CBS executives were clearly proud of this complex; they exposed
the broadcast control rooms with walls of glass so its many visitors
could witness the technology celebrated in Lescaze’s design.
The CBS complex operated in its original capacity until 2005.
The restoration plan is part of a controversial redevelopment and
a prime example of the L.A. version of “smart growth”: the encour-
agement of mixed-used development along public transportation
corridors with a requirement for community-based amenities in
exchange for increased density. Clearly, historic resources can
benefit from this arrangement as long as the density tradeoffs are
not too great. The Lescaze buildings are also being restored by
Roschen Van Cleve Architects, in collaboration with Scott Johnson
of Johnson Fain. While the Lescaze complex will be returned
approximately to its original condition, smart growth incentives
have given the developer, Apollo Real Estate Advisors, the right
to build on non-historic sections of the property. Johnson has
proposed three new structures: a six-story hotel, a 14-story office
building and a 40-story residential tower. The proposed buildings
borrow some of Lescaze’s successful design strategies in their
siting perpendicular to Sunset and in their retention of partial-view
anamaker/Bison Archives.
corridors to the hills. They are also set behind the historic build-
ings and, while the 40- and 14-story towers are considerably taller
tesy Marc W
than the original six-story building, they are designed to transition
gradually to the scale of the Lescaze structures. The Hollywood
Cour
Above Louis Naidorf with Welton Becket Associates.
Design Review Committee gave its nod to the early development
Capitol Records Building, 1956.
proposals, but although Hollywood Heritage lauded the CRA and
Apollo’s commitment to save the Lescaze buildings, the organi-
zation criticized the 40-story tower. Nearly twice the height of
any building in Hollywood, it would be seven times taller than
Lescaze’s tower and more than 900% higher than the district’s
as an adult theater) with their distinctive exteriors and Streamline
permitted height of 45 feet. Hollywood Heritage fears that this
Moderne interiors. With the rise in automobile use in the 1950s
circumvention of the height limit will create a precedent, resulting
came Googie car hop restaurants; none survive today, except as
in the decimation of the low-rise historic buildings that define the
sad simulacrums in Disneyland.
pedestrian-friendly scale of the neighborhood, a rarity in car-centric
Radio, television and music studios each required different
Los Angeles.
kinds of technology and new spatial configurations. Fortunately,
Another noteworthy office and production studio whose fate
the flexibility of modern architecture lent itself well to their needs.
has yet to be determined is the iconic Capitol Records Building
From the ‘40s through the ‘60s, modernist architecture dominated
(1956), by Louis Naidorf of Welton Becket Associates, a prolific
the entertainment business. The most successful radio and tele-
corporate architecture firm known for its focus on client programs
vision complex in Hollywood’s history is one of the city’s only
rather than a signature style. Becket and his first partner, William
remaining International Style office buildings, the CBS Columbia
Wurdeman, produced numerous landmark buildings, including
Square complex on Sunset Boulevard (still standing). Designed in
their first Hollywood commission, the famous Streamline Deco
1938 by New York architect William Lescaze, it was built for a then-
Pan-Pacific Auditorium (1935), destroyed by fire in 1989. After
record $2 million; it was the most advanced broadcasting facility
Wurdeman died in 1949, the firm continued to work on other
of its time and a successful modern building that read equally well
trademark buildings, like Hollywood’s geodesic Cinerama Dome
viewed from the sidewalk or from a passing car. The complex was
(1963; partially restored in 2002) and the floating, spaceship-
designed as a series of four visually distinct volumes of reinforced
like Theme Building at Los Angeles County Airport (1961),
concrete, unadorned except for long ribbon windows and deli-
currently under restoration. The Capitol Records building, directly
cate piloti columns supporting the major structure over a recessed
off the Hollywood Freeway, is a bold architectural logo, instantly
entry plaza. At the center of the complex, Lescaze placed a slender
recognizable from cars whizzing by. Though reputedly uninten-
six-story office tower perpendicular to Sunset, opening the offices
tional, the tower resembles a stack of 45 rpm records topped by
on both sides of the building to views of the Hollywood Hills and
a turntable needle. Capitol Records and its affiliate, EMI, have
the famous “Hollywood” sign. The siting of the buildings created
been tenants in the building since its completion, remaining
a protected outdoor plaza at street level, providing the neighbor-
even after it was sold in 2006 to Argent Ventures. The New York-
hood with a large public space. In addition to offices, the building
based developer plans to keep the tower, but add a mixed-use
housed eight broadcast studios, an auditorium, a restaurant and
development on its parking lot. The current source of concern
a bank, making it an early example of mixed-use urban design.
is not Argent’s plans, but a condominium tower, approved this
82
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