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Studio Jacob

@studio_jacob_ioa

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| University of Applied arts Vienna
| studio.3 @ioa.angewandte
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It's the last week of The Positive Necessities of Life at William Morris’s Red House @redhousent The exhibition takes its title from William Morris’s 1880 lecture The Beauty of Life, known better for his advice: “Have nothing in your houses that you do not know to be useful, or believe to be beautiful.” Morris connected the things of everyday life to wider ideas about society. How they were made, what they were made from and how they were used all mattered to him, as did references to mediaeval craft, myth and literature. He believed in art for all, and understood the home as an important social, cultural and even political space. The Positive Necessities of Life explores this relationship between lives, things and meaning; between the personal and the political. The exhibition features objects contributed by architects and designers, critics and curators, filmmakers and politicians alongside people from Bexleyheath and Erith. Each has chosen an object that they feel - on their own terms - to be useful, beautiful, or otherwise significant. Contributors include: Glenn Adamson, Stephen Bates, Anthony Burrill, Chila Burman, Aric Chen, Sam Chermayeff, David Chipperfield, Brendan Cormier, Jeremy Corbyn, Ben Evans, Formafantasma, Adam Nathaniel Furman, Takeshi Hayatsu, Edwin Heathcote, Patty Hopkins, Margaret Howell, Catherine Ince, Anab Jain, Menesha Kellay, Crispin Kelly, Ken Loach, Stephanie Macdonald and Tom Emerson, Michael Marriott, Jasper Morrison, Alice Rawsthorn, Resolve Collective, Zandra Rhodes, Sonia Solicari, Deyan Sudjic, Henry Tadros, Faye Toogood, Sumayya Vally, Richard Wentworth, Bethan Laura Wood, Ellis Woodman, Olly Wainwright Final visits: Thursday 29 and Friday 30 October. Book a guided house tour through the National Trust. Curated by Studio Jacob at the Institute of Architecture, the Angewandte, Vienna @studio_jacob_ioa @ioa.angewandte @dieangewandte. The tablecloth is designed and fabricated by Marlene Ortner, Zoe Oschwald and Xaver Roos, reworking Morris’s Trellis design into the grid that brings the objects together. Archive photographs: Ed Reeve. by @studio_jacob_ioa
The Positive Necessities of Life - now open at William Morris’ Red House @redhousent and through to the end of October. Booking through the National Trust Red House. The exhibition takes its title from William Morris’s 1880 lecture The Beauty of Life, known better for his advice: “Have nothing in your houses that you do not know to be useful, or believe to be beautiful. But usefulness and beauty are deeply personal, shaped by our lives, backgrounds and dreams. Each object shown here was nominated by a different person: useful, beautiful, or significant on their own terms. Morris connected the things of everyday life to wider ideas about society. How they were made, what they were made from and how they were used all mattered to him, as did references to mediaeval craft, myth and literature. He believed in art for all, and understood the home as an important social, cultural and even political space. The Positive Necessities of Life explores this relationship between lives, things and meaning. Between the personal and the political. Contributors include architects and designers, critics, curators, manufacturers, filmmakers and politicians, alongside people from Bexleyheath and Erith Glenn Adamson, Stephen Bates, Anthony Burrill, Chila Burman, Aric Chen, Sam Chermayeff, David Chipperfield, Brendan Cormier, Jeremy Corbyn, Ben Evans, Formafantasma, Adam Nathaniel Furman, Takeshi Hayatsu, Edwin Heathcote, Patty Hopkins, Margaret Howell, Catherine Ince, Anab Jain, Menesha Kellay, Crispin Kelly, Ken Loach, Stephanie Macdonald and Tom Emerson, Michael Marriott, Jasper Morrison, Alice Rawsthorn, Resolve Collective, Zandra Rhodes, Sonia Solicari, Deyan Sudjic, Faye Toogood, Sumayya Vally, Richard Wentworth, Bethan Laura Wood, Ellis Woodman, Olly Wainwright and @exchangeerith And features pieces by designers including David Clarke, Daniel Weil, Carol McNicoll, Alan Fletcher, Sori Yanagi, Mo McDermott and many anonymous or forgotten designers and makers … The exhibition has been curated by Studio Jacob at the Institute of Architecture, the Angewandte, Vienna. The tablecloth, designed and fabricated by Marlene Ortner, Zoe Oschwald and Xaver Roos, is based on Trelli by @studio_jacob_ioa
Vienna's often applauded affordability is more complex than the headline of cheap social rents. It is filled with a mix of dense bureaucracy, layered character, and compromise. The typical real estate calculation of price/sqm abstracts space into a universalised order with a quantifiable and tradable unit. But this bypasses the relationship between ‘space’ and ‘life’ which is complex. Living is more than the area of a home. Life continues into the streets, cafes, hospitals, parks, or even the bus. We have represented affordability beyond the ‘sqm’, to show the life within it. We have taken 10 examples of Viennese spaces illustrating 10 urban moments. For each a calculation has been made that relates the average cost per sqm to the user per hour, based on the economically average Viennese citizen. Each example is represented with a drawing scaled relative to this cost-per-square-meter-per-hour offering an alternative comparison of space, life, time and money. Relating space to cost and time shows affordability as a more complex reality. Our alternative affordability formula offers an alternative expression of space, life, time and money. And this reframes wider political questions. A project by Studio Jacob from die Angewandte as a part of 'Captial-A Affordable architecture' at the Tallinn Architecture Bienalle 2026 made through work and conversations by: Anastasiia Sergeeva, Anett Maiste, Desmond Ho Cheung Lee, Eoin Shaw, Fe Storck, Giacomo Pala, Hannah Tomaseth, He Yan, John Clayson, Lucia Flir, Matthew Simpson, Marlene Ortner, Sam Jacob, Sophie Luger, Valeriia Pchelina, Vit Kucerovsky, Xaver Roos, Zoe Oschwald by @studio_jacob_ioa
THE COSMIC BURGER Big Mac as a Cosmos The Cosmic Burger Tower is a self-contained architectural cosmos inspired by the bun-shaped gasometers and the layered structure of a Big Mac. Each ingredient becomes an architectural layer, translating the logic of the burger into spatial, programmatic and structural systems. From agriculture and processing to infrastructure and housing, the tower brings the entire production of the burger into a single vertical ecosystem. Xaver Roos @archisohn Nave Knafo @mitsu_bishi He Yan @delorean049 @studio_jacob_ioa WS25 by @studio_jacob_ioa
It's the last weekend to see the Pasticcio at the Royal Academy Summer Show, made by @studio_jacob_ioa students at the Institute of Architecture, Angewandte, Vienna. Congratulations Allen Bell, John Clayson, Philip Emrich, Miku Kawai, Mintong Lu, Joel Nikles, Jonas Ramoser, Xaver Roos, Eda Sefa, Philipp Frei, and thank you Afshin Koupaei for the assistance! @ioa.angewandte @dieangewandte by @studio_jacob_ioa
Beating the Bounds. How do we legally mark the edges of space? Thesis project exploring architecture AS policy, form as regulation. Everyday ceremonies on the shared boundaries of territory. by @studio_jacob_ioa
Final Projects · Summer Semester 2026  Institute of Architecture (@ioa.angewandte) Studio 3 (@studio_jacob_ioa) All photos: © die Angewandte, 2026, photos: Lea Sonderegger, CC-BY-NC-ND-4.0 
— Mihaela Carpov (@mihaela_carpov): Urban Fantasms: from painting to object Within today’s abundance of images, architecture is increasingly perceived and produced through representation. Cities are seen, remembered, copied, and desired through representations long before they are entered in reality. Vienna is no exception. Its image has been painted again and again: under siege, in celebration, as skyline, as ruin, as stage, as everyday scene. This project enters those paintings as architectural territory. From them, it extracts ambiguous urban fragments caught between monument, infrastructure, ornament, and fiction. Mihaela Carpov (@mihaela_carpov): Urban Fantasms: from painting to object John Franz Clayson (@john.clayson_): Beating the Bounds Beating the Bounds explores architecture as policy: a study of the political, legal, and spatial ambiguity of urban boundaries, developed through the design of a housing, communal, and public-space ditch along London’s Boundary Road, where Westminster meets Camden. Differing planning cultures are visible on either side of the borough line, questioning both the authority and social parity of the drawn boundary. John Franz Clayson (@john.clayson_): Beating the Bounds Lucia Flir: Impasse
 Set within a historically layered block in Vienna’s first district, the project removes and repurposes parts of the existing fabric to open up hidden courtyards, establish new public passages and transform private interiors into collective space. Inspired by Vienna’s historic „Durchgangshäuser” and the social ambitions of Red Vienna, the proposal questions ownership, heritage and access within the city. Lucia Flir: Impasse Erfan Khosravi (@virtualerfan): Ingenious 02 This project begins with a comparative investigation of the shopping mall and the street market in Vienna, examining how each typology constructs interiority in relation to the city. While the mall produces interiority through enclosure and separation, the street market constru by @studio_jacob_ioa
A selection of @studio_jacob_ioa projects from the last year on show at the Angewandte Festival. Cosmic Towers and Alterations to Red House. Collectivity and community across scale, time and place. Congratulations to all our students for your wonderful engagement, imagination and application. @studio_jacob_ioa @ioa.angewandte @dieangewandte by @studio_jacob_ioa
SS2026 Alterations to Red House House is a Garden, Garden is a House Inspired by Morris’s England-as-garden and the Picturesque tradition, Red House dissolves into garden rooms and follies — house becomes garden, garden becomes house. Reusing its own vernacular, it dismantles Victorian hierarchies of servant and served into open, unfinished forms — ruins, an image of past and future held together in the present. A community centre gathers people around fireplaces freed from walls, making the house a shared commons. Reassembled volumes spill into kitchen, residences, conversation pits, workshops, forming a threshold between culture and nature. A project by: Valeriia Pchelina @lerapchelina Nina Lvova @oh_hai_doggy @ioa.angewandte #StudioJacob by @studio_jacob_ioa
Towering Pasticcios @studio_jacob_ioa by @studio_jacob_ioa
The Welcome Building at the @scienceinnovationpark Showing students from @studio_jacob_ioa the recently completed @samjacobstudio project for the Science Museum Group. Thank you @mwrmoore1975 ! by @studio_jacob_ioa
Alterations to Red House Or How We Live and How We Might Live This semester @studio_jacob_ioa will be proposing contemporary extensions to Red House (1859/60), designed by William Morris and Phillip Webb. Red House was built as a family home, as a manifesto and as a nexus for Morris’ cultural scene. It was designed collaboratively and decorated by friends and family. Red House was a place to live, a place to work, a place to come together. Imagined as the centre of a group of designers, architects, painters and writers whose ambition was nothing less than to “transform the world through beauty”. A group who, according to Pevsner, 'laid the foundation of the modern style’. From Red House to Bauhaus (and perhaps also to our house). Hermann Muthesius described Red House as "the first private house of the new artistic culture, the first house to be conceived as a unified whole inside and out, the very first example in the history of the modern house”. And we might also see it as an attempt to catalyse Morris’ socialist politics, his vision of collective society, his opposition to industrialisation, the role of art and environmentalism. Morris and Webb planned an addition to the house - a new wing that would allow others to co-habit but this never transpired. Issues of love, money and health intervening (as they often do). Our project will be to propose a new contemporary addition. To help us we will, as Morris put it, consider ‘How we live and how we might live’. What are the possibilities of living, working, sharing now? And what might that mean in the organization and arrangement of domesticity?   We will look at other moments of creative invention of domestic space. Informal examples like David Bowie in Beckenham, Derek Jarman in his greenhouse bedroom, Billy Name living in the bathroom of Warhol’s Factory. Architecturally formalised examples from the Narkomfin to the Schindler House.  We will be reading News from Nowhere, Morris’ utopian novel set in a post-revolutionary future, and using it to help inform proposals that imagine how we might live now. by @studio_jacob_ioa

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