Many towns in Norway are characterized by limited housing diversity and car-dependent residential areas. In contrast, several European cities are developing neighborhoods with dense but low-rise housing, based on participatory processes in which residents are given influence. These processes result in public zoning plans and detailed design codes defining what may be built. But can this be adapted to existing residential areas? This study explores new models for suburban and small-town densification in Norway, challenging negative perceptions of suburban densification. We critique current planning tools for failing to ensure architectural integrity and community coherence, and advocate for design-led regulatory frameworks rooted in historical urbanism and emphasizing variation, sustainability, and co-creation. Our findings show how reimagined densification can create vibrant, affordable, and environmentally sound neighborhoods that counteract sprawl and foster strong communities in both suburban and rural contexts.
El artículo presenta la rehabilitación de la masía de Can Fruitós como una intervención ejemplar en el ámbito de la arquitectura vernácula, guiada por criterios de sostenibilidad, coherencia material y continuidad con las técnicas constructivas tradicionales. La estrategia proyectual empleada se basa en el uso de materiales naturales –cerámica, cal, madera maciza y piedra seca– y en la participación activa de artesanos locales. Se incorporan soluciones constructivas tradicionales como la bóveda catalana o el entramado de barro y sistemas pasivos de climatización, complementados puntualmente con instalaciones modernas que quedan discretamente integradas en el lenguaje tradicional. El proyecto demuestra que es posible actualizar edificaciones rurales a la vez que se conserva su identidad arquitectónica y paisajística, y que las técnicas de construcción tradicional, lejos de ser una limitación técnica, constituyen un recurso de alto valor en el contexto actual.
After many years working as a commercial manager in the petrochemical industry, I decided at the age of forty to radically change direction and devote myself to timber-framed architecture—a tradition that in Belgium was nearly lost. I studied historic rural buildings, visited open-air museums, and began restoring and building with traditional techniques and natural materials such as green wood, reclaimed bricks, and lime mortar. I seek to show that these methods are not relics of the past but viable, sustainable approaches for today. I also feel a responsibility to pass on this knowledge. Through regular workshops and hands-on activities with young people, I help preserve traditional know-how and encourage future generations to value and continue these time-tested ways of building.
This article explores the role of counterprojects as didactic tools for challenging destructive modernist practices and proposing alternative visions rooted in tradition and civic identity. Drawing on the legacy of Léon Krier and Maurice Culot, it criticizes the superficiality of much contemporary “sustainable” architecture and the erosion of the public realm into “anti-space.” It situates the emergence of the growing “Architectural Uprising” within broader cultural, political, and ecological movements, emphasizing grassroots resistance and education for traditional design. Through examples in Brussels such as the Blaton Tower, the Maison du Peuple, and Place de Brouckère, it explores how adaptive reuse, classical language, and urban reconstruction may restore continuity, beauty, and permanence to the Belgian capital’s civic fabric.
Los palomares asturianos forman parte de la arquitectura tradicional y del patrimonio cultural vinculado a la vida rural. Históricamente asociados a la producción agropecuaria y a la distinción social, desempeñaron un papel relevante en la economía doméstica y en las costumbres locales, además de contribuir a configurar el paisaje. Su presencia se extiende por diversas comarcas, con ejemplos ligados a casas nobles, edificios religiosos y explotaciones agrícolas. En la actualidad, la mayoría ha perdido su función original y se encuentra en estado de abandono, aunque existen casos destacados de rehabilitación promovidos por iniciativas públicas y privadas. La implicación de propietarios, comunidades locales, especialistas y administraciones resulta imprescindible para garantizar su conservación y asegurar la transmisión de su memoria como parte esencial de la identidad cultural asturiana.
The Haus am Burggarten, built by architect and university professor Uwe Schröder in the Poppelsdorf district of Bonn, is small, housing just six compact student flats, two on each floor. Constructed on a vacant plot, the former garden of a Gründerzeit-era corner building, the house now completes the perimeter of this block. Although the site offered enough depth for only one large room per flat, Schröder has created an ingeniously designed and spatially captivating architectural structure whose small dimensions are barely noticeable. Despite the confined space, he has been able to demonstrate his theory of architecture while creating spaces that may be described as beautiful.
The khachkar, or Armenian cross-stone, has a unique cultural and artistic tradition originating in the fourth to the seventh centuries. Evolving from simple carved crosses to intricate compositions of symbolic motifs, it enjoyed a golden age spanning from the eleventh to the thirteenth centuries. Today, contemporary masters like Artak Hambardzumyan continue the tradition through both new and restoration work. Khachkar-making combines sculpture, geometry, theology, and ornamentation, following a rigorous process—from design to installation—where each piece is both a spiritual act and an artistic creation. In over 50 countries, Hambardzumyan’s works are to be seen in churches, public spaces, and cultural institutions, testifying to the khachkar’s enduring relevance as heritage and living art.
In Dandaji, Niger, the mosque and library designed by Mariam Issoufou and Yasaman Esmaili address the dual challenge of preserving vernacular heritage and providing new community amenities. The original adobe mosque, insufficient for current needs, was conserved and adapted into a library, while a new mosque accommodating 1,000 worshippers was constructed alongside it. This undertaking demonstrates how traditional knowledge and locally available resources can be combined with contemporary methods to ensure continuity of building culture. The process encouraged community involvement and enabled the transmission of building expertise across generations. Today, the mosque and library operate as a civic ensemble integrating religious, educational, and social functions, reinforcing the village’s cultural identity and social fabric.
This essay examines the contemporary use of Indiana limestone, a material employed in the United States for over two centuries for its durability and aesthetic qualities. Three recent Classical projects illustrate its versatility: the Chapel of the Holy Cross in Tampa (2018), featuring a Doric portico with monumental columns and carved reliefs; Christ Chapel in Michigan (2019), where massive limestone columns and entablatures support an unreinforced masonry dome; and Capstone Classical Academy in Fargo (2025), with an Ionic facade, inscriptions, and sculptural reliefs. In these applications, Indiana limestone serves as cladding, load-bearing masonry, or sculptural detail, demonstrating technical performance, dimensional stability, and an enduring capacity to embody Classical proportion and ornament in demanding climates.
Traditional, classical, and vernacular architectural forms often exhibit fractal qualities that enhance aesthetic appeal and engage the human eye. This study explores whether the complexity and ornamentation found in traditional designs have measurable impacts on how people unconsciously perceive and visually engage with buildings. Through analyzing 28 facades generated with artificial intelligence, we calculated the fractal dimension of each one by the box-counting method. Unconscious visual attention was then predicted using eye-tracking emulation software to determine which fractal qualities capture most attention. Our results show a significant correlation: buildings with more fractality and organized visual complexity tend to capture more pre-attentive visual attention before viewer cultural associations come into play. These findings highlight the enduring appeal of the proportional complexity, fractal scaling, ornamentation, and intricate geometries found in traditional architecture. The fractal patterns inherent in traditional buildings may contribute to human visual experience, aesthetic appreciation, and psychophysiological health.
The restoration of Al-Tahera Syriac Catholic Church in Mosul, Iraq, represents one of the most significant post-conflict heritage recovery efforts worldwide. Hit by airstrikes in 2017, after being used as a court of law during the ISIS occupation, the church was largely destroyed. As the cathedral of Mosul’s Syriac Catholic Christians, Al-Tahera has long been a testament to the city’s religious diversity and centuries of coexistence. Commissioned in 2018 by UNESCO within the “Revive the Spirit of Mosul” initiative and supported by the United Arab Emirates, the project sought not only to rebuild a monument but also to foster reconciliation and social cohesion. Built in 1859, the church stands in Mosul’s historic quarter, near three other churches and two mosques, across the Tigris from the ancient city of Nineveh.
La intervención ha consistido en la recuperación integral de una casa palacio representativa del barroco andaluz vernáculo. Está situada en la localidad de Fuentes de Andalucía, en la campiña sevillana. Construida a mediados del siglo XVIII por Alonso Ruiz Florindo –máximo exponente de una destacada saga de alarifes–, destaca por el uso singular del ladrillo cortado y tallado en fachadas y patios, que configura un lenguaje ornamental inconfundible que caracteriza la producción arquitectónica del citado alarife. En el momento de la intervención el inmueble presentaba un avanzado estado de deterioro, con signos evidentes de ruina y abandono. La actuación ha abarcado desde la consolidación estructural del edificio, la eliminación de humedades y la rehabilitación de las cubiertas, hasta su ampliación con nuevos volúmenes, la recomposición de sus espacios abiertos, la renovación completa de las infraestructuras y la incorporación de sistemas de climatización. Asimismo, se ha llevado a cabo la restauración de elementos originales, como carpinterías de puertas de taller y alfarjes del siglo XVIII, así como un exhaustivo trabajo de recuperación de la geometría ornamental original del ladrillo tallado, tanto en la fachada como en el patio.
El Mazo de Mazonovo, en Santa Eulalia de Oscos, es una fragua hidráulica del siglo XVIII que continúa activa como taller de forja. En este lugar aplico las mismas técnicas de trabajo del hierro que los herreros locales han empleado durante generaciones. El conjunto demuestra la precisión y la eficacia del sistema hidráulico tradicional aplicado a la forja y refleja el alto nivel de perfección técnica alcanzado por las ferrerías asturianas. Su actividad mantiene operativo un conjunto completo –presa, canal, rueda, mazo y fragua–, conserva el conocimiento técnico necesario para su funcionamiento y asegura la continuidad de una tecnología que durante siglos fue fundamental en el desarrollo metalúrgico de Asturias.
La Casa de la Pimienta Roja es un proyecto que explora la relación entre arquitectura y naturaleza, con un makuti –cubierta tradicional de hojas de palma– como elemento constructivo que articula el conjunto. Ubicada en Lamu, Kenia, la vivienda respeta el entorno al conservar los árboles existentes y ocupar únicamente los claros del bosque. Su diseño bioclimático optimiza la ventilación cruzada y la sombra, con el fin de garantizar el confort térmico sin necesidad de climatización artificial. En su construcción se emplearon materiales locales como piedra de coral, cal y madera de manglar, junto con mano de obra artesanal, y se ejecutó mediante técnicas tradicionales que minimizan la huella de carbono al prescindir de maquinaria. Más que una casa, se trata de una propuesta de vida en armonía con la naturaleza y la cultura suajili.
La barraca de cubierta vegetal, símbolo e icono de la tradición arquitectónica de la huerta y los humedales del Levante español, forma parte de una amplia familia de edificios vernáculos de cubierta vegetal que en otro tiempo poblaban la península ibérica y que hoy se hallan en vías de desaparición. La restauración de esta barraca en la Albufera de Valencia se ha planteado como proyecto piloto para la recuperación de este tipo de construcciones, con el objetivo de demostrar que es posible adaptarlas a las exigencias contemporáneas –incluido el cumplimiento de la normativa vigente de protección contra incendios– y garantizar incluso un uso público. Además, esta restauración ha recurrido al empleo de materiales y técnicas tradicionales de kilómetro cero, con el objetivo de garantizar la compatibilidad de los materiales, favorecer la descarbonización mediante el uso de recursos locales, contribuir a la fijación de la población a través de la economía territorial y recuperar los oficios tradicionales de la construcción.
With the rise of sustainable building and the growing desire to “build green” comes a need to understand the centuries-old practice of building with earth. For generations, earthen buildings have been integral to communities around the world, and it is these building practices that show the way for the innovative sustainable technologies we use today. During my travels in Egypt, while studying mud-brick Nubian homes in Gharb Aswan I encountered a unique way of combining ecological building with systems of care and resilience rooted in tradition and generations of craft. As building with earth is becoming popular within the discipline of architecture, can we learn to better understand and integrate care into our built environment in ways that are efficient, resourceful, and ecological?
Vanderbilt University’s West End residential colleges, in Nashville, Tennessee, were designed to enhance campus life through a blend of traditional Collegiate Gothic architecture and modern amenities. They include E. Bronson Ingram College, Nicholas S. Zeppos College, Rothschild College, and the newly opened Carmichael College. Together, they create a cohesive, distinctive community environment, housing over 1,300 students within some 76,350 square meters. In each building, thoughtful account is taken of Vanderbilt’s historic character and the Nashville context, with prominent towers and a harmonious architectural language that resonates with the original campus. The Vanderbilt West End residential colleges enrich the student experience with a range of programmatic features: each one has a dining hall as a social hub, versatile event spaces for lectures and gatherings, and study rooms on each floor for individual and collaborative work. Rothschild College’s 100-seat studio theater serves as a creative venue for student performances, while faculty apartments and offices in each college facilitate student-faculty interactions, creating a dynamic, community-focused environment blending tradition into a modern campus.
Khiva, a UNESCO World Heritage city, is widely known for its monumental architecture, but beneath its iconic madrasahs and minarets lies a lesser-known legacy: an intricate underground water infrastructure based on cisterns known as tegizamins. This article investigates the historical logic and material construction of Khiva’s traditional buried cistern systems, essential for drainage, rainwater harvesting, and potable water storage from the eighteenth to the twentieth centuries, together with proposed pathways for studying and reviving them. The tegizamin, in conjunction with drainage elements such as those known as gulbidav and adan, exemplifies how Khivan builders developed climate-adaptive and circular water infrastructure using regionally available materials and passive engineering. The rediscovery of several cisterns during infrastructure works in recent decades has sparked renewed interest in their conservation. This in turn contributes to broader discussions on vernacular engineering, heritage-based sustainability, and the recovery of embedded environmental knowledge for contemporary urban resilience. Through archival manuscripts, historical cartography, and comparative analysis of Central Asian water systems, we reconstruct the tegizamin’s layered typology and hydraulic functions, proposing a methodological framework for stratigraphic investigation, material sampling, and non-invasive geophysical surveying to map Khiva’s buried cistern networks.
The Harsukh Complex, situated near Lahore, Pakistan was designed by the architect Kamil Khan Mumtaz on a commission from Jawad and Bina Khawaja as a family home for themselves and their four children and an arts center. Situated on the family’s agricultural estate, the complex represents a deliberate return to the region’s vernacular tradition. The design, driven by the clients’ desire for a deeper connection with the land and the region’s cultural heritage, aligns with the architect’s context-specific approach, integrating the physical, social, functional, material, historical, and spiritual dimensions. This article looks at how Mumtaz developed a design approach allowing the architecture to emerge naturally as a consequence of engaging with the site. The Harsukh Complex is his most significant departure from the modernist worldview and reflects a shift toward the pursuit of a more timeless architecture.
La casa de “techo de oreja”, propia de la región Ñuu’Davi en México, constituye una tipología cuyo sistema constructivo se ha transmitido de manera tradicional desde tiempos remotos. En la actualidad, diversos factores socioeconómicos han provocado que su uso desaparezca casi por completo. En 2024, gracias a la colaboración e interés de habitantes locales, se construyó una nueva vivienda con este sistema, lo que permitió registrar y documentar sus procedimientos constructivos. El objetivo de este trabajo es presentar la documentación obtenida mediante el método etnográfico de observación directa. El análisis se desarrolló desde un enfoque biocultural, con especial atención a los saberes constructivos tradicionales vinculados al aprovechamiento de la biodiversidad y al pensamiento filosófico asociado a las casas de “techo de oreja” del pueblo Ñuu’Davi.
