Word: isozaki
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...winners constitute a sort of international Who's Who. West Berlin has or will soon have new IBA buildings by O.M. Ungers (West Germany), Hans Hollein (Austria), Rob Krier (Luxembourg), Mario Botta (Switzerland), Aldo Rossi (Italy), Oriol Bohigas (Spain), Rem Koolhaas (the Netherlands), James Stirling (Britain), Arata Isozaki (Japan) and, from the U.S., Charles Moore, Robert A.M. Stern, Stanley Tigerman, Peter Eisenman and John Hejduk. A museum show tied to IBA, "750 Years of Architecture and Urban Design," is currently on view in West Berlin at Mies van der Rohe's last great building, the National Gallery...
Thus MOCA is the red cherry atop a huge and ugly sundae of realty speculation. But the building itself, designed by Tokyo-based Arata Isozaki, is a triumph, perhaps the most thoroughly felt new museum to rise in an American city since Louis Kahn's 1972 Kimbell Art Museum in Fort Worth. Its chief exhibition spaces are under the courtyard level, lit from above by beautifully proportioned groups of pyramidal skylights. In this way Isozaki has made the subtlest possible use of Los Angeles' main natural asset, its clear and candid light. No architect in America, not even Kahn himself...
...Isozaki's design did not fare smoothly at first. It fell afoul of a small group of trustees headed by Industrialist Max Palevsky, who, along with Eli Broad, put up the initial seed money for the museum -- $1 million each, spread over four years. Palevsky wanted a plain hangar of a building, as little ) "architecture" as possible. But after a two-day slugfest of a meeting, the board voted 17-3 for Isozaki, at which Palevsky resigned in a huff and sued for half his money back. But by then other key grants were in line. The "major breakthrough," according...
...that this is in the cards. "The leadership of this board, let alone the city, will never let the Temporary Contemporary go," he says. Nor should they: the discourse between MOCA's two buildings, the spare, rather grand abruptness of Gehry's renovated warehouse contrasted with the hyperrefinement of Isozaki's sunken museum, gives the museum a special flexibility of response to the display needs of today's art. The T.C. should be kept at all costs...
...long, low winery is somewhat reminiscent, in fact, of the Japanese Arata Isozaki's work. Isozaki's first major commission in the U.S., the Museum of Contemporary Art in downtown Los Angeles, evokes a dreamy pre-Columbian (or extraterrestrial) temple. The exterior is rich and singular: roughly cut red sandstone blocks, green aluminum panels, a barrel vault floating above the ; sidewalk. Inside, only the library, with its extraordinary white onyx window, is architecturally aggressive. The seven scrupulously conceived galleries are restrained, plain, deferential...