Golden Magazine by legrenier

May 2019

Golden 01 — Los Angeles

The Eames House

An Exploration of the Famous Couple’s Architectural Home

May 2019

Golden 01 — SoCal, Los Angeles

editor-in-chief Linden Grenier creative director Linden Grenier deputy editor Linden Grenier design director Doug Rickert assistant editor Linden Grenier copy editor Linden Grenier

For permission requests, write to the editor, addressed “Golden Permissions” at the address below permissions@golden.com

subscribe Golden is published monthly. To subscribe, visit golden.com/subscribe contact us If you have questions or comments, please write to us at info@golden.com

proofreader Linden Grenier communications director Linden Grenier editorial assistants Linden Grenier photography Linden Grenier Rachel Zeller Jeni’s Ice Cream MockupWorld — Ad words Linden Grenier Jeni’s Ice Cream Abbie Mood The Eames Foundation The Getty Center Jay Carroll Joe Yogerst Ingleside Inn Palm Springs Art Museum Seth Smigelski

Contributors

advertising Direct advertising inquiries to advertising@golden.com publication design Linden Grenier print blurb.com

Editor's Note

Photography by Rachel Zeller

vegan frozen options. Not to mention, they have tasteful interior and graphic design. The Channel Islands, off the coast of Ventura, are our favorite hiking and adventure location. Although hidden by boat accessibility, the islands are an astonishing experience for hikers and travelers of all abilities. We loved the quiet, untouched nature of the islands and the views of the Pacific from the summits. Similarly, we enjoy hiking behind the iconic Hollywood sign where the view of LA is full circle. The accomplishment of standing behind the iconic sign above the city is unparalleled to your average hike. Our largest feature, The Eames House, is recognized for it’s design history and excellence. The landscape also offers a cliff-side view of the ocean, while preserving the life of the Eames couple. From the gardens to the famous interior design, we were thoroughly impressed with how small and private the museum was from the outskirts of LA. Finally, the Getty Center is an architectural masterpiece hidden above freeway 405. We were inspired by its clean, urban design and pairing with the golden mountains. We hope you enjoy our favorite LA gems as much as we do.

Linden

Travel often evokes freedom, wonder, nostalgia, peace and creativity. Golden Magazine was created based on personal experiences with travel and adventure. Throughout each issue we strive to exhibit both notable and hidden California locations, encouraging our audience to travel and explore beyond known locations. Travel is much more than tourist spots and the “perfect” vacation. Sometimes, the most valuable place is the least visited or discussed. Our first May edition focuses closely on hidden gems in Los Angeles, CA. Although LA is known broadly for pop culture and iconic figures, we want you to visit the most valued and often underrated spots in and surroudning the county. Issue 01 - SoCal, Los Angeles guides you through a select few of our favorite spots in LA— Jeni’s Ice Cream in Loz Feliz is a creative and delicious option for ice cream and

Linden Grenier Editor & Designer

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Starters Our first May edition focuses closely on hidden gems in Los Angeles, CA. Although LA is known broadly for pop culture and iconic figures, we want you to visit the most valued and often underrated spots in and surroudning the county.

Contributors Linden Grenier 4

Editor's Note Linden Grenier 5

Letters to the Editor 00 — SoCal, San Bernardino 8–9

Jeni’s Best — Six of Our Favorite Flavors Jeni's Ice Cream 10–11

Topography of the Hollywood Sign Hike Linden Grenier 18–19

Table of Contents

Features Explore hidden gems within LA's landscape and cityscape.

Insider’s Guide to Channel Islands National Park Abbie Mood 12–17

The Eames House The Eames Foundation 20–27

The Getty Center The Getty Center 28–33

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Letters to the Editor

Readers respond to the features from our San Bernardino edition with travel advice, location details and more.

Re “10 Reasons Joshua Tree, California Should Be Your Next Vacation,” by Jay Carroll (golden.com, March 1):

Re “Hidden Botanical Gems,” by Joe Yogerst (golden.com, March 12):

This article highlighted one of my favorite places in Palm Springs, C.A. Although popular, there are more hidden gems are sprinkled around “the curve” — that big bend in Palm Canyon south of downtown. Started in 1938 by a local family obsessed with desert flora and history, Moorten Botanical Garden has more than 3,000 kinds of cacti and other arid land plants along paths flanked by pioneer relics, fossils and other oddities.

Since the last edition, I have traveled to San Bernardino, CA in search of Joshua Tree National Park. I used Edition 00 to accompany my search, referencing “Visiting Joshua Tree” to ensure an enjoyable trip. I hiked through the otherworldly landscape inhabited by wild-limbed trees, cacti and ancient stacked boulders. Mojave Sands Motel was a beautifully restored and re-imagined roadside motel on the outskirts of downtown Joshua Tree. This laid-back little compound contains a row of rooms situated beside a reflecting pool, cactus gardens, and outdoor fireplaces. The five distinct units have been painstakingly decorated, with unique details by local artists and craftspeople. Just checking in here sets the right tone for your trip. I am hoping for more hiking articles in the next editions!

Moorten Botanical Garden has more than 3,000 kinds of cacti and other arid land plants...

genevieve paquette phoenix, a.z.

elizabeth morrison san diego, c.a.

Letters to the Editor

00 — SoCal, San Bernardino

Re “Stay Inn San Bernardino,” by Ingleside Inn (golden.com, March 28):

Re “Palm Springs Art Museum,” by Palm Springs Art Museum (golden.com, March 18):

Ingleside Inn is the most authentic desert retreat that will transport you to the Golden Age of Palm Springs. It’s one of the desert’s original retreats built in the 1920’s and was recently refreshed after a property-wide restoration bringing it back to its original Spanish Colonial Revival design. The rooms and suites are beautifully and comfortably decorated. The beds are hand-carved, too! A visit to the Ingleside Inn is like staying at a friend’s estate. Although totally secluded at the base of the San Jacinto Mountains, it is adjacent to the historic Ingleside Inn is one of Palm Springs most beloved dining and entertainment destinations, Melvyn’s Restaurant & Lounge. Melvyn’s was the brainchild of Mel Haber, who bought the Inn and the restaurant in 1975. The restaurant & lounge thrived and attracted the Hollywood set who came back regularly for the tableside dining, martinis and the dancing.

Palm Springs Art Museum serves many communities in the Coachella Valley through its compelling art exhibitions and wide range of community programming. Located in downtown Palm Springs, the museum’s extensive permanent collection includes significant works by western, contemporary and glass artists, and features temporary exhibitions from internationally acclaimed artists. Each month the museum features a free community day on the second Sunday of every month and is always free every Thursday from 4-8 p.m. The museum offers art classes and workshops for adults and children and a range of theatrical and musical performances in its Annenberg Theater. Throughout all these programs, the museum is dedicated to creating memorable and inspiring interactions through educational and cultural opportunities. We loved our trip here!

jackson o’donnell colorado springs, c.o.

jessica rodriguez white plains, n.y.

To send a letter to the editor: letters@golden.com To write the editorial page editor: editorial@golden.com For more information, visit our website golden.com

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Jeni’s Best — Six of Our Favorite Flavors

1954 Hillhurst Ave Los Angeles, CA 90027 (323) 928-2668 Daily – Noon to 11 p.m.

“Our first West Coast scoop shop lives in Los Angeles on the corner of Hillhurst and Clarissa avenues in Los Feliz. We’re thrilled that we’ll be sharing the neighborhood with such a colorful array of restaurants, bars, cafes, boutiques, and vintage shops near the Greek Theatre, Griffith Park, the Observatory, and the Los Angeles Zoo.” — Jeni’s

Jeni’s Ice Cream

Photography by Jeni’s Ice Cream

Jeni always says creating the best ice cream is about pairing the right dairy with the right ingredients. — Jeni’s Ice Cream 01 — Lemon Buttermilk Frozen Yogurt Jeni first made this gorgeous lemon yogurt over 20 years ago, inspired by the the citrusy sherbets she loved as a kid. We start with tart lemon juice and aromatic oil from lemon zest. Then add cultured buttermilk, which thickens the cream and lends bouncy body. 02 — Strawberry Buttermilk When Ohio strawberries are at their peak we use fresh cultured buttermilk—sourced from our friends at Arps Dairy in Ohio—to complement the natural acidity of the berries for a strawberry flavor that’s always springy and bright. 03 — Sweet Cream Biscuits & Peach Jam Fresh cultured buttermilk adds brightness to the cream. Then we fold in crumbly bits of salty sweet cream biscuits and fresh jam made with the most perfect Georgia peaches from the famous Peach Truck. Sweet and salty, this ice cream is rich southern comfort by the spoonful. 04 — Pistachio & Honey Pistachio & Honey ice cream is rich and nutty, with a verdant, mossy green hue from real pistachios. We keep the color of this flavor all natural. And a touch of wildflower honey gives this flavor an earthy, tip-of-thetongue sweetness, as well as beautiful texture.

05 — Brown Butter Almond Brittle Inspired by this visceral love of krokan, Jeni created Brown Butter Almond Brittle in 2009. Made with rich buttercream ice cream and golden pockets of hand made almond brittle, this sweet, salty, crunchy ice cream quickly became a menu mainstay. 06 — Dairy-Free Colf Brew with Coconut Cream It all starts with great ingredients, like the organic, Direct Trade coffee beans our friends at Slingshot Coffee use to make cold brew just for us. Their coffee makes a light and bright sorbet with notes of stone fruit and cacao—a perfect match-up for a swirl of sweetened coconut cream. Cold Brew with Coconut Cream is like the most refreshing coffee drink. Ever.

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Photography by Linden Grenier

Channel Islands A Guide to the Hidden National Park

Channel Islands National Park, which consists of five of the eight islands found along the coast of Southern California, is known for its unique plants and wildlife. In fact, the park is known as the “Galapagos of North America” and visitors get to experience the Channel Islands in their natural state—there are no shops, no restaurants, and no hotels.

About 14

Islands 14

Park Secrets 15

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Hiker’s Advice 16

Insider’s Guide to Channel Islands National Park

01 Summit of Santa Cruz Island 02 Hikers approaching the cliff of the island

by: abbie mood

Islands Santa Cruz is the biggest of the five islands, and even though it’s the most visited, you’ll never feel crowded here. The boat ride is about an hour, and there are camping, hiking, and kayaking opportunities. There are 15 hiking trails on Santa Cruz Island, ranging in distance from less than a mile to 18 miles. Most of the trails that lead to great views start from Scorpion Canyon Campground, like the 2-mile trek from Scorpion Canyon Campground to Cavern Point (which is a great spot for viewing whales) or the longer, 5-mile Potato Harbor hike. Smugglers Cove has three trails that are short (2,3, and 4 miles) but strenuous, and Prisoners Harbor has mostly strenuous, backcountry trails. The half-mile Prisoners Harbor Trail gives a quick overview of the historic area. The Scorpion Canyon Campground is a great place to stay and makes for a home base for kayakers to paddle around the Scorpion Bay. The island is also well-known for the variety of caves to explore along the shoreline. Santa Rosa Island is the second largest island, with a landing strip for airplanes, or visitors can take a 3-hour boat ride out. It’s more difficult to get there, as there can be high winds in the area, and because of the boat schedule, visitors usually have to stay for at least three days. There are several hiking trails, ranging from easy to strenuous,

Channel Islands

Photography by Linden Grenier

About The northern Channel Islands have been home to many native Chumash communities over thousands of years, who relied on the land and the ocean for survival. After the Europeans discovered the islands, sheep and cattle ranches were created out on the islands, and the fish and marine mammals in the water were highly sought after. Today, visitors can see the remains of Chumash culture, historic ranches, and military structures that were built later. The islands that make up the Channel Islands include San Miguel, Santa Rosa, Santa Barbara, Santa Cruz, and Anacapa, and the park service has worked to restore the natural ecosystem to the islands since taking over ownership in 1980. It has helped that the islands are relatively isolated—even though the closest island is just 12 miles offshore, the more popular Catalina Island draws the most visitors of all the islands. Every island has a unique history and something wonderful to offer, and they are all accessible by boat and airplane. The most difficult part of visiting the Channel Islands National Park is deciding which one to go to first!

and from about 3 miles to 16 miles. The 8-mile Black Mountain hike is more strenuous, but will give hikers great views of the other islands and the mainland. Another option is the Torrey Pines trail, which has two options (5 and 7.5 miles) that feature one of the rarest pine trees in the world, the Torrey pine. The closest camping on the beach is 10 miles from the drop off point. San Miguel Island is also difficult to get to (itâ&#x20AC;&#x2122;s 58 miles from Ventura Harbor), and a permit is required to visit. Because the island used to be a bombing range, there is the possibility of finding un-detonated bombs, so visitors have to stay on the trail and must be accompanied by a ranger if venturing out beyond the ranger station. There are some fantastic hiking opportunities, though, and nine primitive campsites. The smallest island, Santa Barbara, is just one square mile, but has some wonderful opportunities to explore the land and sea. The water is very clear in the Landing Cove, making it great for snorkeling, while kayaking towards Arch Point or the Sea Lion Rookery will pay off with views of sea caves, arches, and a variety of marine life. There are five hiking trails at Santa Barbara, ranging

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from 1-3 miles: two trails lead to sea lion and elephant seal viewpoints, while two others have great views of wildflowers and the coast. The fifth trail leads to Signal Peak, a strenuous 2.5-mile hike to the highest point on the island. There are ten primitive campsites for visitors who want to spend the night. Anacapa Island is the closest island to the shore (itâ&#x20AC;&#x2122;s only 12 miles away), and is ideal for a half or full -day trip. There is a single 2-mile hiking trail around the island, but you can kayak, swim, and snorkel at the Landing Cove, a marine reserve. Anacapa is a wonderful place to view wildflowers (though the island is treeless), birds, and sea mammals. The island has seven primitive campsites. Park Secrets On Santa Cruz Island, many visitors hike up to Cavern Point to check out the view and look for whales. Instead of looping back around to the campground, though, take the 2-mile North Bluff Trail along the bluff to Potato Harbor for even more spectacular coastal views. Look for seashell fragments along the way, which is evidence of where the Chumash people camped out thousands of years ago.

The best way to explore Channel Islands National Park is to pick an island and plan to stay for awhile. Each island has something different to offer ...but they all offer solitude and breathtaking ocean views 03

Santa Rosa Island has a 2-mile strip of white sand beach that you can get to from the landing pier, but beyond that is a place called Skunk Point. Here, visitors will find tide pools, blowholes, and can see the wreckage of the Jane L. Stanford schooner wreck. San Miguel is the most challenging island, but with possibly the biggest payoff. Besides the sea lions and seals, visitors see the unique caliche “forest”, which is essentially a petrified forest of ancient roots and vegetation. Sea lions tend to congregate around the Landing Cove at Santa Barbara Island, perfect for photo opportunities. Anacapa is one of the islands where natural wildlife is finally returning after non-native species almost wiped them out. The island is the place to go to see Bald Eagles, which recently returned to the island after being gone for nearly 60 years. The best way to explore Channel Islands National Park is to pick an island and plan to stay for awhile. Each island has something different to offer, so it really depends on what you are looking for, but they all offer solitude and breathtaking ocean views.

Hiker’s Advice

01—There are no services and no water on the islands. 02 — Bring everything you need, especially if you are camping. 03 — There are no lifeguards on the islands, so enter the water at your own risk. 04 — Because you can only get to the islands by boat or plane, plan ahead and make your reservations before your trip. 05 — The best time to spot migrating whales is December through April. 06 — Channel Islands National Park is technically open 24 hours day, 7 days a week, but there are some restrictions based on tides and bird nesting. For more information, visit https://www.nps.gov/chis/index.html or call (805) 658-5730

Channel Islands

03 Hikers stand at the cliffside of Santa Cruz Island, along the Pacific Coast 04 Red fern on Santa Cruz Island featuring gold accents, growing within golden grass along the mountainside

Photography by Linden Grenier

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Topography of the Hollywood Sign Hike Each route to the Hollywood Sign offers a satisfying hike into Griffith Park. For those who want to hike up to the hollywood sign, there are four routes to choose from: Brush Canyon Trail – 6.4 miles round trip with 1,050 feet of elevation change For a good day hike, take the longest route, beginning up Brush Canyon Trail from the end of Canyon Drive. Parking here is fairly ample and adding a side trip to Bronson Cave (a.k.a the Batcave) is easy to do. Stand at the summit and look down on the Hollywood Sign and out over the cityscape of Los Angeles. Hollyridge Trail – 3.5 miles round trip with 750 feet of elevation change Shortest and easiest way to the Hollywood Sign, but there are parking restrictions. Burbank Peak Trail – 3 miles round trip with 875 feet of elevation change This is the shortest, most challenging route and usually the least crowded route, but the trail is rough and packs a good workout on the way to Mount Lee. Innsdale Drive – 4.6 miles round trip with 750 feet of elevation change Slightly longer than Hollyridge Trail, delivers the greatest head-on views of the Hollywood Sign.

01— Peak of the mountain, Hollywood sign is located here 02 — Valley, flat land 03 — Ridge, leads up to the sign 04 — Cliff, valley can be viewed from here 05 — Hill, mountain descends 06 — Fill, roads lead up to base of mountain — Hollywood Sign

Topograpghy of the Hollywood Sign Hike

Photography & Illustration by Linden Grenier

Topography Key

05 06

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The Eames House An Exploration of the Famous Coupleâ&#x20AC;&#x2122;s Architectural Home

About 22

Structure 23

Collections 23

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Landscape 25

The Eames House

by: the eames foundation

The Eames House, also known as Case Study House No. 8, is a landmark of mid-20th century modern architecture located in the Pacific Palisades neighborhood of Los Angeles. It was designed and constructed in 1949 by husband-and-wife Charles and Ray Eames to serve as their home and studio. They lived in their home until their deaths: Charles in 1978 and Ray, ten years to the day, in 1988. About It was a home filled with gifts from friends, family and colleagues. The way the Eameses lived their life in their home echoed how they lived their life at work. They anticipated their guests’ needs – whether welcoming visitors at the house with delightful treats or when designing a chair and considering how best to meet the needs of the user — the guest in this case. They believed in the iterative process: the redesigning and rethinking of a project to improve it, whether it was through creating the three versions of their film Powers of Ten, or the two house designs for the site, or the constantly evolving décor during the early years. Charles described the house as unselfconscious. There is a sense of that “way-it-should-be-ness”. Charles and Ray designed a house specifically to meet their needs, but they were those universal needs that we all share as humans. They believed in the honest use of materials and straightforward connections. The details WERE the product!

And then by nestling the house into the hillside, rather than imposing it on the site, they realized their original intent: for the house in nature to serve as a re-orientor. The scent, the sound of birds, the shadow of the trees against the structure whether inside or out, the openness of the site—all the elements join seamlessly. Charles said, “Just as a good host tries to anticipate the needs of his guest, so a good architect or a designer or a city planner tries to anticipate the needs of those who will live in or use the thing being designed.” Come visit and explore how the house exemplifies many of the themes of the Eameses’ work: from furniture to exhibitions, the guest/host relationship, the iterative process that leads to meeting the need, the importance of the direct experience, the relation with nature, the life in work and work in life, the importance of details, and more. Together the structure, collections, and landscape tell the story of the couple’s approach to life and work.

The Eames House

In 1949, Charles and Ray designed and built their own home in Pacific Palisades, California, as part of the Case Study House Program sponsored by Arts & Architecture magazine. Their design and innovative use of materials made the House a mecca for architects and designers from both near and far. Today, it is considered one of the most important post-war residences anywhere in the world.

Photography by Linden Grenier

01 Exterior window structure of Eames House featuring color scheme elements 02 Visitor viewing Eames living room from glass exterior

Structure The Eames House consists of two glass and steel rectangular boxes: one is a residence; one, a working studio. They are nestled into a hillside, backed by an eight foot tall by 200 foot long concrete retaining wall. The structures are aligned along a central axis with a court on the ocean side of the House, a court between the two structures, and a parking / utility spot on the Studio far side. At 17 feet tall, each has a mezzanine balcony overlooking a large central room. Public and private spaces are naturally defined by what is easily visible. When Charles and Ray were home, they would open the curtains and doors and windows. We do too. With doors open, the patios and structures became a long, unified space for living. The facades are essentially blackpainted grids (consisting of eight 7.5 foot bays for the House and five for the Studio), with different-sized inserts of glass (clear, translucent, or wired), grey cemestos panels (both painted and natural), stucco (off-white, black, blue, and orange/red), aluminum (silver or painted) and specially-treated panels

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(gold-leafed or with a photographic panel). The transparency and translucency of the glass combines effortlessly with the painted colors and wood finishes. In referring to the Eameses’ work, the Smithsonian’s National Museum of History blogged: “In all of their projects, color was a strategic tool; never did they apply hues indiscriminately. Rather, their brilliant palette spotlighted s alient points of information that they wanted to convey, capturing both the eyes and minds of viewers.” You can see the use of the off-the-shelf components, or the new plywood and plastic materials that the Eameses developed for their furniture. Collections The Eameses looked at life as being an act of design. The residence is filled with the “stuff ” of their living. The stuff that tells the story of their lives, interests and loves. Intangibles of color and form. Careful arrangements of objects and flowers, whose value is really based upon being part of the collections. And as some might feel, the stuff that transmutes a structure into a home.

The Eames House

04 Original Dsw chairs produced in 1968. Logo embossed under each chairs. Shockmounts are all remplaced by new one. Solid walnut and black lacquer metal (new).

Photography by Galerie 44

03 Exterior view of the Eames House, glass exterior featuring interior details

Photography by Linden Grenier

The residence is presented as it was at the time of Ray’s death in 1988. In fact, it has changed little from when Charles was also alive, and even from 1958 when the team consolidated their creative work at the Eames Office located in Venice, California. Books, fabrics, folk art, prisms, shells, rocks and straw baskets….groupings unified by each element’s careful selection and the overall curation. This may be a modern structure, but it is filled with, as one writer intimated, a wonderful Victorian clutter. While these objects have, for the most part, nominal value as individual pieces, they have a huge value as part of the carefully-placed collection. They help visitors to better understand the Eameses’ work via that direct experience that the Eameses felt was so important. In perfect Eamesian fashion, the two structures are presented appropriately, which means differently. The studio is the headquarters of the Eames Foundation and is furnished to meet our needs. Interspersed with contemporary Eames furniture are objects from the pair’s work lives. It had always been a flexible -use space, changing function depending upon the Eameses’ need. It has been a working studio, a guest suite, a home office and skunk works, and after Charles’ death, Ray’s bedroom. The original intent—particularly for the living room and the studio—was to be a very flexible space, designed with the anticipation that it would be filled with objects. As Charles wrote in the 1945 issue of Arts & Architecture magazine: The living room is a “large unbroken area

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for pure enjoyment of space in which objects can be placed and taken away — driftwood, sculpture, mobiles, plants, constructions, etc.” The end result? As one visitor exclaimed in the earliest days of its building, “Oh Mr. Eames, after seeing your home, I’ll never think of Modern as cold again! Landscape The appreciation of nature is an essential part of life in the house. You can see, as Charles and Ray put it, how the house in its constant proximity to the whole vast order of nature acts as a “re-orientor and shock absorber” providing the needed relaxation from the daily complications arising within problems. The final house design was driven by the Eameses’ decision to preserve the meadow and a row of eucalyptus trees. The meadow moves between green and sere as rain falls or stops. As one visitor said: “The Eames House is the only place in LA where you can experience the seasons.” Roses of all colors were favorites, but especially clear reds, whites and pinks. Tiny to small roses (particularly pink Cecile Brunner) and tea roses were also preferred, rather than today’s typical mid-sized, store-bought cut roses. Other favorite flowers include violas, especially the ones with faces, and tiny, delicately-formed flowers, from lobelias to Santa Barbara daisies. Ray would exclaim at how precious they were. Ray also delighted in picking and arranging these flowers, whether a large vase of roses or a tiny vase with a

grass blade, clover and delicate colorful bloom. Mixes of freesias, daisy -style blooms (white, blue or pink), pink or red geraniums (single) and more were picked from the Eameses’ own pots and planting beds as well as the neighbor’s garden. These vases, set in the house, echoed the exterior plantings, helping to blur the line between indoor and outdoor. Bordering the house are many pots, presenting bright spots of color seen both from outside as well as inside the house. The house itself contains a ficus tree, a planter filled with philodendrons, ferns, and African violets. Fresh flowers continue to be picked from the pots and planter beds, augmented by flowers from Farmers’ Markets, to form bouquets. By reflecting the seasons, they seamlessly link indoors and out. The garden beds were on either side of the two structures: one on the south court by the living room where Charles and Ray would often breakfast at the low table, and the other past the carport. Between the two structures was a central court where visitors would often be greeted. Many materials were laid in the courts: brick, wood, honed stone or rocks. Smaller squares and rectangles were left open, greened with ground covers or planted with a tree such as the Coulter pine, now grown tall. The south bed had a specific planting plan, reflecting the seasonal shift between the hot/dry and cold/rainy seasons. In addition to being loosely divided into four quadrants, the bed was rimmed by narrow planting strips along

three sides (the retaining wall being the fourth). The meadow-side quadrants might hold Icelandic poppies, while the back-side held delphiniums or foxgloves. Star jasmine edged the side facing the living room; the meadow-side edge held miniature geraniums, Santa Barbara daisies and lobelia. The path -side edge currently holds lavender (but originally held ivy). On all sides, the plants spill lightly over the edges. The north bed was more informal, set with a variety of loose plantings that petered into the hillside, but whose blooms beckoned visitors towards the house. The meadow was intended to look natural, even though a specific rye grass was used due to its color and leaf blade shape. The meadow would grow with the winter rains, then slowly brown as watering stopped and heat grew. It has been commented: the House is one of the few places in Los Angeles where one can experience the seasons. Around the perimeter of the property, the landscape was primarily native Californian plantings, notwithstanding non-natives such as the Eucalyptus, olives and pepper tree. Of course, the vast majority are eucalyptus trees. When their leaves dropped, she and the gardeners would carefully pick up all the leaves from the paths, leaving only the brilliant red ones. At the end of the day, when Ray would arrive home from the Office, she would step out of her car, pause, inhale deeply and smile. It was always a joyful homecoming to the scent of the trees.

The Eames House

Photography by Linden Grenier

It has been commented: the House is one of the few places in Los Angeles where one can experience the seasons.

Exterior view of a corner of the Eames House, glass exterior featuring famous designer chair and photo of Charles & Ray. Garden surrounds the exterior & can be seen in the reflection

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Photography by Linden Grenier

The Getty Center Highlights from the Museum’s Landscape

About 30

Collections 30

Architecture 31

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Landscape 32

Photography by Linden Grenier

The Getty Center

by: the getty center

The Getty Center sits on a hilltop in the Santa Monica Mountains, just off the 405 Freeway. Visitors can take in Los Angeles’s beautiful landscape—the Pacific Ocean, the San Gabriel Mountains, and panoramic views of the city. These elements inspired architect Richard Meier to design a campus that highlights both nature and culture. About After riding a tram from the street-level parking facility to the top of the hill, visitors will find a campus covered in Italian travertine and organized around a central arrival plaza. Curved design elements and natural gardens soften the linear grid pattern created by the travertine squares. The J. Paul Getty Museum seeks to inspire curiosity about, and enjoyment and understanding of, the visual arts by collecting, conserving, exhibiting and interpreting works of art of outstanding quality and historical importance. To fulfill this mission, the Museum continues to build its collections through purchase and gifts, and develops programs of exhibitions, publications, scholarly research, public education, and the performing arts that engage our diverse local and international audiences. All of these activities are enhanced by the uniquely evocative architectural and garden settings provided by the Museum’s two renowned venues: the Getty Villa and the Getty Center. The J. Paul Getty Museum at the Getty Center in Los Angeles houses European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and photography from its beginnings to the present, gathered internationally.The J. Paul Getty Museum at the Getty Villa in Malibu opened on January 28, 2006, after the completion of a major renovation

project. As a museum and educational center dedicated to the study of the arts and cultures of ancient Greece, Rome, and Etruria, the Getty Villa serves a varied audience through exhibitions, conservation, scholarship, research, and public programs. The Villa houses approximately 44,000 works of art from the Museum’s extensive collection of Greek, Roman, and Etruscan antiquities, of which over 1,200 are on view. With two locations, the Getty Villa in Malibu and the Getty Center in Los Angeles, the J. Paul Getty Museum serves a wide variety of audiences through its expanded range of exhibitions and programming in the visual arts. Collections On view at the Getty Center is the art collection of the J. Paul Getty Museum, which includes: pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture, and decorative arts; 19th- and 20th-century American and international photographs; contemporary and modern sculpture; Robert Irwin’s Central Garden, designed specifically for the Getty Center. The collection is displayed in four free-standing pavilions and on the grounds.The North Pavilion presents paintings dating up to 1600, as well as medieval and Renaissance sculpture and decorative arts.

The Getty Center

Exterior view of The Getty Center featuring the architectural design of Richard Meier with a glimpse of the Santa Monica Mountains

Open 10AM-5:30 PM Saturday 10AM-9PM Closed Mondays GPS Navigation N Sepulveda Blvd & Getty Center Dr., Los Angeles, CA 90049 Mailing Address 1200 Getty Center Drive Los Angeles, CA 90049 Admission is always free Parking is $20, free after 3 PM

The East Pavilion features primarily 17thcentury Baroque art, including Dutch, French, Flemish, and Spanish paintings, as well as sculpture and Italian decorative arts dating from 1600 to 1800. The South Pavilion houses 18thcentury paintings and the majority of the Museum’s European decorative arts collection, complete with elaborately furnished paneled rooms, dating up to 1800. The West Pavilion features sculpture and Italian decorative arts of the 1700s through 1900, 19th-century paintings, and the Center for Photographs. Neoclassical, Romantic, and Symbolist sculpture and decorative arts are also on view. Contemporary and modern sculptures are featured throughout the grounds Architecture The stone—1.2 million square feet of it— is one of the most remarkable elements of the complex. This beige-colored and highly

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textured travertine catches the bright Southern California light, reflecting sharply during morning hours, and emitting a honeyed warmth in the afternoon. Meier chose stone for this project because it has been historically associated with public architecture and expresses qualities the Getty Center celebrates: permanence, solidity, simplicity, warmth, and craftsmanship. The 16,000 tons of travertine are from Bagni di Tivoli, Italy, 15 miles east of Rome. Look for fossilized leaves, feathers, and branches amongst the stones, which were revealed when they were split along their natural grain. Natural light is one of the Getty Center’s most important architectural elements. The many exterior walls of glass allow sunshine to illuminate the interiors. A computer-assisted system of louvers and shades adjusts the light indoors. The paintings galleries on the upper level of the North, South, East, and West

Pavilions are all naturally lit, with special filters to prevent damage to the artworks. A circular building to the west of the Central Garden houses the Getty Research Institute, used primarily by Getty scholars, staff, and visiting researchers. The circular form evokes the cycle of research and scholarship. An interior ramp creates rounded paths, promoting interaction among the scholars and staff. On the lowest level, a skylight allows light into the reading room. On the plaza level, an exhibition gallery displays materials in the Research Institute’s collection. Two buildings to the north and east of the Tram Arrival Plaza house the Getty Foundation, the Getty Conservation Institute, and the J. Paul Getty Trust administration offices. Sunken gardens, terraces, glass walls, and open floor plans provide fluid movement between indoor and outdoor space, and views of Los Angeles for Getty staff. Landscape The Getty Center features several gardens, including the Central Garden—an evolving work of art, a cactus garden that overlooks Los Angeles, and two sculpture gardens. The Central Garden at the Getty Center is an evolving work of art, designed to change with the seasons. Created by California artist Robert Irwin, the 134,000-square-foot Central Garden lies at the heart of the Getty Center. A walk through the garden provides an extraordinary experience of sights, sounds, and scents. A walkway crosses over a stream that winds through a variety of plants and gradually descends to a plaza, where you’ll

find bougainvillea climbing through custom-made rebar trellises. The stream cascades over a stone waterfall into a pool containing a maze of azaleas. Specialty gardens surround the pool. All of the foliage and materials of the garden are selected to accentuate the interplay of light, color, and reflection. More than 500 varieties of plant material are used in the landscaping. Since the Center opened in 1997, the Central Garden has evolved as its plants have grown and been trimmed. New plants are constantly being added to the palette. Irwin’s statement “Always changing, never twice the same” is carved into a stepping stone in the garden, reminding you of the everchanging nature of this living work of art. See a variety of cacti, succulents, and other plants from a desert terrain—as well as panoramic views of Los Angeles —in The Cactus Garden located between the East and West Pavilions. Located above the main parking structure next to the Lower Tram Station, sculptures by modern artists such as Henry Moore and Elisabeth Frink, and plants such as colorful tall verbena, can be found in the Lower Terrace Sculpture Garden. Adjacent to the Museum’s West Pavilion in The Fran and Ray Stark Sculpture Terrace are works that depict the shift in figurative sculpture from representation to abstraction, including works by Barbara Hepworth and Rene Magritte. Connected by a walking path to the Central Garden, The Fran and Ray Stark Sculpture Garden, a sculpture garden, contains outdoor sculpture by Joan Miró, Alexander Calder, and others.

The Getty Center

Photography by Linden Grenier

See a variety of cacti, succulents, and other plants from a desert terrain—as well as panoramic views of Los Angeles—in The Cactus Garden located between the East and West Pavillions.

Cacti growing within the gardens of The Getty outside of The Cactus Garden located between the East and West pavillions

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