Predatory Development: Crossroads Hollywood

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New development is necessary. In order for a city to grow, in order for its economy to stay healthy, it’s important to have new construction to bring investment to communities and adapt to the city’s changing needs. But new development isn’t always a good thing. New projects bring new impacts, and the larger the project the more important it is to consider carefully how it will affect the surrounding community. Most large projects are a mixed bag. Pro-business groups will inevitably argue that they bring tax revenue and jobs, and both of these are important. But large projects can also have serious negative impacts, and we need to weigh those, too. Often it’s a matter of trying to figure out if the good will outweigh the bad, and in many cases it’s hard to say for sure.

On the other hand, in some cases it’s pretty easy to make the call. Crossroads Hollywood is a clear example of predatory development. While the backers of the project tout its benefits in terms of tax revenue, jobs and economic activity, they completely ignore the downside. And the downside is considerable.

First, let’s take a look at what this whole thing entails.

Crossroads Hollywood includes about 1,381,000 square feet of floor area, consisting of 950 residential units (of which 105 are for Very Low Income Households), 308 hotel rooms, and approximately 190,000 square feet of commercial space. The project does include the preservation and rehabilitation of the historic Crossroads of the World mall and the Hollywood Reporter building. All other buildings on the project site would be demolished, including 84 Rent Stabilized apartments. The developers are also asking for a Master Conditional Use Permit to allow the sale of a full line of alcoholic beverages at a total of 22 establishments, and another Master CUP to allow eight uses with public dancing and live entertainment.

I’ve gotta say, it’s pretty ambitious. The investors behind Crossroads, Harridge Development Group, are thinking big. They’re also thinking only of themselves and the massive profits they’ll reap from this project. They don’t really give a damn about the community. If approved, Crossroads Hollywood will be devastating for the environment, devastating for housing, and devastating to the health and well-being of the Hollywood community.

Let’s take a look at the project’s environmental impacts….

These days any developer is going to tell you their project is good for the planet. They learned long ago they need to play that angle to sell it to the public. But Harridge’s claims about Crossroads being environmentally friendly are mostly just hype.

The State of California has designated Crossroads Hollywood an Environmental Leadership Development Project. (ELDP). In order to qualify, the developer has to show that it won’t result in any net additional emissions of greenhouse gases (GHGs). But a project on the scale of Crossroads represents a huge increase in square footage, so it’s to be expected that there will be a huge increase in energy use. The report by the California Air Resources Board (ARB) estimates the Crossroads project will produce 9,440 MTCO2e (Metric Tons of Carbon Dioxide Equivalent) during demolition and construction, and then 14,294 MTCO2e during the first year of operation, though they say that number will decline each year over the life of the project. This is a huge increase in emissions. So how can the State say it achieves a net reduction?

Simple. The developer buys carbon credits. Like many other states, California has an exchange where businesses that aren’t producing their maximum allowed CO2 emissions can sell what they don’t produce as “credits”. Other businesses that want to offset their own emissions can buy the credits to satisfy regulators. So while Crossroads Hollywood will be putting tens of thousands of tons of additional GHGs into the atmosphere, the State says that buying credits actually makes the project carbon neutral. There are people who have reservations about the carbon credit system, but it’s become widely accepted as a tool for reducing global warming, so let’s go along with the idea that this does represent a net reduction in CO2 emissions.

The problem is that this project isn’t just producing massive amounts of CO2. It’s also spewing out tons of ozone, nitrogen dioxide, and particulate matter. This is bad news for the people who live in the area. The South Coast Air Quality Management District (SCAQMD) has evaluated cancer risk from air pollution in its Multiple Air Toxics Exposure Study IV (MATES IV). You can see by the map below that Hollywood is near the top of the scale.

Crossroads Air Quality MATES IV from EIR

But it gets worse. After going through pages of boiler plate language about localized significance thresholds and standard methodologies, the Crossroads Environmental Impact Report (EIR) gets around to analyzing impacts during the construction phase of the project. After listing nearby sensitive uses, including Selma Elementary School/Larchmont Charter School (same campus), Hollywood High, and Blessed Sacrament School, and acknowledging that young people are at higher risk of chronic lung disease from air pollution, the EIR claims, “…, localized construction emissions resulting from the Project would result in a less-than-significant air quality impact.”

Give me a break. Four years of construction, including demolition and excavation, thousands of diesel truck trips and extensive use of heavy machinery will have “less-than-significant” impacts on the kids at these schools? And it’s also important to point out there have been projects under construction on Selma for years now, many of them within three blocks of Selma Elementary. These kids have been inhaling construction dust and diesel fumes since 2015, and the folks behind Crossroads want to keep that going til 2021. But don’t worry. It won’t harm the students a bit.

So let’s talk about transportation. I will give the authors of the EIR credit. Usually traffic assessments for projects like these are ridiculously dishonest. In this case, the EIR acknowledges that traffic is already bad in the area, and that the project will make it worse. Here are a few shots of what it looks like at rush hour.

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Northbound traffic on Highland, the western boundary of the project.

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Traffic heading west on Selma toward Highland.

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Traffic heading north on Las Palmas toward Selma.

The EIR does analyze existing weekday rush hour conditions as required by the California Environmental Quality Act (CEQA). The problem here is, Hollywood is a special case. In addition to really awful congestion at rush hour, you can also have heavy traffic at night and on weekends because of the constant parade of concerts, movie premieres, food fairs and other miscellaneous events. There are multiple happenings in Hollywood every month, many of them involving street closures. And don’t even ask what it’s like during the Hollywood Bowl season.

I wouldn’t expect the authors of the EIR to include all this, because they’re not required to. But they should at least talk about additional traffic generated by the eight live entertainment venues that are included in the project. Crossroads Hollywood isn’t just meant to be a place where people live and work. It’s intended to be a destination. While I’m sure some of the spaces offering entertainment will be fairly small, it seems likely that at least one of them will be a dance club offering live DJs. And I wouldn’t be surprised if popular singers and bands start showing up on a regular basis. Which means that a community already overwhelmed with events that draw tons of cars and disrupt transit will have to bear an even heavier load once Crossroads is up and running.

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Apartment building to be demolished if the project is approved.

And what about the impacts that eight places featuring live entertainment will have on the LAPD’s workload? Not to mention the 22 establishments selling alcohol. Incredibly, the EIR doesn’t even discuss these things in the section dealing with police protection. They conclude again that project impacts will be “less-than-significant”. Obviously the authors of the EIR haven’t seen the research indicating that high alcohol outlet density has been linked to higher rates of violent crime.  Back in 2014, LAPD Chief Charlie Beck wrote to the Department of City Planning (DCP) pointing out that the “oversaturation” of alcohol outlets in Hollywood was contributing to increased crime, including robbery, shootings, rape, and assault. The DCP obviously paid no attention, because they’ve gone on granting liquor permits, and violent crime in Hollywood has risen every year since then. LAPD stats for Hollywood as of April 21 show violent crime has gone up 28.9% over the same period last year. The LAPD is understaffed, and doing their best to cope with a difficult situation. Too bad the DCP has no interest in helping them out. Apparently the folks at City Planning have no concern for the safety of Hollywood residents, or for the people who visit the area. And it looks like Harridge shares their total indifference.

This same indifference extends to the project’s noise impacts. Remember, the developer is asking permits for live entertainment in 8 venues. It seems like at least some of these will be outdoors. Check out this table from the EIR that lists the spaces where they plan to have amplified sound.

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It’s hard to say how much overlap there will be, since they don’t distinguish between those spaces intended for live performances and and those that will just have recorded sounds. But it’s pretty clear that there’s going to be a lot of music, and a lot of it will be outdoors. The EIR acknowledges that there could be significant impacts from noise, but don’t worry, they have a plan to take care of that. What’s their plan? They’re going to build a 12-foot wall on the project’s eastern boundary, between Crossroads of the World and Blessed Sacrament Church. And according to the EIR, that fixes everything.

This is so ludicrous it’s hard to believe they expect people to buy it. A single 12-foot wall is going to addres any concerns about noise. Live outdoor performances have been a problem for years in Hollywood. Area residents can tolerate a lot, and nobody gets bent out of shape if someone puts on a show during the day. But in recent years more and more club owners have been pushing the limits at night. There have been a lot of complaints about DJs ripping it up on rooftop bars in the small hours. The EIR’s claim that amplified music will only be heard in the immediate vicinity is bull. People who live in the hills have told me they can hear late night noise from down on the boulevard, and they’re not happy about it.

But Crossroads Hollywood wasn’t meant to benefit the community. It was meant to benefit the investors who are hoping to reap huge profits. This project will put more cars on the road and more poison in the air. It will create more crime than the LAPD can handle and more headaches for residents trying to get a good night’s sleep. And what do we get in return? Yeah, there’s the tax revenue, but the City is already seeing record revenues and still can’t balance its budget. More housing? Yeah, the vast majority of it priced way beyond the reach of most people who live in Hollywood. When we put the 105 Very Low Income units gained against the 84 Rent Stabilized units lost, we see a net increase of 21 units that will be accessible to the low income families that really need housing. The gain of 21 units will quickly be erased by the project’s gentrifying impact. If Crossroads is built, you can expect to see a lot of other investors buying up apartments and kicking people out. And will the project create jobs? Sure, mostly low-paying jobs in bars, restaurants, and hotels. Most of the people who will work there could never afford to live there.

This is predatory development. A project designed by investors for investors. The reason the EIR doesn’t see any serious problems for the community is because the needs of the community were never considered in any meaningful way.

It’s just about money.

Next week the City will be holding a hearing on Crossroads Hollywood. If you want to show up and speak your mind, here’s the info.

Tuesday, May 15, 2018, 9:00 am

Los Angeles City Hall
200 North Spring St., Room 350

ENTER ON MAIN STREET.

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Crossroads of the World

 

Mama Shelter, DJs and the DCP

 

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Side view of Mama Shelter

[This post has been updated.  The first version implied that the DCP had deliberately failed to send me a notice for the Mama Shelter hearing.  But I was cleaning out my inbox recently, and found the e-mail, unopened.  I must have let it slip past.  So my fault, not theirs.]

Last week I went to a hearing down at City Hall. The agenda item I was concerned about was a request by a Hollywood hotel, Mama Shelter, to allow live entertainment, including DJs, on their rooftop until 2:00 am.

Let me explain why I was worried. I like to have a drink and listen to live music as much as anyone, but the Hollywood party scene has grown to the point where it’s really causing problems for the community. I don’t live close enough to the boulevard to be bothered by the noise, but over the years I’ve heard many people complain that sometimes it gets so bad they can’t sleep. There are a number of apartment buildings close to Mama Shelter, and senior housing just a couple blocks away. The other problem is that as the party scene grows, the crowds are getting increasingly rowdy. Violent crime in Hollywood has been rising for years, and the LAPD doesn’t have enough staff to keep up. Check out this recent report and you’ll see that, except for homicide, violent crime has risen in every category over the past two years.

LAPD Hollywood Area Profile, November 2017

So I had some definite concerns about Mama Shelter’s request, and on the day of the hearing I was going to let everybody in the room know I was not happy. But instead I got a nice surprise. The first person to speak was the rep for the hotel. He said they knew the community was concerned about the noise, and for the time being they were withdrawing their request for live music on the roof. He didn’t say it was completely off the table, but the hotel will try to work with the LAPD to find a compromise. I was impressed. Who knows what the eventual outcome will be, but at least these people are listening. I do hope a compromise can be reached. I should also mention that LAPD vice officers spoke at the hearing, and they gave the hotel high marks for adhering to the law. Hollywood has had numerous problems with bad operators, so it was encouraging to hear their praise for Mama Shelter.

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The problem for Mama Shelter is that they’re dealing with increased competition from new hotels that are springing up all around it. City Hall has decided they want to turn Central Hollywood into party central, and the Department of City Planning (DCP) is approving pretty much every crazy request they get from developers. Almost every hotel project that’s been pitched for the area in recent years includes a rooftop bar/lounge. Hollywood has been a mix of residential and commercial for over a hundred years, and it’s always been a balancing act. But in recent years the City has shown increasing contempt for the people who live in the area. There are already well over 60 places you can get a drink in Central Hollywood, and the DCP keeps approving more liquor permits, showing little concern for alcohol-related harms. And they don’t seem to care about people getting a good night’s sleep either, as they continue to approve requests to offer live entertainment. Do they have any idea how much extra work they’re creating for the LAPD? I have no problem with people coming to Hollywood to have a few drinks and hear some music, but more and more it seems to be drawing party animals who just want to get wasted and cut loose. Not good for the community.

Actually, I have a few problems with the DCP. Not only have they shown a growing disregard for rational planning practices, but the agency is becoming increasingly opaque and dishonest.  The experience with the hearing for Mama Shelter is a classic example.  When a friend forwarded the hearing notice, I saw that to review the impacts of allowing music on the rooftop they’d done an addendum to Mama Shelter’s original environmental assessment. (Put simply, they’re using the hotel’s original environmental assessment and adding a new section to talk about what impact live music might have on the community.) I was thinking I’d like to take a look at the addendum, but I couldn’t find it on the net. So on Monday, November 6, I send an e-mail to the zoning administrator (ZA) asking if he can forward it. A couple days go by. No response. On Wednesday I send another e-mail. This time he writes back to say….

“In reviewing the case file, as the size and overall mode of operation will not change, a categorical exemption in lieu of the reconsideration will be prepared for the project.”

There are a couple of big problems here. In the first place, the ZA is saying that even though Mama Shelter is asking to allow live music on the rooftop until 2:00 am, the “overall mode of operation will not change”. What?! The DCP’s original determination for Mama Shelter specifically prohibited live music. Now the ZA is saying that having DJs on the roof doesn’t represent a change in the way they operate? This is ridiculous, and to my mind it shows how the DCP is willing to completely ignore reality in order to serve the interests of property owners.

But the second problem is even more serious. The hearing notice said this change of use was being assessed by an addendum to the environmental assessment. Now, less than a week before the hearing, the ZA tells me that it’s being handled with a Categorical Exemption (CE), which means that the DCP sees no significant impacts at all. Forget about that fact that they’re pretending live music on the rooftop won’t impact the neighborhood. Now the ZA is changing the content to be considered less than a week before the hearing. And what’s even more bizarre, no revised agenda was ever posted. I checked the DCP web site the day before the hearing. It still said the addendum would be discussed.

I brought all this up at the hearing, and the gentleman who presided said he would discuss it with the ZA. Since Mama Shelter had withdrawn their request for live music it didn’t seem important to take it further. But this isn’t an isolated incident. This may seem like a relatively minor case, but I’ve been following development issues for years now, and more and more the DCP has been resorting to shady maneuvers like this to slide things through.

You want some examples?

Let’s talk about the North Westlake Design District (NWDD). The DCP wants to create a zoning overlay for the area roughly bounded by Temple/Beverly, Glendale, Third, and Hoover. The 2014 draft proposal says it will “guide new development that will complement the existing character of the neighborhood, create a pedestrian friendly environment, and provide neighborhood-serving amenities.” Translation: This community is next on City Hall’s gentrification hit list. Why do I think this? The first thing on the list of permitted uses: art galleries. The list also includes bakeries, bars, restaurants and cafés. And what are the prohibited uses? This list includes pretty much any business related to cars, including sales, storage, upholstery and repair. This list also prohibits bowling alleys, public storage facilities, and recycling sites. The latest version of the NWDD has dropped this list of approved and prohibited uses, but the intent is still clear. Many of this low-income community’s existing businesses would gradually be phased out to create another upscale enclave populated mostly by white people. And who proposed this new zoning overlay? Did it come from the community? Or course not. The draft proposal says up front, “The zoning ordinance is initiated by the City of Los Angeles.” Why isn’t the DCP instead initiating an update of the Community Plan, starting with public meetings to get input from residents? Because that would thwart City Hall’s plans to turn the area over to developers for yet another round of gentrification and displacement.

Or how about this item. Earlier this year the City Planning Commission (CPC) approved the tommie, a hotel slated for a vacant parcel on Selma near Wilcox in Hollywood. This 8-story building will have bar/lounges on the ground floor and rooftop deck and will offer live entertainment. This will be a party hotel, and the developer reps at the CPC hearing said they hoped to draw the crowd from the Cahuenga club scene. I mentioned earlier that I was concerned about the DCP’s willingness to dump projects like this on an area that’s already dealing with rising violent crime over the past few years. But to really understand how little the DCP cares about the community, you should take a look at the environmental assessment. In the section entitled Surrounding Uses, it fails to mention that Selma Elementary School is less than 500 feet away. (ENV-2016-4313-MND, See page II-5) What’s worse, even though the members of the CPC were informed during public testimony that the school was there, they never mentioned it once during their deliberations. They didn’t question the assessment’s conclusion that construction of the hotel would not make a significant difference in the quality of the air these kids were breathing. Apparently diesel exhaust and particulate emissions from trucks and heavy equipment during the 23 months of construction would not impact their health. It also seems that noise from the construction site would have no impact on classroom instruction. Unbelievable.

This last example is hot off the presses. Just this month the LA Weekly reported that a high-rise apartment building in Downtown has been transformed into a hotel. During the DCP’s approval process, Onni Group’s Level Furnished Living (LFL) was described as a residential project. The City argued that the building would provide new dwelling units at a time when housing supply is tight. But when the Weekly asked Onni about the change of use, a representative responded that the DCP was in the process of finalizing a permit that would allow transient occupancy at LFL. In other words, it seems that the city agency that approved the construction of the project claiming that it would supply badly needed housing, has now decided that housing isn’t so important after all, and is willing to turn these units into hotel rooms.

Sure, the DCP’s bizarre switch in advance of the Mama Shelter hearing is a minor problem. But it’s just one more example of this agency’s dishonest and deceptive practices. When the ZA wrote to say they were going with a CE, I wrote back saying I still wanted to see a copy of the addendum. That makes three times I requested a copy. I never got it. Based on the ZA’s sudden shift to a CE, I have a feeling the addendum was never prepared. My guess is that it was just language inserted into a notice to make it look like the DCP was following the rules.

It’s clear they’re not.

MS Roof

 

Turning Housing into Hotel Rooms

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The Metropolitan on Sunset

If you needed any more proof that City Hall has no real interest in solving our housing crisis, you should have come to the September 12 hearing held by the Central Area Planning Commission. On the agenda was an appeal of a decision by the Department of City Planning (DCP) to approve a Conditional Use Permit (CUP) for transient occupancy at the Metropolitan Lofts on Sunset near Van Ness. There’s a long, complicated story behind this, but basically the owners want to be able to turn apartment units into hotel rooms. Susan Hunter, of the LA Tenants Union (LATU), filed an appeal to try and overturn the CUP. But the Commissioners sided with the owners, and gave them the go ahead to allow transient occupancy at the Metropolitan.

The September 12 session was actually continued from the August 8 hearing when the appeal was first heard. Taken together, these two hearings were a mind-numbing demonstration of the DCP’s arrogance and callousness. It has never been clearer that the DCP’s culture is geared toward serving private interests rather than the general public. Most of the Commissioners, along with DCP staff, bent over backwards to make allowances for the owners of the Metropolitan, while throwing the building’s tenants, and renters in general, under the bus.

The story of the Metropolitan is long and complicated, but to give you some background, here’s a brief recap….

The building originally started as a hotel back in the 80s. It ended up getting a reputation as a place to party, and by the 90s it was getting a lot of attention from the LAPD. After a while the owners decided they’d be better off turning it into an apartment building, and the DCP signed off on that in 2006. In their determination letter, the City Planning Commission said the conversion of the Metropolitan’s 52 units was consistent with both the General Plan and the Community Plan, and stated that the change would, “provide increased opportunities for residential living in Hollywood where it is appropriate and needed.”

Fast forward about 10 years. Hollywood has always been a hot spot for tourism, and with the advent of Short-Term Rentals (STRs), property owners can make a bundle posting units on AirBnB or any of the other popular sites that offer “home sharing”. This is especially attractive to landlords, who realize they can make a lot more money by getting rid of tenants and opening the door to tourists. The folks who own the Metropolitan were thinking they could cash in by turning the building back into a hotel, but they came up with a very creative way to do it. They didn’t just ask the City to turn the place back into a hotel, they requested a zoning overlay to make it into a Transit Occupancy Residential Structure (TORS), while maintaining the residential use. This way the owners could use the units as either apartments or hotel rooms, depending on how they feel on any given day.

Do you see a problem here? The small group of tenants who were still left at the Metropolitan sure did. You see, the owners decided they weren’t going to wait for the City’s approval. They actually allowed a company that specializes in STRs, Senstay, to start offering some units to travellers. The tenants started to see all kinds of strangers wandering up and down the halls with their luggage trailing behind. They found themselves letting in guests who didn’t have a key because there was no front desk to help visitors. They sometimes had to wait to use the laundry rooms because housekeeping staff was there ahead of them. And they started to worry about break-ins because things were getting stolen. These problems were piled on top of the problems they already had to deal with, like lighting that didn’t work, long periods when the AC was down, and elevators that were frequently out of service. And to make things even worse, they were required to pay fees for utilities, trash, and sewage through an on-line service which often added late charges for bills paid on time, in addition to a “convenience fee”.

It’s pretty clear that the Metropolitan owners don’t care about their tenants, and would like to get rid of them. Jerry Neuman, the owners’ representative at the hearing, claimed that they treated their tenants well, and that they didn’t intend evict anybody. That doesn’t jibe with the facts. All the residents I spoke to at the Metropolitan confirmed the problems listed above. And while the owners claim they’re not removing housing to make way for hotel rooms, they had allowed the number of tenants to dwindle to 15, and offered those who still remained money to leave. This sounds to me like they’re planning on turning the Metropolitan back into a hotel.

Which brings us back to Senstay. To give Commission President Jennifer Chung-Kim credit, she confronted Neuman with evidence supplied by appellant Hunter that the Metropolitan owners had been renting rooms to tourists for a while. Neuman’s response was one of the few amusing moments in an otherwise grimly depressing ordeal….

“As I understood it, that was a corporate lease. That was not…. I don’t…. and we…. our understanding…. and we have not rented our facility for temporary occupancy.”

But let’s take a look at the way Senstay presents itself on its own web site….

“Building upon Airbnb’s monetization and subsequent creation of a new asset class, we are passionate about bringing our own meld of ‘the sharing economy’ and traditional real estate investing to our clients.”

Senstay exists to facilitate STRs. That’s the business it’s in. When Commissioner Chung-Kim handed him the document, Neuman finally realized his clients were busted, and he decided not to say any more on the subject. There’s some ambiguity about whether the LA Municipal Code allows individuals to rent their homes as STRs, but it is illegal for landlords to turn multiple apartment units into STRs. So did the Commission follow up on this? Did they turn to the representative of the City Attorney’s office, who was sitting right there with them, and ask for an investigation? Did they recommend that the Housing & Community Investment Department take action against the owners for illegally offering apartments as STRs? Nope. They did nothing. They let the Metropolitan owners off the hook without any consequences whatsoever. The Commission just let it slide.

With the exception of Vice President Daphne Brogdon, it seemed like the Commission was ready to give the Metropolitan owners pretty much whatever they wanted. At the August 8 hearing, Brogdon repeatedly questioned the wisdom of allowing 52 apartments to be turned into hotel rooms in the middle of a housing crisis. She pointed out that allowing this dual use could be a precedent, leading to other landlords making the same request.

Neuman’s response? “As much as you may say that Hollywood…, that we have a housing crisis, we have an equal amount of crisis in the number of temporary occupancy units available in Hollywood.” It’s true that tourism is booming, and there is a demand for more hotel rooms throughout the city. But there are 25 hotels within a 1 mile radius of the site, and in Hollywood there are 13 more either under construction or currently making their way through the approval process. On top of all this, AirBnB alone offers hundreds of listings in the Hollywood area, without even counting those offered by platforms like VRBO, Oasis Collections, Housestay, and One Fine Stay. Oh, and let’s not forget Senstay. Honestly, I haven’t heard any stories about tourists sleeping on the street because they couldn’t find a hotel room.

But there are thousands of homeless people sleeping on LA’s streets, and Ellis Act evictions continue to climb, with over 1,000 rent-stabilized units being taken off the market annually. It’s amazing that in Neuman’s eyes the lack of hotel rooms for tourists represents a crisis equal to the lack of housing for residents.

So it was great to have Brogdon at the August 8 hearing to ask tough questions about adding the transit occupancy use. Unfortunately, that was her last day on the Commission. When the hearing continued on September 12, her seat was vacant, and no one was left to speak up for the tenants.

And speaking of the tenants, where were they during all this? None of the tenants that Hunter was representing made it to the August 8 hearing. It’s not always easy for people who work to make it to City Hall at 4:30 pm on a work day. But 4 of them showed up for the continuation in September. They came down because they wanted to speak about the habitability issues they’d experienced at the Metropolitan, and about the difficulty of living in a building that had already been partly converted to a hotel, and about their fears that the owners were planning on getting rid of them.

But they never got the chance to speak. Commission President Chung-Kim decided that since they’d already heard public comment on August 8, there was no need to hear any more. She had mentioned earlier that it was difficult to reopen public comment once it had been closed. Somehow, though, she had no problem doing exactly that back in August when she wanted to hear from the owners’ rep. Toward the close of that session, Chung-Kim wanted to get Neuman’s input on a possible compromise, and it seemed pretty simple to reopen public testimony. But in September somehow that wasn’t possible. This is actually something I’ve often seen at hearings held by the DCP’s various Commissions. They always seem more than willing to let the developers and their reps babble on endlessly, but public comment is usually strictly controlled. At the August hearing and the September continuation, Jerry Neuman had ample opportunity to talk about why his clients needed the CUP, and I’d be willing to bet he spoke more than any other individual in the room. But the tenants Hunter was representing, the people most affected by the change of use, weren’t allowed to say a single word.

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A shot of the September hearing.

I’ve been to a number of Commission hearings over the years, and I do feel like there’s definitely a bias in favor of owners and developers. But maybe it’s just me. Maybe I’ve got a chip on my shoulder. Or maybe, since the Commissioners are appointed by the Mayor, they all just share his enthusiasm for aggressive gentrification and rampant displacement. But there could be other reasons, too. It’s interesting that the owners’ rep at this hearing was Jerry Neuman of Liner LLP. In case you haven’t heard of Liner, they’re one of LA’s top lobbying firms. In fact, in the Ethics Commission’s 2nd quarter lobbying report for 2017, Liner ranked number one in terms of payments received, racking up $2,310,565. Pretty impressive. And one of Liner’s top clients is Harridge Development Group. If you take another look at the Ethics report, under the section for clients, you’ll find that Harridge is number 10 in terms of payments reported, having shelled out $118,765. But that’s actually kind of misleading. If you really want to know what kind of money Harridge is throwing around, you should take a look at the number 2 spot on the list. This is where you’ll find Crossroads Associates LLC, which is behind Crossroads Hollywood, a massive complex planned for Sunset and Highland, and even though the name is different, this is also a Harridge project. For this project the client has paid out $393,837, and the recipients were the swell folks at Liner LLP.

So what does all this have to do with the Metropolitan? If you look at the applicant for the Metropolitan’s request to the DCP, you’ll see Brad Woomer, 5825 West Sunset Boulevard, LLC. The company is just another anonymous LLC, but it turns out Woomer is the Chief Financial Officer for Harridge. So the people behind the request for transient occupancy at the Metropolitan just happen to be the same people who figure so prominently on the Ethics Commission’s lobbying report. And the firm handling the request is none other than Liner LLP, which ranked number one in terms of payments recieved in the same report. Liner is definitely well connected. Among the agencies they’ve lobbied for the Crossroads project are the City Attorney, the City Council, Building & Safety, and of course, the Department of City Planning.

But maybe this has nothing to do with how the Metropolitan hearing went. Maybe I’m just a crazy conspiracy freak with nothing better to do than pore over Ethics Commission reports and show up at grindingly dull Commission hearings. (Seriously, I think I need to get a life.) Whatever the reason, the Commissioners voted to deny the appeal and grant the CUP. The Metropolitan owners can now legally turn residential units into hotel rooms. And since this does seem to be a precedent, it opens the doors for other landlords to do exactly the same thing.

Still, the Commission had to make it look like they were taking care of the tenants. So between the August and September hearings, Neuman met with DCP staff to work out a set of conditions that were supposedly going to make everything okay. The conditions included granting the remaining tenants a 4 month extension on their lease, and the option to move to a part of the building where they would be consolidated, the idea being that this would resolve conflicts with short-term guests. The Commission acted as though they were doing everything they could to protect the tenants, but it’s really all a game, because the City rarely enforces any of these conditions. Even when violations are brought to the City’s attention, enforcement is generally so lax as to be meaningless. Agreements like these are put in place to make it look like the DCP is doing its job. Once the hearing is over, it’s just a lot of language to be stuck in a file and forgotten.

So that was it. The Commissioners denied the appeal. The Metropolitan owners got their CUP. And after it was over the tenants stood outside the hearing room, realizing that the City had thrown them under the bus. For me it was one more maddening demonstration of the City’s staggering disregard for the rights of LA’s renters. I can’t imagine how the tenants felt. The DCP seemed to be saying to them, “We just don’t give a damn about you.”

The appellant, Susan Hunter, who’s a friend of mine, was frustrated, but has refused to give up. She’s been working on trying to find legal representation for the tenants so they can get relief from the courts. This isn’t her first fight, and it won’t be her last. I have to give credit to Susan for her tenacity, and to all the others in this town who keep pushing for some kind of justice. It’s got to be tough to keep going when the deck is clearly stacked against you.

P.S.
In the post above I mentioned Jerry Neuman’s claim that the owners had no intention of evicting anybody, and that they just wanted the option to post vacant units for transient occupancy. Well, since the hearing I’ve been told by Susan Hunter that the tenants she does not represent have been told to vacate the premises. They’re supposed to be out by Christmas.

Met Side

 

Moral Mondays in Hollywood

MM 01 Eld Ext Shoot 2

Does it seem to you like this country is coming apart at the seams? There’ so much turmoil right now, just looking at the news can be a frightening experience. So it was really reassuring to sit in on a Moral Mondays meeting last week. About a dozen people gathered at a coffee house in Hollywood to talk about how to deal with healthcare, homelessness, and environmental issues. There was no tension, no anger. Just people sitting around a table talking about solutions.

Moral Mondays began a few years ago in North Carolina. It was originally a movement led by religious progressives who were alarmed at actions taken by the legislature in that state. Since then Moral Mondays has evolved into an ongoing effort to press for social justice, with the movement spreading to Georgia, Illinois, New Mexico, and now California.

The group usually meets on Mondays at Elderberries on Sunset, an old school coffee house stuffed with books and art. The meeting was moderated by Kait Ziegler, who led the discussion and recorded everyone’s ideas on a sheet of paper propped up on the piano. The question for the evening was, How do you reach out to align groups with different interests? In other words, How do you bring people together? There are hundreds of groups out there campaigning for all sorts of things, from affordable housing to healthcare, from voting rights to the environment. And of course, we all feel the issue we’re engaged in is the most important. So how do we step outside of ourselves to see the bigger picture?

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Elderberries is filled with all kinds of art…

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…and hundreds of books.

Everybody in the room agreed that empathy was the key. Kait suggested one way to practice that was to, “Imagine yourself as your neighbor.” That’s not easy. Most of us are pretty wrapped up in our own lives, often because it takes so much energy just to keep our own head above water. And everybody agreed that extending empathy to others can be difficult. There are so many people in need, and we all have to maintain some boundaries. But we still need to make the effort. Sometimes just letting people know that you’re listening can be powerful.

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Setting up for the meeting.

None of us came up with any brilliant solutions that night, but for me it was encouraging just to sit with a group of people who want to find solutions. Rather than letting the world get them down, or running from the chaos, these people are trying to make the world a better place. I was really struck when somebody said, “One of the biggest problems is that people feel helpless. We’re trained to think we’re helpless.” Is this true? Maybe. How many times have I heard people say they don’t watch the news because it’s depressing? How many times have I heard people say there’s no point in voting because it doesn’t matter who gets elected?

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Kait moderated the discussion and wrote down everybody’s ideas.

We’re not helpless. We can make things better. One of the other attendees said, “If everyone in this town took one small action, change would happen.” This is true. History has proved it, over an over again. Change won’t be easy. It won’t happen overnight. But it can happen.

MM 50 Laptop

The Hollywood Rip-Off

DH SM 01 Tao Dream 2

The other day I picked up a copy of the LA Weekly and came across Besha Rodell’s review for Tao in Hollywood. Clueless loser that I am, I’d never heard of this popular mini-chain before, and had no idea it had been a huge success in New York and Las Vegas. Tao’s latest location is tucked into the just-opened Dream Hotel in Hollywood, and it seems to be doing big business. But Rodell wasn’t impressed. At all. You can read his review here.

Worse Than We Imagined from LA Weekly

Reading Rodell’s description of the decor’s garish excess and ridiculously inflated prices, I felt like his review could apply to a lot of what’s happening in Hollywood these days. The Dream Hotel and Tao just seem like the latest in City Hall’s efforts to wreck the community.

DH SM 10 Tao

Tao on Selma in Hollywood

Does that sound extreme? And does it sound strange to be railing against garish excess in Hollywood? Hasn’t that been Hollywood’s game all along? Certainly if you look at the movie industry’s output, from the lurid spectacles of the 20s to this summer’s CGI-fueled action flicks, you’ll find plenty of outrageous, vacuous entertainment. You could also point to the sumptuous nightclubs and decadent nightlife that flourished during the studio era, when gossip columns were filled with the shameless antics of movie stars.

But the studio era ended decades ago, and over the years the place called Hollywood has grown into something very different. For a long time now it’s been a low to middle-income community with a fairly dense mix of residential and commercial. The movie stars are long gone, but there are lots of hardworking people here, people who run small shops and family-owned restaurants. Would-be actors and actresses who knock themselves out waiting tables while trying to get auditions. Kids who walk to school on streets where they have to learn early to look out for themselves.

And these people are struggling harder than ever because the City seems to be doing everything it can to push them out of Hollywood. What these people need more than anything is housing they can afford, and instead the City keeps approving high-end mutli-family projects that most Hollywood residents could never hope to move into. Yes, some affordable units have been created in recent years, but the wave of evictions continues, and we’re still losing scores of rent-stabilized apartments.

And with all this going on, the City decides we need over a dozen new high-end hotels? With multiple bars? Rooftop decks? Live entertainment? In some cases right up against apartment buildings? Really?

The City has long said that one of the key components to its plan to revitalize Hollywood is to boost the night life, but how’s that working out? I like a drink as well as the next guy, but last time I counted there were 67 places that serve alcohol in Central Hollywood. It’s not hard to get a drink here. And still the City continues to approve new liquor permits, even though violent crime and property crimes have been rising steadily in the area since 2014. Are you wondering if there’s a connection? Actually there are years of research that show a strong connection between alcohol and crime. Check out this report from the Department of Justice if you’re skeptical.

Alcohol and Violent Crime

And then there’s the traffic. Every time the City approves one of these projects, planners insist it won’t have any significant impact on congestion because Hollywood is a transit hub. The hotel guests and the partiers won’t need to drive because they can ride the bus instead. Well, take a look at these photos I snapped in front of the Dream Hotel around seven o’clock on Saturday night.

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Cars lining up in front of the hotel.

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The line of cars continues west on Selma.

And now let’s take a look at traffic a half a block away on Cahuenga.

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A shot of traffic on Cahuenga, facing Hollywood.

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A shot of traffic on Cahuenga, facing Sunset.

Remember, this is not a weekday at rush hour. This is early evening on a Saturday. Somehow I don’t find the City’s claims about people taking transit to be completely credible.

It used to be the club scene in Hollywood was mostly concentrated on Cahuenga. But the City wants to change that. Selma used to be a fairly quiet street running through a largely residential neighborhood between Vine and Highland. There’s a senior center about a block and a half away from the Dream Hotel. And there’s an elementary school about two blocks away in the other direction. But the City doesn’t seem too concerned about the elderly or the children living in the neighborhood. Our elected officials are going to turn Selma into a party corridor. A few years back Mama Shelter opened up, now the Dream, and the City Planning Commission (CPC) recently approved the tommie, an eight-story hotel featuring 2 bars, a rooftop deck, and live entertainment. It didn’t bother the CPC at all that Selma Elementary is less than 500 feet away from this latest project.

And you haven’t even heard the best part. Just blocks away, a developer is planning to build the massive Crossroads Hollywood project, and they’re asking for a master alcohol permit to allow 22 establishments to serve alcohol. You read that right. Twenty two. And not only is Crossroads Hollywood in close proximity to Selma Elementary, it’s right across the street from Hollywood High School.

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The front of the Dream Hotel.

This is the City’s idea of revitalizing Hollywood. We need low-cost housing. They give us high-end hotels. We need relief from violent crime. They keep pouring on the alcohol. Meanwhile traffic is worse than ever, transit ridership continues to decline, and the number of homeless keeps growing.

City Hall keeps saying they’re trying to bring Hollywood back to life. Why does it feel like they’re trying to kill it?

DH SM 90 Motorcycle

Lost LA through a Camera Lens

00 Exiles Dntn

A view of Downtown circa 1960 from The Exiles.

Los Angeles has changed a lot over the past hundred years. Rapid population growth, rampant real estate speculation and a slew of technological advances have caused the city to expand and mutate with amazing speed. And one of the most interesting things about LA is that it has recorded those changes since almost the beginning of the 20th century. As the center of the global film industry, and a major hub for all media, it’s always in one spotlight or another. You might say Los Angeles is obsessed with seeing itself in the mirror.

When the film industry first moved west back in the teens, there were a number of production companies shooting silent two-reelers on LA’s streets. Nobody was thinking about documenting the city as it was beginning to grow. Location shooting was just a cheap way to make movies. Hollywood silents made before 1920 are filled with scenes of the city’s early days, but because there hadn’t been much development and few of the familiar landmarks existed, it’s often hard to identify the streets and neighborhoods that appear in the background.

In the 20s Hollywood became studio bound, and for about two decades location shooting was the exception rather than the norm. But in the 40s studio crews started to venture back out into the streets. Many of the crime films shot after WWII used LA as a backdrop for the action. In the 60s, independent filmmakers started shooting all kinds of movies on the city’s streets. By the 80s filmmakers had begun to use the city self-consciously, making deliberate references not just to the city’s past but to its movie past.

Looking at the films shot over the years on LA’s streets we can see a broad panorama of the city’s history, but one that’s still maddeningly incomplete. While some locations appear over and again, there are whole communities that never appear at all. And so much of it is totally random. In a few cases filmmakers deliberately set out to take a good, hard look at the landscape and the people. Others focussed on famous landmarks that have a specific meaning for movie audiences, or used their settings to evoke nostalgia. And others just didn’t have the money to shoot anywhere else and let their location scout call the shots.

I watch a lot of movies, and as I’ve gotten older, I’m more aware than ever of how they reflect the changes that have happened over the course of LA’s history. I’m especially fascinated by images of things that no longer exist. Change is inevitable. The city’s landscape is never the same from one day to the next. Even when the streets and structures stay the same, the people, the customs, the culture keep changing, and that transforms the landscape, too.

In this post I’m pulling together images of places and spaces that have disappeared. I’ve been thinking about doing something like this for a while. It took me months to get around to it. I spent a lot of time trying to figure out which movies to focus on, but I can’t even explain why I ended up choosing these six. The only thing they have in common is that they show pieces of LA that no longer exist. And trying to approach them in some kind of order was impossible. Or maybe better to say there were too many possibilities. Should I have organized them by the year the films were made? Or maybe used the locations to tell some kind of story? Or should I have tried to find a theme that ties them all together?

In the end I just decided to dive in and let my intuition guide me. This post may not even make sense, but hopefully you’ll get something out of the images. Let’s start in Downtown….

In the late 50s, Kent Mackenzie began working on a film set in Bunker Hill that focussed on the Native American community living in the area. The Exiles took over three years to make, and the production had more than its share of problems, but the end result was a unique blend of documentary and fiction that gave voice to people whose voices had never been heard before. Bunker Hill began in the 19th century as one of the city’s first upscale developments. By the middle of the 20th century the rich were long gone, and the aging homes that remained now housed a diverse low-income community. The Native Americans who lived there had left the reservations behind, looking for a different kind of life. In LA they were relegated to the margins of society, but living in Bunker Hill they at least had some kind of community. That lasted until City Hall declared the area “blighted”, and began pushing residents out as civic leaders and business interests pursued a massive redevelopment project.

01 Exiles AF Morn

Angel’s Flight climbing Bunker Hill next to the Third Street Tunnel.

02 Exiles AF 1

A closer shot of Angel’s Flight with apartments in the background.

The Exiles captures the lives of three Native Americans as they live through a single night in Downtown LA. Shot entirely on location, it shows these people in their homes, on the streets, in bars and juke joints, and finally gathering on a hill that looks out over the nighttime landscape. It’s a vivid picture of a vanished world.

03 Exile3 Homes 1

One of the vanished streets of Bunker Hill.

Displacement is a recurring theme that runs through the whole history of Los Angeles. The city’s original Chinatown was situated on the edge of Downtown, straddling Alameda between Aliso and Macy (now Cesar Chavez Avenue). But in the 20s voters approved funds for a new rail terminal, and much of the Chinese community had to relocate to make way for Union Station.

In the late 40s Anthony Mann made a startling series of thrillers, often giving them a sense of immediacy by shooting on real locations. Much of T-Men is shot in LA, and it features glimpses of what was left of Chinatown in 1947. Check out this first still, which shows a determined US Treasury agent walking across Alameda with Union Station in the background.

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Dennis O’Keefe crossing Alameda Street in T-Men.

Then the camera pans to follow him, and on the west side of Alameda we see Ferguson Alley, a remnant of the original Chinese community.

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Ferguson Alley, one of the last remnants of LA’s original Chinatown.

Our hero visits a number of herbalists looking for someone who recalls selling a specific blend to a certain man. It’s a brief montage, but it gives us a look at what was left of early Chinatown after WWII. Eventually, these buildings were also levelled. After some false starts, a new, more modern, and more touristy, Chinatown was built to the north and west of the original site.

12 TM Ferg 3

O’Keefe mounts the stairs to an herbalist’s shop.

Crime Wave, directed by André de Toth, was also shot largely on location and gives a sweeping view of Los Angeles in the 50s. While it features a number of Downtown locales, the climactic bank heist takes place across the LA River in Glendale. The suburbs were thriving in the first decade after the war, and the film gives us a view of what Brand Boulevard looked like back in the day. In this scene we’re riding with Gene Nelson and Ted de Corsia as they drive up to the Bank of America at the corner of Brand and Broadway.

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The Bank of America at Brand and Broadway in Glendale.

The suburbs were a product of car culture, and cars are central to the story. The main character is an ex-con who’s forced to become the gang’s getaway driver. The scenes before and after the robbery offer numerous shots from the perspective of the man behind the wheel. And an abandoned car serves as an important key in the cops’ search to track down the criminals.

21 CW Dentist

The corner of Brand and Broadway.

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Ted de Corsia inside the Bank of America.

Crime Wave is tough as nails and brimming with tension, but even if you’re not into classic crime flicks, it’s worth watching for the way it maps out the city in the 50s. The final car chase more or less follows the actual path you’d take from Glendale back to Downtown, speeding down Brand toward the Hyperion Bridge.

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Another shot of Brand near Broadway.

By the late 60s suburbia had spread across the San Fernando Valley. Car culture played a major role in the rapid proliferation of housing tracts tied together by the ever expanding freeway system. Thousands of families moved to the suburbs in pursuit of a placid and prosperous lifestyle.

Which was an illusion. You can escape the city, but you can’t escape reality. The US was going through a violent upheaval, rocked by a string of political assassinations and a growing protest movement. Director Peter Bogdanovich looked past the supermarkets and the swimming pools and saw a side of the suburbs that most people were determined to ignore. Bogdanovich had been doing odd jobs for low-budget director/producer Roger Corman. Through Corman he got a chance to direct his first feature, Targets. The film follows a young man living with his parents and his wife in a tidy little house in the Valley, who one day picks up a gun and starts shooting people.

Targets is an innovative and unnerving look at the suburbs, America’s obsession with guns, and our twisted relationship with the movies. After following the young killer as he randomly picks off a number of unsuspecting victims, Bogdanovich stages a chilling climax that offers a complex reflection of the American landscape at the time. Cars lined up in rows at a drive-in movie, moms, dads, children and teens watching a horror flick unfold, when suddenly a sniper starts shooting at the audience from behind the screen.

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The marquee at the Reseda Drive-In.

The film was shot at the Reseda Drive-In, which was located at the corner of Reseda and Vanowen. It survived into the 70s, when it was torn down and replaced by a business park. Aside from the fact that it’s an arresting and original debut feature (one of Bogdanovich’s best), Targets also offers a fascinating glimpse of the vanished world of drive-in theatres. Passionately devoted to movies since childhood, the director records every aspect of the experience, from the people visiting the snack bar to the projectionist putting the reels in motion.

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The drive-in before the show starts.

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The playground near the screen.

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The snack bar.

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The projectionist setting the film in motion.

Hollywood has always been shameless about the strategies it uses to lure audiences to the movies. Two of the most common tactics are jumping on whatever fad is currently sweeping the nation, and exploiting people’s nostalgia for a past that never existed. Xanadu tries to do both at the same time. The story follows the efforts of two men, inspired by a muse, who come together to create a new nightclub that will bring back the glory of the big band era while catering to the roller disco crowd. Yeah, it’s a pretty strange movie, and one that will probably only appeal to those with a taste for bizarre kitsch. But I found out that parts of it were shot at the Pan-Pacific Auditorium, and decided I had to check it out.

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The front of the Pan-Pacific Auditorium.

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A closer shot of the Pan-Pacific.

For years the Pan-Pacific was a major venue, hosting car shows, sporting events and the Ice Capades. Designed by the firm of Wurdeman and Becket, the striking streamline moderne facade was one of LA’s architectural landmarks for decades. But it closed in the 70s, and though it was later listed on the National Register of Historic Places, no one was able to find a way to make it viable again. It was destroyed by fire in 1989.

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Another view of the Pan-Pacific.

It’s possible that if the Pan-Pacific had survived a while longer, it might have been revived. The local preservation movement was just taking shape in the 80s. But for years Los Angeles was seen as a city without a history, in large part because the people who lived here didn’t have a sense of its history. Buildings were put up and knocked down based on whatever the market dictated, and few people worried about what was lost in the process. Visitors from other places talked about how the city felt impermanent, and complained about a sense of rootlessness.

Having lived here all my life, I don’t see it that way, and I’ve had a hard time understanding what people from other places are talking about. But I think I got a taste of it the last time I watched Wim Wender’s The State of Things. It tells the story of a director shooting a sci-fi film in Europe whose funding dries up, and he flies to LA to get some answers. Friedrich picks up a rental car at LAX and sets out to track his producer down, speeding along the the endless freeways, cruising the wide boulevards of Hollywood and Century City. He seems lost, totally disconnected from the city around him. Watching the film again recently I think I began to understand the sense of disclocation so many complain about. Friedrich is just one more in a long line of European filmmakers who have found themselves wandering LA’s vast landscapes, squinting into the sun as they try to make sense of it all.

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Friedrich, played by Patrick Bauchau, cruising down the freeway in a rental car.

Many of LA’s buildings were never meant to be permanent. They were constructed by people who saw a market for a product and moved quickly to jump on whatever trend was popular at that moment. The roadside restaurants and coffee shops that started springing up after WWII weren’t meant to last forever. They were meant to catch a driver’s attention and pull them in before they sped past. The commercial architects who worked on these projects in the 50s quickly realized that the more extravagant and unusual a building was, the more likely it was to draw people in. The building became its own advertisement.

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Tiny Naylor’s at the corner of Sunset and La Brea.

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Bauchau orders a cup of coffee from a car hop.

As I said, nobody thought these structures would last through the ages. But as the years wore on, architects and critics began to value these brash, flashy buildings. And the people who had frequented these places had gotten attached to them. In the 60s if a developer had levelled one of these coffee shops, nobody would have batted an eye. By the 90s, preservationists were arguing that they held a special place in the area’s culture and should be protected.

52 SoT TN 4 Roof Car

Another shot of Tiny Naylor’s.

That was too late for Tiny Naylor’s, located at Sunset and La Brea. The building, a Googie masterpiece by architect Douglas Honnold, was designed so that people could park outside and be served in their cars, a common feature of coffee shops from the era. The State of Things, released in 1982, captures Tiny Naylor’s in all its glory. A few years later it was torn down and replaced with a shopping mall.

The argument over what should be saved and what should be torn down will go on for as long as LA exists, and that’s part of the dynamic of any urban area. Cities are formed by the tension between the past and the future. LA will go on changing. And the movies will go on watching it change.

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Bauchau in an office building at Sunset and Vine, gazing at the LA landscape as it stretches out to the horizon.

 

A Breath of Fresh Exhaust

Breath 01

The balconies at the Da Vinci offer a view of the Hollywood Freeway.

A while ago I wrote a post about a project going up in my neighborhood. The site was less than 200 feet from the Hollywood Freeway, and the developer was capping it with rooftop decks. In light of the extensive research showing elevated health risks for people living near freeways, this seemed absolutely insane. But after a few phone calls and e-mails I confirmed that both the Department of City Planning (DCP) and the Department of Building & Safety (DBS) had signed off on it. And while I don’t have much respect for the the folks at City Hall these days, this seemed like a new low. I felt like they’d really crossed a line.

I was so wrong. The City crossed that line a long time ago. Turns out they’ve been routinely approving new residential projects near freeways that include rooftop decks and/or balconies. In spite of years of research that has shown strong links between exposure to freeway traffic and increased health risks, especially for children, the DCP and the DBS have okayed a number of projects near freeways that offer these amenities.

For over 20 years, USC has been gathering data on health impacts related to living near freeways. By the early years of the last decade, they were warning that residents in these areas faced significantly higher risk of asmtha, heart attacks and lung cancer, and that children were at risk of suffering permanent lung damage. In 2005 the California Air Resources Board published a handbook that specifically warned against residential construction within 500 feet of freeways. The City of LA, however, argues that the need for new housing outweighs the health risks.

But even if you buy that argument, how can you justify approving amenities that put people in direct contact with some of the most toxic air in the nation? Balconies and rooftop decks are not necessary. And in fact, when they’re placed on residential structures less than 500 feet from a freeway, this clearly fits the definition of a hazardous building as outlined by the LA Municipal Code:

Whenever a building or structure, used or intended to be used for dwelling purposes, because of dilapidation, decay, damage or faulty construction or arrangement, or otherwise, is insanitary or unfit for human habitation or is in a condition that is likely to cause sickness or disease, when so determined by the health officer, or is likely to work injury to the health, safety or general welfare of those living within.  [Emphasis mine.]

So allowing these features creates buildings that the City’s own Municipal Code defines as hazardous. Does that stop the City from approving them? Of course not.

The City does require that new buildings provide a certain amount of open space, and certainly developers will tell you that rooftop decks and balconies are one way of fulfilling that requirement in dense urban areas. But let’s look at a couple of the objectives listed for open space in the City’s General Plan….

2) to provide safer play areas for children

4) to increase natural light and ventilation

Can anybody argue that a balcony placed a couple hundred feet from a dense concentration of nitrogen oxide, CO2 and particulate emissions fulfills these objectives?

Sure, there are a number of apartment buildings near freeways with balconies and/or rooftop decks that were constructed long before the health risks became clear. But City Hall has known about the dangers since at least 2005. Let’s take a look at some of the residential projects they’ve approved over the last ten years or so….

Here’s Patio del Cielo at 4410 Sepulveda in Sherman Oaks. You could translate “cielo” as either “sky” or “heaven”, but obviously the implication is you’ll be living somewhere far removed from the hustle and bustle of the city. Not too far removed from the San Diego Freeway, though, which is just about 200 feet away.

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Traffic lining up for the freeway in front of Patio del Cielo.

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Rush hour traffic on the San Diego Freeway.

The balconies/decks that adorn these homes along 2775 Cahuenga are between 100 and 300 feet from the traffic on the Hollywood Freeway. And since this housing complex is right on Cahuenga Blvd., from June through September residents can enjoy the spectacle of thousands of cars inching their way past during Hollywood Bowl season.

Breath 20

Balconies at the front of 2775 Cahuenga.

Breath 22

Traffic on the Hollywood Freeway near 2775 Cahuenga.

The Carlton, at 5845 Carlton Way, has both balconies and rooftop decks. I bet you get a stunning view of the Hollywood Freeway from the roof. It’s just about 200 feet away.

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The Carlton is the white building on the left.

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A view of the rooftop from the rear of The Carlton.

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A view of rush hour traffic near The Carlton.

But first prize for really bad planning goes to the Da Vinci, at 909 W. Temple. Developer Geoff Palmer has made a fortune building massive residential complexes near freeways, but this may be his masterpiece. The Da Vinci sits right where the Hollywood and the Harbor Freeways meet. And just like every other Palmer apartment block I’ve seen Downtown, the developer has made sure that residents can get their fill of diesel fumes and particulate emissions simply by stepping out onto their private balcony.

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Would you say those balconies are 100 feet away from the freeway?

Breath 45

Traffic on the freeway north of the Da Vinci.

You could argue that a number of Palmer’s buildings went up before the adverse impacts of living near freeways were fully known. But City Hall approved the Da Vinci years after our elected officials had learned about the dangers. Again, they’ll tell you that we can’t afford not to build near freeways. But giving people balconies so they can get a face full of auto exhaust? How do you justify that?

I’ve suggested before that people write to the Mayor if they feel this needs to stop. Obviously, it hasn’t had much impact. But I’d like to suggest something a little different this time. How about writing to the Mayor and copying your congressional rep? Maybe if City Hall heard from someone at the federal level they’d think twice before approving hazardous amenities on apartments next to freeways.

Try using the following subject line….

Why Does the City of LA Keep Putting Residents’ Health at Risk?

Here’s Garcetti’s e-mail address.

mayor.garcetti@lacity.org

And if you don’t know who represents you in Congress, use the link below to find out.

http://www.house.gov/representatives/find/