3.0 General Description of Environmental Setting

Total Page:16

File Type:pdf, Size:1020Kb

3.0 General Description of Environmental Setting 3.0 GENERAL DESCRIPTION OF ENVIRONMENTAL SETTING Section 15125 of the State CEQA Guidelines requires that an EIR include a description of the existing environment. This chapter provides a general overview of the environmental setting for the Project, however, detailed information on existing conditions is provided for each environmental topic studied in Chapter 4.0, Environmental Impact Analysis. This chapter also provides an overview of related projects that are considered as part of the future conditions in evaluating cumulative impacts. A. OVERVIEW OF ENVIRONMENTAL SETTING 1. On‐Site Conditions The Project Site is located within the mid‐City area, on the Miracle Mile corridor along Wilshire Boulevard. Specifically, the Project Site is within the LACMA Campus on an approximately 2.2‐acre site at 6067 Wilshire Boulevard at the northeast corner of Wilshire Boulevard and Fairfax Avenue. The majority of the Project Site is currently developed with the approximately 265,900‐square‐foot, five‐level May Company Building. The remainder of the Project Site includes a loading dock, service driveways, and a gravel area north of the May Company Building, and pedestrian walkways that provide access from the Pritzker Garage and LACMA. Vehicular access to the LACMA Campus and Project Site is provided via Wilshire Boulevard, Fairfax Avenue, and Sixth Street. Sixth Street provides access to the underground Pritzker Garage that serves LACMA. Access to LACMA’s Spaulding Lot is provided on Spaulding Avenue south of the intersection of Wilshire Boulevard and Spaulding Avenue. Regional access is provided by the Santa Monica freeway (I‐10) and Hollywood freeway (US 101). Public transit service is provided along Wilshire Boulevard and Fairfax Avenue. Pedestrian and bicycle access to the Project Site is provided from Wilshire Boulevard, Fairfax Avenue, and Sixth Street. The building is currently used by LACMA for art storage and is also temporarily housing some Academy staff during renovation of the Academy’s existing Beverly Hills headquarters. 2. Surrounding Uses The Project Site is located at the western edge of the LACMA Campus. LACMA serves as the anchor and western edge of Museum Row, a stretch of Wilshire Boulevard between Fairfax Avenue and La Brea Avenue. Museum Row includes five museums: LACMA, Page Museum, the Petersen Automotive Museum, the A+D Architecture and Design Museum, and the Craft and Folk Art Museum. The LACMA Campus is comprised of LACMA West and LACMA East, generally west and east of the vacated Ogden Drive. LACMA West encompasses approximately 8 acres and includes the May Company Building, Broad Contemporary Art Museum, and the Resnick Exhibition Pavilion. LACMA East is located within the approximately 23‐acre Hancock Park, along with the Page Museum/La Brea Tar Pits, on land owned by the County. LACMA East includes five buildings: the Ahmanson, Hammer, Art of the Americas, Bing Center, and the Pavilion for Japanese Art. Surrounding off‐site land uses include the 160‐acre Park La Brea residential neighborhood to the north across Sixth Street; a mix of museums, galleries, cultural institutions, and commercial business along Wilshire Boulevard to the south including the Petersen Automotive Museum and A+D Architecture and Design Museum; commercial uses to the west across Fairfax Avenue; and commercial uses to the east across Curson Avenue. The future Metro Westside Subway Extension (anticipated to be operational in 2023) will be located beneath the intersection of Wilshire Boulevard and Fairfax Avenue and the Wilshire/Fairfax Station entrance will be located on the southeast corner of Wilshire Boulevard and Orange Grove Avenue. City of Los Angeles Academy Museum of Motion Pictures Project SCH #2013051086 3‐1 3.0 General Description of Environmental Setting August 2014 Specifically, the Project Site is bordered on the north by the Resnick North Lawn, which contains the “Levitated Mass” outdoor installation; on the northeast by the Resnick Exhibition Pavilion; and on the east by the Broad Contemporary Art Museum and stairs to the Pritzker Garage. 3. Existing Conditions For more detailed descriptions of existing conditions that are specific to each of the environmental issues analyzed in this Draft EIR, see Chapter 4, Sections 4.A through 4.J. B. RELATED PROJECTS CEQA requires that EIRs analyze cumulative impacts. As defined in the State CEQA Guidelines Section 15355, a cumulative impact consists of an impact which is created as a result of the combination of the project evaluated in the EIR together with other projects causing related impacts. State CEQA Guidelines Section 15130(a) states that an EIR must discuss cumulative impacts of a project when the project's incremental effect is cumulatively considerable, as defined in Section 15065(a)(3). Where a lead agency is examining a project with an incremental effect that is not “cumulatively considerable,” a lead agency need not consider that effect significant, but must briefly describe its basis for concluding that the incremental effect is not cumulatively considerable (Section 15130(a)). However, an EIR should not discuss impacts which do not result in part from the project evaluated in the EIR. Furthermore, when the combined cumulative impact associated with the project's incremental effect and the effects of other projects is not significant, the EIR must briefly indicate why the cumulative impact is not significant and is not discussed in further detail in the EIR. A lead agency must identify facts and analysis supporting the lead agency’s conclusion that the cumulative impact is less than significant. In addition, State CEQA Guidelines Section 15130(b) indicates that the analysis of cumulative impacts shall reflect the severity of the impacts and the likelihood of occurrence, but the discussion need not provide as great of detail as provided for the effects attributable to the project alone. Instead, the discussion should be guided by the standards of practicality and reasonableness, and should focus on the cumulative impact to which the identified other projects contribute rather than the attributes of the other projects which do not contribute to the cumulative impact. A project has “cumulatively considerable” or significant cumulative impacts, when its incremental effects “are considerable when viewed in connection with the effects of past projects, the effects of other current projects, and the effects of probable future projects.” For an adequate discussion of significant cumulative impacts, the State CEQA Guidelines (Section 15130(b)(1)(A) and (B)) allow an EIR to determine cumulative impacts and reasonably foreseeable growth based on either of the following methods: . A list of past, present, and probable future projects producing related or cumulative impacts; or . A summary of projections contained in an adopted general plan or related planning document, or in a prior environmental planning document which has been adopted or certified, which described or evaluated regional or area‐wide conditions contributing to the cumulative impact. City of Los Angeles Academy Museum of Motion Pictures Project SCH #2013051086 3‐2 August 2014 3.0 General Description of Environmental Setting For the purposes of the cumulative impacts analysis for the Project, the City has opted to use the list approach for evaluating cumulative effects. Based on information provided by the cities of Los Angeles, Beverly Hills, and West Hollywood, the City developed a list of past, present and probable future projects. The list of identified related projects is provided in Table 3‐1, Related Projects List, with the locations of each of the related projects listed in Figure 3‐1, Related Projects Map. Although the projects listed in Table 3‐1 serve as the primary bases for evaluation of cumulative impacts, the approach to these analyses vary for certain environmental issues. The cumulative analyses for each environmental issue are provided in their applicable sections in Chapter 4.0, Environmental Impact Analysis, of this Draft EIR. In addition to the above list of related projects, the Metro Westside Subway Extension is planned beneath Wilshire Boulevard south of the Project Site, and the station entrance will be located on the south side of Wilshire Boulevard between Orange Grove Avenue and Ogden Drive (see Figure 2‐2, Aerial Photograph of Project Site and Vicinity, of this Draft EIR). Service to this future station is anticipated to begin in 2023. Accordingly, the Metro Westside Subway Extension project is also considered in the analysis for certain topics where there is potential for cumulative impacts in association with the Project. City of Los Angeles Academy Museum of Motion Pictures Project SCH #2013051086 3‐3 August 2014 3.0 General Description of Environmental Setting Table 3‐1 Related Projects List* Map No. Project Address City Land Use Size 1 Wilshire Skyline 6411 W Wilshire Blvd Los Angeles Apartments 130 du Retail 32,000 sf (Remove Restaurant) (9,600 sf) 2 Desmond's Tower 5500 W Wilshire Blvd Los Angeles Multi‐Family Residential 175 dua 2005‐CEN‐2081 3 LA Holocaust Museum 7600 W Beverly Blvd Los Angeles Museum 8,375 sf 4 La Brea Mixed Use 101 S La Brea Ave Los Angeles Condominiums 118 du Retail 26,400 sf Restaurant 3,000 sf 5 Third Street Mixed Use 5863 W 3rd St Los Angeles Apartments 60 du Retail 5,250 sf 6 Office and Restaurant 725 S Curson Ave Los Angeles Office 28,800 sf Restaurant 800 sf 7 Existing Office – 5900 Wilshire Blvd Los Angeles Office Expansion 7,000 sf Add Restaurants and High‐Turnover Rest. 3,500 sf Expand Office Lobby Restaurant 15,613 sf 8 Condominiums 300 S Wetherly Dr Los Angeles Condominiums 140 du 9 Mixed Use 915 La Brea Ave Los Angeles Apartments 219 du Market 35,000 sf Office 14,530 sf Studio 42,136 sf 10 Pico Community Center 9001 W Pico Blvd Los Angeles Private School 425 students Retail 9,000 sf Apartments 31 du 11 Cedars‐Sinai Medical 8723 W Alden Dr Los Angeles Hospital Medical Building 100 beds Center ‐ West Tower with New Parking Facility City of Los Angeles Academy Museum of Motion Pictures Project SCH #2013051086 3‐4 August 2014 3.0 General Description of Environmental Setting Table 3‐1 (Continued) Related Projects List* Map No.
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]
  • 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 ............................................................
    [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]