DOCSLIB.ORG

Academy Initial Study for Reuse, May 24, 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Academy Initial Study for Reuse, May 24, 2013 INITIAL STUDY ACADEMY MUSEUM OF MOTION PICTURES PROJECT CITY OF LOS ANGELES, CALIFORNIA MAY 2013 INITIAL STUDY ACADEMY MUSEUM OF MOTION PICTURES PROJECT CITY OF LOS ANGELES, CALIFORNIA Prepared for: City of Los Angeles Planning Department 200 N. Spring Street, Room 721 Los Angeles, CA 90012 Prepared by: PCR Services Corporation 201 Santa Monica Boulevard Suite 500 Santa Monica, CA 90401 MAY 2013 Table of Contents Page ENVIRONMENTAL CHECKLIST ATTACHMENT A ‐ PROJECT DESCRIPTION ................................................................................................................ A‐1 A. Introduction ........................................................................................................................................................................ A‐1 B. Project Location and Surrounding Uses .................................................................................................................. A‐2 C. Project Background and Existing Conditions ........................................................................................................ A‐5 D. Description of the Project .............................................................................................................................................. A‐7 E. Anticipated Project Approvals .................................................................................................................................. A‐19 ATTACHMENT B: EXPLANATION OF CHECKLIST DETERMINATIONS ............................................................. B‐1 I. Aesthetics ............................................................................................................................................................................. B‐1 II. Agriculture and Forest Resources.............................................................................................................................. B‐3 III. Air Quality ............................................................................................................................................................................ B ‐ 5 IV. Biological Resources ........................................................................................................................................................ B‐6 V. Cultural Resources ........................................................................................................................................................... B‐9 VI. Geology and Soils ........................................................................................................................................................... B‐10 VII. Greenhouse Gas Emissions ........................................................................................................................................ B‐13 VIII. Hazards and Hazardous Materials .......................................................................................................................... B‐14 IX. Hydrology and Water Quality ................................................................................................................................... B‐17 X. Land Use and Planning ................................................................................................................................................ B‐20 XI. Mineral Resources ......................................................................................................................................................... B‐21 XII. Noise .................................................................................................................................................................................... B‐22 XIII. Population and Housing .............................................................................................................................................. B‐23 XIV. Public Services ................................................................................................................................................................ B‐24 XV. Recreation ......................................................................................................................................................................... B‐27 XVI. Transportation and Circulation ............................................................................................................................... B‐27 XVII. Utilities and Service Systems .................................................................................................................................... B‐30 XVIII. Mandatory Findings of Significance ....................................................................................................................... B‐39 APPENDICES Appendix A, Academy Museum Project: Surface Water Hydrology and Water Quality Conditions Appendix B, Academy Museum Project: Water and Wastewater Service Data City of Los Angeles Academy Museum of Motion Pictures Project PCR Services Corporation i Table of Contents May 2013 List of Figures Page A‐1 Regional and Project Vicinity Map ........................................................................................................................... A‐3 A‐2 Aerial Photograph of Project Site and Vicinity .................................................................................................... A‐4 A‐3 Proposed Site Plan ....................................................................................................................................................... A‐11 A‐4 North/South Section: Project Site along Fairfax Avenue ............................................................................. A‐12 A‐5 East/West Section: Project Site and LACMA Campus .................................................................................. A‐13 A‐6 Museum Entrance and New Wing ......................................................................................................................... A‐14 List of Tables Page A‐1 Proposed Development Program .......................................................................................................................... A‐15 B‐1 Estimated Construction & Demolition Waste Generation ........................................................................... B‐35 B‐2 Estimated Operational Solid Waste Generation .............................................................................................. B‐36 B‐3 Estimated Electricity Use .......................................................................................................................................... B‐37 B‐4 Estimated Natural Gas Use ....................................................................................................................................... B‐38 City of Los Angeles Academy Museum of Motion Pictures Project PCR Services Corporation ii ENVIRONMENTAL CHECKLIST FORM CITY OF LOS ANGELES OFFICE OF THE CITY CLERK ROOM 615, CITY HALL LOS ANGELES, CALIFORNIA 90012 CALIFORNIA ENVIRONMENTAL QUALITY ACT INITIAL STUDY AND CHECKLIST (Article IV B City CEQA Guidelines) LEAD CITY AGENCY COUNCIL DISTRICT DATE City of Los Angeles Department of City Planning 4 May 16, 2013 RESPONSIBLE AGENCIES City of Los Angeles Department of City Planning, California Department of Toxic Substances Control (DTSC), Los Angeles Regional Water Quality Control Board, California Department of Transportation (CalTrans ‐ District 7), South Coast Air Quality Management District (SCAQMD), Southern California Association of Governments (SCAG), Los Angeles County Sanitation Districts PROJECT TITLE/NO. CASE NO. Academy Museum of Motion Pictures Project PREVIOUS ACTIONS CASE NO. DOES have significant changes from previous actions. N/A DOES NOT have significant changes from previous actions. PROJECT DESCRIPTION: See Attachment A. ENVIRONMENTAL SETTING: The Project Site is located at the western edge of the LACMA Campus at the May Company Building, known in recent years as LACMA West. LACMA forms the western edge of Museum Row, the segment of Wilshire Boulevard between Fairfax Avenue and La Brea Boulevard also occupied by the George C. Page Museum at the Rancho La Brea Tar Pits, the Craft and Folk Art Museum, and the Petersen Automotive Museum. Museum Row is within the City‐designated Miracle Mile Community Design Overlay District within the area bounded by Sixth Street on the north, Eighth Street on the south, Sycamore Avenuee on th east, and Fairfax Avenue on the west. The Project area is generally highly urbanized, with the 160‐acre Park La Brea residential neighborhood to the north; a mix of museums, galleries, cultural institutions, and commercial business along Wilshire Boulevard to the south; and commercial uses to the to the east across Curson Avenue and to the west across Fairfax Avenue. For further discussion, see Attachment A, Project Description. PROJECT LOCATION The Project Site is located at 6067 Wilshire Boulevard, at its intersection with Fairfax Avenue, in the Wilshire Community Plan Area of the City of Los Angeles. Regional access to the site is provided by the Santa Monica Freeway (US 10), located approximately 2.0 miles to the south, and the Hollywood Freeway (US 101) located approximately 3.5 miles to the northeast. Major arterials in the project vicinity include Third Street, Sixth Street, and Beverly Boulevard to the north; Fairfax Avenue and San Vicente Boulevard to the west; Wilshire and Olympic Boulevards to the south; and La Brea Avenue and Highland Avenue
Load more

Recommended publications
  • ABSOLUTELY Press Kit Aug 25
    1 ABSOLUTELY MODERN A NEW Film BY PHILIPPE MORA “Modern paintings are like women, you'll never enjoy them if you try to understand them.” Freddie Mercury PRESS KIT Inquiries: morafilms@ gmail.com https://www.facebook.com/pages/Absolutely- Modern/429822753746917 2 ABSOLUTELY MODERN is "Absolutely funny, fresh and thought- provoking. Philippe Mora at his best." Piotr Czerkawski, Film Critic Wroclaw “..there is a genuine heart and soul to the film that is something of a passion project for Mora.” Laurence Boyce Screen Daily “The creation here (of Lord Steinway) is definitely a masterpiece.” Anna Tatarska FRED Radio, The Festival Insider “Mora’s films break all conventions, combine different styles and are nearly always saturated with rebellious, surrealistic humor.” Adam Kruk Film Critic, New Horizons “Mora tells perhaps one of his most personal stories to date as he examines art and modernism. Mora, who casual fans would most likely know from such films as Communion and cult classic The Return of Captain Invincible, unsurprisingly does not tell the tale with any regard for the norms of convention..” Screen International “Philippe Mora…French Australian director legend.” Der Spiegel May 2013 3 SYNOPSIS OF THE FILM This story of Modernism, muses and the role of sexuality in art are told by famed art critic Lord Steinway. When a soccer player, confronts Steinway as his son, the story takes a modernist twist itself. This comedy hit at the 2013 New Horizons International Film Festival takes the form of a hybrid of fact and fiction about Lord Steinway, the “Method” art critic, making his television show THE EPIC OF CIVILIZATION.
    [Show full text]
  • Centralizing the Mobile: the Los Angeles County Museum of Art's
    Centralizing the Mobile: The Los Angeles County Museum of Art’s Outdoor Installations BY KATIE ANTONSSON The Los Angeles County Museum of Art has been struggling with its role in Los Angeles life since its creation in 1961. Originally part of the Los Angeles Museum of Science, History and Art (est. 1910), LACMA branched off and established itself as a separate art museum in 1961, opening its doors to the public in 1965. During the late 80s and early 90s, the museum devoted itself to opening up new buildings and galleries for new acquisitions, which both expanded and fragmented the museum. For its most recent crusade, LACMA strives to become the cultural center of Los Angeles under the tutelage of director Michael Govan. In a county of nine million citizens spread over 4700 square miles, centralization is a near impossible proposition, but Govan’s innovative thinking has helped propel LACMA to its highest status within Los Angeles life yet, commissioning massive outdoor installations to engage an audience and symbolize a city. From its inception, LACMA’s founders determined to make their museum the west coast answer to the Metropolitan Museum of Art in New York City. John Walker, a board member during the museum’s early years, explained, “Of course, the Met has a 100-year advantage, but I believe Los Angeles to have the financial resources and the civic enthusiasm to build a great general collection [from] AD 1200 to our own time.”1 With the founding 1 Christopher Knight, "LACMA's Overhaul Is a Work in Progress." Los Angeles Times, 02 Mar.
    [Show full text]
  • Art Los Angeles Reader ACID INTERIORS | Nº 3 | JANUARY 2017
    JANUARY 2017 Art Los Angeles Reader ACID INTERIORS | Nº 3 | JANUARY 2017 Pool The new fragrance by Sean Raspet Available for a limited time at reader.la/pool ART LOS ANGELES READER Art Los Angeles Reader ACID INTERIORS | Nº 3 | JANUARY 2017 Lost Enchantment From the Editor Interior designer Tony Duquette was known for bedazzling style. A short-lived Malibu ranch would have been his crown jewel. Kate Wolf Every single scene in Rainer Werner 1970s black artists’ interventions into public Fassbinder’s newly rediscovered World on a space, to see what rituals and reorientations Wire features two central colors: burnt or- were required for making the city a place ange and emerald blue. Made in 1973, that they could inhabit. And Travis Diehl digs into Infrastructure Sketches era’s cybernetic systems thinking (everything the history of the New York Times’ coverage In the late 1970s, Barbara McCullough and Senga Nengudi exited Ed Ruscha's is related) found an exquisite analogue in the of LA art, diagnosing a host of antipathic, freeway and claimed land under the off-ramps. conspiracy theory of simulation, which mo- boostered biases. Aria Dean tivates the film’s science fiction plot (we’re The theme acid interiors is inspired by stuck in a virtual reality, we just have no idea). William Leavitt’s theatrical obsession with The colors of the interiors seem to prove the mid-century design, his installations of ge- protagonist’s suspicion: in his apartment, his neric sets that deal with the drama of stuff. Pool office, the restaurant, his secretary’s jacket, I am thrilled to present a work Leavitt made A new fragrance made with synthetic compounds.
    [Show full text]
  • Summmer 2012
    Community Connections Meetings A MESSAGE FROM Meetings are in City Hall Elected THE CITY TREASURER and the Community Center OffMiacyoir als The City of Carson has established a Fraud unless otherwise noted, and are open to the public. Jim Dear Hotline to fight fraud and protect Mayor Pro Tem taxpayer’s dollars. The Hotline is an Police & Fire Jobs City Council/Redevelopment option for anyone wishing to anonymously Emergencies 911 Job Clearinghouse Agency 6 p.m., Julie Ruiz-Raber (310) 233-4888 1st and 3rd Tuesdays report illegal or unethical activity on the Animal Control Councilmember part of the City, its officials, employees, Carson Animal Shelter Libraries Citywide Advisory Commission Elito M. Santarina (310) 523-9566 Carson Regional 7 p.m., 2nd Thursday contractors or vendors. The Hotline is (Only when necessary) Birth, Death, (310) 830-0901 Councilmember open 24 hours a day, 7 days a week and Marriage Records Dr. Martin Luther King, Jr. Economic Development Commission Mike A. Gipson interpreters are available in 20 different County Registrar-Recorder (310) 327-4830 8 a.m., 1st Thursday, (562) 462-2137 Community Center Councilmember languages. Parking Lula Davis-Holmes Building Permits Enforcement Environmental Commission Calls placed to the Hotline are confidential (800) 654-7275 Building & Safety, 6:30 p.m., 1st Wednesday City Clerk and handled by a third party vendor. You (310) 952-1766 Parks & Recreation Cultural Arts Commission Donesia Gause do not have to give your name and your (310) 847-3570 6 p.m., 1st Monday Public Transit and City Treasurer call is not recorded through the use of Dial-A-Ride (only when necessary) Post Office Karen Avilla recording devices, caller identification (310) 952-1779 Main No., (800) 275-8777 Human Relations Commission Hearing Impaired 6:00 p.m., 3rd Wednesday City Manager equipment or any other means.
    [Show full text]
  • The Changing Institutional Role of the Art Museum in the United States
    Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-17-2014 The Changing Institutional Role of the Art Museum in the United States Evelyn Ramirez-Schultz Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Arts Management Commons, Communication Commons, and the Nonprofit Administration and Management Commons Recommended Citation Ramirez-Schultz, Evelyn, "The Changing Institutional Role of the Art Museum in the United States" (2014). MALS Final Projects, 1995-2019. 101. https://creativematter.skidmore.edu/mals_stu_schol/101 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. The Changing Institutional Role of the Art Museum in the United States By Evelyn Ramirez-Schultz Submitted in Partial Fulfillment of the Requirements for the Master of Arts in Liberal Studies Degree The Masters Program Skidmore College Saratoga Springs, NY April 2014 Abstract This final project examines the changing role of the art museum in the United States in the last half century. The goal is to show how external and internal forces have influenced a sea change in museums resulting in more engaging and accessible institutions. Through an examination of the forces that motivated these changes, the project explores and compares the two major institutions--the Los Angeles County Museum of Art and the Art Institute of Chicago--in the areas of audience development and outreach; programming, collections and exhibits and education and outreach.
    [Show full text]
  • Reflecting Los Angeles, Decentralized and Global Los Angeles County Museum of Art
    CASE STUDY Reflecting Los Angeles, Decentralized and Global Los Angeles County Museum of Art January 23, 2017 Liam Sweeney The Andrew W. Mellon Foundation Copyright 2018 The Andrew W. Mellon endeavors to strengthen, promote, Foundation.. This work is licensed under a Creative Commons Attribution- and, where necessary, defend the NonCommercial 4.0 International contributions of the humanities and License. To view a copy of the license, the arts to human flourishing and to please see http://creative- the wellbeing of diverse and commons.org/licenses/by-nc/4.0/. democratic societies. The Mellon Foundation encourages distribution of the report. For questions, please write to [email protected]. Ithaka S+R provides research and strategic guidance to help the academic and cultural communities serve the public good and navigate economic, demographic, and technological change. Ithaka S+R is part of ITHAKA, a not-for-profit organization that works to advance and preserve knowledge and to improve teaching and learning through the use of digital technologies. Artstor, JSTOR, and Portico are also part of ITHAKA. LACMA: REFLECTING LOS ANGELES, DECENTRALIZED AND GLOBAL 1 The Los Angeles County Museum of Art is distinguishable from other US encyclopedic museums in three aspects: it is the largest North American art museum west of the Mississippi; it is the youngest encyclopedic museum in the United States; and it is situated in one of the most ethnically diverse metropolises in the world. These characteristics interact in a number of meaningful ways under the museum’s current leadership, allowing its local and global ambitions to complement one another.
    [Show full text]
  • RAMIRO GOMEZ Portfolio
    RAMIRO GOMEZ Portfolio ).'82/+0'3+9-'22+8? RAMIRO GOMEZ Biography Ramiro Gomez was born in 1986 in San Bernardino, California to undocumented Mexican immigrant parents who have since become US citizens. He briefly attended the California Institute for the Arts before leaving to take work as a live-in nanny with a West Hollywood family, an experience that did much to inform his subsequent artistic practice. In 2013 Gomez had his first solo exhibition at the UCLA Chicano Studies Research Center, and was also awarded with a residency to install a mural in West Hollywood Park, a project titled The Caretakers, which remains on view. In 2014 Gomez had his solo gallery debut at Charlie James Gallery in Los Angeles, and went on to show widely across North America. In 2015 Gomez exhibited at the University of Michigan Institute for the Humanities, the Chicago Humanities Festival, and again at Charlie James Gallery. Gomez’s work has been covered in the New York Times Magazine, the Washington Post, NPR, the Los Angeles Times, Hyperallergic, Huffington Post, and CNN. In the spring of 2016, Gomez had his third show at the Charlie James Gallery in conjunction with the publication of a monograph on his work by Lawrence Weschler (Abrams). Gomez lives and works in West Hollywood, California. RAMIRO GOMEZ On Melrose April - June 2016 RAMIRO GOMEZ On Melrose Paul Smith Store, Los Angeles Acrylic on canvas 72 x 72 inches 2015 RAMIRO GOMEZ On Melrose Fred Segal Store, Los Angeles Acrylic on canvas 72 x 72 inches 2016 RAMIRO GOMEZ On Melrose The Broad Acrylic
    [Show full text]
  • Boulder Arrival Advisory
    ^ FOR IMMEDIATE RELEASE Media Advisory LACMA TO COMPLETE TRANSPORT OF BOULDER FOR MAJOR ARTWORK, LEVITATED MASS, BY ARTIST MICHAEL HEIZER 340-TON MEGALITH IS SCHEDULED TO ARRIVE AT LACMA ON SATURDAY morning, MARCH 10, COMPLETING 105-MILE JOURNEY FROM RIVERSIDE COUNTY WHAT: The 340-ton megalith that is to be part of artist Michael Heizer’s monumental artwork, Levitated Mass , is scheduled to arrive at the Los Angeles County Museum of Art (LACMA) early in the morning of Saturday, March 10 . The boulder will begin the last leg of its journey from its final planned stop in downtown Los Angeles ( at Figueroa Street, between 63rd and 65th Streets ), passing such landmarks as the Coliseum, Exposition Park, Wiltern Theater, La Brea Tar Pits, and LACMA’s own Urban Light as it travels down Wilshire Boulevard to arrive at the museum. Due to its massive size, the boulder has required a complex and thoroughly reviewed transportation process from the quarry in Riverside County to the museum, with movement happening only at night. Once complete, its transportation (made possible by Hanjin Shipping) will have taken place over the course of eleven nights, traveling through four counties and twenty-two cities. For the current boulder location, route map, and most up-to-date information regarding the transport, visit lacma.org/levitatedmass The boulder is one component of the greater artwork, Levitated Mass , which features a 456-foot-long concrete slot constructed on LACMA’s campus, over which the boulder sits. As visitors walk along the slot, it gradually descends to fifteen feet deep, running underneath the megalith, before ascending back up .
    [Show full text]
  • Eyes on the Desert by Carol Kino
    ARTDESK 35 earth man by carol kino in nevada, the father of modern land art, michael heizer, thrives in positive and negative space. a master of working with earth —“the original source material” — he is at last nearing completion on city, the world’s largest contemporary artwork, begun in 1972. i firsT beCame aware Of miChael heizer’s wOrk they were actually steel-lined holes that penetrated in 2003, just before Dia:Beacon, a branch of the Dia far into the earth, for a distance I later learned was Art Foundation, opened in an old factory on the twenty feet. Hudson River ninety minutes north of New York Nearing those Cor-Ten-clad depths was a City. With 240,000 square feet of brilliantly skylit breathtaking experience; they shone alluringly, as if exhibition space, filled by the work of minimalists daring you to approach. And back then, before the like Donald Judd and land artists like Walter De museum opened, you actually could. By lying on Maria, the galleries were glorious. But the only your stomach and carefully inching toward the edge, artwork I really remember from that trip was a series you could see into the voids, which turned out to be of mysterious voids that had been sunk into the floor a cube that led into a second, darker cube; a pointed at the end of the building. cone; a steeply angled wedge; and an inverted cone From far off, it looked as though someone had whose depths suggested an abyss. The experience incised four black geometric silhouettes against the was so terrifying and awe-inspiring that it completely concrete—a circle, a rectangle, another circle, and a dwarfed the Dan Flavin fluorescent-bulb works, Fred square—laid out in a rhythmic line, like shapes in a Sandback string installations, and Lawrence Weiner Constructivist painting.
    [Show full text]
  • Council Sets Hollywood's Target Project Back on Track
    WWW.BEVERLYPRESS.COM INSIDE • Beverly Hills opens first Cloudy with dog park p. 8 temps in the mid 60s Volume 26 No. 18 Serving the West Hollywood, Hancock Park and Wilshire Communities May 5, 2016 Council sets Hollywood’s Homeless population continues to grow nTarget project back on track n Neighborhood leaders Unsheltered estimates increase by 21 percent vow to halt project again By GreGory Cornfield Total homeless population: By edwin folven 2015: 44,359 According to the results of the 2016: 46,874 The Los Angeles City Council county’s homeless count earlier this Veteran homeless: approved a plan Wednesday to put year, the crisis has worsened over the unfinished Target project at the past year. 2015: 4,362 Sunset Boulevard and Western The Los Angeles Homeless 2016: 3,071 Avenue back on track. Services Authority (LAHSA) The council unanimously voted announced Wednesday that volun- Council District 13: to approve an amendment to the teers tallied 46,874 individuals 2015: 2,270 Station Neighborhood Area Plan experiencing homelessness in January – a 6 percent increase in the 2016: 3,036 (SNAP) that will enable construc- District 5: tion to resume on the project. The county, and 11 percent in the city amendment allows a 74-foot Target over last year. 2015: 879 The unsheltered population in the building at the location, which is photo by Edwin Folven 2016: 913 zoned for 35-foot-tall structures. city increased by 21 percent. District 4 The change would only pertain to The Target project at Sunset Boulevard and Western Avenue may Council District 13 saw a 34 per- the Target site.
    [Show full text]
  • KPCC-KVLA-KUOR Quarterly Report APR-JUNE 2012
    Quarterly Programming Report APR-JUNE 2012 KPCC / KVLA / KUOR Date Key Synopsis Guest/Reporter Duration 4/1/2012 LAW Pasadena Police have charged a man after falsely reporting he had been robbed at gunpoint. Aguilar 2:32 4/2/2012 TRAN The California High Speed Rail Authority plans to release its updated business plan. CC :14 Pasadena police officers are listed as victims in report on the matter of the fatal shooting of 4/2/2012 LAW unarmed teen Kendrec McDade. CC :17 4/2/2012 ENV High surf hits Los Angeles and Orange Counties. CC :18 4/2/2012 RELI Jewish and Japanese elders join together for a seder in Boyle Heights. CC :17 A series of late March storms increased the snowpack in the Sierra but not enough to make up for 4/2/2012 ENV California's dry winter. CC :17 4/2/2012 ECON What's left of a big Inland Empire RV maker will go on the auction block. Cuevas :53 4/2/2012 LAW The former leader of a major Mexican drug trafficking organization was sentenced in San Diego. Hurtes :46 4/2/2012 TRAN New survey says airline performance is improving. Hurtes :51 Ma Zhengang was a junior level diplomat when he worked on President Nixon's visit to the 4/2/2012 HIST People's Republic. Joyce :50 4/2/2012 ENT The people at Lionsgate are bracing for a box office bonanza. Moran :56 The first major overhaul of Burbank's General Plan addresses noise, mobility, safety, and open 4/2/2012 SFV space issues.
    [Show full text]
  • Wilshire Historic Districts, Planning Districts and Multi-Property Resources – 01/26/15
    Wilshire Historic Districts, Planning Districts and Multi-Property Resources – 01/26/15 Name: Berendo Junior High School Description: Berendo Junior High School is located at 1157 South Berendo Street in the Koreatown area of central Los Angeles. Sited on a rectangular, roughly 18-acre parcel, it is bounded by West 11th Street, West 12th Street, South Berendo Street and South Kenmore Avenue. The campus today consists of roughly 15 buildings; however, the original campus is composed of six buildings at the corner of South Berendo Street and West 12th Street. Of the six buildings on the original campus, four (the administrative building, auditorium, cafeteria, and gymnasium) were constructed in the Streamline Moderne style as part of Los Angeles Unified School District rebuilding efforts after the 1933 Long Beach earthquake. The campus was extended by two and a half blocks westward to include larger play areas, parking lots and classroom buildings, beginning in the 1950s and continuing through the 1980s. Significance: Berendo Junior High School is significant as an excellent example of an LAUSD junior high school campus that was built in response to the substantial damage school campuses incurred during the 1933 Long Beach earthquake. The school’s location was originally occupied by the Pico Heights School, built in 1896 to serve the area’s rapidly growing population. Shortly after its construction, the school burned down. It was rebuilt in 1911 as Berendo Street Elementary School; its name was changed circa 1915 to Berendo Intermediate School, and then to Berendo Junior High School circa 1922. The school is now referred to as Berendo Middle School.
    [Show full text]