XR for Collaborative Design Sessions

Building design
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Architectural details of a modern building facade in black and white, photographed by Thierry Lemaitre

XR in an architecture firm? To many, that still sounds like tech overkill involving smart glasses. In reality, however, extended reality is currently revolutionizing the way we design, discuss, and make decisions together. What has long been part of everyday life in other industries is being tested with the brakes on in the architectural world of Germany, Austria, and Switzerland. It’s time to confront a few uncomfortable truths and real possibilities.

  • XR—that is, Virtual, Augmented, and Mixed Reality—is making its way into collaborative design work and fundamentally changing how we collaborate.
  • The technology opens up new dimensions of real-time collaboration between architects, engineers, building owners, and users.
  • Germany, Austria, and Switzerland are still hesitant by international standards, but are experimenting with initial XR projects in the design process.
  • Digital tools, cloud platforms, and artificial intelligence are driving this development—but cultural and technical hurdles often slow it down.
  • XR can reduce planning errors, democratize participation, and promote sustainability, but it also carries risks such as data monopolies and a loss of touch with reality.
  • Professional users need not only technical aptitude but also a new understanding of processes and genuine digital leadership skills.
  • The Debate: Does XR Make Architecture More Democratic—or Just More Spectacular?
  • In the global discourse, the DACH region is under pressure to innovate but does not want to lose control.
  • Conclusion: XR is not a gimmick, but the next evolutionary stage of design—provided we take it seriously.

XR in Design: Where Do Germany, Austria, and Switzerland Stand?

The traditional design process in architecture and urban planning is a ritual of sketches, plans, models, and endless rounds of coordination. Yet digital technologies such as virtual reality (VR), augmented reality (AR), and mixed reality (MR)—collectively known as XR—have long been making inroads into this bastion of analog work. While international firms have long been experimenting with digital twins and immersive review sessions, skepticism still prevails in the DACH region. The reasons? There are many, ranging from fear of technology to software silos to a carefully cultivated cult of genius. Nevertheless, more and more firms and universities are opening up to XR-based design meetings, often as part of pilot projects or funded research initiatives.

In Germany, for example, the first major planning firms are adopting VR rooms where multidisciplinary teams can simultaneously experience and work on complex construction projects. In Austria, XR is primarily being tested in the context of urban planning competitions and neighborhood developments—for example, to visualize participatory formats and accelerate decision-making processes. Switzerland, on the other hand, stands out for its strong IT architecture scene, which uses XR tools specifically for precise BIM integration and collaborative planning. Nevertheless, the major breakthrough has not yet been achieved: too expensive, too complicated, too few standards—these are the most common objections.

What is often forgotten is that XR is not an end in itself. The technology truly shines where traditional media reach their limits. A complex structural system is much easier to grasp in VR than on paper. A discussion about a facade becomes much more focused when planners and the client walk through the virtual space together. And a sustainability review only becomes truly tangible when heat spots, shading, and material cycles become visible in real time. It is precisely at this point that XR begins to redistribute roles in the design process—and to break down traditional power structures.

At the same time, it becomes clear that introducing XR isn’t just a matter of having the right hardware; it requires a new mindset. Anyone who believes that simply wearing VR goggles automatically makes the office “digital” underestimates the depth of the transformation. It’s about new forms of collaboration, changed decision-making processes—and the willingness to relinquish control. Because XR makes design processes more transparent, but also more vulnerable. Anyone who enters an immersive session with half-baked models is in for a rude awakening—in the truest sense of the word.

One thing is certain: international competition never sleeps. While Asian and North American firms have long regarded XR as a standard tool, the DACH region risks falling behind. Those who don’t invest now risk soon becoming nothing more than digital spectators. The big question: Do we have the courage to see XR as an opportunity—or would we rather stick with the tried-and-true model-making methods using cardboard and plaster?

Innovations and Trends: How XR Is Revolutionizing Collaborative Design Work

The most exciting developments in XR for collaborative design sessions are taking place at the intersection of technology, organization, and methodology. Modern cloud platforms enable teams worldwide to work simultaneously on virtual models—in real time, from any location. The architecture industry is discovering the benefits of multi-user VR: Suddenly, architects, engineers, and clients can walk through the same building together, discuss details, identify conflicts, and explore different options. What used to take days or weeks can now be accomplished in a single session—without any loss of information between disciplines.

Particularly revolutionary is the use of AI-powered tools that integrate simulations, analyses, and design proposals directly into the XR environment. For example, energy flows, daylight patterns, or user flows can be displayed live and evaluated as a team. The simulation of scenarios—from fire safety to accessibility—thus becomes an integral part of the design discussion. XR becomes a medium that makes complex data visible, tangible, and therefore negotiable.

Another trend: the democratization of design. XR platforms make it possible to involve external stakeholders—such as users, investors, or government agencies—in the planning process. Public referendums, participatory formats, and reviews suddenly become immersive experiences in which every participant can directly experience the effects of design decisions. This fosters understanding, acceptance, and transparency—and puts an end to the industry’s ivory-tower mindset.

At the same time, entirely new professions and role profiles are emerging. The traditional CAD draftsman becomes an XR designer, and the project manager becomes a facilitator of immersive collaboration processes. Interdisciplinary teams are experimenting with storytelling elements and gamification to convey complex content more vividly. Architecture thus becomes performative, emotional, and—yes, sometimes even spectacular. But above all, it remains one thing: a collective process in which XR rebuilds the bridges between disciplines and hierarchies.

Of course, not all that glitters is gold. Many XR applications are still in their infancy, hardware remains expensive, and software is fragmented into siloed solutions. Yet the trend is clear: the future of collaborative design work is immersive, networked, and data-driven. Those who experiment in this field are not only designing buildings—but also shaping the future of their own profession.

Digitalization, AI, and the New Rules of Collaboration

The digital transformation of the construction and planning industry is not a sure thing. XR is just the tip of the iceberg. Behind it lie powerful developments: Building Information Modeling (BIM), cloud-based data rooms, automated workflows, and artificial intelligence. All of this converges in the new XR tools to form an ecosystem that takes planning, simulation, and collaboration to a whole new level. The technical possibilities are growing rapidly—yet the willingness to use them remains limited in many places.

Artificial intelligence is playing an increasingly important role, for example in the automatic optimization of designs, the analysis of user behavior, or the verification of compliance with standards and regulations. In XR environments, AI-powered assistants become sparring partners for architects: they suggest alternatives, warn of collisions, or calculate a material’s life cycle assessment in a fraction of a second. This significantly accelerates decision-making processes—and relieves planners of routine tasks.

At the same time, new challenges are emerging: Who controls the data, who is liable for errors, and how can sensitive information be protected from misuse? The debate over data sovereignty is in full swing—especially in Germany, where data protection is almost a state religion. XR tools must therefore meet the highest security standards, be interoperable, and integrate seamlessly into existing IT landscapes. Those who rely on siloed solutions risk costly inefficiencies and dependence on individual vendors.

However, the new rules of collaboration require not only technical expertise but also a new leadership culture. Digital meetings don’t run on their own—they need facilitation, clear goals, and an open culture of learning from mistakes. Anyone who views XR merely as a fancy gadget will quickly be caught up by reality. It takes experienced facilitators who can steer discussions, resolve conflicts, and maintain an overview. The profession of the architect is evolving: the lone wolf is becoming a networker, and the planner is becoming a process designer.

Anyone who wants to keep up must continue learning, experiment, and step outside their comfort zone. The good news: The tools are becoming increasingly user-friendly, and the barriers to entry are lowering. The bad news: Those who don’t get on board now will be left behind—and swept away by the next wave of innovation.

Sustainability, Participation, and the Major Risks of XR

There is great hope: XR is expected not only to accelerate design processes but also to make them more sustainable. In fact, early projects show that planning errors can be identified early on, resource-intensive redesigns can be avoided, and environmental impacts can be precisely simulated. Those who experience the progression of daylight or the shading patterns of a neighborhood in VR make better decisions—ones that support climate protection. Material selection, energy concepts, and user flows can also be simulated in detail using XR. The potential for sustainable architecture is enormous—provided the technology is used responsibly.

But XR can do even more: it makes planning processes more transparent and democratic. Participation formats that often fail due to comprehension barriers in 2D plans become an immediate experience in VR. Users can identify barriers, experience spatial qualities, and provide feedback that is actually incorporated into the design. This promises greater acceptance, fewer protests, and projects that truly work for people.

However, where there is light, there is also shadow. XR carries significant risks. Who controls the platforms on which urban planning and architecture are suddenly being negotiated digitally? Is there a threat of the commercialization of planning data, dependence on Big Tech, or even the loss of planning autonomy? Critics warn of algorithmic bias, digital overkill, and the danger that virtual reality will overshadow the physical—until, in the end, the needs of real people are lost sight of.

Sustainability is no sure thing either. The energy-intensive infrastructure behind XR applications, the short innovation cycles of the hardware, and the volume of data generated raise new environmental questions. Anyone who wants to make XR green must consistently prioritize sustainable server solutions, open standards, and the mindful use of resources. Otherwise, there’s a risk of a digital boomerang effect: an eco-fig leaf instead of genuine transformation.

Professional users therefore need more than just technical skill. They must understand the social, environmental, and ethical dimensions of XR—and actively shape them. Those who treat XR as an end in itself lose sight of what truly matters. Those who view it as a tool for better, more sustainable, and more democratic architecture can truly transform the industry.

XR and the Global Architectural Discourse: Visions, Criticism, and the Future of Design

In an international comparison, the DACH region lags behind in the use of XR for collaborative design sessions. While major cities like New York, Singapore, or Copenhagen simulate entire urban developments in VR, the German-speaking world remains surprisingly cautious. The reasons are complex: In addition to data protection and a lack of investment, cultural factors also play a role. The belief in genius, the fear of losing control, and the longing for tactile experience are holding back the digital avant-garde. Yet the global discourse is exerting pressure: Those who want to remain future-ready must face these new realities.

Visionary voices have long been calling for a radical opening up of the industry. XR, they argue, could democratize architecture, accelerate processes, and make sustainability measurable. But: the technology must remain open, transparent, and accessible. Only then will genuine added value emerge—rather than a new digital elite that turns planning into a black box. Critics warn of the “Disneyland effect”: If architecture is staged solely as an immersive spectacle, there is a risk of a loss of substance, superficiality, and a retreat into the virtual.

At the same time, the number of pioneers who view XR as a tool for genuine innovation is growing. They are experimenting with AI-supported design processes, connecting global teams, and creating hybrid spaces where the physical and digital worlds merge. Their projects set new standards—and make it clear that the future of design lies not in an “either/or” choice, but in “both/and.” Architecture remains a collective adventure—but one that demands new tools and new ways of thinking.

The debate surrounding XR is therefore also a debate about power, control, and responsibility. Who sets the rules, who benefits from digital transformation, and how can architecture remain human? The answers to these questions will shape the industry in the coming years—and determine whether XR remains just a fad or truly becomes the new normal.

One thing is certain: the door to the future is open. Those who step through it need courage, curiosity, and a willingness to make mistakes. But they also need the conviction that XR is more than just a tech gimmick. It is a tool for better, more sustainable, and more democratic architecture—if we allow it to be.

Conclusion: XR is not an end in itself—but the next evolutionary stage of design

XR for collaborative design sessions remains a challenge—technically, culturally, and organizationally. But it is also a huge opportunity. Those who take XR seriously can avoid planning mistakes, promote sustainability, and democratize participation. Those who miss the boat will fall behind in the international discourse. The good news: The future is still up for grabs. Now is the time to move XR from hype to practice—with courage, foresight, and a willingness to break with old traditions. Because the next stage in the evolution of design isn’t virtual—it’s more real than ever.

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Apply now! – Textile & Craft Award is presented by the European Textile Academy

Building design
Apply now! - Textile & Craft Award is presented by the European Textile Academy. Photo: ttps://eurotextileacademy.com

Apply now! - Textile & Craft Award is presented by the European Textile Academy. Photo: ttps://eurotextileacademy.com

The European Textile Academy (Bolzano) has launched the EUROPEAN TEXTILE & CRAFT AWARD to recognize special achievements in contemporary and traditional crafts and arts and their connection to the world of design. Take part!

The European Textile Academy (Bolzano) has launched the EUROPEAN TEXTILE & CRAFT AWARD to recognize special achievements in contemporary and traditional crafts and arts and their connection to the world of design. Take part!

Consumption is increasingly taking ecological and social-ethical aspects into account – all the more so as the range of products on offer becomes more diverse, cheaper and lower-threshold. “Better instead of more” is the principle of slowing down, living and consuming more mindfully and consciously. The European Textile Academy has created the EUROPEAN TEXTILE & CRAFT AWARD to recognize special achievements in contemporary and traditional crafts and art professions and their connection to the world of design. The ETA Award stands for creative and trend-setting solutions in the global market.

The jury recognizes pioneering achievements in innovative products, taking sustainable criteria into account. The materials used and innovative natural fibers, aesthetic and functional design, processing quality and resources, environmentally friendly production and social and ethical aspects are key criteria for the award. The award is proof of the outstanding quality of the product and a reliable seal of quality for consumers and manufacturers. Participation is possible in award categories. Interested parties can submit their application in a category that appears to be advantageous for them.

The award categories are:

  • Textile Craft (textile crafts in the fields of weaving, dyeing, knitting, embroidery, upholstery, textile printing, millinery, etc.)
  • Sustainable Fashion Craft (fashion crafts, custom tailoring)
  • Sustainable Fashion & Textile Industry (sustainable industrial processing in women’s and men’s fashion and in the textile industry)
  • Textile Art (textile art, exhibition installations, etc.)
  • Textile Architecture (textile constructions, architecture of buildings of all kinds (public buildings, sports facilities, industrial and corporate buildings, residential buildings, museums, hotels, etc.)
  • Textile shading systems (textile shading systems, tent constructions, etc.)
  • Architecture with Natural Fibres (contemporary architecture with fibers, e.g. hemp, flax, straw, bamboo, willow, bark and renewable plant fibers)
  • Interior (home fabrics and carpets, upholstered furniture, upholstered beds and home accessories, textile printing, indoor and outdoor)
  • Hospitality (the award recognizes hotels, inns, etc. that have recognized the quality of textile furnishings in all guest areas for their competitiveness)
  • Museums, Collections & Archives (the aim of this award is to recognize outstanding museum, collection and archive activities and the quality of museum presentation and mediation work as well as the efforts to preserve “textile” in all its areas as a cultural asset and make it accessible to a broad public)
  • Other (Textile topics not included in the above categories, application on request).

The award-winning projects and products will be exhibited at the Int. Festival of Textile Craft, Textile Art & Design from March 15 to 17, 2024 at Maretsch Castle in Bolzano. An award at the European Textile & Craft Award generates attention and increases visibility. The ETA AWARD 2024 is proof of the outstanding quality of the product and a reliable seal of quality for manufacturers and customers.

Registration and submission: within October 21, 2023

Jury meeting: November 9 and 10, 2023

Publication of the award winners: December 2023

Gala award ceremony: Friday, January 12, 2024 at the Waltherhaus in Bolzano

The European Textile & Craft Award is decided by an independent international jury of experts made up of representatives from colleges, universities, crafts and industry, art and culture. The members of the jury include couturier Gaetano Aloisio, Moritz Dörstelmann, Professor of Digital Design and Communication at KIT Karlsruhe, art historian Ursula Schnitzer and Aurora Magni, President of Blumine srl, a research and consulting company active in the field of sustainable textiles and fashion since 2010, as well as Dr. Ute Strimmer (Editor in Chief Restauro).

The jury will select “Award” winners in each category, as well as an appropriate number of “Silver” winners. In addition, “Special Mention” awards are presented for particularly noteworthy achievements. The evaluation criteria are: Overall concept, aesthetic and functional design, processing quality, processed material or fibers, sustainability, materials used and innovative natural fibers, aesthetic and functional design, processing quality and resources, environmentally friendly production as well as social-ethical aspects are essential criteria for awarding the award. The manufacturing industry, designers, craftspeople, artists, architects, universities and research institutions, museums, collectors, archives, hotels and restaurants are all eligible.

Registration for the award takes place exclusively via the registration portal of the European Textile Academy (www.eurotextileacademy.com)

"We are all Detroit" portrays the development of the cities of Bochum and Detroit after the withdrawal of the car industry. (Photo: Film production Loekenfranke 2021)

"We are all Detroit" portrays the development of the cities of Bochum and Detroit following the withdrawal of the car industry. (Photo: Film production Loekenfranke 2021)

We are all Detroit: The film “We are all Detroit” will be released in German cinemas on May 12, 2022. Directors Ulrike Franke and Michael Loeke portray the development of the two cities of Bochum and Detroit following the withdrawal of the automotive industry.

We are all Detroit: The film “We are all Detroit” will be released in German cinemas on May 12, 2022. Directors Ulrike Franke and Michael Loeke portray the development of the two cities of Bochum and Detroit following the withdrawal of the automotive industry. More about “We are all Detroit” here.

Bochum in North Rhine-Westphalia and Detroit in the North East of the USA. The Ruhr area and the Rust Belt. Two cities, two former industrial regions that are geographically far apart. And which appear very different at first glance. On closer inspection, however, they have one essential thing in common. They gained enormous economic importance thanks to the boom in the automotive industry. And they have been losing their most formative structures for years due to the end of this very industry. The beginning of the end of the industrial age is undeniably noticeable in both cities. And in both places, the question of future development away from the once dominant industrial sector arises. Ulrike Franke and Michael Loeken say that they do not want to explain the world in their film productions, but rather tell stories from the world. The two filmmakers have been exploring the transformation of the Ruhr region for several years now. In their new long-term study, they embark on a search for narratives that draw parallels between Bochum and Detroit.

With curiosity and respect, the film duo attempts to trace the stories of those affected on location. In doing so, they focus on a wide variety of people. On the one hand, the fates of those affected by the decline of the industry are shown. On the one hand, they show the fates of those affected by the decline of industry and whose lives changed overnight due to the loss of the economic structure. At the same time, they also seek to talk to those actors who want to shape change through projects and visions and are looking for new narratives for the future. The filmic journey through the two cities becomes a tracing of the life plans and ideas of the local people. Franke and Loeken have already won a Grimme Award for their subtle observation and portrayal. The jury of the German Film and Media Rating Board (FBW) has now awarded their latest work, “We are all Detroit”, the rating “particularly valuable”. It is a cleverly observed, empathetic and multi-layered portrait of the two cities.

Industry disappears, people stay

Franke and Loeken already dealt with the structural change in Bochum in 2012. Their documentary “Arbeit Heimat Opel” followed young trainees at the former Opel plant, which was closed in 2015. Finally, they return to Bochum. And with a look at Detroit, they add to their portfolio about regions undergoing radical change. “We are all Detroit – of staying and disappearing” traces the history of decay. Around 150 years ago, the two cities were figureheads of industrialization. A few decades later, they are now a symbol of deindustrialization. Impressive photographs also show the urban planning aspects of the decline. Empty halls, monumental areas that now lie fallow. Excavators carrying out demolition work on the once impressive steel structures. The visual language of the film is effective and often leaves a feeling of nostalgia. The industry disappears from the cityscape and everyday life. What remains are the people. Who embark on a search for new identities.

Contrasts emerge despite similar starting points. In Detroit, for example, the film duo accompanies programs for urban gardens and community gardens that aim to transform the former automotive industry city into a modern garden city in the future. The old spaces are being given a new lease of life. In Bochum, on the other hand, the focus is on a radical new beginning, a tabula rasa of the existing situation. Franke and Loeken present the example of “Mark 51°7”. An attempt to revitalize the Opel site through investment and marketing. The result was a gigantic DHL parcel center and a science campus. The large projects and movements are supported by individual stories on a smaller scale. For example, the story of a former African-American factory worker who runs an urban farm in Detroit and sells his produce together with others at the market. Or through a married couple in Bochum who are critical of the new parcel center, which is to make way for trees that characterize the area. Finally, “We are all Detroit” shows people in challenging situations of upheaval.

In their work, Franke and Loeken seek to find the political in the private and the comic in the tragic. This is reflected in “We are all Detroit”. Something new seems to be emerging from the decline in both cities. The developments that are already taking place there in the here and now could spread to other regions of the industrialized world in the future. The film title says it all: We are all Detroit. Structural change will affect many places. How individual destinies in Bochum and Detroit grow out of the situation can therefore be a lesson for the audience. The documentary tells the story of capitalism and the market economy in a multi-layered way. In this sense, it provides inspiring food for thought for both citizens and politicians. Through actors who demonstrate an optimistic drive for action in seemingly hopeless situations. And who ultimately strive for a dignified and happy life within the larger economic structure.

Looking for more movie tips? The films by Berlin landscape architect Kamel Louafi are also well worth seeing.