Increasing complexities in our society are yielding enormous challenges, which become all the more urgent due to globalisation, shortages of resources, and continuous digitalisation. Hence, it will be crucial to break with overly linear ways of thinking in the future and generate new concepts and realities tailored to these specific challenges through architectural education, teaching, research, and practice.

With the international orientation of the Institute of Architecture (IoA) the focus is placed on profound technical training as well as strategies to respond to the most urgent questions we are facing in the future. Accordingly, the IoA studio programme concentrates on the development of conceptual, practical, and critical skills and means for the creation of new, compelling and forward thinking architecture.
By integrating technical fields (Building Design, Energy Design, Structural Design) into the studio, students have an opportunity to develop and deepen their understanding of construction and technical knowledge in work on own projects. Content and formal supplements are offered in the Departments of the History of Architecture and Theory of Architecture, Digital Techniques, and Urban and Social Strategies.

ioa.angewandte.at

Architecture is not a profession on the margins. We have agency.
 
We can work toward a celebration of the extraordinary in the ordinary. (Or, just celebrate the ordinary.)
 
We are part of a cultural shift here and now. The 20th century was about serving, if not actually helping, masses of people, who were the same, a constituent community in the best sense. This notion gave rise to functional design aspirations. Now, a generation after Thatcher and Reagan, no one wants to be the same as anyone else. Our aspirations, for better or worse, are not about keeping up with our neighbors; they are about becoming singular. We need to embrace this in the hopes of making change in a diverse world. We do not all need the same (better) toaster. We must now grasp the agency afforded by our profession to think about different points of view and different ways of life. We need to address the particular and hopefully discover that the search is universally resonant.
 
We will not have all the answers. We will be looking to new people with new points of view and new places with different needs. We are going to need artists, politicians and thinkers to help us understand the word as it is and to imagine how it might be different.
We are weighing cultural perception along with metric tons of concrete or timber. We are considering the nature, shape, size of consumption in our lives and by extension the life of things. Architecture and design tell a story about a life and vice versa.
 
To be clear we are making physical things. We are designing propositions while researching the existing. Those things, interventions and buildings will be about people (and their impact on the environment) from a meal to the table, to the house, to the community, to the neighborhood and so on.

Chermayeff was born in New York in 1981 and studied at the University of Texas and the Architectural Association in London. He is a founding partner of the offices June 14 Meyer-Grohbrügge & Chermayeff and Sam Chermayeff Office, which realise projects in Berlin and New York. His best-known works include the Serpentine Pavilion 2009 and his participation in the Venice Architecture Biennale 2
 
He has also taught at renowned institutions such as Columbia University and Cornell University. His research focuses on the social and ecological responsibility of architecture and the design of communal living spaces.

Studio Space Popular is focussed on Transmedia Architecture through design and theory. Transmedia Architecture defines the experience of space through multiple means: physical and virtual. We develop architecture that considers physical bodies and virtual beings equally.

Studio Space Popular works at the intersection of the built and the virtual environments. We imagine alternatives towards responsibility and solidarity in the ways we design, build and inhabit our buildings, cities, towns and villages, enabled by media.

Studio Space Popular is concerned with the civic implications of media in the built environment. Our social lives occur across media – in transmedia spaces whose design and regulation nobody takes responsibility for. Meanwhile our community ties online are becoming as valuable and consequential as those offline. In the same way that we fight for the safeguarding of social housing, public space, civic infrastructures, and overall public services, we must take care of the civic dimension of our virtual environments.

The studio briefs are organised under four key themes: virtual craft, spatial data libraries, transmedia gatherings, and virtual civic infrastructure. These topics involve architectural design of both physical and virtual spaces, introducing a variety of tools and methods that bridge the digital and analog in architecture.

The theoretical framework of the studio involves an array of topics currently organised in the following sections:

PERCEPTION & EXPERIENCE Affordances  Semiotics	BODIES & CROWDS Haptics & Interaction Representation of Self	SPACE & GEOMETRY Non-euclidean Spaces Navigation Systems
CRAFT & FABRICATION Digital/Analog loops  Effort heuristics	VIRTUAL COMMUNITIES  Social VR/Virtual Gatherings  Hybrid Gatherings  (Venn Rooms & Global Homes)	VIRTUAL URBANISM Virtual & Augmented Cities Civic Infrastructure design & policy
REUSE & ADAPTATION Media-driven lifestyle transformations Implications on geopolitical entities	ENERGY & RESOURCES Internet Infrastructure Internet Politics	HISTORY & CONTEXT Media & Architecture Aesthetic Ideologies in Architecture

During the three year MArch programme students will have the opportunity of exploring these four key topics during semesters 1 to 4, leaving semesters 5 and 6 for pre-thesis and thesis work. Each semester starts with three to four weeks of collective work in the form of workshops and seminars that contribute to an ongoing research archive. Students are encouraged to shape their thesis around individual interests and draw from the collective research archive.

The studio alternates yearly between two types of design and research: practical and speculative. Semesters dedicated to practical work involve: experimental research, local community engagement, and prototyping design projects; while semesters that are dedicated to speculative work involve: historical and descriptive research, disciplinary community engagement, and speculative design projects.

Lara Lesmes and Fredrik Hellberg lead the practice Space Popular; an architecture studio that explores the relationships between media and the built environment through research, design and artworks. The studio has realised buildings, exhibitions, public artworks, furniture collections, and interiors in Asia and Europe, as well as virtual architecture for the immersive web. Lesmes and Hellberg have previously held academic positions at UCLA AUD in Los Angeles, the Architectural Association in London, the University of Toronto, and INDA Chulalongkorn University in Bangkok. Clients, collaborators and commissioners include national institutions such as MAK—Museum of Applied Arts, Vienna, Austria, MAXXI—National Museum of 21st Century Art, Rome, Italy, the Swedish Centre for Architecture and Design ArkDes, Stockholm, Sweden, the Royal Institute of British Architects, London, UK, the National Museum of Modern and Contemporary Art, Seoul, South Korea, as well as independent galleries such as MAGAZIN, Vienna, Austria, and Sto Werkstatt, London, UK.

Studio Jacob explores architecture as representation. For architecture, representation is simultaneously a technical, cultural and political question. It raises questions about: 1. Who is represented (publics, communities, civicness etc.) 2. What is represented (narratives, symbolism, histories, content etc) and 3. How things are represented (techniques, material, construction methods etc).
We are interested in the medium of architecture itself. We think making is a good way to think  and use working through design processes as ways of developing ideas and proposals. We  understand ways of drawing, for example, are not only ways to depict the world, but systems that themselves organise the world.
We like drawings and models, we like materials and different ways of making, we like to organise space. We like combinations: History and speculation, the everyday and the fantastical, figures and abstraction.  
We are interested in the kind of architectural meanings these combinations and processes might create. What kind of social proposals might they generate. What kinds of ecologies they might manifest. What kind of cultures they might address.
Through this we explore how architecture can be relevant and imaginative, responsive to culture and context, ideas that are also things (and vice versa).
Studio Jacob acts as a framework that supports ideas developing into projects, finding ways to turn progressive architectural ideas into propositions.  
 
Sam Jacob is principal of Sam Jacob Studio for architecture and design, a practice whose work ranges from urban design through architecture, design, art to curation.
 
Sam is interested in how architecture and design makes ideas real as socially, formally and materially. From nightclubs to social housing, from community centres to exhibitions, his projects are striking yet also are full of familiar references, creating places and spaces with character and surprising beauty. Inspired by context, his projects try to embody stories, sensations and feelings in space, form and materials.
 
His work has been shown at institutions including the Art Institute Chicago, the MAK, the V&A, and the Venice Biennale where he was co-curator of the British Pavilion in 2016. He has worked with museums including Design Museum, the Science Museum, Tate and MK Gallery, and has contributed to events including the London Design Festival, the Chicago Architecture Biennial and the Lisbon Triennale.
 
Sam was professor of architecture at UIC and also taught at the University of Hong Kong, Yale, Karlsruhe HfG, ABK Stuttgart, TU VIenna and the AA. He was a columnist for the Architects Journal and Dezeen and resurrected Reyner Banham’s Shape of Things column for Art Review.
 
Previously, Sam was a director of FAT Architecture.

Social and cultural transformations necessitate the permanent conceptual advancement of architecture, while technical innovations introduce new design possibilities. Given this technological dynamic, the discipline of Building Construction is also in a state of constant change. Our objectives are to complement the conceptual and formal renewal of architecture as propelled in the design studios with innovations in building technology and to provide support through teaching and research. Building Construction is taught integratively, i.e. as an embedded aspect of architectural design. The spatialarchitectural and constructive concepts are developed together in an iterative process so that they have an optimal reciprocal effect. In this way students acquire technical expertise parallel to design competence.

We convey general principles of construction, but our aim is also to develop the students’ capacity to find innovative and customised technical solutions through problem analysis and the consequent evolution of the design idea. Construction is seen as a chance to highlight and refine the carrying ideas of the design.

 

Without doubt, the energy question is the greatest problem that we currently face. The share of global energy consumption, that can be traced directly back to buildings, amounts to approximately 50 per cent. Moreover, if one takes into consideration the share of the remaining 50 per cent, which is caused indirectly by buildings (transport and industry), this figure is actually far higher.

It would appear that virtually over night, architects have been allocated a leading role in the solution of a problem that can only be regarded as purely technical when considered superficially.

This is because more precise scrutiny shows that since Le Corbusier, architects can also point to solutions for more energy-efficient architecture, while in older autochthonic concepts, efficiency questions were already considered for reasons of economy alone.

The problem itself goes far beyond technical considerations. Good designers are in special demand as solutions must not only recognise, comprehend and process the cultural identity of the users and regions, but must also inculcate them on a content and sensory level.

The world cannot be saved by reason and understanding, but with thrilling design. A school such as the "Angewandte" bears a special responsibility in this connection, because here architecture is created with an exceptional aesthetic power to convince.

Seminars and lectures (Language: English) admintistrated by ED_energy design, please register here: Current teaching (Language: German).

• History of Architecture
• Theory of Architecture

Univ.-Ass. Mag. arch. Daniela Kröhnert

The Digital Design and Production Lab (DDPLab) investigates the manifold possibilities of new methods and tools in the field of digital design and fabrication.

Besides courses, which enable students to operate digital tools and prototyping machinery, the DDPLab explores the reciprocal relationships amongst design, science and industry.

All activities are thereby centered around the work with a 3D model – digital and physical.

The Institute of Fine Arts and Media Arts comprises twelve departments, each with a different artistic and scientific focus. All its departments are oriented to relevant movements in the fine arts and to digital and trans-media art forms. Teaching and art practice within the institute open up and dynamize the artistic disciplines of today, furnish an artistic-theoretical approach to various visualization cultures in art and science, and offer an examination of relevant theoretical and historical principles.

The institute’s foremost aim is to provide its students with a profound education in an atmosphere permeated by intensive debate and communication. Instruction in the departments takes into account the wide spectrum of advanced artistic concepts and methods available, and places equal stress on the synergies produced by a transdisciplinary approach and essential differentiations within each artistic discipline. The heightened emphasis on exchange and collaboration with universities and cultural institutions abroad generates opportunities for international mobility, promotes competent participation in international discourse and creates important preconditions for defining a position in the art world.

On the basis of a precise analysis of the historical practice and theory of stage and film design and its contextual links to fine art, the Stage and Film Design Department develops a (new) definition of the profession, which is in transition, and pursues the integration of the increasingly evident medial forms of expression within the theatrical context of space/body/text. Using fundamental theatrical and craft skills positions as platform, the aim is to integrate the neighbouring arts and interdisciplinary forms of expression in theoretical, methodological and practical terms into the process of creating spaces for the stage and film.

Word and sound (literature and music), light, movement and bodies in the constantly changing stage and film ambience are searching for flexible-experimental, theatrical venues, which are also found beyond the bounds of established theatres. Installations, performances, events and multimedia exhibition architecture form the modules with which the classic area of activity of the stage designer is expanded. The declared aim is to furnish students with the content-related, technical and formal tools, which will provide them with access to all existing theatrical situations, as well as those awaiting development, and enhance their market and competitive capabilities.

Practical internships and assistant posts in the film and theatre industries offer the possibility to examine the lessons learned and to originate flexible strategies for the creation of an individual positioning within the context of global competition. The practical experience gained in the theatre also serves as feedback for the training available at the university. Not only are synergies created between the teaching on offer within the Institute and international university relationships, but also the differing levels of experience of the students.

UBERMORGEN
Univ.-Prof. Mag. rer. soc. oec. Liz Haas (Head)
Univ.-Prof. Mag. art. Luzius Bernhard

Rise up!
The UBERMORGEN Class revolutionizes Digital Art to pave the way for the new proletariat. Focusing on content, intuition, and imagination - reflection, ambition & contemplation. Symbols of oppression by the neoliberal regime are rejected: teaching staff wear blue work coats and technical staff white lab coats. Short-term results are overrated! Content, intuition, imagination, unlearning, transparency, and asymmetric-anarchic production. Jointly constructed hallucinations and realities are launchpads for individual and collaborative artistic methods & concepts.

Igniting solidarity, rejecting invisible boundaries and absurd rules.

Enabling contemporary techno-political experimentation in social thought spaces. Inclusion & autodidactic practice unite the oppressed through 'Ultra Contemporary' polarization, sound, networks, software art, actionism, nonbinary climate AR, online performance, decolonial interventions, interspecies performance, actionism, AI/ML, synthetic organisms & speculative evolution, crypto and media hacking.

Deepen end-capitalist fractures and explore untrodden territories.
Vzplamtite iskre digitalne umetnosti, vodite boj proti neoliberalnemu diktatu! Za svet, v katerem umetnost ne pripada dobičku!

The goal of the Photography Department is to develop individual methods of developing images using the medium of photography and to succeed in attaining an independent, artistic position. The technical prerequisites needed for the implementation of artistic projects are taught in the department and are applied in a professional manner. The necessary co-operation with the workshops is the object of special emphasis. The free artistic confrontation with the medium of photography also includes the possibilities for the use of other forms of expression such as drawings, installations, performance and video. As a consequence, teamwork is sought and practiced with teaching staff from other artistic and theoretical subjects.

The Department sees itself as a research centre in the artistic area of photography, where new artistic positions should be, and are, developed. In this manner graduates are equipped with a solid basis on which to achieve success in the international art scene. With this profile developed in the course of four years, the Photographic Department occupies a singular position in the field of photographic training.

Drawing is the foundation of the visual arts. It is the beginning of all visualisation and the most immediate form of art making. A vast field of expressive possibilities extends from the starting point of Graphics/Drawing.

Regardless of the form in which the work is realized, drawing can be understood as an interface: between thinking and making; between observation and representation; between idea and image. Drawing functions as a tool for gaining tactile knowledge - or to implement it.

Parallel to the irreplaceable immediacy of the tool drawing, the different artistic printmaking techniques offer a whole range of process oriented and media related opportunities for the visual artist. A wide range of printing techniques is taught in the department: traditional analog methods as well as reprographics and the latest digital possibilities.

Engaging with traditional printing techniques offer artists a precise analytical tool for advance planning and analysing of images, in a practical as well as in an intellectual sense: boundaries are necessary conditions for freedom and transgression. Meanwhile, the fast and flexible digital development provides boundlessness as a principle.

Working with analog printmaking techniques and drawing encourage a particular kind of tactile intelligence, which can be utmost valuable for artists as an alternative to, and/or in conjunction with the rapid development of digital imaging media.

It is no longer possible to consider a technique as an end in itself. Every artist has to address questions of content, of subject matter. The substance of art is created in a non-translatable, dialogic process between the intention of the artist, the tools used and the public experiencing the work. In today's art, no hierarchy of genres exist. It has been replaced by a hierarchy of attention.

The study program aims to enhance the students’ artistic positions and strengthen their ability to critically engage with practical and theoretical aspects of painting. Building upon this core area, space is provided for trans- and interdisciplinary modes of working via installation-oriented, performative and other forms of praxis. The artistic development of the students is accompanied by one-on-one interviews and group discussions with the faculty.

On a weekly basis, students of the painting department have the opportunity to conceive and realize exhibitions. These exhibitions and possible formats of communicating them are subsequently discussed together in class.

External artists and curators are regularly invited to give insights into their work in lectures and conduct workshops with the students. In addition, exhibition visits and excursions are organized to examine on site how different commercial and institutional formats of presenting art are fashioned.

Seminars offered by the faculty discuss historical and current artistic modes of working. The seminars are based on texts by artists and art historical literature in order to engage with different text formats between discourse and praxis and to practice writing own texts.

By taking aspects of the production, distribution and reception of art into account, the study program seeks to achieve two things: Working on an independent artistic position and situating it in the current artistic field.

Students are encouraged to develop their positions and intent, to think critically in the context of contemporary art and theory, to interpret, innovate and experiment within a diverse practice.

Technical and conceptual vocabularies are cultivated through individual and group critiques, lectures, visits to museums, galleries and artist studios.

Painting and animation film are both mediums which express an unfolding of time. Students utilize the formal aspects of painting (texture, colour, line, form) as a basis for exploring both narrative and abstract possibilities in animation film. Students transform single frame animation and storyboards into completed films. The studio offers access to a sound studio, interactive media and analogy and digital techniques

Klassenfilm from Klasse Judith Eisler on Vimeo.

The Sculpture and Space program explores the diverse possibilities of sculpture in relation to material, context, and its interaction with society and the environment.

The focus of the course is on connecting and locating the production of artistic works
with and within their social environment. Engagement with the material is an important starting point. In the in-house studios, wood, metal or pre-cast materials are worked on with the support of artists. This hands-on mentality is seen as a necessary corrective to an increasingly digital world, and demand for this approach has grown steadily in recent years, influenced by a new awareness of objects and materials. Since 2016 Sculpture and Space has shared its Paulusplatz location in Vienna‘s third district with the department of Site-specific art. This former dairy factory contains workstations and seminar rooms as well as a dedicated exhibition space. Where milk used to be sold students now design their weekly presentations. The courses offered include advanced workshops (e.g., woodturning or blacksmithing), the teaching of theory and production, and regular field trips.
Part of the weekly class meetings, in addition to their detailed discussion of a presented work, is a joint lunch.

The central focus of the program is artistic practice and the examination of one‘s own
work, which is developed and discussed in dialogue between the teachers and students.

Projects of the class that address a public are, on the one hand, the exhibition series
„Pfeiler“, in which graduates present a new work.
The Skulpturinstitut is a non-site-specific, curatorial format of the department, within which experts are invited to an event. For example, lectures by artists are regularly held as part of the ALSV (Artist Lecture Series Vienna), organized by Ezara Spangl and Rainer Spangl in cooperation with the Skulpturinstitut.

Heads:
Sen. Lect. Mag.art. Stephan Hilge
Sen. Lect. Mag. art. Roman Pfeffer
Sen. Lect. MMag. art. Dr. phil. Roswitha Schuller

TransArts is an unprecedented BA and MA course initiated by the Angewandte. It aims to develop educational contents and forms that reflect the dynamics in the arts today while preserving all differences in a world where the segregation of art practice and theory is often arbitary or even obsolete.

TransArts teaches unity and diversity in theory and practice while keeping in mind that the various disciplines (media art, performative arts, dance, literature, etc.) not only need one another but also compete with each other. Such diverse contents demand consistency as well as change in mentoring, which is ensured by a core artistic and directorial team. In addition, workshops and lectures held by reputable visiting artists and professors make the diversity in contemporary art and theory both distinct and memorable. This combination of consistent and changing perspectives enables students to acquire a project-oriented, cutting-edge education in art that is not only valid today but also in times to come.

Critical reflection on the ‘digital’ requires a depth of focus that does not stop at a critique of digitisation, but seeks to uncover its historical intersections with the analogue – for example, how the typewriter can be thought of as a digital medium. Contemporary issues of artificial intelligence and machine aesthetics (or other areas of hybrid application) are critically examined through a wide range of interests in media theory, including photography, film and sound studies, as well as the historical and philosophical foundations of digital thought.

The courses on offer include subject-specific lectures as well as practical, method-oriented seminars. The department is also a place for students who wish to pursue an academic career; it supports and supervises PhD projects and research proposals.

In addition to the international networking and the organisation of lectures, exhibitions and symposia, the department’s location in the Alte Postsparkasse offers the opportunity to cooperate with other Angewandte institutions under one roof: the Weibel Institute for Digital Cultures, the Coding Lab, the Art x Science School for Transformation or the Angewandte Interdisciplinary Lab (AIL).

The Institute of Design at the University of Applied Arts Vienna is an academic teaching and research centre offering interdisciplinary practice in various areas of contemporary design. Education is organised in diploma studies, with departments serving as “vertical studios” enabling students of all semesters to collaborate in joint art and research projects. Graduates are awarded a Magister/Magistra degree after passing their diploma exam.

The Institute of Design comprises the following departments: Industrial Design 1 and Industrial Design 2, Fashion, Graphic Design, Graphics and Advertising and Applied Photography (from 2014). It is complemented by the Department of Theory and History of Design as well as the Video Studio and the Computer Studio.

Education at the institute relies on knowledge transfer in small groups, direct interaction between teachers and students, free and experimental project choices as well as workshops and lectures given by national and international experts.

The Institute of Design is one of the leading design schools in Europe and adds to Vienna's role as a national and international centre of design competence.

Applied photography is a field that covers a broad range of our visual communication and aesthetic culture. This means that the current conditions for image production and dissemination require having a specific visual identity, one that can assert itself confidently and critically.

The exploration of new approaches in and around the traditional concepts of photography and digital media is a central aspect of this study program.
A wide variety of different assignments and tasks help teach and individually foster crucial skills, including creativity, intuition, improvisation, and the ability to implement ideas.
The autonomous development and implementation of personal ideas is a central precept from the very beginning, guided through training in photo and media technology, as well as presentation techniques.
The abilities needed to critique, analyze, and communicate about images are taught through cyclic discussions and presentations.

Educational workshops are held on a regular basis, often in collaboration with international editors, creative directors, and photographers.

The goal of this study program is to develop each student’s own aesthetic – a process that is initiated through education, and remains a driving force throughout an entire career.


Curriculum
Website
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The study programme teaches students to engage with design, which comprises a variety of analytical and creative processes and stages.

Our approach to design starts with the human being. It is based on analysing human needs in specific contexts. We consider design as actively creating our material environment while being aware of social, political, cultural, ecological and economic interdependencies. In doing so we are particularly considerate of our dynamically changing coexistence and our responsibility for a valuable common future.
This approach aligns our department with the tradition and philosophy of design history at the University of Applied Arts Vienna.

Throughout the course of studies, we put a wide range of theoretical knowledge in vivid interrelation with skills gained regarding materials and manufacturing, as well as presentation and transfer methods. Various labs and workshops encourage experiments and the creation of prototypes.  

We consider the transfer of knowledge within small groups, critical discussions and direct reasoning between teaching staff and students to be vital; this aspect both supports and structures our design courses. The multitude of methods and the confrontation with various approaches and ways of thinking enable students to develop and hone their distinctive creative profile. They learn to situate their designs within respective contexts.

Subsequent vocational activities are freelance, in businesses or institutions, in areas of science, teaching and research. The course of studies enables graduates to apply their individual design language and make it comprehensible to others. It also qualifies them to influence the current design discourse by adding their own approach that is based on the awareness of cultural, social, economic, ecological and political responsibility.

The programme of Graphics and Advertising is focused on both concept and creation. In theory as well as in practice it is aimed to prepare students in the best possible way for the dynamic challenge of creative and consultative advertising professions.

The course comprises the methodological development of ideas and their visualization, analysis and improvement of advertising communication, typography, layout, scribbles, illustrations, photography, packaging design, TV spots, and web design. Further teaching within the course of Graphics and Advertising includes marketing, advertising psychology, cultural sociology, colour theory, communication theory, semiotics, typography, design and drawing techniques, the basics of film design.

Training is based on projects with actual clients. Commercial themes, social and environmental issues are considered. Internationally renowned experts are regularly invited for additional workshops, lectures and discussions.

Graduates work as graphic designers, copywriters, art directors, creative directors in advertising agencies, advertising departments of business enterprises and other organizations.

Fashion Shows
Each June, the Fashion Department organizes one of Austria’s most talked-about and widely covered fashion shows, the Show Angewandte. Numerous prizes awarded at the show testify to the notable artistic level of our students whose work is judged by an international jury of experts that also help them to build networks.

Show Modeklasse 24 Video

• Show Modeklasse 24
• Show Modeklasse 23

• Show Modeklasse 22
• Show Modeklasse 19
• Show Angewandte 18
• Show Angewandte 17
• Show Angewandte 16
• Show Angewandte 15
• Show Angewandte 14
• Show Angewandte 13

 

Design theory and history is playing an ever-greater role in the art and design education sector and covers a major aspect of the range of doctorate studies, where interdisciplinary approaches in aesthetics, design, technology, the social sciences and history are linked.  In the light of the enormous historical reputation of the “Angewandte” in this sector, new teaching and, in particular research accents, have been established with regard to critical-analytical design theory and design culture, whereby the social and economic functions, and the mechanisms of design receive special attention. The Department sees its most important task as being the national and international networking of design competence and the consolidation of its positioning at the Vienna location to a greater extent than in the past. A special emphasis is placed on the intensification of publicity activities in the theory and history of design area.

The Computerstudio

The computerstudio is open to students of the Angewandte on a 24/7 basis except at times when lessons are held (see Kalender). Please send an e-mail to computerstudio@uni-ak.ac.at to register on the user list, in order to get the key from the porter.

Equipment

9 iMac with MacOS High Sierra
3 extra Monitore
9 Wacom Tablets Intuos Pro
LaserWriter b/w, Scanner
The computers are all connected to the Internet. Find a list of the software installed here.

Application

You have to be registered at the Angewandte to attend any of the lectures. Please apply via Base Angewandte.
To be admitted to the course taking part in the preliminary discussion is mandatory.

more: https://computerstudio.uni-ak.ac.at

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. In the spirit of inter- and transdisciplinarity, students from programmes at other universities are more than welcome in our department.

Registration
Registration for video studio teaching is to be completed personally at the stated times in the video studio (“Angewandte”, Vordere Zollamtsstraße 3, 3rd floor). On this occasion any questions concerning teaching will be answered in full. Registration is obligatory for all classes. Please see the website.

General studio activities
Apart from during teaching, the video studio is also open to students with a “key entitlement” (those attending courses, or course graduates) on a 24-7 basis. Students must enter their names on work lists for co-ordination purposes.

In the Department of Art and Knowledge Transfer societal issues are discussed and investigated in theoretical and artistic contexts. Beyond the all-too entrenched tradition of the new, we examine time periods in relation to contemporary and historical arguments and their mutual contingency. This type of rhizomatic transfer generates a connective form of science, whereby the approaches of genealogy – the analysis of development conditions – are always anchored processually in the here and now. The objective of the Department of Art and Knowledge Transfer is to create productive interfaces between artistic disciplines and non-artistic sciences on the basis of the respective thematic field under discussion. After the foundation of the department 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 critique. Interdisciplinarity was a buzzword that took hold again in 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 arts-based research is central in addressing questions of knowledge production. In the post-war era artists like Asger Jorn vehemently confronted the institutionalised sciences with the demand for the arts to have an opportunity to conduct research.

In the spirit of Jorn, the Department of Art and Knowledge Transfer views itself as a platform for engaged post-media production of knowledge across the broad spectrum of fields at the University of Applied Arts. Furthermore, cooperations with universities, art academies, and museums should help open the university and make the knowledge acquired in different formats of project development accessible and useful for the outside world. Teaching, project development, exhibitions, publications, and editions represent the formats in which the Art and Knowledge Transfer programme is conveyed.

Advisory Board 2023–2025:
Marije Vogelzang (Dordrecht, Netherlands)
Nasrin Mohiti Asli & Giuseppe Grant from orizzontale (Rome, Italy)
Sabine Bitter & Helmut Weber from Bitter/Weber (Vienna, Austria)

Visiting Artist WS 2024/25:
Céline Struger

Urban Environment
Today, more than half of the world population lives in cities, and according to UN reports another 200,000 people arrive each day. In the next 20 years, cities around the globe will expand by 1.5 million square kilometres and in 25 years two-thirds of the world population will live in cities. In this global event we can identify the triggering factors behind tremendous restructuring processes: the transformational power of the industrial and digital revolution. This development places cities as complex, self-generating environments under enormous pressure. Through the densification and concentration of the population, economy, capital, and media, as well as culture and knowledge in urban agglomerations, both their spatial and social fabric are subject to overproportional stress.

Social Design
In order to account for this global development, new concepts are needed that address the overall process of knowledge production in society. Especially art universities are predestined to formulate these new, distinct perspectives on the inherent logic of cities and the corresponding dynamics of their processes. Artistic research can generate links between multifaceted disciplinary expertise and the problems posed by the urban realm. The University of Applied Arts Vienna (Angewandte) has therefore implemented a new master degree programme dedicated to these challenges that emerge within urban social systems and the broad spectrum of related issues.

The shaping of reality viewed on the example of urban agglomerations and contrasted with the urban context of Vienna initially forms both the field of work and the scale for the realisation of the individual projects.

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 laboratories 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.

— Angewandte Robotics Lab
— Life Drawing
— Coding Lab
— Geometry
— Wood Technology
— Ceramics Studio
— Metal Technology
— Textile Technology
— Studio Book and Paper
— Studio Analogue Photography
— Studio Digital Photography

The departement of the life drawing is to engage artistically with drawing and to introduce students to the content and problems of object study.

The teaching offer includes a coordinated curriculum that complements each other, from the basics of life drawing, life drawing, capturing proportions, sharpening observation, nature studies, constructive drawing, anatomy for artists to experimental life drawing, and creates links to central artistic subjects offered at the University of Applied Sciences.

The content is determined to a large extent by the teachers, their objectives and their methods. Students are given a practice-oriented approach, whereby the principles of design options, skills and abilities as well as the handling of the variety of drawing techniques are seen as the starting point for individual development in the central artistic subjects.

The range of courses for students of all fields of study is designed according to the needs of the individual study plans.

All courses in the Life Drawing department are communicated via BASE.

The main tasks of the Archaeometry Department relate to material analysis and dating. The research focal points are anchored in numerous national and international projects (diverse EU projects) in the areas of the dating (authentication) of ceramic and metal objects with cast cores by means of thermo-luminescence analysis, ceramic and metal archaeometry, provenance studies, historical dyeing technologies, as well as dye and fibre analysis and patina research in co-operation with the Department of Technical Chemistry and Analysis using scanning electron microscopy (SEM ED X-ray microanalysis).

Routine studies for assessments are carried out in the course of degree courses in Conservation and Restoration sector. In addition XRD tests are completed for ongoing projects in the area of patina research. The knowledge and results thus obtained flow into the teaching offered, which is attended by students from every discipline.

As an interdisciplinary competence centre at the interface of cultural heritage and archaeology with material sciences, we examine the corrosion and conservation of artefacts in connection with their composition, age, authenticity, and provenance. The main focuses are mineral, textile, and metallic materials, which are the subject of conservation and archaeometric research that subsequently flows into the teaching for students of Conservation and Restoration.

In the field of mineral-based materials our modern equipment is predominantly used to conduct building material microscopy on antique and historical objects made out of stone, mortar, plaster,
and ceramics. We have longstanding cooperations in the framework of EU research projects and have established ourselves as a topranking European competence centre in our field. At the moment one of our main focuses is nanomaterials for stone reinforcement. Currently we are supervising six dissertations. Furthermore, our thermoluminescence equipment for ceramic dating and authenticity checks is intensively used. In the realm of textiles our research is concentrated on dyed archaeological and historical textiles. Recent FWF and EU-funded research was made on Hallstatt and non-European textiles; a current FWF project is dedicated to late antique textiles from Egypt. Additionally, pigment analyses of objects from diverse collections are used, above all, for damage diagnosis and dating in Conservation and Restoration thesis projects. Longstanding cooperations and partnerships in Austria and abroad facilitate leading research and publishing activities and provide access to samples, analysis methods, and expertise, in the event we are not able to cover this ourselves. In this way, we can make an important contribution to solving cultural history questions and offer first-hand expertise to our students.

Book Art involves design concepts and realisation in line with material requirements, including traditional bookbinding techniques, as well as free and applied objects in paper and bookbinding materials, involving folding, embossing. Packaging design and papier-mâché (especially for students from the Fine Arts and Handicrafts Teaching disciplines) are also dealt with.

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 geometry software, the department has also realised practice-oriented projects – for example, architectural software with novel functions.

Ceramics are to be understood as an interdisciplinary medium. As both an educational facility and a venue for meetings and exchanges among students from all areas of study, the Ceramics Department is characterised by artistic experience and a profound knowledge of the medium. Working activities are divided into the three categories formed by art in the private and public domains, building art and art for buildings, art in everyday situations (the daily ambience), and ceramic design.

International exchanges, inter-university dialogues and contacts with industry, artists and architects are to be expanded and strengthened with an eye to co-operations and networking.

Graduates naturally receive every support with regard to all artistic and technical matters.

The Department assists the students from the expiring Ceramics course and, at the same time, provides an increasing volume of interdisciplinary teaching and support during the completion of project work.

In this department, students from every area of study receive theoretical and practical teaching in wood technology. In addition to basic lectures, seminars and exercises form focal points, which should encourage students to undertake research and experiment in line with their study courses. During individual, artistic-technical teaching, on the basis of designs students are provided with an opportunity to implement their project, semester or diploma projects in a professional and independent manner. All processes, from the idea to realisation are furthered in the areas of furniture, prototype construction, installation, modelling and art.

As in the past, the challenges of the coming years demand the permanent adjustment of the curriculum in line with the latest artistic, technical and scientific findings, a continuation of the technical upgrading of the machine pool, expansion by means of new investment, and co-operation with other institutes in new fields such as CNC, laser and water jet technologies.

In the Wood Technology Department, lectures and seminars are held, which cover specific topics relating to every area of wood processing and working. Group and individual teaching takes place with regard to the respective design, construction or material problem. Moreover, as a result of the ongoing consideration of particular questions, a focus is placed on artistic-technical experiments in the fields of working, construction, processing technology and surface treatment relating to wood and in connection with other materials.

Opening hours: Mon - Fri 7:00 am - 3:00 pm, and by appointment

The dates of seminar weeks can be ascertained from the student guide or the notice boards in the University.

In the Metal Technology Department, students are provided with appropriate information concerning material science in relation to metals, light metals and aluminium, material composition and material processing.

In addition, working possibilities such as turning, milling and drilling are taught along with joining techniques such as riveting, bolting, hard soldering, soft soldering, MIG, WIG, electrical and autogenous welding, and cutting and separation (autogenous flame cutting, plasma cutting, metal band sawing).

During the production process up to completion, the appropriate instruction accompanies the work, but without any interference in the design or artistic concept.

Special care is taken with regard to accident safeguards and the danger areas relating to tools and machinery. Theory and practice are communicated in the form of seminars, practical exercises and project-related individual instruction.

Moreover, repairs and special assignments for various University departments are completed without any interference to teaching.

The Technical Chemistry Department is a competence centre for the development of methods of investigating the effectiveness (both the protective effects and also the visual changes) of conservation measures through the transfer of appropriate material alterations by means of related testing on models in virtual space.

In addition, preparations are being made for the creation of a competence centre for the visualisation of dynamic, microscopic procedures though accelerated weathering using SEM (scanning electron microscope) and CGI (computer generated images), in order to pinpoint material corrosion at an early stage and thus determine durability with regard to applications in the design, architecture (AMP project) and conservation fields. Research focuses on the development of protective patinas for copper roofs, as well as the corresponding patinating methods, which facilitate sheet patination both prior to and after laying, research into historical materials and the revival of their production techniques using modern technological possibilities (e.g. Roman cementing), and the development of alternative material conservation products to replace the natural products currently in use where resources are approaching exhaustion (e.g. new adhesives instead of sturgeon glue).

Students from various disciplines are provided with the latest insights derived from these research results, as well as the communication of metallurgical science in the form of lectures and practical exercises. The preparation of new types of teaching methods on the basis of he interactive use of virtual material models is and will remain part of the curriculum.

In the Textile Technology Department, which focuses on screen-printed textiles, students learn to independently complete differing projects, semester and degree work in the course of individual technical teaching.

Students receive professional support throughout the entire project by means of the ongoing examination of the artistic statement and the technical quality.

In addition to the dyeing of organic fibres and materials, the development and realisation of weaves and theoretical and practical teaching in tapestry techniques are also provided.

Deputy Head: Univ.-Prof. Dr. Isabel Kranz

The Institute of Studies in Art and Art Education is committed to exploring the dynamic relationships between artistic practice, theoretical inquiry, and didactic research at the intersection of art, education, and society. Teaching and research at the institute integrate diverse perspectives—from artistic and cultural studies to pedagogical and socio-political approaches.
This includes both the critical analysis of aesthetic phenomena and expressive forms, and the development of original artistic, theoretical, and educational practices. At the institute, art is understood as a social, cultural, and political practice—a means of generating knowledge and actively shaping social processes.
 
The Institute of Studies in Art and Art Education comprises ten departments: Design, Architecture and Environment for Art Education (DAE), Expanded Museum Studies, Cultural Studies, Art and Communication Practices (KKP), Art History, Art Theory, Philosophy, Textiles - Free, Applied and Experimental Artistic Design (TEX), Transcultural Studies, Center for Didactics of Art and Interdisciplinary Education.
 
The following study programmes are offered: Art Education (BA/MA), Studies in Culture and Art (MA), Expanded Museum Studies (MA), Doctorate, ecm - educating/curating/making (MA (CE), Academic Curator). In addition, the institute offers a wide range of courses for all students at the Angewandte.
 
 

The social benefits of CRAFT(ING) reside in innovation – in selfdetermined action, working with materials, the search for questions, the discovery of answers, independent thought, and the experience of teamwork in developing collective solutions. The study programme in technical working guarantees students a comprehensive education in the fields of design, architecture, and environment as well as didactics and pedagogy. The focus is placed on the built environment, space, and technologies and the discussion and balance of their expediency in terms of ecological, economic, and social sustainability.

The functions of user-oriented design and architecture are explored and reflected upon both in and outside of educational contexts. In this manner, graduates are conveyed design not just as pure formal experimentation rather as a strategy to ask the right questions, while design methodologies remain the educational core. By dealing with these issues and elaborating innovative concepts and solutions, the students develop analytical and creative competences. Courses investigate the potential of the design process as a service for businesses and in the realm of politics. This leads to models for consultancy and cooperations. It order to consolidate them, too, common positions and goals with the Austrian representatives of employers and labour are sought and incorporated.

The programme’s core competence is a proficient pedagogical and didactic communication of teaching content in keeping with the latest methodological research, while conveying fundamental technological knowledge in connection with handcraft and fine motor skills. The WERK_LABOR offers students a platform for projectoriented experiments. International conferences, guest teachers, lecture series, and projects with partner universities (e.g. the University of Natural Resources and Life Sciences, Vienna, Vienna and Graz University of Technology, The University College of Teacher Education in Vienna, The University of Education Lower Austria, The University College of Teacher Education of Christian Churches, Vienna/Krems) challenge and promote interdisciplinarity, vibrancy, and open discourse. The DAE department is also a research partner in the PEEK project “Conceptual Joining − Wood Structures from Detail to Utopia”. Not traditions rather NEW THINKING in and outside of schools must be the premise!

The Art, Design, Textile Didactics programme scientifically examines all teaching and learning aspects of a respective discipline with a focus on the questions: Which specific disciplinary theories can be employed to didactically reconstruct learning processes in a meaningful way and how can effective learning situations be conceived? Pedagogical professionalism in art and design addresses what should be taught in a given discipline, to what end, and with which objectives in mind. Which image of the discipline, which perception of school, learning, youth, and society do we want to convey?

In this context Art, Design, Textile Didactics positions itself within the artistic disciplines as special sciences, a field that researches and structures the requirements, possibilities, consequences, and limits of teaching and learning in curricular or extracurricular fields of education in a theoretically comprehensive and practically relevant manner. Today teachers increasingly need theoretically founded reflective and constructive knowledge in order to fulfil the tasks and challenges of their practice and to make sound decisions and actions. Art, Design, Textile Didactics is conceived as an interdisciplinary communication platform between artistic and design disciplines, arts-based research, art and design pedagogy, art theory, cultural theory, design theory, architectural theory, philosophy, museum pedagogy, lifelong learning, pedagogy-related sciences, and other disciplines (for example, natural sciences).

In the realm of extracurricular fields of learning (museum pedagogy, social sphere, etc.) references are also made to neighbouring disciplines in theory, methodology, and research. The department develops and elaborates projects together with museums, cultural institutions, specialist disciplines in other universities, small-scale enterprises, and other organisations (such as the Science Center Network). Each respective field of study has its own didactic curriculum to cater to explicit transfer and translation processes. The department’s research and teaching is furthered through internal continuing education and presentations of the results at national and international conferences. It also conducts research projects in the fields of art, design, and education.

At the centre of the research projects and courses of the Department of Cultural Studies (Kulturwissenschaften) is a social definition of culture: culture is the arena of polyphonic and contradictory social conflicts, culture is the practice of people. It is understood as an expression of certain ways of life and forms of behaviour and is viewed in its respective social, political and historical context.
 
For research and teaching at the department, this definition of the cultural means a decidedly interdisciplinary orientation, based on discourse- and ideology-critical semiotics. We co-operate in various projects with other departments at our university. For example, we were and are able to make a significant contribution to the conception and implementation of the new Master’s programmes “Experimental Game Cultures” and “Kunst- und Kulturwissenschaften” (Studies in Art and Culture).
 
As part of the Institute of Studies in Art and Art Education, we have also been involved in the further development of teacher training programmes for many years (including a focus on “Digitale Grundbildung”). Through lectures and workshops, publications and exhibitions, dialogue formats and podcasts, we respond to current cultural and socio-political issues and in this way have a critical impact on the cultural policy debate. The department’s current research focuses, around which teaching and specific research projects are grouped, are the interrelationships between:
 

• Technology and Art
• Culture and Play
• Empirical Research and Space

 
The focal points are realised in concrete exhibition and publication formats, in which students (including BA/MA/diploma theses and dissertations) can also participate and which are implemented in research projects in close contact with other universities and institutions. The department understands the immediate proximity to practice in the artistic classes of the Angewandte and thus the interweaving of scholarly, artistic and technical subjects as an opportunity to conduct interdisciplinary research in areas of the digital, i.e. in critical software development. Examples of this are the multi-year inter-university research projects “Image+ Platform for Open Art Education” and “Portfolio & Showroom – Making Art Research Accessible”, which stand both for a theoretical reflection of digital hegemonies and economies (e.g. critique of scientific metrics) and for the conception and realisation of alternative, open-source and freely available software.
 
Questions of space – expression of a specific situatedness of knowledge/cultures, whether in the digital, urban or in exhibitions as well as dynamics of the ludic: As part of the research network “Locus Ludi. The Cultural Fabric of Play and Games in Classical Antiquity” (Univ. Fribourg, ERC Advanced Grant), we are currently investigating the question of exhibiting of play and its artefacts in the digital realm. Our teaching project “Urban Spaces – Explorations in Viennese Squares” is dedicated to the city as an object of investigation. With the topic of exhibiting, we also touch on questions of narration, which in recent years have been dealt with in aspects of the history and present of letter culture (“Vier Schwestern. Fernes Wien, fremde Welt”), the narratives of war in social media (“Visual Politics and Protest”), the representability of the invisible medium of wind (“When the Wind Blows”) and the significance and function of self-publishing in the German-speaking world (“New Concepts of Authorship in a Digital Media Society”).
 

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.

Helmut Draxler

Why philosophy? What use does philosophy even have? Such are the questions posed by Adorno and Deleuze in the last century. These questions are all the more relevant for a Philosophy Department in a University of Applied Arts, where philosophy is an outsider.

Questions concerning the outside of philosophy reveal their creative import only if one exposes their immanence. The “outside” of philosophy is an irreducible condition for philosophy itself, it insists upon the elementary dimension of philosophy’s procedures. For philosophy is always triggered by a stumbling block, by something troubling, whether - it is called speculation, astonishment or criticism.

Inventive philosophical work never proceeds exclusively out of the historical relation of philosophy to itself. Its chance lies in its relation to what has been called “non-philosophy”. This connection has often been scrutinized. Theory was posited by Deleuze and Foucault as a tool-box, in which non-philosophers search for tools. One finds a rejoinder to this instrumental logic in Hegel, for whom concepts are not means to further an end; under a concept there is nothing to be thought but the concept itself. However, the French philosophers also argue that concepts are not means, but thresholds for other forms of thought, for different practices. Whilst Hegel insists that conceptual language is a moment of all language forms that enter into the arts, theory of state, religion and empirical sciences.

The philosophy department addresses these thresholds as the presence of an unknown conceptuality in all our representations. The disquieting exercise of philosophical thought depends on its relations to political, epistemological, artistic, and ethical problems. This meshing has intensified and undergone many changes in the twentieth century. Such “disturbances” are exactly what launches philosophy, what brings it about. The question is: how do interferences, discontinuities, and all the different materializations of thought put us in relation to the universality of reason? When do political struggle, aesthetic relations to the world, desubjectivations, affirmations of desire, or changes of form thwart the naturalized “discourse” of interest and egoism? In this sense, philosophy participates in the practices, interests and questions of all disciplines, contributing to their problematization.

This is the landscape explored by the Department of Philosophy at the University of Applied Arts in Vienna, in close contact with theorists, artists, and students of all disciplines.

Today, more than ever, artistic work demands profound historical knowledge, visual analysis competence, theoretical reflective capacity and linguistic communications skills. Art and visual media affect every aspect of social-cultural activities such as economics, politics, media, high and pop culture, as well as ethnic cultures, sexuality and gender relations, psychology, medicine and natural sciences, and philosophy. Like art, as a discipline, art history is part of these discourses and social practices and therefore in addition to its classical methods of style and work analysis, also furnishes methods for the scrutiny of these interdependencies.

One focal point of art historical teaching and research at the “Angewandte” is contemporary art. The view of art history is evolved from current questions, in order to render acquired historical knowledge fertile for a critical and creative approach to the present.

Current research focal points involve the relationship between text and image, the formation of early modern subjectivity models in contemporary painting, historical and current transformation of the self- and role image of artists, gender issues, the ambiguity of modern and contemporary art, methodological questions relating to the historicising of contemporary art, surrealism and avant-garde research, as well as aspects of video art and film history. Conferences, lecture series and exhibitions are organised for this purpose along with the publication of books.

Leadership team:
Olga Grjasnowa, Univ.-Prof. BA
Gerhild Steinbuch, Univ.-Prof. MA

The Institute of Creative Writing Vienna has been designed to follow the example set by Leipzig, Hildesheim and Biel. Like these models, it is dedicated to the teaching of literary writing on a university basis. Courses are intended for students wishing to learn a diversity of literary techniques and cross-border methods for a period of three years at the end of which, a final work will be submitted for the award of a bachelor degree.

The Institute offers a multifaceted teaching staff, which represents the variety found in the German language literary scene, and furnishes intensive student support. In addition, leading authors present their writings in the form of workshop discussions and readings, while in teamwork with the School for Poetry short-term interventions are possible for extended forms of linguistic expression.

The fact that the Institute of Creative Writing is part of the University of Applied Arts provides it with additional scope through the opportunities for exchanges with other institutes and departments such as Graphics, Painting, Media Theory, Fashion, Book Art, Knowledge Transfer and Philosophy, etc. Indeed, this cross-fertilisation process allows students to test the various effects of their literary output even during their study years.

In future, it is planned to establish the Institute as a literary centre that will also consider creative writing teaching methods. An initial step in this direction is formed by the organisation of a symposium to which teaching staff from all the institutes at German-language universities will be invited.

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 publications. 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.

The Institute of Conservation is an internationally renowned center of competence regarding conservation-restoration matters, as well as regarding the preservation of art and cultural assets. The four study programmes available specialise in the conservation-restoration of paintings, objects, textile, and stone. In addition, there are options to specialise in the conservation of archaeological finds, or in the conservation of modern and contemporary art.

Significant priorities of the conservation sciences central to the Institute are the consideration of art technological and cultural historical viewpoints, the application of up-to-date work and research methods, the development of preventive and long-term conservation strategies, the maintenance of collections and exhibitions, the thoughtful handling of conservation materials, the inclusion of ethical criteria, plus providing training in a transdisciplinary-methodical thinking process.
  
The diploma degree programme of Conservation is based on project work and practical relevance. With the help of various praxis oriented projects – such as individual restorations, interventions on monuments, and central engagement with collection‘s holdings – students are introduced methodically and step by step into the subject of conservation-restoration; they acquire practical experience and gain conservation-scientific competence.

The Joint Master Programme of Cultural Heritage Conservation and Management with the Silpakorn University International College in Thailand offers graduates of Conservation-Restoration the opportunity, effective from 2020, to enhance their skills and broaden their knowledge base. This programme pursues an innovative transcultural and interdisciplinary approach. The focus is on project management, research, and teaching at an international level as well as the preservation of cultural assets in the European and the Asian region.

University Archive: Director Silvia Herkt
Oskar Kokoschka Centre: Director Bernadette Reinhold
Victor J. Papanek Foundation: Director Alison J. Clarke

About us
The Art Collection and Archive serve as the cultural memory of the university. We record the history of the Vienna School of Arts and Crafts and the present activities of the University of Applied Arts Vienna, unravelling the issues that arise and communicating through exhibitions, publications, conferences, cooperative projects and a digital database. In addition to the Art, Architecture and Design and Fashion and Textiles departments, the institute encompasses the university archives, the Oskar Kokoschka Centre, and a foundation dedicated to designer Victor Papanek.
 
History
Although its contents extend back into the 19th century, the collection itself is surprisingly young. Former rector Oswald Oberhuber initiated its development from the existing documentation archive in 1979. Since then it has grown from 300 inventoried works to the current collection of over 65,000 works.
Right from the beginning in the 1980s, the art collection was dedicated to developments in modernism and the interweaving networks of prominent figures at the Imperial and Royal School of Arts and Crafts.
The former founding institution was in fact avant-garde on several counts. Their pioneering pedagogical concepts and design approaches were used later on in the preliminary courses of the Weimar Bauhaus, and their "modern interior design" that approached the entire exhibition space as a design issue was subsequently developed by artists of the Wiener Werkstätte. Enrollment was also open to female students at the Imperial and Royal School of Arts and Crafts since its foundation in 1867. Franz Čižek's "Ornamental Form" class, which was a think tank for young female artists, played an important role in this respect and evolved into what is known as "Viennese Kineticism". From its inception, the collection has sought to highlight these aspects via exhibitions, publications, presentations and discussions, a visitor oriented archive and a digital database.
 
Oswald Oberhuber, who founded the collection, was committed to a contemporary approach to history and encouraged alternative versions of aesthetic histories and a pluralisation of the art historical canon. He brought artists who were murdered or persecuted by the National Socialist regime in Austrian back into the spotlight. Through exhibitions and publications such as Die Vertreibung des Geistigen aus Österreich. Zur Kulturpolitik des Nationalsozialismus (The Ousting of the Intellectuals from Austria. On the Cultural Politics of National Socialism) (1986) and solo presentations of "forgotten" artists, he laid important cornerstones together with Erika Patka, who was head of the collection at the time.
The collection's great potential lies in its wealth of underrated or marginalised positions throughout art and design history. Critical examination of the artistic canon through counter-narratives and rediscoveries is therefore a key part of its program.
 
Collection
The dynamism and networks at an art school generate knowledge reservoirs that allow developments, stances, and groups from particular epochs to be mapped out and "preserved" in a different way than in museums. As a result, artists who were ignored through certain historical contexts or by public discourse can be fully rediscovered here. Through the knowledge of important artistic networks and the dedicated support of bequests and donations, the Art Collection and Archive also offer a plural corrective to the canon.
 
The collection currently comprises around 65,000 objects. Key areas of focus include Fred Adlmüller, Friedrich Berzeviczy-Pallavicini, Friedl Dicker-Brandeis, Josef Hoffmann, Gertrud Höchsmann, Oskar Kokoschka, Anton Kolig, Adele List, Bertold Löffler, Elly Niebuhr, Otto Niedermoser, Oswald Oberhuber, Victor Papanek, Franz Schuster, Margarete Schütte-Lihotzky, Peter Weibel, Emmy Zweybrück, Viennese Modernism and the Wiener Werkstätte, Viennese Kineticism, as well as applied and fine arts of the 20th century such as graphic art, posters and furniture design, textiles, photography, ceramics, painting, objects and Austrian modernist architectural models. The collections of the original School of Arts and Crafts and the artists Mileva Roller and Rosalia Rothansl also include rare garments.
 
The collection continues to grow. In 2004, Rector Gerald Bast integrated the Costume and Fashion Collection into the main collection and space issues were improved by Gerald Bast in 2015 through the addition of new storage rooms. Cataloguing of the Peter Weibel Archive began in 2020. Items from the collection are presented in various exhibitions, at the University Gallery at Heiligenkreuzerhof, as well as Austrian and international institutions through cooperation and on loan.

With the help of the archive and collection holdings, important publications on the history of the university could be compiled:

"Kunst und Lehre am Beginn der Moderne. Die Wiener Kunstgewerbeschule 1867-1918" edited by Gottfried Fliedl (1986) and "Kunst: Anspruch und Gegenstand. From the School of Applied Arts to the University of Applied Arts in Vienna 1918-1991." ed. by University of Applied Arts Vienna (1991) and "150 Years University of Applied Arts Vienna. Aesthetics of Change," ed. by Gerald Bast, Anja Seipenbusch-Hufschmied, and Patrick Werkner (2017).

News: Miya Yoshida will be the new Professor of Artistic Research and Head of the Zentrum Fokus Forschung from September 2024

The Zentrum Fokus Forschung offers an open space for reflection for projects of artistic, scientific and artistic-scientific research, especially in the context of the doctoral program of Angewandte.

The Zentrum Fokus Forschung's function is to realize projects in post-graduate research areas of art and science (research projects, incl. projects evolving from artistic doctoral studies) and to support significant developments of art and science in general.

The Zentrum Fokus Forschung is a unit – complementarily to existing departments – at the University of Applied Arts Vienna in which independent artistic research is generated and connected; artistic work thereby is regarded as the basis of knowledge production, of course in a productive relation towards existing ways of knowledge development, as they have been established in other fields of research.
The foundation of the Zentrum Fokus Forschung is based on a rich and successful praxis of research (Events: Applied Practice; Documentation (film): Applied Practice, Context: Exhibition Hong Kong 2015) at the Angewandte (Kewords: Projects, incl. PEEK; Report 2014: Research and Developement Projects, p. 51 ff) ).

The aim is to generate fresh knowledge regarding specific issues in the arts by providing an adequate institutional focus, to contextualize artistic research and to adequately communicate results in both national and international artistic environments.

[Applied] Foreign Affairs is a trans-disciplinary lab investigating spatial, infrastructural, environmental and cultural phenomena in rural and urban Sub-Saharan Africa, and the Middle East, established by Baerbel Mueller in 2011.
 
Each lab project centers on a distinct question or clear mission and culminates in field trips and residencies through which (applied) research, mappings, rural and urban growth patterns, urban prototypes, imaginary (art) spaces, and relational physical interventions are produced. A series of talks introduces students to the spatial diversity and cultural vibrancy of the contemporary condition of the respective project context, followed by “intensives” that focus on the status and potential of a specific region and interest. The process of relating and making is conceptualized in a reactive and slowed-down manner. Conditions of uncertainty and fragility are embraced. The outcome of each lab is presented in different formats and contexts.
 
[A]FA is performed in (experimental) collaboration with international guests, partners, and partner universities. [A]FA is commissioned by cultural institutions, artist collectives, communities, municipalities, and individuals. A selected number of students from both, DieAngewandte, I oA, and the respective project context can participate after application. Field work and residencies take place during semester breaks. Students of related disciplines are most welcome.

The Institute of Arts and Society consists of five departments - Art and Knowledge Transfer, Social Design, Cross-Disciplinary Strategies, International Programmes in Sustainable Developments and Artistic Strategies. Each with their own specific requirements address issues related to society and, even more, the constitution of society itself. The concept of society, distinguished by the dynamic of order and difference since the Enlightenment, is subject to constant transformations, which need to be analysed, contemplated, and shaped.

At the beginning of the 1990s, when Bruno Latour declared, “We have never been modern,” he revoked a notion of society that assumed the dichotomy between nature and culture and in its strive for autonomy and difference separated the fields of action from overarching social contexts. Latour, in contrast, speaks of hybrids, social actors, non-social entities and objects as a real network, which he conceives as society. Multifaceted relationships between people and things, according to Latour, would generate new modes of socialisation through complex interconnections, a network that cannot be subjected to systematic or territorial boundaries.

Univ.-Ass. Mag. arch. Daniela Kröhnert

The Digital Design and Production Lab (DDPLab) investigates the manifold possibilities of new methods and tools in the field of digital design and fabrication.

Besides courses, which enable students to operate digital tools and prototyping machinery, the DDPLab explores the reciprocal relationships amongst design, science and industry.
All activities are thereby centered around the work with a 3D model – digital and physical.

Performing experiments with models provides the basis for insights into circumstances in reality. With the ever-increasing capacities of modern computers, the importance of digital simulations is growing in many fields of knowledge, as the effort required to create computer simulations is relatively low compared to that required to perform physical experiments. This also gives digital experiments a new significance in the context of creative processes: similar to thought experiments, they can be used to add the level of what is possible to reality. Rather than in the execution of the experiment, the difficulty now lies in the generation and parameterization of the digital model.

The Digital Simulation department of the IoA is dedicated to the discovery and formulation of computer-based models in the field of architecture. The basis is an interdisciplinary approach that is aimed at making modelling techniques and methods from other scientific disciplines usable for the architectural design process. In addition to digital simulations with physical backgrounds, those from the human sciences are also covered. Rather than the purely quantitative optimization of the properties of individual systems, our main focus is on the search for new qualities in the field of digital design.

Any spatial change in the built and natural environment has far-reaching consequences within an existing framework of mutual dependencies. Accordingly, architecture, urban design and related spatial descriptive and planning disciplines cannot be thought of without strategically questioning these reciprocal relationships. The Department addresses this inherently multidisciplinary thematic complex of local-global changes in their spatial, technological, economic, political, socio-cultural, ecological and aesthetic dimensions in the wide range of relevant scales.

Thereby artistic-scientific methods and corresponding knowledge production serve as a basis for teaching and research. In lectures and research seminars on the Theory of Living Spaces and Urban Strategies and Theory of the Landscape specific aspects are examined and put into relation with adjacent disciplines. The production of magazines, newspapers, narration and film provide the framework for textual and cartographic speculation for a critical reflection of temporal-spatial organization principles in order to examine their relevance in current social dynamics. In its own research, the Department engages in international and interdisciplinary projects on public space, urban ecosystems and new mapping technologies.

Current Research Projects: Active Public Space (APS), Co-financed by the European Union in the framework the Program Collaborative Europe.

Gastprof. PhD. BArch. Tulay Atak

Articulating the role of architecture and design is urgent today as we face social, technological and environmental questions of inequity, rapid transformation of digital culture and climate change. Design professions like architecture are uniquely positioned to understand and address these questions, both by suggesting conceptual frameworks and by providing innovative design propositions.
Architectural theory articulates the links between architecture’s disciplinary knowledge and contemporary questions. In educating the next generation of architects, we have to think about the “worldliness” of our field, or how architectural ideas transform and adapt to different contexts and events while acknowledging our disciplinary tools and techniques. Theory plays a foundational role in the design curriculum by tracing the transformation of architectural ideas, by articulating the links between specific examples and their social and cultural contexts, by deepening the theoretical underpinnings of formal operations and by mapping how the field of architecture can expand in order to experiment and address contemporary questions. Theory is a discipline that deliberately questions how we think in order to change not only how, but what we design.
The department ‘Theory of Architecture’ has the primary mission to contribute to the design philosophy and the design thinking of students in architecture. At the same time, it is a platform of ideas and discussions where students from the three different studios and other departments come together, a place where students can see the relations between distinct design questions and where they can experiment with instrumentalizing architectural theories to develop arguments and propositions.

Contact: tulay.atak@uni-ak.ac.at

The common understanding of modern scientific research becomes more and more difficult as activities are carried out in size and time ranges we cannot perceive with the naked eye. The key to understanding for laymen is most commonly a visualization of these hidden processes. The Science Visualization Lab at the University of Applied Arts in Vienna, Austria specializes in making invisible scientific phenomena visible.

The majority of those phenomena are outside the limits of human perception, therefore, the creations of the Science Visualization Lab under the leadership of Alfred Vendl are focused on the visualization of these procedures utilizing the appropriate technical equipment.
Computer-generated imagery and animations are created in different innovative workflows while using imagery obtained from light microscopes, confocal microscopes, computer tomography, and different electron microscopes to create visible dynamic sequences of normally invisible procedures. One of the key goals is to make these procedures understandable for broad audiences while still implementing them accurately. To that end, some of these animation sequences have been used in popular TV-productions, art installations, and other means of knowledge communication.

Knowledge about the history of architecture is an indispensible resource in the architectural practice, and it is also integral for all other artistic curricula. Networked artistic thinking does not limit its scope to individual objects, rather it views the overall design of the environment. In the field of architectural history knowledge about the technical, aesthetic, and social aspects of intelligent and sustainable solutions in given building projects is conveyed in their respective historical context.

The most important course formats are lectures about the key periods in Western architectural history (English) and about the history of Austrian architecture in a European context (German). Furthermore, scientific works (dissertations, diploma theses, semester projects, studies, publications) by members of the Angewandte and other universities are supervised in the framework of seminars. The department’s own scientific research contributes, above all, to architectural history in Central Europe with a focus on modern and contemporary architecture and art in Austria.

The Workshop

Creating a high standard together with the students of Angewandte, is our endeavour. Professionally supporting the university’s external appearance, is our goal. In our studio, we set value on a pleasant working environment. Communication is an important part of our work.

The results are professional photography and high-quality pigment prints.

Detailed information

The Digital Photography Workshop supports all students of Angewandte with photographic aspects of their projects in the studio. It is possible to print large-format pigment prints in gallery quality.

Services for students:
Photography, scanning, image editing, and digital printing—please note: the infrastructure of the central digital studio is EXCLUSIVELY available for projects by students of the University of Applied Arts Vienna.

– Photography
Realising photographic projects—the equipment is available for various usage scenarios: documentation of works for portfolios, presentations, object and product photography, fashion shootings, art reproductions, portrait shootings, model photography, etc.

– Digital printing
Light-fast pigment print on role in 110 and 160 cm; on leave ware in A3+ to A2. It is possible to print different papers and media; media patterns are available and can be chosen from in advance or at the time of printing.

– Scanning
of non-transparent templates of all kinds (e.g. photos, texts, hand drawings) up to an A3 format. For transparent templates (diapositives and negatives of small formats up to 4x5 inches), high-quality single scans can be produced. The following image editing including colour corrections, dust removal and retouching is fairly time consuming.

– Image editing
Professional support with image editing in Photoshop (masking and cropping, composing, colour-contrast corrections, preparation for printing).
 

Procedure:

Please provide a detailed project description in advance:
Studio usage needs: printing, photography, scanning, image editing?
Amount of work: How many copies will be printed? What size? What will be shooted? Which material? Is hair and makeup required?

Please note:
Average waiting time for an appointment is 1-2 weeks. Timely planning is part of a good cooperation and the basis for further coordination and subsequent work! For complex projects or vague project plans, an appointment to discuss options can be useful.

In case an appointment cannot be kept, please cancel on time. We cannot guarantee support in case you do not show up without prior notification or come in too late without calling us. If you do not show up one hour after the set appointment at the latest and have not called or notified us via e-mail, the appointment will automatically be cancelled by us. Appointments are exclusively given or rescheduled by us and cannot be switched between students on their own.

This way we can guarantee a good working climate and professional student support.

Costs:
Material used, such as paper backgrounds in the studio;
pigment prints at the cost price of the material (fine art papers and pigment inks)
For details, please contact us.

(APL)

Working group
Nikolaus Gansterer, Mariella Greil, Peter Kozek, Martin Kusch, Marie-Claude Poulin, Jasmin Schaitl, Lucie Strecker

Performative practices and notions of performativity are recognized as full-fledged aspects of contemporary art and design. It is in this perspective that key-actors of the University of Applied Arts Vienna are launching the Angewandte Performance Laboratory (APL). The APL is a transversal artistic research and education platform that focusses on the relationship between the body, perception, and the arts and society in a post-digital context. Its purpose is to serve as an incubator to promote performance as an artistic medium and as a field of research.
 
By combining in-house and international expertise, the APL offers body training practices; digital performance workshops; conferences, symposia, and publications; master classes and presentations by guest artists; project development; and public presentations.
 
The APL supports the diversity of distinctive approaches while facilitating their convergence through interdepartmental collaboration in:
 

• Socio-cultural, political, and site-specific interventions;
• Somatic practices, improvisation, and notation strategies;
• Hybridization and performativity of media and technologies;
• Agency of the living and non-living;
• Historical and investigative dimensions of performance.

APL_hotline2021_long from APL - Angewandte Performance Lab on Vimeo.

(APL)

Working group
Daniel Aschwanden, Nikolaus Gansterer, Mariella Greil, Peter Kozek, Martin Kusch, Marie-Claude Poulin, Barbis Ruder, Jasmin Schaitl, Lucie Strecker

Performative practices and notions of performativity are recognized as full-fledged aspects of contemporary art and design. It is in this perspective that key-actors of the University of Applied Arts Vienna are launching the Angewandte Performance Laboratory (APL). The APL is a transversal artistic research and education platform that focusses on the relationship between the body, perception, and the arts and society in a post-digital context. Its purpose is to serve as an incubator to promote performance as an artistic medium and as a field of research.
 
By combining in-house and international expertise, the APL offers body training practices; digital performance workshops; conferences, symposia, and publications; master classes and presentations by guest artists; project development; and public presentations.
 
The APL supports the diversity of distinctive approaches while facilitating their convergence through interdepartmental collaboration in:
 

• Socio-cultural, political, and site-specific interventions;
• Somatic practices, improvisation, and notation strategies;
• Hybridization and performativity of media and technologies;
• Agency of the living and non-living;
• Historical and investigative dimensions of performance.

The program is taught in English. Upon entry, students from the Angewandte have to provide evidence of English language proficiency at level C1 of the Common European Framework of Reference for Languages, CEFR.

For more information on the double degree program "Global Challenges and Sustainable Developments“ follow this link.

The study aims at graduates of conservation-restoration study programmes (BA 7 Semesters, MA, Mag.art., Dipl.-Rest.) who intend to develop and refine their competences by gaining hands-on experience in international conservation project work, in project and site management, and in the preservation of cultural as well as world heritage.

More information on the programme here.

ADMISSION REQUIREMENTS

Admission to the programme is open to students holding a 7 semesters BA or a diploma or an equivalent degree (MA, Dipl.-Rest) in conservation-restoration and is subject to the general admission requirements of the University of Applied Arts Vienna. English proficiency (minimum level B2, CEFR) is required as the study programme is taught in English.

The admission procedure consists of two phases:

Phase 1: Written Application

Applicants submit:

• Curriculum Vitae / CV (in English), including a list of publications if available
• Portfolio (in English) of recent works in conservation (up to 15 work samples of practical conservation, including 1 complete documentation of a conservation project)
• Motivation Letter (in English), in which applicants outline their professional experience in conservation-restoration, preservation and protection of cultural heritage, motivation and expectations for applying for the programme
• Documents (either in German or English): copy of valid passport, copies of education certificates or degrees and evidence of English language proficiency

Online submission of the application files as two PDF-documents via https://application.uni-ak.ac.at/
Please upload the files as follows:
PDF 1    motivation letter + portfolio (max. 50 MB)
PDF 2    CV + documents (max. 30 MB)

Phase 2: Personal Interview

Pre-selected applicants are invited to an interview held in English.

Admissions will be announced after the interview round.
Entrance Exam  

Admission

Application: Online submission during the submission period from 1 September 2023, 12 pm (noon, CET) – 15 September 2023, 12 pm (noon, CET)
Announcement of the results: 6 October 2023
Interviews: October 2nd and 3rd, 2023
Start of studies: March 1, 2024 (summer semester 2024)

Please contact the representatives of the programme for further information (chcm@uni-ak.ac.at)

The diploma programme of Conservation and Restoration prepares students for an academic conservator’s field of activity. The five-year programme offers four specialist areas: paintings, textile, object and stone.

More information on the programme here.

• passport photo
• work utensils:  paper A2 (drawing cardboard), drawing pad, pensils (from hard to soft), sharpener, eraser, vessel for water and colour mixing, brush, e.g. fine round brushes (0-4), flat brushes (6-14), watercolours, writing devices, scissor, glue, two triangles.

Operating across the Institute of Arts and Society, the newly developed department of Artistic  Strategies offers teaching of theory and practice, situating at its core questions of artistic methods in relation to social dynamics and global challenges.
 
The purpose of the teaching is not to teach a comprehensive and final definition of Artistic Strategies, but rather to focus on artists’ work and methods in order to investigate how artists  define innovative approaches to respond to and reflect on the complex contexts in which artworks are produced and shown.
 
Rather than a programmatic conception of art and its making, courses and seminars invite the  students to investigate the dynamics at stake in the development, the production, and the implementation of artistic strategies: artistic eco-systems, historical, cultural, intellectual, social  and political contexts.  

Such investigations rely on an interdisciplinary and transversal approach articulating a wide range of art practices, media, and fields of knowledge. The teaching of Artistic Strategies focuses on how artists with their work and methods provide innovative tools to envision potential new forms of social relations and communities, subjectivities, knowledge production  and dissemination, and new forms of perceptions and comprehension of the challenges of our time.  

Labs of Artistic Strategies and workshops welcome students from all departments to  develop a project from the first stage to completion. The purpose of the course of those  labs is to allow students to develop their own artistic strategies based on the specifics of their projects rather than on a doctrine or formula. Collegiality and interdisciplinarity are key to the labs. The students develop their individual projects in dialogue with a group, allowing them to collectively contribute to each other's projects.

Exploring the challenges of our time and investigating how artists develop strategies to reflect them, involves articulating the global and the local, opening the doors of the university to other contexts. This articulation is developed via a strong commitment to  international collaborations, engaging with artists, cultural practitioners and educators through workshops, site visits, symposiums, exhibitions, and publications. 

For the next two years, the department aims to explore questions of representation and self representation of excluded groups and interrelations of artistic practices and strategies of  visibility in public spaces (public spaces is to be understood from a wide perspective, from the physical public space to public debate).
This exploration includes invitations extended to guests to interact with the students, and to  contribute to workshops and public programs such as lectures, performances, and panels, among other forms of implementations and collaborations. 

The Latin prefix trans means over, across, beyond, to the other side; it suggests movement. Yet, what underlies this prefix and its idea of transcending are settings. These operate with demarcations, attributions, enclosures, and comparisons. In this sense, the Department of Transcultural Studies, newly established in 2020, stands first and foremost for the critical examination of these settings and the procedures that go along with them. The department looks into territorial, geopolitical, social, epistemological, legal, disciplinary, and institutional orders that are reflected in conventions, discourses, social and political constellations, and practices in order to then deal with the processes that arise when orders come together: crossings, transgressions, infiltrations, appropriations, conflicts, frictions, transformations.

From an academic point of view, the examination of transcultural processes requires awareness of the connections between research practice and research content. This results in a necessary multiplication and opening of knowledge and learning cultures, always aware that universities are not a power-free space. The Department of Transcultural Studies takes a look at structures and asks: How can knowledge be decentralised? How can this be translated into action – including that of research and teaching? How do we pose our questions and which ones? And last but not least: how to imagine otherwise?

• Fostering societal awareness for sustainable development
• Enabling possibilities for action through the participation of civil society representatives within projects
• Supporting inter- and transdisciplinary collaborations between civil society, science and arts
• Developing impact criteria for participatory scientific and artistic research
• Increasing democracy through offering possibilities for participation while considering diversity within society

Angewandte presents new MA-Programme "Experimental Game Cultures"

Press-Statement  about the new programme >>

 

In founding the Experimental Game Cultures department, the University of Applied Arts Vienna takes up the challenge to shape-shift societies through play practices and cultures as key to sustainable world approaches. The English language master’s programm experimental game cultures started in the winter semester 2021/22 at the Institute for Art and Society.

The newly established master program Experimental Game Cultures puts a focus on emerging forms of hybrid play. The study program aims at a critical reflection of the social impact of games while simultaneously applying it to the prototypical development of innovative game concepts and approaches. The central aspect of the study program is therefore the interweaving of the development of innovative game concepts with a critical examination of games and play as cooperative and non-incremental method of insight and change of coagulations  in their various historical, societal and social contexts. Artistic research areas of the program include the use of games and play as an instrument for a better understanding of social, economic and political contexts and for the democratic shaping of their future.
 
The head of the department Margarete Jahrmann states: “For me, artistic play is the experimental testing and subjective experience of alternative possibilities of the world and agency. Play as a participatory process can show us ways to positive change, new forms of future society, politics, and empathic coexistence. Through the conscious breaking of rules, the transformation of rule systems, the acceptance of ambiguity as a quality in play, a new understanding for the global challenges of our time can emerge. Our way there is the game!"

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According to the focus fields of the program, applicants are also invited to develop/describe a project for on of the following topics:

• political games
• games and nature
• low resource games
• experimental ludic interfaces
• role play/real world games
• dark patterns of game design
• physical game mechanics 
• non-human play
• hybrid games

Written applications can be submitted in the period until January 15th-29th 2025, 1 pm (noon, CET) via https://application.uni-ak.ac.at.

 

In establishing the programme Expanded Museum Studies, the University of Applied Arts is instituting a field of study and research that aims to examine, expand and redefine the notion of museum. A fundamental aspect of the programme is its emphasis on the interdisciplinary and cross-disciplinary practical intertwining of various approaches adopted in the areas of museology, art and cultural studies, conservation, and art-research methodology.

Head: Univ.-Lekt. Mag.art. Lisa Rastl-Dorner and Univ.-Lekt. Mag. art. Claudia Rohrauer

The new Analogue Photography Workshop offers practical craftsmanship skills for photographic and post-photographic techniques that enable an interdisciplinary approach to photography. The department’s courses are aimed at students of all fields of study at the University of Applied Arts Vienna – as a complementary set of technical skills within the framework of their study courses, a form of media expression, and as an experimental lab aimed at further enhancing their craftsmanship.

Klasse für Alle is a program of continuing education, created by the University of applied Arts Vienna to opening up their institutes and departments towards all those who are interested in discussing, reflecting upon, and redesigning of our society. The urgency of current existential dangers requires collective action and dialogue. We invite people of all ages, cultures and backgrounds, from all professional fields, with or without previous education, and with a diverse range of skills and interests, to work with us on building a present and future worth living. In Klasse für Alle, we will learn from and with each other, and with as little hierarchy as possible. Artists and other specialists (from both within and outside the university) guide and accompany this learning. Mutual appreciation and respect for different opinions forms the basis for this cooperation.


Klasse für Alle is part of the Vienna Klima Biennale's Solutions & Strategies series this summer semester with two groups (compost group and common ground), together with other classes from the University of Applied Arts and the Academy of Fine Arts. The projects began as spatial installations at the festival site at Nordwestbahnhof and will be continued in a participatory manner in many workshops during the Biennale period until July 14. The groups are made up of long-standing members of the Klasse für Alle, regular students from other Angewandte classes and temporary participants.

Festival site of Klima Biennale
Nordwestbahnstraße 16
1220 Vienna

garden group is a cooperation partner of Klima Biennale and works in the studio at Heiligenkreuzerhof, in Naschgarten at Zukunftshof (1100 Vienna) and in the Angewandte courtyard at Oskar Kokoschka Platz.

For updates on workshops, guided tours and other events, see the Klasse für Alle website and Instagram @klassefueralle
 
compost group: compost care

with: Vik Bayer, Camille Belmin, Yeonwoo Chang, Paul Ebhart, Kristina Feldhammer, Victoria Ferreri, Joanna Gruntkowska, Michael Haag, Pauline Hosse-Hartmann, Ivie Isibor, Karin Lang, Aki Lee, Andrea Lumplecker, Gundi Mayerhofer, Stefan Meyer, Michael Reindel, Dunia Sahir, Małgorzata Suś, Günther Vock

At compost group, we care about compost in an organic as well as in a metaphorical sense. Composting is a ritual of gathering, acknowledging and transforming and becomes a metaphor for all life processes. Through compost practices of moving, writing, deep listening, soundmaking and care, we give meaning to organic residue and unlearn the human-made definition of waste vs. valuable materials. "We are humus, not homo, not anthropos; we are compost, not posthuman." (Donna Haraway)
@compostgroup


common ground

with: John Paul Ayodo, Ingrid Garschall, Marieluisa Lenglachner, Johanna Preissler, Carina Riedl, Paul Röttger, Elisabeth Smejkal, Dominika Svarc, Barbara Ziegelböck

A large carpet is created through the common work of many people. Each person leaves behind a braid that becomes part of the carpet and thus leaves a trace in it. The time spent together opens up space for exchange and conversation. The technique is simple and can be used immediately. Discarded and wastre materials are transformed into an object that offers space for everyone to enter into dialog, listen and learn from each other.
Dates for joint sessions @commonground


garden group: building forest

with Denise Ackerl, Olga Ageeva, Alexander Dobcak, Victoria Ferreri, Gundi Mayrhofer, Stefan Meyer, Nicole Miltner, Carolina Páez Vélez, Sabine Schertler, Alexander Thoma, Ritger Traag, Johannes Wiener

In the Building Forest project, Klasse für Alle garden group initiates forest plantings using the Miyawaki Tiny Forest method in order to contribute to the eco-social transformation of the city. Workshops will be held at various locations to plant trees together, produce and distribute seedbombs and dye them with natural tree dyes. In addition, there will be preparatory meetings for the garden group's main event: Rooted Resilience: A Tree Demonstration on 26.6.24 from 6 pm (location: tba) @kfA_gartenfueralle




CONTACT
Klasse für Alle
Continuing Education für Alle
University of Applied Arts Vienna
Location: Heiligenkreuzerhof
A-1010 Wien, Entrance Schönlaterngasse 5 or Grashofgasse 3
Stairs 8 / Ground level
www.klassefueralle.uni.ak.ac.at
klassefueralle@uni-ak.ac.at
0043 1-71133-3545

TEAM
Head Andrea Lumplecker (andrea.lumplecker@uni-ak.ac.at)
Intern Barbara Ziegelböck
garden group Agent Ritger Traag
common ground group Agent Johanna Preissler
Hobby Lobby Cooperation Victoria Ferreri, Ritger Traag
Program Consulting Yasmina Haddad
Guest Lecturers summer term 2024 Vik Bayer & Michael Reindel, Paul Ebhart, Watering Words (Kristina Feldhammer, Joanna Gruntkowska, Małgorzata Suś), Johannes Wiener

Johannes Kepler University Linz and the University of Applied Arts Vienna are jointly creating the "Art x Science School for Transformation" (pronounced "Art cross Science School for Transformation"). With the new TRANSFORMATION STUDIES Art x Science study programs (BA and PhD), two universities are combining art and science.

Global Transformations
Digitalization, the climate crisis, and social transformations are omnipresent, directly impacting our everyday lives. Effectively responding to these challenges requires new knowledge and competencies to positively affect change.
 
The new Transformation Studies. Art x Science
The new study programs offer a unique blend of artistic and scientific methods and approaches. Their main objective is to situate current transformation dynamics in their historical context and to imagine possible alternatives.

Imagination, visionary thinking, creativity, and passion for experimental approaches
The Art x Science School for Transformation combines the strengths and competencies of both universities. It emphasizes transdisciplinary research and learning and provides conceptual as well as practical tools for engaging with complex problems and multiplicities. This allows for productive synergies between different knowledge cultures that skillfully combine planetary thinking with social intelligence and ethical, reflexive practice.

Shaping transformation
Both study programs (BA and PhD) integrate specialized skills and broad contextual knowledge in art and science, while also fostering social, and communicative skills, collaboration and care.

Studying at two universities
Studying at two universities offers a diverse range of content and specialization options. It allows students to experience two different cities and cultures of learning.  That said, it also requires students to be present at both campuses and to organize their mobility between Linz and Vienna independently.

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The partnership for creative innovation
Angewandte and JKU partnered for creative innovation. This resulted in a joint manifesto under the motto "Innovation through Universitas".
>> Manifesto

 

 

The fulldomeXR lab is an interdisciplinary platform for new creative processes for practice-based research and teaching in the field of immersive media. This includes digital computer-generated immersion, mixed reality environments, the exploration of digital hybridisation processes and the convergence of media-based and performative practices.

Immersive technologies create audiovisual spatial experiences in which the boundaries between the physical and virtual worlds dissolve, giving users a sense of presence and interaction. The use of these technologies plays an increasingly important role in the future development of our society. Consequently, innovative experimental projects are realised in the fulldomeXR lab in a transversal exchange between researchers, teachers and students. The aim is to develop forms of artistic expression that critically examine the future impact and effects of immersive media and to conduct investigations in close relation to contemporary art and design practices and digital technologies.
    
Fields of work:

- Multi-layered narrative visual and audio concepts.

- Prototypes in XR, interactive art, AI, games and networks.

- Interactive, 360˚ virtual walk-through databases.

- Perceptual research for areas of physical experience

- Role of AI in the creation of dynamic content

You are interested in studying at the Angewandte?

Artistic disciplines complemented by a large number of scientific subjects - the range of study programmes offered at the Angewandte is manifold. This contributes to the special, international atmosphere at the University of Applied Arts Vienna.

Take your time browsing our study programmes. Here you will find information about admission requirements, types of studies and teaching languages. We recommend taking a look at the relevant curriculum as well.

HEAD: Harald Gründl

As a platform open to all students of the Institute of Design, the lab offers the opportunity to experimentally weave design theory into artistic practice from WS 2024. Based on the individual artistic semester projects of students from different fields of study, the lab offers the opportunity to adopt radical, transformative new perspectives and to contrast and expand individual design practice with the principles of regenerative design.

Research and teaching: Lia Sauter and Harald Gründl

Students are supervised as part of the design theory course “Design Revolution Now!”

Student assistent: Johanna Schloßer

The workshop for joining technology offers a variety of technologies for welding films and coated textiles focusing on the production of inflatable objects.