Nature and art

Building design
Together with Wunderkunst, Galerie Wolfgang Jahn presents art by young artists. Photo: Harry Zdera

Together with Wunderkunst, Galerie Wolfgang Jahn presents art by young artists.
Photo: Harry Zdera

Wunderkunst, in collaboration with Galerie Wolfgang Jahn in Munich, is presenting works by six up-and-coming artists under the title “Wild Worlds. Nature and Movement in Art” works by six up-and-coming artists. Constanza Camila Kramer Garfias, Lena Keller, Eduardo Palomares, Aline Schwoerer, Kim Sujin and Ruscha Voormann take the audience on a journey to discover the fascinating beauty, diversity and dynamics of nature.

Wunderkunst, in collaboration with Galerie Wolfgang Jahn in Munich, is presenting works by six up-and-coming artists under the title “Wild Worlds. Nature and Movement in Art” works by six up-and-coming artists. Constanza Camila Kramer Garfias, Lena Keller, Eduardo Palomares, Aline Schwoerer, Kim Sujin and Ruscha Voormann take the audience on a journey to discover the fascinating beauty, diversity and dynamics of nature.

The artworks depict metaphors, allegories, symbols and associations, thus reflecting the ambivalence of the topic. The young artists use a wide variety of media: painting, sculpture, video and sound. In this way, they create playful, serious and multifaceted images of nature that are intended to show viewers the beauty of nature and their connection to it. The audience is invited on a journey to Terra Incognita – undiscovered country – to discover places where anything is possible. Viewers can explore imaginative, mysterious, attractive and perhaps also, for some, terrifying landscapes. All six artists have developed their own artistic approaches to invite viewers to develop their own thoughts and feelings about these wild worlds. The dynamics and beauty of nature are also intended to serve as inspiration for the audience, creating new perspectives on nature.

Chilean artist Constanza Camilla Kramer Garfias creates textile works of art that are fed by her roots, among other things. She describes herself as a weaver, even though many of the jacquards she produces are made using industrial machines. However, she emphasizes that this is not possible without a good knowledge of weaving techniques. At Galerie Wolfgang Jahn, the artist, who lives and works in Munich, is presenting her new series of works entitled “Drift”, derived from drifting by car. The series of works was created in collaboration with the Swabian Driftfoxes drift racing team from Ravensburg. The artist has succeeded in capturing the essence of drift racing and the adrenaline rush associated with it. Her works of art imitate the swirling smoke and tire tracks of drifting cars. Some viewers may also be reminded of landscapes that drift past them. With her “Drift” series, Kramer Grafias succeeds in combining a traditional technique – Jacquard production has its roots in 15th century Italy – with the modern themes of car racing and automobiles. This is quite surprising for the viewer, as this art technique is associated with more traditional themes. The artist designs and creates the textiles and works together with Tessitura Taborelli. For her textile artworks, she deconstructed the surface of the fabric after receiving it. In doing so, she creates wavy edges and free-hanging fringes and adds metallic accents. In this way, she succeeds in capturing fleeting moments.
Aline Schwörer from Berlin invites viewers into a completely different world. Like an alchemist, she collects organic materials and puts them in epoxy resin. She also imitates organic objects, such as mushrooms, which then appear to grow out of the wall. In her works, she questions the interplay between people, the environment and time. In doing so, she develops hypothetical future scenarios and the fragility of nature and its environment becomes clear to the viewer.

Lena Keller, a master student of Karin Kneffel at the Academy of Fine Arts in Munich from 2021 to 2022, uses drawing and printmaking in her works alongside painting. The artist, who lives and works near Munich, primarily works intensively with the medium of painting and develops positions based on the classic genre of landscape painting in which she explores our relationship to nature today. Central elements are longing and alienation, which she depicts by means of representational depictions and digital influences, which she mixes together. Sujin Kim, on the other hand, develops organically vibrating meshes of painting on her canvases. She brings them to the canvas in vibrating colors.
Ruscha Voormann studies in Munich at the Academy of Fine Arts under Professor Gregor Hildebrandt. Her works are usually large-format and abstract. In her work “Swipe UP V”, she combines acrylic and acrylic glass on canvas to create sweeping and gliding structures. The colors are applied to the canvas using a sheet of acrylic glass. Movement is an important motif in her art.
In the basement of the Wolfgang Jahn Gallery, visitors are greeted by a completely different world. Even on the stairs, you can smell a balsamic fragrance reminiscent of the sea, salt and pine trees. Bathed in bluish light, the room, designed by Eduardo Palomares, invites you on a journey of discovery in the footsteps of the fictitious plant “Vernantibus Oceanum”. The artist, who lives and works in Munich, presents his works there, which he creates from ceramics and porcelain coated with crystallized salt. Videos showing underwater worlds are projected onto a screen.

The exhibition “Wild Worlds. Nature and Movement in Art”, which can be admired from June 25 to August 3 at the Wolfgang Jahn Gallery in Munich in collaboration with Wunderkunst, demonstrates the connection between art and nature. It shows how movement and wildness can be expressed in creative processes.

POTREBBE INTERESSARTI ANCHE

Module, grid and system: What is systemic design?

Building design
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Green plants on a white concrete fence - Photo by Danist Soh

Module, grid and system – sounds like dry theory, a construction kit and boredom? Then you have not yet experienced systemic design. Anyone who still believes that architecture is solely the art of individual handwriting has missed the signs of the times: Systemic design is the seismograph for the tectonic shifts in the construction industry – between standardization, digitalization and the ever louder call for sustainability. Welcome to the engine room of the future, where grids and modules are not shackles, but tools for radical rethinking.

  • Systemic design combines modules, grids and systems to create a new, dynamic design practice.
  • In German-speaking countries, there is a tension between industrial prefabrication and design standards.
  • Digitalization and AI are revolutionizing the development, planning and operation of modular systems.
  • Sustainability, resource efficiency and circularity are key challenges – and opportunities.
  • Architects today need a deep understanding of building physics, production technologies and data structures.
  • Systemic design is shaking up the professional image and self-image of planners.
  • The debate ranges from accusations of monotony to visions of open, adaptable architecture.
  • Systemic design is setting new standards internationally – from Japan to Scandinavia.
  • Criticism is sparked by commercialization, technocratic uniformity and social issues.

Systemic design: More than the sum of its parts

Systemic design – it sounds like a construction kit, endlessly repeated grid facades and the bad reputation of post-war modernism. But it is no longer that simple. Anyone who takes a serious look at the subject quickly realizes that there is a promise behind every module. Standardization is not only efficiency, but also the possibility of mastering complexity, conserving resources and accelerating construction processes. In German-speaking countries, this discipline is viewed with a mixture of skepticism, innovative drive and pragmatism. Germany, Austria and Switzerland are known for their engineering skills and precision – and yet systemic design has a reputation for creative self-limitation.

The reality is more nuanced. Systemic design today means understanding architecture as an open system. Grids are not straitjackets, but networks that allow flexibility. Modules are not monotonous building blocks, but variable elements that can be adapted to changing requirements. Systems are not rigid, but adaptive – at the latest when they merge with digital technologies. In Vienna, for example, modular residential buildings are not only seen as an answer to the housing shortage, but also as a field of experimentation for sustainable neighborhood development.

The greatest innovation lies in the interplay between planning, production and operation. While the design used to end at the drawing board, today the actual work begins with the decision for a system: how can modules be digitally configured, how can they react to changing user needs, how can the system remain open for future adaptations? In Zurich, for example, office buildings are being built with grids that not only ensure floor plan flexibility, but also allow for future changes of use – from school to residential building, from laboratory to co-working space.

But systemic design is not an end in itself. It is a reflection of social and ecological constraints. The climate crisis demands radical changes in the construction industry, while material shortages and a lack of skilled workers are intensifying the pressure. Those who still enjoy building individual pieces today are ignoring the seriousness of the situation. Systemic design is becoming a necessity, not an option. It is an attempt to find a third way out of the dilemma of uniqueness and repetition – and thus to redefine the architectural profession.

Of course there is criticism. The fear of monotony is as old as prefabricated buildings. But the new systems are different: open, adaptable, digitally supported. They offer scope for individuality and diversity without sacrificing the advantages of standardization. Those who embrace this will discover the freedom of the 21st century in the grid.

Digitalization and AI: the turbo for modular systems

Digitalization is the long-awaited catalyst that will finally help systemic design to achieve a breakthrough. What used to be designed with paper, compass and ruler is now created in digital space – parametrically, data-driven and often in real time. Building Information Modeling (BIM) has long been standard, but the next stage has been reached: artificial intelligence takes over optimization, algorithms generate variants, platforms connect planning, production and operation in seamless workflows.

In Germany, pioneers such as ETH Zurich and TU Munich are experimenting with AI-based design systems that take into account not only geometric, but also functional, ecological and economic parameters. The software suggests, the architect curates. The result: systems that are no longer rigidly predetermined, but adapt dynamically – to users, climate, budget and program.

Production shifts from shell construction to prefabrication. Digital twins accompany the modules from design to assembly. Sensors provide real-time data on energy consumption, indoor climate and user behavior – and enable continuous improvements. In Switzerland, modular timber construction systems are being digitally networked, while in Austria entire neighborhoods are being created as “open building” platforms, controlled by cloud-based systems.

But the change is not just technical. It is also cultural. Digitalization is forcing planners to rethink their role. Control over the system is moving from the construction site to the data model, from the foreman on the ladder to the algorithm in the data center. This creates uncertainty, but also opportunities: those who speak the language of systems are becoming the architects of the future – with an influence on processes, products and entire cities.

Critics warn of the danger of technocracy, algorithmic uniformity and the dominance of large software providers. But the real risk lies in oversleeping the change. Internationally, the race has long been on: In Japan, Scandinavia and the Netherlands, systemic digital construction methods are standard. Those who don’t follow suit will become spectators in their own homes.

Sustainability and circularity: systemic design as a lifeline?

The ecological challenge is the strongest argument in favor of systemic design. The construction industry is responsible for around 40 percent of CO₂ emissions worldwide, and material and land consumption have been exceeding all limits for years. The call for sustainable solutions can be heard everywhere – but rarely answered as consistently as in systemic design. This is because this is where resource flows can be controlled, material cycles closed and life cycles extended.

In Germany, there is growing interest in modular timber construction systems that are not only renewable, but can also be dismantled and reused. Companies such as Cree and Kaufmann Bausysteme are focusing on open systems that take dismantling, maintenance and upcycling into account. In Austria, neighborhoods are being built that are planned as “material banks” for future generations – every module is documented and every component is traceable. Switzerland, on the other hand, is investing heavily in research into circular systems that will transform not just buildings but entire infrastructures.

But the road is rocky. Regulations are lagging behind and tenders still favor conventional construction methods. The technical complexity is high and knowledge of sustainable system solutions is limited. Professionals today have to be able to do more than just floor plans and façades: building physics, materials science, production logistics and data management have long been part of the compulsory program. Systemic designers need to understand the life cycles of their modules, calculate the carbon footprint, simulate dismantling processes and organize recycling routes.

The opportunities are huge: less waste, lower energy consumption, faster construction times and greater adaptability to changing needs. Systemic design is an attempt to solve the paradox: How do you create architecture that remains – and yet can be changed at any time? Those who can answer this question not only design sustainable buildings, but also resilient cities.

Of course, the criticism remains. Circularity is not a sure-fire success, and many modular systems have so far been more marketing than reality. But the trend is clear: the future belongs to flexible, deconstructable, digitally documented system construction. The question is no longer whether, but how quickly the change will succeed – and who will lead it.

Systemic design and the future of the profession

What does all this mean for architects? The answer is uncomfortable: systemic design radically questions the profession. The days of the ingenious lone wolf are over. What is needed today are team players who work together with engineers, data scientists, manufacturers and operators on an equal footing. Control over the design is shared with algorithms, platforms and processes. This requires new skills – and the acknowledgement that architecture is no longer created by architects alone.

This development is the subject of controversial debate in German-speaking countries. The fear of a loss of significance is palpable, the reflex to defend creative autonomy is strong. But the reality has long since moved on: those who design within the system gain influence – not lose it. This is because the system contains the power to design on a new level: it is no longer just the individual building, but entire structures, districts and cities that can be planned. The grid becomes a playing field, the module a tool for social change.

Training is lagging behind. Individual design theory still dominates, systemic skills are rarely part of the curriculum. But pioneers are setting new standards: Universities in Zurich, Vienna and Munich are developing programs for “system architecture”, start-ups offer platforms for collaborative design. Those who get involved are discovering new roles: from system designers to process architects, from data managers to urban choreographers.

The debate is emotional. Some see systemic design as the gravedigger of building culture, while others see it as a tool for more democratic, inclusive and sustainable architecture. As is so often the case, the truth lies somewhere in between. The challenge is not to allow the system to become an end in itself, but to see it as a tool for diversity, participation and quality.

Internationally, the trend is unstoppable. The most exciting projects are being created where systems are conceived as open platforms: modular residential landscapes in Japan, adaptive schools in Scandinavia and circular urban districts in the Netherlands. Anyone in Germany, Austria or Switzerland who continues to rely on individual designs will lose out in the long term. The future is systemic – whether we like it or not.

Criticism, visions and the global discourse

Of course there are headwinds. Systemic design is provocative – and that’s a good thing. The accusations are well known: Monotony, commercialization, social coldness, technocratic bias. The danger of modular systems becoming a gateway for investor interests is real. Those who only optimize for efficiency and returns produce interchangeable architecture – and lose the city as a living space. The answer to this can only lie in a conscious approach to systems: openness, transparency and participation are the keys to turning the modular system into a tool for diversity and quality.

The debate extends far beyond the German-speaking world. In China, mega districts are being built using 3D printers, while tech companies in the USA are experimenting with automated design platforms. The global discourse is characterized by the search for the right balance: how much system can architecture tolerate without degenerating into a mere shell? How much individuality is possible without wasting resources? And how can social, ecological and economic goals be reconciled?

Visionaries see systemic design as an opportunity for a new architecture – open, adaptable, democratic. Systems are no longer dictated from above, but developed together: by users, planners, technicians and operators. Digital platforms enable collaborative design, while AI systems help to master complexity. The traditional separation between design, production and operation is dissolving – the building is becoming a platform, the neighborhood a learning system.

But the risks should not be underestimated. Closing systems means losing diversity. If you don’t explain algorithms, you produce black boxes. If you ignore participation, you create architecture for the few – not for everyone. The challenge is to keep systems open, transparent and adaptable. This is not just a technical task, but above all a social one.

The global discourse is on the move. The most exciting ideas arise where systems and people are brought together: in participatory processes, in open platforms, in adaptable structures. This is the real lesson of systemic design: it is not about the system itself, but about the question of how we use it – and for whom.

Conclusion: Systemic design – the big update for building culture

Modules, grids and systems are not the enemies of architecture, but its future. Systemic design is the tool to respond to the major challenges of our time: climate crisis, scarcity of resources, social change. Those who embrace it will discover new freedoms – in the grid, in the module, in the open system. The trick is to see the system not as a restriction, but as a possibility. The future of architecture is systemic, digital and sustainable – and it starts now.

Craftsmen without a website?

Building design

Graphic: Yellow Pages

The Internet is a popular source of information about the skilled trades, according to a survey conducted by the Innofact market research institute on behalf of Yellow Pages. However, tradespeople are inadequately prepared for this development.

A survey conducted by the Innofact market research institute on behalf of Yellow Pages shows that the skilled trades play an important role in Germany. According to the survey, three quarters are very or extremely interested in trade-related topics and projects. This also results in concrete orders: 52 percent of Germans have commissioned a tradesman at least once in the last two years. The survey shows that the internet is a popular source of information: 65% look there for help with DIY projects around the house or apartment. In the 18 to 39 age group, almost 80 percent even research online.

However, another study found that tradespeople are not sufficiently prepared for this development. The market research institute forsa found – also on behalf of Yellow Pages – that only 48 percent of tradespeople have their own website. One reason for the low online presence is the lack of human and financial resources in the companies. Almost two thirds of German trades businesses employ fewer than ten people. The funds for advertising are also low. For 62 percent of tradespeople, the marketing budget is less than 1,000 euros per year. The skilled crafts sector has not yet arrived in the mobile world either. Although websites are increasingly being accessed via mobile devices as smartphones and tablets become more widespread, only 15 percent of trades businesses offer a version of their website that is optimized for mobile devices.