German architect Arno Brandlhuber has built a reputation as one of Europe's most influential architectural voices by championing renovation over demolition. His philosophy, bluntly stated as 'If architecture is only a beautiful object, it is irrelevant,' challenges conventional approaches to building design. Brandlhuber operates his collaborative practice, simply called 'b,' from Berlin after founding his office twenty years ago. His work transforms post-war concrete ruins into functional living and creative spaces with minimal intervention. The architect views himself as an activist rather than a traditional designer, pushing boundaries in both social and environmental dimensions.

Brandlhuber's approach gained attention fifteen years ago when he pioneered the 'renovation instead of demolition' movement. He refuses to serve as a developer's lackey, focusing instead on his own projects that blend brutalist aesthetics with sustainable practices. His Brunnenstraße 9 project in Berlin-Mitte exemplifies this method, rising from the foundation of an abandoned shell in unplastered, semi-transparent concrete. By temporarily living there himself, he circumvented building regulations for soundproofing and heating insulation, dramatically reducing costs. A fan coined the term 'teutonic favela' to describe the raw, honest result that fulfills Berlin's promise of renewal.

The Antivilla near Potsdam stands as another landmark project, created for a fraction of new construction costs. Brandlhuber carved large openings into the crumbling walls of a former underwear factory, creating wide views of forest and lake. The design appears intentionally unfinished, challenging traditional notions of completion. In Berlin-Lichtenberg, two concrete towers that once powered Alexanderplatz during East German times now serve as workshop and office space for his practice. Named San Gimignano after the Tuscan town, these towers demonstrate how industrial ruins can gain new cultural life. The location hosts exhibitions and grill parties, attracting Berlin's art and architecture scene.

Brandlhuber's Terrace House in the diverse Wedding district breaks from traditional family housing models. Tenants and visitors share outdoor spaces in front of window facades, creating constant social interaction. This design reflects his belief that architects must think socially heterogeneous, from neighborhood to interior. His partner, artist Constanze Haas, contributes paintings that reflect the history and space of each location. Their collaboration extends to the Siedle House museum in Furtwangen, which honors the Black Forest building tradition by replicating a previous family home.

The architect's activism has expanded to European scale with his HouseEurope! initiative, which aims to make preservation and renovation the norm. The campaign seeks to stop large-scale demolition, estimated to affect up to two billion square meters of building space in Europe by mid-century. Brandlhuber needs one million signatures by the end of January to advance this cause. The construction sector contributes 38 percent to global warming, making his mission critical for European climate neutrality goals by 2050. His Basel gallery exhibition demonstrates the same light-footed approach, transforming the space by opening hidden windows to reveal a 1979 late-cubist wall painting.

Brandlhuber identifies with Italian flexibility and pragmatism, having purchased several concrete ruins in Sicily for family use. He notes that no one else would have the courage to navigate Italian building regulations. This openness to improvisation may explain why he has not been asked to work on representative public buildings in Germany, such as the Museum Berlin Modern at the Kulturforum. He would likely suggest housing art in the Mäusebunker, a decommissioned laboratory, rather than building an expensive new structure. As architecture becomes increasingly constrained by developers, politicians, and bureaucrats, Brandlhuber's cheerful stubbornness offers a radical alternative that makes sustainability both accessible and visually compelling.