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
In an era when many architects are acclaimed for impressive rhetoric or jaw-dropping computer renderings — or both — [Ito] has earned his following in purely architectural terms. He knows how to build, to shape space in a way that respects traditional craftsmanship and seems utterly contemporary. [...]
That odd and productive co-dependence of design and place, architect and site, is a relationship that doesn't really exist in any other art form. — latimes.com
If you conceive of Los Angeles as having three distinct historical periods – as Christopher Hawthorne, architecture critic for the L.A. Times and the driving force behind The Third L.A. series, does – then the first period encapsulated the 1880s to the 1940s, the second the 1940s to the new...
These were the words of the year in architecture: Basic. Fundamental. Primitive. Ancient.
If fashion had normcore — the flaunting of a bland, practical and Gap-like aesthetic, the plain sweatshirt as statement of principles — architecture reset itself this year in an even more fascinating (if occasionally desperate) way.
In a culture and an economy being dizzyingly remade by technology, architecture chose to embrace not the future, where architects [...] can seem superfluous, but the past. — latimes.com
How far we've come: this week, we're thrilled to have Christopher Hawthorne on the podcast, architecture critic for the Los Angeles Times. Paul, Amelia, Donna and Ken talk with Christopher about his recent 3-part series on architecture and immigration in southern California, the role of the...
When Times architecture critic Christopher Hawthorne looks at L.A., he sees the city shaped by immigrants. Landmark buildings in Koreatown that adapt and evolve with a new generation. Houses in Arcadia that allow Chinese homeowners a proud, conspicuous place in a new country. Street life across the region that takes its cue from the way Latino neighborhoods blur the line between public and private. — latimes.com
In Screen/Print #26: an interview with Jessica Walsh, currently half of design firm Sagmeister & Walsh, was excerpted, from the 2nd issue of Intern Magazine (devoted to "intern culture" in the creative industries). Darkman was confused "Strange choice to interview the most hated...
It is a fractal of contemporary Los Angeles architecture, the fragment that both contains and helps explain the whole. [...]
What gives the $165-million project its unusual symbolic power is that it takes the generic stuff of a typical L.A. apartment building — a wood frame slathered in white stucco and lifted above a concrete parking deck — and expands it dramatically to urban scale. [...]
The design takes banality and stretches it like taffy in the direction of monumentality. — latimes.com
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