Built on tar swamps and two tortuous decades in the making, LACMA’s latest addition used twice as much metal as the Eiffel Tower. How did America supersize revered architect Peter Zumthor?
Driving down the palm-lined strip of Wilshire Boulevard in Los Angeles, a striking new crossing heaves into view. A ribbon of glass leaps over the road, sandwiched between two gigantic planes of concrete. As you get closer, the bridge swells out in sinuous arcs, swooping back on itself to inscribe an amoebic, shape-shifting blob, spreading out like an inkblot. From some angles it has a retro-futuristic air, recalling a Jetsons airport terminal, or one of California’s “Googie” style gas stations. From others, the curving roof looks like a great big tongue, flaring out to give the neighbours a raspy lick.
This concrete colossus is home to the new David Geffen Galleries of the Los Angeles County Museum of Art (Lacma), a $724m mothership designed by the fabled Swiss architect Peter Zumthor. It is less a museum than a mighty piece of infrastructure, a 110,000 sq ft warehouse-cum-bridge, jacked up nine metres in the air and looming above the street with a brooding, muscular heft. Two decades in the making, and subject to tortuous years of delays, controversies and cost escalations – building on a tar swamp in a seismic zone is not straightforward – it finally opens this weekend.
The Fitzcarraldian feat is the brainchild of Michael Govan, who became Lacma’s director in 2006 with an ambition to build a museum like no other, using the promise of a dazzling structure to lure donations of artworks and dollars ($125m came from LA county, the rest was fundraised). Govan cut his teeth at the Guggenheim, and on Frank Gehry’s Bilbao outpost, where he clearly got a taste for the transformative fairy dust of signature architecture. He later moved to Dia:Beacon, in New York’s Hudson Valley, where he commissioned Zumthor for a project that was ultimately unrealised. At Lacma, he was determined to make a monument for posterity, at any cost.
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