We at Eavesdrop don’t like to toot our own horn, but sometimes we can’t help ourselves. So we have to point out the scene for the late July opening of Never Built Los Angeles, co-curated by our very own Sam Lubell. The event looked more like a Hollywood club opening than an exhibition opening, with a line that snaked around the corner and angry would-be partygoers trying to convince the bouncer (a.k.a. the fire marshal) to let them in. We especially love the description by AN contributor Guy Horton, here writing for KCRW’s blog: “The line of black clothing wrapped around the corner and kept going, reaching all the way down to a stretch of houses where local residents nervously peeked out to see what was going on. Cars were pulling all sorts of questionable maneuvers on Wilshire and adjacent streets as distracted, anxious architects hustled for parking. People were walking in from blocks away as if drawn from some invisible force. At any moment I was expecting police helicopters to appear overhead. That would have made my night complete.”
What’s in a name? It seems that every time we get used to an architect’s name they go ahead and change it. We’re still confused by the name Ennead Architects (formerly Polshek Partnership), and we can’t get our heads around monikers like Rogers Stirk Harbour (formerly Richard Rogers Partnership) and Populous (formerly HOK Sport). Not to mention the headaches when firms like AECOM swallow the likes of Ellerbe Becket and EDAW.
The latest on the new name train are some of LA’s brightest firms. Daly Genik Architects is now Kevin Daly Architects. And wHY Architecture is now why design. The former came as a result of shuffled leadership—partners Kevin Daly and Chris Genik parted ways amicably. The latter is a branding change to broaden the firm’s scope beyond architecture. Both have completely new web sites. And both, no doubt, will puzzle us all until we finally come to terms with the inevitability of change.
Peter Zumthor’s design for a new central building at LACMA has some experts concerned with its environmental effects. Critics including John Harris, chief curator of the National History Museum’s Page Museum, worry that the project could disrupt the La Brea tar pits, the same ecological features that inspired the building’s blob-like shape. At a meeting last month the county Board of Supervisors voted 4-0 to request a presentation from the Page Museum fleshing out the curator’s concerns. That presentation has not yet been scheduled, according to the Page Museum’s press office.
LAX finally opened its shiny new Tom Bradley terminal, designed by Fentress Architects, to quite a hullabaloo in July. The throngs who showed up for “Appreciation Days” got to enjoy shopping, music, and even free LAX keychains and knickknacks. But one of the most prominent elements was missing: the public art. Major pieces by Ball-Nogues, Pae White, and Mark Bradford were all delayed for what one participant called “a lack of sophistication on LAX’s part” in shepherding such work through. In other words, the officials didn’t get how to pull this kind of thing off. Well never fear, despite the bumps, contract disputes, and many miscues, the installations will begin opening in late September and continue through the end of the year. Better late than never.
In recent years several proposals have been floated for freeway cap parks in Los Angeles with barely any traction. Until now. On Friday LA City Council voted to have various city departments (including planning and engineering) partner with nonprofit Friends of Park 101 to raise funds for a park that would bridge the 101 Freeway, connecting Downtown’s Civic Center with Olvera Street and Union Station. Possible grants could come from local, state, and federal sources. It’s still a long way from happening, but this is a big deal. Friends of the Hollywood Central Park have created a function on their web site where users can design their own cap park, but if Park 101 gets some of these funds we could be building a park downtown for real.
Last week Los Angeles councilman, Jose Huizar, announced the formation of a 21-member task force to help re-imagine Pershing Square, the beleaguered central park in the middle of downtown. The group includes local residents, design and architecture experts, business people, and government officials. Huizar said he hoped they could bring “a wide-range of ideas and perspectives to the discussion.” They’ll also have to develop an agenda and a timeline, and figure out how to fund the project.
[ Editor's Note: The following is a reader-submitted comment from the AN Blog in response to the post, “Gehry Lets Loose on Los Angeles, Downtown Ambitions,” which cites an interview Frank Gehry did with Los Angeles Magazine. It appeared as a letter to the editor in a recent print edition, AN07_08.14.2013. Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email email@example.com. ]
The only thing that makes Los Angeles unique is that so much of it was built during the auto era (albeit on an infrastructural framework established during the interurban rail era). Different parts of Los Angeles were developed in a manner that was identical to how other cities across North America were being developed at the same time. The same succession of transportation, construction, and development technologies created a downtown in Los Angeles that is nearly indistinguishable from portions of San Francisco, Chicago, and Manhattan.
Finally. Los Angeles’ City Council on Wednesday passed a new mural ordinance, legalizing murals on private buildings after a decade of banning them. Of course would-be public artists still have to go through an extensive permitting process, and pay a$60 fee, but if they’re persistent they can finally go crazy. That is, as long as their murals don’t contain commercial messages.
“It’s a big victory and we’re thrilled,” said Isabel Rojas-Williams, executive director of the Mural Conservancy of Los Angeles. The group has been protecting the city’s murals and muralists since 1987. “Despite the recent restrictions, the city has remained one of the country’s mural capitals.”
Don’t believe us? Behold a selection below of our favorite (finally-sanctioned) murals from around the City of Angels, courtesy of the Mural Conservancy. They range from political to historical to street art / graffiti, to, well…the undefinable. Read More
On Tuesday, Los Angeles County’s Board of Supervisors voted to approve Disney’s huge new TV and film production facility on the Golden Oak Ranch near Santa Clarita. The project is being master planned by LA-based firm, Johnson Fain, and the 58-acre “Studios at the Ranch” will include more than 500,000 square feet of studios, sound stages, offices, writers and producers “bungalows” and other developments.
While pathways and parks are springing up near the Los Angeles River, plans to redevelop and green the concrete stretch still need the support of the Army Corps of Engineers and the federal government. In the meantime, students from landscape architecture firm SWA’s Summer Student Program have developed these mind bending proposals for the concrete expanse. Most not only remove the concrete, which was put in place in the 1930s, but provide walkable spaces, take down walls and other barriers, and add housing and additional program.
Thanks to the efforts of the Los Angeles Conservancy‘s Modern Committee, ten homes from Southern California’s Case Study House program have been added to the National Register of Historic Places. Launched by Arts + Architecture magazine in 1945, the Case Study program emphasized experiment and affordability, and produced some of the most famous houses in U.S. history, including the Eames House (Case Study #8), and Pierre Koenig’s Stahl House (Case Study #22).
Culver City firm wHY Architecture has been selected to design a new art museum in Los Angeles for Maurice and Paul Marciano, the founders of clothing empire Guess? Inc. The museum will be located inside a marble-clad, four story Scottish Rite Masonic Temple on Wilshire Boulevard near Lucerne Boulevard.
When retrofitted in 2015, the austere building, originally designed by legendary artist Millard Sheets, will contain 90,000 square feet of exhibition space, showing off the Marciano’s impressive collection, which will be open for “periodic exhibitions for the public.”
wHY has also designed L&M Arts and Perry Rubenstein Gallery in LA, an expansion of the Speed Art Museum in Louisville, and the Tyler Museum of Art in Texas. They’re also working on a Studio Art Hall at Pomona College outside of LA.