When Renzo Piano was first approached about planning an addition to the Los Angeles County Museum of Art, the Italian architect hesitated. “As I already advised you,” he wrote in a letter to Eli Wide, whose donation was funding the developing, “it’s quite irritating to perform a very good piece by a string quartet in the center of a few badly played rock concert events.”
“Three rock concerts” was a reference to the current architecture of LACMA, which had grown in matches and commences over the years. The authentic museum, which opened in 1965, was neighborhood architect William Pereira’s Southern Californian variation of Manhattan’s Lincoln Center—three temples on a raised plaza. The second stage was a partial makeover by the New York firm Hardy Holzman Pfeiffer, which in 1986 inserted a postmodern wing and roofed more than component of the plaza. The third stage (1988) was a freestanding pavilion designed by the Oklahoma maverick Bruce Goff.
Blogger Mark Berman phone calls Pereira’s authentic structures “mid-century classics.” Typical probably, but classics? The architecture is rather banal, even by Lincoln Center’s lower requirements. Stage two is not significantly better—L.A. Moments art critic Christopher Knight referred to as it “Hollywood Egyptian.” And phase 3, with its two stone towers and fossil-like objects on the roof is, nicely, goofy by any regular.
Despite his hesitation, Piano relented and the initial phase of his addition opened in 2008, the next stage two a long time later on. The Piano addition struck me as large-handed, not his best operate, and hardly the “good piece by a string quartet” he had promised. As for the “rock live performance,” my first perception of the first museum was that it resembled an undistinguished shopping shopping mall that experienced been enlarged over the years and then awkwardly converted into a cultural facility. But soon after sitting for a time at Ray’s and Stark Bar, the out of doors café on LACMA’s shaded plaza, I modified my head.
Most artwork museums right now resemble possibly palaces (if they are outdated), or upscale car showrooms (if they are new). This was neither. Groups of fired up young children performed on the plaza, and clusters of teens wandered in off Wilshire Boulevard. The common shopping mall-like ambiance manufactured this an unintimidating space it was definitely not the Metropolitan Museum of Art. But it struck me that this vulgar (in the literal sense of the phrase) answer to an art museum succeeded in a single important way. Since of its absence of pretension, this was a cheerful location in which men and women appeared decidedly at property.
A sense of location is an elusive high quality, tough to accomplish, and not straightforward to keep. It is the end result not only of architectural kinds but also of behavior, habit, and time. Studying to use what you have is as crucial as possessing the ideal creating. Which is why it is a shame to hear that LACMA has determined to wipe the slate cleanse and demolish all its older properties, besides the Goff pavilion. Why does Los Angeles, which has tiny ample heritage, truly feel the need to maintain reinventing its surroundings?
It would be far better to reconsider this wholesale demolition. Particularly as the proposed replacement, created by the Swiss architect Peter Zumthor, leaves much to be desired. It is a spreading developing raised up on stilts rather of a helpful plaza there is a darkish and gloomy undercroft. The kidney shape is intended to have one thing to do with the nearby La Brea Tar Pits, but it reminds me of a fifties espresso table. Concluded all in black, the proposed museum will be a somber existence among the palm trees on Wilshire Boulevard, as anomalous as a Calvinist preacher on a sunny Malibu beach front. Or perhaps it’s the quintessential Angeleno creating? After all, changing an ageing faithful wife or husband with a more youthful more elegant trophy spouse is an proven Hollywood custom made.