Earlier this year AN‘s Eavesdrop column predicted the shortlist for Wilshire Boulevard Temple’s “Gathering Place,” a 55,000-square-foot event space across the street from the institution’s sanctuary. The final list has been revealed and includes big hitters such as OMA, Kengo Kuma & Associates, Morphosis Architects, and Steven Holl Architects.
In a recent interview, Diller Scofidio + Renfro Senior Associate Kevin Rice told AN that the “veil” at Los Angeles’ Broad Museum—a facade made of hundreds of molded Glass Fiber Reinforced Concrete (GFRC) panels, had been delayed by over a year. “Some of the things took longer to make than they thought, but there aren’t really problems with it,” Rice said.
But now it looks like the issues with the museum’s facade are more severe than initially thought.
Diller Scofidio + Renfro‘s concrete-veiled Los Angeles art museum and its accompanying plaza, The Broad, named for the billionaire philanthropist Eli Broad who commissioned it, continue to rise in downtown. Meanwhile, across the street, Broad’s longtime project, MOCA, struggles to find its footing. Addressing these two projects, Broad sat down with Los Angeles Magazine, giving an unusually candid interview about the state of the city, his own giving, and much more. Here are some of his most revealing quotes from a man who, this time, departed from his usual tactic of sticking to talking points.
Now we’re really confused. Amidst reports that LA’s MOCA might be taken over by LACMA or USC, now we hear via the New York Times that the struggling institution might now join forces with the National Gallery in Washington D.C. According to John Wilmerding, the chairman of the Gallery’s board of trustees, MOCA is “close to working out a five-year agreement…to collaborate on programming, research and exhibitions.” The deal wouldn’t include fundraising assistance, but would obviously bolster MOCA’s ability to raise money with the National Gallery’s high profile assistance on programming, exhibitions, research, curation, and staffing. Oh, and guess who approached the National Gallery, according to the story: MOCA board chair Eli Broad, who has made it clear he doesn’t want to be swallowed by LACMA. Stay tuned as this saga plays out.
The Grand, the multi-million-dollar, mixed use project on top of LA’s Bunker Hill, is finally… slowly… moving forward with an Arquitectonica-designed residential tower, which just broke ground. But it appears that Frank Gehry’s days on the project may be numbered. After a recent call with Related, we got no assurances that the starchitect was still part of the project. A report in the Downtown News got similarly uncommitted answers.
Just across the street from the Grand we hear that The Broad (what’s with all the THEs?)—Eli Broad’s multi-million-dollar art museum—is getting ready to add an upscale market to its rear, just above the parking lot. If it’s even close to as successful as Chelsea Market in New York, Downtown LA could have yet another hit on its hands. Meanwhile, decking is being laid for a new park to The Broad’s south, but still no renderings of the park have been unveiled. Let’s make this public, Mr. Broad. We can’t wait to see your plans, which could single-handedly make or break Grand Avenue.
Next Tuesday, January 8, The Broad in Downtown Los Angeles (not that Broad Museum), Eli Broad’s new contemporary art museum with an arresting net-like “veil” facade by Diller Scofidio + Renfro, will top out at the corner of Grand Avenue and Second Street. The project is set to open next year and will contain 120,000-square-feet over three-levels, including 50,000 square feet of gallery space on two floors, a lecture hall for up to 200 people, a public lobby with display space and a museum shop.
When Diller Scofidio + Renfro were solicited last June by Eli Broad to sketch an idea for his new archive and museum, the architects were forced to ask: “What do you build next to Disney Hall?” Answer: Something else. Where Frank Gehry’s work is smooth and impenetrable, the Broad Art Foundation is porous and accessible. The stainless steel concert hall reflects the city’s skyline; blinding sunlight bounces off its capering shell. The Broad’s concrete veil, by contrast, is a less aggressive spectacle. At three-feet thick, and punched through with large angular openings, the new museum looks as if it is cloaked in an ice cube tray twisted by a powerful algorithm. As, certainly, it has been, to pleasing effect. Read More
Yesterday, Sam Lubell detailed The Broad Foundation’s much-anticipated LA museum complete with all the renderings. Now, we have a video fly-through of the new Diller Scofidio + Renfro-designed space and isn’t it something! You can really start to appreciate the porous nature of The Broad‘s structural concrete “veil” and the views inside and out it will offer. You also gain a sense of its street presence sitting alongside Frank Gehry’s Disney Hall, which appears rather large in comparison. What do you think?
Finally. The design for Eli Broad’s new contemporary art museum in Downtown LA, designed by Diller Scofidio + Renfro, is being unveiled on Thursday, according to a press release sent out today. The event will take place at 11:00 am at Walt Disney Concert Hall (next to the new museum site), giving us lazy journalists plenty of time to make it. According to the release, the museum will be “home to the worldwide headquarters of The Broad Art Foundation,” and will provide a home for Broad’s collection of more than 2,000 works by 200 artists. Since the museum saga has dragged out over several years between several cities, and because he’s hired one of the country’s top architects, Mr. Broad has done an excellent job of building our expectations. Hope it’s good!
The Daily Beast features a very interesting article about LA’s “Culture King” Eli Broad. The writer, LA Weekly’s Tom Christie, details Broad’s incredible spending spree on culture (not to mention on education and science), from the Broad Stage in Santa Monica to his new museum downtown, putting him in the company of other legendary—and, um, challenging— LA philanthropists like Norton Simon and J. Paul Getty. While art world figures like Michael Govan take their shots, few architects appear willing to talk on record about the intrusive client (Broad calls himself “strong willed” in the story). But one of them is Thom Mayne, who doesn’t pull many punches, although in the end seems to have an affinity for Broad. As for their failed partnership on the downtown museum, Mayne gets in a little dig: “We worked for a while, and we just reached a mutual understanding that we weren’t going to work together… It’s my city, and I didn’t want to produce a building I wasn’t proud of.”. Another revealing tidbit “I think he’s crazy as a loon half the time, and I don’t agree with him. But I have great admiration for him, and I actually like him.” For his part Broad gets in a slap at those who criticize his style: “Why don’t they join in the L.A. cultural life, rather than [sit] back and [offer] commentary?”
Leave it to Eli Broad, who is putting up his own museum in Downtown LA, to make a mockery of the public process. Despite getting a great deal on one of the most valuable pieces of real estate in the city he still hasn’t shared any of the designs for the new museum. His only nod was inviting the LA Times Christopher Hawhthorne to see the contending models a few weeks ago, and not letting any other members of the press in. Hawthorne, it appears, could not publish his thoughts until after a winner was chosen, and even then his article didn’t show any photos. And the Broad Foundation doesn’t plan to share any images of the winning scheme until after ground is broken. This is a disaster for LA, which will effectively have no say over one of the most important cultural institutions in its history.