Manos de Los Ángeles

 

     English architect, Augustus Welby Northmore Pugin once said, “The History of Architecture is the history of the World” and as workers of the built environment are tasked with some of Los Angeles’ most pressing problems like affordable housing, the homeless population, and traffic management, it is the duty of the citizens to look upon their local officials to ensure they are moving in the right direction. Unfortunately, by lack of default, Los Angeles is very inviting with its warm climate and large multitude of events and scenery which in turn makes the city very desirable for wealthy individuals to move into. As Los Angeles has been titled the Entertainment Capital of the World, this influx of wealthy individuals comes in support of this status which displaces the established communities as a result. More specifically, the large Mexican-American population of Los Angeles along with other minority groups such as the African-American and Asian populations that make up most of Los Angeles’ demographic makeup. When looking keenly at the entities of Los Angeles and their geographical placement and styles they employ, it’s hard not to notice a common theme amongst them. That being, a popular city that reflects its status in its exclusive forms, ever growing skyline, and cyclic traffic flows. It is through architectural styles and intent analysis that this theme is evident. 

     In finding a historical event that has had a profound impact on the built environment, the roots of the current gentrification process in Los Angeles demonstrates an era where the displacement of the established Mexican-Americans (Angelenos) was justified by both World War II patriotism and systemic racism in efforts to become the Entertainment Capital of the World. In the mid and late 1930’s, the style of the zoot suit became a sense of identity amongst the people of color across the nation. Cab Colloway utilized his platform as an African-American songwriter and performer to his advantage by wearing this style of suit in performances. This movement became a sense of identity amongst the minorities of the nation as it differed from the modern style that was often worn at the time. However, a massive stigma came along with this style as the Los Angeles Police Department, along with California Governor Culbert Olson, associated the style to be worn exclusively by juvenile delinquents, low-lifes, and gang members. 

     In December of 1941, a patriotic atmosphere was injected in the nation as the United States declared war on Japan in retaliation to the bombing of Pearl Harbor, thus entering World War II. This had a profound impact on the country as textiles were put to rationing in efforts to solely support the war. As the war progressed, the City Planners of the Los Angeles zone disregarded the space and social geography of the already-established Mexican-American neighborhoods on Figueroa street, by implementing a million dollar training school for the all-white Navy named the National Reserve Armory. This not only allowed for an abrupt injection of white sailors into well-established Latinx communities, but the juxtaposition of the two groups in the same neighborhoods disposed Angeleno families to the reckless behavior of off-duty sailors. Along Figuerora laid the Mexican-American business owners and workers of Chavez Ravine, Alpine Street, and Temple street. During off-duty hours, the sailors would often act recklessly and utilize both their race and entitlement as servicemen to their advantage by demanding free goods from these businesses on “Calle Principal”, a term used by the Angelenos for Main Street.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Neighborhoods of downtown Los Angeles, 1943. Arrows indicate the path along Figueroa Boulevard that sailors at the Naval Reserve Armoury took to reach downtown Los Angeles. (Source: Adapted by Eduardo Obregón Pagán and Tanya Salcedo from a 1946 street map by Thomas Brothers)

 

     However, gross abuse perpetrated by white sailors was not the only means through which Latinx Angelenos were disparaged, but also through media portrayal. The Los Angeles Times released an article titled “Language Marks Difference'' in which it claimed that “Juvenile files repeated show that a language variance in the home - where the parents speak no English and cling to past culture - is a serious factor of delinquency. Parents in such a home lack control over their offspring”. The tensions were growing rapidly in Los Angeles as the Angelenos were resisting this patriotic and racist behavior of the white sailors and media portrayal. Then on June 3 of 1941, a weeklong episode of riots burst throughout the city as the zoot suit was deemed unpatriotic in its “waste of resources”. Using this as justification for further displacement, any minorities that were roaming the streets of Los Angeles were attacked by both servicemen and local law enforcement. In response, the City Council of Los Angeles issued a ban on zoot suits on June 9 which completely neglected the racial attacks on the minorities of Los Angeles by way of both on-duty and off-duty LAPD and servicemen. Moreover, by banning zoot suits, implications that were either never considered or acknowledged, included the robbing of Chicanos of their identity by stripping the city of Los Angeles of a fashion piece that was an iconic representation of Angeleno culture. The further marginalization of Angelenos was brought into reality through both local and federal lawmakers that continue to tailor the needs of the white nuclear family.  

On both a local and federal level, laws were being implemented with provisions that served the needs of the typical modern white nuclear American family. The GI Bill of Rights in 1944 produced advertisements such as the one where a white family is stating “‘This is for Us!’” in regards to a modern home that required no down payment for white veterans. The concept behind being a homeowner translated into being a part of the economy by contribution, which cast aside the minorities of the nation, as minorities were disregarded as contributing little to the American economy were not considered in the vision for the future of America.

 

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Source: Diane Harris, Magazine Lessons: Publishing the Lexicon of White Domesticity and Rendered Whiteness: Architectural Drawings and Graphics, Minneapolis: University of Minnesota Press, 2013 p. 63, National Homes Advertisement, Life Magazine, September 13, 1954

 

     Further legislation was passed in the Housing Act of 1949, that justified Los Angeles Mayor Fletcher Brown's plan to build public housing on the Chavez Ravine and in the neighborhoods around Elysian and Echo Park as he deemed it an eyesore. Renowned architects Richard Neutra and Robert Alexander were selected to contribute by designing the modernist Elysian Park Heights project. It was then through the belief that federally funded housing was a form of communism and a newly elected conservative mayor, that led to the termination of the original housing proposal by former LA mayor Fletcher Brown, making way for the American sports executive Walter O’Malley to purchase for the construction of Dodger stadium. The people that once lived in the Chavez Ravine, were not only forcefully removed in hopes for public housing, but they were given no reimbursement for the value of their property. Further displacement of the Angelenos occurred as the following interstates were built in East Los Angeles: Santa Ana 5, Hollywood 101, San Bernardino 10, Golden State 5, Santa Monica 10, Long Beach 710, Pomona 60. All of which made up for 19 percent of East Los Angeles’ land use. It is at this point of time that the Angelenos that contribute to the large Mexican-American population feel a sense that their backs are against the wall. A lack of respect for where the majority reside is ever present and continues to be an issue in the city that continues to exclude and reject its roots. 

Present today, Olvera Street has been said to represent Mexican culture, but it has an artificial look of almost a Disney attraction. The kiosks are jammed in a small aisle of the marketplace in which they sell manufactured souvenirs in representation of “Los Angeles’ past history, almost denoting that Los Angeles is no longer a place for Angelenos and their culture. The location of the marketplace is quite ironic given its close proximity to Los Angeles’ Union Station which is the largest railroad passenger terminal in the Western United States, the interstate-101 freeway, and Dodger Stadium. All of which relate to Los Angeles’ new entertainment culture. If the initial motive of creating Olvera Street was kept true, in efforts to preserve Old LA, why is the Financial District labeled as the center of the city? With its high-end hotels, restaurants, major department stores, and central regional Metro rail system, it is of no coincidence that this lies within the center of Downtown Los Angeles. Thus, making this experience of the Financial District only available to a certain person of status and more importantly, maintaining Los Angeles’ exclusive aura for tourists and visitors to experience. A true representation lies within the inhabitants that originally occupied the land. Meanwhile, Olvera street along with Chinatown and Little Tokyo are often referred to in terms of its presence in famous Hollywood films such as Rush Hour and Showdown in Little Tokyo. It is through both the Financial District and touristy attractions like Olvera Street, Chinatown, and Little Tokyo where we see this parallel between prioritizing entertainment at the expense of the livelihood of those in the way. It is through these case studies, that the displacement of the well established Angelenos along with their stripping of ethnic identity, are justified and legitimized by patriotism, racism, and federal and local lawmakers.

     On the topic of Los Angeles being the mecca of entertainment, it can be seen through current day gentrification processes that it is also a city of exclusion. During the design process of Loyola Law School, located on the western edge of Downtown Los Angeles and within the largest Central-American barrio in the United States, Frank Gehry found himself infatuated with designing a school that was unwelcoming and fortress like. Gehry purposefully chose to steer away from designing a school that was open to the surrounding community which happened to be a Central-American barrio. It is almost as if Frank Gehry indirectly rejects the community that surrounds the school by creating an exclusive community within. This same mentality is also seen in Los Angeles’ Cathedral of Our Lady of the Angels and its decision in hiring a Spanish architect by the name of Rafael Mone to design this postmodern, deconstructive, contemporary, and modern Catholic church. All styles of which reflect an unwelcoming and unnerving presence for those that wish to practice their Catholic faith, especially the Mexican-American community where Catholicism is the dominant faith. It's quite contradicting that the Cathedral embraces this design as opposed to an open facade that is of better geographical placement for all to access. More importantly, the Cathedral is designed in a way that is very condescending in its enormous size and geographical placement off the side of the Santa Ana freeway for commuters to look up to while in rush hour. It can be assumed that the Church sided with Los Angeles’ exclusive aura instead of erecting a place of pure communal space and worship. On a more recent note, LA City Council passed a ban on homeless encampments near schools and daycares in efforts to “protect safe passage to schools”. Ironically, Councilman Gil Cedillo recognizes the implications of his vote by stating, “Those who have argued that this doesn’t solve homelessness, doesn’t move us forward in this area, are absolutely right — but not on point”. The implications of this new ban is quite significant and quite hidden to the public as schools and daycares make up nearly twenty percent of the city and in some LA City Council Districts, nearly fifty percent. Justified by children’s safety, the city has yet to establish who will enforce and maintain this 41.18 amendment which puts the stress on school administration. Regardless of what the City of Los Angeles considers the main priority, they clearly have a motive and standard they must fulfill, but at the expense of those that continue to be evicted and deprived of the city they continue to uphold.

     In efforts to stand one’s ground, justifiably so, the minority Angelenos that were once present along Figueroa Street in the Chavez Ravine, Alpine Street, and Temple Street empowered a new generation of Mexican-Americans that recognize the displacement and injustice by way of art. Through pieces such as the Great Wall of Los Angeles, ‘We are not a minority!!’ mural on Olympic Boulevard, Bienvenidos sign in East Los Angeles, the mariachi tower in Boyle Heights, and even graffiti pieces, it is of no surprise that the people that not only inhabit Los Angeles, but also keep California afloat with their hard work, in all societal classes, are making themselves present. A sense of unity and patriotism that is fueled not by any sort of racism nor entitlement, but rather a genuine population of hard workers that continue to contribute to the well-renowned experience of Los Angeles. 

  

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“We Are Not a Minority” by Mario Torero (Source: Author)

 

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The Great Wall of Los Angeles, by Judy Baca (Source: Author)

             

 

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Municipal East Los Angeles Sign by Vermont Reporter Peter Hirschfeld (Source: Adaptation of vermontpublic.org article “Sanders Looks To Latino Voters To Deliver Victory In California Primary” February 26, 2020)    

 

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Graffiti on the sidewalk of East Los Angeles (Source: Author)

 

     Through food vending which has been recently made nearly impossible to receive permit by way of local legislation is part of this experience. Another form of cultural identity which was put onto display at the grand opening of Michael Maltzan’s 6th street viaduct project, was the presence of the Mexican-American community resembling the culture of Los Angeles. Through a lowrider display, which is also deemed illegal according to California Vehicle Code 24008 thousands filled into the bridge to enjoy Mexican cuisine, artwork, and live music. 

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Los Angeles’ 6th Street Viaduct Grand Opening, July 9 2022

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     To further prove the point of legislation being used as a tool, the use of diacritical marks in government documents such as birth certificates has been deemed illegal by way of California Proposition 63. Hence, stripping the ethnic background of individuals that are of latin descent. It can be deduced that there is this common theme of using legislation to undermine the cultural identity of Mexican-Americans in Los Angeles. So much so, it is justifying the current gentrification process of these largely populated Mexican-American neighborhoods. At what point will local and federal entities recognize the original presence of Mexican-Americans instead of pushing them outwards in surrounding counties? At what point will local and federal entities acknowledge that part of the experience of Los Angeles’ culture includes its original inhabitants and not the exclusive agenda it portrays? And more importantly, what can awareness of gentrification mean for designing the future of Los Angeles for the current and aspiring young workers of the built environment?