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Michael Webb
writes on modern architecture, design, and travel. He is the author of 26 books, most recently Modernist Paradise: Niemeyer House, Boyd Collection (Rizzoli) and Venice CA: Art +Architecture in a Maverick Community (Abrams). He travels widely in search of new and classic modern architecture and contributes to magazines around the world. Michael lives in the Neutra apartment that Charles and Ray Eames once called home.

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Michael Webb

Entries in LACMA (7)

Saturday
Mar052011

Snohetta Principal Speaks at LACMA on March 15th

 Photograph by Gerald Zugmann

Craig Dykers, an American architect who co-founded Snohetta with a group of Norwegians, will discuss the firm’s latest work in an AIA Masters of Architecture lecture at LACMA’s Bing Theater on Tuesday, March 15 at 7pm. Snohetta was named for a Norwegian mountain and launched its practice by winning the prestigious competition for the Library of Alexandria in Egypt. They scored a second big success on home ground with the Oslo Opera House, an ambitious waterfront project that was completed two years ago. Later this year their 9/11 Memorial Pavilion is scheduled to open on the WTC site in New York, where Snohetta has opened a second office. These three projects are among the highlights of a practice that has designed 200 buildings and landscapes around the world. This presentation follows closely on a lecture by Danish wunderkind Bjarke Ingels, and it may offer more insights into the world of architectural innovation –something that seems increasingly hard to find in L.A.

 

Tickets for the Craig Dykers lecture can be at purchased in advance at lacma.org or from the box office, 323.857.6010: $12 general admission; $10 LACMA and AIA members; $5 seniors and students with i.d.



Friday
Sep242010

An Acre of Art - LACMA's Resnick Pavilion Press Preview


LACMA
has a new gallery and it’s a winner. The Lynda and Stewart Resnick Pavilion is a work of art that complements BCAM to the south and fleshes out Renzo Piano’s master plan. It substitutes a vibrant, layered composition of travertine, scarlet steel, and plantings for a dowdy courtyard as the museum’s core. Unjustly disparaged as the safe choice for American museums that are afraid of innovation, Piano demonstrates a mastery of space and connectivity that make him an ideal choice for LACMA. He has introduced order and excitement to an institution that stumbled badly in commissioning two mediocre sets of buildings in its early years, and then abruptly abandoned Rem Koolhaas’s iconoclastic proposal to start afresh. As an Italian, Piano has a sense of history and the way cities grow incrementally over time. He is familiar with excavations that reveal the foundations of Roman villas—a discovery that delayed construction of the Rome Auditorio by several years. “Here we struck oil—and dinosaur bones, but it didn’t stop us,” he observed.

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