lo_pd12

COVER PHOTOGRAPHED BY JEFFREY LO

ANGELES MAGAZINE

SPRING 2012

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EDITOR IN CHIEF Jeffrey Lo

Assistant Editor Oscar O’Neal

Creative director Amber Vanderbilt

Photo Editor Nicholas Eames

Advertising Director Nancy Macha

Sr. Graphic Designer Ethan Echols

4 ANGELES MAGAZINE

SPRING 2012

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ANGELES MAGAZINE

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FOOD DRINKS TRAVEL PEOPLE CULTURE

CRAFT RESTAURANT

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BEST

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STEAKHOUSE IN LOS ANGELES <

DRY-AGED SIRLOIN

PHOTOGRAPHED BY JEFFREY LO

et volorro rrovidi non. Od qui quamus.

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Aximi, commolu ptatus eium evenis.

DRY-AGED SIRLOIN 22 OZ.

ANGELES MAGAZINE

SPRING 2012

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DRINKS

The Standard Henit unt, volorem aut peritae. Ecatibuscim repero eum, inistruntus.Buscia quiatureni officiis con ex et untorro int doluptatum est evenimus, non nonsectae eatiis adic te nosapidel ipic tem que cuptat iur.

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RED HEADED STRANGER

Downtown Outdoor Bars

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PHOTOGRAPHED BY JEFFREY LO

J Lounge

ION BAR

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viditiur ferum et repro.

8 ANGELES MAGAZINE

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TRAVEL

Santa Monica Place

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BROADWAY ENTRANCE

A New Face to the

Promenade PHOTOGRAPHED BY JEFFREY LO

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The Market

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Ted Baker

WESC

CB2

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que eatiatissus, sitiusdandae vere nobis aut modions equam.

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CULTURE

PURVEYOR OF

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LA LUZ DE JESUS GALLERY 4633 Hollywood Boulevard, Los Angeles, CA 90027-5413 (323) 666-7667

16 ANGELES MAGAZINE

THE LA LUZ DE JESUS GALLERY IS A SHOWCASE FOR POST-POP CALIFORNIA ART PHOTOGRAPHED BY JEFFREY LO

SPRING 2012

THE GALLERY

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Post-Pop Culture

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ANGELES MAGAZINE

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COVER StORY

BY JEFFREY LO

H

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est, ac rhoncus dui malesuada posuere rutrum.

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Ur adi recae. Et acerchic tem ipsa sequi cus maio

24 ANGELES MAGAZINE

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que et quiam expero.

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FEATURE

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W

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, fundraising 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 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 panels of brushed stainless steel.)

Is the long-delayed Disney Hall, then, just 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

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Frank Gehry The man behind the building Frank 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 familyâ&#x20AC;&#x2122;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 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 cityâ&#x20AC;&#x2122;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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“The facade soars, bends, and dives in a number of directions, in typical Gehry fashion.”

Gehry tends to work better with restrictions, whether they’re

lobby until it was big enough to operate as a quasi-separate

physical, financial, or spatial. Without them, his work tends to

room. It’s a setting for chamber music and pre-concert

sprawl not just figuratively but literally.

lectures that didn’t require any new walls or floors or even a

Even though it cost more than a quarter of a billion dollars and covers 293,000 square feet, Disney Hall is a

stage. It makes something remarkable out of nothing.

Other details in the lobby, from the walls lined in Doug-

tighter, more focused effort than many of those Gehry has

las fir to the remarkable treelike columns (whose stocky,

produced after Bilbao, when the commissions came rolling

branching form Gehry says he stole from the Czech architect

in, his budgets suddenly became freer, and he found himself

Joze Plecnik), promote a dreamlike and otherworldly feel, a

with clients perhaps less likely to challenge his authority. The

detachment from the hustle-bustle and the grime of the city.

hall manages to be at once lean and wildly expressionistic. It

But the lobby is also open to everybody: You don’t need a

looks like a building in which every design decision has gone

ticket to walk through it, as is the case in many concert halls.

through two layers of scrutiny: one financial, the other aes-

This is an old-school public space in the tradition of Grand

thetic. Gehry had many years to tweak the project, and he’s

Central Terminal or Bertram Goodhue’s low-slung central

managed to polish it without sacrificing any of its vitality.

branch of the Los Angeles Public Library, which is only a few

Like a lot of Gehry’s work, the new building relates

blocks away from the new hall.

remarkably well to the city, though the visual fireworks of its

There is still more productive tension inside the

facade and its plush interior spaces may well distract a lot of

auditorium itself, which holds about 2,200 people and during

people from this fact. It occupies a full city block at the top of

daytime performances will be naturally lit by mostly hidden

Bunker Hill, across the street from Dorothy Chandler Pavil-

skylights and one tall window. The free-flowing, organic

ion, a gilded late-modernist mistake that used to house both

forms that Gehry loves to use are offset by the rigorous

the Philharmonic and the Academy Awards and today hosts

acoustic demands that any architect of a concert hall has to

neither. (The Oscars are now handed out at the new David

contend with. (In an auditorium of this kind, every exposed

Rockwell-designed Kodak Theater, a few miles away.) The

surface, from balcony railings to seat upholstery, can affect

facade soars, bends, and dives in a number of directions, in

how the orchestra sounds.) As it turns out, Frank Gehry and

typical Gehry fashion, but that movement is always checked

concert halls are well-matched. Acousticians have realized

by the limits of the city grid. Seen from above, the building

over the last few decades that convex—or outwardly bulg-

looks like a bunch of flowers contained, barely, within a per-

ing—curves can be very effective, bouncing and dispersing

fectly rectangular flower box. Indeed, that tension—between

sound waves produced by an orchestra. (Concave curves,

free-flowing imagination and the limits imposed by physics

on the other hand, can trap sound.) And in buildings from

and budgets—is what defines the building as a whole.

Paris to Seattle, Gehry has produced what easily qualifies as

That tension continues inside. There is a small perfor-

architecture’s most varied and complete collection of convex

mance and lecture space, for example, that Gehry created

curves. There’s no definitive word yet on whether Disney

simply by stretching out one rounded corner of the huge

Hall’s acoustics are indeed good; the orchestra’s first perfor-

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mance 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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BEAUTY

Toxic

BEAUTY

BY MERCEDES CAMBRIDGE III PHOTOGRAPHED BY DUSTIN MIDDLEFORD STYLED BY AMBER KELLY

the price of looking good may be

HIGHER THAN YOU THINK

You’ve been dying to try that new shampoo that’s supposed

each product may contain a limited amount of these toxins, please keep

to make your hair thick, lush and shiny. You can’t wait to use that new

in mind, most people use several products each day, from the moment

exfoliating scrub because the label tells you that it’s going to make your

they wake up (soap, shampoo, conditioner, shave cream, deodorant,

skin soft and glowing. You love that new cologne; every time you wear it

toothpaste, hand soap, make up) until they go to bed. After many years

you get so many compliments on how great you smell!

of daily use, these toxins accumulate in your body to cause the ailments

I’ve listed above, among many others. If they cause these concerns for

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

adults, just imagine the damage they can do to children who are smaller

could make you sick? Did you know these products contain chemicals,

and weigh less. Although each product yout may use may contain a re-

toxins and hormones that can cause anything from an unsightly rash

stricted amount of chemicals, hormones and toxins, they can, and many

to learning difficulties to birth defects and even cancer? Even though

times they do cause a myriad of damage to us all.

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

Not only are these beauty products toxic for humans, they are

year. How’s that for incentive to switch?

toxic to the environment, as well. Many of these products are made with

So now you decide it’s time to go “green”, you go to the health

petroleum-based ingredients, which contributes to global warming. Did

food store and purchase “Organic” or “Natural” products and you no

you know that if you switch just one bottle of a petroleum based product

longer have to worry about these concerns...or do you?

for a vegetable based product we could save 81,000 barrels of oil in one

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