Roman Empire: architecture that still inspires today

Building design
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Façade with characteristic Venetian architecture of the Doge's Palace, photographed by João Rodrigues.

The Roman Empire has fallen, no question about it. But its architecture? It still stands, and not just as ruins. It shapes our cities, inspires our architecture and appears – often enough quite brazenly – in modern designs. Anyone who believes that the Pantheon is only for tourists and Latin courses has not taken architecture into account. Welcome to the world of concrete, arches and building frenzy: Roman architecture that still has an impact today.

  • The legacy of Roman architecture continues to shape cities and the self-image of building culture in Germany, Austria and Switzerland to this day.
  • From cement to urban infrastructure: Roman innovations are the basis for countless technological advances and architectural references.
  • Digitalization and AI make ancient buildings both a research object and a source of inspiration – from 3D scans to algorithm-supported reconstructions.
  • Sustainability? The Romans were already more climate-conscious than some of today’s investors – at least when it comes to material cycles and longevity.
  • Architects and civil engineers need to be familiar with Roman know-how if they want to understand the present and shape the future.
  • The debate about reconstruction, authenticity and cultural appropriation is more topical than ever.
  • Global architectural discourses are taking up the Roman model as a model for urban density, infrastructure and social spaces.
  • New technologies open up opportunities to reinterpret Roman principles for the digital and sustainable city.
  • Roman architecture polarizes: between belief in progress, kitsch and visionary urbanism.

From aqueducts to cement: what remains of Roman building?

Anyone walking through Cologne will not only stumble across cobblestones, but also Roman walls, sewers and ground plans. No matter how you look at it, the legacy of Roman architecture in Germany, Austria and Switzerland is not just museum-like, but urban. The Romans built to the point of being a sight to behold – and what they created still stands in many places today. Not least because they were technically far ahead of their time. Roman concrete, the famous opus caementicium, is a prime example of innovative strength that was only achieved again centuries later. While the Middle Ages were still struggling to prevent walls from collapsing, the Romans were already spanning hundreds of meters with aqueducts and domes.

But it’s not just the building material that inspires. It is the principles: Roman architecture thought in terms of infrastructure, supply and urban planning. The Via Appia was not just a road, but the beginning of the network city. Baths, forums, basilicas – these are prototypes of modern public spaces. Anyone who believes that multicoding is an invention of the 2000s should take a closer look at the Roman Forum: Market, court, temple, administration – all in one area, all open to the public. The Romans built for the collective and for eternity, not for the next round of investors.

Traces of Roman urbanity are also omnipresent in Switzerland and Austria. Augusta Raurica, Carnuntum, Vindobona – names that sound like excursion destinations today were once high-tech clusters. The principles of Roman urban planning – axial symmetry, grids, infrastructure centring – are just as evident in Basel as they are in Vienna. The Romans did not know land speculation, but they knew how to organize spaces in such a way that they enabled growth, trade and social life at the same time.

And what remains of this? More than you might think. The German building code may not be a descendant of Roman law, but it bows to its pragmatism. The idea that a city must function, that water, wastewater, energy and mobility must be thought of as a system – that is Roman thinking par excellence. Anyone planning sustainable districts today can learn a lot from Triclinium and Hypocaustum. The Romans built what was still needed when the next start-up had already filed for bankruptcy.

Of course, not all that glitters is gold – or concrete that lasts. Roman expansion was based on exploitation, coercion and colonialism. But this side is also part of the legacy: the architectural debate about originality, appropriation and contextualization is as topical as the Pantheon is stable. Roman architecture is a mirror of society – then as now. Those who recognize these reflections can better interpret the present.

Innovations and trends: Roman principles in the digital age

The irony of history: While many architects misunderstand antiquity as a citation box for columns and pediments, researchers are currently rediscovering the algorithmic side of Roman architecture. Digital methods are turning ruins into living models and building remains into data-based findings. 3D scans of amphitheatres, AI-based reconstructions of thermal baths, digital twin models of entire city centers – digitization is giving Roman architecture a second existence. It is no longer just stone and mortar, but data and simulation.

New research clusters are currently being created in Germany, Austria and Switzerland that use digital tools to measure and analyze Roman buildings and reanimate them as models for sustainable urban planning. Digitalization is not a gimmick, but an engine of knowledge. Anyone who digitally simulates the structural design of the Pantheon’s dome will understand why it is still standing after 2000 years. Anyone who recreates Roman water pipes in 3D learns how resource optimization really works. The digital archaeologist has long been a role model for the architect of the future.

The trend goes far beyond research. Architecture firms are taking up Roman principles to think up new urban spaces: multi-coded infrastructures, flexible uses, durable materials – it all sounds suspiciously modern, but it is pure antiquity. The Roman city as a resilient organism, as a network of supply and exchange, is becoming the model for the smart city of tomorrow. And with a bit of irony: anyone preaching the circular economy today should take a look at how the Romans dealt with building materials. Spolia was recycling avant la lettre.

Digital twins, as they are being developed for modern cities, are ultimately the logical continuation of Roman urban planning. The idea of modelling a system so that it can optimize itself is old – only the tools are new. AI-supported simulations, automatic damage diagnostics, parametric design: none of this would have been foreign to the Roman Baumeister, he just would have liked it.

The great innovation is therefore not in copying ancient forms, but in translating Roman principles into the digital and sustainable age. The architecture of the future is not post-modern or neo-classical, but post-Roman: it thinks in terms of systems, longevity and urban performance. Those who understand this will not only plan more beautifully, but also more intelligently.

Sustainability and technology: what the Romans were better at

The Romans were no eco-angels, but they were pragmatic users of resources. Roman concrete significantly improved the carbon footprint of ancient buildings – not because it was “green”, but because it lasted for thousands of years. Durability is the underestimated criterion for sustainable construction, and the Romans are still a role model in this respect today. While people in Germany, Austria and Switzerland are discussing life cycle costs, dismantling and the circular economy, the Pantheon simply stands there and makes the debate look old.

The Romans were also more advanced than many believe when it came to energy. Hypocaust heating, solar orientation, evaporative cooling – all technologies that are marketed today as “innovative” originated in the empire’s building huts. Anyone planning sustainable architecture should take a look at the thermal spa model: Energy efficiency, user comfort, social infrastructure – all integrated, all robust. The Romans built cities in such a way that they could function without an electricity grid. Resilience? That was the norm, not the exception.

However, the challenges of today are different. Climate change, scarcity of resources, social segregation – the Romans knew these as marginal phenomena at best. Nevertheless, their principles offer solutions: Dense development, short distances, multifunctional spaces, adaptive use. In Switzerland, the Roman road network has become a blueprint for sustainable mobility, while in Austria, thermal baths serve as a model for social spaces. The idea of thinking of the city as a closed system is more topical than ever.

Technical expertise is essential. If you want to understand the load-bearing behavior of Roman arches, you need basic structural knowledge. Anyone looking for sustainable materials should know the chemical composition of opus caementicium. And anyone using digital tools must recognize the limits of simulation. Roman architecture was high-tech – and still requires high-tech know-how today.

Of course there are limits: Roman architecture was exclusive, patriarchal and geared towards expansion. But it is precisely this criticism that makes it so valuable as a basis for discussion. Anyone who is serious about sustainability must learn to read history without glorifying it. The Romans show that technology, social issues and sustainability are not opposites – and that innovation is always a look back.

Debates, visions and the global discourse: why Rome never goes under

The debate about Roman architecture is anything but closed. On the contrary: it is part of a global discourse on authenticity, appropriation and further development. In Germany, Austria and Switzerland, the dispute over reconstructions is raging – from the dome of the Berlin Palace to the Limes Tower. What is legitimate: an exact quote, a free interpretation or a deliberate break with the original? Opinions differ, and that’s a good thing. Because architecture thrives on friction, not unity.

Visionary approaches radically revisit Roman principles. The idea of the city as a dense, resilient infrastructure is a guiding principle in international urban development. From Singapore to São Paulo, from New York to Vienna: people are discovering the advantages of compactness, public spaces and robust supply. Rome is no longer just a symbol of power, but of urban intelligence. If you want to have a say in the global architectural debate, you have to understand the Roman model – as a system, not as a style.

Criticism is not neglected. Roman architecture also stands for exclusion, for a demonstration of power, for the monumentalization of the public sphere. But this is precisely where new approaches come in: How can we learn from history without glorifying it? How can principles such as permanence, complexity and openness be translated into the present? The answers are as diverse as the cities in which they are sought.

Digitalization is fuelling this debate. AI-supported analyses show how flexible Roman systems were. Digital platforms make Roman urban planning accessible, comparable and worthy of discussion. The architecture of the future will not look Roman – but it will think Roman: in networks, in robustness, in longevity. If you want to steer global urbanization, you need the tools of antiquity in a digital guise.

Anyone building the future of the city today cannot ignore Rome. Not as a nostalgic reminiscence, but as a toolbox for what is to come. The architecture of the Roman Empire is more than just the past – it is a permanent space of possibility. And it polarizes, provokes, inspires. Still does.

Conclusion: Roman architecture – the eternal update for building culture

The Roman Empire is history, but its architecture remains present and future. It provides tools, principles and ways of thinking that shape modern architecture, urban planning and sustainable development. Digitalization and AI make Roman buildings both objects of research and sources of innovation. This does not solve the challenges of sustainability, technology and social responsibility – but they are recontextualized by the Roman heritage. Anyone building, planning or designing today should not see Rome as a museum, but as a laboratory for the future. Because the best architecture is the one that lasts – and the Romans have always been better at that than anyone else.

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Europan 13 – The Adaptable City 2

Building design

Europan 13, a European competition aimed at architects under the age of 40, has been running since March 2. Experimental solutions for urban and residential construction are being sought at locations throughout Europe.

“Europan 13”, a European housing and urban development competition aimed at architects under 40 and students, has been running since March 2. Specific issues are being addressed at locations throughout Europe with the aim of developing innovative urban solutions and promoting experimental housing construction.

As with Europan 12, the theme this time is “Adaptable City”. The organizers are looking for participatory solutions that generate adaptable structures for the future European city. There are eight locations in Germany with different questions and specifications – a total of 49 locations across Europe.

Europan has been running for 26 years, and the network of experts and participating cities is correspondingly large. Experienced architects and urban planners from all over Europe, who have been working in the field of urban development for many years, sit on the jury. The rules for the competition entries are the same in all countries.

One aim of the competition is the exchange of ideas at European level. Any architect can work on any location. It is also possible to form transnational teams. The competition can help young architects to develop their ideas and, if necessary, to realize them. This is why Europan is not just an ideas competition; there is an opportunity to realize a project. In the past, it has repeatedly been a springboard for young architects. Renowned firms such as the Dutch architects from MVRDV were able to celebrate their first competition successes here.

The deadline for submitting competition entries is June 30. You can find out more about Europan 13 and how to register here.

Zwinger in Dresden – an overview

Building design
The Wall Pavilion of the Dresden Zwinger, photo: Peter Leyendecker, www.schloesserland-sachsen.de

The Wall Pavilion of the Dresden Zwinger, photo: Peter Leyendecker, www.schloesserland-sachsen.de

The Dresden Zwinger dominates the cityscape and is an important remnant of the magnificent Baroque period. Read everything you need to know about this sight here.

The history of the Zwinger

At the request of Augustus the Strong, a courtly work of art, the so-called Zwinger, was built between the inner and outer fortification walls in the 18th century. This term was commonly used in the Middle Ages to describe a part of the fortress between the walls. The first city wall in Dresden can be archaeologically traced back to the late 12th century, but the Zwinger is not quite that old. It was built in 1709 and was initially just a fairground surrounded by wooden buildings for tournaments and court games. Between 1710 and 1728, the building was erected in its current sandstone form. Matthäus Daniel Pöppelmann and Balthasar Permoser created the building in place of a simple orangery, where the Picture Gallery and the Semper Opera moved in.

Today, the Zwinger houses the museums of the State Art Collections. These include the Porcelain Collection, the Old Masters Picture Gallery and the Mathematical-Physical Salon. The Zwinger also houses several exhibitions and the Zwinger Xperience multimedia experience. Here, guests can look into the Zwinger’s history through panoramic projections and virtual reality.

Consisting of a complex of buildings with gardens, the Zwinger is in the Baroque style. Alongside the Frauenkirche, it is the most famous monument in Dresden and was originally built as an orangery and representative festival area. In addition, the richly decorated pavilions and galleries bear witness to the magnificent further development under Augustus the Strong, expressing his claim to power with balustrades, figures, vases and other art treasures.

The Zwinger was actually intended to be the forecourt of a new palace that would extend to the Elbe. The building on the Elbe side therefore initially remained undeveloped, but these plans came to a standstill with the death of Augustus the Strong. It was not until over 100 years later that the architect Gottfried Semper completed the building complex on the Elbe side with the Semper Gallery. It was opened in 1855 and is one of the most important German museum projects of the 19th century.

Since the opening of the gallery, the Zwinger has increasingly served as a museum complex. To this day, occasional events are held here, but its most important purpose is now as a museum. For this reason, the air raids on Dresden in February 1945 hit the Zwinger hard and large parts of it were destroyed. But reconstruction followed in the 1950s and 1960s and since then the Zwinger has housed the following exhibitions:

  • Old Masters Picture Gallery
  • Mathematical-Physical Salon
  • Porcelain Collection

The Zwinger in Dresden has an almost square base with arched extensions in the north-west and south-east. In contrast, the Wall Pavilion is located in the north-west and the Glockenspiel Pavilion in the south-east. The Long Gallery with the Crown Gate is directly adjacent here, as is the Semper Gallery on the other side. There are four two-storey corner pavilions at four corners of the square: the German Pavilion, French Pavilion, Porcelain Pavilion and Mathematical-Physical Salon, which connect the single-storey arched galleries with the Glockenspiel Pavilion and Wall Pavilion.

A highlight of the Zwinger is the famous crown gate with the gabled coronation created by Johann Benjamin Thomae , which is a portal pavilion . It is often depicted as a symbol of the Zwinger. Long galleries adjoin it on both sides, whereby the gate originally provided access through the fortress wall.

While the architecture of the gate is based on Italian high baroque , it is also reminiscent of ancient triumphal arches. In addition, the floor plan of the building is octagonal, with the hall on the upper floor open on all four sides. From there, the four corner pillars are continued from below and repeated by the columns.

The gardens in the Zwingerhof were originally intended to be much larger and extend to the banks of the Elbe, creating a pleasure garden. Today, however, there is a small square with four shallow pools in the middle of the Zwingerhof. Paths run between them, emphasizing the axes from the Crown Gate and the passageway to the Semper Gallery and the pavilions.

Dresden’s Zwinger is not only a magnificent building complex with important museums, but also a central source of civic and national pride. After the building was neglected in the 19th century, when interest in neoclassical architecture grew, extensive renovation work was carried out in 1924. This brought the building back into the public eye. The Zwinger lottery was also important for identification with the building. This idea originated in the 1920s and aimed to acquire a financial contribution for the renovation work. This idea was then taken up again after 1945, with the Wall Pavilion and the Crown Gate in particular serving as advertising symbols for the reconstruction of the city.

Today, the Zwinger is a central building in Dresden, which is world-famous as one of the main works of Dresden Baroque. It was even depicted on the two-euro coin of the German federal states series in 2016, while the Zwinger can also be seen on numerous stamps. A visit to this impressive building in Dresden is therefore well worthwhile!

You can find more information about the exhibitions and events at the Dresden Zwinger here.

By the way: The industrial buildings in Dresden have also been converted from unused buildings into successful cultural spaces. We have presented three of them.