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L.A. Transforms Itself

Before the 2028 Olympics, L.A. embarks on its most transformative urban vision in a generation
The 2028 Summer Olympics (L.A. 2028), officially known as the Games of the XXXIV Olympiad, are coming to the Los Angeles region in just nine years. The event will make Los Angeles only the third city in the world, behind Paris and London, to ever host the games three times, and could potentially cement the city’s status as a 21st-century global economic, entertainment, and cultural powerhouse. But what will it take to get there? Though L.A. 2028 has been billed by organizers and Los Angeles Mayor Eric Garcetti as a no-frills affair that will make use of existing or already planned facilities—“we could do the Olympics probably two months from now,” Garcetti quipped in a recent interview—the effort has become a symbolic capstone for a variety of ongoing urban and regional metamorphoses across Southern California. This symbolic quality has transformed the Olympics from a novel pipe dream into a rallying cry for what could be the most transformative urban vision the city and region have seen in over a generation. When L.A. last held the games in 1984, city officials made history by holding the first and only Olympic games that turned a profit. The effort’s success resulted from a distributed event model that used existing university student housing and training facilities to create a networked arrangement of mini–Olympic Villages across a region spanning from Santa Barbara to Long Beach. Organizers also presented a novel media strategy for the games by fusing spectacular and telegenic installations by Jon Jerde and colorful magenta, aqua, and vermilion graphics by environmental designers Deborah Sussman and Paul Prejza with the marvel of television broadcasting, giving the impression of a cohesive urban vision for the games despite the fact that some locales were more than 100 miles apart from each other. For 2028, local officials are hoping to repeat and surpass these successes. Garcetti, the International Olympic Committee (IOC), and the private L.A. 2028 committee tasked with bringing the games to life have stated that unlike many recent Olympic games around the world, L.A. 2028 is designed on paper to break even, financially speaking—once again, mainly due to the lack of new purpose-built structures or venues that would be created for the event. But these verbal and rhetorical gymnastics mask the full extent of the coming transformations and underplay both the scale of the games and the effects of what L.A. will have to accomplish to make them happen. In reality, L.A. 2028 will not be possible without the completion of several key initiatives, namely, the ongoing expansion of Los Angeles County’s mass transportation network and the planned expansion and renovation of Los Angeles International Airport (LAX). As part of a 50-year vision to double the size of the region’s mass transit network, Mayor Garcetti helped pass a sweeping ballot initiative in 2016 that will transform L.A.’s transportation system. Afterward, as Garcetti worked to secure the Olympic bid, he unveiled the Twenty-eight by ’28 initiative to speed up and prioritize certain transit improvements outlined in the 2016 plan so they can be completed in time for the games. In total, the plan aims to complete 28 infrastructure projects by the time the games begin. One of the new transit lines due to be completed by 2028 will connect the southern end of the San Fernando Valley, where track and field and other events are to be held at the Valley Sports Park in the Sepulveda Basin Recreation Area, with the University of California, Los Angeles (UCLA), where the Olympic Village is to be located. There, the university is busy preparing to add 5,400 new student housing units. Up to 6,900 new student beds are envisioned by UCLA's latest Student Housing Plan, while up to 1,400 additional student beds could be brought online at several other UCLA-adjacent sites, as well. Though these projects are being built to help address a severe shortage of student housing, they will also ensure that when Olympians arrive to compete in 2028, their accommodations will be in tip-top shape. The southern end of the UCLA campus will connect to the forthcoming Purple Line subway extension, another project that is being sped up in preparation for the games. The line will link UCLA to Downtown Los Angeles, where many of the transit network’s lines converge. The 9-mile extension to the line was originally planned in the 1980s, but was held up by decades of political gridlock. Between UCLA and downtown, areas like West Hollywood, Beverly Hills, and Hollywood are adding thousands of new hotel rooms in advance of 2028. Though the region is carved up into competing municipalities that have a history of working at cross purposes, it is clear that local decision makers are readying these districts to absorb a substantial portion of the incoming flood of international tourists. For example, a current bid to extend the forthcoming north-south Crenshaw Line— which will connect LAX with the Purple Line north through West Hollywood—has picked up steam in recent months in an effort to provide a direct ride from the airport to this burgeoning hotel and nightlife quarter. L.A. 2028’s major sports park will be located at the L.A. Live complex in Downtown Los Angeles, near the eastern terminus of the Purple Line, where city officials have also been pushing for an expansion of hotel accommodations. Here, as many as 20 new high-rise complexes are on their way as the city works to add 8,000 new hotel rooms to the areas immediately surrounding the Los Angeles Convention Center, where basketball, boxing, fencing, taekwondo, and other sporting events will take place. This new district will be tied together by a nearly continuous podium-height band of LED display screens that could produce a modern-day equivalent of Jerde’s, and Sussman/Prejza’s visualizations. Just southeast of Downtown Los Angeles, the Expo Line–connected University of Southern California campus will host the Olympic media village, which will also make use of existing dormitory accommodations, including a recently completed campus expansion by HED (Harley Ellis Devereaux). Gensler’s Banc of California stadium, also a recent addition, is located nearby in Exposition Park, the home of the 1932 and 1984 games, and will host soccer and other athletic events in 2028. In the park, a newly renovated Los Angeles Memorial Coliseum will be retrofit with an elevated base to allow Olympic medalists to rise up out of the ground to receive their honorifics. A trip south on the Crenshaw Line will bring visitors to the Los Angeles Stadium at Hollywood Park, a new state-of-the-art stadium being built for the Los Angeles Rams National Football League team by Turner and AECOM Hunt that is set to open in 2020 and will host the L.A. 2028 opening ceremonies. The stadium will be much more than a sports venue, bringing together a 70,240-seat stadium and a 6,000-seat concert hall under one roof. Its total capacity for mega-events can be stretched to 100,000 people. The stadium will also serve as an anchor to a much larger, 300-acre district that includes commercial, retail, and office buildings along with residential units. This development, formally called the L.A. Stadium and Entertainment District at Hollywood Park, is expected to be twice as big as Vatican City. Its staggering expense of more than $5 billion is tempered by the fact that it relies more on private financing than many other NFL stadiums built in the last three decades, which have traditionally leaned heavily on taxpayer funds and the pocketbooks of football fans. Besides the L.A. 2028 games, the stadium is also expected to host the 2022 Super Bowl and the 2023 College Football Playoff Championships. Not far away, Los Angeles World Airports is working on a multiphase effort to bring two new terminals and dozens of new flight gates to the airport, including a $1.6 billion Gensler and Corgan–designed terminal capable of handling “super-jumbo” airplanes for long-haul international flights. The facilities are set to open by 2028 and will join new consolidated transportation hubs that will streamline private automobile, mass transit, and pedestrian traffic for the busy airport. At the end of April, the L.A. 2028 organizing committee updated the estimated cost to be about $6.9 billion, up from the $5.3 billion figure submitted in the city's bid. This still hasn't changed the expectation that L.A. will at least break even on hosting the games. These projects show that while the L.A. 2028 Olympics are being somewhat undersold by their boosters, the investments necessary to bring the games to L.A. are, in fact, quite vast. Ultimately, future Angelenos might look back quizzically at the muted rhetoric surrounding the games and the once-in-a-generation effect they will have on the region.
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Future Fellows

Knight Foundation announces its first class of Public Spaces Fellows
Seven influential leaders, experts, and practitioners have been selected for the inaugural class of Knight Public Spaces Fellows. Launched this year by the John S. and James L. Knight Foundation, a non-profit committed to fostering community in service of democratic ideals, the program will grant each individual $150,000 to put towards building effective public space initiatives around the United States. Selected from an open call that drew of over 2,000 candidates, the Knight Fellows stood out for their track records of influencing or creating spaces that advance community engagement and connection in cities. Sam Gill, the Knight Foundation vice president for communities and impact, describes the individuals recognized in this inaugural class, saying in a statement, “These rare people see something different when they look at streets, parks, and sidewalks—they see a vision of how our communities could look, feel, and be different.” Knight has expressed a desire for their chosen nominees to incorporate and build upon their existing and former projects, while also using the fellowship to break ground on new projects and ideas for the field. Check out the list of seven recipients below:  Anuj Gupta (Philadelphia) As general manager of Reading Terminal Market, Philadelphia's famous 125-year-old food and retail hub, Gupta has helped bring a record number of visitors to the space in his tenure. He's integrated innovation distribution models for service, selected new and trendy vendors, and figured out special ways to keep people coming back to the market. He's widely recognized for his initiatives that connect people of different cultures through food.  Robert Hammond (New York) Hammond is the cofounder and executive director of the High Line on Manhattan's West Side. A vision that began 20 years ago, it's now one of the biggest tourist attractions in the city and has spurred a wave of development in the Chelsea neighborhood. In 2017, he established the High Line Network, which assists communities in the infrastructure reuse projects.  Walter Hood (Berkeley, California) Widely known for designing award-winning urban spaces for cultural institutions such as the Cooper Hewitt Museum, the Broad Museum, and the Solar Strand at the University of Buffalo, Hood creates projects that intersect with art, fabrication, landscape, research, and urbanism. He's a professor at the University of California, Berkley where he teaches landscape architecture and urban design, and is the founder and creative director of Hood Design Studio Eric Klinenberg (New York) As the Helen Gould Shepard Professor of Social Science at New York University, Klinenberg thinks and teaches on urban public spaces. He most recently served as research director of Rebuild by Design, the federal competition that sought innovative ideas for rebuilding after Hurricane Sandy in 2012. Last year, he published “Palaces for the People”, a book about how social infrastructure such as libraries, parks, and playgrounds can revitalize democratic culture and civic life. Chelina Odbert (Los Angeles) Odbert is co-founder and executive director of Kounkuey Design Initiative, a nonprofit design firm based out of Los Angeles, the Coachella Valley, Nairobi, and Stockholm. Her studio heavily focuses on community participation and its role in public development, as well as how design can integrate the strongest environmental, social, and economic strategies to help solve inequity.  Kathryn Ott Lovell (Philadelphia) Lovel currently serves as the commissioner of Philadelphia Parks and Recreation, one of the nation's largest parks systems. Appointed in 2016, she established the first strategic plan for the agency, "Our Path to 2020," which emphasizes citizen-centric service, a commitment to the city's well-maintained assets, and creating relevant and accessible programming such as the Parks on Tap mobile beer garden, and the Philadelphia International Unity Cup soccer tournament, among others.  Erin Salazar (San Jose, California) Salazar is the founder and executive director of Exhibition District in San Jose, a woman-owned and operated arts nonprofit that's helping create economic opportunities for artists to do work in downtown San Jose. A muralist herself, she is committed to city beautification and redefining the concept of public space while also drawing out the cultural authenticity of a city that's rapidly urbanizing and full of large corporations. Most recently, Exhibition District started Local Color, an incubator project that reactivates neglected buildings. 
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50/50 Chance

Stalled California housing bill could give architects chance to redesign the state’s cities
California needs 3.5 million housing units. That’s more housing units than currently exist in most states. This shortage—California ranks 49th in housing units per capita, ahead of only Utah—developed slowly but has metastasized into a true crisis, with housing costs rising to untenable levels for all but the most well-off Californians. In considering how and where to add a volume equivalent to all of Virginia, a key question is, what state—or, rather, what city—will those new units look like? Will they look like the tract homes of Phoenix? The row houses of Philadelphia? The high-rise apartments of New York City? The triple-deckers of Boston? The genteel mansions of Richmond? Or, perhaps worst of all, the mid-rises of Hollywood? The answers depend in large part on where new housing gets built. A recent bill in the California legislature almost provided the answer—almost. Senate Bill 50, sponsored by San Francisco–based State Senator Scott Wiener, would have mandated increased housing densities around major public transit lines and “jobs rich” areas throughout the state by requiring cities to permit multifamily buildings of up to five stories by right. Wiener contended that California needs more housing and that the best locations are those that enable residents to minimize commuting by personal automobiles. A relatively late amendment would have eliminated single-family zoning, permitting homeowners to build up to four units on any single-family lot, and limited the high-density provisions to counties of over 600,000 residents. California has always maintained a tense relationship with density, often failing to plan for it while suffering its ill effects all the same. SB 50 could be the catalyst to help the state abandon its suburban fetishes once and for all. An updated version of a bill that Wiener sponsored last year, SB 50 nearly made it out of the State Senate until Appropriations Committee Chair Anthony Portantino scuttled it with a procedural tactic, refusing to bring it to a vote in committee. The move put an abrupt end to what had arguably been the most heated debates over land-use legislation in state history. SB 50, like many other recent controversies related to development and housing in California, did not inspire neat loyalties. While its core support came from the increasingly influential YIMBY movements and core opposition came from homeowners, the politics were messy at best. Conservatives could love its relaxation of regulations but hate its emphasis on dense urbanism. Liberals were more intensely fractured. SB 50 appealed to values of inclusion and of progressivism, be they socioeconomic or aesthetic. For some, the bill served the cause of equity simply by potentially creating more housing. Other liberals saw it differently. Advocates of social justice feared SB 50 would empower capitalist developers while displacing and disenfranchising vulnerable populations through eviction and demolition. Older liberal activists, especially in suburban areas, put their economic interests first, recoiling from the prospect that increased housing supply might depress their property values. Many of them protested SB 50’s potential to interfere with “neighborhood character.” (Wiener’s antagonist Portantino represents La Cañada Flintridge, a comfortable suburb north of downtown Los Angeles.) Institutionally, the League of California Cities and many city councils statewide condemned SB 50 for trampling on “local control,” asserting that land use decisions have always belonged to municipalities and municipalities alone. Many mayors, however, including those of Los Angeles, Oakland, San Francisco, and San Jose, praised SB 50 for giving cities a new opportunity to ease their housing crisis—and to do so equitably statewide, forcing housing-phobic cities to approve their fair share of housing rather than ignore demand and dodge their obligations in the name of municipal sovereignty. By some accounts, a full 97 percent of California cities failed to meet their state-mandated housing goals in 2018. The California chapter of the American Planning Association controversially opposed SB 50, citing concerns about technical aspects of the bill’s language, even though many of its more progressive members favored it. Chapters of the American Institute of Architects did not take a position on it. Design rarely factored into these discussions explicitly, but its influence cannot be overlooked. Fears about changes to “neighborhood character” often accompany prejudices about “undesirable” racial or socioeconomic groups. They also refer to lousy design. Many homeowners recoiled against SB 50 out of fear that modest cottages might be overshadowed by a new triplex next door or crowded by the addition of an accessory dwelling unit. Urban activists took aim at even bigger targets. Opponents of growth in Los Angeles in particular have long railed against what they consider oversized, ugly, and excessively capitalistic apartment buildings. Such enormities often occupy full city blocks and rise five or six stories, with wood framing above one-story concrete bases. They have been the mainstay of Hollywood’s decade-long growth spurt and have arisen in many other moderately dense neighborhoods around the state. Revulsion is, often, completely justified. Large but underwhelming, and expensive but unrefined, such developments have poor detailing, clunky dimensions, and, often, antagonistic relationships with the street. They have neither humor nor grace nor character, and they succeed at one thing and one thing only: housing many people. Typically, those people are well off—or at least are pretending to be. While California’s housing crisis has many causes, it’s not unreasonable to say that lousy design is one of them, and it’s not unreasonable for opponents of SB 50 to make apocalyptic predictions about aesthetics. This is the backdrop against which architects should contemplate the revival of SB 50. Wiener has pledged to bring it back next year, and the appetite for major housing legislation remains fierce—before long, some version of SB 50 will pass, and the opportunities for architects and architecture will be profound. The quality of design that follows the passage of the next version of SB 50 will, without exaggeration, determine the look, feel, and function of California cities for at least the next generation. Many opponents of SB 50 criticize it as a "giveaway" to capitalist developers. If architects are to support the next version of SB 50, they should want to be seen as stewards, not opportunists. Upzoning around transit stops will create entirely new transit-oriented neighborhoods. Places that currently consist of park-and-ride lots and single-family homes will rise to five and six stories, with less parking than most zoning codes currently mandate. That’s like taking a cookie cutter to San Francisco’s Mission District or Los Angeles’s Koreatown and depositing the result in bedroom communities and office parks. Of course, California has hundreds of major transit stops and jobs centers (over 200 light- and heavy-rail stations alone), and the whole point of SB 50 is to distribute development statewide so that neighborhoods grow gradually. Even so, some places will be transformed sooner rather than later. In a state where many residents are mortally afraid of density, the choices that architects make will determine whether the new urban California is a dream or a nightmare—they can stumble into the latest versions of capitalist postmodern, or they can reflect on everything we have learned about the benefits of density. Designs have to be thoughtful, attractive, and socially conscious. They have to celebrate density, enhance the public realm, and give California cities a sense of style and character that they have lacked for decades. (Likewise, cities’ design guidelines and review boards will have to get savvier.) If SB 50’s single-family home provision survives (which seems unlikely), it will create a bonanza for residential architects. They will get to re-learn the art of the duplex, triplex, and quadplex—typologies that used to be common in California but have been all but extinct since the Truman administration. But new homes must not realize neighbors’ worst nightmares. They must not loom over their predecessors. They must not be large for largeness’s sake. In short, they must treat neighbors as clients. Whatever lawmakers intend for SB 50, the public will render its final judgment according to how architects seize the moment. Whether they like it or not, architects bear the final responsibility to fulfill the public trust. Of course, the real beauty of SB 50—if it comes to pass and if it works as intended—will be invisible. That will be the opportunity to craft affordable and humane housing for hundreds of thousands Californians.
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Fractured Future

Cracks found on L.A. Times building ahead of controversial development
In January, several cracks appeared on the exterior of the historic Los Angeles Times building in downtown L.A. While some have suggested the fissures may be due to ongoing transit construction next door, preservationists also say they could signal a larger problem—one that could threaten a controversial, mixed-use development on the site. The Times Mirror Square project comprises the restoration of the L.A. Times’s flagship building, a 1935 structure by Gordon Kaufmann, as well as a 1948 addition by Rowland Crawford—both recently landmarked buildingsas well as the build-out of two apartments towers in place of what’s now a William L. Pereiradesigned office structure from 1973. Vancouver-based developer Onni Group bought the five-building complex in 2016 and has since been through a fraught preservation battle to move the project forward. But now, the sight of cracks have people wondering what it will mean for the mega-project’s future. “Who is responsible for this?” said preservationist Richard Schave, co-founder of historic L.A. tour company Esotouric, in reference to the cracks. “It’s the $64 million question. That number refers to the cost of phase one construction on the Regional Connector project, L.A.’s massive rail line expansion. A new station is under construction next door to Times Mirror Square and the agency building it, the Metropolitan Transportation Authority (Metro), may be responsible. Metro is already monitoring the cracks of the L.A. Times buildings using geotechnical sensors. Details on the severity haven’t been released yet, but some think Metro may be forced to provide data for the final environmental impact report (EIR) of the Time Mirror Square project, which is due out in a few months. Don Spivack, a former administrator at the L.A. Community Redevelopment Agency, said if the cracks on the structure are one to two millimeters, there’s nothing to worry about. “They may be cosmetic, not structural cracks,” he said. “But this complex has a tangled history due to its layered construction. Each building was individually engineered and connected to the others in ways that permitted passage between them. If some of those connections were not properly engineered at the time or modified later, the question stands whether or not this poses a risk to their preservation.” This isn’t the only issue. There’s a history of subsidence on buildings in the area when subways are built, and seismic activity has also likely caused them to move over the years, according to Spivak. The L.A. Times reported that, so far, cracks have been noticed in the cafeteria, newsroom, and the Pereira-designed garage of the complex. Visible cracks on the facade can be seen on the first floor of the Crawford Building (a.k.a Mirror Tower), and on its northwest facade at the corner of 2nd and Spring Streets, across from Regional Connector construction. While the idea that the building is sinking has sparked fear, Spivack and John Lorick, a former vice president at the L.A. Times, said it would be nearly impossible for that to be true. They also remarked on the overall neglect that Times Mirror Square had suffered under its last owner, Tribune Media. But, they said, any demolition and construction on or near the site could inevitably alter the historic structures—and Onni Group doesn't have a great track record with that.  “I was not completely surprised when I first read about the damage to the [Kaufmann and Crawford] buildings," said Lorick. "Although the reported damage was attributed to subway construction, I had always eventually expected to read about some accidental but irreparable damage to the Crawford and Kaufmann buildings during demolition or construction on the site because of the complex interconnection of the buildings and their foundations.” When asked for comment, the developer didn’t respond by the time of publication. The L.A. Department of Building & Safety told AN that once the project goes through the entitlement process at City Planning, inspectors will investigate any structural issues brought to light.
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Selling Sunset

Tower project pits Gehry against the father of the L.A. Conservancy

It’s not often that Los Angeles moves to demolish one of its 1,158 Historic-Cultural Monuments (HCM), a list of relics that includes Simon Rodia’s Watts Towers, Frank Lloyd Wright’s Hollyhock House, and three of the city’s majestic Moreton Bay Fig trees. But if developers Townscape Partners had their way, their Gehry Partners–designed 8150 Sunset project could do just that.

The controversial three-tower 8150 Sunset development aims to bring 229 apartments—including 38 low-income homes—and 60,000 square feet of commercial programming to the site of the Lytton Savings bank, a commercial structure with a folded concrete roof designed by local architect Kurt Meyer in 1960, an advocate for architectural preservation in L.A.

Designated HCM no. 1137 on the HCM list, Lytton Savings was recognized in 2016 after Gehry’s project was initially proposed. If demolished, it could be the first time a city monument is intentionally destroyed in 27 years, following the demolition of the A. H. Judson Estate—HCM no. 437—in 1992. The site of the Judson Estate, a mansion designed by George H. Wyman, the architect of L.A.’s Bradbury Building, remains empty to this day. In 1985, the deliciously gaudy Philharmonic Auditorium—HCM #61—in Downtown Los Angeles was also reduced to rubble and remained vacant until 2017.

This troubling legacy haunts Steven Luftman and Keith Nakata, two preservationists fighting to save Lytton Savings. They have been trying to work out a way to relocate the structure, though a new site and funds to relocate the 180-foot-long building have yet to materialize.

“It's a long shot, but it's important to make a try,” Luftman explained while highlighting the lengthy and complicated effort, adding, “The biggest obstacle to moving it is the building’s sheer size.” A recent 180-day grace period to create a plan to move the building expired on April 30, clearing the way for the developers to seek a demolition permit.

Like many buildings in Los Angeles, Lytton Savings has a hotly contested history that goes back to its prior incarnations. The structure was built atop the site of the former Gardens of Allah, a collection of bucolic hotel villas frequented by famous personalities, including F. Scott Fitzgerald, Greta Garbo, and Ronald Reagan.

Frank Gehry, however, has no nostalgia for Meyer’s bank. “I came to L.A. when the Gardens of Allah were still there and was witness to [Bart Lytton] tearing them down,” Gehry said. “The way it was done was ruthless.”

Gehry explained that he was bothered by “the history of [how Lytton Savings] got there” and that he “didn't feel compelled to fight to keep it,” adding, “I offered to live with it, but the client did not want to.”

“Four of my buildings have been torn down without anyone asking,” Gehry added. “It’s kind of a better way to have it happen.”

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For Better or Wearstler

Kelly Wearstler helps turn 1920s building into Santa Monica Proper Hotel
Prolific Los Angeles-based interior designer Kelly Wearstler adapts a 1928 Arthur E. Harvey–designed building into a new 271 room luxury hotel. Located in Santa Monica’s downtown core, the new locale features Spanish and Moorish details that accentuate the historic building’s original Spanish Colonial Revival architecture. Check out the rest of the project on our new interiors site, aninteriormag.com.
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I Wanna Be Down

ArtCenter to take over old Main Museum space in Downtown Los Angeles
ArtCenter College of Design is making a play for the old Main Museum space in Downtown Los Angeles. The Los Angeles Times reported that the Pasadena, California-based college has signed on to take over the 6,250-square-foot facility that had been occupied by The Main Museum until late last year when the institution abruptly and mysteriously shuttered.
ArtCenter president Lorne Buchman told The Times that the new space will give the school a foothold in L.A.’s bustling downtown, which has seen a flurry of arts-related activity over the past 20 years as major cultural venues and institutions have sprung up and expanded to the area. The move, according to Buchman, will also change ArtCenter’s reputation for being located in “the hinterlands” of Pasadena, a wealthy suburban enclave located 10 miles east of Downtown L.A.
Buchman said, “I’m excited about our students being able to be in that location and engage that community—that will make a huge difference.” The announcement came roughly six months after Main Museum director Allison Agsten penned a brief letter on the museum’s website announcing that ArtCenter and The Main Museum’s founder, real estate developer Tom Gilmore, were discussing “future plans [for] the space.” The announcement scuttled expansion designs for The Main Museum by Tom Wiscombe Architecture that would have added a new roof terrace to the Hellman Building, a historic mercantile office building opened in 1903.
Under the new agreement, ArtCenter will lease the space for $1 per year for the next 10 years and will have the option to renew the lease in the future.
The ArtCenter outpost will join the Diller Scofidio + Renfro–designed Broad Museum and the forthcoming wHY-designed Institute of Contemporary Art Los Angeles as recent newcomers to the Downtown L.A. art scene. The Museum of Contemporary Art, Los Angeles recently announced that it would be relocating its architecture galleries from the Pacific Design Center in West Hollywood to the Frank Gehry–designed Geffen Contemporary outpost in nearby Little Tokyo, as well.
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Coming Attractions

Atlanta amps up its entertainment industry with 27-acre Pullman Yard development
There’s a blighted train depot east of downtown Atlanta that’s getting the Hollywood treatment. In an upcoming $100 million mixed-use project, the historic Pullman Yard in the Kirkwood neighborhood will transform from a 27-acre underutilized industrial site into a new “creative city” for the entertainment industry. Spearheaded by the site’s new owner, Atomic Entertainment, the plan involves building a series of lofts, co-working spaces, a boutique hotel, retail, restaurants, and an outdoor concert venue to attract startups and other creatives to the east Atlanta site. A new set of renderings of the Pullman Yard masterplan was recently unveiled, featuring designs by Brooklyn-based studio OCX and Raleigh, North Carolina, firm Hobgood Architects. Atomic, led by two Los Angeles-based film producers, aims to turn the 115-year-old former railyard into Atlanta’s newest moviemaking mecca, a pedestrian-centric campus devoted to the city’s $9 billion film and television industry, and its booming music scene. Adam Rosenfelt of Atomic believes the entire project will become a “paradigm for development” going forward. “We’re coming at this from a slightly different perspective as people that work in a collaborative art form,” he said. “This is our first building project, so we’re trying to figure out how to build a mixed-use lot blending the creative and cultural economies of food, entertainment, living, and working, rather than setting up space for the traditional big-box retail economy, which could have easily overtaken this historic area." The site itself is formally known as Pratt-Pullman Yard and encompasses 12 buildings totaling 153,000 square feet. Constructed in 1904 as a sugar and fertilizer processing plant, it eventually developed into a repair facility for railroad sleeper cars, and during World War II, it housed munitions manufacturing. It has most recently served as the backdrop for scenes in futuristic films such as Hunger Games, Divergent, and the critically-acclaimed action movie Baby Driver. In 2009, it was placed on the National Register of Historic Places, though it has suffered from serious neglect for decades. In 2016, it was designated a local landmark. The site’s main facilities, two brick-and-steel, barn-like warehouses, will be renovated under Atomic’s vision as the central architectural focus of the preservation project. The renovation is part of the first phase of construction, now underway, and is led by OCX and local firm Lord Aeck Sargent. The rest of the masterplan, designed in collaboration with Hobgood Architects, includes upgrading other existing structures, constructing new buildings, and integrating a site-specific landscape component by James Corner Field Operations. Karen Tamir, principal-in-charge on the project, said Field Operations may use local relics in new ways to preserve the yard’s industrial roots. They’ll also add a new piece of parkland that stretches from the center of the site to the south as a nod to the old railroad delineation. “There’s also a large swath of woodland to the east of Pullman Yard that we’ll connect via existing trails, so overall there’ll be ample greenery and room for exploration and relaxation,” Tamir said. “We won’t, however, propose many trees for the historic core because traditionally, they weren’t there when the yards were built.” Keeping the site’s existing industrial conditions, while simultaneously promoting a verdant outdoor environment means thinking critically about the logistics of jobs that will take place there. To accommodate pedestrians and trucks coming in and out of the facilities, Luke Willis, principal of OCX, intends to connect all programs on-site via a diagonal axis that cuts through the various building blocks. “This allows us to diversify the building typologies and program use to ultimately contribute to the mixed-use development that Atomic envisions for their creative city.” At the heart of the campus will be the renovated warehouses and a series of soundstages, one of which will be born from an existing 20,000-square-foot steel-clad structure situated near Roger Street, which is the entrance to Pullman Yard, and the rail line leading to downtown Atlanta. Rethinking these historic structures, among other playful design ploys to attract residents and visitors, will make Pullman Yard both a live-work-play destination and a place that not only showcases its former value with pride but also brings new value to the city today, according to Rosenfelt. An official completion date for Pullman Yard has not yet been revealed, but Atomic hopes to finish the renovation projects by the end of 2020.
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OMA Heads West

Jason Long and Shohei Shigematsu plot inventive works across California

Although the Office of Metropolitan Architecture (OMA) has been in business for decades and keeps a steadily growing constellation of offices around the globe, the firm has, until recently, had a relatively modest profile on the American West Coast.

But things are changing. As West Coast cities pursue new building efforts—including new neighborhoods, ecologically sensitive public parks, and experiments in multiuse complexes—OMA’s brand of frank intellectualism has slowly found a preliminary foothold in California.

The firm’s expanding Golden State presence includes a recently completed urban master plan for Facebook’s Willowbrook campus in Menlo Park, a residential condominium tower in San Francisco, as well as a trio of inventive projects in Los Angeles. Over the next few years, these projects are poised to join the Seattle Central Library and the Prada Epicenter Los Angeles, both from 2004, OMA’s only completed West Coast projects to date.

The latest westward push represents an ascendant energy emanating from the firm’s New York office, where OMA partners Jason Long and Shohei Shigematsu lead many dynamic projects taking shape across the continent and in Japan. When asked if a new California outpost was in the works for OMA, Shigematsu replied, “It’s always been a dream of ours,” before adding that current conditions were favorable but not exactly right for a potential OMA West branch. “Maybe if we get more projects out here.”

First and Broadway Park (FAB Park)

Also created in collaboration with Studio-MLA, the new First and Broadway Park in Los Angeles is set to contain a playful 100,000-square-foot retail, food, and cultural programming pavilion that anchors the ecologically sensitive park. The pavilion will be capped with an edible rooftop garden and a dining terrace that overlooks L.A.’s City Hall.

Along the ground, the park will be wrapped with ribbons of bench seating, elements fashioned to create interlocking outdoor rooms and plazas surrounded by native oak and sycamore trees. Water-absorbing landscapes around the seating areas are designed to harvest and retain rainwater while solar collection and a “Golden California” landscape lend the project its ecological bona fides.

The Avery (Transbay Block 8)

Related California’s crenelated 575-foot tower, known as The Avery, is part of a larger development created in conjunction with Fougeron Architecture for a blank site in downtown San Francisco’s bustling Transbay District.

For the project, the designers have carved a generous paseo through the buildable envelope for the site, creating a new retail and amenity plaza while also lending a tapered look to the 55-story tower. The gesture animates views for a collection of condominiums, market-rate apartments, and affordable housing units while also bringing sunlight down into the paseo and to the mid-rise block designed by Fougeron. Currently under construction, the tower is expected to open in 2019.

Audrey Irmas Pavilion

The Audrey Irmas Pavilion is the firm’s first cultural and religious project in the region. The trapezoidal building shares a site with the Wilshire Boulevard Temple and is made up of three interlocking volumes that connect to the outdoors via a sunken rooftop garden designed by landscape architecture firm Studio-MLA. An arched portal connects to a shared breezeway between the pavilion and the temple, which is framed by the leaning pavilion. The latter was designed with a pronounced slant both out of deference to historical structure and to illuminate the courtyard.

Referencing unbuilt proposals for Universal City and the L.A. County Museum of Art, Rem Koolhaas, OMA cofounder, said, “[The Pavilion] is part of a very consistent effort to do things here. It’s exciting if one thing happens to succeed, because architecture is a very complex profession where maybe a quarter of all attempts get anywhere.”

The Plaza at Santa Monica

Shigematsu explains that one concern driving the firm’s California projects involves delving into the region’s rich history of indoor-outdoor living. The approach is fully on display in The Plaza at Santa Monica, a 500,000-square-foot staggered mass of interlocking buildings intended to create a new mix of public outdoor spaces.

With a cultural venue embedded in the heart of the complex and ancillary indoor and outdoor public spaces laid out across building terraces, the complex aims for a unique take on the regional indoor-outdoor typology. The building is set to contain offices, a 225-suite hotel, as well as a market hall and public ice-skating rink.

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All Work, All Play

Gehry to design new office headquarters for Warner Bros. in Los Angeles
Gehry Partners, Worthe Real Estate Group, and Stockbridge Real Estate Fund have unveiled renderings for a new 800,000-square-foot office complex slated for the Warner Bros. studio campus in Burbank, California. Urbanize.LA reported that the developers behind the so-called "Second Century Project” aim to break ground later this year and that the project will be completed in time for Warner Bros.’ centennial celebrations in 2023. Plans for the complex call for a pair of cool, iceberg-like mid-rise office towers articulated in Frank Gehry’s signature fluted and twisted forms. One tower will rise seven stories and is set to contain 355,000 square feet of offices while the second tower will rise nine stories high and offer 450,000 square feet of office space. In a press release announcing the project, Gehry said, “Once upon a time, Hollywood Studios had an important architectural presence in the city—they were like monuments to the movie-making process. With this project, I was trying to recapture that feeling of old Hollywood splendor.” To achieve his goal, Gehry Partners has created a two-faced complex. For the more public exposure that faces an adjacent freeway, the architects have designed icy glass facades that will catch the sunlight. Renderings for the project show the towers ablaze in Southern California’s red-orange-pink golden hour light, for example. The office’s second main exposure, which the architects have wrapped in perforated metal panels, will face existing warehouse-like studio spaces. Gehry added, “We created large open floorplates with the single goal of creating the highest quality office space. From the freeway, the buildings are composed as one long sculptural glass facade that creates a single identity like icebergs floating along the freeway. On the studio side, the metal punched facade is terraced to relate to the scale and character of the existing studio buildings.” The project is the latest local proposal from the ever-busy Gehry Partners. Other projects on deck include the Youth Orchestra of Los Angeles project in South Los Angeles, a planned hotel and mixed-income housing complex in Santa Monica, the controversial 8150 Sunset mixed-use complex, and The Grand, a pair of mixed-use residential towers slated for a site directly across the street from Gehry Partners’ Walt Disney Concert Hall in Downtown Los Angeles, among others.
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Time for a Haircut

Proposed Los Angeles tower loses supertall status
A proposed Handel Architects–designed supertall tower complex headed to the coveted Angels Landing site in Downtown Los Angeles has received a significant haircut. As a result of the revisions, the project will lose its supertall status (taller than 300 meters or 984 feet), but will still rise to be one of the five tallest buildings in the city. The proposed changes come as the project moves through the environmental review process and were first reported by Urbanize.LA. The project is being pursued by a consortium of developers called Angels Landing Partners, a group that includes MacFarlane Partners, the Peebles Corporation, and Claridge Properties. The team, which includes landscape architects Olin, was selected in 2018 from among four competing bids as part of a public competition. Originally proposed with a pair of mismatched towers rising 25 and 88 stories, respectively, the latest version of the project calls for a more balanced approach: Two interconnected towers rising 48 and 64 stories, respectively. Included in the project are 180 condominiums, 261 market-rate and affordable apartments, 509 hotel rooms, and approximately 75,000 square feet of commercial and flex spaces. The project is expected to include an elementary school as well as nearly 57,000 square feet of public open spaces. Despite being located above a subway stop, the project is slated to bring 750 parking spaces to the site. A new diagram for the project included in a draft environmental report shows that each tower will contain commercial and public spaces along the lowermost levels, with hotel levels rising above. The hotel programs will be capped by amenity floors with condominiums or apartments located on the uppermost levels of each tower. The proposal is among several tower schemes announced over the last two years that seek to reshape the Los Angeles skyline. Some of the planned projects include a 52-story stacked block tower by Gensler, a potential 1,100-foot-tall tower by Dimarzio | Kato Architecture, and a 70-story Redwood-inspired tower by Australian firm Koichi Takada Architects. The draft report states that the Angels Landing project is slated to finish construction by 2028.
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I See You, UIC

Finalists revealed for new arts center at University of Illinois at Chicago
Early this year, the University of Illinois at Chicago (UIC) announced a three-firm shortlist to design a new “Center for the Arts” for the College of Architecture, Design and the Arts (CADA). Chosen from an international pool of 36 teams that responded to a request for qualifications, the shortlist includes OMA (New York) with KOO Architects (Chicago), Johnston Marklee (Los Angeles) with UrbanWorks Architects (Chicago), and Morphosis Architects (Culver City) with STL Architects (Chicago). UIC is both the largest university and the only public research university in the Chicago area with a student body among the five most diverse in the country, 40 percent of whom are first-generation college students. Initiated in 2017, the new Center for the Arts is part of UIC’s 10-year master plan, which calls for major physical development of the campus. The Center for the Arts will be the new public face of UIC’s East Campus. The project aims to provide “radically accessible spaces for all users.” At approximately 88,000 square feet it will be the new home of the School of Theatre and Music (STM) with two primary performance spaces, including a vineyard style concert hall for 500 people and a flexible main stage theater for 270 people. Additional program includes a large lobby, box office, donor lounge, shop, and café. Morphosis and STL Architects have proposed a project shaped by site conditions. Cues from the site inform the form of the building’s facets made of terra-cotta, concrete, and glass, a signal to the existing materiality of UIC’s campus. The building has a clear front and back as service entries sit tightly along the highway at the north edge of the site, leaving the south and corner edges to reveal the belly of the building and main points of public entry. A generous drop-off zone leads into the interior lobby featuring Netsch-like cascading stairs with views toward the nearby West Loop neighborhood and downtown. In the theater, a continuous surface ramp runs the perimeter of the room to provide radical accessibility to students learning stage technology. OMA and KOO Architects have proposed a stackable program with a central concert hall flanked by two towers (one for students, one for the public) with neighboring performance spaces. The towers imitate the many Chicago bridges that link the city while the performance spaces act like bookends to anchor the project. A second-floor plinth accommodates dual entries, each with a continuous surface monumental ramp considered “radically accessible” with physical openness and flexibility. The theater has a rooftop terrace and a large mechanical facade that opens onto the existing Harrison Field, bringing performances outside with the city as a backdrop. The entire design is blanketed by a doubly-curved, semi-translucent roof that resembles the swinging of a conductor’s baton. Johnston Marklee and UrbanWorks have proposed two ziggurat-shaped buildings, which Mark Lee of Johnston Marklee described as both archaic and modern. Framed by a greenbelt that reflects attention back towards the campus, two brightly-colored volumes are housed within a glass and perforated metal veil. The formal strategy is a nod to Chicago architect Walter Netsch’s ideas of “stacking” while the material aims to visually open the campus, ostensibly creating a new approach to density. Connecting the two large volumes is a central core featuring an airy winter garden that expands programmatic possibilities for adjacent rehearsal rooms, café, store, and gallery. The University and CADA officials are currently in the process of securing the expected $94.5 million construction budget through private and public funds. It is unknown when the winner will be announced. The public may view and provide feedback on the proposals.