The Academy Museum of Motion Pictures is a two-part architectural drama. Act 1 is the 1939 May Co. department store converted into the Saban Building, a breezy home for exhibition galleries, restaurant, store, and intimate underground theater. Act 2 is the newly constructed David Geffen Theater, a concrete sphere topped with glass by starch maker Renzo Piano. Some key details, old and new, with illustrations by Haisam Hussein:

Killer parade

The path from the Saban Building to the magnificent Sphere Roof Terrace is a glass bridge just long enough to sweat the palms of an acrophobe. Walk through, however, and fabulous views encompass the Hollywood Sign, La Brea Tar Pits, and the large dig at the Los Angeles County Museum of Art right next door.

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Glass dome

(Haisam Hussein / For the Times)

Twelve of the sphere’s 1,500 laminated and tempered glass panels are actually vents programmed to lift up and release hot air. There are also 150 sun visors, each made of PVC coated fiberglass, which automatically follow the movement of the sun overhead. Sensors monitor the position of the sun, light, wind and rain. (See separate article on how all that glass is cleaned.)

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David Geffen Theater

(Haisam Hussein / For the Times)

The centerpiece of the museum is a very luxurious and very red projection room that can accommodate 1000 people. The entrance to the theater (on another red carpet) is the start of a dramatic procession, each step is visually revealed. Facing the screen, a large stage can accommodate a chamber orchestra for live music. The first screening with musical accompaniment: “The Wizard of Oz”.

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Basic insulators

(Haisam Hussein / For the Times)

Normally hidden in the bowels of the building, they are on display here (see separate article). They allow the sphere to stay centered during an earthquake, even if the ground is moving up to 30 inches in any direction. The red cladding matches the accent color of the neighboring LACMA BCAM building – also a project by Renzo Piano Building Workshop.

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Gold tile

(Haisam Hussein / For the Times)

At Fairfax Avenue and Wilshire Boulevard, a tiled corner cylinder remains the design signature of what the Los Angeles Conservancy calls “the city’s largest remaining example of Streamline Modern.” About a third of the 350,000 gold leaf tiles have been replaced. The museum purchased the replacement tiles from the maker of the originals: Orsoni, a maker of glass and gold mosaics in Venice, Italy, dating back to the 19th century.