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

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

Open Form

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

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.

Basics

Intro

Modes of Play

Coming into Play

Play?

How to Play

Play

Doing

Reflecting

Recording

Displaying

Understanding the Play

Project Closure

Repository

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Play

Building a Proposition for Future Activities

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