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Edward Larrabee Barnes

February 19, 2014 | By Christopher Hawthorne, Los Angeles Times Architecture Critic
Sharon Johnston, who runs the Los Angeles firm Johnston Marklee & Associates with her husband Mark Lee, told me a couple of years ago that there was one key difference between their work and the mannered, loosely flamboyant designs of Thom Mayne, Frank Gehry, Eric Owen Moss and other famous L.A. architects a generation or two older. In developing a design, she said, she was most pleased when she hit upon an architectural gesture that could accomplish two or three goals at the same time -- that could fold several priorities into a single move.
March 13, 1989 | SUZANNE MUCHNIC, Times Art Writer
Ensconced on the 16th floor of the Occidental Petroleum Center building in Westwood, Armand Hammer is master of all he surveys: his corporate headquarters, an art collection that he values at $400 million and a massive hole in the ground. Hammer's oil empire has brought him wealth and power, his collection has allowed him to become a self-styled cultural diplomat, but if all goes according to plan, the hole in the ground and the building above may change all that.
Westwood's new Armand Hammer Museum of Art and Cultural Center opens to the public today. Its main-stage events are the umpty-eighth reintroduction of Hammer's collection, the official unveiling of the building designed by Edward Larrabee Barnes and an unprecedented retrospective of the art of the Russian avant-garde visionary Kazimir Malevich. Sunday night, Hammer celebrated with a gala bash.
June 11, 1989
A high-end business park that will be the largest development of its kind within a 10-mile area, is how Malcolm O'Donnell, director of project marketing for Overton, Moore & Associates describes its proposed La Mirada Commercentre, scheduled for ground breaking this month. The $30-million development, a joint venture between OMA and Copley Real Estate Advisors, is being developed in cooperation with Cox Broadcasting Co., the parent of KFI radio, and the city of La Mirada. The project, designed by the Withee Malcolm Partnership of Hermosa Beach, is conceived to take architectural and land planning advantage of a landmark site adjacent to the Santa Ana Freeway encompassing the familiar, 750-foot KFI radio tower.
January 13, 1991 | LEON WHITESON, Whiteson is a Los Angeles free-lancer who writes on architectural topics.
The architectural style of the many new art museums built in the United States in the past few decades runs the gamut of expression from the grand to the modest. While many designers seem eager to create pompous Palaces of Culture, a few are content to build self-effacing structures subservient to the works of art they house and display. The new $60-million Armand Hammer Museum of Art and Cultural Center in Westwood is a rare example of such architectural reticence.
November 10, 2002 | Hunter Drohojowska-Philp, Special to The Times
Sitting on the patio of the UCLA Hammer Museum, James Elaine hunches forward in his chair, his pale blue eyes turning serious as he says, "This is not a career choice. This is my passion." Elaine is curator of Hammer Projects at the Westwood museum, and since his 1999 arrival he has established this exhibition program as one of the most adventuresome in Southern California. Hammer Projects is dedicated to exhibiting the work of young artists, many of whom have never had a museum show.
Less than two months after the death of Armand Hammer and less than two weeks after the closing of the first exhibition at the Armand Hammer Museum of Art and Cultural Center in Westwood, the museum is mired in uncertainty--over its direction and even its next show. The late chief executive of Occidental Petroleum Corp. planned the museum that bears his name as a monument to himself, a home for his art collection and a glitzy cultural attraction. The museum opened Nov.
November 12, 1995 | Suzanne Muchnic, Suzanne Muchnic is The Times' art writer
When the California Palace of the Legion of Honor opened its doors Saturday after a three-year renovation and expansion, it was not a minute too soon for its many devotees. Located in Lincoln Park, in a spectacular setting overlooking Golden Gate Bridge, housed in a re-creation of an 18th-Century French palace and dedicated to Californians who died serving their country in World War I, the Legion has never been an ordinary art museum.
May 28, 2000 | DOUGLAS WISSING
The first five names on the American Institute of Architects' list of significant U.S. cities for innovation and design are hardly surprising: Chicago, New York, San Francisco, Boston and Washington, D.C. It's the sixth city that leaps out from the list: Columbus, Ind. Not Columbus, the capital of Ohio, or Columbus, Ga., known for Ft. Benning. But the Columbus in Indiana, a town of 35,000 perched at the southern edge of the prairie 40 miles south of Indianapolis.
July 19, 2013 | By Christopher Hawthorne, Los Angeles Times Architecture Critic
A couple of major ironies are folded into the title of the big new architecture exhibition at the Los Angeles County Museum of Art, "The Presence of the Past: Peter Zumthor Reconsiders LACMA. " The first irony is that the title itself rings with echoes of architectural history. In 1980, when Paolo Portoghesi curated the first Venice Architecture Biennale, he called his show "The Presence of the Past," and he used it to explore the rising interest in history and ornament among the talented emerging architects of the day, including Frank Gehry and Arata Isozaki.
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