Peter Zumthor’s long-awaited redesign of the Los Angeles County Museum of Art takes a step forward as LACMA reveals the David Geffen Galleries, its new architectural centerpiece, before art installation begins ahead of the grand public opening in April 2026 (find designboom’s previous coverage here). Capturing the horizontal, elevated structure in glass and concrete, images by Iwan Baan offer the first interior look at the museum’s 10,220-square-meter exhibition level. LACMA is now preparing to welcome the public to select areas of the new building starting summer 2025, signaling a gradual activation of the most ambitious architectural transformation in its history. Later that year, the museum will also unveil Jeff Koons’s Split-Rocker, a towering 37-foot-tall sculpture covered in over 50,000 living plants, which will become a permanent outdoor landmark adjacent to the new David Geffen Galleries.

Before the galleries are filled with thousands of artworks from LACMA’s encyclopedic collection, the museum offers a series of ‘sonic previews’ to animate the raw architecture. Acclaimed saxophonist and composer Kamasi Washington led a more than 100-person ensemble in a performance of his work Harmony of Difference, spread across the full breadth of the empty exhibition spaces.

all images by Iwan Baan

iwan baan PHOTOGRAPHS the museum’s new era

Floating over Wilshire Boulevard like a contemporary bridge, Zumthor’s building replaces four aging museum structures with a single, unified gallery space. In newly released photographs by Dutch photographer Iwan Baan, the architecture’s flowing form is captured in its raw state, offering a first glimpse into the expansive, unoccupied interiors before art installation begins. The David Geffen Galleries are named after the media magnate whose contribution marked the campaign’s largest gift, while the north wing honors LACMA trustee and board co-chair Elaine Wynn, whose pledge helped launch the building initiative. A new state-of-the-art performance space, the Steve Tisch Theater, anchors the southern plaza level. 

Major construction of the Zumthor-designed structure was completed in late 2024, allowing key operational functions to move in. In summer 2025, the public will begin to access parts of the plaza level, including new dining and retail spaces. Ray’s and Stark Bar will reopen in a redesigned location, while a new LACMA Store, funded by trustee Kelvin Davis and his wife, Hana, will also debut. Across the boulevard, a second restaurant and a café will open in 2026, their spaces shaped by campaign gifts from Ann Colgin and Joe Wender, Ryan Seacrest, Ashley Merrill, and Marc Merrill.

a first look at the museum’s 10,220-square-meter exhibition level

outdoor sculptures to be installed in the following months

Below the gallery floor, shaded public spaces on both sides of Wilshire Boulevard are designed for outdoor dining, programming, and art. A highlight is the East West Bank Commons, an outdoor plaza with capacity for 500-person events. The W.M. Keck Plaza will also become home to a new education center and a full-scale commissioned artwork by Mariana Castillo Deball titled Feathered Changes, which spans the north and south sides of the building.

The new structure reconnects LACMA with the city through architecture and landscape to offer over 14,160 square meters of accessible public space. Outdoor sculptures by artists including Liz Glynn, Thomas Houseago, Shio Kusaka, Pedro Reyes, and Diana Thater will be installed in the coming months. Longtime favorites will also return, including Tony Smith’s Smoke (1967), Alexander Calder’s Three Quintains (Hello Girls) (1964), and a newly designed 743-square-meter Rodin garden, funded by the Cantor Foundation, showcasing some of the artist’s most iconic bronze works.

As the museum ramps up toward its 2026 opening, more previews will be announced, and the installation of LACMA’s permanent collection will begin later this year.

capturing the horizontal, elevated structure in glass and concrete

LACMA is now preparing to welcome the public to select areas of the new building

Zumthor’s building replaces four aging museum structures with a single, unified gallery space

the architecture’s flowing form is captured in its raw state

major construction of the Zumthor-designed structure was completed in late 2024

the installation of LACMA’s permanent collection will begin later this year

as the museum ramps up toward its 2026 opening, more previews will be announced

Peter Zumthor’s long-awaited redesign of the Los Angeles County Museum of Art

the new structure reconnects LACMA with the city through architecture and landscape

project info:

name: LACMA | @lacma

architect: Peter Zumthor

location: Los Angeles, California, US

photographer: Iwan Baan | @iwanbaan

The post first look inside LACMA’s peter zumthor-designed galleries through the lens of iwan baan appeared first on designboom | architecture & design magazine.

Later in 2025, Jeff Koons’ Split-Rocker, an 11-meter-tall sculpture covered in over 50,000 living plants, is set to be permanently installed outside the Los Angeles County Museum of Art (LACMA). The towering artwork takes its playful shape from precise horticultural design and has been donated to the museum by longtime patrons Lynda and Stewart Resnick. It will become the focal point of a new outdoor public art program connected to LACMA’s forthcoming David Geffen Galleries, designed by Peter Zumthor, set to open in 2026 (find designboom’s previous coverage here).

Designed with an internal irrigation system and planted with drought-tolerant flowers suited to Southern California, the Split-Rocker changes appearance as the plants grow and bloom. Its form merges the head of a child’s rocking horse and the head of a dinosaur toy, joined into one oversized and slightly mismatched structure. The result is a surreal hybrid that appears both cartoonish and contemplative, qualities that often describe Koons’ work.

Jeff Koons, Split-Rocker, 2000, edition of 1 plus 1 AP, © Jeff Koons, Versailles installation photo by Laurent Lecat | via Unframed Lacma

lacma to debut zumthor-designed David Geffen Galleries

Positioned at the threshold of the reimagined campus of LACMA, the American artist’s sculpture signals the transformation taking place within and around the new building. As the summer of 2025 unfolds, LACMA begins activating the plaza level of its new building north of Wilshire Boulevard, giving the public its first look at Peter Zumthor’s long-awaited David Geffen Galleries. The shaded ground-level spaces beneath the elevated structure are designed to host a variety of public programs and serve as an extension of the museum’s civic presence, hosting outdoor education, events, and performances. New facilities also include the East West Bank Commons, a covered area for gatherings of up to 500 people, the W.M. Keck Education Center for learning and community engagement, and the state-of-the-art Steve Tisch Theater, which will screen films and exhibit time-based media during museum hours. 

At the same time, LACMA is expanding its outdoor art footprint across 3.5 acres of newly designed public space. Koons’ monumental Split-Rocker will be among the first major works to activate the reimagined grounds, setting the tone for the evolving outdoor collection of the institution. The entire plaza on the north side of Wilshire is set to become a site-specific installation by Mariana Castillo Deball, while a monumental textile work by Los Angeles–based artist Sarah Rosalena will occupy one of the new interior spaces of the museum. Additional sculptures and interventions by Liz Glynn, Thomas Houseago, Shio Kusaka, Pedro Reyes, and Diana Thater will gradually populate the campus. Several iconic works from LACMA’s collection will return, including Tony Smith’s Smoke, Alexander Calder’s Three Quintains (Hello Girls), and the Rodin collection, which will be housed in the redesigned Iris and B. Gerald Cantor Sculpture Garden. Previews of the building begin in June 2025, followed by a phased art installation leading up to the museum’s full reopening in April 2026.

Jeff Koons, Split-Rocker, 2000, edition of 1 plus 1 AP, © Jeff Koons, Versailles installation photo by Laurent Lecat | via Unframed Lacma

Split-Rocker finds a new home

This particular version of Split-Rocker is the artist’s proof from an edition of one, and its arrival continues LACMA’s long-standing collaboration with Koons. The artist’s stainless steel works, including Rabbit, Balloon Dog (Blue), and Cracked Egg (Red), have been shown at the museum in past exhibitions. In 2008, a miniature version of Cracked Egg was even used as the official invitation to the museum’s BCAM opening gala.

‘Jeff is a master of bringing bold playfulness together with layers of deeper artistic meaning,’ shares Michael Govan, LACMA’s CEO and Wallis Annenberg Director. ‘We are thrilled to welcome this living sculpture to LACMA, where it will greet visitors, pedestrians, and traffic along Wilshire Boulevard.’ The museum expects the work to be a year-round presence, a rare condition for one of Koons’s monumental floral sculptures, which are often temporary due to climate restrictions.

Jeff Koons, Split-Rocker (2000) installed at Rockefeller Center, NYC, 2014, © Jeff Koons, photo by Tom Powel

Jeff Koons, Split-Rocker (2000) installed at Rockefeller Center, NYC, 2014, © Jeff Koons, photo by Tom Powel

Jeff Koons, Split-Rocker (2000) installed at Rockefeller Center, NYC, 2014, © Jeff Koons, photo by Tom Powel

Jeff Koons, Split-Rocker, 2000, Palais Des Papes, Avignon, France | image courtesy the artist

image by Mattias Mangold, Courtesy Fondation Beyeler, Basel

image by Mattias Mangold, courtesy Fondation Beyeler, Basel

Jeff Koons, Split-Rocker, 2000, edition of 1 plus 1 AP, © Jeff Koons, Versailles installation photo by Laurent Lecat | image courtesy of the artist

Jeff Koons, Split-Rocker (2000) installed at Rockefeller Center, NYC, 2014, © Jeff Koons, photo by Tom Powel

LACMA building, including David Geffen Galleries | image © Atelier Peter Zumthor & Partner/the Boundary

Zumthor’s design unifies LACMA’s campus | image © Atelier Peter Zumthor & Partner/the Boundary

project info:

name: Split-Rocker

artist: Jeff Koons | @jeffkoons

location: Los Angeles County Museum of Art (LACMA), Los Angeles, California | @lacma

architect (LACMA’s Geffen Galleries): Peter Zumthor 

The post jeff koons’ floral ‘split-rocker’ to bloom anew at LACMA’s upcoming los angeles building appeared first on designboom | architecture & design magazine.

The Los Angeles County Museum of Art (LACMA) is approaching a major milestone as construction on the David Geffen Galleries, designed by Pritzker Prize-winning architect Peter Zumthor, nears completion. Spanning Wilshire Boulevard and unifying LACMA’s campus, the highly anticipated building is planning phased openings in summer 2025, with the full debut scheduled for April 2026.

Set on elevated piers, the fluid concrete form of the David Geffen Galleries redefines the presence of the museum in Los Angeles. A network of floating staircases and elevators provides access to the building from both the north and south sides of Wilshire Boulevard. The north wing of the structure, named the Elaine Wynn Wing in recognition of a $50 million donation, anchors the project, while the south wing remains open for future naming.

all images via @LACMA, unless stated otherwise

public activation begins in 2025

While the grand opening is slated for 2026, the LA-based museum is set to begin activating public spaces in 2025. The plaza level will house Ray’s and Stark Bar, a new LACMA Store backed by Kelvin and Hana Davis, and shaded outdoor areas for programming and events. New dining spaces, including a south-side restaurant funded by Ann Colgin, Joe Wender, and Ryan Seacrest, and a north-side café supported by Ashley and Marc Merrill, will follow in 2026. The East West Bank Commons, situated beneath the elevated galleries, will provide a covered gathering space for up to 500 visitors. The transformation extends to educational programming with the W.M. Keck Education Center anchoring the plaza level. The new Steve Tisch Theater will serve as a screening venue and gallery for time-based media art.

the fluid concrete form of the David Geffen Galleries redefines the presence of the museum in Los Angeles

expanding the outdoor art presence of the museum

Spanning 3.5 acres, the outdoor areas will showcase major new artworks, including Mariana Castillo Deball’s Feathered Changes across both sides of Wilshire Boulevard and a textile piece by Sarah Rosalena. Additional works by Liz Glynn, Thomas Houseago, Shio Kusaka, Pedro Reyes, and Diana Thater will be integrated into the landscape.

LACMA’s iconic sculptures will return, including Tony Smith’s Smoke (1967) and Alexander Calder’s Three Quintains (Hello Girls) (1964). The Iris and B. Gerald Cantor Sculpture Garden will be redesigned to house the museum’s Rodin collection.

Ahead of the 2026 debut, LACMA members and donors will gain early access to the raw interior spaces, followed by a site-specific music series by Kamasi Washington in June 2025. Art installations will commence later in 2025 as the museum prepares to unveil its permanent collection in the new galleries.

the highly anticipated building is planning phased openings in summer 2025

Zumthor’s design unifies LACMA’s campus | image © Atelier Peter Zumthor & Partner/the Boundary

floating staircases provide access to the building | image © Atelier Peter Zumthor & Partner/the Boundary

LACMA building, including david geffen galleries | image © Atelier Peter Zumthor & Partner/the Boundary

project info:

name: LACMA | @lacma

architect: Peter Zumthor

location: Los Angeles, California, US

The post peter zumthor’s LACMA expansion nears completion, opening in phases from summer 2025 appeared first on designboom | architecture & design magazine.

designboom spoke with LACMA CEO, michael govan, and snap’s head of camera platform partnerships, sophia dominguez, about the project and the possibilities of augmented reality in the art world. ‘in the cultural sector, artists lead and drive innovation,’ michael govan tells designboom. ‘as part of our mission to nurture and champion creativity we are eager to empower artists wherever we can. for decades, LACMA has supported and encouraged the intersection of art and technology through our exhibitions and special initiatives. ‘monumental perspectives’ is one example of how a partnership with a company like snap can empower artists to make bold and boundary-pushing works that are relevant to our times.’

¡vendedores, presente! by ruben ochoa responds to L.A.’s complex history with street vendors

the projects that form part of LACMA x snapchat: monumental perspectives have been designed to be experienced at locations across los angeles through the snapchat camera, at sites including LACMA, macarthur park, earvin ‘magic’ johnson park, and los angeles memorial coliseum. those in the area can discover the virtual monuments by looking for their markers on the map in snapchat, which pinpoint their locations and more details about each work. the monuments can also be viewed by anyone around the world, wherever they are at home or exploring the streets of their own city, by heading to lacma.org/monumental on mobile devices.

ochoa pays homage to the critical role of street vendors in L.A.’s culture and economy

‘snap’s lens technology makes it easy for anyone to experience these monuments through augmented reality using their mobile phone,’ sophia dominguez tells designboom. ‘we hope that through the shared creative vision of these artists and snap lens creators, our technology brings their art and stories to new audiences, allowing anyone to step inside new worlds in public spaces. by creating augmented reality monuments, the experience of storytelling is democratized, and anyone can experience and celebrate untold stories of communities across los angeles. artists who are interested in exploring AR can also use lens studio, our powerful and free creation platform that lets anyone build and publish their own AR experiences to snapchat.’

ruben ochoa, ¡vendedores, presente!, 2021

the virtual experiences include mercedes dorame’s immersive portal between past, present, and future worlds for indigenous presence in contemporary tovaangar (los angeles); I.R. bach’s animations designed to inspire self-reflection; glenn kaino’s path of generational stories of connectedness along the 1932 L.A. olympic marathon route; ruben ochoa’s homage to the shared history of street vendors in the city; and ada pinkston’s memorial series paying tribute to biddy mason.

‘museums think about how to share art history from a wide, institutional level,’ govan says on how the chosen artists each contribute a different conversation around american history.‘when considering the artists who would be included in the launch of monumental perspectives, we were interested in those who had personal, local points of view and how their experiences and interests speak to our lives in relation to our many overlapping communities and the rest of the world. the resulting monuments are different from one another, but each presents a unique perspective to help us consider what representations of american histories should and could be told in public art.’

no finish line by glenn kaino centers stories from the communities along the 1932 L.A. olympic marathon route

the timely initiative explores key moments and figures in the region’s past and present, and interprets the traditional notions of monumentality through the lens of augmented reality. ‘amid the events of this past summer when monuments were being taken down, we realized that we don’t have time to wait to build new monuments in bronze,’ govan continues. ‘we all need to be discussing and monumentalizing these different histories now. throughout los angeles and at home via snapchat, visitors can now experience virtual monuments that are alive and textured and of the current moment, which hopefully will open doors for important and timely conversations.’

a narrative thread connects generations of people, businesses, and organizations along the route

‘for museums, one of the interesting questions about augmented reality technology is how artworks can be produced in new ways,’ govan says, in reflecting on the future of augmented reality in the art world. ‘it also questions how our reality can be reframed and reconsidered by this technology that provides a new way of seeing things that already exist, whether that’s reinterpreting history, talking about important issues of the day, or coming up with entirely new formats to engage audiences. augmented reality technology that interacts with this real world — artworks, our lives, and our spaces — is going to take us in directions that we can’t even imagine.’

glenn kaino, no finish line, 2021

the open hand is blessed by ada pinkston pays tribute to the voice and spiritual philosophy of biddy mason

ada pinkston drew from archival images of african american residents in 19th century los angeles

ada pinkston, the open hand is blessed, 2021

mercedes dorame explores what it means to exist as a native inhabitant of contemporary tovaangar (los angeles)

portal for tovaangar creates an immersive portal that links past, present, and potential future worlds

mercedes dorame, portal for tovaangar, 2021

think big inspires self-reflection through larger-scale animations, a whimsical soundtrack, and a guiding basketball

a simple action such as moving through a park may turn into an experience worth memorializing

I.R. bach, think big, 2021

The post LACMA + snapchat bring artist-designed augmented reality monuments to L.A. (and your home) appeared first on designboom | architecture & design magazine.

terrace and north entrance galleries, exhibition level
image © atelier peter zumthor & partner/the boundary (also main image)

‘displaying all art on a single level avoids giving more prominence to any specific culture, tradition, or era, offering visitors a multitude of perspectives on art and art history in a more accessible, inclusive way,’ LACMA continues. ‘the single-level gallery floor will also be more intuitive to navigate and easier to access, especially for wheelchairs and strollers, and its perimeter of transparent glass will provide energizing natural light and views to the park and urban environment, with views from outside into the galleries.’

terrace and south entrance galleries facing north, exhibition level
image © atelier peter zumthor & partner/the boundary

the new building will have a range of exhibition spaces, from galleries with natural light to galleries with controlled artificial lighting. the majority of spaces in the new building have been designed to be able to display light-sensitive works. noticeably, concrete has been chosen for the gallery walls. pointing out that concrete walls have been used successfully in other museums around the world, LACMA says that the material was chosen for its ‘aesthetic character and beautiful sense of gravitas’. the LA times says that zumthor is collaborating with SOM on the building’s design, engineering, and construction — including the interior finishes.

courtyard gallery, exhibition level
image © atelier peter zumthor & partner/the boundary

the new building totals 347,500 square feet (32,284 sqm), replacing approximately 393,000 square feet (36,511 sqm) of existing buildings. there will be approximately 110,000 square feet of gallery space (10,219 sqm), replacing approximately 120,000 square feet (11,148 sqm) of gallery space. however, the building also includes a new theater, education spaces, three restaurant/cafés, a museum shop, and covered multipurpose event spaces. meanwhile, much-improved ancillary and back-of-house facilities will support LACMA’s public programs.

interior gallery, exhibition level
image © atelier peter zumthor & partner/the boundary

the $750 million USD project is being funded through a public-private partnership where the county of los angeles will contribute $125 million and $625 million will come from private donations. more than $655 million has been raised to date. construction work on site began in 2020, with the new building expected to complete by the end of 2023 before opening to the public a year later. more information can be seen on LACMA’s dedicated website, and see designboom’s previous coverage of the project here.

courtyard gallery, exhibition level
image © atelier peter zumthor & partner/the boundary

terrace galleries, facing west, exhibition level
image © atelier peter zumthor & partner/the boundary

terrace galleries facing west towards resnick pavilion, exhibition level
image © atelier peter zumthor & partner/the boundary

exterior view southwest from hancock park, pavilion for japanese art on the far right
image © atelier peter zumthor & partner/the boundary

view northwest toward BCAM, resnick pavilion, smidt welcome plaza, and ‘urban light’
image © atelier peter zumthor & partner/the boundary

aerial view; LACMA building, including david geffen galleries, in context of museum mile
image © atelier peter zumthor & partner/the boundary

project info:

architect: atelier peter zumthor & partner
client: LACMA — los angeles county museum of art
location: los angeles, CA, USA
status: under construction — completion forecast for the end of 2023, with public opening scheduled for 2024

The post LACMA reveals concrete interiors of its peter zumthor-designed building appeared first on designboom | architecture & design magazine.

the competition proposals have been whittled down to three from each of the two categories, ‘existing buildings’ and ‘ground up’, and you can vote for your favorite here until may 15th, 2020. ‘we are not proposing that any one of them be built as is, but simply suggesting that the public, the museum board, and the county board of supervisors view them as possible starting points for developing alternatives that truly capture people’s eyes, hearts, and minds, and showcase LACMA’s collections in a practical and architecturally stimulating environment.’ – the citizens’ brigade.

‘unified campus’ by paul murdoch architects

category: from the ground up

to create greater institutional cohesion, paul murdoch architects took a holistic approach to the entire LACMA campus and its relationship to the cultural institutions flanking it. the architects describe the design as ‘expressive of LA in its openness, multiplicity of urban, natural, and cultural connections, and abundant use of controlled natural light.’ the jury noted how this horizontal skyscraper – an on-axis version of the neighboring tower across wilshire – corresponds to the urbanism of the area. ‘it restores the continuity of the wilshire boulevard streetfront with a respectful attitude by placing the narrow part of the building facing the street and the broad side framing the park.’

‘LACMA wing’ by coop himmelb(l)au

category: from the ground up

emphasizing ‘an architecture that combines functionality with aspiration,’ coop himmelb(l)au designed three main elements: a landscape plinth and two, three-level ‘floating’ gallery wings. public circulation on ramps connecting the volumes would be encased by expressive amorphous forms whose openness to the outside refreshes the museum visiting experience. the jury appreciated the curatorial flexibility of generous gallery spaces, with 22-foot floor-to-ceiling heights, the possibility of mezzanines and intimate galleries, and open floor plates. ‘this entry combines issues of great efficiency with moments of drama,’ noted the jury. ‘the ‘bubbles’ offer exciting spaces that celebrate the public realm while connecting to straightforward, practical, functional galleries in the wings.’

‘hillacma’ by theeae (the evolved architectural eclectic)

category: from the ground up

theeae (the evolved architectural eclectic) considers los angeles’ diversity when proposing the museum as ‘a new cultural platform that connects people from different walks of life,’ by simultaneously offering enclosed cultural spaces and an open, sculpted, outdoor landscape. the tall building (five levels plus garden roof) combines an undulating façade along wilshire boulevard to the south with ‘hill’ element sloping into the park on the property’s north side. ‘the wilshire façade becomes a kinetic wall, imparting a strong urban experience that changes as you drive by, which is how most angelenos experience the city,’ noted the jury. ‘the back façade, a built hillside, is a landscape event that adds a surprising new participatory dimension to hancock park. this will be a hill you want to climb.’

‘re(in)novating LACMA’ by reiser + umemoto

category: working with the existing buildings

reiser + umemoto’s aim was ‘to create a coherent, retroactive masterplan that builds off the campus’ prior successes and seeks to engage and reinvigorate the full breadth of LACMA’s collection.’ the three-pronged approach includes adding new elements in and around the original 1965 buildings, binding them into a new whole. the cone sits within and atop the ahmanson; the bar, an elevated gallery building, transects the campus from north to south, offering an appropriately scaled wilshire entrance and new gallery space; the cluster replaces the 1986 building with a series of interior pod-shaped galleries, as well as exterior exhibition space on a reimagined plaza level. ‘the architects found a way to make the plaza into a connective tissue and strategically make the existing buildings work as an ensemble,’ said the jury.

‘tabula LACMA’ by barkow leibinger with lillian montalvo landscape design

category: working with the existing buildings

this ‘reconstitution’ is an unusual hybrid of old and new, as it maintains the scale and context of the original LACMA buildings by reconstructing them with modern, sustainable materials, then interconnecting them with a new plinth form punctured by courtyards. barkow leibinger – working with landscape designer lillian montalvo – stresses this would ‘provide spaces for art, delight, and public encounter.’ the jury thought this flexible, spacious design addressed the changing role of museums by including a good amount of shopping, cafés, and event venues that urbanize the spaces and engender a lively environment. ‘there’s a powerful idea of using the area around the pavilions to create a whole new programmed space,’ according to the jurors. they enjoyed the rediscovery of the inner plaza and could ‘imagine these would be great spaces to be in, as well as fun to discover.’

‘reimagining/restructuring’ by saffet kaya

category: working with the existing buildings

replacing the 1986 building, saffet kaya proposes ‘to preserve the best elements of the past while creating a more contemporary, multi-use alternative space.’ an elevated volume that respects the scale of the existing structures has solid walls on three sides for curatorial flexibility, then opens to the north with an all-glass façade. circulation into the entrance is through a gentle ramp/walkway leading into the lobby that directs visitors to the other buildings on other floors – the ramps equalizing the importance of all adjacent floors. the new structure is reserved for exhibition space on six above-grade levels, including the interior of the spiral element. ‘this design achieves a considerable service to the campus, making the east campus more coherent than it’s ever been,’ said the jury. ‘the biological form of the spiral – as ancient as seashells and hurricanes – gives value to the floors it connects.’

‘reimagining/restructuring’ by saffet kaya

category: working with the existing buildings

competition info:

competition name: LACMA not lackMA

designs by: barkow leibinger, berlin; coop himmelb(l)au, vienna; kaya design, london; paul murdoch architects, los angeles; reiser + umemoto, new york city; and theeae (the evolved architectural eclectic), hong kong

The post ‘LACMA not lackMA’ protest competition unveils 6 alternatives to peter zumthor’s design appeared first on designboom | architecture & design magazine.

exterior view east from BCAM
image © atelier peter zumthor & partner / the boundary

LACMA’s new building will be composed of seven semi-transparent concrete and glass pavilions that support an elevated, organically shaped, and transparent main exhibition level with a floor-to-ceiling glass façade. zumthor’s design also includes new outdoor landscaped plazas, public programming, educational spaces, sculpture gardens, and integrated native and drought-tolerant vegetation. a new parking lot will also be created as part of the scheme.

view southwest from hancock park, pavilion for japanese art on the far right
image © atelier peter zumthor & partner / the boundary

in april, the los angeles county board of supervisors met to certify the project’s final environmental impact report (FEIR) and rubber stamp the project. construction documents will now be drawn up with construction to begin in late 2019. completion is forecast for the end of 2023.

exterior view west toward the resnick pavilion, BCAM, and the smidt welcome plaza
image © atelier peter zumthor & partner / the boundary

once complete, visitors will be able to access the museum via a new metro station — also set to open in 2023. the subway station on the metro purple line will also provide access to other institutions on ‘miracle mile’, including the la brea tar pits museum and the new academy museum of motion pictures. see designboom’s previous coverage of zumthor’s design here, with more information available on LACMA’s website.

interior view of a meander gallery
image © atelier peter zumthor & partner / the boundary

interior view of a central gallery
image © atelier peter zumthor & partner / the boundary

interior gallery
image © atelier peter zumthor & partner / the boundary

view west down wilshire boulevard
image © atelier peter zumthor & partner / the boundary

project info:

architect: atelier peter zumthor & partner
client: LACMA — los angeles county museum of art
location: los angeles, CA, USA
status: approved by local authorities, construction documents being drawn up

The post fresh images of peter zumthor’s scaled-down design for new LACMA building appeared first on designboom | architecture & design magazine.

the most recent iteration of LACMA’s new building
image © atelier peter zumthor & partner / the boundary (also main image)

for the first time, zumthor talked about his project when he sat down with journalist sabine von fischer for the NZZ newspaper. perpetually interested in the complex relationship between a building, its environment, and humans, zumthor broke out from the museum’s contained campus extending it over the boulevard. he describes his first iteration of his LACMA extension, known as ‘the black flower’, as engaging ‘in a dialogue with the history of the place. however, our neighbor, the museum of natural history, who oversees the tar pits on the site, asked us to step back. we wanted to respect that wish. so we crossed the squares of the urban grid.

‘that was a moment of liberation, the departure from the axis meant the breakthrough for us. it is an encyclopaedic museum, with halls filled with 135,000 objects that came together by accident: furniture, clothes, stone sculptures. one could say: it is completely disparate, what is gathered here. I call it a sanctuary for expatriated objects. we will focus on the things that belong together and then consciously set transitions.’

the updated design adopts a lower profile
image © atelier peter zumthor & partner / the boundary

when asked how architecture changes (or not) depending on its scale, the architect answers: ‘my attitude [towards architecture of different scales] is always the same, the topics do not change. but the places are always new, that fascinates me. I love to explore and understand places so that my buildings can respond to them in a special way… it’s important for me to develop buildings out of the context. that’s why their shape is always different. nevertheless, so I am told, [my] buildings always have their own atmosphere that you can feel immediately.‘

‘the free form allowed me to respond to all neighbors in a friendly manner, but that was not the step beyond the terrain. the ‘black flower’ — that’s what we called the building’s figure — marks the beginning of this process, inside the park’s enclosures. only when we ventured out over wilshire boulevard did the building acquire the character of a large public building.‘

a previous version of the scheme — the ‘black flower’ — employed a different color palette
image © atelier peter zumthor & partner

zumthor’s buildings are known to have an incomparable attention to detail. as one of his largest buildings, the architect expands on maintaining the same quality from his studio’s base in haldenstein, switzerland. ‘we haldensteiner architects work with a large team of mostly american engineers and specialists on this project. we are in the process of establishing a collegial cooperation, also with the general contractor and his subcontractors. our american partner architects are SOM, a traditional company in the united states with a great deal of experience. SOM is known for good quality. the most important thing is that it was always michael govan’s wish that I could guide and supervise everything. haldenstein is in charge.‘

‘every decision is made by haldenstein, because it is clear to all those involved that this is the only way to achieve the highest quality,’ zumthor continues. ‘I know that the american construction industry usually works differently, and the contractors and architects are so far apart in the building process that they usually never get to know each other. for us, however, the following applies: I not only participate in the execution plans of SOM. I also look at all the workshop drawings of the executing craftsmen and I have already met such. there are also professionals in los angeles who understand their craft.’

a scale model of the previous design for the site
image © atelier peter zumthor & partner

compared to the more monolithic construction methods zumthor has used in his european buildings, in LA he is attempting to respect the more traditional american construction of additive methods and layers. yet, he sees no difficulties in completing the main exhibition hall out of a single concrete cast. ‘we foresee to complete the building in 2023, the year of my 80th birthday. a year after we could open it.’ when asked about the recent county council vote in april 2019, which approved the project despite its steep price, he trusts LACMA director michael govan: ‘you do the project and I do the rest,’ govan assured him. see designboom’s previous coverage of the project here.

The post peter zumthor comments on his LACMA redesign for the first time appeared first on designboom | architecture & design magazine.

the scale of the building has been reduced
image © atelier peter zumthor & partner / the boundary (also main image)

LACMA’s new building will be composed of seven semi-transparent concrete and glass pavilions that support an elevated, organically shaped, and transparent main exhibition level with a floor-to-ceiling glass façade. zumthor’s design includes new outdoor landscaped plazas, public programming, educational spaces, sculpture gardens, and integrated native and drought-tolerant vegetation. a new parking lot will also be created as part of the scheme.

the building is elevated above wilshire boulevard
image © atelier peter zumthor & partner / the boundary

in april, the los angeles county board of supervisors met to certify the project’s final environmental impact report (FEIR) and rubber stamp the project. construction documents will now be drawn up with demolition and construction to begin in late 2019. completion is forecast for the end of 2023. see designboom’s previous coverage of LACMA’s new building here.

the project’s previous design included volumes that protruded above the roofline
image © atelier peter zumthor & partner / the boundary

project info:

architect: atelier peter zumthor & partner
client: LACMA — los angeles county museum of art
location: los angeles, CA, USA

The post peter zumthor’s scaled down design for new LACMA building gets green light appeared first on designboom | architecture & design magazine.

native and drought-tolerant vegetation will be integrated throughout the design
image by atelier peter zumthor & partner / the boundary (also main image)

the peter zumthor-designed building — to be known as the ‘david geffen galleries’ in honor of the gift — will be approximately 387,500 square feet, or 36,000 square meters. the plans include the construction of seven semi-transparent pavilions that support an elevated, organically shaped, and translucent main exhibition level. this structure would extend over wilshire boulevard to an area of land that is currently used as a parking lot. existing parking spaces will be relocated to a new 260-space structure to be built nearby.

the new building will house the institution’s permanent collection
image by atelier peter zumthor & partner / the boundary

‘this innovative addition to the LACMA campus will ensure ongoing and expanded access to their permanent collection,’ says david geffen. ‘LACMA will be able to touch millions of lives and create an even healthier and more vibrant community for everyone. at a time when federal funding for the arts is threatened, it’s important that we foster public-private partnerships, like this one, to support arts and cultural institutions. we must ensure that the public, everyone, has access to these venerable institutions.’

the plans include the construction of seven semi-transparent pavilions
image by atelier peter zumthor & partner / the boundary

the goal of the project is to replace the site’s four aging buildings — which have serious structural problems — and to improve the functionality of the museum building for the permanent collection. the project also includes a 300-seat theater for lectures, music, and performances. demolition and construction is anticipated to commence in late 2018 and be completed by the end of 2023, at the same time as LA’s metro purple line station opens.

the layout has been configured to allow for a range of different circulation routes
image by atelier peter zumthor & partner

the museum building presents carefully selected external views
image by atelier peter zumthor & partner

the galleries will be named after philanthropist and entertainment executive david geffen
image by atelier peter zumthor & partner / the boundary

zumthor has stated that he wants the museum to feel ‘elemental’ and ‘substantial’
image by atelier peter zumthor & partner

the goal of the project is to replace the site’s four aging buildings
image by atelier peter zumthor & partner

construction is anticipated to commence in 2018 and be completed by the end of 2023
image by atelier peter zumthor & partner

a range of indoor and outdoor dining options are offered
image by atelier peter zumthor & partner

LACMA is the largest art museum in the western united states
image by atelier peter zumthor & partner / the boundary

the new building shown in relation to the existing structure
image by atelier peter zumthor & partner / the boundary

sectional diagram
image by atelier peter zumthor & partner / the boundary

an aerial view of the proposed development
image by atelier peter zumthor & partner

conceptual site plan at ground level
(click for larger version)

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

The post peter zumthor reveals new images of LACMA’s david geffen galleries appeared first on designboom | architecture & design magazine.