building

The Iranian Red Crescent Society released video showing rescuers in Tehran lowering a man strapped to a stretcher from the wreckage of a building severely damaged in an airstrike.

One of the most painstaking architectural renewals in recent Los Angeles memory has finally pulled a world-class jewel of modern architecture from obscurity.

Designed by pioneering Modernist architect Richard Neutra in 1928, with limited collaboration from another Modernist icon, Rudolph Schindler, the Jardinette Apartments had been hiding in plain sight on an unassuming Hollywood street for nearly a century. The complex was a technical and spatial breakthrough, and quickly gained international renown as one of the earliest International Style structures in the United States, not to mention Neutra’s first L.A. commission.

But the building’s original owner, Joseph H. Miller, went bankrupt during construction and skipped town to avoid his creditors, and the Jardinette slipped from view. “After that early burst, it just disappeared,” said Barbara Lamprecht, historical consultant for the Jardinette’s rehabilitation, which is just now wrapping up.

For decades the building stood quietly along West Marathon Street: an austere, four-story complex that most people passed without a second glance. Wedged between Western Avenue and Manhattan Place, amid stucco apartment blocks and scrappy bungalows, the edifice had, until recently, grown increasingly shabby as time and neglect took their unforgiving toll.

That changed with the intervention of a newcomer to historic preservation named Cameron Hassid. For years the tireless local developer and his tenacious team have willed the Herculean restoration project to the finish line. Hassid plans to bring the apartments to market before the end of the month.

Property owner Cameron Hassid, left, and Neema Ahadian, commercial real estate agent for Hassid, on the scenic rooftop of the Richard Neutra-designed Jardinette Apartments in Los Angeles. Neutra imagined the Jardinette Apartments as a prototype for future garden apartment buildings. Nearly 100 years later, the Jardinette is set to reopen after a lengthy redevelopment.

(Myung J. Chun / Los Angeles Times)

A Radical Design

When the Jardinette first opened it was featured prominently in a seminal survey of early avant-garde apartment housing called “The Modern Flat,” while European architectural publications from Paris to Moscow showcased it as an exemplar of functionalist design, noted Nicholas Olsberg, an architectural historian and curator who has written extensively about Neutra. “It was seen worldwide as one of the signal examples of the new architecture,” Olsberg added.

The Northeast corner of the Jardinette Apartments, circa 1930. When the building first opened in 1928 it was a technical and spatial breakthrough—but it suffered from years of neglect after falling from view.

(Richard and Dion Papers, Collection 1179, UCLA Special Collections)

Built inside and out with reinforced concrete — a modern industrial material that had rarely been employed for housing— the sculpted, U-shaped building, whose jogging corners, projecting sills and swaths of dark and light paint gave it a powerful visual rhythm, used its structural heft to liberate its facade.

Long horizontal bands of easy-to-open steel casement windows, some complemented with concrete balconies, drew daylight and air deep into its 43 efficiently organized units — studios and one bedrooms, ranging from about 400 to 700 square feet — and opened them to wide views of the street and, on higher floors, the Hollywood Hills. Hallways and stairs were saturated with natural light thanks to skylights and strategically placed windows. At the forecourt a modest garden, then dominated by a huge cedar tree, softened the building’s mass, giving the project its name: Jardinette, the little garden.

A roof covered the original skylights in the Jardinette Apartments, but they are now fully exposed.

(Myung J. Chun / Los Angeles Times)

“Arguably my father had more influence on apartment design than he did on house design,” said Neutra’s son Raymond, pointing to several Neutra designs offering indoor/outdoor lifestyles via “garden apartments.” Raymond, who was on site a few weeks ago, has toured the rehabilitation multiple times.

The Jardinette was listed on the National Register of Historic Places in 1986 and designated a Los Angeles Historic-Cultural Monument two years later. Yet despite its formal protections, the building continued its long drift into disrepair.

In 2016 Jardinette’s previous owner, Robert Clippinger, began reviving it, hiring Lamprecht’s firm, Modern Resources, as well as June Street Architecture and land use consultants Cali Planners. The team filed a comprehensive Historic Structure Report that helped secure much-needed tax relief via the Mills Act, a state preservation program. But Clippinger soon faltered under the weight of the many developmental requirements to bring the historic building back. Lawsuits followed. Financing collapsed.

A carpeted hallway beneath an original skylight at the Richard Neutra-designed Jardinette Apartments in Los Angeles. The Jardinette was listed on the National Register of Historic Places in 1986 and designated a Los Angeles Historic-Cultural Monument two years later.

(Myung J. Chun / Los Angeles Times)

Hassid bought the building in December 2020, in the thick of the COVID-19 pandemic, keeping Clippinger’s core designers and consultants in place.

Decades of negligence and neglect had proved both a curse and a blessing. Many original steel windows had been swapped out for cheap vinyl replacements. Larger units had been subdivided. At one point the building had been repainted an unfortunate pastel peach and green. Electrical systems dated back nearly a century. Gas water heaters punched vents through the concrete walls.

Yet because the building never attracted a well-funded modernization campaign, much of its essential fabric remained intact.

“Had it been owned by people with more resources,” noted Lamprecht, “there might have been upgrades that blurred the sense of history.”

Corey Miller, a principal at June Street Architecture, described his first encounter with the almost empty property: “There had been 43 units with 43 different people who had been left to their own devices,” Miller said. “Every time we peeled back a layer, there was something worse.”

Unit 302, inhabited for four decades by a single tenant, retained the most original fabric, including an early icebox cabinet. But it also contained endless layers of grime and clutter. It was “disgusting,” Miller said bluntly, but invaluable as forensic evidence. Much of it — like tiles, windows and millwork — were reproduced around the building.

The 128 Jardinette Apartments were painstakingly restored with an eye toward preserving original details including kitchen cabinets, sinks and iceboxes.

(Myung J. Chun / Los Angeles Times)

The perils of rehabilitating a historic treasure

When Hassid called Miller to ask about buying the building, Miller remembers his response clearly. “You probably have no idea what you’re getting yourself into,” he told him.

Hassid’s love of early modern architecture began as a child. His grandparents lived at 848 N. Kings Road in West Hollywood, with a balcony overlooking Schindler’s famed house. So Hassid was familiar with Jardinette’s geometric forms and clean lines. His mother reacted with angry skepticism when he first raised the idea of acquiring the building, but encouraged him to buy it after she learned about the connection.

Nostalgia did not make the rehabilitation any easier. Technical plans required approval, and fixes weren’t straightforward within a protected treasure. “You can’t just go into a historic building with a sledgehammer,” Hassid said. Every move had to align with federal preservation standards and the commitments embedded in the Mills Act contract. Lambert Giessinger, Los Angeles’ historic architect and Mills Act administrator, acted as liaison. Inspections were frequent. Conditions were exacting.

“It’s stressful to have people looking at everything,” Miller admitted. But he credits both Giessinger and Lamprecht with pragmatism. “They were under no illusion that this was going to be done 100% perfect,” he added.

“There’s a lot of wonky stuff in this building that will remain wonky forever,” noted Lamprecht, pointing to settling areas and imperfect details.

Michael Norberg, a land use consultant for the Jardinette Apartments preservation project, stands on the balcony of a unit at the Richard Neutra-designed complex, which will soon reopen after prolonged development issues.

(Myung J. Chun / Los Angeles Times)

The astonishingly complex rehabilitation revealed a simple-looking building that was anything but. The board-formed concrete carried a subtle wood-grain texture, which had to be left intact, even as seismic reinforcements were added beneath the surface. The finish on white stucco shifted from smooth to pebbled on the walls’ higher reaches, and this had to be carefully re-created.

Original trim had to be salvaged and repaired wherever possible. Kitchens were rebuilt based on archival drawings and surviving fragments. Bathrooms, originally designed around tubs, required discrete tile extensions to accommodate modern showers. The paint scheme, which has been returned to a warm, off-white concrete field with blackish-green bands emphasizing the window walls, had to be reconstructed from historic photographs. Wine red concrete lobby floors were revealed under ungainly tile. Large stairwell skylights were uncovered, while unique, cube-shaped stair post lights were rehabilitated.

Plenty of white tiles replicate the original look in this bathroom in the historic Richard Neutra-designed Jardinette Apartments. One floor of the newly preserved 1928 complex features original doors and kitchen cabinets.

(Myung J. Chun / Los Angeles Times)

Support infrastructure, threaded through the thick concrete frame, was perhaps the messiest challenge. Fire sprinklers, mandated by code, had to remain visible because they could not run through joists without compromising historic fabric. New electrical, plumbing and ventilation had to snake around (or burrow through) beams that original plans didn’t note.

Hassid chose to add air conditioning, and the resulting electrical loads required a 13-foot-deep vault beneath the courtyard. That addition will limit what can be planted in the central garden.

The view from the large windows in a newly restored unit of the Richard Neutra-designed Jardinette Apartments. Original skylights were also preserved during a remarkably complex historic preservation effort.

(Myung J. Chun / Los Angeles Times)

The team preserved as many original steel casement windows as possible on the primary north-facing facade. These are interspersed with custom reproductions throughout.

The rehabilitation costs climbed past $5 million — accounting for structural analysis, waterproofing, electrical overhaul, plumbing, mechanical, windows, flooring, sprinklers, cabinetry, landscaping — an ever expanding list.

“If I knew then what I know now,” Hassid said with a weary laugh, “I’m not sure I would have done it.” He paused. “But listen, I’m happy I did.”

Today, the building’s value is clear. The courtyard, with vegetation still waiting to grow, is again a communal garden framed by cantilevered balconies. The flat facades have regained their subtle play of depth and shadow. New systems hum quietly, concealed as carefully as possible.

But the building’s renewal has not made it immune to its surroundings. Portions of the exterior were tagged during construction, and some windows have even been shot out by BB guns. As it reemerges, Jardinette could become a lightning rod for those who fear gentrification.

Modernist architect Richard Neutra imagined his first Los Angeles project, the Jardinette Apartments, as a prototype for future garden apartment buildings, but the building fell into disrepair and obscurity for decades. A newly completed historic preservation project will allow it to reopen soon.

(Myung J. Chun / Los Angeles Times)

Hassid, who initially planned to keep the building, is now testing the waters for a sale with the help of local broker Neema Ahadian of Marcus & Millichap. He said he’s already gotten calls from potential buyers in both the affordable and market-rate sectors. Affordable housing, he added, would be fitting because the smaller units were originally used that way — often for people working in nearby Hollywood studios. The building’s lack of parking could be another factor pushing the sale in that direction.

“I want to leave my options open,” said Hassid. “It’s bittersweet, because we put so much into it.”

Despite swearing off the project more than once, he is hooked by the process.

“I’m looking for my next historic building. After doing it, I know the mistakes I made and how to minimize the lag,” he said.

“This is such a good niche. Others run away from it. I love it because I love the challenge.”

Spring is the season of creation, a time of renewal and new beginnings. In Los Angeles, alas, we were, last spring, a city of cinders. It was a time to mourn.

A hard year followed with floods, ICE, AI, etc., menacing our native optimism. Making matters worse, in December we lost L.A.’s grand visionary vizier, the architect who time and again built us out of civic funk and transformed L.A., inspiring the city he so loved to look good, feel good and do good.

But that is still the case. So many plans Frank Gehry imagined for L.A. still remain. Gehry bequeathed blueprints and models, sketches and concepts, for his large and devoted team of younger architects and next-generation visionaries equipped to fabricate our way out of angst.

Isn’t there supposed to be an Olympics on the way for which the city appears ill-prepared? Spring 2026 is the time to build.

A couple of springs ago, L.A. County dubbed the blocks around Gehry’s masterpiece, Walt Disney Concert Hall, the Grand Avenue Cultural District. This includes the rest of the Music Center, Museum of Contemporary Art, the Broad and Colburn School. The Grand, Gehry’s resplendent complex across the street from Disney, had recently opened and ground was about to be broken for the Colburn Center, a 1,000-seat concert hall equipped to also serve dance, opera and whatever yet-to-be-invented genres Gehry designed it to enable.

The Colburn Center is well on its way to completion next year. Bits of the building’s pink skin have started to peek out like spring blossoms on the construction site at 2nd and Olive. The Broad has begun an expansion. But after two years, nothing else has been done to make this the cultural district it must become, one unlike anything else in any city.

Four springs ago I toured Grand Avenue with Gehry to gather what he had in mind for an arts district. When Disney Hall opened in 2003, it instantly became an enduring symbol of L.A., overtaking the Hollywood sign in many cases. The Dodgers want to parade joy in winning their second World Series in row last October, where else but in front of Disney? But not in front of all Gehry had in mind.

We will soon have a pair of futuristic new museum buildings to show off this year: the David Geffen Galleries, the controversial Los Angeles County Museum of Art’s Peter Zumthor building (I predict it will prove a sensation), and the new Lucas Museum of Narrative Art (no predictions on that one) next door to the Coliseum. But the fact that each is a 15-minute ride away from the cultural district’s new Metro station only makes the district even more of a center.

A center, indeed. Gehry’s vision included completing the original plans cost-cut out of Disney a quarter-century ago, along with new modifications and much more throughout the area. Some are more costly than others. Enough could be done on Grand Avenue in time for the Olympics to make a difference if we begin this minute.

Since its opening, Disney has been — shamefully — the most poorly lit building of its stature in the world. Gehry had chosen the specific steel for its capacity to reflect light. His idea was to project on the building whatever concert was taking place that night. No sound, just imagery. Belt-tighteners didn’t want to commit the $2 or $3 million or whatever and go through the trouble.

It was spectacularly tested at the hall’s 10th anniversary, but with tacky prerecorded video and crummy amplification. Facilities are now included in the Grand for projectors. It would have been amazing in 2003 and will be amazing now. The Grand has been disappointingly slow to attract the restaurants, bars, cafes and shops it needs to create a scene. The projections could change all that and even create enough of a ruckus to get a reluctant, car-crazed city to make that Grand Avenue block pedestrian.

There is much more for Disney. Gehry wanted to turn BP Hall, where preconcert talks occur, into a small chamber music hall with a suspended balcony. He had plans for reconfiguring the seldom-used small outdoor Keck Amphitheater into an enclosed jazz club for Herbie Hancock and turning the little-used 1st Street entrance into a glass-enclosed bar that would be named the Ernest, in tribute to Ernest Fleischmann, the L.A. Phil executive director who was responsible for building Disney.

Disney was supposed to have a pit for the orchestra, allowing for staging opera and dance. The plans exist. That could be done in a summer for a couple million. Bottom-liners had also nixed Gehry’s original design for a more gracious lobby with a cafe out front, not the gloomy one installed against his will.

The Colburn Center has the potential for being another game changer for the area, a vibrant new hall where we are promised upward of 200 events a year from all walks of musical life, local and international. But Gehry had in mind even more.

He intended to lower the steep and pedestrian unfriendly 2nd Street hill, so that it would be an easy walk from the new Metro station two blocks away, and add two more pedestrian blocks by diverting traffic to the 2nd Street tunnel. This would connect the cultural district with Grand Central Market on one end and the Broad on the other. Then 2nd could itself become a lively street with the stores and restaurants a “district” needs.

A model of architect Frank Gehry’s design of an addition for Colburn School.

(Christina House/Los Angeles Times)

The extraordinary original plans for the Colburn Center included turning the parking lot across 2nd from the hall into a public plaza with a giant video wall and high-end outdoor sound system, for projecting nightly concerts in the hall. Gehry was a devoted outdoor-indoor architect, and he designed for the hall a balcony on which musicians can perform.

That initiative has thus far been blocked by City Hall officials, fearful of the tunnel’s aging infrastructure. Although if that’s the case, I’m not all that eager to be in the tunnel as it currently is when the Big One comes along. This is where L.A. shows its moxie. Upgrade the tunnel. Now! If this were Beijing, New Delhi or Hanoi, it would be a no-brainer.

Gehry next proposed building low-cost artist housing in Grand Park directly across from the Music Center, which would further create a true arts community. There has been talk of renovating the Dorothy Chandler Pavilion for three decades and that’s all it’s been. The corporate-esque recent Music Center plaza could use a little excitement, maybe a Phase II.

Arts make a city. The Edinburgh Festival in Scotland was created after World War II to help bring the city back to life. After its fire-bombing, Tokyo founded a bevy of symphony orchestras as a phenomenal experiment in mass antidepression. Beethoven’s Ninth Symphony played no small role in lifting the collective mood, preparing Tokyo to create what now feels like the world’s most arresting capital.

Unlike Scotland, unlike England, unlike Germany, unlike France, unlike Italy, unlike Poland, unlike Russia, unlike Finland, unlike the Czech Republic, unlike China, unlike any number of countries, America has no major international arts festival these days. We had one in L.A. in 1984 with the Olympic Arts Festival. The Cultural Olympiad in 2028 has shown no bones. But if we make the cultural district what it could be, there would be no better place anywhere for a major festival.

We have the goods. L.A. artists helped make the modern Salzburg Festival the meaningful model for all others. In 1992, the summer before Esa-Pekka Salonen became music director of the Los Angeles Philharmonic, he and the orchestra were invited to shake up clinging Austrian tradition. With the help of director Peter Sellars, they staged Messiaen’s epic opera “Saint François d’Assise,” with pyramids of televisions, resulting in music and monitors upending, in Mozart’s hometown, the role of the modern opera and, so to speak, the sound of music.

Over succeeding decades, both Sellars and Salonen have been Salzburg Festival lodestars. Last summer they were back staging two monodramas, Schoenberg’s “Erwartung” and “Abschied” (the last movement of Mahler’s symphonic song cycle “Das Lied von der Erde”). Conductor and director looked with shocking depth into the “Expectation” of death and gave a “Farewell” to the “Song of the Earth” we all await. I saw it twice and can’t imagine how anyone came away from it quite the same person, not more alive, not more fragile. Art on the stage doesn’t get deeper than “One Morning Turns Into an Eternity,” as Sellars named the production. Salonen, who conducted the production with Vienna Philharmonic, is now about to become the L.A. Phil creative director in the fall and will bring the production to Disney with the L.A. Phil next season. It is thus far the most important opera news of next season in America. All the more reason to build that pit in the hall and get started on much bigger plans.

Salzburg, which manages to come up with around $80 million from here and there, also helped with the question I’ve evaded: Who’s going to pay for all this? I’ve evaded it because it’s the wrong question. Money only started pouring into the building of Disney Hall when people got wind of what it was going to become. Five years ago, Crypto.com paid more than $700 million to change the name of Staples Center. That amount, which created nothing but an advertisement for a product of dubious value to society, is the price of two Walt Disney Concert Halls and probably all of Gehry’s projects put together. It is the amount that could fund nearly nine Salzburg-scale festivals.

If we let ourselves believe that L.A. wealth only cares for mega-crypto advertising, mega-mansions and mega-yachts, then L.A. is over. It isn’t. Do we want to show only that to the world? Downtown, and prominently Crypto.com Arena in L.A. Live, have been designated a center for LA28, as we’re calling the Olympics. That makes a graciously glorifying cultural district, which functions as creation being existential not commercial, just up the road from L.A. Live, L.A. live.

When one morning turns into an eternity, you don’t ask for the bill.

This year marks a veritable museum-palooza as Los Angeles debuts four new major arts complexes, with three in the wings likely to open in advance of the 2028 Summer Olympics.

Immerse yourself in a psychedelic explosion at Meow Wolf, plan an afternoon liaison with Van Gogh at LACMA’s new David Geffen Galleries, inhale the scent of nature inside Refik Anadol’s AI arts museum, Dataland, or simply geek out over George Lucas’ jaw-dropping collection of “Star Wars” memorabilia.

Whatever your arts craving may be, this astoundingly rich new lineup of new local museums has you covered.

LACMA’s David Geffen Galleries

The new David Geffen Galleries, opening in 2026, are composed entirely of Brutalist concrete.

(Christopher Knight / Los Angeles Times)

The Los Angeles County Museum of Art’s David Geffen Galleries are set to debut this April to members, before opening for general admission at the beginning of May. The $720-million Geffen Galleries will display 2,500-3,000 objects from LACMA’s collection.

The building, designed by Pritzker Prize-winning architect Peter Zumthor, is described by supporters as a “concrete sculpture” and will host 90 exhibition galleries across 110,000 square feet. The Wilshire Boulevard museum’s inaugural exhibition will organize artwork by the Pacific, Indian and Atlantic Oceans and the Mediterranean Sea instead of by medium or period.

“The idea is for you to make your own path — not to speak at you, but to let you wander like you would through a park or a place,” LACMA Director and Chief Executive Michael Govan said in an interview with The Times. “That change in attitude, and how the building is built, is really exciting.”

Some of the most-anticipated works on display include Georges de La Tour’s “The Magdalen With the Smoking Flame” (1640), Henri Matisse’s “La Gerbe” (1953) and Vincent Van Gogh’s “Tarascon Stagecoach” (1888).

Lucas Museum of Narrative Art

The gardens at the Lucas Museum, designed by Studio-MLA, on Monday, May 19, 2025.

(Jason Armond / Los Angeles Times)

After more than 10 years of anticipation, George Lucas and Mellody Hobson’s museum will open in Exposition Park this September. With over 10,000 square feet of galleries, the museum will feature a wide array of artwork and pop culture ephemera, including Lucas’ personal trove of “Star Wars” film franchise treasures, “Peanuts” comic strips, “Alice’s Adventures in Wonderland” illustrations, a Richard Sargent painting and covers of the Saturday Evening Post.

Lucas donated his collection to curate the Lucas Archives, which, in addition to “Star Wars,” will encompass props and production art from Lucasfilm projects, such as the “Indiana Jones” franchise.

One of the museum’s defining features is its massive green-roof garden designed by Mia Lehrer and her landscape architecture firm Studio-MLA.

“This brings everything together,” Lehrer said in an interview with The Times. “Design, ecology, storytelling, infrastructure, community. It’s the fullest expression of what landscape can be.”

Meow Wolf

A work-in-progress piece set to be featured in Meow Wolf L.A. as seen during a walk through at the group’s warehouse in Santa Fe on Oct. 15, 2025.

(Gabriela Campos/For The Times)

Meow Wolf’s L.A. location will reimagine a ’90s movie theater with its takeover of the Cinemark at West L.A.’s Howard Hughes entertainment complex outside Culver City. Meow Wolf’s sixth permanent exhibition comes on the heels of the immersive art creator’s 52,000-square-foot psychedelic art installation in Las Vegas, which was disguised as a dystopian grocery store called Omega Mart and promptly went viral on TikTok.

Complete with sci-fi elements, a meditative space and a 30-foot-tall mushroom tower, Meow Wolf’s new location will open at the end of 2026. Although organizers have kept much of the exhibition under wraps, visitors can expect to be transfixed by a thoroughly Los Angeles tale.

“It’s cool that we’re creating a story about a pilgrimage, because L.A. is that for so many artists, especially people involved in storytelling,” Shakti Howeth, Meow Wolf‘s creative director, told The Times. “It’s one of those places that’s built on layers and layers of dreams, and we’re really exploring that here. Not only dreams but broken dreams — the compost that can happen when you digest broken dreams.”

Refik Anadol’s Dataland

Refik Anadol’s Infinity Room is meant to be a multisensory experience.

(Dataland)

Opening this spring at the Frank Gehry-designed Grand L.A., Dataland dubs itself the world’s first museum of AI arts. Turkish American artist Refik Anadol designed his own AI model, named the Large Nature Model, which only sources material with permission from original creators, making it what Anadol calls “ethical” AI. Partners include the Smithsonian and the Cornell Lab of Ornithology.

“I’m calling this new art form not AR, not VR, not XR — so we are still finding a name for it. The best name so far, and people love it, is generative reality,” Anadol told The Times.

Dataland will feature five galleries, including the Infinity Room, which Anadol first created in 2014 as a student at UCLA. In another exhibit, he trained an AI model on half a million scents and built a machine to push those scents into the gallery to create a totally immersive viewing experience.

Opening Later

The Armenian American Museum and Cultural Center of California

Slated to complete construction in downtown Glendale in late 2026, the 51,000-square-foot Armenian American Museum has been in the works for more than a decade. With a $67-million budget, the museum will include permanent and temporary exhibitions, as well as an auditorium, learning center, archives collection and a demonstration kitchen.

The museum is an initiative of the Armenian Genocide Centennial Committee Western US, and planning began as the group prepared to mark the the 100th anniversary of the Armenian Genocide in 2015. The museum is adorned with the 36 letters of the Armenian alphabet and a glass hazarashen skylight, inspired by traditional roofs in homes across the Armenian Highlands.

“The Armenian American Museum was once an idea, then a vision, and today is rising before our eyes,” museum Executive Chairman Berdj Karapetian said in a statement. “This progress is the result of an extraordinary collective effort by Armenians and non-Armenians here in California, across the United States and around the world.”

The Samuel Oschin Air and Space Center

The Samuel Oschin Air and Space Center in Los Angeles is a major expansion of the California Science Center.

(Myung J. Chun / Los Angeles Times)

A solid opening date has not yet been announced, but the $400-million Samuel Oschin Air and Space Center at the California Science Center in Exposition Park is busily preparing for liftoff. Construction on the building began in 2022. The shiny new building will be home to the Korean Air Aviation Gallery, Kent Kresa Space Gallery and the Samuel Oschin Shuttle Gallery, which will host the Space Shuttle Endeavour.

Endeavour will be displayed in launch position, making it the tallest authentic spacecraft displayed vertically in the world, with a height of 20 stories. One of three surviving space shuttles, Endeavour made 25 successful missions into space.

The center is also expected to have 20 planes and jets, including a Boeing 747, a mock flight deck and a pair of introductory films produced by J.J. Abrams’ company Bad Robot, one of which will end with a simulated launch.

“It is an amazing experience, and we want to really build it up,” Jeffrey N. Rudolph, president and chief executive of the California Science Center, told The Times. “It’s not just about the hardware but about the people and the educational aspects.”

The Broad Expansion

Exterior rendering of the future Broad expansion from Hope Street.

(The Broad. © Diller Scofidio + Renfro (DS+R))

Opening in 2028, the Broad expansion will contain 70% more gallery space, two outdoor courtyards, a live programming space and views of the museum’s art storage vault. First announced in 2024, the $100-million addition is slated for completion before the 2028 Summer Olympics.

Located in downtown L.A., the expansion was deemed necessary after the museum significantly exceeded visitor projections. The new building will invert the existing Broad museum’s architectural design, with a smooth, gray structure attached to the original construction.

“The idea is that it adds new facets to the visitor’s journey through the expanded Broad,” said Joanne Heyler, founding director and president of the Broad, in an interview with The Times. “In a way, the existing building is always sort of talking to you. And there will be a similar thing happening with the expansion, but just a slightly different conversation, like you’re listening to its sibling.”

Several central neighbourhoods in Beirut have been attacked in a series of Israeli strikes. Al Jazeera’s Zeina Khodr has been at the scene of one attack that flattened a multi-storey residential building.

A building in the northern Israeli city of Nahariyya caught fire on Monday after a rocket attack launched from Lebanon.

It was so big it couldn’t use the English Channel, Suez Canal or Panama Canal.

The biggest ship in the world was longer than both the Eiffel Tower and the Empire State Building. It was known as the Seawise Giant and became one of the longest self-propelled ships in history.

The boat, later called Happy Giant, Knock Nevis and Mont, was built in Japan between 1974 and 1979. It had the greatest deadweight tonnage of a ship ever recorded.

Fully laden, it was 657,019 tonnes and was the heaviest in the world. Seawise Giant had a draft of 24.6 meters (81ft) and a length of 458.45 meters (1,504.1 ft).

Due to its size, it was incapable of navigating the English Channel, the Suez Canal or the Panama Canal.

The ship has a long history, and was created by Sumitomo Heavy Industries, Ltd in Yokosuka, Kanagawa, Japan, as an Ultra Large Crude Carrier.

It remained unnamed for a long time and was identified as its hull number, 1016. The ship suffered severe vibration problems during sea trials, and an unknown Greek owner refused to take delivery of it.

Eventually, the Japanese shipyard sold the ship thanks to a deal with Hong Kong Orient Overseas Container Line. Yet, they wanted to lengthen the ship by several meters and add 146,152 tonnes of cargo capacity.

Two years later, the ship relaunched as the Seawise Giant. In 1988, it was damaged during the Iran-Iraq war after fires erupted aboard the ship, and oil spread into the water.

The ship was still intact but was so damaged it was not deemed economical to repair.

However, a Norwegian investment firm bought the damaged ship. Over the next few years, it was repaired and renamed Happy Giant.

Up until 2004, the ship was owned by various Norwegian investment firms. It was then purchased by First Olsen Tankers and renamed Knock Nevis.

The ship was converted into a primarily moored storage tanker in the Persian Gulf.

However, it was then taken on by new owners Amber Development and named Mont. It had one final voyage to India where the ship was scrapped.

The ship was beached in December 2009 and due to its size, it took until the end of 2010 for it to be scrapped. The Seawise Giant’s anchor was saved and is on public display in Hong Kong.

It goes down in history as the longest ship ever constructed at 458.45 meters and is taller than many of the world’s tallest buildings. The Eiffel Tower stands at 330 meters and the Empire State Building at 443 meters.

A residential building in central Beirut was seen with flames erupting from a hole in its side after what appears to have been another Israeli strike.

An Israeli air strike has heavily damaged a building in southern Lebanon’s Tyre district as Israeli forces continue to attack across the area. The army says it is targeting Hezbollah military infrastructure and has warned residents south of the Litani river to leave.

A suspected Iranian attack on a high-rise residential building in Bahrain’s capital of Manama has killed a 29-year-old Bahraini woman and injured several others.

Iran’s IRGC had earlier said they targeted radar systems in locations including Al-Kharj, home to Prince Sultan base.

At least two people have been killed after a projectile fell on a residential location in Saudi Arabia‘s Al-Kharj city, Saudi authorities reported, as Iranian counterattacks on Gulf nations hosting US military assets entered a second week.

The Saudi civil defence said in a post on X on Sunday, without mentioning Iran, that an unspecified “military projectile” had hit a residential area in Al-Kharj, killing two foreign nationals – one Indian and one Bangladeshi – and injuring 12 people.

Iran’s Islamic Revolutionary Guard Corps (IRGC) had said earlier that it had targeted radar systems in locations including Al-Kharj governorate, which is home to the Prince Sultan airbase used by United States forces, and has come under repeated attack over the past week in the US and Israeli war against Iran.

Reporting from Doha, Al Jazeera’s Laura Khan said the projectile had landed on a residential site belonging to a maintenance and cleaning company.

“This is getting very volatile and dangerous for people across the Gulf,” she said. “It’s really important to emphasise that over 200 nationalities live and work across the Gulf nations. Many of these could be labourers.”

On Sunday, the Saudi Defence Ministry reported intercepting 15 drones, including an attempted attack in the diplomatic quarter of the capital Riyadh.

Kuwait, meanwhile, said an attack hit fuel tanks at its international airport, and Bahrain reported a water desalination plant had been damaged.

Sunday’s attacks came after Israeli warplanes hit five oil facilities around the Iranian capital, killing several people, according to a state oil executive, and blanketing the city in acrid smoke.

A spokesperson for the IRGC said Iran would retaliate if US-Israel attacks on its energy infrastructure did not let up.

“If you can tolerate oil at more than $200 per barrel, continue this game,” said the spokesperson.

As the war extended into its ninth day, the IRGC said it had enough supplies to continue drone and missile attacks across the Middle East for up to six months.

Ahmed Aboul Gheit, secretary-general of the Arab League, said Iran’s attacks on several member states were “reckless”, urging Tehran to reverse what he called a “massive strategic mistake”.

Iran’s Health Ministry said Sunday that at least 1,200 civilians had been killed and around 10,000 wounded since the US and Israel launched their war on Iran on February 28.

WASHINGTON — Visitors to the Capitol will now have a visible reminder of the violent attack against the building on Jan. 6, 2021, and the officers who fought and were injured defending it that day.

Steps from the Capitol’s West Front, where the worst of the violence occurred, workers quietly have installed a plaque honoring the officers, three years after it was required by law to be erected. The plaque was placed on the Senate side of the hallway because the Senate voted unanimously in January to install it after House Speaker Mike Johnson (R-La.) had delayed putting it up. Many Republicans had balked at installing the plaque.

“On behalf of a grateful Congress, this plaque honors the extraordinary individuals who bravely protected and defended this symbol of democracy on January 6, 2021,” the plaque says. “Their heroism will never be forgotten.”

The Washington Post first reported the installation of the plaque, which was witnessed by a reporter about 4 a.m. Saturday.

Sen. Thom Tillis (R-N.C.) led the effort to install it as he commemorated the fifth anniversary of the attack and insurrection and described his memories of hearing people break into the building. “We owe them eternal gratitude, and this nation is stronger because of them,” he said of the officers who were overwhelmed by thousands of President Trump’s supporters before eventually pushing them out of the building.

The mob of rioters who violently pushed past police and broke in were echoing Trump’s false claims of a stolen election after the Republican was defeated by Democrat Joe Biden in the 2020 presidential election. The crowd stopped the congressional certification of Biden’s victory for several hours, sent lawmakers running for safety and vandalized the building before police regained control.

Five police officers and four protesters died as a consequence of the violence. More than 140 officers from the U.S. Capitol Police, the Metropolitan Police Department and other agencies were injured.

The fight to have the plaque installed came as Trump returned to office last year and the Republican Congress has remained loyal to him. The president, who has called Jan. 6 a “day of love,” on his first day of his new term granted pardons or commutations to nearly 1,600 people convicted or charged in the rioting.

Trump was impeached and criminally indicted for his role in the insurrection. The Senate did not convict him, and the felony charges were dropped after he was reelected in November 2024.

Congress passed a law in 2022 that set out instructions for the honorific plaque listing the names of officers “who responded to the violence that occurred.” It gave a one-year deadline for installation, but the plaque never went up.

After more than a year of silence — and a lawsuit by two of the officers who fought at the Capitol that day — Johnson said at the beginning of the year that there were technical problems with the statute and the plaque could not be erected.

Tillis went to the Senate floor shortly afterward and passed a resolution, with no objections, to place the plaque on the Senate side.

One of the officers who sued, Metropolitan Police Officer Daniel Hodges, said the lawsuit would continue. Hodges, who was crushed by the rioters in the heavy doors steps away from where the plaque is now displayed, said Saturday that the overnight installation was a “fine stopgap” but that it was not in full compliance of the law. The original statute said that all of the officers’ names should be listed, among other technical specifications.

“The weight of a judicial ruling would help secure the memorial against future tampering,” Hodges said. “Our lawsuit persists.”

Jalonick and Mascaro write for the Associated Press. AP writer Allison Robbert contributed to this report.

MADISON, Wis. — A Wisconsin man who allegedly told police he tried to set fire to a Republican congressman’s office last year because he was angry that the lawmaker backed a bill requiring TikTok’s Chinese owner to sell off its U.S. operations was sentenced Thursday to seven years in prison.

In addition to the prison time, Fond du Lac County Circuit Judge Tricia Walker sentenced 20-year-old Caiden Stachowicz to seven years of extended supervision, court records show.

Stachowicz, of Menasha, pleaded no contest to an arson charge in November. Prosecutors dropped burglary and property damage counts in exchange for Stachowicz’s no contest plea, which isn’t an admission of guilt but is treated as such for the purposes of sentencing.

According to a criminal complaint, a police officer responded to a fire outside Republican U.S. Rep. Glenn Grothman’s office in Fond du Lac, about 55 miles northwest of Milwaukee, at around 1 a.m. on Jan. 19, 2025, and saw Stachowicz standing nearby.

He told the officer that he started the fire because he doesn’t like Grothman, according to the complaint. He initially planned to break into the office and start the fire inside. But he couldn’t break the window, so he poured gas on an electrical box behind the building and around the front of the building, lit a match and watched it burn, according to the complaint.

He said he wanted to burn down the office because the federal government was shutting down TikTok in violation of his constitutional rights and peace was no longer an option, the complaint states. He added that Grothman voted for the shutdown, but he didn’t want to hurt Grothman or anyone else.

Grothman voted for a bill in April 2024 that required TikTok’s China-based company, ByteDance, to sell its U.S. operation. The deadline was Jan. 19, 2025, but President Trump has issued multiple executive orders prolonging it. TikTok finalized a deal two months ago to create an American version of the social video platform. Trump praised the deal.

Danielle Gorsuch, one of Stachowicz’s attorneys, told the Associated Press after the sentencing that the incident was the culmination of a mental health crisis for her client and stressed that no one was hurt.

“Caden took every caution to make sure no one was present in the building at the time of the incident, as he only wanted to hurt himself,” Gorsuch said. “He took responsibility from night one.”

A spokesperson for Grothman’s congressional office didn’t immediately respond to a message seeking comment.

Richmond writes for the Associated Press.

When Ahmad Salkida first conceived HumAngle in 2014, the idea was audacious: build a newsroom dedicated to conflict reporting at a time when Nigeria’s media space was shrinking, resources were scarce, and insecurity was widespread. It would take six more years before that vision materialised. In 2020, HumAngle formally launched. Today, as the organisation marks its sixth anniversary, Salkida describes the journey as a roller coaster.

“It takes you to a peak where you feel unstoppable,” he says of building HumAngle. “Then suddenly, you’re reminded of the realities: financial strain, political pressure, operational risks. It’s a constant test of resolve.”

Yet, even amid the highs and lows, Ahmad is certain of one thing: HumAngle has become more than a newsroom. It is a platform of purpose. “I’m glad that HumAngle has been a vehicle that has helped so many young people to discover themselves,” he said. 

HumAngle’s roots are deeply personal. On Sept. 6, 2016, Ahmad returned to Nigeria after being declared wanted by the Nigerian Army over allegations that he had withheld information about the whereabouts of the Chibok girls abducted by Boko Haram. Following interrogation, he was released by the Department of State Services without charge.

When he resettled in Abuja, Nigeria’s capital city, Ahmad began refining an idea that had been forming for years: a media platform dedicated to conflict, one that would amplify the voices of victims and survivors rather than merely echo official narratives. He envisioned a newsroom that would not only report on violence but also interrogate its causes, document its human cost, and advocate for a future in which the media could highlight pathways to peace—not just the spectacle of war.

HumAngle was born from that conviction.

Launching in 2020 meant confronting immediate adversity. The COVID-19 pandemic disrupted economies and shuttered newsrooms worldwide. Independent journalism in Nigeria faced chronic underfunding, while security risks loomed over reporters covering insurgency, displacement, and corruption.

Still, HumAngle persisted. Three years later, the peacebuilding advocacy arm, HumAngle Foundation, was launched. What began as a small, mission-driven team evolved into a diverse newsroom of nearly 40 staff members, pushing the boundaries of how conflict is reported in Nigeria and across Africa. The organisation adopted an innovative approach, blending deep investigations with ground reporting, data journalism, GIS mapping, and even virtual reality documentaries.

From stories on insurgency and mass displacement to exposés on bureaucratic failure, climate vulnerability, abductions, disappearances, and systemic corruption, HumAngle carved a niche as a trusted source for underreported narratives.

“It was supposed to be a general interest publication, but considering my long and rough experience with the Nigerian security sector, the escalating insecurity across the country, and the media black hole surrounding various dimensions of the conflicts, it made more sense for it to be a niche platform,” according to Ahmad.

Behind the scenes, however, the burden was immense.

“Every morning, I walked into the HumAngle building, feeling the weight of a mission at odds with its environment—carrying not just the hopes of nearly 40 staff members, but also the invisible pressure to prove that public-interest journalism can exist in a society that has never been structured to sustain it,” he recently wrote.

Amidst the struggle, deep investigations, ground reporting, data stories, GIS maps, VR documentaries and stories of insurgency, displacement, bureaucracy, climate vulnerability, abductions, disappearances and corruption continue to emerge. 

Despite acknowledging that HumAngle is “far from achieving its target objectives,” Ahmad speaks with unmistakable gratitude. “I am proud of everything HumAngle has nurtured.” 

In Nov. 2025, Ahmad Salkida was selected for the 2026 Yale Peace Fellowship, alongside 13 other global peacebuilding leaders. “Being selected for this fellowship validates the work I am doing with HumAngle, and I look forward to gaining more insight to improve our processes after the fellowship,” he said. “Peace is achievable in our lifetime. And fellowships like this ensure that that belief is not only a feeling, but a destination that can be reached through small incremental steps.”

He maintains that the fellowship, along with several other recognitions the newsroom has received and the impact it has recorded, serves as fuel to do more.

Six years on, HumAngle stands not merely as a newsroom, but as proof that even in fragile environments, journalism can be courageous, innovative, and deeply human. 

As part of the sixth-anniversary activities, a book-reading conversation was held on Monday evening, March 2, with award-winning Irish journalist Sally Hayden. Her book, “My Fourth Time, We Drowned on the World’s Deadliest Migration Route”, explores the harrowing realities faced by refugees, weaving together shocking personal accounts with a broader investigation into systemic failures—highlighting NGO negligence, corruption within the UN, and the disturbing economics of modern slavery.

Sally, while commending HumAngle’s work in documenting the human cost of insecurity in the Sahel, emphasised the importance of independent journalism in the region and the use of appropriate, generally acceptable language when reporting on conflict and displacement.

“Journalists have the duty to question the languages they use, especially when describing people in the face of conflict, migration crisis or displacement. If I were to rewrite this book today, I would probably correct certain descriptive words or language,” she added. 

Another winnable game was slipping away, another frustrating performance by USC unraveling in painfully familiar fashion, when Jaden Brownell lifted up from the corner for a wide-open three-pointer, offering a split-second of hope in an otherwise hopeless second half.

But the shot clanked away. A collective sigh from the cardinal-and-gold faithful rippled through Galen Center, only to be swallowed up seconds later when Nebraska’s Pryce Sandfort, who finished with 32 points, knocked down a three-pointer of his own. That’s when USC’s own arena exploded with a deafening Big Red roar, loud enough to make you forget you were in Los Angeles — or that these lifeless Trojans had once looked like a real NCAA tournament team.

There were still more than nine minutes remaining after that in Saturday’s brutal 82-67 loss, though that roar from the Nebraska faithful might as well have been the exclamation point. Whether it becomes the punctuation mark on a frustrating second season for USC under coach Eric Musselman was still to be determined.

The Trojans have lost five consecutive games as of Saturday and sit in a tie for 11th in the Big Ten. They still have two regular-season games remaining to bolster their middling tournament resume, both of which they can ill afford to lose.

A midweek matchup at Washington looms especially large. A loss to the Huskies, who are 14-15, would make climbing back from the bubble brink especially harrowing. A rivalry rematch awaits after that against UCLA.

“I still think we could have a successful season,” forward Terrance Williams II said Saturday . “I had that positive mindset coming into the season. I still have that positive mindset. The season’s not over. … We can change the trajectory of the season very quickly.”

Nebraska forward Pryce Sandfort (21) drives past USC forward Terrance Williams II (5) during the first half Saturday.

(William Liang / Associated Press)

Nothing, though, about Saturday’s second half suggested USC was poised for positive change.

The Trojans positioned themselves in the first half to make a very different statement Saturday. They took advantage of foul trouble from Nebraska point guard Sam Hoiberg and led by five points at halftime. Chad Baker-Mazara had already poured in 14 points, and they barely needed freshman Alijah Arenas, who was left out of the starting lineup and played only nine minutes.
“They had belief,” Musselman said.

Yet after shooting 52% from the field in the first half, the Trojans were suddenly unable to find the target in the second. For the first five minutes of the half, a dunk from Jacob Cofie was USC’s only basket. During another five-minute stretch in the second half, USC couldn’t even manage a dunk.

Its issues only got worse when Baker-Mazara fell hard trying to block a lay-in. He didn’t play the rest of the game, as Musselman said Baker-Mazara told the staff he was unable to go.

“They played great in the second half,” Musselman said, “and we did not play very good.”

The Trojans didn’t fare much better on the glass, either, as Nebraska more than doubled USC’s total rebounds (22 to 10) after halftime.

The defense followed suit, with Nebraska piling up points in the paint at will. Sixteen of the Huskers’ first 20 points in the second half came on either dunks or lay-ins as USC’s defense lacked any semblance of urgency.

“I feel like they came out with more energy to be honest,” Williams said. “The first couple possessions, you could see it. They wanted it more than we did.”

How that’s still the case, after several similarly frustrating second halves this season, is still unclear.

“Second halves, they’re hard,” Brownell said. “We have to accept that and get ready quicker in the locker room, get our mental right and then come in and be ready.”

But with the Trojans on the very brink of the tournament bubble, time is quickly running out on that possibility.