Articles

What goes on behind the bougainvillea and stucco walls?

With its sloping shake roof and sliding glass doors, the Scandi-shack was meant to sell itself—sidesaddle and sunbaked on the roadside, a prefab portal to the pine-strewn, snow-covered San Gabriels beyond.

Because the Street View on this corner is a composite, like a David Hockney photo collage, I am only visible from one specific Dutch angle.

Franklin D. Israel embraced the “intensification of uncertainty” on the long slide toward oblivion of the American Century, with Los Angeles, as always, glittering on the precipice.

In July, Tesla opened its own neo-Googie Diner on Santa Monica Boulevard, giving Los Angeles a slice of Muskian techno-utopia.

I wondered how our guide would explain the anachronistic additions placed throughout the prodigious Craftsman home, built in 1908 by storied Pasadena firm Greene & Greene for some heirs to the Procter & Gamble fortune.

SOM’s design is a successful glow-up of LA Metro’s existing brown bus shelters—kind of like when a local coffee shop gets a matcha makeover.

When I was eight, my culinary preferences stretched only as far as the Sherman Oaks Koo Koo Roo, a long-defunct rotisserie chicken chain that served the best Caesar salad in the world—or at least in the Valley.

LARB’s MacArthur Park home, a 1927 Spanish colonial revival complex known as the Granada Buildings, has a cult following.

There were shots of Will Rogers’s house—and more with his car, his stable, and his horse Soapsuds—and of the old Presbyterian Conference Grounds in Temescal Canyon.

There’s room aplenty within LA’s vast sprawl, where interstices of immanent potential have been left unbothered for the last hundred years.

McCoy takes shots at MGM Studios, Mel Brooks, and the director Herbert Ross—La Mesa property owners all—but reserves the bulk of her disgust for Roger Corman.