Search results for "larry scarpa"
Perforated steel and translucent glass balance privacy and pop.For their Center for Manufacturing Innovation (CMI) in Monterrey, Mexico, Metalsa, a global manufacturing firm that specializes in automobile and truck chassis, did not want just another factory. Rather, the laboratory and testing facility, located in a state-sponsored research park adjacent to the Monterrey airport, was to be a "showpiece," explained Brooks + Scarpa Architects principal Lawrence Scarpa, "not just for their clients but from a work environment point of view, and a sustainability point of view." Despite the many challenges inherent to building across the United States-Mexico border, the Los Angeles architects succeeded in delivering a LEED Platinum design wrapped in a striking double skin of translucent glass and perforated steel panels. The facility's uneven sawtooth profile is the product of both historical and contextual references. "They are an industrial company, and I always loved the old warehouses with the north-facing clerestories, designed back when there was no electric lighting," recalled Scarpa. "That was what I was thinking about before I even went to the site." His first visit to Monterrey confirmed his instinct. "The mountains there are really sharp and jagged like that—it was an immediate concept for the building," said Scarpa. Like their 19th-century antecedents, moreover, the clerestories provide daylight and allow hot air to accumulate high above the inhabited spaces, thus reducing reliance on artificial lighting and cooling. The resulting form had one major drawback, however. "The issue we were faced with was that the primary way you enter the building is from the west, so we would have a broad face in the worst possible thermal position," said Scarpa. To solve the problem of solar gain without sacrificing the sawtooth roofline, Brooks + Scarpa implemented a double skin with an outer layer composed of perforated steel panels. With a wraparound sunscreen in place, explained Scarpa, "we could have a translucent skin behind it, but could modulate light and heat gain." Several factors influenced the perforation pattern on the outer skin. It began as an abstraction of Metalsa's corporate identity, said Scarpa, but evolved to respond to programmatic requirements. Perforations of different sizes and densities reflect the need for more or less privacy. Areas related to proprietary research and development are more opaque, while the office spaces cantilevered over the transparent northwest entrance benefit from the additional daylighting allowed by broader perforations. CMI's translucent inner skin of fluted glass refracts light, preventing glare from interfering with computer-based work. To prevent the occupants from feeling trapped in a windowless box, the architects carefully modulated the distance between the envelope's two layers. "When you're on the interior, it doesn't just look like a blank wall," said Scarpa. "When you're on the inside, you can't see through it, but you can see shadows move on the translucent surface." Designing for an out-of-country client is bound to produce hiccups, and the Metalsa project was no exception. For instance, Brooks + Scarpa had initially imagined that the auto giants would fabricate the perforated metal skin in-house, but turned to another supplier when disrupting the company's manufacturing flow proved cost-prohibitive. The architects nevertheless made the best of the situation, streamlining their vision to fit the situation at hand. "The technology that was available to us in Mexico is not overly sophisticated, so from the get-go we decided to take a more simplistic approach, utilizing a multi-layered skin," said Scarpa. "It was easy to construct, and it's not difficult to understand."
Precast concrete and plaster find coherence in Cedar City Southern Utah Museum of Art
Finding “urbanism with Chinese characteristics”
Michael Sorkin named as American Academy in China’s inaugural Research Fellow
The company Metalsa exemplifies the entrepreneurial spirit that is lifting Mexico financially and reducing the flow of immigrants to the US. Founded in Monterrey in 1956, the company has grown to become a global manufacturer of automotive frames and components for companies from Ferrari to Ford. “Out of the blue,” as Brooks + Scarpa principal Larry Scarpa recalled, “we received a call to compete for the design of their new research facility and, after interviewing, we won the job.”
Located on a 100-acre, government-sponsored technology research campus adjoining Monterrey Airport, the Metalsa Center for Manufacturing Innovation joins the facilities of other international companies, and branches of UT Austin and two Mexican technical universities. The site has a secure perimeter, but the constraints were few beyond a 125-foot height limit and a mandate that all equipment be concealed. Metalsa already has a manufacturing plant of several million square feet in Monterrey, the commercial capital of Mexico. Here the goal was to create a showcase of sustainability and an ideal work environment that would embody the ideals of the firm and impress visiting customers. Phase 1, comprising 16,500 square feet of warehouse, research lab, and office space, has been completed. In phase 2, these facilities will expand to the north and east, increasing the square footage to 55,000.
Inspired by the jagged mountains around Monterrey, the architects created a steel-framed block with sharp-peaked lanterns that draw in natural light from the north like the saw-tooth roofs of factories. A projecting canopy suspended from a cantilevered roof is clad in perforated and etched aluminum. It shields the glass curtain wall of the reception area and two-story office wing. A layer of polycarbonate behind the aluminum plates provides insulation and diffuses the shadows cast by the openings. Behind this public face, walls clad in aluminum panels enclose the open 60-foot-high warehouse, bathed in natural light from above, where chassis and other components are tested. This is a secure area, where proprietary information is concealed from prying eyes, and access is tightly controlled. The same concern for privacy was applied to the second floor laboratories in the office wing, and the architects calibrated the openings to balance the competing claims of protection and transparency. Tilted oval windows provide discreet glimpses of the labs and the warehouse.
In contrast, the open office areas have an easy flow, and the architects designed the triangular tables with splayed legs. These, like the building, were locally sourced and fabricated. Scarpa intended for Metalsa to make the aluminum skin, but it proved cheaper to go to another factory in Monterrey. He was also challenged to reuse the structural frame that a local architect had designed before Metalsa decided to hire a more prominent designer.
Sustainability is a hallmark of Brooks + Scarpa buildings, and here the challenge was extreme. The temperature routinely tops 100 degrees in the summer, and once reached 118 degrees in April. Passive technologies are combined with rooftop solar panels. The building is cooled and warmed by tapping into the city water supply and feeding pipes through a heat exchanger to exploit the difference in temperature between the water and the earth. Gray water is stored in a cistern below a sunken garden to the north and the public spaces open onto this green oasis through a roll-up industrial door in the exposed glass curtain wall. Like the visionary workplaces created in the early years of the modern movement, Metalsa combines efficiency, humanity, and expressive design in exemplary fashion.
Six years after Hurricane Katrina leveled much of New Orleans, the still-struggling city is beginning to show signs of rebirth. Projects underway amounting to billions of wide-ranging investment include new and renovated schools, hospitals, libraries, commercial corridors, boulevards, waterways, parks, and even entire development zones. Efforts like the Claiborne Avenue Corridor will link sections of the cities that have been divided by an interstate for decades.
Construction that began a few years ago is now starting to finish up, while the city’s new Mayor Mitch Landrieu has launched a program to instigate 100 city-initiated projects that will begin or even be completed in the next three years. In total, according to William Gilchrist, the city’s Director of Place-Based Planning, over $13 billion in federal, state and local investments will go into effect. In many ways, said Gilchrist, the city has become a laboratory for new ideas in architecture and urban planning.
Architects and landscape architects are playing a major role here, and creating designs that are in some cases shockingly contemporary.
One of the largest, and most architecturally ambitious, city plans now underway is called Reinventing the Crescent, a $300 million riverfront redevelopment plan, with contributions by a star-filled team including Eskew Dumez Ripple working on a master plan with Chan Krieger Sieniewicz and Ten Arquitectos; Michael Maltzan Architecture; David Adjaye; and Hargreaves Associates.
The Crescent, coordinated by the public-private New Orleans Building Corporation, calls for six miles of redevelopment along the banks of the Mississippi, including a continuous linear path, iconic landmarks, mixed use development, and parks and gathering spaces.
Stretching from Jackson Avenue to the Holy Cross site near the Industrial Canal, the project takes on the river’s crescent shape. It doesn’t just revitalize the riverbanks, but it reconnects these banks to the rest of the city—a connection that has deteriorated over the years with barriers like freight train tracks and floodwalls.
The first phase of the project, the 1.3 mile-long Crescent Park, is being paid for by a $30 million federal Community Development Block Grant. It started construction about five months ago and should be completed by 2012. Further phases should move forward when funding is secured, said Alan Eskew, principal at Eskew Dumez Ripple, who hopes that much will be ready by the city’s tri-centennial in 2018. Already, said Eskew, the area is already seeing new adaptive reuse and development projects. “Once construction started, suddenly there’s a lot “of activity in those neighborhoods,” he said.
Maltzan jumped into the challenge of overcoming the infrastructural segmentation of the area by literally creating a bridge between the waterfront and the rest of the city. Maltzan’s long, serpentine Mandeville Crossing, which stretches high over the railroad and the floodwall all the way to the city’s famous French Market, is what he calls “an elongated signpost for the community,” made of a series of vertical gold-colored anodized aluminum tubes that, as you move along, create a shimmering effect of light and color.
At the end of the pedestrian bridge, the firm is leading the revitalization of the city’s historic Mandeville Wharf for events and markets, maintaining the entire steel structure with its long span steel trusses and installing a new roof with a series of skylights to inject light into the building. The firm will also install a new indoor/outdoor platform for performances, new benches, and a new wall for movie screenings, all merging with the landscape outside and becoming the center for the Crescent’s performances.
The other major element of the Crescent Park will be Piety Wharf, featuring a grassy park and Adjaye Associates’ timber pavilion, a structure—still awaiting funding— that lies flush with the water, and appears to float. Adjaye is also designing a bridge, the Piety Crossing, which spans over floodwalls and rail tracks leading to a visitor parking lot along Chartres Street.
For Maltzan, who spent a lot of time in New Orleans when he was a young architecture student, the project is a homecoming of sorts, and a chance to give back to a city that has long inspired him. “I think the park has the opportunity to be a very important step in not only moving beyond Katrina, but creating an image of what the city can be and its future.”
Make It Right
Alexei Lebedev, Make it Right
Brad Pitt’s Make It Right foundation has already gotten a lot of attention for building contemporary-style, highly sustainable (from solar powered to rainwater harvesting) homes in the Lower Ninth Ward— the hardest hit of all of New Orleans’ neighborhoods. So far 80 of the 150 homes have been completed, including ambitious designs by LA firms Morphosis and Pugh + Scarpa as well as others by Adjaye Associates, MVRDV, Gehry Partners, Shigeru Ban Architects, Graft, Hitoshi Abe, Kieran Timberake, and Trahan Architects. Participant Larry Scarpa equates it to a modern-day Case Study program: “There was an idea to give people an opportunity to have a new and different way to live—to provide normal people with quality design.”
“Most visitors to the neighborhood love it, a few hate it,” said Make It Right spokesperson Taylor Royle. “But the most important thing to us is that each homeowner says that their design is the best one and can give you ten reasons why they're right.”
Planters Peanuts has launched a program in which noted landscape architect Ken Smith is designing Planters Groves in New York, San Francisco, D.C., and New Orleans. The parks—described by the company as “part urban revitalization, part art”—use locally reclaimed materials and native trees and plants to turn vacant lots into valuable urban spaces. New Orleans’ park, the first of the bunch, just opened.
New Orleans Grove appears on the site of a once trash-littered lot in the struggling Central City neighborhood. Elements of the 80 by 80 foot park include recycled concrete pavers, an open trellis wall made of recycled windows from homes destroyed in Hurricane Katrina, 16 bald cypress trees, solar-powered lights, common planting areas, and a bog garden made up of local plants. The garden's main spaces—the bog garden, the community gathering spot, known as Legume Plaza, and the space enclosed by the trellis—are shaped in plan, not surprisingly, like peanuts.
"It's not a playground, it's not a community garden, and it's not a conventional park,” said Smith. “The community can use it however they choose."
This project aims to turn a former railroad right of way into a public park, pedestrian, and bike path, similar to New York’s High Line. The three-mile-long Greenway would extend from Basin Street, at the back of the French Quarter, all the way to Canal Boulevard in Lakeview, near Lake Ponchartrain. While recently held up by a lack of funds, the city has gotten the project back on track thanks to an $11.6 million Community Development Block Grant. If completed it would become the city’s first continuous urban greenway.
For New Orleans, many questions remain—including how the city’s neighborhoods will—or won’t—continue to be planned and developed, an effort that will include a myriad of agencies, from the Department of Capital Projects to the Department of Public Works. But the results are vital, and there’s no doubt that the city is committed. As Gilchrist put it: “From public housing to health care to education to infrastructure planning, New Orleans’ rebuilding efforts are setting the stage for American renewal.”