#adobe-construction

#adobe-construction

Recovery from the Hermit's Peak-Calf Canyon Fire has been daunting, with residents waiting for disaster relief payments while floods contaminate drinking water downstream.

The pavilion is recognized as the first building in Mexico constructed using cross-laminated timber (CLT). This system replaces conventional concrete and steel structures with mass timber, reducing the carbon footprint of the construction process. CLT panels are composed of layered wood elements arranged in alternating directions, creating structural stability while enabling prefabrication and efficient assembly.

With their red-tile roofs and stucco walls so commonplace that they've become part of the landscape, the homes of the Spanish Colonial Revival tapped the climate, local materials and an idealized view of history to become the signature style of Southern California.

I love this house. There's no question that it's the focal point of our family, of all our traditions. It's like a museum, a museum that's always open. Artifacts, furniture, family--they're all here. And I grew up with the history around me. I lived it. I think that's why I don't feel any confusion about my role as a modern person as well as a person who's part of old tradition.

Géométral is an architectural practice defined by design strategies that are linked to the landscape, which it treats as a primary determinant of form. The studio approaches each project as a small universe that combines program, atmosphere, and spatial narratives. Rather than a single signature style, they focus on crafting moods and situations tailored to each context and user.

Designed by noted residential architect Roland E. Coate, the home was built in 1926 for Annie Wilson, daughter of pioneering Southern California businessman and politician Benjamin Wilson, for whom Mt. Wilson is named. The gently sloping 1-acre-plus property was once part of the vast holdings of George S. Patton, father of the famed U.S. general.

A compact garden suite in Toronto's Sunnybrook Park area, Copper House is designed to allow an aging homeowner to remain in place while creating a second dwelling where her adult children can return independently.

Casa La Vista is a residential project by MEDEZA CDQ and VERTEBRAL located on a cliff within the desert landscape of Baja California Sur, . Positioned among dunes and overlooking the coastline of San José and Punta Gorda, the house is oriented toward the southeast to frame the horizon where sea and sky meet. The project responds to the region's extreme climatic conditions through a spatial and tectonic strategy that prioritizes orientation, shading, and material performance.

Rather than representing a simple return to the past, this renewed interest reflects a broader reconsideration of how architecture engages with materials, local resources, and environmental conditions.

Rural construction is mostly spontaneous, giving rise to a rich diversity of built forms. Within this organic complexity, our strategy is not to assert ourselves through contrast, but to inhabit the context with quiet modesty.

A Gothic cathedral can take centuries to complete. A world exposition pavilion may stand for six months. A ritual structure in Kolkata rises and vanishes within five days. Yet each draws pilgrimage, shapes collective memory, and reorganizes urban life. If heritage has long been defined by what endures, architecture repeatedly shows that cultural authority can also belong to what gathers people.

A lightweight, 3D printed and textile roof protects the Tombs of Postumio and Tres Puertas at the Archaeological Complex of Carmona in Seville, rethinking how contemporary architecture can engage with heritage conservation. The project by Juan Carlos Gómez de Cózar and Manuel Ordóñez Martín introduces a single canopy that covers both Roman tombs while operating as an environmental machine designed to stabilize their long-term preservation.

Ba-rro: "Our starting point is always the context and what already exists." We are interested in recognizing the value of things simply because they are there, without assuming that everything must be preserved as a matter of principle. The question isn't what can be kept, but what deserves to be kept in each specific project. The decision to preserve, reveal, or remove doesn't stem from universal values or a nostalgic impulse, but from a situated interpretation: