gelernt habe, das kreative Potenzial anderer zu fördern. So kann man eigentlich von drei prägenden Bereichen spreche: dem Lesen, der Konzeption und der Vermittlung von Architektur. Was sind Ihre Vorstellungen zur inhaltlichen Ausgestaltung der Fächer Ihres Lehrstuhls? Im Zentrum der Lehre stehen die konzeptionelle und experimentelle Gestaltungspraxis und der individuelle Entwurfsprozess sowohl fachbezogen als auch interdisziplinär. Ziel ist es, die Fähigkeiten des Einzelnen als Grundlagen für die kreative Tätigkeit zu stärken, ein Handwerkszeug zu vermitteln und durch das Tun Selbstvertrauen und Selbstverständnis in der schöpferischen Arbeit anzulegen. Durch die Auseinandersetzung mit Arbeiten aus den unterschiedlichen Bereichen der Gestaltung werden Prinzipien erkannt und eine Terminologie und Typologie als Basis für die eigene Tätigkeit der Architekturkonzeption und Konkretion erarbeitet. Wie gehen Sie dabei mit dem Erbe Ihrer Vorgänger um? Das Erbe sehe ich vor allem in der hohen Qualität des Architekturzeichens, das mit dem Architekten und Zeichner Hans Döllgast hier in den Räumen, in denen auch wir sitzen, seinen Anfang nahm und über mehrere Generationen bis heute bewahrt wurde. Es ist mir ein großes Anliegen, diese Tradition auch weiterhin zu bewahren und weiter zu entwickeln. In Autumn 2012, you were appointed as Head of the Chair of Architectural Design and Conception. Your arrival adds a new facet to architectural education at the Faculty of Architecture. How has your own history informed your approach to architecture? During my studies it was the precise, text-based consideration of works of architecture taught by our professor of architectural history, Harmen Thies, whose profound knowledge, analytical view and clear language opened my eyes to architecture through reading. Years of travelling and learning have in turn shaped by experience of the conception of architecture: I had the good fortune to work during my studies with Hans Kollhoff and Max Dudler in Berlin,
Lehrstuhl für Entwerfen und Gestalten Chair for Architectural Design and Conception Foto Photography Simon Burko, Sarah Heidborn
and after completing my diploma I worked with Peter Zumthor. This especially intensive period has had a lasting impact on my way of thinking about and making architecture. At the office of von Gerkan, Marg und Partner in Berlin, I trained my skills in rapidly conceiving, organizing and communicating architecture while working on numerous competitions. During that time I also worked as an academic assistant to Alfred Grazioli and Adolf Krischanitz at the UdK University of the Arts in Berlin: two outstanding teachers from whom I have learned to nurture the creative potential in others. As such, one could say that there were three formative phases in my own development: that of reading, of conceiving and of communicating architecture. What ideas do you want to bring to the teaching concept at your Chair? A central aspect of teaching is the conceptual and experimental practice of design and the development of an individual design process, both within the profession as well as across disciplines. The aim is to strengthen each person’s individual skills as a basis for creative work, to communicate fundamental skills and abilities and through that to help students become confident and assured in their creative work. By examining work from different areas of design, one can recognize principles and develop a set of terminologies and typologies as a basis for one’s own acts of architectural conception and elaboration. How do you intend to continue from the legacy of your predecessor? The legacy of my predecessor lies especially in the high quality of architectural drawing, which can be traced back to the architect and draughtsman Hans Döllgast – the designer of the very rooms we are sitting in – and has been handed down since over generations. It is important that we continue this tradition and that we develop it further in future.
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