Los Angeles Mayor Eric Garcetti last week named Global Green CEO Matt Petersen as the city’s first-ever Chief Sustainability Officer. Peterson, according to the mayor’s office, will be tasked with “making the city’s departments greener and neighborhoods healthier, and fulfilling Garcetti’s campaign promise of creating 20,000 new green jobs.” Peterson should also have his hands full, not only getting each city department to cooperate, but on thorny issues like regulation of the city’s ports and transit corridors.
Global Green, if you’re wondering, is a non-profit dedicated to “advocating for smart solutions to global warming including green building for affordable housing, schools, cities and communities that save money, improve health and create green jobs.” Since its founding almost 20 years ago it has organized design competitions, testified in congress, hosted awards, and raised money on behalf of green causes.
While RVCA and Handel Architects‘ Capitol Records–blocking Millennium Hollywood towers have received LA city approval, the controversial $600 million project is now facing another obstacle: mother nature. Geologists say that the 35-story and 39-story towers may sit on top of the active Hollywood Fault, and the state is demanding more testing to find out if the location presents a threat.
Things didn’t work out for installation experts Ball-Nogues Studio at MOCA’s New Sculpturalism show, but the firm has rebounded nicely. They’ve just completed mounting one of their most ambitious works yet: a 70-foot-tall upside-down replica of William Pereira’s Transamerica Pyramid, for the show Modernist Maverick: The Architecture of William Pereira, on view at the Nevada Art Museum in Reno, NV. The installation, made out of chain link and stainless steel plates, hangs from the ceiling via steel cables attached to the museum building’s structure.
“We distilled it to its barest essentials. It looks like the ghost of the building,” said Ball-Nogues principal Gaston Nogues. Each chain could only be attached at a specific point, so the hardest part was fine tuning the model, stretching and moving each possible iteration, added Nogues. “It’s quite labor intensive to make sure it looked flat, and that each chain had the right tension,” he said. The show, which opens next week, runs from through October 13. It looks at many other noted Pereira projects, including the Los Angeles County Museum of Art; the University of California, San Diego Geisel Library, and the Theme Building at LAX.
Los Angeles-based firm Synthesis Design + Architecture (SDA) has won the “Switch to Pure Volvo” competition to design a portable pavilion showing off the Swedish car company’s V60 plug-in electric hybrid. The 13-foot-tall, 16-foot-wide project’s sinuous form is composed of a moiré-patterned, vinyl-coated polyster fabric imbedded with flexible photovoltaic panels tensioned over CNC-bent aluminum rods. The display’s three sections echo the three modes of the car—hybrid, gas, and all-electric—and its curving form is also practical—its torqued compression between frame and skin enables the structure to stand without any extra support.
In 2005, the Ambassador Hotel in Los Angeles became one of the most notable buildings in U.S. history to be torn down. Now a new documentary, After 68: The Rise and Fall of the Ambassador Hotel, is hoping to tell its story. Its filmmakers are raising money to finish the project through a Kickstarter campaign. Directed by Camilo Silva, the film explores the history of the hotel, once a symbol of LA’s opulent westward expansion.
The Ambassador hosted, among others, Albert Einstein, F. Scott Fitzgerald, Winston Churchill, Amelia Earhart, Salvador Dali, Buzz Aldrin, Charles Lindbergh, Babe Ruth, Frank Sinatra, and Charlie Chaplin, and every U.S. president from Herbert Hoover to Richard Nixon. And of course Robert F. Kennedy was assassinated at its Coconut Grove nightclub, a location that also hosted six Academy Awards ceremonies.
In 2005 the beleaguered hotel was torn down to build a $600 million school complex for the LA Unified School District. The film digs into the building’s past and the controversy over its end, and captures the oral histories that are some of its only remaining memories. The Kickstarter campaign ends in two weeks.
We like to think of the Hollywood Palladium, recently renovated by Coe Architecture, as a groovy place to see a show. But it looks like it’s about to become a whole lot more, as one of the future centers of Hollywood’s unprecedented building boom. Curbed LA reports that a mixed use development is now being planned on the parking lots behind the landmark theater, including residential units, street level shops and restaurants, and, potentially, a hotel.
Welton Becket’s 1958 Santa Monica Civic Auditorium, once a beacon of midcentury optimism, this weekend shuttered its doors. The bending, intricately ornamented auditorium hosted several Academy Awards in the 1960s, as well as concerts by the likes of Eric Clapton, Frank Sinatra, James Brown, Ella Fitzgerald, Prince, and Bob Dylan.
But the facility recently fell on hard times, as bands gravitated to larger venues (leaving it mostly hosting trade fairs), and as a planned $52 million renovation was recently cancelled when California abolished its Community Redevelopment Agencies.
Santa Monica Civic, a working group strategizing the venue’s future, told the LA Times that it will take several months to develop a new plan for the landmarked structure, including film screenings, live theater, or even restaurants.
The other day, AN revealed details of Fentress Architects’ new Tom Bradley International Terminal at LAX, with its arched, light-infused spaces and fancy new retail offerings. Variety takes a closer look at LA- and Montreal-based media company Moment Factory’s contribution: a series of interactive displays, including an 80-foot LED “Welcome Wall” that greets visitors, two “Concourse Portals” consisting of 10 video columns that respond to movement, and the 72-foot “Time Tower,” a four-sided LED experience surrounding the terminal’s main elevator. The system, which can be updated and adapted, is the most sophisticated of any in the country. And the production, as you can see from the video above, rivaled that of many motion pictures.
In other airport news, we plan to head over to Long Beach to see the renovation of several of its airport concourses, part of a $140 modernization plan. We’ll keep you posted.
The San Francisco Academy of Sciences has okayed a small new dining pavilion designed by Mark Cavagnero, to sit adjacent to its Renzo Piano-design museum, reports the San Francisco Chronicle‘s John King. The 12-foot-tall, 1,450 square foot space will be located in a corner of the museum’s west garden, replacing an unused aviary.
The project is still in conceptual stages, but so far it looks as though it would be rectilinear, lightweight, and glassy, with a large cantilevered flat roof providing shade. Museum guests can bring food out to the pavilion, or just use the space for relaxation. The rather minimal construction should make a good counterpoint to Piano’s dynamic, undulating one. “When cultural facilities hire star architects to attract attention and set a new tone, the follow-through is as important as the first-year buzz,” pointed out King.
Don’t look now, but LAX—the airport everyone loves to hate—is starting to complete its major makeover. The biggest change is the brand new $1.9 billion (yes, billion) addition to the Tom Bradley International Terminal, designed by Fentress Architects and unveiled in 2008. Its curving roofline, emulating waves breaking on the nearby beach, pops up behind the original Tom Bradley structure, which itself was recently renovated (for the cost of $723 million) by Leo A Daly.