“I could have told Thom Mayne, ‘Forget about your tower.’ ” Even unbuilt, the project violated the spirit of his work in Vals. “You can feel I am alone, with very few people supporting me,” he said. “Will he sacrifice the building?”, Anna reassured him that Govan was an ally. ”, “I have to be sly as a fox,” Zumthor went on. At LACMA, Zumthor has been charged with making a building to anchor a diffuse and sporadically planned city. Euphemistically called “houses,” all encased in solid concrete, the boutique-sized galleries are scattered with a randomness intended to purge the museum of hierarchical, by-the-nose displays. To study paving material for the understory, an intern had collected leathery fallen leaves from Zumthor’s garden and torn them up, an approximation of cracked earth. Perhaps visitors would like to descend into a cave, engulfed in heat and steam, and contemplate life? Zumthor, who has won architecture’s most prestigious prize, trained as a cabinetmaker. “But you should do it anyway.”. Zumthor went to Chur—“vacation country,” he calls it, in the same canton as St. Moritz—and found work in the regional office of historic preservation. Who wouldn’t say yes?”. He gives lectures with titles like “Why Do I Know What I Know?,” as if still trying to make sense of it himself. Zumthor told me that he replied, “Dear Mr. Scheidtweiler, I have to tell you, I only do contemporary architecture, first, and, second, this is such a tiny commission that my salary would be way too high for you.” In a postscript, he added that Bruder Klaus had been his mother’s favorite saint. He had lived and worked in Vals on and off for twenty years. Even now, his practice remains homespun, suspicious of glamour, and he is ironic about more prolific architects, with so many projects that they become mere businesspeople. But, it turns out, six hundred and fifty million dollars is not all he needs. Govan said he didn’t want collections that led visitors “by the nose.” He was espousing a popular post-structuralist position against overly directive museums critiqued for imposing hierarchical narratives that repress women, minority groups, and cultures marginalized by the mainstream. Zumthor bloated the building gratuitously, stretching it from one side of Wilshire to the other despite shrinking the total gallery space itself. This is Chapter 2 of the Bhagavad Gita. Visitors, like pinballs, will bounce between paintings and sculpture—a piece here and a piece there—isolated on segmented walls and in narrow spaces. It isn’t a good neighbor. 1926, Los Angeles) is one of the most talented artists of her gen… But other museums are addressing the issues without bulldozers, by diversifying exhibitions and collections, expanding the canon with inclusive shows, and integrating outsider voices into existing collections. “These museums, they shouldn’t say—to me, nowadays—Look, we know everything from East to West, from 4000 to the present,” he said. It was never a king’s or a colonialist’s collection but one that, early on, was skillfully curated and rationalized by one of the great museum reformers of the early twentieth century, Wilhelm Valentiner, who also helped shape the Detroit Institute of Arts and, to an extent, the Metropolitan Museum in New York, mixing disciplines and juxtaposing cultures, setting them apart from their forebears in Europe. At LACMA, Govan has raised a record amount of money for a cultural institution in the city, drawn from public and private sources. I first heard Zumthor describe the building in 2017, at a talk held in Pereira’s Bing Theatre, at LACMA. So what were the miracles?”. Gary Friedman/Los Angeles Times via Getty Images, A model of the new LACMA building designed by Peter Zumthor, 2013. “We do what we want, and we are on budget!” he said. The New Yorker may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. Nov 7, 2013 - Dejad que os expliquemos que en la redacción de lamono, encima de una estantería, hay un póster de considerable tamaño de una de las obras mas conocidas de Hopper. “But Michael, my friend, tells me, ‘You cannot implement these changes.’ ” Govan had written to say that if Zumthor wanted the revisions he would need to find the money—three million dollars—himself. (Major fetishes: shadows, rubble and the presence of the past, dancing, his troublesome backhand.) Some years ago, using the landmark process, they helped rescue from demolition a bungalow where Charles Bukowski once lived. For more than a decade, Zumthor interrogated the features of a mountain soak, trying to determine its quintessence. “I’m interested in quality, not quantity,” Govan told me in that interview, adding that he wanted visitors to enjoy “the luxury of space, light, and transparency.” A museum director with prior experience primarily in modern and contemporary museums, Govan has a special affinity for the Light and Space artists of California, as well as other artists dealing with perceptual phenomena—Robert Irwin, James Turrell, Doug Wheeler, Dan Flavin. “That’s what that is going to be. “This is a thin red line. A slick video, “One Collection, Many Paths,” ends with the false claim that the galleries are being expanded rather than downsized. Even with the floor plan, however, the visuals fell short of full disclosure. With plumbing problems and long-deferred seismic upgrades, they were trapped in a narrative of imminent collapse. “Who wants them to see thousands of things?” he said. A Tetris-like assortment of plunge pools half submerged in a bucolic hillside, the baths have a seductive power. Works like these have become friends to many Angelenos who return to visit with them, knowing just where to find them. “You want them to stay longer.”, Zumthor’s first design was a pair of glass boxes, contained on the northern side of Wilshire Boulevard and cantilevered over the tar pits. What L.A. needed, and what would stand out next to the primordial quality of the tar pits and the ancientness of our collections, was gravitas and real materials.” The building should look old, excavated rather than superimposed—something that “feels like it was there forever and should be there forever.”, Inside, the program would be radical—a reinvention of the encyclopedic museum for the twenty-first century. Under the redevelopment plan, the extensive American, European, Chinese, Southeast Asian, and South American collections, among others, will be effectively exiled off-campus, because the fragmentary layout of the new, smaller museum, by design, can’t display them. Beyond the boxed galleries, the rest of the floor space is the third-class, so-called “meander” gallery, where corridors interrupted by doors and other corridors lead from lobbies and elevators past bathrooms and emergency stairs to intersections with other corridors. Newsletter. “I would like to have rooms in this thing where you all of a sudden would have an intimate encounter with a piece of art.” In such a museum, viewers would find their own way: “Look at the objects of art first, get moved or touched or interested, and then we ask, What is this? “I showed them drawings and things—they looked so ugly,” Zumthor said. Looks a little bit more historic,” Zumthor said. You’re brokenhearted. Beside the Ahmanson Building, soon to be demolished, sample materials for the new museum had been amassed: a slab of concrete, for the internal walls; black terrazzo, for the floors; a windowpane and some bronze mullions. .,”—“but America is far away,” a line from a pop ballad of his youth. Zumthor said, “The breakthrough power came out of frustration and desperation, out of ‘God damn it, there is no solution here!’ ”. Intending to save the museum, Govan is destroying it. Zumthor crossed Wilshire again, to a lot where additional slabs of concrete were being craned in for him to examine. As the last remnants of the 1965 William Pereira-designed Los Angeles County Museum of Art (LACMA) disappear, passers-by can imagine the vast amount of open space that will be under and around the new LACMA … When Zumthor arrived in Los Angeles, he shocked curators at initial meetings by telling them, as Govan looked on, that he was “not interested in a museum organized by curators.” Asked if he could name any museums he liked, he couldn’t and didn’t, though he did allow that he generally didn’t like big museums: he came as an iconoclast to an iconic museum. It is an hour or so from Haldenstein—past waterfalls, through clouds, around hairpin turns overhung with slick rocks. By 2013, glossy images began to appear online and in print to sell the public and the Los Angeles County Board of Supervisors, the government agency with oversight, what was turning out to be a bill of dubious architectural goods. Cooper said, “The May Company would have been perfect office space, lab space, theatre space, restaurant space, everything needed. The foundation’s president, William Ahmanson, is the great-nephew of Howard Ahmanson, the lead donor for the original campus; he also sits on the museum’s board. Above all, Zumthor brought a drive to monumentalize Govan’s ambition. Zumthor is seventy-seven, and oversees a thriving boutique architecture practice, with three dozen employees and projects on three continents. After they separated, Zumthor met Annalisa, a schoolteacher for special-needs children who spoke the local language, Romansh, and knew how to swing a scythe for haymaking. But a new problem presented itself. “It’s the circle coming back to darker. The cost of this cantilevered, all-concrete structure, including a bridge over Wilshire Boulevard engineered to resist earthquakes and truck bombs, is profligate, disturbingly Marie Antoinette at a time when the Southland sinks into a recession. According to Govan and Zumthor, the museum is designed to foster “adjacencies,” counter-narratives and moments of cross-cultural connection—in other words, don’t expect to go into a room and see scores of nineteenth-century landscape paintings. He doesn’t know, but the floor plan became my beautiful Persian carpet.”. for the soul of Los Angeles,” Cooper muttered. “All it takes is the square, the house, and a door,” he said. Tudor Architecture .. Its holdings, bolstered by a trove of objects donated by William Randolph Hearst, swelled over the decades; there are now some hundred and forty thousand items, ranging from Rubens paintings to ancient Indian ritual sculpture and nineteen-forties California coffeepots. “I always get burned.”, Zumthor’s front door is made of heavy oak; its handle, which resembles an oversized metal staple, is wrapped in a cord of stained umber leather, like a riding crop. Está enmarcado y alguien lo trajo, por si queríamos aprovechar el marco ya que el cristal se había… See more ideas about architecture, bauhaus, design. The three million dollars had been found. Size mattered. The land belonged to the county, as did the buildings, for which the museum’s board had raised the money. Bridging the structure over Wilshire is completely unnecessary from any land-use or programmatic point of view, and as many underwhelmed citizens pointed out in letters to The Los Angeles Times and elsewhere, the proposed structure looks like a freeway overpass or a rest station over a highway. Explore. The Academy is converting the building into its own museum, with a huge glass-dome addition by Renzo Piano. Oct 7, 2020 - Will the new LACMA building be Peter Zumthor’s masterpiece or a fiasco? The Iconoclast Remaking Los Angeles’s Most Important Museum. Also, we had so much freedom. . October 2020: The New Yorker (Dana Goodyear): The Iconoclast Remaking Los Angeles’s Most Important Museum Will the new LACMA building be Peter Zumthor’s masterpiece or a fiasco? Slowly, Zumthor said, “He’s a getter. Several Valsers persuaded the owners to sell the resort and the springs to the townspeople. “He trusts non-architects more than he trusts architects,” Melissa de La Harpe, who has worked at the atelier for five years, told me. Zumthor looked at her and smiled blankly. But first the emotion, and then the scientific, academic explanation.”. This is a hostile takeover of the museum, and if the design succeeds in hijacking the institution, Los Angeles will be living for a long time with a wanton act of architecture, and the bitter memory of a very expensive betrayal of the public trust. Will the new LACMA building be Peter Zumthor’s masterpiece or a fiasco? Morphosis soon announced that it would build another hotel for 7132, “a minimalist object connecting guests to nature.” Clad in reflective material, it would be the tallest tower in Europe and, with only one room per floor, would provide “exclusive panoramic views of the Alps.” Five years later, there is no sign of construction. Govan’s plan is at once grandiose and diminishing—and, above all, needless. “I don’t have the right education, or I refuse to have the right education.” Read more at New Yorker “He called me and said, ‘Listen, I’m about to take a new position in Los Angeles. The project announced him to the world, and is now regarded as an exalted expression of regional modernism. October 5, 2020. Zumthor had an avant-garde idea for the chapel: a narrow tower, with a cavelike interior. In the early seventies, the couple moved to Haldenstein, sharing a house communally with another couple. Truffer, too, no longer works for 7132, but he maintains that the plan was always to juxtapose Zumthor’s works with other architects’. “My colleagues are so conceited, they don’t ask me, ‘What do you think? After a year, the museum’s first director resigned, maddened by the buildings’ inadequacy. The satellites are an expression of dismantlement.”, Several months ago, the Ahmanson Foundation, which has given more than a hundred and thirty million dollars’ worth of European paintings and sculpture to the museum, suspended its donations to LACMA. The museum’s corporate officers were indignant. Every Friday night I go to the Met to draw. It is big and stands apart from other buildings yet is completely integrated into its environment. Zumthor said that he had leaned on subcontractors to simplify elements, a process known as “value engineering.” Govan said only that everyone had come together around the changes. This boondoggle thus exceeds by more than $1,000 per square foot the most expensive museum recently built in the United States—the San Francisco Museum of Modern Art, which came in at $1,385 per square foot, according to The Los Angeles Times. One of the curators said that this was the place where Biggie Smalls had been shot. “In a seven-hundred-million-dollar building, I’m now obliged, after all of this, I am to find these three million dollars, me personally. “It had to be a compelling concept, because we were going to have to raise money the likes of which we had never seen,” he told me. “These are the Zumthoresque spaces, with the play of light and shadow, to get that emotional response.”, “What do I want to offer to the visitor?” Zumthor said at the talk. “His building does not relate, it’s superimposed.” Spanning Wilshire would be a disaster. (Atelier Peter Zumthor & Partner ) Plus Vankin walks through a history of LACMA building plans . Maybe glass would be appropriate in the gloomy European cities where Zumthor was accustomed to working—but not here, with three hundred and sixty days of sunshine! In a unique experiment, the villagers owned the resort, and the proceeds flowed back into their town. Though he has never built in the United States, he is known throughout Europe as the creator of exquisitely stern structures with jewel-box proportions; in 2009, he won the Pritzker Prize. He was despondent, familiarly so. The “houses,” however, are monotonous, geometrically authoritarian bunkers, claustrophobic rooms that make it difficult for a curator to jump the gaps between the concrete shells. He insisted that his critics had misunderstood the galleries on the building’s perimeter. Now, with the demolition nearly complete, LACMA has finally issued a floor plan—but submerged it in a distracting deluge of images showing crowd-pleasing renderings of moody, atmospheric galleries delivering surprise encounters of eclectic arrangements of art on all-concrete walls (Zumthor doesn’t like drywall). Cooper peered through a gap in the construction fence. An aesthetic trophy, it wants to be alone, even though a building and institution of this scale could act as a catalyst for the formation of a diverse cultural village within the city. What if he gave them more? “It’s a protected groundwater zone, where Coca-Cola gets the water,” Zumthor said. At night, Zumthor told me, the postmaster would lie on his belly on a hillock, binoculars trained on the Zumthor house, hoping for a glimpse of a naked woman, or at least something he could report. Then, throwing out the master’s methods, he completely redefined what sculpture was. We got out of the car and walked into a broad, deserted square, made spacious for pilgrims. Best of The New York Review, plus books, events, and other items of interest, Genaro Molina/Los Angeles Times via Getty Images, Demolition continuing at the Los Angeles County Museum of Art, California, May 18, 2020. You were misunderstood, blackmailed, your reputation was murdered.”, “Two weeks ago, when Michael Govan wrote me that I cannot implement the changes I want, I’m worried, getting no sleep,” Zumthor said. Each week of delay could cost eight hundred thousand dollars. With his total art work destroyed, Zumthor disavows the spa and rarely visits. Nov 17, 2020 - Designs that take my eye & Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. On Friday, the past two chairs of the Federal Reserve persuasively explained why Congress should extend supplementary unemployment payments and provide additional financial support to … The idea was to abolish the hierarchies inherent in the old museums, which offered prime real estate to European painting and shunted other cultures and their artifacts aside. “I can’t think of another museum that has these types of spaces,” Govan told me later. We got started a hundred and fifty years later than they did. Zumthor doesn’t appear to be emotionally, intuitively connected to the LACMA building site, an intensely urban environment spanning Wilshire Boulevard. The towers were built, but then, after two contractors went bankrupt, the government withdrew support. To shrink a museum in a project understood by the public as an expansion was unprecedented in the US, especially since LACMA’s art collection had grown by tens of thousands of artworks to more than 150,000 pieces since the fourth building on the East Campus opened in 1986. The architect for the LACMA project, Peter Zumthor, created and built a spa in Switzerland. The over-all effect was of a desert palace, equal parts fortress and oasis, sturdy and serene. Despite Govan’s nod in the direction of decolonization, simply garaging the collections out of sight does not address these larger issues. “The Black Flower!” Zumthor said. A career conspicuously devoted to the service of wealth and celebrity. He has looked for that aesthetic predilection in the architecture he commissioned at LACMA. Floor plans were kept secret, out of public view. A scale model showing a sunken gallery with suspended ceiling from the Zumthor design for LACMA, 2013. To revisit this article, visit My Profile, then View saved stories. The Zumthor design also contradicts Govan’s rhetoric of inclusion. Over many decades, experts at LACMA have woven collections into nuanced tapestries that are now being unraveled in favor of a Whitman’s Sampler. Mayne, along with Tadao Ando and Kengo Kuma, major Japanese architects, was hired to create suites, for a special wing called the House of Architects. “Rushing into demolition before having money in the bank is a sleazy, obviously manipulative maneuver meant to put LACMA and the County in an untenable situation,” says Giovannini. Photograph by Fernando Guerra-VIEW / Alamy. “There’s a big discussion we have to have about: how does the concrete, quality-wise, have to look?” he said. At LACMA, he was, indelibly, the second choice. Get the ... Will the new LACMA building be Peter Zumthor’s masterpiece or a fiasco? “I was crying, ‘You idiot, you stupid idiot. But he had come to seem like a purist, even an ascetic—out of touch, in his Alpine retreat. We did not.”. But Truffer was still dreaming of how to maximize the potential that had been tapped. The county had allotted a hundred and twenty-five million dollars of taxpayer money; materials were being procured. .”. While everyone was arguing about the aesthetics of the building, he suggested, Govan had quietly changed the premise of the institution. The Man Who Would Replace LACMA VISUAL Posted: October 6, 2020 12:31 pm “Peter Zumthor, who despises monuments, finds himself responsible for a building intended to anchor a diffuse and sporadically planned city, where the forests catch fire every fall. “We don’t have to be too polished. Finally, we entered a shadow-soaked cave that smelled of candle smoke, where petitioners were praying to a statue of Mary. There was another way to go: the building could cross Wilshire and land in a parking lot owned by LACMA. In order to raise the money that a new building would require—an unprecedented amount in Los Angeles, where cultural philanthropy doesn’t confer the social rewards that it does elsewhere—he needed to offer something dazzling: a forever building, with a motivating story to accompany it. LACMA aspired to be an encyclopedic museum, akin to the Metropolitan Museum of Art: a temple filled with treasures from various cultures and historical periods. Howard Ahmanson, a savings-and-loan magnate and the leading donor in the building campaign, had wanted Edward Durell Stone to design it; Norton Simon, another influential donor, wanted Ludwig Mies van der Rohe. A scene from Agnès Varda’s 1968 film Lions Love (…and lies) pays tribute to Magritte. Would it be nice to bathe in hay? Still, Vals has proved a powerful tool for Govan’s fund-raising. “You’re a good example of post-traumatic growth.” In 2004, she had accompanied her father to the site one last time before the towers came down. Govan, protective of Zumthor’s process, does not share bad press, and Zumthor doesn’t ask. The next morning, he got up early and went to the atelier. “Built with sticks. This morning I read the long piece about it in the current New Yorker, too late for my bibliography:-… (October 2020), Trump’s Towering Folly on Federal Architecture. The institution didn’t need fixing because it wasn’t fundamentally broken. The villagers were scandalized—by male ponytails, and by the unconventional life style. Zumthor landed at LACMA in 2009. It was big news when Peter Zumthor, Hon. The new LACMA building could be Peter Zumthor’s masterpiece, or it could be a fiasco, Dana Goodyear writes. LACMA, four years after the new buildings’ opening, Los Angeles, 1969, Mel Melcon/Los Angeles Times via Getty Images, An interior of the Arts of the Americas Building, Los Angeles, 2013, A view of LACMA’s central court featuring three structures—the Art of the Americas Building, Ahmanson Building, and the Frances and Armand Hammer Building—all now demolished, Los Angeles, 2013. By Dana Goodyear. In LACMA’s Ahmanson Building, Islamic, South Asian, and Southeast Asian art were on the fourth floor. Cooper pointed at one side of the Bing Theatre, where asbestos abatement was under way. Over the last several months, the museum has razed three of the four structures on the East Campus, the original core of the institution—themselves only sixty years old—and excavators are now polishing off the last and largest, the Ahmanson Building. Years passed. More recently, they started to fight the planned demolition of the William Pereira buildings at LACMA. The museum’s PR department failed to include a crucial element of information, one that reveals an alarming story. “That soil is the sacred source of minerals,” he told me. How did you torture me, and now you’re dead?’ ”. Critics of the new design tend not to mention that the museum was considerably smaller for much of its life. “It’s so sensual, it’s so delicious in so many ways, and it photographs so beautifully.” Zumthor’s spa is regarded as an exalted expression of regional modernism: site-specific, culturally grounded, made from local materials using traditional techniques. “It is essential that we create an equitable organization of cultures, equally accessible, and it is also essential in art history that we start to look at history from different points of view,” he said. “Maybe art should not be housed in palaces, closed like castles where you need a high-school degree to enter, or a doctorate,” he said. 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