Solar Adobe: Energy, Ecology, and Earthen Architecture by Albert Narath
Against the backdrop of a global energy crisis, a widespread movement embracing the use of raw earth materials for building construction emerged in the 1970s. A new book, Solar Adobe: Energy, Ecology, and Earthen Architecture by Albert Narath , examines this new wave of architectural experimentation taking place in the United States, detailing how an ancient tradition became a point of convergence for issues of environmentalism, architecture, technology, and Indigenous resistance.
Utilized for centuries by the Pueblo people of the American Southwest and by Spanish colonialists, adobe construction found renewed interest as various groups contended with the troubled legacies of modern architecture and an increasingly urgent need for sustainable design practices. In this period of critical experimentation, design networks that included architects, historians, counterculture communities, government weapons labs, and Indigenous activists all looked to adobe as a means to address pressing environmental and political issues.
Albert Narath charts the unique capacities of adobe construction across a wide range of contexts, consistently troubling simple distinctions between traditional and modern technologies, high design and vernacular architecture. Drawing insightful parallels between architecture, environmentalism, and movements for Indigenous sovereignty, Solar Adobe stresses the importance of considering the history of the built environment in conjunction with architecture’s larger impact on the natural world.
The Metropolis Magazine article, “The Politics of Adobe Architecture“, discusses recent scholarship on earth architecture in America that highlights larger issues concerning power, extraction, and Indigenous resistance to the settler state and capitalism.
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).
A project by Yu-Shao Wu, Siyu Liang, and Rachel Sherr
An experiment in digital rammed earth.
Rammed earth is an ancient technology for building with earth. Though some modern rammed earth structures rely on additions like cement to increase compressive strength, rammed earth can, with the correct soil content, form load-bearing walls.
Timber formwork for rammed earth. Photograph from Rammed Earth Consulting.
Traditionally, rammed earth is created using timber formwork. Perhaps the most common is a mobile formwork module that is moved along a wall, compacting a few feet of earth at a time. Each layer is compacted successively, sometimes with overlaps, which can increase the strength of the structure.
3D printed earthen wall with embedded staircase, designed at IAAC and realized by WASP.TOVA, a 3D printed earthen dwelling designed by IAAC and realized by WASP.
As earthen architecture moves into the digital realm, with 3D printing rigs capable of producing entire houses made of digital earth, rammed earth must follow. Rammed earth can be digital in two ways: 1. the earth is rammed via a digital process, and 2. the formwork for the rammed earth is created via a digital process.
Anna Heringer’s METI Handmade School in Rudrapur, Bangladesh.
Per current research on the subject, the first way of creating digital rammed earth is rare. It would require a high degree of sophistication in robotics and computer programming to create the automated processes required. The latter method is more common, and more achievable. This is also the method we settled on to experiment with digital rammed earth.
Speculative rendering of rammed earth by Scarlett Lee.
Inspired by a few precedents of various earthen architecture technologies, both digital earthen architecture and rammed earth, we created a new design. We incorporated elements from Anna Heringer’s METI school in Rudrapur, Bangladesh, and two projects by the Institute for Advanced Architecture of Catalonia (IAAC), both realized using Crane WASP, a large scale 3D printer specifically designed to print earth. These two projects are TOVA, a small 3D printed dwelling, and a thesis project that embeds a staircase within a 3D printed earthen wall. Additionally, our digital formwork was inspired by the speculative renderings of earth artist/architect Scarlett Lee.
Splayed open 3D printed formwork for digital rammed earth.3D printed formwork for digital earth.
Our model explores the tectonic relationship between timber and rammed earth, particularly the horizontal members that penetrate the rammed earth wall as part of the formwork. We elected to leave these members embedded within the wall, and they serve as supports for the roof and staircase. In this way, we have maximized the structural role of the rammed earth wall, while also exploring innovative ways of incorporating digital strategies into this ancient technology.
Gomaa, Mohamed et al. “Automation in Rammed Earth Construction for Industry 4.0: Precedent Work, Current Progress and Future Prospect.” Journal of cleaner production 398 (2023): 136569-. Web.
Senj (سنج) is a traditional Afghan wood framing technique. It is a lightweight, flexible, and modular system designed to be placed on upper levels of structures within earthquake prone regions of Afghanistan.
Amin House Restoration, Kabul, Afghanistan 2004-2005. https://www.archnet.org/sites/5585Filling of timber parapet frame with mud-bricks. Amin House Restoration, Kabul, Afghanistan 2004-2005. https://www.archnet.org/sites/5585
The frame is constructed with poplar poles on a flat surface and is joined together to create square or rectangular walls. The horizontal poles are around 15-20cm in diameter, and the vertical/diagonal poles around 10-15cm. They are joined by mortise and tenon about 1m apart, where they are then filled with sun-dried bricks, placed at a diagonal relationship between the vertical and diagonal poles.
Drawings from the book Afghanistan: An Atlas of Indigenous Domestic Architecture p.154
The infilled brick frames are then plastered with a mud and straw mixture on both the interior and the exterior facades. It seems that over time, however, the diagonal poles have been integrated into the complete frame, plastered over and completely hidden. Notice this drawing:
Drawing showing the exposed poplar diagonal pole, from the book Afghanistan: An Atlas of Indigenous Domestic Architecture p.153Drawing showing the exposed poplar diagonal pole, from the book Traditional architecture of Afghanistan p.187
The diagonal bracing pole is left exposed outside of the plaster, as seen in these photos:
Vernacular Housing of Kabul, 2006, https://www.archnet.org/sites/5610.Vernacular Housing of Kabul, 2006, https://www.archnet.org/sites/5610
Here on the left side wall, all poles have been plastered over and no remnants of the structure are exposed. Could the strength have increased by having the diagonals be integrated into the frame, rather than existing on the exterior of it?
Amin House Restoration, Kabul, Afghanistan 2004-2005. https://www.archnet.org/sites/5585
In Afghanistan: An Atlas of Indigenous Domestic Architecture, the authors state that diagonal poles are *nailed* at the exterior corners to stabilize the frame, not integrated within the frame itself. It is beautiful to witness the underlying structure with the poplar poles exposed as such in the older buildings, and saddening to see that design decision disappear over time. Even more so it is a shame the patterning that the bricks create are also plastered over and disappear. We wonder how senj technology can be re-contextualized contemporarily to become a textural, aesthetic, modular device while also supplying firm, structural integrity to a design.
Thank you so much to Professor Ronald Rael for opening the doors of knowledge, wisdom, research and discovery of ancestral design within the context of Architecture at UC Berkeley.
The Bidi Bidi Performing Arts Center is an earthen amphitheater serving the South Sudanese refugee community in Northern Uganda. This art center was designed in collaboration with Hassel Studios, To: Studios, architecture practice LocalWorks, and engineering firm Arup. This space was created as a community gathering space, a performance venue , and a music school; with classrooms, music training spaces, and a recording studio.
The design of the amphitheater utilizes local and easily accessible materials for it’s walls which are made from hand pressed earth bricks. The earthen walls are protected from weathering by its roof structure. The positioning of the bricks allows daylight and ventilation to permeate all spaces. These specific brick patterns have a relationship with music. The brick absorbs and diffuses sound in the performing space, classroom, and recording studio, further optimizing the spaces acoustically.
The center roof design is shaped like a funnel, which collects to rainwater This rainwater then provides water to the community and supports essential facilities such as the tree nursery and vegetable garden located outside the center.
Bidi Bidi allows for a a place for dance, music and performance; a unionization between refugees and local communities in Northern Uganda. Allowing for a cultural connection from refugees’ birth countries, the art center creates a space for love and peace.
Location: Bidi Bidi, Uganda
Completed Year: 2024
Collaborators: LocalWorks, Arup, The Landscape Studio, To.org
Design team: Xavier De Kestelier, Joanna Lesna, Sarah Huc, Nikolaos Argyros, Jonathan Irawan
Based in Monterrey, Mexico, Diseño Norteño is an architecture firm celebrated for merging modern innovation with the cultural heritage of northern Mexico. Their projects are designed to respect the natural environment, utilizing local materials and reinterpreting traditional techniques with a contemporary twist. With a multidisciplinary team, they have become known for creating spaces that reflect regional identity while delivering functional and forward-thinking design solutions.
Photo by Diseño Norteño
The “OJA” project, located in the serene landscapes of Coahuila, Mexico, showcases Diseño Norteño’s dedication to sustainability and elegant design. “OJA” serves as a harmonious retreat, blending seamlessly with its natural surroundings. The project draws inspiration from traditional northern Mexican architecture, adapted to a modern context, to create a sanctuary that respects and enhances its environment.
Photo by Diseño Norteño
Key materials used in the “OJA” project include compressed earth, which is a contemporary twist on traditional earthen construction. This material not only provides excellent thermal insulation, keeping the indoor environment comfortable year-round, but also minimizes environmental impact by utilizing locally sourced resources. Recycled wood plays a significant role as well, adding warmth and a rustic charm to the interiors, creating inviting spaces that feel both cozy and grounded. Additionally, local stone is incorporated for its durability and aesthetic qualities, establishing a strong connection between the building and its natural surroundings. This thoughtful selection of materials enhances the visual appeal of the structure while reinforcing the project’s commitment to eco-friendliness and sustainability. By choosing materials that are both beautiful and environmentally responsible, “OJA” embodies a harmonious relationship between design and nature.
Photo by Diseño Norteño
“OJA” employs several passive design techniques to improve sustainability. The building is oriented to maximize natural light and promote cross ventilation, reducing reliance on artificial heating and cooling. Large windows and strategic shading devices protect the interiors from excessive heat, while modern systems like rainwater harvesting and solar panels further enhance self-sufficiency. Together, these elements create a beautiful, functional space that reflects a harmonious blend of traditional practices and contemporary innovations, reinforcing the project’s commitment to ecological and cultural sustainability.
References
(n.d.). Diseño Norteño – Tijuana. Retrieved November 5, 2024, from https://d-n.mx/
CONTENT WARNING:graphic descriptions of art installations and construction. ie sexual violence, murder, blood.
Teresa Margolles, born in 1963, is an artist from Mexico City. Teresa is considered a conceptual artist, with a focus on the impacts of violence and death, specifically in her home country of Mexico, and Latin America as a whole.
Bernd Kammerer
In her early adulthood, she went to school and studied to become a forensic pathologist. She then worked in the morgue, and witnessed the ways in which bodies, and the lives lost resulting in these bodies, were unnoticed. The violence of her home and surroundings became the subject of much of her artistic work. Margolles went on to create an artists’ collective named SEMEFO in the 1990s.
“When I was working with SEMEFO I was very interested in what was happening inside the morgue and the situations that were occurring, let’s say, a few meters outside the morgue, among family members and relatives. But Mexico has changed so violently that it’s no longer possible to describe what’s happening outside from within the morgue. The pain, loss and emptiness are now found in the streets.” Teresa Margolles, 2009.
Margolles has a pattern of using natural earthen and human materials in her work, such as water, dirt, sand, sweat, blood, fat, and tissue. These materials are used to tell her story through the art pieces and installations, all with a focus on violence, erasure, destruction, and death.
Recovered Blood, 2009
Recovered Blood, as shown above, was created using the mud-soaked clothes that were used to clean the sites of drug-related murders throughout Mexico.
Mesa y dos bancos, 2013
This table and benches were created using a mixture of concrete and organic material harvested from the grounds of the site of a murder on the Northern Mexico and US border.
Vaporizacion, 2001
This installation was created using the water used to wash corpses in the morgue in Mexico. This water was then dispersed throughout the space using two fog machines.
Joyas, 2007
This piece of jewelry was created with shattered glass fragments sourced by Margolles from a local gunfight in Mexico. She then collaborated with a local jeweler to create a piece of jewelry that resembles one a powerful gang member might wear.
Lote Bravo, 2005
This installation, Lote Bravo, in Mexico consisted of adobe bricks. The bricks were mixed and made out of soil and earth harvested from the site of murders and burials of Mexican women found along the border of the United States and Mexico. These women were often determined to be sexually assaulted at the site of their death.
Cleaning, 2009.
This exhibit featured an hourly mopping of the floor, however the cleaning liquid that was used contained blood from individuals murdered in Mexico.
Herida, 2010.
This installation consisted of a seam in the wall, filled with human fat which was gathered from corpses of murdered people in Mexico.
Marlene Pista de Baile del club ‘Mona Lisa’, 2016
In addition to conceptual and performance art, Margolles is also a photographer. In this particular collection, she focuses on the destruction of clubs in Juarez and throughout Mexico. In the image above, Margolles captures Marlene, a transgender woman standing on what remained of the dance floor of the club she worked at, Mona Lisa.
Composed of 726 plaster face castings, they were created from the faces of only trans, nonbinary, and gender nonconforming individuals from both Mexico and the United Kingdom.
Castello di Rivoli Museo d’Arte Contemporanea, Torino, Italy; Centre Georges Pompidou, Paris, France; Colección Centro de Arte Dos de Mayo, Mostoles, Madrid, Spain; Colección Fundación ARCO, Madrid, Spain; Des Moines Art Center, Des Moines, IA; Fotomuseum Winterthur, Switzerland; FRAC Lorraine, Metz, France; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Kunsthaus Zürich, Switzerland; Colección Jumex, Mexico City, Mexico; Musée d’Art Contemporain, Montreal, Canada; Museion Museo d’arte moderna e contemporanea, Bolzano, Italy; Museo Universitario Arte Contemporáneo, Mexico City, Mexico; Museo Tamayo Arte Contemporáneo, Mexico City, Mexico; Museum für Moderne Kunst, Frankfurt, Germany; Museum of Modern Art in Warsaw, Poland; National Gallery of Canada, Ottawa, Canada; Neue Nationalgalerie, Berlin, Germany; Pérez Art Museum, Miami, FL; Philbrook Museum of Art, Tulsa, OK; Phoenix Art Museum, Phoenix, AZ; Tate Modern, London, UK and The Museum of Fine Arts, Houston, TX.
Awards:
Artes Mundi Prize and the Prince Claus Award for Culture and Development in 2012.
53rd Venice Biennale in 2009 for What Else Could We Talk About?
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.
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, 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.
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.
Once hardened, 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
Andy Goldsworthy, “Wood Line“, 2011, Photograph by Brian Vahey.
Casa de pau a pique, or a bahareque house in Brazil.
Bahareque is the Spanish name for what is known in English as wattle and daub, a method of building where wet loam is applied to an interwoven mesh of twigs, branches, bamboo, etc. Specifically, bahareque (also known as quincha) is a subset of the thrown loam technique, where the wet loam is applied by hand onto the organic skeleton. The loam of earth (a combination of clay, silt, and soil) and aggregate, usually straw. Bahareque describes a wide range of building techniques and types, and can be separated out into various local traditions across South America.
Traditional bahareque wall.
Originally combined with palm frond roofs, bahareque was often topped with tiled roofs after European colonization. It can be used in combination with other earthen architecture technologies, as seen in the image below.
Solar do Major Novaes, constructed with adobe on the lower floor and wattle and daub on the upper floor.
Bahareque is currently being explored as a low-cost housing typology. There are questions as to how well it can withstand seismic activity, but it is often proposed as a housing solution for earthquake stricken regions. Costa Rica, Ecuador, and Brazil have all introduced engineered bahareque (or cement bahareque) following devastating earthquakes.
In Ecuador, where the matrix and frame for bahareque architecture is made of guadua bamboo, one of the strongest bamboo subspecies, there is promising contemporary research proving that bahareque is superior to masonry architecture both for earthquake safety and from a sustainability standpoint.
Bahareque houses designed by ARUP and REDES, before the plaster is applied to the bamboo matrix.Construction documents of bahareque houses designed by ARUP.
Andy Goldsworthy, Earth Wall, 2014, Photograph by The Chronicle’s Sam Whiting. 
