Voute Nubian (Organization)

La Voûte Nubienne
Construction of a Nubian Vaulted Building

Voute Nubian (Association la Voûte Nubienne) is an organization founded by Berkinabe farmer Séri Youlou, and French mason Thomas Granier in 2000, serving to utilize the ancestral construction technique— the Nubian Vault—  to meet the housing needs of rural areas in several Sahelian nations.

Owing in large part to the economic and environmental consequences of neocolonialism, which have engendered mass poverty and a scarcity of wood resources throughout the Sahel region, housing is often precarious or inaccessible for many. In response to this, the Voute Nubian organization seeks to utilize the Nubian Vault as a self-supporting construction technique that does not require cement, timber, or sheet metal and can create roofing systems entirely out of earth.

La Voûte Nubienne
Nubian Vault Construction: Note that Formwork is not Necessary For Constructing a Stable Roof out of Adobe

Nubian Vault construction has many additional advantages, including locally sourced and easily accessible materials, extreme durability, high thermal and acoustic performance, as well as its simplicity.

This process not only ensures that the readily available and inexpensive earth of the construction site can be used to create a comfortable and structurally sound home without the added costs of formwork or expensive materials, but also that workers can be professionally trained as experts in this production technique enabling the creation of skilled labor and the spread of the Nubian Vault as a technique.

La Voûte Nubienne
Simplified Nubian Vault Construction

For more information on the history of the Nubian Vault, and its revival as a contemporary architectural strategy in earthen construction:

What is the Nubian Vault?

New Gourna – Hassan Fathy 

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.

BC Materials

BC Materials is a Belgian company that develops, produces, demonstrates, and sells earthen building materials. Founded as a workers co-operative and spin-off of BC Architects (Brussels Corporation) in 2018, BC Materials’ goal is to facilitate the replacement of contemporary, standard building materials with earth-based alternatives in European construction. The firm was the “brainchild” of Ken De Cooman, Nicolas Coechelberghs, Laurens Bekemans, and Wes Degreef. 

Roughly 60% of earth excavated in construction is wasted due to storage and transportation challenges. To combat this, BC Materials has pioneered a “circular” method of construction with earthen materials that uses urban mineral waste from construction sites and repurposes the excavated earth to make rammed earth structures, compressed earth blocks, and earth plasters/paints. The process of making these products using recycled earth is carbon-neutral, meaning BC Materials’ products are much better for the environment than the aforementioned contemporary alternative building materials.  

Rammed earth building, BC Materials was consulted during construction. Image by BC Materials

According to their website, BC Materials is involved in 5 primary activities: 

  1. Developing materials and consulting construction partners on their use.
  2. Making bespoke materials.
  3. Designing and prefabricating objects and constructive systems.  
  4. Training contractors and craftsmen.
  5. Producing and commercializing a brand of standard circular materials called Léém. 

Léém is BC Materials premier product line that attempts to make earthen materials more accessible to both architects and builders. Offering Léém clay plasters and paints, Léém earth block masonry, and Léém rammed earth mixes and tools, BC Materials are working to transform the availability and convenience of circular earthen building materials for use in every-day construction.  

 

 

Leem Clay Paints, picture by BC Materials

 

Sources: 

BC Materials. BC Materials, https://bcmaterials.org/.

Building with Earth – BC Materials and the Revival of Clay in Construction.” Natura Mater, 10 Dec. 2024, https://www.naturamater.eu/en/post/building-with-earth-bc-materials-and-the-revival-of-clay-in-construction.

“BC Materials.” Regenerative Design World, https://regenerativedesign.world/bc-materials-2/.

Kangina

A paper-lined kangina, opened to access the grapes stored inside. Credit: Voice of America

Kangina (Dariکنگینهlit.treasure),  is the traditional Afghan technique of preserving fresh fruit, particularly grapes, in airtight discs formed from mud and straw.

This technique has been practiced for centuries, particularly in rural regions of central and northern Afghanistan, where access to imported fresh produce is limited during winter months. Grapes stored in kangina can remain fresh for up to six months, allowing communities to extend seasonal harvests and enabling merchants to transport fruit over long distances without spoilage.

Ziaulhaq Ahmadi makes bowls of mud and straw for fresh grapes. Credit: Atlas Obscura

The container is formed by shaping two shallow, bowl-like shells from a mixture of clay-rich mud and straw, which are then dried in the sun. Fresh, undamaged grapes—typically thick-skinned varieties such as Taifi or Kishmishi—are placed inside before the two halves are sealed together with additional mud, creating an enclosed volume. The finished vessel is stored in a cool, dry environment, protected from direct sunlight.

Sabsina shows where the family stores the kangina: in a dry, cold space, away from direct sunlight. Credit: Atlas Obscura

Kangina functions as a passive controlled-atmosphere system. Although the mud shell appears sealed, it remains microscopically porous, allowing a slow and continuous exchange of gases between the interior and exterior. Oxygen gradually diffuses into the container, enabling the grapes to remain alive, while carbon dioxide produced through respiration accumulates inside. This elevated concentration of carbon dioxide slows metabolic activity and inhibits the growth of fungi and bacteria, effectively delaying spoilage without the need for mechanical refrigeration.

At the same time, the material properties of the mud contribute to humidity regulation. The earthen shell absorbs excess moisture released by the fruit, preventing condensation and reducing conditions favorable to microbial growth. This balance of gas exchange and moisture control creates a stable internal microclimate that preserves the grapes’ freshness, texture, and nutritional quality over an extended period.

Historically, similar techniques have been documented as early as the twelfth century. In his Book of Agriculture, the Andalusian agronomist Ibn al-‘Awwam described methods of storing grapes in mud-sealed containers layered with straw, indicating a long-standing tradition of using earthen materials to regulate environmental conditions for food preservation.

Kangina remains an inexpensive, environmentally sustainable, and effective method of storage. It requires no external energy input and relies entirely on the intrinsic properties of natural materials. However, the containers are relatively heavy, fragile, and susceptible to absorbing external moisture, which can affect their durability and performance in certain conditions.

“Kangina.” Wikipedia. Last modified 2023.  https://en.wikipedia.org/wiki/Kangina

Glinski, Stefanie. “The Ancient Method That Keeps Afghanistan’s Grapes Fresh All Winter”. 2021. Atlas Obscura.

Beijing Teahouse by Kooo Architects

Project Overview ©Keishin Horikoshi

Project name: thé ATRE SHANJUCHAJING Concept Store

Design: Kooo architects

Completion Year: 2023

Leader designer & Team: Shinya Kojima, Ayaka Kojima, Kotaro Kitakami, Kangxin Wu, Yikxin Lai, Zheming Tian

Project location: 1F E103, Global Financial Center, Sanyuan Bridge, Chaoyang, Beijing, China

Gross built area: 175㎡

Clients: thé ATRE

Materials: Tea-earth Brick, Tea-diatum Mud, solid wood panels, recycled ceramic tile

Kooo Architects was founded in 2015 by Ayaka and Shinya Kojima and has offices in Tokyo and Beijing. They questioned the homogenized materiality and uniform streets as a result of mass production, they aim to carry on and express the beauty and craftsmanship that is particular to that region through incorporating materials and details that can inherit its local climate and cultural background.

Shinya Kojima & Ayaka Kojima ©koooarchitects

In this project, they used custom-made bricks that combine compressed earth with waste tea leaves to create a natural feel inside the Théatre teashop.

The store located in Beijing’s CBD belongs to Chinese brand Théatre, which wanted to immerse guests in the tea-drinking experience. So they created a multi-sensory space featuring tactile, natural materials that contribute to the store’s calming atmosphere.

Interior space ©Keishin Horikoshi

In an effort to incorporate tea itself into the interior design, Kooo Architects worked with Beijing-based Onearthstudio to develop a “tea-earth brick” that is used to clad 80 per cent of the store’s walls.

The interior ©Keishin Horikoshi

The bricks are moulded in a factory using a similar process to the way rammed earth buildings are constructed. This low-carbon process results in an environmentally friendly and non-toxic material with a wide range of natural colours.

Kooo Architects tested different soil types and tea varieties to achieve a range of tones and textures for the bricks whilst maintaining the required strength in the material.

Experimental process of tea soil bricks ©koooarchitects
Experimental process of tea soil bricks ©koooarchitects
Tea-earth brick ©koooarchitects
Tea-earth brick ©koooarchitects

The leaves used are leftovers from tea production that would otherwise be discarded as waste. The crumbled tea leaves create a textured surface that can be seen from up close, while the assembled bricks display natural tonal variations when viewed from a distance. The bricks for this project were produced with compact dimensions of 10 by 10 by 3 centimeters, making them suitable for cladding walls, doors and furnishings.

Application of the tea-earth brick ©Keishin Horikoshi

The brick becomes the basic module for space layout and furniture sizes, so everything is regulated clean and peaceful to the eye. They also made a special L-shape module for the corners so it wraps around smoothly.

Fabrication of tea-earth brick ©koooarchitects
Special L-shape module ©koooarchitects

A red version of the bricks was chosen for a large volume that forms a focal point within the space, while the surrounding walls feature a more muted yellow tone that contributes to the relaxing feel.

Tea bar ©Keishin Horikoshi

The bricks were also used to create a lintel for the main facade, with folding windows and doors allowing the store to be opened up completely to the outside.

Various status of the entrance ©Keishin Horikoshi

Internally, the space is organized into different functional zones, with a large sales display area and serving counter positioned inside the entrance.

Massing axonometric ©koooarchitects
Store plan ©koooarchitects

Shelves and counters arranged at different heights are used to display the various products while drawers containing samples allow customers to learn about different types of tea.

Wall and counter displays ©Keishin Horikoshi

To the rear of the store is a private lounge area and a VIP tea room shaped like a traditional tea house with an exposed pitched ceiling. Accessed through a darker preparation area, the naturally lit space is softened by the application of a textured render on the walls and ceiling.

VIP tea room ©Keishin Horikoshi
Sloping roof space ©Keishin Horikoshi

When the shop is eventually overhauled – as retail interiors only last for around three to five years – the bricks can be taken down and reprocessed for use in future stores or go back to nature.

The tea-earth bricks have been shortlisted in the sustainable building product category at the 2024 Dezeen Awards.

 

References:

Gooood Articles: https://www.gooood.cn/theatre-shanjuchajing-concept-store-by-kooo-architects.htm?lang=en

Dezeen Articles: https://www.dezeen.com/2024/11/04/kooo-architects-theatre-teashop/

TECTURE Articles: https://mag.tecture.jp/project/20250108-theatre-shanjuchajing/

HOUSE COLLECTION: https://hcollection-living.com/storyblog/65b5b723-cbd6-49d3-8bdc-b16a1eaf1f5a/

Cultural Hub: Toshiko Mori

Photographs © Iwan Baan

The cultural hub designed by Toshiko Mori was completed in 2015 in the rural village of Sinthian, Senegal. The project was developed with the Josef and Anni Albers Foundation and the nonprofit American Friends of Le Korsa. The goal of the project was to create a space where art, culture, and community activities could come together in a remote region.

Drawings © Toshiko Mori
Drawings © Toshiko Mori

The cultural hub serves many roles for the village and surrounding communities. In addition to housing artists in residence, the building functions as a gathering space, performance venue, workshop space, and community center for cultural exchange and education. The building also supports programs such as agricultural training, public meetings, and local events, helping strengthen connections between villages in the region.

Photographs © Iwan Baan
Photographs © Iwan Baan

The architecture responds directly to the climate and local building traditions. The building is constructed mainly from locally sourced materials such as compressed earth blocks, bamboo, and thatch. These materials were chosen because they are sustainable and reflect the construction techniques already used in the region. Local workers and builders were also involved in the construction process, which helped transfer building knowledge and create a stronger sense of community ownership.

Photographs © Iwan Baan
Photographs © Iwan Baan

One of the most distinctive features of the project is its large curved roof. The design reinterprets the traditional pitched roof used in local architecture by inverting it, creating shaded spaces and courtyards around the building. The roof also plays an important environmental role by collecting rainwater and storing it in cisterns. This water can then be used during the long dry season, which is an important resource for the village.

Drawings © Toshiko Mori
Drawings © Toshiko Mori

Passive climate strategies are also central to the design. Deep overhangs, open courtyards, and permeable earth brick walls help create natural ventilation and shaded outdoor spaces, keeping the building cool in the hot climate. Because of this passive design approach, the building can remain comfortable without relying heavily on mechanical systems.

Drawings © Toshiko Mori

What makes this cultural hub especially meaningful is how it connects architecture with social impact. The project supports art and creativity while also addressing practical needs such as water collection, education, and community gathering spaces. By combining local materials, climate-responsive design, and cultural programming, the project shows how architecture can support rural communities in meaningful ways.

Photographs © Iwan Baan
Photographs © Iwan Baan

Overall, the cultural hub demonstrates how architecture can go beyond simply creating buildings. It becomes a platform for collaboration, cultural exchange, and sustainable development, connecting a small rural village to a wider global network through art and design.

Sources

Toshiko Mori Architect — Project page: https://tmarch.com/thread

Dezeen article: https://www.dezeen.com/2017/01/25/toshiko-mori-compressed-earth-bamboo-thatch-cultural-centre-senegal-africa-architecture/

ArchDaily project: https://www.archdaily.com/608096/new-artist-residency-in-senegal-toshiko-mori

Dovetail Magazine feature: https://dovetailmag.com/2023/01/destination-thread/

 

Dakar Houses for Moroso Furniture Makers in Senegal

Dakar Houses    I   ArchDaily

On the outskirts of Dakar, the Dakar Houses project proposes a new prototype of living and working for Moroso furniture craftsmen in Senegal. The units are conceived as hybrid live-work environments that house artisans and their families alongside integrated workshops, making visible the full spectrum of production, from welding to the intricate hand-weaving of pieces for Moroso’s M’Afrique Collection. Designed by Marc Thorpe, the project responds to both environmental conditions and social structures by grounding itself in local material practices and systems of community-based production, positioning architecture as both a spatial and economic framework.

Morso’s M’Afrique Collection    I   Marc Thorpe
Senegalese Craftsmen    I   Marc Thorpe

Founded in Italy in 1952, Moroso is internationally recognized for its collaborations with designers and its emphasis on experimental, high-quality furniture. For more than a decade, through its M’Afrique collection, the company has worked to actively promote and celebrate Senegalese artisans, foregrounding local handcraft within the global furniture industry. This connection to Senegal is further reinforced through Patrizia Moroso’s husband, Abdou Salam Gaye, whose cultural and artistic ties to the region have played a key role in shaping the company’s engagement there. The Dakar Houses project was commissioned by Abdou Salam Gaye, extending this long-standing relationship into architecture and proposing a spatial framework that supports both production and daily life.

Marc Thorpe with Senegalese Craftsmen in Dakar    I   Marc Thorpe

Marc Thorpe’s is a global architectural practice based out of New York, operating across furniture and product design exploring how material systems and cultural contexts can intersect. This multidisciplinary approach is evident in the Dakar Houses, where architecture is conceived as an evolving system tied to labor, community, and environment.  In addition, the project planned for both Thorpe and Gaye’s furniture to be featured across the complexes. The project reflects his broader interest in bridging craft and industry while engaging local economies in meaningful ways.

Site Plan    I   ArchDaily
Building Plan   I   ArchDaily

The project aims to create a work-based community in which living and production are fully integrated. The village is constructed of eight structures, each organized around a central workshop flanked by residential spaces, allowing artisans and their families to inhabit the same environment in which they work. This spatial arrangement redefines domestic architecture as an infrastructure for livelihood, enabling a collective system where economic activity and social life are intertwined. The aggregation of these units suggests a larger village model, one that can expand organically as production grows and new participants join the network.

Workers at Elemental in Dakar, Senegal   I   Photo by Fernanda Loyola Cardoso
Digging Earth in Dakar, Senegal   I   Photo by Fernanda Loyola Cardoso
Compressed Earth Blocks    I   Photo by Fernanda Loyola Cardoso

A defining aspect of the Dakar Houses is the use of compressed earth bricks, which ground the project in both environmental and cultural specificity. The material is sourced locally, significantly reducing the energy and cost associated with transportation, and it is produced through a low-impact process in which soil is compacted, shaped, and cured in the sun rather than fired. This method aligns with long-standing construction traditions in Senegal while also addressing contemporary concerns around sustainability. The thermal mass of the earth walls allows them to absorb heat during the day and release it gradually at night, stabilizing interior temperatures and minimizing the need for mechanical cooling.

Brick Screens for Dakar Houses    I   ArchDaily

The architectural form further reinforces this environmental responsiveness. The buildings are composed of angular, pitched volumes that reference traditional African patterns while also shaping microclimates through shadow and airflow. Thick earthen walls, perforated surfaces, and carefully staggered masses work together to promote ventilation and reduce solar gain. These passive strategies transform the buildings into climate-regulating systems, demonstrating how material and form can operate together to produce comfort without reliance on technology.

Interior Brick Pattern    I   ArchDaily

The Dakar Houses operate simultaneously at multiple scales, linking material experimentation with broader social and economic frameworks. The use of earth construction highlights the viability of locally sourced, low-energy materials, while the integration of living and working spaces proposes a new architectural typology rooted in collective production. At an urban level, the project imagines a decentralized settlement organized around craft economies, and at a cultural level, it connects global design networks with local knowledge and labor.

Dakar Houses in Site    I   ArchDaily

Ultimately, the project presents architecture as a mediating force between environment, economy, and community. By embedding production within the domestic sphere and building, Marc Thorpe proposes a model in which design supports not only shelter, but also sustained ways of living and working.

Written by Fernanda Loyola Cardoso

Sources:

“Abdou Salam Gaye.” Say Who.  https://saywho.co.uk/people/abdou-salam-gaye/.

Frearson, Amy. “Marc Thorpe Designs Dakar Houses for Moroso’s M’Afrique Artisans in Senegal.” Dezeen. March 17, 2020. https://www.marcthorpedesign.com/morosomafrique

Harrouk, Christele. “Marc Thorpe Proposes Houses for the Workers of Moroso on the Outskirts of Dakar, Senegal.” ArchDaily. April 7, 2020. https://www.archdaily.com/937014/marc-thorpe-proposes-houses-for-the-workers-of-moroso-on-the-outskirts-of-dakar-senegal.

Marc Thorpe Design. “Dakar House.”  https://www.marcthorpedesign.com/dakar-house.

Marc Thorpe Design. “Moroso M’Afrique.” https://www.marcthorpedesign.com/morosomafrique.

 

 

CINVA RAM

CINVA-Ram

 

The CINVA Ram is a manually operated machine used to produce compressed earth blocks (CEBs)—solid building units made by pressing soil into a mold.

Instead of using industrial materials like concrete or fired bricks, the CINVA Ram uses local soil, mixed with water and sometimes small amounts of stabilizers such as cement or lime. The machine applies pressure to compress this mixture into dense, uniform blocks.

Unlike traditional bricks, which must be baked at very high temperatures in special ovens (called kilns) to become strong, CINVA Ram blocks are simply left to dry and harden in air. This makes the process more energy-efficient and accessible.

The CINVA Ram was developed in the 1956 at Centro Interamericano de Vivienda (CINVA) in Bogotá. It was developed by engineers at the institute, and is often associated with the work of Colombian engineer Raul Ramirez. It was created in response to growing housing shortages in Latin America. Many regions lacked access to industrial construction materials, creating a need for affordable and locally adaptable building methods. The device was later disseminated through international development programs and has since been used across Latin America, Africa, and Asia.

CINVA-Ram Block Press and Its Parts

The process is simple and repeatable:

_ Prepare the soil
Soil is collected locally, sieved to remove large particles, and mixed with water. In some cases, a small amount of cement is added for stabilization.

_ Fill the mold
The mixture is placed into a metal mold within the press.

_ Apply pressure
A hand-operated lever compresses the soil into a dense block.

_ Remove and dry
The block is removed and left to air-dry until it hardens.

Process of making CEBs

Through this process, raw earth is transformed into a standardized building unit that can be used similarly to conventional bricks.

The CINVA Ram is significant not only as a tool, but as a system of construction. It enables the use of local materials, allowing buildings to be made from soil found directly on-site, while also reducing energy consumption since no high-temperature heating is required. This makes the process both more sustainable and more accessible.

In addition, it supports affordable construction by minimizing reliance on industrial materials, and its manual operation allows individuals and communities to actively participate in the building process. However, the system also has limitations: it is labor-intensive, requires knowledge of soil composition, and is generally more suitable for small-scale or incremental construction rather than large urban developments.

The CINVA Ram is more than a machine—it is a method of building that begins with the ground itself. By transforming soil into durable construction units through a simple mechanical process, it offers an alternative to industrial building systems. As interest in sustainable and low-carbon architecture continues to grow, the CINVA Ram remains a relevant example of how construction can be local, accessible, and resource-efficient.

A demonstration of the compressed earth block production process using a CINVA Ram can be viewed here:

References

Casarama. “CINVA Ram.”

Engineering for Change. “CINVA Ram.”

Engineering for Change. “Compressed Earth Blocks Production.”

Houben, Hugo, and Hubert Guillaud. Earth Construction Handbook. Intermediate Technology Publications, 1994.

Minke, Gernot. Building with Earth: Design and Technology of a Sustainable Architecture. Birkhäuser, 2006.

Open Source Ecology. “Compressed Earth Block Press (CEB Press).”

YouTube. “CINVA Ram / Compressed Earth Block Demonstration.”

 

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