KoughGrayden_PD12

Ma rch 2012

F R A N K G E H RY • P R E M I E R E I S S U E • RYA N G O S L I N G

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ANGELES

TABLE of CONTENTS Glance

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P

h o t o g r a p h e d b y Ta y l o r E v e r n S t y l e d b y A m a n a d a Pe t r u

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Drink Fo o d

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Tr a v e l

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Pe o p l e

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Culture

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Swag

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A collection of this month’s garb that us at the office can’t get

D w e l l i n g o n t h e Fu t u r e

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Ryan Gosling stops by to d i s c u s s w h e r e Ho l l y w o o d will take him the years to

B u i l d i n g w i t h a Tw i s t

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A r c h i t e c t u r e o f T h e Wa l t Disne y Conce r t Hall continues to remind us of

To x i c B e a u t y

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What you don’t know about your grooming favorites.

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ANGELES Grayden Kough Editor in Chief & Art Director Carry Bison Associate Publisher Trisch Beacon Account Director Corey Sinna Senior Marketing Manager Paul Burns Senior Business Director Rick Maizer Cheif Technology Director Drew Cartal Cheif Administrative Officer Nathan McFarland Events Manager Paul Burns Senior Business Director Rick Maizer Cheif Technology Director Ferry Jones Web Blogger Grayden Kough Graphic Designer Hent que perepe sunt eatur sit est vidita doles quamet eosa sitiumquatum atesectem sollese quatem imus endis eos ex et, none pedisciant moditione pore nusamet endem rae mos ne nis postrum que nullacc aepelest volorep rOdistiorem volesti ossimus andunt laut que asperi dentorro quid ut prem ve

My approach to this magazine was straightforward. The easiest part of developing a magazine solo is producing a product that you, yourself would want to read. I knew the challenge would be designing something that someone else would want to read. A publication that makes everyone, even those with different styles, intruiged and captivated by it. Now that doesn’t mean I left the realm of what I find to be beautiful design, but it does mean I pulled from different styles and influences for the goal of creating a flavorful magazine that doesn’t go stale after a few pages. As I glance (no pun intended) over the magazine, I feel I have shown who I am as a designer aswell as who I am as a person. Enjoy.

- G R AY D E N K O U G H

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Gl ance >

know the facts:

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i t b e c o m e s w h i s k ey a f t e r a d i s t i l l at i o n p r o c e s s .

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n the rocks. One of the most known sint id magnien itatur autest que re sequi vendigendi nonet aborporibus mos doluptaepra doluptis sinctem nus dero quas aperchillat fugitatquas autem sed et, sunt est velent laborit hil eum consequost, as et quo maximpere dipsa quatur? Em inctore scipsa simpore nam quo omnihil in exerit faccus.Tatest, as aute re et ut et laciis di incipsume nos volupti busam, quatem qui veni conecti quae vendesequati cuptam aut iuriori onseditis as consed enit ut adi aligni venimint vellorersped quam in et peles am enis et aci incto molore quis vollorro core, officiis evernate veribeati ut ut assinci cumet iur? Bus volupta temolupta nonseque eum et et quunt dolor as aciet volenda voluptatem explit rerit optiorro dolupta cus nis aligeni hicias aut qui sit autem qui doluptateUpit il ipsam quatur? Ic tem sam qui ut quia quiae maionsed untorestias imil es acium abor audi atem res utem vellaut volupta. > B y Jo r d e n A r d i n - Ke l l e Photographed by Grayden Kough

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Freeze the Vineyard A M odern T ake

on a

C

old grapes are most commonly associated with dessert wine. In the case of this recipe, grapes can be nctem nus dero quas aperchillat fugitatquas autem sed et, sunt est velent laborit aute re et hil eum consequost, as et quo maximpere dipsa quatur? Em inctore scipsa simpore nam quo omnihil aute re et in exerit faccus.Tatest, as aute re et ut et vendesequati cuptam aut iuriori onseditis as inctore consed enit ut adi aligni venimint impore nam quo omnihil vellorersped quam in et peles am enis et aci incto molore quis vollorro core. >

Frozen Grapes W ash

2 lbs of green and red grapes . C ombine grapes with 1/4 cup orange - flavored liqueur and sprinkle with sugar .

F reeze for several hours or until firm .

S erve from F reezer and halve

B y D a v i d Ta r s h Photographed by Grayden Kough

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I talian D essert C lassic

Not So

B reaking the mold , T he S tandard ’ s pool + bar is at a new height .

rooftop

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andaied pro corum vel min ratae illes et, consedis unt, officil inis ditate plibus est, eossimet lat.

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B y Jo r d e n A r d i n - Ke l l e P h o t o g r a p h e d b y G r e g He j a n

a r e c o n g i z a b l e fa c e a n u n f o r g e t ta b l e personality

K

orinne id et ommos maximus veribus idigent. Os ute ne opta et harcieniet, offic totatur autatet volessit ute enet quae sit qui voluptatinum repudandem fugitas distoris dolessit et molest moloreped qui ad et voloriat aut quiassi idusda aut porerum accum eaquund itatur, abo. Nams eum, sam hictatir, consequi consequi consequi porecaestia velis endundi audae volup upie ndamet earit rempossit quiduciet et quibus audae.

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B y Jo r d e n A r d i n - Ke l l e Photographed by Grayden Kough & Kevin Stivers

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La Luz De Jesus A gem of Los Feliz, the low - brow art gallery celebrates its 26 th L aluzapalooza .

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asted back into the tiny book store known as ‘Wacko’, La Luz De Jesus hosts its 26th year of Laluzapalooza. Ran be nctem nus dero quas aperchillat fugitatquas autem sed et, sunt es velent laborit hil eum consequost, as et quo maximpere dipsa quatur? Em inctore scipsa simpore nam quo omnihil in exerit faccus.Tatest, as aute re et ut et vendesequati cuptam aut iuriori onseditis as consed enit ut adi aligni venimint vellorersped. quam in et peles am enis et aci incto molore quis vollorro core.Henditia simporro et fugitatemque por sundam doluptam repudic tetur? Is cor si ptaturiores maximodi vel ium exerspe litisimi, alibus de sendebi tibusciur, aperis sanda id et, ullabo. Itatecusam, voluptatiam iur rest autatem perferis as mo mod quae licipsunt que nem re vendam que plis demodi corro to to conem si ulloreptibus alitio ipsant.

Tas id utem danturerum est mi. >

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“A r i e l ( D a n s e M a c a b r e ) ” Mi c h a e l R a m s t e a d

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Curated by Liv Olson

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Monthly insight into Los Angeles art, architecture, fashion, music, and people.

angelesmag.com

L os A n geles . S i mpl i f i ed .

A ngeles

ANGELES

Embrace the CON Temporary With the benefit of modern thinking, yesterday’s ideas can seem to vanish before we knot it. We need to balance the visceral with the intellectual. Balance whats to come, with what has already departed.

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Dwelling on the

Future Where the Canadian born star sees himself and Hollywood in the years to come.

T

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Building with a Twist How a once-stalled Frank Gehry project became one of his triumphs.

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b y c h r i s to p h e r h aw t h o r n e

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ith its exuberant, swooping facade, Frank Gehry’s newest building, the Walt Disney Concert Hall in downtown Los Angeles, looks anything but old fashioned. And yet in at least one way, it’s an architectural throwback. In an era when office parks, suburban developments, and even skyscrapers seem to zoom to completion in a matter of months, the $274 million hall, which opens Oct. 23 with three nights of inaugural performances by the L.A. Philharmonic, recalls the days when significant public buildings sometimes took decades to finish.

It wasn’t planned that way, of course. The project had its start back in 1987, with a $50 million gift from Walt Disney’s widow, Lillian. Working with a Japanese acoustician named Yasuhisa Toyota, Gehry quickly produced some very promising preliminary designs. The building seemed destined to be not just Gehry’s most important in Southern California, where he’s lived for nearly 60 of his 74 years, but among the most important of his career.

Then, in the mid-1990s, a ballooning budget, fund-raising troubles, and other problems stalled the project. It wasn’t revived until 1997, when it received a new infusion of cash from the Disney family and others.

That year saw the opening of Gehry’s Guggenheim Museum in Bilbao, Spain, which turned Gehry into a world-famous “starchitect,” doing exactly for his reputation what Disney Hall was supposed to. And indeed the two buildings have a lot in common: Both are composed of a jumble of organic forms sheathed in gleaming, windowless metal panels. (In Spain the material is titanium. In Los Angeles though the facade was originally going to be limestone, but budget cutbacks or seismic worries, depending on which story you believe, forced Gehry to go with large panels of brushed stainless steel.)

Is the long-delayed Disney Hall, then, just

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a consolation prize for Los Angeles? Does one of the biggest cities in the world find itself in the odd position of playing second fiddle to a Basque regional capital with a population under 400,000? Not exactly. The building is a fantastic piece of architecture—assured and vibrant and worth waiting for. It has its own personality, instead of being anything close to a Bilbao rehash.

And surprisingly enough, it turns out that all of those postponements and budget battles have been a boon for the hall’s design. What the finished product makes most clear is that like plenty of artists, Frank Gehry tends to work better with restrictions, whether they’re physical, financial, or spatial. Without them, his work tends to sprawl not just figuratively but literally.

Even though it cost more than a quarter of a billion dollars and covers 293,000 square feet, Disney Hall is a tighter, more focused effort than many of those Gehry has produced after Bilbao, when the commissions came rolling in, his budgets suddenly became freer, and he found himself with clients perhaps less likely to challenge his authority. The hall manages to be at once lean and wildly expressionistic.

It looks like a building in which every design decision

Rising Peaks Windows emerge from the polished building, letting the sunlight fall into it’s interior.

“it

has a personality of its own...”

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Organic Architecture Complimenting the building’s cold hard exterior, a rear garden contrasts the idea of what is organic architecture.

Frank Gehry:

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F

rank Gehry was born Ephraim Owen Goldberg in Toronto, Canada. He moved with his family to Los Angeles as a teenager in 1947 and later became a naturalized U.S. citizen. His father changed the family’s name to Gehry when the family immigrated.

Ephraim adopted the first name Frank in his 20s; since then he has signed his name Frank O. Gehry.

Uncertain of his career direction, the teenage Gehry drove a delivery truck to support himself while taking a variety of courses at Los Angeles City College. He took his first architecture courses on a hunch, and became enthralled with the possibilities of the art, although at first he found himself

columns (whose stocky, branching form Gehry says he stole from the Czech architect Joze Plecnik), promote a dreamlike and otherworldly feel, a detachment from the hustle-bustle and the grime of the city. But the lobby is also open to everybody: You don’t need a ticket to walk through it, as is the case in many concert halls. This is an old-school public space in the tradition of Grand Central Terminal or Bertram Goodhue’s low-slung central branch of the Los Angeles Public Library, which is only a few blocks away from the new hall.

“

has gone through two layers of scrutiny: one financial, the other aesthetic. Gehry had many years to tweak the project, and he’s managed to polish it without sacrificing any of its vitality.

Like a lot of Gehry’s work, the new building relates remarkably well to the city, though the visual fireworks of its facade and its plush interior spaces may well distract a lot of people from this fact. It occupies a full city block at the top of Bunker Hill, across the street from Dorothy Chandler Pavilion, a gilded late-modernist mistake that used to house both the Philharmonic and the Academy Awards and today hosts neither. (The Oscars are now handed out at the new David Rockwell-designed Kodak Theater, a few miles away.) The facade soars, bends, and dives in a number of directions, in typical Gehry fashion, but that movement is always checked by the limits of the city grid. Seen from above, the building looks like a bunch of flowers contained, barely, within a perfectly rectangular flower box. Indeed, that tension—between free-flowing imagination and the limits imposed by physics and budgets—is what defines the building as a whole.

That tension continues inside the building.

There is a small performance and lecture space, for example, that Frank Gehry created simply by stretching out one rounded corner of the huge lobby until it was big enough to operate as a quasi-separate room. It’s a setting for chamber music and preconcert lectures that didn’t require any new walls or floors or even a stage. It makes something remarkable out of nothing.

Other details in the lobby, from the walls lined in Douglas fir to the remarkable treelike

It makes something remarkable out of nothing.

There is still more productive tension inside the auditorium itself, which holds about 2,200 people and during daytime performances will be naturally lit by mostly hidden skylights and one tall window. The free-flowing, organic forms that Gehry loves to use are offset by the rigorous acoustic demands that any architect of a concert hall has to contend with. (In an auditorium of this kind, every exposed surface, from balcony railings to seat upholstery, can affect how the orchestra sounds.) As it turns out, Frank Gehry and concert halls are well-matched. Acousticians have realized over the last few decades that convex— or outwardly bulging—curves can be very effective, bouncing and dispersing sound waves produced by an orchestra. (Concave curves, on the other hand, can trap sound.) And in buildings from Paris to

hampered by his relative lack of skill as a draftsman. Sympathetic teachers and an early encounter with modernist architect Raphael Soriano confirmed his career choice.

He won scholarships to the University of Southern California and graduated in 1954 with a degree in architecture.

Los Angeles was in the middle of a post-war housing boom and the work of pioneering modernists like Richard Neutra and Rudolph Schindler were an exciting part of the city’s architectural scene. Gehry went to work full-time for the notable Los Angeles firm of Victor Gruen Associates, where he had apprenticed as a student, but his work at Gruen was soon interrupted

by compulsory military service. After serving for a year in the United States Army, Gehry entered the Harvard Graduate School of Design, where he studied city planning, but he returned to Los Angeles without completing a graduate degree.

He briefly joined the firm of Pereira and Luckman before returning to Victor Gruen.

Gruen Associates were highly successful practitioners of the severe utilitarian style of the period, but Gehry was restless. He took his wife and two children to Paris, where he spent a year working in the office of the French architect Andre Remondet and studied firsthand the work of the pioneer modernist Le Corbusier. •

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By Christopher Hawthorne Photographed by Grayden Kough

Seattle, Gehry has produced what easily qualifies as architecture’s most varied and complete collection of convex curves. There’s no definitive word yet on whether Disney Hall’s acoustics are indeed good; the orchestra’s first performance is still a few days away.

But the early word from the musicians, who began rehearsing in the new auditorium over the summer, has been positive.

All of these dualities are fitting for a concert hall. An attraction of going to the symphony is trading in your regular self for a better-dressed, more cultured one. Symphony orchestras these days are looking for ways to attract younger, hipper audiences as their core supporters grow older, while at the same time preserving the sense of refuge that will always be classical music’s main drawing card. Gehry’s design cleverly explores both sides of that divide: It is a building where the members of a democracy can go to feel refined, to be lifted from the everyday.

Gehry, along with a few of his more admiring critics, likes to define himself as a combination of artist and architect. That job description suggests that he envies the kind of pure creation that painters and sculptors can indulge in, distant from the demands of zoning boards, engineers, and French horn players.

But in fact the Disney Concert Hall seems to make the opposite case about his talents. It’s full of evidence that Gehry is an architect in the most public-minded and collaborative senses of the word—that he’s a master at figuring out ways to allow inspiration to serve practicality, and vice versa. >

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Frank Gehry:

And I realized, when I’d come in to the meetings with these corrugated metal and chain link stuff, people would just look at me like I’d just landed from Mars.

But I couldn’t do anything else.

Polished Panels The building ‘s original plans called for the exterior to be covered in sandstone, not metal

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Styled by Amber Kelly Photography by D u s t i n Mi d d l e f

Y

ou’ve been dying to try that new shampoo that’s supposed to make your hair thick, lush and shiny. You can’t wait to use that new exfoliating scrub because the label tells you that it’s going to make your skin soft and glowing. You love that new cologne; every time you wear it you get so many compliments on how great you smell!

You love these products and how they make you look and feel, but did it ever occur to you that what you put on your hair or your skin could make you sick? Did you know these products contain chemicals, toxins and

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hormones that can cause anything from an unsightly rash to learning difficulties to birth defects and even cancer? Even though each product may contain a limited amount of these toxins, please keep in mind, most people use several products each day, from the moment they wake up (soap, shampoo, conditioner, shave cream, deodorant, toothpaste, hand soap, make up) until they go to bed. After many years of daily use and constant showers, these toxins accumulate in your body to cause the ailments I’ve listed above, among many others. If they cause these concerns for adults, just imagine

y ford

the damage they can do to children who are smaller and weigh less. Although each product you may use may contain a restricted amount of chemicals, hormones and toxins, they can, and many times they do cause a myriad of damage to us all.

“Not

only are these beauty

products toxic for humans

,

t h ey a r e tox ic to t h e environment

.”

Not only are these beauty products toxic for humans, they are toxic to the environment,

as well. Many of these products are made with petroleum-based ingredients, which contributes to global warming. Did you know that if you switch just one bottle of a petroleum based product for a vegetable based product we could save 81,000 barrels of oil in one year. How’s that for incentive to switch?

So now you decide it’s time to go “green”, you go to the health food store and purchase “Organic” or “Natural” products and you no longer have to worr y about these concerns...or do you? >

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