Honesty, Structure, Material: Architectural Principles of New Industrialism
The neo-industrial style of European campuses, offices and innovation districts has much deeper roots than just the fashion for “lofts”. Its origins lie in real industrial buildings of the mid-20th century, which New York artists and designers transformed into residential studios only when industry moved production outside the city. It was then that the first realization appeared that bare structures could be not a temporary compromise, but a full-fledged aesthetic language: materials speak for themselves, engineering is not hidden, and the logic of space becomes part of the architectural value. Half a century later, this approach finally moved from the category of “alternative aesthetics” to the status of a new norm of technological architecture and even became a marker of the premium segment of real estate.
Volodymyr Lenda, regional manager of Schüco Ukraine
"In my opinion, there are several reasons why modern industrial architecture is gaining more and more popularity. First of all, it is a gradual fatigue of society from everything unnatural, ostentatious, unrealistic," he believes. Volodymyr Lenda, regional manager of Schüco Ukraine. — And it’s not just about architecture. We are tired of outdated canons of beauty imposed by advertising, social norms and mass culture, of artificial images that create false landmarks. Social networks daily demonstrate an idealized life, carefully retouched and perfectly filtered. This general fatigue naturally manifests itself in our perception of architecture. Buildings overloaded with decorative elements, often fake or imitating antiquity, are less and less admirable. On the contrary, they often irritate with their insincerity and attempt to appear richer than they really are. We intuitively strive for something real, simple and honest - for architecture without ostentatious brilliance and theatrical decorations. Industrial design is the natural answer to this request.
Natalia Kashirina, architect and co-founder of FILIMONOV & KASHIRINA architects
Natalia Kashirina, architect and co-founder of FILIMONOV & KASHIRINA architects, supports Mr. Landa's opinion: "The secret of the appeal of the new industrial style is its honesty. For us, it may seem new, but for Europe it is a long-established tradition. And at the same time, it is a style that does not lose its relevance precisely because it does not try to hide anything.
This is architecture that openly demonstrates the work of its elements, without unnecessary attributes and decorative layers. We literally see a functioning mechanism: a structure that holds, a material that works, a node that performs its task. There is no artificial decor, no attempt to embellish what already has its own aesthetics - the aesthetics of function. The materials here are also honest. If it is concrete, then it is not hidden under a layer of plaster. If it is metal, then it is read in all its joints and fasteners. If it is wood, then we see its texture, not imitation. Honesty requires clarity. And, like any clarity, it requires quality. In a sense, it is similar to the formulation of thoughts: if we are not confident in ourselves or try to hide something, then we engage in wordiness, but when we formulate it clearly, it becomes immediately clear what we are talking about. The new industrial style works in the same way. It speaks without unnecessary words. It simply shows the structure, material, and logic of the building's operation. And that's why he's so convincing."
Anna Borodkina, chief architect of the Borodkin architects studio
Chief architect of the Borodkin architects studio Anna Borodkina believes that the emergence of a new industrial style was made possible primarily due to technological progress: "We can afford to make honest designs because now technology allows us to implement them neatly, safely, and beautifully. Previously, many architectural ideas simply could not be implemented: there was a lack of materials, equipment, and construction precision.
But I also see an element of fashion in this phenomenon. Architectural fashion is no different from fashion in clothes: once we wore crinolines, then straight silhouettes, then sport-chic. The same is true in architecture: now we are close to purity, simplicity, large windows, open materials. In twenty years, neoclassicism may return - and it will be natural. Architecture always reflects society and its preferences here and now.
However, an important point that has already been emphasized: honesty requires quality. If the construction is open, if there are few materials, each of them must be impeccable. It's like in cooking: the fewer the ingredients, the higher their quality must be. There is simply nothing to hide behind. Therefore, open materials - concrete, metal, wood, glass - must be made perfectly. And this, of course, imposes obligations on architects, contractors, builders.
Olga Podushkina, Vice President of the National Union of Architects
Vice President of the National Union of Architects Olga Podushkina adds: "Such a style obliges to the main thing - high-quality work with engineering. In open spaces, all communications are in sight, so they must be not just functional, but aesthetically thought out, neat, durable. This is no longer a technical necessity, but part of the design composition.
Personally, this language is very close to me, it involves good ceiling height and a certain economy of solutions. In interiors, I often use open concrete structures - they are self-sufficient, but can also be a neutral background for other expressive elements.
For public and exhibition buildings, this is almost always a winning approach: the style coincides with the function, strengthens it. In housing, it is individual. There are families who absolutely do not accept such a style, and this is normal. But for public spaces, the industrial style, in my opinion, works flawlessly.
Andriy Grimanov, Chief Architect of GREENWOOD Development Projects
Andriy Grimanov, Chief Architect of GREENWOOD Development Projects: “What attracts this style? Customers — the illusion of cheapness. Operators — the fact that all networks are open and accessible. Users — flexibility: if the space needs to be transformed, there is no need to cut networks or dismantle ceilings. This is a working, democratic environment without decorative “monograms”. Therefore, I consider the industrial approach promising.”
Dmytro Aranchii, architect and founder of Dmytro Aranchii Architects
Dmytro Aranchii, architect and founder of Dmytro Aranchii Architects: "High-tech has taken the celebration of engineering and structures to a new level. Now the philosophical pendulum of architecture has swung, and the values of humanism and sustainability are rather represented by purer images: the skin often tectonically covers the muscles and internal organs, although the muscles may well be in relief. That is, unlike the conventional Pompidou Center, the models of the era of sustainability and computing are not so maximalist. For example, we can clearly see the elegant nodes, but at the same time the radical "exposed" ones are mostly covered up due to the thirst for energy efficiency. Often, masters even resort to imitations (which, however, emphasize tectonics) from the outside due to the need, say, for insulation.
Naked structures can be not a temporary compromise, but a full-fledged aesthetic language: the materials speak for themselves, the engineering is not hidden, and the logic of space becomes part of the architectural value.
The starting point in design is primarily tectonics, but tectonics is now not only a reflection of structure in function, it is rather becoming all-encompassing: from philosophy to sustainability and the decoration used. Everything is subordinated to one goal - to witness the idea of the building in all its details: from the layouts and flows of spaces to the nodes of the facades and the integration of engineering solutions. In general, numerous parameters of functions, processes, flows, ergonomics, climatic factors, available materials and budget form an effective and optimal image in a specific place at a specific time.
New industrial landscape: Gruppo CAP, Bonfiglioli and Zechhaus headquarters
Quite often, industrial-style objects arise as entire architectural complexes with a utilitarian function: IT clusters, offices of architectural and design bureaus, creative spaces, galleries of contemporary art. Each of them feels the spirit of the times: rationality, technologicality, openness and creative energy. Usually, residents of such spaces are united not only by a common infrastructure, but also by an idea - a common worldview, a desire for meaningful minimalism, for honest aesthetics, where beauty is born from function. "It is this idea, and not the external form, that attracts attention and creates an emotional connection between a person and space," shares Volodymyr Lenda. Indeed, if we consider the iconic architectural objects of recent years that are included in the Schüco corporate catalog, it is noticeable that they echo ideologically. But at the same time they impress with the diversity of visual expression.
The headquarters of Gruppo CAP in Milan, designed by Claudio Lucchin&Architetti Associati. Photo: © Paolo Riolzi
Gruppo CAP Headquarters, Milan
The facade of the new headquarters of Gruppo CAP in the heart of the Romolo district of Milan is a kind of quintessence of new industrialism. Strict rectangular modules of transparent glass alternate with deaf vertical elements, creating a rhythm dictated by engineering logic. We do not exclude that this restrained geometry is inspired by the abstractions of Piet Mondrian.
Gruppo CAP is the water company of Milan. Designed by Claudio Lucchin & Architetti Associati, the building, due for completion in 2023, consolidates offices and services into a single, integral body that floats above the urban landscape, embodying the stability and fluidity of the water that the company manages. The massiveness is not crude, it is technological and balanced. Visible nodes, fasteners and supporting trusses become aesthetic accents. Horizontal slats on the south facade, positioned with mathematical precision, minimize summer solar loads and add dynamics.
Schüco's custom façade solutions play a key role in this alchemy: the SFC 85 system provides structural stability for large spans and cantilevers; the FWS 60 integrates horizontal strip windows, forming a complete building envelope. These systems, combined with geothermal heat pumps and a water recirculation system, are components of the highest level of energy efficiency: Gruppo CAP Headquarters is a zero-emission building with LEED Gold and Net Zero Energy Buildings certifications, generating energy rather than just consuming it.
Bonfiglioli headquarters in Bologna. Photo source: Peter Pichler Architecture
Bonfiglioli Headquarters, Bologna
Bonfiglioli Headquarters, completed in October 2024, finalizes the ambitious EVO project of the company - a leader in the production of gearboxes, drives and inverters for industrial automation, mobile technology and renewable energy. The architects of the Peter Pichler Architecture studio, in collaboration with Arup, which took over the structural and mechanical engineering, created a rectangular volume, cut through by a central internal patio and terraces on a sloping roof. The open interior spaces, with a rotating staircase and a glass passage on the third floor, are designed to stimulate collaboration and the free flow of ideas. Green areas at ground level and on the terraces, with a panorama of the Sanctuary of the Madonna di San Luca, transform the office into an ecosystem.
The façade is a true manifesto of the “new industrialism”: aggressive volumes, where complex angles and inclined planes cut through the space, are tamed by an aluminum mesh “skin”. This engineered shell does not hide the structure: a steel exoskeleton designed by Arup becomes a visible support, demonstrating how large spans ignore traditional constraints. The sloping roof optimizes natural light from the north and integrates 3 MW of photovoltaic panels, complemented by geothermal heat pumps and radiant ceilings, making the building a model of low-carbon autonomy with a Nearly Zero Energy Building certificate.
Schüco facade systems are adapted to complex geometries: the custom Schüco FWS 60 forms ribbon stained glass windows with fine interlacing, the FWS 60 SG systems with minimal seams are ideal for passive insulation levels. This base allows the AWS 114 SI - parallel-tilt or tilt-and-turn ventilation windows - to be mounted without visual breaks and expands the possibilities for automated solutions, allowing mechatronically controlled elements to merge with the exoskeleton. The Schüco AWS 75 BS, with its barrier-free systems and super insulation, complements the door portals. Overall, the chosen solutions reinforce Bonfiglioli's corporate DNA, creating a balance between aggressive volumes and the ephemerality of glass.
Europahafenkopf Zechhaus is a new landmark of the old port in Bremen. Photo source: Cobe
Europahafenkopf Zechhaus, Bremen
Another striking example of how industrial heritage can be reimagined in a modern way is the Europahafenkopf Zechhaus in Bremen. In the former port area, the historic docks are gradually being transformed into a modern urban cluster, and the Zechhaus has become a key element in the revitalization of the area. The project, developed by the star Danish office Cobe in collaboration with Gildehaus Lankenau Architekten BDA and engineers InFaCon GmbH, was completed in 2022 and now serves as the headquarters of the.
The monolithic volume of red concrete is inspired by port warehouses. The saddle-shaped roof (a modern interpretation of local archetypes) is not decorative, but functional: it optimizes natural lighting. Inside, there is an open layout, large spans, panoramic views of the harbor. Here, too, Schüco facade systems have become the technical basis: FWS 60 SI provides large-format strip glazing with high thermal insulation values (U up to 0.8 W/(m²K)), custom SFC 85 SI modules are adapted to massive concrete surfaces and a complex roof.
The Zechhaus has become a key element in the revitalization of the new Europahafenkopf district. Image source: Cobe
Aesthetics that are based on millimeters: a culture of individual solutions
The new industrial style does not forgive mistakes: if the profile is thinner than usual, it must work flawlessly; if the wall is transparent to the full height of the floor, its geometry must be perfect. Schüco facade systems are not just present in this story - they shape the very possibility of such architecture.
"Since there is no decorative layer, systems with hidden drainage and zero thresholds are used, as well as automatic solutions for opening and controlling windows and doors," explains Volodymyr Lenda. "For large projects, we always consider the possibility of creating individual facade solutions. This approach is justified, as it allows for a comprehensive response to the architectural, engineering and operational challenges of a particular object. At the initial stage, it is about adapting standard systems to specific conditions: for example, to increased wind loads, extreme climate or energy efficiency requirements. This may involve the use of components with ultra-low thermal conductivity, resistance to hurricane winds, increased corrosion resistance, protection against ultraviolet radiation or improved acoustic properties. Then the key stage begins - the integration of technical solutions into the architectural idea. Here we work in close cooperation with architects so that engineering improvements do not conflict with the aesthetics of the building.
We can change the shape of the fastening elements, achieve visual integrity of the facade surfaces, ensure smooth transitions between different structures, integrate decorative elements or opening elements - all in accordance with the project author's idea. Over the years, we have accumulated significant experience in this area: every year we develop thousands of special solutions. Often, a suitable option is already in our database of proven and implemented projects. However, if there is a need to create a fundamentally new solution, we develop prototypes, test them and manufacture prototypes.
Schüco facade solutions provide structural stability for large spans and cantilevers at Gruppo CAP Headquarters. Photo: © Paolo Riolzi
In working on non-standard facade systems, Schüco widely uses 3D printing and digital modeling, which allows for rapid testing and refinement of the geometry of complex components. The Schüco Technology Center (STC) plays a key role in this, where a full cycle of research and certification checks is carried out. It is the presence of the STC that makes it possible to implement individual solutions for projects with complex architectural logic.
The new industrial style does not forgive mistakes: if the profile is thinner than usual, it must work flawlessly; if the wall is transparent to the full height of the floor, its geometry must be perfect
A separate area of work is cost optimization. Schüco's individual systems allow you to reduce the budget due to well-thought-out structural components, rational use of materials and precise adaptation of the system to the real requirements of the object. For each project, the company's engineers design profile sections of optimal length, develop special fasteners, seals and fit. All these solutions work to achieve a balance between engineering efficiency, architectural idea and cost.
Architect Dmytro Aranchii has his own view on customization. He is sure that today one of the most important qualities of an architect is the talent to find a balance between the use of standard and individual developments: “Custom architecture is usually exclusive and more expensive. Some of its processes are gradually being automated, and accordingly democratized. However, a very interesting combination is the customization of typification or typification of customization. This is the essence of discrete architecture: architectural elements manufactured robotically in the workshop are devoid of human error and are ready for assembly. Uniformity facilitates subsequent installation, and discreteness ensures the aforementioned diversity and the impossibility of getting bored with the sameness.
Schüco FWS 60 forms ribbon stained glass windows with fine interlacing on the facade of the Bonfiglioli Headquarters. Photo source: Peter Pichler Architecture
But typical systems are also getting a new lease of life. And here it is worth focusing on discreteness instead of modularity. The latter is like a puzzle that can only be assembled in one way. Discreteness, on the other hand, with a minimum number of unified elements gives an infinite number of variations, which means that, if used correctly, it will not get boring at all, but rather the opposite. For example, the adaptability of the architectural system is promoted in a similar way in the development of the Aranchii Unit: spatial units can be combined in any way, allowing architecture to develop in time and space almost arbitrarily.
Between German discipline and Ukrainian reality: industrial aesthetics as a test of maturity
In Germany, industrial heritage is surprisingly naturally combined with a general culture of precision and engineering thinking. Does this organic fusion not have its roots in Protestant ethics? At the invitation of Schüco, Ukrainian architects visited the corporate campus in Bielefeld and walked through the MedienHafen district in Düsseldorf, where the lion's share of the architectural collection is implemented using Schüco facade systems (FLOAT, DOCK, Haus vor dem Wind, Medienzentrum, etc.) In these two locations, very different in scale, but equally consistent in approaches, the industrial language is felt as a common code. Large translucent planes, minimal profile sections, complex radius volumes, facades that read as a single system. This is architecture made with precision assembly accuracy, under strict thermal engineering constraints, which holds real overloads of bold multi-story consoles.
The aluminum mesh “skin” does not hide the steel exoskeleton designed by Arup for the Bonfiglioli Headquarters. Photo source: Peter Pichler Architecture
Are Ukrainian developers and investors ready to invest in buildings where the main value is in precision, material, and engineering, rather than in "visible luxury"?
Olga Podushkina: "Industrial aesthetics appeal to those who are ready for openness - in space and in perception. But this openness has its price. And it is this that often becomes a barrier for customers. Open engineering is not about "cheapening". On the contrary, such systems are usually one and a half, two, sometimes even three times more expensive compared to a traditional solution, where everything is neatly hidden behind a suspended ceiling. However, they last longer and give a completely different quality of space.
An open ceiling or facade cannot be made in any way. Any negligence, any weak detail is immediately noticeable. For brands like Schüco, this is actually an advantage: they can show mastery in the little things. But for performers, it is always discipline and responsibility: openness does not forgive sloppy work.”
Anna Borodkina: “I think the question lies with the customers. Are they willing to pay for it and are they willing to share the philosophy of honesty… Any society should be internally ready for simplicity — “not to give up, but to be.” Some cultures come to this faster, like, for example, the Scandinavians. They have money, but they don’t see the point in decorating everything with dry-laid gold if they can invest in the quality of life. A gold toilet doesn’t make the day better — and that’s a very healthy attitude.
Natalia Kashirina: We in Ukraine are also moving in this direction, but gradually. And so far I cannot say that the companies that are shaping the architectural agenda today are purposefully promoting honesty and simplicity. On the contrary, some are sure that now is, I quote, “the time of impressive architecture”. Personally, I do not think so. I am closer to ideas in which the value is the clarity and sincerity of architectural expression, and not decorativeness for the sake of decorativeness.”
Architectural concrete and maximized glazing in the office interiors of Bonfiglioli Headquarters emphasize corporate openness and democracy. Photo source: Peter Pichler Architecture
Andriy Grimanov: “Our customers often make the mistake of thinking that industrial style is cheap. They say, “I won’t do the ceiling, I’ll leave it as it is, and that’s it.” But this is not the case at all. Open surfaces are the most difficult option. All systems that run along the ceiling should have a completely different look than those that are hidden behind the lining. And this means different materials, different standards, and a completely different budget.
We were at one of the Schüco facilities where the sprinklers are embedded in the concrete. They literally come out of the slab. This means that the networks were laid before the concreting - or were executed with such precision that the result can be compared with a factory product. It is very difficult to do this here, and this requires a different, new attitude to construction from builders. After all, now you often encounter the fact that simple floor openings laid out in the drawings do not match after the concreting. Even in prefabricated solutions, it is not possible to maintain perfect accuracy.
And this applies not only to engineering. Let’s take large-format glazing: doors with four-meter sashes, high Schüco spans. Their work requires perfect geometry. The perimeter of the slab is often raised by a few centimeters to reduce the height of the ceiling to which the transom is attached. The edge of the slab must be perfectly even. And this is exactly our biggest problem. We can’t do it: either the formwork “went away”, or the concrete was poured unevenly, or someone decided to save money. Everything rests on the culture of production. A loft is not about the absence of a ceiling, it’s about precision. It’s a completely different concrete, a different formwork, a different organization of construction. And until we learn this, industrial aesthetics in its purest form will be a challenge for us.”
The red brick and ribbon glazing of the Europahafenkopf Zechhaus is a tribute to the industrial history of the place. Photo source: Cobe
Dmytro Aranchiy: “Historical buildings, in fact, are also created by chaos — a concept that scientists have only recently come to terms with, finding order in it. Of course, by the chaos of the buildings of the independence era, we mean a slightly different subspecies of chaos, which, however, reflects us and the processes in the state. Modern industrial architecture is not a counterweight to the development of cities, but their continuation and addition: ecological transport, local materials, places for people and their well-being, biodiversity and other values — an indispensable challenge to the country's industrial centers. In the industrial parks “Formation. Lviv”, “Formation. Vinnytsia” or “KIT” in Bucha, for example, Aranchii Architects tried to make the mixed-use core spatial in such a way as to satisfy such values.
The developed Schüco Grid2Shell system is ideal for complex parametric design. Example from the BAU 2025 exhibition at the Schüco Campus, Bielefeld. Photo courtesy of Schüco
Whatever it may be, high-quality architecture will be context-sensitive, or, to put it simply, will “fit” into the fabric of the city, wherever it is. This is multi-criteria/multi-parametric design. But it is better when it is high-quality and a little alienated from a less high-quality context than when it takes into account what does not need to be taken into account. But what needs to be taken into account and what memory to value is up to you and me alone to decide - the creators of new spaces and meanings of Ukraine. And this is a responsible matter.”
Volodymyr Lenda: "If a few years ago developers focused mainly on decorativeness and visual effects - complex shapes, massive elements, emphasis on external impression - now the focus is on the quality of implementation, technologicality and energy efficiency. This is a sign of market maturity. Ukrainian investors are increasingly understanding that the true value of a facade lies not in the demonstration of luxury, but in the accuracy of geometry, quality of material, engineering perfection and durability of the solution. Industrial aesthetics, with its honesty of materials and the absence of excessive decorations, is in increasing demand in Ukraine. We see architects working in this direction emerging: for them, it is not the decoration that is important, but the construction as an expressive element. They are looking for support from those who are able to implement their ideas technically flawlessly - and this is where Schüco's solutions are most relevant."
Large translucent surfaces, minimal profile cross-sections, complex radius volumes, facades that read as a single system. This is architecture made with precision assembly accuracy, under strict thermal engineering constraints.
New generation industrial architecture has long gone beyond offices or campuses: today it defines the image of museums, laboratories, exhibition complexes and religious buildings - all those typologies where natural light and rational design become key elements.
There is another subtle, but very important and relevant aspect for Ukraine: the neo-industrial language is especially clearly manifested in cult and memorial projects - temples, spaces of honor, military necropolises. For post-war Ukraine, this trend takes on a special meaning: architecture that comprehends loss and memory requires restraint, clarity of forms and material honesty. Industrial minimalism naturally corresponds to this task. Concrete, glass and metal do not decorate the space, but expose its essence - create an almost sacred language in which the construction does not distract, but rather enhances the symbolic meaning.
