{"id":272637,"date":"2026-04-17T14:11:15","date_gmt":"2026-04-17T14:11:15","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/272637\/"},"modified":"2026-04-17T14:11:15","modified_gmt":"2026-04-17T14:11:15","slug":"editors-note-for-images-april-2026-issue","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/272637\/","title":{"rendered":"Editor’s note for Image’s April 2026 issue"},"content":{"rendered":"

\"Image <\/p>\n

This story is part of Image\u2019s April\u2019s Thresholds<\/a> issue, a tour of L.A. architecture as it\u2019s actually experienced. <\/p>\n

\"img_dropcap_Bibliophile_i.png\" <\/p>\n

I lived part of my teen years in Bras\u00edlia, the capital built from scratch whose architecture and urban planning have drawn equal parts fascination and disdain. Over the years I\u2019ve grown accustomed to comments about how \u201cwild\u201d the spaceship-like buildings designed by Oscar Niemeyer must have looked, how \u201calienating\u201d the car-centric city must have been. But when I first heard these kinds of comments, I was admittedly surprised, because my memories of living in the city were much more mundane \u2014 eating hot dogs on the dusty sidewalks, hanging with friends at the base of our apartment building, movie-hopping at the mall. In other words, I was just living my life. <\/p>\n

Now that I live in L.A.<\/a>, I sometimes hear echoes of what I used to hear about Bras\u00edlia. They are both places with a mythic allure that nonetheless draw the same kinds of criticisms. How do you live in such a sprawling city where you have to drive everywhere? Isn\u2019t it isolating? But as with Bras\u00edlia, I\u2019ve found that the way L.A. is perceived is much different than how it is lived. <\/p>\n

Our April issue is about the lived experience of the city and its architecture. A postmodernist house in Baldwin Hills becomes a place for a family to dream<\/a>. A billboard on the drive home becomes a personal landmark<\/a>. A therapist\u2019s room becomes a container for everything<\/a>. A museum is held up as much by its walls as the people who work within them<\/a>. We are part of our built environments, and nothing encompasses this more than our cover story on Lauren Halsey and her much-anticipated sculpture park<\/a>, \u201csister dreamer lauren halsey\u2019s architectural ode to tha surge n splurge of south central los angeles,\u201d which is literally etched with the faces and stories of people from South-Central, where the artist grew up and still lives. On the cover photo, the artist stands in the back, in the shadows, allowing the people who shaped her project to take center stage. <\/p>\n

Architects, I\u2019m told, are obsessed with the idea of thresholds \u2014 corners, crossings, the in-between. This makes sense to me when I look at this cover, the group standing between four walls that don\u2019t quite meet, the sky above and around them, inside and outside at the same time. It is a moving illustration of how a space can hold and contain \u2014 feel safe \u2014 while also holding an open sense of possibility.<\/p>\n

\"Image <\/p>\n

Elisa Wouk Almino Editor in chief
Jess Aquino de Jesus Design Director
Julissa James, Staff Writer
Claire Salinda Staff Writer
Keyla Marquez Fashion Director at Large
Elizabeth Burr Art Director
Jamie Sholberg Art Director, Web
Samantha Lee Editorial Intern
Jennelle Fong Contributing Photographer
Tyler Matthew Oyer Contributing Photographer
Mere Studios Contributing Producer
Cecilia Alvarez Blackwell Contributing Producer
Dave Schilling Contributing Writer
Harmony Holiday Contributing Writer
Goth Shakira Contributing Writer<\/p>\n

Cover<\/p>\n

Photography Shaniqwa Jarvis
Featuring Cheryl Ward, Margaret Prescod, Autumn Luckey, Lauren Halsey, Monique Hatter, Andre \u201cSketch\u201d Hampton, Monique McWilliams, Kenneth Blackmon, Robin Daniels, Michael Towler, Emmanuel Carter, Dyani Luckey, Dominique Moody, Rosie Lee Hooks, Damien Goodmon, Londyn Garrison and Christopher Blunt.<\/p>\n

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