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Critic's Notebook: A film twist on LACMA's architectural mix

A motion picture museum at LACMA will only add to the disparate shape of the campus, which is ultimately a smaller snapshot of Southern California itself.

October 12, 2011|By Christopher Hawthorne, Los Angeles Times Architecture Critic

Does a big, encyclopedic urban museum like LACMA need to feel unified architecturally? Maybe not — particularly if it's located in Southern California. Anyone who has learned to appreciate the L.A. cityscape, with its architectural gems hidden deep inside a network of freeways and avenues, will be able to navigate the disparate museum campus just fine. Like the larger city, LACMA always seems to be in the middle of becoming; it is always in process.

That doesn't mean that we don't periodically find ourselves hoping that there is some architectural approach that will magically unify the place. One reason that a 2001 plan for LACMA by Rem Koolhaas and the Office for Metropolitan Architecture, which called for razing most of the museum's existing buildings and replacing them with a soaring tent-like roof, was both so appealing and so unworkable is that it tried to give LACMA the simple legibility of a single building. The plan was ultimately abandoned as too expensive — to be exact, as a poor fit between architectural ambition and the fundraising kind.

And don't forget that LACMA's Miracle Mile campus was born of compromise. The director in the mid-1960s, Richard Fargo Brown, wanted to hire the legendary German architect Ludwig Mies van der Rohe to design the museum's new galleries along Wilshire.

The board of trustees settled on Pereira, a local, no-frills modern architect and very much a known quantity. He was, they felt, the more practical choice.

christopher.hawthorne@latimes.com

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