Search results for "frederick fisher"

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Talk of Twitter

Asbestos outrage turns toward AIA on Twitter
Architects have taken to Twitter calling out the American Institute of Architects (AIA) for staying silent on the U.S. Environmental Protection Agency (EPA)’s recent decision to allow asbestos back into the manufacturing process for building products on a case-by-case basis. People are now wondering why the AIA has yet to speak up in the wake of national buzz, although at least one AIA official has informally responded online. Architect Donna Sink first brought up the issue of professional ethics: Then the Architecture Lobby, a national nonprofit focused on labor and social issues in the field, responded to Sink's tweet, which provoked an outcry of criticism against the AIA's silence: Some even went so far as to say that any architects who specify asbestos-containing products for their buildings shouldn't be licensed: Even the firm Brooks + Scarpa weighed in: According to a tweet, 2019 AIA vice-president/2020 president-elect Jane Frederick, FAIA, has spoken with current 2018 President Carl Elefante via email to discuss the organization's involvement with the discussion on asbestos. The Architect's Newspaper received word from the AIA as of 1 p.m. today that they will be releasing a comment soon. Stay tuned. The EPA is taking public comments on the Significant New Use Rule (SNUR) on asbestos through this Friday, August 10. At the time of publication, 154 comments have been submitted. Let the EPA know your thoughts here.
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Meta Guide

Seeing Rome through the eyes of Robert Venturi
Complexity and Contradiction in Architecture is not an easy book, or so we were told by Vincent Scully in the introduction to Robert Venturi’s seminal 1966 publication. The book’s release is the stuff of modern architectural mythology. When initially published, Venturi’s text signified a daring step away from modern orthodoxy. It encouraged the design community to actively participate in broad architectural discourse, to treat the past as prologue rather than discarding it as merely vestigial. The book was loathed by many. Treated as critical contraband, it was seen as incendiary and vulgar, and was perceived to be a jab to the prevailing momentum of Western architectural progress. However, to a small fraction of midcentury architects, the book was a welcome embrace of architectural inheritance. It was a permissive, if soft, manifesto allowing designers to stretch out, to embrace a messy and nonlinear practice, to get a little weird. Frederick Fisher and Stephen Harby proudly identify with Team Venturi. The first pages of Robert Venturi’s Rome, to which both contribute text and watercolor illustration, celebrate the profound influence Complexity and Contradiction had on the way they practice, teach, and understand the built environment. Reading the book as students proved to be a shared watershed moment. Fisher immediately shifted focus from art and art history to architecture, and has worked in Rome as both an architect and Rome Prize Fellow. Harby received the book from Vincent Scully in a fateful transaction that led to a Rome Prize Fellowship and a recurring teaching position in the Eternal City. Robert Venturi’s Rome is ostensibly a travel book for the architecturally inclined, exploring some, though not all, of the Roman sites referenced in Complexity and Contradiction. Fisher and Harby “propose to take the reader on a journey through time and ideas by visiting and discussing nearly thirty Roman places that exemplify Venturi’s revolutionary ideas,” and they use the Complexity and Contradiction table of contents, and supplemental quotes from the original text, as a framework for ten short tours. Unsurprisingly, by pairing buildings and urban spaces with the tenets of Venturi’s work, including “ambiguity,” “contradiction” (both “adapted” and “juxtaposed”), and the “double-functioning element,” Robert Venturi’s Rome is quickly revealed to be more complex, and yes, more contradictory, than a standard travel guide of the Fodor’s or Rick Steves variety. Fisher and Harby pragmatically outline locations and hours of operation, but eschew detailed photography for their own watercolor illustrations. The images of buildings, architectural elements, and plans are gorgeous, lovingly rendered and evocative, but leave details to be examined solely by text. Accordingly, the text often carries an unevenly distributed burden. Venturi populated Complexity and Contradiction in Architecture with more than 250 images, mixing architectural photographs and drawings with mannerist and abstract paintings, an approach that buttressed his criticism and apologia. Conversely, Fisher and Harby are successful when describing formally familiar work, like the Pantheon or Casa Girasole, but struggle when examining complicated baroque spaces, like Francesco Borromini’s San Carlo alle Quattro Fontane.   Vacillating between highlight reel and inside baseball, the tone of the book is inconsistent. It is simultaneously a travelogue for the architecturally curious and a series of esoteric incantations relying on the erudition of the reader to spot the sly relationship between Fisher and Harby’s text and Venturi’s design exegesis. The esteem in which the authors hold Venturi—and his work—and their admiration for Roman architecture is evident. Venerating both theorist and city, Fisher and Harby note, “it is possible that, without acknowledging it, Venturi…is celebrating the fact that in the hands of Borromini and many other architects, classical language is a living, fluid thing, and not the dead language that Venturi’s modernist contemporaries would have considered it.” By design or otherwise, the publication of Robert Venturi’s Rome feels timely and in keeping with a broader revivalist spirit currently underway. It fits easily with the recent Ettore Sottsass show at the Met Breuer, the successful effort to designate Kevin Roche and John Dinkeloo’s Ambassador Grill as a New York City landmark, and the recognition of the glass pyramid–topped Musée Louvre renovation with an AIA 25-year award. Still, it takes a unique kind of architectural navel gazer to appreciate the meta-narrative of a book about a book by an architect designing buildings about architecture. Scully suggested that Complexity and Contradiction might shift our professional perspective from the Champs d’Elysées to Main Street. Through thoughtful analysis and vivid illustration, Fisher and Harby remind us that Rome is a complex city of interwoven Main Streets populated by both historic exemplars and idiosyncratic oddities. Robert Venturi’s Rome “evokes many levels of meaning and combinations of focus,” write the authors. “Its space and its elements become readable and workable in several ways at once.” Coincidentally, so does Robert Venturi’s Rome. Brian Newman is an architect and university campus planner and has taught at Washington University in St. Louis. Robert Venturi's Rome Frederick Fisher and Stephen Harby, ORO Editions, $25.00
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Block Party

Renderings revealed for Armenian American Museum in L.A.
Renderings have been revealed for the forthcoming Armenian American Museum (AAM) in Glendale, California. The proposed 30,000-square-foot complex is designed by Glendale-based Alajajian Marcoosi Architects (AMA), a local architecture firm known for designing classically-inspired apartment and retail complexes. With their distinctive proposal for the AAM, however, AMA has traded in swept cornices for heroic expressionism. The firm’s chiseled design for the square-shaped museum complex hearkens toward the faceted and craggy faces of Mount Aragat in Armenia as well as toward the Verdugo Mountains that frame the city of Glendale, according to a project website. AMA beat out three other architecture firms for the commission, including Yazdani Studio of Cannon Design, Belzberg Architects, and Frederick Fisher and Partners. The museum is designed to host a variety of cultural exhibitions and educational events while also functioning as a research center aimed at cultivating “Armenian American culture, social justice, and pluralism,” the site explains. The City of Glendale is known locally as the heart of Los Angeles’s thriving Armenian community and is home to the largest number of ethnic Armenians outside of Yerevan, Armenia, that country’s capital city. Renderings for the project depict a bouldered cube punctured by entry portals and slivered windows along its principal facades. The complex contains a generous public entrance on Colorado Street—a main thoroughfare—and is set back from the street along this expanse. The building’s raised first floor caps above- and below- grade parking and is accessed via a broad staircase connecting the building’s entry level with the street below. The eastern end of the building contains a rooftop terrace while the center of the structure is capped by a large skylight. Renderings also depict stone and concrete-clad interior surfaces as well as a mix of interior multi-height spaces punctuated by balconies. The backside of the museum is designed to open onto a new central plaza that connects to arterial pedestrian paths. This central plaza—known as Glendale Central Park—is currently being redeveloped by SWA Group with the aim of creating a symbolic gathering space for the city that will connect the city’s Downtown Central Library with the new AAM, an adult recreation center, and a series of parks, play areas, and pedestrianized streets. The new master plan for the district was approved by the City of Glendale last week, paving the way for community outreach to begin for the project. The city-led project is expected to receive final approval in April 2018. A final construction timeline has not been announced.
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White Cubes

Frederick Fisher & Partners to expand L.A.’s Natural History Museum
Frederick Fischer & Partners (FFP) and the Los Angeles County Natural History Museum (NHM) have unveiled initial conceptual designs for an ambitious 485,000-square-foot expansion and modernization plan for the museum that aims to reorient the complex amid increased development in Exposition Park. The 104-year-old institution wrapped up a previous modernization plan in 2013 that produced a new wing designed by CO Architects as well as 3.5 acres of updated performative landscape designs by Mia Lehrer + Associates. The FFP-designed addition will boost the museum’s overall square footage by an additional 60,000 square feet over current designs. Initial renderings for the FFP expansion depict a three-story, glass-clad structure rising along the western edge of the historic NHM building. The new addition will be designed with the intent of creating visual porosity between the institution and the surrounding park lands, an increasingly-important aim as the museum and the new expansion will soon be flanked by the forthcoming MAD Architects–designed Lucas Museum of Narrative Art. To better connect with Lucas Museum visitors, FFP’s addition will feature a ground floor atrium wrapped in double-height, operable walls that can open and close with the institution’s needs. The building’s uppermost level is depicted in early renderings with a rooftop terrace containing a restaurant that is open on two sides while other areas appear more generic in nature. The addition is wrapped in a grid of square-framed curtain wall sections that give way to the double-height entry lobby along the southern facade. A key component of the expansion includes the addition of new theater facilities to “serve as a meeting space for dialogue about critical issues affecting our natural and cultural worlds, and as a vital gathering place for the community and neighborhoods around Exposition Park,” a press release announcing the expansion states. In the statement, Frederick Fisher, design principal and founder of FFP said, “What I find thrilling about the [NHM], in addition to its amazing collections and wonderful presentations, is the way it serves as a point of focus for the diverse communities that gather there, and as an intersection between these communities and the museum’s activities.” The NHM addition comes amid sweeping change for one of L.A.’s marquee urban parks. Aside from the addition of the Lucas Museum, the park will soon host the new Banc of California soccer stadium designed by Gensler for the Los Angeles Football Club. Development is booming in surrounding areas as well, fueling community displacement amid a regional housing and transportation crisis. Exposition Park is currently in the process soliciting proposals for a new master plan for the park as the Office of Exposition Park Management seeks to prepare the park for the addition of new facilities as well as for the central role it will play in the 2028 Olympic Games. FFP is also currently developing a long-term facilities plan for the museum that will guide further design efforts for the expansion.
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Best Saves

Los Angeles Conservancy announces 2017 preservation awards
The Los Angeles Conservancy has selected eight recipients for the organization’s 2017 Preservation Awards. The annual designations, which celebrate “outstanding achievement in the field of historic preservation,” are culled from across Los Angeles County and include physical structures as well as organizations and preservation-minded programs. This year’s Chairman’s Award was given to SurveyLA: The Los Angeles Historic Resources Survey, a program launched by the City of Los Angeles, Department of City Planning and the J. Paul Getty Trust. It aims to survey the entirety of the City of Los Angeles’s historic heritage. The entities behind the program developed a special app that allows surveyors to digitally record survey information and photograph properties and artifacts through the use of a tablet. The survey examined over 800,000 land parcels and 500 square miles of land; the effort represents the largest survey of its kind ever completed by an American city. The survey, structured in correspondence with the city’s 35 Community Plan Areas, seeks to embed preservation awareness with the city’s planning apparatus. The LA Conservancy also made several project-based recognitions, including the recently completed redevelopment and expansion of the CBS Columbia Square complex by House & Robertson Architects, Inc. and Rios Clementi Hale Studios (RCH Studios). The Historic Resources Group served as preservation architect and consultant on the project, which sought to restore what was once the West Coast headquarters for radio and television broadcaster CBS. The restoration of the existing office, commercial, and broadcast structures will be supplemented by a large mixed-use addition located at the back of the site. CBS Columbia Square was designated a Los Angeles Historic-Cultural Monument in 2009 and it is currently eligible for listing in the National Register of Historic Places (though it has not yet been listed). A Cultural Landscape Report for the Los Angeles County Arboretum & Botanic Garden, prepared by the arboretum, was also awarded project-based recognition. The report details an extensive survey and planning mechanism for the long-term maintenance and restoration of the complex which contains important works of architecture from the early 1900s and midcentury modern eras as well as ecologically- and culturally-important landscapes. The restoration of the Kinross Cornerstone building in Westwood was also recognized. The project was originally built in 1930 by noted architect Stiles O. Clements—who also designed the Wiltern building in Los Angeles—in the Spanish Revival Style. However, it suffered incompatible alterations in the 1960s and 1970s. The building also underwent a heavy-handed seismic retrofit in the 1990s. Architects Nadel, Inc. has performed a thorough restoration of the property. Frederick Fisher and Partners’ restoration of Glendale’s Grand Central Air Terminal—Los Angeles’s first commercial airport—received an award for its meticulous attention to detail. The project entailed converting certain existing portions of the complex into an events and business center as well as creating a new visitors center to educate the public on the site’s historic significance.   The Preservation Resource Center at the Shotgun House in Santa Monica was recognized for its dogged perseverance. The building, after having been relocated three times and being threatened with demolition, is Santa Monica’s only intact shotgun house and has been repurposed as the headquarters for the Santa Monica Conservancy. The conservancy also recognized the Los Angeles Public Library’s Valley Times Photograph Collection, a digitized archive of midcentury era photographs of the San Fernando Valley originally kept by The Valley Times newspaper, which ran in print from 1946 to 1970. Lastly, the Conservancy recognized the View Park Historic District National Register Nomination in South Los Angeles, one of the largest National Register historic districts in California, the largest district in the country relating to the history of African Americans, and home to the County’s first local landmark.   The awards will be presented at a luncheon on Wednesday, May 3 at the Millennium Biltmore Hotel in downtown Los Angeles.
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Thanks, Obama

How the Obama Presidential Center and a plan by wHY are reviving Chicago’s Jackson Park

Few non-buildings have an architectural pedigree that can match Chicago’s Jackson Park. The heavily forested park was originally designed by Frederick Law Olmsted and Calvert Vaux, and initially realized by Burnham and Root for the 1893 Columbian Exposition. As the home to the White City, architects from around the world flocked to the park to witness the spectacle. One anecdote states that Frank Lloyd Wright’s obsession with Japan was started upon seeing the Japanese Ho-o-Den (Phoenix Temple) at the exhibition. In the time since then, the park has gone through phases of purposeful neglect and vandalism. It has only been in recent years that a true concerted effort to improve the park has been initiated. The recent announcement that the park would be the home of the Tod Williams Billie Tsien Architects–designed Obama Presidential Center shines a light once again on this often maligned stretch of the lakefront.

Well before the Obama Foundation and the Obamas chose Jackson Park, a small yet determined group had begun to transform it. Project 120 is a not-for-profit started in 2013 with the express goal of revitalizing Chicago’s South Parks. These include Jackson Park, the Midway Plaisance, and Washington park, totaling over 1,000 acres of parkland. Guiding much of the transformation’s design of Jackson Park is New York–based wHY. wHY and Project 120 worked extensively with the surrounding communities of Hyde Park, Woodlawn, and South Shore to understand the challenges of building in Chicago parks along the lake. On the same day the location for the Presidential Center was announced, open space advocates Friends of the Parks announced that they would not take legal action to oppose the project in the public park. (A lawsuit by Friends of the Parks was responsible for George Lucas’s decision to move his planned Museum of Narrative Art out of Chicago earlier this year.)

“One thing we realized, unlike many museums or large park projects at this scale, is we knew we couldn’t do it from the client top-down master plan perspective,” Mark Thomann, head of wHY’s landscape workshop, Grounds, said. “It had to be ground up. It had to be a long-term collaborative project.”

wHY’s plans integrate much of Olmsted’s original vision while adding new amenities. The most ambitious of these is a sweeping music pavilion and visitors center in the heart of the park. The first major addition to the park, though, will be a new sculpture by Yoko Ono entitled Sky Landing. The sculpture will be unveiled in October near the Garden of the Phoenix on Wooded Island, the original site of the Columbian Exhibition’s Japanese Garden. The Army Corps of Engineers Great Lakes Fishery & Ecosystem Restoration (GLFER) program has also been working to remediate the park’s ecology with native plants and wildlife.

As designs have not been released for the Obama Presidential Center, changes to Project 120 and wHY’s framework plans will develop over the coming months. What the addition of the Presidential Center does mean is a guaranteed interest in one of Chicago’s most striking green spaces— by the city and the public.

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Make America Gill Again

Eleven institutions celebrate the works of Irving J. Gill, grandfather of San Diego modernism
Eleven San Diego and Southern California cultural organizations are joining forces this fall to celebrate the life and works of Irving J. Gill. Gill, a famously overlooked San Diego architect who was responsible for introducing the beginnings of modernism to Southern California in the early 1900s. An uneducated migrant from upstate New York, Gill would eventually find himself working in the Chicago offices of Adler & Sullivan, where he worked on the firm’s designs for the 1893 World's Columbian Exposition. Gill left the White City for Southern California in 1893, going on to a prolific career at the helm of the firm Hebbard & Gill. A firm believer in the positive social impacts of proper architecture, Gill took on a variety of clients, providing design services for wealthy, white gentry as well as for several Native American reservations, an African American religious congregation, and the families of migrant Mexican workers. While well-known—if not more renowned—as contemporaries such as Greene and Greene during his lifetime, Gill’s reputation fell off the radar quickly after his death. With a blockbuster lineup of coordinated exhibitions, San Diego institutions are re-elevating Gill as their city’s patron saint of architecture. The San Diego History Center is leading the effort with their exhibition, Irving J. Gill: New Architecture for a Great Country, a survey of Gill’s greatest San Diego works, including many of his influential house designs as well as the La Jolla Women’s Club from 1914, considered to be the first tilt-slab construction building in Southern California. Among other institutions showcasing Gill’s work, The La Jolla Historical Society and Museum of Contemporary Art San Diego will team up to showcase an exhibition focused on Gill’s orthographic and perspectival drawings, sketches, and watercolor renderings on loan from Gill archives at University of California, Santa Barbara and the San Diego History Center. The Oceanside Museum of Art, housed in a Gill-designed structure originally used as the town’s City Hall from 1934 to 1994, will present a historical overview of the 5,000 square foot structure. In conjunction, the museum will also showcase the work by Frederick Fisher and Partners, who completed a large expansion to the structure in 2008. Lastly, the Save Our Heritage Organisation will present two exhibitions at the Gill-designed National Historic Landmark, Marston
 House Museum and Gardens. One, Irving J. Gill:
Photographer, will showcase Gill’s previously-unknown architectural photographs as well as pictures of his buildings by other photographers. The second, Gill & the Decorative Arts, will dissect Gill’s interior and garden design philosophies through the lens of regional sustainability. The exhibitions open September 24th and run through March 31, 2017.
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Pershing Square-Off

Agence Ter selected to redesign L.A.’s Pershing Square
Agence Ter was selected this morning as the winners of the competition aimed at redesigning Downtown Los Angeles’s central, 5-acre park, Pershing Square. The firm’s proposal for the city’s most historic open space aims to “get rid of trendy design approaches” that have plagued the park’s prior redesigns and to provide, as Agence Ter partner Henri Bava declared at the announcement ceremony, a “timeless design able to change with the neighborhood.” The French landscape firm’s approach is notable for the “town square” approach taken to the site, where a large canopy located at the western edge of the park will house cafés and other amenities that open onto a grassy knoll at the center of the park. Agence Ter’s proposal beat out entries by James Corner Field Operations with Fredrick Fischer and Partners, SWA and Morphosis, and wHY and Civitas. Bava announced that the agency would open a Los Angeles office to oversee the design and construction of the park. Downtown Los Angeles councilperson Jose Huizar, surrounded by a cohort of joyful politicos and city boosters, announced the winning entry in a heavily-attended morning ceremony in the downtrodden park. Councilperson Huizar told the crowd, “Of all the designs presented, [Agence Ter’s proposal] won us over, and more importantly, won over the public. We are very confident in the selection and final decision.” The four finalists were selected in December 2015 from an original pool of ten groups that presented work to Pershing Square Renew, a nonprofit partnership between Huizar and business leaders, residents, and activists administering the redesign. Those four teams presented final schemes to the public in late April. In the three weeks since, politicians, business people, and residents have provided input via public and online forums made available for comment. Agence Ter’s proposal was selected at the conclusion of this semi-public vetting process. The city’s oldest park, Pershing Square has lived through many iterations and names throughout its 150 plus year history. The winning proposal will be the third such iteration for the square in the last 100 years. The most recent version of the park was designed in 1994 Mexican Modernist architect Ricardo Legorreta. Laurie Olin was the landscape architect while Barbara McCarren designed the site’s hardscaping. A disciple of Luis Barragán, Legorreta’s scheme for the park takes a coy approach to the plaza mayor concept by using brightly-painted platonic stucco masses to frame and divide the area programmatically. These spaces include a purple campanile, small café area, seating integrated with expanses of lawn, and a large fountain surrounded by sculptural orbs. The park sits above a city-owned, five-story parking complex and has been generally unloved by the public because of it’s lack of porosity and the physical impediments resulting from the garage’s many access ramps. The rapid fire progress seen on the redevelopment of the park, a process that began only in 2013, has mirrored the transformation of the area from run-down business district to affluent enclave. A Ralphs supermarket opened in the area in 2007, the first in over 50 years. That market catalyzed a residential boom in the area and since then, Ace and Standard hotel locations have come on line, bringing with them a slew of high-end culinary and retail establishments, including a 42,000 square foot Whole Foods location that opened in November of 2015. The winning scheme, if built and ultimately successful, would cement Downtown L.A.’s status as one of the city’s distinct and vital neighborhoods. As of this morning’s announcement, however, no budget for the redevelopment has been released and a timeline for the construction of the project is still to be decided. Councilperson Huizar expressed hope that the park would be open by 2019, he and other City officials and residents are joined in their hope that this version of the park will be the one that finally sticks. Hopefully Agence Ter’s scheme won’t be wiped away twenty years from now like Legorreta’s.
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Pershing Square-Off

Here’s a First Look at the Finalists Vying to Redesign Downtown LA’s Pershing Square
Here’s the first look at the four final designs by Agence Ter and team, James Corner Field Operations with Fredrick Fischer and Partners, SWA and Morphosis, and wHY and Civitas for LA’s Pershing Square. Angelenos are being invited to comment on the finalists’ proposals over the next few weeks as Pershing Square Renew, a collection of designers, business leaders, and officials civic leaders, seeks to redevelop the centrally-located, five-acre square at the heart of Downtown LA. The teams of finalists hail from an original pool of ten groups that presented work to the nonprofit in October of 2015. That grouping was reduced to four teams in December, with those finalists' final submissions are now vying for the final selection, to be announced in May. The proposals are shown below and will be formally presented to the public at the Palace Theatre in Downtown Los Angeles on April 28th at a sold out event. See Pershing Square Renew’s website for updates on further public viewings.
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Eavesdrop> Go Art, Go: Who will design Santa Monica Museum of Art’s Downtown Los Angeles move?
After a bitter fight at Bergamot Art Station, the Santa Monica Museum of Art is decamping to Downtown Los Angeles. Reports of an eastward move come with hints of a necessary name change as well a shortlist for its new space in the Arts District. Players are tightlipped, but AN’s sources say Gensler, Zellner Naecker Architects, and wHY (a longtime museum collaborator) have been invited to submit design proposals.
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Desert X to bring the art fair circuit to Coachella Valley
File under “X.” A new happening is coming to California’s high desert. Slated to open in February 2017, Desert X is “three-month site-specific international contemporary art exhibition,” aka, an arid art event timed to align with Palm Spring’s Modernism Week as well as the Coachella Valley Music and Arts Festival. Writer and curator Neville Wakefield, known for curating site-specific works, will serve as inaugural artistic director. It’s promised that his knack for engaging alternative spaces will be on view as artists install in non-traditional spaces—one might expect landscape interventions a la High Desert Test Sites in Joshua Tree—as well as more conventional settings such as the Palm Springs Art Museum, a late modern design by architect E. Stewart Williams and A. Quincy Jones’ midcentury Sunnylands Center & Gardens, renovated by Frederick Fisher and Partners in 2012. “The desert has long exercised its fascination over the minds of artists, architects, musicians, writers and other explorers of landscape and soul,” noted Wakefield. He sets a high bar for the commissioned art works, asking that they simultaneously reflect the ideals and politics of the contemporary art world and respond to the desert context. The press release suggests that the pieces will “amplify and cast a gimlet eye on the geographies, ethnic/social and historical/geologic layers that exist in the southern California desert, while also looking to major movements in contemporary art world-wide.” The exact hows and whos of Desert X remain a vast and unknowable mystery, to borrow the evocative language of the press materials. “The landscape of harsh desert, high mountains, lush golf courses and a vanishing sea, holds a rich history and maintains mythical proportions in the narrative of the American West—one that includes ancient Indian tribes, prospectors, pioneers, and cowboys,” explained Susan Davis, Desert X founder and board president. “We see Desert X as unique in shining a spotlight on the rich preexisting architectural, natural and cultural legacies of the area, while offering the public a way to explore, activate and interrogate current, timely and historic issues through contemporary, creative practices.” However, Desert X’s board is well connected to the regional, national, and international arts organizations, including major arts institutions, such as Whitney Museum of American Art, the Park Avenue Armory Conservancy, the New Museum, the Hammer Museum, the Serpentine Galleries, and Creative Time. The truth is out there: Wakefield will share his vision and plans for the inaugural exhibition on January 29, 2016 as part of the Art Los Angeles Contemporary 2016.
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Four finalists selected to redesign Pershing Square in Los Angeles
Pershing Square Renew just announced the four finalists of the Pershing Square design competition: SWA with Morphosis, James Corner Field Operations with Frederick Fisher & Partners, Agence TER with SALT Landscape Architects, and wHY with Civitas. These teams will now develop fully fleshed out proposals for the five-acre park in Downtown Los Angeles. The finalist concept boards offer clues as to what to expect from the final proposals: SWA and Morphosis identified four strategies for their reorganized park: ecology (native trees and a drought-friendly water feature), mobility (a road diet along Olive Street and better Metro connections), programing (a market and a day/night event venue), and sustainable business (reworked parked concession, food vendor, and retail spaces.) James Corner Field Operations with Frederick Fisher & Partners held off at hinting at a design. Their concept boards show increased porosity between the park and the both the surrounding neighborhood as well as the cultural life of all of downtown and the Arts District. Expect the design to engage both in the park and along the adjacent streets and sidewalks. Agence TER with SALT Landscape Architects’ boards depict a boldy understated proposal. They envision Pershing Square as a giant lawn with several atmospheric gardens: a foggy garden, a scent garden, a dry garden, a wind garden, and an edible garden. Services are discretely tucked under a large shade canopy. wHY with Civitas landscape architecture group’s concept boards was also slim on design details. Although the proposal echoed some ideas seen in other team proposals, such as connections to the surrounding neighborhood, an emphasis on natural ecology, and food/market vendors, it uniquely suggested that the park offer education programming as well as something that could be digital connectivity entitled “Syncing Urban Hardware and Software.” The four finalists will develop their proposals over the first quarter of 2016, leading to another round of jury interviews and a public presentation in March. It’s unclear how and when the design will be built, since at moment the only funding for the project seems to be the $2 million pledged to by the Department of Recreation and Parks and MacFarlane Partners, who each chipped in one million. The Pershing Square Renew jury is: Janet Marie Smith (Jury Chair) SVP, Planning and Development, Los Angeles Dodgers José Huizar, Councilmember, 14th District, City of Los Angeles Donna Bojarsky, Founder and President, Future of Cities: Leading in LA Simon Ha, Downtown Los Angeles Neighborhood Council and Downtown LA Resident Mary McCue, Founder, MJM Management Group Rick Poulos, Principal, NBBJ Janet Rosenberg, Founding Principal, Janet Rosenberg & Studio Michael Shull, General Manager, Los Angeles Department of Recreation and Parks Michael Woo, Dean, Cal Poly Pomona, School of Environmental Design