Tag: Mid-Century Design

Locust, Pass By

Panorama City, mon amour

Imagine making lattes for eight hours and coming home to this. Or crawling into the muck to snake a drain. Or changing bedpans, wearing a name tag  and a customer service expression all day, subject to Yelp reviews. Hanging asphalt shingles in the Palisades sun, then returning to a penitentiary: rolling gates of steel bars, begrimed stucco and a palimpsest of tagging thinly covered in beige.

It may not be the picture Americans have when the golden phrase California lifestyle is invoked, but for half a million people in our city this is reality, not the Potemkin village Los Angeles conjured by scripted content and advertising.

This is the California finger hold. The ten year waystation for essential workers, who might be grateful for the bars, their framework by necessity one of resource protection. A tenement with an unhappy face.

In 1964 the Dingbat was very modern, with spacious balconies, aluminum windows and crisp rectangularity stripped of ornamentation, unlike the bungalow courts of Hollywood, with their tiny portions and absence of parking.  Cheap and purpose-built, requiring no skilled craftsmen in woodwork or tile. Across SoCal the bedrooms-over-the-carport rent factories spread like kudzu, many of them built on former  ranch lots. It was affordable housing before there was a phrase for it. A good dingbat evoked a mood by way of a fanciful name: The Troubadour, La Traviata, the Something-Something Palms. A wink between landlord and tenant.

If you started life in a mud hut in Chiapas, it probably tasted like heaven for awhile. If you started in Riverside you might re-think your life choices. The dingbat fell out of favor as it descended the class structure. The neglected decor peeled away and now the buildings are unnamed and mute to the world but for notices from a management company:  Secure parking.  Premises under 24 hour surveillance. Section 8 OK.

Then there’s Sherman Oaks, where 1964 looks as timeless and inviting as an episode of Mad Men and one ascends the waterfall staircase like a minor deity. Beyond the double doors awaits a world of good taste and better appliances, and a view.

Most of these domiciles weren’t built as mansions, just larger ranch houses for the professional classes. An ambitious Boomer could climb from Panorama City to here in 20 years. The wealth effect has put paid to such notions now. A house above the tree line is mansion priced, even if only 1600 square feet. You’ll never afford it, but your cardiologist daughter might. She’ll be able to affect modesty. She’ll be sure to let you know she’s not one of those vulgarians in a Persian palace in Encino.

To be wealthy in America is to be exempt from aesthetic depravity. Or noise.  Or sweaty people lugging buckets of takeout past your open window while you sweat in front of the box fan. It is to have dignity in egress, always. It is to be far from the locusts. To quote Scott Galloway, it is to be loved.

It’s illegal to build dingbat housing now. Zoning. Earthquake codes. Fire laws. So we gets lots of upscale mixed-used development, four stories of Bento Box matchstick atop a two story concrete pour, with an AmazonFresh at street level, a good fit for the urban core. For the Valley, not so much.  The existing dingbat stock will be kept alive with soft story retrofits.  In Santa Monica and West Hollywood, where the juice is worth the squeeze, some landlords lean into the mid-century theme and trowel on a modern skin, restore the name, re-dingbatize their buildings.

But the Valley dingbat won’t get the 2.0 treatment. Nor will it age into shabby gentility, like the San Bernardino Arms evoked by Nathaniel West. It’ll look like a penitentiary.  In class terms, it kind of is one.

Day of the Locust, 1975

Crime Scene on Sepulveda

Look at her. In her defense, she was fated on the drafting table to be one of the Valley’s Ten Ugliest. 7101 Sepulveda, a brutalist concrete filing cabinet, a Robert Moses-esque excretion dropped in 1962, no quarter given to public taste. Someone may have endeavored to pass it off as in the then-voguish International style, but certain buildings just say No. This one says it with gun placement window slots. Your eyeballs, like the Pharisees, shall not cross.

This is the building to which the Stasi brought people for questioning who were never heard from again.

As foreshadowing it sat too close to the curb, shrinking the sidewalk to less than three feet at the corner and around the utility pole to allow more room for parking in the back.

The early sixties were a time of Great Progress in California. The freeway system, the Universities, the aqueduct. Pat Brown. Clark Kerr. Buildings, even churches, were stripped to their utilitarian essentials. Gone were cornices and patterned brickwork and decorative overhangs and bas relief.  In the name of modernity crap like this was erected all over the state, particularly college campuses. Modernity was defined by two words: air conditioning.  But also parking.  Parking has preordained most civic decisions since.

Tax Protestors, 1964. Valley Times Collection

For the first five years of its life 7101 Sepulveda served as a branch office of the Internal Revenue Service, an example of form matching function.

From 1967 to 1995 it housed Merit College, an early for-profit school training court reporters and paralegals.

In 1995 Merit College closed its doors without notice, leaving 900 students in the lurch.

Since 1995 it has been vacant, defying the economic laws of scarcity, immune to adaptive re-use. A monument to bad planning, but also a certain species of absentee landlordism.  The kind who waits for others to develop the neighborhood while they collect royalties off the cell phone towers on the roof.

Inevitably it was occupied as a crackhead Delta House and in 2019 gutted by fire.

You would think the City would make this eyesore a municipal issue. Twenty-eight years of public blight should be enough. You would be wrong. Government may have grown glandularly since 1962, it has not become wiser or more responsive, nor more effective in countering monetary interests. Arguably, less so.

Ed Ruscha

There’s an aesthetic sidebar to this. In 1967 the artist Ed Ruscha rented a plane and took a series of aerial photographs of Van Nuys parking lots, several of which hang in the Tate Gallery London. A signed print of 7101 Sepulveda was offered at auction for $8500.

I have mixed feeling about this. Normally I begrudge no man his hustle, but Lazy Art is annoying, more so if it’s making serious bank off my neighborhood without engaging it. Suffice to say this conceptual perspective now hangs un-ironically in the homes of people who couldn’t find Van Nuys on a map.

In 2020, CBRE sent up a drone and took this photo to lure potential buyers. Unlike the Ruscha print, it is available for download without charge.

The exoskeleton and parking lot can now be yours for $8.7 million.

So, if you’re keeping score, 7101 Sepulveda has been vacant and unproductive for nearly as many years as it was occupied, despite occupying prime frontage in the hottest real estate market in the country.  How hot? There are two ranch houses for sale in the neighborhood, a 3Br for $1.35 million and a 2BR for $900K.

$900K also happens to be the 1998 assessed value of 7101 Sepulveda, which means the person who buys this house on LeMay will have the same property tax liability. This might explain, in part, why the owners have managed to leave it vacant for so long.  It’s an argument for a split roll adjustment to Prop. 13.  Also for a mandatory development clause on commercial property located on a transit corridor. Three years to file a building permit or you must sell. Can’t believe I’m writing this but here my baseline free market libertarianism collides with civic pride.

Mr. UpintheValley’s prevailing Cancer Theory of Los Angeles posits not overdevelopment but its opposite: deep pocketed speculators who sit on strategic corners for decades waiting for others to buy them out.

Up on Roscoe Blvd the owners of the old Montgomery Wards site have been teasing redevelopment plans since…1995, while leasing the massive asphalt lake that surrounds it to film companies and for Covid testing.

In 2018 a mock-up of The Icon at Panorama, a long promised 600 unit mixed-use retail island, was draped over the old Wards sign, offering the promise of an imminent Culver City-ization.  As the months and years ticked away without breaking ground the mock up slowly disintegrated in the sun, nature declaring a verdict on the unrealized transition from 1964 Asphalt Heaven to Los Angeles 2.0.

Where’s Rick Caruso when you need him? Running for Mayor, promising to expedite the building of homeless shelters. More. Bigger. Faster.

The Valley needs it own Caruso. A street fighter-on-a-budget Armenian Caruso. Mr. UpintheValley is feeling politically homeless about now.

Thierry Noir, Gates and Wire

“I’ve lived in some crappy places in my life, but I never had to look out my bedroom window at razor wire,” noted Orca in the comments last week. Reading this reminded me just how extensively barbed wire and security gates have become the dominant aesthetic of working-class housing in the Valley to the point one hardly notices anymore.

Chanteclair is a chichi hotel in Cannes. In Panorama City it is the whimsical nom de domicile affixed to a dingbat apartment surrounded by battlements of black spikes defending neglected shrubbery, metal gates shutting off the courtyard from the street and a baleful troll to ward away non-keyholders.  And that’s just the front entrance.

Head around back to the carports, the usual ingress point after work, and it gets angrier.

Angry, angry, angry. Or, if you prefer, utilitarian.  Or as the residents would say: safe.

The carports of Panorama are especially well-defended, and there’s a reason for that.

Ironically it is the beautifiers of Los Angeles: the gardeners, the maids, the house painters, the granite fabricators, the trowelers of smoothset stucco who live in these buildings. Vehicles double as tool chests, necessitating defenses for every parking space.

These apartment blocks went up in the 1960s when the trend in Southern California architecture was to evoke through detail and design choice the mood of an exotic locale, preferably the South Seas.

If security considerations have displaced aesthetics this is the clear preference of the residents.   Steel spikes metal grills razor wire iron bars makes a man feel he has done right by his family, and his hard-earned $1800 a month well spent.  Everyone’s safe. I have defended my own. A wanderer in the neighborhood might dismiss all as blight, but beneath the brutalist overlay similarities to buildings one has seen before in West Hollywood and Sherman Oaks abound.  The same era, probably same floor plans, perhaps same architectural firm,  but different tenants and therefore different upkeep.

The Lofts at NoHo Commons, with its exterior muraling by Thierry Noir, is the opposite end of the aesthetic spectrum, or if one prefers, the reassertion of a fanciful past.  There are as many security elements in this building as any in Panorama, augmented with key cards and video surveillance, but by design tucked into the background. Here is a building which smiles at you and proclaims Yes.  Oh, how I am Instagrammable. Come hither, pose, and spend your parents’ money.  Descend the stairs in athleisure wear and have a ten dollar smoothie.   You’re an artist now. It says so in the brochure.

Spend they do. They spend spend spend and buy buy buy. White people don’t work with their hands down here. It’s in the bylaws. In the absence of talent, they can aspire to social influence, childless and enviable in 600 square feet of urban perfection. Having others envy you can be a paying job, perhaps the most sought-after gig in LA for a certain species of Millennial. What you consume and where you do it and how charming you can be as you blab about it. Followers.  Obtain enough of them, and your apartment pays you. The apartment becomes the toolbox.

These worlds are separated by a few miles, but getting closer each year. Those miles are otherwise known as Van Nuys.  Buildings like this are the halfway point between the Chanticlair and the Noho Commons. No ground floor retail, no Thierry Noir,  but no toolbox trucks in the garage either. A bento box pastiche,  a short walk to MacLeod, tenants who pay their own rent and willing to pay a premium to stay out of Dingbatville.  It takes about three years to develop a 12-unit building like this.  At this pace, in another 50 years, we could meet the housing needs of the next generation of kids aging out of their grandparent’s apartments in sweaty, noisy, gloriously fecund Panorama.

Alternately, in the absence of development, we can think about beautification.  Paint is cheap and so are succulents and cactus, and they propagate.  So also is getting rid of security features. Half the mid-century buildings in the Valley could be turned into this in six months.  If I strapped a megaphone to my back like a street preacher do you think I could sell this at the corner of Cedros and Parthenia with my bad Spanglish? Would I win converts with phrases like the “force multiplier of good taste”, flailing my arms over my head, gripping a copy of Jane Jacobs?

Now that’s a reality show I would watch. Follow me….