“As a society, we all have a responsibility”

Building design
A man holds a model of a wooden bench, with a picture of moss on the wall in the background. Oliver Runge, Managing Partner of Runge GmbH & Co. KG Photo: Runge GmbH & Co. KG

Runge has been building furniture for public outdoor spaces for 116 years. Oliver Runge is the managing partner of the company. Photo: Runge GmbH & Co KG

We as a society are all responsible for dealing with the consequences of summer heat, drought and heavy rainfall, says Oliver Runge, Managing Partner of Runge GmbH & Co KG. In the interview, he explains what measures Runge took as a company several years ago, what we can gain by reducing the space for cars in cities and the results of an idea development project in collaboration with students from two universities, which focused on the contribution of street furniture to coping with heat or heavy rainfall events, for example.

We as a society are all responsible for dealing with the consequences of summer heat, drought and heavy rainfall, says Oliver Runge, Managing Partner of Runge GmbH & Co KG. In the interview, he explains what measures Runge took as a company several years ago, what we can gain by reducing the space for cars in cities and the results of an idea development project in collaboration with students from two universities, which focused on the contribution of street furniture to coping with heat or heavy rainfall events, for example.

How can street furniture respond to increasing heat, solar radiation, heavy rainfall/flooding events and rising sea levels? – You worked on this question two years ago as part of an idea development project with Osnabrück University of Applied Sciences and the German University in Cairo. The results have now been published. What new insights did you gain at Runge in this project?

We found it very exciting to see how young people from different cultural backgrounds worked together. They come from very different climate zones and have incorporated different climate experiences into the product development. Each team always consisted of students from both universities, so that the broad and very different wealth of personal experience could be incorporated.

The requirements resulting from climate change are very diverse – and the solutions proposed by the students were correspondingly varied: One group developed pure shading solutions for public spaces, another designed seating furniture that combines shading and water collection. Another team looked at floating solutions. There were also ideas for floor coverings that drain away rainwater and at the same time offer decorative ornamentation.

What happens now with the research results? Will they be incorporated into Runge’s productions?

The students’ designs have further fueled the ideas that have been on our minds for some time. We are now investigating whether one or two of the students’ ideas can be developed into a marketable product. Shading solutions and approaches to (rain) water management can certainly be part of furniture solutions for which there is a larger market. However, we must not fool ourselves: More trees and green spaces in the city are more effective against summer heat and local flooding.

They deal intensively with sustainable production and sustainable materials. Climate adaptation and climate protection have become political buzzwords worldwide. In your opinion, how important are heat management measures and climate adaptation in politics and city administration (also in an international comparison)? What is your impression?

First of all, we have a problem with the concept of sustainability: very often, sustainability is invoked because it is expected in public debate and customer communication – so the concept of sustainability degenerates into a pure marketing tool. However, we should fundamentally consider the consequences of human activity on the environment instead of carrying the buzzword around like a monstrance without reflection. Of course, we can and must demand that politicians do more. However, it is also the responsibility of each individual citizen and company to act in a way that minimizes their ecological footprint.

Owner-managed family businesses think in terms of generations as a matter of principle

As an owner-managed family business, we are not concerned with short-term profits and quarterly targets. We think in terms of generations as a matter of principle. That is why we are committed to exemplary products and climate-friendly production. We want to do the best we can to leave a livable world for future generations. Europe is generally a long way from achieving this. Fossil-free steel, i.e. steel that has been produced without fossil fuels but still requires massive amounts of energy, won’t help. Not that it wouldn’t be good to switch steel production to clean energy sources. There are certainly product categories that really depend on the properties of steel. However, products that can also be made from renewable raw materials, such as street furniture, should also use these low-energy alternatives. Wherever possible, we should avoid energy-intensive products and design all products for a long service life, reparability, reusability and renewable materials. We have been doing this for decades – long before it became a necessary “marketing fad” for climate change.

More renewable wood – street furniture as CO2 storage

We therefore expect the use of steel in public furniture to decrease again and the renewable raw material wood to become more important again. Our pleasingly increasingly climate-sensitive society is also creating a positive acceptance of wood properties that were still viewed negatively in previous decades. Rougher surfaces and small cracks as well as developing discoloration are now an accepted expression of naturalness. If you consciously choose wood that grows back and binds CO2 faster than it has to be replaced in the product, then it even becomes a true CO2 store and makes a particularly positive contribution to climate protection.

Only demand for FSC-certified wood creates positive change

For us, it was a matter of course to be one of the pioneers in using FSC-certified wood. Without demand for FSC-certified wood, including from the tropics, we will lose the battle to protect the forests there. The uncritical demand pressure on the tropics from other parts of the world, especially Asia, and for products in which the wood base is not directly recognizable, is far too great. A blanket renunciation of tropical timber will not be able to protect them. What many people ignore: When rainforests are cut down, it is not to obtain large quantities of wood for the furniture industry or even for the production of street furniture, but to create palm oil plantations, which ruin the soil on a large scale. Or to grow soy, which in turn is used as feed for pigs and cattle, i.e. ultimately to satisfy our hunger for meat. Tropical wood is also used on a massive scale for the production of pulp, i.e. paper.

Natural acetic acid makes pine wood a durable alternative

However, if you don’t want to make a positive contribution by demanding FSC tropical wood, Accoya is an alternative that enables very durable wood products based on fast-growing pine wood. The pine wood is impregnated with natural acetic acid. This allows it to last for over 50 years without contact with the ground and over 25 years with contact with the ground. The method has been around for a very long time and has proven itself in many cases. The wood is generally protected against wood-destroying organisms, even if – as is usual with naturally grown products – it still degrades earlier than expected in individual cases. Wood is not a homogeneous steel, but it grows back quickly and binds CO2 instead of wasting a lot of energy. One point with which acetylated pine wood has so far been criticized is its greying behaviour: Due to its softwood base, it tends to form blue rot on the surface during the graying process; this can lead to an unexpected and, in contrast to the light-colored wood, dark stain in the first few months, but this is harmless to the wood. After two years at the latest, a more even graying occurs that can hardly be distinguished from other types of wood. We are convinced that in future people will not see such properties as a problem, but as an expression of naturalness and will be delighted with the ecological benefits of the material.

Politicians and administrations can do more – but we all have to get involved

How far have politicians and administrations come on the issue of heat protection? We can also see from the current frequent and severe flooding that faster measures are needed. Success requires broad support and acceptance among the population. Green roofs are often already mandatory for new buildings and conversions, unsealing of traffic areas is being promoted and tree planting is planned. Technical cooling aids such as spray nozzles for summer cooling are being tested, for example in our project at Neuer Markt in Vienna.

The details and hidden challenges of such lighthouse examples should be communicated more widely so that they set an example for other decision-makers and show citizens clear examples of solutions. The Neuer Markt in Vienna has relocated parking spaces underground, creating a green recreational area with biological and technical evaporative cooling on the roof.

Between 2030 and 2050, around 250,000 people worldwide are expected to die every year as a result of climate change, including extreme heat. Which systems, innovations and strategies would you like to see more of in international cities?

If there was one right system, many cities would use it. We believe that the key to climate-resilient cities is the car. Or rather, the space we make available to cars to be reduced. We can gain a lot by rededicating streets and parking spaces: Pocket parks instead of individual parking spaces and micro-forests instead of larger parking lots, trees wherever possible, cycle paths instead of lanes, traffic-calmed zones instead of through roads, inviting bicycle parking “everywhere” – also and especially for cargo bikes. Copenhagen has shown the way, Paris is following suit and there are superblocks in Barcelona. Of course, these concepts cannot always be transferred one-to-one everywhere. The political will to change is crucial, even if experiments are being carried out.

However, we believe that experimenting with parklets in the way they have been implemented to date is outdated. They are regularly built of solid steel and are therefore not only visually but also climatically “CO2 monsters”. Temporary solutions should be low-energy and made from renewable raw materials. In Munich, for example, we were able to support the MCubes project on Landlstraße, Kolumbusstraße and Entenbachplatz with our furniture. Streets were transformed into meeting spaces with sand, grass and plants. More of this! And then, as quickly as possible, extensive, permanent unsealing, infiltration areas, inner-city polders that may not be recognizable as such. And as many tall plants as possible: large street trees for 2050 – we need to plant them already! What are we waiting for?

Where do we need to go in terms of heat management? And who is responsible for this? And what is your responsibility as a company?

As a society, we are all responsible for dealing with the consequences of summer heat, drought and heavy rainfall. In many large German cities, inner cities are heavily sealed and the transport infrastructure is geared towards cars, which leads to heat problems. Politics, administration, business and civil society must act together: reduce the number of parking spaces and lanes and plant trees in the space that is freed up to provide shade and seating to take a longer breather in the cooling shade when the top floor apartment once again becomes a summer sauna. Fog jets in selected locations can also help to reduce heat stress and avoid health risks for the ageing population.

Some cities have already taken measures, but the fear of losing revenue due to fewer parking spaces or concerns about own parking spaces often prevail. Individual measures such as shade-providing benches can support cities that have set out to make their inner cities climate-resilient.

As a company, we implemented sustainably effective measures in our new construction planning ten years ago: In Goldbeck, we found a partner who knows how to push the structural limits through system construction and thus save resources (especially steel and concrete) in a climate-friendly way. We planned all the lighting at the time using only LEDs and, where it made sense, we also implemented presence and daylight-controlled lighting. In order to significantly reduce energy consumption, we use clean wood chips for heat and PV systems for electricity as well as insulation close to passive house level, night ventilation, special glazing and shading to eliminate the need for air conditioning.

Due to the choice of location close to the highway and on the open industrial field, no trees have fallen – on the contrary, we have even planted additional trees. We have joined Europe’s largest insect protection belt, which consists of flowering meadows and allows insects to move around to enrich the gene pool. Our flowering meadows are one of the largest single areas with typical local Osnabrück mixtures from Rieger Hofmann. Some of these grow waist-high in summer and provide a habitat for insects and small animals. The tall vegetation completely shades the ground, prevents rapid drying out and provides moisture, evaporation and cooling. During summer storms, these areas store precipitation, seep away and store water. We buffer surface water from the buildings and sealed surfaces in a retention basin, thus preventing flooding. We believe that more and more companies will make a voluntary contribution. Especially owner-managed family businesses – they think in terms of generations as a matter of principle.

Oliver Runge has been Managing Partner of Runge GmbH & Co KG since 2001. He previously worked as a management consultant at Roland Berger and as an assistant to the management board at Pixelpark AG. He studied international business administration at the European Business School, with stages in Spain, the USA and Namibia. Runge has enjoyed developing new solutions for outdoor public spaces since childhood.

Runge has been building furniture for outdoor public spaces for 116 years. The benches, often complemented by matching litter garbage cans and bicycle stands, can be found in parks and gardens, along streets and paths and in squares; some have now become classics of street furniture. They can be found wherever people want to sit down and linger for a moment. With large planters, Runge helps to make public spaces greener and the urban climate more pleasant. As a “real” manufacturer, Runge adapts products to the wishes of planners or implements free designs as individual special constructions. At its headquarters in the district of Osnabrück, Runge has all production steps at its disposal, from on-site customer consultation, design and construction to wood and metal processing and surface coating.

www.runge-bank.de

This interview is part of the Beat the Heat initiative, which Runge supports. Find out more about Beat the Heat here.

POTREBBE INTERESSARTI ANCHE

Dreams for the world heritage site

Building design

The New Palace on the island of Herrenchiemsee is home to a faithful replica of the original ambassadorial staircase of Versailles Palace, which can no longer be visited there. Bavarian Palace Administration, Bavaria Luftbild Verlags GmbH

The four castles of Linderhof, Neuschwanstein, New Herrenchiemsee Castle and Schachenhaus were built in the last third of the 19th century and reflect the dreams and ideas of King Ludwig II of Bavaria (1845-1886). Unlike other rulers of the time, he wanted them to be available only to him personally. They served neither political nor dynastic statements. Another special feature was that he took an active part in the planning and also had the final say. It so happened, for example, that although the shell of the building had already been completed, massive changes had to be made to the throne room at Neuschwanstein on the king’s orders. His requests for changes to the size of the throne room presented the Baumeister with challenges, as the positions of the supporting columns no longer fitted. But even parts of the building that had already been completed or expensive special furnishings were not immune to the monarch’s requests for changes. […]

The four castles of Linderhof, Neuschwanstein, New Herrenchiemsee Castle and Schachenhaus were built in the last third of the 19th century and reflect the dreams and ideas of King Ludwig II of Bavaria (1845-1886). Unlike other rulers of the time, he wanted them to be available only to him personally. They served neither political nor dynastic statements. Another special feature was that he took an active part in the planning and also had the final say. It so happened, for example, that although the shell of the building had already been completed, massive changes had to be made to the throne room at Neuschwanstein on the king’s orders. His requests for changes to the size of the throne room presented the Baumeister with challenges, as the positions of the supporting columns no longer fitted. But even parts of the building that had already been completed or expensive special furnishings were not immune to the monarch’s requests for changes.

For Ludwig II, the final completion of his buildings, which were also built to last, did not necessarily seem to be the decisive factor. Every year, millions visit the palaces that Ludwig had built. Does Dr. Alexander Wiesneth, Head of the Department for Historical Building Research, Monument Preservation and UNESCO World Heritage at the Bavarian Palace Administration, sometimes feel guilty because so many visitors come to the palaces every year and the wishes of the “Kini” are not being fulfilled? He denies this, as the castles have been in public ownership for almost 140 years. It provides the financial means, maintains a palace administration and also ensures that the buildings are preserved. However, this also results in the obligation to make them accessible to the public. He also emphasizes that only a living monument is one that will be appreciated. And perhaps Ludwig II would have been pleased to see the worldwide appreciation of the palaces and how enthusiastically people react when they see them. For many visitors, the buildings are probably already unique, but what are the criteria cited by the palace administration at UNESCO, which demands uniqueness and universality?

In order to build his dreams, Ludwig not only relied on court builders and architects, but also on set designers, painters and decorators. At times, he drove them to despair with his ideas and constant requests for adjustments and changes. In comparison to his fellow regents, the king was very involved in the planning work of his architects, and it was up to him to make the final decision on how the building was to be constructed. In doing so, he generally ignored the Vitruvian functions of firmitas (stability), utilitas (practicality) and venustas (grace). While other contemporary Historicist palace buildings served mainly representational and dynastic purposes, Ludwig entered dream worlds with his buildings. In these worlds, he dreamed himself into distant lands of earlier eras or into fairy-tale, opera and theater worlds. Explicitly excluded, however, were sightseeing tours, which were quite common at the time.

It should be noted that the palaces built by King Ludwig are not to be regarded as purely historicist buildings, which is also what makes them special. Rather, they must be seen as part of the phenomenon of staging that emerged in the 19th century. At the same time, they also reflect the era’s enthusiasm for technology, for example when the Venus Grotto in the park of Linderhof Palace uses light and sound installations and artificially generated waves to create the illusion of the Blue Grotto of Capri or, with different lighting, the Venus Grotto in Hörselberg from Richard Wagner’s “Tannhäuser”. Dr. Alexander Wiesneth from the Bavarian Administration of Palaces, Lakes and Gardens adds: “In a way, you can already get an idea of the development of the early film industry in the 20th century. There, too, a massive effort was made to create sets that made use of all the decorative arts. Ludwig II also collected ideas and inspiration in a similar way to a film director.” He also points out that the dream worlds that were created there must have been absolutely overwhelming for the few visitors. It still works today, if you let yourself get involved.

Ludwig II sent his advisors on trips to obtain images and photographs of a wide variety of places – you could almost compare them to movie location scouts, according to Wiesneth. The monarch also read many books in order to study past eras and gather ideas for his buildings. In addition to Wagner’s operas, which he greatly appreciated, the king also drew inspiration from world exhibitions and buildings that served as so-called imaginary journeys. These were (ephemeral) buildings that enabled visitors to travel to foreign and distant countries, to remote places such as the moon, or even to other eras. The monarch also adapted some of these early forerunners of amusement parks in the gardens of his palaces. For example, he purchased a Moorish-style pavilion that had previously been on display at the Universal Exhibition in Paris (1867). He furnished the so-called Moorish Kiosk with, among other things, a throne decorated with bronze peacocks. He used to read there, and his servants became extras in a staged performance, smoking tobacco and drinking mocha on divans in oriental-style costumes. Of course, it should be noted that European ideas of the Orient came into play here. However, Ludwig II also dreamed himself into past eras; for example, references to the time of King Louis XIV (1638-1715) of France can also be found in the palaces. This even goes so far that rooms from Versailles Palace have been faithfully recreated. This is why you can still see the famous Versailles Escalier des Ambassadeurs (Ambassadors’ Staircase) in Herrenchiemsee Palace, for example, which Louis XV (1710-1774) had demolished in favor of new living quarters. Louis II revived these epochs in his imagination and with his buildings. In the case of the palaces, one can certainly speak of a Gesamtkunstwerk in the Wagnerian sense, as the arts of music, poetry, painting, stage design and drama are united in a certain way. This is certainly one aspect of the uniqueness of the castles.

With an annual number of visitors of over 1.5 million in 2023, the four castles Neuschwanstein, Linderhof, Herrenchiemsee and Schachenhaus, which King Ludwig II of Bavaria had built, are undoubtedly among the visitor magnets in Germany. Dr. Alexander Wiesneth points out the special obligation to preserve a world heritage site as a whole for humanity and to make it accessible. He also emphasizes that he has noticed time and again that people from all cultural backgrounds are attracted to the castles. In his eyes, this also shows that the buildings meet the criterion of universal, exceptional value, as demanded by UNESCO. Experts, on the other hand, sometimes react negatively and dismiss the buildings as typical works of historicism that have not brought any stylistic innovations. The fascination that Ludwig and his buildings exert on visitors is probably another reason why art historians did not study the palaces for a long time. However, in order to be included on the UNESCO Tentative List, a well-founded explanation of what makes the building unique is required, as well as proof that it represents a significant value for the history of mankind. An application also involves many hurdles. Dr. Wiesneth told us that in addition to strict regulations on how nominations are processed, there are also other hurdles to overcome. For example, the castles have been on the German Tentative List since 2015. However, with tenth place on the list, they are in last place, which means that other applicants are considered first and nominated to UNESCO in Paris.

Furthermore, the affected municipalities also had to be brought on board. In the municipality of Schwangau in particular, there were concerns that even more visitors would visit Neuschwanstein Castle. There was also concern that the title would also impose restrictions on the development of the municipality. A referendum was therefore held, in the run-up to which there were also two question and answer sessions for citizens. Ultimately, however, the concerns that the title would attract even more people to the town – at least for Neuschwanstein Castle – were dispelled. After all, this castle in particular enjoys an immense worldwide reputation. A survey of visitors conducted by the Fraunhofer-Gesellschaft and the Bavarian Palace Administration showed that the majority already assumed that they were visiting a UNESCO World Heritage Site. It was also agreed that visitor numbers should be regulated by imposing stricter limits on the maximum group size. Online ticketing in particular makes it possible to manage the flow of visitors and distribute them throughout the year. Ultimately, such measures also serve to protect the properties, which can be damaged by excessive visitor numbers. Wiesneth also emphasizes that UNESCO’s requirements for the protection of World Heritage Sites are a voluntary obligation. Nor does the title mean that there is no room for development in the town. After the palace administration was able to dispel these concerns last year, Germany submitted its application to UNESCO at the beginning of this year. When asked what special challenges or changes the title would bring, Wiesneth explained that the German and, in particular, the Bavarian Monument Protection Act already met the requirements anyway.

In contrast to Neuschwanstein Castle, it is also conceivable that the New Palace on Herrenchiemsee could attract more visitors thanks to its title. Wiesneth also emphasizes that UNESCO’s requirements for the protection of World Heritage Sites are a voluntary obligation. Nor does the title mean that there is no room for development in the town. After the palace administration was able to dispel these concerns last year, Germany submitted its application to UNESCO at the beginning of this year. When asked what special challenges or changes the title would bring, Wiesneth explained that the German and, in particular, the Bavarian Monument Protection Act already met the requirements anyway. In contrast to Neuschwanstein Castle, it is also conceivable that the New Palace on Herrenchiemsee could attract more visitors thanks to the title. A management plan has also been drawn up. The management plan outlines the measures planned to preserve the castles, some of which pose particular challenges. Linderhof Palace in particular, which is located in a high alpine environment with strong temperature fluctuations in summer, is challenging to maintain. The reopening of the Venus Grotto is specifically planned for next year, and plans are already underway for measures at the “Moorish Kiosk”. There are also plans to meet with the affected municipalities once a year if the title is awarded. Now the Bavarian Administration of State Palaces, Gardens and Lakes has to wait and see. The assessment phase will now continue until next year, and then we will know in the middle of next year whether dreams will come true.

Read more: The Neue Nationalgalerie in Berlin is dedicating a comprehensive retrospective to US photographer Nan Goldin from November 23, 2024 to April 6, 2025

Lifted from the underground

Building design
taken during the archaeological excavation during the renovation of the church. Photo: Dommuseum Frankfurt / Uwe Dettmar

taken during the archaeological excavation during the renovation of the church. Photo: Dommuseum Frankfurt / Uwe Dettmar

In the special exhibition “Treasures from the rubble” (until March 1, 2020), the Frankfurt Cathedral Museum is showing restored finds from the church of St. Leonhard. At the beginning of the 19th century, St. Leonhard’s very existence was at stake because the people of Frankfurt wanted to build a stock exchange on the site. In the meantime, the […]

The Frankfurt Cathedral Museum is showing restored finds from the church of St. Leonhard in the special exhibition “Treasures from the rubble” (until March 1, 2020)

It was almost demolished. At the beginning of the 19th century, St. Leonhard’s very existence was at stake because the people of Frankfurt wanted to build a stock exchange on the site. The church is now 800 years old and has been freshly restored after countless renovations. The ten-year interior renovation has brought unexpected discoveries to the surface during excavations in the up to 2.20-meter-high soil, which was intended as flood protection. “Treasures from the rubble” (until March 1, 2020) is therefore the name of the special exhibition in Frankfurt’s Cathedral Museum, which provides a stage for the remains found, from grave slabs to a book from the French occupation, the history of electricity and smashed works of art – standing, lying down or behind the protective glass of a display case. These include the life-size “Atzmann” figure buried in the choir, which was intended to help the clergy carry out their duties, parts of the imposing altar of the Holy Sepulchre and shards of clay from a 15th century “funeral group”.

Two funeral crowns are among the rarely recovered objects. They refer to a custom that was abandoned in the Baroque period. They were placed on the heads of “virgin deceased”, i.e. children, single people and monks, and pilgrim shells, glass window panes and coins have also been uncovered, as well as numerous anthropological finds in the graves.

The show focuses on the medieval world of color and the challenges involved in restoring it, especially the methods used behind the scenes to preserve monuments. Some of the exhibits are therefore displayed in their transport crates to draw attention to the fragments, which first had to be assembled and glued together like a complicated jigsaw puzzle in the Archaeological Museum’s restoration workshop.

The colored sockets were in a powdery state after being stored in damp soil for a long time, which is why they first had to be cleaned and consolidated with the help of a magnifying glass. It took around 1000 hours of work to restore the “Lamentation Group” from 63 recovered clay fragments. A film in the exhibition documents the lengthy and painstaking work.

The restoration work was made possible thanks to numerous financial contributions from the citizens of Frankfurt and public institutions: the Lamentation Group was restored with funds from the Ernst von Siemens Art Foundation, the State of Hesse – Hessian Ministry of Science and Art – and the Diocese of Limburg. The “Friends of Frankfurt” association made the restoration of the Atzmann and the restoration of the Holy Sepulchre Altarpiece possible.

In the exhibition catalog, edited by Bettina Schmitt and Verena Smit, various scholars present the latest findings on the history of the church, its furnishings and its exploration.