Circular Pavilion by Fabian A. Wagner and Hochschule Kaiserslautern: A Model of Reuse-Driven Circular Pavilion Design

Adaptive Architecture in Stuttgart’s Akademiegarten

Set in front of Stuttgart’s historic New Palace, the Circular Pavilion designed by Fabian A. Wagner, Louise Daussy, and students of Hochschule Kaiserslautern University of Applied Sciences reimagines pavilion design through a circular and sustainable lens. Conceived as part of a design-build initiative, this structure showcases a new paradigm in temporary public architecture—one centered on reuse, modularity, and environmental sensitivity.

This circular pavilion design with reused materials exemplifies how educational projects can foster innovation in sustainable construction while activating public space. Designed for the Summer of the Arts and used for events by the BDA (Association of German Architects), the pavilion transformed a portion of the Akademiegarten into a participatory venue for exchange, contemplation, and interaction.

From Black Pavilion to Circular Pavilion: A Strategy of Reuse

The project reappropriates components from the Black Pavilion in Villa Massimo, Rome. Thanks to the modularity and standardized joints of the original pavilion, students repurposed the panels and squared timbers without altering their dimensions. This commitment to non-destructive reuse ensured that every component retained its integrity, embodying the principles of circular construction and minimizing environmental impact.

By reversing the conventional design process—designing a new structure from old materials—the team created a space that not only honors resource conservation but also underscores the importance of creative adaptation in architectural education. All components were joined using screw and wooden nail plate connections, allowing for full disassembly and reuse in future applications.

Geometry, Spatial Atmosphere, and Contextual Integration

The pavilion adopts the geometry of a perfect circle, harmonizing with the symmetrical formalism of the surrounding Baroque palace complex. At eight meters in diameter, the pavilion offers an intimate yet open setting capable of accommodating up to 30 people.

This upwardly open space hides the ground-level surroundings while framing new visual perspectives of the city’s landmarks, including the State Parliament and Stadtpalais. Circular roof panels—some elevated and others angled downward—define entry points and visual corridors, shaping an architectural experience that is simultaneously introspective and outward-looking.

A Platform for Dialogue and Community Engagement

Throughout its lifecycle, the pavilion served multiple roles: a lecture space for the BDA’s Wechselgespräch event, a retreat for park-goers, and a stage for informal gatherings. A central pillar, symbolically representing technology, provided infrastructure for presentations, while small movable platforms allowed for versatile spatial configurations—from lecture seating to communal tables and performance stages.

More than just an architectural gesture, this circular pavilion became a civic space—one designed for appropriation by its users. The radial arrangement, visual enclosure, and material simplicity created a space where citizens could participate freely and engage with the built environment in new ways.

Construction, Circularity, and the Future of Building

Construction methods were deliberately designed for reversibility. Maritime pine boards and timber rafters were joined using dry connections—no glues or permanent fixings were applied. Anchoring was done through micro-invasive ground nails and screws, emphasizing environmental responsibility and minimizing site impact.

This reuse-driven circular pavilion design sets an example for how architecture can embrace adaptability and temporal use without compromising aesthetic or structural integrity. The process of assembly and disassembly was made accessible enough for students to carry out independently, underscoring the project’s didactic mission.

As architectural discourse shifts toward sustainability and repairability, the Circular Pavilion offers a compelling template. It repositions design as an act of stewardship—of materials, space, and social engagement.

All photographs are works of Martin Sigmund, Kim Fohmann, Fabian A. Wagner, Louise Daussy