Open Thesis Fabrication is a six-month applied research program for postgraduates at the Institute for advanced architecture of Catalonia.
The program focus is on combining additive manufacturing with construction technology to create sustainable architecture with key areas of research in robotic manufacturing, material research, and performance-based design.
The program works with non-governmental organizations to develop designs for use in African humanitarian contexts and is comprised of architects, engineers, designers, and professionals with previous knowledge of digital fabrication and computational design.
It’s learning objectives are for program participants to:
Gain experience in large-scale 3D printing
Develop skills in digital fabrication, computational design, and material research
Learn to provide architectural solutions considering various aspects of construction
This is achieved through the implementation of three phases, Exploration, Prototype Design Charettes, and Prototype Construction.
Image Source: OTF Booklet
Examples of projects that have been completed include:
Digital Adobe – A 2-meter wide and 5-meter-high printed clay wall [2017-2018]
Terraperforma – A façade design of parametrically constructed modules optimized for solar radiation, wind behavior, and structural 3D printing [2016-2017]
Digital Urban Orchard – A wooden pavilion made with digital and robotic fabrication divided into a wooden structure, aquaponic system, and silicon skin designed to capture the ideal solar radiation for winter and summer.
Minibuilders – a family of small-scale construction robots that are capable of constructing objects larger than itself in order to address the limitation found in additive manufacturing that often constrains the proportions of fabricated objects to the size of the machine.
The project located in Boulogne-Billancourt in the Parisian suburbs, involves a building with eight social housing units, a caretaker’s lodge, and a shop on the ground floor, with a raw earth facade on the street side, a stone base and a wooden facade on the garden side. It is driven by a desire for restraint in design and the use of natural, bio-sourced, and local materials without ever losing sight of comfort for the occupants.
The building rises on five levels including a ground floor, four floors of housing and a green roof. It is structured around a central circulation core including an elevator and a staircase serving all levels. The search for optimization, transversality and independence of spaces guided our design.
The façade at street level is made of raw earth blocks, thus following the precepts of the “cradle to cradle” concept based on two principles: zero pollution and 100% reusability. The rammed earth used in the project comes from local sources, specifically from the excavation of the Greater Paris metro. This reduces carbon emissions from transportation and follows the circular economy principle.
Rammed earth bricks are prefabricated , differing from the traditional on-site method. This technique speeds up construction and ensures consistency and quality control, and offers flexible installation in complex urban settings. Rammed earth bricks are placed on a stone base ensures both structural integrity and environmental sustainability.
Located in the town of San Jose de Garcia in Michoacan, Mexico, Casa Nandi is a collaborative project between architect Fino Lozano and the firm Moro Taller de Arquitectura. This two-story residence is designed to blend with its natural environment while offering views of the landscape. The home employs rammed-earth construction techniques combined with concrete elements such as casting, creating a balance between traditional and modern building methods. The design aims to respect the local context while providing a functional and aesthetic living space.
Architects: Fino Lozano, Moro Taller de Arquitectura
Area: 1345 ft²
Year Built:2022
City/State: San Jose De Garcia, Michoacan
Country: Mexico
By making the most of its orientation to create a bright, intimate space, the residence also emphasizes the simplicity of its surroundings. Its natural ventilation which is derived from its forms, creates moments of release within the home that allow for contemplation of not just the environment but of self-embracing elements of harmony and tranquility for the inhabitants.
Ground Floor Plan Courtesy of Fino Lozano and Moro Taller de ArquitecturaSection Render Courtesy of Fino Lozano and Moro Taller de Arquitectura
Constructed upon pine wood beams, the building also features handcrafted mud bricks supporting a concrete slab that indeed displays the underlying natural elements for an effortlessly elegant yet raw appearance. As previously indicated, the walls that make up the house are a combination of modern concrete techniques and traditional rammed earth, providing a juxtaposition that emphasizes how timeless architectural building practices can be. This combination offers acoustic and thermal insulation in addition to structural support.
Photograph by Rafael Palacios MaciasPhotograph by Rafael Palacios Macias
Every material used in the home is on display, allowing each texture and color to contribute to a visual experience that authentically reflects the surrounding landscape. Rammed earth construction is popular in conveying the essence of Mexican architecture and Casa Nandi is a great example due to its rosy pink walls of local mud, creating a seamless connection between the home and its environment. “Casa Nandi, in that spirit, stands out yet settles in the place it belongs to” (Zohra Kahn).
Photograph by Rafael Palacios Macias
References:
Caballero, Pilar. “Nandi House / Fino Lozano + Moro Taller de Arquitectura.” ArchDaily, ArchDaily, 7 June 2024, www.archdaily.com/1017433/nandi-house-fino-lozano-plus-moro-taller-de-arquitectura?ad_medium=gallery.
Khan, Zohra. “Casa Nandi in Its Muted Rammed Earth and Concrete Form Stands out yet Settles In.” STIRworld, STIRworld.com, 15 July 2024, www.stirworld.com/see-features-casa-nandi-in-its-muted-rammed-earth-and-concrete-form-stands-out-yet-settles-in.
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”.
Will Bruder is an American architect known for his innovative use of materials and site-specific designs. Born in Milwaukee, Wisconsin, in 1946, Bruder’s background spans art, sculpture, and architecture. He studied at the University of Wisconsin-Milwaukee, earning a degree in Fine Arts, and later apprenticed under visionary architect Paolo Soleri, which significantly influenced his work in the desert Southwest.
Bruder’s work focuses on creating architecture that integrates with the natural environment, using innovative material choices and architectural forms. His approach prioritizes materials that connect the building to its surroundings, as seen in his use of adobe for the Matthews Residence.
The Matthews Residence, designed by Will Bruder, was built between 1979 and 1980 and received the 1983 Environmental Excellence Award for its innovative design. The residence is a 2,800-square-foot adobe home. The primary material of this residence is adobe brick, a traditional earth material made from sun-dried bricks, which is able to blend into the natural landscape. Adobe also offers excellent thermal properties, helping regulate temperature in the desert climate.
Inspired by the traditional Southwestern courtyard house, the design features curving adobe walls, strategically shaped to reduce exposure to the intense Arizona sun. The house spans a large double cul-de-sac lot in a suburban area of west Phoenix.
The layout creates a dynamic interplay between expansive and more intimate spaces, enhanced by the flowing geometry of its curves. The design’s sense of light, compression, and openness is carefully crafted, with a long skylight running from the entrance, introducing a play of light that highlights the contrast between rougher materials like adobe and concrete floors and the more refined details of oak and galvanized steel.
A key inspiring aspect is how Bruder masterfully combines adobe with modern materials like steel and wood, which creates a dynamic contrast between natural, traditional, and modern industrial materials. This combination enriches the architectural narrative by blending the old with the new. The combination of modern architectural design with natural, sustainable materials makes the Matthews Residence a source of inspiration for architects interested in sustainability and regionalism.
Interestingly, this is the only known Bruder house constructed from adobe, making it a rare and distinctive project. The way adobe is used in this design adds to its uniqueness, and it remains one of the most intriguing examples of Bruder’s residential work.
Taos Pueblo is an ancient, occupied multi-generational community in Northern New Mexico. “Pueblo” refers to both the physical buildings and community (stylized “pueblo”) and the native people of those communities (stylized “Pueblo”). The people are also known as Puebloans, or Pueblo peoples, and are native to the Southwestern United States (New Mexico, Arizona, Texas). They share a common culture, including food and agriculture, history, traditions, and religious practices. Aside from Taos, inhabited pueblos include San Ildefonso, Acoma, Zuni, and Hopi.
The most recognizable feature of the Taos Pueblo community are the multi-story, red clay and adobe homes and community buildings. They span both sides of the Sacred Blue Lake/Rio Pueblo de Taos (a tributary of the Rio Grande) which is also the population’s only source of water. The community has been continuously occupied for over 1000 years, likely originally built between 1000 and 1450 C.E. It is both the longest continuously inhabited community in the United States, and the largest of the pueblos.
The structures are built in terraced tiers, extending out as they descend toward the ground, and a height of five stories at maximum. “The property includes the walled village with two multi-storey adobe structures, seven kivas (underground ceremonial chambers), the ruins of a previous pueblo, four middens, a track for traditional foot-races, the ruins of the first church built in the 1600s and the present-day San Geronimo Catholic Church” UNESCO. The community sits at the base of the Taos mountains, the Sangre de Cristo range of the Rocky Mountains
Spanish explorers arrived in 1540 C.E. and originally believed the community to be one of the Seven Golden Cities of Cibola, a legend of Aztec mythology pursued by Coronado, among others. The miccaceous mineral (micca) found in the clay that is used to re-mud the homes every year shimmers in the light, seemingly like gold.
old-taos-images-historic-museum-of-taos-008 https://taospueblo.com/history/old-taos-images-historic-museum-of-taos-003 https://taospueblo.com/history/old-taos-images-historic-museum-of-taos-002 https://taospueblo.com/history/Google Earth 3D aerial of Taos Pueblo buildingsGoogle Earth aerial of Taos Pueblo land
Yemen is located on the southern coast of the Arabian Peninsula, and the city of Shibam is renowned for its densely packed mudbrick buildings. These high-rise structures were built in close proximity as a defensive measure against Bedouin raids.
Shibam’s buildings are multistory (up to 11 stories), and the city is considered one of the earliest examples of vertical urban planning. The towers range between 5 to 11 stories, made primarily of adobe bricks reinforced with wooden beams.
The city is enclosed by a protective wall, with two gates serving as entry points. The compact clusters of five- to eight-story buildings create a unique skyline, with some homes connected by elevated corridors. These corridors allow residents to move between houses quickly, providing a means to defend against attackers. The buildings feature wooden window frames set into mud-plastered walls, with many windows carved into elegant arches. While Shibam’s history dates back to the third century, most of the existing structures were built in the 16th century. Regular maintenance is required for these earthen buildings, as the walls must be replastered periodically to combat erosion from wind and rain. And the roofs and the exterior of the mud towers had sustained the most damage.
The bricks used in Shibam’s buildings gradually decrease in size on the upper floors, resulting in thinner walls as the structure rises and giving the buildings a trapezoidal shape. This design helps to reduce the load on the lower floors, enhancing the overall stability and strength of the buildings. Typically, each building is occupied by a single family, with living spaces located from the third floor upwards. The first and second floors are often designated for food storage and livestock stables, allowing families to keep cattle inside during periods when the town was under siege.
Al Sayyad, Nezar. “The Architecture of Mud: Construction and Repair Technology in the Hadhramaut Region of Yemen.” Environmental Design: Journal of the Islamic Environmental Design Research Centre, 1988.
Serageldin, Ismail. Traditional Architecture: Shibam and the Hadramut Region. London: Academy Editions, 1991.
Alhussein, Redhwan, and Tetsuya Kusuda. “Performance and Response of Historical Earth Buildings to Flood Events in Wadi Hadramaut, Yemen.” Built Heritage, vol. 5, no. 1, 2021, https://doi.org/10.1186/s43238-021-00044-8. Accessed 23 September 2024.
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 byEstudio 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 (via 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 (via 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/
Originally built during the 13th century CE, the Great Mosque of Djenne was rebuilt in 1906, and remains the largest mud brick building in the world to this day. It is located in the town of Djenne, which is situated near the Bani River in Mali. It is considered the preeminent example of Sudano-Sahelian architecture, and served as a center of Islamic knowledge for centuries before it fell into ruins. The Old Towns of Djenne were designated as a UNESCO World Heritage Site in 1988, including various other mud buildings and archaeological sites in addition to the Great Mosque. The Great Mosque has been featured on Mali’s national emblem since it was adopted in 1961.
Photo taken by Edmond Fortier in 1906.
The Great Mosque is located in the city center of Djenne, adjacent to the marketplace. It is built on a raised platform or mound of earth 3m tall, and measuring 75m by 75m. This platform protects the Great Mosque from damage when the nearby Bani River floods. Rain does damage the mosque, though usually only causing cracks that are addressed through regular maintenance. Unusually heavy rain can cause greater damage, as was the case in 2009 when the upper portion of the south tower of the east facade collapsed. The Aga Khan Trust for Culture funded repairs in 2010, and the mosque has been fully restored as of the present day.
La fete de creppisage, the annual festival when the Great Mosque is fully rendered and repaired.
The Great Mosque is maintained through an annual festival, “La fete de crepissage,” where community members participate in the rendering of the building. The mud plaster used in this annual process is mixed in large pits, and left to cure and ferment for several days before it is ready to use. Young men and boys climb the toron, the rodier palm clusters protruding from the facade of the mosque that serve as scaffolding, while the young women and girls bring water to aid in plastering. More senior masons observe the young men as they smear a new layer of mud plaster over the mosque, and later check the work to ensure that it is smooth and even. The festival begins with a race to see who can bring the first bowl of mud plaster to the mosque, and ends with the workers washing the plaster off in the remaining water.
Detail view of the exterior wall of the Great Mosque.
The Great Mosque is constructed entirely from mud, excepting the toron. Mud forms the bricks, the mortar, and the plaster with which the mosque was originally built. These bricks are made of banco, a combination of grain husks and the traditional West African brown mud that forms much of the earthen architecture of the region. The qibla, or prayer wall, of the mosque faces east, toward the central square of Djenne and toward Mecca. The qibla is roughly a meter thick and punctuated by three main towers, with small minarets at either end. The wall derives additional support from the eighteen pilasters, each ending in a conical pinnacle.
East elevation of the Great Mosque.Plan of the Great Mosque.
The prayer hall is directly behind the qibla, and takes up roughly half of the interior of the mosque. The other half is an open court which is surrounded on three sides by galleries with pointed archways, one of which is reserved for women. The roof of the prayer hall is made of more rodier palm clusters, which run crossways, and are covered in mud plaster. It is supported by interior walls.
Interior of one of the galleries of the Great Mosque.
In 2005, the Zamani Project spatially documented the Great Mosque, producing 3D scans and GIS analysis of the area. Play with the 3D model produced by the Zamani Project here. Watch an animated tour of the model here.
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]
[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
