Category: Uncategorized

Location: Dinajpur, Bangladesh
Year: 2006
​Architect:  Anna Heringer

Site Plan, Source

Knitted Elevation, Source

Anna Heringer’s METI Handmade School in Bangladesh exemplifies an innovative approach to sustainable architecture, rooted in local materials and traditional building techniques. The school was designed to serve as a community hub for education, demonstrating how effective construction methods can enhance both functionality and environmental stewardship.

Cave Space, Source

Second Floor, Source

Floor Plan, Source

The building features two contrasting levels: the ground floor, with thick earth walls and three classrooms, creates a tactile, intimate atmosphere. Each classroom opens to an organic system of ‘caves’. The upper floor contrasts sharply with its light, open design. Bamboo walls allow sweeping views of the treetops and village pond, while sunlight filters through, casting shadows on the earth floor. Colorful saris hang from the ceiling, adding vibrancy to the space, which is designed for movement and connection to the surrounding natural environment. Together, the two levels balance earthiness with openness, offering both introspective and expansive experiences.

Facade Photo,  Source

The foundation of the building rests on a 50 cm deep brick masonry base, finished with a cement plaster facing. In Bangladesh, bricks are the primary building material, produced from the region’s abundant clayey alluvial sand, as natural stone is scarce. These bricks are fired in open circular kilns using imported coal, resulting in a durable and locally sourced construction element.

Construction Photo, Source

An essential addition to local earthen building practices is the damp proof course, consisting of a double layer of locally available polyethylene film. This innovation protects the structure from moisture, enhancing its longevity. The ground floor features load-bearing walls constructed using a technique akin to cob walling. A mixture of straw and earth, with minimal straw content, is prepared with the help of local livestock and applied in layers atop the foundation. Each layer is heaped to a height of 65 cm and then trimmed after a few days to maintain uniformity. After allowing for a drying period, successive layers are added, integrating door and window lintels along with a ring beam made of thick bamboo canes.

 

Section, Source

The ceiling of the ground floor employs a triple layer of bamboo canes, with the central layer arranged perpendicularly to provide lateral stabilization. This layer is topped with split bamboo planking and filled with the earthen mixture, mirroring techniques used in European timber-frame constructions.

For the upper storey, a frame construction is utilized, comprising four-layer bamboo beams and vertical and diagonal members arranged at right angles. This design enhances the structural integrity of the building, with the frames at the ends stiffening the overall structure. Additional structural members connect the beams, and wind bracing is incorporated on the upper surface to further strengthen the frame. Supporting the corrugated iron roof are a series of bamboo rafters, which are adjusted in height for optimal runoff, topped with timber paneling.

Facade, Source

Through its innovative design and construction techniques, the METI Handmade School not only provides an educational facility but also serves as a model for sustainable building practices. It engages the community, preserves traditional craftsmanship, and utilizes local resources effectively, making it a beacon of environmental and social responsibility in architecture.

 

Read more: Anna Heringer Website

Hope Village is located in Tanzania of East Africa, along the coast of the Indian Ocean. The main component of this project is the community center building, which is designed with complex earthen walls and a metal / wood roofing system. This community center will serve as a 480 student school, kitchen, dining hall, bakery, and storage space. Surrounding this main building will be housing for the children of the community, aged 3-18 years old.   This project is being created in collaboration with Hassell Studio, ClarkeHopkinsClarke Studio, the Institute for Advanced Architecture of Catalonia, EOC Engineers, and One Heart Tanzania. 

Sustainability is a major factor in the design and construction of the Hope Community Center, which, due to their 100% recyclability,  resulted in the selection of 3D printed earthen/adobe walls. These wall designs are being created in collaboration with the Institute for Advanced Architecture of Catalonia, and prototypes are currently being built in Barcelona. The walls are currently designed in a lattice-type structure, allowing for significant air circulation within the community center as well as diluted light throughout the space. The soil used for the walls will be sourced from no more than 15.5 miles of the site, and the layers will contain thin wire mesh sheets to add to the structural integrity of the building. 

 

The adobe is expelled from the machine shown above to create the multi-layered lattice structure (Crane WASP Printing System). The plan is for technical experts from Hessel Studio, ClarkeHopkinsClarke Studio,  Institute for Advanced Architecture of Catalonia and EOC to travel to the site and teach locals how to use this Crane WASP technology. The machinery is then planned to be left there, with community members now able to operate it on their own and continue to develop their community spaces. 

 

The roofing system will be constructed out of local timber and a central steel beam. The roof “resembles a draped blanket. Comprising short pieces of timber, the roof will further be supported by cladding made of readily available corrugated metal sheet panels.” 

 

This image shows the combined  planned use of wood, corrugated metal sheets and steel beams for the construction of the roof. 

Construction of the village and the community center is set to begin in early to mid 2025. The intention of its construction is to involve the local community and provide job opportunities throughout the building process, all while prioritizing safety and access to crucial resources for local youth. 

Location: Hope Village, Kibaha, Tanzania

Architects: HASSELL, ClarkeHopkinsClarke

Charity/Partner: One Heart Tanzania @one_heart_co

Collaborator: Institute for Advanced Architecture of Catalonia 

Structural Engineering: EOC @eocengineers

Renderings: IMIGO @imigo.it

Start Construction: 2025

 

The Clay Rotunda is a cylindrical, free-standing structure that encloses the SE MusicLab, a high-fidelity music space inside the renovated Gurten Brewery in Bern. This innovative design uses unreinforced clay, a zero-waste, eco-friendly material, as its primary component. Standing 5 meters tall with a diameter of almost 11 meters, the structure was built entirely on-site over a period of 50 days using advanced robotic technology, assembling over 30,000 soft clay bricks.

The project was initiated by SE MusicLab, a high-fidelity music studio, with the design executed by a collaborative team involving experts from Lehmag (a specialist in earthen construction), Seforb (an engineering firm), and Brauchli Ziegeleien (a brick manufacturer). These partners share a commitment to integrating traditional materials with modern technology, striving to create sustainable, emission-free construction methods. Their collective goal was to push the limits of earthen architecture by blending computational design with ancient building techniques.

Design Concept
The slender form of the rotunda is stabilized by its undulating surface, which increases the footprint and prevents structural buckling. The geometry was carefully calculated using a computational model that integrated engineering requirements, material properties, and the construction process itself. Given the limited reach of the robotic arm and the natural shrinkage of clay as it dries, the structure was divided into trapezoidal sections. This segmentation was key to ensuring that each clay cylinder was positioned correctly and supported the structural integrity of the whole.

Material Innovation and Construction Process
To achieve the desired strength and malleability, a specific clay mix was developed, blending clay with sand, small stones, and water. This mixture was molded into cylindrical “soft bricks,” each 9 cm in diameter and 15 cm in height. A robotic arm then precisely placed and compressed each brick, reducing it by 40% of its height to create strong bonds between the units. The entire structure was built segment by segment, with the robot relocating to different positions as the project progressed. Throughout the process, 3D scanning was used to continuously monitor the structure’s geometry and adjust for any material shrinkage. Cracks that formed during drying were filled to maintain a consistent finish.

Sustainability Features
One of the key aspects of the Clay Rotunda is its commitment to sustainable building practices. By using clay, a natural material that can be recycled and returned to the earth, the project minimizes waste and avoids harmful emissions. The clay’s inherent qualities also contribute to the building’s interior climate, naturally regulating temperature and humidity, reducing the need for mechanical systems. This project pushes the boundaries of how traditional materials like clay can be reimagined through digital design and robotic construction.

Citations

 

• SE MusicLab Clay Rotunda. SE MusicLab, 2021, www.semusiclab.ch/project-clay-rotunda.
• Lehmag, Seforb, and Brauchli Ziegeleien. Clay Rotunda Process Report. SE MusicLab, 2021, www.semusiclab.ch/research-clay-rotunda.
• Lehmag. Earthen Construction Techniques in Contemporary Architecture. Journal of Sustainable Building, 2021, vol. 32, no. 4, pp. 50-65.

 

Location: Gagosian Gallery, New York City

Completion: 2021

Architect:  David Adjaye

‘Asaase’ takes the form of a labyrinthine,  walls made from stacked blocks increasing in height toward a “conical vertex” in the center. The British architect’s first large sculpture was one piece to Social Works, a group exhibition of a dozen Black artists, curated by Antwaun Sargent, to engage with social space “as a community-building tool.”

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“It’s this idea of construction that works across many modes of sensory perceptions….it’s designed to create moments where the audience is just in – between earth. This is something people have forgotten how to do.”

 

 

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Constructing the rammed earth blocks began with a combination of crushed limestone and schist from New York, with the tops of the shorter walls at the perimeter revealing some of the loose aggregate from the process.

The ‘Asaase’ project incorporates a sense of collective memory and aims to evoke a deeper connection with the land, specifically traditional black architecture and historical identities. References to historic works of West African architecture such as the Tiébélé royal complex in Burkina Faso and the walled city of Agadez in Niger, can be seen in the sculpture’s maze form.

The project reflects on the unique essence of a place, drawing connections between the present and the past by examining Black communal spaces across the African continent. It delves into how these spaces served as central hubs for families and communities to gather.

The curved walls invite visitors to explore the spaces between the gallery walls and the piece before entering the spaces inside. These overlapping walls mean there are numerous ways to encounter  and move through the installation.

‘Asaase’ contemplates the idea of fragments—both in terms of physical spaces and the buildings constructed from the earth—that provided the backdrop to everyday life for Black individuals, symbolizing a connection to heritage and history. What Adjaye describes as “fragments of chambers,” can be demonstrated the most by the niche at the center of the maze.

References

• David Adjaye Tries Rammed Earth
• Adjaye Associates
• World Architects
• Photography: John Hill

 

 

 

 

 

 

 

 

 

Arup Associates embraced these natural materials to create a structure that echoes traditional Ladakhi building methods while incorporating modern techniques to ensure long-term resilience.

The layout of the school reflects a deep connection to nature and spirituality. Buildings are arranged in clusters, symbolizing Buddhist mandalas, creating a harmonious flow between the interior learning spaces and the surrounding natural environment. The design respects Ladakh’s spiritual heritage while ensuring that students learn in an environment that fosters a connection with their cultural roots.

 

 

 

 

 

 

 

 

 

 

 

 

 

as well, such as the wooden eaves in the roof, earth-clad for better thermal performance. Wood is also used in the interior, both for floors and the frames of the large windows that bring light into the classrooms. Among the strategies applied to capitalize on passive solar gain are the building’s radiation-maximizing orientation, the functioning of the south facades as Trombe walls, and the use of solar thermal panels for heating and hot water. Water is saved through dry latrines with forced ventilation (by solar chimneys). Because the place is at such a high altitude and the skies are so bright, photovoltaic panels generate all the electricity the school needs.

 

 

 

 

 

 

 

 

 

 

 

Engineering and architectural aspects focused very much on sustainability, which was particularly important given the challenges of the location, with limited water supply and sometimes adverse climate conditions.

The supply road to the area could be cut off by snow for up to six months of the year yet, on the positive side, sunlight hours are high. The school is located in an area of considerable seismic activity and the methods used to ensure improved safety in the event of an earthquake needed to be easy to emulate for future structures.

Most traditional local buildings don’t benefit from seismic engineering so the Druk White Lotus will spark a new generation of safety-enhanced structures, better able to withstand the ravages of a natural disaster.

With relatively non-complex structural approaches, using timber frames to resist seismic loads, the school enjoys improved protection from earth movements.
Blocks used for the external walls were quarried on site, making effective use of available resources.

During cold evenings resident pupils feel the benefit of ventilated cavity walls, made of mud brick and glass.
Solar energy is stored through the day and used to heat the interior at night. Solar panels generate electrical energy, minimizing local emissions and making maximum use of the high sunlight hours. The panels feed battery packs in an energy center, powering lighting, water supply, and even computers.
Ventilation is natural and the building is positioned to receive natural light.
Limited water supply led to the creation of a dual recycling and distribution system for irrigation. Ground water is pumped using solar power to a tank at the top of the site. Rainfall is directed to planted trees and gravity fed to gardens and water points.
A solar pump powers the unique recycling system, which supplies drinking water to the school’s occupants. The circuit is completed with the disposal of wastewater: waste is filtered down pipes, eventually feeding and sustaining the shady trees surrounding the school.The introduction of Ventilated Improved Pit (VIP) latrines is a cost effective, low-tech method of maintaining a high standard of renewable sanitation – they do not use water but instead a solar driven flue to counteract smells and insects.
The building is a truly self-sufficient operation on all counts: an effective reusable energy engine and a valid health and sanitation system.

 

 

 

 

 

 

References

1- Architectural Case Study on Druk White Lotus School | PPT (slideshare.net)

2- Druk white lotus school study for material.pptx (slideshare.net)

3- Druk White Lotus School – Arup Associates | Arquitectura Viva

 

Martin Rauch, founder and managing director of Lehm Ton Erde (LTE) in Schlins, Austria, is internationally known as a leading expert in the field of rammed earth mining. He founded the company in 1984 as the sole manufacturer of ceramics and clay construction, and then founded Lehm Ton Erde Baukunst in 1999. The current studio and operations centre were built in 1990, where he presented his accumulated knowledge of clay construction at the time. Over the course of more than 35 years of working with clay, Rauch and LTE have completed over 100 projects around the world, published 3 books and led the industry in rammed earth innovations.

 

After the development of a unique precast plant, Lehm Ton Erde is now entering a new phase in which it is a matter of establishing rammed earth as a sustainable building material in order to counter the ecological burdens of the construction industry. ERDEN means clay. It is a grounding of building in natural materials and processes. Clay earth continues to be the roof for everything that has to do with rammed earth. ERDEN is a leader in clay construction prefabrication and is revolutionizing the construction industry. With the ERDEN factory hall, a new plant and headquarters for the production of precast clay elements. The team is made up of people from diverse backgrounds, including design, craft, teaching, research, and management expertise.

 

The ecological résumé of rammed earth is second to none. No other material has a smaller footprint on our planet. The raw material and the finished product are one and the same. Soil from the ground is dug up and processed. We add a little gravel or clay to optimize them, mix them with water and voilà!

 

This diagram emphasizes the cyclical nature of rammed earth construction, which starts and ends with the natural earth, with minimal environmental impact. This aligns with Martin Rauch’s philosophy of sustainable building, where the material’s life cycle, from construction to deconstruction, supports ecological balance​.

1- Earth Site: Earth is extracted directly from the building site or a nearby location, using local resources to minimize environmental impact. This is where the raw material for the rammed earth process begins.

2- 100% Earth: The material used for construction is pure earth, without additives. The earth is gathered and sometimes modified by adding gravel or sand, depending on its natural composition.

3-Filling the Formwork: The extracted earth is placed into formwork, which is essentially a mold that shapes the walls. The formwork holds the earth in layers before it is compacted.

4-Compacting Earth: Once the earth is inside the formwork, it is compacted. This can be done manually or with the help of mechanical tools such as pneumatic hammers. The compaction process is crucial for the stability and durability of the walls.

5-Construction: The walls are constructed by repeating the process of filling and compacting. The compacted earth forms solid, load-bearing walls without the need for additional finishing materials like stucco or plaster.

6-Seamless Finishing: After the compaction and construction of the walls, seamless finishing techniques are applied. This helps to smooth out the surface and enhances the natural aesthetics of the rammed earth, maintaining the integrity and beauty of the material.

7-Transport: If needed, components of the rammed earth can be prefabricated and transported to the site. Prefabricated elements simplify the construction process, especially for large or complex structures.

8-Building in Use: The rammed earth structure is then ready for use. These buildings have high thermal mass, providing excellent insulation properties, which make them energy efficient and comfortable to live in, regulating temperature naturally.

9-Deconstruction: At the end of the building’s life cycle, it can be deconstructed. The natural earth material can be reused or returned to the site, making it a completely recyclable and sustainable material.

10-Earth Back to Site: Once the building is deconstructed, the earth is returned to the site, completing the cycle. This step emphasizes the eco-friendly nature of the process, where no waste is generated, and the material is fully reused.

 

Despite its ecological, functional and aesthetic qualities, rammed earth has hardly been used in recent times. Especially because the experience with the material has been lost. For us, every rammed earth building was, if you will, a prototype. The costs were correspondingly high. Thanks to Martin Rauch’s 35 years of work, rammed earth is now losing this exclusivity. With the introduction of the ERDEN prefabrication process, we have simplified clay construction and made it more affordable. This means that the desire to build their own mud house is becoming a reality for more and more people. But there is still a long way to go. Regulatory hurdles and a broader knowledge of working with rammed earth still pose challenges. But the upswing has begun. The environment urgently needs natural building solutions. Why doesn’t everyone build with clay? Well, it’s only a matter of time.

 

An urban-rural furniture
There’s nothing new about Earth’s resources becoming scarce, just as public space, especially in urban areas, is becoming increasingly scarce. Only what is the solution? The construction industry is one of the major polluters of our time. The Erdenbürgerin project is something of a prototype for a counter-reaction. A seating place made of 100% earth, the most sustainable building material in the World. The earth used to build this urban-rural furniture comes from our local surroundings.

Of course, this is not the silver bullet either. Rather, it is an impetus and an opportunity to ask questions. Where am I sitting here? And on what? The Erdenbürgerin asks you to take a seat and to widen your gaze. Or just to sit and commune, to chat, to relax. In a freespace, public place, as a healthy society needs. And a healthy environment. This project was developed as a cooperation between the Walgau region and earth specialists, Lehm Ton Erde.

 

Schlins, the Mecca of rammed earth architecture, one could say, is the home of the founder of ERDEN, Martin Rauch. Since he opened his office in Schlins, several works have been created in the small town in the Vorarlberg province that have become important international precedents of contemporary rammed earth architecture. These include the Rauch Workshop, Haus Rauch, our ERDEN workshop and the Erdenhaus, which is still under construction.

 

Rauch family home

Schlins: Austria

The materiality and form of the residential house are direct reactions to the steep south-sloping scarp situation of the slender plot in its landscape context – as if a monolithic block, similar to a piece of abstract and artificial nature, had been pressed out of the earth. Two clefts articulate the building of rammed earth, wedging it backwards with the scarp and establishing a frontal prelude or welcoming gesture towards the valley. The inside of the house is developed in the form of sequences of individualizable spaces that respond storey-wise to the variable conditions. As opposed to more organic, archaic clay architecture, the morphology of the building aims towards a certain clarity and sharp-edgedness. The strips of clay bricks that are inserted between the typical clay layers optically stabilise the building structure by emphasising the horizontality and heightening the light and shadow effects.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

References 

1- https://www.architectsnotarchitecture.com/archive/martin-rauch/

2- https://www.erden.at/

3- Rammed earth house, Rauch family home by Boltshauser Architekten | Detached houses (architonic.com)

 

 

Location:  ETH Zurich
Year:  2021-2024
​Research: Gramazio Kohler Research

 

 

Source: https://gramaziokohler.arch.ethz.ch/web/e/forschung/451.html

Impact printing is an innovative robotic construction method that creates full-scale, freeform structures using a custom earth-based material. Unlike traditional layer-based 3D printing, it employs high-velocity deposition, allowing for interlayer bonding at speeds of up to 10 meters per second. The environmentally friendly material consists mainly of locally sourced secondary materials with minimal mineral admixtures.

Currently, prototypes are being developed at ETH Zurich’s Robotic Fabrication Laboratory, with plans to integrate this technology into the HEAP autonomous excavator. The research also focuses on developing a digital design and construction strategy, utilizing advanced computational design and sensing methods. This work aims to enhance sustainable, mobile robotic construction, leading to groundbreaking techniques in the design and manufacturing of earthen structures.

Video

 

Source: https://www.research-collection.ethz.ch/handle/20.500.11850/668921

The diagram displays different concepts of earth material fabrication methods.

Left: ‘throwing’ technique used during Remote Material Deposition in 2014, Middle:‘pressing’ technique used during Clay Rotunda in 2021,  Right: ‘shooting’ technique currently investigated during Impact Printed Structures.

Source: https://www.research-collection.ethz.ch/handle/20.500.11850/668921

The diagram above illustrates the ideal overlap between each deposited component.

Source: https://www.research-collection.ethz.ch/handle/20.500.11850/668921

The photo above shows the process of printing a wall with a window embedded.

Boltshauser Architekten, founded by Roger Boltshauser in 1996, is a Zurich-based firm known for its focus on materiality, craftsmanship, and sustainable practices. Roger Boltshauser, a graduate of the Swiss Federal Institute of Technology (ETH Zurich), blends natural materials like brick and clay with modernist and vernacular traditions. His architecture reflects an environmental sensitivity, using low-impact materials to create buildings that are deeply connected to their natural surroundings.

The Tower for the Brickworks Museum in Cham, Switzerland, is a striking vertical addition to a museum dedicated to the region’s brickmaking heritage. The brickworks, which operates the museum, is the last surviving handmade brickworks in German-speaking Switzerland. The site includes a kiln, a drying shed, a clay pit biotope, residential buildings, and a museum, all tied to the region’s industrial past. The tower, which was completed in 2017, stands approximately 10 meters high, 13 meters deep, and 4 meters wide. Its tapered form and black steel entrance portal evoke a sense of transcendence, reminiscent of the ancient nuraghi of Sardinia or Oman’s tower tombs.

This unconventional structure won the prestigious Detail Award in 2022. It functions as an exhibition space, a working kiln, and an observation point, allowing visitors to experience the historical and material richness of the site while offering panoramic views from its rooftop platform. More than just an architectural addition, the tower is also an experimental exhibit, showcasing the innovative potential of rammed earth construction.

 

The tower’s uniqueness lies in its method of construction using rammed earth, an ancient technique that has seen a revival in sustainable architecture. Designed in collaboration with students from the Technical University of Munich and ETH Zurich, under the expert guidance of Roger Boltshauser, the project also served as a hands-on self-build educational opportunity. The earthen modules were made of a mixture of fat clay and demolition rubble, as preparing loam on-site would have been too time-consuming.

One of the key innovations of this structure is its use of prestressed earth. Prefabricated rammed earth blocks were compressed on-site and stacked, each resting on a wooden plate that facilitated transport and construction. The integration of these base plates into the wall structure, along with grooves for tension cables, added strength and stability to the building. A weatherboard on each plate protects the earth from erosion and showcases the joinery principles. The use of horizontal supports made of trass lime mortar further reinforces the structure against erosion.

Prestressing earthen walls is a challenging process due to material creep and shrinkage, which can loosen the tension over time. To mitigate this, the blocks used in Cham were dried for a year, and additional steel springs in the tendons maintained constant pressure. Measurements indicate that the stability and hardness of the rammed earth increase under this pressure. The steel tendons, aside from their structural role, also add a visual rhythm to the compact tower, turning the technical necessity into an aesthetic element.

The tower is a testament to sustainable building practices. Its use of rammed earth—a material that can be recycled or reused—ties the building into the circular economy. The structure was built with the understanding that it would be dismantled after ten years. When this occurs, the rammed earth blocks can be easily reused, closing the loop in material usage and reducing waste. Compared to traditional concrete or brick construction, this method can result in a 40% reduction in embodied energy.

Moreover, the tower’s design aligns with the broader goals of reducing energy-intensive materials like concrete. In Switzerland, over 60 million tons of clay and earth are excavated annually, most of which is discarded in landfills. By using this resource in construction, the project makes a significant contribution to more sustainable building methods.

The Tower for the Brickworks Museum exemplifies Boltshauser Architekten’s commitment to materiality, sustainability, and craft. More than just a structure, it is an experiment in how traditional building techniques like rammed earth can be adapted for modern, sustainable architecture. The tower honors the industrial heritage of the brickworks while also embracing innovative methods, such as prestressed earthen construction, to meet modern engineering challenges.

Its combination of robust materiality and minimalist form inspires reflection on the connection between craft, place, and design. The structure also demonstrates how architecture can be part of a circular economy, with its materials poised to be recycled after its decade-long lifespan. Boltshauser’s work here stands as a reminder that thoughtful, context-driven architecture can not only tell a story through materials but also push the boundaries of what is possible in sustainable building practices.

References:

Boltshauser Architekten. (2022, March 18). Kiln Tower for the Brickworks Museum • Boltshauser Architekten AG. Boltshauser Architekten AG. https://boltshauser.info/en/projekt/ofenturm-fuer-das-ziegelei-museum/

Caballero, P. (2024, July 2). Kiln Tower for the Brickworks Museum / Boltshauser Architekten. ArchDaily. https://www.archdaily.com/972419/kiln-tower-for-the-brickworks-museum-boltshauser-architekten

Kiln Tower for the Brickworks Museum | Boltshauser Architekten | Archello. (n.d.). Archello. https://archello.com/project/kiln-tower-for-the-brickworks-museum

Walter, E. (2022, November 18). Kiln Tower in Cham. Detail. https://www.detail.de/de_en/ofenturm-in-cham?srsltid=AfmBOorkvFZgToXvWDRFMWlyDg4O5_SNjfN_gjXvs0bh4DE-C3lRFW5m

Renzo Piano is an Italian architect that has received numerous awards and nominations for his work, mostly qualified as “high-tech architecture”, a type of modern architecture that dares to innovate and defy norms. (1) His most famous design is the Centre Pompidou of Paris in which he works with high tech and sustainability through an emphasis on structural and technological elements. (1)

Renzo Piano’s involvement in creating an Emergency children’s surgery center out of raw earth in Uganda continues that legacy of surpassing the norm. In this project, Piano contributed with EMERGENCY, a non-profit dedicated to offering complimentary, high-quality medical services to those in need (2). Such a partnership between visionary Renzo Piano and EMERGENCY therefore pushed for a project that guaranteed quality of biomedical devices, quality of building and a quality of life for those in the center(3).

While the facility currently hosts 72 beds, a diagnostic centre, a laboratory for analysis, a blood bank, a pharmacy, as well auxiliary services such as a canteen and a laundry, it also hosts a healing and playful environment (2). In this center, play becomes part of a healing process as colorful walls populate the facility illuminated with the center’s large windows offering a view of either the heart of the complex: a large garden, or the site, which in total contain 350 trees planted (5).  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In this project, Piano and his team championed local tradition of building with earthen materials while also fusing it with his characteristic modern architecture seeking to build sustainably and efficiently.

 

 

 

 

 

 

 

 

In a complex process of trial and error, architects and engineers of the Milan Ingegneria team researched theories and traditions in the region of earthen architecture, testing out experiments in the laboratory and on the construction site, to eventually come across the most performing mix for the project. The final mix was composed of: silty clay from the site, dried and cleaned in order to remove organic materials; aggregate to give the material compressive strength; Mapesoil, an establishing agent used to solidify the soil; a small amount of cement to stimulate the hardening process; inch-long (2.4 cm) polypropylene fibers to prevent tiny cracks from forming as the material shrinks; a fluidizing agent which made the mix easier to work with; and finally, a clear xylan-based coating applied to the outer surface of the wall to create a water-resistant layer stopping moisture from being absorbed or retained.(6)

 

 

 

 

 

 

 

 

 

 

 

 

This rammed earth technique ensures proper humidity and temperature control(4), inducing thermal inertia. 

This project by Renzo Piano is part of a broader movement that reimagines earthen architecture as a viable and valuable component of our modern world. It challenges the notion that traditional materials belong only to the past, showing how earth-based construction can play a key role in creating a more sustainable future. By integrating innovative techniques with time-honored methods, this approach not only honors architectural heritage but also addresses the urgent environmental needs of today, offering a path forward in the global shift towards more eco-conscious building practices.

Location: Entebbe, Uganda

Completion Date: 2021 

Project Owner: EMERGENCY NGO Onlus

Architects: Renzo Piano Building Workshop & Studio TAMassociati

Design team: RPBW – G.Grandi (partner in charge), P.Carrera, A.Peschiera, D.Piano, Z.Sawaya and D. Ardant; F.Cappellini, I.Corsaro, D.Lange, F.Terranova (models) – TAMassociati – R.Pantaleo, M.Lepore, S.Sfriso, V.Milan, L.Candelpergher, E. Vianello, M.Gerardi – EMERGENCY Field Operations Department, Building Division – Roberto Crestan, Carlo Maisano.

Consultants: Milan Ingegneria (structure); Prisma Engineering (MEP); Franco and Simona Giorgetta (landscape); GAE Engineering (fire consultant); J&A Consultants

References:

(1)”The Centre Georges Pompidou by Richard Rogers & Renzo Piano.” ArchEyes, www.archeyes.com/the-centre-georges-pompidou-by-richard-rogers-renzo-piano/.

(2)”Emergency USA – A Surgical Center in Uganda.” Emergency USA, www.emergencyusa.org/?doing_wp_cron=1727479427.1156270503997802734375.

(3)”Emergency Children’s Surgery Center.” Renzo Piano Building Workshop, www.rpbw.com/project/emergency-childrens-surgery-center.

(4)”Hospital Quirúrgico Infantil, Entebbe.” Arquitectura Viva, www.arquitecturaviva.com/works/hospital-quirurgico-infantil-entebbe.

(5)”Centre of Excellence in Paediatric Surgery.” Emergency USA, www.emergencyusa.org/prj/uganda/centre-of-excellence-in-paediatric-surgery/.

(6)”Children’s Surgical Hospital: A Scandalously Beautiful Dream.” The Plan, www.theplan.it/eng/whats_on/children-s-surgical-hospital-a-scandalously-beautiful-dream.