For over a decade, the Los Angeles offices of multinational engineering firm Arup were housed within a standalone 38,000-square-foot space in Playa Vista, an affluent yet sleepy neighborhood in West L.A. As the years passed, several factors drew the firm closer to the East side of town. “When we moved to Playa Vista,” explained Arup principal and Los Angeles Group Leader Jim Quiter, “many of our clients were on the Westside. Over the years, many of them have moved downtown. It’s also sort of the center of our industry.” In response to the locations of their client base, as well as the growth of their own workforce and a desire to be close to the city’s public transportation system, Arup traded in its Playa Vista space this Spring for the 18th, 19th and 20th floors of the 73-story Wilshire Grand in Downtown Los Angeles. Encompassing 66,000 square feet, nearly twice the amount of its former space, Arup’s move reflected the biggest lease in Southern California of 2018. But Arup decided to make much more of the move than a simple expansion. Designed in collaboration with Bestor Architecture, SmithGroup, and Mata Construction, the new space is full of features to create the optimal working environment for its roughly 290 employees while leaving plenty of room for immersive demonstrations to educate visiting clients about their projects. With all of the working spaces situated along the perimeter of each floor in an open-plan style, every desk receives more than ample sunlight throughout the majority of the working day. The west facade receives so much sunlight that Arup developed, designed, and installed a custom 'interior light shelf'—a drywall device suspended from the ceiling designed to shield workstations from direct sunlight by diffusing it throughout the entire space from above. This and other alterations to the space make electric illumination unnecessary for at least half of the day, as well as drastically reducing the need for air-conditioning. Following a vote among Arup staff members, flexible workstations were developed with an emphasis on ergonomics and personal preference. While every employee has their own personal sit-stand desk, they also have the option of taking their work to the diner-like booths near the core, the smaller, café-like tables near the windows, or even the “living rooms” that occupy a sizable space on each floor. Gender-neutral bathrooms, a fully-equipped Nursing Mothers Room, and a wellness room also go a long way to make Arup’s employees feel taken care of. Additionally, Bestor Architecture designed three unique wallpapers to wrap each elevator core, which were abstractly inspired by the oceans, forests, and deserts of California. Perhaps the office’s most impressive feature is its SoundLab, a fully immersive audio and visual environment sealed off from the rest of the office in a structurally independent box. The walls of the room are embedded with sophisticated audio equipment which can provide accurate simulations of existing or speculative spaces to help engineers and their clients make educated design decisions. A seven-minute demonstration reveals that it can be used to design, for instance, a system for reducing noise in a NYC subway station, a sound buffering wall between a playground and a train track, and even an entire architecture pavilion with an emphasis on sound art. An open house was held on October 1 to celebrate the new space, which included even more design simulation tools, including a Motion Platform, an augmented reality station and a series of virtual reality presentations using Oculus Go headsets.
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Joel Silver, the producer behind blockbusters including The Matrix, Lethal Weapon, and Die Hard, has been living large with his family in a 26,000-square-foot-home in Brentwood, a tony neighborhood on the Westside of Los Angeles. As the director is currently seeking a smaller home elsewhere in the L.A. area, he recently listed the home with Judy Feder of Hilton & Hyland and Kurt Rappaport of Westside Estate Agency for $77.5 million. Named Casa de Plata (Spanish for “House of Silver”), the home was built in 2003 and is one of the last buildings designed by Ricardo Legorreta, the late Mexican architect responsible for Pershing Square in Downtown Los Angeles and the San Antonio Public Library. Like the majority of Legorreta’s other work, the design of Casa de Plata is inspired by the colorful, minimalist homes of mid-century architect Luis Barragán, while adding a bit of whimsy and surrealism of his own, including glass brick walls and ziggurat-like ceilings. The home also includes a substantial circular atrium with a retractable skylight, a 30-foot-tall family room with hydraulic doors, and a home theater with tiered seating for 20 people. Many of the materials throughout the home were imported from Mexico, including the dramatic limestone flooring in the entryway. The five-acre property includes an English maze garden, a sunken basketball court, a swimming pool, and an outdoor kitchen with a pizza oven. If the property sells for the listed price, Casa de Plata would nearly double the Brentwood price record of $40 million set in 2014 and would become one of the most expensive properties sold west of the 405 freeway. Silver has invested in other architecturally-significant properties, including the Frank Lloyd Wright-designed Storer House in the Hollywood Hills, which the director sold in 2002 for $2.9 Million.
Architects and engineers will hone their skills during Facades+ L.A.'s Transitions Detailing Workshop
Brought to you with support fromFacades+ Los Angeles, taking place on November 14 & 15, is a two-day conference hosted annually by The Architect's Newspaper that highlights the region's most prestigious projects and advancements in facade technology. The second day of the conference is devoted to eight workshops that will provide a unique opportunity to dive into in-depth dialogues and tutorials with architects, contractors, engineers, facade consultants, and manufacturers. Since 2017, Facades+ has consistently featured the "Transitions Detailing Workshop: Where Systems Meet" workshop, this year led by Bradford J. Prestbo, associate principal of Sasaki; Chris O'Hara, founding principal of Studio NYL; Will Babbington, facade design director of Studio NYL, and Stan Su, director of enclosure design at Morphosis. The multi-year collaboration is a response to certain negative characteristics of the architectural community. "Historically, architects don't do a very good job of sharing knowledge or lessons learned," said Prestbo. "We saw this workshop as an opportunity to both share knowledge and teach others." The workshop is divided into three portions: Presentations, group work, and review. For the presentations, the instructors will largely draw from their own respective bodies of work and particular expertise. Prestbo begins with a discussion of opaque facade assemblies and their transitions to other systems. Su follows this demonstration with a dive into strategies for complex enclosure geometries—recent projects within this category include the Kolon One & Only Tower and the ongoing Orange County Museum of Art. Babbington and O'Hara wrap up the presentations with case studies stemming from Studio NYL's facade consultancy work, as well as their own takes on the projects already discussed. Over the next two hours, the attendees are broken up into a series of small teams, sketching systems solutions to mid-century modern projects and are supported with continuous feedback from the instructors. "These projects represent a variety of program and construction types, ranging from small residences to large commercial structures, using a mix of steel, concrete, masonry and wood construction," said O'Hara. "We chose Mid-Century Modern projects because of our love of the buildings, but it represents an era of great architecture that really did not consider building performance or energy usage. We are essentially protecting the guilty that era." Case studies include the Farnsworth House, by Mies Van der Rohe; Niterói Contemporary Art Museum, by Oscar Niemeyer; Saint-Pierre & Villa Savoye, by Le Corbusier; Healy Guest House, by Paul Rudolph; Alcuin Library & Hooper House II, by Marcel Breuer; Case Study House Number Number 9, by Charles Eames and Eero Saarinen; Fisher House, by Louis Kahn; and the Denver Art Museum, by Gio Ponti. The final half-hour of the workshop will be dedicated to the review of 'solutions' for the case studies by both the instructors and fellow attendees. This year, the instructors will also guide attendees to case studies more relevant to the climate zone of Southern California and in keeping with the state's increasingly stringent performance standards. Further information regarding Facades+ LA workshops can be found here.
Yearamid of the Pyramid
Lorcan O’Herlihy Architects plans top-heavy tower in L.A.'s Hancock Park
In the quiet Los Angeles neighborhood of Hancock Park, local firm Lorcan O’Herlihy Architects (LOHA) have revealed initial plans for an 11-story, 34,000-square-foot apartment building to be developed by Metros Capital near the corner of Rossmore Avenue and Clinton Street. In order to fit 14 units on the tight, irregularly-shaped 7,000-square-foot lot, the architects had to come up with a top-heavy design scheme that would not draw excessive attention to itself within its low-slung context, which consists of several preserved, Art Deco-style apartment buildings designed in the 1930s and ‘40s. The result is a design with a series of incrementally shifting floor plates that play a few visual tricks from the street. “Passing by the tower becomes an elusive spectacle,” wrote LOHA in a statement, “seemingly narrower at the bottom if you’re facing one way and skinnier at the top if you’re facing the other.” Additionally, the building’s ground floor is set far back from the street to avoid interrupting the pedestrian-friendly character of the neighborhood, while the communal spaces are entirely located on the rooftop. The shifting section of the building was prompted by “the elongated S-curve of Rossmore Avenue, as well as the marque-like facades of nearby multi-story apartment buildings.” LOHA hopes that the building will exemplify a preferable alternative to the more common apartment building typology found in Los Angeles, of “massive floor plates that maximize the ground plane and create a sort of squat density, where buildings are tightly glued to the sidewalk." The project is scheduled to break ground early next year and be completed sometime in 2021.
Though rapper Kanye West has continued to push his art into the visual field for the last few years, fans were still surprised last January to learn that he donated $10 million towards the completion of James Turrell's Roden Crater, a series of tunnels and experiential spaces burrowed into a dormant volcano in the painted deserts of northern Arizona. The project began in 1977 and has been in the works for so long that, in 2013, “Sooner or Later, Roden Crater” became its unofficial tagline. Though Roden Crater is not officially complete yet (due to a lack of funding), ARTnews announced that West had produced a film within the hollowed volcano this summer and it will soon be released through a collaboration with IMAX. Titled Jesus is King, the film documents one of West’s Sunday Service performances in the gospel tradition, set to the music of his eponymous album to be released sometime this year. A poster has also been released for the movie and it features Alpha (East) Tunnel, one of the ‘light tunnels’ within Roden Crater. On top of the $10 million he independently provided, West partnered with Arizona State University (ASU) to work towards accruing $200 million to put towards Roden Crater's completion within the next five years, $40 million of which has been raised to date. When finished, visitors will be able to explore the three mile-wide site’s 21 viewing spaces and six tunnels, all designed to align with celestial phenomena, for which Turrell consulted a number of noted astronomers—including E.C. Krupp, the current director of the Los Angeles Griffith Observatory in Los Angeles, as well as the late Richard Walker, an Astronomer based in the nearby town of Flagstaff. Unfortunately, because the crater is unfinished, access to the public has been restricted and will likely remain that way until the project is complete. Until then, West’s film will likely provide substantial shots of the art bunker's interiors when presented in IMAX theatres starting October 25.
Bestor in Show
Barbara Bestor’s SCI-Arc commencement speech evokes L.A.'s unique architecture history
Despite its youth, the Southern California Institute of Architecture (SCI-Arc) has educated a surprising number of figures that have come to define the field. One such figure is local architect Barbara Bestor, who graduated from the school with a master’s degree in 1992 and has since designed several prestigious projects in and around Los Angeles, including the Silverlake Conservatory for Music, and the Beats by Dre campus in Culver City, and also oversaw the renovation of the Silvertop Residence, a hillside home first built in 1956 by local legend John Lautner. As the commencement speaker for SCI-Arc’s 2019 graduation ceremony, Bestor elaborated on the storied history of the city and how it directly influenced her career. “I think that, like the city of Los Angeles,” began Bestor, “our culture of freedom as architects is a uniquely West Coast culture that's actually in touch with our past history.” She then went on to recount how the unique qualities of the city that inspired experimentation among luminaries including Frank Lloyd Wright, Ray Kappe, Deborah Sussman, and Rudolph Schindler, who had a “habit of driving around to job sites with a load of two-by-fours in his station wagon so that he could improvise new ideas in real-time.” Bestor then reminded the audience that the freedom afforded by the relative lack of history Los Angeles can be liberating but also daunting. “It demands that we grapple with big existential questions like ‘what am I doing here,’ ‘what's my artistic voice,’ and ‘will my voice ever be part of the larger architectural conversation around the world?’” Bestor’s way of first navigating the city’s creative landscape was to work on houses, coffee shops, clothing stores, kitchen renovations, and several other small projects. “Even the most pragmatic and mundane programs,” she explained, “contain some freedom for the architect to create extra value, ideas about gender politics, fun experiments, and so on.” Bestor ended her speech by advising her listeners, “whether you’re staying here in L.A., or going off to Mexico City, or Beijing, or Seoul,” to “take that sense of freedom with you… You are all now West Coast Architects... part of this great, living tradition of experimentation and innovation.” It seemed fitting that, following her speech, an honorary M.Arch degree was presented to Frank Gehry, an architect who has called Los Angeles his home since 1947 and found a career by tapping into the experimental spirit of the city recounted by Bestor.
Like the LP and the hardcover book, the DVD is a form of media subject to unpredictable waves of popularity and stagnation, never to be officially put to rest. However, it may come as a shock that, in 2019, a video store housing more than 50,000 DVDs, BluRay discs, and VHS tapes is in the works. The owners of cult-favorite Vidiots, a “one-of-kind hub for film lovers, filmmakers, and everyone curious about cinema” that first opened in 1985 in Santa Monica and closed in 2017, announced that they will reopen next fall as a store, movie theater, and event space in the youthful northeastern neighborhood of Eagle Rock. The nonprofit will be housed in the former Eagle Theatre, a 200-seat independent theatre built in 1929 that shut down in 2001 and has since operated as a church. “Vidiots relaunching on the cusp of our 35th birthday," said Vidiots executive director Maggie Mackay, "is a triumph for Los Angeles film history and cements the legacy of Vidiots founders Patty Polinger and Cathy Tauber as innovators in L.A. film culture. Bringing the Eagle Theatre back and providing L.A. with a long-needed new film space is thrilling.” The original theater space will be renovated and equipped with state-of-the-art sound and projection, as well as a second 50-seat screening room that will host screenings, workshops, and receptions, and a storefront from which its vast collection of film materials will be sold. According to renderings, the original 1980s-era Vidiots sign will be hung above a renovated marquee, which will continue to function as a space for advertising upcoming movies and events. Vidiots secured funds for the theater space with the support of development partner Jeffrey Birkmeyer and “founding members,” which include actors Mark Duplass, Katie Aselton, and director Jason Reitman, who will be donating a 35mm projection system. Until it opens roughly a year from now, Vidiots will continue to remotely host events in the recently-opened Alamo Drafthouse in Downtown Los Angeles, and the Bootleg, a concert venue in Historic Filipinotown.
Studio 60 on the Sunset Strip Mall
A study of L.A. strip malls validates a long-ignored building type
Sunset Market Plaza: Meditations on Strip Malls in Los Angeles Edited by Shaina Goel and Use All Five Published by Use All Five List Price: $35.00 If there was ever an official tribunal to determine what Architecture is and what it is not, the strip mall building type might be placed in the latter category without hesitation. Strip malls, sometimes known as mini-malls, can rarely be traced back to an architect, virtually never receive historic protections, and are rarely perceived as anything more than a response to the modern consumer’s demand for convenience. Even their origins struggle to align with any familiar canons of architecture history: when the 1972 oil crisis caused several gas stations to close throughout Los Angeles, their small corner parcels became ideal sites for the inexpensively-constructed building type, which attracted small business owners due to their relatively cheap rental costs. A new self-published book by the Los Angeles-based design firm Use All Five and edited by Shaina Goel intends to elevate the strip-mall into a building type as worthy of study as any other, complete with a historical overview, fine-art photography, and genuine speculations concerning its future against the prevalence of online shopping. Sunset Market Plaza: Meditations on Strip Malls in Los Angeles begins with a plea for clemency from Robert Venturi, Denise Scott Brown, and Steven Izenour’s 1972 classic Learning from Las Vegas: “Learning from the existing landscape is a way of being revolutionary for an architect. Not the obvious way, which is to tear down Paris and begin again, as Le Corbusier suggested in the 1920s. But another, more tolerant way; that is, to question how we look at things.” Just as the two saw the common person’s tastes made legitimate in Sin City, so too does the team behind Sunset Market Plaza elaborate on its subject without a hint of irony or derision. Its spiral-bound spine and numerous fold-outs, in fact, lend it the essence of a field guide. The first half of the book details several of the “best strip malls in L.A.” and nearby San Gabriel Valley, each distinguished by their site plans rendered in dense green stripes and the businesses they contain. Comparing plans, it becomes clear that the strip mall is an infinitely variable thing: some are more than one story, some are irregularly shaped, some have scores of underground parking and many have surprising relationships to the street(s) in front of them. Reading through their descriptions tells us that many of the businesses have not only survived for decades but have also become some of the most popular destinations in the city for a variety of cuisines and specialty services. Sunset Market Plaza also includes a few proposals for the future (or alternate past) of the strip mall, in response to the highly informed marketing present in the world of online shopping. “What would happen,” its editors ask, “if these strip malls were designed with more explicit intentionality?” The results, as they imagine them, are “made with consolidation in mind.” One proposal imagines a strip mall as a one-stop-shop for self-publishing, with independent shops that, when combined, would become a graphic designer’s paradise, while another, titled “Wedding Chapel Plaza” divides the space into several independent businesses catering to the wedding crowd. It becomes up to the reader to determine whether these spaces function better with all of its spaces united under one industry or, more traditionally, as divided among many independently-spirited businesses. An interview between urban planner Jonathan Crisman and urban developer Sam Bachner, the “key figure in the history of strip malls because of his role in co-founding La Mancha Development Company,” succinctly reveals the thought process behind their unique aesthetics. When asked about his approach towards the architecture and design of strip malls, Bachner claimed that he has always aspired “to incorporate elements which are reflective of the specific community in which they are located… Some places might care more about color schemes, or I might have one place with a bell tower, or maybe I will use a blue tile roof in Koreatown—it’s all about community context.” Near the end of Sunset Market Plaza are Catherine Opie’s panoramic photos of strip malls across Los Angeles, all of which honorably confirm the site-specificity Bachner describes as well as their delicate beauty. “[Strip malls] are about the American dream for me,” writes Opie. “But they’re very fragile. They change almost overnight, and are often forgotten about, just like the freeways.”
After four years of development, Soho House, the London-based members club aimed at those in the arts and media, has finally completed Soho Warehouse in the southern portion of the Los Angeles Arts District. The private club represents the third Southern California outpost for the company, the first being Soho West Hollywood, completed in 2014, followed by Little Beach House Malibu two years later. Soho Warehouse is set within a seven-story, 110,00-square-foot building completed in 1916, which, as of four years ago, was the home of a rehearsal studio for local musicians (its tenants were reportedly “blind-sighted” by the news that they must evict to make way for the exclusive club). With the aid of Soho House & Co.’s in-house design team, the building’s former loading dock was reimagined as a private garden, its humble rooftop made way for a pool and cabanas, and its hallowed floors were retrofitted with luxury amenities including restaurants, communal areas, and 48 hotel rooms, three of which are “party-sized suites.” The design of its interior spaces was imagined as a mix between the industrial, turn-of-the-century details of the original building and the mid-century design history of Los Angeles, while an 18-foot-wide mural by local artist Paul Davies acts as a centerpiece for the dining area of the rooftop space. The completion of Soho Warehouse reflects one of many transformative developments that have taken place in the Arts District in the last few years—which was an affordable neighborhood for local artist as recently as ten years ago—as luxury developments by architects including Bjarke Ingels Group, R&A Architecture + Design, and Herzog & de Meuron are currently in the works, all within blocks of the private club. Following committee approval and a minimum annual fee of $2,160, one may gain access to Soho Warehouse, set to become officially open to its members on October 14.
Second Home, Third Space
AN tours the SelgasCano-designed Second Home coworking space in Hollywood
The 21st century’s profusion of freelancers, start-ups, and frequent travelers has ushered in the era of the co-working space. With more than 19,000 such spaces now operating around the world, co-working has become an attractive alternative to renting expensive traditional office spaces and the isolation of working from home. Companies like WeWork, Phase Two, and The Wing have tried to anticipate the needs of a growing nomadic workforce, yet co-working remains a developing phenomenon, and there is still much to learn about the kinds of environments that best support the practice. One company that seems ahead of the curve is Second Home, whose recently opened campus in East Hollywood, Los Angeles, proves that its competitors have some catching up to do. Every seat within the 90,000-square-foot complex feels like the best place to open a laptop and get to work, while a wide range of public services makes the company’s fourth outpost feel especially welcoming. In 2017, Second Home purchased a four-acre property on the corner of North St. Andrews Place and De Longpre Avenue and hired SelgasCano, the Madrid-based architecture firm that has designed its other locations, to develop its first campus outside of Europe in an impressively short amount of time. One of the creative challenges the site presented was an existing courtyard building by legendary “architect to the celebrities” Paul Williams. Completed in 1964, the colonial revival building, which once housed offices and events for the Assistance League of Southern California, is notable for its glamorous exterior, circular staircase, and central courtyard. SelgasCano gutted the building while incorporating these three elements into its design. From the street, visitors pass through the formal facade to enter what feels like a different world: a low-slung, columnless lobby with a dizzying array of tropical plants, extruded tubular furniture pieces, and a mobile coffee cart. Beyond this space is the courtyard, which has been charmingly reimagined as a casual workspace, restaurant, and public event space shaded by a canopy of trees. The space will soon host all events currently held at the SelgasCano-designed Serpentine Pavilion, which Second Home purchased and transported from London to the grounds of the La Brea Tar Pits. In an effort to distance itself from other co-working companies, Second Home has made the lobby and courtyard spaces accessible to the public without membership. But the real showstopper is beyond the perimeter of the Williams-designed building: Sixty office spaces with acrylic walls and lemon-yellow rooftops carpet the rest of the site, connected to each other by pathways that meander through a forest of over 6,000 trees and shrubs. Each office space is lined with outward-facing desks underneath a yellow, steel-braced ceiling festooned with the ductwork of a central air conditioner (it comes as a mild disappointment that the windows are inoperable, ruling out the option of passive heating and cooling). When walking the yard’s labyrinthine paths, one is somehow able to forget just how closely the site abuts a Home Depot and a massive Target currently under construction. Accessed via the original grand staircase, which contrasts with a translucent egg-like chandelier designed by SelgasCano hanging at its center, the second floor of the Assistance League building is divided between an outdoor lounge and 37 additional office spaces. While the rooms here are finely detailed, with orange carpeting that climbs up walls to reach waist height and entirely transparent top halves, they lack the lower-level offices’ immediate connection to the outdoors. From the lounge, one is afforded the most idyllic vantage point on the site: The lush courtyard is visible from one side, while on the other is the sea of office pods in front of the Santa Monica Mountains. Given its commitment to inclusivity and creative adaptation to its site, Second Home Hollywood sets a new standard for the co-working building type; its creators should not be surprised if they feel other companies looking over their shoulders as the industry continues to discover its potential.
The Earl Carroll Theatre has gone by a lot of names since it first opened in Downtown Hollywood in 1938: Moulin Rouge, Hullabaloo, Kaleidoscope, Aquarius Theatre, Longhorn Theatre, and Nickelodeon on Sunset, to name a few. Since Nickelodeon relocated two years ago and left the building without a tenant, the theater community has eagerly awaited the renovation of the building to its former glory. On September 25, it was announced that Thaddeus Hunter Smith, one of the former owners of the nearby Fonda Theatre, and business partner Brian Levian, had signed a ten-year lease with the intention of not only restoring the building’s original facilities, but also transforming the site into an entertainment complex, with spaces for concerts, stage shows, movie premieres, and other specialized events. “We’re thrilled to be revitalizing the theatre, returning it to its original Streamline Moderne design, and bringing all kinds of wonderful entertainment experiences to locals and visitors alike,” said Smith. Working in close collaboration with preservationists and Hollywood historians, the renovation of the theatre will include the renovation and recreation of many of the building’s original details, including a 20-foot neon depiction of Beryl Wallace, Carroll’s girlfriend and muse, that once hung above the street entrance. Because it “exemplifies the optimism and grandeur of pre-war Hollywood,” according to the Los Angeles Conservancy, the building was designated a Historic-Cultural Monument in December 2016. It was originally designed by Gordon B. Kaufmann for director and producer Earl Carroll as a supper club and performance theatre, both of which were once world-famous for their over-the-top presentations. According to the Los Angeles Historic Theatre Foundation, the theatre hosted shows “on a massive stage with a 60-foot wide double revolving turntable and staircase plus swings that could be lowered from the ceiling,” while the supper club “featured a chorus of 60 girls singing and dancing while patrons dined in style.” The theatre is currently owned by developer Essex Property Trust, which first nominated the building for historic-cultural landmark status and has already begun construction on Essex Hollywood, a mixed-use development with 200 apartment units on the opposite side of the site. The Earl Carroll Theatre is slated to reopen to the public in late 2020.
White Claw Summer
Morphosis's claw-like Sunset Strip complex now has a timeline
After months of speculation, a timeline has finally been determined for the construction of 8850 Sunset Boulevard, a 369,000-square-foot development which would rise over 15 stories and occupy an entire block of the Sunset Strip between San Vicente Street and Larrabee Street. Following a recently completed study by the city of West Hollywood, it has been determined that construction can begin on the Morphosis-designed, Viper Room-replacing project in the Spring of 2021 and could be completed in as few as 32 months. The site was originally purchased in 2017 by Silver Creek Development Co. for $80 million, and the project is supported by multidisciplinary real estate company Plus Development. The renderings for the development were first unveiled last December, and it appears that little, if anything, of the design has been subdued since then. The proposal still comprises two aesthetically distinct towers between a 120-foot-wide grassy hill and above a transparent ground floor. The amorphous tower facing San Vicente will be a 115-room hotel, while the rectilinear tower facing Larrabee will contain 31 condominiums and 10 or 11 units of affordable housing. The complex's ground floor will be primarily mixed-use, including a new home for the Viper Room, the infamous bar cofounded by Johnny Depp which is currently on the site. Amenities accessible to both towers will include a movie screening room, a gym, and a rooftop pool and restaurant. In addition, a three-story LED screen will be fitted into a void cut out of the tower facing San Vicente. When completed, 8850 Sunset Boulevard will be one of the most audacious buildings designed by Morphosis in its 47-year run, and will rival some of the firm’s other projects built around Los Angeles, including Emerson College Los Angeles and CalTrans District 7 Headquarters.