Search results for "hollywood"
All Work, All Play
Gehry to design new office headquarters for Warner Bros. in Los Angeles
Collect $117.5 Million
LACMA proposal moves forward despite fierce opposition
The Los Angeles County Board of Supervisors voted Tuesday to approve an environmental review report for a controversial plan by Peter Zumthor for a new Los Angeles County Museum of Art (LACMA) campus.
The vote propels the plan one step closer to reality and effectively paves the way for an existing complex designed by William L. Pereira & Associates and Hardy Holzman Pfeiffer Associates (HHPA) to be demolished.
By a 5-0 vote, the supervisors voted to grant the project $117.5 million in public funding so that the project can move forward. The vote came during a star-studded public comment period that included cameos from Hollywood stars Brad Pitt and Diane Keaton, as well as from several prominent local architects and artists.
The approval follows several weeks of critical outcry, including from AN, focused on the perceived inadequacies of the Zumthor plan.
Critics have argued that the proposal shrinks the amount of overall space dedicated to the museum’s permanent collection, eliminates necessary libraries and conservation facilities, and that the scheme was conceived largely behind closed doors. Boosters for the project highlight the development’s potential to create a new architectural landmark for the region. Many of the speakers for the proposal at the meeting, including several of the supervisors themselves, supported another LACMA plan to bring a collection of satellite campuses to sites dispersed around LA County.The vote is the latest chapter in a long-running saga to expand the museum. Previous designs by other international architecture firms, most notably OMA, have come and gone over the years. With the latest approval, however, it appears momentum has finally reached a critical mass for the project.
Detailed plans and a scale model are slated to go on display at LACMA for public viewing in coming weeks.
UCLA hosts symposium for Mark Mack’s retirement
A Look Inside
Unmentionables Symposium promises a fresh look at the current state of interior architecture
The full list of speakers:
- Lauren Amador, Principal, Amador Architecture
- Amy Campos, Associate Professor and Chair of Interior Design, California College of the Arts
- Annie Coggan, Adjunct Associate Professor of Interior Design, Pratt Institute
- Matthew Gillis, Principal, G!LL!S; Adjunct Professor of Architecture and Interior Architecture, Woodbury University
- Parsa Rezaee, MArch 1 Candidate, Woodbury University
- Jennifer Meakins, Adjunct Faculty Adjunct Professor of Interior Architecture, Woodbury University, California Polytechnic State University Pomona
- Emily Pellicano, Assistant Professor, Marywood University School of Architecture
- Bryony Roberts, Founder, Bryony Roberts Studio; Assistant Professor, Columbia GSAPP
- Cathrine Veikos, Professor of Architecture, California College of the Arts
- Deborah Schneiderman, Principal/Founder, deSc, Professor of Interior Design, Pratt Institute
- Igor Siddiqui, Associate Professor and Program Director of Interior Design, The University of Texas at Austin
- Rossen Ventzislavov, Associate Professor of Philosophy, Woodbury University
Lights, Camera, Action
Film Forum’s extensive renovation becomes art in new photo book
The following is excerpted from Film Forum: Under Construction 2018.
The images that you see here were captured on a worksite for the expansion of Film Forum, a place where people gather with a group of strangers to watch a story unfold —something that is increasingly unusual these days. They are a celebration of an ancient ritual married to a modern technology. The technology develops but the ritual decays.What do these photographs say about watching movies? What do they recall and what do they suggest? How is it that beneath the formal pleasures of their design, their abstraction, and their use of color, they conjure something concrete about shared experience? Like a lot of abstractions, and certainly like many of Jan Staller’s photographs, these pictures are not only about a surface but the materiality below the surface. In this case the materials are the brick and mortar of the theater itself and the steel and brittle celluloid of projectors, reels and filmstrips—objects that look now like sacraments of the earliest technology of the art form. They are evocative because they are tactile. My first exposure to the movies was more sterile and electronic. It took place alone, in a dark room, late at night in front of a television set. In this respect, it was closer to the way that most people watch movies today. As I got older I went to movie theaters, spending hours of my youth in palaces called The Orpheum, The Lyric, and more prosaically (and appropriately), The Suburban World. There was something fundamentally different about going to a theater. The impact of the experience was magnified literally by the scale of its presentation and emotionally by the act of sharing it with a community. And just as importantly, by its appeal to the sensorium, something that most modern technology abjures. The theater was itself a machine, one that you entered, was turned on, and then would grind into action. Its constituent parts were hidden but somehow felt. That’s part of what these photographs evoke, but for me they also evoke memories of my early days as a film editor, when you felt the film in your hands and heard the clack of the sprockets as it ran through the machines. But before waxing too nostalgic about the older ways of doing things, it may be useful to think about two movies that I saw for the first time at Film Forum. They were both by F. W. Murnau, a German filmmaker who came to Hollywood in 1926. The first, Sunrise, was made in 1927 and is certainly one of the greatest movies of the silent period. It was a huge success, and William Fox, the man who had brought Murnau to America and who was the producer of Sunrise, asked him to do another movie. In his youth, Murnau had been something of a gear head—he was fascinated by cameras and new technology. In the interim between Sunrise and his next film for Fox, The City Girl, sound had been introduced. The new technology was alien to Murnau as an older man. He couldn’t reconcile it with his taste or his process and The City Girl was made and released as a silent film with title cards instead of dialogue. Watching it now one wonders what it would have been like otherwise. A cautionary tale about aging out of your era. The movies are wedded to technology, and for better or worse as the technology advances it changes not only how they’re made, but what we actually see and how we watch them. At a certain point resistance seems quaint and misguided. The opportunities in most cases outweigh the things we lose. The sensual pleasures of pre-digital machines are probably lost forever, but the act of gathering to watch stories, to be part of an audience, would be dangerous to lose. It is ancient and fundamental. So let’s celebrate one of the few institutions that continues to expand that opportunity. These pictures do, and they do something else—they get under the skin.