Architecture software: Why many are switching

Building design

Architectural firms are currently faced with the question: should they continue using their existing CAD software or switch to the future? Because 3D modeling and BIM are becoming increasingly important. “We used the software we’ve always used – but at some point we couldn’t get any further.” This is the almost unanimous tenor of architectural firms that have decided to switch […]

Architectural firms are currently faced with the question: should they continue using their existing CAD software or switch to the future? Because 3D modeling and BIM are becoming increasingly important.

“We used the software we’ve always used – but at some point we couldn’t get any further.” This is the almost unanimous opinion of architectural firms that have decided to switch to ARCHICAD software. The manufacturer of the program, GRAPHISOFT, asked the architects about their motives and uncovered some interesting facts.

The 2D/3D issue is at the forefront of the reasons for switching. Many offices use software solutions that are still heavily reliant on two-dimensionality. This is not the case with ARCHICAD, where working directly on the 3D model has always been at the heart of the system. You can plan intuitively and quickly on a central model. Every change also appears automatically in all floor plans, views and sections.

This is not only extremely time-saving – it is also better suited to today’s working habits, especially those of young architects. They want to move quickly into modeling, work on the living object, so to speak, and quickly deliver presentable, veritable results. Andreas Kleboth from Linz can also observe this in his office: “We have many employees who are familiar with ARCHICAD from their studies and are therefore very experienced and very fast at creating 3D models.”

A quicker sense of space, conditions and atmosphere: this is what more and more clients are demanding. This is where many of those surveyed see ARCHICAD’s great trump card. Architect Johannes Berschneider from Pilsach describes it like this: “The final icing on the cake are the clients, who sit here with their mouths open, watching and ‘walking through the building’.” He is referring to the 3D representations with which ARCHICAD enables impressive virtual building inspections virtually at the touch of a button.

Building Information Modeling is increasingly required in tenders in order to ensure an efficient project process across all phases and between all planning participants.

Training for the changeover

Almost all offices took advantage of the extensive training and support offered by GRAPHISOFT and its local partners. For architect Irene Kristiner from Graz, the ARCHICAD basic course was particularly helpful: “The program’s functions were explained to us right from the start, we were able to work with it directly, ask our questions and receive direct feedback.”

Interesting information portal

What do the individual architects think about their software? Why did they decide to switch to ARCHICAD? And how did the changeover go? GRAPHISOFT has set up an interesting information portal with film clips about various architecture firms in Germany and Austria. More information here.

Credit for all images: Alex Brunner, www.vonbrunner.com

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Baumeister: How does the concept of the Grand Tour der Moderne work?

ANTJE HORN: The heart of the tour is our website (grandtourdermoderne.de). There we show more than 100 places in Germany that represent the history of architecture between 1900 and 2000. The Bauhaus and modernist buildings and objects are displayed both in a list and on a map of Germany. We visualize each location digitally and add the respective construction period, the architect, a short text and a link to the website of the location or the address – provided it is a publicly accessible location.

BM: You present various tours on your website. So it’s not a linear journey with a start and end point?

AH: We only give tips on which places can be combined thematically or in terms of distance. But we don’t offer routes for booking. Our places are curated and selected in advance by a jury. Considering the sheer volume of modern architecture in Germany, this was no easy task. We have tried to include something in every federal state.

BM: Do you recommend a certain approach as to where and how one should start a tour?

AH: I would encourage everyone to check out our website first to find out which modern buildings are in their immediate vicinity. You can discover fascinating buildings in your city, in your region, in your state. Everyone can decide for themselves whether a day trip, a weekend excursion or an educational trip lasting several days is an option. Some places are a little more complicated to get to, but in principle you can always get there by bus, train or bike.

BM: To what extent does the Grand Tour of Modernism support the many other events celebrating the Bauhaus anniversary?

AH: The tour complements the other events in that it represents the big picture and presents, among other things, architecture that was built before the school was founded. We are interested in the development of architecture, the Grand Tour offers a holistic approach. We also have places in our portfolio that are located both in the city and on the outskirts. So you can get out of the cities and discover places that are not on the usual event map.

BM: How did the idea of combining the locations as tour elements come about?

AH: Several federal states have joined together to form the Bauhaus Association in order to work together on the “100 Years of Bauhaus” project. With Weimar, Dessau and Berlin, there are three Bauhaus locations. It therefore made sense to link these locations, as each federal state and each location naturally has an interest in attracting visitors. The Grand Tour was created with other locations from other federal states. And the name implies travel – Grand Tour as an educational tour – which is why we have also worked out different route tips.

BM: The tour includes key buildings, controversial objects and also “unknowns”. Can you give an example of the latter?

AH: I would mention the Haus Rabe in Zwenkau or the Haus Schminke in Löbau, in Hamburg the Tempel Synagogue in Oberstraße – which today houses the Rolf Liebermann Studio of the NDR. Most people, unless they are local enthusiasts, do not have these buildings in mind. Another example are the department store buildings from the 1930s. The Schocken company, two brothers, built the first department stores in Germany – one is still standing in Chemnitz. It’s a great building that now houses a museum. People have seen it once, but the history behind it is mostly unknown to them.

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AH: Of the buildings in our portfolio, I particularly like the Teepott in Warnemünde, the Masters’ Houses or the Kornhaus in Dessau, the Mies van der Rohe buildings in Krefeld. As a housing project, I find the Rundling in Leipzig very impressive, a property that I was also made aware of as a project manager.

BM: Isn’t this a project that extends beyond the Bauhaus anniversary?

AH: We are making every effort to continue the project through the Bauhaus cooperation. It would be a shame not to. The website will therefore continue to exist and it would be nice to expand the list. I’m sure that many people are even deliberately waiting until after the anniversary year, because for some, as in Dessau, there is still too much hustle and bustle.

You can read the interview in the July 2019 issue.