Europe – Page 2 – EARTH ARCHITECTURE

February 17, 2026February 18, 2026

Lara Fuster Prieto: Earth House

Architects: Lara Fuster Prieto

Location: Boadilla de Rioseco, Spain

Year: 2022

Area: 142 m² (1,500 sqft)

Construction: Local Adobe

Earth House, designed by Lara Fuster Prieto, is located in the small town of Boadilla de Rioseco in rural Spain. The project explores how traditional building methods can still work for contemporary life. The house is designed as a permanent residence and focuses on sustainability, energy efficiency, and thermal comfort, while keeping its environmental impact low.

Aerial photo of the house and the town © Milena Villalba

The building has a simple rectangular shape made up of four parallel bays running east to west, which helps maximize sunlight throughout the day. The north façade faces the street and has smaller, unevenly placed windows, similar to traditional houses in the area. On the south side, the house opens up with large windows that act as solar collectors during the winter months. In the summer, wooden shutters and a pergola covered with deciduous vines provide shade and help prevent overheating naturally.

The structure is built using load-bearing adobe walls made from locally produced bricks measuring 33 × 15 × 10 cm, sourced within 40 kilometers of the site. These walls are insulated on the exterior with cork panels, creating an external insulation system that greatly improves energy performance. The gable roof is made from a wooden sandwich panel with cork insulation and finished with reused curved clay tiles, allowing the house to blend in with the surrounding village buildings. Instead of cement, lime mortar mixed with straw is used for the exterior plaster. This material is breathable, helps regulate moisture, and is more sustainable over time. Wooden doors and windows further reduce the home’s carbon footprint, while roll-up shutters act as passive sun protection.

Inside the house, the partitions are lightweight and built with exposed wooden slats, recycled cotton insulation, and medium-density wood boards. To bring in more natural light and create a sense of openness, the upper portions of these walls include polycarbonate panels. Some of the adobe walls are left exposed, highlighting the material and giving the interior a warm, earthy feel.

Thanks to the thermal mass of the adobe, the house maintains stable indoor temperatures between 22 and 24°C during the summer, even when outdoor temperatures reach over 40°C. Because of this passive performance, the house does not require any active cooling systems and achieves an A-rated energy classification. In the winter, underfloor heating is used, inspired by the traditional “glorias” heating system found in the region.

In summary, the Earth House project focuses on reducing environmental impact while using local, traditional materials to stay connected to its cultural context.

Exterior Photo from Street © Milena Villalba

Fuster Prieto, Lara. Earth House by Lara Fuster Prieto: A Sustainable Adobe Home in Rural Spain. UNI.xyz, 2 Apr. 2025, www.uni.xyz/journals/earth-house-by-lara-fuster-prieto-a-sust.

Fuster Prieto, Lara, and Milena Villalba. Casa de Tierra / Earth House Project Details. Divisare, 2023, www.divisare.com/projects/480657-lara-fuster-prieto-milena-villalba-casa-de-tierra

February 16, 2026February 17, 2026

Le Corbusier: Les Maisons Murondins

Les Maisons Murondins is a series of conceptual earthen refugee housing projects proposed by eminent architect Le Corbusier in collaboration with his partner Pierre Jeanneret during the mid-20th century.[1] In the wake of Germany’s invasion of France and Belgium in May of 1940, France was partitioned into three zones: a military zone in the north occupied by Nazi forces, an Italian colony in the East, and the collaborationist Vichy government in the South.[2] This process saw millions displaced as a result of the German invasion, and forced many refugees into abject conditions bereft of housing or sufficient infrastructure.

Elevation of a “Murondins” unit showing facade and openings, attributed to Pierre Jeanneret, 1940.

Respondent to the devastation of the Second World War, Corbusier and Jeanneret began working on a proposal for refugee housing known as Murondins— a combination of the French words for wall (mur) and logs (rondins). Murondins prioritized earth and wood materials and construction techniques, owing to their accessibility and exceptional performance. Earth and logs did not require advanced industrial infrastructure in order to manufacture and assemble, meaning residents were equipped to construct Murondins themselves.[3] Furthermore, walls could either be constructed out of rammed earth, or blocks of earth combined with lime depending on the circumstances. In essence, Murondins sought to use whatever materials were readily accessible, and designed to be built quickly, without special expertise.

Sketches of the “Murondins” structural system by Le Corbusir, 1940.

This idea did not only operate materially through the use of earth and wood construction, but also formally through the use of long, rectangular walls, and an offset gabled roof— forms that ensured stability, and that those without technical knowledge or experience in construction could produce them. The internal structure of Murondins was proposed to be entirely constructed out of earth, arranged in L-shaped formations to ensure structural stability.

Roof Section of a “Murondins” Unit by Pierre Jeanneret, 1940.

As for the roofs, they were to be made out of logs and waterproofed using sod, plaster, and tar paper. For purposes of ventilation, roofs were also offset, with one side of the gable taller than the other, to accommodate for daylighting and passive ventilation.[4] With this Murondin system, a range of buildings accommodating whatever programs were necessary for life could be constructed for refugees, by refugees using natural and readily available materials. Although this proposal never made it to fruition, Le Corbusier and Pierre Jenneret’s Murondins continues to serve as an instrumental historical proposal for accessible, communal earthen construction.

Sources:

[1] McLeod, Mary, “To Make Something out of Nothing: Le Corbusier’s Proposal for Refugee Housing” in The Journal of Architecture, 421–47, 2018.

[2] Hart, B.L, “Battle of France,” in Encyclopedia Britannica, 2026. https://www.britannica.com/event/Battle-of-France-World-War-II.

[3] McLeod, Mary, “To Make Something out of Nothing: Le Corbusier’s Proposal for Refugee Housing” in The Journal of Architecture, 421–47, 2018.

[4] Mary McLeod, On the Maisons Murondins, 2024. https://www.youtube.com/watch?v=Wt94ZA8TkVw.

February 12, 2026

Umweltbildungszentrum: Rammed Earth as a Framework for Environmental Education

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg

The Umweltbildungszentrum (UBZ) in Augsburg, Germany, is a single-story, rammed earth (Stampflehm) building that realizes sustainable development at multiple scales. The UBZ was designed by the Munich-based firm Hess / Talhof / Kusmierz Architects, led by Thomas Hess and Johannes Talhof. The firm values architecture as an artistic statement that serves as an unmatched expression of aspects of the world which cannot be captured, quantified, or defined. Guided by this conceptual outlook, they believe architecture creates new apertures for understanding. Their work spans a wide range of context-driven projects rooted in community, education, and civic life.

Completed in 2023, the UBZ demonstrates the firm’s commitment to contextually informed practice. This environmental education center for sustainable development serves as a meeting and learning place on the grounds of the Augsburg Botanical Garden. Situated at the transition between city and landscape, it bridges nature and urban life, embodying its role as a landmark of sustainable development.

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg Site Plan

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg Building Plan

Through workshops, seminars, interactive exhibits, field trips, and community events, the UBZ offers people of all ages opportunities to learn about biodiversity, sustainability practices, and environmental stewardship.

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg Seminar Room

The building’s rammed-earth walls are made from locally sourced material, significantly reducing its embodied carbon footprint. Cast and tamped on site, they showcase a labor-intensive craft process with a low environmental footprint (Fachforum Umweltbildungszentrum).

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg Model

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg Construction Process

Paired with the rammed-earth walls, wooden ceilings and a timber exterior façade establish a rich two-tone material contrast. A 90 kWp rooftop photovoltaic array further supports the building’s on-site renewable energy strategy (Lifeguide Augsburg).

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg Entrance

The UBZ is organized around a roughly square plan, yet upon entry the space is shaped by its organically flowing rammed-earth walls that express the project’s commitment to natural form and sustainability.

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg Interior

Within its approximately 10,700 ft² footprint, the building includes a central foyer and flexible exhibition space, two combinable seminar rooms, a teaching kitchen, offices, a workshop, and storage rooms.

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg Office Space

An additional 32,300 ft² of landscaped outdoor space extends the learning environment beyond the building, reinforcing its educational mission (Das Raumprogramm UBZ).

Hess / Talhof / Kumierz Website: Umweltbildungszentrum
Augsburg – Transition from Botanical Garden

December 14, 2024December 17, 2024

Quatre Cheminées Scale Model

This is a 1/2″ = 1′-0″ scale section model recreating Déchelette Architecture’s Quatre Cheminées project at 17 Rue des 4 Cheminées, 92100 Boulogne-Billancourt in Paris, France. The modelers – Josh Kuh, Ezra Levitch, and Sean Strebel – were particularly interested in the hybrid construction of the building, which utilized concrete, stone, rammed earth blocks, and CLT. As noted by the architects, the use of concrete was minimized while the other three materials were sourced locally. Our interest in building this model comes, at least in part, by an interest in incorporating earthen building materials and techniques in a design and construction industry that does not yet fully embrace their use. Additionally, utilizing the strengths and aesthetics of earth in conjunction with those of other building materials highlights the benefits of each and results in a higher quality building overall.

Our model utilized actual rammed earth blocks at a miniature scale. The process began by recreating Quatre Cheminées as a 3D digital model in Rhino, from which dimensions were taken for modeling. Soil was sourced locally on the UC Berkeley campus, sifted, mixed with a small amount of water, and rammed by hand using a purpose built, adjustable wood mold. Blocks were then left to dry. The concrete and stone base was 3D printed in several parts, while wood, acrylic, foam core, and Bristol round out the remaining materials.

We assembled the parts using wood and Zap-A-Gap glues. The rammed earth blocks were then plastered over by hand with additional mud from the original earth mix. Gray and pink portions of the model were painted to show different materiality (insulation, concrete, stone, steel).

December 14, 2024March 17, 2026

Zumthor’s Chapel Reimagined: Rammed Earth and Light

A project by Marcos Vargas, Lourdes Aguayo Francia, Vicente Angel Saavedra

Peter Zumthor's Bruder Klaus Field Chapel Through the Lens of Aldo Amoretti - Image 13 of 13 — Peter Zumthor’s Bruder Klaus Field Chapel

The Bruder Klaus Chapel by Peter Zumthor, known for its use of concrete and its spiritual significance, inspired this project, which reimagines the chapel using rammed earth in hopes of offering a new perspective on the chapel’s form and spiritual significance. Through this material change, we emphasized the tactile and temporal qualities of the earth while maintaining the original architectural intent. Earth’s natural properties and historical significance in architecture highlight both the processes and challenges of working with rammed earth, from material sourcing to final assembly.

Recreation Section Front Elevation Model Photo

To embody the spiritual and material significance of the original chapel, our team chose to recreate the oculus section. Selecting this feature was crucial for exploring how architectural practices and traditions can express a spiritual narrative.

Recreation Section Side Elevation Model Photo

The dirt used in the project was collected from the back of Wurster Hall. Unfortunately, due to rain, the dirt was wet and could not be sifted through conventional means. As a result, the material was sifted by hand to remove larger particles and debris. Once prepared, the dirt was compacted into a mold designed to shape the wall’s mass.

The oculus element was formed using wooden dowels arranged around a clay cone. The dowels were secured inside a 3D-printed mold, which acted as a guide for stacking and compacting the rammed earth in layers. As the construction progressed, the 3D-printed mold was incrementally removed, and the clay cone was dug out to create the final oculus shape.

Initially, it was intended to burn the dowels to leave a charred imprint on the rammed earth, but the wet soil caused the dowels to detach. To address this, the dowels were coated in chalk prior, which created a residue resembling ash and transferred a faint wood grain texture on some areas of the rammed earth.

Resources:

https://www.archdaily.com/798340/peter-zumthors-bruder-klaus-field-chapel-through-the-lens-of-aldo-amoretti

October 29, 2024March 17, 2026

Andy Goldsworthy

Review: In 'Leaning Into the Wind — Andy Goldsworthy,' an Artist Grapples (Again) With Time - The New York Times

The artist Andy Goldsworthy in “Leaning Into the Wind.” Credit:Thomas Riedelscheimer/Magnolia Pictures

Andy Goldsworthy is an international based artist born in England. His art process is known for integrating and creating with the natural environment. Working as both sculptor and photographer, Goldsworthy crafts his installations out of rocks, ice, leaves, or branches, cognizant that the landscape will change, then carefully documents the ephemeral collaborations with nature through photography.

Andy Goldsworthy’s installation Tree Fall

Andy Goldsworthy, “Tree Fall“, 2013

Goldsworthy has numerous art installation and creations. However, his art installation, Earth Wall, utilizes rammed earth and eucalyptus branches to illustrate simulated layers of earthen materials as an art form and not as a structural material.

Andy Goldsworthy with an installation in San Francisco, tentatively titled Earth Wall. Photograph by The Chronicle's Sam Whiting. Andy Goldsworthy, Earth Wall, 2014, Photograph by The Chronicle’s Sam Whiting.

In order to construct this installation Goldsworthy and his team collected curved eucalyptus branches from San Francisco’s Presidio. Then they installed a sphere of branches onto a wall before the formwork for the rammed earth wall is installed.

Eucalyptus branches from the Presidio installed before the formwork for the rammed earth wall is installed.

After which, a shutter formwork was constructed in front of the wall. Then locally sourced Presidio earth mixed is poured into the forms, and ramming begins. Rammers carefully compact earth around the twisted ball of Eucalyptus branches. Once poured, the formwork is removed revealing a freshly packed rammed earth wall and the center point of the ball of gnarled eucalyptus branches.

Artist Andy Goldsworthy poses with the installation before beginning to dig out the earth surrounding the encased eucalyptus wood.

Once hardened, Goldsworthy excavates the rammed earth from around the gnarled eucalyptus wood.

Artist Andy Goldsworthy excavates the rammed earth from around the gnarled eucalyptus wood.

For a more detailed visualization view this video.

Andy Goldsworthy continues exploring the relationship between art and the natural environment. His ability to become attuned to his environment mentally, physically, and emotionally, creates a unique perspective of the human and natural world.

“We often forget that WE ARE NATURE. Nature is not something separate from us. So when we say that we have lost our connection to nature, we’ve lost our connection to ourselves.”

– Andy Goldsworthy

A family walking near Andy Goldsworthy’s Wood Line, with a bicycle in the foreground.

Andy Goldsworthy, “Wood Line“, 2011, Photograph by Brian Vahey.

References:

October 15, 2024October 15, 2024

Munarq: Ca na Pua an Earthen Oasis

_DSF9091 Image Source: Munarq

Project Start : 2021
Project End : 2024
Location : Binissalem, Mallorca, Spain.
Team : Munarq Architects
Gross Floor Area: 300 m²

Ca na Pua is a sustainable earthen home built in Binissalem, Mallorca; an island off the shore of Spain’s Mediterranean Sea. Ca na Pua was designed by munarq, an architectural studio based in Mallorca founded by Rafel Munar and Pau Munar focused on the integration of architecture in the Mediterranean landscape. inclusion of the environment

To construct this house munarq used an old local Mallorcan technique known as ballast. During this process, aggregates of various sizes, stone, and lime are mixed together to create a strong base. Then an open diffusion membrane between two ballast to allow for waterproofing. Waterproofing supports the overall longevity of the building while maintaining a healthy indoor environment.

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The interior of the house uses a coat of earth and lime that creates hygrothermal environment environment. The earth-lime mixture acts as a natural buffer, absorbing and releasing moisture to maintain a comfortable and stable indoor climate.

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The roof is insulated using straw coverage laced between laminated wood beams. This setup creates a dense and well-integrated insulation layer that provides thermal resistance.

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There is an interaction with the built environment with the build patio or oasis shared within the home.

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October 15, 2024October 15, 2024

IAAC: TOVA

TOVA is the first architectural construction in Spain located in the facilities of IAAC Valldaura Labs, Barcelona, built with a Crane WASP, the architectural 3D printer. The project was completed in 2022. The construction can be completed within weeks using 100% local materials and local labor, zero waste and a close to virtually zero carbon emission footprint. This manufacturing system can be used anywhere in the world and can help to housing emergencies. The project has been developed by the team of students and researchers from the 3D Printing Architecture (3dPA) postgraduate program of the Institute for Advanced Architecture of Catalonia (IAAC).

Also, this project is one of the most sustainable and environmentally friendly construction forms that can be applied today. The construction took 7 weeks time to complete, a Crane WASP, the architectural 3D printer and km zero materials. The structure is made ofclay and water obtained on site. To ensure the longevity of the material in resistance to weather, a waterproof coating is added using raw extracted materials such as aloe and egg whites.

Thebuild area is 9 m2. The prototype took into account performative design strategies, conceived during a two-week design charette where students synthesized the lessons learned in the research phase to develop the components of the prototype: light openings, air flow, wall cavity ventilation, thermal conductivity, roof structure, built-in furniture, waterproofing and floor substructure.

The proposed design has different structural considerations in the roof beam system as well as the innate structure of the clay walls. The walls are designed to be braced with T and L joints, rather than straight lines. The resulting closed interior space is habitable, weather resistant and climatically adapted by the various design interventions.

Citation

https://iaac.net/project/3dpa-prototype-2022/

https://www.archdaily.com/988078/prototype-tova-posgrado-3d-printing-architecture-iaac

October 15, 2024October 15, 2024

Wattle and Daub in the UK

Wattle and daub is a traditional building technique that has been used in the UK for centuries, dating back to prehistoric times and continuing well into the 20th century. This method was particularly common in medieval timber-framed buildings and remains an important part of Britain’s architectural heritage.

Construction Method

Wattle and daub consists of two main components:

Wattle: A lattice of wooden strips or branches (often hazel) woven between upright poles. This forms the structural framework for the wall.
Daub: A mixture of wet materials applied to the wattle. The daub typically consists of:
- Binders: Clay, lime, or chalk dust
- Aggregates: Earth, sand, or crushed stone
- Reinforcement: Straw, hair, or other fibrous materials

The daub is applied in stages, first as balls pressed into the wattle from both sides, then allowed to dry before being scratched and covered with a lime plaster. Finally, the wall is often whitewashed for additional protection.

Advantages

Wattle and daub offers several benefits:

Strong yet flexible, accommodating structural movement
Good insulation properties
Effective moisture management
Durable when properly maintained

Historical Significance

Archaeological evidence of wattle and daub has been found in various locations across the UK, often associated with medieval manors and other important sites. In England, remains of Iron Age circular dwellings constructed using this method have been discovered.

Conservation and Modern Use

Many historic buildings in the UK still feature original wattle and daub panels, some up to 700 years old. Conservation efforts focus on preserving these panels, with repairs carried out using traditional techniques. Some heritage organizations, like the Weald & Downland Living Museum, offer courses in wattle and daub construction and repair.

In recent years, there has been renewed interest in wattle and daub as a sustainable building method for new timber-framed structures, due to its use of local, natural materials and low environmental impact.

Wattle and daub remains an important part of the UK’s architectural heritage, showcasing traditional craftsmanship and sustainable building practices that continue to be relevant today.

Sources

October 15, 2024October 15, 2024

WASP: Gaia

WASP (World’s Advanced Savings Project) has pioneered an innovative approach to sustainable architecture with their 3D-printed house called Gaia. This eco-friendly structure represents a significant advancement in sustainable construction and showcases the potential of using natural, locally-sourced materials in 3D printing technology.

Demonstration Video

First Layer Video

Materials and Composition

Gaia is built primarily using a mixture of:

25% local soil (30% clay, 40% silt, 30% sand)
40% chopped rice straw
25% rice husk
10% hydraulic lime

This composition utilizes natural waste materials from rice production, making it an environmentally conscious choice.

Construction Process

The house was 3D printed using the Crane WASP, a specialized 3D printer designed for on-site construction. The printing process took approximately 100 hours to complete 30 square meters of wall with a thickness of 40 cm.

Design and Performance

Gaia incorporates:

Natural ventilation systems
Thermo-acoustic insulation
Bioclimatic efficiency

The structure maintains a comfortable temperature year-round without the need for heating or air conditioning systems, showcasing its energy efficiency.

Environmental Impact and Cost

Gaia demonstrates remarkable sustainability:

Near-zero environmental impact
Total material cost for the walls: €900
Biodegradable construction materials
Minimal carbon footprint

Significance and Future Implications

WASP’s Gaia project represents a significant step towards addressing global housing needs sustainably. By utilizing local materials and advanced 3D printing technology, this approach offers:

A potential solution for rapid, low-cost housing construction
Reduced environmental impact compared to traditional building methods
Adaptability to various geographical locations and climates

The success of Gaia has led to further developments, such as the TECLA project, which aims to create even more sustainable and scalable housing solutions.

WASP’s Gaia project demonstrates the viability of combining an ancient building practice and material (earth) with modern 3D printing technology, and might demonstrate one way to create sustainable, efficient, and cost-effective housing.