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ANGELES

Ester Bayer Walt Disney Concert Hall

ANGELES MAGAZINE, January 2012 3

P 5 Letter from the editor

P 7-16 GLANCE

P 18 IN HOUSE ADD

P 20-21 SWAG

P 23 FRONTIS

P 24-31 WALT DISNEY CONCERT

P 32-35 ESTER BAYER

P 36-37 TOXIC BEAUTY

Table Of Contents

CALVIN KLIEN

EditorNicole Costello

Art DirectorNicole Costello

PhotographerNicole Costello

PublisherNicole Costello

Marketing ManagerNicole Costello

AccountantNicole Costello


Hello there, ANGELES cult. I’m excited to present to you a brand new view on

ANGELES Magazine! We are going to “Be All, See All” feel this issue. Be prepared for slides that don’t make since, don’t worry they are supposed to be that way. I wanted to capture all the beauty and dbeast of Los Angeles in a way I know you can under stand.. Jump in and enjoy the ride.

Letter from me

6 ANGELES MAGAZINE, January 2012


GLANCEDrink

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Red Wine AndDrunk


GLANCEFood

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Pizza is Unhealthy....


another on bites the dust


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GLANCEPeople

Contendar


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ZooSaved By San Deigo

GLANCETravel

PRINGLE OF SCOTTLAND




GLANCETravel

La Luz de Jesus Gallery was established in 1986 as the brain-child of entrepreneur and art collector Billy Shire, considered largely responsible for foster-ing a new school of California art and prompting JUXTAPOZ Magazine to dub him “the Peggy Guggenheim of Lowbrow.”

Showcasing mainly figurative, narrative paintings and unusual sculpture, the exhibitions are post-pop with content ranging from folk to outsider to religious to sexually deviant. The gallery’s objective is to bring under-ground art and counter-culture to the masses. Past shows have been groundbreaking, launch-ing unknown artists who have since become famous, such as Manuel Ocampo, Joe Coleman, and Robert Williams.A new exhibit opens on the first Friday of each month, with an opening reception that DETAILS Magazine calls “the biggest and best party in Los Angeles.”

La Luz De Jesus Gallery4633 Hollywood Boulevard Los Angeles, CA 90027-5413(323) 666-7667

Purveyorof Post-Pop

Culture

Purveyor

ALEXANDAR MCQEEUN


Be all, See all, kind of town

angelesmag.com

Angeles Magazine is the eyes and ears of Los Angeles. See and hear first, what’s hot, who’s not, and so much more. ipad

ANGELES

ANGELES MAGAZINE, January 2012 19ESCADA


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With its exuberant, swooping facade, Frank Gehry’s newest building, the Walt Disney Concert Hall in downtown Los An-geles, 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 inaugu-ral 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 acousti-cian 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.)

Walt disney

Concert HALL



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 postpone-ments 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 commis-sions 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 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 remark-ably 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. There is a small performance 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.Click on image to expandSkylights in the otherworldly lobby Other details in the lobby, from the walls lined in Douglas 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.Click on image to expandThe auditorium's convex curves 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 de-mands 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 orches-tra 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 Seattle, Gehry has produced what easily qualifies as archi-tecture'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 inspira-tion to serve practicality, and vice verse a large garden.



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 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 architec-ture 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 Ra-phael Soriano confirmed his career choice. He won scholarships to the University of Southern California and graduated in 1954 with a degree.

Los Angeles was in the middle of a post-war housing boom and the work of pioneer-ing 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 stu-dent, 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 Associ-ates 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.

FRANK

GEHRY



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

TOXIC BEAUTY

B E A U T Y 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, de-odorant, 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 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, they are toxic to the environment, as well. Many of these products are made with petroleum-based ingredients, which contributes to global warm-ing. Did you know that if you switch just one bottle of a petro-leum 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?

- Mercedes Cambridge IIIPhotography by Dustin Middleford Styled by Amber Kelly


ThE prICE Of LOOkING GOOd mAY BE hIGhEr ThAN YOU ThINk


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