Prozesse reflexiven Entwerfens – Entwerfen und Forschen in Architektur und Landschaft
ISBN 978-3-86859-558-1 https://www.jovis.de/de/buecher/product/prozesse-reflexiven-entwerfens.html
ISBN 978-3-86859-558-1
https://www.jovis.de/de/buecher/product/prozesse-reflexiven-entwerfens.html
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11-14 | Umsetzung der Reliefs, CAD Zeichnung | Realisation of the reliefs, CAD draw<strong>in</strong>g<br />
A given set of tools and rout<strong>in</strong>es are associated with the hope that the earlier proven<br />
success of an approach can also be applied to the assignment at hand. Familiar rout<strong>in</strong>es,<br />
such as the creation of analysis sketches and work models, are often used as an<br />
<strong>in</strong>troductory approach to a new task. In later design phases, digital or analog detailed<br />
models enable the exam<strong>in</strong>ation of spatial disposition, material use and connections. When<br />
apply<strong>in</strong>g rout<strong>in</strong>es, however, it is also possible to overlook problems and opportunities.<br />
Abraham Maslow provides a rem<strong>in</strong>der that proven tools are also often used when other<br />
work methods would be more suitable. 16<br />
OPTIONS AND REPERTOIRE Over the course of the design process,<br />
the designer can make use of the aforementioned methods. Depend<strong>in</strong>g on experience,<br />
repertoire and budget, they can be comb<strong>in</strong>ed or used sequentially. At the beg<strong>in</strong>n<strong>in</strong>g of<br />
the exam<strong>in</strong>ation, various approaches are developed and pursued <strong>in</strong> parallel. Horst Rittel<br />
suggests the creation and variation of options. 17 For Rhe<strong>in</strong>berger, the repetition and<br />
modification of rout<strong>in</strong>es is an important method of ga<strong>in</strong><strong>in</strong>g knowledge. 18 Accord<strong>in</strong>g to<br />
Ahrens, the experimenter must attempt to “ma<strong>in</strong>ta<strong>in</strong> a ‘sphere of vagueness’ [...] that<br />
on the one hand prevents pure frenzy and on the other hand does not drift <strong>in</strong>to be<strong>in</strong>g<br />
mach<strong>in</strong>e-like.” 19 For certa<strong>in</strong> periods of time it rema<strong>in</strong>s unclear “which signals should be<br />
strengthened and which should be weakened.” 20<br />
66<br />
The work<strong>in</strong>g method described here is <strong>und</strong>erstood by Rhe<strong>in</strong>berger as ‘research<strong>in</strong>g design’. It<br />
does not dist<strong>in</strong>guish between scientific and artistic practices. “The thoughts of <strong>in</strong>ventors<br />
and scientists are directed, like artists, not towards the knowledge of the exist<strong>in</strong>g, <strong>in</strong>stead<br />
their notions concentrate on future possibilities.” 21 In the experiment, it is possible that<br />
“commonly used tools [...] take on new functions” and that “unanticipated events” occur. 22<br />
Experimental setups therefore allow the creation of knowledge. Depend<strong>in</strong>g on the means<br />
used, <strong>in</strong>volv<strong>in</strong>g teams enables an additional prob<strong>in</strong>g of options or more <strong>in</strong>-depth approaches<br />
to solutions. However, if these co-designers are not attuned to each other or are on<br />
different wavelengths, this process can also be very unproductive and fruitless.