At 1017 Sierra Bonita, for example, Manferdini uses blue, white, and black Trespa panels, custom fritted glass, and gray stucco to lend a three-story apartment block atmospheric qualities. Hanging plants and balconies filled with hedges and landscape design by Green Republic Landscapes further dematerialize the five-unit building.The Trespa panels make another appearance in red, blue, and black at 1408 Poinsettia, where Manferdini has arranged ascending striped patterns with vertical building elements that camouflage each of the three-bedroom small-lot subdivision homes. At 1139 N. Detroit, Manferdini pursues a more subdued approach by using custom-designed mosaic tiles and painted stucco. In each of the projects, Manferdini works to play off of the architectural elements using unconventional patterning and color choices, perhaps a welcome approach for Hardie-panel weary observers. The designs are due to come online soon: Many of the projects are currently undergoing planning review, and 1408 Poinsettia is currently under construction.
Posts tagged with "Los Angeles":
If you are one of the many people concerned that apartments in American cities are all starting to look too much alike, there might be hope for you yet. Los Angeles–based artist and educator Elena Manferdini of Atelier Manferdini is currently working on a collection of glitchy apartment facades that aim to break up the monotony of some of those developments. With her designs, Manferdini is hoping to "re-open a discussion on the role of fantasy in art and architecture" by bringing beguiling geometric patterns and bright colors to at least seven multi-family complexes envisioned by FMB Development and a collection of other local architects, including Archeon Group, Dean Larkin Design, and Open Architects. Los Angeles–based FMB bills itself as a "community-oriented developer of luxury residential real estate," including the types of market-rate apartments that some Los Angeles homeowners might view as obtrusive in their neighborhoods. That's where Manferdini steps in by designing structures with interlocking blocks of patterned surfaces and expanses of varying opacity that work to simultaneously highlight and break down each of the proposed buildings. Manferdini explained that the designs are driven by the idea that, "facades are important for the city at large because they are inevitably the background of our public imagination." Manferdini added, "Facades negotiate how the privacy of human interactions come to terms with a surrounding cultural context." In L.A.'s densely-packed, low-slung urban neighborhoods, where privacy comes at a premium, sites are strictly limited in terms of height and allowable bulk, decorative elements help play a role in bridging the visual gap between existing housing stock and the types of multi-unit complexes needed to address the region's housing crisis. Manferdini's work for FMB builds on a series of exhibitions she crafted as part of her artistic practice, including the Graham Foundation–supported Building the Picture, a collection of drawing-photograph hybrid images that were exhibited at the Art Institute of Chicago in 2015. For the exhibition, Manferdini created a series of fictional patterned facades partially inspired by some of the Chicago-based work of Mies van der Rohe. The layered, abstracted images proposed methods for obfuscating the underlying scale and window patterning of the hypothetical apartment structures by combining oblique and projected patterns on a collection of planar and faceted building forms. Manferdini explained further, saying, "The work insinuates that surfaces now have an unprecedented ability to be embedded simultaneously with optical affect and cultural associations," a concept that is ideally suited for testing in the real world through its application on the apartment buildings in question, according to the artist.
As the contentious U.S. midterm elections taking place on Tuesday, November 6, fast approach amid numerous accusations of voter suppression and disenfranchisement often along lines of race and class, at least one city is proactively making it easier to vote. The Los Angeles County Metropolitan Transit Authority has just approved free public transit on election day to help encourage people to turn out to the polls. This is especially important in California, which has a number of ballot initiatives impacting housing and the environment. Ballot initiatives in California this November include Proposition 1, which would expand resources for veteran housing; Proposition 2, which would implement a 1 percent millionaire’s tax to help support mental health services, housing initiatives, and other resources for homeless people; Proposition 3 which would authorize nearly $9 billion in bonds for spending on water infrastructure and other environmental initiatives; and Proposition 10 which would allow local governments to implement rent control. The decision to expand voter accessibility in Los Angeles comes at a time where various forms of voter suppression and disenfranchisement are being brought to light across the country, including the intentional disenfranchisement of certain people who have served jail time, voter roll purges in states like Georgia, and gerrymandering districts to turn them red, such as in North Carolina’s 13th district. Some sources have also spread misinformation on the day the elections take place, such as in Suffolk County, New York, where a mailer from Republican incumbent Rep. Lee Zeldin featured the wrong deadline for absentee ballots (it’s November 5). Voter ID laws in many states have been accused of preventing lower income and minority voters from being able to enact their right to vote. In North Dakota new ID and residence rules, upheld by the Supreme Court, have been argued to be systematically targeting Native Americans. Relocating where people go to vote is another method that has been accused of attempting to prevent voter turnout. The ACLU has been brought a federal lawsuit over the choice to move a polling station for Dodge City, Kansas, whose population is majority Latinx, to a difficult-to-access location outside of the city limits. Similar moves to make voting hard to access, especially for people without flexible work schedules or easy transportation access, have been seen across the country, particularly in areas that have larger populations of people of color, as well as urban centers that tend to be more diverse and liberal-leaning. Los Angeles's announcement came as New York's Citibike announced that their bikes would be free to use for all on election day. Motivate, Citibike's parent company has announced that services in the Bay Area, Boston, Chicago, Columbus, Jersey City, Portland, Minneapolis, and Washington D.C. would all be free on November 6 as well.
Love it or hate it, Brutalism is definitely back. For proof, look no further than Los Angeles, where local architect Marcello Pozzi is working on designs for an upscale “brutalist” courtyard apartment building that is wrapped in rough concrete finishes. Urbanize.LA reported that the project, a five-story, 10-unit complex located at 8615 West Knoll Drive, was recently submitted to the City of West Hollywood Design Review Subcommittee for approval. The development includes a mix of one- and two-bedroom units, including a pair of double-height ground floor apartments that each contain a mezzanine bedroom level. Although brut in its outer finishes, the complex will be nothing like your grandparents’ Brutalist housing schemes. Instead of dank, cold apartments, the complex is designed to embrace the Southern California sunshine and features warm wood finishes and lots of glass. Generous 11-foot floor-to-floor heights throughout the building will complement thin floor plates and pass-through apartment layouts to provide well-lit and open living spaces, according to a project statement. The development will also be marked by wide but shallow balconies along its principal facade. These exaggerated Juliet-style balconies aim to enhance the indoor-outdoor qualities of the main living spaces for each unit. A 17-foot-tall passageway along the ground floor will link to a 19-foot-by-31-foot planted courtyard designed by landscape architects Viriditas Design, as well. Architect Gwynne Pugh, who sits on the review subcommittee, issued a report for the building’s design, highlighting the “brutalist” elements and the development’s thoughtful site and apartment design. In the report, Pugh writes, “This has been put together very thoughtfully and elegantly. The simple forms [act] as a backdrop to the visceral experience of the environment.” Pugh also praised the ground floor landscaping for its “park-like” qualities while also highlighting that the design represents a “highly sophisticated project that has been thought through thoroughly.” Pugh added, “It is a relatively quiet building in its visual aspect but highly detailed in its simplicity. This is an appropriate project to be considered as exemplary.” A timeline for the development has not been revealed. Design and planning reviews for the project are currently pending.
A growing housing affordability crisis in cities across the country is spurring new community-based movements that work to protect the rights of tenants. A janitor named Socrates Guzman, with the help of the Boston-based grassroots organization City Life, successfully fought a major rent increase. He is now a local community organizer, committed to improving rent control laws in favor of existing leaseholders. Araceli Barrer, a housekeeper, worked with Colorado Homes for All to fight her own eviction and won. She is now trying to push a bill in the state legislature to allow tenants to withhold rent under certain conditions. In Chicago, the Autonomous Tenants Union defends and enforces the right to dignified housing through a group of core volunteers. They seek to "end all evictions" and fight for "community control of housing through the building of popular power.” In Los Angeles, tenant advocates forced a housing initiative to be placed on the November ballot that would allow for the expansion of current rent control laws. Others are not so patient. In one Central Los Angeles neighborhood, two hundred families in three separate buildings banded together and refused to pay rent until their demands are met. They decried stiff rent increases while they continued to live in the poorly maintained buildings. The Los Angeles Tenants Union, composed of volunteer organizers and a legal entity known as the Eviction Defense Network, assists the residents in their fight to win concessions from the landlord. In Colorado, the state legislature has even considered formalizing the rent strike process. Rent strikes, however, have had mixed results. In 2016, tenants in the Highland Park neighborhood of Los Angeles lost a court battle after a lengthy strike that resulted in mass evictions and redevelopment of the area. It’s also not easy to find new housing with an eviction on your record and petty landlords often make life painful by turning off the hot water and electricity. Developers argue that limiting the ability of landlords to charge market rents only leads to less housing being built and furthering the housing crisis. Some cities like San Fransisco, Los Angeles, and New York are providing free legal representation for tenants facing eviction. Cities have found that it is cheaper to offer free legal fees to tenants than to provide additional shelters for the newly homeless.
As real estate prices continue to climb, Los Angeles’s notoriously slow and combative building approval process shows no signs of letting up. In response, a growing set of L.A.-area architects have begun to embrace the idea of developing their own projects in-house as a way of taking charge of—and ultimately, profiting from—the production of architecture. L.A. and New York City-based FreelandBuck, for example, recently completed work on a 2,200-square-foot speculative house in L.A.’s Mount Washington neighborhood. FreelandBuck partnered with L.A.-based developer Urbanite Homes for the hillside project, which contains a rental income–producing Accessory Dwelling Unit to make the hefty price point more palatable to potential buyers. According to the architects, the development partnership provided some wiggle room on the design that might not have been possible had they been hired as conventional designers. As a result, the architects were able to take risks with materiality by wrapping the four-story building in decontextualized board-and-batten siding. The freedom extended to the interiors of the home as well, where the ground floor areas are carved up into a series of discrete and complimentary rooms. This envelope-pushing effort is mirrored nearby in the hills above Highland Park, where John Southern, principal at Urban Operations, has developed a handful of speculative single-family homes that encapsulate the architect’s form-forward design aesthetic. A 2,400-square-foot residence at 4752 Baltimore is designed around staggered floor plates in order to maximize outdoor space on the tight hillside lot. The downslope-facing house skews in elevation to best align with the site’s winning views, which are matched by large format skylights. The architect-led development not only yields a more formally interesting home, but also creates opportunities for the designer to imbue what would normally be a hurried, one-size-fits-all commission with lightness, generously proportioned rooms, and interlocking spaces. Workplays Studio* Architecture, on the other hand, wears the hybrid architect-developer hat in order to create a live/work unit that acts as “an experiment in living on commercial corridors.” For their Pico Live/Work project, the architects added a single-family residence above an existing storefront. By linking the two levels with a courtyard entry and positioning a street-facing workshop in opposition to the home, the project approaches an alternative to conventional mixed-use development as it is normally practiced in the region. Not only that, but the design is developed at a project scale modest enough to be undertaken by a small team, a far cry from the anonymous, big-block developments that have drawn so much community ire in recent years.
Just in time for the Tuesday, November 6, 2018, midterm elections, the Museum of Contemporary Art (MOCA) in Los Angeles is restaging Untitled (Questions), a graphic installation by Barbara Kruger from 1990 that asks nine pointed, politically-charged questions about today’s troubled cultural climate. In a press release accompanying the 30-foot by 191-foot mural, Kruger said, “I continue to try to address the issues of control, loyalty, hope, fear, and the uses and abuses of power." Kruger added, “It's both tragic and disappointing that this work, thirty years later, might still have some resonance." The public art installation was originally created amid the backdrop of George H.W. Bush’s conservative presidency and at a time when partisan debate in the United States and fears of an impending war with Iraq were at a fever pitch. The mural originally stood on the south wall of what was then known as the Temporary Contemporary (TC), an industrial structure designed by Albert C. Martin in 1940 that was repurposed in 1983 by Frank Gehry into a transitional home for the fledgling museum as its Arata Isozaki–designed Grand Avenue headquarters was under development. Isozaki’s museum was completed in 1986, but the TC has remained in use as an art exhibition space. Last week, the mural was re-installed along the northern wall of the building, which is now named for arts patron David Geffen. Describing the atmosphere surrounding the first installation of the mural, Kruger told The Los Angeles Times, “It was Bush 1 and everyone was wearing flags. And, omigod, the war. It was just horrific.” The mural reads:Untitled (Questions) will be on view through the 2020 presidential election.
WHO IS BEYOND THE LAW? WHO IS BOUGHT AND SOLD? WHO IS FREE TO CHOOSE? WHO DOES TIME? WHO FOLLOWS ORDERS? WHO SALUTES LONGEST? WHO PRAYS LOUDEST? WHO DIES FIRST? WHO LAUGHS LAST?The mural represents the inaugural effort of MOCA’s new director Klaus Biesenbach, who was appointed earlier this year after the previous director Philippe Vergne stepped down.
Over 30 years after it was initially planned, the Los Angeles Metropolitan Transportation Authority (Metro) has started tunneling the final phases of the Purple Line subway. According to Metro, when completed in 2026, it will be possible to take a one-seat underground ride from Union Station in Downtown Los Angeles to Westwood—an area home to the University of California, Los Angeles campus, the Veterans Administration complex, and other major institutions—in roughly 25 minutes. For comparison, today the trip takes nearly an hour and a half by car or bus. Though its completion is many years away, the pending extension has begun to impact adjacent areas as rezoning efforts get underway in anticipation of the route. The pending Purple Line Transit Neighborhood Plan, for example, will modestly boost densities between the three adjacent stations surrounding the Los Angeles County Museum of Art (LACMA) campus. As proposed, upper height limits in the densest areas could reach 70-feet, ten feet higher than currently allowed. The prospect of taller buildings on and around Wilshire Boulevard is not a far-off vision, however. The 18-story Vision on Wilshire project by Steinberg Hart and developers UDR, for example, wrapped up construction this summer. The pixelated tower comes with 150 units and joins other new apartment towers recently completed along the corridor. Nearby, a new glass-wrapped tower by MVE + Partners and developers J.H. Snider is slated for a site adjacent to the LACMA campus, and will bring 285 apartments and 250,000 square feet of offices just steps from the transit line. Another project on the boards is a two-tower condominium development slated to join the historic Minoru Yamasaki-designed Plaza Hotel in Century City. Here, Pei, Cobb, Freed & Partners, Gensler, Marmol Radzinger, and RCH Studios will add 290 luxury condominiums behind the historic hotel on a site that will host a new stop on the extension. The project is currently under construction. Not everyone is happy about the coming transit line, however, especially in Beverly Hills, which will see a new subway stop at Wilshire and Rodeo Drive. The City of Beverly Hills has been engaged in a years-long struggle to block the subway from running below its streets. Most recently, the Beverly Hills Unified School District orchestrated what it called a student “walk out” against the proposed metro line. The demonstration occurred last week and was aimed at trying to get the attention of President Trump, who is himself a Beverly Hills homeowner. According to The Los Angeles Times, students carried signs calling on the president to move the subway route, which is currently slated to run underneath Beverly Hills High School and other sites in the city, away from delicate areas. The students also sought to have the president take the unprecedented step of revoking the $1.5 billion in federal funds and low-cost loans awarded to the transformative project. There’s no word from the president yet, but Metro cranked up its two new tunneling machines Monday to begin digging the next leg of the extension nonetheless. It’s expected the tunneling machines will advance roughly 60 feet per day from La Brea Avenue and Wilshire toward the current Purple Line terminus at Western Avenue. After the tunnel there is excavated, the machines will be driven back to La Brea and begin the work of completing the final leg of the line. Phase one of the expansion is slated to open in 2023 with the second phase due to arrive in 2025 and final completion expected by 2026, just in time for the 2028 Olympic Games.
Who are the names you need to know? Who are the designers to watch? These six up-and-coming talents in architecture and design should be on your radar. Alda Ly New York City Alda Ly likes a good piece of custom millwork. “I like to think about the purposefulness of each cut,” she says. Her namesake practice is built around a similar mission. “We’re pursuing end-user research to develop a more human-centered approach with our designs.” For Ly, both qualitative and quantitative data are imperative to design spaces that break the molds of conventional architectural programs. She designed the Wing’s private women-only professional clubs for flexibility, knowing that users might be recording a podcast on one day, and on another, working solo on their laptops. In this way, she sees herself beholden not only to the client, but also to the client’s stakeholders. Ly has made a name for herself by designing shared spaces, from incubators to offices and apartments. Most recently, the firm designed Bulletin, a store merchandising products from female-led brands that features a social area and a venue for live programming. “There are an infinite amount of situations you have to plan for, but a key point is knowing how to make people feel comfortable.” –Jordan Hruska Brian Thoreen LA/Mexico City “I didn’t really know what I was doing,” said Brian Thoreen. Reflecting on the first show where he unveiled his namesake furniture company at the Sight Unseen outpost during Collective Design in 2015, he admitted: “I was thrown in the deep end—I didn’t even know how to price the pieces.” Since then, Thoreen has gone on to show his works several times at Design Miami, create custom commissions, and be the subject of the first solo exhibit at Patrick Parrish. All of this was born out of his new focus on furniture and a recent move to Mexico City—both of which he was able to fully commit to after leaving his L.A.-based architecture practice, Thoreen+Ritter. In the context of “being somewhere else,” Thoreen now finds himself collaborating with local artists, including Hector Esrawe and Emiliano Godoy on a sculptural series of metal furnishings accentuated by hand-blown amorphous orbs of glass. The material will continue to be at the heart of his future work in a new studio, which he formed with Esrawe and Godoy to continue to collaborate their collaboration on glass and metal projects. As for his own studio, Thoreen also plans to design installations, spaces, and architecture where he can continue work with local artists. –Gabrielle Golenda CAMESgibson Chicago CAMESgibson is a Chicago-based partnership between Grant Gibson and the fictitious late T.E. Cames. Gibson, also a professor at the University of Illinois at Chicago (UIC) School of Architecture, works at multiple scales, from small residential rehabs to a popular community arts center. The practice is not limited to conventional built work. Some of the office’s exhibition work includes a 20-foot-tall quilted column installed in the Graham Foundation foyer and a skyscraper design in collaboration with Skidmore, Owings & Merrill at the 2015 Chicago Architecture Biennial. In each of its projects, a playful sensibility fills spaces with color and soft forms. A recent project involved converting a laundry room into a cool ethereal lounge for the UIC basketball team. Deep blue tones and carefully controlled lighting brand the space instead of the typical kitschy, logo-laden locker rooms of most teams. It is this approach to cleverly transforming spaces, whether they are institutional or private, that sets CAMESgibson apart from the average small practice. –Matthew Messner Material Lust New York City Partners in life and partners in practice, Lauren Larson and Christian Lopez Swafford are indifferent to mass production timelines and trends. Together, they work with artisans to conjure otherworldly objects that cross the boundary between sculpture and decorative art, producing a series of furniture with true grit. Known as Material Lust, their Lower East Side-based company was officially established in 2014 but began long before that. It has been producing works that reflect the historical context of design, including the Alchemy Altar Candelabra inspired by pagan and alchemical symbolism; and the Fictional Furniture Collection of gender-neutral, monochromatic children’s furniture inspired by surrealism. Now the pair is venturing into lighting with their new sister company, Orphan Work. As the story goes, it began when they found lost designs from the Material Lust archive and after they visited Venice’s Olivetti Shop, by Carlo Scarpa. The result? A collection that is somewhere between Scarpa’s richly layered forms and the couple’s unapologetically “metal” aesthetic, with nods to both the musical genre and the material itself. –GG MILLIØNS Los Angeles Los Angeles–based MILLIØNS dubs itself an “experimental architectural practice” that liberally explores space-making as a “speculative medium” that can be manifested in any number of objects, structures, or experiences. Founded by Zeina Koreitem and John May, the growing practice recently designed a communal wash basin that aims to reintroduce shared social interactions into the act of bathing for an exhibition at Friedman Benda gallery in New York City. In the show, a 3-D printed mass reveals itself as a fluted drum containing a sink and a slender, brass spigot that is approachable from all sides. Though better known for writing heady treatises and engineering glitchy, digital media works that use televisions and closed-circuit cameras to create new spatial dimensions, MILLIØNS has some more grounded works on the way. A forthcoming, Graham Foundation–supported exhibition designed and curated by the duo that aims to revitalize the experimental spirit of modernist housing, for example, is headed to L.A.’s A+D Museum early next year. MILLIØNS also has several brick-and-mortar projects on the way, including a retail storefront in Manhattan and a lake house in upstate New York. –Antonio Pacheco Savvy Studio NYC/Mexico City Savvy Studio, an interiors and branding firm with offices in New York City and Mexico City, has been busy this summer with an array of projects popping up in New York. It has just launched a Tribeca seafood restaurant (A Summer Day Cafe) which features a beachy interior with light woods, primary-colored metal accents, and of course, nautical stripes. The studio also redesigned Alphabet City mainstay Mast Books using plywood to elevate the space, making it a “gallery of books, rather than simply another bookstore.” And by combining interior architecture with visuals befitting a fashion campaign, Savvy Studio developed branding language, communications, and interiors of the rental offices and showrooms for the Mercedes House, a Hell’s Kitchen luxury condo designed by TEN Arquitectos. Founder and creative director Rafael Prieto points out that there are “no specific boundaries” between branding and interior design. “The reason we do both is based on our interest in creating and designing experiences, and being able to make an impact in every interaction.” For Savvy Studio, their multifaceted practice is about making sure each space or branded element is simultaneously “emotional, aesthetic, and functional.” –Drew Zieba
In an effort to better highlight its extensive collection of historical drawings, The Huntington Library in San Marino, California, is presenting Architects of a Golden Age: Highlights from The Huntington’s Southern California Architecture Collection, an exhibition focused on some of the region’s most eye-catching historical architecture. For the exhibition, curators at The Huntington have collected nearly 20 historical drawings to highlight the “elegant, powerful, whimsical, and iconic buildings” proposed and built in Los Angeles from between 1920 and 1940. The era is considered a “golden age” in Los Angeles’s development wherein the city not only saw tremendous population growth but also built itself up in a variety of dramatic and evocative styles. According to a press release, the inception of The Huntington’s print and drawing collections came in the late 1970s, as preservation awareness first rose to a fever pitch in the city following several decades’ worth of post–World War II development, which often pitted new development against aging structures from previous eras. Erin Chase, assistant curator of architecture and photography at The Huntington, said, “For curators at The Huntington, that was the time to actively seek out and salvage as much of the architectural record as possible, as dozens of significant buildings fell to the wrecking ball and the downtown skyline was forever changed.” Because of this fact, the collection enjoys a wide diversity of representational works. Included in the collection, for example, are drawings by architect Roger S. Hong, one of the developers behind L.A.’s modern Chinatown. Also highlighted are floor plans and other working drawings from the Foss Building and Design Collection depicting early craftsman houses in Pasadena and a large rendering by A. Quincy Jones and interior designer William Haines from 1952 depicting the Sidney and Frances Brody residence in the Holmby Hills area of Los Angeles, an early Modernist work in the region. Describing the exhibition, Chase added, “This show is an opportunity to showcase our collection, which has become invaluable in the study of the history of the region’s built environment.” The exhibition will be on view until January 21, 2019.
A project team led by developers Wilson Meany and Stockbridge has unveiled the latest batch of renderings for a 2,500-unit mixed-use neighborhood set to rise around the forthcoming Los Angeles Rams stadium in Inglewood, California. Gensler, BCV Architecture + Interiors, Architects Orange, and Hart Howerton are providing architectural design services for the project while Studio-MLA is the landscape architect for the 298-acre site, Curbed reports. The new HKS Architects–designed, $2.66-billion stadium is in the midst of heavy construction and topped out earlier this year. The teardrop-shaped structure will come wrapped in over 36,000 perforated metal panels and will be punctuated by a large-format elliptical screen located at its uppermost levels that will play advertisements and other graphic projections. A large artificial lake will be located beside the stadium, as well, and will feature a series of waterfalls. The stadium is due to be completed in 2020. According to a project website, the new surrounding neighborhood will open in phases starting in 2020 with an initial batch of 314 apartments of various configurations, including three-bedroom units, spread out over two structures. Eventually, the development will contain 2,500 dwelling units, 620,000-square feet of retail spaces, a 300-key hotel, and a new casino. The new renderings portray a series of porous outdoor shopping areas connected by covered outdoor spaces, programmed landscape areas, and indoor-outdoor venues like a foodie-friendly dining hall and several covered lounge areas. The plans also call for a long and narrow amphitheater and a performance stage. Residential areas for the development will see structures two- to four-stories in height while the hotel complex is slated for a five-story structure anchored by groundfloor retail. An unspecified amount of office space will also be included in the project. The size and market-driven nature of the new development—there are no new affordable housing units slated in conjunction with the project—has already jump-started gentrification in the renter-heavy, predominantly working-class area. Estimates indicate that property values have increased by as much as 80 percent in recent years, Curbed reports. New housing and shopping are not the only things coming to the area, however. A recently-unveiled plan seeks to link the new neighborhood with the regional transit system by building a new 1.8-mile automated people mover. The new infrastructure aims to provide easy access to the site when it will be used as a venue during the 2028 Olympic games, which Los Angeles is hosting across a series of scattered regional sites and facilities that will include the new stadium complex. *Correction: This story incorrectly reported that 3,000 housing units were being built in conjunction with the development; The correct figure is 2,500 units.
This fall, Japan House Los Angeles will showcase Sou Fujimoto: Futures of the Future, an exhibition highlighting the works of visionary Japanese architect Sou Fujimoto. The wide-ranging retrospective of the Marcus Prize-winning architect’s work will open October 27 and will run through December 12. Over 100 models and large-scale photographs of past and current projects will go on display for the exhibition, including images for the architect’s cloud-like 2013 Serpentine Pavilion in London, England.
The exhibition will also feature several works from the architect’s Architecture is Everywhere collection. The series is made up of a collection of miniature models created by juxtaposing small-scale human figures adjacent to everyday objects with the intention of highlighting the notion that architecture “must be found before it can be created with intent.”
At the time the Serpentine commission was awarded, 41-year-old Fujimoto was the youngest architect to win the honor. Before that, in 2008, Fujimoto was awarded the Japan Institute of Architects Grand Prix. In 2012, the architect’s entry for the Japan Pavilion of the 13th Venice Biennale was awarded the Golden Lion citation.
In his larger body of work, Fujimoto addresses the notion of a so-called “primative future,” where enigmatic reasoning yields diverse and multi-faceted formal and programmatic arrangements that are rendered through crisp and angular geometries. As a result, Fujimoto’s work is able to join inside and outside, nature and urbanity, objects and spaces, and notions of public and private, according to a press release accompanying the exhibition.
The exhibition comes to the newly-opened Japan House Los Angeles following the venue’s late-August debut. The cultural institution is currently exhibiting Prototyping in Tokyo: a Visual Story of Design Led Innovation, a robotics-themed installation, and will feature a collection of architecturally-relevant talks and events throughout the year.
For more information, see the Japan House L.A. events page.
Wireframes: The History of Architecture Visualization, a show now up at the A+D Museum in Los Angeles, takes a critical look at the role of architectural visualization in the contemporary art world. By featuring an assortment of established and emerging artists who work at the intersection between art and architecture, Wireframes organizes the discipline’s work chronologically to establish its place in the artistic canon. The exhibition and accompanying series of events coincide with the announcement of the CG Architect Awards, which honors excellence in architectural visualization. The prize winners’ work will be celebrated, and the awards will honor artists who incorporate translation, storytelling, and the contextualization of memories with the process of image-making. As the A+D Museum puts it, “we present what the future could hold and question what the past has told us.” Wireframes: The History of Architecture Visualization A+D Museum 900 East 4th Street Los Angeles, California 90013 Through November 25