Tag Archives: LACMA

PETER ZUMTHOR AND ELEMENTAL IDEAS

November 3, 2017

Zumthor’s original 2013 presentation model for LACMA. Though it looks like a conceptual diagram, this is actually the complete design for the project. (photo from inexhibit.com)

There are the usual suspects: Frank Gehry, Rem Koolhaas, Zaha Hadid, I.M. Pei, and so on. Call them celebrity architects or call them “Starchitects,” but one greater walks amongst these mere mortal rock stars. I speak of the one who is called an “architect’s architect.” He is Pritzker-winning, Swiss architect, Peter Zumthor.

Many non-architects may not even know the name of the enigmatic Zumthor, for his Haldenstein-based practice is small and artisanal, perhaps even cultish. But in a short time to come, Los Angeles will know Mr. Zumthor’s work.

LACMA’S campus building architects
upper left: William Pereira (photo by George Carrigues); upper right: Hardy Holzman Pfeiffer Architects (photo by Alison Martino); middle left: Albert C. Martin Sr. (photo from thepowerplayermag.com); middle right: Bruce Goff (photo from thepowerplayermag.com); lower left: Rem Koolhaas (photo by Kirk McKoy / Los Angeles Times); lower right: Renzo Piano (photo by Museum Associates / LACMA)

He has proposed a courageous addition to the Los Angeles County Museum of Art (“LACMA”). This museum campus has had a string of prominent designs of their time, from the 1965 concrete structures of William Pereira to the curious 1986 Post Post Modern addition of Hardy Holzman Pfeiffer Architects (my previous employer), from the 1994 purchase of the iconic Streamline Modern May Company department store by Albert C. Martin Sr. to the quirky yet poetic 1988 Pavilion for Japanese Art by Bruce Goff, and from the controversial 2004 unbuilt $300 million glass roof from Rem Koolhaas (my previous teacher, herehere and here) to the elegant but underwhelming 2008 and 2010 buildings of Renzo Piano.

Exterior view of Zumthor’s 2017 proposal for LACMA (photo from archdaily.com)
Interior view of Zumthor’s 2017 proposal for LACMA (photo from archdaily.com)

Contrasting all this noisy activity, Zumthor’s proposal is so elemental and simplistic that you have to wonder if this is pure genius, or is it a blob of ink that accidentally got turned into the $600 million dollar project?

However, this is how Zumthor excels. He generates ideas like we all did in architecture school or even as a child. Innocently.

Simple ideas come to us all, and if we stay true to our opening statement, then our architecture can result in greatness. But in the real world of client changes, limited budgets, unrealistic schedules, and construction shortcomings, our ideas of greatness are at best compromised. At worst, our ideas drown in a tidal wave of mediocre practicality and code compliance.

The Thermal Vals, Braubunden, Switzerland, by Zumthor (photo from arcspace.com)

Somehow, project after project, Zumthor keeps his conceptual visions alert and alive from the first day of the design process to the final day of construction. Take for example some of his concepts, such as this one for a hotel in Chile. The presentation appears to be no more than twigs, rocks and debris—literally. Yet , Zumthor addresses the mundane necessities of things like bathroom plumbing and air conditioning, or budget and constructability, and time after time, his final building parallels the essence of his first idea.

Presentation models for Zumthor’s Nomads of Atacama Hotel, San Pedro de Atacama, Chile (photo Peter Zumthor, Buildings and Projects, Volume 5)

If we common architects delivered such a presentation as the hotel above, in what seems like no more than a teenager’s effort, we would be laughed out of our client’s conference room. The genius of Peter Zumthor is almost Warholian. Not only are the ideas of Zumthor artistic in nature, but he is able to artfully convince a Board of Directors that his ideas are artistic and worth pursuing at all costs. As often critiqued, Andy Warhol’s genius was most profound not in the work, but rather, in how he convinced everyone that he was a genius.

Peers would not take this kind of cynicism with Zumthor. As the media discouraging called Zumthor’s LACMA scheme the “ink blob,” reminiscent of the neighboring La Brea Tar Pits, we had faith in our hero. This architect of poetry and practicality will work in the fire escapes and exit signs,  the desert sun beating through the enormous panes of glass, and the structural engineering to bridge over six lanes of traffic on Wilshire Boulevard.

Proposed Academy Museum of Motion Pictures (photo from dezeen.com)

With recent museums in Los Angeles, such as The Broad , the Petersen , the above mentioned Renzo Piano buildings at LACMA, and the in-construction Academy Museum of Motion Pictures also by Piano, each of these projects will look like what happens when talented architects try too hard, yelling like a child for attention. And then, Zumthor walks in the room with grace and calmness.

Saint Benedict Chapel, Sumvitg, Braubunden, Switzerland, by Zumthor (photo by Felipe Camus)

THE ROAD TO FRANK GEHRY: WHAT HAPPENED AT LACMA?

November 5, 2015

Gehry’s vulcanized fiber wall, LACMA, Los Angeles, California (photo by Lily Poon)

When The Simpsons make fun of your work, you have arrived, right?

Many think of architecture as a final product, such as a building, a park or a piece of furniture. Many forget about the creative journey that arrives at the final product.

Process and product—in life as in design, getting there is as gratifying as being there.

I ask this of the Los Angeles County Museum of Art: why is the process that architect Frank Gehry is famously known for absent from your current exhibit?

left: Model of Gehry’s design for the Louis Vuitton Foundation, LACMA, Los Angeles, California (photo by Ella Poon); right: Louis Vuitton Foundation by Gehry, Paris, France (photo by Fondation Louis Vuitton)
left: Model of Gehry’s design for the Louis Vuitton Foundation, LACMA, Los Angeles, California (photo by Ella Poon); right: Louis Vuitton Foundation by Gehry, Paris, France (photo by Fondation Louis Vuitton)

Simply entitled “Frank Gehry,” LACMA delivers their latest blockbuster show. Now in his late 80’s, Gehry’s career has been showered with every accolade, i.e. AIA Gold Medal, Pritzker Prize, and the National Medal of Arts awarded by the U.S. President. So why did the museum capture five decades of Gehry’s work by displaying only two aspects: early sketches (the beginning) followed by a large physical model (the conclusion)?

Sure, there are other aspects in the show, like photographs and video clips. But where is the most fascinating aspect, Gehry’s artistic explorations? Well known for his ingenious studies—the process of drawing and drawing, building models of all sizes, variations and permutations, material and construction research, and innovative technological applications—these (samples below) are missing at LACMA.

left: Study models for the Guggenheim Museum, Bilbao, Spain (photo by Hisao Suzuki); right: Sketches by Gehry for the Guggenheim Museum
left: Study models for the Guggenheim Museum, Bilbao, Spain (photo by Hisao Suzuki); right: Sketches by Gehry for the Guggenheim Museum

Here’s what I think. Over the years, Gehry’s imaginative process has been unfortunately labeled by the mainstream as “crumpled paper.” When this architect designs, his studies do look like crumpled pieces of paper. Dozens of them. Hundreds of them.

Doomed, Gehry’s thoughtful research has been labeled not just formulaic, but cliché. Even my 10-year old daughter’s class studied his work, calling it crumpled wads of paper. As such, all the children giggle.

Clip from The Simpsons 2005 episode “The Seven-Beer Snitch”
Clip from The Simpsons 2005 episode “The Seven-Beer Snitch”

To reach the height of pop-culture zeitgeist, for better or for worse, a 2012 episode of The Simpsons parodied Gehry’s designs. Fictionally, Marge’s crumpled letters inspired one of Gehry’s most prominent buildings, the Walt Disney Concert Hall.

Though Gehry cooperated with the TV show, he later stated how he is “haunted” by the Simpsons’ gag. Disappointed, Gehry confesses, “Clients come to me and say, crumple a piece of paper. We’ll give you $100, and then we’ll build it.”

I believe LACMA, or even Gehry himself, chose to counter the ill-fated wrinkled paper theme. But by doing so, perhaps too much has been edited out. The previous exhibit at Bergamot Station in Santa Monica curated a much more revealing and exciting show, presenting Gehry’s inner workings and the in-betweens.

Walt Disney Concert Hall by Gehry, Los Angeles, California (photo by Patrick Krabeepetcharat)
Walt Disney Concert Hall by Gehry, Los Angeles, California (photo by Patrick Krabeepetcharat)

Years back in Maui, I drove the legendary “Road to Hana.” When I arrived in Hana, I was dissatisfied by this small nondescript community. I then realized the point was not Hana itself, but rather, the road to Hana. I looked back at my delightful day—at how the 65-mile drive toured me through rain forests, waterfalls, beaches, bridges and the sunset.

In architecture and in life: think process and product. Enjoy the trek and smell the roses.

(Exhibit closes March 20, 2016, Frank Gehry, LACMA)

© Poon Design Inc.