Siegert rejects design as an anthropological constant or irreducible act of creativity and reconstructs it instead as a recursive chain of inscriptional operations. Leonardo’s studies of turbulent water become the exemplary case: invention occurs not prior to drawing but inside an experimental system composed of things, codes, geometric bodies, paper and graphic marks. The series, rather than the singular inspiration, becomes the privileged epistemic form. Lines do not simply depict a pre-existing phenomenon; they produce a coded field in which fluid motion can be compared, varied, translated and recombined. Methodologically, Siegert therefore replaces the mythology of disegno as mental projection with an archaeology of concrete sign practices and technical media. The wider bridge to experimental epistemology is exact: design behaves like a research apparatus whose media condition what can emerge as form. Architectural authorship is correspondingly redistributed across recurrent operations, inscription technologies and material phenomena rather than located in a sovereign designing subject.
