www.architectural-review.com
Working from the Bogot savanna and with communities across the country, the founder of Organizmo prioritises material and cultural practices over architectural designAna Mara Gutirrez is shortlisted in the 2025 Moira Gemmill Prize for Emerging Architecture, part of the W Awards. Read the full announcementArchitectures complicity in the destruction of the planet remains underacknowledged. Moments that spark awareness are few and far between. It began when I came back toColombia with my foreign diplomas and didnt know how to lay a brick, says Ana Mara Gutirrez. She was raised in Colombia with the thought the western thought imprinted in her mind from early on that it was better to leave the country. She started studying architecture at Universidad de los Andes in Bogot before going to New York on a scholarship. She studied at Parsons School of Design, then NYU, and started working as a architect, spending her days infront of a computer on a vast office floor.A workshop in Barichara, northern Colombia, introduced Gutirrez to earthen construction. The cobblestone streets of thissmall town are lined with buildings made of tapia pisada, or rammed earth, andhave remained untouched by time. Trampling mud with bare feet and learning about the infinite world of fibres and clay proved revelatory.In 2008, she traded the skyscrapers of Manhattan for the sacred mountains of Cundinamarca and founded Organizmo outside the town of Tenjo, an hour and ahalfs drive from Bogot. The family property she inherited sits at the foot of therocky outcrop of Pea de Juaica, a site deemed sacred by the Indigenous Muisca people who lived on this land before the arrival of Spanish colonists. Her grandfather had cows and a dairy farm here, and later her father rented the land for monocultures of corn, beans, potatoes and flowers. Today, she has transformed her 30 acres into a centre for bioconstruction and regeneration.All the structures built on the site over thepast 17 years have been opportunities to experiment, learn and teach. The very first house was made with PET bottles. Filled with soil, they are stacked and bound together to form the walls; a claystraw mix plugs the spaces in between, and the bottles colourful lids become decorative speckles onthe inside. Many other materials and techniques followed: adobe, clay plasters, compressed earth blocks, straw bales, bamboo and Colombias bahareque, where alattice of interwoven sticks or reeds is plastered with mud, similarly to wattle and daub. Other structures are inspired by more remotecultures and geographies: yurts, traditionally built by nomadic populations inthe Mongolian steppes, have been adapted with more permanent foundations, while afew domes on the site were built using theearthbag construction invented by IranianAmerican architect Nader Khalili.The joyful collection of catenary arches, hairy facades and conical roofs peppered around Organizmos vast outdoor laboratory is the product of many hours of workshops, facilitated by Gutirrez and her team as well as invited teachers and external visitors. In 2017, for example, architecture students from the University of Washington travelled to Tenjo with their tutor Travis Price; together with Organizmos team, they designed and built the structure referred to as the banco de semillas, or seed bank. The group consulted members of the Indigenous Muisca community of Sesquil (the town and sacred mountains to the southeast, opposite Juaica) to better understand their tending of the land and the myths that have moulded the place. The sinuous lines of the buildings stepped benches echo the morphology of the mountainous landscape, its cavelike interior now disappearing behind a thick curtain of medicinal plants.The most expressive building on the site isalso the most recent: the 10mtall casa de pensamiento, house of thought. Designed and constructed in collaboration with bamboo specialist Jaime Pea and his Mexicobased studio Arquitectura Mixta, this toroidal structure is made of a Guadua angustifolia, a tropical species of clumping bamboo native to South America. Curved lattice walls rise from the ground, forming abulging shell that is thatched midheight. Inside, a thin layer of soil, or raked sand patterns, depending on the occasion, cover the 200m2 of space used for gatherings, rituals and celebrations.All the structures built on the site over thepast 17 years have been opportunities to experiment, learn and teachEducational programmes are a crucial component of Organizmos model; they provide an enthusiastic workforce and contribute to the practices funding. At thebeginning of 2025, Organizmo launched, together with the ceramicist Mara Cano, who set up the studio Salvaje, a new and more structured course about clay, with 14 days of workshops spread between March and September. The lines blur between different scales, from artefacts to sculptures to buildings to landscape. Just like earth is achallenging, living material which requires constant upkeep, Gutirrez refers to the centre in Tenjo as a living school.Materials that lend themselves to building more ephemeral structures or require significant maintenance help change attitudes towards the built environment. Buildings are no longer hardwearing and static objects that resist the passage of time;instead, built matter is in constant transformation and needs to be looked after,with humans performing acts of maintenance and repair. Gutirrez adds thatthese more vulnerable materials reconnect us with the landscapes they comefrom, placing humans within a muchwider ecosystem and reminding usthat our livesare also ephemeral.Travelling to rural communities after her time in Barichara, Gutirrez observed that they dont build the house without planting the garden. Architecture stops being just about buildings and starts encompassing the crops we grow, the foods we eat, thespaces where we cook. This holistic perspective infuses everything she does, andthe huerta, the kitchen garden, is one ofthe most important classrooms of the centre. With more than 120 different types and species of plants, the compact plot abides by the principles of permaculture, provides ingredients and foods on a daily basis, and hosts workshops on agroecology, fermentation and composting.A few decades ago, when cattle used tograze in these fields, the grasses and eucalyptus they fed on was imported from Australia (the latter reduces methane emissions). An ecological abomination. Native species have been gradually reintroduced on the grounds; during myvisit, naturalist and environmental consultant Mateo Hernandez Schmidt, who works regularly with Organizmo, pointed to the first seeds dropped by a Camargo tree that was planted here three years ago.The boundaries that Gutirrez ispushing are institutional, disciplinary and politicalRegeneration of the landscape goes beyond planting trees, explains Gutirrez. She sees crafts from textiles to ironworks to architecture as cultural expressions that are tied to a territory and speak of millennial relations between raw materials and ecosystems. With more than 67,000 species of plants and animals, Colombia is home to one in 10 of the planets species. Learning experiences extend outside Tenjo to remote parts of the country, where jungles and rivers become new classrooms.With the support of a grant from the re:arc institute, Organizmo is currently working on a longterm project with the community of La Urbana, home to the Indigenous Piaroa people, in the Selva de Matavn from Bogot, the journey involves a short flight to Inrida, a town in the Colombian Amazon close to the border with Venezuela, followed by a fivehour boat ride. The Piaroa use palm to weave artefacts and as building material, but the skills are gradually getting lost. Together with the community, Organizmo has identified the need for aweaving school yet the design of its classrooms are seen by Gutirrez as more of an excuse than apriority. In her eyes, the work lies in understanding where and how the palm is grown, harvested and used; identifying the site for the school; setting upa local construction team; encouraging intergenerational transmission and communication; lobbying the government; making weaving part of the curriculum.The idea of a living school brings to mind Teaching to Transgress, in which bell hooks argued that education is the practice of freedom. Since systems of domination that are already at work in society penetrate theclassroom and architecture schools certain narratives control the curriculum, enforced by institutional power, while marginalised voices are silenced. The engaged pedagogy that hooks puts forward abolishes traditional hierarchies between teacher and student in pursuit of the possibilities to collectively imagine ways tomove beyond boundaries, to transgress.The boundaries that Gutirrez is pushing are institutional, disciplinary and political. Other architects before her have repented, leaving behind a corporate life and turning to ecological materials and social, as well as humanitarian, endeavours Khalili himself, but also Yasmeen Lari or Marc Held. Astheevolution of their practices has shown, sucha move expands the role of the architect, while matters of authorship lose significance. As a designer, Gutirrez admits she learns how to let go, but she believes a bigger part of the architects responsibility is to protect a culture. Her process is one oftrial and error she readily admits that earthen domes belong in the desert and should not live here in Tenjo but her strength lies in the many positions she iswilling to adopt: listener, collaborator, learner, facilitator, coordinator, activist, educator, director, guide, mother and leader,with all their inherent overlaps andcontradictions.