A Virtual 3-D Tour of Mitchell Caverns, Southern California’s Only Show Cave

Posted on October 4, 2018 by Kim Cooper in The Esotouric Blog and tagged 1930s, 20th century, 3d, archeology, california state parks, caves, craig sauer, desert, historic preservation, jack mitchell, native american, providence mountains, roadside attraction, route 66, storytelling.

Welcome to the tenth in a series of 3-D explorable tours of off-the-beaten-path Southern California spaces, created by Craig Sauer of Reality Capture Experts using cutting-edge Matterport technology.

We’re passionate about all of these virtual tours, but this one is pretty special: seven months in the making, comprising the largest, most ancient, most collaborative and most geographically remote scan in the series. (It also comes sprinkled with a smattering of mystical fairy dust.)

There we were, celebrating Kim’s birthday with a private guided tour of the newly-reopened Mitchell Caverns show cave, high in the Providence Mountains near the Arizona border.

Dedicated State Parks ranger/interpreter Andy Fitzpatrick unlocked the gates and took us on a trip back and forward in time, from the limestone cave’s violent geological prehistory, its fossil deposits, ritual use by the native Shoshone people, reinvention as a Route 66 roadside attraction, vandalism by Oliver Stone’s The Doors crew and amateur jackasses, then down into the dust by the side of the pathway to dig the miniature current inhabitants (Niptus beetles and pseudoscorpions).

He even turned out all the newly installed LED spotlights, allowing us a moment in the complete darkness at the center of the earth, then switched on a black light to reveal delicate streams of bat urine on the cave walls. It’s quite the “gross… but cool!” show stopper that nicely echoes the showmanship of the roadside attraction era.

There’s nothing we enjoy more than exploring a completely unique environment with someone who knows and loves it intimately, and you can hear Andy talk about these amazing caverns in episode 126 of our podcast, You Can’t Eat The Sunshine.

And to learn more about the wacky, bush wacking roadside attraction days, check out the posthumously published Keepers of the Caves: A True Account of Twenty Years of Modern Pioneering by Jack Mitchell, a weird and wonderful tale of an iconoclast and his incredibly tolerant wife in Depression-era Southern California.

Like all good roadside attractions, the Mitchell place had a novelty building, a nifty stone hut meant to suggest an igloo, and traditionally offered to honeymooning guests.

The sonic qualities of the curved interior are said to be… amusing. Take a virtual tour of the space here.

That evening at the caverns, as the sun slipped behind the mountain and the wide desert plain and historic stone houses purpled, Richard had an idea. “Hey, Andy–do you think our friend Craig could do a 3-D scan of the cave?” And as is Richard’s way, he was already phoning Craig before Andy had a chance to reply. And this is where the fairy dust sparkled.

As Craig tells it, “The morning before Richard called me (from the Caverns!) I had been taking with my barber about the especially cool places I’ve scanned, including JK’s Tunnel and Jergins Tunnel. When I got home, I sat down at my computer and Googled ‘Southern California caves’ and up popped Mitchell Caverns, which I had not heard about before. I learned that they had recently been reopened and thought how amazing it would be to get access to them. But then I saw how far away it was and how unlikely it would be for me to convince someone there to let me scan it. Not one hour later, I got the call from you and Richard, standing there with Andy!”

Apparently, whatever happy spirits inhabit Mitchell Caverns are eager to spread the word.

It took a little fiddling to get approval from the state and coordinate a block of scanning time, but soon the project was a go. Craig’s colleague Michael Asgian joined him in creating the digital file, each starting from one end of the caverns. In addition to the speedy Matterport camera, they used the new Leica BLK 360 camera, which records 3D data with a laser scanner, and better captures the vast open spaces in the caves, as well as the sunny entrances.

While the public can once again book a tour of Mitchell Caverns, the remoteness of the site and limited capacity makes it a difficult place to explore. But thanks to new 3-D scanning technology and a lucky collision of interested people, you can virtually visit at your convenience.

Just click the cave entrance below and prepare to be humbled by the awesome power of water, wind and time. Along the way, you’ll find some pop-up windows, offering information about some of the curious creatures who have been captured by the trail cameras, notable mineral formations and stories from the caverns’ history.

The results are truly astonishing, and we’re thrilled to be able to share Mitchell Caverns with you.

Find the Fire Door! 3-D Tour of Downtown L.A.’s King Eddy Saloon Speakeasy Reveals A Vanished Cultural Treasure

Posted on July 10, 2018 by Kim Cooper in The Esotouric Blog and tagged 1920s, 20th century, 3d, acme hospitality, craig sauer, decorative art, downtown los angeles, folk art, folk art environment, Healthy Housing Foundation, historic preservation, john fante, john parkinson, jonny valenti, king eddy saloon, king edward hotel, on the nickel, prohibition, skid row.

[To access the basement / speakeasy level, click the blue dot at the top of the stairs through the arch at the left of the check in desk, or just click here.]

Welcome to the ninth in a series of 3-D explorable tours of off-the-beaten-path Los Angeles spaces, created by Craig Sauer of Reality Capture Experts using cutting-edge Matterport technology.

This tour takes you behind the scenes of John Parkinson’s 1906 King Edward Hotel, recently purchased by the Healthy Housing Foundation so its scores of vacant SRO rooms can be made available to low-income tenants.

In addition to the exquisite lobby with its Egyptian marble details, vintage rolling wall safe, mosaic tile floor, faux marble scagliola columns (soon to be restored!) and dolphin fish wall fountain, we also go upstairs to explore the room upgrades in progress, and into the basement, packed with incredible artifacts of 112 years as a working apartment-hotel. Don’t miss the collection of massive iron boilers in the northwest corner, too big to remove when they became obsolete.

We share these immersive photo projects to bring fellow history lovers along with us into spaces that are often hard to visit, experiencing transition and rich in layers that reward a deeper look.

This is the first time, while documenting an historic space, that we’ve uncovered evidence of a crime!

But before revealing details of that crime, and asking for your help in solving it, let’s go back to the beginning, at least to our beginning as professional tour guides. When we launched Esotouric in 2007, one of the Los Angeles writers we celebrated was John Fante. We successfully nominated the intersection of 5th & Grand outside Central Library as John Fante Square, got to know Fante’s family, marked his centennial, sought out time capsule locations that Fante would still recognize and generally did our part to honor a fine, unjustly neglected artist.

The most resonant Fante location proved to be the King Eddy Saloon, the last of the old school Skid Row dive bars, and a featured location in the 1939 novel Ask The Dust. In the book, Fante’s literary alter ego Arturo Bandino blows his first royalty check on one of the b-girls hustling in the basement speakeasy.

In 2008, while filming an episode of Cities of the Underworld in the junk-filled basement, our Richard Schave was among the first people in decades to see a Skid Row masterpiece emerge from the dust: a big metal fire door that separated the bar from the hotel basement, expertly painted with a comic scene of an old fashioned cop rousting a drunk on a bench.

Over the next few years, we had numerous opportunities to take groups down into the speakeasy, and to see how the fire door thrilled people. Every group asked if the speakeasy could ever come back. Word got around about the real speakeasy (something rare as hen’s teeth in a city filled with “speakeasies”) beneath the King Eddy, and other bar owners lusted after the space.

In 2012, the King Edward Hotel changed hands after a death and bankruptcy. The Croik family, owners of the bar since the early 1960s, found themselves without a lease. To stay on, they’d need to agree to invest big money in the speakeasy and to make major changes to the working man’s bar upstairs. Investing in the speakeasy was a no-brainer, but the latter demand went against the Croiks’ ethics as the stewards of that fragile ecosystem, the last Skid Row bar. Grandson Dustin couldn’t be the person to dismantle an environment crafted over three generations, by his father and grandfather before him, a place that meant so much to The Regulars.

So with more than a little sadness, it was announced that the King Eddy would be closing at the end of 2012. We organized a special night of farewell speakeasy tours, led by Dustin, then put the video of that night aside, too sad to do anything with it, until now.

The new owners, ACME Hospitality Group, were nice and loved the bar’s history, and we kept bringing groups down to tour the speakeasy (here’s ACME’s Jonny Valenti showing a private John Buntin organized crime history tour group around).

But the promised big money investment demanded of the Croik family never happened, and the numerous changes to the working man’s bar upstairs didn’t click. From 2015 through today, the bar changed hands a couple of times, and we could never connect with the new owners to learn about their plans for the precious speakeasy.

Okay, enough background. So what about the crime?

Summer 2018. There we were in the dark and cavernous western side of the hotel basement, helping to set up lights so Craig could complete his 3-D scan and excited to show him the lesser-known hotel side of the Weirton Steel fire door (painted with a comely Dutch girl serving a foamy beer to a baby-faced sailor), when we discovered the unthinkable.

That magnificent painted fire door, Skid Row’s own American Gothic and the centerpiece of the historic basement speakeasy, had been TAKEN OFF ITS HINGES AND SPIRITED AWAY!

You can see the hole where the door should be over Craig’s shoulder at left in the photo below.

According to hotel staff, one day several years ago, they noticed that this integral piece of building safety infrastructure had been removed. They put a large piece of plywood up to cover the hole in the wall between the bar and the hotel basement, securing it on the hotel side. The plywood panel is visible in this speakeasy tour video shared by Oddity Odysseys in June 2017, and in the screen grab below.

The new owners of the King Edward Hotel, the Healthy Housing Foundation, love the building’s history and very much want to see this lost artifact returned and preserved. We asked Miki Jackson of HHF what message she had for anyone who might know where the fire door is now. Miki says, “The King Edward and the King Eddy Saloon basement speakeasy are just not the same without our cantankerous cop, our resident miscreant, our charming Dutch girl, the mischievous sailor and his beer! They have gotten lost; please send them back home. We are honoring the long and colorful history of the famed King Edward Hotel and this painted door is a very important part of that history. Please help us find it.”

The Healthy Housing Foundation is offering a reward of $300, a behind-the-scenes tour of the building and a round of beers in the King Eddy Saloon for the return of the King Eddy’s historic fire door. Because we love the door and feel responsible for rediscovering it in the first place, we’re throwing in tickets for the person who helps return the door and three friends to ride our Downtown L.A. true crime history tour, Hotel Horrors & Main Street Vice or, if you’re more bookish than ghoulish, Charles Bukowski’s Los Angeles.

Somebody knows where the painted fire door is now. And as cool as this artifact is out of its historic context, we hope they can see that it ought to be returned to the King Eddy cellar, the room it was created to decorate.

Please help spread the word by sharing this blog post and the missing posters below. And if you know where the door is or where it’s been since it was last seen around 2015, please say something and help bring this precious cultural artifact home, so future generations can be as charmed as we were when we brought it back into the light ten years ago.

REWARD

with any info

CONTACT Kim and Richard

tours@esotouric.com

213-915-8687

www.esotouric.com/KingEddyDoor

“DREAMERS in Long Beach,” a DACA-inspired mural collaboration — in 3-D!

Posted on February 27, 2018 by Kim Cooper in The Esotouric Blog and tagged 3d, 40oz_horchata, Alec Demarco, Andrea LaHue, Ankore, Balloonski, bamc, Bandit, BerkVisual, BodeckHernandezArt, Charmaine Olivia, collaboration, craig sauer, daca, Diosone.ufk.tot.fat, DREAMERS, freeway, GoopMasta, graffiti, h2dk, HA CREW, Honor One, immigration, Indecline, InspiredLBC, long beach, MegZany, mural, Nick Sawyers, NickyNailedIt, NinjaGraffiti, Olivier Roubieu, political art, protest, public policy, SAiR, SCBrownbear, SellOut_TCF, Shobot Productions, SkidRobot, Sparc_eg, street artist in residence, TalkSickMind, Teachr, Tracy Negrete, transit, WRDSMTH.

Welcome to the eighth in a series of 3-D explorable tours of off-the-beaten-path Los Angeles spaces, created by Craig Sauer using cutting-edge Matterport technology.

Today we’ve ventured south to the terminus of the 710 Freeway, where Street Artist in Residence and the City of Long Beach have transformed a pedestrian underpass into an open-air gallery in support of the 800,000 Dreamers whose futures are uncertain due to the Trump administration’s attempts to dismantle the DACA program.

It’s a weird, semi-subterranean space, concrete on all sides, windy and dusty, with mossy streams of fluid oozing from mysterious sources and cars racing just overhead. The river and city are both close, but out of sight. Here at the bend in the road, sunlight and shadow activate the powerful images of hope, anxiety, uplift and uncertainty. Infrastructure is humanized.

We invite you to take a virtual tour, explore the many creative responses to this moment in time, and think about what might be coming for this country just around the bend. Because history doesn’t just happen: people make history.

Dream on.

“We are all in the gutter, but some of us are looking at the stars.” – Oscar Wilde, 1892

A Last and Lasting Visit To Caravan Book Store – in 3-D!

Posted on February 3, 2018 by Kim Cooper in The Esotouric Blog and tagged 20th century, 3d, booksellers row, craig sauer, downtown los angeles, leonard bernstein, retail.

Welcome to the seventh in a series of 3-D explorable tours of historic Los Angeles spaces, created by Craig Sauer using cutting-edge Matterport technology.

For the first time in the series, we’ve documented a space that is freely open and accessible to the public. But soon the Caravan Book Store will only exist in memory and in this captured moment in time. Because after almost 64 years in the shadow of the Los Angeles Public Library, the last survivor of Downtown L.A.’s Booksellers Row is about to become the Row’s final retail closure. If you want to visit, February 24 is Caravan’s last day.

We are grateful to Craig for rushing downtown to capture Caravan before the stock was depleted and fixtures removed (ahem, we bought a lovely little glass-faced bookshelf on our way out the door) and to Leonard Bernstein and daughter Leilah for letting us disrupt their first busy day in the shop after the news broke.

Craig Sauer and Richard Schave move quick before a scan pass

Craig Sauer capturing an easter egg for the 3D scan

Craig Sauer finds a clear spot to scan the back corner of Caravan Book Store

Oh Caravan! The tugboat of Downtown. How we’ll miss your dusty air and beautiful things and the calm, wry, wise presence of the great Angeleno at your heart.

In 1954, Leonard Bernstein’s parents Morris and Lillian opened Caravan at 605 South Grand Avenue so that they could spend their days together. The store evolved with the changing city, honing antiquarian specialties that interested the Bernsteins and their customers. Californiana, presidential biographies, travel, rail history, cookbooks, old newspapers, fine bindings, ephemera, and the unexpected treasures that came in by the box load whenever an old Southern California estate collection was purchased.

In 1970, L.A. Times columnist Jack Smith stepped in, and wrote:

“I found myself back in the 1930s. In that era, when you might think nobody had any money to spend on books, 6th St. in that neighborhood was Booksellers Row.

There were perhaps a dozen of them, all much like this one: narrow and deep, smelling of dust and old buckram and leather. Each shop would be tended by one man, usually a lean one, with a hungry look, who could be found at a desk at the back bent over a rolltop desk. On cold days a gas heater would be burning.

There would be a tin coffeepot on a burner and sometimes a loaf of bread and some cheese and canned milk. Most of the men had wives who helped them out, wearing sweaters to keep warm, and there were always cats.

There might be three or four customers in the shop or none, depending on the hour and the weather, though I rarely saw anyone buy anything, and I hung around a lot, not buying anything myself.

The bookman didn’t seem to mind. He talked with them, if they wanted to talk, sometimes going up to a loft to find a book or shoving his ladder along a wall and climbing it for a book out of reach. He knew where every book in the shop was because he had put it there, and once he had put it there, it rarely moved. Cronies spent the day, sitting at the back by the heater, making the coffee and talking about T.S. Eliot or Jurgen or Aimee Semple MacPherson… Now they are gone.”

But Caravan, a late arrival to the Row, found its even keel and pushed on, as Downtown Los Angeles declined and was revived more times that its current boosters would like you to know.

Photo: Ann Summa (Los Angeles Times)

By 1980, when a bank took over all the retail storefronts in Caravan’s building, the little kid who had grown up helping out in the store was a full grown bookman. Leonard helped move the store’s stock across Grand Avenue to its comfortable new digs in the Pacific Mutual Building, formerly the offices of Air Panama, and posed with his dad in the sterile space which will all too soon be so again.

Caravan is not closing because business is bad, the landlord is greedy, or because you took photos of rare items on the shelves and bought them cheap online (but if you did, shame on you). Caravan is closing because the next generation of Bernsteins have their own full lives, and because after a lifetime in business on the wild and woolly streets of Downtown Los Angeles, Leonard is ready to sleep late, have some new adventures, and see what else the world has in store for him.

The business will continue, but without drop-in hours. So make some time this shortest month to pay a visit to the last of a great Los Angeles literary tradition. And for heaven’s sake, buy something! For to quote Morris Bernstein, at the time of the last move, “The thought of moving all those books makes me wish I’d gone into the stamp business!”

*
Caravan Book Store
550 S. Grand Ave.
Los Angeles, CA 90071

Monday through Saturday: 11 a.m. – 6 p.m.
Sunday: Closed

There will be a Store Closing Sale from February 3 through 24, with markdowns on merchandise throughout the shop. Sale hours will also be flexible and by appointment.

Contact Info
Email: caravanbookstore@yahoo.com
Phone: 213-626-9944
Instagram: @caravan_book_store
New mailing address (as of March 1): Caravan Book Store P.O. Box 550 7162 Beverly Blvd. Los Angeles, CA 90036

Store closing announcement

Lloyd Wright’s Sowden House, 1920s Hollywood Landmark & Black Dahlia Suspect’s Lair

Posted on September 22, 2017 by Kim Cooper in The Esotouric Blog and tagged 1920s, 1926, 1947, 20th century, 3d, art deco, black dahlia, craig sauer, elizabeth short, george hodel, habs, historic preservation, historic-cultural monument, lloyd wright, los feliz, marvin rand, mayan, national register, restoration, xorin balbes.

Welcome to the sixth in a series of 3-D explorable tours of historic Los Angeles spaces, created by Craig Sauer using cutting-edge Matterport technology. This one is special, as for the first time in our partnership, Craig got us inside a building we’ve been longing to explore!

A decade ago we launched Esotouric with our flagship tour, The Real Black Dahlia. And on nearly every Dahlia tour, someone asks us about the murder suspect George Hodel and his sinister-looking house on Franklin Avenue. Although we don’t subscribe to his son Steve’s theory that George Hodel killed Beth Short in the basement, the house itself is fascinating.

Constructed in 1926 by Frank Lloyd Wright’s son and collaborator Lloyd Wright, using techniques similar to the elder architect’s “textile block” concrete forms, Sowden House is a classic Spanish Rancho-era California home filtered through a Mayan Art Deco sieve and updated for the jazz age theatrical set who lived to entertain. Presenting a blank white wall to the world outside, the house opens up to a magnificent sun-dappled courtyard, ringed all around with public and private spaces.

While we’d never been inside, the house could be understood by consulting a lovely set of 1971 Marvin Rand photographs and plans for the Historic America Building Survey (HABS), viewable on the Library of Congress website and above.

In 2001 Sowden House was purchased from its seventh owners by crystal-loving designer Xorin Balbes, who in the course of “restoring” the National Register and Los Angeles landmark, added many garish contemporary touches. He also apparently demolished the site-specific sculptural tiled bath. In recent years, the house has been used as a filming location and hosted George Hodel’s son Steve poking around the basement with a “cadaver dog” named Buster, seeking evidence of a seventy-year-old slaying.

But you can’t keep a misguided preservationist down, and Mr. Balbes has moved on to ruin other significant Los Angeles buildings, like the Hiram Higgins, or Willard house, a strong candidate to top our annual list of historic preservation nightmares. Sowden House was sold in 2013.

And just this summer, its tenth stewards took possession of Lloyd Wright’s bold building. Among their first acts was to ask Craig Sauer to document the property with an immersive 3-D scan—but only after the thick jungle of yucca, palm, bird of paradise and banana that has obscured the facade for years was removed. And like a handsome man who finally shaved off his awful beard, all we can do is wonder what took him so long.

As you click to enter the newly stark facade through Craig’s Matterport scan, then ascend the spartan staircase—ignore the contemporary rustic risers, which were originally bare concrete tile tread—you’ll find a house that is happily regaining its architectural integrity. Gone are the climbing vines and thorny succulents that clogged the edges of the courtyard, which Mr. Balbes had already rendered semi-usable with poorly-proportioned small pools instead of replicating the lost 32’ pool with its upright block structure supporting a water organ. The textured walls and columns change subtly as the sun moves across the sky and night falls.

The new owners are philanthropists dedicating to helping animals, promoting art and artists, and supporting social activism. They founded Canna-Pet and its non-profit organization, Pet Conscious, and plan on sharing the Sowden House as an event space to connect with other foundations and nonprofits in the L.A. community and help with fundraising. Perhaps an evening at Sowden House is in your future? But for now, we urge you to explore this Los Angeles treasure at your leisure.

But one part of the structure doesn’t appear in Craig’s scan, so don’t bother looking. Although every armchair Dahlia-ologist is curious about the basement in which George Hodel did or didn’t do something terrible to Beth Short in 1947, Craig felt that it just wasn’t architecturally “interesting” enough to merit the effort of scanning. So here, for your ghoulish pleasure, is a view of the dirt-floored basement and its primitive raised storage platform. We couldn’t visit the house without seeing it.

Now when we offer our Real Black Dahlia tour, as we will again on October 7, we’ll be able to direct interested parties to virtually explore the house where George Hodel danced a delicate duet with the cops he knew were bugging him. Maybe they’ll spot a clue, or one of the pussycats who are getting settled in to their new home. Certainly, they’ll be ensorcelled by this marvelous place!

Touring CalEdison, the Art Deco landmark formerly known as One Bunker Hill

Posted on July 3, 2017 by Kim Cooper in The Esotouric Blog and tagged 20th century, 3d, allison and allison, art deco, Barse Miller, bunker hill, Conrad Buff, craig sauer, downtown los angeles, historic preservation, hugo balin, Hugo Ballin, john fante, Merrell Gage, redevelopment, rising realty partners.

Welcome to the fifth in a series of 3-D explorable tours of historic Los Angeles spaces, created by Craig Sauer using cutting-edge Matterport technology. And what cooler space to explore than the lobby of the newly rebranded CalEdison, an Art Deco masterpiece that was L.A.’s first air conditioned, seismically safe tower?

Photo: Julius Shulman, October 1980 (Library of Congress)

You might know the building as One Bunker Hill, a name given it in 1972, when Edison moved its offices to Rosemead and sold its namesake tower. Hopes were still high that the Bunker Hill Redevelopment Plan would yield a thriving, live-work community where young professionals contributed to the tax base 24/7.

It didn’t exactly work out that way—a heartbreaking tale of scorched earth public policy hubris documented in Gordon Pattison’s family story and on the On Bunker Hill blog— but in seeking to make the aging, low rent building more appealing to new tenants like the US Postal Service, ceilings were dropped, old fashioned spaces reconfigured, and the long, open patios enclosed with glass. And so it remained, for four decades.

Today, under new, preservation-focused owners Rising Realty Partners, these insensitive upper floor additions are being peeled away and the building marketed to creative tenants who appreciate its machine age aesthetics and are keen on downtown. It only took two generations!

But the grand T-shaped lobby was never “updated,” and it’s this extraordinary space you can explore through Craig Sauer’s 3-D photography.

Craig Sauer shooting CalEdison

But first, a little history: In 1931, Southern California Edison’s opulent Art Deco corporate headquarters was erected at the foot of Bunker Hill, on a prime 175’ x 175’ corner site kitty corner to the Biltmore Hotel (Schultze and Weaver, 1923) and opposite Central Library (Bertram Grosvenor Goodhue, 1926).

Architects Allison and Allison designed the 12-story height limit tower with its bold, geometric stepped facade and cutting edge mechanical innovations. P.J. Walker Co. built it. Constructed at a cost of $2,500,000 and boasting 250,000 square feet of office space, its all-steel frame was meant to withstand fire, hurricane force winds or the most powerful recorded earthquakes. And when the devastating 6.4 Long Beach temblor struck on March 10, 1933, the Edison Building just shrugged.

That unshakable frame was beautifully wrapped in sober granite and terracotta facing, with a rainbow of stone finishes within. The exterior rotunda’s relief sculptures representing the “Generation,” “Distribution” and “Utilization” of electricity are by Merrell Gage. The central lobby mural, “Power,” is by Hugo Ballin, with Conrad Buff and Barse Miller gracefully handling the narrow frieze paintings above the elevators, also on an electrical theme.

Elevator frieze by Conrad Buff

As befit a tower housing a modern electrical utility, the ventilation systems were powered, with windows that opened and closed automatically to control internal temperature. And today, the building is newly LEED certified. Also, fans of Los Angeles literature will note that the prime corner site was declared John Fante Square a few years back (reader, we nominated it).

But enough background: the lovely lobby awaits your exploration. Click here to begin.

Take your time and zoom at will, noting the ultra-high resolution of the newest Matterport camera. [To make your virtual tour a little more exciting, the first person to find the Esotouric flier and email a description of its location to us will win a free seat on any of our regularly scheduled tours between now and September 30, 2017. Happy hunting! – update: congrats to Paul T., who first found the flier.]

If you enjoy Craig’s CalEdison tour, we also recommend our previous collaborations: Angels Flight Railway, The Dutch Chocolate Shop, Barclay Hotel and a folk art tunnel along the Los Angeles River. What will be the next Los Angeles landmark to get the 3-D treatment? All we can say is, it’s a doozy, so stay tuned!

While Los Angeles Waits: A Virtual 3-D Tour of Angels Flight Railway

Posted on June 6, 2016 by Kim Cooper in The Esotouric Blog and tagged 20th century, 3d, angels flight, bunker hill, craig sauer, downtown los angeles, graffiti, grand central market, historic preservation, redevelopment.

To go directly to the 3-D Angels Flight tour, click here.

It has been 1005 days since Angels Flight Railway, the beloved funicular that is, with the exception of a stone retaining wall, the last remnant of the lost Victorian neighborhood of Bunker Hill, suffered a minor derailing incident and was taken offline by its regulator, the California PUC.

Last July, horrified to see a car defaced with greasy graffiti, we formed the Angels Flight Friends & Neighbors Society (FANS) and petitioned Mayor Garcetti for help in cutting the regulatory red tape. He responded quickly, instructing Metro to prepare a report. But nothing else happened, at least not in the public eye. And here it is, almost summer again, and there’s still no good answer to that burning question we hear so often on our historic tours: “When can we ride Angels Flight?”

We believe that everyone should have the chance to enjoy this unique time capsule of old Los Angeles. And it occurred to us that if Angels Flight can’t legally take paying customers, there’s nothing to stop virtual visitors from climbing aboard. Unfortunately, there’s also little to stop bad actors from climbing aboard, as we discovered yesterday evening, on arrival at Angels Flight.

While Craig Sauer prepared his 3-D Matterport camera rig to capture the funicular’s photogenic nooks and crannies, Angels Flight FANS Richard Schave and Gordon Pattison got busy scrubbing off the childish graffiti tags that covered Olivet’s windows, undercarriage, seats and beams. This vandalism, funicular operator John Welborne said, was no more than five days old. Thanks, a lot, “Saucy.”

In early June 2016, “Saucy” tagged the Angels Flight car Olivet

Richard Schave and Gordon Pattison clean off “Saucy’s” vandalism

But how are people getting into the Angels Flight cars, normally parked in the center of the 298 foot track, high above the ground? We didn’t have to ask, for an intense young man suddenly appeared just below the station house, having marched boldly up the tracks from Hill Street. When John Welborne inquired what he thought he was doing, the trespasser cooed, “Are you a Scientologist?” and blithely skipped away.

So far, vandals have only scrawled on the cars, scratched their names into the glass and left trash behind. It is our great fear that one of these illegal visitors will cause more lasting damage that cannot be erased with elbow grease and Goo-Gone. So long as Angels Flight remains out of commission, it falls to all of us, from public agencies to private citizens, to keep our eyes on Olivet and Sinai, and to call for help if we see anything suspicious.

But enough fretting and fussing: strap on your wings and get ready to soar!

Craig’s 3-D scan replicates the experience of boarding Olivet at Angels Flight’s upper station house on Bunker Hill. The car is empty, so you can sit anywhere you like.

A ride on Angels Flight lasts less than a minute, but there’s no need to hurry. Poke around and explore, admiring the narrow slatted ceiling, bare incandescent bulbs and metal handrails worn from innumerable rising riders. Although moved half a block south from its original location and no longer hemmed in by Victorian apartment hotels, Angels Flight is essentially unchanged from the conveyance than carried generations of Angelenos from the heights down into the city. Once you’ve had your fill, simply head down the hill inside the car and you’ll arrive at the lower station house, just across from Grand Central Market, open late all summer long and the new home of our free LAVA Sunday Salons and Broadway on My Mind walking tours.

It was a pleasure to spend a little time with our beloved Angels Flight and bring back a special view to share. The best part was seeing the faces of Craig’s children light up as they experienced their very first ride on L.A.’s wonderful funicular. Let’s hope it won’t be much longer before they, their classmates and YOU can ride it any day of the year.

If you care about Angels Flight and want to see it running again, please sign and share our petition, and we’ll keep you informed about the preservation campaign.

If you enjoy Craig’s Angels Flight tour, we also recommend our previous collaborations: The Dutch Chocolate Shop, Barclay Hotel and a folk art tunnel along the Los Angeles River. What will be the next hidden Los Angeles landmark to get the 3-D treatment? Stay tuned!

A Virtual Tour of the Barclay Hotel: Grand Lobby to Hidden Tunnels

Posted on April 14, 2016 by Kim Cooper in The Esotouric Blog and tagged 19th century, 3d, beaux arts, craig sauer, downtown los angeles, historic preservation, historic-cultural monument, isaac newton van nuys, morgan and walls, prohibition, tunnels.

Richard Schave outside Barclay Hotel One of our favorite Los Angeles buildings is the Barclay Hotel (originally the Van Nuys), a Beaux Arts gem constructed in 1896 on the northwest corner of 4th and Main Streets by pioneering architects Morgan and Walls.

We love the hotel because it’s beautiful, but also because it holds so many layers of history, real and fictional. We visit the lobby on our Raymond Chandler tours, for it’s upstairs in room 332 that detective Philip Marlowe finds the man in the toupée with an icepick in his neck, a pivotal plot point in The Little Sister. We also stop on our Hotel Horrors & Main Street Vice tours, to share the true life tales of a deranged 19th century millionaire who turned mean drunk in the hotel bar, and of two serial killers who worked their evil in rooms above.

It is our great pleasure to share with a wider audience the Barclay Hotel’s magnificent double-height lobby through the virtual magic and Matterport technology of 3-D photographer Craig Sauer’s lens. You’ll marvel at the ornate plasterwork, the stained glass, the monumental clerk’s cage and the vast sea of tile that distinguish Historic-Cultural Monument #288.

Barclay Hotel basement stairs But thanks to the generosity of Victor Vasquez—whose family has owned the hotel for decades and was responsible for its landmarking—we can also take you deeper, where we’ve never been able to take tour guests, down marble stairs into the labyrinthian basement, with its tiled passages, sliding wooden doors of the historic stables, lockers decorated by long-dead workers, spiral stairs to nowhere and handsome nooks and arches. It is a true Los Angeles time capsule, a functional environment that has barely changed in 120 years.

As you explore the basement level, you may find your way into that most rare and beguiling bit of lost Los Angeles: an unrestricted L-shaped section of the hidden service tunnels beneath the sidewalk that once criss-crossed Downtown. We can’t tell you if the Barclay’s tunnels were used during Prohibition to move illicit substances, but we did find whole walls covered in mysterious penciled numbers that suggest some informal commerce was practiced here. Sniff around and see if the Barclay’s secrets reveal themselves to you.

If you enjoy Craig’s scans of the Barclay, we also recommend our previous collaborations: The Dutch Chocolate Shop and JK’s Tunnel. What will be the next hidden Los Angeles landmark to get the 3-D treatment? Stay tuned!

Explore Ernest Batchelder’s Dutch Chocolate Shop in Lifelike 3-D

Posted on March 30, 2016 by Kim Cooper in The Esotouric Blog and tagged 3d, craig sauer, ernest batchelder, historic-cultural monument.

Craig Sauer adjusts his camera to capture the Dutch Chocolate Shop

A couple of weeks ago, we trekked down into a trash filled drainage tunnel off the Los Angeles River with graffiti scholar Susan Phillips and 3-D photographer Craig Sauer to document a wordy folk art environment created by an obsessive 1940s-era hobo known only as JK.

Craig’s shoot turned out so well that we were eager for him to capture more of our favorite historic Los Angeles spaces in megapixels. And what better landmark to start with than the Dutch Chocolate Shop, Pasadena Arts & Crafts master Ernest Batchelder’s vaulted, tiled masterpiece?

Although we’ve hosted a number of tours and lectures in this fascinating space, it is currently closed to the public pending determination of its next use. But now, thanks to Matterport 3D Showcase technology, you can virtually explore the Dutch Chocolate Shop, and zoom in close to notice details in the tile murals that the naked eye might miss. We recommend listening to Brian Kaiser’s LAVA talk while you do.

What will be the next hidden Los Angeles landmark to get the 3-D treatment? Stay tuned!

JK’s Tunnel: An Unknown Hobo Folk Art Environment on the L.A. River

Posted on March 17, 2016 by Kim Cooper in The Esotouric Blog and tagged 1940s, 20th century, 3d, anonymous artists, carving, craig sauer, documentation, downtown los angeles, folk art, folk art environment, graffiti, historic preservation, hobo, JK, los angeles river, palimpsest, railroad, susan phillips, train tracks.

When our friend Susan Phillips–the graffiti scholar who recently took us to the Confluence of the Los Angeles River and Arroyo Seco to see century-old hobo inscriptions–told us about a riverside tunnel that had been elaborately carved by one anonymous artist around 1940, we were eager to see it.

JK's Tunnel entrance

Today, we were able to satisfy our curiosity about the obscure site that Susan calls “JK’s Tunnel” while helping to document this extraordinary and hard-to-reach place.

Joining us was Craig Sauer, a photographer who uses Matterport 3D Showcase technology to create virtual tours of physical spaces. Most of his work is commercial (real estate), but he has a passion for offbeat historical spaces and reached out asking if we could help him gain access to someplace special. As it happened, we had just the site in mind.

Craig Sauer prepares to scan JK's Tunnel

Craig Sauer gives the thumbs up

After we determined that the level of light inside JK’s Tunnel would be low enough for details to be captured, we made the date. And this morning found our eager crew tramping through the high grass and down a little wash to explore the womb-like space where the mysterious JK carved his intriguing explosions of word salad.

JK's Tunnel 4 Leaf Klover

Probably using a railroad spike as a chisel, the artist painstakingly carved important words and phrases into the smooth concrete vault of the tunnel. He lists American cities and years and the names of guns. He writes LANA TURNER and STAY OUT OF JAIL. He writes MEXICO AND REBEL LAND.

And up on the ceiling he carves an urgent litany evoking wartime mass movement: TRUCKS AUTOS MAIL SHIPS PAINTINGS AIRPLANES ARMNENTS MUNITIONS FACTORIES JOBS POSTAGE MILLS BOTTLES KLOTHING SHELTER.

JK's Tunnel: WW2 Word Salad

Whoosh–can’t you just see it rushing by JK’s safe little tunnel home?

Who was this artist? On these walls, he calls himself John Kristian, Johnny K, Johnson Kraft, Johnny Kake, Journeyman Kavalier, John Kook and plain old JK. We don’t know his real name or when he was born or died, and maybe we never will.

We just know that sometime around 1940, he came to this quiet place by the river and took all the time he needed to capture the voices in his head on the smooth tunnel walls. And standing there inside JK’s Tunnel, with the trains and the river passing by, despite all the years and layers of paint from graffiti artists who came after, he spoke to us. Now through Craig’s wonderful 3-D rendering, he can speak to you, too.

craig sauer