Yesterday AEG unveiled its design for a 200,000 square foot convention center expansion in downtown Los Angeles. Replacing a wing of the LA Convention Center, the new structure, called LACOEX (LA Convention and Exhibition Hall) and designed by Populous (which, it so happens, is also designing Majestic Realty’s proposed stadium in the City of Industry) the elevated center would stretch over Pico Boulevard and connect directly to the company’s planned football stadium, the Gensler-designed Farmers Field.
The highly graphic, glass paneled exterior would be complemented by restaurants and patios outside the base of the hall,. The plan, of course, won’t go forward until LA gets a new NFL team for the new stadium/convention complex. Look for an update with more information soon.
One of the Bay Area’s most effective urban instigators, SPUR (San Francisco Planning and Urban Research Association) is opening an office in San Jose. The move came about for a few reasons, says the group. First, San Francisco has a declining share of the region’s population, so it makes sense to branch out. And second, most planning decisions are made locally, so SPUR needs to establish footholds in the area’s major cities.
The new branch office was made possible by a successful $1 million fundraising campaign that will fund operations over the next three years. Leah Toeniskoetter will head up the new office and brings a background in real estate and economic development and finance.
“San Jose wants to be walkable, it wants more transit-oriented development and sustainability,” SPUR Director Gabriel Metcalf told the San Francisco Business Times. “In many ways, San Jose’s challenge is America’s challenge.” A move to Oakland could be next on SPUR’s agenda.
If you love the Eames Office (and who doesn’t?) you need to see this new video by Eames Demetrios, grandson of Charles and Ray Eames, who took several of their famous elephants on safari with him at the Malamala Game Reserve in South Africa. The stop-action video accomplishes what few in the design world have been able to: it brings the already playful pieces to life, wearing pith helmets, bumping around in their jeep, wrestling and checking out zebras, water buffalo, and other creatures (but curiously no elephants). Good news: it appears there will be more safaris to come.
Try selling one Japanese garden, and all hell breaks loose. That’s what UCLA is discovering after announcing plans to sell the UCLA Hannah Carter Japanese Garden in Bel-Air, which it has owned for more than 50 years, since 1964. The property also contains a lovely Georgian Colonial house and a traditional Japanese tea house.
UCLA claims that the move is necessary due to budget cuts (the site costs over $100,000 a year to maintain, it says), and because the property serves no academic or research purposes. But garden and architecture lovers fear that the site—regarded as one of the nation’s preeminent postwar gardens—will be in jeopardy if it transfers hands. UCLA says it hopes to find a responsible owner. We’ll see how this shakes out.
Our friend Alissa Walker reports in LA Weekly that San Francisco’s Parklet craze (SF now has 23 of the parks built on former parking spaces) has reached the streets of Long Beach. Designed by Studio One Eleven, Southern California’s first parklet is a 30-foot-by-7-foot space with wood decking just outside of the city’s Lola’s Mexican restaurant. Lola’s owner, Luis Navarro, paid for the $20,000 parklet, plus the cost of the chairs and tables. According to the story two more Long Beach parklets will be opening in the next few months—one at a coffee shop and one at a Vietnamese restaurant. Meanwhile LA is on the way to getting its own parklets (hopefully) thanks to the launch of its Parklets Program at the end of last year.
The University of California Board of Regents yesterday approved the second phase of the rehabilitation of UC San Diego’s University House. Located on seven acres in La Jolla Farms, the eccentric 1952 structure was designed by noted Santa Fe architect William Lumpkins. It has been closed since 2004 when it was pronounced uninhabitable because of seismic and system deficiencies. Here’s the best part: the house will be renamed the Audrey Geisel University House, in honor of the widow of author Theodor ‘Dr. Seuss’ Geisel, a longtime philanthropic supporter of the campus. Mrs. Geisel has donated more than 8,000 of her husband’s original drawings, sketches, books, and other memorabilia to the university libraries and donated more than $20 million to UCSD. The entire cost of the Geisel House renovation, estimated at $10.5 million, will be covered by gift funds including $1.5 million gifted from the UC Office of the President.
Michael Maltzan Architecture has won the competition to redesign St. Petersburg, Florida’s iconic pier. In a group of ambitious proposals from the likes of West 8 and BIG (Bjarke Ingels Group), Maltzan’s scheme was perhaps the most so, with a group of interconnected bridges and pathways arranged along a figure-8 plan leading to a large shell-structure at its end. Called “The Lens,” the gigantic project will frame the city through its structure and create a connection between downtown St. Petersburg and its waterfront. It will include a new tidal reef, a civic green, raised walking paths, an amphitheater, a water park and other leisure activities. More on this breaking story to come shortly.
Matthew Marks Gallery tonight opens its new West Hollywood gallery, designed by architect Peter Zellner. The white, cube-shaped, 3,500 square foot building is highlighted by a huge sculpture by Ellsworth Kelly, which makes sense given that the gallery’s opening show, Ellsworth Kelly: Los Angeles, opens tomorrow. The sculpture, a dark colored bar measuring 8×40 feet, has been installed 30 feet off the ground, jutting ten inches out from the building facade, creating a floating effect. The metal sandwich panel structure was hung via a series of steel plates, “like hanging a painting,” said Zellner. Of course that’s a painting that weighs 5,000 pounds. Inside the lofty, spare gallery space, with its eight skylights, will be showing off some of Kelly’s finest work, including two works that inspired the facade piece: the collage Study for Black and White Panels (1954), and the painting Black Over White (1966).