Imagine Pershing Square: Experiments in Cinematic Urban Design

By

John Moody

Bachelor of Arts in Film and Video Pacific University Forest Grove, Oregon (2007)

Submitted to the Department of Urban Studies and Planning in partial fulfillment of the requirements for the degree of

Master in City Planning

at the

MASSACHUSETTS INSTITUTE OF TECHNOLOGY

June 2016

© 2016 John Moody. All Rights Reserved.

The author hereby grants to MIT the permission to reproduce and to distribute publicly paper and electronic copies of the thesis document in whole or in part in any medium now known or hereafter created.

Author______Department of Urban Studies and Planning (May 19, 2016)

Certified by ______Anne Whiston Spirn, Professor of Landscape Architecture and Planning Department of Urban Studies and Planning Thesis Supervisor

Accepted by______Associate Professor P. Christopher Zegras Chair, MCP Committee Department of Urban Studies and Planning

1 2 Imagine Pershing Square: Experiments in Cinematic Urban Design

By John Moody

Submitted to the Department of Urban Studies and Planning on May 19, 2016

in Partial Fulfillment ofThesis the Requirements Supervisor: Anne for the Whiston Degree Spirn of Master in City Planning Title: Professor of Landscape Architecture and Planning

ABSTRACT Each person experiences urban space through the shifting narratives of his or her own cultural, economic and environmental perceptions. Yet within dominant urban design paradigms, many of these per- ceptions never make it into the public meeting, nor onto the abstract maps and renderings that planners and - designers frequently employ. This thesis seeks to show that cinematic practice, or the production of subjec tive, immersive film narratives, can incorporate highly differentiated perceptions into the design process. - By investigating a single public space, Pershing Square in downtown Los Angeles, California, with three cinematic “acts,” this project puts three different methodological approaches to the test. Act One, “Persh - ing Square: Of Time and Place,” employs critical theories to investigate the park through cultural conflicts that ploys an ethnographic approach to investigate the park through the diverse perceptions of its users. Finally, have propelled design interventions throughout its history. Act Two, “Pershing Square: Sense of Place,” em its users’ aspirations. Act Three, “Pershing Square: Visions of Place,” takes a constructivist approach to re-imagine the park through

This project runs concurrent with an international competition to redesign the park, which provides - a benchmark for comparing the project’s findings with conventional use of film in design practice. Although ic methods in communicating broader narratives about urban space and in stimulating design thinking that the project will expand beyond the scope of this thesis, initial findings strongly support the value of cinemat incorporates a dynamic pluralism of user perceptions.

.

The final film project will be posted in the near future on www.moodyfilm.com

3 IMAGINE PERSHING SQUARE: EXPERIMENTS IN CINEMATIC URBAN DESIGN

TABLE OF CONTENTS

5 Acknowledgements

7 Chapter 1: Introduction 13 Chapter 2: Cinematic Experiments 17 Act Two 14 Act One 25 Act Three

31 Chapter 3: Findings 33 Act Two 31 Act One 37 Act Three

41 Chapter 4: Conclusion 45 Appendix 46 Experiment Methods Matrix

50 Act 1 Example Shooting Schedule 48 Act 1 Shot Sequence Matrix 51 Act 2/3 Questionaires 53 Locations Permits 57 Screenplay 80 Example Shot List

85 Bibliography: Act 1 83 Bibliography: Works Cited

89 Bibliography: Works Consulted

4 ACKNOWLEDGEMENTS

Testing a new method in the design of public space, especially one that overlaps with another discipline (film) and interacts with an ongoing design process, would have abeen curated impossible conversation to do alone. between Although many brilliantI injected individuals this project than with a apersonal lot of my brainchild. personality At theand time the training of this writing I received nearly in both 200 ofpeople my lives, have as made filmmaker a direct, and conscientious planner, it is contributionmuch more of to this project; countless others impacted the project in other ways. I will thank as many people here as I can, although I am sure to forget important individuals. I hope to do a more- thorough job for the final release of the film. helping meI discovered to get the morebest out support of my for planning this undertaking education, at Anne MIT’s Whiston Department Spirn ofendeavored Urban Stud ies and Planning than I ever could have imagined. In addition to recruiting me to MIT and community, and making healthy choices made her an unbeatable coach and collaborator. to be my project advisor. Her passions for cross-disciplinary exploration, visual expression, manyHer spirit strings runs to deep make in it this happen. project. Nearly Brent my Ryan entire and cohort Dennis encouraged Frenchman, me the in otherthis pursuit two- and thirds of my thesis committee, also imbued the project with a sense of adventure and pulled influenced my thinking, with special mention of David, Javier, Mirette, Lindiwe, Diana, Catie, Santiago and Teddy. Doctoral students Hannah Teicher, John Arroyo, and Aditi Mehta offered superb help with structure and approach. For believing in the project to the point that they directed departmental funds toward it, I have to thank Ezra Glenn, Dennis Frenchman, and Ryan Chin. Over the course of a year, many practicing planners, designers and urbanists gave their time and insight to help guide my decisions. These included Don Spivack, Con Howe, Stephanie Ritoper, Rosten Woo, Damon Rich, James Rojas, Gerhard Mayer, Josh Paget, David Maestres, Nick Maricich, Naomi Guth, Natalia Gaerlan, Claire Bowin, Cara Meyer, Gregory downtownFischer, Tanner Los AngelesBlackman, who and offered Connie critical Chauv. resources For help includedin connecting Anastasia me with Loukaitou-Sideris, many of these people, Mary Jane Daly and Maria Gonzalez were invaluable. Scholars of the history of

Greg Hise, Mark Wild, and Jonathan Crisman. Philadelphia-based Susan Snyder and George - Thomas helped me to understand cultural conflicts embedded in Pershing Square, while Larry Vale was instrumental (and patient) in helping me understand its political context. Sil via Benedito also provided guidance (and patience) in understanding connections between atmospheric sensation and filmic representation. For help with tracking down archival materials I have to commend Michael Holland, Danielle Toronyi, Glen Creason, Kyle Morgan, Tom Gibson, Lisa DeLosso, Stephanie Arias, and Scott Field. People that are hard at work on improving Pershing Square deserve special honor for opening their doors to me as well as subjecting themselves to my questions. A million 5 thanks to Eduardo Santana, Brian Glodney, Sarah Hernandez, Louise Capone, Patti Behrman, Russ Brown, Annie Laskey, Melvin Johnson, Jeff Berris, Laurie Olin, Aaron Paley, and Rick Poulos; and to their respective teams as well. For help with gaining permissions to shoot in Pershing Square, a big cheers to Gus Sedano and the park staff; to the park’s superb security team; and to locations experts Adrianna Garcia, Tara Kramer, and JoAnne Luna. Yarck. FranciscoI have to Espinosa commend was the especially supreme helpfultalents, inresources, calibrating and camera faith of gear. my filmingFor help crew: with storyDrew approachGanyer, Lisa and Biagiotti, visual style, Louise not “Sinai” to mention Mbella, years Garrett of mentorship Lamb, Eric and Sheffield faith in and my Colin strange

- ercareer offered choices, superb a great marketing big thanks advice. to Russ Alsobrook. Sarah Wolozin helped me to explore possibilities for transmedia storytelling, while Sarah Zurell, Scott Reyes, and Chelsea Berni time, but shared their beautiful stories, feelings, and likenesses without expecting any re- The subjects in the film deserve the highest of credit, for they not only gave their

Adrianward. Newcomb They are the life of the film. These individuals include but are not limited to: Michelle Isabel Bombaes MilaMelissa Robles Adrienn Chandra Jackie Hadnot Alex, Kayla & Brian JessicaJacob & Almeda Kara Richardson Andrew Goats JessieJames & Mark Nancy Lee Kelly AustinAngel & Alena Joe Therman Oliver, Gabrielle & Rachel BrittanyAngela Cole Orlando Ortega Jose Flores Patrick Ginter Jordan, Kerry, Tiffany & Emily SidneyRichard Javet Batts Carolyn Mansager TeresaShane & Fredrickson Kelly Christie Julia & Kelly Toni Beasley DavidChristine Castillo LauraJustin Mozer DavidClaudia Argueta LelandKevin Ross P. Morrill Koon Nelson Lenny Tim Tony Bazurto & Pedro Lindsay Evans WardTran Louis Whitney IV Lorraine Vicky, Kristin, Christi & Jagger Dena Rey (music group) Geoffrey Leffridge George R. MarshaLovisa Kjerrgren Mathurin Hang Phan Marcus Hill Ignacio, Juan For& Macarena help in connecting me with hidden stories and communities in DTLA and

severalbeyond, downtowners thanks to Vi Ha, were Jen also Hofer, essential Edgar Perez,for discovering Louise “Sinai” communities Mbella, Emmerich and understanding Anklam, Sandonne Goad, General Dogon, Rocio at CARECEN, and Xiomara Corpeño. Interactions with Josh Albrektson, Noah Strouse, Julia Marino, Nevil Jackson, Demetrea, Mumin, Evelyn Egbei- downtown life and culture. These included Rande Davisson, Kyle and Brent of G&B Coffee,

creditghu, and for old putting friends up Shannonwith me campingConstantine at their Logan places, and Dan eating Maggot. their food, driving their vehi- My parents, Gail and Tim, as well as Mary and my sister Jeana deserve extreme

cles, and turning their calm intuitions into ideas for the project. Having this kind of support during field work was a dream. - “Imagine Pershing Square” belongs to all of the individuals above, as well as anyone who feels a connection to Pershing Square or the narratives in the film. For my part, I ded worldicate the to seeproject itself to again. my chief communications expert, my guiding spirit and unconditional companion throughout the journey, Xiao Han Drummond. May your guts and grace help the

6 CHAPTER 1: INTRODUCTION

Urban design professionals often overlook the idea that no two people perceive urban space in exactly the same way, as each person’s experience of space is constructed through shifting narratives of their own cultural, economic, and environmental perceptions.1 Yet within dominant planning and design paradigms, many of these perceptions never make it into the public meeting, nor do they end up on the abstract maps or renderings that plan-

2 ners and designers frequently employ. medium that can offer urban designers a rich way to understand, represent and rethink Cinema, or narrative-based film, is an immersive and democratically accessible urban space through the time-based, dynamic and highly differentiated perceptions of its users. Many studies have shown that cinema has the potential to substantially expand urban planning and design discourse, but few studies have investigated whether cinematic meth- ods can be incorporated as part of urban design practice.3 The purpose of this thesis is to uncover the potential value of cinema in urban design practice by testing it in the design of a public space.

Motion picture film, including the earliest experiments with its technology, has had a significant effect on the way we understand the modern city. In 1896, just eight years after - Jacob Riis took his photographs of slum housing on the Lower East Side of Manhattan that actualités, as led to the advent of modern zoning policies, the Lumière Brothers set up their new cine matograph at the corner of Union Square, also in Manhattan. In this and other 4 Where they called them, they discovered that their motion picture machine had an amazing power to reveal the frenetic energy of the industrialized city not visible to the naked eye. Riis’ photographs could capture the gritty reality of a static moment in time, the Lumiere

2Brothers’ Sandercock films could and do Attili, this Multimedia but could Explorations also embrace in Urban the Policy “’continuum’ and Planning .or p. xix.‘flow of life’ as it 1 Kallus, “From Abstract to Concrete.” -

3 Ibid, Boumeester, “Reconsidering Cinematic Mapping: Halfway Between Collected Subjectivity and Pro jective Mapping,” Ding,Theory “Mapping of Film Urban. p. 46. Space: Moving Image as a Research Tool,” Boumeester, “‘Camera Eye,’” and Rubin, “(Re)Presenting the Street: Video and Visual Culture in Planning.” 4 Kracauer, 7 streams across time.”5 6 Film theorist Siegfried Kracauer expressed that this quality lent itself perfectly to exploring the “jocular, unpredictable, seemingly disorganized public realm.” truly cinematic But it was the discovery of editing, and especially montage editing, that made film invented continuity editing in order to bring theatrical narratives to the screen. Soon there- . In the early 1900s, George Albert Smith, Georges Méliès, and D.W. Griffith

after, German and Soviet film theorists such as Sergei Eisentein discovered a much deeper with another to create symbolic meaning that would not be possible if the images were sense of cinema’s potential with associational montage, or the juxtaposition of one image shown separately. Montage not only allowed allowed Socialist thinkers to reimagine their cities as metaphysical utopias, but it also unlocked the potential for successive generations 7 actual- of filmmakers to reimagine the narratives through which people experience the city. ité However, urban planners and designers have only fully embraced film as The Social Life of Small : objective documentation of urban phenomena or presentation of objective concept. Urban Spaces Even one of most heralded planning films, William H. Whyte’s behavior and their relationship with the built environment. Urban designers’ common use (1980), employs a hands-off, positivist approach to measure aspects of social

embrace cinema as a language beyond showcasing their design proposals.8 of three-dimensional “fly-throughs” and animated Photoshop renderings also struggle to

Before pursuing a master’s degree in city planning, I experimented with using Australia. This resulted in the cerebral city cinematic narrative to explore the curious public spaces of the Central City of Melbourne, , which won best urban design film at the New Urbanism Film Festival in 2015. The techniques I experimented with in this project, such perspective of a resident, profoundly informed the design of my thesis. as the narration of an urban designer and exploring different spaces from the subjective But to explore how cinema could become a tool in the process - of urban design, I ment with the methodology of cinema itself, which meant holding constant an environment realized I could not simply investigate another curious urban phenomenon. I had to experi 9 Technically my environmental “laboratory” could have been anywhere, but prior research and past experiences told me it had to be in and altering the way in which I investigate it. the public realm, and it should be in downtown Los Angeles—perhaps the most culturally

integrated and historically rich place in the city where I lived and worked before coming to MIT. Pershing Square, Los Angeles’ less-trafficked version of San Francisco’s Union Square, came up during a conversation with Los Angeles city planner Claire Bowin, who suggested I look within the Central City because it is a planned community area where the city holds a lot of control in affecting urban form. She also mentioned Pershing Square as

5 Rubin, “(Re)Presenting the Street: Video and Visual Culture in Planning.” p. 94. 6 Ibid. p. 94. 7 Rubin, “(Re)Presenting the Street: Video and Visual Culture in Planning.” p. 94. - 8 Boumeester, “‘Camera Eye.’” designers9 involvedThe process in the of process.urban design could include any action performed by designers, public officials, develop ers, or residents involved in physical design interventions. For the purposes of this thesis, I focus on the actions of 8 1.1

Pershing Square at dusk, 2016 (still from Act One, pre-color correction) a place that the city was seeking to better understand in terms of its patterns of use and the character of its users. 10

It was then no coincidence (but still felt like a huge stroke of luck) to discover that the nonprofit organization Pershing Square Renew, Inc. (PSR) had just launched an international competition to redesign the square, and to find that the winner would be selected around the same time I would complete my thesis. I spoke with Central to conversations about open space in downtown, which he observed as having shifted over City planner Nick Maricich, who explained that the park and the competition were central 11 But the - the last five to ten years from an emphasis on defense to an emphasis on comfort. 1994 design of Pershing Square by the late Mexican architect Ricardo Legorreta and Phila defensive space, a failed product of the “fortress” mentality of 1980s Los Angeles planning. delphia-based landscape architect Laurie Olin maintains a popular image in the media as a And downtown is no longer as spatially segregated as it once was. Therefore downtown politicians, pro-development media outlets, and many Angelinos and urbanists see the 12 This

1994 design as an abject mistake that can only be fixed by its complete “restoration.” 13 information gave me the green light that I needed, as what better location to study cinematic urban design than in a place that suffers from a major image problem? Furthermore, several videos produced in conjunction with PSR’s competition offer perfect examples of conventional use of film by designers in an urban design context (in 10 11 12 Bowin, Los Angeles City Planner. 13 Maricich, City Planner, City of Los Angeles. alludes to the Pershing importance Square of Renew, emotion Gensler, and perception and NBBJ, in “Phase the experience 01: Request of urban for Qualifications.” space : “Do we dislike Pershing In the article, “How LA Got a Pershing Square Everyone Hates,” real estate blogger Bianca Barragan

Square because it’s ugly, or is Pershing Square ugly because we dislike it?” 9 14

- Chapter 4 I use these as benchmarks against which to evaluate my experiments). In late April, 2016, PSR released five-minute videos produced by each team—including SWA | Mor phosis, Agence Ter, wHy + Civitas, and James Corner Field Operations—to showcase each struggle to convey a sense of lived-in experience because of their role in promoting precon- design concept. Although the videos dabble with some cinematic techniques, these devices ceived design concepts. -

In Chapter 2, I chronicle my three experiments, or “acts,” including the methodolog avoid overlap with studies that take a post-positivist stance to understand the use of Persh- ical approaches I employed and the practical decisions that went into their production. To

ing Square from an objective point-of-view, including a site analysis by Gensler LA in 2013 and surveys, pop-ups and stakeholder meetings conducted by Project for Public Spaces in planning methodology. 2013 and 2015, I decided that each experiment should channel a different non-positivist

- In Act One, “Pershing Square: Of Time and Place,” I combine critical social theory methods with auteur film theory to examine the park’s history. Perhaps even more inter esting than the timeliness of my study is the frequency at which Pershing Square has been redesigned since it was declared an open space 150 years ago. The five-acre block has been sees subject to five complete redesigns—in 1886, 1910, 1951, 1994, and 2016—and at least as - many facelifts. For the film’s visual narrative (what the audience ), I juxtaposed historic tions with primary source design drawings and impressionistic shots representing the land- visual documents representing cultural forces behind each of its major design transforma

hears scape of the park prior to each redesign. I structured the oral narrative (what the audience motivations for each redesign. This act provides a macro-structural counterpoint to the ) from historical quotes by politicians and park users as windows into the political

- more bottom-up, anthropological approaches I employ in the latter two acts. proach to examine the design of the current park through the diverse perceptions of its With Act Two, “Pershing Square: Sense of Place,” I employ an ethnographic ap

users. I first structured its oral narrative from nearly fifty interviews that my collaborators (filmmaker-journalist Lisa Biagiotti and cinematographers Drew Ganyer and Garrett Lamb) at understanding user perception and later transcribing and grouping their responses based and I conducted in the park. This involved the crafting of a set of interview questions aimed on emotional content, rather than issue-based commentary, as a way to get at the largely

their responses into a loose story arc in order to navigate a broad spectrum of perceptions psychological relationship between human beings and their environment. I then arranged that people experience within the park. This arc formed the basis of the act’s visual narra-

which was meant to interpret their perceptions. The continuous narration of park users tive, assembled using footage from the interviews and secondary footage I shot in the park, colors the visuals with its emotional content, encouraging the audience to perceive the park through their eyes.

14 film and video interchangeably because most so-called films produced today originate cinema chapter. I use the terms as video and are projected digitally. I do draw a distinction between film/video and , which I note in this 10 -

Act Three, “Pershing Square: Visions of Place,” is an experiment in crafting an expe from several design methods to communicate the diverse atmospheric and experiential aspi- riential touchstone for future design proposals. In addition to ethnographic methods, I drew rations of park users. As in Act Two, the oral narrative of this act is composed entirely from - user responses to interview questions; however, I designed these questions to elicit person al aspirations for public space. I grouped these responses based on emotional content and arranged them into a loose narrative arc emulating a universal human journey. This inspired the visual narrative of the film, constructed from shooting footage in different public spaces around Los Angeles to capture impressions of the qualities that each person described. I - then situated these diverse emotional/perceptual impressions within Pershing Square by integrating them with shots of a fictional protagonist—the designer—as she navigates dif serve as a collective touchstone against which to measure future design interventions. ferent spaces that could potentially host each experience. The purpose of the final film is to

is successful, primarily, at conveying a story of Pershing In Chapter 3 I discuss my initial discoveries, including successes and strategies for future improvement. Act One design visions. Square as a public space that has changed over time in response to a succession of changing differentiated perceptions of its users and also in constructing a compelling narrative of it Act Two succeeds in exploring the spaces of Pershing Square through the as a place that many people actually like and feel at home. Although not yet fully formed, Act Three so far succeeds at creating a dynamic and nuanced conversation about the potentials of public space in downtown Los Angeles.

In Chapter 4 I offer concluding remarks on the strengths of each experiment in competition. comparison with cinematic techniques employed by films for the Pershing Square Renew .

The final film will be accessible in the near future on www.moodyfilm.com

1.2

Pershing Square, 2016 (still from Act Two, pre-color correction) 11 12 CHAPTER 2: CINEMATIC EXPERIMENTS

Pershing Square serves as a case study for testing the use of cinema in the design of public space. The approach of each experiment, or each “act” in a three-act film, corresponds - with three different subjective methodologies. This chapter describes each experiment so that the reader can grasp the influences, choices and deliberations that influenced my find ings, which I discuss in Chapter 3. and cultural forces that have shaped the park throughout its history. Act Two grounds itself Act One reflects on the past: it draws on critical theories to understand the political in the present through an ethnographic understanding of a variety of lived experiences in - tivist, collective imagination. Each act is a self-contained experiment, but, in dialogue, they the park today. Act Three then projects a potential future for the place through a construc provide a more coherent and comprehensive understanding of the place. At strategic points in each act I use the dramatic device of a central character (played by Los Angeles-based to represent a designer attempting to see the park through the eyes of its users. filmmaker-journalist Lisa Biagiotti, who also collaborated with me in conducting interviews)

During these experiments, Pershing Square was simultaneously the subject of an international design competition led by the nonprofit organization Pershing Square Renew. design proposal that could rival the competing teams, the competition has nevertheless While I did not have the time, resources, nor experience to channel my research into a full functioned as a convenient counterpoint to my study. Each competing design team also pro- duced a video as part of their submission, but none employed my exact methods. I use these videos to help evaluate my experiments in Chapter 4. version will be available for viewing in the near future on . The current film is a rough cut that I plan on refining post-graduation. The final www.moodyfilm.com

13 ACT ONE: “PERSHING SQUARE: OF TIME AND PLACE”

APPROACH -

I constructed Act One: “Pershing Square: Of Time and Place” as a subjective mani of the critical social theorist, acting as a “transformative intellectual” who advocates for spa- festation of a theoretical concept. As both a designer and a filmmaker I adopted the position 15 - Get Out of the Car tial justice. Act One walks in step with several related film theories, including auteur, Marx ist, and postcolonial. I looked to Thom Andersen’s short documentary, in Los Angeles within a narrative structure.16 (2010), as an inspiration for how to “map” several hidden and vanished cultural landscapes “Random juxtapositions of sounds and places “cinema is the only art that can recreate these experiences and their emotional resonance.” are one of the great joys of modern life and of city life in particular,” explains Andersen, and

Act One attempts to capture some of these experiences in the history of Pershing Square. VISUAL NARRATIVE

- In thinking about how to use cinema to situate the history of Pershing Square within greater cultural forces, I concentrated first on producing images that could symbol ize each of its past redesigns. By channeling the “Critical Conservation” thinking taught by

Susan Snyder and George Thomas at Harvard’s Graduate School of Design, as well as critical

geographer David Harvey’s concept of three major “spatial fixes” since the dawn of urban 17 sees. Each of the industrial development, I came up with matrix to determine each one of these images. This composed the visual narrative of the film, or that which the audience - park’s major redesigns is therefore portrayed as a shot sequence from the form of the park prior to redesign to its form post-redesign. To simplify the narrative, I repeated this shot se quence for each of the park’s major physical redesigns (occurring in 1886, 1910, 1951, and 1994), and collapsed conflicts corresponding with less groundbreaking “facelifts” (which as follows: occurred in 1870, 1930, 1962/64 and 1984) into these eras. The shot sequence proceeded 1. The “organic” or degraded condition of the park prior to the impending redesign. Using primary source photographs, drawings, and/or text descriptions as inspira-

somewhere in Los Angeles. For example, we shot a representation of the arroyo tions, cinematographer Drew Ganyer and I shot an “impression” of each condition

15 (dry riverbed) that existed in Pershing Square before 1886, an overgrown gravel whose longitudinal studies of Los Angeles led him to understand the city’s development as a series of crisis-gener- Central to these “transformativeMy Los Angelesintellectuals” was the late Eduard Soja, a critical geographer at UCLA 16 ofated 2003’s urban Los restructurings. Angeles Plays SeeItself, Soja, for an excellent Cliffs-notes version of his works. Los Angeles. If Soja had a counterpart in the film world, it would be Thom Andersen, lecturer at CalArts and director 17 a video essay that critiques how the movies have featured and defined the City of

According to Harvey, these “spatial shifts” occurred over the periods 1850-1900, 1910-1930, and 1945-present. See Harvey, “The Spatial Fix – Hegel, Von Thunen, and Marx.” 14 2.1

City Map 105: Sixth Street Park, 1886. Courtesy of Los Angeles City Archives and Records (still from Act One, pre-color correction) pathway that would have been there before 1910, and the dead grass lawn before 1994. Stylistically, each shot was handheld and close up to help the audience “expe- rience” the landscape from their own point-of-view. 2. each of these was with a kinetic image of transportation infrastructure, such as a The impending cultural force. I determined that the simplest way to visually evoke

to shoot each one as original footage to avoid the potential emotional dissonance horse trail (1781), railroad tracks (1886), or a highway (1951). At first I elected

people experience when watching black-and-white archival footage, but as I note in my findings, I reverted to using archival footage so that the audience would be fully 3. cognizant of each historical era. shot point-of-view shots of extant buildings from each era, but eventually opted The resulting structural change to downtown Los Angeles. At first, Ganyer and I for historical photos. Static photos worked well in conveying a sense of order and stability. 4.

The new design concept for Pershing Square. I used primary source illustrative sense of how politicians and designers “sold” each redesign. The only original plan plans instead of figure-ground or technical drawings in order to give the audience a

very similar plan from 1930.18 I could not track down was John Parkinson’s 1910 plan, but I substituted it with a 5. footage to represent particular design features of each design, inspired by primary The resulting change to Pershing Square. For this I also elected to shoot original 18 Architect John Parkinson noted the only change to his design by 1930 was the addition of a walkway perpendicular to Olive and Hill Streets. See Parkinson, “Letter from John Parkinson.” 15 - setts.19 sources, of extant features in Los Angeles, California and Cambridge, Massachu sense of order. Mixing these with static historical photos helped to ground each “Locked-off” shots (film jargon for “on a tripod”) worked well to convey a shot in time.

ORAL NARRATIVE The oral narrative, or the dialogue that the audience hears, is composed entirely

of historical quotations from figures who had a direct relationship with Pershing Square, with some minor modifications to speed the story along. I pursued primary source quotes - because the writings of experts, reporters, and literary figures were often too far removed from first-hand experience. I also thought it would be a more novel and accessible ap proach to reveal historical conflicts through contrasting perceptions of the park rather than the two following statements: through detached opinions and arguments. For each shot sequence, I alternated between 1. important that this be a matter-of-fact personal perspective so that the audience A park user describing an experience in the park prior to a redesign. It was very

could access the “vibe” of the park at the time. Finding these quotes may have been longhand or type-written documents, but it was well worth it to be able to cut past the greatest goose chase of the entire project, as some only existed as original

different voices actors record these in a conversational speech pattern. the condescending standpoint of many newspaper reporters. Ultimately, I will have 19 Starr, Americans and the California Dream, 1850-1915 development. Los Angeles in the late 1800s was basically a colony of New England; its architecture reflected this. See for a broad exploration of Anglo California’s early cultural

2.2

Classic bench design in Grand Hope Park to evoke benches in 1940s Pershing Square (still from Act One, pre-color correction)

16 2.

A political or planning official describing the new design as a fulfillment of the redundancy by cutting out descriptions of particular design features. Eventually, new cultural force. Since I planned on showing each park design visually, I avoided

pattern. I will have different voice actors record these in a precise, authoritative speech

I also planned to include statements from semi-structured interviews I conducted with officials involved in some way or another with Pershing Square, but decided against it. While these proved very valuable in understanding the park’s recent history and cultural conflicts surrounding the current redesign process, they did not fit well with the narratives I had which deals more directly with modern-day perceptions of the park. come up with for Act One. I hope to draw quotes from them in a future version of Act Two, ACT TWO: “PERSHING SQUARE: SENSE OF PLACE”

APPROACH - tive of the concrete, lived experiences of park users. Taking inspiration from urban planner Act Two is an attempt to explore the park through a subjective, cinematic narra The Image of the City 20 Kevin Lynch’s 1960 study , I sought to “image” the park from interviews from Jim Jarmusch’s Night on Earth with park users and film footage interpreting their perceptions. I also drew inspiration (1991), a feature film which dramatizes the Lynchian city.21 process of urban “wayfinding” used by taxi drivers and their passengers when navigating a -

My specific approach was ethnographic. Originally I intended this act to be a partic a group of park users, but full participation was impossible given the time involved—not ipatory exercise where I would fully share creative control over the filmmaking process with only in recruiting stakeholders, but also in building mutual trust and knowledge to develop a solid narrative. The next best thing, an ethnographic approach, still allowed me to emulate an emic Nanook of the North

position (from within) with limited time. Robert Flaherty’s 22 (1922) offers an early example of the techniques I employed, mixing both dramatic and often used to amplify voices that have been suppressed in dominant cultural narratives. For documentary elements to study Inuit culture in Northern Quebec. Today, the technique is example, Abounaddara’s Syria and the Right to the Image

(2015), features on-the-ground, control over their popular image in the media. everyday perspectives of war-torn families in the Syrian conflict in an attempt to fight for

20 The Image of the City, along with Jane Jacob’s 1961 book The Death and Life of Great American Cities, was instrumental in forcing modernist planners and designers to incorporate user perspec- tives of urban Kevin environments Lynch’s 1960 as studycentral considerations in designing the public realm. Downtown Los Angeles fea-

“node” in their mental maps of the district. 21tured as one of Lynch’s case studies; a late 1950s Pershing Square featured prominently for his subjects as a central 22 Many consider Nanook - nography. See Otway, Jacobs, “Night The on Documentary Earth, Urban Tradition, Wayfinding from and Nanook Everyday to Woodstock Life.” . to be the first documentary, in addition to being the first instance of visual eth 17 STAKEHOLDERS The greatest challenge at the outset of producing Act Two was to identify whose perspectives to represent, since literally thousands of people could pass through or use -

Pershing Square on any given day. Ultimately, I realized all I needed to do was simply inter act with strangers that I met in the park. As I discovered, Pershing Square is an incredibly people to participate in either audio or video interviews. diverse and well-trafficked place, and I experienced surprisingly little opposition in getting

I wish that I had understood this sooner in my process. Before ever taking a camera to the park, I spent weeks contacting and visiting organizations in a quest to represent to include certain stakeholders who might have been left out of the urban design process, diverse communities and interests across the Central City. I was concerned that I would fail

- such as illegal immigrants or homeless people. I identified many stakeholder groups with the help of Los Angeles planners Stephanie Ritoper and Rosten Woo, as well as Sara Her nandez, Downtown Area Director for the council district serving most of downtown Los about a public space to activists that were mostly focused on direct political action or Angeles. But, with limited time, I found it difficult to convey the value of making cinema

Mbella “Sinai,” who was very sympathetic to my approach. Together we developed several material appropriation of space. I did meet one community advocate and organizer, Louise

Los Angeles on the morning of Thursday February 4, 2016. These interviews revealed great interview questions and conducted interviews with homeless on the streets of downtown insights about spatial perceptions by homeless people in the blocks surrounding Pershing

and the decision to frame my study around interviews conducted in the park itself. Square, but I decided not to include them in Act Two because of time constraints in editing

I also dedicated quite a bit of time to constructing a social media presence for participate, either in person or virtually through submission of written or artistic works. my project in the hope that it would attract a variety of organizations and individuals to

a website, spent multiple mornings “e-blasting” advertisements on Twitter, Facebook and But without a budget for branding or marketing, this turned into a flop. Even though I set up

Instagram, consulting with social media experts, and recruiting the help of the moderator of my interview sessions in response to these ads. the 14,000-member DTLA Facebook group, I found no evidence that people showed up for

ORAL NARRATIVE

4th, Friday the 5th, and Saturday the 6th of February, and on Thursday the 31st of March, 2016. I held interview sessions in Pershing Square during the afternoons of Thursday the Afternoons on these days were the most suitable time for these interviews given restrictions

- imposed by location permits required to conduct professional filming in Pershing Square and the superior quality of afternoon light in the space. I also conducted several sponta neous interviews during other days I filmed in the square. Interviews included individuals and groups of up to five people. This amounted to 48 distinct interviews with a total of 76 18 2.3

Sculpture garden and Millenium Biltmore Hotel (still from Act Two, pre-color correction)

respondents. I met all of the respondents for the first time in Pershing Square with only two exceptions (these were people I had met off-site and personally invited to participate). - While my sample size was quite large for a subjective documentary study of the spondents included a great spectrum of users: entrepreneurial downtown residents walking place, I felt it was necessary in order to capture a diversity of perceptual experiences. Re - their dogs, families using the playground equipment, security guards, homeless people, resi tourists, workers in the Jewelry District, and creative agency professionals. Nevertheless, dents who live in downtown’s affordable and single-room occupancy (SRO) hotels, shoppers, By virtue of these being people who were willing to I - noted significant biases in my sample. participate, the sample likely over-represented gregarious individuals who were not signifi a thirty year-old white male in need of a haircut, and my occasional collaborators, approach- cantly pressed for time. It also likely over-represented people who felt comfortable with me, ing them and prodding them with questions. Some people certainly did not feel comfortable, either because of time constraints or possibly—in the case of one man I saw at the park reason. Finally, the sample very likely under-represented people who typically use the space repeatedly—suspicion that I might expose someone’s immigration status, or some other the smaller number of people who typically use the space in the morning, people who use as a lunch spot around noon (such as workers from Bunker Hill and the Financial District), the space late in the evening, and people who avoid the space altogether.

Even though I waited as long as I did to conduct interviews, it provided me the time to develop a very simple yet provocative set of questions, the answers to which would frame variation of the following: the oral narrative of Act Two. The open-ended questions I asked of respondents were some

19 1.

How do you feel when you are in Pershing Square? What is it about the space that 2. makes you feel that way? Do you have a favorite spot in Pershing Square? What is it about the space that you like?

Ultimately I realized it worked best to switch the order of these questions. Asking people to focus their attention on personal feelings for the first question in an interview met with - frequent success, but it also frequently generated single-worded answers with no spatial tention on the environment while subconsciously engaging their feelings, which they could context. Asking the “favorite spot” question first allowed users to consciously focus their at

then engage consciously in response to the next question. Instead of transcribing all of the interviews, which would have been too expensive transcribed statements that pertained to the following: or time-consuming given the volume of material, I listened to the audio recordings and only

1. how the respondent uses the park 2. how the respondent feels in the park (rather than how they feel about 3. how the respondent’s use or feeling in the park relates to other life experiences it)

- If I was not able to capture a respondent on video, I also transcribed statements that would help the audience to get to know the person. Subsequently, I grouped all state

2.4

Lorraine, left, and Mercy (still from Act Two, pre-color correction)

20 ments based on my interpretation of their basic emotional content (such as “comfortable”

(controversy surrounding the building of two playgrounds where the homeless once slept or “excluded”), rather than their references to specific spatial features, urban design issues was one example), or my assessment of the interviewee’s socioeconomic standing. This step, I realized after trial and error, was crucial to constructing collective “sense of place.” By the environment as a function of their perceptions, rather than the other way around. This starting from the users’ emotion- and memory-influenced perceptions, I was able to position alone helped to curb positivist tendencies to portray the park objectively. correlated with a basic story narrative23: To arrange these statements into a screenplay I established three categories that

1. relieved Sense of restedrelief: I feel… grounded surprised

healthy energized wowed fascinated entertained amused protected informed aware of my environment connected with other people 2. unhealthy Sense of unsettleddistress: I feel… uncomfortable

unbalanced victimized saddened disappointed

stunted terrified exposed unembraced ingenuine isolated excluded

23 - story arcs. That basic structure consists of 1) equilibrium, 2) challenge, 3) catharsis. See Jones, “Kurt Vonnegut Dia grams the Shape of All Stories in a Master’s Thesis Rejected by U. Chicago” for some “brilliantly simple” examples of

21 3. special Sense of connectedbelonging: with I feel…home humbled connected to the past free embraced included lucky24 -

Inspired by this narrative flow, I derived shot ideas for “b-roll” footage (footage that sup spatial experiences of the respondents. plements the main or “a-roll” footage) that could represent the different perceptions and

VISUAL NARRATIVE

Most of the interviews I conducted were audio-only, either because the respondent declined to be filmed or because I was alone and simultaneously performing the role of impossible to both operate the camera effectively and converse effectively with respon- interviewer and cinematographer. When conducting interviews by myself, I found it nearly

dents. Eventually, I realized I could compensate for this by completing an audio interview and subsequently requesting to take a video shot of the interviewee “in their element.” The diversity of faces and expressions in Pershing Square is one of its most valuable assets as an - urban space, so I strived to capture this whenever I could. ment the emotional reactions of the interviewees’ oral responses with different shot types. To shoot the interviews, my collaborators and I found that we could best comple For instance, if the user revealed that he or she felt comfortable in the space, it worked best for the camera to be “inside” the conversation, with the camera close to them but the lens -

set at a wider angle. Cinematographer Roger Deakins claims that this produces an environ mental effect that is not possible with the camera set farther away and the lens zoomed in, cinematic characters in their own world.25 For users who said that they felt uncomfortable which is why he uses it in much of his work with directors Joel and Ethan Coen, to situate or paranoid in the park, we found that paranoid camera tricks, such as tighter shots that partly or entirely obscure the interviewee’s face, worked best to complement this feeling. Director Martin Scorcese points to The Wrong Man - ing the effect of paranoia simply with the treatment of the camera and a person’s face.26 (1956) as a standout example of produc

To shoot “b-roll” footage of the park, I simply followed my shot list derived from the over eight non-consecutive days in February, March and April, 2016.27 Even though my cin- screenplay, which I had constructed from the interviews, and collected footage in the park

24

Each of these terms is a condensation of one or more statements I extracted from the interviews. The 25particular termFauer I etused al., isCinematographer based on my own Style interpretationJoel & of Ethan the basic Coen emotional - Shot | Reverse content Shot in .their words and tone of 26voice (see appendixFavreau et for al., examples Dinner for in Five screenplay).. 27 ; Zhou, Terminator 2: Judgement IDay returned to the park during so many days in March and April that the park manager joked that she thought I was one of her staff members. One security guard likened me to the T-1000 character in : “whenever you think he’s dead, he just keeps on comin’!” 22 2.5

Michelle, left, and Megatron (still from Act Two, pre-color correction) the park, we largely focused our lenses on the park’s physical form. We also generally stuck ematographers and I sometimes gave into the urge to shoot “the action” of major events in with the visual palette we had developed for interviews: looser handheld for comfortable, easy-going experiences; tighter locked-off shots for a sense of restriction. Cinematographer - Garrett Lamb operated a Steadicam device for smooth motion that lent itself to a feeling of trophobic experiences by hand-holding the camera very close to different park features and breathing easy, while cinematographer Drew Ganyer captured some very unnerving, claus keeping users far out of focus.

EDITING With all of the footage transferred from my camera’s memory cards and appropri- - vidual audio cuts into a timeline as per the script. For this assembly it was essential to leave ately catalogued in my editing system, I began the edit of Act Two by assembling the indi per my shot list. Since only a small percentage of my interviews included video of the person lots of “breathing room” for future revisions. I then layered the video on top of the audio as - speaking (in other words, where the video actually “synced” with the audio), I found it es - sential to front-load the film with synced interviews so that the audience could understand - that all of the subsequent voices, synced or not, belonged to people in the park. In subse - quent revisions, it was important to limit extemporaneous comments unless they communi ed many redundant comments unless they had a dramatic effect, and reordered interviews cated to the audience a significant social or environmental context for the person. I eliminat as needed until the film started to feel like a continuous conversation between people. To achieve a sense of continuity, I employed a style of montage editing that director 23 28

Psycho Alfred Hitchcock once called the assembly of “little pieces of film.” Hitchcock demonstrated - sophisticated use of this technique in the infamous scene in (1960). Because of the “Hays” morality code that governed motion pictures between the 1930s and 1960s, Hitch of view, so he constructed the scene “impressionistically.” Assembling many little pieces (a cock could not portray the murder of a nude woman in a shower from an objective point

multiple images—shot over the course of many hours or days—were all happening in the hand, parts of the torso, the showerhead) in quick succession conveyed the sensation that

- same time and place. Similarly, a more objective portrayal of Pershing Square was not only impossible given that the park is five acres composed of lots of individual, sequestered spac - es, but it might have worked against this film as a non-positivist experiment. nuity through an immersive and seamless sonic landscape. Sound design and mixing has Careful sound mixing for the final version will further solidify the effect of conti

always taken me as least as much time as video editing, which is why I opted to hire a sound engineer for this project. 28 Markle, A Talk With Hitchcock.

2.6

Fountain seating area (still from Act Two, pre-color correction)

24 ACT THREE: “PERSHING SQUARE: VISIONS OF PLACE”

APPROACH Act Three is an attempt to curate the collective aspirations of the park’s current us- - ers into a cinematic imagination of what the place could be. I followed the tradition of “scor “programs” or activities in a designed landscape. As a democratic alternative to drawing pre- ing,” a dance technique adopted by landscape architect Lawrence Halprin to frame different that could take place in a particular location, allowing lots of room for user interpretation. scriptive master plans, Halprin employed “scores” as open-ended suggestions for activities Act Three is basically a reversal of this concept. Aspirations expressed by users in interviews inspire impressionistic sensory experiences; the designer then envisions a narrative for how these could fit into the spaces of the existing park. The result is intended as a cinematic equivalent of Swedish landscape architect Sven-Ingvar Andersson’s “touchstone papers,” measureable and ephemeral” set of goals against which to evaluate future design decisions.29 which he routinely produced at the outset of a project to serve as a “pragmatic and poetic, But unlike Andersson’s papers, which were only written on paper, Act Three takes advan- tage of the range of sensory experiences possible with cinema. - My Winnipeg Although not a perfect example, I took some inspiration from the pseudo-documen - tary film (2008), which involved a similar utopian exercise. Guy Madden, the film’s director, mixed several factual and mythical stories about the capitol city of Manito 30 ba, Canada into a fantastical cinematic narrative about the city and its spaces. Roger Ebert called it the tenth best film of the decade. ORAL NARRATIVE

1. For each interview I conducted in the park, I asked two additional questions: Do you have a favorite public space anywhere in the world? / Do you have a favorite 2. place in L.A.? Can you tell me why? Is there something you wish you could do in a public space / in Pershing Square that you haven’t been able to or haven’t tried yet? How would that make you feel?

- The answers to these questions were the basis for the oral narrative of Act Three. tual space of the park’s current design and speak instead to that for which they maintain I designed the questions specifically for respondents to break free of the concep ultimate authority: their memories, emotions and sensations. Landscape architect Laurie

Olin helped steer me toward this idea after a conversation with him in January, 2015. After describing the peculiar success of the Getty Center, a free museum that opened in the hills near UCLA in 1997 (Olin designed its gardens in 1992), he mused, 29 Spirn, “Bibliography.” 30

Ebert, “My Winnipeg Movie Review & Film Summary (2008).” 25 People can tell you what they like and don’t like about what they see and know but they can’t tell you

whatinvented they something want about that the people thing theydidn’t don’t know know to ask to askfor.31 for. What’s That’s the why thing Olmsted that people was such need a genius:that they he will 32

respond to enormously positively if we provide it? All they can think of is a version of what they know.

than simply what people want want is often myopic. Want I saw this as a challenge to begin to reimagine the park based on something much deeper is a function of fashion, and fashion will inevitably go out of style. By contrast, the things . As Olin alluded to, what people that people need—comfort, awareness of their surroundings, a sense of discovery or be-

longing—these are timeless. As I learned from Ian Dryden, one of the designers behind the have to be “classic” with their designs in order to meet people’s needs over the long term successful revitalization of the central city in Melbourne, Australia, urban designers almost

(and therefore, to avoid having to redesign things every generation). To construct the questions, I also took a page from the urban planner James Rojas, their favorite spot and imagine what they could do there. Their descriptions, he said, were who took twenty women to Pershing Square on one day in 2013 and asked each to find astonishing.

experiences in public spaces around the world and the Los Angeles area, from walks in Equally astonishing were the responses to my questions. Respondents described

Rio de Janeiro to feeling at home in Pershing Square itself. Much like “favorite spot” data accumulated in an internal study conducted by Gensler LA, many people mentioned Griffith Park, a major regional park and home of the Hollywood sign, as well as several Southern - California beaches. In response to what they wish they could do, respondents described a huge variety of activities, from sleeping and zooming in on their work to community orga nizing and running a fashion show. Although some respondents had a difficult time steering their thoughts away from the current limitations of the park, I was surprised at the ability of these questions to provoke “out of the box” thinking. statements pertained to: Again, I did not have a budget or time for full transcription, so I only transcribed

1. how the respondent feels in her favorite place 2. 3. how the respondent feels when performing his imaginary activity spatial qualities of the respondent’s favorite place 4. the spatial context of the respondent’s imaginary activity 5. how these answers relate to other life experiences

31

Frederick Law Olmsted is popularly known as the “father of landscape architecture.” Some of his best- theknown greater projects Los Angelesinclude Centralmetro region. Park in Their Manhattan proposal (1858) was neverand the adopted. Emerald Necklace system of parks in Boston 32(1880s-1890s). In 1930, his sons John Charles and Frederick Law, Jr. designed a similar system of linear parks for

Olin, Landscape Architect.

26 2.7

"Relaxation" (still from Act Three, pre-color correction)

-

Despite recording many eloquent complaints and opinions about the park’s de sign, I attempted to ignore these in my transcription so that the ultimate narrative would only contain experiential aspirations. I then grouped statements based on their dominant - emotional stance (for example, I grouped “It feels really peaceful, you’re just looking at the overview of everything” with other statements that also had the stance of “I can feel con nected with environment”) and filed them under three categories:

protected connected with environment creative comfortableI can feel… connectedI can feel… with community reinventedI can feel… focused connected with history new grounded curious free isolated engaged cathartic meditative part of something embraced generous redeemed

- The second group of statements had a lot of differentiation, so I split it into three parts—for a total of five groups—and arranged statements into a narrative arc that symbol izes a universal journey of finding peace and redemption: 1. 2. “I can relax” (i.e. have my own space) 3. “I can observe” (i.e. be aware of/draw energy from my surroundings) 4. “I can discover” (i.e. uncover opportunities) 5. “I can engage” (i.e. connect with environment/community) “I can create” (i.e. make the space my own)

27 what has motivated countless generations of people to migrate or immigrate to Los Angeles, While using this structure to write the screenplay, I realized that this “journey” is not only but it is intentionally built into the experience of many architectural works.33 - ered that landscape architects are familiar with this as prospect-refuge theory, a concept I also discov advanced by geographer Jay Appleton that interprets human ambition for aesthetic experi-

34

ence as expressions of inborn needs for opportunity (prospect) and safety (refuge). Suffice aspirations contains many precedents in both personal narratives of Los Angeles and in the to say, the “journey” I independently constructed from a diverse sampling of park users’ design world.

VISUAL NARRATIVE Each shot in Act Three is directly inspired by a statement in the oral narrative. But

in conceiving the overall visual style of the film, I drew from some of the best examples I Days of Heav- know of beautifully and meaningfully edited feature films that started as millions of feet of en, for instance, evoke poetic landscapes of memory and fantasy though careful assembly of raw “impressions.” Every one of director Terrence Mallick’s films since 1978’s hundreds of otherwise discontinuous impressionistic shots into temporally and emotionally

continuous sequences.

33 With Mallick’s films in mind, I concentrated on gathering “impressions” of people’s

34 ForSee example, Jay Appleton, Frank The Lloyd Experience Wright housesof Landscape and religious and Anne buildings Whiston such Spirn, as theThe Wallace Language All-Faiths of Landscape. Chapel at Chapman University and the Cathedral of Our Lady of Angels in downtown Los Angeles.

expectDespite someone these parallels, repeating it is this important experiment to note in anotherthe high context degree toof developauthorship the I same exercised narrative. in this process. This was just the simplest way for me to blend together a diverse array of human aesthetic experiences. In no way would I

2.8

"Discovery" (still from Act Three, pre-color correction)

28 favorite places, as well as spaces that could evoke the activities that people aspired to do. I - could not practically travel to every place (one respondent mentioned a market in Istanbul, for example), so I instead traveled to places I could find in Los Angeles that might feel simi - lar (the same respondent described, for example, “I just find myself lost there. Every time I go it’s as if it were the first time.”). Nevertheless, this became a massive undertaking, involv ing traversing the city to different spots at different times, spending as much time as I could in each to capture the “essence” of what my respondent said. Mostly I focused on shooting would give it a slight gliding movement, to help the audience understand the three-dimen- environments rather than people, but if the shot felt too much like a static photograph I

To avoid a potential hodge-podge effect from stitching together tons of disconnect- sional qualities of the space. ed shots from around the city, I decided to ground each visual impression in Pershing Square the interviews, played by Lisa Biagiotti, therefore becomes this character by interacting with through a central character (the “I” in “I can relax”). The designer who ostensibly conducted different spaces in the park—through walking, sitting, observing, smiling—while recol- lecting the voices of park users and daydreaming the spaces of their aspirations. For emo- tional continuity between the voices, impressions, and Biagiotti’s actions, I “directed” her with questions that could elicit similar emotions (such as, “Try to sense the pressure of the ground under your feet,” or, “Think about your favorite place”). EDITING

- Similar to Act Two, I began with a very loose assembly that I could whittle down through successive iterations until I achieved a continuous emotional flow. I also delib erately cut out many references to specific places other than Pershing Square in order to construct the sensory illusion that these aspirations could take place in Pershing Square itself. Ultimately, I hope to make it clear, perhaps in the credits sequence of the film, that the original statements referred to places other than Pershing Square. as pure cinematics For specific cuts in this film I drew from a style of cutting that Hitchcock referred to . Editors know this best as the Kuleshov effect, discovered one hundred shots can produce a totally different psychological effect than if each shot were shown by years ago in Lev Kuleshov’s experiment to show how a simple juxtaposition of two different

- itself. Today, Scottish director Lynn Ramsey makes subtler but no less sophisticated use of this technique by positioning a shot of a person’s face, often with a neutral affect or expres emotional state of the person.35 The simplicity of this effect alleviates some of the pressure sion, next to a shot of a specific environmental detail. This detail clues the audience into the placed on actors to carry the emotional arc of a film, which is partly why I opted to use it. - Although my edit of the film is not yet complete, in the next chapter I will discuss proved. several discoveries I made and provide suggestions for how the experiments could be im

35 Zhou, Lynne Ramsay - The Poetry of Details.

29 30 CHAPTER 3: FINDINGS

In this chapter I revisit each experiment to present my discoveries, including many of the difficulties I encountered, and discuss strategies for future refinement. With Act One I redesigns but the experiment falls short of offering a clear implication for the future design was able to convey a very nuanced and immersive narrative of Pershing Square’s incessant comes out ahead of the other experiments as it not only captures a diverse spectrum of interventions. I suggest using deeper design analysis to help enhance this effect. Act Two perceptual experiences in the park, but it also communicates a compelling narrative about the current design of Pershing Square as something that many social groups like and feel - at home. With Act Three I was able to substantially explore the construction of a poetic and tively demonstrate the concept. impressionistic concept for the future park, but it will require further refinement to effec ACT ONE: “PERSHING SQUARE: OF TIME AND PLACE”

SUCCESSES

“Pershing Square: Of Time and Place” is successful, primarily, at conveying a story of changing design visions. of Pershing Square as a public space that has changed over time in response to a succession The film’s oral narrative proved crucial in communicating this point-of-view experiences by park users, and the use of primary source media was essential story. Original footage for the visual narrative proved very effective at representing intimate, in conveying the passage of time. cinematic narrative also led to the discovery of a more nuanced and intimate understanding Channeling critical research for this act into a balanced of the history of Pershing Square than existed in secondary sources. REFLECTION: FUTURE CONSIDERATIONS

To warrant and improve future iterations of this experiment, the filmmaker should 31 strive to communicate the critical aspect of a place’s history which has greatest implications -

for future design interventions. In the case of Pershing Square, this history was the perpet ual conflict between downtown political forces and park users. My instinct to stay within a - consistent perceptual space by shooting original, live-action footage for the entire film not only proved difficult from a practical point of view, but it made it more difficult to commu nicate the idea that the film traverses different historical periods. I attempted to balance my own footage with primary sources, such as survey maps and archival film footage, but this As a result, the audience understands when and where they are in time, but each redesign had a rebound effect of isolating each redesign too firmly in their respective time periods. feels like the result of circumstances particular to each time period rather than a repeating set of circumstances. Despite further attempts to highlight repetition by treating politicians and park users with separate editing and visual styles, the sheer heterogeneity of elements instead conveys multiplicity.

To effectively communicate this type of historical spatial conflict requires that the filmmaker distill primary data to the point where the contrast between competing cultural any less cinematic. An easy way to do this would be with an operation that designers and groups is clear and precise. This in no way means that the filmmaker has to make the film

map-makers call “figure/ground”; filmmakers understand it as “foreground/background.” would give the audience the sensation that this is all taking place in one location and would Some sort of ground or background throughout the film, even if only displayed periodically,

serve as a base for comparison between cultural groups in conflict with each other. Star Wars The filmmaker could then introduce a simple duality by assigning a distinct motif or color palette to each figure/foreground representing each cultural group. (1977) offers an excellent example: it helps the audience keep track of good guys and bad guys throughout the film based on their distinct clothing choices, light-saber colors, and spaces” of one group with the “inhabited spaces” of another should be relatively easy. perhaps most importantly, the spaces they typically inhabit. Contrasting the “inhabited - maker could instead display an environment or artifact associated with each narrator. A Rather than personifying each oral narration with a photograph of the speaker, the film

Hollywood filmmaker might represent this by taking the camera into the visceral, material spaces of each group, such as the smoky drafting office of the planner or the sun-drenched contrast more simply by representing each “inhabited space” as a territory on a map, such bench of the park user. But the designer/filmmaker with a limited budget might establish as buildings occupied by members of the Downtown Business Men’s Association or street

spaces inhabited by park users. This would certainly require a deeper geographic analysis than I was able to perform with this project. But even without statistics or figures, a clear and cleverly animated map would give the audience an unmistakable impression of conflict. Furthermore, keeping the film entirely within this perceptual space would significantly cut down on the film’s production time. - However, if mixed media are necessary for maintaining the curiosity and attention 32 of the audience, the prudent filmmaker will either finish research before beginning produc 3.1

Arroyo in Hahamonga Watershed Park representing Pershing Square pre-1870 (still from Act One, pre-color correction) tion or consider pairing up with another researcher to complete the work. I cannot stress this enough. Even without geographic analysis, Act One consumed half of my time on the the submission of my thesis, and with the reliance on a large amount of original footage and entire project. With only six months between the selection of Pershing Square as my site and rare primary sources, I experienced enormous tension between my role as a researcher and my role as a filmmaker. ACT TWO: “PERSHING SQUARE: SENSE OF PLACE”

SUCCESSES The ethnographic -

methods employed in “Pershing Square: Sense of Place” suc ceeded in conveying the soft, often hidden qualities of Pershing Square. With the amount of - information that I was able to uncover with this experiment, I find it bewildering that public ies. T space design processes do not require this type of investigation in addition to other stud he questions you ask, how you ask them, whom you ask, and where you ask, all effect about whether or not an urban design intervention will achieve its stated goals. the content of the answers. Carefully constructed interviews can reveal significant insights had an effect on the vocabulary that respondents used. Like the online survey conducted by The particular questions I asked—designed to elicit emotion as well as opinion— -

Project for Public Spaces (PPS), I frequently recorded respondents using the word “con about crete” in reference to the park. But unlike PPS, I rarely recorded the word “dirty” and only recorded the word “ugly” in two out of my 48 interviews. Circumventing discussions 33 the design and instead focusing on feelings about the place—something that anyone can claim authority on—certainly contributed to this. Many of the negative comments about the

park resulted from respondents who deflected my questions and instead told me what they - felt about the park’s design, whereas almost all of the positive comments reflected personal ly, many of the people who delivered negative appraisals were designers or design students, feelings—a sense of relaxation or a sense of belonging—from being in the park. Interesting

suggesting a popular orthodoxy within the design world that rejects the park’s postmodern style. Positive reactions crossed every social group I interacted with, with first-time visitors feelings. to the park and the more socially marginalized users overwhelmingly expressing positive

- How, where, and to whom I asked my questions also significantly affected the in the spaces that they chose to occupy, and using a small, handheld camera allowed each quality of these responses. Speaking only with people I met within the park, staying with respondent to interact directly and calmly with the environment itself. This helped to avoid

Memory, perception and experience of the space were more immediate, and the person the potentially speculative and anonymous qualities of pop-up sessions and online surveys.

also helped to give a social and environmental authenticity for the person making the com- could respond in their own words. When I was able to shoot video footage of the person, this ment. Short of participatory action (in which many people may never participate because of

time commitments or other reasons), this served as a very effective method for dignifying the voices of all different types of people, from the privileged to the marginalized. Of all of the responses that I recorded, those that connected the park (especially portrait of the park beyond its physical design attributes and its popular “image” in main- specific spaces within the park) to the respondent’s life experiences worked best to paint a

3.2

David (still from Act Two, pre-color correction)

34 stream media. When combined with photographs and videos of the park, these statements serve as an invitation to examine the park’s design features, stimulating a perceptual effect that is hard to achieve in other media.

It is this perceptual effect that allows the act to deliver an alternative and more accessible narrative of how people use and experience Pershing Square. Contrary to the many people actually like the current park and make it their own. Despite obvious editing, singular narrative that has helped to fuel the redesign, the film compellingly shows that the audience can sense a reality there that would not be as striking in a written report, of many real people and real environments to create a plurality of perceptual experiences photographs, or urban designers’ current use of film techniques. Blending representations - gives the audience a sensation of many independent realities—quite different from the rep resentation of Pershing Square as an objective, singular reality. Discovering a narrative for this film also helped to confirm what I had discovered in my historical research for Act One: the enduring identity of this place as a space for people with nowhere else to go. Just as it has been since 1866, Pershing Square is a refuge for a low income residents. Furthermore, the climbing residential population of downtown, more constantly shifting spectrum of not just homeless people, but also transients, tourists, and aggressive events scheduling, and increased security have likely contributed to making it a more diverse and inviting place than it was even five years ago. Politicians and designers involved in the competition may be aware of its diversity and its “refugee” quality, but the overwhelmingly glossy qualities and ubiquity of trendy young people in the competition’s design renderings do not reflect this in any way. REFLECTION: FUTURE CONSIDERATIONS -

My interview subjects skewed toward downtown residents and visitors and under represented the suit-clad office workers who supposedly use the square during lunchtime. 1P.M.—but my peculiar schedule was almost unavoidable given restrictions imposed by This is likely a result of the particular times I chose to conduct interviews—typically after location permits and several other coordination activities (equipment rentals, paperwork, social media campaigns) that occupied my mornings during the main week of shooting. underrepresented in public outreach, despite being important stakeholders in the neigh- This was unfortunate because I feel that the perceptions of non-resident workers are often borhoods where they work. Furthermore, I feel that I missed a chance to find significant overlaps between the perceptions of office workers, residents, and vagrants who visit the square. Potential remedies for this issue include those that would improve almost any film production: more money, a bigger staff, or more time—so that I could be in the square interviewing is far from incidental, as it covers an excellent cross-section of personalities throughout the day and many days throughout the week. But the constituency I ended up who visit the park.

- Conducting several audio-only interviews in addition to my video interviews significantly increased the number and diversity of people I interviewed, but the emotion 35 al weight of these interviews suffered from the lack of social and environmental context,

which video would have conveyed. There are two ways for the filmmaker to solve this conundrum. If the respondent is not comfortable with a video of her face, it is important to her dog, or her backpack. But if an audio-only interview is a simply a matter of working ask if she is comfortable with video of specific details other than her face, such as her hands, alone and not having a cinematographer along, it is important to record the audio interview

not sync with the video, this is ten times better than audio with no video. first and follow up with video portraits of the respondent. Even though her narration will -

Drafting a simple yet meaningful narrative arc from nearly fifty interviews re quired much more time than I had anticipated, especially without the extra cash for full transcription. However, this saved a ton of time in future filming and editing phases. With a succinct shot list, inspired by the characters and the narrative flow of the screenplay (which I composed from quotations of interviewees), I was able to shoot “b-roll” (secondary) footage, more efficiently. Without the necessary time for listening and interpreting all the Another way to avoid this type of time commitment in the middle of production would be to interviews, I would have had to appoint a fulltime editor or screenwriter to handle the task. - ect that would allow interviewees to shoot their own footage or to become collaborators dedicate more time at the outset to raising money and support for a participatory film proj in generating b-roll footage that would represent their own perceptions of the place. But

because of the limited time and budget, this simply was not possible. It remains a potential - goal for future projects of this scope. mans and their environment, the ethnographic approach presented several challenges. My Since I was most interested in studying perception, or the spaces in between hu

the overall goal of highlighting differences between people’s perceptions of that form tend- depictions of the physical form of Pershing Square took a backseat to the human story, and ed to get a bit lost. To enhance cinema’s ability to investigate design and physical spaces,

are very sensitive to movement.36 When people see a person moving through a shot, that the filmmaker must resist the common urge to fill each shot with movement. Human beings often becomes their lasting memory of that shot, rather than the space itself that the person

- moves through. In the case of Pershing Square, it would have been okay to show a piece of the park without people occupying or moving through it, as long as it fit the narration. Fur thermore, it is important for the filmmaker to counterbalance portraits of users and wide their environment, such as hands on a wall or feet dangling off of a seating platform. These shots of the environment with close-ups on specific points of interaction between users and shots can then become the symbolic connective tissue to help the audience to focus on the

could then cross-cut between these close-up shots for different users in different spaces.37 form of the park itself. To reinforce the audience’s attention on physical form, the filmmaker

36 37 Mapping.” Ding, “Mapping Urban Space: Moving Image as a Research Tool.” Boumeester, “Reconsidering Cinematic Mapping: Halfway Between Collected Subjectivity and Projective

36 3.2

Lisa (still from Act Two, pre-color correction)

ACT III: “PERSHING SQUARE: VISIONS OF PLACE”

SUCCESSES

- Although not yet fully formed, the current cut of “Pershing Square: Visions of Place” versation about the potential of public space in downtown Los Angeles. Additionally, the is an excellent application of cinematic techniques to create a poetic and immersive con layering of oral narration and visual montage of users’ desired activities, favorite places, and the designer interacting with spaces in the park conveys an innovative and abstract narrative that advocates a more dynamic role for the designer. Here, the designer becomes a listener and mediator rather than an expert removed from community engagement. Rather programs, she imagines the future park as evolving from the deeper psychological/emotion- than imagining the future park as an empty shell that can be filled with a variety of exciting al aspirations of its present users. Responses to interviews directly inspire potential spatial to support preconceived design goals. The resulting narrative, traversing park users’ stated qualities of the future park, instead of conducting interviews to gather granular evidence aspirations for rest, observation, discovery, connectedness and creativity, does not serve

“touchstone papers,” it becomes an experientially visceral benchmark for measuring future as a complete design concept. But like one of landscape architect Sven-Ingvar Andersson’s design decisions.

37 REFLECTION: FUTURE CONSIDERATIONS As it stands, the experiment remains a bit rough around the edges, and the effect is

- incomplete. To strengthen future iterations, the filmmaker-designer must seek to uncover ence in their favorite places or desired activities. Without asking these of the park users, specific spatial and material qualities, including light and sound, which park users experi shooting “b-roll” footage becomes too much of a speculative exercise. For example, when

I asked one subject why her favorite public space is on “the tops of buildings,” she replied, “It feels pretty relaxing.” This answer allowed me to determine the general qualities of the experience she desires, but it without a follow-up question it fell short of describing specific qualities of the space that might cause her to feel that way. The filmmaker must get at the distribute cameras amongst park users may be effective ways to do this. But without the “why,” not just the “what.” A coordinated effort to crowd-source footage from park users or

details, such as the following: budget or the means, follow-up questions may be just as effective at eliciting these spatial

1. 2. What sort of environment would have made you really happy to discover here What is it about the place that makes you feel that way?

3. today? What does/would that place look like?

Discovering these qualities in interviews could also help with another significant challenge city and being “present” in each long enough to gather spatial or sensory “impressions” that that I experienced during this experiment: traveling to so many different places across the

3.3

"Create" (still from Act Three, pre-color correction)

38 could represent each speaker’s aspiration—all without making it obvious that these shots - rapher who could shoot simultaneously in other locations, would certainly cut down on net were outside of Pershing Square. Hiring a “second unit,” i.e. a second filmmaker/cinematog

- shooting and travel time. But with a more acute understanding of the spatial qualities that sions in fewer places, rather than few impressions in a multitude of places. users aspire to, the lone filmmaker could focus his attention on gathering multiple impres -

Further refinements to footage of the protagonist could also help to improve the ex periment. If the goal of this exercise is to nudge the audience toward believing that diverse sensory aspirations of users could take place within one public space, the filmmaker might different environments with “match-on-action” cuts, or edits that imply a continuity of borrow from a common music video technique of “transporting” the protagonist between Slaughterhouse Five makes excellent use movement from one shot to the next. The 1972 film of this technique to transport its characters seamlessly between different historical eras and - locations. Other films achieve this with subtler techniques. The films of director Terrence Mallick are each essentially very long montage sequences, constantly jumping between dis connected vignettes, but individual sequences still feel continuous because of the continuity powerful environmental and emotional effect, with her video album Lemonade of central characters, sound, and music. Beyoncé also recently made use of this technique, to the designer protagonist—or better yet, the park users themselves—not only in the public . By filming - press distances between places and create an unmistakable sensation that the events of the space under investigation but in the spaces of their aspirations, the filmmaker could com more poetic, yet more concrete, touchstone for the possibilities of the future park than any film are all happening within one space and a short period of time. The result could be a design medium I am aware of.

39 40 CHAPTER 4: CONCLUSION

Los Angeles Times announced in bold letters,

On May 14, 2016, the front page of the “A PEOPLE PLACE: A French landscape firm wins the competition to redesign downtown the dominant features of a central lawn, several gardens and a block-long pergola—was L.A.’s historic Pershing Square.” Agence Ter’s design concept—detailed in its video as having the unanimous choice of the competition jury and the majority preference of 1359 surveys and a week of online surveys.38 collected during a night of presentations, three days of pop-up sessions in Pershing Square, the $50 million estimated to carry out the restoration.39 History was made, and the now the attention turns to raising through the creation of drawings, maps and renderings. During the same period of time Like its competitors, Agence Ter investigated and reimagined Pershing Square - my collaborators and I investigated and reimagined the park through the creation of cine concept, they nevertheless unlocked perceptual dimensions of the park that were either matic experiences. Although the methods I employed could not have delivered a full design invisible or impractical in the design thinking employed throughout the competion. In this chapter I offer concluding remarks on each experiment and evaluate their successes against occaisional cinematic techniques employed by the competing design teams. a place historic through the motivations behind its - Act One, “Pershing Square: Of Time and Place,” succeeds at exploring the history of competing design visions. One video pro duced by the PSR design teams, the wHY + Civitas video, substantially explores the history of analysis of the park’s identity hampers the video’s historical element to function as more the Pershing Square, but voiceover narration by expert designers/consultants and simplistic than a deductive exercise. By contrast, Act One’s focus on cultural conflicts surrounding each “impressions” invite the audience to examine the park’s history with more criticality. For redesign, its reliance on historical quotes, and its mix of primary source media with video this experiment to become more effective at revealing historical implications for the po-

38 39 Pershing Square Renew, “Instagram Photo by Pershing Square Renew • May 10, 2016 at 10.” Hawthorne, “French Landscape Firm Wins Pershing Square Competition with Call for ‘Radical Flatness.’” 41 strive to create a stronger contrast between the “inhabited spaces” of competing cultural tential effectiveness of future design interventions in a place, I propose that the filmmaker

groups, either through more sophisticated “period” filming or through critical geographic analysis. Doing so would require that the filmmaker save time either by finishing research succeeds at exploring and communicat- before filming or by working in full collaboration with another researcher. - Act Two, “Pershing Square: Sense of Place,” ing the everyday qualities of a place through the diverse perceptions, memories and expe riences of its users. Like Act Two, two of PSR’s competing teams included interviews with non-experts in their videos, but only one video seemed to convey that its interview subjects downtown residents who may or may not visit the park currently, but would in the future are users of the current Pershing Square while the other video features interviews with if the design were different. Against the drab backdrop of their environments, respondents in these videos all seem to be very clean and sociable, and there is little focus on capturing or communicating a sense of the current park. When featuring the current park they opt for

the lively activity of the Wednesday farmer’s market, fast-motion timelapse photography, or either quick shots of digitally desaturated park features that are mostly absent of people, expert designers brainstorming during a site visit.

In stark contrast, the entirety of Act Two is a user-centered narrative of Pershing - Square that simultaneously dignifies the enduring image of the park as a refuge for people - who have nowhere else to go, the competing but equally valid image of the park as unwel coming, and many steps in between. Crafting a set of open-ended questions to elicit emo shooting with a small handheld camera were all instrumental in gathering a set of highly tional connection to place, limiting interviews to park users I met within the park itself, and intuitive and differentiated perceptions of the park. Taking the time to construct a narra- tive arc and shot list inspired from the interviews then allowed the camera to explore the spaces of the park in a dynamic way. To better focus on physical form as a function of user

perception, and to find more experiential overlaps between diverse park users, I encourage different design features and to conduct interviews across a variety of times and days of the the filmmaker to focus their visual exploration on points of contact between people and week.

Place,” succeeds at constructing a user-inspired vision of the experiential and material Although in need of further refinement, Act Three, “Pershing Square: Visions of

qualities of a future public space. Like Act Three, videos produced for PSR also contain some two videos that feature interviews with current or potential park users, respondents either cinematic footage shot in real environments and narratives of potential park users. In the describe their preferences for changing the park or describe a narrative of how they might use it. This conveys the impression that “real people have been consulted” for their design concepts, even though the interviews may have been conducted well after their design

nevertheless seem to advocate for the role of the designer as satisfier of lifestyle preferenc- concept was established. Regardless of the timing, their use and techniques for interviews es

42 of future users. Another cinematic technique, character-driven narrative to explore the 4.1

St. Patrick's Day, 2016 (still from Act Two, pre-color correction)

stylish restaurant texting with a man who is navigating the park’s several garden spaces. future park, features in the SWA | Morphosis video. It depicts a woman in the future park's - al weight. This video and the Agence Ter video also make use of impressionistic close-up But because of the staged, almost cartoonish presentation, the effect sacrifices any emotion

shots (eg. fish swimming in a pond or "stock" footage of out-of-focus city lights), but unlike Act Three they do not ground them in any way back into the real space of Pershing Square. of three-dimensional models, animated Photoshop renderings, experts and professionals Other media employed in the videos for pitching their design visions, including fly-throughs describing what public space should be, voice-over narration describing different design concepts and features, animated planimetric drawings, animated perspective drawings, and animated artistic collages all serve to clearly represent static, abstract design concepts. -

However, they fall flat in evoking real places in the real world. They highlight the monumen perspective, rarely the lived-in. tal, rarely ever the ephemeral; the visual qualities, rarely the atmospheric; the objective But by taking inspiration directly from user interviews to imagine potential spatial mediator of psychological aspirations of current users. To improve future iterations of the qualities in the park, Act Three advocates a much more dydnamic role for the designer as that can host user aspirations and for enhancing cinematic continuity. experiment, in Chapter 3 I offer strategies for better learning the material qualities of spaces

43 The methods explored in this thesis suggest that urban design professionals will

find value in using cinematic practice in the following ways: 1. its users to understand the immersive qualities of an urban space through the perceptions of 2. to dignify unheard voices, experiences, or narratives of an urban space 3. to envision the potentials of an urban space through the aspirations of its users.

When engaged with real people in real urban places, cinema’s elegant but simple devices—developed nearly a century ago and since interwoven into the diversity of ways in which we perceive the city—can illuminate and compellingly imagine the experience

of space and place unlike any other medium. It is time for urban design practice to finally embrace cinema’s unique potential for shaping the future city. The experiments of “Imagine Pershing Square” merely scratch the surface. in the near future on , along with a comprehensive list of credits and I invite all readers to stay tuned for the final cut of the film, which will be available acknowledgments. www.moodyfilm.com

4.2

"Home" (still from Act Three, pre-color correction)

44 APPENDIX

45 EXPERIMENT METHODS MATRIX

EXPERIMENT 0 (skip) EXPERIMENT 1 EXPERIMENT 2 EXPERIMENT 3

measurement tool & CINEMA AS A… "forensic analysis" tool "mapping" tool "design" tool design backdrop

KNOWLEDGE CLAIM* positivism critical theories participatory constructivism

primacy of practical individual & collective nonfalsified hypotheses structural/historical knowing, critical reconstructions, NATURE OF KNOWLEDGE* that are provable insights subjectivity, living sometimes around facts/laws knowledge consensus

accretion, "building historical revisionism, in communities of inquiry more informed and KNOWLEDGE GROWTH* blocks" adding to "edifice generalization by embedded in sophisticated of knowledge" similarity communities of practice reconstructions

“Disinterested scientist” “transformative “passionate participant” as PLANNER/FILMMAKER “equal participant” informing decision- intellectual” as facilitator of multi-voice POSTURE engaging with process makers advocate/activist dialogue

Marxist, feminist, race, postcolonial, Storytelling/narrative Advocacy, postmodernist (Soja, (Sandercock), cognition SOCIAL THEORY Utilitarianism, modernism storytelling/narrative, Lefebvre), uneven (Lynch), postmodernist cognition (Lynch) development (Smith, (Foucault) Harvey)

Cinema Vérité, Narrativity, Structuralist, Auteur, Marxist, Feminist, FILM THEORY Auteur, Formalist Situationism, primary Constructivist, Meta & post- Postcolonial, Race narrative (Georges Méliès) narrative (Delueze)

Fragmented UNDERSTANDING OF SPACE 4-dimensional (time and motion) Fragmented 4D/memory 4D/memory/fantasy

WHAT'S HAPPENING IN THE subjective representation + objective representation objective manifestation subjective representation FILM? production

CONCEPT OF “on the screen” “in the screen” “in the screen” “in the screen” REPRESENTATION

Red pill (reality is hidden Blue pill (reality is a rd MATRIX PILL ANALOGY*** Blue pill (reality is reality) 3 pill (reality is beneath illusion) collective process) constructed in illusion)

The Social Life of Small EXAMPLE URBAN FILM Los Angeles Plays Itself My Winnipeg Urban Spaces

STUDY SAMPLE Case study or survey Case study

QUALITY OF DATA Measured & empirical Sensed / "soft"

mixed methods: comparing individual STRATEGY OF INQUIRY Mixed methods qualitative cases to measured surveys & established theories

Direct, participatory & critical, participatory & TYPE OF OBSERVATION Direct observation Critical observation action observation action observation

Semi-structured, open Semi-structured, focus Semi-structured, Focus INTERVIEW STYLE structured, focus groups ended, Focus groups, 46 groups groups, Narrative Narrative

“Can you walk me “If you could change "Who lives nearby?"** through your experience anything here, what would of the space?" it be?”

INTERVIEW QUESTION "How does the sun affect “What does this place “What does public space “Who controls the space?” FORMAT the space?"** mean to you?” mean to you?”

"Which activities are "Do you feel “What do you do in other important to your welcome/safe in the places that you wish you community?"** space?" could do here?"

Non-participant Non-participant Participant Individual or Participant FIELD RESEARCH Structured framework, Structured Structured Structured, Experimental Unstructured product EXPERIMENT 0 (skip) EXPERIMENT 1 EXPERIMENT 2 EXPERIMENT 3

measurement tool & CINEMA AS A… "forensic analysis" tool "mapping" tool "design" tool design backdrop

KNOWLEDGE CLAIM* positivism critical theories participatory constructivism

primacy of practical individual & collective nonfalsified hypotheses structural/historical knowing, critical reconstructions, NATURE OF KNOWLEDGE* that are provable insights subjectivity, living sometimes around facts/laws knowledge consensus

accretion, "building historical revisionism, in communities of inquiry more informed and KNOWLEDGE GROWTH* blocks" adding to "edifice generalization by embedded in sophisticated of knowledge" similarity communities of practice reconstructions

“Disinterested scientist” “transformative “passionate participant” as PLANNER/FILMMAKER “equal participant” informing decision- intellectual” as facilitator of multi-voice POSTURE engaging with process makers advocate/activist dialogue

Marxist, feminist, race, postcolonial, Storytelling/narrative Advocacy, postmodernist (Soja, (Sandercock), cognition SOCIAL THEORY Utilitarianism, modernism storytelling/narrative, Lefebvre), uneven (Lynch), postmodernist cognition (Lynch) development (Smith, (Foucault) Harvey)

Cinema Vérité, Narrativity, Structuralist, Auteur, Marxist, Feminist, FILM THEORY Auteur, Formalist Situationism, primary Constructivist, Meta & post- Postcolonial, Race narrative (Georges Méliès) narrative (Delueze)

Fragmented UNDERSTANDING OF SPACE 4-dimensional (time and motion) Fragmented 4D/memory 4D/memory/fantasy

WHAT'S HAPPENING IN THE subjective representation + objective representation objective manifestation subjective representation FILM? production

CONCEPT OF “on the screen” “in the screen” “in the screen” “in the screen” REPRESENTATION

Red pill (reality is hidden Blue pill (reality is a rd MATRIX PILL ANALOGY*** Blue pill (reality is reality) 3 pill (reality is beneath illusion) collective process) constructed in illusion)

The Social Life of Small EXAMPLE URBAN FILM Los Angeles Plays Itself My Winnipeg Urban Spaces

STUDY SAMPLE Case study or survey Case study

QUALITY OF DATA Measured & empirical Sensed / "soft"

mixed methods: comparing individual STRATEGY OF INQUIRY Mixed methods qualitative cases to measured surveys & established theories

Direct, participatory & critical, participatory & TYPE OF OBSERVATION Direct observation Critical observation action observation action observation

Semi-structured, open Semi-structured, focus Semi-structured, Focus INTERVIEW STYLE structured, focus groups ended, Focus groups, groups groups, Narrative Narrative

“Can you walk me “If you could change "Who lives nearby?"** through your experience anything here, what would of the space?" it be?”

INTERVIEW QUESTION "How does the sun affect “What does this place “What does public space “Who controls the space?” FORMAT the space?"** mean to you?” mean to you?”

"Which activities are "Do you feel “What do you do in other important to your welcome/safe in the places that you wish you community?"** space?" could do here?"

Non-participant Non-participant Participant Individual or Participant FIELD RESEARCH Structured framework, Structured Structured Structured, Experimental Unstructured product

47 ACT 1 SHOT SEQUENCE MATRIX

YEAR QUESTIONS ANSWERS SYMBOLIC REPRESENTATION (SHOT SEQUENCE) ALTERNATE SHOTS LOCATION ALT LOCATION SOUND EFFECTS 2016 concrete sphere, tree, fountain, ramps, concrete Pershing Square Natural 1769 landscape pre-­‐conquest Western Sycamore tree Hahamonga/Hacienda Pk/Whittier Narrows Mugu State Park native birds

What was changing systemically/culturally in 1800? Missionization bell tower/cross on top of mission San Gabriel Mission bell toll 1800: What was the structural reaction in Los Angeles? Decline of traditional Tongva villages mission courtyard San Gabriel Mission Latin spoken "PRODUCTIVE LANDSCAPE" Hacienda Pk, Whittier, Santa What did not match up in the landscape pre-­‐1800? Random use virgin field Hahamonga Watershed Park Monica Mtns native birds, Tongva speaking How was the landscape 'fixed'? Orchards, open pasture cow pasture Chino Hills: Heaven's Ranch cows

1866 OFFICIAL What was changing systemically/culturally in 1866? Americanization Railroad bridge PARK DESIGNATION: What was the structural reaction in Los Angeles? ranchos subdivided, small Yankee orchards & sheep farms small Yankee farm (Collapsing into next era) "BACKYARD GARDEN" What did not match up in the square pre-­‐1866? Camp sites for travelers El on Camino Viejo, grazeland for cattle campfire smoke/glow, cows grazing How was the square 'fixed'? Set aside as park: informal, "organic" space planting tree/row of poplars

What was changing systemically/culturally in 1886? Modernization, Industrialization railroad bridge Arroyo Hondo Preserve, Santa Barbara steam engine 1886 EATON PLAN: "ENGLISH What was the structural reaction in Los Angeles? utopian Yankee settlements sprout on railroad lines victorian house w/ picket fence Carroll Ave, Echo Park horse-­‐drawn carriage GARDEN" What did not match up in the square pre-­‐1886? shortcutting through park dry arroyo streambed campfire smoke Hahamonga Watershed Park frogs, mosquitoes / campfire How was the square 'fixed'? Stately English-­‐style garden w/ serpintine pathways ordered row of trees Vista Hermosa / Los Encinos State Park digging earth

1910 What was changing systemically/culturally in 1910? Fordism, Progressivism film studio textile factory Paramount Studio Melrose Gate early film studio PARKINSON What was the structural reaction in Los Angeles? Neo-­‐Mediterraneanization Art Nouveau Italianate buildings Continental Building / Bradbury Bldg electric streetcar PLAN: "CITY BEAUTIFUL" What USE did not match up in the square pre-­‐1910? curvey pathways, orators at bandstand, no lighting dark curvey pathway Vista Hermosa Park woman screaming How was the square 'fixed'? order, organization, railings, fountain, lights fountain, concrete ballustrade, bench Griffith Park / MacArthur Park / Grand Hope Park docile conversation

What was changing systemically/culturally in 1951? Postwar Boom: Mass Consumerism, High Modernism department store isle hidden camera in mall 1950s advertisement/music 1951 REDESIGN: What was the structural reaction in Los Angeles? suburbanization, car-­‐friendly places large empty parking lot freeway Elysian Park / Arroyo Seco Freeway car noises "CARTOPIA" What did not match up in the square pre-­‐1951? soapbox orators, gay cruising wooden box on sidewalk, people pass by gay cruising Griffith Park / Venice Beach / Studs Theater Studs Theater soap boxer / "Everybody's Talkin' at Me"

How was the square 'fixed'? car-­‐friendly, containment and enclosure parking entrance sign, garage ramp, open lawn Pershing Square car on ramp

What was changing systemically/culturally in 1964? Deindustrialization abandoned/burned out factory building -­‐ 1964 FACELIFT: "WALK-­‐ What was the structural reaction in Los Angeles? spatial apartheid gated communities (collapsing into next era) -­‐ THROUGH" What did not match up in the square pre-­‐1964? Large area for protests, loitering -­‐ How was the square 'fixed'? Two giant fountains, cross-­‐axial walkways -­‐

1994 What was changing systemically/culturally in 1994? Neoliberal Reindustrialization abandoned factory, vibrant ethnic marketplace South LA, Santee Alley gate closing, market LEGORRETA PLAN: What was the structural reaction in Los Angeles? Postmodern carceral geography Bunker Hill walkways, security cameras Bunker Hill, DTLA distant traffic, café "POSTMODERN What did not match up in the square pre-­‐1994? zero maintenance passed-­‐out homeless on unkempt lawn beer bottle on grass MacArthur Park empty beer bottle rolling SPACE" How was the square 'fixed'? barriers and abstraction, no funding for events/greenery steps at corner, narrow sidewalks Pershing Square

2016 PERSHING What's changing systemically/culturally in 2016? Post-­‐Fordism, Hyper-­‐Personalization hipster sipping latte on Macbook in café Any café, anywhere Trendy music SQUARE RENEW: What is the structural reaction in Los Angeles? walkable gentrification New Girl loft entrance New Girl converted loft building, Arts Dist. Trendy music "COMFORT What did not match up in Pershing Square pre-­‐2016? visual barriers, Occupy LA concrete Pershing Square chalk on concrete SPACE" How was the square 'fixed'? ??? Gensler video Grand Park? Quotes: failed thinking, accident *restructuring based on 50-­‐60 year rhythm of capital development: urban restructuring as an attempted spatial fix

48 YEAR QUESTIONS ANSWERS SYMBOLIC REPRESENTATION (SHOT SEQUENCE) ALTERNATE SHOTS LOCATION ALT LOCATION SOUND EFFECTS 2016 concrete sphere, tree, fountain, ramps, concrete Pershing Square Natural 1769 landscape pre-­‐conquest Western Sycamore tree Hahamonga/Hacienda Pk/Whittier Narrows Mugu State Park native birds

What was changing systemically/culturally in 1800? Missionization bell tower/cross on top of mission San Gabriel Mission bell toll 1800: What was the structural reaction in Los Angeles? Decline of traditional Tongva villages mission courtyard San Gabriel Mission Latin spoken "PRODUCTIVE LANDSCAPE" Hacienda Pk, Whittier, Santa What did not match up in the landscape pre-­‐1800? Random use virgin field Hahamonga Watershed Park Monica Mtns native birds, Tongva speaking How was the landscape 'fixed'? Orchards, open pasture cow pasture Chino Hills: Heaven's Ranch cows

1866 OFFICIAL What was changing systemically/culturally in 1866? Americanization Railroad bridge PARK DESIGNATION: What was the structural reaction in Los Angeles? ranchos subdivided, small Yankee orchards & sheep farms small Yankee farm (Collapsing into next era) "BACKYARD GARDEN" What did not match up in the square pre-­‐1866? Camp sites for travelers El on Camino Viejo, grazeland for cattle campfire smoke/glow, cows grazing How was the square 'fixed'? Set aside as park: informal, "organic" space planting tree/row of poplars

What was changing systemically/culturally in 1886? Modernization, Industrialization railroad bridge Arroyo Hondo Preserve, Santa Barbara steam engine 1886 EATON PLAN: "ENGLISH What was the structural reaction in Los Angeles? utopian Yankee settlements sprout on railroad lines victorian house w/ picket fence Carroll Ave, Echo Park horse-­‐drawn carriage GARDEN" What did not match up in the square pre-­‐1886? shortcutting through park dry arroyo streambed campfire smoke Hahamonga Watershed Park frogs, mosquitoes / campfire How was the square 'fixed'? Stately English-­‐style garden w/ serpintine pathways ordered row of trees Vista Hermosa / Los Encinos State Park digging earth

1910 What was changing systemically/culturally in 1910? Fordism, Progressivism film studio textile factory Paramount Studio Melrose Gate early film studio PARKINSON What was the structural reaction in Los Angeles? Neo-­‐Mediterraneanization Art Nouveau Italianate buildings Continental Building / Bradbury Bldg electric streetcar PLAN: "CITY BEAUTIFUL" What USE did not match up in the square pre-­‐1910? curvey pathways, orators at bandstand, no lighting dark curvey pathway Vista Hermosa Park woman screaming How was the square 'fixed'? order, organization, railings, fountain, lights fountain, concrete ballustrade, bench Griffith Park / MacArthur Park / Grand Hope Park docile conversation

What was changing systemically/culturally in 1951? Postwar Boom: Mass Consumerism, High Modernism department store isle hidden camera in mall 1950s advertisement/music 1951 REDESIGN: What was the structural reaction in Los Angeles? suburbanization, car-­‐friendly places large empty parking lot freeway Elysian Park / Arroyo Seco Freeway car noises "CARTOPIA" What did not match up in the square pre-­‐1951? soapbox orators, gay cruising wooden box on sidewalk, people pass by gay cruising Griffith Park / Venice Beach / Studs Theater Studs Theater soap boxer / "Everybody's Talkin' at Me"

How was the square 'fixed'? car-­‐friendly, containment and enclosure parking entrance sign, garage ramp, open lawn Pershing Square car on ramp

What was changing systemically/culturally in 1964? Deindustrialization abandoned/burned out factory building -­‐ 1964 FACELIFT: "WALK-­‐ What was the structural reaction in Los Angeles? spatial apartheid gated communities (collapsing into next era) -­‐ THROUGH" What did not match up in the square pre-­‐1964? Large area for protests, loitering -­‐ How was the square 'fixed'? Two giant fountains, cross-­‐axial walkways -­‐

1994 What was changing systemically/culturally in 1994? Neoliberal Reindustrialization abandoned factory, vibrant ethnic marketplace South LA, Santee Alley gate closing, market LEGORRETA PLAN: What was the structural reaction in Los Angeles? Postmodern carceral geography Bunker Hill walkways, security cameras Bunker Hill, DTLA distant traffic, café "POSTMODERN What did not match up in the square pre-­‐1994? zero maintenance passed-­‐out homeless on unkempt lawn beer bottle on grass MacArthur Park empty beer bottle rolling SPACE" How was the square 'fixed'? barriers and abstraction, no funding for events/greenery steps at corner, narrow sidewalks Pershing Square

2016 PERSHING What's changing systemically/culturally in 2016? Post-­‐Fordism, Hyper-­‐Personalization hipster sipping latte on Macbook in café Any café, anywhere Trendy music SQUARE RENEW: What is the structural reaction in Los Angeles? walkable gentrification New Girl loft entrance New Girl converted loft building, Arts Dist. Trendy music "COMFORT What did not match up in Pershing Square pre-­‐2016? visual barriers, Occupy LA concrete Pershing Square chalk on concrete SPACE" How was the square 'fixed'? ??? Gensler video Grand Park? Quotes: failed thinking, accident *restructuring based on 50-­‐60 year rhythm of capital development: urban restructuring as an attempted spatial fix

49 ACT 1 EXAMPLE SHOOTING SCHEDULE

Film 1: Critical Map Schedule

Around Town 1/23/2015

7 - 9am Hahamonga Watershed Park arroyo creek: low slow creep virgin field? drone hover: natural landscape if time Pasadena City Hall fountain balustrade

9-10am San Gabriel Mission cross or bells courtyard

10-11am Griffith axial pathways balustrade?

11-12pm Paramount Pictures gate (or water tower & bldgs)

1-2pm Elysian Park large empty parking lot Arroyo Parkway (Park Row Drive Bridge) virgin field?

2-3pm MacArthur Park balustrade homeless passed out on unkempt lawn flat lawn

3-4pm Vista Hermosa Natural Park curvey pathway row of trees? if time USC Library fountain balustrade if time Grand Hope Park bench row of trees?

Out of Town Week of 1/25/16

Arroyo Hondo Preserve Railroad trestle bridge

Hacienda Hills / Whittier Narrows virgin field?

Chino Hills (near Heaven’s Ranch) cows in field

Santa Monica Mtns natural landscape

Downtown Week of 1/25/16

Pershing Square iconic elements narrow sidewalk steps ramps

837 Traction Ave New Girl loft exterior

50 IMAGINE PERSHING SQUARE: EXPERIMENTS IN CINEMATIC URBAN DESIGN USER STORIES/ QUESTIONAIRES COMPILED BY JOHN MOODY AND LOUISE “FRENCHY” MBELLA 1/30/16

QUESTIONS FOR USERS IN PERSHING SQUARE

Hi, I’m (interviewer name). I am speaking to people about their experiences in Pershing Square for an educational film project at MIT about using cinematic storytelling (narración cinematográfica ) in designing public space. You don’t have to speak if you . don’t want to (No tiene que hablar si no quiera)

Are you willing to be recorded on video? audio? Está | bien si a yo l recuerde esta entrevista en video? Audio?

What is your name? | Cual es su nombre?

1. How do you feel come when you into Pershing Square, or when you decide not to ? come in | Cuando viene usted a Pershing Square, como se sienta?

2. What do you like about Do the square? you have a spot favorite ? | Que le gusta sobre esta un plaza? Tiene lugar preferido en la plaza?

3. Do you have a favorite public space? What is your favorite place in Los Angeles? | Tiene un espacio publico preferido? Qual es su lugar preferido en Los Angeles?

4. What do you wish you here could do ? How would you ke ma this space your own? | Que espera hacer usted aca? Cómo hacerlo us ted para ser su propio espacio?

QUESTIONS FOR USERS IN OTHER PLACES

Hi, I’m (interviewer name). I am speaking to people about their experiences in public space for an educational film project at MIT about using cinematic storytelling (narración cinematográfica ) in designing public space. You don’t have to speak if you . don’t want to (No tiene que hablar si no quiera)

Are you willing for us to record you on video? audio? | Está bien si la recordemos esta entrevista en video? Audio?

What is your name? es | Cual su nombre?

1. Do you ever go to Pershing Square? | Va usted a Pershing Square?

a. YES: Why do you go to Pershing Square? | Porque va usted a P.S.? b. NO: Why not? | Porque no va ?

2. Is there anything special to you about this place? How does it make you feel? | Hay una calidad especial para usted de este se espacio? Cómo hace sentir?

3. Do you have a favorite public space? What is your favorite place in Los Angeles? | Tiene usted espacio un público preferido? Cual es su lugar preferido en Los Angeles?

4. What do you wish you could do in public space in the city? | desea Que usted hacer en los espacios publicos , de la ciudad que todavilla no pueda?

51 IMAGINE PERSHING SQUARE: EXPERIMENTS IN CINEMATIC URBAN DESIGN USER STORIES/QUESTIONAIRES COMPILED BY JOHN MOODY 3/31/16

QUESTIONS FOR USERS IN PERSHING SQUARE

Hi, I’m (interviewer name). I am speaking to people about their experiences in Pershing Square for an educational film project at MIT about using cinematic storytelling (narración cinematográfica) in designing public space. You don’t have to speak if you don’t want to. (No tiene que hablar si no quiera)

Are you willing to be recorded on video? audio? | Está bien si yo la recuerde esta entrevista en video? Audio?

What is your name?

1. Do you have a favorite spot? Why or why not?

2. How does that spot make you feel? | or when you decide not to come in? Why?

3. Do you have a favorite public space? | What is your favorite place in Los Angeles? Why?

4. What do you wish you could do in a pubic space? | How would you feel at home here?

52 LOCATIONS PERMITS

53 54 Permit #F00103270

FilmL.A., Inc. 6255 W Sunset Blvd, 12th Floor Hollywood, CA 90028 t: (213)977­8600 ­ f: (213)977­8601 www.filmla.com Invoice For Estimated Fees Page 1 of 1 Bill To: MASSACHUSETTS INSTITUTE OF TECHNOLOGY 77 MASSACHUSETTS AVENUE CAMBRIDGE, MASSACHUSETTS 02139

Permit Number F00103270 Invoice Number 0137212 Production MASSACHUSETTS INSTITUTE OF Invoice Date 02/02/2016 Company TECHNOLOGY Due Date upon receipt Production Title IMAGINE PERSHING SQUARE Customer Number 2021437

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55

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INSR ADDL SUBR POLICY EFF POLICY EXP L T R TYPE OF INSURANCE INSR WVD POLICY NUMBER (MM/DD/YYYY) (MM/DD/YYYY) LIMITS GENERAL LIABILITY EACH OCCURRENCE $ 1,000,000 A SEL064079082 01/26/2016 02/25/2016 DAMAGE TO RENTED X COMMERCIAL GENERAL LIABILITY PREMISES (Ea occurrence) $ 300,000 OCCUR CLAIMS-MADE X MED EXP (Any one person) $ 5,000 X HostLiquor PERSONAL & ADV INJURY $ 1,000,000

B X MedicalExpense US570811 01/26/2016 02/25/2016 GENERAL AGGREGATE $ 2,000,000 GEN'L AGGREGATE LIMIT APPLIES PER: PRODUCTS - COMP/OP AGG $ 1,000,000 PRO- $ POLICY JECT LOC AUTOMOBILE LIABILITY COMBINED SINGLE LIMIT $ (Ea accident) ANY AUTO BODILY INJURY (Per person) $ ALL OWNED AUTOS BODILY INJURY (Per accident) $ SCHEDULED AUTOS PROPERTY DAMAGE $ HIRED AUTOS (Per accident)

NON-OWNED AUTOS $

$

UMBRELLA LIAB OCCUR EACH OCCURRENCE $ EXCESS LIAB CLAIMS-MADE AGGREGATE $

DEDUCTIBLE $

RETENTION $ $ WORKERS COMPENSATION WC STATU- OTH TORY LIMITS - ER AND EMPLOYERS' LIABILITY Y / N ANY PROPRIETOR/PARTNER/EXECUTIVE E.L. EACH ACCIDENT $ OFFICER/MEMBER EXCLUDED? (Mandatory in NH) E.L. DISEASE - EA EMPLOYEE $ If yes, describe under DESCRIPTION OF OPERATIONS below E.L. DISEASE - POLICY LIMIT $

DESCRIPTION OF OPERATIONS / LOCATIONS / VEHICLES (Attach ACORD 101, Additional Remarks Schedule, if more space is required) The Certificate Holder is added as Additional Insured with respects to our Insured's operations only. This insurance is primary and non-contributory as required by written contract. This coverage is with respect to Imagine Pershing Square event to be held 1/26/2016 - 2/24/2016 at Pershing Square Los Angeles CA

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56 SCREENPLAY

ACT I: THE MAP OF PERSHING SQUARE

EXT. DAY: A SIDEWALK, 2016

CLOSE UP:

Pavement. We move slowly along it, the tempo set by cracks between blocks of concrete. We settle onto one crack that is overtaken by wild grass.

CUT TO:

EXT. DAY: PERSHING SQUARE, 2016

A woman's shoes glide curiously over the pavement. They belong to LISA, filmmaker-journalist. She crosses a street and into a city square. This is PERSHING SQUARE, at the center of historic downtown Los Angeles. As she sits onto a concrete bench, she sets down her notebook and phone. From behind, we see the back of her head, scanning the space around her. Amongst the largely concrete space,

SHE OBSERVES:

1. An orange tree sheltering a woman from the sun.

2. Art canvasses on a wall, drawing the attention of a young couple.

3. A purple fountain spout, pointing to a passenger jet passing high above in the sky.

Lisa takes a deep breath.

CUT TO:

EXT. DAY: DOWNTOWN LOS ANGELES, MID-1700S

Clouds traverse the sky over a river at high flow. A single sycamore tree rests below the rolling hills of a verdant meadow. The modern city of Los Angeles is no where to be seen.

THE TONGVA (V.O. BY LISA) (soft, sensing) everything we see:

stars, stones, wind, and waters, (MORE) (CONTINUED)

57 CONTINUED: 2

(cont'd)

the furred, finned, and feathered, bushes and trees,

are the Ancestors of the new people,

the human beings.

CUT TO:

EXT. DAY: PERSHING SQUARE, MID-1700S

We creep slowly through tall, springtime grass.

CUT TO:

EXT. DAY: DOWNTOWN LOS ANGELES, 1781

The sounds of horses and wagons cascade over a dirt trail running through the native landscape.

LAW OF THE INDIES (V.O. BY JOHN) (Tammany Hall style) Once the region, province, county, and land are decided by the expert discoverers, select the site to build a capital of the province and its subjects.

A fortress-like adobe structure obscures the sky.

LAW OF THE INDIES (V.O. BY JOHN) Separate the land that is needed for the house plots of the town, then allocate sufficient public land for pasture, plus another portion for the natives of the area.

SHOT ON: 1786 DRAWING OF JOSE ARGUELLO'S PLAN OF PUEBLO DE LOS ANGELES.

CUT TO:

58 3

EXT. DAY: PERSHING SQUARE, MID-1800S

The sounds of cows mooing and chewing travel across endless fields of low grass.

MARY TAFT (V.O. BY LISA) On my way home I noticed a woman frying something in a skillet over a fire in the park. A little boy was with her. (beat) It brought back the days when we used to cook over a campfire on the plains trip.

Sounds of bullfrogs and mosquitoes give harmony to a swampy creek bed. At the sun sets, a campfire illuminates mustard grass and cacti.

MARY TAFT (V.O. BY LISA) This woman I found had just come over the plains. She’d been camping there for two days. We had quite a good talk.

CUT TO:

EXT. DAY: DOWNTOWN LOS ANGELES, 1870

The chugging of a steam engine pulsates as we glide along the tracks of a railroad trestle bridge.

COMMON COUNCIL (V.O. BY JOHN) The block has been set aside for public purpose. An association of gentlemen have subscribed funds for the purpose of fencing in and ornamenting said block...

Distant sounds of horse-drawn carriages and train whistles reach a Victorian homestead/church at the edge of town.

COMMON COUNCIL (V.O. BY JOHN) ...therefore, be it resolved that it be declared a public place forever.

(CONTINUED)

59 CONTINUED: 4

SHOT ON: 1886 DRAWING OF "THE EATON PLAN" FOR 6TH STREET PARK (PERSHING SQUARE).

CUT TO:

EXT. DAY: PERSHING SQUARE, LATE 1800S - EARLY 1900S

The sounds of shoveling and nailing echo over the sight of enclosed garden beds, white picket fencing, and bright gravel walkways.

LOUIS DE BUFF (V.O. BY LISA) I was a visitor to Los Angeles in 1908, a perfect stranger, and it seemed to me that this park answered the true purpose of a city park more completely than any area its size I had seen anywhere.

A soap box rests on an old bandstand, while the voices of socialist debaters and overgrown plants envelope a gravel pathway.

LOUIS DE BUFF (V.O. BY LISA) I could find right there in the city quiet and repose, or meet with someone willing to talk at any hour of the day.

EXT. DAY: DOWNTOWN LOS ANGELES, 1910

The raw sound of a Ford Model-T engine whooshes over a curving, paved roadway. (Alt: floating over a set of streetcar tracks)

COMMISSIONER SILENT (V.O. BY JOHN) Our parks are inexcusably commonplace, and hardly up to the standard of a city of fifty thousand.

A Beaux-Arts high-rise building looms above a cacophony of unmuffled combustion engines, screeching streetcars, and horse-drawn buggies.

(CONTINUED)

60 CONTINUED: 5

COMMISSIONER SILENT (V.O. BY JOHN) Botanical features will not thrive in the heart of a busy, dusty city. Our Central Park should be a thoroughfare from its corners and across it.

SHOT ON: 1910 DRAWING OF "THE PARKINSON PLAN" FOR CENTRAL PARK.

EXT. EVENING: PERSHING SQUARE, 1910 - 1950

A dense sheet of water empties into a fountain basin. A concrete balustrade encloses green grass. Bird calls compete with crickets as an ornate streetlamp replaces the light lost to the evening sky.

JIM KEPNER (V.O. BY LISA) I came to the Square in 1944. I remember a man named Sidney, who seemed devoted to picking up every Marine who stopped in Pershing Square and recording the details for Doctor Kinsey.

The sounds of drunken wartime songs float over a wooden bench that has lost most its paint.

JIM KEPNER (V.O. BY LISA) I remember the warm, gay nights when the crowd stayed on till three in the morning. I remember the ever-shifting group of people who weren't afraid to be different.

EXT. MORNING: DOWNTOWN LOS ANGELES, 1951

Revving sounds of a 1950s hot-rod as we shoot out of a tunnel on a four-lane highway. Cars stream away in multiple directions, highway stacked on top of railway stacked on top of channelized river.

DOWNTOWN BUSINESS MEN'S ASSOCIATION (V.O. BY JOHN) No complete solution of the parking problem under post-war conditions is possible except one which will (MORE) (CONTINUED)

61 CONTINUED: 6

DOWNTOWN BUSINESS MEN'S ASSOCIATION (V.O. BY JOHN) involve setting aside land exclusively for parking.

Narrow parking lots saddle between the blank back sides of old office buildings.

DOWNTOWN BUSINESS MEN'S ASSOCIATION (V.O. BY JOHN) Construction of a garage under Pershing Square would permanently meet a large part of the requirement for centrally located parking at comparatively high rates.

SHOT ON: 1951 PERSPECTIVE CUTAWAY DRAWING OF STILE'S O. CLEMENT'S PARKING GARAGE UNDER PERSHING SQUARE.

EXT. DAY: PERSHING SQUARE, 1951 - 1994

Rows of ceiling lights reveal the heavy concrete structure of an underground parking garage. Traffic noises greet a long parking ramp emerging from a ticket kiosk. Under the sun, fresh-cut green grass extends far into the distance.

JAMES ROJAS (V.O. BY LISA) As a teenager like most people I used to walk the diagonal paths of Pershing Square as a short cut to and from different downtown destinations.

Beer and wine bottles float aimlessly in a fountain basin. huge dead patches blot the expanse of grass.

JAMES ROJAS (V.O. BY LISA) One particular morning I saw a dead body in the middle of Pershing Square with a white sheet over it. I wanted to look under the sheet but walked on.

EXT. DAY: DOWNTOWN LOS ANGELES, 1994

From high above, the carpet of the city appears pinched upward by the towers of downtown. From below, the belly of a passenger jet slices through the sky before touchdown.

(CONTINUED)

62 CONTINUED: 7

JANET MARIE SMITH (V.O. BY JOHN) Los Angeles, the once notorious city without a skyline and proverbial cultural desert, has become a world class city.

Mexican shop signs and display cases clutter the sidewalks of a busy shopping street. Nearby, expansive pedestrian walkways host a small gathering of coffee-carrying professionals. Sounds delivery vehicles and police helicopters ricochet between the trunks of glass-encased skyscrapers.

JANET MARIE SMITH (V.O. BY JOHN) In step with this multibillion dollar investment downtown is the soon-to-be-restored Pershing Square. It is a neglected jewel in the center of a dynamic civic environment.

SHOT ON: 1994 DRAWING OF "THE LEGORRETA PLAN" OF PERSHING SQUARE.

END ACT I.

ACT II: THE IMAGE OF PERSHING SQUARE

EXT. DAY: PERSHING SQUARE, 2016

Lisa retrieves her notebook and phone from the bench. She walks toward a man sitting near one of the park's entrances.

ACT II, PART 1: RELAXATION & CONNECTION (THE GOOD)

Voices, faces and sensory perspectives of people using Pershing Square mix together whimsically, evoking feelings of relaxation...

TRAN LOUIS THE 4TH Cool, laid back, there's enough space for everybody.

ICE CREAM GALS It's like calming even in the midst of traffic.

(CONTINUED)

63 CONTINUED: 8

JACOB (V.O.) It's nice to sit down since we've been driving for five hours.

VICKI VANFOSSEN With these tall buildings here, blocking the shade, that's what I like. (laughs)

LELAND (V.O.) I work in the Jewelry District here. I sit here in this spot so I can get my sun.

LINDSAY (V.O.) I like to seek out a public space like this that has this outdoor sculpture artistic element so I can breathe...it brings a sense of peace and groundedness in a crazy city.

SHANE (V.O.) I'm from Chicago and there's something about it. It's just really cool to see people in L.A. just kinda relaxing. You know what I mean?

KEVIN (V.O.) I'm in the 40 and up club so I like places that are peaceful.

Words, faces and images begin to reach outward, connecting with the physical and social environment of the square...

KEVIN (V.O.) There's so much to look at here, so I like to sit in a place where I change my view like a sun dial.

BRITTANY (V.O.) I like to travel, you know, one minute be here one minute be there. I came to Los Angeles for opportunity. From this view you can (MORE) (CONTINUED)

64 CONTINUED: 9

BRITTANY (V.O.) (cont'd) see everything.

CAROLINE (V.O.) I came here to see E.T. on the big screen but got distracted by the skyline.

RICHARD BATTS (re: fruit trees) They're healthy lookin'. We used to have some of those in our yard when I was growin' up.

CHRISTIE I've never experienced security guards that are so personable, and warm...

PEDRO (V.O.) (in Spanish) When I come in here I feel like I'm in Paradise! True because they do movies, security, tons of stuff.

ANGELA I like it, I like it a lot. Really eclectic, it's a different vibe.

SIDNEY For people to have a place to meet and they don't have to buy a coffee - I love it just the way it is.

ACT II, PART 2: EXCLUSION & DISCOMFORT (THE BAD)

Voices, faces and visual impressions of the square start to feel more apprehensive and constricted, suggesting feelings of exclusion...

LENNY Honestly, when I do come here, it's a little bit shifty, halfway not so shifty, so it's a little bit of both worlds. I do come here because I'm looking for a quieter area, to do a little phone call where I (MORE) (CONTINUED)

65 CONTINUED: 10

LENNY (cont'd) don't want people hearing me.

LOVISA It's hard to know where to enter, in a way. It's almost like it's shutting you out.

ADRIAN It's all open, there are no places to hide.

JULIA We just saw security stop the guy from playing the saxophone.

JOE (V.O.) (re: the fountain) Right there just describes LA perfectly: totally dry.

MICHELLE That's for kids. I'm not a kid, I don't have a kid...I wanna climb on it, cuz I'm a big kid! Okay so I'll go play in some other park by my house.

CHRISTINE We do "unity rallies" for our nonprofit that helps underprivileged teens. Most of the kids we work with have never been to the beach or the mountains. We have an organizational culture to operate in public space.

CHRISTINE There's a cap on the amount we can do. In some senses I understand. But because it holds such an important legacy for our organization, it's hard sometimes when it's like, "please stop, shut down the culture."

(CONTINUED)

66 CONTINUED: 11

IGNACIO I think this place is for "respect."

WARD WHITNEY (V.O.) I've been downtown here for six years, living a block and a half away and I still haven't found a comfortable place to be.

WARD WHITNEY (V.O.) You're not supposed to be in a park. You're only supposed to use a park. When you park your car, you pull over and you leave the car there, that's called parking. When you park yourself, you're not allowed to just kinda sit there in a park - this is kind of crazy.

JOSE FLORES (V.O.) I feel it's very much like prison. I work in that building right there. I just cut across because I don't have a choice.

The landscape in and around Pershing Square begins to feel torturously unsettling...

KRISTIN (V.O.) I guess they've chased all of the degenerates out...

SECURITY GUARD Homelessness - the system can't help them. It's sad to push them out. We just recycle them around the city.

KRISTIN (V.O.) It's not so much the homeless it's the the drug addicts that are terrifying. You know right across the street it's terrifying, right? At the subway entrance it's disgusting and scary and it's really not a pleasant environment.

(CONTINUED)

67 CONTINUED: 12

NANCY (V.O.) See when you come down to the heart of Broadway, Main, Hill, 6th and Spring and so forth, you're a bit harassed all the time. Brutally, I should say.

NANCY (V.O.) You almost have to build a character within yourself - a character that you really don't like about yourself to live Downtown LA.

NANCY (V.O.) I'll be here five years March 22nd but it's really not worth my health. It's the fact of the matter of knowing that you're in a space and you're constantly victimized. I was a victim for a long time as a child. Now I'm victimized every single day because of my environment.

ACT II, PART 3: A SENSE OF HOME (MEMORY AND MEANING)

Light appears at the end of Fifth Street: Pershing Square is just beyond the corner. Voices, faces and visual sensations in the square take on a more peaceful, grounded, floating quality.

NANCY (V.O.) In spite of all I just said, I don't know why your heart

just

manifests

home.

No matter what. It just does.

(CONTINUED)

68 CONTINUED: 13

NANCY (holding up her book) I wanna mention Jane Fonda, she's seventy-eight. I'm reading her book. It's incredible. She also quit drinking.

NANCY I feel liberated because I have a lot of freedom to spread my wings and relax.

NANCY It's gonna be rockin' and rollin'. There will be yoga groups and Christian groups with their pizzas. You never know what you're gonna see here in the park.

TRAN LOUIS THE 4TH This is where the magic happens. I meet a lot of my girlfriends here. One time, I was sitting here with my new girl, and my old girl see me with her from across the street. S'all good - I'm still with the new girl. (beat) I love it.

LORRAINE I feel overwhelmed and excited because I used to be one of the bums in this park, yeah, so to be able to come here clean and sober with my dog is just wonderful.

LORRAINE I lived in a doorway downtown for seven years, then got clean and sober. (beat) You have to look ahead as well. That's why a lot of people become homeless. They don't mean to be on drugs or alcohol - they probably got on it after they got on the (MORE) (CONTINUED)

69 CONTINUED: 14

(cont'd) streets cuz that's the only way to survive! It's a survival kit.

LORRAINE It's grown. And maybe people didn't see how bad it was before. But to cover up something like that and make it beautiful, it's awesome.

MS. BEASLEY This was one of the known spots to score your drugs. There weren't any trees, People used to snatch purses...Goodness gracious I've seen some things in this park! Especially when it was tents everywhere, I was scared!

MS. BEASLEY When I was 14 I runned away here. Most of the transgender people live in the alleys. They wouldn't embrace us and we wind up in places like this.

MS. BEASLEY I just sit by the electrical outlets and they don't bother me. At night time there's a lot of people walking, and I just sit there and look; me and my puppy.

MS. BEASLEY I come here to meditate and find peace. And then I like the skyline. I just like lookin' at it, gives me peace.

MS. BEASLEY There's a lot of gay boys...yeah they cruisin'. That hotel is famous for gay cruising. I used to do the same thing and hopefully somebody would meet me and take me away - it didn't happen! But it's alright. I've had a good life.

(CONTINUED)

70 CONTINUED: 15

WARD WHITNEY (V.O.) You see that mural over there that's sticking out? Do you know who painted that mural?

WARD WHITNEY (V.O.) Frank Stella. I mean, that's a real jewel. It's a major world class mural and nobody even knows it's there, they just ignore it and it's fading in the sunlight.

END ACT II.

ACT III: THE IMAGINATION OF PERSHING SQUARE

EXT. DAY: DOWNTOWN LOS ANGELES, 1999 - 2016

Slow-moving vehicles clog a braid of ten-lane freeways and elevated ramps between downtown buildings. Nearby, a light rail train decelerates in front of a stadium parking lot. Several people debark onto a platform.

COUNCILMAN HUIZAR (V.O.) We will work hand in hand with the Department of Recreation and Parks so that Pershing Square Renew can raise capital... (alt: statement from Project for Public Spaces or PSR RFQ)

Construction cranes stretch toward the sky. A curvaceously postmodern skyscraper glistens in the sun.

COUNCILMAN HUIZAR (V.O.) ...and create a design competition that will ultimately restore and redesign Pershing Square into an iconic, world-class public space in Los Angeles.

SHOT ON: PLAN OF WINNING DESIGN FOR "PERSHING SQUARE RENEW"

CUT TO:

71 16

EXT. EARLY EVENING: DOWNTOWN LOS ANGELES, THE FUTURE?

A tributary joins a larger stream in a concrete riverbed.

MS. BEASLEY (V.O.) I believe that you can always stop and start over. No matter what you have done in the past your future is spotless.

We cruise headlong down several bike trails, then roads, then sidewalks.

ANGEL (V.O.) I ride a bike, I go everywhere. I just like discovering new places.

SHANE (V.O.) The bike trails go to it!

EXT. EARLY EVENING: PERSHING SQUARE, THE FUTURE?

Lisa walks into the park in the same curious way as before. In the square she slows in her walk, sensing the texture of the ground contacting her shoes.

ACT III, PART 1: RELAXATION (THE SMALL GARDEN)

Lisa sits in her own spot. Her consciousness reaches out to the places and feelings that people speak of...

TRAN LOUIS THE 4TH (V.O.) Where I can go and rest: woo-saw. Get it all outta you. People need that! Therapeutic.

NANCY (V.O.) If I could only get a Chaise lounge chair, that's where it would be.

ICE CREAM GALS (V.O.) I'm a big fan of hammocking. I have my own that fits in my backpack.

MS. BEASLEY (V.O.) I just walk a lot. Evidently my body is tired, you know. We walk, walk, walk until dead tired. Let me (MORE) (CONTINUED)

72 CONTINUED: 17

MS. BEASLEY (V.O.) (cont'd) lie down somewhere where I know I'm safe, and I don't have to worry bout getting my bag stolen and somebody taking my puppy. And when the good lord open my eyes and said, "you've had enough rest, c'mon, let's go," I'll go.

LENNY (V.O.) Where I can sit comfortably, zoom in and not worry that somebody's gonna hit me over the head, or watch my back, so I can kinda focus.

CLAUDIA (V.O.) A little room, a little library, where you can concentrate just on you and the book you're reading.

MARK (V.O.) It's not so grandiose but there's a lot of depth to it. I've been going there for years.

ACT III, PART 2: RECONNECTION (THE LARGE GARDEN)

Lisa looks out to the park around her, but she senses the aspirations of the people...

LOVISA (V.O.) You feel comfortable and safe but don't necessarily have to interact with anyone, and behold the life that's going on.

CAROLINE (V.O.) I like sitting up higher - feeling like a bird of prey, a vulture over the city.

MS. BEASLEY (V.O.) The beauty of a vista. I'm from Kansas and it's flat as the eye can see! Take the back ways: it was longer but it was worth it.

(CONTINUED)

73 CONTINUED: 18

ALENA (V.O.) It feels pretty relaxing, you're looking at the overview of everything.

CHRISTINE (V.O.) Brave enough to sit in roots of the tree and watch the bay.

BRITTANY (V.O.) Energy, lights, you know.

RICHARD BATTS (V.O.) It's a good place to sit down and watch the traffic go by, you know, serene place to hang out in.

Lisa takes her time moving under the trees and along the art gallery...

CAROLINE (V.O.) You forget that you're even in the middle of the city in different parts - it's just endless.

MILA (V.O.) Lake, spacious, huge, grassy.

MICHELLE (V.O.) I can let my dog off-leash to run around.

JOSE FLORES (V.O.) Balancing a jungle in the middle of the city with the metropolis.

KARA (V.O.) Even a little creek...

LINDSAY (V.O.) A nice big open area that has a large amount of public sculpture, and it's along a nice winding path through a natural landscaped area.

(CONTINUED)

74 CONTINUED: 19

"DINA REY" BAND (V.O.) (LACMA) It has a lot of art displays, it's nice because it's a pretty big area...

Lisa walks through a dark passageway, reaching for the walls. She imagines diverse textures, colors, lights...

JOSE FLORES (V.O.) I find myself lost there - every time I go it's as if it were the first time.

LAURA (V.O.) You can see things there you can never see anywhere else in the world. The four corners or it are four totally different worlds.

"DINA REY" BAND (V.O.) I've been here my whole life and you're constantly finding new places that you're just like, "Really? This has been here?"

JOE (V.O.) I love seeing all the old things that used to be here.

IGNACIO (V.O.) Prefer la antiguo - the old. The detache - the details of the buildings.

RICHARD BATTS (V.O.) You can spend a day there, as an outing. We brought our lunch with us. You can see the telescopes and watch the stars...

Lisa walks between people, between crowds as the voices play around her...

JESS (V.O.) ...where community can gather no matter what your community is.

(CONTINUED)

75 CONTINUED: 20

CLAUDIA (V.O.) Every time I go there I like to spend time with my family.

MILA (V.O.) Cool for all the nerds to do something...they can all be who they are and not be at Comic-Con.

CHRISTINE (V.O.) Community organizing for kids who would never come otherwise...

CAROLINE (V.O.) ...for teenagers, where they felt welcome and they weren't "loitering."

ADRIAN (V.O.) I would totally just sit here and drink.

ANGELA (V.O.) Night life atmosphere.

ANGELA (V.O.) Dancing in the street!

LORRAINE (V.O.) Dance more. Beautiful, and good exercise.

JOSE FLORES (V.O.) The vibe that you have in some restaurants...

Lisa smiles at the thrill of meeting someone really interesting in the space...

IGNACIO IGNACIO (V.O.) The mix of the people in the place.

SIDNEY (V.O.) You have the option to talk to people if you want to, and sure you may sit next to somebody who may smell or on their phone but that's

(MORE) (CONTINUED)

76 CONTINUED: 21

SIDNEY (V.O.) (cont'd) part of sharing the world with everybody. They probably don't like my shirt or whatever, it's not a big deal.

KEVIN (V.O.) a free restaurant...

KEVIN (V.O.) They have a clinic there to help out people (that are less fortunate) with free medical needs. Dentist, hygiene, foot care once a week.

MS. BEASLEY (V.O.) Skid Row is my home. These are my people, I'm not ashamed of them...

MS. BEASLEY (V.O.) These little squares: they should be dedicated to somebody. Who did something in this community.

ACT III, PART 3: REINVENTION (A NEW SENSE OF HOME)

Lisa runs her hands along different surfaces in the park...

"DINA REY" BAND (V.O.) I've never been to New York, but I've seen pictures of it and I wish I could build a snowman in Pershing Square.

IGNACIO (V.O.) We can play soccer, with rocks, stone is the goalkeeper. We play in this space.

MICHELLE (V.O.) It's nice to have a park that even adults could play in...

LINDSAY (V.O.) I take a lot of pride in crafting things with my hands.

(CONTINUED)

77 CONTINUED: 22

JACOB (V.O.) Cook a meal over a fire.

ICE CREAM GALS (V.O.) ...a bunch of street artists that are just doing their work out on the streets so you can watch and if you want you can buy the art afterwords.

CAROLINE (V.O.) The buildings: If they're going to be loud and noticeable - opportunity for artists making murals on them.

ICE CREAM GALS (V.O.) A nice practice place without having the expectation to perform.

LORRAINE (V.O.) I can practice my guitar - they made me a sign!

NANCY (V.O.) A dress rehearsal of all studio rehearsal spaces that people can't afford - with mandated restrictions of course.

SHANE (V.O.) (little girl laughing) Like, I brought her there, man, she played piano, and people were just stopping to watch...so cool.

NANCY (V.O.) Uh uh, not tonight, she's gonna play and the guys are gonna love her, and the professional photographers with their big lenses are gonna take some dynamite pictures.

ACT III, CONCLUSION

The sun is down. The lights are up, and the square is mostly

(CONTINUED)

78 CONTINUED: 23 empty. Lisa takes a deep breath of the city, the sky, and the ground below - a space deeply saturated in memory and identity and hope - and can't help but think of home.

LISA (V.O.) The doors are all open, I know they are. I can walk through all of them. There's some that I choose that I better not! But they're all open. Make no mistake about it there's not a door that's closed. So the fact of the matter is, what is the right one?

79 EXAMPLE SHOT LIST "feel of some restaurants" "4 corners are compl. Diff worlds" "so PSR can raise capital" "street artists creating, selling" "most of the transgender live in alleys" "a free restaurant…" "medical needs" "I like seeing all the old stuff…" “Little rooms” "great place to watch traffic go by" "4 corners are compl. Diff worlds" "no complete and permanent solution…" "she played piano, ppl stopping to watch…" "I used to be a DJ back in the 90s" "I find myself lost there" "construction of a large parking garage…" "dress rehearsal of all studio spaces…" “vulture over the city” DIALOGUE “balancing jungle w/ metropolis” "street artists creating, selling" "I find myself lost there" "I find myself lost there" "chaise lounge chair" "you have the option to talk…" "it's the only way to survive!" "dancing in the street" engage engage/create discover 2016 create home engage observe relax observe discover 1950 create connect discover 1950 create observe SCENE create observe discover discover relax engage home engage/create 3 3 3 3 3 2 3 3 3 3 3 1 3 3 3 1 3 3 3 3 3 3 3 3 2 3 ACT kinetic HH & kinetic closeup (WORLD) stabilized low steadi static trapped kinetic 135mm long, closeup peaceful static any wide beautiful steadi static kinetic HH low steadi static beautiful steadi track steadi track HH stabilized HH stable kinetic STYLE HH HH HH steadi HH HH tripod/HH HH HH HH GoPro/drone HH steadi steadi HH steadi steadi HH HH overwhelming HH tripod HH EQUIP restaurant atmosphere Virgen de Guadelup texture/color/detail train slows, people debark latino urb on sidewalk alley atmosphere plates serving people texture/color/detail cozy places traffic going by MURALS POV car shoot out of tunnel piano records POV moving latino urb Japanese-idea garden? POV moving POV moving cushy place seating environ TENTS dance atmosphere parking lot sandwiched btwn bldgs performance space pan across view SHOT night morn morn late arvo day eve arvo day day day day morn day day late arvo day morn morn morn eve TOD S S S S S R R R R R R R R R R R R R R R R R R R R R/S WEATHER Cole's Bradbury South Park metro Alvarado Mariachi Plaza Alleys Hippy Kitchen Million Dollar Theater Library & around Convention Ctr Union Stn Last Book Store Fashion shop Joe's Auto Parking DOWNTOWN Arroyo Seco Pkwy Latino Urb Street Little Tokyo: garden Biddy Mason Santee Court Cal Plaza Standard top of building Long Beach train Skid Row MURALS Edison X X X X X X X X X X X X X X X X LP

80 DIALOGUE "no complete and permanent solution…" "street artists creating, selling" "she played piano, ppl stopping to watch…" “balancing jungle w/ metropolis” "construction of a large parking garage…" "I like seeing all the old stuff…" "4 corners are compl. Diff worlds" "I find myself lost there" "I used to be a DJ back in the 90s" "most of the transgender live in alleys" "I find myself lost there" "dress rehearsal of all studio spaces…" “Little rooms” "chaise lounge chair" “vulture over the city” "great place to watch traffic go by" "so PSR can raise capital" "you have the option to talk…" "I find myself lost there" "a free restaurant…" "medical needs" "it's the only way to survive!" "4 corners are compl. Diff worlds" "street artists creating, selling" "feel of some restaurants" "dancing in the street" “sit in roots of tree & watch bay” "there was nothing to do" Maguire Thomas "woo-sah" "my dog can run around" "practice w/o having expectation…" “spend a day up there” "snowman" (Aaron) "Traffic thru park is rapidly increasing" “lake, spatious, huge, grassy” DIALOGUE DIALOGUE DIALOGUE “spend time w/ my family” “behold life that’s going on” "people can come together" SCENE 1950 engage/create create create observe 1950 observe discover discover connect home discover create relax relax observe observe 2016 engage discover engage home discover create engage engage/create observe pre-1950 1870 1994 relax 1870 observe create 1781 engage create observe engage 1910 observe observe relax SCENE SCENE SCENE 1 3 3 3 3 1 3 3 3 3 2 3 3 3 3 3 3 3 3 3 3 2 3 3 3 3 3 1 1 1 3 1 3 3 1 3 3 3 3 1 3 3 3 ACT ACT ACT ACT STYLE HH & kinetic low steadi wide beautiful static beautiful static 135mm long, closeup closeup (WORLD) steadi track static trapped steadi track kinetic peaceful HH HH static stabilized stabilized steadi kinetic HH stable any low steadi kinetic kinetic HH peaceful HH/slow creep under wide HH POV: match ground slow creep HH peaceful HH? static low wide static HH/kinetic static GoPro/drone slow zoom out? HH/static HH/static something cool - energy STYLE STYLE STYLE EQUIP GoPro/drone HH HH tripod tripod/HH HH steadi steadi HH steadi HH HH HH HH HH HH steadi HH overwhelming HH steadi HH HH HH HH HH tripod HH HH HH HH tripod HH HH HH HH HH HH EQUIP EQUIP EQUIP SHOT POV car shoot out of tunnel Virgen de Guadelup latino urb piano Japanese-idea garden? parking lot sandwiched btwn bldgs texture/color/detail texture/color/detail POV moving records alley atmosphere POV moving performance space cozy places cushy place pan across view traffic going by train slows, people debark seating environ POV moving plates serving people TENTS MURALS latino urb on sidewalk restaurant atmosphere dance atmosphere cliffs Used condoms smoke into sky plane landing Waves on sand campfire glow on cacti/grass Dog beach practice space low grass grazeland family environment POV car spatiousness Blanket/spot to sit Light off water telescopes, stars (lunch w/ friends) sand castle ped mall SHOT SHOT SHOT TOD day day day arvo morn morn day day morn day day late arvo day morn morn eve morn late arvo night eve late arvo arvo late arvo late arvo day arvo day day late arvo morn/arvo late arvo arvo TOD TOD TOD S S S S S R R R R R R R R R R R R R R R R R R R R S S S S S R R R R R R R S R R R S R/S WEATHER WEATHER WEATHER WEATHER DOWNTOWN Arroyo Seco Pkwy Mariachi Plaza Latino Urb Street Union Stn Little Tokyo: garden Joe's Auto Parking Million Dollar Theater Bradbury Biddy Mason Last Book Store Alleys Santee Court Cal Plaza Library & around Standard top of building Convention Ctr South Park metro Long Beach train Fashion shop Hippy Kitchen Skid Row MURALS Alvarado Cole's Edison malibu Campground Docweiler Beach any Campground Sepulveda Venice Mountains NEAR DTLA Griffith Park Griffith Park MOUNTAINS Road Sepulveda Basin BEACHES Huntington any any any Venice X X X X X X X X X X X X X X X X LP X X X X LP LP

81 82 BIBLIOGRAPHY: WORKS CITED

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84 BIBLIOGRAPHY: ACT 1

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Benovite. chive.org/details/ADriveThroughBunkerHillAndDowntownLosAngelesCa.1940s.1980’s - L.A. Montage -

. Accessed May 19, 2016. https://www.youtube.com/watch?v=IDLbK KXLxtU.1920s Los Angeles - D0iQ. BHScanner1. . Accessed May 1, 2016. https://www.youtube.com/watch?v=X-fCkpX Men of Achievement in the Great Southwest, Illustrated: A Story of Pioneer Strug- gles during Early Days in Los Angeles and Southern California. With Biographies, Heretofore Burton, GeorgeUnpublished Ward. Facts, Anecdotes, and Incidents in the Lives of the Builders. [Los Angeles]: Los Angeles Times, 1904.

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“COUNCIL CHILLS PARK BOARD.: NOT ENTHUSIASTIC LosABOUT Angeles COSTLY Times IMPROVEMENTS;Conference (1886-1922). June 25, 1910, at sec.the Mayor’SEditorial. OfficeOver Central Park Reconstruction and New Conservatory for Eastlake Park Brings No Result--Betkouski Openly Hostile.” Los Angeles Times (1886-1922). June 26, 1910.

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Los, 2016. Angeles. https://www.berklee.edu/people/janet-marie-smith. U.S.P.R.R. Exp. and Surveys. Cal. Plate X - Koppel, Charles. . Lithograph, 1856. I. N. Phelps items/510d47d9-7d07-a3d9-e040-e00a18064a99.Stokes Collection of American Historical Prints. The Miriam and Ira D. Wallach Divi sion of Art, Prints and Photographs: Print Collection. http://digitalcollections.nypl.org/ Accomplishments. 1950. Los Angeles (Calif. ). City Planning Commission. Los Angeles, The Commission, Pershing Square (Los Angeles, Calif.). Landscape Architecture: Gen- eral View Olin, Laurie, and Ricardo Legorreta. . http://libx.bsu.edu/u?/BSU%5FArchSlidesCpght,10352. - Ord, Edward Otho Cresap. “Plan de La Ciudad de Los Angeles, 1849.” Los Angeles, Calif, August 29, 1849. Map Collection. Los Angeles Public Library. http://www.lapl.org/collections-resourc Panoramices/visual-collections/plan-de-la-ciudad-de-los-angeles-1849?page=1. View of Los Angeles, Looking Southeast on 5th Street from Grand Avenue, Showing Pershing Square, ca.1913

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87 88 BIBLIOGRAPHY: WORKS CONSULTED

ARTWORKS & PHOTOGRAPHS

5th and Hill Streets - . 1 photograph : b&w, 1905. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=270& 5th andcontrolNumber=2944. Olive - . 1 photographic print : b&w, ca 1885. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&re 5th andcord=26&controlNumber=71555. Olive Streets - - . 1 photographic print : b&w, ca 1920. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database 5th StreetID=968&record=250&controlNumber=48375. and Grand Avenue, Looking East - . 1 photographic print : b&w, 1890. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?da 6th andtabaseID=968&record=10&controlNumber=35278. Olive - . 1 photograph : b&w, 1913. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=254&control 6th andNumber=71569. Olive Streets - . 1 photograph : b&w, 1907. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=267& 6th StreetcontrolNumber=62304. Park -

. 1 photograph : b&w, ca 1886. http://photos.lapl.org/carlweb/jsp/FullRecord?databa AcademyseID=968&record=28&controlNumber=12811. Awards’ Organizing Banquet -

. 1 photograph : b&w, May 11, 1927. http://photos.lapl.org/carl web/jsp/FullRecord?databaseID=968&record=277&controlNumber=50201.Biltmore Hotel under Construction, Pershing Square, Los Angeles. 1922 -

Aerographhttp://hdl.huntington.org/cdm/singleitem/collection/p15150coll2/id/4269/rec/2. Co. , 1922. Verner Col lection of Panoramic Negatives. The Huntington Library, Art Collections, and Botanical Gardens. Benches in Pershing Square - . 1 photograph : b&w, 1930. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&re cord=229&controlNumber=12896.Los Angeles, Cal. Prints and Photographs Division. https://www.loc.gov/item/96505331/. Britton & Rey. 1 print : lithograph, tinted, 1888. PGA - Britton & Rey--Los Angeles, Cal. Broadway Looking South from Second Street Showing a Cable Car, Los Angeles, ca.1893-1895

edu/cdm/ref/collection/p15799coll65/id/13541. . California Historical Society Collection, 1860-1960. Accessed March 23, 2016. http://digitallibrary.usc.

89 Bus on Hill Street -

, 1938. WPA Collection. http://photos.lapl.org/carlweb/jsp/FullRecord?database CampingID=968&record=205&controlNumber=72102. in Pershing Square

. 1 photograph : b&w, 1945. Herald-Examiner Collection. http://photos. lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=148&controlNumber=45244.5th Street between Olive and Hill Streets

Conner, Palmer. . Kodachrome slide, March 1966. Palmer p15150coll2/id/8645/rec/11.Conner Collection of Color Slides of Los Angeles, 1950 - 1970. The Huntington Library, Art Collections, and Botanical Gardens. http://hdl.huntington.org/cdm/singleitem/collection/ ———. 6th Street and Olive Street. :: Photographs

. Kodachrome slide, September 1, 1965. Palmer p15150coll2/id/7658/rec/22.Conner Collection of Color Slides of Los Angeles, 1950 - 1970. The Huntington Library, Art Collections, and Botanical Gardens. http://hdl.huntington.org/cdm/singleitem/collection/ ———. Paramount Theater Soon to Go - . Kodachrome slide, October 1, 1960. Palmer Conner Collection rec/10.of Color Slides of Los Angeles, 1950 - 1970. The Huntington Library, Art Collections, and Bo tanical Gardens. http://hdl.huntington.org/cdm/singleitem/collection/p15150coll2/id/8453/ 5th and Hill Streets, from across Pershing Square

Conner, Palmer, Palmer. . Kodachrome slide, December- lection/p15150coll2/id/8641/rec/5.31, 1966. Palmer Conner Collection of Color Slides of Los Angeles, 1950 - 1970. The Huntington Library, Art Collections, and Botanical Gardens. http://hdl.huntington.org/cdm/singleitem/col ———. Pershing Square Buildings on 5th Street. :: Photographs

. Kodachrome slide. Palmer Conner collection/p15150coll2/id/8647/rec/1.Collection of Color Slides of Los Angeles, 1950 - 1970. The Huntington Library, Art Collections, and Botanical Gardens. Accessed January 9, 2016. http://hdl.huntington.org/cdm/singleitem/ Corner of Pershing Square -

. 1 photographic print : b&w, ca 1930. Los Angeles Public Library. http://pho Countytos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=230&controlNumber=75450. Assessor’s Office - - . 1 photographic print : b&w, ca 1884. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database Dick WhittingtonID=968&record=27&controlNumber=78574. Studio. Looking West over the Palms and Banana Trees of Pershing Square to the Bilt- more Hotel, Which Opened in 1923 ::

p15799coll170/id/21510/rec/37. , 1937. Getty -- Faces of LA, 1936-1958. “Dick” Whittington Photography Collection, 1924-1987. http://digitallibrary.usc.edu/cdm/singleitem/collection/ Dick Wittington Studio. Aerial View of Central Downtown Los Angeles, Pershing Square, Wilshire Bou- levard, Harbor Freeway, Fourth Street, Grand Avenue - lection, 1924-1987. http://digitallibrary.usc.edu/cdm/singleitem/collection/p15799coll170/ id/21817/rec/19. , 1970. “Dick” Wittington Photography Col

Don Slater, W. Dorr Legg, and Jim Kepner Archives. http://digitallibrary.usc.edu/cdm/singleitem/collection/p15799coll4/id/348/rec/18. , ca. /1958 1957. Photographs. ONE National Gay and Lesbian Downtown Aerial View - , 1984 1964. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=9&control DowntownNumber=48539. L.A. Christmas Parade, View 1 - . 1 photograph : b&w, 1929. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databa seID=968&record=236&controlNumber=77347. 90 Dwyer Studios. Biltmore across from Pershing Square

. 1 photograph : b&w, 1923. http://photos.lapl. org/carlweb/jsp/FullRecord?databaseID=968&record=292&controlNumber=8439.Mission San Gabriel, Estab. Sept. 8th, 1771.

E., 1829-1916 -- Photographer, Watkins, Carleton. , Created: ca. . Coverage: 1870?-1906. Digital item published -30-2005; updated 7-21-2008 1880. New York Public Library. https://commons.wikimedia.org/wiki/File:Mission_San_Gabriel,_Estab._ ExteriorSept._8th,_1771,_by_Watkins,_Carleton_E.,_1829-1916.png. of St. Paul’s Cathedral - - . 1 photograph : b&w, 1890. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database ExteriorID=968&record=12&controlNumber=35721. of St. Paul’s Cathedral - . 1 photographic print : b&w, ca 1920. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databa ExteriorseID=968&record=23&controlNumber=33707. View of the First Building Erected on the Corner of Fifth Street and Hill Street in Los Angeles, ca.1890

http://digitallibrary.usc.edu/cdm/singleitem/collection/p15799coll65/id/2930/rec/3.. 1 photograph : photonegative, b&w, circa 1890. Title Insurance and Trust, and C.C. Pierce Photography Collection, 1860-1960. California Historical Society Collection, 1860-1960. Flower Fair in Pershing Square - - . 1 photograph : b&w, 1888. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database FountainID=968&record=288&controlNumber=12843. Conference, Pershing Square

. 1 photograph : b&w, 1948. Herald-Examiner Collection. http:// Fountain,photos.lapl.org/carlweb/jsp/DoSearch?index=z&databaseID=968&terms=0000043226. Pershing Sq, Los Angeles, Cal. :: Historic Postcards

. Postcard, 1920. Historic Postcards. http:// Fred Eatondigitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll77/id/294/rec/12. - . 1 photographic print : b&w. Security Pacific National Bank Collection. Accessed May 2, 2016. http://photos.lapl.org/carlweb/jsp/DoSearch?databaseID=968&index =w&terms=00034080.Art in Pershing Square Park, a Public Park in Downtown Los Angeles, California, 2012. Prints and Photographs Division. http://www.loc.gov/pictures/item/2013632114/. Highsmith, Carol M. Homeless Woman Walking from Underground Garage at Pershing Square in Los Angeles, Calif., 1981, May 24, 1981. Los Angeles Times Photographic Archive. http://digital2.library.ucla. Hively, Ken.

Hollingsworthedu/viewItem.do?ark=21198/zz0002rv5p. Building

. 1 photograph : b&w, n.d. Los Angeles Public Library. http://photos.lapl.org/ Janet Mariecarlweb/jsp/FullRecord?databaseID=968&record=344&controlNumber=23510. Smith

Jitterbugs at Pershing, 2016. Square, https://www.berklee.edu/people/janet-marie-smith. View 3 - . 1 photograph : b&w, 1940s. Ralph Morris Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=346& controlNumber=61041.Los Angeles. U.S.P.R.R. Exp. and Surveys. Cal. Plate X

Koppel, Charles. . Lithograph, 1856. I. N. Phelps 7d07-a3d9-e040-e00a18064a99.Stokes Collection of American Historical Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. http://digitalcollections.nypl.org/items/510d47d9- Pershing Square, 1994 1992. Dome. http://dome.mit.edu/han- dle/1721.3/131063. Legorreta, Ricardo Vilchis.

91 ———. Pershing Square, 1994 1992. Dome. http://dome.mit.edu/handle/1721.3/131064.

———. Pershing Square, 1994 1992. Dome. http://dome.mit.edu/handle/1721.3/131075.

Library in Pershing Square - . 1 photograph : b&w, n.d. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&re Lithographiccord=349&controlNumber=12885. Drawing Showing a Panoramic View of Los Angeles, Taken from the Junction of Main Street and Spring Street at 9th Street, ca.1873 - - , 1873. Title Insurance and Trust, and C.C. Pierce Photog raphy Collection, 1860-1960. California Historical Society Collection, 1860-1960. http://digi Lithographtallibrary.usc.edu/cdm/compoundobject/collection/p15799coll65/id/985/show/983. of Los Angeles, ca.1871

, circa 1871. Title Insurance and Trust, and C.C. Pierce Photography Collection, 1860-1960. California Historical Society Collection, 1860-1960. http://digitallibrary. Lookingusc.edu/cdm/compoundobject/collection/p15799coll65/id/988/show/986. East, 6th and Hill - . 1 photograph : b&w, n.d. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&re Millardcord=350&controlNumber=42225. Sheets Studio. The Mountain - - . Ink on paper, c 1984. The Permanent Collection. Ruth Chan dler Williamson Gallery. http://web-kiosk.scrippscollege.edu/Obj14138?sid=23007&x Miller. =432102&port=331.Luncheon Guest, Downtown Business Men’s Association, 1957, April 9, 1957. Sleeve Number

singleitem/collection/p15799coll44/id/95105/rec/8. 12099-023. Los Angeles Examiner Collection, 1920-1961. http://digitallibrary.usc.edu/cdm/ Moody’s Variety Store

, 1880. Security Pacific National Bank Collection. http://photos.lapl.org/carlweb/ jsp/DoSearch?databaseID=968&index=-1&initialsearch=true&count=10&finish=photosearch_- pageADV.jsp&mode=manual&keyword=Exterior+view+of+Moody%27s+Variety+Store+on+S- pring+Street%2C+in+Los+Angeles%2C+in+1880&terms=%2F%2FwExterior+view+of+Mood y%27s+Variety+Store+on+Spring+Street%2C+in+Los+Angeles%2C+in+1880&author=& Moran,Search=Search&after=&specific=&before=&lowdate=&hidate=. Thomas. Chicago World’s Fair and graphite on cream, moderately thick, moderately textured wove paper, 1894. Brooklyn . English: transparent watercolor with opaque white highlights

Museum. https://commons.wikimedia.org/wiki/File:Brooklyn_Museum_-_Chicago_World%27s_ Fair_-_Thomas_Moran_-_overall.jpg.Beauty Contest Contestants - Morris, Ralph. . 1 photograph : col, 1942. Herald-Examiner Collection. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=168&controlNum ———.ber=56574. Beauty Contest, View 3

. 1 photograph : b&w, 1942. Herald-Examiner Collection. http://photos. ———.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=171&controlNumber=60998. Circus at Pershing Square -

. 1 photograph : b&w, 1942. Herald-Examiner Collection. http://pho Mullen,tos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=175&controlNumber=49665. Mike. Winning Design for Pershing Square - - . 1 photograph : b&w, 1986. Herald-Examiner Col lection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database North ID=968&record=5&controlNumber=76987.Broadway South from Temple - , 1870. Security Pacific National Bank Collection. http://photos.- lapl.org/carlweb/jsp/DoSearch?databaseID=968&index=-1&initialsearch=true&count=10&fin ish=photosearch_pageADV.jsp&mode=manual&keyword=View+of+Broadway+looking+ 92 - - south+from+near+Temple+Street&terms=%2F%2FwView+of+Broadway+looking+south+ from+near+Temple+Street&author=&Search=Search&after=&specific=&before=&lowdate=&hi North date=.on Hill Street

. 1 photograph : b&w, 1906. Los Angeles Public Library. http://photos.lapl.org/ carlweb/jsp/FullRecord?databaseID=968&record=269&controlNumber=42223.Pershing Square (Los Angeles, Calif.). Landscape Architecture: Gen- eral View Olin, Laurie, and Ricardo Legorreta. . Hillhttp://libx.bsu.edu/u?/BSU%5FArchSlidesCpght,10352. Street, Los Angeles - - Oscar Newman. . 1 postcard : col, 1906. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database OverheadID=968&record=268&controlNumber=71634. View of March 14, 1965 Civil Rights March at Pershing Square, Los Angeles, Calif., March 14,

1965. Los Angeles Times Photographic Archive. http://digital2.library.ucla.edu/viewItem. Pacificdo?ark=21198/zz0002tcrm. Mutual Building -

, 1917. Security Pacific National Bank Collection. http://photos.lapl.org/carl web/jsp/FullRecord?databaseID=968&record=98&controlNumber=22964.Biltmore Hotel Construction - Padilla Company. . 1 photograph : b&w, ca 1922. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?da PanoramictabaseID=968&record=248&controlNumber=8430. View of Los Angeles, Looking Southeast on 5th Street from Grand Avenue, Showing Pershing Square, ca.1913 - tion, 1860-1960.. 6 http://digitallibrary.usc.edu/cdm/ref/collection/p15799coll65/id/1303. photographs : glass photonegatives, b&w, circa 1913. Title Insurance and Trust, and C.C. Pierce Photography Collection, 1860-1960. California Historical Society Collec Panoramic View Showing Sixth Street Park (later Pershing Square) from Fifth Street and Grand Avenue, Downtown Los Angeles, ca.1880

. 2 photographs : glass photonegative, photoprint, b&w, circa - tion/p15799coll65/id/3455/rec/99.1880. Title Insurance and Trust, and C.C. Pierce Photography Collection, 1860-1960. California Historical Society Collection, 1860-1960. http://digitallibrary.usc.edu/cdm/singleitem/collec Parade on Broadway

. 1 photograph : b&w, 1944. Herald-Examiner Collection. http://photos.lapl.org/ Parker,carlweb/jsp/FullRecord?databaseID=968&record=156&controlNumber=49829. Maynard L. Early Los Angeles: Pershing Square 1935, 1935. Maynard L. Parker Negatives, -

show/19844/rec/16.Photographs, and Other Material. The Huntington Library, Art Collections, and Botanical Gar dens. http://hdl.huntington.org/cdm/compoundobject/collection/p15150coll5/id/19849/ Pershing Square and Biltmore Hotel - - . 1 photograph : col, 1950. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database PershingID=968&record=7&controlNumber=8450. Square Design Competition - , 1986. John Bland Canadian Architecture Collection. http://cac. mcgill.ca/schreiber/search/details.php?id=121&url=&keyword=pershing&city=All&coun Pershingtry=All&minor=All&major=All&status=All&total_rows=1&ids=121&counter=1. Square Fountain and Biltmore Hotel - . 1 photographic print : b&w, ca 1928. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/Full Record?databaseID=968&record=276&controlNumber=81015.

93 Pershing Square in 1919 - . 1 photograph : b&w, 1919. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&re Pershingcord=253&controlNumber=12810. Square in 1930 - - . 1 photographic print : b&w, 1930. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database PershingID=968&record=235&controlNumber=12842. Square, Los Angeles, ca.1888 - tion, 1860-1960. Accessed May. 2,1 photograph :2016. http://digitallibrary.usc.edu/cdm/singleitem/collec glass photonegative, b&w. Title Insurance and- tion/p15799coll65/id/13926/rec/6.Trust, and C.C. Pierce Photography Collection, 1860-1960. California Historical Society Collec

Pershing Square Parking Los Angeles CA

. Accessed January 17, 2016. https://www.flickr.com/photos/ Pershingedge_and_corner_wear/4830881150/. Square Visitors - . 1 photograph : b&w, 1912. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&re Pershingcord=20&controlNumber=12796. Square War Strategists - - . 1 photograph : b&w, 1939. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database ID=968&record=203&controlNumber=12889.6th and Olive Streets - Pierce, Charles C. . 1 photographic print : b&w, 1913. C. C. Pierce Collection. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=99&controlNum ———.ber=71651. Aerial View of Los Angeles from a Spot Approximating Pershing Square, December 1927, De-

cdm/singleitem/collection/p15799coll65/id/4598/rec/24. cember 1927. California Historical Society Collection, 1860-1960. http://digitallibrary.usc.edu/ ———. Los Angeles and San Gabriel Railroad Train on the Bridge at Garvanza, the First Trestle across the Arroyo Seco, Approaching Highland Park from South Pasadena, ca.1885, c 1885. http://digi- tallibrary.usc.edu/cdm/ref/collection/p15799coll65/id/2979.

———. Pershing Square, Showing Bandstand in the Background, ca.1895 -

. 1 photograph : glass pho cdm/singleitem/collection/p15799coll65/id/4595/rec/87.tonegative, b&w, circa 1895. Title Insurance and Trust, and C.C. Pierce Photography Collection, 1860-1960. California Historical Society Collection, 1860-1960. http://digitallibrary.usc.edu/ ———. Pershing Square West from Hill Street

http://hdl.huntington.org/cdm/singleitem/collection/p15150coll2/id/3572/rec/3.. Black and white photographic print, 1890. C.C. Pierce Collection of Photographs. The Huntington Library, Art Collections, and Botanical Gardens. ———. Pershing Square Zanja (irrigation Ditch) , Los Angeles. Black and white photographic print,

id/3593/rec/21.circa 1876. C.C. Pierce Collection of Photographs. The Huntington Library, Art Collections, and Botanical Gardens. http://hdl.huntington.org/cdm/singleitem/collection/p15150coll2/ ———. Sixth Street Park (Pershing Square), South East from Grand Avenue Hill. Black and white

p15150coll2/id/3573/rec/4.photographic print, 1884. C.C. Pierce Collection of Photographs. The Huntington Library, Art Collections, and Botanical Gardens. http://hdl.huntington.org/cdm/singleitem/collection/ ———. South from Normal Hill, Pershing Square, and Hill St., 1913 -

2016. http://hdl.huntington.org/cdm/singleitem/collection/p15150coll2/id/3495/rec/6.. C.C. Pierce Collection of Photo graphs. The Huntington Library, Art Collections, and Botanical Gardens. Accessed January 9,

94 ———. View of Central City, Pershing Square - . 1 photograph : b&w, 1913. C.C. Pierce Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&re ———.cord=259&controlNumber=47779. View of Pershing Square Looking North on Olive Street, Showing the Auditorium Building, Los Angeles, ca.1920 :: California Historical Society Collection, 1860-1960 - tion. http://digitallibrary.usc.edu/cdm/singleitem/collection/p15799coll65/id/4597/rec/1. , 1900s. C. C. Pierce Collec ———. View of Pershing Square Park, Looking Northwest from 6th Street and Hill Street, Los Angeles, ca.1885

digitallibrary.usc.edu/cdm/singleitem/collection/p15799coll65/id/4578/rec/76.. 1 photograph : photoprint, b&w, circa 1885. Title Insurance and Trust, and C.C. Pierce Photography Collection, 1860-1960. California Historical Society Collection, 1860-1960. http:// Portrait of Andrew Glassell, [s.d.] :: California Historical Society Collection, 1860-1960

. 2 photographs : 2016.glass photonegative, http://digitallibrary.usc.edu/cdm/singleitem/collection/p15799coll65/id/13148/rec/2. photoprint, b&w. Title Insurance and Trust, and C.C. Pierce Photography Collection, 1860-1960. California Historical Society Collection, 1860-1960. Accessed May 2, Portrait of Dr. John Strother Griffin, Pioneer Los Angeles Physician. -

1 photograph : b&w, circa 1880. Secu Portraitrity of PacificPrudent National Beaudry Bank Collection. http://jpg1.lapl.org/pics48/00043860.jpg. - . Portraits-Beaudry, Prudent. Security Pacific National Bank Collection. Accessed May 1, 2016. http://photos.lapl.org/carlweb/jsp/DoSearch?index=z&database ProtestersID=968&terms=0000036669. for Pershing Square Garage

. 1 photograph : b&w, 1949. Herald-Examiner Collection. http:// Relaxingphotos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&record=141&controlNumber=37887. in Pershing Square

, 1973. HE box 226. Herald-Examiner Collection. http://photos.lapl.org/ carlweb/jsp/FullRecord?databaseID=968&record=1&controlNumber=43230.Drinking Fountain at Pershing Square - Schultheis, Herman. . 1 photograph : b&w, ca 1937. Herman J. Schultheis Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRe ———.cord?databaseID=968&record=211&controlNumber=75683. Fountain, Pershing Square - - . 1 photographic print : b&w, ca 1937. Herman J. Schultheis Col lection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database ———.ID=968&record=14&controlNumber=5207163. Pershing Square at Hill and 6th Streets - . 1 photograph : b&w, ca 1937. Herman J. Schultheis Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databa ———.seID=968&record=216&controlNumber=42219. Pershing Square, Title Guarantee Bldg., Hotel Portsmouth - . 1 photograph : b&w, ca 1937. Herman J. Schultheis Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRe ———.cord?databaseID=968&record=218&controlNumber=75759. Young Shoeshine Boy at Pershing Square - . 1 photograph : b&w, ca 1937. Herman J. Schultheis Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databa Sheets,seID=968&record=16&controlNumber=75680. Millard. Driftwood

. Watercolor on Paper, 1937. Ruth Chandler Williamson Gallery. http:// ———.web-kiosk.scrippscollege.edu/Obj11929?sid=23007&x=432534&port=331. Tenement Flats

. Oil on canvas, 1934 1933. 1st Floor, South Wing. Smithsonian American Art Museum. http://americanart.si.edu/collections/search/artwork/?id=22262.

95 Sofonisba, Anguissola. Philip II - tion/art-work/philip-ii/7d7280d6-5603-488a-8521-933acc357d7a. . Oil on canvas, 1565. https://www.museodelprado.es/en/the-collec Speaker Addresses Crowd, Pershing Square - - , 1948. HE box 226. Herald-Examiner Collection. http://pho tos.lapl.org/carlweb/jsp/DoSearch?databaseID=968&count=10&terms=speaker+addresses St. Athanasius+crowd+pershing&index=w. Episcopal Church - . 1 photographic print : b&w, ca 1879. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databa The BiltmoreseID=968&record=294&controlNumber=78576. Hotel on Pershing Square, Los Angeles, February 2, 1943. Los Angeles Examiner Prints - brary.usc.edu/cdm/singleitem/collection/p15799coll44/id/90846/rec/195. Collection, late 1920’s - 1961. Los Angeles Examiner Collection, 1920-1961. http://digitalli 1HD0000010175. Aerial Photograph, July 10, 1948. Single Frame Aerial

U.S. Geological Survey (USGS). ———.Photography. 1VP0000180033 https://lta.cr.usgs.gov/Single_Frame_Records.. Aerial Photograph, July 30, 1952. Single Frame Aerial Photography. https://

Victorylta.cr.usgs.gov/Single_Frame_Records. House, Pershing Square

. 1 photograph : b&w, 1942. Herald-Examiner Collection. http://photos. View oflapl.org/carlweb/jsp/FullRecord?databaseID=968&record=185&controlNumber=49664. Olive Street - . 1 photograph : b&w, ca. 1880s. Security Pacific National Bank Collection. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?databaseID=968&re View ofcord=15&controlNumber=48361. Olive Street Looking North from 6th Street with Pershing Square and 5th Street in View, Los Angeles, ca.1913

Accessed April 30,. 1 2016.photograph : http://digitallibrary.usc.edu/cdm/ref/collection/p15799coll65/ glass photonegative, b&w. Title Insurance and Trust, and C.C. id/17482.Pierce Photography Collection, 1860-1960. California Historical Society Collection, 1860-1960.

View of Pershing Square and Biltmore Hotel in the Background, ca.1930 :: California Historical Society Collection, 1860-1960 1860-1960. Accessed April 23, 2016. http://cdm15799.contentdm.oclc.org/cdm/ref/collec- tion/p15799coll65/id/17334.. 1 photograph : negative, b&w. California Historical Society Collection,

View, Subdivision under Construction - . Aerial photographs. GSD5101mc.0541. Accessed April 22, 2016.- http://via.lib.harvard.edu/via/deliver/chunkDisplay?_collection=via&inoID=1000964&re cordNumber=11&chunkNumber=29&method=view&image=full&startChunkNum=1&end ChunkNum=41&totalChunkCount=41&offset=0.Aerial View of the Los Angeles Downtown Area, Showing Pershing Square, 1930-1939 Whitehurse Aerial Photos, Inc. digitallibrary.usc.edu/cdm/singleitem/collection/p15799coll65/id/3794/rec/139.. 1 photograph : photoprints, b&w, 1939 1930. Los Angeles Area Chamber of Commerce Collection, 1890-1960. California Historical Society Collection, 1860-1960. http:// William Frederickson Jr., Robert Howe and William T. Wright Examining Model of Planned Redesign of Pershing Square, Calif., 1964, July 22, 1964. Los Angeles Times Photographic Archive. http://dig-

Zanja Waterital2.library.ucla.edu/viewItem.do?ark=21198/zz0002snxm. in Pershing Square - - . 1 photograph : b&w, ca 1880. Security Pacific National Bank Collec tion. Los Angeles Public Library. http://photos.lapl.org/carlweb/jsp/FullRecord?database ID=968&record=23&controlNumber=12836.

96 BLOG & FORUM POSTS

Accessed January 9, 2016. http://blogs.kcrw.com/dna/then-there-were-four-whats-next-for- Anderton, Frances. “Then There Were Four. What’s Next For Pershing Square Design Competition?”

pershing-square-design-competition. L.A. Weekly, April 10, 2015. http://

Aron, Hillel. “Let’s Keep DTLA’s Pershing Square Weird.” News Blog. www.laweekly.com/news/lets-keep-dtlas-pershing-square-weird-5454619. Curbed LA, February 18, 2016. http://la.curbed.com/2016/2/17/11080342/big-development- Barragan, Bianca. “Big Development Next to Pershing Square Finally Breaking Ground This Spring.”

next-to-pershing-square-finally-breaking-ground. Curbed LA, May 4, 2016. http://la.curbed.

———. “How LA Got a Pershing Square Everyone Hates.” com/2016/5/4/11591100/pershing-square-legorreta. Curbed LA, December 16, 2014.

———. “New Look For Big Park Fifth Mixed-User by Pershing Square.” http://la.curbed.com/2014/12/16/10011120/new-look-for-big-park-fifth-mixeduser-next-to- pershing-square. Eric Brightwell. Accessed December - Brightwell, Eric. “California Fool’s Gold - Exploring Bunker Hill.” 12, 2015. http://archive.org/embed/ADriveThroughBunkerHillAndDowntownLosAngeles Ca.1940s. Los Angeles Magazine, March 30, 2016. http://

Creason, Glen. “The Best L.A. History Blogs.” News Blog. www.notey.com/blogs/l-DOT-a-DOT--history. Rogerebert.com, June 26, 2008. http://www.rogerebert.com/reviews/my-winnipeg-2008. Ebert, Roger. “My Winnipeg Movie Review & Film Summary (2008).” Film critic. Edwards, Andrew. “MacFarlane Partners Buys Downtown Property.” News Blog. Los Angeles Business Journal - ners-buys-downtown-property/. , July 10, 2014. http://labusinessjournal.com/news/2014/jul/09/macfarlane-part Los Angeles Downtown News, February 1, 2013. http://www.ladowntownnews.com/news/aeg-giving-seed-money-to-persh- Effort. “AEG Giving Seed Money to Pershing Square Effort.” News Blog.

ing-square-effort/article_d824de16-6cc2-11e2-aee0-001a4bcf887a.html. Design - Architecture and Design.” GenslerOn Cities, August 27, 2013. http://www.gensleron. Glodney, Brian, and Steve Chung. “A Pioneering Perspective on Pershing Square - Urban Planning and

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102 CONFERENCE PAPERS & JOURNAL ARTICLES

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Breed, Ida. “Mindscape : Exploring Living Space in the Urban Environment by Means of Photographic Interviews,” 2009. http://reference.sabinet.co.za/sa_epublication_article/sajah_v24_n1_a8. Urban Planning.” Futures Collie, Natalie. “Cities of the Imagination: Science Fiction, Urban Space, and Community Engagement in , Special Issue: Community Engagement for Sustainable Urban Futures, 43, no. 4 (May 2011): 424–31. doi:10.1016/j.futures.2011.01.005. Journal of Architectural Education (1984-) Crawford, Margaret. “Contesting the Public Realm: Struggles over Public Space in Los Angeles.” 49, no. 1 (1995): 4–9. doi:10.2307/1425371.Architectural Record “Design Awards/competitions: Pershing Square International Design Competition.” 174 (19861101): 68. Southern California Quarterly 67,

Engstrand, Iris H. W. “California Ranchos: Their Hispanic Heritage.” no. 3 (1985): 281–90. doi:10.2307/41171160. Culture, Theory and Critique Filipcevic, Vojislava. “Urban Planning and the Spaces of Democracy: New York of the Great Depression in 42nd Street, Dead End, and The City.” 51, no. 1 (April 1, 2010): 65–91. doi:10.1080/14735781003795158. World’s Work

Flaherty, Robert J. “How I Filmed Nanook of the North.” 44 (September 1922):Historical 533–60. Soci- ety of Southern California, Los Angeles Foster, Stephen C. “A Sketch of Some of the Earliest Kentucky Pioneers of Los Angeles.” 1, no. 3 (1887): 30–35. doi:10.2307/41167845. Faculty of Built Environment and Engineering; Creative Industries Faculty; Foth, Marcus,Faculty Gregoryof Education; N. Hearn, Institute and forHelen Creative G. Klaebe. Industries “Embedding and Innovation Digital Narratives. Dartington, and South New Devon, Media in Urban Planning.” In

UK, 2007. http://projects.oucs.ox.ac.uk/DRHA/2007/DRHA-07/subs/16.html. Body, Space & Technology Foth, Marcus, Helen G. Klaebe, and Gregory N. Hearn. “The Role of New Media and Digital Narratives in Urban Planning and Community Development.” 7, no. 2 (March 2008). http://eprints.qut.edu.au/13148/. 103 L. A. Architect

Gardner, Laura. “Wayne Ratkovich Genius of Loci.” , MayInternational 1988, 6–7. Journal of Urban and Regional Research Goetz, tb00195.x.Edward G. “Land Use and Homeless Policy in Los Angeles.” 16, no. 4 (December 1, 1992): 540–54. doi:10.1111/j.1468-2427.1992. Progressive Architecture 67, no. 9 (Septem-

Goldstein, Barbara. “Winner Selected for Pershing Square.” ber 1986): 23–24.

Griffin, Geo. Butler. “A Brief Biographical Sketch: Of the ‘RecopilacionHistorical Society de Indias’—or of Southern Spanish California, India Los AngelesCode—and Other Collections of Spanish Laws Relating to the Indies, Compiled during the Sixteenth, Seventeenth and Eighteenth Centuries.” 1, no. 3 (1887): 36–45. doi:10.2307/41167846.Annual Publication of the Historical Society of Southern California, Los Angeles Guinn, J. M. “Historic Houses of Los Angeles.” ———. “La Estrella: The Pioneer 3, no. Newspaper 4 (1896): 62–78. of Los Angeles.”doi:10.2307/41167604. Annual Publication of the Histori- cal Society of Southern California and Pioneer Register, Los Angeles doi:10.2307/41169639. 5, no. 1 (1900): 70–77. Annual Publication of the Historical Soci- ety of Southern California and of the Pioneers of Los Angeles County ———.doi:10.2307/41169175. “Some Eccentric Characters of Early Los Angeles.” 5, no. 3 (1902): 273–81. Annual Publication of the Historical Society of Southern California ———. “The True History of Central Park.” 8, no. 3 (1911): 211–16. doi:10.2307/41168879.Annual Publication of the Historical Society of Southern California Hall, S. H. “Historical Society of Southern California.” 9, no. 1/2 (1912): 5–15. doi:10.2307/41168888.Antipode 13, no. 3 (December 1,

Harvey, David. “The Spatial Fix – Hegel, Von Thunen, and Marx.” 1981): 1–12. doi:10.1111/j.1467-8330.1981.tb00312.x.Annual Publication of the Historical Society of Southern California and Pioneer Register, Los Angeles Hazard, George. W. “The Old Round House.” 5, no. 2 (1901): 109–12. doi:10.2307/41167787. Chicago Review Hoffman, Stanton. “The Cities of Night: John Rechy’s ‘City of Night’ and the American Literature of Homosexuality.” 17, no. 2/3 (1964): 195–206. doi:10.2307/25293923.Journal of Urban De- sign Kallus, Rachel. “From Abstract to Concrete: Subjective Reading of Urban Space.” 6, no. 2 (June 1, 2001): 129–50. doi:10.1080/13574800120057818.Colloquium Magazine,

Kredell,the-cinemas-mental-map-of-chicago/. Brendan. “The Legible City: The Cinema’s Mental Map of Chicago.” October 8, 2012. https://lucian.uchicago.edu/blogs/colloquium/2012/10/18/the-legible-city- Leonardo

Lark, Raymond. “Drawings and Paintings by an Afro-American Artist.” 15, no. 1 (1982): 7–12. doi:10.2307/1574335. California Historical Society Quarterly Layne, J. Gregg. “Annals of Los Angeles Part II, from the American Conquest to the Civil War.” 13, no. 4 (1934): 301–54. doi:10.2307/25160539. Film.” Journal of Planning Education and Research Leigh, Nancey Green, and Judith Kenny. “The City of Cinema: Interpreting Urban Images on 16, no. 1 (September 1, 1996): 51–55. doi:10.1177/0739456X9601600106.

104 and Stuart Timmons. Reviews in American History Loftin, Craig M. “Los Angeles and the Closing of the Gay Historical Frontier.” Edited by Lillian Faderman 37, no. 1 (2009): 101–9. Social Indica- Lotfi, Sedigheh,tors Research and M. J. Koohsari. “Analyzing Accessibility Dimension of Urban Quality of Life: Where Urban Designers Face Duality between Subjective and Objective Reading of Place.” 94, no. 3 (2009): 417–35. - town Workers in Los Angeles.” Journal of Architectural and Planning Research Loukaitou-Sideris, Anastasia, and Liette Gilbert. “Shades of Duality: Perceptions and Images of Down 17, no. 1 (2000): 16–33. Assemblage

Machado, Rodolfo. “Public Places for American Cities: Three Projects.” , no. 6 (1988): 99–113. doi:10.2307/3171047. City: Analysis of Urban Trends, Culture, Theory, Policy, Action Marcuse, Peter. “From Critical Urban Theory to the Right to the City.” 13, no. 2–3 (2009): 185–97. doi:10.1080/13604810902982177.

Metcalfe, Howard H. “Probable Location of the Original Pueblo de La Reina de Los Ángeles on the River Porciúncula.” Accessed April 17, 2016. http://www.lanopalera.net/LAHistory/LASite.html.The Quarterly: Historical Society of Southern California Newmark, Marco R. “Ordinances and Regulations of Los Angeles 1832-1888: Part I.” 30, no.Southwest 1 (1948): Review 26–41. doi:10.2307/41168148.

O’Connor, Norreys J. “Approaches to Los Angeles.” 32, no. 2 (1947): 169–169.- les.” International Journal of Urban and Regional Research Parson, Don. “The Search for a Centre: The Recomposition of Race, Class and Space in Los Ange 17, no. 2 (June 1, 1993): 232–40. doi:10.1111/j.1468-2427.1993.tb00478.x. Architecture -

Pastier, John. “SITE Selected to Redesign Los Angeles’ Pershing Square.” 75, no. 10 (Octo ber 1986): 15. The Transat- lantic Review Rechy, John, and ROBERT WENNERSTEN. “John Rechy: Interview by Robert Wennersten.” , no. 49 (1974): 51–67. Los Angeles.” Journal of Planning History Reitan,doi:10.1177/1538513213508078. Meredith Drake. “Beauty Controlled The Persistence of City Beautiful Planning in 13, no. 4 (November 1, 2014): 296–321. The Historical Society of Southern California Quarter- ly Reynolds, Hortense Childs. “Ozro William Childs.” 36, no. 2 (1954): 138–45. doi:10.2307/41168468.Southern California Quarterly

Robinson, W. W. “Myth-Making in the Los Angeles Area.” 45, no. 1 (1963): 83–94. doi:10.2307/41169765. - Romer, Margaret.The “Pioneer Historical Builders Society of of Los Southern Angeles: California A Series Quarterly of Personality Sketches of Some of the doi:10.2307/41169504.Men and Women Who Helped Transform the Pueblo of Los Angeles into a Modern Ameri can City.” 43, no. 1 (1961): 97–103.

America.” Social Science History Rosenthal, Anton. “Spectacle, Fear, and Protest: A Guide to the History of Urban Public Space in Latin 24, no. 1 (2000): 33–73. Journal of Urbanism: International Research on Sandoval,Placemaking Gerardo Francisco, and Urban and Sustainability Marta Maria Maldonado. “Latino Urbanism Revisited: Placemaking 549175.2012.693123.in New Gateways and the Urban-Rural Interface.” 5, no. 2–3 (November 1, 2012): 193–218. doi:10.1080/17

105 Space Design, no. 273 (June

Sato, Toshiro. “Architect vs. Developer: Interview with Wayne Ratkovich.” 1987): 48–50. Space Design 8706 (January

Smith, Janet Marie. “Downtown Renaissance: New Pershing Square.” 1987): 53. The Historical Society of South- ern California Quarterly Splitter, Henry Winfred. “Los Angeles Recreation, 1846-1900: Part II.” 43, no. 2 (1961): 166–99. doi:10.2307/41169519.Southern California Quarterly Sutherland, Henry A. “Requiem for the Los Angeles Philharmonic Auditorium.” 47, no. 3 (1965): 303–31. doi:10.2307/41169943. Western Folklore Walker, Thomas U. “Mounting the Soapbox: Poetics, Rhetoric, and Laborlore at the Scene of Speaking.” 65, no. 1/2 (2006): 65–98. Southern California Quarterly

Warren, Viola Lockhart. “The Eucalyptus Crusade.” 44, no. 1 (1962): 31–42. doi:10.2307/41169726. Negro Ameri- can Literature Forum Wood, Charles. “The Adventure Manuscript New Light on Willard Motley’s Naturalism.” 6, no. 2 (1972): 35–38. doi:10.2307/3041341.

106 DOCUMENTS, LETTERS & REPORTS

Board 12,of Recreation 2015. and Park Commissioners. “Pershing Square Park - Agreement for Design and Renovation with Pershing Square Renew.” Report of General Manager. Los Angeles: RAC, August Downtown Business Men’s Association. “Downtown Los Angeles Parking Study,” January 10, 1945.

study.pdf. http://libraryarchives.metro.net/dpgtl/trafficplans/1945_downtown_los_angeles_parking_

Lesbian Archives. Kepner, Jim. “Goodbye to Pershing Square,” n.d. Jim Kepner papers (Coll2011.002). ONE National Gay & - UTES/. Los Angeles City Council. “Council Minutes 1850 - 1978,” n.d. http://cityclerk.lacity.org/RMDOMIN

Parkinson,special/scweb/. John. “Letter from John Parkinson.” Type-written, December 3, 1930. W.W. Robinson papers, ca. 1843-1972, Box 951575. Special Collections. http://www.library.ucla.edu/libraries/

Pershing Square Renew, Gensler, and NBBJ, eds. “Phase 01: Request for Qualifications.” Pershing Square Renew, Inc., 2015.

Project for Public Spaces. “Pershing Square: Summary of Outreach Activities & Programmatic Vision.” Project for Public Spaces, July 2015.

107 FILMS & VIDEOS

A Drive Through Bunker Hill and Downtown Los Angeles, Ca. 1940s. Accessed May 1, 2016. http://ar-

chive.org/details/ADriveThroughBunkerHillAndDowntownLosAngelesCa.1940s.Los Angeles Plays Itself, 2014.

Benovite.Andersen, 1980’s Thom, - EnckeL.A. Montage M King, Inc Burton/Floyd, and Cinema Guild. -

. Accessed May 19, 2016. https://www.youtube.com/watch?v=IDLbK ———.KXLxtU. 1980’s - L.A. Skyline -

. Accessed May 7, 2016. https://www.youtube.com/watch?v=KjgT5AabA jU. 1920s Los Angeles - D0iQ. BHScanner1. . Accessed May 1, 2016. https://www.youtube.com/watch?v=X-fCkpX Kurt Vonnegut on the Shapes of Stories. Accessed May 15, 2016. https://www.youtube.

David Comberg. com/watch?v=oP3c1h8v2ZQ.Pershing Square, Downtown Los Angeles. Accessed November 27, 2015. https://www.

dedayification. Downtownyoutube.com/watch?v=9myOOHtYSRU. Los Angeles Streets

, 1946. http://archive.org/details/PET0981_R-2_LA_color. -

Fauer, Jon, Vittorio Storaro,Cinematographer Gordon Willis, ARRIStyle, (Organization),2008. Eastman Kodak Company, Inc Techni color, American Society of Cinematographers, T-Stop Production (Firm), Docurama (Firm), and New Video Group. et al. Dinner for Five Favreau, Jon, Brian Grazer, Billy Bob Thornton, Buzz Bissinger, Peter Berg, Martin Scorsese, Jay Mohr, Town Square Los. [S.l.]: Angeles Independent, 2013. https://vimeo.com/63167977. Film Channel, LLC., 2004.

historycomestolife.Gensler LA. Los Angeles in the 1920’s. Accessed December 12, 2015. https://www.youtube.

Le Dînercom/watch?v=yAUlD7-sIPM. en Blanc. Diner En Blanc - Los Angeles 2015, Official Video. Accessed May 1, 2016. https://

Markle,www.youtube.com/watch?v=w8mQ9sw0Cns. Fletcher. A Talk With Hitchcock

National Building Museum. LAX: Global. GatewayTelescope. of Imagethe Jet Entertainment,Age (Modern Architecture 2000. in Los Angeles).

Accessed NovemberAgence 25, 2015. Ter and https://www.youtube.com/watch?v=eGA_-Q_ZNc4. Team com/163432859. Pershing Square Renew. . Vimeo. Pershing Square Renew, 2016. https://vimeo.

108 ———. James Corner Field Operations with Frederick Fisher and Partners

. Vimeo. Pershing Square ———.Renew, SWA | 2016.Morphosis https://vimeo.com/163430344.

———. wHY+Civitas . Vimeo. Pershing Square Renew, 2016. https://vimeo.com/163502564.

“Nanook. Vimeo. of Pershing the North” Square [1922] Renew,. Accessed 2016. May https://vimeo.com/163292192. 17, 2016. http://archive.org/details/

Robert J. Flaherty. nanookOfTheNorth1922.Under the 6th Street Bridge (LA Bridge Series - Part I). Accessed November 25, 2015.

Shmuel Gonzales. Silent Filmhttps://www.youtube.com/watch?v=JpTP-dymSUE. Archives. Rare Vintage Footage Of Old Los Angeles Landmarks. Accessed May 1, 2016.

StreetWiseLA.https://www.youtube.com/watch?v=Pqycc0dS-cc. Lightsaber Battle Los Angeles 2015 At Pershing Square. Accessed May 1, 2016. https://

www.youtube.com/watch?v=3BaDexFogs0.South Spring Street, Los Angeles, Cal.

Thomas2016. A. Edison, https://www.loc.gov/item/00694306/. Inc., and James Henry White. Ref print. 1 reel of 1 (ca. 50 ft.) : si., b&w ; 35 mm. United States: Edison Manufacturing Co., 1898. Accessed May 7, Homeless Teenagers Living On LA’s Skid Row. Accessed November 27, 2015.

Union Rescue Mission. https://www.youtube.com/watch?v=2rUpe-bjtl4.Have I Told You Lately That I Love You?, 1958. http://

University of Southern Califonia (student film). Unknown.archive.org/details/HaveITol1958. LA Aerials

This. Accessed Is the City May 7, 2016. http://archive.org/details/calamta_000006.

Vlack Productions. , 1958. http://archive.org/details/6066_This_Is_the_ Wade. City_01_34_01_23.Kodachrome Skaters in Pershing Square. Accessed May 12, 2016. https://vimeo.com/18042009.

The Social Life of Small Urban Spaces com/111488563. Whyte, William H. . Accessed October 28, 2015. https://vimeo. Zhou, Tony. Joel & Ethan Coen - Shot | Reverse Shot

. Video Essay, 2016. https://www.youtube.com/ ———.watch?v=5UE3jz_O_EM. Lynne Ramsay - The Poetry of Details

. Video Essay. Every Frame a Painting, 2015. https://www. youtube.com/watch?v=KjY9kf7TuUU.

109 INTERVIEWS

February 1, 2016. Behrman, Patti. Director, Downtown Los Angeles Neighborhood Association. Personal Interview,

Berris, Jeff. Senior Consultant, MacFarlane Partners. Personal Interview, January 25, 2016.

Bowin, Claire. Los Angeles City Planner. Telephone Interview, November 17, 2015.

Brown, Russell. Pershing Square Park Advisory Board. Personal Interview, March 12, 2016.

Glodney, Brian. Design Director + Senior Associate, Gensler. Personal Interview, January 28, 2016.

Maricich, Nicholas. City Planner, City of Los Angeles. Telephone Interview, December 4, 2015.

Olin, Laurie. Landscape Architect. Telephone Interview, January 19, 2016. March 15, 2016. Paley, Aaron. President and Co-Founder, Community Arts Resources (CARS). Personal Interview,

2016. Santana, Eduardo. Executive Director, Pershing Square Renew, Inc. Personal Interview, January 7,

110 MAPS & PLANS

- - All-Year Club of Southern California. “Sightseeing Map of Los Angeles and Hollywood, 1940.” Los Ange les, 1940. Map Collection. Los Angeles Public Library. http://www.lapl.org/collections-resourc es/visual-collections/sightseeing-map-los-angeles-and-hollywood-1940?page=1. - Argüello, José Dario. “Pueblo de La Reyna de Los Angeles, Calif.” Survey map. [Los Angeles, Calif: Dawson’s Book Shop, 1976. Earth Science/Map Collection. http://oskicat.berkeley.edu/re cord=b10287475~S1. -

Baist, George W. “Baist’s Real Estate Atlas of Surveys of Los Angeles California.” Phila delphia: G. W. Baist, 1921. http://www.davidrumsey.com/luna/servlet/detail/ - RUMSEY~8~1~246074~5514734:Text--Index-to-Tracts-Additions-&-S?sort=pub_ - list_no_initialsort%2Cpub_list_no_initialsort%2Cpub_list_no_initialsort%2Cpub_list_no_initial sort&qvq=q:baist;sort:pub_list_no_initialsort%2Cpub_list_no_initialsort%2Cpub_list_no_initial sort%2Cpub_list_no_initialsort;lc:RUMSEY~8~1&mi=3&trs=63#. - geles Public Library. http://www.lapl.org/collections-resources/visual-collections/baists-real- ———.estate-atlas-surveys-boyle-heights. “Baist’s Real Estate Atlas Surveys, Boyle Heights.” Los Angeles, 1921. Map Collection. Los An

Angeles Public Library. http://www.lapl.org/collections-resources/visual-collections/plate-8- ———.baists-real-estate-atlas-surveys-1921. “Plate 8 of Baist’s Real Estate Atlas Surveys, 1921.” Los Angeles, 1921. Map Collection. Los

Birdseye View Publishing Co. “Los Angeles, 1909.” Map. Los Angeles, Cal.: Birdseye View Pub. Co., 1909. Geography and Map Division. https://www.loc.gov/item/2005632465/. 1868. Shelf locator: Map Div. 01-11501. Lionel Pincus and Princess Firyal Map Division. http:// Brittondigitalcollections.nypl.org/items/8cf07095-9f3b-61d7-e040-e00a18063179. & Rey. “Birds Eye View of the City of San Francisco.” Aerial view. San Francisco: Snow & Roos,

City of Los Angeles Board of Water and Power Commissioners. “Topographic Map of the Los Angeles Aqueduct and Adjacent Territory.” Map. California, 1908. Geography and Map Division. Library of Congress. https://www.loc.gov/item/2006626012/.

City ofwww.laparks.org/planning/maps.htm. Los Angeles Department of Recreation and Parks, Mia Lehrer + Associates, and Pros Consulting LLC. “Citywide Parks Needs Assessment Service Area Maps.” Accessed August 18, 2015. http://

Eaton, Fred. “City Map 105: Sixth Street Park.” Los Angeles: City of Los Angeles, January 1886. City Archives and Records Center.

Eddy, Geraldhttps://www.loc.gov/item/2006626013/. A. “Important Historical Events Which Have Made Los Angeles’ Growth Possible.” Map. California: Frank L. Meline, Inc., c 1929. Geography and Map Division. Library of Congress.

111 Eliott, H. “Los Angeles, Cal., Population of City and Environs 65,000.” Map. Elliott Pub. Co. & Southern California Land Co., 1891. Geography and Map Division. https://www.loc.gov/item/75693095/.

“Estado Que Comprende Las Suertes de Tierras Correspondientes Del Pueblo de La Reina de Los Angeles [Calif.] : Medidas Por D~rn. Del S[eñ]or. Coronel, Y Govorgn. Phelipe de Webs. Y Es Rns. Como Siguen.” Survey map. California: United States. District Court, 1840s. http://oac.cdlib.org/ ark:/13030/hb7d5nb48n/?brand=oac4. org/collections-resources/visual-collections/garland-atlas-central-park-1917. “Garland Atlas, Central Park, 1917.” Survey map. Los Angeles, 1917. Map Collection. http://www.lapl. - ography and Map Division. Accessed January 14, 2016. https://www.loc.gov/item/75693097/. Gates, Worthington, and Western Lithograph Co. “Los Angeles 1909.” Map. Birds Eye View Pub. Co. Ge

“General Plan of Pershing Square.” Plan. Los Angeles, 1930. Henry J. Bruman Map Collection. http:// digital2.library.ucla.edu/viewItem.do?ark=21198/zz002c222j. - geles Public Library. http://www.lapl.org/collections-resources/visual-collections/birds-eye- Glover, E. S. “Birds Eye View of Los Angeles, 1877.” Los Angeles, Calif, 1877. Map Collection. Los An

view-los-angeles-1877?page=2. Santa Monica Mountains in the Background.” Perspective. Los Angeles: Brooklyn Land and ———. “View of Los Angeles from the East. Brooklyn Hights in the Foreground; Pacific Ocean and item/75693092/. Building Co., 1877. Geography and Map Division. Library of Congress. http://www.loc.gov/ -

“Go and See Hardy Gillard’s Great American Educational Panorama, Over the Pacific Railway to Califor Pincusnia : Bird’s and EyePrincess View Firyalof the MapCountry Division. from http://digitalcollections.nypl.org/items/510d47e2-New York to San Francisco, 3,500 Miles.” Glasgow, 0b40-a3d9-e040-e00a18064a99.Scotland: Maclure & Macdonald, 1880. Map Div. 01-11520 [Filed with U.S. Railroads]. Lionel

Gores, and Women’s University Club, Los Angeles. “Los Angeles as It Appeared in 1871.” Map, 1929. Geography and Map Division. https://www.loc.gov/item/75690623/. - phy and Map Division. Accessed January 14, 2016. https://www.loc.gov/item/2006627663/. Hamlin, Homer. “Map Showing Territory Annexed to the City of Los Angeles, California.” Map. Geogra

collection. http://cdm16003.contentdm.oclc.org/cdm/singleitem/collection/p15150coll4/ Hancock,id/11733/rec/2. Henry. “Los Angeles : Partial Street Plan.” Survey map. Los Angeles, circa 1857. Solano-Reeve

- ———. “Map of the City of Los Angeles, Ca. 1875.” Bancroft & Thayer and W.H.J. Brooks., ca 1975. Map Collection. Los Angeles Public Library. http://www.lapl.org/collections-resources/visual-collec tions/map-city-los-angeles-ca-1875?page=2. - Hansention/p15150coll4/id/12214. & Solano. “Los Angeles : North 1/2 of Lot 2, Block 11, Ord’s Survey.” Survey map. Los Angeles, 1891. Solano-Reeve collection. http://cdm16003.contentdm.oclc.org/cdm/singleitem/collec -

Johnstone,and Princess E. McD. “The Firyal Unique Map Division. Map of California.” http://digitalcollections.nypl.org/items/8cee76e5-d6de- Pictorial map. San Francisco: Southern Pacific Com 11d2-e040-e00a18061ce4.pany & California State Board of Trade, 1890. Shelf locator: Map Div. 01-11502. Lionel Pincus

Dept. of Parks, 1930. Los Angeles (Calif.), and Department of Parks. “General Plan of Pershing Square.” Los Angeles, Calif.:

112 http://cdm16003.contentdm.oclc.org/cdm/singleitem/collection/p15150coll4/id/11738. “Los Angeles : Downtown Parcel Map.” Survey map. Los Angeles, circa 1859. Solano-Reeve collection.

cdm16003.contentdm.oclc.org/cdm/singleitem/collection/p15150coll4/id/11942. “Olive Street Grade.” Survey map. Los Angeles, February 24, 1881. Solano-Reeve collection. http://

Ord, Eduard Ortho Cresap. “Plan de La Ciudad de Los Angeles.” Survey map. This Is Number 9 of an Edition Limited to 500 Copies. Los Angeles: Historic Urban Plans, August 29, 1849. Bruman (Henry J.) Map Collection. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz002c21rd.- tions-resources/visual-collections/heart-los-angeles-1931. Payne, James H. “Heart of Los Angeles, 1931,” 1931. Map Collection. http://www.lapl.org/collec -

Perry, item/2012590099/.C. N., and E. T. Wright. “Official Map of the County of Los Angeles, California.” Map. Los Ange les: Los Angeles Lithographic Co., 1898. Geography and Map Division. https://www.loc.gov/

Pierce, Bruce Wellington. “Los Angeles, California, 1894.” Map. Los Angeles? Semi-Tropic Homestead Co., 1894. Geography and Map Division. https://www.loc.gov/item/75693096/. 1860-1960. Accessed April 18, 2016. http://digitallibrary.usc.edu/cdm/singleitem/collection/ “Plan ofp15799coll65/id/23866/rec/1. House Lots and Fields for El Pueblo.” Los Angeles. California Historical Society Collection,

-

Putnam,collections-resources/visual-collections/historic-roads-romance-californias-southern-em Claude George. “Historic Roads to Romance: California’s Southern Empire, 1946.” Pictori- al map. California, 1946. Map Collection. Los Angeles Public Library. http://www.lapl.org/

pire-1946?page=1.

Putnam, Claude George, and Arthur Woodward. “Ride the Roads to Romance along the Golden Coast- and Thru the Sunshine Empire of Southern California.” Timetable map. San Bernardino, Calif.: - Roads To Romance Assn, Inc., 1953. http://www.davidrumsey.com/luna/servlet/detail/RUM SEY~8~1~267143~90040742:Ride-The-Roads-To-Romance-along-the?sort=pub_list_no_initial sort%2Cpub_list_no_initialsort%2Cpub_list_no_initialsort%2Cpub_list_no_initialsort.

Rowan, Valentine James. “Official Map of Los Angeles County, California.” San Francisco, Calif.: Schmidt Label & Litho. Co., 1888. Geography and Map Division. http://www.loc.gov/item/2012590104/.-

Stevenson,id/3925. Henry J. “Map of the City of Los Angeles California.” Survey map. Los Angeles, 1884. Hun tington Rare Book Maps. http://hdl.huntington.org/cdm/singleitem/collection/p15150coll4/

Los Angeles Public Library. http://www.lapl.org/collections-resources/visual-collections/ Stevenson, H. J. “Map of the City of Los Angeles, California, 1884.” Los Angeles, 1884. Map Collection.

map-city-los-angeles-california-1884?page=1. - blog.com/2012/stevensons-survey-of-los-angeles-1884/. ———. “Stevenson’s Cadastral Survey of Los Angeles (1884).” Los Angeles, 1884. http://www.bigmap

University of Southern California. Department of Geography. “WPA Land Use Survey Map for the City contentdm.oclc.org/cdm/ref/collection/p15799coll120/id/951/rec/28.of Los Angeles, Book 6 (Hollywood District to Boyle Heights District), Sheet 29 :: WPA Land Use Survey Maps for the City of Los Angeles, 1933-1939.” Los Angeles, 1939. http://cdm15799. -

USSR (Union of Soviet Socialist Republics). “The World Atlas.” Atlas Maps. Moscow: Chief Adminis - tration of Geodesy and Cartography under the Council of Ministers of the USSR, 1967. http:// www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~208399~3002010:193--Los-Ange les,-San-Francisco,-Ph?sort=pub_list_no_initialsort%2Cpub_list_no_initialsort%2Cpub_list_no_ initialsort%2Cpub_list_no_initialsort. 113 NEWSPAPER ARTICLES

Los Angeles Times (1886-1922). August 5, 1893. “A PARK EPISODE.: An Exciting Incident at Sixth Street Park Yesterday Afternoon.” Los Angeles Times (1881-1886) 1886. “A PAVILION.: Huge Structure to Be Built on Fifth And.” . October 22, La Opinión. February 4, 1994.

Ballesteros, Mary. “Reinauguran la Plaza Pershing en Los Angeles.”Los Angeles Times (1923-Current File).

“BATTLE OF PERSHING SQUARE: Midtown Park Rats Killed Off.” October 20, 1948. Los Angeles Times (1923-Current File). September 1, “Blase 1947.Pershing Square Takes All in Its Stride: Venerable Park Watches Quietly as Time Goes by With Downtown Oasis Left to Own Devices.” Los Angeles Sentinel (1934-2005). February 1, 1951.

“Break Ground Today for Pershing Square Garage.” The New York Times Brick, Michael. “Developer of High-Rise Los Angeles Prepares for a Public Offering.” , February 26, 2003,Los Angeles sec. Business/Financial Times (1886-1922) Desk;. July Section 9, 1888. C.

Citizen. “Sixth-Street Park.” Los Angeles Times. Novem- ber 23, 1962. Coates, Paul. “Yorty Says He’ll Crack Down Only on Tough Nuts in Square.” Los Angeles Business Journal, June 20, 1994.

“Commercial Real Estate Who’s Who: Towers of Influence.” Los Angeles Times (pre-1997 Fulltext).

Connell, Rich. “$6 Million Awarded for Pershing Square Job.” April 29, 1986, sec. Metro; 2; Metro Desk. Los Angeles Times (pre-1997 Fulltext) ———. “$11.9-Million Renaissance of Pershing Square Urged: [Home Edition].” . November 21, 1985, sec. Metro; 2; Metro Desk.Los Angeles Times (1923-Current File) ———. “Pershing Square’s Rebirth Fizzles: It’s Haven for Derelicts.” . January 2, 1985, sec. ORANGE COUNTY. Los Angeles Times (pre-1997 Fulltext) ———. “Power Struggle Indicated as CRA Director Helfeld Quits: [Home Edition].” . December 11, 1985, sec. Metro; 2; MetroLos Angeles Desk. Times, November 5, 1985.

———. “Preservationists Hit Pershing Square-Area Project.” http://articles.latimes.com/1985-11-05/local/me-4355_1_pershing-square.

114 “COUNCIL CHILLS PARK BOARD.: NOT ENTHUSIASTICLos ABOUT Angeles COSTLY Times (1886-1922) IMPROVEMENTS;Conference. June 25, 1910, sec. Editorial.at the Mayor’S OfficeOver Central Park Reconstruction and New Conservatory for Eastlake Park Brings No Result--Betkouski Openly Hostile.”

Davis, James L. “Proposed Parking Plant Beneath PershingLos Square: Angeles PERSHING Times (1923-Current PARK GARAGE File) DEVISED. March 11,Merchnats 1931. Plan $3,000,000 Underground Plant Would Store 3000 Cars and Give Bus Terminals Reversion to City Provided; Square Undisturbed.” Los Angeles Times (1886-1922). June 26, 1910. de Buff, Louis. “Central Park.” -

“DIAGRAM OF SUBWAY PLAN: Details of ProposedLos Angeles Tunnel Times Are (1923-Current Outlined in Perspective File). July 22, Drawing 1923, sec. Draw Editorial.ing Showing How Subway Tunnel and Station Proposed to Be Built Under Pershing Square Will Look SUBWAY PLAN MADE PLAIN.” Los Angeles Business Journal, June 11, 2001.

“Downtown Activists Making Over L.A. Central Core.” Los Angeles Times (1923-Current File). June 13,

“Firms Give $1.1 Million for Revival of Pershing Square.” 1987, sec. Part I. The New York Times, July 25, 2004, sec. Movies. http://www.

Foundas, Scott. “FILM; L.A. Residential.” nytimes.com/2004/07/25/movies/film-la-residential.html. Los Angeles Times (1886-1922). April 8, 1895. Fox, Charles J. “LETTERS TO THE TIMES.: The Public Library and Sixth-Street Park.” Chicago Tribune (1963-Current File). April 9, 1987, sec. 5. Gapp, Paul. “New York Firm Wins Pershing Square Bid: Design Notes.” Latimes.com. Accessed March 8, 2016. http://www.

Graham, Wade. “Why We Hate Pershing Square.” latimes.com/opinion/op-ed/la-oe-graham-why-we-hate-pershing-square-20150927-story.html.- Los Angeles Times Hawthorne, Christopher. “ARCHITECTURE; PARK IT HERE; The Tricky Task of Designing Two Promi nent Downtown Open Spaces.” , February 28, 2016, sec. SUNDAY CALENDAR; Calendar Desk; Part F. Latimes.com. May 12, 2016. http://www.latimes.com/entertainment/arts/la-et-cm-pershing- ———. “French Landscape Firm Wins Pershing Square Competition with Call for ‘Radical Flatness.’”

square-winner-20160512-snap-story.html. Los Angeles Times, March 2, 2013. http://articles.latimes.com/2013/mar/02/entertainment/la-et-cm-broken- ———.la-20130303. “Los Angeles’ Major Public Spaces Remain Broken Works in Progress.”

Los Angeles Times, - ———.view-20120725. “Review: Downtown’s Grand Park Makes Exuberant Use of a Tough Spot.” July 25, 2012. http://articles.latimes.com/2012/jul/25/entertainment/la-et-cm-grand-park-re Los Angeles Times (1923-Current File) Kaplan, Sam Hall. “New Ideas Offered in Plan to Revitalize Pershing Square.” . November 30, 1983, sec. PartLos V. Angeles Times (1923-Current File). August

———. “Winning Pershing Square Design Mirrors L.A.” 26, 1986, sec. Orange County. Los Angeles Times (1923-Current File) Kaplan, Tracey. “Architects and Artists Have Designs on New Pershing Square.” . June 18, 1986, sec. Part II. 115 Los Angeles Times. Accessed August 11, 2015. http://www.latimes.com/opinion/op-ed/la-oe-morrison-leh- Lehrer, Mia. “Mia Lehrer on What Makes a Successful Park, and How L.A. Can Build Them.”

rer-20140806-column.html#page=1. Los Angeles Times (1886- 1922). May 31, 1899. “LONG STREET PARADE.: Throngs of Spectators Along the Line of March.” Los Angeles Times, April 15, 1995. http://arti-

“Modest Proposal : Pershing Square: Soften the Edges.” cles.latimes.com/1995-04-15/local/me-54849_1_pershing-square.Los Angeles Times (1923-Current File).

Murphy, Kim. “Agency Sued Over Pershing Square Towers.” Murrell,August Ed. “Street 2, 1986, Preaching.” sec. Valley. Los Angeles Times (1886-1922). September 26, 1897.

Los Angeles Times (1886- “NEW 1922)HAND. MarchAT CITY’S 1, 1910, PLOW.: sec. Wonderful Editorial. Possibilities of Its Parks Explained; Superintendent Morley May Be Superseded; Ex-Judge Silent Criticises Present Conditions.”

Make Downtown’s Park a Success.” Los Angeles Downtown News. January 31, 1994. Newman, Morris. “Pershing Returns; Even with Purple Towers and Peach Balls, It’s People That Will “Parks and Freaks.” Los Angeles Times (1886-1922). May 16, 1910.

“PARK SPOUTERS NOT TOLERATED.: THE INFERIOR COURTS. EXHORTERLos BONSHEE Angeles MEETS Times (1886- GRIEF IN 1922)COURT.. June Socialist 4, 1904. Wind-Jammer Resented Being Seized by Patrolman, but an Army of Witnesses Couldn’t Save Him--German ‘Cussed’ Too Much. Police Court News.” Los Angeles Times (1886-1922). January 1, 1890.

“PARKS.: Report of the Board of Park Commissioners.” - Los Angeles Times (1923-Cur- “Park’srent Transients File) Displaced: Homeless: The Destitute Roam the City While Pershing Square Under goes a $14-Million Renovation to Make It ‘Accessible to Everyone.’” . September 20, 1992, sec. City Times. Parking.” Los Angeles Times (1923-Current File). January 27, 1947. “Pershing Square 2500-Car Garage Program Outlined: Four Underground Floors Would Be Used for Los Angeles Times (1923-Current File). August 17, 1950.

“Pershing Square Garage---at Last.” - cess.” Los Angeles Times (1886-1922). April 13, 1919, sec. Editorial. “PERSHING SQUARE PACKED.: Streets and Building Tops Too Small for Crowds; Luncheon Big Suc Los Angeles Times (1923-Current File). February 20, 1952. “Pershing Square Pigeons Greet Returning Tree.” Los Angeles Times (pre-1997 Fulltext) - al Writers Desk. “Pershing Square’s Future.” . June 27, 1986, sec. Metro; 2; Editori Los Angeles Times (1886-1922).

“Pershing Square, Where Los Angeles Stops to Rest in the Day’s Work.” December 1, 1918, sec. RotogravureLos Angeles Section. Herald. July 2, 1911, sec. Editorial Page.

“Public Rejoices in Central Park.” Los Angeles Times (pre-1997 Fulltext) Ratkovich, Wayne, and Janet Marie Smith. “Pershing Square and Its Future Direction.” . May 19, 1985, sec. Real Estate; 8; Real Estate Desk.

116 “REFERENDUM MAY HIT THE ROCKS.: STRANGELos WATERS Angeles BEFORE Times (1886-1922) THE GOO-GOO. June CRAFT; 14, 1910, City sec. Clerk Editorial.Certifies to Sufficiency of Municipal League Petition and the Hurry-Up Scheme of the Mayor Is to Be Put Through by the Council Today.”

Los Angeles Times (1923-Current File) Sahagun, Louis. “A New Angle: City Council Approves $14-Million Face Lift for Downtown’s Pershing Square.” . January 8, 1992,Los Angelessec. Valley. Times, May 28, 2014. http://www.latimes.com/science/la-me-la-river-approval-20140529-story.html. ———. “Army Corps to Recommend $1-Billion L.A. River Project.” Los Angeles Times Sanders,los-angeles-parks-20140113-story.html. Barry A. “L.A. -- from Park Poor to Park Rich, One Park at a Time - LA Times.” . January 15, 2014, sec. Opinion. http://www.latimes.com/opinion/op-ed/la-oe-sanders-

“SHEARER NAMED PARK ENGINEER.: WILL ALSO BELos ACTING Angeles SUPERINTENDENT Times (1886-1922). ONMay FULL 17, 1910, PAY;Long sec. Editorial.Search of Eastern HorizonEnds at Hollywood in Choice of aYoung Scotchman Who Has HadWide Experience--Pushing Plansfor Central Park.” Los Angeles Times. Accessed

Shyong,20151024-story.html. Frank. “Hundreds Gather for 6th Street Bridge Farewell Festival.” October 26, 2015. http://www.latimes.com/local/lanow/la-me-ln-sixth-street-bridge-farewell- Los Angeles Times (pre- 1997 Fulltext) Skelton, Nancy. “Pershing Square Plans The Street People Have Their Doubts.” . November 23, 1985, sec. Metro; 2; Metro Desk. Los Angeles Times (1923-Current File) Smith, Jack. “Getting on His Soap Box for a More Beautiful, Accessible Pershing Square.” Smith, Janet Marie. “Letter to the. AprilEditor.” 4, 1985,Los Angeles sec. Orange Times County.(1923-Current File)

. October 18, 1986, sec. Part II. Los Angeles Times (pre-1997 Fulltext). February 23, 1988, sec. Soble, Ronald L. “`It Begins with Benign Neglect, and Then Turns into a Hostile Environment. I Don’t Think There’s Any Villain in This.’.” Metro; 2; Metro Desk. Los Angeles Times (1923-Current File) ———. “Enlightened Self-Interest Fuels Plan to Revive Downtown’s Pershing Square.” “Some Needs of Los Angeles.” Los. April Angeles 1, 1984, Times sec. (1881-1886) Part IV. . December 20, 1885.

Los Angeles Times (1886-1922). November

“The City Beautiful: Its Avenues, Streets, Parks and Lakes.” 6, 1910, sec. Illustrated Magazine. Los Angeles Times (1881-1886). August 15, 1886. “THE CITY.: Its Location, Make-Up, Size, People and Prosperity.” Los Angeles Times (1923-Current File). January 24, 1951. Turner, Timothy G. “A Tear for Old Pershing Square.” Los Angeles Times (1923-Current File). May 7, 1952.

———. “Cultural Aspects of Pershing Square.” Los Angeles Times (1923-Current File). June 7, 1925. ———. “QUAINT TYPES ABOUT THE CITY: Pershing Square Philosophers.” Los Angeles Times (1923-Current File). December 23, 1935.

———. “Rediscovering-Los Angeles.”

117 Los Angeles Times (1923-Current File). February 23, ———. “Speech Free and Noisy in Pershing Square: Religious and Political Orators Draw Protests From Offices, Hotels Surrounding Block.” 1953, sec. LOCAL NEWS. Los Angeles Times (1923-Current File). September 2, 1948. ———. “The Flora and Fauna of Pershing Square.” Los Angeles Times (1923-Current File). Sep-

“Underground Auto Park at Pershing Square Proposed.” tember 1, 1944, sec. GENERAL NEWS. Los Angeles Times, May 8, 2007.

Vincent, Roger. “Downtown Condo Trend on the Rise to 76 Stories.” ———.http://articles.latimes.com/2007/may/08/business/fi-tower8. “Park Fifth Development to Fill in Missing Piece in Downtown L.A.” Los Angeles Times

html. . October 23, 2014. http://www.latimes.com/business/la-fi-property-report-park-fifth-20141023-story.

Los Angeles Times (1886-1922). June “WAVE26, ARMS, 1910, SPIEL sec. Editorial. AWAY.: Twittering ‘Sparrows’ Leave Central Park; Slobbering Socialists Lose Seats by Renovation; Many Idle Ones Are Driven from Paradise.”

Los Angeles Times (1923-Current File). May 19, Wood, James M., Rosalie Jenkins, Wayne Ratkovich, Janet Marie Smith, and et al. “Our Readers Write: Pershing Square and Its Future Direction.” 1985, sec. Part VIII.

118 THESES & DISSERTATIONS

Arnwine,collection/p15799coll16/id/626924/rec/79. Clark. “The City Seen: Cinematic Representation of Urban Space.” Doctor of Philosophy, University of Southern California, 2003. http://digitallibrary.usc.edu/cdm/compoundobject/

Asakura, Junichi. “An Analysis of Park Work in the Los Angeles Region.” M.S., University of Southern California, 1950. http://search.proquest.com.ezp-prod1.hul.harvard.edu/ Bohn, docview/1652839627/abstract/3E24CF88367F4DD0PQ/4.Jeffrey L. “Wonder Boys: Tales of the Extraordinarily Queer Adolescent.” Doctor of Philosophy,

collection/p15799coll127/id/164782/rec/62. University of Southern California, 2006. http://digitallibrary.usc.edu/cdm/compoundobject/

Booth, Wayne E. “An Investigation of Free Speech as Practiced in Pershing Square, a Painting.” M.A., University of Southern California, 1950. http://search.proquest.com.ezp-prod1.hul.harvard.edu/ docview/1626046444/abstract/3E24CF88367F4DD0PQ/1.

Bowie, Patricia Carr. “The Cultural History of Los Angeles, 1850-1967: From Rural Backwash to World Center.” Doctor of Philosophy, University of Southern California, 1980. http://digitallibrary.usc. edu/cdm/compoundobject/collection/p15799coll36/id/112362/rec/80.

Climie,p15799coll24/id/250939/rec/75. Margaret Sarah. “Southern California in American Fiction.” Master of Arts, University of Southern California, 1925. http://digitallibrary.usc.edu/cdm/compoundobject/collection/

Dean, Helencollection/p15799coll40/id/19072/rec/78. Campbell. “The Adolescent Migratory Boy: A Study in Social Mobility.” Master of Arts, University of Southern California, 1929. http://digitallibrary.usc.edu/cdm/compoundobject/

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