When The Broad opens to the public on September 20, Angelenos will finally get to see how Diller Scofidio + Renfro’s design compliments philanthropists Eli and Edythe Broad’s powerhouse collection of 2,000 pieces of contemporary art in their eponymous museum. Works by Ed Ruscha and Cindy Sherman will hang in the 35,000-square-foot, column-free gallery space lit by some 300 skylights. Expectations are high for the $140 million dollar building, but from what we’ve seen and heard, the architecture is refined and detail-oriented. Or, as DS+R architect Kevin Rice said of Eli Broad, “I’ve never worked with another billionaire so interested in bathroom fixtures.” While the opening of a new building is always a thrill, AN has been tracking this feat of design, engineering, and curatorial might almost since its inception and we thought we’d share some of the highlights along the way. Q+A> KEVIN RICE Architectural journalist Sam Lubell spoke with DS+R's Kevin Rice and got a behind-the-scenes preview of the museum. He asked Rice about design goals for the adjacent public space. “The last thing we wanted was another dead corporate plaza that gets filled at lunchtime and has tumbleweeds flying around the rest of the time,” said Rice. “We wanted something that people would want to come back to throughout the day.” Q+A> BROAD ART FOUNDATION DIRECTOR TALKS ARCHITECTURE, OPENING DATE FOR DS+R’S LOS ANGELES MUSEUM Late last year, AN talked with Broad Art Foundation Director Joanne Heyler to learn how the arts community was reacting to the new architecture. “The building is very sculptural because the Vault form [which contains the museum’s collection] creates the heart of the building,” said Heyler. “I’ve taken artists to see the collection inside and gotten an incredibly enthusiastic response.” COMMENT: ARCHITECTURE IS NOT ENOUGH AT GRAND AVENUE “No amount of architecture will transform Bunker Hill,” said architecture critic and curator Greg Goldin in his comment that drew attention to the lackluster urban condition along Grand Avenue. While Eli Broad has an ambition to make the street into a boulevard, Goldin questions redevelopment efforts going back decades that have wiped out topography and displaced population. “Broad’s obsession with having architects strut their stuff has obscured the need for a considered response to the city itself—with varied program and a welcoming streetscape—not one street-top civic center,” he wrote. HERE’S REM KOOLHAAS’ “FLOATING” RUNNER-UP PROPOSAL FOR LOS ANGELES’ BROAD MUSEUM Lastly, why not show OMA’s similar, but not winning proposal? Rem Koolhaas’s firm proposed a “floating” box covered in a lacy-patterned metal screen and cantilevered via steel brace frames above Grand Avenue.
Posts tagged with "Grand Avenue":
Diller Scofidio + Renfro's concrete-veiled Los Angeles art museum and its accompanying plaza, The Broad, named for the billionaire philanthropist Eli Broad who commissioned it, continue to rise in downtown. Meanwhile, across the street, Broad's longtime project, MOCA, struggles to find its footing. Addressing these two projects, Broad sat down with Los Angeles Magazine, giving an unusually candid interview about the state of the city, his own giving, and much more. Here are some of his most revealing quotes from a man who, this time, departed from his usual tactic of sticking to talking points. "Right now Los Angeles needs a lot of things. It needs better political leadership and better citizen and corporate leadership than it’s had." "I don’t mean to brag, but in Los Angeles I don’t see anyone who has stepped forward to do the number of things that I’ve done." "With regards to Disney Hall, Frank Gehry had a contract as a design architect. He wasn’t supposed to get involved in construction. When I got involved, I had some ideas that Frank didn’t like. But we’re great friends now." "We took a chance on Jeffrey Deitch [at MOCA]. He’s a populist. He did several great shows, like Art in the Streets. He created MOCAtv. But he didn’t have the stomach, frankly, to deal with trustees or raise money or do other things. He was not a manager." "We had a lot of old trustees on the board (at MOCA) who give nothing and create a lot of problems. Four or five of the old trustees didn’t give anything to this campaign for the endowment, but they have no problem talking to the press and complaining. "We (Broad and his wife Edye) want to finish all our work within ten years after our demise. We don’t believe in having a foundation that’s around 50 years from now that has no idea of what the founders wanted done." "Oh, yeah. We’re accelerating our investment."
Bicyclists and pedestrians cruising down Chicago’s 18-mile Lakefront Trail generally enjoy an exceptionally open, continuous and scenic path along Lake Michigan. But near Navy Pier they’re shunted inland, underneath a highway, onto sidewalks and through road crossings that interrupt their journey in the middle of one of the popular pathway's most congested corridors. The Navy Pier Flyover, announced in 2011, was designed to remedy that situation, and today Mayor Rahm Emanuel announced the project has officially broken ground. Though it won’t be fully open until 2018, work began on schedule for the portion of the pathway between Jane Adams Park and the Ogden Slip. The first phase of construction has a budget of $22.5 million. The total cost will be $60 million, split over three phases. The Lakefront Trail and Lake Shore Drive will remain open throughout construction. To track progress and occasional detours during the work, the city has set up navypierflyover.com. Sporting bike lanes and space for pedestrians, the trail will be 16 feet wide and approximately as elevated as Lake Shore Drive. LED lighting will supplement the “ambient light of Lake Shore Drive,” according to the city's website. The city called in architect Muller+Muller after studying the problem for years. That design, from 2011, remains intact. When complete the trail will allow for uninterrupted travel over the Chicago River, through DuSable Park, the Ogden Slip, across Illinois Street, Grand Avenue, Jane Addams Park and into the Ohio Street Tunnel. (The news comes among other improvements to the lakefront trail announced recently.) More design details are available here, in a presentation by the city made available online.
Yesterday the Los Angeles County Board of Supervisors approved Gehry Partners' and Related Companies' long-stalled Grand Avenue Project, all but assuring that it will go ahead after years (and years, and years) of delay. The only remaining vote comes later today as the Grand Avenue Authority, the city-county agency overseeing the project, votes on the project. At the Supervisors' meeting the head of that authority, Supervisor Gloria Molina, praised Gehry's newest plans, a three-acre, mixed use development centering around a terraced, U-shaped plaza. "It's really a much improved design," said Molina. "It really creates an environment of a lot of activity and a lot of connectivity to the rest of downtown." She referred to an earlier iteration, by Gensler along with Robert A.M. Stern, as "very enclosed, very fort-like." Gehry returned to the project last month after being off the project for close to a year. The Grand Avenue project was first approved back in 2007 (after already experiencing years of false-starts), and Related has received almost a dozen extensions until this point. Gehry Partners' Paul Zumoff described the firm's new approach "to carve out the interior of the Grand Avenue scheme...giving views both to the interior and the exterior." He added: "It's a bit like Disney was inside and was pulled out of the interior." The Grand Avenue Authority meets today at 3pm to vote on the project. Also up for discussion is whether the project will be exempt from environmental review.
The Grand, the multi-million-dollar, mixed use project on top of LA’s Bunker Hill, is finally… slowly… moving forward with an Arquitectonica-designed residential tower, which just broke ground. But it appears that Frank Gehry’s days on the project may be numbered. After a recent call with Related, we got no assurances that the starchitect was still part of the project. A report in the Downtown News got similarly uncommitted answers. Just across the street from the Grand we hear that The Broad (what’s with all the THEs?)—Eli Broad’s multi-million-dollar art museum—is getting ready to add an upscale market to its rear, just above the parking lot. If it’s even close to as successful as Chelsea Market in New York, Downtown LA could have yet another hit on its hands. Meanwhile, decking is being laid for a new park to The Broad’s south, but still no renderings of the park have been unveiled. Let’s make this public, Mr. Broad. We can’t wait to see your plans, which could single-handedly make or break Grand Avenue.
Los Angeles supervisor Gloria Molina has confirmed what we suspected all along. The Grand Avenue committee—chaired by Molina—has granted the Related Companies a third extension on its lease to develop The Grand, a multi-billion dollar, mixed-use development on top of the city's Bunker Hill. The project's Civic Park, designed by Rios Clementi Hale Studios, opened last summer, and the first built project, an apartment by Arquitectonica, broke ground earlier this month. But the rest of the project, including 9 acres encompassing at least 2,100 residential units, a hotel, shopping, and dining, still remains dormant. Related would not commit to its original designer, Frank Gehry, when AN talked with them last year, nor would they confirm his continued involvement in a recent interview with the LA Downtown News. More images of Gehry's perhaps-defunct plan below.
When Diller Scofidio + Renfro were solicited last June by Eli Broad to sketch an idea for his new archive and museum, the architects were forced to ask: “What do you build next to Disney Hall?” Answer: Something else. Where Frank Gehry’s work is smooth and impenetrable, the Broad Art Foundation is porous and accessible. The stainless steel concert hall reflects the city’s skyline; blinding sunlight bounces off its capering shell. The Broad’s concrete veil, by contrast, is a less aggressive spectacle. At three-feet thick, and punched through with large angular openings, the new museum looks as if it is cloaked in an ice cube tray twisted by a powerful algorithm. As, certainly, it has been, to pleasing effect. Over time the animated, if a bit too-tidy white box, with its dramatic, carved out entryway – a quote of Diller’s earlier Alice Tully Hall – will settle onto Grand Avenue, a signature building poised not so much to duke it out with Disney as to hold firmly its own ground. The trouble here is that everyone – architects, planners, civic officials, and developers – is convinced that if you plant the right number of monuments on Grand Avenue, the street will become, as Eli Broad says, “the Champs Elysees of Los Angeles.” What they’re looking for is a sidewalk lined by masterpieces. No amount of architecture will transform Bunker Hill – the nation’s longest-running redevelopment project (some would say scam). Broad’s obsession with having architects strut their stuff has obscured the need for a considered response to the city itself— with varied program and a welcoming streetscape—not one street-top civic center. This is not to argue for provincial architecture. But it might be helpful if what goes up on Grand Avenue were considered in its rightful place and not as some moon-shot projectile intended to rescue or restore or resuscitate a barren landscape. For starters, the hill itself is – as it has been elsewhere – trampled, converted into a 3-story garage, as if the slope were actually flat. Why have the architects decided to essentially level a site that drops 200 feet from front to back? An inner truth – not to mention a particular history of human occupancy – resides in this steep hillside, yet the topography is buried. Does this geography communicate no ideas that might be captured in a building and, ultimately, speak to the city at large? And if Los Angeles is truly the center of contemporary art – as Broad and others argued at the unveiling of the museum’s design – why doesn’t the new building reach for a language that breathes the gritty, somewhat toxic perfume that spurs art here. As it is conceived, the Broad is a pleasant museum, with an admirable lobby, an exciting gallery space, and an eye-catching skin, suited to any philanthropist with $130 million to spare. As usual, Los Angeles gets the architecture of anywhere, leaving us to wonder where our city really is and who has the guts to confront it.
Finally. The design for Eli Broad's new contemporary art museum in Downtown LA, designed by Diller Scofidio + Renfro, is being unveiled on Thursday, according to a press release sent out today. The event will take place at 11:00 am at Walt Disney Concert Hall (next to the new museum site), giving us lazy journalists plenty of time to make it. According to the release, the museum will be "home to the worldwide headquarters of The Broad Art Foundation," and will provide a home for Broad's collection of more than 2,000 works by 200 artists. Since the museum saga has dragged out over several years between several cities, and because he's hired one of the country's top architects, Mr. Broad has done an excellent job of building our expectations. Hope it's good!
Leave it to Eli Broad, who is putting up his own museum in Downtown LA, to make a mockery of the public process. Despite getting a great deal on one of the most valuable pieces of real estate in the city he still hasn't shared any of the designs for the new museum. His only nod was inviting the LA Times Christopher Hawhthorne to see the contending models a few weeks ago, and not letting any other members of the press in. Hawthorne, it appears, could not publish his thoughts until after a winner was chosen, and even then his article didn't show any photos. And the Broad Foundation doesn't plan to share any images of the winning scheme until after ground is broken. This is a disaster for LA, which will effectively have no say over one of the most important cultural institutions in its history.
TORCH BEARERS On January 5, our New York colleagues attended a wake to mourn last month’s folding of I.D. magazine, the 55-year-old trusted chronicler of design where pioneer modernist Alvin Lustig was art director and a young John Gregory Dunne was an editor before turning to novels and screenplays. The bi-coastal bash was more of a gathering of the fellowship than a farewell, with Pentagram grandee Michael Bierut and former editors Chee Pearlman and Julie Lasky hosting. Fresh from Silicon Valley, newly appointed National Design Museum director Bill Moggridge, formerly of IDEO, was also there studying local rituals. YOU WISH Hagy Belzberg’s Skyline Residence sits on a gorgeous mountaintop ridge site. But much of its architectural innovation came cheap, with off-the-shelf parts and materials. Which made us sit up and take envious notice when we heard that the house sold for an over-the-rainbow $5.6 million, according to real-estate site Redfin. Maybe that means a new generation of buyers really value good design, or it could just be more proof of the old saw: location, location, location. However, Eavesdrop wants to believe it was the book-signing party for AN editor Sam Lubell’s new book Living West (own your own copy today!) that pushed the sale over the top. After all, Steven Ehrlich, Hadrian Predock, and Jennifer Siegal showed up. GREENER PASTURES Eco-prophet Paul Kephart of landscape design firm Rana Creek, which created the much-acclaimed green roof atop Renzo Piano’s California Academy of Sciences, has had a turbulent few years. First he left his wife for an employee, throwing the small company into chaos. Then we heard the plants on the roof were turning brown, and that Kephart himself had a brush with near death. Now, Eavesdrop is glad to report that things have stabilized with the arrival of a new Baby Kephart. Take heart: Dad is definitely not the first larger-than-life personage to also have a complicated personal life. AIN’T IT GRAND? We love when planners decide to let loose with gossip-worthy statements. Last month, Paul Novak, the land planning deputy for LA County Supervisor Mike Antonovich, spouted freely to the Los Angeles Business Journal about the city’s long-stalled Grand Avenue development: “The project should be abandoned.” And he elaborated: “We need to rethink what goes on that land and how the county and city can maximize their returns. But it’s not this deal. We should probably start from scratch and issue a new request for proposals.” Meanwhile, the Grand Avenue site looks exactly the same as it has since we started the California edition three years ago. And we thought we were the ones who played fast and loose with deadlines. Send gag orders and blank slates to Eavesdrop@archpaper.com
We knew that Gehry Partners had trimmed its staff recently due to the recession. But according to a story in Architectural Record, the cuts are much worse than we thought. Tony Illia writes that the company has reduced its staff from 250 a year ago to 112 now. That's more than a 50 percent chop! Many of the cuts are due to the losses of projects like Atlantic Yards in Brooklyn, and the delay of projects like Grand Avenue in Los Angeles. Still the firm is still set to move into roomier new digs in El Segundo (pictured above) later this year. Should be.. spacious. Still the story says the firm is working on new projects like a Guggenheim in Abu Dhabi, the Beekman tower in Lower Manhattan, and the Eisenhower Memorial in Washington.