Posts tagged with "LA METRO":
Transportation Secretary Anthony Foxx was in Los Angeles this week to commemorate the announcement of $1.6 billion in federal funding toward the extension of the Los Angeles Metropolitan Transportation Authority’s (LAMTA) Purple Line subway route.
The existing Purple Line opened in 1993 and begins in Downtown Los Angeles’s Union Station, sharing track with the system’s Red Line along most of its length. The route separates from the Red Line in the MacArthur Park neighborhood and currently terminates as a two-stop spur along the city’s Wilshire Boulevard corridor. Eventually, the Purple Line is expected to reach the oceanside community of Santa Monica and is being built in a piecemeal effort to achieve that goal.
The first, 3.9-mile long extension from the current terminus at Wilshire Boulevard and Western Avenue to La Cienega Boulevard is currently under construction and is expected to open for service in 2023.
The second phase of expansion will run from La Cienega Boulevard to Century City, roughly two-thirds of the way between Downtown Los Angeles and Santa Monica.
The new round of funding announced by Foxx includes a $1.187 Federal Transit Administration Capital Investment Grant, a $307 million Transportation Infrastructure Finance and Innovation Act loan, and a $169 million grant from the federal Congestion Mitigation and Air Quality program. The remaining $747 million in funding for the $2.41 billion expansion will come from Measure R funds, a voter-approved transportation sales tax increase passed in 2008. Construction on the phase two extension is expected to begin in 2018 and will be completed by 2026. There is a possibility that construction on the extension could be sped up so the line would be operational for the 2024 Olympic games, should the city be selected as that year’s host.
Phase three of the extension will move the end of the line 2.6-miles further west to the upscale Westwood neighborhood and the nearby Veterans Administration Hospital (VA) complex. Plans for extensions beyond the VA campus have not been announced.
The current round of funding was bolstered by the passage of Measure M this November, which entails an additional county-wide tax increase to fund transportation infrastructure projects across the region in perpetuity. According to government officials, the guarantee of these future funds compelled the Transportation department to move forward with the latest round of grants and loans.
The new transit line has the potential to reshape the city’s Westside neighborhoods and could usher in a new era of dense, transit-oriented development along Wilshire Boulevard. Anticipation for the future line is building, as a similar transformation has already begun to occur along the system’s recently-opened Expo Line that runs several miles to the south along a parallel trajectory.
Already, several high-rise housing projects have been announced along the eastern portions of the Wilshire corridor, including a 15-story residential luxury tower designed by Steinberg Architects in the Mid-Wilshire area and a Pei Cobb Freed & Partners-designed addition to Minoru Yamasaki’s Century Plaza Hotel in Century City.
L.A. transit initiative, which could generate $860 million annually, will officially be on November ballot
The L.A. County Metropolitan Transportation Authority (Metro) has finally rebuilt one of L.A’s original commuter streetcar lines: The Expo line, a 15.2-mile long appendage that will link Downtown Los Angeles to Santa Monica. Completion of the $2.5 billion route marks an important milestone for the region’s maturing 25-year-old rapid transit system. The lead architectural and urban design was by Gruen Associates who, with planning and design firm RAW International, crafted the system’s transit stops; Parsons Brinckerhoff carried out overall planning; and Skanska spearheaded construction. The Expo line is the transit agency’s latest effort to weave light rail travel into a growing, multimodal web of mobility options available to Angelenos—it is as much a new way to see Los Angeles as it is a train.
While the system’s 1990s-era subway stations play fast and loose with decorative schemes—from massive boulders at Beverly and Vermont to highly polished kitsch at the Hollywood and Vine and Chinatown stops—Expo stations are subdued. Mostly located at-grade and topped by a half-hexagonal mop of ocean wave–inspired, perforated aluminum panels supported by a sinuous, pale-blue, crisscrossing armature, the stations try hard to be poetically mundane. A product of tight budgets, the line’s many at-grade crossings and stations result in a crude and dangerous construct: Drivers are forced to acknowledge light rail trains and passengers as a legitimate urban presence through their sheer occupation of the street. This condition could benefit from a more aggressive transformation of the intersections and sidewalks leading up to each station: Introducing simple elements like bollards, contrasting paving strategies, and other speed mitigating measures would do much to improve what should be nodes of pedestrian activity.
Stations between Downtown L.A. and the University of Southern California campus are easily approached from the street via handicap ramps and feature no-frills signage. The concourses are, again, simple in their articulation, with a smattering of concrete and aluminum benches. These stations are earnest attempts at creating planted flags in what might one day be a larger, more prototypically pedestrian urban expanse. The empty storefronts along many of the tacky, faux-Italianate perimeter block apartment complexes in the area, while highlighted by the stations’ electric bolt silhouette, have yet to benefit from the line’s booming ridership. As of now, these stops are desolate, quite a few gentrification waves away from being viable transit-oriented developments. At-grade stops between USC and Culver City are also unsuccessful as stations, with complicated tangles of pedestrians, trains, and drivers.
The elevated stations further west, however, like those at Culver City, La Cienega, and Bundy, announce themselves from a distance as a new type of elevated object in the Southern California sky. Less majestic than Chicago’s industrial-era L stations, the elevated Expo stops gently appropriate the language of freeway vernacular, subverting the typical L.A. overpass by co-locating a landscaped bicycle path and potentially, future stations for the system’s new bike share program, along the length of most of the line. These areas are straightforwardly open spaces; the overhead bridges’ weights reach the ground via four discrete and compact piers, leaving room for drop off and transfer areas. Large concrete walls designed in great relief, populated with complex, pixelated geometric motifs and lushly planted with drought-tolerant flora line the bike path itself. Instead of dank, unwelcoming troll bridges like those associated with the freeways, Expo’s overhead crossings are places for collective movement, an aspect exemplified by their minimal treatment and the location of a variety of specially-commissioned art installations at each stop. Riders ascend via elevators and stairways to reach the platforms that provide molehills from which to gaze out over the city’s flatlands. But, because one is walking—and waiting—instead of driving, the effect is potentially one of true introspection.
The western terminus at Santa Monica is also a fundamentally pedestrian urban gesture. The station is built as an elevated plaza that cascades to the north in a broad set of stairs, funneling travelers toward major pedestrian shopping areas and into the intersection of Colorado Boulevard and Ocean Avenue, redesigned as a massive diagonal crossing intersection. Here, the intersection is striped with massive white bands of paint in a strangely fitting plaza and civic space for Los Angeles.
If it is indeed Metro’s goal to normalize multi-modal transit in Los Angeles, then the Expo train, with a few tweaks, is a good template for what the rest of the region’s rapid transit system might look like in the future. Expo’s design and existence is an unexpectedly powerful, if somewhat work-in-progress expression on behalf of transit-mixed streets.