The project located in Boulogne-Billancourt in the Parisian suburbs, involves a building with eight social housing units, a caretaker’s lodge, and a shop on the ground floor, with a raw earth facade on the street side, a stone base and a wooden facade on the garden side. It is driven by a desire for restraint in design and the use of natural, bio-sourced, and local materials without ever losing sight of comfort for the occupants.
The building rises on five levels including a ground floor, four floors of housing and a green roof. It is structured around a central circulation core including an elevator and a staircase serving all levels. The search for optimization, transversality and independence of spaces guided our design.
The façade at street level is made of raw earth blocks, thus following the precepts of the “cradle to cradle” concept based on two principles: zero pollution and 100% reusability. The rammed earth used in the project comes from local sources, specifically from the excavation of the Greater Paris metro. This reduces carbon emissions from transportation and follows the circular economy principle.
Rammed earth bricks are prefabricated , differing from the traditional on-site method. This technique speeds up construction and ensures consistency and quality control, and offers flexible installation in complex urban settings. Rammed earth bricks are placed on a stone base ensures both structural integrity and environmental sustainability.
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.
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)
Vittoriano Rastelli / Corbis via Getty Images
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).
Images courtesy of Renzo Piano Building Workshop & Studio TAMassociati, Milan Ingegneria
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).
Image courtesy of Renzo Piano Building Workshop & Studio TAMassociati, Milan IngegneriaThe Center’s Courtyard. Image courtesy of Renzo Piano Building Workshop & Studio TAMassociati, Milan Ingegneria
Center’s Floorplan. Courtesy of ArchDaily.
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.
Image courtesy of Renzo Piano Building Workshop & Studio TAMassociati, Milan Ingegneria
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)
A whole process of trial and error Images courtesy of Renzo Piano Building Workshop & Studio TAMassociati, Milan Ingegneri
This rammed earth technique ensures proper humidity and temperature control(4), inducing thermal inertia.
Image courtesy of Renzo Piano Building Workshop & Studio TAMassociati, Milan Ingegneria
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
Yemen is located on the southern coast of the Arabian Peninsula, and the city of Shibam is renowned for its densely packed mudbrick buildings. These high-rise structures were built in close proximity as a defensive measure against Bedouin raids.
Shibam’s buildings are multistory (up to 11 stories), and the city is considered one of the earliest examples of vertical urban planning. The towers range between 5 to 11 stories, made primarily of adobe bricks reinforced with wooden beams.
The city is enclosed by a protective wall, with two gates serving as entry points. The compact clusters of five- to eight-story buildings create a unique skyline, with some homes connected by elevated corridors. These corridors allow residents to move between houses quickly, providing a means to defend against attackers. The buildings feature wooden window frames set into mud-plastered walls, with many windows carved into elegant arches. While Shibam’s history dates back to the third century, most of the existing structures were built in the 16th century. Regular maintenance is required for these earthen buildings, as the walls must be replastered periodically to combat erosion from wind and rain. And the roofs and the exterior of the mud towers had sustained the most damage.
The bricks used in Shibam’s buildings gradually decrease in size on the upper floors, resulting in thinner walls as the structure rises and giving the buildings a trapezoidal shape. This design helps to reduce the load on the lower floors, enhancing the overall stability and strength of the buildings. Typically, each building is occupied by a single family, with living spaces located from the third floor upwards. The first and second floors are often designated for food storage and livestock stables, allowing families to keep cattle inside during periods when the town was under siege.
Al Sayyad, Nezar. “The Architecture of Mud: Construction and Repair Technology in the Hadhramaut Region of Yemen.” Environmental Design: Journal of the Islamic Environmental Design Research Centre, 1988.
Serageldin, Ismail. Traditional Architecture: Shibam and the Hadramut Region. London: Academy Editions, 1991.
Alhussein, Redhwan, and Tetsuya Kusuda. “Performance and Response of Historical Earth Buildings to Flood Events in Wadi Hadramaut, Yemen.” Built Heritage, vol. 5, no. 1, 2021, https://doi.org/10.1186/s43238-021-00044-8. Accessed 23 September 2024.
The front facade of Centinela Chapel captured at dusk. (César Béjar via Arch Daily)
Architect: Estudio ALA
Location: Jalisco, Mexico
Year of Completion: 2014
Area: 480 square meters
Centinela Chapel was designed byEstudio ALA based in Gaudalajara, Mexico. The studio was established in 2012 by Luis Enrique Flores and Armida Fernandez. Flores received his undergraduate education from Universidad de Guadalajara, and a Master’s in Landscape Architecture from the Harvard GSD. Fernandez began her education in industrial design at Instituto Tecnológico y de Estudio Superiores de Monterrey before continuing on to a Master of Design Studies at the GSD. Their view of the architectural discipline is as interdisciplinary as their educational backgrounds might suggest, approaching each project with a holistic mindset that in their words is rooted in “[the time, the history, the place, and the people]”[1]. You can read more about their approach in this interview with the Architectural League of New York.
These design imperatives are evident in Centinela Chapel. The 480 square meter building, a small chapel located inside of a Tequila production facility in Jalisco, sits in a verdant landscape with broad views to a pond and adjacent fields [2]. The chapel consists of two rectilinear volumes, open to the air and sky. Used primarily by the facility’s workers, the open plan allows great flexibility and large capacity with a very small building, all while elegantly connecting to the landscape.
Plan of Centinela Chapel (via Arch Daily)
Adobe bricks and pink terracotta tiles are the dominant material expression of the Chapel. However, the primary structural system is in fact steel, which allows for large span openings, and a flexible open plan with wide views. Although the adobe bricks incorporated here are not structural they do play an important role of tying the Chapel to its site, by enhancing thermal comfort, and relating the building to local architecture. Estudio ALA puts great emphasis on the materials as means of connecting a project to its surroundings [3], and the adobe walls undoubtedly achieve this at Centinela Chapel. As a whole the building is an interesting case study of a hybrid material composition, where adobe is the protagonist, but has been enhanced beyond its traditional formal limits with the introduction of a steel structure. The project demonstrates that even where traditional adobe construction may not be feasible for the given form the material can still be a critical part of a building’s identity given its cultural, aesthetic, and climatic significance.
A construction detail illuminated the relationship between steel structure, and adobe bricks (via Arch Daily)
The interior of the chapel. The unusually large spans and flexible plan, and openess to the air and sky are evident (César Béjar via Arch Daily).
1. Estudio ala. Estudio ALA. (n.d.-a). https://estudioala.com/
2. Arch Daily. (2015, December 29). Centinela Chapel / Estudio Ala. ArchDaily. https://www.archdaily.com/779489/centinela-chapel-estudio-ala
3. Be critical, adapt constantly, and connect. The Architectural League of New York. (2024, July 30). https://archleague.org/article/be-critical-adapt- constantly-and-connect/
TheObservatory in the Desert is a public addition to a decaying mud village located in Esfahak, Iran, a village in the north-east of the country. The structure consists of mud brick and rammed earth walls, creating a concentric pattern that leads a person to the center raised platform between the highest walls; a perfect place for an observatory.
The project was conceived by the Contemporary Architects Association an organization based in Tehran, dedicated to “creating an environment where its teachers and students, equipped with a deep understanding of architectural knowledge, history, and theories, engage in meticulous observation of the current state with an analytical and research-driven approach,” and the Esfahak Mud Center (E.M.C) . The main lead of the project was Pouya Khazaeli, founder of Esfahak Mud Center (E.M.C), an organization whose aim is of reviving traditional clay and mud construction in Esfahak Village.
Together with selected students of the CAA, the group designed a model with clay to re-enact the process of building the structure. After understanding the patterns and modes of building, the group traveled to Esfahak and began moulding 20cm x 20cm bricks out of the found mud. As the moulds dried construction began with the original group, however eventually community members of all size, ability, and age came to the need of the designers.
Food was shared, stories were told, tea was served, and the process of building and designing turned into a community process; an intention the architects never set forth with.
The special 20cm x 20cm bricks were placed on the outside of the inner center at 45 degree rotation, reflecting the essence of the palm trees surrounding the space. A curved single person entry way leads you to the center of the structure, where the sky is framed by the circular opening.
The project inspired and engaged the locals, bringing life to an area that was surrounded by decaying structures and rubble. The group even received a “is this for us?” question from locals, with a resounding answer of “yes”. With all of the additional help and support from the community, the project took about 10 days. The Observatory in the Desert is a beautiful example of a cultural, communal, and material specific piece of architecture that was built locally by hand and engaged with active participants of all backgrounds.
Size: 69 square meters
Year: 2017
Photos: Anis Eshraghi
Architects: Amir Ali Zinati, Behnaz Motarjam, Aydin Emdadian, Sonia Begi, Bahar Mehdipour, Hamidreza Malekkhani, Ramtin Ramezani.
Advisor: Puya Khazaeli
Local colleagues: Mohsen Mehdizadeh, Mostafa Yaqoubi, Hossein Bagheri, Mehdi Hosseini
La Luz, designed by Antoine Predock, is a planned townhouse community that blends modern architecture with materials that reflect the cultural heritage and traditional building practices of the southwest region. Located in Albuquerque, New Mexico, on open land between the Rio Grande and the Sandia Mountains, La Luz was conceived by Predock in 1967 and completed by 1974.
The development features 96 townhomes, ranging from 1,500 to 2,100 square feet, clustered together with 16-inch thick adobe walls. This design choice not only pays homage to traditional Southwestern architecture but also serves a functional purpose by providing excellent thermal mass for passive climate control.
Credit: Antoine Predock Architect PC
The townhouses in La Luz’s layout are oriented eastward, offering residents picturesque views of the Sandia Mountains and morning sun, while the western facade features mostly blank walls to shield against harsh afternoon sun and dust storms. Private courtyards act as solar traps in winter and provide shade in summer.
Credit: Jerry Goffe
The site design is inspired by the architectural heritage of Native pueblos and Hispanic villages in New Mexico and is accentuated with curved walls, which soften the overall aesthetic and mirror the natural contours of the landscape.
The development contributes to a sense of community through the inclusion of shared green space, fountains, pedestrian paths, tennis courts, and a swimming pool. La Luz also preserves 40 acres of untouched land as a permanent natural preserve.
La Luz, with its adobe-inspired design, became the cornerstone that cast Predock into the national spotlight and lay the foundation for the recognition he received in the American architectural field.
Despite not being a native of New Mexico, Predock considered Albuquerque his spiritual home and the place that shaped his architectural vision.
Credit: Antoine Predock Architect PC
Born on June 24, 1936, in Lebanon, Missouri, Predock’s architectural journey began while taking a technical drawing course taught by Professor Don Schlegel during his time as an engineering student at the University of New Mexico. This experience compelled Predock to transfer to Columbia University to pursue his B.A. in architecture, which he received in 1962.
After graduation, Predock was awarded a traveling fellowship that allowed him to explore Spain, Portugal, and other parts of Europe for two years. After apprenticing, he established his own architectural firm, La Luz was one of the firm’s early projects that highlighted his unique approach toward weaving modernism with the regional traditions of the American southwest.
CITATIONS:
[1] Predock, A. (n.d.). La Luz. Antoine Predock Architect PC. Retrieved from http://www.predock.com/LaLuz/La%20Luz.html
[2] Predock, A. (n.d.). Desert Beginnings. Antoine Predock Architect PC. Retrieved from http://www.predock.com/DesertBeginnings/desertbeginnings.html
[3] Pearson, C. A. (2024, March 4). Tribute: Antoine Predock (1936–2024). Architectural Record. Retrieved from https://www.architecturalrecord.com/articles/16768-tribute-antoine-predock-19362024
[4] Albuquerque Modernism. (n.d.). La Luz Community. University of New Mexico. Retrieved from https://albuquerquemodernism.unm.edu/posts/cs13_la_luz.html
[5] Wilson, C. (2014). La Luz Community. SAH Archipedia. Retrieved from https://sah-archipedia.org/buildings/NM-01-001-0007
[6] Lucas, C. (n.d.). Architect Antoine Predock’s La Luz Community. Chris Lucas ABQ. Retrieved from https://www.chrislucasabq.com/post/flyer-architect-antoine-predocks-la-luz-community-5-tennis-court-nw-87120
[7] Docomomo US. (2022, July 14). The Planned Community of La Luz is Listed on the National Register of Historic Places. Retrieved from https://www.docomomo-us.org/news/the-planned-community-of-la-luz-is-listed-on-the-national-register-of-historic-places
[8] AIA Los Angeles. (n.d.). Antoine Predock, FAIA. Retrieved from https://aiala.com/antoine-predock-faia/
[9] World-Architects. (2024, March 4). Antoine Predock, 1936-2024. Retrieved from https://www.world-architects.com/en/architecture-news/headlines/antoine-predock-1936-2024
[10] American Academy in Rome. (2024, March 6). In Memoriam: Antoine Predock. Retrieved from https://www.aarome.org/news/features/memoriam-antoine-predock
Reinforced concrete building damaged in Morocco earthquake
Morocco recently experienced the most devastating earthquake that the country has had in the last 60 years. To date, more than 2,600 people have died and news outlets are quick to point out that the cause of death isn’t the earthquake, but the buildings made of earth. While I am aware of the thousands of mud brick and rammed earth buildings that define the villages in the Atlas Mountains where the disaster took place, I note that the photos of the devastation often show buildings made of reinforced concrete or concrete masonry units. The tendency to villainize earthen architecture traditions is a common practice. The headline of one article reads, “Morocco’s Mud Brick Housing Makes Hunt for Earthquake Survivors Harder” and yet the cover image is clearly of a reinforced concrete building. As I scroll through articles about the earthquake, I do see many earthen buildings that have been damaged, but I also see a large number of buildings constructed of industrially produced materials. In the 1995 earthquake in Kobe, Japan, three times the number of people died, and over 100,000 buildings were destroyed in a city that was largely constructed of concrete and steel. Kobe was a magnitude 6.9 earthquake similar to Morocco’s 6.8. The 6.9 Loma Prieta earthquake in the San Francisco Bay Area caused an estimated $14 billion in damage to buildings, bridges, and highways with the majority of deaths happening under reinforced concrete structures like the Cyprus Street Viaduct.
The New York Times writes, “Mud brick buildings common to the region — some of which date back to before Morocco’s colonization by the French — were reduced to a collapsed sand castle.” France colonized Morocco in 1912, making many of the buildings older than 111 years old It should be pointed out that the seismic activity of these regions is high, and earthen building traditions have survived in seismic zones for thousands of years. The oldest buildings in every seismic zone are constructed of earth, including those found in the San Francisco Bay Area. A visit to downtown Sonoma, the Missions, the Petaluma Adobe, and countless other mud brick buildings demonstrate the longevity of earthen architecture in earthquake-prone regions. A visit to Santiago, Chile, a city with a history of earthquakes, will also demonstrate how earthen architecture has survived in many urban and rural environments while adapting to a ground that shakes.
Yes, buildings made of mud brick and rammed earth did collapse causing many deaths. However, reinforced concrete and concrete masonry units did as well — there simply happens to be more earthen buildings in that region, just as there are more reinforced concrete buildings in Kobe, Japan. And despite the reality that our continued quest to combat the forces of mother nature, we continue to find that she wins. But perhaps she is not the villain, nor is architecture made of earth. According to Bloomberg, man-made climate-related disasters due to climate change account are linked to approximately 5 million deaths per year and the concrete industry is responsible for about 8% of planet-warming carbon dioxide emissions. Earthquakes account for approximately 60,000 of those deaths, however, few of those are related to the collapse of earthen buildings. Some of those deaths are related to the collapse of buildings made with other materials, landslides, and tsunamis. Some earthquakes are a product of fracking and mining.
I do not believe that earth architecture is the villain in the tragedy in Morocco. Rather, it is the cultural perception of the building material, and the prejudices against those that live in them, within a capitalist society. Earth is an inherently ecological material, possesses excellent thermal mass properties, requires little embodied energy, and is recyclable—earth buildings can return to Earth. It should be noted that most of the recent Pritzker Prize winner Francis Kere’s buildings are constructed of mud, and as I wrote about in my book, Earth Architecture, a number of universities including the Pontificia Universidad Católica del Perú, the University of Kassel, Germany, and the University of Technology, Sydney are advancing the technology of creating earthquake-resistant earth buildings. Let us look to solving the 5 million deaths per year due to climate change, and improve the technologies of earthen construction as humans have continued to do for the past 10,000 years of civilization before we eradicate large percentages of the population due to industrialized building practices that have not proven to safely house the planet, unlike our planetary traditions of earthen architecture.
Building Local is a design-build studio that will explore and discuss the aesthetic, assembly and tectonic qualities of local materials: earth, stone, fique, bamboo and wood, engaging students in a series of workshops that will culminate in the design and construction of an efficient and innovative farmhouse. The studio will take place in Barichara, a colonial town located in the North Western region of Colombia. It is open to graduate and upper-level undergraduate students (juniors and seniors) who are interested in engaging in the explorations of these techniques and their use in contemporary architecture.
Maria Carrizosa, a licensed architect in Colombia and holds an undegraduate degree in architecture from Universidad de Los Andes and a dual Master’s degree in Architecture, and City and Regional Planning from UC Berkeley. Her design practice in Colombia ranges from institutional to housing projects, developing two award-winning projects for a public library and a music school in rural communities. She has been involved in architectural education in both Colombia and the US and continues her participation as a guest juror in the College of Environmental Design and as an Adjunct Professor at the Diablo Valley Community College. Maria is interested in collaborative practices in both architecture and planning to provide communities with the necessary tools to improve and shape the spaces they live in.
Ana Maria Gutierrez, the co-founder of Organizmo, an organization that promotes the principles of permaculture, bio-architecture and the implementation of intuitive technologies. She holds a BFA in Architectural Design from the Parsons School of Design and Master in Interactive Telecomunication ITP from New York University.
Adriana Navarro, who holds a dual Master’s degree in Architecture, and City and Regional Planning from the University of California at Berkeley. Born and raised in Colombia (S.A), she received a BS Arch (Honors) from the University of Virginia in 2004. After working for Rafael Viñoly Architects, and OPX Global in Washington DC, Adriana moved to California to begin her graduate studies in 2007. As a 2010 John K. Branner Fellow, Adriana traveled the world, focusing her research, FAVELA CHIC, on socio-cultural aspects of design, particularly analyzing the role and relationship between architecture, planning and urban informality. Adriana is founder of the blog FAVELissues.
El VIII Congreso Internacional de Arquitectura de Tierra tendrá lugar los días 24 y 25 de septiembre, en Cuenca de Campos, provincia de Valladolid. El día 23 el congreso comenzará en Valladolid. El 24 y el 25 habrá un autobús disponible para desplazarse de Valladolid a Cuenca de Campos.
Comité Organizador
– José Luis Sainz Guerra, Dr. Arquitecto, Profesor de la Universidad de Valladolid
– Félix Jové, Dr. Arquitecto, Profesor de la Universidad de Valladolid
– José Mª Sastre, Arquitecto Técnico, Coordinador Lista Arqui-Terra
Coordinación
– Raquel Martínez, Arquitecta, Universidad de Valladolid, España
Comité Científico
– Mª Soledad Camino, Dra. Arquitecto, Profesora de la Universidad de Valladolid, España.
– Miguel Camino Solórzano, Dr. Arquitecto, Universidad Laica Eloy Alfaro de Manabí, Manta, Ecuador.
– José Luis Sainz Guerra, Dr. Arquitecto, Profesor de la Universidad de Valladolid, España.
– Félix Jové, Dr. Arquitecto, Profesor de la Universidad de Valladolid, España.
– Humberto Varum, Dr. Ingeniero Civil, Universidad de Aveiro, Portugal.
– Leonardo Meraz, Dr. Arquitecto, Universidad Autónoma Metropolitanta de Xochimilco, Méjico.
PATROCINAN
Junta de Castilla y León
ARQUIA Caja de Arquitectos
Excma. Diputación Provincial de Valladolid
COLABORAN
Excmo. Ayuntamiento de Cuenca de Campos
Cátedra Juan de Villanueva. Escuela T.S. de Arquitectura de Valladolid
Catedra Unesco “Patrimonio, Restauración y Hábitat” de la Universidad de Valladolid
Vicerrectorado de Relaciones Institucionales. Universidad de Valladolid
