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.
In 2005, San Francisco officials rezoned Rincon Hill, a neighborhood close to the Financial District, to allow for high-density housing. Since then, residential developments have popped up, including The Infinity, One Rincon Hill, and the under construction 45 Lansing Street, in an area that was once a maritime and industrial hub.
The newest, Tishman Speyer and China Vanke’s LUMINA, at 201 Folsom Street, broke ground this Wednesday. The Arquitectonica-designed development will add 655 condos to the Rincon Hill neighborhood, with views of the city and bay. The residence—two towers (the tallest at 42 stories) and two mid-rise buildings arranged along a courtyard—will have luxury amenities like floor-to-celing windows, a full service sky terrace, and a three-story clubhouse with a pool. Expected completion for the project is spring 2015.
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.
Charles and Ray Eames designed their Pacific Palisades home in 1949 as part of the Case Study Program, which was begun by John Entenza, editor of Arts & Architecture Magazine. The program invited some of the best architects of the day to share their ideas for using new materials and methods to construct well-designed, mass-producible housing. The two-part, rectangular house was constructed of prefabricated materials and off-the-shelf products. Now, the Getty Conservation Institute (GCI) has made the mid-20th century modern architecture landmark a subject of its Conserving Modern Architecture Initiative.
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.
San Francisco Facades+ PERFORMANCE is only three weeks away! Connect with other architects, fabricators, developers, consultants, and other design professionals and earn up to 8 AIA LU credits per day at the conference, presented by AN and Enclos, July 11 to 12, 2013. Invaluable information, networking opportunities, and hands-on workshops are on the lineup for this year’s two-day event.
The symposium on Day 1 involves exciting presentations and discussion-based panels. Here are just a few of the speaker highlights on the agenda for Facades+.
Claire Maxfield, Director of Atelier Ten, in conjunction with Jeffrey Vaglio of Enclos, will offer introductory remarks on Day 1. Her expertise includes facade optimization and water systems.
The developer of the two-tower Millennium Hollywood, located just next to the Capitol Records building in Hollywood, has agreed with the city of Los Angeles to limit the buildings’ heights to 35 and 39 stories, reports Curbed LA. The original proposal put forth heights of 485 and 585 feet (that’s roughly 48 and 58 stories). Millennium said that the total square footage of the project—more than one million square feet—and the number of residential (492) and hotel (200) units will not change. The agreement was reached at LA City Council’s Planning and Land Use Management Committee.
This means the buildings will dwarf the iconic Capitol Records building slightly less, although the move probably won’t soothe locals fears about increased congestion. Meanwhile according to the LA Times, the California Department of Transportation has accused city of officials of ignoring their concerns about the project’s impact on the city’s freeways. Stay tuned as this drama unfolds.
Buster Simpson // Surveyor
The Frye Art Museum
704 Terry Avenue, Seattle
Through October 13
Buster Simpson is a Seattle-based artist who has dedicated his artistic career to developing community-focused and urban environmentalist public art projects. For more than forty years he has created site-specific, agitation and propaganda works that have not only troubled neighborhoods to think about the health of their communities but also suggested local solutions to global issues. This exhibition at the Frye Art Museum features some of Simpson’s most compelling works, filled with explicit messages and rich metaphors, such as his “Hudson River Purge” (1991), a video performance in which he addresses the problem of acid rain by dropping 42 ½-pound soft limestone discs, or “antacid pills,” into the Hudson River, neutralizing the acidity of the water. This collection of Simpson’s public artwork celebrates his artistic legacy and captures the regional and global impact of his work.