Peter Zumthor's $ 600 million plan for the Los Angeles County Museum of Art (LACMA) is changing. Again. According to a piece in the Los Angeles Times, the sprawling and curving black form has been angled off, weighted to the south, and outfitted with greyish, double-height galleries poking up above the main mass' roofline. The building still swoops over Wilshire Boulevard to avoid disturbing the La Brea Tar Pits, but it will now have just two entrances (instead of seven), at its north and south ends, and its continuous loop of perimeter hallway galleries has been removed. "Peter hasn't given up the curve. But he's really, really reined it in," LACMA Director Michael Govan told the Times. The latest design will be discussed tonight, Wednesday, March 25 at Occidental College, as part of the school's "3rd Los Angeles Project," a series of public events examining the city's move into a "dramatically new phase in its civic development." Members of the panel will include host Christopher Hawthorne, Govan, journalists Greg Goldin and Carolina Miranda, and architects Sharon Johnston and Mark Lee. The Los Angeles Board of Supervisors has approved initial funding of $125 million in bonds (pending approval of the project's EIR), but LACMA still needs to raise about $500 million to make Zumthor's in-progress scheme reality.
Posts tagged with "Greg Goldin":
Never Built: Los Angeles A+D Architecture and Design Museum 6032 Wilshire Boulevard, Los Angeles July 27–September 29th, 2013 It is difficult to envision the city of Los Angeles any differently than it exists today, but AN West editor Sam Lubell and co-curator Greg Goldin, in collaboration with Clive Wilkinson Architects, have organized an exhibition at the Architecture and Design Museum that grants visitors the rare opportunity to get a glimpse of the city as it could have been. The team gathered a diverse assortment of renderings, models, and various media depicting parks, buildings, master plans, and transportation schemes that were designed with the intention of being built, but were deemed too novel to actually be brought to life. The collection features unrealized projects, such as Frank Lloyd Wright’s 1925 Civic Center Plan, William H. Evans’s 1939 design for the Tower of Civilization, and B+U Architect’s 2009 design for an office building on Firestone Boulevard, as well as many other projects that, had they been carried out, would have completely changed the physical reality of the city of Los Angeles.
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.