Flexible planning: architecture for adaptable spaces and concepts

Building design
photography-from-the-bird's-eye-view-of-white-buildings-iZsI201-0ls

Aerial view of modern white buildings in an urban environment, taken by CHUTTERSNAP.

Flexible planning? Sounds like a hip start-up philosophy, but it has long since become a harsh architectural reality. Changeable spaces and concepts are no longer the icing on the cake for builders who like to experiment, but the basic requirement of a society in a state of permanent upheaval. But how far have architecture and the construction industry really come in Germany, Austria and Switzerland? And how much flexibility can the built environment tolerate before it becomes an arbitrary stage for the whims of the zeitgeist?

  • This article sheds light on the state of flexible architecture in Germany, Austria and Switzerland and shows why changeability has long been a must.
  • It analyses the most important innovations – from flexible floor plans to AI-optimized room configurations.
  • The influence of digitalization, building information modelling and artificial intelligence on flexible planning concepts is critically examined.
  • The focus is on specific sustainability issues and the search for truly resource-saving solutions.
  • Technical requirements and the necessary knowledge for architects and planners are presented in detail.
  • The article addresses debates about the limits and risks of maximum flexibility and presents visionary approaches for discussion.
  • The effects on the professional image of architects and the international specialist discourse are classified.
  • The conclusion: flexibility is not a fashionable addition, but the new foundation of sustainable architecture.

Between aspiration and reality: the status of flexible architecture in the DACH region

Flexible room concepts have been at the top of the wish list of progressive building owners, investors and users for years. The reality in Germany, Austria and Switzerland, however, looks surprisingly conservative. Although the glossy presentations of project developers like to put the spotlight on movable walls, multifunctional furniture and open floor plans, the constraints of DIN standards, fire protection and investment logic often win out on the construction site. Most buildings are still created for a clearly defined purpose – and become a problem once they have been fulfilled. Anyone planning an office building today rarely considers its life cycle as a residential building or cultural space, even if the press release suggests otherwise.

A look at the statistics reveals that flexible architecture in the DACH region is primarily an urban phenomenon. In the centers of Berlin, Vienna and Zurich, spectacular projects are emerging that are committed to change – but the vast majority of construction projects remain rigid. In Germany in particular, there is a certain skepticism towards overly open concepts. The fear of unclear use and a lack of profitability runs deep. Austria is more willing to experiment in the area of social housing, while Switzerland scores with redensification and conversion. Nevertheless, if you are really serious about changeability, you have to be prepared to cut off old habits – and that hurts.

There are many reasons for this reluctance. There is a lack of legal clarity, appropriate standards and investors who see more than just a quick return. Above all, however, there is often a lack of courage to radically question the traditional boundaries between living, working, learning and leisure. As a result, many supposedly flexible projects end up as compromise solutions that are neither fish nor fowl. The famous “lack of permeability” between disciplines is reflected in rigid buildings that only adapt to change after decades – if at all.

However, there are increasing signs that stagnation has no future. The housing shortage in major cities, the boom in home office culture and the climate crisis are forcing politicians and businesses to rethink. Those who build new buildings today will have to justify tomorrow why spaces cannot be used differently. Planners are faced with the paradoxical task of creating architecture that constantly questions itself – and yet is still sustainable. A Herculean task that requires courage and know-how.

The real revolution is taking place less in the renderings than in people’s minds. Flexibility is no longer seen as an option, but as an obligation. Those who refuse to do so are building for the past – and risk the worthlessness of their projects in the urban Darwinism of tomorrow. The future belongs to changeable spaces. And this is not a threat, but an invitation to the sector to leave its comfort zone.

Innovation or illusion? Technical trends and digital tools in transition

Anyone talking about flexible architecture today cannot avoid digitalization, artificial intelligence and automated planning processes. Building Information Modeling, or BIM for short, has evolved from buzzword to standard – at least on paper. In practice, the integration of BIM into flexible planning often remains piecemeal. Although the data models are impressive, the transfer to the built environment often fails due to incompatible interfaces, poor data quality and good old silo thinking. If you really want to plan buildings for change, you have to consider all eventualities in the design phase and store the relevant parameters in the digital twin. That sounds simple, but it regularly overwhelms even experienced planners.

The integration of AI-supported tools is more exciting. Algorithms can now simulate usage scenarios, optimize floor plans and even dynamically adjust the use of materials. But the hype is greater than the reality. In most architecture firms, Excel still rules, not AI. The few pilot projects that really rely on AI-based flexibility planning are mainly found in major international cities or in prestigious projects with generous budgets. In Germany, Austria and Switzerland, AI has so far remained a side note in planning – too complex, too expensive, not standardized enough.

Nevertheless, digitalization is the key to real flexibility. Only with digital twins, sensor-based monitoring systems and open platforms can the behavior of a building be recorded in real time and respond to changes. This not only opens up new possibilities for use, but also for maintenance and operation. Anyone planning flexibly today must also be able to manage digitally. This requires not only new tools, but also a completely new self-image in the profession. The architect becomes a data manager, the client a platform operator and the user an active co-designer of the space.

However, the euphoria should not obscure the fact that technical complexity is growing. Flexibility is not a sure-fire success, but a challenging balancing act between possibilities and restrictions. Those who master the technology win – those who underestimate it lose. The industry is at the beginning of an era in which digital skills are just as important as traditional design skills. And this is still a shock for many.

In the end, the question remains: is flexibility the solution to all problems? Or is it just another hype that fails in the face of reality? As is so often the case, the answer lies somewhere in between. It takes more than software and sensors. It takes a genuine will to change – and the willingness to throw old certainties overboard. Those who can do this will benefit from flexibility. Those who don’t will fall by the wayside.

Sustainability put to the test: opportunity or contradiction?

Flexible architecture is seen as a beacon of hope for sustainable construction. After all, adaptability promises a longer useful life, less demolition and greater resource efficiency. But the reality is more complicated. Many flexible concepts fail to meet the requirements of sustainable construction. Movable partition walls, modular systems and mobile installations are rarely as durable as traditional construction methods. They often result in additional material consumption, complicated maintenance cycles and increased technical effort. The big question is: how can flexibility and sustainability really be combined and not just used as a fig leaf?

In the DACH region, there are initial attempts to combine the high school of the circular economy with flexible space concepts. Reversible construction methods, single-origin materials and the integration of dismantling options are increasingly becoming standard – at least in pilot projects. However, implementation in the mass market remains difficult. Most investors continue to calculate in terms of returns and not life cycles. And legislation is lagging behind: those who want to build flexibly and sustainably often have to fight against administration and standards rather than with them. The result is an innovation gap that slows down the urgently needed transformation.

Another problem is that flexible architecture often comes at the price of a high level of technology. Sensors, control systems and automation solutions require energy, maintenance and expertise. The brave new world of the smart building can therefore quickly become a sustainability trap. It doesn’t help much if the building is theoretically adaptable, but in practice has to be constantly repaired or is already outdated after ten years. Truly sustainable flexibility means creating as many options as possible with as little technology as possible – and enabling users to adapt the space independently.

The solution lies in a holistic approach: flexibility must be considered as part of the sustainability strategy from the outset. This means reversible design principles, open floor plans, modular building technology and a focus on longevity rather than short-term effects. Anyone who sees flexible architecture merely as a technical gimmick is missing the point. A cultural change is needed that places the value of long-term benefits above short-term hype. The market is ready – but the industry has to deliver.

In the end, it is the user who decides whether flexible architecture is truly sustainable. If spaces are used, converted and developed over the long term, the extra effort is worth it. If they stand empty after a few years, the flexibility was just an expensive end in itself. The industry needs to learn to see adaptability as a value and not just a buzzword. This is the only way to successfully combine sustainability and flexibility.

Competence, control, controversy: What flexible planning requires from professionals

If you want to plan flexibly, you need more than good intentions. The technical, legal and organizational challenges are enormous. Architects and engineers have to familiarize themselves with new tools, materials and processes. The classic role of the ingenious designer is being supplemented by that of the process manager, data analyst and change agent. Further training, interdisciplinary collaboration and the willingness to constantly adapt are becoming a question of survival in a competitive environment. Those who refuse to embrace digitalization will be left behind – those who adopt it without reflection risk losing control.

One of the biggest challenges is managing complexity. Flexibility means constantly juggling between different usage scenarios, technical possibilities and legal frameworks. This calls for new planning and tendering processes, open interfaces and a deep understanding of users’ needs. At the same time, there is growing pressure to make your own work transparent and comprehensible. If you plan as part of a team, you have to share knowledge – and many professionals find this difficult. The fear of losing control is great. But without openness, there is no real flexibility.

The discussion about flexible architecture is anything but harmonious. Critics warn of arbitrariness, a lack of identity and an “anything goes” principle that ultimately only leads to faceless spaces. Visionaries, on the other hand, celebrate the liberation from rigid structures and the opportunity to understand architecture as an open process. As is so often the case, the truth lies somewhere in between. It is important to find a balance between changeability and character. Those who focus solely on flexibility lose their bearings. If you ignore it, you lose relevance.

Another problem: control over change. Who decides when and how spaces are converted? The client, the user, the architect – or ultimately an algorithm? There is a real danger that flexibility will become a purely computational task and the human dimension will fall by the wayside. The industry must learn to understand technology as a tool and not as an end in itself. Only then will architecture remain more than the sum of its functions.

Ultimately, flexible planning is a question of attitude. Those who see change not as a threat but as an opportunity will benefit. Those who embrace the new requirements will be able to shape the future. The industry is at a crossroads – and only the brave will win.

Global perspectives: Flexibility as disruption or adaptation?

Looking beyond the horizon shows: Flexible architecture is not a special German topic, but part of a global discourse. In Asia, cities are emerging that reinvent themselves on a monthly basis. In the USA, co-working spaces, mixed-use concepts and temporary buildings have long been the standard. Scandinavia is scoring points with reversible housing models and open educational landscapes. International competition is also forcing the DACH region to throw old certainties overboard and break new ground. Anyone who avoids this risks being left behind – and becomes a global reorganization case.

The most exciting innovations often come out of necessity. Housing shortages, urbanization and climate change are driving the search for flexible solutions. Digital platforms make it possible to share, rent and transform spaces. Artificial intelligence optimizes floor plans, algorithms control building technology and users participate via apps. The boundaries between architecture, urban planning and service design are becoming blurred. Architects must learn to think in terms of ecosystems – and redefine their own influence.

But the global view also reveals the risks. Flexibility is quickly becoming a commodity, a playground for investors and tech companies. If you are not careful, you lose control over the built environment – and leave the architecture to the algorithms. The debate about data protection, participation and the common good is intensifying. The question of who actually owns flexible space and who decides how it is used is becoming a political bone of contention. Architecture is faced with the challenge of redefining its social mission.

The visions for the future are as diverse as they are contradictory. While some dream of perfect adaptability, others warn of the dissolution of all identity. The truth is: flexibility is not an end in itself, but a means to an end. It is about creating spaces that can react to change without becoming arbitrary. This can only succeed if technology and design, users and planners, sustainability and innovation are considered together. The global discourse provides valuable inspiration – but the answers must be found locally.

The DACH region has the potential to become a pioneer. The conditions are in place: a high level of building culture, a strong engineering tradition, innovative companies. What is missing is the courage to make radical changes. Those who dare can rewrite the rules. Those who hesitate remain spectators in the global game.

Conclusion: flexibility is not a luxury, but a duty

The architecture of the future will not be shaped by spectacular individual projects, but by the ability to anchor changeability as a basic principle. Flexible planning is not a fashionable gimmick, but the logical consequence of a world in constant flux. Digitalization, sustainability and social pressure make adaptability a question of survival for the industry. Those who have the courage to break new ground today can create real added value – for users, cities and the climate. Those who continue to cling to rigid concepts will be overrun by reality. The future belongs to flexible spaces. And this is not a utopia, but the new standard.

POTREBBE INTERESSARTI ANCHE

Vandersanden Linge: The paving brick for ambitious projects

Building design

The large paving brick in Linge ® format from Vandersanden: Calm appearance, sustainability and an authentic character. Read more here. Sustainability and authenticity have established themselves as lasting trends in the design of public spaces. The Linge® format from Vandersanden picks up on current developments and offers creative solutions. The pavers in the special large format provide […]

The large paving brick in Linge ® format from Vandersanden: Calm appearance, sustainability and an authentic character. Read more about it here.

Sustainability and authenticity have established themselves as lasting trends in the design of public spaces. The Linge® format from Vandersanden picks up on current developments and offers creative solutions. The pavers in the special large format provide a rustic and calm look. At the same time, they perfectly cover the sustainability aspect.

Already very successful in neighboring countries, this unusual format is also gaining ground in Germany. It offers many facets, especially for urban architects. In addition to the different formats, the bricks also differ in terms of their properties. Vandersanden supplies them in four basic variants, each with its own individual characteristics:

The Linge® paving brick in the 80/80 format(L 245 x W 80 X H 80 mm) is the most robust brick in this series. It has three sanded sides in molded back, all of which are suitable as visible sides. This means it can be reused up to three times and always ensures a unique and fresh street scene.

The Linge® paving brick in 80/70 format(L 245 x W 80 x H 70 mm) is a special version with a high edge that is offset to the rear. Among other things, this prevents chipping under heavy traffic loads. As a result, the road surface retains both its look and feel.

The Linge® format 80/60(L 245 x W 80 X H 60 mm) has a lower height of 60 mm. This means that fewer raw materials are required during production. The low height is more than sufficient for the design of squares, sidewalks and cycle paths.

The Linge® clinker in the 60/80 format(L 245 x W 60 X H 80 mm) is the big and strong brother of the classic Waal format Riegel.

The large format of Vandersanden’s Linge ® bricks reduces the number of joints in squares, streets and paths. The rustic look of the bricks gives them an authentic appearance. In addition, their long service life, reusability and low number of joints underpin Vandersanden’s sustainability concept. The innovative clinker bricks are available as molded bricks, waterstruck or, in some cases, extruded, sanded or unsanded.

The innovative clinker bricks are available as molded bricks, waterstruck bricks or, in some cases, as extruded bricks, sanded or unsanded. You can find more information at www.vandersandengroup.de.

Also interesting: Schwerin architects realize multi-generation house in an unusual way with the help of Vandersanden clinker bricks.

Ferdinand Hodler as an established figure of Berlin Modernism

Building design
Visitor to the exhibition "Ferdinand Hodler and Berlin Modernism" in front of the artist's "Self-Portrait (The Angry Man)". Photo: Harry Schnitger / Berlinische Galerie

Visitor to the exhibition "Ferdinand Hodler and Berlin Modernism" in front of the artist's "Self-Portrait (The Angry Man)". Photo: Harry Schnitger / Berlinische Galerie

They are icons of modernism: the expressive figure paintings, mountain landscapes and portraits by Ferdinand Hodler (1853-1918). Even during his lifetime, the work of the Swiss painter, who helped shape Symbolism, attracted great international attention. But what is hardly known today is that Hodler’s path to fame led via Berlin, as an exhibition at the Berlinische Galerie currently shows (still […]

They are icons of modernism: the expressive figure paintings, mountain landscapes and portraits by Ferdinand Hodler (1853-1918). Even during his lifetime, the work of the Swiss painter, who helped shape Symbolism, attracted great international attention. But what is hardly known today is that Hodler’s path to fame led via Berlin, as an exhibition at the Berlinische Galerie currently shows (until January 17, 2022)

Ferdinand Hodler is undisputedly the most popular painter in Switzerland today and is considered a key figure in modern art alongside Paul Cézanne, Vincent van Gogh and Edvard Munch. His work was last shown on a large scale in Berlin in 1983. The current exhibition at the Berlinische Galerie (until January 17, 2022) presents the artist for the first time as a major figure in Berlin Modernism. A selection of his most important symbolist figure paintings, which established Hodler’s success in the German imperial capital, his unmistakable mountain landscapes and outstanding portraits, which already inspired the contemporary Berlin public, can be discovered: “In the Künstlerbund exhibition. Hodler made the strongest impression,” noted the influential collector and patron Harry Graf Kessler in his diary in 1905.

The exhibition “Ferdinand Hodler and Berlin Modernism” traces the Swiss artist’s success story on the Spree. Here, his works were first shown at the Great Berlin Art Exhibition, then at the Berlin Secession and in renowned galleries in the city such as the Fritz Gurlitt and Paul Cassirer art salons. Hodler was already perceived as a typical exhibition artist in his time, and his career spread beyond Switzerland’s borders throughout Europe. After initial successes at home, where Hodler’s work was the subject of controversial debate, he built up relationships in Paris, Munich, Vienna and Berlin, where he exhibited his works in the context of leading avant-garde associations.

Ferdinand Hodler gradually won over the Berlin public

The rather sober Prussian mentality in Berlin initially made it difficult for Hodler to assert himself with his symbolist figure paintings. The Swiss artist polarized opinion. He inspired artists and critics who were open to modernism. He was only gradually able to win over the general public, who were still familiarizing themselves with Naturalism and Impressionism in Berlin. When gallery owner Paul Cassirer included Hodler’s naturalistic early works as well as portraits and landscapes in a group exhibition in 1907, the artist gained wider acceptance in the city. It was also Cassirer who organized an extensive monographic exhibition of Hodler’s work in 1911. As part of a larger exhibition tour that included Cologne, Frankfurt am Main, Berlin and Munich, it took into account all facets of Hodler’s work. The landscapes, which enjoyed great popularity among collectors, were particularly emphasized.

The second half of the 1900s saw the emergence of Expressionism in Berlin. For the metropolitan art scene, this led to a paradigm and generational shift around 1910/11. Hodler was already considered a pioneer of Expressionism and abstraction at the time due to his tense outlines, which seem almost comic-like to us today, and his free use of color and form.

The “Hodler case”

When the Swiss artist, together with other artists and intellectuals, signed a protest against the shelling of Reims Cathedral by German troops in Geneva immediately after the start of the First World War, this triggered a wave of indignation in Germany. The press turned it into the “Hodler case”, which led, among other things, to the painter being expelled from German artists’ associations. By the end of the war, however, the artist, who died in May 1918, had been largely rehabilitated in Germany.

Paul Klee on Ferdinand Hodler

According to the artist Paul Klee in 1911, contemporaries saw Hodler above all as a “portrayer of man who knows how to shape the soul through the body”. Hodler’s art focused on simplification and grandeur. The timelessly elegant postures and delicate faces of his dancers and young men are still captivating today. They appear archaic, often serious and yet also animated, full of lightness and life. Hodler drew inspiration for his art from nature, of which he understood people to be a part. The air that his figures breathe and that blows around his mountains is cold and clear. As Hodler himself wrote in one of his programmatic texts, the artist “shows us an enlarged, simplified nature, freed of all details”.

The exhibition “Ferdinand Hodler and Berlin Modernism” shows around 50 paintings by the artist, including 30 from the Kunstmuseum Bern, which is a cooperation partner of the show. In addition, there are further works by artists from the Berlin Secession who exhibited with Hodler in Berlin, such as Lovis Corinth, Walter Leistikow, Hans Thoma and Julie Wolfthorn.

The exhibition catalog has been published in German and English.

Since 2019, the permanent exhibition “Art in Berlin 1880-1980” at the Berlinische Galerie has been accessible to blind and visually impaired visitors, making it possible to experience art with multiple senses. In close cooperation with the German Association for the Blind and Visually Impaired (DBSV), work was carried out over two years to equip the collection presentation “Art in Berlin 1880-1980” with tactile media, a guidance system and a museum app to create an inclusive art experience.

Reading tip: Four cities in the Leichter Reisen working group – Emden, Rostock, Magdeburg and Erfurt – are presenting accessible art museums and their special exhibitions in winter 2021. Find out more here.