By Howard Fine, Staff Report, Los Angeles Business Journal
Developers in Los Angeles get hit with city charges for just about everything, and as the fees have multiplied, so have developers’ frustrations. But there’s one levy that some developers have embraced: a 1 percent fee on commercial projects exceeding $500,000 in value that is applied to fund public art projects.
Kilroy Realty Corp. of West Long Angeles is one of those developers. Last fall at its Columbia Square project in Hollywood, Kilroy unveiled a public art installation: a row of translucent panels featuring human figures by celebrity artist Dustin Yellin.
Kilroy was only obligated under the city’s 1 percent for public art mandate to pay about $600,000 for the work, but the developer ended up spending nearly double that to make sure it could be displayed to maximum effect – and spent the extra money willingly.
“We wanted to do more than just fulfill the funding requirement,” said Lauren Phillips, Kilroy’s director of construction services. “We wanted to bring something new and exciting to the project and have the art make as much impact as possible.”
The Columbia Square panels are among the more recent of several hundred public art displays around Los Angeles made possible by the city’s 1 percent mandate. Established in 1989, it’s one of the oldest in the country – and regarded as one of the better run programs with dozens of local artists as frequent participants.
According to the Cultural Affairs Department, the mandate has generated roughly $35 million for public art over the past decade. No cumulative figures were available for the total number of public art installations and programs funded, though department staff said the agency had completed 66 art projects that it managed over the past four years.
Los Angeles is not alone – 32 other cities in Los Angeles County have a levy for public art mandates, according to a 2011 report from the Los Angeles County Arts Commission. Of those, Culver City’s is the oldest, established in 1988. Other cities that have since set up programs include Alhambra, Long Beach, Beverly Hills, Santa Monica, Glendale, and Westlake Village.
Most of the other cities have a 1 percent set-aside requirement, though a few have slightly higher or lower percentages. Malibu fine art consultant DeeDee Postil said that while the programs in these cities generally don’t have major problems, few match up to the quality and breadth of art and level of experience in Los Angeles. “The city of Los Angeles has really emerged as the gold standard among these programs,” she said.
The project from Los Angeles-based Kilroy Realty would redevelop a 3.5-acre site bounded by Vine Street, De Longpre, Ivar and Homewood Avenues. Plans call for a mixture of high-rise and low-rise structures, containing nearly 500,000 square feet of multifamily residential units, office space, shops and restaurants.
Architectural renderings from the Shimoda Design Group have evolved from the original vision for the project, and now portray a lower height profile along the Vine Street side of the property. Plans call for a gateway entrance at the corner of Vine and De Longepre, flanked by a pair of one-story buildings which would include a combined total of 9,100 square feet of pedestrian-oriented commercial space.
January 9, 2016
The Los Angeles Times
By Jessica Ritz
How can an almost 80-year-old broadcasting building steeped in Hollywood history relate to how we work and live now?
The design of NeueHouse, a hybrid coworking facility and social club aimed at enterprising creative professionals, reveals many connections between past and present within the former West Coast headquarters of CBS.
“We’re all broadcasters today,” said Joshua Abram, NeueHouse’s co-founder, in what originally was the general manager’s office. Legendary network head William S. Paley would work from the upper floor suite when he came to Los Angeles to check in on his network’s big names, such as Orson Welles, and attend to the growing CBS media empire.
In a sly reference to modern architecture pioneer Le Corbusier’s notion of the home as “a machine for living,” Paley described the building he commissioned Swiss architect William Lescaze to design in 1937 on Sunset Boulevard near North Gower Street as a “machine for broadcasting.”
Tuesday, January 5, 2016
by Sean Keeley
Kilroy Realty has big plans for 333 Dexter Ave. N. in South Lake Union and renderings from The Miller Hull Partnership reveal a rather funky design for their two-tower complex. Plans call for two 12-story towers above 15,000 sf. of ground-floor retail and underground parking for 700 vehicles and storage for 286 bicycles. All-told, the complex will include approximately 582,000 sf. of office space. The building designs boast one north building with a relatively straight-forward design and a south building with jagged edges buttressed by diagonal columns to the ground. In-between the two, an open-air pedestrian plaza underneath a walkway connecting the two. The showcase piece will be a 20-by-50-foot art wall facing Harrison Street featuring a mural inspired by the idea of a “compelling cityscape that is both a gritty look at urban life and visual gateway to Seattle.” Designs go before the design review board on January 6 for recommendation.
December 7, 2015
The first permanent publicly-viewable artwork by Refik Anadol, a media artist known for his immersive, site-specific light installations, was recently unveiled in San Francisco. Virtual Depictions: San Francisco, a series of “data sculptures” based on a publicly-available dataset, occupies a 40 ft. screen in the lobby of 350 Mission and involved collaborations with the building’s architects, Skidmore, Owings and Merill, and developer, Kilroy Realty.
“The ambient qualities of urban ecologies, as we as civilizations create them in specific geographic locations, are coming to the forefront of cultural production,” Anadol told Archinect. “With the advent of digital media and environmental consciousness we now are able, more so than any at other point in human history, to access the formal qualities of the ambient environment in terms of the built, social and natural environments.”
“Through sensors, databases, and visualization we can collect information on the real-time dynamics of cities: sound, light, air quality, acoustics, human movement, ecological dimensions, social preferences, and their multiplicity of interactions,” he continued.
Anadol considers his access to the data set a “critical turning point” in the development of the project. Titled, fittingly, SF Data, the platform was launched in 2009 and contains a wealth of information available for developers, residents, architects, and anyone else with an interest.
“Bringing intelligence, memory and culture into architectural domain, now, we can discuss self-generated spaces,” he said. “A space that adapts itself autonomously or even may fabricate itself by using current technologies.”
The installation uses the public dataset, as well as social network data, as the basis for the shifting, architecture-specific visuals. Often, this materializes as trompe-l’œil illusions that play with the depth of the screen.
Notably, 350 Mission is adjacent to the site of the new Transbay Transit and Caltrain’s Downtown Extension. For Anadol, the project will be enlivened when the transit hub will bring more visitors, furthering its potential as a publicly-viewable, if privately-held, work.