Project Management in Urban Design

Basics

Intro

Teaser: Basics
Theoretical-conceptual basics

Modes of Play

Coming into Play

Motive
Mobilising the brief
Lists
Processing Contingency
Coming into Play
Moving Fences

Play?

State of the art in research

How to Play

Preliminary Practice
Refining the Question
Intervene

Play

Doing

Baseline Survey
Organizing Agencies
Mini Golf

Reflecting

Importing Knowledge
Reflecting
Project Management

Recording

Making Videos
Notations

Displaying

Research Wall
Closing Ceremony

Understanding the Play

Moving beyond the question
Propositions in archives
A matter of re-assembling
Reflective Review: Begegnen

Project Closure

Project Closure

Repository

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Category: conception (15×) description (8×) manual (4×) reference (5×) synthesis (3×)
Contributors: Alexander Römer (2×) Andreas Meichner (1×) Anna Richter (3×) Anna-Sophie Seum (4×) Annika Bauer (3×) Atena Mahjoub (1×) Bernd Kniess (5×) Christopher Dell (4×) Diana Schäffer (4×) Dominique Peck (19×) Flora Fessler (2×) Franziska Dehm (1×) Johannes Schöckle (4×) Juliane Bötel (3×) Kirsten Plöhn (2×) Lena Enne (5×) Maja Momic (1×) Mareike Oberheim (4×) Marian Rudhart (3×) Marie Therese Jakoubek (1×) Marius Töpfer (1×) Milena Stoldt (1×) Negin Jahangiri (4×) Nina Manz (1×) Olena Pudova (3×) Pascal Scheffer (1×) Rebecca Wall (2×) Ronja Scholz (4×) Tomma Groth (1×) Yohanna Bund (1×)
Keywords: "Projects" (5×) action (1×) Communication (1×) Design (3×) Dokumentation (7×) Expertinnen des Alltags (1×) matters of form (3×) medium (4×) Minimal Structure (1×) notation (3×) planning (2×) problematisation (1×) Rothenburgsort (1×) stadtteilöffentlich (1×) Uncertainty (1×)

Dominique Peck has joined the Research and Teaching Programme Urban Design’s academic staff at HafenCity University in 2015. Being a UD alumni, his work has a focus on project management, design development and transposing formats in research, teaching and practice. Dominique was co-project managing the live project Building a Proposition for Future Activities and is now focused on his PhD Project Re-positioning Project Management in Urban Design.

Bernd Kniess is an architect and urban planner. Since 2008 he is Professor for Urban Design at HafenCity Universität Hamburg where he established the Master Programme Urban Design. He is interested in the negotiation of the contemporary city, whose planning principles he aims to diagrammatically describe and transfer into a relational practice as procedure.

Public space is where public life unfolds!
Stadtteilbeirat Rothenburgsort
Issues
The evening before
Exposé
Unbuilding
The Community of Deconstruction
From disciplines to disciplining
Learning from Las Vegas
Everyday Urbanism
Urban Design
Administered World
Open Form
Project Archaeology
Facilitate Uncertainty
Rules of Play
Workshop: Infrastructure
Cooperative Review Process
Project Days
Planänderung
Mediators
Conception
Interviews
Coproduction
Reflective Review
Performance
Talking Billebogen Atlas
Talking Stadteingang Elbbrücken
21. Situationen Rothenburgsort
Annäherungen an was?
Tod dem Projekt! Lang lebe der systemische Wandel
New Commons for Europe
Allesandersplatz
Die Stadt als offene Partitur
Give me a gun and I will make all buildings move

Play

Building a Proposition for Future Activities

Transposition 1: Project vs. Project Days
Transposition 2: Project Days vs. Planning Competition
Transposition 3: Planning Competition vs. Jury
Transposition 7: Completion of service phase 2 vs. Project Execution
References
HCU
HOOU
Imprint
Research Wall
On Site
Herrmann, Christoph, Bernd Kniess, Christopher Dell, Dominique Peck, and Marko Mijatovic. 2016. “Research Wall.” Basics: Project Management in Urban Design. Hamburg. CC BY-SA 4.0.
In Studio
Peck, Dominique and Marko Mijatovic. 2017. “Research Wall in Studio.” Basics: Project Management in Urban Design. Hamburg. CC BY-SA 4.0.

The wall is of key importance for doing project management in Urban Design. It rises to an epistemological space in the practices of adhering all kinds of material in a – initially – non-hierarchical order. This allows not only the project manager, but also the all people who relate to the project to performatively meander through the heterogeneous materials of the project. The wall opts for a synchronicity of the non-synchronous. It allows the project manager to arrange heterogeneous documents in their polyvalent materialities on a par, give an overview and thus create a span in between different versions of space. This all aims towards enabling the possibility to experience some knowledge through the mode of differentiation and the mode of analogisation without the reductive effects of focusing on only one mode of knowledge production in a document analysis. This understanding of the wall as a diagrammatic tableau allows to explore and open up new relations and thus understand something about the documents themselves. It is not so much a question of reading a lot of documents from one perspective, but to grasp and render visible different modes of noting reality in order to figure out what kind of vectors, motives are included in them, what kind of practices and potentialities they entail and which re-arrangements might be possible. In this view the arrangement of documents on the wall not only fulfils the challenge of re-arranging visibility regimes of spatial practices, but itself enacts a practice of assembling and arranging, which represent a specific situation in research. On the negative side this kind of work is the fact that it produces a tsunami of complexity and a detour towards all project management milestones and goals. This disadvantage is its advantage: the wall as learning surface, which enacts inconsistencies and multiplicities is the only way to avoid succumbing to all to easy narratives and closures of processes, and disassemble already closed teleologies in an open structure of newly reassamblable singularities. Speaking with John Law, coming very close to the wall, taking your eyes to a detournment, up- and rehanging of single pages and even the routinely passing by – all these practices are modes of relationaly accessing an epistemological space of a specific arrangement of documents.

Exams

Why can a wall representation not be replaced by a Power Point Presentation?

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Reveal answers

Because only the wall representation allows for grasping the spatiality of the representational space in its totality (as it is accessible) as well as its relationality.