A Ferris wheel as an engineering icon, a landmark of postmodernism and an architectural statement in the middle of the London skyline: The London Eye is far more than just a tourist magnet. It is the perfect example of how the art of engineering and urban architecture merge to create a digital, sustainable and socially relevant monument – and what the German-speaking world could learn from it if it dared.

• The London Eye stands for the renaissance of engineering architecture in an urban context and shows how landmarks shape the identity of a city.
• The technical realization of the Eye was a milestone for civil engineers, from modular prefabrication to innovative cable tensioning systems.
• Digital planning and computer-aided simulations already played a key role at the end of the 1990s – a precursor to today’s BIM and digital twin approaches.
• Sustainability on the Ferris wheel? Between the carbon footprint, maintenance cycles and choice of materials, there is more to discuss than the PR department would like to admit.
• The debate about the sense and nonsense of iconic large-scale projects is more topical than ever – from Stuttgart 21 to the Elbphilharmonie concert hall.
• Germany, Austria and Switzerland often look to London with admiration, but rarely dare to create their own new type of architectural icons.
• The London Eye raises questions: How much courage to innovate does urban architecture need? And how much digitality is already in our cities today?
• In the international architectural discourse, the Eye has long been a reference object for technical excellence, social added value and urban transformation.

The London Eye: how civil engineering becomes an urban icon

The London Eye, officially launched as the Millennium Wheel, is a child of the late 1990s – an era in which British cities such as London, Manchester and Glasgow sought to reinvent themselves with grand architectural gestures. While people in Germany were still discussing the height of church steeples, a 135-metre-high Ferris wheel was already being planned on the Thames to revolutionize the skyline. The vision: a structure that would catapult London into the new millennium, not only visually but also mentally. However, the Eye is no ordinary Ferris wheel, but an engineering dream come true. The construction is based on a huge, horizontally mounted wheel that rests on two inclined forks – a static feat that aroused doubt, admiration and curiosity from the outset.

The British approach was usually pragmatic: what is technically feasible is done. Unlike in Central Europe, where technical innovations first have to go through ten committees and three rounds of scrutiny, London relied on a combination of courage, risk and engineering precision. The result: an urban landmark that is still regarded today as a model for the fusion of engineering and urban design. While German cities are usually content with multifunctional halls and shopping centers, London has created a symbol with the Eye that is as much a tool as it is a vision.

The construction itself reads like an engineering thriller. The individual components were delivered by water, the wheel was initially pre-assembled in a horizontal position and slowly erected with the help of floating cranes and cable winches. The precision with which the spokes had to be tensioned, the capsules assembled and the overall weight balanced was a feat of strength – and a lesson for all those who believe that civil engineering is merely a question of standards and tables. It showed that urban icons are created where technical excellence, architectural vision and the will of urban society come together.

But the Eye is more than just a landmark. It is a catalyst for the transformation of the South Bank, a driving force for gastronomy, tourism and urban development. What was previously a gray post-war wasteland is now one of London’s most vibrant areas – not least because the wheel functions as an architectural magnet. Anyone who claims that civil engineering does not shape the cityscape should take a look at the queue at the London Eye. Here, architectural courage becomes a daily attraction.

The Eye sets a standard that German, Austrian and Swiss cities have rarely achieved to date. While people in Berlin, Vienna and Zurich are still arguing about the purpose of high-rise buildings, London is demonstrating how engineering-driven landmarks can create identity. The question remains: When will we dare to build our own icons instead of just looking enviously across the English Channel?

Digital pioneers: How the London Eye paved the way for BIM and simulation

Anyone who thinks that the London Eye is just an analog monument from the turn of the millennium is ignoring the digital avant-garde that played a role in its creation. Computer-aided simulations were used as early as the design and planning stages to calculate the loads on the wheel, wind loads and material fatigue. The engineers worked with state-of-the-art 3D models, which are considered the forerunners of today’s Building Information Modeling systems. This made the Eye a kind of proto-digital twin, years before the term was even used in the industry.

The use of digital tools was not an end in itself, but a matter of survival. For a structure of this size, which had never before been realized in this form, all eventualities – from thermal expansion to the cyclical loading of the cable pulls – had to be considered and simulated in advance. Digital planning made it possible to optimize the use of materials, sequence the assembly and minimize risks. While many German projects at the time were still content with CAD planning and spreadsheets, construction in London was already at the interface of algorithms and craftsmanship.

Today, the London Eye would probably be a first-class BIM project: All trades networked, all components stored as digital objects, real-time monitoring and maintenance via sensor technology. But even without modern cloud platforms and IoT interfaces, the Eye was a forerunner of digital transformation in the construction industry. The integration of simulation, production and assembly planning laid the foundation for many of the methods that are considered state of the art today.

In retrospect, it is clear: The Eye was a field of experimentation where digital and analog skills merged. The experience gained from planning, construction and operation later flowed into other major projects – not just in the UK, but internationally. The global architecture and engineering discourse was shaped by the fact that digital tools were no longer seen as a gimmick, but as an indispensable prerequisite for complex buildings. A rethink that still has some catching up to do in German-speaking countries. While BIM pilot projects in Germany often fail due to interface problems and questions of responsibility, the Eye has shown how interdisciplinary digital collaboration can work.

The Eye is therefore not only a symbol, but also a laboratory – and a lesson for all those who believe that digital transformation is a foregone conclusion. It is a question of attitude, courage and competence. And it determines whether buildings are created that last – or whether they merely fill brochures.

Sustainability and resources: between carbon footprint and urban added value

A Ferris wheel as a symbol of sustainability? At first glance, it sounds like greenwashing at a height of 135 meters. But if you take a closer look, you will discover that the London Eye raises questions that could hardly be more topical, not only architecturally but also ecologically. The choice of materials – steel from European production, high-strength cables, modular capsules with maximum service life – was designed for durability and ease of maintenance. No solid concrete was used during assembly and the foundations are comparatively delicate. A statement in terms of resource efficiency that many infrastructure projects today could write behind their ears.

But sustainability does not end with the material. The Eye is designed for continuous operation, with minimal energy consumption per passenger kilometer – a balance that some subways can only dream of. Maintenance is largely carried out during operation and downtimes are rare. Thanks to the modular design, individual capsules can be replaced and modernized without taking the entire system out of service. This demonstrates a circular economy on a small scale, while elsewhere there are still discussions about dismantling obligations and life cycle costs.

The question of how sustainable a major tourism project actually is remains critical. The transportation of millions of visitors has a significant environmental impact, and marketing the Eye as an event location consumes additional resources. However, the Eye also generates added value for urban society: it attracts visitors to a previously neglected suburban location, boosts gastronomy and retail and creates jobs. The discussion about sustainability must therefore be broader – between carbon footprint, social added value and urban transformation.

An international comparison shows that while German, Austrian and Swiss cities often see sustainability as an exercise in sacrifice, London shows how ecological and economic interests can go hand in hand. The Eye is not a perfect role model, but it is food for thought. It calls for sustainability to be seen not as a dogma, but as a driver of innovation. This is precisely what is missing in many Central European construction projects, which get lost in detailed regulations and conflicting objectives.

In the end, the Eye remains a mirror for the ambivalence of urban sustainability: it is part of the problem and part of the solution. A building that asks questions instead of just providing answers. And that is perhaps the most important quality in times of growing climate crisis.

What can DACH cities learn? Debates, visions and technical expertise

German-speaking countries often look admiringly at projects such as the London Eye, but shy away from taking the plunge themselves. The debate about urban icons in this country is characterized by risk aversion, approval marathons and the fear of the next public protest. But without architectural courage, cities remain faceless – and innovations fizzle out in studies and renderings instead of being built. The Eye shows: Who dares, wins. But it takes more than engineers and architects – visionaries, networkers and moderators are needed to bring together technical, political and social interests.

Technically, the toolbox is full to bursting: Digital planning, parametric modeling, AI-supported simulations and sustainable material innovations have long been available. What is missing is the will to use these tools consistently in large-scale projects. While London was already thinking digitally 25 years ago, Excel spreadsheets, silo thinking and interface chaos still dominate in Germany. The Eye is a reminder that technology alone is not enough – it must serve a shared vision.

The role of digitalization is becoming increasingly important. Smart building, predictive maintenance, automated control systems – all of these would be standard at the Eye today. In DACH cities, however, there is still skepticism about data, algorithms and AI in many places. Fear of loss of control, liability issues and data protection are putting the brakes on innovation. Instead of shaping the future, people prefer to play it safe. As a result, the gap to international pioneers is growing – and with it the frustration over missed opportunities.

The social debate about iconic buildings is therefore more necessary than ever. It must openly negotiate questions of meaning, sustainability, access and digitalization – instead of getting lost in symbolic politics. The London Eye shows that urban landmarks can create identity, initiate discussions and fuel innovation. They are not an end in themselves, but catalysts for change. However, this change requires technical expertise, political determination and social acceptance. Those who rely solely on regulations and best practices will never get beyond mediocrity.

In the global discourse, the London Eye has long been a reference object. It stands for the courage to merge technology and architecture, for the willingness to think of the city as a stage for innovation – and for the realization that real icons can only be created if you dare to make mistakes. DACH cities are at a crossroads: do they want to remain spectators – or finally become actors themselves?

Conclusion: Courage to become an icon – and to undergo digital transformation

The London Eye is no ordinary Ferris wheel. It is a statement for the art of engineering, digital planning and urban vision. It embodies what is possible when courage, technology and the will to shape society come together. In German-speaking countries, it is not competence that is lacking, but attitude. Anyone who wants to learn from London should finally stop moaning about risks – and start building opportunities. After all, the city of the future will not be created by doing without, but by combining innovation, sustainability and digital excellence. The question is not whether we need such icons. The question is whether we are ready to build them.

We present the ten tallest buildings in Germany, tell you which new buildings have been added in the past year and explain their special features.

We present the ten tallest buildings in Germany, tell you which new buildings have been added in the past year and explain their special features.

Things are happening in the highest spheres: In the last few months, Germany’s top ten tallest buildings have seen two new additions. The Omniturm by Danish architecture firm BIG and the Grand Tower by Magnus Kaminiarz & Cie have entered high society. And something else is new: whereas German skyscrapers were previously used exclusively as offices, apartments are now also moving into Germany’s tallest towers. The almost 190-metre-high Omniturm is designed as a mixed-use tower and aims to combine different types of use.

In addition to offices and apartments, the building also houses restaurants and service providers. The Grand Tower, on the other hand, is by far Germany’s tallest residential high-rise. It is a remarkable development that real estate developers in this country now also see the possibility of financing a 180-metre-high skyscraper with luxury apartments. However, the location of the two new buildings is hardly surprising. Like the other eight tallest buildings in Germany, they are located in Frankfurt am Main.

The Opera Tower and Taunus Tower, which currently share tenth place, are expected to have to say goodbye to the top ten next year. Then the “One” with its 190 meters will be completed and move up to sixth place in the ranking. And with the tallest of the four high-rises in the “Four Frankfurt” project, designed by UNStudio, Germany’s future number three with a height of 228 meters is already in the making. Everything that is being built outside the Main metropolis is significantly lower.

The tallest building outside Frankfurt is the Post Tower in Bonn, currently number 13 in the country at 162.5 meters. The Alexanderhochhaus, an apartment tower designed by Ortner & Ortner, which was started in 2019, will be the tallest building in Berlin at 150 meters when it is completed in 2023, but will probably not even be in the national top 20 by then.

A reminder of better times for the crisis-ridden finance house: when Normen Foster completed the high-rise building with its triangular floor plan and floor-spanning conservatories in 1997, it was considered a pioneering example of green technology and progressive workplace design. In contrast, the building’s lack of progress meant that it was almost completely isolated from its surroundings in Frankfurt’s city center, making it appear as a foreign body in the urban space to this day. Like the whole of Frankfurt, the Tower has become a beneficiary of Brexit: Since the British left the EU, the building is once again the tallest within the territory of the community of states.

Probably the most visible legacy of postmodernism in Frankfurt: Helmut Jahn’s skyscraper brought a piece of the USA to the Main in 1990. The silhouette of the Messeturm is reminiscent of the classic New York skyscrapers of the 1920s and 1930s. On closer inspection, one recognizes Jahn’s play with basic geometric shapes: A cylinder grows out of a cube and is crowned by a pyramid. The red granite with which the building is clad picks up on the color of the red sandstone from which large parts of Frankfurt’s old town were built.

The American architecture firm Kohn Pedersen Fox, which has been building skyscrapers like an assembly line since the 1980s, is responsible for the design of the Westendstrasse 1 high-rise in Frankfurt. The most striking feature of the semi-cylindrical building, which was completed in 1993, is its projection at the top. Ostensibly a reference to Frankfurt’s former position as the coronation site of the German emperors, the tower is more reminiscent of the aureole of the Statue of Liberty, making it look a little like the ambassador of New York’s business spirit in the city skyline.

The MAIN TOWER is very popular with Frankfurters and tourists alike. It houses a publicly accessible viewing platform, as well as a viewing restaurant and a sky bar. Since its completion in 1999, the skyscraper designed by architects Schweger + Partner has been a central eye-catcher on Frankfurt’s Zeil shopping street, in the direct extension of which it is located.

The MAIN TOWER shares fourth place with Tower 185, which was completed in 2011. In his design, architect Christoph Mäckler took up a central design element of his Opera Tower, which is two years older: He divided the volume of the high-rise vertically with a striking setback, thereby taking away much of its massiveness. However, he arranged the two “wings” of his building at a slight angle to each other. Unlike the Opera Tower, Tower 185 does not have a natural stone façade. Instead, the building is clad with a bronze-coloured aluminum façade, which is broken up by black details.

The concept of the Omni Tower is that of the high-rise building as a vertical city, as described by Rem Koolhaas in his classic “Delirious New York”. The Omni Tower not only houses offices, but also floors with apartments inserted in between. Where the apartments are located, the architects from the Danish firm BIG shift the floors towards each other so that they protrude from the cube of the tower. Balconies belonging to the apartments are located on these “protrusions”. The base of the tower houses restaurants, a fitness studio and a co-working space, among other things, which provide services for the residents of the building. BIG sees this as an opportunity to compensate for small living spaces. At the same time, the aim is to liven up Frankfurt’s banking district in the evenings and at weekends. It remains to be seen whether this will work; the first tenants have recently moved in.

Despite its height, the Trianon is one of the gray mice among Frankfurt’s office towers. Today, Deka-Bank has its headquarters in the building, which was completed in 1993 and designed by a consortium of architects comprising Novotny Mähner Assoziierte, HPP and Albert Speer & Partner. The building, which consists of a triangular core with three equally triangular towers at the top and is crowned by an inverted triangular pyramid, has since been sold several times from one real estate fund to the next.

Quite a few people were disappointed when the building by Coop Himmelb(l)au, whose design had won the top-class international competition, was given its glass façade. While the two towers leaning against each other and the atrium in between were still recognizable as three independent components, they now looked like one huge, twisted volume despite the different glass colors. Thanks to its stand-alone position to the east of Frankfurt’s old town, the tower, which was completed in 2014 after some difficulties, at least has enough space around it to make an impact. It remains to be seen whether the historic fabric of Martin Elsaesser’s Grossmarkhalle really needed to be so heavily interfered with in order to use it as the foyer of the high-rise.

Germany’s tallest residential high-rise, which is about to be occupied and will house over 400 luxury apartments, is just a stone’s throw away from Frankfurt’s Bahnhofsviertel. This may have seen worse times, but it is still unmistakably a center of European standing in terms of drug consumption and trafficking. So perhaps the concierge in the foyer of the Grand Tower is not a bad decision. If residents are not drawn to the station district, they can alternatively run their errands in the Skyline Plaza, the ECE mall with the usual mix of retail chains, which is located right next to the building. It remains to be seen whether this will be enough to persuade the targeted buyers from Asia, Russia or the USA to buy property for over 30,000 euros per square meter in some cases.

Undoubtedly one of the most beautiful high-rise buildings in Frankfurt in recent decades: Christoph Mäckler’s design not only impresses with its elegant division into two sections, its base structure also ensures that Frankfurt’s Opernplatz has a clear urban structure again. This makes up for the loss of the Zurich Tower, one of the city’s first high-rise buildings, which previously stood on this site. In return for the demolition and the right to build higher, the investor undertook to extend the adjacent Rothschild Park on his land. The light-colored natural stone used to clad the tower and base building creates a link to Opernplatz and the Alte Oper.

The Taunus Towers are actually Taunus Towers. This is because the project, which was completed in 2014, consists of a 170-metre office tower and a 68-metre residential tower block. More precisely, the Taunusturm office tower is not a monofunctional building, as it is also an art museum. The Frankfurt Museum of Modern Art MMK occupies a 1,500 square meter exhibition hall on the first floor of the building as a branch of its main building in Frankfurt’s old town. The architectural firm Gruber + Kleine-Kraneburg provided the design for both the residential and office tower. They divided the office tower into two interconnected cuboids, one of which ends with an eye-catching pitched roof.

Do you know the tallest building in the world? Our colleagues from G+L present it to you here: Tallest buildings in the world.