Though the [Vanna Venturi] house has been nominated for the Philadelphia Register of Historic Places, Stecura said it is being sold without any protections against alterations inside or out. [...]
Cross your fingers and hope for the best. [...]
there is no broader strategy in place — in the museum world or among the nation's leading historic preservation groups — to protect the most important works of 20th-century residential architecture from the vagaries of the market — Christopher Hawthorne – latimes.com
Related on Archinect:The price of keeping Britain's 'Downton Abbeys' from crumblingLe Corbusier's Cité de Refuge in Paris to reopen after restorationChicago's Marina City designated official landmark status — it's about time!"Stop the unpermitted demolition": Roche Dinkeloo's shiny UN Plaza...
The Port Authority of New York and New Jersey...has been so chastened by the cost overruns and construction delays that it declined to hold even a modest ribbon-cutting. When a bureaucracy turns down a major opportunity to pat itself on the back, you know things have turned sour. Turned acid, really.
Still, everyone seems to agree that the main hall, which stretches beneath a glass and white-steel roof and which Calatrava calls the Oculus, is beautiful. But I didn't find it beautiful... — the Los Angeles Times
"...at least not in the way that Calatrava's finest work, fluid and precise, often is. I found it structurally overwrought and emotionally underwhelming, straining for higher meaning, eager to wring some last drops of mournful power from a site that is already crammed with official, semi-official...
Last month, as part of Archinect's special February theme, Furniture, Nicholas Korody profiled the work of Brazilian designer Guto Requena, who is interested in "digital interactive technologies" and the concept of "affective sustainability". Later he chatted with Zoe Fisher, founder and...
One thing, though, is different this time around. These days the city and county are busy investing money and lavishing attention on public spaces across L.A. — and even producing some from scratch...In a range of ways, Southern California is beginning to make up for neglecting its public realm for the bulk of the postwar era. — L.A. Times
With two park design competitions currently underway (linked below), Downtown L.A. is eager to boost its amount of green space. But will those ambitious plans pan out in a tricky cityscape? Christopher Hawthorne gives his two cents on the potential of each park.Previously on Archinect:Take a look...
An elevated park filling a retired stretch of freeway may sound reminiscent of the High Line, the hugely popular park built along an abandoned elevated train line in Manhattan.
In symbolic and practical terms, the potential of a remade 2 spur is greater than even that project. It would take a working stretch of freeway in Los Angeles, a city still synonymous with car culture, and reinvent it as a vibrant, diverse urban landscape. — LA Times
Critics rarely take advantage of their position to propose urban initiatives of their own, but when they do, it usually merits some serious consideration.Christopher Hawthorne has issued an inventive, but well-reasoned, proposal to remake the awkward terminus of the 2 Freeway, where it "bends...
You're familiar with pretty much every phase of Julius Shulman's long career as an architectural photographer. You started following the globe-trotting Iwan Baan on Instagram way before he became a design-world celebrity. You can't recommend Ezra Stoller's black-and-white pictures of midcentury Manhattan highly enough.
But Wayne Thom? The name may draw a blank. — LA Times
What is the role of creative exploration in architecture? From the L.A. Times to The New Republic, this question is very much on critical minds. In a piece entitled "How to Make Architecture Human," Anna Wiener reviews Witold Rybczynski's latest collection of essays, Mysteries of the Mall, which...
The elements of the Broad that have been most closely scrutinized or most often reworked, in fact, are the most uneven. It is only in the relative shadows — in the peripheral or easily overlooked spaces, or in the rooms added or enlarged late in the design process — that the architecture of the museum really comes to life. — latimes.com
More on The Broad on Archinect:What makes an artless museum?So what's new at the Broad?DS+R's Broad Museum set to open on Sept. 20, with a Feb. 15 previewIs The Broad Museum's newly unveiled facade living up to its renderings?
The truth is that Los Angeles, once a pioneer in defining the freeway’s place in urban life, has fallen behind other cities. From Dallas to Paris to Seoul, the most innovative ideas about freeways and how they can be redesigned are coming from places far from Southern California. It’s time for L.A. to catch up... — Los Angeles Times
Following his recent review of the 405 Freeway expansion through the Sepulveda Pass, Christopher Hawthorne sums up why the time is ripe for Angelenos to refresh their perspectives on the city's freeways.More on Archinect:Archinect's critical round-up: the week's best architectural critiques so...
Over at the Los Angeles Times, Christopher Hawthorne eloquently pans the new addition to the 405 freeway, noting that "The expanded 405 might be the first L.A. freeway project to look haggard and disjointed the day it opened." His review comes at a time when infrastructure, especially in...
The fundamentally architectural character of "Urban Light" -- the artist called it "a building with a roof of light" -- was no anomaly for Burden, who grew up in France and Italy and studied at Pomona College and UC Irvine. Themes connected to architecture and urbanism run through his work, typically with the same wry attitude about the relationship between structure and art-making that the lampposts suggest. “Originally I was going to study architecture,” Burden said at a lecture...in 2003. — LA Times
As the museum turns 50 this year and debate continues about LACMA Director Michael Govan's plan to replace the Pereira buildings (and a later addition by Hugh Hardy) with a giant new wing by Swiss architect Peter Zumthor, it's worth remembering how the original LACMA campus was greeted — as well as a few things about the Los Angeles into which it was born. — latimes.com
Since opening the doors of its original William Pereira buildings in 1965, the Los Angele County Museum of Art has grown along with its home. The version of the city beloved by Reyner Banham and Pereira was alive then on the historic Miracle Mile, proselytizing megasized car-infrastructure and New...
"The public sector stopped making public space a long time ago," Los Angeles architect Jon Jerde told Wired magazine rather matter-of-factly in 1999. [...]
A little more than two decades later, there is something quaintly fatalistic about Jerde's attitude toward the frail state of public space. In Los Angeles, at least, it has returned pretty dramatically to health. — latimes.com
Once a free-flowing, biomorphic design inspired by the La Brea Tar Pits and the work of the Brazilian architect Oscar Niemeyer, the design has become noticeably more angular and muscular in recent weeks. It now features double-height galleries made of white or light-gray concrete and poking up above the roofline of the rest of the museum [...]
"No one will call it a blob anymore," LACMA Director Michael Govan said ... "Peter hasn't given up the curve. But he's really, really reined it in." — latimes.com
Related news: Peter Zumthor pushes LACMA redesign to the curb to make room for tar pitsL.A. County supervisors approve initial funding for new LACMA buildingPeter Zumthor's $450,000,000 'Black Flower' for LACMA
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