The Petersen Automotive Museum in Los Angeles has announced that it will celebrate its 20th anniversary in 2014 with a redesign of its interior and a complete transformation of its exterior facade to create a "world class museum that will showcase the art, experience, culture and heritage of the automobile." The exterior design by Kohn Pedersen Fox Associates will give the Petersen a truly unique and iconic look that will hopefully attract architecture and car enthusiasts alike.
More on the museum's drastic transformation after the break.
Los Angeles-based P-A-T-T-E-R-N-S is among the most intriguing and progressive firms working in architecture today. They seem relentless in pushing boundaries in areas like ultra-light-weight high-tech materials and immersive media. They are also very thoughtful and patient in the way they approach design.
This is good because what they are engaged in and the way they work takes time. By collaborating with engineers and innovators in different industries they are slowly changing the way architecture is carried out and conceived on material and ontological levels. They don’t do spec homes, they do what’s new, and sometimes try to do what hasn’t been done yet.
Founder and co-principal Marcelo Spina and co-principal Georgina Huljich both teach, he at SCI-ARC and she at UCLA, where they pursue research interests with students and then reflect that back into their small but energetic practice tucked away in one of Los Angeles’ rustic urban edges, Atwater Village.
One thing to recently emerge from this office is the experimental carbon fiber pavilion they call Textile Room.
Just eight months after being awarded the design-build contract with Clark Construction Group, Skidmore, Owings, & Merrill (SOM) has broke ground on the new, $318 million United States Courthouse in downtown Los Angeles. This is a long-awaited achievement for the city of Los Angeles, as attempts have been made to construct a new courthouse since 2007. However, despite having to abandoned a $1.1 billion Perkins + Will proposal years ago, many believe this sustainable and more cost-effective design by SOM was worth the wait.
Here in Los Angeles we have a complicated relationship with architecture and two con-current museum exhibitions demonstrate this in ironic and puzzling ways. This came into clear relief when, on Saturday, August 03, 2013, something amazing and unprecedented happened: architecture was on the front page of a major US newspaper, the Los Angeles Times.
This, it must be said, is a very unusual thing for architecture. Moreover, it was not the type of architecture you might expect to grab the spotlight. It was the un-built original plan for Los Angeles International Airport by Pereira and Luckman, c. 1952. If you’ve been to LAX you’ve seen their Theme Building. They also did the plan for LAX that was finally accepted—the less visionary, less ambitious plan. This was being re-presented to the world in the context of “Never Built” a show about the unrealized architectural dreams of Los Angeles currently showing at the A+D Museum.
After years of extensive research that unearthed countless untold stories and hundreds of beautiful unbuilt designs, curators Sam Lubell and Greg Goldin will be celebrating the opening of their highly anticipated exhibition - Never Built: Los Angeles- today at the Architecture and Design Museum in Los Angeles.
Phase 1 of the new Tom Bradley International Terminal at LAX, the largest public works project in the history of Los Angeles, has been completed. The new airport, designed by Fentress Architects to be a LEED-certified landmark for the city, will feature a flowing, ocean-inspired roofline, a three-story,150,000-square-foot Great Hall, and one of the most advanced multimedia Integrated Environmental Media Systems (IEMS) in the world. The $1.5 billion project has been funded solely from LAX’s operating revenues, without public funds.
In addition to honoring renowned architect Ray Kappe with a Lifetime Achievement Award, the Los Angeles Business Council has awarded thirty-one local projects for their design excellence, sustainability and community impact at the 43rd annual LA Architectural Awards.
Coming at a crucial time in which Los Angeles is at risk of “losing its reputation as a center for innovative architecture,” museum director Michael Govan and Swiss architect Peter Zumthor have unveiled preliminary plans for what they hope will be the new home of the Los Angeles County Museum of Art (LACMA). If approved, this $650 million proposal - nearly five years in the making - would replace the dated William Pereira-designed campus and its 1986 Hardy Holzman Pfeiffer Associates-designed addition with an organically-shaped, dark-grey concrete and glass Zumthor original.
More information after the break, including Peter Zumthor’s project description...
Opening October 11 until December 1, the Southern California Institute of Architecture (SCI-Arc) will present 'Lebbeus Woods is an Archetype', an exhibition and public art installation which highlights the well-known American architect's work, including several original, rarely seen Woods drawings from private collections. Complemented by a symposium and catalog, this exhibition in the SCI-Arc Gallery and related large-scale public art installation in the Arts District’s Bloom Square, aims to demonstrate the fearless nature with which the late visionary architect and draftsman created. More information on the exhibition after the break.
Architect Frank Gehry has voiced concerns that the new Los Angeles subway, scheduled for construction in two to three years, may disturb concerts in his famous Disney Hall. The planned subway line would run 125 feet below the venue's parking garage and recent simulations have shown that the rumblings could be audible inside the concert hall. Mr. Gehry has called for the review of previous noise projections for the metro project, which two years ago predicted no audible impact on his design. “It would be a disaster for Disney Hall,” Gehry told the LA Times. “The flag is up and we should go over it and make sure.”
I pass by the Eames House almost every day at about 35 mph on my way down to PCH, the sand, the waves, the subterranean tunnels, and the tsunami zone, where LA coughs up its junk on the urban beach, where the Westside comes to its logical conclusion. Sometimes traffic is backed up so far up the hill—this is Los Angeles, after all—that I sit motionless and adjacent where the house should be, but can’t actually see it. I listen to the engine, the radio, the sound of helicopters and leaf blowers. The house is silent somewhere behind a wall of dense tropical flora.
My first actual visit to the house was when I was barely thinking about architecture. In a way it was my introduction to the possibility that someone could do architecture, that it was something one could succeed at. It was optimism on real estate once considered solidly middle class. Improbably light-weight and even painterly, like a Mondrian composition, it sits in a perfectly mundane American yard, like the delicate skeleton of a bird perched over the Pacific.
There is something soothing, even easy about vernacular architecture. It’s the territorial and spatial equivalent to Muzak. It evades and pre-dates the self-conscious identity of glitzy, cutting-edge architecture we are so familiar with today. There is an innocence to the vernacular. These are the buildings and environments of childhood.
This is apparent in the exhibition, In Focus: Ed Ruscha, currently showing at the J. Paul Getty Museum at the Getty Center in Los Angeles. What captivates about the shots is that they dare to curate buildings that are usually just part of the background. They become objects of curiosity, spectacles, even.
With the Southern California Institute of Architecture celebrating its 40th anniversary, the Stormcloud installation was designed and built by the office of Oyler Wu Collaborative, along with students of SCI-Arc, for the after-party of its April 2013 gala. Tasked with the challenge of revamping the existing Netscape pavilion, Oyler Wu Collaborative saw the project as an opportunity to take a completely different approach to the problem. By removing the ten miles of knitted ropes that once hung between the soaring steel trusses, the project was transformed both volumetrically and materially. More images and architects' description after the break.
The Los Angeles County Museum of Art (LACMA) will soon be rolling out the red carpet to welcome Swiss legend Peter Zumthor to the Golden State. The prized architect’s debut will mark the opening of "The Presence of the Past: Peter Zumthor Reconsiders LACMA," which will unveil the ambitious, $650 million plan to transform the LACMA’s “Byzantine maze of buildings and hallways” into an experience-based “village” of curvaceous modern glass structures that will produce more energy than it uses.
"The idea is to make it permeable by people," LACMA CEO and director Michael Govan says, who has been working with Zumthor for over four years on the proposal.