Water shortage concerns influence design of Rain Harvest Home in Mexico
CategoriesSustainable News

Water shortage concerns influence design of Rain Harvest Home in Mexico

Robert Hutchison Architecture and Javier Sanchez Arquitectos include an extensive system for capturing and reusing stormwater for a family nature retreat in a mountainous region of Mexico.

The Rain Harvest Home, or Casa Cosecha de Lluvia, is located in the rural town of Temascaltepec, which lies about 140 kilometres west of Mexico City.

Rain harvesting house at dusk with reflection
Top: The home is located in the mountains west of Mexico City. The photo is by Jamie Navarro. Above: It is one of three independent structures. The photo is by Rafael Gamo.

The retreat was designed by Seattle’s Robert Hutchison Architecture and Mexico City-based Javier Sanchez Arquitectos (JSa), which have collaborated on projects together in the past. The retreat was designed for JSa’s founder and his family, who plan to make it their permanent residence in the future.

The property consists of three independent structures – a main house, a bathhouse and an art studio.

Rain Harvest Home in Mexico
A main house is included in the complex. Photo is by Jamie Navarro

Landscaping elements include bio-agriculture gardens, an orchard and a network of pathways.

Permaculture principles were used to “establish a holistic, integrated relationship between people and place”, the team said.

Permaculture – a portmanteau of permanent agriculture and permanent culture – is an approach to design and land management that takes cues from natural ecosystems.

Round bathhouse building at Rain Harvest Home in Mexico
The bathhouse is a round building. Photo is by Rafael Gamo

One of the main goals for the project was to be mindful of resource consumption, particularly water. In turn, all of the structures are designed to capture and reuse rainwater.

The harvesting system meets 100 per cent of the home’s water needs, according to the architects.

Standalone art studio by Robert Hutchinson Architecture and JSa
A standalone art studio also features at the site. Photo is by Laia Rius Solá

“Here, as in the surrounding region of Central Mexico, water has become an increasingly precious resource as temperatures rise and populations increase,” the team said.

The region has a robust rainy season, but rainwater harvesting is uncommon. Instead, water tends to be pumped in from faraway watersheds.

Communal area within main house of Rain Harvest Home by Robert Hutchinson Architecture and JSa
The home features various communal areas. Photo is by César Béjar

“Rain Harvest Home takes a different tack, proposing an integrated approach to designing regeneratively with water,” the team said.

Encompassing 1,200 square feet (111 square metres), the main house was envisioned as a pavilion for year-round use and features a large amount of covered outdoor space, with views of the landscape on all sides of the building.

Open-plan kitchen of Rain Harvest Home
The residence includes an open-plan kitchen. Photo is by Rafael Gamo

The home’s communal area consists of an open living room, dining area and kitchen. The private zones hold two bedrooms, a den, a small bathroom, a powder room and a storage/laundry space.

Nearby, the team placed the bathhouse, which totals 172 square feet (16 square metres). The building is designed to offer “a poetic dialogue with the experiential qualities of water”.

Central pool with four surrounding chambers at bathhouse
Circular in plan, the bathhouse has four chambers that surround a central pool. Photo is by César Béjar

Circular in plan, the bathhouse has four chambers that surround a central cold-plunge pool that is open to the sky. The chambers contain a hot bath, sauna, steam shower and washroom.

The final structure is the 206-square-foot (19-square-metre) art studio. The rectangular building has a main level and an “outdoor skyroom”.

All three buildings have wood framing and black-stained pine cladding. Concrete-slab foundations are topped with pavers made of recinto volcanic stone. Roofs are covered with vegetation.

In the main residence, slender steel columns support deep roof overhangs. Rising up from the roof are protruding light monitors sheathed with unfinished steel plates, which will develop a patina over time.

Plywood finishes within main home
Interior finishes include plywood made of Southern yellow pine. Photo is by Rafael Gamo

Interior finishes include recinto stone and plywood made of Southern yellow pine.

All three buildings have strategies in place to capture rainwater. Moreover, bioswales in the landscape help direct water to the property’s above- and below-ground reservoir system, where water is stored and purified.

Kitchen clad with stone and wood
Recinto stone was used for the flooring in some places. Photo is by Laia Rius Solá

“The on-site water treatment system is completely self-contained and primarily gravity-fed, containing five cisterns that provide potable and treated water,” the team said.

“A chemical-free, blackwater treatment system treats all wastewater on-site, returning it to the site’s water cycle as greywater for use in toilets, and to irrigate the on-site orchard,” the team added.

In addition to water conservation, the architects were also mindful of energy production. A 10-kW photovoltaic array generates electricity for all three buildings.

Overall, the home is meant to be a model for how to integrate water conservation into home design.

Timber elements at Rain Harvest Home
The home is meant to be a model for how to integrate water conservation into home design. Photo is by Laia Rius Solá

“It stands as a testament to the potential of rainwater harvesting for off-grid, self-contained water systems that eliminate reliance on municipal water sources,” the team said.

“At the same time, the element of water contributes to the overall spatial and experiential quality of the project, reconnecting people with their environment by engaging the senses.”

Other rural homes in Mexico include a house with a cruciform-shaped plan and hefty stone walls by HW Studio Arquitectos, and a brutalist-style, concrete house in a pine forest that was designed by architect Ludwig Godefroy.

The photography is by Jaime Navarro, Rafael Gamo, Laia Rius Solá and César Béjar.


Project credits:

Architects: Robert Hutchison Architecture and JSa
Project team: Robert Hutchison, Javier Sanchez, Sean Morgan, Berenice Solis
Structural engineer: Bykonen Carter Quinn
Mechanical engineer: TAF Alejandro Filloy
General contractor: Mic Mac Estructuras
Landscape architect: Helene Carlo
Wood construction and fabrication: MicMac Estructuras (Johan Guerrero)
Steel construction and fabrication: Rhometal Roberto Chavez
Water systems consultant: Miguel Nieto
Solar systems consultant: Teoatonalli (Oscar Matus)
Kitchen consultant: Piacere Charly Trujillo



Reference

How Rain Harvest Home is Changing the Conversation Around Water Conservation in Mexico
CategoriesArchitecture

How Rain Harvest Home is Changing the Conversation Around Water Conservation in Mexico

 

Rain Harvest Home – is located within Reserva el Peñón, a landscape-driven development which has achieved water self-sufficiency for a community of 80 families in 450 acres of a nature reserve, two hours from Mexico City. The Reserve framed our thinking around sustainability generally, and rainwater harvesting specifically. It pushed us to think at a larger level where the whole Reserve became the site, and the home was one piece of that. We also thought about how we could explore the larger issues of water conservation in Mexico, with this being an example of how to harvest rainwater on a small scale that could then apply to other projects. That became a driver in a powerful way. It was an idea that evolved over the course of the design process, and as the client became increasingly interested in cultivating a healthy, holistic lifestyle where they could live in harmony with the land.

Architizer chatted with Robert Hutchison from Robert Hutchison Architecture, and Javier Sanchez from JSa Arquitectura, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Robert Hutchison & Javier Sanchez: The brief was simple: the clients wanted a small cabin to enjoy the mountainous site. Valle de Bravo has a dry season and a rainy season, and the sun plays a trick every day in both of those seasons. You can enjoy the sun, but you have to be careful with it. Here, you need to have spaces that are open and covered; enclosed and covered; and outside and uncovered. You need all three qualities, so we needed to make that happen within the three structures.

At the start, the project had a simple, classic program: 2 bedrooms, a bathroom, and a kitchen. When we were on site, we started developing the idea of splitting up the program into separate buildings. It started with wanting to separate the function of bathing, which led to the idea of the bathhouse. And then the separate studio emerged from that.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

Rain Harvest Home offers a model for designing regeneratively with water. The home is 100% water autonomous and, in times of surplus, it is water positive and feeds excess water back into the community’s larger reservoir system. Not only does the design help restore the microclimate of the site, but it stands as a testament to the potential of rainwater harvesting for off-grid, self-contained water systems that eliminate reliance on municipal water sources. At the same time, the element of water contributes to the overall spatial and experiential quality of the project, reconnecting people with their environment by engaging the senses. More than any other element, conserving and improving the quality of water as a precious resource has the potential to dramatically improve the health and sustainability of built environments in Mexico, and beyond.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

What was the greatest design challenge you faced during the project, and how did you navigate it?

Integrating the rainwater system was an initial design challenge, and continues to be an everyday challenge. Now, the rain harvesting system and on-site reservoir are a learning laboratory where the clients are continually learning about how the system performs. Understanding that the water and food systems on site are part of a living process that fluctuates depending on changing natural conditions, the client continues to experiment in ways to optimize the system through seasonal calibrations and refinements. Nothing is as objective as science would make it seem because things are always changing over time depending on how much it rains, and when. The house has to live with that, and it’s a constant learning experience for us as designers. It’s about integrating design into the cycle of water and of life.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

How did the context of your project — environmental, social or cultural — influence your design?

The site is relatively flat, but sits within a mountainous environment. All around are cliffs and steep slopes, but our site rests in a small plateau vegetated with continuous, single-story-high shrubs and brush. Because of these site conditions, we wanted to make the buildings disappear within the vegetation. This is why we designed a series of three low pavilions that nestle into the landscape and are dispersed across the site. We wanted a strong connection between each building and the landscape. Often as architects, we think about how spaces are created between buildings, but this was about letting the landscape be that interstitial space. The landscape becomes the connection between the buildings, just as it delineates the spaces between them. When you move through the site, there’s an experience of the buildings constantly disappearing and reappearing. It’s a process of discovery.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

How important was sustainability as a design criteria as you worked on this project? 

Within La Reserva, each home is required to incorporate rain harvesting, with most of it coming from the individual home’s rainwater harvesting system and a small portion coming from the reserve’s reservoirs. We wanted to try and raise the bar and see if we could harvest 100% of our water from our individual site, rather than depend on external sources. This was important because there is a major water shortage in Mexico City, which is absurd because it rains a lot, but we don’t harvest that rainwater. Instead, we pump water in and out from the valley. As designers, we need to talk about those issues within our designs and experiment with new possibilities. Sometimes when you have a built example, it’s easier to understand new possibilities, particularly around rainwater harvesting.

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

© JSa Arquitectura, Robert Hutchison Architecture

Team Members

Sean Morgan, RHA; Bernice Solis, JSa

Consultants

TAF Alejandro Filloy, Bykonen Carter Quinn, Helene Carlo, MicMac Estructuras, Rhometal, Miguel Nieto, Teoatonalli

For more on Rain Harvest Home, please visit the in-depth project page on Architizer.

Rain Harvest Home Gallery

Reference

The Future of Materials: Terracotta Rain Screens and Cladding
CategoriesArchitecture

The Future of Materials: Terracotta Rain Screens and Cladding

How can architecture be a force for good in our ever-changing world? During Future Fest, we’ll pose this question to some of the world’s best architects. Launching in September, our three-week-long virtual event will be 100% free to attend. Register here!

Terracotta is a material that spans millennia. Durable as it is beautiful, terracotta has a range of inherent building properties that makes it an ideal choice for construction. In contemporary architecture and design, terracotta is specified as a way to redefine building envelopes with both rain screens and cladding. With a range of colors, textures, and forms, this ceramic is a material used throughout history. Now we’re inviting experts in materials, architecture, and interiors to discuss the Future of Materials for an entire week this September. The virtual event, Future Fest, will be 100% free to attend.

Register for Future Fest

Dating back to the Babylonians, terracotta continues to be a material selected for diverse building types around the world. It’s also redefining the future of how we design. By definition, architectural terracotta refers to a fired mixture of clay and water that can be used in non-structural and structural capacities on the exterior or interior of a building. Each of the following projects reinterprets terracotta and its application in diverse building types.


Pope John Paul II Hall

By Randić and Associates, Rijeka, Croati

Sited in one of the most important pilgrimage sites in Croatia, this Great Hall was designed alongside the Pope’s visit to Rijeka. Housing cultural activities of the monastery, the project also creates a new major entrance for the pilgrims and a large public walk. A pixel-ized terracotta volume was designed to filter light inside the structure while a columned portico forms a new public square outside.

The building features a single terracotta-brick surface. By varying the gaps between the terracotta bricks, the pixelated structure brings light into the hall. Architectural terracotta is slightly different from normal bricks, they are plain or ornamental with a glazed coating and larger in size than brick. The color goes compliments existing construction at the monastery and imitates a simple hip-roofed barn.


The Wellin Museum of Art

By Machado Silvetti, Clinton, NY, United States

TerraClad façade by Boston Valley Terra Cotta

Located on the Hamilton College campus, the Wellin Museum of art was designed as part of a new arts quad. The building includes admin offices, seminar rooms, galleries, and a monumental two-story glass archive hall. Dark terracotta cladding was used along the central volume to reinforce its role programmatically and organizationally.

The TerraClad façade product made by Boston Valley was forming using an extrusion method. The enclosure combines both terracotta and precast cladding with curtain wall fenestration. The system was chosen to ensure that the thermal performance of the exterior enclosure would contribute to the building’s success and meet the College’s sustainability goals.


The Diana Center at Barnard College

By WEISS / MANFREDI, New York, NY, United States

Terracotta Frit Panel by Goldray Industries

Located at Barnard College, the Diana Center includes a gallery space, a library, classrooms, dining, and a black box theater. A slipped atria links spaces vertically and becomes connected through ascending stairs. Luminous terracotta glass panels were used throughout the building envelope. Surrounded by a campus defined by brick and terracotta, the Diana translates the static opacity of masonry into a luminous curtain wall.

The building’s color is created by a pale terracotta-colored frit on the #2 surface and the bright red painted back panel beneath. The glass panel, provided by Goldray Industries, is acid-etched on its exterior surface to give a matte texture, and the terracotta frit is on the interior surface.


Mercy Corps Global Headquarters

By Hacker, Portland, OR, United States

LONGOTON Terracotta Rainscreen Panels by Shildan

The Mercy Corps building was built to exemplify a sustainable, community-focused approach while encouraging visitors to engage with contemporary issues. Doubling the size of the historic Portland Packer-Scott Building, the landmark project combined a green roof, with resource-friendly landscaping and a glass and terracotta envelope.

Certified LEED Platinum, the project uses Shildan/Moeding LONGOTON® terracotta with extruded, double leaf, 40mm panels. The panel has increased strength from a chain of internal I-beam supports. The panels were chosen because of their flexibility in being able to be incorporated in both horizontal and vertical support systems, as well as a flexible orientation in layout.


School of Art & Design at New York State College of Ceramics

By Ikon.5 Architects, Alfred, NY, United States

Terracotta panels by Boston Valley Terra Cotta

The terracotta tube façade for this ceramics pavilion screens both rain and solar heat, while its staggered pattern was inspired by pottery racks. The Art Pavilion was created as a “ceramic vessel” holding both light and art. The design was inspired by the region’s history of manufacturing ceramics, and incorporates the unglazed, hollow tubes with an off-white pigment.

Boston Valley’s terracotta façade system recalls the interior program while defining a material and haptic boundary. South-facing galleries are protected from direct sunlight, while the pavilion dramatically engages campus on-lookers as a piece of ceramic art. It allows passerby to see inside the exhibition gallery and places student work on public display.


The Center for Asian Art at the Ringling Museum of Art

By Machado Silvetti, Sarasota, FL, United States

Terracotta panels by Boston Valley Terra Cotta

The John and Mable Ringling Museum of Art features both a permanent collection and temporary exhibition galleries on a historic sixty-six acre estate. Believed to be originally envisioned as one of the most comprehensive art museums in the world, the Museum was ahead of its time in assembling a significant collection of Asian Art. Now governed by Florida State University, the Museum establishes the Ringling Estate as one of the largest museum-university complexes in the United States.

The Asian Art Study Center is an addition and ‘gut renovation’ and to the West Wing galleries on the southwest corner of the Museum complex. The addition’s façade is composed of deep-green, glazed terra cotta tiles that address the client’s requirement of a new monumental entrance. Machado Silvetti collaborated closely with Boston Valley Terra Cotta to develop the color, form and installation technique for the panels.

How can architecture be a force for good in our ever-changing world? During Future Fest, we’ll pose this question to some of the world’s best architects. Launching in September, our three-week-long virtual event will be 100% free to attend. Register here!

Reference