Better Call Saul: Creative strategies for architects and planners

Building design
white-concrete-building-under-blue-sky-day-uber-JjDQeWWCbpI

Modern white concrete building under a clear sky - Photo by Foad Roshan

Better Call Saul? No, better a plan right away: while others are still moaning about new building regulations, the clever minds in the industry have long been focusing on creative strategies and unorthodox solutions. Architects and planners are facing a real turning point – only those who have the courage to think differently will remain relevant. Those who continue to be satisfied with the same old design methods, standard BIM and phrases such as “We’ve always done it this way” will be mercilessly overtaken by reality. It’s time to take Saul Goodman as a role model – and shape the future of construction with maximum creativity and a pinch of irony. Because if you really understand the rules, you also know how to bend them cleverly.

  • Why traditional architectural solutions are no longer enough – and which innovative ways of thinking are now in demand
  • How digitalization, AI and automation are radically changing planning practice
  • Which creative strategies and unconventional methods are really helping planners in Germany, Austria and Switzerland to make progress
  • How sustainable concepts and digital tools are becoming mandatory rather than optional
  • What technical skills architects need for the new playing field
  • Why the industry needs to leave traditional power structures and prohibitions behind
  • How the debate about responsibility, transparency and ethics is reigniting
  • How the role of the architect is shifting in the global discourse – and why this is a good thing

Architects between the standard formula and creative revolution: what counts today

If you ask German, Austrian or Swiss planning offices about the status quo, you will be presented with a colorful bouquet of digital tools, sustainability certificates and half-hearted attempts at innovation. Much of it is marketing, some of it is serious. But the basic problem remains: The construction and planning industry is moving at a snail’s pace. The pressure on traditional architectural roles is growing and the business model is faltering. While international players have long been experimenting with AI-based design generators, platform economics and radical process automation, the belief that the world can be saved with a bit of building information modeling and a few renderings persists in many places in this country.

But the days when an architect could get away with a few sketches, a chic pitch and a reference to local building culture are over. In the major cities of the DACH region – and increasingly also in the provinces – other parameters now determine the business: speed, data competence, circularity, regulatory pressure. Anyone who is not prepared to radically abandon familiar ways of thinking will be mercilessly left behind by the next generation of planners and developers. The real challenge is not technical, but cultural. It is about redefining one’s own role as a designer – as a creative facilitator, as a moderator of processes, as a bridge builder between technology, society and the environment.

These changes are exemplified by the way in which projects are initiated today. It used to start with a design, but today it is often a digital data set, an algorithm or an AI-supported workflow. The best architects have long been thinking in scenarios, in solutions to problems that have not even been formulated yet. They play with the parameters of the city, climate and user behavior. They draw inspiration from disciplines that seemingly have nothing to do with architecture: Game theory, systems design, artificial intelligence, even law.

Of course, there are still those who rest in the protection of standards and regulations. But the innovation leaders rely on interdisciplinary teams, collaborative platforms and a new openness to mistakes and experiments. Those who do not open up here will become extras in their own profession. The architect of the future is less a lone fighter and more the director of a dynamic network of specialists, data sources and stakeholders.

The big question is: who has the courage to play Saul Goodman – not by breaking the rules, but by creatively interpreting and reinterpreting them? After all, this is where the true future viability of the discipline lies: in confidently dealing with uncertainty, playfully accessing complexity and confidently navigating through a jungle of regulations, expectations and technologies.

Digitalization, AI and automation: from mandatory to optional

Digitalization is no longer a buzzword, but a brutal reality. Anyone still wondering whether AI-based tools, parametric design software or automated planning processes are really necessary has not recognized the signs of the times. In the pioneering markets around Zurich, Vienna and Hamburg, planners are already working with digital twins, automated construction monitoring and real-time data from the city. Digitalization is eating its way through all levels of planning – from the initial concept to facility management. And not as a voluntary gimmick, but as a vital tool in global competition.

AI is revolutionizing the design process. Algorithms are taking over monotonous routine tasks, scanning standards, simulating material flows and analyzing user behavior. Those who do not master these tools will lose out. At the same time, there is a growing demand for the ability to handle data critically. This is because algorithms are not neutral, they reinforce existing biases, make preliminary decisions and can also paralyze creative processes if they are used without reflection.

Automation no longer only affects rendering or quantity determination. It is changing the entire value chain – from property analysis to the life cycle management of buildings. In Switzerland, the first pilot projects are being developed in which AI-controlled systems optimize construction processes in real time. In Austria, urban planning designs are being tested for resilience using simulations before even a single stone is moved. Germany, on the other hand, is still lagging behind – often for fear of losing control, legal uncertainty or simply a lack of willingness to take risks.

The technical expertise required by architects today has increased enormously. It is no longer enough to master a CAD program. Data science, coding, process management, an understanding of cloud architectures and interface expertise are in demand. The industry needs to move away from the idea that “digitalization” is done with the purchase of new software. It needs a deep understanding of data structures, AI logic and the responsible handling of automated decisions.

Digitalization is not an end in itself. It opens up new scope for creativity, accelerates decision-making processes and makes complex interrelationships visible. Those who use it can design radically different solutions – more resilient, more sustainable, more user-centered. Those who ignore it will be overwhelmed by reality. The future belongs to those who not only make friends with digital tools, but also see them as an integral part of their creative work.

Sustainability as a creative laboratory: from green duty to genuine innovation

Sustainability is no longer a fig leaf, but hard currency in the international architecture business. But while many are still waving certificates and patting themselves on the back for recycled concrete, elsewhere a competition for the most radical, smartest and most effective solutions has long been raging. The climate crisis knows no national borders. In Germany, Austria and Switzerland, the regulatory requirements are high, but the pace of innovation is often still manageable. If you really want to build sustainably, you have to say goodbye to the idea that green architecture is done with a bit of insulation and solar panels.

The new generation of planners is focusing on completely different approaches: Circularity, modular construction methods, re-use strategies, local value chains. In Zurich, buildings are being planned as material warehouses, in Vienna, districts are being created with their own energy cycles, in Berlin, architects are experimenting with AI-based optimization for grey energy. Today, sustainability is a field for radical creativity – and for those who are prepared to question seemingly incontrovertible truths.

Digital tools are the key here. They make material flows transparent, enable scenarios for life cycles and allow planners to simulate the effects of decisions in real time. It goes without saying that conflicts of interest between economy, ecology and user interests arise time and again. But this is precisely where the creative potential lies: those who work with data, simulations and AI can find the best possible balance – and become real problem solvers.

The technical expertise required for sustainable innovations goes far beyond traditional building physics. Today, planners have to analyze material flows, understand the circular economy, create carbon footprints and juggle environmental certifications. They must be prepared to work together with engineers, biologists, IT specialists and even sociologists. The role of the architect is shifting – from designer to facilitator of transformation processes.

Last but not least, sustainability is also an ethical issue. Those who build today influence the lives of generations to come. The responsibility is enormous – and it grows with every new tool that offers more transparency and freedom of choice. The question is no longer whether sustainability is relevant, but how creatively, courageously and uncompromisingly it is implemented. The time for excuses is over.

New rules, new roles: What architects now need to know – and be able to do

The days when an architect was a lone fighter with a claim to authority and controlled projects from above are definitely over. Today, it’s all about networking skills, the ability to cooperate and the willingness to share responsibility. Those in Germany, Austria and Switzerland who still rely on traditional power structures are being overtaken by reality. The big innovations are emerging at the interfaces – between disciplines, between analog and digital systems, between the market and society.

Professionals today have to be able to do more than ever before: they not only have to operate digital tools, but also critically scrutinize them, understand how they work and integrate their results into creative processes. They need to know the legal framework, have data protection and data security under control and reflect on their own role in the area of conflict between technology, ethics and society. The growing complexity of construction tasks calls for new skills – from data literacy and AI expertise to process moderation.

At the same time, the new planning reality requires a different approach to errors, uncertainty and experimentation. Where mistakes used to be considered a flaw, they are now a necessary part of creative development processes. The best offices cultivate a culture of error that makes innovation possible in the first place. They rely on iterative development, beta testing and openness to feedback from a wide variety of sources.

Of course, there is also resistance – against too much technology, against loss of control, against the apparent devaluation of traditional architectural skills. But these debates are as old as the discipline itself. The really exciting visions emerge where planners are prepared to accept new rules of the game. They rely on collaboration, shared responsibility – and the courage to abandon familiar narratives.

The global discussion about the future of the profession has long since flared up. In international networks, at congresses and on digital platforms, the debate is heated: What is the role of the architect in the age of algorithms? How can they assume responsibility without handing over control to systems? How can creativity be preserved in the age of automation? Those who not only ask these questions, but actively answer them, set the direction.

Conclusion: Creative resilience beats the formula F

The future of architecture does not belong to those who cling to old dogmas, but to those who respond to challenges with creative resilience. Saul Goodman may not be the classic role model – but his ability to question and reinterpret rules is exactly what the industry needs right now. If you want to survive as an architect or planner today, you have to be prepared to play a game with open cards and an uncertain outcome. It’s not about blindly following standards, but about boldly testing out new possibilities. Those who act now will shape the future – everyone else will be shaped by it. If you don’t dare, you stay in the same mold. And that has never been the strength of this discipline.

YOU MAY ALSO LIKE

Installation for the Blue Night

Building design

“Forest sculpture” was the title of a light and space installation by landscape architecture students from the Technical University of Munich. For the “Blue Night” in Nuremberg on May 3, 2014, they transformed market umbrellas with bags and LED light tubes into an illuminated forest.

“Like a sea of clouds! Like an illusion! Simply beautiful! Wow!” The visitors to the “Blue Night” are visibly impressed. They gaze almost reverently into the shimmering blue-green treetops. There is hardly anyone who doesn’t pull out their cell phone camera to capture this unreal moment shortly after sunset.
The “forest sculpture” was one of the main attractions of the “Blue Night” on May 3. The theme of this year’s annual cultural event organized by the city of Nuremberg was longing. The basic idea behind the illuminated installation was to translate the everyday location of the main market into a symbolic place of longing.

Landscape architecture students from the Technical University of Munich took the fruit and vegetable market and its visitors on a walk through the woods: into a forest of artificial trees built from typical elements of the market. Market umbrellas became tree trunks, bags became foliage and fruit crates became seats.
For six months, 24 students worked together with the chair towards this moment. Up to 44 students worked on the main market during the six days of construction. The students had to inflate 20,000 plastic bags, assemble 240 wooden pallets, set up 80 market umbrellas and hang them with bags and LED light tubes.

In October 2013, the students entered the design phase through a constructive competition process. After several stages, the “forest sculpture” installation emerged from the 24 proposals, which all participants then worked on together until it was ready for implementation. Numerous questions had to be clarified during the development phase: What is the volume of 20,000 plastic bags and how long does it take to fill them with air? Which light source is suitable and how do I make 400 meters of cable invisible in the square? The students were confronted with hurdles such as fire protection and stability. Burning plastic bags dripping down on visitors, for example, or market umbrellas toppling over in a storm – the installation had to withstand all eventualities.

Understanding and solving the pitfalls of implementation and approval planning is one of the most important contents of “studio1zu1” – a teaching format and field of research of the Chair of Landscape Architecture and Public Space at the Technical University of Munich. Despite all the specifications, regulations and compromises, the installation was to be realized in line with its original intention – and of course within budget. The spontaneous applause after the lighting was switched on was a well-deserved reward for everyone involved.

Forest sculpture, Nuremberg main market, a light and space installation
Chair of Landscape Architecture and Public Space (Prof. Regine Keller), Technical University of Munich;
Project management: Felix Lüdicke; Supervision: Thomas Hauck, Felix Metzler;
Design: Julian Birkmaier, Rita Codea, Franziska Cußmann, Sabrina Daubmeier, Tobias Drexler, Elisabeth Egerter, Vanessa Frisch, Katharina Gebhart, Eva Grömling, Felix Gutmann, Franziska Hepp, Ines Hofmann, Melanie Hölzl, Kristjan Kohu, Yun Kyeong Hoh, Hannah Layer, Martina Lehmann, Theresia Loy, Pim Lucassen, Fabian Obert, Benjamin Schwab, Philipp Uerlings, Georg Wagner, Michael Wenzel

Location: Google Maps

Dream houseboat

Building design
Living dream houseboat buy book tip

Before the conversion: the old Bauhütten ship from GDR times

A family dares to fulfill a lifelong dream and converts a houseboat. You can read about the construction work and life on the boat in “Four rooms, kitchen, boat”.

“Isn’t it cold there?” is the most common question asked of houseboat residents. Concerned passers-by also ask whether the boat rocks and makes them feel sick or whether the plates fall out of the cupboard from time to time. The Eisenhardt family is happy to provide information, as they have fulfilled a dream that many people only dare to dream of: they have purchased an old GDR-era construction ship, converted it and made it their permanent home on the water. And to answer at least the first question: No, it’s not cold, because the crew, consisting of father, mother and two children, have insulated their ship “Helene” with 20 centimeters of rock wool. They are also self-sufficient in terms of energy and have already survived several winters in the crunching ice.

The woman on board, Berlin journalist Uta Eisenhardt, has now compiled her experiences in a small book entitled “Vier Zimmer, Küche, Boot – Eine Familie zieht aufs Wasser”. What is interesting for houseboat aspirants and leisure captains, for example, is that she describes the search for a berth on the Spree in Berlin as particularly grueling. The officials at the city planning office were anything but delighted: buying a houseboat and mooring it in Berlin’s inland waters? This was not permitted under building law, because “riverbanks are public spaces for recreation and nature conservation”. Only persistence will help, says Uta Eisenhardt. She also gives a few useful tips at the end: Costs, approval, living space, floor plan, mooring fee, condition, year of construction through to sleeping berths. As the reader learns in the course of reading the book, inexperienced boat owners have many misfortunes – after all, the home sweet home can not only burn down, but also sink.

“Four rooms, kitchen, boat”
Uta Eisenhardt
22.90 euros. Published by Delius Klasing, Bielefeld 2016

Anyone who wants to find out more about this exotic form of living also has the opportunity to do so at the first “Houseboat Conference”: Verlag Delius Klasing is organizing it on 20 October in Hamburg (at a price of 398 euros). Many questions can be clarified there, such as: What does it mean to live on the water, what options are there, what needs to be considered when building and constructing floating structures and what is the legal framework?

All photos: Eisenhardt