Los Angeles Historic-Cultural Monument
Los Angeles Historic-Cultural Monuments are sites in Los Angeles, which have been designated by the Los Angeles Cultural Heritage Commission as worthy of preservation based on architectural and cultural criteria. The Historic-Cultural Monument process has its origin in the Historic Buildings Committee formed in 1958 by the Los Angeles chapter of the American Institute of Architects; as growth and development in Los Angeles threatened the city's historic landmarks, the committee sought to implement a formal preservation program in cooperation with local civic and business organizations and municipal leaders. On April 30, 1962, a historic preservation ordinance proposed by the AIA committee was passed; the original Cultural Heritage Board was formed in the summer of 1962, consisting of William Woollett, FAIA, Bonnie H. Riedel, Carl S. Dentzel, Senaida Sullivan and Edith Gibbs Vaughan; the board met for the first time in August 1962, at a time when the owner of the historic Leonis Adobe was attempting to demolish the structure and replace it with a supermarket.
In its first day of official business, the board designated the Leonis Adobe and four other sites as Historic-Cultural Monuments. The designation of a property as a Historic-Cultural Monument does not prevent demolition or alteration. However, the designation requires permits for demolition or substantial alteration to be presented to the commission; the commission has the power to delay the demolition of a designated property for up to one year. In the commission's first decade of operation, it designated 101 properties as Historic-Cultural Monuments. By March 2010, there were 979 designated properties. Leonis Adobe Bolton Hall 1913 Eastern Columbia Building Griffith Park CBS Columbia Square Studios Historic-Cultural Monuments in Downtown Los Angeles Historic-Cultural Monuments on the East and Northeast Sides Historic-Cultural Monuments in the Harbor area Historic-Cultural Monuments in Hollywood Historic-Cultural Monuments in the San Fernando Valley Historic-Cultural Monuments in Silver Lake, Angelino Heights, Echo Park Historic-Cultural Monuments in South Los Angeles Historic-Cultural Monuments on the Westside Historic-Cultural Monuments in the Wilshire and Westlake areas City of Los Angeles' Historic Preservation Overlay Zones National Register of Historic Places listings in Los Angeles List of California Historical Landmarks Los Angeles Office of Historic Resources: Designated L.
A. Historic-Cultural Monuments website — with'ever-updated' LAHCM List via PDF link. Official Los Angeles Office of Historic Resources website — Homepage Los Angeles Cultural Heritage Commission website Designated LAHCM Landmarks by Neighborhood — L. A. Department of City Planning website Big Orange Landmarks: "Exploring the Landmarks of Los Angeles, One Monument at a Time" — online photos and in-depth history of Los Angeles Historic-Cultural Monuments — Website curator: Floyd B. Bariscale. Big Orange Landmarks: Floyd B. Bariscale's Flickr Photostream — Big Orange Flickr Gallery of L. A. H. C. Monuments
The Hammer Museum, affiliated with the University of California, Los Angeles, is an art museum and cultural center known for its artist-centric and progressive array of exhibitions and public programs. Founded in 1990 by the entrepreneur-industrialist Armand Hammer to house his personal art collection, the museum has since expanded its scope to become "the hippest and most culturally relevant institution in town." Important among the museum's critically acclaimed exhibitions are presentations of both over-looked and emerging contemporary artists. The Hammer Museum hosts over 300 programs throughout the year, from lectures and readings to concerts and film screenings; as of February 2014, the museum's collections and programs are free to all visitors. The Hammer opened November 28, 1990 with an exhibition of work by the Russian Suprematist painter Kazimir Malevich which originated at the National Gallery of Art in Washington and subsequently travelled to the Metropolitan Museum of Art in New York.
The museum has since presented important single-artist and thematic exhibitions of historical and contemporary art. It has developed an international reputation for reintroducing artists and movements that have been overlooked in the art historical canon. Notable examples include a 2003 retrospective of Lee Bontecou, co-organized with the Museum of Contemporary Art, Chicago; the Hammer is dedicated to inclusion. Of all of the solo exhibitions on view in Los Angeles between January 2008 and December 2012, the Hammer is the only institution to devote 50% of its exhibition programming to female artists; the Hammer hosts fifteen Hammer Projects each year, offering international and local artists a laboratory-like surrounding to create new and innovative work. In 2010 the Hammer announced its inaugural biennial devoted to Los Angeles artists. Though the museum has featured California artists as part of its ongoing exhibition program, the Made in L. A. series has emerged as an important and high-profile platform to showcase the diversity and energy of Los Angeles as an emerging art capitol.
Organized by Hammer senior curator Anne Ellegood, Hammer curator Ali Subotnick, LAXART director and chief curator Lauri Firstenberg, LAXART associate director and senior curator Cesar Garcia, LAXART curator-at-large Malik Gaines, the inaugural Made in L. A. in 2012 featured work by 60 Los Angeles artists in spaces throughout the city including the Hammer Museum itself, LAXART, the Los Angeles Municipal Art Gallery in Barnsdall Art Park. In conjunction with the exhibition, the Hammer sponsored a satellite exhibition, the Venice Beach Biennial on the Venice Boardwalk, between July 13 and 15th of that year; the second iteration of Made in L. A. in 2014 took over the entire space of the museum to feature work by more than 30 different artists and collectives. The 2014 exhibition was organized by Hammer chief curator Connie Butler and independent curator Michael Ned Holte. In conjunction with the inaugural Made in L. A. exhibition in 2012, the Hammer offered the first iteration of the prestigious Mohn Award to the artist Meleko Mokgosi.
The award consisted of a catalogue and a $100,000.00 cash prize and was decided by public vote after a jury of experts narrowed the 60 participants to five finalists. The Mohn Award, funded by Los Angeles philanthropists and art collectors Jarl and Pamela Mohn and the Mohn Family Foundation, was one of the most generous international awards given to a single artist. In 2014 the Hammer announced it was offering three awards in conjunction with Made in L. A. 2014: The Mohn Award, the Career Achievement Award —both of which are selected by a professional jury—and the Public Recognition Award, awarded by popular vote among exhibition visitors. All three awards are again funded by the Mohn Family Foundation. In 2014 Alice Könitz's Los Angeles Museum on Art won the Mohn Award, Michael Frimkess and Magdalena Suarez Frimkess were awarded the Career Achievement Award, Jennifer Moon was awarded the Public Recognition Award; the Hammer Museum manages five distinct collections: The Hammer Contemporary Collection.
The Hammer Contemporary Collection, inaugurated in 1999, is the museum's growing collection of modern and contemporary art. The collection includes works on paper drawings and photographs, as well as paintings and media arts; the Contemporary Collection houses works from internationally acclaimed artists, including many active in Southern California from 1960 to the present. Hammer Contemporary Collection works are acquired in tandem with exhibitions presented at the museum, including the Hammer Projects series focusing on the work of emerging artists; the 2009 exhibition Second Nature: The Valentine-Adelson Collection at the Hammer exhibited selections from Dean Valentine and Amy Adelson's gift to the Hammer Contemporary Collection. The gift of fifty sculptures by 29 Los Angeles artists represents a significant milestone in the Hammer's commitment to collecting the works of Southern California artists. In 2012, the Hammer showcased selections from the Larry Marx Collection; the exhibition was made possible by a substantial gift from longtime museum supporters Susan and Larry Marx and includes more than 150 paintings, sculp
Los Angeles Community College District
The Los Angeles Community College District is the community college district serving Los Angeles, United States and some of its neighboring cities and certain unincorporated areas of Los Angeles County. Its headquarters are in Downtown Los Angeles. Over the past seventy-seven years LACCD has served as educator to more than three million students. In addition to typical college aged students, the LACCD serves adults of all ages. Indeed, over half of all LACCD students are older than 25 years of age, more than a quarter are 35 or older. LACCD educates three times as many Latino students and nearly four times as many African-American students as all of the University of California campuses combined. Eighty percent of LACCD students are from underserved populations; the Los Angeles Community College District is the largest community college district in the United States and is one of the largest in the world. The nine colleges within the district offer educational opportunities to students in Los Angeles.
It serves students located in the Alhambra, Beverly Hills, Culver City, Las Virgenes, Los Angeles, Palos Verdes and San Gabriel school districts. The district covers the Los Angeles city limits, San Fernando, Agoura Hills, Hidden Hills, West Hollywood, Beverly Hills, Culver City, Monterey Park, San Gabriel, Montebello, Vernon, Huntington Park, Cudahy, Bell Gardens, South Gate, Carson, Palos Verdes Estates, Rolling Hills, Rancho Palos Verdes, numerous unincorporated communities, including East Los Angeles, Florence-Firestone and Walnut Park; the LACCD covers an area of more than 882 square miles. East Los Angeles College Los Angeles City College Los Angeles Harbor College Los Angeles Mission College Los Angeles Pierce College Los Angeles Trade-Technical College Los Angeles Valley College Los Angeles Southwest College West Los Angeles College The Los Angeles Community College District is governed by an elected Board of Trustees first established in 1969; the board meets twice a month. The District is modernizing all of its facilities, including all nine of its colleges, through a $6 billion Building Program.
The program is funded through bond measures approved by voters in 2001, 2003, 2008, plus additional funding from the State of California. As of its most recent report $3.1 billion of the $6 billion has been spent or committed. Official website
Streamline Moderne is an international style of Art Deco architecture and design that emerged in the 1930s. It was inspired by aerodynamic design. Streamline architecture emphasized curving forms, long horizontal lines, sometimes nautical elements. In industrial design, it was used in railroad locomotives, toasters, buses and other devices to give the impression of sleekness and modernity. In France, it was called the Style Paquebot, or "Ocean liner style", was influenced by the design of the luxurious ocean liner SS Normandie, launched in 1932; as the Great Depression of the 1930s progressed, Americans saw a new aspect of Art Deco, i.e. streamlining, a concept first conceived by industrial designers who stripped Art Deco design of its ornament in favor of the aerodynamic pure-line concept of motion and speed developed from scientific thinking. The cylindrical forms and long horizontal windowing in architecture may have been influenced by constructivism, by the New Objectivity artists, a movement connected to the German Werkbund.
Examples of this style include the 1923 Mossehaus, the reconstruction of the corner of a Berlin office building in 1923 by Erich Mendelsohn and Richard Neutra. The Streamline Moderne was sometimes a reflection of austere economic times; the style was the first to incorporate electric light into architectural structure. In the first-class dining room of the SS Normandie, fitted out 1933–35, twelve tall pillars of Lalique glass, 38 columns lit from within illuminated the room; the Strand Palace Hotel foyer, preserved from demolition by the Victoria and Albert Museum during 1969, was one of the first uses of internally lit architectural glass, coincidentally was the first Moderne interior preserved in a museum. Streamline moderne appeared most in buildings related to transportation and movement, such as bus and train stations, airport terminals, roadside cafes, port buildings, it had characteristics common with modern architecture, including a horizontal orientation, rounded corners, the use of glass brick walls or porthole windows, flat roofs, chrome-plated hardware, horizontal grooves or lines in the walls.
They were white or in subdued pastel colors. An example of this style is the Aquatic Park Bathouse in the Aquatic Park Historic District, in San Francisco. Built beginning in 1936 by the Works Progress Administration, it features the distinctive horizontal lines, classic rounded corners railing and windows of the style, resembling the elements of ship; the interior preserves much of the original decoration and detail, including murals by artist and color theoretician Hilaire Hiler. The architects were William Mooser Jr. and William Mooser III. It is now the administrative center of Aquatic Park Historic District; the Normandie Hotel, which opened during 1942, is built in the stylized shape of the ocean liner SS Normandie, it includes the ship's original sign. The Sterling Streamliner Diners were diners designed like streamlined trains. Although Streamline Moderne houses are less common than streamline commercial buildings, residences do exist; the Lydecker House in Los Angeles, built by Howard Lydecker, is an example of Streamline Moderne design in residential architecture.
In tract development, elements of the style were sometimes used as a variation in postwar row housing in San Francisco's Sunset District. In France, the style was called ocean liner; the French version was inspired by the launch of the ocean liner Normandie in 1935, which featured an Art Deco dining room with columns of Lalique crystal. Buildings using variants of the style appeared in Belgium and in Paris, notably in a building at 3 boulevard Victor in the 15th arrondissement, by the architect Pierre Patout, he was one of the founders of the Art Deco style. He designed the entrance to the Pavilion of a Collector at the 1925 Exposition of Decorative Arts, the birthplace of the style, he was the designer of the interiors of three cruise ships, the Ile-de-France, the l'Atlantique, the Normandie. Patout's building on Avenue Victor lacked the curving lines of the American version of the style, but it had a narrow "bow" at one end, where the site was narrow, long balconies like the decks of a ship, a row of projections like smokestacks on the roof.
Another 1935 Paris apartment building at 1 Avenue Paul-Daumier in the 16 arrondissement had a series of terraces modeled after the decks of an ocean liner. The defining event for streamline moderne design in the United States was the 1933-34 Chicago World's Fair, which introduced the style to the general public; the new automobiles adapted the smooth lines of ocean liners and airships, giving the impression of efficiency and speed. The grills and windshields tilted backwards, cars sat lower and wider, they featured smooth curves and horizontal speed lines. Examples include the 1934 Studebaker Land Cruiser; the cars featured new materials, including bakelite plastic, Vitrolight opaque glass, stainless steel, enamel, which gave the appearance of newness and sleekness. Other examples include the 1950 Nash Ambassador "Airflyte" sedan with its distinctive low fender lines, as well as Hudson's postwar cars, such as the Commodore, that "were distinctive streamliners—ponderous, massive automobiles with a style all their own".
Streamlining became a widespread design practice for aircraft, railroad locomotives, ships. Streamline style can be contrasted with functionalism, a leading design style in Europe at the same time. One reason for the simple designs in functionalism was to lower the production costs of the items, making them
Norman Quentin Cook, known by his stage name Fatboy Slim, is an English DJ, record producer who helped to popularise the big beat genre in the 1990s. In the 1980s, Cook was the bassist for the Hull-based indie rock band the Housemartins, who achieved a UK number-one single with their a cappella cover of "Caravan of Love". After the Housemartins split, Norman Cook formed the electronic band Beats International in Brighton, who produced the number-one single "Dub Be Good to Me". Cook joined acts including Freak Power and the Mighty Dub Katz to moderate success. In 1996, Cook adopted the name Fatboy Slim and released Better Living Through Chemistry to critical acclaim. Follow-up albums You've Come a Long Way, Halfway Between the Gutter and the Stars, Palookaville, as well as singles such as "The Rockafeller Skank", "Praise You", "Right Here, Right Now", "Weapon of Choice", "Wonderful Night", achieved commercial and critical success. In 2008, Cook formed the Brighton Port Authority with David Byrne.
Cook has been responsible for successful remixes for Cornershop, Beastie Boys, A Tribe Called Quest, Groove Armada, Wildchild. In 2010, in partnership with Byrne, he released. Cook holds the Guinness World Record for the most top 40 hits under different names; as a solo act, he has won ten MTV Video Music Awards and two Brit Awards. Quentin Leo Cook was born in Bromley, raised in Reigate, Surrey and educated at Reigate Grammar School, he played drums in a British new wave-influenced rock band. When frontman Charlie Alcock was told by his parents that he had to give up the band to concentrate on his O levels, Cook took over as lead vocalist. At The Railway Tavern in Reigate, Cook met Paul Heaton. At 18, Cook went to Brighton Polytechnic to read a B. A. in English and sociology, where he achieved a 2:1 in the British Studies honours course. Although he had begun DJing some years before, it was at this time that he began to develop his skills on the thriving Brighton club scene appearing at the Brighton Belle and the students' favourite The Basement, where known as DJ Quentox he began laying the base for Brighton's hip hop scene.
In 1985, Cook's friend Paul Heaton had formed a guitar band called The Housemartins. Their bassist left on the eve of their first national tour, so Cook agreed to move to Hull to join them; the band soon had a hit single with "Happy Hour", their two albums, London 0 Hull 4 and The People Who Grinned Themselves to Death, peaked in the Top 10 of the UK Albums Chart. They reached number one just before Christmas 1986 with a version of "Caravan of Love" a hit the year before for Isley-Jasper-Isley. However, by 1988 they had split up. Heaton and the band's drummer Dave Hemingway went on to form The Beautiful South, while Cook moved back to Brighton to pursue his interest in the style of music he preferred, it was at this time that he first started working with young studio engineer Simon Thornton, with whom he continues to make records. All of Cook's records released from that point onwards have involved both of them to varying degrees. Cook achieved his first solo hit in 1989, featuring his future Beats International member MC Wildski, called "Blame It on the Bassline".
Credited to "Norman Cook feat. MC Wildski", the song followed the basic template of what was to come in the style of the music of Beats International, it became a modest hit in the UK Singles Chart, reaching number 29. Cook formed Beats International, a loose confederation of studio musicians including vocalists Lindy Layton and Lester Noel, rappers D. J. Baptiste and MC Wildski, keyboardist Andy Boucher, their first album, Let Them Eat Bingo, included the number one single "Dub Be Good to Me", which caused a legal dispute revolving around allegations of infringement of copyright through the liberal use of unauthorised samples: the bassline was a note-for-note lift from "The Guns of Brixton" by The Clash and the lyrics borrowed from "Just Be Good to Me" by The S. O. S. Band; this bankrupted Cook as he lost the case and was ordered to pay back twice the royalties made on the record. The 1991 follow-up album Excursion on the Version, an exploration of dub and reggae music, failed to repeat the success of its predecessor, as it did not chart.
Cook formed Freak Power with horn player Ashley Slater and singer Jesse Graham. They released their debut album Drive-Thru Booty in 1994, which contained the single "Turn On, Tune In, Cop Out"; the cut was picked up by the Levi's company for use in a multimillion-dollar advertising campaign. In 1996, Cook re-joined Freak Power for More of Everything for Everybody. Cook enlisted help from producer friends Tim Jeffery and JC Reid to create a house music album as Pizzaman; the 1995 Pizzamania album spawned three UK Top 40 hits: "Trippin' on Sunshine", "Sex on the Streets", "Happiness". "Happiness" was picked up by the Del Monte Foods corporation for use in a UK fruit juice ad. The music videos for the three singles were all directed by Michael Dominic. Cook formed the group The Mighty Dub Katz along with Gareth Hansome, Cook's former flatmate. Together they started the Boutique Nightclub in Brighton known as the Big Beat Boutique, their biggest song together was "Magic Carpet Ride". Cook adopted the pseudonym Fatboy Slim in 1996.
Cook says of the name: "It doesn't mean anything. I've told so many different lies over the years about it I can't remember the truth. It's just an oxymoron -- a word, it kind of suits me – it's kind of goofy and ironic."The Fatboy Slim album and Cook's second solo album, Be
Ralphs Grocery Store (Los Angeles, California)
Ralphs Grocery Store is a historic building in the Westwood Village section of Westwood, Los Angeles, California. Built in 1929 as a Ralphs Grocery Store, it was one of the original six buildings in the Westwood Village development; the building was noted for its cylindrical rotunda capped by a low saucer dome, with a pediment over the entrance and arcaded wings extending north and east. It was photographed by Ansel Adams in 1940, declared a Historic-Cultural Monument in 1988, listed on the National Register of Historic Places in 1992; the history of Westwood Village began in 1925, when the Regents of the University of California purchased a large block of land from the Janss Investment Company for the construction of the new UCLA campus. The Janss family retained ownership of the land south of the campus and there developed Westwood Village — a planned commercial center, to be "a model college town." The university and the Janss family agreed to harmonize the architecture of the campus and the village in a "Mediterranean style."
The new Westwood Village began to open in 1929, one of its original buildings was the Ralphs Grocery Store located on Westwood Boulevard, one block north of Wilshire Boulevard. The store's most prominent feature was its low rotunda, at the corner of Westwood Boulevard and Lindbrook Drive; the building's exterior walls were built with imitation stone, but were covered with stucco. The building's style has been described as having Mission Revival, Spanish Colonial Revival, Romanesque Revival and Renaissance Revival elements, is said to have served as a model for other low-rise commercial structures in the village. Early advertising materials for the Westwood Village development featured images of the Ralphs tower and the Janss dome, which became area landmarks; the opening of the store in the fall of 1929 was timed to coincide with the opening of the UCLA campus, the Los Angeles Times proclaimed the store "one of the most beautiful exclusive grocery marts in the West." The opening was celebrated with a free food show, as Ralphs boasted a new feature at their Westwood store — "the employment of uniformed boys to wrap each purchase of merchandise while it is being paid for at the cashier's stand, carry it to the customer's car."In 1940, Ansel Adams took a series of photographs of Westwood Village, some featuring the Ralphs building.
The photographs are part of the collections of the Los Angeles Public Library and can be viewed here and here. Ralphs operated a grocery store on the site until the mid-1960s. Ralphs returned to Westwood Village nearly 40 years converting the old Bullock's department store into a grocery store. Since Ralphs vacated the building in the mid-1960s, it has housed a number of different businesses. In 1970 a large portion of the space facing Lindbrook Drive was converted into a movie theater, known over the years as the United Artists Theater, the UA Egyptian, the Odeon Cinema. and as the Mann Festival which closed on July 30, 2009. The Bratskeller restaurant, popular with UCLA students operated at the building from the late 1960s through the mid-1980s. In the late 1990s and early 2000s the prime corner space at the base of the tower was split between Daphne's Greek Cafe and Togo's Sandwich Restaurant. In late 2008, they were replaced with a Peet's Tea, which remains currently. In early 2012, part of the shuttered movie theater was converted to 800 Degrees Neapolitan Pizzeria.
Since the 1970s, the demand for office and residential space around the UCLA campus has resulted in much of the original Mediterranean architecture giving way to large modern high rises, as depicted in the photograph to the right. Preservationists sought to preserve what could be saved of the original Westwood architecture, in 1988 the Ralphs-Bratskeller-Egyptian Theater building was designated as a Historic Cultural Monument by the Los Angeles Cultural Heritage Commission. Eight other historic buildings in Westwood Village were given monument status at the same time. In 1992, the Ralphs building was added to the National Register of Historic Places. List of Registered Historic Places in Los Angeles
Janss Investment Company Building
The Janss Investment Company Building known as the Janss Dome, is a historic building in Westwood, Los Angeles, California, in the Westwood Village. The building is located at the five-way intersection of Westwood Boulevard, Kinross Avenue, Broxton Avenue. In 1929 the Janss Dome was the first building, it housed the headquarters of the Janss Investment Company run by the Janss brothers and Harold Janss, who were the developers of the village. The village was built as a shopping and cinema precinct to serve the adjacent University of California, Los Angeles; the second floor of the Janss building was the first male dormitory for UCLA students. The Janss Dome was designed by the architectural firm of Allison & Allison, who designed UCLA’s Royce Hall and Kerckhoff Hall. Architectural features of the building include a high portico and arched windows with the main part of the building having an octagonal shape and being surmounted by its signature dome with its Moorish style aqua and white zig-zag pattern and gold leafing.
Atop the dome is a cupola. This dome ranks alongside the white Spanish Revival/Moderne tower of the Fox Theater as an iconic landmark of Westwood Village. Around the beginning of the 1990s renowned architectural firm Morphosis adapted the dome for use as a clothing store by Contempo Casuals, it was occupied by a Wherehouse Music store. In 1998 restaurateur Michael Chow remodeled the interior for a Eurochow restaurant but had the time-honored aqua and white zig-zag on the rotunda painted over in white; this caused the Westwood Design Review Board to order that the dome be restored to its traditional decoration. The Janss Dome housed a Japanese restaurant, until June 2016, but remains vacant. In 1971, the Paramount Securities Corporation, purchased the property from Bank of America; the property, was leased to Glendale Federal Savings and Loan. A Cupola was placed on the dome,and an original Sir Richard Wallace fountain,dated 1872,was added to the patio; the Janss Investment Company Building was dedicated a Los Angeles Historic-Cultural Monument on June 21, 1988