A r><v mvw# 
jpreme 
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I Jbr w*r this year. 
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|lp| LewiPelleUli 
drop Ui Um 
deficit was hailed 
clear i 
mdicates both d& 
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'yt8Ulfc«conoml»U 
porta had not dedi 
•v; that further progr 
the trade deficit is I 
, With the Decent 
r eluded, the trade < 
1987 reached a re* 
lion, up from $1564 
and $133,7 billion 
analysts expect it U 
$150 billion and$16 
Following releas 
the dollar free in T< 
from 128 the day tx 
furt, it advanced ( 
ache marks to 1.7L 
the Dow Jones ind 
iWn| 
Freeway Arch 
to Honor LA. 
Immigrants 
By SCOTT HARRIS. 
Timet Staff Writer 
- The vision is still hazy. 
And, considering the ex­
haust fumes, perhaps it al­
ways will be. Even * so. 
Mayor Tom Bradley and an 
array of civic leaders trum­
peted ambitious plins Fri­
day for a monument cele­
brating Los Angeles as 
home to immigrants. 
It would tfe located of all 
places, atxnfe the Holly­
wood Freeway. 
Los Angeles' answer to 
the Statue of Liberty is 
heralded as the "West 
Coast Gateway"—a grand 
bridge;spanning the down­
town freeway in airspace 
stretching from, Alameda 
Street to BrofcAiy. 
In a hoopfiPmied cere­
mony at 81 Pueblo de Los 
Please see SPAM, Page It 
ofLAPD 
and DAV® FREED* 
Times Staff Writer* 
A study commissioned by 
Los Angeles PeHc® Depart 
concludes that it takes office 
average of about a minute I 
half longer to respond to mm 
cy calls hi the largely min 
South-CefltraJ area of the cky 
it takes in the largely Angle 
Fernando Valley. 
The 10-month, $183,000 I 
was ordered after eomptatsri 
politicians and citiaens group 
the criteria tiaed by the 
allocate discretionary forces t 
departm*ftt'« tft nobrol ftress 
to fa\ ' leig! 
hoods P378 
cooui! .C6254 
M 
Pu 5erv 
Virgi ak" -
« •  ^ 5 k l i  y  
rlt*V4 
on Friday bowed Out of theRepub-
bean race for President and threw 
his support to Kansas Sen. Bob 
Dole, who is vying with Vice 
^resident George Bush for the lead 
rare. 
"In my judgment. Sen. Robert 
Dde is the candidate best able to 
leal our country into the 
19011. . . . From my point of view, 
Bob Dole is bead ahd shoulders 
above George Bush." Halg arid, 
momei 'a before Dole arrived ml joined h n on the podium. 
Dole's xfvisers. as wall as state 
party oflkbla, said Haig's base of 
suDDorL d onated at about iNfc", 
was quite & mOI to be vahishte to 
Pole, but t said his baae of 
stfport 'la a kt broader and a lot 
deeper than tk polls show" and 
that his endorses* ent could benefit 
2 So vie father 
~'~ct 
OTTAWA STATE UNIVERSITY 
LIBRARY 
WEST COAST GATEWAY 
COMPETITION 
John Joseph Clouse 
June 1989 
• STATEMENT OF PERMISSION TO COPY 
In presenting this paper in partial fulfillment of the requirements for 
a Bachelor of Architecture degree at Montana State University, I 
agree that the Library shall make it freely available for inspection and 
study. I further agree that permission for extensive copying of the 
paper for scholarly purposes may be granted by my Major Professor 
or, in his absence, by the Head of the Library. It is understood that 
any copying of this paper for financial gain shall not be allowed 
without my written permission. 
3, 1988/ Pari I 33 3A Part I Saturday. February 13, 1988 * 
«er Loewe Fair ieart Attack 
SPRINGS (UPD—fYtd-
who with Alan Jay 
nposed Mich classic mu-
my Fair Lady," "Came-
Brigadoon." was in fair 
Friday after suffering a 
k. 
36, waa admitted to Des-
lal on Thuraday and 
intenaive care, hospital 
lan Linda Riggs aaki. 
acting on inftructioni 
we's conservator, de-
identify the composer's 
ut a source said Loewe 
sd a heart attack, which' 
ined to "confirm or de-
\ 
ier point 
V TABLE SET 
35995 
W SET 
»549M 
SPAN: L. A. 
CeatlMMd frsm Pace 1 
Angeles State Historic Park, spon­
sors of the 5Vi-acre Gateway prot­
ect announced that the winning 
architect in an international com­
petition will design the MO-million 
project, to be funded entirely with 
private money, sponsors said. The 
target date for completion is Oct. 
12,1992. to coincide with the 500th 
anniversary of Columbus' voyage 
to the New World. 
"That hunk of air is going to be 
turned into a bridge!" actor George 
Takei, a promoter of project, de­
clared as he pointed toward the 
freeway. "As so many of my New 
York friends say, it's so L.A.!" 
Gateway would be more than a 
symbol, its sponsors stressed, pro­
viding a physical, "spiritual, emo­
tional and cultural connection" be­
tween Chinatown, El Pueblo de Los 
Angeles Park at Olvera Street, 
Little Tokyo and the Civic Center. 
Sponsors envision it as part of 
grand scheme to promote pedestri­
an use throughout downtown. 
RTD board member Nick Patsa-
ouras, chairman of the 20-member 
West Coast Gateway Committee, 
dismissed suggestions that freeway 
airspace is a poor place for a 
monument About 30 feet above the 
noise and carbon monoxide of the 
freeway, Patsaouras told reporters, 
will be "a place of serenity." Stra­
tegic use of fountains, he explained, 
would mask the noise. 
Festive Occ*ilo« 
At Friday's event, Takei, best 
known as Sulu in the original "Star 
Trek" television series, shared the 
dais with a wide range of figures, 
ranging from Mayor Bradley to 
science fiction author Ray Brad­
bury. Entertainment included ma-
riachis, Cqjun folk singers, Appala­
chian clog dancers, a children's 
choir, an African native dance 
troupe from Cal State Northndge 
and an aerobics team. The stage 
was wreathed in balloons colored 
white, black, brown, yellow and 
red—symbolizing the city's ethnic 
diversity, said emcee Mario Macha-
do. 
The Gateway project is "an ex­
citing concept that will pay tribute 
to the contributions of immigrants 
who have helped shape Los Angel­
es," Bradley said. 
Bradbury, a non-driver, noted 
that Angelenoa will fly 9,000 miles 
to stroll the streets of Paris, but 
will drive their cars to travel two 
blocks in Los Angeles. Rhapsodiz­
ing at some length, Bradbury be­
moaned the barriers separating the 
city's historic Chinese, Latino and 
Japanese communities. 
LM Angdw TUMM 
"These proofs of our immigrant 
past stand but a few hundred yarda 
or a flw blocks apart. Yet they 
might as well be separated by tens 
of miles for all the mixing between 
these towns within a city," Brad­
bury said. 
"Rarely do the inhabitants of the 
three or four communities stroll 
from one to the other. Rarely do 
tourists, abandoning their cars, ric­
ochet happily from one immigrant 
duchy to the next. 
"All this must change." 
James Wood, chairman of the 
Community Redevelopment Agen­
cy, was lest poetic. Part of the 
reason the Gateway should be 
built, Wood said, is that "there is no 
uglier part of Los Angeles now 
than that strip of the freeway." 
Plans for a Los Angeles version 
of the Statue of Liberty have been 
mulled over often in recent years. 
Patsaouras said sites at Los An­
geles International Airport and the 
harbor were considered and ruled 
out. As a member of the RTD 
board, Patsaouras said, he Is famil­
iar with the Union Station area, 
which will be the starting point for 
Metro Rail and hub of a planned 
150-mile light-rail system. 
He then proposed the Gateway 
bridge spanning the Hollywood 
Freeway, and the committee se­
cured air rights from the California 
Department of Transportation. 
So far, the committee has col­
lected only $100,000—a contribu­
tion from the Japanese-owned 
Shuwa Corp.—to finance a design 
competition that Patsaouras hopes 
will attract more than 700 entries. 
More ambitious fund raising would 
begin later, with a special effort 
aimed at corporate contributions 
"in the same vein as the (1984) 
Olympics," Patsaouras said. 
Patsaouras, himself a Greek Im­
migrant, became visibly emotional 
when he addressed the crowd a* 
the final speaker. 
"Together we will build a monu­
ment that will be a testament to the 
human spirit—a celebration of lib­
erty and Justice." he saM 
• WEST COAST GATEWAY 
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Conceived in 1986 by Mayor Tom Bradley, the West Coast 
Gateway was envisioned as a needed monument for the city of Los 
Angeles. The concept was admittedly inspired by the grandiose 
100th anniversary of New York's Statue of Liberty. A beacon in 
Santa Monica Bay and a monument on a hillside overlooking Los 
Angeles International Airport were initial notions for the Gateway. — 
After further consideration and the excitement had settled, the - • 
Gateway Commission concluded that a place for human use would 
be more appropriate than a monument for a select few to simply ": 
gaze at. By 1987, the southwest corner of the Hollywood and : ' 
Harbor freeways in downtown Los Angeles was regarded as theun'£ 
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AKS Runo, an architectural firm located in Hollywood, was commis{j^  
sioned by the West Coast Gateway Committee to analyze the^* 
urban setting in the central city. Influenced by AKS Runo's study 
and a consensus by the Gateway Committee, chairman Nic$J* 
Patsaouras announced that the Hollywood Freeway between 
Alameda and Broadway would now be the location for the monu- J.0 
ment. t 'J I 
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>LI. 
Through the intentionally unorthodox urban planning study, AKSq V 
v Runo perceived the site to be a multitude of locations throughout ^  
, ;oui the city which would provide a sequence of connections to inte­
grate the urban fabric. "Los Angeles is not so much a place as it  ^
is an event, and cannot be analyzed nor developed as a traditional -; 
metropolis."1 
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court rri 'ho third !*vel. remodeled 
;jnd enlarge entries, and fre*h 
c;olor> and materials in interior 
decor. Severa! new stores and fo<xt 
tenants are alac p?ar.ned. 
Smooth Is the 
Word for Inside 
Wail Surfaces 
Hirne v'j.vri prefer jir.fK.'.h 
-vaMs over textured ones, but 
S^y're rouble finding 
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The committee of 20 - including author Ray Bradbury, actor 
George Tukei (Sulu of Star Trek), engineer/chairman Patsaouras, as 
well as other prominent individuals - expressed great exuberance 
at the ceremonial public announcement.2 Optimistically expecting 
700 entries and international interest from all design professions, 
few had foreseen the many problems of the competition. Confi­
dently, Patsaouras stated that $40 million would be raised by 
private contributions for funding of the project.3 
Preconception was inevitable, as the Gateway was constantly 
referred to as a western Statue of Liberty by the Commission and 
press. 
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On August 16,1988,150 imaginative entries from 39 countries were 
placed on public display at the Museum of Industry and Science 
in Los Angeles' Exposition Park.4 
The five finalists' entries were displayed separately from the others. 
Concerned attention from those who viewed the chosen finalists 
was evident. Sharp criticism was expressed by individuals in 
conversation, as well as the newspapers and television. 
Significant entries which drew criticism and jeers included a giant 
transparent bird dropping an egg on Los Angeles Street, a giant 
baseball glove, and a 100-foot high dollar bill extending the entire 
1600 feet. One hell of a shadow was cast on the historic El Pueblo 
de Los Angeles State Park by the dollar bill. Sixteen jurors chosen 
to select the finalists included Los Angeles architects Michael 
Rotundi (Morphesis), John Jerde (Horton Plaza) and distinguished 
artists, authors, and architects from around the world. Ironically, 10 
of the 16 jurors admitted to never before having seen the city of 
Los Angeles (but so did the majority of the competition entrants). -
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The Gateway competition was plagued from the beginning. Incon-
sistencies and poor wording of the program package stressed an 
architectural type solution, causing many potentially successful 
entrants to refrain from entering. Controversy began during the 
arbitration deciding the five finalists. "There was a big fight about ' 
the bird," commented Greek artist Sophia Zaraboukao.5 Patsaouras,; Li*i'L 
as well as many others involved with the competition, was slightly/ ^ 
disappointed as the competition entries were presented. "More V 
j' <?.  
than a Statue of Liberty" was stressed by Patsaouras as he stated 
'IZi 
the criteria for judging: a testament to the city's immigrants, ac ™ d;. 
pedestrian link between Chinatown, El Pueblo de Los Angeles Park,"/u 
Little Tokyo and the Civic Center, and a public gathering place with '^ 
public amenities.6 
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The five finalists were: Vilon Kunnapu of the Soviet Union, with the * * 
.. j 
transparent bird; Los Angeleno Neil Dennri, with an untitled lv 
machine-like structure; Lumfried Windbichlier of Austria, who o « 
suggested hugh fountains; Dogmar Richter of Cambridge, Massa-^ 
chusetts; and Hani Rashid from New York. 
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Los Angeles was seen as the city of really tag i t—a four-block-long dollar bill —by one of the unsuccessful competitors. 
Giant bird, a semifinal design, caused some lively discussion. 
Gateway to LA.: 
If the Ideas Are 
Wildly Eclectic•, 
Well, $o Is the City 
By STEVE HARYSY. Times Staff Writer 
Giant baseball glove didn't catch the admiration of jurors. 
Should the welcoming symbol of Los Angeles be a giant baseball glove stretched across the Hollywood Freeway? A four-block-long dollar 
bill? Or a transparent bird whose wings 
extend from the Broadway to the Alameda 
Street off-ramps, with an egg dropping in the 
vicinity of Los Angeles Street? 
Those are three of the 150 imaginative 
designs received by the West Coast Gateway 
Committee, a blue-ribbon group appointed by 
ma.YUi Turti Stmun}' ic CrCSiC -
monument over the freeway in airspace 
donated by Caltrans • 
"After three days of deliberations, the " 
Jurors have chosen the unexpected," 
committee chairman Nick Patsaoures Intoned 
Tuesday as he unveiled the designs of the five 
aemifinalista at the County Museum of 
Science and Industry. 
Well, not all of the unexpected were 
chosen. 
The baseball glove and the dollar bill were 
rejected by the international jury of 16 
architects and authors. But the bird, created 
by Vilen Kunnapu of the Soviet republic of 
Estonia, survived. 
"There was a big fight about the bird," 
admitted juror Sophia Zarabouka, a Greek 
artist, "But there is imagery to this for me." 
The semifinalists, besides architects from 
Austria. New York and Massachusetts, 
Include Neil Denari of Los Angeles 
"I've always been kind of obsessed with 
doing architecture on freeways, so I'm very 
happy." Denari said. "They're so vita! to the „ 
life of a city and they 're such beautiful 
structures, minimalism par excellence" 
Norwegian judge Sverre Fehn Mid Penari'a 
untitled machine-like structure fits in with 
the automobile culture of Los Angeles: "You 
have the feeling it's something that moves." 
Denan said his work would be composed of 
a giant video screen facing drivers, a building 
offering "real occurrences" (live 
performances, a library, food stands) and one 
emphasizing "global communications" 
(cinemas, technological demonstrations). 
Such a combination pleases Patsaouras, 
who stressed that he is seeking more than a 
"Statue of Liberty West." 
The monument, he said, should be (1) "a 
symboi and testifiicTrt" to utf CiVy'j 
immigrants. (2) a pedestrian link between " 
Chinatown. El Pueblo de Los Angeles Hark, 
Little Tokyo and the Civic Center, and T*S> e 
meeting pUci. featuring parks, museums and 
theaters. 
Another temifinalist. lrmfried Windbichler 
IHmm see GATEWAY. Kg* ft 
Tearful Decision by Board Saves AIDS Hospice 33 W 
By DKAN MURPHY, Timt SHfl 
Turning aside neighbors' complaints 
living tn what we of (new called * «h< 
Of death, a !<* Angete* toning bawl 
about 
• edftW" 
Wfeard voted 
Tuead«y U> allow a Hollywood hoapH* tor AlPS ; 
pattern* to ceminue operating in » 
neighborhood 
"I am going to ask the neighbor# to ***iftee 
and give eompjwirioft *« their »<Mk>w man.*1 tgW 
ft Is a ll> >AWia Ua, asniAk WWW? 'Wt nWlf Wnivn 
m ft thrt*-bedroom wood-tom* bouae on the 
1900 block of Ogd»n Grivft In THft 
w«fefrt» fttfued ihftt the hoif^*. which they 
described ui tnediNd feoiittVwfoes ni>i hefcWB WffVl •VT\t WB f» inU'Vf ffw VR 
4 
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k% til 
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fkms w? 
Considering the entries in need of improvement and alterations, the 
Gateway Committee allowed the finalists to refine their designs prior 
to the final selection on November 6th. Jurors remarked that the 
city of Los Angeles was not represented in any of the entries, and 
a search to find an identity was needed. 
I T " ' .  X l \  
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Cailison Part 
•>»rihra L? architect ft r the p^<*u 
:jn«l cia>ie * r:;ndt! action. aiSo 
iv-adtiuar^rcd n SfUiile. is general 
"Titractc.* 
.\1aow5 *he *.:e'.v !ca'.iires. d'*e to 
>,*• cc*rr>.-. h"! r>v the pnd of Oc'o-
tjrf. arc -i j.jOO* "-foot food 
court rri 'ho third rpvei. remodeled 
una •jnl.irgge; entr.s-J, a»u{ »>p•*>' 
• r. 
fines' 
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the C 
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Los Angeles Times design critic Sam Hall Kaplan wrote such 
comments as "badly managed" and "seriously astray" regarding the 
organization and opinion of the Gateway Commission.7 Prior to the 
final selection in December, John Jerde and two other appointed 
jurors resigned from the Commission. No one would publicly 
comment, but Jerde's secretary replied when interviewed that the 
withdrawal was due to the selection process and the aims of the 
Gateway Commission. A few of the jurors candidly admitted that 
the competition was a failure. 'We should learn from our mistakes 
while they're still on paper and not in concrete."8 
] 
colon and material;? in interior 
decor. Several new ?tof.?3 and fv»d 
tenants are also p;,tf.ned. 
Smooth Is the 
Word for inside 
Wail Surfaces 
Hnrrv! prefer srr.oV.b 
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a ~:?. ;r. ,iew " ^ n."!3. ncording w a 
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W.u.Diftr'b . • 
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ner o 
the fi 
be ad 
that 
c 
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uT.n 
'Steel Cloud,' an entry by Hani Rashid, was chosen winner of the 
West Coast Gateway competition by unanimous decision. Immed­
iate criticism, controversy, and outrage were expressed throughout 
the city. Included in Rashid's four-phase submission are: an 
immigration museum, two aquariums, a musical forest (synthesized 
traffic noise), a sculpture garden, and a multitude of display , 
screens composed of a collage of steel girders, columns, and 
struts. Rashid proclaims that "the design reflects the movement, 
energy, and innovation" of Los Angeles.9 
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City Council member Gloria Molina has much negative criticism 
towards the project. "It looks as if the freeway just blew up."10 
Others jokingly admit that it looks like an airline crash on the 
freeway. Michael Rotundi, known for some avant-garde architecture 
himself, has supported 'Steel Cloud' through the cloud of harsh 
criticism. He proudly said that his 12-year-old son, after seeing the 
model, replied "radical!"11 
Rashid refers to Blade Runner, a motion picture about Los Angeles 
in the 21 st century, when describing the inspirational experience of 
the created place. The Eiffel Tower and Pompidou Center are 
often referred to in defense of the public acceptance of the "strik­
ingly forceful and very much American" architecture. 12 
un. 
MTOSli 
JOUtU 
den ' 
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9* 
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wo 
jqSnos uopuA 
p<x*fu; QQ OAuqt it aoaoj * 
Published in architectural-related periodicals and newspapers!^ 
around the world, as well as viewed on local television news-'*' 
. :> 
programs, 'Steel Cloud' has raised many eyebrows. The publicity ^ 
is generating much public opinion. When in Los Angeles recently, ^rt. 
I talked with people who expressed concern as well as alternative^ 
ideas for the Gateway. 
a 
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The consensual opinion expressed by the community and critics 
undoubtedly that of opposition. 
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IMMIGRATION 
MUSeUM 
XlMBMLSSeuM op 
AMERICA 
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SCREENS 
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Pocesr 
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LA.'s Awful Tower. 
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W. il* 
rlee Area 
WEST COAST GATEWAY 
OUTLINE 
THESIS 
DESIGN PROCESS 
LOCUS 
SYMBOL & PLACE 
PROGRAM 
SCHEMATIC 
PRESENTATION 
FOOTNOTES 
BIBLIOGRAPHY 
LIST OF ILLUSTRATIONS 
APPENDICES 
Uitivcs fvi f n. 
(Itei Properties,* 
r i 
\ 
iiiBooi ii^ <i!6 
4. V 
I continuing role as p tprrr1 " rroci]T^fr'V|nt' t* 
• Ko 
td smaU busmess a: B„ fc OrlU, 
I ?KirUi aopnrv makpQ cnpr fl . J l  
THESIS 
r 
: t «ru 
V.C* I 
The intention of this study is to respond to the criticisms of a 
proposed architecture. Through the representation of a physical 
and iconographic environment, an ideal will be expressed and 
ideally addressed with a greater consensual approval. 
i*. 
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q* ia^ry np^iofoo U*W| 
km jo jsaupjtq ?«q <r, .Cfovfl 
-' -• ^unfUToo juwj: ;noqs -uwaj 
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r rq\ 
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In order to create an architecture which is deemed socially accept-
able, I believe a greater understanding of the relationship of people, -
culture, place and architecture must be developed. This _ 
understanding is acquired through the study of the collective ^  
K 
memory relative to the architecture. ;,r 
• j -  < ,  
This study is part of the process of creating an acceptable architec- ,r^' 
c .*v 
ture. In my opinion, in order to define that which is acceptable, ad;-, 
u 
continuous dialogue among all involved must be given considera-^ 
un< 
tion. ' 
>nnt 
Proposal and criticism is that dialogue which refines the accepta-j^' 
bility of the architecture. 
V-i'-
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ai ^ 
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j-q. 
uc v.r e r 
;t i . . 
j \[ r;v»y v«". p 
Thesis: What is laid down as a proposition; dogmatic, opinion^ 
ated; that which is to be made valid. 
o * 
MUi 
;o«i 
Criticism: To criticize; making a reasoned judgement; a state-i 
ment of an analysis. 
=•! U^n.- «.w! V\ •!,. 
i: 
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-jr -)iJt 
• Si.' r Vr-•> 'W» " 
u'.i ••• . .A >wi ;ij 
••j*"' -* i«C« •*-punq 
r?j»A."r5 .3; sj^q jr^A j 30.tr.-. 
•wr^si r»i 
Expression: Communication; act of making one's opinions and 
feelings known; a means of representation. 
Society: People; interaction and co-existence of all people; not 
particular to place. 
Community: People having common interests; relative to a 
specific place. 
Place: Physical location; definitive bounds relative to the 
perception of the individual. 
Culture: Civilization; the stimuli which has made civilization what 
it is; values, thoughts; the culmination of all contributed thoughts 
and responses; particular to a region. 
(These definitions, as well as others throughout the writing, are 
taken from an established source as they pertain to this thesis.) ! 
continuing role as P tr^rr' - rroci]rr*o,vnt' »' 
Id .m«Ubusm«s, iW.BSftv, n Jenefer', Bar & Grill, • 
• DESIGN PROCESS ~ 
i w 
.t.vy 
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• &i**.w ? :eir !' /'l' i*r« J» * V't'-* 
'.iU-ZliSf] 
->'J5 \v; 
^Vi -»** 
"u". 
There is more to an architectural design process than defining 
goals, collecting facts, establishing concepts, determining needs, fc 
collecting information, and stating the problem. I believe a more 
complete understanding of what we create as well as how we 
create it is critical. 
*i'r:A .tn j-.t; fC ISO* 
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.. j»:r)uT Sujaq •«*>$ 
>q SJ}OAJ»«-' [tjoao* aa «M|ddns 
"JVC* 0301 fiOTTUi <*} fflM J919M 
»!0Su 
JOWIU 
dm 
*ur 
9*T UF K> 
jq§no§ aopHA 
"Ours is an age in which the extremely individual act of creating 
has been alienated from the individual. Human beings are now . 
degenerating into mere measurable units susceptible to analysis u; . 
and processing. The dreaming and lunacy that conceivably occupy /.<•. 
•n 
an important position in the production of a work of architecture . 
i ' .  
are being eliminated and replaced with good sense and medi 
ocrity."13 
»! Zi 
C ."»• 
dm..  
'•] u 
U»t do not intend to add to this mediocrity of our architectural envir- -
onment. 
>nm 
H 
"p«*r- -*^0 :*J 09 ^ Aoq» it aouoj * 
"*r • .Cfuo pen? mao no vhstty yi: 
.r»ti *iq qjRq axf, ui 
• v;IA 'a*9pm 
r~"u aq yja h:m y pre. moy 
i«i2u*-* A'.ip'.uinn !<-,?.* 'ijiud 
~il CI pW?U SSW.fK?r» '33-i»0 
r;w .Yiu ijiiaroAO 
ft -?«<: ii'i 
oq; .ucujj /m-; JfuuO 
• A.'&»C >7 'rri.o v. * I.C 
\ o\>;w3';v jr-* ',p ooy 
,<o*u .v9ui*,:?.'5c'-uax 
pooJ ;>•«' .»)»«%>; VCTJJ,.. -pit-4 v*;s 
^O'.t! \ct cra.riO^r 
..»p';; 
•- • ' '•.<? von. 
r--i u»:o". -.p 
<* • ~ v : < * \>*i 
-:.v« ?:«,n ahv.ju.M 
r. .vBrvO i^ >*a,»i>v;v <*on 
Dyicr  ^ so) 
u»?s/f3 aucr 
\^p^up9y^ 
j*nrea* AJT. 
anriud 
90U9UJOX 'If 
*89 : U*. •} C 
- pnivn / 
9in jo 
*«V»UOU! 
so** oy ;i. 
j."* 
Although the use of established design methods does provide a *  ^
sense of order to the design process, the 'newness' of creativity is "v 
constrained. If we are to reach our goal of creating architecture 
order must be observed to establish organization and under-; 
standing. I believe this order is relative to the creation of that 
particular architecture. 
c{. 
0 « |.V Mtii 
• U 
1 •. . 
UC :.; .VXC- r • 
:t ) . . 
r.wy <i", ? *t vmv » v*. i„ 
,k
"t4 
*»vi •«' •v.-i.ji#..* >^5 «'»*• - v; ij ;**• - HQ  ^ •«. r?;s-A.'rs .3j ist> j r i^ ot 
Sublime order in this heterogeneous society is impossible to define. 
The uniqueness of the individual as opposed to the generality of 
the masses plays a greater role in architecture as we understand 
the importance of individual perceptions as social perceptions 
according to Japanese architect Tadao Ando. 
•  .  . .  5 * ;  * :  *  -  \ I 
• • X  I I I : i:1-' Alii J 
r - \ 
s r r.;'sr r-v • nc a 
n, -•;;<»»: '"V -Y 
'-tchr. 
r . V . t ' e - ' * C a i l c v n  
iJ archti-ct**. r the prr.ytvu j)•»it dAj;e» .wCLion, Jiso 
••.cadvjuar' red n 5**u i!e. u? general 
' >"/.r uctc' 
Aiaon; 're '.p\v !?a.'.ires. dt*e to 
v,K v »\v t.he PRtl of Oc'o-
!j< i*. arc i j. >X' • t'ood 
f jurt *-r« 'ho :hird ievci. rci^ovteied jnd .'olarg^ entrcs. a:ui rre*»-
color. and mater if-i* in interior 
decor. Several new iir.m and fo«xt 
tenants are -ilse p?.:iv»ec. 
Smooth Is the 
Word for Inside 
Wail Surfaces 
Hr.rrvi pr-fcr irr.oV.b 
vaii? over 'e.\Lure«t ones, but 
•;...y're r.\v ;w ro;;Dle finitin^ 
•:». ;r ne'v run.M. .iicordins a 
,v»v ;urvey. 
'n a ?o.; "••.»:d;xU,d for Ihf 
S s ' . - i .  ; • / D i s l r ' b - . -
»,!•••> Ml *V Vt 2<V 
:ru :o St/Mii:!. rid.".c 'rv:ts 
iri« / »>r .1 •r.tw..-' ' 
v: ' •: - •.» r- • • - '• 
"  c " \ . " ' o ' i  V  ' C - •  '  - r  
• r. 
d» 
fi 
n.'.*ru 
u:e a' 
tfco:'*" 
ultra > 
Wit 
t.ion o 
the i.' 
ena.\3 
ner o 
the fi 
be ad 
thai 
c 
cl* 
ct-.it 
'iT.r. 
In a critique of a student competition Tadao Ando comments on 
the superficiality of the Japanese entries. Lack of independence 
and originality came from the belief that architecture is not associ-. 
ated with autonomous thought and constrained to an economic 
i 
solution of basic provisions. Intent on producing an architecture 
which will not provoke unique thought and in turn create contro­
versy or the possibility of being "wrong,' many students do not 
sway from an established path. A homogeneous architecture is. 
created. 
While conscious of the importance of order, goals, facts, needs, 
economy and time, I have explored a personal design process. I 
felt the need to question established methods in order to gain a 
greater understanding for my self-development. 
Conventional approaches to the design process do not satisfy my 
needs and concerns as an architect. "Programming the 
14 
requirements of a building is the architect's first task." I disagree. 
Before we approach the task of programming we must gain a 
greater understanding of the issues concerning the project and our 
relationship to it. 
U, i„ -L ^ J A. V 1 t C- <3 
fc .'a ;nc"«e 
ee.- iii'l sun-
;• _ : ^ 
d 
ll tra'*. j, 
rading, hig* 
a^d health 
)ii has not 
1 strong. In 
I'; "atiort /"is 
id :L~ 
a j'lo.ith due 
ef >id lr '. f*t-
u soe -:-> 
tion. The I 
residents weri 
wa:-. shoj 
. x raphic is 
'»«. '!.e rest! 
Vrdifornia wj 
i.md with a th 
ships for lev 
gain. The st? 
g^-d. out Sou 
ir a did not ev 
"if -se n 
••aw \fie . jgio 
however, anc 
1888 they 
In questioning my intentions and the appropriateness of this thesis, 
I have asked many questions: 
• Why have I chosen to do this project? 
• What personal needs and wants will be fulfilled in doing this 
project? 
• What is an architectural thesis? 
• What is the inspirational force for me and will it aid me in 
creating a 'good' architecture? 
r.'i& 
tmmj' 
Am I looking at this project clearly? 
i 
f-Busfties 
fjiifersfi© 
iiives fru'i. 
(?1 Proper iJis, 
f. p{-»j.Tfer kjJ- * r  \ 
iiiE'GOui* J.16 
The design process as experienced through this thesis explor­
ation . . . 
o 
Initially believing to have a definitive thesis for development. 
| continuing role as P tprpri - rror^rfft-^nt' *' I Id small business, is sooa-„ n . . , _ 
r 
r 
r 
r 
r 
r 
r 
Hli Null; 
- . n p r . r  ;  OG 
,K-\$ t  s v M A . - . . . 0  
.. ... . • . ;»' :•• • U. 
:'v • :• - • .-quare • fa: •: *:«- • • • 
ri, j ;;<*{! '•0:< *V -V 
"'4:» ? -ta«r. "•'••. 
i">' ' ..H .13 'i7"*5 " 
••r.'/C--
, . <*t'c - '* '.SPJ Haitian » -ft 
;«? arthi'-uci f Ifcc prsjwu 
iii«t '.":;r.sr.f uction. also 
•,;:adxiuar' -red m S**u Ue. is gei.era» 
~0"»*ractc' 
Aisittftjj 'he '":R'»v Joatur^s. d'*£ to 
v,K ^r-vT,.- hi ?>v trie rv.d oi Oc'c-
w-r/are j to* 
caurt !Ti 'h« third :pv»1. rewodctea 
ind enlarges entrcs. and r're^r. 
;;alor> aod materi:*:* in interior 
decor. Sr.ew ;tr,r:-? aiM fo*x1 
icnanta are jIsc f.j.truied. 
• : 
""r. 
>:id' 
Kit'CU 
u:e a' 
ultra > 
Wit 
tion o 
•.he i.' 
ena.s.3 
ner o 
the fi 
bo ad 
thai 
r 
r 
Smooth Is the 
Word for inside 
Wail Surfaces 
jInto*; I'.:?»•"* prefer smooth 
over textured ones, oui 
h;«v ro**:ole finding 
; - *.r 'le'-v r .r.."!.?. iicorflin* to a 
,v^v .jurvoy. 
'n 'i po.'v "•".r.dwCted ?r)r 
'tV.u. 'V* Distr^r.• 
OVTj -' 
Vs/.. r« :a rid '•*. :'-:y.r.e ' r v :rs 
t:»«/ : • r'ar ' 
, V-: ; -.-.r: •-. -•• a '.c-k-.I r • ••; '• •; r 
1;v T.-..-t CIVi HOM S'-T- '-••• • ' r 
•iic- ^r.tcrei'co: TV'!?"-;" • -* c ' 
.. 
O t . '  { >  
a* 
cl' 
t 
cU«l 
LjT.n 
o 
°c> 
(55 
Thesis uncertain - Reevaluation and definition of an architectural • J 
thesis. .t-u 
f .  
r 
Realizing thesis must take a more clarified form; need to under­
stand and evaluate intent. 
&• 
E 
.r 
.•'. •>'. t :tm\- '!". .•'"v k 
-a - ,;:r. vu..'. ! pi- 1 •" •* 
r.- re c'.;or.j.er 
». j •><» un.- ev»n'tv to 
; • i • 
... v -.; •• rn -C " 
i -i'-n '«• r 
> :\\s 
"i 
4 V 
\ 5 .'V 
j 
• S-4' " r \ t , ... -
r 
•vu 
I*. 
;  • . L ?  r.2v 
• v p :eu': V.V!^0 
^ f1 .' . . .*'i' J*'/* -•« •••.'i ift" 
: *i• ;-i~: -.Vfptv^ 
"i o;- 3-i'. •/.«•»: 
• 
A
- •' T?».*r- .TL::ini>.:. 
•'<. .r>T,'A .tTJ V«;9M J',. ". ,C ISOjtf 
r jir: - ;>>r •v-jq 
;!•''' >5 • /i*j 
-r.»'i ,v,uj .\n«> «T. 
r  " |  ' ' »  
.0 .(.<• r4fjw 
••" c.iva 
. U-IF.V* jimii 
<*'0 '*' jt-WfUOO [RJOUfUJ 
zqi siq prt? uosa&ioo*) 
[* iaAry 9ut vxwj 
jO ii»UpaBl( aqi ;«q x \jovn 
• i u ^ui^uud j<du; ,noqr ;uaJaj 
< iuiauui' vOr.ou ir 
sautcy 
ji ooJOAijrfV pus p5:e>.i) aaoj 
• >q ;?J.^ao« ui *w{ddns 
^a-3 e;ui f»3*iui <*> fj}M Jd)9M 
• „L : • 
41:<: 
A".!.A rtJ,T 
•"*'>" -u; -
\ 
i' lit; $o:o£u' 
joinu 
dm 
5Uir 
*«? 
«T 
ur 
so-
Analysis of aspects involved with thesis. 
jqgnos nopuA 
•pimps -i»fl 09 ^ Aoqe 
f * .Cfuo 9uu{snd pur w«oo 
j^a xyq uftq aifj u» 
;ri3(liL:o\ -Si'4 v;im. 'Xopoi 
i:.aj sopiuy -f'T 3t,"l u« v. 
_ ;i v7q iou -jt p(E« q-,o->j 
";,<3Qwe ^ uoo.ru 
iur2uT!-' Aitpi'jjnq 'ljua 
V; ci pwpi; -aa-Sao 
r—'v:w Mi.f ">'4 *w £C£; 
?•< v«»eo •>«<: n*i 
1S5Y."" oq; JO> .ucuiu nr. Sfui.{j 
>•? c»t.u :i*\v • 
V'jj:>f«i»0^4«A i.'.' ' J j ^  
) CV jr« ' jq. -p (>r;; 
.'O/O -. .\>*A 
./'i.'-cis poo«^ 
V r - r i f e . . .  y ; s  
.uO.t! \ \c, j n.vc^r 
**•';>•" -..»P'•. -I PSO ->'.r;u 
. .••.-• von. i»;: 
j~ .1 J ':• . . » ;  ; . _ W . .  
• : %  
<' »• •'• • ;• ^ t; >\ : • o*i 
'••.: •;< ?:<;•» .» „:;;t.;) 
••'- i .C;::-o 11 -.o «, »yv,'v 
IB aoao/C 
uo fjasRyy 
Dtjcw wtOS 
'JU9">£\3 ILUC1 
\P^:OLpa ^  
joqtBdM kx 
jc::b r.sxd 
ao'Jexioj. iii 
Jt A- : 
u«. •) z \o 
- ?r.|v-ji 7 
jq; 
z\r- jo i. 
•»Y,U0U! 
f "J*" 
UUi •,: 
J"'m- -
UC c 
-..•a,.> : . . 1 
. .. ..i^y Vf^ 
SYMBOL 
ahgeles 
y 
PERSONAL 
gateway 
Overwhelmed by intentions and possibilities of thesis. 
4 .«•' 
•n 
•j. i . 
; :>. 
urn, 
VJ". 
• ^ 
j.*v 
•*«. 
; ii 
cq: r )v:r 
n.'wu •'ir-xv | • 
,i 
LOS ANGELES 
SENSE 
0F PLACE 
THESIS? 
SYMBOL 
STYLE 
V GATEWAY CPITICAL 
ANALYSIS 
Thesis becoming unmanageable while still undefined. 
. u Jr •  J  
. V '.~v 
--y 
,i;-, ? - r . ± w :  ?tchr. rv.;s 
.;.;; i'V. ..•» • 
,• J CaiUst'fi ?iri 
•Wiht'J L? arthr.ucl r the preset, 
iinl « wCt-ion, iiSQ 
K*ad»juar' -rcii n 5«*u; is* general 
"3-,'ractc.' 
.v.aortsj 'he '.p.'.v !?a'.'.ir£S. to 
r«r -CT.rv. -V ?>y the prU of 0«?'o-
fj< r. .ire j .5. aO--•*~- foi' tood 
cjurlrri - ho third :pv»I. remodeled 
;jnd enlarged entries, and r'resr. 
c;otor> iod matei ir-i* in interior 
decor. new anil fc-xl 
I on.in ere jIsc p?:jv»ed. 
Smooth Is the 
Word for inside 
Wail Surfaces 
/ 3 \ 
fCRI1ICM- j J 
\ ANALYSIS ^ ^  
\ 
TiWes 
•i nr?:cr jxr^*s^j jinino • 
•va^i? c/er < oxiu-ed ones, out 
•;...y're *iv •/ ro::Dl.j finding 
a ;r. -icv ** -ai cording ;o a 
.V".V .curve" 
'n 'i po."> d--xU'*1 for thf 
, W.-.L *'R!RIH DiSti'!*!'.' 
*  v • ; M )  0 .  J ! ^ . /  
v y , i o ' i t i i !  r . - . l T V * T S  
•<•»;.! ir.t-/ : f>r .» -r.'.<jouM * 
V: •: i v:-xu r i '• •; «• 
t• ..ii cnvuo'J ;.i:? -i--- • ' f 
' r.r!*" 'V 'C«J: T"'/*s • ''j • 
. . « •  •  
•  Z l . ' r r  :  0  
u:e a' 
ultra: 
uon o 
e"ni\j 
ner o 
be ad 
\N 
J 
4s \ 
PERSONAL 
"N -
* 
Vi 
PR 
V 
OCESS 
7 . -va.; 
:-P 
n j- i t" a'. 
Analyzing appropriateness of aspects involved with thesis; disre­
garding and defining information.^ y ^  
•ri'!v to i«- I .n.n 
•j«I ""> 
' I4. 
. - r, : • u? *c3c -iS-ii) 
• • iOi^.v ? -.eg: -.vt^o 
.* '' /iiKr4*»pjti r-i' -i <iiit" 
: 'j* ;-r~; :»rrs .V utvj;, 
—i "o;- 3.:- tj'.w..*: 
: . , Tii.»r ,TU:vni..;. M;!JC 
".'4. ;«*•«•.* .tn ;c UOW 
• so- ;*ra;&v. ' ;>>rv:»q 
.. :V * ;: ,OV: /iiJ 
riv.-* r.»j inj «•?". 
-n ';. j ?;«N v'Vi 
.o ^;sT, *tJi) 
K^i cux 
.,>D.::iTS «vir,v. jieu* 
;; ,0 ini-oo ;«jou«ui 
IT'- aqi prth" uosaSUoao 
* jaAry ^p^iot-V", 9in uwjj 
...A ;o iwaupjBq wji r«q x .£iovfl 
1 i» 3ix\yj:jo Jidc: ;floqr- ;uwi} 
3uiuuu? -oivu s\mv>sn ir 
saurcy 
.-OAII*V P^S p*:r>.n #oiaq ->JOJ 
- >q f?J£»AOB UI iAijddnf 
r.<u-3 05'JU f»330Ui JO HjM J318M 
•.-<'«-i, 
O'J* :^r; 
"m.; -u; N 
. ?*.•' .'»> 
A *y»,H 
saroSu 
JOfltU 
d«n 
;*ur 
W 
ur 
ic 
• Definitive thesis. 
jqgnos uoijua • Giving thesis architectural form. 
u«t<u 
4 .Vi1 
} .<•• ; 
7n V 
. 'r-'J 
V * < ' A '. 
i IK.'Ci 
='!Cl • 
L .*»r; 
O (' rt • 4 
'>i ;iv 
IV A • 
U'l>, 
;o ^ 
•nnuv 
Viuar-; 09 -JAoqe 
* .ffuo juii(5f»d pur vw» 
?»u JQC uSJq aif; ui 
rj3<lu:oi ;J?»q V;I/A A^poi 
l=. Aj SOp4«lii V 9T,^ ^ Tit 
,?q *;oc ;T.trt •.» preii 
";/3ows uoo.r^ 
»u;^u^ .1 '.'.p-'.iny v.?.* 'ij-.UD 
.Ai ca p»t'pi; >:aa-i»o 
• : /Ai l i.,ijT>:oA0 7'4.L 
» \«»so ->o: li-j "»;nv'j<.*023i 
soY.r>i ,o> .aciOJ ;r. 3uu{j 
->..'*,ir. >ji \'xm .-•' a v. ; 
' r-jiir-.iDPjiA i.1.' ' .'j ^  
i zr-\ itj: -,P ,w:j 
> -' *o 'A ->«-•!» ?/5UUi 
1( poo^ A : 
w X" ijtM, pit.: y;s 
AO.T: •. .\C, JR-I.V.O«,R 
V;VU .-'p'. , -• PS:') -»!f!!l 
•.•» •. .. ' voti. ; 
-J**' 
::: o 1 •_ 
jy 
s v : i>m 
•.v •>'••} »yi;v 
r; v 1 --:f' 
is aoaoj i 
uc rr^nrfy 
atrj 
UWSaS UUC1 
\P^'XrUp>>V\ 
ax 
ct:?r,sid 
souexioj. tij 
at 
u-. 0 J 'iO 
- pr.^'ji / 
3^n jo 
SWUOU! 
»>T» ^J;C 
5v'?*7 OU1 V. 
Uc: :.;vfv •>' 
. *a%.j •: • . 
, ... Vj« ;> ~l 'id 
.tji-JJ'i v "* \ )! :[ 
_..,f. . r- , \ . • i.. • X. T 
..*• < .A . •*; lj 
:o; s:J'j en J ;^oi» 
LOCUS 
>*" '•• - ' _ ft . •' tf.T 
' < •  k .  i  uvij, _r»< 
- ,-vooi -y-S'j1'. ; 
' - ~ : .'.£\\ ..OA'.i'vl • -t : 
' ? 'M-xdc :i i-iMUi 
- us *C3P iS-V? ^ti8 r^r; 
• . ' S '  w.n ? ieu: '-'Puzo 
V1 T^'-; ZXJX -US*. 
: 'r yst: rsnr? ;«»rpe-'ft' %"li! s 
j-»«" ) 3-j 
• ...v Ttu* rrur.mpu. MC'cC 
i"Y. 40*'?/* Ur. ?t ;aM j.{- ;c ,5^ 'kstm~' 
_-c >wrrj.5 
n^ .' r,»j ;::jv \v,ai iv.j 
•rr} ' A 
. J^W:}* .0 KiO i^OUJ 4*»jp 
: Xii c: .HB}J osje a'^<7 ^ 
M *»** 
;>i3J7.a» imu 
,.V:tr ^f} ;i ;o ;o»»aoo ^jssumt tsydfu 
"~
w2iq *11 «q pw ao»a*»9 
.* \»Ary ^WJOIOO aifj UJOXJ jocnu 
' * jo ®tfj sq o\ .Cfvrjl d« 
11 JHn^uup j«n ;noq5 jUM»f >«* 
p"> Sujyu'ire J3ruxi rjuspcttj JT 
»u«l 
. uaAn< ?3* *ufaq »tr 
*} rrjgA^a s» Mfltirfrrt up 
"W* om pwmu ** fjjj* .*»*«* wo> 
jqSnos aopuA 
•putr-'; iPHli*! 09 ^Aoq» T* *>JO/ f 
">l * *Tuo tuapnd pert w*c uo 
*)c ujtq ui 
;j)<{ r;; IM *A»p<Tl 
A: so(^UV «nr; *T- U» 
4::;s ;>q ;oc •»{ pre, 
^ uoo.*a 
a uptianu "!jiV3 
. Cl p^t'pc CSW1U7:1 '33^90 
.vu.i 4J2i:u.:oA0 rjj. i£i> 
* '>'• ii'i 5;ni»:jr>..ui3T 
!»•*"! <>'4; a*o> .ucudj >M': SulO 
• jar. >'j \»L.U •;*:«»; v-.. * 
i.V .^'vi ^ 
•"• iJ|wKi; j jr*> iq> 'p t>r:; 
'fDtfO •j.'Jr'A ->3.mV J/aCUi^J. 
,, pOOj a : 
r •'*" rr.il.. rit^ o ;s 
-»o.:! •-v:r,.?«5 .\"a s.ra.«*Osf 
•*.';;<-u •••>p';-; 
von.;.»;: 
• j • j '*':.•*•*. ; ;. >fM 
ri,l ; ;4-
• ~ h v : V • o*i 
cvu uh«*:;uij.? 
uo *3;«9wy 1icrj ?. 
«*'•*• '•* J*rr: * ;,;»j .?r; * ,-ir -r- , 
"The locus is a relationship between a certain specific location and 
the buildings that are in it. It is at once singular and universal."15 
I have chosen six realms as location for the created architecture of 
this thesis study: 
• World 
• West Coast of the United States 
• Los Angeles 
• Downtown Los Angeles 
• The Locale 
• Specific Site 
'.l 
3qcr,j Mr; 
tartsas uua 
VPV^SrU 
idlfrsa* KX. 
eusxMKf 
S0U8J40X 
31 89 I ' 
U-. !} z UO 
- pnj>ui / 
av,-; w 
9\r jc 
VOUOU! 
*r/1** 
S-::^ OU-' •; 
uc u.v.rt r 
;t ) 
3 *1 *l~ ? »! U^ OV- v; > •»/: ,• 
J » 4w 
un>L 
* ^  
I - «*. 
All realms interrelate and are influenced by one another; they ar^ 
. 
all elements of the universal. ^ 
: put 
WTO • 
a .t; 
d»ai4 
^>1 IK 
•OA -
U*i . 
;o x 
"One can say that the city itself is the collective memory of its"10 
people, and like memory it is associated with objects and places^J 
The city is the locus of the collective memory (of the people, archi­
tecture, history, events, etc. of the city). This relationship between^. 
. ;u 
the locus and citizenry then becomes the city's predominant imaged/ 
 ^in. 
both of architecture and of landscape, and as certain artifacts Jl 
become part of its memory, new ones emerge. In this entirely'y 
positive sense, great ideas flow through the history of the city an^^c 
give shape to it." 16 i#"! 
A • • 
' ij 
r» 
To express the universal qualities of this thesis and all architecture, ;^ 
substitute the realms defined in place of "city" in the preceding 
quote. 
" • 'V • • •••' a >w: «=•*•. ri i\j 
-jC. /itQi oi.i.JMi *f»:*ujr*'4 -A:punt 
PftA f1*'- 'jr **-'l .•?; j ;3ro\ 
•• -- . .« !. 
••' \ 
MT. 
I believe that in gaining a greater understanding of Jocus and the r~ 
\ i collective memory as it relates to a created architecture improves 
; ; ' the potential for creating an acceptable social architecture and the 
communication through architecture. 
r»>x niii i  Mdii 
Gvts Freshening 
...» 
i.. jn ji :• 
;
, • • : '  Thv t ~'.'JC': • «-»uar*-fco sea • 
•r.oi: '"id vy th-.-
.'tahr» -*o.. *vj* 
.out 3"-. Th!/" .4 -'-3 
~!v >-sh'.V.£-" tsej Cailison Part 
•Wship 15 architect *cr the prsjecu 
in«l day le y ronatfvjction. aisp 
n.,adt{uaf,ufcd :n S*s»iUe. i£ general 
- on trade.' 
Amorg 'he new !cacures, dwe to 
?>#• ccTn,-. xi r>y the end of Oc'o-
brr. jre i 5. jOO- - fcof. food 
court :ti ho third irvel. remodeled 
and enlarge entrcs, and fresfi 
colon and materisii in interior 
decor. Several new nr.rn and f*>xl 
tenants c»re jIsc p?.uv»ed. 
Smooth Is the 
Word for inside 
Wail Surfaces 
p < >  
•f 
Th 
0"f)Gdt 
!i:w.r-
rr.<*rt<. 
ute a> 
tho>" 
ultra; 
Wit 
t.ion o 
the C 
enaxa 
ner o 
the ft 
be ad 
that 
WORLD 
Population: 
. 1960 3,049,000,000 
. 1980 4,473,000,000 
. 1987 5,055,000,000 
% 
A 'world city' is a city which possesses characteristics or elements,^ 
which influence the world: trade, government, financial, immigration,,^ 
•> r. 
i S-culture, etc. 
Los Angeles has become a world city through many resources: 
movie industry, manufacturing, cultural identity, amusement, and 
immigration (as well as migration). 
] 
H-s:rv.' prticr jmo-.tb 
-va1!1? *.ver To\:u"€-»t ones, but 
•itjy'r<j .'•/ rO'.-'DiO" finding 
. ... .,
€ V - #rt>v;t it cordin* ;-j a 
.v".v .5i;r»o" 
'n ^ po.* --.rdixted for '.hf 
V.' 'A *'r!ri(.7 . -
», >.-«J I'.v. i;-, . 7;*! o. 2*^0 
/ >;t.r« •; io'i: i:! r.si .tc 'rv:«s 
v.u! ir;«v »>r \ • *"" * 
»'•: ' -,r: •: \ rx:i r • ' ' •; •' 
. ;"•» "7* C?Vi "'O'l ' -•••'! . ' f 
• .*( ••• T. t-'rci'Cii: 'i > . " J C'« 
'  • : : *  • »  '  < •  '  
- oi.**:- .• ' • >  
r :rre.< t . .•»*>• i .  . i i  
.•« .;rr.-w*n -va.;?. :t pa-* «,•**? 
i:.r • te.».t :re -j» cl;c.*.j:er :.Oc»r* 
^ ^ 5»f i ms ov'-niy to 
v.-a..» i -r.oo'.h 3».r'.ic*. '.he -'orvey 
o. 
if; 
v 
ck 
"Mayor Tom Bradley launched the design in February for a 
monument to welcome newcomers from around the world to U.S. 
shores. . ." 17 
"Immigrants from all over change the beat, bob, and character of 
Los Angeles. 18 & 
... cr v »r rc r ic **:• 
;va. •••••:'; J-;:.o ' rr..v Ha 
U-a nt.n 'c restart:• 
the fitiC'.ulc •'jt* '.v ;i_ii. 
'•i4r 
«V*M V «•' *'•* 
1 r* 
\ • -i rcAr 
SI.75 JUNE T3,1983 
»' * • 1 o J 
'."J. 
•"* "• i'.i-W . - G i.' • ! 
- ? -^cd :^ szMT't 
-. ; • AJ^-.ls 'c5e squiou oi-m 
- .ISM:.- iai*».Kv ? tein 
—S* C MjM-.TS&Jd T-iri'Vi COiJfC 
• . : *r 7»sf; nspnr C^rpc-ft 
• i13^!.v t.r*^ 
•••»., ••;•..V'f.•«'••;-i.-; 3U' 
*••.; • ,< mif ran*nptii #.c>ac 
•*!<. ^:r.M In «;9« j-.,; ;c i?oj< 
.j'ujr'jon asn?coq 
• 2.-A J* 
.r;»a "".JO ;V»UI ,\liJ 
•rq * vi?;«A •; j jvi 
>>:nor .o :tiO iiie.*. ;uoui *«jp 
I u- c: ns.J -x\i 
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4vifa« jmii 
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„ ^urjfuup jwqi ;noq? l«w>j 
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'»vn( 
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wr 
up 
to 
jq§nos oopuA 
•put^u: -*wfi ny 09 ^ Aoqt 
p.H * ffuc tuajaxi par woo 
•j~"»u joc qf»t{ u> Suv^cq 
rjo<i^;oi V;IM A^poi 
^ \op*uy ^ ^T- u' vstti^v. 
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< A'.rp ujnu '^.UD 
1 p^rpl; >:33JJW 
.•,-jvi *u.i i ^i'C-roAO i,Cfc; 
'v^so .?i4: ii'j );nv'jx.uj3i 
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Jf. i'} r.'i.v . i' yi v . : 
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pooJ A.)i/i 
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• ..j .Cr«•*•*• o '•::•-•••. ."»; ;. )f.. 
5-^ .v ; 
•: :r. v» V : «; :. O'J 
:vu .jtfuuj: uh^tjuw.) 
A .Crr-.o-'x uo 
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PEP fx^UAfe-
re aoao; f 
uo Tr^STjy 
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31 89 1 
U*. !} J UO 
- pf,.p*Jl / 
5U" JO 
't-V»U0U! 
•»T» t ^  1 
uu, .. 
J , U*.' * * 
UC u.v.ri: r 
'.. "Avfj ;«• j . _ 
3~.[ *t!l ? *1 JU^iTi" 4."L! *•?: 
(;iojd ;?i,f sq: jr 
.--.V T... ,«-•.: •; v^TTtc- * ... 
^ '••-±kh 
^,r •- -^V'- • ^ -. '.;•••<« ,.'/. ' .. ..' 
DFP£L 734E^ 
ffi f 1 
LI 
1 
)1-T —. 
M 
' ^ -» * "*k'< ^ • A M ' 
/i«C! -^-punii 
A*r» .'>• s.w;r'»\ j ;sio'. :»a-r.. .,i 
Forest Fires Erupt in Israel; Linked to Uprising 
4 Arab Suspects Held; Officials Blame Palcstinl"- 4 Many of Iila/es 
& WORLD T *  H w.Sirkn 
l-. * i*omriui 
Urt 
i>i*i 
/.mx I hitfh irf 
J'AJ Pak'nlmtam 4iiH l« 
*v«- Imtii kiliol sutre I 
A(4i> m] 
Ittrtrx thai l*raH r^Muri; 
"
s MtdiH*' tUM war. 
tlh' I'jU-Ml.h I 
hu« a* "^i M. I U<* 
w J 
U h  
MUIXI 
icmm 
twtirrui -
i Mtfi 
•*.»*.! V- *» 
jWW«*. « -
fc 4 ****4 r'?0— i  
tCa«a *. 
V.-*2 
crowd trying u> atop 
iMvtMtK a 17-jrtMr-tiW 
in Cmu. an Arii n-jHrW-r) 
jrmr kmI a wa* rtxrfcY 
r«i»»rt 
KiivfitfhUTs ha»v liUimsl I'A 
'Let's say (the Arab 
summit] wHl deckle 
that Israel has to 
return all the 
territory's,' Peres said. 
*l)oes that obligate 
Isnid? It is childish 
talk, all this issue.' 
umuii mil>Uim.s f<x -wiintc n.H»rc 
than hsitf the fire* lh..i h.ivr iuv-
•iK^I least Ti.OOu i>( fi*vxtx 
•umI farms *u>rr early Mas 
••I Ativrl of On- V»i\h N.i-
' • «>li 
«Mr W<m Hankarfcuulil 
hi JcfMsalrm. msiMH 
Muracy (ur MwUarali A> 
Ar^b-AmmciM a»lvurjle 
U^henre, u«t A wail 
ly must r1Ux\* u> tlcpurl 
-u-s^tiw t auri fJi " 
i outer was 
I inklruxM Sat unlay. 
rcfuaeii to >w»y 
Ibrrff^urW. 
timan lawyer. Jon-
mil wnh A wail fur 
rtfcHes Saturday 
Yitz-hak Sfu:nir 
Aw*I ikportnl MI May. 
he tfc'ifM*! iintv the Aral) 
'Awjd, 4-1. has >u;'l he *uppurts 
»vil fk>oiirO« m i' .itfjiu-a Iwjel but 
to viuhiH fornix of 
««•*! Thf Jerusalem l*>rn Aw.kI 
,i I'S riiixmi tlurinft a 
jU.iv hi tl»r I wleil State* 
lwt returned tn l*ra»l m IUK1 lu 
fount! the Center fur the Study of 
Nonviolence 
Curlew ImfMtl 
Ui other UeyjjutMnents. Hie-nemr 
ant*»od a nirfi1* on u (i^tru t of 
Coxa City in tlv CJZ.I 
Strip ai*1 oriliTiil J,ram Ar.<t>. 
to rnx.ul t<» Jrcj Mhuol 
^irpnx' Hk'otiu ihK miii'iii 
j military Min i' #.inl 
*' *• K«- h f.mtt 
my 
m 1 
31 A« « h | ^ 
» > » » »  
M i n i  
tuot 
w i : «  * v  .  
HI . I 
*•  V.  
WORLD CITIES 7& 
rnci 
mccjut 
WORLD ICONS 5T 
IMMIGRATION 
I M Hi 
»« 
MJ££ , 
Custom-rTMde mean* 
more than his initials on his dress shirt 
'
r j | > r  
tu 
ITTICME 
EClA. 
I5 M c:^sarnsor^ 
25% -50 
All 0 Samson 
25%-SO 
OSAMS0NITE 
WORLD S CREATES" 
GAAMENT BAG 
U'SItfl 
REG 19b I 
SALE 
e n r  
»"" « ' l 'w J 
i  ' .  . . .  
f
. r„i.; 5> ;v-.i 
•» • ..OiC^wC'J 
- ? 'ttSCdt ;DA7*'f 
t ;•• A|j.",us 'cafe snniciu oi-to 
to, iai*,* ? tern 
"AH •>*:: ^iiinwwdw.jie 
. : T 7»sf; rsnrt 
'"i ;c  ^<5-i-  ^ L>\/ 
•-». 3  ^' 
«" •? •• •4-" ,< .m» ^ uivnpui 
"?i'» ir: <»;jm ;c 
-XUKTuon j .c asr -rroq 
-a.:.'. :u.-n>*j J* 
' .T.oi iytj -Mr. 
"TO ' vir /^t VMr'.Li: j uffv? JVI 
'*:nr,r .o :(«o .woui *«jp 
; Aii c: lis;J osje <f^ <r sqj, 
«K%1 
:>>ar.os jsav.u jtnu 
,A:u- ;ft ;o iu«iuoo pleural 
nqJSiq »qi **q p«r aosaJLoa )^ 
J * 'JSAry npvjojo  ^ uxuj 
< . p Mw/pjwxf Hp »qo: .(pr* 
i Jupfuup jwqi jnoqs iu*»j 
>D tfuwiAu* xonoo nuaptnj jr 
*nvn( 
i 'OA f^p pa* p©:ra  ^9ufaq *jof 
 ^^ tOAJavaa S 121 «H|<Sdn3 
un*oca ejm pwmu tjim &\tA 
... >T - f. T 
•uV'J, ,5>; 
* • *C : * .I'm 
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PUB '»r; 
MI.MU3 
vL "^*" 
c»w: %-ui s 
;ptn •.•#.• 
B3J0gu 
JMRU 
dW * 
Mr 
W 
•*T 
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ur 
ao> 
jqSnos uoijua 
x*i{i nq 09 3Aoq» 
li»T t -Cfuc #UH(««d pen? vm 
*—-'»u arjc qfcq axf, a« Jfc-j^ Aoq 
•I :j)'4 V;IA A9poi 
i ^  sop^uv *"•" iir. U' V50L.TY. 
aq ;oc ;^ :.* •;! p(t» -^,cy 
";,9QWB ^  ^UOO.TU \ii2\}».s .ii'.p-uunu » ;^ja Mjsua 
.[ . p i^^ c .-aa-i^ o 
ar?w ¥ki i i^ iruroAO ;ct: 
_L^« ->u: ii' }  5;n :^j>;Jaiai 
w*.r>i JO> .ucudJ >i.;: Jfuu i^ 
Jf- f1* ;{i<:S '••••1 
i V . ' . *  j  gQ'w^oa iq: -.p .ooy 
o^p j:^ «A .vSuM '^ao^^x 
pooJ Aus-'i 
*;•? rr.&.. -pita o-;s 
uou! A*q s.ra^o^r 
«T '*,';;*"u '..*p';.; si.r.Zi") 
•-' . ">.«•' '.'ori. ;.»;;• 
'"-J .•»; 
•. • ;4" j i»«.'i<i'vvi i. T. h'! >i V 7 .< t. O'J 
1 '-'« ?'',n uv.^ :;uoi 
4. .Cjrr-?3-<  ^uo j*a a3v;v *?n 
1 U '. w 
WEST COAST 
Entitled the West Coast Gateway, the intent of the project is not to 
single out Los Angeles as the sole destination of immigrants to the 
U.S. 
Other cities which have a diverse culture due to immigration to 
west coast are: 
• Seattle 
• San Francisco 
• San Diego 
the 
ft 0/ i 
uc r^nriy 
*ri 
•jwsas uutr 
Jdlj-IWA Jir 
ciivngu* 
soueajoj, ej 
M 89 l ' 2\M <-
U* !) Z UO 
- pnpui / 
u:r 
ain jc -~ 
'VOUOU! 
*r, 
air 
uc l; .v.ro -r 
U.HviJ ;t J « 
3.--I j*n V .«! liiOV1 S'.L.! v: •!, 
?:" irsa 5t^  it a:Ji 
.-?/• -r„..cu :•) .^jirrnp ^ ..J..:.~ 
rtp^pie 
V 
»>'.! •«? v.".,A >vl i<*r . * ; kjj 
/;i^ ! .^ pun  ^
T.'^ A'^ S .•?; S.V0 ;"'<A J IS'JDV 
t«ilt 
v, v 
i U ; 
;v.3 h t »«.»., 
^a-r. 
« 
J  T ' :  5 .  k  |  4 '  
*-ox nil is Man 
^ I M9 •» 
vjvii f i 3 ;hPTV,n€' 
**- '-^ *5 
<-x 
:r-
i..\>n jt .•' 
Thv square - fee : .nc-:i • 
,i'!.«!., ,wri*d •-•Md rrani#?'- jv >h«-
CaSCi 'iahr» ' "o.. *V Jh 
.'rat .n fhi/* U fir^t major 
- u. 
7r:»- Seattle-o.wea Calltsen Pan 
>*rshio L? arckiisct *tr the project, 
and Ba>ie> nit."uCtton, aiso 
-noadtjuar^rcd n Sr^Ue. w general 
•xilractc.* 
Araorg 'he new tea'.ures. di:e to 
hf cct:o.-. -.v? r»v the pr.d of 0«?'o-
•x r. are j rood 
rjurt : ri 'he third ipvei. renxxleied 
jnd enlarge entries, and ire*n 
c.olor> and mateiisi* in interior 
deevr. S*v*ra» new jtor-?-* and fcxl 
tenants ore also p.».:<v»ec. 
Smooth Is the 
Word for Inside 
Watt Surfaces 
; ;••*»•••? ;>r?tcr irr.o-V.b 
-va^!? over !o\:u-t<t anes. out 
•
;!-y'r«e c\v ;w ro;;Dl«r finding 
:•• -le v - n corning t-a a 
.'•••.v .jiirvc--
' n  ' i  * n . '  " - . r d x U ' d  f  ; r  ' h e  
>• • S\ •'.••/* »":<%"• DiSl. 'S .-
'•••„' ': • 7t! 
;o so'i'.i:! r.d •'. tc 
'.u;! f-°r * 
• i f: •". 1 "f• X:l •< >'• 
~ ';*.•* "rv-.it cnt/nvi :v? . • r 
v-.t ••• «r. r•:.'<•! co: T-.v- .--J o • 
>. -...votr .. : •: •' '• •:,r. 
0 
(V 
'V 
Cl-' 
• ? 
E 
6AM FtMUteO 
*;»• -.. - - v^r-' r"i —•  - * •  
ciens., 
ute a' 
thOi-'v" ' 
uJtiai1 
ena.o 
the fi 
ad 
'EI 
.»i<3 
'» r.» ? 
' 3*> 
E 
::.\ "c .Jrr.oti i pi"* !,••»? -JU. o 
ar;r; v.»in te.-.t ;~e .j> clto.'.per ih«.n 
. •"»< *..><» feiin.^ ov'fniy to 
.-.••a.:' i -jr.o j.h 3urf.ic*. 'he survey 
"••i! v.r»v#»r ih- .ii2K;rilv of 
•i • 
'j u" 0;iiisX:0 • '.rT.>. rlii 
;fUsui!..o;-.j U I nun «c rr^arcn • 
the rationale ic? '.vii^r. 
rw»r#i f * •.* & •>. ?*#** n-% 
£4Y'  
?r* n v«f ' V" H( »r5 n ( 
fccmpf 
lWn«ti*i 
>hiw nf 
(Lriir 
*??*•. 
ihr thml 
nit l\ lh« 
WtlHV % 
•drUr»«r Jtwl 
ticniCn^p 
v^ii fur 
f 
iM 
H 
mew 
m mlMiii 
mdli llr 
umimuIIIMK 
I*. 
nuyiH-
ur ihnMiith 
rtirtU A«i 
ir# III iht 
H»r .11*« I hi-% 
InriTti' ill 
fov»«It fill 
r-i»v • K*)»ir 
ULI JFLLVI 
ith «!»• 
I * Iv*»l|lH 
rrruxHn.il 
73 Pi 
WEST COAST 
1AMKNI4I 
tint. J>4m K Vj« A- KJM* V» 4 
porfirw lli- h-» II '• wBiHfl ai fc" 
Uank W 4 |»«Wr 
I k»n W (M W*» Bui 
uifkr 4 Mr* U». he ««U W 
jdirr Jmu I huM. >«r«# 
M* * "M I ka4 rjwy.lKtM I* 
I rarv. 
fXiMUTatr »Ui*twy **** 
alone. IH4i(M'WiMi afMwul 
have aiMrrrh**! a*** 
(KltlllJ
iW I) 
ill wnii 
(hi- Vl* 
IIHKXHW IRF JUTLAB IN LU«A^I• • IN- 1 
ILMCINKLT *N •••... • HI- I 
« |I, ^ >4 WI^I.. V ., A: J LI *.I j 
• Il\ ll» •• >• • «•• I'M"! | 
>ta\.  l tw"> K.<\• !••  •••Ml l lnir  i  
IHIHII raiMlil? all  •••• ' I  a^ALLL l i t  
January ih»- IIMII ^i»iftn-»l ii* ;  
IliraMiMI Ihl* 4MHHHI' iif Mum V IH«'\ 
IAMA«YV|»T 
Th«\ r.iMm thill •••» mt»«r% a I 
rv.nlv INLHHIIL I-> )*• < I*H-IRF mattv 
rHuitfr< «riMn;hi li. I'n^iitlum 
7.1. u r.ini|<.ii|tii Imam •' 
,HIH(MITI  I•% \•»«••»* wllo 
WITI* H'.MIV til IIVt '1 (L.lll1 i •* stllll IH 
i < iH»irrt>nii.Hr- that 
i.fifii Livureil wealth* jHi t.il ill 
UTeSt fHHIftS 
Ch«H<i«U Ihr Hulf* 
Wllt^hel IVofMIKllMHI /.'I .Hilull* 
rnlin-ei s)dt*wl tiilerest HIIIim-wi' 
i lo U- SIVII 
III like IIHHI«ill.ll' lillUI'e, the 
milt.itivi' could alter lh«- ilyn.iMiM-k 
ti( the 14* Angeles m.iwral race sel 
fir IM-XI April L>> «h.(I»»:inn the 
rules (tie (unit raising in iniilsti v.nn 
ll .llsil CIHlltl IWlxlttCI' CX|M'IISIVe 
' races thisjall .ispoliti-
•ml ihr money tliey 
' 11*1 lull". 
NyANIMMl 
WAftitlNflTOM -\TW 
Hwv «f » "K 
ty*m 
MMW <1* turn 4 
ran MM# Ul 
f^iifi * llM nMtnwt 
MMTC t^tHMdtV HMHAM in  -  — —  
tr^ituM i•MMMtr*. « nrwVemin*- ISfnu*«i 
MUMI atwly h* *»u k»irtL othr« 1 
K%»«M tt (hp w^ckrM •» - "?*. 
jMitmtl •» rrHf*t Hfit Im MM i 
iHoii V. mi .i'. i «4 Huvhi mi» 
-an- < .MI I »• ••1 m t 4M|4I- ••( 
<K li wl.lt»: H.1.1 4 llllMli >1 IMMM«-t 'J 
im -tb Mn* iM«<l IMI. ' ,i\ 
t«ilH> ll'Jl lll|l AhH't I 4lt illn-» 
*h.ilU uh|iriili*t it'tl ihi' 
(t.«M llMii' trtljlilfl 
, i \mirt-U 
IV U«<i NM^il# ileftar 
; *\»|| III l» UhlkMknl IM * at h* 
; m i JMMIM j» hi«'»e. wWh *x>umi>4Ui>j 
4J fiMHlum Itul Wtfl Ml* U-fi.Mli 
IHI«H*! thi' »*rite ' vj-Vii 
Mthei 
txiiy |M'« *4 fto* 
tiUt llM* iHiUHl li 
a -*i - «ul iKii ' 
I' 
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tr. it it**1 HI Mt|{ «*U- t trtfc 14 
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IMMIGRATION 
LOCATION CHARACTERISTICS 
i» f«ir all 
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PN.IN TILL WY HM* I' 
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Problems 4if Ruling Party 
Shadow Mexico Candidate I 
i ll\ MAN Wil l ! A>* ,4iul MMIJIJUIKMII.I.KH. MM// U'ljii f. 
M K \ H  ( I  I  I  I  .  
utiffltHk Willi II. 
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LOS ANGELES 
• 1980 2,966,850 inhabitants 
. 1987 
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• 1980 1,842,050 White 
504,301 Black 
19,296 American Indian 
206,536 Asian 
815,304 Hispanic 
In 1980, 23.3% of Los Angeles' population was foreign-born. 
19 
"Los Angeles is home to one of the largest Spanish-speaking constit­
uencies in the Western Hemisphere outside of Mexico City."20 
"I felt Los Angeles is the closest to the truth. It's a startling truth 
if you define truth as I define it, as being anything that happens 
weather you like it or not. It's a manifestation of what's possible. 
Therefore, it's the truth. First you must begin. It's a revealing 
n xmoj i 
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cinjjTutf truth." - Louis Kahn, 1972 
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If you were to ask me what Los Angeles is or to describe it, I would 
smile and invite you to visit it for some time with all senses open. 
Like most cities, it cannot be put into words nor captured in photo­
graphs. 
"Los Angeles is not so much a city as it is an event." jr.,*. -lo uc li.v.rc-
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r 
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Los Angeles' population is exceeded by only four other states (not 
including California). 
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21 
"[Los Angeles is] the most American of all American cities." 
Los Angeles produces nearly half of the California economy. 
Greater Los Angeles encompasses over 40,000 square miles. 22 
There are 6,200 people per square mile in Los Angeles as compared 
to 15,000 in Chicago. 23 
Los Angeles is considered the prototype for future cities. 24 
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"The present sprawling Los Angeles megalopolis was created by * 
?TO 
75 years of growth that was one of the greatest population migra-j * 
25 tions in the history of mankind." ->} i 
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wn< 
•not 
"For 5000 years the smartest, freest, most creative, anarchic, innova­
tive, best-looking, restless people on the planet have been migratinc^J 
west along the genetic runway - from Egypt, Persia to Athens, 
Alexandria to Rome, Paris, London, Boston, New York, and here j: 
• i1* 
now on the Pacific Rim, the human imagination is organization itself ,^ 
for the next big evolutionary lurch." - Timothy Leary 
o 
v 
"What happens here happens five years before anywhere else in the  ^
country." - Harlan Ellison, 1980 
+mu 
i ^ . 
"A trip through a sewer in a glass-bottom boat." - Wilson Mllzner 
UC r 
it J . 
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':b.\ n sj^  -.T'tx j ;3iov 3viT. 
Los Angeles has more licensed Rolls Royces than any other city. 
r ' A total of 70,000 kids are estimated to be involved in L.A. street 
27 gangs in 1988. 
Los Angeles averages a death a day from gang violence. 28 
V\ Hills Man 
Pr>\hpo;no 
"• •-* - -jf •' u.'[: '••it' 
T'v • ^ ~ •.•Jf: • .«qaar«? - ?r.o .D- -'i • 
«. v.oi. '«»vi Tinitf?*" -y *.hr Mann :*o.. 'vis. 
.•nit ,r. i"-- f'V;" .13 ^ajc." 
7!v r- i^U'e-OAse-J Cailison Part 
-^rihiG Li architect <cr the pr*}*cu 
dini cia>;e> —instruction, iJsq 
icadquar* ^rcd n i£ Keneral 
-xitractc." A room; 'he new roa'.um. due to 
V -rn.-_ .hi r»y the pnd oi Oc'o-
•jrr. arc i 3. -jC-O - square - fcol food 
cjurl !-ri 'ho ;hird >vel. reroodeied jna •»nlarg«: "ntrcs, and fresr. 
colon aod materi&is in interior 
<!ec;r. rew jtr:r:s and fv>xt 
tenants 3re a lac p?.:r.f»ed. 
Smooth Is the 
Word for inside 
Wail Surfaces 
ii-irrst; . nr^fcr invK.'.b 
va*!? ;an«3, out 
• ,w ro::oUr finding 
:?* !e'v - ic corning la .1 
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In 1985, 857 homicides were reported in the city of Los Angeles. 29 
Between January and June of 1988, 30,000 robberies and assaults 
, 30 
were reported. 
In 1987, 50 shootings were reported on the Los Angeles freeways, > -
31 
resulting in 5 deaths. „ am 
i r. 
i. 5-
Los Angeles has over 4 million registered automobiles producing-*-
108 million pounds of carbon dioxide a day. 
In Los Angeles, over 36 million tons of garbage are thrown away 
32 f? each year. 
There are 32,000 people employed in movie and television produc­
tion. 33 
There are 582 million-dollar corporations in Los Angeles. 34 
In 1977, 21 industries had sales and revenues in excess of $1 billion. 
$36 billion is being spent on a subway and life-rail system for Los 
Angeles and surrounding communities. 36 
r*r-' 
35 
?r. a .t. rc "* j .  J •  . r r . s .  :iis 
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ading, 
a.nd 
tion. The ! 
•^sicffc-its wen 
wa shoj 
5rar)hic ia 
"»». tT,e rest 
- iJifornia w. 
Sepulveda Boulevard is 30.8 miles long: 37 
Los Angeles epitomizes the American culture. 
health 
li has not 
strong. In 
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l i .o.ith cue 
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ships for iev 
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ira did not ev 
TL? -se \n 
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however, anc 
1888 they 
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HRustnes 
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ii i'ves In >' n . 
iRPKJpei'ti'iS, 
f iWei ioJi .  
"I am a foresighted man. I believe that Los Angeles is destined to 
become the most important city in this country, if not the world. It 
can extend in any direction as far as you like; its front door opens 
on the Pacific, the ocean of the future. The Atlantic is the ocean 
of the past. Europe can supply her own wants; we shall supply the 
wants of Asia. There is nothing that cannot be made and few things 
will not grow in Southern California. It has the finest climate in the 
world. These are the reasons for its growth." 
- Henry E. Huntington, 1912 
Until 1957 a 13-story height limitation was enforced. 
Frank Gehry 
Charles Moore 
Helmet Jahn 
L.M. Pei 
Arata Isozaki 
Caesar Pelli 
Arthur Erickson 
Richard Meier 
Morphesis Site 
Eric Owen Moss 
Bruce Goff 
Kisho Kurokawa 
Kahn Peterson Fox 
Philip Johnson 
Skidmore, Owings & Merrill 
Michael Graves 
Frank Lloyd Wright 
Greene & Greene 
R.M. Schindler 
Richard Neutra 
are prominent architects who shaped the Los Angeles environment. 
"What sacrifice, at what price can the city be born?" 
- Jim Morrison 
| continuing role as p tr*rv r« - rroc^rr&'Vnf-
td small business, is sgflj^ n Jenefer'i Bar & Grill, 
S*" 'CAWAWDO 
m++k>H 
NORTHR I DC E 
4 ' V 
BUIIMK \ CLf MOAL« 
WOODLAND HILLS 
IHRNAK OAKS /c|4iTE> EAGLE ROCK 
unrm. 
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FREEWAY 
LIGHT RAIL - - -
METRO RAIL 
DISTRICTS 
.•tAC» 
DOWNTOWN 
"The streets are crowded and active by day, often deserted at night." 
"Over 210,000 workers commute to downtown every day, and daily 
40 traffic is more than 350,000 cars." 
«»•- I T I « J V | ' ^ 
r < > \  rill IS M a l i  
Gets Freshening 
V. rsc • - •. -i •• '• 
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>>rsbio U arehitcct *cr Ute prr.jeci, 
in«l 'cJa>i<« ^.instruction, aisp 
it'adquar1 i*fcd n S^atUe. ii general 
"ontraclc.* 
.\iiiorg 'tie new !?a'.ares. due to 
rv TCT.n.-. x! r»y the Pftd of Oc'o-
orr. are a i. >\j-'s<jua:"*-fool »ood 
court !Ti *h« third yv-I. renxxleled 
and enlarge entrcs. and rresr. 
color* iod materia:* in interior 
tteror rew >tnr?> and fc-xl 
lcnar'3 >«re jlac p'UViec. 
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Word for inside 
Wail Surfaces 
ji".:n<; ; *)r-:cr srrvK.'.b 
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. '..w jeitn.? evvniy to 
v .j.,' i -r.c-j.h 3i«r'.ic*. "he survey 
"The resident population downtown declined to below 20,000, but 
is slowly increasing." 41 
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DISTRICTS 
NODES 
PEDESTRIAN AREAS 
DOWNTOWN 
'/ . • i 
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LANDMARKS f] 
VEHICLE 
METRO RAIL 
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"Despite the myth that Los Angeles has no center, there has always 
been a downtown L.A. Since the founding of the city on September 
4,1781, the central urban core has remained close to its origin near 
Olvera Street. Around the Civic Center are remains and traces of' 
42 
all stages in the city's development." 
-:o :j "Across the Hollywood Freeway is one of the strongest elements of 
all, the nodal center of the Plaza-Olvera Street. Not only is this small -- ' 
spot visually very distinct, but it is the only true historical anchor- "• 
point in the city and seems to generate a fierce attachments-
Through this same general area, however, between Union Depot anrf*' 
the Civic Center, subjects had great difficulty in picking their wayi 
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They felt that the grid [street grid] had deserted them, and theyo^u 
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were unsure where the known streets struck into this amorphous  ^. 
* ^  
zone. M <>) UO 
to/C •; 
UH| i. 
"The [Hollywood] freeway is a sunken barrier. In their task o^*', 
walking from union Depot to 7th Street, the relief with which most _  ^
subjects greeted the appearance of 1 st Street was almost audible!*— * 
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APPOINTMENT 
•**+}>' Ad*«rUs«d prices good through Saturday. 4nn» 18. 
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,. "J:JCIS pooJ Aii '^i s-:r^ ov 
I believe a harmonious duality of a created place and a symbolism 
of the ideals which constitute the place is important in the created k 
architecture. 
". . . where does the singularity of an urban artifact begin? In its' 
form, its function, its memory, or in something else again? He can •<> 
;'J.+ 
now answer that it begins in the event [place for event] and in the -
45 ?. 
sign [symbol] that has marked the event." 
". . . an interpretation of symbolic architecture in these terms can/. 
architecture in these terms can inform all architecture; it creates an;-
association between the event and its sign. 46 
US' 
4 " 
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'•6 
.'i* JKl 
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FTC 
a r 
d?a 
M s 
In this particular study of the creation of an ideal an event wasox 
un\ 
developed. The means for establishing this event were derived from 
•no 
the need (as interpreted by me) to generate a greater social and 
community relationship and understanding. I believe that in provid-^J 
ing information and sharing ideals, values, and concerns of our 
culture, community and environment will enhance our understanding^ 
j,* 
of self relative to others, and thus improve conditions for all. This* L 
is the event. 
The enhancement of conditions as well as understanding of com­
munity in my opinion is a social concern, and must be expressed 
through a socially acceptable architecture. 
,.»C, 
0 
'.'tU 
The created place will facilitate the experience of the established 
event by providing an appropriate environment which itself will 
enhance the human experience. 
r o x  n i l  i s  M a n  
Gets Freshening 
V« «•'< - % -„r a 
/' i •' 
• -t • ...v. 
Ts.v ^ - •.'JtX: • square - fco* o • 
<ii •».«;. wn*d »od rrons^er vy tnv 
'^•-V>cjuse^ Hahr» -*•}.. 
/nit .r» iTi. T!w :J :U fir*t jnajf,.-
:r;f >ia:tte-tvi8W Cailiscn Part L? architect fcr the prcject. 
an<i dayie> '"j retraction. aiso 
loadtjuar^rcd n ii general 
-ontractc.' 
Among 'he new toauires, dt:e to 
n*" ccT.r»>-_ <:h1 r»y the <*rai of Ocfo-
orr. are a 5. >)0-aqua:-?-foot tood 
court !T« ho :hird level, remodeled 
and enlarged entrca, and frwf: 
color* aod material in interior 
decor. Several new stores and fcxl 
tenants ore jIsc p'.u-.ned. 
p<> 
^ 
Oc" 
•f r 
Th 
hrr)3d» 
fin*.if 
tr.eni. 
. . we need an environment which is not simply well organized, 
47 but poetic and symbolic as well [expressive]." 
"A vivid and integrated physical setting, capable of producing a 
sharp image, plays a social role as well. It can furnish the raw 
material for the symbols and collective memories of group commun­
ication." * 
.MC 
•> r. 
r 
r 
Smooth Is the 
Word for inside 
u:e at 
thotf* 
ultra | 
Wit 
tion o 
the U 
enaxa 
ner o 
the fi 
be ad 
thai 
c 
The architectural form will express the ideals of the event and of"" 
social approval. Possible social as well as community perceptions J 
of the image must be regarded when creating a social architecture. 
Wail Surfaces 
r 
H~:ne ; prefer inv>~'.h 
-va*!5 over textured ones, but 
•;!**y're -V«v r.-j roirDte finding 
•:;* icv r\,n.>3. according w a 
.v'.v .asrvey. 
'n a pn>', -inducted for !.hf 
V . ' " a ' . m .  i ' , ' * » r i n D i f l t r - b . -
• , « .J," -• 70 1>; 
:c io'iii:! r.-.i >. '.rwr* 
tr»«- • a " 
•: •• a *.^x:ti •; '" •; »' 
. ;y Ti-.il cr.i.'io'i r»?? »•):* . ' c 
'  .*( T . t'2 ."<*!-CO: ; •?/" "* ." j C.« 
* '*' •» • '*ir-
-• ' ot.'c* r*r-.' v u 
rr.es T. .ft.-
•:.t = .;rr.-ot". va.;f. pi"' 
• -.!>{ '.e.-.: :re ..s cl;c.*.per Lh»n 
.. 4: :.>e jeims evenly to 
v.-a-v.' 1 ;r.o!y.h Ji.r'jc'he survey 
0. 
w 
ir; 
ck 
a-, it. 
"Each individual creates and bears his own image, but there seems 
to be substantial agreement among members of the same group 
[community]. It is these group images, exhibiting consensus among 
significant numbers, that interest those who aspire to model an 
48 
environment that will be used by many people." 
ff 
I 
E 
The understanding of these 'group images' is through the study of 
the collective memory and 'locus.' 
Imageabillty: "That quality in a physical object which gives it a high 
49 probability of evoking a strong image in any given observer." 
.r 
>-• \ ; 
. » c v r  r ' : r  A  '  ? r .  r e  " 1  ^  
•rsW. JiOi'wtttO v.rr.s. Ha 
;rubwit:orj ic i nt.n 'o r:search 
the rationaic wc ,«w:ia'. ?(?*«. 
J— 
• A-% '•> J' 
ji r 
Icon: "Any sign which resembles the thing it represents." 
- Webster's Dictionary 
5i :; >voru 
• ' .v- : ,:*w i 
- ? •xt-xflc.i ;2X7*i 
. " tr us "c5e situou; 
'T vi >!?:<;:: i3i".A ? 1«ru: 
s*r"* *t(i:-,essjd oyiytv 
• . : ?»sf; ^ws -.Vrpe-'fe 
15-'.'SW!.* • 
•-*<, j 3ii /;•-
r_;:: . -rewf ron^npu; MC?ao 
:p!( , ^  Jr: «;s« j'^ z ;c •530  ^
1 j'Ujrtjai «- asr.-rssq 
-C vT 3WCJ.) AjJOVfj 
- r.ij ;;;ju »snui <Ci»j ->tn 
TKJ • vir^A ues? JVl 
y i^nor .0 :<.<> i*ie,tv woui *«jp 
; ,*ui CI •"'»2j\' o.Y^a  ^
" j * YV *c*!i 
s>3.;r .os umu 
,am:  ^;»t ;o iu«»uoo [HJtauau 
s»q2iq »qi **q pte? aosaib0^3 
4* 'J»AfH npejoFO  ^UKWj 
tM jo Mwrpjvq ®qi aq <r« a(o>H 
1 1 11 *trafuup jbcr ;noqs }uwaj 
*5 JiuwiXu* o3Roo *it»pn»j JT 
'sainoq 
dJaAn^p pa* peiF^n 3u*aq -*JOJ 
*q S4ja/u»itt-i rpj£»A^s a #M{ddrt» 
UQatra ejm paamu aq i$a .bisa 
- -«• • -»wj 
s-iMUi 
\Zl:1Di? 
'"ui S 
,?';1 ".•«*-• 
ssTdfu 
JOCUU 
d«J 
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wr 
ur (C 
t« ) vt 
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JQSNOS HOIJEA 
i * -i-
U»<t 
* * 1 ?<*• 
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: 
.*• 
»ro 
C rw 
d?a  ^
•>1 u 
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un, 
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•unt 
ft 
•ptfjrru: ^ -Kftnq 09 AAoqf 
r.n * -ffuo tua(«ud puv w*» 
3QC uJjq atr. til 
v;im 'A*fxn 
A: sop i^iv 3*T. ;j' !5ULT?y. 
»:!it 5q ;ou *^:.rt -55 pre» y"fo-y 
uoc.*u 
Aupttanu 'I;IUD 
r. ci pwpi* ssw.niyri -aaJSao 
»*3%i ALT ijinuoAO -rg^; 
v.jso ->u: li'i ^;nv.-:jx.'az3i 
iwy.w oq; so* .oc^dj SfuuCj 
^«»r, »c Ctuo v.j 
' i.'.' 
ij-3 eO\,%i:y ",p cx;o 
;»O^0 j.'rf'A ->SiiV ?.'3G?«UdJ. 
J( JI-OpOGiJ a t 
u r^" v>«v>; pit  ^ o ;s 
'u. *aO'.:! A<J sr^o^r 
",';?'u '.'*p'.:-; -r.p.Si 1 ^aciu 
..; ' " .<? •*;or-i.;.»;: 
• a .\Tr-'-<j •••:,-••. .">; ;. >f.. 
i~24tiC~i •::~ -.i;* j, :•.<:. <rj 
^c:« ?*',n ^h-::u0.1 
fc< . .Cpn?3-  ^uo »*3,ii?uv 
it dwo; f 
liC BT|S*fy 
otjcrj mi} 
rja^SAS wjtr 
<^^up9ri 
J9ifrea* ajt 
ClIBXUKf 
soueaaoj, ej 
at i r.Af-. 
U'. «j uo 
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ai,*; 'iif 
air. jc •,. 
•»V>UO*J» 
sct yui •.! 
UC Ll.vXC: -r 
'..•Acp :t ) v _ 
3 ; j r v»y >1- ? #1 
; r> * '. r* • j - • 
.<;jajd ?-0 jr^A sq: :.r >•; 
T.- ;cu "i i.jfrTTo > 
"' ' . .." .v'l'.S >W; u'l*" . • » 
•A'rj s;v»v ;r%\ ^-tr j  js'JOV 
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^  • '  
3d'F. 
PROGRAM 
1 L 
INTENTIONS OF COMPETITION 
• Testament to the city's immigrants 
• Pedestrian link to districts within the locale 
)  T ' - !  .  i ,| -
r» )X n i i i i  Mdl i  
Gvis Freshening 
Public gathering place 
r'< 
• >• •.. jt .• •• • ii 
Thv j-qaar«?-fco -oxica-
n> ".ol. *«vi vy 'h-.-
Haha ' v'iSi 
•-.•ait .n '$~b. .13 maj&r 
Seattle-C'.weoi Cailisen Pan 
lorshio L? architect *cr the project, 
and Bay le v Ton^tr action, aisp 
"ioadi(uar* *rcJ n Seville, is general 
-ontractcf 
Amon»» "he new featuws. due to" 
hf cctoi-. otl r»y the crtd of Ocfo-
tjrr. jre a food 
court :ti 'h« third !evci. remodeled 
and eniargec entries, and rresn 
colon and materials in interior 
decor. S«vera> new >tor?s and fcxt 
tcnan'.a are jIsc p'.uvied. 
Smooth Is the 
Word for Inside 
Wail Surfaces 
H"s:ne ' prefer smo-'/.b 
-vaM? over 'extu.-ed ones, but 
•;.py're '".w r.-j rot: Die finding 
rr. ;r new - .r..i2, at cording lu a 
.?urv^v 
'n 1 po.', -"-.i-dr.cted fur the 
V-.''f'f *•": 'iV Dislr'b-. • 
»,»••«» \ -• 70 * o; 200 
/•y4:,;r« to SoM'.hLnd '.rv:is 
Mi;'. tn*-.» . "rf>r .i .r.iwil? " 
. •: • • *.;"*xti r ; '. •; c 
I':-.-4 T-.^i ,cr.;.t)o«i ;v?• • f 
s . -J C • 
»• x:.-\ ;  '"r-
; ot.*C* :• r "('••' ;"S. f> 
r-trr.o.s t. •••;'*' '• !• 
:•.<»«= .;rr- :An. -val;*. > pa- bt".-rj. o 
a*or;'.e.\t :re .s clicr.per m»n 
, ,ri^ ^ t.x* jeitns cv»?niy 10 
civa.e 1 -jr.oo-.h 3i.rf.tc, he survey 
•v.* v.vvor ;'l» .T13KJritV of 
•f r 
T r. 
b-rxidt 
fina/.r 
tr.eiu 
u:e at 
thot?* 
ultra 1 
SITE AREA 
. 201,500 sq. ft. 
.m:.< 
•» r. . 
1. So 
I Wit t.ion 0 the C 
enaxs 
ner o 
the fi 
be ad 
that 
P 
0. 
<v 
1': 
c!-' 
BRIDGE 
• 4,000 sq. ft. 
** 
An actual bridge over the Hollywood Freeway creating a 
pedestrian connection of the Civic Center and Little Tokyo on the 
west side to El Pueblo de Los Angeles State Historic Park and 
Chinatown on the east. The areas directly involved with the 
'gateway' project are all regarded as culturally and historically 
important. 
Character of the bridge should present a symbolic bridging of 
cultures and the enlightenment gained when education and 
others' values are experienced. 
1 ^ 5»?V 
•j. J:o;>we;e '.,rr.s. riia 
uju4t:or-j ica nun »o r•:search 
, - t7  
the rationale tof '.vhai. »ie reic 
>-0 
' A-* '•> j' f't1 » 
»«• Q-%~"» ?r* w 5t" 
I 
1 <r 
;irar: 
- • Special issues of consideration: access from major pedestrian 
traffic patterns, circulation, safety and security, relationship 
between entrance of project and vehicular circulation. 
:• -•••'• . A " - *-< 
>' 1 ...n: n 
- . j.; 5; rv oai - y t s' *' ; ,, 
* • ~~ • ' > '• i •"<!V . - O, >, ~ „ c • 1 ''-I : .>•/ 
•» ' .-T"-L-.> ? '>a>cdc :i W Mia (x? 
• I- - • .»•>.»,us *C3B oi-qj -:»r; 
.sr.';.- w.# ? icy: 
v* r : -v'(i :j%' *-»; ro;;^ 
• . : *r 7»sf; -.Vrpe-Xt •>1-." "-"U! s 
••'—i .'O: .3-1n«j . P'.;1 ;>,• 
11 ^  .';• • *'*4 ^ 3w ' 9«<it. A« 
; ; . v -.TSM* rctr.wipui 
•:"!<» Ir: «;sm j-.,; ;c laojn 
-r -j'tyruon ;wra»«i asr-^aq 
: A j* •">.JOvri oor- <4iJ 
:r.JU 'iiPUU .-CliJ >11* 
;  T - n  ' t  j  u e g  a v i  
.0 ;{.<> wow 
Aj; c: i;5jj a ' .^,c ^LL 
^air.o# uivtu 
.All? A'f, ,>t ,o ;u«iaoo ^BJSuau gsjaSu 
pw? aosaAioaf} 
1-* '«Ary fip^oopo JDCIU 
m )o wji »q cn .Cfrrg <j», 
n fupfiiup j«n ;noqs *vb 
kn> tfujyiAue odtuxj jr jey 
saincm aq: 
woah^P peirxn Stuf»q -ut>} ^ 
>q sjpA^ta-' ax joqddns ur 
irnana 03m pflarnu *> fflM j91«a ac 
iqfnos UOIJEA 
•V«*T- -VKft ny 09 a<u>qf 
nn * -True tuofsftd pen? vno 
R»U 20c '-?*q atfi ui 8UW«MHJ 
•rj34'-ooi -Si'4 v;ia '/C»poi 
A: sopi?u y oi,~ TJ. r5a^¥. 
»::;t aq ;ou •>> pre, 
W- UOO.IU 
5U:^U^!» '.ip-uunu '};:U3 
. ci pat'pE swu'.fu™ •aaiiao 
ML 1 i ji't-rovo 
><? ->i;: U'i 5inv.ux.ux3i 
isav.'v oq; jo* .ucudJ -J; Sui/j 
-&IC CTI.0 . lJ Tft lif'-'C <••'. j_ 
\ i,'.' Ji ^  
r~^ ¥- jc"» jq» *R 
„ "Ji-on pooJ A"t 
.'r^.L.. Tits .y;s 
^ *uOU! •*<« sra^oqr 
^wcui 
' •>;<? 'voni. 
«.\*H V : < • o*l 
JV.U4 ?"',n uV.
— 
,v"rr.?3-'x ;-o -ra ^v.v j*o^ 
PERMANENT EXHIBITION SPACES 
• 12,000 sq. ft. 
• 12 spaces ± 1,000 sq. ft. each 
• Suggested Exhibits: 
- Los Angeles 
- United States 
- Immigration 
- World Cultures 
- Statistics 
- Quotations 
ib *uo; r 
uc vyswfY 
otpcr^ mr\ 
uwsas lujur 
jaqrea* /Cr 
ctiBxmd 
SOUBOJOJ. il} ji 8$: ?-ao. 
u-. 0 z uo 
- pnjoui / 
aq; 
5un jc *, 
'fV»UOU! 
s-ri yu1! v. 
UC \S C- r 
U.^vp :! : . 
3,-.; r;»y .^11 ? 
<;ujd - i' 
t 
-:l 
- World Languages 
- Cartography 
- World Social Problems 
- World Programs (UNA) 
- Education 
- Environmental 
- Communication Mediums (Art & Architecture) 
is 4;, 
U 9>U 
4 
i 
?o V 
,i»u jwIA 
; au­
tre 
u .x, 
d?a^ 
">} U' 
'OA 
un^. 
P -
>nnu 
Each exhibition space will provide the viewer with a multitude °K< 
medias to present the educational experience. Audio/visual 
projection, models, painting, writing, photography, etc. will beu.0 
JO V 
utilized to the maximum potential to evoke and stimulate alfc ^ 
senses. 
• ji 
0 31 
V .C 
Through the physical creation of the space, the participation ancT^ 
interest of the individual will be enhanced along with the exciter :< 
ment and joy of experiencing a new enlightenment. The need- -
to understand the relationship of each exhibit to the other exhibits"" 
and intentions of the project is of importance. 
M XU&V S-.L ! V! i„ 
•b.C cq* u r .-r 
.I >wi i»T* . 
oi."WC 4 ••*-'pun^ 
.r--\ ui- x la.-r:. 
, . .  • ,  • . . .» * n -
• Special issues of consideration: lighting, organization of exhibit, r~ 
utilization of space, circulation, variation in character of spaces, 
relative flexibility, service, and viewer requirements. 
I T ' ' - ,  i  I  '  '  
r t ) X  n i u s  M a n  
Gvis Freshening 
v. rx • - •. -„r .i i 
i..'on jf !•" v '-.'li'. 
. '• •''r '• 
Thv ««jJ0£• x»uare- fco-
«. ,-i r^ Tani^c vjy 
>-ca.se'i .'taftn :*o., 
'••/nit .n 375. -a :U fir*t ynajcr 
'*T.»vd-*'' 1«f. 
Thf battle-oasea Cailison Part 
">>rship L? arehitsct fcr the project, 
and day le y Construction. aiso 
-K-adtjuar^rcd n S*uiUe. is general 
"ntractc.* 
Araong -r:e new »ea tares, d»:e to 
hf ccTn.-. .hi r>y the erui of Octo-
brr. are j 5,>X)-sqaa:^-fcot toed 
court : n ho third >voI. remodeled 
and enlarge: entries, and fresn 
colon and material:? in interior 
decor. Several new and food 
tenants are Asc p.'.tr.ned. 
Smooth Is the 
Word for inside 
Wail Surfaces 
ihrn»! prefer 
-vaii? over 'extu.-ed ones, but 
•'".jy're h"»v ;v/ rou-fcie finding 
,i :r ne-v u cordin* tu a 
.vw ;urvcv' 
'n 2 po.'v "•'.r.dr.cU'd for !.hf 
v.'cvtf—W >'rm£ Distrb.-
»,>••«> i vj- a> o; 2<X' 
vy,t.;r« ;c Si;'Ki:! r.d -.c 
mi;.! t r'=r a •r.iaU'' \ • ' 
/.»•: .' » "r-x'.L r ; •; '. •» o 
1 :",r» r-.it xr.'i.no'i :v?.;.y* . •' r 
^r-t^rc'.'CO: ; OS'*v • " j CO-
"..i* t •;? »» i. 'i j. *'> '?,r» 
r-:rr.es *r. .ut.. dyu'i 
.;rr.-a»n -va.;*. :> pa- du^o 
at:r: te-.t ;re c'.tcr.per ih«»n 
t.>e seuns ov»?niy to 
i -:r.o-) .h 3i.r?jc\ he survey 
• v.; ?-?« v.'PVPr th>* »T13H)riiV of 
po 
•_; <_ 
•f 
h-osdt 
finale 
tr.eni 
uie a! 
thotf* 
ultra { 
Wit 
tion o 
the C 
en ax a 
ner o 
the fi 
be ad 
that 
o. 
w 
i'.' 
ck 
ct-.ii 
tiT.n 
.r.'ii" 
h- • • I : 
•.-."a. 
rujti 
the i  
't«/> r»rt 
I 
TEMPORARY EXHIBITION SPACES 
• 3,000 sq. ft. 
• Three individual spaces 
. > 
• Intended as an extension of existing museum and gallery facilities"' 
in Los Angeles. The emphasis of exhibitions will be social and^, 
Jb» 
cultural expression of world cultures. Artists and others present-j^. 
ing exhibits will have received community as well as world' ^ 
recognition. Permanent collections of public and private museums^ 
and galleries, such as Moca and Los Angeles County Southwest 
Museum could be exhibited. Student projects from community 
grade schools, colleges, design schools, and universities such^j 
as UCLA, Cal. Poly., and Sci. Arch, could be displayed. Manage-^" 
ment and organization could include involvement from all related . 
organizations of the Los Angeles area. 
Character of environment is to be similar to other typical museum 
and gallery settings. Seating for contemplation and relaxation will 
be provided to enhance the viewing experience. Importance wi 
be placed on viewing exhibits singularly and relative to intent of 
project. 
Special issues of consideration: flexibility, circulation, lighting, 
and viewer requirements. 
: •: r«:r a vr- re :rsc "> 
h v.r*r.s. Ha 
a-;o i s ic i nt.n «o rcs^arca 
aticiiaio icc wh-jt'. a* ruit 
1  •  • t .  t ' r > m  
!* 
i -
\  
' A-* •••> J' 
it' V^inar; 
r 
, .  . . . . . . . .  
" ' 
; • ' ' - * • . M / 
•' • . *0,, . ... • ' O " t; . (i . 
• J" ' '• _ • "  *.< ... 
' - , w.) uVJ, 
- •- 5* ;v ^ai 
"* - : ,:*a\ .-Oivpuc-.J ' • «K .; : .ii; 
> :. vri ? ')«»scdc- .OAT'-'J 
; "* tr  AJJ.V.US 'CSe -iS-tn TJB r»r; 
»'S' All.l 
v\C iu».:-.98ajd ^y, roi;,r. 
" v piss «:apr» ""u; s 
t i .A\ 
: • •»-•• ...v rpM*: TruipnpUi /^o?c 
"U, **'.?* in «;aM ;c -ssojn majm ». 
• ~r.rar!iM ^ rajan.'- «-
_-c /. .r vcko 
"rr^.c, ».»u ;;;ju ;snoi <Ciij jhh 
*np • vVjwA j 
. y^>:n;)p .0 :f>o 
: A4i C! -liCjJ OS]# 
?*9—X — 
:vwar»ot s&itM jmu 
.AM? .Hft ,ft ;o 1Q0UIOO TBJPUOZI 
f )qi nt( pm aosaAitwo 
H*. ja^ry fjpejofo^ aip ujojj 
• *M JO Kfj *} a: jCfrrg 
i i* Jlunfuup jwh jnoq® ;u»»j 
r"* tftfWlAu* oonoo *ju»preaj jr 
iMnaq 
. par 3uf»q ajo} 
*} SJJOAJC»W_' 1TJ£»AJ8 U1 «M|ddnS 
'•moca ojm pamu aq ftv* jwa 
SSTdfu 
JOCOi 
d«j 
ttnr 
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up 
jqgno$ hoijea 
CINEMA 
. 1,600 sq. ft. 
•  ± 1 0 0  v i e w e r s  
• Will be used to continuously show film and news clips from * 
around the world. Television commercials and programs from ;-
world cultures would be shown. Special times would be provided s 
for foreign film presentations and other related events. Amateur 7 
and student motion picture and slide presentation would be ; 
encouraged. Management and structure would include involve-^ j 
~ JCT" 
ment from organizations such as the Los Angeles Actors' Theatre^ 
and the UCLA Film, Radio and Television Archives. 
uva 
1 -•<*• 
'6 
/»« j*d. 
Must encourage viewers to move about and enter without inters » 
*»TQ 
ruption in a comfortable, casual setting. Viewing other people* * 
d;a. 
*>< u 
»OA 
/ ^ ' 
•wih 
within the environment should also be encouraged. 
Special issues of consideration: security, circulation, lighting, 
projection equipment, access, acoustics. 
•ptorju: 09 AAoqt 
"if * Xtuo tuopud pair vrno 
-n»u joc ai Suzj*\<H; 
• .r.jsd'jLioi '.{tin VHM A&pm 
sapjjuy .•#}•; a;: U' jfMii oq pn£« y-,oy 
'vjqwb ju:£U^: Airp-'jiny *1{IU3 
ci pwpu swtrfU3f» saaJivo 
__ s"2.* ."Al 1 i^iru-roAO "iSt; 
** '!tr. xi'i 
iw.Y.oi .acudJ Sf-ai/j 
iq .,y* * 
) v- jr'-» iqj -j> (Y>^» 
.."JiioupooJ A-tW-;i 
u :•;? - .'ww, :r^.. pit^ j ;s 
uo'J! \-p;r*.?s A*q cr^o^r 
"*;;vu j<noi"> ^riu 
von. 
"-a 
u»5C- V-.ps-ip A < ir 
• : v  :  <  . 0 * 1  
:^cui ?Tun a&xufi 
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<» ,!/'r;r »;i»i r? * 
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co F*srfy 
mt} 
J«TSA8 UUCT 
"^v^pmT" Jdqrsa* ax 
soueajoj, e} 
ai 
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UC A.r r_- r 
•  • J :  
j." \ 
PERFORMANCE THEATRE 
• 5,500 sq. ft. 
• ± 300 viewers 
• j jU. 
0 s 
v .« 
•;\Ui 
To be used in association with community theatre groups and" ' 
visiting performances. Los Angeles Poverty Department (L^PD), 
L» *i\c fj ;t ) . 
3;,; ri«y *11 p »i v.i. j "c: ; 
* ' r j  >  
<;iojd jvz.C zq: 
isW : 1 ... v A - p -  : r ' ; \  u c »  j  5a-r. 
r 
r ~  
r o x  n i i i s  M a i l  
Gvis Freshening 
V«tjc ~-.,r "i . jf ?"•;< H".'< • 'Jl\\ 
~ 
Ts.v .'XvX*: • square - foe sea • 
a. v.oi".. . wrw»d »nd rnana^er uy *h-.-
>a;i Hahn *'J.. vvjti» 
;!«U .r» *7*. T!w ;J :13 fir*t maicr 
*>•<• 
Seattle-oasm Cailison Part 
-vrship L? architect *cr the prcjeci. 
and Bayley ^instruction. aJso 
icadt{uar1'iTCd n Seattle. is general 
contractc/ 
Among "tie new icatures. due to 
r>^ <?CT.p.-." *.h1 ny the prsd of Oc'o-
orr. jre i 5.*00-eiqua:?-fcot food 
cjurt on 'ho ihird !*vel. remodeled 
and enlarges entries, and rrwn 
colon and materia i* in interior 
decor. Several new store-5 and food 
icnart'.J iM JUG p.'aiUlfti. 
jrj -
:i 
Th 
b~rxid< 
firw.c 
rr.em 
ute a' 
thori^ 
ultra} 
Wit 
tion o 
the C 
enaxa 
ner o 
the fi 
btf ad 
a performance group workshop for the homeless, community r" 
education centers, and The Music Center are a few organiza­
tions which will be encouraged to participate in the management 
and use of the theatre. It could possibly be considered an 
addition/extension of the Broadway Theatre District. Again, 
themes of the performances would be of multi-cultural and social 
expression. Rehearsals from theatre groups would also be 
encouraged. 
• Providing a more casual intimate setting for a more diverse 
audience is of principle concern. Arrangement for possible dinner 
theatre presentations and non-confining seating or circulation isc 
also of value. 
'E 
.lie: 
a Special issues for consideration: stage form, performance-^ r. 
i So 
audience relationship, partial flexibility, lighting acoustics, back-^. 
stage entities. 
that 
I 
t* 
Smooih Is the 
Word for inside 
Wail Surfaces 
Hnrne prefer smooth 
-vaM? over textured ones, but 
'
:>-jy're \v ;w roirole finding 
a ;r ne'v -^n.13. according la a 
.vw .jnrvey. 
'n 1  po.'v "inducted for 'he 
'a ,\i.Distrb'.-
»,>••«> vv," ^rt • 7i 1 -*v 200 
vv»t.:r« :o ':V:TS 
in*-/ ;.-r-r>r »r.:wir " 
/.*•: '".lir. ' :1 rX'A r i " J 
i :".>i OC'Vi'lO'l . ' r 
T ? / * ' i s  , c  •  
"..r " "•? »» .'.,Kutrv, (.. * ?. *'• 
... Ot.-f.'" p. 0 
-N," r^mes t. .•!'>' •.ft.- /.*.):; i 
.•<= jrr.-jtn -va.ii. pa- '.-e? dU^o 
d*jri te.*.:-:re -s clve.'.p^r ih«n 
.: 4: tiW eveniy to 
v.-j.-.' i iir.ooth 3i.rfjc*. 'he survey 
m .TiawiPiJV 'M 
O. 
W 
i'; 
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ck 
COMMUNITY STUDIOS 
• Two separate studios 
• 7,200 scj. ft. 
a® 
iiT.n 
Intended as public use space for: ceramics, painting, sculpture,^ 
woodworking, motion pictures, and photography. Participation 
from local art schools such as Parsons and USC would assist 
in organization and possible workshops. Interaction between 
users and the ability to provide assistance and loan of non-
consumable resources will enhance useability. 
. j ' . »  
'I • 
w4'j. 
. rujti 
the i' 
: r«:r".v vn re -r c-c 
*.••••: rj i:rr.s. rjw 
iv.ovs lea nt;n fo rcsearca 
i'.iciiaic tw£" r'eil 
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1 
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twf ^ur.fnpu. M.ztzc 
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- '-1' ^ '."a "k o¥"o^-j uffg atn I . jcrjir.r.r .o xo ;uouj **jp 
; a4; c: xi;2jJ a-^r aqj, 
•v^arr.c» jsae.vi urtui 
.AM? ,;i ;o imiuoo yB-coau 
»qi **q p»y OOSZSLtOZ*) 
* 'JaAfy np*x»foo aqi u»aj 
* jo Mmtpjwy mp sq cr. tpnrji 
i u *unfuup j«n ;noq5 ;u9J»; 
i7n SuwiAire aonoc jt 
*S»UI0I( 
«0An*p y<rt jbv&A ^u?aq ajoj 
+q S^OAJR»ttJ [TJ^a^S si JSWJcfcktt 
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y *.c> 
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Creation of a casual, comfortable, inviting space for a diverse user 
group. Amenities which benefit the user such as storage and 
sinks should be readily available to all. A place which enhances 
creative inspiration and energy and a union with nature are the; 
prime aesthetic concerns. Open in configuration with access from 
non-users for viewing. 
Special issues of consideration: maintenance, security, lighting, 
storage, ventilation, special service requirements, flexibility. [Z 
-:u 
ssTdfir 
JOGIL 
dm 
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up 
ao> 
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RESOURCE CENTER 
• 2,000 SC|. ft. ue u 
4 ^ ) »<*> 
• Provide literature and other resources pertaining to exhibits ancfpm 
other cultural information; also provide a place to purchase, put 
WTO -
borrow and store materials for use in cinema, studios, and d?»M 
theatre. ^ ** 
»oX 
;c * 
• Special issues of consideration: security, user convenience?** 
supervision, storage. Hi 
•p«x*r^ 09 JAoqt 
,r.n * &1VQ §URf«Rd par vvc 
sau JO? '4*1? air. u» 
rjaduTT! ;i7V( v;t*. A^poi 
S0(d^iiV* u-
;oc it prto 
^967,'« UOO.T^I 
A'.:p-:^iny r^ ;:.Vi 'ijiua 
<-1 p9t>?c •/aalgdo 
Mi.i i^iraroAO 
« \«jso ->ij: li'j 5ini.-u>;-ui3i 
89*.^ O t^; Sfui/j 
Jar. i'j Ctlo .>?* ;i"iu v... • 
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uo'.:; cra,v.osr 
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•-.v. ..;5riji 
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: Xrtr.^i uo a*a;ii?uv J*TJ 4"'r;r. •M'j .;«! 
re aoao; f 
UC 9^S«fT 
tg 
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VOUO'J! 
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CAFETERIA 
• 100 seats 
• 2,000 sq. ft. 
J-~'V 
•* su 
-•L.', .. 
' • i 
0 ^ 
v <c 
•nui 
«««<( 
Will provide culturally related foods in a casual environment. Afi- T, 
area for live entertainment as well as specific reading areas. * 
JTf, 
UC V.xXf r 
U.-Avf.' :t ; > 
3 "J C'-wU *11 9 *t V.L. ! 
.<;iajd ;?;a a:jr 
.~y T-iXu i *j?T.T«r» 
; * ; >ii 
* «fC: Oi.-jaci •^ punti 
A'ri s.'au i:it j ;a-)DV 
• Special issues of consideration: food service, circulation, seating, T~ 
ventilation, maintenance, toilets, sanitation, service. 
r ? ) X  h i !  I S  Mali 
Gvis Frcshenin V' O 
.V.TJC -v a 'i ". 
- • . M , < •  A  ? • : <  H ' : ' t  '  ' - J i i ' i  
Ts.v tV-AXZ: • >quare - fc-o- nc :i • 
a i  r r . i i ' . .  * « t d  r r u v  
iAn ."X^-casci Mahr* *'o., was 
.•nit .n '37^. Thtf ii -'J fir*t majcr 
" T.'vO** A«f. 
Th»- >*aate-i\ised Cailison Part 
-s^rslup L? architect for the prcjeci, 
an«l Bayley Construction, aJso 
"loadtjuar1 "Ted n 5raitle. is (general 
"iniractcr 
Among '-he new !ealures, (ft* to 
of cot.oi-." ed r>y the prsd of Octo­
ber. are a 5.->X)-s<4ua:^-fc<3{, food 
court on 'he third !»»vci. remodeled 
and enlarges entries, and fresh 
colon aod materia is in interior 
decor. Several new stores and food 
tenants are a be p.'.tr.ned. 
Smooth Is the 
Word for inside 
Wail Surfaces 
Hnrne ;.*«•? prefer jmo*/.b 
-va-is over 'extu.-ed ones, out 
'•j^y're S\v r.-j rouDle finding 
A ;r new ron.'ia. according to a 
.v^v .o;rvey 
'n a po."> ducted fur '.he 
v.' *'?•.A*.-i. :v* »*?">riir Disinb*.-
», >••«» \ ngHr! - T( * -*» of 20> 
v s;t.:r« :o Swui:!. nd >. '.rv:TS 
'.\iu tr«*v : -r.:wu"' 
'-.iic a •; 
1 x r . i . T i O ' i  : v ? :  *  r  
'p.t-i- f>T"_terei>CiJ: Te.'*'!!"*••*; * .- j c"". 
"..r. t •;*' >. ,i. i..'» f. 
... oi.-e.- r"r*:.* r.;,' u 
rr.es *r. .•!>' -<•- i 
.•« .Jir.-otn -va.ii. pi"* oetdU-o 
auriviisg text;re .s> cltor.per *.h*n 
ij'-'ig 4; t.>e seims evenly to 
i ir.oo-.h si.rfjc*. 'he survey 
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the l 
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ntT a 
MEDITATION GARDEN 
. 15,000 sq.ft. 
• Character of the environment will provide private spaces for 
individuals void of noise and distractions; tranquil for provoking 
thought and meditation. A main space for displaying sculpture / 
and landscaping will be included. The garden will be a static * 
environment for non-participation. 
'E; 
• Special issues of consideration: noise control, controlled access, .ac. 
maintenance, supervision, circulation, day lighting, vegetation^ ^ 
growth. 
1 
th? fi 
bo ad 
that 
«i 
MEETING ROOM ' 
• 800 sq. ft. 
• Two rooms, 18 occupants each 
• Small, intimate spaces open to public, particularly community^ 
organizations and corporate/client meetings. 
• Special issues of consideration: projection equipment, displays, 
privacy, acoustics, noise. 
0. 
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ck 
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'ruouiiioi'i Lt-.i nt.n »o rcsearcn « 
the raticiiaic izc »"5'* retl ^ 
• >»* / • • «' C% li't'OOCS . * 
J. 
' A"* ••> J' 
3c«l -<?"V "» 
Winan 
CLASSROOMS 
• 1,000 sq.ft. 
r 
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saqftq »qi **q pw? aosadLoao 
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jqgnos uopuA 
Three rooms, 30 occupants each 
Intended to be used in conjunction with community school and' 
universities as well as the Immigration and Naturalization Depart­
ment. Attentive environment. 
-:i 
Special issues of consideration: maintenance, projection and' 
display areas, access during unusual times, flexibility. 
UB'U 
; ^  1 .T. 
'6 s 
. P*a j«U BUS STOP 
• Integration of actual transition from bus to place away from traffic  ^
and part of architectural experience. a .x; d?a;4 
ry) w 
»QA 
un  ^
Special issues of consideration: bus dimensions and circulations * 
•flQtl 
pedestrian circulation, ventilation, traffic. 
WJ -«r* ^  09 ^ >Aoq» re dooo; «• 
nn » X*fuo tuBfgad ptre iwqd n?> 
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ai 89 : 
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- / 
ADMINISTRATION 
• 500 sq. ft. 
.3 j Jr'1 \P (>co 
Ovit -J-IdM .vS-M';?.'5Cv^ .^T. 
„ pooJ 
J-;-? ir^ .. -pie* y;s 
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MECHANICAL/RESTROOMS 
CIRCULATION 
STORAGE 
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PRESENTATION 
Vicbrstes-
oi  ' s  ;nc"»e 
;e. zn<\ sun-
Si 
I tra«' 
acnng, hig* 
and health 
n has not 
strong. In 
; nation vis 
a i 
l i ,.o*ith cue 
end 1r - rjt-
n<" soe >-> 
tion. The ! 
P2siderits wert 
wa:.. sho: 
aphic ii 
"»i. ".e rest 
•-rilifornia w 
itrnd with a th 
ships fdr lev 
gr.in. The sti 
g^id. out Sou 
ir a did not ev 
'1' -se n 
•av\ .he jgio 
however, anc 
1888 they 
,-i *JLO' >oi> ^5 -he jji 
Cc- ^ 
'ICS iM^is 
*i MSB 2 y.S fj. Hkfc ¥ ® 
II'UuAwS 
oiitereii 
it ives fn' >' n. 
:1 I Properi^s, _ 
,<• PKEfej KJ J. I 
iirBooiiii^ <il£ | continuing role as P tprrp TJ^2S211u?.T:TJL_'ln71 ^ iTT*" «. Id .maU business. •» »Effftv. « Bar K Orlll. 
BIBLIOGRAPHY 
i,' c" IChJ.-'c' tcS 
U  i' s  ;nc"»e 
rec- zn< 1 SUP­
S' > d \ 
al f.ra«( 
:rading, liig\ 
and health 
01 has not 
n strong. In 
)p" "atk'iji v is 
C td ^'T-rk' 
a » >.o.ith clue 
>t end tr <-et-
ai soe 
tion. The ! 
r~sic?erits weri 
vva:. shoj 
-
raphic is 
'•«. "re rest! 
^rilifornia wj 
i< md with a th 
ships fdr lev 
gr.in. The st< 
g^td. out Sou 
ri: a did not ev 
'1' -se -,n 
••aw .he jgio 
however, anc 
1888 they 
I S'4& L n 
* , " 
< <  : • »  
*• 
IV?» I'M 
mives fh'.m. 
c 3l Properties," 
k. iJ .  .r 
' i : t 
if! Ft Of li /I ^  Jl IP I continuing role as p tprrr* - rroc-jr^vnt- *' 
***** . .. ! , I " Jenefer't Bar & Grill, « 
Ando, Tadao. "Wombless Insemination - or the Age of Mediocrity and Good Sense." The Japan 
Architect 8603: 56-58. ( \1&>- , f • 6. ) 
Anderton, Frances. "New Light on L.A." The Architectural Review (December 1987): 25. 
Banham, Reyner. Los Angeles: The Architecture of Four Ecologies. New York: Harper & Row, 1971. 
Brown, Stuart. Objectivity and Cultural Divergence. Cambridge, MA: Cambridge University Press, 
1984. 
Chermayeff, Serge, and Christopher Alexander. Community and Privacy. Garden City, NY: 
Doubleday, 1963. 
"Clouds of Steel." Los Angeles Times. 11 December 1988, sect. 2, p. 1. 
Colbert, Charles. Idea, the Shaping Force. Metaivie, LA: Pendaya Publications, 1987. 
"Controversy Swirls Over 'Steel Cloud.'" Los Angeles Times. 17 December 1988, sect. 2, p. 7. 
Cooper, J.C. Symbolism, the Universal Language. Wellingborough, Northamptonshire, England: 
Aquarian Press, 1982. 
Fabricius, Klaus, and Red Saunders, eds. 24 Hours in the Life of Los Angeles. New York: Van der 
Mark Editions, 1984. 
Frampton, Kenneth. "The Usonian Legacy." The Architectural Review (December 1987): 26-31. 
"Freeway Arch to Honor L.A. Immigrants." Los Angeles Times. 13 February 1988, sect. 1, p. 1. 
"The Future of Los Angeles." Los Angeles Times. 12 June 1988, sect. 2, p. 2. 
"Gateway to L.A." Los Angeles Times. Z1 \clQ2>^ Z5p. I. 
Ghirardo, Diane. "What Price Paradise?" The Architectural Record (December 1987): 85-89. 
Gleye, Paul. The Architecture of Los Angeles. Los Angeles, CA: Rosebud Books, 1981. 
"Highway Shootings." Los Angeles Times. 12 January 1988, sect. 2, p. 1. 
Hines, Thomas. "Origins and Innovations." The Architectural Review (December 1987): 73-79. 
Kahn, Louis, and Richard Saul Wurman. What Will Be Has Always Been. New York: Access Press, 
1986. 
Kaplan, Sam Hall. An Architectural History of Los Angeles. New York: Crown Publishers, 1987. 
"Linking Downtown Fragments." Los Angeles Times. 1130, 4, 
Lynch, Kevin. The Image of the City. Cambridge, MA: Technology Press, 1960. 
Macrae-Gibson, Gavin. The Secret Life of Buildings. Cambridge, MA: MIT Press, 1985. 
Martin, Richard. "A 'Cloud' of Controversy Over L.A." Insight. 13 February 1989: pp. 50-51. 
Morrison, Jim. The Lords and the New Creatures. Poems. New York: Simon and Schuster, 1970. 
"The New Ellis Island." Time. 13 June 1983: 18. 
Pastier, John. "Crisis in the Fourth Ecology." The Architectural Review (December 1987): 83-84. 
Pena, William. Problem Solving. • A1 A. HIT 
"Planet Earth." Time (January 1989): 27. 
Read, Herbert Edward. Icons and Ideas. New York: Schocken Books, 1965. 
Rossi, Aldo. The Architecture of the City. Cambridge, MA: MIT Press, 1982. 
Snyder, Harold Elam. When Peoples Speak to Peoples. Washington, DC: American Council on 
Education, 1953. 
"Unlocking the Gateway Competition." Los Angeles Times. 28 August 1988, sect. 8, p. 1. 
Walker, Derek, ed. Los Angeles. London: Architectural Design, 1981. 
"What It Takes to Get a Cap." Los Angeles Times. 24 July 1988, sect. 2, p. 2. 
Woods, Shadrach. The Man in the Street. Harmondsworth, England: Penguin Books, 1975. 
Wurman, Richard Saul. L.A. Access. New York: Access Press, 1987. 
FOOTNOTES 
t J i  - -
.elcfcrn^tes" 
01 ;;ic"'c 
?e xu 1 si?n-
'^9-18 
in .JLssmvv " 
I tra*' .. 
a cling, hij> 
and health 
II ias not 
strong. In 
/ is 
a i  
\ i i.ith cue 
> id <r v-et-
n< soe 
tion. The ! 
residents weri 
'va:. sho: 
5raphic i; 
><. '-.e rest 
"-tilifornia wj 
)<nd with a th 
ships f6r lev 
gcin. The sts 
gS<d. out Sou 
rr a did not ev 
* if -se n 
'•av\ .he •: jgio 
however, anc 
1888 they 
if>is Gr^si 
'lee/ire" 
»wai g " ( 
; 
A >ILier$ll6 
lhvesfru'n -
;1 ). Pioperiiis; 
,f P '^irel kjJ. x r \ 
\ 
continuing role as p frirrr* - rrocijrfO^nt- »' 
. t d  s m a l l  b u s i n e s s ,  i s  s p o j i v  n  
BA-I . r% rr •Willy, " jenefer'i Bar & Grill, a 
I 
"Linking Downtown Fragments," Los Angeles Times. 1^89 j 4« 
2
"Freeway Arch to Honor L.A. Immigrants," Los Angeles Times. 13 February 1988, sect. 1, p. 1. 
3
"Gateway to L.A.," Los Angeles Times. 
4lbid. 
5
"Clouds of Steel," Los Angeles Times. 11 December 1988, sect. 2, p. 1. 
6lbid. 
7
"Unlocking the Gateway Competition," Los Angeles Times. 28 August 1988, sect. 8, p. 1. 
8lbid. 
9
"Clouds of Steel," sect. 2, p. 1. 
10lbid. 
II Ibid. 
12lbid. 
13Tadao Ando, 'Wombless Insemination - or the Age of Mediocrity and Good Sense," The 
Japan Architect 8603: 56. CM*y ) 
14William Pena, Problem Solving. 
15Aldo Rossi, The Architecture of the City (Cambridge, MA: MIT Press, 1982), p. 63. 
16lbid., p. 92. 
17
"Gateway to L.A." Z, p. X. 
18
"The New Ellis Island," Time. 13 June 1983, p. 18. 
19lbid„ p. 19. 
^Ibid. 
21 Richard Saul Wurman, L.A. Access (New York: Access Press, 1987), p. 75. 
^Derek Walker, ed., Los Angeles (London: Architectural Design, 1981), p. 12. 
23lbi<±, p. 15. 
24Wurman, p. 104. 
25lbid„ p. 78. 
I^bid. 
27Klaus Fabricius and Red Saunders, eds., 24 Hours in the Life of Los Anaeles (New York: Van 
der Mark Editions, 1984), p. 4. 
28 
^"What It Takes to Get a Cap," Los Anaeles Times. 24 July 1988, sect. 2, p. 2. 
I^bid. 
31 
"Highway Shootings," Los Anaeles Times. 12 January 1988, sect. 2, p. 1. 
^"Planet Earth," Time (January 1989): 27. 
33Walker, p. 13. 
Mlbid. 
I^bid. 
^"The Future of Los Angeles," Los Anaeles Times. 12 June 1988, sect. 2, p. 2. 
37Walker, p. 21. 
38Wurman, p. 172. 
I^bid., p. 5. 
'"'ibid. 
41 Ibid. 
42Paul Gleye, The Architecture of Los Anoeles (Los Angeles, CA: Rosebud Books, 1981), p. 21. 
43Kevin Lynch, The Image of the Citv (Cambridge, MA: Technology Press, 1960), p. 65. 
"Ibid., p. 66. 
45Rossi 
I^bid. 
47lbid. 
I^bid. 
49J.C. Cooper, Symbolism, the Universal Language (Wellingborough, Northamptonshire, 
England: Aquarian Press, 1982), p. 107. 
• APPENDICES 
Celebrates— 
I 
fc Y s  ;nc"»e tion. The ! 
re^.- zn'l sun- v~sic?erits weri 
3 '  ' > > . c r » g  v v a ; .  s h o j  
d 5raphic is 
al tra<( "»«. *!(.e rest I 
:rading, hig\ *-:ilifornia w| 
and health k'ld with a th 
ships f6r lev 
01 has not gain. The st? 
n strong. In g Sid. out Sou 
)p 'atkirt v is rt\a did not ev 
T id *,*<-•<:<*• '"if -se n 
a , KMth clue '-aw .he <-'gio 
i <f)id tr <,.yet- however, anc 
ai spe ZA- 1888 they 
L S'JLS' *>>* w| 
• '  '  • * '  1  -1  
•' eslfou • 
i i!. C.'Cfe 
=•* wn 
A"!  
uiwes frf/n -
i ?[ Piopeiij'is, 
' 4 
inBooui* <U6 I continuing role as P f r 'Tf -  rToc^ir^ f t ^vnt * '  I 'Wftv. «• J,ni(w., gar * ami,, 
2 Part VIU Sunday. Augasl» 1VH8 I ..till.-. 
dustry 
nr"—• » » 1 "*l 
I f t v i l l  
' Ipk^fs^g'. Jfcii 
...» iHllillllll Ml 
Your-dismissal ©f-the West -CoastGateway—MeLros^-tinn nf1 J11?,!?rotflDeUUon SSw« a cop-outi" complained-*-reader* . telephone cell re^W to my ™ ™SS bv thT« V4r — •••—,, WM  tu -wHN vv..r.-...-i a esponding
suggestion in last week's column Uiat the five 
submissions selected as semi-finalist be "given the 
Ral,You didn't write about what you didn't like about 
• - at what 
they west, or who.werethe architects," he declared. 
The caller also questioned .my perspective and, In 
effect, challenged me to come up with a better Idea. 
* uic deserved 
menuun.«, my column, no matter ^w ^ dl^anaged 
by the sponsors, misinterpreted by the competitors 
and misjudged by theory. Since my upcoming column, 
which already had been written, ^Incidentally ad­
dressed the Issue of public art. H was relaUvely easy to 
^ddaiawparagraphaai UiftJffil^^cernliyi tM 
competitlonj hence my brief, If pointed. comments of 
lastSunday. H a nflu, - ,u. • lL 
As they indicated. 1 was not Impressed With the 
schemes selected-all tended to b* stru$tur« feignlnt 
Atuwuy^^r- -—7 —~~ monumentallty in various styles squatting on the 
al design competition, the original Idea of a gateway- Dropo8e<j Instead of somehow serving the city 
downtown celebrating Los Angeles M a welcoming^ / acting as symbols, they seemed to be impositions. 
port of entr y hadmerit. lnde*d.theidea Hill has merit, They included what lookedTo me like a clutter of 
Initially proposed by a committee convened by CHChes garnered from recent trade expositions by 
IIMII.IV R R * I .T.^ LULIUAN ARL. . • •. I »,<„ JKL.KL.. .1 TIIEMA l»nm umrM'l NLM NV inuwuj' K'"V"01" - - - - -  •  Mayor Tom Bradley was some sort of pedestrian-ori 
ented. evocatively landscaped deck bridging the 
Hollywood Freeway at Spring, Main and Los Angeles 
streets, which would serve as a symbolic gateway to 
clic o i wcm u«uc c«hv«uwihi
Irmfried Windbichler of Austria, ffom world s fairs by 
Hani Rashld. of New York, snd a trendy, studied 
deconstructlvlst collage by Dsgmar Rlchter of Cam* 
bridge, Mass. 
esigned by 
| in Japan. 
its 
n n ia a * •jinuv..* ~ ona c «*•» . . .. 
the city and both a physical and cultural connection The most fanciful was an immense expressionistic 
between the Civic Center, UtUe Tokyo, ajlMtown^-- ^ (0f paradise?) laying 
v.~.v.u. um >NI< m Piwkin HA ,t AS Aneeles Park 41 Vilen Kunnapuand Aln Padri%of Soviet Estonia. Also Bet ee  hw ww vwwwr 7—v  HBunker Hfll and El ueblo de Los ftgelM Srit 41 
O l v e r a  S t r e e t .  _  . . .  
Da addition tfiAhe eenneciion, the deck also was seen 
•e 
te 
ide of the 
>ther than 
ires, such as 
s can be left, 
i if it had 
» Southern 
raped yards."" 
-Voad tree 
swimming 
<? The small-
about 18.000 
t? the aver-
tousing just 
. *,000 square 
Similarly, he--
new-home 
«juare feet, 
ms at One 
4,000 to 8,000 
here will be ^ 
styles, and. 
.*h Cailtoittfa 
saunas, dra*-
- rooms, Jan 
tCT,h##l 
X. JD uwuwu VVAU5 kVIUTOVSSVUi-M.™ M ^ 7j*. as providing a burgeoning area of downtown with 
some desperately needed open space. Such decking off 
freeways is quite feasible, especially if the roadway 
authority jsior it, as Caltrans says it is. Among places 
where this has worked is downtown Seattle, wherethe 
tj^ ^ ^^eaeHve^arkr end-in Brooklyn Heights. 
N Y., where it forms a promenade with magnificent 
views of the Lower Manhattan skyline. (For movie 
buffs, the promenade was a prominent location in 
"Moonstruck ") • , M t As a member of the committee, science fiction 
author Ray Bradbury envisioned the deck as a vital 
link in a "yellow brick road" that would encourage 
people to get out of their cars and explore the diverse 
neighborhoods of downtown. Also discussed by the 
** committee headed by architect David Jay Flood was 
the possibility of a modest exhibition space, along with 
cafes. But according to Flood and others, the original 
emphasis was on urban design and landscaping, not 
architectural edifices. 
Unfortunately, the program narrative for the subse­
quent competition hailed by Bradley was not particu­
larly clear on this critical issue. In addition, the letter 
sent out to potential competitors talked about "a 
facility," and "a center," no doubt misleading some 
competitors, while discouraging designers with a 
landscaping orientation from entering. 
Not encouraging either was that ihe majority of the 
members of the jury selected were not familiar with 
the site, or city. DespT ^ ~ 1 **4W" *" 
the good intentions r . 
Paisaouras. it seemed to me that the gun was loaded 
for the city to once again shoot itself in the foot. 
With this having set the tone for the competition. I 
wis informed late on Aug. 15 that the submission* 
were to go on display at the County Museum of Science 
and Industry In Exposition Park the next day . At the 
exhibit the media was told that the semi-finalists hsd 
been selected, an event subsequently covered by the 
m lUAiu 
•V
f 
- fepia^n Ttmcww+wfl 
*|io makes 7' .. 
selected was what appeared to be a hard-edged, 
high-tech harvester parked above the freeway, by 
Neil Denari of Los Angeles. 
Granted that this Is the first stage of the competition, 
and that the five survivors now will have an 
opportunity to visit the site, meet with select jury 
members and others involved, discuss forther thc 
"^oairoTTKe com^lttTcm a^relfnelhelr submissions. 
Indeed, according to the fine print of the niles and 
4 procedures of the competition, "because the firsfstage 
submissions may identify new opportunities or signifi­
cant .gaps in the first stage written program the 
sponsors may modify, ameno and/or expand upon the 
original program for the purposes of the second stage. 
Nevertheless. It is clear from my perspective that the competition has gone seriously astray. Because of the confused program discouraging 
and misleading entries, the city obviously was dealt a 
hand from less than a full deck. Given the prominence 
and potential of the site, the city deserves more. 
men the submissions were first unveiled to the 
jury, according to someone who was there, a few 
members commented that none measured up to the 
concept of the competition. Nonetheless, the Jury 
slogged on and came up with the five Schemes with the 
- ^ °|yfytfeeling^fhaK^fi^tel^response of a few^Tthe 
jurors was correct; and that the sponsors bite the bullet 
end .droit the »mp.UUon «i. •| Wta«J5J5» »•J* 
the gateway concept ho. merit. What ta fiwtied 
is a clearly written progrsm stressing urban design* 
t»uaded hy^^mstramu^ J*ali^ 
better-organised compeUUon, perhaps following a 
.••yellow brick road." One hopes the city can 
its mistakes. Happily this one te just in the paper 
stages, and not yM set in concrete^ « 
bot 
k make two 8-ouncc bottles 
DESIGN 
A 'Cloud' of Controversy over L.A. 
SUMMARY: Not wanting to be 
outdone by New York, the city of 
Los Angeles wants to build itself 
a monument. Called "Steel 
Cloud," the work would be built 
over a freeway. But the project 
may never materialize, as the city 
is embroiled in a controversy over 
the design and hinds may not be 
forthcoming, given the brouhaha. 
What would be more than four city blocks long, built of massive steel girders and geometric 
shapes, cost $33 million to build and has 
been described as everything from a bad 
freeway accident to a true portrait of city 
life in the laissez-faire Eighties to a work 
of genius? 
If you guessed the Ronald Reagan Pres­
idential Library, you're wrong. The struc­
ture in question is the proposed West Coast 
Gateway Monument, which has caused 
more argument in Los Angeles than any 
recent building other than TV producer 
Aaron Spelling's hotel-size mansion in 
Beverly Hills. The monument, titled "Steel 
Cloud" by its New York-based designers, 
Hani Rashid and Lise Anne Couture, is a 
futuristic group of public spaces and walk­
ways designed to occupy the airspace over 
a stretch of the Hollywood Freeway as it 
cuts through downtown Los Angeles. 
The idea was conceived in 1986, on the 
100th anniversary of the Statue of Liberty, 
by Mayor Tom Bradley. Bradley, whom one 
local columnist has described as "always 
happy to have a ribbon to cut or a building 
to dedicate," decided that Los Angeles, 
reportedly the nation's most popular des­
tination for emigres, needed its own mon­
ument to symbolize the city. Originally 
envisioned as a Lady Liberty-style beacon 
in Santa Monica Bay facing westward or a 
monument on a hillside overlooking Los 
Angeles International Airport, the notion 
ultimately was converted to one of a public 
. space that people could use rather than 
simply gaze at. And where better in L.A. 
to build a monument than over a freeway? 
"If we were to build a bridge over the 
freeway, the connection [between different 
ethnic neighborhoods] would be com­
plete," wrote Nikolas Patsaouras, West 
Coast Gateway Commission chairman, in 
a Los Angeles Times opinion piece before 
the winning design was selected. "A big 
challenge, but what a fantastic opportunity 
it is to build a public space on top of the 
freeway; and so, the West Coast Gateway." 
Covering up the "scars" of urban free­
ways is not a new idea: Seattle has dozens 
SO 
of acres of city parkland built over its free­
ways. And Angelenos, not known for their 
unanimity on any subject, seemed bemused 
by the idea of a monument to sum up and 
represent their sprawling city. But then 
"Steel Cloud" was unveiled, and the howls 
of protest have yet to quiet down. 
"Los Angeles's answer to the Statue of 
Liberty belongs right where much of its 
construction material will come from: the 
scrap heap," editorialized the suburban 
Daily Breeze newspaper. "It is unbeliev­
ably hideous, grotesque and monstrous. 
And it must be stopped" was the reasoned 
contribution of Los Angeles Herald Exam­
iner columnist Gordon Dillow. 
City Council member Gloria Molina 
was quoted as comparing the structure to 
"a freeway that just blew up." "A mile of 
bad road," "a plane crash," "stacked piles 
of mixed messages" and "an ongoing con­
struction site" were other common reac­
tions. 
The project model reveals a structure at 
once more coherent and at least as radical 
as it was characterized by most first-time 
viewers. Roughly the shape of a cross, 
"Steel Cloud" is a 1,600-foot-long series of 
public spaces including cinemas, outdoor 
viewing screens, restaurants, art galler­
ies, a Time Museum and an Immigration 
Museum, a Park of Peace and Unity, a 
"musical forest" where freeway noise will 
be synthesized into soothing musical tones 
and a pair of massive, slowly undulating 
aquariums suspended overhead. 
"The steel cloud will occupy the invisi­
ble space above the freeway," the architects 
rhapsodize in a written description of their 
work. "The cacophonic world of the auto­
mobile reconciled with the symphonic rap­
tures of culture. . . . Inscribed into the 
landscape are all the possible trajectories 
through the New World." 
The geometric elements of the design 
have been likened to the "deconstructivist" 
movement in contemporary architecture, 
though L.A. Weekly art and design critic 
Peter Frank notes that they really are closer 
to the "constructivist" designs of the early 
part of the century such as the Monument 
to the Third Conference on International 
Communism, designed by Soviet architect 
Vladimir Tatlin in 1920 but never built. 
Many observers have noted that the de­
sign's jarring, jumbled imagery is appropri­
ate for Southern California, evoking the 
collisions and strivings of an unplanned 
and cacophonous urban giant. "It is strik­
ing, forceful, powerful and very Ameri-
INSIGHT / FEBRUARY 13. 19? 
Rashid and Couture, two New Yorkers with designs on a Los Angeles freeway 
"You can't" create a monument "in a 
premeditated way. It's like Zen: If you 
think about it, you can't do it." 
Patsaouras says project is "striking." 
can," enthuses Patsaouras. "It blends well 
with the freeway and boldly connects the 
south and north parts of the city, the neigh­
borhoods of El Pueblo, Chinatown and Lit­
tle Tokyo." 
It has, however, a major problem: The 
monument might never be built. The $33 
million (minimum) required to erect "Steel 
Cloud" is to be raised entirely from private 
sources and, given the project's controver­
sial nature, it is unclear whether the money 
will be forthcoming. 
As Los Angeles begins to grapple with the staggering problems that accompany its phenomenal growth 
— the homeless in the streets, pollu­
tion, an overburdened transportation sys­
tem, an increasingly multilingual and mul­
ticultural society — it has been pointed out 
that spending that kind of money on a self-
congratulatory symbol reflects a warped 
sense of priorities. "Maybe we'd be better-
off spending $33 million to clean up the 
beach, something that everyone can use, 
rather than building this architectural exer­
cise downtown," states Los Angeles Times 
architecture critic Sam Hall Kaplan. 
Patsaouras, who runs an electrical engi­
neering firm in Los Angeles, is a civic 
gadfly with a history of embracing quixotic 
projects: He battled for years to see the 
building of Metro, the mass transit rail 
system that will connect the city's west side 
with downtown beginning in 1992. Not 
coincidentally, Metro's main terminus will 
be a short walk from the new monument. 
Even if the money is raised, many in the 
architectural community believe that set­
ting out to create a monument equivalent 
to the Statue of Liberty is a self-defeating 
exercise. 
"What it comes down to is a bad case 
of something that recurs throughout L. A.'s 
history: New York envy," architecture critic 
h O Q-
> 
< 
o 
o D 
John Pastier, a contributing editor to Archi­
tecture magazine, says, chuckling. "It's 
labeled as the equivalent to the Statue of 
Liberty — does that mean every city needs 
a Statue of Liberty?" 
Such pointed criticisms are not weak­
ened by the fact that the creators of the 
winning design are based in New York. 
That, however, is entirely appropriate for 
Hani Rashid, one-half of the winning part­
nership: "New York got the Statue of Lib­
erty as a gift from the city of Paris, and it 
literally traveled west across the Atlantic. 
This design is traveling in the same direc­
tion — it's a little like a father passing it on 
to the son, in terms of the cities. If anyone 
should be upset it should be the New York­
ers." 
But how does one create a monument in 
this contentious age? How to sum up in a 
work of architecture the many facets of 
L.A., often characterized as a city without 
a downtown or a soul, and the contributions 
immigrants are making to it? "I am very 
skeptical of these attempts to design a sym­
bol," says Thomas Hines, a professor of the 
history of architecture at the University of 
California at Los Angeles. "Symbols are 
not that easily come by. Great buildings, 
great architecture by great architects have a 
better chance of becoming familiar sym­
bols than something that is specifically 
built for that purpose." 
"You can't do it in a premeditated way," 
agrees Pastier. "It's like Zen: If you think 
about it, you can't do it. If you want it, you 
don't deserve it. These things just evolve." 
In part reflecting that philosophy, three 
of the original jurors on the selection com­
mittee chose to bow out after winnowing 
the entrants to five finalists. John Jerde, a 
prominent Los Angeles architect, has re­
fused to talk publicly about the project 
since he resigned. But, says his secretary, 
he indicated that his resignation was due to 
"concerns over the selection process and 
the aims of the Gateway Commission." 
Other critics have noted that, while the 
monument's charge is to celebrate the eth­
nic diversity of the new Los Angeles, the 
international jury included no Asians and 
no Latinos, the two ethnic groups contrib­
uting the most to that diversity. 
The claim that creating a monument is 
impossible, however, is a bit harsh. After 
all, what did the French think they were 
giving the United States other than a mon­
ument, a symbol of America's open-door 
policies? What was St. Louis's Gateway 
Arch designed as, other than a symbol of 
the opening of the frontier? 
Supporters of the Los Angeles project 
never tire of pointing out that the Eiffel 
Tower, one of the most famous symbolic 
structures in the world, was similarly re­
viled by Parisians when first unveiled. 
And, it turns out, the designers themselves 
were aware of the fallibility of such an 
approach. 
"We didn't set out to design a mon­
ument," claims Rashid. "We set out to de­
sign a gateway, a building that would be a 
response to these people journeying from 
all over the world to live in L. A. A kind of 
beacon, with space for programs, galleries, 
video screens and museums, which would 
ultimately become a monument only by 
virtue of the people using it and inhabiting 
it. The designation of a monument would 
come onto it afterward." 
Even if the "Steel Cloud" never appears 
on the horizon, Rashid and Couture have 
accomplished something significant by set­
ting Los Angeles to examining its own * 
imagery and the idea of a monument to 
characterize it. The city's perceptions of 
itself — and the Hollywood Freeway — 
may never be the same. 
Now if they could just do something 
about the Santa Monica Freeway. And per­
haps the Harbor. 
— Richard Martin in Los Angeles 
Others complain that "Cloud" (shown in model, above) belongs in a scrap heap. 
SIGHT / FEBRUARY 13. 1989 51 
IRWINDALI 
CHINESE 
P MONTEREY 
PARK 
LOS ANGELES 
"EBELLO 
HUNTINGTON 
. PARK 
WATTS 
HAWTHORNE 
KOREAN 
COMPTON 
JAPANESE 
& KOREAN CERRITOS CARSON 
SAMOAN JAPANESE, 
KOREANS, 
CHINESE I JAPANESE, 
KOREAN & 
' / CHINESE 
PALOSVERDES 
ESTATES 
LONG 
BEACH 
Nation 
COVER STORIES 
r "The New Ellis Island" 
Immigrants from all over change the beat, bop and character of Los Angeles 
Hispanic wmmm Asisn Black 
ARAB SALVADORAN& 
GLENDALEFILIPINO GUATEMALAN 
JAPANESE, 
KOREAN & 
KOREAN 
JAPANESE^ ^ 
:|i2 
THAI 
HOLLYWOOD BEVERLY 
HILLS «« .§ 
* KOREAN 
' rrwB 
< ^
CULVER Q 
C|TY 
CHINESE 
& JAPANESE 
ANAHEIM 
ORANGE 
COUNTY 
WESTMINSTER 
VIETNAMESE 
Source: Western Economic Research Co. TIME Map by Paul J. Pugliese 
about to join their parents, whom they 
had last seen in 1979. They stepped 
through the passport stamper's booth and 
up to the desk of the Immigration and 
Naturalization Service official, a sympa­
thetic woman, for fingerprinting and 
more stamps. They carried their things (a 
portable tape player, a jar of noodles 
soaked in vinegar, bath slippers) past the 
Department of Agriculture inspector and 
out. The young Santiagos had never been 
By 10:30 a.m., the North­
west Orient jumbo jet was 
in its berth at Los Angeles 
International Airport, sim­
mering down after the 13-
hour flight from Manila. It 
had disgorged its captain, 
crew and 284 passengers, 
including the unbearably excited young 
Santiagos. 
The five siblings, ages 24 to 33, were 
to Los Angeles, let alone the U.S. And yet, 
as of last Thursday afternoon, they were 
here to stay. 
Los Angeles is being invaded. Two 
hours after the Santiagos arrived a Pan 
American jet landed with 76 Vietnamese 
refugees on board. And all those immi­
grants standing in anxious L.A. airport 
queues, mainly Asians, are only the west­
ern flank. At the INS checkpoints to the 
south in San Diego, nearly 2,500 Mexi-
18 TIME, JUNE 13,1983 
cans, Salvadorans and Guatemalans are 
waved through each month. Many more, 
perhaps 50 times the legal arrivals, slip 
quietly over the border. 
Each immigrant, whether he crossed 
the Pacific on a 747 or the Rio Grande on 
a compatriot's shoulders, is bristling with 
old-fashioned ambitions. Each harbors a 
plan, or at least the rough vision of a bet­
ter life. More and more head for the new 
ethnic metropolis. "Los Angeles," says 
Rand Corporation Demographer Kevin 
McCarthy, "has become the natural em­
barkation point to the U.S. There's no 
question that it is the new Ellis Island." 
L.A. has no central processing facility like 
Ellis Island, or any Pacific Coast Statue of 
Liberty, no romantic symbol for every 
country's immigrants. But during 1982, 
according to Rand estimates, more than 
90,000 foreign immigrants settled there, 
and since 1970, more than 2 million. The 
exotic multitudes are altering the collec­
tive beat and bop of L.A., the city's smells 
and colors. And a deeper transformation 
is under way. 
Immigrants have landed there before, 
of course, though never in such numbers. 
"We find ourselves suddenly threatened," 
said the last Mexican Governor of Cali­
fornia, in 1846, "by hordes of Yankee em­
igrants ... whose progress we cannot ar­
rest." Southern California in particular 
has always been full of transplants be­
coming Americans. 
But by 1940, only an eighth of Califor-
nians were foreign-born. Mainly other 
Americans were drifting into Los Ange­
les. They came seeking respite from the 
Dust Bowl and Depression, or for a glanc­
ing try at Hollywood success. Since World 
War II, the mass of U.S. migrants has 
grown larger but less purposeful. Lately 
they have seemed to hanker not so much 
for jobs as for a sunny, sexy L.A. way of 
life, as have the growing number of 
French (55,000) and British (50,000) 
emigres. 
The international hordes now stream­
ing in from the west and south have, in 
contrast, no-nonsense ideas about what 
they want: a chance to work hard and 
make money. Laid back they are not. The 
newcomers seem almost eager to endure 
adversity in pursuit of their American 
dreams, not unlike the teeming masses at 
the turn of the century. Many have left 
such misery that their dreams are ex­
tremely modest. Today in L.A., there are 
refugees from ugly politics—Soviet Arme­
nians, Lebanese, Iranians—and also en­
trepreneurs arriving with capital already 
in hand. But most are not well-off and 
most came from countries of the "Pacific 
rim": Mexico and El Salvador, across the 
ocean to Samoa, and still farther west to 
the Philippines, Taiwan, Viet Nam and 
South Korea. Congress opened the flood­
gates in 1965 when it replaced racial and 
national quotas with an overall annual 
limit of 290,000 immigrants. 
The statistical evidence of the immi­
grant tide is stark. In 1960 one in nine Los 
Angeles County residents was Hispanic, 
and a scant one in 100 was Asian. Today 
one in ten is Asian. Nearly a third of the 
county is now Hispanic, as are almost 
two-thirds of L.A. kindergartners. Nor is 
this ethnic sweep a limited, inner-city af­
fair. Although whites have been a minor­
ity in the hemmed-in city of Los Angeles 
for some time (in 1980, 48% of a popula­
tion of 3 million), the Anglos are now, 
suddenly, also shy of a majority through­
out the whole county (3.8 million out of 
7.9 million). Today everyone in L.A. is a 
member of a minority group. 
Why L.A.? It is closer to Seoul, Mazatlan and Singapore than other big U.S. cities. The im­migrants are reassured that 
the local climate, at least, is not mean. 
And they seek safety in numbers. 
In fact, there are not necessarily any 
welcoming hugs from ethnic brethren 
who have made the trip earlier. L.A. has 
for decades had solid, stable populations 
of hybrid Angelenos—Japanese Ameri­
cans, Chinese Americans and so on. They 
do not always know what to make of the 
newcomers. And many L.A. blacks sim­
ply feel besieged, resentful. 
But at least the blacks are aware of the 
immigrant surge. Most white locals seem 
oblivious. It is a city where people drive 
on freeways, and so see mainly roofs and 
treetops; it is easy to ignore remarkable 
changes in the grittier quarters and home­
lier suburbs. In L.A., all neighborhoods 
except one's own are out of the way. 
Stockbroker Jay Marshall, who lives in 
the upscale Westwood section, did not 
know until last week that there was an en­
clave of 150,000 Koreans downtown. His 
awareness of L.A. Hispanics is dim. "I 
know they five in places that are terribly 
overcrowded," he says. "But I don't know 
where that is." Stan Rosenfield, a publi­
cist, has lived on the affluent, white west 
side for 15 years. He recalls seeing "Mexi­
cans" during visits to an amusement park 
in the San Fernando Valley: "I'm only 
aware of them when I go to Magic Moun­
tain, and then they're all around me." 
What does a Taiwanese grocer living 
in Glendale have in common with a poor 
Guatemalan living in Boyle Heights? 
They may both watch the same local tele­
vision, although the Guatemalan has 
Channel 34, in Spanish, and the grocer 
can stick to Chinese-language Channel 
18. But they must certainly share the 
sense of being quasi-Americans: every im­
migrant has to cope with pressures to as­
similate. They are supposed to fit in, but 
they may never be wholly accepted. "We 
East L.A. nifias celebrating Cinco de Mayo holi­
day; Korea Times editor in his newsroom; Mexi­
can unloading lemons at city's wholesale market; 
Pasadena Partners Williams and Kosobayashi; 
Vietnamese abbot marrying Jewish groom to 
Buddhist shiksa; and a Hollywood Hills view of 
downtown 
TIME, JUNE 13,1983 
r 
19 
New Crocker Bank skyscraper and Chinatown 
landmark in a hybrid cityscape bound by Old Glo-
J A M E S  C A C C A V O  
do not think in American terms of a melt­
ing pot," says Paul Louie, a second-gener­
ation Chinese American. "We prefer the 
metaphor of a rainbow or a salad." 
Indeed, many of the new arrivals 
cling to their ethnic identity, preserving 
their customs and language, nurturing old 
prejudices (the Japanese look down on 
Koreans), developing new ones (Koreans 
look down on blacks and chicanos). 
Whole neighborhoods seem to rub up 
against each other without mixing. 
But the homogenizing melting pot re­
mains a powerful national ideal. Regard­
less of whether the foreign-born Ange-
lenos make peace with their extravagant, 
sometimes alienating new culture, they 
will likely watch their children turn into 
Americans. Hun Yum, a prospering 
South Korean restaurateur, has named 
his children, ages 7 and 2, Brian and San­
dra. The kids insist on being slaked with 
Big Macs and ginger ale before consent­
ing to attend occasional bulgoki feasts. 
"They are not Koreans," Yum says. 
"Their parents are Koreans." 
Even before the staggering influx of 
foreign settlers, L.A. was a big, sprawling, 
hard-to-fathom place. It was the first 
great Sunbelt city, stretched and shaped 
by the automobile into a half urban, half 
suburban archipelago. Says Mark Pisano, 
executive director of the Southern Cali­
fornia Association of Governments: 
"There has never been one huge predomi­
nant city. There have been conglomera­
tions." Most of what commonly passes for 
L.A. lies inside the generous boundaries 
(4,083 sq. mi.) of Los Angeles County. The 
county, bigger than Rhode Island and 
Delaware combined, contains lots of un­
developed, unincorporated scrubland as 
well as 82 towns and cities. The largest, of 
course, is the City of Los Angeles, which 
consists of 464 sq. mi. in the center of 
the county. 
As an economic entity, greater Los Angeles is world class: if the area seceded, it would have a G.N.P. larger than that of Mexico or 
Australia. The movie and TV business is 
only the hot tip of L.A.'s biggest job sec­
tor, its service industries, which together 
employ 882,000 people. There is a muscu­
lar side as well, with 869,000 workers in 
manufacturing, about a third in aerospace 
and other clean, high-tech industries. But 
parts of the city could pass for Buffalo. On 
the waterfront in Long Beach sit stacks of 
blue and orange cargo containers. In Lyn-
wood, railroad tracks run past auto 
salvagers, truck-winch manufacturers, 
scrap-metal piles. 
Just absorbing hundreds of thousands 
of immigrants, all at once, would be a 
tough enough task for the overburdened, 
overlapping local governments. (For in­
stance, of L.A.'s 550,000 schoolchildren, 
117,000 speak one of 104 languages better 
than they do English—including 35 kids 
fluent only in Gujarati, a language of 
western India.) But another daunting ar­
ray of urban problems will not wait. L.A. 
is aging. "Streets are breaking up. Water 
mains are breaking up. Bridges are crum­
bling," says Harvey Perloff, dean of 
u.c.L.A.'s school of architecture and ur­
ban planning. "The day of reckoning is 
going to happen so fast that it's going to 
make people's heads whirl." L.A. is a 
product of explosive growth, but now the 
practical limits to growth are in sight. The 
local debate over taxes (about to go up to 
cover nearly $300 million in city and 
county budget deficits), potholes and po­
lice layoffs sounds a lot like the sober mu­
nicipal agendas of New York City, Cleve­
land, Pittsburgh. L.A. can no longer 
pretend to be a surfside boom town with a 
job for everybody. The metropolis, in 
short, is maturing. At the same time it 
must adjust to the quirky, polyglot 
rhythms of 60,000 Samoans and 30,000 
Thais, 200,000 Salvadorans and 175,000 
Armenians. 
L.A. seems familiar to the rest of the 
country. Patches of its bright cityscape 
are on television all the time, and Woody 
Allen makes cracks about its well-mus-
cled airheads. L.A. is to the rest of the 
U.S. as the U.S. is to Europe: both the butt 
TIME, JUNE 13,1983 
ry; Mexican Americans waiting for offers of day 
work; Chinatown grammar schoolers pledging al­
legiance; member in good standing of teen-age 
Filipinos' Temple Street gang; and middle-class 
Monterey Park's multiethnic city council: two 
Hispanics, a Filipino, a Chinese and, in the rear, 
an Anglo 
Nation 
elsewhere. At this year's May Day dem­
onstration in MacArthur Park, 200 mem­
bers of the Revolutionary Communist 
Party were like heavyhanded caricatures 
of Commies, shouting, "We spit on the 
red, white and blue!" 
The L.A. Times report of that anti-
American chant must have particularly 
astonished the paper's immigrant readers. 
They, after all, have come to L.A. with ev­
erything staked on a belief that American 
myths are real. Richard Yen-Shih Koo 
arrived from Taiwan in 1965. "I saw the 
good life in the United States," he says 
1 without irony, "as heaven." 
Heaven it is not. For the new arrivals, 
the experience has been unpredictable, 
intense and usually better than what they 
left behind. Here, the groups that have es­
tablished themselves most visibly in L.A.: 
MIDDLE EASTERNERS. In 1970, 20,000 
Iranians lived in L.A. Today's colony is 
close to 200,000, the great majority politi­
cal refugees who have fled their country's 
revolutionary turmoil. Many more are 
Jews, concentrated in southern Beverly 
Hills: there, over bins of dates in green­
grocers, signs are printed in English, Farsi 
and Hebrew. In Beverly Hills elementary 
schools, one in six children is Iranian. 
Some American parents worry that their 
children's education is suffering as teach­
ers slow their lessons to accommodate the 
Farsi speakers. But one Iranian mother 
ago, before local Arabs had acquired soli­
darity. "Their heritage was in their 
hearts," he says, munching dates and fid­
dling with worry beads. "But they kept it 
in the closet." The recent immigrants, dis­
placed by the 1975-76 Lebanese civil war 
and its aftermath, tend to be Moslem 
rather than Christian. Says Vicki Ta-
moush of the National Association of 
Arab Americans: "Among these people, 
there is a much greater effort to instill a 
sense of Arabism in their children." 
And finally, as if for international 
symmetry's sake, an Israeli community, 
90,000 strong, has sprung up since 1970. 
The new immigrants tend to be young 
professionals. Many are discouraged by 
Israel's erratic economy and mandatory 
military service, and attracted by L.A.'s 
mild Mediterranean climate and econom­
ic promise. 
ASIANS. The "ABCs" (American-born 
Chinese) tend to be contemptuous of the 
"FOBs" ("fresh off the boat"). L.A. Filipi­
nos have their own snickering Tagalog-
language acronym—"TNTs"—for their 
new and often illegal arrivals. Nisei, or 
U.S.-born Japanese, are*embarrassed by 
Japanese nationals who speak no English; 
newly arrived Japanese, in turn, are wary 
of L.A.'s native sansei (third generation) 
and yonsei (fourth). But all the Japanese 
seem to agree that they are superior to 
other Asians. And everybody picks on the 
Americans scattered around the county. 
A brand new, $12.6 million cultural com­
plex provides reminders of home: a lush, 
still garden of camphor and golden-rain 
trees, a sleek theater for Japanese-lan-
guage productions, a brick plaza for a 
snack of age tofu (deep-fried soybean 
curd) and a stroll. 
But not all Japanese Angelenos like 
the ascetic calm. "I feel like a stranger 
down in Little Tokyo," says Warren Fu-
rutani, 35, a counselor at U.C.L.A. "My life 
is full of contradictions." Indeed so. Furu-
tani was born in L.A. He does not speak 
Japanese, but insists that his house guests 
take off their shoes. He frets about the 
ethics of buying a Honda. His son is 
named Sei Malik Abe Furutani. Says the 
father: "I want to teach this child to learn 
Japanese, to learn the customs and yet 
still be an American." 
Kazuhiko Yamaguchi moved to L.A. 
from Kaseda, Japan, in 1964 to make 
money. After 19 years building up his 
Mitsuru Restaurant in Little Tokyo, he 
speaks only Japanese. Unlike Warren 
Furutani, though, Yamaguchi, 51, is un­
troubled by cultural contradictions. Says 
he: "I am not worried about the 'Ameri­
canization' of my two children. They were 
born here, and their styles are different." 
The odds are, in fact, that one of the Ya­
maguchi kids will have a white spouse. 
Surveys show that 60% of L.A.'s Japanese 
marry non-Japanese. 
of jokes and the object of envy, derided for 
its fast-buck vulgarity but secretly wished 
well just the same. 
The cliches describe a small part of 
L.A., but they are apt enough. The place 
does have eccentric glamour. The enor­
mous HOLLYWOOD sign stuck on one of 
the Santa Monica Mountains is odd and 
funny. "Colonics," a regimen of recre-
ational-cum-therapeutic enemas, is popu­
lar among regular people. On Sunset Bou­
levard nothing seems remarkable about 
the Professional Waiters School, and on 
Gloaming Drive in Beverly Hills, the only 
pedestrians are tanned joggers and dark-
skinned servants. Los Angeles has more 
registered poodles (16,732) than any other 
city, and plenty of them are dyed the col­
ors of jelly beans. 
Even fringe politics seems zanier than 
retorts, "When we bought their house and 
raised the price from $1 million to $3 mil­
lion, they weren't complaining." 
Most did not come to forge a better 
life, exactly, but to avoid death by Islamic 
firing squad. Ghassem Tehrani, who is 
editor of an Iranian community newspa­
per, could not find work in Paris or Lon­
don. He is unhappy in L.A. "You are too 
much money-minded here. All of us want 
to go back," he declares. If it were not for 
his two sons of Iranian draft age (14 and 
16), he claims the family would return. 
But Tehrani's boys would not fare well in 
Iran in any case. "I don't think they know 
enough Farsi to survive." 
The Arab community has tripled to 
130,000 in the past decade. Mohammed 
Hussein Saddick, 45, a U.C.L.A.-trained 
engineer, arrived from Lebanon 19 years 
Koreans. Says U.C.L.A. Sociologist Harry 
Kitona: "They regard the Koreans as the 
Mortimer Snerds of America. They can­
not learn the language, their food smells 
and they cannot express themselves." In a 
city with half a dozen major "Oriental" 
communities, national distinctions seem 
magnified, perhaps because these uneasy 
ethnic cousins have been thrown together 
as never before. 
To be sure, L.A.'s Japanese Ameri­
cans have good reason to feel established, 
if not superior. A neighborhood of Japa­
nese immigrants was thriving downtown 
in Little Tokyo when Beverly Hills was 
empty land. The area, which was re­
named Bronzeville during World War II 
when its residents were interned, has been 
retaken by the Japanese, and is again a 
main gathering spot for 175,000 Japanese 
TIME, JUNE 13,1983 21 
The Yamaguchis live in Montebello, a 
largely Anglo and Mexican American 
suburb to the east. By far the greatest 
concentration of L.A.'s Japanese is in 
middle-class Gardena, a tiny town of neat 
stucco houses wedged between a huge 
black ghetto and a neighborhood of 
white-collar aerospace workers (Hughes, 
TRW). About 11,000 of Gardena's 47,000 
residents are Japanese. "Oh, we see them 
a lot," says a white Gardenan. "They 
come out here [to the city hall mall] on 
one of their holidays with all of these fish 
and these kites. It's very nice." 
Chinese came in force to California a 
century ago from Canton. But until the 
mid-1970s, Chinese Americans were a 
small part of L.A.'s ethnic patchwork, 
outnumbered almost 3 to 1 by Japanese. 
No longer: thousands have arrived from 
Taiwan and Hong Kong. To much 
of the local Chinese Establishment, 
the newcomers seem vulgar and 
pushy. 
Richard Yen-Shih Koo, 43, 
stands somewhere in between. He 
was born in Shanghai, raised in 
Taipei, and crossed the Pacific at 24 
to get his master's degree in busi­
ness. For four years, alone in the 
U.S., he was separated from his 
wife Rut-Sun and daughter. But 
getting such a degree, he says, "was 
a dream for all [Taiwanese]. The 
psychological effect was to force 
you to go abroad." 
He arrived in Berkeley, at the 
University of California, in 1964, 
during the height of the Free 
Speech Movement. Koo, however, 
was not remotely a rebel. He 
obeyed when an immigration offi­
cial suggested that he adopt an 
English name. "I had no particular 
preference," he says. "My goal was 
success and to be rich." Koo, who 
became a naturalized citizen in 
1977, has achieved his goal. He is a 
founder of an accounting firm with three 
Los Angeles offices and lives in a house on 
two acres. But for all that he has an ac­
countant's cold clarity about his potential 
for bigger business success. "Our dreams 
must be realistic. I will never speak per­
fect English, and I look different. But ev­
erybody," he adds, "always faces some 
kind of discrimination." Koo works 60-
hour weeks, so he does not see much of his 
two daughters. "Jean, my younger daugh­
ter," Koo admits, "at first refused to learn 
to speak Chinese. But she is O.K. now." 
There are 42 Chinese language 
schools in the area: the Koos live near 
Monterey Park (pop. 57,700). The town, 
with its winding streets of cypress ranch 
houses set into the lush hillsides, is consid­
ered the Chinese enclave in L.A. In fact, 
the town is very mixed—39% Hispanic, 
19% Chinese, the rest other Asians and 
whites—but the Chinese proportion has 
tripled in a decade. The new residents, 
late of Hong Kong and Taiwan, are 
spendthrifts: along Atlantic Boulevard, 
Nation 
the cost of commercial space has gone up 
700% since the early 1970s. 
The Santiago siblings, who flew in 
from Manila last Thursday, will live in 
their parents' house in the middle-class 
suburb of Reseda. They will be among a 
comfortably large group of Filipinos 
there. But the 150,000 Filipinos (up from 
33,500 in 1970) are, in fact, the most scat­
tered of the Asian nationalities in Los An­
geles. It is telling that a $5 million Filipino 
cultural center, designed and funded, has 
been postponed because the community 
cannot decide where to build it. The poor 
do cluster in a shabby downtown area. 
But in L.A., the Filipinos are not, typi­
cally, poor. Ambrocio Santiago will soon 
have the $100,000 proceeds from selling 
his house back in the town of General 
Trias. A good many of the Filipinos are 
1983 1970 
Mexicans 2,100,000 822,300 
Iranians 200,000 20,000 
Salvadorans 200,000 * 
Japanese 175,000 104,000 
Armenians 175,000 75,000 
Chinese 153,000 41,000 
Koreans 150,000 8,900 
Filipinos 150,000 33,500 
Arab Americans 130,000 45,000 
Israelis 90,000 10,000 
Samoans 60,000 22,000 
Guatemalans 50,000 # 
Vietnamese 40,000 * 
TIME Chart •Fewer than 2,000 
crimes than any other Asian nationality. 
Hun Yum, 40, opened his Hoban Res­
taurant on Western Avenue a decade ago, 
and profits have increased tenfold. Yet, 
after 14 years in L.A., he speaks barely 
passable English. Yum has not refused to 
become fluent. He is just too busy. "Mon­
ey is our first priority," he says. "We have 
to work first, and then we have time to 
learn the language. Or our children will." 
The 64,400 Vietnamese in Southern 
California have come in the past eight 
years. Cao Due Thi, 45, an engineer, left 
Saigon with $40 on April 29,1975, the day 
before the Viet Cong tanks rolled in. He 
and a majority of his compatriots live in 
Westminster (pop. 75,000), a neat desert 
suburb in Orange County near Camp 
Pendleton, where many of the refugees 
spent their first days in the U.S. 
"If they had told me they were 
sending me to Alaska," Cao says, "I 
would have gone there. I didn't 
know any of these places or where 
they were. I was grateful for a jun­
gle or a farm or anything." His first 
job was in a car wash, and next he 
worked for a jewelry manufacturer. 
In 1980 he founded Cao Enter­
prises, which makes ersatz Ameri­
can Indian baubles, and soon put 
his former boss out of business. Cao 
drives a Cadillac Fleetwood. 
His friend Tran Minh Cong, 45, 
works for the Orange County hous­
ing authority. "This country has 
been very gracious to me," he says. 
"But remember, I was forced to 
leave my country. I am hoping to go 
back there. Home is home." For 
now, however, he calls himself 
Joe Tran. 
medical professionals, drawn by U.S. sal­
aries and by the provision of the 1965 im­
migration law that gives preference to the 
highly skilled. Dr. Federico Quevedo, 
founder of L.A.'s Confederation of Philip­
pine-United States Organizations, is an 
obstetrician. Ophthalmologist Lani Que­
vedo, his wife, is the daughter of a doctor 
and a pharmacist. "The new immigration 
laws," explains Federico Quevedo, "take 
connections and credentials and money." 
South Korean immigrants also tend to 
be middle class, or working slavishly to 
get there. Their numbers have gone up 16-
fold since 1970, with virtually all of the 
newcomers settling in a 2-sq.-mi. swath 
along jumbled Olympic Boulevard. They 
seem eager to become full-fledged Ameri­
can bourgeois, holding golf tournaments 
and staging beauty contests. According to 
L.A. Demographer Eui-Young Eu of Cal­
ifornia State University, 40% of the area's 
documented Koreans own their homes. 
Most are fervent Protestants. Koreatown 
has some 400 churches. Ironically, youn­
ger Koreans are more likely to commit 
HISPANICS. Forty years ago this 
week, L.A.'s zoot-suit race riots 
reached a peak of violence: white 
mobs, dominated by servicemen on 
leave, made unprovoked forays over the 
Los Angeles River and into the east side, 
where they savagely beat any flashy 
young Mexicans (zoot-suiters) they found. 
The bigotry is not gone. "They can't hold 
down jobs," says Rosenfield, the publicist. 
"They're not educated. They're lazy. 
They don't make an effort to be meaning­
ful citizens." 
Until recently in L.A., it was silly to 
talk of a Hispanic population: Mexicans 
were it. But now there are 50,000 Guate­
malans with their own 18-team Guatema­
lan soccer league. There are 200,000 Sal-
vadorans, and the political violence there 
is driving hundreds more to L.A. every 
week. Further, there are some 100,000 
Colombians, Hondurans, Cubans and 
Puerto Ricans. As with the Asians, invidi­
ous distinctions are offered without much 
prompting. Arturo Price is from Colom­
bia. "We have nothing to do with Mexi­
cans here," he sneers. "Our culture is dif­
ferent, our Spanish more pure." 
Nevertheless, eight out of ten L.A. 
"Hispanics" are Mexicans or Mexican 
22 TIME, JUNE 13,1983 
JAMES BALOG BEN MARTIN  
:2rairr 
•MJCtW: 
** MAT 14 
Nation 
Americans, probably 2.1 million in all. 
And they are different in a critical respect 
from all the other ethnic arrivals: the im­
migrant from Mexico comes from near by 
to what was, until 1848, Mexican national 
territory. He arrives feeling as much like a 
migrant as an immigrant, not an illegal 
alien but a reconquistador. 
The influence on metropolitan cul­
ture. at least superficially, has been great. 
There is an air, especially in East Los An­
geles, of what Mexican Poet Octavio Paz 
says are his national essences: "delight in 
decoration, carelessness and pomp, negli­
gence, passion and reserve." Shop signs, 
often pictorial, are painted directly and 
unprofessionally on stucco facades. The 
slow promenades of customized cars are 
nationally famous. 
Among Mexican Americans, howev­
er, there are class and other divisions that 
can be as important as the distinctions 
among Latin nationalities. "There is a 
huge difference between the kids born 
here and the kids born in Mexico," says 
Jesse Quintero, a teacher whose students 
are mostly illegals. "It's a different 
breed." And while the waves of illegal 
Mexican immigrants are exceptionally 
poor, the barrio's long-entrenched Mexi­
can Americans inhabit a world more like 
William Bendix's TV L.A. in the 1950s 
show The Life of Riley: working-class 
comfortable. The middle class, perhaps 
a small auto-body repair shop. Those pro­
visions last month included spending 
thousands on the traditional coming out, 
the quinceahera, for his daughter Lucy. 
"A girl is only 15 once," Cardines said, as 
Lucy and her 28 attendants boogied to 
Superfreak in a hotel ballroom. 
Out in West Covina, Raina Padilla would have rolled her eyes in dis­belief (Daddy!) if Ernie, her fa­ther, had suggested a corny quin­
ceahera for her. Raina, 24, is a University 
of Southern California graduate who 
dates Anglos (40% of Mexican Ameri­
cans marry across ethnic lines) and spent 
her junior year studying in Madrid: Ernie 
had wanted her to perfect her Spanish. 
She did not. 
Padilla, 59, was born poor, but now 
earns enough from his security firm to af­
ford the good life: two Cadillacs, $300,000 
house, swimming pool, outdoor barbecue, 
Scotch and sizzling T-bones on the patio. 
He is a Republican: he shows a photo­
graph of his wife with Wayne Newton at 
President Reagan's Inauguration. 
Jesse Quintero, 28, and his wife Rose­
mary, 27, were born and raised in East 
L.A., but they met as students at U.S.C. 
They are teachers in the schools of heavi­
ly Mexican Bell Gardens. "I am a latino," 
Jesse declares. "I'll never feel Anglo." He 
glances at Rosemary, who is wearing her 
population who see themselves as Mexi­
cans. They don't necessarily want to stay 
in the U.S. forever." 
Some 160,000 refugees have come to 
L.A. from El Salvador since 1980, when 
the crossfire of insurgency and repression 
escalated. Most are unskilled and terribly 
poor. In 1981 Narciso Cardoza walked 
over the Mexican border into Texas, ille­
gally, and then flew to L.A. to join his wife 
and daughter, now 5, in East L.A. "I 
thought I would be living with Ameri­
cans, lots of blonds speaking English and 
playing baseball," he says of his arrival, 
"but it looked just like Mexico to me." He 
is disapproving of his Mexican neighbors 
who, he says, "sit around all day, swearing 
and drinking beer instead of working." 
Cardoza, 28, has a $3.50-per-hr. job as a 
clerk in an auto-parts store. 
He is struck more by the everyday 
American plenty than by the grander 
promise. "All these tennis courts," he ex­
ults, "where anybody can play for free! 
And lying empty most of the day." His in­
genuous pleasure could make a cynic 
weep. "The apples, the peaches, the 
strawberries are all so good here, and 
cheap! The first time my wife and I went 
to the market together," he says, "we 
spent $20 just on fruits and vegetables." 
One of his small dreams: "I'd like to go to 
an American disco some day and dance." 
In the Salvadoran neighborhood in 
30% of L.A.'s latinos, seldom use the 
vaguely militant term chicano. 
The young man in East L.A.'s scruffy 
old Maravilla barrio calls himself Diablo. 
He wears a sleeveless T shirt, so his tat­
toos are plain. Diablo, 23, spends most of 
his free time hanging out with a few fellow 
members of the Lopez-Maravilla gang. 
They look tough. But at a meeting in a 
tool shed late last month, they were most­
ly concerned with planning an upcoming 
rummage sale. There are some 300 Mexi­
can youth gangs in L.A., and many are vi­
olent drug users: police say 260 homicides 
last year were gang related. 
There are gangs in Jose Cardines' 
neighborhood. Cardines, 51, arrived in 
East L.A. when he was 29, the year John 
Kennedy became President. He speaks no 
English. But he has become a U.S. citizen, 
and provides for his wife and six kids with 
Camp Beverly Hills T shirt. "Sure," he 
says, "we listen to Anglo music, watch 
Anglo TV, go to Anglo movies. But we do 
it with other latinos." 
The Quinteros live just east of Bell 
Gardens. Their town is Montebello (pop. 
53,000), a well-tended middle-class sub­
urb that in 20 years has changed from en­
tirely Anglo to 65% Hispanic. 
"When I was a kid," Jesse says, "you 
had to become Anglo to survive. For the 
kids today, it's hip to be latino." How hip? 
A New Wave rock band formed by U.S.-
born Mexican Americans is called Los Il­
legals. Avance, a stylish new magazine 
written in English, has a young, up­
scale circulation of 35,000. But for every 
trendy Avance subscriber in L.A. there are 
at least ten who resist adaptation. Says 
L.A. Times Columnist Frank del Olmo: 
"There's a large segment within the legal 
Pico-Union, a Japanese restaurateur has 
opened a place called El Libertad El Sal­
vador, and serves teriyakiburgers. All 
over the city and county, in fact, the eth­
nics have bumped up against each other 
and produced some vivid, only-in-L.A. 
mongrels. Gutierrez & Weber, Wah Wing 
Sang is a mortuary. Billie Williams, a 
black businessman, and Pharmacist Doug 
Kosobayashi, who is Japanese, own and 
run a flourishing Pasadena drugstore 
called Berry & Sweeney. 
More often, it seems, there is conflict 
and recrimination. The resentment is eco­
nomic, with blacks mad at Mexicans and 
Mexicans sore at Asians. "They are all 
boat people who came into this country 
behind a war our kids fought," complains 
James Ramirez of East L.A. "The Gov­
ernment gives them a 3% loan. If we had 
it so good, we'd be owners too." 
24 TIME, JUNE 13,1983 
J A M E S  B A L O G  B A L O G  
fried Ckik 
INCOME 
TAX 
ACCOUNTING 
SERVICE 
387 36f4 
MEXICAN 
ESTAUMH1 
& DELJ TgMITiL m 
"
l-1 SAltf I Si 
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Rags-to-riches Padilla family around the pool in 
West Covina; Mexican boy hawking oranges on 
Crenshaw Boulevard; robust off-island Samoans 
gather for a cricket match; Children's Day cele-
brator at Koreatown Baptist church practicing a 
venerable American craze; and a vivid polyglot 
strip in a city where Kentucky Fried Chicken com­
petes with Cantonese fried duck as well as Kore­
an bulgoki, Japanese sashimi, Mexican tostadas 
II 
food Korean Jacanese Chinese 
RESTAURANT 
But anger is increasingly acute among 
L.A.'s blacks, who make up 12.6% of the 
county. Frank Haley runs a dry cleaners 
near Watts. Hispanics now make up one-
third of his neighborhood. "It bothers me 
a lot," Haley says. "I see these Spanish 
coming in and buying businesses. They 
must be getting the money from some­
where. "His theory: "This started after the 
[Watts] riots. I feel that the Government 
said, 'All right, we'll fix those blacks. 
We'll open up the border and move in 
Mexicans.' " The Asians are more round­
ly blamed. "We all looked up one day," 
says Mary Henry, a black activist, 
"and everybody pumping gas seemed to 
be Asian." 
Black politicians are less fearful of in­
roads by the immigrants, and some are 
smug. Chinese seem wary of elections: last 
fall, among all of Monterey Park's Chi­
nese, a mere 1,600 voted. L.A.'s blacks, by 
contrast, vote in throngs: in 1980, 56% of 
the black voting-age population went to 
the polls, compared with 49% of Anglos. 
Still, the sheer size of the potential 
Mexican electorate cannot be ignored, 
only analyzed away. "The latino majority 
on the east side [of the black district]says 
Maxine Waters, an assemblywoman, "is 
still mainly undocumented workers who 
don't vote." Del Olmo agrees that his peo­
ple's power is all latent: "The numbers 
indicate potential. Too many latinos 
fall back on rhetoric and raw numbers 
to prove their validity." He thinks that 
Mexican political muscle may not be 
flexed until the next century. In the year 
2000, according to a study of L.A.'s future 
just completed by U.S.C., Hispanics will 
constitute 40% of L.A. County and An­
glos, 31%. 
By then, construction on the $1.2 billion redevelopment of the downtown Bunker Hill area, scheduled to begin this summer, 
should be done. (It is as if the city had de­
cided, belatedly, to build a there there.) But 
will L.A. be a pleasant place? According to 
the U.S.C. study, the metropolis is heading 
for housing that is still more expensive, 
traffic that is slower, and public schools 
abandoned entirely to the poor. Techni­
cians will be in demand, while jobs for 
blue-collar workers will be scarce. Crime 
will spill over into fancy neighborhoods. 
"Bringing out these problems now is 
optimistic," says Professor Selwyn Enzer, 
who directed the study, since doomsaying 
can lead to debate and thus to urban plan­
ning. The nutshell solution is in the sum­
mary of the exhaustive study. "Un­
planned growth in the mature Los 
Angeles of 2001," the authors say, "will 
not be permitted to occur." 
But laissez-faire habits are hard to 
break. Modern L.A. has known only hel­
ter-skelter growth. "There's a vacuum of 
leadership," says Ted Bruinsma, presi­
dent of the Chamber of Commerce. "All 
the planning is in think tanks." And plan­
ning, after all, has produced urban results 
as dreadful as any. The "master plan" for 
L.A. envisions two more international 
airports to be built—the first one in the 
desert of Riverside County—to pull An-
gelenos out into the boondocks, where 
there is still room to grow and grow. 
Enzer is dubious: "How is anybody from 
Watts going to get to a job in Riverside if 
it opens up there?" Already, though, up 
north in an arid nowhere, a new, generic 
tract has sprung up: the development is 
called Le House. 
While the master planners have L.A. 
sprawling off obediently to the desert, the 
metropolitan economy is supposed to be 
juiced up by more high-tech industry and 
a new era of trade with Asia and Latin 
America. "The growth in the Pacific rim 
has just begun," says Planner Mark Pisa-
no. "It's going to take off like an exponen­
tial curve in two to four decades." 
Yet right now, it is the foreign resi­
dents of the Pacific rim, hundreds every 
day, who take off—take off and land in 
L.A. Blithe Angelenos cannot afford to 
depend on luck and the vague promise of 
another economic boom, 20 or 40 years 
hence, to take care of the newcomers and 
smooth over problems. L.A., nature's 
charmed city, must begin to look after 
itself. —By Kurt Andersen. Reported by 
Benjamin W. Cate, with the Los Angeles bureau 
Frances Anderton 
Opposite: the carnival of 
comical houses gracing 
Hollywood Hills. They have 
probably had more face-lifts 
than their owners (see review of 
'Exterior Decorationpi0). 
Photograph by Tim Street-
Porter. 
Against a magnificent backdrop of mountains, ocean 
and an abundance of (artificially created) vegetation, 
the main Los Angeles cityscape falls rather flat. The 
dispersal of low-level units across a vast expanse of 
land, criss-crossed by disproportionately wide roads, 
renders the city incapable of making a monumental 
first impression. And yet LA has always attracted 
attention. Major works have been written by 
architectural critics raising this alien, even awful, 
urban structure to a near mythological status. 
Renowned as the present-day expression of 
communications-bound, anti-architectural, space-
age society, this city in fact enjoys a fine 
architectural tradition, which seems now to be at the 
peak of activity. 
Certain dynamics have caused an unprecedented 
cultural growth in Los Angeles. The opening of 
architectural schools at UCLA (University of 
California, Los Angeles-1971) and SCI-ARC 
(Southern California Institute of Architecture-1972), 
of MOCA and the subsequent proliferation of art 
galleries, has engendered a thriving creative 
community which, fuelled by formidable LA wealth 
and enthusiasm, manifests itself in enviably 
experimental architecture and an active role in the 
city's development. This AR looks at LA, its rich 
architectural history, recent work by lesser-known 
and established contemporary designers, and the 
wider issues that affect its future. 
Vast fortunes have been amassed in LA —in 
industrial sheds. The type of industries (oil, 
aerospace, film) have not lent themselves to 
immortalisation in monuments to corporate identity, 
(but have instead a global image), and the 
beneficiaries have channelled their wealth into the 
personal statement. Thus LA is a city of homes —not 
bastions of domesticity, but homes as subject to the 
whims of fashion as the owners themselves. This 
issue looks, inevitably, at the LA residence —not at 
the carnival of comical houses gracing Hollywood 
and Beverly Hills, but at the more serious attempts to 
deal with issues of lifestyle and tradition in a modern 
city. 
Kenneth Frampton provides an insight into 
examples of habitation in Los Angeles, perfectly 
integrated with the environment, models for a 
future, ecologically-based, regionalism (p26). 
Proposing his argument for roots in a seemingly 
rootless city, Thomas Hines assesses LA 
architecture in the light of allegiance to a stylistic 
tradition (p73). 
The industrial sheds are also a resource. Exploiting 
the mundane materials and impermanence of their 
indigenous building contemporary designers are 
creating a unique LA architecture. Kurt Forster uses 
the example of Frank Gehry's work to argue that 
ephemerality and staginess are as valid a quality in 
this city as is durability across the seas (p65). 
The fragmented nature of the city precludes a 
spontaneous metropolitan life. On one hand, the 
privacy is a blessing, allowing a splendidly peaceful 
atmosphere in which to work. On the other hand, the 
isolation can be so intense that social life becomes a 
concentrated release. But nobody walks in LA. Used 
to seeing only slouched torsos in the rear-view 
mirror, one quite forgets that this is the city of 
golden-brown legs, which all emerge for spectacle at 
events like going out to lunch. 'Passagiata' takes 
place at the latest trendy restaurant, where eating is 
almost incidental to being seen. Almost, but not 
quite. Eating in LA is as exotic as a trip round 
Hollywood Hills. Like many an anonymous builder, 
chefs indiscriminately pluck gourmet styles from 
around the world and blend them into the most 
amazing concoctions. Fashionable restaurants are 
lucrative but short lived and the recent trend has 
been to titillate and ensnare the customer with not 
merely food, but a whole, designed environment. 
Many young architects have established a name on 
the design of an avant-garde cafe. 
The other commodity as insatiably consumed as 
eclectic food is Art. LA hosts a young, thriving art 
scene which manifests itself not only in numerous 
commissions (pp32-64) for the design of studios or 
gallery space but in a very particular relationship 
between artist and architect. Alluded to by Frank 
Gehry (p67) and exhibited in many of the projects 
shown, many architects enjoy a working relationship 
with artists, or manage to be one and the same. 
Architects become painters, sculptors, furniture-
makers, set-designers etc, and the inventive 
approach to the design of the whole environment is 
illustrated in several projects. 
Taken out of context these small, style-conscious 
commissions assume a deceptively high profile. 
Though intrinsically very interesting, they occupy 
only a tiny area of architectural activity in a city 
renowned for its disparate sprawl. However, 15 
years on, the 'Four Ecologies' (Reyner Banham: 'LA: 
The Architecture of Four Ecologies') are entering a 
new stage in their evolution. The individualistic 
society is developing a collective awareness. 
The economy is booming. Huge, mixed-use, high-
rise urbanistic developments are emerging. The 
implications of 'improvements' of blighted areas are 
discussed (p85), with reference to a particularly 
controversial scheme on Hollywood Boulevard, by 
Diane Ghirardo, and compared with the more gradual 
creation of place on Melrose Avenue. Funds from the 
profits of such developments are being painlessly 
siphoned off and channelled into public-funded 
schemes. There is a proliferation of new museums. 
Rowan Moore cites Temporary Contemporary and 
MOCA as formative models in an endeavour not only 
to cultivate the Arts and a sense of heritage in LA but 
also to insert institutional buildings into an anti-urban 
topology (p68). 
Major architects are involved in the design of 
centres of activity in LA. A description by Barbara 
Goldstein of the public works under construction 
demonstrates the new direction for the 'city of the 
eternal present' — now trying to create a past (p80). 
Driving in LA can be a pleasure but the liberating, 
efficient, independent lifestyle engendered by the 
freeway network is available only to those aware of 
the essentially logical workings of a highly-tuned 
mechanism. One incompetent driver and the system, 
like a string of dominoes, goes out of sync. LA's 
apparent ability to infinitely absorb and expand is 
exhausting itself. The ever-increasing immigrant 
population cannot be comfortably accommodated 
and the freeways are simply clogging up. The future 
of LA rests on the efficacy of its transport. John 
Pastier examines the possibilities for a public 
transport system in a city that caters exclusively for 
the private car (p83). 
This city is coming into its own. Still leaping, with 
unabashed enthusiasm, up unexplored creative and 
technological avenues, it is also developing a respect 
for its past and surprising ways of dealing with the 
present. Los Angeles is one of the pioneer cities of 
the Pacific Century. 
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Thomas Hines OB AND INNOVATIONS 
Thomas Hines describes the 
history of Los Angeles 
architecture from its origins to 
the present day. 
Gertrude Stein once made the blunt assertion that 
America was 'the oldest country in the world'. It is 
hard to know what she meant by that, since much 
of the world still tends to subscribe to the more 
innocent myth of America as the newest and 
youngest country in the world. The term 'New 
World' and the adjective 'new' as applied to the 
oldest parts of the country—New England, New 
York, New Mexico—have helped to shape this 
image of America. And for most people, the city of 
Los Angeles, now over 200 years old, has 
epitomised America's eternal newness. 
Los Angeles has seemed young and new 
especially because it has continually encouraged 
innovation. Its style has celebrated informality, 
comfort, entertainment, and fun, all enjoyed in a 
relatively benign climate and a physical landscape 
that has seemed to offer everything. At times, 
however, Los Angeles has pushed its own virtues 
of healthiness and freshness to excess, making a 
cult of the new, and exalting a throwaway ethic and 
aesthetic. By placing a premium on the new, it has 
frequently turned its back on the values of texture, 
patina, memory, and tradition, the layering of 
history, the need for continuity with the past, and 
for preserving at least part of the older landscape. 
The architecture of Los Angeles both shaped and 
reflected the images of the city, which in turn 
shaped and mirrored the physical and cultural 
landscape. In the architecture of Los Angeles, there 
has also been an element of self-parody and self-
fulfilling prophecy. 
The image of Los Angeles as eternally new, 
young, modern, and contemporary is, of course, 
true in part. Yet it distorts the reality of a place that, 
like all places, is also rooted in the past, a city that 
despite its own fond self-image has often needed, 
and exploited, tradition. Partially because it is a 
relatively new city, it has felt so acutely the need for 
a past that when its own past and traditions have 
seemed insufficient, it has borrowed unabashedly 
from those of other places. The failure to 
understand this important historic fact is the fault 
not only of professional boosters and professional 
Modernists, but also of historians, who are more 
interested in change than in continuity largely 
because it is easier to identify. But even if more 
elusive, the human need for continuity with the 
past is as compelling as the need for change and 
innovation. 
The poignancy of this truth for all kinds of history 
is well illustrated in the architecture of twentieth-
century Los Angeles—even Los Angeles, the 'City 
of the Future'. Los Angeles has embraced at least 
five major clusters of architectural traditions: first, 
from its own venerable history, aboriginal Indian 
and Hispanic forms; second, the craftsman tradition 
of both native and borrowed sources, which 
reached its highest expression in the work of Irving 
Gill and Charles and Henry Greene; third, a spirited, 
if sometimes naive embrace of exotic styles and 
traditions quite remote from Los Angeles, an 
ambience admittedly fostered by the dream 
merchants of Hollywood; fourth, the tradition of 
Modernism, and fifth, the new tradition of the Post-
Modern movement of 'radical eclecticism', which 
has embraced most of those other traditions and 
added a few of its own. 
Even the monuments of popular architecture 
tend to refer not only to a Buck Rogers future, as at 
the Zep Diner and Happy Landing Service Station, 
but to a real or mythic past, as in the Sphinx Realty 
and the Mother Goose Bakery, or at Grauman's 
Chinese Theater and the Samson Tire Company. 
Forest Lawn Cemetery features not only 
reproductions of such historic sculptures as 
Michelangelo's David and Daniel Chester French's 
Statue of the Republic from the 1893 Chicago 
World's Fair, but the Wee Kirk o' the Heather from 
Bonnie Scotland and, inevitably, Boston's Old North 
Church. Disneyland reproduces Ludwig's 
Neuschwanstein, Old West villages, a nineteenth-
century train station, and an 'authentic' American 
main street. Pacific Savings pays tribute to the 
founding couple, George and Martha Washington; 
only the palm trees give it away. The Getty 
Museum is a Pompeian villa built atop the 
inevitable Los Angeles parking garage. 
Hollywood, of course, has been blamed for much 
of this foolishness, with the one-dimensional false 
fronts of its fabled back lots, from D. W. Griffith's 
Babylonian temples, built for the movie Intolerance, 
to old New York, built for the Hello Dolly street, at 
Twentieth-Century Fox. Occasionally, even local 
traditions have been invoked, the bells of the 
Franciscan missions returning in the bells of a 
ubiquitous chain of restaurants. While there are 
only three surviving Spanish churches in Los 
Angeles County, the most notable being San 
Gabriel Mission, the Taco Bells are virtually 
uncountable, spreading from the mother city to 
fast-food missions around the country. 
Los Angeles was founded in 1781, but for almost 
a hundred years it was a sleepy outpost of the 
Spanish colonial empire. It was not until the late 
nineteenth century, with the completion of the 
trans-continental railroads, that it began to look like 
a city. The first great urban architectural style that 
left its mark on Los Angeles was the Queen Anne 
and its numerous kindred Victorian modes. 
Transplanted rather literally from the Middle West, 
the East Coast, and Europe, this architecture made 
Victorian Los Angeles look something like Victorian 
St Louis or Cleveland or Buffalo, though the tropical 
flora suggested the ambience of the far-flung 
British Empire of the same era. 
Almost everywhere in the late nineteenth 
century these dominant modes at their richest and 
most flamboyant epitomised Thorstein Veblen's 
description of 'conspicuous consumption'— 
spending, acquiring, accumulating, in order to 
advertise oneself socially, to keep up, as the 
Chicago novelist Henry Fuller put it, 'with the 
procession'. This was the Gilded Age, as historians 
have labelled it, the Age of Excess, the Age of 
Opulence, the Great Barbeque, when 'too much' 
was not enough. It was an age of increasing wealth, 
before the income tax, and of the increasing 
division between rich and poor, progress and 
poverty. 
Surely the greatest surviving Victorian structure 
in Los Angeles is the Bradbury Building, in the 
downtown business district, designed by George 
Wyman in 1893 for Louis Bradbury, the mining 
baron, whose mansion by the Newsom brothers 
rose two blocks to the east on Los Angeles' Bunker 
Hill—named, of course, for the original in Boston. 
Bradbury originally gave the commission to the 
73\l2 
prominent local architect Sumner Hunt, but he was 
not pleased with Hunt's proposals and turned to 
Wyman, a young draftsman in Hunt's office, whom 
he had met while dealing with Hunt and whose 
ideas were obviously closer to his own. At first 
Wyman hesitated to take on his boss' client, but in 
good Los Angeles fashion, a mysterious voice from 
the planchette board, a forerunner of the Ouija 
board, told him to 'take it', and he did.' 
Born in Dayton, Ohio, in 1860. Wyman had no 
formal training in architecture, but developed his 
talent as an apprentice in several offices. 
Debilitated by pneumonia and tired of the cold 
weather, Wyman moved to Los Angeles in 1891, 
where, restored by the climate, he entered the Hunt 
office. In its steel-frame construction, its 
Romanesque accents, and its central light court, the 
Bradbury Building recalled certain works of the 
early Chicago school, but in that central court, it 
broke resoundingly with street facade architecture, 
opening the building to an interior landscape of 
iron balconies and exposed elevators—machine 
architecture indeed, but a resolutely nineteenth-
century machine. Yet, whatever his debts, 
conscious and unconscious, to the Chicago school 
and the Industrial Revolution, Wyman claimed that 
his real inspiration came from the descriptions of 
Boston in the year 2000 in Edward Bellamy's 
Utopian novel, Looking Backward, written in 1887. 
One of Bellamy's typical commercial buildings was 
indeed a vast hall full of light received not alone 
from the windows on all sides, but from the dome, 
1, the greatest surviving Victorian 
structure in Los Angeles: Bradbury 
Building by George Wyman, 1893. 
2, Craftsman blend of Swiss and 
Japanese tradition: Gamble house, 
Pasadena, by Charles and Henry 
Greene, 1908. 
the point of which was a hundred feet above. The 
walls were frescoed in mellow tints to soften 
without absorbing the light which flooded the 
interior'.2 
Wyman produced virtually nothing of importance 
either before or after his brilliant Bradbury 
Building. But, there he merged the tradition of 
industrial, commercial architecture with another 
one that would come to be important in Los 
Angeles, that of Utopian architecture, the tradition 
of the future. This latter tradition was applauded by 
the promoters of the Modern Movement, at the 
same time as they overlooked Wyman's use of Neo­
classical detailing, Romanesque fenestration, and 
ornament recalling Victorian bric-a-brac. 
Though the work of Charles and Henry Greene 
derived in part from the woodsy Queen Anne, the 
Stick and Shingle styles, and their European 
antecedents, it was a cluster of other traditions that 
made it possible for a later generation to classify the 
Greenes as Pevsnerian pioneers of the Modern 
Movement. These included Classical Japanese 
design, the one grand tradition to which all 
Modernists were sympathetic, and the almost 
equally acceptable legacy of William Morris and the 
Arts and Crafts movement. So, after decades of 
neglect, the Greenes' work of the early twentieth 
century was rediscovered in the 1950s, an AIA 
citation of 1952 honoured them as 'formulators of a 
new and native architecture . . . who reflected with 
grace and craftsmanship emerging values in 
modern living . . . ' And in 1958, Henry-Russell 
Hitchcock confirmed their status as 'modern 
pioneers' in his famous chapter 'Frank Lloyd Wright 
and His California Contemporaries.' The Greenes' 
work, he observed, 'offers a more coherent corpus 
than that of any modern architect of their 
generation except Wright'.3 
Like Wright, the Greenes played down their 
debts to history and cultivated their identity as 
American originals. 'I am an American,' Charles 
Greene wrote as early as 1907. 'I want to know the 
American people of today and the things of 
today ... I seek till I find what is truly useful and 
then I try to make it beautiful ... I believe this 
cannot be done by copying old works, no matter 
how beautiful they may seem to us now . . The old 
things are good, they are noble in their place; Ibutl 
let our perverted fingers leave them alone. Let us 
begin all over again'.4 
Yet the biographical and architectural evidence 
suggests just how much the Greenes did learn from 
history and tradition. Born 15 months apart, in 1868 
and 1870, in Cincinnati, they were descended from 
the great Mather family of Puritan New England. 
They spent boyhood summers at the family home 
on Nantucket and the Mather farm in Virginia, but 
they grew up in St Louis where they attended 
Woodward's Manual Training High School After 
studying architecture at MIT, both brothers 
apprenticed in Boston offices, Henry significantly 
with Shepley, Rutan, and Coolidge, the successor 
firm of H. H Richardson. In those early years and 
later, they absorbed the growing interest in the 
'colonial homes of our ancestors,' built in the 'olden' 
manner, as Gustav Stickley later phrased it in The 
Craftsman magazine. In 1893, they crossed the 
country to visit their parents, who for reasons of 
health had retired to Pasadena, one of the oldest 
and grandest Los Angeles suburbs. The brothers 
liked it so much they decided to stay.5 
The fabled Ho-o-den 
On their way west in 1893, they had stopped to see 
the Chicago World's Fair and had found there an 
architectural example that moved them 
enormously—the Japanese pavilion, the fabled Ho-
o-den that had also moved their contemporary, 
Wright. This discovery of Japan and its relation to 
their own Craftsman background took them the 
next year to the Mid-Winter Exposition in San 
Francisco to study the Japanese gardens, and 
steadily over the years they cultivated this interest 
through books and pictures of Japanese design and 
craftsmanship. They must have encountered the 
great wood architecture of Switzerland and south 
Germany in the same way, as they never personally 
visited any of these places, but in their mature 
work, the Swiss tradition was almost as pervasive 
as the Japanese. A group of their houses along 
Pasadena's Aroyo Seco would continue to be 
known as 'Little Switzerland'. Their education and 
natural leanings toward those various Craftsman 
traditions were reinforced in the early twentieth 
century by the theory and example of Gustav 
Stickley, whose own Craftsman bungalows both 
shaped and reflected the Greenes' achievement. 
Like Stickley, the Greenes honoured William Morris' 
axiom to 'have nothing in your home that you do 
not know to be useful or believe to be beautiful' 6 
The greatest example of the Greenes' genius is 
the Gamble House, 1908, built in Pasadena as the 
winter home of the David Gamble family of the 
Procter and Gamble empire from Cincinnati. It is 
itself a village or cluster of bungalows, Stick and 
Shingle style, Stick and Stickley. The joinery, the 
ornament, and much of the landscaping is 
Japanese, but the great wooden masses, the 
3, Pueblo-like cubia 
Horatio West Court 
Irving Gill, 1918 
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(Barnsdall) House t 
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hovering, harbouring roofs, and the eaves suggest 
Europe just as strongly. The glass is Tiffany, 
designed by the Greenes, assembled in Los 
Angeles. The furniture is a mixture of Greene and 
Stickley. The lamps and other objects by Van Erp 
and Rookwood form a veritable museum of the Arts 
and Crafts. And such richness led to a parody of 
William Morris' line: 'Have nothing in your house 
that you do not believe to be rare or know to be 
expensive.'7 Yet it was just this synthetic chemistry 
in the Greenes' work that Ralph Adams Cram 
particularly admired. 'Where it comes from, Heaven 
alone knows,' he wrote in 1913. 'There are things in 
it Japanese; things that are Scandinavian, things 
that hint at Sikkim, Bhutan, and the fastness of 
Tibet, and yet it hangs together; it is beautiful, it is 
contemporary, and for some reason or another, it 
seems to fit California.'8 
Of Wright's other California contemporaries, 
Irving Gill was an even more obvious choice for 
Hitchcock to enshrine in his Modernist pantheon, 
though Gill acknowledged his historical debts more 
openly than the Greenes. Born in 1870 in Syracuse, 
New York, another early centre of the Arts and 
Crafts movement, Gill worked briefly in the early 
1890s in the Chicago office of Louis Sullivan before 
going to California in 1893, again for reasons of 
health. He settled and began his practice in San 
Diego but by 1910 his work had spread northward 
up the coast to Los Angeles. Gill loved the old 
architecture of southern California. He found the 
missions in particular an 'expressive medium of 
3, Pueblo-like cubistic masses. 
Horatio West Court, Santa Monica, by 
Irving Gill, 1918. 
4, 'A California Romanza': Hollyhock 
(Barnsdalll House by Frank Lloyd 
Wright, 1920 
5, Art Deco at its height: Builock's 
Wilshire Department Store by 
Parkinson & Parkinson, 1928. 
HtfflF. 
retaining tradition, history, and romance, with their 
long, low lines, graceful arcades, tile roofs, bell 
towers, arched doorways and walled gardens.' But 
Hispanic architecture was not to be copied 
slavishly and was to furnish the theme only for a 
new California architecture. 'The West has an 
opportunity unparalleled in the history of the 
world,' he wrote in The Craftsman, 'for it is the 
newest white page yet turned for registration . . . 
great wide plains, noble mountains, lovely little 
hills and canyons waiting to hold the record of this 
generation's history, ideals, imagination, sense of 
romance and honesty.'9 
It was Gill's definition of architectural 'honesty' 
that would tend to pull him from the Hispanic orbit 
and qualify him as a Modernist. His clean, 
unornamented surfaces and crisp, cubistic volumes 
recalled the older forms, but in ways so abstract 
and astringently Minimalist that they truly had 
more in common with the International Style than 
with the missions or the pre-Spanish pueblos of the 
south-west. This Modernist sensibility was 
heightened by Gill's explicit use of industrial 
hardware and labour-saving devices—vacuum 
cleaner outlets in each room, for example, taking 
dust to the furnace. Indeed Gill had perhaps learned 
more from Sullivan's words than from his work. 
'Gill's interiors are very fine and quite like Loos,' 
Hitchcock noted. 'Very different from the rich 
orientalising rooms designed by the Greenes, they 
are in fact more similar to real Japanese interiors in 
their severe elegance.'10 
After Gill's great houses for the Dodge, Banning, 
and Miltimore families, the Los Angeles work that 
best typifies this transition in his work is the 
Horatio West Court consisting of four connected 
houses built near the beach in Santa Monica (1919). 
The stepped flat roofs and clusters of building units 
suggest the pueblos; the arched entrance porches 
recall the missions. But the bands of casement 
windows and the pueblo-like, cubistic masses look 
forward to the '20s and '30s. Probably the first, 
though certainly not the last European Modernist to 
discover Gill and identify him with Adolf Loos was 
Richard Neutra, who arrived in Los Angeles in 
1925. Neutra included his own early snapshots of 
Horatio West in his book on American architecture, 
published in the German series Neues Bauen in der 
Welt in 1930.11 
Gill's brilliant synthesis 
Intrinsically Gill's achievement was a brilliant 
synthesis of regional tradition and innovative 
abstraction. Its only negative legacy—through no 
fault of Gill's—was the sentiment it inspired from 
the teens through to the '60s, that his stark 
interpretation of the early south-west legacy was 
the only proper one—far superior, in Modernist 
eyes, to the more spirited and ornamented 
derivations from the Spanish Baroque and 
Churrigueresque. If Gill was unjustly excluded from 
Bertram Goodhue's San Diego Exposition of 1915, 
which emphasised those modes, many of the great 
purveyors of the more literally historicist Spanish 
architecture were eclipsed in the High Modernist 
era as Gill's star began to rise. Those included, 
among others, A. C. Martin, George Washington 
Smith, Reginald Johnson, Roland Coate, Wallace 
Neff, and Gordon Kaufmann, architects who also 
built in other traditional modes, from Tudor to 
Norman to a southern European-southern 
Californian blend of styles labelled 'Mediterranean' 
by Los Angeles realtors. Gordon Kaufmann's Eisner 
House of 1925 illustrates this 'Mediterranean' 
mode, both in its intrinsic excellence and in its 
importance as a model for such later and larger 
work as Kaufmann's Scnpps College, Claremont, of 
the late 1920s. 
Kaufmann was born in London in 1888 to parents 
of middle-class Scottish and German origins. He 
attended both the London Polytechnic and the 
Royal College of Art, after which he was 
apprenticed to the London architect A. W. S. Cross, 
known for both his technical skill and his interest in 
history. The greatest source of inspiration for 
Kaufmann was Sir Edwin Lutyens' contemporary 
architecture of grand Edwardian Mannerism, an 
751/2 
influence that would pervade most of Kaufmann's 
later work. In 1910, Kaufmann migrated to Canada, 
where he married and had a son, but his wife's 
fragile health called for a milder climate, and in 
1914 they moved to Los Angeles. Arriving there 
virtually penniless, without contracts or 
commissions, Kaufmann worked for a while as a 
gardener, but by 1916 he had become a draftsman 
in the established firm of the eclectic traditionalist 
Reginald Johnson. By 1922 he had become a 
partner in a three-man arrangement with Johnson 
and Roland Coate. Together in the early '20s they 
built such monuments as All Saints' Episcopal 
Church, Pasadena, and St. Paul's Episcopal 
Cathedral, Los Angeles. Kaufmann opened his own 
office in the mid '20s.12 
One of his first independent commissions was 
the Eisner House of 1925, built in Hancock Park, 
one of the Los Angeles' grandest and most 
exclusive residential areas, a section never friendly 
to Modern architecture and hence not well known 
in the history of the city's architecture. Built for a 
rich businessman who went broke and committed 
suicide during the Depression, the house has a 
main entrance off an alley-like driveway on the 
west. It is organised around three courtyards, the 
main central courtyard harbouring the pool and 
leading to the hallway, living room, library, dining 
room, and banquet room, the last especially 
imposing with original frescoes and a musicians' 
balcony. A service court on the north leads to 
kitchens and garages, and a garden court opens the 
house to the south. The grandest of stairways leads 
to the second-floor bedrooms. 
As Kaufmann's work increased, he took on more 
draftsmen, and in 1925, one of these was Richard 
Neutra, who had just arrived in Los Angeles, 
ostensibly to work with Rudolph Schindler, but 
who needed a steady income while awaiting his 
own commissions. 'My new boss is an Englishman 
and very decent,' Neutra wrote to his wife's 
parents. 'He treats me excellently and his 
commissions are executed in Florentine early 
Renaissance style. The marvellous large illustrated 
6, Mannerist eclecticism: Eisner 
house, Hancock Park by Gordon 
Kaufmann, 1925. 
7, International Style touched by 
tradition: Lovell House by Richard 
Neutra, 1929. 
8, combining two traditions: 
Strathmore Apartments by Richard 
Neutra, 1933-37. 
publications that form the source material awake 
my longing for Italy . . . The central part (of the 
house) reminds me of New York's Fifth Avenue.' 
Neutra initialled as his own the working drawings 
of elevations and floor plans. He may have had 
some initial design input as well. The elevations, 
porches, steps, and garden walls of the east side of 
the house leading from the banquet hall and central 
courtyard suggest, in their massing and subtle 
details, a Neutra still heady from his recent sojourn 
at Taliesin with Frank Lloyd Wright. 
Indeed the Los Angeles of Wright and of Neutra 
would loom much larger as the century wore on 
than the more 'traditional' Los Angeles of Gordon 
Kaufmann's Hancock Park.13 By 1910 Frank Lloyd 
Wright, then in his early 40s, had established 
himself nationally and internationally as a leading 
practitioner and prophet of Modernism. His 'Prairie 
Style' epitomised what he called 'organic' 
architecture. It, of course, drew from a number of 
sources, including the Craftsman movement of 
Morris and Stickley, the East Coast Shingle style, 
and the timeless elegance of Japanese design. 
Between 1910 and 1920, however, Wright's life and 
architecture underwent dramatic changes as he 
seemed to tire of the formulas and patterns of the 
Prairie school image and began searching for new 
intellectual stimulus. Wright had always been 
pulled toward a certain cultural nationalism, drawn 
like his heroes Emerson and Whitman to find and 
create an 'American' culture. His search for the 
roots of a distinctly American architecture led him 
to the buildings of the first Americans, the Indians. 
Later, he would use the tepee as a reference, but in 
the teens and early '20s he seemed drawn to the 
pueblos of the American south-west, as at Taos, 
and to their even grander Mayan cousins of pre-
Columbian sources though he used them 
throughout the '20s, as he had even earlier in 
certain Prairie fragments. They are visible in Unity 
Temple (1906), the AD German Warehouse, 
Richland Center, Wisconsin (1915), and the Imperial 
Hotel, Tokyo, of the late teens, but never appear as 
strongly appropriate as in the complex of buildings 
he completed in Los Angeles for the oil heiress 
Aline Barnsdall. 
FL W indulges in LA 
Even in the grandest of his Prairie School buildings, 
Wright had maintained a relative simplicity and 
Modernist sobriety, but in Los Angeles he yielded 
to the temptation to escape such restraints and to 
indulge in the California ethos. He was abetted in 
this by his clients. 'A complex creature,' Wright 
wrote of Aline Barnsdall, 'neither neo, quasi, nor 
pseudo ... as near American as any Indian, as 
developed and travelled in appreciation of the 
beautiful as any European. As domestic as a 
shooting star.' 'A socialite socialist,' a 'rich parlour 
communist,' her detractors called her, as she built 
her grand shelter for plotting the revolution, not 
only in the arts but in politics as well. Wright called 
the Barnsdall house a 'California Romanza'. He 
admitted he was 'on vacation' in Los Angeles.14 
Indeed, the house suggested a Maxfield Parrish 
painting of a voluptuous Mayan shrine. It was 
designed around an open garden court, with 
outside stairways leading to roof terraces, bridges 
spanning integral lily pools, battered walls, and 
cornice ornament of abstract hollyhocks, the 
client's favourite flower. Yet somehow the 
geometry of its heavy masonry wall masses evoked 
certain effects of the Wagnerschule as well. It is 
tempting to ascribe these to none other than 
Rudolph Schindler, Wright's intimately involved 
associate, who moved to Los Angeles to supervise 
the work on the house and ended up designing 
numerous crucial details. 
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9. Streamline Modeme Coca Cola 
Bottling Factory by Robert Durah, 
1936 
10, 'Engines pulling the huge building 
forward' Pan-Pacific Auditorium by 
Wurdeman & Beckett, 1936. 
Through the Barnsdall connection, Wright met 
other clients in search of Modernity and of 
California romance. He built four more great houses 
in the spirit of 'Hollyhock,' as the house was named, 
all recalling pre-Columbian references, all 
constructed of beautifully moulded, steel-reinforced 
concrete blocks. His own favourite was 'La 
Mmiaturua' in Pasadena (1923), built, Wright 
insisted, as the cactus grows,' for another strong-
willed, single woman, Alice Millard, who had been 
a client in the Prairie days back in Illinois. She 
typified, as Wright observed, the folk from the 
Middle Western Prairies,' who when 'prosperous 
came loose and rolled down there into that far 
corner (of the country) to bask in eternal sunshine.' 
The Millard house sat in its lush ravine, erect and 
tall, as did the Storer, Freeman, and Ennis houses, 
all perched grandly on their Hollywood hilltops. 
Never before or after those Los Angeles houses did 
Wright yield so unabashedly to the romance of 
history and regional tradition.15 
There were similar qualities in the simultaneous 
achievement of Wright's oldest son, Lloyd, who had 
migrated west to apprentice with Irving Gill, and 
whose work of the '20s strongly echoed his father's. 
His Taggert House of 1923 was a miniature Ennis 
House. His own house and studio of 1927, built of 
concrete blocks, reflected much of the aesthetic of 
his father's whole Los Angeles period. His Sowden 
House (1927) was a great cyclopean, Expressionist 
rock, with a slightly more relaxed interior 
courtyard. His house of the same year for the silent-
screen star Ramon Navarro had, like his father's Los 
Angeles work, many of the qualities of the 
burgeoning Art Deco, as the style was labelled after 
its prominent use in the 1925 Paris Exposition of 
Industrial and Decorative Arts. 
In its abstract, stylised gestures to Modernity, Art 
Deco drew from a number of historic sources: from 
the pre-Columbian forms the elder Wright had 
used, from the vivid geometry of south-west Indian 
design, from various Egyptian motifs popularised in 
the early 1920s after the excavation of King Tut's 
tomb, and finally from the more rectilinear phases 
of Art Nouveau.16 The greatest Art Deco monument 
in Los Angeles is Bullock's Wilshire Department 
Store, designed in 1928 by Parkinson and Parkinson 
its air-age porte-cochere ceiling mural by Herman 
Sachs. In fact, the building's social significance in 
Los Angeles' history is indicated by the placement 
of its main entrance not on a street side, but at the 
rear facing the parking lot. Also important in the 
galaxy of Art Deco architects working in Los 
Angeles—surely, along with those in New York and 
Miami, the greatest in the world—were Morgan, 
Walls, and Clements, with their black and gold 
Richfield Building (1926) and their green terra-cotta 
Pellisier Building (1930). Bertram Goodhue's Los 
Angeles Public Library (1925), has obvious Art Deco 
elements, although it also contains other equally 
dominant references. Like the more sophisticated 
architecture of Frank Lloyd Wright, Art Deco 
blended Modernity with history and romance, and 
for many people it epitomised the Modern age. 
Neutra brings the International Style 
Of all the major figures and movements in 
twentieth-century Los Angeles architecture, the 
ones least consciously touched by tradition, local or 
otherwise, were probably Richard Neutra and his 
fellow purveyors of the International Style. Though 
most Modernists admitted to a fascination with 
Japan, with the simple structures of certain 
primitive cultures, and with the stark—by this time 
white—ruins of Classical antiquity, their stated 
goal was usually a forgetting of things past. Their 
great acknowledged stylistic reference was, of 
course, the machine, as adapted to the needs and 
demands of Modern life. This commitment was 
obvious in Neutra's major works in Los Angeles, 
from large villas such as the Lovell House of 1929 to 
small prototype workers' cottages such as the Mosk 
House of 1933. Yet even Neutra and other 
practitioners of the International Style were 
touched by tradition, perhaps more than they 
knew.17 
When Neutra first arrived in America in 1923, his 
favourite buildings were not the New York 
skyscrapers, but rather the model of the Taos 
pueblo in the New York Museum of Natural History. 
'Whole villages were built in one block,' he wrote to 
his wife. 'These cubes with hardly any windows are 
more than one story, have terraces in front of the 
set-back of the upper stories It is impossible to 
fathom the complexity of these agglomerations of 
building cubes.' When he reached Los Angeles in 
1925, he was delighted to see vestiges of the early 
Hispanic variants of those forms as well as the more 
modern renditions of the same tradition in Irving 
Gill's Horatio West apartments.18 
Consciously and unconsciously, he combined 
both vernaculars—the stacked flats of the pueblos 
and the garden court tradition of Los Angeles—in 
his 1935 design for the Strathmore Apartments. 
Here Neutra was his own client, as he and a friend 
who owned the land split the cost and the 
ownership of the new apartment court. The eight 
connected units each opened onto the central 
terraced garden and to rear kitchen stairs that led 
back to the street. The white stucco, the silver-grey 
trim, the skinny detailing, the great walls of glass, 
and the 'industrial' ambience reflected the 
building's Modernist sources as its layout and form 
looked back to older references. 
The blend of tradition and Modernity appealed to 
and attracted an interesting group of early tenants, 
including such Hollywood figures as Orson Welles, 
Dolores Del Rio, Luise Rainer, Clifford Odets, and 
Lilly Latte, the companion of Fritz Lang, who rented 
a flat in the quiet hills of Westwood as a retreat 
from Lang and the demanding Hollywood life. John 
Entenza, editor of Arts and Architecture, lived at 
Strathmore, as did Charles and Ray Eames, who 
used their flat as an early laboratory for their 
shaped-wood chair experiments. In some ways, 
Strathmore was a middle-class prototype for such 
later, larger developments as Neutra's Channel 
Heights Housing for shipyard defence workers. 
Indeed the work of Neutra and Schindler and that 
first generation of international Modernists 
inspired a variety of derivative and cognate modes, 
thereby fostering the Los Angeles 'tradition' of 
Modernism. One of these—the Moderne, or 
1 1, the influence of Mies and 
Mondnan arrives: Eames House, 
Santa Monica, by Charles Eames, 
1949 
12, the shack, shed, lean-to approach 
of early Charles Moore: Santa Barbara 
Faculty Club, 1969 
! 3, Moore's best single work in Los 
Angeles Leland Burns House, Santa 
Monica. 1979 
M, High Expressionism meets the 
vernacular. Gehry House, Santa 
Monica, by Frank Gehry, 1979 
Modernistic—was viewed by the High Modernists 
with generally bemused contempt. The Streamline 
Moderne drew its inspiration from the more 
curvilinear elements of the International Style and 
from the same machines that inspired the High 
Modernists—the car, the train, the ocean liner, the 
airplane, the blimp, the space ship, all of these 
strongly suggesting the spirit of flight, of 
movement, of 'getting away,' if not on a spaceship 
at least on the Super Chief. The best examples in 
Los Angeles are certainly Robert V. Derrah's Coca-
Cola Bottling Company of 1936, a nautical 
remodelling of an older building, and Wurdeman 
and Beckett's Pan Pacific Auditorium of 1935, with 
its green and white pylons suggesting great 
engines pulling the rest of the huge building 
forward. Less open, more massive than the style of 
the High Modern Movement, more concerned with 
colour, mass, and packaging than with the 
definition of space, Streamline Moderne is 
significant, along with its cousin Art Deco, in the 
social history of architecture as representing the 
popular image of Modernism. It was indeed a 
cunning compromise with Modernity. 
The more 'legitimate' developments of the 
Modernist tradition in Los Angeles occurred in the 
work of Gregory Ain and Raphael Soriano, whose 
Edwards House and Ross House revealed them to 
be disciples of Neutra. Likewise, Harwell Harris 
acknowledged his debts to Neutra in a house for 
John Entenza of 1935, but he departed from his 
Modernist mentor with the Wyle House in Ojai, of 
1947, which looked back to the Greenes and the 
early William Wurster. Charles and Ray Eames had 
lived in Neutra's Strathmore, but their 1949 house 
in Santa Monica Canyon reminds one of Mies and of 
Mondrian as well. It was one of dozens of important 
Modernist houses sponsored in the post-war '40s 
and '50s in the Case Study programme of John 
Entenza's Los Angeles-based magazine Arts and 
Architecture, a programme which featured 
distinguished modern work by such other Los 
Angeles architects as J. R. Davidson, Pierre Koemg, 
and Craig Ellwood. 
Modernism loses its way 
But in the '50s and '60s the Modernist tradition in 
Los Angeles and elsewhere began to lose its way 
and its nerve with work that seemed to grow more 
tired and bland with every year. This decline was 
nowhere better—or more sadly-illustrated—than in 
some of the late work of Richard Neutra: the Garden 
Grove Community Church of the mid-'60s for 
example, the predecessor of Philip Johnson's 
Crystal Cathedral of the '80s. Neutra once told a 
client that in his own work he tried to 'imagine out' 
the verticals, but at Garden Grove he turned the 
horizontal flagstone unnaturally on end, suggesting 
his own confusion as well as that of his aging 
Modernist generation. 
Yet in the late '60s and '70s Los Angeles 
architecture was to take on new life with the work 
of such architects as Frank Gehry and Charles 
Moore, who responded to the problems of late 
Modernism in a number of significantly 
heterogeneous ways, and whose work began to 
have an impact on the entire American scene. 
Of all recent Los Angeles architects, Charles 
Moore seemed in the '60s and '70s to be making the 
most trenchant break with the Modernist tradition. 
Along with Robert Venturi, his Philadelphia 
contemporary, Moore condemned the Modern 
Movement's overly stark sobriety and called for 
more wit, colour, and irony in architecture. Most 
importantly, he called for the unabashed use of 
historic allusion, or as Moore, himself, put it, for 
'architecture with a memory'. The century-long Los 
Angeles anxieties over the issue of tradition had at 
last come full circle. 
Moore's grandparents had amassed a 
comfortable fortune, which his more casual parents 
managed to squander on long winter holidays in 
California. Moore was born in Benton Harbor, 
Michigan on Halloween Day, 1925, but he has 
always felt that the more significant fact is that he 
was conceived in Pasadena nine months earlier, 
where his parents were wintering. The senior 
Moores' closest friends in Hollywood were Fibber 
McGee and Molly. Charles' own favourite 
playmates were the precocious child stars of Our 
Gang. 
Moore spent several decades as student and 
ORIGINS AND 
NNOVATHMS 
Acknowledgments 
A variant of this essay was first delivered in 
1983 at the inaugural conference of the Buell 
Center for the Study of American Architecture 
and published in American Architecture 
Innovation and Tradition (New York, Rizzoli, 
1986) 
All pictures in this essay are by courtesy of 
Thomas S Hines, except 2 by Marvin Rand. 6 
by courtesy of Bethlehem Steel, and 8 by 
Luckhaus Studio 
Footnotes 
1 Esther McCoy, A Vast Hall Full of Light,' The 
Bradbury Building, 1893 Arts and Architecture, 
vol 120 (April 1953). pp21, 42-43. 
2 Ibid and William Jordy American Buildings 
and Their Architects: The Impact of European 
Modernism in the Mid-Twentieth Century 
(Garden City, New York: Doubleday, 1973), 
ppl 90-91. 
3 Henry-Russell Hitchcock Architecture, 
Nineteenth and Twentieth Centuries (Baltimore: 
Penguin Books, 1963) pp333-34 
4 Charles Greene, quoted in Randell L. 
Mackinson, Greene and Greene: Architecture as 
a Fine Art (Salt Lake City and Santa Barbara: 
Peregrine-Smith 1977), pl60 
5 Mackinson. Greene and Greene. pp26-34; 
William Jordy. American Buildings and Their 
Architects: Progressive and Academic Ideals at 
the Turn of the Twentieth Century (Garden City. 
New York: Doubleday. 1972). pp217-45 
6 Quoted in Reyner Banham. Introduction to 
Mackinson. Greene and Greene 
7 Ibid 
8 Cram, quoted in Randell Mackinson. Greene 
and Greene', in Esther McCoy. Five California 
Architects (New York Reinhold Book 
Corporation. 1960), pi46 
9 McCoy. Five California Architects. pp59-100. 
Jordy, Progressive and Academic Ideals. 
pp246-74 
10 Hitchcock, Architecture. Nineteenth and 
Twentieth Centuries. pp334 35 
11 Richard Neutra, Amerika Die Stilbildung des 
Neuen Bauens in den Veremigten Staaten 
(Vienna: Schroll Verlag. 1930) 
12 Alson Clark", The "California" Architecture 
of Gordon B Kaufmann. Society of 
Architectural Historians. Southern California 
Chapter Review. I (Summer 1982). pp2-8 
13 Neutra to Alfred and Lilly Niedermann. 21 
February 1925; Neutra to Lilly Niedermann. 19 
and 21 August 1925. and nd (1926). Dione 
Neutra Papers, Los Angeles 
14 Frank Lloyd Wright. An Autobiography 
(New York Horizon Press, 1977). pp248-77 
15 Ibid 
16 C/Bevis Hillier Art Deco(New York Sutton. 
1968) 
17 C/Thomas S Hines. Richard Neutra and the 
Search for Modern Architecture A Biography 
and History (New York Oxford University 
Press. 1982) 
18 Richard to Dione Neutra. December 1923. 
Dione Neutra Papers 
19 Thomas S Hines, conversations with 
Charles Moore, Pasadena. 30 January 1976. and 
Los Angeles. August 1980 
20 Charles Moore and Gerald Allen 
Dimensions Space. Shape, and Scale in 
Architecture (New York Architectural Record 
Books, 1976), p51 
21 In addition to the works cited above, I am 
generally indebted to David Gebhard and 
Robert Winter, A Guide to the Architecture of 
Los Angeles and Southern California (Salt Lake 
City and Santa Barbara. Peregrine-Smith, 1977), 
Reyner Banham. Los Angeles: The Architecture 
of Four Ecologies (New York: Harper and Row, 
1972) Paul Gleye, The Architecture of Los 
Angeles (Los Angeles: Rosebud Books, 1981) 
and Richard Oliver, 'Like Someplace Else: The 
Architecture of Los Angeles', unpublished 
manuscript 
teacher m the architecture schools of Michigan, 
Princeton, UC Berkeley, and Yale before returning 
to Los Angeles in middle age in the mid-'70s to 
teach at UCLA and to practise in a city replete with 
fanciful childhood memories. He said once that he 
came back for two reasons: the Gamble House and 
Disneyland. 
Moore's Santa Barbara Faculty Club (1969) 
brought to southern California a sunny, stucco 
version of the shack/shed/lean-to aesthetic he had 
rendered so beautifully in his 1965 Sea Ranch 
condominium in northern California. But in Los 
Angeles proper, Moore's best single work is the 
house for Leland Burns of 1974. Painted in a warm, 
multi-coloured Mexican palette, the house looks 
across Santa Monica Canyon to the ocean. A 
Ramona-like entrance court and authentically 
ancient Mexican doors open to the music room with 
German pipe organ and Baroque Mexican trumpet 
gallery. The book-laden stairway leads to Burns' 
second floor bedroom and third floor study and was 
stolen, Moore insists, from the stairs at Wells 
Cathedral. A sitting room nestles by the fireplace 
beneath the stairs and opens out to the terrace and 
the obligatory swimming pool, designed, in 
deference to the LA car culture, in the shape of a 
Chevrolet logo. The house's cardboard-like thinness 
suggests the Hollywood back lot. Indeed like so 
much of Los Angeles architecture, it is reminiscent, 
piece by piece, of something borrowed from 
somewhere else. As in all great cities of the world, 
Los Angeles has decided that the world is its 
oyster. And yet, as Cram said in his assessment of 
the Greenes, 'for some reason or another, it seems 
to fit California'19 
Frank Gehry was born in Toronto in 1929, but 
migrated with his family to Los Angeles as a 
teenager, in deference once again to the health of 
his father, a pinball and slot-machine salesman. 
Gehry's UCLA Placement Center of the early '70s 
consciously mirrored certain regional expressions 
of the International Style, though his Malibu house 
for the painter Ron Davis (1974), his studio-gallery 
for Gemini GEL, and his own house in Santa Monica 
(1979), encircling and modifying an older Craftsman 
cottage, were essentially restatements of High 
Expressionist themes, with corrugated metals and 
chain-link screens suggesting Brutalist and Punk 
imagery. In his own house, certain walls and 
partitions are progressively stripped away, 
nostalgically evoking the old house being built. 
Gehry's penchant for inventing new forms from 
unique materials led him, as he put it, 'to look for 
awkward connections—like a jazz player just off the 
note ' To achieve this effect he has often played 
with cubistic layenngs of space and the painterly 
device of distorted perspective. The poignantly 
crumpled group of connected artist studios on 
Indiana Street in Venice is carefully designed and 
constructed to look poorly constructed and hastily 
thrown up, melding convincingly with its poor and 
run-down neighbourhood. The name of a movie 
starring these buildings might be something like 
Gehry Meets Caligari But in more recent work, 
Gehry has turned to traditions beyond the 
Modernist and Expressionist movements. His 
Loyola Law School library complex echoes the 
architecture of Renaissance and Baroque Italy in its 
colour, its deep reveals and its abstractly flam­
boyant outside stairways. The courtyard is filled 
with Classical templets. He recalled being moved 
by the Roman Forum 'with all the columns broken, 
lying around' but he insists he gets his inspiration 
'from the streets. I'm more of a street fighter than a 
Roman Scholar'. Gehry has responded to the 
problems of Modernism with a personal Neo-
Expressionist, Modernist sensibility. 
Of all recent Los Angeles architects, Gehry has 
perhaps achieved the richest balance between 
tradition and innovation. He has also been one of 
the area's most successful designers in picking up 
the tones, the moods, and the vibrations of the city. 
By the late '70s and into the '80s, the impact of 
Gehry's work was making itself felt on a younger 
generation of Los Angeles architects, some of 
whom actually worked in his office, before moving 
on to their own careers and who openly and 
proudly confessed their debts to him. Other young 
designers simply developed in his aura—their 
unconscious debts to him stronger than their 
conscious ones. 
Frederick Fisher is an example of the first, more 
consciously indebted Gehry disciple. From 1976-78, 
crucial years in Gehry's own development, Fisher 
worked in Gehry's office, but in 1978, he opened his 
own studio and began to produce buildings, such 
as the Caplin House, Venice, that reflected the 
Gehry influence, but also expressed his own ideas 
and commitment to mixing the raw and polished. 
Julie Eizenberg and her husband and partner, 
Hank Koning, were born in Melbourne, Australia in 
1954 and '53, respectively. They did their first 
architecture degree at the University of Melbourne 
and then emigrated to Los Angeles, where they 
completed a graduate degree in architecture and 
urban design at UCLA. They never worked for 
Gehry, but as Eizenberg has said, 'How can you be 
a young, beginning architect in LA and not come 
under his influence?' After UCLA, the couple 
opened their own office—billing themselves as ad-
hoc pragmatists, beholden to no school of style— 
Modern or Post-Modern. Yet, like Fred Fisher, their 
interests in materials and textures usually thought 
of in the non-luxury category, clearly identify them 
with the Gehry ethic and aesthetic. These have 
found expression in a duplex for themselves, 
several artist studio-residences, and a cluster of 
low-cost housing projects in Santa Monica. 
The most publicised young partnership in Los 
Angeles to work within the Gehry orbit is Thom 
Mayne & Michael Rotondi whose office is called 
Morphosis. Their preference for tough, industrial 
materials, rendered in artful, frequently shocking, 
compositions is best illustrated by several 
renovations/additions to houses in Venice such as 
the Sedlak and Bergren houses, their large 
Lawrence House in Redondo Beach, and their 
recent Kate Matilini's restaurant in Beverly Hills. 
Moore's ordered imposition 
'If architects are to continue to do useful work on 
this planet,' Charles Moore has written, 'then surely 
their proper concern must be the creation of 
place—the ordered imposition of man's self on 
specific locations across the face of the earth. To 
make a place is to make a domain that helps people 
know where they are and by extension who they 
are.20 This concern has characterised other 
generations as well, other architects, builders, 
clients, and users of the Los Angeles 
environment—not only in terms of the well-known 
and significant innovations, but also the use of 
tradition. During the course of its history, Los 
Angeles has recognised its own traditions, from the 
Spanish missions to the Hollywood back lot. It has 
also borrowed, in the best Hollywood manner, from 
the traditions of other times and places. And even 
in its 'revolt' against tradition in the work of its 
'Modernist pioneers'. Los Angeles has cultivated a 
tradition of Modernism. 
'Art, being bartender, is never drunk,' wrote the 
poet Peter Viereck, 'and magic that believes itself 
must die. . . . Being absurd as well as beautiful, 
Magic—like art—is hoax redeemed by awe.' 
Hoax, magic, art, awe: words that seem right for 
the mad and magnificent City of the Angels.21 
79 12 
Barbara Goldstein 
Los Angeles is experiencing a 
construction boom. In the next 
few years, major public 
buildings will be erected which 
will transform the city from a 
loose agglomeration of suburbs 
to a structure which will begin 
to resemble that of an East 
Coast or European metropolis. 
Barbara Goldstein looks at some 
of the most important projects 
now in the pipeline. 2 
• • v . 
W 
Santa Monica: 
Edgemar project and 
Museum of Art 
Frank 0. Gehry & 
Associates 
1, the Edgemar project provides a 
perfect opportunity for Frank Gehry to 
combine his talent as a museum 
designer with his love of creating little 
villages. The former ice cream factory 
and egg-processing plant will be 
remodelled into a 10 000 sq ft art 
museum surrounded by a courtyard 
and a playful collection ol small new 
restaurant and retail buildings 
Completion date: late 1987. 
Brentwood: 
The Getty Center 
Richard Meier 
2, after an arduous selection process 
and protracted programming, the 
Getty Center has unveiled Richard 
Meier's masterplan. The design, 
which hurdled community objections 
and 107 planning conditions, looks 
like a small walled Italian city. The 
mountain-top complex will be 
predominantly built in stone, and will 
be set into the landscape, 
surrounding terraced courtyards. 
Over 500 000 sq ft will 
accommodate a new museum, a 
study center for the history of art and 
the humanities, a conservation 
institute, an art history information 
programme, an arts education 
institute, a grant programme, 
administrative offices, dining facilities 
and a small auditorium in addition to 
extensive parking and ancillary 
facilities. 
Completion date: 1993. 
Civic Center: 
Gateway Center 
Kisho Kurokawa 
3, 4, Kurokawa's first building in the 
United States will occupy a 
problematic site adjacent to a freeway 
and east of the downtown Civic 
Center. The 415 000 sq ft, 
crystalline, rocket-shaped building 
will contain restaurants and meeting 
rooms, a hotel, and flats. Its helipad, 
a chimney-like extension stradling a 
symmetrically pitched roof, is the 
most remarkable solution to the 
requirement for emergency fire-
fighting in the city. 
Completion date: 1990 
S0|i« 
Miracle Mile: 
Shinen'Kan Pavilion, 
County Museum of Art 
Bruce Goff (with Bart 
Prince) 
5, when art collector Joe Price 
donated his extensive collection of 
Japanese Edo-pertod prints to the 
museum he stipulated that they be 
housed in the pavilion Goff originally 
designed for them Never mind the 
change in site from the Oklahoma 
plains to the La Brea tarpits. The 
structure appears delicate and 
magical. Its large spaces, extensive 
skylighting, and ramped cirulation will 
allow visitors to view screens and 
scrolls from different vantage points. 
Viewed in the company of its 
neighbours, it is another dinosaur 
emerging from the tarpits. 
Completion date: 1988. 
Downtown Library 
Square: 
Library Tower 
I. M. Pei & Partners 
(Henry N. Cobb and 
Harold Fredenburgh) 
Central Library 
Addition 
Hardy Holzman Pfeiffer 
Associates 
Bunker Hill Steps 
Lawrence Halprin 
Grand Palace Tower 
Philip Johnson and 
John Burgee 
mrzm,, • 
For over 20 years, Bertram 
Goodhue's 1926 Central Library has 
been the subiect of heated political 
and architectural debate. Now, it will 
be preserved, and extended with a 
300 000 sq ft wing by Hardy 
Holzman Pfeiffer, 8 (completion 
! 992). The new buildings the 
developer will erect are a 73-storey 
tower by I.M. Pei, 6, 7 (completion 
1989), and a 55-storey tower by 
Philip Johnson, 10 (completion 
1990). The Pei tower engenders the 
most interest, in that it is directly 
opposite the libiaty, and will be Hie 
tallest building on the West Coast. Its 
neight, overlapping and concentric 
geometries, setbacks and colour set it 
apart from any of the post-war high-
rises downtown, and it will be 
wrapped by a monumental staircase 
and fountain designed by Lawrence 
Halprin, 9 (completion 19901, to link 
the library on lower Bunker Hiil to thtr 
new high-rise district above 
MA 
81112 
Downtown: 
Pershing Square 
SITE Projects 
11, Pershing Square, the oldest park 
in downtown Los Angeies, has 
deteriorated during recent years, and 
in 1986 an international design 
competition for its redesign was held 
SITE Projects won the commission by 
proposing an undulating gridded 
'carpet' which would covet the entire 
site incorporating landscape elements 
and amenities within its regular 
framework. By night, grid squares will 
be lit along their interstices. 
Completion date. 1990 
Hollywood: 
Hollywood Promenade 
The Jerde Partnership 
12, ovei the years, !he glitter of 
Hollywood has been tarnished by 
sleaze, and Hollywood Boulevard, 
while still dotted with stars is also 
dotted with transients, winos and 
disappointed tourists In an effort to 
improve matters, the city has 
declared the area a redevelopment 
district, and a number of important 
protects have been initiated I see 
p85l. The largest among these is an 
enormous development which will 
wrap around the historic Chinese 
Trieater. The Hollywood Promenade 
is the latest in a series of provocative 
commercial protects by Jon Jerde. 
Loca-ted in a designated historic zone, 
the complex responds to existing 
conditions by orienting its shops to 
the boulevard and proposing a group 
of separate buildings rather than one 
homogenous mass. The design 
includes a 150 000 sq ft Hollywood 
Exposition entertainment museum 
designed by Charles Moore. 
Completion date: 1990 
0 
West Hollywood: 
Pacific Design Center 
expansion 
Cesar Pelli & Associates 
13, once the initial shock of Cesar 
Pelli's 1974 Pacific Design Center 
subsided, architects liked to speculate 
on how it might be expanded 
Fortunately, Pelli himself was 
awarded the |ob, and he has treated 
the 'blue whale' as a sculptural piece 
in a giant composition He is adding 
three forms behind it; a 475 000 sq ft 
domed green building, a 
350 000 sq ft curving, wedge-
shaped red one and a recessive, 
550 000 sq ft parking structure 
Entry to the complex is through a 
paved, landscaped torecourt, with a 
small, domed art gallery serving as 
metaphorical gatehouse. 
The new West Hollywood Civic 
Center will be built directly opposite 
the entrance of tne Pacific Design 
Center. Edward Chang and Roger 
Sherman, a team of young designers 
selected as the result of an 
international competition, will build a 
collection of small buildings 
punctuated by a domed council 
chamber, 14, surrounding a 
landscaped recreational area. 
Completion date phase 2, 1988; 
phase 3, 1990 
82| 12 
b IAl US Uh UfcVfcLUnVlfcN I KHUJfcU I b 
QY1 
D M  
£ 
kmc.™ 
-4L 
dycz:cz] 
•••• 
FREEW4V 
1. Brunswig Square 
2. Hotel Tokyo/Unipac 
3. Priority Intervention Area Rehabilitation 
4. Broadway Spring Center 
5. Broadway Mini Park 
6. Biltmore Place 
7. California Medical Center 
8. YMCA (Arco Garage) 
9. Engine Company #28 Rehabilitation 
10. Allright Shopping & Parking Complex 
11. Mayflower Hotel Rehabilitation 
12. Library Square 
13. Reliance/Hilton Phases I & II 
14. Medical Office Building 
15. Huntington Hotel 
16. Sixth Street Parking 
17. Broadway Center Rehabilitation 
18. St. Vincent Galleria Rehabilitation 
19. South Park Housing Rehabilitation 
inn 
20. Seventh Street Parking Structure 
21. Little Tokyo Historic District Rehabilitation 
22. High Rise Condominiums Parcels L & M 
23. Home Savings Tower 
24. RTD Facility 
25. Triangle Plaza Shopping Center 
26. Regal Hotel Rehabilitation 
27. Ellis Hotel Rehabilitation 
28. California Pediatric Center 
29. Federal Center Project 
30. Gladys Park Reconstruction 
31. San Fernando Building Rehabilitation 
32. Bradbury Building Rehabilitation 
33. Grand Central Market Rehabilitation 
34. Broadway/Spring Arcade Rehabilitation 
35. Ninth Street Housing 
36. Olympic Park 
37. Skyline Phase II 
38. Olympic Park Housing 
39. Fashion Institute of Design & Merchandising 
40. Van Nuys Building/Annex 
41. Eastside Parking 
42. Citicorp Plaza Phase II 
43. Miyatake Building 
44. Yorkshire Hotel 
45. Lankershim Square 
46. Hope Street Promenade 
47. California Plaza Phases 1B, 2B, 3B 
48. High Rise Condominiums Parcels L & M 
49. Taira Hotel 
50. San Nana Go 
51. Ginza Plaza Mixed Use 
52. Japanese American National Museum 
53. East-West Players Theatre 
54. City Development Parcel/First St. North 
55. Figueroa Plaza Phase II 
56. Central Library Rehabilitation/Expansion 
57. State Office Building 
58. Pershing Square Center 
59. Manulife II 
60. Mitsui-Fudosan 
61. Harbor Towers 
62. Figueroa Tower 
63. First Street Rehabilitation 
64. Convention Center 
65. Rowan Building Rehabilitation 
66. Security Building Rehabilitation 
67. Centenary United Methodist Church 
68. California Plaza Hotel 
69. California Plaza Phase 2A 
70. Pacific Lighting 
71. Continental Building Rehabilitation 
72. Pershing Square 
73. Union Rescue Mission Relocation 
74. Los Angeles Mission Relocation 
75. Old State Office Bldg. Site Redevelopment 
76. County Engineering Building 
C H A R ,  
Community 
Redevelopment 
of the City 
of Los Angeles 
354 South Spring Street 
suite 800 
Los Angeles 
California 90013 
I Developments Under Construction or Pending 
Post 1990 Development 
I Construction Expected 1987-1990 
I Recently Completed Projects 
77. Citicorp Plaza Phase III 
78. Shane Property 
79. Grand Place/Library Square 
80. Reliance/Hilton Phase III 
81. L.A. County Parcel K 
82. L.A. County Parcel Q 
83. L.A. Times/L.A. County Parcel W 
84. Volk Office Building 
85. Merit Court Plaza 
86. Weller/First Street 
87. San Angeles Mixed Use Project 
88. Mixed Use Development 
89. California Mart Expansion 
90. Gateway Center 
91. Mid Rise Housing 
92. South Park Housing Phase III 
93. Tai Sei Towers 
94. Takenaka-Komuten 
95. California First Bank 
96. California Plaza Phase 3A 
97. East Side Light 
Industrial Expansion 
N SEPTEMBER 1986 
Central Business District, Bunker Hill and Little Tokyo 
Redevelopment Projects lti r Planning & Urban Design Department 
suite 700 
213-977-1660 
Transit Development 
in Los Angeles 
County 
LOS ANGELES COUNTY TRANSPORTATION COMMISSION 
LACTC 
HIGH PRIORITY t 
METRO RAIL [First Segme 
LONG BEACH/LOS ANGELES LINE 
CENTURY LINf 
* *"• Vv« - . > w » f : » *v •%&, 
SAN FERNANDO 
PASADENA Lll 
LINE UNDER 
FUTURE LINES TO BE STUDIED OOO 
BUSWAYS 
EL MONTE BUSWAY [in Operation 
HARBOR FWY BUSWAY {Under Study] 
NUMBERED STATIONS ARE: 
1. AfcaradoSt 5. Union Station 
*. Seventh/ Flower St 6. PicoBtvd. 
3. Fifth/Hill St 7. Grand Ave 
4. CMC Center 8. San Pedro St 
DelAmoBJvd 
W&rdtowRd 
I Willow sSs*^  
I Hill St. 
I Pacific Coast Hwy I Anaheim St I Sixth St. , .... _ 
I First St LONG" 
—J* BEACH 
NOTE: 
Rail alignments may change 
subject to further study. 
Station names may change 
subject to community review. 




ttUiUttWhi. 
itmtmhm 

DOWNTOWN/CIVIC CENTER 
/ 
HT) Olvera Street and El Pueblo de Los 
L Angeles State Historical Park. Be-
td n Sunset Boulevard, Main Street, the 
P 3, and Los Angeles Street. The founding 
sue of the City of Los Angeles, consisting of 
the Plaza, Olvera Street, and a number of 
historically and architecturally significant 
b| 'ings. Olvera Street is named for 
A jstin Olvera, a Los Angeles County 
jq 3 and supervisor. Rebuilt in 1930 as a 
re-creation of a typical Mexican marketplace, 
Olvera Street is a major attraction that has 
bp^ described as the first Disneyland. The 
b paved block is lined with shops and 
p los (stalls) which sell Mexican handi-
cf^s and confections. You may purchase 
the candles you've seen dipped at shop 332 
or the glass figurine you've seen formed in 
si 61. Imported Mexican crafts are avail-
a| m the various stalls. Food is served at 
a mber of stands and cafes along the 
street. For dessert, go to the Plaza where a 
fruit vendor sells peeled mangos, papayas, 
apAnther tropical fruit. The confectioners in 
th enter of Olvera Street carry Mexican 
sv ts such as candied squash or brown 
si „ ' cones. Delicious Mexican donuts 
(churros) can be found at the bakery near the 
north center side of the street. Visitor Infor-
mr~ <n Center 730 Paseo del Plaza (next to 
F/j Mse). 628-1274. Free guided tours begin 
frij Visitor Center. Tu-Sa, 10AM. noon, and 
1r-m. Admission free Stores and cafes open 
daily 7 0AM-7 or 8PM 
prHT Tuz del biV $ You can watch 
L! women skilled in the fast-disappearing 
ar making tortillas by hand Closed M. 624 
N.{ )in St. 
I 2 I Casa La Golondrina.$$ Mariachis and 
I—I dancers entertain while you enjoy Mex-
icr rood. Open M-F 9.30AM-9PM; Sa-Su 
9A 10:30PM Closed W 17 W. Olvera St 
(in le cellar of the Pelanconi House). 
62o 
I 2 | Pelanconi House. (1855) One of the 
Ti 
first brick buildings in Los Angeles 
wo-story balconied structure was built 
as esidence with a large wine cellar. It is 
na d for its second owner, Antonio Pelan­
coni Pnvaterestdence^WWftf^^jji^ 
Fandangos declared illegal without a 
licj le. except for weddings and national 
d,J 1839 
DOWNTOWN / CIVIC CENTER 1 
SSepulveda House. Built by Eliosa Mar­tinez de Sepulveda as a combined 
hotel and boarding house, circa 1887. Con­
structed in red brick, this two-story structure 
with upper bay windows is a rare example 
of a Victorian commercial structure. 624 N. 
Main St. 
SZanja Madre (Mother Ditch). The path of a triple row of bricks cutting diagonal­
ly through Olvera Street marks the Zanja 
Madre, the town's first water system, built in 
1783 to carry water from the Los Angeles 
River near Elysian Park. Because the city's 
life has always depended on a reliable water-
delivery system, this inconspicuous marker 
represents a major site in the history of Los 
Angeles 
0Avila Adobe. Built by Don Francisco Avila, one-time mayor of the pueblo 
Once the town's poshest house, it is now the 
city's oldest adobe. Although portions of it 
are restored and reconstructed in concrete, 
the original 21/2-foot thick walls date back to 
1818. The simple one-story structure is of 
typical Mexican design, with a garden patio 
in the rear. On display inside are furnishings 
typical of an early California family of wealth 
ca. 1840. Open Tu-F 10AM-3PM; Sa-Su 
10AM-4:30PM. Admission tree. 10 Olvera St. 
SPIaza/Kiosko. On the southeastern end of Olvera Street is El Pueblo State 
Historic Park. Once the center of pueblo life 
in the 1830-1840s, the Plaza and Kiosko to­
day are the setting for several public festivals 
which bring back the spirit of the Mexican 
era. Most notable are Cinco de Mayo (May 
5—a Mexican holiday), the Blessing of the 
Animals (the Saturday before Easter), and 
Las Posadas (during the week before 
Christmas). The Kiosko. a hexagonal band 
shell with filigreed grillwork. is the site of sum 
mer concerts 
SOId Plaza Firehouse. A simple, Vic torian brick structure built in 1884. The 
castle-like roof line gives the building a defen­
sive character. It is now a museum contain­
ing early fire-fighting equipment and photo­
graphs of 19th-century fire stations. Open Tu-
F 10AM-3PM; Sa-Su 10AM-4:30PM. Admis-
sion free. 
Attempt made to construct sidewalks out 
of tar from pits at Rancho la Brea. 
1860 
Restaurants/Nightlife red 
Shops/Galleries purple 
Parks/Outdoor spaces green 
Museums/Architecture/Narrative black 
0 Gamier Block. Built by Philippe Gar-nier in 1890 as commercial stores and 
apartments for the city's Chinese business­
men. It is constructed of buff brick with sand­
stone trim and has an unusual cornice of Vic­
torian Romanesque design. 415 N. Los 
Angeles St. 
S Masonic Temple. The first lodge con­structed in the city, built in 1858. It is 
a compact, two- story masonry structure with 
a cast iron balcony and three arched open­
ings on each floor. Its design is derived from 
the Italian Renaissance. Open Tu-F 10AM-
3PM. Admission free. 416 N. Main St. 
626-4933 
Merced Theatre. In 1870, architect 
I I Ezra Kysor designed this 400-seat aud 
itorium as a more elaborate version of the 
Pico House next door. Originally, a covered 
portico greeted carriages in the front and the 
second-story theater connected with the Pico 
House. 420 N. Main St. 
0Pico House. Built in 1869 by Pio Pico, the last Mexican governor of California 
The three-story Italian palazzo-styled struc­
ture attracted wealthy visitors to the city. Dur­
ing its heyday the Pico House was the finest 
hotel in California south of San Francisco 
430 N. Main St. 
• 
Plaza Church (Church of Our Lady the 
Queen of the Angels). Restored, en­
larged, and remodeled several times, the Old 
Plaza Church was originally a simple adobe 
built by Franciscan padres and local Indians 
between 1818-1822. The first structure to be 
built in the pueblo was the jail and it was 
rushed to completion. However, it took the 
town 40 years to build the church. It is the 
oldest religious structure in Los Angeles. 
Open daily 24 hours. 535 N. Main St. 
[13| Union Passenger Station. (1939) 
L£J Notable not only for its architecture, but 
also because it is the last grand railroad 
passenger terminal to be built in the United 
States—by the Southern Pacific, Union 
Pacific, and Santa Fe Railroads. The design 
by John and Donald Parkinson is an inter­
pretation of Spanish Mission architecture that 
combines enormous scale with Moderne and 
Moorish details. The wood-beamed ceiling of 
Union Passenger Station 
the waiting room is 52 feet high, the floors 
are of marble, and deep-scalloped archways 
lead to two outside patios that are brilliant 
with the colors of California flowers and 
foliage. Currently the terminal is being 
developed by the city and state as a major 
regional transportation center Schedule and 
ticket information: 800-USA-RAIL. 800 N. 
Alameda St. 683-6873 
% 
"T^j "Philippe s Original San3wfcfiT?Eop" 
I—I $ Across the street from Terminal An­
nex. Legend has it that the French-dip sand­
wich was invented here in 1908. Since then, 
the faithful come for simple honest food and 
10-cent coffee. The crowd, waiting for a seat 
at the linoleum-topped tables on the saw-
dusted floor, is a cross section of LA society 
from ballplayers to stockbrokers. (Be sure to 
have your sandwich double-dipped.) Open 
daily 6AM-10PM. 1001 N. Alameda St. 
628-3781 
JTTI Main Post Office (Terminal Annex). 
I 1 The main mail distribution center for 
Los Angeles. Inside the building are 1930s 
Works Progress Administration (WPA) 
murals by Boris Deutsch depicting the 
history of communication. Counter service 
open M-F 7AM-9PM. 900 N. Alameda St. 
rrr rnrr 
iiaiiti 
New Chinatown. Centered on 700 
1000 N. Broadway in an area roughly 
bordered by Ord, Alameda, Bernard and Yale 
Streets. The Chinese community in Los 
Angeles dates back to the Gold Rush. The 
community of two Chinese living in Los 
Angeles in 1850 had increased to 2,000 by 
1900. About 15,000 people now live in 
Chinatown, and the area is the cultural center 
for over 150,000 Chinese Americans living 
in the Southland. Chinese New Year is 
celebrated in this Dart of the citv with 
1 DOWNTOWN/CIVIC CENTER 
parades, beauty pageants, and lots of holi­
day food. The date varies from year to year 
as the Chinese follow a lunar calendar, but 
New Year usually falls in February or March. 
The original settlement on Alameda was 
moved northwest in the 1930s because of the 
construction of Union Station. Civic leaders 
saw the tourist potential in a New Chinatown; 
in 1938 the theme buildings on the 900 b >ck 
of North Broadway were constructed. The en­
trance gate has an inscription on the back 
side with a dedication to the mother of one 
of the architects. All of the buildings in the 
complex are romanticized Chinese designs 
with exaggerated curving roof lines and 
abundant ornament. In addition to its tourist 
charms, the area functions as a major pro­
visioning center for the Chinese communi­
ty. A visit to a Chinatown market can become 
a game of animal, mineral or vegetable. 
Chickens squawk, ducks quack, fish swim— 
you know the food is fresh. Gift shops sell 
everything from the real Hong Kong to the 
really fine. Try: Sam Ward Co., 959 N. Hill 
St., for chinaware; Fong's, 939-43 Chung 
King Rd., for art; Suie One Co., 122 Ord St., 
for fine antiques and furniture; Jin Hing & 
Co., 412 Bamboo Lane, for jade; Sincere Im­
porting, 483 Gin Ling Way, for baskets 
15 
TTc 
j 22 j Hunan- *$ Another hot spot -
I—J of crowds and the spices use 
srf flon Ke£Tff^5755CTn^uccess 
this chaotic and crowded restaurant 
launched a score of imitators, but this is still 
one of the best places in the city for the 
freshest seafood, superbly prepared. You 
may see what you're going to order, swim­
ming around in giant tanks, or on a walk 
through the kitchen from the parking lot in 
rear. Specialties include whole crab and 
shrimp in spicy salt. It's worth the wait. 
Chinese Open daily 11:30AM-9:45PM. 679 
N. Spring St. 628-6717 
rjja Young Sing. * $$ Down the block from 
I I Mon Kee, with the same tank-fresh sea­
food. It lacks the reputation of Mon Kee, but 
then again, it also lacks the crowds. Open 
daily 11:30AM-1AM 643 N. Spring St. 
623-1724 
fT^l Savoy. * $ International food at budget 
I I prices in an elegant setting, with big 
mirrors, dark green walls and fresh flowers. 
Oxtail soup, curried prawns and stir-fried filet 
mignon are recommended, together with the 
pastas and exciting desserts. Open daily 
II AM- 10PM 700 N. Spring St 613-1038 
r^j ABC Seafood. **$$ Cantonese 
seafood served in a bustling dining 
room Dim sum are served for lunch, but the 
best choice is at dinner time fresh crab, 
calamari or your favorite fish in season. 
Chinese. Open daily 8AM-9:45PM 708 New 
High St 680-2887 
ri^l Mandarin Deli. $ Dumpling heaven; 
I I painless on the pocket, but murder on 
the waistline. Chinese Open daily 11AM-
9PM 727 N. Broadway 623-6054 
Green Jade. * $$ Very hot Hunanese 
L zJ cooking, if you don't want a skin trans­
plant on your throat, ask them to moderate 
the spices. Hot and sour soup and braised 
shrimp are highly recommended. Chinese 
OpenSu-Th 11:30AM-3PM. 4 30-9PM, F-Sa 
II 30AM-3PM, 5-9:30PM 750 N Hill St. 
680-1528 
U»| Miriwa. • *$$ Serves the most au-
I—I thentic and well-prepared dim sum in 
Chinatown for lunch. They are wheeled by 
your table on carts; stop the waiter, point to 
your choices, and pay by the number of emp­
ty dishes at the end. Turn the lid of your tea 
pot upside down to indicate that you've run 
dry and need more. Open daily 9AM-3PM. 
5-9.30PM. 750 N. Hill St. 687-3088 
ITQ; Won Kok. $ A bustling Cantonese 
I I restaurant that stays open and busy 
until 3:30AM. Particularly fine after a night 
of carousing are their noodle dishes or a bowl 
of joak, a bland but wonderfully soothing thick 
rice porridge. 208 Alpine St. 613-0700 
I20] ^°P *-'• * $$ Great seafood place, one 
I—I of the many founded by renegade chefs 
from Mon Kee. Food is similar to Mon Kee's 
and just slightly less expensive. Open daily 
11.30AM-10PM. 528 Alpine. 680-3939 
[^7| Thanh-Vi. *$ Some of the best Viet-
I—I namese food in LA is served in this raf­
fish noodle bar, which might have been im­
ported from Saigon. Open daily 8AM-7PM. 
422 Ord St. 613-1377 
-in terms 
d in such 
dishes as Chinese cabbage, kung pao 
chicken and meatballs. Bring plenty of beer. 
Chinese. Open Su-Th 11:30AM-2:30PM, 
5-9PM; F-Sa 11:30AM-2:30PM, 5-9:30PM 
980 N Broadway. 626-5050 
f^l Chiu Chow • $$ The food of a section 
l l of Canton called, not surprisingly, Chiu 
Chow. The tastes are milder and more sub­
tle than most Cantonese cooking. Try the 
duck or steamed chicken. Open daily 
11AM-11PM. 935 Sun Mun Way. 628-0097 
\X7\ Plum Tree Inn. •$$ Peking duck and 
I—J kung pao chicken are specialties of 
this stylish restaurant. Chinese. Open daily 
11AM-10PM (F-Sa till 11PM). 937 N. Hill St. 
613-1819 
u.l Foo Chow. *$$ Distinctive FooChow 
I—J dishes include braised sea bass in 
red wine sauce, fried crab with a spicy 
bean sauce, and deep fried oysters. Chinese 
Open M-Th 11:30AM-11PM; F-Sa 11:30AM-
2AM; Su 11:30AM-midnight. 949 N. Hill St. 
485-1294 
ra Women's Building. Imaginative re-
1 J modeling changed the three-story brick 
warehouse into a gallery. Featured are ex­
hibitions of feminist art, as well as a print 
workshop, classes, lectures, and public 
seminars. Open M-F 9AM-5.30PM; Sa 10AM-
4PM. Admission tee 1727 N. Spring St. 
221-6161 
ISan Antonio Winery. $ Another look 
I—I at the city's past. A working winery in 
an old industrial section of town. The three-
acre site includes tasting rooms and a rest­
aurant. Self-guided tours include the original 
buildings made from wooden boxcars in 
1917. Food as well as wine is on the menu 
at the restaurant, with Italian sandwiches the 
specialty. Open M-Th and Sa 8AM-7PM; F 
8AM-8PM; Su 10AM-6PM. 737 Lamar St. 
'
n
-
ra THE CIVIC CENTER. Second largest! 
*zL] governmental center in the U.S. after! 
Washington, D C., bounded by Temple, Main, j 
st and Grand Sts. 
DOWNTOWN / CIVIC CENTER 
Hall of Records. Designed in 1961 by 
architect Richard Neutra. 320 W. Tem­
ple St. Open M-F 8AM-5PM. 974-6616 
Criminal Courts Building. Home of the 
I I Municipal Court of the Los Angeles Ju­
dicial District, County of Los Angeles and 
State of California. It was designed in 
1925 by the Allied Architects of Los 
Angeles. 210 W. Temple. Open M-F 8AM-
4:30PM. 974-6141 
[ogl City Hall. Built in 1926-28 by Austin, 
I—I Parkinson, Martin and Whittlesey 
this was the only building to break the 
13-story height limit maintained by the city 
until 1957. The height of the 27-story struc 
ture was made possible by public vote 
The monumental building presents an image 
befitting a major metropolitan center 
Although the stepped, pyramidal tower in-
coporates Greek, Roman, and Renaissance 
design elements, the total outcome is pure­
ly American. Inside, luxurious marble col­
umns and an inlaid-tile dome lend an almost 
religious effect to the entrance rotunda. An 
observation deck, located on the 27th floor, 
affords a splendid view. A 45-minute escorted 
tour gives a capsule history of Los Angeles 
and California. Tours by reservation only; call 
at least two weeks in advance. Observation 
deck open M-F 8AM-1PM. Changing exhibi­
tions in the Bridge Gallery M-F 8AM-5PM. All 
admission free. 200 N. Spring St. 485-2121 
|on| Federal Courthouse Building. Home 
I—I of the United States District Court The 
WPA-style structure was designed in 1940 
by G. Stanley Underwood and Louis A. 
Simon. 312 N. Spring St. 894-3650 
| o-| I Parker Center. Named for a former 
I—I chief of police, William Parker, it is the 
headquarters of the Los Angeles Police 
Department. The center was built in 1955. 
150 N. Los Angeles St. 485-2121 
|qol Children's Museum. A touch and play 
I—I museum designed especially for chil­
dren. Exhibits on such topics as the city's 
streets, crafts of the past, and a kid's tele­
vision station encourage participation. Class­
es and workshops are regularly scheduled; 
call the museum for current availability. Open 
W-Th 2-4PM; Sa & Su 10AM-5PM; hours ex­
tended during school vacation periods. Ad­
mission tee. 310 N. Main Jit (Los Angeles 
Mall, street-level.) 687-8800 
Igol Los Angeles Mall. Built by architects 
I 1 Stanton and Stockwell in 1973-74, the 
well-landscaped, multi-level mall has four 
underground parking levels, a ground plaza 
housing shops and restaurants, and a 
pedestrian crossing bridge above Temple 
Street Main St. between 1st and Temple Sts 
JVj'l Ws" Angeles' I IWiei. Uesignea"!n'Yy33 
I—J by Gordon Kaufmann. The beige lime­
stone and bronze grillwork of the original 
Moderne building intermesh with the bronze 
steel and glass addition of 1973 by William 
Pereira and Associates A free tour is of­
fered that allows you to see the making of 
the newspaper from press room to printing. 
Tours: M-F at 3PM; admission free; children 
must be 10 and over; meet guide at the 1st 
St entranr.n pn? W 1st St. 
#1 
LITTLE TOKYO. Centered around 1st 
Street from Main to Alameda Streets 
Little Tokyo, just east of the Civic Center, is 
the heart of Southern California's Japanese-
American community of over 110,000. First 
settled 100 years ago, the community began 
to flourish after World War I, but was devas­
tated by the forced evacuation of Japanese-
Americans from the Pacific Coast during 
World War II. Little Tokyo has emerged in the 
past decade as an active and cohesive area. 
The district is a mix of late 19th-century com­
mercial buildings and modern structures. 
Nisei Week, held in August, is a major com­
munity event, with a parade, street decora­
tions, festival food, and public demonstra­
tions of such Japanese arts as flower arrang­
ing, sumi brush painting, and the tea 
ceremony. — 
35 Otani Eyp-. — . e Tr. 
- , 
,Hr: New Otan: Hotel, 
and Associa?es arr 
Kinokuniva bookstore 
Marukyc err 
Cana'y Garde 
Restaurants/Nightlife red 
Shops/Galleries purple 
Parks/Outdoor spaces green 
Museums/Architecture/Narrative black 
1 DOWNTOWN/CIVIC CENTER 
ly piace to water; twihqh! de^pe^ 7sr & Los 
Angeles Sts 629-1200 Reservations 
800-421-8795 lUS) 800-252-0^7 <CAj 
r^l A Thousand Cranes. • *$$$ The 
I I hotel's luxury restaurant has individual 
rooms for sushi, tempura, and teppan grill. 
Japanese. Open daily. 
[XT] Commodore Perry's. $$$The hotel's 
American restaurant serves steak and 
prime ribs Open M-F lunch, daily for dinner. 
629-1200 
Eating in Little Tokyo ranges from sim­
ple to elegant. Moderately-priced restau­
rants usually have plastic models of the 
dishes they serve in the window. If your 
tongue fails you, take the waiter outside 
and point. The recent Southern Califor­
nia sushi craze started here; to understand 
sushi's popularity as both cuisine and 
entertainment, a visit to some sushi bars 
is recommended. Private tatami rooms, 
where you sit on the floor and dine 
Japanese style, are available by reservation 
in many restaurants. Below is a glossary 
of sushi terms to make ordering easier 
Maguro Tuna 
Tori Toro 
Hamachi Yellow Tail 
Shiromi Halibut, Sea Bass 
Shaki Salmon 
Sabi Mackerel 
Aji Spanish Mackerel 
Ebi Sweet Shrimp 
Kani King Crab 
Taki Octopus 
Iki Squid 
Awabi Abalone 
Mirugai Jumbo Clam, Geoduck 
Hashiri Scallop 
Kaki Oyster 
Uni Sea U rchin Paste 
Ikuru Salmon Eggs 
Masagi Smelt Eggs 
Anagi Sea Eel (broiled) 
Vnagi Fresh Water Eel (broiled) 
Tamagi Egg 
Tekka Tuna Roll 
Kappa Cucumber Roll 
Umeshisi Plum Roll 
Avocado California Roll 
Unakyi Fresh Water Eel 
Yakisakam Broiled F ish 
Nizakam Cooked Fish 
Calligraphy by Yoshiko Kalo 
f77] Weller Court, at the corner of Weller 
Li—I and 2nd Streets, is a stylishly-designed 
shopping and dining arcade The major te­
nant is Matsuzakaya, a branch of Japan's 
oldest and largest department store. A 
number of worthwhile restaurants are located 
in the arcade. Most notable are: 
[77] Nanban-Tei. $$ A yakitori restaurant 
specializing in savory barbeque meats 
and vegetables served on skewers Open M-
Sa noon-2PM. 6- 10PM. 123 S Weller St 
620-8743 
[77] Unashin. *$$ An amazing array of eel 
I I dishes (where else in Los Angeles can 
you get eel liver?) Open M, W-F 
11.30AM-2PM, 5-9:30PM; Sa-Su noon-3PM, 
5-9PM 123 Weller St. 617-1082 
jnyl Horikawa. * * $$/$$$ A favorite with 
I I Japanese businessmen for its sushi 
bar, teppan-yaki grill and handsome dining 
room. What makes this restaurant so special 
are the kaiseki dinners. In Japan such feasts 
are prepared and consumed as both a spiri­
tual and culinary experience. Horikawa's 
chef, Tatsuo Tanaka, worked for 14 years 
in one of the best kaiseki restaurants of 
Osaka, and he will prepare a ten-course 
kaiseki dinner or five-course lunch with two 
days' advance notice. Your group should ask 
for one of the tea house rooms, where the 
decor is as artfully calculated as each dish 
to create a sense of harmony, in tune with 
the changing seasons. Japanese. Open M-
F 11.30AM-2PM, 5:30-10:30PM(Ftill! 1PM); 
Sa 5:30-11PM; Su 5:30-1 OPM. 111 S. Pedro 
St 680-9355 
[77] Japanese Village Plaza Mall. The rural 
I >' feeling was created by using inset stone 
paths and ponds. The design, by David Hyun 
Associates, completed in 1979, utilizes white 
stucco with exposed wood framing to set off 
the blue sanchu tile roofs. The complex is 
identified by its fire tower, a traditional 
fireman's lookout that faces 1st Street. The 
mall is bounded by 1st and 2nd Sts. and Cen­
tral Av. Information: 620-8861 
Within the mall is a variety of stores and res­
taurants including: 
[77] Mitsuru Children's Shop. Japanese 
I I monster movies are brought to life with 
battery-operated creatures that shoot 
missiles from their hands to the great delight 
of children. 107 Japanese Village Plaza Mall. 
628-2921 
] oo | Sumlda Gallery. Specializes in con-
I I temporary and antique prints and arti­
facts. 129 Japanese Village Plaza Mall. 
680-0394 
[XT] Yagura Ichiban. $$ A robata bar, in 
I I which grilled snacks are served with 
drinks. Japanese. Open daily 11:30AM-3PM; 
5-10:30PM. 623-4141 
[77] Naniwa Sushi. $$ One of the better 
I I sushi bars in the area; the dining room 
serves other Japanese dishes. Open M-Sa 
11-.30AM-10PM; Su 11.30AM-9PM. 623-3661 
|nq| Tokyo Kaikan. * $$ A re-creation of an 
I I old Japanese inn Excellent sushi bar 
and teppan grill. Open M-F 11:30AM-2PM. 
6-10:30PM; Sa 6-1 OPM. 225 S. San Pedro St 
489-1333 
It struck me as an odd thing that here, alone 
of all the cities in America, there was no plausi­
ble answer to the question, 'Why did a town spring 
up here and why has it grown so big?' 
Morris Markey 
1932 ' 
Restaurants/Nightlife red 
Shops/Galleries purple 
Parks.'Outdoor spaces green 
Museums/Architecture/Narrative black 
DOWNTOWN / CMC 
[^7] The Japanese American Cultural and 
I wl Community Center. A major resource 
for the entire city. Special events and 
displays are organized in conjunction with 
annual community festivals, including 
Hanamatsuri (birth of the Buddha) in early 
April, Children's Day in early May, Obor, 
(Festival of the Dead) in June and July, Nise 
in early August, and Oshogatsu (New Year'; 
festivities). The center houses many cultura 
groups and activities. 244 S. San Pedro St 
628-2725 
Within the Center_^r^ 
^BpaWRferlca Theater. PresentMneTest 
in traditional and contemporary performing 
arts from Japan, including the Grand Kabuki, 
Bugaku and Noh drama, Bunraku puppet 
theater, plus Western dance and chamber 
music. Box office open M-F 10AM-6PM; Sa-
Su noon-5PM. 680-3700 
George J. Dolzakl Gallery. Regular exhibi­
tions of historical treasures and new art and 
graphics. Open Tu-Su noon-5PM. 
Franklin D. Murphy Library. Books on 
Japan and Japanese Americans, Japanese 
magazines. Open Tu-F noon-5PM; Sa 10AM-
4PM; Su noon~4PM. 
The JACCC Plaza. Designed by Isamu 
Noguchi, with a monumental rock sculpture 
dedicated to the Issei (first generation of 
Japanese immigrants). 
James Irvine Garden (Seiryu-en or Garden 
of the Clear Stream) This garden won the 
prestigious National Landscape Award in 
1981 It is a fusion of the two cultures, a 
sunken green oasis for strolling and medita­
tion Open daily, call 628-2725 for hours 
I a a ] Rafu Bussan. An unusually large selec-
I 1 tion of lacquer ware and ceramics. 326 
E 2nd St. 614-1181 
[77] Sushi Imai * *$$ Japanese feel at 
L-™J home in this tiny bar. The chef doesn't 
speak much English and won't make Califor­
nia rolls. But his versatility makes this a must 
for adventurous gaijin , who point and marvel 
at the results. Japanese Open M-Sa 
11.30AM-2PM, 5.30-9 30PM 359 E 1st St 
617-7927 
[77] Nishi Hongwangi Buddhist Temple. 
I—J A 1925 structure. It is a unique combi­
nation of modern construction and traditional 
Japanese forms. The fine for/7 canopy above 
the entrance is made of concrete rather than 
the customary wood. 119 N. Central Av 
]40] Downtown LA The Store The Cafe. A 
l_-?l congenial neighborhood bistro. High­
tech dining room and a small enclosed 
patio that seems miles away from the mad­
ding crowd. The interior reflects the design 
background of its owners and has something 
of a Soho feel to it. The food is simple, fresh 
and reasonably priced Lunch sees an in­
teresting mix of local artists, architects, and 
politicos. The adjoining store has an eclec­
tic array of functional luxuries, including toys, 
soaps and unusual post cards. Store open 
Tu-Sa 11AM-6PM; Su 11AM-7PM 687-3392. 
Cafe open Tu-Sa 11AM-10:30PM; Su 11AM-
7PM 418 E. 1st St. 680-0445 
r43] Atomic Cafe. $ Past its heyday as the 
I—I punk eatery, but still a popular late-night 
stop for Japanese and American food and 
loud rock 'n' roll. The decor is a nightmare 
vision of what a teenager music fan's room 
might look like if his parents went away for 
a year. Japanese/American. Open daily 4PM-
4AM. 422 E. 1st St. 628-6433 
LA'S TALLEST 
Nowhere else in the city is there such a con­
centration of high rises. Despite LA's 
reputation as a horizontal city, some of the 
tallest buildings in the world are in this 
area Highest is the62-story First Interstate 
building. It is one foot shorter than Water 
Tower Place in Chicago, and slightly 
higher than the Transamerica Pyramid in 
San Francisco. 
Feet 
First Interstate Bank 1973 858 
Crocker Bank 1982 723 
Security Pacific 
National Bank 1973 738 
Atlantic Richfield Towers 1971 699 
Wells Fargo Bank 1981 625 
Citicorp Center 1976 560 
I am a foresighled man, / believe that Los Angeles 
is destined to become the most important city in 
this country, if not the world, it can extend in 
any direction as Jar as you like; its front door opens 
on the Pacific, the ocean of the future. The Atlantic 
is the ocean of the past. Europe can supply her 
own wants, we shall supply the wants of Asia. 
There ts nothing that cannot be made and few 
things that will not grow in Southern Califor­
nia. It has the finest climate in the world: ex­
tremes of heat and cold are unknown. These are 
the reasons for its growth. 
Henry E. Huntington 
1912 
I Sonrisa. Folk and fine art from Mexico 
LzfJ and Central America of unusual quality. 
Open Tu-Sa 11AM-5PM (F till 6PM); Su 
noon-5PM 110 S. Central Av 687-4122 
[77] Oiwake. $$ The sushi bar is like many 
I 1 others in Little Tokyo, but it is the only 
restaurant with live minyo—Japanese coun­
try and western music. Customers are wel­
come to come up on stage and sing along 
with the band, which colors its songs with 
every instrument from Chinese bells to mar-
racas. Open daily 6PM-2AM 511 E 1st St 
628-2678 
[771 Shibucho. •$$ Very good sushi bar on 
1_~J Little Tokyo Square Chef Shibuya has 
been praised for his artistry. Japanese Open 
M-Sa 1V.30AM-2PM. 5:30-10:30PM 333 S 
Alameda. 626-1184 
177] Higashi Hongwangji Buddhist Tem-
I—I pie. A traditional structure, designed 
by Kajima Associates for the Jodo Shinshu 
Sect. A broad flight of stairs leads to the en-
'TTBMB^gv^ / Business AND _ fihai^CIAL j 
Richard Koshalek 
Director, The Museum of Contemporary Art 
A weekend visit to The Museum of Con­
temporary Art, which occupies buildings 
designed by architects Arata Isozaki and 
Frank Gehry. 
An evening at the Mark Taper Forum to 
watch contemporary theater presentations 
directed over the last twenty years by Gor­
don Davidson. 
Unexpected views, as you travel the 
freeways of Los Angeles, of the monumen­
tal Hollywood sign. 
Lunch or dinner with artists, architects, 
collectors and museum curators at 
Michael's, Rose City Diner, Trumps, 
Spago or the Polo Lounge. 
Visits with my daughter to study the design 
of private homes by architects, among 
them, Greene and Greene, Irving Gill, 
Richard Neutra, Frank Lloyd Wright, 
Charles Eames and Frank Gehry. 
Any party such as the annual staff party 
for The Museum of Contemporary Art 
at the Carousel at Santa Monica Pier. 
Any New Year's day at the Rose Bowl to 
watch UCLA or USC beat decisively any 
football team from the Big Ten. 
A Sunday afternoon walk through the 
desert garden at the Huntington 
Botanical Gardens in San Marino. 
A trip to the Watts Towers, created by 
Simon Rodia, which is without a doubt 
the most remarkable work of folk art in the 
United States. 
Museum of Contemporary Art 
(MOCA). A dazzling fusion of Western 
geometry, clad in red sandstone with 
pyramidal skylights, and the Eastern tradi­
tion of solid and void, by Japanese architect 
Arata Isozaki. Opened in December, 1986 
after much internal wrangling by MOCA's 
board, the building is Isozaki's first major 
U.S. work, and it is one of the most impor­
tant pieces of architecture to appear in L.A. 
in years—abstract yet traditional, a sequence 
of luminous galleries that open off a sunken 
courtyard. Isozaki has even indulged his 
fascination with Marilyn Monroe in the sen­
suous curve of the parapet overlooking the 
courtyard. 
Under the leadership of director Richard 
Koshalek, MOCA has come far in less than 
a decade, accumulating a major collection 
of international scope that includes the works 
of such artists as Robert Rauschenberg, 
Claes Oldenberg, Louise Nevelson and 
Mark Rothko, and presenting challenging 
exhibitions that often spill over into the Tem­
porary Contemporary, a huge converted 
warehouse designed by Frank Gehry, a few 
blocks away in Little Tokyo. 
In the courtyard is a well-stocked shop and 
II Panino, an elegant cafe, both designed by 
Brent Savllle. Below the galleries is a 
steeply-raked, 200-seat auditorium, used for 
film, video and performing arts. Parking 
available at 1st and Grand (lot 16) and the 
Music Center; rates in the garages below 
MOCA are extortionate on weekdays before 
5PM. Open Tu, W, Sa, Su 11AM-8PM. Closed 
M, Thanksgiving, Christmas and New Year's 
Day. 250 S. Grand Av. 621-2766 
Restaurants/Nightlife red 
Museums/Architecture/Narrative black 
*j ^ 
, rr"] Department of Water and Power 
L~J Building. Across from the Music Cen-
l ter, the headquarters for the largest utility in 
the United States. Designed by A.C. Martin 
in 1964, the glass and steel building is an 
elegant stack of horizontal levels. It is 
especially attractive when seen aglow at 
night, a luminous beacon for the area. The 
surrounding moat is not only beautiful, but 
also serves as a heat sink for the building's 
airconditioning system. 111 N. Hope St. 
S Bunker Hill Towers. Fine residential living has been provided by the three 
high-rise towers designed by Robert Alex­
ander in 1968. These were the first residen­
tial structures on redeveloped Bunker Hill. 
800 W.1st St. (bounded by 2nd and Figueroa. is 
E California Plaza. An 11-acre site, the last open area of Bunker Hill, is now 
being developed to plans by Arthur Erickson 
& Associates. One office tower is built; to 
come are two more, apartments and a shop­
ping plaza. This conventional scheme won 
a limited competition; the runner-up was a 
marvelously inventive collaboration of arch­
itects Cesar Pelll, Charles Moore, Frank 
Gehry, Hardy Holzman Pfeiffer and others, 
backed by developer Robert Magulre. It 
would have leavened the dough of downtown 
L.A. However, the City did insist that the 
developer pay for a new art museum. Bound­
ed by Grand and Hill, 1st and 3rd Sts. 
,op: Dorothy Chandler Pavilion Center: Mark Taper Forum Bottom: Ahmanson Theater 
ns Angeles' population is exceeded by orv 
4 other states (not including California). 
The Music Center. A white marble 
acropolis for the performing arts, com-
3ted in 1969, that is the West Coast 
uivalent of New York's Lincoln Center. The 
bleak plaza, which covers multi-level park­
ing, is partially redeemed by the large 
-"-ulptures by Jacques Lipchltz and Robert 
aham. There are plans to expand the 
jnter, hopefully into one or more of the 
„ and movie palaces on Broadway. 135 N. 
Grand Av. Information: 972-7211 
Within the Center are: 
jrothy Chandler Pavilion. When Andre 
evln or a celebrated guest is conducting 
3 LA Philharmonic, or the Joffrey Ballet 
is at the top of its form, this big barn can be 
the most exciting place in the city. Tickets: 
• •-A Philharmonic 480-3232; Joffrey Ballet, 
•2-7611 
ark Taper Forum. For 20 years, Gordon 
Kdvidson has made this one of America's 
most adventurous theaters, beginning with 
a production of Devils, which was denounced 
[ 'Cardinal Mclntyre and provoked a walk-
it by Governor Reagan. Since then, the 
iper has offered 250 productions, including 
The Trial of the Catonsville Nine, Zoot Suit and 
Children of a Lesser God. The horseshoe-plan 
, Taper with its open stage is the only theater 
the Music Center where you can see and 
;ar well from every seat in the house. 
3adings and a literary cabaret are pre­
sented at the Itchey Foot restaurant, across 
the street; experimental productions at the 
~ »per, Too in the John Anson Ford Theatre 
Hollywood. Tickets and schedule: 410-1062 
timanson Theatre. A cavernous theater in 
which the actors sometimes seem to be on 
a different planet from the audience. Unless 
>"->u are a faithful subscriber or have lucked 
to good seats you had best bring a tele-
:ope to see the stars. Tickets: 410-1062 
Preconcert dining. Within the Dorothy 
--^handler Pa vilion. on thr first floor, is the 
| tto Rothschild Bar & Grill (972-7322). 
I fering moderately- priced fare. On the fifth 
linor is the Pavilion Restaurant ( *SSS) 
('>72-7333), which offers elegant dining and 
—a-lavish buffet. It's a good place to know 
I jout if you've just won voufcase at the 
•deral Courthouse across the street. 
Other choices for pre-theater dining in­
clude Chinatown, Little Tokyo and Ber-
- ird's in the Biltmore (612-1580). Three 
|  ocks south is the M andarin Cove 
17-7751) and Stepps on the Court 
[ii26-09f)0) in the Crocker Center, and the 
MOCA Cafe across the street.