If you drive in Los Angeles, you probably noticed the blaze Sunday night that many have compared to witnessing the apocalypse. That would have been controversial LA developer Geoffrey Palmer‘s Da Vinci— a residential project on the western edge of the 110 Freeway in Downtown— going up in smoke. But Palmer, whose fortress-like, faux-Italian, fountain-embellished, wood-framed, and stucco-clad empire also includes huge downtown residences like the Orsini, the Medici, the Piero, and the Visconti, has vowed to continue with the scheme.
On December 3 Seattle opened its first Downtown parklet, at 1516 Second Avenue, a block from Pike Place Market. Designed by Gustafson Guthrie Nichol, built by Krekow Jennings, and funded by Urban Visions, the Chromer Building parklet is named for the distinctive red building—an early home to Amazon—that it fronts.
Michael Maltzan is getting into the bridge business. He’s already part of the HNTB-led Sixth Street Bridge team in Los Angeles, he’s finishing up a bridge in Chengdu, China, and parts of his One Santa Fe (which we will profile in a future issue of AN) in the city’s Arts District themselves form a bridge, extending over the ground plane and allowing peeks toward the L.A. River.
Now he’s been tapped by the Hammer Museum to design the John V. Tunney pedestrian bridge, above the institution’s large garden courtyard, finally connecting its 2nd floor western permanent galleries to its eastern ones. Read More
San Francisco’s city center isn’t the only place undergoing unprecedented changes. While the 49ers play out their season in the much warmer (and tech-nerd-friendly) new Levi’s Stadium in Santa Clara, their former home, Candlestick Park, is about to be replaced by an outlet center and residential community.
For the second year, San Francisco Travel (the city’s marketing organization) is organizing Illuminate SF, a two-month series of light art installations around the metropolis. This year’s version, taking place now through the end of the year, features 16 glowing pieces—11 of them permanent—including works by James Turrell, Ned Kahn,Vito Acconci, and James Carpenter. Many are integrated into San Francisco buildings, such as Morphosis’ San Francisco Federal Building, KMD’s SF Public Utilities Commission, the grain elevator at Pier 92, and various terminals at SFO. Cities like Cleveland and New York have held similar festivals in recent years.
After speculation, delay, and even a blockbuster lawsuit, the $140 million Broad Museum finally announced last week that it will be opening its doors in Fall 2015, about a year behind schedule. Designed by Diller Scofidio + Renfro, the Downtown Los Angeles museum will contain more than 2,000 works of contemporary art—part of the Broad Art Foundation’s growing collection—and admission will be free to the public. AN West Editor Sam Lubell talked with Broad Art Foundation Director Joanne Heyler to get the latest on the project. And to get you keyed up for the eventual opening, here are some of the latest construction images. It’s getting close!
The Cultural Landscape Foundation continues its “What’s Out There” series this weekend with tours and events centered around Ralph Cornell, long considered the dean of Southern California landscape architecture. (Some even call him “The Olmsted of Los Angeles.”) The event coincides with the opening today of the exhibition, Ralph D. Cornell: Dean of Southern California Landscape Architecture, at the UCLA Charles E. Young Research Library.
The Los Angeles Board of Supervisors yesterday approved the contribution of $125 million in bond funds to LACMA’s $600 million makeover, which, under the guidance of Peter Zumthor, would tear down most of the campus and snake over Wilshire Boulevard. The new 410,000 square foot building would open in 2023, with the remaining funding coming from private donations. According to the LA Times, LACMA director Michael Govan told the Board of Supervisors that the museum’s older buildings “are really ailing. They are not worth saving. The new building will be much more energy efficient and accessible to a broad public.”