Posts tagged with "Los Angeles":

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wHY to cap existing Los Angeles warehouse with automated parking garage

A California Environmental Quality Act submittal by Los Angeles and New York City-based architects wHY and British real estate firm Est4te Four Capital indicates that plans are in the works for a large-scale overhaul of the former Challenge and Creamery Butter Association Building (CCBA Building) in Downtown Los Angeles’s Arts District neighborhood. Information contained within the report details plans for an innovative 190,165-square-foot mixed-use complex that would bring housing, a private membership club, ground floor retail, and office space to the neighborhood. According to renderings included in the report, the complex, located on a 0.68-acre site, will be made up of a mix of old and new building components, with a new office, club, and parking block located directly on top of an existing warehouse structure originally built in 1926. The two-story existing warehouse will accommodate 17 live-work artists’ lofts as well as parking access and commercial spaces in new square footage located on the side, beside the existing structure. One innovative component of the project includes the stacked parking structure located above the existing building. That four-story mass is actually designed as an automated parking garage with 241 automobile and 40 bicycle stalls. The parking area is contained within a large, four-story volume that does not contain traditional floor plates but instead is made up of large racks of stacked parking stalls. The floors above the parking areas are due to house office and event space as well as the 71,000-square-foot membership club. That aspect of the program is planned to contain private terraces, offices, a restaurant, and lounge areas. The team behind the project is pursuing a General Plan Amendment, Zone Change, Height District Change, Master Conditional Use permits for the project. A timeline released by the developers of the project indicates that it is to be built over the course of 18 months starting in the third quarter of 2017 with an estimated completion date of early 2019.
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MADWORKSHOP announces 2017 fellows

The Martin Architecture and Design Workshop (MADWORKSHOP), a Santa Monica, California–based foundation focused on incubating student design projects into built work, has announced its 2017 design fellows. The five students—Heeje Yang, Jayson Champlain, Jeremy Carman, Belinda Pak, and Joseph Chang—are all currently fourth-year students at the University of Southern California’s (USC) Bachelor of Architecture program. A sixth, previously-announced fellow, Riccardo Blumer, is a practicing architect and researcher from Varese, Italy. The six fellows will spend the next year being incubated by MADWORKSHOP as they elaborate designs for a series of individual pilot projects. The fellows’ projects, according to a press release issued by the foundation, will focus on MADWORKSHOP’s 2017 design theme: Emergency Architecture. Yang will work on improving the designs for the Chair Six prototype, a foldable chair designed by 2014 fellow Yuan Yao. Champlain and Carman, both of whom participated in the MADWORKSHOP-funded Homeless Studio taught at USC last semester, will partner to develop innovative approaches to the safety- and privacy-related aspects of temporary, post-disaster shelter design within the context of large sports stadiums. Pak will work on prototype designs for an emergency wristband that can convey medical and contact information while Chang will design a backpack that converts into a stretcher that could be carried by a single person during emergency situations. Finally, Blumer will develop research on the design of socially-conscious architecture through the use of innovative technology and representational techniques. MADWORKSHOP was founded by David C. Martin and Mary Klaus Martin in 2015 with the aim of supporting “the next generation of inventors and designers with a focus on technological craftsmanship.” The organization funded an elective studio at USC during the Fall 2016 semester that focused on developing a rapid re-housing prototype that could be deployed in as little as two weeks. The studio, taught by MADWORKSHOP acting director Sofia Borges, a faculty member of USC School of Architecture, and R. Scott Mitchell, owner/principal of L.A.-based Gigante AG, partnered with non-denominational ministry Hope of the Valley and consulted with nonprofit housing developers and city agencies while developing their prototype. Also in 2016, the organization also installed the Sanke furniture system in the courtyard of the Museum of Contemporary Art in Los Angeles. That installation, a colorful collection of tables and chairs designed to operate as a deconstructed communal table, was developed by 2015 fellow Sonia Lui. For more information on the fellows, see the MADWORKSHOP website.
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Gensler reveals renderings for 52-story tower in Los Angeles

It’s finally happened—the furious rush of development along Figueroa Street in Downtown Los Angeles stretching from the still-under-construction Wilshire Grand Tower has finally reached Interstate-10. The highway is Downtown L.A.’s informal southern boundary, separating the increasingly tony central city from starkly less affluent neighborhoods located directly to the south. Over the last year, as the Wilshire Grand Tower has gone up and the city’s transit system immediately below has expanded, a large collection of proposals for a new district of high-rise, residential towers has been gradually unveiled beside the L.A. Live and Los Angeles Convention Center complexes. The latest proposal, first reported by Los Angeles Downtown News, marks the 18th new tower proposed for the stretch, with at least 17 other new high-rise housing towers currently awaiting approval or actively under construction. Gensler has a hand in several of the projects, including the Metropolis (four towers), 1020 South Figueroa (three towers), and Fig+Pico (two towers) projects. SOM and P-A-T-T-E-R-N-S are behind the Olympia development (three towers), while CallisonRTKL is working on the Oceanwide Plaza (three towers) development, and Harley Ellis Devereaux and Hanson LA are partway through construction on the twin Circa towers. Gensler’s latest contribution to the district—1660 South Figueroa—will take over an existing car dealership lot and will contain more than 300 residential units, as well as a 250-key hotel and 15,000 square feet of ground-floor office and retail space. Broken down further, the tower is expected to contain 202 market-rate condominiums and 134 apartment units, including 23 condominiums and nine apartments reserved for low-income households. The project also calls for 499 parking stalls dispersed across nine levels of parking, five of which would be located underground. In contrast to many of the other projects mentioned above, most of which are articulated as generic, glass-clad mixed-use towers composed predominantly of vertically-extruded floorplates located atop ornamented retail and parking podia, 1660 South Figueroa is articulated as a hodge-podge of typological tower forms. The tower’s tripartite vertical organization exists as a long and narrow, 19-story housing block at its base that features balconies and large-scale punched openings at its upper reaches. That mass is topped by a pair of 20-story glassy condo towers, one canted slightly off-axis, creating a narrow and tall donut hole at the center of the building. Above that? A six-level mass itself topped by a diminutive, multi-story mid-rise mass. Throughout, the agglomerated mass of towers features grassy accretions, vegetated expanses of building mass punctured by horizontal, punched openings. Details for the project are forthcoming; groundbreaking, construction timeline and budget for the project have not been released.
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San Fernando Valley poised to tackle homelessness with new $1.2 billion housing initiative

The San Fernando Valley in Los Angeles has a reputation as a quintessentially suburban enclave. But, as the inner-city areas of Los Angeles have begun to embrace the hallmarks of traditional urbanism—increased housing density, fixed-transit infrastructure, and a dedication to pedestrian space—the valley has found itself parroting those same shifts in its own distinct way.

One area where this transformation is taking shape is housing, specifically, transitional and supportive housing for formerly homeless individuals.

According to the Los Angeles Homelessness Services Authority, the number of homeless people in the San Fernando Valley increased by 36 percent last year. Though the increase was significantly lower throughout L.A. County overall last year, one thing is clear: The number of people without homes in the areas around Los Angeles’s urban core area is growing. A similar trend is playing out across the country. Not only are urban homeless populations being increasingly displaced out toward the suburban areas by gentrification, but greater numbers of suburbanites themselves are becoming homeless, as well, due to a fraying social net and systematic income inequality.

Dire though the situation might be, Los Angeles—and the San Fernando Valley in particular—is currently poised to make strides in re-housing currently homeless individuals living in quasi-suburban environments by building a collection of new housing projects across the city. That’s because this November, 76 percent of L.A.’s voters supported Measure HHH, the city’s Homelessness Reduction and Prevention, Housing, and Facilities Bond. The initiative will raise $1.2 billion in bonds to pay for the construction of up to 10,000 units of housing for the homeless. The victory represents a shift in collective perspective that goes hand-in-hand with changing urban attitudes: As transit, density, and pedestrianism spread, so too has a visceral awareness that the city’s homeless population has been wholly abandoned by society and that action is overdue.

The passage of Measure HHH represents an opportunity for architects to assert themselves in civic and cultural discourse at an incredibly meaningful scale. And as much as the valley has begun to accept increased density, so too is it likely to see its fair share of new transitional and supportive housing as a result.

Already, the Skid Row Housing Trust (SRHT), a local affordable housing provider known for its focus on design quality, has begun to expand into neighborhoods beyond Skid Row. The organization opened a new set of apartments designed by Los Angeles–based architects Brooks + Scarpa this summer in the MacArthur Park neighborhood just west of Downtown Los Angeles. The project, called The Six, is the group’s first development with permanent supportive housing specifically for veterans. The name of the complex comes from the military shorthand, “got your six,” which means “I’ve got your back.”

The complex is designed around a central, planted courtyard and is expected to receive LEED Platinum certification from the U.S. Green Building Council. It features solar panels on the roof and ground-level supportive services for the residents, with a large public courtyard located on the second floor. Units rise up around the perimeter of the courtyard along a single-loaded corridor and are capped by a roof terrace and edible garden. The firm also calibrated the building’s architectural massing in order to respond to passive cooling and lighting strategies and features selectively glazed exposures as well as a courtyard layout that facilitates passive lighting and ventilation.

Another project under development by SRHT is Michael Maltzan Architecture’s (MMA) Crest Apartments in Van Nuys in the San Fernando Valley. Crest Apartments will deliver 64 affordable housing units for formerly homeless veterans. The building is laid out as a long, stepped housing block raised on a series of piers above multifunctional hard- and soft-landscaped areas. The long and narrow site shapes the complex such that the building’s mass steps around in plan as it climbs in height, creating vertical bands of windows aimed toward the street and side yard in the process. The ground floor of the complex contains supportive service areas as well as a clinic and community garden. The building recently finished construction and residents are beginning to move in.

The future of housing efforts in the valley is also being tackled by students at University of Southern California (USC), where a studio funded by the nonprofit Martin Architecture and Design Workshop (MADWORKSHOP) is aiming to develop a rapid-re-housing prototype to be deployed across the valley. The studio, formally unrelated to Measure HHH, is led by Sofia Borges, acting director at MADWORKSHOP and R. Scott Mitchell, assistant professor of practice at USC. The professors tasked architecture students with studying the spatial implications of homelessness at the individual person’s scale.

Ultimately, the studio, with nondenominational ministry Hope of the Valley as its client, developed the beginnings of a single-occupancy housing prototype that could be mass-produced and temporarily deployed to selected vacant sites in as little as two weeks. The cohort spent the semester meeting with officials in the city government, including the Los Angeles Department of Building and Safety, to work on an actionable plan for implementing their prototype. The students built a full-scale mock-up of the 96-square-foot unit for their final review and detailed plans for how the unit might be aggregated into larger configurations as a sort of first-response to help people transition from living on the streets to occupying more formal dwellings like The Six or Crest Apartments.

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New renderings revealed for twin condo towers in Downtown Los Angeles

The architects and developers behind the new 2-million-square-foot Circa complex have revealed new renderings for their partially-completed project in Downtown Los Angeles’s South Park neighborhood. The project, designed by architects Harley Ellis Devereaux with interiors by Hanson LA, will bring 648 apartments to the neighborhood in a pair of 35-story high rounded, twin towers. Those units—located above a 48,000-square foot, five-story retail and parking podium—will be arranged in one-, two-, and three-bedroom configurations and will range in size from 700 to 3,800 square feet. The towers will be connected by a landscaped pool patio and cabana areas located atop the podium. Additionally, according to the new renderings released by the developer, the towers will also feature streamlined floor-to-ceiling glass curtain wall exteriors. The buildings’ eastern and western facades also contain protruding exterior balconies. A construction camera overlooking the site shows the podium level and towers’ structural components partially completed, with the towers rising out of the ground and nearly reaching their apex. The complex is located along a booming strip of development that includes a collection of at least 15 other new high-rise housing towers that are either undergoing approval or under construction, including Metropolis (four towers), Oceanwide Plaza (three towers), 1020 South Figueroa (three towers), Fig+Pico (two towers), and Olympia (three towers). These towers, funded predominantly by foreign capital and located directly across from the Staples Center, L.A. Live complex, and Los Angeles Convention Center are due to change not only the character of the areas immediately surrounding these venues—many of the proposed projects feature large-scale, electronic signs for advertisements and art—but also the city as a whole by introducing a large collection of luxury and market-rate apartments, condominiums, and hotels. Circa is due to open in early 2018. For more information on the project, see the Circa website.
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L.A.’s La Kretz Innovation Campus in is a one-stop shop for cleantech development

The La Kretz Innovation Campus (LKIC), designed by John Friedman Alice Kimm Architects (JFAK), is a new business incubation center in Los Angeles developed by the Department of Water and Power (LADWP), the Community Redevelopment Agency of the City of Los Angeles, and Los Angeles Cleantech Incubator (LACI), a nonprofit tasked to transform the city into a green-collar hub.

The 61,000-square-foot “sustainability factory” is located in a collection of single-story, masonry-and-bow-truss warehouses from 1923 in L.A.’s Arts District. The neighborhood, home to the Southern California Institute of Architecture and a growing number of creative industries, is well-suited to benefit from a “Cleantech Corridor” specifically zoned to support the green economy-related development now running through it.

The complex is meant to be a place where, as JFAK founder and principal Alice Kimm said, “Ideas for new goods and services can be birthed, researched, developed, prototyped, and pushed out to market from under one roof.”

The complex, measuring 290- by 200-feet, is carved into eight similarly sized warehouse bays mirrored about a central axis. The eastern four bays are dedicated to business incubation services: office spaces, meeting rooms, and lounge areas. The western half of the building contains maker spaces: state-of-the-art fabrication rooms with robots and wood shop tools.

While the exterior of the building has been left mostly untouched, the whole of the structure has been seismically retrofitted and its interiors upgraded with new surfaces and partitions. Upon entering the building, one discovers a waiting lounge demarcated by an abstracted triumphal arch. The area is wrapped on two sides by a luscious indoor green wall while white prisms—actually, light cannons designed to reflect sunlight indoors—descend from the ceiling above the adjacent reception desk. Spaces beyond contain an arrangement of single-height partitions and fully-enclosed meeting rooms, all sandwiched between polished concrete floors and the soaring, lumber arches of the bow-trusses distinctive to L.A.’s industrial architecture.

Kimm explained that daylighting strategies guided the design: “We staggered the placement of enclosed spaces so light could penetrate all the way through the building.”

The following bays provide more offices and lead to a semi-formal, wood-paneled amphitheater and cafe lounge. The lounge overlooks the new Arts District Park, designed by staff landscape architects from the Los Angeles Bureau of Engineering with JFAK, who designed a shade structure for it. The half-acre park features a playground and landscaping fed by a gray water–reclamation system designed by LADWP. BuroHappold was the mechanical and sustainability engineer.

The western portion of the building contains utilitarian conference rooms, laboratories, and fabrication spaces. Generously proportioned gypsum and glass partition–lined hallways snake along the main party wall at the center of the complex, connecting the business and fabrication spaces along a social core. These routes connect physically discrete spaces, giving the building’s interiors a sense relative impermanence that contrasts with the solid masonry walls and the elaborate truss ceiling above, now bedazzled with all manner of mechanical and electrical systems.

Kimm explained: “[With LKIC] ‘adaptive reuse’ meant that we had to make a building that had enough identity on its own, as a unifying architectural framework, but that would still allow the individuals to have their own voices. The project revolved around finding a balance and knowing when to stop.”

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Michael Maltzan Architecture to expand Hammer Museum

Michael Maltzan Architecture (MMA) and the Hammer Museum in Los Angeles have announced plans for a 40,000-square-foot, multi-year expansion to the museum’s existing facilities at the foot of the University of California, Los Angeles campus. The newly-announced additions and changes come as MMA completes renovations to several existing galleries in the museum. That project has seen MMA consolidate existing spaces to enable a continuous, 10,000-square-foot gallery space, a programmatic requirement necessary for hosting most major traveling exhibitions. Those renovated galleries will debut to the public this weekend and feature new exhibitions with pieces by American sculptor Jimmie Durham and French painter Jean Dubuffet. In a press release announcing the expansion, Hammer Museum Director Ann Philbin said, “After years of continuous growth, the Hammer is in need of a physical expansion and upgrade to provide more art for our audiences, more places to study, and more places to gather.” The next set of renovations will build on existing capabilities by increasing the museum’s exhibition space by 60% and will include the addition of a new gallery dedicated to works on paper and special collections, in addition to creating a new museum store. Plans also call for increasing community spaces by 20,000 square feet. Renderings released by the architect depict white-walled gallery spaces with minimal detailing and blonde wood floors. MMA’s renovations will also include re-programming the ground floor facade along Wilshire Boulevard to increase transparency between the interiors and the street. In the same press release, Maltzan said, “The Hammer has become an essential destination in Los Angeles. This transformation will make it dramatically more visible and inviting, more connected, more immersive. It will mark a major new chapter for what the Hammer is, and what it can be.” MMA has a long list of previous projects at the museum, including designs for the museum’s Billy Wilder Theater in 2006, renovations to the museum’s courtyard in 2012, and the John V. Tunney Bridge, built in 2015. The Hammer Museum is located along the ground and lower floors of the 16-story Occidental Petroleum Building, a midcentury office tower originally designed by architect Claud Beelman in 1962. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your city and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
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Elon Musk hates traffic, plans to dig tunnel under Los Angeles

Elon Musk announced today via Twitter that he is making plans to build at least one tunnel under Los Angeles as part of the Tesla and Space X CEO’s efforts to overcome automobile traffic in that city. A few weeks ago, the technology magnate issued a series of tweets expressing displeasure with what must have been a particularly bad patch of gridlock, saying, “Traffic is driving me nuts. Am going to build a tunnel boring machine and just start digging…” Early this morning, Musk followed up with an update, saying, again via Twitter, “Exciting progress on the tunnel front. Plan to start digging in a month or so.” Responding to a follower who asked exactly where would Musk’s new tunnel be, Musk said, “Starting across from my desk at SpaceX. Crenshaw and the 105 Freeway, which is 5 mins from LAX.” It is unclear if or how these tunnels will be approved for construction, whether Musk has begun the environmental review process for the tunnels, or if the tunnels will be built using solely private investment or whether the local, state or federal governments will help out. Musk has cozied up to President Trump in recent weeks, attending a technology summit at Trump Tower earlier this month and another meeting on manufacturing just after the president was inaugurated, so it’s possible he could have access to some portion of the president’s purported $1 trillion infrastructure plan. Details for that plan is still forthcoming, but early reports indicate it will rely heavily on Public Private Partnerships and will aim to boost highway, bridge, and tunnel infrastructure—not to mention detention centers, and prisons—at the expense of more publicly-oriented and environmentally-friendly infrastructure like rapid-transit. It is also unclear if Musk has considered taking L.A.’s existing rapid transit system when traveling to the airport. There’s a stop on the system’s Green Line at the corner of the block where Space X’s headquarters sits. Additionally, with the Crenshaw / LAX Transit project due to be completed in 2019, getting to the airport should be quick, easy, and only cost $1.75 each way from there. “Traffic,” after all, isn’t something that merely happens in isolation; it’s a phenomenon that happens as a result of individuals using private vehicle transport to get around.
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Traditional masonry vaulting inspired the sculptural ceiling of this L.A. eatery

Amazebowls, a casual health food chain that began as a food truck, recently opened its first brick-and-mortar storefront in Michael Maltzan Architecture’s (MMA) One Santa Fe building in Los Angeles.

The storefront space was designed by 64North, a Los Angeles–based architecture, branding, and product design firm with deep ties to the building: Cofounder and design director Wil Carson was a designer at MMA for a decade and worked on One Santa Fe. Carson described the project as an opportunity to productively engage with the recent iconic structure by designing an “animated element within the larger project, creating a modest yet dramatic experience at the southern terminus of One Santa Fe.”

For the 600-square-foot storefront, 64North drew inspiration from traditional architectural forms, namely masonry vaulting. Carson explained that the project “recalls the classic form of a series of domes, assembled here in a celebratory, contemporary way, as they are individually scaled and distorted, intersecting to create a non-uniform whole.” The designers filled the store with a few key elements, including a sculptural ceiling made of CNC-milled, high-density EPS foam that has been plastered over, a sinuous, maple wood panel accent wall, and a semi-circular stone counter lit by gold-painted Pablo Swell pendant lights. The lofted ceiling extends beyond the curtain wall glazing along Santa Fe Avenue to denote a small exterior seating area located beneath an extended overhang.

Amazebowls 300 S. Santa Fe Avenue, Los Angeles Tel: 310-384-2202 Architect: 64North

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Alan Hess organizes first exhibition of Wright collaborator and California architect Aaron G. Green

Historian Alan Hess has organized an exhibition showcasing the work of California architect—and Frank Lloyd Wright collaborator—Aaron G. Green at the Palos Verdes Art Center (PVAC) in Los Angeles. Green was a close associate of Wright’s and also a prolific and highly-regarded architect in his own right who spent six decades practicing architecture, mainly in the San Francisco area. Educated at the Cooper Union in New York City, Green received his first commission by convincing a couple that had solicited him for the design of a single family home to hire Wright—whom the young designer had never met—instead. Green used the project to become one of Wright’s Taliesin fellows. After serving in World War II and opening his own Los Angeles practice, Green moved to San Francisco, where he opened a joint office with Wright. Green acted as Wright’s West Coast representative until Wright’s death in 1959. Green continued his firm as an individual practice until his own death in 2001. Green’s work is exemplary for its focus on natural and organic forms and stands in contrast to the more staid and rigidly-delineated works of the late modern era, like those of William Pereira or Welton Beckett. In an email to The Architect’s Newspaper, Hess remarked: “The International Style aesthetic of simple glass boxes triumphed in the public relations battle to define modernism. But organic architecture put up a good fight by offering the alternative: richly crafted buildings with complex geometries, married to the land, and rendered in the natural textures and colors of wood, stone, and brick.” Hess added, “Frank Lloyd Wright lead that fight, aided by Aaron Green, John Lautner, Lloyd Wright, and many others. Today we are finally rediscovering this side of modern architecture.” Hess explained further that as many of the seminal works of the era have come under the wrecking ball in recent years, interest in their legacy has soared, writing, “Today we are finally rediscovering this side of modern architecture. This exhibit on Aaron Green… is just the tip of the iceberg in opening up a tremendous catalog of California's wide-ranging midcentury and late modern architectural heritage. We’re losing that heritage rapidly, so we need to understand and defend it.” Hess’s exhibition brings together rare photographs and original architectural renderings and plans from Green’s office. The exhibition also showcases a collection of contemporaneous magazines that promoted Green’s work throughout his career. The exhibition opens January 21, 2017, and will remain on view at PVAC through May 28, 2017. For more information, see the exhibition website.
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SCI-Arc and Woodbury University both launch new architectural scholarships

The Southern California Institute of Architecture (SCI-Arc) and the Woodbury University School of Architecture in Los Angeles separately announced new scholarship opportunities for students this week. SCI-Arc’s latest new scholarship program—the third such new initiative launched in the last year by the university—is part of a new partnership with the country of Colombia aimed at benefitting students attending the university's new SCI-Arc Bogota program. SCI-Arc Bogota was launched last year in order to create a pipeline for Colombian and South American students seeking access to SCI-Arc’s undergraduate and graduate architectural programs. In a press release announcing the new scholarship, SCI-Arc Director Hernan Diaz Alonso said, “We are happy to continue expanding SCI-Arc’s relationship with diverse parts of the world,” making reference to the Bogota location as well as the recently-opened SCI-Arc Mexico outpost in Mexico City the school also debuted last year. The new initiative will be helmed by Juan Ricardo Rincon Gaviria, principal at Taller Paralelo Arquitectos in Bogota, a noted international firm. SCI-Arc Bogota’s educational program also includes a double-degree accreditation with the University of the Andes’ masters program and a full annual scholarship grant for Colombian students with the Foundation for the Future of Colombia (COLFUTURO).  COLFUTURO was founded in 1991 by public and private sector leaders in the country to “promote, guide, and finance graduate studies for Colombian professionals” attending international universities. The foundation benefits a selected student who is awarded up to $50,000 over two years in financing. SCI-Arc’s new scholarship aims to match this amount for the selected student. Applications for the foundation’s Loan-Scholarship program are due February 28; the winner of the scholarship will be announced in May 2017. Woodbury University also announced this week that initial contributions to the Norman R. Millar Scholarship Endowment fund had surpassed $30,000. The fund, which will benefit the school’s overall architectural scholarship programs, was started by the university after Millar’s death early last year. Starting in 1999 Millar served as dean of the university’s architecture school and is credited with helping increase its enrollment threefold over the course of his tenure. Millar also focused strongly on increasing diversity at the school and was instrumental in developing the Integrated Path to Architectural Licensure (IPAL) initiative through the National Council of Architectural Registration Boards (NCARB). IPAL facilitates students’ ability to complete the requirements necessary for architectural licensure concurrently along with their degrees. In a press release announcing the scholarship fund’s endowment, Ingalill Wahlroos-Ritter, interim dean, Woodbury School of Architecture, lauded Millar’s contributions to the university, saying “Norman’s talent and experience as a practitioner and vision as an educator helped thousands of young people achieve success in the field of architecture. Hardly a day goes by that we don’t hear from a former student, colleague or fellow architect whose career was inspired by Norman’s leadership, and who wishes to honor his legacy by making a contribution to the scholarship endowment established in his memory.” Donations can be made to the Norman R. Millar Scholarship Endowment here.
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Theaster Gates showcases artworks at Regen Projects in Los Angeles

Regen Projects is currently showcasing new works by Chicago-based artist Theaster Gates in Los Angeles.
The exhibition, titled But To Be A Poor Race, uses painting to explore themes found within W.E.B. Du Bois's seminal book, The Souls of Black Folk. In the book, Du Bois uses essays to chronicle examples of exceptionalism within the African American community in an effort to humanize Black experiences during an era of segregation and racism. Du Bois's work is considered to be important both as a sociological exploration and a political text.
The paintings on display reinterpret statistical data presented in The Souls of Black Folk as abstract, geometric fields of color. The artist also uses sculpture—including a collection of sculptural objects, ephemera, and video artworks—to explore themes of Black experience, visual politics, and shamanism. Three of the works utilize bound copies of Jet magazines, a weekly digest focusing on important figures in the African American community that ran in print form from 1951 until 2014, to convey the lines of a long poem. Each of the works contains a stanza from the poem, with the three works arranged at eye level along the gallery walls so they can be read while walking.
In a press release for the exhibition, Gates describes the exhibition as an exploration of racialized poverty, saying, "But To Be A Poor Race questions a particular kind of poverty, one that is not just about a lack of economic capital but one that is deprived of the basic elements from which one can make a living."
In a work hearkening to contemporary political times, the exhibition also features a video titled My country tis of thee that depicts a musical performance of the song My Country 'Tis of Thee by Gates and musicians The Black Monks of Mississippi. In the video, the artists perform the patriotic song as both a sincere expression of patriotism and simultaneously as a work of satire. The exhibition is on view until February 25, 2017. For more information, see the Regen Projects website.