a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

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a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

Rage to Order, Domination Corporation | Proudly Homogenizing America since 1984, Lowertown, Northern Spark 2017. Photo: Dan Norman. 

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

'Very few things in the world are certain, but morning is one of them.'

Author: Gregory Maguire, 'What-the-Dickens: The Story of a Rogue Tooth Fairy'

144 Likes on Instagram

18 Comments on Instagram:

a_n_n_i_k_a: Amazing!!!

looking_glass: Holy moose! Nice one!

frau_meike: Did you merge two shots in this one or did the clouds really look like this (without filter if course)?!

sanjayprasad: @frau_meike just took it using HDR, turned out quite different to what I expected!

sanjayprasad: @frau_meike I think why it looks so odd is the perspective of the clouds is misleading. There's a big gap in them but the photo makes it hard to see. The clouds nearest me are at the top of the picture, and the ones furthest away are at the bottom :)

frau_meike: Yeah, the cloud perspective and the strangely "homogenized" horizon between hills and clouds. I really didn't that both parts belonged together. :) nice catch then!

yorkc: You have got yourself another follower, this is an amazing shot.

sanjayprasad: #InstaMeetMCR

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

Rage to Order, Domination Corporation | Proudly Homogenizing America since 1984, Lowertown, Northern Spark 2017. Photo: Dan Norman. 

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

MAO Prep

The wafers from the previous step of the MAP prep were suspended in a buffered solution, then homogenized. In this photo, Kent Gates homogenizes the wafers.

Photo taken by Greg Banik in the laboratory of Dr. Richard B. Silverman at Northwestern University in the late 1980’s.

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

Glass bowl with a mixture of whipped cream, chunks of ricotta cheese, melted white chocolate, chopped solid white chocolate, chopped strawberries, chopped nectarines and pistachios. Blue spatula. Smaller decorative bowl with pistachios. Semifreddo preparation step. White kitchen board. High point of view.

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

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We've made it to Day 8 of our 10-day trip, the last full day we'd spend in the Phoenix Metroplex. We'd spend most of it at a baseball game, a day game this time that didn't leave time for any pregame outdoor wandering. So we just got up and drove another hundred blocks back across town. We passed these apartment buildings, which were painted in the colors of refrigerators from the 1970s.

We spent a lot of time pondering what it was that made the Phoenix Metroplex so easy to get around. The sprawl adds up to a metropolitan area population of 4.6 million people, making it the 11th largest metro area in the United States. (Phoenix itself is the nation's fifth largest city.) It's spread out over 3,103 square miles, which is huge, with an average density of 3,581 people per square mile. That also makes this the 11th mostly densely populated urban area in the country, and you'd think it would be the 11th hardest Metroplex to get across. You'd think it would take forever. But really, it's a piece of cake.

Why? There's more public transit than you'd think, but there's not enough of it to erase the traffic hell you'd think these Phoenecians should endure. Why wasn't this drive a pain?

I think ultimately, it owes to the fact that of all the grid cities, Phoenix is the griddiest. It is as close to a perfect, topographically pure grid as you'll ever find, and Phoenix doesn't muck it up with rivers or bridges or one-way streets or diagonal streets that would, in theory, create opportunities for short cuts but really just create a bunch of over-complicated six-point intersections. It's just a bunch of squares, with homogenized arterial thoroughfares at consistent distances that all look roughly the same and carry the same volumes. Everything's a right angle, and none of the angles are favored above the others, so everybody spreads out into a smear.

Some people might say that sounds boring, and maybe it is if you live here. But it's the kind of boring that moves. I kind of like it. It bothers me that I kind of like it, but I do.

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

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a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.

The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]

Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that

the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]

In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as

a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]

The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]

Several bronze plaques commemorate elevator scenes from three major films:

In the Line of Fire,[14][15] September 1993, "Green Square" elevator

True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators

Forget Paris,[15] November 1994, "Yellow Diamond" elevator

It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.

In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).

The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]

I just love all the old signs and motels you see in this part of the country. While I miss the Hilton chains, it is nice to get back to an America pre-homogenization.