LA Home Summer 2016

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$6.99 | SUMMER 2016





6/BRIEFING What’s cool in this season’s lifestyle and home decor, plus new store openings. 10/CRUSHING IT Floral Crush beautify wide ranging events in LA with their floral designs – from Justin Bieber’s birthday party to high profile corporate events.




The multi-talented Kim Gordon designs and builds homes for a new generation of artists in Venice. h

Lisa Rinna and Harry Hamlin invite us into their cozy French Provincial home in Beverly Hills, resplendent with antiques and family memories. i



JOY IN THE UNEXPECTED The architect, Jeff Troyer, integrates whimsical touches to make each of his client’s homes unique. 28/FIVE FAVORITE MARKETS Five of our favorite food and wine markets which have recently opened Downtown.


34/ZEN FREEMAN Alternating between roles as music producer and celebrity DJ, Zen Freeman has his finger on the pulse. 36/THE PERFECT SOUNDTRACK The award-winning composer, Robert Duncan, interviewed at his home studio about his music process and affinity for making music out of almost anything he can lay his hands on. 4 LA HOME | SPRING-SUMMER 2016



40/ALL ABOUT LOCATION The television and movie location scout, Paul Schreiber and his work on the Amazon series Bosch. 54/CELLULOID HEROES Renowned architect, Anthony Poon, muses on why Hollywood is fond of assigning architect roles to its main characters.


70/ANGLES ON LA The Australian photographer, George Byrne, travels across LA creating abstract imagery which lends a new perspective to the urban landscape. ART



Admiring the classic lifestyle and art collection of Los Angeles realtor Josh Flagg. h

Street art as a force for improving communities, driven by the small but rising movement that is Beautify Earth. i




76/CELEBRITY HOMES Famous Hollywood homes for sale. 86/BERT KOBAYASHI REDEFINES THE IDEA OF BI-COASTAL In the second of his ‘Real Estate Moguls’ series, Christopher Damon talks to Hawaiian developer, Bert Kobayashi. 90/TAMI PARDEE Founder of the eponymous Pardee Properties, Tami Pardee is a driving force in real estate across the Westside of LA, and the highest selling female realtor too. 94/120 MINUTES: ABBOT KINNEY Exploring Abbot Kinney Boulevard in Venice, with a camera and 120 minutes to spare. 98/TECH Technology in home design. 101/EVENTS 103/FILM BOOKS Our favorite film books.


LA/HOME E D I TOR I A L Publisher Andy Waldman/ Editor-in-Chief & Creative Director Mark Castellino/ Tech Editor/Editor at Large Jenna Atchison/ Copy Editor Felicia Kaplan Design Editors Erin Castellino Christopher Damon

CO N TR I B U TO R S Photographers John Chimon Amy Bartlam Brandon Arant Joanne Garcia Jenna Atchison Writers Alexandria Abramian Chris Carter Elif Cercel Christopher Damon Michelle Lawetzki Anthony Poon Efrem Singer

I N Q U I R I ES Advertising, Subscriptions, Custom Publishing and Distribution inquiries: Submissions: Events:

LA HOME is printed 4 times a year by Focus Media Agency, ISSN 2378-5381, and is available on newsstands, retail outlets, bookstores and also strategically placed in upscale locations throughout Los Angeles. FOCUS MEDIA AGENCY 149 S. Barrington Ave #178 Los Angeles CA 90049 All rights reserved. LA HOME is published by Focus Media Agency. No articles, illustrations, photographs, any other editorial matter or advertisements herein may be reproduced without permission of the copyright owner. Focus Media Agency does not take responsibility for the claims provided herein.

Cover photo: Amy Bartlam




cool stuff

EVAN BACKPACK/MAD RABBIT KICKING TIGER From the delightful sounding Mad Rabbit, Kicking Tiger comes this simple yet functional, Evan backpack. It is made from vegan leather and redefines the backpack in a minimal and modern way. A removable, internal pocket fits laptops up to 15”. $125

CACTI COASTERS These Cacti Coasters are designed with the dual purpose of protecting surfaces whilst also blending into your decor, by transforming into different shapes of cacti. Each product is comprised of a terracotta pot, a birch plywood top, and six green water resistant discs precisely machined from high quality engineered wood. Each disc is a slightly different size, providing surface protection for up to seven cups. This unique design allows you to securely interlock each coaster to build and arrange your cacti in a multitude of orientations and creative compositions. $42 approx.

MARSHALL FRIDGE Marshall brings rock and roll history down from the stage and into the homes of fans around the world. The fine detail on the mini fridge is synonymous with Marshall Amplification’s high quality workmanship. Complete with the Marshall logos, infamous woven black fret cloth, Jim Marshall’s signature and control knobs that go to 11. Combining the iconic look of the Marshall guitar amplifier with the practicality of a bar fridge, the Marshall Fridge maintains the same commitment to quality and dedication to cool that Jim Marshall, the Father of Loud, established half a century ago when he created his first signature amp. $400.

MILITARY CANVAS SOFA The sofa is composed of a steel welded frame with a marbled brown finish, custom webbing belts, smooth leather straps and re-purposed WWII military fabric for the cushion covers. Each piece of military canvas is unique, and carries small imperfections, hand-repaired tears, and markings from the soldiers who originally used the material. The shade of olive canvas will vary from piece to piece. All pieces are made to order and ship 4-6 weeks from order date. Designed and made in Los Angeles. $6900.


CHILLAX LOUNGE CHAIR Nic Graham’s modern-day tribute to the mid-century movement. Drawing out retro details with a light touch, while allowing natural materials and traditional craftsmanship to take centre stage, the range embodies the laidback, relaxed spirit of modern Australian life, with a wink to the pragmatism of mid-century Scandinavian design.

MATSON + PALMER Luxurious, one-of-a-kind cashmere blankets and pillows. Each piece is naturally dyed with various roots, bark, wood – and even insects – by Jane Palmer and woven on a handoperated Jacquard loom by Christy Matson. Both artists live and work in Los Angeles, and all pieces are created in the Downtown area. The cashmere yarn is hand-spun by a woman’s co-op in Afghanistan, giving economic opportunity to those who have lost husbands in the war. And the linen is surplus material from the Los Angeles denim industry. $4200

SHIRLEY LAMP/PETRIFIED DESIGN The Shirley lamp is a great desk, bed side or table side lamp. Clean, simple and versatile. Constructed with powder coated steel for durability and accompanied with a brass fixture, cloth cord and a 3” bulb. $175




nterior designer Alison Palevsky bridges the gap between showroom and her clients’ homes at her new Westside salon. PALEVSKY is a curated selection of artwork, furniture (vintage and contemporary) and objects, all meticulously installed in a unique home-like setting. Andrew Cinnamon (Cinnamon Projects) helped refine and expand on her concept. Working together, the two conceptualized PALEVSKY as a resource for passionate collectors, designers and individuals who share an appreciation of craftsmanship and the creative process. PALEVSKY will also showcase two exclusive product lines. The first, +PALEVSKY, focuses on collaborations with different artists and craftsmen to produce an evolving body of work, sold in limited editions. Los Angeles based furniture designer, Thomas Hayes, collaborated on the first series, THOMAS HAYES STUDIO + PALEVSKY, which features cutting boards and tabletop easels made from exotic woods. The second, XPALEVSKY, is Alison Palevsky’s own furniture line, available with endless customizable options. Themed shows that change each quarter will keep the collection fresh and unique. PALEVSKY’s inaugural show, “Source of Life,” celebrates all things female with curvaceous forms that are evident in the shape, form and subject matter of its contents.


Palevsky 11740 San Vicente Blvd, Suite 115. CA 90049



alexandra von furstenberg

lexandra Von Furstenberg debuts her new 1,500-square-foot Los Angeles flagship boutique. The environment perfectly encapsulates the brand’s distinct point-of-view by allowing its signature assortment of 1970s-inspired acrylic pieces to be a focal point. Like its original location, the new space will maintain the same sleek aesthetic, but with even more luxurious details, such as a custom light installation that mirrors the brand’s modern yet playful sensibility. The space is both chic and cutting-edge and provides an ideal backdrop for the brand’s signature collection of one-of-a-kind pieces of functional art. In tandem with the store opening, Alexandra Von Furstenberg will introduce five new pieces to the furniture collection – two desks, a dining table, a console and a side table – along with limited-edition accessories for the Spring season. Now, the brand will offer 14 different colors with the addition of its latest hue, Rose, to the existing palette. Alexandra Von Furstenberg 300 N. Robertson Blvd. West Hollywood.



This page, clockwise from top left: Birthday Party – Private Residence, San Marino Business Chicks – US Launch of Business Chicks featuring guest speaker Arianna Huffington. Floral wall + arrangements at SLS Hotel. Photo by Kyle Espeleta Photography Event Eleven/E3 Party – Cecconi’s, West Hollywood Event Eleven/WME Emmy Party – Hammer Museum, Westwood. Photo by Tana Gandhi Opposite page, left: Visionary Group, Samsung Galaxy 5 Release Party Celebrity Dinner – The Lot Studios, West Hollywood Samsung House Table – Event Eleven/Samsung Galaxy Launch Party – Private Residence, Beverly Hills. Photo by Tana Gandhi

CRUSHING IT Floral Crush is ‘The LA Event Florist’, creating imaginative arrangements for Hollywood parties and corporate events STORY BY EFREM SINGER PHOTOGRAPHS BY TANA GANDHI, KYLE ESPELETA, DANIELLE GARY

F Danielle Gary and Katie Hartman, founders of Floral Crush.

loral Crush is the go-to floral event design studio in Los Angeles. Founded in 2012 by longtime friends and flower lovers, Danielle Gary and Katie Hartman, their aesthetic leans toward clean, modern, monofloral arrangements and seasonal varieties of florals. With backgrounds in event planning and public relations, they approach each project with a fresh, innovative eye, embracing texture and elegance in design, choosing florals and vessels that reflect the client’s vision. Apart from corporate and art events, they also transform Hollywood parties - including the recent Oscars’ Green Room party and Women In Film Oscars party. Because they specialize in events which are extremely time sensitive, and which often have a lot of moving parts, they have become very adept at working in high stress situations. “In a perfect world we would prefer at least two weeks notice for an event. However, that just isn’t the way the event world works. We recently pulled off a birthday party for Justin Bieber with less than 24 hours notice,” says Danielle. Their studio, which is located at the flower market, is open to clients by appointment. They often meet with clients to discuss their vision, and then work out the details via digital design decks specifically created for each event. Any way you look at it, they are currently dominating the prolific LA event scene – literally ‘crushing it’! Floral Crush T: 323 788-3263



Watch and share these stories online. 15 LA HOME | SPRING-SUMMER 2016

joy in the unexpected Residential architect, JEFF TROYER, renovates period houses by restoring them to their former glory but he also integrates contemporary touches that are whimsical and somehow fitting. BY CHRIS CARTER PHOTOGRAPHY BY LEE MANNING



Under stair nook for reading, with “hidey hole” for the kids. There is another door on the other side so the kids can sneak through.




ne way to describe the architect Jeff Troyer, might be to say he is a traditionalist with a unique sense of playfulness. His attention to detail notwithstanding, it’s his whimsical touches that are apparent in the details of his projects – in the splashes of color and in the juxtaposition of old and new.

Jeff Troyer Designer/Architect, JWT Associates Jeff Troyer studied at The University of Cincinnati’s College of Design, Architecture, Art & Planning. After graduating, he joined New York City firm Alan Wanzenberg Architects where he managed high-end apartment remodels, as well as custom home construction in the Hamptons, Greenwich and Boston. Moving to Los Angeles, Jeff joined the prestigious architecture firm Appleton & Associates where he worked for nine years, managing home projects in Santa Barbara, Pebble Beach, Napa, Dallas, and Kauai.

Originally from Ohio, Jeff moved to New York after graduating from University of Cincinnati. He worked on various apartments in New York and houses in The Hamptons before moving to Los Angeles in 2002. He was fortunate to work at Appleton & Associates, a residential architecture firm with a classical slant, which was Jeff ’s area of specialty. His own architectural practice, JWT Associates, has been established for close to 5 years now, and their projects cover anything from an addition to a house to renovating a complete structure. There’s an element of interior design in the work that they do since it’s not solely architecurally based. He also makes the choices of tile, complementary light fixtures and plumbing fixtures. “I like having cozy little spaces in all the projects I do” Jeff says. “Using what typically may be a wasted space, and making it something special. In one of the projects, we took the empty closet under the stairs and turned it into two spaces. There’s a reading nook but also a tiny door for the kids, which acts as a secret passageway that leads to the room next door.” His early projects in East Hampton and along the east coast, nurtured in him a love for beach houses with exposed wood, painted cabinetry and the nuanced millwork and molding of those period houses. These days, he spends most of his time rehabilitating old homes. He integrates the cabinetry, millwork and trim usually found in older homes to the homes he builds, even though they are modern additions. His view on mixing period pieces with modern is that his work is craftsman based. “You can mix it all up as long as the lines are very clean and the trim is simple but well resolved. The way the tile meets the stone. Not overdoing the detailing or making it too complicated. That lends itself it to putting a modern piece in a traditional room, and as long as all the lines meet it all works together.” Color plays a big part in his work too – painted cabinets, a pop of bright tile or wallpaper. “I like my spaces to be happy when you walk into them.” Witness the painted striped stairs which lead to a home office addition he recently created at a home in Toluca Lake. His client’s Paul Smith shirt was the inspiration for that. The projects that excite him most are the traditional houses in older neighborhoods. One such current project is in Los Feliz. The Oaks, which is a protected neighborhood of historic homes from 1920s and 1930s, and a community which wants to keep them looking original. “It took a good architect to use detailed trim, and moldings take a lot of thought,” he says. His inspirations are the early craftsman architects like Greene and Greene. “Every surface of their homes is covered in millwork and trim. They were masters at resolving how things come together.” Modern architecture, in contrast, where much of it is drywall, is altogether much simpler, in his opinion. With the changes in modern living, from a warren of interconnected small rooms in the period houses, his work is mostly that of consolidating the smaller spaces into one large one. “People


A new second story home office. The idea was to keep a low profile on the outside of the house but get as much volume as possible on the inside. By exposing all of the structure a very open room was achieved.


The focal point of this living room is the hand-cut wall. The stone was all cut by hand in the backyard and dry stacked in place. Jeff and his clients then hand placed some of the smaller pieces in the gaps.

The kitchen island was designed around the antique cutting block the home owners found while on vacation in Michigan.

don’t need a separate dining room, a pantry and laundry room. It’s relatively easy to open up the space to a large kitchen with an island and seating area. The key is keeping it in tune with the original house,” he says. He’s most content when a project is completed and it’s impossible to pinpoint the changes. During his Canyon Oaks project, for instance, they opened up the entire back part of the house to create new spaces but it looks like it could have been done in the 1920s, when it was originally built. “Keeping the precious parts of the house, knowing what to retain and what’s ok to get rid of, that’s the key.” Over the last few years, there have been a lot of bad modern developer homes been built, he feels. In Beverly Crest, the Spanish homes, which aren’t yet protected, are being demolished and white stucco boxes appearing in their place. The old Spanish bungalow houses owners are infuriated that developers are doing that. Jeff hopes that developer homes like that will be stopped somehow. Asked about his design process, he says it hinges on meeting with his clients at their home, and listening. He is not ego driven and looks upon the project as a joint collaboration. “The end result, is that the sum of his projects should not necessarily look like they are done by one person, but indicative of the individual client.” What does Jeff think is unique about his work – a word that sums up his style? “Joy,” he says. “A lot of thought has been put into the process. I like to make it my client’s

home and not mine but a lot of me goes into it.” Prospective clients looking to work with JWT Associates can expect their budgets to run from $300,000 for an addition to a house, to $1million for the full renovation of a period home. From the drawing up of plans, obtaining permits and going through construction, most of their projects span 6-12 months. With his firm’s fifth year anniversary approaching, Jeff is content with the size of their projects. In his future, he sees himself working on a couple of large projects a year, and really focusing his energy into them. Currently in progress, is a post and beam, modern late 1950s house which he is renovating. They are retaining lot of original elements of the house and adding bright tile. Only 100 sq feet has been added, and they have opened up floor plan. The post and beam ceilings will remain but other parts of the home will be restored and moved to different spots to create a new look. It’s comforting to know that there is an advocate for the many period homes dotted around Los Angeles, and that with Jeff ’s expertise they will survive for many years to come. JWT Associates T: 310 800-2930


The painted stairs leading up to the client’s office were inspired by his Paul Smith shirt.




homes to make life in The builder and designer, KIM GORDON, has a pragmatic, almost spiritual approach of giving birth to homes which the owners can continue to nurture and evolve, and where they can create and thrive. BY MARK CASTELLINO PHOTOGRAPHY BY BRANDON ARANT

reating a buzz as a builder, architect and designer on the Westside of Los Angeles, is the unassuming but instinctively talented Kim Gordon. With a number of successful homes built from the ground up, she has developed her own unique style by incorporating details into her designs that most developers think superfluous. The recent sale of her $5million house in Venice marks the completion of six homes in her characteristic modern, yet comfortable style. “Homes to make life in,” is her philosophy, and details like pantries, laundry rooms, luxuriant landscaping, cozy nooks and private workspaces are all part of her integral designs. Once inside one of her homes, it’s easy to escape from the outside world and be encapsulated in your personal environment.


Photo by Ringo Chiu

Kim Gordon Designer/Architect, Kim Gordon Designs Kim Gordon is a multi-talented builder, architect and interior designer. Building from the ground up, she infuses a warmth and attention to detail in her choice of high quality materials, fixtures, furnishings and mature landscaping. A self-taught free spirit, her houses are inspired by an European sensibility, designed by instinct for how a home should be lived in. She is currently finalizing the completion of a home in Venice as well as the interiors of Hal’s restaurant, formerly Primitivo, on Abbot Kinney Boulevard.

Born in Long Island, Kim moved to New Jersey, working at the French Culinary Institute but it was a trip to Puerto Rico in her twenties that inspired her artistic nature. The crumbling buildings, hurricanes, dancing, heavy-set women, friendly and loving to each other was a far cry from New York city. She apprenticed with a fashion designer, working with laces and gluing various bits onto her assemblages. “I didn’t consider myself artistic at the time, and I never made any suggestions to her,” she said. Eventually, she moved back to New York city to study acupuncture, and then moved to California and worked in the healthcare field. By chance, she found herself in the faux finish business – just saying yes to people and then learning afterwards how to do what was needed. She did custom installations for various architects, designers and high end private clients like Don Henley. She worked for the interior designer Kerry Joyce for a time, doing finishes for him. Kim had a brief flirtation with television. In the 1990s, a new TV station called HGTV started up and the designer, Mary MacDonald called her to be part of a new show, on a segment called What’s Your Problem? In the late 90s, she got picked up for a show by the Fox network, called Home Team with Terry Bradshaw, which she recalls as being a disaster with nobody really having a plan. She says, “I kept thinking, I could show people how to do things in their home and living an artistic life in Venice.” Often she spent days covered in paint and her 2 bedroom apartment was her workroom, filled with paint and finishing materials, full of crazy projects – light fixtures for a restaurant in Palm Springs, a mobile for Kerry, seashore mosaics. “It was a crazy, exciting time,” she recalls. She was single, driving around in her hippy jeep, with paint all over her clothes, living in Venice. “I was honing my skills,” she says, “working with someone as detail oriented as Kerry Joyce.” Kerry, who was fond of doing quirky things in his design, started to include her in his train of thought and the design process. “We would have these great conversations. I was, and still am, addicted to European magazines, finding strange pictures, weird wallpaper, and I started to do things differently, inspired by what was going on in other countries.” Gradually, she was so immersed in the functionality, detail and interior design of a house that some of it rubbed off on her. She started to pick up on the things that people wanted in a



home, not just the aesthetics – but how a room and space feels, and how spaces flow. “I love the idea of an older house which has been lived in over the years, and then new kids move in and start adding their own identity. Having the bones of something authentic, decorated with newer pieces, but also things from flea markets to give it that lived in warmth. My ideal home would be a crumbling structure, and then I would add on one of those glass conservatory structures in front of it.” // Along the line, she married and had a child. Her husband was a business manager. The world was shifting – people weren’t doing so much custom stuff because it became more readily available in the mainstream stores and online. She knew she didn’t want a television career so Kim and her husband started buying houses to rent, in the time when it was easy enough to get mortgages. They would get higher rent than most houses at the time because she added a little extra, spending more on fixtures than was necessary. The houses were aimed at high-end artists who really liked the way spaces feel. Prettier door handles attracted people. At that time she knew she was ready to build a house of her own, since she knew every facet of construction but her husband was opposed to it. When they decided to get divorced and were deciding what to do with the properties they owned, they asked Pardee Properties to advise them on which of their homes they should sell. Tami Pardee, at the time, turned out to be Kim’s biggest advocate. Realizing the value of what she had created in the houses they rented, she encouraged her to follow her dream and build her own house. With the backing from an investor friend of Tami’s, she started on a house in Nowita Place, a charming walkstreet in Venice. She had a lot to learn about City ordinances. Most importantly, she learned she could build a much bigger house on the plot. Tami thought they could maybe get $2.5million but they ended up selling it for $3million, which was unheard of for a single family home at that time. Before building the Nowita house, Kim says she felt very undervalued. The success of the Nowita house went a long way to restoring her self esteem and confidence, and when the property next door came up for sale it was only natural she should work on that too. Mauricio, the contractor who worked with her on the first Nowita house, became a close friend and now they are partners, in love and in business. They discovered they had a relationship in which they instinctively understood each other. Whereas Kim was used to being told she couldn’t do the things she wanted, with Mauricio it was more collaborative and they would find a way together. Together they became

a design/build partnership who could do things for less, without sacrificing quality, and they were doing it with love. Everything they did was transparent so the investors could see what was being spent. They only made money when the project ended so it was in everyone’s interest to make it a success. Somewhere along the line she became a businesswoman and started to think about the value of things, much of which was against her artistic nature. She says, “I will fight and negotiate for the best deals on tiles, for instance, but I have no idea what’s in my bank account. I don’t want to know in a way, I just want to keep going. You hear all the time that contractors and developers go out of business. We must have cash flow, so we need a couple of clients. I’m becoming a business woman. I thought it would ruin me creatively but I’m stepping into it.” Designers hate contractors, and vice versa, but here the couple love each other. Things that an architect would tell you can’t be done, they will put their heads together and solve. She understands the process of construction so she knows at what stage it’s easy to change things – and when it’s not, and she has to compromise on her design. It’s not an ego fight between her and Mauricio, in the way that it normally is with contractors being pedantic and wanting change orders. The processes are much simpler in their relationship, which means the workflow is smoother. “The architects in Venice have a certain aesthetic, which somehow has become the norm – which is a box. And there are so many options of how you build that box but I’m just doing one thing. It’s a high/low aesthetic. I’m playing with texture. I feel that houses should be warm. Maybe give up a bedroom somewhere and have a nice laundry room, a nice pantry and a nice master bathroom. People notice these things.” Instead of them being incorporated as throwaway spaces she makes them singular rooms, with custom cabinetry and windows. Details that people notice – a minibar upstairs so you don’t have to go all the way downstairs for a drink. “It’s a mini mansion,” she says. At the top of a staircase, on the landing, there’s always a place which is her big moment. Perhaps a computer for the kids placed there, a desk for a working space. Her trademark steel windows came from looking at European magazines. The low profile, the skinny line of black. That conservatory effect she so admires, walls of glass. Taking them down to the ground at her Millwood Avenue house was an engineering challenge, but it had the effect of letting her bring the landscape greenery right up to the house, almost inside. Will her style change coming inland – building in Brentwood, for instance, instead of Venice? “The layers might change and become more interesting because you




“On average, I spend 9 months on each of my projects. That’s like giving birth to a baby!”

have the space to see it. The lots in Venice are long and skinny, the houses butt up against each other and the narrow streets mean you never really have an opportunity to see the house facade. Coming inland, there would be more room. I could play with a conservatory attached to a crumbly house or brick. I like the idea of a separate pool house or a spa. People are into making their creative spaces feel more like homes and are inspired by the space around them. I want to have more space and have more fun with landscaping which is a big part of the flow, and have real trees trucked in. Then the house feels more rooted. A bigger lot with a central garden and the house built around it so you can meander, or maybe split the house in half, like a country house. And have big open windows, an outdoor kitchen, a natural swimming pool integrated with the landscape. Something that challenges me in that way,” she says animatedly, becoming excited by those possibilities. // Kim Gordon’s design process is interesting. To her, the house is a complete thing, an entity. Recent buyers from New York who moved in and found the house empty, asked to buy all the furniture she had used for staging. To them the house was incomplete without it. Another buyer said, “We were going to give passion to the home over time and live in it as a family but you’ve already done that.” And what is it that gives it that effect? Is it the stone walls, the layering, the staging – she buys everything to fit the space, instead of combing through stock inventory from a warehouse. It’s genuinely perplexing to Kim. There is no formula, no grand thought process. She instinctively creates her houses as complete homes. It’s almost like an art installation, where each part is integral to the whole. With the removal of one piece, it takes on a different perspective. “It’s the inspiration I get being with the house for so long, the house talks to me – when they are ripping it apart, when I’m taking photographs of the original fireplace. Of course, I have to decorate it at the end. It doesn’t make sense to have certain furniture or a look on the inside that’s different from the outside. Do you know what I realized recently? On average, I spend 9 months on each of my projects. That’s like giving birth to a baby!” As an example, she describes how her latest project on Millwood Avenue in Venice, took form, and how her process evolves. “I go by myself with graph paper. I sit in the house barefoot, and I’m quiet for a long while. I look around, talk to myself and to the house, checking out the sources of light at different times and drawing ideas. Where’s the kitchen, where’s the staircase so that we can get two stories of light? 99% of it is how the light works, so that I can capture as much

of it as possible. Being happy in the house, paying attention to detail. I’m writing something down, thinking happy feelings. I want the house to help me, the neighbors to be fine, nobody to get hurt. I’m thinking all these things in a spiritual sort of way. I took some of the beach stuff brought over from Puerto Rico and made a little package, and I shoved it under the foundation as they were putting it in – so it’s a little part of me forever there, a heart beating under the floorboards.” The person who owned the Millwood Avenue house was a gardener, and he gave it to his daughter. She was a Disney fanatic and when Kim first saw the house there was Disney memorabilia everywhere, down to the Mickey Mouse curtains. “I was sitting there in the empty house and feeling the happiness of the past owner and thinking – what does it want to be? And it came to me – it wants to be a castle!” Every house had its own underlying concept. This house to her was about happiness, creativity, music and art. Lush landscaping because the owner was a gardener. “I had to get stone on the walls because it’s a castle,” she said. The houses that Kim Gordon has built over the years are her homage to Venice. She finds herself castigated by some people in Venice who don’t want change, or the bigger new homes. “They just want craftsman houses and the architects want to continue to do things in their mathematical way. I’ve been living in Venice for 20 years and I’m expressing my love for Venice by giving this to the new generation of artists who are moving here. It’s supposed to be about variety. When I moved here, I remember everyone being so different. Sure, there were shootings but it was part of the salt and pepper spiciness. There was something kooky, something unusual that you put into the mix. I think that way about architecture and that people live in the homes they want to live in, whether it’s a RV, a big house – this is the place it’s meant to happen. That’s why creative people move here. Even the tech people, when you think about it, are artists in their own right, creating a whole new world which is rich and exciting.” Kim says, “I just want to build a house that looks like this, and for that one person who wants a home like this. I’m not speculating for the investors who are concerned about the square footage. The people who are intrigued and come back are the artistic people who want to own it, entertain in it, be more creative in it. I can’t believe that I could be so lucky to be a part of that in someone’s life. Could there be anything cooler?”

Kim Gordon Designs T: 310 467-5045



In a series of Favorite Things, five new food and wine markets that have opened recently Downtown.

Photographed by Benjamin Ariff



whole foods

Whole Foods 788 S. Grand Ave, Los Angeles, CA 90017 7:00am to 10:00pm.


On the ground floor of a luxury apartment building, the DTLA Whole Foods is 41,000 square feet with a 220-seat restaurant and bar called Eight Bar, which sports a seasonal menu, craft beer and kombucha on tap. There is an in-store pizza oven and two smokehouses. A neat touch are the self-ordering kiosks where you can order prepared food for pickup after you shop, which include rice bowls from chef Roy Choi’s Chego. To cap all those sensory overloads, there is also a Vinyl Lounge, for chilling out and listening to records.

/ FAVO R I T E S downtown

grand central market

Grand Central Market 317 S Broadway, Los Angeles, CA 90013 8.00am to 6.00pm


Grand Central Market opened in 1917. The Market provides Los Angeles with a national-caliber eating experience that showcases California’s best ingredients, chefs, and entrepreneurs. The 30,000 square-foot arcade encompasses a food emporium and retail marketplace and will continue to grow by offering downtown a shared gathering place and a dynamic hub for public programming and events. The majority of the vendors are food and drink related but there is also a craft and a jewelry store.

dow ntow n art s di st ri ct

urban radish

Urban Radish 661 Imperial St, Los Angeles, CA 90021 8.00am to 9.00pm


A compact space by Los Angeles’ grocery store standards, Urban Radish eschews the traditional supermarket format of aisles of industrialized food products in favor of a curated market of fresh, mostly perishable food and an enjoyable grocery store experience which encourages frequent shopping. The food includes non-GMO, artfully crafted ingredients, locally grown and organic produce, meats, poultry and seafood from ranchers who subscribe to ethical animal welfare standards, premium dairy from small batch producers, artisinal cheeses and charcuterie.

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little tokyo marketplace

Little Tokyo Marketplace is popular for fresh fish, Korean BBQ cuts, sushi and pan-Asian noodles. There’s a wide variety of produce, including organic flour, flax meal, bottled teas, imported and domestic beers and a selection of wines and sake. $5 will get you a dish of soba, udon and ramen, at the Sakura Noodle Bar. Naïve from Kanebo, and Weleda are just some of the personal care products available too. Little Tokyo Marketplace 333 S Alameda St #100, Los Angeles, CA 90013 8.00am to 10.00pm


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silver lake wine

Situated in the Arts District, Silver Lake Wine carries high-quality artisanal wine, beers, and spirits made by small producers from across the globe. Their aim is to curate an innovative, imaginative, and meticulously crafted selection. Many of the wines are organic and biodynamic, made by family-run wineries. Silver Lake Wine 1948 E 7th St, Los Angeles, CA 90021 12.00pm to 8.00pm





A celebrity in his own right, ZEN FREEMAN DJs and produces for the hottest events and venues worldwide. He has performed alongside Tiesto, Deadmau5 and Paul Oakenfold as well as Lady Gaga, Katy Perry, Justin Timberlake and Black Eyed Peas. Currently working with Maxwell, Boy George and Macy Gray, his last single, “Dance Bitch” was a collaboration with Aaron (Breaking Bad) Paul on vocals.

From an early age, British born Zen Freeman began collecting vinyl records and working as a DJ. “Back then it wasn’t considered a career because DJs didn’t get paid what they do today,” he says. DJing at clubs paid only enough to cover the costs of the many records he bought, so Freeman decided to leave London. He travelled abroad to work as a model in cities like Tokyo, and Sydney, eventually arriving in Los Angeles to rejuvenate his career as a DJ. It was a culture shock though, and he soon recognized that the DJ and club scene was quite different from the music he was used to playing. Instead, Freeman gained popularity along the PR and event circuit. There was a gap in the event market, and event planners were using urban LA guys, who were used to playing for the dancefloor. In his suit, and with his sophisticated music, he stood out among those stereotypical DJs. Soon, he was playing alongside world-renowned fashion designers and at high-profile private and corporate events. Freeman’s first event in LA was with Redbull, which was soon followed by Harvey Weinstein’s Golden Globes party; eventually leading him to a long list of high-profile clientele. “I’m lucky to have my name in that black book,” says Freeman. In a way, his appearances reflect the typical Hollywood socialite’s calendar. He frequently DJs for high-fashion houses such as Vogue, Vanity Fair, Chanel, Prada, and Burberry, while also travelling worldwide, making appearances on the film festival circuit – at Cannes, Sundance, and Toronto. Freeman’s ability to adapt to the atmosphere of the crowd at an event, is made increasingly possible through technology. Gone are the days when he carried around heavy boxes of his vinyl records. Now he can load a large collection of music for an event, 750GB on a hard drive, so that he is able to play whatever he wants. For a Baz Luhrmann produced, Chanel No. 5 event, he ended up playing French minimal and new disco in one room, and hip-hop, Michael Jackson and Madonna in another. While Freeman predominately plays private events and PR events, he does still occasionally play the club circuit and holds residencies in New York, San Francisco and San Diego. His innate talent and knack for attracting celebrities has given him a chance to DJ alongside multiplatinum artists such as Phoenix and Calvin Harris, even working under Harris’ record label. Freeman refers to himself as having two identities when he DJs. The other side is his artistic self, when he wants to showcase his own house and electronic based music – like at a recent 4 hour set in Miami, connecting with a younger crowd. For that he will be more pre-meditated and plan the gig. “I’ll pick a sampling – ten hours worth of music. It’s about being organized,” he says, “and taking

double the amount of music I need, and backups of folders and backups of backups.” He frequently travels back and forth between his club residencies and high profile events like Leonardo DiCaprio’s Oscars party or a private party for Elon Musk. “For now it’s just a juggle,” Freeman says, “I love playing the clubs. I don’t see myself stopping for a long time. Sometimes I’ll find myself playing till 3.30am if the crowd is still going.” Along with the live sets, Freeman has also dedicated the last year to pursuing his own music career. He’s worked under record labels such as Fly Eye Recordings, Black Hole Recordings, and Magik Muzik. He is spending more time in the studio, producing tracks with other artists. Soon to be released are the singles he has produced for Boy George, Macy Gray and Maxwell – which might turn into an album. Zen Freeman continues to strengthen his place on a list of renowned artists and performers. His ability to engage with, and read the energy of his audience has gained him recognition and demand from some of the world’s most well-known brands and entertainers. In his future, he sees himself still playing the various fashion shows and corporate events, “but more large festivals like Coachella and less playing till 2am on a Tuesday morning.” Freeman’s philosophy is simple. He says, “Play what the crowd wants to hear and you’ll have a good time.”


The award-winning composer, ROBERT DUNCAN, enhances the atmosphere for dozens of television shows and movies from his home in Calabasas, CA.


On occasion, you might be watching a television show or movie and find

yourself anticipating the turn of events, whether somber, lighthearted or suspenseful, without exactly knowing how. For those few moments, your emotions are being manipulated by the composer, Robert Duncan. His analogy is that of an excellent salesman, who steers you in the direction he wants, whilst convincing you the buying decision was entirely your choice. With shows like Buffy the Vampire Slayer and Castle, the 3 time Emmy award-winning composer has captured the essence of every scene, building up momentum with low bass tones, lightening it with piano chords, and sometimes using instruments you wouldn’t even consider to be musical. You’ve heard his scores over the years but you may not have realized he is the man responsible for tugging your heartstrings, or making you very scared indeed. Robert was born into a musical family in Toronto. He composed his first piece when he was a sixth-grader, and at age sixteen he got his first job scoring a promotional video for the local Board of Education. In addition to piano, he studied pipe-organ and trumpet, earning his degree in music composition from York University. He then apprenticed for five years with two Canadian composers before setting his sights on Hollywood. “It was a big move for me to come here in 2001, he says. The thought being that if I wanted to hear my music being played by an orchestra, this was the best place in the world to make that happen.” “This house was built around a racquetball court – the full dimensions,” Robert Duncan says to us when we arrive at his home, which is buried deep in the Calabasas countryside. And indeed, this music studio, one of three, is a high ceilinged, former indoor racquetball court, complete with clerestory viewing windows. It is positioned directly in the center of his traditional, Spanish house. Perfect for the clean, slightly echoey sound that it produces for his compositions. A creative musician, Robert uses an array of musical instruments for his compositions. His piano is center stage in the music studio, percussion instruments of all sizes line one wall, aged pianos in another corner, and high above the piano there’s a giant screen on which to watch the images to which he marries his sounds. Continually experimenting, his studio has every imaginable instrument, and even some strange contraptions he doesn’t even think have names, but from which he coaxes weird and eerie sounds. There’s a piano from the 1800s which he bought on Ebay and other instruments he bought on Craigslist. He is clearly enthusiastic about each of his finds and demonstrates some unusual sounds by playing them unconventionally – with a violin bow or gently tapping some of them with jazz drum brushes. The process Robert sees himself as a problem solver, often taking cues from the story, to form the basis for his musical themes.

For the television series The Last Resort, which is about the crew of a nuclear submarine, Robert found a decommissioned submarine at the San Diego Maritime Museum, and visited it to see if he could use the vessel itself as a musical instrument. “I thought the torpedoes would sound great and they sounded terrible. They made not a single sound of any value. But there were some dials that sounded interesting, and the actual torpedo chambers had a very bizarre acoustic and interesting echo to them. Another time, I was working on a show where the producers said we need Bronx cop music. And I had to discover what that was. It’s an exciting fun challenge. I had only been to NY a couple of times. I was hypnotized by the street musicians who would play on paint buckets. And the show had a certain light element that leant itself to percussion and I was delighted to find that bucket drumming was invented in the Bronx. I find that if you give the producers something which is a concept, they love it. I will never say any idea is too crazy to try. For instance, the theme of the CBS show The Unit, which was created in part by David Mamet. His sister, who was also a writer on the show, suggested I incorporate the chant they use when they are training. I didn’t think much of it at first, and basically, the first thing that I came up with became the theme. It was based around a running cadence. I sampled a bunch of military cadences and I put a beat under one of them and that became the theme. I didn’t think that concept would work. I find the same thing when shopping for clothes you never know until you are wearing it. And again, music is the wardrobe of the show, it’s style. There isn’t an instruction manual. I wish I had a diagram of all the music pressure points. I believe there are things that we understand as our musical lingo. For instance, The theme from Jaws is so low it means size and threat. If you have momentum that’s low in pitch it feels like you’re running. Momentum high in pitch feels like you’re thinking. High notes are more question marks, low notes are answers.” Are you disciplined in your writing? I don’t believe in writer’s block. I think if I have enough sleep and food, and I’m generally in a fit state, that I should be able to be productive. Having said that, music has the interesting ability to be incredibly difficult or amazingly easy. You never know which it’s going to be. If I sit down and focus on it, I’m crafting, I’m building, I’m analyzing. I’m not staring at a blank page ever because I always have a roadmap in front of me. The starting point is the picture so if I have nothing else I’ll just sit there and watch. I’ll loop the picture over and over until I hear something inside my head. And then it’s like seeing what sticks – either in my writing room or in the music studio. Quite often what I’ll do is set the technical groundwork for what I’m going to do. If I want this scene



to have some adrenaline to it I say – what’s the tempo? There are certain tempos that I keep coming back to. For a chase scene it may be 180bpm or for something slower, maybe it will be 110bpm. I never know for sure until I’m looking at the scene and tapping out a metronome beat. It’s like holding up a color swatch to a wall. I’ll set up something basic, maybe it’s a string sound or a basic drum beat. Then I’ll begin overdubbing and I’ll bang out some things in this room, which connects to my writing studio. I do have to pay attention to my first impression of a scene because I can’t have it a second time. Having said that that I do watch each scene over and over. To finish one minute of music, I probably spend 2 hours. We only have a week for each show. Hence the importance of having a support team where I can lay some foundation and then have somebody collaborate to get it finished. How do you start a project? With every project I work on the producers and I come up with our own language. This is one of the most satisfying and sometimes infuriating parts of my job. It’s problem solving but it’s also riddle solving. The producers try to find words which they then give to me and I try to find musical responses. For Castle they told me the word that summed up the theme was ‘swagger’ and I had to come up with 3 bars that summed up swagger. So I gave them 7 or 8 versions of a kind of hip hop which I figured personified swagger. The producers heard it and then said ok thanks but we now realize swagger is not what we want. Music means different things to different people. What sounds peaceful to somebody might sound sad to somebody else. Even though there’s no definitive right answer to a musical question, I still, need to take responsibility for any emotion that my music triggers. And hopefully, it’s generally in the ballpark of the intended target.

Robert Duncan in his writing studio. All the sounds he creates in his music studio and other sound studios are fed into here so that he can begin the process of composing his scores.


Do you have to put yourself in that role – to be happy, sad etc.? Absolutely, yes. I have to test my serum out on myself. If it doesn’t make me cry or make me laugh then I can’t expect it to do that for anybody else. I don’t often get feedback from other people. The first line of feedback is usually from the producers. After a while of doing this I’m confident of when something is generally in the zone. Unless it’s a concept that’s new to me. It’s most exciting when I feel like I don’t know what I’m doing. Is this crazy? I just blurted out this idea and I don’t know if it was too easy, if it makes any sense. That’s most exciting and some of the most satisfying pieces of music I’ve written have just been in that instantaneous way.

Hollywood Music In Media Nomination (2015) Main Title-Tv Show/Digital Series The Whispers Emmy Nomination (2013) Outstanding Music Composition for a Series (Original Dramatic Score) Last Resort Hollywood Music In Media Nomination (2013) Best Original Score For Television Last Resort Emmy Nomination (2012) Outstanding Music Composition For A Series (Dramatic Underscore) Missing Hollywood Music In Media Award (2012) Best Original Score For Television Missing Hollywood Music In Media Nomination (2011) Best Original Score For Television Castle Emmy Nomination (2009) Outstanding Music Composition For A Series (Dramatic Underscore) Castle

How do you work? Is it usually just one show at a time? It’s usually a couple of shows. There was a time when I was going back and forth between The Unit, which is about the Delta Force in the army, and Castle. And I had to stop inserting crazy high jinx into the undercover mission. Definitely, each project is a world. People talk about how music is a character in the movie but I feel like music is the character of the movie. It’s like the wardrobe of a movie. It informs the audience of the genre, the style, the expectations. When you hear the first few notes of a show the audience is getting information – is this going to be a scary episode? It starts to subconsciously lay the groundwork for your expectations. Music can give you an insight beyond what’s on the screen. It can convey


“I thought the torpedoes would sound great and they sounded terrible But there were some dials that sounded interesting, The actual torpedo chambers had a very bizarre acoustic and interesting echo to them.”

a character’s feelings. Quite often It’s used to convey that there’s more going on than what we’re seeing on screen. Music has free reign in this very interesting part of our brain that not a lot of other things can reach. In some ways it’s somewhat ridiculous that there is music at all because in real life we never get support. We’ve come to depend on music unless you are talking about a show which makes a conscious choice not to have music, like The Sopranos. For the most part though, shows seem to want to have that emotional support to tell their story. I was told the first practical reason for having music in silent movies was that the sound of the projector was so distracting, and having something that contributed to the picture actually drowned out the rattling of the projector. One thing that’s really hit home lately is that the space in which you record musicians is like another instrument. There are spaces in this world like Abbey Road Studios or Warner Brothers here in Burbank are magical instruments. Last summer I did a movie at Abbey Road and the music just came to life. How much of that is truly original in the sense that you’re not repeating music from past episodes? It’s different for every show. I don’t often use what’s called ‘library cues’ but I don’t think it’s a bad thing when it’s done. Some producers actually request it, asking for music to be used again. And repetition works thematically. The hardest point of a TV show is the pilot. That’s when all the creative decision making is made, to create the identity for this new thing. All the people in charge have a different idea of what that is. By the middle of the series I know the instrumentation of the show so there’s a palette that I can turn to. In episode 6, I can pull from that palette but by Season 6 some of those instruments may have overstayed their welcome. As the show evolves, the tone slightly evolves too. What are you working on now? I just started on a show called Time – it’s a time travel show, a pilot for NBC and Sony. We’re at that initial point of the show where I don’t know if it should be related to each era, for instance 1960s style music, or if I should incorporate actual songs from the 1960s. There’s also an animated feature film in the works. Which composers do you admire? There aren’t may composers alive who have not been influenced by John Williams. I also love Vangelis – Chariots of Fire, Blade Runner; Alan Silvestri – Forrest Gump; James Newton Howard, Ennio Morricone. Many more... So, tell us about your awards. My first Emmy nomination was for Castle. Then I got one for The Last Resort and one for ABC’s Missing, with Ashley Judd. It reminded me of when I was the kid that got thrown out of his guitar lesson for doing strange things to his guitar. Now I am being recognized for doing pretty much the same thing.


all about location Breaking down location scouting with PAUL SCHREIBER from the Amazon hit drama Bosch BY ELIF CERCEL PHOTOGRAPHS BY ADAM ROSE/AMAZON STUDIOS


ll kinds of Angelenos, from Uber drivers to real estate agents, are familiar with our sprawling city because of the work they do. But few have the impressive knowledge and unique perspective of location scouts. These professionals who work on the films, commercials and tv shows that still drive our city’s economy, are responsible for finding just the right house, grocery store, warehouse or any other setting that a script calls for. An experienced scout knows exactly where to find that unused gas station or authentic church, and he or she can also reconcile all the logistics of a shoot that some compare to a circus coming to town.

Paul Schreiber, Location Scout.

One such individual is Paul Schreiber, who has been in the business since the 90s. Together with Robert Paulsen, he is the location manager on the Amazon hit series called Bosch about an LAPD homicide detective of the same name. The series stars Titus Welliver and is based on Michael Connelly’s best-selling crime novels. Schreiber and Robert Paulsen were nominated for their work on the series, at the Location Managers Guild International annual awards. For anyone interested in getting their house or property considered as a location, the best way is to reach out to the LMGI or the California Film Commission, which has a location library. There are also agents who represent properties, much like actors and directors. They email scouts regularly, letting them know about their latest finds, which this month might be a closed down meat packing plant for a horror film. Schreiber is one of more than 500 location scouts listed with the film commission and he works with a team of 8 assistants and his partner, Paulsen. His movie credits include Jobs, Rocky Balboa, Zombieland and Wedding Crashers. Since its premiere, he has worked exclusively on Bosch, scouting for commercials for Apple, Delta Dental and Shea Beauty in between seasons. On any given day, he is driving around the city, photographing locations, while his partner handles the logistics, from permits to parking. Schreiber describes LA as “a Renaissance city” that is undergoing a transformation, and he recently talked to us about changes in his industry. He also revealed what it’s really like to have a crew filming in your property. How did you get into location scouting? It started with photography. I grew up in Chicago. My mother was an artist and my father an architect. After I got my driver’s permit, I used to


The filming locations for the Bosch series were in the areas of Santa Monica, Mar Vista, Westwood, Beverly Hills, Hollywood, Echo Park, Rampart, West Adams, San Pedro, downtown LA, Lincoln Heights, Montecito Heights, Mount Washington, Highland Park, Glendale, Burbank, Studio City, Sun Valley, Van Nuys, Sherman Oaks, Chatsworth, San Fernando, Canyon Country, Santa Clarita, Agua Dulce, Castaic, Inglewood, Los Feliz, and Vernon.

drive around with my mom taking pictures of the industrial landscape. Basically, it was scouting for imagery without scripts. I thought it was about photography but it was also about getting to know my way around the city and discovering different neighborhoods. In high school, I studied technical theater: stage construction, lighting, scenic design, all the behind-the-scenes aspects of a performance. After graduating from the University of Wisconsin, I became a PA in television and films that came through Chicago. At the time, I was trying to decide if I was interested in the Art or Locations department. Based on my love of maps and geography, cities and photography, Locations was probably a wise path. It was hard to get work in Chicago. I had a friend out in LA and I packed up the car with a month’s load of stuff to see what happened, and I never turned around. How would you describe working as a scout in LA? Sheer repetition and endless wandering. You go into neighborhoods looking for a house and so you drive down every street. You start to learn what’s there, how it all works, and what gets put where, and why. What changes is LA undergoing, from your perspective? We are definitely a Renaissance city and there are a lot of eyes watching what’s happening. If you look at the history of LA in the past decades, there were industries like Hollywood, aerospace or agriculture which came and went, sometimes not completely. LA has definitely changed over time. Now we are at a point where Hollywood culture has become an industry. The Hollywood and Highland complex is nothing more to me than a strategically placed shopping mall, designed so people could stand on a bridge and see the Hollywood sign. In a sense, the city is being recreated by developers. So the city landscape is changing visually very fast. LA residents see through that stuff to an extent and they are starting to demand a little more sophistication of where we want the city to go. What little nuggets of treasure are developers going to include to transform LA and give us more: transportation, rail lines or places where people can walk? What is the impact of this change on your work? The ingredients that location scouts have are subject to trends. LA is massive and much of it has been created indiscriminately. Think of all those bombastic, stucco, post-modern strip malls. Right now, loft buildings are engulfing downtown, and even the West Side. They look nice but in 20 or 30 years they might be redundant. How are these places going to differentiate themselves? I have hope that it’s all coming together and we’ll create a nice city. That said, the costs for our industry are staggering and extraordinary. As a location scout, I make a living but I hardly feel safe and secure.

Top: Titus Welliver as Detective Bosch, filming at the house in Sun Valley. Bottom: Jamie Hector, Titus Welliver and Jeri Ryan inside the house in San Fernando Valley.



What makes a good location? Whatever your directors or producers are looking for and need. In commercials it goes wholly towards the product and target audience, and in TV and features, towards the story and characters. More than a kind of place, I look for certain styles and nuances. It is intuitive and instinctive. It’s about what fits. I guess that’s where the artistry comes in. Added to character and story, scouting has a lot to do with composition. The location may be the right house, color, socio-economic strike zone. But it might be missing a certain something. It might be hard to photograph it, because of the angle or size. Or it might not fit logistically. A lot goes into what makes a good location. You do a lot of commercials. How is the approach different from TV or film? In TV and film, I have to read the script. If it’s well-written, or halfway well-written, I get a sense from that. You get a picture in your head. It’s a bit like reading a book, and when you close it, you have an image in your head based on your experiences. In commercials you don’t have to read the script. I just did a commercial for a shampoo where they needed a Rite Aid or CVS. Those are all corporate locations and very difficult. You can’t shoot in them even if they say you can. The time frame doesn’t work. You have to have a B-plan so I scouted out grocery stores and pharmacies that were independently-owned. After that, it’s a process and a numbers game. It’s about which one allows you to film. Then the director, the agency, the client and the producers pick one, and you permit it and shoot it. What do you like most about working on Bosch? I like Bosch for a number of reasons. It’s a great challenge and I like the books. We do a good job of transforming them into the screen. It’s also a great group of people. I’m perfectly happy doing season after season of Bosch and doing commercials in between. Michael Connelly’s novels about Harry Bosch are very descriptive so it’s not hard to find where to shoot. Frequently he’ll say: “The Tarpits” “Musso & Franks” or “The Farmer’s Market.” There is only one of those. That said, some settings are challenging. They don’t want filming there, charge too much or are not in the right geographic region. On Bosch, typically we are tied to a schedule. We have 8 days to shoot an episode and it’s not uncommon to have 16 different locations. We average around 2 or 3 locations a day. If you need the Tarpits, based on the actors or the constraints of filmmaking, on the same day you also have to shoot other locations. It all has to be in the same region. There’s a scene in Bosch in the Mayor’s mansion. We scouted houses in Hancock Park on Google Street Viewing to save on mileage and gas. Then we physically started scouting them. But these old houses have a lot of dark wood and have been lived in for up to 60 years and there is stuff everywhere. You have to get your art department to clear them out because the Mayor’s House wouldn’t look so lived in. Then a little bell


rings. You say, “We’re an LA show. It’s Michael Connelly. So you call the Mayor’s House and you say we are from Bosch and we’d like to film in their house, and they say yes. That brings a certain authenticity. Our producer Pieter Jan Brugge says there is a certain something you get from an actor in an actual location. It ups the ante a little and we hope that transfers to the digital image. How is LA is depicted in Bosch? It depicts the have’s and have-not’s, much of it being about the havenot’s. That’s how I would describe the city, and that’s what it is going to become more, as property values continue to go up. How did you identify Bosch’s house? Pieter Jan Brugge did the movie “Heat” with Michael Mann there. Bosch’s house is described pretty accurately in the book. It’s supposed to be off Woodrow Wilson, a little further east than where we have it. But this house stuck in Pieter’s mind because of reasons of character. When we scouted the house we had a clear vision of who Bosch is from the books. First, myself and my team scouted the city. Then we looked at the pictures and narrowed it down to the ones we wanted to go and visit with the van. The van has the director, the producer, the driver, myself, the production designer, and sometimes the director of photography. Then we looked at our options. The Bosch house is a glass house high in the hills. The reason it works so well is the view which triumphs over most other views because of where the house sits. You can really see the city – more than 180 degrees – which is rare. The other reason it works is that it is a really small, a nothing house. There’s not that much to it but it doesn’t necessarily play small because it’s all glass. A hillside house is challenging for production because of the trucks and parking. But no one saw a reason not to do it. They shot a big movie up there so it was doable. What are the pros and cons of having a film crew in your house? You get a check and an experience. A lot of people like the experience and some don’t. On Bosch, if you sign on the dotted line, you will have no less than 40 to 60 crew members working on, about, below and inside your property with various cables and lights. Things sometimes get damaged but we let you know and we repair them. We have very good crews. We filmed in the Mayor’s house so we are not a herd of elephants. But the negatives are many too. As a scout I’m in charge of getting the circus into town. We rely on the space but we come with our own power, caterers and set medic. So we are very self-reliant but very dependent at the same time. We need a space to land the circus. Then we leave town and things go back to normal. Some people like that experience and some don’t.





LISA RINNA and HARRY HAMLIN are perfectly at home in their cozy, French Provincial house in Beverly Hills, surrounded by antiques, breathtaking views and healthy feng shui.


o see Lisa and Harry’s home now, you would never know that it was once a smaller house with an overgrown backyard that masked the picturesque views of the mountains and the shimmering Catalina in the cleft, in the far distance. To the south, the backyard nosedives into the rolling forest that is Franklin Canyon Park, and to which there is hiking trail access from a side gate. On one side, divided by a canyon atop a hill, sits Jack Nicholson’s house. The canyon below is scattered with golf balls that he drives across the wide open space, and on to Harry and Lisa’s property. “I’ve had a handful of Jack Nicholson’s balls,” says Harry deadpan. Also in that canyon, lie the remains of a what looks like a rusted Porsche. The area was used by car thieves to strip down the vehicles. There was also a small dwelling owned by Robert Stack, long since burned down, but where it was rumored the Beatles stayed in 1964 when they did their Hollywood Bowl concert. “I thought it was just a realtor’s exaggeration but it turns out one of my neighbors saw Paul McCartney and Heather down there a few years ago.” The yard itself is enormous, with mature trees, sycamore, bougainvillea, grapefruit trees. They were married in that backyard, with chandeliers from Bountiful adorning the trees. And there we start on the story of Harry’s obsession with flea markets and the house he designed and built in 1986. He says he was Bountiful’s first client when he bought a table from Sue Balmforth at the Rose Bowl in 1982, before she opened her store in Venice. As a result, she ended up designing their backyard wedding. The house in which Bonnie Raitt once lived, and which Quincy Jones rented, was designed by Harry in the French Provincial style, with heavy reference to Pierre Deux. Harry shows me the original book, complete with post-it markers marking the pages which inspired their kitchen and various other areas around the house. It was built in 1986 with the help of architect Lise Matthews – the entire structure demolished apart from the main stairway. “Harry built the house so that you don’t have to take your shoes off,” says Lisa. It is cozy in that respect, with a lived-in look that signifies a home that has matured over the last twenty years. “I wanted to build a house that got better as it got older. The idea is that the chips and cracks that accumulated over time would add to the effect so it matured like a fine wine. I didn’t want it to look new all the time, he says. “The 1994 earthquake helped that room tremendously,” he adds, pointing to a well-placed hairline crack in the dining room ceiling. It looks like the Italian villa I wanted to replicate.” Let’s start with a tour. A steep driveway on a street just off Mulholland Drive, leads to a magnificent front door hand crafted from


A painting of Harry’s great-grandfather’s renowned horse Mambrino King hangs above the mantelpiece.

The dining table was built to ‘show’ horses and is said to withstand the weight of one.


A painting of Harry’s grandmother hangs above the mantel in the master bedroom

a walnut tree. It opens to a grand iron stairway but let’s skirt around that for now and enter the living room. The traditional style is apparent in the ornate fireplace above which sits a painting of Harry’s greatgrandfather’s horse Mambrino King. There are many horse paintings scattered around the house bearing testament to the Hamlin equestrian tradition. His great-grandfather owned the most successful horse farm in Buffalo, NY. The furniture and fittings are befitting of the French Provincial design. There’s an impressive looking grandfather clock that appropriately belonged to his grandfather, and was presented to him by the Skull & Bones Society at Yale. Trust me, this is an impressive achievement, mostly handed to presidents and the dignitaries. In a corner, stands the sword Harry wielded when he played Henry V on stage at Princeton. Another sword on top a cabinet is from when he played Hamlet at the Shakespeare Theatre in Washington. A guitar sits in an opposite corner. Harry is an accomplished guitar player. Rounding a corner you come to a cozy sitting area which faces a wall length open bookshelf with treasures like a stack of antique volumes of Gustav Dore’s engravings, a silver trophy which Harry’s grandfather won for racing – in the category ‘between 10 and 24 horsepower’ stipulates the engraving. This area was designated the ‘creative’ area by a visiting Feng Shui expert. Accordingly, there is memorabilia from Harry’s movies and stage performances and the three books that Lisa has written. The dining room was also designated a Feng Shui area and there are two fish swimming in glass containers, harbingers of prosperity, and a light in an alcove, which is always kept on. It all seems to work. The dining table was inherited from Harry’s great-grandfather, the horse racing enthusiast you may recall, and it was made to ‘show’ horses, and therefore withstand the weight of a horse. We muse on that information for a few minutes, trying to visualize how you would get a horse to mount the table, and why. Rounding the corner we come to the enormous kitchen, which seems to be a central place for the family. A walnut topped, central island with storage baskets underneath were interpreted from Pierre Deux’s kitchen designs – as was the aged tile behind the gigantic farmhouse range in one corner, clearly made for entertaining and for someone who spends time in the kitchen. Outside, there are various seating areas, a combination of comfortable chaises and lounge chairs under an awning propped up by 4 painted Corinthian pillars which were found at an architectural salvage place. Upstairs, are the master bedroom and their two daughters’ rooms. The bright master bedroom looks out onto the backyard. Opposite the bed, above the mantel is an oil painting of a formidable looking lady, who happens to be Harry’s grandmother. By the bed along the wall are small black and white engravings which look to be illustrations for, or from, a children’s book. Much of the art was found in a trunk that Harry inherited and from which he continues to discover antique teasures.


Above: A series of sketches for Lisa’s wedding dress by Vera Wang. Left: A painting from the 1800s of Harry’s great grandfather’s trotters, including the legendary Mambrino King. Bottom left: The sword which Harry used when he played Henry V on stage in Princeton. Below: Harry’s grandfather was given this grandfather clock by the Skull & Bones Society at Yale.

A hallway is lined with sketches which the designer Vera Wang illustrated as concepts for Lisa’s wedding dress. That leads to a section of the house in which there lived two hairdressers in the years before Harry and Lisa bought the house. “There were two sinks here,” says Harry pointing to where there is now a closet. Downstairs, as if on cue, we can hear Lisa having and animated conversation with Joey Maalouf her hair and makeup stylist, for our impending cover shoot. Another staircase on this side of the house leads back down to the kitchen. // After the photo shoot, we talk a while and catch up with what Lisa and Harry are doing these days. Lisa has just finished another season of The Real Housewives of Beverly Hills and is waiting to hear if she will do another season, which starts filming in July. “It’s been a really interesting learning experience,” she says, “to come from the world of acting and soap operas. I look at reality tv as the new soap opera of our night time. It’s like nothing I’ve ever done before.” Meanwhile, her clothing line is really taking off with such a huge demand that she travels to QVC in Pennsylvania once or twice a month now. Her plan is a lipstick line next which will be part of a beauty collection, which will expand into accessories and shoes – and ultimately a home décor collection, which both Harry and she are working on. It will be cozy, flea market chic, similar to how they live. “I see a global brand of cozy, comfy California chic,” says Lisa. Another book is in the works too. Her first book Rinnavation was about rediscovery and getting your mojo back after you have kids. The follow-up, almost 10 years later will be about how it feels to mature, with the kids grown up, and keep your friendships and relationship going. Harry, fresh from his television guest role on Mom as Anna Faris’ love interest, is readying himself for the Tribeca Film Festival. He just finished filming the first 3D virtual reality movie Defrost, in which he plays the head of a clinic in 2045 who defrosts people who were cryogenically frozen in 2012. He stars in a few feature films coming out this year – Bleeding Heart alongside Jessica Biel, The Meddler with Susan Sarandon and Director’s Cut, the subversive movie by Penn Jillette. Another two are in post-production. “For me it’s all about the character,” says Harry, “and if I can have fun playing that role. It doesn’t matter whether it’s on tv, film or stage.” They seem utterly content in their cozy home. There are plans to add other living spaces onto the land, for when the kids grow up and return with their own families to their childhood home. A swimming pool and tennis court on one side of the house, by the canyon where Jack Nicholson practices his golf swing. Soon, there is going to be a collection of tennis balls as well as golf balls down there, we joke.






celluloid heroes BY ANTHONY POON

Why are there so many architects in the movies and on TV?

FIRST ROW: Gary Cooper in The Fountainhead (1949) Warner Bros. Robert Reed in The Brady Bunch (1969-1974) Paramount Television, Redwood Productions, ABC Charles Bronson in Death Wish (1974) Dino De Laurentis Company and Paramount Pictures Paul Newman in Towering Inferno (1974) Warner Bros. and 20th Century Fox Film Corporation SECOND ROW: Tom Selleck in Three Men and a Baby (1987) Interscope Communications, Silver Screen Partners III, and Touchstone Pictures Wesley Snipes in Jungle Fever (1991) Universal Pictures, and 50 Acres & A Mule Filmworks Tom Hanks in Sleepless in Seattle (1993) TriStar Pictures Woody Harrelson in Indecent Proposal (1993) Paramount Pictures THIRD ROW: Richard Gere and Sharon Stone in Intersection (1994) Paramount Pictures Matthew Broderick in The Cable Guy (1996) Columbia Pictures Corporation, Brillstein-Grey Entertainment, and Licht/Mueller Film Corporation Michelle Pfeiffer in One Fine Day (1996) Fox 2000 Pictures, Rosa Productions, and Twentieth Century Fox Matt Dillon in There’s Something about Mary (1998) Twentieth Century Fox Film Corporation FOURTH ROW: Matthew Perry and Oliver Platt in Three to Tango (1999) Warner Bros., Village Roadshow Pictures, and Hoyts Film Partnership Adam Sandler in Click (2006) Columbia Pictures Corporation, Revolution Studios, and Happy Madison Productions Keanu Reeves in The Lake House (2006) Warner Bros., Village Roadshow Pictures, and Vertigo Entertainment Zach Braff in The Last Kiss (2006) DreamWorks, Lakeshore Entertainment and Mel’s Cite du Cinema FIFTH ROW: Steve Martin in It’s Complicated (2009) Universal Pictures, Relativity Media and Waverly Films Ellen Page in Inception (2010) Warner Bros., Legendary Pictures and Syncopy Sean Penn in Tree of Life (2011) Fox Searchlight, Cottonwood Pictures, River Road Entertainment, Brace Cove Productions Ted Mosby in How I Met Your Mother (2005-2014) CBS, 20th Century Fox Television and Bays Thomas Productions

In most cases, the fact that an actor is an architect on the small or big screen is superfluous to the actual plot. Though a popular trope, the role of the architect is no more than a characteristic, a trait assigned to the male lead, and in fewer cases the female lead, only to provide substance and gravitas. This matter – the truth and accuracy of how architects are portrayed by Hollywood – is frequent coffee room or cocktail hour chatter among practicing architects. We are at turns offended or flattered, but always perplexed. Here are the basic elements of the architect-in-entertainment mix-and-match dramatis personae toolkit: - affluent, but not necessarily rich - thoughtful and introspective - attractive - cultured - sensitive - artistic-with-a-job - highly intelligent - coolly professional The writer and director of Sleepless in Seattle needed Tom Hanks to be the reserved, artistic businessman at the center of the story, so they made him an architect, not a poet, cop, or hedge fund manager. They also didn’t want Hanks actually being an architect most of the time. Those paying to watch a romantic comedy with Meg Ryan want to see Hanks as the sensitive, romantic architectural designer with an ideal nature, not Tom Hanks as a real architect trying to restart his laptop because the Revit software has crashed again, and then spending the rest of his day slaving for a client who can’t decide whether the exterior paint should be tan, sand, or beige, or whether the bathroom tile should be ivory, buff, egg shell, or ecru. Also, Hanks can’t spend his time hitting the pavement hoping to find another commission so he can pay his office rent. Poets, cops, and denizens of Wall Street are equally charged character fodder, but for different purposes. The architect character is altruistic, worldly, cool, but not too cool, well dressed, and established. Architects are also considered not wild, emotional, or too, too sexy. (I would sometimes like to be, or at least thought of as being, one or two of those things.) In a drama, the architect is the cool center, and often needs the supplement of other traits from the screenwriters’ playbook, such as diplomatic jury member or struggling educator, to beef up the character’s potentially monochromatic dimension. In comedy, the architect’s impartiality allows other cast members to shine uncontested with wit and satire. Architects are safe non-distractions. Except for the Gary Cooper role, which came with the heavy expectation associated with Ayn Rand’s bestselling and controversial novel, The Fountainhead, I suspect most do not recall that the actors above portrayed architects. That’s how well the role was written and the stereotype applied. And as to the stereotype syncing with the real world, the roles are mostly male, reflecting an issue in the real architectural world, though that is changing for the better. Serious movie fans will note some omissions on my list. I did not list the following, for the reasons stated: - Paul Newman in Towering Inferno: He’s really playing an architect in a real design and construction crisis, not playing a stereotype. - “The Architect” in the The Matrix movies: He’s not a builder of buildings per se, but a builder of an entire future world, which I certainly envy, but not quite to that extent, my ego aside. - Charles Bronson in the Death Wish movies: As he is a vigilante murderer, I invoke the “exception proves the rule” cliché. Architects can be cool, but not cool killers.


“You know I always wanted to pretend I was an architect.” – George Costanza, Seinfeld

// What about the small screen? Who could forget the iconic Mike Brady in The Brady Bunch, the beloved horse-owner Wilbur Post in Mister Ed, and, of course, Ted Mosby as the solid, searching, lovable architect in How I Met Your Mother? Actor Josh Radnor plays the foil to Neil Patrick-Harris’ humor; big and messy-haired yin to slim and hilarious yang. If they were doctors or lawyers, we’d be watching a completely different kind of show and imposing on the doctor/lawyer a host of pre-conceived notions (driven, manic, always on call, stratospheric IQ) that distracts us from the rest of the cast. If a protagonist is an architect, the story can move in its own direction and one of the actors receives just enough added depth, but not too much. Composed and calm, not dangerous, an architect is someone the other characters can orbit without getting burned. What gave birth to the general public’s stereotypes about architects? I think it’s partly because many people know a cop, lawyer, or nurse, but likely not an architect. So, to fill the vacuum of our understanding, it could be as simple as this: Because architects build tangible things using concrete and stone, lines and diagrams, it is projected upon us that we must also be solid and methodical—and creative. I’m here to report that architects are not so composed and calm; we are a bundle of artistic nerves, anxieties, and insecurities like anyone else. Those of us who spend our professional lives in the field of architecture enjoy supporting the notion that this Hollywood version is accurate, particularly when it comes to the complimentary traits of being attractive, charming, intellectual, and interesting. We also know the Hollywood version represents a small percentage of our industry and, I should add, completely overlooks the diversity found among real-life architects. The movies often glorify the principal and creative leader of a company, or perhaps the sole genius entrepreneur carrying that oh-so-attractive leather tube with large drawings of impressive, glistening buildings, or visionary sketches sure to deliver world peace. Movies don’t usually show the other 90% of architects who make up the industry: the business managers, the service practitioners, the researchers, the strategic marketing minds, the project architects who develop individual projects day-by-day, the production team with its intense technical knowledge, the technological staff typically made up of fresh young creative minds, the construction experts on the job sites and in the job trailers, and so on. Movies create a vacuum around architects and make them into single-minded geniuses that few architects, in reality, are. //

Anthony Poon’s book Sticks and Stones, Steel and Glass: One Architect’s Journey will be published by Unbridled Books in early 2017. Part critique, part behind-the-scenes, and part auto-biographical – it examines the role of architecture and its creative process in daily life and for social good. Visit Poon’s blog, Poon is also founder of Poon Design Inc.,

One thing Hollywood does get right is the architect’s office, but again, it’s to send clues about the stability of our hero. An architect’s workplace on screen has always proven to appear romantic, imaginative and exciting. It is a studio or office driven by creativity that remains professional without the messy canvases and tubes of paint which often serve to romanticize the life of a painter or starving artist. It’s modern, yet not stuffy like a lawyer’s office, and still a place of activity, if without the amps and musical instruments of a recording studio. The architect’s studio is an excellent and potent visual. This atelier has drafting tables, stools, cool lamps, not too many computers, lots of drawings spread out and rolled up, as well as large-scale physical models, colored pens, and pencils. Such items generate an arty, stimulating, dreamy, and sexy backdrop to any story line, no matter if the movie is about crime, business, or romance. Besides The Fountainhead, there aren’t many books featuring an architect as the main character. There are a few notable ones, including works by Graham Greene and Thomas Hardy. A recent bestseller, Loving Frank, about the famous and infamous Frank Lloyd Wright, focuses on Wright’s scandalous love life, with a shocking and tragic house fire and horrific multiple murder scene – all true – that even Hollywood could not make up.







The Los Angeles realtor and star of Million Dollar Listing LA, JOSH FLAGG, is a traditionalist at heart, and his vintage cars and art collection are indicative of his classical lifestyle.


t 30 years of age Josh Flagg is in the enviable position of being one of the top realtors in Los Angeles. A mainstay of the Bravo series Million Dollar Listing LA since inception, his knowledge of the real estate in Los Angeles is unparalleled. Born in Los Angeles, Josh sold his first property at the age of eighteen, and by his estimation, he has sold 20 houses over $10m to date.

you get a real estate agent, essentially. I did my first deal when I was 18 years old. I was born and raised here so that helps. I was still in high school and I apprenticed with a top broker. I’ve been with Rodeo Realty since 2012.

“In the first years maybe some people were nervous about a young person selling but not anymore. The most important thing is knowledge of the market, and I’ve always had an innate knowledge of Beverly Hills homes and the history of them. In the last 5 years it really took off. I went from being in the top 10 to being the number 3 broker then number 2, and maybe this year I’ll be number 1.” Less known is his passion for art and culture. His grandmother Edith Flagg, about whom he wrote a book entitled, A Simple Girl: Stories My Grandmother Told Me, gave him a foundation for the Arts. He travelled and visited museums with her. They bought several paintings together, some of which form the basis of his current eclectic collection of paintings, photographs and sculpture. A part of that revolving collection of artworks is now displayed in Hollywood at his parents’ home, which was designed by LA designer, Colton Thorn. On display at the house is a rare Hockney drawing of Celia Birtwell, a Picasso drawing, a couple of Warhols, a set of Jean Cocteau drawings, an Alexander Calder. Propped up on the kitchen floor is a gigantic framed photograph of Brigitte Bardot by Tery O’Neill, and in the den, a rare photo taken by Harry Benson of the Beatles at the George V in Paris. There is also memorabilia from the Titanic, letters of condolence from Jackie Kennedy, a note from Thomas Edison to his grandfather. Another Hockney is tucked away in a bedroom closet, along with a painting by Ed Ruscha. Josh takes much pleasure in showing us the collection, a remembrance of things past but also things treasured for a different future. We sat down with Josh to talk about his work, art collection and his lifestyle.

What trends are you noticing in terms of buyers? The Chinese and Russians have pulled out. The bulk of sales now are people in LA buying and selling their houses. A lot of New Yorkers, some Australians, and a lot of English.

How did you know you wanted to get into real estate? I’ve always loved houses. I’ve always loved interior design and architecture, and I’m a people person. You put the two together and

Which properties do you personally like? I really like 1920s houses. Traditional homes. I’m not a contemporary person. I also like mid century houses, like in Trousdale. I sell a lot of those houses. Which areas are your specialty? Beverly Hills, Holmby Hills, the Sunset Strip – and as far as Pacific Palisades and Malibu too.

Could the sq ft price go to $4000, as some have been saying? There have only been five houses that sold for $3000sq ft, two of which I sold – one in Bel Air which I sold for $2500sq ft, and a month later for $3000sq ft. The other one, I sold in Trousdale for $20million. There are not many that have sold in that range but we are certainly going in that direction. There’s only one house so far that’s sold at $4000sq ft, so I don’t know. We will get there but I’m not sure it will be tomorrow. Prices are still rising in the high-end market. There have only ever been four houses which sold in LA over $75million. Is the industry close, in terms of realtors knowing what’s going on? Oh yes. It’s very rare that a house closes escrow off-market that I don’t know about. I pretty much know who has bought and sold everything, even the houses sold through LLCs. We all talk to each other. What was your first sale? The Jimmy Stewart house on Roxbury for $25million in 2007 or 2008. I probably sold 20 houses over $10m since then. When did you start to appreciate the aesthetics and love of design? I don’t seek out nice things. I’m attracted to them. I’ve always liked nice things. Artists have always been part of my life. I would go to museums with my grandmother. I would stand and point out every single artist. I know them and I was always obsessed with them. I like design, art, architecture, cars and travel – and high end houses.



My favorite room in the house; the library. I had custom whitewashed and lightly cerused oak panelling made for all the walls in the room, the sofas were custom made by Sejour, and upholstered in GP & J Baker chocolate mohair. The pillows are mink, custom made along with a rabbit fur throw from Barneys New York.

Left: Robert Lamm, the guitarist from Chicago, gave this piece to Josh as a thank you for selling his house. Right: Marilyn Monroe, 1967 Andy Warhol.


The bar in library with custom oak paneling, hardware by Liz’s Antique Hardware. Brass shelves were custom made by Metal Crafts LA, the pillows on sofas are Serpentine by Ball House.

Marilyn Monroe: From The Last Sitting, 1962 (Crucifix III) Bert Stern.

The Beatles photographed at George V in Paris. 1964 Harry Benson.



Dining room: Chinoiserie by Schumacher, Antique Queen Anne chair upholstered in Schumacher trellis. I love this green and I think you must be bold and take risks in at least one room per house (I prefer more). Color is life and energy and living without it is sad.

Living room: George Smith sofa and chairs upholstered in Brunschwig and Fils cranberry wool, Arteriors stools upholstered in Scalamandre zebras, Vase by Lalique, Rose Tarlow bench upholstered in leopard hair on hide. The wall covering is Antique Mirror by Lee Jofa.

The Entry: center table was custom made by Sejour. Stair runner and rods by Stark, sterling silver boxes by Christofle, malachite tray by L’objet. CT

How would you describe your taste in art? Eclectic. I have pieces from the early 1900s and I have pieces from the 2000s but I mostly like classic art. I’m not trying to bet on the new guy in town or discover the new Andy Warhol. I like blue chip artists who perform well, and which are great investments. There’s nobody like Ed Ruscha – he’s the Andy Warhol of our generation. It has to be blue chip from Phillips, Sothebys, Christies, Bonhams or maybe Heritage Auctions. There’s a lot of fake work out there and the provenance is the most important thing. You need to be able to follow the trail. I buy everything at auction. Tell us about your classic cars. I have ten classic cars. It’s not the most valuable but my favorite is the convertible Rolls Corniche. It sat in a museum for ten years and it has just 10,000 miles on it. The leather is flawless, like the day it was made. I spend a lot on maintaining it. It’s always in and out of service. Second favorite is my 1960s Silver Cloud 2 convertible. There are only 75 in the world. I like to drive it. There’s a difference between a daily driver and a museum car. The Silver Cloud is a museum car. I drive my 280SE convertible and I could bang it around. I don’t care if it gets scratched. I can replace it – but not the Silver Cloud. Are you currently looking for a place to live? Oh yes – but I’m a broker so I’m going to be very particular about what I buy. I’ve always bought well. I bought a house last year – Heather Road, next door to Paul McCartney’s house – for $5m, and sold it a month later for $6m. (Josh and his boyfriend, model and real estate agent Bobby Boyd, have been together since 2016). Where is the potential these days, for a place that you want to live? The flats of Beverly Hills, I teeter back and forth on Bel Air. I also would like a view property in the Bird Streets or Trousdale. I like to trade. I don’t think I’ll ever stay in a house for more than 3 years. It’s like a game. I like to move around. I can’t stay in one place for too long.

Above; a drawing by Picasso hangs in the dining room. Opposite right: Celia. David Hockney handpainted 42 frames of which this is one. Another in the series, Celia in Motion is owned by his grandmother, Margie Platt.

But you’ll stay in LA? I’m going to buy a place in NY but I’m not going to ever leave here. Is there something else you want to do in 10 years? No. It will be residential real estate, always. I’ll never get tired of it. I love houses. I love people. I love this area. I could be a billionaire but I would never stop.

Opposite left: a Constantin Kluge oil painting bought in 1970s in New York. Opposite bottom: Liz Taylor, Andy Warhol, 1965.





onceived by Evan Meyer, the initiative that started as an attempt to beautify Lincoln Boulevard in Santa Monica has spawned a global movement, appropriately called Beautify Earth. They now have a presence nationwide, in cities like Brooklyn, Miami, Vermont, Seattle – and the movement is expanding globally, in India and Mexico. Beautify Earth has become an ongoing community project dedicated to making the world a better place, by bringing color to neighborhoods and streets, with the philosophy that art transforms a neighborhood and instills pride into a community.

beauty in blight BY CHRIS CARTER

BEAUTIFY EARTH started in Santa Monica as an initiative to transform the neglected areas, by painting works of art on the derelict walls and giving the community hope and a sense of pride.

“Instead of waiting for someone to take care of the ugly graffiti it was the notion that you could buy a bucket of paint and cover it up yourself. Taking personal responsibility for the community that you live in and empowering that community to take responsibility for the area they live in. It came of wanting to do something about an area that was ugly or vandalized, rather than complain about it.” says Ruben Rojas, one of the movement’s founders. “We live in a man made world and it’s a prison when you look at our cities and architecture. A wall can be used by someone to inspire and engage the community. Imagine putting up an inspiring message or color, and it no longer looks like a prison.” Beautify earth is a 501(c)3 non-profit corporation. They had no grants or funding, and in earlier days they worked on the murals themselves, with their own resources and money. The core group have careers and work on the project in their spare time. Evan owns a software company, Ruben is a financial advisor, and others in the team are musicians, architects and dancers. “If you have a passion for something you make it work, it fits in between client meetings, late nights…we find time to do it because it’s not work to us” says Ruben. They have completed over 200 murals to date, and they are completely self-funded. Major corporations and the City are taking an increasing interest in their activities and are now funding their work. They work with schools too, helping drive the students’ boredom into creativity, away from mindless vandalism to painting murals. The City of Santa Monica is partnering with them on public projects like beautifying utility boxes. They are helping fund some of the initiatives on Pico and helping get the word out to businesses that this is to help the community. The City of LA, too, is helping them through the archaic mural ordinances to help speed up permit process.


“The worst color choice one can make is the color of neglect” – Evan Meyer, Founder

Currently, they are in the process of creating ten murals in ten different cities for a corporate sponsor, but they are adamant that they are not pandering to corporations by compromising their artwork. They do not make commercials or advertise products. Beautify Earth fields advertising inquiries, educating businesses on why they can’t do that but also how it doesn’t serve their interests to do so. They help them to see the bigger picture, which is that they should give art to the community. It’s all about doing good. Volunteering to paint a mural is pretty straightforward and Beautify Earth promotes emerging artists, giving them a footing in the local landscape. “Start canvassing your neighborhood, pick out a wall where you want to start and get permission. Then we prepare the paperwork, which is really between the business owner and the artist to make sure the artwork is agreed on, and that there’s a timeline. That’s all the legality, and they we try to get it funded,” says Ruben Rojas. The Mural Conservancy of Los Angeles will register each artwork, and Beautify Earth protects the artist and intervenes if they want to license the art. The landlord or business owner doesn’t own the right to license it. Luckily, they haven’t had any major issues yet, and if a corporate sponsor wants to use the art they will negotiate a license fee. Social media also helps identify if certain artists work is being abused or used without license. “We are always an advocate for the artist first. Other mural companies broker deals and keep 50-60% of what they charge. Beautify Earth takes 10-15% to cover operations the rest goes to the artist. If we can make money to give people jobs that’s what we are looking at,” says Ruben. A tour of Santa Monica to view the murals can be a very satisfying experience. A cluster of artworks on Lincoln Boulevard, Main Street and Pico Boulevard has created a mini arts district. Standing on one corner, you can see three murals at a time, a very powerful and invigorating sight. What happens to the art when the buildings come down? “We acknowledge that the nature of the art is impermanence. A new business could cover it up, or buy the block and build something new.” There are signs, though, that businesses recognize the value that the art plays in gaining the confidence of the community. New businesses can take advantage of the fact that a mural gives them a place in the community. Ruben says, “The Novel Café had a mural which was destroyed when they rebranded but they recently asked if we would do a new mural for them.” That surely must give Beautify Earth the satisfaction that their community driven initiative is working.

Chris Saunders 2202 Pico Blvd, Santa Monica, CA 90401

Meex One Printing Palace 2300 Lincoln Blvd, Santa Monica, CA 90405

Christina Angelina & Kevin Ledo 11280 Washington Blvd, Culver City

Photo by Jay Kantor




Appleseed graphite on paper 68”x68” 2014


Opposite page (top to bottom): Allison Kunath The Brixton, 2827 Pico Blvd Santa Monica Meggs Cross Campus, 929 Colorado Ave. Santa Monica. Photo by B4 Flight This page (top to bottom): Francisco Letelier American Red Cross Santa Monica. Ruben Rojas Books & Cookies, 2309 Main St. Santa Monica Gus Harper Pico & 34Th. Off Ramp of I-10 East.




“I’m looking to turn the most disposable architecture I can find, into seismic moments.”

Are you a photographer or an artist? I think both. I guess I’m an artist in the sense that my interest in photography only extends to taking/making pictures that make sense to me in the moment. But I’m clearly a photographer in that I use cameras. I’ve never been very good at commercial work, I’d have no idea how to make a Lexus look good, I’d actually rather dig holes than do that. But really when you look at it, since smart phones happened we’re all taking so many pictures – it’s a language, and we all speak it. We are all photographers whether we like it or not.

angles on la Armed with his camera, GEORGE BYRNE spends his days driving around LA capturing a refreshingly different look to the urban landscape – one that is filled with color, form, light and shade.

How long do you spend on the composition of an image? It varies, sometimes I’ll see a scene and know there is a pictures in there but I have to really work hard to find it, and other times its really easy and hits me in the face. Everyone on Instagram is probably thinking they could do what you do. Is it easy? Ha ha I wish it was easy! No it’s pretty tough and all consuming making a living out of this stuff, any art I guess. It’s easy to dabble and just take the odd snap, but I’m pretty deep in this. It’s all I do so I have be on top of so many different facets of my career at once. From the business side of things to the production and post production. Knowing what your doing, why you’re doing it and what you’re planning to do next. What do you think of Instagram? I think its great, a really useful tool for artist and professionals and hobbyists and everyone in between. It’s good fun and in my opinion heralded a photographic renaissance. Where in LA do you find the best inspiration or locations? Anywhere and everywhere. What do you hope to achieve with your work? Broadly speaking if I can move someone, make them feel something then that’s the best result I could every hope for. The idea is to stop and take stock of the world, take a moment. I also do this work for myself, it helps me make a small amount of sense of it all, helps me feel connected to the Earth. Will you run out of ideas? It’s quite possible but I hope not. What are you going to do next? I’ve never been a long-term planner but my next project is driving across America with a 4x5 large format film camera which I just bought off eBay. I’m very excited and I have a feeling this project will keep me occupied for quite a while. What is the general size of the pieces that you exhibit/sell? At the moment I’m producing work formats: 20”x20”, 40”x40”, 33”x45”, 45”x60”, 50”x50” I have a bunch of work for sale from my last exhibition Local Division in Sydney, details at Do you have an exhibition coming up anytime soon? I’m currently speaking to a few galleries in LA so hopefully soon. @george_byrne |


Ace Hotel Sth Broadway, 2015

99c Silverlake, 2015

China Town, 2015

The Valley, 2015




Boyle Heights, 2015


Hotel Pool #1, 2015

















14800 Corona Del Mar Pacific Palisades





Square Footage



Lot Size


Year Built


The simpsons co-creator, sam simon

Richard Neutra’s Bailey Case Study House #20 is the timeless centerpiece of the Sam Simon Estate, among the most important properties to come on the market in years. The Simon Estate is comprised of the Bailey House and a 7,124 sq ft, LEED Certified Gold 4-bedroom contemporary “main house,” both thoughtfully sited on spectacular, park-like grounds. Only 34 houses were designed as part of the Case Study House program; 24 were actually constructed, 21 remain standing, and only one designed by Neutra was built. Simon engaged master architects and restoration artists Marmol Radziner to preserve and renovate the Bailey to achieve a Santa Monica Conservancy Renovation Award.

The main house, commissioned by Simon and constructed in 2010, represents the forefront of sustainable living today. With its energy conservation technology and use of sustainable and recycled, toxin free materials, it is expertly crafted with the utmost of precision. The high volume living room is the focus of a design that is made for entertaining and open floor plan enjoyment. A spectacular theater/bar/game room connects to a stone deck with a cascading infinity-edge pool, beautiful views of the Bailey House and the magnificent, private grounds.


Listing Agents Stephen Sigoloff t: 424 231-0754 Billy Rose t: 424 230-3702



26814 Malibu Cove Colony Dr MALIBU





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An oceanfront home in Malibu which is currently owned by “300” film producer Gianni Nunnari. Before him, actor Bruce Willis owned the home in 1999. Located at the end of Malibu Cove Colony Drive, the entrance is through a walled courtyard. This multilevel and spacious, contemporary 5 bedroom, 5.5 bathroom house has utmost privacy, being situated on a cul de sac in a guard-gated community. The home features expansive coastline views through wood-framed walls of glass. 50 feet of beach frontage is ideal for both relaxing and entertaining, and Paradise Cove is just a short walk away at low tide.

The 4,640 square feet of light-filled interiors consists of an open living room with fireplace which leads into a dining area, on one level. A gourmet kitchen with center island is situated off the dining room. Another level contains a gym with an adjoining glass encased sauna. The master suite has a balcony from which there are some of the best views of Malibu. Gianni Nunnari is the founder of Hollywood Gang Productions. Among the Italian film producer’s credits is “Se7en”, “The Departed” and “Shutter Island”. He also produced the award-winning Italian movie, “Life is Beautiful.”


Listing Agents Myra Nourmand t: 310 888-3333 Nicole Contreras t: 310 614-4952



2419 solar drive hollywood hills $3,295,000





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Director, wes craven/actor, steve mcqueen

This celebrity owned Hollywood Hills compound is the perfect blend of mid-century charm & modern elegance. Previously owned by the iconic Wes Craven & actor Steve McQueen, a secluded driveway leads to this gated oasis w/ lovely flat-roof & post & beam design. Enter past the Zen fountain surrounded by lush greenery into the open floor plan layout w/ walls of glass that look out to stunning panoramic city/canyon views. Perfect for creative minds, the serene outdoor space features a beautiful landscaped yard & garden w/ fountains, 2 koi ponds, pergola covered patio & saltwater pool/spa. Gourmet kitchen

features superb center island & sleek SS appliances. Master suite includes: fireplace, patio access, spa bath w/ massive jetted soaking tub & open shower design, huge master closet & sitting area. This 2BD 3BA house also includes 2 offices w/ private patios, completely separate guest quarters w/ private entrance & 3-car garage. Your tranquil retreat awaits you!


Listing Agent Matt Altman t: 310 819-3250



3225 oakshire drive los feliz





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actress, Dianna Agron, Glee

Private, gated and hidden behind hedges, a romantic compound awaits. A private, long driveway is lined with mature cypress. An artisan renovation with 3 bedrooms, 2 baths, and an office in main house, a detached guesthouse and a Cote d’Azur pool/ grounds. Rich interiors with edge and elegance; grand living room with vaulted beams, arched and angled walls, oversized fireplace, hardwood floors. The epicurean kitchen boats a La Cornue oven, Fisher and Paykel double door dishwashers and a Sub-Zero glass fronted refrigerator. The refined master bath has

a free-standing claw foot tub. The guesthouse, with a private outdoor deck living space, is a meditation destination. The secluded pool retreat is a world of its own with private lounging and dining, reminiscent of a Slim Aarons photograph, lazing by the pool with high society gatherings. It’s a place to spend cherished moments with friends, in an atmosphere marked by individuality and luxury.


Listing Agent Patricia Ruben t: 323 333-3801


Photo by ACES XP



HAWAIIAN DEVELOPER, BERT KOBAYASHI, REDEFINES THE IDEA OF ‘BI-COASTAL’ I am always struck by real estate developers and their ability to spot opportunity where others don’t. Would The Grove have become the retail and entertainment landmark it is today without the vision of Rick Caruso? Would downtown Los Angeles have had its volcanic renaissance without the groundwork of loft pioneer, Tom Gilmore? Would Beverly Hills and Bel Air be the epicenters of the world’s most daring residential architecture without the fearlessness of Nile Niami, Bruce Makowsky or Mohamed Hadid? These developers continue to blaze new trails and set new benchmarks for what we thought was possible in Los Angeles. Across the Pacific, another developer has been blazing trails. His name is Bert Kobayashi, patriarch and founder of Kobayashi Group, a multigenerational firm in Hawaii that has been responsible for such projects as Kukio Golf and Beach Club on the Big Island with Discovery Land Group, the Wailea Beach Resort on Maui and Honolulu’s soon-to-be Park Lane Ala Moana in conjunction with The MacNaughton Group, a $1 billion residential resort community located next to Ala Moana Center, Hawaii’s largest shopping mall. I recently had the chance to visit the highly anticipated luxury project as it’s being built, and the only word that comes to my mind is “magical.” I’ve traveled to almost 30 countries. Every time I arrive at a new destination, I always look around and ask myself, “Could I live here?” As a native Angelino who takes pride in the lifestyle made possible by our geography (weather, coastal location, big city pursuits), the answer has always been “No.” This all changed when I visited the Park Lane Ala Moana. I was pleasantly surprised to discover a major metropolis beating in the middle of the Pacific. Everything I could ever want was right at my fingertips: culture, a surf mecca to feed saltwater to my bloodstream, plus the conveniences of world-class shopping, dining, nightlife and business centers. I know this is not most people’s idea of “bi-coastal,” but it’s mine — and it’s about to be a reality at Park Lane Ala Moana, which is already 75% sold. Bert attributes this success to the three most important words in a developer’s vocabulary: location, location, location. “It’s close to the shopping center, connected through a private elevator,” he explains to me one afternoon. “And it has a front row spot right across from the ocean.” At moments, Bert sounds like a typical developer. He talks about financing, finding good partners and taking calculated risks. But then the conversation takes a turn, and I realize his approach to development is unique. For starters, he plans to live at Park Lane himself. It’s a family tradition. “We buy into every project that we have,” he says. “We do that because we can learn from each project: what we did right and what we did wrong, and what we can do better on the next project.” There is something refreshing about a developer who is willing to live in the places he builds. It instills a sense of trust. It reminds me of the good old days when partnerships were built on handshakes. I ask him if this is the “aloha spirit.”

“Aloha means a lot of different things,” he informs me. “Aloha means goodbye. Aloha means hello. Aloha means good friendship with your neighbor, your friends, your family and everybody else. To me, aloha means you need to help thy neighbor. Aloha spirit means to help somebody without expecting anything back.” Giving back is very much a part of Bert’s business philosophy. In fact, he decided to share his success with his own employees by selling the construction side of the business to them. “I looked for success not only for myself, but also for my kids and my employees,” he says. “They are our responsibility. We did a sweetheart deal for them. I’m so proud of them. They are now doing triple the business we were doing when we sold them the company.” It is a far cry from Bert’s humble beginnings. He is a third generation Hawaiian. His grandfather moved to the territory in 1909 and established himself in the sugar cane and pineapple business. His father also started out “from scratch” as a laborer and carpenter during World War II. He eventually became a respected local residential contractor. “He is very proud of his name and what he accomplished,” he says. “I think about some of my father’s competitors. There were about nine or ten of them, and they would bid against each other seriously all of the time. When he was sick, they came to see my mom and me. They told us that they would help with anything we needed, which they did. That’s aloha spirit.” Watching his city grow into the thriving multicultural metropolis it is today must be exciting for Bert. Though he hopes his fellow developers are mindful about not overdeveloping Oahu, he sees a bright future for Honolulu, in particular. Waikiki and some of the older parts of downtown are ripe for revitalization. Chinese investment has also been strong here as of late. “We are becoming more like a big city, but we’ve got to grow smartly and cautiously,” he warns. The parallels to Los Angeles are not lost on me. Like L.A., Honolulu has a long history of settlement from different cultures. It has also served as the gateway to Asia for the United States. With U.S. business interests in Asia growing at rapid rates in the last few decades, the city seems to be arriving at an important crossroads. I can see traders and executives who conduct business in Asia leading this amazing lifestyle, spending half of the year in Honolulu and half of the year in Los Angeles. Since everything has gone digital in business, it’s more of a reality than ever before. And that brings me back to my original question: “Could I live here?” The answer is: “HECK YEAH.” // To learn more about Park Lane Ala Moana visit Written by Christopher Damon. The Damon Group specializes in residential real estate sales throughout Los Angeles.


Island Residence

Ocean Residence Architects: Solomon Cordwell & Buenz & Ben Woo Architects. Renderings by Matsma.


View of Park Lane from the ocean

Park Lane Ala Moana, hawaii Park Lane Ala Moana is an exquisite community of elegantly designed homes in the heart of Honolulu.

217 Residences

More than a condominium and altogether different than a high rise, Park Lane combines the privacy and space of a single-family home with the added benefits of a 24-hour Residential Services team and unparalleled resort-style amenities.

7.3 Acres of Secluded Property

Park Lane is situated in the best location in all of Honolulu. With world-class beaches, luxury shopping, premier dining and entertainment minutes away, Park Lane presents the opportunity to experience the beauty of nature and cosmopolitan city life at its finest — and most vibrant.

Designed by some of the world’s most accomplished architects and interior designers, each residence is imbued with the sensibility of its creators, The MacNaughton Group and Kobayashi Group; two family companies, each with more than 50 years of history in Hawaii.

100+ Unique Floorplans 24 Hour Security and Concierge 35 Resort-Style Amenities






With more than $2 billion in career sales, TAMI PARDEE, the founder of Pardee Properties is the highest selling female realtor in Los Angeles and one of the nation’s top agents. All this, while being a mother of 4 children and being diagnosed with multiple sclerosis.


s the top selling female realtor in Los Angeles, Tami Pardee would appear to be the hardest working lady on the Westside. She has built a veritable empire that is her eponymous firm, Pardee Properties, whilst recently being diagnosed with MS and also taking care of her family and 4 children. Born and raised in Oregon, Tami Pardee’s father was a builder and her mother a designer, so she has been in proximity to houses all her life. “I used to clean up jobsites when I was a kid. My mom flipped houses on the side, ground up.” Tami bought her first house when she was 18 years old, with $10,000 that her grandmother left to her, but the experience with the real estate agent was not a happy one. Consequently, she obtained her own license during summer at university. It was not an admired profession at that time though and looked down upon. Instead, she moved to LA and worked at various times in the entertainment industry, as a personal assistant to Sharon Stone and also at Playboy magazine (her then boss now works for her!). All the while, building a reputation for getting things done. Tami returned to Oregon and built two 100,000sq ft commercial spaces. She ran the jobsites and all the money she made went toward her MBA at LMU where she majored in entrepreneurship. She was a stay at home mom after giving birth to her first child Taylor, now 12. When being at home began to stifle her, she got her California license and worked out of her home. A couple of friends became her first employees and they would come over to work while her kids were asleep. She went on to sell properties worth $33million in the first year.

Is it easy to make money in Real Estate? Firstly, I know how to build a house. I know real estate and I bought and sold three of my own properties. Secondly, you can never miss a beat. You have to work 24/7. My husband would drive, my daughter would be in the car seat and I would be putting up signs. You have to

take every opportunity. I didn’t have any clients. I’m a relater. I love to connect. I met one of my clients in the line at the airport. Her daughter and my son had the same shoes on and we got to talking and I sold her a $3.5million house. People say it’s all about the money but I’m not a money person, actually. I drive a minivan. These clothes I’m wearing are from the outlets. For me it’s more about the client experience. It works both ways – having them thankful for the experience is a big deal. That actually feeds my soul. How did Pardee Properties grow? I don’t force people to buy or sell. I look at what’s best for them. When the whole mortgage meltdown happened, none of my clients got in that situation. Instead of telling people to get in a house with 0% down, I was telling them if you can’t afford it, don’t do it. Don’t do these crazy mortgages. In 2009 when that all happened my business doubled. Buying a house is a big decision – a huge emotional and financial decision and you need someone to guide you through. We built our business based on that. I consider we are more life changers than real estate agents. We hold their hands and guide them through the process, and then we are in touch with them afterwards, literally for years. 50% of our business is repeat clients or referrals. How is your process different from other brokerages? I believe that the whole real estate model is completely broken. My people are salary based. They all have health insurance. We have 20 licensed agents. My listings agents only work with listings and my buyers agents only work with buyers. They don’t cross over because it’s two different jobs. Also, a lot of people want to double pop (dual agents) but it doesn’t make sense and this way the clients feel well represented. The rest are support staff, marketing, tech, social media. I have a whole sign department so my agents aren’t putting up their signs. I over-market because I have to make sure my clients get the exposure that’s needed, and we get the price that we want. I spend $150,000 a month on marketing. When it comes to selling, we have 2 handymen on our staff who are free to our client. We have a cleaning person on our staff too, because I’m not going to sell a house with stuff on the floor. Our job as a real estate agent is to present your house in the very best light, to get you the best price possible. It usually takes a week to prep a house for sale. We use a professional photographer and a videographer. We also have a 20 minute callback rule. I have 5 listing agents and they are required to call back within 20 minutes of your call – so if you request a showing, we won’t wait 3 days like a lot of agents do. It’s really about the look


“For me it’s more about the client experience. It works both ways. having them thankful for the experience is a big deal. That actually feeds my soul.”

of the house, making sure it’s staged and looking its best, and then exposure of the house. We average 51,000 views per house. We check in with our clients 4 times a week during the buying process. Even if nothing is happening we will send an email with a progress report – like, the contingencies are removed in 4 days. Silence is death.


Which areas do you represent? I’m in Mar Vista, Venice, Santa Monica, Playa Vista, Playa del Rey and now Brentwood too. When I first started it was where I lived, (here in Venice), and I had a baby so I didn’t want to be in the car. Most agents sell everywhere, which is a mystery to me. How can you be an expert in every area – and who wants to be in the car every day? We have a few listings scattered around the City but mainly we concentrate on the Westside of Los Angeles.

James Beach 60 N Venice Blvd, Venice, CA 90291

Which areas are up and coming or have changed the most? Nobody likes the word gentrification. A lot of developers have come in and overbuilt in Venice. Some areas are better. Grandview Avenue is a through street so to me it’s ok to build because they had post-war houses but the bungalows are the charming Venice, and a lot of people are against that, which I understand. It’s a hard dance for people in the community. The world is changing and nobody wants it to. Things are going to change. What happened in this area is that there should have been more government regulation on what could and couldn’t happen. The Venice Specific plan has lots of grey areas. Mar Vista has changed a lot. It’s kind of a family neighborhood – a hidden gem. There’s a lot going on in Sunset Park. Instead of West of Lincoln being more desirable, East of Lincoln has changed a lot because there are now places you can walk to. It’s quieter and the lots are bigger. Del Rey is a cute pocket that’s going to be hot. Between Alla Road and Short Avenue and south of Washington and then to the river. It’s still affordable there.

Hidden gems: Chaya Venice is a great secret for a good lunch spot. The Venice Chopped with Popcorn Shrimp Salad is to die for! 110 Navy St, Venice, CA 90291

Who are the typical buyers in this area? A lot of them are in tech, advertising people too. Some actors and actresses, producers, writers. Mostly creative people. What are the typical house prices? In the last 2 years they really skyrocketed – anywhere from 10-20% a year. Since last May though, it’s only gone up to about 7% in this area. It’s stable, which is good, because you can’t sustain 20% growth. The original homeowners are excited to sell because their house which was worth $400,000 is now worth $2million, and they are going to buy a big house somewhere else. I know people who have left and gone to Ojai and Ventura. 95% of them are happy. Is the trend for large architect designed houses going to continue? The whole market is slowing down and building is slowing down too. The price of land caught up with prices so there’s not a lot of money in it anymore. Do you believe in paying it forward, helping others? I worked at Remax for about 3 years and I used to give them 10% so when I left I thought, why not give that 10% to local charities? Now every quarter we give a lump sum to a charity. We did the Teen Project and LA Homeless Task Force. We choose it out of need. We’ve given about $850,000 so far. It used to be 10% of our net 5% of our gross, and now it’s around 3% when you take away expenses. My ultimate goal some day, is to buy four cottages in this area, and have a hospice for homeless people so that they just don’t die on the street.


Superba Food and Bread 1900 S Lincoln Blvd. Venice, CA 90291 The Wallflower 609 Rose Ave, Venice, CA 90291

The farmers market is always a great way to spend Friday mornings The Human Garage is an amazing place for massages and bodywork 2903 Washington Blvd, Marina Del Rey, CA 90292 A great place to see some art: C.A.V.E Gallery 1108 Abbot Kinney Blvd, Venice, CA 90291 Coffee Shops: Blue Bottle Coffee 1103 Abbot Kinney Blvd, Venice, CA 90291 Favorite workout places: Studio MDR 330 Washington Blvd, Suite B Marina Del Rey, CA 90292 Studio 1 on 1 2469 Lincoln Blvd, Venice, CA 90291 YAS 1101 Abbot Kinney Blvd, Venice, CA 90291 Also worth a look is Huzzah, a boutique with toys for kids and adults. 2010 Lincoln Blvd, Venice, CA 90291


Howard Hughes would probably be impressed by Playa Vista’s evolution since his aviation company took flight here in the 1930s. The 1.3-square-mile community is now arguably Southern California’s the most important tech hub. The Campus at Playa Vista houses Yahoo, YouTube, IMAX, Belkin, FullScreen and many other tech and media firms. The area will soon welcome Facebook, which leased a 35,000-square-foot space at Playa Jefferson, a nearby complex. Google, currently in the Santa Monica “Binoculars Building,” will have the biggest presence of all when it builds new headquarters on 12 Playa Vista acres it purchased for $120 million in 2014. Playa Vista’s housing — eventually reaching about 6,000 rentals, condos and single-family residences in distinct neighborhoods — is also growing, partly to accommodate those who work here and other Westside business centers. A STEM-based (Science, Technology, Engineering, Math) elementary school opened in 2012. And its latest neighborhood, Marlowe, reflects the community’s creative professionals. The 30, single-family homes are Playa Vista’s largest, highest-priced residences to date. They combine high-tech systems with Modern style to suit the Silicon Beach surroundings. Designed by Irvine-based Robert Hidey Architects and built by Brookfield Residential, the sleek, threestory structures exhibit verticality and transparency, with expansive windows, open-plan interiors, and multiple indoor/outdoor spaces. Patios and side gardens capture light and ocean breezes. The roomy, 3rd floor terraces literally overlook nearby tech HQs such as IMAX and a set rapidly hip-ifying restaurants and shops. Abbot Kinney’s recently shuttered Hal’s Bar and Grill – beloved for years by Venice artists and entrepreneurs – will re-open here soon, along with a 21,000-square-foot Fred Segal. Inside the homes is a contemporary, open-feeling flow. Ranging from 3,123 – 3,341 square feet, they have 4-5 bedrooms, gourmet kitchens, and, on the top floors, indoor/outdoor living spaces and home offices. Built to LEED Silver specifications, Marlowe features Category 6 data wire for phone lines and high-speed data connection in all bedrooms, kitchen, great room and family room. Title 24-compliant LED lighting illuminates the entire home. And while twocar garages are included, Playa Vista is one of the only luxury communities in LA to offer the potential for an almost car-free existence: With a Whole Foods, Yoga Works and lots of shopping located in Playa Vista’s Runway section, along with a growing tech campus, keeping the cars parked could be a real option for some. Prices range from the high $2,000,000s to over $3 million.


N E I G H B O R H O O D / 1 2 0


abbot kinney, VENICE 120 minutes on a walking exploration of the neighborhood with a camera and kids in tow






















1/ 12.00. Arrive Venice Pop Up Park 1021 Abbot Kinney Blvd

6/1:00. Purchase sheets and dream of a new mattress at Keetsa 1221 Abbot Kinney Blvd.

11/ 1:40. Quick stop at Kreation Kafe for a vegan brownie and fresh pressed juice. 1202 Abbot Kinney Blvd.

16&17/ Quick peek in and out of Rag & Bone. 1118 Abbot Kinney Blvd

7/ 1:15. Stop to admire mural by Alexis Diaz of the La Pandilla Mural Team. 1302 Abbot Kinney Blvd.

12/Marine Layer has the softest Ts on the planet. 1144 Abbot Kinney Blvd

2/ 12:15. Garden to table at the Cooks Garden. 3/ Shops along Abbot Kinney Blvd. 4./ 12:30. Pick up a couple of cool new rock T’s for the kiddos at JunkFood Clothing. 1103 Abbot Kinney Blvd. 5/ 12:45. Quick stop at open-air market in alley adjacent to Aust. 1617 Abbot Kinney Blvd.

8/ Local vibe.

13/ 1:45. A stop at VNYL record shop for my budding audiophiles. 1136 Abbot Kinney Blvd.

9&10/ 1:30. Two of the few remaining original shops on AK, Blackfoot Vintage and The Perfect Piece. 1216 Abbot Kinney Blvd.

14&15/ Spinning with Miles at VNYL. 1136 Abbot Kinney Blvd.



18/ The Dog Town, Venice mural, on the side of (closed) Chop Daddy’s at 1146 Abbot Kinney Blvd, by Jonas Never and Whiteninja 19&20/ Bazar. One of the few remaining original stores on Abbot Kinney Boulevard. A stellar mashup of eclectic goods. 1108C Abbot Kinney Blvd.

Who, What,







CHAUTAUQUA BLVD Pacific Palisades

Video coverage of the preview party for Partners Trust to reveal a new construction property for sale. Video coverage/photo gallery


Coverage of a wine store opening in Beverly Hills. Video coverage/interviewer/photo gallery


Red carpet coverage of the Catt Sadler hosted, Women of The Agency event in Beverly Hills. Co-branded/banner/Red Carpet/ Interviewer/ Video coverage/photo gallery

Magazine and video coverage to make your event unique.





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ATMO SFERA™ Platterless Turntable Created by a team of Italian designers, is this platterless design where the record spins in the air driven by a very low torque motor. The end result is less distortion and vibrations, resulting in a clearer sound for vinyl enthusiasts. $1010 approx (in development)

Beambox Hand Hewn barn wood speaker. Need we say more? The artists at Claw Hammer Co. harvest these beams, incorporating modern technology, and producing the coolest, most historically significant speaker you could ever own. Everything about the BeamBox makes it an American artifact. $350

Panasonic OLED TV VIERA TX-65CZ952B The ultimate cinema experience. Tuned by professional Hollywood colorist, Mike Sowa, to achieve 4k picture quality as the director’s original intention with luxury 360 design. Revered by both professionals and home cinema enthusiasts as the best television on the market today. com/uk/consumer/ viera-televisions $7999

Roost Instead of purchasing costly new devices and paying even more to have them installed, Roost empowers easy and inexpensive do it yourself upgrades to existing smoke alarms. There are no new smoke/CO alarms to purchase. No unnecessary control panels. No bulky hubs to hide. $35


Olo The First Ever Smartphone 3D Printer. Portable and multimaterial works accurately for professionals and easy for new users. Architects, designers and artists are embracing the 3D printers with their virurally limitless potential. From sketch to reality, OLO 3D Printers make your designs come to life. $99

Pelty A Bluetooth-enabled, candle-powered speaker hand-crafted in Italy from ceramic, glass and timber. The clean, crisp design is named for the peltiereffect device inside it, which converts heat to power, offering up to five hours of play time. Blending low and high tech with a little romance, the Pelty provides a new way to enjoy music and podcasts.


A stylish, handcrafted and reimagined console designed by a husband and wife team in San Diego. It is built from sustainable materials and the best electrical components. Every capacitor, resistor, driver, and circuit board is handwired and handtested in different combinations. $14,900 Photos by Rachel Ashley




Kim Gordon and Kerry Joyce

Tami Pardee, Justin Alexander and Kim Gordon

Katie Pardee and Kathy Suder

Oren and Sarah Katzeff

Jen O. Hill and Katie Goodwin

Jordan Daly, Kelly Furano and Bryn Carter

Danny Poku, Josee Lepage and Mark Castellino

Hege Fossum and Tim Blacksmith

Kim Gordon and Todd Reed

venice tastemaker event Millwood Avenue, Venice CA 7 April 2016

Kim Gordon Designs, Pardee Properties and LA HOME presented a tastemaker event at Millwood Ave in Venice, CA, to showcase the latest artist home in Kim Gordon’s design portfolio. Special guest was the designer Kerry Joyce and also present were tastemakers from the entertainment and design industries. Music was provided by DJ Titanic Sinclair. Kerry Ann Sullivan, Smiles Davis and Rachael Petersen

DJ Titanic Sinclair








The Film That Changed My Life/ Robert K Elder $16.95 30 directors talk about a film they saw at a particularly formative moment, how it influenced their own works, and how it made them think differently. Making Movies/Sidney Lumet $10.99 Drawing on 40 years of experience on movies ranging from Long Day’s Journey Into Night to The Verdict, acclaimed director, Lumet explains the painstaking labor that results in two hours of screen magic.


Cinema Symbolism/Robert W. Sullivan IV. $34.99 It is about occult, numerological, astrological, mythological, alchemical, Tarot, and kabbalistic iconography and symbolism contained within popular movies. Easy Riders Raging Bulls/ Peter Biskind. $15 An unabashed celebration of sex, drugs, and rock ‘n’ roll (both onscreen and off) and a climate where innovation and experimentation reigned supreme. Based on hundreds of interviews with the directors themselves, producers, stars, agents, writers, studio executives, spouses, and ex-spouses, this is the full, candid story of Hollywood’s last golden age. Bambi vs Godzilla/David Mamet. $13 Award winning screenwriter Mamet provides hilarious, surprising, and refreshingly forthright answers about every aspect of filmmaking from concept to script to screen. A witty, bracing, noholds-barred examination of the strange contradictions of Tinseltown. The Wes Anderson Collection/Matt Zoller Seitz. $23.79 Wes Anderson’s filmography features previously unpublished behind-thescenes photos, artwork, and ephemera, with an introduction by Michael Chabon. The Art of Noir/Eddie Muller. $30.77 During noir’s golden age, studios commissioned these arresting illustrations for even the lowliest “B” thriller. The striking artwork is lavishly produced, in this large-format volume. 300 dazzling posters and other promotional material range from the classics to rare archive films.




Academy Theater

3141 West Manchester Boulevard, Inglewood. Architect, S. Charles Lee built in 1939