tower

A 15-year campaign led by the Los Angeles County Museum of Art to conserve Watts Towers has run out of budget at the same time that a $22-million renovation of the campus is poised to take flight. The situation highlights what community organizers and the site’s leadership say is a piecemeal approach to the protection and preservation of one of the city’s most important cultural landmarks.

For decades, the city of Los Angeles and private foundations have invested in preserving the towers, the 102-year-old masterpiece of folk art built by Italian immigrant Sabato “Simon” Rodia. But while the landmark itself underwent years of painstaking conservation, which was recently halted at 90% complete, the arts campus surrounding it evolved in fits and starts.

Now, after 14 years of planning, an equally ambitious investment is being made to transform the Watts Towers Arts Center Campus (WTACC), which has served as an essential cultural and educational center for more than 50 years. The work will mark the first major upgrade of the WTACC since it opened in 1970, and leaders hope the transformation continues uninterrupted until it reaches the finish line.

“This is about investing in the people of Watts and creating a space the community can be proud of,” Mayor Karen Bass wrote in an email. “Thanks to the dedication of our state, county and local partners, philanthropic supporters and community organizations, we’re one step closer to creating a greener, healthier and more vibrant campus that honors the legacy of Watts while serving generations of Angelenos to come.”

The campus renovation is slated to break ground in October, with completion targeted before the 2028 Summer Olympics. The project is funded through a patchwork of public and private sources, including a $10.1 million investment from the Bezos Earth Fund, the climate philanthropy organization founded by Amazon Executive Chair Jeff Bezos.

The redesign will reshape how visitors experience the campus. More than 30,000 square feet of park space will be added along E. 107th Street, while climate-resilient landscaping will reduce flooding, improve stormwater management and create cooler public spaces. More seating and shade will be added to its amphitheater, new public art will be commissioned, and additional walkways, gathering areas and 200 trees will make the towers the physical centerpiece of what will be a 5-acre campus.

“It’s been the right time for a long time,” said WTACC Director Rosie Lee Hooks of the project’s long gestation during a recent interview.

A girl plays near the Watts Towers at the Watts Towers Arts Center Campus, which is poised to undergo a $22-million renovation just as funding for the restoration on the towers themselves has run out.

(Eric Thayer / Los Angeles Times)

The center offers free art, film and music classes for students and seniors, houses an art gallery and hosts two annual music festivals. Thousands of artists, filmmakers and musicians have passed through its doors as students and instructors.

Hooks, who has led the center since 2010, said the project’s long timeline reflects more than bureaucracy.

“It took so long because we’re in Watts,” she said, noting that the neighborhood has faced decades of disinvestment dating back to the 1965 Watts uprising. “People are still scared to come down here. However, our community is very, very rich in culture.”

That history of underinvestment is reflected in the campus itself, supporters say.

“This is the story of development in Watts and other communities of color in Los Angeles, where racist planning practices, combined with a lack of investment in the city’s arts and culture facilities, create a haphazard approach to management and design,” Tori Kjer, executive director of the Los Angeles Neighborhood Land Trust (LANLT), wrote in an email. The organization has partnered with the city on the campus’ redesign since 2012, when planning began to incorporate a vacant lot adjoining the towers into the campus.

The landscape design echoes Rodia’s own artistic process. Over the course of 33 years beginning in 1921, he transformed thousands of disparate objects — including mosaic tiles, plates, glass, shells and pottery — into 17 interconnected structures, one of which rises more than 99 feet.

“Assemblage is the practice of creating something meaningful from many distinct parts,” Sara Zewde, founder and principal of Studio Zewde, the landscape architecture firm designing the campus, wrote in an email. “Rather than erase those histories and make the campus feel as though it had always been a singular space, we wanted the landscape to celebrate them.”

A model created by landscape design firm Studio Zewde of the proposed renovations to the Watts Towers Arts Center Campus. Groundbreaking is set to begin in October on the $22-million project.

(Eric Thayer / Los Angeles Times)

The campus’ landscape has remained largely unchanged since WTACC opened. Since then, several buildings and public artworks have been added, but LANLT’s Kjer described the site as a “hodgepodge of concrete, worn-out planting areas and grass … with a disjointed flow and limited way-finding.”

Around the time that LANLT partnered with the city, a separate proposal to build a skate park on the adjoining lot drew community opposition and, according to Kjer, delayed the project by about four years. The skate park ultimately opened a few blocks away, allowing the parcel to become part of an expanded campus.

The WTACC project gained momentum in 2021 when California’s Proposition 68 Statewide Park Program awarded a $4.5 million grant. The following year, Assemblymember Mike A. Gipson (D-Carson) secured an additional $4 million in the state budget.

Once that funding was committed, “it was just a domino effect,” Gipson said, helping attract additional public and private investment.

“This will be a space that will be nourishing for the soul,” said Daniel Tarica, general manager of the city’s Department of Cultural Affairs, which manages the towers. “We’re finally going to be able to make the whole campus useful.”

A building at the Watts Towers Arts Center Campus, which will receive a $22-million renovation beginning in October. Community members and supporters say the work has been a long time coming.

(Eric Thayer / Los Angeles Times)

Watts Towers attract about 40,000 visitors a year, according to the California Department of Parks and Recreation, and were designated a U.S. National Historic Landmark in 1990. In June, the site was added to the World Monuments Fund’s “Irreplaceable America” list of 10 endangered historic sites in the United States.

While Gipson hopes the renovated campus will attract additional international visitors, he also wants more Angelenos to discover one of the city’s defining cultural landmarks.

“The towers tell a story about Los Angeles,” Gipson said. “We want people to know that the Watts Towers are part of who Los Angeles is.”

Tarica said the project is designed to serve neighborhood residents as much as tourists.

“It’s a huge resource, and we have fought as a department, and as a city, to make sure that we have the funding to continue teaching … and programming,” he said.

A statue of Watts Towers creator Sabato “Simon” Rodia stands at the entrance to the Watts Towers Arts Center Campus, which is getting a $22-million renovation beginning in October, with the goal of completion in time for the 2028 Olympics in Los Angeles.

(Eric Thayer / Los Angeles Times)

For Hooks, however, the renovation’s success will ultimately be measured by its impact on the surrounding community.

She sees the campus as filling a void left by decades of cuts to arts education while providing a place where residents can gather and learn.

“Our community cannot afford art, especially now with all of the issues around health, around food, around jobs, around ICE separating families,” she said.

The project’s funding is restricted to renovating the campus and does not include the conservation of the Watts Towers themselves. LACMA Deputy Director Diana Magaloni said about $412,000 is needed to finish the project. The city has allocated $150,000 for ongoing maintenance and monitoring, and both Magaloni and Tarica said they remain optimistic the conservation campaign and campus transformation will be completed before Los Angeles welcomes the world for the 2028 Summer Olympics.

“It would be amazing to have this funding to be able to do the campus restoration and [the towers restoration] in preparation for us to be on the world stage,” Tarica said.

New research shows more Brits have visited the Eiffel Tower than some of Britain’s most iconic landmarks, with cost of living and lack of time cited as the main barriers to exploring closer to home.

Britons are more likely to have visited landmarks overseas than those on their own doorstep, according to new research.

A survey of 2,000 adults found that more people have laid eyes on the Eiffel Tower (55%) than some of Britain’s most beloved landmarks, including the Tower of London (54%), Tower Bridge (53%) and Trafalgar Square (52%). The findings also revealed that people were better at identifying foreign landmarks than those closer to home.

More than three quarters (78%) of respondents could identify the Eiffel Tower, while 71% recognised the Leaning Tower of Pisa and 61% could identify Rome’s Colosseum. By contrast, fewer people were able to recognise St Paul’s Cathedral (58%), Westminster Abbey (53%) and Edinburgh Castle (52%).

In honour of these landmarks, Railcard.co.uk, which commissioned the research, collaborated with ‘Sand in Your Eye’ to craft a variety of attractions and famous sights from across Britain in sand. The sculpture was revealed on Blackpool promenade and will stay there for the public to view until the weekend.

Constructed using 12 tonnes of sand and taking three days to complete, the creation showcases the attractions topping Brits’ wish lists: Tower of London (22%), Edinburgh Castle (18%), Stonehenge (18%), Eden Project (18%) and Scotland’s Loch Ness (18%).

Catherine Lyver, from railcard.co.uk, which commissioned the research to encourage Brits to make the most of British landmarks by offering a third off travel for adults and 60% off for children, said: “It’s easy to overlook the iconic landmarks and hidden gems on our doorstep, yet Great Britain is full of incredible places to explore.

“We’re encouraging people to do a third more with their break, making it easier and more affordable to tick off some of the bucket-list-worthy destinations closer to home.”

“Whether you’re still looking to tick off historic favourites like the Tower of London or have added the modern Eden Project to your list, there are plenty of opportunities to make your summer go further when you travel by train.”

The overwhelming majority in the OnePoll.com survey for railcard.co.uk (79%) said they would like to discover more British landmarks – but the cost of living (43%) and lack of time (33%) are the primary obstacles preventing them.

When visiting British landmarks 23% will travel by train, because it’s relaxing (59%), more convenient (46%) and don’t have to worry about parking (43%).

THE 10 MUST VISIT ATTRACTIONS IN BRITAIN:

1. Tower of London
2. Edinburgh Castle
3. Stonehenge
4. Eden Project
5. Loch Ness
6. The British Museum
7. Buckingham Palace
8. Lake Windermere
9. Windsor Castle
10. Jurassic Coast

The tower was once London’s tallest building, but has been closed to the public other than for special events for decades. Now, it’s becoming a hotel as well as opening a whole new tourist attraction for the capital

For decades, the BT Tower has been an icon in the London skyline, a 1960s structure that has been everything from a revolving restaurant to a news display for the capital.

But the tower’s doors have remained closed to the public since 1981, other than a handful of special events. Unless you worked in telecoms you won’t have been able to appreciate this London landmark up close.

The Grade II-listed building, based in Fitzrovia, was completed in 1964 and originally named the Post Office Tower. At 177 metres high, it was the tallest building in London for years, but was damaged by a bomb in 1971. Its tower-based restaurant and viewing galleries had to close as a result.

The public has been unable to access the building since 1981. It was renamed the British Telecom Tower a few years later. Since then, it has been used as a communications hub. Most Londoners know it for its breaking news alerts, which play on a huge 360-degree screen wrapped around the tower.

Now, architecture firm Orms has revealed plans to turn the London landmark into a luxurious hotel with a rooftop pool. Its plans were shown at a public consultation earlier this week, with visuals showing how the completed project will look.

In addition to the hotel, the tower would include a visitor experience space giving views across the London skyline. On the ground floor, the retro 1960s buildings would be converted into shops and cafés, with plans to remove “unsightly” modern additions.

Other plans include a new public square with pedestrian routes through the complex, according to the Architects’ Journal. This is where the entrance and exit to the new visitor experience will be found. A new staircase would open up the main body of the tower, and hotel rooms would be arranged around its core.

Past consultations have also speculated on the uses for levels 24 to 30, which could become “spaces for art and cultural engagement”, although no solid plans have been revealed just yet.

Camden Council is set to receive the planning application for the site this autumn, and if successful, work could begin in 2029, once BT decommissions and removes equipment from the site.

The BT Tower isn’t the only London landmark being brought back to life as a hotel. Custom House on the River Thames, a beautiful Georgian structure, is set to become a 179-room luxury hotel including a basement spa with a 25m pool, waterfront restaurants, and quayside areas open to the public.

Admiralty Arch on The Mall, long associated with royal parades, is also set to open as a Waldorf Astoria hotel this autumn, and will offer views of Buckingham Palace in some of its rooms as well as restaurants and a spa.

Have a story you want to share? Email us at webtravel@reachplc.com

THE abandoned BT tower is set to be turned into a fancy hotel – and the first images of what it could look have been revealed.

The London attraction first opened in 1964 as the Post Office Tower, and was the city’s tallest building until the NatWest Tower opened in 1980.

The BT Tower then closed in 1981 to the public, bar some private events.

It has since been bought by MCR, an American hotel chain who also owns the High Line Hotel and TWA Hotel in New York, for £270million in 2024.

And new images released by architect Orms (behind The Outernet and The Standard Hotel) show what to expect from the 177m tower when it reopens.

The main attraction will be the rooftop swimming pool on the fifth floor, and open to both hotel guests and the public.

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The ground floor will be used for retail and food and drink spaces, while the hotel will take over the first and second floor. 

The Howlands Building will get a three to four storey extension upwards, which will be the hotel space as well.

Levels 24-30 are unconfirmed as to what they will be used for but could become art or culture areas.

And a public space will be part of the exterior as well, to make it more easily accessible. 

Designers Orms are behind the renovation, who has replaced Heatherwick Studios.

They said in the application: “While maintaining the overall structure, we will remove unsightly modern additions to the 1960s exterior on the ground floor.

“We will then introduce retail on the ground floor and add a modest pavilion structure on the roof.”

A planning application will be submitted in September, although works cannot start in 2029 due to BT decomposing on equipment inside.

Expected opening dates of the hotel are in 2033.

The tower was once known for its rotating restaurant, although this was forced to close after an IRA bombing.

It even has special features to ensure drivers don’t feel like they’re ‘floating’

The world’s tallest bridge is so high that an entire skyscraper could fit underneath it. While many would expect the highest bridge to be in the likes of China or the US, it is actually in France.

The Millau Viaduct is part of a motorway that connects Paris to the Mediterranean. It was designed by British architect Norman Foster and is in Southern France.

Work completed in 2004 and the cost of construction was approximately €394 million (£345 million). It has an impressive height of height of 343 metres (1,125 ft), which is higher than the iconic Eiffel Tower.

The Paris skyscraper stands at 330 metres (1,083 feet). Millau Viaduct is 2460 metres long and touches the bottom of the Tarn valley just nine times along its length.

Le Shuttle said: “Plans for a road crossing to alleviate the traffic through the town of Millau date from the 1980s.

“British architect Sir Norman Foster was among the team that designed the viaduct, which was considered the most viable solution to cross the valley and river, with the least ecological impact on the area. Construction of the viaduct began in 2001.”

There is no pedestrian access to the viaduct as it is a high-speed motorway. However, it does attract tourism and there are guided informational tours.

Tours include taking a designated nature path to a viewing platform below the bridge and even inside one of the tallest pylons. A marathon takes place every year over the viaduct, and the Tour de France has passed under the viaduct a number of times.

The viaduct features a slight curve that extends up to 20km on the road on either side. It helps drivers settle the feeling of “floating” when driving on a long, straight bridge.

Enjoy Travel explained: “It has two lanes in each direction and interestingly, the bridge is not straight as this could induce a sensation of floating for drivers.

“To remedy this, the architects designed the bridge to have a slight curve, which is 20km in range. Another design feature that improves safety, is the road’s slight incline of 3%, which improves visibility and reassures the driver.

“The bridge is exposed to strong gusts of up to 151km/h, so designers installed side screens that cut the wind’s impact by 50 per cent.”

Visitors have left positive reviews about their experience of the viaduct on TripAdvisor. One said: “Love bridges. This is one not to be missed. Be sure to take a look at it from below to get a real sense of it. Real engineering feat.”

Another added: “An absolutely superb place! The viaduct and the surrounding landscape are so beautiful that you feel like you are part of a painting or drawing! It is truly a work of engineering of the highest level.”

Someone else commented: “Visited today after it been on my bucket list. Great visitors centre, cafe and toilets. Parking is free and you can walk up a 470m path to an awesome view point. You can see the viaduct and surrounding areas. Drove over the bridge with stunning views.”

A MASSIVE travelling attraction is set to return to a seaside hotspot next week – and it’s perfect for the whole family.

The popular spot will be open for more than a month throughout the summer.

Cardiff Bay Fun Park will descend on the Welsh capital once more, as the family-friendly destination is set to return to Roald Dahl Plass next weekend (July 18).

This year also marks the attraction’s newest arrival, Skyfall – the tallest travelling drop tower in the UK.

At 262 ft (80 metres) high, thrill-seekers will be treated with 360-degree panoramic views of Cardiff and the Bristol Channel, before plunging down at speeds of up to 75mph.

The tower even dwarfs the tallest roller coaster in the UK, Hyperia, which stands at 236 ft (72 metres).

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Remaining in the city until August 31, visitors can also ride fun fair classics including Dodgems, Funhouse, Bungee Trampolines and Water Walkers.

The summertime staple is also set to host magic shows, princess sing-a-longs and character meet and greets for younger guests.

The destination will be open on Sunday to Thursday from 11am to 8pm, and on Friday and Saturday from 11am to 9pm.

Residents have shared their excitement online about the return of the much-loved fair, with many saying they “can’t wait” until next weekend.

One enthusiastic user said: “This looks so much fun! I definitely need to check it out.”

Meanwhile, another shared their reservations about the attraction’s newest arrival, commenting: “Omg, this looks terrifying.”

PHOENIX — For decades, all that separated the U.S. from Mexico was barbed wire.

Now, after a massive infusion of cash from Congress, President Trump’s administration is swiftly building what it has dubbed a “smart wall,” a combination of 30-foot-tall steel fencing and an array of sophisticated technology like sensors, cameras and towers allowing Border Patrol to surveil the territory.

The wall is under heavy scrutiny for the billions of dollars being dedicated to it when border crossings are at their lowest in decades. Critics say the U.S. is militarizing the border as it increasingly deploys sophisticated surveillance technology to the area, impacting local communities.

“We are seeing a massive expansion of surveillance and surveillance technology across the borderlands,” said Ricky Garza, border policy counsel at the Southern Border Communities Coalition, an advocacy group. “The wall in all its forms is harmful to communities.”

Officials say the technology is complementary to the physical wall and frees up agents for other tasks.

“It’s a smart wall. It’s not just a barrier,” Customs and Border Protection Commissioner Rodney Scott said during recent congressional testimony. “It maximizes the use of our most valuable resource, which is our agents.”

Contracts for hundreds of miles of wall already inked

The wall has been a top priority for Trump, a Republican, since he first ran for president.

During the administration of President Joe Biden, a Democrat, the border emerged as a flashpoint, with thousands of people seeking to cross into the country each day. Those numbers started to taper off shortly before Trump returned to office last year and then slowed to a trickle, with his broader immigration crackdown serving as a deterrent for would-be migrants.

Flush with $46 billion to finish the wall after an infusion by Congress for immigration enforcement, CBP is inking tens of billions of dollars in contracts to build the wall and push along the president’s signature project.

Homeland Security Secretary Markwayne Mullin said recently that a preliminary part of the wall will be finished by “this time next year.” Scott said his agency is putting up 6 miles of wall a week.

Hundreds of miles had already been built before Trump returned to office. As of mid-June 2026, CBP has erected another 74 miles and aims to build hundreds more. There is no wall planned for roughly 535 miles of the roughly 2,000-mile-long border, because rugged terrain already serves as a barrier. Ground sensors and towers will be used instead.

CBP is also going back to hundreds of miles of already built wall and adding more technology, lights and roads. Along the long stretches of river in Texas that mark the border with Mexico, they’re deploying 12- to 15-foot-long cylinder-shaped buoys meant to keep migrants or smugglers from crossing the border.

More technology being deployed on the border

Technology is playing a greater role in the Trump administration’s effort to make illegal crossings along the border more difficult, part of a broader transformation of CBP in the years since Sept. 11, 2001, into an intelligence operation with a mass surveillance network whose reach extends far beyond the nation’s frontiers, according to reporting by The Associated Press.

And critics say the border technology poses a threat.

The Southern Border Communities Coalition says surveillance technologies can push migrants into more dangerous routes to avoid being detected.

Garza, the group’s policy counsel, warned that surveillance technology infringes on the privacy rights of border residents and that locals have found ground sensors used to detect smuggler or migrant traffic placed on their property without their consent.

Nayda Alvarez and her relatives own land along the Rio Grande roughly 125 miles inland from the Gulf of Mexico. She has found cameras placed on her family’s land, and just last week she spotted a surveillance tower about a quarter of a mile down the river from her house.

“Are we expecting a war or something?” she said. “It doesn’t make me feel safer.”

Dave Maass, director of investigations for the Electronic Frontier Foundation, a nonprofit that focuses on civil liberties related to digital technology, said the technology has made the border area “a hostile environment” for locals and would-be migrants.

The foundation has published a guide on the various types of surveillance towers in use along the southern border designed to help local residents.

These can range from fixed towers with video, infrared and radar technologies that have a range of roughly 8 miles to remote video surveillance systems that have cameras and a spotlight fixed on top. Some are mounted on the backs of trucks so agents can drive them to different parts of the border.

Increasingly, these towers are autonomous. They can scan an area, analyze what they’re seeing using artificial intelligence and alert Border Patrol agents to something suspicious. Proponents say this helps keep Border Patrol agents out in the field instead of sitting in front of computer screens watching for activity. But it also increases AI decision-making along the border when experts have warned about the technology’s potential for bias or other problems.

The big GOP tax cuts and spending bill passed by Congress last summer requires that CBP buys only the autonomous towers, and the department is deploying an additional 95.

Underground, buried fiberoptic cables can sense movement, capturing data that is also then analyzed by AI.

“We follow the contour of the land. We go through trees. We go down into the river banks. We can go absolutely everywhere,” said Magnus McEwen-King, CEO of Sintela, which has a contract with CBP to install the cables. He spoke at a recent border security expo in Phoenix, where some of the technology was on display.

CBP also uses ground sensors and trail cameras to detect smuggling routes.

Concerns over cost and future plans

The nonpartisan watchdog group Taxpayers for Common Sense has questioned both the huge amounts of money for the wall-building and whether taxpayers are getting their money’s worth.

In 2011, under Democratic President Obama, Homeland Security Secretary Janet Napolitano pulled the plug on a project to build a “virtual wall” of integrated technology like radars, sensors and cameras across the entire border after it ran over budget, faced technological glitches and was behind schedule.

Josh Sewell, director of research and policy at Taxpayers for Common Sense, said the organization would like to see more “robust evaluation” of the technologies being used to avoid similar scenarios. And he criticized the Trump administration for lack of oversight on how the money is being spent, a charge CBP has denied, citing “oversight mechanism.”

In the Big Bend area of southern Texas, opposition to the department’s wall-building plans gathered strong bipartisan support especially in the most sensitive areas that run through a state and national park and a wildlife area.

CBP now says it is not planning to build a 30-foot-high bollard wall in those areas. Its recently announced plans include installing patrol roads and some barriers designed to stop cars and using detection technologies.

Clara Benson, who is one of the founders of the No Big Bend Wall coalition, says bright lights in the area designed to illuminate the border could pollute the skies in an area renowned for having some of the best views of the stars. Even without a 30-foot-tall steel wall running through the land, there is concern about CBP’s plans.

“There’s still a lot of fear and dread that the plan is still going to be quite damaging,” she said.

Santana writes for the Associated Press.

A giant eight-metre dragon swept around the Tower of London in a dramatic display. The mythical beast was marking a spin-off from popular show Game of Thrones

A giant eight-metre dragon soared above the Tower of London to mark the launch of the third series of Game of Thrones spin-off House of the Dragon on HBO Max. An eight‑metre model of Syrax was brought to life using production scans from the hit show.

Built by German aeronautics firm Airstage, the dragon features 23 moving parts and moved using impellers built into its legs to create lifelike motion. The model weighs 13kg and took three months to build by a 14‑strong team using foam, carbon fibre and aluminium. The dragon was crafted from vacuum-formed Depron foam around a carbon fibre and aluminium frame.

The model was finished with detailed airbrushing for a lifelike look and took the team nearly 3,000 hours to complete.

A special evening reception following the flight was hosted by Harriet Rose and attended by stars of the show Kieran Bew, Tom Bennett, Clinton Liberty, who play Dragonseeds Hugh Hammer, Ulf White and Addam Of Hull, recruited as Dragon Riders by Rhaenyra (Emma D’Arcy) in the series, and Abubakar Salim, who plays Alyn of Hull.

Nils Schlenther, chief operating officer at Airstage, said: “This is one of the most intricate flying models we have ever created.

“After months of R&D and complex construction, the team studied the movement of Syrax and underwent over seven test flights to ensure her flight was as close as what we see in the show as possible.

“We have been constantly refining and getting the motion as realistic as possible and so the crowd’s reaction was amazing to see as we know we got it right for the fans.”

The event celebrated the return of House of the Dragon after nearly a two-year wait.

The show is based on George R.R. Martin’s Fire & Blood and is set 200 years before the events of the hit show Game of Thrones, telling the story of House Targaryen.

The eight-episode season will air new episodes weekly on HBO Max, leading up to the season finale landing on screens Sunday 9th August.

Anna Kimber OBE, deputy governor of the Tower of London, said: “The Tower of London has stood at the heart of some of the most dramatic chapters in our history for nearly 1,000 years.

“While dragons may belong to the world of fantasy, the themes at the heart of House of the Dragon – power, ambition and the struggle for the throne – have strong echoes in the stories that played out within these walls.

“We’re delighted to welcome this spectacular stunt to the Tower, where history and fantasy will meet for an unforgettable moment.”

Ben Gibbard remembers late 2023 as a time of competing realities.

Onstage, the frontman of Death Cab for Cutie and the Postal Service was thriving as his two bands toured together to mark the 20th anniversaries of Death Cab’s “Transatlanticism” and the Postal Service’s “Give Up.”

Behind the scenes, Gibbard’s personal life was in shambles.

“I was getting off phone calls — very difficult phone calls — 20 minutes before going on in an arena,” he says. The singer and his wife, photographer Rachel Demy, were in the middle of an agonizing breakup that would eventually lead to divorce. Yet audiences in the thousands were turning up nightly to see Gibbard reanimate the peak-millennial classics that made him one of indie rock’s defining stars.

“I’d just tell myself, You’re a professional — you’re gonna go out there and do it, and no one’s gonna know,” he recalls. “It was all waiting for me when I got offstage, of course. But for two hours I was able to disconnect and be a performer, which was incredibly …” Gibbard, 49, trails off into a laugh.

“I don’t know if it was healthy,” he says. “But it was helpful.”

Two and a half years later, that split-screen experience — “this idea of how we compartmentalize our pain or our grief or our trauma,” as Gibbard puts it now — forms a through line of Death Cab’s ruminative new album, “I Built You a Tower.” Due Friday from Anti Records, where the group landed after leaving its longtime home of Atlantic amid a corporate shake-up, the LP sets thoughts of broken fences and never-ending storms against tuneful arrangements that can churn, shimmer or chime.

“I pledge myself to your misery / I kneel at its throne,” Gibbard sings in his still-boyish tenor over the sleek new wave groove of “Trap Door,” “Respecting your proclivity / To languish on your own.” In the fuzzed-out “Envy the Birds,” the frontman recounts an argument between two lovers “spraying bullets of grievances”; the driving “Riptides” is narrated by a guy “too tired to end the war.”

“This record is definitely the result of a divorce,” Gibbard says plainly during a recent visit to Los Angeles from his home in Seattle. “But I didn’t want to make a score-settling record or an angry record. This wasn’t an opportunity to defame someone or make this about how I’d been wronged. People drift apart — relationships don’t work. And I think how that’s affected me at almost 50 is a very different mindset than I found myself in when I was 33 or whatever the last time it happened.”

Gibbard means his first divorce, in 2012, from the actor and singer Zooey Deschanel — a split that inspired Death Cab’s 2015 album “Kintsugi,” on which one song asks, “Was I in your way when the cameras turned to face you?” and another chides an unnamed celebrity: “You’ll never have to hear the word ‘no’ if you keep all your friends on the payroll.”

“There’s some gnarly stuff on that record,” says Gibbard, who’d moved to L.A. to be with Deschanel then promptly left as soon as their marriage collapsed. “It’s not exactly a kind album.”

Bassist Nick Harmer, who formed Death Cab with Gibbard in the late ’90s after the two met as students at Western Washington University, agrees that “I Built You a Tower” represents a shift in perspective. “There’s so much more self-examination — and so much more self-indictment,” he says. (Death Cab’s other members are drummer Jason McGerr, guitarist Dave Depper and keyboardist Zac Rae.)

Which isn’t to say that Gibbard entirely resists placing blame. In “Trap Door” he sings about “a trap door in your heart and a button on your desk well-worn from being pressed.”

The frontman says that in recent years he’d “tried to get away from using the word ‘heart’ because that had been a touchstone for so many of our early records.” Yet this line seemed worth holding onto when it came to him.

“I Googled it to see: Did I already write this?” he says, laughing. “Or is there a very popular song called ‘There’s a Trap Door in Your Heart,’ and now I’m just rewriting it? We’ve made a lot of songs at this point — you gotta check your work.”

Indeed, “I Built You a Tower” is Death Cab’s 11th studio LP. After the band’s previous album, 2022’s “Asphalt Meadows,” fulfilled its deal with Atlantic, Death Cab reupped with the major label for one more record, Gibbard says, based on its strong relationship with the company’s then-CEO, Julie Greenwald.

“Julie was our shepherd and our protector the whole time we were there,” the singer says of Death Cab’s nearly two-decade run at Atlantic, which began with 2005’s Grammy-nominated “Plans.” Yet just days after they reached an agreement for “Tower,” Greenwald was fired and replaced by a new leader, Elliot Grainge, about whom the band felt less than optimistic.

Ben Gibbard

(Cielito Mercado Vivas / For The Times)

“We weren’t given the impression that Elliot had spent a lot of time with ‘Transatlanticism’ in college,” Gibbard says of the 32-year-old exec, who made his name signing rappers like Ice Spice and Trippie Redd. With Greenwald’s help, Gibbard says, Death Cab negotiated an exit from Atlantic with ownership of the new album.

Did Grainge try to persuade the band to stay?

“Never heard a word,” Gibbard says.

In an email, Grainge (whose father is Universal Music Group Chairman and Chief Executive Lucian Grange) said that Death Cab’s music “has meant a great deal” to him.

“Working together may not have been in the cards for us; however, that does not lessen my enthusiasm for the band,” he wrote. “They have delivered an impressive body of work over their decades-long career, and I am looking forward to their new music.”

Death Cab’s Harmer says he and his bandmates “talked for half a beat” about putting out “Tower” on their own before thinking better of the idea.

“We’re not businesspeople,” Gibbard says. “Music is the only thing we know how to do.”

At a friend’s wedding in 2024, the frontman had been seated next to the musician Allison Crutchfield, who was then heading up Anti’s A&R department; early this year, Death Cab announced that it had signed to the indie label, whose other acts include Fleet Foxes and Madi Diaz.

This summer, the band will tour behind “I Built You a Tower,” including two shows in August at L.A.’s Greek Theatre. After the “Transatlanticism”/”Give Up” anniversary outing — not to mention a subsequent tour on which the group looked back at “Plans” — Gibbard is “very ready to play some new material,” he says.

Doing the hits was fun. “But at a certain point,” he adds, “it’s really about moving ahead.”

Members of Extinction Rebellion France, an environmental and social activism group, scaled the Eiffel Tower on the 78th anniversary of the Nakba, displaying a Palestinian flag in protest against Israel’s genocide in Gaza.