In a town in the Quilotoa Lagoon in Ecuador, in a volcanic crater, a distinct thatched roof structure not unlike the crater’s form becomes a centre for community and the continuation of a traditional way of being. A handicraft centre, Chaki Wasi, built in collaboration with the indigenous community of Shalalá and Quito-based architecture practice La Cabina de la Curiosidad is a reminder of the relationship of indigenous architecture to its land. The community along with the Instituto Nacional de Patrimonio Cultural (INPC), has been working to promote sustainable tourism in the region, with a plan to add a handicrafts centre to contribute to the present tourist infrastructure. The Ecuadorian studio, La Cabina, whose practice modulates scales of territory and building and who has previously researched the Andean natural landscape, worked with the local community to preserve and upgrade traditional construction techniques in the cultural centre.

The form for it is simple—drawing on indigenous techniques—with its name, Chaki Wasi translates to ‘house made of straw from the floor to the roof’ in Kichwa. With structures such as this, it becomes important to highlight the efforts put into preserving traditional ways of being. As designers, it is important to recognise the relationship of local communities with the land they inhabit. This relationship always ties back to age-old customs and rituals that recognise the land as part of their identity. While contemporary architecture often prioritises the object-hood of architecture, separate from its natural context, the recognition and acceptance of vernacular architecture and its customs can become an act of regeneration and acknowledgement of the landscape itself.

For the project, as the architects elaborate, the aspiration of the design and the community at large was to “represent Andean culture through traditional vernacular techniques and [become] an educational support to publicise a way of living in the Andean landscape.” Through rigorous research as illustrated by the architects, every aspect of the act of building was considered; from how the materials used would be regenerated to how the wooden architecture could become a model for local development that strengthens the community. The techniques and construction reflect this goal with the architects, Marie Combette and Daniel Moreno Flores, elaborating on the manual labour involved in building. The open-to-sky structure uses stones sourced from the river nearby for its foundation, supposed to be symbolic of the land's resilience and eucalyptus wood tied with cabuya (a natural fibre that comes from the penco plant) with the roof covered with straw.

The locally sourced materials and construction underscore the designers’ commitment to sustainability and traditional craftsmanship. Apart from the traditional building practices, there was a conscious effort to integrate the structure with nature. The centre is surrounded by an aquaponics system that feeds the outdoor and indoor plants and vegetables while teaching the community about sustainable agriculture and ecologically sustainable practices. The design team notes, “There is a vision of regeneration of the community land [and] a life in harmony with nature. The vision of the future is based on the wisdom and territorial knowledge of the past.” To ensure a closed-loop system and positive carbon footprint, waste was returned to the land during the building process.

Moreover, during building, there was a great emphasis on community participation. Villagers were assigned tasks weekly, making it a collective effort. Thus, it also generated a feeling of ownership among everyone towards the structure. Another key aspect of community participation was the initiation and practice of traditional mingas, or communal work events which are both utilitarian and social activities. Hence, the locals were involved in every step of the building process, from the obtaining of materials (which also reinforced the systems of barter and relationships with other communities in the region) to ultimately raising the thatched roof for the centre. The final step of the building, putting the thatch on the wooden structure became a celebrated affair for the community.

Through the project, the goal was not only to uplift and strengthen the community with a structure that would lend them economic stability but to also demonstrate a model for the continuation of Andean customs, particularly the Andean view of the cosmos. These communities see the natural, built and human as interconnected and interdependent. Such a view breeds a mutual reverence for the non-human reflected in the cultural practices of the communities. Through the project, it was hoped that these practices would be underscored and would serve as a model for future generations. As the architects mention, “There is an intergenerational transmission of knowledge and culture, in ways of proceeding, in rites and customs. Culture is sustained by co-designing, co-constructing and democratising architecture as a fundamental good for human development and the environment.”

By recognising and adding to the community’s facilities on site, the structure becomes more than just a building. It is a representation of an alternative way of life, and how such dwelling respects and recognises the more than human. Not only does it uphold vernacular architectural principles, but through its function as a handicrafts centre, it promotes economic sustainability within the community and proposes a development model that is regenerative rather than extractive.

Project Details

Name: Chaki Wasi, Shalalá community handicrafts centre
Location: Zumbahua, Pujilí, Cotopaxi, Ecuador
Year: 2024
Design team: La Cabina de la Curiosidad
Marie Combette, Daniel Moreno Flores, Samuel Dano, Marianne Letessier
Illustrations: Marie Combette, Sergio Calderon (Pinxcel), Oscar Velasco
Construction: Community of Shalalá + La Cabina de la Curiosidad
Structural consultant: Patricio Cevallos