caruso-torricella architetti

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Headquarter Tenaris
Veracruz, Mexico

program new offices and facilities building

size sqm 11000

status completed 2001

A central, Rheinzink plates covered, 100 m. long, 8 m. wide, 12 m. high mall is the main component of the complex, interpreting both a “archway” door from the external world into the industrial plant and a distribution corridor to the lateral office buildings.
The shape of this building is totally determined by its section that is very typical in steel mills, especially in the new generation casting buildings, but also has an “archetypal” root in the Cuma Sibyl cave or in the Pyramids inner corridors or in the Mayan arch.
Shape and dimensions make of the mall a typical public space and the right one where people can meet.
The buildings aside the central Mall have traditionally built external walls whose façade patterns are largely inspired by the geometric pre-hispanic abstraction.
The two two-storied, left side buildings end with two glass staircases and a connection corridor that leads to the glass and Rheinzink cafeteria.
A great importance was given to the exhibition of Mexican art inside the complex.
A selection of both “cultivated” and “popular” art was made and as a result the abstraction of Mathias Goeritz (a big “mensaje” of 3x9 mts and a pair of square and a round gold leaf monochromes) cohabit with Humberto Spindola’s re-interpretation of papier-mâché Judas and alebrijes.

Headquarter Tenaris
Veracruz, Mexico

program new offices and facilities building

size sqm 11000

status completed 2001

A central, Rheinzink plates covered, 100 m. long, 8 m. wide, 12 m. high mall is the main component of the complex, interpreting both a “archway” door from the external world into the industrial plant and a distribution corridor to the lateral office buildings.
The shape of this building is totally determined by its section that is very typical in steel mills, especially in the new generation casting buildings, but also has an “archetypal” root in the Cuma Sibyl cave or in the Pyramids inner corridors or in the Mayan arch.
Shape and dimensions make of the mall a typical public space and the right one where people can meet.
The buildings aside the central Mall have traditionally built external walls whose façade patterns are largely inspired by the geometric pre-hispanic abstraction.
The two two-storied, left side buildings end with two glass staircases and a connection corridor that leads to the glass and Rheinzink cafeteria.
A great importance was given to the exhibition of Mexican art inside the complex.
A selection of both “cultivated” and “popular” art was made and as a result the abstraction of Mathias Goeritz (a big “mensaje” of 3x9 mts and a pair of square and a round gold leaf monochromes) cohabit with Humberto Spindola’s re-interpretation of papier-mâché Judas and alebrijes.

Headquarter Tenaris
Veracruz, Mexico

program new offices and facilities building

size sqm 11000

status completed 2001

A central, Rheinzink plates covered, 100 m. long, 8 m. wide, 12 m. high mall is the main component of the complex, interpreting both a “archway” door from the external world into the industrial plant and a distribution corridor to the lateral office buildings.
The shape of this building is totally determined by its section that is very typical in steel mills, especially in the new generation casting buildings, but also has an “archetypal” root in the Cuma Sibyl cave or in the Pyramids inner corridors or in the Mayan arch.
Shape and dimensions make of the mall a typical public space and the right one where people can meet.
The buildings aside the central Mall have traditionally built external walls whose façade patterns are largely inspired by the geometric pre-hispanic abstraction.
The two two-storied, left side buildings end with two glass staircases and a connection corridor that leads to the glass and Rheinzink cafeteria.
A great importance was given to the exhibition of Mexican art inside the complex.
A selection of both “cultivated” and “popular” art was made and as a result the abstraction of Mathias Goeritz (a big “mensaje” of 3x9 mts and a pair of square and a round gold leaf monochromes) cohabit with Humberto Spindola’s re-interpretation of papier-mâché Judas and alebrijes.