Saturday, October 25, 2008
DIVISION 88: EARTHQUAKE HAZARD REDUCTION IN EXISTING BUILDINGS
2. For the purpose of this division, to establish the rating classification of a building containing one or more artist in residence spaces, as defined in Section 91.8501 of this Code, the occupant load of each artist in residence space shall be one for each space less than 2,000 square feet (186 m2) in area and two for each space 2,000 square feet (186 m2) or more in area.
LA Municipal Code
(b) Creative Artist. No tax is required to be paid by a person under this Article for gross receipts attributable to "Creative Activities", earned when that person is engaged in business as a "Creative Artist", unless the total taxable and nontaxable gross receipts from within and without the City which are attributable to "Creative Activities" exceed $300,000.00 annually.
For purposes of this exemption, a "Creative Artist" shall mean only a person who operates either (1) as an individual, (2) through a corporation with one individual as the only shareholder and the only employee (commonly referred to as a "loan-out"), or (3) through a limited liability company with one individual as the only member and the only employee. "Creative Activities" shall mean activities described herein. Gross receipts from Creative Activities shall not include any gross receipts received by a Creative Artist from activities that are not Creative Activities (for example, public appearances or product endorsements, or teaching as opposed to performing). Such other receipts shall not be exempt under this subsection, and shall be taxable as otherwise provided in this Article. In implementing the intent of this subsection, the Director of Finance shall consider that Creative Activities are distinct from a craft, and that this exemption applies to Creative Artists for their Creative Activities but not to craft persons. References to "multi-media" are to be interpreted as defined in subsection (b) of Section 21.189.4.
Eligibility for the small business exemption provided in subsection (a), above, shall be based on total taxable and non-taxable gross receipts from within and without the City, including receipts for Creative Activities.
Creative Activities shall mean activities performed by Creative Artists primarily for entertainment and/or aesthetic purposes, including assistants or professional trainees performing those same Creative Activities, in the following professions:
1. The following professions to the extent they are directly involved with motion picture, radio or television productions, commercials, multi-media or recorded or live music or theater:
- Actor or announcer; or
- Art director, costume designer, production designer, scenery or set designer; or
- Choreographer; or
- Cinematographer; or
- Conductor of bands, chorales, orchestras, and other musical groups; or
- Director; or
- Motion picture editor, sound dubbing, special effects, or titling artist; or
- Writer (where the writing is the writer's own creative work, but not writing that is compilation, documentation or description of a non-artistic nature, such as technical writing, the writing of technical or scientific reports, etc.); or
- Music or lyrics arranger, composer or writer; or
2. Author of books, essays, poems or short stories; or
3. Cartoon artist, including animated media; or
4. Creator of visual fine arts, using artist's materials (i.e., lithographer, painter, sculptor, or the equivalent); or
5. Drawing, graphic, illustration or sketch artist; or
6. Performing artist, including comedian, dancer, impersonator, juggler, magician, mime, musician, or singer; or
7. Photographer, to the extent the photography is primarily artistic in nature and not primarily journalistic or commercial.
(c) Any person exempt from tax under Subsections (a) or (b) shall be required to timely file for registration and subsequent renewals before the delinquency date. The failure to timely file or renew prior to the date the taxes would otherwise have been delinquent pursuant to Section 21.05 of this Article, shall render inapplicable the exemption provided in Subsections (a) and/or (b) and subject the person to the tax that would otherwise be payable and to any interest and penalty applicable thereto.
For purposes of this exemption, a "Creative Artist" shall mean only a person who operates either (1) as an individual, (2) through a corporation with one individual as the only shareholder and the only employee (commonly referred to as a "loan-out"), or (3) through a limited liability company with one individual as the only member and the only employee. "Creative Activities" shall mean activities described herein. Gross receipts from Creative Activities shall not include any gross receipts received by a Creative Artist from activities that are not Creative Activities (for example, public appearances or product endorsements, or teaching as opposed to performing). Such other receipts shall not be exempt under this subsection, and shall be taxable as otherwise provided in this Article. In implementing the intent of this subsection, the Director of Finance shall consider that Creative Activities are distinct from a craft, and that this exemption applies to Creative Artists for their Creative Activities but not to craft persons. References to "multi-media" are to be interpreted as defined in subsection (b) of Section 21.189.4.
Eligibility for the small business exemption provided in subsection (a), above, shall be based on total taxable and non-taxable gross receipts from within and without the City, including receipts for Creative Activities.
Creative Activities shall mean activities performed by Creative Artists primarily for entertainment and/or aesthetic purposes, including assistants or professional trainees performing those same Creative Activities, in the following professions:
1. The following professions to the extent they are directly involved with motion picture, radio or television productions, commercials, multi-media or recorded or live music or theater:
- Actor or announcer; or
- Art director, costume designer, production designer, scenery or set designer; or
- Choreographer; or
- Cinematographer; or
- Conductor of bands, chorales, orchestras, and other musical groups; or
- Director; or
- Motion picture editor, sound dubbing, special effects, or titling artist; or
- Writer (where the writing is the writer's own creative work, but not writing that is compilation, documentation or description of a non-artistic nature, such as technical writing, the writing of technical or scientific reports, etc.); or
- Music or lyrics arranger, composer or writer; or
2. Author of books, essays, poems or short stories; or
3. Cartoon artist, including animated media; or
4. Creator of visual fine arts, using artist's materials (i.e., lithographer, painter, sculptor, or the equivalent); or
5. Drawing, graphic, illustration or sketch artist; or
6. Performing artist, including comedian, dancer, impersonator, juggler, magician, mime, musician, or singer; or
7. Photographer, to the extent the photography is primarily artistic in nature and not primarily journalistic or commercial.
(c) Any person exempt from tax under Subsections (a) or (b) shall be required to timely file for registration and subsequent renewals before the delinquency date. The failure to timely file or renew prior to the date the taxes would otherwise have been delinquent pursuant to Section 21.05 of this Article, shall render inapplicable the exemption provided in Subsections (a) and/or (b) and subject the person to the tax that would otherwise be payable and to any interest and penalty applicable thereto.
ADAPTIVE REUSE ORDINANCE
1. Adaptive Reuse Projects. (Amended by Ord. No. 175,588, Eff. 12/1/03.) A Zoning Administrator may, upon application, permit Adaptive Reuse Projects pursuant to this subdivision. Except that, the provisions of this subdivision shall not apply to those areas set forth in the Adaptive Reuse Incentive Areas Specific Plan, Ordinance No. 175,038. Furthermore, the provisions of this subdivision shall not apply to the M Zones outside the Downtown Project Area. The boundaries of the Downtown Project Area are described in Section 12.22 A.26.(g) of the Code.
In conformance with Paragraph (b) below, the Zoning Administrator may permit Adaptive Reuse Projects in the M Zones inside the Downtown Project Area. Outside the Downtown Project Area, the Zoning Administrator may permit Adaptive Reuse Projects in the C and R5 Zones.
In conformance with Paragraph (c) below, the Zoning Administrator may permit Adaptive Reuse Projects in the C and R5 Zones in all or any portion of a building constructed on or after July 1, 1974, inside the Downtown Project Area.
In conformance with Paragraph (d) below, the Zoning Administrator may permit floor area averaging in unified Adaptive Reuse Projects in the C, M and R5 Zones inside the Downtown Project Area. Outside the Downtown Project Area, the Zoning Administrator may permit this floor area averaging in the C and R5 Zones.
(a) Definitions. The definition of “Adaptive Reuse Project” set forth in Section 12.22 A.26.(c) of the Code shall apply inside the Downtown Project Area. Outside the Downtown Project Area, the following definitions shall apply:
Adaptive Reuse Project is any change of an existing Non-Residential Use to new dwelling units, guest rooms, or joint living and work quarters in all or any portion of any eligible building.
Non-Residential Use means any use other than dwelling units, guest rooms, or joint living and work quarters. Except that, if all the dwelling units, guest rooms or joint living and work quarters in an eligible building were completely and continuously unoccupied from March 1, 2002, through and including the date an application for an Adaptive Reuse Project is filed pursuant to this subdivision, then those units, rooms or quarters shall be considered to be a Non- Residential Use.
(b) C, M and R5 Zones. The following shall apply to Adaptive Reuse Projects in the MR1, MR2, M1, M2 and M3 Zones inside the Downtown Project Area; and to Projects in the CR, C1, C1.5, C2, C4, C5, CM and R5 Zones outside the Downtown Project Area:
(1) Eligible Buildings. A Zoning Administrator shall only permit Adaptive Reuse Projects in the following buildings:
(i) Buildings constructed in accordance with building and zoning codes in effect prior to July 1, 1974. A Certificate of Occupancy, building permit, or other suitable documentation may be submitted as evidence to verify the date of construction.
(ii) Buildings constructed in accordance with building and zoning codes in effect on or after July 1, 1974, if: five years have elapsed since the date of issuance of final Certificates of Occupancy; and the Zoning Administrator finds that the building is no longer economically viable in its current use or uses.
In making this finding, the Zoning Administrator shall consider the building’s past and current vacancy rate, existing and previous uses, and real estate market information. The Zoning Administrator may require the applicant to submit independently verified documentation.
(iii) Buildings designated on the National Register of Historic Places, the California Register of Historical Resources, or the City of Los Angeles List of Historic-Cultural Monuments. Contributing Buildings in National Register Historic Districts or Contributing Structures in Historic Preservation Overlay Zones (HPOZ) established pursuant to Section 12.20.3 of this Code are also eligible buildings.
(2) Incentives and Exceptions. The Zoning Administrator may grant, modify or deny some or all of the incentives set forth in Section 12.22 A.26.(h), or some or all of the exceptions set forth in Section 12.22 A.26.(j), to Adaptive Reuse Projects proposed pursuant to this subdivision. Furthermore, the Zoning Administrator shall have the authority to grant any other incentives or exceptions from the Code required to permit Adaptive Reuse Projects proposed pursuant to this subdivision, including but not limited to the authority to permit dwelling units, guest rooms and joint living and work quarters in Adaptive Reuse Projects, notwithstanding the nonconforming provisions of Section 12.23 of the Code.
(3) Findings and Conditions for the C and R5 Zones. If the Adaptive Reuse Project is in the CR, C1, C1.5, C2, C4, C5, CM or R5 Zones outside the Downtown Project Area, then the Zoning Administrator shall find that the Adaptive Reuse Project complies with the standards for dwelling units, guest rooms and joint living and work quarters set forth in Section 12.22 A.26.(i). Exception: This finding is not required if the Zoning Administrator does not grant the density incentive set forth in Section 12.22 A.26.(h)(2).
Before approving a reduced parking incentive pursuant to Subparagraph (2) above, the Zoning Administrator shall also find that the surrounding area will not be adversely affected by overflow parking or traffic congestion originating or terminating at the site of the Adaptive Reuse Project.
(4) Findings and Conditions for the M Zones. If the Adaptive Reuse Project is in the MR1, MR2, M1, M2 or M3 Zones inside the Downtown Project Area, then the Zoning Administrator shall:
(i) Require that one or more signs or symbols of a size and design approved by the Fire Department are placed by the applicant at designated locations on the exterior of each Adaptive Reuse Project to indicate the presence of residential uses;
(ii) Limit the occupations permitted in joint living and work quarters to the following: accountants; architects; artists and artisans; attorneys; computer software and multimedia related professionals; consultants; engineers; fashion, graphic, interior and other designers; insurance, real estate and travel agents; photographers and similar occupations;
(iii) Find that the Adaptive Reuse Project complies with the standards for dwelling units, guest rooms, and joint living and work quarters set forth in Section 12.22 A.26.(i);
(iv) Find that the uses of property surrounding the proposed location of the Adaptive Reuse Project will not be detrimental to the safety and welfare of prospective residents; and
(v) Find that the Adaptive Reuse Project will not displace viable industrial uses.
(c) Buildings constructed on or after July 1, 1974. The provisions of Section 12.22 A.26. shall apply to Adaptive Reuse Projects in all or any portion of a building constructed on or after July 1, 1974, in the CR, C1, C1.5, C2, C4, C5, CM, or R5 Zones inside the Downtown Project Area if: five years have elapsed since the date of issuance of final Certificates of Occupancy; and a Zoning Administrator finds that the building is no longer economically viable in its current use or uses.
In making this finding, the Zoning Administrator shall consider the building’s past and current vacancy rate, existing and previous uses, and real estate market information. The Zoning Administrator may require the applicant to submit independently verified documentation.
(d) Floor Area Averaging. The following shall apply to applications to permit floor area averaging in unified Adaptive Reuse Projects in the CR, C1, C1.5, C2, C4, C5, CM, MR1, MR2, M1, M2, M3, or R5 Zones inside the Downtown Project Area; and to such applications in the CR, C1, C1.5, C2, C4, C5, CM, or R5 Zones outside the Downtown Project Area.
The Zoning Administrator may permit averaging of floor area in unified Adaptive Reuse Projects for purposes of determining compliance with the 750 square foot minimum average unit size standard for dwelling units and joint living and work quarters, as set forth in Section 12.22 A.26.(i). For purposes of this subdivision, a unified Adaptive Reuse Project means an Adaptive Reuse Project composed of two or more buildings, so long as the Project has all of the following characteristics: (a) functional linkages, such as pedestrian or vehicular connections; (b) common architectural and landscape features, which constitute distinctive design elements of the Project; and (c) a unified appearance when viewed from adjoining streets. Unified Adaptive Reuse Projects may include lots that abut or are separated only by an alley or are located across the street from any portion of each other.
Individual buildings may fall below the minimum average unit size standard, so long as the average size of all the dwelling units and joint living and work quarters in the unified Adaptive Reuse Project is at least 750 square feet, and no dwelling unit or joint living and work quarters is less than 450 square feet in area. The Zoning Administrator shall determine whether a Project meets the definition of a unified Adaptive Reuse Project as set forth above. All owners of the property requesting floor area averaging must sign the application. A current title search shall be submitted with the application to insure that all required persons have signed the application.
If the Zoning Administrator approves the floor area averaging, then all owners of the property requesting floor area averaging and all owners of each lot contained in the unified Adaptive Reuse Project shall execute and record an affidavit. A copy of each executed and recorded affidavit shall be filed with the Office of Zoning Administration. Each affidavit shall run with the land, be approved by the Zoning Administrator prior to the issuance of any building permits, and shall guarantee the following: (1) The use of any floor area converted to dwelling units or joint living and work quarters shall be maintained and not changed; and (2) The number of these units or quarters approved by the Zoning Administrator shall not be increased.
(e) Procedures. An application for permission pursuant to this subdivision shall follow the procedures for adjustments set forth in Section 12.28 C.1., 2., and 3. However, the Zoning Administrator may waive the public hearing required in that section if the owners of all properties abutting, across the street or alley from, or having a common corner with the building have expressed in writing no objections to the Adaptive Reuse Project.
In conformance with Paragraph (b) below, the Zoning Administrator may permit Adaptive Reuse Projects in the M Zones inside the Downtown Project Area. Outside the Downtown Project Area, the Zoning Administrator may permit Adaptive Reuse Projects in the C and R5 Zones.
In conformance with Paragraph (c) below, the Zoning Administrator may permit Adaptive Reuse Projects in the C and R5 Zones in all or any portion of a building constructed on or after July 1, 1974, inside the Downtown Project Area.
In conformance with Paragraph (d) below, the Zoning Administrator may permit floor area averaging in unified Adaptive Reuse Projects in the C, M and R5 Zones inside the Downtown Project Area. Outside the Downtown Project Area, the Zoning Administrator may permit this floor area averaging in the C and R5 Zones.
(a) Definitions. The definition of “Adaptive Reuse Project” set forth in Section 12.22 A.26.(c) of the Code shall apply inside the Downtown Project Area. Outside the Downtown Project Area, the following definitions shall apply:
Adaptive Reuse Project is any change of an existing Non-Residential Use to new dwelling units, guest rooms, or joint living and work quarters in all or any portion of any eligible building.
Non-Residential Use means any use other than dwelling units, guest rooms, or joint living and work quarters. Except that, if all the dwelling units, guest rooms or joint living and work quarters in an eligible building were completely and continuously unoccupied from March 1, 2002, through and including the date an application for an Adaptive Reuse Project is filed pursuant to this subdivision, then those units, rooms or quarters shall be considered to be a Non- Residential Use.
(b) C, M and R5 Zones. The following shall apply to Adaptive Reuse Projects in the MR1, MR2, M1, M2 and M3 Zones inside the Downtown Project Area; and to Projects in the CR, C1, C1.5, C2, C4, C5, CM and R5 Zones outside the Downtown Project Area:
(1) Eligible Buildings. A Zoning Administrator shall only permit Adaptive Reuse Projects in the following buildings:
(i) Buildings constructed in accordance with building and zoning codes in effect prior to July 1, 1974. A Certificate of Occupancy, building permit, or other suitable documentation may be submitted as evidence to verify the date of construction.
(ii) Buildings constructed in accordance with building and zoning codes in effect on or after July 1, 1974, if: five years have elapsed since the date of issuance of final Certificates of Occupancy; and the Zoning Administrator finds that the building is no longer economically viable in its current use or uses.
In making this finding, the Zoning Administrator shall consider the building’s past and current vacancy rate, existing and previous uses, and real estate market information. The Zoning Administrator may require the applicant to submit independently verified documentation.
(iii) Buildings designated on the National Register of Historic Places, the California Register of Historical Resources, or the City of Los Angeles List of Historic-Cultural Monuments. Contributing Buildings in National Register Historic Districts or Contributing Structures in Historic Preservation Overlay Zones (HPOZ) established pursuant to Section 12.20.3 of this Code are also eligible buildings.
(2) Incentives and Exceptions. The Zoning Administrator may grant, modify or deny some or all of the incentives set forth in Section 12.22 A.26.(h), or some or all of the exceptions set forth in Section 12.22 A.26.(j), to Adaptive Reuse Projects proposed pursuant to this subdivision. Furthermore, the Zoning Administrator shall have the authority to grant any other incentives or exceptions from the Code required to permit Adaptive Reuse Projects proposed pursuant to this subdivision, including but not limited to the authority to permit dwelling units, guest rooms and joint living and work quarters in Adaptive Reuse Projects, notwithstanding the nonconforming provisions of Section 12.23 of the Code.
(3) Findings and Conditions for the C and R5 Zones. If the Adaptive Reuse Project is in the CR, C1, C1.5, C2, C4, C5, CM or R5 Zones outside the Downtown Project Area, then the Zoning Administrator shall find that the Adaptive Reuse Project complies with the standards for dwelling units, guest rooms and joint living and work quarters set forth in Section 12.22 A.26.(i). Exception: This finding is not required if the Zoning Administrator does not grant the density incentive set forth in Section 12.22 A.26.(h)(2).
Before approving a reduced parking incentive pursuant to Subparagraph (2) above, the Zoning Administrator shall also find that the surrounding area will not be adversely affected by overflow parking or traffic congestion originating or terminating at the site of the Adaptive Reuse Project.
(4) Findings and Conditions for the M Zones. If the Adaptive Reuse Project is in the MR1, MR2, M1, M2 or M3 Zones inside the Downtown Project Area, then the Zoning Administrator shall:
(i) Require that one or more signs or symbols of a size and design approved by the Fire Department are placed by the applicant at designated locations on the exterior of each Adaptive Reuse Project to indicate the presence of residential uses;
(ii) Limit the occupations permitted in joint living and work quarters to the following: accountants; architects; artists and artisans; attorneys; computer software and multimedia related professionals; consultants; engineers; fashion, graphic, interior and other designers; insurance, real estate and travel agents; photographers and similar occupations;
(iii) Find that the Adaptive Reuse Project complies with the standards for dwelling units, guest rooms, and joint living and work quarters set forth in Section 12.22 A.26.(i);
(iv) Find that the uses of property surrounding the proposed location of the Adaptive Reuse Project will not be detrimental to the safety and welfare of prospective residents; and
(v) Find that the Adaptive Reuse Project will not displace viable industrial uses.
(c) Buildings constructed on or after July 1, 1974. The provisions of Section 12.22 A.26. shall apply to Adaptive Reuse Projects in all or any portion of a building constructed on or after July 1, 1974, in the CR, C1, C1.5, C2, C4, C5, CM, or R5 Zones inside the Downtown Project Area if: five years have elapsed since the date of issuance of final Certificates of Occupancy; and a Zoning Administrator finds that the building is no longer economically viable in its current use or uses.
In making this finding, the Zoning Administrator shall consider the building’s past and current vacancy rate, existing and previous uses, and real estate market information. The Zoning Administrator may require the applicant to submit independently verified documentation.
(d) Floor Area Averaging. The following shall apply to applications to permit floor area averaging in unified Adaptive Reuse Projects in the CR, C1, C1.5, C2, C4, C5, CM, MR1, MR2, M1, M2, M3, or R5 Zones inside the Downtown Project Area; and to such applications in the CR, C1, C1.5, C2, C4, C5, CM, or R5 Zones outside the Downtown Project Area.
The Zoning Administrator may permit averaging of floor area in unified Adaptive Reuse Projects for purposes of determining compliance with the 750 square foot minimum average unit size standard for dwelling units and joint living and work quarters, as set forth in Section 12.22 A.26.(i). For purposes of this subdivision, a unified Adaptive Reuse Project means an Adaptive Reuse Project composed of two or more buildings, so long as the Project has all of the following characteristics: (a) functional linkages, such as pedestrian or vehicular connections; (b) common architectural and landscape features, which constitute distinctive design elements of the Project; and (c) a unified appearance when viewed from adjoining streets. Unified Adaptive Reuse Projects may include lots that abut or are separated only by an alley or are located across the street from any portion of each other.
Individual buildings may fall below the minimum average unit size standard, so long as the average size of all the dwelling units and joint living and work quarters in the unified Adaptive Reuse Project is at least 750 square feet, and no dwelling unit or joint living and work quarters is less than 450 square feet in area. The Zoning Administrator shall determine whether a Project meets the definition of a unified Adaptive Reuse Project as set forth above. All owners of the property requesting floor area averaging must sign the application. A current title search shall be submitted with the application to insure that all required persons have signed the application.
If the Zoning Administrator approves the floor area averaging, then all owners of the property requesting floor area averaging and all owners of each lot contained in the unified Adaptive Reuse Project shall execute and record an affidavit. A copy of each executed and recorded affidavit shall be filed with the Office of Zoning Administration. Each affidavit shall run with the land, be approved by the Zoning Administrator prior to the issuance of any building permits, and shall guarantee the following: (1) The use of any floor area converted to dwelling units or joint living and work quarters shall be maintained and not changed; and (2) The number of these units or quarters approved by the Zoning Administrator shall not be increased.
(e) Procedures. An application for permission pursuant to this subdivision shall follow the procedures for adjustments set forth in Section 12.28 C.1., 2., and 3. However, the Zoning Administrator may waive the public hearing required in that section if the owners of all properties abutting, across the street or alley from, or having a common corner with the building have expressed in writing no objections to the Adaptive Reuse Project.
CITY PLANNING ARTS DISTRICT
http://cityplanning.lacity.org/complan/pdf/ccncptxt.pdf
The Alameda Corridor has traditionally been a center of commercial and
transit activity in this planning area, with rail lines extending from Union
Station to the harbor area. Cottage and light industry have adjoined the
corridor, with limited residential areas to accommodate the work force. In
recent years the area has seen an increase in the conversion of industrial
buildings to artists-in-residence and studios.
Artists-in-Residence
District
Artists-in-Residence occupy a large area of Central City North between the
Santa Ana Freeway and the Santa Monica Freeway and between Alameda
Street and the Los Angeles River. The largest concentration of artists is
located in the area between First Street and Palmetto Street and Alameda
Street and the Los Angeles River identified as the Artist-in-Residence
District. The purpose of the boundaries is to identify the presence of the
artists as a distinct and integral part of the Central City North Community.
Although a large population of artists are located within these boundaries,
they are not restricted to the boundary.
Artists-in-Residence District is bounded by First Street, the Los
Angeles River, Sixth Street, and Alameda Street. This area located
just outside Little Tokyo boundaries, is primarily made up of old
warehouses now converted to artists lofts and studios. An MTA Red
Line Station is also planned for this area at Santa Fe and Third Street
and is part of the Angels Walk Pedestrian District Plan. The Central
City North Community plan encourages the continued and expanded
development of a thriving artists-in-residence community in the plan
and proposed redevelopment areas.
Artists-in-Residence occupy a large area of Central City North between the
Santa Ana Freeway and the Santa Monica Freeway and between Alameda
Street and the Los Angeles River. The largest concentration of artists is
located in the area between First Street and Palmetto Street and Alameda
Street and the Los Angeles River identified as the Artist-in-Residence
District. The purpose of the boundaries is to identify the presence of the
artists as a distinct and integral part of the Central City North Community.
Although a large population of artists are located within these boundaries,
they are not restricted to the boundary.
OPPORTUNITIES
Potential for artists-in-residence buildings to locate within industrially
zoned areas of the plan.
The Community Redevelopment Agency is working to adopt the
Alameda East Redevelopment Project which will promote artist-inresidence
opportunities to an area north of Sixth Street within the
proposed project area.
TRANSPORTATION
Potential to incorporate needed facilities conveniently near station
stops such as child care, senior housing, and the artists-in-residence
district.
Provide incentives for artists-in-residence to locate into the Central City
North area and develop an artists enclave.
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LAND USE POLICIES AND PROGRAMS
The residential community of Central City North is predominately
concentrated in the area west of Chinatown. Of the 2005 acres that
comprise Central City North, approximately 93 acres or 5% is currently
zoned and planned for residential uses. All of the residential is planned for
multi-family dwelling units although single family residences can be found
in a few scattered locations. There are approximately 4,043 dwelling units
and nearly all of the housing is low-rise multi-family at a net density of 39
units per acre. The residential areas are located west of the Pasadena
Freeway and just southeast of the Hollywood-Pasadena Freeway
Interchange. The William Mead Housing Project, operated by the City
Housing Authority, is also located in Central City North with over 400 units
located just east of Chinatown and north of Union Station. Central City
North is also home to a large concentration of artists-in-residence who
occupy the industrial warehouses and lofts just east of Alameda Street and
Little Tokyo.
OBJECTIVE 3-2
Encourage the continued development and maintenance of the artists-inresidence
community in industrial areas of the proposed redevelopment plan
areas and of the plan, as appropriate.
POLICIES
3-2.1 Support the existing artists-in-residence in Central City North as a
cultural resource for the community.
Program: Support applications to the office of Zoning
Administration for joint living and work quarters for artists and
artisans in commercial and industrial buildings if all the necessary
findings can be made.
OBJECTIVE 15-1
To initiate neighborhood based traffic and parking mitigation plans in each
of the Community Plan’s neighborhoods and artist-in-residence districts.
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HISTORIC AND CULTURAL RESOURCES
The Central City North Plan area encompasses Chinatown, parts of Little
Tokyo and El Pueblo (beginning just east of Olvera Street), symbolic cultural
centers of three prominent ethnic groups in the city, and the birthplace of
Los Angeles. A large artists community also resides in the plan area just
east of Alameda Street along the Los Angeles River. Central City North was
historically the major industrial center of Los Angeles and today is a major
center for railroad yards and point of distribution for goods received by the
Ports of Los Angeles and Long Beach.
POLICIES
18-1.1 Support the existing artists community in Central City North as a
cultural resource for the community.
Program: The Plan’s policies and programs encourage the
development of the artists-in residence community in Central City
North.
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HOUSING
5. Encourage new and alternative housing concepts, such as artist-inresidence
facilities, as well as alternative materials and methods of
construction, which are found to be compatible with City Codes.
A sense of entry should be created into the Chinatown community from
adjacent neighborhoods that serve to define the boundaries and the edges
of the community and its uniqueness. This same type of entryway should
also occur for the artists-in-residence quarters but to a lesser degree.
Public spaces and rights-of-way should capitalize on existing physical
access to differentiate the communities as a unique place in the city.
The Alameda Corridor has traditionally been a center of commercial and
transit activity in this planning area, with rail lines extending from Union
Station to the harbor area. Cottage and light industry have adjoined the
corridor, with limited residential areas to accommodate the work force. In
recent years the area has seen an increase in the conversion of industrial
buildings to artists-in-residence and studios.
Artists-in-Residence
District
Artists-in-Residence occupy a large area of Central City North between the
Santa Ana Freeway and the Santa Monica Freeway and between Alameda
Street and the Los Angeles River. The largest concentration of artists is
located in the area between First Street and Palmetto Street and Alameda
Street and the Los Angeles River identified as the Artist-in-Residence
District. The purpose of the boundaries is to identify the presence of the
artists as a distinct and integral part of the Central City North Community.
Although a large population of artists are located within these boundaries,
they are not restricted to the boundary.
Artists-in-Residence District is bounded by First Street, the Los
Angeles River, Sixth Street, and Alameda Street. This area located
just outside Little Tokyo boundaries, is primarily made up of old
warehouses now converted to artists lofts and studios. An MTA Red
Line Station is also planned for this area at Santa Fe and Third Street
and is part of the Angels Walk Pedestrian District Plan. The Central
City North Community plan encourages the continued and expanded
development of a thriving artists-in-residence community in the plan
and proposed redevelopment areas.
Artists-in-Residence occupy a large area of Central City North between the
Santa Ana Freeway and the Santa Monica Freeway and between Alameda
Street and the Los Angeles River. The largest concentration of artists is
located in the area between First Street and Palmetto Street and Alameda
Street and the Los Angeles River identified as the Artist-in-Residence
District. The purpose of the boundaries is to identify the presence of the
artists as a distinct and integral part of the Central City North Community.
Although a large population of artists are located within these boundaries,
they are not restricted to the boundary.
OPPORTUNITIES
Potential for artists-in-residence buildings to locate within industrially
zoned areas of the plan.
The Community Redevelopment Agency is working to adopt the
Alameda East Redevelopment Project which will promote artist-inresidence
opportunities to an area north of Sixth Street within the
proposed project area.
TRANSPORTATION
Potential to incorporate needed facilities conveniently near station
stops such as child care, senior housing, and the artists-in-residence
district.
Provide incentives for artists-in-residence to locate into the Central City
North area and develop an artists enclave.
-------
LAND USE POLICIES AND PROGRAMS
The residential community of Central City North is predominately
concentrated in the area west of Chinatown. Of the 2005 acres that
comprise Central City North, approximately 93 acres or 5% is currently
zoned and planned for residential uses. All of the residential is planned for
multi-family dwelling units although single family residences can be found
in a few scattered locations. There are approximately 4,043 dwelling units
and nearly all of the housing is low-rise multi-family at a net density of 39
units per acre. The residential areas are located west of the Pasadena
Freeway and just southeast of the Hollywood-Pasadena Freeway
Interchange. The William Mead Housing Project, operated by the City
Housing Authority, is also located in Central City North with over 400 units
located just east of Chinatown and north of Union Station. Central City
North is also home to a large concentration of artists-in-residence who
occupy the industrial warehouses and lofts just east of Alameda Street and
Little Tokyo.
OBJECTIVE 3-2
Encourage the continued development and maintenance of the artists-inresidence
community in industrial areas of the proposed redevelopment plan
areas and of the plan, as appropriate.
POLICIES
3-2.1 Support the existing artists-in-residence in Central City North as a
cultural resource for the community.
Program: Support applications to the office of Zoning
Administration for joint living and work quarters for artists and
artisans in commercial and industrial buildings if all the necessary
findings can be made.
OBJECTIVE 15-1
To initiate neighborhood based traffic and parking mitigation plans in each
of the Community Plan’s neighborhoods and artist-in-residence districts.
------
HISTORIC AND CULTURAL RESOURCES
The Central City North Plan area encompasses Chinatown, parts of Little
Tokyo and El Pueblo (beginning just east of Olvera Street), symbolic cultural
centers of three prominent ethnic groups in the city, and the birthplace of
Los Angeles. A large artists community also resides in the plan area just
east of Alameda Street along the Los Angeles River. Central City North was
historically the major industrial center of Los Angeles and today is a major
center for railroad yards and point of distribution for goods received by the
Ports of Los Angeles and Long Beach.
POLICIES
18-1.1 Support the existing artists community in Central City North as a
cultural resource for the community.
Program: The Plan’s policies and programs encourage the
development of the artists-in residence community in Central City
North.
--------------
HOUSING
5. Encourage new and alternative housing concepts, such as artist-inresidence
facilities, as well as alternative materials and methods of
construction, which are found to be compatible with City Codes.
A sense of entry should be created into the Chinatown community from
adjacent neighborhoods that serve to define the boundaries and the edges
of the community and its uniqueness. This same type of entryway should
also occur for the artists-in-residence quarters but to a lesser degree.
Public spaces and rights-of-way should capitalize on existing physical
access to differentiate the communities as a unique place in the city.
Sunday, September 14, 2008
David Foster Wallace on McPain
Just Asking David Foster Wallace
The novelist and essayist on his book about John McCain's 2000 campaign
By CHRISTOPHER JOHN FARLEYMay 31, 2008; Page W2
David Foster Wallace, author of the novel "Infinite Jest," was asked by Rolling Stone magazine to cover John McCain's presidential campaign in 2000. That assignment became a chapter in his essay collection "Consider the Lobster" (2005); the essay has now been issued as a stand-alone book, "McCain's Promise." In a phone interview, Mr. Wallace said he came away from the experience marveling at "how unknowable and layered these candidates are." Mr. Wallace also answered questions via email about presidential hopefuls, the youth vote and smiley faces.
Marion Ettlinger
WSJ: So why would a novelist want to travel around on a campaign bus?
Mr. Wallace: What made the McCain idea interesting to me, was that I'd seen a tape of his appearance on Charlie Rose at some point the previous year, in which he spoke so candidly and bluntly about stuff like campaign finance and partisan ickiness, stuff I'd not heard any national-level politician say. There was also the fact that my own politics were about 179 degrees from his, so there was no worry that I'd somehow get seduced into writing an infomercial.
WSJ: Have you changed your mind about any of the points that you made in the book?
Mr. Wallace: In the best political tradition, I reject the premise of your question. The essay quite specifically concerns a couple weeks in February, 2000, and the situation of both McCain [and] national politics in those couple weeks. It is heavily context-dependent. And that context now seems a long, long, long time ago. McCain himself has obviously changed; his flipperoos and weaselings on Roe v. Wade, campaign finance, the toxicity of lobbyists, Iraq timetables, etc. are just some of what make him a less interesting, more depressing political figure now—for me, at least. It's all understandable, of course—he's the GOP nominee now, not an insurgent maverick. Understandable, but depressing. As part of the essay talks about, there's an enormous difference between running an insurgent Hail-Mary-type longshot campaign and being a viable candidate (it was right around New Hampshire in 2000 that McCain began to change from the former to the latter), and there are some deep, really rather troubling questions about whether serious honor and candor and principle remain possible for someone who wants to really maybe win. I wouldn't take back anything that got said in that essay, but I'd want a reader to keep the time and context very much in mind on every page.
WSJ: You write that John McCain, in 2000, had become "the great populist hope of American politics." What parallels do you see between McCain in 2000 and Barack Obama in 2008?
Mr. Wallace: There are some similarities—the ability to attract new voters, Independents; the ability to raise serious money in a grassroots way via the Web. But there are also lots of differences, many too obvious to need pointing out. Obama is an orator, for one thing—a rhetorician of the old school. To me, that seems more classically populist than McCain, who's not a good speechmaker and whose great strengths are Q&As and small-group press confabs. But there's a bigger [reason]. The truth—as I see it—is that the previous seven years and four months of the Bush Administration have been such an unmitigated horror show of rapacity, hubris, incompetence, mendacity, corruption, cynicism and contempt for the electorate that it's very difficult to imagine how a self-identified Republican could try to position himself as a populist.
WSJ: In the book, you talk about why many young people are turned off by politics. What do you think could get young people to the voting booth this election?
Mr. Wallace: Well, it's a very different situation. If nothing else, the previous seven years and four months have helped make it clear that it actually matters a whole, whole lot who gets elected president. A whole lot. There's also the fact that there are now certain really urgent, galvanizing problems—price of oil, carbon emissions, Iraq—that are apt to get more voters of all ages and education-levels to the polls. For more interested or sophisticated young voters, there are also the matters of the staggering rise in national debt and off-the-books war-funding, the collapse of the dollar, and the grievous damage that's been done to all manner of consensuses about Constitutional protections, separation of powers, and U.S. obligations under international treaties.
WSJ: You're known for writing big, complex books. Your novel "Infinite Jest" is more than 1,000 pages, but "McCain's Promise" is a trim 124 pages. What made you decide to drop a few weight classes for this release?
Mr. Wallace: The truth is that this book is really a magazine article whose subject just turned out to be too big and thorny and multiramified to be doable at article length.
WSJ: I have an advance copy of "Infinite Jest" that your publishing house sent me in 1996. It's signed—apparently—by you and there's a little smiley face under your name. I've always wondered—did you actually draw that smiley face?
Mr. Wallace: One prong of the Buzz plan [for "Infinite Jest"] involved sending out a great many signed first editions—or maybe reader copies—to people who might generate Buzz. What they did was mail me a huge box of trade-paperback-size sheets of paper, which I was to sign; they would then somehow stitch them in to these "special" books. I basically spent an entire weekend signing these pages. You've probably had the weird epileptoid experience of saying a word over and over until it ceases to denote and becomes very strange and arbitrary and odd-feeling—imagine that happening with your own name. That's what happened. Plus it was boring. So boring, that I started doing all kinds of weird little graphic things to try to stay alert and engaged. What you call the "smiley face" is a vestige of an amateur cartoon character I used to amuse myself with in grade school. It's physically fun to draw—very sharp and swooping, and the eyebrows are just crackling with affect. I've seen a few of these "special books" at signings before, and it always makes me smile to see that face.
The novelist and essayist on his book about John McCain's 2000 campaign
By CHRISTOPHER JOHN FARLEYMay 31, 2008; Page W2
David Foster Wallace, author of the novel "Infinite Jest," was asked by Rolling Stone magazine to cover John McCain's presidential campaign in 2000. That assignment became a chapter in his essay collection "Consider the Lobster" (2005); the essay has now been issued as a stand-alone book, "McCain's Promise." In a phone interview, Mr. Wallace said he came away from the experience marveling at "how unknowable and layered these candidates are." Mr. Wallace also answered questions via email about presidential hopefuls, the youth vote and smiley faces.
Marion Ettlinger
WSJ: So why would a novelist want to travel around on a campaign bus?
Mr. Wallace: What made the McCain idea interesting to me, was that I'd seen a tape of his appearance on Charlie Rose at some point the previous year, in which he spoke so candidly and bluntly about stuff like campaign finance and partisan ickiness, stuff I'd not heard any national-level politician say. There was also the fact that my own politics were about 179 degrees from his, so there was no worry that I'd somehow get seduced into writing an infomercial.
WSJ: Have you changed your mind about any of the points that you made in the book?
Mr. Wallace: In the best political tradition, I reject the premise of your question. The essay quite specifically concerns a couple weeks in February, 2000, and the situation of both McCain [and] national politics in those couple weeks. It is heavily context-dependent. And that context now seems a long, long, long time ago. McCain himself has obviously changed; his flipperoos and weaselings on Roe v. Wade, campaign finance, the toxicity of lobbyists, Iraq timetables, etc. are just some of what make him a less interesting, more depressing political figure now—for me, at least. It's all understandable, of course—he's the GOP nominee now, not an insurgent maverick. Understandable, but depressing. As part of the essay talks about, there's an enormous difference between running an insurgent Hail-Mary-type longshot campaign and being a viable candidate (it was right around New Hampshire in 2000 that McCain began to change from the former to the latter), and there are some deep, really rather troubling questions about whether serious honor and candor and principle remain possible for someone who wants to really maybe win. I wouldn't take back anything that got said in that essay, but I'd want a reader to keep the time and context very much in mind on every page.
WSJ: You write that John McCain, in 2000, had become "the great populist hope of American politics." What parallels do you see between McCain in 2000 and Barack Obama in 2008?
Mr. Wallace: There are some similarities—the ability to attract new voters, Independents; the ability to raise serious money in a grassroots way via the Web. But there are also lots of differences, many too obvious to need pointing out. Obama is an orator, for one thing—a rhetorician of the old school. To me, that seems more classically populist than McCain, who's not a good speechmaker and whose great strengths are Q&As and small-group press confabs. But there's a bigger [reason]. The truth—as I see it—is that the previous seven years and four months of the Bush Administration have been such an unmitigated horror show of rapacity, hubris, incompetence, mendacity, corruption, cynicism and contempt for the electorate that it's very difficult to imagine how a self-identified Republican could try to position himself as a populist.
WSJ: In the book, you talk about why many young people are turned off by politics. What do you think could get young people to the voting booth this election?
Mr. Wallace: Well, it's a very different situation. If nothing else, the previous seven years and four months have helped make it clear that it actually matters a whole, whole lot who gets elected president. A whole lot. There's also the fact that there are now certain really urgent, galvanizing problems—price of oil, carbon emissions, Iraq—that are apt to get more voters of all ages and education-levels to the polls. For more interested or sophisticated young voters, there are also the matters of the staggering rise in national debt and off-the-books war-funding, the collapse of the dollar, and the grievous damage that's been done to all manner of consensuses about Constitutional protections, separation of powers, and U.S. obligations under international treaties.
WSJ: You're known for writing big, complex books. Your novel "Infinite Jest" is more than 1,000 pages, but "McCain's Promise" is a trim 124 pages. What made you decide to drop a few weight classes for this release?
Mr. Wallace: The truth is that this book is really a magazine article whose subject just turned out to be too big and thorny and multiramified to be doable at article length.
WSJ: I have an advance copy of "Infinite Jest" that your publishing house sent me in 1996. It's signed—apparently—by you and there's a little smiley face under your name. I've always wondered—did you actually draw that smiley face?
Mr. Wallace: One prong of the Buzz plan [for "Infinite Jest"] involved sending out a great many signed first editions—or maybe reader copies—to people who might generate Buzz. What they did was mail me a huge box of trade-paperback-size sheets of paper, which I was to sign; they would then somehow stitch them in to these "special" books. I basically spent an entire weekend signing these pages. You've probably had the weird epileptoid experience of saying a word over and over until it ceases to denote and becomes very strange and arbitrary and odd-feeling—imagine that happening with your own name. That's what happened. Plus it was boring. So boring, that I started doing all kinds of weird little graphic things to try to stay alert and engaged. What you call the "smiley face" is a vestige of an amateur cartoon character I used to amuse myself with in grade school. It's physically fun to draw—very sharp and swooping, and the eyebrows are just crackling with affect. I've seen a few of these "special books" at signings before, and it always makes me smile to see that face.
Sunday, June 15, 2008
THE DAY STARTS
Morning is clear except for the smoke spewing from Everest Trading Corporation.
Spiders bask in the morning glory.
Spiders bask in the morning glory.
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