Tag: Wilshire Boulevard

Q & A: An interview with Mindy Lake and Michael Cortez, members of Metro’s Construction Relations Team

~ Editor

Q & A:

On the Front Lines of

Subway Construction in the Miracle Mile

An interview with Mindy Lake and Michael Cortez,

members of Metro’s Construction Relations Team

After almost two years of advanced utility relocation (and a couple more to go at Wilshire and Fairfax), the main event will begin soon at La Brea and Wilshire as preparations are made for underground subway construction. The Purple Line extension from Western Avenue to La Cienega Boulevard is a massive and complex endeavor. The multi-billion dollar, nine-year construction project through one of the most densely populated urban corridors in the country is fraught with potential impacts on nearby residents and businesses. It is the job of Mindy Lake [below right] and Michael Cortez [below left] to serve as a liaison between Metro and the community and help ensure that the mitigations implemented during the subway work go as well as possible.

 

Lake and Cortez talk about their jobs, the proper way to make a complaint about subway construction, and Metro’s Eat-Shop-Play program to support local business during the building process. They were interviewed June 8, 2015. The interview has been edited for length.

Q: What exactly are your jobs?

Lake: My official title is Senior Construction Relations Officer, Section One, West Segment. Which, in plain English, means I handle construction-related issues for the Purple Line Extension for the area west of Hauser Boulevard to La Cienega Boulevard, which includes the Fairfax station and the La Cienega station.

Cortez: And I’m the Senior Construction Relations Office for the East Segment. I cover everything east of Hauser to Western, which includes the La Brea station, the Crenshaw staging yard, and the tie-in to the station at Wilshire and Western.

Q: Mindy, what are your qualifications for this job?

Lake: Over 25 years of community activity and activism stemming back to the mid-1980s in this neighborhood, particularly west of Fairfax: from organizing the first Neighborhood Watch to being a founding member of Mid City West Community Council. I was also the co-chair of the Wilshire Division’s Community-Police Advisory Board for four years. I was born in the neighborhood and went to schools here. I’m basically a dyed-in-the wool community person. I took this job because I thought I had the qualifications to understand the needs of this community – and I thought I could be helpful to Metro with this transformative construction project.

Q: Michael, what are your qualifications?

Cortez: I have over 11 years experience working in the public sector. I worked many years for the Community Redevelopment Agency in the Hollywood and Central region. Prior to that I worked for two elected officials. I was born and raised in Canoga Park. I was president of my neighborhood council and engaged in community activism in the Valley. I believe in the importance of community engagement in the planning process all the way through to the construction of a project.

Q: Now that that a principal contractor –a design-builder in Metro jargon – has been engaged, how do you two specifically fit into the construction process?

Lake: We liaison with all of the entities connected to subway construction. We work with Metro’s project management; we work with community relations; we work with the community; we work with the design-builder and the sub-contractors still working on utility relocations. Our job is to keep an eye on what’s going on so that we can deliver that information to the community – and be available when there are issues or complaints. We try to stay out in front of everything so that we can anticipate if something might create a problem for the community.

Q: It seems that one of the problems Metro sometimes had keeping the noise disturbances under control during nighttime utility relocation work was the large number of sub-contractors involved. Each contractor had to be educated on proper noise mitigation methods. Will it be easier for you to control this problem now that you are dealing with only one main contractor for the actual subway construction?

Lake: Absolutely. I think the challenge with the utility relocation sub-contractors was that what we asked of them was so much more than they were accustomed to providing. It required us to really stay on top it. We had a heightened degree of mitigation measures we were implementing. It was a learning curve for them and a trust issue for us. We had to work very closely with them to make sure the understood the community they were working in.

Q: Speaking of which, how do you find this community to work in?

Cortez: I would say I’ve been able to work well with the community. I’ve started to build relationships with various organizations. I go the community council meetings. I meet with folks individually. I want people to have a face they know during the construction process. Here in the La Brea area I’ve been introducing myself to all the businesses. I am available to them and try to keep them informed. Like Mindy, I respond to anyone who contacts me by phone or email in 24-hours or less.

Q: Let’s talk about complaints. If residents or businesses are having issues with dust, noise, construction traffic, or any other subway related problems, what is the proper way to get Metro’s attention?

Lake: We have are hotline phone number, 213-922-6934, which can translate into an immediate, real-time response if its an urgent construction related matter. Or we can be reached by email. [See below.]

Q: What determines urgency and prompts a real-time response?

Lake: My definition of urgent, for example, would be if you were experiencing an extraordinarily loud construction disturbance at night or your driveway was blocked by a truck during construction. You would call the project hotline; go through the menu options; indicate that it is urgent; a live operator will come on the line; you tell them where you are located and what the issue is; they would call or text me or Michael; and we would respond right then and there.

Q: And then you or Michael would contact someone at the construction site to find out what’s going on?

Lake: Yes. Or, in my case, I live in the Miracle Mile, right here in the construction zone, so, often I’ll just go to the site to investigate the problem.

Q: That was a big mistake, wasn’t it? Moving into the Miracle Mile when you took this assignment? You didn’t put much distance between yourself and your job.

Lake: (Laughing.) It speaks on some level to either my insanity or my commitment to this project. I think it’s the only fair way, that when I say to someone that I know what you’re going through, that I can be perfectly honest.

Cortez: When there is a complaint or problem, we sit down with the contractor and discuss the situation – and remind them to continue to implement our mitigation efforts.

Q: So, simply put, the best way to complain is to call the project hotline: 213-922-6934.

Lake: It’s been a very effective method. The response time is excellent. Michael and I are on top of it. We also cover for each other if one of us is indisposed.

Q: The Miracle Mile Residential Association has a keen interest in supporting small businesses and restaurants. Obviously, the enterprises located closest to the staging sites at La Brea and Fairfax are going to be economically impacted by subway construction. Metro has created a marketing program called Eat Shop Play to promote these businesses to help counteract any damage to their bottom line. What sort of response have you been getting from Miracle Mile business owners?

Lake: Once they wrap their heads around the idea of what we’re doing – and understand that this is something we’re providing to them at no cost – they are quite engaged. They have to grasp the potential construction impacts; right now they’re not really feeling it. So, we’re trying to be pro-active and educate them. Once we get through that process, they are very interested in participating. We’ve had very positive responses.

Q: Have you gotten many Miracle Mile businesses to participate in the program?

Cortez: Yes, so far almost 50 businesses in the La Brea, Fairfax, and La Cienega areas.

Q: I know you promote the Eat Shop Play program online, but will you promote it in other media outlets – like local newspapers?

Lake: Yes, we’ve also bought pole banners for Wilshire Boulevard. We’ll also advertise on billboards and bus shelters. Our official launch for the program is July 1st. That is why we want to reach out to all of our community partners. We want to get word out.

Metro Purple Line Extension
Construction Relations

24-hour telephone: 213-922-6934

Mindy Lake (west segment; Hauser Blvd. to La Cienega Blvd.):
LakeM@metro.net

Michael Cortez (east segment; Hauser Blvd. to Western Ave.):
cortezmic@metro.net

Metro Purple Line Extension links:

http://www.metro.net/projects/westside/
Twitter: @purplelineext
Facebook: facebook.com/purplelineext

 

“Sleepless in the Miracle Mile” Update:

The MMRA collected nearly 800 signatures in our petition campaign to stop nighttime subway construction in the Miracle Mile. Although we have not yet succeeded in stopping all nighttime work (which we continue to oppose) our well-publicized campaign did motivate Metro to limit or rearrange nighttime construction to minimize complaints.

Now that a prime subway contractor has been engaged – Skanska, Traylor and Shea (STS) – officers of the MMRA are meeting regularly with representatives of Metro, STS, the Los Angeles Department of Transportation, and the Los Angeles Police Commission (which issues permits for nighttime construction).

The MMRA is adamant that the community have a direct voice in how subway construction in general is conducted in the Miracle Mile, including: the selection of haul routes; sound mitigation at the staging yards; loss of public parking; and protecting our small business and restaurants.

The residents of the Miracle Mile welcome the Purple Line subway extension. The MMRA will work closely with all parties involved to help manage the impacts on our community – while continuing our efforts to stop the noise disturbances of nighttime work.

Miracle Mile Spotlight: Craft and Folk Art Museum

~ Editor

Miracle Mile Spotlight:
Craft and Folk Art Museum

In 1965 two cultural institutions arrived in the Miracle Mile, launching Museum Row: the Los Angeles County Museum of Art (LACMA) and what in time would be known as the Craft and Folk Art Museum (CAFAM). LACMA made its debut with national media coverage and the cream of the city’s high society in attendance. But the real buzz was created by a new café and gallery a few blocks east on Wilshire called “The Egg and Eye.”

“Well, the original concept for The Egg and The Eye was to serve the omelets upstairs and while people waited they would go in the gallery. When they were in the gallery, they would encounter maybe a pot on a pedestal,” explained its founder Edith R. Wyle (1918-1999) in a 1993 interview. “The fact that it was a pot on a pedestal would lead people to understand that this must be art, and I think they got the message. This was a first. People did not display crafts or folk art in an artistic manner in a display setting.”

UCLA-educated, Wyle was an artist with a deep passion for folk art. Her enterprise was an immediate hit and in 1973 it evolved into a non-profit organization with a new name: the Craft and Folk Art Museum.

The inexhaustible Wyle initiated exhibits, workshops, educational programs, and created the Festival of Masks, a multicultural festival. In the process, CAFAM became a dynamic community center in the Miracle Mile – a place not only to see indigenous crafts and objects, but a place to learn weaving, jewelry making, and other skills. This tradition continues today under the guidance of Executive Director Suzanne Isken.

Isken [photo right], former Education Director at the Museum of Contemporary Art, came to the museum four years ago. Her bold and imaginative leadership has expanded scope of its exhibits and classes. Craft and folk art, in her perspective, are not relegated to the past – it is something that is being created today in dynamic new ways. The energy of the museum is obvious to even those passing by on Wilshire Boulevard. A façade project initiated by Isken serves as a very public canvas for Los Angeles-based artists, most notably when the front of the building was “yarn bombed” with knitted granny squares.

 

“When I first came here everyone kept telling me that the museum was a hidden gem and my reaction was: to hell with the hidden,” Isken says. “Our gift shop has always been very popular, but many people didn’t understand that there was a museum upstairs. That was part of our decision to bring the museum downstairs closer to the street.”

A native of Los Angeles and a mother of four, Isken exudes curiosity and enthusiasm. These qualities are evident in the wide range of craft exhibited at the museum – from the work of male quilt makers to an upcoming show featuring shoe designer Chris Francis.

“I came from a contemporary art museum. My vision, given my experience, was to look at more contemporary craft. We have an important place in L.A. at a time when craft is getting a lot of attention. People are really into making things and that is a natural audience for us: the makers.”

Isken views the Miracle Mile as a unique area with a great deal of vitality. “We see ourselves as a ‘hands on’ neighborhood museum. We keep our ticket prices as low as possible. We offer a craft night every Thursday night. We have free admission on Sundays. We try to stay connected to the community.”

Today the hot trend in automobiles, smart phones, and museums is to promote themselves as being “interactive.” But being truly interactive – a museum where you can get your hands dirty shaping a pot or prick your finger learning to embroider – has been a decades-old mission at CAFAM. It has always been a place that appeals to all of the senses, including a sense of community.

Craft and Folk Art Museum
5814 Wilshire Boulevard
Los Angeles, CA 90036
323-937-4230

For additional information:

Craft and Folk Art Museum website: www.cafam.org

Archives of American Art, Smithsonian Institution: Oral History Interview with Edith Wyle, March-September 1993

First Academy Museum Public Hearing Held

~ Editor


First Academy Museum Public Hearing Held

MMRA Protests Digital Sign District, Special Events Center,
and Lack of Parking

On March 16, 2015 the first public hearing on the proposed Academy Museum of Motion Pictures and special events center was held at City Hall. Hearing Officer Luciralia Ibarra took public testimony on the many zone changes, variances, and special approvals the Academy of Motion Picture Arts and Sciences is seeking. The new museum and events venue will transform the former May Co. at the northeast corner of Wilshire Boulevard and Fairfax Avenue.

The Miracle Mile Residential Association [MMRA] supports readapting the May Co. building for use as a motion picture museum. However, we strongly oppose the Academy’s request for the creation of a digital sign district, which circumvents the hard-won guidelines of the Miracle Mile Community Design Overlay District and will convert the historic landmark into an electronic billboard. We also oppose the demolition of one-third of the historic building to make room for an adjoining 1,000-seat theater that will be heavily promoted for celebrity premieres, screenings, and large events.

Architectural critics have described the project as “a special events center masquerading as a museum.” The array of variances, zoning changes, and conditional use permits requested by the Academy lends credence to this charge: How many museums require catering facilities to host private affairs for 1,350 people? Or rooftop terraces seating 800 people? Or their very own digital sign district?

Some museum experts predict that the new museum will attract a million or more visitors per year – yet the Academy is unwilling to build any new off-street parking for the project. They maintain that the adjacent Los Angeles County Museum of Art has ample parking to spare. Residents of the Miracle Mile find this ludicrous. Visitors to LACMA frequently park on nearby residential streets when LACMA’s underground garage and/or Spaulding Avenue parking lot are full (or just to avoid paying for parking). The idea that a million new visitors to the Academy Museum will not create parking intrusions into the Miracle Mile defies common sense.

MMRA President James O’Sullivan submitted detailed written arguments against granting the approvals and zoning changes. He attended the hearing with MMRA Vice Presidents Alice Cassidy and Ken Hixon, who voiced their opposition to the project as proposed. Cassidy questioned the public benefit of a special events center intended principally to host private events.

Carthay Circle Homeowners Association and Beverly Wilshire Homes also had representatives at the hearing to express their opposition to the project.

[Top image courtesy of A.M.P.A.S.]

For additional information:

City of Los Angeles, Depart of City Planning: Academy of Motion Pictures, Arts, and Science Museum Notice of Public Hearing

Miracle Mile Residential Association: Position Statement Prepared by James O’Sullivan for Academy Museum Zoning Administrator Hearing, March 16, 2015

Transcript: Zoning Administrator Hearing on Academy Museum Project, March 16, 2015

Govan Eyes Residential Area of Miracle Mile for Future LACMA Expansion

~ Editor

 

“That’s the Only Way to Go…”

Govan Eyes Residential Area of Miracle Mile
For Future LACMA Expansion

Overlay of latest Zumthor design of LACMA. Map courtesy of Google.

The latest iteration of the Peter Zumthor design for a new Los Angeles County of Art was revealed last month. The original oil blob concept has been squared off and its roof has been perforated by rectangular protrusions to allow for taller galleries. The “horizontal skyscraper,” as L.A. Times architecture critic Christopher Hawthorne describes it, still bridges Wilshire Boulevard.

Its footprint south of the boulevard – on what is now LACMA’s Spaulding Avenue parking lot – appears to have swollen in size to accommodate its new function as one of only two entrances to the museum and as the location of a ground floor 300-seat theater. Thirty to forty feet above this will be a south facing open-air plaza overlooking the Wilshire Galleria condominiums located north of 8th Street between Spaulding and Stanley Avenues.

On March 25, 2015, Hawthorne hosted an event, “Debating the New LACMA,” as part of his Third Los Angeles Project at Occidental College. The symposium featured LACMA Director Michael Govan, making a pitch for the new museum, and a panel of experts examining the pros-and-cons of the proposed re-do – including architecture critic and Miracle Mile resident Greg Goldin, a frequent contributor to this newsletter.

At the gathering it was emphasized that Zumthor doesn’t design on paper as much as he does with models. His process, we were told, is notoriously slow and involves numerous interpretations. But it is clear that regardless of the final design, the new museum will span Wilshire and invade a densely populated part of the Miracle Mile.

Wilshire Boulevard has always more-or-less served as a moat to shield the nearby residential area from the full brunt of disturbances from museum traffic, events, and noise. By lurching south of the boulevard into the Miracle Mile the largest museum west of the Mississippi River will become the hulking next-door neighbor to thousands of residents. This intrusion is fraught with problems – it is the museum equivalent of “mansionization” and will overwhelm the entire neighborhood.

Zumthor’s original design encountered stiff resistance for encroaching on the La Brea Tar Pits. “We love the Tar Pits,” Govan quipped, “but they didn’t love us back.” It is obvious that he has now set his sights on the residential area of the Miracle Mile. At the Occidental College event Hawthorne raised a frequent criticism of Zumthor’s elevated single-story plan for the museum: that it will not easily allow for future expansion.

Here is a transcript of the conversation that ensued:

Govan: To the question of you’re building a form, which came up, which is not easily – you can’t easily add on to. In the land area the only place you can go is up and . . . going up is not that practical. So, what is the future of expansion? One idea would be, if you bridge Wilshire Boulevard, you actually do annex – a hundred years from now, not now, not in the lifetimes of people we know – you could expand a park for Los Angeles in areas, that has been done before, with relatively low density spaces and rental apartments and things. So, you could expand that direction, where you can’t go into the Tar Pits. So, it does provide our successors, by a hundred years…

Hawthorne: [interrupting] So, you’re talking about on Wilshire Boulevard?

Govan: Well, on or around. You have to get across the boulevard to do that easily. Because of the way the Tar Pits frame and you have buildings on the other side. So, that’s the only way to go.

Translation: LACMA has nowhere to grow but south, into the residential blocks below Wilshire. Like the Museum of Modern Art in New York and other museums with global ambitions, LAMCA would gobble up its neighbors.

Govan’s assurance that future expansion will not occur in this century is undercut by the fact that since opening in 1965 LACMA has been expanding (or trying to). By their very nature, major museums must grow or die – particularly in this age of monument building and star architecture. Govan knows this. By stubbornly adhering to the obvious limitations of an elevated single-story concept for a new museum, LACMA has no choice but to move into the Miracle Mile.

The welcome mat is not out.

Click on image to enlarge.

[Image of Zumthor model and bottom graphic courtesy LACMA.]

For additional information:

Los Angeles Times: Peter Zumthor’s Plan for LACMA Undergoes Makeover

Curbed Los Angeles: Peter Zumthor’s New LACMA Redesign is a Lot More Boring

YouTube:  “Debating a New LACMA” – Occidental College, March 25, 2015(actual event begins at the 1:40:00 mark)

MMRA Newsletter, November 2014: LACMA’s Billion Dollar Debt (and Michael Govan’s Very Good Day)

Miracle Mile Spotlight: Milk Jar Cookies

~ Editor

From the MMRA Newsletter, March 15, 2015:

Miracle Mile Spotlight:

Milk Jar Cookies

It’s not just the assortment of delicious cookies and the playful rustic touches of the décor that make you feel like you’re back home again in Indiana when you visit Milk Jar Cookies, it’s the personality of its ex-Hoosier proprietor, Courtney Cowan [photo below]. Courtney grew up in Indianapolis and she has the Midwestern knack for friendliness and hard work. She came to California pursuing a career in television post-production, but her real passion began long before she left Indiana. “I was always baking as a child. I read the recipe on the back of the bag for Toll House cookies and I made chocolate chip cookies all the time. It was just something I enjoyed doing. And then in my teens, I came up with my own cookie recipes and people really liked them. Then after college, and I started working, I’d bring my cookies into the office – and people would mistake them for bakery-made cookies. And I thought, maybe there’s something to this.”

Opening her own cookie shop became Courtney’s long-held “official dream,” as she describes it – one that became a reality in April 2013 when she opened Milk Jar Cookies. “It was a big leap of faith,” she explains. “I was nervous, but I have the mindset with any goal I have to just put my blinders on and go for it.”

Fortunately, Courtney had previous managerial experience she could utilize running her own business and handling employees. Her Midwestern values came into play, too. “I know I have people counting on me and I have a really amazing group working for us. I found good, solid, and intelligent people. It’s very family-like here.

Aside from the quality of our cookies, the customer experience is very important.” There is nothing corporate or cookie cutter (pun intended) about the shop. “Everything is homemade, from scratch, fresh every day, all day long. I also want the employees to really interact with the customers and not sound like robots.” The Miracle Mile was a natural place for Courtney to realize her dream. She and her television editor husband have lived in the neighborhood for four years. They found the shop’s location, stripped it bare, and – working very long days – built it from the floor up. “It was so much fun and so stressful at the same time,” she remarks. “But my husband believes in me and in my cookies. I couldn’t have done it without him.” The only real obstacle to operating a small business in the Miracle Mile is parking – or the lack thereof – says Courtney.

The construction of the Wilshire Bus Rapid Transit lane was maddening she explained because the contractors give little to no notice. “We would just show up in the morning and find the street torn up into pieces. It wasn’t very good on the City’s part, it was very disrespectful of the business owners along Wilshire. But, we handled it with creativity, advertising a back-alley pick-up option and brought customers’ cookies out to them.” Though she is excited about public transportation and the growth of the neighborhood, she worries that parking will become even more difficult once major subway construction begins.

The situation is worsened by the large infill apartment project under construction in the former parking lot behind the Desmond’s Building, with a similar project to begin soon behind the Dominguez-Wilshire Building. These projects have left employees and customers of these buildings scrambling for on-street parking spots. “My customers often do complain about parking,” Courtney says.

But the many advantages of being located in the Miracle Mile far outweigh the challenges she remarked, especially the relationships she’s developed with other independent business owners like Christine Johnson, owner of Miracle Mile Toys & Games, and Rebecca and Sandy Clark, owners of Rascal. “They’re such great people, I’ve really enjoyed getting to know them,” Courtney states. “Everyone looks out for each other.” Milk Jar Cookies has a thriving online ordering business, including their “Cookie of the Month Club,” which they launched a year ago. “Online shopping is clearly becoming one of the favorite ways for people to shop,” she says. “We’re very proud of the user-friendly nature of our website.” And the brick-and-mortar enterprise is doing well, too.

“Our business is growing, every month gets a little bit bigger and better. And the weekends are great; it’s like a party in here.” “That was part of why we wanted to be here in the Miracle Mile, to be part of a real neighborhood,” Courtney explains. “To be a go-to spot, and with that comes the desire to know our neighbors. Once we got a dog, we got to know a lot of people,” she laughs. “It was a drastic difference when we moved here. People are so much nicer in the Miracle Mile. There’s a real sense of community. We love it.” “I always pictured having a shop on Main Street when this was all still just a dream. And a week after we signed the lease here an article came out in the Los Angeles Times about how Wilshire Boulevard in the Miracle Mile is L.A.’s Main Street.” How’s that for a dream come true?

Click on image to view Milk Jar Cookies’ videos on Vimeo.

Milk Jar Cookies 5466 Wilshire Boulevard Los Angeles, California 90036 Phone: (323) 634-9800 Fax: (323) 634-9810 Email: hello@milkjarcookies.com Website: milkjarcookies.com Hours: Sun. 12pm–5pm Closed Monday Tues.– Thurs. 11am–8pm Fri.– Sat. 11am–11pm

The MMRA newsletter does not solicit or accept advertisements. Our support of local businesses is a matter of principle ­– for which we receive no financial compensation or consideration of any kind.

How to Dress for the Oscars • Commentary by Greg Goldin

~ Editor

From the MMRA Newsletter, March 15, 2014:

How to Dress for the Oscars
by Greg Goldin

One of the most pressing issues facing the Miracle Mile is the Academy’s plea to bend the City’s rules to permit its new museum to dress the exterior of the historic May Company building in a combination of digital signs, banners, and super-graphics. As spelled out in the Academy’s Final Environmental Impact Report (FEIR), the iconic Art Deco landmark will be transformed into a massive billboard, incessantly selling Hollywood from all four sides of its limestone façade, from the sidewalk to the roof.

The Academy, it seems, regards one of Los Angeles’s most beloved buildings as little more than a table rasa for hyping Hollywood. All told, the Academy has announced a total of 21,722 square‐feet of signs – and more to follow on the exterior of the theater it plans to build behind the May Company. Remarkably, even the building’s most famous feature, the gold-leaf “perfume bottle” at the corner of Wilshire and Fairfax, will be defaced, draped in a 63-foot tall Oscar statuette silhouette.

Normally, it would be impossible for the Academy to even contemplate this kind of signage. Landmarked buildings are designated landmarks for a reason: to ensure the continued existence of their architectural and artistic merits. The Academy is working quietly, behind the scenes, to convince the guardians of our cultural heritage – notably, the Los Angeles Conservancy – who thus far are not pleased with the museum’s proposed signage.

But the Academy has, it seems, gained one key ally: LACMA. Before it could even think about applying for the creation of a Sign District – the City’s official designation for L.A. Live-style super graphics and kinetic billboards – they needed a minimum of a 3-acre building site. Their lease with LACMA only provided 2.2-acres. According to the FEIR, LACMA came to the rescue, agreeing to “lend” the missing 0.8 acres “immediately north of the Project Site for a total area of 3 acres.”  No LACMA loan, no Sign District – leaving the May Company, which the Conservancy calls “the grandest example of Streamline Moderne remaining in Los Angeles,” close to its 1939 original.

Click on map to enlarge.

Boundaries of the “North Lawn” show park space eclipsed by the .8-acre parcel LACMA is lending the Academy Museum to meet the minimum required 3 acres for a Sign District.

Shortly before press time, the MMRA asked LACMA director Michael Govan a few questions about the art museum’s agreement to lend the Academy the additional land to qualify for the creation of a Sign District. As yet, Mr. Govan has not had the opportunity to reply – and we, of course, welcome his views.  Here’s what we’d like to know from LACMA:

  • Does LACMA have any concerns about the extensive signage that would wrap the historic May Company building? Have they expressed these concerns to the Academy and the City?
  • LACMA originally committed (at the time Ogden Drive between Wilshire and Sixth Street was vacated to make way for the Broad Contemporary Art Museum and the Resnick Pavilion) to keep the May Company building unaltered. How does the Sign District comply with this earlier pledge?
  • According to the FEIR, the Academy will use that additional .8 acres for even more, as yet undisclosed, signage.  Does LACMA approve of this use on its parkland adjacent to Levitated Mass and the Resnick?

What follows are three illustrations submitted by the Academy’s architect, Renzo Piano, depicting the signs that will festoon the May Company building if the Sign District is approved.

Click on illustration to enlarge.

As seen by a pedestrian or driver going west on Wilshire Boulevard, both corners of the May Company building will become massive signs, 38 feet high by 44 feet wide.


Click on illustration to enlarge.

Along Wilshire Boulevard, at ground level, the old display windows will be filled with digital signs, the pediment above the canopy transformed with a “branding” banner, the eastern corner subsumed beneath yet another huge piece of polychrome plastic, and the golden mosaic blanched with the outline of world’s best-known trophy (barely visible in this rendering but clearly visible in the next, below).

Click on illustration to enlarge.

The full effect of banners, digital displays, and the Oscar statuette, can be seen in this last rendering.  The Art Deco masterpiece is now ready for its close-up!

For additional information:

Academy Museum Final Environmental Impact Report: Academy Supplemental Sign Report

Academy Museum Final Environmental Impact Report: Sign District; Resnick North Lawn Easement

 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’s Billion Dollar Debt (and Michael Govan’s Very Good Day)” appeared in the November 2014 edition.

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

~ 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

~ 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

~ 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.

MMRA Submits Comments on Academy Museum DEIR

~ Editor

MMRA Submits Comments
on Academy Museum DEIR

 

The Miracle Mile Residential Association [MMRA] has submitted its comments on the Draft Environmental Impact Report [DEIR] for the proposed Academy Museum at the former May Company site. The nearly 7,000-page DEIR was released on August 28, 2014. The 45-day commentary period closed on October 14, 2014.

The DEIR highlights the scale of the Academy Museum project:

  • The creation of a “Sign District” allowing for the historic May Company building to serve as a background for super-graphics and digital signs.
  • Demolition of the 1946 northern addition of the May Company building to allow for the construction of the 1000-seat “Sphere” theater with a 10,000 square foot enclosed view deck. In total, the overall project will house three theaters with a combined seating capacity of 1,350 persons.
  • A ground level “Piazza” beneath the “Sphere” theatre providing access to the northern entrance to the Academy Museum. The “Piazza” would host outdoor events and screenings with up to 2,500 attendees.
  • Banquet and conference space with a capacity for 1,200 persons, including a “ Tearoom” rooftop terrace with a capacity of 800 persons that will also be utilized for outdoor film screenings.
  • A Museum Café with seating for 150 persons and a 5,000 square foot Museum Store.
  • A projection of 860,000 visitors per year with no new on-site parking.
  • Movies premieres, concerts, and other special events.

The DEIR is a very lengthy and complex legal and technical document that is difficult to concisely summarize. (For an in-depth view, follow the links below to see the MMRA’s comments to the DEIR and our independent traffic expert’s assessment.) The MMRA objections to the project center on traffic congestion, traffic and parking intrusions, infrastructure, public services, and the overall impact of locating a major special events center in a heavily congested and densely populated residential area.

Here’s the backstory.  In the mid-2000s the Academy of Motion Picture Arts and Sciences [AMPAS] began aggressively acquiring parcels in Hollywood as a future location for a museum. Working with the now defunct Los Angeles Community Redevelopment Agency, which wielded its power of eminent domain, AMPAS secured a full city block south of Sunset Boulevard on Vine Street. Including other parcels, as well as their holdings at the adjacent Pickford Center of Motion Picture Study, AMPAS assembled approximately 8 acres.

Then, with the stock market crash in 2008 and ensuing recession, AMPAS’s fundraising campaign for the Hollywood museum site derailed. They were left holding a large parcel that was suddenly worth much less than they had paid.

Three years later the dream of an Academy museum was revived. In 2011 AMPAS signed a long-term lease to take over the former May Company from Museum Associates, which operates the Los Angeles County Museum of Art [LACMA].

This preamble about AMPAS’s thwarted plan to locate a museum in Hollywood is relevant because it spotlights what is so obviously wrong with their plan to locate the Academy Museum in the Miracle Mile: They are trying to fit all of their grand plans for an 8-acre project in Hollywood into a mere 2.2 acres at the May Company site.  It is not an easy fit.

AMPAS has had to resort to slight-of-hand in the DEIR to create the illusion that an Academy Museum is compatible with the Miracle Mile – so that they can preserve their objective to be a major tourist attraction and special events center. But the only way they can do that is to minimize its true impact on the community.

A 2008 Traffic Study for the proposed Hollywood museum location projected 7,800 visitors per day. The DEIR for the May Company location projects only 5,000 – for a total of 860,000 visitors per year. Museum experts not connected to AMPAS predict that the project will easily draw at least 1 million visitors annually, if not match or exceed LACMA’s current annual attendance of 1.2 million visitors.

Why does AMPAS claim that the Miracle Mile location will attract 2,800 fewer visitors per day than the former location in Hollywood? Answer: To justify the lack of any new on-site parking. In Hollywood AMPAS was going to build a 5-story parking facility with 850 spaces; at the May Company site they propose none.

But even with this miraculous reduction in the number of visitors, AMPAS still needs to conjure hundreds of visitors arriving on foot, bicycle, or wandering over from LACMA, to cram down their numbers to meet city-mandated parking requirements.

The DEIR tortures visitor projections and parking discounts so that it will support its most important finding: That there is already adequate parking at LACMA’s underground Pritzker garage and Spaulding surface lot for the Academy Museum to share parking with LACMA.

This defies reality. The residents in areas adjacent to LACMA have endured the parking and traffic intrusions of LACMA visitors for decades. Everyone knows that LACMA doesn’t have enough parking. The “Full” sign is up almost every weekend at the Pritzker garage and Spaulding Lot. But according to the DEIR, LACMA has hundreds of existing parking spaces to spare.

In truth, the Academy Museum is as much a major special events center as it is a museum, with 87,000 square-feet devoted to theaters, events space, cafes, and a store and 84,000 square-feet for exhibitions areas, collections, and exhibit support.

As stated in the DEIR, the primary purpose and objective of the project is “…providing film screening and premieres in a state-of-the-art theater competitive with venues in size and amenities.”  Translation: The museum hopes to steal some of the audience, and wrestle some of the revenue, from such popular film premier venues as the Chinese Theater, the El Captain, and the Cinerama Dome. The list of additional events, besides film premieres, includes Academy member and public film screenings, traveling shows, concerts, performances, cultural programming, spoken word productions, classes, video and press events, and film festivals. Each of these will attract anywhere from 100 to 1,325 attendees.

These “special events” are intended to “Provide for revenue-generating events that support sustainable Museum operations….” Not surprisingly, AMPAS places no limit on the number of special events per year nor does the DEIR indicate the maximum number of special events that the project could potentially accommodate on an annual basis. That could top 300 per year – especially given their desire for revenue.

From the blare of rooftop movie screenings to the glare of digital signs that violate the Miracle Mile Community Design Overlay, to the onslaught of traffic and nightly events, the MMRA has concluded that the Academy Museum doesn’t fit the Miracle Mile. With all due respect, it should go back to where it came from: Hollywood. That’s where it was originally supposed to be. And that’s where tourists expect to find it.

For additional information:

Academy Museum Draft Environmental Impact Report

Miracle Mile Residential Association – Comments on the Academy Museum DEIR

Tom Brohard and Associates – MMRA Commissioned Traffic Focused Review of the Academy Museum DEIR

Coalition to Ban Billboard Blight – Comments on the Academy Museum DEIR

Carthay Circle Neighborhood Association – Comments on the Academy Museum DEIR

Los Angeles Times [Feb. 28, 2014]: Some Feel Cheated by Change in Film Academy’s Hollywood Museum Plans