During a recent breakfast with members of the local AIA|LA chapter at Gensler’s Los Angeles offices, Los Angeles County Museum of Art (LACMA) director Michael Govan announced a potential plan to add up to five satellite campuses to LACMA’s current sites. While the plan is largely still in the works, Govan explained that as the institution seeks to demolish and replace its existing William Pereira and Hardy Holzman Pfeiffer-designed complex, LACMA was “hitting the limit for space on Wilshire Boulevard” and would need to start looking at other sites for potential future expansions. Explaining that he had explicitly instructed Peter Zumthor—the architect behind the controversial $600 million revamp—to design a singular structure that would be difficult to expand, Govan said, “There’s never been a building that’s been added onto that has been made better [because of that addition].” Govan explained that it would be better if LACMA’s future expansions happened “elsewhere in Los Angeles” so that the new facilities might become a resource for the broader population of Los Angeles County. Govan then detailed a conceptual plan for the future of a “de-centralized” LACMA that could bring a jolt of arts and educational programming to arts-starved communities throughout the city, starting with South Los Angeles, where the organization recently announced what could turn out to be its first regional outpost. Earlier this year, LACMA announced plans to expand to a 80,000-square-foot industrial building in South Los Angeles Wetlands Park and to a vacant site located in the 104-acre Earvin “Magic” Johnson Park in an effort to boost community outreach and make better use of its resources while the expansion at the Wilshire campus is under construction. LACMA is also currently operating a small gallery at Charles White Elementary School in L.A.’s MacArthur Park neighborhood, where it is working to have an updated security and ticketing system installed that would allow the space to be open to the public on weekends, Govan explained. LACMA plans to exhibit objects from its collections there and to work with local artists and students at the school to create programming for the site, as well. Aiming for a “decentered museum for a decentered metropolis,” Govan also explained that LACMA is currently partnered with the Vincent Price Art Museum at East Los Angeles College for an exhibition on ancient Egyptian artifacts in LACMA’s collection. Govan hinted that sites in the San Fernando Valley were also potentially under consideration and that ultimately, he would like to see five 50,000-square-foot satellites in operation over the next decade or so.
Posts tagged with "LACMA":
Pre-Hispanic revivals—from the Aztec, Maya, and other civilizations—were popular in California during the 1920s and 1930s in the design of theaters, hotels, furnishings, and jewelry, but such engagements with the Mesoamerican past had other fascinating manifestations from the 1950s to the 1970s. This panel will explore the new ways artists used pre-Hispanic imagery to mark regional and cultural identity, whether as emblems of defiance by the Chicano civil rights movement or symbols of timeless craft traditions. Moderated by LACMA associate curator Megan E. O’Neil, the panel includes University of Pittsburgh assistant professor Jennifer Josten, UCLA Fowler Museum chief curator Matthew Robb, and artist Judithe Hernández.
The Los Angeles County Museum of Art (LACMA) recently announced a new crop of museum acquisitions that includes a variety of multimedia works by several Los Angeles–area architects and designers. Included in the set of new acquisitions, according to LACMA Unframed, is a neon lamp designed by Jimenez Lai of Bureau Spectacular. The so-called Scribble lamp is an outgrowth of the firm’s Tower of Twelve Stories installation at the 2016 Coachella music festival. The fixture is made up of a singular light tube that has been bent and folded to look like a bit of “neon gibberish” drawn by Lai. The circular light is designed so that it touches down at four points, relying on similar structural principles as those explored in the Coachella tower. Other examples of Lai’s work are also featured in the permanent collection of the Museum of Modern Art in New York City. Architect Jenny Wu’s Catena necklace, a work designed in Autodesk Maya, made from stainless steel-infiltrated with bronze, and fabricated using binder jet 3D-printing, was also chosen for LACMA’s permanent collection. Wu is a principal and co-founder of architecture firm Oyler Wu Collaborative and is also the creative force behind the 3-D-printed jewelry outfit LACE that fabricated the Catena necklace. Wu’s work with LACE began in 2014 as an offshoot stemming from a one-off production and has grown in the years since into a full line of 3-D-printed works meant to act as “architecture on the body,” according to the architect. The signature LACE Collection utilizes advanced 3-D-printing techniques like selective laser sintering and wax pattern 3-D-printing to create intricate works in nylon, steel, and precious metals. Describing the highlighted jewelry line, Wu explained that LACE was a continuation of the “experimentation in fabrication, material research, and design innovation” that drives her architectural work. Wu added, “I think this just propels us to keep pushing what we do, whether it’s [designing] an installation, a building, or a piece of jewelry.” Oyler Wu also has work featured in the permanent collection of the San Francisco Museum of Art. Architect Elena Manferdini’s recent project titled Building Portraits has also been acquired by LACMA. The multimedia project is an exploration of the digital weaving of architectural elements. The museum is collecting two groups of works associated with a multi-part project, including a set of two physical models, five drawings, a silk scarf, and a rug. For the project, Manferdini utilized digital weaving technologies to create graphic geometric prints that were then converted into the various textile forms and ultimately extrapolated into building facades. Explaining the project via email, Manferdini said, “The pieces acquired by the museum delineate my work’s progression from scripted drawings to textiles to building facades. It is a snapshot of my process of creation and the way in which certain ideas and techniques come to fruition in the field of design and architecture.” The architect added, “Being part of this collection gives to the work the exposure through time to a larger audience and can have tremendous value for research.” LACMA also acquired works by sculptor Ben Medansky, L.A. arts collective The Machine Project, sculptor Adam Silverman, artist David Wiseman, artists the Haas Brothers, and graphic designer Ed Fella.
The Los Angeles County Museum of Art (LACMA) is moving to expand the number of facilities it operates with not one, but two new potential sites in South Los Angeles. The New York Times reports, that the institution is looking to potentially expand to a 80,000-square-foot industrial building in South Los Angeles Wetlands Park and to a vacant site located in the 104-acre Earvin “Magic” Johnson Park in an effort to boost community outreach and make better use of resources as the organization plans a controversial $600 million expansion of its main campus. LACMA is currently working to acquire rights to use both sites, with the Wetlands Park location being further along in the approval process. Plans for that site will come up for consideration later this week by the Los Angeles City Council, which expected to approve a 35-year lease on the site so that LACMA can initiate its adaptive reuse project. The industrial structure LACMA intends to occupy dates to 1911 and was formerly used to store trains and buses that served the local transportation system. The single-story beaux-arts structure has sat empty for decades, however, even as the former rail yards surrounding it were converted into wetlands by planning and design firm Psomas. Plans released during the initial completion of the park’s water retention and landscaped areas in 2014 called for repurposing the structure into a rail museum, a plan that has since given way to LACMA’s potential reuse. The renovations are expected to cost between $25 million and $30 million, Govan told The New York Times. Referencing the museum’s plans for replacing its existing facilities in Mid-Wilshire, LACMA director Michael Govan told The New York Times, “You start thinking, where can the value of your collection and program be the greatest, when you’re behind a big fancy fence on Wilshire Boulevard or out in the community?” The museum—which receives roughly 25 percent of its funding from Los Angeles County—is also looking at a site six miles to the south of the park for a potential third location. Those facilities would occupy the site of the former Ujima Village housing project, which was demolished in 2009 due to contamination issues at the site. The park sits near the Blue Line light rail line and within walking distance of the Watts Towers arts complex. The potential ground-up development would present an opportunity for the museum to build a new structure in the park that could potentially accommodate LACMA’s off-site art storage facilities. The park is currently in the midst of a $50-million, decade-long renovation and remediation effort and local officials are reportedly receptive to LACMA’s plans. Regarding the two-site plan, Govan told The New York Times, “I can tell you now, it’s not an either-or. If we get both spaces, I think that it will be even easier to make each work. Each property offers very different advantages in completely different neighborhoods.” A timeline for the second site has not been announced. The location expansions would add another layer to the changing dynamic in the South Los Angeles region, which has slowly begun to gentrify in anticipation of the new Crenshaw Line light rail route and as high housing costs elsewhere push formerly-reluctant homebuyers into the area. As far as institutional players go, LACMA will be joined in the area by the Los Angeles Philharmonic, which is in the process of creating a satellite facility in nearby Inglewood designed by Frank Gehry. Gehry’s plans for the Youth Orchestra of Los Angeles (YOLA) will repurpose an existing 17,000-square-foot facility into a new community center that will provide performance and rehearsal spaces for up to 500 young musicians. Designs for the complex have not been unveiled, but the new YOLA facilities are expected to open in 2022.
While William Pereira’s Los Angeles County Museum of Art (LACMA) may soon face the wrecking ball in favor of Peter Zumthor’s tar-inspired blob, the Los Angeles Conservancy is trying to ensure that another iconic Pereira building remains. On Monday, the Conservancy filed an application to landmark Pereira and Luckman’s Television City, an International Style icon at the corner of Beverly and Fairfax. CBS is reportedly considering a sale of the site, which brokers have valued at anywhere from $500 million to $1 billion. Built in 1952, Television City was one of the first complexes constructed specifically for television production and broadcasting. Containing sound stages, studios, editing rooms, offices, and rehearsal halls, its rectangular volumes are clad in black and white walls of glass and stucco, with red accents. The complex has hosted The Carol Burnett Show, All in the Family, and The Ed Sullivan Show, and is currently home to The Price Is Right and The Late Late Show with James Corden. Landmark designation would require preservation design review and approval through the city’s Office of Historic Resources to guide any redevelopment and adaptive reuse of the campus, including new infill construction.
The Los Angeles County Museum of Art (LACMA) and Atelier Zumthor have unveiled new renderings for the institution’s planned $600 million expansion. According to a Draft Environmental Impact Report produced by the design and development team, the forthcoming 390,000-square-foot expansion aims to demolish the entirety of the existing William Pereira–designed campus, including a 1986 addition by Hardy Holzman Pfeiffer done in the postmodern style. The proposed changes would leave in place the 2008 Renzo Piano-designed Broad Contemporary Art Museum addition as well as the Japanese Pavilion by Bruce Goff from 1988. Despite its hefty price tag and the sacrifice of several key works of late modern and postmodern architecture, Zumthor’s proposal will generate a net loss in gallery space for the institution. According to the impact report, the new museum will contain 390,000 square feet of space, roughly 5,000 square feet fewer than the current configuration. Instead, the new museum will be designed as a singular mega-gallery carved up into differently-sized rooms. The configuration will sit roughly 20 feet above street level and is currently designed to span across Wilshire Boulevard. The elevated galleries—treated in Zumthor’s well-worn, board-formed concrete aesthetic—will be accessible via seven circulation piers and a pair of monumental staircases that connect the galleries to the ground. The mega-gallery will be wrapped in perimeter circulation and expanses of clear glass. Renderings for the complex depict the south- and west-facing blob to achieve solar shading via low-cost means: southern sun will be shaded by a deep roof overhang while interior curtains will do their best to block out western glare. The museum will touch down across the street where the circulation pod will house an amphitheater. There are several questions surrounding the project, especially with regard to how the structure will span over Wilshire Boulevard. Renderings depict a highway overpass-reminiscent quality to the spaces below the over-Wilshire span, with open glass areas along the amphitheater side. The draft report indicates that the designers are pursuing an option that would contain the development entirely on the northern side of Wilshire Boulevard, however. Either way, with a subway line currently going in underneath the street, and the unstable, tar- and fossil-heavy soils occupying the current museum site, the project will surely be a boon to the project’s engineers. Plans call for the proposal to undergo further review over the next several months. Construction is expected to begin sometime in late 2018, with the final museum completed in 2023.
The Los Angeles Museum County Museum of Art (LACMA) and Nuevo Museo de Arte Contemporáneo de Guatemala have launched a Kickstarter campaign to bring Guatemala’s first and only contemporary art museum to the United States. The museum—colloquially known as NuMu—is contained within a five-square-meter egg-shaped pod that can hold up to four people at a time. Jessica Kairé and Stefan Benchoam, the artist-organizers behind the museum, plan to build a mobile replica of the structure that would go on tour through creative communities in Guatemala, Mexico, and the American Southwest. The museum would eventually end its journey at LACMA in Los Angeles in time to join celebrations for the city’s Pacific Standard Time festival of exhibitions due to take place this Fall. Pacific Standard Time is being organized to strengthen existing connections between Southern California–based artists and art institutions and their peers throughout Central and South America. The pod will be included in a group exhibition organized by LACMA called “A Universal History of Infamy;” The exhibition will focus on the work of more than 15 artists and collectives that delve into anthropology, theater, and linguistics via their work. So far, the Kickstarter has garnered over $21,000 in pledges. The ultimate goal of the initiative is to raise $75,000. See the NuMu Kickstarter page for more information.
Swiss architect Peter Zumthor and Los Angeles County Museum of Art (LACMA) director Michael Govan have unveiled a slew of new images and design concepts for a scheme aiming to replace Los Angeles's largest art museum with a new 368,000-square foot complex. The plans were revealed last night during a joint talk delivered by Zumthor and Govan to a packed audience at the Brown Auditorium on the LACMA campus, where Govan explained that the project sought to re-signify the museum experience and undermine the traditional museum typology by creating a structure with “no back, no front.” The efforts, according to Govan and Zumthor, are aimed at granting prominence to art objects more equally, instead of relegating certain collections to the museum’s nether regions, as is currently the case. The plans build on a previously-released—and much-derided scheme—that aims to create a large, continuous gallery elevated high above the museum’s site in a structure that would span across Wilshire Boulevard to the south. The sinuous, oil-slick inspired structure—an homage to the La Brea Tar Pits next door—is lifted above the ground on a series of seven pavilion towers that house public galleries, conservation spaces, circulation, ground level cafes and restaurants, and an amphitheater. The pavilions stretch up into the levitated mass to create a complex set of interlocking gallery spaces. According to Zumthor, the project contains four types of galleries along this level: so-called meander galleries along the periphery, with smaller “pocket galleries” located throughout and grouped “cluster galleries” and “tower galleries” contained within the pavilions. The “tower galleries” in the scheme will be located within tall, triple-height light cannons meant to funnel sunlight into the galleries. The design is capped by a massive, continuously overhanging roof that would shield the museum’s collection from southern sun; black, retractable drapes are to be installed along eastern and western exposures to control for low-angle solar glare. Zumthor expressed a strong desire to create a museum from “real materials, not sheetrock,” and has proposed board-formed concrete surfaces for the gallery interiors. The building’s exterior—in fact, the entire building, generally speaking—will be made of concrete, as well. This material, depicted in the new images in mud-colored tones, is meant to evoke the Texas Limestone cladding of the nearby Renzo Piano–designed Broad Contemporary Art Museum and A.C. Martin–designed May Company building. In describing the project, Zumthor explained that his scheme originated with the traditional, non-purpose-built art museum: spaces originally constructed as homes for elite art patrons that brought in light via peripheral windows. This “side light,” according to Zumthor, creates dynamic conditions that allow patrons to “make personal discoveries” within artworks and drove the concept’s organization of small, oddly-shaped galleries with various connections to the outdoors. A preliminary timeline for the project aims to finish the project by 2023, in time for the opening of a new subway extension along Wilshire Boulevard. For more info, see the LACMA website.
Vienna-based MAK has named Priscilla Lovat Fraser as the new director of the MAK Center for Art and Architecture, its Los Angeles—based satellite location. Fraser was chosen after a lengthy selection process following the departure of long-time MAK director Kimberli Meyer, who stepped down earlier this year to become the director of the University Art Museum at California State University Long Beach. Fraser was most recently senior architect and project manager at the Los Angeles County Museum of Art (LACMA), where she provided exhibition design for Chris Burden’s Metropolis II installation and the exhibition James Turrell: A Retrospective. Fraser has also been instrumental in shepherding Peter Zumthor’s controversial expansion proposal for the museum. That proposal requires the demolition of the existing William Pereira-designed LACMA building in lieu of a wholly new building by Zumthor consisting of a continuous gallery uplifted on a series of piers. Fraser has also served as the director of exhibitions and publications at Steven Holl Architects and worked under Barry Bergdoll in the Architecture Department of the Museum of Modern Art. In a press release announcing Fraser’s selection, Christoph Thun-Hohenstein, the artistic director of MAK, described the selection of Priscilla Fraser as an "exciting dual opportunity for a successful non-profit arts organization to both build on its legacy and reimagine its future. We have no doubt that Priscilla will embrace the mission of the MAK Center and expand it ambitiously." Fraser will take up her post at the MAK Center’s Schindler House headquarters starting January 2, 2017.
Los Angeles architect William Pereira is most famous for his iconic 1972 Transamerica Building, an 853-foot tall square-based pyramid tower in downtown San Francisco, and for the Googie-styled Theme Building at Los Angeles International Airport, a flying saucer-shaped observation floor supported by a four-footed, sinuous frame. These projects are among the architect’s more than 400 diverse commissions, a list that also includes the masterplans for the Orange County suburb of Irvine and the University of California at Irvine (UCI) campus. The city of Irvine’s urban plan landed the architect on the cover of Time magazine; there he's depicted in front of the suburb's plan. Those aspects of his legacy are more or less doing fine—there are serious and ongoing questions about incongruous changes being made to both the Irvine master plan and to the UCI campus —but several of Pereira’s other works are currently more deeply imperiled. One, Pereira’s Los Angeles County Museum of Art (1965) was heavily altered in 1986 by the Robert O. Anderson Building for 20th-century art, a $35.3-million, 115,000-square-foot addition designed by Hardy Holzman Pfeiffer Associates. That structure—plus architect Bruce Goff’s Pavilion for Japanese Art, designed two years later—drastically changed Pereira’s original plan, which was initially conceived of as an austere art-acropolis surrounded by fountains. The plan featured three large, Cipollino marble-clad structures built around a central courtyard and water feature that connected to Wilshire Boulevard by a pedestrian bridge. The entire complex was lifted above the marshy and tar-laden grounds of the museum’s Park La Brea site. To much ballyhoo and controversy, plans were released last year for a Peter Zumthor-designed, $600 million replacement building that would demolish the Pereira and Hardy Holzman Pfeiffer Associates buildings altogether, wiping the slate clean. Those relics would be replaced with an oil leak-inspired scheme by Zumthor consisting of a continuous gallery raised on eight piers. A portion of the new LACMA would span over Wilshire Boulevard to the south. The outcry over the project has revolved mostly around the confusingly under-cooked Zumthor plan and its amateurish renderings, rather than the demolition of the existing structures, but a few Pereira enthusiasts have increasingly spoken out over the last few months as the LACMA plans gain steam and more Pereira structures come under the gun. Alan Hess, architect and scholar on 20th-century architecture, described the imperiled Pereira legacy over the phone to The Architect's Newspaper (AN), saying, “We are in danger of losing the buildings that defined his contributions and continue to shape Southern California at this moment.” Hess went on to describe Pereira as an architect who was never really loved by the public at large, saying Pereira was often thought of as “Hollywood’s idea of an architect,” a fact that has not been lost on a regional populace raised to sanctify the single family home at the expense of all other types of architecture and planning. As a result, commercial and civic buildings, often relics of periods of economic expansion and growth, are treated as relatively disposable, their cultural utility viewed more through an economic lens than an architectural or civic one. It so happens that many of Pereira’s works are these types of buildings—grand statements of their time, first and foremost, and icons of capitalism, commerce, and development, as well. As such, they are apt to be replaced after their fancy wears off and the age starts to show, which in Los Angeles, is a time span lasting roughly 30 to 50 years. The LACMA complex turned 50 years old in 2015 and no mention or effort has been undertaken to list the complex on the National Register of Historic Places, for example. Hess continued, “It is necessary to look much more broadly at the contributions of Modern Architecture in Southern California through the 20th century and realize that large scale commercial projects are not only very well designed and innovative, from the standpoint of what they are, but are also extremely influential. They set the patterns for the workplaces, homes, planning ideas, that affected hundreds of thousands of Californians.” But Pereira has yet to have his moment in the Southern California sun. The first and only retrospective of the architect's work didn’t happen until 2013 and at the Nevada Museum of Art in Reno, Nevada, no less. There are also few major monographs of Pereira’s work. Adrian Scott-Fine, director of advocacy for the Los Angeles Conservancy, told AN over the telephone, “William Pereira-designed buildings and commissions seem to be increasingly at risk and we are at a time where [consideration of Pereira’s work] is past due in terms of its contribution to architecture and Los Angeles. It needs to be understood and put into a context and we are losing time.” But the civic and cultural institutions responsible for maintaining Los Angeles’s architectural patrimony have been relatively silent on saving Pereira’s work across multiple fronts. The Conservancy has yet to take an official position on the LACMA project, with Scott-Fine telling AN, “[The L.A. Conservancy] hasn’t come out with a position on the LACMA project. The current proposed project calls for a wing of the new LACMA to go over the Wilshire Miracle Mile. We want to know more about how that would impact the character of Miracle Mile. We’re still assessing.” Similarly, many other major museums or organizations in the region have not come out with statements of support for preservation efforts and time is quickly running out. Two of Pereira’s other projects, the Metropolitan Water District (MWD) headquarters and a 1971 addition to the Los Angeles Times building, are also facing very real existential threats. The Los Angeles Times building was purchased last year by Canadian developer Onni Group and the company has plans to raze the Pereira section to make way for a housing development. It’s safe to say the building, too young to be listed on the National Register and articulated in a vaguely Brutalist style, is not long for this world. Pereira’s MWD headquarters is more a mixed story. Developers Linear City purchased a portion of the 1973 complex, redeveloping and restoring it. Their project, The Elysian, consists of 120,000 square feet of commercial space and 96 live-work units. The site also contains, however, two other structures from the same time period. Those properties were purchased by developer Palisades Capital Partners and now face demolition. A meeting of the city’s Cultural Heritage Commissioners last week rejected the building’s cultural landmark application in a 2-2 vote. The five-member panel currently has a vacant seat and decisions that end in a tie result in a take-no-action outcome. So, the building’s landmark designation was effectively denied. The site of this portion of the complex is zoned for up to 547 apartment units and the developer has expressed the intention of demolishing the structure outright in the name of new construction. Local Pereira activists and tour guides Kim Cooper and Richard Schave of Esotouric organized a cohort of 100 or so supporters to attend the meeting and protest the decision, but their efforts were met with ambivalence. The group, who has been running tours of Pereira buildings over the last few months to raise awareness and has a planned meet up in October to tour the existing LACMA complex, has until October 5th to convince the Cultural Heritage Commission to reconvene and reconsider the nomination. The well-attended meeting drew support from Pereira’s own daughter, Monica Pereira, who spoke to AN in the days afterward, saying, “People have to realize that pictures alone don’t do [Pereira’s buildings] justice and that once a building is gone, it’s gone. These buildings have stood the test of time and it would be a black mark on the city to let them get demolished.” At the moment, what is missing is city-wide leadership on the civic appreciation of Pereira’s work from elected and appointed officials. Linear City’s work proves it is possible to radically repurpose midcentury structures and to do so in a way that benefits the future of the city while keeping an eye toward preservation. But Pereira’s works live with the uncomfortable luck of being both relics of their own respective times and potentially, a casualty of our own, only to be replaced by the future relics of this era. The question for Los Angeles right now is: Are its buildings simply economic commodities or are they expressions of history and culture open to reuse and reinterpretation? Either way, there is hope for Pereira buildings in other locations. The Braniff Building, a complex of Pereira structures featuring butterfly roofs and large expanses of glass and aluminum in Love Field in Dallas, Texas was recently converted into a mixed-use complex. Also, a bank building by Pereira in Phoenix, Arizona was recently restored by architecture firm Cuningham Group as an office for the company. In a press release announcing the project, Cuningham Group Principal Nabil Abou-Haidar stated, “For a firm such as ours that deeply respects good design, it is an honor to make this landmark our home. There is a clean-lined simplicity to the building that remains attractive to this day. It is certainly an approach we bring forward in contemporary architecture for our clients, and in our other offices around the world.”
The Getty-sponsored initiative, Pacific Standard Time, has released a partial list of the exhibitions associated with next year’s upcoming installment of its Southern California-wide arts extravaganza. Held every two to three years since 2011, the upcoming Pacific Standard Time installment for 2017 will focus squarely on facilitating cross-cultural artistic pollination by showcasing artworks and research from North and South America in the Los Angeles area. Pacific Standard Time is being presented by more than 70 partners located within a California area spanning Santa Barbara to the north, Palm Springs to the east, and San Diego to the south. Pacific Standard Time: LA/LA (PST:LA/LA), as next year’s initiative is known, aims to utilize the Southland area as a staging ground for the provocative presentation of works hailing from regions of the continent that feed into L.A.’s multicultural expanse. According to a promotional Youtube clip for the project, “A single form of artistic expression can be born in one place and reshape an entire region thousands of miles away. That’s the power of Latin American and Latino Art’s influence on Los Angeles,” adding, “It’s time for Southern California to turn a spotlight on its cultural and artistic roots.” Though the exhibitions presented will cover topics as diverse as luxury goods from the pre-Columbian Americas to post-World War II utopias in Brazil, Mexico, and Venezuela, PST:LA/LA’s program also aims to showcase a variety of architectural- and design-related exhibitions that touch on critical architectural issues and their impact on art. The Getty Museum and Los Angeles County Museum of Art (LACMA) are doing much of the heavy lifting in this department, with LACMA presenting multiple architecturally-related shows. LACMA’s Found in Translation: Design in California and Mexico, 1915–1985 will look at the exchange of architectural dialogues between California and Mexico and examine how the Spanish Colonial, Pre-Columbian Revivals, Craftsman, and Modernist architectural movements played a role in defining each locale throughout the 20th century. The museum’s Home—So Different, So Appealing, exhibition—part of a collaboration with Museum of Fine Arts, Houston and organized by the Chicano Studies Research Center at the University of California, Los Angeles—aims to present an "alternative narrative of postwar and contemporary art by showcasing the work of Latino-American and Latin American artists from the late 1950s to the present who have used the idea of "home" as a grounding feature in their work." LACMA will also play host to A Universal History of Infamy, a collective exhibition of more than 15 artists and collectives who have developed multi-disciplinary projects while attending residency programs organized by the 18th Street Art Center in Santa Monica, California, including the work of Naufus Ramírez-Figueroa and his A Brief History of Architecture in Guatemala from 2013. The Getty Research Institute's Urban Transfer(s): Building the Latin American Metropolis from Independence to the Threshold of Modernism will consist of a visual survey of the growth experienced by Latin American cities between the 1920s and today, tracing a narrative arc spanning from the decolonization period of the late 19th century to contemporary urban conditions for the metropolises that now dot the continent. The Palm Springs Art Museum will hold Living Architecture: Lina Bo Bardi and Albert Frey, a comparative look at the work of Brazilian Modernist paragon Lina Bo Bardi and Southern California architect Albert Frey. Bo Bardi translated Frey’s text, Living Architecture for Domus in 1959 and each helmed practices that engaged with Modernism in architecture as well as furniture and urban design. The Craft and Folk Art Museum will show The U.S.-Mexico Border: Place, Imagination, and Possibility, a collection of work by individuals who grapple with the U.S.-Mexico border wall in their work, featuring work of artists and designers like Teddy Cruz, Adrian Esparza, Consuelo Jimenez Underwood, and Ana Serrano. Last but not least, the Los Angeles Municipal Art Gallery will hold Learning from Latin America: Art, Architecture, and Visions of Modernism a collection of work from Brazilian, Cuban, Mexican, and Venezuelan artists who have engaged with the contested legacies of Modern architecture in their work. To explore the growing list of exhibitions, visit the Pacific Standard Time website here.
The Los Angeles County Museum of Art (LACMA) and Atelier Peter Zumthor launched a website yesterday, BuildingLACMA.org, that touts newly revealed renderings for a $600 million project aimed at demolishing LACMA’s existing galleries in exchange for a wholly new museum by the famed Swiss architect. The website launch comes as the first step toward the preparation of an Environmental Impact Report (EIR) required for the project to move into the construction phase. Thursday’s announcement also set out a date for the first “scoping meeting” for the current phase of the project, to be held on August 24, to hear public comment regarding the extent and scope of the EIR study. Zumthor’s updated renderings speak to the overriding parti of the project, an expansive, sinuous, continuous gallery spanning across Wilshire Boulevard, elevated on eight “pavilions.” A quote featured on the website states the following premise for the design: “With a horizontal layout and no back or front, every culture is given equal focus.” LACMA’s preference for the continuous, single-story gallery is seen as an equalizing and modernizing force for the encyclopedic art institution founded in 1910, during an era where European art was often displayed prominently while the works of other cultures were relegated to basements or accessory structures. LACMA’s impetus for the demolition of L.A. architect William Pereira’s 1965 structure is also touted as a pragmatic choice to replace “inefficient, deteriorating buildings with new, environmentally sustainable structures, embracing state-of-the-art resource management and technology.” In the current era of supersized museum expansions and relocations, however, it is perplexing that Zumthor’s designs for the new museum will actually create smaller overall building for the new LACMA. The new plans call for an approximately 368,000 square foot structure, while the current arrangement beats that projection by nearly 25,000 square feet. There is a plus side, however: The reorientation of the museum, use of “pavilions” as footholds, and overall decrease in gallery space will have the effect of producing 2.5 acres of additional public outdoor open space. The project aims for a 2023 completion date, due to coincide with the opening of an extension to the city’s Purple Line subway route, which will have a stop adjacent to the museum complex.