More than just a cleanroom

Photo: Vincent Rieger, Munich

Photo: Vincent Rieger, Munich

Photo: Vincent Rieger, Munich

Photo: Vincent Rieger, Munich

Photo: Vincent Rieger, Munich

Photo: Vincent Rieger, Munich

Photo: Vincent Rieger, Munich

Photo: Vincent Rieger, Munich

Photo: Vincent Rieger, Munich

Industrial buildings are today often understood purely as technical functional shells – a domain of engineers. However, architects like Walter Gropius, Giles Gilbert Scott, or the planners of Zeche Zollverein have once demonstrated the iconic power that industrial architecture can hold.

In southern Munich, the aerospace scene has experienced a dynamic upswing in recent years. Here, in 2023, the satellite startup Reflex Aerospace decided to establish its production – and sought not only technical expertise but also architectural sensibility.

We speak with Jakob Bader, the architect of the project, about clean rooms, industrial atmospheres, and why production sites are also places of life.

RO: Mr. Bader, Reflex Aerospace is a young high-tech company. How did it come about that a traditional architecture firm – yours – was commissioned to design an industrial satellite manufacturing facility?

Bader: The startup didn't just want a functioning cleanroom but a location that visibly reflects their own quality standards. Our task was to transform an empty industrial hall on the IABG site in Ottobrunn – declutter, structure, and create a tailored cleanroom inside. The fact that this should be thought of not only technically but also architecturally was crucial for the client.

RO: The cleanroom itself was built by Petek Reinraumtechnik. How did the collaboration work?

Bader: Petek has been building cleanrooms for decades and works with a very convincing concept: a self-supporting steel structure is erected, underneath which is a continuous installation level for ventilation, climate, and electrical systems. Beneath that, the cleanroom hangs as an independent panel construction.

For us architects, this structure opens up enormous design and functional possibilities – especially the fully accessible upper level, which would normally be reserved solely for technical purposes.

RO: You utilized this potential more extensively than usual. What was your approach?

Bader: I saw from the beginning that the steel structure could do more than just carry technical loads. Together with a labor law specialist, we explored how to legally open up this level for other uses. This resulted in a floor plan with two opposing escape doors and two comfortable staircases. As a result, the upper level became a full-fledged gallery.

RO: And this gallery now features a lounge area?

Bader: Exactly. Besides a material storage, we set up a tea kitchen with seating area – a cozy, almost residential space. It’s not a permanent workspace, so the requirements were moderate, and the clear height could be kept low to favor the cleanroom. At the same time, a large, waterproof welded PU basin ensures that no liquids can enter the cleanroom. Safety and atmosphere are not mutually exclusive.

RO: Let’s talk about the existing hall. What role did it play in the design?

Bader: A very significant one. The hall is a 6-meter-high, cathedral-like space from the early 1980s, with milk glass partitions, fire-red windows and doors, straw-green steel components, and raw concrete. These colors and materials are valuable. The cleanroom appears within it as a white, brightly illuminated solitaire – almost like a spaceship in a hangar.

We integrated it precisely into the existing structure without wasting a single square meter. Its independence – meaning its own support system – also ensures that no vibrations are transmitted.

RO: Besides architecture and industry, you also speak of “added values.” What does that mean concretely?

Bader: Added value arises when architecture goes beyond merely fulfilling functions:
– The technical structure was maximally utilized – namely, as a two-story instead of a single-story.
– The existing colorful character was not concealed but used as a beautiful contrast.
– Each area was dimensioned and arranged to make sense both functionally and atmospherically.
– And in the end, the result is not only efficient but also beautiful. That is a value architecture can create.

RO: You believe that cleanrooms and industrial halls are also places of life. What do you mean by that?

Bader: People spend a large part of their day there. These spaces influence mood, performance, and identification with the company. Therefore, they should not be reduced to technical standards. Why should only apartments, museums, or restaurants be beautiful? Workspaces, in particular, must inspire and energize. Good architecture also enhances employer attractiveness and corporate identity.

RO: Finally: From your perspective, did Reflex Aerospace make the right decision?

Bader: Absolutely. The company now presents itself in Bavaria with a facility that not only functions excellently but also visibly reflects the company's standards and attitude. This is a strong statement – both internally and externally.

The project in Ottobrunn exemplifies how fruitful collaboration between high-tech industry and architecture can be. Where others would build a purely functional building, a place has been created that combines technology, design, and humanity – a modern living and working space in the best sense.


Architectural photography Vincent Rieger, Munich, contact@vincentrieger.com, www.vincentrieger.com