HOME & GARDEN
January 3, 2008
THANK YOU for the article on late architect Conrad Buff III's Rapor house and for the nostalgia it evoked ["Buff's House, Still Shining," Dec. 13]. As a 26-year-old carpenter and contractor, I built this house for Conrad, along with several other Buff & Hensman homes in the mid- to late '70s, including Don Hensman's home, Domus Solaris. Conrad and I enjoyed a special bond, and I still have the silver and turquoise rings he made me. It's great to see his dream being kept alive. Jim Davis Studio City CONRAD BUFF was a meticulous designer and a master of details.
February 20, 2010 |
A grid of blue diagonals, the profiles of two men confronting each other, a series of colorful vertical stripes with an embedded phrase -- these will be some of the enigmatic images flashing through our peripheral vision while driving in L.A. over the next six weeks. They are three of the 21 visual artists' billboards that have been going up in some of the most trafficked corridors of Los Angeles, part of a long percolating idea of Kimberli Meyer, director of the MAK Center for Art and Architecture at the Schindler House.
May 16, 2013 |
"Everything Loose Will Land" has landed. And its timing could hardly be better. The exhibition at the MAK Center in West Hollywood, curated by UCLA architectural historian and critic Sylvia Lavin, is a wry study of the ways Los Angeles artists and architects worked with, leaned on, stole from and influenced one another in the 1970s. In a larger sense, it charts the way Southern California architects threw off the influence of establishmen Modernism and helped remake the profession in that decade.
March 4, 2001 |
Great Modern architects are notorious for making houses that are difficult to live in. So now that the exhibition "The Architecture of R.M. Schindler," which opened last weekend at the Museum of Contemporary Art, finally places the Austrian-born architect among the great designers of the last century, it's worth asking: What's it like to make a home in a Schindler house?
June 22, 2007 |
The announcement for "Hyper-Graphics," Austrian artist Arnulf Rainer's show at the MAK Center, is one of the most striking to come across my desk in a long time: a glossy, fold-out poster bearing an image of the Schindler House, where the center is located -- actually a photograph of a photograph of the house -- bathed in warm, slightly queasy yellows and greens, with "A. Rainer" scrawled across the bottom in blood red.
September 26, 2011 |
With a dog at her feet and an advance copy of her book "Rin Tin Tin" on the table, Susan Orlean sips coffee in the backyard of the Los Angeles house she now calls home. In September, the New Yorker staff writer, whose book "The Orchid Thief" was the (sort of) basis for the film "Adaptation," left rural New York behind. For the next year, she, her husband and son will be calling themselves Angelenos, thanks partly to the movie-star dog and Orlean's responsibilities as a working mother. "I started being inflamed with the idea that Rin Tin Tin was a great story, but I didn't know what the story was, of course," says Orlean, who begins all her work with lively curiosity before plunging into the unknown.
May 9, 2003 |
High Tech Hillbilly is not a style you'll read about in art history textbooks. But it describes the look and sensibility of Chris Burden's "Small Skyscraper," the prototype of an affordable structure you'll be able to build from a kit as soon as a few kinks are ironed out of the design. To fit his four-story tower into the back gallery of Los Angeles Contemporary Exhibitions, Burden has laid it horizontally.
March 11, 2001 |
In 1932, critic Pauline Gibling, R.M. Schindler's estranged but admiring wife, wrote that the architect's work was derived "from a life picture which is revolutionary." Schindler, she asserted, "conceives of the architectural form as the space enclosed, rather than the flat surfaces of a wall which encase it." His residences, she believed, are "intimately related to the earth.
July 25, 2002
On Saturday at 7:30 p.m., Schindler House in West Hollywood will be the site of a concert by experimental musicians interacting with the acoustics of the historic Modernist landmark. The concert, with a performance by Joe Potts and others, is part of a series sponsored by the MAK Center for Art and Architecture and produced by the Society for the Activation of Social Space through Art and Sound. The house is at 835 N. Kings Road, West Hollywood.