BIM + AR + drone: the construction site as a digital playing field

Building design
Drone hovers in front of modern city skyline and stands for digital construction with BIM and AR technology.

BIM, AR and drones: digital technologies are changing the construction site . Photo by goh rhy yan on Unsplash.

Anyone who still believes that the construction site is a dusty, analog wasteland has probably slept through the last five years. Welcome to the digital playing field, where BIM, AR and drones are no longer the stuff of science fiction, but rather call the shots on the construction site. The construction site of tomorrow is a data laboratory, a real-time experiment – and if you want to play along, you’d better have more than just a construction helmet with you.

  • BIM, AR and drones are revolutionizing construction sites in Germany, Austria and Switzerland – at least where people dare.
  • The integration of digital technologies ensures more efficient planning, more precise execution and seamless documentation.
  • AI-supported systems and automated processes are setting new standards in error prevention and resource management.
  • Sustainability on the construction site is turning from a buzzword into a measurable goal: less waste, lower CO₂ emissions, optimized use of materials.
  • Specialists must adapt to new skills: Data competence, understanding of simulation, drone guidance and AR visualization are becoming mandatory.
  • The construction site as a digital playing field challenges the self-image of architects and site managers – and provides new tools for creative solutions.
  • Between the pressure to innovate and data protection debates, the industry runs the risk of being left behind by international pioneers.
  • Global trends are setting standards, but local legislation and mentality issues are slowing down progress in the DACH region.

BIM, AR and drones – the triad of the digital construction site

If you want to observe a modern construction process today, you shouldn’t look out for the first cut of the spade, but for the first data package. Building Information Modeling, or BIM for short, is now synonymous with digital construction. But BIM is more than just a pretty 3D model for the next meeting – it is the backbone of data-driven construction site logistics that presses planning, execution and operation into a single digital ecosystem. In Germany, Austria and Switzerland, the use of BIM is no longer a novelty, but the penetration rate still varies. While major infrastructure projects in Austria and Switzerland are already using BIM on a mandatory basis, there is still a pilot project mood in many places in Germany. The public sector is cautious, the construction industry is experimenting – and architects are somewhere in between.

BIM alone would be a quantum leap, but on the digital playing field of the construction site, this is no longer enough. Augmented reality (AR) is entering the stage and making the invisible visible: pipes in the ground, supporting structures behind the formwork, plan deviations in real time. Today, the site manager walks through the building shell with AR glasses and can see where the wall should really be – not where the bricklayer is pulling it. It sounds like a gimmick, but in practice it is a decisive step towards fewer errors, fewer supplements and fewer disputes.

And then there are the drones – those whirring all-rounders that map the construction site from the air, document progress and use laser scanners and photogrammetry to create the digital twin of the construction site. What used to be recorded with a tape measure and Polaroid is now done in minutes by a drone. In Switzerland and Austria, drone recordings are already commonplace for major projects, whereas in Germany, regulatory hurdles and data protection concerns are often still holding them back.

However, the real highlight lies in the combination of these technologies: BIM provides the model, AR brings it to the construction site, and the drone checks whether theory and practice match. This creates a cycle of planning, monitoring and optimization that dissolves the traditional separation between the office and the construction pit. The construction site becomes a digital playing field where data is the new building material.

But as tempting as the vision is, the reality in Germany, Austria and Switzerland remains divided. While pilot projects show what would be possible, many places still lack the courage to roll it out for real. The consequences: Innovation backlogs, skills shortages and the constant fear of being overtaken by the international pioneers.

Digitalization on the construction site: from vision to routine?

What is sold as a sure-fire success in the glossy brochures of software manufacturers often turns out to be a tough process in practice. The digitalization of the construction site is not a plug-and-play process, but a cultural change – and one that affects everyone involved. Anyone who believes that a few tablets and AR glasses are enough has underestimated the complexity of construction in the digital age. In Germany, there is still a certain scepticism towards complete digitalization. There are many reasons for this: a lack of standardization, legal uncertainties, fragmented software landscapes and – not to forget – a deep-rooted inertia among construction stakeholders.

Austria and Switzerland are more courageous in this respect. Digital construction sites are being created here, where the foreman opens his tablet in the morning, loads the current plans from the BIM model and sends the drone out to check the situation. The resulting data flows back into the model, deviations are detected immediately and construction progress can be monitored to the minute. A dream in theory, a challenge in practice: interface problems, data inconsistencies and a lack of training often turn the digital playing field into a minefield.

The use of AI-supported systems that recognize patterns from construction site data, predict sources of error and optimize logistical processes is particularly exciting. In Switzerland, construction sites are already being monitored with AI-supported drones that not only document the status quo but also detect anomalies. In Germany, this is still mostly at the pilot stage – the fear of data misuse is too great and trust in algorithms too low.

Another sticking point: the construction site is a dynamic, often unpredictable place. Digital models and simulations quickly reach their limits when the weather changes, deliveries fail to materialize or the excavator operator thinks he knows better than the algorithm. This shows how important it is to understand the digital transformation not as a replacement, but as a supplement to human expertise. Construction managers must learn to handle data just as confidently as they do a folding rule. And architects must accept that their designs no longer end up on paper, but are in constant dialog with reality.

However, the biggest challenge remains integration: only when BIM, AR and drones really communicate with each other will the much-vaunted added value be created. This requires common standards, open interfaces and a paradigm shift in collaboration. The German-speaking world is still lagging behind the global pioneers here – and risks leaving the playing field to others.

Sustainability and efficiency – the new currency on the digital playing field

Anyone who believes that digitalization on the construction site is an end in itself has not taken climate change into account. Sustainability and resource conservation have long been more than just fig leaves for the image report. On the digital construction site, they become a measurable, controllable factor – provided you know how to use the new tools. BIM enables precise quantity and material planning, minimizes waste and overproduction and ensures that only what is actually needed is built. The drone monitors the material flow, documents waste and provides data for optimizing logistics. AR helps to avoid errors that would have to be corrected later at great expense and with a high level of resources.

In Austria and Switzerland, the first projects can be observed in which sustainability goals are anchored directly in the BIM model. CO₂ emissions, energy consumption and recycling rates are no longer calculated retrospectively, but simulated and optimized during the planning phase. Drones provide aerial images for analyzing construction sites, identify ecological potential and enable seamless monitoring of protected areas. AR-supported construction inspections reduce reworking and therefore also the ecological footprint.

Germany, on the other hand, is struggling to make the leap from theory to practice. Although sustainability certificates are increasingly being demanded, integration into digital construction site logic often remains piecemeal. The reasons are obvious: a lack of expertise, a lack of interoperability between systems and a regulatory patchwork that prevents rather than promotes innovation. There is a lack of courageous builders who are prepared to break new ground – and a lack of authorities who see the digital toolbox as an opportunity rather than a threat.

The really exciting question is: can digitalization not only make the construction site more efficient, but also more sustainable? The answer is a clear yes and no. Without clear goals, binding standards and a culture of learning, ecological added value will fall by the wayside. However, where BIM, AR and drones are used as an integrated system, construction sites are created that are not only faster, but also greener and smarter.

The greatest potential lies in the combination of real-time data and simulation. If you know how much material is being used, where bottlenecks are imminent and what alternatives are available, you can make informed decisions – and reduce resource consumption to a minimum. The construction site as a digital playing field is therefore not only a place of innovation, but also a laboratory for the sustainable city of tomorrow.

Skills and conflicts – how the profession is changing

If you want to survive on a construction site in the digital age, you need more than solid construction skills and a driver’s license for a wheel loader. Data skills, an understanding of simulations and the ability to work with digital tools are becoming basic requirements. Traditional role models are being shaken up: the site manager is becoming a data manager, the architect a model curator, the foreman a drone pilot. This sounds like an excessive demand, but above all it is an opportunity for those who are willing to further their education and explore new avenues.

However, training is lagging behind reality. While digital skills have long been an integral part of the curriculum in other countries, the chalkboard still often dominates in Germany, Austria and Switzerland. Those who are familiar with BIM, AR and drones are either self-taught or lucky enough to end up in one of the few pioneering offices. The result: a glaring shortage of skilled workers, which is slowing down the digital transformation on the construction site.

But it’s not just the skills that are shifting, responsibility is shifting too. Who controls the data? Who is liable for errors in the model? And how can data protection and transparency be reconciled? The debate is in full swing – and it shows that digitalization not only raises technical questions, but also ethical and legal ones. It becomes particularly explosive when AI-supported systems make decisions that were previously reserved for the site manager or architect. Vigilance is required here to ensure that the digital playing field does not become a black box where no one can see through.

At the same time, digitalization offers the opportunity to redefine the profession of architect and construction manager. The creative possibilities are growing, the tools are becoming more powerful and collaboration across disciplines is becoming easier. Those who know how to use the new technologies can realize complex projects faster, more precisely and more sustainably – and hold their own in international competition.

But until then, digital change on the construction site remains a balancing act between progress and excessive demands, between innovative spirit and skepticism. The industry needs role models who exemplify change and institutions that promote further training. And it needs the courage to admit mistakes and learn from them – because on the digital playing field there are no final scores, only new moves.

Global trends, local stumbling blocks – and the question of the future

While digital construction sites have long been emerging on an industrial scale in Asia and North America, the German-speaking world remains cautious in international comparison. Singapore, South Korea and the USA are setting standards in the integration of BIM, AR and drones in major projects. Here, construction processes are mapped digitally from end to end, construction sites are monitored almost autonomously and construction times are radically shortened. The reasons for the lead? Clear legal requirements, massive investment and a culture of trial and error.

Germany, Austria and Switzerland, on the other hand, suffer from a jumble of standards, data protection requirements and federal responsibilities. Every federal state cooks its own soup, every municipality sets the bar differently. The result: innovation bottlenecks, isolated solutions and a paralyzing fear of losing control in the digital jungle. The debate about data sovereignty is justified, but it must not become an excuse for stagnation. Anyone who wants to benefit from the advantages of digital technologies must be prepared to take responsibility – and to redefine the rules of the game together.

At the same time, there are also lighthouse projects in Europe that show how it can be done. In Vienna, for example, construction sites are monitored using drones and AR, and the data is fed directly into the city’s BIM model. In Zurich, digital construction sites are being created that are trimmed for sustainability and efficiency from the outset. But there are still isolated cases – the masses are still hesitant.

The vision is clear: the construction site as a digital playing field on which all players collaborate in real time, conserve resources and minimize errors. The reality is a patchwork of pilot projects, isolated solutions and a lot of skepticism. The industry has to make a decision: Does it want to play along or watch others call the shots?

The answer to this question will have a major impact on the future of construction in German-speaking countries. Those who miss out on change risk not only being left behind, but also losing their appeal to young talent. Those who take the plunge can actively shape the construction site of tomorrow – and set new standards, not just in Europe, but worldwide.

Conclusion: The construction site as a playing field – and who gets the ball rolling

BIM, AR and drones are transforming the construction site from a dusty patchwork quilt into a digital arena. They open up unimagined possibilities for efficiency, sustainability and precision – provided that you really dare to use the new tools. There is still a lot of reticence in German-speaking countries, but the clock is ticking. Those who don’t play along now run the risk of ending up on the bench while others have long since reached the next level. The construction site as a digital playing field is no longer a future scenario, but a reality – for all those who are prepared to try out new moves.

POTREBBE INTERESSARTI ANCHE

Change of perspective – from art to architecture

Building design

The exhibition "Metamorphosis" by architect Heike Hanada can be seen at the Architekturgalerie Berlin until June 22.

If you leave the loud noise of the traffic on Karl-Marx Allee behind you and enter the main room of the Architekturgalerie Berlin, you immediately realize that the current exhibition “Metamorphosis” is a particularly “quiet” architecture exhibition. The white walls are not covered in sketches and drawings, nor is the gallery transformed into a […]

If you leave the loud noise of the traffic on Karl-Marx Allee behind you and enter the main room of the Architekturgalerie Berlin, you immediately realize that the current exhibition “Metamorphosis” is a particularly “quiet” architecture exhibition.

The white walls are not overlaid with sketches and drawings, nor is the gallery transformed into a landscape of installations or sculptures.

Rather, the space evokes the association of an art exhibition through the abstraction and targeted placement of individual photographs and models, emphasizing the handling of space, emptiness, materiality and object.

The “Metamorphosis” exhibition opened on May 9 – exactly four weeks after the opening of the Bauhaus Museum in Weimar.

One hundred years after the founding of the state Bauhaus school by Walter Gropius, the Bauhaus Museum by architect Heike Hanada has now been opened in Weimar. A place that shows the collected works from the first phase of the school of design and revives the Bauhaus’ love of experimentation and culture of ideas. The museum aims to emphasize the workshop character of the Bauhaus through its rough concrete walls.

In a similar way, Hanada combines the spirit of experimentation, art and architecture in the “Metamorphosis” exhibition. The exhibited works show parts of the Bauhaus Museum’s development process and the connection between the spirit of experimentation, art and architecture.

The architect borrows the term “metamorphosis” from geology, botany, zoology and mythology. There, “metamorphosis” is defined as the transformation or metamorphosis of one object or state into another. Heike Hanada draws on this process of transformation in her exhibition. In this sense, for example, a vacant plinth is transformed into a sculpture and the concrete block in turn becomes a plinth.

The composition of the exhibition objects does not seem to follow any particular order. Instead, the individual objects appear to communicate with each other. As if it were a matter of course, a study work by Hanada hangs directly next to a photograph of the finished Bauhaus Museum in Weimar.

The result is a flowing transition between experiment and completion, work and process, art and architecture, which Hanada depicts in drawings, models, a video installation and photographs by Andrew Alberts.

Healing architecture: “The sick house” exhibition

Building design
A building complex with several houses with flat roofs, large window areas and partly with wooden cladding. Credit: Agatharied District Hospital, © Nickl & Partner, Photo: Stefan Müller-Naumann

What does healing architecture look like? For the exhibition "Das Kranke(n)haus", TUM students analyzed several examples, including the Agatharied district hospital by Nickl und Partner. Credit: © Nickl & Partner, Photo: Stefan Müller-Naumann

Houses help to heal – this is a brief summary of the core message of the current exhibition at the Architekturmuseum der TU München. Based on scientific studies, the show is dedicated to hospital construction and how its design can influence the well-being of patients. There is not only something to see and read in the exhibition, but also something to smell.

Houses help to heal – this is a brief summary of the core message of the current exhibition at the Architekturmuseum der TU München. Based on scientific studies, the show is dedicated to hospital construction and how its design can influence the well-being of patients. There is not only something to see and read in the exhibition, but also something to smell.

At first glance, the wall looks almost like any other. However, an elongated, rectangular surface stands out slightly from the white in terms of color and texture. What is special about this surface is that if you run your fingertips over it, it activates odor molecules. The wall begins to smell; the scent is reminiscent of earth or moss, mixed with something else, harder to name. The installation “MAKING SENSE” by Norwegian artist and smell researcher Sissel Tolaas can be smelled in an exhibition about hospital architecture. When designing hospitals, the olfactory backdrop is one of several factors that can influence how the architecture affects the well-being of patients. On the wall in the exhibition, Tolaas’ installation is now intended to make “healing smells” tangible for visitors.

On July 11, the Architecture Museum of the Technical University of Munich opened the exhibition “Das Kranke(n)haus. How architecture helps to heal”. It is about the architecture of hospitals and the effects – both negative and positive – that these buildings can have on people. In short: how appropriately designed architecture can help sick people recover. The exhibition was curated by architectural psychologist Tanja C. Vollmer, Director of the Museum of Architecture Andres Lepik and Lisa Luksch, research assistant at the Chair of Architectural Theory and Curatorial Practice. Federal Minister of Health Karl Lauterbach is the patron of the exhibition.

The background to the exhibition is also a shortcoming that has been recognized in hospital construction in Germany. After clinics in the 20th century were primarily geared towards efficiency and economy, flexibility and rationalization, the approaches of “healing architecture” are now focusing on people again. However, such approaches and “evidence-based design” – i.e. design based on scientific findings – are not yet widely enough recognized and applied in Germany, as the museum writes. The exhibition aims to encourage a rethink of the role architecture plays in the healthcare sector and the possibilities and tasks of hospital construction.

The installation at the beginning of the exhibition is almost like looking through an oversized keyhole into a hospital room. The wall on the left is mirrored; a green fabric panel is suspended in the room and separates a “room”. Through a large, circular cut-out in the fabric, visitors can see the head end of a hospital bed from behind. The few elements are enough to evoke associations with a patient’s room. The exhibition also provides insights into such rooms. And the show will be about something else that the installation may suggest. The cut-out in the fabric directs the visitor’s gaze. As you are standing behind the hospital bed, you are looking in the same direction and therefore have the same view as a patient in the bed. And the hospital bed faces the window front onto the meadow in front of the museum. Visitors take on the perspective of the patients.

The exhibition is divided into three sections. The first, entitled “Experiment”, presents therapy and aftercare facilities. Photos, plans, models and texts in German and English, displayed on large wooden stands, convey the examples. The title of the section refers to the fact that these facilities are less regulated, less technical and less complex than hospitals – and have therefore long been a field of experimentation for healing architecture, according to the museum. The buildings presented include the REHAB in Basel, a clinic for the rehabilitation of people with brain damage and/or paraplegia. The new REHAB building by Herzog & de Meuron opened in 2002. The project presentations are accompanied by large infographics on the side walls, for example on the lifespan of hospitals.

The second and central section of the exhibition is also visually different from the first. While the displays in the first section were curved and irregularly shaped, the supports for the examples in the second section are rectangular. The color scheme here is closely linked to the structure of the content.

Entitled “Evidence”, this section presents evidence-based design, as well as the “healing seven”. These refer to factors in the hospital architecture that can influence the stress experienced by severely and chronically ill patients. In order to reduce such harmful stress, these environmental factors can be taken into account when designing the buildings.

The Healing Seven are based on scientific research by Vollmer and architect Gemma Koppen. Over a period of more than ten years, they investigated the influence that the environment in hospitals has on the stress perception of seriously and chronically ill patients. Last year, Vollmer and Koppen then defined the following “healing seven”:

  • Orientation
  • Olfactory environment
  • Soundscape
  • Privacy and retreat
  • Power points
  • View and foresight
  • Human scale

In preparation for the exhibition, TUM Master’s students analyzed national and international hospital projects with regard to these seven factors. The 13 projects presented in the exhibition are each assigned to one of the healing seven. The color concept of the displays – each of the factors is assigned a color – picks up on this visually.

Among the projects presented in the second part of the exhibition is the Agatharied Hospital in Hausham, Bavaria, designed by Nickl and Partner and completed in 1998. International examples include the Friendship Hospital Satkhira in southwest Bangladesh by Kashef Chowdhury/URBANA (2018) and the Bürgerspital Solothurn in Switzerland by Silvia Gmür Reto Gmür Architekten (2021). In this section, visitors will also come across visitors standing unusually close to the wall – to smell the aforementioned olfactory installation by Sissel Tolaas.

The end of the exhibition is designed to be open, in the literal sense: in a so-called forum, visitors can exchange ideas with each other and with experts during their visit to the exhibition or in event formats. Literature on the topic is on display, and visitors can browse through it or discuss it at a large round table. Another olfactory installation by Sissel Tolaas in the form of several translucent fabric panels hangs at the end of this room; video clips are shown on screens behind them. In this forum, the status quo, solutions and a human-centered future of hospital planning and construction are to be discussed and shaped together, as the museum writes.

The exhibition at the TUM Architecture Museum in the Pinakothek der Moderne runs until January 21, 2024. The Pinakothek is open daily from 10 a.m. to 6 p.m. except Mondays, and until 8 p.m. on Thursdays.

“The sick house. How architecture helps to heal.”

Architecture Museum of the TUM in the Pinakothek der Moderne, Munich
July 12, 2023 to January 21, 2024
Curators and curators: Tanja C. Vollmer, Andres Lepik, Lisa Luksch
Curatorial and scientific collaboration: Zeynep Ece Sahin, Friedrich Mönninger
Exhibition architecture: IMS Studio and Friederike Daumiller
Graphic design: strobo B M
The exhibition is accompanied by a catalog.

Let’s stay on topic: the winning design in the competition for a new hospital in Liezen also uses the keyword “healing architecture”. More about the design by Franz&Sue with Maurer&Partner here: Liezen lead hospital