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Lagniappe Solar House Makes It Right (USA)

Credits: ©2009 Concordia Architects

A lagniappe, in southern Louisiana culture, is an unexpected gift or benefit – a little something extra thrown in as a show of gratitude. The Lagniappe House in New Orleans was designed with a flexible and functional floor plan that weaves together indoor and outdoor spaces into a tapestry of uses and possible re-uses that will enhance the owners’ lives for years to come. The Cradle to Cradle concept was applied throughout as evidenced in the building orientation, the selection of materials, the management of energy and water, and the features provided to promote passive survivability in the event of another catastrophe.


Lagniappe House North Side

The challenge with an elevated house is to provide a comfortable place that facilitates casual encounters when the main level is a story above the street. The Lagniappe House accomplishes this in several ways. This view shows the north side of the home. ©2008 Concordia Architects

Social and Cultural Revitalization
Not only were families’ lives and homes destroyed in the aftermath of the hurricanes, but the rich cultural fabric of the Lower 9th Ward community was torn apart as well. The Make it Right project will address more than post Katrina and Rita recovery. The rebuilding of the Lower 9th Ward neighborhood is an opportunity to send a new message - from transition to transformation. Like the butterfly that grows from egg to larvae to chrysalis and finally to a graceful butterfly, the residents of the lower ninth ward are poised for a new paradigm of dignity and quality of life.

Inside-Outside Living
Much of the community interaction for the residents of the Lower 9th Ward, as in most of New Orleans, takes place on the front porches of neighborhoods – “stoop-sitting” as its known. The challenge with an elevated house is to provide a comfortable place that facilitates casual encounters when the main level is a story above the street. The Lagniappe House accomplishes this in several ways.

A shaded driveway and wide inviting steps lead to an elevated front porch. Each resident will have the opportunity to choose from an “attached” or “detached” porch design with an “in between” courtyard also provides for additional landscaping and cross ventilation. An additional design option provides for a “flat” or “sloped”’ front porch roof design.

The front porch steps have been designed as a “stoop” with lots of places to sit and “hang out”. Under the porch is a fenced in room where chairs and tables can be stored for front yard parties and crawfish boils. Included in this under-the-porch room is a double sink for storing ice and for food preparation. With these tools, the front yard and driveway can include more opportunities for front yard gardening and entertaining.

Raising houses in the Make It Right neighborhood also provides an a opportunity to develop a new backyard culture enhanced by a shaded verandah created under the house. In the Lagniappe House, this “outside room” is located below the rear of the house with direct access to the kitchen above by a covered outside stair.

On the second floor, a more private family deck in the center of the house provides another room on the south side, which could also foster more communications with the next-door neighbors. Small rear decks are also provided for all bedrooms. All of these decks can also serve as an area of rescue in the case of emergencies.

Multi-zoned Living Areas
The Lagniappe House, by virtue of its long, narrow shape, will accommodate many activities at once ranging from the crawfish boil in the front driveway to grandma making gumbo in the kitchen and the baby napping in the back room. Secured access to the more private zones of the site is provided by the fence and optional garage door at the carport. The third story bedroom addition can be easily converted to an efficiency apartment by means of a separate entrance from the south-side deck. The space reserved for a future lift can be used as a pantry off the kitchen and as additional secured storage below the house.

Sweat Equity
The Lagniappe House has been designed to accommodate self actuated preferences for future growth. Roof slopes as well as stair and lift locations have been designed to provide ample attic space to accommodate initial mechanical equipment as well as an additional bedroom, loft, bath and storage. These additions can be accomplished as a part of the initial construction or incrementally through owner provided or volunteer “sweat equity”.

Personal Security
Residents of New Orleans are well aware of the personal dangers presented by the city’s high crime rate. It is for this reason that the non-public spaces of the Lagniappe House are enclosed by a 7 foot fence with two inch slots to accommodate water flow. Access to the house is designed with a system of “double entries”. One access point is through the secured carport at the ground level. Here the resident will drive their locked car through a remotely controlled garage door which will then close automatically behind them. From there they will have a secured passage through a second locked door at the ground level that leads directly up a set of interior stairs to the kitchen.

The second point of access is up the front steps and onto the front porch, through a locked gate and then to a second set of locked doors at either the living room or kitchen.

Flood Resistance
The lower level of the Lagniappe House is designed to allow moving water to flow around the piers and is devoid of structural walls that could be pushed over in a flood. The main level is elevated 8’-8” above grade – more than 3’ above the FEMA-mandated elevation. The recommended exterior material, stucco over aerated autoclaved concrete (AAC) has submersion-resistant qualities in addition to its fire-resistive, sound-mitigating, insulating, and insect-proof benefits.

Environmental Considerations
The main roof slope of the Lagniappe House is oriented to the south to maximize the collection area for future photovoltaic panels. The north-facing slopes will feature either manually or thermally operated windows that admit gentle daylight into the rooms and release built-up heat. Passive ventilation is augmented by low south-side windows for capturing the prevailing summer winds, high ceilings, and ceiling fans. Even in a region that suffers from too much water sometimes, the community can benefit from rainwater collection for non-potable uses by reducing the energy needed to deliver municipal water and by providing families a source of sterilize-able drinking water in an emergency. Likewise, a grey-water cistern below the house can store wastewater suitable for use in the garden, further reducing loads imposed on the fragile drainage infrastructure. Shaded decks on the south side are designed to reduce solar heat gain in the summer while inviting the warming winter sun.

Materials and Equipment
When at all possible, the building materials and equipment proposed for the Lagniappe House are sourced from manufacturers within 500 miles of New Orleans who incorporate recycled materials and avoid hazardous ingredients. Refer to the materials and equipment schedule for a complete listing. What follows are some highlights:

• The AAC exterior walls and floor deck mentioned above, besides being a cavity-free construction, have the added benefit of being recycle-able after demolition and remade into new AAC units, which in turn are manufactured in a closed-loop process. Because they are factory-made to suit, there is little jobsite waste.

• The galvalume metal “cool roofing” optimizes rainwater collection while minimizing solar heat gain. The roof assembly is completed by FSC certified OSB decking and lumber framing, spray foam soy insulation, and recycled content gypsum ceiling boards to provide a thermal envelope within.

• Interior finishes are from recycled-content materials installed with low-VOC adhesives including EnviroGlas counters, reclaimed local wood flooring, and American Pride Zero VOC paint.

• With high-performance Pella windows, EnergyStar appliances and lighting, and high-efficiency mechanical equipment, the Lagniappe House will seek to reduce energy demand in all of its systems. The first HVAC system under consideration is a Daikin multi-split ductless system that allows room-by-room zone control. The second one is a standard ducted system within the thermal envelope with a SEER rating of 18 or more. Hot water will be provided by a tank-less on-demand unit or with a combination of solar how water and a tankwater heater with an EF of 95 or more.

Artist Collaboration
In the spirit of celebration that comes with renewal, the Lagniappe House will feature, at the owner’s request, murals, floor patterns and other creative works by Young Aspirations / Young Artists, Inc., a non-profit arts and social service organization whose mission is to provide educational experiences and opportunities that empower artistically talented inner-city youth to be professionally self-sufficient through creative self-expression

The Lagniappe House has been designed to maximize the use of solar energy and natural daylighting. A large 30 degree south facing roof slope provides an efficient surface for solar collectors. The edges of some of the small hip roofs reflect indirect sunlight into courtyards and other living spaces. A trellised gallery covered with deciduous plants and vines shields the south wall from direct sunlight in the summer but “opens” to let in the sun’s warming rays during the winter months. Some of the walls in the house have angles that work functionally as well as aesthetically to increase the width of hallways where needed, such as for handicap accessibility, as well as to provide more pleasing and expansive views to outside spaces.

Following Related Article from Metropolis Magazine about the Make It Right program
By Andrew Blum

Posted March 19, 2008

Saint Brad
With his Make It Right project in New Orleans, Pitt may be on his way to becoming architecture’s most important patron. Is architecture up for the challenge? 

“So you’re a design junkie too?” Brad Pitt said to me, leaning out the door of an RV parked in the Lower Ninth Ward of New Orleans one evening in December. I was his last interview of the day, and the lines around his blue eyes were thick with fatigue. Outside, a street party was starting up, with a zydeco band and a gumbo truck. There were flashbulbs and Angelina Jolie with Maddox, and Jerry Lee Lewis taking a turn at the piano. But the guests of honor were the people from the neigh­borhood, dispersed by Hurricane Katrina. Pitt’s new nonprofit, Make It Right, wants to help them “get a house” by providing the difference between their assets and the cost of rebuilding. The catch was that they had to choose one of the sustainable designs by 13 different architects—an amazing list that included Thom Mayne, David Adjaye, Shigeru Ban, and Kieran Timberlake.

“Our idea was, OK, these people need help rebuilding, so let’s bring in the great minds that we can find. And that was really exciting for me, being the fan that I am,” Pitt said, perched on the edge of the RV’s banquette. Are you bringing these architects here, I asked, because you enjoy working with them? “That’s one of the benefits certainly, but it’s not the driving factor.”

So why do it? Why bring not just architects here but some of the world’s best? “I’ll tell you why,” Pitt said, leaning forward and rubbing his hands together. “Because these people suffered a horrific event, and truthfully great injustice in the aftermath, and they’re still suffering that injustice.

So what are you going to follow that injustice with? Crap houses with toxic materials and appliances that run up their electricity bills and may lead to a foreclosure? I mean, really. This to me is a social-justice issue. And to create something that’s equitable and fair and has respect and provides dignity for the family within is absolutely essential to rebuilding here.”

Since when do movie stars have a better sense of architecture’s possibility than most architects? Post-Katrina New Orleans—like post-9/11 Ground Zero—was supposed to be a moment when architecture would prove its relevance. Instead, architects and planners came in like the cavalry, full of expert opinions about what New Orleans should look like and where it should (or more to the point, shouldn’t) be rebuilt. The result was that rather than providing houses, they seemed—in the name of good planning—to be taking them away. “It felt to me that architecture was trying too hard to make its point,” remembers Steven Bingler, founder of Concordia Architecture & Planning, in New Orleans. And was anyone really surprised? Architecture has always had trouble connecting with the masses. There’s that famous, perhaps apocryphal, ­statistic—architects design two percent of American homes—and the bald fact of the contemporary American landscape, with its big-box stores, chain restaurants, and bland condominiums.

But if architecture has failed society, Pitt never heard the news. In 2006, after a few years of high-profile design ­dilettantism—during which Pitt famously wielded Frank Gehry’s glue gun—he chaired the jury for an architecture competition, sponsored by Global Green, to rebuild a block in New Orleans’s Holy Cross neighborhood. The project itself was forgettable at best, a one-off that’s still under construction. But according to the architects involved with the jury, Pitt was fiercely committed and empathetic—he even had a good eye for design. (Then they giggled like schoolgirls.) With Make It Right, Pitt—founding a new organization this time, not just being a spokesperson—has massively multiplied Global Green’s effort, setting an initial goal of building 150 houses. Architecturally, it’s equally ambitious, with 13 different designs offered for each homeowner to choose from. All were encourged to include sustainable features like solar panels and rainwater collectors, and they’ll be safe from future flooding—raised up off the ground, with escape hatches to the roof and waterproof safes for valuables. Whenever possible, they’ll use Cradle to Cradle–certified materials (although early talk of the houses themselves being certified hasn’t worked out). At press time, Make It Right had raised more than $10 million, on top of the $10 million committed by Pitt and Hollywood producer Steve Bing. It is enough to subsidize 70 homes, with construction on the first group of five to begin this month.

If Pitt can pull this off, he will have transformed a swath of the Lower Ninth Ward, a neighborhood symbolic of everything rotten in America, into one of the world’s most design-intensive sustainable communities. Modeling it after the Case Study Houses, Pitt wants Make It Right’s architecture program to raise the bar for “answering a new set of challenges,” as he puts it. “It can be such a proving ground for so many things. It’s ready for the next evolution. We can actually advance the discussion and practice of intelligent design—and I’m not talking about creationism.” If all that succeeds, and the Lower Ninth Ward does indeed become for the single-family green house what Seaside was for New Urbanism or Pacific Palisades was for California Modernism, then our assessment may need to shift: rather than architecture’s most fam­ous dilettante, Pitt could become one of its most important patrons.

The architects involved were (no surprise) thrilled by this notion. The list of 13 had been assembled by William McDonough + Partners and Graft, the L.A.-based firm that serves as something like Pitt’s in-house architecture wing. Pitt signed off on each selection. They wanted architects ready for the constraints—those willing to keep the costs low (about $150,000) and work with William McDon­ough + Partners to bring a Cradle to Cradle “framework” into the design process (although what that means isn’t exactly clear). “We didn’t want somebody who said, ‘I understand that the means of the homeowners are so modest that the design has to be modest,’” McDonough said. “We didn’t want modest designs—we didn’t ask for immodesty either.” Nearly every architect they approached said yes; they’re in the process of signing contracts that allow their designs to be replicated in the Lower Ninth Ward. They worked for a pittance, and some gave it back. “The only thing we gave them was a coach flight and a crap lunch,” as Pitt, no coach flyer himself, put it. But that’s being a bit disingenuous. What the architects got instead of money was Pitt.

On the set of the new David Fincher movie in New Orleans last winter, Pitt found himself standing in front of a bright-pink canvas house, meant to be digitally replaced in postproduction with ­computer-generated images. He called Graft’s L.A. office with an idea: What if we filled a few blocks of the Lower Ninth Ward with these houses as a symbol of what’s still missing? They could pick up the roofs and scatter them around, as if by the storm, then reassemble them as donations for each house arrived. In the meantime, no one could look at these houses and think life here had returned to normal. McDonough, no stranger to big ideas ­himself, is in awe of Pitt’s sense of possibility: “Who thinks like that?”

More to the point, the man can pull a crowd. The day of the press conference, Pitt started on the Today Show with Ann Curry, who was wearing her disaster costume of boots and cargo pants. Larry King showed up around noon, and Entertainment Tonight came by after lunch. In between, Pitt (with McDonough at his side to talk details) fit in USA Today, NPR, and the wire services. In the following weeks, he was on Charlie Rose and the Ellen DeGeneres Show. (DeGeneres asked people to sponsor houses in honor of her 50th birthday.) That first evening, Google News listed 194 articles. And when attention waned a few weeks later, Pitt took Maddox for a ride around the pink houses on a little tractor. The resulting paparazzi pictures were everywhere, with the pink in the background as an instantly recognizable sym­bol of the project, of what still wasn’t right in New Orleans. Pitt wields the media like a magic wand.

Yet there’s the paradox: this isn’t only about the Lower Ninth. The media circus was the point. Make It Right may be about helping a handful of families get a house, but it’s also about calling attention to the Gulf Coast. “Make It Right, like so many other private organizations and community and church groups, is doing its part to move the Gulf Coast further on the path of recovery,” Hillary Clinton said in a statement. “But while the American people continue to step up, the Bush Administration continues to fail.” As much as perfect little houses, Pitt’s program here is overtly political—and that goes for the architecture as well. These 13 houses are meant not only to shelter but to communicate.

At the press conference, held on a stage wrapped in pink bunting, Robert Green, a former Ninth Ward resident, told his harrowing story of the storm, of how he helplessly watched as his mother and young granddaughter slipped beneath the floodwaters. Then it was the architects’ turn. Large flat-screen monitors had been set up on the stage to show renderings, but they were invisible in the bright sun. Stripped of their images, the architects had to rely on tone—on their ability to connect to the people who would live in these homes. Adjaye talked about his desire to move social life up to rooftop terraces shaded by photovoltaic panels. Joe Osae-Addo, an architect from Ghana, talked about the cultural links between New Orleans and Africa. Richard Maimon, a senior associate at Kieran Timberlake, said his firm hoped to develop a local prefab factory. Mayne said his house floats like a boat. Graft’s Lars Krückeberg showed the firm’s updated shotgun, which morphed from a gable roof in the front to a tilted Modernist box in the back.

There were cringe-worthy moments when one architect or another slipped into the incomprehensible lingua franca of high design. Shigeru Ban—famed designer of elegant disaster shelters—sent a young guy from his New York office who gave a presentation so tone-deaf it would have embarrassed a first-year architecture student. Ban’s rendering, on display later in a shipping container turned into a gallery, didn’t help: on the house’s front porch was a white man in khakis. John Williams, a prominent New Orleans architect who is serving as executive architect for all of the houses, acted as emcee, adding bits of colorful commentary as he went. “If you can’t tell, these are some of the brightest minds in architecture,” he cheerily reminded the audience. Pitt watched from the edge of the stage, slapping each architect on the back as he finished.

The tone was upbeat, but there was no doubt that this was a popularity contest—although just who was the judge wasn’t so clear. The architects had been given the impression that at least one of each design would be built, but Tom Darden III, the young nonprofit developer who is director of Make It Right, said only, “The current plan is to build the houses that are selected by residents.” So far, the first phase has one by Graft, two by Billes (from New Orleans), and two by Concordia, also from New Orleans. “I don’t want any of the national people to leave here without learning at least one word of the local language,” Concordia’s Bingler said in his light Louisiana drawl during the press conference. “It’s called ‘Lagniappe.’ It means ‘a little something extra.’” (“For free!” the woman behind me shouted.) “The citizens of the Lower Ninth Ward have been accustomed to getting less than regular, so this is an opportunity to go beyond the normal. Not just the regular stuff—something a little bit extra on top of the regular stuff.” Concordia raised the Lagniappe House eight feet above the ground, with a pitched roof to collect storm water, a big front stoop, a wide porch, and a second “family porch” midway back from the street. Like all of the houses, it meets existing zoning regulations. Bingler recalled what one of the residents told him at a design charrette held with the community: the house should accommodate multiple generations. “Maybe the baby is asleep in the back bedroom, Mamma’s making some gumbo in the kitchen, and Grandpa’s on the front porch entertaining the neighbors.”

The pitch was right on, but it highlighted the challenge of the situation: the people in the Lower Ninth Ward need perfect houses to come home to, but the ambition is also for these homes to be prototypes for the near future—and look good on the Today Show. “We’ve got the devil on one side and the deep blue sea on the other,” Bingler said later. “If we design for the community, we’re going to be in jeopardy of not pleasing our peers, but if we design for the architectural press, we’re going to be in jeopardy of not reaching the ­community.”

The Lagniappe House may succeed at both, but not all the projects do. Some look like barely updated shotguns; any optimism they possess is wrapped in nostalgia. Others look like an ad executive’s minimalist loft. People found the design by MVRDV, from Rotterdam, offensive. It takes a shotgun house and breaks it in the middle, sending the ends up into the air to form a V. (The floors stay level.) It’s startling and original: “They really put forth an idea to think bold, to be grand in our ideas, not to be caged-in in any way,” Pitt said. But with a car parked underneath, the design looks like the aftermath of the storm, with houses tossed on top of cars. Winy Maas, principal at MVRDV, made no apologies. “People said, ‘Is this a joke?’ And we said, ‘No, it’s serious.’ Because it takes Katrina even more seriously and monumentalizes itself, and it shows that it was there.” No doubt, MVRDV knows how to design functional housing. They just didn’t think that was the point here. “People say, ‘Why would Brad want to do this?’” Maas said just before catching his flight back to the Netherlands. “It’s to address a wider perspective, isn’t it? And then maybe our design embodies that. Provocation is good because it pushes people. We need architectural Michael Moores.”

It’s hard to imagine that any of the residents will choose to build MVRDV’s house as their own. And if nobody chooses it, has it failed? At what? “If somebody designs a building that people don’t want to live in, then I would argue that it’s sculpture,” Bingler said. “And maybe that gets to the point about architecture’s role in the twenty-first century: Are we going to continue to create monuments to ourselves, or are we going to start listening? Are we going to develop a different kind of respect?”

That evening during the street party, I sat down with Reverend Charles Duplessis at a cocktail table wrapped in a pink tablecloth. Before the storm, he was pastor at the church on Flood Street in the Lower Ninth Ward. Since then, he and his wife have been living in Tuskegee, Alabama. I asked him which house he would choose if he were thinking about rebuilding, and he corrected me. “Oh, no, we’re not thinking—we’re going to.” The summer before Katrina, he built a deck off the back of his house on Tennessee Street with his grandsons. This month, construction will begin on their Lagniappe house, part of the first batch. “I’m a pastor, and so I believe that it is part of our calling to restore the neighborhood and to rebuild the community,” he said. “And you got to show up in order to do that. We need to be on the ground as a catalyst to get people home. It’s safe to come back home. It’s OK. And we’ve got people who want to help us, so let’s capture that help and build this community better than it was before. I tell people that he who owns the land owns the destiny.”


  Lagniappe House Poster of Single Story (3,260 kb)


Lagniappe Solar House Video Link

Make It Right Foundation (New Orleans, Louisiana, USA)