Conceived as the permanent home for the Los Angeles County Museum of Art (LACMA), the project by renowned architect Peter Zumthor in collaboration with Skidmore, Owings & Merrill will celebrate its long-awaited opening on Sunday, April 19. After two decades of transformation, both physical and programmatic, the new David Geffen Galleries building proposes an innovative vision of what a leading museum capable of responding to the contemporary art world could be.

Designed as a building of and for Los Angeles, the project comprises a 274-meter-long horizontal structure of glass and concrete that curves freely along Hancock Park and across Wilshire Boulevard. With a surface area of ​​approximately 110,000 square feet, the sculptural and organic building will house the extensive permanent collection of the renowned Los Angeles museum: 155,000 objects spanning 6,000 years of world history.

"On April 19, we will be welcoming the first visitors to the long-awaited David Geffen Galleries. Designed by the incomparable Peter Zumthor, this new home for our permanent collection holds millennia of global artistic exchanges, illuminating traditions and innovations from the many cultures that are present in Los Angeles today. We welcome our neighbors and visitors from both near and far with immense gratitude to the civic and philanthropic leaders who championed the public-private partnership that has built the David Geffen Galleries, to the architect who has created this beautiful building, and to the curators and artists whose astonishing work has brought these spaces to life."

Michael Govan, executive director of LACMA and director of the Wallis Annenberg Foundation.

The ambitious exhibition project undertaken by Peter Zumthor, in collaboration with Skidmore, Owings & Merrill, positions its main floor nearly 9 meters above street level, creating a series of carefully considered open spaces for public art and open cultural programming. Inside, the building comprises a collection of galleries with varied scales, configurations, and lighting conditions, ranging from abundant natural light around the perimeter of the main floor to interior galleries completely shielded from daylight.

The single-story, horizontal design eliminates traditional cultural hierarchies, placing all artworks on the same plane. No gallery space is permanently assigned to any collection department, allowing the focus to shift over time to different areas of the collections in response to scholarly research, collection growth, and public interest. The architecture does not prescribe a single route through the spaces. Rather, it encourages the development of new art selections and new art-historical perspectives.

Classical Revivals in Europe and America with Pompeo Batoni’s Portrait of Sir Wyndham Knatchbull-Wyndham (1758–59) at right, David Geffen Galleries at LACMA. Photograph by Iwan Baan, courtesy by Museum Associates/LACMA.

Classical Revivals in Europe and America with Pompeo Batoni’s Portrait of Sir Wyndham Knatchbull-Wyndham (1758–59) at right, David Geffen Galleries at LACMA. Photograph by Iwan Baan, courtesy by Museum Associates/LACMA.

At park level, seven pavilions complement the design, housing spaces for educational and public programs, a theater, shops, and restaurants. Each of these spaces is integrated with and constantly engages in dialogue with the surrounding environment. In this sense, the interstitial spaces between the pavilions and their surroundings are treated as an extension of the exhibition halls.

Inaugural Installation
Forty-five curators from diverse fields of study collaborated on the inaugural installation of the David Geffen Galleries, where artworks from the museum's collection occupy 110,000 square feet of exhibition space.

View southwest from exhibition level toward Resnick Pavilion and BCAM with Henri Matisse’s La Gerbe (1953) at left, David Geffen Galleries at LACMA, art © 2012 Succession H. Matisse/Artists Rights Society (ARS), New York, NY. Photograph by Iwan Baan, courtesy by Museum Associates/LACMA.

View southwest from exhibition level toward Resnick Pavilion and BCAM with Henri Matisse’s La Gerbe (1953) at left, David Geffen Galleries at LACMA, art © 2012 Succession H. Matisse/Artists Rights Society (ARS), New York, NY. Photograph by Iwan Baan, courtesy by Museum Associates/LACMA.

Moving away from traditional narratives, the installation uses the Pacific, Indian, and Atlantic Oceans, as well as the Mediterranean Sea, as a framework to explore innovative ways of connecting cultures and artistic traditions, and to tell multiple stories that renew a singular art-historical narrative, creating vital and surprising connections across time and space.

More information

Label
Architects
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Project team
Text

Project Leadership.- Michael Govan, CEO and Wallis Annenberg Director. 
Design Architect.- Atelier Peter Zumthor & Partners.
Project Manager.- Aurora Development.

+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Collaborators
Text

Cost Estimator.- Directional Logic.
Structural Engineering.- Skidmore Owings & Merrill.
MEP Engineering, Lighting Design and Sustainability/LEED.- Buro Happold.
Landscape design.- OLIN.
Civil Engineering.- KPFF.
Geotechnical Engineering.- AECOM.
Archeological/Paleontological Consultant.- Cogstone.
Exhibition furniture family designed by.- Peter Zumthor (fabrication by MASH STUDIOS).

+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Client
Text
+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Contractor
Text

Clark Construction.

+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Area
Text

32,285 sqm.

+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Dates
Text

1965.- LACMA inaugurated its new headquarters on Wilshire Boulevard, designed by William Pereira.
1986.- The Anderson Building opened to house modern and contemporary art.
1988.- The Japanese Art Pavilion, designed by Bruce Goff, was inaugurated.
2001.- A design competition was launched for the transformation of the LACMA campus.
2003.- LACMA commissioned Renzo Piano Building Workshop to design the Broad Museum of Contemporary Art (BCAM).
2004.- The LACMA Board of Trustees approved the master plan. The transformation campaign was launched.
2008.- BCAM was inaugurated. Creation of Smidt Welcome Plaza and installation of Chris Burden's outdoor sculpture "Urban Light," in conjunction with the opening of the Broad Museum of Contemporary Art (BCAM), Barbara Kruger's monumental work "Untitled (Shafted)," and the construction of the Pritzker Parking Garage.
2009.- LACMA begins collaboration with Peter Zumthor to study its East Campus and propose a plan to complete the museum's ongoing transformation.
2010.- Opening of the Lynda and Stewart Resnick Exhibition Pavilion, designed by Renzo Piano Building Workshop, as the second phase of the campus transformation.
2011.- Construction of Ray's and Stark Bar, a restaurant and bar designed by Renzo Piano and integrated into Smidt Welcome Plaza.
2012.- Installation of Michael Heizer's monumental outdoor sculpture "Levitating Mass." 2013 – LACMA presents the exhibition “The Presence of the Past: Peter Zumthor. Reconsidering LACMA,” which details the history of the site and its architecture, and includes models of Zumthor’s first public proposal for the new museum building intended for the permanent collection.
2014.- LACMA and Zumthor develop the proposal to extend over Wilshire Boulevard and provide additional park space for the Los Angeles County Museum of Natural History (La Brea Tar Pits & Museum).
2015–2019.- Environmental impact assessment process and pre-construction phases. With Skidmore, Owings & Merrill as collaborating architecture firm and engineering and land use consultants.
2018–2020.- Designed by Bruce Goff and completed by Bart Prince, the Japanese Art Pavilion is largely remodeled and renovated. 2019 – The Los Angeles County Board of Supervisors unanimously approves the final project report. The Los Angeles City Council unanimously approves the release of airspace over Wilshire Boulevard to allow the new building to span the boulevard. Site preparation and decontamination work begins. LACMA completes temporary facilities and relocates from the east campus.
2020.- The east campus buildings are demolished. Construction begins on the foundation for the new building.
2024.- Major construction is completed in December 2024.
2025.- LACMA moves its operational functions to the new building. Landscaping, paving, and commissioning of building systems continue. Outdoor sculptures are installed, and the museum offers preview tours of the building.
2025–2026.- An art installation of LAMA's global collection is opened on the exhibition floor. 
April 2026.- David Geffen Galleries open to the public.

+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Location
Text

5905 Wilshire Boulevard, Los Angeles, CA 90036. USA.

+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Budget
Text

$724 million.

+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Manufacturers
Text

Concrete Subcontractor.- Largo Concrete.
Glass Subcontractor.- Seele.
Electrical Subcontractor.- SASCO.
Mechanical and Plumbing Subcontractor.- ACCO.

+ + copy Created with Sketch.
- + copy Created with Sketch.
Label
Photography
Text

Iwan Baan, Fredrik Nielsen Studio. Courtesy by Museum Associates/LACMA.

+ + copy Created with Sketch.
- + copy Created with Sketch.

Peter Zumthor was born on April 26, 1943, the son of a cabinet maker, Oscar Zumthor, in Basel, Switzerland. He trained as a cabinet maker from 1958 to 1962. From 1963-67, he studied at the Kunstgewerbeschule, Vorkurs and Fachklasse with further studies in design at Pratt Institute in New York.

In 1967, he was employed by the Canton of Graubünden (Switzerland) in the Department for the Preservation of Monuments working as a building and planning consultant and architectural analyst of historical villages, in addition to realizing some restorations. He established his own practice in 1979 in Haldenstein, Switzerland where he still works with a small staff of fifteen. Zumthor is married to Annalisa Zumthor-Cuorad. They have three children, all adults, Anna Katharina, Peter Conradin, and Jon Paulin, and two grandchildren.

Since 1996, he has been a professor at the Academy of Architecture, Universitá della Svizzera Italiana, Mendrisio. He has also been a visiting professor at the University of Southern California Institute of Architecture and SCI-ARC in Los Angeles in 1988; at the Technische Universität, Munich in 1989; and at the Graduate School of Design, Harvard University in 1999.

His many awards include the Praemium Imperiale from the Japan Art Association in 2008 as well as the Carlsberg Architecture Prize in Denmark in 1998, and the Mies van der Rohe Award for European Architecture in 1999. In 2006, he received the Thomas Jefferson Foundation Medal in Architecture from the University of Virginia. The American Academy of Arts and Letters bestowed the Arnold W. Brunner Memorial Prize in Architecture in 2008.

In the recent book published by Barrons Educational Series, Inc. titled, Architectura, Elements of Architectural Style, with the distinguished architectural historian from Australia, Professor Miles Lewis, as general editor, the Zumthor’s Thermal Bath building at Vals is described as “a superb example of simple detailing that is used to create highly atmospheric spaces. The design contrasts cool, gray stone walls with the warmth of bronze railings, and light and water are employed to sculpt the spaces. The horizontal joints of the stonework mimic the horizontal lines of the water, and there is a subtle change in the texture of the stone at the waterline. Skylights inserted into narrow slots in the ceiling create a dramatic line of light that accentuates the fluidity of the water. Every detail of the building thus reinforces the importance of the bath on a variety of levels.”

In the book titled Thinking Architecture, first published by Birkhauser in 1998, Zumthor set down in his own words a philosophy of architecture. One sample of his thoughts is as follows: “I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language. I believe that the language of architecture is not a question of a specific style. Every building is built for a specific use in a specific place and for a specific society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.”

Read more

Skidmore, Owings & Merrill LLP (SOM) is one of the leading architecture, interior design, engineering, and urban planning firms in the world, with a 75-year reputation for design excellence and a portfolio that includes some of the most important architectural accomplishments of the 20th and 21st centuries.

Since its inception, SOM has been a leader in the research and development of specialized technologies, new processes and innovative ideas, many of which have had a palpable and lasting impact on the design profession and the physical environment.

The firm’s longstanding design and building technology leadership has been honoured with more than 1,700 awards for quality, innovation, and management. The American Institute of Architects has recognized SOM twice with its highest honour, the Architecture Firm Award—in 1962 and again in 1996. The firm maintains offices in New York, Chicago, San Francisco, Los Angeles, Washington, D.C., London, Hong Kong, Shanghai, Mumbai, and Abu Dhabi.

Skidmore, Owings & Merrill
Read more
Published on: April 17, 2026
Cite:
metalocus, AGUSTINA BERTA
"The wait is over. The David Geffen Galleries at the new LACMA, by Peter Zumthor, open" METALOCUS. Accessed
<https://www.metalocus.es/en/news/wait-over-david-geffen-galleries-new-lacma-peter-zumthor-open> ISSN 1139-6415
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...
Loading content ...