Saturday, October 5, 2024

L.A.’s Exposition Park

 


Inside the $351.5-million makeover coming to L.A.’s Exposition Park

An artist's rendering of plans for Exposition Park, with new green space replacing a parking lot at the bottom of frame.
An artist‘s rendering of Exposition Park, with green space at the bottom of the frame outside BMO Stadium replacing an asphalt parking lot and the Lucas Museum of Narrative Art and its gardens filling in the top of frame, above L.A. Memorial Coliseum. 
(Torti Gallas + Partners)
  • Surface parking will move underground, creating six acres of green space where asphalt used to be.
  • The massive project includes others changes designed to make it function more like a real park, all in time for the 2028 L.A. Olympics.
  • The project is being led by Expo Park’s new 40-year-old general manager, Andrea Ambriz. ‘I like to aim high.’

When the Goodyear Blimp hovers over L.A.’s Exposition Park for a game at L.A. Memorial Coliseum or BMO Stadium, its aerial view reveals a jumble of cultural destinations too — the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum, among others — divided by oceans of asphalt and not much actual green space. In many ways, it’s a palimpsest of L.A. itself: a collection of lovely, impressive places fragmented in a car-centric landscape.

The Office of Exposition Park Management, the agency tasked by the state to oversee this wondrous, sprawling chaos, has sought to remedy the 160-acre park’s shortcomings for decades — with few results. Although virtually all of Expo’s institutions have been radically transformed and important new offerings such as the Lucas Museum of Narrative Art and the Samuel Oschin Air and Space Center are emerging, the park space that stitches it all together has changed little. A 1993 master plan led to a few improvements, including Jesse Brewer Jr. Park and the Expo Center, a popular recreational facility, but it didn’t shift the overall dynamic. A subsequent plan sat in limbo.

But on Aug. 1, Expo Park took a major step forward with the approval of $351.5 million in state funding for six new acres of green space atop an underground parking garage that will replace sprawling asphalt surface lots along Expo’s southern edge. It’s just one component of a 2020 plan, crafted by the architecture and planning firm Torti Gallas + Partners, to provide a more unified, welcoming experience via increased green space, shade, public facilities and connections among the various attractions.

But the plan to move parking underground is by far the biggest swing for the fences on the part of Expo Park General Manager Andrea Ambriz, who since beginning her job in early 2023 has jump-started the project and the agency that oversees it.

“I like to aim high,” Ambriz said. “It’s not just about managing the parking lots. It’s about building out the entirety of the park to create one cohesive experience.”

This aerial view shows the Coliseum at the center, and the Lucas Museum under construction to the left.
This aerial view shows the Coliseum at the center, and the Lucas Museum under construction to the left. A parking lot fills much of the lower part of the park, next to BMO Stadium. The largest green spaces are the Natural History Museum gardens and Expo Park’s rose garden, at the top of the square.
 
(Torti Gallas + Partners)
An artist‘s rendering shows the vision for Exposition Park.
An artist‘s rendering shows the vision for Exposition Park, including the Lucas Museum and its gardens along the left edge, and a new “museum walk” and green space for community programming — concerts, festivals, yoga classes, perhaps — along the bottom.
 
(Torti Gallas + Partners)

Ambriz stresses the park’s singular role in the city, as a sports and culture destination, a local park and a soon-to-be centerpiece of the 2028 L.A. Olympics. “If we do it right, we’re going to put ourselves on the map for generations to come,” she said.

The design team for the $351.5-million garage project, which also will include new headquarters for Expo Park management and a community-welcome center, should be selected by the beginning of next year, Ambriz said, with work completed by late 2027, in time to work out kinks before the Olympics. Her quest to bite off the biggest piece of the master plan grew, foremost, out of the park’s long overdue need to better serve South L.A. It would be, she said, the largest investment in green infrastructure in the neighborhood’s history and provide a community space for what is one of the most park-poor areas of the city. “It’s about health and wellness, recreation, climate mitigation, infrastructure and jobs,” she said.

“The north side of Expo Park has the Rose Garden facing USC. But facing South L.A., the park is currently parking lots and gates,” said Zahirah Mann, president and chief executive of the South Los Angeles Transit Empowerment Zone (better known as SLATE-Z), a public-private partnership dedicated to creating equitable, sustainable change in the area. “To turn that into green space that the community can see and enjoy — that is going to be transformative.”

But the move is also strategic: a way of visibly building enthusiasm and setting the stage to raise more money beyond the state funding.

“I really knew that we would get a lot of momentum, a lot of support and attention, if we could say the government is footing the down payment for this,” Ambriz said while driving through the park in an electric cart, a cardboard poster board of the master plan stashed in the back seat.

A woman stands inside BMO Stadium, backed by a sea of empty red seats and a blue sky.
Exposition Park General Manager Andrea Ambriz has quickly pushed to improve the park’s function as a community gathering place and urban refuge — and not just a disparate collection of stadiums and museums.
 
(Marcus Ubungen)

Ambriz, 40, has the diverse credentials for this kind of effort. Her grandparents grew up near the park, and it’s been part of her life since childhood. Since receiving a master’s in public policy from UC Berkeley, she was a legislative aide in the California Assembly and Senate, deputy director of private sector engagement in the Obama White House, a presidential appointee in the Treasury Department, deputy director of external affairs at the California Natural Resources Agency, chief operating officer of River L.A. and chief of staff at Local 2015 of the Service Employees International Union.

When she took over as Expo Park GM, the Olympic countdown had started but the office had not had a permanent general manager since March 2021, when Anna Lasso left to become director of the state’s Department of General Services. The COVID-19 pandemic and closures reduced attendance at the park drastically and reduced budgets accordingly.

“The park really required a champion, frankly — someone to really lift it up and say we need to break this down into specific pieces that we could advance,” Ambriz said.

Ambriz quickly expanded her team. She hired a new director of business development and is filling more than half a dozen other high-level jobs. Expo Park management is funding them by ramping up events — community fairs, dance parties, concerts and more — that generate income from parking and permit and facility fees, among other sources. Ambriz has begun laying the groundwork for a new foundation for the park to raise money from other foundations, philanthropists and corporate donors (much as the Los Angeles County Museum of Art does) rather than relying on public funds. That organization should be established by the end of this year, she said.

She’s also focused on ensuring that the park’s many institutions (with their often competing interests) are on the same page — an obstacle that has long challenged progress here.

She, along with California Natural Resources Agency Secretary Wade Crowfoot, convened a meeting with park leaders, stressing how overall improvements would enhance each venue, draw new audiences and better direct visitors to each place. “We really need to be the sum of all of our parts,” she said. “Bringing more people to the park for a multi-institutional experience adds value to all of them.”

An artist's rendering shows park visitors walking under a canopy of shade trees.
An artist‘s rendering of a promenade to help Expo feel more like an actual park and community gathering space.
 
(Torti Gallas + Partners)

Ambriz achieved her first major victory within six months of starting her job, securing $14 million from the state to push the master plan from a preliminary outline to an implementable series of steps and priorities, and to start outreach and planning. That included dozens of meetings with area residents held at the park, in local classrooms and community centers and on Zoom, in English and Spanish. Creating a new green space, she said, was priority No. 1 for local residents, who have long been discouraged that so many of the park’s attractions require a paid ticket to access.

She is confident that each piece of the master plan can be achieved in the coming years. Some elements, such as improved wayfinding, a tree-lined east-west “museum walk” and streetscapes near the park’s eastern entrance (along Figueroa Street) and around the Natural History and Lucas museums, could be completed before the Olympics, she said. Expo has, she added, invested $500,000 in a site assessment to pinpoint the park’s most needed changes and repairs.

The biggest hurdles, of course, are time and money. Ambriz aims to raise additional public funds, but after having secured such a major outlay from the state, she may need to find private and philanthropic donors. She’s been pushing to raise awareness, both about the park’s needs and its possibilities, and said she has given up to 150 tours of the park in about a year and a half. (The cart she drives has needed to be serviced twice, she joked.) “People aren’t going to just say, ‘I’m going to give money.’ They have to understand there’s a vision. They have to have interest and incentive.”

She’s also open to new approaches such as naming opportunities and discreet advertising.

“We’re never going to rename this place as a whole,” she said. “But it’s fair to say, is there an opportunity for a donor to sponsor a bench or a wall or a bathroom? I think it also shows that people are invested in this park and want to see it develop.”

Even with the best-laid plans, questions remain. Can the park be upgraded without spurring gentrification in the area? (Ambriz pledges to maintain community outreach and partner with neighborhood leaders to help address this.) Will the ambitious timeline be met? Can Ambriz’s team minimize disruptions during construction? Will the new additions be more successful than BMO’s doomed food hall, the Fields LA? And can a balance be struck among the park’s many stakeholders — including locals, international visitors, its institutions and, soon, Olympic organizers?

Esther Margulies, a landscape architect and professor at USC, underscores the importance of addressing another priority — the environment, including habitat biodiversity, water conservation and stormwater management. “Greening is good, but that’s just Step 1,” she said. “The reason for doing this is to leave a legacy.”

SLATE-Z’s Mann, who has been coordinating with Ambriz on the park’s evolution, is confident that Ambriz can realize the full master plan.

“She has the depth of experience. And she has really great connections,” Mann said. “But her ability to dream, to be community-centered and to connect all the dots in the right way so that we’re really seeing what’s needed — that’s what she’s able to bring to the table.”

Ambriz is also very curious, added Torti Gallas senior principal Neal Payton, leader of the master plan. “She asks questions,” he said. “She’s really made an effort to understand the master plan and pledged to see it implemented.” He likened Ambriz’s job to that of a coxswain in crew, getting multiple participants, with their own “fiefdoms and lease lines,” rowing in the same direction.

“It’s such a difficult job,” he added. “That ability to get things running smoothly and then step back and [ask] what are the bigger things we need to be doing? She’s doing that. She’s definitely what the park needs now.”

A woman sits in a golf cart on a vast asphalt parking lot outside the BMO soccer stadium in Exposition Park.
Andrea Ambriz, general manager of Exposition Park, in her trusty golf cart on the parking lot that will be moved underground to create a more park-like setting.
 
(Marcus Ubungen)





Friday, October 4, 2024

Kaia Reading Books

 

Time100 Voices
What Reading Books by Women Has Taught Me About Myself
Kaia Gerber discusses how she developed her love of reading, and what the books she's read have taught her about love and womanhood.
Read More »


Kaia Gerber: What Reading Books


Gerber became hooked on reading when she moved to New York City to build her modeling career.
 
Rodin Eckenroth—GA/The Hollywood Reporter/Getty Images
Ideas
 

Iwas 16 years old when I graduated high school and moved to New York to model. I knew I would be invited into rooms with brilliant, older people, and I was both curious and self-conscious—I wanted to be able to fully participate in the conversation. There was a bookstore two blocks from my apartment, and I thought, well, if I’m not going to college, I would still like an education. So I started to read.

At first, I picked up the books I thought I was supposed to: Camus, Rimbaud, Dostoevsky, work by the types of writers I thought “intellectuals” would read and talk about. And yes, everyone should read The Stranger or A Season in Hell or Crime and Punishment at some point, but that pressure dissipated as soon as I began to discover the pleasure and fulfillment that comes from reading books I can truly connect with.

Without setting out to do so, I became a dedicated reader of women. Over the past seven years, I’ve read hundreds of books of fiction, nonfiction, and poetry by women of all facets—young, old, queer, American, translated. The women writers I admire have shared parts of themselves through their work, and reading their stories has opened my eyes. They have been my companions and advisors, the knowing figures in the back of my mind who have shaped my understanding of the world and my place in it.

I immediately saw myself in Eve Babitz’s Sex and Rage, which I read when I was 18 years old. The novel is about Jacaranda, a young woman on the precipice, who is surrounded by a complicated group of characters, a lot of whom are older than her. I related, after growing up between LA and New York, often finding myself in spaces with older, more advanced people and wanting to fit in. What I loved right away about Jacaranda was that she didn’t see herself as a victim, even though through today’s lens we might adopt a different perspective—she is complicated, dancing between the dichotomy of being simultaneously aloof and very self aware. I appreciate a lack of perspective in a protagonist, because that’s what most accurately reflects my experience. When you’re going through something, it’s difficult to say, I’m being manipulated right now— maybe you can, but then there would be no story. I feel that way about life: if I knew the lesson before I learned it, I wouldn’t have all the experiences I’ve had. Even the ones that I perceive to be hurtful, I can still see as somehow beautiful, because those are the pages. That is the book.

Reading in the fashion closet. (Courtesy Kaia Gerber)
Reading in the fashion closet.
 
Courtesy Kaia Gerber

Lydia Davis captures this same idea perfectly in another of my favorite books, The Collected Stories of Lydia Davis. She tells so many different kinds of stories; some are sentences long, some are a few pages. What they have in common is the way they so sharply portray feelings in these tiny, potent packages. She has one story about the end of a relationship—she writes about her character wondering if, had they known what the relationship was going to cost them, they would still pursue it. And the answer is yes. The story ends with a great sentence, essentially saying that all you might be left holding after a relationship is pain and an old t-shirt. But you’d do it again anyway. On an emotional level, I relate to that so much.

Sometimes, what I glean from a book is more direct. Lately I’ve been reading correspondences between writers: Anaïs Nin and Henry Miller, Jack Gilbert and Linda Gregg. I’m realizing how important it is to have women depicted in relationships from their own point of view, and how helpful that has been as a young woman discovering my sexuality and what it means to be in a relationship. It’s common to have a fear as a woman that you will lose yourself in relation to someone else, especially if that someone else is a man in a patriarchal world. What I’ve loved about going back through these letters is seeing both lovers’ voices on the page. It’s a testament to how a whole person can exist within a relationship; their point of view can be made clear, and there is room for all the feelings. Our culture is rife with female characters as seen through the eyes of men. Reading these letters is a reminder that there is space for me, and the story is also being told from my perspective. We are more than just what someone else perceives us to be.

If you go back through Gilbert and Gregg’s bodies of work, they’re communicating to each other through their published poetry. And even after they separated, they would still send their poems to each other and write about each other, publishing stories of their love. I find that extraordinary, that the end of their romantic collaboration didn’t mean the end of their artistic collaboration. With Gilbert, who was older and a more established poet than Gregg when they got together, seeing how much respect he had for her and her perspective on how things unfolded in their relationship is deeply meaningful—that’s the kind of love I believe in. And then you have Nin and Miller, whose letters were erotic and graphic and charged, which is valuable in its own way. Women were not expected to have the feelings or say the words Nin did to Miller. She went there, unapologetically—not to provoke, but just to authentically express who she was.

Nin, Gregg, Babitz, Ursula Parrott, Annie Ernauxbell hooksJoan Didion—all these writers have helped form my understanding of how I’m perceived as a woman in the world, and how to push back. These writers demand—they don’t ask—that we follow them into their complex inner lives. Their books are statements rather than questions. They each embrace their feminine voice, by which I simply mean that they embrace their unique voice. They refuse to desert any part of their identity in order to be heard. The best artists bring all of themselves to their work.

We all feel overlooked and misjudged sometimes. That’s inevitable, because it’s impossible for other people to see you in all your dimensions. Literature is a balm. When I needed it most, I found a place in books that was deep and emotional and my own. Reading helped me understand I could give myself the things I was looking for from other people. It helped me realize I don’t need other people to tell me I’m smart. I don’t need other people to tell me I’m emotionally intelligent. I don’t need other people to give me validation or define for me what I can or cannot do. I can answer those questions myself, just like the writers do on the page.

My favorite authors tell the truth about who they are because something within them compels them to be honest, and they look directly at things that scare them. There’s a Didion quote that I love: “I myself have always found that if I examine something, it’s less scary. You know, I grew up in the West, and we always had this theory that if you… kept the snake in your eye line, the snake wasn’t going to bite you. And that’s kind of the way I feel about confronting pain. I want to know where it is.”

That’s what I want for myself. Literature can show us every possibility, whether real or fantasy. And I want to see it all.

Gerber is an actor, model, and founder of Library Science. She is featured in the 2024 TIME100 Next.

–As told to Lucy Feldman

Contact us at letters@time.com.