Angeles Magazine

COVER PHOTOGRAPHED BY JEFFREY LO

ANGELES MAGAZINE SPRING 2012 3

EDITOR IN CHIEFJeffrey Lo

Assistant EditorOscar O’Neal

Creative directorAmber Vanderbilt

Photo EditorNicholas Eames

Advertising DirectorNancy Macha

Sr. Graphic DesignerEthan Echols

ANGELES MAGAZINE SPRING 20124

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PHOTOGRAPHED BY JEFFREY LO DRY-AGED SIRLOIN 22 OZ.

IN LOS ANGELESSTEAKHOUSE

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DowntownOutdoor

The Standard

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DRINKS

J Lounge ION BAR HOTEL FIGUEROA

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PHOTOGRAPHED BY JEFFREY LORED HEADED STRANGER

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The Standard

HOTEL FIGUEROA

TRAVEL

Santa Monica Place

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Ted Baker WESC CB2

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A New Face to the

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PHOTOGRAPHED BY JEFFREY LO

BROADWAY ENTRANCE

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PEOPLE

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CULTURE

LA LUZ DE JESUS GALLERY

THELA LUZ DE JESUSGALLERY IS ASHOWCASE FORPOST-POPCALIFORNIAART

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4633 Hollywood Boulevard, Los Angeles, CA 90027-5413(323) 666-7667 PHOTOGRAPHED BY JEFFREY LO

PURVEYOR OFPost-Pop CultureTHE GALLERY

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PHOTOGRAPHED BY JEFFREY LO




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H

COVER StORY

BY JEFFREY LO


BY JEFFREY LO


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que et quiam expero.



FEATURE



ith its exuberant, swooping facade, Frank Gehry’s new-

est 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 mat-

ter 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 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

W


Frank Gehry was born Ephraim Owen Goldberg in

Toronto, Canada. He moved with his family to Los Ange-

les as a teenager in 1947 and later became a natural-

ized 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, al-

though 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 So-

riano 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 plan-

ning, 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 rest-

less. He took his wife and two children to Paris, where

he spent a year working in the office of the French archi-

tect Andre Remondet and studied firsthand the work of

the pioneer modernist Le Corbusier.

Frank GehryThe man behind the building



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 has gone

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

thetic. 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 Pavil-

ion, 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 per-

fectly 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. There is a small perfor-

mance and lecture space, for example, that 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 pre-concert

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 Doug-

las fir to the remarkable treelike 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.

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 bulg-

ing—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 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 perfor-

“The facade soars, bends, and dives in a number of directions, in typical

Gehry fashion.”



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 or-

chestras 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 al-

ways 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 crit-

ics, 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. •


the price of looking good may be HIGHER THAN YOU THINK You’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 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, 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 the damage they can do to children who are smaller

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

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

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

BEAUTY

ToxicBEAUTY

BY MERCEDES CAMBRIDGE III

PHOTOGRAPHED BY DUSTIN MIDDLEFORD

STYLED BY AMBER KELLY


HIGHER THAN YOU THINK

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 worry about these concerns...or do you?

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


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