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The veil functions both as the primary facade and the daylighting system, providing a sense of connection between the gallery spaces and the city.
The Broad Museum will open its doors to the public on Sunday, 5 years after after Diller Scofidio + Renfro won a small invite-only design competition to design a space for Eli Broad’s immense contemporary art collection. All of the public spaces in the museum are created between the building’s two enclosure systems, coined the “vault and veil” by DS+R. The veil, a daylight-absorbing concrete exoskeleton balances performance with fashion, while an interior vault protects a nearly 2,000 piece art collection. Visitors move over, under and through the vault, which consumes almost half of the 120,000 sq. ft., 3-story building.
Hennessey + Ingalls is a rarity in an age when bookstores that survived the rise of Amazon are often indistinctive superstores or exercises in hipster curation. Los Angeles’ long-established mecca for art and architecture is neither. Fans were nervous when the store shuttered its Hollywood annex in Space Fifteen Twenty last spring. While the Santa Monica store on Wilshire and 2nd will close at the end of the year, it will reopen in a new space at One Santa Fe, the mixed-use development complex designed by Michael Maltzan Architecture.
When The Broad opens to the public on September 20, Angelenos will finally get to see how Diller Scofidio + Renfro’s design compliments philanthropists Eli and Edythe Broad’s powerhouse collection of 2,000 pieces of contemporary art in their eponymous museum. Works by Ed Ruscha and Cindy Sherman will hang in the 35,000-square-foot, column-free gallery space lit by some 300 skylights.
On View> Arik Levy reflects on design with his new exhibit at Los Angeles’ Please Do Not Enter gallery
I love going to Downtown Los Angeles. It’s changed. A lot. And what a fantastic way to celebrate the AIA/LA Design Awards: down on Broadway, choreographed by the Awards Committee to triangulate the historic Million Dollar Theater, the iconic Bradbury Building, and the revamped Grand Central Market for the closing party. In fact, it was so well-choreographed that it was difficult to pull people from the Bradbury (all those fantastic wood, iron, and marble details were lit up in the vertigo-inducing atrium like some movie set) to the actual theater and get them in their seats for the awards presentation. That was the vibe. It was a good time, spilling and tripping out into the street from one venue to the next.
The Los Angeles Bureau of Engineering’s competition for a $350 million expansion and renovation of the LA Convention Center has been narrowed down to three final teams. And they are: AC Martin/LMN, Gensler/Lehrer Architects, and HMC/Populous. According to the project’s Task Order Solicitation (PDF), the teams will each receive $200,000 to “develop and present conceptual designs,” including models, renderings, plans, cost estimates, phasing plans, etc. Designs are due on December 8.
Word has it that Art Center, which seems to already own all of Downtown Pasadena, has just bought the area’s massive Jacobs Engineering Building. Also on the move, USC Dean Qingyun Ma has relocated his firm’s offices to none other than Downtown LA’s Bradbury Building. How’s that for pressure? And we’ve learned of the initiation beverage of our favorite architecture-related women’s drinking and discussion group: Denise Scotch Brown. What group would Venturi inspire? We shudder to think… Something about Vermouth?
Another symbol of downtown Los Angeles’ transformation is the ongoing renovation and rebranding of the Spring Arcade Building. Modeled after the great Beaux Arts arcades of Europe, the space has long been a grubby home for non-distinct shops. The Arcade—actually two 12-story towers connected by the skylit, glass roofed, three-level arcade—was built in 1924 by architects Kenneth McDonald and Maurice Couchot. With its Spanish Baroque entryway, it originally contained 61 shops, and later added a Venetian-style bridge across its center. It now contains space for 21 shops and restaurants and still contains the landmark KRKD radio towers on its roof.
Some people say Los Angeles is run by the entertainment business, but starting this Thursday the city will belong to artists and architects. Well downtown will at least. As part of the first-ever Skyline Festival (February 13-22), local designers will be mounting ten installations within a 10-block radius in the city center. The event is sponsored by LA-based LERATA, which stands for Laboratory for Experimentation and Research in Art, Technology, and Architecture.
Speaking of zombies, two of Downtown LA’s most long-stalled projects appear to be rising from the dead. The mixed-use project revolving around Julia Morgan’s beautiful Herald Examiner Building on Broadway is apparently finally getting underway, now developed by Forest City, and no longer designed by Morphosis. The designer has yet to be revealed.