A new generation of sustainable practices is transforming the architectural landscape. What is its ‘secret’? The combination of innovation, ecological awareness, and, fundamentally, the revaluation of natural resources that have accompanied humanity since its earliest days. While this knowledge was never truly lost, the techniques associated with these materials have long remained in the background. Today, they are making a resurgence, adapting to modern challenges, and reestablishing themselves as essential, timeless elements in tomorrow’s architecture.
This re-emergence addresses both aesthetic needs and environmental imperatives. In contemporary architecture, the goal is to create livable and smart spaces, not necessarily through advanced systems but through a more conscious use of resources, aiming to minimize environmental impact. Refined by modern techniques, new proposals are emerging—such as Caneplexus, which, through its know-how, develops architectural and decorative solutions based on natural materials. This fusion of tradition and modernity facilitates the creation of efficient spaces that respect their context, achieving a balance between functionality and sustainability.
Products’s composition. Image Courtesy of Caneplexus
The collection features solutions crafted from bamboo, willow, branches, reeds, and other natural materials, along with handmade weaves and wallpapers lined with these materials sourced from their countries of origin. This diverse selection encompasses a variety of qualities and types, continually enriched with new forms and variations. All solutions undergo selective cultivation, specific harvest timing, and natural drying, supplemented by hot air when necessary. Quality control is conducted by local partners, with each product undergoing a phytopathological inspection. The company adheres to ISO standards, with 75% of its natural materials coming from FSC-certified sources. The wallpapers also meet certifications for fire retardancy and waterproofing.
Product range. Image Courtesy of CaneplexusCourtesy of Caneplexus
Across various projects and collaborations, Caneplexus processes, manufactures, and delivers diverse natural building materials and solutions. With extensive expertise in the field, the company has played a significant role in architectural and design initiatives. Notable projects include Aman Zoe, Athens Marriott, Atlantica Group, Caravia Beach, Cavo Tagoo, Domes Resorts, Elounda Hotels, Peliva Nature & Suites, Four Seasons Astir Palace, the Hellinikon project, Theros All-Suite Hotel, Hilton Hotels, Hyatt Hotels, among others.
Highlighted projects showcase leaves as versatile design elements that enhance covered spaces and outdoor environments. These natural materials exhibit slight variations in diameter and color, contributing to the uniqueness of each piece. Different varieties, such as Makuti, Cocopalm, and Alag, make each application unique. Complementing this variety, natural and peeled willow provides a distinct aesthetic and serves effectively as a light cover. This solution can be installed in regular patterns, V-shapes, or circular designs for sunshade umbrellas. Additionally, options are available in different diameters, heights, and shades, ranging from light to dark.
Courtesy of CaneplexusCourtesy of Caneplexus
One advantage of this diverse selection is the harmonious coexistence of textures and colors, creating a cohesive environment manifested through various elements and formats, from wall decoration to garden design. For example, poles can evoke serene and natural atmospheres due to their irregular shapes, which enhance the diversity of forms and sizes commonly found outdoors. By combining these poles with bamboo fabrics and handmade mats, the collection offers numerous possibilities for designing both residential and hospitality projects.
Courtesy of CaneplexusCourtesy of Caneplexus
The approaches discussed reflect a significant shift toward sustainable architectural practices, underscoring a renewed commitment to the mindful use of resources and the integration of tradition with innovation. Backed by over 25 years of experience in natural materials, construction, and interior decoration, Caneplexus offers versatile and tailored options for exterior and interior spaces.
Courtesy of CaneplexusCourtesy of Caneplexus
Distinguished by contemporary design and construction flexibility, these products promote an architectural future grounded in harmony between the natural and the built environment. This approach demonstrates how architecture can drive aesthetic transformations while making a meaningful environmental impact.
To learn more about these and other natural material solutions, visit the Caneplexus website or refer to the product catalog.
In collaboration with to.org, Counterspace, led by Sumayya Vally, has revealed its latest project, “Regenerate Kakuma,” aimed at promoting holistic well-being in one of the world’s largest refugee settlements in Kakuma, Kenya. This regenerative wellness and fitness hub blends fitness, agriculture, and cultural spaces for over 285,000 refugees. The settlement, known as one of the largest globally, primarily hosts individuals from 19 countries, including South Sudan and Somalia.
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The project is inspired by the unique cultural tapestry of Kakuma’s diverse inhabitants. The settlement, whose name comes from the Swahili word for “nowhere,” has long been a symbol of resilience and survival amidst harsh conditions. Refugee populations are often at high risk for developing mental health conditions, with post-traumatic stress disorder (PTSD) affecting up to 47% of those displaced by conflict. Regenerate Kakuma aims to mitigate these effects by providing a space that nurtures creativity, movement, and emotional healing, helping residents cope with their traumatic experiences.
Kampala Kasubi Tombs. Image Courtesy of Creative Commons
At the heart of the design is a focus on combining cultural heritage with natural materials, ensuring the project respects the community’s identity while creating functional spaces for growth and interaction. Vally’s design draws on sacred and vernacular architecture from the regions where Kakuma’s people originated, including the rock-cut churches of Lalibela in Ethiopia and the Neolithic rock paintings of Laas Geel in Somaliland. These references are woven into the structure, creating a space that feels connected to the cultural roots of its inhabitants.
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The architectural concept integrates natural elements and local materials, with the building being constructed primarily from Turkana stone, known for its thermal properties that help regulate indoor temperatures. The building’s form is a stepped stone structure, featuring thick walls that rise in a gradient, allowing for natural light, ventilation, and movement throughout the space. The design emphasizes harmony with the surrounding landscape, ensuring the center is both visually striking and practical for the environment.
Courtyards and openings punctuate the building, providing areas for reflection and interaction, while a stepped roofline creates distinct functional zones, from meditation spaces to outdoor fitness areas. These design elements are intended to foster both individual well-being and social cohesion, offering spaces for calm reflection as well as physical activity.
The Regenerate Kakuma facility will house a gym and outdoor fitness spaces, vital for supporting the athletic talent emerging from the settlement. Kakuma has produced several international athletes, including middle-distance runner Perina Nakang and Dominic Lobalu, who competed in the 2024 Paris Olympics. The fitness center will offer a fully equipped gym and outdoor sports areas, including a basketball court, to nurture future talent and promote physical health.
Courtesy of Counterspace
In addition to fitness facilities, the project emphasizes mental well-being through a meditation hall and outdoor reflection spaces. These areas are designed to promote mindfulness and emotional recovery, key to addressing the trauma many refugees experience. Open courtyards allow for community gatherings, adding a social element to the peaceful environment.
A key component of the project is sustainability. In response to environmental degradation caused by climate change, the facility will include agroforestry and market gardens. These green spaces not only provide fresh produce but also serve as a form of education, teaching residents sustainable agriculture practices that help combat flooding, soil erosion, and pest issues.
Facade of Bet Abba Libanos Rock-Hewn Church. Image Courtesy of Creative Commons
Architects and urban planners have long played a crucial role in addressing humanitarian disasters, designing spaces that not only provide immediate relief but also foster long-term resilience and community rebuilding. In other similar news, Shigeru Ban Architects, in collaboration with Voluntary Architects’ Network, recently developed an improved version of the temporary housing developed to help those affected by the recent Turkey-Syria earthquake. Similarly, following the extreme floods that affected Pakistan in 2022, architect Yasmeen Lari the Heritage Foundation of Pakistan pledged to help build one million resilient houses in the country. Finally, The Türkiye Design Council (TDC) has gathered 13 design practices, including Foster + Partners and Bjarke Ingels Group, to contribute to the revitalization of the historic province of Hatay, an area severely damaged by the 7.8 magnitude earthquake in February this year.
Marie Combette and Daniel Moreno Flores founded La Cabina de la Curiosidad in 2019, a studio focused on architecture and territory based in Quito, Ecuador. Their architectural approach is based on extensive fieldwork, with an urban and territorial perspective that prioritizes the use of available resources, water management, and recycling. They use drawing and mapping as essential tools to materialize their ideas and transform them into spaces. The name of the studio evokes a “trunk” turned into a cabin full of curiosities that invite exploration of various possibilities. This trunk is nourished by everyday experiences, derived from simple interactions with the city or the environment, which triggers a creative process continually fed by experimentation and daily discovery, unafraid of the unknown.
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The works of La Cabina de la Curiosidad reflect an architecture deeply connected with its environment and territory, maintaining absolute respect for the environment in the choice of materials, construction methods, and the functions it performs. Furthermore, their projects actively involve users, creating spaces open to multiple possibilities and ways of inhabiting.
Throughout their trajectory, Marie Combette and Daniel Moreno Flores have structured their work through a series of manifestos that define their approach. The first manifesto is ‘community’, which understands collaborative work, involving all participants – colleagues, collaborators, communities, users, builders, and clients – as an essential part of the realization of their projects. The other two key manifestos are ‘exploration and immersion in the territory’, which involves meticulous research work. Based on this testing and data collection, architecture is projected and delivered that is embodied in the ‘territory and landscape’. The latter is another fundamental axis in the studio’s practice. This approach is complemented by their manifesto on ‘recycling’, which values both urban and natural resources as well as ancestral knowledge in vernacular territories.
From this research arises the manifesto of ‘systems’, adaptable responses at various scales according to the project’s needs. They also highlight ‘poetic acts’, which manifest in the way of inhabiting and traversing spaces, and finally, ‘devices’, meaning other actors that also define architecture. All of this essentially summarizes the working methodology of La Cabina de la Curiosidad.
One of their latest projects is Chaki Wasi, a crafts center located in the community of Shalalá, in the Ecuadorian Andes. This project aims to promote sustainable and respectful economic development with its surroundings, inviting tourists and visitors to engage with the community. From a thorough understanding of the territory, its inhabitants, and their culture, to the construction process and the symbolism and functionality of the center, all the principles of La Cabina de la Curiosidad manifest. We spoke with the architects about the history and the materialization process of Chaki Wasi.
ArchDaily (Paula Pintos): Where is Chaki Wasi geographically located and what is the context of the Shalalá community?
Daniel Moreno Flores and Marie Combette (DM): With the Chaki Wasi project, we are operating in the Andes, in a mountainous and high area, surrounded by very beautiful landscapes. There are mountains exceeding 4,000 meters, in rocky paramo terrain. To reach the community of Shalalá, one ascends almost to cloud level, encountering impressive views. Then, one enters an Andean world, of cold climate, agriculture, and small-scale livestock, where there are small constructions. It is an indigenous world, where people wear their traditional clothing. In these areas, Quechua is spoken, which is very important and representative. Ancestral knowledge is also fundamental, containing numerous symbolisms: worship of the land, Pachamama, certain animals, along with ancestral rites, festivals, and celebrations. There are many beliefs and prayers dedicated to the mountains and the sun. It is a living and strong culture, imbued in this context of beautiful landscapes.
The community of Shalalá is at the foot of an impressive lagoon, which is also one of the most visited points in Ecuador. At the top of the crater is the community, which has focused on sustainable and conscious development, with respectful constructions. It is not about massive economic development, but rather something more artisanal, with a life centered on agriculture and small-scale livestock. The paved road only reaches a certain point, and then to reach the community, one must travel 7 kilometers on a dirt road, which requires extra effort. The viewpoint and the crafts center aim to attract more visitors, becoming an architecture that invites engagement. The community, which primarily lives off agriculture, has sought to complement its economy through tourism, making it important to have tools that strengthen this aspect.
AD: What was the main intention behind the development of the Chaki Wasi project?
DM: The idea of the Chaki Wasi crafts center is to complement the tourist infrastructure that the community has developed over the years. In 2012 and 2013, the El Quilotoa viewpoint was built in collaboration with the Ministry of Tourism, which has become a symbol of the place. The crafts center seeks to add value through the appreciation of ancestral techniques, turning crafts into architecture. Furthermore, the crafts center is a landmark that attracts national and international tourism, promoting and showcasing these techniques.
Chaki Wasi becomes a means of communicating culture through architecture, crafts, and people, allowing the community to share its legacy.
AD: The circular floor plan of the center is a key aspect of the project. How does this configuration contribute to the functionality of the space and its uses?
DM: The floor plan is circular from a design standpoint, which gives all the stalls the same opportunity. There are two entrances for the user to enter and cross the space to exit. This route generates equal opportunities for everyone and facilitates the visitor’s experience. The paving is designed like the chakana, an Andean cross that has the orientation of the cardinal points and symbolizes the four elements. In the center, this also gives the space a ritual and festive character. Inside, events, theatrical representations of legends, dances, and rituals can be held. This circular configuration offers a wide variety of possibilities, beyond its specific use or function. The diversity of functions makes it extremely flexible. The shape acts as a corridor that can be crossed or surrounded. It embraces you and is surprising, as from the outside it presents itself as something monumental, but inside the experience is completely different.
AD: The collective work and the way it was built encompass many of the principles you promote with your architecture. How was this process particularly in the community of Shalalá?
DM: Chaki Wasi was built collectively with the inhabitants of the community. The labor of the community was a fundamental contribution to making the project a reality. After months and months of working voluntarily, a decision of the community as part of the culture: the minga, a collective constructive work, through which this construction process also rescued the culture. In the past, if you wanted to build your house, you would call for the minga, the neighbors, and families, to help you make the adobe and the wasi. They would come to support you, and you would go to support others. Thus, one would provide the land, another the wood. Similarly, the entire construction was carried out thanks to a continuous minga of six people who took turns each week. There were also key moments of general minga in which the entire community participated.
In total, 24 families were benefiting from the Crafts Center. For example, they came when the stones were placed, and also when we installed all the trusses. When we made the knots of the connections with the rope, and at one point, when the whole house was roofed, that was when most families from the same community came. This allowed the transmission of knowledge from the elders to the youth, encompassing all ages of the community. It was incredible because the generations that are maybe 50 years old are very happy to pass on those traditions to their children or grandchildren, especially in a world that is globalizing everywhere. Thus, they feel proud to preserve their culture and be able to transmit it through a tangible element.
AD: What characteristics and materials define the construction of the Chaki Wasi center?
DM: The Chaki Wasi center has the shape of the traditional Andean storage cabin, built with stone and straw. All the materials used are those that the community regularly uses for their constructions. For the construction, young eucalyptus wood was used, which serves to cover and make the blocks and the joints. The rope is made from the penco of cactus, whose leaves are used to make cabuya and ropes. River stones and straws are also used. The only non-natural element is a small rod that links the truss with the stone, as well as a curved rod and some nails.
This article is part of the ArchDaily Topics: Designing for the Common Good. Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.
Oppenheim Architecture has unveiled the design for the College of Europe’s new campus in Tirana, Albania. This project introduces the first “purpose-built” campus for the College, following its established campuses in Bruges, Belgium, and Natolin, Poland. The College of Europe, created under the initiative of the Hague Congress, is dedicated to promoting European ideals of unity, cooperation, and integration. This expansion to Tirana aims to reflect both a continuation of this mission and an opportunity for the College to establish a presence in a historically significant city.
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The Tirana campus is designed to reflect its role as a space for academic, social, and diplomatic engagement. Unlike the previous two campuses, which are housed in historical structures, this new campus is purpose-built to meet the needs of the College and its diverse community of students, EU delegates, and local residents. Oppenheim Architecture’s design incorporates elements of the local architectural vernacular and draws inspiration from Albania’s history, including the 1991 student protests, which played a key role in the country’s transition to democracy. This context is integrated into the design to create a space that connects with the city’s cultural and historical fabric.
Courtesy of MIR, Designed by Oppenheim Architects
At the heart of the campus is a central circular “agora,” a multifunctional space designed for university lectures, diplomatic addresses, and artistic performances. The agora is topped by a concrete dome, a reference to Albania’s concrete bunkers, and features concentric seating inspired by ancient Greco-Roman theaters. This layout is intended to promote interaction and a democratic experience of space, with flexibility to accommodate various events and functions.
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Surrounding the agora are three main buildings: a gateway building for public programs, including a library, museum, and event space; a university building with classrooms, lecture halls, and a cafeteria; and a diplomatic building with offices, meeting rooms, and accommodations for visiting EU diplomats. These buildings are positioned at the edges of the site, connected by loggias that foster a sense of openness and connection. The facades of the buildings are finished in dark-red pigmented concrete, reflecting Tirana’s architectural character, and feature structural details inspired by the music sheet of “Ode to Joy,” symbolizing unity and cooperation. Additionally, the façades facing the agora are adorned with murals by local artists, integrating elements of the city’s cultural identity into the campus.
Courtesy of MIR, Designed by Oppenheim Architects
The design emphasizes social interaction both within the campus and in individual buildings. Each building is organized to lead users from more public spaces to private areas, with communal workspaces and grand staircases promoting interaction. Deep loggias wrap around the buildings, providing shaded social spaces and visual connections between different parts of the campus. Rooftop terraces serve as extensions of an adjacent sports park, offering additional areas for social and recreational activities.
The overall design is informed by a detailed study of Tirana’s architectural landscape, incorporating materials, colors, and textures that reflect the city’s unique character. The choice of dark-red pigmented concrete for the buildings and the raised terrace is a nod to Tirana’s architectural vernacular, while structural and non-structural elements also function as brise-soleils to regulate the internal environment. The central dome is designed in a sandy-colored concrete, with arches creating both visual and physical links between the interior and exterior spaces.
Courtesy of MIR, Designed by Oppenheim Architects
In other similar news, The University of Texas at Dallas (UT Dallas) has just opened the Crow Museum of Asian Art and the broken ground of a new performance hall and music building in the future campus. Additionally, designed by architectural firms Skidmore, Owings & Merrill (SOM) and Weiss/Manfredi, the New Jersey Performing Arts Center (NJPAC) has announced a three-year redevelopment of its 2-acre downtown Newark campus. Finally, Kohn Pedersen Fox (KPF) has just unveiled its 2045 Campus Vision for the University of Birmingham, a plan designed to shape the future of the institution.
Sumayya Vally, architect, curator, and founder of Counterspace architecture office, joins the jury for the 2024 Obel Award. This international architectural prize, organized by the Henrik Frode Obel Foundation, honors projects that significantly impact people and the planet. The 2024 theme, “Architecture WITH,” invites a re-examination of the architectural profession, emphasizing collaborative and co-creative processes that integrate diverse bodies of knowledge into the core of design. Vally’s perspective on redefining architectural roles aligns with the theme’s focus on non-hierarchical, co-creative approaches.
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Sumayya Vally. Image Courtesy of Counterspace
South African architect Sumayya Vally has become internationally renowned for her innovative re-imaginings of cultural spaces. As the founder and director of Counterspace, a Johannesburg-based architecture studio, she became the youngest architect to design the Serpentine Pavilion in 2020/2021. In 2021, Vally was included in Time’s list of 100 emerging leaders shaping the future, being the only architect featured that year. Recently, she was appointed as the artistic director of the first Islamic Arts Biennale in Jeddah, where she helped transform the Western Hajj Terminal into a space for redefining Islamic Arts.
In this interview, Sumayya Vally engages in a discussion with ArchDaily’s Editor in Chief, Christele Harrouk, about the theme of the Obel Award, “Architecture WITH.” The conversation builds on their previous dialogue about the intentions and impact of the First Islamic Arts Biennale, where Vally served as artistic director, emphasizing the connections between architecture and cultural expression.
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ArchDaily (Christele Harrouk): How can “Architecture work with” as opposed to for? In other terms, how can architecture be done with people, not just for them?
Sumayya Vally: I am a strong advocate for the power and the value of listening in architecture. To Listen to the land, the context, its history, and its people; in order to birth architectures that are made uniquely with place and in collaboration with its climate, conditions, skills, knowledge, and people from that place as key actors in the development of a project rather than passive participants; and rather than designing something and then figuring out how to build it retroactively.
AD: In your opinion, what are some famous examples of architecture that use the “Architectures WITH” idea?
SV: The Great Mosque of Djenné in Mali is the largest mud-brick structure in the world. It was originally built in 1907, on the site of a 13th-century mosque. Every 12 months, in April, its surface is re-mudded, to reinforce the structure in preparation for the rainy season – an event called the Crépissage. There is a collaboration with the weather, as the mudding takes place on the eve of the first rains. Through that process, its fabric shifts over time. In a sense, it can be seen as evolving into an entirely different building year on year. Its building is centered on the knowledge of the mud masons, who pass this skill down across generations.
When I worked with Yasmeen Lari in Pakistan, she described the ways she worked with women to create thousands of chulah stoves in rural Pakistan. She mentioned that the building techniques she used in working with them are akin to working in a kitchen with ingredients, quantities, and the suppleness of mud akin to dough. These other literacies have architectures waiting to happen.
AD: How can architects include knowledge from other fields to design more inclusive spaces? What other fields can and should be included in the creative process?
SV: It is important to honor bodies of knowledge that, at some point, were stopped — they weren’t allowed to continue because of colonization, apartheid, and other forces. I think that being able to learn from them, so they can evolve, is important. Because even when we look at so-called vernacular architecture, much of it appears to be frozen in time without having had opportunities to evolve. But there is so much to learn from the vernacular: Villages that may be overlooked in architectural canon often prove that they incorporate incredibly sophisticated forms of community, respond to climate and weather, and work integrally with the planet. We need new models for what African architecture is or for what new architecture is. Contemporary architecture should absorb more diverse bodies of knowledge and be more hybrid.
I hope that I am a part of the generation of architects that is thinking about who we are, how architecture can bring us together, and how it can respond to all the challenges we are facing. The architects now coming of age want to build differently, and I hope to see a multitude of ways to express different experiences and attitudes to bring new and unique imaginations into the world.
AD: How does today’s political and economic situation impact the chances for participatory architecture?
SV: Sometimes it feels dire, but in spite of that, we must remain optimistic. There is the opinion that the most sustainable thing we can do is sometimes not to build. But that understanding is because our understanding of the world is so tied to this current colonial capitalist model, that we can’t understand that an entirely different way of being is possible that listens to the seasons. That isn’t only about being zero carbon or net energy but can be generative in its making if we can create systems that are not just about negating the problems we have, but about looking at the question completely differently. So many societies past have had this attention to the earth and there are interconnections between so many indigenous bodies of knowledge all over the world.
Politically and economically, we are also in a time where the centers of architecture have shifted from the Western world to the Eastern and Southern worlds.
I hope that, instead of repeating failed models from elsewhere, these new world centers will look within, embrace ways of thinking and making that are from their unique cultures, climates, and conditions; and evolve these into entirely new worlds of architecture. This means that everything is possible – more kinds of collaboration across fields, with diverse bodies of knowledge; and in ways that honor and evolve cultural heritages that have so much to offer the world.
Islamic Arts Biennale. Image Courtesy of L.E.FT Architects
Reflecting on the past is often viewed as nostalgia or, from a more critical standpoint, as a sign of regression. However, looking back can offer valuable insights into a society that sometimes appears overly focused—if not obsessed—with the future and technology. In architecture, this reflection allows us to reconnect with our roots and appreciate the knowledge accumulated over generations. It invites us to explore how our ancestors designed durable structures adapted to their environment. Refined through centuries of observation, experimentation, and likely even errors, these systems demonstrate a profound understanding of local materials and building techniques.
Using simple yet effective tools, human skill in constructing these buildings demonstrates a remarkable ability to manipulate materials with precision and efficiency. The result is stable, functional structures that respond to the climate, landscape, and cultural and social needs of the community, while also providing aesthetic and symbolic value. By studying and valuing this constructive heritage, we preserve our history and draw lessons that can help address current and future challenges in new environments with sustainable solutions that harmonize with their context.
Despite facing historical challenges such as colonialism, collective oblivion, massive migrations, and global warming, these techniques have shown remarkable endurance. Within this scope, we will examine some of these materials and systems, each representing a unique combination of resilience and traditional knowledge. Hopefully, in 500 years, they will continue to inspire us and shape architectural concepts rooted in their ancestral heritage.
In Tiébélé, Burkina Faso, traditional construction techniques dating back to the 15th century reflect a blend of climate adaptation and local folklore. The village’s houses, known as Sukhala, are built from local materials such as earth, wood, straw, and cow dung, with thick 30 cm walls providing thermal insulation and protection. The construction process is a communal effort: men build the houses, while women apply decorative elements before the rainy season. These decorations not only protect the mud walls from erosion but also transform them into canvases adorned with fractal patterns and symbols.
The Painted Houses of Tiébélé. Image via Tumblr
Ruca Araucana: A Community-Built Structure in Southern Chile
The ruca araucana, typical of southern Chile, is a structure built using traditional techniques passed down through generations by the Mapuche community. This dwelling, constructed with local materials, is characterized by its cylindrical shape and conical roofs. The construction of a ruca is a collective effort involving all community members, who participate in an event known as Rucan. This collective process reinforces social bonds and preserves ancestral construction knowledge. The techniques employed, such as timber framing and reed cladding, demonstrate a deep understanding of the natural environment and local climatic conditions, ensuring the structure’s durability and functionality while preserving Mapuche cultural heritage.
Rucas . Image via Diario La Tercera
Mudhif: The Reed Houses of the Iraqi Marshes
Native to the Marshes of southern Iraq, Mudhifs exemplifies a rich cultural heritage and traditional craftsmanship passed down through practice, cultural activities, and oral history. Constructed by the Madan, —or Marsh Arabs—, these homes are made from natural materials such as straw, mud, and canes. The entire community contributes to their creation and maintenance, engaging in cane collection and weaving. The construction method, featuring columns and arches, allows for the swift assembly of large structures—some extending over 30 meters—in just a few days. Despite their fragile appearance, mudhifs are exceptionally durable, extending their lifetime through years.
Dorze Huts: Interwoven Bamboo Fibers from the Rift Valley
In the mountains of southern Ethiopia, the Dorze people have been perfecting bamboo weaving for centuries, a key element of their cultural heritage. This technique is used not only for building fences and baskets but also for constructing traditional huts. The process begins with splitting and flattening bamboo, which is then woven between vertical poles. As the structure is raised, bamboo rings are added and adjusted, and the construction is covered with thatch or sheaths, depending on available resources. These huts, which can reach over seven meters in height, naturally adapt to wear and tear from time and termites, requiring periodic maintenance of their tops and entrances.
Dorze Huts. Image Courtesy of Nomad Architecture
Ger: The Self-Supporting Tent of the Mongol Nomads
The Mongolian yurt, also known as a ger, is a traditional dwelling used in the steppes of Central Asia since the Middle Ages. Its circular, self-supporting design, which lacks a central pillar, reflects a sophisticated understanding of construction techniques suited to a nomadic lifestyle. The structure consists of interlocking wooden slats, called khana, covered with wool or leather, allowing it to be folded and transported. The roof features a ring that supports the beams, eliminating the need for a central pillar and making the central space available for cooking. In addition, the beams and support bands contribute to the structure’s stability, while an opening lid in the roof provides ventilation.
Mongolian Yurts. Image via Reuters
Tolek: Radial Structures of the Cameroonian Plains
The dwellings of the Musgum community, located on the northern border of Cameroon, are locally known as Tolek. Once thought to have disappeared due to foreign occupation and massive migrations, these structures feature radially arranged compressed earth domes—sometimes up to fifteen—tailored to specific family needs. They stand out for their sustainability, relying on local materials and avoiding unnecessary ornamentation. Built using traditional techniques that require no molds or formwork, these structures adapt to environments where wood and stone are scarce. The design prioritizes communal functionality, with geometric facades and textured walls that enhance drainage and air circulation.
Designed to withstand high humidity, extreme temperatures, and heavy rains, the traditional Mayan house, known locally as Xa’anil Naj, utilizes locally sourced materials like palm and wood. Its construction techniques enhance natural ventilation and wind resistance. A notable advantage of this design is the adoption of materials with low thermal mass, which efficiently blocks heat from penetrating the interior. This building tradition passed down through oral history, embodies a deep connection with nature and Mayan cosmology, inspired by a legend linking the house’s design to the divine creation of humanity and its relationship with the environment.
Harran’s Beehive Homes: Ancient Wisdom Encased in Mud
In the southern Turkish city of Harran, near the Syrian border, beehive-shaped houses are built from local materials such as adobe, brick, and stone, standing at heights of 4 to 5 meters. These structures outperform traditional tents while being built with equal speed. Their domed design shields the interior from the sun and features a low surface-to-volume ratio, minimizing heat loss during winter and providing effective insulation in summer. Side vents facilitate cross-ventilation for cold air intake, while an opening at the top of the dome functions as a chimney. Though these houses are landmarks in the region, their use as dwellings has gradually declined over the centuries due to the shift from a nomadic to a sedentary culture, and they are now primarily used as granaries.
Avoiding exoticism, embellishment, or excess, each of these ancestral construction techniques forms a substantial part of the collective knowledge of various regions, reflecting the fundamental aspects of the cultures that developed them. These techniques, with their deep community roots, reflected in collaborative construction processes, provide clear insight into how our ancestors understood their environment and how much has remained unchanged over the centuries. Ultimately, when local architecture is stripped of superficial gestures or foreign narratives, what endures are the essential human needs, social bonds, and cultural heritage.
Space exploration isn’t merely a testament to human ambition or a quest for new territories and resources. Our ventures beyond Earth’s atmosphere are driven by a deeper purpose: to understand better our place in the cosmos and to pioneer innovations that can transform life on our home planet.
While venturing beyond our planet captures the imagination, the true impact of space exploration may be felt much closer to home. Public perception often frames space exploration as a distant endeavor with limited relevance to terrestrial challenges. However, this perspective overlooks the substantial contributions of space programs to our world. By driving technological innovation, expanding our scientific knowledge, and inspiring future generations, space exploration has proven to be an invaluable catalyst for addressing global issues.
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As humanity sets its sights on colonizing other worlds, architects are at the forefront, developing innovative solutions to sustain life in the harshest environments. These groundbreaking solutions address some of Earth’s most pressing challenges, offering new approaches to sustainability, energy efficiency, and resilient design. By applying the lessons learned from space explorations, we can enhance the quality of life on Earth, making our built environment more sustainable and adaptable to changing conditions.
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Space: The Unexpected Innovation Hub
The cosmos has proven to be an unlikely catalyst for everyday advancements. Before rockets even lift off, countless hours are dedicated to developing technologies capable of thriving in the extreme conditions of space. But these same innovations, born from necessity, have found their way into our homes, hospitals, and industries. From the solar panels powering our homes to the shock absorbers for buildings, the impact of space exploration on our daily lives is undeniable.
Courtesy of Hassel Studio
A critical innovation driven by space exploration is modular design. The extreme conditions and logistical challenges of space travel necessitate structures that are adaptable, scalable, and easily transportable. Space habitats must be designed with modular components that can be quickly assembled and reconfigured to meet evolving needs. This emphasis on modularity has had a profound impact on architecture here on Earth. As spacecraft are assembled from interchangeable components for efficiency and adaptability, we can apply this concept to create flexible and sustainable housing, infrastructure, and resource management solutions. Imagine cities constructed from standardized, easily replaceable modules that can be adapted to changing needs and environmental conditions; or rapid housing solutions for disaster relief to flexibal urban developments. Modular architecture can enhance efficiency and resilience by breaking down complex systems into smaller, interchangeable, and standard components — democratizing the design process.
The Mars Case by OPEN Architecture is a prime example of how space exploration has influenced architectural design. This concept for a Martian habitat showcases a flexible and adaptable structure that can be assembled from prefabricated modules. Each module can be customized to serve different functions, such as living quarters, research laboratories, or greenhouses. At the heart of the Mars Case is a service module, measuring 2.4×2.4×2.0 meters, that accommodates the kitchen, bathroom, and mechanical service components. This module also functions as an airlock and storage space. When “opened,” it releases a second inflatable module, expanding into a spherical living space for activities such as reading, thinking, and resting. This integrated design not only conserves space but also promotes sustainability since it can be folded and stored for easy transportation. The Mars Case harnesses and recycles heat, exhaust, condensation, and other byproducts from domestic appliances. This closed-loop system feeds energy, air, and water back into the ecosystem, significantly minimizing resource consumption and waste.
Building Beyond: Lessons from Vernacular
While modular design has emerged as one of the strategies adopted in space architecture, spatial solutions have also found a valuable ally in vernacular architecture. The constraints and challenges associated with transporting and assembling structures in remote or inhospitable regions have necessitated rethinking traditional building methods. In this spirit, an exercise in simplicity and practicality has led to the revival of vernacular architecture as a strategic approach to construction.
Courtesy of AI SpaceFactory
Taking a cue from vernacular practices that understand and take full advantage of local resources, the integration of 3D printing in architecture represents a significant advancement in sustainable construction techniques. This technology, by allowing for the creation of complex geometries and the use of a wide range of materials, offers a flexible and efficient way to build structures using locally sourced materials — a concept known as In-situ Resource Utilization (ISRU). This approach minimizes dependency on Earth-supplied materials, fostering self-sufficiency in space habitats. This process is a cornerstone of sustainable space exploration, having direct implications for architecture and construction on our home planet by developing technologies to extract and process materials from local sources, we can reduce our reliance on finite resources and minimize the environmental impact of building projects. Additionally, creating building materials on-site can enable rapid construction and adaptation to changing conditions, making it particularly valuable in disaster relief and remote areas. This approach reduces waste and environmental impact, promoting a circular economy in the construction industry.
Courtesy of ICON/BIG-Bjarke Ingels Group
A groundbreaking endeavor of this technology is the Luna Habitation project by Foster + Partners, in collaboration with the European Space Agency. By proposing a 3D-printed lunar base, the architects demonstrate the potential of in-situ resource utilization (ISRU) and modular construction in extreme environments. This project showcases how modular components, fabricated using lunar regolith —the loose, fragmented material covering the Moon’s surface, composed of rock fragments, mineral grains, and glass particles — can be assembled to create habitable spaces that are both protective and adaptable to the lunar environment. The design incorporates inflatable modules for rapid deployment and expansion, as well as rigid structures for long-term habitation. Demonstrating that the convergence of vernacular architecture and 3D printing offers a promising path forward for construction by combining the best of traditional building techniques with cutting-edge technology.
Courtesy of Foster + Partners
The firm’s subsequent Mars Habitat project, backed by NASA, further solidifies its commitment to pushing the boundaries of space architecture. The Mars Habitat would consist of interconnected, pressurized modules equipped with life support systems and advanced technologies for resource management. This design envisions a settlement constructed by autonomous robots, emphasizing the role of automation in large-scale extraterrestrial constructions. Proving once again how efficiently a technology used and developed for large-scale extraterrestrial construction can facilitate building in challenging environments on Earth, improving safety and enhancing energy efficiency. The Edge building in Amsterdam, one of the most sustainable office buildings in the world, is a great example of a building that utilizes an AI system to optimize energy use, lighting, and climate control, demonstrating the potential of these technologies to transform architectural practices.
BIG, NASA, and ICON Reveal 3D-Printed Research Habitats for Mars.. Image Courtesy of ICON/BIG-Bjarke Ingels Group
But it is only through these imaginative exercises that it is possible that, closer to home, companies like ICON or HAVELAR are leading the way in 3D printed construction on Earth. Through their work in Texas, ICON has demonstrated the feasibility of building affordable and sustainable homes using large-scale 3D printers. On the other hand, HAVELAR has shown us how fast and efficient it is to build these structures and how it is possible to create spaces with remarkable architectural quality. Nevertheless, both cases have demonstrated the feasibility of building affordable and sustainable homes using large-scale 3D printers. This shows us that this technology has the potential to address housing shortages and provide disaster relief in regions affected by natural disasters by allowing for the creation of complex geometries and the use of a wide range of materials.
Courtesy of ICON
Leveraging Space Technology for Architectural Advancement
The convergence of aerospace and architectural engineering has yielded a synergistic relationship, with advancements in one domain propelling innovations in the other. Space exploration, characterized by extreme environmental conditions and resource constraints, has necessitated the development of cutting-edge materials, construction techniques, and energy systems. These technologies offer significant potential for enhancing the performance, sustainability, and resilience of terrestrial buildings, particularly in areas prone to extreme weather or natural disasters.
High-performance materials such as carbon fiber-reinforced polymer (CFRP) exemplify the transfer of technology from space to Earth. Originally engineered for aerospace applications due to its exceptional strength-to-weight ratio, durability, and corrosion resistance, CFRP has found increasing utility in the construction industry. Its high strength and low weight make it ideal for reinforcing structures without adding significant mass, reducing material consumption, and extending service life, contributing to more sustainable and resilient buildings.
Carbon fiber’s light weight and unique properties make it an exciting potential building material, say researchers at Autodesk BUILD Space.. Image Courtesy of University of Stuttgart
Similarly, the concept of self-healing concrete, inspired by biological systems and refined through space research, demonstrates the potential for autonomous material repair. By embedding microcapsules containing healing agents within the concrete matrix, researchers have developed materials capable of independently repairing cracks, thereby enhancing durability and reducing maintenance costs. The application of self-healing concrete in infrastructure can significantly extend the lifespan of structures and minimize environmental impact.
Energy efficiency, a paramount consideration in space exploration due to limited resources, has also driven advancements in terrestrial building technologies. Solar power systems and energy storage solutions, initially developed for space applications, have matured into viable and cost-effective options for generating and storing renewable energy. Closed-loop life support systems, designed to recycle water and air within confined spaces, offer valuable insights into resource management strategies. By adapting these technologies to terrestrial buildings, it is possible to create highly efficient and sustainable structures that minimize resource consumption and waste generation.
Courtesy of AI SpaceFactory
The integration of space-derived technologies into the built environment presents a unique opportunity to address pressing global challenges such as climate change, resource scarcity, and infrastructure degradation. From 3D printing and modular design to resource utilization and energy efficiency, these innovations address some of the most pressing challenges in the construction industry. By adopting these space-driven technologies and principles, we can create more sustainable, resilient, and efficient buildings that improve the quality of life for people around the world. As we continue to explore new frontiers, the lessons learned from space exploration will undoubtedly play a crucial role in shaping the future of our built environment.
Located north of Dakar, near the city’s airport, is an architectural composition of triangular volumes known as the International Trade Fair Centre, Dakar, Senegal. Also known as the Foire Internationale de Dakar or FIDAK, this structure is an iconic example of 60s modernism in West Africa. It synthesizes the complexity of simple forms within vernacular spatial patterns. Completed in 1974, it reflects the post-colonial ambition of the country and has grown as an adaptive spatial framework for major cultural events and exhibitions.
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In the 50s and 60s, at the peak of the modernism movement, newly independent African nations encouraged European architects to explore architecture that could define a new country’s national identity while drawing from its vernacular vocabulary. These buildings showcased a synthesis of modernism’s universalist approach with the expressiveness, cultural rootedness, and climatic responsiveness of vernacular architecture. In West Africa, this developed into the tropical modernism style, featuring buildings such as Unity Hall in the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi, Ghana, and Independence House, Lagos, Nigeria, among others.
Two French architects, Jean-François Lamoureux and Jean-Louis Marin, won the competition with a design based on a rhythm of triangular modules that vary in size, scale, enclosure, and pattern across the site. This design, built between 1972 and 1974, can be categorized into two sections: the exhibition center and the convention center, forming the International Trade Fair complex.
The Exhibition Center spans an impressive area of nearly 27,000 square meters. It features 13 large triangular spatial modules designed to host a variety of events and exhibitions. Among these modules, there are 2 pavilions specifically set aside for large-scale gatherings, ensuring ample space and facilities for significant events. Additionally, the Exhibition Center boasts a vast outdoor exhibition area covering 29,000 square meters, providing an expansive setting for outdoor exhibitions and activities.
Meanwhile, the Convention Center complements these facilities with several well-equipped conference rooms. These rooms are designed with flexibility and modern amenities in mind, capable of accommodating up to 2,000 participants. This makes the Convention Center an ideal venue for conferences, meetings, and other large-scale events, ensuring that all participants have a comfortable and productive experience.
While the spatial functions across the modules may vary, the user experience throughout the complex remains consistent. Walking through the series of modules provides a feeling of a coherent set of triangular programming in both elevations and functional sections. The passage spaces are raised above ground level, offering visitors a different perspective. These spaces are highlighted by attention to light, materials, and varying levels, creating a unique atmosphere. According to SUNI.CICES, a community organization offering heritage conservation to the international fair complex, “All of the original buildings use similar structural and material strategies: concrete foundations; V-shaped concrete columns; corrugated pitched fiber cement roofs supported by an I-beam structure; earth-colored local clay tiles, glazed façades set in metal frames, concrete pavers Trief, and openings filled with sections of cement fiber pipes.”
Furthermore, the interior spaces of the complex are designed with a generous height, presenting a grandiose experience and allowing for optimal flexibility. These heights and peaks of the triangles include clerestory windows or skylights, creating controlled experiences of light and color within the spaces. The adaptive nature of the exhibition spaces allows the fair center to host multiple cultural events, fairs, and exhibitions. The versatility of the pavilion spaces within a uniform module gives each exhibitor the same space, shape, and form to engage with. Additionally, the exterior facades of these modules feature cultural and decorative patterns, creating harmony between modern architecture and local vocabulary.
Since its grand opening in 1974 to host Senegal’s biennial international trade fair, FIDAK has continuously held national and international fairs, events, art shows, and trade shows. However, over time, several building modules have degraded and are now in disrepair. This is due to a lack of maintenance and inadequate funding, prompting FIDAK’s management team and the Ministry of Interior of Senegal to collaborate with other organizations such as SUNI.CICES, on historical documentation, heritage conservation, and adaptive reuse of the complex.
The International Trade Fair Centre features unique architecture that stands out not only by its exterior appearance but also by the experience provided by its succession of spaces. The design brief’s translation into a rhythm of architectural modules created a new, modern architecture anchored in the country’s identity and culture. It established a sequence of spaces that could bring Senegalese people together to engage in various events, whether as individuals, small groups, or communities, fostering the political and cultural renewal of their national identity.
This feature is part of an ArchDaily series titled AD Narratives, where we share the story behind a selected project, diving into its particularities. Every month, we explore new constructions from around the world, highlighting their story and how they came to be. We also talk to the architects, builders, and community, seeking to underline their personal experiences. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should feature a certain project, please submit your suggestions.
The concept of low-tech architecture recognizes the impact of carbon-intensive technologies and building practices and proposes an alternative: a rediscovery of practical, rational, locally adapted solutions that count on smart design strategies instead of energy-intensive devices to ensure a safe, comfortable living environment. Far from being a regressive approach, the term remains open to innovations but seeks to rebalance the industry’s reliance on mechanization. It thus favors an architecture of fewer components, minimized dependence on high-tech solutions, and a preference for low-embodied carbon materials.
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Across the world, architects are embracing this concept, recognizing its positive social, environmental, and ethical potential of it. Among them, two architects stand out for embodying these principles, though in different contexts. While continuing to be engaged with larger, more conventional projects, Shigeru Ban became internationally recognized for his humanitarian and disaster relief efforts, working with communities in crisis in the face of a scarcity of resources.
Similarly, Yasmeen Lari applies her architectural expertise to develop accessible and locally adapted solutions for communities across Pakistan. While her first interventions were also prompted by natural disasters such as the 2005 earthquake and subsequent floods in her home country, Lari works primarily with social infrastructures, probing the needs of at-risk communities and developing long-term solutions with them, often by adapting forgotten vernacular techniques.
Among the main principles of low-tech architecture is the belief that functional and practical solutions can be achieved through simple design elements. Unnecessarily complex systems and structures can be difficult to maintain, and even more difficult to adapt to changing conditions. In contrast, focusing on straightforward designs that do not require advanced technologies or specialized skills can offer more appropriate responses.
This is well-reflected in the works of Shigeru Ban, who often emphasized that a crisis does not require new shapes or experimental techniques, but an effective and easy-to-implement response. In his approach, innovation comes from the ability to find simple and functional solutions that address real-world problems effectively. Yasmeen Lari’s architecture is similarly geared towards identifying and solving problems, rather than a search for unique architectural expressions. Innovation thus derives from functional needs, rather than the architect’s desire for novelty or complexity.
Yasmeen Lari’s work represents a staple of vernacular technologies and traditional materials reimagined to better serve local communities. In one example, she notices that rural communities across Pakistan often use open-flame cooking, exposing women to burns, fires, and respiratory issues. Lari applied her design acumen to reimagine and re-popularize the Pakistani Chulah, a smokeless earthen stove that ensures much safer cooking conditions. Since 2014, over 60,000 such stoves have been built, improving the lives of over 400,000 people. The same design ethos has led Lari to suggest building structures on elevated platforms to prevent flood damage and promote passive cooling; to implement traditional courtyard designs to aid ventilation and cooling; and to integrate local materials and knowledge to create structures such as the Zero Carbon Cultural Center in Makli.
Pakistan Chulah.. Image Courtesy of Heritage Foundation of Pakistan
It took some time to relearn and to understand my own situation. My old towns that I roamed around in gave me a lot of, not only information but inspiration, to be able to see what had been happening before and maybe something that we could do now as well. – Yasmeen Lari
While this may seem like an extreme example, passive design strategies can be incorporated in both high-tech and low-tech projects, often requiring low-cost interventions informed by a good understanding of local conditions. Shigeru Ban’s structures, both permanent and temporary, often incorporate several passive design strategies. Projects such as the Nicolas G. Hayek Center in Tokyo employ strategically placed operable windows throughout its central space to allow for natural ventilation, while the Centre Pompidou-Metz in France maximizes natural light through the use of translucent materials that distribute daylight evenly in the interior spaces. In the case of temporary structures, Ban opts for lightweight yet durable construction systems as is the case of the Cardboard Cathedral in New Zealand.
Shigeru Ban gained international recognition for his creative use of unusual materials. The use of paper and cardboard as structural materials has often been called innovative, as no such materials have been previously used as structural elements in architecture. In interviews, however, Shigeru Ban often dismisses this claim. According to him, it’s not necessarily innovation that he seeks, but the appropriate material for the appropriate purpose. His designs, such as the Paper Log Houses and the Cardboard Cathedral, demonstrate how the use of simple materials can provide effective thermal insulation, structural stability, and aesthetic appeal. Ban’s approach not only addresses immediate shelter needs in disaster-stricken areas but also empowers local communities by using easily accessible resources and straightforward construction techniques.
People normally think developing something new is more high-tech, but even using raw material, humble material, the existing material around us, can be used as a structure–giving them more meaning and more function. So what I’m doing is not really inventing something new, I’m just using existing material around us as part of the building structure. – Shigeru Ban, in an interview for ArchDaily
Makli Zero Carbon Training Centre Yasmeen Lari, Heritage Foundation of Pakistan, since 2016.. Image Courtesy of Heritage Foundation of Pakistan
On a similar note, Yasmeen Lar’s projects often employ locally available materials such as mud, bamboo, lime, and thatch. This choice reduces not only the environmental footprint but also lowers the construction costs and makes the process more accessible for the local population. These materials also lend themselves well to the vernacular techniques she champions, ensuring that buildings are easy to construct, repair, and adapt, while also fostering cultural relevance and ownership.
By involving and working closely with the local community, these designs can become truly adaptable to both the needs of the people and the particular local conditions. This collaboration is made possible because of the low-tech approach, as it allows people of all skill levels to learn the techniques and actively participate in the construction process. Among the best examples of this type of involvement is Yasmeen Lari’s “Barefoot Entrepreneur Model.” In this system, local people, especially women, are trained in how to build chulahs, zero-carbon shelters, and community centers. The trained barefoot entrepreneurs then move to other villages, teaching other women to build them and charging about £2 for the service of empowering others to build and teach themselves. This creates a chain of artisans who can monetize their newly acquired skills while enriching other communities.
Community center – International Dialogues – Vernacular Approaches Yasmeen Lari with Razia Iqbal.. Image Courtesy of Heritage Foundation of Pakistan
As exemplified by architects like Yasmeen Lari and Shigeru Ban, low-tech architecture is a concept that offers a sustainable and socially responsible alternative to more carbon-intensive building practices. Far from being innovation-adverse, the techniques promoted by this concept focus on effective and practical solutions, well adapted to the local conditions and developed together with the communities it serves. The benefits thus go beyond the environmental impact, empowering people and creating a more resilient and socially responsible architectural practice.
This article is part of the ArchDaily Topics: Passive Architecture. Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.
Vernacular architecture has been gaining more and more space in theory and design practice, with its characteristics being studied and revised. An impulse related to different factors, but mainly to the context of climate change that we are experiencing, which calls for more sustainable and context-connected construction solutions.
Within this scope, much is said about the different vernacular techniques employed in architecture, whether it is the production of adobe bricks, thatched roofs, woven bamboo walls, among many others. However, while vernacular technique focuses on specific actions or skills, its meaning differs from vernacular technologies.
According to the dictionary, the definition of the word “technique” refers to a “special skill to perform something”. For example, in cooking, a chef may have a special technique for quickly chopping vegetables without getting hurt. Technique is as old as human civilization, it appears since the manufacturing of hunting instruments, or even before that, being a “know-how” that characterizes the presence of a human culture.
Technology, on the other hand, is the study and knowledge of technical, industrial, and scientific processes and methods. It refers to the use of tools, machines, and processes to solve problems or meet human needs. Using the example of a chef, technology would be the sharp knife or food processor he uses to chop vegetables. Technique, therefore, would be “how to do it” and technology “what to use”, or the application of scientific knowledge for the invention and improvement of tools and techniques.
In architecture, while vernacular technique corresponds to construction methods, limited to specific actions, vernacular technology refers to a broader constructive system, processes in constant evolution, aiming for more efficient and effective use of resources. Compared to general building technology, vernacular technology essentially involves local materials, so it does not need to be supported by intricate transportation systems, and it also values the maintenance of materials as naturally as possible, preserving their colors and textures.
Courtesy of Jumpa Zoe for Bamboo U
In the improvement of vernacular processes over time, contemporary “what to use” has been associated with digital manufacturing and robotics systems. Some examples show how productive this connection can be. In Asunción, Paraguay, the Parabrick device was created by the university laboratory FabLab CID. The brick is one of the most used raw materials in Paraguayan architecture due to its accessibility when it comes to self-construction. With this in mind, the laboratory created a device that provides support for guidelines that guide different geometric masonry compositions. Made digitally with fitted wooden pieces, it can be assembled on the construction site to facilitate manual work. A process similar to the CeramicINformation Pavilion exhibited in 2018 at the Biennial of Architecture and Urbanism in Shenzhen, China. In Mendoza, Argentina, the research laboratory in digital manufacturing Nodo 39 FabLab created a frame structure made of digitally cut wood with screens and points to facilitate the weaving and iconographic composition process of the indigenous people of the central region of the country.
In addition to these examples, it is worth mentioning that within architectural practice, there is an increasingly frequent blend of vernacular techniques and contemporary technological systems in the same project. An interesting gesture that also paves the way for innovative explorations of ancestral techniques. In the award-winning project of the Children Village in Canuanã, Brazil, pre-fabricated wooden pieces were combined with earth bricks made on-site by selected artisans. The natural variation in the tone of the earth, along with the marks of its manual manufacture, creates a cozy atmosphere, and the technique ensures mild temperatures in indoor spaces, eliminating the need for cooling devices.
However, regardless of how techniques are applied, Henry Glassie, one of the great scholars of vernacular architecture, affirms that the key to vernacular technology, above all, is human involvement in the manipulation of materials and active participation in the design, construction, and use process (even understanding that architectural creation includes high levels of specialization). As technologies evolve to the use of indirect techniques of material manipulation, to isolate segments of the creative process, the greatest loss is the experience that engagement produces and the awareness of connectivity between people.
Courtesy of Jumpa Zoe for Bamboo U
Thus, it is understood that vernacular knowledge encompasses different instances, encompassing not only material and functional sustainability, but also social sustainability. In this intricate web of advantages, understanding the role of vernacular techniques and technologies in contemporary architecture as integrated elements, but operating at different levels of complexity and scope, is essential to generate sustainable and culturally relevant projects.
This article is part of the ArchDaily Topics: Passive Architecture. Every month we explore a topic in-depth through articles, interviews, news, and architecture projects. We invite you to learn more about our ArchDaily Topics. And, as always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.
