Tools for Ideas

Tools for Ideas

Front cover
Author Christian Gänshirt
Original title Werkzeuge für Ideen
Translator Michael Robinson
Country Switzerland
Language German
Subject Architectural design
Publisher Birkhäuser
Publication date
 2007
Published in English
 2007
Media type Print Paperback
Pages 255
ISBN 9783764375775
OCLC ocm85830249
729
LC Class 2007925789

Tools for Ideas: An Introduction to Architectural Design (German: Werkzeuge für Ideen. Einführung ins architektonische Entwerfen) is a book on the practice, theory, and history of architectural design first published in 2007 by Christian Gänshirt. It examines the means used for design, explaining how they facilitate, but also influence the thinking, expression and perception of architectural ideas.[1] The book marks a shift from studying design methods to exploring the use of the media, tools, and programs available for design. It has been widely discussed and is a recommended reading at some of the most renowned architecture schools internationally.

Content

Design Research

The introducing chapter of the book explores the idea of design research in architecture. What seems to be a real issue, writes Ole B. Jensen in a comment, is that "design is so centrally significant in today’s society that research into it can no longer be neglected."[1]:11 The issue we are facing is thus:

"How do research and design relate to each other? (…) Both activities produce knowledge, but of different kinds. (…) So, on the one hand, design is not a science in its own right, but draws on technical and scientific insights as well as artistic skill and ability. On the other hand design, although not a science, can be the object of systematic research"
—Gänshirt, Tools for Ideas, p. 17

At least we may say, continues Jensen, that: "The question ‘What is design?’ turns out to be a fundamental one, to which there is no conclusive answer, something Flusser would call a ‘riddle to be deciphered’ – in contrast to a soluble problem"[1]:52 Design relates to a practice indeed, but there must be some sort of intellectual and reflective dimension to this as well. Regardless if one is engaged in the design of service systems, virtual worlds, artifacts, furniture, buildings or urban spaces, concludes Jensen, there seems to be a common set of issues related to the practical tools as well as the theoretical concepts used.[2]

Architectural design

Gänshirt defines architectural design as "devising a form for an object without having that actual object in front of you."[1]:57 He considers this a fundamental activity that is shared by all professions derived form the ancient Greek ἀρχιτέκτων (arkhitekton), like architects, engineers, urban designers, landscape architects, industrial and graphic designers. The fundamental component of the design, observes Philippe Marin, is based on the intellectual qualities and abilities of the designer to perceive, imagine, invent and make sense. The designer leads his work through a dialogue with himself, through the multiple representations and figurations he makes. A continual interaction between the idea and its manifestation operates by the use of design tools. Marin goes on: "Gänshirt marks the close relationship between tools and design: the compass and the rule create their own geometry based on lines and circles; the perspective induces a certain conception of space. All design tools are used in order to figurate and they facilitate the perception. They are used to reduce the complexity of the object under study, to make it intelligible to the designer."[3]

Swiss design researcher Martin Wiedmer concludes that: "in this sense, we should avoid limiting design to a “predefined methodology” and understand the world of design as open, “and at the same time as complete in itself, as a realm containing a wide variety of languages, and of forms of thought and work.”[1]:17 Through various experiments, tests, and studies, cycles of investigation and evaluation, the best solutions are gradually worked out: “Designing is a process of approaching concrete reality laboriously and gradually: working from the large to the small scale, starting with the abstract and becoming more and more concrete.”[1]:65 By interlinking different disciplines, gradually approaching the desired outcome, redefining it, and experimenting with methods and media, (…) design is a constant negotiation of reality, for example the reality of a research questions and experimental settings."[4]

The concept of the design cycle

Design cycle, diagram p. 79

Referring to Donald A. Schön's theory of reflective practice, Gänshirt proposes the concept of the design cycle as a recurrent time pattern[5] to describe the reflective and repetitive structure of design processes.[1]:78–80 He explains design cycles as circular time structures which may start with the thinking of an idea, then expressing it by the use of visual and/or verbal means of communication (design tools), the sharing and perceiving of the expressed idea, and starting a new cycle with the critical rethinking of the perceived idea.[6] Jane Anderson points out that this concept emphasizes the importance of the means of expression, which at the same time are means of perception of any design ideas, allowing and structuring visual and verbal design thinking.[7] Alois Wortmann has argued that Gänshirt’s design cycle and Schön’s reflection-in-action are descriptive models that integrate designing as a spontaneous act and designing as an explicit process.[8]

Sven Schneider observes that within this iterative process, the tools used to create prototypes play a central role: "They are required to externalize the ideas and thoughts that are in the mind of the designer[1]:79 As such, manageable artifacts are produced which can in turn be evaluated by the designer. For the design process to be effective, it is critical that the cycle of ideas, design tools and artifacts (fig. 1) is not interrupted unnecessarily."[9] Citing Jörg Petruschat, Schneider continues saying that this is one reason for the success of traditional design tools such as pencil and paper, because these tools can be used without any special knowledge and their usage facilitates a continuous flow of thoughts.[10]"

Brazilian design researcher Pedro Veloso has noted that: "in a certain way, this scheme is an enlargement of the idea of the dialogue between mental image and external scheme proposed by Alfonso Martinez,[11] but it abdicates the pretension of defining a proposed way of designing - since this would be very susceptible to specific methodologies - in order to focus his analysis on the relation between instrument and architect. The design cycle diagram takes apart activities which during the time of a project occur many times in intertwined or parallel ways, this being favorable for a more precise analysis of the relations involved. Besides that, the idea of the cycle suggests that these phenomena occur countless times along a design process, in ways he only is able to develop through his instruments."[12]

Design tools

Table of visual and verbal design tools, p. 102

Referring to Vilém Flusser's phenomenological approach to media studies[13] Gänshirt examines the means used for design, explaining how they facilitate, but also influence the thinking, expression and perception of architectural ideas. According to Tero Heikkinen, he "limits his observation mostly on the designer, describing a variety of concrete, historical tools. Gänshirt then proceeds to transpose the idea of a design tool to a metaphorical level. Anything from gestures, sketches, models, videos to computer simulation programs and design criticism can all be seen as tools forwarding the design in some way or another. This McLuhanian view would mean that design cannot in fact do without mediation of tools. “Ideas, visions and thoughts cannot be conveyed directly, they can be expressed only with the aid of ‘tools’, ‘instruments’, or ‘media’.”[1]:81 For Yehuda Kalay, says Heikkinen, "tools supporting designers are only one possible role.[14] Looking at the suggested roles through Gänshirt’s notion of abstract tools, a reversal can be made, and all processes relevant to design may be seen as tools."[15]

Visual design tools

To make it possible to analyze the different media used for design, Gänshirt divides them in two categories: visual and verbal tools (fig. 2).[1]:81 Conventionally, in areas like architecture, industrial design, or graphic design, visual tools are considered more important than verbal ones. In other areas like engineering or urban planning, the use of verbal design media may be prevalent. Visual design tools analyzed in the book are, for example, gesture, sketch, drawing, scale model, perspective drawing, photograph, film, video. In her essay on "Language as a design medium in urban practice",[16] Laurien Anne Korst writes: "Gänshirt notices that in practice there exists a form of competition between the two ways of thinking: "Architects likely condemn verbal thinking as ‘grey theory’, while some cultures reject the use of the associative/emotional visual- spatial thinking."[1]:62 Gänshirt pleads to avoid this confrontation, but to make use of the possibilities of mutual suggestion and stimulation on the one hand and reflection and observation on the other hand":

"Visual tools that produce images make it possible to express inner ideas in a visual form, so that these can be looked at critically and conveyed to others, while the verbal design tools that produce texts are there to describe, analyze and criticize design ideas. Or put briefly: the visual tools are used primarily for devising form, and the verbal tools for developing the meaning of a design."
—Gänshirt, Tools for Ideas, p. 101

Verbal design tools

Verbal design tools described in the book are, for example, metaphor, description, discussion, critique, theory, algorithm, calculation, program. Defending the use of writing as a design tool, landscape architect Udo Weilacher argues that as a matter of fact the design of a project and the writing of a complex text have much more common characteristics in various regards than one may suppose at first sight: „The spoken word as the first concretion of first ideas and conceptions is absolutely the most ephemeral of all design tools“, says Gänshirt.[1]:125 He points out that the German word "reißen" in the sense "drawing" comes from the same root as the English term "to write". Weilacher goes on: "However, the analogies between writing and designing reach a lot further, even without pointing at the complicated connections between structuralism in linguistics and structuralism in landscape architecture – a subject of high significance for current planning issues. Writing is designing, or at least writing is an excellent design training, because it forces the author give a clear structure to a story told or an image of a new garden or a landscape created in a creative design process."[17]

Critical Reactions

Christian Thomas, architecture critic at the Frankfurter Rundschau, writes: "Without leaning towards a certain attitude or approach, the author discusses the principles of design, names role models, sketches theories from Plato to Flusser. And even before the book deals with the tools for design, starting with the gesture, drawing, model, perspective, or CAD-programs, again and again it emphasized a complex understanding of the term design. Because in the everyday life of an architect this isn’t self-evident at all, Gänshirt insists on a synthesis of artistic work, technical as much as architectural design and scientific reflection. That’s the way it should be."[18]

Sabine Ammon and Eva Maria Froschauer criticize Gänshirt's metaphorical use of the term design tool: "Tools and their related practices are the central question of research on cultural techniques, an area that in the last few years has turned to the subject of design. A whole ‘toolbox’ is to be considered, though less in the metaphorical use of the term the way Gänshirt’s study “Tools for Ideas” approaches it, but rather considering the (…) practices, conceptions and media in architecture and design science, which in their case studies open up new perspectives."[19]

Bauwelt reviewer Matthias Castorph argues that the second part of the book tries to cover too broad an area, concluding: "In spite of these superficialities, and illustrations sometimes appearing arbitrary, for architects this book is a substantial and intelligent reading. Its value is more in well-founded observations and formulation of questions than in their final scientific clarification. It stimulates the reflection of one’s own working methods, as a result enabling the reader to formulate more personal and precise answers."[20] A different view is put forward by Generalist reviewer Judith Reeh: "Interesting is the illustration of the book. It develops an individual associative, visual story line next to the very substantial dispute on the linguistic level. The book is an intelligent, profound and basic illustration of the complex procedures of designing. This extensive scientific work casts a light on a variety of new questions of research and stimulates discussions inter alia about the general practices of design teaching at universities."[21]

Nott Caviezel, chief editor of Werk, Bauen + Wohnen, calls the book “an inspired and inspiring introduction", he notes: "Understandably written and clearly structured and designed, the book doesn't justify a personal design approach or present a certain design method. The author rather expands on the overarching interactions between designers, tools and materials, and the currently discussed connection of design and research, architecture and science.”[22] Wang Guixiang, architectural theoretician at Tsinghua University, states: „The ancient Chinese thoughts about creativity and creation are in line with the ideas and viewpoints expressed in this book. (…) I believe this book is good for architects, architecture students and designers. And for people doing research in architecture and design theory, the viewpoints and documents mentioned are of great significance.“[23]

Influence

Tools for Ideas has been widely cited and discussed,[24] and has been or is being used as a recommended or mandatory reading at architecture schools in Australia,[25] Austria,[26] Belgium,[27] China,[28] Egypt,[29] Germany,[30] Greece,[31] The Netherlands,[32] Singapore,[33] Switzerland,[34] the United Kingdom,[35] and the United States.[36]

Related projects

Quoting Tools for Ideas as a reference,[37] cultural theorist Elke Krasny conducted field research about the use of design tools in contemporary architecture practices. With the support of Gudrun Hausegger and Robert Temel, 20 architecture offices and studios were examined in Europe, Asia and the Americas: "Photographs document what it actually looks like in the studios during the work process. The work process itself is shown on the basis of one specific project from each office, by showing the means used for the design involved to provide unusual insights into the working world of architecture."[38] The findings were published in a book,[39] and an exhibition first shown at the Architecture Centre (Az W) in Vienna, Austria, in 2008.[40] Later on, Krasny did similar research in Canada, which was used to expand the exhibition. It then was shown in Halifax, Nova Scotia, Canada,[41] Montréal, Canada,[42] and in Graz, Austria.[43]

The International Research Institute for Cultural Technologies and Media Philosophy (IKKM) at the Bauhaus University in Weimar, Germany, conducted a DFG-funded research project on design tools (German title: Werkzeuge des Entwerfens) from 2010 to 2012:[44] "The program is concerned with the history and theory of design processes. It focuses especially on its tools and techniques. (…) First by dealing with the concept of the tool, subjecting it to a critical revision from the perspective of contemporary research on cultural techniques and science; and secondly, by regarding the concept of drafting as a practice that characterizes and grounds the modern artist, architect, engineer and scientist."[45] The outcome was presented at an international conference, funded by the Fritz Thyssen Foundation and the program “ProExzellenz“,[46] and in a series of publications.[47]

Publication history

The first German and English editions were published simultaneously by Swiss publisher Birkhäuser Verlag AG, at the time part of Springer Science+Business Media, in 2007. This first editions include revised versions of essays published earlier.[48][49][50] An edition in simplified Chinese, with a foreword by Guixiang Wang (Chinese: 王贵祥, Tsinghua University, Beijing), was published in 2011 by China Architecture and Building Press.[51] In the same year, Birkhäuser published a second, updated German edition.[52] E-books of the German and English editions were published by Walter de Gruyter, who had acquired Birkhäuser in 2012.[53]

External links

References

Footnotes

  1. ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 1.10 1.11 Gänshirt, Christian (2007). Tools for Ideas: An Introduction to Architectural Design. translated by Michael Robinson. Basel, Boston, Berlin: Birkhäuser. ISBN 978-3-7643-7577-5.
  2. ↑ Ole B. Jensen (2010): Design Research and Knowledge – Introduction to Design Research Epistemologies, in: Design Research Epistemologies I, Aalborg University, pp. 7-12
  3. ↑ Philippe Marin, Jean-Claude Bignon, Hervé Lequay (200?): METACONCEPTION. Evolutionary tooling of the creative design process, p. 2
  4. ↑ FELIX, Nadine, TORPUS, Jan and WIEDMER, Martin (2009). Negotiating Reality. In: Undisciplined! Design Research Society Conference 2008, Sheffield Hallam University, Sheffield, UK, 16–19 July 2008,
  5. ↑ Thomas Fischer: Design Enigma. A typographical metaphor for enigmatic processes, including designing, in: T. Fischer, K. De Biswas, J.J. Ham, R. Naka, W.X. Huang, Beyond Codes and Pixels: Proceedings of the 17th International Conference on Computer-Aided Architectural Design Research in Asia, p. 686
  6. ↑ Marin Philippe, Marsault Xavier, Saleri Renato, Gilles Duchanois, Bignon Jean-Claude (2014): L’Eco-Conception Générative : Une illustration de la pensée complexe. Ecole Nationale Supérieure d’Architecture de Lyon, p. 3 "Gänshirt (Gänshirt 2007) propose une représentation du cycle de la conception en mettant en avant les interactions continues entre la pensée, la perception et l’expression, médiatisées par des outils."
  7. ↑ Jane Anderson: Architectural Design, Basics Architecture 03, Lausanne, AVA academia, 2011, ISBN 978-2-940411-26-9, p. 40
  8. ↑ Thomas Alois Wortmann: Representing Shapes as Graphs: A Feasible Approach for the Computer Implementation of Parametric Visual Calculating, Cambridge, MA, Massachusetts Institute of Technology, 2013, p. 12
  9. ↑ Sven Schneider, Martin Bielik, Reinhard König: The Parametric Exploration of Spatial Properties – Coupling Parametric Geometry Modeling and the Graph-Based Spatial Analysis of Urban Street Networks, p. 125
  10. ↑ PETRUSCHAT, Jörg (2001): Bemerkungen zum Zeichnen, in: form+zweck, Heft 18, pp. 70 – 77
  11. ↑ MARTINEZ, Alfonso Corona (2000): Ensaio sobre o Projeto. Brasília: Editora Universidade de Brasília, p. 45
  12. ↑ Pedro Luis Alves Veloso: IDIOSSINCRASIAS INSTRUMENTAIS ou negando a psicografia arquitetônica. Centro Universitário SENAC. , translated from: "De certo modo, esse esquema é uma ampliação da ideia de diálogo entre imagem mental e esquema externo proposto por Martinez, mas ele abdica da pretensão de definir um percurso do design proposto – visto que esse seria muito suscetível a metodologias específicas – para concentrar sua análise na relação entre instrumento e arquiteto. O gráfico fragmenta atividades que ocorrem muitas vezes entrelaçadas ou paralelas no projeto, propiciando uma análise mais precisa das relações envolvidas. Além disso, a ideia de ciclo pressupõe que esses fenômenos ocorram inúmeras vezes ao longo do design, em caminhos somente aquilo que ele consegue desenvolver por seus instrumentos."
  13. ↑ Vilém Flusser: Gesten. Versuch einer Phänomenologie (German: Gestures. An Attempt of a Phenomenologyp), Bensheim and Düsseldorf: Bollmann, 1991, 2nd ed. 1993
  14. ↑ Kalay, Yehuda E. (2004). Architecture’s new media. Cambridge, Massachusetts: The MIT Press.
  15. ↑ Tero Heikkinen, Susanne Jacobson and Antti Pirinen: Design Research and Housing, in: Turkka Keinonen (ed., 2008): DESIGN CONNECTIONS – KNOWLEDGE, VALUE AND INVOLVEMENT THROUGH DESIGN. WORKING PAPERS – TYÖPAPERIT, University of Art and Design Helsinki F 34, ISBN 978-951-558-243-0, ISSN 1455-8955, Helsinki 2008, p. 69
  16. ↑ Laurien Anne Korst (2012): "Constructive narratives. Language as a design medium in urban practice", in: Roberto Rocco (2012): "Methodology for Urbanism AR2U090, Best Essays 2010-2012", Edited by Roberto Rocco Chair Spatial Planning and Strategy, Delft University of Technology, Department of Urbanism, April, 2012, p. 80,
  17. ↑ Udo Weilacher: “Those who can, do ... Writing about Landscape Architecture”, in: Bayerische Akademie der Schönen Künste in München (ed.): Jahrbuch 24/2010. Göttingen 2011; pp.53-65, online at:
  18. ↑ Book review by Christian Thomas at Frankfurter Rundschau: , retrieved Feb. 3, 2014, translated from: "Ohne sich für eine besondere Handschrift oder auch Haltung stark zu machen, diskutiert der Autor die Prinzipien des Entwerfens, benennt Vorbilder, skizziert Theorien von Platon bis Flusser. Und noch bevor das Buch sich mit den Werkzeugen des Entwerfens beschäftigt hat, angefangen mit der Geste über die Zeichnung, das Modell, die Perspektive oder die CAD-Programme, hat es sich immer wieder für einen komplexen Begriff des Entwerfens stark gemacht. Weil er im Alltag des Architekten alles andere als selbstverständlich ist, hält Gänshirt beharrlich an einer Synthese aus künstlerischer Arbeit, technischem sowie architektonischem Entwurf und wissenschaftlicher Reflexion fest. So soll's sein. ChTh"
  19. ↑ Sabine Ammon, Eva Maria Froschauer (2013): Perspektiven einer reflexiven Entwurfsforschung, in: Wissenschaft Entwerfen. Vom forschenden Entwerfen zur Entwurfsforschung der Architektur, Wilhelm Fink, München, p. 26, translated from: "Werkzeuge und die mit ihnen verbundenen Praktiken stellen den zentralen Ansatzpunkt der Kulturtechnikforschung dar, die sich in den letzten Jahren dem Themenfeld des Entwerfens zugewandt hat. Dabei ist ein ganzer ›Kasten‹ solcher Werkzeuge zu berücksichtigen, weniger in metaphorischer Ausdeutung, wie es etwa in Christian Gänshirts Studie "Werkzeuge für Ideen" angelegt ist. Sondern, es sind mehr die – wie im von Daniel Gethmann und Susanne Hauser herausgegebenen Band Kulturtechnik entwerfen genannten – Praktiken, Konzepte und Medien in Architektur und Design Science, die im ihren Fallstudien neue Perspektiven eröffnen."
  20. ↑ Matthias Castorph (2007): Werkzeuge für Ideen. Einführung ins architektonische Entwerfen, in: Bauwelt No. 35/2007, p. 41, translated from: "Trotz dieser Oberflächlichkeiten und der teilweise beliebig wirkenden Bebilderung ist das Buch für Architekten eine substantielle und intelligente Lektüre. Sein Wert liegt mehr in den fundierten Beobachtungen und Fragestellungen als in ihrer wissenschaftlichen Klärung. Es regt zur Reflexion der eigenen Arbeitsweise an, um daraus resultierend persönliche und präzisere Antworten formulieren zu können."
  21. ↑ Book review by Judith Reeh (2008) in Generalist. Magazin für Architektur, Darmstadt: Nicolai, ISBN 978-3-89479-529-0, pp. 46, 47, online at: , retrieved Feb. 3, 2014
  22. ↑ Nott Caviezel (2008) in: Werk, Bauen + Wohnen, Werk AG Verlag, Zürich, Vol. 95, nr. 4/2008: Peter Zumthor et cetera, , translated from: "Eine inspirierte und inspirierende Einführung. (…) Das verständlich geschriebene, übersichtlich gegliederte und gestaltete Buch begründet weder eine persönliche Entwurfshaltung noch stellt es eine bestimmte Entwurfsmethode dar. Vielmehr geht es dem Autor darum, auf die übergreifenden Wechselwirkungen zwischen Entwerfendem, den Werkzeugen und den Werkstoffen einzugehen, den gegenwärtig diskutierten Zusammenhang zwischen Entwerfen und Forschen, zwischen Architektur und Wissenschaft zu thematisieren. nc"
  23. ↑ Guixiang Wang (2011): Foreword to the Chinese Edition, in: 创意工具: 建筑设计初步 [Tools for Ideas. An Introduction to Architectural Design], Beijing: China Architecture and Building Press, 2011, p. 10
  24. ↑ Besides the sources mentioned above:
    • Susanne Hofmann (2013): Über die Relevanz der subjektiven Erfahrung des Entwerfers, in: Atmosphäre als partizipative Entwurfsstrategie. Doctoral dissertation, TU Berlin 2013, pp. 53-61
    • Wolfgang Bachmann (2009): Architektur und Aroma, in: Baumeister, No. 10/2009, p. 1
    • Dagmar Steffen (2011): Praxisintegrierende Designforschung und Theoriebildung Analysen und Fallstudien zur produktiven Vermittlung zwischen Theorie und Praxis. Inaugural-Dissertation an der Bergischen Universität Wuppertal Fachbereich F: Design und Kunst, p. 187
    • Costas Caradimas, Sofia Tsiraki: Teaching Design and Technology through Basic Environmental Objectives, at the National Technical University of Athens: Towards an Integrated Approach, in: ENHSA - EAAE 61 Architectural Education and the Reality of the Ideal: Environmental Design for Innovation in the Post-Crisis World, Athen, 2013, pp. 172, 178, 179
    • Maren Harnack (2008): Was tun wir hier eigentlich? online at:
    • Narongpon Laiprakobsup ณรงพน ไลป่ ระกอบทรัพย์ (2013): Research Collaboration with the Architectural Design Process: Co-Development of Problems and Solutions บรู ณาการการคน้ ควา้ วจิ ยั กบั กระบวนการออกแบบสถาปตั ยกรรม: การพฒั นารว่ มกนั ระหวา่ งโจทยแ์ ละผลลพั ธ์, Faculty of Architecture, Kasetsart University, Bangkok, Thailand คณะสถาปตั ยกรรมศาสตร์ มหาวิทยาลยั เกษตรศาสตร์ กรงุ เทพมหานคร,
    • Pedro Fonseca Jorge: ARGUMENT AND CRIME. Designing theory or theorizing design. p. 1, 2, 4,
    • Ulrike Böhm, Cyrus Zahiri, Katja Benfer (2008): THE DESIGN PROCESS Between imagination, implementation and evaluation, in: DESIGNing DESIGN EDUCATION, PROCEEDINGS PART I, designtrain CONGRESS Amsterdam, The Netherlands, 05-07 June 2008, p. 45, 47, 51 [www.designtrain-ldv.com ]
  25. ↑ Used at:
  26. ↑
  27. ↑
    • KU Leuven, Expand - Course material
  28. ↑
  29. ↑
  30. ↑
  31. ↑
  32. ↑
    • TU Delft, Roberto Rocco (2012): Methodology for Urbanism AR2U090, Best Essays 2010-2012 Edited by Roberto Rocco Chair Spatial Planning and Strategy, Delft University of Technology, Department of Urbanism, April, 2012, p. 3, online at:
  33. ↑
    • SUTD Singapore University of Technology and Design, Kristin L. Wood (2012): "3.007 INTRODUCTION TO DESIGN “Shaken not Stirred: Undertake the Impossible, Design the Unexpected”", SUTD Singapore University of Technology and Design, Fall 2012, p. 2
  34. ↑
  35. ↑
  36. ↑
  37. ↑ Elke Krasny (ed): The Force Is in the Mind: The Making of Architecture, bibliography:
  38. ↑ Review at Klassikmagazine.com
  39. ↑ Elke Krasny: Architektur beginnt im Kopf - The Making of Architecture. Basel, Boston, Berlin: Birkhäuser, 2008, ISBN 978-3764389796
  40. ↑ Architektur beginnt im Kopf. The Making of Architecture Architekturzentrum Wien, Oktober 15, 2008 - February 4, 2009, retrieved Feb. 22, 1014,
  41. ↑ THINKING OUT LOUD. THE MAKING OF ARCHITECTURE EXHIBITION 10-28 JANUARY 2011, Dalhousie Faculty of Architecture and Planning, Halifax, Nova Scotia, Canada, retrieved Feb. 22, 1014
  42. ↑ PENSER TOUT HAUT / FAIRE L’ARCHITECTURE Centre de design de l’UQAM, Canada, 1440, Montréal, rue Sanguinet, retrieved Feb. 22, 1014
  43. ↑ Raumfinden: Werkzeuge des Entwerfens. 17 Positionen aus Kanada und Österreich in the Haus der Architektur, Mariahilferstraße 2, A-8020 Graz, , retrieved Feb. 22, 1014
  44. ↑ Research Fellow Programm "Tools of Design" (German: "Werkzeuge des Entwerfens"), Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie, Bauhaus-Universität Weimar
  45. ↑ Research Fellowships »Werkzeuge des Entwerfens«
  46. ↑ TOOLS OF DESIGN Conference program
  47. ↑ List (probably incomplete):
    • Barbara Wittmann (ed., 2015): "Werkzeuge des Entwerfens", Schriftenreihe des IKKM, Zürich, Berlin: diaphanes, 2015 (in preparation).
    • Nathalie Bredella: "Techniken des Entwerfens. Werkzeuge und Medien in Entwurfsprozessen von Frank O. Gehry Associates"
    • Gert Hasenhütl: "Erkenntnistheoretische Aspekte von Entwurfsprozessen"
    • Peter Heinrich Jahn: "Imitatio & disegno geometrico. Inventionsbegriff und Planungsprozeß des römischen Architekten Carlo Fontana (1638-1714) und seiner Schule"
    • Lutz Robbers: "Verkörperung/Verzeitlichung: Der Einbruch des bewegten Bildes in die Architektur"
    • Wladimir Velminski: "Entwürfe des Neuen des Denkens"
  48. ↑ Christian Gänshirt: Six Tools for Design (German), in: Design - Creativity and Materialization. Cottbus, 1999, ISSN 1434-0984, retrieved Feb. 22, 1014
  49. ↑ Christian Gänshirt: Design and Science: Architecture and the Idea of the University (German), in: The Architect is dead! Long Live the Architect! Cottbus, 2000, ISSN 1434-0984, retrieved Feb. 22, 1014
  50. ↑ Christian Gänshirt: The Golden Axe and Intelligent Feelings: Criticism as a Tool for Design (German), in: Grasping Architecture: A Critique of Architecture Criticism. Cottbus, 2003, ISSN 1434-0984, retrieved Feb. 22, 1014
  51. ↑ 克里斯蒂安·根斯希特 (2011): 创意工具:建筑设计初步, with a foreword by Prof. Dr. Guixiang Wang, China Architecture and Building Press, Beijing, 2011, 248 pp.
  52. ↑ Book webpage at De Gruyter: http://www.degruyter.com/view/product/201865 , retrieved Feb. 8, 2014
  53. ↑
    • ISBN 978-3-0346-0924-1 (English e-book)
    • ISBN 978-3-0346-0922-7 (German e-book)