METI Handmade School by Anna Heringer

Group 02: Athiba Balasubramanian, Antonija Klepo, Bilal Mu’azzam, Tahiré Subi

Contemporary Architectural Design Theory Prof. Christian Gaenshirt A.Y. 2022/2023

METI Handmade School Anna Heringer

Group 02: Athiba Balasubramanian, Antonija Klepo, Bilal Mu’azzam, Tahiré Subi

Contemporary Architectural Design Theory Prof. Christian Gaenshirt A.Y. 2022/2023

Authors Athiba Balasubramanian athiba.balasubramanian@mail.polimi.it Antonija Klepo antonija.klepo@mail.polimi.it Bilal Mu’azzam bilal.muazzam@mail.polimi.it Tahiré Subi tahire.subi@mail.polimi.it

METI Handmade School Anna Heringer

Table of contents 1

Introduction

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Methodology | claystorming Chapter I

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Context | layout | materials | wellerbau | bamboo | fabric Chapter II

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Form follows love and the feminine approach | the Laufen manifesto Chapter III

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Conclusion

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Manifesto

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Bibliography

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INTRODUCTION The concept of the tortured artist refers to the idea that creative geniuses tend to exist in a constant state of torment. However, it’s that torment that enriches their art and proliferates their creativity. According to this ideal, being a great mind — or even “A Beautiful Mind”

The case study we propose is the METI Handmade School, a primary school for 168 students located in Dinajpur district of Bangladesh, context characterized by being a fertile alluvial land, and having the highest population density in the world (about 1000 people per square kilometre). The project was conceived by the German architect Anna Heringer in collaboration with Eike Roswag, involving in its construction local craftsmen and the extended population, making use of traditional materials, primarily mud and bamboo.

(ArchDaily, “Handmade School / Anna Heringer + Eike Roswag”)

Architecture is a discipline that exists both within the sphere of both science and art. This often makes architectural process difficult to analyse objectively.

The ideological foundations for a great architectural project can stem from the intangible; Dreams, culture, one’s passion, to the tangible; a social need or an imminent crisis. Exploring this theme is the guiding thread for this paper, where we investigate the methodology behind the design of great buildings, focusing on one that has excelled exceedingly well within the realm of sustainability.

When we think about sustainability in architecture, it is necessary to not only consider the building’s impact on the environment or its energy efficiency but also a buildings social impact and its ability to valorise and embody the local culture, as well as be a promoter of change and development over time. figure 2

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METHODOLOGY | CLAYSTORMING Chapter I

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The project was awarded the “Aga Khan Award for Architecture” in 2007 “for its simple, integrated, human approach and beauty, for its longterm respect for the environment, and for the level of collaboration achieved between architects, artisans, customers, teachers and students”.

Taking inspiration from the historical tradition of vernacular architecture, the architects have also committed to combining local expertise with new approaches and techniques for structural efficiency and integrity, improving the overall standard for rural construction. (The AKDN, “School in Rudrapur”)

thought also into her way of doing architecture, well summed up in her iconic phrase: “form follows love”.

Presently allowing her to become one of the most successful architects, awarded with countless honours (like the Obel Award 2020, the Global Award for Sustainable Architecture just to name a few), and positively impacting the well-being of the communities that welcome her buildings. (Anna Heringer, “About Anna Heringer”)

Anna Heringer introduced her Milano Triennale lecture, on September 27th, 2022, with the sentence, “Architecture is a tool to improve lives”, which is truly a synthesis of her approach to her architectural endeavours. One which is of particular interest to this paper is the METI Handmade School, which can be said to be the project that changed and confirmed the trajectory of Anna as an architect grounded in social and environmental process.

In 2002, a 19-year-old Anna Heringer and her classmates at the Kunstuniversität Linz were tasked to survey and analyse the civic and economic structure of Rudrapur. This research formed the foundation of her thesis, culminating in the initial design of the handmade school. Two years later, once graduated, Anna would begin approaching and canvasing the local organisations in Rudrapur until they accepted her design as a framework for expansion. She worked under the guidance of Berlin architect Eike Roswag, who assumed the job of construction manager.

To give some background context, Anna was born in October 1977 in Germany, and at the age of 19 she had an experience that will change her life: she spent almost a year in Bangladesh where she had the opportunity to get involved with the NGO Dipshikha who deals with sustainable development. From that moment she discovered that the best sustainable development strategy is to enhance the local resources already present and available to all. Over the years she managed to transpose this 2

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1.2 CLAYSTORMING The word claystorming comes from brainstorming, which is a problemsolving technique. It consists of using lateral thinking to come up with a solution to a problem, either individually or as part of a team. It is a collaborative and interactive design method and a tool for powering your intuition and channelling it into your design. Heringer developed this technique alongside her long time collaborator, Martin Rauch, who has been working to develop and implement techniques of building with rammed earth (Holcim Foundation, 2022).

During the claystorming process, an individual uses their hands and a set of other very simple tools to cut, shape and press the clay, in order to achieve the desired shapes and volumes.

The result is a maquette completely different from what we are used to seeing in the architecture practice.

Anna Heringer usually allows her clients and the community to interfere and be part of the experiment by contributing with their own alterations on the clay model. These modelling attempts are then transformed into colourful hand sketches of plans, sketches and elevations, and later into 2D digital drawings (Guernieri, 2019).

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1.1 METHODOLOGY Anna’s success with the handmade school is even more profound when one considers that her actual hometown of Rosenheim, Germany which is located some 7,000km away. A design process which focuses on local knowledge and skills can be especially difficult if you’re an outsider to a community. Anna recognises this however and does not mince the importance of her year spent in Rudrapur. She states that almost as important as the tangible research she conducted during her year of research was the fact that she had the opportunity to create strong links with the locals in the community in which she would eventually design this school.

The friendships and trust she built during this time is what eventually allowed her to develop the local knowledge and skills of the community in order to follow her didactic approach. (METI school, n.d.)

importance of considering both an ecological and economical point of view. Ecologically, she doesn’t design buildings that are meant to last forever, but rather explores the possibilities of them returning to their natural state at some point in the future. On an economical level, Heringer makes sure that her building can contribute to the socio-economic development of the local community. Her love for nature and her social awareness are the key ingredients of her architectural projects (ACE, 2021).

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“Local Materials + Local Energy + Global Knowledge” Heringer herself has collected information locally on three separate occasions, after which she made an in-depth study of the context surrounding the project area before she, quite literally, dug deep into her claystorming process to create the prototype of her building.

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While designing, she highlights the 4

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Between February and November 2020, Anna Heringer participated as a guest professor in the Linz University architecture postgraduate program alongside Helena Sandman and Nina Pawlicki. During which she taught the students her claystorming technique.

Below is a step-by-step guide of the methodology she followed (Rota, 2021).

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Step 1 – Close your Eyes:

Step 2 – Design your Dream:

Step 3 - Collaborate:

To begin, the students were asked to soften the clay by hand, working it into a ball. Once the clay was ready and they were somewhat familiarised with the clay, it was time to begin the first exercise, making a pot. This was done first, with open eyes, then with closed eyes and finally with a mixture of both, combining both the visual and the sensory.

Students were asked to think about their favourite childhood space. They then modelled this using simple tools and shapes, which produced forms that the entire group could relate to.

Rota observed that these models all had a common theme: Introversion and protection with a view to the remainder of the world.

In the final step, the students worked on creating a model as part of a group. The students modelled the site and landscape before working on imagining the space according to proper human proportions.

Students rotated positions around the model, picking up where others left off, allowing them to shift their prospective and understand that of their groupmates.

The end of this step was to allow “It was interesting to see the effect Shiva in. This involved allowing fellow on the mind of closing eyes while students to destroy the models of working.” others. Shiva is the Hindu God of Destruction and the Resurrector of This first step allowed the students to Worlds. This exercise allowed the reflect the inner voice which seeks to participants to learn how to let ideas criticise us while we are attempting go and to be confident that the to be creative. By letting this go, process of designing itself creates students were empowered to reclaim new and more inspiring ideas. their childlike sense of wonder and play.

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“The aim of this teaching module was to improve the connection to our inner self…

Designing is a constant decision making process and the best decisions are being taken with our gut feeling.”

After these exercises the students then developed their own, individual projects.

These exercises were developed by Anna in order to improve the connection of each student with their inner self. By allowing mistakes and working automatically through touch and sight, the usual critical filters which limit us our expelled.

- Anna Heringer (Rota, 2021)

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CONTEXT | LAYOUT | MATERIALS | WELLERBAU | BAMBOO | FABRIC Chapter II

We can see that in this tutorial, Anna endeavours to teach the students her claystorming metholdolgy through activities and guided suggestions. Her own personal process follows the same steps.

– Close your eyes – Design your dream – Collaborate She initially closes her eyes in order to concentrate on the tactile experience, balance, weight, surface and shape of the the clay. Following this she opens her eyes and beigins to make more rational corrections to the model. Finally she meditates on the kind of space she would like to design, using simple tools in order to cut and shape the clay more percisely, using the human scale.

Once she is satisfied with the results of this process, Anna then works on the model in collaboration with her team and eventually her clients (Guernieri, 2019).

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“Learning with joy is the school’s philosophy - the best for me is to see the building crowded with sprightly kids, who are really happy to go to school. It is primarily not the architecture that makes something special - it’s the people: everyone who worked on it with all efforts and potentials and all who live in it and fill the space with atmosphere.”

Anna Heringer. (Studio Anna Heringer 2022)

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Social process and community are the key drivers of this project. As we have discussed in the first chapter, the project was initially developed through an iterative process that involved the local community along with the more advanced knowledge of the industry. The construction of the building was no different.

Each technique used in the construction of this building improves upon a local technique in a manner that can be replicated by the locality.

Through analysing these techniques we can greater understand the METI Handmade School.

2.2 LAYOUT The school has 6 classrooms that serve around 170 students every year. The structure is divided into two floors, the ground floor consists of three classrooms and a cave-like structure used for private work and play. The upper floor, built entirely on bamboo, houses the remaining classrooms. A wide-open stairway divides the structure into two distinct areas in the centre. The school is the only two-story structure and the most prominent one among all the buildings in the region. Apart from the educational functions, the school is extensively used for a variety of community activities.

The difference in materiality between the upper and lower floor influence the quality of space that is created.

The ground floor is a solid, somewhat introverted space, with minimal openings. The rammed earth used for this level provides a strong sheltered

feeling. Here is where most of the traditional academic components of the school are housed. This is in contrast with the lighter, airier feel of the bamboo of the upper floor.

The light filled space focuses on experiential and creative learning.

The juxtaposition between these two opposing pillars of education is showcased both in ideology and in the built fabric.

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2.1 CONTEXT In Rudrapur, the typical building typology consists of concrete, local brick walls and pitched roofs. This can be seen in buildings that are publicly or privately owned, regardless of the class or stature of the people residing in them. In this region of northwest Bangladesh, mud structures were considered to be inferior because they were associated with destituteness.

METI Handmade School sought to challenge the existing narrative in order to show how mud buildings can be sophisticated, cost effective and morally responsible. The approach was largely based on two types of energy: manpower and the sun, resources of which Rudrapur has in abundance. This simple methodology has led to the structure becoming a prime example for all future low cost

projects in the area. (Scwartz 2017) METI school is the result of a successful amalgamation of sustainable local resources with new construction techniques using traditional construction practices.

It aspires to improve the context rather than being detrimental to the people and environment. The focus of the project was not only on the building but on the people, their livelihoods and the community. The structure was built using innovative techniques and integrative practices that were developed specifically to accommodate the design and the resources available in the region.

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2.3 MATERIALS The school is constructed primarily of earth, which is a traditional building material in Rudrapur. Heringer enlisted local unskilled labourers who were trained on site to complete the majority of the construction works (Lepik and Weller 2011). To this earth Anna Heringer added local clay, sand and straw, compressing the material to form rammed earth. In line with Anna’s primary axiom, local materials + local knowledge + local knowledge, a vast number of improvements upon the traditional building methods were improved upon during the build of the handmade school. She incorporated a brick foundation to strengthen the structure and a plastic membrane to protect the rammed earth from moisture (see figure 11.).

Heringer enlisted local unskilled labourers who were trained on site to complete the majority of the construction works (Lepik and Weller 2011). Rammed earth walls of 400 to 500 mm in thickness encase the three ground floor classrooms, complete with a system of play caves. These provide a sheltered, safe space for the students to play and read within. On the second floor, the walls thin into light lattice work made from bamboo.

Anna’s use of natural materials and colourful, local fabrics give the building a tactile, playful character.

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2.5 WELLERBAU The rammed earth walls sit on these improved foundations. They rise from the ground, anchoring the building in the very earth from which they were built. The walls are 500mm thick and they consist of layers of earth intermediately layered with straw in a technique that is known as the Wellerbau technique.

The next layer is then added on top, and the process is repeated until the wall is complete. This technique gets its name from the German synonym for the eastern Austrian term “Gesatzter Bau” (English: cob). (Roland Meingast and Hubert Feiglstorfer 2018)

The interior of the earthen walls are coated with lime and mud while The Wellerbau technique otherwise the door openings are painted with known as cob construction consists of colourful pivoting panels (Scwartz the following steps: 2017). These walls form the solid base of the building, envolping the 1) Combine wet earth (or loam) with students while also creating small straw. In this case Anna Heringer used cave-like openings which become cows and water buffalo. safe retreats for the children.

2) The resulting mixture is then laid in a 70cm deep layer and left to dry for several days.

3) The dried mixture is shaped into its final form with a sharp spade, creating a smooth finish.

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2.4 FOUNDATION The school is built on a raised platform. Kiln brick is used for the foundation to help protect the earthen walls from the moisture beneath the ground. The kiln brick is rendered with concrete to provide this waterproofing barrier. The foundations are then topped with two layers of polyethylene film that further protects the walls and floor from the rising damp.

This technique is a prime example of the use of global knowledge to help solve a local problem Rudrapur (Kazi Khaleed Ashraf 2007).

Typically, earthen buildings in the area are

plagued by moisture which eventually compromises their structural integrity.

By using local inexpensive brick and rendering them in concrete, Heringer and her team provide an inexpensive solution to this issue.

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2.5 BAMBOO

2.6 FABRIC

The juxtaposition between heavy and light elements is ubiquitous in this design. One of the tools that Heringer uses to convey this is with the play between rammed earth and bamboo. As our eyes wander up the building from the heavy earthen ground floor, we are met with the light and permeable bamboo structure that makes up the first floor and roof. The surface of the floor is comprised of three layers of joined bamboo sticks which sit under bamboo boards.

This is then filled with an earthen filling. The upper walls are framed with four layers of joined bamboo sticks and vertical and diagonal poles. Nylon lashing is then used to fixed steel pins to this junction of sticks (Paul Finch 2006).

Traditionally, earthen houses in this region are made of straw. The straw adds a layer of insulation that protects the spaces inside from solar heat while also overhanging to create shade for the windows and openings.

Straw is a is breathable material that also improves the ventilation of the area. Newer buildings in Rudrapur use steel roofs which can make the house unbearably hot if the steel is left exposed. (Erika Alatalo 2015)

Stemming from this knowledge, the METI Handmade school uses a corrugated steel roof but one that is draped in colourful sari fabrics that hang down below the ceiling. This is an innovative method of using the local garment district to solve the overheating problem while also creating an atmospheric space within. There is also a ventilated gap between the roof and the saris which creates additional ventilation through an updraft.

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In this way, the entire framework of the school and the structure of the upper floor is constructed. These walls on the upper floor are clad with operable bamboo screens. figure 18

None of these processes would have been possible without the local component of Heringers recipe.

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This recipe of using the local methods and knowledge with present day technology extends to the day-today construction process. The daily involvement and education of the community were a key part of this process. Heringer enlisted local unskilled labour who were taught through the construction process.

In this way, the entire budget of the school construction remained within the village and the surrounding areas.

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FOR FOLLOWS LOVE AND THE FEMININE APPROACH | THE LAUFEN MANIFESTO Chapter III

This chapter is focused on Anna Heringer’s theoretical approach to architecture. We have characterised her approach into two main categories. The first category speaks to Anna’s core beliefs. It describes the theoretical and moral lens which influences everything she designs. The second category is the pragmatic application of these lenses, in order to paint a complete picture of Anna Heringer’s theoretical ideology.

“Architecture is a tool to improve lives. The vision behind, and motivation for my work is to explore and use architecture as a medium to strengthen cultural and individual confidence, to support local economies and to foster the ecological balance.

Joyful living is a creative and active process, and I am deeply interested in the sustainable development of our society and our built environment.” And she continues: “For me, sustainability is a synonym for beauty: a building that is harmonious in its design, structure, technique and use of materials, as well as with the location, the environment, the user, the socio-cultural context. This, for me, is what defines its sustainable and aesthetic value.”

(Studio Anna Heringer, 2022)

3.1 FORM FOLLOWS LOVE AND THE FEMININE APPROACH “Form follows love,” is a phrase which encapsulates the spirit that guides Anna Heringer’s architecture and with which she often likes to open her speeches and presentations.

This maxim places her among the great architectural discourse, taking a position against “Form Follows Function,” a principal theorised by the architectural modern movement of the late 19th & early 20th century.

It states that the designed shape of a building should be primarily informed by its intended function or purpose.

reflect the office work that would take place within, making it more utilitarian in design. Form follows function means that the outer appearance of a building should reflect what happens on the interior. For some buildings, this means that the exterior reflects a more commercial style, while other buildings are more ornamented.​ (Robert. Wojitowicz, 2013)​

Through his famous phrase, ‘’form follows function,’’ the architect Louis Sullivan helped shape new styles of architecture that would be utilized and adapted in modern architecture.

Louis Sullivan coined the phrase during his career as an architect, which was the late 19th and early 20th centuries. It is meant to be a basis for how to design structures, a starting point. The Wainwright Building is an excellent example of form follows function. Louis Sullivan, who coined the phrase, designed this building to

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For Anna, sustainability is synonymous with beauty, which is the concretization of love into a shape and what defines the aesthetic and sustainable value of a building is that it is in harmony with its design, structure, technique, and use of materials, as well as with its location, the environment, the user and the sociocultural context.

Anna’s “Form follows love” statement, embodies the concept of feminism in her architectural approach. She is a conscious feminist who paves the way in a world where women only had the right to attend university from the beginning of the 20th Century in her home country and where architecture itself only began to accept women into its ranks a mere 100 years ago.

Nowadays Pritzker Prizes are mainly given to men, or to women who collaborated in a team with men.​ (Tournier, 2017)​

Despite this, Anna preserved as a woman in architecture who has not compromised her own qualities in order to mould to the current architectural status quo. Form follows love deviates from the usual discourse about architectural approach which tends to be one that favours qualities such as functionality, solidity, strength and efficiency. Instead, Anna approaches architecture from what can be said to be more traditionally feminine values. Her approach places a strong focus on the users emotional response to her architecture, choosing certain materials and shapes that recall the human need to feel taken care of. ​(Heringer, 2022)​

The feminine approach can be also seen in her use of resources that are readily available on the site, such as clay and mud: non-toxic materials, recyclable without losing quality, mouldable without the need for sophisticated tools but with one’s own hands, speaks of inclusiveness.

Anna states that hearing the children who participated in the construction of the building say: “I did it”, gives her great confidence. (Lopez Garcia, 2021)

“…textiles crafted out of local textile traditions, designed for a decentralized production in the villages of Bangladesh without exploitation of resources or labor, grafted with time, skills and creativity.” (Studio Anna Heringer, 2022)

Examples of form follows love in Anna’s work include the “Birth Space Prototype” and of course the METI Handmade School. In the former she emphasizes the natural processes of labour and birth, offering an environment with a intimate atmosphere. The plant is a metaphor for birth, in which the baby leaves the protective space of the womb into the outside world through the vagina. This prototype seeks to promote knowledge, and facilitate conversations around what birthing spaces should be like.” (Studio Anna Heringer, 2021)

In relation to the METI Handmade School, we can observe these feminine qualities in the design of the school’s niches, cocoon shapes in which one feels good and safe, evoking a feeling we all experienced as children, archaic spaces that for the architect, need to be brought to the surface.

In “Meti handmade school” – Love concretized into beauty through many ways in this project: the harmony between the materials and techniques and the local environment, the beauty of the textile realizations, hidden under the humble veneer of every day, recalls the inner life of modest people, the involvement of the population, allowing them to participate to its construction and to feel empowered doing so, the shapes of the different spaces that reflect the needs of the activity and that the students might have in different times of the day designing relaxing spaces, light and well illumined rooms.

These feminine qualities in the design of the schools various niches and cocoon shapes in which one feels safe and protected, evoking childhood memories of shelter. The niches are protected spaces but still connected to the main rooms of the school.

Upstairs, this can also be seen in the lightness of the bamboo and the introduction of many coloured fabrics.

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3.2 THE LAUFEN MANIFESTO

The Laufen Manifesto is broken into 7 principals; Collaborating eye to eye, Designing Work, Unffurling Beauty, Identifying the Local, Understanding the Territory, Educating Designers and Shaping Policy. In these principles we can see how Anna applies her theory into tangible change.

The Laufen Manifesto is a document and program that was launched

by Anna Heringer and Andres Lepilk. It promotes a paradigm shift regarding the role of architecture in society, by recruiting those people and professions who are collectively responsible for designing the build environment. The aim of this manifesto is to use the power of design as a tool to shape the world towards that of equality and justice.

They key Principles of this approach is outlined below:

smaller low density areas have in facilitating the mega cities we devote so much of our attention towards.

“Truly humane design projects understand zones of impact and influence on many scales.” (Studio Anna Heringer, 2022) 6 - Educating Designers Designers must be trained sufficiently in order to achieve a positive change for the people for whom they are designing. This principal recognises the gap that must be bridged in the education given to our designer to instil a greater social empathy. Designing the right process must be equally important as the outcome.

1 - Collaborating eye to eye They commit to including the community and residents in all of their projects in hope to create tangible, measurable change. The impact of which transcends the actual design outcomes to create an empowering atmosphere with long 7 - Shaping Policy lasting effects.

In order for change to be long lasting, policy must change. The goal is to 2 - Designing Work eventually create more productive Projects are conceived in a manner exchanges from the bottom up and that seeks to decentralise the form of from the top down. We need broader construction and production in order and better solutions, at a lower cost, to create meaningful work for the for a larger number of people. communities in which the projects are based. Small scale enterprises such as farming, construction and These are the core tenants in how crafts are nurtured in this manner. the Laufen Manifesto aims to shape A didactic approach is employed the world through design. All of which put the power back into these principals are guided by “Form the hands of these communities. Follows Love.” This maxim is ever Construction and production can be present and can be seen throughout replicated even in low income areas. the principals above.

It uses various pilot projects in order to achieve these goals. These pilot programs utilise the knowledge of their multidisciplinary network which includes designers, craftsmen, communities, planners, builders and organisations.

“Guided by a deeper understanding of individual needs and aspirations as our fundamental concern, we must urgently multiply our efforts to improve the ecological, social, and aesthetic quality of the built environment, while developing more effective design strategies to anticipate predicted future growth on a global scale.”

3 - Unfurling Beauty Beauty takes a pivotal role in these projects. The goal is to foster dignity through beauty. figure 23

(Studio Anna Heringer, 2022)

4 - Identifying the Local The identification and deployment of local techniques paired with global technology is what creates self sufficiency. Projects must be site and location sensitives, following the local traditions.

5 - Understanding the Territory This principal identifies the role that

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CONCLUSION

Architecture boils down to narrative and execution. The METI Handmade won the Aga Khan award for architecture because it does not only function profoundly as a school but also as a touchstone. A touchstone depicting what can happen when an architect has a philosophy she believes in and integrates this throughout the design and building process. We have seen how in every step of this buildings journey, Anna has applied her philosophy. She established a network of local actors and stakeholders, she detailed a system that improves upon the vernacular building methods and thus created a space that places people at the forefront of the conversation.

“If the question is what is real beauty? For me, the answer is that it is a formal expression of love.”

– ​(Heringer, 2022)​

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As an architect, Anna Heringer represents a new age. She has managed to ingrain her own identity as a feminist, as a sustainability advocate as a human being into the school while still placing Rudrapur and its people on centre stage. The success of Anna Heringer as an architect who has not compromised her own beliefs or supressed her own feminine identity in architecture has brought to light a whole new discourse in architecture. What is femininity in architecture? Is form follows love the future of an architecture focused on people and compassion?

The METI Handmade School, with its earthen walls and flowing fabric opes, stands as a proud celebration of community, tradition and innovation.

It is a statement of intent by Anna Heringer, showing the world exactly what type of architecture she believes that we need in this world. That is an architecture that grows from and with the very environment from which it was constructed. It tells the world that even the mud under our very feet when rooted in a philosophy of love and shaped by the hands of its community, can nurture the hearts of our children.

In her architectural design process, Anna Heringer placed emphasis on claystorming, a technique which allowed her to shape the dreams of her clients physically and literally with a tactile sympathy that would be impossible otherwise. This process allowed her to bring the community into the process in a profound manner.

Through improving upon pre-existing technology, Anna once again stayed true to her principles, ensuring that each and every technique used could be preformed and replicated by the local community. The genius is in the simplicity of the detailing and the didactic approach used by Anna and her team.

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MANIFESTO I

MANIFESTO II

MANIFESTO III

BIBLIOGRAPHY ArchDaily „Handmade School / Anna Heringer + Eike Roswag.” Accessed on September 23, 2022. https://www.archdaily.com/51664/handmade-school-anna-heringer-eike-roswag The AKDN, “School in Rudrapur.”, Accessed on September 25, 2022. https://the.akdn/en/en/how-we-work/our-agencies/aga-khan-trust-culture/akaa/ school-rudrapur

Studio Anna Heringer. (2022, November 3). Headergrafik | Anna Heringer | METI Handmade School . https://www.anna-heringer.com/ M. Tournier. 2017. Women and Access to University in France and Germany (18611967). Current Issues in Comparative Education Special Issue Economics of Education in China, 19(2), 107–110. http://www.tc.edu/cice

Anna Heringer, “About Anna Heringer.”, Accessed on September 20, 2022. https://www.anna-heringer.com/about-anna-heringer/

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1, 9, 15, 16, 17, 18, 19, 20, 21, 22, 24, 25:

Hörbst, Kurt

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archnet.com

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Studio Anna Heringer

5, 6, 7:

Saroff, Ronee

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Raskin, Laura

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Balasubramanian, Athiba

ACE “A talk with Anna Heringer.” Accessed on October 6, 2022. https://www.ace-cae.eu/activities/publications/interviews-with-european-architects/ a-talk-with-anna-heringer/ METI school, Accessed on September 20, 2022. http://www.meti-school.de/daten/schulbau_e.htm Erika Alatalo. 2015. “METI Handmade School – Design from Tradition.” https://www.fieldstudyoftheworld.com Kazi Khaleed Ashraf. 2007. “This Is Not a Building! Hand-Making a School in a Bangladeshi Village.” Architectural Design 77 (6).

Paul Finch. 2006. “Handmade School, Rudrapur, Bangladesh by Anna Heringer.” The Architectural Review Roland Meingast, and Hubert Feiglstorfer. 2018. “Earth Building History in Eastern Austria” Scwartz, Chad. 2017. Introducing Architectural Tectonics - Exploring the Intersection of Design and Construction. Edited by Wendy Fuller, Grace Harrison, and Alanna Donaldson. 1st ed. Vol. 1. New York: Routledge.

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