vision

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.

MILAN — Milan’s two first-division soccer teams share a stadium, the majestic San Siro, and the top two spots in the Serie A standings. They each have American owners and fanatically loyal supporters. And both are among the most iconic and successful teams in history.

But that’s where the similarities wane. Because while Inter Milan believes it has a story to tell, AC Milan has locked the doors, drawn the drapes and taken the phone off the hook.

I know this because ahead of last month’s Milan-Cortina Winter Games I reached out to both clubs and asked if they might have some time to visit. AC Milan proved too busy to chat, but Inter Milan invited me to its training center, hidden among farm fields and quiet pastures 45 minutes from the city. Those humble surroundings proved to be at odds with the lofty global reach the team is trying to build.

“I would say it’s leveraging more around Italian history and then the history of the club,” Giorgio Ricci, Inter Milan’s chief revenue officer, said of the image the club is trying to market. “A city like Milano is now a real ambassador of that Italian culture, from lifestyle to design to food and whatever. But we [also] have the authentic history around the foundation of this club. It’s a story not of globalization but of internationalization.

“So there is always this dualism between being very strong[ly] rooted in the city of Milan, in the real core, and having this international attitude. It’s quite a unique and winning combination.”

The Inter in Inter Milan, after all, is short for Internazionale, Italian for international.

“It shall be called Internazionale, because we are brothers of the world,” said Giorgio Muggiani when he helped start the team in 1908. He later lent his talents as an artist and illustrator to the fascist movement of Benito Mussolini.

Inter Milan is in the fifth year of its latest and boldest transition, one that is taking it from being just a soccer club into being a lifestyle and fashion-focused brand, a transition that, as Ricci said, will trade on its history as an international club and its location in one of the fashion capitals of the world.

It’s a model that was pioneered by French club Paris Saint-Germain, which nine years ago began partnering with Dior, Jordan Brand, Levi Strauss and others. Inter has teamed with Italian menswear brand Canali, created a new digital ecosystem that has won it a significant increase in video views and user engagement and has launched non-sporting merchandise such as streetwear accessories to accompany the rebrand.

“We are a football club,” Ricci said. “But in order to grow, we need to become a global football brand.”

And it has begun to do that. Deloitte, the British professional services company which does an annual ranking of soccer club revenues, says Inter brought in more than $620 million in 2024-25, the most recent season for which figures are available. That’s 11th best in the world and a jump of about 70% and eight places from where the club was a decade ago, when it was just the fourth-most-profitable club in Italy.

Inter Milan’s Hakan Calhanoglu celebrates after scoring on a penalty shot against Genoa on Feb. 28.

(Marco Luzzani / Getty Images)

In an effort to tell that story and continue that growth, Inter collaborated with Spike Lee on a short film titled “My Name Is My Story,” in which Lee narrated the club’s history and identity, introducing it to a U.S. audience during last summer’s Club World Cup.

Inter isn’t going it alone though. All of Italian football is in the midst of a long-needed overhaul.

A generation ago, Serie A was the best soccer league in the world. It had players like Roberto Baggio, Jurgen Klinsmann, Alessandro Del Piero, Ronaldo, George Weah and Diego Maradona and its wealthy, deep-pocketed owners sent Italian teams to nine Champions League finals between 1989-99.

Since then the league has struggled to market its product globally, lost many of its top players to better pay in other European leagues, found potential revenue streams closed off by aging, crumbling infrastructure, and saw its reputation and credibility damaged by the 2006 Calciopoli scandal, which centered on the manipulation of referee appointments to favor certain clubs.

An influx of U.S.-based owners is helping turn that around. Eight of Serie A’s 20 teams have American owners and Ricci says they have not only brought much-needed investment to the league but they’ve brought ideas on how to market Italian soccer.

“Some are only bringing money, yeah. Others are bringing also a vision and an ambition,” Ricci said. “Our ownership is exactly bringing that. Bringing the North American culture of not seeing only constraints and barriers in the development of a project [but] having the ambition, far-sighted[ness] and working on building a dream.

“That is exactly what Serie A needs: a bit of a dream and a bit of a vision to dare a bit more and not be too conservative. We need a few leading and having vision and bringing that dream.”

A big part of that dream and vision in Milan is a new stadium, one that will replace the century-old San Siro with a 71,500-seat arena at the center of a $1.4-billion urban-regeneration plan funded primarily by RedBird Capital, AC Milan’s New York-based owner, and Oaktree Capital Management, the Los Angeles-based company that owns Inter Milan.

For Inter Milan that investment, the club hopes, will transform the game-day experience not just for well-heeled corporate types but for the team’s diehard fans. I’m still waiting to hear what AC Milan’s plans are.

“I’m not only talking about corporate clients and things like that,” Ricci said. “That, of course, will benefit from a new state-of-the-art venue with the facilities, restaurants, whatever. But also for general [admission]. As soon as they step into a new venue with better seats, in terms of sound, in terms of video, audio and all the entertainment, we are going to increase the perception of each kind of spectator you have in the venue.”

Is it a gamble? Sure, but then very few things in sports are a sure bet. Yet for Inter Milan, at least, that vision and the story behind it are worth telling.

⚽ You have read the latest installment of On Soccer with Kevin Baxter. The weekly column takes you behind the scenes and shines a spotlight on unique stories. Listen to Baxter on this week’s episode of the “Corner of the Galaxy” podcast.

BERLIN — Juergen Habermas, whose work on communication, rationality and sociology made him one of the world’s most influential philosophers and a key intellectual figure in his native Germany, has died. He was 96.

Habermas’ publisher, Suhrkamp, said he died on Saturday in Starnberg, near Munich.

German Chancellor Friedrich Merz said that “Germany and Europe have lost one of the most significant thinkers of our time.”

Merz said that “his sociological and philosophical work had an impact on generations of researchers and thinkers.” He praised “Habermas’ intellectual forcefulness and his liberality” and said in a statement that “his voice will be missed.”

Habermas frequently weighed in on political matters over several decades. His extensive writing crossed the boundaries of academic and philosophical disciplines, providing a vision of modern society and social interaction. His best-known works included the two-volume “Theory of Communicative Action.”

Habermas, who was 15 at the time of Nazi Germany’s defeat, later recalled the dawn of a new era in 1945 and his coming to terms with the reality of Nazi crimes as something without which he wouldn’t have found his way into philosophy and social theory. He recalled that “you saw suddenly that it was a politically criminal system in which you had lived.”

He had an ambivalent relationship with the left-wing student movement of the late 1960s in Germany and beyond, engaging with it but also warning at the time against the danger of what he called “left-wing fascism” — a reaction to a firebrand speech by a student leader that he later said was “slightly out of place.” He would later recognize the movement as having driven a “fundamental liberalization” of German society.

In the 1980s, Habermas was a prominent figure in the so-called Historians’ Dispute, in which Berlin historian Ernst Nolte and others called for a new perspective on the Third Reich and German identity. They tended to compare what happened under Adolf Hitler to atrocities carried out by other governments, such as the deaths of millions in the Soviet Union under Josef Stalin. Habermas and other opponents contended that the conservative historians were trying to lessen the magnitude of Nazi crimes through such comparisons.

Habermas supported the rise to power of center-left Chancellor Gerhard Schroeder in 1998. He was critical of the “technocratic” approach and perceived lack of political vision of Schroeder’s conservative successor, Angela Merkel, complaining in 2016 of the paralyzing effects on public opinion of “the foam blanket of Merkel’s policy of sending people to sleep.”

He was particularly critical of the “limited interest” shown by German politicians, business leaders and media in “shaping a politically effective Europe.” In 2017, he praised newly elected French President Emmanuel Macron for laying out of plans for European reform, saying that “the way he speaks about Europe makes a difference.”

Habermas was born on June 18, 1929, in Duesseldorf and grew up in nearby Gummersbach, where his father headed the local chamber of commerce. He became a member of the Deutsches Jungvolk, a section of the Hitler Youth for younger boys, at 10.

He was born with a cleft palate that required repeated operations as a child, an experience that helped inform his later thinking about language.

Habermas said he had experienced the importance of spoken language as “a layer of commonality without which we as individuals cannot exist” and recalled struggling to make himself understood. He also spoke of the “superiority of the written word,” and said that “the written form conceals the flaws of the oral.”

His wife, Ute Habermas-Wesselhoeft, died last year. The couple had three children: Tilmann; Rebekka, who died in 2023; and Judith.

Moulson writes for the Associated Press.

March 3 (Asia Today) — South Korea’s three major telecom operators laid out competing but converging visions for the artificial intelligence era at the Mobile World Congress in Spain, redefining themselves not as simple network providers but as designers of AI infrastructure.

At MWC 2026, themed “IQ Era,” executives from SK Telecom, KT and LG Uplus emphasized that telecommunications networks will serve as the core platform enabling AI ecosystems.

LG Uplus: Human-centered AI

Hong Beom-sik, chief executive of LG Uplus, took the stage as the only Korean telecom CEO to deliver an opening keynote at MWC 2026. He introduced a voice-based AI call agent, “ixi-O,” positioning it as a human-centered interface in an age crowded with AI devices and services.

Hong said voice will remain the most intuitive and human interface. The company combines on-device AI with large language model technology to balance privacy protection and personalized user experiences. He called for global cooperation to establish common standards for voice-based AI services.

SK Telecom: Sovereign AI package

SK Telecom framed telecom operators as “designers and drivers” of AI infrastructure. CEO Jung Jae-heon unveiled a “Sovereign AI Package” strategy integrating AI data centers, a proprietary AI model known as A.X K1 and industry-focused AI services.

The approach aims to build domestically controlled infrastructure that integrates foundation models and industrial services, strengthening data sovereignty while supporting industrial innovation. During MWC, SK Telecom met with telecom operators from Europe, the Middle East and Asia to expand what it described as an AI cooperation belt across regions.

KT: 6G as integrated AI infrastructure

KT presented its vision for 6G as an integrated infrastructure capable of ensuring stable AI operations. The company described 6G competition not as a race over individual technologies but as a contest in integrated architecture combining AI, satellite, optical networks, security and operations.

KT said it plans to apply AI to network management while guaranteeing the ultra-low latency and high reliability required by AI services. It outlined concepts including three-dimensional coverage across land, sea and air, network slicing, photonic-based end-to-end ultra-low latency structures, quantum-safe security and autonomous networks.

From carrier to orchestrator

Across their presentations, the three telecom leaders delivered a shared message: in the AI era, telecom companies must evolve from data carriers into infrastructure orchestrators that design and operate the entire ecosystem.

Their blueprints also reflect a broader industry shift. Amid recent security and network stability concerns, executives suggested that the next phase of AI competition will hinge less on speed alone and more on reliability, control and integrated system design.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260304010000736