Practice, feedback, knowledge transfer. The journey of a curriculum

Building design
Daniel Stockhammer heads the "Bauerbe & Upcycling" specialist group at the University of Liechtenstein. Photo: Ethan Oelman

Daniel Stockhammer heads the "Bauerbe & Upcycling" specialist group at the University of Liechtenstein. Photo: Ethan Oelman

“Radically sustainable!” The Liechtenstein School of Architecture has repositioned itself and aligned its courses with the principles of sustainability. In addition to upcycling, circular construction and life cycle analysis, ethics are now also included – after all, the lecturers are responsible for the students. Daniel Stockhammer answered our questions.

Baumeister: Please introduce yourself briefly.

LIECHTENSTEIN SCHOOL OF ARCHITECTURE: We are the team of the Liechtenstein School of Architecture (LSA) at the University of Liechtenstein in Vaduz. We are committed to teaching and researching design and construction with social, ecological, economic and cultural responsibility. In view of social change and the issues of responsible energy, land and material consumption, we have realigned our degree programs this year and embarked on a radical sustainability course. In research and teaching, we address the most pressing issues and challenges facing architecture and spatial development: from the climate crisis, resource scarcity and urbanization processes to the development of sustainable building materials such as clay or innovative wood applications. All our degree programs are accredited by the Royal Institute of British Architects (RIBA). By collaborating with international partners at the interface between science and practice, we are the leading research and competence center for sustainable architecture and spatial development for Liechtenstein, the Alpine Rhine Valley and the German-speaking four-country region. We see ourselves as an open-minded think tank for critical and creative discussion and action. In doing so, we link global questions and answers with regional challenges.

B : What are you working on at the LSA?

L S A : Together with our students, we want to find out how the built environment is created, why it is designed in this way and how it should be designed in the future. We focus on interdisciplinarity and internationality to enable comparisons with other building cultures, disciplines and methods.

“We equip architects with the skills to meet global and local challenges with innovative and robust solutions.”

B : How do you approach the task practically?

LSA: In three ways:
1. in order to tackle current research topics more effectively and to better integrate young researchers thematically, we have pooled our expertise in interdisciplinary specialist groups (units). This allows us to respond quickly and flexibly to social needs. In the “Urbanism, Architecture & Society” unit, we focus on the connections between people and space and how this knowledge provides tools for tackling urgent social challenges. Our “Urbanism & Spatial Development” unit investigates how low-emission, climate change-adapted, biodiverse and integrative urban landscapes and resilient settlement structures can be created. With the Sustainable Building Unit, we are pioneering a sustainable future by using advanced green technologies and holistic approaches and harmonizing architectural practices with the planetary boundaries of the earth to improve global and local quality of life. In the Heritage & Upcycling Unit, we investigate the tangible and intangible resources of the built environment and develop strategies for their conservation, reuse and transition to circular economies, taking into account both historical values and future aspirations. And – last but not least – the “Craft & Structure” unit deals with the relationship between material, construction and structure with regard to sustainably built and tectonically joined architecture.

2. with pro bono projects: In the “Pro Bono” module, we work across disciplines on specific projects to implement the UN Agenda 2030 and the 17 Sustainable Development Goals. Students look for partners from the field with whom they plan and implement projects for the common good – and thus make a contribution to sustainable development in a regional and international context. Awareness of the social, political, ecological, economic and cultural relevance of the projects is particularly important to us. In this way, we impart skills that go beyond the normal scope of architectural education and equip architects with the skills to meet global and local challenges with innovative and robust solutions.

3. with “hands on” on campus: over the past few years, our students have repeatedly engaged with their campus environment and, for example, converted a seminar room themselves for unusual forms of teaching and learning. The model-making workshop and the interior design of the newest university building were also designed and built by students. The “Solar Tree” landmark in front of the Spoerry site, including photovoltaic systems, and the “Alpine Tower” were also designed by students.

B : Are you confronted with prejudices?

L S A : Recently, it is often said that architects and planners are still trained in such a way that they tear down many existing buildings and replace them with unsustainable or overly extravagant new buildings, thereby contributing significantly to the climate, resource and social crisis. However, this impression, at least at our university, has long since ceased to correspond to the reality of research and teaching. We have already consistently geared our degree courses towards ensuring that students first learn to understand existing buildings and their potential and shortcomings. Building on this, we then jointly develop, test and examine holistic designs for sustainable further development.

B: What was an aha effect in your research work?

LSA: The last time we completely overhauled our degree courses was five years ago. At that time, we made the courses very project-centered. Many minor subjects were integrated directly into the design studios. This teaching approach was very popular at the time. But the concept also had its pitfalls. Students were soon asking for more lectures, exams and a more comprehensive and general transfer of knowledge. This surprised us somewhat, but we took the criticism to heart. This fall, we are now launching a completely revised Bachelor’s degree program that meets this and many other requests. In the first four semesters in particular, the course is once again more strongly characterized by basic lectures. The design studios are designed to build on each other, and there are also many new subjects: circular construction, life cycle analysis, upcycling, urban transformation or ethics and environmental theory will also be part of the basic training in future. We continue to view our Master’s degree program as a “laboratory” where students can choose from a wide range of design studios, seminars and individual electives to tailor their studies to their own interests and deepen their knowledge of specific topics. We also attach great importance to them coming into contact with our research groups. The specializations offered correspond thematically to the specialist groups. After completing the Master’s degree, students have the opportunity to complete a PhD course with one of the specialist groups.

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New Online Store for Grave Sites

Building design
The online store “Grabkauf Online,” which offers themed gravesites at the Ohlsdorf Park Cemetery, is the first of its kind in Germany. Photo: Hamburg Cemeteries
The online store “Grabkauf Online,” which offers themed gravesites at the Ohlsdorf Park Cemetery, is the first of its kind in Germany. Photo: Hamburg Cemeteries

Hamburg’s cemeteries have jointly developed an online store for purchasing gravesites. This allows interested individuals to conveniently browse the wide variety of options from the comfort of their own homes on their computers.

The “Grabkauf Online” online store for themed gravesites at the Ohlsdorf Park Cemetery is the first of its kind in Germany. Photo: Hamburg Cemeteries

Especially in these times, when direct contact must be avoided, the importance of online services is increasing significantly—particularly those that eliminate the need for in-person visits. Hamburger Friedhöfe has now developed a shop for purchasing graves online. The shop offers 13 different themed burial plots at Ohlsdorf Cemetery—ranging from the wildflower garden to the Ohlsdorf Forest of Peace to the crypt.

This allows interested individuals to conveniently browse the variety of options from the comfort of their own home on a computer. Photo galleries and videos showcase the beauty of the sites. People can also view the sites and seek advice with family members or friends, even from a distance. This can provide inspiration to many who have previously been reluctant to address the topic.

Of course, it is still possible to visit the facilities at Ohlsdorf Cemetery in person. A digital map is provided for each burial plot, making it easier to locate them within the cemetery. Prices are also listed. The burial plots are offered as part of pre-need planning. This means that anyone who purchases a burial plot pays the price in effect today, regardless of when they use it. Upon purchase, the plot is reserved for an unlimited period. From the time of death, it may then be used for 25 years. However, all options can also be purchased in the event of a specific death.

You can find more information here.

Tokyo, Andaz Hotel

Building design

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In the “Andaz Hotel” on the top floors of the second highest tower in Tokyo, the view is the main attraction. Despite the owners, an American hotel chain, the decor focuses on local color.

The view over Tokyo’s sea of buildings is familiar from the movie “Lost in Translation”. The view is also the main attraction at the Andaz Hotel on the top floors of the city’s second-highest tower. Despite the owners, an American hotel chain, the décor focuses on local color.

The topographically highest point in Tokyo, Atago Mountain, measures exactly 26 meters. In the past, this height was enough to see as far as Tokyo Bay – today, however, high-rise buildings obscure the view from the elevation on which the Atago Shrine has been attracting worshippers since 1603.

One of the newest towers in the city is the “Toranomon Hills Tower” by Nihon Sekkei Architects: 52 storeys high, it stretches into the sky, its floor plan reminiscent of a rhombus with partly rounded and partly chamfered corners. At 235 meters, Tokyo’s highest wedding chapel nestles triangularly under the sloping, triangular roof.

However, the tower cannot lay claim to the superlative “tallest building”, as the “Tokyo Midtown Tower”, which was completed in 2007, towers 13 meters above the Toranomon Hills Tower. However, static or structural problems were not the reason for the unbroken height record: the high-rise is so close to the Imperial Palace that additional storeys would have disturbed the privacy of the imperial family and were not approved.

But even without looking into the royals’ gardens and chambers, the view from the top six floors of the “Andaz Tokyo Toranomon Hills” hotel is hard to beat. New York designer Toni Chi and Tokyo-born interior designer Shinichiro Ogata have therefore focused the hotel rooms, which are at least 50 square meters in size by Japanese standards, entirely on the view: From the bed, from the sofa and from the desk, the view falls down to the city through the completely glazed front.

But it would be a shame not to take a look at the rooms too; the walls are clad in off-white panels covered with traditional shoji paper and set off with dark Hokkaido walnut wood, while sliding wooden walls transform the hallway into a dressing room in an ingenious and space-saving way.

Local materials and quotes from Japanese architecture and art history were also used in the elevators, lobby, spa and restaurant and interpreted in a contemporary way. The boutique hotel brand Andaz, which has opened its 12th hotel worldwide and its first in Japan with the Andaz Tokyo, places great value on authenticity: while Marcel Wanders designed the Andaz Amsterdam, for example, the Andaz Tokyo promises “Japanese experiences” for guests and locals.

The ambitious concept tolerates the inevitable breaks inherent in the term authenticity per se: the so-called Kumiko mural, puzzled together from thousands of wooden pieces, fits just as well into the almost six-metre-high hotel lobby on the 51st floor as electric light into the historic Atago shrine.

Address

Andaz Tokyo
Toranomon Hills 3-20-16-2F Nishi-Azabu Minato-ku
Tokyo 106-0031 Japan
Tel.+81 3 6830 1234, Fax.+81 3 6830 1211
www.andaztokyo.com