What struck me when I went back to reread the book is how deliberately it works to collapse the distance, and therefore the distinction, between enthusiasm and skepticism, and ultimately between documentation and critique. Above all, “Learning from Las Vegas” argues for a curious and open-minded anti-utopianism, for understanding cities as they are rather than how planners wish they might be—and then using that knowledge, systematically and patiently won, as the basis for new architecture. — The New Yorker

The rude stop-start of the pandemic economy has meant that scads of new marquee developments—new infrastructure, new performance venues, new housing, new museums, new everything—are now hurtling toward completion almost simultaneously. Five days spent crisscrossing from the hills to the beach and back, occasionally by car but also by bus, by train, and, yes, by bike, revealed a city seized by startling, epochal changes. For Los Angeles, it has been a long time coming. — Ian Volner

No other city has understood its connection to mobility the way Los Angeles has. There’s a longstanding view that the city is most legible through motion. You read it by moving through it. — Architectural Record

More than a dozen designs for accessory dwelling units, known as ADUs, will be offered through the city’s ADU Standard Plan Program [...]. The small-scale, stand-alone residences are generally tucked into properties zoned for single-family homes. The idea, says the city’s chief design officer (and former Times architecture critic), Christopher Hawthorne, is to take a weeks-long permitting process and “turn it into an approval that is over-the counter.” — Los Angeles Times

The idea of the “both-and” suggested a new pluralism, and maybe a new tolerance, in architecture. But the phrase turned out to have its limits. To the extent that Venturi was making an argument in favor of a kind of big-tent populism in architecture, it was a space for new styles instead of new voices, new forms rather than new people. In fact, tucked inside Complexity and Contradiction is an argument for a renewed insularity in the profession [...]. — The Atlantic

Why focus on Wright, American architecture’s equivalent of Abraham Lincoln, the giant who casts a shadow over his field big enough to blot out smaller and underrepresented figures?

[...] Because the architect’s brilliant if forbidding Southern California houses, the most important of which were designed in a burst of creative energy during the first few months of 1923, remain mysterious, their meaning and inspiration as opaque as their heavy, richly patterned concrete-block facades. — latimes.com

If no one in 2018 would argue, as a young writer named David Brodsly did in 1981, that the "L.A. freeway is the cathedral of its time and place," or that it's the spot where Angelenos "spend the two calmest and most rewarding hours of their daily lives," as British architectural historian Reyner Banham put it with almost laughable enthusiasm a decade earlier, there's no doubt that both the practical and metaphorical meanings of the freeway continue to preoccupy Southern Californians. — Los Angeles Times

In that spirit I set a challenge for myself: Could I come up not just with one but with 25 buildings that might have deserved the award this year? It took me a few days — and I was helped by some terrific suggestions from architects, critics and historians on Twitter and elsewhere online — but in the end finding 25 wasn't that difficult. — LA Times

The slabs in front of me seemed at once the most and least architectural objects I’d ever seen. They were banal and startling, full and empty of meaning. Here were the techniques of Land Art, medieval construction, marketing and promotion, architectural exhibition and the new nativism rolled uncomfortably if somehow inevitably into one. — Los Angeles Times

So what does the taste for Hogwarts-style dormitories say about the Yale or the USC of 2017? It says that the primary job of residential architecture on campus is to provide a sense of consistency and familiarity for donors and incoming students alike — to soften the edges of the college experience. — Los Angeles Times

Its forms are basic, totemic: Euclidean shapes dredged from the long memory of the field. It sometimes relies on modules or grids. It’s often monochromatic. It’s post-digital, which means it rejects the compulsion to push form-making to its absolute limits that overtook architecture at the turn of the century. As a result, it sometimes looks ancient or even primordial. It never looks futuristic. — LA Times