Architecture News

Taller General, an architectural firm established in Quito in 2017 by Martín Real and Florencia Sobrero, has forged a distinctive path in the design world. Their work, encompassing residential structures, restoration endeavors, exhibition spaces, and communal initiatives, is unified not by a signature aesthetic, but by a profound commitment to collaborative construction. This approach sees diverse stakeholders — architects, builders, artisans, students, non-profit organizations, and local populations — actively participating throughout the project lifecycle. Each design organically evolves from the inherent characteristics and resources of its site, reflecting a deep respect for existing conditions.

Taller General's Collaborative Design Philosophy Emerges from Post-Earthquake Reconstruction Efforts

The genesis of Taller General's collaborative methodology lies in the founders' firsthand experience with construction. Before the formal establishment of their studio, Real and Sobrero actively engaged with Actuemos Ecuador, a grassroots initiative formed in the aftermath of the devastating earthquake that struck Ecuador's coastal region in 2016. This immersive experience in post-disaster rebuilding profoundly shaped their understanding of architectural practice. They learned to intricately link design decisions to the tangible realities of available materials, budgetary constraints, local labor resources, and indigenous knowledge. This foundational engagement with the practicalities of building cemented a construction-centric philosophy that continues to define Taller General's work. The firm's projects consistently demonstrate an adaptive and community-driven spirit, fostering a sense of collective ownership and ensuring that built environments are not merely structures, but extensions of the communities they serve.

Taller General's journey highlights the transformative power of architecture when it embraces inclusivity and context. Their dedication to a collaborative and resource-conscious design process serves as an inspiring model for the industry, demonstrating how architectural interventions can be both innovative and deeply rooted in social and environmental responsibility.

In an era where digital technologies are increasingly influencing material expression and form in architecture, earth-based 3D printing is emerging as a transformative force, bridging age-old building traditions with cutting-edge digital computation. This innovative approach redefines the role of architects, shifting it from conventional material specification to the intricate coding of bespoke craftsmanship, allowing for the direct integration of detailed surface motifs, relief, and texture into structures made from raw earth. By manipulating the speed, angle, and trajectory of the extruder nozzle, designers are unlocking new possibilities for aesthetic and structural integration, proving that ornamentation and structural integrity can be achieved simultaneously through a single, continuous extrusion process.

A significant milestone in this domain was the 2021 collaboration between Mario Cucinella Architects and WASP, an Italian 3D-printing firm, which culminated in the creation of TECLA. This groundbreaking house, constructed entirely from raw earth through 3D printing, served as a proof of concept. Five years later, the underlying technology has seen widespread adoption across various continents and architectural practices. TECLA itself, though initially a demonstration piece, showcased how robotic extrusion could transform local subsoil into expressive architectural forms. Using a unique dual-arm crane printer, the team layered 350 continuous courses of raw earth to form two interconnected parabolic domes. The design deliberately highlighted the textured layers left by the printing nozzle, celebrating the process rather than concealing it. This double-dome geometry ingeniously fulfilled multiple functions simultaneously: acting as the primary structure, the roof, and the building envelope. Its distinctive ribbed and undulating wall sections functioned as a natural thermal buffer, mimicking the efficacy of traditional thick earthen walls in regulating interior temperatures, while also imparting a rhythmic visual pattern to the building's exterior. The construction of TECLA involved 200 hours of uninterrupted printing, guided by approximately 7,000 individual machine instructions, and utilized roughly 60 cubic meters of raw material, demonstrating the efficiency and potential of this construction method.

Building on TECLA's pioneering work, other projects have further advanced the application of earth-based 3D printing. In Japan, the construction company Lib Work collaborated with Arup to complete the Lib Earth House Model B in Yamaga in 2025. This 100-square-meter home, also employing the Crane WASP system, utilized a blend of soil, lime, and plant fibers. To comply with Japan's stringent seismic regulations, the 3D-printed earth walls were integrated as interior partitions and spatial enclosures within a post-and-beam framework. The precise toolpath generated deeply ridged and undulating wall surfaces that beautifully interacted with natural light, where the physical textures created by the stacked earth layers served as both decorative relief and the final surface finish. Meanwhile, in Mexico, MANUFACTURA introduced CORNCRETL, a 3D-printable building material derived from "nejayote," a corn processing waste product, mixed with lime and Carrara marble powder. Developed during a residency at WASP's facility, this material drew inspiration from ancient pre-Hispanic Mayan lime-building techniques. The experiment yielded sinuous walls crafted using visual programming software, embodying a fusion of ancestral knowledge and modern technology to create architectural forms that honor Mexico's rich cultural heritage. These examples collectively underscore how digital fabrication is enabling a new wave of architectural expression rooted in sustainable practices and historical reverence.

Further demonstrating the versatility of earth-based 3D printing, WASP's Itaca house in Italy, situated at their Shamballa research site, represents another innovative application. This structure, spanning 164.9 square meters, features walls printed with a lime-based mixture, entirely devoid of concrete, and laid out within a square inscribed inside a circle. Each wall, standing 3.80 meters tall, took approximately 24 hours to print. The design incorporates four main walls positioned at the corners of the square, each side boasting a central opening. The walls are characterized by an elongated diamond pattern that, combined with the 3D-printed layers, creates a visually rich woven texture. The protruding diamonds at the top and bottom of the walls generate dynamic shadows, adding rhythm and depth to the surface. Similarly, the Institute for Advanced Architecture of Catalonia (IAAC) in Spain, in conjunction with WASP, developed the 3D Printed Earth Forest Campus near Barcelona. This experimental project utilized locally sourced soil and natural materials, exploring not only flat walls but also a root-like structure with openings reminiscent of a breeze block, effectively creating a three-dimensional lattice that translates texture into the wall's depth as well as its elevation.

Ultimately, the integration of 3D printing with earth materials redefines the architectural process, transforming the architect's role from selecting standardized, mass-produced components to digitally crafting custom material expressions. By skillfully manipulating the extruder nozzle to sculpt sinuous curves, deep grooves, and intricate geometric patterns from raw soil or lime, designers are demonstrating that aesthetic ornamentation, structural stability, and unique visual identity can be intrinsically linked and created simultaneously within a single, continuous extrusion. This digital-driven methodology elevates robotic fabrication into a profound expressive medium, guided by human creativity, and thus establishes a distinct new visual lexicon for architecture utilizing raw earth.