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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... View full entry
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
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... View full entry
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... View full entry
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.
— Docomomo US
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... View full entry
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. — blouinartinfo.com
