But what truly sets this video apart is how it highlights the many murals spread throughout the city. Often utilizing otherwise blank facades facing parking lots and alleys, these murals are nonetheless an integral part of LA’s urban fabric, as illustrated in this video. Sadly though, as Wood notes on the video description, there were many more murals that vanished before he was able to get them on video.
It’s a rare event when a public building is striking enough to grab the attention of most Angelenos. It’s even more curious when that building is almost unanimously panned by the critics. Barring the so-called “iconic” buildings that our city has collected over the last 15 years, Los Angeles seldom received exciting public architecture. Because of this, every new major addition gets placed under a cultural microscope. Now, with Kohn Pedersen Fox’s redesign of the Petersen Automotive Museum nearing completion, architecture critics have sharpened their knives: reviewers have called it “kind of hideous,” "the Edsel of architecture," and “the Guy Fieri of buildings.” But these gripes completely miss the point of what a car museum on the Miracle Mile should be.
Four teams have been chosen to move on to the second stage of the Pershing Square Renew competition. Aiming to transform downtown Los Angeles' oldest park, the finalists will now refine their schematic proposals in preparation of a second review in March 2016. The winning scheme will potentially be the five-acre park's sixth iteration, replacing Mexican architect Ricardo Legorreta and landscape architect Laurie Olincurrent design that first opened in 1994.
The four teams and their preliminary ideas, include:
Until recently, the only options for providing clients and the public with visualizations of what a prospective building would look like were almost exclusively hand drawn renderings, or scale models built by hand. Both of these practices are still in use today, but now there is a much wider range of options with 3D modeling software providing the bulk of renderings, the growing presence of 3D printing, and even video fly-throughs with special effects that rival the latest Hollywood action movie. This 16mm film created by architecture firm Skidmore, Owings & Merrill (SOM) in 1984, and digitized by illustrator Peter Little, reminded us of what the early days of digital 3D modeling looked like.
Without a doubt, it’s among the most famous houses in Los Angeles. The house is easy to describe: a steel framed L-plan, divided into bedrooms and the communal living spaces, all wrapped around a turquoise pool seemingly impossibly poised above the city. But words don’t do it justice. Julius Shulman’s 1960 photograph of Pierre Koenig’s Case Study House 22, perhaps better known as Stahl House, changed the fantasies of a generation.
http://www.archdaily.com/778021/a-virtual-look-into-pierre-koenigs-case-study-house-number-22-the-stahl-houseMadlaina Kalunder and David Tran, Archilogic
Los Angeles, as we know it today, was made possible by massive infrastructure projects that provide reliable sources of water to the otherwise semi-arid region. The mastermind behind many of these infrastructure projects in the early twentieth century was William Mulholland, the self-taught engineer who rose through the ranks to become the Chief Engineer and General Manager of the Bureau of Water Works and Supply (the precursor to today’s Los Angeles Department of Water and Power). Mulholland is most commonly remembered for the construction of the Los Angeles Aqueduct, which piped water to the city from the Owens Valley, over 200 miles away. But Owens Lake was drying up faster than expected, and the aqueduct was threatened by both earthquakes and sabotage from angry landowners and farmers in the Owens Valley who orchestrated dynamite attacks on the waterway, in what became known as the California Water Wars.
Mulholland needed a backup plan, so he turned to building reservoirs, most of which still function to this day. Tom Scott’s video above tells the story of how one of those reservoirs, and the failure of the dam that held it back, shaped the development of Los Angeles itself. When the St. Francis Dam collapsed in 1928 the ensuing rush of water killed at least 450 people (though some estimate the total is closer to 600), destroyed 1,200 homes, forever altered the reputations of Mulholland and the city’s water infrastructure, and ultimately cemented the boundaries of the city and its neighbors.
The recently announcedcompetition to redesign Pershing Square, Los Angeles’ oldest park, will be at least the sixth iteration of the space in the heart of the city’s rapidly changing downtown. Occupying a full city block, what is now Pershing Square (named for the World War I general) was part of the 1781 Spanish land grant to the City of Los Angeles, and was officially dedicated as a park, originally called La Plaza Abaja, in 1866. The current iteration, designed by Mexican architect Ricardo Legorreta and landscape architect Laurie Olin, with art installations by Barbara McCarren, opened in 1994. Just over twenty years later, the brightly-colored, geometric stucco structures, and the hardscape-heavy layout have faced extensive criticism–one local website is fond of calling it the city’s “most hated park”–but Legorreta and Olin’s design makes a bold statement for urban public space in Los Angeles, unmatched by any other park in the city.
OMA's first ever building for a religious institution will be constructed with a little help from one of the United States' greatest 20th century artists. In an auction at Sotheby's in New York yesterday, Cy Twombly's 1968 "Untitled (New York City)" - one of the artist's notable "Blackboard Paintings" - sold for $70.5 million, $30 million of which will be donated to LA's Wilshire Boulevard Temple by the painting's owner, Audrey Irmas, to fund the temple's OMA-designed extension.
As reported by the LA Times, the synagogue's new "Audrey Irmas Pavilion" has been designed to be "clearly in dialogue" with the 1929 Byzantine revival temple, and will be used in the celebration of weddings and bar mitzvahs, as well as for meetings, conferences, and gala events by other nonprofit groups. Though the design has not yet been unveiled, the pavilion is currently slated for a 2019 opening.
In the mid-1980s, after literature had long been held hostage by postmodernist irony and cynicism, a new wave of authors called for an end to negativity, promoting a "new sincerity" for fiction. Gaining momentum into the 1990s, the movement reached a pinnacle in 1993 when, in his essay E Unibus Pluram: Television and U.S. Fiction, pop-culture seer David Foster Wallace, a proponent of this "new sincerity," made the following call to action: “The next real literary ‘rebels’ in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles... These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the ‘Oh how banal.'"
Architecture, ever in debt to the styles and ideas of other art forms, could learn a thing or two now from the resuscitation of American fiction at the turn of the millennium. It too is enduring an identity crisis, mired by pessimism and uncertainty - a reality made painfully clear this past January when a New York Times Op-Ed by Steven Bingler and Martin C. Pedersen, How to Rebuild Architecture, divided camps and made the design world fume. In the editorial, the authors spoke vehemently of an architectural profession that has become mired by egos and been disconnected from public needs. Things quickly got ugly, critics wrestled with critics and subsequently the public got involved. What no one seemed to take into account is that this type of hounding is at the core of the problem. In its current landscape the discipline has struggled with its past, been deferential to its present, and wrestled with the uncertainty of its future. In a moment when we have become addicted to despondency, can anyone win?
Ten practices from around the world have been shortlisted in a competition that aims to transform Los Angeles' Pershing Square one of Southern California's top destinations. Located on a five-acre plot in the city's downtown, Pershing Square is Los Angeles' oldest park. Each semi-finalist has been challenged to develop proposals based off of experiences. A small selection of finalists will be selected in December to move on to the competition's final phase.
WIRED Magazine has created a list of Eight Cities That Will Show You What The Future Will Look Like in the latest edition of their design issue. In the relatively short span of time that humans have been planning cities, more and more decisions have been made that have shaped the path of new technologies and methods that will make cities better. Such projects—like new streetlights, bicycle infrastructure, and traffic-sensitive museums—highlight some of these advances in the urban lifestyle.
"The cities of tomorrow might still self-assemble haltingly, but done right, the process won’t be accidental. A city shouldn’t just happen anymore. Every block, every building, every brick represents innumerable decisions. Decide well, and cities are magic," writes Wired author Adam Rogers. Read on after the break to see how 8 different cities from around the world are implementing innovative projects.
In a culture dominated by smartphones and Instagram, with estimates that over one trillion photographs will be taken this year alone, it might seem impossible for photographs to make and shape issues in the ways they once did. Despite this, images still steer debates with shocking resiliency and, with luck, become iconic in their own right. As architecture is synonymous with placemaking and cultural memory, it is only logical that images of the built environment can have lasting effects on the issues of architecture and urbanism. It's never been easier for photographs to gain exposure than they can today, and with social media and civilian journalism, debates have never started more quickly.
The SAH 2016 Annual International Conference will take place in Pasadena/Los Angeles, April 6-10, with the theme New Local/Global Infrastructures. The conference will engage participants from around the world with the rich, evolving legacy of the region’s built environment. With the scheduled completion of the Metro Expo Light-Rail Line west to Santa Monica in early 2016, Pasadena will be connected to downtown LA and the rest of Los Angeles County. This infrastructure, building on historic right-of-ways, will provide new ways to see the broad range of the region’s architecture and urbanism.
The SENSEable City Laboratory at MIT has developed a new tool with Ericsson to better understand human behavior. "ManyCities" is a new website that "explores the spatio-temporal patterns of mobile phone activity in cities across the world," including London, New York, Los Angeles and Hong Kong. Taking complex data and organizing it in a intuitive way, the application allows users to quickly visualize patterns of human movement within the urban context down to the neighborhood scale. You can imagine how useful a tool like this can be for urban planners or even daily commuters, especially once real time analytics come into play. Take a look at ManyCities yourself, here.