FROM THIS EPISODE
The Los Angeles Times building
Photo by Jim Winstead Jr.
If you wanted to name a company that was inextricable from the growth of downtown Los Angeles in the last century it would be the Los Angeles Times and the powerful Chandler family. If you wanted to name a company central to the future of LA it might be a ride-sharing company, like Uber. So what is one to think on hearing that Uber has taken up office space in one of the LA Times' buildings -- and that the LA Times might itself eventually leave the complex? Jon Regardie talks about the surge of tech companies in DTLA and what it all means for the Civic Center.
Frank Gehry's 8150 Sunset Boulevard project, at the border of Los Angeles and West Hollywood, hasn't yet started construction. The proposed mix of dwellings, offices and stores, developed by Townscape Partners, won LA City Council's approval after reducing its scale.
Chase Bank / Lytton Savings
Photo by Frances Anderton
Then the Lytton Savings Bank, located on the site and designed in 1960 by Kurt Meyer, was designated a historic-cultural monument, and a Superior Court Judge has now ruled in favor of LA Conservancy to stop the demolition of the building. The Conservancy argues that Gehry can fit the building into his scheme. Gehry says it's not so easy, and that the story of LA is one of constant renewal. Is this a case of preservation going too far? Or could the architect and developer successfully juxtapose old and new?
Is this a case of preservation going too far? Let us know what you think.
LA Conservancy's page for Chase Bank / Lytton Savings
Legal ruling forces Gehry's 8150 Sunset to reconsider historic mid-century modern bank
Judge puts Frank Gehry-designed WeHo development on hold
Margaret Atwood and Elisabeth Moss in 'The Handmaid's Tale'
Photo by George Kraychyk/Hulu
The word "timely" has been used repeatedly to describe Hulu's new series The Handmaid's Tale. So timely that it's already earned a parody on Saturday Night Live. This dystopian story stars Elisabeth Moss. As Offred, she is coming to grips with a new regime in which women's rights have been sharply curtailed. The show is based on the novel by Margaret Atwood. It's set in a future where mass infertility has been caused by toxic pollution, and the handmaids are the few women still able to give birth. In both the book and the adaptation costume and color are used to powerfully signal status and of state of freedom for the different groups. The costume designer, Ane Crabtree, tells DnA about her thinking behind the vivid red dresses and dramatic bonnets, the attraction of religious clothing to high fashion designers, and how she felt when activists donned similar outfits at a protest for women's rights.
Costume designer Ane Crabtree at KCRW, beside a photograph of Margaret Atwood
Photo by Avishay Artsy
Ane Crabtree, costume designer
'The Handmaid's Tale' costume designer Ane Crabtree on religion as inspiration
Dystopian apparel: The making of 'The Handmaid's' blood-red robes
'The Handmaids Tale' costume designer on creating the show's timely color-coded Dystopia
Dressing for dystopia: The costumes of 'The Handmaid's Tale'
From the Handmaids to the Marthas, how each Handmaid's Tale costume came together
How Margaret Atwood dreamed up the costumes in 'The Handmaid's Tale'
Women wore 'Handmaid's Tale' robes to the Texas Senate
The Paley Center's pop-up exhibition of costumes from 'The Handmaid's Tale,' through May 14