Los Angeles Department of City Planning

Transcription

RECOMMENDATION REPORT
CULTURAL HERITAGE COMMISSION
CASE NO.: CHC-2009-3028-HCM
ENV-2009-3030-CE
HEARING DATE:
TIME:
PLACE:
Location: 2354 S. Vista Gordo Drive
Council District: 13
Community Plan Area: Silver Lake-Echo ParkElysian Valley
Area Planning Commission: East Los Angeles
Neighborhood Council: Greater Echo Park
Elysian
Legal Description: Lot 6 of TR 5114
December 3, 2009
10:00 AM
City Hall, Room 1010
200 N. Spring Street
Los Angeles, CA
90012
PROJECT:
Historic-Cultural Monument Application for the
SHIRE ART HOUSE
REQUEST:
Declare the property a Historic-Cultural Monument
OWNER/
APPLICANT:
William Shire
2354 Vista Gordo Drive
Los Angeles, CA 90026
OWNER’S
REPRESENATIVE:
Charles J. Fisher
140 S. Avenue 57
RECOMMENDATION
That the Cultural Heritage Commission:
1. Declare the property a Historic-Cultural Monument per Los Angeles Administrative Code
Chapter 9, Division 22, Article 1, Section 22.171.7
2. Adopt the report findings.
S. GAIL GOLDBERG, AICP
Director of Planning
[SIGNED ORIGINAL IN FILE]
Ken Bernstein, AICP, Manager
Office of Historic Resources
Lambert M. Giessinger, Preservation Architect
Prepared by:
________________________
Edgar Garcia, Preservation Planner
Attachments:
June, 2009 Historic-Cultural Monument Application
ZIMAS Report
2354 S. Vista Gordo Drive
CHC-2009-3028-HCM
Page 2 of 3
FINDINGS
The building is associated with a master builder, designer, or architect, as a work by notable
designer and artist Peter Shire.
CRITERIA
The criterion is the Cultural Heritage Ordinance which defines a historical or cultural monument
as any site (including significant trees or other plant life located thereon) building or structure of
particular historic or cultural significance to the City of Los Angeles, such as historic structures
or sites in which the broad cultural, economic, or social history of the nation, State or community
is reflected or exemplified, or which are identified with historic personages or with important
events in the main currents of national, State or local history or which embody the distinguishing
characteristics of an architectural type specimen, inherently valuable for a study of a period style
or method of construction, or a notable work of a master builder, designer or architect whose
individual genius influenced his age.
SUMMARY
Constructed in 1938 and adorned with artwork between 1983-1988, this two-story residential is
constructed in a Traditional Minimalist style. Located on a hilly section of Echo Park, the home
follows an L-shape plan and has a cross-hipped gable roof covered in composite shingles. The
subject building is covered in a stucco finish painted burgundy. A stuccoed chimney is located
on the left front façade. The protruding right-hand section of the main elevation has a large
green garage door with two porthole windows. The off-center main entrance door is topped by
a prominent art piece made to resemble a porch, consisting of an open square aluminum
framework supporting an elaborate fiberglass roof sculpture. Other metal art pieces and
sculpture are located around the main entrance. Interiors of the home include various standalone art pieces and designed fixtures. All artwork and decorative work appears to be the work
of artist Peter Shire (1947- ).
The original builder or possible architect of the c. 1938 subject building is unknown. In 1983,
artist Peter Shire and his wife purchased the subject property and resided there until 1988.
Shire is a noted artist and sculptor and was a cofounder of the “Memphis Group,” an art and
design movement of the 1980s. He designed the temporary outdoor discotheques at USC and
UCLA for the 1984 Los Angeles Olympics which were later reinstalled at the Museum of
Contemporary Art (MOCA). Shire’s work is in the collection of several prominent museum
collections.
DISCUSSION
The Shire Art House property successfully meets one of the specified Historic-Cultural
Monument criteria: is associated with a master builder, designer, or architect. As a residential
building redesigned and modified by a notable designer and artist, the property qualifies for
designation as a Historic-Cultural Monument based on these criteria.
The subject building appears to be significant for modifications and additions made to the home
by Peter Shire. These include the sculptural pieces located on the façade and backyard, as well
as fixed decorative elements such as the fireplace, kitchen cabinets, and bathroom fixtures.
The staff of the Office of Historic Resources suggests that in the future an inventory be prepared
CHC-2009-3028-HCM
Page 3 of 3
by the current property owner and Peter Shire to further refine this list of character-defining
features.
BACKGROUND
At its meeting of October 1, 2009, the Cultural Heritage Commission voted to take the
application under consideration. On November 19, 2009, the Cultural Heritage Commission
toured the subject property.
CALIFORNIA ENVIRONMENTAL QUALITY ACT (“CEQA”) REVIEW
State of California CEQA Guidelines, Article 19, Section 15308, Class 8 “consists of actions
taken by regulatory agencies, as authorized by state or local ordinance, to assure the
maintenance, restoration, enhancement, or protection of the environment where the regulatory
process involves procedures for protection of the environment.”
State of California CEQA Guidelines Article 19, Section 15331, Class 31 “consists of projects
limited to maintenance, repair, stabilization, rehabilitation, restoration, preservation,
conservation or reconstruction of historical resources in a manner consistent with the Secretary
of the Interior’s Standards for the Treatment of Historic Properties with Guidelines for
Preserving, Rehabilitating, Restoring, and Reconstructing Historic buildings.”
The designation of the Shire Art House as a Historic-Cultural Monument in accordance with
Chapter 9, Article 1, of The City of Los Angeles Administrative Code (“LAAC”) will ensure that
future construction activities involving the subject property are regulated in accordance with
Section 22.171.14 of the LAAC. The purpose of the designation is to prevent significant impacts
to a Historic-Cultural Monument through the application of the standards set forth in the LAAC.
Without the regulation imposed by way of the pending designation, the historic significance and
integrity of the subject property could be lost through incompatible alterations and new
construction and the demolition of irreplaceable historic structures. The Secretary of the
Interior’s Standards of Rehabilitation are expressly incorporated into the LAAC and provide
standards concerning the historically appropriate construction activities which will ensure the
continued preservation of the subject property.
The use of Categorical Exemption Class 8 in connection with the proposed designation is
consistent with the goals of maintaining, restoring, enhancing, and protecting the environment
through the imposition of regulations designed to prevent the degradation of Historic-Cultural
Monuments.
The use of Categorical Exemption Class 31 in connection with the proposed designation is
consistent with the goals relating to the preservation, rehabilitation, restoration and
reconstruction of Historic buildings in a manner consistent with the Secretary of the Interior’s
Standards for the Treatment of Historic Properties with Guidelines for Preserving Rehabilitating,
Restoring, and Reconstructing Historic Buildings.
RECOMMENDATION REPORT
CULTURAL HERITAGE COMMISSION
CASE NO.: CHC-2009-3028-HCM
ENV-2009-3030-CE
HEARING DATE:
TIME:
PLACE:
Location: 2354 S. Vista Gordo Drive
Council District: 13
Community Plan Area: Silver Lake-Echo ParkElysian Valley
Area Planning Commission: East Los Angeles
Neighborhood Council: Greater Echo Park
Elysian
Legal Description: Lot 6 of TR 5114
October 1, 2009
10:00 AM
City Hall, Room 1010
200 N. Spring Street
Los Angeles, CA
90012
PROJECT:
Historic-Cultural Monument Application for the
SHIRE ART HOUSE
REQUEST:
Declare the property a Historic-Cultural Monument
OWNER/
APPLICANT:
William Shire
OWNER’S
REPRESENATIVE:
Charles J. Fisher
140 S. Avenue 57
RECOMMENDATION
That the Cultural Heritage Commission:
1. Take the property under consideration as a Historic-Cultural Monument per Los
Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.10
because the application and accompanying photo documentation suggest the submittal
may warrant further investigation.
2. Adopt the report findings.
S. GAIL GOLDBERG, AICP
Director of Planning
Ken Bernstein, AICP, Manager
Lambert M. Giessinger, Preservation Architect
Prepared by:
________________________
Edgar Garcia, Preservation Planner
Attachments:
June, 2009 Historic-Cultural Monument Application
ZIMAS Report
CHC-2009-3028-HCM
Page 2 of 2
SUMMARY
Constructed in 1938 and adorned with artwork between 1983-1988, this two-story residential is
constructed in a Traditional Minimalist style. Located on a hilly section of Echo Park, the home
follows an L-shape plan and has a cross-hipped gable roof covered in composite shingles. The
subject building is covered in a stucco finish painted burgundy. A stuccoed chimney is located
on the left front façade. The protruding right-hand section of the main elevation has a large
green garage door with two porthole windows. The off-center main entrance door is topped by
a prominent art piece made to resemble a porch, consisting of an open square aluminum
framework supporting an elaborate fiberglass roof sculpture. Other metal art pieces and
sculpture are located around the main entrance. Interiors of the home include various standalone art pieces and designed fixtures. All artwork and decorative work appears to be the work
of artist Peter Shire (1947- ).
The original builder or possible architect of the c. 1938 subject building is unknown. In 1983,
artist Peter Shire and his wife purchased the subject property and resided there until 1988.
Shire is a noted artist and sculptor and was a cofounder of the “Memphis Group,” an art and
design movement of the 1980s. He designed the temporary outdoor discotheques at USC and
UCLA for the 1984 Los Angeles Olympics which were later reinstalled at the Museum of
Contemporary Art (MOCA). Shire’s work is in the collection of several prominent museum
collections.
CRITERIA
The criterion is the Cultural Heritage Ordinance which defines a historical or cultural monument
as any site (including significant trees or other plant life located thereon) building or structure of
particular historic or cultural significance to the City of Los Angeles, such as historic structures
or sites in which the broad cultural, economic, or social history of the nation, State or community
is reflected or exemplified, or which are identified with historic personages or with important
events in the main currents of national, State or local history or which embody the distinguishing
characteristics of an architectural type specimen, inherently valuable for a study of a period style
or method of construction, or a notable work of a master builder, designer or architect whose
individual genius influenced his age.
FINDINGS
Based on the facts set forth in the summary and application, the Commission determines that
the application is complete and that the property may be significant enough to warrant further
investigation as a potential Historic-Cultural Monument.
BACKGROUND
On January 31, 2008, the Department of Building and Safety Code Enforcement Bureau issued
an order-to-comply for the porch-like art piece, stating that the work was done without permits
on file.
Historic-Cultural Monument
Application
TYPE OR PRINT IN ALL CAPITAL BLOCK LETTERS
Identification
1. name of proposed monument ___
Shire Art House
2. street address ___
city ___Echo Park
_____
_
________zip code ____90026
assessor’s parcel no.
_
council district _
13
_
5415-006-006
_
complete legal description: tract Tract No. 5114 as per map in Book 94, Page 4 of Maps, in the
Office of the County Recorder of Los Angeles County.
Block
N/A
Lot(s)
range of addresses
N/A
_
_
William Shire
street address __
city _ Los Angeles
private
4. present use _
_ arb. no.
2354 thru 2358 Vista Gordo Drive
3. present owner
owner is:
6
_
___
state CA zip code
X
Single Family Residence
_
90026
phone_
(323) 662 - 8067 _
__public
_
original use _ Single Family Residence
_
Description
5. architectural style ___
A tract-style home with modern art work as its main feature
_
6. state present physical description of the site or structure (see optional description worksheet)
(see description worksheet)
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
historic-cultural monument
application
Historic-Cultural Monument
Application
Name of Proposed Monument
Shire Art House
10.
construction date: factual _
1938 and 1983-88
_estimated
_
11.
architect , designer, or engineer: _ no architect known, Art work by Peter Shire, 1983-1988
_
12.
contractor or other builder:
_
13.
dates of enclosed photographs _
14.
condition: _ excellent
15.
alterations: Porch designed as artwork in 1984-86, various interior artwork elements by Peter Shire and
J. O. Ruedy
good
May 19, 2009
fair
deteriorated
_
no longer in existence
a large deck at the rear of the house added in 1980s.
_
_
.
16.
threats to site
17.
is the structure _ on its original site
none known
private development
moved
vandalism
_
public works project _ Code enforcement
unknown
significance
18.
briefly state historical and/or architectural importance; include dates, events, and persons associated
with site (see optional significance worksheet) The structure is significant as the home of Peter Shire.
_
The shire Art House was constructed for Theophil Clauss in 1938 who owned until 1950. In _
In 1983, artist Peter Shire and his wife Donna become the sixth owners of the house. Over the
_
Next 5 years, Peter Shire, an Internationally acclaimed artist of abstract sculpture, molded_ _
the modest abode into his own artistic vision by creating abstract artwork that was made into _
a permanent part of the house. The most noticeable feature is the front porch, which is a
_
whimsically playful piece that utilizes aluminum bars, a fiberglass roof and metal decorative _
features, all laid out above a simple stepped wooden porch. The porch is painted in various
_
bright colors, which as a hallmark of Shire’s artwork. In 1988, the house was deeded to Peter
Shire’s brother, Billy, who presently resides there. Much of the art that was placed in the
_
Porch itself is of the same materials and design as public art Shire did for the 1984 Olympics. .
19.
sources (list books, documents, surveys, personal interviews with dates) Los Angeles City Building permits per
_
attached, LA County assessors records, recorded deeds, Los Angeles Times articles, art books and exhibit programs,
interviews with the artist conducted in September 2007 by Jo Lauria and in July 2009 by Charles J. Fisher
20.
date form prepared July 27, 2009 _ preparer’s name
organization
Charles J. Fisher
Owner’s Representative . street address
city _Highland Park
state _CA
E-mail address: _____
zip code
_
90042 phone _
[email protected]
_
140 S. Avenue 57
_
(323) 256-3593
_
_
application
DESCRIPTION WORK SHEET
type or print in all capital block letters
the _
_ is a __
Shire Art House
2
name of proposed monument
Artistic sculpture
_, _
architectural style (see liine 8 above)
with a
L-shaped
plan
residence
plan shape (see chart)
stucco
_ finish and
steel and wood
trim.
material (wood, metal, etc.)
roof is covered with composition shingles .
hipped
roof shape (see chart))
_
structure use (residence, etc)
material (wood siding, wood shingles, brick, stucco, etc
its
story,
number of stories
material (clay tile, asphalt or wood shingles
double hung and fixed windows
glass and wood
,
WINDOW MATERIAL
are part of the design.
window type [double hung (slides up & down), casement (opens out), horizontal sliding, etc]
the entry features a open porch designed with brightly painted steel beams, a fiberglass roof, etc _
door location (recessed, centered, off-center, corner, etc.)
with a _a flat with artistic prow and porthole door. Additional character defining elements
entry door style (see chart)
of the structure are The main house and the attached garage both have distinct hipped roofs with_
identify original features such as porches (see chart); balconies; number and shape of dormers (see chart);
the garage being located at the right front of the house. Two small aluminum portholes have been _
number and location of chimneys; shutters; secondary finish materials; parapets; metal trim; decorative tile or cast stone; arches;
placed in the flat green garage door slightly right of center. The door consists of four large
_
ornamental woodwork; symmetry or asymmetry; cornices; friezes; towers or turrets; bay windows; halftimbering; horizontality;
horizontal panels. A burgundy stuccoed chimney is located on the left front façade of the house. A
verticality; formality or informality; garden walls, etc.
large elliptical vent is located in the center of the garage roof. Other than the portholes, this
_
additional defining elements
design is typical of several other houses in the neighborhood. The most prominent feature is the custom porch _
appears, at first, almost as a brightly painted erector set. Three concrete steps to the left and one on the right _
lead to a two tiered wooden landing leading to the custom front door. The main porch structure consists of a _
open square aluminum framework, topped with a transverse gabled square framework at the front topped with a _
corrugated fiberglass and a smaller forward gable of the same design immediately over the entry. Other decoraadditional defining elements
tive elements of various designs surround and surmount the porch. Port holed metal art piece hangs at the front
_
secondary buildings consist of There are no secondary buildings
significant interior spaces include coved ceilings and hardwood floors with a staircase
__
_
Identify original features such as wood paneling; moldings and trim, special glass windows,
Leading to the lower floor. Several permanent art elements have been installed, such as twisted
_
ornate ceilings; plaster moldings; light fixtures; painted decoration; ceramic tile; stair balustrades; built-in furniture, etc.
twisted columns supporting the ends of the fireplace mantel. The one on the right has a ball on top._
identify notable mature trees and shrubs
historic-cultural monument application
c i t y
o f
l o s
a n g e l e s
Significance Work Sheet
type or hand print in all capital block letters
Complete One or Both of the Upper and Lower Portions of This Page
Architectural Significance
the _
Shire Art House
is an important example of
name of proposed monument
_
New Wave artwork
_____
architecture
Architectural style (see line 8)
and meets the cultural heritage ordinance because of the high quality of its design and the retention
of its original form, detailing and integrity.
And/or
Historical Significance
The _
Shire Art House
Name of proposed monument
Peter Shire
_ was built in _
1938 and 1983-88
__
_
year built
was important to the
Name of first or other significant owner
21.
development of Los Angeles because as a Los Angeles native, Peter Shire has captured the
_
heart of the City and transmitted it worldwide through his unique brand of abstract sculpture. Shire
_
was the only American artist who was a co-founder of the Memphis Group of mostly Italian artists whose
goal was to “reinvigorate the “Radical Design” movement that had begun to evolve in the 1960s and 70s. _
Shire’s work with the transformation of everyday objects into works of New Wave Art, such as his early_
Work to create the ultimate teapot had endeared him to Ettore Sottsass and the other European artists_
That formed the movement. Active from 1981-1988, the Memphis Group has left a lasting influence in the_
Art World that has profoundly affected the boundaries of artistic license. Shire was born in Los
_
Angeles in 1947 and grew up in Echo Park, where he still lives and works. His designs are found throughout the world and take many whimsical shapes. Over the last three decades, Shire has been commissioned _
Do a number of large public art projects. He was tapped to design outdoor discotheques at USC and UCLA for _
The athletes during the 1984 Summer Olympics. The designs were temporary and were Dismantled after the games.
A portion was reassembled a year later as an exhibit at the Museum of Contemporary Art for awhile, But _
That was also a temporary exhibit. At the same time, Shire and his wife took out a permit to repair termite _
Damage to their home and install a new front door opening to the house. Shire used materials and
_
Design elements from the Olympic Disco to create a whimsical front porch that truly captures the essence
Now dismantled larger structure. The Olympic Disco was a magical place during a time when all eyes of_
application
c i t y
o f
l o s
a n g e l e s
Significance Work Sheet
Continued
Were focused on Los Angeles which, in spite of a Soviet boycott, had one of the most successful Olympic games _
ever. It was a time when people put aside their differences and gathered together to support the athletes and the_
vision of a more whole world, not torn by strife and war. Shire’s art displays an optimism that transcends the
_
differences in politics, religion or nationalism. The son of an artist, Peter Shire displayed his abilities at a young _
age. As a youth, he was a part of a program at the Chouinard Arts Institute (HCM 454) to work with young artists.
Later, he graduated from the school, specializing in ceramics. During the 1970s, Shire became world famous for
his visionary abstract ceramic designs, especially his various teapots. It was this early work that caught the eye_
of the Memphis Group. By the 1980s, Shire had begun to take on larger commissions which resulted in a number of
_
Public art pieces. While his Olympic was a temporary work, many of his other designs continue to Mystify and
_
charm the minds of people throughout the world. The Shire Art House is a window into Shire’s creativity as it
_
illustrates the extent to which the art is a natural part of his own life. It also shows in a real sense, how the _
lines between art and architecture are frequently blurred at best. In many ways, Shire’s designs play havoc with
conventional attitudes of both, but they do so in a way that is both thought provoking and playful at the same time.
They shatter the line between conventional design and the absurd in a manner that redefines both. The house itself,
while still a work in progress, is described in Tim Street-Porter’s book “Freestyle, The New Architecture and Interior
Design from Los Angeles”, ©1986, which states that it resembles a giant Shire Teapot and is “basically a simple
_
tract- style bungalow that is set on a steep slope, permitting a lower floor, hidden from the street, which opens _
to a garden below. Following its metamorphosis, the house is every inch a Shire product. Undulating steel
_
columns were rescued from the discotheques Shire created for the 1984 Olympics to stand on either side of the
entry porch. Painted blue, yellow and red to distinguish it from the pink, fuchsia and turquoise of the house itself, _
this porch is capped by a green fiberglass roof. The basic functions of a porch – to welcome and shelter visitors
and to provide a pleasant anticipation before entering the house – are well fulfilled here, and this is indicative of
the warm, happy vision which marks all of Shire’s work.” The author notes that Shire concentrates much of his
_
work in the kitchen and Bathrooms as a means of compensating for the small scale of the 1,243 square foot
_
house, by using the small but heavily used rooms as means of introducing a feeling of luxury that pervades the
_
house. Billy Shire, the current owner of the house, is known for his contemporary art galleries which helped _
to bring about the transformation of Melrose Avenue during the 1980s. Peter and Billy Shire were both
born and raised in Echo Park, and attended all the local schools, Elysian Heights Elementary, King Junior High, _
Belmont High School. They are attuned to the sociological and economic forces that drive this unusual and
_
emblematic section of Los Angeles. And, this is reflected and expressed in the way art communicates in this case,_
on the Shire Art house.
_
application
City of Los Angeles
Department of City Planning
07/27/2009
PARCEL PROFILE REPORT
PROPERTY ADDRESSES
2354 S VISTA GORDO DR
ZIP CODES
90026
RECENT ACTIVITY
None
CASE NUMBERS
CPC-1986-255
ORD-165167-SA3320
Address/Legal Information
PIN Number:
Lot Area (Calculated):
Thomas Brothers Grid:
Assessor Parcel No. (APN):
Tract:
Map Reference:
Block:
Lot:
Arb (Lot Cut Reference):
Map Sheet:
Jurisdictional Information
Community Plan Area:
Area Planning Commission:
Neighborhood Council:
Council District:
Census Tract #:
LADBS District Office:
Planning and Zoning Information
Special Notes:
Zoning:
Zoning Information (ZI):
General Plan Land Use:
Plan Footnote - Site Req.:
Additional Plan Footnotes:
Specific Plan Area:
Design Review Board:
Historic Preservation Review:
Historic Preservation Overlay Zone:
Other Historic Designations:
Other Historic Survey Information:
Mills Act Contract:
POD - Pedestrian Oriented Districts:
CDO - Community Design Overlay:
NSO - Neighborhood Stabilization Overlay:
Streetscape:
Sign District:
Adaptive Reuse Incentive Area:
CRA - Community Redevelopment Agency:
Central City Parking:
Downtown Parking:
Building Line:
500 Ft School Zone:
500 Ft Park Zone:
Assessor Information
Assessor Parcel No. (APN):
APN Area (Co. Public Works)*:
Use Code:
Assessed Land Val.:
Assessed Improvement Val.:
Last Owner Change:
Last Sale Amount:
Tax Rate Area:
Deed Ref No. (City Clerk):
144B213 450
4,925.3 (sq ft)
PAGE 594 - GRID F5
5415006006
TR 5114
M B 94-4
None
6
None
144B213
Silver Lake - Echo Park - Elysian
Valley
East Los Angeles
Greater Echo Park Elysian
CD 13 - Eric Garcetti
1972.00
Los Angeles Metro
None
R1-1VL
ZI-2129 East Los Angeles State
Enterprise Zone
Low Residential
See Plan Footnotes
Silver Lake
None
No
No
None
None
None
None
None
None
None
No
No
None
None
No
No
None
No
Active: Elysian Park
5415006006
0.112 (ac)
0100 - Single Residence
$138,721
$59,445
08/31/88
$84,500
13
9-915
8-628
The contents of this report are bound by the User Agreement as described in the Terms and Conditions of this website. For more details, please refer to the Terms & Conditions link located at http://zimas.lacity.org.
(*) - APN Area: LA County Assessor's Office is not the data provider for this item. The data source is from the Los Angeles County's Public Works, Flood Control, Benefit Assessment.
8-592
1552373
1382849
Building 1:
1. Year Built:
1. Building Class:
1. Number of Units:
1. Number of Bedrooms:
1. Number of Bathrooms:
1. Building Square Footage:
Building 2:
2. Year Built:
2. Building Class:
2. Number of Units:
Building 3:
3. Year Built:
3. Building Class:
3. Number of Units:
Building 4:
4. Year Built:
4. Building Class:
4. Number of Units:
Building 5:
5. Year Built:
5. Building Class:
5. Number of Units:
Additional Information
Airport Hazard:
Coastal Zone:
Farmland:
Very High Fire Hazard Severity Zone:
Fire District No. 1:
Fire District No. 2:
Flood Zone:
Hazardous Waste / Border Zone Properties:
Methane Hazard Site:
High Wind Velocity Areas:
Hillside Grading:
Oil Wells:
Alquist-Priolo Fault Zone:
Distance to Nearest Fault:
Landslide:
Liquefaction:
Economic Development Areas
Business Improvement District:
Federal Empowerment Zone:
Renewal Community:
Revitalization Zone:
State Enterprise Zone:
1938
D65A
1
2
2
1,243.0 (sq ft)
Not Available
Not Available
0
0
0
0.0 (sq ft)
Not Available
Not Available
0
0
0
0.0 (sq ft)
Not Available
Not Available
0
0
0
None
Not Available
Not Available
0
0
0
0.0 (sq ft)
None
None
Area not Mapped
Yes
No
No
None
No
None
No
Yes
None
No
0.87959 (km)
No
No
Targeted Neighborhood Initiative:
None
None
No
None
East Los Angeles State Enterprise
Zone
None
Public Safety
Police Information:
Bureau:
Central
Division / Station:
Report District:
Fire Information:
District / Fire Station:
Batallion:
Division:
Red Flag Restricted Parking:
Northeast
1175
20
11
1
No
CASE SUMMARIES
Note: Information for Case Summaries is Retrieved from the Planning Department's Plan Case Tracking System (PCTS) Database.
Case Number:
CPC-1986-255
Required Action(s):
Data Not Available
Project Description(s): AB-283 PROGRAM - GENERAL PLAN/ZONE CONSISTENCY - SILVER LAKE AREA COMMUNITY WIDE ZONE CHANGES AND COMMUNITY PLAN CHANGES TOBRING
THE ZONING INTO CONSISTENCY WITH THE COMMUNITY PLAN. INCLUDES
CHANGES OF HEIGHT AS NEEDED. REQUIRED BY COURT AS PART OF
SETTLEMENT IN THE HILLSIDE FEDERATION LAWSUIT
CONTINUATION OF CPC-86-255. SEE GENERAL COMMENTS FOR CONTINUATION.
DATA NOT AVAILABLE
ORD-165167-SA3320
3HWHU6KLUH
1947 Los Angeles
- lebt und arbeitet in Los Angeles -
The American ceramicist Peter Shire was born in Los Angeles in 1947. He received his training in ceramics
at the Chouinard Institute in Los Angeles. In 1972 Peter Shire established a studio of his own. In 1975 a
Hollywood gallery gave Peter Shire his first solo show, where he presented his ceramic objects, teapots and
other vessels, as well as painted tiles. In the late 1970s, Ettore Sottsass came across Peter Shire's colorful
sculptural works and invited the American ceramicist to Milan to show his works with the Memphis group
at their exhibitions. Peter Shire's designs are powerfully creative reinterpretations of traditional forms - art
rather than mere designer objects. Notable as they are for the geometric forms composing them, the Peter
Shire teapots are not really practical to use although they are imaginatively designed and represent what the
Memphis group stood for. Collaboration with Memphis in turn gave Peter Shire an opportunity to work
with other materials. In the 1980s Peter Shire designed objects of glass and metal and also furniture. In
1981 Peter Shire designed "Brazil", a table fitted together of triangles, circle segments, and half rounds of
wood. The asymmetrical and colorful "Bel Air" armchair is a 1982 Peter Shore design.
Peter Shire biography presented by
http://www.franklloyd.com/dynamic/artist_bio.asp?ArtistID=28
“Mystical absurdism, amazing, astounding phenomena on a human scale and what
is funny about the way we love and hate industrial things…is what interests me.”
-Peter Shire
Peter
Shire
Artwork
Since the 1970’s, Peter Shire (b. 1947) has been working at an intersection. Where
craft, fine art, and industrial design collide, he has built his career, drawing freely
from each area without taking any of it too seriously. He has had forays into
architecture, furniture, and fashion, but he keeps returning to ceramics. Like his
home and studio in the Los Angeles suburb of Echo Park, clay is one medium he
knows he will never leave.
In 1974 Shire made the two pieces he considers to be the first mature work of his
career in clay. Auffen Gile and Gile Kilns were Shire’s sculptural, geometric
interpretation of the traditional teapot, complete with sun-bleached pastel glazes,
uncanny angles, and a jumbled collage of parts. Influenced by Bauhaus aesthetics,
the revolutionary work of Southern California ceramic artists like Peter Voulkos and
Ken Price, and his own upbringing in Los Angeles, Shire sought to make a piece
that meshed all this together. In his first teapots, he rolled these elements into one
and found a form that he has continued to reinvent throughout his career.
Shire’s early teapots were also significant because they attracted the eye of Ettore
Sottsass, one of the founders of Memphis, an international design movement that
came out of Italy during the 1980’s. Sottsass found Shire’s teapots “fresh, witty,
and full of information for the future”, and the members of Memphis agreed. The
group, which sought to revitalize design by rejecting conventional standards in favor
of a bold, colorful, novel approach to product design, invited Shire to Milan to work
with them. This lead to a series of projects that toyed with the intersections of
industrial design and fine art, and gave Shire the opportunity to work in glass, metal
and other new mediums.
Since the Memphis years, Shire’s work has continued to expand. Drawing
inspiration from his neighborhood in Echo Park and the ever-changing city of Los
Angeles, he continues to construct his teapots while also branching out into large
scale sculpture, works on paper, and even painting (of course on clay). Shire’s
paintings, a unique part of his work that he has been producing since the 1970’s,
are done on slabs of clay in ceramic glazes. Almost all in portrait format, they focus
exclusively on his life in Echo Park, reflecting the many faces that make up his
neighborhood. Shire has now made over 500 of these painted tiles, which have
become a personalized record of the history of Echo Park. In addition to this work,
Shire has done various commissions for public places and private buildings
throughout Los Angeles.The colorful tile murals and large scale sculpture he
creates, which playfully reflect on the good and bad of life in a modern city, allow
him to add his own point of view to the streets and buildings of the city he knows so
well.
1 of 4
7/25/2009 11:50 AM
Education
1970
Chouinard Art Institute, Los Angeles, B.F.A.
Museum Collections
Archer M. Huntington Gallery, Austin, Texas
Art Institute of Chicago, Illinois
Brooklyn Museum of Art, New York
Berkeley Museum, California
Colburn Center for the Performing Arts, Los Angeles, California
Everson Museum of Art, Syracuse, New York
Fresno Museum of Art, Fresno, California
Houston Museum of Art, Houston, Texas
The Israel Museum, Jerusalem, Israel
Judisches Museum, Frankfurt, Germany
Laguna Art Museum, Laguna Beach, California
Long Beach Museum of Art, Long Beach, California
Los Angeles County Museum of Art, California
Lucille Salter Packard Children’s Hospital, Stanford University, California
Matthew Center Art Collection, Arizona State University
Metropolitan Museum of Art, New York
Mint Museum of Craft and Design, Charlotte, North Carolina
Museum of Arts and Design, New York
Museum of Modern Art, Lodz, Poland
Newport Art Museum, Newport Beach, California
Oakland Museum of Art, California
Österreichisches Museum für Angewandte Kunst, Vienna
Portland Art Museum, Oregon
Sak’s Fifth Avenue Corporation, New York
2 of 4
7/25/2009 11:50 AM
San Francisco Museum of Modern Art, California
San Jose Museum of Art, California
Seattle Museum of Art, Washington
Skirball Museum, Los Angeles, California
Stedelijk Museum, Amsterdam
Total Contemporary Art Museum, Seoul, Korea
Victoria and Albert Museum, London
Selected Solo Exhibitions
2007
2006
Chairs, Frank Lloyd Gallery, Santa Monica
Tobey Moss Gallery, Los Angeles
Frank Lloyd Gallery, Santa Monica
Peter Shire: The Los Angeles Connection to Memphis,
Los Angeles County Museum of Art
2004 Antonia Jannone Gallery, Milan, Italy
Natalie and James Thompson Art Gallery, San Jose University
Frank Lloyd Gallery, Santa Monica
Walter N. Marks Center for the Arts, Palm Desert, California
2002 Rocking Tiki Paintings and Prints from the Moonrise over Venice Suite,
410 Boyd
Street, Los Angeles
Los Jovenes Sunset Art Park, Los Angeles
2001 Winchester Gallery, Las Vegas
Bad Taste Takes a Holiday, SKS Josefsburg Studio, Portland
2000 Frank Lloyd Gallery, Santa Monica
Teapots and Drawings, Tobey C. Moss Gallery, Los Angeles
1999 Colburn Center for the Performing Arts, Los Angeles
1998 Palos Verdes Art Center, Palos Verdes
LA ARTCORE, Los Angeles
S.K. Josefsberg Gallery, Portland
20th Century Collage, Dallas
Morgan Gallery, Kansas City
1996 Frank Lloyd Gallery, Santa Monica
Bobbie Greenfield Gallery, Santa Monica
Diane Nelson Fine Art, Laguna Beach
Loyola University, New Orleans, Louisiana
S.K. Josefsberg Gallery, Portland, Oregon
University of Judaism, Platt Gallery, Los Angeles
1995 Gallery Saito, Sapporo Hokkaido, Japan
1994 Lucy Berman Gallery, Palo Alto, California
1993 UCP Ueda Gallery, Tokyo, Japan
Morgan Gallery, Kansas City
1992 Riva Yares Gallery, Scottsdale, Arizona
1991 Lucy Berman Gallery, Palo Alto, California
Modernism, San Francisco
Daniel Saxon Gallery, Los Angeles
William Traver Gallery, Seattle
David Lawrence Editions, Beverly Hills
1990 Hokin-Kaufman Gallery, Chicago
William Traver Gallery, Seattle
1989 Art et Industrie, New York
Clara Scremini Gallery, Paris
Design Gallery Milano, Milan
Saxon-Lee Gallery, Los Angeles
1988 Los Angeles Municipal Gallery, Barnsdall Park, Los Angeles
Nevada Institute for Contemporary Art, Donna Beam Fine Art Gallery,
University of Nevada, Las Vegas
Italian Trade Commission in cooperation with ATC, Hollywood
3 of 4
7/25/2009 11:50 AM
1987
1986
1985
1984
1983
1982
1981
1980
1979
1976
1975
4 of 4
Lucy Berman Gallery, Palo Alto
Parallel Gallery, Del Mar
Davis-McClain Gallery, Houston
Saxon-Lee Gallery, Los Angeles
Dixon Art Gallery, California State Polytechnic University, San Luis Obispo
Citrus in Cooperation with Saxon-Lee Gallery, Los Angeles
Traver-Sutton Gallery, Seattle
Hand and the Spirit Gallery, Scottsdale, Arizona
Traver-Sutton Gallery, Seattle
Onyx Gallery, Los Angeles
Skirball Museum, in cooperation with Saxon-Lee Gallery, Los Angeles
Installation of the Olympic Village Entertainment Center, California State
Polytechnic University in conjunction with the School of Architecture,
Pomona
Museum of Contemporary Art, Temporary Contemporary, Los Angeles
Hokin-Kaufman Gallery, Chicago
Traver Sutton Gallery, Seattle
Hand and the Spirit Gallery, Scottsdale, Arizona
B.Z. Wagman Gallery, St. Louis
Traver Sutton Gallery, Seattle, Washington
Janice Gallery, Santa Monica
The Morgan Gallery, Shawnee Mission, Kansas
The Art Store, Los Angeles
Janus Gallery, Los Angeles
American Hand Gallery, Washington, D.C.
Studio Alchymia, Florence, Italy
West Beach Café, Venice
Janus Gallery, Venice
Janus Gallery, Venice
The Hand and Eye, Honolulu, Hawaii
Gallery 17848, Tustin, California
7/25/2009 11:50 AM
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
JULIE BYRNE
Los Angeles Times (1886-Current File); Dec 5, 1968;
ProQuest Historical Newspapers Los Angeles Times (1881 - 1986)
pg. 14B
Something Cooking in Oven, but It's All for Sake of Art
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Artist Peter Shire unveils his gateway to North Hollywood | Culture Monste... http://latimesblogs.latimes.com/culturemonster/2009/07/artist-peter-shire...
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Artist Peter Shire unveils his gateway to North Hollywood
10:15 AM, July 10, 2009
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Picketing planned for 'First Wives Club' opening at
Old Globe
Its a sign that the producers do not hav...
Anyone cruising down Lankershim Boulevard in North Hollywood will notice a colorful addition
to the street's already-bustling arts scene: a new public sculpture by L.A. artist Peter Shire at
the intersection of Lankershim and Huston Street.
The NoHo Gateway is a large-scale, overhead street-span construction made mostly of steel.
At the center, Shire has spelled out "NoHo," which will be illuminated at night. He has painted
the gateway bright yellow and decorated it with characters who work behind the scenes in the
movie and television industry.
Shire's design was chosen from a field of 60 artists who submitted proposals for the project in
2000. The NoHo Arts Council said the goal of the installation was to improve the street's
appeal. The finished product also had to be publicly accessible and engineered for practical
maintenance.
Based in Echo Park, Shire is best known for his ceramic and metallic sculptures. His work is in
the collections of more than 40 museums, including LACMA and the Metropolitan Museum of
Art. In 2008, an outdoor exhibition of six of Shire's large-scale sculptures opened on Santa
Monica Boulevard.
comment by Charles Rowan
Picketing planned for 'First Wives Club' opening at
Old Globe
The real story is that Linda Lee did not...
comment by Lucy Taylor
Theater review: 'Octomom the Musical' at Fake
Gallery
...that most lowly of entertainment form...
comment by Will Campbell
Music review: Philip Glass' Hollywood Bowl debut
Hearing and seeing art remains amazingly...
comment by lsm
Shakespeare and heavy metal, together at last
Heavy metal and Shakespeare, sweet!!!!!...
comment by Brendan
"I am a maker of things, a hand-skills guy," Shire told The Times in 2007. "[There] is no
separation between art and craft. They are all one, and a daily living experience is worthy of
aesthetic consideration."
Follow us on ... »
-- David Ng
Photo: Peter Shire's NoHo Gateway. Credit: NoHo Arts
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Comments
What color pallette? Yellow, grey and red makes rich harmony? What a fool, its already dried
out looking, just imagine what it will look like when sun dried and covered with soot and dirt.
Ugly. shallow, no line, no harmony, no rhythm, see Mickey mouse ears though. I got a show out
Today's Arts Headlines
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7/25/2009 11:53 AM
Building Permit History
Echo Park
July 14, 1938:
Building Permit No. 21802 for the construction of a 2-story, 22’
X 40’ 5-room frame and stucco residence on Lot 6, of Tract No.
5114.
Owner: T. L. Clauss
Architect: None
Engineer: None
Contractor: J. O. Ruedy
Cost: $3,700.00
February 1, 1984:
Building Permit No. LA81504 to repair termite damage, new
front door, opening living room wall. 2 walls.
Owner: Peter Shire
Architect: Owner
Engineer: None
Contractor: Peter Shire owner
Cost: $10,000.00
March 6, 2006:
Building Permit No. WO64402173 for the installation of heating
and air conditioning unit and duct work.
Owner: William Shire
Architect: None
Engineer: None
Contractor: Temperature Equipment Corporation
Cost: Not Shown
Patrick H. Ela
Comprehensive Art Services
PO Box 6248 Altadena CA 91003-6248
Phone: 626.791.4919
E-mail: [email protected]
Department of Building and Safety
Building Records Section
201 N. Figueroa Street
1st Floor, Room 110
Regarding: Quality of Life Issues in Los Angeles;
Sculptural Legacies by Area Artists: Peter Shire
Dear Department of Building and Safety,
Over the years, Los Angeles has been home to a succession of artists who are recognized for
their talents in all of the performing and visual arts around the world. Actors, actresses,
musicians and dancers have all called Los Angeles home. They define us and create the
energy that draws people here.
Architects like Rudolf Schindler, Richard Neutra, Frank Lloyd Wright, and more recently
Frank Gehry, Scott Johnson and Steven Ehrlich have made lasting contributions to the
City’s built environment.
Muralists, sculptors and visual artists like Stanton Macdonald Wright, Terry Schoonhoven,
Kent Twitchell, Carlos Almaraz and Frank Romero have graced our streets and
thoroughfares with visual Art. Sculptors like Jonathan Borofsky and Peter Shire have
regularly added to the rich artistic traditions of Southern California. Mr. Shire was doing
public art for the 1984 Olympics, the MTA Center Downtown, and most recently the North
Hollywood gateway for the Community Redevelopment Agency on whose North Hollywood
public art board, I sat for several years.
Occasionally, artists turn their talents to enhancing their own homes and those of their
family members. Sam Maloof, who recently passed away, created an environment that is
recognized as an historical landmark around the world. American Presidents and leaders
often have made pilgrimages to see his compound in Upland where I have had the pleasure
and distinction of serving on his foundation’s board for the last twenty years.
Jan de Swart, another tremendous talent, Grandma Prisby with her Bottle Village, and
perhaps, most famously, Simon Rodia whose Watts Towers are known around the world
have all created lasting legacies for all of us to enjoy.
These have not always been appreciated. In another era, the Department of Building and
Safety of the City of Los Angeles wanted to tear down the Watts Towers, saying that they
were unsafe. Concerned citizens created a committee to rescue the towers from demolition
and were successful. CalTrans wanted to tear down Sam Maloof’s home to make room for
the expansion of the 210 Freeway and because some of the buildings were not built with
permits even though they surpassed all existing code requirements at the time. Luckily,
cooler heads prevailed and these masterpieces are still with us for people to enjoy.
Now, I understand that one of Peter Shire’s great works, a sculptural entry to his brother,
Billy Shire’s home in Echo Park, is under threat. As illustrated below, this work is Peter
Shire at his whimsical and geometrical best. He is the only American who is a member of
the prestigious Memphis Design Group and an artist who is recognized around the world
for his sculptural works:
Los Angeles spends millions of dollars on public art each year to create a sense of place and
enhance the quality of life in the city. The City’s Community Redevelopment Agency,
Cultural Affairs Department and Metropolitan Transit Authority all go to great lengths to
attract and retain artists to create artwork for buildings, parks and public areas at
considerable expense to the parties concerned. How ironic it would be, then, for the City
not to treasure a great work of public art at the community level for which it paid nothing.
Echo Park has a long tradition of creativity and community. This work by Peter Shire, as
well as others in this rich neighborhood, create the very sense of place that all of the public
art agencies pursue.
I encourage you to consider this bigger picture in going forward. Instead of even
considering its demolition, perhaps it would be better to dedicate a plaque on the sidewalk
to commend Mr. Shire for the great contribution he has made to the City.
As a former area Museum Director, Public Art Consultant, Appraiser, Curator and
frequent panelist for the LA Cultural Affairs Department and CRA, I strongly urge you to
see this great public artwork for what it is and the marvelous presence and excitement it
creates. Save and preserve it; encourage and support artist who make contributions to the
public good entirely on their own initiative.
Thank you for your consideration.
Sincerely,
Patrick H. Ela, AM
Accredited Member, Fine Arts
American Society of Appraisers
Shire Art House
Photographs
Shire Art House, 2354 Vista Gordo Drive (Photograph by Charles J. Fisher)
Shire Art House, Shire built rear deck, 2354 Vista Gordo Drive (Photograph by Charles J. Fisher)
Shire Art House, front door, 2354 Vista Gordo Drive (Photograph by Charles J. Fisher)
Shire Art House, living room, 2354 Vista Gordo Drive (Photograph by Charles J. Fisher)
Shire Art House, fireplace, 2354 Vista Gordo Drive (Photograph by Charles J. Fisher)
Shire Art House, kitchen, 2354 Vista Gordo Drive (Photograph by Charles J. Fisher)
Peter Shire’s original concept of Olympic Discotheques in 1983
Peter Shire’s Olympic discotheque at UCLA (1984)
Peter Shire’s Olympic Discotheque installation at M.O.C.A. (1985)
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Peter Shire Chairs

Los Angeles Department of City Planning

Transcription

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