A couple of nice fast prototype costs images I identified:
Pedestrian plaza outdoors Los Angeles Planet Trade Center, Bunker Hill Towers, and Disney Hall
Image by jann_on
Pedestrian plaza is component of the Calvin S. Hamilton Pedway:
"The Calvin S. Hamilton Pedway, as the system is formally recognized, is a network of elevated walkways that was initial presented in the 1970 Notion Los Angeles: The Concept for the Los Angeles Basic Program. Hamilton was the city organizing director at the time, having taken the position in 1964. The plan, adopted by the city in 1974, promoted dense commercial developments connected to a single an additional by a rapid transit method. The program was abandoned in 1981 when federal funding for the project was eliminated. Hamilton stepped down from his position in 1985 after a criminal investigation."
"The pedways fall inside the Downtown Center Organization Improvement District, but the organization’s CEO says its strained sources can only cover maintenance crews on the pedways about as soon as a week."
Bunker Hill Towers (aka Bunker Hill Apartments aka Bunker Hill Residential Towers):
Built ca. 1966–68.
Architect: Robert Evans Alexander.
Central City Community Program Location, Freeway Adjacent Advisory Notice for Sensitive Makes use of, Greater Downtown Housing Incentive Area, Los Angeles State Enterprise Zone, Common Program Land Use= "Regional Center Commercial", Downtown Adaptive Reuse Incentive Location, Bunker Hill Redevelopment Project, w/in 500 feet of USC Hybrid Higher, Downtown Center Company Improvement District, Central City Revitalization Zone.
Assessed Land Val.: ,262,053
Assessed Improvement Val.: ,664,155
Last Owner Modify: 04/01/98
Last Sale Quantity: ,080,180
Year Constructed: 1968
"The 19-story, Robert Evans Alexander-created Bunker Hill Towers opened in 1968. Soon after the demolition of 7,310 pre-current residences and forced relocation of their residents, Bunker Hill Towers became the residence for nearly all of Bunker Hill’s remaining residents. A lot more than a decade would pass prior to the nearby residential Angelus Plaza and Promenade Towers opened. Extended before the redeveloped loft crowd found downtown thousands lived in such residences, which includes Cathay Manor, Little Tokyo Towers, and hardest to ignore, on the streets."
Robert Evans Alexander:
Walt Disney Concert Hall:
111 South Grand Avenue
Project search announced: 1987.
Initial design approved: 1988.
"Final" design approved: 1991.
Ground broken for the garage: 1992.
Hall actually built: 1999–2003.
Architect: Frank Gehry / Gehry Partners, LLP / Frank O. Gehry & Associates (“FOG/A”)
Executive Architect: Dan Dworsky / Dworsky Architects (at least initially, off the project by ’94)
Project Designers: Michael Maltzan (at least initially, left to start his own firm in ’95), Craig Webb (I believe).
Acoustic Design and style: Yasuhisa Toyota for Nagata Acoustics, with preliminary function by Minoru Nagata
All round Project Management: Fred Stegeman for Stegeman/Kastner Inc. (initially until ca. ’95, I feel)
Project Management w/in Gehry’s Firm: James Glymph (at least initially)
Structural Engineering: CBM Engineering (at least initially)
Garden Design: Melinda Taylor
Woodwork: Columbia Showcase (headed by Joe Patterson)
Application: Catia (by Dassault). (Major duty for pushing for use of this software in Gehry’s office goes to partner James Glymph. In the course of the later construction phase [2001–3], a 4D scheduling modeling program was also utilised that was developed by CIFE at Stanford and Walt Disney Imagineers, employing Catia as its base, I consider.)
Computer software consultants: C-Cubed (ca. 1991–94)
Client: A seven-member architectural search committee was set up by the Music Center in 1987 and chaired by Richard Koshalek, with Daniel Commins as acoustic advisor. In 1989, the twelve-member Walt Disney Concert Hall Committee was formally established and thereupon headed by Frederick M. Nicholas on a volunteer basis until about 1995. The land ("Parcel K") was owned by Los Angeles County and the County was represented in negotiations by lawyer Richard S. Volpert, at least from 1989 to 1995. Sally Reed was CAO of the county for considerably of this period till 1995, but I’m not positive how straight involved she was with this project. The Philharmonic was initially represented by Ernest Fleischmann, managing director, with input from Esa-Pekka Salonen, the music director. (In 2001, Debra Borda became the new head at the Philharmonic, Esa-Pekka Salonen remained music director.) Lillian Disney represented herself and her family members as the single biggest private donor till her death in 1998, with Diane Disney Miller also on the committee and serving as its vice-chair at a single point. Sharon Disney Lund was also involved in the negotiations until her death in 1993. They also acted by means of the family attorney, Ron Gother. From 1995 to 1997, Harry Hufford served as volunteer full-time CEO of the committee, with Suzanne Marx his vice-president for improvement, and a mandate to save the project and recapitalize it. At various points, other committee members integrated Stuart Ketchum, James A. Thomas, and Ronald J. Arnault. Mayor Riordan was also heavily involved. Riordan brought in Eli Broad to assist finance the completion. In 1996, Andrea Van De Kamp became the new chair of the Music Center. (Sheldon G. Stanfill was president of the Music Center in the early 1990s.) In 1997, a new oversight committee was formed, with Eli Broad and Diane Disney Miller as chief guiding members. In 1998, William Siart, a member of the oversight committee, became chair of the primary committee (the legal entity at the center of this confusion).
Monetary auditing/oversight: Hines Interests (beginning in ’94, with Bruce Frey heading this function).
Owner: The County of Los Angeles, with the facility operated by a nonprofit below a Master Lease Agreement. (I believe this is an accurate summary of the scenario, but I am not completely specific. The agreement is complex and I think it involves a sublease back to the County that obliges it to supply building and grounds maintenance, and then an additional subsublease to the organization that runs programming, which has subleases to the Philharmonic and the Music Center. So if I’ve produced a muddle of that, I apologize.)
Key Donors: Lilian Disney, Eli Broad, The Disney Corporation, Ron Burkle, The Ralphs/Food4Less Foundation, Wells Fargo, Bank of America, The Instances Mirror Foundation, Richard Riordan, Roy E. Disney (especially for REDCAT), Pacific Bell Foundation, and Deloitte & Touche. (The County also provided significant funds to the parking garage.)
Current house of the Los Angeles Philharmonic.
Attributes an organ with 72 stops, 109 ranks, and six,125 pipes, co-made by Frank Gehry and Manuel Rosales, with help from Kevin Gilchrist, and built by Caspar Glatter-Götz, with engineering help from Heinz Kremnitzer. Early in the method, a special committee was formed (with Cherry Rhodes, Robert Anderson, and Michael Barone serving)—just for locating the right organ designer, settling on Manuel Rosales in 1990. Michael Barone also served as a consultant for the duration of the final design approach.
"In 1982, the household company, Retlaw Enterprises, sold the rights to Walt Disney’s name and likeness to the Walt Disney Co. for million. That funds was place aside for an unspecified charitable present. . . . In 1987, Music Center then-Chairman F. Daniel Frost, who had been Walt Disney’s tax lawyer, presented Lillian Disney with Los Angeles Instances articles detailing the Music Center’s wish for a new concert hall. Disney readily agreed to donate her funds. At the time, Frost was the son-in-law of Music Center founder Dorothy Chandler and was a board member of Occasions Mirror, parent company of The Instances. He has since divorced and has left the Times Mirror board."
The 1987/88 notion to use Parcel K for a new Philharmonic was not with out considerable opposition, like that out the outgoing CAO of the county, Jim Hankla, and architect Barton Myers, who both proposed that the new concert hall be built on the L.A. mall:
"Lillian Disney created an initial present of million in 1987 to develop a functionality venue as a present to the people of Los Angeles and a tribute to Walt Disney’s devotion to the arts and to the city. . . . Upon completion in 2003, the project expense an estimated four million the parking garage alone cost million. The remainder of the total cost was paid by private donations, of which the Disney family’s contribution was estimated to .five million with one more million from The Walt Disney Organization. By comparison, the three current halls of the Music Center price million in the 1960s (about million in today’s dollars). . . . The walls and ceiling of the hall are finished with Douglas-fir even though the floor is finished with oak. The Hall’s reverberation time is about two.2 seconds unoccupied and two. seconds occupied."
It is worth pointing out that the final constructing hardly resembles the competitors designs and models from the invited design competition in 1988 and substantially deviated from the 1991 styles and models in a number of important regions such as cladding and landscaping.
By the finish, the style method apparently incorporated over 30,000 drawings and models.
From an initial field of ca. 80 entrants, then winnowed to a list of 25, the other 3 finalists in 1988 had been Gottfried Böhm, Hans Hollein, and James Stirling.
From 1990 to 1991, the project faced a lawsuit brought by a group referred to as A Neighborhood and Regional Monitor, represented by Sabrina Schiller, which alleged that there had not been a sufficient assessment of environmental and targeted traffic impacts. Gary Justice, Pamela Schmidt, and Helen Parker represented the project and defeated the lawsuit and appeal.
Another set of delays in 1990 came from a newer demand from the county that the web site incorporate a hotel, in order to raise additional income in the kind of hotel taxes. Gemtel was to be the hotel developer and they had been to bring in Ritz Carlton as operator. This was scrapped in 1991 when Ritz Carlton refused to agree to employ unionized labor and/or take on a living wage rule (the exact disagreement is somewhat unclear to me).
The 1991 models and other mock-ups premiered at the Fifth International Exhibition of Architecture at the Venice Biennale in 1991 to great acclaim, prior to becoming submitted for approval.
These mock-ups for the models were designed using Catia, "a 3D modeler made for the aerospace market by Dassault, a French software program firm related with IBM."
"At 1 point, someone estimated that the project had more than 90 consultants."
For the duration of the initial phase of the project, "a consortium of Basic Contracting firms, (Peck Jones, Turner Building, and Obayashi) had been chosen to type the constructing entity, Concert Hall Builders." However I am not positive who the final constructing firms were.
In 1994, the price estimate skyrocketed by million and the project was place on hold pending auditing and financial assessment by Hines.
"According to committee budgets, some of the greatest increases in building and material charges have been in the steel framing, .six million more than initially believed in wood purchases and millwork, up million, partly since of a selection to add interior wood and in drywalling and plaster, up .9 million. ‘The drywall made for this hall has curves and movement that never have any comparison to something else that’s been constructed in this city,’ Nicholas stated. ‘The people who were bidding the drywall had in no way seen anything like it, hadn’t had any experience with it. So they place a lot of contingencies in it and they bid it quite, quite high. A bright spot is the getting, cutting and installation of the exterior Italian limestone–a procedure Gehry has closely supervised. Bids on that stonework are reported to be 5,000 below its original .six-million estimate.’"
As described above, a main shake-up of operations occurred ca. 1995.
"Dworsky indicated, as a matter of tracking what happened to whom, it is really basic, of all the main original participants (i.e. architects, engineers, builders, and project managers), no 1 survived except FOGA."
The garden, initially a significant function of the style brief, has all but disappeared. It is supposedly partially on the roof? I have no concept. I never a lot noticed a garden throughout any of my visits to Disney Hall, despite the fact that I didn’t thoughts the landscaping I did notice. In any case, Melinda Taylor was a relatively late addition to the project.
"She came in after a number of other designers, which includes Philadelphia landscape architect Laurie Olin and Nancy Goslee Powers, who did the Norton Simon Museum’s garden, had come and gone on the job."
“‘Wow! Did I do that? Holy shit! Did I do that?’ Often you look at it that way,” Gehry says, taking in the flowing ribbons of steel at street level and then gazing up at the luffing “mainsails” at the center of the building—forms which seem to defy engineering, and which were conceived by Gehry as squiggly lines on a piece of paper a lot more than 16 years ago. . . . Gehry, possibly the most popular architect in the globe appropriate now, and arguably the most essential and influential, is a modest figure in a profession known for its enormous egos."
"If Gehry lived in Idaho, we would see snowmobiles in his designs he is an architect stuck in a feedback loop with his surroundings. As it is, he lives by the Pacific and owns a sailboat, and so it is seagoing vessels we see in his buildings: the boat-shaped main gallery of the Guggenheim Bilbao, the concert hall in Disney. ‘When I began Disney Hall,’ says Gehry, ‘I saw a show at the Toledo Museum in Ohio referred to as In Praise of Ships in the Sea, and I got genuinely excited about these shapes. I saw them in the wood ceiling I was already carrying out, and I brought them in.’ A metaphor took hold of Gehry: A concert was a journey, the hall would be a boat, the steel forms that shot into the air over L.A. its sails."
www.lamag.com/features/2003/10/12/how-disney-hall-redeeme… (quote on page five)
For a student’s viewpoint on the use of nautical forms, see: couplarchideas.wordpress.com/2012/11/28/similarity-betwee…
www.latimes.com/news/nearby/cl-ca-uroussoff19oct19,,64916… (Ouroussoff, 2003)
www.nytimes.com/2003/ten/23/arts/architecture-review-a-moo… (Muschamp, 2003)
www.slate.com/articles/arts/architecture/2003/10/epic_arc… (Hawthorne, 2003)
www.npr.org/templates/story/story.php?storyId=1264860 (Stamberg, 2003)
www.thedailybeast.com/newsweek/2003/08/17/a-mighty-monume… (McGuigan, 2003)
www.latimes.com/entertainment/news/arts/cl-et-swed1jul01,… (Swed, 2003)
www.businessweek.com/stories/2003-10-05/frank-gehrys-higher… (Palmieri, 2003)
www.nybooks.com/articles/archives/2003/oct/23/victory-at-… (Filler, 2003, paywall)
www.riprense.com/Silverstunt.htm (contrarian view, ca. 2003)
articles.latimes.com/2003/oct/25/entertainment/et-fisher25 (blurb round-up, 2003)
books.google.com/books?id=c2Kwa-EZR2IC&lpg=PA106&… (photo of opening night, 2003)
articles.latimes.com/1991-09-05/neighborhood/me-2333_1_walt-disn… (Isenberg, ’91)
www.nytimes.com/1992/12/13/arts/architecture-view-gehry-s… (Muschamp, ’92)
books.google.com/books?id=rF0EAAAAMBAJ&pg=PT72&lp… (’96, scroll back a page or two for the start off of the article titled "Why L.A. Hates Frank Gehry")
www.laweekly.com/2003-10-30/music/organomics/ (on the organ, 2003)
www.latimes.com/entertainment/news/arts/la-et-disneyhall6… (Swed, 2008)
www.kcet.org/arts/artbound/counties/los-angeles/frank-geh… (Frances Anderton)
www.youtube.com/watch?v=zQ-Kf3sJfok (ca. five minutes)
www.youtube.com/watch?v=fRjnoNkaJUs (+1 hour extended talk with Frank Gehry and other folks about him and the Los Angeles arts neighborhood)
Was a companion at Gehry’s firm for 19 years (ca. 1989–2008) and was founding CEO of Gehry Technologies.
"In the 1980s, he worked with LMN Architects in downtown Seattle, heading the team that designed the San Diego Convention Center."
www.miamialum.org/s/916/interior-3-col.aspx?sid=916&g… (scroll down to "Edges Torn Open")
businessmodelalchemist.com/weblog/2010/09/on-business-model… (scroll down for video)
I feel the want to point out that though Dan Dworsky is at present rather maligned within the Los Angeles architectural community, specially for his involvement in this project, he’s straight accountable for my favored Bunker Hill buildings, the Angelus Plaza senior housing complex, as nicely as the very decent Figueroa Courtyard. The vision of a revived Bunker Hill with far more than just tall glass boxes of workplace space owes a great deal to his efforts over the years.
A rising star in the California architectural scene, recently garnering praise and awards for his New Carver Apartments for the Skid Row Housing Trust. A constructing that offers transitional housing for the not too long ago formerly homeless, it’s one I do not like for a quantity of nit-picky motives, but whose social conscience I credit. One particular of his most prominent commissions was for another efficiency hall—Mashouf Performing Arts Center for SF State. My favourite of his functions is the Billy Wilder Theatre at the Hammer, which is a great size for films they screen and tends to make me believe each and every time that I’ve snuck inside a fancy, attractive lipstick holder from the late 1980s: hot pink, sleek black, kiss kiss. I also consider he did a wonderful job with MoMA QNS, the short-term (and far more fun) residence of MoMA even though the primary creating was becoming revamped during the early 2000s.
"Michael Maltzan established his independent practice in Los Angeles in 1995. Soon after graduating from the Rhode Island School of Design (1985) and Harvard’s Graduate School of Style (1988), he worked briefly in Boston for Schwartz/Silver Architects and then for Machado and Silvetti Associates. . . Then in 1988, Maltzan moved to California, exactly where he joined the workplace of Frank Gehry. . . In Gehry’s office, Maltzan worked on the initial design and style stages of the acclaimed Walt Disney Concert Hall (1988–2004) for Los Angeles and was project designer for the tautly elegant Vontz Center for Molecular Studies (1993–1999) at the University of Cincinnati."
Senior companion (at present?) at Gehry Partners and the major designer assigned to Disney Hall following Michael Maltzan left the firm.
Prior to joining Gehry, Webb worked at Albert C. Martin & Associates and Barton Myers Associates.
"The 125-employee workplace is structured like a pyramid, with Gehry delegating creative work to two principal architects: Webb and Edwin Chan, who oversee style and direct project teams. . . . And whilst Bilbao was the defining project for Chan, Disney Hall belongs to Webb. ‘There’s a lot of him in there,’ says Gehry. . . . ‘They’re different personalities,’ says Gehry. ‘When Craig makes stuff, it really is far more genuine. Edwin is more outgoing with people,’ he continues. ‘He appears to enjoy dealing with customers, the personal stuff. It is different than how Craig does it. He is a tiny shy or reticent, not as gregarious. He gets a tiny fussy at times. Like everyone else, he gets insecure.’ . . . Gehry describes the younger architect as intuitive, with good communication and analytical skills and what he calls excellent ‘hand-eye coordination’ — the ability to see, discover and recognize Gehry’s concepts. ‘He can play with me on that level.’"
Landscape designer, married to Craig Webb. This appears to have been her single biggest project, although she has also worked on smaller projects and private gardens in Los Angeles.
Frederick M. Nicholas:
"Frederick M. Nicholas, an lawyer licensed to practice law in the State of California given that 1952, is a specialist in Real Estate Improvement and Leases. He is President of The Hapsmith Firm, a Real Estate Development Firm with main interests in Northern and Southern California."
Frederick Stegeman (d. 2009):
"Hufford served as the chief administrator for Los Angeles County from 1974 to 1985 and worked as interim chief administrative officer in Ventura County from December 1999 to ."
"As CAO, Hufford was responsible for preparation and presentation of the County spending budget to the Board of Supervisors administrative supervision of County departments and management research."
Prior to getting named acting CAO in 1974, Hufford had spent nearly his complete profession, with some interruptions, operating in the staff of the CAO workplace, beginning initially in 1953.
He also served as an administrative officer at Gibson Dunn, and as a past president of the Music Center.
In 2001, he won the Earl Warren Public Service Award.
In 2003, there was a settlement in a sexual harassment suit against him.
A discussion on the 1979 Bunker Hill CRA competition and Gehry’s participation in that. Most of the proposed projects mentioned did not get constructed: