The Architecture and Design Film Festival (ADFF) has returned to Los Angeles over this last week and will continue into the weekend. In total, the film showcase will present over 30 architecture-related short-length and feature films that cover topics as diverse as the career of Frank Gehry, the works of Czech glassmakers LASVIT, and speculative student work from Liam Young and the Southern California Institute of Architecture’s M.A. in Fiction and Entertainment program. The traveling film festival will also showcase films on Bjarke Ingles, founder of BIG, and the life and career of Swiss architect Albert Frey. Saturday will see the presentation of the film The Experimental City, a film covering the storied history of the Minnesota Experimental City, a domed futuristic settlement for 250,000 people created to prevent sprawl. A screening of the film will be followed by a panel discussion. Sunday’s offerings meanwhile, will include a double-feature that includes films on Greg Murcutt and Jean Nouvel. Other presented films over the course of the festival include a feature-length movie on the life of Dutch architect Rem Koolhaas, a documentary and panel discussion on Britain’s Maggie’s Homes program, and a documentary on the work of pioneering Mexican-American architectural photographer Pedro E. Guerrero. See the ADFF website for more information.
Posts tagged with "Frank Gehry":
Frank Gehry has been selected to design a new expansion to the Colburn School performing arts center in Downtown Los Angeles, marking the architect’s third high-profile project in the area following the Disney Concert Hall and the long-forthcoming Grand Avenue mixed-use project. For this latest project, Gehry Partners will add a 200,000-square-foot structure containing three new performance venues, including an 1,100-seat, full-scale, orchestra-caliber concert hall, a 700-seat flexible studio theater for dance and vocal performances, and a 100-seat “cabaret-style” space, according to a press release. Gehry will be joined on the project by Yasuhisa Toyota of Nagata Acoustics—the same acoustician who worked on the Disney Concert Hall—and Michael Ferguson, principal of TheatreDNA, whose former office—Theater Projects—consulted on Gehry’s New World Center in Miami, Florida. The project comes as the second expansion to the Colburn School, following the addition of a 326,000-square-foot facility designed by Pfeiffer Partners Architects in 2007. The school’s original 102,000-square-foot home was designed by Hardy Holzman Pfeiffer Associates in 1998. The Colburn expansion will further boost Grand Avenue’s status as a premiere cultural district in the city, with the project joining the Walt Disney Concert Hall, The Music Center, the Museum of Contemporary Art, and The Broad among other cultural venues and institutions In the area. Now that the project team has been announced, the designers will move into the conceptual design phase of the project. A detailed timeline or estimated completion date for the project has not been unveiled.
On February 23, French architect Yona Friedman was announced as the awardee of the Austrian Frederick Kiesler Prize for Architecture. The award, named for Austrian-born artist and architect Friedrich Kiesler, is granted biennially by the City of Vienna and Republic of Austria and awards €55,000 prize (approximately $67,000) for innovative achievements in the fields of architecture and the arts. Previous award winners include Frank Gehry, Judith Berry, and Lise Anne Couture and Hani Rashid. Yona Friedman was born in Budapest in 1923, fled to Israel during World War II, and ultimately moved to Paris in 1957. Friedman’s views of architecture are linked to the physical and ideological traits of social structures and the diversity of users’ needs. Due to his own refugee background, Friedman is deeply attached to human architecture and the rising issue of migrant nomadism in European and global contexts. As quoted in the Friedrich Kiesler Foundation’s press release, Friedman describes his approach as one that believes “that ideas can be more important than objects themselves. An approach that goes back 2,500 years but is often forgotten…” Friedman’s work has been exhibited at the Shanghai and Venice Biennales, as well as in cultural institutions across Europe. His canon of work includes the 1958 manifesto, L’Architecture Mobile (Mobile Architecture), which advanced new spatial-concepts of urban living. The exact date of the award ceremony is yet to be determined.
Gehry Partners onto the project, though Krens and Gehry have a longstanding relationship: the pair worked on the Guggenheim Bilbao when Krens directed the museum's New York location.Visitors will start in the Berkshires (North Adams's home) and head towards New York City, London, Tokyo, the Southwest, and the Rocky Mountains. Firms the world over are contributing models to the project. Extreme Model Railroad and Contemporary Architecture Museum Inc. is leading the design and fabrication of the interior exhibitions, with Jarzyniecki as a consultant, while Gehry is in charge of the exterior. The project will anchor the redevelopment of Western Gateway Heritage State Park, one of nine parks Massachusetts established in the 1980s in its former industrial cities and towns to spur tourism. That park is expected to host two other museums and a distillery. The museum, a for-profit enterprise, is expected to be complete in 2021 at a cost of $65 million. Thomas Krens, the man behind MASS MoCA, brought
Spanish architect Santiago Calatrava and Los-Angeles-based Frank Gehry have been chosen to design an undetermined number of residential towers for phase II of Manhattan’s Hudson Yards megaproject, reports the Wall Street Journal. According to “a person familiar with the matter,” the two sometimes-controversial architects were among a crop of designers chosen by the project’s co-developers, Related Companies and Oxford Properties Group. As the first phase of Hudson Yards, development on the eastern half of the 28-acre site, has been racing towards the 2019 finish line, Related and Oxford have begun looking ahead to the project’s residential western portion. Phase one saw the rise of Thomas Heatherwick’s pinecone-shaped Vessel, the eventual completion of four surrounding office buildings, a subway extension on the 7 line, and the High Line-straddling cultural Shed. The second phase will see the rise of 4 million square feet of residential space spread out across seven towers, and another 2 million square feet of office space. The western portion of the site is bounded by the High Line to the west, and is where the elevated park dips to street level. Phase II will likely wrap up by 2024, the projected deadline for the entire project. Handing the reins over to Calatrava and Gehry is an interesting choice by Related and Oxford, as neither architect has realized many residential projects in New York City. While the billowing metal façade of 8 Spruce Street (aka New York by Gehry) is a familiar site on the skyline, Calatrava is most well known in New York for the soaring curves of the Oculus transportation hub. Gehry hasn't shied away from his tepid opinion of the High Line, saying "The High Line is a rusty rail bridge and they put some plants on it." Whatever flair either architect brings to the project will also need to fit within the context of the Kohn Pedersen Fox-designed master plan for the site. AN has reached out to the relevant parties for confirmation and will update this post when more information becomes available.
Since 2017, Facebook has stated its intention to establish a new British headquarters within the ongoing redevelopment of King’s Cross Central in London. The London Times speculates that architect Frank Gehry is currently in talks with the social media giant to fit out two adjoining buildings, currently designated T2 and T3, as well as a stand-alone building on a separate plot. The buildings T2 and T3 are designed by the British firm Bennetts Associates and are slated for completion in early 2019. In total, Facebook looks to add three buildings totaling more than 700,000 square feet to its London footprint. According to the Architects’ Journal, Gehry has designed numerous buildings for Facebook in the past, including its campus in Menlo Park and a ‘fit-out’ of Rathbone Square. The larger development surrounding Facebook's potential new headquarters, King’s Cross Central, is a 67-acre mixed-use redevelopment site encompassing fifty new buildings, 1,900 homes, twenty new streets, and twenty-six acres of public space. British developer Argent is leading the project and the master planners are Allies & Morrison and Porphyrios Associates. The transformation of King’s Cross from decrepit industrial district to emerging tech hub is influenced by its proximity to King’s Cross Station and St. Pancras International. These stations provide unrivaled rail transport access to international, regional and local transport networks. According to the Urban Land Institute, over 63 million passengers will pass through King’s Cross–St. Pancras by 2022, and approximately 45,000 Londoners will directly live or work in the district. Facebook is not the only tech giant shifting personnel to King’s Cross Central. In 2017, Google submitted plans for a nearly one million square foot headquarters in the sprawling redevelopment site. Designed by BIG and Heatherwick Studios, the 11-story building will extend horizontally approximately one thousand feet, a distance roughly on par with the height of London’s tallest building, the Shard.
Architects are no strangers to designing furniture, as they often strive for a visual homogeny throughout the interior and exterior of their built projects. At Friedman Benda in Chelsea, Manhattan, the historical legacy of architectural furniture is celebrated with Inside the Walls: Architects Design alongside its ambiguous future with No-Thing: An exploration into aporetic architectural furniture. Guest curated by Mark McDonald, Inside the Walls charts milestone furniture design across the 20th century from both domestic and international architects. The extensive survey extracts pieces of furniture designed for site-specific installations and displays them alone and with other items, drawing attention to how the designer’s influence and intent still shines through. The show’s focus might jump from piece to piece, displaying furniture by everyone from Charles and Ray Eames to Luis Barragán, but a “clarity of vision” threads throughout all of them. For example, a Frank Gehry-designed rocking chaise made from cardboard contains the same swooping curves and exploration of form as his buildings. Likewise, the collection of chairs, tables, and lighting fixtures designed by Frank Lloyd Wright, despite their simplicity, are immediately recognizable as his. Wright is inarguably the centerpiece at Inside the Walls. The show displays ephemera from across the architect’s career and presents him as an auteur. Visitors can examine the cantilevering sets of outdoor lighting fixtures from Wright’s 1914 Francis W. Little House up close, then study furniture from his 1956 Price Tower without missing a beat. No-Thing is located in Friedman Benda’s basement project space, and puts new commissions from up-and-coming studios front and center. Curator Juan García Mosqueda assembled a group showcase under the guise of a furniture exhibition, with works that implore the viewer to project personal meaning on the furniture within. This “non-dogmatic approach to object creation” is in direct contrast to the rigid visions of Inside the Walls in the space above, creating the titular “no-thing,” a work that is bestowed value by its users. A seemingly normal table built from leftover construction materials (MOS Architects) mingles with a blacked-out mirror (Norman Kelley) that challenges the viewer to see much of anything, playing with preconceived notions of what to expect from that typology. No-Thing features work by Andy and Dave (Brooklyn), Ania Jaworska (Chicago), architecten de vylder vinck taillieu (Gent, Belgium), Leong Leong (New York), MILLIØNS (Los Angeles), MOS (New York), Norman Kelley (New York, Chicago), SO–IL (Brooklyn), and Pezo von Ellrichshausen (Chile). Both Inside the Walls and No-Thing are on display at Friedman Benda at 515 W. 26th St, until February 17.
Work on the long-stalled complex adjacent to Frank Gehry's Walt Disney Concert Hall is finally about to begin. The Los Angeles architect is finishing up designs for the Grand, a $1 billion residential, retail, and entertainment complex right across the street from his famous concert hall. The parking garage, not-so-affectionately known as "the Tinker Toy garage" is a dead zone in the Bunker Hill neighborhood, which was itself bulldozed and made anew in a midcentury urban renewal scheme. The 24-hour, live-work-play district envisioned by civic leaders never materialized in full. According to developer the Related Companies, construction is expected to begin in the fall. The Los Angeles Times reported Related was slated to build the project in 2004, but concerns about the project's feasibility (a nice way of saying the design was too expensive), along with the 2008 recession, stalled work. This time, the developer is partnering with a real estate subsidiary of China Communications Construction Group, one of China's largest companies, to fund the project. Gehry told the paper he can "live within the constraints" of the budget. With its stylistic similarity to the Walt Disney Concert Hall, the architect believes the Grand will stand out from other L.A. mixed-use developments he regards as uninspiring. He added that terraces and a big plaza between the Grand and the concert hall will draw visitors and residents into the space. And there will be plenty of people: the grand will feature a 39-story tower with 113 condos and 323 apartments, as well as a 314-key, 20-story Equinox hotel. One-fifth of the apartments are set aside as affordable housing. Just like the concert hall, the Grand's metal walls will be fitted with projection-friendly cladding so images can be screened on its surfaces. "You'll see a lightness in the building," Gehry told the Los Angeles Times. "That's in the way we are relating to Disney hall. We are not building heavy stuff."
The noted and influential Los Angeles artist Ed Moses has passed away. A fixture on the L.A. art and architecture scene for over 70 years, Moses died of natural causes at his Venice, California home at the age of 91 on Wednesday, January 17, 2018. Moses was widely-celebrated for his ever-changing and provocative style of painting and was well-known among the L.A. architects of the 1970s and 1980s who gravitated toward the city’s then-burgeoning visual arts scene. Moses was also member of the so-called “Cool School” group of artists, a motley mix of contemporary visual artists that took root in the 1950s in L.A. and set a trailblazing path in the realm of Pop Art. The group was heavily associated with Ferus Gallery in L.A. and included Craig Kauffman, Billy Al Bengston, Robert Irwin, Edward Kienholz, Ken Price, Ed Ruscha, Larry Bell, John Altoon and Wallace Berman among its members. Moses was also a mentor and friend to architect Frank Gehry, who told The Los Angeles Times, “He opened a lot of doors for me, doors of thinking, to a way of looking at life, of thinking about work and creativity and freedom and expressing oneself—taking chances.” Gehry added, “He was the first person that was in that world that sort of took me under his wing. He was very supportive. I think he influenced others by his sense of freedom, his personality, his willingness to step into the unknown. He epitomized that … I think of him as my north star.” Moses is survived by his wife, Avilda, his sons Cedd and Andy, daughters-in-law Pamela and Kelly, and grandchildren Maxwell and Violette.
One of architect Frank Gehry’s earliest public buildings collapsed this month as it was nearing the end of a five-year, $55 million renovation, forcing the owners to revise their plans. The roof of the Merriweather Post Pavilion, a 19,000-seat open-air concert venue in Columbia, Maryland, crashed down in the middle of the night on Saturday, January 13, burying the seating below. No one was injured. Designed by Gehry, Walsh and O’Malley, and opened in 1967, the concert pavilion was being renovated to help it compete with other performing arts centers. The design team, led by JP2 Architects of Baltimore, opted to keep the original roof because it was a defining element of Gehry’s design. But the designers also wanted to raise it to improve sightlines. Gehry, now head of Gehry Partners, is not part of the design team, but had been briefed on the project and toured the site several years ago. The roof collapse makes the concert pavilion one of the first major Frank Gehry buildings to be substantially lost or altered -- despite the owner's efforts to retain its architectural integrity throughout the renovation. The roof was in the process of being raised on hydraulic lifts 20 feet above its original height when it collapsed. The pavilion’s operators said this week that they intend to build a new roof in time for the summer concert season, and that it will be at the 51-foot height to which the original roof was being moved. Investigators have not disclosed a cause for the collapse, but there has been speculation that wind was a factor. The chairman of the pavilion’s operating company, Seth Hurwitz of I. M. P., alluded to that possibility in a message on Facebook. “The winds of fate prevailed and decided that, instead of simply raising the roof, we should just go ahead and build a new one,” he wrote. “Was not our decision but the bright side is all the money we save on imploding.” Hurwitz added that “everything will be ready for season opening,” with the first show scheduled for July. One of the first buildings to open in Columbia, the 50-year-old concert pavilion is now a key element in a multi-phase expansion of the unincorporated city led by its master developer, the Howard Hughes Corporation. Hughes transferred ownership of the pavilion in 2016 to a nonprofit group, the Downtown Columbia Arts and Culture Commission. Gehry had an office in Baltimore when he designed the pavilion, one of four structures in Columbia that he worked on for developer James Rouse. Another one of his commissions, the former Rouse Company headquarters, has been converted to a mixed-use development with a Whole Foods Market as its anchor tenant. Gehry could not be reached for comment about the roof collapse.
Gehry Partners has released a new batch of renderings of their mixed-use tower on Ocean Avenue in Santa Monica, California, nearly five years after initially announcing the project. What was once a 22-story tower has now been cut down to 12, after the Santa Monica City Council imposed wide-ranging height restrictions on new construction in the city’s downtown in April of 2017. When AN last wrote about the Ocean Avenue project in 2013, Gehry’s tower-on-a-base was still 22 stories and 244 feet tall, and destined to sit in a major 1.9-acre redevelopment at the corner of Ocean Avenue and Santa Monica Boulevard. The $72 million mixed-use tower would have housed 22 condos, 125 hotel rooms, two stories of restaurants and retail, and a 36,000-square foot art museum with a glassy facade nearby. After years of legal battles stalled out development at the site over the tower’s height, Gehry’s rippling building could finally be on the rise following a City Council meeting on January 11th. While the overall massing and white-paneled, rippling façade of the revised tower still resembles the original plan, Gehry’s team has implemented sweeping changes. The project will now top out at 130 feet at its peak, with an average height of 44 feet across the tiered building. According to the Ocean Avenue Project website, the floor area ratio (FAR) has been reduced from 3.2 to 2.6, all condo units have been removed, the number of residential and affordable units has been increased, and Gehry has tried to improve integration with the street. A more concrete timeline for the project’s construction will likely become available following the upcoming City Council meeting.
Los Angeles is a vast, complicated place, and so is its 51-mile river. While the city’s Draft L.A. River Revitalization Master Plan, outlining a transformation of the river and the areas around it, was launched back in 2007 (laid out by a team including Studio M-LA and Tetra Tech) the many cities and towns south of the city have, ten years later, finally unveiled their own, set for the largely industrial 19-mile stretch between Vernon and Downtown Long Beach. The Lower Los Angeles River Working Group, a collection of officials, non-profits, and community members launched in 2015, has laid out improvements to the river that include vegetated terraces, access ramps, dams, public art, underground water retention systems and wetlands. They've also called for upgrades to almost 150 nearby properties, as well as parks, streetscapes, bridges, boardwalks, viewing platforms and pathways. To paint a picture of what could be, the working group, along with Tetra Tech and Perkins + Will, have laid out close to a dozen case studies. These include a plan for the Cudahy River Park, in the city of Cudahy, calling for new bridges, access ramps, levee terracing, and riverbank green space, as well as public art installed along the river bed itself and affordable housing rising alongside the new park. About eight miles south, the Compton Creek Confluence Area would include a new green terracing along the riverbanks, a new community center, picnic stations, and even water recreation thanks to a new rubber dam and stormwater treatment plant. Things are moving quickly on the 11-mile stretch of River between Downtown L.A. and Elysian Park: dozens of parks and trails have sprung up, the U.S. Army Corps of Engineers preparing a $1 billion dollar revitalization, and AECOM wants to add 36,000 housing units. But the south L.A. working group is still identifying funding for its endeavor, from local, state and federal sources. The group is also working to curb gentrification in these vulnerable neighborhoods, which accounts for, among several plans, the increase in affordable housing, rather than market rate proposals. The scheme, when finalized, will be incorporated into the overall Los Angeles River Revitalization Master Plan. Both will likely incorporate the wide-reaching approach being developed by Frank Gehry, Olin and Geosyntec on behalf of the non-profit L.A. River Revitalization Corp, or River LA. It could be decades before the changes are completed, but if you look at the many small projects already completed further north, it's clear substantial progress could take place in the next couple of years.