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Architecture as Advertising in Los Angeles

Here in Los Angeles, cars rule. You've all heard the Missing Persons' song "Walking in LA" - well it's true: nobody walks here. It's just not that kind of town. Never has been. We've always been car-crazy here, especially back when cars were something special. Back in the 1920s, the city's love affair with the car turned into some pretty odd offspring. Roadside business shaped like giant owls, dogs and mushrooms sprouted up. It was easier to see a giant pumpkin than a plain storefront, especially since the customers travelled by car, not on foot. The shape of these buildings conveyed the nature of their merchandise to customers zooming by. Architecture became advertising and roadside stands brought convenience to the car culture. Unlike Chicago or NYC, where shopping was in a central downtown area, LA shopping got spread out as the car became the main way people got around.

Buildings shaped in the form of giant objects became the most memorable landmarks in this car-centric city of ours. Between 1920 and 1940, about 75 such buildings were erected. Though relatively few in number, they certainly helped give this town the flamboyant identity it now has. Beyond that, it influenced future building designs in other new towns, adapting to the car and the motorist.

Hoot Hoot-I Scream 1928-1938

The Dog Cafe 1928-1973

Tail o' the Pup 1946-2006

Wilshire Boulevard Brown Derby 1926-1980

Coca-Cola Company Bottling HQ 1936- present

Chiat/Day

Taking a page from the past, here's the present-day Chiat/Day Ad agency parking lot gate in Venice, CA, designed in 1991 by Claes Oldenburg

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Courtesy of Fernando Artigas
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Step Inside This Stunning, Nature-Inspired Art Gallery in Tulum, Mexico
Courtesy of Fernando Artigas
Courtesy of Fernando Artigas

Upon closer inspection, this building in Tulum, Mexico, doesn’t seem like a suitable place to house an art exhibit. Everything that makes it so visually striking—its curved walls, uneven floors, and lack of drab, white backgrounds—also makes it a challenge for curators.

But none of these factors deterred Santiago Rumney Guggenheim—the great-grandson of the late famed art collector and heiress Peggy Guggenheim—from christening the space an art gallery. And thus, IK LAB was born.

“We want to trigger the creative minds of artists to create for a completely different environment,” Rumney Guggenheim, the gallery’s director, tells Artsy. “We are challenging the artists to make work for a space that doesn’t have straight walls or floors—we don’t even have walls really, it’s more like shapes coming out of the floor. And the floor is hardly a floor.”

A view inside IK LAB
Courtesy of Fernando Artigas

A view inside IK LAB
Courtesy of Fernando Artigas

A view inside IK LAB
Courtesy of Fernando Artigas

A view inside IK LAB
Courtesy of Fernando Artigas

IK LAB was brought to life by Rumney Guggenheim and Jorge Eduardo Neira Sterkel, the founder of luxury resort Azulik. The two properties, which have a similar style of architecture, share a site near the Caribbean coast. IK LAB may be unconventional, but it certainly makes a statement. Its ceiling is composed of diagonal slats resembling the veins of a leaf, and a wavy wooden texture breaks up the monotony of concrete floors. Entry to the gallery is gained through a 13-foot-high glass door that’s shaped a little like a hobbit hole.

The gallery was also designed to be eco-conscious. The building is propped up on stilts, which not only lets wildlife pass underneath, but also gives guests a view overlooking the forest canopy. Many of the materials have been sourced from local jungles. Gallery organizers say the building is designed to induce a “meditative state,” and visitors are asked to go barefoot to foster a more sensory experience. (Be careful, though—you wouldn't want to trip on the uneven floor.)

The gallery's first exhibition, "Alignments," features the suspended sculptures of Artur Lescher, the perception-challenging works of Margo Trushina, and the geometrical pendulums of Tatiana Trouvé. One piece by Trouvé features 250 pendulums suspended from the gallery's domed ceiling. If you want to see this exhibit, be sure to get there before it ends in September.

[h/t Dezeen]

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Engineers Have Figured Out How the Leaning Tower of Pisa Withstands Earthquakes
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iStock

Builders had barely finished the second floor of the Tower of Pisa when the structure started to tilt. Despite foundational issues, the project was completed, and eight centuries and at least four major earthquakes later, the precarious landmark remains standing. Now, a team of engineers from the University of Bristol and other institutions claims to have finally solved the mystery behind its endurance.

Pisa is located between the Arno and Serchio rivers, and the city's iconic tower was built on soft ground consisting largely of clay, shells, and fine sand. The unstable foundation meant the tower had been sinking little by little until 2008, when construction workers removed 70 metric tons of soil to stabilize the site. Today it leans at a 4-degree angle—about 13 feet past perfectly vertical.

Now researchers say that the dirt responsible for the tower's lean also played a vital role in its survival. Their study, which will be presented at this year's European Conference on Earthquake Engineering in Greece, shows that the combination of the tall, stiff tower with the soft soil produced an effect known as dynamic soil-structure interaction, or DSSI. During an earthquake, the tower doesn't move and shake with the earth the same way it would with a firmer, more stable foundation. According to the engineers, the Leaning Tower of Pisa is the world's best example of the effects of DSSI.

"Ironically, the very same soil that caused the leaning instability and brought the tower to the verge of collapse can be credited for helping it survive these seismic events," study co-author George Mylonakis said in a statement.

The tower's earthquake-proof foundation was an accident, but engineers are interested in intentionally incorporating the principles of DSSI into their structures—as long as they can keep them upright at the same time.

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