The demise was probably inevitable, foretold by an Ed Ruscha painting. William Pereira’s LACMA opened in 1962, but the buildings were never great. Its corporate modernism was inward‑looking, and its flourishes didn’t age well. Later additions by Hardy Holzman Pfeiffer Associates (1986) and Renzo Piano (2008, 2010) atomised the campus, but there was always something pleasant about sitting in the plaza and watching museum‑goers drift from building to building – a piece of pedestrian urbanism in a town long blasted for not having any. (It does.) Read More …