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Eric Owen Moss’ first LA home relists for $10.95 million

2024-04-25T18:39:00-04:00

Eric Owen Moss’ first residential design in Los Angeles, the 1991 Constellation 167 home in Brentwood, has hit the market courtesy of Sotheby’s International Realty for a listed price of $10.95 million. The home had previously been listed by Compass and Sotheby’s for $12 million last fall before being put up again for the lower price, held exclusively by the latter.

Photo: Wayne Ford, image courtesy Sotheby's International Realty

The 5,476-square-foot design includes four bedrooms and 5 full baths and sits on just a quarter-acre parcel. It has appeared several times in various television shows (R.I.P. Curb Your Enthusiasm) and is distinctive of Moss’ warped style, which was later repeated in 2022’s A+M House. A “comprehensive” series of upgrades and restorations has been performed since it was commissioned, according to Robb Report.

Photo: Wayne Ford, image courtesy Sotheby's International Realty

Moss, who turns 81 this year, recently completed his (W)RAPPER office tower in Culver Ci...

Oliver Wainwright reviews Eric Owen Moss' "menacing" (W)RAPPER office tower

2023-03-20T14:28:00-04:00

The result is a menacing thing, cranking up Moss’s cyberpunk tendencies to new high-octane levels. If ever Hollywood needs a villainous headquarters for a dystopian petrol-guzzling empire, this will be first in line – with a carbon footprint to match.

The Guardian’s Oliver Wainwright spies the limits of LA-brand deconstructivism on a visit to Eric Owen Moss’ (W)RAPPER project in Culver City's Hayden Tract, an “eccentric” assembly of low-rise office buildings the critic says he has helped turn into a warped “exhibition of architectural experimentation.”

Image courtesy Google Street View (February 2023)

Moss brags about the rubberband-like steel exoskeleton that wraps the glass in the city’s second-tallest building enabling a column-free interior while enhancing the imposed verticality and is supposedly inspired by William Butler Yeats and Gustave Courbet, among many other crisscrossing intellectual references. Wainwright, unfazed, drops the dime on its poor sustainability bonafide (to which Moss returns “Is that the only measure of architecture now?”) before critiquing the greatly obstructed views and questioning the promise of so-called “creative office” designs.

Related on Archinect: Eric Owen Moss-designed (W)RAPPER tower has t...

New executive order could make classical architecture "the preferred and default style" for America's public buildings

2020-02-04T13:50:00-05:00

Is neoclassicism about to make a big comeback?

It looks likely, as a new executive order under consideration by President Donald Trump attempts to make classicism the "preferred and default style" for new and upgraded federal buildings.

According to an exclusive report by Architectural Record, the predictably named "Making Federal Buildings Beautiful Again" executive order would seek to reposition classically inspired architecture as the country's default public building style. The shift comes in opposition to the longstanding style agnosticism displayed by public buildings in recent decades following the creation of the Guiding Principles for Federal Architecture directive crafted in 1962 by former New York Senator Daniel Patrick Moynihan.

Moynihan's directive—which states that "The development of an official style must be avoided" and that "Design must flow from the architectural profession to the Government and not vice versa"—has resulted in a wide ranging set of innovative pu...

Nearly three decades old, Eisenman's (still laser-less) Greater Columbus Convention Center revisited

2019-01-09T14:35:00-05:00

With full theatrical trappings—nu-age Philip Glass music, smoke machines, mood lighting--the Eisenman team unveiled to the crowd a scale model of the building, which produced a light show to rival a Laser Floyd spectacular. These dozen red-hued Death Star beams [...] were to be placed on the building and neighboring structures, flashing, blinking, sweeping across downtown like some insane city-scale laser security system. Three years later, it was opened. Sans lasers.

Nathan Eddy, architecture documentary director and most recently a driving force to save Philip Johnson and John Burgee’s AT&T Building in New York, pens a delightful review of Peter Eisenman's 1990 competition-winning proposal for the Greater Columbus Convention Center in Columbus, Ohio.

"Forget the Bilbao Effect—today’s clients demand the Instagram Effect, with architects all but forced to include social media experiences into their designs," writes Eddy. "In 2018, a quarter century feels like forever ago, and Eisenman’s building, with its peculiar colors, slanted walls and cocky posturing, is still somehow both out of and ahead of its time, a futuristic anachronism."

Libeskind opens his latest building in Belgium today. Is it a snooze?

2015-01-09T13:50:00-05:00

In 2015, Libeskind’s brand of Deconstructivism (and all varieties of Deconstructivism, one might argue) amounts to a familiar, dull architecture; a calcified formal language whose shock-factor and novelty has worn away. One would hope that Libeskind, as a leading architectural practitioner, could at least try to articulate a new agenda in the experimental vein of his earlier work. Alas — as the Mons International Conference Xperience shows — that’s not the case.