After a decade of attempts to define artistic research without jeopardizing either
the aesthetic, nor the epistemic value, this young discipline seems to find itself at a
critical point. The pursuit of the not-yet known may be the smallest common
denominator in research practices, and as such, also at core of artistic research. As
for artistic practice, however, sensitivity, intuition and creativity are undoubtedly
fundamental for any aesthetic production. In the following I want to approach the
modus operandi of artistic research using an example of a movement in
architecture and design of the first half of the 20th century.
