April 13, 1990 |
"I never professed to be an originator," Los Angeles architect Frank Israel told his audience at UC Irvine's Beckman Center on Wednesday night. "I'm more of a stylist." Indeed, as he showed slides of a number of the private homes he designed during the past decade, his "stylist" profile was paramount. Here were lush sweeps of color, sybaritic fountains and pools, amusing details and fanciful furniture designs.
February 18, 1996 |
The world of architecture, like those of politics and entertainment, likes to simplify complex issues with sound-bite-length catch phrases. The snappier the label, the better. Frank Israel is, therefore, a trend-spotter's nightmare--difficult to categorize and full of contradictions.
January 8, 1989
Frank O. Gehry is a great architect. But as one of the Los Angeles contractors who is presently building a Gehry project, I must take exception to the implication that all Los Angeles contractors are limited in their ability ("Frank Gehry 'Always Wanted to Work Big,' " by Leon Whiteson, Dec. 18). How come no one seems to be interested in the viewpoint of the contractor who has to build one of these incredible creations? Believe me, there are two sides to the story. Imperfect and limited are adjectives that fall on both sides of the fence.
June 19, 1994
I know I speak for many in the architectural community in saying that we need more articles like "L.A. Architects: They Did It Their Way" (by Joseph Giovannini, Style, May 15). It is vital for the continued health of the profession that L.A.'s contributions and leadership in architecture be recognized throughout the world. JEFFREY DANIELS AIA Los Angeles Those bizarre designs are very appropriate for Los Angeles. They look as though they have already been wrecked by an earthquake.
May 19, 1989 |
Searching for an architecture to express the style of his small but rapidly expanding independent film and TV production company, Propaganda Films president Joni Sighvatsson told designer Frank Israel that "we need to project a young and funky image." Sighvatsson wanted at all costs to avoid what he described as the stuffy corporate look of established movie studios. "Our business is selling images," he said, "and we needed to show in our architecture that we are different from the old-style Hollywood-Burbank operation."
April 16, 1990 |
Motorists driving on West Washington Boulevard in Venice might not notice the simple brick warehouse buildings on the corner of Hampton Drive, marked only by large black numbers spelling out the address: 901. But this group of industrial sheds is noteworthy because it housed the practice known as the Office of Charles and Ray Eames.