eBook Creating Knowledge EN

content
The Power of Creating Knowledge
A Transformative Design Approach 6
Hille von Seggern, Julia Werner, Lucia Grosse-Bächle
With Brains, Heart and Hands
For a Culture of Creativity in Scientific Theory and Practice 40
Wilhelm Krull
Designing as Working Knowledge 42
Helga Nowotny
Introduction 49
Hille von Seggern, Julia Werner, Lucia Grosse-Bächle
Designing as an Integrative Process of Creating Knowledge 59
Hille von Seggern, Julia Werner
Exploration Creativity, Understanding and idea
Exploration: Creativity, Understanding and Idea 83
Hille von Seggern
What Does Understanding Mean?
The Perspectives of Heidegger and Gadamer 91
Jean Grondin
Artistic Processes of Understanding among Language, Sign and Image
Selected Pictures by Trude Fumo 98
Anne D. Peiter
Creativity in the Balance between Action and Complexity 104
Hans Poser
The Neurobiological Preconditions for the Development of
Curiosity and Creativity 112
Gerald Hüther
The Maiuetics of Knowledge
Body, Sense and Language 119
Gustl Marlock
Creativity and Understanding
Neurobiology, Mimesis and Art 125
Hinderk M. Emrich
Curatorial Acting
Art, Work and Education 134
Beatrice von Bismarck
Projects at STUDIO URBANE LANDSCHAFTEN
Symposium: Research by Design 22 Evolution of a Spatial “Creating Knowledge Process” 25 Water Atlas 27 Elbe
Island Dyke Park 29 The Dyke Hut in Goetjensort 30 Deichpark 2 – Spreehafen 31 Kreetsand – Experiencing the Tidal
Land scape 32 Kirchdorfer Wiesen Resort 32 A Vision for the Wadden Coast Landscape in the Context of Climate Change
33 2Stromland – 2Riverland 34 Rhine Love 35 Expeditions in German Educational Landscapes 36 Lima Beyond the Park 37

Focus Urban Landscapes, Designing and Innovation Strategies
Focus: Urban Landscapes, Designing and Innovation Strategies 151
Hille von Seggern, Julia Werner
Understanding is Essential for Designing 164
Hille von Seggern
Improving the Quality of Fragmented Urban Landscapes –
a Global Challenge! 188
Thomas Sieverts
Productive Open Spaces 195
Undine Giseke
Design Knowledge 202
Martin Prominski
Ideas – How Can They Emerge?
Design Teaching at STUDIO URBANE LANDSCHAFTEN 212
Julia Werner
Design is Experimental Invention 240
Peter Latz
Manifold Horizons 257
Henri Bava
Stossworks: Hybridized, Expansive, Incomplete 265
Chris Reed
We Focus on People 274
Markus Gnüchtel
Multiscale Design
Ontwerpen door des schalen heen 282
Lodewijk van Nieuwenhuijze, Susanne Zeller
Dynamic Media
Water and Vegetation in Process-oriented Design 289
Lucia Grosse-Bächle
Designing through Experiment 302
Daniela Karow-Kluge
The “Park of Least Resistance”
An Inventory 309
Boris Sieverts
Appendix
The Authors 317
The Editors 319
Picture Index 320
Dragnet Investigation Designing Regions while Exploring Them 38 Transformative Narratives as Agents of Change 39
Designs with Experiments 44 Cliches, Prejudices, Stereotypes 57 Body and Space 71 Cult Glasses 79 “The Part and the
Whole“ 84 People Create Space 90 Rediscovering the Douro 157 KAMP-LINTFORT 162 Experiments in Luxemburg 178
The Spatial Vision 179 Urban Surfers 181 New Farmer. Farmland 184 An Image for the Altmark 230 On the Axis 236
Selection, Editing, Comments: Julia Werner, Hille von Seggern

The Power of Creating Knowledge
A Transformative Design Approach
Hille von Seggern, Julia Werner, Lucia Grosse-Bächle
Six years have passed since Creating Knowledge was first published. The integrative approach
to design that we outline in the book is the product of many years’ experience in practice and
research, and of exploratory teaching methods and reflection on design. To mark the occasion
of the book launch, we elected to apply our approach to designing for large-scale areas
in an open experiment among professionals. This was the starting point for an event funded
by the Volkswagen Foundation and conceived and implemented by STUDIO URBANE LAND-
SCHAFTEN as an experimental setting. In July 2008 we presented the book to international
colleagues, invited guests and students as part of a symposium on “Research by Design – the
case of urban landscapes” at the Leibniz University in Hanover.
Imagine some 100 people coming and going between a series of light-filled neutral spaces.
Hanging plants with blue blossoms hang from the ceiling of the main room, which one reaches
through a notional “cinematic sluice gate” comprised of two screens on which the banks of the
Elbe between Hamburg and the North Sea (filmed from the deck of a ship) slide gently by on
each side. Various people stand talking in groups while others sit on a sofa, reading and browsing
through handbooks, project work and research reports. At certain times, most of them
listen attentively to the “discussion carousel”, a panel discussion between international professionals
in which, at intervals, one person leaves the panel and another takes his or her place.
Ever more experts – researchers, practitioners, teachers and students from different disciplines
– take a seat at a long table and start to draw, glue, write or create collages. In the next room,
two people are working on a dance choreography inspired by the Elbe. Others simply watch and
observe. By the end of the day, some 50 pieces of paper are hanging on the wall: a colourful
bouquet of pictorial visions for the landscape of the Elbe, covered with a plethora of interesting
handwritten questions. (p. 22-24)
6
von Seggern I Werner I Grosse-Bächle
Hille I Julia I Lucia
The context for this setting was a one-day symposium that was simultaneously a discussion
forum, experimental concept and workshop. In addition to an exhibition, a library and a perpetually
running film of the River Elbe, the symposium featured a periodically recurring discussion
carousel and a parallel design workshop in the same room. The participants were able to move
around freely between the workshop area, the lecture area, the entrance and the space outside.
The rules were simple: participants could read, listen, take part in discussions and work as and
when they wished.
In this open experiment, the participants and organizers worked together to explore relevant
research questions and development possibilities for a chosen urban landscape. Every region
and every kind of urban landscape was in principle available as a potential subject of planning.
After consideration, STUDIO URBANE LANDSCHAFTEN elected to focus on a section of the
Elbe estuary that borders the federal states of Hamburg, Schleswig-Holstein and Lower Saxony
in which a range of current and complex issues coincide. The region is exposed to an increased
risk of flooding as a result of rising sea levels, heavy rainfall, increasingly intensive shipping
use and the presence of a power station in the flooding zone. The region has contaminated
industrial wasteland that needs transforming and is subject to the competing interests of urban
settlement, recreation and nature protection – all within a section of the lower Elbe in the midst
of a wonderful estuary landscape.

EvOLUTION OF A SPATIAL
“CREATINg kNOWLEDgE PROCESS”
THE PRINCIPLE OF INvENTION AND LANDINg IN THE TIDAL LANDSCAPE OF THE ELBE RIvER ESTUARY
1
2
3
4
5
6
The images illustrate the stages of a Creating Knowledge process:
1) A complex, confusing, multidimensional performative space (Raumgeschehen), whose issues are yet to be revealed and elaborated. 2)
A casual, personal interest in sustainable water projects leads to … 3) a better understanding and a variety of practice-teaching-research
projects. 4) The projects – strategically chosen – “land” in the Elbe River Estuary region and address questions concerning large-scale development
in the area as a whole and in specifi c sub-regions. Landscape is understood as a process that can integrate climate change, flooding
and use of the river areas, simultaneously making wider reference to projects around the world. 5) The process spawns a series of concrete,
practical realisable projects … 6) and simultaneously makes reference to and gives rise to renewed consideration of wider issues such as education,
energy, regional development, and megacity development. (all images: Hille von Seggern)
Concrete projects within the tidal landscape of the Elbe, as well as in other landscapes, can be seen on the following pages..

Dyke Park 2.0
Klütjenfelder Dyke, Spreehafen
[8.2]
Living along the dyke and the Ernst August Canal
Dyke Boulevard Harburger Chaussee
Sheep pasture
Ridge pathway
Dyke bench
Berlin Promenade
Flotsam bank
Willow and reed bed zone; tidal zone
Hinterland Protection Land Foreland
former profile of the dyke
The Dyke Park is flood protection +
+ animals in the city + 2 kilometres of seating
+ water access and ability to experience the tide
+ ecological diversity
+ park infrastructure
Urban planning and open space competition for heightening a dyke; 1st
prize for the Klütjenfelder section of the main dyke; 2013. Team: Sabine Rabe
(SUL), Gerko Schröder (SUL), Hille von Seggern (SUL), Marcella Hartmann,
Julia Schulz, Rouven Wagner and Yellow Z, Berlin. Initiators of competition:
IBA Hamburg GmbH and Landesbetrieb Straßen, Brücken, Gewässer
The opening of the former customs fence by the IBA Hamburg and the
annulation of the free port zone made the Spreehafen harbour generally
accessible, creating an area with great recreational potential for
the Wilhelmsburg district of the city. This potential is best accessed
via the main dyke, which is due to be elevated to meet the new projected
high water levels. This presented an opportunity to initiate
an exemplary collaborative process involving different authorities to
explore the idea of a Dyke Park as part of a competition, and to implement
this in subsequent projects. The heightening of the dyke by
between 80 and 100 cm across a length of 2 kilometres made it possible
to combine flood control measures with recreational uses. An
additional challenge was to achieve this within the same footprint,
because the dyke elevation had to occur on top of the existing dyke.

Rhine Love
Joint development of the Rhine landscape between Bad Bellingen (GER) /
Communauté des Communes Portes des France Rhin Sud (F) and Möhlin/
Schwörstadt (CH)
F
“Old Love”
Seduction Landscape
D
Admiration Landscape
Existing Place of Admiration
The IBA Basel 2020 (International Building Exhibition) aims
to promote the joint development of the tri-national agglomeration
area around Basel and to facilitate a culture of cooperation
across national boundaries between France, Switzerland
and Germany. The River Rhine plays a specific role
as a connecting element. The “Rhine Love” study aims to
place the individual IBA projects in a wider context.
The particular features and idiosyncrasies of the Rhine landscape
are presented in the spatial vision entitled “Rhine
Love”, which characterises the space in four landscape typologies:
Admiration Landscape (steep slopes along the
Rhine), Seduction Landscape (banks of the Rhine), “Old
Love” (former alluvial land), and Closed-off Landscape (isolated
industrial and commercial areas). These describe the
different spatial qualities of the Rhine landscape. For each
of these landscape typologies, new questions were developed
for the future of the region that should help qualify
the IBA projects and generate ideas for new projects.
The design team developed initial ideas for the spatial vision
during a 3-day site visit. The visit began with a joint
initial exploration of the area by car, followed by discussions
and sketches in the evening. Thereafter each member
undertook day-long walks on their own equipped with
specific questions to address to the landscape, convening
in the evening to talk and sketch. To conclude, the group
undertook a river cruise and swam together in the Rhine.
CH
Rhine Love – Spatial Vision
Examples of spatial interventions
= enchanting encounters
10/2012 - 02/2013, Commissioned by: IBA Basel 2020,
Team: Sabine Rabe (SUL), Marcella Hartmann,
Thomas Gräbel (SUL) (all: rabelandschaften); Sigrun
Langner (SUL), Michael Rudolph, Aline Kamke, Sebastian
Pietzsch (all: Station C23), Consultants: Henrik Schultz
(SUL) (Stein+Schultz); Hille von Seggern (SUL) (Alltag-
Forschung-Kunst)
Left:
Admiration – Buvette (little wine bar) in the vineyards
(CH)
Right:
Temporary breach of a closed-off space (CH) –
Stairway over the quay wall
Left:
Seduction – A place to touch the Alt-Rhine (GER)
Right:
New love – Springboard and rain shower at the
Huningue Canal (F)

EXPEDITIONS IN GERMAN EDUCATIONAL
LANDSCAPES
DESIGN RESEARCH WITH ADOLESCENTS
Learning happens all the time and everywhere. This project aimed to find out
what role spatial dimensions play, as part of raumgeschehen, in these processes?
Using design research methods in conjunction with filmmaking, a team of landscape
architects, architects, town planners and documentary filmmakers went
in search of the challenges that teenagers face in their daily lives today. The
study investigated the lifestyles and everyday routine of fourteen-year-olds in
two contrasting regions of Germany: a rural area suffering from decline and a
growing metropolitan region.
Four teenagers from the rural community of Bodenfelde in Lower Saxony and
four teenagers living in Hamburg took on the role of “researchers”. Inventing
an exchange programme for this study, the teenagers visited each other
for four days and filmed the daily routines of the other teenager. After returning
to their hometown, they then developed a mini-documentary with the
help of the filmmakers.
The result is 4×2 cinematic portraits that tell the story of the life and challenges
of teenagers nowadays in cities and in rural areas.
Based on the documentaries and supplemented by interviews, mappings and
other workshop results, the research team described different individual learning
landscapes by translating the empirical material into mappings, images
and narrative descriptions, concluding with a portrayal of rural and urban educational
landscapes.
The team’s conclusions focus on the spatial dimension, describing its potential,
challenges and constraints as well as possible development strategies,
instruments and practices for the future. Building on the gathered stories in
a final think tank, teenagers and experts developed future visions for educational
landscapes.
Team: STUDIO URBANE LANDSCHAFTEN on the road – Thomas Gräbel,
Anke Schmidt, Sabine Rabe, Hille von Seggern in collaboration with: doktales
(Sarah Nüdling, Robert Paschmann) and Lilli Thalgott; Funding: Wüstenrot
Foundation; 2013-2015

24 RAUMBILD
DRAgNET INvESTIgATION
DESIgNINg REgIONS WHILE
ExPLORINg THEMsEttIng und chorEograFIE dEs ExpErImEnts
A STUDIO URBANE LANDSCHAFTEN ExPERIMENT
Das dreitägige Experiment „Rasterfahndung“ lässt sich im
Wesentlichen in vier phasen gliedern: die Einzelerkundungen
in den Quadranten (1), den Weg zur Denkwerkstatt in Günne
(2), den Austausch der Erfahrungsberichte (3) und den Bau des
Raumbilds als Modell (4):
15 people simultaneously undertook 15 explorative tours in 15 grid quadrants of a region
around the Möhnsee Lake in search of local specifi cs and characteristics, places, people
and everyday stories. Together they became part of a large-scale choreography, players in
an experimental search motion. The experiment “Dragnet Investigation” is part of a series
of research projects by the STUDIO URBANE LANDSCHAFTEN that examine new research
methods for large-scale landscapes.
sEttIng und chorEograFIE dEs ExpErImEnts
Das dreitägige Experiment „Rasterfahndung“ lässt sich im
Wesentlichen in vier phasen gliedern: die Einzelerkundungen
in den Quadranten (1), den Weg zur Denkwerkstatt in Günne
(2), den Austausch der Erfahrungsberichte (3) und den Bau des
Raumbilds als Modell (4):
1. Im Raster fahnden: Der Fahndungsraum wurde im vorfeld
des Workshops mit einem Raster aus 15 Quadranten überzogen.
Innerhalb der 15 Felder liegt jeweils der Ausgangspunkt
für die Einzelerkundungen der Gegend durch einen „Fahnder“
bzw. eine „Fahnderin“.
Setting and choreography
of the experiment: the
four phases
2. Unterwegs nach Günne: Gemeinsamer zielort der Erkundungstouren
ist die Denkwerkstatt der Montag Stiftungen in
Günne am Möhnesee; sie muss am Ende des zweiten Tages
von allen erreicht werden. Welche Route die „Mitspieler“ des
Experiments nehmen, welche Stationen sie während ihrer Erkundungen
aufsuchen, welche verkehrsmittel sie nutzen und
mit welchen Gesprächspartnern sie über die Region reden, ist
ihnen freigestellt.
1. Im Raster fahnden: Der Fahndungsraum wurde im vorfeld
des Workshops mit einem Raster aus 15 Quadranten überzogen.
Innerhalb der 15 Felder liegt jeweils der Ausgangspunkt
für die Einzelerkundungen der Gegend durch einen „Fahnder“
bzw. eine „Fahnderin“.
2. Unterwegs nach Günne: Gemeinsamer zielort der Erkundungstouren
ist die Denkwerkstatt der Montag Stiftungen in
Günne am Möhnesee; sie muss am Ende des zweiten Tages
von allen erreicht werden. Welche Route die „Mitspieler“ des
Experiments nehmen, welche Stationen sie während ihrer Erkundungen
aufsuchen, welche verkehrsmittel sie nutzen und
mit welchen Gesprächspartnern sie über die Region reden, ist
ihnen freigestellt.
3. Austausch: Am zielort angekommen werden die Erfahrungen
der Fahnder/innen untereinander ausgetauscht sowie Namen
und Bilder für die Region formuliert.
4. Ein Raumbild 09.03. 2012 entsteht: Gemeinsam entwickelt das STUDIO- 22:00
Team ein dreidimensionales Raumbild des Untersuchungsraums.
Es soll eine alltagsästhetische und potenziell zugeneigte
Sicht auf die Region vermitteln. Anschließend wird über die
Tragfähigkeit des Bildes diskutiert.
10.03. 2012 17:00
09.03. 2012 22:00
10.03. 2012 17:00
10.03. 2012 22:00
11.03. 2012 17:00
Setting und Choreografie des Experiments: die vier Phasen
EINFüHRUNG
7
3. Austausch: Am zielort angekommen werden die Erfahrungen
der Fahnder/innen untereinander ausgetauscht sowie Namen
und Bilder für die Region formuliert.
4. Ein Raumbild entsteht: Gemeinsam entwickelt das STUDIO-
Team ein dreidimensionales Raumbild des Untersuchungsraums.
Es soll eine alltagsästhetische und potenziell zugeneigte
Sicht auf die Region vermitteln. Anschließend wird über die
Tragfähigkeit des Bildes diskutiert.
10.03. 2012 22:00
a
f
k
b
g
l
11.03. 2012 17:00
Setting und Choreografie des Experiments: die vier Phasen
EINFüHRUNG
7
MODELLBILD "FR
– IST-zUSTAND U
Das Modellbild a
farbigem Klebeba
hervor. Wasser is
in der Region.
IMAGES OF THE MODEL “DRESSED LANDSCAPE” – CURRENT CONDITION AND SPACE OF POSSIBILITIES
The image of the model made from gray cardboard, newspaper and coloured sticky tape emphasizes the watercourses. Water is the connecting
element that defi nes the plotline of the region.
Denkwerkstatt der Montag Stiftungen gAG, Studio Urbane Landschaften (Ed.): Rasterfahndung. Regionen im Erkunden entwerfen.
Ein Experiment des STUDIO URBANE LANDSCHAFTEN. Hanover 2012.

STUDIO URBANE LANDSCHAFTEN
54
STUDIO URBANE LANDSCHAFTEN is an interdisciplinary network for teaching, research and practice at the
faculty for architecture and landscape at Leibniz University in Hanover, Germany. There are currently sixteen
members from the areas of landscape architecture, urban planning, architecture, civil engineering, biology,
sociology and water management who are working in research, teaching and office practice (most are active
in several areas). The STUDIO is the joint platform for questions of perception, planning and design of urban
landscapes, ranging from regional strategies to local projects.
In 2003 the STUDIO emerged as a model dedicated to teaching landscape design theoretical and always based
on experience and dialogue. The lack of space for a creative, design-oriented work led to a temporary use of
space for four years “off campus” in a nearly abandoned university building with large rooms, which were well
suited for this experiment. In 2008 the STUDIO returned to the faculty building.
Teams that are assembled according to task and schedules work experimentally, “with their own signatures”
on different focuses. At any rate, there is a conceptual and methodical shared approach: the STUDIO concept.
It is characterized by a comprehension of designing that combines rational, intuitive and experience-orientated
accesses to knowledge in the fields of theory, methodology and implementation. It uses both design and artistic
modes of work. The STUDIO concept is based on a “translation” of a hermeneutic understanding for design
processes and features a focus on creative idea-finding.
The meshing of concept and personnel makes possible a productive exchange among teaching, research and
practice: Research as design, design as research in academic, research, and practical projects as exciting interplay.
Inter- and trans-disciplinary network strategies are the precondition for the design of complex urban
landscapes. Design itself and appropriate communication and working forms become the bridge-building modes
of activity of STUDIO URBANE LANDSCHAFTEN.
The STUDIO at work, in dialogue, in exhibitions or at project presentations …

The STUDIO at work, in dialogue, in
exhibitions or at project presentations …
Members: Dipl.-Ing. Börries v. Detten, Dr.-
Ing. Lucia Grosse-Bächle, Dipl.-Sozialwiss.
Claudia Heinzelmann, Prof. Dr.-Ing. habil. Dr.-
phil. Sabine Kunst, Dipl.-Ing. Sigrun Langner,
Dipl.-Biol. Nikolai Panckow, Prof. Dr. Martin
Prominski, Dipl.-Ing. Sabine Rabe, Dipl.-Ing.
Anke Schmidt, Dr.-Ing. Carsten Scheer, Dipl.-Ing.
Henrik Schultz, Prof. Dr.-Ing. Hille v. Seggern,
Prof. em. Thomas Sieverts, Prof. Antje Stokman,
Dipl.-Ing. Julia Werner, Dipl.-Ing. Susanne Zeller
(May 2008)

Exploration
Creativity,
Understanding
and idea

Exploration:
Creativity, Understanding
and Idea 1
Hille von Seggern
83
If one understands design as the creative capacity of human beings to take an active role in
the evolutionary shaping of the world, then that implies a responsibility to comprehend and
transmit creativity.
As Helga Nowotny says, design is “obliged to the creative act,” 2 because it depends on
the skilful interaction between ratio and intuition and intellect, feeling and body. “At the
moment of the highest creativity, intuition finally merges with comprehension and bears
progress” writes Gerald Traufetter 3 and thereby underscores the extraordinary productivity
of creative thought and action. But what is creativity? How are creativity and understanding
related?
The scientifically based principles are now at hand in the different fields of creativity research
for this equivocal term 4 . For instance, Rainer M. Holm-Hadulla 5 demonstrates the interaction
between talent, motivation, personality and general conditions. He names the characteristics of
creative people: Flexibility, associative thinking, self-confidence, goal orientation, intelligence,
non conformity, transcendence, interest, originality and curiosity, and indicates the significance
for early childhood and suitable living conditions for the development of a creative personality
structure. Furthermore, he names the phases of the creative processes that have been proven,
in part with other terms, in scientific investigations and practical experience: preparation, incubation,
illumination, realization and verification.
In my opinion, this now extensive knowledge can not simply be realized in creativity methods
that are independent of context, be it brainstorming or the headstand method. They are
thoroughly useful but compared with the “world changing bolt of mental lightning of famous
men”, which is frequently the subject of creativity research (and which as a rule is preceded by
extended processes of searching and work), the results are most often modest. In addition
these methods are most often not simply applicable to design processes, because they need a
conscious task and object related transmission and transformation.
If one now more narrowly focuses the question of creativity on the design of landscapes, what
sustains interest above all is the connection between the initial conditions or inventory status,
how the existing conditions are handled and the development of an actual idea. But how one
proceeds from the perception of the inventory to the design idea, is by no means clear.
I would like to bring up two observations, which are repeatedly made in connection with creativity
processes, because I suspect that they are especially revealing for the question of the
connection of inventory and idea:
1. A highly motivated, passionate, constant circling around a question, a feeling of excitement
and the almost “sense of getting lost” precedes the discovery of the idea. Hard work
and many attempts which might lead to a solution, belong to this intensive process. Something
other than pure industriousness, which as is already known does not produce ideas,
is at work here.
2. Nonetheless the appearance of an idea is accordingly described as sudden and unexpected;
it appears as a rule after a kind of (frustrating) emptiness. At the same time there is a certainty:
The idea seems to be self-evident, simple and clear, as if it were always there, and its appearance
is met with great joy.
von Seggern
Hille

People create space
Choreography
Summer semester 2007, Bachelor in the 2 nd semester, 4 th exercise in the
framework of STUDIO-lecture “Open space and designing:” Choreography on
the Küchengartenplatz: A dance through space. “Choreography I: Form as exactly
as possible a diagonal from the checkpoint over the surface with the whole
group; looking in the direction of the theatre…” “Choreography II: Everyone
leaves the position, which had been created in the previous choreography and
the group spreads out over the entire ‘stage’ of the Küchengartenplatz…”
Instructors: Hille von Seggern, Sabine Rabe
Choreo I graphy. Chore, from the Greek,
chora “open place, space, surface, land” 1.
A unified landscape, which is distinguished
from its environs. 2. The line surrounding
the chore, chorea “dance in chorus” and
so on. Choreography 3. Artistic design and
establishment of the steps and movements
of a ballet. (from the DUDEN, the great
foreign word dictionary, Mannheim, 2000)
Choreography I: standing diagonal, running diagonal , Choreography II: Corridor diagonal, the plaza diffuse

The Neurobiological
Preconditions
for the Development
of Curiosity and Creativity
Gerald Hüther
112
Creative people often do not even know exactly how they become inspired and arrive at their
brilliant ideas. Sometimes it seems that their ideas or achievements spring from “gut feelings“
or from “deep down in the heart.“ Strangely enough, we are most creative under conditions,
which according to conventional wisdom are not appropriate for high performance
brain activity: in a dreamy or half asleep state. It seems that creativity is an activity that can
not be attained by a special exertion of the thinking organ, in order to solve a certain problem.
The really creative ideas actually come at the very moment when we are able to use
our brains without pressure and without a targeted exertion. In a certain way, we resemble
the best songbirds, whose singing achievements Konrad Lorenz so fittingly described: “We
know very well that the bird song involves a species preserving performance in the establishment
of territorial boundaries, the attraction of females, the intimidation of intruders and
so on. However, we also know that the bird song reaches its pitch of perfection, and its richest
differentiation, when these functions no longer play a role. A bluethroat, or a blackbird
sings the most artistic, and for our sensibilities, most beautiful and objectively most complexely
constructed songs in those moments of slight arousal when they poetically 'pour
forth'. When the song serves a purpose, when the bird sings in opposition or struts before
a female, then the finer nuances are lost, and all one hears is a monotone repetition of the
loudest stanzas. It almost always amazed me, that the bird achieved its artistic peak performance
in song in exactly the same biological state and mood as the human being, namely
in a kind of psychic equilibrium, with a little distance, as it were, from the seriousness of life,
in a purely playful way.“ 1
If in that sense we now ask ourselves, when were our brains working at their best “in a kind of
psychic equilibrium, with a little distance, as it were, from the seriousness of life, and in a purely
playful way“, then for most people in our efficiency acclimated world of ideas this condition of
highest creativity will be the most memorable, where we had least suspected it: in early childhood.
It is worth the time to pursue the question of why this is so and how it happens, that so
many people lose this capacity sooner or later in the course of their lives.
How the potential for learning and creating is shaped
During childhood people are so curious, capable of enthusiasm, and open for everything
there is to experience in the world in a way that never recurs in later life. At the point of
birth the brain is not yet finished. Only the circuitry and networks in the older regions of
the brain that are absolutely necessary for survival are already fully functional at the time of
birth. They control all those functions which contribute to inner physical order, and also those
reactions which are set in motion, when this inner physical order is disturbed. Also certain
experiences, which have already been made in the womb, as well as inborn reflexes, are
stored in the brain in the form of certain connectivity patterns. Everything else, that means
almost everything that is important in later life, must be learned additionally and stored as
a new experience in the brain. The cerebrum, or more precisely the cerebral cortex, is that
region of the brain where this new knowledge is lodged in the form of certain patterns of
association between the nerve cells. It triples in volume in the first year of life and expands
considerably thereafter, not because more nerve cells are formed there, but because at the
point of birth already existing nerve cells grow out a multitude of processes and connect
Hüther
gerald

fokus
Urban
Landscapes,
Designing and
Innovation
Strategies

Senken werden zu Sümpfen
Kiesteiche werden zu Meeren
Moränen werden zu Gebirgen
Halden werden zu Steppen
Joker
KAMP-LINTFORt.
Landscape Dreams
Concept: Landscape islands as stabilizers. Archetypal landscapes
as “strange attractors” in the landscape, bound in a regional city
road network.
Sebastian Riesop, Eva Schiemann: diploma thesis, 2004;
Counsellors: Hille von Seggern, Norbert Rob Schittek
expanse steppe landscape…

exotischer
Kohlelagerplatz
163
im Blick: Wälder, Felder,
Wiesen und Kühe
Betonmauer
Zweisamkeit auf Europalette
buddhistischer
Blick auf Kamp-Lintfort
Mönchssitz
Einsamkeit
dem Himmel so nah
Gleitschirmflieger
unendliche Weite
schwarze
Rennstreifen
geschütze Mulde
die große Leere
Feuerwehrschlauch
als Kletterhilfe
frei
Wind
Gras
im Blick: qualmende Schornsteine, Fabriktürme
bis Dortmund gucken
Aufwinde
Dunst
schwebender Falke
verstecken im
Schilf
Autobahnverkehr
unten ganz leise
The waste pile Norddeutschland becomes
steppe: Inventory with ideas: View of
Kamp-Lintfort; in the view: Forests, fields,
pastures and cows; endless expanse; the
view includes: billowing smokestacks;
factory towers; the great emptiness; looking
all the way to Dortmund; hovering hawk;
paraglider; so close to the sky (excerpts)
START
Uses of the steppe landscape for flying
kites, getting away from it all or flying model
airplanes: Flexible use, steppe wolves,
endless expanses, steppe grass, lockers,
timberline
flexible Nutzung
flexible Nutzung
Steppenwölfe
Steppenwölfe
unendliche Weiten
unendliche Weiten
Personal equipment can be stored in lockers: kites,
deck chairs, music instruments…
Schließfächer
Schließfächer
Baumgrenze
Baumgrenze
Steppengras
Steppengras

water, but the effort of fetching it from the spring by the road to Cannobio demanded a means
of transport and a lot of time.
Why didn’t locals like my neighbour fetch the water, fill it into bottles (with screw-tops!) and sell it
to us? Would that be worthwhile? Extrapolations from the relief were useful at this point. If everyone
participated, if it was put on offer beyond Durone in Falmenta as well, and if – as one might
suppose – the non-local residents used the water for tea, coffee and even cooking as well – then,
169
“Systematised” Crown Cap Relief 2, Durone, continuing since 1995. How can a district that already has a “Central Park” be
developed? Three variations …
perhaps. The locals would have to appreciate the spring and realize that water from there is more
valuable to outsiders than that out of bottles. That would be difficult, for (chlorinated) water from
the tap – like television, freezers or cars – are only recent acquisitions permitting the locals to join
in a state of urban civilization. Further-reaching water topics such as the purification of sewage, the
handling of seepage, alternative ways to treat drinking water were also discussed (and rejected).
von Seggern
Hille
Translation to the professional sphere – mapping, analogy,
images ,pictures, questions, ideas
Around two years after the start of my ongoing “research report relief”, I was sitting in my
house in Durone once again, preparing a lecture for my application as professor of urban planning
and design. It suddenly became clear to me that the relief and its production process
were suitable as an analogy to the development of urban landscapes. I translated the process
and image of the relief to settlement areas in cities, which can be regarded as a type of urban
landscape, using the same simple rules that I had established to produce the relief: only the
crown caps from my own household, the same ones over the course of several years, rules
for height (length of the nails), materials and an arrangement for “construction” on the board.
The crown caps are interpreted as buildings, with minor additions representing special buildings
(like caps from sparkling wine bottles). The size of the board stood for a “meaningful size
of settlement area”. Specific, simple materials and constructions were “prescribed”. An area
remains recognizable during an “economic intermission” as well; the process-image is “finished”
at every point in time. Minor, occasionally appearing deviations from the basic materials
(red and white instead of blue and white crown caps) make the image livelier without losing the
principles of design. The area can cope with a “retrospective process of concentration”. This
all led to an extremely lively, yet aesthetically pleasing urban landscape. What a good thing that
I still have the lid of the sardine tin, which can pass for a small park. Otherwise, there would
not be enough open space in the area. Smiles among the listeners at my audition lecture. They
enjoyed following the analogy and the subsequent discussion was animated.

the spatial vision
179
Three examples from the work of
STUDIO URBANE LANDSCHAFTEN
1. The region South Luxembourg. Experiments and “spatial vision”. The application of four design
principles in the context of regional planning 44 : aesthetics of communication, affection,
experiments and “spatial vision” as pictorial metaphors
“Being in dialogue” is one quality of the overall development process of regional planning for Luxembourg, where
it has not existed as legally established planning in the past. Ursula Stein refers to this as “governance modus,” by
which “learning and communication situations are designed.” 45
Students 46 (with support) realized four experiments themselves, courageously designing them in Hanover without
having had an opportunity to visit the 200 square kilometres of the South Luxembourg region in advance. The
experiments were used to test whether affection for the large-scale urban landscape could be triggered through
small interventions. There were indeed many declarations of love, questions, and much shaking of the head. Above
all, the different elements of design helped to achieve a continuation of the voluntary regional planning process.
The spatial vision – Côte Rouge as a topographical “sea” landscape (Original scale M. 1:50.000)
The spatial vision for the region South Luxembourg: developed in a joint design workshop by Stein + Schultz urban, regional and
open space planners, Frankfurt am Main, and STUDIO URBANE LANDSCHAFTEN (Team: Hille von Seggern, Henrik Schultz, Sigrun
Langner, Sabine Rabe, Anke Schmidt), July 2007

223
Summer semester 2006, Advanced studies; 6 th exercise: Urban Landscapes – a research trip “… Embark on your own research
trip. Allow yourself to be inspired: you can read, conduct conversations, make sketches, take photos, go on a field trip, watch
films… Explore and use everything in which you suspect an answer… Your search should ideally start today and accompany
you in the next two weeks, by all means along the way… The task is to sound out your own ideas, thoughts, intuition, attitudes
to urban landscapes as well as to research them in books, conversations, films, field trips etc… and to depict your process of
understanding and your insights. The focus is on finding your own (subjective) path, your own type of research, your approach
and your soundings out of things. …”
We predefined a route of exploration for the first personal encounters with the Altmark in
which, in groups of two, the students took regional trains in different directions from a common
starting point to various stations – usually practically abandoned ones that belonged to small
villages – where they disembarked with their bicycles. They were instructed to cycle at least
five kilometers in a direction of their choice in a state of maximum concentration and curiosity
(which should be the basis of any inventory) paying attention to everything that they perceived
with their senses. They used notes, sketches, photos and objects found to record what they
saw, heard in conversations, smelled at field edges, touched in the forest or tasted, such as ripe
fruit along country roads. They were instructed to have at least three conversations with people
whom they encountered on their bicycle tours through seemingly abandoned villages and to
document them in short reports.
If we consider space to be a multidimensional – not only built – performative process, then
we are naturally interested in all of those dimensions when we encounter an area; the social,
historical, cultural, economic, ecological, aesthetic and in the people, who are just as much part
of space. 25
werner
Julia

244
Sketch on a napkin, Peter Latz 3, 4
Methods of design
I will now proceed to look at various methods of design, whereby I wish to begin with solution
processes for less complex tasks. Imitation or mimesis is at the bottom of the hierarchy.
Mimesis
Mimesis calls for high levels of skill and knowledge on the part of the designer. Mimesis
has long been at the forefront of most courses, particularly in the nineteenth century, and is
still used by many third-level colleges today. In the planning professions, mimesis involves
the repetition of examples that can be copied by surveys, verified and then applied to one’s
own work. Using this method either the form or the material are imitated. The buildings
designed by Thomas Jefferson in his home town of Charlottesville (before he became
American president), are good examples. He used the harmonious temple facades of the
Greek gymnasion to design a new university there. Interestingly, he copied the aesthetic
rules of the antiquity to give expression to the ideas of the new free America and its educational
aspirations.
Jefferson had the portico of the main building constructed of real marble columns imported
from the Mediterranean to America. The columns of the other buildings were made of wood
and covered in a marble imitation coating. Although this was an imitation, the process can certainly
be considered creative and innovative, especially in comparison to the neo-gothic building
style that was commonly used in America at the time.
latz
peter

StossWorks:
Hybridized,
Expansive,
Incomplete
Chris Reed
265
Stoss is a Boston-based design studio that has built its core practice around a set of hybridized
design and planning strategies known as landscape urbanism. This positioning within an
emerging field, itself a hybridization of landscape architecture and urbanism, enables both a
critical and a pragmatic broadening of landscape agendas. Here we move beyond simple visual
and decorative approaches to landscape improvements to those capable of addressing more
far-reaching issues of infrastructure and function, ecology and sustainability, flexible programming
and interim use, fiscal strategy and funding, as well as administration, management, and
maintenance.
For us, landscapes must be conceived and positioned relative to large-scale geographical, environmental,
and infrastructural systems, regardless of whether the landscape in question is
small or large. Landscapes must tap into the evolving dynamics of ecological, civic, or social
systems in order to remain healthy and resilient. Landscapes must set up conditions for a wide
range of uses and appropriations for both those we can imagine now and those we cannot in
order to be viable immediately and for years to come.
To achieve these ends, we favor a performance-based approach over one that is primarily
physical, spatial, or visual. We are especially interested in how landscapes work: how they
function urbanistically, socially, hydrologically, environmentally; how they reinforce existing
city frameworks; how they invent new ones; and how they may support a range of complementary
and sometimes contradictory civic programs across a multifaceted and dense urban
field.
Such an approach yields new types of open space, landscape, infrastructure, and urban strategies,
which simultaneously address functional, fiscal, social, political, as well as cultural goals.
These strategies are thoroughly grounded in the particularities of local conditions, yet they
are inventive and densely layered in order to tap into broader trends and larger systems. They
privilege a regenerative approach to civic space and urban landscapes as complex, living, and
evolving entities socially, ecologically, and fiscally robust. Two projects in particular manifest
these core principles.
Mt. Tabor Reservoirs. Portland, Oregon, USA
Stoss with Taylor + Burns Architects, Arup, et al.
Staging Mt. Tabor is a strategy for reuse, renewal, and regeneration. Mt. Tabor is a 150-acre
urban park with three late-nineteenth-century drinking water reservoirs, situated in Portland,
Oregon on the west coast of the United States. We were invited along with three other teams
to develop landscape schemes for the park in anticipation of a large-scale de- and re-commissioning
project for the reservoirs.
Three open reservoirs are situated in Mt. Tabor Park. Purified drinking water enters the
park reservoirs for temporary storage before being piped almost directly into nearby houses
and businesses. Given the public’s unrestricted access to the perimeter of these basins,
the city of Portland has always recognized the reservoirs’ vulnerability to potential
attack most likely in the form of a vial of something (arsenic, perhaps) being thrown or
poured into the basins and contaminating the drinking water supply. (Curiously, no one
seemed to be bothered by the ducks and birds constantly swimming and defecating in
these constructed ponds).
Reed
Chris

Dialogic understanding of design
In the 1980s, process-oriented design strategies had reached a status of great respect within
landscape planning. At that time Louis Le Roy, Karl Heinrich Hülbusch and many other representatives
of the Ecology Movement experimented with the idea of using the dynamic and
self-organizing characteristics of plants in their designs. Despite the innovative nature of these
approaches, they could not stop the ideologized conceptions of the Ecology and Nature Garden
Movement from leading it into a cul-de-sac. Dogmatic perception largely obstructed the further
development of an aesthetic language as an expression of a dialogic relationship between man
and nature. The backlash was that process-oriented design strategies generally lost popularity
in landscape architecture in the 1990s. Now, at the beginning of the twenty-first century, interest
in the creative potentials of natural processes is reawakening. A series of landscape architects
is now looking for strategies with which to integrate, accompany and manipulate dynamic
developments. Rather than aiming to protect nature, their objective is to enrich it on the basis
of ecological knowledge.
The relationship between man and plants is an interactive process, a dialogue. Specific methods
of design and vegetation management can take over the task of directing. They strive
towards never-ending series of changing images rather than static images.
A necessary prerequisite for working with the dynamic powers of vegetation – apart from
an attitude of respect and well-grounded knowledge of plants – is a broad comprehension
of design-relevant growth and development processes from phenological annual rhythms to
succession as well as basic knowledge of ecology and population biology. In this context, Nick
Robinson emphasizes that design with vegetation is always connected to the management
of natural processes even if the ultimate aim is to produce aesthetically pleasing results. “The
plant world has its own dynamic and developmental order. We can only manage it. We cannot
change it.” 17
In process-oriented design, methods are often
borrowed from the vegetation management
repertoire while forest planning methods are
also experimented with. 18 Maintenance and
design are planned together so that maintenance
strategies can become part of the design
process from the very beginning.
293
Grosse-Bächle
Lucia
Design strategies in practice
The following example projects demonstrate
various ways of highlighting and directing the
dynamics of vegetation development. Landscape
architects must leave room for undisturbed
growth while at the same time clearly
defining design frameworks and setting down
rules with which to direct and guide processes.
How can creative design be carried out using
the natural dynamics of vegetation?
Dialogic design: The relationship between man and
plants is perceived to be an interactive process.

Visionskarte Experimentierraum
COMMUNAUTé DES COMMUNES PORTES DES FRANCE RHIN SUD (F) AND MöHLIN/
SCHWöRSTADT (CH)
The IBA Basel 2020 (International Building Exhibition) aims
to promote the joint development of the tri-national agglomeration
area around Basel and to facilitate a culture of cooperation
across national boundaries between France, Switzerland
and Germany. The River Rhine plays a specific role
as a connecting element. The “Rhine Love” study aims to
place the individual IBA projects in a wider context.
The particular features and idiosyncrasies of the Rhine landscape
are presented in the spatial vision entitled “Rhine
“Old Love”
Love”, which characterises the space in four landscape typologies:
Admiration Landscape (steep slopes along the
Rhine), Seduction Landscape (banks of the Rhine), “Old
Love” (former alluvial land), and Closed-off Landscape (isolated
industrial and commercial areas). These describe the
D
different spatial qualities of the Rhine landscape. For each
Seduction Landscape
of these landscape typologies, new questions were developed
for the future of the region that should help qualify
the IBA projects and generate ideas for new projects.
F
The design team developed initial ideas for the spatial vision
during a 3-day site visit. The visit began with a joint
initial exploration of the area by car, followed by discussions
and sketches in the evening. Thereafter each member
undertook day-long walks on their own equipped with
Admiration Landscape
specific questions to address to the landscape, convening
in the evening to talk and sketch. To conclude, the group
Existing Place of Admiration undertook a river cruise and swam together in the Rhine.
CH
10/2012 - 02/2013, Commissioned by: IBA Basel 2020,
Team: Sabine Rabe (SUL), Marcella Hartmann,
Rhine Love – Spatial Vision
Thomas Gräbel (SUL) (all: rabelandschaften); Sigrun
Langner (SUL), Michael Rudolph, Aline Kamke, Sebastian
Pietzsch (all: Station C23), Consultants: Henrik Schultz
(SUL) (Stein+Schultz); Hille von Seggern (SUL) (Alltag-
Forschung-Kunst)
Examples of spatial interventions
= enchanting encounters
Left:
Admiration – Buvette (little wine bar) in the vineyards
(CH)
Right:
Temporary breach of a closed-off space (CH) –
Stairway over the quay wall
Left:
Seduction – A place to touch the Alt-Rhine (GER)
Right:
New love – Springboard and rain shower at the
Huningue Canal (F)
6
Architecture Urban space
eBook
Creating Knowledge
Innovation Strategies for
Designing Urban Landscapes
Hille von Seggern / Julia Werner /
Lucia Grosse-Bächle (eds.)
EXPANDED AND UPDATED
E-BOOK EDITION
With contributions by: Henri Bava, Beatrice
von Bismarck, Hinderk M. Emrich, Undine
Giseke, Markus Gnüchtel, Jean Grondin,
Lucia Grosse-Bächle, Gerald Hüther,
Daniela Karow-Kluge, Wilhelm Krull, Peter
Latz, Gustl Marlock, Helga Nowotny,
Lodewijk van Nieuwenhuijze, Anne Peiter,
Hans Poser, Martin Prominski, Chris Reed,
Hille von Seggern, Boris Sieverts, Thomas
Sieverts, Julia Werner, Susanne Zeller
ePDF
286 pages with approx. 200 plans and ill.
EUR (D) 20.99
ISBN 978-3-86859-886-5
Also available in German:
ISBN 978-3-86859-876-6
Climate change, water dynamics, multicultural living and humanitarian crisis are just
some of the complex phenomena shaping urban spatial performances – Raumgeschehen
– today. The spatial design disciplines must respond with increasingly innovative
approaches.
Creating Knowledge explores what designing means, how it operates as a fundamentally
creative competency, and how innovative design strategies can be formulated.
Proceeding from an understanding of place and the world around us as Raumgeschehen
– as innumerable spatial performances – the authors consider the urban landscape
from a spatial perspective. A new introductory essay discusses the specific
transformative capacity of design.
Experts from the fields of philosophy, neurobiology, science theory, psychology, sociology,
literature, art, urban design, and landscape architecture discuss how understanding
and creativity are connected in their respective fields, and the relevance this has
far beyond the realm of the design disciplines.
Examples of current work from STUDIO URBANE LANDSCHAFTEN along with internationally
renowned landscape architecture projects reveal how the production of
ideas, design practice, and aesthetic expression are closely bound up with the process
of understanding the landscape. Creating Knowledge formulates an interdisciplinary
and innovative design approach that is based on and reinterprets the concept of
understanding in Gadamerian hermeneutics.
RHINE LOvE
jOINT DEvELOPMENT OF THE RHINE LANDSCAPE BETWEEN BAD BELLINgEN (gER) /
the power oF Creating Knowledge
A Transformative Design Approach
Hille von Seggern, Julia Werner, Lucia Grosse-Bächle
Six years have passed since Creating Knowledge was first published. The integrative approach
to design that we outline in the book is the product of many years’ experience in practice and
research, and of exploratory teaching methods and reflection on design. To mark the occasion
of the book launch, we elected to apply our approach to designing for large-scale areas
in an open experiment among professionals. This was the starting point for an event funded
by the Volkswagen Foundation and conceived and implemented by STUDIO URBANE LAND-
SCHAFTEN as an experimental setting. In July 2008 we presented the book to international
colleagues, invited guests and students as part of a symposium on “Research by Design – the
case of urban landscapes” at the Leibniz University in Hanover.
Imagine some 100 people coming and going between a series of light-filled neutral spaces.
Hanging plants with blue blossoms hang from the ceiling of the main room, which one reaches
through a notional “cinematic sluice gate” comprised of two screens on which the banks of the
Elbe between Hamburg and the North Sea (filmed from the deck of a ship) slide gently by on
each side. Various people stand talking in groups while others sit on a sofa, reading and browsing
through handbooks, project work and research reports. At certain times, most of them
listen attentively to the “discussion carousel”, a panel discussion between international professionals
in which, at intervals, one person leaves the panel and another takes his or her place.
Ever more experts – researchers, practitioners, teachers and students from different disciplines
– take a seat at a long table and start to draw, glue, write or create collages. In the next room,
two people are working on a dance choreography inspired by the Elbe. Others simply watch and
observe. By the end of the day, some 50 pieces of paper are hanging on the wall: a colourful
bouquet of pictorial visions for the landscape of the Elbe, covered with a plethora of interesting
handwritten questions. (p. 22-24)
The context for this setting was a one-day symposium that was simultaneously a discussion
forum, experimental concept and workshop. In addition to an exhibition, a library and a perpetually
running film of the River Elbe, the symposium featured a periodically recurring discussion
carousel and a parallel design workshop in the same room. The participants were able to move
around freely between the workshop area, the lecture area, the entrance and the space outside.
The rules were simple: participants could read, listen, take part in discussions and work as and
when they wished.
In this open experiment, the participants and organizers worked together to explore relevant
research questions and development possibilities for a chosen urban landscape. Every region
and every kind of urban landscape was in principle available as a potential subject of planning.
After consideration, STUDIO URBANE LANDSCHAFTEN elected to focus on a section of the
Elbe estuary that borders the federal states of Hamburg, Schleswig-Holstein and Lower Saxony
in which a range of current and complex issues coincide. The region is exposed to an increased
risk of flooding as a result of rising sea levels, heavy rainfall, increasingly intensive shipping
use and the presence of a power station in the flooding zone. The region has contaminated
industrial wasteland that needs transforming and is subject to the competing interests of urban
settlement, recreation and nature protection – all within a section of the lower Elbe in the midst
of a wonderful estuary landscape.
vON SEggERN I WERNER I gROSSE-BäCHLE
HILLE I JULIA I LUCIA
FoKUS
Urban
landSCapeS,
deSigning and
innovation
StrategieS
Summer semester 2006, Advanced studies; 6 th exercise: Urban Landscapes – a research trip “… Embark on your own research
trip. Allow yourself to be inspired: you can read, conduct conversations, make sketches, take photos, go on a field trip, watch
films… Explore and use everything in which you suspect an answer… Your search should ideally start today and accompany
you in the next two weeks, by all means along the way… The task is to sound out your own ideas, thoughts, intuition, attitudes
to urban landscapes as well as to research them in books, conversations, films, field trips etc… and to depict your process of
understanding and your insights. The focus is on finding your own (subjective) path, your own type of research, your approach
and your soundings out of things. …”
We predefined a route of exploration for the first personal encounters with the Altmark in
which, in groups of two, the students took regional trains in different directions from a common
starting point to various stations – usually practically abandoned ones that belonged to small
villages – where they disembarked with their bicycles. They were instructed to cycle at least
five kilometers in a direction of their choice in a state of maximum concentration and curiosity
(which should be the basis of any inventory) paying attention to everything that they perceived
with their senses. They used notes, sketches, photos and objects found to record what they
saw, heard in conversations, smelled at field edges, touched in the forest or tasted, such as ripe
fruit along country roads. They were instructed to have at least three conversations with people
whom they encountered on their bicycle tours through seemingly abandoned villages and to
document them in short reports.
If we consider space to be a multidimensional – not only built – performative process, then
we are naturally interested in all of those dimensions when we encounter an area; the social,
historical, cultural, economic, ecological, aesthetic and in the people, who are just as much part
of space. 25
223
WERNER
JULIA
jovis Verlag GmbH I KurfürstenstraSSe 15/16 I 10785 Berlin I fon 030-26 36 72-0 I fax 030-26 36 72-72 I jovis@jovis.de
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