building

Abdel Hamid Karimeh says seven people injured as rescue teams search for people trapped under rubble.

At least six people have been killed and seven others were wounded when two adjoining buildings collapsed in the northern Lebanese city of Tripoli, the head of ⁠the municipal council said.

Abdel Hamid Karimeh, speaking at a press conference in Tripoli on Sunday, did not say how many people might still be ‌trapped under debris in the northern city’s Bab al-Tabbaneh neighbourhood.

Search and rescue operations were under way, with civil defence teams, supported by the Lebanese Red Cross and emergency and relief agencies, leading efforts.

Residents of the neighbourhoood also took part in rescue efforts, rushing to help remove debris and create openings in the collapsed building.

Members of the Internal Security Forces and Tripoli municipal police have evacuated residential buildings adjacent to the collapsed building, fearing their collapse, amid a heavy deployment of army personnel, Lebanon’s state-run National News Agency reported. It said eight injured people had been rescued.

Lebanese President Joseph Aoun ordered all emergency services to be on high alert to assist in rescue operations and to provide shelter for the residents of the neighboring buildings, according to the NNA report.

Prime Minister Nawaf Salam said in a statement that the government is fully prepared to provide housing allowances for all residents of buildings that need to be evacuated.

“Given the magnitude of this humanitarian catastrophe, the result of years of accumulated neglect, and out of respect for the lives of the victims, I urge all those involved in politics, in Tripoli and elsewhere, to refrain from exploiting this horrific disaster for cheap and short-sighted political gains,” he said.

Lebanon’s infrastructure has suffered from decades of neglect, economic collapse, corruption, and damage caused by conflicts with Israel. Key issues include chronic electricity shortages, an unreliable water supply with contamination risks, and crumbling roads and buildings.

LACMA’s David Geffen Galleries, the pinnacle of a two-decade campus transformation, will officially open April 19.

That Sunday, a ribbon-cutting ceremony will kick off two weeks of priority member access to the galleries, with general admission beginning May 4, the museum said Thursday. Online ticket reservations open Thursday to members.

The announcement comes nearly a decade after news broke of business magnate David Geffen’s record-high $150-million donation toward the construction of a new museum building to be designed by Pritzker Prize-winning architect Peter Zumthor. Since the beginning, the Brutalist design has been polarizing — Angelenos have cheered or jeered the concrete vision.

The $720-million Geffen Galleries, which museum members got a first look at over the summer, will serve as the new home for LACMA’s permanent collection. It will display 2,500 to 3,000 objects at a time from its collection of approximately 170,000 objects. Stretching across Wilshire Boulevard, the structure houses 110,000 square feet in 90 exhibition galleries that will be organized thematically rather than by medium or chronology.

“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.”

Of the $720 million, Govan said, the majority came from private donors, with $125 million funded by L.A. County. Aside from paying off interest and principal, additional funds from a $875-million fundraising campaign will go toward public art, collection moving costs, office renovations and general landscaping.

The inaugural installation will use global bodies of water as an “organizing framework, emphasizing the cultural exchange, migration and commerce prevalent throughout the history of art,” LACMA said in a statement. Standout entries include Georges de La Tour’s “The Magdalen with the Smoking Flame” (c.1640), Vincent van Gogh’s “Tarascon Stagecoach” (1888) and Henri Matisse’s “La Gerbe” (1953). Art installation is currently in progress.

Guests tour the Geffen Galleries for an early preview on June 26, 2025.

(Allen J. Schaben / Los Angeles Times)

The four buildings that the Geffen Galleries replaced were “all broken up into little, tiny pieces, and they were not well traveled,” Govan said. The new structure is meant to make LACMA’s eclectic permanent collection more accessible on one extra-long floor.

“It’s kind of a worldview,” the executive said. “It’s big enough that it can hold the world.”

While the new building does not boast more gallery space than its predecessors — a point of public contention — Govan said that was never the plan due to county size regulations. Instead, the complementary additions of the Broad Contemporary Art Museum in 2008 and the Lynda and Stewart Resnick Exhibition Pavilion in 2010 added 100,000 square feet of gallery space. In all, the campus transformation brought LACMA’s total exhibition space from 130,000 square feet in 2007 to 220,000 square feet at present. (The Pavilion for Japanese Art, which has been undergoing a retrofit and renovation, is 10,000 square feet. It remains closed and will reopen at some point after the David Geffen Galleries.)

A guest tours one of the 90 galleries within the new space during a preview opening on June 26, 2025.

(Allen J. Schaben / Los Angeles Times)

Along with complaints about the building’s size, the Geffen Galleries’ heavy use of concrete had been criticized as an impractical choice for hanging art. According to LACMA’s preparators, that’s not a problem given the right tools.

Among the building project’s donors were Tony Ressler, co-chair of the museum board of trustees, after whom the Geffen Galleries’ south wing will be named, the museum also announced Thursday. Willow Bay, a longtime board member, will join Ressler as board co-chair.

“LACMA is a global cultural force that brings millions of people together through the power of art, connecting communities across Los Angeles and around the world,” Bay said in a statement. “I am deeply grateful for Tony’s leadership and generosity, and honored to join him as co-chair at this transformative moment in LACMA’s history as we advance our mission of enhancing access to art and education.”

Bay and her husband, outgoing Disney CEO Bob Iger, in 2018 made a “historic capital contribution” to support the preservation of Chris Burden’s “Urban Light,” which has become an iconic L.A. landmark. (Disney earlier this week named parks chief Josh D’Amaro as Iger’s successor.)

LACMA previously announced that the north wing of the Geffen Galleries would be named in honor of the late former board co-chair Elaine Wynn, who contributed $50 million toward the construction project.

As LACMA looks to the future, Govan said the museum isn’t ruling out future expansion. But any additions would be off the Wilshire campus, in areas such as South L.A and the Valley.

The idea is, Govan continued, “Let’s change the model. Let’s just put the wings, you know, the rest of the museum, in other places and strategically located.”

The new David Geffen Galleries building is part of LACMA’s ambitious expansion plans.

(Allen J. Schaben / Los Angeles Times)

Expansion, he said, is important for an encyclopedic museum, responsible for chronicling art history across many genres, geographies and media.

“If you’re the Frick and you only collect things of a certain period, you don’t have to expand,” Govan said. “But if your job is to keep up with the practice of artists and the world being bigger and bigger in terms of what people recognize as art, then you have to keep expanding.”

For now, though, he’s content to create a “big, beautiful gathering place” for Los Angeles.

“I always refer to our plaza as the living room for Los Angeles,” Govan said. “So this idea of the public space was so important from the beginning, and you see how the campus integrates with this.”

Zumthor’s building design, which includes overhanging canopies, intentionally creates shade with outdoor events in mind, the executive explained. It’s all about diversity of experience.

“You can take your selfie at ‘Urban Light.’ You can go to the jazz concerts, go see dozens of masterpieces outdoors… you can go inside somewhere and really focus quietly on a single work of art,” Govan said. “I wanted the range of all those experiences in a package where you wanted to hang out for the day.”

Before hitting the stage, the comedians of the TV series “Jokes with JoySauce” have an on-camera ritual of exchanging immigrant stories about growing up with their families. There is no audience during these moments, just comics being vulnerable with one another.

The tales give insight into the lives they live offstage and their perspectives as Asian Americans that inspire so much of their material. It lets the audience know more about these up-and-coming comedians without the generic stage introductions.

The series is part of the original program curated for JoySauce, available on Amazon Prime. It premiered in early January as part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

Season 1 of “Jokes with JoySauce” is currently airing as part of the launching programming for the channel. Director and creator of the series Ana Tuazon Parsons is excited to watch it grow.

Narumi Inatsugu, from left, Cat Ce, Ana Tuazon Parsons and Jonathan Sposato at The Times’ office in El Segundo.

(Allen J. Schaben/Los Angeles Times)

“I’m still definitely going for that underground punk rock, like, let’s-find-some-cool-people kind of thing for Season 2,” Parsons said. “Bigger and better venue, and more budget, more budget, please.”

While Parsons focuses on cultivating new comedic voices, JoySauce wants to create its own opportunities for people in the community by broadening its mission of ownership and representation.

“We won’t really get the full spectrum of the representation that I believe that we deserve unless we own the pipeline and the platforms and the carriers and really the gateways,” Jonathan Sposato, creator of Joysauce, said.

He decided to bring the platform to the masses in 2022 after growing sick and tired of how much hate his community was going through and wanting to fill in a gap in the media. Media representation was also low for Asian American actors, with only 6% of all Asian characters in 100 titles on streaming platforms in 2022 in leading roles, according to a study by USC Annenberg Gold House.

“I do think positivity wins,” Sposato said. “Comedy is a very necessary tool, a necessary ingredient in the overall mix of what we’re trying to offer.”

His goal is to broaden the concept of Asian American culture through storytelling that would display what the U.S. has to offer while staying rooted in Asia.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” he said.

At a time when attention is a currency, creating a space that’s focused on elevating AAPI voices will help diversify the media landscape.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” JoySauce creator Jonathan Sposato, left, said.

(Allen J. Schaben/Los Angeles Times)

“As a comedian, you cannot complain,” Cat Ce, a comedian whose special “Perfect Chinglish” was licensed by JoySauce, said. “Nowadays, you want it on so many different platforms, you never know which kind of audience you may reach.”

Her work reflects the kind of storytelling JoySauce hopes to amplify. The comedy hour by Ce deals with the cultural differences when dealing with family, friends and romantic relationships as a Chinese American. For Narumi Inatsugu, that universality is the point.

As the chief creative officer of JoySauce, Inatsugu wants to create a space where Asian Americans do not feel outnumbered.

“For so long I thought nobody cared about Asian American stories,” he said.

As a curator of the channel, and host of the upcoming “Chopsticks and Chill,” an interview show where he shares a meal with influential members of the AAPI community, Inatsugu wants to create a platform where the younger generation can see the many opportunities life can offer, regardless of your cultural background.

“It’s community building, it’s letting people know they can be whatever they want, do whatever they want,” he said.

Season 1 of “Jokes with JoySauce” is currently airing and is part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

(Allen J. Schaben/Los Angeles Times)

Throughout his years in the entertainment industry and in production meetings, Inatsugu felt like he couldn’t pitch certain stories because they were aimed at his Asian community. He hopes an outlet like JoySauce can create a safe space for creative minds to feel like they can be themselves and not feel outnumbered, the way he once did.

Everything in the details of a show will make people feel welcomed, from the people making it to the food that’s made available for the cast and crew.

During production of the first season of “Jokes with JoySauce,” Parsons made sure every aspect of the production was AAPI, including the food. Her production team made sure to fill the craft table with food that can be found at any Asian market. The sense of belonging is exactly the reason she built “Jokes with JoySauce” and why JoySauce exists.

“When I’d see the comics come up into the greenroom and their faces, it was like ‘Oh, I feel so like they were just reverted to their childhoods,’” she said. “It was just like they felt like they were at home with their families, and it was so important for me, it made me cry a little bit.”

The Los Angeles City Council on Tuesday signed off on a plan to give financial relief to Palisades fire victims who are seeking to rebuild, endorsing it nearly 10 months after Mayor Karen Bass first announced it.

On a 15-0 vote, the council instructed the city’s lawyers to draft an ordinance that would spare the owners of homes, duplexes, condominium units, apartment complexes and commercial buildings from having to pay the permit fees that are typically charged by the Department of Building and Safety during the recovery.

Forfeiting those fees is expected to cost as much as $90 million over three years, according to Matt Szabo, the city’s top budget analyst.

The vote came at a time of heightened anxiety over the pace of the city’s decisions on the recovery among fire victims. Bart Young, whose home was destroyed in the fire, told council members his insurance company will cover only half the cost of rebuilding.

“I’m living on Social Security. I’ve lost everything,” he said. “I’m not asking for special treatment. I’m asking for something fair and with some compassion.”

The ordinance must come back for another council vote later this year. Councilmember Traci Park, who pushed for the financial relief, described the vote as a “meaningful step forward in the recovery process.”

“Waiving these fees isn’t the end of a long road, but it removes a real barrier for families trying to rebuild — and it brings us closer to getting people home,” she said in a statement.

Bass announced her support for the permit fee waivers in April as part of her State of the City address. Soon afterward, she signed a pair of emergency orders instructing city building officials to suspend those fees while the council works out the details of a new permit relief program.

That effort stalled, with some on the council saying they feared the relief program would pull funding away from core city services. In October, the council’s budget committee took steps to scale back the relief program.

That move sparked outrage among Palisades fire victims, who demanded that the council reverse course. Last month, Szabo reworked the numbers, concluding that the city was financially capable of covering all types of buildings, not just single-family homes and duplexes.

Fire victims have spent several months voicing frustration over the pace of the recovery and the city’s role in that effort.

Last week, the council declined to put a measure on the June 2 ballot that would spare fire victims from paying the city’s so-called mansion tax — which is levied on property sales of $5.3 million and up — if they choose to put their burned-out properties on the market.

Bass and other elected officials have not released a package of consulting reports on the recovery that were due to the city in mid-November from AECOM, the global engineering firm.

AECOM is on track to receive $5 million to produce reports on the rebuilding of city infrastructure, fire protection and traffic management during the recovery. The council voted in December to instruct city agencies to produce those reports within 30 days.

Bass spokesperson Paige Sterling said the AECOM reports are being reviewed by the city attorney’s office and will be released by the end of next week. The mayor, for her part, said Monday that the city has “expedited the entire rebuilding process without compromising safety.”

More than 480 rebuilding projects are currently under construction in the Palisades, out of about 5,600, the mayor’s team said. Permits have been issued for more than 800 separate addresses, according to the city’s online tracker.

The council’s vote coincides with growing antagonism between the Trump administration and state and local elected officials over the recovery.

Last week, President Trump signed an executive order saying wildfire victims should not have to deal with “unnecessary, duplicative, or obstructive” permitting requirements when rebuilding their homes. On Tuesday, the county supervisors authorized their lawyers to take legal action to block the order if necessary.

Lee Zeldin, Trump’s administrator for the federal Environmental Protection Agency, is scheduled to meet Wednesday with Bass and LA. County Supervisor Kathryn Barger in Pacific Palisades to discuss the pace of the recovery. He is also set to hold a news conference with Palisades residents to discuss the roadblocks they are facing in the rebuilding effort.

WASHINGTON — President Trump said Sunday that he will move to close Washington’s Kennedy Center for the Performing Arts for two years starting in July for construction, his latest proposal to upend the storied venue since returning to the White House.

Trump’s announcement on social media follows a wave of cancellations by leading performers, musicians and groups since the president ousted the previous leadership and added his name to the building. Trump made no mention in his post of the recent cancellations.

His proposal, announced days after the premiere of “Melania,” a documentary about the first lady, was shown at the center, is subject to approval by the board of the Kennedy Center, which has been stocked with his handpicked allies. Trump chairs the center’s board of trustees.

“This important decision, based on input from many Highly Respected Experts, will take a tired, broken, and dilapidated Center, one that has been in bad condition, both financially and structurally for many years, and turn it into a World Class Bastion of Arts, Music, and Entertainment,” Trump wrote in his post.

Neither Trump nor Kennedy Center President Ric Grenell, a Trump ally, have provided evidence to back up their claims about the building being in disrepair, and in October, Trump had pledged the center would remain open during renovations. In Sunday’s announcement, he said the center will close July 4, when he said the construction would begin.

“Our goal has always been to not only save and permanently preserve the Center, but to make it the finest Arts Institution in the world,” Grenell said in a post, citing funds Congress approved for repairs.

“This will be a brief closure,” Grenell said. “It desperately needs this renovation and temporarily closing the Center just makes sense — it will enable us to better invest our resources, think bigger and make the historic renovations more comprehensive. It also means we will be finished faster.”

The sudden decision to close and reconstruct the Kennedy Center is certain to spark blowback as Trump revamps the popular venue. The building began as a national cultural center and Congress renamed it as a “living memorial” to President Kennedy — a champion of the arts during his administration — in 1964, in the aftermath of his assassination.

Opened in 1971, it serves as a public showcase year-round for the arts, including the National Symphony Orchestra.

Since Trump returned to the White House, the Kennedy Center is one of many Washington landmarks that he has sought to overhaul in his second term. He demolished the East Wing of the White House and launched a massive $400-million ballroom project, is actively pursuing building a triumphal arch on the other side the Arlington Bridge from the Lincoln Memorial, and has plans for Washington Dulles International Airport.

Leading performing arts groups have pulled out of appearances at the Kennedy Center, most recently composer Philip Glass, who announced his decision to withdraw his Symphony No. 15 “Lincoln” because he said the values of the center today are in “direct conflict” with the message of the piece.

Last month, the Washington National Opera announced that it will move performances away from the Kennedy Center in another high-profile departure after Trump’s takeover of the U.S. capital’s leading performing arts venue.

The head of artistic programming for the center abruptly left his post last week, less than two weeks after being named to the job.

A spokesperson for the Kennedy Center could not immediately be reached and did not respond to an emailed request for comment.

Late last year, as Trump announced his plan to rename the building — adding his name to the building’s main front ahead of that of Kennedy — he drew sharp opposition from members of Congress, and some Kennedy family members.

Kerry Kennedy, a niece of John F. Kennedy, said in a social post on X at the time that she will remove Trump’s name herself with a pickax when his term ends.

Another family member, Maria Shriver, said at the time that it is “beyond comprehension that this sitting president has sought to rename this great memorial dedicated to President Kennedy,” her uncle. “It is beyond wild that he would think adding his name in front of President Kennedy’s name is acceptable. It is not.”

Late Sunday evening, Shriver posted a new comment mimicking Trump’s own voice and style, and suggesting the closure of the venue was meant to deflect from the cancellations.

She said that “entertainers are canceling left and right” and the president has determined that “since the name change no one wants to perform there any longer.”

Trump has decided, she said, it’s best “to close this center down and rebuild a new center” that will bear his name. She asked, “Right?”

One lawmaker, Rep. Joyce Beatty, an Ohio Democrat and ex-officio trustee of the center’s board, sued in December, arguing that “only Congress has the authority to rename the Kennedy Center.”

Price and Mascaro write for the Associated Press. AP writer Darlene Superville contributed to this report.

PORTLAND, Ore. — The mayor of Portland, Ore., demanded U.S. Immigration and Customs Enforcement leave his city after federal agents launched tear gas at a crowd of demonstrators — including young children — outside an ICE facility during a weekend protest that he and others characterized as peaceful.

Witnesses said agents deployed tear gas, pepper balls and rubber bullets as thousands of marchers arrived at the South Waterfront facility on Saturday. Erin Hoover Barnett, a former OregonLive reporter who joined the protest, said she was about 100 yards from the building when “what looked like two guys with rocket launchers” started dousing the crowd with gas.

“To be among parents frantically trying to tend to little children in strollers, people using motorized carts trying to navigate as the rest of us staggered in retreat, unsure of how to get to safety, was terrifying,” Barnett wrote in an email to OregonLive.

Mayor Keith Wilson said the daytime demonstration was peaceful, “where the vast majority of those present violated no laws, made no threat and posed no danger” to federal agents.

“To those who continue to work for ICE: Resign. To those who control this facility: Leave,” Wilson wrote in a statement Saturday night. “Through your use of violence and the trampling of the Constitution, you have lost all legitimacy and replaced it with shame.”

The Portland Fire Bureau sent paramedics to treat people at the scene, police said. Police officers monitored the crowd but made no arrests Saturday.

The Portland protest was one of many demonstrations nationwide against the Trump administration’s immigration crackdown in cities including Minneapolis, where in recent weeks federal agents killed two residents, Alex Pretti and Renee Good.

Federal agents in Eugene, Ore., deployed tear gas on Friday when protesters tried to get inside the federal building near downtown. City police declared a riot and ordered the crowd to disperse.

President Trump posted Saturday on social media that it was up to local law enforcement agencies to police protests in their cities. But he said he has instructed Homeland Security Secretary Kristi Noem to have federal agents be vigilant in guarding U.S. government facilities.

“Please be aware that I have instructed ICE and/or Border Patrol to be very forceful in this protection of Federal Government Property. There will be no spitting in the faces of our Officers, there will be no punching or kicking the headlights of our cars, and there will be no rock or brick throwing at our vehicles, or at our Patriot Warriors,” Trump wrote. “If there is, those people will suffer an equal, or more, consequence.”

Wilson said Portland would be imposing a fee on detention facilities that use chemical agents.

The federal government “must, and will, be held accountable,” the mayor said. “To those who continue to make these sickening decisions, go home, look in a mirror, and ask yourselves why you have gassed children.”

Jan. 29 (UPI) — Britain, Canada, France and eight other allies on Wednesday “strongly condemned” Israel’s demolition of the United Nations’ Palestinian relief agency building in occupied Palestinian territory, saying it represents the latest “unacceptable move” by the Middle Eastern nation to undermine the U.N.’s ability to operate.

The joint statement from the foreign ministries of Belgium, Britain, Canada, Denmark, France, Iceland, Ireland, Japan, Norway, Portugal and Spain described Israel’s demolition of UNRWA’s East Jerusalem building as “an unprecedented act against a United Nations agency by a U.N. member state.”

“We urge the Government of Israel to abide by its international obligations to ensure the protection and inviolability of United Nations premises in accordance with the provisions of the U.N. General Convention (1946) and the Charter,” the 11 nations said.

“We call upon the Government of Israel, a member of the United Nations, to halt all demolitions.”

The West Bank and East Jerusalem are widely regarded as Israeli-occupied Palestinian territory, and Israeli actions, including the establishment of settlements and the demolition of Palestinian buildings, are widely regarded as illegal under international law.

Israel has long been a vocal critic of UNRWA, alleging it has ties with Hamas, allegations that only intensified after the Iran-backed militant group’s bloody surprise attack on Israel on Oct. 7, 2023.

The Knesset, Israel’s parliament, passed laws in the fall of 2024 to ban the agency from operating in land under its control, with the ban going into effect in January 2025.

Last week, Israel demolished UNRWA’s East Jerusalem building.

“UNRWA is a service provider delivering healthcare and education to millions of Palestinians across the region, particularly in Gaza, and must be able to operate without restrictions,” the 11 nations said Wednesday.

The nations also called on Israel to abide by its obligations to facilitate the delivery of humanitarian aid to Gaza.

“Despite the increase in aid entering Gaza, conditions remain dire and supply is inadequate for the needs of the population,” they said.

On Tuesday, UNRWA Commissioner-General Philippe Lazzarini said that not only had Israel “stormed & demolished” its headquarters, but it was now set on fire.

“Allowing this unprecedented destruction is the latest attack on the U.N. in the ongoing attempt to dismantle the status of Palestine refugees in the occupied Palestinian Territory & erase their history,” Lazzarini said on X.

“Refugee status must be resolved through a genuine political solution, not criminal acts.”

Israel has killed more than 71,600 Palestinians and damaging more than 80% of all of the region’s structures in its war against Hamas in Gaza.

According to the Palestinian Ministry of Health, Israel has killed 492 Palestinians since the fragile cease-fire was announced in October.

Israel has been accused of committing genocide against the Palestinian people in Gaza by a number of nations, international organizations and human rights groups, and the International Criminal Court has issued arrest warrants for Israel’s prime minister, Benjamin Netanyahu, and its former defense minister, Yoav Gallant, on war crimes and crimes against humanity charges.

Israel has denied the accusations.