation
»much better now«, distinguished by e.g. the Art Directors Club
70 — 71
C
Design
Takahiro Ueno, »SOLID STATE«
Federico Protto, »aura zentrum«
Yuhei Mukai, »� ♥ ♥ ♥ ♀«
Fashion
Fashion has never been more exciting, diverse, and personal than
it is today. Teaching its students to take clear and independent positions in the fashion worlds is the declared educational aim of the
Department of Fashion Design at the Angewandte, whether in distilling zeitgeist into cogent fashion statements or exploring visions for
the future.
Since the 1980s internationally acclaimed fashion icons
such as Karl Lagerfeld, Jil Sander, Vivienne Westwood, Helmut Lang
or Raf Simons – and most recently Hussein Chalayan – have provided the creative direction of the department. The focus of the
programme is the design, development and presentation of unique,
innovative fashion collections with the highest level of craftsmanship.
The programme imparts skills such as patternmaking,
moulage, sewing, knitting, and garment-making techniques as well
as fashion and technical drawing. The curriculum also includes the
history, communication, and economy of fashion. Partnerships with
the private sector are initiated to help prepare students for future
work realms and the corresponding economic and social conditions.
The high artistic quality of the works is presented at the
annual »Show Angewandte« and is underlined by numerous prizes
and awards. An invited expert jury also enhances the Fashion
Department’s extensive international networking. Graduates found
their own labels – such as Bless, Petar Petrov, Ute Ploier, or Wendy
&Jim – or work for renowned fashion houses like Balenciaga, Jil
Sander, Prada, Maison Martin Margiela, and Vivienne Westwood,
to name but a few. The University of Applied Arts Vienna offers the
only fashion education in Austria that concludes with an academic
degree and is internationally recognised as one of the most important schools of contemporary fashion in Europe.
www.modeklasse.at
Head: Univ.-Prof. Hussein Chalayan, E: [email protected]
Contact: Mag.rer.nat. Marion Sehling, T: +43-1-71133-2460, E: [email protected]
Loila John, »The future always comes
too fast and in the wrong order«
72 — 73
Theory and History of Design
The Department of Theory and History of Design provides students
with insights into the historic, cultural and topical theoretical issues
in contemporary design and material culture. This research-driven
department organises innovative lecture series and symposia and
possesses a teaching staff with an international profile and reputation in the field of design.
Courses are held in German and English. Contributions by
prominent thinkers from other disciplines expand the international
scope of the Institute of Design.
The department promotes a lively doctoral research
culture and offers students a range of critical perspectives on the
objects, relations and processes of material culture, design and
anthropology. Via networking with international institutions such as
museums, universities, art colleges, global design practices and
creative agencies, we aim to provide students with valuable experience beyond the lecture hall. The Victor J. Papanek Foundation
and its biannual symposia on Critical Design, which begins in 2011,
complement the programme.
www1.uni-ak.ac.at/designtheory
www.uni-ak.ac.at/sammlung/pages/Papanek.html
Head: Univ.-Prof. Dr.phil. Alison J. Clarke
Contact: Elfe Fritz, T: +43-1-71133-3472, E: [email protected]
Computer Studio
In the course of their education, students from Industrial Design,
Design (Applied Photography, Graphic Design, Graphics and Advertising, Fashion), Architecture, and Art Education acquire excellent
training in the application of specific computer programs. The
constant involvement of the computer in projects is very common,
so regular practice is a must in order to excel in these processes.
The Computer Studio serves as an open interface and is accessible
to all students.
In addition to the development of basic skills regarding the
use of computers, the lessons also cover desktop publishing, image
processing, animation, web design, and CAD. The curriculum is continuously adapted to innovations in the realm of the creative industries as technology influences the creative process more than ever.
C
Design
Video Studio
Sequence And Scoring: Programme For Contemporary Filmmaking
In Applied Arts
The miniaturisation of cameras and the compression of post-production to laptop format has brought about the popularization of video
production equipment. In contrast to the film industry, where filmmaking requires skills that are specifically assigned to separate
domains – such as screenplay and script, direction, imaging technology and camera, production, editing, special effects, or scoring
– its equivalent in the field of applied arts, though seemingly easier,
requires the ability to make unusual connections between these areas.
To this end, our department offers a range of courses
that reinterpret the types of knowledge taught in traditional film
studies and adapt them to the concepts and workflows suitable
to the domain of applied arts. This includes camera work and video
production, video animation and composition, audio composition
for short film and video, and image-editing in video art and video
design. In addition, the programme offers experimental workshops
which develop a broader approach to sequential thinking. Resulting
works are archived or published in thematic catalogues.
In cooperation with external partners, the department can
boast successful participation in international student competitions.
A programme on artistic research is currently in preparation. Potential
research topics are the basics and application of non-linear film
concepts in the context of global art and in the synaesthetic relationship of image and sound. In the spirit of inter- and transdisciplinarity,
students from programmes at other universities are more than welcome in our department.
Head: MMag.art. Wolfgang Neipl, T: +43-1-71133-2510
E: [email protected]
www.uni-ak.ac.at/computerstudio
Head: Helga Rössler, MA, T: +43-1-71133-2490, [email protected]
Lisa Hofer, »Change In Time«, 2:15 min, video still, from the workshop »Experimental
Feed/Time Lapse«, 2014
74 — 75
Retouching an altar painting,
2009, Ranshofen, Upper Austria
D
Conservation and Restoration
Laser cleaning, 2013, Patan Royal Palace, Nepal
Historical Technology Modelling, 2013,
workshop of the Stonework Dept.
Tapestry restoration, 2014, workshop of the Textiles Dept.
Cleaning fire-gilded copper, 2014, Mul Chowk,
Patan Royal Palace, Nepal
Conservation and
Restoration
Wandering through Ages, Worlds, and Cultures
No memory without objects, no culture without materials, no art of
tomorrow without that of yesterday and today. Nako, Patan, Sarajevo, Brno, Lemberg, Bregenz, or Vienna: for students and teachers
at the Institute of Conservation and Restoration it is all about longterm preservation strategies for cultural heritage around the world.
In addition to material and condition analyses, contemporary conservation and restoration also involves methodological and ethical
con­siderations. Traditions and cultures must be respected; research
and reflection are required before the first step is taken. All this is
intrinsic to the curriculum which follows an inter- and transdisciplinary
approach. How otherwise should a fountain and pavilion in the
Nepalese Royal Palace in Patan or the Buddhist temple in the Indian
Himalayan village Nako be restored? Students gain essential prac­tical
experience in a range of different projects. In a certain sense, all
those who choose to study conservation and restoration at the
Angewandte wander through ages, worlds and cultures: from the
archaeological finds of the Hallstatt Era to the metal structure of
Vienna’s 20er Haus, from the burial garments of Rudolf der Stifter
to the Villa Tugendhat in Brno, from Buddhist wall paintings to the
Hannibal Carriage from Austria’s first horse-drawn railway in the
Technical Museum Vienna, from Baroque painters to the pullover
sculpture of Erwin Wurm.
Partners: The Abegg Foundation, Switzerland / British Museum London / Burgenland
Provincial Museum / Centre of Cultural Heritage Mongolia / Diocese Linz / Documentation
Centre of Austrian Resistance / El.En. Group / University of Pardubice Faculty of Restoration / Vienna Jewish Community / Josephinum Vienna / Katmandu Valley Preservation Trust
/ Krahuletz Museum Eggenburg / City of Vienna Department of Cultural Affairs / Kunst­
historisches Museum Vienna / Cultural Forums of the Austrian Embassy in New Dehli and
Beijing / Museum Carnuntinum Bad Deutsch-Altenburg / Nanjing University / National
Museum Institute New Delhi/ National Research Institute of Cultural Properties Tokyo /
Natural History Museum Vienna / Neukloster Vienna Neustadt / Northwest-University Xi’an
/ Opificio delle Pietre Dure Florence / Austrian Federal Railways / Austrian Federal Furniture
Administration / Austrian Federal Monument Conservation Office / Austrian Film Institute /
Austrian Museum of Garden History / Austrian Museum for Applied Art – Contemporary Art
(MAK) / Trinz Parish / Purgstall / Ambras Castle / Greillenstein Castle / Laxenburg Palace /
Schönbrunn Palace Kultur- und Betriebsges.m.b.H. / Stetteldorf Castle / Heiligenkreuz
Abbey / Klosterneuburg Abbey / Zwettl Abbey / Prussian Palaces and Gardens Foundation
Berlin-Brandenburg / Technical Museum Vienna / Vienna University of Technology / Tyrol
Provincial Museum Ferdinandeum / Hungarian National Museum Budapest / Universal
Museum Joanneum Graz / University of Natural Resources and Life Sciences Vienna / University of Vienna / Vatican Museums / Vorarlberg Provincial Museum / Museum of Ethno­
logy Vienna / Wien Museum
www.dieangewandte.at/restaurierung
Head: o. Univ.-Prof. Mag.art. Dr. phil. Gabriela Krist
Contact: Marion Haupt, T: +43-1-71133-4810, E: [email protected]
76 — 77
E
Arts and Society
Arts and Society
Since high levels of specialization and fragmentation of living conditions are distorting the direct access to the complexity of reality, we
started reconstructing reality and substituting it with a less complex
equivalent, involving society in a constant process of ›reality invention‹. Consequently, the way society perceives the modern world is
increasingly defined by theoretical knowledge, primarily represented
in science, technology and innovation. Knowledge takes the place
of industry and agriculture as a key factor in economical development, turning the post-industrial society into a knowledge-society.
Acknowledging this global restructuring phenomenon,
we need to investigate into strategies that are operating beyond
technology-centered approaches. Involving the arts in the process
of knowledge production would be a means of creating inclusive
solutions and flexible concepts of societal change.
The role of the arts within this process is not defined as a
practice of adding esthetic value to a given result. To the contrary,
art is the driving conceptual force, fueling the process of development from initial investigation to final resolution. Art has the ability to
articulate new, distinctive perspectives on the inherent logic of cities
and the corresponding dynamics of societies, creating strategies
for both the spatial and social fabric. Art has the capacity to deliver
a descriptive model of structural possibilities of society, not by imitating reality but by anticipating the unexpected.
— Art and Knowledge Transfer
— Social Design – Arts as Urban Innovation
78 — 79
E
Kunst
und
Wissenstransfer
Art and Knowledge Transfer
Institut für Kunst und Gesellschaft
Art and Knowledge Transfer
Abstraktion und die Macht des Möglichen
�
Inszenierte Projekte
Abstraktion
oder
wenn der Raum zu
einem Fisch wird,
�
Abstraktion
und
Q
P
Wütend schritt ich voran
geistiges Eigentum
der einen anderen
vertilgt
�
Abstraktion und Ökonomie
Logik und Sprache
The Graduate Big oder
Der Diplom-Schwein
Legasthenie
und
Ökonomie
Kulturtechnik
(Zeichnen)
_
Q
P
�
P
Q
�
Vertrags- und Urheberrecht
2014 2015
Morgen werde
ich Idiot
Identitätsbildung im künstlerischen Feld:
Esoterik, Ikone
und
Ökonomie
Abstraktion und Ökonomie 1
oT_JohannesPorsch_KuW.indd 1
04.12.14 11:16
Since the foundation of the Department of Art and Knowledge Transfer by Oswald Oberhuber in 1987, the concepts of art and knowledge themselves have undergone multiple transformation processes.
Since art began to take an interest in the social sciences
and humanities, which in the 1960s increasingly came to explore
questions of everyday life in order to determine the conditions under
which cultural goods are produced, a form of knowledge production
arose under the term Cultural Studies, where science and scholarship in the field of art were no longer limited to just art history and
criticism.
Interdisciplinarity was a buzzword that took hold in art and
cultural theory of the 1980s, giving rise to great expectations for the
renewal of not only artistic production but also the structures of art
schools and universities.
Today the concept of artistic research is a subject of
intense discussion in addressing questions of knowledge production.
The Department of Art and Knowledge Transfer understands itself
as a platform for the committed production of knowledge across the
broad spectrum of fields at the University of Applied Arts.
Currently the Department of Art and Knowledge Transfer
is investigating the reciprocities and contingencies of abstraction
and economy. The scope of the demands for abstraction ranges
from the strive for transcendence and purity to the measurement of
nature, its predictability and programming. We pose the question to
what extent a connection can be made between the universal claim
of abstraction and the current tendency of financialisation, the form
of economy, that becomes a new form of the real.
Head: Univ.-Prof. Mag. phil. Eva Maria Stadler
Contact: Rosemarie Patsch
T: +43-1-71133-3541
E: [email protected]
80 — 81
Alessia Finckenstein & Masha Hupalo,
»Rebirth oft he Bathhouse«
E
Social Design – Arts as Urban
Innovation
Social Design –
Arts as Urban Innovation
Social Design is a term with a wide range of meanings: from Whole
System Design, Regenerative Design, Sustainable Design and
­Service Design to Green Urbanism and Urban Metabolism – just to
mention a few. All of these design concepts are driven by the desire
to reduce the human impact on our planet. Whether they are dealing
with the reduction of waste production, reducing the ecological
footprint or sustaining urban growth by making more efficient use
of the resources at hand. Above all, these concepts share the motivation for taking responsibility, as well as taking position.
In the context of the master programme Social Design –
Arts as Urban Innovation, Social Design is directly linked to the role
of the art as an urban innovator. Art – in synergy with scientific
methods and knowledge – is understood as a tool for spatial and
social development in an increasingly urbanizing world. Art is a vital
element of communal and transcultural interaction and works as an
instrument of analysis and intervention.
Social Design challenges to cross-examine our built envi­
ron­ment on a trans-disciplinary level. It aims at connecting artistic
research and scientific knowledge with hands-on spatial production,
interweaving the discourse into the very fabric of society.
socialdesign.ac.at
Head: ao. Univ.-Prof. Mag.arch. Anton Falkeis
Contact: Anna-Lena Horn, MA, T: +43-1-71133-3563, E: [email protected]
Stephan Trimmel, »Urban«, Shanghai Exhibition
82 — 83
F
Art and Technology
Art and Technology
The study of an artistic, multimedia, or design-based subject requires
professional handling of technical equipment, mastering basic
techniques and methods and thorough knowledge of materials. At
the Institute of Art and Technology, experts and scientists con­vey
practice-orientated skills in workshops and state-of-the-art labora­
tories for research and teaching. In addition to the technical core
competencies, the communication of transdisciplinary know-how and
artistic experience play a decisive role in the training. Independent,
project-oriented and experimental application of the knowledge
garnered in the design process is our mission.
— Life Drawing
— Archaeometry
— Conservation Sciences
— Book Art
— Geometry
— Ceramics Studio
— Wood Technology
— Metal Technology
— Technical Chemistry and Science Visualisation
— Textile Technology
84 — 85
F
Life Drawing
Figure drawing hall
Art and Technology
The basic principles of design, the abilities, skills and approaches
for diverse forms of graphic expression, form the departure point
for all individual artistic work in the central artistic subjects.
The focus of the Life Drawing Department is an artistic
approach to drawing techniques. Taking into account the various
programmes offered at the Angewandte, this department provides
a range of complementary teaching content, such as natural studies
and constructive drawing, design theory and anatomy for artists,
and life studies.
The range of courses includes a tried-and-true blend of
traditional and progressive, formal and artistically free subjects.
The teachers guide the students through content and tasks, fostering a practice-orientated approach. Guest lecturers contribute
to the department’s repute as a varied communication platform on
the subject.
Cooperations with the Cultural Heritage Agency of the Netherlands (RCE), the Natural
History Museum of Vienna (NHM), the Austrian Archaeological Institute (ÖAI), the
Römisch-Germanisches Zentralmuseum Mainz (RGZM), the University of Natural
Resources and Life Sciences, Vienna, and the Weltmuseum Wien, Vienna. Outdoor
weathering tests of the Angewandte take place in Europe, USA, Australia, and Africa.
angewandte.uni-ak.ac.at/kunstundtechnologie/archaeometrie
Head: ao. Univ. Prof. Dipl.-Ing. Dr.techn. Bernhard Pichler
Contact: Johanna Resinger, T: +43-1-71133-4820, E: [email protected]
www.aktzeichnen.at
Head: ao. Univ.-Prof. Mag.art. Josef Kaiser, T: +43-1-71133-2670, E: [email protected]
Archäometrie
Dong Son culture bronze drum,
Weltmuseum Wien
Archaeometry is a research-oriented department open to artists
from all disciplines at the Angewandte for specific material-related
questions. For example, the department conducts inventories for
thesis projects in Conservation and Restoration. The main research
focuses are dating and material analysis, age determination (authentication) of ceramic and metal objects, provenance studies in cera­mic
and metal archaeometry, and historical dyeing techniques and dye
and fibre analysis. The focuses are reflected in numerous projects,
such as Ephesus. In this manner, the Angewandte also fulfils an
important bridge function between national and international insti­
tutions. Metal analysis reports have already been conducted on
internationally unique collections. Important impulses come from
cooperations and partnerships with internationally renowned
experts and organisations, such as Prof. Ernst Pernicka, University
of Heidelberg and Dr. Pieter Meyers, LACMA, Los Angeles.
Long-term cooperations and partnerships also provide
access to cutting-edge analysis methods, thereby contributing to
solutions for cultural-historical questions.
A petrographic thin section of cement
from the early 20th century
Conservation Sciences
The department primarily deals with mineral-based artistic and architectural materials in cultural heritage. The topics of restoration and
conservation as well as historical and ancient building materials and
their processing techniques are investigated from a material science
perspective. Stone, mortar, and building ceramics are the focuses
in national and international research cooperations and EU research
projects. Another project application in the framework of HORIZON
2020 has been recently approved and will start shortly. The topics
range from nano-based stone preservation agents to cement mortar
of the nineteenth century.
The methodological focus lies in microscopy; the department has optical microscopes and a scanning electron microscope
at its disposal. They are used to characterise building materials,
study weathering processes, and evaluate conservation agents. The
department is also considered a competence centre in the characterisation of ancient and historical wall plaster and mortar and has
held numerous very successful workshops with international parti­
cipation. This experience is conveyed to students of Conservation
and Restoration in lectures, seminars, exercises, and excursions.
Recently, the department offered a ten-day excursion to renowned
world heritage sites in Moldavia and the Transylvanian part of Romania, which was very well received by the students.
Head: ao. Univ.-Prof. Dr. Johannes Weber
Contact: Johanna Resinger, T: +43-1-71133-4821, E: [email protected]
86 — 87
F
Book Art
2 books: Muffin tins and tart lace doilies (paper), binding with punch glazing and chocolate, 2010
Pursuing the vision to walk the fine line between art and handicraft –
in favour of art – the Book Art Department imparts knowledge about
the basics of bookbinding that extends beyond mere paper processing and the fundamentals of design: the conception and realisation
of book designs appropriate to their respective materials; traditional
book techniques; free, applied paper artworks; and bookbinding
processes such as folding, embossing, packaging and papier-mâché.
Despite the constant evolution of technical media for written communication, the demand for calligraphy workshops – in which
historic forms of lettering and their variants are central – is continual.
In addition to the book as medium, the Book Art Department experiments with lettering as a school of seeing, as has been expressed
by Rudolf von Larisch. Attention is given to the coordination
between brain, eye and hand, to knowing the tool and the material,
and to their interplay. Further themes include heraldry, signet and
corporate design, aspects of media science and recipient behaviour,
and font design and technology.
Art and Technology
The Ceramics Studio at the Angewandte is a place of encounter
and exchange for students from all fields of study. The courses have
a transdisciplinary character. Of primary importance is the communication of in-depth knowledge and artistic experience with the versatile medium of ceramics, as well as supporting students in the
realisation of their projects. The main focuses of activity are on art
in the private and public realm, building art and art on the building
site, art in daily life – the daily ambience, and ceramic design.
The studio maintains an international network, inter-university dialogue, and contacts with the industry, artists and architects.
Head: Sen. Art. Mag. art. Cécile Dujardin, T: +43-1-71133-2691
E: [email protected]
Jörg Altinger, »Körperzuckerl«
(Body Candy)
Head: Mag.art Andrea Frankl, T: +43-1-71133-2680, E: [email protected]
Geometry
Courses in the Department of Geometry are anchored in the different
curricula of the artistic subjects. The study spectrum is thus accordingly broad. Our main priority is to transport »classical knowledge«,
which can subsequently be put into application in professional
artistic activities, with the computer as the medium of representation.
Geometry at the Angewandte enjoys national and international scientific distinction. The department conducts and supports intensive
research – especially in doctoral studies – in the realm of classical
geometry as well as computational geometry and computer graphics.
Building upon research results in the development of innovative geo­
metry software, the department has also realised practice-­oriented
projects – for example, architectural software with novel functions.
angewandte.uni-ak.ac.at/kunstundtechnologie/holztechnologie
Head: Reinhold Krobath, T: +43-1-71133-2870, E: [email protected]
www1.uni-ak.ac.at/geom/index.php
Head: Univ.-Prof. rer.nat. Dr.techn. Georg Glaeser, T: +43-1-71133-2380
E: [email protected]
Wood Technology
This department is open to students from all fields of study as an
artistic-technical competence centre on wood technology.
In addition to core competences in handcraft, the instructors mediate theoretical and practical know-how on the use of wood
as a means of artistic expression and for building models, objects,
and prototypes. In one-to-one tutoring students have the opportunity
to work on their projects professionally and independently: from
design to workflow management, from idea to realisation.
In perpetual confrontation with specific problems in
research and art, the Department of Wood Technology at the Angewandte actively investigates processing and construction technologies in relation to wood – and also in connection with other materials
– in order to arrive at innovative and unconventional design solutions
with new technologies.
Internal dialogue as well as national and international
exchanges with research facilities, architects, designers, and artists
are priorities. FFG and PEEK projects are conducted in the department as well.
angewandte.uni-ak.ac.at/kunstundtechnologie/buchkunst
»Twigs«
Ceramics Studio
Zhi Heng, »Gardaroba«, Material
Laboratory seminar
88 — 89
F
Metal Technology
Art and Technology
In the Metal Technology Department, experts provide students with
valuable information about materials science in relation to metals,
light metals and aluminium, and material composition. Additional
skills taught include material processing techniques such as turning,
milling, and drilling; joining techniques such as riveting, bolting, hard
soldering, soft soldering, shielded arc welding, electrical and auto­
genous welding; and cutting and separation techniques (autogenous
flame cutting, plasma cutting, metal band sawing). The department
advises students on the production of their prototypes and models
for presentations, final projects and works for exhibition.
Cooperations with New York University, Western Australian Maritime Museum, Stanford
University, University of Vienna, Medical University of Vienna, University of Western Australia, UCLA, California NanoSystems Institute, Rutgers State University of New Jersey,
University of Applied Sciences and Arts (HAWK), Faculty of Architecture, Engineering and
Conservation, Hildesheim/Holzminden/Göttingen, Institut national du patrimoine (INP)
Paris, and the Christian Doppler Laboratory for Advanced Cellulose Chemistry and Analytics at the University of Natural Resources and Life Sciences, Vienna. AIC distinction for
the best publication in 2013 for »Paper and Water: A Guide for Conservators« by Gerhard
Banik and Irene Brückle.
science-visualization.uni-ak.ac.at
angewandte/kunstundtechnologie/technischechemie
Head: ao. Univ.-Prof. Dipl.-Ing. Dr. techn. Bernhard Pichler
Contact: Johanna Resinger, T: +43-1-71133-4820, E: [email protected]
angewandte.uni-ak.ac.at/kunstundtechnologie/metalltechnologie
Textile Technology
Head: Roman Hegenbart, T: +43-1-71133-2870, E: [email protected]
Technical Chemistry and Science Visualization
Impression from the Metal
Technology department
Mite
The Technical Chemistry and Science Visualization Department is,
on the one hand, a competence centre for material development
(protective patinas for copper roofs, alternative material conservation products, etc.) and, on the other, a specialised research group
formed under the auspices Alfred Vendl that visualises phenomena
of natural science taking place in the microscopic realm, which has
already won numerous international awards (e.g. Emmy).
In the past years the department has established networks
with high-calibre partner facilities.
Future focuses of the department include: analysis of
materials from industrial design (e.g. organic polymers), methods of
prospecting effectivity (protective effect as well as visual changes),
the visualisation of dynamic, microscopic processes on materials
through accelerated weathering with the aid of a SEM (scanning
electron microscope) and CGI methods (computer generated
images), and the production of films with computer animations and
making them available to the public.
Impression from the Department
of Textile Technology
The Textile Technology Department offers students from all study
programmes at the Angewandte a professionally equipped setting
for experiments and activities, from textile design to free, artistic
projects. The techniques of textile design find their application
especially in the realms of interior design, fashion and artistic seri­
graphy, both in small, experimental workpieces and in monumental,
large-scale formats.
The ongoing artistic and technical discourse in projects
and problem solving – the advancement of the arts – forms the
basis of studies in this department, with a special emphasis on silkscreen printing on textiles.
In artistic-technical one-on-one instruction, students learn
to independently and professionally design and realise works on the
basis of their drafts. To this end, the department provides dyeing
and textile printing processes, a printing table, computer equipment
and weaving looms.
www.textiltechnologie.at
Head: Mag.art. Ute Huber-Leierer, T: +43-1-71133-4850
E: [email protected]
90 — 91
G
Art Sciences and Art Education
Art Sciences and
Art Education
The Institute of Art Sciences and Art Education offers a multifaceted
study programme that strongly links artistic practice with artistic and
cultural-scientific, design theoretical, architecture theoretical, and
didactic reflection. It thereby provides professionalisation for occupations at the intersection of art and education. The institute consists
of artistic and cultural science departments with a broad spectrum
of didactic courses. The focus of knowledge production is placed
upon the advancement of the arts and visual cultures as well as on
the creative processes in design and architecture. On the other hand,
the institute also concentrates on research areas and discursive
practices in human, artistic, design, architectural and cultural sciences.
It is of great significance to the institute to create an aware­
ness of problems in the social and historical dimensions of art and
aesthetics and to impart a critical understanding of functions and
the fundamental connections between art, cultural theory and society.
— Design, Architecture and Environment for Art Education
Teacher Training in Handicrafts / Design, Architecture and
Environment
— Art and Communication Practices
Teacher Training in Fine Arts / Art and Communication Practices
— Textiles – Free, Applied and Experimental Artistic Design
Teacher Training in Textile Design / Textiles – Art, Design, Styles
— Art, Design, Textile Didactics
— Cultural Studies
— Art History
— Art Theory
— Philosophy
92 — 93
G
Art Sciences and Art Education
Cornelia Kolmann, »Rhythmus des
Herzen – Rhythmus der Zeit«, 2014
Design, Architecture and Environment
for Art Education
(Teacher Training)
DAE is a study programme in the fields of design, architecture, and
environment. The focus lies on the (built) surroundings, space,
technics and technologies as well as discussing and evaluating their
expedience with regard to ecological, economic, and social sustainability.
The functions of user-oriented design and architecture are
explored both in and outside of educational contexts. In this manner
DAE students are conveyed a concept of design not (only) as a
form-giving process but (also) as a strategy of posing the right
questions to solve problems.
The programme’s core competence is its proficient pedagogical and didactic communication of teaching content in accordance with the latest methodological research. A central aspect of
the design and architectural education is rooted in knowledge about
the production and use of materials.
This basic knowledge of technology is taught in combi­
nation with fine-motor and handcraft skills and is discussed and
reflected upon through the work results.
Interdisciplinarity, liveliness, and open discourse must be
increasingly stimulated. To reach this ambitious goal, the programme
offers cooperations in research projects and works, developed
both with the departments and institutes present at the Angewandte
as well as with partner universities (e.g. the University of Natural
Resources and Life Sciences, Vienna or Graz University of Techno­
logy). One example is the integration of the Robotics course offered
by the Department of Wood Technology at the Angewandte.
Guest teachers and lecture series are not only a source of
inspiration for the programme; they also provide an opportunity for
students to evaluate their positions.
www1.uni-ak.ac.at/dae
Head: Univ.-Prof. Mag.art. Christoph Kaltenbrunner BSc
Contact: Doris Müllner, T: +43-1-71133-2737, E: [email protected]
»Sonderbrillen«, 2010, Head:
Jakob Scheid, Design: Andrea
Reithofer, Edyta Las, Corinna
Staffler, Teresa Paltram, Franziska
Rohrauer, Georg Wolf, Tadzio
Stein, Victoria Dirisamer, Julia
Dröpke, Evgenia Anyebe
94 — 95
G
»Performance as Practice«, process photos from
a workshop with William »Bilwa« Costa, 2014
Art Sciences and Art Education
Art and Communication Practices
(Teacher Training)
Art and Communication Practices (KKP) focuses on the advancement and mediation of the multifarious fields of visual arts, visual
cultures, and forms of communication. The department facilitates
intensive investigation of current artistic working methods, positions, and discourses by interweaving theory and practice and via
collaborations with visiting artists who are introduced as guest
professors. Students acquire a sharp and critical view of the multilayered experiential and cognitive dimensions of art. The perception
of art from multiple points of view enables the deconstruction of its
constituent principles, its contingencies, its aesthetic manifestations
and paradigms. Artistic practice and reception can be critically analysed on this basis.
In these terms, artistic project work is seen as research
activity. Teachers and students realise their projects at the intersection of arts, visual culture, and current societal issues. Internal,
external, regional, and international partnerships encourage individual work focuses as well as cooperative and participative project
forms. In guest semesters at international universities and in the
department’s transdisciplinary and transcultural projects the students
are given access to yet another multi-perspective field of experience
and activity.
Visiting artists contribute alternating impulses regarding
contemporary art practices and visual cultures. Guest teachers in
the last ten years include: Danica Dakiæ, Simon Wachsmuth, Werner
Feiersinger, Imogen Stidworthy, Michael Kienzer, Carola Dertnig,
Anette Baldauf, Wendelien van Oldenborgh, Helmut Draxler, Lindsay
Seers, Robert Del Tredici, Pierre Hébert, Prinzgau Podgorschek,
Willem Oorebeck, and Simonetta Ferfoglia.
KKP graduates are active as teachers and mediators in formal and informal educational fields: as art pedagogues in secondary
and post-secondary education, as mediators of art and culture – for
example, in museums, galleries, and in the media. In addition, they
develop new work practices at the intersections of art and culture,
science, education, and societal topics. The basis of all professional
specialisation is artistic practice.
www.kkp.uni-ak.at
Head: Univ.-Prof. Mag.art. Barbara Putz-Plecko
Contact: Frank Müller, T: +43-1-71133-2752, E: [email protected]
Anna-Pia Rauch, »Blue«, 2010, exhibition
project »ornaMental structures«,
in cooperation with Danica Dakić, Centar,
kulturnih aktivnosti Charlama, Sarajevo
2011
96 — 97
G
Exhibition project »Colours of Hallstatt –
Textiles Connecting Science and Art«,
Museum of Natural History Vienna, 2013
Art Sciences and Art Education
Exhibition project »Colours of Hallstatt –
Textiles Connecting Science and Art«,
Museum of Natural History Vienna, 2013
Textiles – Free, Applied and
Experimental Artistic Design
(Teacher Training)
We are confronted with textile materials and structures in a variety
of ways – in everyday culture, in fashions and styles, in design,
technology, art, and architecture. The Department of Textiles – Free,
Applied and Experimental Artistic Design focuses on the development, communication, and role of textiles in society.
In artistic projects textiles are investigated as a medium of
self-expression and cultural localisation and thematised both as a
dynamic, widely distributed element within our material culture and
as a potential networking model. Textiles are employed in diverse
work formats as an artistic and technical-functional design element.
The interweaving of theory and practice in the programme unveils
multilayered experiential and cognitive dimensions – a requirement
for the investigation and deconstruction of the constituent principles
and contingencies of textiles in their aesthetic manifestations.
The aim of the department is to orient students towards a
reflective artistic or design practice and to develop a differentiated
capacity for critical thought and mediation with regard to art-pedagogical or mediation activities. Graduates are active in art teaching
on a secondary and post-secondary level, in design and media
sectors, or in scenery and costume departments for theatre and film.
For many years the department has been developing a
series of transdisciplinary and transcultural projects with internatio­
nal partners. Students and graduates of the Angewandte have
recently accomplished research work and projects in Morocco,
Bhutan, India, Indonesia, China, with Makarere University in Kampala,
Uganda, and with Joshibi University in Tokyo. In 2014 the department went on a study trip with the students to Uzbekistan in the
framework of the »Ikat Farbspiegelungen« project. »Shapeshifting«
is a project that started in the context of the conference on the
topic »Transformative Paradigms in Fashion and Textile Design«
in Auckland. In cooperation with the Institute of Architecture, the
department developed mobile walls for the bamboo stage structure
for a project in Ghana.
www.tex.uni-ak.at
»The Giant Cloud«, La Biennale di Venezia,
Carnevale dei Vagazzi, production: experimonde
2011
Head: Univ.-Prof. Mag.art. Barbara Putz-Plecko
Contact: Frank Müller, T: +43-1-71133-2752, E: [email protected]
PRINZGAU/podgorschek, exhibition project »Transit für
Karl Aspern. Karlsplatz versus Seestadt Aspern«, 2013
98 — 99
Art, Design, Textile Didactics
Art, Design, Textile Didactics serve as a bridge between the artistic
and scientific disciplines and general didactics. It is an interdisciplinary communication platform between the realms of art, culture,
design, architectural theory, philosophy, and other related fields of
study.
Pedagogical professionalism in art and design deals with
the question: What are the best-suited models, theoretical approa­
ches, and methods for adequately conveying a didactics discipline?
Students learn to theoretically substantiate a diverse range of aesthetic teaching contents for different age groups, implement them
in different forms of art and design, and recognise and cultivate
individuals’ talents.
Students become familiar with didactic taxonomies in the
courses, learn to apply numerous teaching methods, evaluate and
plan educational processes; they obtain knowledge about diverse
educational practices and quality management. They employ instruments of self-evaluation and teaching optimisation in class and can
actively participate in school development processes. Further objectives are to critically question educational programmes, formats,
and concepts and to explore the possibilities for artistic action in
the development of critical thought and emancipatory practice.
The Department of Art, Design, Textile Didactics also ensures and
cultivates diversity, gender, and media competence. Professional
insights are enhanced through research projects in the realms of
didactics of art, design and textile, school-related practices, and
biographical research. Through interdisciplinary and international
teaching work placements in various institutions, students attain a
broad perspective and experience in project management.
With the D`ART centre the Angewandte has established a
leading competence centre for didactics in artistic teacher training
programmes in Austria with international connections to diverse networks (INSEA, ELIA, CUMULUS, etc.). It develops research projects
and organises further training courses as well as national and international specialist symposia and congresses.
Head: ao. Univ.-Prof. Dr.phil. Mag.art. Ruth Mateus-Berr
T: +43-1-71133-2780, E: [email protected]
G
Art Sciences and Art Education
Art History
The Art History programme conveys knowledge about the history of
fine arts and strengthens basic competences in dealing with artistic
works: viewing and describing images, speaking and writing about
art, researching, classifying, and evaluating information, reading and
critical reflection upon texts.
Particularly in light of the expansion of the artistic field of
activity into research, the analysis of scientific methods represents
a key component of the art education. Just as art, architecture,
design, and media art touch upon many realms of sociocultural
activity, different discourses and practices also intersect in the discipline of art history. Hence, a methodological and reflective education
in art history involves a constant revision of one’s own vocabulary
and approach.
www.angewandtekunstgeschichte.net
Head: Univ.-Prof. Mag.phil. Dr.phil. Eva Kernbauer
Contact: Sabine Eder, T: +43-1-71133-2761, E: [email protected]
Art Theory
Art Theory deals with the historical and societal conditions in which
art has become a subject of theory. Amongst these conditions are
the divisions – decisive for modernity – between the one autonomous
Art and the many applied arts, between Art and Society as symbolic
categories, or also between art as an idea and the concrete practices of its utilization. The reconstruction of these divisions and the
corresponding contingent relationships represent the fundamental
objective of the department.
Moreover, art theory can also be seen as an orientation
discipline in increasingly confusing times. Globalised contemporary
art is always interwoven with the complex occasions of its appearance and stands in diverse reciprocities with media, culture, and
politics. Thus, art theory must uncover the different coordinates
according to which art can be evaluated today and comprehended
in its potentials and chances. Only between these coordinates can
the special narrative forms of contemporary art, its models of subjectivity and collectivity, and its political interventions be discussed.
Head: Univ.Prof. Dr.phil. Helmut Draxler
Contact: Univ.-Prof. Martina Dragschitz, T: +43-1-71133-6501,
E: [email protected]
100 — 101
Cultural Studies
To date, there has been extensive research and writing on the complex relationship between art, culture and society. And these inves­
tigations will continue. On the one hand, the role of Cultural Studies
at a university of the arts is to actively contribute to the shaping of
this knowledge base, and on the other, to productively channel its
insights into its teachings. However, first and foremost, this does
not imply making a fixed canon of texts available to students, but
rather to organise reflection upon the social efficacy of art and
culture – following and transcending this canon – in such a manner
that the insights gained into artistic production by in-house specialists become a theoretical basis and offer a frame of reference.
www1.uni-ak.ac.at/kunstsoziologie
Head: ao. Univ.-Prof. Dr. phil. Roman Horak
Contact: Monika Kaczek, T: +43-1-71133-2773, E: [email protected]
Philosophy
Philosophy at an art university has to consider the real interests and
questions of the students. Thus, both an overview – of the most
important positions in the history of thought – and a specially customised ad artem are essential: The seemingly distant can contribute just as much to artistic expression as the allegedly akin.
Critical, independent free thinking as such always remains
sceptical in face of theories, tendencies, ideologies, paradigms,
fashions, apparent truths and facts. Therefore, philosophy needn’t
explain creators their own works or legitimise them, nor is it about
banal satisfaction through sedating empty phrases and templates.
The key point of having a philosophical faculty at an art
university is to always be the place where artists are »embraced«
and guided in their development closely along the lines of their
respective tasks and the multitude of possible reflection points.
Bertrand Russell defined philosophy as a kind of »no man’s
land«, a realm between where one tries to understand everything
(science) and where one can only have faith (religion).
Art oscillates between similar coordinates.
H
Gender Art Lab
Gender Art Lab
Founded in March 2006, the Gender Art Laboratory (GAL) at the
Angewandte is conceived as an »open workshop« at the intersection of art and science, a laboratory for artistic-scientific research,
production, and interpretation. The implications of the related fields
of science and art, concerning their treatment of gender-specific
issues and the motif of the »norm« prescribed by society itself, are
critically addressed on equal terms. In the Gender Art Lab students,
artists, and scientists analyse and discuss the fundamental subject
of gender and its meaning. The programme alternates between topic-specific lectures and public debates. The results and reactions
of this »groundwork« are artworks that encompass all disciplines,
interpretative works by GAL participants, individual solutions, questions, problem explanations, and statements in exhibitions and pub­
lications. In the combination of practice and theory, art and gender,
manifests the unique character of the GAL, with which the Angewandte attains a pioneering position in its study programmes. The
rapid transformations that our society and every social construction
worldwide are allegedly subject to are a recurring element of sceptical scrutiny, which the GAL strives to sustain.
gender.dieangewandte.at
Head: ao. Univ.-Prof. Mag.art. Dr.phil. Marion Elias (Head), T: +43-1-71133-2616
E: [email protected]
Head: ao. Univ.-Prof.in Dr.in phil Mag.a art. Marion Elias (ad interim)
Contact: Amtsrätin Irene Gerersdorfer, T: +43-1-71133-3772,
E: [email protected]
Exhibition in Haus Wittgenstein, project »Beaming«
102 — 103
I
Language Arts
»JENNY«, Issue 02/2014
Johanna Kliem, Norbert Kröll, Rick Reuther,
Lena Ures, Johanna Wieser (Eds.)
Language Arts
The objective of the Institute of Language Arts is to dynamically
support the traditions and developments within the societal function
of poetry in both its historical and contemporary positions. To this
end, the programme is designed as a form of artistic research and
teaching, which measures its foundations against those of science,
yet strives to find, assert, and communicate those very foundations
at the same time.
The combination of traditional literary genres with experimental and media-based categories of creative work represents
a central element of the curriculum. This is where Language Arts
seeks and makes use of exchange and collaboration with the other
various departments of the Angewandte.
The core tasks of the bachelor programme established in
2009 are: acquiring competence in the fields of literary and trans­
media design; teaching of poetological, socio-aesthetical, and philological foundations; the development of a differentiated understanding of social, economic, and political relationships with regard
to the production contexts in literature and the media, literary text
production (in different genres like novel and epic prosa, essay writing, poetry, and drama) as well as text transformation and their
mediation in transdisciplinary forms such as experimental, performative, and transmedia literature.
A special focus is placed on the development and realisation of types of oral and written literature and on their relationships
with other arts, such as graphic design, painting, photography,
media and transmedia art. A »visionary« goal is to establish the
institute as a literary centre, as an exchange forum for poetological
research for creative methods in writing and designing.
Another important facet in the future is a sober-minded
and vigorous approach in the realms of language and art to face
rampant technological paradigms – critical, proactive, with an
impact on the outside, without submitting to the mechanisms of
market economy.
www.dieangewandte.at/sprachkunst
Head: Univ.-Prof. Dr.phil. Ferdinand Schmatz
Contact: Samira Hamdi, T: +43-1-71133-2243, E: [email protected]
»JENNY«, Issue 01/2014
Roland Grenl, Laura Hinrichsmeyer, Johanna Kliem,
Jan Schillmöller, Nils Treutlein, Lena Ures,
Johanna Wieser (Eds.)
104 — 105
Brigitte Kowanz, »Imagine«, lambda print on
aluminium, 2007, Inv. No. 15.148/FW
J
Collection and Archive
Maria Lassnig, »Selbstportrait als Blondine«, oil on cardboard, 1981, Inv. No. 2382/B
Josef Hoffmann, model of Stoclet Palace,
design 1905–1911, reconstruction
(Franz Hnizdo) 1984, limewood, pearwood,
Finnish birch veneer, Inv. No. 9104/O
Collection and Archive
The mission statement of the institute has a clear objective: to
document, research, and publish the past and the present of the
university. The Collection and Archive thus constitute the cultural
memory of the Angewandte. It is kept alive through exhibitions,
publications, and the constant acquisition of works by teachers
and former students.
In the past years there have been major exhibition cooperations with the Leopold Museum and the Belvedere, which both
attracted more than 100,000 visitors respectively and for whom we
produced scientific publications. Important museums throughout
Europe, the USA, and Japan have presented loan items in various
thematic exhibitions. Annually an approximate 1000 loans from our
collection represent the Angewandte abroad. More than 200
research projects, often by students, are supervised by our team
per year. Our members are represented in the teaching staff in the
fields of art history, collecting, and as well as costumes and fashion
history. The Collection provides know-how and access to our
materials for the post-graduate programme ecm (educating /curating / managing) on a regular basis.
The collection consists of approximately 65,000 items from
different fields: painting – graphics – object design (glass, metal,
ceramics) – design – furniture – architectural models – architectural
plans – photography – videos – posters – bibliophile publications –
fashion – historical costumes. Viennese Jugendstil is a core focus
of the collection. It is complemented by the assets of the Oskar
Kokoschka Centre, the historically important Costume and Fashion
Collection, and the Victor J. Papanek Foundation, named after the
Austro-American designer. All items are accessible to researchers,
amongst them estates and partial estates (e.g. of the architect Margarete Schütte-Lihotzky).
Students and researchers can always access the Collection
and Archive. The database of many thousand data records and
images, which can be accessed on-site, is in part already online and
can be viewed via the website. The institute’s website also provides
information on research projects, new acquisitions, previous publications, and planned activities.
www.uni-ak.ac.at/sammlung
Gustav Klimt, bust study of a plaster model,
three-quarter profile to the left, 1878, black
chalk on olive green paper, Inv. No. 14.276
Contact: ao. Univ.-Prof. Dr.phil. Patrick Werkner (Head), T: +43-1-71133-3250
E: [email protected]
106 — 107
University Library
The University Library is the university’s central information facility.
It supports studies, teaching, and research by providing and
conveying printed, electronic, and audiovisual media for all fields
of studies on offer.
The University Library is open to the general public. The
entire collection can be researched via the search portal »supA« and
most of it can be borrowed for use at home.
The University Library offers:
— approximately 120.000 monographs (focus areas are art,
architecture, and 20th and 21st-century design)
— more than 400 periodical subscriptions
— 940 online periodicals and 24 online databases, which are
access­ible on campus and, for students and teachers, also
externally via VPN
— a media library with approximately 9.500 audiovisual documents,
including 7.000 DVDs and videotapes (artists’ videos, films,
documentaries)
— special collections: artists’ books / female-specific and feminist
literature / source literature on Surrealism / Japanese woodcut
books
— trainings in library use, mailing list for current information
— study desks, workplaces for online research, audio/video/DVD
players, copy/print/scan facilities
Opening Hours:
Main reading room:
Mon–Thurs, 9:30 a.m. – 6:30 p.m., Fri 9:30 a.m. – 4:00 p.m.
Periodicals reading room:
Mon–Thurs, 10:00 a.m. – 6:00 p.m., Fri 10:00 a.m. – 4:00 p.m.
Shortened opening times on holidays. Closed during August.
Information point and lending desk are in the main reading
room (2nd floor); current periodicals and media library are in the
periodicals reading room (1st floor).
Contact
Entlehnung, T: +43-71133-2268, E: [email protected]
Dr.phil. Gabriele Jurjevec-Koller (Head), T: +43-1-71133-2260
E: [email protected]
Strategy, Service and
Administration
Strategy, Service and Administration
Facility Management
Facility Management forms the infrastructural framework for our
university’s core areas. The management of the building’s technical
systems and property ensures a user-friendly atmosphere and keeps
an eye on security-related issues. In addition to information & communication technologies, other primary services available to internal
university user groups include facility services, procurement, room
coordination, and distribution of mail.
Contact
Dipl.-Ing. Maria Zettler (Head), T: +43-1-71133-2020
E: [email protected]
Gender Issues and Internal Continuing Education
The people who work at the Angewandte are its most important
reserve of potential. The university’s success is in great part
dependent on the degree to which its employees can bring to bear
their full potential in their everyday work. Only by offering conducive
working conditions and a positive environment for teamwork is it
possible to ensure that this potential is realized.
In this area the Division for Gender Issues and Internal
Continuing Education provides support and undertakes developmental initiatives. The Department for Gender Issues is entrusted
with the task of putting into practice the principles of gender
mainstreaming and gender equality. The Department for Internal
Continuing Education offers educational opportunities to expand
professional and social competencies. It also undertakes measures
designed to improve cooperation between individual organizational
structures, minimizing potential conflicts and improving organizational processes.
dieangewandte.at/gender
dieangewandte.at/weiterbildung
Contact
Mag.phil. Maria Pimminger (Head), T: +43-1-71133-2155
E: [email protected]
110 — 111
Information and Event Management
The Angewandte places great value on the impact and public perception of its artistic, scientific, and cultural-political activities.
Through exhibitions, discussion rounds on current topics in society,
symposia, and events, it refines the university’s profile as a site
not only of research and teaching but also where the results are
made accessible to interested audiences. The Information and Event
Management department assumes this communicative role in the
organisation and realisation of national and international events and
initiates cooperations with enterprises in the art and cultural sectors.
In order to provide up-to-date and attractive information
about the study programmes and events, the editorial supervision of
the website counts amongst the key tasks. In combination with the
distribution of regular newsletters, the department is in constant
contact with the students, teachers, and employees in house as well
as interested visitors from Austria and abroad.
As a means to document the artistic and scientific works
and their results on a long-term and sustainable basis, the book
series »Edition Angewandte«, published in a cooperation between
Birkhäuser Verlag and the Angewandte, represents an important
and indispensible cornerstone for the thriving public image of the
uni­versity. In a close collaboration with the publishing house, the
department supports both teachers and graduates in the realisation
of book projects on a diverse range of subjects. This publishing
activity is complemented by the production of thematic newspaper
supplements or editorial supervision of books outside of the »Edition Angewandte« series.
Contact
Mag.phil. Anja Seipenbusch-Hufschmied (Head), T: +43-1-71133-2160
E: [email protected]
Human Resources, Finance, and Legal Issues
This area consists of three departments with, centrally managed
administrative tasks: Human resource management deals with
the administration of personnel and payroll accounting. Financial
accounting administers all of the university’s accounting affairs,
including the balancing and closing of accounts. The legal issues
department advises members of the university on all pertinent
legal questions.
Contact
Dr.iur. Markus Nagel (Head), T: +43-1-71133-2050, E: [email protected]
Strategy, Service and Administration
Press and Media Communication
In addition to monitoring media resonance, central tasks are the
effective planning and realisation of press work and accompanying
public events that enhance the Angewandte’s profile. The targeted
provision of services for journalists and information for all types of
media questions forms another core competence.
Contact
Andrea Danmayr, T: +43-1-71133-2004, E: [email protected]
Support Art and Research
Support Art and Research supports the focus on research in the
fields of art and science at the Angewandte. Abreast of the latest
developments and led by internal positions, the work of the Support
Art and Research department reinforces the key focuses of the
university, while strategically coordinating the contents with the
complete range of activities at the Angewandte in the context of the
Austrian and international research landscape.
The support can be divided into three fields of activity:
enabling, assisting, and securing. It is about securing resources,
their use, and documenting the developed content.
Core competences of the department include expert feedback in the development of project applications as well as efficient
backing in their implementation and communication – always building upon the vision and specific quality of the respective artistic and
scientific position. The department continuously gathers data on the
latest pertinent resources and provides information about the identified offers. In running projects the project management is supported
in tasks such as administration and project partner coordination.
On the level of securing, the department assists running projects with
communication and documentation.
Parallel to the three fields of activity, the department also
supervises the Angewandte Alumni Association ARTist and is part of
the Portal Angewandte Project management team.
Contact
Dr. phil. Alexander Damianisch, MAS (Head)
[email protected], T: +43-1-71133 2810
112 — 113
Resource Planning and Controlling
Resource Planning and Controlling supports the various university
entities by compiling, preparing and providing management-relevant
data for decisions, through the planning, preparation, and controlling
of budgets, the accounting for personnel, spatial, infrastructural, and
expense requirements, plan/actual comparisons using classification
number systems, and through periodical reporting services.
Contact Resource Planning
ADir. Sabina Szatko (Head), T: +43-1-71133-2131, E: [email protected]
Contact Controlling
Min.-Rat Mag. Dr.rer.soc.oec. Johanna Schmidt (Head), T: +43-1-71133-2130
E: [email protected]
Academic Affairs, University and Quality Enhancement
The interaction of Academic Affairs and University and Quality
Enhancement underlines the Angewandte’s claim to continuously
rethink and further develop its diverse fields of study. This body
sees itself as a point of contact for students and teachers, one that
deals with all questions related to studies and quality. Its services
range from service-oriented study management and the advancement of student and teacher mobility to supporting individual and
institutional quality enhancement, from advice/support for committees and their members to offering procedures for course evaluation
and peer reviews, from periodic graduate interviews to the elaboration of strategic documents such as development plans, performance agreements, and intellectual capital reports, for example.
Contact
Mag.art. Bernhard Kernegger (Head), T: +43-1-71133-2060
E: [email protected]
Strategy, Service and Administration
114 — 115
Organisation Plan
UNIVERSITÄTSRAT
REKTORAT
SENATE
ACADEMIC AFFAIRS, ARTISTIC DEVELOPMENT, RESEARCH
STRATEGY, SERVICE AND
ADMINISTRATION
PRESS AND MEDIA
ACADEMIC AFFAIRS, ARTISTIC DEVELOPMENT, RESEARCH STRATEGY, SERVICE AND ADMINISTRATION SPECIAL ORGANISATIONS
Institute of Architecture
Institute of Art and Technology
Architectural Design 1
Life Drawing
Facility Management
Architectural Design 2
Archaeometry
Real Estate and Room Coordination
Architectural Design 3
Conservation Sciences
Central Computing Services (ZID)
Integrated Design
Book Art
Facility Technics and Security
Building Design
Geometry
Facility Services
Energy Design
Ceramics Studio
Central Procurement
Structural Design
Wood Technology
Registration and Central Post Office
Theory and History of Architecture
Metal Technology
Information and Event Management
Institute of Architecture
Facility Management
Angewandte Innovation Laboratory
Digital Fabrication
Technical Chemistry and Science
Information Management
Institute of Fine Arts and Media Art
Gender Issues and Internal Continuing
Working Group on Equal Treatment Issues
Special Topics in Architecture
Visualisation
Cooperation and Publication
Institute of Design
Education
Arbitration Commission
Institute of Fine Arts and Media Art
Textile Technology
Event Management
Institute of Conservation and Restoration
Information and Event Management
Angewandte Continuing Education GmbH
Art & Science
Institute of Art Sciences and
Gender Issues and internal
Institute of Arts and Society
Human Resources, Finance, and Legal Issues
Stage and Film Design
Art Education
Continuing Education
Institute of Art and Technology
Resource Planning und Controlling
Digital Art
Design, Architecture and Environment for Art
Gender Issues
Institute of Art Sciences and Art Education
Support Art and Research
Photography
Education
Internal Continuing Education
Institute of Language Arts
Academic Affairs, University and
Graphics and Printmaking
Art and Communication Practices
Human Resources, Finance,
Gender Art Lab
Quality Enhancement
Landscape Art
Textiles – Free, Applied and Experimental
and Legal Issues
Collection and Archive
Library
Painting
Design
Legal Matters
Painting and Animated Film
Art, Design, Textile Didactics
Personnel Administration
Sculpture and Space
Cultural Studies
Financial Accounting
TransArts
Art Theory
Resource Planning and Controlling
Transmedia Art
Art History
Resource Planning
Media Theory
Philosophy
Controlling
Institute of Design
Institute of Language Arts
Support Art and Research
Industrial Design 1
Gender Art Lab
Academic Affairs, University and
Industrial Design 2
Collection and Archive
Quality Enhancement
Graphic Design
Art and Design Collection
Student and Academic Affairs
Graphics and Advertising
Oskar Kokoschka Centre
Grants
Fashion
Costume and Fashion Collection
International Studies
Applied Photgraphy and Time-based Media
Viktor J. Papanek Foundation
Quality Enhancement
Theory and History of Design
Archive
Computer Studio
Video Studio
Institute of Conservation and
Restoration
Institute of Arts and Society
Art and Knowledge Transfer
Social Design
116 — 117
Organisational Units
University Council
T: +43-1-71133-2005
Chair: Dipl.-Ing. Thomas Jakoubek
Vice-Chair: Mag. Hannah Rieger
Rectorate
Rector: Dr.iur. Gerald Bast, T: +43-1-71133-2001
Vice-Rector for Teaching: ao. Univ.-Prof. Mag.art. Josef Kaiser
T: +43-1-71133-2011
Vice-Rector for Artistic and Scientific Research and Quality
Enhancement: Univ.-Prof. Mag.art. Barbara Putz-Plecko
T: +43-1-71133-2752
Vice-Rector for Infrastructure: Dipl.-Ing. Maria Zettler
T: -43-71133-2020
Senate
Chair: ao. Univ.-Prof. Mag.art. Dr. phil. Ruth Mateus-Berr
T: +43-1-71133-2030
Vice-Chair: o. Univ.-Prof. Mag. rer. nat. Dr. techn. Georg Glaeser
Administration
Facility Management
Dipl.-Ing. Maria Zettler, T: +43-1-71133-2020
Gender Issues and Internal Continuing Education
Mag.phil. Maria Pimminger, T: +43-1-71133-2155
Information and Event Management
Mag.phil. Anja Seipenbusch-Hufschmied, T: +43-1-71133-2160
Human Resources, Finance, and Legal Issues
Dr.iur. Markus Nagel, T: +43-1-71133-2050
Press and Media Communication
Mag.phil. Andrea Danmayr, T: +43-1-71133-2004
Organisational Units
Ressource Planning und Controlling
ADir Sabina Szatko (Head Resource Planning)
T: +43-1-71133-2131
Min.-Rat Mag. Dr.rer.soc.oec. Johanna Schmidt
(Head Controlling), T: +43-1-71133-2130
Support Art and Research
Dr.phil. Alexander Damianisch, T: +43-1-71133-2787
Academic Affairs, University and Quality Enhancement
Mag.art Bernhard Kernegger, T: +43-1-71133-2060
University Library
HR Dr.phil. Gabriele Jurjevec-Koller (Head)
T: +43-1-71133-2260
Teaching, Artistic Development, Research
Institute of Architecture
o.Univ.-Prof. Dipl.-Ing. Dr.techn. Klaus Bollinger
T: +43-1-71133-2331
Institute of Fine Arts and Media Art
Univ.-Prof. Virgil Widrich
Univ.-Prof. Ruth Schnell (Vice-Chair)
Institute of Design
Univ.-Prof. Oliver Kartak, T: +43-1-71133-2411
Institute of Conservation and Restoration
Univ.-Prof. Mag.art. Dr.phil. Gabriela Krist, T: +43-1-71133-4810
Institute of Arts and Society
ao.Univ.-Prof.Arch. Mag arch. Anton Falkeis
Institute of Art and Technology
o. Univ.-Prof. Mag. rer. nat. Dr. techn. Georg Glaeser
T: +43-1-71133-2380
118 — 119
Picture Credits
Institute of Art Sciences and Art Education
Univ.-Prof. Mag.art. Barbara Putz-Plecko, T: +43-1-71133-2752
Picture Credits
Open House: Poster, 2014, made by: Dasha Zaichenko und Sarah Podbelsek
The Essence: Exhibition view 2014, Faksimile digital/kainz
Show Angewandte: 2014, Faksimile digital/kainz
Institute of Language Arts
Univ.-Prof. Dr.phil. Ferdinand Schmatz, T: +43-1-71133-2240
Architectural Design 1: University of Applied Arts / Architectural Design 1
Architectural Design 2: University of Applied Arts / Architectural Design 2
Architectural Design 3: University of Applied Arts / Architectural Design 3
Gender Art Lab
ao. Univ.-Prof. Dr.phil. Mag.art. Marion Elias, T: +43-1-71133-2616
Art&Science: Václav Pelousek (»Basic Research in Translating Biological, Mechanical
and Chemical Principles into Electronic Musical Instrument Language and Vice Versa«);
Margit Busch, Mathias Kirchner, Bernd Kräftner, Hermine Mitter, Christian Müncher
(»Metaphysics of Opportunity Costs«); Anita Peretti (»Artefakte«)
Collection and Archive
ao. Univ.-Prof. Dr.phil. Patrick Werkner (Head),
T: +43-1-71133-3250
Other University Organisations
Working Group on Equal Treatment Issues
ao. Univ.-Prof. Mag.art. Dr.phil. Marion Elias (Chair)
T: +43-1-71133-2614
HUFAK – Students Union University of Applied Arts
Edwina Sasse (Chair)
T: +43-1-71133-2270
Kokodil (Child Care)
»Parent-Run Children’s Group« Association at the Angewandte
T: +43-1-71133-2155
Office of the Children’s University
Prof. Dipl.-Ing. (FH) Silke Vollenhofer, T: +43-1-71133-2790
»Stubenring 3«, Friends of the University of Applied Arts
Vienna Association
Mag.rer.soc.oec. Astrid Behrens
T: +43-71133-3170
Angewandte Continuing Education GmbH
Mag.phil. Sabine Hochrieser, T: +43-1-71133-2336
Stage and Film Design: Andrea Cozzi (»Die Zukunft ist auch nicht mehr das, was sie mal
war«); Jakob Brossmann (»Schwanzertrakt«); Wiessbauer, Sramek, Kemp, Hägebarth,
Jäger (»Dido und Aeneas«) cooperation with the Max Reinhardt Seminar, production
photo, Otto Oswald Krause (»enclosed pleasure«); Diego Rojas Ortiz (»M.T. Filmstill”),
photo: Diegoro
Digital Art: photo: Annika Sophie Müller und Noah Rieser; Karl Salzmann (»Ignotorumori«),
photo: Faksimile digital/kainz; Jan Perschy (»Flash Dress«), photo: Florian Gutzwiller;
Patrícia Reis und Vasco Bila (»Odaliques#2«), photo: Tobias Pilz
Photography: Exhibition view Pretty Raw 2014, photos: Jorit Aust
Graphics and Printmaking: Simon Goritschnig (»Der Archivar 2«); Olga Georgieva
(»Ausweitung der Vernunftzone«); Assunta Abdel Azim Mohamed (»Untitled«);
Linda Berger & Jeremias Altmann
Landscape Art: Benedikt Meixl (»Non-Space?«); Francesca Aldegani (»Childwood«);
Friedrich Engl (»Wien, 2055«)
Painting: Stephanie Kaiser (»Zeichnung zu einer Arbeit«); Niclas Schöler (»Käfig«);
Wolfgang Matuschek (»KLPP«)
Painting and Animated Film: photos: Faksimile digital/kainz
Sculptur and Space: Exhibition view Franz Part »Schule« and picture of the department:
photo: Stefan Lux; Group Work: photo: Sculptur and Space
TransArts: Sebastian Gärtner (»19 days (handbred quail«); Leander Schönweger (»The
Creator Has a Master Plan«) and Ulli Kühn (»Parabellum«), photos: Faksimile digital/kainz;
Eugen Wist (»Untitled«)
Transmedia Art: Maja Iskra Vilotijevic (»Strange Fruits«); Barbis Ruder (»Wertschöpfungskette«), photo: eSeL.at; Laura Wolfsteiner (»Translation of a Room«)
Applied Photography and Time-based Media: photo: Matthias Koslik
Industrial Design 1: Johanna Riedl and Emanuel Gollob (»Luftmaschenhäkelmaschine«);
Johanna Mossbauer (»Bekleidetes Sitzobjekt«); Ines Fritz (»Gloriole«)
Industrial Design 2: photo: Daniel Riegler; Johanna Pichlbauer and Maya Pindeus,
photo: Angewandte; photo: Alexandra Fruhstorfer; photo: Katharina Unger
Graphic Design: Graphic Design Department (»What needs to be told«); Jana Frantal
(»either/or/neither/nor«); Francesco Ciccolella (»POSTSNOWDENCARDS«); Christian
Schlager (»Austrian Cultural Poster Generator«)
120 — 121
Imprint
Bildnachweise
Graphics and Advertising: University of Applied Arts Vienna / Graphics and Advertising
Fashion: Backstage of Show Angewandte 14, photos: Christoph Liebentritt | photography
Video Studio: Lisa Hofer, »Change In Time«
Conservation and Restoration: University of Applied Arts Vienna / Conservation and
Restoration
Angewandte Brochure 2015, edition 3
University of Applied Arts Vienna
Oskar-Kokoschka-Platz 2, 1010 Wien
T: +43-1-71133
www.dieangewandte.at
Art and Knowledge Transfer: University of Applied Arts / Art and Knowledge Transfer
Social Design: Alessia Finckenstein & Masha Hupalo (»Rebirth of the Bathhouse«);
Stephan Trimmel (»Urban«)
Life Drawing: Josef Kaiser
Archaeometry: photo: Weltmuseum Wien
Conservation Sciences: University of Applied Arts Vienna / Conservation Sciences
Book Art: Christoph Tamussino
Person responsible for content
Rector Gerald Bast
Publisher
University of Applied Arts Vienna
Information and Event Management
Mag.phil. Anja Seipenbusch-Hufschmied (Head)
Oskar-Kokoschka-Platz 2, 1010 Vienna
T: +43-1-71133-2160, [email protected]
www.dieangewandte.at
Geometry: University of Applied Arts / Geometry (»Twigs«)
Ceramics Studio: Jörg Altinger (»Körperzuckerl«)
Wood Technology: Zhi Heng (»Gardaroba«)
Metal Technology: University of Applied Arts / Metal Technology (Impression of the
department)
Editors
Mag.phil. Elisabeth Falkensteiner in collaboration with the
respective instituts and departments
Translation
Peter Blakeney, Christine Schöffler
Technical Chemistry: University of Applied Arts / Technical Chemistry – Science
Visualisation (mite)
Textile Technology: Ute Huber-Leierer
Graphic Concept and Design
buero bauer
www.buerobauer.com
Design, Architecture and Environment for Art Education: Margarete Neundlinger
(»Sonderbrillen«)
Art and Communication Practices: (»Performance as Practice«), photos: Sei Feng,
Jasmin Schaitl, Lei Feng; Anna-Pia Rauch (»Blue«)
Textiles – Free, Applied and Experimental Art and Design: (»hallstattfarben«), photo: Peter
Hoiß; (»The Giant Cloud«), photo: D. Aschwanden; PRINZGAU/podgorschek (»Transit
für Karl Aspern. Karlsplatz versus Seestadt Aspern«)
Gender Art Lab: University of Applied Arts Vienna / Gender Art Lab
Language Arts: JENNY – Denken. Behaupten. Großtun. Issue 01/2013 and 02/2014,
anthology of the Institute of Language Arts
Collection and Archive: University of Applied Arts Vienna / Collection and Archive,
Copyright: VBK
Library: photo: Johanna Folkmann
Vienna, April 2015
122 — 123