Frontispieces to Cointeraux’s École d’architecture rurale (second edition, 1793). Façade of a ‘house of a decorated rammed earth house’ and the ‘same house made from the hands of a worker’.
FRANÇOIS COINTERAUX: THE ARCHITECT OF THE ‘AGRICULTURAL PROLETARIAT’ is an essay by Anja Segmüller who writes on the history of the French Architect Francois Cointeraux who is known for his focused attention on “the possibilities of ‘pisé’ (rammed earth) as a construction technique and to teaching the agricultural working class how to construct their own cost-effective, fire-resistant, and ‘dignified’ dwellings, founding several educational institutions”.
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
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
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.
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.
Construction with earthen materials, as one of the oldest traditional technology, was widely employed all over China during the past thousands of years. According to the latest statistics, at least 60 million people in China are still living in various traditional rammed-earth dwellings, most of which are located in poor and rural regions.
The Macha Village Center, designed by One Earth Architecture, is located in Huining County, Gansu Province, borrows the conventional yard form and local building traditions of the region to create a courtyard that is enclosed by four different height of earth buildings that faces the eastern valley. Al building materials and earth are taken from the local area to blend in the local landscape in a natural way.
This Earth-inspired project by Tres Birds Workshop is a 7,000 sf private artist’s residency that uses 100% renewable resources, demonstrating fossil-free potential of the built environment. Four vertical geothermal wells were installed to transfer the Earth’s energy to the building’s heating and cooling system. A solar electric roof on the carport generates energy for interior LED lighting and electricity. To test the energy efficiency of the structure, a Home Energy Rating System (HERS) was performed, ranking it in the 74th percentile and exceeding code requirements by three times.
The structure was built using 200 tons of rammed Earth, a composite of regional dirt and pigments, compressed into 30” thick walls. This adds significant thermal mass to the building’s whole, optimal for temperature regulation. Bearing the structural load, these dense walls allow the space to exist free from obstructions, ideal for a simplified interior and exhibiting artwork.
The Ricola Herb Centre in Laufen (Basel), Switzerland was designed in 2012 by renowned architects Herzog & de Mueron with a facade constructed by master clay builder Martin Rauch, the building is a high-volume long building with flat roof and façade built using the rammed earth. Façade elements made of compacted local clay sourced from the Laufen valley will form Europe’s largest loam building by 2014. From spring 2014, Ricola’s herb processing activities will be entirely carried out at a single location. Distinctive features of the brand new production building are high energy efficiency and state-of-the-art green building principles.
The new building reveals many aspects of Ricola’s strong commitment to its production location in Switzerland and at home in Laufen. Its self-appointed high goals for ecology and sustainability are consistently pursued: Logistics efficiency and the sensible use of resources are at the forefront for this project. The new building will be completely constructed using loam sourced from the Laufen valley. Lehm Ton Erde Baukunst GmbH (LTE), a specialist company based in the Vorarlberg alpine region in Switzerland, manufactures the prefabricated façade elements. Production is housed in a temporary hall in the neighboring town of Zwingen where LTE practices a newly developed procedure. No elements are used other than natural and organic earth from Laufen.
Architect Sean Connelly’s installation A Small Area of Land (Kaka‘ako Earth Room), a “temporary earth sculpture” made from 32,000 pounds of volcanic soil and coral sand, can currently be seen at the ii gallery in Honolulu, Hawaii. The sculpture is a prismatic monolith with dimensions 7′ tall, 9′ long, and 4′ wide, and it features a single sloping surface that aligns with the position of the sun and moon on a key date in the history of land in Hawaii.
Over the course of the exhibit, the sculpture slowly falls apart as Connelly wanted to see “what a version of this might look like in Hawaii, on Hawaii’s terms.”