It's a depressingly reliable fact of Los Angeles architecture: Nothing comes easily on Bunker Hill.
Frank Gehry and the Los Angeles River: It's a combination that makes zero sense (if you're looking strictly at Gehry's resume) and follows a natural logic (if you think about the interest the architect's work has long shown in L.A.'s linear infrastructure and its overlooked, harder-to-love corners).
In 1981, a young writer named David Brodsly described the Los Angeles freeway as one of the city's indispensible metaphors, “one of the few parts capable of standing for the whole.”
Over the last couple of years, Plan A for expanding the Los Angeles Convention Center has been slowly morphing into Plan B.
Imagine if the ancient Romans, late in their empire-building days, had suddenly forgotten how to design aqueducts. Or if Chicago started filling the Loop with a collection of ungainly skyscrapers, each more of an eyesore than the last.
By the time Richard Neutra, R.M. Schindler and other modernist architects began making a noticeable mark on Los Angeles in the decades before World War II, a good number of the city's major public buildings were already in place.
According to documents filed with the city of Malibu, the owner of a legendary beachfront house by architect Craig Ellwood wants to demolish it.
The 3-year-old house owned by Jeanne and Anthony Pritzker, high on Angelo Drive in the upper reaches of Beverly Hills, is a vast and imposing neo-modern chateau, loosely Richard Meieresque in feel, that holds a notable collection of contemporary art and covers 49,000 square feet. It opens onto...