17.02.2026

Shadow planning – how to design microclimatically optimized rooms

Building design

Urban flair and sustainable design: people stroll through a busy street next to modern high-rise buildings. Photo by Marek Lumi.

Hot summers, sealed squares and urban heat islands – all of this is no longer a future scenario, but a daily reality. Anyone planning open spaces today must understand and design shade as a decisive factor for microclimatic resilience. Shade planning is thus moving from a peripheral issue to the heart of sustainable urban development. Those who fail to shade spaces wisely are planning against the future – and against the people who live in them.

Definition and significance: Why shade planning is essential for liveable cities
Microclimatic basics: How shading influences the urban climate
Planning tools: from simulation to structural implementation
Plants, architecture and technology: The diverse tools of shade planning
Shade as a social and health factor in public spaces
Pitfalls and conflicting goals: shade, safety, biodiversity and quality of use
Best practice examples from Germany, Austria and Switzerland
Digital tools and future trends in shade planning
Recommendations for practice: What planners need to pay attention to today

Shade planning: the underestimated backbone of climate-resilient cities

In times when heat records are almost part of summer folklore and the asphalt in our cities seems to be on fire, one aspect of urban and open space planning is suddenly in the spotlight: targeted shading. Shade planning is no longer an optional extra, but a duty for all those who take responsibility for liveable urban spaces. But what does it actually mean to plan shade? And why is it so much more than just planting a few trees at the side of the road or putting up an awning?

Essentially, shade planning describes the deliberate design of shade in public spaces in order to positively influence the microclimate. The aim is to ensure quality of stay even in midsummer temperatures, to protect sensitive user groups and to reduce the energy absorption of urban surfaces. Shade is therefore a key building block for heat-resilient cities – and a prime example of how small measures can have a big impact. Particularly in densely built-up areas, squares, schoolyards, playgrounds and traffic areas, shade often determines whether a place is usable or overheated.

Why is shade, of all things, so effective? Quite simply, shading interrupts solar radiation, reduces surface temperatures, sometimes drastically, and creates zones in which people like to spend time safely. Shade is therefore also directly linked to health, as it protects against UV radiation, overheating and dehydration. In view of demographic developments – more older people, more children in urban areas – this aspect is becoming increasingly important. Planning shade means planning for the most vulnerable – and therefore for everyone.

But not all shade is the same. Different sources of shade – from deciduous trees and building structures to mobile shade providers – each offer specific qualities and challenges. The art of shade planning consists of cleverly combining these elements, coordinating them with the utilization concept of the space and thinking in terms of seasonal changes. Because what provides protection in summer can lead to unwanted darkening in winter. This calls for planning finesse – and a deep understanding of microclimatic relationships.

Shade planning is therefore much more than an aesthetic side effect. It is a strategic tool in the hands of planners, architects and landscape designers to make the city of tomorrow liveable, resilient and equitable. Those who master it will make the difference between overheated stone deserts and flourishing, lively urban spaces. And those who ignore it will feel the consequences at the latest during the next hot summer.

Especially in German-speaking countries, with their tradition of well thought-out open space design and special focus on quality of life, the time is ripe for a new appreciation of shade planning. It is the underestimated backbone of climate-resilient cities – and perhaps the smartest investment in our urban future.

The small climate on a grand scale: microclimatic effects of shading

To fully grasp the importance of shade planning, we need to look at the scale of microclimates. Microclimate refers to the climatic conditions in a narrowly defined area – such as a school playground, a town square or under a group of trees. While the macroclimate of a city is shaped by topographical and meteorological factors, the microclimate can be specifically shaped. And this is where shade comes into play, as one of the most important levers in the planner’s toolbox.

Shading acts as a natural temperature regulator. Surfaces that are protected from direct sunlight heat up significantly less. Studies show that the difference between shaded and unshaded surfaces can be up to 15 degrees Celsius on hot days. This has a direct impact on people’s thermal sensation, but also on the service life of materials and the biodiversity of urban open spaces. Protecting the asphalt also protects the health of users – and the city’s budget at the same time.

But shade influences far more than just the temperature. It changes humidity, wind behavior and the radiation balance of a location. Trees, for example, not only provide shade, but also evaporative cooling: they release water into the air through their leaves, which also creates a more pleasant microclimate. Architectural shading such as canopies, colonnades or façade greening can be specifically designed to take account of the time of day and the seasons. In summer they protect against overheating, in winter they allow the low sun to pass through.

An often underestimated effect of shading is the reduction of so-called urban heat islands. These arise when sealed, dark surfaces in cities absorb and store more solar energy than the surrounding countryside. Shade breaks this effect by limiting energy absorption and promoting cooling at night. This makes shade planning a key measure for climate adaptation – and a mandatory task for all those who design urban spaces today.

Shading also has a direct effect on the quality of stay. Anyone who visits a square or play area at 38 degrees Celsius instinctively looks for the coolest, shadiest spot. If this is not available, the space remains deserted – and urban life moves indoors or, worse still, into the air-conditioned shopping center. Shade is therefore not only a climatic factor, but also a social one. It determines whether public space is used or avoided.

The art of microclimatic optimization consists of combining the various shading elements – trees, buildings, mobile structures – in such a way that they interact to create the desired climate. It is important to avoid conflicting objectives: Too much shade can harm plants or impair the feeling of safety, too little leads to overheating. The more precisely the microclimatic effects are understood and simulated, the more precisely the shading can be planned. This shows that shade planning is precision work – and not for the faint-hearted.

Tools and methods: from simulation to built shading

Shade planning requires more than just a good gut feeling. Modern planning tools make it possible to precisely simulate the effect of various shading elements and predict their effects on the microclimate. Digital tools such as ray tracing software, urban climate modeling and 3D shadow analyses are now indispensable for making well-founded decisions. They show how the shadows of trees, buildings or temporary structures behave at different times of the day and year – and how different design variants affect temperature, quality of stay and usability.

A particularly powerful tool is shade analysis based on GIS data and digital terrain models. Here, the position of the sun, topography, buildings and vegetation are integrated into an overall model that simulates the shading of any point in the urban space. For example, the coolest and hottest places in a district can be identified at the touch of a button – and specifically shaded. Urban climate simulation models such as ENVI-met or SOLWEIG are also standard in planning today. They can calculate not only radiation flows and shade patterns, but also evaporative cooling, air movement and thermal comfort parameters.

Practice shows that shading is an interdisciplinary topic that brings together landscape architecture, urban planning, architecture, engineering and environmental meteorology. A successful shade concept combines natural and artificial elements – from old trees and new plantings to pergolas, awnings or innovative façade constructions. Temporary shading using mobile structures or urban interventions are also playing an increasingly important role, for example at festivals, in school playgrounds or when redesigning heat spots.

But however sophisticated the technology may be, in the end it is the built reality that counts. Plants need time to grow, and architectural shading costs money and construction time. This calls for creative, flexible solutions that combine short-term and long-term shading. Particularly innovative approaches include modular shading: Mobile shade providers can be used in the short term and moved or added to as required, while trees or climbing plants provide permanent cooling in the long term.

A key success factor is the integration of shade planning in the early phases of the planning process. Those who only “dock” shading at the end are wasting great potential. Shade must be considered from the outset – not as an add-on, but as an integral part of the design. This is the only way to create spaces that function all year round and inspire their users. Shadow planning is therefore a prime example of proactive, future-oriented urban design – and a field in which innovative planners can make a name for themselves.

Digital twins and real-time simulations, as already used in leading cities, open up completely new possibilities. They make it possible to test shading scenarios in a matter of seconds, identify conflicting objectives at an early stage and visualize participation processes. This makes shade planning transparent, comprehensible – and a real team effort.

Shade as added social, health and design value

Anyone who views shade solely as a technical factor is falling short. Shade is always also a social and health factor that determines the quality of life in public spaces. Especially for vulnerable groups such as children, the elderly or people with pre-existing conditions, shade can determine their well-being and length of stay. Studies show that shaded play areas, seating areas or schoolyards are used much more intensively – and that the risk of heat damage, sunburn or circulatory problems is drastically reduced.

The social dimension of shade planning should not be underestimated either. Shaded spaces become meeting places, a stage for urban life. They promote interaction, exchange and participation. Where it is pleasantly cool, people enjoy spending time – and public life flourishes. Shade is therefore also a tool against social isolation and for more urban publicity. Participatory approaches in which user groups are actively involved in the planning are particularly exciting: Where is shade missing? Which places are avoided? Which forms of shade are accepted?

Architecturally and in terms of design, shade planning opens up a wealth of possibilities. Shading elements can be staged as identity-creating features – from spectacular pergolas to green roofs and art installations. They give rooms character, structure and atmosphere. Especially in hot summers, they become magnets that attract people – and symbols of a city that takes its users seriously.

One aspect that is often underestimated is the importance of shading for biodiversity and the ecological balance in urban spaces. Trees, shrubs and green façades create habitats for birds, insects and small animals. They contribute to the connectivity of urban ecosystems and increase resilience to climate extremes. By planting shade, you are also planting diversity – and making the city not only cooler, but also more vibrant.

However, shade is not a panacea, but must be carefully dosed. Too much shade can restrict social control, reduce the feeling of safety or hinder the growth of sensitive plants. Sensitivity and close coordination with the users are required here. The best shade planning is that which adapts flexibly – to the weather, times of use and changing needs. Those who master this will turn shading into real added value for everyone.

The bottom line is that shade is not a luxury, but a basic requirement for healthy, vibrant and equitable cities. It is medically effective, socially unifying and inspiring in terms of design – if it is planned correctly.

Best practice and the future: Shadow planning as a field of experimentation for urban development

Theory is one thing, practice is another – and it is precisely here that we can see how diverse and innovative shadow planning can be conceived and implemented today. Many cities in German-speaking countries are currently developing exciting projects that show what is possible. Munich, for example, has responded to particularly hot places with the concept of so-called “cool spots” and has installed temporary and permanent shading measures. In Vienna, mobile shade providers and climbing aids are used in school playgrounds, while large-crowned trees are planted in the long term. Zurich relies on a combination of architectural shading, mobile infrastructure and active citizen participation to systematically defuse heat spots.

One particularly noteworthy example is the “Shade for Neumarkt” project in Dresden, in which digital simulations and participatory workshops were used to develop a holistic shading concept for a well-known city square. Here, various scenarios could be played out and users’ wishes directly taken into account – a real step towards democratic, transparent urban design. Basel is also experimenting with shaded greenery: Climbing plants on temporary scaffolding structures shade squares and streets, while long-term tree planting is being prepared in parallel.

The future of shade planning is digital, participative and flexible. Digital twins, such as those already used for traffic and energy issues, are now also finding their way into shade planning. They make it possible to simulate shade patterns in real time, make conflicts of interest visible and involve different user groups. Artificial intelligence can help to determine the optimum combination of natural and artificial shading elements for each location. Shade planning is thus becoming a high-tech discipline – and a field of experimentation for creative minds.

At the same time, awareness of the importance of shade is growing among politicians, investors and the public. Funding programs for climate-resilient cities specifically focus on shading as a key measure. New standards and guidelines are emerging that define minimum standards for shading in playgrounds, schoolyards and public spaces. The challenge remains to apply these standards flexibly and in a location-specific manner – and to promote innovation instead of slowing it down.

A key finding of recent years is that the best shade concepts are developed in dialog – between planners, users, administration and technology. Those who are prepared to experiment and break new ground can turn shading into much more than just protection from the sun. It can create identity, improve the urban climate and redefine urban quality of life.

An international comparison shows that German-speaking countries have enormous potential to play a pioneering role in shade planning. The tradition of high-quality open space design, coupled with digital innovation and a growing awareness of sustainability, are the best prerequisites for a new era of shading. Investing in shade today means investing in the backbone of the city of tomorrow.

Conclusion: Shade planning – the underestimated ace up urban development’s sleeve

Shade planning is far more than just a side issue for summer days. It is a key tool for climate-resilient, healthy and equitable cities. Those who think creatively and interdisciplinarily about shading at an early stage will create spaces that will survive in a changing climate. The art lies in understanding microclimatic effects, using digital tools and creating social and design added value. Best-practice examples show that innovative shading concepts are not only technically feasible, but also socially desirable and politically supportable.

The shade planning of the future is digital, flexible and participatory. It combines simulation with built solutions, quick measures with long-term strategies. It not only creates cooling and protection, but also identity and quality of life. Those who understand how to understand shading as an integral part of urban development will have a decisive advantage in the race for the climate-adapted city of tomorrow. Because one thing is certain: shade is not a luxury, but the new currency of liveable cities – and the ace up the sleeve of all those who want to design urban spaces not just for today, but for generations to come.

18.12.2024

Product

Wood – an urban material ?

Building design

Wood in the cities – there are a number of arguments in its favor. The material is CO2-neutral, has good insulating properties and is a renewable raw material. Architect and civil engineer Wolfgang Winter would design any new building out of wood. Sufficient material and the technology to build upwards are available.

Wood in the cities – there are a number of arguments in its favor. The material is CO2-neutral, has good insulating properties and is a renewable raw material. Architect and civil engineer Wolfgang Winter would design any new building out of wood. There is enough material and the technology to build upwards.

Baumeister: Mr. Winter, we are confused: on the one hand, we hear about a renaissance in timber construction, but on the other hand, timber construction in the city has declined. Which is true?
Wolfgang Winter: A stable market segment has emerged for single-family houses in Central Europe. In multi-storey construction, it is more complicated: in the 70s to 80s, i.e. after the war, there was a market share of zero. In Austria, Germany and Switzerland, state-subsidized campaigns were created at the time to accommodate the returnees from Russia – building was done with wood. These campaigns caused the market share to rise to five percent in the short term. The fact that this figure is now weakening again is due to the lack of funding. The question is: Can ecological measures that cost more than concrete construction be justified at all? This brings up the concept of affordable housing, because expensive construction is not socially sustainable. Then we just build in concrete again. From this perspective, social sustainability excludes ecological sustainability.

B: Does timber construction necessarily have to be more expensive?
W W: In the short term, yes. A cubic meter of concrete costs 50 euros. Wood, on the other hand, costs 400 euros per cubic meter. So if you replace concrete with wood in an equivalent construction project, it is more expensive. That is of course a disadvantage of wood.

B: Where does this big price difference come from?
W W: A cubic meter of tree, as it comes from the forest, costs 100 euros. The price is determined by the forester who cuts the wood and the forest owner who waits 100 years for the tree to grow. If the tree is sawn down, 50 percent is lost through the waste products. This means that a cubic meter costs 200 euros. The wood then has to be dried and glued, tempered and quality sorted. This is always a high cost for a natural product.

B: The solution?
W W: You have to build intelligently. For timber construction in the city, you need a well thought-out system and a quality-assured product. This is not possible in this DIY niche with a regional, “cute” timber construction culture. For large-scale industrial projects with 200 residential units that need to be completed within six months, you need prefabricated products. In terms of price, timber is competing with in-situ concrete poured on site. At the moment, it is still losing this battle.

B: So timber has a lot of competition. Until 1800, things were different – every building was made of wood, at least in part. When exactly did the turning point come?
W W: Until 1800, all construction was “self-build”. People built with the materials that were available on site. Carpenters and bricklayers built without architects. A big break came with industrialization. The crafts disappeared. The railroad, steel and cement arrived.

B: What’s more, in the 19th century there was simply no more wood…
W W: That’s when the laws for sustainable forestry were introduced. From the second half of the 19th century, they stipulated that if a tree was felled, two new ones had to be planted.

B: So we would have enough wood again today. And the “paperless office” will surely ensure even more wood…
W W: The paper thing is not so easy to conclude. In fact, the yields from forests have increased enormously. This is due to properly managed forests. Until the 18th century, yields were five cubic meters per hectare. With forest management, the figure climbed to 10-15 cubic meters per hectare. Due to climate change and the high CO2 content in the air, forests are becoming even more productive.

B: So we would have enough wood to theoretically build entire cities with?
W W: Yes. There is more wood growing than we need. If we wanted to, we could build every new construction project in wood.

B: How high could we build with wood?
W W: Wood has a compressive strength of 30-40 newtons, concrete also has 30 newtons. Of course, it has a lower tensile strength than steel. But this can be compensated for with a higher cross-section. And timber is still relatively light. Pure timber buildings of up to ten storeys are technically possible without any problems, even when fire protection requirements are taken into account. Fire protection is actually a question of escape routes and access and not the combustible material.

B: Especially when we’re talking about urban areas, isn’t there a great risk of fire spreading from one building to another?
W W: Every fire is started by mobile fire loads – the furniture, the curtains. Wooden buildings don’t burn any more than other buildings. Wood does not ignite more quickly, nor is the risk of a fire starting greater than with other building materials. The most important fire protection measure is the escape routes.

B: Timber construction seems to reach its limits at ten storeys. Why then want to build even higher? Shouldn’t we think about the material according to its use?
W W: The tensile forces are the problem. But you can use timber steel for that.

B: Wooden steel?
W W: When we talk about timber-steel construction – steel clad with wood – then it’s the same principle as with reinforced concrete: you have a large cross-section consisting of compression elements, in this case made of wood, and inserted flat bars or angles that absorb the tension. From a structural point of view, all skeleton structures that are currently made of reinforced concrete could be made of wood.

B: What are the biggest advantages of timber in the city?
W W: Wood is an excellent raw material that can be used to make various products. It is easy to process. It also has low thermal expansion due to its high porosity. With other materials, you have to leave more space during installation, or the adhesive has to compensate for the expansion. Wood also has good thermal insulation properties. The advantages in the city lie in building gaps and extensions. The material is light and can be lifted into urban structures by crane.

B: Another major advantage of timber in the city is the high degree of prefabrication. Does this impose restrictions on the design?
W W: I think you can design very freely with wood. Nowadays, wood is machined and glued together. Robots mill out holes and join the wood together. So you can produce parts industrially and individually.

B: No disadvantages?
W W: Of course, it’s clear that if an architect builds monolithically beforehand, this allows for different building forms and requires different thought structures than if you put together an additive system from rods. Prefabricated timber construction requires a certain level of awareness on the part of the architect. If the architect has this knowledge, however, there is certainly freedom of design. The prefabrication of timber and steel is equivalent in the construction process. But wood has a few additional advantages.

B: Sustainability, for example. However, the word is now used everywhere. Has it lost any of its strength as an argument for timber construction as a result?
W W: A lot has been smuggled into the term sustainability: architectural quality, beauty and ecology. Now we no longer talk about sustainability, we talk about resource efficiency. Timber construction itself is clearly resource-efficient. And since we change our building fabric in relatively short cycles, resource efficiency also means what the material makes possible in terms of later use. The monolithic cast construction cannot be dismantled and rebuilt elsewhere. Steel and wood are easier to recycle.

B: Do you think that in a world surrounded by technology, we are longing for a natural building material?
W W: Yes, that is certainly part of it. On the one hand, there is this useful timber construction, but it doesn’t claim to be a statement. Our urban buildings have many half-timbered structures that were subsequently clad. Today, of course, things are different. Since concrete was the building material of the 20th century, if you offer an alternative, you also have to work with a feeling: We now live in a material that is closer to nature. But that will certainly only remain a niche. Eco-awareness is a decisive factor for a maximum of 20 percent of the population. The others don’t care if they live in a concrete building.

B: You said that concrete was the dominant building material of the 20th century. Is wood the building material of the 21st century?
W W: Wood has everything it takes to become the building material of the 21st century. Concrete was the building material of the 20th century, especially in Europe. This has to do with our specific history, with the Second World War. You could argue that the population’s growing environmental awareness is the basis for wood becoming the material of the 21st century. But, of course, you have to see how strongly wood is being fought over by the forestry, paper and pellet industries. The competing players for this natural material must agree that it makes the most sense to build with wood.

Searching for clues on Slate Islands

Building design

The poetry collection "Schiefern" by Esther Kinsky explores the analogy between human memory and metamorphic rock. Photo: Suhrkamp — The poetry collection "Schiefern"

The poetry collection “Schiefern” by Esther Kinsky explores the analogy between human memory and metamorphic rock – a sensual search for the lifeless. On the map, they are small patches off the west coast of Scotland, so small that it is easy to overlook them. You have to seek them out specifically to find them. You don’t just come across […]

The poetry collection “Schiefern” by Esther Kinsky explores the analogy between human memory and metamorphic rock – a sensual search for the lifeless.

On the map, they are small spots off the west coast of Scotland, so small that it is easy to overlook them. You have to seek them out to find them. You don’t just stumble across them. The Inner Hebrides of Scotland, a group of islands at the top of the British Isles, are a popular travel destination. Those who come here long for the original, the wild, the rugged. For the salty wind that catches hair and clothes and makes them stiff. For the Atlantic, its waves crashing against the black rock. Gneiss. Granite. Basalt. Slate.

Esther Kinsky, translator and poet and 2018 for “Hain. Geländeroman” in the fiction category at the Leipzig Book Fair, has dedicated a volume of poetry to slate and the region where the sedimentary rock was mined for centuries with the simple yet telling title “Schiefern”.

The quarries on Slate Islands are still there, as are the remnants of a now defunct industry. Kinsky embarks on a voyage of discovery and wraps her observations of nature in words that are enigmatic to decipher and carry us away to the remoteness of the Inner Hebrides, to the black, raging sea, above which the reader floats like an invisible person in the mental space that Kinsky spins with her words.

It is precisely there, in this space of thought, that the analogies between something thoroughly lifeless and human can be found. There are only a few people in this three-part volume, but it is not lacking in humanity. In fact, it is quite astonishing how sensually it is possible to write about waves carrying spray and “plates with a / surface like petrified quiet waves” without slipping into kitschy romanticism.

“Nature Writing”

Nature has been tempting writers to write about it as the main protagonist since the 18th century. In Anglo-Saxon, “nature writing” is the name given to lavish literary descriptions of trees, meadows, flowers and cloudbursts. In German, the term “Naturpoesie” or “nature poetry” has become commonplace. Esther Kinsky has stood out in literature for years with such nature poetry.

In 2013, she weaved four cycles of poems about decay and growth in “Naturschutzgebiet” (Nature Reserve), based on a neglected city park. If Kinsky’s work is now categorized as “nature writing”, she is happy to contradict this. In an interview with Deutschlandfunk radio, she once said that she did not see herself in the tradition of nature writing. This term is too diffuse, too sprawling in terms of what it encompasses and what it does not. “Nature writing” can be anything, she says. So why not her latest work “Schiefern”, one might ask?

The layers of time

Early on in “Schiefern”, the word “memory” is used “as a space of absences, moved by the transparent hand of unpredictable synapses and imponderable shifts of deposits in the slowly emerging and deepening furrows and folds of the brain”. Kinsky is concerned with the layers of time that accumulate over memories. At first very gently, then more clearly, she draws linguistic parallels between human memory and the preserved history on the surface of the rocks, which the tides and times have passed by over millions of years.

The past is preserved in the stone, it only has to be read from its wrinkles, as if the stone were an old, cherished old man whose weathered face bears the traces of life. Kinsky writes of “signs without hand or foot / in the stone to which no one / knows how to make a rhyme / but the greatest possible past”.

“Schiefern” could be the modern sequel to Adalbert Stifter’s 1853 short story “Bunte Steine” and join the ranks of “Granit”, “Kalkstein” and “Turmalin”. But as treacherously idyllic as Stifter’s detailed, Biedermeier-like depictions of nature are, Kinsky’s description of the Slate Islands is just as uncharitable. The coolness of the surroundings snows through her words. There is a harshness in them that you don’t want to imagine without.

Information about the book

Esther Kinsky: Slates.
D: 24,00 Euro
A: 24,70 Euro
CH: 34.50 Swiss francs
Published: 23.03.2020
Hardcover, 103 pages
ISBN: 978-3-518-42921-1