GLANCE

JamesFranco

pg.7

pg.5

pg.18

pg.25

t.o.c

3

Art director: Joshua Gonzalez

GLANCE

ART DIRECTORT he names Josh Gonzalez im a currently attending FiDM as a graphic de-

sign major, and already in charge of this here magazine you have in your hand. What I want to express if anything through this magazine is the love

for my city, fashion, music,food, and interesting stories i feel should be expressed. The contents of this magazine were picked and created by me. the illustration of

this page you are currently looking at was created by me as well. If i had to choose categories to explain me the list would never end but their are few things i do hold

higher in in my category of interest that can easily sum me up. First I love music my artirst section on my ipod ranges from Sade to Tyler the Creator. The need to

live my life with an open mind is the reason why I think I stray away from the normal herd. Second Graphic designing is my other love the art of creating on the

internet is why i continue to create a different kind of noise to the world. Anyways this isn’t all about me I’ll let my work speak for myself -bye

When I first saw this recipe I knew it had to be good, just reading through the list of ingredients you can’t help but be intrigued. The Bombay Sapphire infusion of apples and pears are echoed in the cider and brandy, then there is absinthe and ginger beer for con-trasting but complimentary flavors, and on top of all that the unique addition of Fee Brother Aztec Chocolate bitters. This is certainly not a boring cocktail. It shows off some of the trendy flavors and tech-niques that are hot and is a great example of the modern mixology at its finest. Adam Schuman of New York’s Fatty Crab did a great job creating here.

Ingredients: * 1.5 oz. Bombay Sapphire infused with dried pear and apples (click for recipe) * 1/2 oz. Lucid absinthe * 1 oz. local apple cider * 1/2 oz. pear brandy (Adam recommends: Massenez Williams Poire Brandy) * 1/2 oz. fresh lemon juice * 2 dashes Fee Brothers Aztec Chocolate bitters * Ginger beer * cinnamon stick for garnish * lemon peel for garnish

Preparation:

It’s the weekend

1. Pour the ingredients into a cock-tail shaker with ice cubes.

2. Shake well. 3. Strain into a highball glass filled

with ice. 4. Garnish with a lemon peel and

cinnamon stick.

START

By Sally WadykaOrder Dessert or a Second Glass of Wine? Better choice: dessert Sweet tooths, rejoice! While no one is suggesting that it’s healthy to eat a rich dessert, the research is pretty clear: Women should have no more than one drink a day.

“There’s some evidence that moderate alcohol in-take lowers the risk of heart disease, but one a day is considered the limit for women,” says JoAnn Man-son, chief of preventive medicine at Boston’s Brigham and Women’s Hospital. (Some experts say that having two a couple of days a week is OK.)

There are other problems with alcohol, even in moderation. “Alcohol consumption is associated with an increased risk of breast cancer,” says Heath-er Spencer Feigelson, Ph.D., a senior epidemiologist at the American Cancer Society, in Atlanta. “And while the risk of breast cancer from one glass of alcohol is small, I’d choose dessert over a second cocktail.”

But… Since being overweight also raises the risk of breast cancer, as well as of diabetes and heart dis-ease, go easy on the dessert. Sorbet or even a fruit tart is a better choice than, say, cheesecake.

Why not

both?

START

LeoJuarez Whats your name?

Leo juarez.Whats your profession?

Fashion designer.Whats your inspiration?

my inspiration comes from reality and trying to find meaning in everything I

do.How long have you been doing what

your doing?I started sophmore year in highschool

but I took technical classes here in FiDM , ive been doing this a while.

Why do you do this?I first started because of the

excitement and the world you can get lost in,

What do you think fashion should be?

I think fashion should be meaningful, a representation

of life and show what could be. clothes should be like armor to protect you, to free you.

What are your influences?Religon,

icons like famous movie stars and i like my influences

to be powerful.

FiDM student lives FASHION.

clothes should be like armor to protect you, to free you“ “

.

START

The world is cool, but L.A. is better .

At ut pere, odistibus ditatqui atium la vella voluptate mos ipistrum isimos dem iumqui acearum quiatem quam sim volo testis dolup-tatem et vit pratem sequo eturem audam fugias aris asitatur, ius qui dunt.Illant omnimet re mos dolupta tecaerchilis mo-lenihit, officim laccae nonseque vel maximintio omni omnis et et audigeniet esequib usandige-nis cus quas dolut unti quam et endipsum aut ut quid quossequam nimeniet eum quatur, cus pratur?

At ut pere, odistibus ditatqui atium la vella voluptate mos ipistrum isimos dem iumqui acearum quiatem quam sim volo testis dolup-tatem et vit pratem sequo eturem audam fugias aris asitatur, ius qui dunt.Illant omnimet re mos dolupta tecaerchilis molenihit, officim laccae nonseque vel maxi-mintio omni omnis et et audigeniet esequib usandigenis cus quas dolut unti quam et en-dipsum aut ut quid quossequam nimeniet eum quatur, cus pratur?

START

GLANCEGET TO KNOW ELAY

It’s the thought

Nem lit, sum vollaccus. Tasper-ro inusapitati sum necaepe-rum, ut premodi ciissequi ant eaquam inis et omnitio tem es

Nem lit, sum vol-laccus. Tasperro inusapitati sum necaeperum, ut premodi ciissequi ant eaquam inis et omnitio tem es ipsant expe pre et autati core-

Nem lit, sum vol-laccus. Tasperro inusapitati sum necaeperum, ut premodi ciisse-qui ant eaquam inis et omnitio

Nem lit, sum vol-laccus. Tasperro inusapitati sum necaeperum, ut premodi ciisse-qui ant eaquam inis et omnitio

Peace Necklace

Vintage Phone

Ancient Statue

Classic Clock

PRODUCTS

It’s the thought

Nem lit, sum vol-laccus. Tasperro inusapitati sum necaeperum, ut premodi ciissequi ant eaquam inis et omnitio tem es ipsant expe pre et autati corepudiscia

Nem lit, sum vol-laccus. Tasperro inusapitati sum necaeperum, ut premodi ciissequi ant eaquam inis et omnitio tem es ipsant expe pre et autati corepudiscia

Nem lit, sum vollaccus. Tasperro inu-sapitati sum necaeperum, ut premodi ciissequi ant

Nem lit, sum vol-laccus. Tasperro inusapitati sum necaeperum, ut premodi ciissequi ant eaquam inis

Timer

Holy bible

This is not a pipe

Nem lit, sum vol-laccus. Tasperro inusapitati sum necaeperum, ut premodi ciisse-qui ant eaquam inis et omnitio

Nem lit, sum vollac-cus. Tasperro inu-sapitati sum necaepe-rum, ut premodi ciissequi ant eaquam

Nem lit, sum vollaccus. Tasperro inu-sapitati sum necaeperum, ut premodi

Jamaica raffle

Abacus

Ultimate pen

PRODUCTS

Swiss Army

15

“In Los Angeles, by the time you’re thirty-five,

you’re older than most of the buildings.” - Delia Ephron

GLANCE

The Heart of CityIt’s a town after all. Seen ay night by air, the city seems a large bracelet of lights and pools. It is only 500

square miles but it feels larger. Divided into 80 districts and neighborhoods, at first the city seems dis-jointed, a bewildering terrain of mountains and valleys that ultimately touch the sea. Second in population

to only New York City, Los Angeles could not be more different. One can still hide in the shadows and hills of a vast LA sunset. And more and more people choose to live here, ignoring the proclamation of

Woody Allen in Annie Hall “that I don’t want to move to a city where the only cultural advantage is being able to make a right turn on a red light.”

17

Epic ArchitectureHow a once-stalled Frank Gehry project became one of his triumphs.

By Christopher Hawthorne

With its exuberant, swooping facade, Frank Gehry’s newest building, the Walt Disney Con-cert Hall in downtown Los Angeles, looks any-thing 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 inau-gural performances by the L.A. Philharmonic, recalls the days when significant public build-ings 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 build-ing 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.Advertisement

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 repu-tation 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 Ange-les the facade was originally going to be lime-stone, 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 Gehry tends to work

better with restrictions, whether they’re physi-cal, financial, or spatial. Without them, his work tends to sprawl not just figuratively but liter-ally.

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 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 in-

terior 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 Chan-dler Pavilion, a gilded late-modernist mistake that used to house both the Philharmonic and the Acad-emy 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 direc-tions, 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 rect-angular 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 per-formance and lecture space, for example, that Geh-ry 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 win-dow. 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, ev-ery 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 orches-tra. (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 trad-ing in your regular self for a better-dressed, more cultured one. Symphony orchestras these days are looking for ways to attract younger, hipper audi-ences 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 paint-ers 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

Frank Gehry sidebar

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 immi-grated. 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 drafts-man. 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 archi-tecture.

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 Associ-ates, 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

25

Julius Schulman

THROUGH THE LENS by.Josh Gonzalez Even if you’re

confused by the fork in the driveway, which slopes up to the Edenic apex of Laurel Canyon, or don’t recognize architect Raphael Soriano’s mid-century design land-mark, you can’t miss Julius Shulman’s place. It’s the one with the eight-foot-high ban-ner bearing his name—an advertisement for his 2005 Getty Museum exhibition “Modernity and the Me-tropolis”—hanging before the door to the studio adjoin-ing the house. As displays of ego go, it’s hard to beat.

Julius Schulman

Yet the voice calling out from behind it is friend-ly, even eager—“Come on in!” And drawing back the banner, one finds, not a monument, but a man: behind an appealingly messy desk, wearing blue suspenders and specs with lenses as big as Ring Dings, and offering a smile of roguish beatitude.

You’d smile, too. At 96, Shulman is the best known architec-tural photographer in the world, and one of the genre’s most influential figures. Between 1936, when a fateful meeting with architect Richard Neutra began his career, and his semi-retirement half a century later, he used his instinctive com-positional elegance and hair-trigger command of light to document more than 6,500 projects, creating images that defined many of the master-works of 20th-century architecture. Most notably, Shulman’s focus on the residential modernism of Los Angeles, which included photographing 18 of the 26 Case Study Houses commissioned by Arts & Architecture magazine between 1945 and 1967, resulted in a series of lyrical tableaux that invested the high-water moment of postwar American op-timism with an arresting, oddly innocent glamour. Add to this the uncountable volumes and journals featuring his pictures, and unending requests for reprints, and you have an artist whose talent, tim-ing, ubiquity, and sheer staying power have buried the competition—in some cases, literally.

Shulman’s decision to call it quits in 1986 was motivated less by age than a distaste for postmod-ern architecture. But, he insists, “it wasn’t quite retiring,” citing the ensuing decade and a half of lectures, occasional assignments, and work on books. Then, in 2000, Shulman was introduced to a German photographer named Juergen Nogai, who was in L.A. from Bremen on assignment. The men hit it off immediately, and began partnering on work motivated by the maestro’s brand-name status. “A lot of people, they think, It’d be great to

have our house photographed by Julius Shulman,” says Nogai. “We did a lot of jobs like that at first. Then, suddenly, people figured out, Julius is work-ing again.”

“I realized that I was embarking on another chap-ter of my life,” Shulman says, the pleasure evident

in his time-softened voice. “We’ve done many assign-ments”—Nogai puts the num-ber at around 70—“and they all came out beautifully. People are always very cooperative,” he adds. “They spend days know-ing I’m coming. Everything is clean and fresh. I don’t have to raise a finger.” As regards the division of labor, the 54-year-old Nogai says tactfully, “The more active is me because of the age. Julius is finding the perspectives, and I’m setting up the lights, and fine-tuning the image in the camera.” While

Shulman acknowledges their equal partnership, and declares Nogai’s lighting abilities to be un-equaled, his assessment is more succinct: “I make the compositions. There’s only one Shulman.”In fact, there seem to be many. There’s Shulman

the photographer, who handles three to five as-signments a month (and never turns one down—“Don’t have to. Everyone’s willing to wait”), and the Shulman between hard covers, whose latest book, the three-volume, 950-page Modern-ism Rediscovered, will shortly be published by Taschen. But the Shulman of whom Shulman seems most proud is the educator. In 2005, he established an eponymous institute in conjunction with the Woodbury University in nearby Burbank, to provide, according to the school, “programs that promote the appreciation and understanding of architecture and design.” Apart from a fellowship program and research center, the Julius Shulman Institute’s principal asset is its founder, who has given dozens of talks at high schools across South-ern California.“The subject is the power of photography,” Shul-

man explains. “I have thousands of slides, and Juergen and I have assembled them into almost 20

“At 96, Shulman is the

best known architectural

photographer in the world,”

different lectures. And not just about architecture—I have pictures of cats and dogs, fashion pictures, flow-er photographs. I use them to do a lot of preaching to the students, to give them something to do with their lives, and keep them from dropping out of school.”It all adds up to a very full schedule, which Shulman

handles largely by himself—“My daughter comes once a week from Santa Barbara and takes care of my business affairs, and does my shopping”—and with remarkable ease for a near-centenarian. Picking up the oversized calendar on which he records his appointments, Shulman walks me through a typical seven days: “Thom Mayne—we had lunch with him. Long Beach, AIA meeting. People were here for a

meeting about my photography at the Getty [which houses his archive]. High school students, a lecture. Silver Lake, the Neutra house, they’re opening part of the lake frontage, I’m going to see that. USC, a lecture. Then an assign-ment, the Griffith Observatory—we’ve already started that one.”Yet rather than seeming overtaxed,

Shulman fairly exudes well-being. Like many elderly people with nothing left to prove, and who remain in demand both for their talents and as figures of venera-tion (think of George Burns), Shulman takes things very easy: He knows what his employers and admirers want, is happy to provide it, and accepts the re-sulting reaffirmation of his legend with a mix of playfully rampant immodesty and heartfelt gratitude. As the man him-self puts it, “The world’s my onion.”Given the fun Shulman’s having being

Shulman, one might expect the work to suffer. But his passion for picture-mak-ing remains undiminished. “I was sur-prised at how engaged Julius was,” ad-mits the Chicago auction-house mogul Richard Wright, who hired Shulman to photograph Pierre Koenig’s Case Study House #21 prior to selling it last year. “He did 12 shots in two days, which is a lot. And he really nailed them.” Of this famous precision, says the writer Howard Rodman, whose John Lautner–

designed home Shulman photographed in 2002: “There’s a story about Steve McQueen, where a producer was trying to get him to sign on to a movie. The producer said, ‘Look how much you change from the beginning to the end.’ And McQueen said, ‘I don’t want to be the guy who learns. I want to be the guy who knows.’ And Shulman struck me as the guy who knows.”This becomes evident as, picking up the transparen-

cies from his two most recent assignments, he de-livers an impromptu master class. “We relate to the position of the sun every minute of the day,” Shulman begins, holding an exterior of a 1910 Craftsman-style house in Oakland, by Bernard Maybeck, to the lamp

atop his desk. “So when the sun moves around, we’re ready for our picture. I have to be as specific as a sports photographer—even a little faster,” he says, nodding at the image, in which light spills through a latticework overhang and patterns a façade. “This is early afternoon, when the sun is just hitting the west side of the build-ing. If I’m not ready for that moment, I lose the day.” He does not, however, need to observe the light prior to photographing: “I was a Boy Scout—I know where the sun is every month of the year. And I never use a meter.”Shulman is equally proud of his own lighting

abilities. “I’ll show you something fascinating,” he says, holding up two exteriors of a new mod-ernist home, designed for a family named Abidi, by architect James Tyler. In the first, the inside of the house is dark, resulting in a handsome, somewhat lifeless image. In the second, it’s been lit in a way that seems a natural balance of in-door and outdoor illumination, yet expresses the structure’s relationship to its site and showcases the architecture’s transparency. “The house is transfigured,” Shulman explains.“I have four Ts. Transcend is, I go beyond what

the architect himself has seen. Transfigure—glamorize, dramatize with lighting, time of day. Translate—there are times, when you’re work-ing with a man like Neutra, who wanted every-thing the way he wanted it—‘Put the camera here.’ And after he left, I’d put it back where I wanted it, and he wouldn’t know the difference—I translated. And fourth, I transform the composition with furniture movement.”To illustrate the latter,

Shulman shows me an interior of the Abidi house that looks out from the liv-ing room, through a long glass wall, to the grounds. “Almost every one of my photographs has a diagonal leading you into the picture,” he says. Taking a notecard and pen, he draws a line from the lower left corner to the up-per right, then a second perpendicular line from the lower right corner to the first line. Circling

the intersection, he explains, “That’s the point of what we call ‘dynamic symmetry.’” When he holds up the photo again, I see that the line formed by the bottom of the glass wall—dividing inside from outside—roughly mirrors the diagonal he’s drawn. Shulman then indicates

the second, perpendicular line created by the furniture arrangement. “My assistants moved [the coffee table] there, to complete the line. When the owner saw the Polaroid, she said to her husband, ‘Why don’t we do that all the time?’”

Shulman’s remark references one of his signature gambits: what he calls “dressing the set,” not only by mov-ing furniture but by adding everyday objects and accessories. “I think he was

trying to portray the lifestyle people might have had if they’d lived in those houses,” suggests the Los Angeles–based architectural photographer Tim Street-Porter. “He was doing—with a totally positive use of the words—advertising or propagandist photographs for the cause.”

“That’s the point of what we

call ‘dynamic symmetry.’’

This impulse culminated in Shulman’s introduc-tion of people into his pictures—commonplace today, but virtually unique 50 years ago. “Those photographs—with young, attractive people hav-ing breakfast in glass rooms beside carports with two-tone cars—were remarkable in the history of architectural photography,” Street-Porter says. “He took that to a wonderfully high level.”

Surprisingly, Shulman underplays this aspect of his oeuvre. The idea, he explains, is simply to “in-duce a feeling of occupancy. For example, in the Abidi house, I put some wineglasses and bottles

on the counter, which would indicate that people are coming for dinner. Then there are times I’ll select two or three people—the owner of a house, or the children—and put them to work. Sometimes it’s called for.”“Are you pleased with these photographs?” I ask

as he sets them aside. “I’m pleased with all my work,” he says cheerfully.“I tell people in my lectures, ‘If I were modest, I

wouldn’t talk about how great I am.’” Yet when I ask how he devel-oped his eye, Shulman’s expres-sion turns philosophical. “Sometimes Juergen

walks ahead of me, and he’ll look for a composition. And invariably, he doesn’t see what I see. Architects don’t see what I see. It’s God-given,” he says, using the Yiddish word for an act of kindness—“a mitzvah.”

I suggest a tour of the house, and Shulman moves carefully to a rolling walker he calls “the Mercedes” and heads out of the studio and up the front steps. As a plaque beside the entrance indicates, the 3,000-square-foot, three-bedroom structure, which Shulman com-missioned in 1948 and moved into two years later, was landmarked by L.A.’s Cultural Heritage Commission as the only steel-frame Soriano house that remains as built. Today, such Case Study–era residences are as fetishized (and expensive) as Fabergé eggs. But when Shulman opens the door onto a wide, cork-lined hall-way leading to rooms that, after six decades, remain refreshing in their clarity of function and communica-tion, use of simple, natural materials, and openness to the out-of-doors, I’m reminded that the movement’s motivation was egalitarian, not elitist: to produce well-designed, affordable homes for young, middle-class families.

“Most people whose houses I photographed didn’t use their sliding doors,” Shulman says, crossing the living room toward his own glass sliders. “Because flies and lizards would come in; there were strong winds. So I told Soriano I wanted a transition—a screened-in enclosure in front of the living room, kitchen, and bedroom to make an indoor/outdoor room.” Shulman opens the door leading to an exterior dining area. A bird trills loudly. “That’s a wren,” he says, and steps out. “My wife and I had most of our meals out here,” he recalls. “Beautiful.”

We continue past the house to Shulman’s beloved garden—he calls it “the jungle”—a riot of vegeta-tion that overwhelms much of the site, and frames an almost completely green canyon view. “I planted hundreds of trees and shrubs—back there you can see my redwoods,” he says, gesturing at the slope rising at the property’s rear. “Seedlings, as big as my thumb. They’re 85 feet tall now.” He pauses to consider an ominously large paw print in the path. “It’s too big for a dog. A bobcat wouldn’t be that big, either. It’s a mys-tery,” Shulman decides, pushing the Mercedes past a ficus as big as a baobab.

The mystery I find myself pondering, as we walk beside the terraced hillside, is the one he cited him-self: the source of his talent. In 1936, Shulman was an

ama-teur photographer—gifted, but without profes-sional ambition—when he was invited by an architect friend to visit Richard Neutra’s Kun House. Shulman, who’d never seen a modern residence, took a handful of snapshots with the Kodak vest-pocket camera his sister had given him, and sent copies to his friend as a thank-you. When Neutra saw the images, he requested a meeting, bought the photos, and asked the 26-year-old if he’d like more work. Shulman accepted and—virtually on a whim—his career took off.

When I ask Shulman what Neutra saw in his images, he answers with a seemingly unrelated story. “I was born in Brooklyn in 1910,” says this child of Russian-Jewish immigrants. “When I was three, my father went to the town of Central Village in Connecticut, and was shown this farmhouse—primitive, but [on] a big piece of land. After we moved in, he planted corn and potatoes, my mother milked the cows, and we had a farm life.“And for seven years, I was imbued with the pleasure

of living close to nature. In 1920, when we came here to Los Angeles, I joined the Boy Scouts, and enjoyed the outdoor-living aspect, hiking and camping. My fa-ther opened a clothing store in Boyle Heights, and my four brothers and sisters and my mother worked in the store. They were businesspeople.” He flashes a slightly cocky smile. “I was with the Boy Scouts.”We arrive at a sitting area, with a small pool of water,

a fireplace, and a large sculpture (purchased from one of his daughter’s high school friends) made from Volkswagen body parts. Shulman lowers himself onto a bench and absorbs the abundant natural pleasures. “When I bought this land, my brother said, ‘Why don’t you subdivide? You’ll make money.’” He looks amused. “Two acres at the top of Laurel Canyon, and the studio could be converted into a guest house—it could be sold for millions.”He resumes his story. “At the end of February 1936,

I’d been at UCLA, and then Berkeley, for seven years. Never graduated, never majored. Just audited classes. I was driving home from Berkeley”—Shulman hesitates dramatically—“and I knew I could do anything. I was even thinking of getting a job in the parks department raking leaves, just so I could be outside. And within two weeks, I met Neutra, by chance. March 5, 1936—that day, I became a photographer. Why not?”Hearing this remarkable tale, I understand that Shul-

man has answered my question about his talent with

an explanation of his nature. What Neutra perceived in the young amateur was an out-doorsman’s independent spirit and an enthu-siasm for life’s possi-bilities, qualities that, as fate would have it, merged precisely with the boundless optimism of the American Cen-tury—an optimism, Shulman instinctively recognized, that was embodied in the modern houses that became, as Street-Porter says, “a muse to him.”“[Shulman] always says proudly that So-

riano hated his furniture,” says Wim de Wit, the Getty Research Institute curator who oversees Shulman’s collection. “He says, ‘I don’t care; when I sit in a chair I want to be comfortable.’ He does not think of himself as an artist. ‘I was doing a business,’ he says. But when you look at that overgrown garden, you know—there is some other streak in him.” That streak—the free soul within the unpretentious, practical product of the im-migrant experience—produced what Nogai calls “a seldom personality”: a Jewish farm boy who grew up to create internationally recognized American cultural artifacts—icons that continue to influ-ence our fantasies and self-perceptions.I ask Shulman if he’s surprised at how well

his life has turned out. “I tell students, ‘Don’t take life too seriously—don’t plan noth-ing nohow,’” he replies. “But I have always observed and respected my destiny. That’s the only way I can describe it. It was meant to be.”“And it was a destiny that suited you?”At this, everything rises at once—his eye-

brows, his outstretched arms, and his peace-ful, satisfied smile. “Well,” says Shulman, “here I am.”