Digital Circular Economy in Detail

Building design
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A modern space with lots of plants and benches, photographed by Teng Yuhong

The digital circular economy may sound like a pipe dream, but it’s becoming a make-or-break test case, particularly in the German-speaking construction and real estate sectors: Can we finally move away from the linear “throw-away” model and use bits and bytes to conserve resources, reduce costs, and actually build sustainably? Anyone who thinks this is just another buzzword for eco-romantics fails to recognize the disruptive force with which digitalization and AI are turning the material cycle upside down. But beware: there’s a gap between visionary aspirations and sobering reality that’s wider than many a raw materials container at the construction yard.

  • What the digital circular economy really means—and why it’s far more than just recycling with barcodes.
  • How far along are Germany, Austria, and Switzerland? A look behind the scenes at pilot projects and strategy papers.
  • The role of AI, BIM, and material databases: Those who can’t keep up digitally will be left behind.
  • Why sustainability remains an illusion without digital transparency—and what technical skills are in demand now.
  • Between regulatory overreach and practical resistance to innovation: What’s really holding the industry back?
  • How the circular economy is changing the job profiles of architects, engineers, and building owners.
  • Global trends, local pitfalls: Why we can learn from Amsterdam and Copenhagen—yet still need our own solutions.
  • Visions, risks, points of contention: Will the circular economy become the new gold standard or just a fig leaf for the construction industry?

From waste disposal to digital value creation: What the circular economy really means in construction

The traditional construction industry operates on the principle of: plan, build, use, demolish, and send to landfills. Anyone who considers this progressive has obviously not read the memo from Brussels and Berlin. The new mantra is: Materials remain in the cycle, ideally without downcycling, and ideally with maximum transparency regarding their condition, origin, and reusability. But what sounds so reasonable on paper is, in practice, a highly complex transformation process. The circular economy is not just “recycling 2.0”; it demands a radical realignment of the entire value chain. Every STEIN, every screw, every insulation board becomes a data carrier—and every construction process becomes a digital ecosystem.

In theory, this sounds like a clean, algorithmically controlled future: circular material passports, intelligent demolition planning, real-time tracking of resource flows. In practice, however, it often still resembles a chaotic basement after a move—complete with Excel spreadsheets, dusty construction files, and plenty of uncertainties. While the digital material passport promises a transparent construction site, in many places it still falls short of reality. And yet: The industry is at a tipping point. Those who embrace digitalization now can not only reduce costs and avoid waste but also safeguard themselves against regulatory risks. Those who don’t risk simply being overlooked in the next round of bidding.

But it’s not just technical systems that are in demand. The real revolution is taking place in people’s minds. What was previously considered “construction debris” becomes a resource with value-creation potential in the digital circular economy. This requires a shift in mindset among architects, planners, and building owners. Anyone who still believes that sustainability and economic efficiency are opposites should brace for a rude awakening. The days when you could get by with greenwashing and a little recycling are finally over. What counts now are verifiable data, transparent processes, and measurable impact.

At the same time, external pressure is enormous. The EU Taxonomy, the Supply Chain Act, and ambitious national climate targets are forcing the industry to act. But the real potential lies in creating value within the industry itself: Those who digitize the circular economy can optimize material flows, accelerate construction processes, and develop new business models. The question is no longer whether the digital circular economy is coming, but how quickly the industry will wake up—and who will stay in control.

So instead of continuing to talk about the circular economy as a vision for the future, we should ask: Who is already implementing it today—and what can we learn from them? Because the pioneers have long been in the starting blocks. They use digital tools to view buildings as material banks and to document the life cycle from initial design through demolition. Those who resist this development risk becoming mere bystanders in the digital circular economy—rather than active participants.

Taking Stock: Who in the DACH region is truly thinking circular—and who’s still stuck in the past

Germany, Austria, and Switzerland like to boast of being pioneers in sustainability. But when it comes to the digital circular economy, their self-perception often exceeds reality. In Germany, there are indeed numerous initiatives, guidelines, and pilot projects—from the Circular Economy Roadmap to ambitious model neighborhoods. But the big breakthrough has yet to materialize. Too many players, too many siloed solutions, too few binding standards. While policymakers juggle subsidy programs and the construction industry raves about disruptive business models, construction sites are often still plagued by mandatory Excel spreadsheets and paper chaos.

Austria is increasingly focusing on integrating the circular economy into building codes and on collaboration between research, industry, and government. Vienna’s Seestadt is considered a prime example of digital material cycles at the neighborhood scale. Yet even here, it’s clear that without open interfaces, standardized data formats, and binding governance, the impact remains limited. Switzerland, on the other hand, excels with its innovative spirit and a strong culture of sharing—particularly in the reuse of building components and the establishment of material exchanges. Yet the leap from the startup niche to widespread construction practice has yet to be made.

In short: The entire DACH region faces the same challenge. There is no shortage of ideas, but rather a lack of uniform framework conditions, interoperable digital platforms, and a clear division of roles. Who is allowed to store, analyze, and share which data? How can material passports be designed to be legally compliant and tamper-proof? And who bears responsibility if the digital cycle grinds to a halt? Questions upon questions—and answers have so far been scarce.

What’s particularly striking: While entire neighborhoods in Amsterdam, Copenhagen, or London function as digital material banks, the DACH region often remains bogged down in questions of jurisdiction and pilot projects. Yet there is enough technical and regulatory know-how to take the circular economy to the next level. What’s missing is the courage to transform—and the will to view digital systems not merely as an add-on, but as a fundamental prerequisite for sustainable construction.

On the positive side: the pressure is mounting. The combined force of climate protection, resource scarcity, and societal expectations is forcing the industry into a new role. Those who invest in the digital circular economy now can not only minimize regulatory risks but also tap into new markets. But the window of opportunity is closing fast. Those who are late will be penalized by the material passport.

Digital tools, smart data streams: How AI and BIM fuel—or slow down—the cycle

Digitalization is the backbone of the modern circular economy. Without smart tools, connected platforms, and AI-powered analytics, the flow of materials remains in uncontrolled flight. BIM, or Building Information Modeling, has established itself as a key technology in this context. What began as a digital 3D model has now become the central data hub for a building’s entire life cycle—from initial design through use to demolition. But BIM alone is not enough. Only when combined with material databases, digital material passports, and IoT sensors does a real-time picture of resource flows, conditions, and potential emerge.

This is where artificial intelligence comes into play. AI can not only automatically analyze material data but also make predictions about service life, recyclability, and demolition potential. It recognizes patterns, optimizes processes, and suggests alternatives that would be virtually impossible for humans to comprehend. But this is precisely where the risk lies: Anyone who uses AI as a “black box” without oversight and transparency risks creating new dependencies and digital chaos that ultimately does more harm than good.

Material databases are the backbone of any digital circular economy. They store information on the origin, composition, age, and condition of building materials—ideally according to uniform standards and accessible to all relevant stakeholders. But the reality is often quite different: proprietary systems, missing interfaces, and poor data quality make integration a monumental task. Those who fail to invest here get stuck in the data jungle—and risk the digital cycle becoming a dead end.

Another technical bottleneck: the traceability of building components. QR codes, RFID chips, and blockchain solutions promise maximum transparency, but their implementation is complex, expensive, and often not standardized. The result: Many projects remain at the prototype stage, while the vast majority continue to rely on traditional paper-based systems. Those who want to make the leap into practical implementation must invest not only in technology but also in training and change management. After all, the digital circular economy is not a sure thing; it requires new skills throughout the entire value chain.

The future belongs to open platforms—and to the players who are willing to share data, standardize processes, and take responsibility. Anyone who thinks they can sit out the digital transformation of the circular economy will be left behind. The next generation of building owners, investors, and users demands transparency, efficiency, and sustainability—and they want it to be digital, measurable, and traceable.

A Paradigm Shift in the Job Profile: What Architects, Planners, and Developers Must Be Able to Do Now

The digital circular economy means far more than just new tools and processes. It is fundamentally changing the professional roles of everyone involved in construction. Architects are becoming data managers, planners are becoming process architects, and building owners are becoming curators of material flows. Anyone who still believes their job consists solely of designing and submitting plans should brace themselves for a reality check. Because in the future, it won’t just be the creative vision that counts, but also the ability to manage digital systems, analyze material flows, and implement regulatory requirements.

This calls for entirely new skills. Digital literacy, data analysis, and an understanding of material cycles and regulatory frameworks are becoming essential. Anyone who is completely lost when it comes to BIM, AI, and material passports will quickly be left behind. Education at universities and in the field often lags behind this transformation. There is a lack of interdisciplinary teaching formats, continuing education opportunities, and the willingness to break with old traditions. But time is of the essence. The industry now needs professionals who can bring together technology, design, and sustainability.

At the same time, new professional roles are emerging. Material brokers, demolition planners, data managers, and circular economy consultants are becoming highly sought-after professions. This may sound like a distant dream, but it has long been a reality in pioneering international markets. Those who position themselves now can set the pace for a new building culture—or be relegated to the role of custodians of outdated practices. The choice is up to each individual.

But the change doesn’t just affect specialists. Collaboration within project teams is also evolving. Data is becoming a shared resource, while silo mentality is becoming a hindrance. Those who aren’t willing to openly share information and collaboratively design processes will fall by the wayside. The digital circular economy rewards team players—and punishes lone wolves by rendering them irrelevant.

In the end, one question remains: Who sets the rules of the digital cycle? Is it the software providers, the authorities, the planners—or even the users? The answer will determine the success or failure of the transformation. One thing is certain: The digital circular economy is not a project, but a process. And that process has only just begun.

Between Vision, Criticism, and Reality: Global Impulses, Local Pitfalls, and the Big Question of “Why”

The international construction world has long viewed the digital circular economy as a game-changer for sustainable construction. Amsterdam is recycling entire neighborhoods, Copenhagen is digitizing material flows at the neighborhood level, and Singapore is relying on AI-supported demolition planning. The DACH region can learn a great deal from these pioneers—for example, in terms of governance, data standards, and user participation. But a simple “copy-and-paste” approach won’t work. The regulatory, cultural, and technical frameworks are different. Anyone who simply imports the global trend will quickly find themselves at a dead end.

The debates are heated. Critics warn against the commercialization of the circular economy, new dependencies on software providers, and a technocratic alienation of the construction industry. They fear that the digital material passport will mutate into a bureaucratic monster and marginalize small players. On the other side are the visionaries who dream of a transparent, efficient, and sustainable building culture. For them, the digitization of the material cycle is the only way to achieve climate goals and address resource scarcity.

The truth lies—as is so often the case—somewhere in between. Yes, the digital circular economy holds enormous potential. But it requires clear rules, open standards, and broad participation from all stakeholders. Without governance, transparency, and expertise, the dream risks falling apart. The industry must learn to deal with uncertainty, complexity, and contradictions. Those hoping for simple solutions will be disappointed. The digital circular economy is not a panacea, but a challenging transformation process.

Despite all the skepticism, the trend is irreversible. The next generation of architects, investors, and users demands digital transparency, climate neutrality, and resource efficiency. Those who invest now in isolated solutions, data silos, and paper files are failing to meet the demand. The future belongs to the bold, the collaborative, and the digital natives. The digital circular economy is not a luxury, but a survival strategy for the construction and real estate industries.

The question remains: Why all of this? The answer is simple—and uncomfortable at the same time. Without a digital circular economy, climate goals, resource conservation, and social responsibility remain empty phrases. Anyone who truly wants to build sustainably must master the digital material cycle—or settle for greenwashing. The choice lies with each individual. But the time for hesitation is over.

Conclusion: The digital circular economy is not just a buzzword—it is the industry’s litmus test

The digital circular economy is here to stay. It is neither eco-folklore nor a technological gimmick, but rather the litmus test for the innovative strength of the construction and real estate industry. Those who fail to invest now risk economic and regulatory disaster. Those who actively shape this transformation can tap into new markets, business models, and opportunities. The industry stands at a crossroads: between digital progress and analog stagnation. The race is on. And one thing is certain: The future is built digitally—or not at all.

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44 residential units in Saint-Denis from DREAM

Building design

The new building with 44 residential units by DREAM. Photo: Cyrille Weiner

Two decades after the devastating fire in a dilapidated residential building on Rue Fraizier in Saint-Denis, a new construction project marks a turning point in the urban development of the north of Paris. The Parisian agency DREAM (Dimitri Roussel) has realized a residential ensemble with 44 units there – half for rent, half as subsidized ownership according to the “Bail Réel Solidaire” (BRS) model. It is the first project of its kind in Saint-Denis. However, the ambitious gesture is less about architectural showmanship and more about functional, mass-produced housing that strives for social integration.

The new building stands on a site that has been derelict since the fire in 2001. The fire at the time drastically exposed the dilapidated conditions in the old building, which was being used by shark tenants. The ensuing vacancy was perceived not only as a physical defect, but also as a social one. DREAM now sees the project as a contribution to “repairing” the neighborhood – and to re-establishing trust in the urban space.

The 44 residential units are spread across several buildings and follow a clear principle: as much individuality as possible within the standardized production. Almost all of the apartments are open-plan, with many facing in several directions. The majority have generous outdoor spaces – balconies or gardens at ground level. Interior qualities have also been considered: separate entrance areas with storage space, daylight kitchens that can be closed off if required and large window openings with panoramic views are all part of the repertoire.

The floor plan design is based on the charter of Plaine Commune, the inter-municipal association responsible for the area. The urban positioning of the buildings responds to morphological and climatic analyses of the site. A typical planning response is, for example, the staggering and orientation of the volumes to optimize daylight and natural ventilation.

In terms of design, DREAM dispenses with design experiments. Instead, the architectural expression arises from the materiality and rhythm of the façade. Wooden slats, metal panels and open balcony structures made from a combination of wood and metal structure the outer shell. Great importance was attached to prefabrication: The timber frame construction walls, including cladding, windows and shading elements, were manufactured entirely in the factory. The self-supporting balconies also arrived on site pre-assembled.

This strategy has several advantages: Firstly, it increases the quality of execution, and secondly, it reduces the construction time – a factor that plays a particular role in the densely built-up and socially sensitive Saint-Denis. All in all, the result is a residential building that relies on CO₂-reduced construction methods without playing this off visually.

What is striking about the project is the effort to establish communal zones alongside the private living space – a concept that is often referred to elsewhere as “third places”. In Saint-Denis, the elements are simple but effective: a large, inviting entrance area, green inner courtyards with passageways and roof gardens that serve as places to retreat and meet. The lobbies act as semi-public buffer zones between the street and the apartments. Visual references to the courtyard are intended to provide not only light but also social control.

The whole project was designed in collaboration with the public housing association Plaine Commune Habitat. The aim is to appeal to a heterogeneous group of residents – both people on low incomes and young families who want to build up property through the BRS model.

With a construction cost of around seven million euros and a living space of 2,775 square meters (SHAB), the project is within the scope of what is feasible in a subsidized context. The “NF Habitat” certification and compliance with the French thermal insulation regulation RT 2012 with a 20 percent reduction underline the ecological focus.

Those involved in the project include Bollinger+Grohmann (structural engineering), ENEOR (building services), Le Sommer (certification) and Topager for the landscape architecture. Cap-Exe was responsible for coordinating the various trades.

What can be deduced from the project in Saint-Denis for the current housing debate? Certainly not a new type. Rather, it shows how a combination of solid planning, serial production and municipal control can make a contribution to sustainable urban development – beyond creative exaggeration, but also without falling into banal functionality.

The architecture remains restrained but deliberate. It unfolds its effect through everyday use – as a place to live, to meet and to reappropriate a long-neglected urban space.

Read also: The Saint-Denis Pleyel Station by Kengo Kuma.

Ukraine war: Мы за мир

Building design

As a result of the war in Ukraine, the European architecture scene has quickly taken a public stand against the Russian war of aggression. G+L also stands in solidarity with the Ukrainian people and government.

BIG, David Chipperfield Architects, Foster + Partners, gmp, Herzog und de Meuron, MVRDV, OMA, Snøhetta, Zaha Hadid Architects – as a result of the war in Ukraine, which violates international law, the who’s who of the European architecture scene publicly opposed the Russian war of aggression in a very short space of time at the end of February/beginning of March 2022. Within just a few days, numerous offices expressed their solidarity with the people in Ukraine and with all those who stand for peaceful coexistence – above all via social media. In the case of Chipperfield, HdM, OMA and Zaha Hadid, the public statements were followed by an immediate halt to all construction projects in Russia. BIG also announced in a statement that the office would not be carrying out any projects in Russia or for the Russian government. However, it is not clear from this whether a construction freeze has been imposed or whether there are simply no Russian projects currently in progress.

First the governments, then the private sector. Today, our globalized world also makes it possible for corporations, companies or even planning offices to impose sanctions. So while Apple, Siemens, Starbucks, McDonalds, Coca-Cola, Pepsi and the management consultancies KPMG, PWC, EY and Deloitte are suspending their business in Russia as a result of the war of aggression, or Elon Musk is actively supporting Ukraine with the help of his satellite internet service Starlink, including reception systems, the world of architecture is also drawing its own conclusions. This is worth a special look, as it was or is precisely non-democratic regimes such as Russia or China that have provided the big star offices with unique construction projects in recent years. The M+ Hong Kong designed by HdM only opened at the end of 2021. While at the turn of the year in Moscow, the Renzo Piano Building Workshop RPBW converted the GES-2 power station into a center for visual and performing arts for the V-A-C Art Foundation.

Jacques Herzog on democratic architecture

For us in the editorial team, this immediately (and once again) triggers the question of how political planning can be, but also how political planning must be. What is exciting in this context is that Jacques Herzog in particular has repeatedly publicly addressed the question of democratic architecture. You can think what you like of him and the HdM projects, but he takes a stand. As he did in an interview in 2020 with Lukas Gruntz from architekturbasel.ch. Referring to the historic urban development of St. Petersburg, Venice, Rome and Paris, he said here: “Perhaps more beauty is created in a non-democratic context because the context is more extreme, more radical.” But he also continued: “From our point of view, an enlightened and democratic society, architecture must be anchored in the population and ideally emerge from the needs of the population.” Sentences that should make us think. Now more than ever.

Ukraine war: Coop Himmelb(l)au under pressure over Crimea project

Lighthouse projects in non-democratic regimes must be better considered in future. I wonder what is going through Wolf D. Prix’s head at Coop Himmelb(l)au right now? His office was criticized even before the war of aggression. Since 2020, the Viennese have been planning two of the four cultural buildings that Vladimir Putin wants to be built by 2023. The particularly tricky case is the planned opera house on the Crimean peninsula, which was annexed by Russian occupiers in 2014 in violation of international law(more on this in an SZ-Plus article). With reference to the lighthouse project, Ukrainian President Volodymyr Zelensky imposed economic sanctions against the Viennese architecture firm and six of its representatives on January 21, 2022.

Wolf D. Prix: Coop Himmelb(l)au is building an opera house, not barracks

According to an SZ.de article by Gerhard Matzig, who interviewed Prix on the subject, this was preceded a year and a half ago by threats from the Ukrainian embassy to Coop Himmelb(l)au. Prix would not be allowed to build the opera house in Sevastopol or the architectural firm would soon be ruined. And according to Gerhard Matzig in his article, Prix has now also been advised to distance himself from the project and Putin. When asked by Matzig whether he would do so, Wolf D. Prix sighed on the phone. Prix is of the opinion that he is not building a barracks, but an opera house. As a cultural project, this is not subject to the embargo regulations. Unsurprisingly, as of mid-March 2022, Coop Himmelb(l)au still has no statement on the Ukraine war.

Ukraine war: Russian planners make their mark

But now back to those who openly oppose the war. Because it’s not just the European star offices that are flying the flag. According to SZ.de, a total of 6,500 Russian architects, designers and urban planners also signed an open letter on the website of the Russian architecture magazine “Project Russia” between February 26 and March 4, 2022, calling for an immediate end to the war. The tragedy is that this appeal also fell victim to the “fake news” law against critical reporting on the Russian army signed by Vladimir Putin on March 4, 2022. Only a short version of the campaign with a picture of a dove of peace can now be seen on the site. It says here in Russian: “Unfortunately, we were forced to remove the text of the letter under threat of criminal liability under the law that came into force today. We are for peace!”

One profession, one passion

Meanwhile, however, the Union of Architects of Ukraine also called on the International Union of Architects to expel the Union of Architects of Russia from the organization. “Those who do not condemn Russia’s actions support them,” the Süddeutsche Zeitung quotes the President of the National Union of Architects of Ukraine, Oleksandr Chyzhevsky, as saying in a letter to the UIA. If you let this statement sink in, you have to ask yourself – even if you condemn Russia’s actions in the strongest possible terms – whether we really want to live in a world in which people from one industry, one profession, one passion, go against each other simply because of their nationality. For this very reason, the G+L editorial team would like to join our Russian colleagues: Мы за мир. We are for peace. And we condemn the Russian government’s attack on Ukraine, which violates international law, and stand in solidarity with the Ukrainian people and government.

Ukraine war: bdla and BAK also active

While German landscape architecture firms are still quite reluctant to express their solidarity, the bdla published an official solidarity statement #StandWithUkraine on March 2, 2022. The bdla declared its “deepest regret about the war in Ukraine, the loss of human lives.” It condemns this attack, which violates international law. The bdla’s thoughts are particularly with its colleagues from its partner association, the Guild of Landscape Architects of Ukraine. In the same letter, the bdla refers to the initiative of the Federal Chamber of Architects. This has set itself the goal of becoming active beyond expressions of solidarity. For this reason, the BAK is making its network available to the Ukrainian Association of Architects. The goal: sleeping places for refugees. Find out more here.