Zurich University of Applied Sciences

School of Architecture, Design and Civil Engineering

lnstitute Urban Landscape

Andri Gerber Stefan Kurath Molger Schurk Roland Züger

for Architecture and Urban Design

Triest
 Zurich University of Applied Sciences
School of Architecture, Design and Civil ~ngin eering
lnstitute Urban Landscape

Am irí Gerber Stefan Kurath Holger Schurk Ro land Züger

Handbookof
Methods
for Architecture and Urban Design

Triest
 TABLE 01= CONTENTS

5 59
Foreword of 2nd edition Scenarios
Oya Atalay Franck Roland Züger
1
7 71
Foreword of lst edition Test planning
Max Bosshard

9
Stefan Kurath
1
Why a handbook of methods? 85
Andri Gerber Urban design "Leitbild"
Peter Jenni, Roland Zuger
27
Design and research: 93
on the meaning of methodology Photography
l-lolger Schurk l-lolger Schurk

43
Urban design practice 109
Stefan Kurath Model
Andri Gerber

121
Mapping
Andri Gerber

133
Sectional view
170
Photo credits Stefan Kurath

174 143
Biographies of authors Diagram
l-lolger Schurk
175
Acknowledgements 157
Morphology
177 Andri Ge rber
lmprint
l=oreword of 2nd edition
Oya Atalay l=ranck

The archited's most important task - and core competence - is

to design buildings and urban spaces as places that form the
stage and dwelling for all human adivities. However, the prob-
lems with which the architect is confronted are never clearly for-
mulated, accurately delimited and unambiguous. They are, rath-
er, undefined (according t o Horst Rittel and Melvyn Webber),
unstructured and all in all "wicked".
Perhaps it is precisely the deceitful nature of architectural
problems that make the profession so interesting, that lets archi-
teds find new answers to the seemingly same questions time
and again. For sound architectural solutions, you need talent, ex-
pertise and experience, but you also need to consciously engage
with methodical aspects of design. Nevertheless, architectural
design is always architedural research, too. Just as in the sci-
ences, architectural research is always especially successful when
aware of its methodology - its potenlial, but also of its limits.
In that sense, t hen, this booklet offers valuable approaches to
fundamental aspects and principies of design methodology.

5
J=oreword of lst edition
tvlax Bosshard

tvlethods describe systematised processes to achieve a target.

They are basic prerequisites to be able to explain how lo com-
prehensibly tackle a task in a targeted manner and to achieve
relevant results. As regards architecture and urban design, meth-
ods also represent a basic component of design practice: they
show a way to answering questions and solving problems, they
generate ideas and yield decisions as well as making new knowl-
cdge and results comprehensible. In recent years, in particular,
the research target of universities of applied sciences has trig-
gered increasing interest in research methodology in architec-
lure and urban design at the lnstitute Urban Landscape (IUL).
The IUL has defined the following targets in research and teach-
ing: to test, develop furth er and convey methods and tools to
describe and assess the properties of urban landscapes and
their genesis as well as methods and tools to assess, control and
lhus to qualify transformation processes in practising urban de-
sign. This handbook represents a preliminary set of methods
lhat have been applied at the lnstitute as part of their teaching
ond research adivities in recent years.

7

"When we consider architecture of
the past, we try as architects without
exception, 1think, to penetrate its
secret. [ ... ] What interests us in archi-
tecture is its technique, the ways
and means of its origin, its very nature,
the how. We behold it in order to
learn how to do it." (Giorgio Grassi 1983, 24 )
"When we design, we undergo a
cognitive process; we try out a theory
of design, at the same time for-
mulating a theory of architecture."
(Aldo Rossi 1974, 448)
8 9
Whya
handbook of
methods?
Andri Gerber
This 1-/andbook of Jvfethods intends to offer methods and pro-
vide tools to architects with the aim of enhancing and supporting
architedural and urbanistic pradice.
This road is by no mea ns straight since it prescribes a num-
ber of delimitations, which are the object of this paper. Justas
Aldo Rossi remarks in the introdudory quote, grappling with ar-
chitedural pradice - i. e. methods of design - in the sense of a
theory of architedure, as a design activity that differs clearly
from other disciplines participating in construdion - leads toan
in-depth exploration of the self-conception of architecture.
The one demarcation is thus an interna! one, in search of the
definition of architecture. The other lies between architecture
and urban design and their participating disciplines.
The first part of this handbook presents an introduction to
the theory and praclice of design in the context of contempo-
rary urban landscapes. This text attempts to create a frame
for such discu5Sion in that it introduces a n umber of demar-
cations that intend to delimit the problem from the view-
point of the discipline. After that, 1-folger Schurk deals with
the nature of architectural design and finally, Stefan Kurath
pegs out the field of urbanistic design in the context of contem-
porary urban la ndscapes.
In the second part of the handbook, individually selected
methods are discussed against a historical backdrop, showing

when and how these melhods were applied in the past. In that
conlext, lhree queslions are of primary interesl: What are the
prerequisiles of a cerlain method, i. e. why, in a given case, is
one particular method favoured, and no other? How does a
method take effect, and how do 1apply it? And which specific
consequences can this method have and whal results does it
achieve? lt should be noted, however, that certain methods are
rarely used on their own . Mostly, they are part of a sequence of
design steps and are supplemented by further methods, which
are nol discussed here.
This handbook aims to p rovide two levels of reading:
first ly, targeted questions on individual methods in a con-
crete applicalion area, and secondly, methodology in the
sense of a general understanding of those methods in the
greater context of design. The methods in question were se-
lected in view of their proven quality in the lecturers' architec-
tonic and urbanist.ic practice as well as their didactical suitabil-
ity for teaching. In that sense, the handbook is meant to be an
inspiring and helpful companion lhat can always give valuable
advice whenever necessary.
Demarcations
~ssentially, an introduction to methods of design requires deal-
ing with two architectural demarcations: firstly, the one within ar-
chitecture itself and secondly, the other concerning participa-
tion in redesigning the city. Let us begin with the first one. lt is
not always easy for architects to justify ever-changing social and
political frame conditions as well as technological develop-
ments on which they are largely dependent. The arc hitect
lends a spatial expression to a certain culture and society.
1-lowever, the fact that culture and society are in a constant pro-
cess of change has repercussions on architecture.
10
Wl-IY A ~AND BOOK 01= MH~ OOS?
lf we consider the definition of the Roman architect Vitru-
vius in his Decem /ibri de architectura, we are surprised at how
modero they are. Architects have always had lo fighl for lheir
role in society. That meant they always had lo negoliate their
conception of themselves and olhers. An additional difficulty
was that architecture was always in search of a definilion of
ils own nalure, nol so much in itself, bul rather vía other disci-
plines. The frequent use of melaphors to describe architecture
makes this problem visible. Many mechanical, organic, musical
or linguislic metaphors are found throughout the entire history
of architedure, showing that architecture itself does not have
o language of its own. In order to explain architecture, one is
forced to borrow language from olher disciplines - via meta-
phors and analogies. That meant architecture also needed to
justify it.s status asan art ora science, as was the case for exam-
ple in the Renaissance period. Leon Baltista Alberti (1404 -
1472) elaborated his treatise on architecture according to the
rules of rhetoric, in order to prove that architecture, just as
rhetoric, belonged to the artes liberales - the scienlific canon
of the time - and that it was not justa simple ars mechanica, i. e.
craflsmanship.
Allhough concepts such as ornament, function, form o r
character indicate that one had always tried to apply architec-
turally intrinsic concepts in order to approach the specifics of
architecture, comparisons with music, language or the body
show how insufficienl this language was. A house has a rhythm
like a symphony, a fa~ade has an expression like a face, the cily
is a body and the architect, a surgeon ora conductor. These are
examples of such metaphors, which prove how difficult it was lo
describe architedure in a language of its own. E.ven drawing on
literalure or philosophy to explain architecture is a symptom of
these lacking specifics.
11
 Wl-IY A l-IANDBOOK OF M i;:nwos ?

Which leads us to a compelling question: do specifics of

ji architedure exist at all? Architedure in the true sense is "spa-
tial design" (Schmarsow 1893, 470) requiring "spatial thinking"
(Hover 1923, 27). But what is space? Space is what we experi-
~.tMA L

t enc:e in arc:hitedure, it can neither be described, nor con-

sciously communicated. lt is literally ungraspable. One's own
experience of architedure and space can only be compared
"-~ l.

® to a certain extent with the experience of others. Accordingly,

architedure knows no consensual spatial theory. In that sense,
t he few existing approaches remained unnoticed, for example,
the Spatial Theory of art historians at the t urn of the century,

~
such as Heinrich Wolffiin (1864- 1945) and August Schmarsow
(1853-1936) or more recently, Philippe Boudon's (born in 1941)
_, lheory, or philosopher Gernot Bohme's (born in 1937) Atmo-
spheric Theory. Ali these theories have a common basic prob-
lem: they view space solely from the perspedive of experience
and not from that of production. A theory on the produdion of
space - of course, one that includes spatial experience - is even
,,.:._ .... --~- .......... .
rarer in the history of architecture: for instance, to some extent

-·~)
in !=ritz Schumacher's (1869-1947) or Bernard Tschumi's (born
in 1944) works. Yet, this would provide the basis for a better un-
derstanding of architecture and the design of spaces.
~ , ' The problem of speaking about the specifics of architec-
ture, i. e. spac:e, also explains the problem of speaking about
arc:hitedure in general. Hence, the specifics of architecture
would be a "spatial knowledge" in the sense of enhancing
awareness of spalial production, ils prerequisites, and espe-
cially its consequences for the beholder and user. This knowl-
edge, which is yet to be generated, explains lo sorne extent the
Fritz Schumacher, Diagram, 1926. In this diagram, Schumacher shows
"inability" of architects to create a divisible and communicable
lhe different perceptions of an image, a sculpture or a build ing, self-conception. But, this problem should not be assessed too
and of a building in an urban contexl. negatively, for il also belongs to the essence of archilecture
12
13
 WHY A HANDBOOK 01'. M H ~ODS?

to bridge gaps and divergen! poles. And even if it cannot be

clearly attributed to the one or other side, it is a unique state
that only architecture possesses. The metaphor of the bridge
appears particularly suitable to describe the "problems" of
methods and space for architecture: like a bridge, architeclure
joins separate shores - art and science, technology and hand-
craft - and every project bridges a space - the space of the pro-
ject - that can only be crossed, but not inhabited. Methods - in
the sense of the Greek etymology be ing mainly a path to some-
where - help to create such bridges as projects, yet they remain
bridges. ~very project is a new bridge and every new bridge
helps to understand how architecture can join separate shores
and experience t he space that spans between these shores.
The second necessary demarcation concerns archilecture's
contribution to urban design. This, of course, requires that we
deliver a clear definition of urban design, especially in terms of
drawing the bounds to urban or spatial planning, which is a very
difficult job. lt is precisely the dichotomy of urban design versus
town planning that seems to determine the history of the archi-
tecl's relationship to redesigning the city. On the one hand, we
see the comprehension of concrete construction of edifices
within an urban fabric, which also includes redesigning free
spaces - the best example for which is the Uffizi Gallery in Flor-
ence (approx. 1559-1581) by Giorgio Vasari (1511 - 1574). lt deals
with aesthetics and is also guided by spatial quality and its im-
pact. On the other hand, there is the model of design-related
control of this fabric, in which, above all, economic, social and
infrastructural aspects play a key role (Fehl 1980).
The discipline of urban design (or town planning, depend-
ing on where we place the focus) originated al the end of the
19th century, when the town turned into a problem that could Luigi Morattl, Model, 1950. In a series of models of churches, the voids
no longer be controlled by mea ns of traditional tools. The indus- were "fill ed in" and thus made representable and perceptible.

15

trial revolution and abolishment of serfdom and the mobility
lhal arose with it led to a huge migralion lo lowns. The conse·
quence of that was an exacerbation of the hygienic situation, of
social conflicts as well as a barely foreseeable wave of specula-
tion. New infraslructures were introduced, above all, the railway
and various urban railways. In Germany and many other places,
tenements were built - the paradigmatic object of speculation
for maximising profil wilhoul any aesthetic or social prelention.
The discipline of urban design, therefore, originaled in a
moment in which conventional measures and disciplines lost
their relevance and literally ceased to exisl. Last but not least,
it emerged as a political tool in order to control potential unrest
(Nerdinger 1980).
lnitial measures were of a technical nalure, and lhe firsl
urban planners/ developers were doctors and engineers.1-lere,
lhe archilect had to firsl justify his participalion in redesigning
the lown and ils necessary extensions. Arguments, above all,
were of an aesthelic quality: for instance, accentuating the
spalial effect of the urban ensemble and its streels. Thus, the
architecl not only claimed control over the individual building's
effect, but also over the design of that effect as a whole, and of
t he lown's free spaces in which those buildings would find their
positions (although this is not true for the first urban designer
Camillo Sitte, who rather favoured architectural contribution
on a more modesl scale). 1-lowever, the architect of t he past
was rarely able to live up to this challenge. Although architec·
tural competitions had been launched for the extension of cit-
ies (Vienna, Berlin, Paris, Munich, etc.) t ime and again, most
proposals were shelved (cf. chapter on "urban praclice - con-
ceptual urban design", p. 43). From these competitions a new
problem arose: that o f scale. While early competitions and pro·
jecls were bound to a small and conlrollable scale, the competí-
16
WHY A HANDBOOK oi: MHHODS?
tions for t he extension of Paris and Berlin called for a new huge
scale (1:60'000 for Berlin and 1:40'000 for Paris, even though
participants also submitted plans in 1:155'000 for Berlin and
1:218'000 for París that clearly overburdened the architects.
While some of them looked for new methods for lhis larger
scale - e.g. carlography and diagrams - olhers soughl refuge in
the safer shores of smaller scales. In the past, the most impor-
tanl actor for this development was the city council - in its ten·
sions towards the State -, in which the archited, if available al
all, solely remained the executive power (with exceptions such
as Theodor l=ischer (1862-1938) in tvfunich or l=ritz Schumacher
(1869-1947) in Hamburg). Urban planning, as such, rarely takes
aesthetics into consideration, and if it does, then this will be
subordinate to all the other factors. Urban planning requires
teamwork, which artist architeds, as the cliché will have it, are
reluctant to accepl. Should teamwork be inevitable, the archi-
ted will, al least, claim for himself the leading role in the team
- a problem still prevalenl today, not only between politicians,
economists and engineers on the one hand, and architecls on
the other, but also amongst architeds themselves.
This dichotomy will continue to exisl in the coming de-
cades, which is one of the reasons for the lack of a uniform
urban design discipline. Architecls have time and again tried to
claim urban design as their discipline and lo argue on aestheti-
cal terms. They often did so by rejecting the style of their
precedessor, rather than facing "reality". Hence, the most im-
porlant actors of 2oth century urban design - Le Corbusier
(1887-1965), Aldo Rossi (1931 -1997} and Rem Koolhaas (born
1944} - build upen criticism of their predecessors' works. What
they have in common is that they reject the planning compo·
nent, such as the search for a specific architectural solution,
which is not exhausted in the conception of a city as grand ar·
17
 WHY A HANOBOOK OF M ~Tl-IOOS ?

chitecture. However, spatial and formal interpretations made

by those three architects are clearly distinguishable.
Le Corbusier stands for the urban design of Modernism.
With his designs, he delivered an architedura l answer to the
complex area of urban design in that his proposals, which were
primarily based on the organisation of traffic, placed simple vol-
umes in an open environmenl. In that sense, it is a composition·
al task which ignores the construclional context in terms of a
tabula rasa. That this model would become a symbol of later so-
cial hotspots is not only dueto architedure, but also to planned,
but often unrealised infrastructure as well as major social
changes of that time.
Reacting to Modernism's tabula rasa, Aldo Rossi pleads for
a more careful handling of the city and its history, while how-
WINTERTHUR
-·-
Alsftl-'--... .,. ,. • .,. _.. , .........
ever, basically pursuing a very reduced and architedural ap-
proach: i. e. the city was to be redesigned by designing new
monuments aimed at conveying a new identity. While the focus
of Rossi and his generation was pul on the European city, Rem
Koolhaas extended his perspective to new phenomena of ur-
banity, which materialised. Above all, in Asia. His work, which
was strongly based on diagrams, was an attempt to grasp the
"fluid" and "soft" properties of these new cilyscapes and to
lend lhem a shape in his projects.
lm Miudgrund 1111Ju die Alu1.1dt. durdu.:hnmm "ºn dcr nk cn J-h.upUtt.ust" ZUnch~St. G.-llm, •c:it!uo
a-kcon~r di! Suddc:irdx. Die ·~' Zürich c-_1bt:fu.dcn B1hn¡c!cisc Ju.bren Jun an dt"r Ah.siadt ,·orbci, Just as in architecture, the specifics in urban design - the
~ ~; aJsdann zu S"Ahitln. k.it"ogSl.lM SCUCI\ d:t X~~wrctcrc an, \"Un drt1 bcwald.tttn Jkrgku;>pm ;..:-. city and cityscape respectively - is a barely graspable object.
6-ts bc-t:ie Suiitnc ge.ca!t: Ira Nordostt n J:c- "G.ittam.adt•, cln Crtbict mu &.d';g:t:IJsur BeNu.o.~ racb
' • Cin:eo dc.rduc.tu. Jm Mrttdgrur.d h tTW;ns dcT Almadc du lnd-.stñq;6:et_ aa dss 1id, dJc: zruo Sufficient proof of this is provided by the counlless metaphors
&s wetu:1sott1fmdcn Arbniuwobcq:ünittt a:esdJ1.:s>e. Am Alil$!.auf dtt Hi.q,e h:ibc1:1 s;ch Vd!cnqill.1·
l..tt~ gtb:!d.cL
that have been used to describe the city, especially since the
13 Second World War, thus crealing the prerequisite for shaping
il: network, organ, body, machine, skin or archipelago are only a
few examples of many metaphors that point to the fact that
Urban de sign in Switzerland, case axample Winterlhur, 1929.
This case emphasises the advanlages of aarial images in order to idantify city is not simply "city" and that it can be controlled from an ab-
crucial morphological aspects of a town. stract viewpoint - the air. Here, loo, it is important to note that
18 19

this difficulty should not be assessed solely from a negative
viewpoint: it is rather an exciting prerequisite for urban design
as a transformation of multi-layered relational systems, provid-
ed that it is not used asan excuse for gross simplification on the
part of architecture. He re lies the challenge for architecture: to
acknowledge that complexity and develop appropriate meth-
ods of design in order to use them successfully in architedure
and urbanism. This also implies a constant redefinition of the
role of the architect, or at least an awareness for it.
Communicating architecture
Given this complex situation, it is not surprising that commu-
nicating architecture - and that is what this handbook is all
about - has a lso always been subject to change and adapta-
tion and therefore, it should and must be permitted to regu-
larly address the question relating to appropriate education
and training.
In the Renaissance period, the architect was initially a
painter or sculptor, but also a stonemason who therefore need-
ed to acquire knowledge in mathematics and optics. While
Renaissance academies stood for the attempt lo specifically
train archilects based on t he common concept of disegno -
meaning both design and drawing - it was only until 1671 that the
Académie Royale in Paris, asan educational institution, first set
up a specific timetable. The Académie Royale was the prede-
cessor of the École des Beaux-Arts, which focussed on the
decorative style of architecture and remained a leading educa-
tional institution for architeds until well into the 2oth century
while also influencing the architectural education syslem of the
United States, which emerged much later.
lt is no coincidence that the three great innovators of
architecture al the outset of the 2oth century - Le Corbusier,
20
Wl-IY A l-IANDBOOK 01'. M E:Tl-IODS ?
Mie s van der Rohe (1886-1969) and l=rank Lloyd Wright (1867-
1959) - were autodidacts who had never received any regular
architectural education. Thus, it was easier for them to rebel
against canonised Historicism disseminated by the Ecole des
Beaux-Arts.
Generally speaking, various 2oth century teaching experi-
ments in architecture are precisely characterised by the fact
that they shifted the focus from a compositional process that
was hardly controllable and evaluable, to communicating the
design process. In fact, a new approach to design appeared in
Modernism, which was influenced by modern production meth-
ods: the object itself is of less concern, it is rather the process
leading to that object that should visibly embody the process.
lmportantly, the backdrop of that development was the in-
trod uction of the computer to architecture, and generally
speaking, a more scientific asped of architecture. A develop-
ment that definitely transformed the practice of architecture,
not only in a positive, but also in a negative sense, as many pro-
ce dures that were fundamental for the development of "spatial
lhinking" in students are lost.
Many of these experiments - including the Bauhaus, the
Ulm School of Design, the "Texas Rangers" or Cooper Union -
nre an integral part of ali academic teaching today.
Although hardly comparable with the above-mentioned,
but e ssential for the recent change in Swiss schools of architec-
lure was the Bologna Process with its commitment to research,
which also applied to the former Universities of Applied Sci-
c nces. While for universities such as the Swiss l=ederal lnstitute
of Technology in Zurich (tTHZ) and t he École polytechnique
fédérale de Lausanne (EPl=L), research had always been part of
the currículum due to the academically established right to
oward doctorates, but had never been questioned and defined
21
 WMY A MANDBOOK 01'.' METMODS?

as such precisely because of that, Swiss Universities of Applied

Sciences had to agree on a basic understanding a nd generally
accepted definition of research, which has had extremely posi-
tive effects, particularly on teaching. This handbook is proof of
that development.
1-lence, it becomes clear what the purpose of a handbook
on methods in architecture should be: it testifies to the attempt
to comprehend and convey design processes that are difficult
to grasp, especially as regards their prerequisites and results.
To understand "how architedure works" should help stu-
dents and pradising architeds to internalise processes and
understand them better when it comes to considering pre-
requisites (what do 1 want?), execution (how can 1 achieve
what 1 want?) and results (what have 1 achieved by doing
t his?) Architeds are meant to gain insight into processes a nd
to underst and them, in order to help them make a choice for
their own design or research process.
As "evidence" for the necessily of a handbook of meth-
ods, we would like to point out that certain architeds and urban
designers are so successful, because they have developed an
individual work methodology which reflects their specific way
of working and response to questions and problems. They have
developed a specific methodology with which lhey allow cer-
tain content to flow into their projects. That means: the quality
of their architedure is also the result of a profound analysis of
methodological questions.
Hence , projects by Aldo Rossi would be unconceivable
without his radically narrative images and collages; the same
would apply to projeds by Daniel Libeskind without his drawing
Theodor Fischer, Sketches. 1927. Slreet linea long existing paths and
experiments, or Peter Zumthor's without his artistic sketches property bo undaries, Fischer's notes on an urban design course.
and precisely placed models which anticípate spatial qualities (From: Nerdinger, Winfried: Theodor Fischer, Architekt und Stadtebauer,
of his built projects. The list could be continued sine fine. 1980, 24)

22 23
 Wl-IY A MANOSOOK OF METl-IOD S?

Accordingly, this handbook is meant to encourage stu- Schmarsow. August: Das Wesen cler architektonischen Schopfung (1893],
in: J ürg Dünne and Stephan Günzel. Raurnlheorie. Frankfurt am Main:
dents and practising architects to acquire a better under- Suhrkamp, 2006, 470-483
standing of successful arc:hitects and urban designers - what
does t he quality of their projects depend on and how do
they achieve it? - and thus to improve their own work based
on a precise understanding of proc:edures.
To understand architedural processes better means to be
able to anticipate the result - the space, a lso urban space -
more clearly. ~ven if we cannot describe space until the very
end, we can precisely implement our own intentions - how do 1
want the space of my project to take effect? Analysing meth-
ods leads to an accurate understanding of o ne's own work, po·
sition and design in the complex field of urban design praclice.
lt enables students and praditioners to perceive the demarca-
t ions and transgressions mentioned above (and their related
"crises") and to allow them to positively flow into their work.

Literature
Bohme, Gernot: Architektur und Atmosphéire, Munich: Fink, 2006
Boudon, Philippe: Der architektonische Raum, Base! et al.: Birkhauser, 1991
Fehl, Gerhard: "Stadlbaukunst contra Stadtplanung. Zur Auseinander·
sehung Camillo Sittes mit Reinhard Baumeister", in: Bauwelt 12, 1980.
Staátbauwe/t 65 (28/03/1980 ], 451-461
Gerber, Andri: "Adler oder Maulwurf? De r Stadlebau und die Massstabs·
frage", in: Lampugnani, Vitlorio Magnago, Schülzeichel, Rainer (eds.),
Die Stacltals Raumentwurf, Berlin: Deutscher Kunstverlag, 2017, 161-179
Gerber, Andri, Palterson, Brenl (eds.): Metaphors in architecture and
urbanism. An introduction, Bielefeld: Transcript, 2013
Grassi, Giorgio: ª Befreite, nicht gesuchte Form. Zum Problem architekto·
nische n Entwerfens", in: Daidalos 7, 1983
l-lover, Otto: Vergleichenáe Architekturgeschichte, Munich: Allgemeine
Verlagsanslalt, 1923
Nerdinger, Winfried: The oclor Fischer, Architekt uncl Stéicltebauer, Berlin:
E:rnst & Sohn, 1980
Rossi, Aldo: "Architektur für die Museen" (1974], in: Ákos Moravánszky
(ed.): Architekturtheorie im 20. Jahrhunclert. tine kritische Anthologie,
Vienna: Springer, 2003

24 25
 Design and
research:
on the meaning
of methodology
Holger Schurk

11 wo take the title literally, both of the terms mentioned above

• 1111 b e understood a priori as separate activities. That also

111u,1ns that we do not know at first whether methodology, which

w1ll be dealt with in the following, belongs to design or research,
'" holh.
As designing architects, we do not think along those lines
111 •Pparation, justas we do not recognise the necessity of such
• 1111 iíications, since, in our daily work, we are mostly faced wilh

1111xlures, overlaps and hybrids. When we design, we are usu·

11ly confronted with a heterogeneous and contradictory
lw ndlc of questions, answers, thoughts, actors, places and
n1 l orials. We seldom experience that things lie clearly and
w·•ll orranged before our eyes, to allow us to facilitate a per-
' "' l ovcrview. And if they do, which happens now and then, we
•" .pecl t hat there is something wrong. Yet, it is not the case
ll111l lhis overview would not interest us and that we would
11111 wish to understand the subject of our work or our own
'" l 1ons. lt is just thal, ali too often, we have been deceived by
•• • 111lled clarity, and sooner or later sent on a fool's errand. O ur
''""'H" performance is, above ali, a form of production, which
•lmnnnds a physical result, even if many of the questions that
w • 11ncarth in the process remain unanswered until the end.

In that way we have learned to cope with "chaos", something
we like for most of the time, because the lack of clarity lends
our work an aura of mystery, and if it is especially successful,
then ingenuity.
Our ambition to consider methods, however, forces us
to see our action with different eyes. We need to view design
work in an unpretentious and incorruptible manner. We must
observe our action from inside - from the involved actor's
perspective - and from outside - from the unbiased critic's
perspective. We must focus on details and keep an eye on the
whole, and finally, what has been accumulated in the process
needs to flow into hypotheses which can do justice to the multi-
layered process of design without trivialising it. Eventually, we
will see that there is no reason for the widespread fear
of disenchantment of design, for, as far as architecture is con-
cerned, methodology is a game between conscious and sub-
conscious action, - thus always remaining a relative matter.
Ultimately, it cannot be our aim to bring about the complete
clarification of procedures in design, but rather to elucidate
those areas that are actually based on a rational and systemat-
ic order, andas a result, we should proudly admit that nobody is
perfect. We will also see that as designers, we will only be able
to reap the benefits if we know more about what we are doing
at the moment, what we could do next or when the moment will
come to reflect on our action, andas researchers, when we gain
access to a vast area of new knowledge. Perhaps both roles
could be combined.
In order to get that far, we must first embark on a cumber-
some journey, i. e. analyse and clarify a whole series of basic
concepts and connections. At the beginning stands the alloca-
tion of the terms research and design.
28
ON H I E MEANI NG O~ M ETHODOLOG Y
Design versus research
f?csearch is the core aclivity of science. lts goal is to gain knowl-
edge, and that goal is pursued with the help of various methods
measurement, experiment or interpretation. In doing so, it is
t he methodology of work which is essential. lt has to be acknowl-
odged within the scientific community and has to be disclosed
in oll detail for reasons of traceability. Only by doing this can
''ncw" knowledge be clearly distinguished from the "old", en-
nbling us to grasp the actual purpose of research: to gain knowl-
o•dge (Eco 2007).
On the other hand, design is the core activity of a num-
bor of disciplines that define themselves via a certain kind
of production. These include, for instance, industrial and
wophic design as well as architecture and urban design. The
form of prod uction is related to artistic, manual and technical
production, but can also be clearly distinguished from it. lt is
lhc primary goal of these so-called design disciplines to pro-
d uce a tangible producl.
In that re spect, the concepts of research and design can
be separated. The former leads to knowledge and the latter to
produds. However, do we not also gain knowledge when we de-
·lign something? And what exactly are the specifics of design-
based production ? The answer is ambivalent. beca use design is
primarily a hybrid.
Although we find free and creative components in design
11uch as we know from art and handicrafts, t here are also specif-
ic requirements that have to be fulfilled, since designers pro-
duce commodities, buildings or urban quarters. In order to
mcet these rational requirements, designers additionally utilise
mcchanisms borrowed from artisans and engineers. Likewise,
they proceed with a strong sensitivity for material and context.
They work in a targeted manner, using notes and drawings
29

which they produce t hemselves. As opposed to a rtisans and en-
gineers, designers do not know their target object before its
completion, o r they do not know it sufficiently well. They only
have a vague idea of what the results will be. Because of that,
the object is researched during its production by including
aesthetic and functional parame ters. Also, the result is deter-
mined only during the production process and not beforehand.
~ere, design appears as a process that is not strictly isolated
from research, but on t he contrary, needs to include it - by
equalising question and answer, seeking and finding, or analysis
and production.
Contradictions in the design process
The whole process is additionally complicated by two further
properties of design. i:irst, designers do nol directly get involved
with their target object - the building or town -, as is the case
with arts and handicrafts. Rather, they work with intermediate
objects - drawings, models and calculations (Eva ns 1986). ~ence,
the concrete object they are dealing with is not identical with the
real target objecl. Those intermediate objects have to perform a
dual representational task that assigns a decisive role to them, as
we will see later on.
The second quality only concerns architectural design,
since architecls do not design prototypes as industrial and
graphic designers do, but rather, unique items. Architectural
design must bring together path and destination or projecl and
product. This also contains a contradiclion, because a design
project represents a constantly changing object that knows
nothing of a logical final state (Rittel/Webber 1969 ). A product,
o n the other hand, represents precisely the final, lasting and
stable state of produclion. lf we now unde rstand design as
architects do, as a process from the initial design idea to its re-
30
ON THE MHNING 0 1= M ETHODOLO GY
,11isation, the moment must come in which a short-circuit is
bound to happen. Despite the fact that in this process, compar-
otively profane influe nces are determinant - a design can be
dcscribed as final , when time, money or enthusiasm are ex-
hnuste d - designers can hardly control it. At best, they can pre-
pare themselves to exert a minimum amount of control. They
do t his with the help of theory, which leads us to the next q ues-
tion: what effect does theory have on design?
Theory and its role
One of the basic models for interaction between practice and
theory in design is the idea of continuous change: a reflective
..te p follows every production step and so on. The designer has
lo interrupt their activity and change roles, shifting from a pro-
ducer to a critic, from a maker to a thinker. By reílecting, they
nttempt to gain knowledge from what they have accomplished,
nnd to understand and evaluate it. The designer develops a the-
ory that is sometimes documented or communicated to other
participants in design. In all cases they come to their own conclu-
-.ion, forming the basis for the following continuation of produc·
lion - nearly always under altered conditions.
Besides this role in the almost systematic alternation
bc t ween production and refl ection, the theory e merges for
a second time during the design process, i. e. within produc-
tion itself. Concrete doings of the designer need to be under-
~tood here as "investigation", whereby the designer attempts
to penetrate t he objecl instead of underslanding it conscious-
ly. In doing so, they are "inside the object", attempting to "Jet
the ory and practice become congruent within the object".
Although designers alter the object under the influence of their
own lheory, they are by no means confident, but "e nlangled
with the object" in a certain way. ( i:lusser 1991, 74). As opposed
31
 ON THE M EANING OF ME:THODOLOG Y

lo conscious thinking, unconscious t hinking dominates the re-

flective phases, i.e. "investigation". This is the very momenl in
which design becomes a complex process, one that yields a
kind of dialogue between the designer's unconscious mind and
the interna! slrud ures of the designed objecl. These processes
rcmain largely invisible - hidden in the design object and the
designer's unconscious mind. With this part of the theory, parl
of t he knowledge remains obscure and thus only benefits the
design object al first. One can speak of implicit knowledge as
opposed to explicit knowledge gained from the reflection de-
scribed beforehand (Schurk 2012).
All the subjects outline d here - the relationship between
design and research, the specific form of design-based produc-
tion, project and producl as an untypical entity, the role of
intermediate objects and t he dual role of theory - show how
multi-layered designing works. Otl Aicher, co-fou nder and
teacher at Ulm School of Design, characterises design as lhe
most complex fabric of any intellectual activity. "A design is an-
olytical and synthetical. random and general, concrete and prin-
cipie. lt adheres to the circumstance and to req uirements, has
recourse to facts and opens new spaces for t hinking." (Aicher
1991, 195). lt will only make sense to ask for a methodology of
design if we consider that line of approach.

Methods on various levels

O. tvl. A./ Rem Koolhaas, Mission Grand Axe, La Défense, Paris 1991.
Certainly, one can refuse a priori the idea of singular and contin-
uous systematics. The enormous complexity in this context al-
ludes rather to the idea that within design, even the methodical
c lement contains many strata and is thus found on different lev-
cls. Design requires a plurality of methods and, above all, combi-
nations of those methods, which can complement, contradict
and even thwart each other - and what is more, should do so.

32 33

lf methods describe a systematic approach according to
certain principies and r ules, then the challenge in designing
lies primarily in neither ignoring nor adopting this require-
ment. lnstead, it is necessary to choose a mea ns that swings be-
lween convention and experimenl, between security and risk.
Methods, for inslance, can ad as auxiliaries for designers,
in order to cope with conflicting requirements. They can render
graspable and comprehensible the vague and distanl larget
areas of design, al least parlially (overall concept). They can
also shape the change between production and reflection de-
scribed above according to a certain pattern or appraisal (sce-
nario method). Or they can help lo fool the contradiction of
project and product by temporarily detaching design from its
bond to reality and declaring it as an experiment (test plan-
ning). In this way, methods help to creale frame conditions that
have a beneficia! effect on the organisation of design work,
which give the process a certain robustness and durability ora
consciously selected tendency. They relieve the designer in
their fundion as the conductor of their own aclion, without re-
leasing them from their duty of mental guidance and control.
l-lowever, inside concrete design production - the investi-
gation - things look quite different. Here, the role of methods
is not just supportive, but essential. As we have seen before,
concrete production does not happen at the target object of
the design, but mainly with the help of inlermediate objecls:
drawings, models and calculations, and partially lexts. In this
process, production and representalion temporarily drift apart
and are only held together by intelledual performance. l=inally,
production not only results in a synthesis of arlistic, technical,
societal or legal elements, but also essentially combines that
process with knowledge production. The process would be t he-
oretically conceivable, but hardly viable, if a whole arsenal of
34
ON Tl-IE; MEANING O~ MHl-IODOLOGY
cxisting procedural building blocks were not available. lt is only
the abundance of individual methodical e lements which the
designer can easily retrieve, cancel and replace by others,
that guarantees the process's necessary dynamics and en·
durance. On the one hand, the periodical phases of reflection
conlinually demand "new material for thought". On the other
hand, without the necessity of continuous production, design
would become pure thought and perhaps have an interesting
c ffect, but it would simply not suffice for design-related disci·
plines.
In this imbrication of production and organisation, meth-
ods can hardly be distinguished from media or tools (maps,
models, photos). Almost as if only the tille had changed. The
methodical emerges through the conscious and consequent
use of a tool that thus becomes dominant in a cerlain produc-
tion phase before it is replaced or overlaid by others. In that
'lense, the quality of specialisation is also inherent to methods,
~ ince they are used as accurately and efficiently as possible
(e.g. morphology) for a cerlain time and wilh a ceda in larget in
mind. In doing so, they reveal their strengths, for instance, in
lhe field of analysis {photography) or synthesis {sectional view)
or they are quite generally predestined for graphically linking
different kinds of information (d iagram).
Besides selecting these methodical building blocks, il is
the designer's most important task lo bring all these activities
inlo a meaningful contexl. Unfortunately, no method exists to
Lhat e nd, neither to organise nor support it; and thus, selection
nnd combination remain fully dependent on thought or theory
of design. In that sense, the theory, which develops during the
clcsign process as a content-related concept, also determines
how methods are utilised. In the design process, content and
mcthod are ultimately inseparable.
35

Wolf Meye r-Chrislian: Weekly homework no. 3 MMate rialbindung'",
Cha ir for Design and Building Typology, Prof. O.M. Ungers, TU Berlin, 1965.
36
ON THE MEANING OF METHODOLOGY
Architects and basic research
1laving said that, what does it mean for research in architecture?
We have seen that the act of designing always in eludes research.
Besides this potentially informal and above ali, for us architects,
interesting type of re search, architecture also recognises a fun-
damental subdivision into basic and applied research.
Principally, basic research can be conducted from various
different perspectives, i. e. from outside the discipline in ques-
tion, too. This is an advantage, even, beca use the view from out-
side automatically guarantees the necessary distance to the
object. In the case of architecture, we can, for example, adopt
nn historical, technological, sociological or ethnographical per-
spective. The methods of research (reconstruction, measure-
ment, survey, observation) are then determined by the relevant
method of a pproach. Thus, quite different aspects are gath-
cred and densified to form an image that becomes ever clear-
c r. lt is also important, however, that architecture is not only
beheld in its appearance, but also in its genesis. When details
ore broken down into individual aspects, the design ad and its
const ituent role for architecture should not be forgotten. Be-
cause of the ir specific knowledge, the participation of archi-
lects in these investigations is absolutely necessary. On the
other hand, using design in basic research can be problemat-
ic, beca use besides gaining knowledge when designing, there
is always a danger of getting entangled as well. This means
that we need to control and even deny ourselves a bit, because
we can only selecta manageable number of elernents from the
whole complex of methods that are available to us. We also
have to control ourselves when it comes to the confusing en-
tanglement and overlay of building blocks, because the trace-
obility of utilised methods and verifiability of generated knowl-
e dge are not negotiable in science. At first sight, the scope
37

needed to manoeuvre between the concealed and conflicting
procedures of our design-based work, as described above,
seems substantially reduced. Comprehensive applicat ion of
design or its elements wit hin the scientific field of basic re-
search will reveaf whether this is true or not
Architects and applied research
In comparison, the direct interference of a discipline's actors
within applied research appears to be self-evident, for here,
every discipline makes use of its core competence in the scien·
tific sense. l=or us architeds, t his means e ither contributing our
broad, but fragmented expertise on everything to do with archi-
tecture, or applying our most profound methodical design com-
petence. The former case is unproblematic from a scientific
point of view, although it is not always fruitful, since here we
compete with a whole host of neighbouring experts. Although
they only command a limited part of architecture, they do so
meticulously. The latter case, where research is pradiced using
design, seems to be much more conclusive . Unfortunately, this
method is rarely practised, because the scientific communit y still
has sorne reservations regardi ng design as a research method -
to put it cautiously. Subseque ntly, two completely differe nt sys-
tems collide: on the one hand, science that demands unre·
stricted methodical darity from each operation, and on the
other hand, architecture, whose core competence relies upon
a working method that is very fruitful for knowledge gain, but
is methodically neither completely nor precisely tangible.
Auxiliary construdions could sometimes offer a way out,
for instance, incorporating design in methods that are already
recognised by science. In that way, defined tasks are allocated
to the design process - mapping of data in space and the gener-
ation of scenarios (scenario method), etc. The principie of
38
ON nu; M t;ANING OF MnHODOLOGY
11 1torlocking one with the other leads to a sufficiently distinct
11llocation of result s, so that the mat erial created through de-
11ign can also be read and processed further by the scientific
c.o mmunity. However, detours have to be redefined in every
project and explained in a comprehensible manner. lt would be
good if further research into methodology of d es ign could
¡¡radually mitigate the conflict. The more accurately we define
design p rocesses with all their irrational gaps and leaps, the
better scientifically required traceability will be, and the quick-
or scepticism of the scientific community towards design as a
method will subside.
lt would be just as desirable if classical science would sig·
nalise flexibility instead of dogmatically adhering to rigid stand-
nrds. Besides those distinctly defined individual e lements that
are already available , their complex interaction could be ac·
cepted as a highly efficient scientific working met hod. Design
could t hen enhance established scientific methods for the ben·
efit of all parties.
Lite rature
Aiche r, Otl: "Die Welt a ls Entwurf", in: ibid.: Die Welt als Enfwurf. Mit einer
Einführung von Wolfgang Jean Stock. Berlin: Ernst & Sohn, 1991, 185-196
Eco. Umberto: " Was ist Wissenschafllichke it?", in: ibid.: Wie man eine
wissenschaftliche Abschlussarbeit schreibt, 12th edition, He idelberg:
C.F. Müller, 2007, 39 -46
Evans, Robin: "Translations from Drawing to Building", in: AA files 12, 1986,
3 - 18
Flusser, Vilém: "Die Geste des Machens". in: ibid.: Gesten. Versuch einer
Phanomenologie, Bensheim and Düsseldorf: Bollmann, 1991, 61-87
Ritte l, Horst W. J. an d Melvin M. Webbe r, " Dilemmas in e in er a llgemeinen
Theorie der Planung", in: ibid.: Planen - Enfwerfen - Design. Ausgewiihlte
Sch rift en zu Theorie und Methodik, StuUgart: Kohlhammer, 1992, 13-35
Schurk, Holger: "The Role of Theory - O r Whal Kind of Knowledge Does
Design Contain ?",in: Els De Vos et al. (e d s.): Proceedings of the
Conference: Theory by Design, Anlwe rp: Arthesis University College,
2012, 71 -78
39
 ON THE: MEANING 01= MHHO DOLOG Y

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40 41
 Urban design
practice
Stefan Kurath

In architecture and urban design there seems to be no doubt

about what a town or city should look like. lt should be dense and
compact. lt should create a distinct transition to the open land-
scape. lt should appear to be clearly organised and orderly. l=rom
Camillo Sitte to Le Corbusier, countless projects and descrip-
tions have survived containing concrete ideas of what the ideal
city should look like. l-lence, today's discourse on design and sus-
tainability is, again, increasingly charaderised by ideals that a re
based on t he history of ideas, for instance, the compact 19th and
2oth century ~uropean city. But - if we take a look at today's
cityscapes, we realise that there is a discre pancy between the
idea of an ideal city of architects and the actual condition of
spatial reality - which is commonly referred to as "urban
sprawl". Basically, this characlerisation challenges the effedivi-
ty of spatial and urban planning.
With his fun damental question: "Whatever happened to
urbanism ?" Rem Koolhaas thematises t he crisis of urban design
inherent to that knowledge (Koolhaas/ Mau 1995, 958). In that
way, Koolhaas primarily criticises the twin phantasm of order
through planning and the omnipotence of architeclure domi-
nating urban design (ibid., 969). Belief in the omnipotence of
architedure, in particular, and thus also through architecture,
still p roves today that we, as architeds, have increasingly de-
tached ourselves from real frame conditions of spatial develop-
ment because we concentrated on our mostly old-fashioned
urban ideals that were shaped by the history of ideas. We have

43
 URBAN OESIGN PRACTICE ·CONCEPTUAL URBAN DESIGN

created our own (exterior) world in which we assume to be able

to rule over city and space as quasi-autocrats (cf. Latour 2000,
10). The predominant assumption in that world that urban
order is solely achieved by means of a legally anchored, techno-
cratically organised spatial and urban planning infused with
"pretty" solitaires - i. e. the city as a consequence of planning -
proves to be empirically wrong. Rather, today's spatial reality
shows that, apparently, society does not uncondit ionally follow
urban design as prescribed by us architects (cf. ~isinger 2004;
Kurath 2011). Since architects, just as all other planners, have
assumed up to now that urban and spatial planning targets are
implemented without major resista nce (once they are printed
in zoning plans, master plans or other comprehensive plans),
they d e legate these to authorities and written laws. Since,
owing to that, we are not actively involved in lhe implemen-
tation process, we realise far too late that "unholy alliances"
can form between investors, property owners, politicians and
authorities etc., which are geared towards circumventing and
sabotaging planning and design intentions by negotiating "spe-
cial regulations". Confronted with this fait accompli, it is hardly
possible to react a posteriori (d. Kurath 2011, 455ff.)_ There-
fore, those unintentional consequences have shaped today's
cityscapes.

Adding realism to urban practice

lf we wish to overcome the crisis, we will have to ponder on our
own doings and their consequential effects in an unprejudiced
and serious manner. This needs to take place on lhe level of the
subject we are working on, the design process and professional
self-conception (cf. Pfeifer 2004). Any un biased dealings with
the phenomenon of cityscape makes us aware of how a city or
town emerges, how societal dynamics partake in the implemen-
Stetlenfeld, Riehen, SS. In the autumn semester 2011, in the module Urban
Project the Stetlenfeld between Lorrach and Riehen was chosen
as a focus area for the urban design project. 11 encompasses the entire
Wiesental va lley, i.e. Basel, Weil am Rhein, Rie hen and Lorrach.
The above photo shows the (structural and process·related) peculiarities
of Stettenfeld as a cultural landscap e which appears as a patchwork
dueto land pa rcelling and mixed uses, i.e. lennis courts, a llotments, storage
areas, arable and ruderal land, playgrounds. wasle land and housing
estates as well as landscape elemenls such as single trees, groups of trees,
scrub and orchards, ele.

44 45

tation of planning ambitions and how planning takes effect - or
not. Our awareness of inlerdependencies enables us to tailor
our urban design conceptions and develop strategies that pro-
ductively utilise various different, even unintended develop·
ment dynamics without having to complain about them after-
wards as being counterproductive. This, in turn, has an impact
on our professional self-conception. Only by taking effective
forces, dependencies and our own role as an archited into
account, will we be able to practise efficient urban design and
forge alliances with other actors in order to increase chances to
realise our own urban design targets and intentions. Therefore,
analysing limits and possibilities of urban design practice will
help us to learn to cope with societal imponderabilities without
abandoning disciplinary targets.
Since its foundation, the lnstitute Urban landscape (IUL)
at Zurich University of Applied Sciences (Z~AW) has establis-
hed an awareness of conceptualised urban design based on the
understanding described above. Two basic readings of our city-
scapes have since shaped our teaching, research and pradice.
On the one hand, we see the city as the result of societal nego·
tiation processes ( cf. Amin/Thrift 2002; Graham/ Marvin 2001;
Latour / Yaneva 2008), in which countless adors with partially
controversia! interests have participated. !=rom this perspec-
tive , the dynamism of negotiation processes determines figura·
tions of space. ~ence, urban space is in a process of continuous
change, and trends are hardly predictable. Accordingly, urban
design interacls with societal change and thus a lso with society
and vice versa (tisinger 2004, 280). This process-related un·
derstanding of space is enhanced by the knowledge that spatial
struclures can outlast social change. Permanencies like those
shape cityscapes, because they prove resilienl against social
transformation processes (cf. Rossi 2006, 28). Both process
URBAN OESIGN PRACTICE - CONCEPTUAL URBAN OESIGN
and permanency thus determine the frame of urban design
practice and should be taken into consideration when it
comes to design-driven adion.
On spatial structure, process and
political architects
Given the above, consciously d istinguishing between spatial
structure and process plays a key role in conceptual urban
design (cf. Bormann et al. 2005). In that way, spatial strudures
such as traffic routes, open land, waterbodies, topography and
settlemenl structures form the resilient basic strudure of urban
design conception. By surveying, strengthening and developing
spalial slructures, figuration, i. e. strudure, form and appearance
of a region can be jointly shaped and designed for the fu tu re. On
the olher hand, funct ional and spalial relations can be improved
by designing mobility, settlemenl and compensation areas, as
well as regional hotspols (cf. tisinger / Kurath 2009, 87; Schafer
2011, 36).
~owever, at first, urban design conceplion merely exists
on paper. lt is only translate d into space when corresponding
chains of adion are prolonged and p lanned interventions are
physically implemented in the sense of urban design conceptu-
alisation. In this implementation phase, unpredidable deve-
lopment dynamics lead to new interests and needs that may
challenge urban design conceptualisation within a design or re-
search process. In order to avoid this, it is of key importance
that we as architects proadively supervise and support urban
development processes. Together wilh urban design conceptu-
a lisation, established implementation rules and cross-discipli-
nary supportive bodies enab le us lo adapt the concept or to
(re}integrate allered content wilhout losing sight of the over-
view and targels of urban design conceplualisation. While the
47

Downlown Alhletic Club, 1931, New York. From Rem Koolh aas thi s sky·
scraper is an explanatory model for structural layering and vertical schism
as well as for lobotomy, i.e. the separation of content and appearance
( Koolhaas 1999, 91ff.). Koolhaas later translated that separation of struclure
and process into different urban design principies, such as evident in
O.M. A./ Rem Koolhaas's 1982 competition entry for the Pare de la Villette
in París (cf. Koolhaas 1995, 936).
URBAN DESIGN PRACTICE: - CONCEPTUA L URBAN DE:SI GN
spatial set of rules of conceptualisation (structure) acts as an
orientation aid for societal negotiation processes, supervision
and supporting processes of urban development help to identi-
fy changes and unpredictable phenomena in real time and
to re-appraise the situation at any time in order to determine
further procedures in the implementation of urban design con-
ceptualisation together with landowners, investors, residents
and politicians, etc. Various participants are thus invited to col-
laborate in shaping the city as well as to enrich the urban design
concept with content (process). Hence, it becomes evident
that conceptual urban design is not only based on robust con-
cepts, but that it also calls for an implementation strategy
(cf. Eisinger / Kura th 2009, 88 ).
In that sense, designing as action theory is of crucial im-
portance. While we draw on basic spatial strudures when de-
veloping an urban design concept, at the same time filling and
enhancing it with new functions, programmes, interests and
content, it is also the task of architects in the phase of imple-
mentation, to consider the unpredictable, to link it to existing
urban design targets and translate it into an urban design con-
cept - in order to replenish urban reality in the frame of the es-
tablished set of urban design rules (Kurath 2011, 548). Hence,
fixation is replaced by "the creative moment of cooperation
and integration of differing interests. In t hat way, it is possible
to establish common solutions resting on urban design princi-
pies" (Eisinger/Reuther 2007, 82). Although structure, form
and appearance of cityscapes develop out of the process, the
laHer, in turn, is also determined by spatial conception as an
orientation aid and through the architect's proadive interven-
tion. Hel'e, the "autonomy of architecture" is preserved insofar
as alien parameters are no longer excluded, but that rather the
independence of architeds' work is retained - which deter-
49
 URBAN DESIGN PRACTICE - CONCEPTUAL URBAN DESIGN

mines the quality of how highly different, even controversia!

concerns are translated into spatial rea lity.

App lication and delimitation

Designs generated in the 1980s and 1990s by O.M. A./ Rem Kool-
haas such as Ville Nouvelle Melun-Sénart in 1987 or Pare de la
Villette, París 1983, are considered as early examples of concep-
tual urban design.
Thomas Sieverts (author of Zwischenstadt, 1997) and Karl
Ganser (manager of IBA Emscher Park) were dealing with similar
topics at the time. Current urban planning projects such as lau-
sanne Ouest or Íle de Nantes show certain parallels to those
rather theoretical beginnings of conceptualised urban design.
Resilient spatial structures as a basis in urban design conception
are used both in Nantes and Lausanne - in Lausanne Ouest,
known as Schéma Directeur de l'Ouest Lausannois and in
Nantes, as the Plan-Guide. During both urban planning projeds,
implementing agencies and expert bodies accompany urban
design developments in situ with the participation of those di-
reclly affected, in order to extend the urban design concept, if
necessary, or to steer d evelopment dynamics onto the right
track - from lhe perspedive of the discipline ( wbw 2010; Coen/
Lambelet 2012).
According to Umberto Eco's remarks on the openness of
artworks, conceptual urban design pursues the premise of an
open system that neither has a final or definite form, nor that it
can be developed in a prescribed direction (Eco 1973, 28). In its
basic constitution, conceptual urban design is, for example,
related to conceptual art of the 196os and 1970s. This is charac·
terised, above ali, by the fact that conception or mental struc-
ture starts to break away from its material realisation. At the 0 . M. A./ Rem Koolhaas , Pare de la Ville lte , Paris, compelilion entry
1982. The plan represents the spatial set of rules, which define how the
same time, the beholder of art is invited to actively participate park can be appropriated in different ways over time.

so 51

in art, to interpret it and to gain their own access to it (Marzona
2005, 7). In an open artwork, the transition between artist/ au-
thor and visitor / performer is fluid and individual authorship is
no longer clearly discernible {cf. Eco 1973, 41).
In this aspect, conceptual urban design differs from com-
positional urban design. While openness is part of the princi-
pie of conceptual urban design, compositional design is a
closed concept. Compositional urban design focusses on con-
ceiving a j uxtaposition of individual objects that obey a high-
er-ranking compositional set of rules, most of which are based
on principies of an ideal mostly related to historical seltings.
Moreover, compositional urban design restricts t he scope of
imple mentation, when it comes to architectural design and ma-
terialisation, etc. As a rule, the authorship {master planners and
selected architeds) plays a central role in the implementation
of urban design concepts and of architectural design. Due to
spatial dependencies, compositiona l urban design based on
ideals relies on the fact that all buildings are designed within a
very short t ime and that as few actors as possible are involved
in the implementation process. Should this not be possible, the
risk of only being able to implement parts of the composition
due to t he imponderability of societal development - with the
consequence that the intended spatial concept cannot unfold.
In other words: the smaller the perimeter of the area to be
planned, and the less investors and property owners are in-
volved, the greater the chances are of realising a composition-
al urban design successfully.
By contrast, conceptional urban design is suitable for de-
sign projects, which often require a multi-year implementation
phase with a n open end. This design approach is also appro-
priate for projeds involving a large number of parlicipating and
affected actors. As opposed to urban design that harks back
URBAN DE SIGN PRACTICE: - CO NCE PTUA L URBAN DESIGN
to an ideal and is often in danger of losing its connection to re-
ality, conceptual urban design based on Wirkungsgeschichte
{history of e ffects) - in t he sense of a "work of cultural exten-
sion" - utilises relationsto society very productively {Pickering
1995, 4; Bormann et al. 2005, 120). To summarise, conceptual
urban design is appropriate for planning on a cross-quarter, i. e.
urban scale, taking into account problems of dealing with real
estate, choice of building typologies, development of open
space, q uarter, t raffic and access infrastructures, functional
and spatial interdependencies, ground floor uses, mixed uses,
locational qualities, lifeworlds, and dwelling layouts, etc., i.e. of
societal, economic and ecological topics and dependencies. In
this sense, conceptual urban design represents an urban de-
sign that not only aims to create a " nicer", but also a "pros-
perous" city - i. e. urban design that seeks to link physica l and
material realities with its social, economical and ecological di-
mensions (cf. Eisinger / Kurath 2009, 82).
Methods and urban design practice
This collection of methods is closely related to understanding
and to the rules of conceptual urban design. Content and knowl-
edge, which yield spatial and social content for the later rules of
conceptual urban design, are derived t hrough the application of
t hese methods. The photographic approach for example helps
to alter seeing habits, in order to newly behold familiar sights
and to thus develop traces for the design. The morphological
approach helps to uncover permanent spatial structures of city-
scapes. Diagrams, mappings or models fac ilitate the represen-
tation of complex interdependencies and the reading of spatial
structures and urban d esign intentions. Light is shed on interde-
pendencies between lifeworlds a nd spatial realities through the
sectional view. lt is thus possible to illustrate the relationality
 U RBAN DESIGN PRACTICE - CONCEPTUAL URBAN D!:SIGN

between society and space and society and planning. The sce-
{ nario method shows us how societal changes impad space and
''t which spatial structures could prove resilient in future. The
overall urban design concept is used in conceptional urban de-
sign to communicate urban design targets and thus to form al-
liances with other actors. The urban design Leitbild also serves
as an orientation aid for the implementation of urban design
objedives. Test planning, in turn, is used to fathom out possibil-
ities of developing a priori elaborated and open urban design
concepts ora concrete spatial situation.
Basic:ally the methods of urban design prac:tice dis-
cussed here are intended to find well-structured and com-
--·-. . .... prehensible answers to unresolved questions. Because of
this, the following methods are presented together with a pos-
sible introdudory question. This collection of methods is nei-
ther complete nor does it claim to be a problem-solving or de-
\

+ sign machine. Horeover, the methods presented here do not

stand for a closed didadical concept to convey design content,
but rather aims to provide support for identifying research and
design-related content in the process of problem solving or
designing. That is the declared intention of these methods and
this handbook.

: .,.,_; ..-
.... -.. •\ .
·'

Damiana lmh of, Urban Project HS10: sketch of resistant spatial structures
su ch as topography, water bodies, thoroughfares, infrastructures,
plots, monuments, typologies as a design approach to a possible matrix for
a suslainable urban istic concept using the Cana l de Huningue region
asan example.

54 55

Bryan Grossenbacher, Urban Projecl HSll. Bryan Grossenbacher's urban
design concept is based on a morphological approach to the entire
Wiesental valley on a sea le of 1:25000. A spatial basic grid was derivad
from it and refined fo r the in-deplh a rea of Stettenfeld. This grid
establishes the basic structure of the area and regulates future spatial
developmenl. Within this set of rules and according to thelr location,
existing characteristics and dimensions, ind ividual parcels of land can
be furnished with new uses , programmes and specific building typologies.
Duri ng this transformation process, the cultural landscape character
of the basic st ructure forms a spatial, i. e. id entity·generating constanl.
URBAN Dl<SIGN PRACTICE - CONCEPTUAL URBAN Dl<SIGN
Literature
Amin, A.s h and Nigel Thrift: Cities. Reimagining the Urban, Cambridge, MA:
Pality Press, 2002
Bormann, Oliver et al.: Zwischen Stac:lt Entwerfen, Wuppertal: Müller •Bus-
mann, 2005
Caen, Loretta and Carole Lambelet (eds.): /m Westen die Zukunft. Richt·
plan Lausanne West, Collion: infolio, 2012
Eco, Umberto: The Open Work, Cambridge, MA: J..larvard University Press,
1989
Eisinger, Angelus: Stadte bauen. Stadtebau und Stadtentwicklung in der
Schweiz 1940-1970, Zurich: gta, 200.4
Eisinger, Angelus and Slefan Kuralh: "Jetzt die Zukunft. Einschreibe·
prozesse soziotechnischer Stadtlandschaften", in: GAM s. 2009, 80-91
Eisinger, Angelus and Iris Reuther: Zürich baut. Konzeptioneller Stadtebau,
Base! et al.: Birkhauser, 2007
Graham, Stephen and Siman Marvin: Sp/intering Urbanism, New York:
Routledge, 2001
Koolhaas, Rem and Bruce Mau: S, M, L, XL, New York: Monacelli Press, 1995
Koolhaas, Rem: Delirious New York. fin retroaktives Hanifest für Manhat-
tan. Aachen: ARCH+ Verlag, 1999
Kurath, Stefan: Stac:ltlanclschaften fntwerfen? Grenzen une/ Chancen der
Planung im Spiegel der slac:llebaulichen Pra.xis, Bielefeld: transcript, 2011
Marzona, Daniel: ConceptualArt, Cologne: Taschen, 2005
Pfeifer, Anne: "Die Qualifizierung der Stadt bedarf einer Qualifizierung der
Planer", in: Vittorio Magnago Lampugnani and Matthias No..11 (eds.):
Sladtformen - Die Architeklur c:ler Stac:lt zwischen /magination une/
Konstruktion, Zurich: gta, 2004, 300- 309
La tour, Bruno: Die J..loffnung c:ler Pone/ora, i:rankfurt am Main: Suhrkamp,
2000
Latour, Bru no and Albena Yaneva: "An ANT's view of architecture", in: Reto
Geiser (ed.): Explorations in Architecture, Base! et al.: Birkhauser, 2008
Pickering, Andrew: The Mangle of Pracfice, Chicago et al.: Universily of
Chicago Press, 1995
Rossi, Aldo: Die Architektur der Stac:lt. Skizze zu einer gruncllegenclen
Theorie eles Urbanen, Munich: TU t-1ünchen, 2006 (1st edition 1966
Marsilio Editori, Padova)
Schafer, Markus: "Standortmosaik Zürich oder die Ókologie der Erreich-
barke it", in: anthos 2, 2011, 36-39
Sieverts, Thomas: Zwischenstadt. Zwischen Ort une/ Welt, Raum und Zeit,
Sladl une/ Lanc/, Brunswick: Vieweg, 1997
werk, bauen + wohnen 7 / 8, 2010: Nantes
57

Scenarios
Since urban design no longer unfolds against the backdrop of
predictable developments, we need to find adequate working
methods. The following method illustrates the systematic devel-
opment of possible futures, which adopt the form of narratives
and stories. Because scenarios lead into the future, they are con-
strued on the basis of differing assumptions: they oscillate be-
tween fiction and reality. lf we postulate scenarios, they repre-
senta kind of reality dueto that assertion, which often becomes
a self-fulfilling or selfdestroying prophecy or which, al least, has
strong repercussions on itself.
The scenario does not intend to provide a forecast, al-
though it is based on social, political and economic lrends. The
scenario contains a spatial and pidorial idea of future lifeworlds
and lheir inhabilants (cf. sedional view). The development of
severa! equal stories liberates one from the urge to deliver a gen·
erally accepted solution for a problem. As we know, not even the
problem is dear when it comes to complex interrelations. lt is
not the identification of the most probable f uture that is the
goal, but rather to gain knowledge from the comparison of sever-
a! possibilities. This focusses our view for interrelations and
decisive parameters, thus preparing the way into the future. This
comparison can then ultimately be represented asan example in
the form of an overlay of different scenarios. In that sense, the
approach is often seen as a ucomparative scenario method"
(Salewski 2012, 300). In an overlay drawing, relevant elements
that have been considered in several scenarios can be easily rec-
ognised.
The most imporlant requirement for a successful scenario
is its p lausibility and comprehensible way into the fulure, which
60
it projects. Scenarios seem to be suggestive, are convincing, fos-
ter interest and polarise, so that the future becomes tangible,
and crucial decisions can be made.
Background history / theory
1
Strategic planning is a method that originales from economic
sciences and from the military, and which was adapted in the
1970s for urban planning (Salewski 2012). Shining father figure is
futurist Herman Kahn, who was eternalised in Stanley Kubrick's
movie Dr. Strangelove or: J..low I Learned to Stop Worrying and
Love the Bomb (1964). Amongst other precursors were The Lim-
its to Growth, authored by Dennis and Donella Meadows el al..
with which the Club of Rome first showed up in 1972, and scenar-
ios designed by Pierre Wack's team (1922-1997) in the event of
an oíl crisis, based on which the Shell company was able to re-
align herself earlier than expected following the catastrophe.
l=or severa! years, the scenario method has been applied
and tested al the lnstitute Urban Landscape in severa( runs: as
an abridged procedure with given scenario stories (e.g. in the
project "Rijeka" MSST UD ~S 2008 or Leibnitz summer school
2009) as well as an extensive procedure (e.g. in the p roject
"Latente Landschaften" (latent landscapes) MSST UP HS 2009
or "Zukunft Oberwinterthur" (the future of Oberwinterthur),
MSST UP HS 2012), in which student.s developed stories. In this
process, the scenario method was refined further to create a
3-phase model: scenario narrative, project and comparison. The
r omparison as an overlay drawing to finalise the semester
("Milchbuck" MSST UP FS 2011 project) enabled the students
for the first time to draw conclusions for planning from what the
designs had in common.
61
 .
UttN,~tUtr!Odll1IH1i1ii111:,11 1.J' 1 n1··, 1 1 ~, · , ,

SCG:NARIOS

Literature, other sources

Koolhaas, Rem and Bruce Mau: S, M, L, XL, New York: The Mona-
celli Dress, 1995
Meadows, Dennis L. et al.: The Limits to Growth, Washington:
(
Potomac Associates, 1972
Salewski, Christian: Dutch New Worlds. Scenarios in Physical
Planning and Design in the Netherlands, 1970-2000, Rotter-
dam: 010 Uitgeverij, 2012
Scholles, !=rank: "Szenariotechnik", in: Dietrich !=ürst et al. (ed.):
J-lcmdbuch für Theorien + Methoden der Raum· und Umwelt-
planung, Dortmund: Dorothea Rohn, 2001, 206-212
Schurk, Holger: Research Design 1 - Architektonisches Arbeiten
zwischen Kunst, Teclmik und Wissenschaft, Winterthur: Archi-
tedure Course, ZHAW, 2008
Schurk, Holger: Research Design Methoden 7 - frkenntnisse und
Produkte in architektonischen Prozessen, Winterthur: Archi-
tedure Course, ZHAW, 2009

"The Great Esca pe - Europe of Contrasts" describes the first of five

scenarios on the future of our continent. The projed called "Prelude"
"'ªs commissioned by the European Environmenl Agency of the European
Union. In illustrative short films, five stories on possible futures of
European zoning. were shot in 2007 as a summary of the technical report.
Their simp le form, different genres and convin cing. albeit sometimes
exaggerated stories, render them exemplary for scenarios.

62 63
 SCENARIOS

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O. M. A./ Rem Koolhaas, Zuidstad. l-low does l-lolland develop as a city
with the dens ity of Manhattan or Los Angeles. if its bui lding
developmenl is spalially compacted? Rem Koolhaas changes this question
in toan intelleclual paslime. which his O. M. A. agency plays through
in a sequence of simple graphics conveyíng the scenaríos understandably
and convíncingly.
Holger Schurk, Diagram for vísua lí sing the scenario method. This díagram
vísualíses the scenario method system based on an ana lysís of driving
forces (systems analysís). recording severa! possible development tre nds
(development paths) within a certain frame (scenarío Funnel} as well
as the resultant scenaríos (ímagined futuros). Withín this íunnel, actual
developments are assumed .

64 65
 SCJ;:NARIOS

Scenario narrative: Quarter for the e lderly and families

While in Switzcrland, it is assumcd that the birth mte will stabilise
at i.5 cbildrcn per wornan, life expectation will increase at the

' same time. As a consequence, the proporcion of elderly people will

increase. An ageing soeietywill have an impact on numerous
scctors: cducation and heaJth care, labour market, social security
as well as living and mobility. According to demographic scena rios
ofZurich, therc will bt: more clderly people and more families
wil11 children living in Zurich. In particular, lhe centrally located
Milchbuck quarterwith its quiet residential atmosphere is an
ideal Jiving environ mcnt for both groups. lts buildings, many of .
which nced renovating, will have to be adapted to va rious different
social groups orto be upgraded. At locations with central func-
tions and good public accessibility, the dcrnand for assistcd living
for the elderly, rcsiclcnccs for the elderly, family care and other
new forms of livingwill increase. The adaptation of housing
-
typologies, offcrs of infrastructurc in the vicínity of the dwclling as
well as considering possible potentials and conflicts in the use
of priva te and public spaces need to be given special atten lion
from an urban desigi1-related point ofview.

The narrative is fed from different sources: trends and challenges in
spatial development - background informalion on Raumkonzept Schweiz,
UVE:C, 2010: Soziodemografischer Wandel - Raumentwicklung und
Domographie. Forum Raumentwicklung 2/2007 ARE:: Bevolkerungsprog-
nose der Stadt Zürich. Ausgabe 2010; Kurz. Daniel. "Wohnen im Alter -
Bauen für das Alter", in: Axel Simon (ed.), Wohnen in lurich - Reflexionen
unc:l Beispiele 1998-2006, Sulgen: Niggli, 2006.
Adrian Zwahlen, Urban Project FSll. Adrian Zwahlen translates his scenario
into a sectional view asan initial 11lustration of future fife worlds.
The subject of the scenario represents a possible future of the Milchbuck
quarter, which is becoming more attractive for the elderly and families.
1-lousing typologies adapted to these segments, good connections with
public transport infrastruclure, structural densificalion along
the streets and a varied offer of uses in green courtya rds have been
visualised as initial measures

66 67

'
Adrian Zwahlen. Urban Project l=Sll. A structural densification along
t he slreets strengthens the edges of the "island". Adrian Zwahlen
transposes the current creed of Swiss zoning. i.e. the claim for an "inner
densification" to the Milchbuck quarter. l-lence, this approach
consolidales public space and. at the same time. exte nds mixcd uses.
Embedded within are p rotected thoroughfares for pedestrians
cyclists, families and the e lderly.
68
SCENARJOS
Petar Jenni, Stefan Kurath. Overlay drawing of ali scenarios for the
Milchbuck. l=indings from the scenarios only become really
visible whcn they are compared. One possible way of doing that is
to overlay drawings of urban design structures of ali scenarios.
The "lsla nds'' projecls are highlighted in orange. In their interplay
with other projects, structural properties emerge which will play
a key role in the future.
69
 Test planning
As a rule, three actor groups partake in the test planning pro-
cedure. They consist of clients, expert groups and different
teams of planners and designers. The design team independent-
ly elaborates proposals based on the defined task within defined
conditions. In the frame of intermediale discussions, solution
concepts are discussed and enhanced according to recommen-
dations by clients and experts. This can also involve a further pre-
cision and in-depth elaboration of the task in question. The basic
requirement is that all teams work on the same tasks within the
same frame conditions, which are rather related to concrete and
realistic requirements and less to assumptions with a low prob-
ability (as opposed for instance to the scenario method). The goal
is to elaborate concrete implementation variants within spatial,
economic, socielal or urban design-related conceptual frame
conditions. The aim of the experl group is to gaín knowledge
from the process. Thus, knowledge production results from the
comparison of various different outcomes. That is why there
should be a broad range of implementation variants. lt ensures
the identification of a plausible fine of action as well as to judge
the plausibility and suitability of the conditions defined before-
hand. Guidance for action addressed to the clienls is then de-
rived from the synthesis and evaluation of the works (cf. Signer
200 7, 52ff.). Thus. the test planning ensures a syslematic explo-
ration of possibilities, but also of conflids, opportunilies, difficul-
t ies and unresolved questions (cf. Scholl 2007; Signer 2010).
The end of one test planning is always the starting point for
the next planning tasks. Existing planning seHings, for instance,
are adapted and tra11slated into a layout plan andan overall quar-
ter development concept. or existing buildingand zoning regula-
72
tions are revised on the basis of the test planning's findings . In
other instances this synthesis enables the clients to determine
the precise implementation programme, for example of a trans-
port infrastructure lo be planned or realised, or the spatial pro-
gramme of an architectural competition. At the lnstitute Urban
Landscape the test planning procedure is also used to test the vi-
ability of initially designed frame conditions (for example, urban
design conceptíons), in order to optimise them.
Background history / t heory
Test planning was for the first time adapted as a method of urban
design in the frame of the planning procedure for developing the
a rea along the Da nube in Vienna (cf. Freisitzer / Maurer 1985),
The development of lhe test planning procedure is a reaction to
the assertion that in architecture and urban design nothing is
right or wrong. but rather that finding a solution should occur d is-
cursive ly as well as by comparing advantages and disadvantages.
Test plannings contribute to finding a solution (cf. Scholl 20 07;
Signer 2010 ). As opposed to the scenario method, which is based
on social lrends, test planning builds on present day require-
ments and desires of different actors (such as estate owners,
investors and the public sector, etc.) and concrete realisation
intentions, whereby content from participalive proceedings is
increasingly fed into test planning.
73
 TEST PLANNING

Literature, other sources

BUNO STAOT
Freisitzer, Kurt and Jakob Maurer (eds.): Das Wiener Modell,
fr{ahrungen mit innovativer Stadtplanung, Vienna: Compress,
1985
Scholl, Bernd (eds.): Langfristperspektiven für eine integrierte
Raum- und fisenbahnentwicklung am J..lochrhein und Ober-
rhein, Karlsruhe: Universitatsverlag Karlsruhe, 2007
Signer, Rolf: "Testplanungsverfahren in der Raumplanung'', in:
JURY z
w 1
7
3
r
Bernd Scholl (ed.): Langfristperspektiven für eine integrierte 2
<.>
iü
a::
Raum- und fise nbahnentwicklung am J..lochrhein und Ober- z w
<O
w :::>
rhein, Karlsruhe: Universitatsverlag Karlsruhe, 2007 1-
a: ~
z
w 3 PROJEKT·
Signer, Rolf: Lehrmodul Testplanung, Zurich: lnstitut für Raum a. o
w
X LEI TSTELLE o
~
und landschaHsentwicklung, Spatial Development profes- i1í
~
1-
(/)
sorship, 2010 oz
::>
z
::í
a.

VERWALTUNGSSTELLEN

The Vienna model as the malrix of test planning. Organisational

slructure test planning proced ure "Danube area Yienna...

74 75
 i.
•..,.
,.
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1
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-

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g;:::a:z.., 1 ---nr.:.:~

Five test d rafts by the competition teams Potyka/ Kattinger / Werner /

Frohlich / Karger / Janig, Glück/ Becker / Hofer, Merchalek /
Ladstatter / Ganlar, Ekhart/Hübner, Christoph/ Lintl. Their drafts explore The jury's synlhesis plan. ll visualises the jury's recommendations
the spatial situation and urban design potential of the Danube area. to the d ient emerging from the d iscussion on test drafts.

76 77

1 [
In the 2010 s ummer workshop "Zurich: interna! borders - exte rna! borders",
organised by the lnslitule Urban Landscape, students and teachers
from the universities of Split and Ljubljana, the Universidad Politecnica de
Valencia, TU Wien and Z~AW logether with the Deparlment of Urban
Design of the City of Zurich dealt with Werdwies. Affoltern and Susenberg
regions. Four student groups (planning team) Focussed o n the
Werdwies area in the Limmatlal valley a nd elaborated test drafts which
were discussed by teachers from !hose different universities (jury)
at the e nd of the week. When juxtaposed, the test drafts show that linear
structures such as the Limmal river, the motorway and railway in
Limmatlal valley can be read and slaged in different ways. Results of the
test planning we re published as a brochure and handed over
to the Department of Urban Design (client) as a synthesis report.
78
HST PLAN NIN G
Natalia Nogueira Leceta, René Schnellmann. summer workshop, Zurich
2010 . A team of Z~AW developed t he concepl of a so-called cellular
landscape from reading the overlay of linear elements such as the Limmat
river, motorway and various infrastructures. Th e basic structure of
the urban design concept is based on spatial definition and qualification
of cellular edges. The inner part of the cell itse lf can be used for
various functions and atmospheres. This concept offers both a robust basic
structure (spatially defined and consolidated cells) and the possibility
of independently developing individual cells within differenl periods of
time (process).
79

1 1
Deborah Suler, Adrian Zimmerma nn. s ummer workshop. Zurich 2010.
A different team of ZHAW focussed o n the limmat area in re latio n
to the entire Limmat region betwee n Zurich and Baden. In this concept.
linear open spaca acts a s a leisuro and rec re ation space for th e whol9
region. This is accordingly programmed through different le is ure facilities.
W hile anlicipating an increasing interna! de nsification of neighbouring
settlement areas, this approach e nsures essential long-term open spaces
in Limmattal valley.
80
HST PLANNING
.: ·,~...
g ·
~1 #-!->. •
Ana Krstulovic, Luka Muzinic, Mirjana Rados. summer workshop, Zu rich
2010. As opposed to the othe r two concepts that accentuate
•mpartmentation and linea rity of the landscape space. the proposal made
by !he University of Split's team deals with crossing the Limmatta l valley
• a topic. Their concept proposes topical relations at right angles to the
l 1mmaltal valley, which need to be developed and programmed diffe rently.
In particul ar, lhe ir proposal inle nd s lo improve and st rengthen s low
fraffic relations and thus. access to the Limmat area, as well as re lations
between both sides of lhe valley.
81
 TEST PLANNING

Statements

..,.,..,-l .~:YO:t"o1 •r1,lt;cft'IJ .... :~o¡r--p ,·:~? p:!"J " S.w;l"l'Wg...,... IK, zt.,lt).~ 11 'nre d ~ ••• oo--
~>W-r ~ ex~·~,~- · !.11::"'.or-r m1d OtJl c~~ a. l1>~ r6IM '.' ~ .-d b!f'tC"t l'M Qreeil
- ..l G..idllr'tliltorto.c~ -~.J'T]~'Q).'!> COS"l!I:X9Mt-:.,:fnc,iZIJl'r"f1 0-.d~S)Ol"Ahtw
...... - .-T-'31!: ~1J '" ~.·:<"-~ ~ ... \...
1..11:«'¡ )'"Jn:..... '"• baró.=>T~... ·yr-. - h!:~f.o..:J3't..J. - ~J
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~. .- ~up Tf'ell'l'IC~ •"ldiCOT'tonN ano~!-._,.. l '°"W! ~-"° t-~ n.wv P'\-'D n('r"'lit6 r
..·1:--·!,,... .i,'tl1on!Jtv..v:.1 ,.~C'l'!'.!M""--ltvli r; _ !j ~'lf°I) MC"'....;;cr'_.,:,.;;.:.~~"t>

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-...:uo oc·~ r;o."IJ.lt'& <»'.+·"':<J Me ~se.ecf t"l8 1-tui ~.l'9 d%tr btt.:J 3>..-ct":J ...., ~~. " ......-!(~' Cari
1••.:. ll-a~n1._,iif:.·Jn c.Jll_•.Jtn;10fillp¡¡rrN>~··'lf'Iº ....>!~l:d t..:,".slf / 11(..-' <'V r..'W& ;.e-..• ·~:·:;,,a'!\ 1•n::h·
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!'IO.ll wa ~ -'M.r.od .11 c::::roh'Ztt >:::oks fOY t._ ~._,~!10Wlif.,atfiQA~ ~-..ea 4•q.?
~':.,,,,e ·- :.in."St"9)......,tJa:cra~~aUc.t
\ ',-r.::-grr. t"Poome..f\fcfl..-Jte!-- ~,a.:r~onP
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f'".¡rda~~1 toOfJC1-1Fri11Ri11-'tl'IQIA;t,
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""'"""""' ._fillll'.J .l t .., ..o.á t:.::k to k•.J ~ r r.c""ft'a wiJ ll'•'C'
~!..:tl:"lXtiad'~·"·-::sac:-: ~, ~ .-..f'laCttT"' -~~ ..
a.el.!!·: : ,..~-e~i:...:~:.cut.dce&JrTJ
...., .... &~~.. """~ , .. . ~ ) ~:~O-'lf"'
t'•l"IO"a~Ot'OflC' ~Q:61c!O'\Cl~_.t,,oec:e
f'W'."\l..tlli!6:AU J:.(~Cf"lt'lSlfJ..,n~O¿.·:•ll'lf)
..,... ti L.ril" ~ r~"x:'..!71 CJ"..:I co-~-Tta'1l ,WJt.J
"Th:~~¡~10r '.0. n:;r.-..,..IOCC'ld:ii<.:
~t"'-MOttwtd•f\N~ l'a•~
r.J.. _.__~ ....."Oml(IC l'hr' & - ~~olCilWnr~JI.. ~-- "lf"'lt'I
d.f"J"9 :....- ~ ,t"Jr;o cr ... -err
~~--i oc.:::::::;:u., n ~
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~~~""nl$!,ll'l(t~:lf't'letoMot b
t~..:t'4:~bc~\.'J alr:J1'"W"-?"~4:1 1l:;
·~ ...- -.-.--~"~ ~ -.,,~~:r~t"'"" ':.f-<;-~~OF-·c.ovr'lolW"S IRX"--~ ..... r -·
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A°"Ole ·~ C1' Q.'"~I l.heor::".tl <!"'f~ºClfhl U11 w·~ h!'d e e~ tv:re e..'l!J t!°lCf\I Wl""...;n.:r• u ..,...lld
"- Ccrx".Q~ · ~ac.s~ H,;1_1"111!'.'!tOI CO""l""O"ClCn f\l'lf'\llttl!!pr~~~ -..•,,._., S"d l'!IQ'N
• ~,.::r- 1 ~P. ..••6J~ctn<f,to1 (-i).Jll'f\..Y~,.

6::.1 2 ' rn-'..MJil: q u o\"'ld'I Oill6wJ ~ C-V.\

tt-~~dot 6ft1Mac:c' "t"VV'"*
• ~ •7V.1t"«! fl'\º _, &Y1•--* O'UlllW"l IL...,.·"1"9, a:::rr~ l.V OfOCn1:.:: ..,,...~ ~"").nUJrn
,.,..., t•J:¡.:r.lt"l~~J~'.ti!Ch(;_l
l~tt" .../lllC&tor ..., <J..:r i=~"\r &,?'-~ IOC."" 11r11Je...t1tr ; r rt... r.o:.::h::i:ut~?c-...:."Yl""i'Jt'fr»il
\.cait'..::IP"" - ~t)!MrWl!) Atl0lf~LI~no1
e "..JllOl'3' ana ~ ó:Jil!IC'l..-"ed
-~q.·• ..,,. . . .
o1.-•W'l!r'sd&o:....ll~ ' .,4t!F.._ de:si.nJ~s. 9'14 ~ ceca-1 "-- ....'O'"<.nOP ~ por.a...,
"'f°.-:S !l ""J...)." ·~,,.,..,~-...t--- ~
a.-.
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4"W.l't~
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'A~~- 3 [IF""..sa t:ocr..:..-. \..)" ~ ~JVlr'W•
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l#fi.6-•"'!De:-""1ofa.IU'llll :..t'..J.:íl.~~r··~tt:r.·-"J.'<J ~.,..,.IC._...,.~ ,..._. Dr9 l,:;l ,\ 3e""'4c/t""i!S3TB~I Í~
,.-.-.::top Q!!'ll ~Qf~flJ ......... •-.d- Ctr't ~ m.- -g•cu~ ::no!0(), 1n·~J ~º"' OUt", a-.-i
Carmen Garcia Jiménez, Sara 1'1ira Garcia, l=ernando C. 1'1iralles, summer , ,o..~~':lfhf.,t*')°lfllO.Oift .. i;:x::a-...:t ~~~f'·'e'°)bo:t, '°'t>..;.rroi0-?•4-"POMCJlt'"

workshop, Zurich 2010. The Team of Universidad Politecnica de

Valencia dealt with possibilities of strategically developing the urban space
between the main rai lway station and Werdwies. With their formula
''Program NOW - Program l=UTURE~ they suggested creating new inten·
sive public uses and facilities at various dífferent locations, with the
aim of stimulating the area a long the Limmat river in many different ways.
Excerpt from the test planning synthesis reporl,
summer workshop 7010. Jury and responses from leachers
from Ljubljana. Split, Valencia and Vienn a.

82 83

Urban design
"Leitbild"
In overall urban design concepts like t he Leitbild, higher-ranking
urban design development targets are determined in agreement
with diffe rent aclors. The advantage of overall concepts lies in
their plasticity and pote ntial to ignite emotions for what has
1 been planned. Accordingly, t he ir development factors need to
relate to spatial and social peculiarities as well as allow for quan·
t italive and qualitalive aspeds. Leitbilder often accompany the
start of urban design planning tasks asan informal tool without
any legal effective force. Then they are refined through olher
methods, as a result of which, at best, the targets remain con-
slant.
Overall concepts such as these are used to clarify complex
urban design problems, communicate spatial concepts and ulti·
mately, lo create alliances for a planned future. The part of the
term denoting illustration cannot be reduced lo illustrative
power, as it ralher relates to plasticity. That, however, is often
critically described as follows: trivialisation of content, simplifi·
cation, suggeslion, ideologization or the anticipation of the pro·
cess due t o the determination of images. Accordingly, overall
concepts are nol only inlended to be illustrative , but also lo
make spat ial, structural and strategic statements.
In Switzerland, Urban design Leitbilder are mainly e laborat-
ed by municipal and council authorities or are assigned by them
to architedural or planning studios. l=requently, test planning
tasks and negotiation processes are conducted with the actors in
question in order to create urban design Leitbilder. These over·
all concepts outline targets of spatial development by means of
86
analyses, texts, layout plans, charts, model photos, spalial col-
lages, and so on. Since a Leitbild. as a modus vivendi, represents
a point of orienlalion in the societal negotiation process, its spa·
tial implementation requires the proactive support and partid·
pation of the author.
Background history / theory
In the history of urban planning, overall concepls or similar ex-
pressions such as "guiding idea" were coined by Hermann Joseph
Stübben in 1924, or "guidelines" by Le Corbusier in 1925 {Kuder
2001, 5). They reflect both the ideology and criticism of that
time. The reconstruction period following World War 11- the real
1
cradle of the discussion on overall concepts in Germany - trig·
gered a general criticism of the overall concept, which was for·
mulated by philosopher Theodor W. Adorno, amongst others. He
denounced the overall concept's authoritarian traits as being
~ conservative-functional cultural crilicism" and the "subtle mili-
tarist sound" it conveyed. Adorno's criticism of the Leitbild is a
child of its time, but il is still va lid today, especially in a rigid p er·
spective that detaches itself from the process and the blind urge
for patent remedies. Since the mid-199os, an imporlant function,
namely as a signpost. has been ascribed to t he overall conce pt in
urban planning; it has since become an informal planning tool
which has again shifted to the centre of discussion.
87
 URBAN DE SI GN LEITBILD

Literature, other sources

Adorno. Theodor W.: "Ohne Leitbild", in: ibid.: Ohne Leitbild Parva
Aesthetica {1967 ], l=rankfurt am Main: Suhrkamp, 1968, 7-19
Becker, 1-leide et al. (ed.): Ohne Leitbild? Stéídtebau in Deutschland
und l:uropa. Stuttgart and Zürich: Karl Kramer, 1998 ti l l'Jn~ l er Raster Storung der Orei Ebenen Grossstrukturen und
Konter, Erich: "Leitbild - wozu? Versuch einer Klarstellung", in: OrthogonaliUt grosse Massstabe

Arbeitskreis Stadterneuerung an deutschsprachigen Hochschu-

[
len; lnst. für Stadt- und Regionalplanung der TU Berlín (ed.):
Jahrbuch der Stadterneuerung, TU Berlín, Berlin 1997. 53-60 -~ -.
Kuder, Thomas: Stéídtebauliche Leitbilder- Begriff, fnhalt, Funktion
und l:ntwicklung, gezeigt am Beispiel der Funktionstrennung
G:assen Hierarchisch über-
und -mischung (doctoral thesis), Berlín 2001 geordnete Verkehr.s -
Anon: "Leitbilder", in: Dietrich Henckel et al. (eds.): Planen - 1aume

Bauen - Umwelt. fin S-landbuc/1, Wiesbaden: VS Verlag für

Sozialwissenschaften, 2010, 308 -312
City of Zurich/ Department of Urban Design (ed.): fntwicklungs-
konzept Zürich-West. Leitlinien für die planerische Umsetzung,
Zurich 2009: www.stadt -zuerich.ch/ content/hbd/ de/index/
"• Ausblicke Physische Vernetzu ng Offentlichkeit in Durchgehende
entwicklungsgebiete / zuerich_west/ veranstaltungen_publika- der Freiraume Innenraumen Erdgeschosscbene

tionen / leitlinien_zuerich_west.html (accessed: 14/ 03/ 2017)

C ity of Zurich/ Department of Urban Design (ed.): Leitbild
Leutschenbach. Zurich-Seebach/ Schwamendingen. Grund-
satze der Gebietsentwicklung, Zurich 2012, https ://www.
stadt-zuerich.ch/ content/ dam/ stzh/ hbd/ Deutsch/ Entwick·
lungsgebiete / Weitere%20Dokumente / Leulschenbach / Ent ·
wicklungsplanung/ Leitbild_Leutschenbach_2012_web.pdf (ac· City of Zurich/Departmenl of Urban Design:
f he··guidelines" of the development concept for Zurich West a re similar
cessed: 14/ 03/17)
to the building blocks of an urban design Leitbild. The former
Zurich West industrial area possesses excellent traffic and transport
connections anda broad range of mixed uses. In the frame of a
co -operative development planning scheme. estate owners elaborated
basic principies related to development policy for Zurich West
t ;Plher with representatives of the city. The 12 principies are considere d
as inner and outer guard -rails of p lanning deve lopment.

88 89
 URBAN DESIGN LEITBI LD

" t111ktur und Freiraumgerüst

.»~¡-,
~({
... .., .. ,...., -1.: )!'!'o
t 1( "

hllossung und Nutzung

ª/>
\ -m -

.• .. . --
! "'i·"':tt Suau..,net.c

-
.... r--r-'"-'t
:-. ~· ::,,,,.,..
Vertiefungsgebiete
et: 'l .o&r ... , . . . , : : ••,,.,.,

tt.,u;htl.,'.(ft.~n ;:)-t-0"1)(Q "W)u~ 'Je"

f ~tJ"'-:'" " "_f'"' .....tJ!}:

.:;; =- Jl"lf! \e~ - .. ~-:."_.
"f :
f

t<•!
J J
..

.,
~

J'To•
-~•1'11
o

o
( 'Y!"l-+t_•_ l r k T ---~-~ : .
- :..n·
_.,,..,.
•• J s ..ru.t
,~,...~..e").

h,.tt. - ~.- ·
1
re lw't.ll"1"""'E'J

City of Zurich/Oepartment of Urban Design:

As regards the Leitbild for Leutschenbach. the City of Zurich.
estate owners, quarter representatives and the town of Opfikon
conducted a co·operative planning process anda test p lanning.
The overall concept is based on their resulls. ll is the stage direction Cily of Zurich/ Department of Urban Design:
bascd on which the area of Leutsc:henbac:h will be developed. Explanatory d iagrams for Leulschenbach LeitbilcL

90 91

Photography
Within the interplay of production and reflection during the de-
sign process, the advantages of the photographic method lie in
reflection and stimulation. As opposed to the drawing or model,
photography does not primarily "produce" the design projed,
but rather records, collects, focusses and cites - o r generally
speaking - it prepares material for reflection. In that sense, the
role of photography in t he design process can be seen as that of
a preparar and, partially, also that of a catalyst if it is true that
processes are triggered by synthesising topics.
"Documentalion" is a key factor when situalions are in dan-
ger of being lost forever, buildings are demolished or landscapes
are subject lo continua( change (e.g. Bernd and l-lilla Becher's
industrial plants). lntermediate results of design processes are
also "documented" in order to gain knowledge from them by
means of comparison. By "collecting" we accumulate significant
situations, objecls or details to densify the story of a place. "Col-
lecting" images can be done in a targeted way or can happen
mechanically (cf. E;d Ruscha). "l='ocussing" means that certain
thematic aspecls are emphasized by the very choice or compo-
sition of the image (cf. Tobías Zielony). "Citing" involves using
referential examples to illustrate certain design aspects. The in-
evitably focussed lens of the camera can be used to highlight
certain trends within a design projed (linearity of slreetscapes,
etc.). Zenith images could partially be read as a plan or map.
Photographs can also be regarded as a series of images. In
that way, a connection is made between the photos in an at-
templ to approach lhe genuine experience of a place. The most
radical form of the image series is the motion picture. l-lowever,
even those possibilities open to highly ambitious film editing are
94
a far cry fro m the complex connection of perceived images in
the human brain of a real visitor.
Clearly, photography reflects neither the architeclural ob-
ject nor the urban design-related situalion in its complexity, but
reduces the objed to single aspeds. As such, the photograph
is therefore a lways an "image of the absent" (Meili 1997, 24) - it
lacks the sweeping gaze, the smell, sounds and movement, or
changes to a place brought about by the time of day or season,
etc. In the architectural design process, this reduction and ab-
sence of aspeds are quite normal things that photography
shares with all other design media.
Background history / theory
The difficult, yet intimate relationship between architecture and
photography is very old. The beginnings of photography are
closely connected to the architectura l sujet. As opposed to t he
official propagation and legitimation of the medium as a means
of incorruptible documentation, we discover power, endearment
or artistic ambition as motives that undermine the purely con-
firming fund ion of photography (Confurius 1997, 15). Since t he
dawn of poslmodernism, in particular, the image has attained a
more significant role in the debate on architecture. Use of colour
and material, for example, are key factors (Lootsma 1997. 18).
95
 PHOTOGR A PHY

Literature, other sources

Confu rius, Gerrit: "Editorial", in: Daidalos 66, (December) 1997:

Fotografíe als Argument, 15
Benezra, Nea! (eds.): fd Ruscha, German edilion of the exhibition
catalogue t:d Ruscha at Wolfsburg art museum, 2nd l=ebru-
ary- 28t h April 2002, Zurich et al.: Scalo, 2002, 49
Lootsma, Bart: "Das Bild und das Yisue lle - e in Pladoyer für eine
fre ie Architekturfotografie", in: Daida los 66, (December) 1997:
l=otografie als Argument, 17- 23
Lynch, Kevin: Das Bild der Stadt, Basel et a l.: Birkhauser, 2001
( O rig.: The lmage of the City, 1960)
Meili, Marce!: "lnterview with Margherita Spiluttini and Heinrich
Helfenste in", in: Daidalos 66, (December}1997: l=otografie a ls
Argument, 24-39
1
Meye r, Martín: Wohnen im Glattal. Das Potential der urbanen
Landschaft Glatta /, master thesis. Zl-lAW, Zentrum Urb an
Landscape. 2008.
Nogue ira Leceta, Nathalie : Altes Armeegeliinde, neuer Lebens-
raum, master t he sis, ZHAW, Zenhum Urban Landscape, 2011.
Schnell, Matthias: Zukunft Altstatten. Strategien und Vorschliige
zur Umsetzung des Agglomerationsprogramms, master t hesis,
ZHAW, Zentrum Urban Landscape, 2012.
Stierli, Martino: "Las Vegas Studio'', in: Hilar Stalder and Martino
Stie rli (eds.): Las Vegas Studio. Bilder aus dem Archiv by Robert
Venturi and Denise Scott Brown, Zuric h: Scheidegger & Spiess,
2008, 11 -31
von Zitzewilz, Jutta: "Eine b eilaufige l=orm des Soziale n", in: Arch+
Margherita Spi lutti ni, 1-louse of a pianist and composer in Tyrol. 1996.
183, 2007, 97 - 99 The image of the absent. .. 1be lieve that this all·encompassing
image cannot exist because of the limitations of photography. lt will always
lack, for example, the possibility of a gaze which moves through a space,
or the smell, the sounds. the movement and above ali, lhe experience of a
space ove r the course of 24 hours ora year." (Meili 1997, 25)

96 97

1-leinrich Helfenstein. Sogn Benedetg Church, 1992. Taking a photo
passively. "(The image) is pulled taught like a sensitive surfacc onto which
the object and its s pecific context are inscribed without further
embellishments. (-1 The statement was directed ata kind of photographic
image-making that employs the object as material to be transformed
or deformed (... ). The metaphor of the 'sensiti ve surface' WtlS intended to
emphasize photography's pouive sida. The activity of photography
seen more as setting up nets ( ... ]." (Meili 1997. 25)
98
PHOTOGRAPHY
Tobias Zie lo ny, Aral 1•2, C-Print, 2004. Focussing on social space.
"The way into the centre of To bias Zielony's pictorial worl ds
crosses the periphary. On the one hand, this means suburban space.
in which Zielony situates his photographic scenarios, and
a category of tha marginal, on the other, which plays an important
role in his aesthetical test setups." ( von Zitzewitz 2007. 98)
99

l:dward Ruscha. Thirty·four Parking Lots in Los Angeles, 1967.
Doc umentation of a cityscape. "Ruscha's photos of cityscapes are
cht1racterised by a defini tely cool, unemotional and documentary
touch that seems to lack a ny artistic ambition. According to his own words,
the artist, when he shot the photos, was acting as a kind of journalisl
or reporter." (Stierli 2008, 25)
100
Pl-IOTOGRAPM V
Denise Scott Brown, Silhouettes, Las Vegas Strip, 1966. The aesthet ically
motivated gaze. "Venturi's and Scotl Brown 's perspective cannot
be reduced to the aspect of documer1tation. And thcy never maintained
that that was their intention, albe it encountering the ir object
of investigation with irony. Mnny of thcir photographs testify to this
aeslhetically motivated goze [ ... )." (Stierli 2008, 27)
101
 Pl-lOTOGRAPHV

Natalia Nogueira Leceta, Porlra it of Rossboden in Chur, master thesis 2011.

'"Rossboden to the wesl of Chur is an urban quarter situated on
the Rhine. At t he moment. most of Rossboden is owned by t he Swiss army
which uses it for shooting exe1·cises and ceremonies. Outside military
operation hours, Rossboden is accessible to t he public and is a popular
local recreation area." (Nogueira 2011. 21)

102 103
 Pl-IOTO G RAPl-IY

...

Matthias Schnell. Zukunft Altstiitten. Strategien und Vorschliige zur

Umsetzung des Agglomeralionsprogramms, master thesis 2012. Panorama
of St Gall Rhine valley. .. The Rhine va lley of St Gall and Vorarl berg
are fast·growing regions, that have undergone rapid development in recenl
years. Rising population figures anda subsequent enormous growth
of se ttlement area [ ... J. The former independent rural vi Jl.,ges have grown
together along the traffic lines as ribbon development. forming an
urban carpet, in which several villages and towns have become regiona l
hubs [ ...J." (Schnell 2012 . 17)

104 10 5
 PMOTOGRAPMY

---=------- - : -.

Martin Meye r, Portrat Glatta l. master thesis 2008. "Glattal valley, with
its exce llent connection to Zuric h and the a irport, is the largest
and most dynamic development area in Switzerland. [ ...] ~requently,
Silvain Stern, Andreas Spari. ~manuel Jud, Ch ristia n Zeller, Grundlagen the building situation is described as a settlement conglomerate
Urb an Landscap e. De r offent liche Raum in Dietikon . 2011. lacking identity.'' (Meyer 2008, 5ff.)

106 107

tv1odel
The term "model" originates from the Latín word modulus, modus,
which, amongst other things. means scale and above ali refers to
science, meaning rendering a portion of reality ("limited image"),
within which certain conditions can be tested. The model is a
reconstrudion of reality based on which certain hypotheses are
investigated. This also applies to architecture.
There are different types of models: l . conceptual models
that aim to emphasize certain characteristics of the design or
represent abstract content; 2. haptic and near-reality models
that aim to anticípate spatial qualities of reality as lifelike as pos-
1
sible; 3. simulation models that simulate the behaviour of the
objed in connection with acoustics and statics, etc; 4 . three-
dimensional computer models which enable an incomparable
spatial verifiability, although they lose all haptic quality in virtual
space and on the screen. The other types named above can also
be computer models; that can be additionally "printed out" - de-
sign to production - and realised by means of various printing
methods.
Conceptual models require the designer's explicit prese-
lection: which features are at the centre of my design and how
and with which materials do 1express them best? Also, they can
be abstracted to such an extent that the project as such is hard-
ly recognisable.
1-laplic and near-reality models should reproduce t he pro·
ject as realistically as possible, so that one can get a clear idea of
its "effect". In that sense, computer images are especially suc-
cessful, given the possibilities offcred by various 3D and image
processing software. 1-laving said that, one should pay attention
to the danger of image manipulation.
110
Simulation models can be both physical and virtual. They
aim to investigate the behaviour of a building or part of a bllild-
ing. And it is precisely computer technology that has opened
up new s imulation possibilities, which, in the past, could only be
achieved by building meticulous physical models. Physical simu-
lation models often have aesthetics of their own.
Three-dimensional computer models enable the simultane-
ous modification of an objecl and its verification in a (virtual)
context.
Background history / theory
There is evidence that architectural models have existed since
antiquity, although their purpose has not yet been wholly clari-
fied. Proof of the model's explicit use for developing, executing
and representing design only exists since the beginning of the
Renaissance period. l=or example, the famous wooden models
for St Peter in Rome, in particular the one commissioned by
Antonio da Sangallo the Younger (1484- 1546) that costas much
as a small real church and whose perfection was intended to
1
convince his successors of the superiority of his design. During
the post-war years, in particular, architects were increasingly
experimenting with models, using them for their design. The
introduction of the computer accelerated that process. Only in
recent years, since the beginnings of algorithmic design, has its
potential been exploited for the simulation of various realities.
111
 MODEL

Literature, other sources

Bloch, E;rnst, Das Prinzip 1-/offnung [1959], l=rankfurt am Main:
Suhrkamp, 1978, 820
i:l Croquis 103, 2001: Zaha 1-/adid 1996-2001
Elser, Oliver (ed.): The Architectural Model, lurich: Scheideg·
ger & Spiess, 2012
Ganshirt, Christian: Werkzeuge fü r Ideen , Basel et al.: Birkhauser,
2007
Johannes, Ralph: f ntwerfen, l-lamburg: Junius, 2009
Krapf, Michael ( ed.): Triumph der Phantasie, Vienna: Bohlau, 1998
Lepik, Andres: Modelle der Renaissance, Worms: Wernersche
Yerlagsanstalt, 1994
Pommer, Richard: Idea as Model, New York: Rizzoli, 1981

Aldo Rossi, Teatrino Scientifico, 1978. " For even the model. the house
a s a child, promises beauty. that afterwards, in the real buildi ng, docs not
always come true." ( Bloch 1959, 820)

112 113
 MOOEL

Peter E:isenman, Rebstockpark competition, 1990. O.M. A./ Rem Koolhaas. Urban Design Concept. Melun-Sénart,
The model shows the final state of a transformation process based France (not rcaliscd), 1987. Abslracted modal that aUempts to represent
on a design by E:isenman. a concept, but nol its concrete implementation.

11 4 115
 MODE: l

. from the del for urban d es1g

. n
/Schwarzwald~dtrassd
d Is emerging G
Ur b. ªup
n Proiec. t · 1-1511. Mo1 odscape w ·esental.
' Id on rban Project. l-ISll. M: area in Lorrach.
Anja Spirig.
t l-IS 2011 Urban an t for Stettenfe .'ª n-Marcot ·Deplazes.
the sta t'U
ion ter gn an lransformation of
stud10 d · n concep h concep '" nt of quar .
mas er ta '
Represen df urban
between e s1g Je d Lé>rrac .
Follow-up developmethe fre ight statton.
thefon
boro er R. hen an

116 117

JI
 MODH

Zach Kimberling. master thesis 1=515, Representation of

Ben Morgenegg. master thesis FSlS Representation of
the spatial concept, Oftringen central. Luzerner / Zürichstrasse.
!he spa\ial concept, redesign of the Museum lsland, Bern Kirchenfeld.
119
118
1

Mapping
Maps have been produced for lhousands of years to achieve,
above a ll, one purpose: to acquire knowledge about a certain
territory and assert claims to it. That knowledge was often of a
strategic and political nature; for example, the person who com-
missioned the map was usually a ruler and progress in mapping
was governed by military requirements.
Maps have always played a key ro le in architecture and
urban design, especially since the extension of the area of cities
and the of urban planning at the turn of the 19th into t he 2oth
cenlury. lt was in particular Rem Koolhaas who triggered t he
urban design t urnarou nd with his manifesto called "Whatever
l-lappened to Urbanism" in 1994: With the shift of focus to large-
scale approaches to new urban phenomena, the map was rein-
troduced as a tool for urban design. 1-fowever, the map had long
lost its function as a highly objective image of the world, but rath-
er had to "shape" the world in a creative and playful way. Over
1
the cenluries, mapping and knowledge of the world it yielded,
continued to develo p. Ultimat e ly, when 2oth century technology
turned the map into a perfect reproduction of reality, compla ints
were voiced, on the one hand. that the map had replaced reality
(Baudrillard 1981), while, in connection with that, others demand-
ed t hat lhe map be used more creatively and "freely".
Only t he map enab les us to read interrelations that a re not
representable by other means. Thus, the map p recedes the
search for information that is portrayed.
Maps require great creativity whe n it comes to choosing
forms of representation in order to rep roduce a given reality.
They are, however, always subjective and "controlled''. Accord-
ingly, the latest urban design application accentuates this ere -
122
ative aspect of the map. l-lence, t he map is nota plan. In that con-
text, maps also represent utopías to a certain extent, because
t hey unfold a range of possibilities and reprod uce scenarios. As
opposed to other typical methods and tools of architecture,
maps stem from geography and t herefore remain "aliens".
A special type of map that also has to do wit h architecture
and urban design is known as mind-map, i. e. a map that anybody
can imagine in their mind to he lp them find the ir way around.
Kevin Lynch referred to that in particular.
In urban design practice, working with maps on a scale of
1:25 000 has proved highly efficie nt, because that scale offers a
good balance between overview and detail.
Background history / t heory
The map is a capricious companion of architecture. Maps of city
states already existed in Mesopotamia. With his (lost) Descriptio
urbis Romae Leon Battista Alberti was the first architect who
st rived to represent a city by means of a map. By contrast, wit h
his map of Campo Marzio, Giovanni Battista Piranesi designad
an imaginary bygone Rome (that Koolhaas used as a backdrop
for "Whatever l-lappened [ ... ]". In the world's first architectural
school, École des Arts by Jacque s-Fram;ois Blonde l, mapping is
on the curriculum. But it was only in the last twenty years of the
2oth century that maps became a standard tool in architectural
schools.
123
 MAPPING

Literature, other sources

Baudrillard, Jean: Simulacres et simulation, Paris: Édilions Galilée,
1981
Boeri. Stefano: "tkleklische Atlanten", in: Daidalos 69 /70, 1998
¡/
Cosgrove, Denis: Mappings , London: Reaktion Books, 2002
Diener, Roger et al.: Die Schweiz, fin stadtebauliches Portrait,
Basel et al.: Birkhauser, 2006
!=arinelli, l=ranco: Limits of representation, Munich: Accedo, 1994
l=rei, 1-fans: "Karten im Massstab 1:1.. Der englische Landschafts-
garten als künstliche Landscha~". in: werk, bauen + wohnen
10, 1997. 41-48
Koolhaas, Rem et al.., Mutations, Barcelona: Actar, 2000
Leimgruber, Walter: Karten, Kartographie und Geschichte. Von der
Visualisierung der Macht zur Macht cler Visualisierung, Zurich:
Chronos, 20 09, 17- 28
Lync h, Kevin, The lmage of the City, Cambridge. MA: MIT Press,
1960
Schneider, Ute : Die Machtder Karten. fine Geschichte der Karto-

1
graphie vom Mittelalter bis heute, Darmstadt: Primus. 2004

Ro¡;&r Oiéner. J¡¡cques l-lenog. Marce( M&i'i. Pierre de Meuron.

Christian Schmid, ~Tl-I Studio Basel, Sketches for a lhesis map of Swiher-
land, 2006. The dynamic aspect of mapping is especially readable in
this image. lt testifies to the search for order. boundaries and overlays.

124 125
 MAPPING

Medieval T-0 map. lt depicts a symbolic representation of the

Giovanni Battista Pira nesi. Campo Marzio, 1n2. The l=ield of Mars medieval world, in which lhe orbis terrarum (O) endoses the Universe (T).
and its historical development served as a basis for Piranesi's cl'cotive and Wheel map from lsidore of Seville's ffymologiae, oditio princeps
ficlional arc haeological reconstruclion of the past. Günlher Zainer. 1472

126 127
 MAPPING

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Sauter Bachmann AG.

Tschudi + Cle AG

Stockli AG
ACCEL lnstruments GmbH (
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~!Jkfabrik AG
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U dorach AG

Constant. New Babylon. 1963. Constant designed an urban Utopía.

as a place of disorder and coincidence, which he, besides many Vera Masler. Stefan Oeschger, Urba n Project. MS0 8.
other models, represented parlicularly wit h maps showing Now Babylon Mapping of major employers (accordi ng lo staff numbers); overlaid
(in red ) overlaying e xisting cities. with power p!ant sites (according to t heir output).

128 129
 MAPPING

................................... .
...···
··~
... /

;;';"

Alessandro Mattle, Urban Project. HS08. Mapping of rai lway stations Remi Simon. Michel Pfister, Urban Project, HS08. Mapping of paths with
accord ing to passenger numbers , evaluated commuter journeys (yel low), different features : hiking paths (red), industrial educational trail (orange),
roads (orange. red), bus connedions (blue), waterborne transport (blue round walks (yellow), Zigerhighway project (green), chairlifls (brown),
d ashed line) and sport airfields (black dashed line). viewpoint marks.

130 131

Sectional view
Spatial change affects our lifeworlds, i. e.how we see and anímate
our experiential space - just as, vice versa, our way of fife and
subsequent societal changes impad our everyday life space. Due
to their spatial depth, sectionaf views are abfe to appropriately
thematise this imbrication of society, space and the individual,
and to bri ng it into the frame of architectural or urban design.
The sectional view consists of a constructively determinad
sectionaf drawing of the designed urban space and is compfeted
by the piclorial part of the perspective. Residents, their dwelling
environme nts and the so cial fabric can be represented using
symbolic pictorial elemenls in order to embellish the perspec-
tive.
The sectional view is used in connection with lhe scenario
method to be able to represent the effects of social change on
experiential worlds and, subsequently, also life worlds of individ-
uals. Pictoriality ca n predict what a quarter and its social fabric
will look like in the future. That means that the social, techno·
logical, natural and spatial, i.e. cultural frame of a person's life·
world is imagined on the scenario or design-related level to get
an idea of what and how things could change in the future. At
1 the same time, possibilities and perspectives of future spheres
of action are identified, concretely, for instance, as to how future
day-to-day landscapes could be filled wit h life.
Principally, it follows that the task of the sectional view is
not only to identify social, economic and ecological d imensions
of both architectural and urban design concepts, bul also to ren·
der t hem "experienceable". Since the ways and means in which
we experience our world, that includes us architects as well, also
forms the initial and reference point of our actions, a simple and
134
understandable speech of life (pidoriality) is required when it
comes to illustrating lifeworlds, quite in the sense of Edmund
1-lusserl. Representations of the lifeworld therefore remain on a
pure ly descriptive level and are the consequence of subjec-
t ive·relative experience or, in connection with the scenario
method, are the consequence of subjedive-relative imaginative·
ness (cf. Husserl 1986, 267).
Background history / theory
The sectional drawing is a classical means of representation in
architecture. l=riedrich von Thiersch, for example, had already
used this type of drawing in the 19th century (cf. Nerdinger 2013,
494). The term " lifeworld" comes from Edmund Husserl's phe·
nomenology. According to 1-lusserl, lifeworld means "the most
well-known, which has always been taken for granted in human
life, and always been familiar to us, characteristically, through
experience" (Husserl 1986, 279). Although Husserl describes
these experiential values as being proto-scientific; experiencing
t he lifeworld still forms the initial point and hence, the basis of
"universal" sciences (ibid., 284).
While Husserl spent most of his time studying the one life-
world (as a world of intersubjedive experience) in today's re·
search, one speaks of numerous lifeworlds. l~ence, lifeworld is
understood as an immediate, specific and individually created
and subjedively perceived world of its own that is distinguished
from "real" life circumstances.
lt follows t hat lifeworld is the correlative of an individual
person's human experience of t he world (l-litzler / l·foner 1988;
1-!oner 2003) and that it refers less to the experiential worlds of
society as a whole .
135
 SECTION AL VI EW

Literat ure, other sources

D'Alusio, Faith and Peter Menzel: Mahlzeit. Auf80 Tellern umclie
Welt, Hamburg: Geo, 2010
Hitzler, Roland and Anne Honer: " Der lebensweltliche
Forschungsansatz", in: Neue Praxis 6, 1988, 496-501
Honer, Anne: '" Lebensweltanalyse in der E:thnografie", in: Uwe
l=lick et al. (eds.): Quafitative Forschung. fin l-landbuch, Rein-
bek bei ~amburg: Rowohlt. 2003, 194- 204
Husserl, ~dmund : "Das Problem der Lebenswelt als e in Teilpro-
ble m im allgemeinen Problem der objektiven Wissenschaft",
in: Klaus ~eld (ed.): Phéinomenologie der Lebenwelt, Stuttgart:
Reclam, 1986 (probably originally published in 1936)
Jenni, Peter and Stefan Ku rath: Milchbuck - Quartier der Zukunft.
Auswertung des Zenfrums Urban Landscape, ZHAW, 2011
Nerdinger, Winfried (ed.): Der Architekt. Geschichte und Gegen-
wart eines Berufstandes, Munich et al.: Preste!, 2013

l=ri edrich von Thiersch. main building, Palace of Justice in Munich, 1897.
Sectional view with ground p lan. (Architekturmuseum der TU München)

136 137

Silvio Albín, Urban Project, FS 2011. Sectional view of the scenario:
..Qua rter for e lderly people and families" for the Milchbuck Quarter in
Zurich. The illustration provides information on the quality
of accessibility to public transport services and proximity to recreat;onal
areas as well as giving an insight into the inleraction between
e lderly people and families and their lifeworlds within an imagined
urban selting.
SECTIONAL VJEW
Matthias Schnell, René Schnellmann, lukas Som m, summer workshop,
Vienna 2011. This sectional view shows how topographical
c:ircumstances were handled in Wiental. including its traffic-related
development and renewable energies, emphasising the intention
to provide affordable dwellings as well as to enhance the qualily of the
quarters existing structures.
139
 S~CTIONAL Vl~W

Lidia Haag. Natalia Nogueira leceta, Livia Schenk. summer workshop.

Vie nna 2011. During the workshop. student.s discussed various
possibililies of developing Wiental. This sectional view demonstrates
the spatial depth and dimensions of Wiental including its specific
open spaces and leisure qualilies. Th e cultural centm a s well as different
people of vari ous ages and origin point to the objective of establishing
a well-balanced social mix in Wient al.

14 1

Diagram
A d iagram is a graphical representation somewhere between a
drawing andan image. As opposed to technical drawings in archi-
tecture (floor plan, elevation, section or axonometry), the dia-
gram is not necessarily true to size and is reduced to basic de-
tails. In architecture, the diagram is generally understood both
"asan analytical and design-re lated tool" (~isenman 1998, 27).
The projed is developed with the aid of a step-by-step clarifica-
tion of conceptual problems. The perception of diagrams shifts
between "abstradion" (of complex facts) and "representation"
(of knowledge and possible approaches to solutions).
With the aid of the diagram, it is largely intended to clarify a
context, which is what distinguishes it from the pidogram o r pic-
torial symbol that merely stands for targeted information. The
diagram may also be used as a series, in t he form of a cartoon or
a pidure story. In that way, individual processes ora whole story
are told. Design processes and phasings can be represented and
visualised in the same way. lmportantly, the "point" or "clou" of
the story corresponds to the " key to the concept" within the
design process. Architects also use hybrid diagrams.
In the design p rocess, the status of the diagram between
drawing and image helps to interconnect heterogeneous infor-
mation (spatial, pidorial or dimension-related information) in
a drawing. A diagram can also be "beheld as an image" or "read
1 like a p la n". Dueto its janiform characler, funclional and aesthel-
ic issues can be investigated concurrently and ult imately devel-
oped as a form (cf. Somol 2001). Besides that, interconneding
quite differenl lopical levels also unleashes space for creativity
and innovation (cf. Lenk 2005). The conceptual strength of the
diagrammatic met hod lies in ils position at this interface.
144
As a representational medium, the diagram helps to com-
municate crucial aspects of the (naturally complex) architedur-
a l or urban design project in a clear and unambiguous manner.
This, too, can relate to conceptual, fundional or forma l topics.
Background history / theory
Although one could maintain that the diagram is as old as archi-
tecture itself, our perception of the diagram is limited approxi-
mately to the last two hundred years within the debate on archi-
tecture and urban design. Ground-breaking examples include
Jean-Nicolas-Luis Durand's reduced and comparative rep-
resentations al the ~cole Polytechnique in Paris at the beginning
of the 19lh century, Rudolf Wittkower's use of diagrams to ana-
lyse Palladio's villas in the 19405 and Otto Neurath's and Gerd
Arntz's images and pictorial statistics in co-operation wilh CIAM
during the interwar years.
Lit erature, other sources
ANY 23, 1998: Diagram Work Appleyard, Oonald et al.: The View
from the Road, Cambridge, MA: MIT Press, 1964
Bender, John: The Culture of Diagram, Palo Alto: Stanford Univer-
sity Press, 2010
Czemiak, Julia: Case: Downsview Park Toronto (Harvard Univer-
sity Graduate School of Design), Munich et al.: Preste!, 2 001
Deen, Wouter and Udo Garritzmann: "OMA's little helper", in:
Arch+ 143, 1998, 72- 74
E::isenman, Peter: "Diagram: An original scene of writing", in: ANY
23, 1998: Diagram Work, 27 - 29
E::isenman, Peter: diagram, diaries, New York: Universe, 1999
Garcia, Mark: Diagrams ofArchitecture (AD Reader Series), New
York: Wiley, 2010
145
 DIAGRAM

Herdeg, Klaus : The Decorated Diagram. Harvard Architecture

and the Failure of the Bauhaus Legacy, Cambridge, MA: MIT
Press, 1983
Lenk, Hans: Kreative Aufstiege. Zur Philosophie und Psychologie
der Kreativitéit, i:rankfurt am tvlain: Suhrkamp, 2000
Lenk, Hans: " Kreativitat und Anverwandlung", in: werk,
bauen + wohnen 10, 2005, 44- 47
McCloud, Scott: Understanding Comics. The Invisible Art, New
York: HarperCollins Publishers, 1994
Nikolla, Niko: Upcycling. Albanische Riviera, master thesis, ZHAW,
Zentrum Urban Landscape, 2008.
Somol, Robert t .: "Ali systems go! The terminal nature of con-
temporary urbanism", in: Julia Czerniak: Case: Downsview
Park Toronto (Harvard University Graduate School of Design),
tvlunich et al.: Preste!, 2001, 126-135
Somol, Robert t.: "Green Dots 101", in: Hunch 11, 2007
Vossoughian, Nader: Otto Neurath. The Language of the Global
Polis, Rotterdam: NAi Publishers, 2008

Scott McCloud, Abstraction, 1994:

Reduction. "When pictures are more abstracted from reality. they
require greater levels of perception.» (McCloud 1994, 49).

146 147
 DIAGRAM

1 O.M. A/ Xaveer de Geyter, Quarlier les Halles, Paris 2003.

The key to the concept. "Diagrams have proved to be elfective instru menls
[ ...]. converting data into phenomena, cobining intellect and imaginalion,
and conceptualizing a project by making use of images. metaphors, models.
signs. [ ...] The creative moment lies in the question of what is charted
Appleyard et al., Space· Motion and View Diagram. Clockwise Travel. 1964.
Movement. space and line of vi~ion. ··rhis space·molion combination
tends to direct the eye, and when the intended views are linked up lo lhe
objects seen, a more complete idea of the experience is given. [ ...]
Furlhermore, when the view to be seen is a panoramic one - the harbor. for
and how. Selection, reduclion and simplification are mechanisms that are example. rather than a specifíc landmark - the view lines radiale over
active in this process." ( Dean and Ga rritzmann 1998, 83) the whole area:· (Appleyard et al. 1964. 4 7)

149
 OIAGRAM

I
r I •
\ j

\ L
1
I .·.•·.....•. . .._ .. . . . • ••
. . ..r • • •

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tt
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••

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1 O. M.A./Bruce Mau, Downsview Park. Toronto 2001.

Diagram and logo. "j:or OMA, however, contingency and imageabi lity are
not incompatible. In facl, lho imogc, lhc condensalion of the
diagram to a logo, is p recisely needed asan allraclor for disparate possible
associations and developments. A vague spec ificity permits
future divers ity." (Somol 2001 . 131)

151
150
 D IAGRAM

·\ ...
....·· ~ ...

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.. . ... . . ...
.. ~

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...
~-

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1
Luc Kummer, tranCity.
Nicht Land - nicht Stadt. Prozessschritte. 2009.
Processes and stages in the diagram:
Stage 1: Mapping spatially active cells and pegging out
the planning peri meter Niko Nikolla. Albanische Riviera, E:rreichbarkeit. master thesis 2008.
Stage 2 : Defining the hard cells Spatial context. "The southern Alban ian coas tal strip,
Stage 3: The peri meter of the futura projecl asan open field which stretches over 90 km from the Llorga pass in the norlhwest to World
Stage 4: Distribution of the residua l perimeter Cultural Heritage Butrint in the southeast. is one of lhe most
according to morphological criteria. unspoi led re¡:;ions in the wholc Mcditcm1ncan arca." (Nikolla 2oo8, 8)

152 153
 DIAGRAM

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Niko Nikolle, Do mino Hotel. AusbaustuFe n in Variante n,

master thesis 2008. Reduced representalion. "The 'Domino Hotel' could Andrea Binder, Das grune Band. Die Limmat als Naherholungsraum, 2012.
be used as Bed & Breakfast or low·budgel accommodation. Diagram t: lnhebitants and employees in Limmatttal valley;
The use is temporary and versatile. Stages of extension are conceivable Diagram 2: Railway. motorway. Limmattal railway;
as variations." (Nikolla 2008, SO) Diagram 3: Building zones, 2007.

154 155
1

Morphology
Morphology (study of the form) is a concept taken from biology.
In urban developmenl, morphological analysis means investi-
gating t he form of the city, which is determined by slructures,
spaces or typologies constituting that form. Morphological analy-
sis attempts t o understand the genesis and development of the
city's form . According to Erich Raith (1998). morphological analy-
sis searches for "laws and relationship patterns" in the city's
form, i. e. it looks for rules and principies that have led to this
form. lt is important to kno w lhem in order to be able to plan
further developments - based on those laws. In that respect, the
city's hislory plays an important role: Morphological analysis is
always an analysis of history that has led to a certain form/ a cer-
tain state. Morphological analysis builds models that extrapolate
further development as scenarios, i. e. morphological analysis is
one of the prerequisites of t he scenario technique.
The morphology of a city is usually represented as a plan
showing either the floor plans of buildings (the Nolli Map of
Rome was one of the first to do this) or as a figure-ground plan
showing the built mass in its relation to the void. In addition, col-
lages are created to emphasize the "pictorial" dimension of mor-
phology.
He nce, morphological analysis is always a process of select-
ing and accentuating certain aspects, features or monuments,
which are then accordingly distinguished from it.
Background history / t heory
As a reaction to the tabula rasa of modernism, Aldo Rossi's gen-
1 eration, influenced by Saverio Muratori's work. developed the
morphological analysis as the actual tool in architecture in order
158
to shift the history of the city, which had been neglected by
modernism, to the foreground again. lt corresponds to a me-
thodical and ideological approach similar to that of conceptual
urban design. Contemporary phenomena of the post urban have
challenged the usefulness of morphological analysis, withoul,
however, considering that one cannot really do wilhout it. An in-
it ial example of morphological analysis, albeit without a selec-
tion, is the Nolli Map, to which Piranesi also contributed.
Literature, other sources
Malfroy, Silvain: Die morphologische Betracl1tungsweise von
Stadt uncl Territorium. fine finführung in die Terminologie,
Zurich: ETl-I, 1986
Malfroy, Silvain, "Structure and Development of the City. The
Morphogenetic Approach of Saverio Muratori", in: Tomas
Valena (ed.): Structuralism reloaded, Stuttgart: Edition Axel
Menges, 2011
Muratori, Saverio: Studi per una operante storia urbana di Venezia,
Rome: lstituto poligrafico dello stato. 1960
Raith, Erich: Stadtmorphologie. Annaherungen, Umsetzungen,
Aussichten, Vienna: Technische UniversiHit, 1998{Habilitation
thesis)
Rossi, Aldo: Die Architektur der Stadt, Padova: Marsilio, 1966 (first
English edition: The Architecture of the C ity, 1982)
Rowe, Colín: CoUage City, Cambridge, MA: MIT Press, 1978
159
 MOllPHOLOGY

Fr·n't~.· ...lt-1l[Jnr..- 1"/t._,_J}_11t1...: .r.:R.·-,,.;u'1/.·,,1 -~·. 1: 1,.. /..-r..:;:r·_- .1.1"~

T. .··,í-.
1•~r..•ti n"'. ·n:. ·l.· ,·J•..,,·,:, · •: ... / .."J_ fft.. 1.~ ~ ..'1 é . .i

1
Nolli Map. 1748. The Nolli Map is based on extensive mapping and
archaeological work, and is especially remarkable because the empty
spaces o f lhe buildings are also represented.
Forma Urbis Romae, after Piranesi. The Forma Urb is was a monumenta l
map commissioned by Seplimius Severus around 200 A.O. of which only a
few fragments have survived loday. ll is a valuable leslimony of Ancient
Rome and ils dwelling typologies, the villa and ínsula.

160 161
 MORPMOL OGY

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~ < SATElllTENSYSTEM
(flOWAA!>)
AOGLOMERATION GESTUFlEA ZEITTAEN
(HARLOW)
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CAEICHOW)

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1
- J

Oswald l'-fathias Ungers, The City in the City, 1977. In a study, Ungers
investigated Berlin's futura development . creating a mode l
of diffe ring topical "archipe lagos". which he represented as m3ps.

162
Gerd Albers, Syslem méiglicher Stadtmodelle, 1988. The diagram shows
schema tic representations of various possible urban forms.

163
1
 MORP~OLOGY

1 . fvluratori et al.. Rome maps overla

d1ffer ent maps of Rom '

164
ys. 1963. This overlay of
e e1ear1y conveys th e city's t ransf ormab.on .
B • . al m aP 0 f B er 1.m, around 1860
Monument
er 1m ts r educed to '·t s monum ents. .

165
 MORPl-IOLOGV

Morphological analyses of Oberwinterthur quarter as part of the

master studio UP HS 2012 Zukunft Oberwinterthur as well as the
Wiesental Valley with Basel, Riehen, Lorrach as part of of the
master studio UP HS 2011 Stadtlandschaft Wiesental.

- ~
J
' ...1 {
~ 1 , , I

'\ , '
.. \- . YJ I
----'-.-' /' .-
·'-.- ./ '-
'·
',•-...... !_..I _,,t!. /

Caroline Oehler. Urban Project, Zukunft Oberwinterthur. 1-1512.

Sandra Stutz, Urban Project, Zukunft Oberwinterthu r. HS12. Representation of spatial networks such as green structures,
Representation of spalial features in connection with topography. street systems. waterbodies alld railway infrastructure as a basis for
development. watercourse, railway and building typologies. a spatia l concept.

166 167
 MORPl-IOLOGY

1 Stephan Jud, Urban Project, Stadtlandschaft Wiesental, HS12.

lnvestigation of spatial features of the borde r zones Basel- Rie hen and
Riehen - Lorrach.

168
Stephan Bürgler, Urban Project. Stadtlandschafl Wiesental,
HS12. Relationship between settlemenl body and la ndscape, topography
and vegetation.

169
 Photo credits
The publisher and the a uthors have made every effort to obtain permission
to reproduce this material. Should any copyright holder have been
overlooked, we apologise sincerely and request them to send the relevant
information to the publishers. That information will be included in later
editions.
P. 12 i=ritz Schumacher, Diagram, 1926
P. 15 luigi Moretli, Model, 1950; ~u concessione del Ministero dei beni e
delle atlivita cultu rali e del turismo, Archivo centrale dello Sta to,
Concessione n.1520 / 2017
P.18 Urban design in Switzerland, case example Winterlhur, 1929, in:
Bernoulli, Hans and Camille Martin: Stadtebau in der Schwelz.
Grundlagen, ed. Bund Schweizer Architekten, Zurich: i:reh & Was·
muth, 1929, 13; © Fretz & Wasmuth
P.23 Theodor Fischer, sketches in: Nerdinger, Winfried: Theodor Fischer,
Architekt und Stiidtebauer, Berlin: trnst & Sohn, 1980, 24;
© Architekturmuseum der TU Münche n (TU Munich)
P.32 O.M.A./Rem Koolhaas. Mission Grand Axe, l a Défense, París 1991;
image courtesy OMA, © OMA AMO/ 2018, Prolitteris, Zurich
P.36 Wolf Meyer-Christian: Weekly homework no. 3 "Materialbíndungen";
e UAA UNGtRS ARCHIVE: FOR ARCl-ll Tl:CTURAL Rl:Sl:A RCH
P.40 SANAA, axonometric sketch, competition phase, DeKunstlinie
theatre and cultural centre, Almere, 1999-2007, in: Kazuyo Sejima,
Ryue Nishizawa 1994 2000, ti Croquis 99, 2000, 192
P.41 SANAA, Floor plan, competition phase, DeKunstlinie theatre
and cultural centre, Almere, 1999-2007, in: Kazuyo Sejíma,
Ryue Nishizawa 1994 2000, ti Croquis 99. 2000, 190
P.45 Stettenfeld, Riehen BS: anon. Photographer
P.48 Downtown Athletic Club, 1931, New York, in: Koolhaas, Rem:
Delirious New York. fin retrooktives Manifest für Manhattan,
Aachen: Arch+ Verlag, 1999. 157
P.51 O.M. A./ Rem Koolhaas, Pare de la Villette, Paris, competition entry
1982; image courlesy OMA, e OMA AMO/ 2018, Prolitteris, Zurich
P.54 Damiana lmhof, Urban Project, 2010
P.56 Bryan Grossenbacher, Urban Project, 2011
P.63 l=ilm slill of the scenarios Clustered Networks: www.eea.europa.eu/
multimedia/ interactive / prelude-scenarios / p relude (accessed:
14/03/2017)
1
P.64 Scenarios: How does Holland develop as Punbtad - Zuidstad; image
courtesy OMA, © OMA AM0/ 2018, ProLi tteris, Zurich
P.65 Holger Schurk, Diagram fer visualising the scenario method
170
P.67 Adrian Zwahlen, Seclional view, 2011
P. 68 Adrian Zwahlen, Urban design concept, 2011
P. 69 Peter J enni, Stefan Kurath, Overlay drawing of all scenarios, 2011
P. 75 Kurt Freisitzer and Jakob Maurer, The Vienna model as the malrix
of test plannin, in: l=reisilzer, Kurt and Jakob Maurer (eds.):
Das Wiener Modell. Erfahrungen mit innovativer Stadtplanung,
Vienna: Compress. 1985, 12
P. 76 Kurt l=reisitzer and Jakob Maurer, l=ive test scenarios, in: Freisitzer,
Kurt and Jakob Maurer (eds.): Das Wiener Moclell. Erfahrungen
mi! innovativer Stacltplanung, Vienna: Compress, 1985, 70
P. 77 The jury's synlhesis plan on "l:mpfehlungen zum Stadtentwicklungs-
plan", in: Freisitzer, Kurt and Jakob Maurer (eds.): Da s Wiener
Moclell. Erfahrungen mit innovotiver Stoc/tp/anung, Vienna: Com-
press, 1985, 89
P. 78 Announcement Workshop 2010, Zurich: interna/ borclers - exferncil
borders; ZHAW, lnstilule Urban Landscape. 2010
P. 79 Natalia Nogueira Leceta, René Schnellmann
P. 80 Deborah Suter, Adrian Zimmermann
P. 81 Ana Krstulovic. Luka Muzinic, Mirjana Rados
P. 82 Carmen Garcia J iménez, Sara Mira Garcia, l=ernando C. Miralles,
P.83 txcerpt from the synthesis report, summer workshop, Zurich, 2010
ZHAW, lnstitute for Urban Landscape. 2010
P.89 City of Zurich, Oepartment of Urban Design, development concepl
Zurich-West. Guidelines for planning implementation
P. 90 City of Zurich, Deparlmenl of Urban Design, overall concept
Leutschenbach. Zurich·Seebach / Schwa mendingen.
P. 91 City of Zurich, Oepartme nt of Urban Design. explanatory d iagrams
for Leulschenbach overa ll concept
P. 97 Photo: Margherita Spiluttini, O Architekturzenlrum Wien (Vienna)
collection
P.98 pholo: Heinrich He lfenstein, Sogn Benedetg Church, 1992 2,
gta Archives/ l:TH Zurich, Heinrich Helfenslein
P. 99 © Tobias Zielony, courtesy To bias Zielony and KOW, Berlín
P. 100 l:dward Ruscha, Thirtyfour Parking Lols in Los Angeles, 1967;
© td Ruscha
P. 101 Denise Scott Brown, Silhouettos, Las Vegas Strip, 1966: The Archilec-
tural Archives, University of Pennsylvania by the gift of Roberl
Venturi and Denise Scott Brown
P.102-103 Natalia Nogu eira Leceta, Der Rossboden in Chur. Altes Armee·
gelande - Neuer Lebensraum, 2011
P.104-105 Matthias Schnell, Zukunft Altstatten. Stralegien und Vorschlage
zur Umsetzung des Agglomerationsprogramms, 2012
P. 106 Silvain Stern, Andreas Spari, l:manuel Jud, Christian Zeller,
Der offentliche Raum in Dietikon, 2011
171
 P. 107 Ma rtín Meyer, Das Potenzial der urbanen Landschaft Glattal, 2008 P. 162 Oswa ld Mathias Ungers, The Ci ty in the City: UAA UNGERS
P.113 Aldo Rossi, Teatrino Scie ntifico: © E:redi Aldo Rossi, courtesy Fonda- ARCH IVE FOR ARCl-llTECTURA L RESEARCl-I
zione Aldo Rossi P.163 Gerd Albers, System mogl ícher Stadtmodelle, 1988
P. 114 Peter E:isenman, Rebstockpark Competition, 1990, courtesy of P. 164 Muratori el al., Rome maps, overlays, 1963, in: Valena, Tomas (ed .),
the Peter Eisenman fonds, Canadian Centre for Architecture, Slructuralism reloaded, 2011, 69: courlesy of Edilion Axel Menges
O E:ISE:NMAN ARCl-llTE:CTS P. 165 Monumental map of Berlin, around 1860; Cl Fotoslud io Bartsch.
P. 115 O.M. A./ Rem Koolhaas, Urban Design Concept, Melun-Sénart; Berlin
Deutsches Archilekturmuseum, Frankfurt am Main, image courtesy P. 166 Sandra Stutz, Urban Project, 2012
OMA, CI OMA AMO/ 2018, Prolilteris, Zurich P.167 Caroline Oehler, Urban Project, 2012
P.116 Anja Spirig, Urban Projecl, 2011 P.168 Stephan Jud, Urban Project, 2012
P. 117 Gian-Marco Deplazes, Urban Project, 2011 P.169 Stephan Bürgler, Urban Project. 2012
P. 118 Ben Morgenegg, master lhesis, FS 2015
P. 119 Zach Kimberling, master thesis, FS 2015
P. 125 Roger Diener, et al.: Die Schweu. fin stadtebauliches Portrait, Basel
et al.: Birkhauser, 2006, 124; ETl-I Studio Basel
P.126 Giovanni Battista Piranesi, Campo Marzio, 1772
P. 127 Medieval T-0 map
P.128 CONSTANT. New B<>bylon, 1959-1971, C1 2018, Prolitteris, Zurich
P. 129 Vera l-lasler, Stefan Oeschger, Urban Project, 2008
P. 130 Alessandro Mattle, Urba n Projecl, 2008
P. 131 Remi Simon, Michel Pfiste r, Urban Project, 2008
P.137 Friedrich von Thiersch, Palace of Justice in Munich, main bu ilding,
1897: Architekturmuseum der TU München (TU Munich)
P. 138 Sílvio Albín, Urban Project, 2011
P. 139 Matt hias Schnell, René Sch nellmann, Lukas Somm, 2011
P. 140-141 lidia l-laag, Natalia Nogueira Leceta, Livía Schenk, 2011
P.147 Scott McCloud: Abstraclion, 1994, in: McCloud, Scott: Understan-
ding Comics. The Invisible Art, New York: l-larperCollins Publíshers,
1994, 49; O l-larperCollíns Publishers, New York/Scott McCloud
P. 148 Quartier les l-lalles, París 2003; image courtesy OMA, photograph by
Xaveer de Geyter, © OMA AMO/ 2018, Prolitleris, Zurich
P.149 Appleyard, Donald, Kevin Lynch, and John R. Myer, The Yiew From
the Road, image 83, page 48, © 1965 Massachusetts lnstitute of
Techno logy, by permission of The MIT Press.
P. 150 -151 Downsview Park, Toronto 2001; image courtesy OMA, photo-
graph by Bruce Mau, © OMA AMO/ 2018, Prolitlerís, Zurích
P.152 Luc Kummer, lranCity. Nicht Land - Nicht Stadt. Agglomeration
a nders sehen, denken, planen, 2009
P. 153-154 Niko Nikolla: Upcyc li ng Albanische Riviera, 2008
P.155 Andrea Binder: Das grün e Band. Die Limmat als Naherholungsraum,
2012
P. 16o Giovanni Battist.a Nolli, Nolli Map, 1748
P. 161 Giovanni Battisla Piranesi, Forma Urbis Romae, 1756

173
 Aulhors Acknowledgemenls

Andri Gerbe r (born in 1974): Gradualed in architecture from ETH Zurich.
2000-2002 project member and manager for Peter Eisenman, New York.
2008 doctoral de~ree al ETH Zurich, awarded ETl-I Medal. 2008- 2011 Assis-
tanl Professor al Ecole Spéciale d'Architeclure in Paris. 2010-2012 Professor
for theory and history of archilecture, University of Liechtenstein. Since 2011,
led urer and since 2017, profe ssor for hislory of urban design al Zurich Uni·
versity of Applied Sciences (Zl-IAW). 2012-2016 habilitation project al ETH
Zurich, funded by a SNl=-Ambizione scholarship. Since 2016, professor for
history of urban design at Zl-lAW and project manager of research projed
"How do architeds t hink and design space", lnstitute Urban Landscape at
Zurich University of App lied Sciences (ZHAW)/ET l-l, funded by SNI=. Since
2017, guest lecturer at gta ln stitut, ETH Zurich.
Stefan Ku r¡¡th (born in 1976): Studied architeclure al universities in Swiher-
land and the Netherlands. 2010 doctoral degree al HafenCity University
in Hamburg. Own pradice for arch iteclure and urban design, urbaNplus/
Stefan Kurath/GmbH in Zurich and parlner at lseppi-Ku rath GmbH in
Grisons. Since 2012, Professor for archiledure and design al Zurich Univer·
sityof Applied Sciences (Zl-l AW). Winner of CS-ZHAW Award for bes! teach-
ing 2013, together wilh Peter Jenni. Since 2014, Head of lnstitute Urban Land-
scape at Zurich Universily of Applied Sciences (ZHAW), together with
Regula lseli.
We gratefully acknowledge all those who helped us to write this book. The
idea for this handbook of melhods for the lnstitute Urban Landscape carne
from Max Bos.s hard, who was Head of lhe lnstitute Urban Landscape unül
2014. l-le not only supervised lhe enlire development critically, but also
hada major inlluence on iL Silvain Malfroy and Michael von Allmen read the
manuscripl and contributed valuable remarks and suggestions. Peter Jenni
supported us with the chapler about the urban design "Leitbild". Stephan
Mader, unlil 2017, Dean of the department, and Oya Alalay l=ranck, until 2017
Head of the study programm e and since 2017, Dean oí the Deparlment, sup·
p orted the project from the beginning and fostered th e lsl and 2nd edition
as well as the English translation now available. We would especially like
to thank our students who never cease to surprise us with their substantial
contributions. Las! but not leas!, we are indebted to all our colleagues at the
lnslitute who, in the past years, have contributed various melhods to teach·
ing and resea rch and developed lhem further. Without their work, this 1-/and·
book of Methods would nol have been realised.
Andri Gerber, Stefan Kurath, Holger Schurk, Roland Züger

Holger Schu rk (born in 1969 ): 1997 Diploma in architecture al University of

Stuttgart. 1998 - 2001 Worked al various archileclural practices in Stutlgart ,
Rotterdam and Amslerdam. Since 2001, archilectura l praclice dform in
Zurich. 2001 - 2004 academic member of staff al Prof. Marc Angélil's Depart-
ment. 2005-2008 Professor of joinl mosler's programme of architecture
at Berner l=achhochschule (university of applied sciences). Since 2008, lec-
turer at ZHAW. EAAE Prize 2011- 2012 for writings in architectura l education.

Roland Züger (born in 1975): Studied a rchitecture in Winterlhur and Berlin.

Since 2007, freelance archilect, since 2010, Kessel Züger Architekten in
Berlin/ Zurich. l=rom 2002 to 2004, ledurer at I= • I= Schule für Kunst und
Mediendesign Zurich, since 2007, lecturer at ZHAW. Since 2003, works as a
specialised journalist forB auwelt, L'architecture á'aujourá'hui, Trans etc.,
since 2011, editor at werk. bauen • wohnen.

174 175
 lmprint

Editor: lnstitute Urban Landscape, School of Architecture,

Design and Civil Engineering, ZHAW
Authors: Andri Gerber, Stefan Kurath, Holger Schurk, Roland Züger

Book design: Schon & Berger, Zurich

Translation: y'plus, Graz - Dr. Marina Brandtner, Richard Watts,
Maria Nievoll
Printing: Scholer Druck und Medien, lmmenstadt
Bookbinding: IDUPA, Owen

Paper: Munken Premium Cream/Munken Polar

Fonts: Neutra, Arnhem

The first German edition was published in September 2013 by the lnstitute
itself: lnstitute Urba n Landscape, School of Architecture, Design and
Civil Engineering (ZHAW) under the tille of 1'1ethodenhandbuch für Lehre,
Forschung und Praxis in Architektur und Sli:idtebau.
www.archbau.zhaw.ch

1st English edition <9 2018 by

Tries! Verlag für Architektur, Design und Typografie, Zurich,
as well as to ali editors, authors and photographers.
triest-verlag.ch

ISBN 978-3- 03863 -031-9

This book is a lso available in a German language edition

(ISBN 978-3-03863-020-3).
 In architecture and urban design, methodology is a
basic building block of design practice. lt helps
uncover problems, answer questions, and develop
possible solutions. Methods generate ideas
and bring about decisions. The findings and results from
these processes remain transparent.

This guide permits two levels of reading. On the one

hand, a selective interrogation of specific
methods in real-world applications - vividly illustrated
by examples - and, on the other, an examination
of the methods themselves: scenario, test planning,
overall urban design concept, photography,
model, mapping, sectional view, diagram, morphology.

.. __-
zh
ISBN 97&-3-03&63-031-9 aw