Gilbert Raby Therapeutic Workshops

Location: Meulan-sur-Yvelines, France
Year: 2023 | Built: 940 m²
Architect: Tolila+Gilliland
Client: Fondation l’Élan Retrouvé
Construction: timber structure with raw earth brick infill
Photos: Cyrille Weiner | Drawings:  Tolila+Gilliland

Tolila+Gilliland is a Paris-based practice founded by Gaston Tolila and Nicholas Gilliland. Tolila holds a DPLG Architect Diploma from the Paris-Villemin School of Architecture and an engineering degree in civil engineering and urban planning from INSA Lyon. Gilliland holds a Master of Architecture from Yale University and an undergraduate architecture degree from the University of Kansas. The two met through a humanitarian architecture competition in  2001.  They later established their practice, grounded in material logic, environmental response, and construction using bio-based and geo-sourced systems.

The Gilbert Raby Center sits within a campus of buildings dedicated to addiction medicine and treatment. The client, Fondation l’Élan Retrouvé, needed a building that could bring together adult therapeutic workshops and related support spaces while avoiding the rigidity typical of institutional care environments. The program includes therapeutic workshops, a day hospital, a laundry, a pharmacy, and medical offices, all organized within a new two-story building of 940 square meters.

The site is sloped and wooded. Each level meets the ground directly, allowing independent access and reducing reliance on vertical circulation. Movement is horizontal and legible, supporting autonomy within the therapeutic environment.

The plan is organized symmetrically around a central interior hall. This space acts as both circulation and environmental core. It is unheated but tempered through solar gain, thermal mass, and controlled ventilation. A linear skylight introduces diffuse zenithal light, moderated by removable shading. Raw earth brick walls stabilize temperature, with night cooling supporting summer performance.

Construction follows a clear material system. A timber structural frame is paired with raw earth brick infill and wood-fiber insulation. Timber provides structure and assembly. Earth provides thermal inertia and regulation. The exterior is clad in pre-greyed larch shingles, with exposed timber elements and wood joinery aligning the building with its wooded context.

Form is restrained and derived from site and program. The building adapts to slope, organizes around a central void, and maintains a consistent sectional logic. Workshops and medical spaces line the central hall in a clear rhythm. The architecture operates through clarity, proportion, and material presence.

The project demonstrates how therapeutic architecture can be shaped through environmental moderation and spatial legibility rather than institutional form. By aligning structure, climate, and circulation, it supports autonomy and stability. It also advances a model of low-carbon construction where timber and earth define both performance and spatial quality.

Written By: Hitiksha Bansal 

Sources: 

“Centre Gilbert Raby.” Tolila+Gilliland, tolilagilliland.com/projets/centre-gilbert-raby.

“Gilbert Raby Therapeutic Workshops / Tolila+Gilliland.” Dezeen, 13 Oct. 2023, www.dezeen.com/2023/10/13/gilbert-raby-therapeutic-workshops-tolila-gilliland-france.

“The Gilbert Raby Center.” Divisare, divisare.com/projects/498062-tolila-gilliland-cyrille-weiner-the-gilbert-raby-center.

“Hôpital de jour pour enfants.” Architecture et Précarités, architecture-precarites.fr/interventions/hopital-de-jour-pour-enfants-etablissement-psychiatrique-accueillant-des-enfants-de-4-a-14-ans-presentant-des-troubles. 

Earth USA

Earth USA is the biennial international conference on earthen architecture organized by Adobe in Action (AinA) in Santa Fe, New Mexico. It brings together architects, engineers, builders, and researchers to share advances in clay-based construction. Earth USA began in 2003 as “Adobe USA,” first held at Northern New Mexico College by the Adobe Association of the Southwest and dedicated to Paul Graham McHenry, and it has continued on a biennial basis since then. In 2011, the name formally changed to Earth USA for the sixth conference, held in Albuquerque, and since 2013 all subsequent conferences have taken place in Santa Fe. Key milestones include the adoption of a broader earthen-material scope beyond adobe, as well as expanded international participation.

The Scottish Rite Center hosts the conference, reinforcing the event’s Southwestern adobe heritage. The Santa Fe venue also underscores the material focus: the Alhambra Theater is a pink adobe stucco building, and local expertise in adobe construction is abundant. Site tours have included Pueblo ruins, ancestral Spanish missions, and owner-built adobe homes throughout northern New Mexico. Typical Earth USA activities have featured on-site workshops, such as plastering demonstrations, as well as earthen installations; for example, past Earthbuilders’ Guild teams have built mud-brick stages and art displays on-site. In sum, the conference’s materials and form revolve around clay-rich architecture, celebrating both the traditional thick earthen walls of Santa Fe’s historic districts and cutting-edge earth technology.

Earth USA is run by AinA, a New Mexico 501(c)(3) nonprofit organization dedicated to adobe and earthen-building education. AinA was founded by Mike Lopach and launched Earth USA to empower owner-builders. For Earth USA 2026, AinA’s Lisa Morey and Dan Krause co-preside on the board of AinA, and the Executive Director is Kurt Gardella, a certified adobe instructor who studied under Quentin Wilson at Northern New Mexico College. Gardella holds adobe construction certifications and leads AinA’s certificate program. He has been “a major organizer of Earth USA” while also teaching owner-builder courses. Lisa Morey is a civil engineer and designer, and co-founder of Colorado Earth LLC. She is the author of Adobe Homes for All Climates and holds a patent for reinforced adobe brick walls. Dan Krause is a retired ASU professor who became enamored with adobe while living in Arizona. He designed and built two of his own adobe homes, earning AinA’s Adobe Construction certificate in 2020. Collectively, the organizers combine academic and practical expertise to network experts, educate practitioners, and advance earthen construction worldwide. 

Each Earth USA conference follows a structured program with three days of presentations and posters, along with associated social and field activities. The format typically includes a Friday welcome keynote, all-day podium and poster sessions from Friday through Sunday, and Sunday afternoon tours to regional earth-building sites. For example, Earth USA 2024’s schedule featured invited talks on topics ranging from flood-proof adobe shelters to waste-earth reuse and seismic earth block design, alongside panels on owner-builder case studies and clay plaster techniques. All conferences include a Friday night reception sponsored by the Earthbuilders’ Guild and guided tours to adobe missions, historic homes, and new earth projects on Sunday. The scope of subjects is broad, and organizers note that the program reflects a wide field of interest, including adobe, rammed earth, compressed earth block, cob, and essentially any method that uses clay as a binder.

Key themes encompass the use of sustainable materials, including earth plasters and stabilized blocks; advancements in modern fabrication techniques such as 3D printing and robotics in earthen architecture; building science considerations ranging from thermal performance to seismic resilience; historic preservation; and social projects focused on affordable housing and owner-builder training programs. For instance, Earth USA has featured a keynote from, “Mud Frontiers,” by Ronald Rael (UC Berkeley) on 3D-printed earth architecture, as well as a session on a Ghanaian rammed-earth housing prototype, “Kente House,” by Angeles Hevia. Other sessions have addressed codes and policy, including Ben Loescher on U.S. earthen masonry standards and Stephen Colley on adopting adobe in building codes. Topics also include education, such as introducing clay into architecture curricula, and innovation, including rotational tampers for rammed earth.

Earth USA is attended primarily by architects, engineers, and builders interested in sustainable construction, but also by anthropologists, code officials, and environmental advocates. The gatherings are intentionally international and multidisciplinary, as reflected in a speaker roster that includes talks on building practices from India, Japan, and Norway. Attendees leave with a sense of community, supported by nightly informal receptions and a vibrant email newsletter, EarthUSA News, which keeps participants connected year-round. In sum, Earth USA operates as a volunteer-driven conference in which the organizing committee handles logistics and content curation, while academic partners disseminate the findings.

The program is fully documented in the conference proceedings and often carries American Institute of Architecture (AIA) continuing-education credits. Speakers come from universities, nonprofits, governments, and industries worldwide, and recent years have seen participants from 15 to 20 countries. Poster sessions provide a venue for shorter papers on topics such as material testing, vernacular research, and life-cycle analysis. Throughout, the conference emphasizes process, including peer-reviewed abstracts, international volunteer committees, and field demonstrations, as much as the building form itself. Many sessions delve into construction processes such as mix design, compaction, and curing, while others focus on form-finding and earth structures shaped by heritage or innovation.

As an organization, AinA solicits abstracts internationally through a call for papers reviewed by experts and publishes proceedings. For 2026, for instance, abstracts were due in February 2026 and full papers in June 2026. Registration is open to professionals, students, and owner-builders. Earth USA’s inclusive approach is also reflected in its leadership; for example, owner-builder Ethan Novikoff both presented and served on the AinA board, bridging practitioner and organizer roles. Sponsorship comes from allied nongovernmental organizations and firms such as the Earthbuilders’ Guild, the SFCC Adobe program, supporting organizations, and architecture firms.

Earth USA presents a clear consensus that earthen materials are inherently sustainable, resilient, and culturally rich. Many presenters emphasize earth’s low carbon footprint and ease of reuse, as well as its climate-comfort benefits, thermal mass, and humidity buffering. There is a shared mission to reclaim these traditional techniques in a modern context. From an architectural perspective, the conference inspires both reflection and action. It demonstrates how ancient building methods can inform contemporary design, for example, how Pueblo-style thick walls inspire passive climate control, or how combining fibers and modern stabilizers can make cob livable in cold regions. On the technological side, sessions on 3D-printing clay and new tamping machines point toward a future in which even large-scale earth building is industrially feasible. The Earth USA community also exchanges practical solutions; one talk, for instance, detailed how to guide a cob house through building inspections, while others described integrating adobe into U.S. building codes. In conclusion, Earth USA galvanizes the earthen-construction movement. It has inspired new international collaborations, spurred educational initiatives, and reinforced advocates’ resolve to promote sustainable, beautiful architecture that can be made from the ground.

BC Materials

BC Materials is a Belgian company that develops, produces, demonstrates, and sells earthen building materials. Founded as a workers co-operative and spin-off of BC Architects (Brussels Corporation) in 2018, BC Materials’ goal is to facilitate the replacement of contemporary, standard building materials with earth-based alternatives in European construction. The firm was the “brainchild” of Ken De Cooman, Nicolas Coechelberghs, Laurens Bekemans, and Wes Degreef. 

Roughly 60% of earth excavated in construction is wasted due to storage and transportation challenges. To combat this, BC Materials has pioneered a “circular” method of construction with earthen materials that uses urban mineral waste from construction sites and repurposes the excavated earth to make rammed earth structures, compressed earth blocks, and earth plasters/paints. The process of making these products using recycled earth is carbon-neutral, meaning BC Materials’ products are much better for the environment than the aforementioned contemporary alternative building materials.  

Rammed earth building, BC Materials was consulted during construction. Image by BC Materials

According to their website, BC Materials is involved in 5 primary activities: 

  1. Developing materials and consulting construction partners on their use.
  2. Making bespoke materials.
  3. Designing and prefabricating objects and constructive systems.  
  4. Training contractors and craftsmen.
  5. Producing and commercializing a brand of standard circular materials called Léém. 

Léém is BC Materials premier product line that attempts to make earthen materials more accessible to both architects and builders. Offering Léém clay plasters and paints, Léém earth block masonry, and Léém rammed earth mixes and tools, BC Materials are working to transform the availability and convenience of circular earthen building materials for use in every-day construction.  

 

 

Leem Clay Paints, picture by BC Materials

 

Sources: 

BC Materials. BC Materials, https://bcmaterials.org/.

Building with Earth – BC Materials and the Revival of Clay in Construction.” Natura Mater, 10 Dec. 2024, https://www.naturamater.eu/en/post/building-with-earth-bc-materials-and-the-revival-of-clay-in-construction.

“BC Materials.” Regenerative Design World, https://regenerativedesign.world/bc-materials-2/.

Beijing Teahouse by Kooo Architects

Project Overview ©Keishin Horikoshi

Project name: thé ATRE SHANJUCHAJING Concept Store

Design: Kooo architects

Completion Year: 2023

Leader designer & Team: Shinya Kojima, Ayaka Kojima, Kotaro Kitakami, Kangxin Wu, Yikxin Lai, Zheming Tian

Project location: 1F E103, Global Financial Center, Sanyuan Bridge, Chaoyang, Beijing, China

Gross built area: 175㎡

Clients: thé ATRE

Materials: Tea-earth Brick, Tea-diatum Mud, solid wood panels, recycled ceramic tile

Kooo Architects was founded in 2015 by Ayaka and Shinya Kojima and has offices in Tokyo and Beijing. They questioned the homogenized materiality and uniform streets as a result of mass production, they aim to carry on and express the beauty and craftsmanship that is particular to that region through incorporating materials and details that can inherit its local climate and cultural background.

Shinya Kojima & Ayaka Kojima ©koooarchitects

In this project, they used custom-made bricks that combine compressed earth with waste tea leaves to create a natural feel inside the Théatre teashop.

The store located in Beijing’s CBD belongs to Chinese brand Théatre, which wanted to immerse guests in the tea-drinking experience. So they created a multi-sensory space featuring tactile, natural materials that contribute to the store’s calming atmosphere.

Interior space ©Keishin Horikoshi

In an effort to incorporate tea itself into the interior design, Kooo Architects worked with Beijing-based Onearthstudio to develop a “tea-earth brick” that is used to clad 80 per cent of the store’s walls.

The interior ©Keishin Horikoshi

The bricks are moulded in a factory using a similar process to the way rammed earth buildings are constructed. This low-carbon process results in an environmentally friendly and non-toxic material with a wide range of natural colours.

Kooo Architects tested different soil types and tea varieties to achieve a range of tones and textures for the bricks whilst maintaining the required strength in the material.

Experimental process of tea soil bricks ©koooarchitects
Experimental process of tea soil bricks ©koooarchitects
Tea-earth brick ©koooarchitects
Tea-earth brick ©koooarchitects

The leaves used are leftovers from tea production that would otherwise be discarded as waste. The crumbled tea leaves create a textured surface that can be seen from up close, while the assembled bricks display natural tonal variations when viewed from a distance. The bricks for this project were produced with compact dimensions of 10 by 10 by 3 centimeters, making them suitable for cladding walls, doors and furnishings.

Application of the tea-earth brick ©Keishin Horikoshi

The brick becomes the basic module for space layout and furniture sizes, so everything is regulated clean and peaceful to the eye. They also made a special L-shape module for the corners so it wraps around smoothly.

Fabrication of tea-earth brick ©koooarchitects
Special L-shape module ©koooarchitects

A red version of the bricks was chosen for a large volume that forms a focal point within the space, while the surrounding walls feature a more muted yellow tone that contributes to the relaxing feel.

Tea bar ©Keishin Horikoshi

The bricks were also used to create a lintel for the main facade, with folding windows and doors allowing the store to be opened up completely to the outside.

Various status of the entrance ©Keishin Horikoshi

Internally, the space is organized into different functional zones, with a large sales display area and serving counter positioned inside the entrance.

Massing axonometric ©koooarchitects
Store plan ©koooarchitects

Shelves and counters arranged at different heights are used to display the various products while drawers containing samples allow customers to learn about different types of tea.

Wall and counter displays ©Keishin Horikoshi

To the rear of the store is a private lounge area and a VIP tea room shaped like a traditional tea house with an exposed pitched ceiling. Accessed through a darker preparation area, the naturally lit space is softened by the application of a textured render on the walls and ceiling.

VIP tea room ©Keishin Horikoshi
Sloping roof space ©Keishin Horikoshi

When the shop is eventually overhauled – as retail interiors only last for around three to five years – the bricks can be taken down and reprocessed for use in future stores or go back to nature.

The tea-earth bricks have been shortlisted in the sustainable building product category at the 2024 Dezeen Awards.

 

References:

Gooood Articles: https://www.gooood.cn/theatre-shanjuchajing-concept-store-by-kooo-architects.htm?lang=en

Dezeen Articles: https://www.dezeen.com/2024/11/04/kooo-architects-theatre-teashop/

TECTURE Articles: https://mag.tecture.jp/project/20250108-theatre-shanjuchajing/

HOUSE COLLECTION: https://hcollection-living.com/storyblog/65b5b723-cbd6-49d3-8bdc-b16a1eaf1f5a/

Cultural Hub: Toshiko Mori

Photographs © Iwan Baan

The cultural hub designed by Toshiko Mori was completed in 2015 in the rural village of Sinthian, Senegal. The project was developed with the Josef and Anni Albers Foundation and the nonprofit American Friends of Le Korsa. The goal of the project was to create a space where art, culture, and community activities could come together in a remote region.

Drawings © Toshiko Mori
Drawings © Toshiko Mori

The cultural hub serves many roles for the village and surrounding communities. In addition to housing artists in residence, the building functions as a gathering space, performance venue, workshop space, and community center for cultural exchange and education. The building also supports programs such as agricultural training, public meetings, and local events, helping strengthen connections between villages in the region.

Photographs © Iwan Baan
Photographs © Iwan Baan

The architecture responds directly to the climate and local building traditions. The building is constructed mainly from locally sourced materials such as compressed earth blocks, bamboo, and thatch. These materials were chosen because they are sustainable and reflect the construction techniques already used in the region. Local workers and builders were also involved in the construction process, which helped transfer building knowledge and create a stronger sense of community ownership.

Photographs © Iwan Baan
Photographs © Iwan Baan

One of the most distinctive features of the project is its large curved roof. The design reinterprets the traditional pitched roof used in local architecture by inverting it, creating shaded spaces and courtyards around the building. The roof also plays an important environmental role by collecting rainwater and storing it in cisterns. This water can then be used during the long dry season, which is an important resource for the village.

Drawings © Toshiko Mori
Drawings © Toshiko Mori

Passive climate strategies are also central to the design. Deep overhangs, open courtyards, and permeable earth brick walls help create natural ventilation and shaded outdoor spaces, keeping the building cool in the hot climate. Because of this passive design approach, the building can remain comfortable without relying heavily on mechanical systems.

Drawings © Toshiko Mori

What makes this cultural hub especially meaningful is how it connects architecture with social impact. The project supports art and creativity while also addressing practical needs such as water collection, education, and community gathering spaces. By combining local materials, climate-responsive design, and cultural programming, the project shows how architecture can support rural communities in meaningful ways.

Photographs © Iwan Baan
Photographs © Iwan Baan

Overall, the cultural hub demonstrates how architecture can go beyond simply creating buildings. It becomes a platform for collaboration, cultural exchange, and sustainable development, connecting a small rural village to a wider global network through art and design.

Sources

Toshiko Mori Architect — Project page: https://tmarch.com/thread

Dezeen article: https://www.dezeen.com/2017/01/25/toshiko-mori-compressed-earth-bamboo-thatch-cultural-centre-senegal-africa-architecture/

ArchDaily project: https://www.archdaily.com/608096/new-artist-residency-in-senegal-toshiko-mori

Dovetail Magazine feature: https://dovetailmag.com/2023/01/destination-thread/

 

Dakar Houses for Moroso Furniture Makers in Senegal

Dakar Houses    I   ArchDaily

On the outskirts of Dakar, the Dakar Houses project proposes a new prototype of living and working for Moroso furniture craftsmen in Senegal. The units are conceived as hybrid live-work environments that house artisans and their families alongside integrated workshops, making visible the full spectrum of production, from welding to the intricate hand-weaving of pieces for Moroso’s M’Afrique Collection. Designed by Marc Thorpe, the project responds to both environmental conditions and social structures by grounding itself in local material practices and systems of community-based production, positioning architecture as both a spatial and economic framework.

Morso’s M’Afrique Collection    I   Marc Thorpe
Senegalese Craftsmen    I   Marc Thorpe

Founded in Italy in 1952, Moroso is internationally recognized for its collaborations with designers and its emphasis on experimental, high-quality furniture. For more than a decade, through its M’Afrique collection, the company has worked to actively promote and celebrate Senegalese artisans, foregrounding local handcraft within the global furniture industry. This connection to Senegal is further reinforced through Patrizia Moroso’s husband, Abdou Salam Gaye, whose cultural and artistic ties to the region have played a key role in shaping the company’s engagement there. The Dakar Houses project was commissioned by Abdou Salam Gaye, extending this long-standing relationship into architecture and proposing a spatial framework that supports both production and daily life.

Marc Thorpe with Senegalese Craftsmen in Dakar    I   Marc Thorpe

Marc Thorpe’s is a global architectural practice based out of New York, operating across furniture and product design exploring how material systems and cultural contexts can intersect. This multidisciplinary approach is evident in the Dakar Houses, where architecture is conceived as an evolving system tied to labor, community, and environment.  In addition, the project planned for both Thorpe and Gaye’s furniture to be featured across the complexes. The project reflects his broader interest in bridging craft and industry while engaging local economies in meaningful ways.

Site Plan    I   ArchDaily
Building Plan   I   ArchDaily

The project aims to create a work-based community in which living and production are fully integrated. The village is constructed of eight structures, each organized around a central workshop flanked by residential spaces, allowing artisans and their families to inhabit the same environment in which they work. This spatial arrangement redefines domestic architecture as an infrastructure for livelihood, enabling a collective system where economic activity and social life are intertwined. The aggregation of these units suggests a larger village model, one that can expand organically as production grows and new participants join the network.

Workers at Elemental in Dakar, Senegal   I   Photo by Fernanda Loyola Cardoso
Digging Earth in Dakar, Senegal   I   Photo by Fernanda Loyola Cardoso
Compressed Earth Blocks    I   Photo by Fernanda Loyola Cardoso

A defining aspect of the Dakar Houses is the use of compressed earth bricks, which ground the project in both environmental and cultural specificity. The material is sourced locally, significantly reducing the energy and cost associated with transportation, and it is produced through a low-impact process in which soil is compacted, shaped, and cured in the sun rather than fired. This method aligns with long-standing construction traditions in Senegal while also addressing contemporary concerns around sustainability. The thermal mass of the earth walls allows them to absorb heat during the day and release it gradually at night, stabilizing interior temperatures and minimizing the need for mechanical cooling.

Brick Screens for Dakar Houses    I   ArchDaily

The architectural form further reinforces this environmental responsiveness. The buildings are composed of angular, pitched volumes that reference traditional African patterns while also shaping microclimates through shadow and airflow. Thick earthen walls, perforated surfaces, and carefully staggered masses work together to promote ventilation and reduce solar gain. These passive strategies transform the buildings into climate-regulating systems, demonstrating how material and form can operate together to produce comfort without reliance on technology.

Interior Brick Pattern    I   ArchDaily

The Dakar Houses operate simultaneously at multiple scales, linking material experimentation with broader social and economic frameworks. The use of earth construction highlights the viability of locally sourced, low-energy materials, while the integration of living and working spaces proposes a new architectural typology rooted in collective production. At an urban level, the project imagines a decentralized settlement organized around craft economies, and at a cultural level, it connects global design networks with local knowledge and labor.

Dakar Houses in Site    I   ArchDaily

Ultimately, the project presents architecture as a mediating force between environment, economy, and community. By embedding production within the domestic sphere and building, Marc Thorpe proposes a model in which design supports not only shelter, but also sustained ways of living and working.

Written by Fernanda Loyola Cardoso

Sources:

“Abdou Salam Gaye.” Say Who.  https://saywho.co.uk/people/abdou-salam-gaye/.

Frearson, Amy. “Marc Thorpe Designs Dakar Houses for Moroso’s M’Afrique Artisans in Senegal.” Dezeen. March 17, 2020. https://www.marcthorpedesign.com/morosomafrique

Harrouk, Christele. “Marc Thorpe Proposes Houses for the Workers of Moroso on the Outskirts of Dakar, Senegal.” ArchDaily. April 7, 2020. https://www.archdaily.com/937014/marc-thorpe-proposes-houses-for-the-workers-of-moroso-on-the-outskirts-of-dakar-senegal.

Marc Thorpe Design. “Dakar House.”  https://www.marcthorpedesign.com/dakar-house.

Marc Thorpe Design. “Moroso M’Afrique.” https://www.marcthorpedesign.com/morosomafrique.

 

 

CINVA RAM

CINVA-Ram

 

The CINVA Ram is a manually operated machine used to produce compressed earth blocks (CEBs)—solid building units made by pressing soil into a mold.

Instead of using industrial materials like concrete or fired bricks, the CINVA Ram uses local soil, mixed with water and sometimes small amounts of stabilizers such as cement or lime. The machine applies pressure to compress this mixture into dense, uniform blocks.

Unlike traditional bricks, which must be baked at very high temperatures in special ovens (called kilns) to become strong, CINVA Ram blocks are simply left to dry and harden in air. This makes the process more energy-efficient and accessible.

The CINVA Ram was developed in the 1956 at Centro Interamericano de Vivienda (CINVA) in Bogotá. It was developed by engineers at the institute, and is often associated with the work of Colombian engineer Raul Ramirez. It was created in response to growing housing shortages in Latin America. Many regions lacked access to industrial construction materials, creating a need for affordable and locally adaptable building methods. The device was later disseminated through international development programs and has since been used across Latin America, Africa, and Asia.

CINVA-Ram Block Press and Its Parts

The process is simple and repeatable:

_ Prepare the soil
Soil is collected locally, sieved to remove large particles, and mixed with water. In some cases, a small amount of cement is added for stabilization.

_ Fill the mold
The mixture is placed into a metal mold within the press.

_ Apply pressure
A hand-operated lever compresses the soil into a dense block.

_ Remove and dry
The block is removed and left to air-dry until it hardens.

Process of making CEBs

Through this process, raw earth is transformed into a standardized building unit that can be used similarly to conventional bricks.

The CINVA Ram is significant not only as a tool, but as a system of construction. It enables the use of local materials, allowing buildings to be made from soil found directly on-site, while also reducing energy consumption since no high-temperature heating is required. This makes the process both more sustainable and more accessible.

In addition, it supports affordable construction by minimizing reliance on industrial materials, and its manual operation allows individuals and communities to actively participate in the building process. However, the system also has limitations: it is labor-intensive, requires knowledge of soil composition, and is generally more suitable for small-scale or incremental construction rather than large urban developments.

The CINVA Ram is more than a machine—it is a method of building that begins with the ground itself. By transforming soil into durable construction units through a simple mechanical process, it offers an alternative to industrial building systems. As interest in sustainable and low-carbon architecture continues to grow, the CINVA Ram remains a relevant example of how construction can be local, accessible, and resource-efficient.

A demonstration of the compressed earth block production process using a CINVA Ram can be viewed here:

References

Casarama. “CINVA Ram.”

Engineering for Change. “CINVA Ram.”

Engineering for Change. “Compressed Earth Blocks Production.”

Houben, Hugo, and Hubert Guillaud. Earth Construction Handbook. Intermediate Technology Publications, 1994.

Minke, Gernot. Building with Earth: Design and Technology of a Sustainable Architecture. Birkhäuser, 2006.

Open Source Ecology. “Compressed Earth Block Press (CEB Press).”

YouTube. “CINVA Ram / Compressed Earth Block Demonstration.”

 

Hassell Studio: The Bidi Bidi Performing Arts Center

The Bidi Bidi Performing Arts Center is an earthen amphitheater serving the South Sudanese refugee community in Northern Uganda. This art center was designed in collaboration with Hassel Studios, To: Studios, architecture practice LocalWorks, and engineering firm Arup.  This space was created as a community gathering space, a performance venue , and a music school; with classrooms, music training spaces, and a recording studio.

The design of the amphitheater utilizes local and easily accessible materials for it’s walls which are made from hand pressed earth bricks.  The earthen walls are protected from weathering by its roof structure.  The positioning of the bricks allows daylight and ventilation to permeate all spaces. These specific brick patterns have a relationship with music. The brick absorbs and diffuses sound in the performing space, classroom, and recording studio, further optimizing the spaces acoustically.

The center roof design is shaped like a funnel, which collects to rainwater This rainwater then provides water to the community and supports essential facilities such as the tree nursery and vegetable garden located outside the center.

Bidi Bidi allows for a a place for dance, music and performance; a unionization between refugees and local communities in Northern Uganda.  Allowing for a cultural connection from refugees’ birth countries, the art center creates a space for love and peace.

The new space in Bidi Bidi will offer an acoustic recording studio and performance space, as well clean water collected from rain.

Location: Bidi Bidi, Uganda

Completed Year: 2024

Collaborators: LocalWorks, Arup, The Landscape Studio, To.org

Design team: Xavier De Kestelier, Joanna Lesna, Sarah Huc, Nikolaos Argyros, Jonathan Irawan

Photography: Mutua Matheka

Diseño Norteño: Project OJA

Photo by Diseño Norteño

Based in Monterrey, Mexico, Diseño Norteño is an architecture firm celebrated for merging modern innovation with the cultural heritage of northern Mexico. Their projects are designed to respect the natural environment, utilizing local materials and reinterpreting traditional techniques with a contemporary twist. With a multidisciplinary team, they have become known for creating spaces that reflect regional identity while delivering functional and forward-thinking design solutions.

Photo by Diseño Norteño

The “OJA” project, located in the serene landscapes of Coahuila, Mexico, showcases Diseño Norteño’s dedication to sustainability and elegant design. “OJA” serves as a harmonious retreat, blending seamlessly with its natural surroundings. The project draws inspiration from traditional northern Mexican architecture, adapted to a modern context, to create a sanctuary that respects and enhances its environment.

Photo by Diseño Norteño

Key materials used in the “OJA” project include compressed earth, which is a contemporary twist on traditional earthen construction. This material not only provides excellent thermal insulation, keeping the indoor environment comfortable year-round, but also minimizes environmental impact by utilizing locally sourced resources. Recycled wood plays a significant role as well, adding warmth and a rustic charm to the interiors, creating inviting spaces that feel both cozy and grounded. Additionally, local stone is incorporated for its durability and aesthetic qualities, establishing a strong connection between the building and its natural surroundings. This thoughtful selection of materials enhances the visual appeal of the structure while reinforcing the project’s commitment to eco-friendliness and sustainability. By choosing materials that are both beautiful and environmentally responsible, “OJA” embodies a harmonious relationship between design and nature.

Photo by Diseño Norteño

“OJA” employs several passive design techniques to improve sustainability. The building is oriented to maximize natural light and promote cross ventilation, reducing reliance on artificial heating and cooling. Large windows and strategic shading devices protect the interiors from excessive heat, while modern systems like rainwater harvesting and solar panels further enhance self-sufficiency. Together, these elements create a beautiful, functional space that reflects a harmonious blend of traditional practices and contemporary innovations, reinforcing the project’s commitment to ecological and cultural sustainability.

References

(n.d.). Diseño Norteño – Tijuana. Retrieved November 5, 2024, from https://d-n.mx/

Diseño Norteño. (@disenonorteno) • Instagram photos and videos. (n.d.). Instagram. Retrieved November 5, 2024, from https://www.instagram.com/disenonorteno/

Vega, R. P. (2023, August 22). La arquitectura más allá del centro de México. Mural. https://www.mural.com.mx/la-arquitectura-mas-alla-del-centro-de-mexico/ar2661626

The Gando School Library by Francis Kéré

From Personal Experience to Architectural Innovation

Francis Kéré’s journey to build the Gando School Library began with his own childhood experiences. As a young student in rural Burkina Faso, Kéré had to travel 40 kilometers to reach the nearest school, where he studied in poorly lit, badly ventilated classrooms. These difficult learning conditions left a lasting impression that would shape his future work.

While studying architecture in Germany, Kéré made a crucial decision: he would use his education to build a better school for his village. In 1998, he established “Bricks for Gando,” a foundation to support this vision. By 1999, despite significant economic and logistical challenges, he began designing the primary school with support from his community and foundation funds.

Smart Design for Harsh Conditions

Kéré designed the school in 1999 with four key factors in mind: cost, climate, available materials, and building methods. He knew the building needed to stay cool in extreme heat, use local materials, and be built by village residents.

The Building Layout

The school features three classrooms arranged in a straight line. Between them, covered outdoor areas serve as play spaces and extra teaching rooms. This simple layout helps air move through the building while providing shade for outdoor activities.

Natural Cooling System

Instead of using expensive air conditioning, Kéré created an innovative ventilation system. He raised the metal roof above the clay brick ceiling using steel bars and light trusses. This design lets cool air enter through windows while hot air rises through holes in the ceiling and escapes through the gap under the raised roof. The roof extends far beyond the walls, protecting them from rain and creating extra shade.

Burkina Faso, Gando. Grundschule. Arch. Francis Kere.
Primary school. Foto: Erik-Jan Ouwerkerk

 

Local Materials, New Methods

The walls use compressed earth blocks made from local clay, strengthened to last longer than traditional mud bricks. Concrete beams support the ceiling, which uses more compressed earth blocks with special holes for ventilation. The metal roof protects everything below while helping move hot air out of the building.

Burkina Faso, Gando. Grundschule. Arch. Francis Kere.
Primary school. Foto: Erik-Jan Ouwerkerk

 

Built by the Community

Every person who worked on the school came from Gando. During construction, villagers learned new building skills while sharing their knowledge of traditional methods. These skills spread through the community, leading to more building projects in Gando and nearby villages.

Award-Winning Impact

In 2001, the completed school won the Aga Khan Award for Architecture. The judges praised its “elegant and simple design using basic construction techniques.” More importantly, it proved that buildings could be:

  • Made entirely from local materials
  • Built by local people
  • Comfortable without expensive cooling systems
  • Strong enough to last many years
  • Perfect for their climate and community

Beyond the Classroom

The primary school did more than provide a place to learn. It showed a new way to build in hot climates using simple materials and smart design. The success led Kéré to design more buildings in Gando, including teacher housing and later, the library.

Burkina Faso, Gando. Grundschule. Arch. Francis Kere.
Primary school. Foto: Erik-Jan Ouwerkerk

A Model for African Architecture

The Gando Primary School challenged common ideas about building in Africa. It proved that:

  1. Traditional materials could work better than modern ones
  2. Local builders could create advanced buildings
  3. Natural cooling could replace air conditioning
  4. Simple design could solve complex problems
  5. Architecture could grow from community needs

Growing to Meet Community Needs

The success of the Gando Primary School led to its first expansion just two years after opening. In 2003, faced with rising student numbers, Kéré designed an extension that built on the original’s proven solutions while introducing subtle innovations.

 

He kept the core elements that worked well – local clay blocks for walls, the signature raised roof for ventilation, and the protective deep overhangs.

Interior of the vaulted ceiling classroom

However, he refined the cooling system by replacing the flat perforated ceiling with a curved vault design. This new ceiling featured carefully spaced gaps in its brick pattern, creating a more effective “breathing” surface that drew cool air in through the windows while letting hot air escape through the vault. The extension, built again by community members who had gained experience from the first project, showed how Kéré’s sustainable design principles could evolve while staying true to their original purpose.

https://livinspaces.net/design-stories/featured-projects/building-for-africa-the-responsive-architecture-of-gando-school-library-burkina-faso-by-diebedo-francis-kere/