19.06.2026

Ideas for Gabions: Features, Installation, and Uses

Building design

White building with a leaf-motif mural on a stone wall. Photo: yi2026 / Unsplash

Gabions are among the most versatile structural elements in outdoor spaces: Whether used as retaining structures, privacy screens, noise barriers, seating elements, or design accents, they combine technical function with a material aesthetic that few other systems can match in outdoor settings. Those who develop ideas for gabions operate at the intersection of civil engineering, vegetation technology, and outdoor space design. Yet the principle is remarkably simple: wire mesh baskets, filled with STEINS or other materials, use their mass and flexibility to form a system that absorbs static loads, allows water to pass through, and can be aesthetically integrated into virtually any outdoor setting.

What gabions are, how they are constructed, and what types are available
Which materials are suitable for baskets and fillings, and what to consider when making a selection
How to properly plan, foundation, and install gabions
Typical applications in public and private outdoor spaces
How gabions can be vegetated and combined with plants
Which standards, regulations, and planning guidelines are relevant
What mistakes frequently occur during planning and construction, and how to avoid them
How gabions can be integrated into the broader context of urban climate, biodiversity, and open-space design

What Are Gabions? Definition, Structure, and Types

The term “gabion” is derived from the Italian word “gabbione,” which means “large cage.” It refers to wire mesh baskets that are filled with STEINS or other materials, thereby forming a stable, pressure-resistant structural element. The principle is ancient: as early as the 16th century, earth-filled wicker baskets were used in fortification construction as quickly erected protective walls. The modern gabion, as used today in landscape architecture and civil engineering, consists of galvanized or plastic-coated steel wire mesh that is formed into rectangular, cylindrical, or other shapes.

The basic structural design is always the same: a wire basket made of double-twisted mesh or welded grating forms the outer shell. Diaphragms—that is, built-in partitions made of the same wire material—divide longer baskets into chambers and prevent the fill material from shifting under load and the basket from bulging. The mesh size of the grid depends on the grain size of the fill material: Typical mesh sizes range from 60 to 100 millimeters, which requires fill stones with a minimum diameter of about 80 to 120 millimeters. For gabions filled with finer materials such as gravel or crushed stone, finer-mesh inner wire mesh or geotextile liners are used.

In practice, several basic types are distinguished. Box-shaped gabions, also known as mat gabions, are the most common form: they are stacked as individual elements to form walls or retaining structures. Rockfall protection nets and wire mattresses (flat, wide gabions with low height) are used in hydraulic engineering for bank protection and riverbed stabilization. Cylindrical gabions are found as individual elements in landscape design. So-called gabion baskets with decorative fill are produced specifically for high-end applications, where the outer layer consists of hand-selected, shaped natural stone, while the core is filled with a more economical material.

Materials: Wire basket, fill, and geotextile

The quality of a gabion structure stands or falls with the durability of the wire material. For outdoor use, galvanized wires conforming to the DIN EN 10244 standard are required, with the zinc coating determining the corrosion resistance. In aggressive environments—such as those exposed to saltwater, road areas with de-icing salt, or industrially polluted areas—an additional plastic coating made of polyvinyl chloride (PVC) or polyethylene (PE) is recommended. Stainless steel mesh offers the highest durability and is used when long-term maintenance needs are to be minimized or when aesthetic requirements call for a visible metal surface. For load-bearing structures, the wire diameter typically ranges from 2.7 to 4 millimeters for the main mesh, with slightly thicker wires used for edge wires and connecting wires.

The fill material is the key element in terms of both design and function. For load-bearing gabion walls, frost-resistant, compression-resistant natural stones are used: granite, gneiss, basalt, greywacke, and limestone are proven materials. Soft rocks such as sandstone or slate are less suitable because they can disintegrate under the effects of frost and mechanical stress. The type of stone influences both the aesthetics and the packing density: Broken, angular material interlocks better and results in a more stable fill than rounded river pebbles, which, however, often look more attractive. Recycled materials also offer great ideas for using gabions as design elements: broken concrete, broken bricks, glass panes in special baskets, or logs in temporary structures significantly expand the range of possibilities.

A geotextile (filter fabric) is typically installed between the gabion structure and the underlying soil. It separates the soil from the fill, prevents fine material from being washed into the gabion and the drainage system, but allows water to pass through unimpeded. The choice of geotextile depends on the underlying soil: For fine, silty soils, close-mesh geotextiles with an appropriate filtration efficiency are required. Without this separation layer, gabion structures can lose their stability over time due to material migration.

Planning and Installation: Foundation, Structural Analysis, and Construction

Ideas for gabions only become durable structures when the planning carefully takes into account the site-specific conditions. The first step is always to assess the building site. Gabion walls are flexible, not rigid, structures: they can compensate for minor settlements without cracking. Nevertheless, retaining walls taller than about one meter require a load-bearing, frost-resistant foundation. A foundation layer of crushed stone or lean concrete, laid below the frost line, is standard. In Germany, the frost depth is generally estimated at 80 to 120 centimeters, depending on the region. An inadequate foundation is the most common cause of gabion retaining walls becoming skewed or bulging.

Several factors are critical to the stability of gabion retaining walls: the wall height, the wall thickness, the slope angle of the terrain, the earth pressure from the surrounding soil, and any additional loads from traffic or development. As a rule of thumb, the wall thickness should be at least half the wall height. For retaining walls over one meter in height, a structural analysis by a qualified engineer is required; the relevant standards, in particular DIN EN 1997 (Eurocode 7, Geotechnics), as well as the recommendations of the German Institute for Building Technology (DIBt), must be observed. For gabions in public spaces and for retaining walls designed to protect people, stricter requirements for verification and documentation apply.

The installation itself follows a clear procedure. First, the subgrade is excavated to the required depth and compacted. The base layer of crushed stone (grit size 0/45 or similar) is placed and leveled. Next, the gabion baskets are positioned, wired together, and secured with connecting wires (binding wire or spirals). Filling is done in layers: First, the visible side is covered by hand with selected STEINS, then the core is filled by machine or by hand. Diaphragms are installed at specified intervals. After each layer, the baskets are secured with connecting wires to prevent bulging. Finally, the geotextile is laid on the soil side, and the backfill soil is compacted in layers.

A common construction error is overfilling the baskets: if too much material is added, the lids can no longer be closed, and the baskets bulge out at the sides. Underfilling is equally problematic, as it leads to voids and unstable compaction. The baskets should be filled so that the STEINS are packed as tightly as possible without exerting undue pressure on the mesh.

Applications: From retaining walls to street furniture

The range of ideas for gabions in open spaces is exceptionally broad. In civil engineering, their primary use is as retaining walls and slope stabilization: Gabions absorb earth pressure, enable steep terrain shaping without massive concrete structures, and, thanks to their natural materials, blend into the landscape better than concrete walls. In road and path construction, gabions are used for slope stabilization along cuts; in hydraulic engineering, they are used for bank reinforcement and riverbed stabilization along watercourses.

In the field of open-space design, gabions offer a wide range of possibilities. As privacy screens, they replace wooden fences or concrete elements while offering a significantly longer service life and an incomparably richer surface texture. When used as noise barriers along transportation routes, they take advantage of the sound-absorbing effect of the irregular stone surface and the voids within the fill material. As seating walls, table structures, or planters, gabions become pieces of urban furniture that are robust, vandal-resistant, and low-maintenance. Gabions have proven themselves as durable design elements, particularly in public spaces, parks, schoolyards, city squares, and residential neighborhoods.

Gabions also offer a wide range of possibilities for private gardens. A gabion wall used as a property boundary combines privacy screening, wind protection, and a design accent all in one element. As a terrace retaining wall, it allows for the creation of sloped terraces without extensive concrete work. Used as raised-bed edging, they offer a durable alternative to wooden frames. Smaller gabion baskets used as individual elements, filled with decorative gravel or colored glass, add design accents to garden landscaping. It is important to observe basic structural principles even in private settings: A gabion wall that tilts or bulges is not only unsightly but can also pose a real hazard.

Gabions and Vegetation: Greening, Biodiversity, and Urban Climate

One of the most interesting aspects of gabion designs is their compatibility with vegetation. The gaps between the stones provide habitat for plants, insects, and small animals. Wall plants such as stonecrop (Sedum species), wall ivy (Cymbalaria muralis), wall rue (Asplenium ruta-muraria), or saxifrage (Saxifraga species) colonize gabion walls spontaneously or can be intentionally introduced. This pioneer vegetation significantly increases the ecological value of the structure and makes gabions a building block of urban biodiversity.

There are several approaches for the targeted greening of gabion walls. Climbing plants such as English ivy (Hedera helix), Virginia creeper (Parthenocissus species), or climbing hydrangea (Hydrangea anomala subsp. petiolaris) can be trained up the wall surface and cover the gabion with a living green mantle. Shrubs and perennials planted behind the gabion wall eventually root into the backfill area and further stabilize the structure through interlocking roots. In combination with a strip of growing medium along the top edge of the wall, green roofs or perennial plantings can also be created on the wall crest.

From an urban planning and climate-ecological perspective, green gabion walls contribute to green infrastructure in urban areas. The stone mass of the gabions stores heat during the day and releases it at night, which can help mitigate local temperature spikes. The vegetation cools the area through evaporation and provides shade for surfaces. The cavities in the fill provide nesting opportunities for wild bees, lizards, and other small animals seeking habitat structures that have become rare in the dense urban environment. Those who integrate gabions into open-space planning with an ecological concept create added value that goes far beyond their mere function as supports or boundaries.

However, not every gabion structure is automatically ecologically valuable. Gabions with smooth, dense infill made of large-format, polished natural stone offer hardly any cavities and little habitat. Gabions made of recycled concrete or broken bricks can, depending on the origin of the material, introduce pollutants into the soil. Careful material selection and thoughtful design of the joints and voids are essential for gabions to truly realize their ecological potential.

Common Mistakes and Misconceptions in Planning and Construction

Despite their apparent simplicity, gabions are often improperly planned or constructed in practice. A common misconception is the assumption that gabions are maintenance-free. In fact, they require regular inspections: connecting wires can rust and break, baskets can deform due to settlement, and fill stones can disintegrate if unsuitable material is used. An annual visual inspection and, if necessary, retying of broken connections are the minimum maintenance requirements.

Another common mistake is underestimating earth pressure. Anyone planning a gabion wall purely as a privacy screen without taking into account the earth pressure from the surrounding soil risks the wall tilting or bulging outward. The situation is particularly critical when water accumulates behind the wall: Although gabions are permeable to water, if the backfill soil is compacted or clogged with fine material, standing water can form, generating significant pressure forces. Proper drainage behind the gabion wall is therefore essential for retaining structures.

Mistakes are also made when selecting materials. Frost-sensitive stones, such as certain types of sandstone or slate, crumble after just a few freeze-thaw cycles, leaving behind an unstable, visually unattractive fill. Limestone is problematic in some applications because it is leached out by weathering and alters the pH of the adjacent soil, which can affect vegetation. Recycled materials such as crushed concrete are generally suitable but should be tested for the absence of harmful substances before being used in areas with sensitive vegetation or near bodies of water.

Gabions in the Context of Contemporary Open-Space Planning

Gabions are not a passing fad, but a proven, technically sophisticated construction element with a long history in civil engineering and landscaping. Their strength lies in the combination of function and form: They fulfill structural and hydraulic functions, offer ecological potential, and, thanks to their natural materiality, blend seamlessly into a wide variety of open-space contexts. Ideas for gabions that go beyond the mere retaining wall demonstrate how a structural element can become the design backbone of an open-space concept.

In contemporary landscape architecture, gabions are increasingly being used as part of integrated open-space concepts that combine structural support, seating, planting areas, and habitat all in one element. Combining them with water features, lighting, or vegetation opens up design possibilities that go far beyond the image of a simple stone wall. At the same time, the basic principle remains the same: mass, flexibility, and permeability as structural virtues that work in a wide variety of situations.

Anyone planning gabions should think of them as a complete system from the outset: the foundation, the basket, the fill, the geotextile, the backfill, drainage, and vegetation all belong together and must be coordinated. Only then do gabions realize their full potential as durable, ecologically valuable, and aesthetically compelling elements of the outdoor space. The wide variety of ideas for gabions that have proven themselves in practice demonstrates that this simple principle is extraordinarily adaptable when applied with expertise and a creative vision.

22.01.2025

Project

Co-creation instead of participation

Building design

Management

Participation versus co-creation: Would the Superkilen work better today if citizens had been integrated into the process from the outset?

Superkilen in Copenhagen has failed. The citizens as a whole use the square more as a place to pass through than to linger, even though they were integrated into the planning process through participation – according to a long-term analysis by students at the Danish Institute for Study Abroad. During the design and development process, the Superkilen planners asked citizens to suggest artifacts from their countries of origin for the new city square. Holistic planning with co-creation and prototypes would have been one way of increasing acceptance of the square.

Co-creation

Co-creation originally comes from the business world, which began to involve consumers in the product development process in the 1990s. The Leading Cities research group defines co-creation in urban development as “the active flow of ideas and information between five sectors: government, business, academia, non-profit organizations and citizens that promotes participation, engagement and development.”

What is the difference to citizen participation? Public participation is a means for planners to learn more about the attitudes and opinions of local residents and to develop new ideas. They increase acceptance for a project. Co-creation, on the other hand, involves the most important sectors of society on an equal footing from the outset.

It therefore offers citizens and citizens’ organizations a better opportunity to be truly heard and gain more influence in planning processes. Co-creation views users as proactive citizens rather than consumers, and focuses on long-term cultural change and the whole community rather than individual user groups. Where citizen participation seeks to integrate citizens’ opinions into an already prescribed program, co-creation helps future users to shape and enforce their own decisions. Co-creation is an endless process in the best sense of the word, with regular exchanges taking place between those involved.

Co-creation has a number of advantages. The public provides input and feels equal, citizens feel they are taken seriously. They become much more aware of their living environment. In return, the government has to be much more responsive and responsive to citizens and other sectors. In return, however, it saves costs because only what is actually needed and used is implemented and the risk of a new project is correspondingly low.

Prototypes

In large design projects such as Superkilen, it is extremely important to test ideas in advance before they become a permanent part of the landscape or city. It is a long way from the abstract idea, analysis and public participation to the concrete installation. The prototype should be seen as a learning tool that can be optimized and changed in the next step. Prototypes are a democratic way of dealing with public space, they also reduce the risk of a failed project and unnecessary expenditure.

The holistic approach

Combining co-creation with the prototyping approach makes it easier to explore the potential of a space. This holistic approach leads to more sustainable and vibrant places in the city. However, the Superkilen started with an assumption that co-creation and prototyping would have led to a different design. Users would accept the space better and make it more their own. Perhaps a more critical examination of the initial idea would also have been achieved.

You can read Bianca Hermannsen’s current analysis of the square here.
Robert Schäfer visited Superkilen in 2012, directly after the opening. You can read his review of the new city square in Copenhagen here.
Watch the video here to see how BIG travels with local residents to their countries of origin to select artifacts for Superkilen.

19.12.2024

Design

Heavyweight with a message

Building design

The Globo Uovo sculpture is an impressive work by stone sculptor Marc Reist and is currently on display at the Dürrenmatt Center in Neuchâtel, Switzerland. The artist made the 6.5-ton “global egg” out of white marble. In an interview with STEIN, the Swiss artist explains what message he wants to convey with his sculpture, why he only uses white marble and […]

The Globo Uovo sculpture is an impressive work bystone sculptorMarc Reist and is currently on display at the Dürrenmatt Center in Neuchâtel, Switzerland. The artist made the 6.5-ton “global egg” out of white marble. In an interview with STEIN, the Swiss artist explains the message hewants to conveywith hissculpture, why he only works with white stone and why he launched an appeal to collect eggshells before the opening.

Marc Reist: It’s a logical consequence of my artistic work and how I reflect on my surroundings by observing them. I notice how certain rules and mechanisms are similar on both a small and large scale. I never consciously came up with the topic, it just developed. I think it started in 2005.

The Globo Uovo symbolizes the world and the origin of life. Was there a specific reason for this idea?

Yes, that was in 2011. I was invited by a newspaper in Switzerland to write a few columns. I started to write about resources and food in these texts and about what bothers me: the way we deal with food, the way we deal with our environment. And during this phase, I designed the globe and then the egg. The eggs actually always resonate with me. Regularly for my wife – I only mention this in passing – for her birthday, for Mother’s Day, there are always drawings of chicken and egg. I either start with the chicken or the egg, but the egg always resonates.

Do the many openings in the sculpture also have a meaning?

The openings were created by the lines of longitude and latitude. And I found them very special as soon as I was able to work in the egg. There is a feeling of protection when you are in your human egg and you can see the outside world through these openings. At the same time, it could also be a prison. These feelings arose in me when I was working in the egg.

From a professional point of view – I trained as a stone sculptor and also took the master craftsman’s examination – I know almost all the materials. But even so, I used to only work with black stone for my shapes. And now, for years, I’ve only been working in white. For the small sculptures I make, I use a bright white marble. There is no other solution for me and for my forms. I have never used any materials with textures. They are beautiful, but not for my shapes.

But the marble for the egg has a certain texture. Was a block of 55 tons in pure white not available?

For the Globo Uovo, the stone is a little more marbled. Because this size in pure white – that would have been almost impossible and would have meant such a long wait. And the egg in this size in pure white would almost be a little too beautiful(laughs), almost baroque. That’s impossible. Visually too, it’s almost not rock anymore.

So the egg also looks much more “alive”.

Exactly, that’s what I mean. This methamorphosis of the rock, this mountain, that has to resonate.

How did the change from black to white rock come about?

That’s an interesting question. I have to go back to that. I wanted to make a really big sculpture in the 1990s. I chose a large block in Carrara without knowing what I was going to do with it. I wanted to be inspired by the material, by the block. I normally proceed differently. I have a drawing or a model and then work on the stone. But now I wanted to be influenced by the block. At the time, it was 20 tons in size. And that put an enormous strain on me(laughs). I suddenly realized that the further north the block was transported from Italy, the greater the strain in my head became. I was very blocked! And suddenly I found the solution. I then worked out a light cloth from this block. That was probably my solution, to release this heaviness in me in relation to the block. And since then I’ve only worked with white stone.

Are there purely visual reasons why you like to work with marble a lot, or is it also because of its properties?

Both, actually. My sculptures are also a matter of light. Not only with the large egg, but also with the other sculptures. The way the light passes through the opening and the edges is what makes it so good. And the properties for working are a pleasant side effect. It is easy to work with because it is so even, so homogeneous. But I mainly use marble because light and shadow are important for my sculptures.

You also want to send out a message with your art objects.

Yes, absolutely. I think that’s the greatest task of an artist. That his work is seen and heard, as the case may be. Communication is important. It makes no sense at all if I make an egg like this just to have another beautiful sculpture in a park somewhere. That wouldn’t be enough. It needs a message.

What message is that?

We have great difficulties with resources in general. This is most sensitive when it comes to food. And I really want to draw attention to the fact that people need to deal with the issue of food and resources. That a small train of thought changes.

Your sculpture is currently on display at the Dürrenmatt Center in Neuchâtel, Switzerland. Before the exhibition began, you launched an appeal to collect eggshells. What was the reason?

We had planned a performance with a dancer for the vernissage. I needed a lot of eggshells for that. Over the course of a year, people collected around 35,000 eggshells, washed them and brought them to me. Something you would normally throw away. For the exhibition opening, we laid them out on the floor of the museum and cleared paths, like a labyrinth. The dancer danced her way through it. But every now and then she made missteps on the eggshells, causing them to crack. And at the same time, with every misstep, a part of her body died. Because the shells represent our resources and if they are destroyed, the person dies too. And so she danced through the labyrinth and gradually died a dramatic death after three or four missteps.

Find out more about the project and the natural stone work in the February issue of STEIN. You can also find more information at www.stein-magazin.de/skulptur-des-monats-globo-uovo.