Category: North America

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Centinela Chapel

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 by Estudio 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 (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 (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/

 

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Rudolph Schindler’s Adobe House Design in Taos, New Mexico

R. M. Schindler in Taos, October 1915. Photographer likely Victor Higgins. Courtesy UC Santa Barbara Art Museum, Architecture and Design Collections, Schindler Collection.

Rudolph Schindler was an Austrian architect that practiced in Southern California from 1920 to 1953. [1] Starting as a talented student at the “Wagnerschule” in Austria, Schindler became a pioneering figure in 20th-century modern architecture, ultimately emerging as one of the most significant influences of the Modern Movement in America. Rudolph was born in Austria but spent most of his life in the United States, establishing his identity as a “Californian architect”[2].

Nevertheless, Rudolph Schindler generally surpasses many boxes attributed to him with a term he championed in his work: space architecture, in which he sought the protagonism of materials into a “new architecture”[2]. Materials like adobe!

His country house in adobe project is the result of a trip to Taos, New Mexico in which Schindler allowed the Southwestern scene to fill his sketchbooks and camera films, influencing his designs and eventually his style[3]. 

Photograph taken by Schindler in 1915. Courtesy of New Mexico Architecture Magazine.

His sketches and photographs reveal a delicate eye sensitive to tradition in Southwestern America, and inevitably an understanding of the nature of this material[3]. Delineated lines in his sketchbook represent the characteristic irregular bulk of adobe walls, and his photographs show his interest in how adobe ultimately shapes space[3]. 

Sketch made by Rudolph Schindler in New Mexico. Courtesy of New Mexico Architecture Magazine.

These observations hung onto Schindler when he was commissioned to design a summer house for a client, Dr. T. P. Martin in a site spanning approximately 3 acres, set against the scenic backdrop of Taos, New Mexico. [4]

Taos Pueblo, October 1915. Photograph by R. M. Schindler. Courtesy UC Santa Barbara Art Museum, Architecture and Design Collections, Schindler Collection.
House Floor Plan Design by Schindler. Courtesy UC Santa Barbara Art Museum, Architecture and Design Collections, Schindler Collection.

In his proposed plan, Schindler advocated for a modernization of the Spanish Pueblo vernacular architecture he discovered featuring ADOBE, to draft his “Country Home in Adobe Construction” design that stretched horizontally within the site[4]. While the house plan did not model local tradition with its reigning symmetric layout, his material of choice, adobe, allocated him the freedom to explore what he inevitably noticed in his trip to Taos: the versatility of the material [3]. His design therefore probes the fundamental thickness of the adobe walls in the deep recesses of the windows and reveals adobe’s inherent lack of rectangular precision with the uneven surfaces of the walls[3].

As planned, his proposed layout sought to integrate harmoniously with the landscape as a low-rise adobe structure with viga ceilings and a large courtyard[4].

Perspective of Design by R.M. Schindler. Courtesy UC Santa Barbara Art Museum, Architecture and Design Collections, Schindler Collection.

This design never came to fruition, but the lessons that Schindler absorbed from New Mexico fundamentally embedded his designs with a vision he could only learn from the South, architecture as a question of space formed through materials[5]. 

“When I speak of American architecture I must say at once that there is none. . .The only buildings which testify to the deep feeling for soil on which they stand are the sun-baked adobe buildings of the first immigrants and their successors — Spanish and Mexican — in the south-western part of the country.”   

Letter from RMS to Richard Neutra, Los Angeles, California, ca. January, 1921: quoted in E. McCoy, Vienna to Los Angeles: Two Journeys (Santa Monica, Arts & Architecture) [6]

Citations

[1]”R.M. Schindler.” Los Angeles Conservancy, www.laconservancy.org/learn/architect-biographies/r-m-schindler/. Accessed [09/22/2024].

[2] Riemann, Joshua. “Rudolph M. Schindler : theory and design” Massachusetts Institute of Technology, 2012, dspace.mit.edu/handle/1721.1/79933

[3]Gebhard, David. “R.M. Schindler in New Mexico” New Mexico Architecture Magazine, vol. 7, no. 1, 1965.

[5] Blackman, Harrison. “The Art of Design, the influence of a place : the Emergence of Pueblo Revival Architecture in New Mexico.” Taos News, 30 May 2018, www.taosnews.com/magazines/the-art-of-design-the-influence-of-a-place-the-emergence-of-pueblo-revival-architecture/article_f56e3b41-8379-54a8-b424-df4770e8416d.html.

[4]Schmidts, Hannah. “Deep Dive: Rudolph M. Schindler’s Take on Californian Architecture.” New Classics, 13 July 2020, www.newclassics.ca/blogs/journal/deep-dive-rudolph-m-schindler-architecture?srsltid=AfmBOoqlF6sNPy0xk1V8ypxbl6XSa_-lTbYHs1OQjgR5SPz0QWbFu9sj.

[6] “R. M. Schindler and Richard Neutra: Space Architecture and the Pueblo” Southern California Architectural History, 18 May 2019, socalarchhistory.blogspot.com/2019/05/schindler-wrote-to-neutra-extolling.html

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Tequila Waste

(Photo courtesy of Astral Tequila)

Tequila Waste is a sustainable housing project in Mexico, built by adobe brick which made by soil and tequila waste,  the leftover bagasse and vinasse.

Tequila waste is abundant.  One standard .75-liter bottle of tequila produces more than 11 pounds of bagasse (the fibrous remnants of the agave piña after steaming, crushing and fermenting) and around 10 liters of vinasse (the liquid runoff of the distillation process). As the second most popular liquor in the world, the annual total production of tequila waste is overwhelming.

Bagasse is the fibrous waste from the agave plant. (Photo courtesy of Astral Tequila)

However bagasse is comprised mainly of cellulose and lignin, it can be repurposed into a number of valuable items, including construction materials, fertilizer, paper, wooden crafts, biofuels and even prebiotic dietary fiber. Leveraging this characteristic, Cardoso helped pioneer a solution to combine soil with the tequila waste to create an ancient building material known as adobe.

The adobe bricks not only repurpose tequila waste, but they’re also an excellent construction material for the warm, temperate climate in Mexico. Because of its high thermal mass, adobe stays cool during the day and releases heat at night, producing less waste, consuming less energy and creating a lower environmental impact than mainstream building materials. The more local the supplies to make the adobe, the smaller the carbon footprint. Plus, adobe buildings are remarkably resilient and can stand for centuries with regular maintenance.

Tahona wheel used in brick making process. (Photo courtesy of Astral Tequila)

To make the bricks, a machine combines the bagasse, vinasse and soil into heavy, wet adobe mud. A team of local employees then hand-packs the still-wet adobe into wooden molds that are left outside in the elements for ten days to cure—no oven, kiln or carbon emissions are required. As the mud shrinks and dries, the agave fibers provide reinforcement for the brick. Multiple bricks can easily be mortared together using more mud. Each bottle of Astral Tequila helps make approximately two bricks, each measuring roughly 16 inches long, 8 inches wide and 4 inches tall. The project produces around 300 bricks a day.

Adobe house built using Astral Tequila Agave fibers.  (Photo courtesy of Astral Tequila)

By using this adobe brick as the construction,  Cardoso and her group work with Hábitat para la Humanidad and Green Loop to provide bricks and other necessary construction materials for ten new homes and community spaces in the local municipality of Gómez Farias, Jalisco, Mexico.

Martha Jimenez Cardoso, pictured with a bottle of Astral Tequila. (Photo courtesy of Astral Tequila)

Martha Jimenez Cardoso as a director of sustainability and civil engineer at Astral Tequila worked for this project. As an STEM engineer who was born in a small indigenous village of Santa Maria Tlahuitoltepex in Oaxaca, Mexico she said that this project has allowed her to “make positive changes to the community through my work” something that has always been a dream of hers.

Citation

[1] PR Newswire. (2023). Astral Tequila launches ‘This Round’s for the House’ initiative as a part of its ongoing upcycling program, the Adobe Brick Project, to build homes and brighten communities in Mexico. PR Newswire. Retrieved from https://www.prnewswire.com/news-releases/astral-tequila-launches-this-rounds-for-the-house-initiative-as-a-part-of-its-ongoing-upcycling-program-the-adobe-brick-project-to-build-homes-and-brighten-communities-in-mexico-301797281.html

[2] Peña-Calderon, M. (2023). Martha Jiménez Cardoso on how women in STEM can change the world. People en Español. Retrieved from https://peopleenespanol.com/chica/earth-day-month-astral-tequila-sustainability-martha-jimenez-cardos/

[3] Madkour, A. (2023). Meet the Indigenous engineer upcycling tequila waste into sustainable housing. Modern Farmer. Retrieved from https://modernfarmer.com/2023/04/meet-the-indigenous-engineer-upcycling-tequila-waste-into-sustainable-housing/

[4] MultiVu. (2023). Astral Tequila launches ‘This Round’s for the House’ initiative as part of its ongoing upcycling program. MultiVu. Retrieved from https://www2.multivu.com/players/English/9157751-astral-tequila-launches-this-rounds-for-the-house-initiative/

[5] Sustainable Brands. (2023). Astral Tequila uses spent agave to make bricks for homes for Mexican families. Sustainable Brands. Retrieved from https://sustainablebrands.com/read/circular-economy/astral-tequila-spent-agave-bricks-homes-mexican-families

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La Luz

modern adobe fence in front of glass and geometric rooftop bifurcated with cylindrical column against a blue cloudy sky
Credit: Mhd Alaa Eddin Arar

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.

La Luz MasterPlan from aerial view in black and white that illustrates rows of townhouses, streets and community amenities like tennis courts, pool, and green spaces
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.

distant view of adobe townhouses in front of mountains and surrounded by desert grasses
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.

wide angle photograph of the architect, a white male with black shirt and pants surrounded by small scale building models
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

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The McDonald Ranch House

McDonald-Schmidt Ranch House. This file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.

The McDonald Ranch House in the Oscura Mountains of Socorro County, New Mexico, was the location of assembly of the world’s first nuclear weapon. The active components of the Trinity test “gadget”, a plutonium Fat Man-type bomb similar to that later dropped on Nagasaki, Japan, were assembled there on July 13, 1945. The completed bomb was winched up the test tower the following day and detonated on July 16, 1945, as the Trinity nuclear test.

The George McDonald Ranch House sits within an 85-by-85-foot (26 by 26 m) low stone wall. The house was built in 1913 by Franz Schmidt and is built of adobe, which was plastered and painted. The plutonium hemispheres for the pit of the Trinity nuclear test “gadget” (bomb) were delivered to the McDonald Ranch House on July 11, 1945.  Text via Wikipedia.

 

 

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The Adobe Paradox

Once a building material of the humble economy used by autochthonous peoples of the Southwest, adobe has become fashionable among Marfa’s affluent newcomers. Here, in this article in Texas Architect, a student with roots in the town’s Mexican-American community and and architect practicing in the region discuss the building block’s complex cultural content. Because, in a Texas Art Mecca, Humble Adobe Now Carries a High Cost, according to this New York Times article discussing how taxes are higher for adobe homes.

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JONES STUDIO HOUSES: Sensual Modernism

Jones Studio Homes: Sensual Modernism is a self-imposed limited look at the 40-year-plus career of Eddie Jones. Almost unheard of outside the southwest United States, Jones has quietly accumulated a body of work ranging beyond residential design to include major federal projects impacting the edges of America… to be featured in a soon to be published monograph!

Supported by Aaron Betsky’s insightful forward, plus an enlightening interview with Vladimir Belogolovsky, and comments from many of his famous colleagues, Jones summarizes his lifelong dance with architecture through the personal stories embedded in each house. Refusing to repeat himself, the work tests the reality of gravity on a diverse spectrum of interpretive vernacular responses to climate, landscape and function. Although designed by the same hand, the forms vary as much as the choice of materials. Rammed earth, concrete, wood and metal are explored together and separately yet remain subordinate to Jones’ fascination with glass.

Utilizing photographs, hand-drawings and first-person accounts, the motivations and joy of being an architect are expressed by an exceptional whole informed by many ordinary parts.

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Stuccoed in Time at 99% Invisible

Santa Fe is famous in part for a particular architectural style, an adobe look that’s known as Pueblo Revival. This aesthetic combines elements of indigenous pueblo architecture and New Mexico’s old Spanish missions, resulting in mostly low, brown buildings with smooth edges. Buildings in the city’s historic districts have to follow a number of design guidelines so that they conform with the dominant style. Deviating from those aesthetics can stir up a lot of controversy.

But this adherence to the “Santa Fe Style” hasn’t always been the norm. For a time, there was actually a powerful push to “Americanize” the city’s built environment. Then, over a century ago, a group of preservationists laid out a vision for the look and feel of Santa Fe architecture, and in the process dramatically transformed the town.

Learn more about the controversies and conundrums of what some call Santa Fake, the history of adobe in Santa Fe, and the how preservation and tradition have been at odds with each other at 99% Invisible.