Tag: Destination Crenshaw

Crenshaw Boulevard to Break Ground on Mile-Long Artistic Tribute to Black History and Culture of Los Angeles

A rendering of views to the east from the upper level of the viewing deck at Sankofa Park, located where Crenshaw Boulevard and Leimert Boulevard split. (Courtesy of Perkins+Will)

by Mike Roew via laist.com

When the Metro’s new Crenshaw/LAX line opens in summer 2020, riders will travel through a 1.3-mile-long art project celebrating Los Angeles’ African-American achievement.

“Destination Crenshaw” is set to break ground in early 2019, and will flank the route along Crenshaw Boulevard. Renderings were released earlier this month.

“The hope,” Councilman Marqueece Harris-Dawson said, “is that [people] understand that L.A., among other things, is quintessentially a black city. In the same way that it’s a Latino city, in the same way it’s a Jewish city, in the same way that it’s a Japanese city. The stories of black people in this town are central to what this town is, and what it continues to develop into.”

Harris-Dawson called Destination Crenshaw an “open-air museum” that is set to feature monuments, art, park space, and other cultural experiences celebrating black Los Angeles. It’ll be one of the first stops for people taking the Metro from LAX, with clear views of the surrounding art.

An aerial rendering of Crenshaw Boulevard from the Hyde Park Station at Slauson Avenue (left) to Leimert Park (right) showing various Destination Crenshaw project element locations. (Courtesy of Perkins+Will)

The inspiration for the project was the Crenshaw Wall, Harris-Dawson said. That’s the massive graffiti project that already stands in Crenshaw, which Harris-Dawson wants to see restored and enhanced.

“But also many of our artists that are in this community have art that you have to travel outside South L.A. to see,” Harris-Dawson said. “We wanted to create a space for them to show their work in their own neighborhoods.”

An open call went out for artists earlier this year, but another is planned for 2019.

The space will have more than 125 spots for art, according to Harris-Dawson, including 3D art, street art, fine art, and more. The art will tell stories curated by the project’s historian.

Even the parks will be part of telling the story.

“There may be a [play structure] there that may spell out the words, ‘say it loud,'” Harris-Dawson said. “So that’s a way in which, as a park, it is a functional tool, but it tells a story about political protest, and community confrontation, and African-American music in a direct way.”

Harris-Dawson hopes Destination Crenshaw will help bring back creative businesses and boost the local economy. “African-American culture is consumed by the world, in every corner of the world, but African-American neighborhoods have not necessarily been able to take advantage of that,” Harris-Dawson said.

“Whether it’s streetware and street fashion that is largely generated by young people in the Crenshaw neighborhood — they make a sneaker popular, and then you have to go to Melrose to get the sneaker. And the same is true for all forms of art,” he said.

Destination Crenshaw is set to open in spring 2020. They also have a public kickoff event planned for Feb. 8, 2019, where they hope to reveal a couple of the key artists contributing to the project, according to Harris-Dawson.

Here’s a promotional video from earlier this year:

FEATURE: Gabrielle Bullock, Architect and International Interior Design Assn. President, Drew Lines and Then Crossed Them

Gabrielle Bullock, 56, is the Los Angeles-based head of global diversity for the international architecture and design firm Perkins+Will, an 83-year-old company with a workforce of more than 2,000 professionals. Bullock is also something of a pioneer, one of only 404 African American women who are licensed architects in the U.S. In 2017, Bullock was appointed as president-elect of the International Interior Design Assn., which has more than 15,000 members in 58 countries.

“I’m an architect, so I lead projects 50% of my time,” Bullock said. “The other 50% of the time I’m the firm’s director of global diversity. I lead the strategy, monitor it, lead the diversity council that we have and try to build a more inclusive culture for the firm.”


Natural talent

Bullock said she discovered her natural artistic ability early on. “I always drew. I used to make my own stationery when I was 9 or 10 years old. I believe I had some talent from my mother, who was an artist. Art was my thing.” It was also what earned her a coveted spot at the Fiorello H. Laguardia High School of Music & Art and Performing Arts in her hometown of New York City.

Listening well, Part One

Mentors were few and far between, but Bullock was careful to listen intently when she heard someone give important information. One was a teacher named Mrs. Kravitz. Even though Bullock preferred drawing portraits and album covers, Mrs. Kravitz said, “‘You could be an architect.’ I only needed to hear that once. I went home and told my mom I was going to be an architect.” Bullock switched gears and began drawing buildings that she liked.

Painful inspiration

Bullock was a very observant child growing up, noting the differences when she traveled from the relative comfort of her family’s home in the Riverdale section of the Bronx through other parts of the borough that were stricken by poverty and blight.

“I had friends and family who lived in public housing,” Bullock said. “I saw how the black community was living, and it was an embarrassment. I wanted to change that. I thought about how I could redesign the housing environment for low-income people. If the windows were really small, I’d make great big windows. Everybody loves sunshine, right?”

Diversity driven

Bullock attended the prestigious Rhode Island School of Design, becoming only the second African American female graduate, in 1984. Not only did it help buttress her belief in more livable architecture, she got a reverse course in diversity when it became clear that the school’s professors didn’t know how to reach out to her. “Few seemed to know how to tailor their instructional approach to people of different cultures.”

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