MMRA Meets with Metro • Seeks to Shift Nighttime Utility Relocations to Daytime Hours

February 22, 2015February 22, 2015 ~ Editor

MMRA Meets with Metro

Seeks to Shift Nighttime Utility Relocations
to Daytime Hours

Miracle Mile Residential Association President James O’Sullivan and Vice President Ken Hixon met with representatives of Metro and the Los Angeles Department of Transportation [LADOT] on January 27, 2015 to discuss the noise and vibration impacts of ongoing nighttime utility relocation work.

At the meeting the MMRA presented a letter to Metro with suggestions for how nighttime noise disturbances could either be eliminated or better mitigated. The letter stated “It is clear after a year of Advanced Utility Relocations (AUR) that nighttime construction in the Miracle Mile – one of the most densely populated urban corridors in the country – cannot be done without disturbing the peace. Such work requires a super-human level of noise mitigation that has been demonstrated to be impractical to achieve on a consistent basis.”

The MMRA requested that LADOT grant Metro permission to work during morning and evening peak hours so that the majority of utility relocations could be shifted to daytime.

In a written reply, Kasey Shuda, Metro Construction Relations Manager, replied: “If the Los Angeles Department of Transportation was to approve peak hour exemptions for the project, from 6AM-9AM and 4PM-7PM, they would require two lanes of traffic remain open in each direction. This would cripple the ability of the contractor to complete a majority of AUR [advanced utility relocation] work due to the current condition of Wilshire Blvd. In order to keep two lanes of traffic open in each direction the project would be required to complete street reconfigurations including landscape removal, median demolition, signal relocation and street lighting relocations. These activities are not scheduled to take place until just prior to pile drilling. Pile drilling is the first activity of major subway construction. It is scheduled to take place first at the Wilshire/La Brea station in late 2015.”

The MMRA’s position is that since street reconfiguration is already in the plans to allow for the construction of the underground subway stations at La Brea and Fairfax, this reconfiguration should take place sooner than later to allow utility relocations to be done during daytime hours.

At the meeting Metro representatives acknowledged that it is nearly impossible to assure that nighttime construction won’t keep some residents awake, but that their goal was to disturb as few residents as possible. The MMRA takes issue with this calculation, which measures the success of mitigation by how many people are kept awake. We believe that every resident living along the Wilshire corridor has a fundamental right to sleep at night and that the only effective means to ensure this right is to stop subway construction between 11 PM and 7AM.

Click image to view video.

In its letter the MMRA also discussed proposed mitigations at the four subway construction sites to be located in the Miracle Mile. “Metro needs to go beyond mere compliance with the minimal requirements of the noise code if they want to generate good will in the community,” said Hixon. “Nine years of subway construction is going wear nerves thin, especially when nearby residents are kept awake all night.”

To date over 750 people have signed the “Sleepless in the Miracle Mile” petition opposing nighttime subway construction. The MMRA will continue to work with Metro and its contractors to make this lengthy project go as smoothly as possible, but we will not alter our opposition to nighttime construction. Nighttime subway construction and a good night’s sleep are inherently incompatible goals.

MMRA Letter to Metro, 27 Jan. 2015

Metro Letter to MMRA, 3 Feb. 2015

For additional information:

Park LaBrea News/Beverly Press: Noise from subway work rattles nerves at night

MMRA website: Subway Construction page

2014 Annual Online Survey

November 15, 2014 ~ Editor

[Miracle Mile Residential Association Newsletter, November 2014:]

Miracle Mile Residential Association
2014 Annual Online Survey

Click on map to enlarge.

In November 2013, the MMRA launched its first online survey of Miracle Mile residents to gain a better understanding of your attitudes and opinions on central issues, such as traffic and development. Last year’s poll had 114 respondents; the results can be reviewed here.

The 2014 annual survey repeats many of the key questions asked in last year’s survey, which will indicate how opinions have shifted (or not) in the past 12 months. While hardly a scientific survey, the poll provides a “snapshot” of the community and helps guide the MMRA in prioritizing our efforts. The Miracle Mile Residential Association is a consensus driven organization and polling helps to ensure that the actions of the MMRA reflect the will of the residents we represent.

The MMRA also uses more targeted polls to gauge opinions on single topic issues. Both the “MMRA Mansionization-RFA-HPOZ” and “LACMA Bridge Over Wilshire” surveys are still open. You can participate in those polls or view the results in the links below.

The annual poll is not just for residents living within the boundaries of the MMRA [see map above], we are also interested in how residents in neighboring areas feel, too. The survey will remain open until December 31, 2014. The results of the annual survey will be featured in the January 2015 newsletter.

We utilize SurveyMonkey for our polls; it is a secure and simple way to gather your input. Participation is completely anonymous and your honesty is welcomed. So, please take a few minutes to complete the poll – there are 60 questions with opportunities to make specific comments. And you can skip over the questions that don’t interest or apply to you.

2014 Miracle Mile Residential Association Annual Online Survey

Participate in the survey

MMRA Mansionization-RFA-HPOZ Survey (May 2014)

Participate in the survey
View the results

LACMA Bridge Over Wilshire Survey (July 2014)

Participate in the survey
View the results

LACMA’s Billion Dollar Debt

November 15, 2014 ~ Editor ~ 1 Comment

[Miracle Mile Residential Association Newsletter, November 2014;]

LACMA’s Billion Dollar Debt

(and Michael Govan’s Very Good Day)

Commentary by Greg Goldin

Supervisor Ridley-Thomas: Is this Michael Govan Day in L.A. or what? We’re trying to figure that out. Did you know what today was?

Michael Govan: That today was?

Supervisor Ridley-Thomas: Yeah, Michael Govan Day in the city, in the county of Los Angeles? Did you know that? It is. Thank you.

Michael Govan: Thank you.

– November 5, 2014 Meeting, Los Angeles County Board of Supervisors

On November 5, LACMA’s plan to build a new museum that would span Wilshire Boulevard got its first enormous contribution. To help kick off the Museum’s fundraising campaign to build the proposed Peter Zumthor building, the Los Angeles County Board of Supervisors opened the public treasury and signed a check for $125 million. The gift, hailed as proof of the county’s commitment to art and culture, whizzed through on a unanimous vote, but it seems neither the supervisors, nor the reporters present that day, had read the fine print. The colossal sum was not nearly enough, it turns out, to get the ball rolling on the Swiss architect’s $600 million (and-climbing) oozing mega-structure. So, the Supervisors agreed to kick in another $300 million – this in the form of a government-issued bond to be repaid over 30 years by LACMA’s patrons and donors.

Even for the multi-billion dollar county, $425 million is a pile of money. One would have hoped that the self-avowed fiscal conservatives on the board – among them, the socially liberal but financially prudent Zev Yaroslavsky – might have questioned how the money would be repaid and what the citizens are getting in return. Yet, to hear the string of fulsome remarks by the Supervisors themselves [see link below], the mere appearance of LACMA chief Michael Govan was sufficient recompense for the public’s investment. One of the fawning Supervisors declared it “Michael Govan Day” – only to be told that such a decree violated the state’s Brown Act, and thus had to be withdrawn. LACMA’s imperial and expansionist dreams, it seems, justify the taxpayers’ gifts and loans without inquiry, investigation, or a single note of caution.

Some math is useful here. The County’s Chief Executive Officer, William T. Fujioka, laid the facts out to the Supervisors in his November 5 report. The citizens of Los Angeles county will donate $125 million to LACMA – a gift that will ultimately cost the county $10 million a year for fifteen years, topping out at $150 million. That’s the money that made the headlines. Since LACMA can’t raise the remaining $475 million in construction funds fast enough, the county has agreed to step up, to “provide adequate and timely funding for the proposed Project during its eight year delivery schedule.” That’s the $300 million bond, which will saddle LACMA with new debt of $18 million a year – adding up to $540 million over the 30-year lifetime of the loan. And that assumes the price tag for Zumthor’s creation will actually be $600 million. There are many independent estimates that put the figure at closer to $1 billion. Will the county close that gap, too?

If the past is prologue, there is ample reason to question the soundness of these arrangements. As the Supervisors know well, LACMA is already burdened with debt, and those debts have forced the Museum to compromise recent plans, to the public’s detriment.

The story begins in 2001 when LACMA undertook “Transformation,” its self-proclaimed plan to march west toward the May Co. building. For $50 million, that landmark was going to be refurbished to add 20,000 square feet of gallery space, renew the Boone children’s gallery, and carve out office space for staff. But the money had to be diverted because Museum Associates, which runs LACMA, couldn’t repay the $383 million debt it had amassed to build the Broad Contemporary Art Museum and the Reznick Pavilion. During the deepening recession, LACMA couldn’t bear the costs of restoring the May Co. while shelling out $15 million a year for the debt service for the BCAM and the Reznick. Thus, the May Co. renovation was jettisoned.

While everyone’s attention was focused on the delivery of Michael Heizer’s very large rock, LACMA’s finances were sinking like one. Its debt was nearly twice as large as New York’s Metropolitan Museum of Art and almost $100 million more than the Museum of Modern Art. The viziers on Wall Street weren’t as easily diverted by the “levitated” spectacle as the citizens and their elected representatives were. The Museum’s bond rating, then perilously close to a default, was downgraded, which put the institution in the unfortunate position of having to find a way to re-leverage itself.

The answer came when a seemingly friendly marriage was arranged between the Motion Picture Academy of Arts and Sciences (which had failed more times than can be recounted to open a museum) and LACMA. The Academy agreed to an up-front payment of $36.1 million to lease the 300,000 square-foot May Co. building and a chunk of real estate along its backside for the next 110 years. The Academy would get a museum and LACMA was free to reschedule its debts. For the Academy, it was a sweetheart deal; for the public, not so. The Academy paid the pitiable sum of ninety-two cents per square foot in virtual perpetuity, when the cost of much less glorious and valuable space across the street on Wilshire is four dollars a square foot and climbing. Govan told the Los Angeles Times in June of this year, “The idea was not to haggle, not to make an issue of money; whatever was fair was fair.”

The difference between market rents and this no fuss, no mess deal comes directly out of the taxpayer’s pockets, since the County already furnishes LACMA with $30 million a year in operating costs. In effect, the County is now subsidizing the Academy, one of the richest institutions – with access to seemingly unlimited Hollywood money – in the universe.

All disappointing evidence that LACMA lacks fiscal accountability. Now it is proposed that in addition to its current annual tab of $15 million in debt service, another $18 million be heaped on. For the foreseeable future, LACMA would be more than $1 billion in debt. What will this staggering sum mean to the County when the next recession hits?

And, while everyone agrees that public subsidies for the largest encyclopedic museum west of the Mississippi are worthy, shouldn’t forking over $690 million (the real price of the debt repayment) have some steely strings attached. For example, who will own the new Museum if it ever gets built? Will County negotiators extract a guarantee that LACMA have free admission when the new building opens? (The Hammer, in Westwood, is now free, and the new Broad Museum, in downtown, will be as well when it opens in fall 2015.) And, at long last, will the public be given seats on the Museum’s Board of Trustees – that exclusive, self-anointing body of the super-rich who govern LACMA?

Even if Museum director Michael Govan’s plan melts into the tar that Peter Zumthor says inspired his design, these questions will remain. If the Los Angeles County Museum of Art – whose very name embodies its public heritage – is to be a truly civic institution, then what better time that now, on the brink of its receiving more than a half a billion dollars from taxpayers, to ask for genuine accountability and a place at the table for its true stakeholders?

Michael Govan photo courtesy of Aaron Salcido, Zócalo Public Square; Zumthor LACMA model courtesy of Los Angeles Times (© Atelier Peter Zumthor & Partner); Levitated Mass photo courtesy of Jen Pollack Bianco, My Life’s a Trip.

Sources:

County of Los Angeles, Chief Executive Office: Museum of Art: Proposed East Campus Replacement Building Project Approval of Financing Concept and Funding for Preliminary Design and Planning Activities

November 5, 2014, Meeting of the Los Angeles County Board of Supervisors: Transcript

San Gabriel Valley Tribune (3/14/13): Tim Rutten: Financial questions need answers before LACMA swallows MOCA

Los Angeles Times (6/2/14): Film Academy to pay LACMA $36.1 million for movie museum lease

For additional information:

Los Angeles Times (11/6/14); L.A. County supervisors embrace LACMA’s financing plan for makeover

Greg Goldin is the coauthor of Never Built Los Angeles and a curator at the A+D Museum. From 1999 to 2012, he was the architecture critic at Los Angeles Magazine. He is a longtime resident of the Miracle Mile and was featured in the MMRA Channel’s YouTube presentation: “The Miracle Mile in Three Tenses: Past, Present, and Future.” Greg is an occasional contributor to this newsletter; “LACMA: The Sky’s the Limit” appeared in the August 2014 edition.

“Nix Pix Museum” Says MMRA

October 15, 2014October 15, 2014 ~ Editor

A message from James O’Sullivan, MMRA President

The Academy Museum Draft Environmental Impact Report [DEIR] is the final chapter in a sad tale of incompetence and betrayal. Ultimately, it is a perfect example of the golden rule: He who has the gold makes the rules.

We got our first look at the Academy Museum project in May 2013. It was a 104-page study that raised a few eyebrows, but that’s not out of the ordinary for a very large project. Then, on August 28, 2014, an almost 7000-page DEIR was dropped into our lap and we realized we were in the middle of a four-alarm fire. Aside from the shock at the size of the DEIR, our worst fears were confirmed: The Academy Museum is a full-tilt special event center masquerading as a museum – Nokia/L.A. Live in the Miracle Mile.

We were never supposed to be in this position. If Museum Associates (dbaLos Angeles County Museum of Art) had done what they promised when they bought the former May Company property in 1994, the landmark building would have been completely restored and now would be the home of:

Up to 20,000 square feet of additional gallery space for LACMA’s collection of prints, drawings, and photographs, providing enhanced accessibility and use by students, scholars, and the public.
The Boone Children’s Gallery with workshops, a video and new-media center, and other programs for children, young people, and families.
Curatorial and administrative offices.
Public amenities including a new restaurant and retail space.
An underground garage with 1000 parking spaces to replace the 1200-space May Company parking structure that was demolished – and ended up being the Pritzker garage with only 517 parking spaces.

But instead of restoring and readapting the May Company, they built the Resnick Pavilion, BCAM, and ARCO Plaza – piling on debt by issuing construction bonds to the tune of $383 million. And then…

…In August 2011, Moody’s Investors Service downgraded LACMA’s bond rating and Museum Associates found themselves dog-paddling in the deep end of a financial mess of their own making. They needed an infusion of cash to stay afloat. Four months later, in October 2011, Museum Associates abandoned their promise to renovate the May Company for LACMA’s purposes and announced they had leased it to the Academy of Motion Picture Arts and Sciences [AMPAS] for an Academy Museum.

It was a shotgun wedding. AMPAS had flown too close to the sun, too. They had gone on a spending spree acquiring property at the top of the market to build a museum in Hollywood. Then the real estate market collapsed. But they still had a tidy dowry so the terms of this arranged marriage were that AMPAS would pay Museum Associates $36 million up front for a 110-year lease. That’s right, the 300,000 square-foot May Company and the 2.2 acres it sits on for $896.64 per day. It was fire sale, but Museum Associates was desperate for a quick fix to balance their books. In their haste, they conveniently forgot old promises.

In 2005 the residents of the Miracle Mile agreed to give up Ogden Drive (a public street connecting Wilshire Boulevard to 6th St.) allowing the original LACMA campus to be unified with the May Company parcel. In exchange, the May Company would be restored and readapted for LACMA’s uses. We lost a street and a great shortcut to 6th, but it seemed like a win-win proposition: May Company rescued, new gallery space for LACMA.

But then, Museum Associates eloped with AMPAS and now what do we get? A third of the original May Company will be demolished to make way for a giant sphere that looks like it rolled here from Disney World in Orlando; a million visitors a year with no new on-site parking; gridlock; traffic and parking intrusions to our neighborhoods; a digital sign district; super graphics; searchlights; celebrity premieres on Fairfax Avenue; paparazzi; screaming fans; long lines of limos; midnight screenings; concerts; and numerous special events. And will most of these functions be open to the public? Not likely.

He who has the gold rules. And that is why the City will grant all the variances and approvals requested for this project. It’s a done deal. AMPAS has spent over $1 million lobbying City Hall according to the most recent public records. For that kind of money, the City will turn a blind eye to the disastrous impact the Academy Museum will have on the community. A pair of ruby slippers and a major special events center are being plunked down in one the most notoriously congested areas in town – while all the politicians gather to sing a rousing chorus of “We’d Like to Welcome You to Munchkin Land.”

Of course, the politicians don’t want to make Tom Hanks or Steven Spielberg mad. They want invitations to the groundbreaking. Talk about a photo op! But what will be missing from that picture is how Museum Associates betrayed the residents of the Miracle Mile and the surrounding communities when they climbed into bed with the Academy Museum.

[Ruby Slippers photo courtesy of the Los Angeles Times.]

Subway Construction Update: A United Front

August 17, 2014 ~ Editor

Subway Construction Update:

Beverly Wilshire and La Brea/Hancock
Homeowners Associations
Endorse MMRA Position on
Nighttime, Sunday, and Holiday
Subway Construction

Beverly Wilshire Homes Association and the La Brea/Hancock Homeowners Association have both approved motions endorsing the policy of the Miracle Mile Residential Association on work hours exemptions for subway construction.

MMRA President James O’Sullivan and Vice President Ken Hixon met last week with the board of directors of both neighborhood associations and shared the MMRA’s position that no variances from work hours regulations should be granted for nighttime, Sunday, or holiday subway construction until such time that all three organizations have had an opportunity to meet with the contractors for the project and satisfactorily resolve all questions and issues regarding noise and vibration.

La Brea/Hancock residents living near La Brea and Wilshire and Beverly Wilshire residents near Fairfax and Wilshire have already experienced sleepless nights from utility relocation work at these intersections. The unanimity of the board members of both organizations in adopting motions endorsing the MMRA’s position reflects how deeply the impact of subway construction is felt in adjacent neighborhoods.

“Metro is always shrugging off the impact of subway construction by dragging out the old adage that you can’t make an omelet without breaking a few eggs,” MMRA President Jim O’Sullivan remarked. “Our retort to that has always been that the Miracle Mile is a neighborhood – not a frying pan. And now it’s clear that the Beverly Wilshire and La Brea/Hancock neighborhoods don’t care to be a frying pan for Metro either. It’s a united front now.”

The MMRA’s ongoing petition campaign to stop nighttime, Sunday, and holiday subway construction continues to gather signatures as more and more people experience the disturbances ensuing from the utility relocations currently underway in the Miracle Mile – which have served as an unpleasant preview of coming attractions.

Metro will not listen to us – and our concerns over 10 years of 24/7 subway construction – if we don’t make our voices heard:

SIGN THE ONLINE PETITION

Click here to download the printable petition

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LACMA: The Sky’s the Limit • Commentary by Greg Goldin

August 17, 2014August 17, 2014 ~ Editor

[Courtesy of the Los Angeles Times.]

LACMA: The Sky’s the Limit

Commentary by Greg Goldin

[Editor’s note: Last month, LACMA Director Michael Govan announced a proposal to build what he hopes will be a Frank Gehry designed skyscraper on Wilshire, across from the museum’s campus. This project would serve as a sort of exclamation point to LACMA’s plan to bridge Wilshire with a new museum designed by the Swiss architect Peter Zumthor.]

It may be another decade or so before the Purple Line extension is complete, and riders emerge from the subway stop at Orange Grove and Wilshire, but the oncoming train is already changing the landscape at the west end of the Miracle Mile. If the money can be found, the Academy of Motion Picture Arts and Sciences will inflate a glass kidney bean off the backside of the former May Co. building and LACMA’s oil-slick-inspired $650 million-and-counting blob will ooze its way out of Hancock Park to bridge Wilshire and occupy their Spaulding parking lot. Just added to complete the troika of architectural razzle-dazzle could be the city’s tallest skyscraper, rising above the Wilshire/Orange Grove subway portal.

The hotel and condominium tower, presumably designed by Frank Gehry, would also have LACMA galleries, with a new architecture and design museum, as well as Gehry’s own archives. LACMA head Michael Govan told the Los Angeles Times, “I’m jealous that New York has a Gehry tower [left] and we don’t. My dream is some beautiful piece of architecture with an architecture and design museum at the base, which would add to Museum Row.” Never mind that much of Museum Row is being decimated in no small part owing to LACMA’s maneuvering the subway portal onto the very block where buildings housing the A+D Architecture and Design museum and two other private art galleries must now be demolished to make way for subway construction.

LACMA owns approximately one-quarter of the 350-foot frontage on the south side of Wilshire between Orange Grove and Ogden, and hopes to forge a development deal with the Metropolitan Transportation Authority [Metro], Millennium Partners, and landowner Alan Sieroty before the subway construction site is reconfigured as yet another relentlessly dull Transit Oriented Development.

The LACMA chieftain’s instincts may be right – nobody wants another badly-designed building above another badly-designed subway portal – but Govan’s not taking any chances by trying to sell architecture solely on its own merits. Instead, he put a politically correct spin on the proposal. Once Metro opens the block for development, he said, “We know that density is the key to urban living and to the maximization of mass transit — and key to the environment. And so for all the right reasons, this is the right place” for a high-rise.

Thus, Govan shrewdly positions his “dream” as a civic virtue. No one believes this more than LACMA itself, which, like the Museum of Modern Art in New York, would become a major real estate developer. The reassuring urban planning rhetoric is meant to neutralize any opposition by making naysayers into nabobs opposed to leveraging a multi-billion investment in public transportation.

While no one doubts that some kind of building will rise once Metro pulls its construction trailers and tunnel boring machinery off the site, LACMA’s ambition is as naked as it is vainglorious. A Frank Gehry skyscraper, looming directly across the street from LACMA’s main galleries, would be, like Trajan’s Column in Rome [right], a triumphal commemoration of the museum’s self-conceived importance not just in the surrounding neighborhood or city – but in the global marketplace of art.

By adding Gehry to the list of Pritzker Prize winning names on the museum’s all-star roster (Renzo Piano and Peter Zumthor being the other two), the museum will have clothed itself in the raiment of “great buildings.” Who, indeed, will ever again question the eminent stature of a cultural institution that once made the mistake of building an unfashionably dated and decidedly Hollywood version of the Kennedy Center and dared to call it a landmark destination.

The William Pereira designed LACMA campus, circa 1965.

This, indeed, is an essay into the ways in which the rich and powerful need to express the glories of so much accumulated money and power. Culture is the playground of the moneyed classes – whose wallets, and egos, are the ripe targets of the monument builders. What better way to supply a secular crown than with a building, by a world-renown architect, which bears your name?Nothing new, actually, is happening here with this proposed skyscraper. From infancy LACMA has regarded itself as not only separate, but also above the status it retains as a publicly funded and owned art institution. Embossed in the public record is the dirty secret that when the County Museum of Art spun itself off from its parent, the Natural History Museum, the new museum’s board of trustees first aim was to leave Exposition Park for the greener (as in, the color of money) environs of the Miracle Mile, then quaintly situated on the Westside – which nowadays, along with the money, has moved much further west.

When County Supervisor John Anson Ford offered the newly separated art museum a downtown plot of land – speculation is that the site was atop Bunker Hill, where the Catholic Cathedral now sits – LACMA’s board rejected the plan. “[I]t was recognized…that the location…would not attract the enthusiasm of potential donors from the west side.”

This quote, from the board minutes of January 21, 1958, was the sort of blunt comment made by civic leaders before the present era of milquetoast public relations statements. The museum’s leaders could not fathom leaving Exposition Park – and its surrounding black ghetto – only to be thrust into a downtown neighborhood populated by the city’s poor and elderly and black and Native American citizens. Westside money was hardly going to flow toward a location redolent of the city’s intractable underclass.

And, so, the museum spent several years lobbying G. Allan Hancock [right], the wealthy oilman who’d given the county the park that bears his name and contains the La Brea Tar Pits. Repeatedly, they tried to convince him to cede a piece of the 23 acres for their art museum, although it had been Hancock’s express wish to build a “fossil museum” dedicated to displaying the park’s unique Ice Age finds. In 1959, Hancock finally relented, agreeing to give the art museum 7 acres, and no more. The moment the plans for the new museum were unveiled – the William Pereira designed complex that is now destined to be demolished – LACMA began its long effort to aggrandize pieces of the park.

Time and again, LACMA sought to nibble away at the park that Hancock deemed should be permanently set aside for public enjoyment and scientific exploration. In the late-1960s, an attempt by the museum to expand further into Hancock Park met with a global protest. From Kenya, Louis Leakey, the world’s most famous paleoanthropologist and archaeologist, urged the museum to halt its plan, saying that no one would consider building atop a site where the first evidence of mankind was discovered, so why would they build atop the largest outcropping of Ice Age life anywhere on the face of the Earth? That effort flopped, but 20 years later the Bruce Goff designed Pavilion for Japanese Art was completed, taking another bite out of the park.

By then memories had faded, along with the county assurances that Hancock’s final wishes would never be violated. But LACMA never stopped eyeing the park. The first iteration of Zumthor’s modern design for a new museum covered – literally – several of the tar pits themselves. Only when the Natural History Museum, which administers Hancock Park, strenuously objected did LACMA retreat and come up with this latest version spanning Wilshire Boulevard.

In a sense, all of this is prologue, evidence that from the moment LACMA left Exposition Park to the present, an arrogant self-regard has been the chief characteristic of the museum’s stance. Now, in projecting its skyward dreams in the form of a Gehry tower, LACMA demonstrates all of its inherited insouciance, that blithe unconcern that comes with believing your own message and knowing that when you’ve got the money and the power to back it up the sky’s the limit – or maybe not. Actually, there are no height limits along Wilshire Boulevard in the Miracle Mile.

•••

Greg Goldin is the coauthor of Never Built Los Angeles and a curator at the A+D Museum. From 1999 to 2012, he was the architecture critic at Los Angeles Magazine. He is a longtime resident of the Miracle Mile and was featured in the MMRA Channel’s YouTube presentation: “The Miracle Mile in Three Tenses: Past, Present, and Future.”

For additional information:Los Angeles Times:
LACMA, Metro Discussing New Museum Tower on Wilshire Blvd.

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