As part of the project Biennale Pavillon Venice, two scans of the Austrian Biennale Pavilion in Venice were created. The first scan consists of the spatial and photographic capturing of the exhibition “Agency for Better Living” exhibited as part of the architectural Biennale 2025 “Intelligens. Natural. Artificial. Collective” curated overall by Carlo Ratti and his team, and in specific for the Austrian Pavilion by Sabine Pollak, Michael Obrist, Lorenzo Romito.

The exhibition shows a dialectic comparison between the genealogy, history and contemporary explorations of opportunities that lead to a collective improvements of egalitarian domestic conditions. The exhibition splits the pavilion in two parts. One part closely examining the early beginnings of social welfare and initiatives set in place by “red” Vienna for affordable and stately regulated housing projects. While the other part shows case examples in Rome often accompanied by forms of activism and protest. The courtyard becomes a transitional zone between the two related but also separate exhibitions.

The scan consists of 169 scan points evenly distributed throughout all spaces resulting in a fully experientable virtual walkthrough. The additional scan data which accompanies the scans will be available on demand to scholars as point cloud data combined with hemispherical high resolution images.

The second scan shows the pavilion in a transitional, state between the past architectural Biennale and the upcoming Art Biennale in 2026. This state is the original state of the pavilion without any formerly inserted separation, installations or alterations. The formerly separated space of the architectural Biennale go reunited. This scan shall serve for future ambitions and curatorial planning work as aside from the possibility of the virtual tour data will be extracted depicting a high resolution lidar scan of the pavilion in its current state.

The Weibel Online project brings together diverse holdings related to Peter Weibel (1944–2023). It aims to initiate a networked presentation and scholarly examination of his artistic and theoretical work, as well as his lasting influence on colleagues, artists, collaborators, and students—particularly in the context of his work at the University of Applied Arts Vienna. To this end, Weibel Online consolidates materials from the preliminary estate, which forms part of the university’s own art collection and archive, together with holdings from the Weibel Institute for Digital Cultures.

These are complemented by additional digitized materials related to Peter Weibel, contributed in cooperation with the Center for Art and Media Karlsruhe (ZKM). The combined materials include, among other things, digitized artworks and exhibitions, such as the exhibition Thinking Through Weibel. Beginnings, Diversions, Everywheres, which took place at the University of Applied Arts Vienna in 2025/2026, juxtaposed Weibel’s work with other artistic positions. In addition, digitized materials documenting the activities of the Weibel Institute for Digital Cultures are integrated, making thematic connections and research priorities visible and archiving former web presences. Further objects from the ZKM collections are also included, covering a broad spectrum ranging from textual materials to additional documentary and media formats.

Margarete Schütte-Lihotzky (1897–2000) was a pioneering architect. Through international commissions and extensive travel, she developed expertise in social architecture. She is renowned for her designs of settler huts, small-scale housing, kindergarten buildings with functional furniture, and especially the so-called “Frankfurt Kitchen,” the prototype of the modern fitted kitchen. The foundation of her professional career was her education at the School of Arts and Crafts, where she focused on architecture under Oskar Strnad and Heinrich Tessenow. Equally noteworthy is her lifelong political commitment to women’s rights and her resistance to the Nazi regime.

It was a major concern of Margarete Schütte-Lihotzky to make her ideas, actions, and projects comprehensible within the framework of scholarship and research. For this reason, she bequeathed her extensive professional estate to her alma mater—today the University of Applied Arts Vienna—where it is cared for by the Art Collection and Archive.