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.
Posts tagged with "Los Angeles":
This past weekend AN West Coast Editor Sam Lubell joined the A+D Museum in Joshua Tree to discuss the upcoming exhibition, Never Built: Los Angeles. The A+D Museum hosted the party at the Blu Homes-designed home of Tim Disney in Joshua Tree. The gorgeous prefab is sited in the middle of a what looks like a Martian landscape, with weird trees and amazing rock formations. Partiers were treated to a preview of the show from the curators, moderated by Blu Homes' creative director Karl Daubmann. If you want to find out more about the show, watch the curators appear on Southern California station KCET's SoCal Connected this evening at 5:30 and 10:30 PST.
Hammer Projects: Dara Friedman Hammer Museum 10899 Wilshire Blvd. Los Angeles Through April 14 Miami-based artist Dara Friedman is known for her black and white films of dancers dancing through city streets. For her film Dancer (2011) she used a 16mm camera to examine urban space and individuals within these spaces, filming improvisational dancers in a variety of styles, from flamenco, to ballet, to belly and break dancing, and more. In her work, Friedman also investigates accepted concepts of performance-based art. Her grainy films sometimes capture the sounds of street traffic, and she sometimes dubs music that is not always in rhythm with the dancers’ movements. For her first exhibition in Los Angeles, Friedman has prepared an 8mm film that is a follow-up to Dancer.
Every year architects across the country take their talents to CANstruction, creating fascinating structures out of tin cans. CanstructionLA recently announced this year's winners, and there are some impressive results to share. Participants created local icons like the LAX Theme Building (RBB Architects), the California state flag (Clark Construction and Thornton Tomasetti), and the Port of LA (RBB Architects). The jury's favorite, Filling a (Growing) Need, by NBBJ and Buro Happold, was made up of an undulating landscape of canned kidney beans, potatoes, beets, and mixed vegetables. The event contributed 21,076 pounds of food and $12,034 to the Los Angeles Regional Food Bank.
CTC realized Piano's design concept by designing and fabricating a cladding system of a structural steel tube framework covered by extensive FRP panels.For his design of the Resnick Pavilion at the Los Angeles County Museum of Art (LACMA), Renzo Piano revived an idea he first explored with Richard Rogers in their design of the Centre George Pompidou in Paris: the idea of the building as an organic breathing machine. At Pompidou, the architects turned the museum’s mechanical systems into expressive elements, color coding the pipes, ducts, gantries, and escalators and pulling them to the exterior of the structure. At the Resnick Pavilion, Piano located the mechanical rooms and air handling units prominently outside the four corners of the 45,000-square-foot building, applying cladding to the ductwork in a bright red color used in circulation corridors throughout the LACMA campus. Piano turned to Capastrano Beach, California-based design/build firm CTC (Creative Teknologies Corporation) to realize his design concept. “We took in data from three parties,” said CTC president Eric Adickes. “Piano gave us perspective sketches of how he wanted the air handling units to look, the air conditioning contractor, Acco, gave us Revit drawings, and the general contractor, MATT Construction, gave us 2D Autocad documents of the building and concrete foundation.” From those sources, CTC developed 3D models of a cladding system for the ventilation ducts using CATIA. The cladding system includes a structural steel framework that bolts to the ductwork, and fiber reinforced plastic (FRP) cladding that attaches to the steel. CTC coordinated with Piano’s office to refine the profiles of the system to achieve the architect’s vision. “Piano wanted flat surfaces with radiuses,” said Adickes. “FRP behaves in ways that you have to compensate for shrinkages and the material loosing its shape. If you’re not careful it can change its shape and not be what you think it’s going to be in the end result.” In order to ensure the flat-plane look, CTC relied on techniques commonly used in automotive construction, giving the material intentional crowns of as much as an inch or more. This technique applied double curves to all of the panels, which are as large as 10 feet by 15 feet. The intentional crowns produce the illusion of flatness and avoid any unintentional oil canning or puffing in the material, which would give the cladding a cheap appearance. “It’s part of the trade,” said Adickes. “You have to know the material to tactfully build the crowns in so you don’t go to far or too little.” Once Piano signed off on the models, CTC fed the CATIA data into its CNC routers, which cut the profiles from the FRP panels. CTC also installed the cladding system, attaching the steel structure to the ductwork and the FRP panels to the steel. Once installed, the firm painted the panels on-site.
A new video released by LA METRO gives us all a much clearer conception of the construction sequencing of the Regional Connector, the 1.9 mile downtown underground light rail line that will connect Los Angeles' now-dispersed Gold, Blue, and Expo lines. The $1.3 billion connector, funded largely by 2008's Measure R sales tax increase, is set to begin construction later this year. It will travel primarily under Flower Street and 2nd Street, and is set to open by 2019. Movement of utilities around the line began in December. Yes, more transit in Los Angeles. This is really happening!
It looks like things at long-maligned LAX are looking up. First AN reported that AECOM is working on a big makeover of the airport’s roadway spaces and that Fentress Architects is completing a new Tom Bradley Satellite Terminal. Now we’ve gotten our hands on a secret shortlist for LAX Terminal 4 Connector, the next component of the airport’s international spaces. And the finalists are… Corgan (with Turner) and Gensler (with Hensel Phelps). Now if only they could get the subway to go there, LAX might actually become a world-class airport!
Once upon a time, being at SCI-Arc meant development was a four-letter word, and developers were akin to the destroyers of cities. Eric Owen Moss, SCI-Arc’s director, played a significant role in changing that perception by working with developer Tom Gilmore, who, since 2001, has also been on SCI-Arc’s board of trustees. Mr. Gilmore, founder of Gilmore Associates, is a former architect, so he has a great appreciation for architecture’s potential, especially in formerly blighted areas of Downtown Los Angeles, where his vision has been unfolding since the early 1990s. This might explain why he recently included SCI-Arc in his estate plans by setting up an endowed chair to the tune of a cool $1 million, the first gift of this magnitude the institution has ever received. The gift will fund the Gilmore City Chair, a position dedicated to supporting educational initiatives focused on the dynamics of urban development around the world. Moss, in an expression of gratitude quoted Machiavelli, saying, “I believe the greatest good to be done is that which one does to one’s own city.” Further details regarding the scope of the Gilmore City Chair will be forthcoming and may even be revealed by Mr. Gilmore himself when he presents a public lecture at SCI-Arc this Wednesday, February 13 at 7:00 p.m.
Earlier this week, AN reported on the opening of Los Angeles's first parklet in Eagle Rock. Thursday saw the arrival of the city's second and third sidewalk-extending mini-parks, located on Spring Street in Downtown LA's historic core. Created by architects/developers utopiad.org, designers Berry and Linné, and builders Hensel Phelps, the 40 foot by 60 foot parklets, located just a few parallel parking spots from each other, are impressively detailed and fitted, with wood planter boxes, minimalist bench seating, stone pavers, hardwood decking, and quirky touches like seat swings, astro turf, bar seats, colorful fences, foosball tables, and exercise bikes. "We wanted them to pop," said Rob Berry of Berry and Linné. "A lot of parklets can be pretty minimal." Both are located on former active parking spaces, a reason that they took more than a year to get through the city's approval process. "We can close a parking space and it's not going to be the end of the world," said Siobhan Burke, one of the parks' designers. Rounding out the city's four-parklet pilot program, The last parklet opens next weekend in El Sereno, a neighborhood in East LA. Funding came from the Gilbert Foundation, but most of the work was delivered pro bono. "I can't believe this is LA," said Daveed Kapoor, one of the leaders of the design team. "It's better late than never. Now I want more."
Our favorite new naming triumph: SCI-Arc’s “Hispanic Steps.” The new indoor amphitheater, paid for in part by a recent ArtPlace grant and located in the middle of the SCI-Arc building in Los Angeles, is used for lectures, performances, symposia, film series, and community meetings. At a recent meeting to discuss SCI-Arc's Arts District plans that are also part of the $400,000 ArtPlace grant, officials posed on the newly completed steps for a photo. Included are SCI-Arc's Chief Advancement Officer, Sarah Sullivan (front center) and Chief Operating Officer, Jamie Bennett (upper right).
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.
Starting Wednesday, January 30, LA's MAK Center and arts promoter ForYourArt will begin hosting Dialogues: Art/Architecture, Paris/Los Angeles, a series of events bringing together architects and artists from those two cities. Events include four discussions at the Schindler House in West Hollywood, an exhibition of drawings and models at ForYourArt in Miracle Mile, and the launch of a publication compiling participants' work and discussion. In addition to AN West Coast editor Sam Lubell, participants include (take a deep breath): Doug Aitken, Berdaguer/Pejus, Barbara Bestor, Claude Collins-Stracensky, Dahlqvist/Hommert, Escher/Gunewardena, Didier Faustino, Yona Friedman, Cyprien Gaillard, Fritz Haeg, Piero Golia, Ibai Hernandorena, Marie Jager, Alice Konitz, Vincent Lamouroux, Won Ju Lim, Tom Marble, Jorge Pardo, Claude Parent, Francois Perrin, Ivette Soler, Linda Taalman, Oscar Tuazon, Xavier Veilhan, Eric Wesley, Pae White and Peter Zellner. The impressive program is part of part of “Ceci n’est pas…Art between France and Los Angeles," a five month art and cultural exchange put together by the French Embassy of the United States, the French Institute, and the Los Angeles Department of Cultural Affairs. See the full schedule and a slideshow of participants' work below: WEDNESDAY JANUARY 30, 2013, 6-8 PM, SCHINDLER HOUSE Program launch reception and panel discussion with Fritz Haeg, Marie Jager, Alice Konitz, Ivette Soler, and Oscar Tuazon, moderated by Jan Tumlir. WEDNESDAY FEBRUARY 27, 2013, 6-8 PM, SCHINDLER HOUSE Panel discussion with Joakim Dahlqvist, Didier Faustino, Jens Hommert, Piero Golia, Jorge Pardo, Linda Taalman, and Peter Zellner, moderated by Sam Lubell. WEDNESDAY MARCH 27, 2013, 6-8 PM, SCHINDLER HOUSE Panel discussion with Frank Escher, Won Ju Lim, Tom Marble, Xavier Veilhan, and Pae White, moderated by Danielle Rago. TUESDAY APRIL 2, 2013, 6-8 PM, FORYOURART Opening reception of drawings and models by the participants. TUESDAY APRIL 16, 2013, 6-8 PM, FORYOURART Closing reception and presentation of the publication and panel discussion with Barbara Bestor, Claude Collins-Stracensky, Cyprien Gaillard, Vincent Lamouroux, and Marie Pejus moderated by Andrew Berardini.