KPF to wrap steel ribbons around LA’s Petersen Automotive Museum

News: architecture firm Kohn Pedersen Fox has unveiled plans to surround the Petersen Automotive Museum in Los Angeles in a cloak of steel ribbons as part of major refurbishment.

Housing one of the world’s largest automotive collections, the Petersen Museum occupies a former 1960s department store on Wilshire Boulevard. In 2014, the museum will celebrate its twentieth anniversary and to tie in with this landmark it has commissioned Kohn Pedersen Fox (KPF) to upgrade its outdated facilities.

Petersen Automotive Museum by KPF

“The Petersen Museum is a rich cultural deposit of the most interesting and compelling automobiles in the world,” commented KPF design principal Trent Tesch. “Housed in a converted department store, the museum finds itself without a deserving image. While the ‘bones’ of the building work well for the display of cars, the expression of the structure lacks imagination.”

Set for completion in early 2015, the renovation will involve stripping back the existing concrete portico and replacing it with a red aluminium rainscreen, over which the stainless-steel ribbons will be mounted. Integrated lighting fixtures will highlight the details at night.

Petersen Automotive Museum by KPF

“Our goal was to find a way to inject life into the building, with minimal intervention that would produce the maximum effect,” said Tesch. “The design offers an abstract veil of flowing ribbons, meant to invoke not only the spirit of the automobile, but also the spirit of Los Angeles architectural culture.”

KPF co-founder and chairman A. Eugene Kohn compares the new facade to the shapes made by a dancing ballerina. “[It is] intended to express constant motion, suggesting speed, aerodynamics and the movement of air,” he added.

Petersen Automotive Museum by KPF

The architects will also overhaul the building’s interior, adding an extra 1400 square metres of exhibition space for the museum’s growing collection.

Other projects underway by KPF include an extension to a 30-storey tower in London and a skyscraper proposal for a new business district in South Korea. See more architecture by KPF »

Here’s more information from the architects:


KPF designs Petersen Automotive Museum in Los Angeles

Firm’s exciting repositioning project on Museum Row of The Miracle Mile

International architecture firm Kohn Pedersen Fox Associates (KPF) is pleased to share its exciting design for the new Petersen Automotive Museum in Los Angeles. The museum will mark its 20th anniversary in 2014 by commencing a complete exterior transformation and a dynamic redesign of the interior, resulting in a world-class museum that will showcase the art, experience, culture, and heritage of the automobile.

Opportunely located on “Museum Row” of the famed “Miracle Mile”, the building actually started out as a department store in 1962. Its new design will transform the Petersen building into one of the most significant and unforgettable structures in Los Angeles – an appropriate home for such an impressive collection of automobiles.

Unlike most museum renovations, which involve complete building teardown, this is a repositioning project. The existing building is like a chassis without a body. By keeping the bones, but removing the existing concrete portico on Wilshire, and installing a corrugated aluminium rain screen outboard of the current facade on each of the three street frontages, the museum will have a whole new look and feel. New “ribbons” made out of angel hair stainless steel on the front and top, and red painted aluminium on the back and bottom, flow over and wrap the building. Acting as beams that support their own weight, these evoke the feeling of speed and movement, sitting atop the existing structural system much like the body of a car mounts to its frame. At night, the colour and forms will be lit from within to accentuate the steel sculpture and act as a beacon on The Miracle Mile.

Los Angeles is a city that was brought to life by the automobile. The idea of Los Angeles architecture invokes thoughts of the mid-century modern movement led by Architects such as John Lautner, and Wayne McAllister. This modern and space age architecture, known as “Googie”, is characterised by upswept roofs, curvaceous shapes, and bold use of glass, steel, and neon. This style of architecture was influenced by car culture, suburban life, and the Atomic age. Because of increasing car ownership, cities no longer had to rely on a central downtown and business could therefore be interspersed with residential areas.

Work on the museum is expected to take 14 to 16 months and to be completed in early 2015.

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LA’s Petersen Automotive Museum
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Work starts on SOM’s Los Angeles Federal Courthouse

News: construction has begun on a new federal courthouse in downtown Los Angeles designed by US firm Skidmore Owings & Merrill (SOM).

Los Angeles Federal Courthouse by SOM

Scheduled for completion in the summer of 2016, the $319 million building is underway on a 1.5-hectare site between First Street and South Broadway and is set to replace the existing 1930s courthouse on North Spring Street.

Working alongside Clark Construction, SOM has designed the 10-storey building as a cube-shaped volume that will appear to hover over a solid stone base. It will feature a serrated facade, intended to maximise views whilst reducing solar heat gain for 24 courtrooms and 32 judicial chambers.

Los Angeles Federal Courthouse by SOM

The US General Services Administration (GSA) says the new courthouse will be a “high-performance green building” that will feature an all-in-one cooling, heating and power system, as well as roof-mounted solar panels.

“Additionally, the high efficiency building systems, water-efficient fixtures, and advanced irrigation systems will help the building meet its energy and water conservation goals,” said the agency.

Los Angeles Federal Courthouse by SOM

The Los Angeles Federal Courthouse is being constructed as part of a wider revitalisation of downtown Los Angeles, which is also home to Frank Gehry’s Disney Concert Hall and the Los Angeles Cathedral. Other projects include a new Police Department headquarters, a building for the California Department of Transportation, a renovated Hall of Justice, and a newly developed Grand Park.

Los Angeles Federal Courthouse by SOM

SOM is one of the largest architecture firms in the world. The office was behind the design of the Burj Khalifa, currently the world’s tallest building, and is currently working on plans for Singapore’s tallest tower. See more architecture by SOM »

See more architecture in Los Angeles »

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Federal Courthouse
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Folkert Gorter Photography

Les photographies du designer numérique hollandais basé à Los Angeles, Folkert Gorter sont très étonnantes. Paysages aériens, géologiques ou marins, il s’en dégage une impression de sérénité et de pérennité. Une sélection de ses superbes clichés à découvrir dans la suite de l’article.

Best Things to Do in Los Angeles: 1001 Ideas

Se questa estate siete nella città degli angeli vi consiglio questo libro scritto da Joy Yoon. In vendita su Amazon.

 Best Things to Do in Los Angeles: 1001 Ideas

Bradley International Terminal

Digital Kitchen a travaillé en collaboration avec Los Angeles World Airports pour créer cette installation numérique époustouflante dans le nouveau « Bradley International Terminal » de LAX. Proposant de multiples projections, cette création de toute beauté est à découvrir en vidéo dans l’article.

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Peter Zumthor unveils redesign for Los Angeles County Museum of Art

News: Swiss architect Peter Zumthor has revealed plans to raze the existing buildings of the Los Angeles County Museum of Art (LACMA) and replace them with a new solar-powered campus.

LACMA by Peter Zumthor

Commissioned by LACMA to bring the museum into the twenty-first century, the architect proposes the demolition of the 1965 building by William L. Pereira and a later extension by Hardy Holzmann Pfeiffer Associates, in favour of a glazed two-storey structure that will sprawl out across the Wilshire Boulevard site in a series of undulating curves.

LACMA by Peter Zumthor

A large flat roof will encompass the new building. Solar panels will cover its surface, intended to generate more than enough energy to power the building.

LACMA by Peter Zumthor

“I think we have a great opportunity here,” says Zumthor. “Having a big flat roof exposed to the sky we can produce all the energy we want with solar power.”

LACMA by Peter Zumthor

Instead of a traditional entrance and staircase, Zumthor imagines the building with various entry points that will enable visitors to find different routes through the galleries. In some places the structure will be raised up on legs, providing ground-level storage for artworks, plus the Bruce Goff-designed Pavilion for Japanese Art is to be retained alongside.

LACMA by Peter Zumthor

An architectural model of the project is on show at LACMA as part of the exhibition “The Presence of the Past: Peter Zumthor Reconsiders LACMA”, alongside former and unrealised plans for the museum from architects including OMA and Renzo Piano.

LACMA by Peter Zumthor

Although the architect has been working on the project for over five years, the design is still conceptual and is unlikely to break ground for several years.

LACMA by Peter Zumthor

Peter Zumthor was this year awarded the Royal Gold Medal for architecture and described how he believes that light, materials and atmosphere are the most important aspects of architecture in the coinciding lecture.

LACMA by Peter Zumthor

He was also the architect of the 2011 Serpentine Gallery Pavilion, where he told Dezeen “I’m a passionate architect… I do not work for money”.

LACMA by Peter Zumthor

See more architecture by Peter Zumthor »

Here are more details about the exhibition from LACMA:


The Presence of the Past: Peter Zumthor Reconsiders LACMA June 9–September 15, 2013
Resnick Pavilion, Centre Gallery

As part of the Getty’s Pacific Standard Time Presents: Modern Architecture in L.A. initiative, The Presence of the Past: Peter Zumthor Reconsiders LACMA marks the first time the Los Angeles County Museum of Art (LACMA) has explored its own history in the context of an exhibition. The culmination of the exhibition is a proposed design for the future of the eastern side of the museum’s campus as envisioned by Pritzker Prize- winning architect Peter Zumthor introduced to the public for the first time, a project. The exhibition also offers an overview of nine other projects by the acclaimed architect, who has previously built only in Europe.

Exhibition Overview

The Presence of the Past contains approximately 116 objects, including architectural models, plans, photographs, drawings, fossils, film, and ephemera. Many of the historical materials are drawn from LACMA’s archive and have not been on public view in several decades, if ever. The exhibition’s chronology spans some 50,000 years, starting with actual Pleistocene fossils excavated from Hancock Park.

Peter Zumthor designed the exhibition space for The Presence of the Past, which is meant to evoke the architect’s studio, emphasising the process of design and research that continue to shape his evolving thoughts for LACMA’s campus.

Exhibition Organisation

The exhibition is divided into three sections, the first of which examines the museum’s buildings within the complicated history of its Hancock Park site. This section explores the development of LACMA’s campus and explains how financial restrictions, political compromises, and unrealised plans have prevented the museum from achieving both a unified aesthetic and an optimal art-viewing experience. In order to demonstrate the long engagement of artists with Hancock Park, The Presence of the Past includes the work of two scientific illustrators, Charles R. Knight and John L. Ridgway, who documented Pleistocene-era species at Rancho La Brea. These works are on loan from the Natural History Museum of Los Angeles County. The Presence of the Past marks the exhibition debut of Ridgway’s evocative watercolours of paleontological specimens which have only been illustrated in books to date. Knight’s renowned fifty-foot mural of the La Brea Tar Pits was installed at the Natural History Museum of Los Angeles County for decades but has been in storage for several years.

The first section also examines the museum’s more recent history, including the work of five prominent architects and firms that have either built on LACMA’s campus or have contributed unrealised plans that nevertheless influenced its architectural evolution: William L. Pereira; Hardy Holzman Pfeiffer Associates; Bruce Goff; Rem Koolhaas’s Office of Metropolitan Architecture (OMA); and Renzo Piano. Among other stories, the exhibition details how Pereira’s original vision for the museum was dramatically compromised within a few years of the original buildings’ completion, when surrounding fountains – the driving concept of his “floating museum” – were paved over due to tar seepage.

This section also documents, with photographs, how artists have responded to LACMA’s architecture over the years, including Ed Ruscha, John Baldessari, and Asco; as well as seven artists (among them Chris Burden, Michael Heizer, Robert Irwin, and Barbara Kruger) whose architectonic artworks have shaped the campus in recent years.

The middle section of The Presence of the Past highlights aspects of Peter Zumthor’s architectural career most relevant to his plans for LACMA. Nine Zumthor projects have been selected to elucidate key aspects of the architect’s proposed design for LACMA: his interest in the geologic history of the site, his passion for materials, craftsmanship and the effects of light, and his commitment to an architecture of total integration. These convictions are examined in two films that discuss Zumthor’s architectural approach and methodology: a short documentary by German filmmaker Wim Wenders and a presentation of Zumthor’s past work narrated by actor Julian Sands.

The third and final section of the exhibition presents Zumthor’s preliminary plans to re-envision LACMA’s campus and his ideas for the possibilities of the museum in the twenty-first century. More specifically, Zumthor’s proposed design would replace LACMA’s 1965 William L. Pereira and Associates buildings and the 1986 addition by Hardy Holzmann Pfeiffer Associates while retaining and highlighting the Bruce Goff-designed Pavilion for Japanese Art, completed in 1988. The centrepiece of this section is an over thirty-foot concrete model designed by Zumthor and produced by Atelier Zumthor, positioned at a height intended to simulate looking into the building at street level. The model is complemented by a short film by Lucy Walker featuring a conversation between Zumthor and LACMA’s CEO and Wallis Annenberg Director, Michael Govan, about their plans for transforming the museum-going experience.

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Gehry warns new subway spells “disaster” for Walt Disney Concert Hall

Frank Gehry Disney Hall, photo by Kansas Sebastian

News: architect Frank Gehry has warned that performances at his Walt Disney Concert Hall in Los Angeles could be ruined by the noise of a subway line planned nearby.

The new Metro line below the parking garage of the venue, which is one of the architect’s best-known buildings, is expected to open in 2020.

“It would be a disaster for Disney Hall,” Gehry told the Los Angeles Times, after it was revealed that the rumbling of trains would be audible from inside the hall.

In an acoustic experiment conducted in April, subwoofers simulating the sound of a passing train could be heard in the auditorium.

“The test was several minutes long,” said Fred Vogler, a recording engineer who oversees concert-taping for the Los Angeles Philharmonic. “Then they said, ‘Is anybody troubled by the train sounds?’ We said, ‘Well, we heard them, if that’s what you’re asking.’ It set off a lot of concerns.”

Tests of subway noise carried out nearly two years ago by Metro’s noise abatement consultants had led them to predict there would be no audible impact on Disney Hall, but Gehry has now called for this decision to be reviewed.

“The flag is up, and we should go over it and make sure,” he said.

However, Art Leahy, Metro’s chief executive, reassured concerned parties that nothing that might damage the hall would be approved to be built.

“We are not about to do anything which in any fashion, however slightly, impairs or damages … Disney Hall or any other feature in that area,” he said.

The Walt Disney Concert Hall was completed by Gehry in 2003 and designed to be one of the most acoustically sophisticated concert halls in the world.

Earlier this year a US congressman launched an attempt to scrap Gehry’s proposed Washington D.C. memorial for President Dwight D. Eisenhower, citing its cost and controversial design.

Gehry is currently also working on the new headquarters for internet giant Facebook – see all architecture by Gehry.

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for Walt Disney Concert Hall
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TimeLax

Découverte de TimeLax, le nom de cette belle vidéo utilisant le « time-lapse » pour sublimer la ville de Los Angeles. Réalisée par RalphGM, cette création permet de donner une magnifique image de la ville californienne et de ses lieux les plus connus. A découvrir en images et vidéo HD dans la suite de l’article.

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Rotring Pen

The Happiness Machine est le nom de ce projet incroyable réalisé par Mark Lascelles Thornton. Avec cette fresque très impressionnante réalisée au Rotring, représentant les plus hauts buildings du monde accolés dans un seul paysage, l’artiste anglais nous dévoile l’étendue de son talent et de sa patience.

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Architecture by Kevin Saint Grey

Focus sur le talent de Kevin Saint Grey, un photographe basé à Los Angeles. Cet artiste nous propose de découvrir une série de clichés absolument magnifiques en noir et blanc appelée sobrement « Architecture ». L’ensemble de son travail est à découvrir sur son portfolio et dans la suite de l’article.

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