In front of a packed room inside the Capitol Records building in Hollywood yesterday, the Getty announced details of the next installment of Pacific Standard Time, the popular series of art and architecture exhibitions that helped reframe Los Angeles’ position on the map of worldwide arts and culture. Sporting a new moniker, Pacific Standard Time Presents: Modern Architecture in L.A. will be smaller in scope than the previous iteration, with eleven exhibitions and accompanying programs in and around Los Angeles scheduled for April through July 2013.
In a recent issue of The New Yorker, writer Ben McGrath profiles Steve Clarkson, the private football coach to the quarterbacks of tomorrow. The writer interviews several adolescent clients attending Clarkson’s elite practice camp, including 10-year old Miller Moss (also featured on the article’s only photo). During a workout McGrath finds Moss’ father in the stands—California-based architect Eric Owen Moss.
“I would be completely disingenuous if I didn’t say I really enjoy this stuff,” said the elder Moss of the high-stakes training. “I’m embarrassed a little bit. It’s contagious in a way that even parents who should know better don’t always.” The design influence of the architect—once called the “jeweler of junk” by Philip Johnson—may be evident on the field: his son sports silver Nike cleats with the nickname “Miller Time” embroidered in gold.
LA architect Eric Owen Moss will receive the 2011 Jencks Award, an annual prize named for British architect and critic Charles Jencks recognizing “major international contributions to the theory and practice of architecture.” Previous winners of the award include Zaha Hadid, Foreign Office Architects, Peter Eisenman, Cecil Balmond, UNStudio, Wolf Prix & Coop Himmelb(l)au, Charles Correa, and Steven Holl. The award will be presented on December 6 at the Royal Institute of British Architects in London.
Best known for his highly experimental work in Culver City’s Hayden Tract, a former industrial area transformed into creative offices, Moss is now planning several projects around Los Angeles. Below is a small collection of recent and upcoming work from his firm: Read More
Finally. After 39 years of wandering around Los Angeles and trying to convince its landlord to sell, SCI-Arc today announced that it has bought its building in LA’s Downtown Arts District. The 1,250 foot-long Santa Fe Freight Yard Depot building, a reinforced concrete structure designed by architect Harrison Albright, stretches seemingly forever along Santa Fe Avenue. Students like to bike or skateboard inside it to get to class.
The school moved to the former rail depot 10 years ago after a 2001 renovation by architect Gary Paige. The school’s opening came when building owner Meruelo Maddux Properties filed for bankruptcy—meaning it really needed the money. The school bought the property for $23.1 million. Other homes for the school have included Marina Del Rey and Santa Monica. But now it finally has a real home.
And their edgy, coarse and lively corner of downtown, as SCI-Arc Director Eric Owen Moss has pointed out, is where it’s always wanted to be. “SCI-Arc is absolutely committed to Downtown,” he told AN in a recent interview, adding that the area is a laboratory for architectural and urban development. “We are staying Downtown. Period.”
Deep-pocketed house-hunters on the prowl for an architectural icon this summer are in luck: The critically acclaimed Lawson-Westen House, designed by Los Angeles architect Eric Owen Moss, is on the market for the first time. The 5,100-square-foot Brentwood home remains the architect’s largest residential project and is an oft-cited example of the spatial subdivisions and geometric shifts that characterize much of LA’s modern architecture. Read More
According to our friends at Curbed LA, Eric Owen Moss’s planned Venice project , on the corners of Venice and Lincoln Boulevards, has been put on the shelf. Fred Mir, who works for the developer, Group III Investments, told Curbed that the neighborhood “didn’t like the height,” and that they had decided to scrap the project back in August, after a bumpy community meeting. No sign of what will replace Moss’s scheme, but we’ll be looking into it…
Architect and SCI-Arc Director Eric Owen Moss talked to us the other day to correct our recent post on SCI-Arc’s future in the LA Arts District. Yes, he agreed, SCI-Arc does want to eventually own its own home (it tried unsuccessfully to buy its building from its landlord, developer Meruelo Maddux, a few years ago) . But the school’s lease is not up next year, nor does SCI-Arc face any pressure to leave anytime soon.
“SCI-ARC’s not going anywhere. SCI-Arc has no plans to go anywhere, and is not obligated to go anywhere,” he said. Read More
PACKING UP CAMP
Now that Donald Fisher’s CAMP project in San Francisco is officially dead, talk is swirling about where the Gap founder’s art collection will go. The whispers have focused on one obvious suspect: SFMOMA, which has already begun planning a 100,000-square-foot expansion that could get even bigger. One rumor has it that the museum is talking to the city about acquiring an adjoining fire station and building a new one elsewhere in return, in order to offer the Fishers their own digs. SFMOMA director Neal Benezra coyly parried questions with the comment: “We welcome the opportunity to partner with the Fishers to find a home for their collection as part of an expanded SFMOMA campus.” Read More