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  #4401  
Old Posted Apr 11, 2008, 7:47 PM
JDRCRASH JDRCRASH is offline
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Originally Posted by Echo Park View Post
I've always ribbed on LA Live because I hate the design and the whole insular mall feel I believe it somewhat gives off and the ugly shameless preoccupation with massive billboards. But one thing I will give credit to the project for is it will achieve one thing DTLA has always lacked: stability. LA Live is here to stay, meaning whatever tenuous grip the economy has on DTLA, we can now guarantee that there will always be activity in DTLA because so many events will be held there thanks to LA Live and there will be a flow of people. The same could be said for Staples Center, and certain Staples Center helped jumpstart the DTLA renaissance, but La Live is a more fleshed out project that will give that area a bit more of a hollywood feel
What are you talking about? We need more billboards!!! I mean, we are the Entertainment Capital of the World!!!!
     
     
  #4402  
Old Posted Apr 11, 2008, 8:02 PM
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What are you talking about? We need more billboards!!! I mean, we are the Entertainment Capital of the World!!!!
Sure because billboards = entertainment. BILLBOARDS EVERYWHERE!!!



PEANUT BUTTER JELLY TIME!!!! WHERE HE AT???? WHERE HE AT????? THERE HE GO!!!!! THERE HE GO!!!!

     
     
  #4403  
Old Posted Apr 11, 2008, 8:13 PM
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Not ugly billboards, super graphic type stuff! Covering up ugly parts of buildings! (though this trend of purposefully building barren areas of a facade because its going to have a billboard over it is a little...cheap)
     
     
  #4404  
Old Posted Apr 11, 2008, 8:45 PM
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^These are all new buildings, so there shouldn't be any "ugly" parts, unless they hired a "cheap" architect.

but you are right, they are purposely designing these structures with barren walls with the intent of placing advertising over them so we still end up with a little.... "cheap".

Quote:
Threehundred:
PEANUT BUTTER JELLY TIME!!!! WHERE HE AT???? WHERE HE AT????? THERE HE GO!!!!! THERE HE GO!!!!

Oh, Oh, and some of those dancing marshmallow men!!!

     
     
  #4405  
Old Posted Apr 11, 2008, 10:09 PM
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They're installing the metal clamps (for lack of a better term) that will eventually fasten the facade on the first few residential floors of 717 9th. Shouldn't be too long before we see some glass.
     
     
  #4406  
Old Posted Apr 12, 2008, 2:18 AM
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  #4407  
Old Posted Apr 12, 2008, 9:18 AM
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wow, if i didn't know any better, i'd think some of you are beginning to see things my way the way you're responding to jdr's enthusiasm for bright glimmery billboards. the stupidity i attribute to wannabe developments like la live and the whole "design a building around the billboard" mentality that's so behind la's vain attempts at mimicking times square is making la that much more of a parochial me-too city. a single developer does not build times square, times square happened by itself organically. downtowncharliebrown's mention of that "cheap architect" - LA is built by cheap architects and LA Live continues in that trend. A bunch of the same junk, only more massive and obnoxious.
     
     
  #4408  
Old Posted Apr 12, 2008, 3:47 PM
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Are you referring to LA Live in general or specifically the Ritz? BTW, is there anything you do like (project, building, development, etc.) in any city in any country on any planet? What are your feelings about Jupiter's Great Red Spot? Does it upset you that it's too big in terms of scale to the planet? How about Saturns rings??? Do you think that the rings are too far apart or the color scheme just doesn't do it for you? edluva, great we get it, in YOUR opinion... LA has bad architecture and will always continue have bad architecture. Now that you've made your point, can you please for the love of GOD move on, we get it! Not trying to start another "iFight" but just an observation... moving right along.

Does anyone know how many buildings are currently under construction in downtown LA? Also, the Million Dollar theater, any word on productions coming to that stage???
     
     
  #4409  
Old Posted Apr 12, 2008, 3:58 PM
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there was a recent article in the latimes. posted this at the "other" website:

http://www.skyscrapercity.com/showpost.php?p=19593238&postcount=112
     
     
  #4410  
Old Posted Apr 12, 2008, 5:15 PM
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Originally Posted by LAMetroGuy View Post
Also, the Million Dollar theater, any word on productions coming to that stage???
There have been productions - mainly concerts - held at the Million Dollar theater for over a month now. I've walked by there at least two times when fans were lining up to get inside.
     
     
  #4411  
Old Posted Apr 12, 2008, 7:00 PM
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A Million Dollar Dream


IN THE SPOTLIGHT: Developer Robert Voskanian sits in the velvet seats of his historic
Million Dollar Theatre on Broadway in downtown Los Angeles. Gina Ferazzi/LAT


Robert Voskanian has spent the legendary theater's title sum to restore it as a multicultural venue.

By Agustin Gurza,
Los Angeles Times Staff Writer
April 12, 2008

PASSERSBY were greeted to a most unusual sight this week on Broadway in downtown Los Angeles. Unusual in recent memory, that is. The iron gate at the entrance of the historic Million Dollar Theater was wide open. Nobody was manning the box office, but the unshuttered exterior, in all its Churrigueresque glory, was a sign that life is returning to the ornate auditorium, which this year celebrates its 90th anniversary.

The other sign of revival can be found on the side of the marquee: The Million Dollar presents Mexico's venerable Mariachi Vargas de Tecalitlan, appearing May 11. This marks the first major concert in about a decade staged by the landmark theater that many worried would never reopen. Not noted on the sign is tonight's centennial tribute to Mexican mariachi composer Tito Guízar, sponsored by the Cervantes Center.

Located at Broadway and 3rd Street, the Million Dollar was once considered the grande dame of the marvelous movie palaces that line L.A.'s historic theater district. It was Sid Grauman's first movie house in town, designed by noted architect Albert C. Martin Sr. and hailed as one of the finest in the world when it opened on Feb. 1, 1918, to a crowd of celebrities including Charlie Chaplin and Cecil B. DeMille. For decades, it would serve as the site of glitzy Hollywood premieres, often preceded by live vaudeville shows featuring the likes of Buster Keaton and Gloria Swanson.

In recent decades, the theater has fallen on hard times. It had served most recently as a church before the faithful also abandoned it five years ago, leaving its once-gilded interior inexplicably whitewashed. Then, it just sat empty.

Inside, the lobby is lined with large posters of some of the Latin stars that appeared here during the 1950s and '60s -- glamorous Mexican actress Maria Felix, Cuban singer Celia Cruz in full rumba regalia and comedian Cantinflas with a beaming smile. The slightly faded photos are vivid reminders of the venue's postwar heyday as an important Latin entertainment showcase, kept alive by the city's new immigrants as Angelenos fled downtown for the suburbs.

Upstairs, in a plain office behind a messy desk, sits the theater's new manager, Robert Voskanian, a tall and skeletal Armenian immigrant who has dabbled in moviemaking and spent years running two big downtown discos before taking on the theater's renovation. The man is either a visionary or a fool, betting on the chance of restoring the Million Dollar to even a quarter of its past glory. "They told me, 'It's not going to work. Broadway is never going to be what it used to be,' " Voskanian recalls with a shrug. "All your typical stuff. Hopefully, I'll show them wrong."

Resting on the floor is a framed photograph of the entrepreneur on stage with local dignitaries, including Mayor Antonio Villaraigosa. It was taken at an invitation-only event last month that heralded the theater's reopening as part of "Bringing Back Broadway," a city-sponsored drive to spruce up the corridor. (No public funds were used to restore the Million Dollar, Voskanian says.) On the 800 block, the Orpheum Theater has already undergone a $3.5-million makeover and now features a busy schedule of performances.

But gone are the days when the theater can depend exclusively on Latino audiences to stay afloat. The Million Dollar long ago lost its monopoly as L.A.'s Latin music showcase, after other venues opened their doors to Latino performers.

Voskanian understands the need to diversify. The day I met him, he was checking out the website of Michael Kleitman, a Soviet-born opera singer he's considering presenting. The moment was a glimpse into the multicultural future of the new downtown. At the Million Dollar, we have an Armenian promoter who was born in Iran interested in presenting a Russian singer who immigrated to Australia and performs romantic pop in Italian.

People seem sensitive to the perception that downtown gentrification means pushing Latinos out. Even without being asked, they deny it. "Why on Earth would we want to get rid of this amazingly vital community that already exists?" asks Cindy Olnick, spokeswoman for the Los Angeles Conservancy, which also promotes the revitalization of Broadway. "We want to keep the authentic resources that make the community unique and vital. We just want to augment it."

"I'm not going to give up on the Spanish crowd," Voskanian says in his heavily accented English. "I'm going to add an international flavor. There's 365 days to fill the theater, so there's enough nights to do everything I want to do."

With his spindly fingers, bushy mustache and long hair pulled back in a ponytail, Voskanian looks like a character that could have come out of the 1977 independent horror movie he directed, "The Child," which the All Movie Guide calls an "odd little period zombie film." Eventually, he wants to get back to making movies.

Voskanian came to the United States in 1962 as a teenage exchange student and was later joined by his mother, a homemaker, and father, a trucker who hauled gasoline in Iran. Armenians were a minority back home, he recalls, but not like L.A.'s Latinos. "No, there's a difference, because Latinos have a lot of power here, and we didn't," he says.

He studied business at Whittier College and cinema at CalArts. In 2006, joined by partners from the disco business, he signed a 20-year lease from the Million Dollar, owned by the Yellin Co., which also has the neighboring Grand Central Market. He says he has since invested $1 million for renovations, an amount that coincidentally gave the theater its name because that's what it cost to build. "The place was, bluntly put, in a sad shape," he says, as he tours the interior.

The Spanish Baroque auditorium (designed by William Woollett) must have been awe-inspiring in its day, with its massive arched proscenium, 75-foot-high coved ceilings, filigreed organ grilles and massive balcony, an engineering feat at the time. The tenants have replaced the ragged carpets and painted everything from the gold vases in the alcoves to the ornate chandeliers. But there's a lot left to do, judging from the water stains on the high ceiling caused before leaks were fixed. The balcony is closed off pending repair of a rickety exterior staircase. But the show must go on. Already scheduled this year are a film festival, a beauty contest and two screenings as part of Last Remaining Seats, the conservancy's annual film series in historic venues.

With so much on the line, you'd expect Voskanian to be a little nervous. "No, not really," he says, strolling through the theater with his hands causally tucked into the pockets of his suit pants. "It's like, you're already in it, so you've got to try to make the best of it."
     
     
  #4412  
Old Posted Apr 12, 2008, 7:19 PM
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Originally Posted by LAMetroGuy View Post
What are your feelings about Jupiter's Great Red Spot? Does it upset you that it's too big in terms of scale to the planet? How about Saturns rings???
My biggest concern & complaint about LA is that Beverly Hills is too much like a guzzied up Mission Viejo.


BTW, although I'm hesitant to see devlpt of more new highrise condos-apts like Parkfifth & LA Central until the economy has settled down, I have to admit that after reading things like this & this, I do feel a desire to "keep up with the Jones".

It's interesting that what is now the tallest residential tower on the West coast appears to have no balconies & is designed more like an office bldg, while Parkfifth would have large balconies from top to bottom.

I wonder how many potential buyers, inc those who suffer from either acrophobia or a feeling of being trapped if they can't walk out into the open air from their back door, would prefer one to the other?
     
     
  #4413  
Old Posted Apr 12, 2008, 7:46 PM
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Balconies are a HUGE plus.
     
     
  #4414  
Old Posted Apr 12, 2008, 9:15 PM
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There was a discussion in another thread on "balconies" in the past.


http://forum.skyscraperpage.com/showthread.php?t=142055

Interestingly, only 28% polled that they must have balconies. Of course, the poll does include many from colder climates, so I believe it would be a lot higher in So. Cal. I would most definitely want a balcony if I lived in a highrise.


Oh, and i do believe the rings on Saturn is the planet's "cheap" attempt at garnering attention and saying "look at me, look at me". Because as everyone knows, without them, it would just be that other planet that will never be "Jupiter".

Last edited by DowntownCharlieBrown; Apr 12, 2008 at 9:27 PM.
     
     
  #4415  
Old Posted Apr 12, 2008, 10:48 PM
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717 Olympic

April 11, 2008


From Flickr, by LA311
     
     
  #4416  
Old Posted Apr 12, 2008, 11:13 PM
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^ I detest this building's two-toned exterior with the white and off-white hues. It looks incomplete.
     
     
  #4417  
Old Posted Apr 13, 2008, 12:11 AM
JDRCRASH JDRCRASH is offline
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Originally Posted by edluva View Post
wow, if i didn't know any better, i'd think some of you are beginning to see things my way the way you're responding to jdr's enthusiasm for bright glimmery billboards. the stupidity i attribute to wannabe developments like la live and the whole "design a building around the billboard" mentality that's so behind la's vain attempts at mimicking times square is making la that much more of a parochial me-too city. a single developer does not build times square, times square happened by itself organically. downtowncharliebrown's mention of that "cheap architect" - LA is built by cheap architects and LA Live continues in that trend. A bunch of the same junk, only more massive and obnoxious.
(Sighhhh)

Please stop saying that LA is trying to copy other cities. Were you born in New York City? Besides, this kind of stuff is NOT, I REPEAT NOT, exclusively for certain cities.

As time passes, companies will likely add they're advertisements to South Park buildings, including the Staples Center along with the rest of the Convention center. And before you know it, we will make our very own Entertainment District a reality.
     
     
  #4418  
Old Posted Apr 13, 2008, 12:15 AM
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Originally Posted by Westsidelife View Post
April 11, 2008


From Flickr, by LA311


Cool, I love dogs!
     
     
  #4419  
Old Posted Apr 13, 2008, 12:32 AM
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Cool, I love dogs!
Funniest thing I've ever read. I'm in 🞵🞵🞵🞵🞵🞵🞵 tears right now.
     
     
  #4420  
Old Posted Apr 13, 2008, 12:51 AM
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Crique of the grand ave project

Eli Broad's luxury Grand Avenue project is now half-owned by Dubai
By TIBBY ROTHMAN

Wednesday, April 9, 2008 - 5:00 pm

http://www.laweekly.com/news/news/eli-br...is-now-half-owned-by-dubai/18677/?page=2



WHAT BECOMES A ROYAL FAMILY MOST? Could it be the $95 million in subsidies from Los Angeles taxpayers — the windfall bequeathed to the Dubai royal family, whose co-ownership of the behemoth Grand Avenue development was approved by Los Angeles politicians last month?

A little-known group, the so-called Grand Avenue Authority, whose members are County Supervisor Gloria Molina, City Councilwoman Jan Perry, County Executive Officer William T. Fujioka and Community Redevelopment Agency boss Cecilia V. Estolano, agreed to transfer 45 percent ownership in Grand Avenue to Istithmar, a vast investment fund controlled by the royal family of Dubai. The project’s original private developer, New York–based Related Companies, will retain 55 percent, and the much-delayed project is expected to break ground anytime.

Out of the picture is the huge public investor CalPERS, representing more than 1.5 million California government workers, which backed out, citing its discomfort with “overexposure” in downtown’s real estate market.

Istithmar paid $100 million for its stake, and officials have begun referring to the project as “the Grand” — it has for years been called “Grand Avenue” by billionaire Eli Broad and its proponents.

Molina, Perry and other officials insist the project is an example of “public-private” cooperation and benefits. The Grand will sit on four parcels of choice, taxpayer-owned downtown Civic Center property and receive tax breaks of more than $66 million from city and county coffers.

While Los Angeles politicians and Broad have consistently justified subsidies for the project by touting its affordable-housing component, Brand Dubai embodies just one image: luxury. Oil money provided the original fuel for the Persian Gulf nation’s larger-than-life economy: Dubai City’s man-made islands, configured in the shape of palm trees; palatial homes; ultraluxurious developments and iconic skyscrapers; and old and brand-new cities in the desert nation on the gulf.

But the royal family that governs Dubai, which is an emirate that does not allow democratic elections, has also sought to diversify its holdings and wealth streams. By decree in 2006, His Highness Sheik Mohammed bin Rashid Al Maktoum created Dubai World, a global, sprawling 50,000-employee holding company. One of his many lucrative subventures is Istithmar, a sovereign wealth fund designed to make him and others even richer.

“There’s been a lot of publicity within the last two months about sovereign wealth funds and overseas investors having an interest in United States assets,” says Todd Millay, managing director of Choate Hall & Stewart’s Wealth Management Group, “but Istithmar was doing this two or three years ago. It was one of the earlier Dubai-based funds that was really looking aggressively at outside opportunities.”

In America, that translates to Istithmar’s ownership of opulent retail outlets and hotels. In August 2007, the investment house outbid a Japanese retailer to purchase Barneys New York, the outré, well-heeled department store, for $942.3 million. In October 2006, it purchased the W New York Union Square in Manhattan, a stopover-spot valued at $285 million.

That year, Istithmar’s CEO, Yale-educated David Jackson, told Reuters, “In the U.S., we believe in what we call ‘key gateway cities.’”


ENTER LOS ANGELES. Quietly this year, an eager circle of politicians, having heard for months they were losing CalPERS, readily agreed to the same basic deal with one of the richest families on the face of the globe, at taxpayer expense. Last month, the Dubai royal family did two things: It publicly announced its deal with Related Companies for “the Grand” and it announced a new route for its airline, Emirates, seen by some as the poshest of the posh global air carriers.

Beginning on September 1, 2008, the airline will fly from Los Angeles to Dubai, becoming the only air carrier to offer a West Coast–Persian Gulf nonstop flight. Emirates will offer such sumptuous amenities as private suites — that’s right, suites — for first-class air travelers, complete with meals on demand, individual minibars, lie-flat sleepers with massage capabilities and electronic doors for privacy. More than 1,000 channels of audio-video will be available in each seat, as well as phones for all passengers, individual screens and, should lingering questions remain over the acceptance of other faiths, kosher meals.

It’s all part of the royal family’s strategy to court high-end global tourists in their strange, far-off desert land, which got a boost in 2007 from the Dubai International Film Festival, featuring His Highness Sheik Ahmed bin Saeed Al Maktoum as honorary chairman — and George Clooney performing Hollywood royalty duties. Michael Clayton was screened, Sony and ICM sponsored, and the fest’s entertainment-industry street cred grew.

In the meantime, the Grand will now spread Dubai-brand luxury to downtown, in a project long touted by Mayor Antonio Villaraigosa, the City Council and the Board of Supervisorsas a “public-private partnership” to bring benefits, including “affordable housing,” to the Civic Center.

Solid and trusted, CalPERS had given the project much of its public do-gooder feel. But the project had been in disarray, as evidenced by delayed groundbreakings, skyrocketing costs and now-confirmed rumors of late payments from the developers to the city.

How did this extreme transformation — from a project involving a co-owner like CalPERS, one of the most transparent investors in the nation, to one with a co-owner like the Dubai royals, among the world’s most secretive investors — come to pass?

At least one well-known politician on the under-the-radar Grand Avenue Authority — Jan Perry, who represents much of downtown and voted to authorize Istithmar’s deal — appears not to have heard of the deal before approving it on March 17.

According to Eva Kandarpa, Perry’s communications director, the councilwoman learned of Istithmar’s proposed involvement at the Grand Avenue Authority meeting itself. Yet Related Companies’ Bill Witte some months ago helped throw a fund-raiser for Perry — a perfect time for her to have heard about the major ownership changes on the way. The media also played catch-up on March 17, with City News Service reporting that the meeting to decide co-ownership of the $3 billion project took less than five minutes.

According to City News, Molina, the Grand Avenue Authority’s chairperson, breezily stated of the process: “It’s all gone by so silently and so smoothly. You lawyers and accountants and financial guys must have done a great job.”

But if they haven’t done a great job, who would know, in what will be remembered by some development experts as one of the most hidden processes ever to usher in such a huge project in modern-day Los Angeles? Even the Grand Avenue Authority’s $4.4 million budget isn’t run through the city, county or redevelopment agency — but through a private nonprofit group.

Two Molina staffers verified to the Weekly that Molina did indeed comment on the silent, smooth nature of the goings-on. But in contrast to Perry’s claimed ignorance, Gerry Hertzberg, Molina’s policy and political director, stated, “The supervisor was aware of the change-in-ownership request quite some time prior to the March ... meeting,” and, “during that time, the request was subjected to financial and legal reviews.”

Illustrating the tangled relationships of those pushing Grand Avenue, Hertzberg is himself on the so-called Grand Avenue Committee of six people “implementing” the Grand Avenue Authority’s plan. This committee of insiders, which has the help of two pricey staffers, includes tycoons Broad and Nelson Rising and three others: a woman representing the land speculator and developer Thomas Properties Group; a politically connected downtown Latino-rights attorney; and a redevelopment-agency bureaucrat who works for Grand Avenue Authority member Estolano.

If Molina thought there should be more than five minutes of public review of the conditions placed upon Istithmar, she kept that to herself. Asked if Molina had spoken to CalPERS representatives to find out why they were abandoning the project, Roxanne Marquez, another spokesperson for Molina, said, “Not that I’m aware of.”


SUCH A LACK OF AWARENESS by elected politicians who have pushed hard for massive subsidies for the Grand appears to define the effort. In 2007, the Grand Avenue Authority canceled twice as many public meetings as it held: Six were canceled and three were held, according to county records.

As Mayor Villaraigosa pleads poverty at City Hall, pushing for numerous fee increases on residents, the city is outmatched in its negotiations over the Grand. In one of the major deals cut before Istithmar arrived on the scene, Related Companies, which developed Time Warner Center in New York, negotiated a 99-year lease of the public lands involved. The arrangement has allowed Related Companies to essentially make no payment on the land until the start of construction, costing the city and county — in other words, taxpayers — millions of dollars.

Taxpayers are also subsidizing the predevelopment work of those reporting to Rising and his co-chair Broad, both fantastically wealthy. Records show that Related Companies has paid only $600,000 into the Grand Avenue Authority’s $4.4 million budget.

And while the Los Angeles media were reporting that a $55 million “prepayment” for the land lease had been made by Related Companies, the fact is, no prepayment had been made. Local journalists almost certainly were misled by the cheery but false information from politicos, who eagerly back the Grand. (TheLos Angeles Timeson November 17, 2006, reported that the money had been paid.) In truth, the $55 million did not arrive until July 2007 — apparently costing taxpayers hundreds of thousands of dollars in interest.

Asked if taxpayers should be providing substantial subsidies to Dubai’s royal family, Hertzberg, Molina’s policy and political director, told the Weekly, “The public investment in the project is for special public benefits that bear no relationship to the ownership. We are providing investment in low- and very-low-income affordable housing, public open space and street-scape improvements.”

But how “special” are the benefits alluded to by Hertzberg?

Becky Dennison, co-director of the Los Angeles Community Action Network, which negotiated for greater community benefits, disagrees with Hertzberg. “They said there were benefits — but really it was ‘benefits’ that were required by law,” she says.

Not only is the affordable housing being built on land already owned and controlled by the city and county, but the modest number of affordable units proposed — just 100 apartments in Phase 1 — will be heavily underwritten by taxpayers to the tune of $100,000 per unit. And in Phase 2, 170 units are planned, with the city pouring in a staggering $200,000 per affordable unit.

Critics say that’s an awfully “special” public cost for what is, in fact, a luxury project comprising a five-star hotel, pricey shops and high-end condos — not an affordable-housing project.

A telling report by the city’s chief legislative analyst, which was used to support the City Council’s decision to provide more than $66 million in tax breaks to developers, states, “Without a significant public contribution, the hotel will not meet industry internal rates of return on a project of this type.” In other words, much of the public subsidy is needed to prop up the glitzy, Gehry-designed Mandarin Oriental Hotel.

Given Dubai’s immense wealth and its desire to court Hollywood, is the renamed “the Grand” simply a bobble, initiated to raise Dubai’s profile in L.A., and not expected to provide investment returns, as CalPERS would have had to do?

Millay of Choate Hall & Stewart says no. Millay grew familiar with Istithmar when he was the executive director of the Wharton Global Family Alliance, a center for research on family wealth and family business. Istithmar, the ultimate example of family wealth, supported the Wharton center’s studies.

Millay says that even “if there are additional benefits to Dubai” as a result of its having a West Coast outpost in Los Angeles, Istithmar is not a vanity investor.

“Istithmar is certainly focused on generating returns for the assets they are responsible for,” Millay explains. “And [Istithmar’s CEO is] certainly focused on that. He’s a savvy investor. He’s not going to invest in a project that’s not going to make money.”

Groundbreaking is expected soon, and the plan for implementing the tax-subsidy package is expected to go before the Los Angeles City Council as early as next month. Has the promised $95 million-plus in city and county subsidies created the profit margin Istithmar experts needed? Should taxpayers be subsidizing a royal family?

“That’s a good question,” says Dennison. “I think Los Angeles should be far more concerned and far more attentive.” She added, “If more people had been involved, maybe [Los Angeles] as a whole could have done better.”
     
     
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