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Bowling alleys are right up there with curling rinks on the list of the most unlikely milieus for anything chic. Yet, at The Spare Room, on the mezzanine level of the Hollywood Roosevelt Hotel, both bowling and the bowling oxfords custom-designed for the newly opened lounge by George Esquivel are now decidedly in.
Celebrities and notables are seen nightly at the venue, created by nightlife wizards Med Abrous and Marc Rose and cocktail king Aidan Demarest.
The design, by the Los Angeles-based design firm Studio Collective, combines vintage, custom-tailored and new to conjure up an atmosphere of by-gone affluence.
There is the gaming parlor vibe, with its two vintage bowling lanes and custom-made sets of dominoes. And there is the speakeasy cocktail lounge scene with its lavish use of velvet, dark leather, polished dark wood, bronze, cast-iron and hardwood floors. Together, they form The Spare Room that oozes civilized illegality and pays homage to the real goings-on at the storied hotel in the 1920s. Tuija Seipell
We have experienced dozens of brand and product launches. Much of the time, we are not impressed. Small baby-steps, same-old-same-old, reiterations of existing and stale ideas, broken brand promises, confusing off-brand presentations, mind-numbing marketing-speak, boring PR. Blah blah blah.
No matter how much we are lavished and pampered with free trips and swag, if we are not impressed, we are not impressed, and we will not write about it. If it’s not cool, it’s not cool. Simply, if it does not resonate with us, we will not write about it.
That is the integrity you our readers expect of us, and we expect it of ourselves, too. So, when we sometimes do publish a sponsored post, we always make it clear that it is a sponsored post. This is not one of them.
We’ve attended Mercedes launches before and not written about them. But this time, they got us excited! The last few days in L.A. have shown us that Mercedes is serious about creating cool concepts and producing cars that are more edgy, sporty, cool and engaging for a younger audience, a group whose language they have not spoken before.
Waiters in black t-shirts with tuxedo print which makes it look like a short sleeve jacket - cool idea
We love it that Mercedes is really trying to do something different. In cars, in events, in branching out, in their approach to reaching a new audience.
The “multidisciplinary festival” we attended last Thursday at The Geffen Contemporary at the Museum of Contemporary Art (MOCA) in L.A. is called Transmission L.A: AV CLUB - presented by The Avant/Garde Diaries and curated by Mike D of the Beastie Boys.
The festival runs from April 20 to May 6 and it is free and open to the public. It is a mixture of contemporary art, design, music, film and food.
The star vehicle of the event is the Mercedes-Benz Concept Style Coupé, the new midsize four-door luxury coupé scheduled for market launch next year.
With the release of the A class later this year, Mercedes started to approach the younger, savvy consumer market. They’ve had to rethink and redevelop their design strategy and marketing but, while the car drives beautifully, the look does not match the promises hinted at during the concept stage. We wanted more. Bolder, edgier, something that really does draw the eye.
We think this latest concept, the Mercedes-Benz Concept Style Coupé, has the potential to make a splash. This week in L.A. Mercedes certainly pulled out all the stops with the festival, celebrations and parties attended by the Who is Who in hipster L.A.
Mercedes launched this new car in a way they have not launched before. They understand that street art matters and they enlisted Mike D of the Beastie Boys to bring into this international meeting point of the avant garde his favorite artists and musicians, including Benjamin Jones, Mike Mills, Tom Sachs, Lauren Mackler from Public Fiction, Sage Vaughn, Isaac from Still House Group, Peter Coffin, Roy Choi and Will Fowler.
Mercedes had the new car as part of an installation with headphones you listen to while the lights above created a light show on the car, bathing the “new baby” in a cool artistic shower. Very impressive.
We have been to many, many car launches before and they are mostly boring. This one was different and interesting, with lots of talking points and lots of ways to engage the audience.
Here's a video of what the exhibition looks like. Go visit it while it’s still on! - Bill Tikos
A fresh take on the office cubicle is possible! Just look at the fun little houses in which the 30 or so cubicle dwellers toil at this Los Angeles-based creative media agency.
Designed by Edward Ogosta Architecture, the 6,000-square-foot (558 sq.ft.) warehouse space initially appears like any big white space with particle-board detailing. But the seemingly bland interior reveals a number of clever ideas, all designed to spark create ideas and encourage interaction as well as provide privacy.
Ogosta named the design Hybrid Office to indicate that every main feature represents two supposedly unrelated things: something from the surrounding city and/or nature married with an office function.
The office cubicles are called House-Tables and their skyline represents that of a row of houses.
There’s a gathering space, an amphitheater-like area constructed with book cases called Book-Arena, and a tatami-covered thinking space called Sky-Cave. Tall, cone shaped hollow tree trunks have become chairs that provide individual privacy. - Tuija Seipell.
Build a massive house made of concrete in the middle of a grove of 130 beautiful protected old oak trees and you have an ugly disaster in your hands.
This scenario sounds likely but it was elegantly avoided in the Oak Pass Main House that Walker Workshop designed for a private client in Beverly Hills, California.
The house sits on a 3.5-acre site at the rim of a canyon, which is why the fantastic views were the main consideration of the house plan.
The ornate oak trees provide a contrast for the hard edges of the low-lying house - a delicate balance not easily achieved.
The use of glass allows for views and vistas over and through the house and makes the mass of the house seem much smaller than it is.
Structural concrete is the main building material as it lets large spans of space to flow into each other without columns or supports.
All of this leads to a calm harmony between the site and the elegant minimalist house.
The 8,000 square-foot (743 sq.m.) single-family residence includes four bedrooms on the lower level beneath the green grassy roof, two kitchens, a dining room, a living room, an office, a 900-bottle wine room, an exercise room, a media room, four bathrooms and a powder room, a foyer and an art gallery courtyard plus a garage.
A 75-foot lap pool with infinity edges on three of four sides, bisects the house.
This large residence is on the same property with the much written-about Oak Pass Guest House that Walker Workshop completed in 2013. - Tuija Seipell.
Architecturally alarming things could be expected when a movie mogul of big-budget action movies based on over-the-top special effects assigns his mega-million Los Angeles villa project to a globally recognized architect whose work includes a fantastical master plan for a place called Ice Cream City in Overtown, Florida.
Luckily, movie man Michael Bay (Transformers, Armageddon, Pearl Harbor) and architect Chad Oppenheim have many other things in common besides far-reaching imaginations.
Bay’s much-praised and publicized 30,00 square-foot (2,787 square-meter) crash and party pad (his actual home is in Miami, Florida) is elegant, minimalist and modern, reflecting as much Bay’s reverence and appreciation of good architecture as it does Oppenheim’s incredible ability to conjure elegant, iconic buildings.
Bay sold his previous L.A. house in 2009, and paid $10.9 million for a mid-century house on a five-acre lot on Bel Air Road. He caused a disapproving uproar by tearing the house down as it was considered somewhat important, even by L.A. standards. It was designed in 1951 by Burton Schutt with interiors by Billy Haines, and was for decades home to socialite Marion Jorgensen and steel magnate Earle Jorgensen (close friends with the Ronald Reagans).
To replace this house, he selected Chad Oppenheim’s concept residence whose renderings had been up on Oppenheim’s website for a long time, just waiting for the right client.
The three-story house has a 50-seat movie theater designed by Jeff Cooper, a movie prop museum, parking for several cars, a spa and several bedrooms, plus two master bedroom modules that hover above the rest of the building with incredible views of Los Angeles and Santa Monica.
An infinity pool along the cliff edge emphasizes the exquisite plan that allows the structure to sit in the hillside site as if it had always been there.
The project team was led by Chad Oppenheim with Oppenheim’s V.P. of Operations, Carl Romer, as the project manager. Also involved were L.A. architecture firms Rios Clementi Hale Studios and Stenfors Associate Architects, as well as interior designer Lorraine Letendre and decorator Lynda Murray. - Tuija Seipell.