Posts tagged with "Los Angeles":

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This collective is drawing an intersectional feminist map of L.A.

Maps often reveal as much about the beliefs and culture of the mapmaker as they do about the locations they depict. Taking this in stride, the collective Mapping Feminist Los Angeles has begun to put together the Angelena Atlas in order to “to share intersectional feminist resources, services, and events for womxn in Los Angeles County.” The organization, which is based out of the Women’s Center for Creative Work, comprises three core members—Leana Scott, Yasmine Batniji, and Brittany Arceneaux—who bring together skills in everything from urban planning and tech development to community organizing and digital art. Mapping Feminist Los Angeles member Leana Scott points out that “cities often have networks of resources...but bringing those to light is quite difficult. And information remains underground or piecemeal and disjointed.” Brittany Arceneaux goes on to say that far too often access to this information is “very much based upon your existing social networks,” which further limits knowledge of these resources to those already in the know. The Angelena Atlas confronts this problem head-on by collecting, collating, and annotating a wide range of resources from reproductive health centers to performance spaces while attempting to promote itself outside of just the networks its members already exist in. The goal is to make a map as widely accessible as possible, certainly no small feat. The Angelena Atlas will feature resources across the entirety of Los Angeles County, so people can find organizations that serve them, collectives to participate in, or spaces to share their work no matter their locale. It will also, as its explicitly intersectional mission suggests, be centered around resources that are, among many other things, anti-racist, anti-ableist, pro-immigrant, and LGBTQ friendly. Additionally, the various points on the Angelena Atlas will be annotated to help people understand the purpose, audience, and accessibility of the various spaces While the collective has presented zines and other preliminary materials at zine and artbook fairs and other events (they have an upcoming fundraiser and awareness-building brunch that will also bring together some organizations on the map), the final form of the Angelena Atlas is still under construction. Part of what they’ll be focusing on is what Batniji calls a “creative representation of data” that will help people highlight “the impact that the resources have on them.” In this way, the Angelena Atlas will be a participatory project, radically horizontal and ever evolving. They also are looking into open source solutions for the online map so that they, and the public, retain ownership of their information. In addition, they plan on making a print version to make sure they truly can create a resource for as many people as possible. Arceneaux says that this approach to mapmaking “goes back to the core values of the project by making sure that everything we're doing and every design decision that we make is really tied back to intersectionality and making sure that these places are friendly and accessible to people of all abilities and experiences.” Arceneaux goes on to point out that many people, especially in the current political environment, are interested in joining conversations and finding community, but may not even realize that there might be “an organization in [their] own backyard.” As Scott puts it, the Angelena Atlas not only has the direct effect of providing useful information but also “fosters a new spatial awareness through data.” It’s all about “recontextualizing Los Angeles.” Arceneaux’s hope is that “by highlighting and visualizing the activity that is happening in our city people will start to look at their communities a little differently.” Thinking about feminist mapping and radical mapping inevitably begs the question of what an intersectional feminist city would look like. However, Batniji says the group is “not interested in creating utopias because that's where things get really sticky.” In the public sphere “there's always going to be contention, there's always going to be issues. A feminist city would be a place for having these conversations. A feminist city would be just a place for possibility to happen.” It would be, as Arceneaux puts it, “a place where everyone feels empowered.”
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Los Angeles’s first roundabout is a psychedelic sustainable landscape

Roundabouts are all the rage in Europe, but Americans have been slow to adopt this particular form of street design. Despite Los Angeles’s car-centric culture, the glitzy city is no exception, but that might start to change following the success of Riverside Roundabout, a stormwater-retaining traffic island at the intersection of Riverside Bridge, San Fernando Road, and Figueroa Street. The city’s first roundabout definitely brings the spectacle. Greenmeme, a studio working at the intersection of art and architecture, brought nine eye-catching granite sculptures to the site and created a resilient, varied landscape. The egg-shaped pods, ranging from 8 to 12 feet tall, each feature a face from a randomly-chosen local resident. Designers used 3-D scanners to capture the faces of the selected volunteers, and the sculptures bear the likenesses on either side, displaying 18 individuals in total. The sculptures were carved in slices by fabricator Coldspring using a CNC mill, with three sculptures carved from one block of granite. The end result, Faces of Elysian Valley, joins a proud tradition of face-based decorative art. The remaining granite offcuts were used to form a sculptural barricade around the center of the island and protect the “eggs” from traffic. Elongated faces have been stretched into the granite ring as well, creating a perspective trick that reveals undistorted visages as drivers circle the roundabout. Greenmeme worked with Ourston Roundabout Engineering to determine the sculptures’ size constraints, as the team needed to preserve sightlines across the island for drivers without distracting them. In designing the traffic island’s topography, Greenmeme sought to channel stormwater away from the street and adjacent bridge. The landscaped areas have been planted with native plants, and a 25,000-gallon cistern is buried underneath the roundabout, which uses captured rainwater to irrigate the green spaces and feed a water feature. Everything is powered by sun-tracking solar voltaics, including the lights used to illuminate the sculptures at night. The entire roundabout is ringed with permeable green pavers for drivers who need to pull off, and overall the landscape can handle and treat up to 500,000 gallons at a time (a once-every-ten-years rainfall event). Riverside Roundabout and Faces of Elysian Valley opened to the public in February of 2017.
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Catch up on Elon Musk’s summer rollercoaster ride

Elon Musk has had a summer of ups and downs in 2018, even after putting aside all of the twists-and-turns of his personal life and turmoil at Tesla. In May, Musk announced that The Boring Company would be turning its excavated dirt and rock into bricks for low-cost housing. What started as an attempt to sell more Boring Company merchandise ala their flamethrower—in this case, “giant Lego bricks”—soon morphed into an unspecified commitment on Musk’s part to build future Boring Company offices from muck bricks. Future Hyperloop tunnels might be able to swap out concrete for the seismically-rated bricks, but they’re unlikely to lower affordable housing costs much; land and labor are the most expensive aspects of new construction. While The Boring Company hasn’t actually constructed much except for a short test tunnel in Hawthorne, Los Angeles, Musk scored a win when the City of Chicago chose the company to build a high-speed train route connecting the city's Loop to O’Hare International Airport. Or did they? After a lawsuit was filed against the city in mid-August by the Better Government Association (BGA), the city claimed that the plan was still “pre-decisional” and that no formal agreement had been struck yet. If the loop is ever built, The Boring Company would dig two tunnels under the city and connect Block 37 in the Loop to O’Hare. Electrically-driven pods, with capacity for up to 16 passengers, would arrive at a station every 30 seconds and complete a one-way trip in 12 minutes. There are still major concerns over the project’s feasibility and cost, as Musk had pledged that construction would take only one year if the company used currently non-existent (and unproven) tunneling technology. The project could cost up to $1 billion, which The Boring Company would pay for out of pocket and recoup by selling $20 to $25 tickets, advertising space, and merchandise. On Tesla’s end, problems with the company’s much-vaunted solar roof tiles have bubbled over. Production has slowed at Tesla’s Gigafactory 2 in Buffalo, New York, as equipment problems and aesthetic issues have prevented the factory from rolling out tiles on a large scale. Tesla is pledging that they can ramp up production at the state-owned factory by the end of 2018, as the company tries to fulfill the $1,000 preorders placed after the tiles’ reveal nearly two years ago. Not to let the end of summer slip by without one last announcement, Musk took to Twitter to release a Boring Company proposal for an underground “Dugout Loop” in L.A. Several conceptual designs were included for different routes between the Red Line subway and Dodgers Stadium that would use technology similar to what Musk has proposed in Chicago to ferry passengers along the 3.6-mile-long trip in only four minutes. It’s unlikely that the Dugout Loop will come to pass, as L.A. is already looking to realize a $125 million gondola system that could carry up to 5,000 passengers an hour. What the fall will bring for Musk, we can only guess.
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L.A. names plaza after late Times food critic Jonathan Gold

The City of Los Angeles has dedicated a section of sidewalk outside the city’s historic Grand Central Market food hall in honor of the late Los Angeles Times food critic Jonathan Gold. Gold passed away July 21, leaving behind a storied legacy of trailblazing and award-winning food criticism that appreciated and elevated haute and down-home cuisine in equal measures.
Gold was given a hero’s send-off this weekend during a food festival that was organized in his honor. As part of the celebrations, LA-Más designed a pair of powder-coated aluminum medallions and a plaque to honor the food critic. The medallions will hang from lampposts adjoining the plaza while the third, more elaborate work will be installed in the plaza itself. The installed plaque bears the following inscription: “The huge number of multiple cultures that live in this city…and the fault lines between them are where you find the most beautiful things.”
The black-and-gold painted plaque features a representation of Gold’s trademark silhouette framed by decorative borders studded with stylized representations of burritos, bowls of ramen, tacos, and pizzas.Elizabeth Timme, co-executive director of LA-Más told AN, "For Angelenos, the sidewalk is our piazza as food trucks are our four-star Michelin restaurants. It's also a place that represents our cultural attitude surrounding public space." Timme added, "It is fitting that we honor [Gold] by celebrating something that most people, outside of the city, would overlook and not notice at first glance, because that's what [Gold] was all about." Gold was perhaps best-known for his annual Jonathan Gold’s 101 Best Restaurants list, an eagerly-anticipated ranking of the region’s best kitchens. For many, Gold’s rankings represented a brand of nuanced and open-minded food criticism that matured with the city as its residents worked to embrace a newfound and increasingly-interconnected urban identity.
Remarking upon Gold’s passing, L.A. mayor Eric Garcetti praised the critic as “One of the greatest in L.A.” while adding that Gold was “a man who made L.A. soar, who articulated this moment, who was Los Angeles in many ways." Equal parts food critic and cultural historian, Gold was immortalized in the 2016 documentary City of Gold, a film that chronicled his life. He was awarded the Pulitzer Prize for his criticism in 2007. At the time, Gold was the first food critic to win the Pulitzer.
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Gehry Partners unveils staid design for Youth Orchestra of Los Angeles

  Gehry Partners has unveiled designs for the new Youth Orchestra of Los Angeles (YOLA) complex in Inglewood, California.  The 25,000-square-foot, $14.5 million adaptive reuse project will retrofit an existing former Security Pacific Bank branch office located at 101 South La Brea Avenue in the city’s civic center, transforming the complex from within by adding a new multi-functional auditorium, among other components. Plans call for creating a “light-filled, flexible facility” at the heart of the community in an effort to further expand YOLA’s footprint to this underserved area.  The facilities will include the aforementioned auditorium, which is designed to be subdivided into two multi-purpose rehearsal spaces and features retractable seating that will accommodate 190 guests. The space will also include a balcony area with capacity for an additional 70 seats.  The complex is set to include a variety of spaces for orchestra, sectional, chamber, and individual practices as well as a choir room, an ensemble room, and a small practice studio that will come outfitted with recording equipment. The building will also house offices and an open lounge space for parents and family members to use. The acoustic envelope for the project is designed by Gehry and Yasuhisa Toyota, founder and president of Nagata Acoustics America.  The building is designed with a glass-walled light cannon that will that bring natural light into the performance spaces. A grand loggia space will front the building along its principal facade. YOLA is an initiative of the Los Angeles Philharmonic that was started in 2007 by its director, Gustavo Dudamel. As a child, Dudamel, a native of Venezuela, participated in that country’s El Sistema youth orchestra, an activity the acclaimed conductor credits with exposing him to the world of music. The YOLA program similarly serves at-risk youth across the region’s working-class neighborhoods, providing a critical means of professional arts education. Describing the proposal in a press release, Frank Gehry said: “It’s a privilege for me to work with Gustavo to create a place where students can feel comfortable, secure, and welcome as they learn to express themselves through music. We hope that the building will become a center for the community to gather to hear performances of all types. I designed the Center to be a world-class instrument for the community, and I can’t wait to see how they use it.” YOLA expects to begin construction on the project in 2019 in the hopes of completing the project by 2020. 
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Los Angeles to deploy body scanners on its subways

Los Angeles County’s transit system is poised to become the first in the country to deploy airport-style security measures to screen its passengers.  The Los Angeles Times reports that the Los Angeles County Metropolitan Transportation Authority (Metro) is rolling out new portable body scanners that can be deployed in response to terrorist threats and during large crowd events like protests and sporting matches in an effort to thwart potential “mass casualty” attacks.  The scanners can be used to screen passengers using radio waves from up to 30 feet away and are designed with an integrated split-screen display that produces a black square over the part of a person’s body where a gun or non-metallic explosive device might be located.  Metro currently operates 93 subway and light-rail stations—with many more on the way—and has plans to utilize the mobile devices as necessary across its system. Officials at Metro explained that areas where passengers might be subject to body scanning will be clearly labeled in each station with signs that read: “Passengers proceeding past this point are subject to Metro security screening and inspection.” Plans call for making “randomized” scans of passengers traveling within these zones. Officials at a press conference announcing the plan explained, however, that passengers seeking to opt out of the possibility of being scanned will not be allowed to ride transit from that station.  The scanners can process roughly 2,000 passengers per hour, according to Dave Sotero, spokesperson for Metro. The figure is an improvement over previous technologies, The Times reports, but likely to fall short of what would be required to process crowds efficiently during rush hour or large scale events. Recent protests in Downtown Los Angeles, for example, have drawn hundreds of thousands of people at a time and have snarled Metro service even without the scanners in place. 

69: Déjà Vu

Lifestyle brand 69 is the brainchild of an anonymous Los Angeles–based designer whose non-gender and non-demographic-specific clothing exuberantly suggests ideas of freedom, inclusivity, and a more fluid future. Since its founding in 2011, 69 has developed a cult following for its playful and exaggerated designs. With a strong focus on transforming denim, a typically utilitarian everyday fabric, into deeply elegant garments that resist easy categorization, 69 welcomes people of all ages, races, sexualities, and sizes into its community. For its first museum solo exhibition, 69 presents a survey of its groundbreaking clothing along with a selection of irreverent and inventive videos and photographs that blur the line between promotional material and artwork.

The SIX Veterans Housing Tour

Designed By: BROOKS+SCARPA Client/Owner: Skid Row Housing Trust Total Square Footage: 40,250 SF Total Cost: $10.1 million Completed: 2016 Tour Led By: BROOKS+SCARPA & Skid Row Housing Trust The SIX is a 52-unit affordable housing project provides a home, support services and rehabilitation for previously homeless and/or disabled veterans.  It is located in the MacArthur Park area of Los Angeles. McArthur Park has one of the highest densities in the USA with over 38,000 people per square mile and a total population of 120,000 people in 2.72 square miles. Offering shelter and comfort, The SIX breaks the prescriptive mold of the traditional shelter by creating public and private “zones” in which private space is deemphasized, in favor of large public areas. The organization of the space is intended to transform the way people live-away from a reclusive, isolating layout towards a community-oriented, interactive space. The ground level contains offices, support spaces for the veterans, bike storage and parking while the second level has a large public courtyard.  Surrounded by four levels of housing units with balconies wrapped with a wood screen made from recycle planking the courtyard has large openings with green roofs that visually connects the space to the street on the lower level beyond.  This allows the tenants to enjoy a secured open space while still connecting to the larger community. The uppermost level has a green roof, large public patio and edible garden with panoramic views of the area. The SIX distinguishes itself from most conventionally developed projects in that it incorporates energy efficient measures that exceed standard practice, optimize building performance, and ensure reduced energy use during all phases of construction and occupancy. The planning and design of The SIX emerged from close consideration and employment of passive design strategies. These strategies include: locating and orienting the building to control solar cooling loads; shaping and orienting the building for exposure to prevailing winds; shaping the building to induce buoyancy for natural ventilation; designing windows to maximize day lighting; shading south facing windows and minimizing west-facing glazing; designing windows to maximize natural ventilation; utilizing low flow fixtures and storm water management; shaping and planning the interior to enhance daylight and natural air flow distribution. These passive strategies alone make this building 50% more efficient than a conventionally designed structure.
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Klaus Biesenbach named new MOCA director

Klaus Biesenbach, director of MoMA PS1 and Chief Curator at Large at MoMA in New York City will be packing his bags for the West Coast. Biesenbach has reportedly been tapped as the latest to lead Los Angeles’s Museum of Contemporary Art (MOCA), where it’s hoped that he’ll be able to draw large crowds to the struggling institution. Biesenbach will leave behind a complicated legacy at PS1. He started his tenure as a curator in 1995, and was responsible for starting the popular summer Warm Up concert series, the Rockaway! arts festival at Fort Tilden in the Rockaways (and includes this year’s Yayoi Kusama sphere installation), and was responsible for driving foot traffic to the Queens institution. However, Biesenbach was responsible for curating the “embarrassing” Björk retrospective at MoMA in 2015 and Marina Abramovic’s The Artist is Present in 2010, which also drew mixed reviews. His departure comes as the museum is facing a discrimination lawsuit over the revocation of a job offer to a pregnant performance program curator. Biesenbach will be replacing Philippe Vergne, the former Dia Art Foundation director (continuing a MOCA tradition of courting New York-based personalities). Vergne stepped down after four years of running MOCA in May, following the backlash over artist Mark Grotjahn’s decision to decline being honored at the museum’s annual gala over a supposed lack of diversity among past honorees. MOCA itself has seen its fortunes rise and fall in recent years, having had its endowment fall to under $10 million as it used the money to pay for operating costs. According to the New York Times, MOCA is hoping that Biesenbach will be able to network with other collector institutions in the area, such as the Broad Museum across the street, and revitalize flagging enthusiasm for the museum. MoMA will start looking for Biesenbach’s replacement in the fall. "Klaus Biesenbach is an extremely talented curator and director who has done an outstanding job leading MoMA PS1 over the last decade," said Glenn D. Lowry, Director of MoMA in a statement, "and working with his colleagues at The Museum of Modern Art to shape our program in contemporary art. His legacy of daring exhibitions, his commitment to artists, and his dedication to civic engagement, leaves an enduring mark not only at MoMA PS1 and The Museum of Modern Art, but in the cultural life of New York City and beyond. " In related news, MoMA painting and sculpture curator Laura Hoptman has been named the new executive director of the Drawing Center. The small nonprofit museum is located in SoHo and has shown a wide collection of architectural work, including drawings by Lebbeus Woods.
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A renovated Los Feliz bungalow brings the outside in with folding doors

Carlos Madrid III, a senior designer at the Los Angeles branch of Skidmore, Owings & Merrill (SOM), has been lovingly renovating his white plaster bungalow-style home for the past two years. Originally built in 1912, the residence was the living quarters for migrant farm workers. With just 800 square feet, Madrid’s main objective was to make the home more usable and comfortable. “I wanted to capitalize on the Southern California lifestyle,” he said. To accomplish this, Madrid installed LaCantina’s aluminum 3-panel bi-fold doors. The doors flexibly swing inside and outside in multiple open and closed positions—anywhere along the spectrum from wide open to completely closed. The system is equipped with a concealed multi-sealed lock, giving the architect freedom to fully open their home and the security to thoroughly close it. In effect, Madrid made the space more usable by opening up the living areas to create the illusion of increased square footage. “This window system blurs the lines between the inside and out, while increasing the perceived size of the living and dining areas,” said Madrid. Location Los Angeles Architect Carlos Madrid III Contractor Steven Fiske Wall System Aluminum Bi-fold System by LaCantina
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Rem Koolhaas calls L.A. a “prototype” for the future of cities

In a recent interview with Nathan Gardels of The Washington Post, theorist-architect Rem Koolhaas spells out his updated vision for the future of global urbanism, describing a type of multi-nodal and highly-resilient conurbation that, at least according to Koolhaas, might look a lot like Los Angeles does today.  The wide-ranging interview covers a variety of topics, including the creeping threat of the "digital city" and whether the architect would be able to build his iconic CCTV tower in China today given tightened formal controls on new development—he says not in Beijing, but perhaps in Shenzhen—among other provocative issues.  But what stands out most is what Koolhaas sees as the future of global urbanization, as the “generic” postmodern city he detailed in works like S,M,L,XL undergoes existential change in the age of Donald Trump and global nationalism. According to Koolhaas, the various urban manifestations of generic international development have started to diverge into highly localized and diffuse variants. Koolhaas complains that despite the prolific growth of urban areas over the last thirty years, societies are currently doing a poor job preparing for an uncertain future. Koolhaas blames a reliance on the market economy and its attendant excesses as a prime driver for this type of impotence, saying, “For me, the issue is not about the inefficiency of democracies versus efficient autocracies but how and where a society wants to allocate its resources. It is really a matter of ideology, of whether the interests of the market or the society as a whole are the priority." Decrying the demise of “strong state capacity” to get massive works of infrastructure and urbanization built, Koolhaas takes aim at the inability of the contemporary city to deliver necessary and vital transformative projects and services just as the localizing forces of globalization take root. Koolhaas says, “It is ironic that just as people want to see a built environment that reflects who they are, what we are seeing in much of the world is that urban planning is scarcely possible because market economies are not generating the necessary funds for it. Any major project of public interest, including even precautions against hurricanes in coastal regions of America, can’t get done.” The Dutch architect is unclear about whether or how cities will persevere through this crisis, but nevertheless has recast the generic, profuse city that sprawls into and out of the countryside as an apt model for absorbing future instabilities. Koolhaas points directly to the Dutch courbation known as Randstad, where he resides, and to Los Angeles as sources for potential solutions:
WorldPost: You’ve traveled the world many times over and built all over. In your view, what cities are most prepared to face the future? Koolhaas: I have lived for 30 years in either New York and London, but now I’m living in Randstad [a metropolis consisting of the four largest Dutch cities, Amsterdam, Rotterdam, The Hague and Utrecht]. It is a bit bizarre for me. There are no dominant cities but together the whole area is connected in a kind of metropolitan field. All the facilities and amenities you’d find in a city are here but decentralized across the whole zone. It is kind of an extended city not dependent on coherence or adjustment of each of the parts to each other. Yet it is able to sustain itself as a connected entity — kind of like a collage. So I would say cities like this that are more open and not so complex to operate are best prepared for whatever the future throws at them. Los Angeles is the prototype of this kind of habitat for the future.
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Landmarking efforts take a step forward for Los Angeles Times complex

Efforts to landmark the historic Los Angeles Times headquarters in Downtown Los Angeles took a step forward last week when the city’s Cultural Heritage Commission (CHC) agreed to take up a Historic Cultural Monument (HCM) nomination for the complex put forth by a group of Los Angeles preservationists. The agreement moves the historic nomination process forward for the five-building complex just as the Los Angeles Times staff vacates the property amid a move to El Segundo, California.  Concurrently, a fight over several of the buildings’ historic lobby artifacts has entered a new stage as the new LA Times owner, Dr. Patrick Soon-Shiong, has moved to illicitly remove a collection of historic elements from the complex in a bid to create an LA Times-focused museum at the paper’s new headquarters.  Just days before the CHC hearing took place work crews removed several historic busts from the so-called Globe Lobby, a grand, marble-wrapped entry space punctuated by a 66-inch wide aluminum globe sculpture. The orb, created by Gutzon Borglum in 1891, survived a 1910 bombing of the newspaper’s offices and is joined in the lobby by a series of 10-foot-tall murals painted by Hugo Ballin in 1934 that depict the origins and major industries of Los Angeles. In a blog post describing the removal, Kim Cooper of historic tour group Esotouric described the emptied lobby as “a defaced space that looks like a plucked chicken.” The nomination for the complex was compiled by preservationist Richard Shave, also of Esotouric, with the help of other experts, including Cooper and the historian Alan Hess. The nomination considers the entire complex for designation, including a pair of late modern-era buildings designed by William Pereira. The buildings included in the nomination follow:
  • The eight-story Los Angeles Times Building designed in the Art Deco/Moderne style by Los Angeles architect Gordon B. Kaufmann in 1935.
  • The four-story Plant Building completed in 1935 that includes an original two-story Art Deco/Moderne-style building by Kaufmann and two one-story additions designed by Los Angeles architect Rowland H. Crawford in 1946 and 1955.
  • The 12-story Mirror Building designed in the Late Moderne architectural style by Crawford in 1948
  • The six-story Times-Mirror Headquarters Building and an attendant six-story parking structure designed by Pereira in the Corporate International architectural style in 1973. 
The nearly 400-page historic nomination can be found here.  The effort to landmark the complex—years in the making—is somewhat coincidental in terms of its timing with the newspaper vacating its historic offices and comes after a particularly turbulent half-decade at the Times. Soon-Shiong announced his purchase of the newspaper in February of this year and unveiled plans to move the LA Times offices in April. Canadian developer Onni purchased the Times complex in 2016 from the previous Times owner, Tronc, and had proposed raising the rent for the facilities to over $1 million per month, prompting the relocation. The Times’s lease ran out June 30, 2018.  Onni is currently pursuing a pair of redevelopment proposals that aim to demolish the Pereria-designed sections of the complex. The developer plans to replace those buildings with two mixed-use condominium towers designed by AC Martin. The towers, rising 37- and 53-stories, would bring 1,127 residential units and 34,572 square feet of commercial areas to the site. Gensler is also working on a blocky 32-story tower containing 107 condominium units, 534,000 square feet of commercial space, and 7,200 square feet of ground-floor commercial area that is slated to rise in what is now a parking lot across from the Times complex. The CHC will next conduct an on-site inspection of the LA Times complex in order to consider whether to advance the application for historic cultural status any further. The designation could impact the developer’s plans for the AC Martin-designed towers, but as the recent case with Gehry Partners’s designs for 8150 Sunset complex shows, landmarking a historic structure does not prevent its demolition. If the HCM nomination is successful, however, the developer’s plans could actually be bolstered by the availability of historic tax credits for renovating the complex if that is done in line with historic standards. A key question for the CHC committee will be how to qualify the historic nature of the Pereira-designed additions to the complex. The historic nomination explains that the Pereira additions are key to the significance of the entire complex and represent the apex of the newspaper’s development and relevance following L.A.’s post-World War II expansion. Pereira’s additions were designed to intentionally fade into the background so as to not detract from the iconic Kaufman-designed portions of the building, according to William L. Pereira, a monograph of the architect’s work compiled by James Steele. The resulting black granite panel-clad complex remains almost entirely intact and represents a key moment not only in Pereira’s career but in the development of L.A.’s architectural history, according to the report. The report says, “The building demonstrates not only Pereira’s role as a master architect who helped to shape the city we know today, but a building which is symbolically, urbanistically, and creatively part of the life of the city.” The entire complex is eligible for National Register of Historic Places and the California State Historic Monument list, though it is unlisted in both. The complex was included in the SurveyLA Los Angeles Historic Resources Survey and is listed in California Register of Historical Resources. The CHC will meet to tour the building at a yet-to-be-announced date and time. Until then, check out the nifty, illustrated explainer created by the Times that highlights the historic complex’s history and internal organization.