Search results for "germany"
Fabrics could be the next big thing in facades
If it looks like stone
German hotel greets the street with a sintered stone facade
Exhibition ContributorsAdrian Blackwell (born in Toronto, Canada; lives in Toronto, Canada) Akinbode Akinbiyi (born in Oxford, England-UK; lives in Berlin, Germany) Alejandra Celedon (born in Edmonton, Canada; lives in Santiago, Chile) & Nicolas Stutzin (born in Santiago, Chile; lives in Santiago, Chile) Alexandra Pirici (born in Bucharest, Romania; lives in Bucharest, Romania) Avijit Mukul Kishore (born in Lucknow, India; lives in Mumbai, India) & Rohan Shivkumar (born in Hyderabad, India; lives in Mumbai, India) Black Quantum Futurism (founded in Philadelphia, USA) Borderless Studio (founded in Chicago, USA) CAMP (founded in Mumbai, India) Carolina Caycedo (born in London, England–UK; lives in Los Angeles, USA) Center for Spatial Research (founded in New York, USA) Chicago Architectural Preservation Archive (founded in Chicago, USA) Clemens von Wedemeyer (born in Göttingen, Germany; lives in Berlin, Germany) Cohabitation Strategies (founded in Rotterdam, Netherlands, and New York, USA) & Urban Front (founded in New York, USA) ConstructLab (founded in Berlin, Germany) DAAR (Sandi Hilal & Alessandro Petti) (founded in Beit Sahour, Palestine) Detroit Planning Department (founded in Detroit, USA) Do Ho Suh (born in Seoul, South Korea; lives in London, England–UK) FICA–Fundo Imobiliário Comunitário para Aluguel (founded in São Paulo, Brazil) Forensic Architecture (founded in London, England–UK) & Invisible Institute (founded in Chicago, USA) Herkes İçin Mimarlık (Architecture For All) (founded in Istanbul, Turkey) Jimmy Robert (born in Guadeloupe–France; lives in Berlin, Germany) Joar Nango (born in Áltá/AltaÁltá, Sápmi/Northern Norway; lives in Romssa /Tromsø, Norway) Jorge González (born in San Juan, Puerto Rico; lives in Puerto Rico) Keleketla! Library (founded in Johannesburg, South Africa), in collaboration with Stockyard Institute (founded in Chicago, USA) Maria Gaspar (born in Chicago, USA; lives in Chicago, USA) MASS Design Group (founded in Boston and Poughkeepsie, USA, and Kigali, Rwanda) MSTC (founded in São Paulo, Brazil), in collaboration with Escola da Cidade (founded in São Paulo, Brazil) and O Grupo Inteiro (founded in São Paulo, Brazil) Ola Hassanain (born in Khartoum, Sudan; lives in Khartoum, Sudan and Utrecht, Netherlands) Oscar Tuazon (born in Seattle, USA; lives in Los Angeles, USA) Palestine Heirloom Seed Library Project (founded in the northern West Bank, Palestine) Raumlabor (founded in Berlin, Germany) RIWAQ - Center for Architectural Conservation (founded in Ramallah, Palestine) RMA Architects (founded in Mumbai, India and Boston, USA) Sammy Baloji (born in Lubumbashi, Democratic Republic of the Congo; lives in Brussels, Belgium and Lubumbashi, Democratic Republic of the Congo) & Filip de Boeck (born in Antwerp, Belgium; lives in Brussels, Belgium and Lubumbashi, Democratic Republic of the Congo) Santiago X (lives in Chicago, USA) Settler Colonial City Project (founded in Ann Arbor USA and Guayaquil, Ecuador) in collaboration with American Indian Center (founded in Chicago, USA) Somatic Collaborative (Felipe Correa & Devin Dobrowolski) (founded in New York, USA) studioBASAR (founded in Bucharest, Romania) Sweet Water Foundation (founded in Chicago, USA) Tania Bruguera (born in Havana, Cuba; lives in New York, USA) & Association of Arte Útil (founded in Havana, Cuba) Tanya Lukin Linklater (born in Alaska, USA; lives in Ontario, Canada) & Tiffany Shaw-Collinge (born in Alberta, Canada; lives in Alberta, Canada) Territorial Agency—John Palmesino & Ann-Sofi Rönnskog (founded in London, England–UK) The Funambulist (founded in Paris, France) Theaster Gates (born in Chicago, USA; lives in Chicago, USA) Usina - CTAH (founded in São Paulo, USA) Vincent Meessen (born in Baltimore, USA; lives in Brussels, Belgium) Walter J. Hood (born in Charlotte, USA; lives in Oakland, USA) Wendelien van Oldenborgh (born in Rotterdam, Netherlands; lives in Berlin, Germany) Wolff Architects (founded in Cape Town, South Africa) Zorka Wollny (born in Kraków, Poland; lives in Berlin, Germany)
Catalog ContributorsAmerican Indian Center (founded in Chicago, USA) Aviwe Mandyanda (BlackStudio) (born in Mdantsane, a township in East London, South Africa; lives in Johannesburg, South Africa) Carmen Silva (born in Santo Estêvão, Brazil; lives in São Paulo, Brazil) cheyanne turions (born in High Prairie, Canada; lives in Vancouver) Dr. Denise Ferreira da Silva (born in Rio de Janeiro, Brazil; lives in Vancouver, Canada) ELLA (founded in Los Angeles, USA) Emmanuel Pratt (born in Virginia, USA; lives in Chicago, USA) Eduardo O. Kohn (lives in Montreal, Canada) Inam Kula (born in Gugulethu, a township in Cape Town, South Africa; lives in Cape Town, South Africa) Lesley Lokko (born in Dundee, Scotland – UK; lives in Johannesburg, South Africa) Mario Gooden (lives in New York City, USA) Pelin Tan (born in Hilden, Germany; lives in Mardin, Turkey) Stephen Willats (born in London, England–UK; lives in London, England–UK) Vincent Tao (born in Scarborough, Canada; lives in Toronto, Canada) Virginia de Medeiros (born in Feira de Santana, Brazil; lives in São Paulo, Brazil) Vivien Sansour (born in Beit Jala, Palestine; lives in Bethlehem, Palestine and Los Angeles, USA) Columbia Books on Architecture and the City (founded in New York City, USA)
clay for days
University of Oregon's Tykeson Hall announces a campus presence with a terra-cotta and brick facade
And the winner is...
Graham Foundation announces 2019 architectural research grants winners
Big Dreams, Small Buildings
National Building Museum receives gift of tiny souvenirs
Put a Cork On It
This Berlin house stays dry under a cork skin
New Thinking Needed
Zumthor’s LACMA proposal is an affront to L.A.’s architectural and cultural heritage
Despite gaining approval from the Los Angeles County Board of Supervisors in April, what has already been said many times needs to be said once more: Peter Zumthor’s oil slick–inspired redevelopment proposal for the Los Angeles County Museum of Art (LACMA) campus is just plain bad.
Say what you will about the existing mish-mash of buildings designed by William L. Pereira & Associates and Hardy Holzman Pfeiffer Associates (HHPA) the scheme seeks to demolish, but the $650 million Zumthor proposal is simply not a suitable replacement.
Many have already delved into the (really) long list of reasons why Zumthor’s proposal leaves so much to be desired—its substandard size, inflated cost, and absurd urban configuration among the top reasons to dismiss the idea. But worse still, perhaps, is that the overpriced proposal will also destroy a vital urban cultural resource: the museum itself, as Angelenos know it.
Critics might not like to say so, but LACMA is a real place and a beautiful one, at that. The terrace sandwiched between the HHPA addition and the main Pereira building can be effervescent when tour groups, families, and aficionados converge upon it, for example. Pereira’s galleries next door are peculiar, yes, but the spaces just off the elevator, wrapped in warm wood paneling and studded with delightful details like inlaid clocks and flush-mounted wood accessory doors, are dignified and rich in a way that simply isn't found in other L.A. art museums. HHPA’s building may form an impenetrable wall along Wilshire, but when you finally find the entry, a shaded outdoor living room soothed by flowing water and the jovial sounds of the social life taking place on the terrace beyond create a public space articulated for the senses.
For better or worse, the current manifestation of the complex has existed for a longer period of time—37 years—than any other of LACMA’s incarnations. The current configuration is LACMA, it’s the LACMA that director Michael Govan inherited when he arrived from New York, and it is the LACMA he wants to destroy as he strives to leave his mark.
Though the current configuration leaves much to be desired, Govan has had to strong-arm the Zumthor project into being, weathering withering criticism of the ever-devolving proposal without pursuing any meaningful changes to the design.
Govan, of course, did downsize the proposal as fundraising efforts pushed up against their natural limits, but he has persisted in pushing a vision that is fundamentally and irrevocably flawed.
In a way, the project and the persistence in bringing it to life despite its continuing and multiplying inadequacies follows a long line of efforts to undermine the legitimacy of Los Angeles and its unique architectural and cultural history.
To put it plainly, Zumthor’s LACMA represents the latest attempt to apply a colonial mentality to Los Angeles. It follows in the tradition of slash-and-burn conquests waged by powerful men who, like Zumthor, a Swiss starchitect, and Govan, former director of the Dia Art Foundation in New York City, come to Los Angeles and see nothing but a blank slate. They land at LAX as “visionaries” blinded by their own genius to the thriving richness of everyday life here.
It’s not that they are violent and destructive men. Zumthor’s delicately reverential Kolumba Museum in Cologne, Germany, and Govan’s meticulous restoration of the former Nabisco headquarters for Dia: Beacon suggest that both are capable of thoughtful and respectful restorations. The reality is that, like many who came to Los Angeles before them, they simply don’t value the city s as a real place with a long, complex, and legitimate history.
Late modernism and postmodernism are fundamental to Los Angeles’s design history, however, and Angelenos should not let others delete them away.
The majority of people here inhabit these types of buildings in one way or another. It’s where we go to the doctor, it’s where our children go to school, it’s where we work, it’s where we learn about art. To try and minimize that aspect of Angeleno culture, to try and erase the sometimes contrived nature of late modernism or the often over-the-top pastiche of pomo, erases a fundamental aspect of who Angelenos are and how they live.
Often, outside voices serve to turn a mirror on a place, uncovering morsels of beauty from what might be considered banal to the local eye. Zumthor and Govan have failed in this regard and instead seek to erase buildings that are neither fully understood nor appropriately admired. Los Angeles has had enough of that; perhaps it’s time for some fresh thinking.