Some recent tweeting by Paul Goldberger revealed that the Vanity Fair contributing editor had set sail off the coast of L.A. with architects/ seamen Frank Gehry and Greg Lynn. Broadcasting from FOGGY, Gehry’s Beneteau First 44.7 fiberglass sailboat, Goldberger sent out a rakish pic of Gehry at the wheel. (The name “FOGGY,” in case you couldn’t guess, it based on F.O.G., the maestro’s initials; the “O” stands for “Owen”). We hope to hear more about the voyage in an upcoming VF article and that the story involves pirates and lost treasure.
Well, it happened. After years of strife over the project, the Los Angeles City Council on Tuesday approved the $2 billion, 1.5 million square foot redevelopment of the Century Plaza Hotel in Century City. Back in 2009 the developer, Next Century Associates, threatened to tear down Minoru Yamasaki’s curving midcentury Hyatt Regency Century Plaza Hotel to make way for the project. But a parade of preservationists, including the LA Conservancy and Diane Keaton, stood in their way. The result: a compromise in which the hotel would be preserved by Marmol Radziner and surrounded by two three-sided, 46-story residential towers by Pei Cobb Freed as well as a 100,000-square-foot retail plaza and over two acres of public open space by Rios Clementi Hale. The executive architect is Gensler. City Council certified the scheme’s Environmental Impact Report and approved a 15-year development agreement. Let the construction begin on another major Los Angeles development. Momentum is building.
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.
Made from approximately 14,000 pieces, Bloom is the first architectural application of a laminated metal material that includes nickel and manganese with a bit of iron.
Architecture has long been valued for its static nature and sense of permanence. Increasingly, however, architects are working to make buildings more responsive to their users and to the climate. Often this is accomplished through mechanical means, but architect Doris Kim Sung, principal of LA-based DOSU studio architecture, is looking at how building materials themselves can be responsive, integrating changeability into the structure itself.
The dramatic shell-like form of her recent pavilion, called Bloom, suggests, at first glance, that Sung is interested in cutting-edge digital design. While this is certainly the case, Bloom’s true innovation happens more slowly, through the bending of its metal panels according to heat levels generated by the sun.
Next Tuesday, January 8, The Broad in Downtown Los Angeles (not that Broad Museum), Eli Broad’s new contemporary art museum with an arresting net-like “veil” facade by Diller Scofidio + Renfro, will top out at the corner of Grand Avenue and Second Street. The project is set to open next year and will contain 120,000-square-feet over three-levels, including 50,000 square feet of gallery space on two floors, a lecture hall for up to 200 people, a public lobby with display space and a museum shop.
The expansion of LA’s Metro Rail Gold Line is well underway with a stunning new piece of infrastructure: The Gold Line Bridge. Completed last week, the 584-foot dual-track bridge, stretching over the eastbound lanes of the I-210 Freeway, will provide a light rail connection between the existing Sierra Madre Villa Station in Pasadena and Azusa’s future Arcadia Station. The rail line itself is scheduled for completion in 2014.
Made from steel reinforced concrete with added quartz, mica crystals, and mirrored glass, the monochromatic, abstract design, conceived by artist Andrew Leicester, pays homage to the region’s historic American Indian basket-weaving tradition and includes a carriageway and a post-and-lintel support beam system. The 25-foot baskets adorning each of the posts, “metaphorically represent the Native Americans of the region…and pay tribute to the iconic sculptural traditions of Route 66,” wrote Leicester.
Amid the hubbub surrounding the Space Shuttle Endeavor landing inside its temporary digs at the California Science Center (our favorite part at the opening: James Ingram crooning I believe I can Fly, with LA Mayor Villaraigosa dancing in a trance behind him), the museum has done its best to keep the plans for the orbiter’s future home under wraps. But we’ve managed to uncover some tantalizing details of the Samuel Oschin Air and Space Center: For one, the new building by ZGF will measure around 200 feet tall, enough to accommodate the spacecraft and its booster rockets standing upright. It may also feature a slide to the base of the Space Shuttle. Now that’s what we’re talking about.
LA architect Mark Mack has decided to take on several careers instead of the traditional single-job model. In addition to practicing architecture, he is now a screenwriter, chef, and DJ. He’s working on a screenplay about the early lives of Neutra and Schindler; he’s opening up a takeout restaurant focusing on small bites; and he’s spinning old and new songs on vinyl records. Surprised? Why? For all of us in LA it’s just a matter of time…
Like any star of the silver screen, a facial peel is in order every now and then. For the famous Hollywood Sign perched atop Mount Lee overlooking Los Angeles, it’s been 35 years since its last facelift, but the 89 year-old historical landmark will soon look as young as ever. Last week, the restoration project passed the halfway mark, with the H-O-L-L-Y letters newly primed, primped, and painted. The effort started on October 2 and will be completed by year’s end. The remaining corrugated steel letters will be sanded and given a fresh coat of glossy white paint.
When all is said and done, approximately 110 gallons of primer and 275 gallons of paint will have been used. And for sign aficionados who want to duplicate the color, it’s Sherwin-Williams Emerald Exterior Paint in high reflective white. The Hollywood Sign Trust together with Sherwin-Williams is funding the project. The sign was originally built as a real estate billboard in 1923, scrapped and rebuilt in 1978 and today continues to be an international landmark.