“A critic can always change her mind,” I thought to myself as I hunted for parking off Wilshire Boulevard. At a stoplight, the full flank of Los Angeles County Museum of Art’s David Geffen Galleries filled my windshield. Late afternoon sun cut sideways and glinted warmly off the large glass panes, each framed in brass. Floppy palm trees masked the hefty concrete structure as it arced over the street. Despite the hour, the constellation of fairy lights embedded in the cantilevered roof were on, twinkling. I looked up at Swiss architect Peter Zumthor’s 347,500-square-foot structure, completed in collaboration with SOM, and thought, “Hmm, not so bad.”
Many folks have remarked that the museum’s panoramic facade is cinematic and reference auteur directors. But maybe it’s a rom-com? In a Jane Austen novel, this would be the détournement—the plot twist when the protagonist’s object of derision turns to one of affection, if not desire. The Pritzker Prize–winning architect’s scheme has been my Mr. Darcy since its black flower—a tribute to a tar puddle—was first revealed in 2012. Read More …
