Historic Preservation and Solar Power Systems: Why the Two Go Hand in Hand

Building design
Historic preservation and solar power systems do not have to be mutually exclusive. Photo: By UuMUfQ - Own work, CC BY-SA 3.0, via: Wikimedia Commons
Historic preservation and solar power systems don't have to be mutually exclusive. Photo: By UuMUfQ – Own work, CC BY-SA 3.0, via: Wikimedia Commons

A historic half-timbered house and a solar panel system on the roof—to many, this seems like a contradiction. Historic preservation is even frequently viewed as an obstacle to climate protection measures. The common argument is that it stands in the way of expanding renewable energy—and as a result, historic preservation laws are being amended, often accompanied by a weakening of historic preservation standards overall. But does this line of reasoning hold up to closer scrutiny?

In the public debate over historic preservation and solar panels, the impression of a fundamental conflict often dominates. A look at the numbers, however, puts this picture into perspective: Only 3 to 4 percent of the total building stock in Germany is designated as historic, and in North Rhine-Westphalia, the figure is as low as 1.5 percent. The actual debate over historic preservation and photovoltaic systems thus focuses far too often on this small segment of the building stock. Anyone who wants to make a tangible contribution to the energy transition through the expansion of solar power will therefore find far greater potential in the remaining, non-historic buildings. Narrowing the debate to the minimal contribution of listed buildings and thereby portraying them across the board as obstacles to the energy transition is a distorted view, especially given the expected impact. Where installation on the historic structure itself nevertheless reaches its limits, creative and legally sound solutions have long since been developed—ranging from alternative locations to new material innovations.

If installation on the historic structure itself is not possible

If there are serious reasons preventing the installation of a PV system on a historic building, this does not automatically spell the end for renewable energy. Alternative locations can often be found, such as on adjacent or neighboring buildings that are not listed as historic monuments. For example, the German Foundation for Monument Protection installed a PV system at its Bonn headquarters in this way.
Generally, a distinction is made between visual and acoustic impacts that may be caused by solar or wind power systems and that could prevent approval. The reason lies in the very purpose of historic preservation: to preserve the structure’s materials and appearance as completely as possible so that it can remain an authentic testament to its era. Added to this are conservation-related, structural, and technical hurdles—organic roofing materials such as thatch or wooden shingles, the limited load-bearing capacity of historic roof trusses (especially in church roofs), or the question of whether a roof surface should be fully utilized or only partially covered. The increased fire load posed by a PV system is another factor that can endanger historic buildings. Nevertheless, solar installations on historic buildings have been approved in many cases for years, often without being immediately noticeable.

Reversibility as a Guiding Principle

Preserving the original structure is central to the interplay between historic preservation and photovoltaic systems, as this is where a building’s most important historical significance lies. For any structural intervention—including PV installation—the impact must be kept to a minimum. Additive systems—which can be installed without significant loss of structural integrity and later removed without leaving any residue—are therefore preferable to integrated solutions that involve, for example, replacing roof tiles or slate. Historic buildings have withstood numerous changes over the course of their history; new technologies, by contrast, are comparatively short-lived. A historic building can withstand this change well, as long as reversibility and the preservation of the building’s substance are maintained. Any construction work on a historic building—including the installation of a PV system—requires approval under historic preservation laws. Many historic buildings are also subject to environmental protection measures that safeguard their appearance and sightlines—a consideration particularly relevant for the rooftops of historic old towns.

Changing Legal Framework

Some historic preservation laws now explicitly take renewable energy into account. For example, the North Rhine-Westphalia Historic Preservation Act states in Section 9, Paragraph 3, essentially states that a permit must be granted if it does not conflict with historic preservation concerns or if there is an overriding public interest, provided that climate protection and the use of renewable energy are given appropriate consideration.
Technological advancements are also making progress: Solar modules in matching colors are increasingly blending harmoniously into historic roofing, and solar roof tiles—in which the PV cells are integrated directly into the tile—could enable significantly better adaptation to historic buildings in the future when re-roofing is necessary anyway. Replacing integrated modules—whose service life is usually shorter than that of the roofing itself—remains technically challenging. The issue of disposal also remains unresolved: solar systems are still sometimes classified as hazardous waste, and according to expert estimates, several million metric tons of scrap modules could accumulate by 2030.
The portrayal of historic preservation and photovoltaic systems as irreconcilable opposites therefore does not reflect reality. Given that listed buildings account for only 3 to 4 percent of the national building stock, the true potential of the energy transition lies in the remaining building stock. For the remaining cases, alternative locations, technical advancements, and reversible solutions that preserve the building’s integrity offer viable ways to address both concerns.

Read more: Heritage preservationists and climate activists do not always see eye to eye.

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In the Glaze module of the Digital Drylayout – DDL.20 planning software, selected raw slabs can be aligned and combined using drag-and-drop. Photo: Lasa Marmo
In the Glaze module of the Digital Drylayout – DDL.20 planning software, selected raw slabs can be aligned and combined using drag-and-drop. Photo: Lasa Marmo

With the new planning software Digital Drylayout – DDL.20, architects, designers, stonemasons, and dealers can plan natural stone projects, select materials, generate reports and cutting data for production, and place orders. The tool is free for architects and designers. Civil engineer Jan Keller, through his company Art Emotional, developed it in collaboration with Lasa Marmo as a partner in the stone industry. It is intended to be made available to other industry players in the future. Especially during the pandemic, it can be seen as a beacon of hope for decentralized projects in the natural stone sector.

Im Blendung-Modul der Planungssoftware Digital Drylayout – DDL.20 können ausgewählte Rohplatten per Drag & Drop ausgerichtet und kombiniert werden. Foto: Lasa Marmo
In the “Blendung” module of the Digital Drylayout – DDL.20 planning software, selected raw slabs can be aligned and combined using drag-and-drop. Photo: Lasa Marmo

As user-friendly as a B2C online store

The picturesque South Tyrol, where Laas marble is quarried, is hard to beat in terms of idyllic beauty: The Weißwasser quarry lies at 1,567 meters above sea level in the heart of the national park; down in the valley, countless apple orchards cluster around the little village of Laas, and beyond that: lots of greenery, lots of silence. A wonderful place to live. For selling natural stone: not quite so much. After all, the marble is sold all over the world, and even without a pandemic, Laas is remote from these markets and international target audiences.

In the age of COVID-19, when customers often cannot inspect raw slabs in person (and even afterward, when society will likely have grown accustomed to traveling less), a digital solution is all the more necessary. For years now, Lasa Marmo has therefore been leveraging digital capabilities; it integrated a special scanner into its production process early on to precisely scan raw slabs and was one of the first in the industry to develop a database. Now comes its successor—initially in English—a “Stone Gallery” designed to be particularly transparent and user-friendly.

It currently includes 3,000 slabs (primarily from the LASA !ndividual line so far), representing about 30 percent of the potential inventory, and is set to be continuously expanded. In addition, there are 2,000 slabs that Lasa Marmo uses to organize current projects. Digitally rendering the light-reflecting white marble—including its veining—with color calibration was a particular challenge. The stated goal: to reproduce the color gradient in the material so precisely that it can be digitally viewed in full detail.

Instead of simply featuring a single slab as a “representative” of an entire raw block—from which the customer must infer the rest—the Stone Gallery also displays all the slabs from the block. Product Manager Kurt Ratschiller says: “The raw slabs are all scanned in high resolution, tagged, and archived. We have an interface running in the background with our inventory management system, so the customer can access current stock levels in real time. We’re working on displaying defects in the raw slabs in the database as well.”

This is also intended to increase the net yield of the material and thus make operations more sustainable: After all, unique veining patterns and heterogeneous materials can be combined as desired. Keller explains that, particularly in interior design, projects are popular where, for example, the grain pattern of a wall panel looks as if it were cut from a single block of marble.

Planning such patterns has been very time-consuming—and therefore expensive—up until now. This is due in no small part to the approval process, during which the slabs are laid out according to the final installation plan. For the Stone Gallery, the developers drew inspiration from major B2C players like Amazon and Booking.com when it comes to user-friendliness. This is forward-thinking, as digitalization has become ubiquitous and users demand a convenient customer journey, regardless of whether they’re shopping online for personal use or researching raw slabs for professional purposes. For example, the database offers selection filters such as five price categories with prices per square meter and allows users to compare slabs from a preselected list as well as reserve materials.

New Planning Tool for Architects and Stonemasons

The millimeter-precise scanning of raw slabs enables a major leap forward in digital planning: Lasa Marmo’s database is connected to DDL.20, a software solution for Digital Dry Layout, or digital blending. Jan Keller from the company Art Emotional developed this new tool in collaboration with the team at Lasa over the course of a two-year project. His goal is to provide an intuitive interface between CAD programs and the stone industry: “DDL.20 ensures that communication among all parties involved in a natural stone project is internationally understandable, using clear images, definitive figures, and processing data. This allows us to achieve a new economy in the use of natural stone and more sustainable projects. We want to become an industry pioneer—a kind of Booking.com for natural stone.”

The idea for the program originated during the World Trade Center Transportation Hub project: For this major contract in New York, Lasa Marmo supplied a total of 40,000 square meters of marble from 2012 to 2016. During the more than 130 inspections and acceptance meetings between the U.S. and South Tyrol, the need for a digital tool became apparent. In general, Keller says, most of the planning processes in the industry have so far been cumbersome and time-consuming because natural stone has not been successfully integrated with the possibilities of digitalization.

How the digital planning process works

Keller and his team offer free webinars to introduce users to the DDL.20 platform. And Lasa Marmo provides a planning team that works behind the scenes to offer support, monitor projects, and step in when needed. Basically, the tool works as follows: Architects and construction planners create a project—such as a wall cladding project—and upload their corresponding design in DXF format. In the integrated Stone Gallery, they can select suitable raw slabs, which are then reserved for their project.

In the blending module, they can now customize the planned wall cladding. The selected slabs are positioned with millimeter precision and are scaled and transferred to the project plan via drag-and-drop. There, they can be aligned, moved, and combined based on their grain pattern, for example. A special feature indicates the best possible use of the raw material.

In the background, the tool generates production files from the layouts and, if necessary, issues error messages in case of overlaps or missing production margins. If needed, multiple designs can be created, even by different project participants. The project manager defines their permissions and roles within the tool. Changes made during the planning process are also no problem: The system saves the data in the background, so a complete re-blending isn’t necessarily required when an update is made.

In the next step, the blending variants can be loaded directly into rendering programs. The result is a detailed report containing all key parameters for the entire value chain: cost calculation, quotation preparation, and cutting preparation. For fabricators, the report simplifies production control because a so-called cutting ticket precisely lists the sawing data for each slab. In this step, Lasa Marmo provides feedback if the use of the material could be planned more economically. The entire process—from material inspection, planning, and blending to quality control, production, and acceptance—is thus digitized.

In the future, Keller plans to open up the tool to other quarry operators and thus to other types of natural stone in addition to Laas marble, thereby “giving the industry new momentum.”

Filigree fittings for all-glass doors

Building design

The “Tectus Glas” hinge system from Simonswerk offers a comprehensive hardware solution for all-glass doors. For the first time, the door leaf and frame are on the same level.

The “Tectus Glas” hinge system from Simonswerk offers a comprehensive hardware solution for all-glass doors. For the first time, the door leaf and frame are on the same level – creating a continuous and minimalist look. The patented hinge technology is barely visible and offers reliable and durable functionality thanks to the stable hinge kinematics. It is used for glass doors in the interior fittings of residential and commercial buildings on wooden, steel and aluminum frames.

A magnetic lock and several handles are available to match the hinge technology. The hardware components are installed using an easy-to-install clamping and plug-in system; no glass processing is required on the door leaf. Another advantage is the opening angle of 180°.