Portrait of Vanessa Kaspar

Building design
Graduate conservator Vanessa Kaspar MA, head of the conservation department of the ethnographic collections in Leipzig, Dresden and Herrnhut, Staatliche Kunstsammlungen Dresden. Photo: private

Graduate conservator Vanessa Kaspar MA, head of the conservation department of the ethnographic collections in Leipzig, Dresden and Herrnhut, Staatliche Kunstsammlungen Dresden. Photo: private

What moves Andrea Kaspar? RESTAURO spoke about this with graduate conservator Vanessa Kaspar MA, head of the conservation department of the ethnographic collections in Leipzig, Dresden and Herrnhut, Staatliche Kunstsammlungen Dresden. A portrait

What motivates Vanessa Kaspar? RESTAURO spoke about this with graduate conservator Vanessa Kaspar MA, head of the conservation department of the ethnographic collections in Leipzig, Dresden and Herrnhut, Staatliche Kunstsammlungen Dresden. A portrait

Explaining her own work, informing people about new findings, learning something new herself: for Vanessa Kaspar, her work as head conservator of the ethnographic collections at the Staatliche Kunstsammlungen Dresden is above all varied and very public. “My desire to explain my own work also comes from the fact that I realize that even my colleagues in the museums often don’t know how scientifically we conservators work, what wealth of experience we bring with us and what this can mean for collaboration,” says Vanessa Kaspar.

In the so-called care room, museum employees “take care” of the objects in front of the public

Since December 2021, she has been head of the restoration department of the ethnographic collections in Leipzig, Dresden and Herrnhut. She is the successor to Angelica Hoffmeister-zur Nedden, who laid the foundations for a visible conservation department. Vanessa Kaspar inherited the idea for the Leipzig “Spurenlese” exhibitions from her and intends to continue them. In these four exhibitions and publications to date, the Leipzig restorers have presented what they learn about an object when they examine and restore it. At the moment, however, no restoration exhibition is planned, as the permanent exhibition in Leipzig is being redesigned and much of it is being restructured. Vanessa Kaspar is very pleased that a so-called “care room” has already been set up as part of the refurbishment of the GRASSI Museum of Ethnology, in which the museum staff “look after” the objects in front of an audience.

For Vanessa Kaspar, an intensive exchange with the societies of origin is something positive and a task to constantly review her own work

When she joined the ethnological museum in 2016 after eight years as a freelance wood conservator, the collections were not yet the subject of as much criticism and focus as they are today. For Vanessa Kaspar, however, an intensive exchange with the societies of origin is a positive thing and a task to constantly review her own work. She does not see the new consideration as a restriction. “We work cautiously, but we can rely on our expertise and naturally work on the objects.” Even if coordination takes a lot of time, she sees the positive side, because “I learn a lot of new things through the inquiries, for example about the ritual use of an object. Knowing more enriches my work.”

More public relations work for restoration

The work of managing five conservators, changing interns and students involves a lot of organization. However, the tasks are varied and the opportunities to have an impact on the outside world with exhibitions and publications are great. The Saxon ethnological collections are also being restructured. It is already clear to Vanessa Kaspar that there will be even more public relations work for the restoration. Vanessa Kaspar’s hopes and aspirations at the beginning of a career choice have been fulfilled, as she says without hesitation. It all started with the desire to do something with wood. She studied wood restoration in Hildesheim, came into contact with ethnographic objects during this time, did not lose sight of these objects during her eight years of freelance work and is now happy that she has to deal with these objects on a daily basis. She does not yet know whether she will have time to restore them herself. But she definitely wants to make it possible for her employees. “That’s the ambition and the goal, because this work will then also give rise to new trace reading exhibitions.”

Vita Vanessa Kaspar

2002 – 2008 Diploma and Master’s degree course at the University of Applied Sciences and Arts, Hildesheim/Holzminden/Göttingen University of Applied Sciences, specializing in conservation and restoration of furniture and wooden objects

2009 – 2016 Freelance restorer in a shared studio in Leipzig

2016 – 2021 Conservator for wooden objects and organic materials at the GRASSI Museum of Ethnology in Leipzig

Since December 2021 Head of the conservation department of the three locations of the State Ethnographic Collections of Saxony/ Dresden State Art Collections

POTREBBE INTERESSARTI ANCHE

Generative Urban Performance

Building design
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Modern skyline of a city with tall buildings, photographed by Thijs Scheper

Generative Urban Performance – the term sounds like startup bingo, a cocktail of buzzwords and a future in which cities are no longer built, but programmed. But there is much more to the buzzword than the next marketing trend from Silicon Valley. Generative Urban Performance stands for the ability of cities to develop dynamically with the help of AI, big data and digitally networked systems – far beyond traditional planning. Here, cities are no longer just thought about, but calculated, simulated, measured and adapted. Welcome to the age of the algorithmic city, in which performance is more important than perfection and in which architecture is no longer just built, but continuously updated.

  • The article highlights Generative Urban Performance as a new paradigm shift in urban development in German-speaking countries.
  • It explains how digital twins, AI and simulations make urban performance measurable and controllable.
  • He shows what technical, legal and cultural hurdles exist in Germany, Austria and Switzerland.
  • Specific innovations from international pioneering cities and their transferability are discussed.
  • The article analyzes the role of data, algorithms and governance for sustainable cities.
  • It highlights sustainability aspects, opportunities for climate resilience and social participation.
  • Debates on data sovereignty, algorithmic bias and democratic control are critically evaluated.
  • The expertise for planners and architects in dealing with generative, digital tools is explained.
  • The article positions Generative Urban Performance in the context of the global architecture and urban planning debate.

Algorithm instead of anecdote: the rise of the generative city

Anyone walking through Zurich, Vienna or Copenhagen today will notice little of this. At first glance, the cities appear as they always have: sometimes orderly, sometimes improvised, sometimes visionary, sometimes encrusted. But under the surface, a new operating system has long been running. Generative Urban Performance means that cities are learning to observe, evaluate and optimize themselves – automatically, data-driven and in real time. This is not a gimmick for nerds, but a fundamental shift in urban logic. Whereas individual master plans, expert commissions and political compromises used to set the pace, today urban development is based on continuous simulation and feedback. Sensors record traffic flows, air quality, energy consumption and social movements, algorithms model scenarios and suggest adjustments. The city is becoming an adaptive organism, a generative system that does not wait for the next land use plan, but reacts proactively. In Germany, Austria and Switzerland, however, this development is still in its infancy – and is encountering administrations that are experimenting digitally, but often still think in manual file mode. The problem is that those who fail to plan for generative urban performance not only risk inefficiency, but also a loss of relevance in the international competition between cities.

The most important innovations do not come from traditional architecture, but from the interface between computer science, urban sociology and engineering. Digital twins, for example, are no longer cute 3D toys, but highly networked decision-making instances that map different city levels in real time. Artificial intelligence recognizes patterns in traffic volumes, suggests alternative routes and optimizes the utilization of infrastructure. In Singapore, the entire water management system is controlled by AI-supported simulations. Helsinki uses machine learning to simulate the effects of new development plans on climate, mobility and quality of life. These generative systems are not only faster, but also more transparent – provided they are openly designed and democratically controlled. However, this is easier said than done, as the leap from pilot simulation to everyday operations is huge.

The gap between aspiration and reality is particularly evident in German-speaking countries. While international pioneering cities actively monitor and control their urban performance, many municipalities are caught between legal concerns, data protection and a lack of standardization. There is a lack of interoperable platforms, open interfaces and governance that sees data as a common good rather than a raw material for the next tender. Anyone who wants to take Generative Urban Performance seriously must not only build technical systems, but also rethink institutional and social structures. This is uncomfortable, but unavoidable. The debate about who owns the data and who controls the algorithms is in full swing – and will keep architecture and urban planning busy for a long time to come.

But as provocative as this upheaval may be, the potential is enormous. Cities are becoming more resilient because they can react dynamically to climate risks. They will become more efficient because resource requirements and infrastructure can be adapted in real time. And they will become more social when digital participation involves new groups that were previously excluded. However, these opportunities are not a sure-fire success. They have to be fought for against resistance, inertia and technocratic temptations. Generative urban performance means nothing less than a paradigm shift – and those who miss it will be left behind by the simulations of others.

This puts architecture under pressure. What was previously regarded as a one-off planning process with final approval is becoming an ongoing process. Buildings, neighborhoods and entire cities are no longer just built and billed, but are monitored, evaluated and adapted on an ongoing basis. This requires new skills, a different self-image – and the willingness to no longer think of architecture as a finished object, but as a dynamic, data-driven process. For many in the profession, this may sound like a loss of control. For the next generation, it is the greatest opportunity since industrialization.

Technology, talent, transparency: what professionals need to know now

Generative urban performance is not an exclusive playing field for IT start-ups or digital prodigies. Architects, urban developers and civil engineers who want to be part of it need solid technical expertise – and a clear view of the opportunities and pitfalls. First of all, it’s about data competence: What data is collected? How is it structured, processed and visualized? If you don’t understand the logic of data models, you will be left behind by the algorithms of your own city. This doesn’t just affect large cities – requirements are also growing rapidly in rural areas. Weather data, traffic flows, energy consumption, user behavior – they all merge in the digital twin to form the basis for decisions on planning and operation. Anyone who ignores this is planning without reality.

It is no longer enough to simply deliver a few renderings or maintain a BIM model. Generative urban performance requires simulation-based methods: scenarios are calculated before the first sod is turned. AI systems recognize correlations that remain hidden from human planners. Machine learning helps to evaluate alternative designs and dynamically optimize the performance of districts. If you want to be a professional, you don’t have to program everything yourself – but the principles and potential of generative systems must be well understood. This requires further training, openness and a willingness to cooperate with new disciplines. Architecture becomes a team game between creative design power and algorithmic intelligence.

Transparency is not a nice add-on, but a survival strategy. Only if the models, assumptions and algorithms are disclosed will urban planning remain comprehensible and democratically controllable. The danger of AI systems becoming black boxes and urban development slipping away technocratically is real. In Germany in particular, skepticism towards automated decisions is high – and quickly leads to political blockades. Therefore, anyone using generative performance must explain, document and communicate. This is tedious, but there is no alternative. The future of the city does not lie in secrecy, but in open dialog between data, disciplines and citizens.

Another challenge is interoperability. Today, cities and municipalities use a variety of software solutions, data silos and proprietary systems. If you really want to scale Generative Urban Performance, you have to create open interfaces, establish common standards and design platforms in such a way that they will still work in twenty years’ time. This sounds like administrative reform, but it is a basic prerequisite for successful digitalization. Those who ignore the uncontrolled growth will be slowed down by the complexity of their own systems. The future belongs to cities that see their digital twins as an open infrastructure – and not as an exclusive asset for individual providers.

Ultimately, governance is also crucial. Who decides which scenarios are simulated, which priorities are set and which data is used? Without clear responsibilities and democratic control, urban development threatens to become a pawn in the hands of software providers, data traders and lobby groups. Professionals in architecture and planning must play an active role in this debate. Only then will the generative city remain an opportunity for everyone – and not become a dystopian experiment in the service of profit and control.

Sustainability by design: Generative performance as a climate saver?

The promises are great: Generative Urban Performance is supposed to make cities more sustainable, climate-resilient and resource-efficient. But does the technology deliver what it promises? The fact is that digital twins can be used to simulate environmental impacts, energy flows and climate risks more precisely than ever before. Cities such as Vienna and Zurich are already using these systems to predict heat build-up in new districts, minimize land sealing and dynamically manage energy requirements. AI models recognize where green spaces are most effective for fresh air exchange or where photovoltaics on roofs are most beneficial. This sounds like a digital eco-paradise, but it is hard technical work – and requires the right data to be available in sufficient quality. This is the first major hurdle: many local authorities have neither the resources nor the data expertise to operate these systems in a meaningful way.

But sustainability is more than just technology. It is a question of governance, participation and social justice. Who decides what goals the generative city should pursue? Should it reduce car traffic or create more living space? Should green spaces be maximized or should commercial areas be densified? These conflicting goals cannot be resolved by algorithms alone. They must be politically negotiated, socially accepted and technically implemented. Anyone selling generative performance as a panacea is misjudging the complexity of urban sustainability. However, it is a powerful tool for making conflicts of objectives transparent and visualizing the effects of different options for action.

Generative systems add a new dimension to the sustainability debate. Climate protection is no longer seen as an abstract goal, but as a measurable performance. Cities can see in real time how emissions, temperature development and resource consumption are changing – and adapt their measures accordingly. This makes the debate less ideological and more fact-based. But it also harbors risks: Those who only focus on measurable performance quickly overlook the qualities that cannot be captured in data – social networks, cultural identity, quality of life in detail. Sustainability remains a complex goal that technology alone cannot guarantee.

A great opportunity lies in the integration of participation formats. Digital platforms make it possible to involve citizens in the process, provide feedback on simulations and set their own priorities. This makes sustainability more tangible and increases the legitimacy of political decisions. But the same applies here: only open, transparent systems create trust. Those who operate digital twins as black boxes are squandering the potential for genuine climate and social innovations.

The future of urban sustainability will be decided at the interface of technology, governance and participation. Generative Urban Performance is not a panacea, but it is a powerful catalyst. Those who use it correctly will not turn the city of tomorrow into a utopia – but at least into a place that can adapt dynamically to the challenges of the 21st century.

Criticism, controversy, control: who will shape the generative city?

As promising as Generative Urban Performance sounds, the debates about its risks and side effects are at least as loud as the applause. Critics warn of the commercialization of urban data, of algorithmic distortion and of urban development that is beyond the control of human planning. In fact, these risks are real: anyone who loses control of data, algorithms and platforms risks urban development in the service of tech companies, investors or political interests. The demand for data sovereignty, open source solutions and clear rules for the use of artificial intelligence is not alarmism, but a basic requirement for responsible urban planning.

Another controversy concerns the question of democratic control. Who decides which scenarios are calculated and which performance targets are pursued? Without transparent processes and genuine participation, urban planning threatens to become a black box. The temptation to delegate complex political issues to algorithms is great – and can lead to a depoliticization that undermines the actual core of urban negotiation. Cities are not machines that can be adjusted at will. They are social, cultural and political entities in which conflicts have to be resolved and interests negotiated. Generative performance can support this – but never replace it.

The technocratic bias is also a problem. Those who focus exclusively on measurable performance quickly overlook the soft factors of urban quality of life. Architecture is more than efficiency, urban development more than optimization. Qualities such as identity, diversity, atmosphere and history can only be captured in data to a limited extent. Anyone who views Generative Urban Performance as an all-purpose weapon risks monotony, interchangeability and the loss of urban complexity. The challenge is to understand technology as a tool – not as an end in itself.

Internationally, the debate has long since flared up. After initial euphoria, cities such as Toronto and Barcelona have drawn boundaries, disclosed algorithms and tightened data usage guidelines. In Germany, there is growing pressure on administrations and planners to become actively involved in the governance of digital systems. Those who simply sit back and watch will be overwhelmed by the dynamics of their own city. Architecture has a key role to play here: it can mediate, moderate and shape – or become a vicarious agent of software logic. The choice lies with the discipline itself.

There are plenty of visionary ideas: open urban platforms, public interest algorithms, a focus on the common good and participatory simulations are not utopian, but tangible alternatives. The generative city is not a dystopian nightmare – but it is not a sure-fire success either. It will be what we make of it. And that, for a change, is not a question of algorithms, but of social will.

Conclusion: performance is not a goal, but a process

Generative urban performance is more than just the latest craze in the digital industry. It is an invitation to rethink the city – as a permanent process, as an adaptive system, as an arena for innovation and negotiation. Anyone who sees it as a mere technology project fails to recognize the depth of the upheaval. The city of the future will not be planned like a piece of furniture, but will continue to develop dynamically. Architecture, urban planning and engineering are at the beginning of a new era – and those who are not prepared to work with data, algorithms and participation will fall by the wayside. The question is no longer whether cities will transform generatively – but how openly, fairly and sustainably this change will be shaped. The performance of the city is not a goal, but an open process. If you want to shape it, you have to start now. Because the future is not waiting – it has long been simulated.

Pub culture in Bavaria

Building design
In Bavaria, you can enjoy architecture and art in numerous historic inns, such as here in the Augustiner-Bräu in Munich. Photo: Michael Volk (ed.): Refreshments in monuments - inns in Upper Bavaria Excursion guide to original inns in Upper Bavaria (2017) / Michael Forstner, BLfD

In Bavaria, you can enjoy architecture and art in numerous historic inns, such as here in the Augustiner-Bräu in Munich. Photo: Michael Volk (ed.): Refreshments in monuments - inns in Upper Bavaria Excursion guide to original inns in Upper Bavaria (2017) / Michael Forstner, BLfD

There are many historic inns in Bavaria whose history can still be felt and experienced. These houses are characterized by the originality of their dining rooms. They are living representatives of an inn culture that has grown over the centuries – a handbook on historic inns in Upper Bavaria provides tips for excursions to the Bavarian countryside for all Munich residents who want to escape the hustle and bustle of the Oktoberfest

There are many historic inns in Bavaria whose history can still be felt and experienced. These houses are characterized by the originality of their dining rooms. They are living representatives of an inn culture that has evolved over centuries – a handbook on historic inns in Upper Bavaria provides tips for excursions to the Bavarian countryside for all Munich residents who want to escape the hustle and bustle of the Oktoberfest

Munich residents who want to escape the hustle and bustle of the Oktoberfest are recommended to take a trip to the surrounding Bavarian countryside, especially at the weekend. Because there – Bavaria seems to be very richly blessed in this respect – there are many historic inns whose often rich history, determined by human destinies, has remained tangible and tangible. These houses are characterized by the originality of their dining rooms. They are living representatives of an inn culture that has grown over the centuries. Some are even over half a millennium old.

In the series “Genuss mit Geschichte” (Enjoyment with History), the Munich-based Volk-Verlag has published a guide to the most historically interesting inns in Upper Bavaria with a wealth of pictures. The knowledgeable texts and opulent images invite you to stop off at Upper Bavaria’s best-preserved listed inns. Explanatory texts on their past, the historic rooms and unusual details are supplemented by compact information on the respective specialties of the inns, the location and the respective opening times. The added information on exact directions, the history of the building, details of the historic furnishings and the current owners make the book a practical travel guide that also provides information on local, folk or rural iconography, such as that found on wall paintings or tiled stoves.

In the introduction, Karl Gattinger reports on the first inns that already existed in Roman times along the Roman roads in what is now Upper Bavaria. The existence of commercial inns in the region is first documented in the 13th century. Bavarian inn culture reached its peak during the time of the Prince Regent. Restaurants, beer palaces, wine bars and simple inns flourished. With the opening of the Munich – Augsburg railroad line in 1840, many rural places for social gatherings were now also accessible to day trippers. The Bavarian monasteries in particular were now discovered as excursion destinations.

Gattinger speaks of a “veritable inn boom in the Kingdom of Bavaria, especially in the time of the Prince Regent.” The brewery inn “Zum Daniel” in Ingolstadt, the “Nürnberger Bratwurst-Glöckl am Dom” in Munich, the Predigtstuhl mountain restaurant in Bad Reichenhall and the Schwaighofer wine tavern in Bad Tölz are among those covered. A particular highlight is the description of the inn “Der Alte Wirt” in Seeon in what is now the Seeon Lakes nature reserve. Here, the author’s enthusiasm for the historic building is at its peak: “You should take the time to pause briefly in the semi-darkness of the entrance.” An inn has existed on this site since the early Middle Ages. At the beginning of the 17th century, the current building was erected as a post station for the wealthy Seeon monastery. The magnificent building, which served as the “figurehead of the monastery”, has largely retained its 17th century appearance. Even the ice cellar has been preserved. The banqueting hall with its old vaulted ceiling, which is supported by a single red marble column, is particularly worth seeing. The restaurant in the Künstlerhaus on Lenbachplatz in Munich is also steeped in history. It once served as a clubhouse for Munich artists and is now a meeting place for Munich clubs and societies. The showpiece of the restaurant rooms on the first floor is the Venetian Room from the time of the painter prince Franz von Lenbach (1836-1904).

Michael Volk (ed.): Refreshments in monuments – inns in Upper Bavaria. Excursion guide to original inns in Upper Bavaria. ISBN: 978-3-86222-186-8, € 19.90