How neural networks design facades – and what that means for Gestalt

Building design
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Green trees and plants during the day, photographed by Danist Soh

Today, neural networks design facades that make human architects ponder – and that’s just the beginning. When algorithms design, the boundaries between creativity and calculation, between individuality and mass production become blurred. What does this mean for architecture? Who decides what is beautiful – and how much AI will be in every façade tomorrow?

  • Neural networks are revolutionizing façade design – with AI-supported designs that make unimagined shapes possible.
  • Germany, Austria and Switzerland are experimenting with AI systems, but are still cautious by international standards.
  • Digitalization and machine learning are shifting the role of the architect – from creator to curator and system architect.
  • Sustainability, material optimization and energy efficiency are being rethought through AI – with opportunities and risks.
  • Technical expertise in data analysis, AI modeling and parametric design is becoming mandatory for planners.
  • The debate about copyright, responsibility and creative control has begun – and is anything but settled.
  • Global architectural discourse is already discussing AI-supported design – between hype, hope and horror vision.
  • Visionaries see neural design as an opportunity for resilient, adaptive and unexpected façade solutions.

From sketch to algorithm: How AI is designing façades

Traditional façade planning has had its day – at least if current research and pilot projects are to be trusted. Neural networks, trained on millions of image data, are increasingly taking on tasks that until recently were considered the architect’s very own territory. What began ten years ago as a gimmick in dark computer labs is now part of productive planning processes. In Germany, Austria and Switzerland, the first building projects are demonstrating what is possible when algorithms no longer just shape technical details, but the actual architectural expression. However, the leap from parametric gimmickry to genuine AI-supported design is complex. This is because neural networks are by no means just tools, but – as soon as they are sufficiently trained – become active co-creators in the design process. They analyze context data, material properties, climatic requirements and, of course, countless aesthetic references. The result: façades that can no longer be squeezed into classic stylistic concepts, that often appear strange, sometimes irritating and not infrequently surprisingly innovative. What is particularly exciting is that these systems can run through thousands of variants at the touch of a button before a person has even drawn the first pencil stroke. This changes the entire workflow – and forces planners to redefine their role. Instead of being the author, the architect is increasingly becoming an editor, a curator, a system thinker who decides what will ultimately be built from the stream of algorithms.

The technical basis for this development is clear: neural networks, usually in the form of generative adversarial networks (GANs) or deep learning frameworks, are fed with data sets from architecture, art, nature and technology. They recognize patterns, generate new combinations, adapt styles and can even react to specific functional specifications. What emerges is not a product of chance, but the result of a highly complex interaction between data selection, training parameters and human control. And this is where the real architectural debate begins. After all, who decides which data is relevant? Who filters, curates and evaluates? Traditional authorship is disintegrating and being replaced by a new, hybrid model of creativity – half human, half machine.

In practice, it looks like this: A planning office in Zurich trains a neural network on local façade typologies, incidence of light, historical layering and current sustainability standards. The system then generates hundreds of design variants, optimized according to the use of daylight, energy requirements and urban planning context. The architect selects, combines, adjusts – and ultimately builds a façade that is so complex that it would never have been created without AI. In Munich, an AI system is used to find the optimal balance between shading, views and PV integration. The machine learns what is approvable in the city, what materials are available and what design language the client prefers. The result: façades that adapt to their surroundings like chameleons – and still assert their individuality.

But despite all the euphoria, skepticism remains appropriate. After all, neural networks are only as good as their training data and the algorithms that control them. Incorrect data leads to absurd suggestions, algorithmic biases can cement cultural or aesthetic biases. And last but not least, there is a danger that a new, invisible uniformity will emerge from the diversity of possibilities – because everyone is working with the same tools and data sets. Anyone who believes that AI automatically brings more diversity has not understood the mechanisms of the platform economy. Nevertheless, the potential is enormous and the pressure on the industry to take a serious look at these technologies is growing.

Overall, the status quo in Germany, Austria and Switzerland is still experimental, but by no means backward. Research institutes, universities and some large offices are driving the topic forward, albeit often under the radar of the general public. The question is no longer whether neural networks will design façades, but how deeply they will penetrate everyday planning – and who will really be in control in the end.

Sustainability redefined: AI, materials and energy

The great promise of AI-supported façade design lies not only in new forms, but above all in its ability to integrate complex sustainability requirements. While traditional planning often works according to the principle of trial and error, neural networks allow for the simultaneous optimization of dozens, if not hundreds, of parameters. This begins with the reduction of material costs and ends with the maximization of solar yields, daylight usage or natural ventilation flows. In Zurich, for example, AI systems are used to design façades in such a way that they minimize summer heat input and maximize winter light incidence while taking local material resources into account. In Vienna, planners are experimenting with algorithms that calculate recycling rates, life cycle costs and CO₂ shadow prices in real time. The goal: façades that are not only beautiful, but above all climate-friendly and resource-saving.

However, implementing such systems is anything but trivial. It requires a new kind of technical expertise – from data modelling and parameterization to the integration of sensors and monitoring data. Anyone planning AI-supported façades today must not only be an architect, but also a data analyst, programmer and sustainability expert. This is precisely the major challenge for the industry. While large international offices have long been building interdisciplinary teams, many smaller offices in Germany, Austria and Switzerland are struggling to build up the necessary skills internally. The result is a growing gap between early adopters and the rest of the industry – with corresponding consequences for competitiveness and innovative strength.

At the same time, the use of neural networks raises new ethical and regulatory questions. Who owns the generated designs? Who is liable if an AI-optimized façade is beautiful but structurally defective? And how can we ensure that sustainability goals are not subject to the algorithm, but to social responsibility? The answers so far are unsatisfactory at best. In most cases, responsibility remains with the human operating the AI – but for how much longer as the systems become more autonomous?

Another aspect concerns control over the data used. Who decides which sustainability criteria are included? Are regional differences sufficiently taken into account, or is a global perspective driven by large corporations dominating? The danger of standardization that ignores local characteristics is real. At the same time, AI systems offer the opportunity to record regional material cycles, climate data and building cultures much more accurately and integrate them into the design – if they are trained accordingly.

In the end, it remains to be said: AI-supported façade design is not a panacea, but it is a powerful tool. It can help to achieve the industry’s major sustainability goals – provided that planners maintain an overview and control. Anyone who relies on the algorithm without checking its assumptions risks not only creative but also ecological mistakes. The future belongs to those who know how to combine technology and responsibility.

Architecture between control and loss of control: debates about form and authorship

Where neural networks design, traditional notions of authorship begin to falter. Who is the architect when the decisive design variants come from the computer? Who is responsible for form, function and errors? These questions have long been more than academic gimmicks. In Germany, Austria and Switzerland, there is fierce debate about how much AI architecture can tolerate – and where its limits should lie. Some celebrate the democratization of design because AI tools also give laypeople access to complex design processes. Others warn of the loss of identity and handwriting, of the banalization of architectural quality through machine mass production.

In practice, it is clear that neural networks are neither neutral nor objective. They reproduce the values, norms and prejudices of their developers and data sets – and may even reinforce them. Anyone using AI for façade design must be aware of the responsibility for selecting and weighting the training data. Otherwise, there is a risk of the very thing that the technology is supposed to prevent: the reinforcement of clichés and stereotypes. This danger affects not only aesthetic, but also social and ecological dimensions. For example, if AI systems are trained exclusively on Western architectural traditions, the diversity of global building cultures will be ignored – with far-reaching consequences for the built environment.

Another contentious issue is the role of the public sector and building owners. Who decides which AI systems are used? Who controls the algorithms? And how open and transparent are the decision-making processes? In many cases, the use of neural networks in façade design remains a black box – with all the risks for transparency, participation and democratic control. At the same time, open AI platforms and participatory design processes offer the opportunity to democratize the design process and involve new players. The future of architectural design is therefore no longer being created in a quiet chamber, but in the field of tension between machines, people and society.

Global architectural discourse has long since picked up on these developments. International competitions, research projects and publications discuss the opportunities and risks of AI in architecture. The spectrum ranges from visionary utopias – façades that adapt themselves to changing environmental conditions – to dystopian scenarios in which machines finally oust humans from the design process. As always, the truth lies somewhere in between. One thing is clear: the façade design of the future will be a hybrid product – made up of human intuition, machine computing power and social negotiation processes.

Last but not least, there is the question of the training of architects. What skills will be needed in the future? How can creative flair and technical understanding be combined? Universities are slowly but steadily responding to the new requirements. The first degree courses are integrating AI, data analysis and algorithmic design into their curricula. But there is a lot of catching up to do – and the pressure on the profession is growing. Those who ignore the new tools run the risk of no longer being part of the digital architecture of tomorrow.

AI and global trends – between a surge in innovation and uniformity

The fascination with AI-supported façades is no longer a Central European phenomenon. Cities, architecture firms and tech companies around the world are experimenting with neural networks that are pushing the boundaries of what is possible. In China, entire city districts are being built whose façades are optimized and produced by algorithms – often in conjunction with robotic manufacturing processes. In the USA, start-ups are driving forward the automation of design and construction processes and promise to democratize architecture through open AI platforms. Scandinavian countries are relying on AI to harmonize sustainability, aesthetics and social integration – with considerable success.

Germany, Austria and Switzerland are lagging behind in international comparison – not due to a lack of expertise, but due to a mixture of regulatory caution, cultural inertia and a lack of interdisciplinary collaboration. While the first prototypes and pilot façades are being created in Vienna and Zurich, the widespread use of AI in façade design is still the exception. Many planners continue to rely on tried-and-tested methods, not least because building owners and authorities are skeptical of black-box algorithms. At the same time, the number of start-ups developing AI tools for the industry is growing – a sign that the pressure to innovate has also arrived in this country.

The most important trends: adaptive façade systems that adjust to environmental data in real time; generative design processes that are optimized for sustainability and resource efficiency; and open platforms that enable collaboration between architects, engineers and AI systems. At the same time, there is a risk that the standardization of tools will create a new uniformity. Anyone working with the same algorithms, data sets and software solutions will inevitably produce similar results – a phenomenon that has already been observed in the parametric architecture of recent years.

The great challenge for architecture is to combine the innovative power of AI with the demand for design diversity, cultural identity and sustainability. This requires not only technical expertise, but also the courage to reflect critically and the willingness to break new ground. Those who embrace the new tools will not only be able to design more efficiently in the future, but also more creatively. Those who isolate themselves risk losing touch with international developments – with all the consequences for competitiveness, building culture and social relevance.

At the end of the day, the question is: will AI liberate or uniformize architecture? The answer depends less on the technology itself than on the people who use it. Those who see neural networks as a tool can use them to create unique, future-proof facades. Those who allow themselves to be dominated by them will end up with the digital uniformity that even the boldest algorithm optimists warn against. The decision is – still – up to us.

Conclusion: the future of façade design is hybrid, open and uncomfortable

Neural networks have the potential to fundamentally change façade design – technically, creatively and socially. They open up new possibilities for sustainable, adaptive and previously unimagined forms. At the same time, they challenge architecture to reinvent itself: as a discipline that combines technology, responsibility and creativity. Those who close their minds to AI risk being overwhelmed by progress. Those who adopt it uncritically will quickly lose the overview and control. The future of architectural design lies somewhere in between – in the collaboration between man and machine, in open discourse about data, algorithms and responsibility. One thing is certain: the façade of tomorrow will no longer just be designed, but also calculated, simulated and optimized – and perhaps that is precisely why it will be really exciting again.

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.