Lost in the scorched-earth plan will be Pereira’s three classically massed sandstone and steel pavilions filled with midcentury touches like terrazzo and hardwood, beveled metal detailing, floating stairs and multifloor views, organized around a raised plaza along Wilshire Boulevard. The plan also will jettison Hardy Holzman Pfeiffer’s blocky, out-of-scale Robert O. Anderson wing abutting Wilshire. The only remaining components will be Renzo Piano’s 2008 BCAM building and the 2010 Resnick Pavilion, and Bruce Goff’s 1988 Pavilion for Japanese Art.
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- LACMA caught the teardown bug. But the architectural cure isn’t a bulldozer, Thursday, February 20, 2020 - 07:00