After winning a Los Angeles–sponsored competition last February to redevelop the Rancho Cienega Sports Complex (RCSC) in Baldwin Hills, SPF:a—along with landscape architect Hood Design Studio and engineer Buro Happold—is moving forward with design. The firm found out through their research that the community needed more space than the original competition program foresaw. So they developed a prefabricated building system (combining minimal, integrated, pre-engineered components with limited bespoke ones) that minimizes budget, allowing them to increase area. For instance they saved enough to enlarge a 13,000 square foot pool facility to 23,000 square feet and an 11,000 square foot basketball area to 16,000 square feet. The project also offers exceptional environmental perks, like the transformation of the facility's old pool into a rainwater storage tank, geothermal heating, extensive daylighting through solar tubes, natural ventilation and a photovoltaic rooftop. It is aiming for a LEED Silver rating. Another goal was “coherent image reflection,” said SPF:a cofounder Zoltan Pali. For instance, building components mirror the design and color of basketball backboards, field goal structures and scoreboards. SPF:a collaborated with Hood Design Studio to create an extensive outdoor greening concept. Their landscape strategy clarifies circulation and creates additional gathering areas between the existing sports fields. Drought tolerant planting creates a "botanical garden," featuring five distinct ecologies: high desert, canyon, coastal, chaparral and medicinal. Designed for a multi-staged construction process that will allow all facilities to remain open during redevelopment. Construction is expected to commence in mid 2016 with the new facilities opening in phases through 2018. LA City Council President Herb Wesson, who has led the city's investment in the project, considers the complex to be “a tremendous community asset, both as a great neighborhood park, and also as a great Regional Park serving residents from all over the city.” He added: "We look forward to realizing a more modern park space so that the families in our community can enjoy a safer and healthier recreational experience.”
Posts tagged with "Zoltan Pali":
[beforeafter] [/beforeafter] In sad but spectacular gossip news, we’ve been informed that Culver City firm SPF:a has been removed from the Academy of Motion Pictures Arts and Sciences' new museum project in Los Angeles. SPF:a principal Zoltan Pali had been working with Renzo Piano on the project since 2012. The design for what is now called the Academy Museum of Motion Pictures includes a renovation of AC Martin’s Streamline Moderne May Company Building (1939) on Wilshire and Fairfax avenues and a new 140-foot-diameter glass and steel globe sited behind the existing building, which would contain, among other things, a 1,000-seat theater. The Academy has declined to comment on the matter, and AN has so far been unable to reach SPF:a. After first receiving the commission, Pali told AN, “It is a full collaboration in every aspect. We work together very well. I love working with Renzo.”
As we reported last week, Zoltan Pali and Renzo Piano were tagged to design the Academy of Motion Picture Arts and Sciences' new film museum inside LA's former May Company Building. We recently caught up with Culver City-based Pali, principal of SPF:a, to discuss the project. It's still early, so he couldn't give many details, but he did share some Twitter-sized kernels about his approach and his upcoming collaboration. AN: What is the scope of work? Can you talk about what will be inside the new museum? Zoltan Pali: The scope of work is to create a place where the highest aspirations of film are learned, exposed, discussed and enjoyed. It will require the use of the entire May Company building. Have you talked about your design strategies yet? Where are we in the design process? Can you reveal any of the thinking at this point? Some highlights? We are at the very beginning, the goal is to create magic, wonderment, and poetry. What are some of the biggest challenges about working inside the May Company? And will you be preserving much of the interior? I assume the exterior will remain basically the same? But how will you renovate it? We are going to respect all the historic qualities and fabric of the building. The interior will be transformed. The challenges are very technical, such as structural issues, mechanical issues, circulation, and egress. Obviously there are so many artifacts and so much history to deal with. Can you discuss this challenge as well? The challenge will more than likely be the editing process, because there is so much! Is there a challenge to fitting in with the rest of the LACMA campus? How do you plan to approach that issue? It is Renzo's and my goal to fuse the May Company building to the campus--it is one of the purposes of our collaboration. But, we must also create something new and magical. You and Renzo are obviously two very experienced designers. Have the roles for each of you been defined yet? How do you anticipate working that out? It is a full collaboration in every aspect. We work together very well. I love working with Renzo. You've become a major architect in Los Angeles, but do you think this commission will solidify your place internationally? I don't think about those things, right now the pressure is on to do a beautiful project for my home town of Los Angeles, the Academy and for LACMA. What have you learned from the Getty Villa and other museum projects that you think will be helpful for this project? We learn from every project and we hope that each time we get better and better, more clever and more skillful. The client is the most important thing, because a building is sort of a portrait of the client and it is our job to paint that portrait in the best way.