Construire en terre crue — Briques de terre comprimée

https://youtu.be/4pJsckTHjV0

Construire en terre crue — Briques de terre comprimée

La technique avec des briques de terre comprimée (BTC) se présente sous toutes ses coutures à l'occasion du chantier de construction du Pôle culturel de Cornebarrieu en Haute-Garonne. 

La technique de fabrication de briques de terre comprimée (BTC) est issue de la rencontre entre celle de l’adobe, brique de terre crue moulée à l'état plastique, et celle du pisé, terre humide compactée par couches successives. Terre humide et peu argileuse, elle est comprimée dans un moule grâce à une presse mécanique ou automatique. 

Dans le cadre de ce chantier, le fabricant a mis en place un processus de production unique. Extraite à quelques kilomètres du lieu de production, la terre est tamisée jusqu’à obtenir une terre fine contenant une proportion équilibrée de sable, de limon et d’argile. Stabilisée à la chaux hydraulique, elle est amenée à l’état humide pour atteindre une teneur en eau d’environ 10 %, ce taux variant de 5 à 20 % selon le fabricant. La chaux va alors absorber l’eau pour coller les grains de terre et permettre ainsi la compression et la tenue du matériau sous forme de brique. Stockées sous des bâches pour maintenir le taux d’humidité de la matière, les briques fabriquées voient alors leur cohésion renforcée, la chaux continuant d’agir en milieu humide. Une phase de séchage naturel d’environ trois semaines est ensuite nécessaire avant de maçonner les briques. L’avantage de cette technique réside dans sa capacité à être industrialisée localement à partir des matières à proximité voire qui se trouvent directement dans le sol du lieu de construction. C’est d’ailleurs l’objet de l’expérimentation « Du déblai à la brique de terre crue » portée par Joly&Loiret architectes, deWulf et amàco avec la Société du Grand Paris pour transformer les déblais de chantier du Grand Paris Express en briques de terre crue pour les constructions locales. 

Plus d'infos: http://www.amaco.org/webapp/website/w... 

Le bâtiment du pôle culturel de Cornebarrieu devient une référence de construction en terre crue avec les murs porteurs en BTC construits au centre de l’édifice. Les briques de terre crue ont été maçonnées de façon à donner leur forme unique à la salle de spectacle et à l'auditorium du pôle.

En savoir plus sur le bâtiment : https://www.atelierphilippemadec.fr/a... 

Ce film fait partie d’une série intitulée « Construire en terre crue » produite par amàco et Les Films du Lierre. Des vidéos bonus détaillent les étapes du processus de fabrication. 

Licence Creative Commons : BY + NC + ND 

Co-production : amàco, les films du lierre 

Maîtrise d’ouvrage - Mairie de Cornebarrieu 

Architecture - Atelier Philippe Madec 

Entreprise de construction - Briques Technic Concept - Les Briqueteurs réunis

Exemplo_Bayalpata Hospital_Achham_Nepal

© Photos: Sharon Davis Studio

Bayalpata Hospital, Achham, Nepal

Sharon Davis Design

'The Nepalese government, NGO Possible Health and New York City-based studio Sharon Davis Design collaborated to renew a healthcare centre in rural Achham, Nepal, where, as a spokesperson for the design practice explains, ‘the doctor-patient ratio is, on average, 150 times more extreme than recommended by the World Health Organization’. 

Spanning 7.5 acres, the medical campus – which has been transformed from an overrun clinic – now has the capability to service over 100,000 patients a year from Achham and six surrounding districts. 

Bayalpata Hospital’s five buildings host all necessary facilities, and include an administrative block that houses the institution’s staff and their families.'

© Photos: Sharon Davis Studio

'Rammed earth was chosen for building due to its low cost and local availability. ‘Soil from the site was mixed with 6 % cement content to stabilize the earth for better durability and seismic resistance. Reusable, plastic lock-in-place formwork facilitated faster construction and the employment of unskilled local labour, while local stone was used for foundations, pathways and retaining walls.’ Davis says that her team sees this ‘project as a model of how rammed earth – and other vernacular materials – can be utilized to create modern architecture. Without local materials, this project may not have been possible because of its incredibly remote location – a 10-hour drive from the nearest regional airport and a three-day drive on narrow, mountainous roads from the nearest manufacturing centres around Kathmandu.’

Sharon Davis Design introduced rammed earth as a locally available material and low-tech construction method that minimized the cost-prohibitive transportation of building materials in this mountainous region. Built-in furniture, exterior doors, and louvers were fabricated from local Sal wood.

A grid-connected, 100kW photovoltaic array, installed across all south-facing roofs, generates more energy on site than the campus requires. Passive heating and cooling are also essential to the design—only the operating theatre within the surgery building is mechanically conditioned. Insulated roofs, an uncommon feature in the region, along with massive rammed earth walls, retain daytime heat gain in the winter, and in summer keep interiors cool. Breezeways, clerestory ventilation, and ceiling fans increase airflow to further mitigate summer heat. The campus includes new water supply and storage, wastewater treatment facilities, and a network of landscaped terraces and bio-swales that manage monsoon-driven erosion.

The architecture maintains a vernacular scale through setbacks and gabled roofs. Tall windows frame dramatic views and clerestory glazing provides natural daylighting throughout all clinical areas, to reduce the need for artificial lighting. Landscaped courtyards offer a sheltered environment for designated patient seating and informal family waiting areas, and all rooms provide patients with access to outdoor gardens or balconies.'

© Photos: Elizabeth Felicella

For more information on the project check here.

Exemplo_Tapial Experimental House_Bolivia

© Mechthild_Kaiser

Tapial Experimental House, San Lorenzo, Bolivia

Architects: Estudio de Arquitectura y Planificación Kaiser

Area: 121 m²

Year: 2020

Lead Architect: Mechthild Kaiser

Design Team: Mauricio Méndez

Clients: Mechthild Kaiser

Collaborators: Mauricio Méndez, Abran Rodriguez

Text description provided by the architects.

"The plot of the house is square-shaped and was cut from a cornfield. An access road separates it from the eucalyptus forest. The main dynamics of the volume is north-south, while the main windows are to the east and west.

The housing structure coincides with the supporting structure. The 36cm thick rammed earth walls constructed in a U-shape with two corners guarantee a strong and rigid structure. Each corner was boarded up in a single phase of work, without joints. For the formation of the floor plan, five of these U's were erected, leaving gaps between them, which allow spatial transition, cross ventilation and natural lighting. Four free walls of rammed earth articulate and extend this compact volume, nailing it to the ground at its extreme points and defining the intermediate zones between interior and exterior.

Running foundations and overhangs of H ° C ° and an annular beam of H ° A ° connect everything in the horizontal direction. The former elevates the earth wall above the humidity zone and the latter also serves as a lintel for windows and doors. The main nave was built to have double height and the required shape in order to support the traditional roofs."

© Mechthild_Kaiser

"The central solid body refers to traditional houses, the extensions to the exterior spaces are interpretations of the patio and gallery as distinctive of rural housing. All of this is in striking contrast to the rammed earth walls. It has a perfect geometric shape while at the same time it shows a surface full of life, caused by irregularities and surprises. The horizontal structure of the wall results from the very particular process of tamping the soil in layers of 5-8cm. The colour and texture of the surface result directly from the particular mix of coarse and fine soil and sand.

The technology of rammed earth is laborious. Preparation, formwork assembly, plumbing and aligning all the geometry takes longer than the ramming of the prepared earth itself. Between three workers one cubic meter of rammed earth can be built per day. The low cost of raw materials compensates for the high cost of labour and produces a very low ecological burden. Much discipline and precision in the working process are also compensated when executing the fine work. With the conditions in the humid rooms as an exception, neither plasters nor paints are required. A repair of the damaged parts is done with soil, the surface is treated with natural products such as casein and wax. Thus an abrasion-resistant surface is obtained."

Cite: "Tapial Experimental House / Estudio de Arquitectura y Planificación Kaiser" [Casa experimental de Tapial / Estudio de Arquitectura y Planificación Kaiser] 21 Jul 2020. ArchDaily. Accessed 27 Jun 2021. <https://www.archdaily.com/943836/tapial-experimental-house-estudio-de-arquitectura-y-planificacion-kaiser> ISSN 0719-8884

Exemplo_ Casa em Cunha_Brasil

© Federico Cairoli

Casa em Cunha, Brasil

Arquitetos: Arquipélago Arquitetos Arquitetos Luís Tavares, Marinho Velloso

Área: 140 m²

Ano: 2019

Fotografias: Federico Cairoli

Fabricantes: Mato Dentro, Soludimper

Consultoria e Execução de Taipa: Fernando Minto, Pablo de las Cuevas e Domitila

Descrição pela equipa de Projeto. 

"A casa está localizada no sertão de Cunha, interior de São Paulo, em uma região serrana conhecida tradicionalmente pela cultura em cerâmica. O partido da casa provém de sua implantação no alto do morro da paisagem, buscando as melhores vistas de todo o oblíquo terreno e da Serra, ao fundo. Para proteger a casa dos ventos frios, foi feito um corte de 1m de terra, a fim de semienterrá-la, até a altura das bancadas das áreas de serviços. 

Desse corte surgiu todo recurso construtivo para a execução das paredes da casa: a terra.

As paredes principais da casa são feitas em taipa, tecnologia antiga revisitada de forma contemporânea: foi proposto um sistema de fôrmas autêntico que evitasse perfurações com cabodás e desenvolvesse um canteiro de obras mais eficiente, de maneira que seus componentes modulados pudessem ser desmontados e remontados com facilidade.

Esta técnica construtiva nos proporcionou encontros interdisciplinares: física, química, geologia e geografia ampliaram o entendimento sobre a paisagem onde propusemos a casa.

Todas as características de dureza, inércia térmica, cor, brilho, tatilidade, são fatores decorrentes das características físicas e químicas daquele solo específico. O restante das paredes é feito com tijolos cor palha, terra queimada, por uma olaria local que retira barro rico em alumínio das regiões de várzea de um riacho."

Planta da moradia

Corte BB

© Fotos: Federico Cairoli

"A casa possui quartos voltados para norte e uma sala a noroeste buscando esquentar seus ambientes de permanência no inverno rigoroso. Há na sala uma lareira e um fogão a lenha, também feitos em taipa e, ligado à varanda, no chão, um grande espaço circular para uma fogueira, feito em tijolos.

A estrutura da cobertura é uma grelha em madeira, compondo junto com o piso dois grandes planos horizontais em madeira que se distinguem dos planos verticais em terra. Buscou-se que o fato original dessa construção em um sítio isolado, selvagem, fosse um sinal máximo da chegada presença humana na paisagem: linhas retas marcando a topografia suave."

Cofragem / Forma de taipa - Isométrica

Para mais informação ver reportagem Archdaily aqui

Exemplo_Yishan Pinnacle Flagship Store_China

© Fotos: Yu Bai

Yishan Pinnacle Flagship Store
Shenzen, China
Architects: ARCity Office
Year: 2019
Photographs: Yu Bai

Text description by the architects.

"Yepsun Quality Cultural and Creative Store is located in the Pingshan cultural community in Shenzhen, Pingshan Art Museum. The indoor area is about 400 square meters, with a floor height of 5 meters. This store displays and sells a full range of products from the local brand Yepsun Quality, as well as books, coffee and tea, and can contain cultural and social activities. The interior design of this store was completed by ARCity Office, opening in November 2019.(...)

Designers abstracts some typical elements of traditional Hakka buildings in Pingshan (such as tenon and tenon mortise, through-beams, rammed earth walls, large green brick floors, etc.). Distributed in the space, they are both abstract and figurative, rational and sensual, and enhance the unique atmosphere of the space.

(...)

In combination with the grid space of wooden beams, rammed earth walls and piercing beams are used in some areas, which are abstraction of tradition Hakka settlement construction in Pingshan. The rammed earth materials were collected from a nearby old building ruin. By reusing these materials, the essence of the local culture is preserved. The cross-beam, a common structural form in Hakka houses, was abstracted and grafted into the grid system, creating a unique sense of the traditional."

Rammed earth wall

Exemplo_Earth Wall_Bertrange_Luxembourg

Documentário_Arquitectura de Terra_Alemanha_séc. XX

https://youtu.be/5jannrVrIDM

Bundesarchiv Filmarchiv ZFB 

Hochbauten aus Lehm II

Documentário que nos apresenta a construção em terra crua na Alemanha de meados do século XX. Este faz parte de uma série de filmes de educação popular (O Espírito ao Serviço do Poder) produzidos após a segunda Guerra Mundial, na antiga RDA entre 1945 e 1961.

Exemplo_Emergency Children’s Surgery Center_Uganda

© Photos: Archivio Emergency
Emergency Children’s Surgery Center_Uganda

Place: Entebbe, Uganda
Year: 2013-in progress
Client: Emergency
Design Studio: Renzo Piano Building Workshop & TAMassociati, architects (Venice)
with EMERGENCY NGO - Building and Technical Division and Milan ingegneria

The new Uganda Pediatric Surgery Center by Renzo Piano, located south of the city of Kampala, on the north shore of Lake Victoria, Uganda, is not only a quality hospital, but a building that enriches its environment in different ways. The hospitals of the Italian NGO Emergency provide medical assistance, and also function as training centers for local doctors and nurses, who are thus not forced to leave to complete their specialties, often without returning to their countries. In this type of endowments, the recent graduates can work from the beginning in facilities whose equipment is comparable to that of the western medical centers.

In addition, the centers of this type are also architectural models for the region: rational buildings, advanced from the point of view of energy saving (has 5,000 square meters of photovoltaic panels donated by Enel Greenpower) and the use of resources and systems local constructions (compacted earth walls). The hospital is located on a wooded hill that falls towards Lake Victoria. It is protected by large horizontal decks, and divided into three parallel wings around a central pavilion with the operating rooms and the ICU. The spatial focus of the building is its central garden, with a large tree inside.

Project description by Renzo Piano

'Our vision of Africa has recently undergone a slow but steady development, from neglected continent to the new frontier of an evolving world. The challenge of this new project of Emergency NGO is to combine the practical requirements of a pediatric surgery hospital in Africa with the desire to create a model piece of architecture: rational, tangible, modern, beautiful, but firmly linked to tradition. It will be more than a mere hospital: it will be the first architectural work in Africa designed by someone who, over the past decades, has actually written the story of architecture. This project is a sign of extreme symbolic importance for the promotion of health care and culture in Uganda, and in the entire Africa.

Earth is the raw material used to build the homes of the poorest people in most parts of the world. It’s a simple, cheap building technique but one which, in Africa, is associated by most people with a past of poverty that needs to be forgotten. We were fascinated by the idea of giving back some dignity to this technique, using the excavated land to build the load-bearing walls with the rammed earth technique. The rammed earth technique is an ancient building method involving a mixture of earth, sand, gravel, binding agents and a little water, compressed in wooden or metal frames or moulds. The great advantage is that the material is available locally, and there’s no need for cement or highly specialised workers.

An eye on sustainability, right from the construction phase.

This building, born from the earth, will get its energy from the sun. Indeed, the roof will be made from a suspended trellis structure supporting 9,800 square metres of photovoltaic panels (equal to the surface of a football pitch). This system will ensure that the hospital has an autonomous electricity supply during the day. It will also be connected to the main line, to provide energy to the surrounding area at times when consumption is low. The photovoltaic roof, “floating” above the building, will also guarantee shade for the hospital and all the uncovered walkways.'

Rammed earth wall in progress



© Photos: Archivio Emergency

© Photo: Giorgio Grandi


Link to the project story here

Exemplo_Chilean Pavilion _2018 Venice Biennale

Rammed earth installation_Venice, Italy

The Chilean Pavilion Offers the 2018 Venice Biennale's Most Powerful Architectural Statement.

STADIUM

A BUILDING THAT RENDERS THE IMAGE OF A CITY

Chile’s National Stadium was a building and a city for one day. On the 29th of September 1979, the building was filled by 37,000 people for a massive operative which provided ownership titles to dwellers (pobladores), settling decades of makeshift land occupation and policies.

A blueprint of the Stadium with the outline of shanty towns instead of bleachers was prepared, rendering the genesis of Santiago’s current layout within the drawing of a building.

From sports venue and hosting religious events to a concentration camp, the exhibition recreates the different functions as a machine for viewing and revisits the stadium’s typology, congregating dissimilar groups and serving unlikely purposes.

This is the story told through a drawing from an event of the past, which foresaw the present of a city within a building. The exhibition narrates a double story interweaved in one drawing: that of a building (with its dissimilar uses) and that of a city (with its housing development), both converging in one event.

At the centre of Sala dell’Isoloto stands a large-scale model of a building made of rammed earth. On closer examination, the sixty pieces that comprise the building’s oval shape appear less to be made of earth as carved in it. Layers of soil with slight variations in colour and texture recall that it is land what is at stake at the Chilean Pavilion. The layering of the pavilion’s pieces is the footprint of an artisanal process of production by which a fragile, discrete material—soil, bare earth—is transformed into a stable, monolithic object. Simultaneously heavy and fragile, these objects are in turn symbolic fragments of another transmutation: one by which slum dwellers were transformed into property owners in an event at Chile’s National Stadium, and one by which a city that grew unplanned becomes visible and fixed in a plan, that of a building able to narrate its own history.

PAVILION CREDITS

CRÉDITOS PABELLÓN

Curator / Curatrice

Alejandra Celedón

Commissioner / Commissario

Cristóbal Molina (Ministry of Cultures, Arts and Heritage)

Design / Disegno

Tomás Villalón

Leonardo Quinteros

Direction of contents / Direzione dei contenuti

Alejandra Celedón

Stephannie Fell

Graphic identity / Identità grafica

Kathryn Gillmore

Audiovisual project / Progetto audiovisivo

Javier Correa

Multimedia / Multimedia

Gonzalo Puga

Arguzia S.r.l.

Stadium Model – Patricio Arias / Quipu – Jean Petitpas