The Los Angeles County Museum of Art (LACMA) is on the brink of unveiling its new Brutalist structure designed by Swiss architect Peter Zumthor.
The building will house the museum’s permanent collection, including paintings and sculptures, but the full opening isn’t expected until April 2026.
In an exclusive arrangement, LACMA members will have a chance to explore the empty interior spaces of the David Geffen Galleries for three days starting July 3.
Brutalist architecture, which emerged in the 1950s, is known for its raw concrete forms, often inciting polarized opinions from the public.
Concrete’s environmental impact, from its production to heat retention, has come under scrutiny, with some architects opting out due to its eco-unfriendliness.
Despite this, its aesthetic power cannot be ignored; Zumthor’s design covers 347,500 square feet, featuring 90 exhibition galleries and corridors supported by seven massive piers.
While some admire Brutalist designs, like Marcel Breuer’s former Whitney Museum in New York and Louis Kahn’s Kimbell Art Museum in Fort Worth, Zumthor’s Geffen Galleries have faced criticism.
Over the years, the LACMA project has sparked debate about the museum’s programming and its new thematic displays, which some argue compromise the accessibility of its diverse, encyclopedic collection.
The change from chronological to thematic exhibits could complicate how visitors engage with the art, leading to frustration in navigating the vast collection.
Recently, a press event allowed access to the gallery spaces and highlighted some notable aspects; one being that the extensive use of concrete can create a monotonous ambiance.
Although certain areas are sleek, the overall concrete aesthetic can feel overwhelming—compounded by the gallery’s design, which resembles a series of bunker-like rooms.
In contrast, the expansive floor-to-ceiling windows could provide striking views of the city, supported by the installation of curtains for light control.
However, the lighting setup poses challenges, with issues emerging from the fixed vertical ceiling lights.
Due to budget concerns, design compromises were made, including the loss of the originally envisioned elegant curved windows, replaced with a more basic flat structure.
Art display logistics also present hurdles; the drilling required to hang pieces becomes labor-intensive on such robust walls, complicating art removal and installation.
This new addition marks a significant moment in LACMA’s long history of architectural evolution, following several previous redesigns by notable figures like William L. Pereira and Renzo Piano.
Zumthor’s labeling of the building as a ‘concrete sculpture’ raises eyebrows, as the structure also accommodates restaurants and retail spaces, blurring lines between art and architecture.
The move to implement egalitarian principles by creating a single-level design for the gallery space stands in contrast to the physical separation of art within the venue.
Despite these critiques, the appeal of the Geffen Galleries to urban tourists seems promising, drawing parallels to other iconic structures like the Guggenheim Museum in Bilbao.
LACMA announced the acquisition of Jeff Koons’ topiary sculpture, ‘Split-Rocker,’ a curious choice that merges childlike creativity with historical motifs in a bid to attract visitors.
While the ambitious design aims to cement LACMA’s status as a cultural destination, the museum’s large, diverse collection remains central to its identity, standing apart from more contemporary art-focused institutions.
The growing emphasis on tourism raises concerns, especially with declining forecasts for international travel to the U.S. and challenges stemming from recent changes in government policies.
As LACMA gradually transitions into this new phase, departures of key leadership have sparked speculation about the museum’s stability and future direction.
While there are doubts about the long-term success of the Geffen Galleries, the museum seems determined to capture the imagination of the public through its striking new architectural approach.
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