Robert Holton: Earth Construction (Compressed Earth Blocks)

Robert Holton’s research on compressed earth blocks investigates how locally sourced earthen materials can support more sustainable, affordable, and equitable forms of housing in the US Gulf South. Across a series of architecture studios and technology-based courses at Louisiana State University, Holton frames earth construction as a response to several interconnected regional challenges: the shortage of affordable housing, the rising cost and carbon impact of industrialized building materials, the lack of skilled construction labor, and the increasing severity of climate-related storms in hot, humid coastal environments. Rather than treating earth as a material limited to historic or vernacular construction, the projects reposition compressed earth blocks as a contemporary architectural system capable of addressing material performance, environmental responsibility, and social accessibility. 

The work began with an investigation into the properties of Southern Louisiana soil. Students tested local earth compositions, including sandy loam, loamy sand, and silty clay, to determine whether they fell within acceptable ranges for construction. Because some soil samples were near the margins of ideal building composition, students explored stabilizers and additives to improve strength, durability, and workability. These included cement, sand, hay, bagasse, coir, coconut fiber, and other natural materials. Bagasse, a by-product of the regional sugarcane industry, became especially significant as a sustainable additive that could strengthen blocks while reusing agricultural waste. Through crushing, sifting, mixing, compressing, curing, and testing, the research established a hands-on material process grounded in regional resources and climate conditions. 

A central focus of the projects was the design and fabrication of interlocking compressed earth blocks. Students developed custom block geometries using molds, wood inserts, and manual compression methods such as the CINVA-Ram press. These blocks were designed not only as structural units, but also as spatial and environmental devices. Variations included L-shaped, T-shaped, U-shaped, diamond, H-shaped, Duck, Bow Tie, and Zig Zag blocks. Each geometry tested different possibilities for stacking, interlocking, bonding, porosity, light filtration, airflow, surface texture, and assembly logic. 

  

The L-shaped wall, inspired by the windcatchers of Yazd, Iran used mirrored courses and angled voids to appear solid from the front while allowing light, air, and views to pass through from oblique angles. The H-shape block used vertical holes and all-thread rods to create a mechanically fastened wall without mortar, allowing light and air to filter through the assembly. The Duck block used horizontal voids and PVC fastening to create a more solid wall surface with improved dimensional accuracy. The Bow Tie block produced a deeper, textured surface through larger three-dimensional units, while the Zig Zag block relied on interlocking tabs and grooves, creating an undulating wall with strong visual depth but greater fabrication difficulty. Other assemblies explored solid surfaces, deep relief, undulating walls, and mechanically fastened systems. 

The research also addressed the question of who can build with compressed earth blocks. Traditional masonry often depends on skilled labor and mortar-based construction, both of which can be costly and difficult to access. Holton’s projects therefore explored dry-stacked, interlocking, and mechanically fastened assemblies that could be constructed by students or minimally trained individuals. Mechanical systems using PVC voids, all-thread rods, anchors, nuts, and coupling devices allowed several wall prototypes to be assembled without mortar. These experiments demonstrated that earth block construction can become more accessible while still producing structurally stable wall assemblies. At the same time, the work revealed ongoing challenges, including block tolerance, surface irregularity, drying time, cracking, mold precision, and the need for further testing at larger building scales. 

Together, these projects position compressed earth block construction as both a material research agenda and a design methodology. The work connects local soil, regional industry, student fabrication, architectural geometry, and housing prototypes into a broader argument for ecological and social responsibility. By combining full-scale making with architectural design, Holton’s research demonstrates that earthen materials can be reimagined for contemporary housing, offering a low-carbon, cost-conscious, and contextually responsive alternative to conventional construction in the US Gulf South.

Citations:

  1. Holton, R. (2023). “Earth made urban living: earthen construction materials and techniques for contemporary housing”, BTES.Holton, R. (2024).
  2. “EarthConstruction: Building Techniques Toward a More Equitable Architecture”, Earth USA Conference, Santa Fe, New Mexico.
  3. Holton, R., (2025) “Earth Construction: Alternative Building Strategies for More Equitable Housing”, Building Technology Educators’ Society 2025(1).



Salara Hotel, Baja California

Salara Hotel located in Baja California Sur, Mexico is a hotel that was designed by Taller Héctor Barroso, with the vision to connect living with what emerges from the sand. Consisting of various residences ranging from 14,000 to 20,000sqft, it establishes a shared environment of both community and nature.

Completed residential unit

All the buildings are created with rammed earth. Allowing the natural raw materials that are available on site such as earth, chalk, lime or gravel, allowed a cost effective method to creating these vacation homes. The rammed earth also regulates the interior heat within the residences.

Creating the foundation and establishing electrical.

Development of the rammed earth walls on site

Process of rammed earth.

 

http://https://youtu.be/URJH8uQTKL8?si=wngOB8NsXI2QHAeG

The main focus of the use of material not only focused on sustainability but allowing guests to interact with light shade and surrounding vegetation as well as highlighting aspect of the geological features.

Proposed space highlights the geography of Baja alluding to the material.

Exterior pathways to each unit

Pathways connect the various 10 spaces allowing those to relax in their lifestyle while accessing each others units in community. The sand covered court allows for local tournaments and spaces to bring one another together.

 

Continue reading “Salara Hotel, Baja California”

Marfa Ranch, Lake Flato (Beyonce’s House)

Sandwiched between the inhospitable Chihuahuan Desert and the majestic Davis Mountains, the Marfa Ranch is situated on a low rise with dramatic views of pristine desert grassland in all directions.

The house, which cuts a low profile, comprises eight structures organized around a central courtyard shaded by native mesquites.

“The design leans into an early regional paradigm found commonly on the ranches of far West Texas, where casual, low-slung homes partially enclose an inner court”

“These homes are often stone, brick, or adobe, one room wide and U-shaped — opening to an inward veranda and surrounding the court that opens to the east, shielding against the seasonally persistent north-western winds.”

Borrowing from the area’s earliest structures, the rooms of the house are organized around a courtyard, a cool respite from the sun-drenched desert grasslands beyond the walls. The house embraces the expansive landscape with lightweight breezeways and porches made of recycled oil field pipe.

Built of two-foot-thick rammed earth walls, the home protects its inhabitants from the extremes of the region — heat, cold, and wind — while allowing them to connect with the landscape through lightweight breezeways and porches, a mirador perched above the main bedroom, and an outdoor walkway connecting to a pool and hot tub.

The studio used three million pounds of earth to create the rammed earth walls, which were chosen to reflect a connection to the landscape. This material was used for the structure as well as for the finishes.

“Rammed earth is a simple material that reinforces the connections to the land and the landscape,” said Harris. “It is a labor of love to commit to the use of earth when building, and the craft of the construction is evident throughout.”

“As a counterpoint, most all the surrounding rooms open to both the interior and exterior landscape and are positioned to accept the cooling breeze reaching out to the exterior foreground and distant horizon.”

The bedroom opens onto a covered porch with views of the surrounding land
Sliding rusted steel doors lead to additional semi-outdoor areas

Betil Dagdelen: Rammed Earth Side Tables

Betil Dagdelen

Betil Dagdelen is a Turkish artist born in 1978 that specializes in combining traditional weaving techniques and practices with a more improvisational strategy in her patterning. Dagdelen studied at Koc University, located in Istanbul, and graduated with a Bachelors in political science and international relations. She however, also attended design classes and used inspiration from her life to work on furniture design. Currently, Betil works in New Mexico, on the design and weaving of furniture in order to study and understand patterns, particularly through the use of already existing materials that she believes have a story to them, for example yarn that was created traditionally. 

 

 

A lot of her work is displayed at the Cristina Grajales Gallery in New York. One of her exhibitions presented there is called OFF BY AN INCH, where part of the work presented includes the use of rammed earth to create side tables. 

In this gallery showing, Betil brings together history and the art of weaving, she creates solid structures and then weaves around them to create and elevate the structural design of furniture. In these works Betil brings together modern design with a more traditional weaving method in order to have both a visual and tactile experience. 

In this specific gallery showing, Betil includes three side tables made from rammed earth, continuing her exploration of patterns present in furniture design. In this case the rammed earth material, allows for an exploration of those combinations between texture, pattern, and material.

Rammed Earth Side Table A
Rammed Earth Side Table B
Rammed Earth Side Table C

These three side tables are all made from the same materials, which are pumicecrete, portland cement, natural dyes, and lime. Additionally, these three side tables are part of the specific section on Pattern Studies in her showing, where the material element, in this case rammed earth, was used to explore how patterns present themselves differently through technique and design using the same material components.

Resources

https://cristinagrajales.com/artists-designer/betil-dagdelen/

https://cristinagrajales.com/collection/rammed-earth-side-table-c/

https://cristinagrajales.com/exhibitions/off-by-an-inch/

https://cristinagrajales.com/collection/rammed-earth-side-table-a/

https://cristinagrajales.com/collection/rammed-earth-side-tables/

https://betildagdelen.com/mp_01_v2

https://www.instagram.com/betildagdelen/

Earth USA

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

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

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

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

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

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

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

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

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

Citations:

  1. https://www.earthusa.org/
  2. https://www.adobeinaction.org/earth-usa-conference
  3. https://www.adobeinaction.org/
  4. https://www.earthusa.org/earthusa-news/2021/10/07/earthusa-news-bridge-issue
  5. https://www.adobeinaction.org/paul-mallory-project
  6. https://visioncreationadobe.com/2018/01/20/building-adobe-walls-in-winter/
  7. https://www.adobeinaction.org/board-of-directors#:~:text=Kurt%20Gardella%20specializes%20in%20online,Certification%20from%20The%20Earthbuilders%27%20Guild

Armando Guadalupe Cortés: ¿Y LA GENTE?

Cortez performing El Descanso En La Gloria, (Rest when I am Dead), 2017

Armando Guadalupe Cortés was born in Urequío, Michoacán, México and raised in Wilmington, California. He graduated with an MFA from Yale School of Art 2021 and a BA from UCLA in 2012 .  ¿Y LA GENTE? from 2020, blends sculpture and performance to explore themes of memory, myth, history, geography, experience and materiality. 

Rammed Earth Columns before the performance

¿Y LA GENTE? (And the People?)
2020
Installation and performance
Clay, earth, iron oxides, stoneware
Each pillar 64” x 24” x 24”

Film still of the performance at ASU Art Museum, 2020

During the performance of ¿Y LA GENTE? Cortes excavates the rammed earth columns surrounded by musicians and dancers of his native Mexican heritage. Once revealing a gold ceramic sculpture within each column, one resembling a nopal cactus and the other a milling stone, Cortes exits the gallery leaving the deconstructed pillars to remain for the rest of the exhibition.  

Revealed Nopal Cactus
Revealed milling stone

Through blending performance and sculpture, he is able to question the dichotomy between myth and fiction as an antonym to history. Growing up in two worlds has lead Cortés to a fantastical take on the ordinary. He incorporates the multitude of symbols and identities from his family of farmers, migrants, manufacturers, office professionals, and professors in his material palette and choice of dress. In contrasting the mythical or in this case the colorful and culturally rich materiality with his business casual clothing, he illustrates the parallelism and tension within his life and work. This re-assembling of materials and cultural symbolism is crucial to how Cortes seeks to challenging notions of spectacle and viewership.

Sources:

Artist Website: https://armandogcortes.com/Y-LA-GENTE-2020

Vimeo: https://vimeo.com/402306364?fl=pl&fe=cm

Bemis Center: https://www.bemiscenter.org/residents/armando_guadalupe_cort%C3%A9s

Rafa Esparza + Beatriz Cortéz :La Rebelión de los Objetos

  • The rebellion of objects,  part of Art Week 2026 in Mexico, brings together Beatriz Cortez  (Salvador, artist and scholar in Latin American Literature) and Rafa Esparza (USA, performance artist, work with installations constructed from  adobe bricks) in an exhibition conceived from their collaboration and artistic link, developed specifically to dialogue with the architecture, the collection and the territory of the Anahuacalli Museum.
  • The practices of Beatriz Cortez and Rafa Esparza share a constant concern with how historical narratives are constructed and how these affect displaced, migrant, or racialized communities. Their works propose imagining futures that are not determined exclusively by dominant discourses, but by alternative forms of knowledge, care, and relationship with the world. 

    Beatriz Cortez and Rafa Esparza
  • The exhibition proposes rethinking the collection from the perspective of memory, community, and spirituality, understanding objects not as static pieces but as carriers of energy and meaning , capable of activating new forms of relationship within the museum.
  • Through the serpent and the volcano as symbolic axes, the exhibition addresses the earthly journey, displacement —including the migrant experience— and the possibility of imagining different futures from contemporary art.
  • The rebellion of objects at the Anahuacalli Museum

    The snake as a metaphor for displacement

    One of the central themes of the exhibition is the serpent , understood as a symbol of movement, transit, and earthly journeys. In this sense , its presence alludes both to symbolic journeys within the museum and to real displacements of communities and bodies, including the migrant experience to the United States.

  • Detail of The Rebellion of Objects exhibition at the Anahuacalli Museum
    Detail of The Rebellion of Objects exhibition at the Anahuacalli Museum
    Detail of The Rebellion of Objects exhibition at the Anahuacalli Museum

    Taken together, the exhibition proposes experiencing the museum from a different perspective. Thus , the space ceases to be merely a place of contemplation and becomes an active territory where the relationships between objects, bodies, and memory remain open.

    Anahuacalli Museum in Mexico

Trina Michelle Robinson: Open Your Eyes to Water

Trina Michelle Robinson is an artist from Oak Park, Illinois who is currently working in San Francisco. Her art originates from from personal and historical archives, reflecting on her own ancestry to create immersive and deeply personal spatial encounters that materialize the complexity of emotions and layered geographies of Black migration. Her works often begin by tracing the steps of her ancestors, gathering materials from their homes and homelands, using this tactile act as a means to connect with them and gather their fractured and lost memories. In particular, she often collects dirt from these sites of personal significance, transforming that earth into a charged object within her compositions. Her installations are undefinable, hovering somewhere between an altar, a model, or a garden; a collection of objects that become spatial poetry. Trina received her MFA from California College of the Arts in 2022.

Her work Open Your Eyes to Water was exhibited in San Francisco at the 500 Cap Street Foundation and at Root Division from February-May 2026. The work is an expanded version of her previous installation titled Elegy for Nancy (2022) – a tender tribute to her oldest known ancestor, a woman named Nancy who was born in 1770s Kentucky, then still part of Virginia. Open Your Eyes to Water is a living installation tracing her years-long cross-continental engagement with family lineage and movement from Senegal, to Kentucky, Chicago, and California.

 

The Installation merges with the atmosphere of the gallery, charging the space with a melancholic yet restorative energy. At the center, a rammed earth block holds the room with a potent presence, atop which sits a reproduction of a will from the previous owner of her enslaved ancestors, written with handmade ink (a mixture of soil collected from Senegal and charred cedar charcoal) on paper she fabricated from cotton picked at a farm her ancestor used to be enslaved at in Oklahoma. Every mention of her ancestor’s enslavement has been redacted with sewn lines of sisal thread from Zimbabwe, reclaiming this history for herself, freeing her ancestors, speaking for them in the present moment.

The rammed earth block is composed from various soil samples from significant places tracing her family history through time and space, compressed together into a unified block, supporting a document of their liberation. The block sits in an analogous landscape of dirt and grass plumes, harkening to the various landscapes natural, agricultural, and urban landscapes her ancestors have traversed across the world.

 

Andy Goldworthy’s Clay Wall

Above: Andy Goldsworthy, ‘Red Wall’, 2025.

Andy Goldsworthy is artist known for his work with nature and ephemeral materials such as rock, wood, leaves, snow, ice, and clay, and the site specificity of his pieces. He arranges them in a way that is just beyond the realm of possibility, investigating the line between the natural and artificial.

In 1992, he covered the floor of a London gallery in clay. In 1996 he made the same work at Haines Gallery in San Francisco, but against a 14′ x 17′ wall. The work was made knowing the clay would crack, and not knowing whether the clay would stay attached, but it surprisingly stayed attached for many years, despite occasional earthquakes. This was the beginning of a line of inquiry of clay, creating works with things embedded in clay, experimenting with intentional drying and cracking,

“… to make change an integral part of a work’s purpose so that, if anything, it becomes stronger and more complete as it falls apart and disappears.

“Clay can be well-behaved and easy to work. Yet it has such a powerful impact on the landscape: it reveals its more unpredictable qualities as it dries, and this process interests me most.”

Andy Goldsworthy, Clay Wall, Haines Gallery, 1996.

Andy Goldsworthy, Clay Wall, Ingleby Gallery, 1998.

 

 

Above: Drawn Stone is piece commissioned by the De Young in 2005. It is a continuous crack running north from the edge of the Music Concourse roadway in front of the museum up to the main entrance door, inspired by California’s tectonics.

Video: Andy Goldsworthy’s Earth Wall, Presidio of San Francisco, 2014.

Video: Andy Goldsworthy Studio Visit, Tate, 2011.

A life’s artwork: 50 years of Andy Goldsworthy, BBC, 2025.

Robert Rauchenberg: Mud Muse

Robert Rauschenberg, Mud Muse, 1968–71; Moderna Museet, Stockholm, gift of the New York Collection

Mud Muse,  a kinetic artwork created between 1968 and 1971 by American artist Robert Rauschenberg,  in collaboration with engineers from Teledyne( through the Art & Technology program at the Los Angeles County Museum of Art), is a large aluminum-and-glass vat that contains an enormous amount of mud, weighing thousands of pounds. Although considered mud by standard terminology, its more appropriate content appellation is bentonite, an absorbent, swelling clay composed of montmorillonite, from weathered volcanic ash.

The mixture is stirred to a distinctive viscosity in the vat, over the course of several hours or days. The primary allure of the art piece is the bubbles produced with the aid of pulsing air valves that are located beneath the surface of the mud. This is connected to an adjacent prerecorded soundtrack that emits sound from a 1960s reel-to-reel. The sound pushes air through the valves, resulting in a physical manifestation of sound emission.  Rauschenberg imagined different audio stimuli, including traffic noises, police sirens, and, most ambitiously, real-time sounds made by visitors that would be picked up by a hanging microphone. In the end, he decided that Mud Muse, when officially displayed for the public, would “play itself,” essentially a recursive loop of the audio made by the bubbles. 

American artist Robert Rauschenberg

Rauschenberg (1925-2008), born in Port Arthur, TX, is considered a pioneer in the art scene due to his early adaptations of technology in his work, such as radios, electric lights, and clocks, as well as his more renowned printmaking works. His endeavors into kinetic art began in 1960, after meeting Swiss artist Jean Tinguely. Together, they created several kinetic works alongside engineer Billy Klüver, such as Oracle (1962–65), a sonic sculptural environment, and Soundings (1968), an immersive, voice-activated sound and light installation. This era, which was marked by technological innovation and space exploration, ultimately played a pivotal role in Rauschenberg’s creation of Mud Muse.

Gunnar Marklund(right) installing Mud Muse

In modern days,  Mud Muse acts as a tradition passed down through the years. The current installer, Gunnar Marklund, notes that “The audio equipment and its cabinet are quite old and require maintenance and repair on occasion. And there are sixty-four valves in the bottom of the pool, and they do get clogged; I have to check them every time and clean them as needed.”  Occasionally, during installation, he experiments with different music to activate the bubbling (in New York recently, ABBA). Overall, the knowledge he has gained over 19 years, he passes on to future generations. 

Mud Muse 1968–71

In recapitulation, Mud Muse acts not only as a visual experience, but one that activates hearing, smell, and touch, allowing the public to have a holistic and interactive participation with the piece.  It collides two opposing worlds of ancient material and modern technology, creating a piece of art that has withstood the tests of time and continues to bewilder audiences.

Sources:

Artchive. “Oracle – Robert Rauschenberg (1965).” Accessed March 9, 2026.
https://www.artchive.com/artwork/oracle-robert-rauschenberg-1965/

Daniel Langlois Foundation for Art, Science, and Technology. “Collection of Documents Published by E.A.T.” Accessed March 9, 2026.
https://www.fondation-langlois.org/html/e/page.php?NumPage=394

Elephant Magazine. “Rauschenberg’s Mud Muse Taught Me to Find Cohesion Even Amidst Chaos.” January 28, 2021.
https://elephant.art/rauschenberg-mud-muse-taught-me-to-find-cohesion-even-amidst-chaos-28012021/

Rauschenberg Foundation. “Soundings.” Accessed March 9, 2026.
https://www.rauschenbergfoundation.org/art/artwork/soundings

Teledyne Technologies. “EverywhereYouLook!” Accessed March 9, 2026.
https://www.teledyne.com/en-us

Tinguely Museum. “Museum Tinguely.” Accessed March 9, 2026.
https://www.tinguely.ch/en.html

Wallach, Amei. “Recalling Robert Rauschenberg.” Smithsonian Magazine, May 18, 2008.
https://www.smithsonianmag.com/arts-culture/recalling-robert-rauschenberg-49830834/

YouTube. Video. Accessed March 9, 2026.
https://www.youtube.com/watch?v=7r88iDgTd-M

YouTube. Video. Accessed March 9, 2026.
https://www.youtube.com/watch?v=Tvt-VSgPd4c