27.01.2026

Typological design approaches: From the individual room to the sequence of rooms

Building design

Knowledge

Green plants on a white concrete fence, photographed by Danist Soh - a harmonious interplay of nature and modern construction.

Typology is dead? Not at all. Anyone who believes that spatial sequences are just an aesthetic finger exercise from a textbook has missed the 21st century. Between single-room mania, parametric spatial collage and digital design intelligence, we are faced with the question: how much typology does design still need – and how much spatial freedom makes sense at all?

Typological design approaches characterize architectural thinking from lectures to building practice – and are currently experiencing a digital renaissance.
From the single-room ideology to complex spatial sequences: the spectrum ranges from the classic cell structure to open, hybrid spatial sequences.
Digital tools and AI-based design logic are changing the way typologies are interpreted and implemented.
In Germany, Austria and Switzerland, traditional design patterns meet innovative, data-driven spatial organization.
Sustainability, flexibility and social resilience are becoming the touchstone of new typological strategies.
Today, professional planners must combine in-depth typological knowledge with parametrics, building information modeling and user analytics.
The debate about typology is a reflection of social, technological and ecological upheavals – and has long been part of the global architectural discourse.
The vision: no more rigid types, but adaptive, process-oriented spatial sequences that think of architecture as a dynamic system.

Typologies in DACH: between cultivating tradition and digital disruption

Anyone strolling through universities and architecture firms in Germany, Austria and Switzerland today will encounter an astonishingly vital concept of typology. The classic doctrine of spatial sequences, axes, enfilades and cellular buildings is by no means yesterday’s news. On the contrary: typological approaches are experiencing a new boom, particularly in the context of growing complexity and social demands. This is not least due to the fact that the individual room has long since reached its limits as a solitaire. Residential construction, educational buildings, working environments – everywhere the question of the relationship between individual spaces and spatial sequences is more virulent than ever before. The DACH region maintains its tradition of rational typology, from the residential cell to the office scheme – and yet at the same time struggles with new, often contradictory requirements. On the one hand, there is a demand for flexible, open room structures that can accommodate a variety of uses and change. On the other hand, the desire for clarity, orientation and identity in the space remains. The balancing act between tradition and innovation is becoming a key issue.

At the same time, it is precisely digital methods that are turning the concept of typology on its head. In Zurich and Vienna, parametric models are being used to generate spatial sequences no longer according to the F-scheme, but according to user needs, energy flows and climate optimization. This often results in designs that defy traditional typologies but are still highly functional. In practice, it is clear that the rigid separation between individual rooms and room sequences has long since been blurred. What counts is the ability to think of spaces as dynamic systems – and to orchestrate them with the help of digital tools. The competition between old and new methods creates productive discourse, but also uncertainty. How much typology does the present need? And how much individuality can the system tolerate?

German building culture is notorious for its love of the grid, the standard, the type. But this is precisely where the danger lies: those who only plan according to templates will no longer be able to meet the requirements of climate adaptation, social inclusion and digital transformation. In Austria, on the other hand, there is a greater openness to experimental spatial sequences, for example in subsidized housing or educational buildings that are staged as spatial landscapes. Switzerland, on the other hand, pursues a pragmatic middle way – between rational type planning and finely balanced spatial sequences, which often serve as a model for international competitions.

Typology is therefore anything but a relic. Rather, it is a laboratory in which social, technical and ecological challenges come together. Anyone planning in DACH today must therefore not only master the vocabulary of spatial sequences, but also their translation into digital, sustainable and user-centered design processes. The times when the individual room was considered the supreme discipline are finally over. What is needed is thinking in terms of relationships, processes and scenarios – and this is where the real future of typology begins.

The question of the right amount of typology remains controversial. Too little – and architecture loses its backbone. Too much – and it suffocates any innovation in the corset of convention. The trick is to understand typological principles as a toolbox: flexible, adaptive and open to the unexpected. Because one thing is certain: anyone who views typology as a rigid dogma has long since lost out in the digital age.

Digital transformation: how AI and parametrics are revolutionizing typology

It sounds like science fiction, but it has long been part of everyday life in progressive design offices from Berlin to Basel: the digital transformation has not only expanded typological design approaches, it has fundamentally changed them. What once began as a set of room types is now permeated by algorithms, AI-supported analyses and parametric models. The highlight: typologies are no longer static, but can be generated dynamically. With BIM-based workflows, generative design algorithms and simulations, hundreds of variants of spatial sequences can now be generated, evaluated and optimized in a matter of seconds. The role of the architect is shifting from typologist to orchestrator of complex, data-driven design processes.

In practice, this means that typologies are no longer selected solely according to aesthetic or functional criteria, but also according to performance parameters. How does daylight flow through a sequence of rooms? How do air flows change when rooms are arranged differently? How flexibly can uses be adapted when social requirements change? Today, AI systems can not only answer these questions, but also independently generate suggestions for optimized room sequences. The result is adaptive floor plans that adjust to the life cycle of buildings – and can therefore do far more than traditional standard buildings.

However, the digital revolution not only brings opportunities, but also risks. The temptation to fully automate design and planning is great – and quickly leads to alienation from the actual spatial experience. Those who blindly rely on algorithms may end up with the most efficient space, but not the most sensual one. The challenge is to use digital tools as an extension of architectural thinking, not as a replacement for it. Typology becomes the playing field for human-machine collaboration. The human being (still) remains the curator, the machine the assistant.

The development in collaboration between different disciplines is particularly exciting. Typological spatial sequences are now developed on an interdisciplinary basis: urban planners, building technicians, sociologists and users contribute their data and scenarios. The digital platform makes it possible for variants not only to be visualized, but also simulated, evaluated and further developed in a participatory manner. The result: typologies that arise from real needs, real processes and ecological objectives – and no longer just from the designer’s gut feeling.

An international comparison shows that while DACH still often remains stuck in the translation of analog typologies into digital, pioneers such as the USA, Denmark and Japan have long since gone one step further. New, hybrid spatial sequences are being developed there that break up and recombine classic types – often with astonishing spatial quality. The global architectural debate no longer revolves around the question: typology yes or no? Rather: How much typology can remain digital, how much must remain analog? The answer is still open – and that is precisely what makes the topic so exciting.

Sustainability and resilience: typology as a tool for the future

Anyone talking about sustainability today should not underestimate the role of typology. The way in which individual rooms are combined to form room sequences has a direct impact on energy consumption, space balance, use of materials and user behavior. A poorly thought-out combination of rooms can drive up energy requirements, make retrofitting more difficult and encourage social isolation. Conversely, intelligent room sequences can create synergies, enable passive air conditioning, promote flexible uses and increase the resilience of buildings. Typology thus becomes a strategic lever for sustainable architecture.

In Germany, Austria and Switzerland, the understanding of these interrelationships has grown – but is still far from standard. While sustainable spatial sequences are increasingly being tested in school construction and subsidized housing, the dictate of maximum space utilization still dominates in office and commercial construction. International examples show that adaptive typologies with open space sequences, cluster structures or multifunctional zones can offer enormous ecological advantages. The trick is to think of the typology as a dynamic, life cycle-oriented system – and not as a rigid formula.

The topic becomes particularly relevant in the renovation and redensification of existing buildings. Here, the spatial organization determines how well a building can be adapted to new requirements – and whether it can be used sustainably for decades to come. Typologies that promote flexibility, modularity and convertibility have a clear advantage. In Switzerland, for example, such approaches are specifically promoted, for example through cluster apartments, open learning landscapes or flexibly interconnectable workspaces.

Another aspect is social sustainability. Spatial sequences not only determine energy requirements, but also the quality of interaction, the opportunity for participation and the experience of community. Particularly at a time when loneliness and social fragmentation are seen as new challenges, spatial organization is becoming a social resource. Typologies that intelligently combine encounters, exchange and retreat can create real added value here. However, this requires a rethink: it is no longer just the individual room that counts, but the interplay of spaces as a social organism.

Integrating sustainability goals into typological design approaches is anything but trivial. It requires technical knowledge, digital simulation skills, an understanding of user processes and the ability to assess long-term developments. Anyone planning typologically today must therefore think outside the box – and be prepared to boldly question classic types. Only then will typology become a tool for the future – and not a brake on progress.

Professional expertise: what planners really need to know

The days when mastering typology was a question of style are definitely over. Today, it’s all about hard skills: digital modeling, parametric design logic, BIM expertise, energy and user analyses. Any architect, engineer or developer who wants to have a say in the typological discourse must be able to do more than just draw floor plans. The ability to simulate, evaluate and adapt spatial sequences is becoming a decisive competitive advantage – not only in the highly competitive real estate market, but also in the global race for innovation.

However, there is still a huge gap in training. While some universities already offer digital typology studios, elsewhere the romantic image of the design genius who intuitively composes spaces still prevails. The reality is different: Anyone who is not able to parameterize typological systems, calculate scenarios and evaluate variants will soon be left behind. And this applies not only to new builds, but above all to the renovation, transformation and redensification of existing buildings. The ability to analyze, optimize and digitally document existing spatial sequences is becoming increasingly important.

The technical and content requirements are high – and continue to grow. In addition to knowledge of building physics, user behaviour and digitalization, a keen sense of social processes is also required. After all, it is not the algorithm that ultimately decides, but the quality of the spatial experience. Typology therefore remains a balancing act between technology and intuition, between simulation and experience. Those who master this will become sought-after experts – and drivers of innovative solutions.

The discourse on participation and user integration is also gaining new weight in the context of typological design approaches. Today, digital tools make it possible to feed user feedback into the design process at an early stage and to interactively test and adapt spatial sequences. This not only changes the planning culture, but also the self-image of the profession. The designer is becoming a moderator, a curator, a data analyst – and must be prepared to take on new roles.

Anyone who plans typologically today never plans alone. The complexity of requirements, the variety of tools and the speed of change demand collaboration, openness and constant learning. The classic typology is dead – long live the adaptive, collaborative, data-driven typology. Those who understand this will also successfully create spaces in the future that are more than mere shells: namely living, changeable spatial sequences for an uncertain but exciting future.

Conclusion: typology as a dynamic discipline – and as an invitation to rethink

Typological design approaches are anything but dusty theory. They are the laboratory where technical innovation, social responsibility and digital transformation meet. The art lies in understanding individual spaces and spatial sequences not as static templates, but as dynamic systems – open to change, ready for complexity and curious about the unknown. Anyone thinking typologically today must think digitally, sustainably and socially at the same time. The future does not lie in either-or, but in both-and: spatial sequences that adapt, learn and grow. Welcome to the era of process-oriented typology – everything else is yesterday.

01.11.2024

LAP 2021 awarded

Building design

The motto of the LandscapeArchitecturePrize 2021 was: Think bigger! Be immeasurable! — The motto of the LandscapeArchitecturePrize 2021 was: Think bigger! Be boundless! (Photo: Johannes Hloch)

The winners of the Austrian young talent competition LAP 2021 have been announced. The award ceremony took place on April 7.

The 2021 winners of the LandscapeArchitecturePrize for Students (LAP) have been announced. The ÖGLA awarded this year’s winners at the beginning of April. The motto of the LAP 2021 was “immoderate“. After times of austerity during the pandemic, restraint was allowed to fall. The designs had to break all norms!

The LAP is an ideas competition aimed at students and young graduates of landscape architecture and planning. This year, the Austrian Society for Landscape Architecture (ÖGLA) called on these young people to be boundless. After the recent times of hardship, the aim was to think beyond the minimum and most necessary. Accordingly, the ideas competition invited them to think freely and freshly about ideas and perspectives for open spaces in the city. The winners of the LAP2021 have now been announced.

The ÖGLA awards the LAP every two years. This prize, designed as an ideas competition, is aimed at students and young practitioners in landscape architecture and landscape planning. This competition regularly gives them the opportunity to work creatively, present their ideas publiclyand compete with their peers. For the LAP 2021, the participants were asked to think about open spaces without limits or restrictions. The up-and-coming colleagues were asked to leave all demand figures, norms, limits and economicconstraints behind them. They were allowed to dream up and design large, lush open spaces. Because the motto of LAP 2021 is: Think bigger! Reach for the stars! Let’s show that freedom is not only a valuable asset in emergency situations!

Impressions of the award ceremony (Photo: Johannes Hloch)

The jury for the prize met in Vienna in November 2021. On April 7, 2022, the winners were awarded their prizes. The jury unanimously selected Michael Tulio Bühler from the University of Applied Sciences Eastern Switzerland as the winner of the third prize. His entry is entitled “Canton Rösti”. Second prize in 2021 went to the team of Djordje Ilic and Moritz Blümel from BOKU Vienna, who impressed the jury with their entry “Tanja needs your help!”. The first prize of the LAP 2021 went to the work “NO NAME (Tangentiale Est)“, submitted by David Biegl from BOKU Vienna.

NO NAME (Tangential Est)

In the work NO NAME (Tangentiale Est) by David Biegl, the jury was particularly impressed by how the old excessiveness of a functional building is overwritten by the reinterpreted excessiveness of green infrastructure. In David Biegl ‘s work, an old city highway is planted, connecting the city’s large green spaces for cyclists and pedestrians. This gives it a sculptural character and at the same time elevates it to monumental status by painting it gold.

In this design for the LAP 2021, a new excessiveness becomes the norm. The jury found the handling of the existing building, the consistent approach and the excitingcultural and spatial context of the entry very appealing. In addition, David Biegl graphically created a space of longing that does not claim to improve the world from below. According to the LAP 2021 jury, the author knew how to recognize and understand a problem and to cast it into a monument through reinterpretation. Accordingly, the jury unanimously decided to award David Biegl first prize.

The second prize in 2021 was awarded to the contribution of Djordje Ilic and Moritz Blümel from BOKU Vienna. The jury initially debated the eligibility of the work, which was accessible via a videolinkedto a QR code. But in the end, the judges decided that this method and planning approach did not contradict the competition brief. In the end, the storytelling and innovative approach were even praised.

On the poster submitted for the LAP 2021, Tanja reflects the call of the competition: planners should act in a self-determined, courageous and unrestrained way. Tanja calls on them to free themselves from narrow-mindedness and shackles and, together with many other allies, to act radically, courageously and without restraint. The authors illustrate their approach of thinking beyond boundaries in a video. The LAP 2021 jury honored the contribution as an initial spark that can be taken further. It also praised the progressive approach to transporting ideas, which pushes the boundaries of the competition brief and forces the organizing team torethinkthe brief for the next competition of this kind.

The third prize of the LAP 2021 goes to Switzerland. The author impressed the jury with his suggestion to think about the challenges of the 21st century in terms of a new spatial-social construct. Accordingly, a new planning dimension for landscape architects was created. To this end, the work designs a progressive super-canton that easily achieves climate targets, welcomes migrants and shows how to deal with scarce resources. All of this becomes the engine of a model region with radiance, which makes the idea of boundlessness recognizable.

The jury recognizes that the contribution of the student from the University of Applied Sciences of Eastern Switzerland is a purely internal view of Switzerland that does not highlight opportunities for the surrounding area. Accordingly, the work did not look outside the box and failed to show the impact on Europe. Although the jury also lacks the landscape planning approach of such a model region, they honor the borderless thought model. They see a special appeal in the scale and possibilities, which is why the visionary power reached the LAP 2021 jury members and they concluded the award with a third place.

You might also be interested in: the winners of the Landscape Architecture Prize Baden-Württemberg 2022.

14.11.2024

New local court in Tübingen: From military to court

Building design

The new Tübingen district court in Schellingstraße was remodeled by Dannien Roller architekten. Photo: Dietmar Strauß

Dannien Roller Architekten have converted the former military building in Tübingen into the new headquarters of the probate, care and insolvency court. With carefully considered interventions, they have not only preserved the existing structure, but also used it as an aesthetic tool.

Dannien Roller Architekten have converted the former military building in Tübingen’s Schellingstraße into the new headquarters of the probate, care and insolvency court. With carefully considered interventions, they have not only preserved the existing structure of the Tübingen district court, but also used it as an aesthetic tool.

How do we deal with the stock? This question is becoming increasingly urgent in view of the climate crisis. The construction sector is a major emitter of greenhouse gases, both through the maintenance of buildings and through the consumption of resources and materials in new buildings. In the case of existing buildings, it is therefore advisable to check whether a building can be preserved. Many existing buildings are given a second life through refurbishment, revitalization and conversion. This is also the case with the new Tübingen district court by Dannien Roller Architekten, which was completed in 2021.

The former chamber building of the Thiepvalkaserne barracks became the new home of the office in Tübingen following the notary reform in 2017. The challenge was to adapt the structure, which was built in 1907, to the new requirements in terms of spatial planning, technology and standards. From statics to fire protection, the building had to be brought up to date. To this end, the handling of the historical building fabric was fundamentally reflected upon. Should it serve as a support for new architecture or be deliberately staged to draw attention to the genius loci? The architects at Dannien Roller opted for the latter.

The transformation from a military building to a place of independent jurisdiction was to be carried out carefully, not only in view of ideological concerns, but also with regard to monument protection. The different uses of the rooms of the Tübingen district court made extensive renovation measures necessary. For example, the chamber building contained a laundry and a vehicle shed, both of which have left their mark on the existing building.

Foundations had to be replaced and the floor slab lowered. The ceiling above the first floor was also removed, which is why extensive safety measures had to be taken. Barrier-free access was also created, which can now be accessed directly via the historic archways from Schellingstraße. At the rear, former garage doors were converted into large windows, providing the larger rooms with sufficient daylight. In order not to disturb the original external appearance, the vestibule in the entrance foyer was moved inwards and deliberately designed as a lightweight construction made of wood and glass.

Dannien Roller Architekten left the new reinforced concrete ceiling, which replaced the original one above the ground floor, visible in the entrance area and the courtrooms. They also opted for a light gray wall coating, light-colored exposed screed and oak wood for the furnishings. The clear use of color and material is intended to give the building a clarity of expression and elegance for its function. For Dannien Roller Architekten, important associations with an independent court include dignity and independence, order and transparency. This should also be spatially tangible in their design.

Apart from the first floor with the courtrooms and the organizational function rooms, the remaining upper floors house the workrooms for judges and staff as well as the registries. In the course of renovating these rooms, new materials, a new design language and construction were added. Here too, Dannien Roller Architekten wanted to keep a low profile in the architectural gesture in order to create a calm working atmosphere.

The offices are arranged around a central meeting zone in the building. The kitchenette for employees is also located here. It forms the social and communicative core of the upper floor. From this central space, the offices can be accessed mirrored on both sides. An elevator will be added to the two staircases on the front sides, connecting the barrier-free first floor with the rest of the building. The new Tübingen district court is not only intended to be a home for the judiciary, but also to assure citizens that the best work for society is being done here.

The focus on a friendly, calm and clear ambience was of great importance to the architects. Especially in order to transfer the flair of the former military building into a contemporary working environment. The fact that something has changed on the inside can also be seen on the façade facing Schellingstrasse, where the building has been adorned with the sleek and timeless inscription “Amtsgericht” since the renovation.

By the way: just a few meters away from the old town of Tübingen is a historic building that was converted by Dannien Roller Architekten + Partner – and is still in use. Find out more here.